Who doesn’t love a good fish out of water comedy? There’s just so much joy to be mined out of watching a character from one environment have to navigate the ins and the outs of a totally new and alien environment. This trope is especially successful in sci-fi settings, where either a human has to adapt to an alien culture or vice versa. It’s this trope that first attracted me to SyFy’s Resident Alien, a TV adaptation of the Dark Horse Comics series of the same name. Here, Alan Tudyk plays an alien who’s crash-landed in a small Colorado town and is forced to blend in with the local townsfolk as a quirky doctor, Harry Vanderspeigle, while searching for the remnants of his ship and the device he intends to use to destroy the world. It’s one of those premises that seems destined to become a classic sci-fi fish out of water story. Unfortunately, Resident Alien never quite manages to take off in its first seven episodes. It’s not a bad show, just a wildly uneven one. Its plot is unfocused, it struggles to balance its comedy with its drama, and many of the characters feel underdeveloped, at best, and paper thin and annoying, at worst. There’s plenty of potential here, but there’s a lot of work to be done before this show is as good as its premise is. (3 out of 5 wands.)
NOTE: This review is based off of the first seven episodes. It will be as spoiler free as possible.
Resident Alien (created by Chris Sheridan) Based on the Dark Horse comic, SYFY’s RESIDENT ALIEN follows Harry, an alien played by Alan Tudyk that crash lands on Earth and passes himself off as a small-town human doctor. Arriving with a secret mission to kill all humans, Harry starts off living a simple life… but things get a bit rocky when he’s roped into solving a local murder and realizes he needs to assimilate into his new world. As he does so, he begins to wrestle with the moral dilemma of his mission and asking the big life questions like: “Are human beings worth saving?” and “Why do they fold their pizza before eating it?”
I’m always on the lookout for new comics. I don’t follow the industry particularly closely, so a lot of titles slipped my attention. But I kept hearing about Nnedi Okorafor’s LaGuardia. It was part of Dark Horse Comics’ Berger Books imprint, a line of titles spearheaded by Karen Berger of Vertigo Comics fame – an editor whose work I’ve adored. It was a sci-fi comic that imagined an alternate Earth where aliens had integrated themselves among humanity – a premise that’s right up my alley. And it just won Eisner and Hugo Awards. So, I finally read it. And, man, it’s good. While I wish it was a bit longer, LaGuardia is a superb read. Featuring gorgeous artwork and intriguing world-building, it’s reflective of our current societal problems and a wildly captivating read. (4 out of 5 wands.)
(NOTE: This review may contain spoilers.)
LaGuardia (written by Nnedi Okorafor, illustrated by Tana Ford) In an alternate world where aliens have integrated with society, pregnant Nigerian-American doctor Future Nwafor Chukwuebuka has just smuggled an illegal alien plant named Letme Live through LaGuardia International and Interstellar Airport…and that’s not the only thing she’s hiding.
She and Letme become part of a community of human and alien immigrants; but as their crusade for equality continues and the birth of her child nears, Future—and her entire world—begins to change.
I enjoyed the first season of Netflix’s The Umbrella Academy. Sure, it wasn’t entirely faithful to the comics, but they did a great job at capturing what felt like the spiritual essence of what Gerard Way and Gabriel Bá did in the comics. And a lot of the character work in the first season was excellent. So, of course, I was excited to see what a second season of the show would look like. After all, season one’s ending had departed so far from what the comics did that I genuinely had no idea where the show would go after that. Well, as it turns out, season two would go on to loosely adapt the comics’ second arc, Dallas, to mixed results. It retains all the positives and negatives of the first season, with the positives being even better and the negatives being more blatant. It’s an enjoyable, if flawed, watch. (4 out of 5 wands.)
Five warned his family (so, so many times) that using his powers to escape from Vanya’s 2019 apocalypse was risky. Well, he was right – the time jump scatters the siblings in time in and around Dallas, Texas. Over a three year period. Starting in 1960. Some, having been stuck in the past for years, have built lives and moved on, certain they’re the only ones who survived. Five is the last to land, smack dab in the middle of a nuclear doomsday, which – spoiler alert! – turns out is a result of the group’s disruption of the timeline (déjà vu, anyone?). Now the Umbrella Academy must find a way to reunite, figure out what caused doomsday, put a stop to it, and return to the present timeline to stop that other apocalypse. All while being hunted by a trio of ruthless Swedish assassins. But seriously, no pressure or anything.
