On March 31st, 2017 Grimm aired its final episode on NBC. A show that was part police procedural and fantasy show, I’ve followed this show since it started in 2011. It’s a series that frustrated me and entertained me all at the same time. Now this show was never a critical darling or anything like that, but it was fun and I couldn’t help but like it. I think I’m not alone in saying that even though it had a good run, we’re gonna miss it. In a random edition of the Wesvolution, I’m going to talk about Grimm and my adventures with the show. It’s been a great journey and I want to share some of my experiences with the series here. Welcome to the Grimm edition of the Wesvolution.
I really am going to miss Grimm a lot and I appreciate any of you reading this one. This is a personal one for me.
Now why you ask is this so personal, well it was the rare show where I actually got my Mom to watch it. See my Mom and fantasy shows don’t mix but Grimm somehow hooked her. The Wesen aspect of the series never bothered her and she found herself liking it. I think why some people who may not have been huge into fantasy but liked this show was straight up the characters. This show had possibly one of the most likable casts on TV, as well as an adaptable premise. It was the rare show that could go from fantasy and police procedural without breaking a sweat. Grimm relished in being a show that could go in any direction at any given time and that’s a rare feat.
If you look further into the characters they all fit a unique piece of the Grimm puzzle. You had Nick working as a homicide detective with his partner Hank and Sergeant Wu handling the police procedural side. Then Nick would handle the Grimm side hunting the Wesen of the week, along with his Wesen pal Monroe and eventually Monroe’s wife Rosalee. After all that Nick would come home to Juliette, his girlfriend for most of the series, who had no idea he was a Grimm initially. Then eventually as his police station pals and his girlfriend found out he was a Grimm, even that worked well in the show. Heck even Nick’s Captain/Wesen Sean Renard gets in on the fun as time goes on. It found a formula and it worked.
Though even when Grimm went haywire at times, I still loved it.
As the formula got bigger more complex stories developed and it got haywire but fun. You had Hexenbiests like Adalind get involved, secret organizations, and it went nuts. Grimm worked best when it was being a little nutty, still doing the Wesen of the week police stories, and somehow still working. This is a rare feat for a show to pull off and it pulled it off well for six seasons. That’s amazing to think about and Grimm was on Friday nights most of the time, that’s amazing. It’s why NBC left Grimm alone on Fridays after a while because it did well in that slot so why mess with it?
I may dive into more aspects of dissecting as to what worked and what didn’t work later. Right now I am just saying goodbye to a show I’ve watched faithfully for six seasons. It had some mild bumps in the road but my goodness it was a lot of fun.
Grimm, you were a grand series indeed.
What I will always remember most is this was a show I watched with my entire family and that makes me smile. It’s been a good run and now the series is over. May Grimm live on in streaming, syndication, and whatever other media it pops up in. It was a good show that went all over the place but never stopped being fun. Cheers Grimm and cheers to all involved with the show. A fun ride was had by all.
Stunning visuals and pulse-pounding action aren’t enough for Rupert Sanders’s Ghost in the Shell to overcome lackluster writing and a poor performance from Scarlett Johansson.
Summary
The story centers around a cyborg operative named Major Mira Killian. She is one of the heads of an anti-terrorism task known as Section 9 based in a futuristic city in Asia. Major, Batou (Pilou Asbaek), Togusa (Chin Han), and section chief Aramaki (Takeshi Kitano), are tasked with investigating cyber crimes in a world where terrorism is simply hacking into a person’s digitally enhanced brain to control them. A trail of dead bodies and collateral damage leads the team to a hacker named Kuze (Micheal Pitt). Kuze is a part cyborg and has a massive vendetta against Hanka Robotics. However, the only thing on his mind is Mira. Kuze is driven to get closer to Mira. Is he just setting her up to be brutally slaughtered or does he have critical information that will shatter her world?
Acting
Johansson’s performance can only be characterized as a disappointment. Major is a cyborg who is struggling with her humanity, none of which comes across on-screen. What we do witness is a mix between Lucy and Black Widow with an Asian flair. Pilou Asbaek plays her partner Batou, and he delivers more of a layered performance in the film than she does at any point during its two-hour run time. The biggest travesty wasn’t Sanders failure to cast an Asian woman as the lead, but believing Scarlett Johansson has the acting chops to pull of Mira’s complex transformation to a self-aware cyborg.
Writing and Direction
The problem from the onset is screenwriter Jamie Moss, and director Robert Sanders lacked any focus when developing this film. They certainly read the original manga, seen all the earlier films/television shows, but didn’t develop a rock solid narrative that allowed these characters to translate successfully on screen. Instead, Moss and Sanders cherry-picked some of the more well-known elements from all their research and pieced this film together. One minute we are dealing with Major realizing her mother is still alive. The next moment we are watching tanks try to blow her out of the sky and just when you think the movie is coming into focus, Major is talking about manifestos she’s written against technology. This helter-skelter approach to storytelling might appease fans of the series, but it will turn off everyone else.
