SANTA MONICA, CA – Evil just can’t catch a break as the hilarious, critically acclaimed horror series “Ash vs Evil Dead”: Season 2 arrives on Blu-ray (plus Digital HD) and DVD August 22 from Lionsgate. Locked and loaded with the same twisted humor and gory kill scenes groovy fans of the franchise are used to, “Ash vs Evil Dead”: Season 2 continues the chainsaw-slicing, shotgun-blasting fun from the first season. “Ash vs Evil Dead”: Season 2 stars Bruce Campbell (The Evil Dead franchise), Lucy Lawless (TV’s “Spartacus: War of the Damned”), Ray Santiago (In Time), and Dana DeLorenzo (A Very Harold & Kumar 3D Christmas), as well as this season’s introduction of Lee Majors (TV’s “The Six Million Dollar Man”) as Ash’s father.
This season roars back into action with Ash leaving his beloved Jacksonville and returning to his home town of Elk Grove. There, he confronts Ruby, only to find that she too is now a victim of evil and in need of Ash’s help. The former enemies have to form an uneasy alliance to give them a chance of success as Elk Grove soon becomes the nucleus of evil.
The home entertainment release of “Ash vs Evil Dead”: Season 2 includes audio commentaries, eight behind-the-scenes featurettes, and a “Fatality Mash-Up.” “Ash vs Evil Dead”: Season 2 will be available on Blu-ray and DVD for the suggested retail price of $43.99 and $34.98, respectively.
BLU-RAY / DVD SPECIAL FEATURES
Audio Commentaries
Season 2 First look
“Inside the World of Ash vs Evil Dead” Featurette
“Up Your Ash” Featurette
“Women Who Kick Ash” Featurette
“Puppets Are Cute” Featurette
“Dawn of the Spawn” Featurette
“Bringing Henrietta Back” Featurette
“The Delta” Featurette
“How to Kill a Deadite” Featurette
Fatality Mash-Up
Life is about balance. After last week’s screed on my personal health journey, it’s only fair I balance things out with a very gluttonous listing of my most favorite meals whilst being an indie creator. You see, a life in comics — part time, at least — find folks assembled around a table to break bread more often than you’d think. When logging in considerable hours at a convention, creators often will nibble here and there, and then run out of the expo hall in a mad dash for food when the con floor closes. Great minds have met over bowls of pasta and pizzas, whilst inking deals on Batman or the X-Men. Here are, in no particular order, five meals that remain stuck in between my teeth:
Miller’s Pub with Mike Gold
The first time ComicMix honcho Mike Gold asked Unshaven Comics to meet him for a meal, he chose Miller’s Pub in downtown Chicago. Prior to the lunch we shared, Mr. Gold was a fleeting presence at the Wizard World Chicago where we made our debut. The lovely late Linda Gold had stumbled across we Unshaven Lads, dying a slow and panicked death in Artist Alley. She listened to our pitch and promised to bring Mike by. After briefly meeting us, Mike and I exchanged e-mails post-show. When the opportunity arose to find Mr. Gold back in the Chicagoland area, he proposed a meeting of the minds. Over hot sandwiches and the first round of name-dropping stories we would succumb to hear on a yearly basis, Mike looked us in the eyes (as we demanded Unshaven Comics pick up the check) and said the kindest thing we’d ever hear in our careers: “Boys, I will do whatever I can to see you doing well in this business.” And let me tell you, nothing has ever tasted sweeter.
Breakfast Buffet with John Ostrander
A few years back, John asked us to pick him up at his house and drive him down to the Detroit Fanfare comic convention. We were more than happy to oblige. The next morning, he asked us to join him for breakfast. Amidst pans of bacon, lukewarm pancakes, and runny scrambled eggs, John waxed poetic about all sorts of things. Star Wars, the Suicide Squad, playwriting in Chicago, and even the secret origin of Wasteland all came tumbling out from John’s timid timbre. Matt, Kyle, and I sat in awe of an industry legend as he treated us as friends… not the drooling fanboys we were. And not to be undone by Mike Gold, John heaped a bit of praise on us (as we picked up the check): “Seriously, I don’t know how you guys do it. You have everything planned out to the nines. I’m in awe of you.” Not bad for the cost of a few plates of breakfast meat.
