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TV Review: Riverdale S1E2 Chapter Two: A Touch of Evil

riverdaleArchie pleads with Ms Grundy to come forward with what they heard; Cheryl deals with the pressure of Jason’s death; Jughead stumbles upon Archie’s secret.

The second of Riverdale builds on the first quite well upping the teen drama as the death of Jason swirls around. With the main introductions and set up out of the way, the second episode does a good job of balancing so many characters and none feel like they’ve been neglected at all. And I think that’s partially what impresses me the most of this second episode. There’s so much going on with so many characters and it all naturally flows. Directed by Lee Toland Krieger, it’s really impressive and stands out. Instead of segments brought together in an episode everything just naturally leads to the next thing.

The episode itself still has a so much going for it. There’s a lot of set up of teenage drama as things circle around the murder mystery. The perspective of the show still comes from Jughead’s perspective in a way and that take is interesting in that while so much revolves around Archie, the show really doesn’t. The drama is high as fights break out and the depravity ratchets up. I don’t even know where to begin. From Kevin Keller’s comments to Betty and Veronica jockeying against one another, Moose, Reggie, it’s all here in an hour that’s fun in a really twisted way.

While the acting isn’t going to win awards, but it’s all at a touch above soap opera level, something I’d expect from a network drama show. But, what really makes it stand out is each actor really has their character down and play off each other’s personalities. The show has clearly learned a lot from what’s come before, not just in Archie’s history, but also all of those teenage movies and shows that paved its way.

The end of the episode is a bit of a shocker as we possibly find out who killed Jason. A quick twist that’s beyond fascinating creating an even greater mystery for the show. Where you think things are going to play out, clearly that’s not the case setting the series up as one that’s really going to keep you on your toes.

Riverdale is absolutely my new guilt pleasure of the tv season.

Overall Rating: 8.35

TV Review: Powerless S1E1 Wayne or Lose

powerlessbigIn the first episode of Powerless Emily begins her first day, and quickly learns that her expectations far exceed those of her new boss, Van Wayne, and her co-workers.

The concept of Powerless was something that had me excited when I first heard it announced. The concept of regular folks having to deal with the destruction of superhero battles sounded fun, plus it being a comedy had me intrigued. The cast of Vanessa Hudgens, Alan Tudyk, Danny Pudi, and Ron Funches had me really excited. And then I watched its debut episode.

The concept of the series has changed a bit since it was first announced. The new concept involves creating products for people to deal with the superhero world around them, which is fine, but writing that thinks that just dropping a superhero name is a passable script and acting that feels more at home on stage than the screen is a combination for a first episode that longs for the villain highlighted to snuff everyone out.

Lets start with the writing. You know this is a comic related show… because everyone name drops a character every segment there is. Superman, the Joker, whomever, it gets annoying to the point it feels like someone is attempting to remind you of it over and over. Unlike a comedy set in the world of DC Comics, this feels like DC Comics was first and the comedy is second. We even get a wink at the end that maybe they’ll get the meet someone comic fans will know! Seriously, there’s a wink.

The next issue is, it’s a comedy that’s just not funny. I laughed once during the half hour. The humor amounts to a villain warning the city to feel his balls… of fire. It’s top notch humor. Award winning stuff. Really breakthrough.

The acting is a massive issue. Hudgens is the lead and her style feels like it belongs on the stage. Everything is over the top for emoting and made for a view from the distance, not a small screen. Everyone else isn’t quite as over the top, but with her being the center it’s just not good. Everyone doesn’t feel natural but exaggerated. The choice is bizarre.

I don’t even want to get into the special fx…

After watching this first episode, I now know why NBC didn’t respond to my requests for a review copy to check out ahead of time. I thought I saw one of the worst comic tv adaptations in Marvel’s Powers, but Powerless tops it and then some in dreadful writing, special fx, and acting. This might be one of the worst television shows I’ve watched in years.

Overall Rating: 3.5

Comixstravaganza is Now Tales From The Flip-Side!

roll-n-go-logoFor two years, Comixstravaganza, in partnership with GraphicPolicy.com has brought you weekly live stream comic news, reviews, and pop culture views. However, all good things must come to an end. Kind of. Beginning in Feb 2017, Comixstravaganza will become Tales From The Flip-Side Too and will again star “Big Daddy CoolJohn Pyka in a series of three weekly live stream programs!

In the announcement, Pyka said:

This is an opportunity to rebrand our programming and tie more directly into the existing “Big Daddy Cool” brand equity. With the release of the book series Tales From The Flip-Side we realized that we were missing a perfect branding opportunity” added Pyka, “and after a long hiatus we decided to start fresh as part of the BDC Entertainment Rebirth project.

