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  • 15 Sequels That Took Their Sweet Time

    15 Sequels That Took Their Sweet Time

    Movies these days are less and less self contained, ending with cliff hangers that set up multiple sequels, or franchises depending on how well a movie did. We didn’t used to be prepared for an endless sea of sequels, and now we want less of them, yet certain franchises took their sweet time before arising again.

    These aren’t the usual “a sequel was bound to happen,” since decades separate one movie from the next. Still, we were more than happy to return to the stories of these beloved characters, diving deep into what made them special in the first place.

    The post 15 Sequels That Took Their Sweet Time appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • X-Men ’97 Revives the Hottest Comic Book Store Debate of the 1990s

    X-Men ’97 Revives the Hottest Comic Book Store Debate of the 1990s

    This article contains light spoilers for X-Men ’97 season 2 episode 2. In most ways, X-Men ’97 captures the spirit of Marvel in the 1990s. It has all the obvious stuff—the ostentatious pouches and belts and headsocks, as well as the convoluted plot lines of the comics of the time. And it nails the feeling […]

    The post X-Men ’97 Revives the Hottest Comic Book Store Debate of the 1990s appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • Stranger Than Heaven Dials Up the Intensity for Sega’s Brawler Franchise

    Stranger Than Heaven Dials Up the Intensity for Sega’s Brawler Franchise

    The Sega game to generate the most buzz online coming out of Summer Game Fest 2026 was the upcoming period piece action brawler Stranger Than Heaven, arriving this coming January. A standalone prequel to the Yakuza/Like a Dragon franchise, the game follows Japanese American protagonist Makoto Daito at five different points of his life spanning […]

    The post Stranger Than Heaven Dials Up the Intensity for Sega’s Brawler Franchise appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • Netflix Facing Wonka Reality Show Backlash After Using AI to Recreate Gene Wilder’s Voice

    Netflix Facing Wonka Reality Show Backlash After Using AI to Recreate Gene Wilder’s Voice

    A new Wonka-themed reality competition series has used AI to recreate Gene Wilder’s voice. The Golden Ticket, a nine-part Netflix series premiering September 23, debuted its first trailer this week, unveiling an AI-generated Wilder narration that promises a “life-changing prize” for the show’s winner. Netflix partnered with AI audio company ElevenLabs for the project, according […]

    The post Netflix Facing Wonka Reality Show Backlash After Using AI to Recreate Gene Wilder’s Voice appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • The Odyssey Final Trailer Just Spells Out the Plot For Non-Classics Majors to Enjoy Too

    The Odyssey Final Trailer Just Spells Out the Plot For Non-Classics Majors to Enjoy Too

    Look, you’re going to see The Odyssey. Universal knows it, you and I know it, and Christopher Nolan knows it. Nolan’s first movie after the triumph of Oppenheimer? A big, old-school epic with gods and monsters and warriors and big ships? Up-and-coming movie stars like Zendaya and Tom Holland and Robert Pattinson, alongside established greats […]

    The post The Odyssey Final Trailer Just Spells Out the Plot For Non-Classics Majors to Enjoy Too appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • X-Men ’97 Finally Gives Jubilee the Gambit Treatment

    X-Men ’97 Finally Gives Jubilee the Gambit Treatment

    This article contains spoilers for X-Men ’97 season 2 episode 2. X-Men ’97 isn’t just concerned with adapting comic book stories from the ’90s or telling stories about the X-Men in 1997. The animated series also gives attention to characters who reached their peak in the 1990s, characters who embodied the edgy attitude that defined […]

    The post X-Men ’97 Finally Gives Jubilee the Gambit Treatment appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • PlayStation Is Abandoning Physical Media, to the Detriment of Consumers

    PlayStation Is Abandoning Physical Media, to the Detriment of Consumers

    Sony announced Wednesday that it will stop making discs for its PlayStation games beginning in 2028, in the name of “consumer preferences.” Instead of finding their releases in retailers, PlayStation fans will have to purchase games in the PlayStation store on their consoles. This announcement came right after Rockstar Games informed fans that GTA 6, […]

    The post PlayStation Is Abandoning Physical Media, to the Detriment of Consumers appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever

    Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story […]

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

    Writer Kelly Thompson and artist Mattia De Iulis, who gained recent success in DC’s Absolute Universe with Absolute Wonder Woman, are transitioning from stories inspired by twisted Greek mythology to a story from dark film mythology. Thompson and De Iulis will be taking their talents to a new adaptation of the Bride of Frankenstein story as a part of the Universal Monsters comic anthology series based on the Universal Monsters franchise.

