Archive for the “reviews” Category
Posted by Dorian in reviews
This is always one of the highlights for me, as there usually is very little as creative and entertaining, with as good a mix of older and new material, as what 2000AD puts together. This year is no exception, and this is easily one of the better offerings this year.
Well, the art’s nice. I’ll chalk this up to very much Not For Me and leave it at that.
I always forget that this franchise has a silly, sci-fi conspiracy story as a framing device. I can’t see this appealing to anyone outside of existing fans of the franchise, as pretty much nothing happens in the two short stories here other than people talking about things that will only make sense if you’re a fan of the franchise.
Attack on Titan Anthology
Previews of various works inspired by the manga and anime series that I absolutely fail to see the appeal of. Some of this is quite nicely done, but it’s Not For Me.
If you asked someone to describe a parody of a Grant Morrison comic, you might get something close to this.
That it’s actually written by Morrison is either brilliant or depressing.
Action Lab does some nice kid’s books, and this is a promising start to a sci-fi series with some interesting characters.
I still don’t get the appeal of the show, but this is pretty good, occassionally inventive all-ages fare.
Bongo Comics Free-For-All
Excellent cartooning, but every time I look at a Simpsons comic I’m struck by how much less verve they have then even the “shadow of its former self” TV version has.
Boom! 2016 Summer Blast
A really excellent collection of nicely illustrated and genuinely entertaining all ages comics.
Bruce Lee: The Dragon Rises
While this is well done, the “Bruce Lee unfrozen in modern times” conceit is just a little too ghoulish. It leaves me wondering who exactly is the market for something like this.
Visually arresting, unfortunately to the point of unreadability at times. But if you can make out the action, it’s a cute kids books about a summer camp for monsters and the one human girl who goes there.
A really well illustrated story about Captain America punching some Nazis. Which, really, is all anyone could really want.
Also, some back-up nonsense about Spider-Man, but you can skip that.
Civil War II
The worst thing Marvel intentionally published gets a sequel. It’s Bendis and Cheung, so the competence is there, and of course if you have any intention of following Marvel’s latest semi-annual mega event that changes everything forever for six months, you’ll need to read this.
As super-hero fare goes, it’s inoffensive, but absolutely not for me.
A completely random sampler of what I’m presuming are comics published by Z2 comics. This is the sort of sampler I intensely dislike, because it leads with a bright kid-friendly appearing comic of the aggressive whimsey variety, and then gets progressively darker and more violent, meaning it’s really not appropriate for anyone.
Dark Lily & Friends
A strange little assortment of general ages books, mostly in a kid-friendly horror/magic tone. It all falls squarely in those realms of being neither dull, nor offensive, nor particularly compelling either.
DC SuperHero Girls
Well, if the completely and totally decimated shelves carrying this merch in Target is anything to go by, this will probably be in short supply. It’s quality is fairly typical of DC all-ages material, but the cliff-hanger ending leading into an ad for a graphic novel that isn’t out yet is pretty disappointing.
A good assortment of kid’s comic’s stories, most loosely themed around the concepts of free speech, that does a good job of explaining it to younder readers.
Scholastic’s graphic novel line puts out some remarkably good books on a regular basis, that mostly get overlooked, it seems, by the online comics community because, well, there’s not much to gripe about with them. The story here isn’t the most original, but it’s well done and the art is very nice, so this could be worth looking out for.
Brief, fun enough, stories, but, and bear in mind your source in this, I think I’m full up of just about all I need of anything related to post-relaunch Doctor Who.
Grumpy Cat (And Pokey!)
While this isn’t as shameless a Garfield rip-off as I suspected it would be. If you have kids who like dumb jokes and cute animals, maybe they’d like it. It’s really not for anyone else.
Howard Lovecraft and the Frozen Kingdom
H.P. Lovecraft has infiltrated pop culture consciousness to the point where he’s now fodder for an exploitatively cute kid’s comic.
Take that as an condemnation or an endorsement as you will.
The 90s are back! In steampunk form!
Legend of Korra
Some nicely illustrated and written stories tying into children’s media franchises I really am not interested in.
Love and Rockets
At this point if you don’t know that this is going to be the best book in stores for Free Comic Book Day, well, I don’t know what to tell you.
Beautifully illustrated and absolutely essential sampler of John Lewis’s autobiographical comics about the height of the civil rights era activism.