The CowFish with The Samurnauts
Unshaven Comics got greedy in 2013. Figuring we could sell tons of books by splitting up and covering more ground, we sent Unshaven Salesman 2000 (Kyle Gnepper) off to a show in Cincinnati whilst Unshaven Matt and I covered the HeroesCon in North Carolina. Knowing that sans-Kyle we’d be without our real power, our blue and yellow Samurnauts (Cherise and Erik) joined our menagerie to bolster our abilities. While we learned that four of us couldn’t match a single Gnepper, we did find something redeeming about the lackluster show. Unshackled from Kyle’s more predictable palette, the Samurnauts, Matt and I found a burger/sushi restaurant in a neighboring town. I could spend literally an entire article simply remarking about what all we ordered… or I could simply say we loved the place so much, the manager gave us coupons if we’d consider coming back the next night. And we very much did.
Brandy Hauman’s Homecooking
When Unshaven Comics makes the 14-hour trek from Chicago to New York (or, in fact, Homewood to Weehawken), ComicMix’s Glenn Hauman is always the most gracious of hosts — opening his home to us for the price of a few bottles of hooch. As the New York Comic Con sits on the single piece of New York real estate devoid of decent food, we often wind up at la Casa del Hauman for some real New Jersey takeout. But last year, Glenn’s amazing (talented, beautiful, funny, and charming) wife demanded she make us a home-cooked meal. A nice roasted chicken and some sides — but it was served over a table filled with laughter, embarrassing stories, and friendship. With this past NYCC our fourth journey to the city that never sleeps, this single meal stands out as a testament to the best part of the tri-state area: the people who you make friends.
Some BBQ joint in Stamford, CT
I’ll end here on the most sincere memory I have in regards to comics and food. As mentioned above with the meal at Miller’s Pub, with this meal Mike Gold quickly morphed from a coveted mentor to both a mentor and a mensch. When my wife and I got married in November of 2009, we’d invited all of the ComicMixers we knew — knowing that the gesture was largely symbolic given the distance any of them would have had to travel just to see a then super-fat Marc stomp on a glass and yell L’chaim. As it would turn out, the newly minted Mrs. Fishman and I would take our honeymoon out along the East Coast (we didn’t quite google that Cape Cod is really a summer town). Mike was quick to demand that on our way home, we move our route to swing down his way. There, not far from the WWE headquarters, Kathy and I would be greeted by Glenn, Mike, Linda, and a smattering of other ComicMix friends for a BBQ lunch. As with much of this list: I don’t remember the food as much as the feeling that I’d made friends I’ve held on to ever since. That these oddballs would welcome me and mine into their family has cemented that my life in comics has been filled with some of the finest meals a man could dine on.
Based on Daniel Clowes’ iconic graphic novel, Wilson looks at life, love, family…and one man’s wildly ambitious search for happiness. Starring Woody Harrelson, as a lonely, neurotic and hilariously honest middle-aged misanthrope who reunites with his estranged wife (Laura Dern) when he learns he has a teenage daughter (Isabella Amara) he has never met and sets out to connect with her.
Our friends at 209th Century Home Entertainment have provided us with one Wilson bundle to giveaway. The prize includes:
The Blu-ray Combo Pack
Graphic novel: Wilson
To win, all you have to do is tell us which actor has given you a memorable performance as a misanthrope and why. We need the name of the actor, character, and film. Entries have to be posted no later than 11:59 p.m., Friday, June 23., The decision of ComicMix‘s judges will be final. The contest is open only to readers in North America.
Woody Harrelson stars as Wilson, a lonely, neurotic and hilariously honest middle-aged misanthrope who reunites with his estranged wife (Laura Dern) when he learns he has a teenage daughter (Isabella Amara) he has never met. In his uniquely outrageous and slightly twisted way, he sets out to connect with her. Based on Daniel Clowes’ iconic graphic novel of the same name, WILSON is a “riotously funny” (Noel Murray,ThePlaylist.net) look at life, love, family…and one man’s wildly ambitious search for happiness.
