Review: POSTAL: DELIVERANCE #8 Firing On All Cylinders

By

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Postal Deliverance #8 Credit: Top Cow Productions

It has been nearly three months since the last issue of Postal: Deliverance was released from Top Cow Productions. Three months wondering how the inhabitants of Eden would cope with the violence threatening to tear the township apart. Three months waiting for Bryan Hill, Raffaele Ienco, and Troy Peteri to continue this thriller/horror.

Has it been worth the wait?

Escalation

With the tensions between Mark, Maggie, and Laura building, all is not well in Eden. After the knife attack on Mark, Laura is able to manoeuvre herself back into power. Is this what she always wanted? Previous issues would seem to suggest that the once the Mayor of Eden was never happy walking away and the current escalation of violence is exactly what she needed to get her feet back under the table.

Bryan Hill, however, is not going to let Laura’s return be that easy and this issue is all about punching down. Laura is not the only one taking advantage of circumstances in this issue, the masked killer is also preying on the weak and sending messages throughout the town.

This issue of Postal: Deliverance is focused on two characters and their movements around Eden; Maggie and the Killer. Hill uses the contrast between the two characters to build the tension in the narrative and push the plot forward page by page. The killer is a closed, broken character, most obviously represented by the fragmented mask that he wears, whereas Maggie has a more open personality. Through these characters the reader is given a deeper insight into the duality of the town itself and the opposing forces that work together to keep Eden functioning.

It is a classic good versus evil, or light versus dark, narrative but portrayed in a fascinating way. The entire town, even the concept of it, is called into question by the contrast in actions between two characters. Hill allows the reader inside the minds of Maggie and the killer in order to prove that nothing is as simply as it might appear. Voices control the actions of the cast, some internal and some external.

Artistic Examination

Ienco continues to impress with his artwork. His use of obscure view points and subject-to-subject panel transitions give the comic it’s horror vibe by not allowing the reader to feel comfortable on a page. Early on there is a sequence with Magnum where he is being watched. Ienco teases the reader with glimpses of the killer while keeping the main focus on Magnum. In a nine panel page Ienco uses two panels to show the killer in the undergrowth but his presence is felt in each one of the nine panels.

This nerve-racking tension fuels the narrative and each page brings the reader closer to the edge of their seat. This mood is maintained as much by Troy Peteri’s lettering as it is Ienco’s color work or panel design. Peteri knows where to place the word balloons so that they produce the most emphasis on a page. Occasionally this is to highlight a certain speech but more often than not it is to bring to the foreground a particular action within a panel.

For example, in a scene focused on two characters, Ienco drops the background out, signalling to the reader this panel is about the cast members. Peteri then places the speech into two, linked word balloons giving the impression they are filling up one side of the panel. This creates an uneven balance between the characters and adds strength to one character over the other. This technique is used throughout this issue of Postal in order to create the necessary character dynamics.

Conclusion

After a three month wait Postal: Deliverance delivers a superb issue. The atmosphere and sense of impending doom builds page after page to a horrific conclusion. It is as if this issue has been designed to remind the reader exactly why they love reading Postal and also why stopping now would be a mistake.

It opens with a mother and son at loggerheads and ends, well, that would be telling. It’s enough to say that the end is as magnificent as the journey to it. Hill, Ienco, and Peteri, have produced an engrossing page turner and one of the best issues of the series so far.

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Interview: Curt Pires Pushes The Industry With YOUTH

By

Matthew Sardo

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May 28, 2020

Interview: Curt Pires Pushes The Industry With YOUTH — Youth #4

The final issue of Youth season one drops June 2 on Comixology and Monkeys Fighting Robots wants to get you excited for issue four with an interview with the creator Curt Pires.

About the ComiXology Originals:
YOUTH is a coming of age story that tells the story of two queer teenagers as they run away from their lives in a bigoted small town, and attempt to make their way to California. Along the way, their car breaks down and they join up with a group of fellow misfits on the road. Embarking together in a van traveling the country they party and attempt to find themselves. And then something happens… YOUTH is Larry Clark’s KIDS meets CHRONICLE. X MEN by way of FRANK OCEAN. It smashes together the violence of coming of age with the violence of the superhero narrative–as well as the beauty.

