Page 1 of 4
1 2 3 ... LastLast
Results 1 to 10 of 35

Thread: TPG: Week 40- John Lees

  1. StevenForbes Guest

    TPG: Week 40- John Lees

    Welcome back, one and all, to The Proving Grounds. This week, our Brave One is John Lees. Let's see if he was able to work his magic again!

    AN INCONVENIENT TOOTH
    ISSUE #1: IN WHICH WE MEET OUR HERO
    A 22-PAGE SCRIPT BY
    JOHN LEES

    PAGE ONE (6 panels)
    Panel 1. It’s the dead of night, and we are outside an isolated strip club out on the fringes of the city. But we have little idea of setting in this first panel, as the focus here is a close-up of a severed head, which has just been sent crashing out of a window. The head belonged to a male - a bald, middle-aged man with a hooked nose - and it bears an expression which denotes mild annoyance.

    SFX: SMASH!

    Panel 2. Another close-up of the head as it lands on the tarmac outside. It lands right in front of two police officers, an officer and a sergeant, though for now all we can see are their black shoes and pants in the background.

    SFX: THUNK!

    SERGEANT (O.P.): NOW WOULD YOU LOOK AT THAT.

    Panel 3. A wider shot, taking in both of the uniformed policemen, as well the chaos around them. The officer is young, wide-eyed, presumably a rookie, and looks utterly horrified. The sergeant is older, a grizzled veteran, and he stands steadfast, his hands on his hips, appearing deep in thought. On the tarmac around them that could once have been called a parking lot is a sea of corpses, severed body parts, and puddles of blood. To their right, there is a literal pile of bodies stacked up. To their left, one mangled corpse lies facedown on the caved-in wreckage of a Porsche.

    OFFICER: ...

    SERGEANT: IN 1987, I WATCHED A MAN EAT HIS OWN TESTICLES.

    Panel 4. The sergeant has kneeled down to get a closer look at the head. His head is cocked to the side as he studies its features. The officer has turned a shade of green, his hand to his mouth, looking like he’s about to throw up.

    SERGEANT: HE WAS WANTED FOR RAPE. WE FOUND HIM IN HIS APARTMENT, BUCK NAKED, SITTING IN A POOL OF HIS OWN BLOOD, BALLS TUCKED IN HIS MOUTH LIKE A… GERBIL FROM HELL. HE SAID HE WANTED TO SHOW US HIS DON CORLEONE IMPRESSION.

    (more)

    PAGE ONE (continued)

    Panel 5. A different angle here, this time we’re at an upward angle, looking from behind the sergeant’s shoulder as he kneels there, looking up at the carnage before him. The officer has bent forward off the panel to throw up. In front of them, we see the trail of dead bodies leads to the entrance of the strip club. The club is called HOT TITTIES, as eloquently declared by a pink neon sign. (If you want to create a decent opening page, THIS is the way to do it. You grab the reader with the very first image, and you make them wonder what the hell is going on. Then, you take some dialogue and twist the reader’s short hairs even tighter, and you force them to turn the page. You engage them as soon as possible, and you keep them engaged. THIS is what John did. I feel like I was slapped upside the head and pulled in by my short hairs on the first page. I want to know where this is going. My only nitpick on this page is that there are a lot of words in the previous panel, but since there isn’t a lot of text anywhere else, it’s definitely something that can slide.)

    SERGEANT: IN MY 25 YEARS ON THE FORCE, THAT NOW STANDS AS THE SECOND SICKEST SHIT I EVER LAID EYES ON.

    OFFICER: BLEEEEEEEEEEEEEEEEEEEEEEUUUUUUURRRRGGH!

    Panel 6. A tighter focus on the shattered window the severed head just flew out from. The voice of Artie Schlebb, unseen here, comes from inside the building. (I think this page would have been better ended last panel. You could re-establish the location and start looking up next page, with an approximation of this panel. This last panel lessens the impact you have on the page. It’s also quite possible to keep this caption. I’d put it on the bottom right of the panel.)

    CAP: THIS ISN’T ME. I’M NOT A KILLER.

    ARTIE (O.P.): THAT ALL YOU GOT!? COME ON!