Blu-ray, DVD & Digital HD Special Features Include:
• 15 Never-Before-Seen Deleted Scenes
• 3 Promotional Featurettes
• Gallery
• Trailers (Red Band Trailer, Theatrical Trailer)
WILSON DIGITAL HD:
Screen Format: 16:9 (1.85:1)
Audio: English DTS-HD-MA 5.1, English AD DD 5.1, Spanish (Latin Spanish) DD 5.1, Quebecois (Canadian French) DD 5.1
Subtitles: English for the Deaf and Hard of Hearing, Spanish (Latin Spanish), Quebecois (Canadian French)
Total Run Time: 94 Minutes
U.S. Rating: R
Closed Captioned: No
WILSON BLU-RAY/DVD:
Screen Format: 16:9 (1.85:1)
Audio: English DTS-HD-MA 5.1, English AD DD 5.1, Spanish (Latin Spanish) DD 5.1, Quebecois (Canadian French) DD 5.1
Subtitles: English for the Deaf and Hard of Hearing, Spanish (Latin Spanish), Quebecois (Canadian French)
Total Run Time: 94 Minutes
U.S. Rating: R
Closed Captioned: DVD only
Has this ever happened to you? You’re sitting there, minding your own business, reading your comic books, when something in the story makes you go, “Now, that’s not right!” Of course you have. You can probably count on the fingers of one hand, the number of times you’ve read recent comic books and haven’t found something that made you say that. And probably still have enough fingers left over for an obscene gesture.
I have a confession to make, I’ve done it, too. The difference being, when you do it you can complain on a message board or something. When I do it, then I get to do this…
So there I was minding my own business reading Jessica Jones #9. I had just gotten to the part where Sharon Carter, acting head of S.H.I.E.L.D., arrested Jessica Jones, the super heroine turned private investigator, and threw her into jail for being uncooperative. Oh, yeah, and for insulting Sharon’s hairdo. No, seriously, that’s why Sharon tossed Jessica in jail.
No, that’s not the part that made me say, “Hey, that’s not right.” I mean arresting Jessica for bad hair day in the first and throwing her into a cell on Ryker’s Island is not right, but this sort of thing has happened so often in recent comic books that I’m rather inured to it. What is it about being head of S.H.I.E.L.D.? First it turned first Maria Hill and then Sharon Carter into ill-tempered, officious, untrustworthy tenants in Apartment 23who think a Bill of Rights is what you pay when you buy from the remainder table of the Leftorium.
No, the thing in the story that gave me pause was when Jessica’s attorney showed up and got her released with a writ of habeas corpus. At least, I assume it was a habeas corpus. The story didn’t say, but I kind of doubt Jessica’s attorney used a Get Out Of Jail Free card. Those things were only honored by Warden Crichton on the old Batman TV series; and, judging how many repeat offenders that show had, with alarming frequency.
It also didn’t bother me that Jessica’s lawyer got her sprung from her bogus arrest by using the great writ; springing people from bogus arrests is exactly what habeas was writ for. No what bothered me was that Jessica’s lawyer was Matt Murdock.
Remember, the Purple Children made the world forget that Matt Murdock was Daredevil, meaning the New York State Bar Association forgot why it had disbarred Matt and reinstated his license to practice law in New York, Matt has been an assistant district attorney in Manhattan. Matt doesn’t get people out of jail anymore, he puts them in jail. So for Matt to show up with a habeas corpus for Jessica would be a dubious course oops.
Could Matt have been representing Jessica through a private practice he maintained on the side to earn extra money? Probably not. Some jurisdictions do allow their assistant district attorneys to run a private practice on the side. I don’t know whether New York is one of those jurisdictions, but it really doesn’t matter. Even those jurisdictions that allow their prosecutors to have private practices on the side, don’t allow them to accept cases which would present a conflict of interests.