Visual Effects and Action Sequences
Ghost in the Shell is the most visually stunning film to be released so far in 2017. Special effects companies MPC and Weta Workshop team up to create a bright and vibrant cityscape bursting with psychedelic colors and stunning architecture. They skillfully utilized shadows to separate what most would refer to as the “safe” and “rough” areas of town. These effects weren’t just limited to the exterior buildings. The interiors were bursting with eye-popping reds but had a more of a darker tone than the outside world.
The action sequences were reminiscent of The Matrix. There’s a sequence where Major jumps into action from the top of skyscraper shattering a window in slow motion, which had all the feel of Neo dodging hundreds of bullets on top of a building. Major then vaults of the side of the of the wall (as if she was flying) shooting most of the assailants. The intensity of each action sequence and the visual effects were certainly the best parts of Ghost in the Shell.
Overall
Ghost in the Shell has indeed been criticized by both critics and fans. Fans still are up in arms over the casting of Scarlet Johannson and critics are having real issues with how this narrative was constructed. However, it would be foolish of me to just join in the chorus of boos. The action sequences and visual effects alone warrant audiences paying to see Ghost in the Shell. Fans of the series should certainly see this film as well. Just remember that you aren’t paying for art. You are paying to see Major kick some ass.
In theaters around the country, Danny Boyle’s ‘T2 Trainspotting’ is a quality sequel that doesn’t rehash the same narrative but builds on it.
Summary
It’s been 20 years since we have seen Mark Renton (Ewan McGregor) ditch his partners in crime and take 16,000 pounds of drug money that wasn’t all his. We find out that Renton did leave Spud (Ewen Bremmer) his cut, but he kept the portions belonging to “Sick Boy” (Jonny Lee Miller) and the dangerous Begbie (Robert Carlyle). Renton has been living in Amsterdam and working as an accountant. Mark is clean and feels he should go back home to own up to his past actions. Spud is still a Heroin addict who seems to have a death wish. Sick Boy runs a pub by day and runs scams at night with his girlfriend Veronika (Ahjela Nedyalkova). He appears to have two goals in life – snort more coke than any human alive and turn his pub into a working brothel. Begbie is denied parole once again causing him to be enraged and knock out his court-appointed attorney. He immediately sets his sights on breaking out jail. Unfortunately, it involves him being shanked by one of his fellow inmates. He eventually escapes and heads home. Begbie has delusions that a reconciliation with his family is possible. This plan immediately takes a back seat when he learns that Renton is back in town. Begbie would love nothing more than to kill the man who once stole from him.
Writing and Direction
Oscar-nominated screenwriter John Hodge crafts a screenplay with some familiar beats to the original film. However, T2: Trainspotting isn’t the same story of 4 Scottish men lost in a word of drugs and crime. It’s a story of redemption. Spud is starting to take up writing about his adventures growing up in the hopes of proving his self-worth. “Sick Boy” is tired of a life where he’s financially struggling and wants to make it big (even if it means opening up a brothel). Begbie wants his family to love him again. Mark only wants forgiveness for his past transgressions.
Hodge realizes that even though this narrative is different, the fascinating part of this film is what utter messes these men are. Boyle understands this as well and does not let the audience forget it. Instead of keeping the focus on moments of dialogue discussing redemption and forgiveness, we are treated to scenes of Sick Boy chasing a man with a fake penis. While some might have anticipated some heated moments during the film, audiences will roar with laughter when they see the chase sequence between Begbie and Mark.
Acting
Often when a sequel is released, it’s missing a certain spark amongst the actors. T2 appears to be the exception. The spark in this film isn’t derived from one standout performance but the chemistry of this ensemble. Each character is an integral part of the tapestry of this new tale. Eliminate one of them, and the story ultimately falls apart.
For example, there is a story line that involves Viktoria trying to con Mark, Spud, “Sick Boy” out of the small business loan they have received. All of this is occurring while Begbie is scheming how to corner Mark and get his revenge. If Mark or “Sick Boy” are eliminated, then the story loses its love triangle dynamic. Remove Spud and the whole part of the storyline where Viktoria offers to run off with him disappears. If Begbie isn’t part of the story, then the whole narrative is far less fun.
Cinematography
Academy Award-winning cinematographer Anthony Dod Mantle once again pairs up with Danny Boyle for the Trainspotting sequel. Mantle uses hand-held cameras to capture the most intimate of moments on film. For example, during the first act, he pulls in tightly using a handheld camera to capture on Spud’s suicide attempt. Those 30 seconds were chilling, and the shot of his face struggling for his last breath was horrifying. My only regret is Boyle didn’t utilize Mantle like he was on Slumdog Millionaire (the film he won an Oscar for).