    Universal Monsters: Bride of Frankenstein joins Skybound and Image Comics’ pantheon of adaptations centering on classic Hollywood movie monsters, including Dracula, The Mummy, and Frankenstein’s Monster himself, hitting comics shelves Oct. 28.

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    });

    The newest story focuses on the titular monster who first appeared in the 1935 film Bride of Frankenstein. Despite only being in the film for the final scene, the Bride has been a fixture in horror iconography for decades. and her feature film debut is considered to be one of the greatest horror films of all time and a pivotal moment in silver screen and Universal Pictures history. 

    Bride of Frankenstein is director James Whale’s crown jewel. It’s a sequel to Whale’s other film, simply titled Frankenstein, which adapted the first half of Mary Shelley’s foundational novel Frankenstein; or, The Modern Prometheus. Bride follows the second half of the novel, as Frankenstein’s Monster (Boris Karloff) demands that Henry Frankenstein (a renamed Victor Frankenstein played by Colin Clive) create a mate (Elsa Lanchester) for him. Its cinematography, performances, and story have all aged beautifully since its release nearly a century ago. The film was selected by the Library of Congress for preservation in the National Film Registry in 1998, cementing it as “culturally, historically, or aesthetically significant.”

    Whale, one of the most successful directors of the 1920s and ‘30s, also directed a slew of other Universal Pictures monster movies, including Frankenstein (1931) and The Invisible Man (1933), films which have been the source for the Skybound and Image Comics adaptations. He was known for his expressionist sensibilities, prioritizing extremely expressive performances and a visual style that rejected realism. Whale was also openly gay throughout his career, and many of his films have been revisited by scholars and fans alike with this in mind.

    Bride of Frankenstein is the most revisited in this way, and film scholars have been applying a gay viewing of the film routinely for decades. Its campiness, themes of procreation and religion, and intentional use of gendered and sexually ambiguous language surrounding certain characters have all spawned academia and new readings

    In the Absolute Universe, Diana was raised in Hell instead of her typical home of Themyscira, the mythological home of the Amazonians. Absolute Wonder Woman, similar to Bride of Frankenstein, is similarly defined by thematic complexities. Diana’s existence is a sin against the gods, and the tension of her existence pulls between her role as a violent warrior princess and her innate goodness.  

    Thompson and De Iulis’ experience on Absolute Wonder Woman make them the perfect pair for bringing a story with such a captivating history to the page. Early looks at their first issue hint at a take on the character that captures the same thematically complex energy of Whale’s masterpiece from a new perspective, in which we finally get to hear the Bride’s thoughts and feelings.

    Both Bride of Frankenstein and Absolute Wonder Woman share narrative depth and tap into a mythos of powerful stories that define their success, and the comic will almost certainly be a must-read.

    The post Absolute Wonder Woman Team Is Adapting One of the Best Genre Films Ever appeared first on Den of Geek.

  • Sustainable Web Design, An Excerpt

    Sustainable Web Design, An Excerpt

    In the 1950s, many in the elite running community had begun to believe it wasn’t possible to run a mile in less than four minutes. Runners had been attempting it since the late 19th century and were beginning to draw the conclusion that the human body simply wasn’t built for the task. 

    But on May 6, 1956, Roger Bannister took everyone by surprise. It was a cold, wet day in Oxford, England—conditions no one expected to lend themselves to record-setting—and yet Bannister did just that, running a mile in 3:59.4 and becoming the first person in the record books to run a mile in under four minutes. 

    This shift in the benchmark had profound effects; the world now knew that the four-minute mile was possible. Bannister’s record lasted only forty-six days, when it was snatched away by Australian runner John Landy. Then a year later, three runners all beat the four-minute barrier together in the same race. Since then, over 1,400 runners have officially run a mile in under four minutes; the current record is 3:43.13, held by Moroccan athlete Hicham El Guerrouj.

    We achieve far more when we believe that something is possible, and we will believe it’s possible only when we see someone else has already done it—and as with human running speed, so it is with what we believe are the hard limits for how a website needs to perform.

