INTERVIEW: Director Shae Sterling Brings Visitors To Earth In Alien Addiction

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November 25, 2020

Aliens land in New Zealand, but they aren’t out for world domination in Alien Addiction, a science fiction-comedy film from Shae Sterling (High Octane: Detonate) and starring Jimi Jackson (The Australiana Hostel).

Riko (Jimi Jackson) is an aimless 20-something in a group of aimless 20-somethings played by Tane Huata, Tukairangi Maxwell, and Harry Summerfield. The slacker foursome spends their days playing the boardgames “Galaxy Gods” then racing to the local pub for a drink and possibly a hook up with a backpacking traveler. Two visitors from outer space arrive in the small, rural area of New Zealand, searching for their next high, and chaos ensues.

PopAxiom and Shae spoke about falling in love with movies, remakes, and making Alien Addiction.

Inventive Nature

Shae Sterling is from New Zealand, where he’s spent years directing music videos for Sheila E, T-Boz (of TLC fame), and Snoop Dogg. “I was a big fan of films when I was young. I’d get home from school and watch things on VHS. I took to Star Wars and Spielberg movies. I’d watch them over and over again until I knew them line-for-line.”

The director-to-be says, “I got my hands on a video camera when I was young, around 10. Back then, no one had one; this was in the 80s. So, I got to dabble a bit. By the time I was fifteen, I’d done a little media stuff in school, and I decided to be a director.”

“The rest is history,” Shae adds.

“For how small the county is, we have an amazing film industry,” Shae says about New Zealand, which has produced Peter Jackson, Taika Waititi, and Jermaine Clement, to name a few. “We’ve got James Cameron filming Avatar and the Lord of the Rings TV series going on down here.”

Shae shares a moment when indie filmmaking met blockbuster budget filmmaking. “I’m down at the lighting shop renting some lights, and in comes some dude with an Avatar TV shirt asking if the lights in the shop are waterproof.”

New Zealand consistently produces film and television that is quirky, eccentric, but also down to earth, funny, and full of the feels. “We have a backyard humor with an inventive nature.”

About Alien Addiction

Alien Addiction is a low-budget film though it doesn’t look it with cinematography that is lush and vibrant. “We used the strengths of the film; the actors, dialogue, and the quite feel.”

“I think if I’d spent money on better cameras,” Shae says, “then the FX, it wouldn’t have that retro-y humbleness. It’s not trying to impress you all the time; it’s just letting you get into the story.”

Shae used a Panasonic GH4 to get Alien Addiction done. It’s not the usual camera used today by most movie productions. “I could’ve had a better camera, but I wanted it to have a unique look. Everything these days they shoot on ARRI Alexa or RED, and it’s all starting to look the same to me.”

“I went with my guns,” Shae proclaims, “and used something that has a different look to it. If everything looks the same, then what are we doing here?”

Shae was busy trying to get another movie made before Alien Addiction was a neuron firing in his brain. “I had another movie I was trying to get done before this and wasted a year of my life trying to get that going. I was pretty upset having to put that on the shelf.”

However, unfortunate events turn into new opportunities. “I had the idea for the Alien Addiction movie and decided I was going to fund the thing myself. Teaming up with Jimi Jackson was great; he was someone I could trust, and he was invested in the project.”

The first step to funding Alien Addiction started with Kickstart, which “failed,” according to Shae. “So, I said, screw this, and got some cash on my own, and I decided to do one block of filming, which is about two weeks. We got about 40 percent of the movie, but it took ages to get to the next block. I had to keep doing it for three years before I got it done.”

Filmmaking is never an easy process, “but it was heaps of fun when we were out there filming. So many good times. The best part about it was escaping from our everyday lives.”

“We shot it outside of Auckland,” Shae shares, “in a small area, so we’d be there for a week and focusing on this movie.”