Overall
T2: Trainspotting revisits some of the more nostalgic moments from the original movie. We witness these lovable band of losers still running amuck through Edinburgh. Even the soundtrack includes some songs from the original. However, there is nothing stale about Danny Boyle’s latest project. He deftly weaves in themes of redemption, forgiveness, regret, and sadness with some intimate moments from the first film. The result is a final product that appeals to an older generation of fans and drives new ones to his work.
Whether the first episode is constantly pulling you in or forcing you to pull out, here is my two cents on the anime Shokugeki no Souma, A.K.A Food Wars.
Summary:
Shokugeki no Souma follows young chef Yukihira Souma as he progresses at the rigorous culinary school, Totsuki Culinary Academy. Previously instructed by his father at the family diner, Souma is considered lowly within the prestigious school. Despite this, Souma aims to become the number one chef at the school declaring so at the entrance ceremony. However in order to do so, his only choice is to partake in the Shokugeki, a 1v1 high stakes cook-off between students. Will Souma make it to the top or crumble beneath the pressure and face expulsion?
Thoughts:
Shounen Jump’s titles tend to have a focus on three key criteria. Friendship, effort, and victory all shine through Shokugeki no Souma to an extreme. Yukihira Souma plays the character that we all wish we could be. Someone who pushes themselves to the furthest extent and gets results. Maybe that is what draws us to watch Souma work towards greatness or possible failure. Maybe for others it is the fan service for both genders, but hey I’m not judging.
Review:
While I can’t give it the #1 spot for my favorite Shounen Jump Manga/Anime, I don’t mind giving it a solid spot in my top 10. What Shokugeki no Souma lacks in my opinion is secondary character depth. Being able to watch Yukihira Souma grow is fun, but that is all we get. The growth of everyone around him isn’t apparent and to an extent uninteresting. Other titles like One Piece excel at secondary character story lines and that is why it ranks higher than Shokugeki no Souma in my opinion.
However, when a manga/anime is both interesting and not too far from reality, that is when a interest becomes impulse. Using actual culinary techniques from various cuisines shows the depth of research done. Other titles such as Kuroko no Basket choose alternative routes by indulging in fantasy skills that can never exist within every character. While Kuroko no Basket is entertaining, I always find that something relatable will always surpass the surreal. This is what keeps me coming back for more.
Verdict:
Unfortunately Shokugeki no Souma hasn’t been aired consistently as it has been cut into seasons with fairly long breaks in between. Up till now, only season 1 and 2 have been aired with season 3 on its way. While this may be a deterrent to some, don’t fret the manga is still ongoing and in my opinion it only gets better.
If you like my anime review and want more like this, please comment below!
Since the live-action remake of Ghost in the Shell is about to be released in theaters – now is the time to look at the influential anime classic.
Major Motoko Kusanagi is a cybernetic officer for a special police unit. She is faster and stronger than regular humans and is able to connect to the internet so she can communicate with colleagues: she can even drive a car with her mind. With her police partners, Batou and Togusa, set out to find a notorious hacker only known as the Puppet Master.
On paper Ghost in the Shell has a simplistic police plot and has a run time of 83 minutes: yet this surface information hides the fact that the film is incredibly dense. It’s a film that goes through more complex ideas and philosophies than many films twice its length.
Ghost in the Shell was originally an attempt to make anime more mainstream in the West and while it failed in that objective, the film became a cult hit. It is seen to be as important as Akira by Western anime fans and an essential film for people exploring anime to start with. The Wachowskis used it as an influence on The Matrix: they pitched the film by showing producer Joel Silver Ghost in the Shell and telling him they wanted to make that in live action. Ghost in the Shell is also influential in the cyberpunk genre which was big in the ’80s and ’90s, showing the continuing influence of technology on humanity and humanity’s dependence on it. One of the main themes of the film is what makes someone human? Does the cybernetics take it away? It also plays a part when it’s revealed who the Puppet Master really is. Is humanity based on biology or self-awareness? Due to the people having robotic parts in their brains their memories end up getting manipulated – leading characters to question their own sense of reality.
It is clear how the film influenced The Matrix: such that both films feature characters having computer ports on the back of their necks as well as some of the elaborate action sequences. Another influence on Ghost in the Shell is Ridley Scott’s Blade Runner: both films have an investigation storyline, set in a futuristic dystopian city and have similar themes about the nature of humanity. Both leads have similar concerns about their memories, consciousness, and identity – although Motoko’s are more overt.