Youth is written by Curt Pires, with art by Alex Diotto, Dee Cunniffe drops the colors, and you will read Micah Myers’ letters.

Youth is a must-read for 2020, enjoy the interview below.

MFR: Did you need to write YOUTH, or did you want to write YOUTH?

PIRES: Both.

MFR: YOUTH nails that raw teenage rage, your comic is like the first time I heard Nirvana “Smells Like Teen Spirit.” Where does all this angst come from, and how do you capture it so well?

PIRES: A lot of the ways the kids feel–that frustration and anger with the world–these are a phenomenon I think we all experience in some way, regardless of age. I certainly know that I often find myself frustrated and perturbed by the way things are. The difference between myself and the kids in the book is I just channel that frustration and anger into my work. I work harder. Go above and beyond to prove the naysayers wrong and to shift the paradigm on issues I’m frustrated with. The kids don’t have that outlet–and lots of us don’t have this sort of outlet when we’re younger–so we deal with these feelings in more destructive ways.

MFR: You said, “There are lots of teen superhero comics, but most of them are written by writers closer to 47 than 17 and feel remarkably out of touch.” Do you think there needs to be a youth revolt in mainstream comics?

PIRES: I don’t know if I’d say a Youth Revolt, but things seem pretty stale and stagnant. There are certainly people doing incredible work in mainstream comics, but I do think opening the doors to creators of diverse ages and backgrounds would make things a lot more interesting, yes.

MFR: With the COVID-19, the comic book industry is at an evolutionary moment. What do you think the comic book industry will look like in 10 years?

PIRES: I’m not exactly sure. A more boutique approach. Less stores but better stores. The ones that are going to survive are the ones interested in cultivating an experience rather than simply selling books. Customer service-based business. More direct to consumer models.

MFR: How much world-building is involved with YOUTH, and how far do you see the series going?

PIRES: A ton. It could go from 20-30 issues ideally.

MFR: Talk about what Alex Diotto brings to the table? Do you have a favorite page from the series so far, which one and why?

PIRES: Everything. There’s no YOUTH without Alex. Alex is one of my most trusted collaborators. He’s also around the same age as me, 27 or 28, I think. So we have similar reference points and interests and experiences. There’s no one I think who could bring what Alex has brought to this book. I have lots of favorite pages, but I think my favorite has to be the third to last page of issue two… the big action page with like 20 panels. He nailed what I was trying to achieve and went even further.

MFR: In YOUTH #3, you have a 15-panel page. Can you take us through how you and Alex arrived at the final look? So much is said with no dialogue.

PIRES: Alex and I have worked together a bunch, and one thing we like to do is these higher density pages, that really have a kinetic and sort of action feel to them. In the case of the club scene, we sort of migrated that technique to a more character-driven beat–but we were able to capture the chaos, the loudness, the sensory overload of the nightclub through this higher density. These pages I typically write Marvel style and let Alex break them down. Then I’ll go back and write / craft / add dialogue where needed if it’s not already scripted.

MFR: YOUTH is an intense, fast-paced story, with a combination of hard-hitting witty dialogue. What’s it feel like when you’re creatively firing on all cylinders?

PIRES: First off, thank you, that’s very kind. I’m always just trying to do my best because I don’t know how to do it any other way. I imagine the team feels the same way. We try to leave everything on the field, to borrow a sports metaphor.

MFR: YOUTH got picked up for another round at Comixology, and the series has been picked up by Amazon Studios. What going to be the driving force to keep you motivated?

PIRES: I love this story and these characters. I love my team. I love getting paid to make stuff. Those three are all huge motivating factors.

What Comixology books do you read? Comment below with your thoughts.