    PAGE TWO (1 panel)

    Panel 1. A full-page reveal of Artie Schlebb, inside the strip club. He is drenched in blood, surrounded by yet more corpses. His expression is wild-eyed, crazed. In one hand, he holds a power drill. In the other hand, he holds a pick-axe. Yet other than this, he does not look like your typical killing machine. He’s dressed in nothing but a pair of unflattering Y-fronts, his portly belly hanging over the waistband. His head is shaved, roughly and unevenly as if he did it himself in a hurry. Most striking of all, though, is his mouth. With his open-mouthed snarl, we can see all his teeth are missing, and the bleeding, ripped gums indicate they have only recently been removed. In their place stands one single, tooth-like object, nestled in his lower gum. It is pointed, metallic, blue in color. (How about a better description of the inside of the strip club? And this can also work with two panels, the second being panel 6 from the previous page. Just don’t make that panel inset to this. Put it outside of it, so it stands on its own. Make sure to keep the OP dialogue in it.)

    CAP: I’M JUST A DENTIST.

    ARTIE: I’LL KILL ALL YOU MOTHER****ERS!

    Title. AN INCONVENIENT TOOTH……………. CHAPTER 1: IN WHICH WE MEET OUR HERO


    PAGE THREE (4 panels)

    Panel 1. A change of scene now. We’re indoors, in a police interrogation room, but the solid black background in this panel gives nothing away. Our focus is on Artie Schlebb. He looks different here. For one thing, he’s fully clothed, dressed in a drab brown suit. Rather than a shaved head, he is sporting a mess of curly hair. And he has a mouthful of shiny white teeth. Here we have a mid-shot of him, as he seems to be looking directly out of the page, talking to us.

    ARTIE: IT’S A TOOTH THAT’S CAUSED ALL THIS TROUBLE. AN ALIEN TOOTH THAT IMPLANTS ITSELF IN YOUR MOUTH AND MAKES YOU DO TERRIBLE THINGS. (BREAK THIS UP INTO TWO BALLOONS. YOU WANT TO KEEP THE IMPACT OF WHAT’S BEING SAID, AND IN ODER TO DO THAT, TO GIVE THAT WEIGHTY PAUSE, YOU WANT TO MAKE THE SECOND SENTENCE ITS OWN BALLOON. AND NO, FOLKS, I'M NOT GOING THROUGH THE HASSLE THIS TIME OF GOING THROUGH AND RETYPING ALL MY NOTES WHEN THE DIALOGUE IS IN ALL CAPS. JUST GET USED TO IT. THANKS.)

    Panel 2. A shot from Artie’s POV, looking up at two burly police detectives. They look astounded and bemused by what they’ve just heard.

    CAP: EARLIER. (IS THIS STILL ARTIE, OR IS IT AN OMNISCIENT NARRATOR. YOUR LETTERER IS GOING TO NEED TO KNOW.)

    CAP: THIS IS WHAT THE COPS LOOKED LIKE WHEN I TOLD THEM THAT. (THIS TAKES ME OUT OF THE STORY, BECAUSE I DON’T KNOW WHERE THIS DIALOGUE SHOULD BE PLACED. IS HE TALKING TO THE READER? IS HE TALKING TO SOMEONE ELSE? IF HE’S TALKING TO THE READER, YOU SHOULD START IT UP ON P1, NOT P3. THIS SETS UP THE READER EXPECTATION SOONER.)

    Panel 3. An over the shoulder shot from behind the two detectives, looking down at Artie. Their heads are thrown back in laughter, while Artie looks downwards, ashamed and embarrassed. Rather than being contained in speech bubbles, the laughter seems to fill the panel. (Nice touch here, letting the artist know that the laughter is basically going to fill the background. It also precludes any real dialogue from needing to be said in here, and brings the reader back, instead of the barrier you’re putting up with the captions.)

    CAP: I KNOW IT SOUNDS RIDICULOUS, BUT… I’M NOT CRAZY.

    CAP: LET ME TELL YOU MY STORY, FROM THE BEGINNING…

    DETECTIVES: HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA!

    Panel 4. Another change of scene. Here we see Artie in a bathroom, wearing pyjamas, looking at himself in the mirror as he brushes his teeth. (Nice page, overall. You’ve still got my interest, and as everyone knows, that’s not easy to do.)

    CAP: EVEN EARLIER.

    CAP: MY NAME IS ARTIE SCHLEBB, AND THIS IS MY LIFE.