As to be expected from an anime film the animation is of a high standard – creating cityscapes that could rival anything in Blade Runner while the action scenes and showing off of the technology were a delight to behold. Yet it wasn’t just the big grandstanding moments that impressed, there was great little touches in the animation – like facial expressions like when a suspect looks his ghost (soul/consciousness) and a great attention to detail.
Ghost in the Shell also shares Blade Runner text introduction that gives the audience a quick bit of context. Yet even with this information, the film throws you into the deep end where Motoko is spying on someone trying to defect to another nation and following with officials talking about the incident. It does add a certain realism to the world but this introduction does not have much bearing on the plot – nor is it the best showcase of Motoko’s abilities.
Ghost in the Shell is a quintessential anime film – deserving of its cult classic status. It works both as a fun sci-fi and as something deeper and doing it in a short but sweet package.
To say the X-Men have had a tough time in the Marvel Universe lately is an understatement. Now X-Men: Prime #1 starts off the ResurrXion of the X-Line. I guess you really would call this X-Men: Rebirth as this is how the comic operates in a way. It’s got as tough a haul ahead of it as Inhumans Primehad. I think the X-Books have more good will behind it while the Inhumans are a different story. A lot of us have been rooting for Marvel to get the X-Line back in shape again so now we get to see for ourselves. All I’m hoping for is a good gateway into the line and a good read in general. Let’s get this party started as I dive back into the realm of mutants once more with X-Men: Prime #1.
So we’re going to apply the same rules with X-Men: Prime as we did with Inhumans Prime. First off, is this new reader friendly?
At least this time this will be easier to answer, thank goodness.
Yes, this is new reader friendly. I kid you not, if you are picking this up as a lapsed reader or new to the team, you will be okay. For the lapsed X-Fan or for the readers rooting for the team, oh yeah you’ll love this. I wish I knew who wrote what parts of the comic because Marc Guggenheim, Greg Pak, and Cullen Bunn worked well here. Whoever came up with Kitty Pryde being the focus character of this story, well done. Pryde is the perfect way to bring any reader new or old back or into the X-fold. This book also did the smart thing of having a recap page where Inhumans Prime didn’t. There is so much this comic gets right as a story and as a way to get readers engaged, I can’t help but love it.
Alright, we have established that this is new reader friendly. So why is X-Men: Prime such a good read?
I mention Kitty Pryde as a major plus for this working as well as it does. Establishing her back in the X-Universe is perfect. In turn that leads us on a journey through X-Men past, present, and now we can look towards the future. There’s also a quick aside for Lady Deathstrike to set up the Weapon X series, I like the idea behind it. See what X-Men: Prime does that Inhumans Prime glitched up on is getting people hyped for all the series. It set up the concepts for what’s to come for at least the next month or so and it works. I like seeing Kitty’s journey through the mansion and finding her place again. I like learning more about Storm’s struggles in the aftermath of Inhumans vs. X-Men, this is great stuff. The story sets up a bright future for the X-Team to come and that’s awesome.
Wow, the future looks bright for the X-Men, who would have thought? Strange times my friends, but I like it.
Okay we have a good story and a lot of great ideas happening here but what about the art in all of this, how does that fare?
This is another situation where I really wish I knew who did what pages here art wise. We have four artists, Ken Lashley, Ibraim Roberson, Leonard Kirk, and Guillermo Ortego. For this one, it works a lot better as a whole artistically. While the styles are all different, it looks good as a whole and there isn’t the artistic whiplash that Inhumans Prime had. It’s tough to judge when I don’t know who did what but as a whole it looks good. There’s also three colorists here, Morry Hollowell, Frank D’Armata, and Michael Garland, and even they look great here. It’s a strong package all around, it’s surprising how well everything works here. It’s impressive honestly and it is great to see a team work this well together.
Wow, X-Men: Prime did work better as a whole than Inhumans Prime huh? I’m pleasantly surprised. This is a good sign for things to come for the X-Line.
Let’s wrap this up simply, if you are a fan of the X-Men, you are going to be really happy. It channels the classic X-Men vibe while going forward into something new and possibly exciting. Now this could go easily go haywire but I am veering towards optimism here. It is nice to be optimistic about the X-Men for a change. X-Men Prime #1 was a great read and I’m hoping it wasn’t a fluke. If it isn’t a fluke, we are in for a great time. ResurrXion, I am ready for you.
Adrian is a man tormented by ghastly waking nightmares. Pushed to a point of desperation, he reluctantly turns to past life regression hypnotherapy as a means of understanding and treating the unwanted visions. When his consciousness is cast back through time, Adrian witnesses a scene of horrific debauchery and diabolism before waking up. But Adrian’s more unsettled than before and something dark and unnatural has followed him back… Now Adrian finds himself descending into a world of occult conspiracy, mystery, reincarnation, and insanity—from which there is no escape.