Jimi Jackson is one of those force of nature type comedic talents. “He was so good. I wrote scenes knowing he could improvise as well. I’d suggest a few things, and then he’d go off and adlib and improv. He’s so good at it; he’s got a quick wit. The same with Thomas Sainsbury.”

“About 70 percent of the film is the script,” Shae says, “and the rest is the room we played with. The scene where Jimi’s teaching them to play rugby is all Jimi.”

Making Aliens

Alien Addiction features two oddball aliens making their way around New Zealand searching for their particular type of mood-enhancing chemicals. “We were auditioning people, and my partner Melanie Price was helping me. She’d play a pretend alien, and we’d get all these dancers to come in and do different movements.”

It wasn’t quite working for Shae. “I realized my partner was good at it.” So, Melanie Price became one of the aliens, along with Steven Samuel Johnston. “At the time, Mel was pregnant, and we needed to start filming. By the time we started, she had a big belly, so we introduced that to the aliens. So, she’s pregnant in some of those scenes.”

The pot-bellied extraterrestrials were born, and so was Mel’s child, making the natural belly disappear. “She had the baby then used a specially made pillow device.”

The design of the aliens is equal parts charming and spooky. “I realized I’m not going to have the money to do a moving mouth. So, I did this tiny little mouth.”

The aliens also have a funny walk, which seems unlikely to keep up with the average person’s walking speed. “Yeah, I always tried to stage them ahead of people. They couldn’t keep up.”

Shae loves his aliens. “They’re kind of ugly looking but still kind of cool.”

Wrapping Up

Shae grew up on a healthy diet of Spielberg, Lucas, Cronenberg, and other directors of the 70s and 80s. He names a few of his favorite filmmakers. “I do like some of Roman Polanski’s stuff; Paul Verhoeven, Christopher Nolan, James Cameron, and Ridley Scott.”

It’s the era of remakes, but Shae says, “I’m not a big fan of remakes. It’s annoying. Surely there are more new stories.” So, Shae isn’t fond of remaking movies, but says, “There are sequels to movies that weren’t so great. I’d happily re-do the sequel to RoboCop, especially part three; part two wasn’t that bad. Terminator 1 & 2 are some of the best sci-fi action films ever made, and I would’ve had some fun with a part three or four.”

Shae loves indie filmmaking, though no director would turn down a lot more money for any given project. “There’s nothing worse than watching a big, expensive action movie where you don’t care what’s happening.”

Alien Addiction is out on iTunes, Amazon Prime, YouTube Movies, and more. So, what’s next for Shae? “I have three other dynamite movies. I’m looking to settle on one of them.”

Is Alien Addiction on your watch list?

Thanks to Shae Sterling and October Coast
for making this interview possible.

Want to read more interviews? CLICK HERE.

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Marvel Comics Exclusive Preview: THE UNION #1

By

Anthony Composto - EIC

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November 25, 2020

marvel comics the union #1 exclusive preview

THE UNION #1 hits your local comic book store December 2nd, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
The grand unveiling of The Union! A team of super heroes gathered from all over the United Kingdom, featuring Union Jack, Snakes, Kelpie, Choir, and their fearless leader, Brittania! But when disaster strikes on their first public debut the fledgling team is immediately pushed to their limits!

THE UNION #1 is by writer Paul Grist and artist Andrea Di Vito (with Grist also working on pencils). Inks are by Drew Geraci and Le Beau Underwood (also with Grist), colors are by Nolan Woodard, and letters are by Travis Lanham. R.B. Silva and David Curiel did the main cover.

The five-issue miniseries is spinning out of Marvel’s KING IN BLACK crossover event, which also begins on December 2nd.

Check out the UNION #1 preview below:

Are you looking forward to THE UNION? Sound off in the comments!

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Marvel Announcement: The Next Event In Mutant History Begins With REIGN OF X

By

Gabriel Hernandez

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November 25, 2020

Marvel Comics readers who’ve enjoyed the X of Swords event wrapping up this week won’t have to wait long for the next chapter in Mutant history. Marvel has announced the next event from Jonathan Hickman will launch this December with REIGN OF X.

