Culture

We talk to Geeks OUT founder Joey Stern about the kickstarter-funded Flame Con, coming June 13, New York City's first ever LGBTQ comic convention.

Here's the part where you support your favorite comic book creators almost as much you endorse the films they help make possible. Kelly Sue DeConnick's...

The priceless Deb Aoki has created yet another masterful Storify called Twitter for Comics Creators - Do's & Don'ts and rather than embed here, it just go read it. But here's the nut graph:

The 2015 Glyph Awards were presented over the weekend, and here are the winners:

I review a puffed rice and corn cheese snack that is Avengers themed.

A few things going on out there in nerd media land. § Tripwire Magazine has relaunched their website. Spo far mostly Mad Max, which...

After attending an afternoon showing of Mad Max Fury Road, I stood outside the theater in a daze. I was almost literally speechless, and my PTSD continued as I hopped in a cab to go to a dinner engagement. Fury Road's insane, relentless, vivid and non-stop car chase was so senses shattering that it felt weird to actually BE in a car in the real world. I kept expecting the taxi to rear end a war rig or see an Interceptor career towards us at a 45 degree angle or have a Polecat suddenly dip towards our cab, lobbing a grenade. The real world suddenly seemed like a distant echo of the thunderous one that had seared itself on my eyeballs for the last 120 minutes. My visceral reaction was so different from how I felt after any number of recent CGI extravaganzas. I'd forgotten about Age of Ultron by the time I crossed the street. I left Guardians of the Galaxy humming "Ain't no Mountain High Enough" and loving raccoons, but the plot quickly receded into the rearview mirror. Perhaps this is because of my own subconscious processing of real images as opposed to animated ones — the practical effects of Fury Road are so much more memorable and powerful—and expensive.

It's been a while since we had a good :future comic" on this site, as they've become way too inexpensive to produce, but here's one that is beautiful, inventive AND moving. The Boat adapts the internationally acclaimed Dylan Thomas Award-winning story by Nam Le about Vietnamese resettlement in Australia following the fall of Saigon in 1975. It was commissioned by Australian TV network SBS and their interactive unit has created a scrolling graphic novel that uses limited animation, archival footage, text, gorgeous hand drawn art by Matt Huynh and sound design by Sam Petty (Animal Kingdom, The Rover) sound to tell this story.

I kind of missed the tidal ebb and flow over Jill Lepore's analysis of A-Force in the New Yorker while I was at TCAF. I saw it in my feed and figured it would ignite some debate but I was misled by the title on the piece

So I launched a comic store on Free Comic Book Day. It was quite the trick, trying to get things ready for the day...

By Harper W. Harris The first book in The Chronicles of Claudette, Giants Beware! was quite well received; in fact, it earned the creators several...

From the time the Scarlet Witch first appeared in X-Men #4 (March 1964), her fictional adventures have been pretty complicated. Now a new, eventually...