    PAGE FOUR (5 panels)

    Panel 1. A long shot in profile of Artie in the kitchen/living room expanse that makes up most of his apartment. Now, this might be a tricky angle to pull off, so if its too awkward feel free to make it a tighter focus on just the kitchen. But I had the idea of encompassing the whole living area of the apartment, with the drab sofa of the living room in the foreground, and Artie hunched forward over his tiny kitchen table – still in his pyjamas, eating cereal – in the background. I think having such a wide focus on this empty, joyless space, with Artie kind of stranded in the middle, could be a nice way of emphasizing his isolation without having him just say “Oh I’m so lonely!” It’s early morning here, so we could have a little daylight shining through the kitchen window, but not too much – we want the place to look dull and depressing. (Okay. I REALLY like this panel description. I want two people to tell me why. Calvin & Adam. You’re up.)

    CAP: THIS IS WHERE I LIVE.

    Panel 2. An exterior establishing shot, still morning. We see a door, with an unspectacular gold-tinted plaque next to it reading “SMILE-A-WHILE DENTAL CLINIC”. (Is he in the shot, going in? Is anyone going in? What’s the building look like? Is it a busy metro street? Is it a view from a parking lot? A little more meat on this piece, please.)

    CAP: THIS IS WHERE I WORK.

    Panel 3. We’re indoors now, in a waiting room. The central focus of the panel is a desk, behind which sits an ancient woman, snarling out of the page at the reader. (Brian Augositino. You’re up. What’s wrong with this panel description?)

    CAP: THIS IS GLADYS, MY RECEPTIONIST. SHE LIKES TO SAY THINGS LIKE THIS:

    GLADYS: HARUMPH!

    Panel 4. Now we’re in the treatment room, where a patient is lying back on the chair, a bib around his neck and goggles on his face, his mouth wide open. Dressed in his dentist’s attire, Artie is bent forward, digging into the patient’s mouth with a drill. His assistant is also in the far right of the panel, though we can only see her back as she rummages around at the desk. (I know it’s not what you’re going for, but I’d LOVE to see this as an actual power drill, and not a dentist’s drill. It’d be funny. Forget I said anything. Continue on.)

    CAP: THIS IS WHERE PEOPLE PAY ME TO PULL THEIR TEETH OUT.

    SFX: RRRRRRRRRRRRRRRRRRRRRRRRRRRRR!

    ARTIE: RITA, WOULD YOU PASS ME A SPOON EXCAVATOR?

    RITA: SURE…

    (more)

    PAGE FOUR (continued)

    Panel 5. Medium shot of Rita, holding an excavator in her hand. She grins warmly, enhancing her already-beautiful features. A glowing white light radiates all around her. (LOL. Nice effect. Angelic halo. Just make sure the colorist knows the effect you’re going for. I’d go for just a little more direction here for the colorist.)

    CAP: AND THIS IS RITA DIMPLEWICKER, THE LOVE OF MY LIFE.

    PAGE FIVE (6 panels)

    Panel 1. Medium shot of the seated Artie taking the excavator out of Rita’s hand, looking up at her admiringly.

    ARTIE: WHY THANK YOU, RITA. AND MAY I SAY, YOU ARE LOOKING LOVELY THIS MORNING.

    RITA: OH, DR. SCHLEBB, YOU’RE SUCH A CHARMER!

    Panel 2. An over-the-shoulder shot from behind Rita, looking down at Artie as he suavely grins up at her.

    ARTIE: DO YOU THINK I COULD CHARM YOU INTO DINNER TONIGHT?

    RITA: IT’S A DATE!

    Panel 3. It’s night-time now, and we’re in a classy restaurant. Artie and Rita sit at either side of a candlelit table for two, looking longingly into each other’s eyes. Each has a glass of red wine in their hand.

    CAP: LATER.

    RITA: DR. SCHLEBB, WHAT COULD A SMART, WITTY, FASCINATING MAN LIKE YOU POSSIBLY WANT WITH A GIRL LIKE ME?

    ARTIE: WELL, RITA, FOR A START YOU COULD SIT ON MY FACE. (ROFL!!! THIS, FOLKS, IS COMEDY GOLD!)

    Panel 4. A similar panel to the last one, same framing. Only here, Rita has put her glass down on the table, and sat back a little further in her seat, as she stares intently at Artie.

    Panel 5. A replica of Panel 4.

    RITA: MY PLACE OR YOURS?