Says Marvel about the new event: “The REIGN OF X will see the forming of new teams, the return of major characters, new threats brought about by classic villains, and more game-changing revelations that will alter the X-Men mythos forever!”

You can check out a preview of the first issue’s cover and read the full Marvel press release below.

Are you ready for another Hickman/Marvel event? Did X of Swords leave you wanting more? Let us know what you think in the Comments section, and please share this post on social media using the links below.

AFTER THE DAWN COMES THE REIGN

Reign of X begins this December!

New York, NY— November 25, 2020 — Today, fans witnessed the startling conclusion of X of Swords, the sprawling crossover that represented the latest chapter in Jonathan Hickman’s grand vision for the X-Men, and learned that the REIGN OF X was upon us!

Hickman’s bold take on mutantkind began last year in the critically-acclaimed House of X and Powers of X and continued in the Dawn of X, ushering in a slate of brand-new X-Men titles that took the comic book industry by storm. Now, the saga continues in REIGN OF X, a new era encompassing the upcoming story arcs in all your favorite X-titles. The REIGN OF X will see the forming of new teams, the return of major characters, new threats brought about by classic villains, and more game-changing revelations that will alter the X-Men mythos forever! Check out what’s to come in a mesmerizing teaser image by superstar X-Men artist Mahmud Asrar!

“The REIGN OF X is upon us … and here’s a sneak peek of what it will bring! Like Dawn of X and X of Swords before it, REIGN OF X has been meticulously crafted by Jonathan Hickman and all the other uncanny X-writers of our day, and we can’t wait for you to see what they’ve cooked up!” Editor-in-Chief C.B. Cebulski explains. “In the meantime, eagle-eyed readers should take a CLOSE look at this magnificent montage of mutants drawn by Mahmud Asrar. Everything on this image was included for a reason and will have heart-pounding pay-offs in the near future for our favorite Krakoans. After the dawn comes the reign, and what a reign it will be!”

It all begins in December as the X-Men deal with the fallout of X of Swords and look to the future. Here’s what’s to come next month:

HELLIONS #7 by writer Zeb Wells and artist Stephen Segovia will explore the aftermath of the team’s brutal massacre in X of Swords.

Writer Leah Williams and artist David Baldeon continue to investigate mutant deaths and explore the complexities that come with resurrection in X-FACTOR #5.

Kate Pryde and Emma Frost finally enact their long-awaited revenge on Sebastian Shaw in MARAUDERS #16 by writer Gerry Duggan and artist Stefano Caselli.

Mutantkind sets their sights on the galaxy and beyond in writer Al Ewing and artist Valerie Schiti’s groundbreaking S.W.O.R.D. #1.

An old foe rises in NEW MUTANTS #14, the beginning of a wild new era for your favorite young mutants by writer Vita Ayala and artist Rod Reis.

Wolverine reunites with Maverick and Team X in WOLVERINE #8, a special over-sized milestone issue written by Benjamin Percy with art by Adam Kubert and Viktor Bogdanovic.

The search for Captain Britain is underway as Excalibur returns to Otherworld in EXCALIBUR #16 by writer Tini Howard and artist Marcus To.

X-Force will stop at nothing to protect Krakoa, even if it means interrogating their own, in the action-packed X-FORCE #15 by writer Benjamin Percy and Marvel’s Stormbreaker artist Joshua Cassara.

And Cyclops makes a fateful decision regarding the future of the X-Men in X-MEN #16, written by Jonathan Hickman with art by Phil Noto.

The future of mutantkind is here! Don’t miss X-Men history in the making when REIGN OF X begins next week! For more information, visit Marvel.com.

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Review: SPAWN #312 – Which Hellspawn Is Your Favorite?