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AfterShock Comics Exclusive Preview: DISASTER INC. #2

By

Anthony Composto - EIC

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May 28, 2020

disaster inc #2 aftershock comics exclusive preview

DISASTER INC. #2 hits your local comic book store August 5th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
Paolo, Abby, and Tosh lead their assemblage of “disaster tourists” deep inside the Fukushima Exclusion Zone for what they expect to be a (relatively) mundane experience…if radioactive hotspots, irradiated feral animals, and the promise of swift and harsh arrest by authorities could be classified as mundane. But this is an ancient place with no shortage of legends or ghosts. And nobody told the Samurai they were coming!

DISASTER INC. #2 is by writer Joe Harris and artist Sebastian Piriz, with letters by Carlos M. Mangual. The main cover is by Andy Clarke with Jose Villarrubia.

In a world on fire and rife with calamity, catastrophe, war, and unrest…you’re going to need the right guides to see it for yourself!

Check out the DISASTER INC. #2 preview below:

What is your favorite AfterShock Comics title? Sound off in the comments!

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It’s Punchline Vs. Harley Quinn In BATMAN #93 Preview

By

Kevin Sharp

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May 28, 2020

With comic book shipping now on the way back to normal, DC Comics has released a preview of Batman #93 by writer James Tynion IV, and artists Guillem March & Javier Fernandez. With new villain Punchline and the upcoming “Joker War” storyline, the next few months promise to be big ones in the Bat-books.

Here’s the description and some preview art:

PUNCHLINE VS. HARLEY QUINN, ROUND ONE!

Batman #93 Features the Biggest Showdown of 2020

In Batman #93 (on sale June 23), The Designer finally crosses swords (literally) with Batman as he reveals his grand plan for Gotham’s worst criminals to finally take control of the city! And if that’s not enough, this must-have issue features the showdown that every comic book fan has been waiting for, as Punchline squares off against Harley Quinn!

Batman faces off with the Designer as “Their Dark Designs” nears its epic climax! In the last year, Batman has lost more than he could have imagined, and now he faces a cost so dear it will change the course of his life. And there is worse on the horizon. Amid all the horror, he can feel the drumbeat of battle. “The Joker War” is coming, and Gotham City will never be the same!

Enjoy these interior pages featuring awesome art by Guillem March and Javi Fernandez, and don’t miss this issue when it hits comic book stores and participating digital retailers on Tuesday, June 23!

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Review: Allen and Thawne Team Up in THE FLASH #754

By

Jose "Jody" Cardona

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The Flash Teams Up with his Greatest Foe!

The Flash Age has been more destructive than ever expected. While Paradox has begun his journey through the timestream, Barry has done some trekking as well. He realizes the only person who had a chance of beating Paradox was the Reverse Flash. With that information, Barry runs to the future, hoping to find him. When Barry finds the future damaged, he realizes there is only one other place he can be: The past. He returns to his home the night of his mother’s murder and waits for Thawne. The evil speedster soon finds him and asks what has happened.

When he realizes how bad the damage is, Eobard proposes a team-up. Can they win, or will they kill each other first?

**Some Spoilers Below**

Story:

We open with Thawne explaining to Barry how difficult the battle against Paradox was. The villain arrived in the 25th century, and it took the united might of the Reverse Flash and the Renegades to defeat him. Thanks to Flash War, this is undone, and the two speedsters head back to the future for a weapon to fight him. Eobard reveals that his lightning rod, which could redirect the speed force into destructive energy, is perfect to face Paradox. Meanwhile, the time-manipulating villain continues to traverse the timeline. Each new place he comes to, he kills that version of the Flash.

While we don’t get as much action as I hoped from the last issue, we get something better: Tension. You can tell from the first page; Barry already hates every moment he spends with Thawne. The man who killed his mom belittling him for causing so much trouble would make anyone tense. It doesn’t stop there either. From the belittling to seeing the plan of Paradox unfold, this reviewer became more and more nervous as to what was coming. When readers see what exactly Thawne has in mind, they’re going to feel that tension too.

The problem I have with this issue is the reveal of Paradox’s plan. The villain is able to successfully kill Flash at legendary moments from across history, but it changes very little. This is implied that it’s because his actions still have revered as a hero. Paradox’s new plan is to make an even bigger paradox so he can use it to wipe out everyone. How he goes about it, however, doesn’t make a lot of sense. Maybe it’ll be cleared up in the finale, but as it stands, it doesn’t work for me.