Mix Tape 2016
A sampler of titles published under the resurrected Devil’s Due label? Remember them ? I do, but I’ve cared far too much about comics for far too long.
Anyway, this is a mixed bag. I liked Squarriors, a nicely illustrated tale in the genre of ultra-violent small rodent warriors, the most. And only one story made me slightly embarrassed for the comics industry as a whole.
Starkly beautiful, engaging, and funny comic work by Tom Gauld, otherwise known as “that guy whose cartoons you see without attribution on Tumblr all the time who isn’t Kate Beaton.”
Really charming, and lushly illustrated, story of a half-witch girl dealing with school, family, and the usual all-ages fantasy fodder.
Well…they tell me it’s good, but I’m not persuaded. Granted, my tastes in boy’s manga runs more to the likes of Assassination Classroom than “we must fight to be better fighters so that we can win the next fight” stories, so I’m not the auidence here anyway.
Overstreet’s Comic Book Marketplace
And, once again, nothing misses the mark for what this day is supposed to be about more than Overstreet’s offering. Rather than put something out that celebrates comics as an art form, or a form of entertainment, they once again treat comics as an investment, as a damned collectable. And now, joy of joys, they’re even applying that mindset to cosplay. It’s gross.
The Phantom is one of those properties that I might be interested in some good, quality reprints of, especially given some of the artists that have worked on it over the years. But the quality of the material that Hermes Press puts out is just ugly, with muddy colors and poor reproduction. It literally hurts my eyes to try and read this.
These are just absolutely peculiar Pokemon gag cartoons. I mean, I suspect the translations are a bit…generous, but it’s just silliness.
Literally no one wants this.
Sanjay and Craig
I am…not a fan of this kind of humor in kid’s cartoons.
Hey, fun, well drawn, actually educational science comics for kids. And actual science, not the “fuck yeah, science!” type of “science.”
With all the really great stuff Dark Horse has put out in the last year, they lead with the thing that suggests they’re feeling the pinch from losing the Star Wars license.
Anyway, there’s a Hellboy story illustrated by Richard Corben in here that’s worth looking at.
Sonic comics: Yes, they still exist.
Very nicely illustrated book that largely consists of a collection of sci-fi cliches.
Spongebob Freestyle Funnies
The usual eclectic mix of rather corny comics, saved by really good cartooning.
Hey, it’s the revival of the toyetic 80s media property that hasn’t been ruined by horrible nerds because of an ironic joke taken too far!
Anyway, this is cute fun, and a really good example of how to make an appealing kid’s comic out of a licensed property based on horrible puns.
Street Fighter V
Udon’s books always look pretty.
I never have any idea what’s going on in them, but they look pretty.
Stuff of Legend
It’s beautiful, of course, and it’s nice to see the original story again. If you haven’t gotten it before, this is as good a time as any.
A reprint of the not terribly impressive first “New 52” relaunch, done in the name of corporate synergy.
Some entertaing and peculiar Tick comics. As usual, this is one of the better books offered for Free Comic Book Day, and consistently has been.
Lots of people whose opinions I trust keep talking up the current Valiant books to me, and honestly? There’s a lot of good looking, promising stuff here. But I am not getting into yet another super-hero universe. I’m not sure anyone, anywhere, needs another super-hero univer, to be blunt.
But if you have to, these look pretty good.
We Can Never Go Home/Young Terrorists
Two really strong, surprisingly effective stories here. They verge into the “grim and gritty” territory that, yes, we all say we’re tired of, yet continue to buy. But the samples here have strong, unique voices that make them something really quite impressive and worth seeking out.
Worlds of Aspen 2016
Aspen Comics: still exist
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The stupidest cliche in horror is “humans are the real monsters.” Because, while humans can be venal, selfish, and cruel, the point of comparison here is actual fucking monsters, and as terrible as humans as a whole can be, they’re not brain-sucking ghouls. But we seem to like this idea, judging by how often it comes up, probably because we’re so narcissistic and self-loathing we can’t really imagine anything worse than ourselves. However, if we stretch our genre boundaries a little, and completely remove supernatural hoo-har from the picture, the idea does take on some added power.