By

Corey Patterson

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SPAWN #312 hits comic book stores on Wednesday, November 25th, bringing readers closer to the impending conflict between Hellspawn and the forces of both Heaven and Hell. This story jumps between many characters’ perspectives to give their take on these events, giving readers a chance to connect with figures other than Al Simmons himself. The result is a tale full of surprises each Hellspawn must face in their own way.

Story

Building off of the previous issues’ events, #312 expands upon Simmons’s recent breach of time itself. The story hones in on multiple versions of Hellspawn facing the ramifications of this reality, ranging from Gunslinger Spawn to Jessica Priest.

Each Hellspawn reacts differently to the impending threat. Gunslinger faces a horde of demons head-on, Priest carelessly runs about as if nothing is different, and Simmons spends his time hectically planning for what’s next.

Todd McFarlane’s narrative further differentiates each Hellspawn, showcasing each of their unique personalities. This helps readers fall in love with those characters that entertain them the most.

Artwork

This issue’s illustrations are astounding in their ability to capture the story’s action. Carlo Barberi’s penciling and ink work, alongside Peter Steigerwald and Jay David Ramos’s coloring, brings each character to life. The dark shades of black mixed with bright reds shows how each Hellspawn is connected despite their unique outfits. We also loved how Tom Orzechowski’s lettering placed the focus on Simmons’ by casting his dailogue within jagged, black borders.

Conclusion

SPAWN #312 is an epic connecting story that sets the stage for action on multiple fronts. While not the main tale in the Cult of Omega arc, this issue is integral in its effective character development.

Who do you think is the most powerful Hellspawn right now? Let us know in the comments below!

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Review: X OF SWORDS DESTRUCTION #1 – The Ending Lands Sideways

By

Jake Palermo

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X of Swords Destruction out this week from Marvel Comics is the finale to the X of Swords crossover. Writers Jonathan Hickman and Tini Howard end the emotional arc of Apocalypse along with other events. Artist Pepe Larraz displays the scale of the stakes through its many characters. Colorist Marte Garcia converges the many sides from the numerous series together through bright colors. Letterer Clayton Cowles and designer Tom Muller add the details to bring the story together.

X of Swords Destruction: Tarot Meanings

Hickman and Howard put a lot into X of Swords as a whole; so much it’s impossible to fit everything in 44 pages. X of Swords Destruction #1 main achievement is the character development of Apocalypse. Apocalypse’s main motivation comes less out of his usual Social Darwinism and more out of love. The lengths he goes to reclaim his wife, Genesis, from the demonic Annihilation shows a new dynamic. Gone is the mutant overlord doing whatever it takes to win; his “humbling experience” from his own children displays a vulnerability that humanizes him. This same experience is what empowers Apocalypse to overcome what Genesis couldn’t and end the conflict.

When it comes to the rest of the plot threads leading up to X of Swords Destruction #1, it seems they are sidelined. Despite elements from Cable, Marauders, and a set-up to the upcoming S.W.O.R.D. series by Al Ewing, they feel more aesthetic. It’s almost as if this part of the finale is less of a conclusion and more of an advertisement. Many questions arise, like what happened to Solem, who vanished for no reason? Again this seems like setting up for a sequel that kind of spoils the overall story’s experience.

A Smorgasbord Of Appearances

X of Swords Destruction #1 features dynamic artwork by Pepe Larraz, particularly his ability to draw epic scenery. The many characters he can draw in one panel are remarkable with how the X-Men stand out among their enemies. The page with the Annihilation mask meanwhile shows the conflict between Annihilation, Genesis, and Apocalypse perfectly. With how reflections in the mask distort and form, it perfectly encapsulates the chaos going on around everything.

In the meantime, Marte Garcia takes the opportunity to tribute the other series that makeup X of Swords Destruction #1. Bright colors are used to indicate elements from different Dawn of X series; green for Cable, blue for X-Men, and (usually) purple for Excalibur. VC’s Clayton Cowles as letterer drives home the conflict with Annihilation with its black word balloons trying to overtake its host’s white ones. To top it all off, Tom Muller’s infographics fill the reader in on what they might miss between the panels.