Art:

I’ve made it clear that Rafa Sandoval is one of the best artists for this series in the past. He’s able to design characters exceptionally well, along with their powers. The Flash and his villains have been prime examples of that. There is a two-page spread near the beginning that shows the speedsters, and it looks incredible. From their determined expressions to the lightning flying around them, it’s just a great image. The colorists also played a part in allowing scenes like this to come alive. This team gave this book their best, and It shows.

Conclusion:

Overall this is a decent penultimate issue of The Flash Age arc. Joshua Williamson knows how to build-up tension as we approach the finale. As we enter into it, the stakes have never been higher for both the world and the character’s soul. When it comes to art, the team continues to knock it out of the park. The Flash series probably has the best art teams at the moment, continually rotating out. We have one more issue to go, and I’m on the edge of my seat.

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Review: THE BUTCHER OF PARIS #5: At Long Last, Justice

By

Justin Munday

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From writer Stephanie Phillips, artist Dean Kotz, colorist Jason Wordie, and letterer Troy Peteri comes the fifth and final issue of historical murder-thriller series “The Butcher of Paris.” This final chapter chronicling the final days of the serial killer Dr. Marcel Petiot is a frustratingly turbulent examination of due process that still brings about a satisfying end for all parties involved. With a stellar script and excellent visual work, “The Butcher of Paris #5” rounds out one of the most memorable series of its kind.

“Behind bars, Petiot proclaims himself a resistance fighter and patriot. As the trial begins, a new spectacle presents itself. With the magnitude of the murders coming to light, what possible justice can be served?”

Writing & Plot

Stephanie Phillips’ scripts in “The Butcher of Paris” have always played host to a delicate mix of historical political thriller, murder mystery, character drama, and horror. With this fifth and final chapter, she adds to that stable with a poignant treatise on the inner workings of the court as well as the gullible sensibilities of the bystander. Phillips goes out of her way to make Petiot as charming and clever as possible, to the point where out of context, one would deem him a likable chap. It is here that the frustrations in this issue are laid bare, as are the observations regarding the attraction to monsters. The court bystanders’ reaction to Petiot’s playful jabs is reminiscent of the modern attraction to more contemporary serial killers. Meta commentary aside, the climactic final showdown between Detective Massau and Dr. Petiot is a riveting and wholly satisfying affair that ends the only way it can – in dismemberment.

Art Direction

“The Butcher of Paris” has been gifted with the unique art of Dean Kotz. This final issue features some of his best work on the series yet, with detailed character facial models and atmospheric environmental art. His signature character designs are full of life in terms of emotional range, and offer a somewhat cinematic view of the story’s cast. The world of 1940’s Paris is drawn with a detail that draws the reader into the setting. Kotz is helped by the colorwork of Jason Wordie, whose choice of shading post-war Paris in rust-colored hues adds a tone specific to this comic that further envelops the reader into the bloody world the story explores. This aesthetic is finished by the jagged lettering of Troy Peteri, whose fonts add venom to the words spoken by the Butcher Petiot. The outstanding visual work is pitch-perfect for this kind of comic, and it’s an element worth picking up all on its own.

“The Butcher of Paris” #5 is a poignant finish to this unique and suspenseful mini-series. Stephanie Phillips’ script offers an intense final bout for both the hero detective and the titular killer, while also doling out some contemporary meta-commentary. Dean Kotz stylistic touch is full of detail, and with the help of Wordie’s colors and Peteri’s letters creates a series that is as visually striking as it is a thrill to read. Be sure to pick up this penultimate issue from your local comic shop on 5/27!

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Review: FRANKENSTEIN UNDONE #2 Moves Faster Than It Should

By

Zac Owens

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Written by Mike Mignola and Scott Allie, with art by Ben Stenbeck, colors by Brennan Wagner, and letters by Clem Robins, Dark Horse’s Frankenstein Undone #2 rushes to tell its story. The slow, quiet story from the first issue is brushed aside. What now follows quickly becomes confusing. Spoilers abound, so be sure you’ve read this issue from Dark Horse before reading this review.