Regression #1 Written by: Cullen Bunn Art by: Danny Luckert Colors and Lettering by: Marie Enger
Published by Image Comics
Image Comics has been releasing some of the best horror comics in the business, and now we can add one more to their ever growing list of fright. Regression by Cullen Bunn, Danny Luckert, and Marie Enger is one terrifying trip. It’s expertly paced, shockingly gory, and straight up disturbing. Read on for 11 reasons that Regression #1 will give you nightmares!
Cullen Bunn’s very real characters and their honest terror and what they see.
There you have it. If you’re a fan of very psychological AND physical driven horror, pick this book up when it comes out. I guarantee it’s going to be the next big horror hit.
AfterShock Comics invites you to check out The Normals, a new series that will have you questioning your own reality. Preview the first issue below!
Think about your “life” for a moment…the people you’ve known, the one’s you’ve loved, and all the stuff in between. Now imagine you learned that everything YOU believed, everything YOU lived, everything YOU felt actually never happened…it was ALL not real. But it is REAL to YOU and you now must fight to save it and everyone you love. But to do that, you first have to save the world. Welcome to “The Normals.” an exciting new rush-of-blood-to-the-head series and AfterShock Comics.
Created and written by Adam Glass (executive producer of Supernatural & writer of Suicide Squad) with art by Dennis Calero (X-Men Noir).
And check out this awesome fan-made trailer for the series from DarwynsTheory on YouTube:
The Normals hits shelves on May 24, 2017. Preorder it today with item code MAR171238.
There are few names in comics that are as well-known as Jack Kirby and Joe Simon. Kirby co-created, with Stan Lee and others, nearly every Silver Age character for Marvel, including The Fantastic Four, Dr. Doom, the Incredible Hulk, Thor, Iron Man, Cyclops, Jean Grey (then Marvel Girl), the Beast, the Angel, Iceman, Prof. X., Magneto, the Inhumans, the Black Panther, Galactus, the Silver Surfer, and the list goes on.
That’s not Mad, that’s Sick!
Simon’s career was similarly creative but didn’t involve as many superheroes. He became a big name in romance and satirical comics, though, founding Mad competitor Sick. Simon did eventually go back to capes and tights, though, co-creating the super-weird team The Outsiders with Jerry Grandenetti for DC.
But, although Simon and Kirby both created their fair share of heroes, none had both the lasting popularity and influence of their first big hit Captain America. So, neither could resist rehashing the idea in 1954 when competitor to their Crestwood Publications‘s, Atlas Comics — a re-branded Timely Comics — retrieved the good Captain from comicbook limbo. This rehash’s name was Johnny Flagg AKA Fighting American, and he, along with his sidekick Speedboy, kept America safe from commies.
Simon & Kirby’s Fighting American: “Are You Kidding?”
No, I’m not kidding. But after the first issue, Simon and Kirby may have been. The plots get increasingly ridiculous as the series progresses. And that’s no small feat considering that the premiere issue starts with Fighting American’s confusing origin story.
Fighting American’s origin starts with Nelson Flagg, a mild-mannered weakling. Nelson’s brother is Johnny Flagg, a handsome war veteran who keeps the American people apprised of commie threats via his TV talk show. Though Johnny’s a former athlete and war hero, he now walks with crutches due to an injury sustained in what was presumably the Korean War. Johnny and Nelson, on top of being brothers, are also colleagues. The mild-mannered Nelson writes the material, and Johnny delivers it on the air.
But the fraternal work relationship is not meant to be. A commie retaliation to one of Nelson’s well-worded pieces of propaganda sees Johnny at the receiving end of a hail of gunfire. Johnny dies, but the US Army offers Nelson a confusing and creepy chance to become a hero.
Simon & Kirby’s Fighting American: Zombie Bro
A nameless colonel asks Nelson if he’s willing to give his life to bring Johnny’s killers to justice. Nelson agrees and the colonel describes a process the US Army has developed that will allow them to turn an ordinary man into a “virtually indestructible agent of the future.” Seems pretty familiar so far … but wait. The twist is that, rather than subjecting Nelson to the necessary treatments — as they did to the puny Steve Rogers — the colonel and his team revitalize Johnny’s corpse. The colonel’s team transfer Nelson’s consciousness to Johnny’s revitalized body, and (the undead freak of nature) Fighting American is born!
Aside from the palpable creepiness of switching bodies with your brother’s corpse, one wonders why the colonel’s team didn’t just suggest revitalizing Nelson’s body. Weak though Nelson may have been, his body would probably have been in better shape than the bullet-riddled corpse of his wounded war hero brother. But, that’s military intelligence for you I guess.