X of Swords Destruction: Ready For The Next

As X of Swords Destruction ends its run, a new chapter in Dawn of X is ready for readers. With Apocalypse completing his arc, only time will tell what the future has in store.

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Review: WEREWOLF BY NIGHT #2 Loses Control

By

Gabriel Hernandez

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WEREWOLF BY NIGHT #2, available from Marvel Comics on November 25th, cuts Jake’s teeth with his first big monster battle while Red Wolf and JJ track him down. Written by Taboo and Benjamin Earl, this issue reveals some interesting tidbits for the future.

Cover Art

Mike McKone’s cover is exactly what a reader is looking for in a monster brawl. Jake, in werewolf form, slashes and rips his way through the hybrids with feral energy. Amid the chaos, you’re instantly drawn to Jake’s eyes as his inner monster takes over the fight.

Writing

Picking up immediately after the end of issue #1 (read our Werewolf By Night #1 review here), Jake dives into an animalistic battle with the hybrids to save the caravan captives. The next morning, a battered but healing Jake finds he’s now on the run from the local law, Red Wolf, JJ, and the mercenaries hired by the Life Corporation.

The writing by Taboo and Benjamin Earl here – in a word – okay. This issue is more setup than a story with not much forward progress in the arc. It’s still an original premise, but it needs weight or emotional depth. I want to be invested in Jake’s situation, but you never get the sense he’s in any real danger or that he’s bothered by the burden of his curse, or that he feels much of anything.

The parts are there, the dialog is generally good, and the plot largely makes sense, but I need a reason to care about these characters. Right now, that’s the missing piece.

Pencils/Inks

Scot Eaton and Scott Hanna’s art for this issue is fairly solid. Of course, the big selling point for this issue is Jake’s epic battle. Eaton and Hanna deliver on that front.

Jake’s werewolf is full-on powerful in every frame. The leaping, slashing, stabbing, and biting acrobatics fill nearly every panel beautifully.

As a bonus, there’s an interesting few pages where Jake dreams of the werewolves in history, and it’s a treat to see Eaton and Hanna’s take on different werewolf forms. I especially liked the homage to the original Werewolf By Night. Overall, this was a visually enjoyable issue from Eaton and Hanna.

Coloring

Miroslav Mrva’s earned praise in issue #1 for the excellent application of moonlight glow on the desert scenes for authenticity. Mrva scores again with beautiful reds and yellows during a desert sunset. Color is the musical score of a comic, and Mrva shows fantastic mood energy in the colorwork here.

Lettering

VC’s Joe Sabino is fairly solid in the placement and readability. But somehow, the lettering did not integrate well with the artwork in this issue. The word bubbles and caption boxes are much brighter and sharper than the panels they inhabit. In isolation, the lettering is good. Combined with the art, it doesn’t mesh well.

Conclusion

WEREWOLF BY NIGHT #2, available from Marvel Comics on November 25th, takes a few steps forward on the story and treats the reader with strong visuals. If the writers can add some emotional punch, this has the potential to be a memorable book. WEREWOLF BY NIGHT #2 is a guarded recommendation.

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Review: X-O MANOWAR #2 Wrestles Robots And Reality

By

Gabriel Hernandez

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X-O MANOWAR #2, available from Valiant Entertainment on November 25th, brings Aric face-to-face with the consequences of superheroes intervening in global conflicts. Dennis “Hopeless” Hallum’s story is equal parts robot smashing and social conundrum, and it proves to be this reviewer’s pick of the week.

Cover Art

Christian Ward’s painting of Aric striking a powerful pose is a strong cover. Aric stands out against the swirling cosmos, ready for battle. His fiery sword quickly captures the reader’s attention, but the cover lacks movement or energy. Otherwise, it’s a gorgeous cover.

