Through Bunraku, an archly-stylized swordplay fantasy, Josh Hartnett returns to the genre spotlight. This computer-enhanced tale revolves around a "Man with No Name," and draws heavily on Samurai and Western tropes in an alternate-world dystopia.
We've all felt haunted by our sexuality at some point or another, but most of us don't decide to project these frustrations onto one of the great literary masterpieces of all time, while claiming to show "what's really going on."
When franchises get stale, Hollywood does reboots -- invariably a prequel that tells an origin story retrofitted to segue into already-made sequels. In The Rise of the Planet of the Apes, we get the origin story with nods to the original.
Evan Glodell's Bellflower is the tale of two Southern Californians who fill their free time with speculations of the post-apocalyptic future and preparations for same that include the construction of Matilda, a bad-ass, black automobile.
Parentheses seem ordinary, don't they? Boring, even. So why the hell would I waste a perfectly good column discussing such a mundane topic? Well, I'm glad you asked, because, as it turns out, parentheses are pure evil.
Today, film and video games are the most culturally dominant story-telling forms, and both increasingly rely on comics as the source of ideas and concepts. How is it that these super hero plotlines became the entertainment industry's favorite formula?
In the not too distant future of Anna North's debut novel, Darcy lives on the island of America Pacifica -- one of the last habitable places on earth after the second ice age. I spoke with her about the politics of her novel, and science-fiction.