Things kick off February 6th at 9 PM EST/8 PM CST with Tales From The Flip-Side: The Roll ‘n Go Game Review Show sponsored by Go! Games and Calendars retail outlets!

Pyka will launch the new Tales From The Flip-Side video and podcast series that will include several “micro shows” that showcase the “flip-side” of the retro culturalist.

In addition to the Roll ‘n Go show, Tales From The Flip-Side will also absorb Comixstravaganza as a weekly micro show,  as well as the return of the Dee & Johnny Super Show in March.

Fans may recall that Pyka took an extended hiatus to recover from an injury that severely impacted his ability to appear on stage or on screen. With that challenge behind, there is a new energy and commitment to provide the best quality programming possible. The new series of Tales From The Flip-Side shows will include live performances at comic cons and theaters, and weekly taped and live shows distributed across multiple platforms. Weekly live stream shows will be streamed live via our partner at GraphicPolicy.com, with additional taped programs distributed via YouTube and Vimeo. With the change come a renewed commitment to live stream more live shows and events, including BDC’s pledge to “leave no fan behind” and stream live from conventions and festivals when possible. Each live steam show will also be followed by a Facebook live video to allow audience interaction and follow-up. Additionally, Pyka will launch a supporting Tales From The Flip-Side Too podcast that will allow he and the team to connect with those fans who consumer pop culture programming via podcasts. The intended goal is to create a unified programming brand that crosses platforms and genres.

In anticipation of the new direction, John is currently seeking additional co-hosts and guests to appear, joining long time co-host Dee Bartee, who will also return. Anyone interested in becoming a co-host or being a special guest can contact John Pyka at johnpyka@johnpykaproductions.com.

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Euro Thursday Review: Whispers in the Walls

whispers2016_8361_zoomedCzechoslovakia, 1949. What Evil lurks within the walls of an ancient children’s infirmary? After the brutal murder of her parents, Sarah, a young orphan, is about to discover that and much more. From long-buried secrets to imminent battles, the fate of man, and monster, lie with young Sarah. A gothic tale of horror from David Muñoz (co-writer of Guillermo Del Toro’s The Devil’s Backbone film) and artist Tirso.

Whispers in the Walls is an interesting graphic novel in that while the story has very European roots (which will be discussed below), the art style has more in common with manga.

Written by David Muñoz, Whispers in the Walls is an entertaining read filled with double crosses and action, lots of action. It feels familiar, as the comic shares lots of familiar elements with other entertainment, most notably Underworld, but there’s enough there to make it stand out.

What’s interesting to me is the setting in 1949 and Czechoslovakia. With the specter of post-World War II on my mind when reading this I couldn’t help but think of some of the allegorical aspects to the story. On one side we have Nazis, on the other is Communists, and there’s the innocents caught in between. There’s an interesting aspect that had me trying to think which group represented what as I read this graphic novel and that upped by enjoyment factor in many ways. What could have just been a simple story about vampires, werewolves, and more, gets a layered added that adds to its depth. That sort of depth extends to the title, which while very clear its reference, could be interpreted to be so much more.

The art by Tirso is a cool mix that has an animated aspect to it mixed with manga. There’s a creepy style to it all that matches the horror roots of the series, but it also has a cool look that you’d expect in a story set in WWII. But, what really stands out to me is the fight scenes which definitely have a manga influence. Javi Montes‘ colors adds to it giving it an almost animated look to it.

Whispers in the Walls is an enjoyable read that gives us a slightly different take on the vampire/werewolf story. There’s a lot that’s enjoyable and entertaining and this is a world I’d love to see more of. While there’s a lot that’s familiar, there’s also a lot that makes it stand out.

Story: David Muñoz Art: Tirso Colorist: Javi Montes
Story: 7.5 Art: 7.95 Overall: 7.65 Recommendation: Read

Humanoids provided Graphic Policy with a FREE copy for review

Review: Josie and the Pussycats #4

josie4coverJosie and the Pussycats #4 goes all Audrey Hepburn in an homage to Roman Holiday as a band that was playing random gazebos has truly hit the big time playing a gig at the Colosseum. Writers Marguerite Bennett and Cameron DeOrdio continue to almost too clever for their own good with a script that is brimming with pop culture and literary references, awareness of the fourth wall, frenetic flirting, and so many puns. Josie is self-indulgent, and it knows it with artist Audrey Mok and colorist Kelly Fitzpatrick upping the “production values” of the backgrounds and clothes that the Pussycats wear starting with a music video shoot featuring luscious tiaras and Corinthian columns.