    Establishing standards for a sustainable web

    In most major industries, the key metrics of environmental performance are fairly well established, such as miles per gallon for cars or energy per square meter for homes. The tools and methods for calculating those metrics are standardized as well, which keeps everyone on the same page when doing environmental assessments. In the world of websites and apps, however, we aren’t held to any particular environmental standards, and only recently have gained the tools and methods we need to even make an environmental assessment.

    The primary goal in sustainable web design is to reduce carbon emissions. However, it’s almost impossible to actually measure the amount of CO2 produced by a web product. We can’t measure the fumes coming out of the exhaust pipes on our laptops. The emissions of our websites are far away, out of sight and out of mind, coming out of power stations burning coal and gas. We have no way to trace the electrons from a website or app back to the power station where the electricity is being generated and actually know the exact amount of greenhouse gas produced. So what do we do? 

    If we can’t measure the actual carbon emissions, then we need to find what we can measure. The primary factors that could be used as indicators of carbon emissions are:

    1. Data transfer 
    2. Carbon intensity of electricity

    Let’s take a look at how we can use these metrics to quantify the energy consumption, and in turn the carbon footprint, of the websites and web apps we create.

    Data transfer

    Most researchers use kilowatt-hours per gigabyte (kWh/GB) as a metric of energy efficiency when measuring the amount of data transferred over the internet when a website or application is used. This provides a great reference point for energy consumption and carbon emissions. As a rule of thumb, the more data transferred, the more energy used in the data center, telecoms networks, and end user devices.

    For web pages, data transfer for a single visit can be most easily estimated by measuring the page weight, meaning the transfer size of the page in kilobytes the first time someone visits the page. It’s fairly easy to measure using the developer tools in any modern web browser. Often your web hosting account will include statistics for the total data transfer of any web application (Fig 2.1).

    The nice thing about page weight as a metric is that it allows us to compare the efficiency of web pages on a level playing field without confusing the issue with constantly changing traffic volumes. 

    Reducing page weight requires a large scope. By early 2020, the median page weight was 1.97 MB for setups the HTTP Archive classifies as “desktop” and 1.77 MB for “mobile,” with desktop increasing 36 percent since January 2016 and mobile page weights nearly doubling in the same period (Fig 2.2). Roughly half of this data transfer is image files, making images the single biggest source of carbon emissions on the average website. 

    History clearly shows us that our web pages can be smaller, if only we set our minds to it. While most technologies become ever more energy efficient, including the underlying technology of the web such as data centers and transmission networks, websites themselves are a technology that becomes less efficient as time goes on.

    You might be familiar with the concept of performance budgeting as a way of focusing a project team on creating faster user experiences. For example, we might specify that the website must load in a maximum of one second on a broadband connection and three seconds on a 3G connection. Much like speed limits while driving, performance budgets are upper limits rather than vague suggestions, so the goal should always be to come in under budget.

    Designing for fast performance does often lead to reduced data transfer and emissions, but it isn’t always the case. Web performance is often more about the subjective perception of load times than it is about the true efficiency of the underlying system, whereas page weight and transfer size are more objective measures and more reliable benchmarks for sustainable web design. 

    We can set a page weight budget in reference to a benchmark of industry averages, using data from sources like HTTP Archive. We can also benchmark page weight against competitors or the old version of the website we’re replacing. For example, we might set a maximum page weight budget as equal to our most efficient competitor, or we could set the benchmark lower to guarantee we are best in class. 

    If we want to take it to the next level, then we could also start looking at the transfer size of our web pages for repeat visitors. Although page weight for the first time someone visits is the easiest thing to measure, and easy to compare on a like-for-like basis, we can learn even more if we start looking at transfer size in other scenarios too. For example, visitors who load the same page multiple times will likely have a high percentage of the files cached in their browser, meaning they don’t need to transfer all of the files on subsequent visits. Likewise, a visitor who navigates to new pages on the same website will likely not need to load the full page each time, as some global assets from areas like the header and footer may already be cached in their browser. Measuring transfer size at this next level of detail can help us learn even more about how we can optimize efficiency for users who regularly visit our pages, and enable us to set page weight budgets for additional scenarios beyond the first visit.

    Page weight budgets are easy to track throughout a design and development process. Although they don’t actually tell us carbon emission and energy consumption analytics directly, they give us a clear indication of efficiency relative to other websites. And as transfer size is an effective analog for energy consumption, we can actually use it to estimate energy consumption too.