And that means district attorneys can’t usually handle criminal cases in their side practices. Courts tend to find conflicts when the same lawyer is actively trying to put criminals behind bars in the job while trying to keep them out of jail on the side. Even if there are no actual conflicts, lawyers are supposed to avoid the appearance of impropriety and earning money on both sides of the criminal justice system doesn’t do that.
Matt could write wills, do civil litigation, negotiate contracts, and that sort of thing. In The Unstoppable Wasp #6, Matt showed up as Nadia Pym’s immigration lawyer. Even that could be permissible. Criminal law and immigration law sometimes intersect, but not so often that being a prosecutor and an immigration attorney automatically cause conflicts of interest.
If Matt were representing an immigrant who was being deported because he or she was being prosecuted for a crime in New York, that would probably be a conflict of interests. But the conflict of interests decision would be made on a case-by-case basis and not require an automatic withdrawal. But Matt representing criminal defendants while also serving as a district attorney in New York? That’s as iffy as a Bread song.
And why did the story have to use Matt Murdock anyway? Jennifer Walters is a practicing attorney in New York City, she could have been Jessica’s attorney without the whole conflict of interest problems. Or maybe Jeryn Hogarth could have represented Jessica. Why, there’s even a Manhattan-based attorney in the Marvel Universe named Robert Ingersol. He could have represented Jessica. I happen to have personal knowledge that he could use the money.
There comes a time, Constant Reader, usually on a Sunday afternoon, when I start to look at a few news sites to see what might interest you this week. Not just interest you, but provoke a reaction from me that might interest you. That’s because I love you, Constant Reader, and I want you to be amused… nay, more than that, I want you to live life to the fullest.
Especially as that life relates to comic books.
Some weeks, there are lots of stories from which to choose. Some weeks, there are very few. And some weeks, like this one, there are interesting stories that don’t seem to have any comic book relevance at all.
In fact, the only story that interests me at this moment, in terms of popular culture and the joys and stresses it can bring to us is this one about the Public Theater’s production of Shakespeare’s Julius Caesar that is part of its free Shakespeare in the Park at the Delacorte Theaterhttp://www.centralpark.com/guide/attractions/delacorte-theatre.html in New York’s Central Park. As so often happens with productions by the Public Theater, and productions of Shakespeare plays throughout the centuries, Julius Caesar has contemporary political overtones. In this case, the play is staged to suggest certain similarities between Caesar and our current president. As you may know, if you passed your high school English literature classes, Caesar is assassinated.
Right-wing commentators were appalled and denounced the production, accusing it of promoting violence against the President. As a result, Delta Airlines and Bank of America pulled their support for Shakespeare in the Park.
And then, as if to answer my prayers, comic book writer Nick Spencer chimed in with his opinion. The story has a comic book hook! It’s appropriate for this column!
I don’t know Nick Spencer, nor am I particularly a fan of his work. I think it’s kind of adorable that he thinks readers who don’t want to buy his work is somehow parallel to corporate sponsors reneging on commitments they made, citing political reasons for an excuse, but, sure, if that makes him feel better, I’m happy for him. That he thinks his work is comparable to Shakespeare makes me think he may have been over-praised as a child.
Let me be clear: Delta Airlines and Bank of America are entirely within their rights to refuse to fund work with which they have problems. This is not censorship, just as advertisers pulling their sponsorship from Bill O’Reilly’s show was not censorship. Depending on the specific terms of these specific contracts (about which I know nothing), they should be able to do with their money as they wish.
In this case, however, I think they are being stupid. And I’m not the only one. That links to an editorial in the New York Daily News, which, for the record, endorsed Mitt Romney in the 2012 election.
Julius Caesar is a play about an assassination. It is about a leader who overreaches in his quest for power, and the reaction (and over-reaction) to his actions. It has been performed for centuries, and, frequently, audiences have remarked about its relevance to their particular political moment.
