It's been about a year and a half since the last release of Sex Criminals. Those who know the series are well aware of the ridiculous and somehow also very heartwarming tale of Jon and Suze, two people who are very flawed but have found love and a shared ability to stop time when they reach sexual climax. This premise, as bizarre as it is, has proven to have major staying power in being both relatable and hilarious. Many people in relationships have dealt with what Jon and Suze have: the fights, breaking up and getting back together, using your sexual time-stopping powers to rob banks, getting chased and attacked by the time-sex police . . . all the usual relationship quirks.
With Fanbase Press’ #StoriesMatter initiative, the staff is being challenged to look more deeply at the stories we consume to examine how they affect us personally and to pinpoint their relevance in the grander scheme of things, because, ultimately, stories do matter, and comic books continue to herald some of the best stories we have today.
Coming from the mind and talent of writer/artist Livio Ramondelli (The Transformers: Robots in Disguise, The Tansformers: More than Meets the Eye), IDW’s The Kill Lock tells an intriguing and imaginative story about four robotic beings sentenced to death and bound to one another by their unfortunate shared fate. The second issue of the original series dropped in comic book shops this week, expanding on the incredible first issue, touching on themes of capital punishment, racism, and class structure, and adding additional layers to an already fascinating story.
Where the first issue of Family Tree from Jeff Lemier and Phil Hester planted an intriguing and otherworldly story and sprouted branches of interesting story ideas, the third issue has taken root to give us a few answers. Of course, not everything can be revealed right away, as we’re left with seemingly more questions than answers (in a good way), and, as the saying goes, we witness the classic case of no good deed going unpunished.
Quick recap: In order to assume the role of the Fisher King so that Duncan could pass over and retrieve the Holy Grail, Bridgette shot herself. Having prevented Galahad from procuring the Grail, Duncan must now try and save his Gran. Through a bit of ingenuity and adherence to lore, he beseeches the Ladies of the Lake for the ultimate Arthurian weapon: Excalibur.
After the Second Unification War, Mal was assigned to bring in his Ma in return for his freedom. (See The Outlaw Ma Reynolds.) Through some crafty finagling, Mal came out a winner. The prize: Mal is a newly-minted sheriff. Plot twist, huh?
Folktales are important. They teach us about the many faces of good and evil. They teach us about ourselves and the foibles of humanity. They are cautionary. They pique the darkest recesses of our imagination to scare us into making wise decisions. Fanbase Press, with its #StoriesMatter initiative, is inviting yours truly and all of its staff to dig into why stories matter to us, and in broader strokes, what they mean to our culture, our history, or whatever the story inspires us to talk about. With Folklords, I can’t think of a better writer or a better story to begin delving into this goal.
Horror is a genre that needs to be broken down into more apt sub-genres to be truly understood. From the slasher to the psychological horror, it's a genre with countless deviations. But, then again, sometimes, there are stories that can be described as pure horror. There's no subset or distraction - just the creeping horror that has been with us since primordial times. That's how I'd describe Road of Bones.