    In summary, reduced data transfer translates to energy efficiency, a key factor to reducing carbon emissions of web products. The more efficient our products, the less electricity they use, and the less fossil fuels need to be burned to produce the electricity to power them. But as we’ll see next, since all web products demand some power, it’s important to consider the source of that electricity, too.

    Carbon intensity of electricity

    Regardless of energy efficiency, the level of pollution caused by digital products depends on the carbon intensity of the energy being used to power them. Carbon intensity is a term used to define the grams of CO2 produced for every kilowatt-hour of electricity (gCO2/kWh). This varies widely, with renewable energy sources and nuclear having an extremely low carbon intensity of less than 10 gCO2/kWh (even when factoring in their construction); whereas fossil fuels have very high carbon intensity of approximately 200–400 gCO2/kWh. 

    Most electricity comes from national or state grids, where energy from a variety of different sources is mixed together with varying levels of carbon intensity. The distributed nature of the internet means that a single user of a website or app might be using energy from multiple different grids simultaneously; a website user in Paris uses electricity from the French national grid to power their home internet and devices, but the website’s data center could be in Dallas, USA, pulling electricity from the Texas grid, while the telecoms networks use energy from everywhere between Dallas and Paris.

    We don’t have control over the full energy supply of web services, but we do have some control over where we host our projects. With a data center using a significant proportion of the energy of any website, locating the data center in an area with low carbon energy will tangibly reduce its carbon emissions. Danish startup Tomorrow reports and maps this user-contributed data, and a glance at their map shows how, for example, choosing a data center in France will have significantly lower carbon emissions than a data center in the Netherlands (Fig 2.3).

    That said, we don’t want to locate our servers too far away from our users; it takes energy to transmit data through the telecom’s networks, and the further the data travels, the more energy is consumed. Just like food miles, we can think of the distance from the data center to the website’s core user base as “megabyte miles”—and we want it to be as small as possible.

    Using the distance itself as a benchmark, we can use website analytics to identify the country, state, or even city where our core user group is located and measure the distance from that location to the data center used by our hosting company. This will be a somewhat fuzzy metric as we don’t know the precise center of mass of our users or the exact location of a data center, but we can at least get a rough idea. 

    For example, if a website is hosted in London but the primary user base is on the West Coast of the USA, then we could look up the distance from London to San Francisco, which is 5,300 miles. That’s a long way! We can see that hosting it somewhere in North America, ideally on the West Coast, would significantly reduce the distance and thus the energy used to transmit the data. In addition, locating our servers closer to our visitors helps reduce latency and delivers better user experience, so it’s a win-win.

    Converting it back to carbon emissions

    If we combine carbon intensity with a calculation for energy consumption, we can calculate the carbon emissions of our websites and apps. A tool my team created does this by measuring the data transfer over the wire when loading a web page, calculating the amount of electricity associated, and then converting that into a figure for CO2 (Fig 2.4). It also factors in whether or not the web hosting is powered by renewable energy.

    If you want to take it to the next level and tailor the data more accurately to the unique aspects of your project, the Energy and Emissions Worksheet accompanying this book shows you how.

    With the ability to calculate carbon emissions for our projects, we could actually take a page weight budget one step further and set carbon budgets as well. CO2 is not a metric commonly used in web projects; we’re more familiar with kilobytes and megabytes, and can fairly easily look at design options and files to assess how big they are. Translating that into carbon adds a layer of abstraction that isn’t as intuitive—but carbon budgets do focus our minds on the primary thing we’re trying to reduce, and support the core objective of sustainable web design: reducing carbon emissions.

    Browser Energy

    Data transfer might be the simplest and most complete analog for energy consumption in our digital projects, but by giving us one number to represent the energy used in the data center, the telecoms networks, and the end user’s devices, it can’t offer us insights into the efficiency in any specific part of the system.

    One part of the system we can look at in more detail is the energy used by end users’ devices. As front-end web technologies become more advanced, the computational load is increasingly moving from the data center to users’ devices, whether they be phones, tablets, laptops, desktops, or even smart TVs. Modern web browsers allow us to implement more complex styling and animation on the fly using CSS and JavaScript. Furthermore, JavaScript libraries such as Angular and React allow us to create applications where the “thinking” work is done partly or entirely in the browser. 