Simon & Kirby’s Fighting American: Pre-Jenny McCarthyism
It’s tough to say whether Simon and Kirby created Fighting American as a reaction against or as propaganda for McCarthy era politics. If they are a reaction against McCarthyism, they’re not overt. Instead, Soviet Russia is the butt of quite a few jokes in the original 7-issue run, and the USA is made out to be a paradise that defectors dream of. But, since I’m not a historian, rather than getting bogged down in the dysfunctional politicking of the ’50s, I’m going to focus on a specific story in Fighting American #4 (October 1954), “Home-Coming Year 3000.”
But before I do, I should say a little about Speedboy, Fighting American’s sidekick. Much like Bucky, Speedboy has no super powers. And, again like Bucky, Speedboy is not a reanimated corpse. Instead, he’s just a pageboy Fighting American meets and recruits in his super-dangerous mission to protect America from the communist threat. OK, now on to “Home-Coming Year 3000,” a non-sequitur if ever there was one.
Simon & Kirby’s Fighting American: … On Opium?
This is by far my favourite story in the original run of Fighting American: Johnny sleeps and dreams of the distant future. He dreams that he’s an explorer, also named Johnny Flagg, returning from the planet Canopus 4. Johnny relates his adventure to his shuttle pilot while sitting with a mysterious white cube on his lap that he describes to the pilot as alive.
Johnny’s description paints Canopus 4 as a planet full of hostile life of all different forms. Amid the barrage of terrifying animal and plant life, though, Johnny meets Kleeter, a boy dressed in the same manner as Johnny but bald except for a shock of hair on top of his head. Johnny determines that Kleeter is part of a race of telepathic shape-shifters.
After Johnny learns the shape-shifters’ language (but aren’t they telepathic?), they take Johnny to a cave where the shape-shifters use their telepathic powers to kill a “spole,” essentially a huge gelatinous organ bag. They do so, and here Johnny finishes up his story to the shuttle pilot.
Simon & Kirby’s Fighting American: “Why Is It On Your Lap Then?”
The pilot asks about the white cube on Johnny’s lap, and, to the pilot’s surprise, it turns into Kleeter. After the big reveal, Kleeter turns back into a cube (on Johnny’s lap the whole time), and Johnny takes a catnap while the pilot docks the shuttle. Johnny wakes up back on Earth (apparently he and Speedboy sleep in the same room) in 1954. Johnny describes his futuristic dream, and then, in a zeitgeist-defining caption, a maudlin Joe Simon ends this weird tale with a final thought, “So, on with the gloomy present — and the mad whirl of action, intrigue and aggravation in the war of ideologies. Fighting American and Speedboy have rolled up their sleeves and are ready for the next adventure!”
I’m not sure if Simon and Kirby meant to have this kind of futuristic story become a mainstay of Fighting American, but this is the only issue in the original run that features this brand of wild science-fiction, and it sticks out like a diamond in the rough.
Simon & Kirby’s Fighting American: The Art
Jack Kirby is a genius in any decade. His work on Fighting American, although derivative, is just as dynamic and “krackley” as anything else he did. I particularly liked the spole as Kirby’s take on some Lovecraftian nightmare. Beyond the spole, though, Kirby’s mastery of the grotesque is on full display in villains from other Fighting American stories such as “Square Hair” Malloy and Yuscha Liffso.
Simon & Kirby’s Fighting American: The Writing
As you may have guessed, I didn’t have as much time for the red bashing punch ’em ups as I did for Fighting American‘s lone science-fiction story. But, either way, there’s no denying Simon’s writing talent. I think this talent was on full display in “Home-Coming Year 3000,” especially in passages like this one, “There is no up or down or side here — nothing too small, nothing too large — here it is limitless, boundless, silent. Time is like that … beyond size or space or sound … here is where past, present, and future meet like merging traffic … as Johnny drifts in that unguessable stream … along a celestial highway.”
Sure, Simon mixes his metaphors a bit at the end, but this is quality writing for a comicbook from 1954. Aside from this dreamy passage, though, Simon’s description of the world of the future shows an Asimov-like creativity, for instance, “He rises from his pressure couch, happy to be back among familiar surroundings,” or “The glove lining around my left forefinger held a compact fusion charge unit! I simply pointed and fired.” It just goes to show that even when working on a derivative knock-off, there’s still opportunity for great work … unless you’re Zack Snyder (I kid, I kid).
In case you weren’t aware, Monkeys Fighting Robots reviews movies. Like, a lot of movies. And not to toot our proverbial horns, but they’re pretty great reviews. But we don’t want to stop at providing some of the best reviews the internet has to offer. We want to enhance your film-viewing experience!
Have you ever wondered what “the second act sags” or “the character motivation was unclear” means? Or maybe you just want to say more than “it’s good/bad” when a friend asks how a movie is? Don’t worry; we’re here to help. And since Rogue One came out on DVD/Blu-ray today, what better place to start? Without further ado, this is: Let’s Learn About Movies: The Three Act Structure.