In my high school English literature class, we read the play, discussed it, and I don’t remember anyone interpreting it as advocating assassination as a solution to problems. I was at an Episcopal boarding school, where I would guess that most of my classmates and many of my teachers were Republicans, yet we did not disagree on this point.
This has also not been the interpretation of other productions of this play, including a recent one that imagined Caesar as an Obama-like figure . I don’t recall any calls for a boycott of that version.
Some people compared the Public’s Caesar to Kathy Griffin’s recent posting of a photo of her holding a prop of a bloody Trump head. I guess they are alike in that they upset a particular demographic, but I don’t think there are similarities beyond that. Griffin’s photo was, in my opinion, a stupid and graceless bid for attention. It did not engage in any discussion of any issue. It made no statement other than that Kathy Griffin sees herself as a fighter against Trump. I believe she had a right to post that photo, but I also think it added nothing to our national conversation about this administration.
That’s not the case with Shakespeare. The plays have lasted for centuries because they continue to reveal new things about human nature and human society. And, in this case, they bring a little more Corey Still into our lives, which is always a good thing.
Bad Machinery by John Allison just might be our favorite graphic novel series. The 7th mystery: The Case of The Forked Road. This one has time travel, science, and a great story for the girls to solve. You don’t want to miss this book — or our discussion about it!
So all hail, Princess Diana! For the second week in a row, she has conquered the all mighty Box Office!
You commerce-and-finance majors might consider declaring a holiday. Liberal arts dweebs like me will be satisfied with being grateful for a genuinely satisfying movie-going experience.
There’s a lot to be said for the film and no doubt a lot of it is already being said, with, again no doubt, more to come. It’s the kind of flick that prompts après theater discussion, which is kind of rare these days, especially among those of us who have logged a load of birthdays. We were so happy with the afternoon’s entertainment that we didn’t mind not remembering where we left the car.
I’d like to focus on only one aspect of it and maybe get in some opinions about superhero movies in general. And it affords a chance to blather about something that’s been bothering me for years.
Somewhere in the mists, when I was first creeping into the writing dodge, someone must have told me about the storytelling virtues of clarity. In order for the story, whether you’re experiencing it on a page or on a screen or by hearing it on a recording device, to be fully effective you must know what’s going on: who’s doing what to whom and if we’re pushing our luck, why. Where are the characters? How did they get there? Where are they in relation to one another? How did they get whatever props they’re using? How did they get the information they’re acting on?
Et cetera.
I’m particularly annoyed at lame fights. Surely, way out west, the movie crowd is aware that there’s entertainment value in well-choreographed kickass. If there’s any doubt, let them unspool some Jackie Chan or Bruce Lee, the patron saint of cinematic brawling. Many modern action movies – or maybe most of them – render action in quick cuts, blurs, blaring sound effects. Not my idea of amusement, at least not in mega-doses.
Back to Wonder Woman (and maybe we can, please, have an end to complaining?) None of what I’ve bitched about applies to WW. While in the darkness, I never found myself wondering what was happening on the screen. This, the director was kind enough to show me and thus allow me to relax into her work.
A word about the lead actress Gal Gadot: she’s extraordinarily beautiful (duh!), but her face is not only gorgeous, it is expressive – it seemed to change from shot to shot. And that quality is a blessing for a performer.
So, yeah, all hail to Wonder Woman, I don’t expect to see a better movie this year.
Everybody’s got to eat. And if you want to make a career out of creative work, you’re probably going to find yourself, more and more, telling stories that people want to hear. That’s not a bad thing — people are your customers and audience, and most creative folks want both of them — but it does mean that early idiosyncratic work tends to smooth into more genre-identified work as a creator matures and lives and wants to stop eating ramen noodles every single day.
Maybe that’s why Hope Larson moved from the near-allegory Salamander Dream
and dreamlike Gray Horses
to the more conventionally genre Mercury
and Chiggers, and followed those up with writing a script for the adventure-story Compass South, first of a series. (In comics in particular, there’s a tendency for cartoonists to turn into writers over time, since a person can generally get done more units of writing-work (than art-work) in the same amount of time.)