The conflict at the crux of Josie and the Pussycats #4 is one that many big time musicians and bands deal with once they hit a certain level of fame. Do they focus on image or just on the music? Who cares what costumes you wear on your live show, or if Martin Scorsese, Spike Jonze or hot director flavor of the month directed your music video if the music itself sucks. Both Josie and her music manager/object of lust Alan agree that image is important because they have dreamed about making it big in the music industry. Except Alan just sees Josie as a potential pop goddess and not the wonderful young woman that she is to her friends.  Fitzpatrick turns up the pinks, and Mok adds rose petals and gorgeous architecture to craft a classic film worthy romantic moment as their witty banter turns into quieter activities. However, Josie’s real “happy ending” happens in a very different way as Bennett, DeOrdio, and Mok show that “nice guys” don’t usually live up to that adjective.

josie4interior

Valerie is the most talented and wisest Pussycat/character in general even if Josie steals a lot of the spotlight because of her desire for fame and self-involvement that she is slowly becoming more self-aware about that. There’s a double page spread of Valerie and Josie just talking out their issues after Josie catches Alan kissing another girl at the same “special” spot that they smooched earlier. They talk about how adult relationships are complicated, and sometimes people want different things out of them. Valerie and Melody have a great dynamic when dealing with Josie’s heartbreak with Melody providing the berserker rage and cartoonish reaction shots where she wants to kill Alan and eat his skull. Then, Valerie provides the even keeled advice and compliments about Josie getting vulnerable and not hiding beneath her pop star veneer. And they’re all friends and get to show that off with an energetic headlining gig at the Colosseum while beating up diamond thieves on stage.

Josie and the Pussycats #4 has running gags centered around the emotions that different Rihanna songs bring to go with the usual plot structure jokes, like characters insisting that their life is like a Saturday night cartoon. Marguerite Bennett and Cameron DeOrdio bring the candy covered clever in their script while still letting their characters have complicated feelings while Audrey Mok and Kelly Fitzpatrick bring out each Pussycat’s unique beauty and style and getting to do a little Sailor Moon homage along the way. They excel at both butt kicking and smooching.

If Josie and the Pussycats #4 was a pop song, it would be one with an infectious melody, glossy production, and intelligent lyrics like the adopted love child of Marina Diamandis and Florence Welch with just a dollop of Beyonce. Josie herself is the comic book equivalent of Lana Del Rey with her sad eyes, well-coifed image, and deep reference pool.

Story: Marguerite Bennett and Cameron DeOrdio Art: Audrey Mok Colors: Kelly Fitzpatrick
Story: 9.5 Art: 9 Overall: 9.2 Recommendation: Buy

 Archie Comics provided Graphic Policy with a FREE copy for review

Review: Faith #8

faith-8-coverFrom Hollywood’s darkest shadows, an old enemy rises to extract revenge on Faith! A superhero’s work is never done…and, now, one of Faith’s former adversaries has returned for a fateful rematch that will put the life of Los Angeles’ greatest hero into a tailspin. And when this familiar assailant finally shows their true face, will the high flying psiot have the strength to put them down for good?

I’m not exaggerating when I say that Faith is one of the series that I’m always excited to read every month. Jody Houser is able to tell a compelling story that is easy to read for folks who, much like a friend of mine that I turned onto the series, really haven’t read any Valiant comics before. A large part of that are the shorter stories we’ve been seeing of late since the launch of the ongoing series (I was going to say the first arc, but then I remembered the first arc was only three issues) that give new readers an easily digestible gateway into the world of Valiant‘s high-flying hero, often with a different artist joining the team. Case in point is the two-part story that concludes this issue with art by the talented Joe Eisma.

We also have Marguerite Sauvage providing the fantasy sequences to the comic again, which lends an air of consistency across the different artists to have contributed to the series as we get to explore Faith’s daydreams, dreams or nightmares that occur a couple of times each issue.

Typically, the differing styles between Sauvage and the other artist allow a reader to easily differentiate between what’s actually happening and the fantasy sequences, but that’s not quite been the case over the last two issues; through no fault to his artistic ability, Eisma‘s work blends a little too well with Sauvage‘s sequences. You can still make out the difference between the two artists’ work, but just not as easily as with some of the earlier issues. If that sounds like a nitpick, then I’ll hold my hands up, because it absolutely is.

Although there are moments where the dialogue feels just right,  Faith #8 isn’t the strongest of issues in the series. The plot has Faith dealing with her inner demons and doing a little ghost-busting, but the potential hinted at from the first part of this story is never quite realized. A shame, really, but when a comic has been as consistently excellent as Faith has been then the occasional stumble can be overlooked once in a while.