Writing

Mignola and Allie are typically writers that take their time with their stories. The first issue in this series was proof of that. Very little happened, Frankenstein’s monster jumps from a ship and is “adopted” by a village. But it was all a compelling human drama about a character who was deeply worried he wasn’t human. Unfortunately, Mignola and Allie act out of character in this issue. The plot of the first issue is disposed of rather unceremoniously and with little sense of why.

Soon, Frankenstein’s monster finds himself back on a ship with a crew that seems almost unaware of the fact that he’s a monster. Their fear is minimal, at best. There is no mention of his scars or bolts. Frankenstein is immediately welcomed into the company of European gentlemen, though the book from which he sprung suggests things wouldn’t be that simple. In a sense, the entire premise of Shelley’s Frankenstein itself is abandoned. The monster is treated like a fellow human and has casual conversations. If this were the monster Shelley wrote about (as he was in the first issue) the novel would have had a far happier ending. In some ways, it feels like Mignola and Allie complete Frankenstein’s arc, but way too soon. He gets what he wants: acceptance and dignity. With too few obstacle, in too short a time. Which raises the question: what now?

Art

Stenbeck’s art, while stunning, does suffer in terms of clarity as well. In one scene, Frankenstein goes to sleep and wakes up to find the hut he now lives in long deserted, with the old man who lived there dead. He steps outside the old man’s hut to see there’s no village at all. It was all just a dream of some kind. But because we never see the old man and Frankenstein exit the hut, it’s unclear what we’re seeing. Essentially, we never saw the blank spot that used to be a village from that angle when it was a village. At first, it just seems like the old man’s hut is secluded and it snowed overnight. The actual extinction of the village is unclear. Of course, despite this, Stenbeck does a beautiful job. He manages to make Frankenstein look both terrifying and relatable at the same time.

Coloring

Wagner’s coloring does amazing things to clarify the events of the comic. He gives each “level of existence,” for lack of a better term, its own color palette. When Frankenstein is in the village, the hues are red and yellow. The color palette is warm. So when he wakes up to “reality,” the bleak greys and whites are as bitter as the sun in your eyes after a good dream. Wagner washes out the palette here so that everything seems to pale in comparison to what Frankenstein just dreamed. There is even a surreal purple twilight coloring given to the night Frankenstein goes to sleep in the village, and the morning he wakes to find it gone.

Lettering

Robins’ lettering is subtle but brilliant. He varies the size of lettering in characters’ lines slightly, so the change doesn’t take you out of the story. But you still get a sense of whether someone is yelling or whispering, without even having to think about it. Interestingly, Robins doesn’t include any sound effects in the village “dream state.” This accomplishes two contradictory things at once: it makes the village seem slightly wrong and unreal, while also feeling more real than anything else.

In the village scenes, there are plenty of moments when sound effects could be used. The lighting of a candle, even a fist fight. But not having them there makes the village seem too quiet, like something is up. Though, when sound effects are finally used, once Frankenstein is awake, they seem jarring. They remind us that we’re reading a comic. So, we find ourselves missing the village. It holds a deeper significance, it feels closer to real life than “real life.” At once, we’re made aware of the fact that the village is a dream, but feel that maybe the dream is more real than anything else.

This issue struggles. But it primarily struggles because this is an incredible creative team who’s first issue was fantastic. This issue, however, feels rushed and like a general abandonment of the tone and arc that the first issue promised. But, with three more issues to go, there is plenty of time for this team to steady the ship. Frankenstein Undone #2 is out from Dark Horse now.

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Review: THAT TEXAS BLOOD #1 Crushes You With Dread

By

Gabriel Hernandez

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THAT TEXAS BLOOD #1, available from Image Comics on June 24th, is the latest neo-Western series from Chris Condon and Jacob Phillips. Sheriff Joe Bob Coates is feeling the weight of age and the end of his career in the sleepy Texas county of Ambrose. What starts as a day-in-the-life profile of a Texas sheriff ends in a violent gut punch. Ambrose County harbors ghosts of regret and bloody secrets, and it’s not done with Sheriff Joe Bob just yet.