    All of these advances are exciting and open up new possibilities for what the web can do to serve society and create positive experiences. However, more computation in the user’s web browser means more energy used by their devices. This has implications not just environmentally, but also for user experience and inclusivity. Applications that put a heavy processing load on the user’s device can inadvertently exclude users with older, slower devices and cause batteries on phones and laptops to drain faster. Furthermore, if we build web applications that require the user to have up-to-date, powerful devices, people throw away old devices much more frequently. This isn’t just bad for the environment, but it puts a disproportionate financial burden on the poorest in society.

    In part because the tools are limited, and partly because there are so many different models of devices, it’s difficult to measure website energy consumption on end users’ devices. One tool we do currently have is the Energy Impact monitor inside the developer console of the Safari browser (Fig 2.5).

    You know when you load a website and your computer’s cooling fans start spinning so frantically you think it might actually take off? That’s essentially what this tool is measuring. 

    It shows us the percentage of CPU used and the duration of CPU usage when loading the web page, and uses these figures to generate an energy impact rating. It doesn’t give us precise data for the amount of electricity used in kilowatts, but the information it does provide can be used to benchmark how efficiently your websites use energy and set targets for improvement.

  • A Content Model Is Not a Design System

    A Content Model Is Not a Design System

    Do you remember when having a great website was enough? Now, people are getting answers from Siri, Google search snippets, and mobile apps, not just our websites. Forward-thinking organizations have adopted an omnichannel content strategy, whose mission is to reach audiences across multiple digital channels and platforms.

    But how do you set up a content management system (CMS) to reach your audience now and in the future? I learned the hard way that creating a content model—a definition of content types, attributes, and relationships that let people and systems understand content—with my more familiar design-system thinking would capsize my customer’s omnichannel content strategy. You can avoid that outcome by creating content models that are semantic and that also connect related content. 

    I recently had the opportunity to lead the CMS implementation for a Fortune 500 company. The client was excited by the benefits of an omnichannel content strategy, including content reuse, multichannel marketing, and robot delivery—designing content to be intelligible to bots, Google knowledge panels, snippets, and voice user interfaces. 

    A content model is a critical foundation for an omnichannel content strategy, and for our content to be understood by multiple systems, the model needed semantic types—types named according to their meaning instead of their presentation. Our goal was to let authors create content and reuse it wherever it was relevant. But as the project proceeded, I realized that supporting content reuse at the scale that my customer needed required the whole team to recognize a new pattern.

    Despite our best intentions, we kept drawing from what we were more familiar with: design systems. Unlike web-focused content strategies, an omnichannel content strategy can’t rely on WYSIWYG tools for design and layout. Our tendency to approach the content model with our familiar design-system thinking constantly led us to veer away from one of the primary purposes of a content model: delivering content to audiences on multiple marketing channels.

    Two essential principles for an effective content model

    We needed to help our designers, developers, and stakeholders understand that we were doing something very different from their prior web projects, where it was natural for everyone to think about content as visual building blocks fitting into layouts. The previous approach was not only more familiar but also more intuitive—at least at first—because it made the designs feel more tangible. We discovered two principles that helped the team understand how a content model differs from the design systems that we were used to:

    1. Content models must define semantics instead of layout.
    2. And content models should connect content that belongs together.

    Semantic content models

    A semantic content model uses type and attribute names that reflect the meaning of the content, not how it will be displayed. For example, in a nonsemantic model, teams might create types like teasers, media blocks, and cards. Although these types might make it easy to lay out content, they don’t help delivery channels understand the content’s meaning, which in turn would have opened the door to the content being presented in each marketing channel. In contrast, a semantic content model uses type names like product, service, and testimonial so that each delivery channel can understand the content and use it as it sees fit. 

    When you’re creating a semantic content model, a great place to start is to look over the types and properties defined by Schema.org, a community-driven resource for type definitions that are intelligible to platforms like Google search.

    A semantic content model has several benefits:

    • Even if your team doesn’t care about omnichannel content, a semantic content model decouples content from its presentation so that teams can evolve the website’s design without needing to refactor its content. In this way, content can withstand disruptive website redesigns. 
    • A semantic content model also provides a competitive edge. By adding structured data based on Schema.org’s types and properties, a website can provide hints to help Google understand the content, display it in search snippets or knowledge panels, and use it to answer voice-interface user questions. Potential visitors could discover your content without ever setting foot in your website.
    • Beyond those practical benefits, you’ll also need a semantic content model if you want to deliver omnichannel content. To use the same content in multiple marketing channels, delivery channels need to be able to understand it. For example, if your content model were to provide a list of questions and answers, it could easily be rendered on a frequently asked questions (FAQ) page, but it could also be used in a voice interface or by a bot that answers common questions.