We meet Lou Bloom as he’s stealing a chain-link fence to sell as scrap-metal, beating up a security guard and taking his watch in the process. After failing to get a good deal, and being turned down for a job on the reasonable grounds that even a man who buys stolen goods isn’t going to hire a thief, Lou stumbles upon a car crash, accompanied by multiple police cars, and a freelance “news camera crew” run by Joe Loder, and a new career path presents itself to Lou. Selling some more stolen goods nets Lou a small camcorder and a police scanner, and his utterly callous indifference to human suffering gets him some excellent close-up shots of a carjacking victim, footage he sells to “vampire shift” tv news producer Nina Romina. With a little cash, Lou is able to “hire” an intern, Rick, and steadily improve his equipment by going for footage with greater and greater shock value, even going so far as to break into crime scenes and “restage” accidents for more dramatic impact. And when Lou experiences a setback, such as Joe Loder’s crew beating him to a plane crash, some creative tampering with Lou’s van gets him some prime footage of Joe’s own death. Things begin to spiral when Lou comes upon an active crime scene, an apparent home invasion in a wealthy neighborhood. He breaks into the home, and cuts out the footage of the perpetrators before selling it. He uses the footage to track them down and arrange for the police to arrest them in a public place, leading to a shoot out and the deaths of several people, including Rick, who had been asking for more money after realizing what Lou was up to. And, in the end, Lou gets his happy ending, becoming a successful and respected entrepreneur.
Lou is a singularly monstrous figure. There’s no comforting distancing in the film, we as the audience are up close and personal with a sociopath the entire time. There are no attempts made to soften Lou or make him sympathetic. He is essentially a parasite, living and profiting off human pain and misery, and smiling at you as he beats you for a cheap watch. But, as monstrous as Lou is, he exists within a system that is designed to create people like him. Everyone Lou encounters, save possibly Rick, is somehow living off others, from the metal shop owner who knowingly buys stolen goods, to Joe who inspires him, to Nina whose livelihood depends on exploiting the public’s appetite for pain and violence, no one is morally clean. Lou is just better at it than everyone else, probably because, as he admits, he just simply doesn’t like or care about other people at all. It’s hard to fairly evaluate the truthfulness of that statement, because everything that comes out of Lou’s mouth is a rapid string of pattering bullshit (the casualness with which Lou tosses off Malcolm Gladwell-esque aphorisms is his most unsettling verbal tic), but it’s probably the closest time he comes to saying what he’s actually thinking. It’s also the moment when he very clearly decides that it’s time for Rick to die in the line of duty.
Lou is monstrous because he’s recognizable, and he’s the product of a very human system. So, yes, humans can be the real monsters, but only when we bear in mind that, after all, it’s only us out here.
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I’ve talked about the weird overlap between horror and comedy before, and how the two genres often work together. But usually when they work best, it’s when one or the other is at the forefront; either a comedic film with horror elements, or a horror film with comedic elements. What’s relatively rarer, and somewhat surprisingly so, is the full black comedy in horror, much less a tragic comedy in horror. It’s probably a harder trick to pull off because it’s especially unsettling when it does happen.
The Voices focuses on Jerry, a pleasant but somewhat shy factory worker in a rather dilapidated post-industrial town. It’s clear early on that Jerry is somewhat…off, in comparison to his co-workers, and part of his employment seems to be supervised by a court appointed psycho-therapist. During planning for a company picnic, Jerry develops a crush on a coworker, Fiona (and remains completely oblivious to the crush coworker Lisa has on him in turn). At home, Jerry lives in a modest apartment over a bowling alley with his dog Bosco and cat Mr. Whiskers. Who talk to him. Bosco is warm and supportive, while Mr. Whiskers is cynical, and both attempt to guide Jerry through his crush on Fiona, who, frankly, is rather creeped out by him. Tragically, while giving Fiona a ride home from work one night, Jerry hits a deer. When Fiona sees Jerry kill the deer (to put it out of it’s misery, as he “heard” it ask him), she runs into the night, and is badly injured by Jerry on accident. And so he puts Fiona out of her misery as well. At home, Bosco and Mr. Whiskers argue over what Jerry should do next, with Bosco advocating going to the police, and Mr. Whiskers urging Jerry to become a serial killer, and Fiona’s severed head chiming in as well. A relationship with Lisa offers Jerry some hope, but that too ends tragically, setting off a chain reaction which eventually leads to the discovery of what Jerry has done. In the end, cornered by the police and trapped in a burning building, Jerry decides to lay down and allow himself to die, as it’s the only way he feels he can be trusted not to hurt anyone else.