Now, despite me having just spent the better part of the review picking holes in the comic, if you’re already reading the series then you’ll want to read this issue because it does lay some groundwork for the future, and despite my hang-ups it’s not as bad as I’ve probably made it sound – I don’t regret buying the issue at all.

Here’s hoping we’re back on track with the next issue.

Story: Jody Houser Art: Joe Eisma Colourist: Andrew Dalhouse
Fantasy Sequence: Marguerite Sauvage
Story: 7.0 Art: 8.75 Overall: 7.75 Recommendation: Read

Review: Giant Days #23

giantdayscover“Adulting” is the theme of Giant Days #23 as Esther is between jobs and feeling a bit bored so she invites her entire circle of friends and acquaintances to a kind of fancy dinner party. Writer John Allison continues to juggle a cast of about a half-dozen characters and plotline ably cutting to a new scene just when thing seem to be slightly less exciting. Some of the secondary characters like Ed’s semi-disgusting, programming major flatmate Dean and Daisy’s girlfriend Ingrid have their own shining moments through boldly honest toasts and debates about superhero battles, which end up playing a big role in resolving a long-running subplot. And artists Max Sarin and Liz Fleming with colorist Whitney Cogar mine a tragic vein humor through the crazy gestures and sick state of Susan, who is suffering from a cough as well as struggling to see her ex-boyfriend McGraw with his new, Spanish guitar playing girlfriend Emilia.

Giant Days is ostensibly about everyday life as a university student in Sheffield, England, and the hijinks that follow. However, the comic has a bit of a surreal side and could definitely be the third in a sort of trilogy of bonkers flatmate British comedies, like The Young Ones and Spaced. Sarin and Fleming do some fun cutaway gags in Giant Days #23, like Susan turning into a being of light blue flame after a long complaining session about her cough preventing her from practicing to get her scooter license. There is also the world’s most complicated Venn diagram when Daisy and Esther try to work around Ed’s dietary restrictions while planning the party.

But Giant Days‘ surrealism really pops up in its settings, like Cogar’s ghostly green color giantdays23interiorthat she uses for Ed, McGraw, and Dean’s flat after Dean had an all night coding session. You can definitely smell the sweet aroma of nerd sweat, leftover pizza, and half-drunken energy drinks and beers through that color choice. It’s the complete opposite of Emilia’s well ordered, stocked with pesto and angsty poet’s apartment that Sarin gives us a glimpse of in a neat nine-panel grid. As usual, McGraw is the crux between chaos and order as well as being in the awkward position of being Susan’s ex while still being close to most of her friends’ group. But he doesn’t get stuck playing peacemaker, and Allison and Sarin give him a beautiful romantic moment of kissing Emilia by the Guy Fawkes Day bonfire where she calls him by his real name “Graham”. (Maybe one day he’ll grow up to be the guitarist for Blur or a fun chat show host.) The yellow flames from Cogar makes the scene even more touching.

Giant Days #23 gives two of its three leads a release from tension. Daisy is starting to grow closer to Ingrid and starting to meld her introversion with Ingrid’s energy as they work on a jigsaw puzzle instead of going clubbing all night. Esther has employment again plus a slight sense of satisfaction that she pulled off a dinner party with not a whole lot of drama while wearing an adorable skull apron. But life is still very difficult for Susan thanks to the two-pronged assault of sickness and seeing her ex-smooch in front of her, and Allison goes full sadist at the end by making her storyline part of the issue’s cliffhanger.

The dinner party is a time-honored sitcom setting to have different sets of characters bounce off each other and also create change, but John Allison, Max Sarin, Liz Fleming, and Whitney Cogar put a bit of a Giant Days twist in it with plenty of awkwardness and over the top jokes. Giant Days #23 is worth picking up for the interactions between Ingrid and Dean alone, which are truly “avant-garde cabaret” and for finding out the amazing reason why the cops get called on it.

Story: John Allison Pencils: Max Sarin Inks: Liz Fleming Colors: Whitney Cogar
Story: 8.5 Art: 8.5 Overall: 8.5  Recommendation: Buy

BOOM! Studios provided Graphic Policy with a FREE copy for review

Wednesday Graphic Novel Review: Detective Comics Vol. 1 and Scooby Apocalypse Vol. 1

Five weeks into the new year and three weeks of new comic days! We’ve got two more first volumes. One to one of DC Comics “Rebirth” trade paperbacks and some Scooby action!