Cover Art

True to the genre, Phillips’ cover work is reminiscent of every Sergio Leone spaghetti western poster from the 1960s. Sheriff Coates is painted in great detail while the background is fiery red paint strokes. This style keeps you focused where it matters, squarely on the main character in his Hell on Earth. Phillips’ cover is a gorgeous piece that foreshadows the series perfectly.

Writing

Condon sets up a profoundly oppressive – almost crushing – sense of dread on nearly every page for this story. Sheriff Coates goes about his daily routine as he tries to forget it’s his 70th birthday. The gruesome acts of violence he’s witnessed in his career haunt him, and he increasingly thinks about how there’s less life ahead than behind. In many ways, Sheriff Coates’ story is about wanting to forget the bad things in life and how life finds ways to bring the painful past back.

As you can imagine, not everyone or everything is as peaceful as they seem in Ambrose County. Condon creates a world that’s slowly simmering underneath with anger and violence that keeps building through the issue. The publisher’s description makes comparisons to No Country For Old Men (2007) in tension and tone, and that would be accurate.

Pencils/Inks

Phillips’ art excels where it counts most for this type of story: the faces. The interior is much less detailed than the cover, so every panel Phillips draws is focused on the facial expression of the characters. There’s not a lot of action here, and when the violence happens, it’s brief, albeit no less shocking. So the weight of each panel is carried by the characters’ emotions. Sheriff Coates’ eyes are expressive, especially the wrinkles around the eyes that betray the tiredness he’s trying to hide. Without realizing it, you intuitively understand that every line and every wrinkle and every bruise is deliberately placed to let you know what the characters are feeling.

Favorite Page/Panel: The last panel on page 23 stood out as the favorite because it’s the only real bit of humor in the whole issue. The Sheriff radios to his wife that he has her casserole dish (you have to be there to get it) and the juxtaposition between the Sheriff’s comment and the events of the scene is both surreal and brimming with black humor. You know, at that point, that you’re in for a wild ride.

Coloring

Consistent with the poster, colors are a red-hued spectrum that immerses the reader in the heat and oppression of this Texas setting. In another story, the colors would look flat and garish. Combined with the artwork here, the colors become feverish and tense, adding to the slow burn of the story.

Lettering

Since this is more a character piece than an action book, there’s a heavy emphasis on the dialog. Specifically, you have a county where folks who’ve known each other forever interact in short phrases and casual chit chat. The dialog needs to feel authentic and real, and the lettering completely works on that level with the artwork. The short, clipped phrases spoken by each character are executed just right to make the reader feel like they’re witnessing a conversation that can happen on any street corner or grocery store of some old town.

Conclusion

THAT TEXAS BLOOD #1, available from Image Comics on June 24th, is a slow burn that packs a punch at the end. The writing builds tension almost to the breaking point, and the artwork convinces you there are ten years of history behind every glance. THAT TEXAS BLOOD #1 is a must-read book for neo-Western fans.

Author’s Note: Local Comic Shops (LCS) are going through a tough time right now with the pandemic outbreak of COVID-19. Comics fans of every flavor that care about his or her LCS should try to do what they can. So, here’s my part:

If you’re in Northern Delaware, South East Pennsylvania, or Southern New Jersey area, please take a moment to visit Captain Blue Hen Comics in Newark, DE. Say ‘hi,’ pick up a book, order a book (they’re on Comichub.com), and let them know you support them.

If you’re nowhere near that area, please find YOUR LCS using Comic Shop Locator and lend your support.

Thanks, and stay safe.

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I’d Buy That For A Dollar: TERROR INC. #12 (Marvel Comics June 1993)

By

Manuel Gomez

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May 27, 2020

Welcome to ‘I’d Buy That For A Dollar’ a column where I will be exploring the weird and wonderful world of dollar bin diving. The only rule is each and every comic is purchased for one dollar (or less!).

This week’s comic is Terror Inc. #12.

