Alias: Alexander Marsh Freed. NY Times bestselling author of video games, novels, and comics. FoxNext, BioWare, Del Rey, Dark Horse, etc. Pleasantly eccentric.

Austin, TX
Joined July 2012
A reminder that this account is largely defunct. For more frequent updates find me at The Other Place.
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Before the Rebellion, the Empire reigns. Told through the eyes of #MonMothma, #BailOrgana, and #SawGerrera, the Reign of the Empire Trilogy begins February 25 with THE MASK OF FEAR by @AlexanderMFreed. Learn more: bit.ly/4030qLe
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Things I've been posting about at the Other Place: Special editions of Mask of Fear, new Black Company novels, Arthuriana, Adam Warlock.
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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!
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Signing TODAY at Dragon's Lair Comics & Fantasy in Austin, TX, from 11:30 - 1:30. Drop by and pet the store cats, if they're not feeling shy!
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Repost from another place.
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Repost from another place.
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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…
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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…
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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!
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Your move, Marvel. (Yes, I should be doing something more productive. Anything, really.)
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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.
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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.
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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.
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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.
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