    Panel 6. Another scene change, and now we’re in Rita’s apartment, where Artie is ****ing Rita. He has her propped up against a wall, pumping away at her while her arms and legs wrap around him. Both are naked, but Rita’s modesty is protected by a full-on view of Artie’s hairy back and fat, saggy arse. (Okay. This dips into porn. And, while I’m not adverse to porn in any way, shape, or form, I think this panel lessens the story being told. You can keep this same momentum, without being graphic about it. I enjoy my porn, but everything has its place. This isn’t it. Someone suggest a different panel description that would not offend my delicate sensibilities. Joe? Let’s hear it.)

    CAP: HER PLACE.

    RITA: DR. SCHLEBB! DR. SCHLEBB! DR. SCHLEBB!


    PAGE SIX (6 panels)

    Panel 1. An extreme close-up of Artie’s face, deep in a state of orgasmic ecstasy. (Is this in the same room as before? And who thinks the previous panel should stay, because of this panel here?)

    RITA (O.P.): DR. SCHLEBB? (IF THIS IS STILL AT HER PLACE, THEN THIS WORKS. IF NOT, I SUGGEST DOING THIS AS A CAPTION, WITH QUOTATION MARKS. IT LETS THE READER KNOW SOMEONE’S TALKING, ACTING AS A VOICE-OVER. IT KEEPS THEM WITH THE CURRENT STATE OF AFFAIRS. )

    Panel 2. We’re back in the dentist’s treatment room in the morning, with Rita holding out the excavator to Artie. It is now clear that page 5 was all a daydream in Artie’s head. Artie looks flustered and embarrassed as realisation dawns on him.

    RITA: DR. SCHLEBB!

    ARTIE: OH, SORRY…

    RITA: YOUR EXCAVATOR.

    Panel 3. Embarrassed, Artie casts his head downward, looking intently at his patient’s open mouth. Rita stares at him, hands on her hips, looking bemused.

    ARTIE: YOU…YOU MIGHT BE WONDERING WHY I…HURM….I THOUGHT WE SHOULD UMM…RELAX A MOMENT, GIVE THE AH…ANAESTHETIC TIME TO TAKE EFFECT ON MR. FEINBERG HERE.

    RITA: AFTER DRILLING?

    Panel 4. A medium shot of Artie with his hand on Mr. Feinberg’s shoulder, smiling nervously at him. Looking back at him, Mr. Feinberg responds with a wide, glassy-eyed grin. (Hm. Not the biggest fan. Definitely not a moving panel, but I’m not a fan of two people having to face each other, giving different, meaningful looks to one another. It can be difficult to pull off because of body language.)

    ARTIE: UMM... HOW ARE YOU FEELING MR. FEINBERG?

    MR. FEINBERG: YOUNG MAN, I’M AS HIGH AS A ****ING KITE.

    ARTIE: LET’S TAKE A LOOK, SHALL WE?

    Panel 5. Extreme close-up of the inside of Mr. Feinberg’s mouth, as the excavator starts digging into the remains of a lower-mouth molar. The teeth make up the foreground of the panel, and beyond that we should get the sense of plummeting into a black hole, with a distant pair of shrivelled tonsils at its bottom.

    CAP: AND THAT WAS IT., WASH, RINSE, REPEAT. MY LIFE. (PERIOD, NOT A COMMA.)
    (more)

    PAGE SIX (continued)

    Panel 6. Another extreme close-up, this time of Artie’s face while he is at work on Mr. Feinberg. We see in his eyes a sense of deep sadness.
    CAP: AND IT WAS FINE, FOR THE MOST PART.

    CAP: BUT SOME DAYS, I WISHED THAT… JUST ONCE, SOME SERIOUS SHIT WOULD GO DOWN.

    And that's where we're going to stop.

    Overall, I'd call this another superior effort from John. Let's run it down, though.

    There's that first page, which drew me in, but the end of the page could have been a little better. I think my suggestion would make for a stronger page, and set up the second page very well.

    There were just a couple of spots where the panel descriptions could use more punch, or better arrangements, but overall, I think it was pretty strong.

    I really don't have much for end notes, to tell the truth. I found the story to be funny and intriguing, which means it did its job. I like that fact. It allows me, as an editor, to get past lots of mechanical defects and concentrate on the story.

    The story here, from these pages, intrigues me. It has me interested in reading more. I'd want to see the pitch for it, to see where it was going with a possibility of publishing it.

    This is your job, folks. This is where its at. Right here. If you can interest an editor in your story right off the bat, you've won most of the battle right there.

    This has won most of the battle.

    With this edit, and depending on where he was going with it, I'd call this publishable right now.

