Today, Drew and Taylor are discussing Archie 6, originally released February 17th, 2016.
Drew: My biggest frustration in dealing with teens is their lack of perspective. That’s probably my biggest frustration in dealing with adults, too, but teens are notorious for blowing things out of proportion. That tendency is exactly what makes teen dramas so volatile — everything is high-stakes for teens — but it’s easy for that volatility to alienate adult readers who know this could all be resolved if any of the characters just sat down to talk with one another. It’s important, then, to occasionally re-ground the stakes in a teen drama, giving readers of any age a relatable touchstone in between the more elaborate flights of fancy. That’s exactly what we get in Archie 6, as a miniature health emergency reminds everyone of what’s really important. Continue reading →
Today, Ryan and Spencer are discussing Jughead 3, originally released December 30th, 2015.
Ryan M.: My name lends itself to nicknames. Since both my first and last names are easily shorted and morphed, I’ve never had the sort of nickname that doesn’t sound like my name. In middle school, I tried to get people to call me “R Money” but as we all know, you can’t give yourself a nickname. Jughead Jones does not go by a derivative of his birth name, so when the first page of Chip Zdarsky and Erica Henderson’s Jughead 3 ends with someone calling him Forsythe, you can tell things are not right in Riverdale. Continue reading →
Today, Patrick and Ryan M. are discussing Archie 3, originally released September 30th, 2015.
Patrick: David Fincher’s adaptation of Fight Club surpasses the original Chuck Palahniuk novel in a lot of ways — chief among them is Fincher’s stylish filmmaking. Fincher is so cool behind the camera, and the gulf between the drudgery of the narrator’s everyday existence and the idyllic (if chaotic) world that Tyler Durden offers is wide enough to made Durden’s obviously bad ideas sound like great ones. That’s a tool that Palahniuk didn’t really have at his disposal — Tyler’s ideas seem much more ridiculous on the page without that veneer of cool to legitimize them. My favorite way that Fincher improves on Palahniuk’s story is in the meeting between the narrator and Tyler — up until this point, the audience is inundated with Edward Norton’s voice over, and an almost oppressive score from the Chemical Brothers. The film is also largely an extended montage until we meet Tyler, and the pacing of the scenes quicken right up to the point that they wind up next to each other on a plane. But the action, the narration, and the score all come to a screeching halt the second Tyler opens his mouth. He represents freedom from all the neurosis the narrator has been filling our head with since the moment the movie started. Tyler — both in the life of the narrator and in the film — is the ultimate disruptor. Archie 3 pulls a very similar trick, but who has the force of personality to be Archie’s Tyler Durden? Why, Veronica Lodge, of course. Continue reading →
Today, Spencer and (Guest Writer) Ryan Mogge are discussing Archie 2, originally released August 19th, 2015.
Spencer: First issues are meant to sell a title to new readers. The creative team is putting their finest foot forward, introducing their characters, world, and the conflicts and themes they wish to explore, but the one thing first issues aren’t great at is showing how the creative team is going to tell their story from month to month. It often takes a few issues for readers to start to get a handle on a series’ format, and that’s very much the case with Archie. Mark Waid and Fiona Staples’ first issue wow-ed readers with its gorgeous, modern reinterpretation of Riverdale, but it’s issue 2 that gives us a clearer picture of just what kind of stories we can expect each month. Continue reading →