Compass South
is an adventure story for younger readers, in which red-headed twins (and orphans, more or less) Alexander and Cleopatra start off as petty criminals in 1860 New York and go on to get involved with pirates, secret treasure, and another set of red-headed twins of a similar age on their way to San Francisco, where they hope to pose as the long-lost redheaded twin sons of a rich man.
It’s a genre exercise, but a good one — Cleo dresses as a boy, of course, and there are swordfights and chases through jungles, long-lost mysteries and potential new love. Alex and Cleo get separated, as they must, and mix with the other team of would-be fake San Francisco heirs, each becoming friendly with the ones they’re thrown in with, and somewhat making common cause as young poor redheads all alone in the world.
And I expect those young readers will like this better — most of them, anyway, that vast conventional audience — than Salamander Dream or Gray Horses. It’s a fine book, exciting and fast-moving and colorful and gung-ho. If I didn’t like it quite as much, well, you have to remember that I’m not a redheaded young person.
You would think Universal would be happy with the money they’re making.
The last two Fast & Furiousmovies made over a billion dollars each. They were the top grossing studio in 2015 and this year are on track for a second place finish. No one is worried about the studio going broke or the lot being shut down or even serious cutbacks at their amusement parks. Things are good. I have no idea why they feel the need to invest so much in this Dark Universe nonsense that gave us this version of The Mummy.
They take what could be a perfectly good story about a scary, driven, magical lady mummy and fill it with exposition for movies that won’t be out for years and a “shared universe” with nothing anyone has any real attachment to. There’s no one out there dying for a Creature From the Black Lagoon reboot, but here we are with pregnant pauses on a jar with a flipper in it in hopes it becomes the next Avengers or some such nonsense. The Mummy is overloaded with ideas and starved for coherent storytelling, and it’s not a good combination.
The Mummy opens, like all good movies about an ancient Egyptian monster, in 12th century England. I’m not entirely sure why we need the movie to start with a bit about crusaders except to start laying pipe for the insane shared universe they start building to later, but whatever. We quickly move to ancient Egypt and the story of Prnicess Ahmanet (Sofia Boutella), the titular Mummy, and her thwarted inheritance and the horrible revenge she took that led to her being turned in to the kind of being that lives more than 3000 years and throws curses every which way. It’s an interesting story and her character is more immediately gripping than any of the other characters. You have Tom Cruise in this movie playing an army officer who loots antiquities and the movie spends the whole time falling over itself to praise him for the smallest bit of human decency. Then you have Annabelle Wallis as an archaeologist who spends so much time keeping and revealing secrets that we never get to an actual character. We spend 70% of the movies with those boring nothings of characters, while a much more electric villain languishes on the sidelines causing wordless havoc.
I get that this is trying to build to some bigger set of movies and that you would much rather have Tom Cruise as your linchpin than Sofia Boutella, but it isn’t just star power that makes Robert Downey Jr. the best part of The Avengers, it’s that they give him things to say or do that feel like they matter. As someone who sees a lot of movies and plans to continue to do so I’m interested in the story hooks they leave at the end of The Mummy, but I’m not excited to spend any more time in this world or with this thieving soldier turned supernatural figure if his defining character trait is going to be “mostly a prick but not to this one woman he slept with” for an indefinite number of films. That said, he’s got some A+ costuming in the last scene and Cruise is the biggest movie star of a generation, so there’s reason to hope there.
Otherwise you’ve got a horror action movie that isn’t particularly scary and has few memorable action beats. The sequence with the crashing airplane is wonderful and something I haven’t seen before. Or, rather, it would be something I haven’t seen before if it hadn’t been in all the trailers. Other than that, it has a bunch of zombie-esque chase beats, and a fight scene that was a redux version of Black Widow and the Hulk. There were better action beats in the 1999 Brendan Fraser version and that movie wasn’t very good either. We don’t even get a good Tom Cruise running sequence and why even hire the guy at that point.