As evidenced by my weekly coverage of the American Gods TV series when it airs, I adore the book, originally written by Neil Gaiman. It’s one of those books that’s super weird and truly hard to explain and honestly just needs to be experienced. But, sometimes it can be hard to find a swatch of time with reach to read a 600+ page novel. Which is where visual adaptations come in. Obviously, they can, and should, never be replacements for reading the original text, but they can often be a great way of experiencing a story you might otherwise not have the time to experience. Unfortunately, Starz’s television adaptation continues to both stray from the source material and be plagued by behind-the-scenes troubles. Luckily, Dark Horse Comics’ has an adaptation of their own. Helmed by P. Craig Russell, these three volumes have been a very faithful adaptation of the novel and an utter joy to read as they’ve released. Now, with the publication of the third and final volume of the adaptation, it’s nice to have a fully-completed, semi-visual adaptation of the novel – if you consider a graphic novel to be a visual adaptation; I do. (Mild spoilers for both the original novel and the graphic novel.)
American Gods Volume 3: “The Moment of the Storm” (by Neil Gaiman, adapted by P. Craig Russell, illustrated by Scott Hampton)
The new and old gods agree to meet in the center of America to exchange the body of the old gods’ fallen leader–heading towards to the inevitable god war in this final arc to the bestselling comic series! (Collects American Gods Volume 3: The Moment of the Storm #1-#9.)
We all know how much I love a good Neil Gaiman story. He’s one of my favorite authors currently writing and I’ve yet to encounter one of his stories that I haven’t enjoyed in some way or another. Some of my favorite Gaiman things are the comic adaptations of his prose work. I always find it really intriguing seeing how comic artists adapt the work of Gaiman (an author who got, perhaps, one of his earliest and biggest breaks within the world of comics) into this more visual medium. This is where Snow, Glass, Apples comes into play. It’s the latest in a fairly-lengthy line of comic adaptations of Gaiman’s work to be published by Dark Horse Comics; ignoring their ongoing American Gods adaptation, it’s the second such graphic novel adapting some of Gaiman’s short stories. What intrigued me the most about this adaptation were the excerpts that featured some of Collen Doran’s illustrations. Her style promised a really interesting, unique, and gorgeous take on the original short story and I was very excited to give it a read. How did it turn out? Just as good as I’d hoped it would be, if not better!
Snow, Glass, Apples (written by Neil Gaiman, illustrated by Colleen Doran)
A not-so-evil queen is terrified of her monstrous stepdaughter and determined to repel this creature and save her kingdom from a world where happy endings aren’t so happily ever after.
From the Hugo, Bram Stoker, Locus, World Fantasy, Nebula award-winning, and New York Times bestselling writer Neil Gaiman (American Gods) comes this graphic novel adaptation by Colleen Doran (Troll Bridge)!
It’s been a decade since the second volume of Gerard Way’s wonderfully weird superhero series, The Umbrella Academy, hit stores and it’s been almost as long since the title of this third volume was announced. Since that initial announcement, there had been a lot of radio silence as Gerard Way and Gabriel Bá got busy with other projects. Thankfully, though, this third volume of The Umbrella Academy has come out and, in many ways, it feels like no time has passed. It’s very much the third installment in this ongoing series – and that’s both a good thing and a bad thing. (Mild spoilers follow)
Gerard Way (My Chemical Romance, Doom Patrol) and Gabriel Bá (Two Brothers, Casanova) have earned awards and accolades on their separate projects, and finally return to their breakout 2007 hit, for the latest chapter in the bizarre lives of their former teen superhero team.
Faced with an increasing number of lunatics with superpowers eager to fight his own wunderkind brood, Sir Reginald Hargreeves developed the ultimate solution …
Now, just a few years after Hargreeves’s death, his Umbrella Academy is scattered. Number Five is a hired gun, Kraken is stalking big game, Rumor is dealing with the wreckage of her marriage, an out-of-shape Spaceboy runs around the streets of Tokyo, Vanya continues her physical therapy after being shot in the head–and no one wants to even talk about what Séance is up to …
The award-winning and best-selling superhero series returns, stranger than ever–And their past is coming back to hunt them.