    A few rough spots, yes, but nothing that was so bad that kept me out of the story.

    This works.


    And that's all I have for this week. Blame John. He didn't leave much. See the list for who goes next, and let's discuss this.



  2. JohnLees Guest

    Thanks for the comments, Steve! I'm really glad you liked the story, as odd and nonsensical as it was.

    I definitely agree with your various notes:

    - Reducing page 1 from 6 panels to 5 was something that occurred to me after I had sent the script off. Like you say, panel 5 would work well as a page-ender, plus I think panel 3 could use a little more room to breathe - I squeezed a lot into that for it to only get 1/6th of a page.

    - I was kicking myself over that instance of too much dialogue in panel 4, which I again noticed after sending. When I've finished a script I read over it all to spot errors, THEN go back and correct them. I spotted that this panel had about 10 words too many, thought "Oh, I'll have to change that", then totally forgot about it. I do have a bad habit of being overly verbose in my writing. I think it's a particular problem with next week's script, but we'll cross that bridge when we come to it. :eek:

    - In terms of panel descriptions, with the strip club interior I thought I'd leave the artist with a little creative freedom to have fun with it, rather than possibly retricting him, but you're right that even some rudimentary set-up of the place (eg, glitter and class or low-rent sleaze?) might have helped. You're right on the SMILE-A-WHILE clinic panel description, though. I need to at least give an idea of location. It turns out to be on a busy street later in the script, but the artist would be pissed if he got to page 19 or whenever it was, only to realise earlier he'd drawn it isolated in the middle of a parking lot.

    - Ah, the porno scene. Yeah, I myself was a bit worried about how this scene would be recieved. I didn't want it to seem like I was turning the comic into a porno. The focus on hairy man-arse was my attempt to make the sequence feel as distinctly UN-erotic as possible. But it still may be a bit too much.

    - I was particularly worried about how Steve was going to respond to page 7. After he gave Joe Webb such a hard time over the inclusion of a panel focused on the schoolbell, I thought my decision to have not one but two panels featuring a close-up on a dog turd on the sidewalk would have him pulling his hair out. Mercifully, however, Steve wrapped up his edit on page 6.

    I don't know if you read any more of the script, Steve, but if you did I'd be happy to hear some of your thoughts on it over e-mail or whatever. Thanks again for taking the time to edit these 6 pages - it's encouraging to know I'm doing something right!



  3. jamesfairlie Guest

    Edit: PFB seems not to like pics hosted by itself, so John's posted them below

    A few weeks ago I did some concept art for John, and thought I could add something here by adding them, namely something to complain about since John's script is so bloody good.
    Last edited by jamesfairlie; Friday, October 23, 2009 at 09:57 PM. Reason: Pics failed to link



  4. JohnLees Guest

    Hmmm..... your pictures don't seem to be showing up, Jamie. Let me try and see if I can get them working.

    EDIT: No, not showing up for me either. Must be a problem with hosting the images here. I'll copy them onto my photobucket, and host them from there.

    DOUBLE EDIT:
    Artie, Rita and Nikolai:



    Page 1, Panel 3:



    And shield your eyes, ladies and gentlemen, as I unleash my mastery of art upon the world.....Special Agent Walter Wothington Wagstaff, the third. (pencilled by me, inked/colored by Jamie):




  5. AdamH Guest

    (Okay. I REALLY like this panel description. I want two people to tell me why. Calvin & Adam. You’re up.)
    It's clean, not too little, not too much description. It says a lot with a silent panel. The dude looks like he lives alone in a drab apartment, the space around him and the look of the apartment tells us this much. Alot better than a caption saying something to the effect of "I live alone. My apartment is colorless and drab."

    And because I like answering questions not directed at me...

    (Okay. This dips into porn. And, while I’m not adverse to porn in any way, shape, or form, I think this panel lessens the story being told. You can keep this same momentum, without being graphic about it. I enjoy my porn, but everything has its place. This isn’t it. Someone suggest a different panel description that would not offend my delicate sensibilities. Joe? Let’s hear it.)
    1) If you have delicate sensibilities, chances are you didn't make it past the first page considering the dialogue there.
    2) Also referring to the tone set in earlier pages, this fits. The story isn't showing you any punches with gore or with sex.
    3) If forced at gunpoint, I guess you could go with a "silhouette against the wall" scene and still get the gist of the panel across.

    Question stealing again...