Detective Comics Vol. 1: Rise of the Batmen collecting issues #934-940 by James Tynion IV, Eddy Barrows, and Alvaro Martinez.

Scooby Apocalypse Vol. 1 collecting issues #1-6 by Jim Lee, Keith Giffen, J.M. DeMatteis, and Howard Porter.

Find out what each trade has in store and whether you should grab yourself a copy. You can find both in comic stores February 1 and bookstores February 7.

Get your copies now. To find a comic shop near you, visit http://www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Detective Comics Vol. 1Amazon/Kindle/comiXology or TFAW

Scooby Apocalypse Vol. 1Amazon/Kindle/comiXology or TFAW

 

 

DC Comics provided Graphic Policy with FREE copies for review
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Movie Review: The Image Revolution

the-image-revolution-largeTwenty-five years ago, seven superstar artists left Marvel Comics to create their own company, Image Comics, a company that continues to influence mainstream comics and pop culture to this day.

Today marks the twenty-fifth anniversary of the founding of Image Comics, a comic publishing company that has left its mark on the comic book world. Directed by Patrick Meaney and released by Respect Films, The Image Revolution is a documentary that examines the founding of the publisher.

In 1992 Todd McFarlane, Jim Lee, Whilce Portacio, Marc Silvestri, Erik Larsen, Jim Valentino, and Rob Liefeld quit working for the big two publishers forging their own path an independent publishing company that has undoubtedly shaped comics after, for good and bad.

There’s a lot that’s good about the documentary itself. It gives a warts and all accounting of why this mattered and what happened over the years. It doesn’t go too much in depth, mostly relying on interviews and first-hand accounts of the situations and history. With that, there isn’t much pushback and evidence presented as a true accounting of what happened, it’s what these big comic personalities say is history.

Interspersed with interviews of the founders is others talking about their time within the studio and excess that went with being on top of the world. And that’s where the documentary really shines. It presents a lot of negative and a lot of the folks presented do not come off well, like at all. Egos abound with an almost bragging aspect to it, humility is not on display here. All it missed was scenes of individuals doing lines of coke and dollar bills flying around. That’s the type of excess is presented and talked about.

But beyond the excess, the personalities of the founders, and the clashes that caused, are on full display. It’s amazing this group got done what they did after seeing this documentary and you get some might feel the same way. It also does a solid job of taking us through the comic industry of the time, giving viewers just enough information to understand why what’s going on is important.

There’s some bad about the documentary, though it’s a fascinating watch. There isn’t much push back on stories or some of the juicier things that are out there. These individuals control what they want out there, clearly, and the documentary team seem to be ok with that. Lessons learned also aren’t present. Mistakes are admitted, but there’s no real reflection upon all of that. So, it’s an oral history that’s just not too deep and presents some of the facts, not much more.One of the biggest issues is the documentary itself

One of the biggest issues is the documentary’s presentation itself. It relies a lot on archive video from the time and that quality is just not good. Even the filmed interviews for the documentary feel like they’re low budget and compared to other documentaries, it just doesn’t compare, there’s much higher quality out there.

For those that want the basics, this is a solid view. For those that are looking for a bit more, you’ll be disappointed. Basically, if you’re looking to learn the history of Image Comics, this is a good start, but should not be your only stop.

You can watch The Image Revolution now on Amazon Prime.

Overall Rating: 7.4

TV Review: Arrow S5E11 Second Chances

arrowOliver gets help from a surprising source in his quest to take down Kovar; Felicity tries to hack the NSA to help free Diggle; Curtis informs the team about a female vigilante.

Arrow returned last week with a good episode and this episode continues that with another episode that’s entertaining and good, but not great.

Most of the episode is focused on a female vigilante who might be a good new Black Canary, so a chunk of the team heads out to find more about her and introduce themselves. This gets them into a battle with new metahumans, which is a solid expansion of the DC Flash universe by using this television series.

The rest of the episode focuses on Diggle and getting evidence to prove his innocence. That really moves along, and quickly, and with some small details it feels like it’s setting up a collision for later in the season.

Bigger in the episode is the flashback parts of the episode where we see some of the real origin of the Arrow. That’s actually a fascinating bit that fills in some gaps.

The episode is pretty decent, though again doesn’t blow me away. There’s some action, some movement in the plotlines, and some new additions to the series as a whole which is good. What I really like is how this episode adds to other series and uses some of what’s been established there. It’s a great way to create a more cohesive and entertaining universe. It’s the small details that really add up.

The episode is good, but cool in finale which gives some winks and nods and sets up what could be something interesting. It doesn’t give us anything definitive, but continues to lay the ground for the rest of the season.

Overall rating: 7.95

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