Disclaimer
The three act structure is not a “fact” per se. It is a critical theory that can be applied to most films because of how narratives are often constructed. It is a standard of sorts, and a very convenient way to organize and critically think about a film.
Also, there are ***SPOILERS*** ahead for Rogue One. Onward!
Narrative Structure: 3s and 8s
The three act structure is all about tension. Tension is created when a complication is introduced that upsets the status quo, causing conflict. Tension is released when that complication is resolved, bringing about a new status quo. Characters have their own tensions that can be reduced very simply to wants and needs. What a character wants drives the journey (the second act), while their need drives the third act (the third act).
Tension in a narrative is centered around the protagonist, the character through which the story is told. This does not need to be who the story is about: the most recent and best case in point is Mad Max: Fury Road, which is undoubtedly Furiosa’s story, but is told through Max, and therefore he is the protagonist.
Sets of scenes organized around creating and resolving specific tensions are called sequences. There are eight sequences: two in the first act, four in the second, and two in the third. In larger terms, the first act sets up the primary tension, the second act changes and resolves it, and the third act solves new tension.
Simple right? Don’t worry, it makes more sense when you see it. Let’s get to it.
Rogue One, Act 1, Sequence 1
Sequence 1 sets everything up. It contains:
a. The status quo (or the background) of the world and protagonist. Krennic and his Deathtroopers land, kill Lyra Erso, and kidnap Galen Erso. This establishes the Empire and Krennic as antagonists. We are also introduced to our protagonist, who is a pseudo-orphan and, 15 years later, an imprisoned criminal.
b. This is the point of attack, or the thing that gets the ball of the plot rolling. Cassian Andor meets Tivik, an informant. He tells Cassian that an Imperial pilot sent by Galen has defected, and has information about a “planet killer” weapon that the Empire is building.
c. The inciting incident, or what brings the protagonist into the plot. This is the first complication, disrupting the status quo. Cassian and K-2SO rescue Jyn from the Imperial labor camp on Wobani, bringing her out of her status quo (loner-prisoner) and into the plot.
Sequence tension created and resolved: Will Jyn go with her emancipators? Yep.
Rogue One, Act 1, Sequence 2
Sequence 2 gets the protagonist ready for the journey. It establishes the:
a. The main tension, or the purpose of the “journey.” Cassian and Jyn must go to Jedha to find and talk to Saw Gerrera, so that the Rebels can find Galen.
b. The character tension,which can be broken into want and need. The want drives why they are pursuing the plot. Jyn wants to be free, and therefore must go on the mission the Rebels have tasked her with. The character’s need resolves the third act tension. Jyn needs to acknowledge her past and fight for more than herself.
c. The lock-in, or the protagonist’s decision to undertake the journey. Jyn accepts the terms of the mission. Decision, locked-in.
Sequence tension created and resolved: Will Jyn accept the mission? Yep.
Rogue One, Act 2, Sequence 3
Act 2 is the meat of most films; it’s where stuff happens. The character has decided to go on their journey, so now they have to do it. Sequence 3 is the beginning of this journey, and is sometimes known as the fun and games of the narrative: the stakes aren’t very high yet, things are loose, we’re meeting new people. It’s a party.
Jyn and Cassian arrive at Jedha. They walk around a bazaar, meet Chirrut Îmwe and Baze Malbus, fight a tank, and are captured by the Partisans. The stakes are still pretty low, but it’s building: now they’ve been captured, so we’re making our way up in the rising action.
Sequence tension created and resolved: Will Jyn find Saw? Yep.
Rogue One, Act 2, Sequence 4
In Sequence 4 the stakes have risen a bit and things are maybe not as fun now. It will have:
a. The protagonist learning something. This is a form of complication that further raises the stakes. Jyn learns that her father is definitively alive, did send Bodhi Rook, and built a weakness into the planet killer, called the Death Star, so that it could be destroyed.
b. The midpoint, also known as the second act climax. This is a moment that adds to, but does not resolve, the main tension. It typically mirrors the climax or resolution of the third act. Jyn and company escape Jedha as the Death Star blows it to bits. Notice the mirroring of the resolution of the film.
c. A change in the tension. This change does not resolve the main tension, but it does add a new layer. It is no longer whether Jyn will find Saw so she can go free. Now it is if she will find Galen so she can bring him back to the Rebels, and then she can be free.
Sequence tension created and resolved: Will Jyn and company escape Jedha? Yep.
Rogue One, Act 2, Sequence 5
Sequence 5 builds on the new tension provided by the midpoint.
Jyn and company travel to Eadu to find Galen. Jyn wants to bring him home. Cassian is reminded of his orders to kill him if found. They find him being interrogated by Krennic.