Writing

Whew! This book’s been on hiatus for eight months, so I admit I had to go back to re-read issue #1 to remember what’s going on (read the MFR review of X-O Manowar #1 here). A robot accosts Aric while he flies in to stop a warzone battle in Ukraine. Issue #2 picks right up with Aric’s battle with the robot, only to learn the robot is a lure for a potentially more dangerous enemy …or is it an ally?

Hallum wisely toned down the fish-out-of-water elements from the first issue to focus on Aric’s obvious strengths while fighting battles on multiple fronts. Ultimately, Aric is confronted with the dilemma of choosing to interfere in human conflict to save lives versus non-interference in the natural evolution of governmental conflict. While not necessarily original, Hallum’s presentation of this dilemma takes this title to a deeper level of interest.

The story is well-paced, the action is exciting, and the arrival of the villain(s) and their “offer” makes for a mature and dramatic sophomore issue in the series.

Pencils/Inks

One of the main critiques from issue #1 was the claustrophobic panel design mixed with the rough art style. You couldn’t tell what was going on in some of the panels.

I’m pleased to report this issue has significantly better art. Emilio Laiso stepped up big time with more splash pages and full-length panels to let the art breathe when it needed it. Penciling and inking are more precise and detailed. I get a much better sense of what’s going on, even in the smaller panels.

It’s not just the skill that’s improved, but the visual storytelling is bigger and more epic. The opening fight sequence is hard-hitting, and the secondary attack by [REDACTED] is big enough to impress on you the horror of what’s happening. Laiso made this issue superior in every way to its predecessor.

Coloring

Ruth Redmond is the master of pop with this issue. Every panel that shows Aric in armor is bold. His golden armor highlights stand out to imply power. The boldest highlight comes during the explosion scenes near the end of the book where Aric is drenched with scorching flames as he howls in anger over the attack. It’s an impressive display by Redmond.

Lettering

Hassan Otsmane-Elhaou completes this issue’s fine artwork with loud, ragged paint strokes to depict the BOOM’s of the final explosion. It’s messy, ugly, and loud… just as an explosion should be—excellent lettering work here by Otsmane-Elhaou.

Conclusion

X-O MANOWAR #2, available from Valiant Entertainment on November 25th, improves on the first issue by magnitudes with better art, more thoughtful storytelling, an enigmatic villain (or ally?), and a strong moral dilemma for our hero. This is my highest recommended book of the week.

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Great Minds Think Alike in STAR WARS: DOCTOR APHRA #6

By

Cat Wyatt

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STAR WARS: DOCTOR APHRA #6, available Wednesday from Marvel Comics, brings us back to a character that is very talented at getting in over her head. Way over her head, as recent events have happily proven.

It is well known that Doctor Aphra has a way of getting in over her head. That’s pretty obvious by now, right? After all, she got wrapped up in Darth Vader’s story, and instead of running for her life at the first opportunity, she continued with her planning.

Now, in Doctor Aphra #6, it looks like Aphra is about to start messing with another strong player in this universe. Granted, Domina Tagge is no Darth Vader, but she still has plenty of power to wield.

As the events in the previous issue proved, and will likely prove again in what is to come. That raises the question, how is Doctor Aphra going to get herself out of this situation? Or rather, what scheme is she going to come up with next?

Regal yet terrifying. Perhaps she will be the perfect counter to Doctor Aphra.

The Writing

Doctor Aphra #6 does an excellent job of setting Domina Tagge up as a woman not to be messed with. All of her power – and her decision making – is quickly put on display, through a lot of careful writing on Alyssa Wong’s part.

It certainly set the scene for what is to come. As did the introduction to this issue, for that matter. It was all quite clever, with hints of sardonic humor woven throughout. It seems like a new match for Doctor Aphra has formally been introduced.

This is an issue full of action and drama, of the sort that only Doctor Aphra can bring to bear. If you’ve read her past issues, then you can probably guess at least some of that content. With the action comes a hint of humor, as characters interact and get in each other’s way. Again, that’s something very familiar for her series.