Jerry is an intensely sympathetic figure, so when his mistakes turn violent, you feel the horror of it. He’s a bright, friendly man, who sees the world in a fundamentally good way, and there’s a grim, inescapable tragedy to everything that happens that follows from that. Jerry wants to do good, and is trying to do good, but is in a place where he doesn’t understand enough of the context of what is happening to see the wrongness of his actions. In a brilliant and subtle use of visuals, when we see the world through Jerry’s eyes, it’s bright and shining and colorful. When Jerry isn’t around, everything is dull and grey. Even his apartment, which to Jerry is clean and charmingly kitschy, is full of stacks of rotting garbage when we see it via another character. And so, when Jerry kills, we can see the logic of what he thinks he’s doing, even as we understand what’s really happening. It’s tricky to pull off this kind of unreliable viewpoint character in film, but director Marjane Satrapi manages it, both with the visuals and the casting. Everyone in the film is charming, but having an affable “everyman” actor like Ryan Reynolds in the lead helps as well.
It’s also important to note that the film entirely avoids the temptation to make Bosco and Mr. Whiskers anything other than pets that Jerry is externalizing his good and bad urges onto. The film does not shy away from the fact that Jerry is very sick and actively avoiding taking the medicine that he knows he needs to take. Those visual cues are important here, because the abrupt visual shift when Jerry does take his meds again are what drive home that the brightness and optimism we’ve associated with Jerry are actually symptoms of his disease. By the time Jerry is able to accept the full consequences of what he’s done, things are so far gone he doesn’t see any options other than death. Given what we eventually learn over the course of the film about Jerry’s childhood, his mother’s own illness and his father’s abuse, there is a bit of an overplaying of the “tragic inevitability” angle here, which is a little upsetting when dealing with a character who is, essentially, ill. But even so, the film finds a way to end on a upbeat note, bringing Jerry’s optimism full circle in at least a small way.
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One of the more intriguing aspects of horror is the cathartic effect. On many levels, it’s just the pleasant feeling of stress and relief that comes with a good scare. But, given how frequently horror gets into metaphor as story, more interesting modes of catharsis sometimes come along.
The Babadook focuses on Amelia, a single-mother raising a troubled boy, Samuel. Samuel acts out and is clingy and his dependence on Amelia repulses her, probably not least because she became a mother and a widow at the same time, her husband dying in a car crash on their way to the hospital. It’s clear that she has had little to no support in raising Samuel (her sister is clearly resentful of Amelia’s needs) and the constant reminders from those who knew him that Sam is “just like his father” doesn’t help much either. One night, a strange pop-up book that Amelia has no memory of appears in Sam’s room, and the boy insists on hearing the story of Mister Babadook, a strange figure that comes into your life and can never leave, whose presence and actions will make you “wish you were dead.” Amelia’s attempts to destroy the book only results in its continued reappearance, and her fear that someone is stalking her and her son soon changes into a very real concern that they are being menaced by something unnatural. The situation comes to a head when Amelia, desperate for some sleep and relief, exhausted and drugged, becomes possessed by the Babadook and attempts to kill Samuel. Samuel eventually manages to exorcise her, and in a final confrontation with the force Amelia, while not defeating it, comes to a place of understanding with the creature.
Amelia exists in a world of greys and blacks, her depression and exhaustion reflected in her physical surroundings, her home almost hallucinatory in its bleakness. The entire visual design of the film is amazing, with the contrast between interior and exterior worlds reflecting the minds of Amelia and Sam and their complicated relationship. The Bababadook fits perfectly in this world, never fully seen but glimpsed in flashes, and somehow even more unreal the more his physical presence becomes inarguable. Again, this is a film where the scares are slight, but the palpable dread is inescapable because of the care with which it has been made.
The Babadook itself is a brilliantly realized horror creation, as well. While supernatural creatures only having power if you believe in them is a groan-worthy cliche at this point, the Babadook upends that, becoming more powerful the more you doubt his existence. Within the symbolic logic of the film, this works, because the Babadook is in some way all of Amelia’s darker thoughts made manifest, her grief and depression and anger at Samuel made manifest. Though, interestingly, there’s no real indication that it is Amelia who has created or summoned the Babadook, but Samuel. It’s Samuel who first has the book, and the Babadook bears more than a passing resemblance to Sam’s favorite magician on a video he watches over and over, somehow cobbled together from his father’s hat and coat, and even at multiple points appearing as Sam’s father. Because while Amelia is dealing with her own feelings, Sam is equally angry at his mother, blaming her for his father’s death and keeping his father’s things from him.