The Mummy is a frustrating movie not because it’s objectively bad or anything but because it’s so very boring. Maybe it wouldn’t be so boring if they hadn’t been compelled to cram so much material in to build to more Dark Universe films. If the story they’re actually telling in this film had gotten more room, instead of being dedicated to stuff that might be in movies we never see after the poor box office reception this weekend, it could have been saved. We could have gotten more time with the supporting characters that were more interesting than the mains. We could have focused on the mythology we were interacting with here, instead of needing to tie all evil in to one amorphous blob we could draw on later or being force-fed quite so much Dr. Jekyll. Rather than get a nearly two-hour commercial for a product I’m not sure I want, The Mummy should have tried harder to be something worthwhile in its own right.
Fun By Paolo Bacilieri SelfMadeHero/Abrams, 296 pages, $24.95
Life is never perfectly sequential, with one event cleanly leading to another. There are interruptions, asides, flashbacks, diversions, and the like. In some ways, it is not dissimilar to the crossword with its black spots, horizontal and vertical intersections, and clues that are either easy or confoundingly complex.
Turned into a graphic novel, it would resemble something close to Paolo Bacilieri’s Fun. The work is his American debut although the 52-year old creator from Milan has a large European following. This ambitious work is an interesting but flawed volume for all the reasons above.
Ostensibly about Professor Pippo Quester, an Italian celebrity novelist, and his work-in-progress, a history of the crossword puzzle, it is about so much more. The linear and most “American” aspects of the work are all the sections about Quester and his meticulous tracing of the crossword, introduced in the New York World, in 1913 and how it quickly spread around the globe by World War II. Along the way, we get snapshots of the key creators of the daily puzzles from its inventor, Arthur Wynne, through the Italian Giorgio Sisini.
When Quester seeks someone to do additional research, he turns to his former colleague, Zeno Porno, a Disney comics writer. Apparently Zeno is a recurring player in Bacilieri’s work and is seen as the artist’s alter ego. Either way, he seems a sad, almost pathetic figure, who is also never seen actually working. It is through Zeno we get many tangential anecdotes and stories that spin off from the book’s axis. One such digression focuses on Spider-Man foe Hammerhead (properly crediting it to Gerry Conway and John Romita) and leaves you (and Quester) confused. Some of these are done in color while the remainder of the book is in black and white—make of that what you will.
Things turn tragic, though, when young Mafalda Citicillo stalks the pair and shoots them. As Quester recovers, Zeno tracks her down once she’s out of prison to ask the big question: why? Her response sends him close-reading one of Quester’s previous novels in search of answers that do not come easily. In fact, once the reader is told the answer, it is almost immediately undermined leaving readers to wonder where the truth lay.
Originally published as two volumes – Fun and More Fun – they are presented to American readers on one thick volume which makes for a more satisfying experience. Bacilieri worked on this between 2009 and 2014 based on his occasional signature and the artwork itself is exquisite, detailed illustrations that bring different eras and locales to life. His pages are filled with things to look at and while I can quibble with some of the word balloon placement, the page design and storytelling is varied and never dull.
We’re more accustomed to stories with a clear beginning, middle, and ending so some of the narrative ambiguity undercuts the novel’s strength but there is still plenty to like here. I suspect the core story, on its own, would not have been anywhere near as interesting.
SANTA MONICA, CA – Evil just can’t catch a break as the hilarious, critically acclaimed horror series “Ash vs Evil Dead”: Season 2 arrives on Blu-ray (plus Digital HD) and DVD August 22 from Lionsgate. Locked and loaded with the same twisted humor and gory kill scenes groovy fans of the franchise are used to, “Ash vs Evil Dead”: Season 2 continues the chainsaw-slicing, shotgun-blasting fun from the first season. “Ash vs Evil Dead”: Season 2 stars Bruce Campbell (The Evil Dead franchise), Lucy Lawless (TV’s “Spartacus: War of the Damned”), Ray Santiago (In Time), and Dana DeLorenzo (A Very Harold & Kumar 3D Christmas), as well as this season’s introduction of Lee Majors (TV’s “The Six Million Dollar Man”) as Ash’s father.
Those things were only honored by 