Doctor Aphra #6 is full of intrigue as well, as the whole issue is really setting up for something more. A bit of a surprise there, as the previous issue would have led us to believe that a major confrontation was waiting.

That bounty is surely going to make Aphra’s life a bit more difficult.

The Art

The artwork in Doctor Aphra #6 is another impressive addition to her collection, as Aphra bounces around the galaxy, making friends and enemies at the same time. There are a variety of scenes portrayed within these pages, and every one is worth checking out.

Ray-Anthony Height (pencils), Robert Gill (pencils), and Victor Olazaba (inks) created some tense scenes here. Some are full of movement and action, while others simply full of strong, stubborn, and slightly terrifying women. Domina Tagge looks particularly regal, in a simple yet elegant gown.

Rachelle Rosenberg’s colors make everything pop, and then some. Her beautiful purple and starry backdrops are to die for, while the characters are given vibrant accentuations that make them stand out.

VC’s Joe Caramagna’s letters are the icing on the cake, so to speak. The subtle sound effects feel real, thanks in part to Aphra’s reactions, and in part to the placement and design of the letters themselves.

Even Black K can’t resist that amount of credits. No real surprise there.

Conclusion

Doctor Aphra #6 is another action-filled issue, but one with several twists along the way. In many ways, it parallels other major adventures for Aphra. That doesn’t bode well, even while leaving an opening for something exciting in Doctor Aphra #7.

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Wash’s Tale Unfolds in FIREFLY: WATCH HOW I SOAR

By

Cat Wyatt

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FIREFLY: WATCH HOW I SOAR, available Wednesday from BOOM! Studios, provides some unique inside into a long-standing favorite from the show Firefly. Hoban ‘Wash’ Washburne takes center stage for this adventure.

A dark introduction to Firefly: Watch How I Soar.

Perhaps this should go without saying, but if you’re a fan of Firefly, yet haven’t seen Serenity yet, don’t read Wash’s story, unless you want some major spoilers. Likewise, reading the rest of this review may not be the best idea.

Firefly: Watch How I Soar is a graphic novel that collects five stories of the one and only Wash, pilot of Serenity. These stories revolve around the ultimate fate for Wash, the one waiting for him at the end of Serenity.

Coming alongside these five stories is a massive creative team, with Jeff Jensen, Ethan Young, Jorge Corona, Jared Cullum, Giannis Milonogiannis, Jorge Monlongo, and Jordi Perez all lending a hand to make the project fly.

Wash’s love of dinosaurs is still going strong.

The Writing

As mentioned above, there’s no escaping Wash’s fate in Firefly: Watch How I Soar. Naturally, that’s going to make this read a bit sobering, right out of the gate. These are the stories and images that popped into his head in those final moments.

Yet there is something beautifully uplifting about these five stories. Not just because they’re what Wash himself treasured, but because Wash truly was a positive person. Those bright traits shine through in, both in the subject and the writing itself.

The whole tale begins far in the past, showing off a very young (and adorable) Wash. It explains so much about his origins – and his fascinations. From there, the stories continue to show Wash growing up, making a point of showing those moments that helped make him the character we all know and love.

Except for the last story, which is quite the twist. I’m not entirely sure if this story helps to soothe the ache, or if it actually managed to tear open an old wound that fans had long thought healed. Perhaps it did a little bit of both.

The Art

Firefly: Watch How I Soar is a fantastic example of varied artwork. Each story, every single jump in time, brings with it a new style. It’s actually quite clever, and certainly worked well to keep things fresh.

The first art style portrayed has a very strong sense of flow, as Zoe and Wash sometimes literally float across the pages. It’s evocative, representing both their love, and the future that waits for Wash.

One of the most dramatic transitions makes a jump to what almost feels like watercolors, at least for a moment there. The colors are muted, with soft edges all around. Amazingly, that doesn’t take away any impact from Wash’s flying skills. If anything, it enhances them.