Mystery Science Theater 3000: The Comic by Joel Hodgson, Harold Bucholz, Matt McGinnis, Seth Robinson, Sharyl Volpe, and Mary Robinson; illustrated by Todd Nauck, Jack Pollock, Mike Manley, and Mimi Simon
The riffing hilarity of the Mystery Science Theater 3000 comes to comics when Kinga Forrester pairs her Kingachrome Liquid Medium with her latest invention–the Bubbulat-R! Jonah Heston, Crow T. Robot, and Tom Servo find themselves thrust into the 2-D world of public domain comics, with riffing as their only defense!
From its humble beginnings on a tiny mid-west TV station in 1988, through its years as a mainstay on The Comedy Channel/Comedy Central and the SciFi Channel all through the ’90s, to its spectacular resurrection on Netflix in 2017, Mystery Science Theater 3000 has had a transformative effect on television, comedy, and the way old, cheesy movies are viewed. Now creator Joel Hodgson has set his sights on the comics medium, and the four-color pamphlets will never be the same!
I love the Guillermo del Toro Hellboy movies. Like, really love them. They’re so damn stylish and well made and well-acted. So, with that in mind, it was always gonna be hard for any Hellboy film not made by del Toro (or starring Ron Perlman as Hellboy) to truly succeed for me. That being said, I really didn’t except this remake of Hellboy to be so unenjoyable. It can’t seem to figure out what it is – it’s not really a new take on the character as it’s basically the same tone and look as the del Toro films but it’s not a continuation of those films, either. It’s not an origin story, but it kind of is one at the same time. It’s just a really big mess of a movie – and it’s a shame because there were some really good moments in the film.
Hellboy is back, and he’s on fire. From the pages of Mike Mignola’s seminal work, this action packed story sees the legendary half-demon superhero (David Harbour, “Stranger Things”) called to the English countryside to battle a trio of rampaging giants. There he discovers The Blood Queen, Nimue (Milla Jovovich, Resident Evil series), a resurrected ancient sorceress thirsting to avenge a past betrayal. Suddenly caught in a clash between the supernatural and the human, Hellboy is now hell-bent on stopping Nimue without triggering the end of the world. (Written by Christopher Golden, Andrew Cosby, Mike Mignola; directed by Neil Marshall)
Stranger Things is massively successful. It’s probably Netflix’s biggest hit in the past five years, or so. So, it was only a matter of time before it started branching out into other mediums. Earlier last month, the first official novel – Gwenda Bond’s Suspicious Minds (my review of it here) – was released, but prior to that, Dark Horse Comics released a limited series – written by Jody Houser and illustrated by Stefano Martino – telling the unseen story of Will Byers during the events of season 1. It’s a great idea for a tie-in comic, but is the execution as good as the concept? Mostly, yeah.
When Will Byers finds himself in the Upside Down, an impossible dark parody of his own world, he’s understandably frightened. But that’s nothing compared with the fear that takes hold when he realizes what’s in that world with him!
First, American Gods was an award-winning novel by Neil Gaiman. Then, it lingered in development hell for a decade – first as a film, then as a TV series – only to finally be picked up by Starz and given its first season in 2017 (and currently airing its second). Lastly, it was adapted by Dark Horse Comics – and P. Craig Russell and Scott Hampton – as a comic book. American Gods is a story that lends itself very well to the medium of comics as it’s a very visual book, with characters and locales that are large than life. It’s an adaptation that many fans have desired for a long time – given Gaiman’s beginnings in the world of comics with The Sandman – so, with two (of three) volumes of the American Gods comic now complete, how is this adaptation holding up? Answer: very well.
American Gods: Shadows
Shadow Moon gets out of jail only to discover his wife is dead. Defeated, broke, and uncertain where to go from here, he meets the mysterious Mr. Wednesday, who employs him to serve as his bodyguard–thrusting Shadow into a deadly world where ghosts of the past come back from the dead, and a god war is imminent.
American Gods: My Ainsel
The bizarre road trip across America continues as our heroes gather reinforcements for the imminent god war! Shadow and Wednesday leave the House on the Rock and continue their journey across the country where they set up aliases, meet new gods, and prepare for war.