This article contains SPOILERS. If you haven’t read the issue yet, proceed at your own risk!
Crossover comics almost always have a problem of feeling overstuffed. There are two complete casts of characters and two different worlds, all of which need to be honored in one way or another. Harley and Ivy meet Betty and Veronica 1 packs in a ton of individual character personalities, but ultimately fails to juggle them all at once. By the time we get to the climactic costume party, we’re tracking Archie, Jughead, Betty, Veronica, Kevin, Sabrina, Harley Quinn and Poison Ivy, to say nothing of Hiram and Smithers, who we can assume are all on-site somewhere. Artist Laura Braga does some incredible design work in this issue (so many costumes!), but continuity of space totally falls apart with so many players in a scene. This issue is at its best at its simplest, but it so seldom sticks to simplicity. Continue reading →
Today, Patrick and Taylor are discussing Archie 19, originally released April 19th, 2017. As always, this article contains SPOILERS.
Patrick: I’m not really sure how to classify Jughead as a character. He’s like some kind of invincible, infallible spirit, far enough removed from the drama to not be overwhelmed by it, but still incredibly perceptive. I’d be tempted to call it a narrative cheat, but he stands as a necessary foil to Archie’s aching sincerity. It turns out that Jughead’s sprightly insights can cut through more than just the complicated knots of teenage romance. Archie 19 finds Veronica in need of the same kind of detached, magical advice, but this time to free herself from machinations of her own father. And in so doing, Juggy might just open himself up to feel something of his own. Continue reading →
Drew: In 2011, Pixar storyboard artist Emma Coats tweeted out 22 “story basics” she learned at Pixar. Every one of them is useful (and I encourage any storyteller to check them out, even if I cringe at how Coats’ list of lessons became “rules” as they were compiled by various bloggers), but #19 has always caught my eye because of how fickle audiences can be with coincidences. I suspect Coats is generally right, but I can’t help but think the magnitude of the coincidence is important, as well. Small coincidences that help characters get out of trouble (say, that the villain’s dropped weapon fell near enough to the hero to reverse the fortunes of their battle) would be more palatable than big coincidences that get them into it (say, that the dropped weapon landed on a button that began the self-destruct sequence on the ship just as it was hurtling towards the hero’s hometown). And, of course, these rules only apply when we’re concerned about verisimilitude — nobody ever complains about the outrageous coincidences in a Wile E. Coyote cartoon because those coincidences are precisely what make those cartoons so entertaining.
All of which is to say I think there are a few more variables in play than helpful/unhelpful in determining the success of a coincidence. Moreover, the specific profile of the coincidences in a narrative might help define it’s tone; an action thriller might allow for bigger, more unhelpful coincidences than would be appropriate in a parlor drama, for instance. In this way, a coincidence that strains credulity might not be a problem with the narrative so much as a sign that you’ve misjudged the tone of that narrative — different stories require different levels of credulity. As you may suspect, Archie 12 contains a few big coincidences that threw me for a loop, and while it would be easy to cry foul, the fact is that Archie has always been a bit cartoonier than I’ve been giving it credit for. Continue reading →