Other styles feel more classic, sometimes leaning towards a cartoon style. Each one has a different focus. The transitions in art style makes each change in scenery clear, without a word ever having to be spoken.

There are many details and moments worth noting and commenting on, but to talk about them in detail would spoiler many of the small surprises found within. One thing is clear, this entire graphic novel really did capture everything that made Wash who he is, and it shows.

A swampy beginning to this story, full of Wash’s imagination and more.

Conclusion

Firefly: Watch How I Soar is a little bit of everything. It’s heartwarming, it’s heartbreaking. It is the past, and the future. Any fan of Wash will likely enjoy this collection, for the past it portrays, and the future that could have been.

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Review: THE CROODS: A NEW AGE Dishes Out Fun Sequel

By

Eric Trigg

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The Croods: A New Age is sure to have families across the world laughing this Thanksgiving. A worthy sequel pitting The titular family against their biggest challenge yet, another family. This is a slight improvement over the original’s weak story, and there’s a lot more heart this time around. It effectively establishes a purpose, which was lacking in its predecessor makes this a superior sequel.

Dreamworks’ follow-up delivers a story smothered in heart, colorful animation, and a message of accepting each other’s differences. The star-studded cast returns, the jokes are in large quantity, and it’s just an overall good time. The Croods: A New Age corrects the previous errors and is easily one of the best animated films this year. Directed by Joel Crawford, The Croods: A New Age stars Nicholas Cage, Emma Stone, Ryan Reynolds, Peter Dinklage, Leslie Mann, and Kelly Marie Tran. The Croods have come across their biggest threat, the Betterman’s, a more evolved form of humanity. Guy (Reynolds), who is searching for his tomorrow with Eep (Stone), begins to act differently after reconnecting with old friends. The two families are at war until a threat arises forcing them to put their differences aside.

Eep Crood and Hope Betterman in The Croods: A New Age

The film was penned by Paul Fisher, Bob Logan, and Kevin and Dan Hagerman who have collaborated in the best way here. Eep and Guy seem to have a steady relationship, but Grug (Cage), her father is still determined to keep the pack together. Once the Betterman’s are introduced the film takes off because they are a contrast to our titular family, so they instantly look down on them. The Croods love their caveman habits such as eating dry twigs for dinner, but the Betterman’s prefer fine dining and more luxurious attractions. The writers create turmoil between the families by revealing that the Betterman’s are old friends of Guy and his parents.

How the film addresses different lifestyles and looking down on others for what makes them who they are is wonderful. Guy has been looking for his tomorrow ever since his parents passed, and he begins to overlook his findings when Hope Betterman (Tran), an old friend reunites with him. The development of The two feuding families is the film’s strongest aspect, as it highlights an important message about parenting, and how life experiences can shape everyone differently. Aside from its messages, The Croods: A New Age will keep audiences laughing from start to finish thanks to a few jokes, so this will be a hit this holiday season. The Croods: A New Age stumbles a bit once a new conflict is introduced, but manages to still wrap up on a high note.

The Croods arrive at the Bettermans in The Croods: A New Age

The cast delivers yet again, and the new additions fit right in as if they were here since the last film. Stone and Reynolds do a terrific job making the chemistry between Guy and Eep seem believable. The rivalry between Phil Betterman and Grug Crood is hilarious thanks to Dinklage and Cage, who have one of the years best fatherly feuds. Crawford’s directional debut is solid, as he has put together an animated blast that has something for everyone to appreciate. It’s a beautifully shot film that features superb animation, and it’s some of the best in recent memory. Crawford understands how to evoke emotions from his audience and the film’s color scheme this time around is a massive increase.

The Croods: A New Age was a much-needed improvement over its predecessor, and perhaps that’s why this one seems so great. Still, this sequel is well made and includes terrific voice work from a star-studded cast. A cast that will keep you glued throughout the entire runtime, but the film’s underlying messages might cause discomfort for some parents, or it could be an eye-opener for others. The Croods are back for more, and fans of the original should have fun with this latest outing.

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