    For example, using a semantic content model for articles, events, people, and locations lets A List Apart provide cleanly structured data for search engines so that users can read the content on the website, in Google knowledge panels, and even with hypothetical voice interfaces in the future.

    Content models that connect

    After struggling to describe what makes a good content model, I’ve come to realize that the best models are those that are semantic and that also connect related content components (such as a FAQ item’s question and answer pair), instead of slicing up related content across disparate content components. A good content model connects content that should remain together so that multiple delivery channels can use it without needing to first put those pieces back together.

    Think about writing an article or essay. An article’s meaning and usefulness depends upon its parts being kept together. Would one of the headings or paragraphs be meaningful on their own without the context of the full article? On our project, our familiar design-system thinking often led us to want to create content models that would slice content into disparate chunks to fit the web-centric layout. This had a similar impact to an article that were to have been separated from its headline. Because we were slicing content into standalone pieces based on layout, content that belonged together became difficult to manage and nearly impossible for multiple delivery channels to understand.

    To illustrate, let’s look at how connecting related content applies in a real-world scenario. The design team for our customer presented a complex layout for a software product page that included multiple tabs and sections. Our instincts were to follow suit with the content model. Shouldn’t we make it as easy and as flexible as possible to add any number of tabs in the future?

    Because our design-system instincts were so familiar, it felt like we had needed a content type called “tab section” so that multiple tab sections could be added to a page. Each tab section would display various types of content. One tab might provide the software’s overview or its specifications. Another tab might provide a list of resources. 

    Our inclination to break down the content model into “tab section” pieces would have led to an unnecessarily complex model and a cumbersome editing experience, and it would have also created content that couldn’t have been understood by additional delivery channels. For example, how would another system have been able to tell which “tab section” referred to a product’s specifications or its resource list—would that other system have to have resorted to counting tab sections and content blocks? This would have prevented the tabs from ever being reordered, and it would have required adding logic in every other delivery channel to interpret the design system’s layout. Furthermore, if the customer were to have no longer wanted to display this content in a tab layout, it would have been tedious to migrate to a new content model to reflect the new page redesign.

    We had a breakthrough when we discovered that our customer had a specific purpose in mind for each tab: it would reveal specific information such as the software product’s overview, specifications, related resources, and pricing. Once implementation began, our inclination to focus on what’s visual and familiar had obscured the intent of the designs. With a little digging, it didn’t take long to realize that the concept of tabs wasn’t relevant to the content model. The meaning of the content that they were planning to display in the tabs was what mattered.

    In fact, the customer could have decided to display this content in a different way—without tabs—somewhere else. This realization prompted us to define content types for the software product based on the meaningful attributes that the customer had wanted to render on the web. There were obvious semantic attributes like name and description as well as rich attributes like screenshots, software requirements, and feature lists. The software’s product information stayed together because it wasn’t sliced across separate components like “tab sections” that were derived from the content’s presentation. Any delivery channel—including future ones—could understand and present this content.

    Conclusion

    In this omnichannel marketing project, we discovered that the best way to keep our content model on track was to ensure that it was semantic (with type and attribute names that reflected the meaning of the content) and that it kept content together that belonged together (instead of fragmenting it). These two concepts curtailed our temptation to shape the content model based on the design. So if you’re working on a content model to support an omnichannel content strategy—or even if you just want to make sure that Google and other interfaces understand your content—remember:

    • A design system isn’t a content model. Team members may be tempted to conflate them and to make your content model mirror your design system, so you should protect the semantic value and contextual structure of the content strategy during the entire implementation process. This will let every delivery channel consume the content without needing a magic decoder ring.
    • If your team is struggling to make this transition, you can still reap some of the benefits by using Schema.org–based structured data in your website. Even if additional delivery channels aren’t on the immediate horizon, the benefit to search engine optimization is a compelling reason on its own.
    • Additionally, remind the team that decoupling the content model from the design will let them update the designs more easily because they won’t be held back by the cost of content migrations. They’ll be able to create new designs without the obstacle of compatibility between the design and the content, and ​they’ll be ready for the next big thing. 

    By rigorously advocating for these principles, you’ll help your team treat content the way that it deserves—as the most critical asset in your user experience and the best way to connect with your audience.