It’s particularly fitting that, given the metaphoric nature of the Babadook itself, that there is no real way to defeat him. We’re told this, of course, right at the start, that “you can’t get rid of the Babadook.” Amelia can only achieve a kind of defeat over him, driving him back and diminishing him, but not eliminating him from their lives. Just as neither she nor Sam can ever truly escape their grief, by confronting the Babadook they can confront it. And by confronting it, they can reduce it so that, while it will always be there, it’s now simply part of their lives. Something they live with and take responsibility for and watch as, slowly, it diminishes more and more.
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As fun as a straight-forward monster movie can be, with clear delineations between good and evil, sometimes something more meaty is called for. I’m not talking about the almost cynical nihilism that you see more often than I’d like in horror films; I’m thinking more of the quiet, introspective dread that you see from time to time, especially in the more supernatural films. Horror that disquiets at least in part because it is taking base human needs and emotions and exposing the potential monstrousness that’s there.
It Follows opens with an anonymous girl fleeing her home, attracting the concern of her neighbors, before racing away to the beach in her car, making one last phone call to her parents, and then being found the next day brutally murdered. It then cuts to Jay, a young woman preparing for a date with Hugh, her new boyfriend, while her sister, a friend, and the “nice boy next door” Paul all hang out in her living room. On their date, Hugh seems somewhat melancholy, and cuts the date short when he thinks he sees a woman entering the movie theater behind them, but Jay agrees to see him again anyway. On their next date, after having sex in his car near an abandoned factory, Hugh choloroforms Jay, straps her to a wheelchair, and explains to her that he has passed on a curse to her. An entity will start following her, moving at a slow walking pace, and will kill her if it catches her unless she passes the curse along to them. Only people with the curse will be able to see this Follower, and it will start to move back up the line of previous targets if it kills the current one. When a strange, naked woman starts walking towards the two of them, Hugh takes Jay home. The nature of her delivery, and the fact that Hugh lied about his name and where he lives leads everyone to presume Hugh raped her, but in a few days, Jay starts seeing strange figures following her that no one else seems to be aware of. Her friends, somewhat skeptical, agree to keep her safe, but no matter how far they flee or how many people Jay attempts to pass the curse on to, it keeps coming back to her. Eventually she and her friends attempt to trap and kill it at a pool, and while it’s possible they succeeded, the film ends without a definitive answer.
A lot has been written about the symbolism and metaphor in It Follows, much of it focusing on what some see as an essentially conservative, anti-sex message in line with the sort of “if you have sex you’ll die” morality of 80s slasher films. I don’t really accept that, especially as I can’t help but see that as a gross misinterpretation of what was actually going on in those 80s slasher films, but also because it doesn’t really fit at all with what’s going on in this film. Jay, as we learn, isn’t a virgin, so it’s not as if she’s being punished for having sex, full-stop. Yes, the curse is acquired through sex, but it’s also lifted, at least temporarily, through sex. Sex is a primal human drive, but it’s also a very adult drive, and is often seen as the unofficial rite of passage into adulthood. And adulthood means responsibilities, but it also means mortality. The Follower isn’t so much coming to get you because you were a bad little girl or boy and have to be punished, it’s coming for you because everyone, eventually, dies. And this is just the nature of your death.
Or, you know, not. It Follows is deliberately elusive, and layers in metaphor and subtext to the point where a number of possible meanings present themselves and can be convincingly argued. The repeated connections to water, reflections, point-of-view shots, white-clothing, watching others; there’s quite a few ways a careful viewer can dig into the film, and unlike most times a film-maker does this, the freedom granted to the viewer to interpret feels like a specific choice the film-makers made, to give viewers room while still telling their story.
Given this elusiveness, the bare nature of the Follower works well. One of the things that aggravates me with supernatural horror films, is when a creature is given specific weaknesses and rules it must follow, which are then disregarded in favor of a cheap jump scare or one of those cynically nihilistic endings I mentioned earlier. The audience barely knows anything about the creature because the characters barely know anything about it, and what they do know is pieced together and hearsay. And because of that, since we don’t really know what this thing is or how it works, the question of origin or motivation are moot. Even one of the central mysteries, why it changes its appearance, to what end, and why it chooses who it chooses, are only the subject of conjecture by the characters. It’s nice to see a horror film embrace the alien and unknowable, and the dread those bring, rather than make something blandly quotidian by over-explanation.
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