Terror Inc. #12
Written by: D.G. Chichester
Pencils by: Kirk Van Wormer
Inks by: Bud LaRosa, Jason Temujin Minor, Steve George
Colors by: Kevin Sommers & James Hoston
Letters by: Vickie Williams

Terror Inc. has to be one of Marvel’s weirdest 90s books (and that’s saying A LOT). I don’t ever remember reading it much as a kid, but it was definitely present on spinner racks. I probably had one issue at most. Terror Inc.’s origin is very complicated, but the main thing you gotta know is he can attach the limbs, body parts and organs of people and absorb powers and or memories, etc. It’s gruesome shit and borders on Cronenberg levels of body horror. It could almost be a mature readers title (a relaunch of it was actually put out under Marvel’s Max line not long ago).

This issue has Terror teaming up with Siver Sable and Luke Cage to go against a demon called Priapus. It’s the fourth chapter of a six-part arc, so the plot is hard to grasp. Still, there are plenty of crazy images and the whole issue has S&M and sexual undertones that I don’t think any kid would have understood back then. The issue definitely makes me want to read more and I’ll grab any I see in dollar bins from now on. Anyway, let’s look at some pages!

And I just had to end it with this following ad for acne medication. How perfect is it to sell acne meds with comics!

You can find great dollar bins at almost every local comic shop. So find a shop, ask a comic clerk what they can do for you during this time and get some dollar comics! Pick them up curbside and have them delivered if you must!

Got your own awesome dollar bin finds? Toss them at me!
Send emails to manny@monkeysfightingrobots.com
Follow me on Instagram: _idbuythatforadollar_
Tweet at me: @MannyG1138

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KILLING EVE – Still Got It | TV Review

By

Kieran Freemantle

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“Still Got It” was a unique episode of Killing Eve as it divides its story into individual perspectives.

After discharging himself from a psychiatric hospital, Niko has returned home to Poland. Because of this Eve has fallen into a depression but given hope when Niko sends a photo. Villanelle finally gets promoted to be a keeper by The Twelve but Konstantin asks for a favor. While Dasha gets told by The Twelve that she needs to rein Villanelle in.

Due to this episode being structured as individual point-of-view it end up having an overlapping timeline as various characters cross paths. “Still Got It” was the Killing Eve version of The Simpsons episode “Trilogy of Errors,” an experimental episode that told the same story from three different viewpoints. Another Simpsons comparison would be the episode “22 Short Films About Springfield” which told individual stories that occasionally intersected.

The approach used by the writer Elinor Cook and director Miranda Bowen makes “Still Got It” stand out as an episode. If the episode didn’t use this style of storyline then it would have been a standard episode, i.e., Villanelle does some killing, Eve and Konstantin do some investigating, and Carolyn makes some sort of backroom deals.

The strongest story in the episode was Eve’s. In the episode Eve had stopped caring about her appearance and hygiene and gets taunted by Villanelle who sends her a birthday cake. Eve has an emotional heart-to-heart with Danny as they reveal all the bad things they have in their lives. It hints that the pair may form a romance. Eve has been the ringer this season, she started in a low place and she has sunk even lower by this episode.

Gemma Whelan also has a moment to shine as Carolyn’s daughter, Geraldine. Whelan has a powerful monologue when she states she’s worried about her mother because Carolyn doesn’t talk about Kenny. Whelan was best known for playing Yaya Greyjoy in Game of Thrones, a badass warrior woman, so she gets to show her range by playing a more vulnerable character.

Jodie Comer continues to be great as Villanelle. She finally gets to interact with Konstantin like they used to. In this case, Villanelle acts like a child when in a cable car. There was also an important development because Villanelle wants to go to Russia and find her family, information that Konstantin has. Villanelle showed her sadistic side when she goes on her assassination mission in this episode. Villanelle plays with a grieving widow and showed herself as the psychopath she is by acting kind before killing the woman.

As well as the character drama “Still Got It” continues the plot point involving the missing $6 million. Even though the accountant in the previous episode was suspected to have taken the money, Carolyn believes that there was some else stealing from The Twelve.

“Still Got It” was a decent repacking of a standard Killing Eve plot and sets up something interesting for the next episode.

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