Alias: Alexander Marsh Freed. NY Times bestselling author of video games, novels, and comics. FoxNext, BioWare, Del Rey, Dark Horse, etc. Pleasantly eccentric.
Probably a good time to remind folks that preorders are super helpful for books, especially first in series.
Links to all sellers/formats here:
penguinrandomhouse.com/books…
So looking forward to meeting folks at @ViennaComicCon this weekend! I'll be around to sign things as well as doing two panels:
16:30 Saturday I'll be at the panel stage with the great Claudia Gray and Andrea Boccardo.
16:00 Sunday I'll be doing a reading from The Mask of Fear!
Just finished @olgakhazan's piece on changing one's personality (I'm behind on my reading) and it's the most delightful thing I've read in a while. Funny and thought-provoking and empathetic.
theatlantic.com/magazine/arc…
Why have the Fantastic Four never fought a Boltzmann brain? (I would also accept a Boltzmann brain as a Doom Patrol villain, but only grudgingly.)
en.wikipedia.org/wiki/Boltzm…
Panel 2. The brain is generating enormous amounts of sinister energy. Somehow, its "brow" is furrowed menacingly.
BRAIN:
You have discerned my origin! But you cannot understand what it is to be born of pure CHAOS, denied the home, family, and body you remember!
The best part of fringe festival listings is knowing the shows that look like potential disasters are also potentially fantastic (or at least interesting). Gives a very satisfying risk / reward ratio to the whole affair.
There's so much brilliance packed into Columbo. For folk unfamiliar, the premise is simple: every episode, we get a prologue where we see a murderer kill their victim and try to conceal the crime. Then Columbo, the disheveled, rambling, easily underestimated detective arrives.
And this plays into the strengths of television / film / theater--observing a character from the outside, watching a lived-in performance, without ANY glimpse of the character's interior self. These media ask the audience to try to understand, but are inherently ambiguous.
It's the reverse of prose, which allows a clear depiction of a character's thoughts but which struggles when it comes to depicting complex "performance." A book can never convey a character's expression, gestures, slouch, walk, as richly as TV or theater.