    (Brian Augositino. You’re up. What’s wrong with this panel description?)
    For me, among good panel descriptions, this one's a stinker. We've go no description of the waiting room, no real description of the receptionist, and she's snarling for no reason. On top of that, the rare occaision I snarl, I don't say "Harumph".

    (Hm. Not the biggest fan. Definitely not a moving panel, but I’m not a fan of two people having to face each other, giving different, meaningful looks to one another. It can be difficult to pull off because of body language.)
    Yeah, I'd chop it into two smaller panels, one for each face.

    Overall, smashing script, you've got a strip club, a decapitated head, and some funny dialogue on the first page, I'm interested.



  6. JohnLees Guest

    Thanks for the feedback, Adam. I think it's fair to say the panel with the waiting room and the receptionist didn't work. It was an attempt at quirkiness, but it seems like it just came off as cutesy and awkward.



  7. brianaugostino Guest

    Panel 3. We’re indoors now, in a waiting room. The central focus of the panel is a desk, behind which sits an ancient woman, snarling out of the page at the reader. (Brian Augositino. You’re up. What’s wrong with this panel description?)
    Adam pretty much beat me to it but those were my thoughts exactly. What's to the left of her? The right? What's behind her? She's sitting in the dreaded "void." Steven, I appreciate you asking me this question. I was not expecting that and it felt good. Thanks.
    John, this is really good. I would definitely pick this up. I'm sure we're going to be seeing your last name on a lot of covers in the future!



  8. JohnLees Guest

    Thanks a lot, Brian! I hope you're right!



  9. jamesfairlie Guest

    Quote Originally Posted by StevenForbes View Post
    Panel 3. We’re indoors now, in a waiting room. The central focus of the panel is a desk, behind which sits an ancient woman, snarling out of the page at the reader. (Brian Augositino. You’re up. What’s wrong with this panel description?)
    Both Adam and Brian answered this by saying that the waiting room needs more description. I don't totally disagree with this, it could certainly help to have a bit more description here, though I think that waiting rooms all look pretty much alike, but there is a much bigger problem. The panel description should end with the words "this is Gladys"

    An old woman is described as being in the panel, and then a line of dialogue is attributed to someone called Gladys, but the letterer has no way of knowing who she is. Or at least wouldn't have, except the caption kind of tells us, making this less of a sin than it would normally be.



  10. drgerb Guest

    Man.. I was in a band for a while and one thing I loved doing was combining or jumping back and forth between really really heavy stuff and really soft stuff.. Or really dissonant, scratchy sounds with really eloquant relaxing ones. Anyway...


    Tying a gruesome scene with body parts and corpses stacked high with the inane conversation one might come across in a dentist's office is great. Some of the dialogue reminded me of the movie American Psycho, where a lawyer (his talk about who has the best business card, who's ****ing who, all the while torturing and killing people on the side) was just great. Taking those two opposite sides, those two contradicting elements and meshing them. Your dialogue had me thinking of American Psycho and it was a great movie, so applause for that. Yay!

    Very interesting read to say the least, John.



Page 1 of 4
1 2 3 ... LastLast

Tags for this Thread

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
Archive Forums (For Archive Purposes only): General Comics Discussion, Original Works, It's Clobberin' Time, Respect Threads, P'wned, General Chat, Beat Down, The Champagne Room (Mature), Marvel News UP TO April 2011 (See the latest news here), DC News UP TO April 2011 (See the latest news here), DC News UP TO April 2011 (See the latest news here), Archie News UP TO April 2011 (See the latest news here), Comic Book Vitamins (See the latest columns here), Comics Are For People (See the latest columns here), Comics & Cinema (See the latest columns here), Comics Pro Prep (See the latest columns here), Bolts & Nuts (See the latest columns here), Seb-Standard (See the latest columns here), Webcomics You Should Be Reading (See the latest columns here), Development Hell (See the latest columns here), The Proving Grounds (See the latest columns here), Pixels Per Inch (See the latest columns here), Bargain Bin Gold (See the latest columns here), Dead Tuesday (See the latest columns here), Have You Considered... (See the latest columns here), Comic Book Vitamins (See the latest columns here)
Project Fanboy is now Fanboy Buzz.
Fanboy Buzz is home to Comic Book News, Comic Book Reviews, Comic Book Columns, Comic Book Forums and Comic Book Podcast
Check out some of our past podcast hosts doing podcasts at GonnaGeek.com. Sci-Fi, Tech, Gaming, Comics and More!