Here we see the development of some of our newer and smaller characters. In the Wizard of Oz framework, we have: Bodhi needs courage, Baze needs faith, Chirrut…honestly Chirrut doesn’t have an arc. He’s just there to be awesome. Mission accomplished.
Sequence tension created and resolved: Will Jyn find Galen? Yep.
Rogue One, Act 2, Sequence 6
Sequence 6 has the most dramatically named components of the entire screenplay, so it’s a personal favorite of mine. It has:
a. The all is lost moment, when the protagonist suffers a major loss. Galen dies in Jyn’s arms.
b. The dark night of the soul, when the protagonist deals with the major loss emotionally. Jyn confronts Cassian about his secret orders and lies. Everyone is sad.
c. The resolution of the post-midpoint main tension, and the character want: Jyn found Saw, and then Galen. The mission is accomplished, so she is now free.
Sequence tension created and resolved: Will Galen survive? Nope.
Rogue One, Act 3, Sequence 7
Act 3 has the highest stakes, new act tension, and sometimes a twist. Sequence 7 is usually where the protagonist’s growth through the second act allows them to make new decisions. The protagonist is typically motivated by a supporting character here as well. In Rogue One we see:
a. The new act tension is established. Jyn wants the Rebellion to fight at Scarif so they can obtain the Death Star plans. The Rebels say “Nah.” Will Jyn get the Death Star plans from Scarif?
b. The supporting character’s speech. Cassian gets the Partisans, Rogue One, and some pilots together to convince Jyn she has support.
c. A twist that like the midpoint adds to the tension of the act. After Rogue One lands on Scarif and finds the plans, the Rebel fleet arrives, and the gate to the planet closes. The protagonists are trapped. The act tension is now “will Jyn find a way to get the Death Star plans to the Rebel fleet?”
Sequence tension created and resolved: Will Jyn find the plans? Yep.
Rogue One, Act 3, Sequence 8
Sequence 8 is the finale. It’s all about:
a. The climax. Everything has led up to this point. The twist has increased the stakes and tension to their ultimate height. In Rogue One, the climax is the sequence where each team member helps get the plans to the Rebel fleet. Bodhi broadcasts out to Admiral Raddus. Chirrut pushes the lever that activates the satellite. Jyn sends the plans. Cassian kills Krennic.
b. Character need resolution. The character’s want was resolved at the end of Act 2. Their need helps resolve Act 3. Jyn needed to acknowledge her past, and fight for something more. She acknowledges her past several times in the third act (when convincing the Rebellion, when finding Stardust, and when telling Krennic her name). Jyn also fights for something more when heading off to Scarif.
c. Resolution. Most films like to have resolution. It’s that feel good moment for the audience. Jyn and Cassian hold each other on the beach as they die. Baze accepts Chirrut’s faith, and repeats his mantra while going down fighting. Bodhi dies with his ship after an incredible last act of courage. K-2SO finally likes Jyn, and gives his life protecting her and Cassian. Chirrut stays true to his belief in the Force through the end.
d. Post-plot tension. This sets up what’s next.The Rebel fleet is in shambles. Grand Moff Tarkin takes charge of the Death Star. Leia Organa escapes with the Death Star plans, and Vader gives chase.
Sequence tension created and resolved: Will Jyn and the Rogues escape Scarif? Nope.
Wrapping up
Rogue One, like most of Star Wars, is unique in that its third act is fairly long. Act 1 runs 20 minutes, Act 2 52 minutes, and Act 3 61 minutes long. This isn’t necessarily typical of a TAS, in which the third act tends to be the shortest of the three.
This does bring up a valuable point, though: the TAS is a set of guidelines, not rules. It is a structure that works incredibly well and is very recognizable, but that does not make it the end-all-be-all of narrative construction. It can be flipped around, shifted, screwed with, for varying artistic effects. Nonetheless, it is helpful to know, especially when it comes to better understanding film criticism. Plus, the next time your friends inevitably get together to watch Rogue One again, you can be the annoying person who brings up technical components that no one asked to hear. And that’s really what this is all about it.
What did you think of our first Let’s Learn About Movies? What movie would you like to see us cover next? Let us know in the comments!
Shounen Jump’s titles tend to have a focus on three key criteria. Friendship, effort, and victory all shine through Shokugeki no Souma to an extreme. Yukihira Souma plays the character that we all wish we could be. Someone who pushes themselves to the furthest extent and gets results. Maybe that is what draws us to watch Souma work towards greatness or possible failure. Maybe for others it is the fan service for both genders, but hey I’m not judging.
Regression #1
There you have it. If you’re a fan of very psychological AND physical driven horror, pick this book up when it comes out. I guarantee it’s going to be the next big horror hit.
