Tag Archives: Eric Robert Nolan

A review of “Grendel Omnibus: Volume 2: The Legacy”

“Grendel Omnibus Volume 2: The Legacy” can’t match its predecessor.  Where the first amazing Omnibus edition focused gorgeously and exclusively on creator Matt Wagner’s first “Grendel” character, the arch-villain Hunter Rose, this second collection focuses mostly on supporting characters and Rose’s successors.  “Devil Child” shows us the cruel fate of an adult Stacy Palumbo, while “Devil’s Legacy” and “The Devil Inside” follow Christine Spar and Brian Li Sung’s turns as both heirs and victims of “Grendel’s” identity.   The “Devil Tales” coda of two stories at the very end are told from the perspective of Albert Wiggins, who was first introduced in the Spar and L Sung story arcs.

There are decent stories throughout; all except the first were written by Wagner himself.  And I do think a serious “Grendel” collector would need to at least read these stories to grasp the overall continuity of Wagner’s seminal work.  (We see for the first time, for example, how “Grendel” is a conscious entity jumping from person to to person.)

But nearly all the stories have great pacing problems.  I get the sense that Wagner wrote these during an experimental stage as a creator.  There are all sorts of departures from standard comic book storytelling, in format, scripting, paneling, and point-of-view.  These departures are interesting, but don’t always pay off.  Some of the stories were cluttered with too much text, too many panels, or even an unnecessary speaker.  (Wagner himself appears to interject as a speaker in one of the closing “Devil Tales;” a distracting kind of narration runs throughout it, in scrawled overhead text that looks like … an author’s outline?)

A few of these felt a little too long.  “Devil’s Legacy,” which follows the career of Christine Spar, was a great tale, and important to the overall mythos.  Yet the otherwise brilliant Wagner seems to struggle structuring it over 12 issues … it is often too slow, with unnecessary dialogue and drama, and with too much attention paid to minor plot points.

A lot of the artwork simply wasn’t my cup of tea.  While Tim Sale and Teddy Kristiansen shine in the first entry, most of the following artists do not.

Ah, well.  Wagner’s brilliance still shines through, particularly with the two closing stories, which he wrote and illustrated.  And all of the stories themselves, with their complex themes of aggression and identity, remain some of the most unique and interesting things in comic books as a medium.  This was a good book — despite its relative failings.  I’d give it an 8 out of 10.

 

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A few quick words on “Resident Evil: The Final Chapter” (2017)

If you can look past the silliness, there is some fun to be had with “Resident Evil: The Final Chapter” (2017).  Critics everywhere are skewering it, but I think it’s a fun throwaway monster movie.  I’d give it a 7 out of 10, while cautioning you that I’m biased because the franchise has always been a fond, guilty pleasure of mine.

The monsters are cool enough, and Milla Jovovich alone sustained my interest with her screen presence.  (No, she isn’t the greatest actress ever, but she’s a strong, suitably intense leading lady for an action film.)

I was also surprised at how this movie attempted to bring closure to the entire series.  The story structure for the “Resident Evil” films strayed into the barely comprehensible several sequels ago, but this final installment did its best to bring the convoluted mythology full circle.  Surprisingly enough, it worked … I myself might have tweaked the final few minutes, but it was satisfying finale.

 

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Throwback Thursday: “ENCORE”

What sort of uber-nerd can actually remember a reading textbook from grade-school?

This kind, Ladies and Gentlemen.  This kind.

 

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Publication notice: “Shine Now, Fiercely, Forever” featured at The Bees Are Dead!

I am truly honored today to see my colleagues over at The Bees Are Dead feature a new short story of mine.  Its title is “Shine Now, Fiercely, Forever,” and it might be the darkest thing I’ve ever written.  It portrays a married couple constructing the world’s first functioning time machine — and then discovering what are possibly the worst possible consequences of such a device malfunctioning.

Thanks so much to Philippe Atherton-Blenkiron for allowing me to share via The Bees Are Dead, his online magazine for dystopian prose and poetry!  I am grateful indeed for the opportunity he’s afforded me.

“Shine Now, Fiercely, Forever” can be found right here:

http://www.thebeesaredead.com/prose/shine-now-fiercely-forever-eric-robert-nolan/

A very short review of “The Girl With All the Gifts” (2016)

“The Girl With All the Gifts” (2016) is a thoughtful, story-focused variation of the zombie horror genre, its basis on an acclaimed science fiction novel should be no surprise to anyone who sees it.  It boasts a terrific action set piece, a great performance by Glenn Close, and some nice episodes of tension throughout.

I might be a bit slow, but I must confess that I had a little bit of a hard time following which characters are the monsters, which are sometimes-monsters, and which characters are sometimes-monsters and also feral, as well as the some of the logic connected with how they can detect humans.  The pacing was also a bit off … the first 20 minutes were quite slow, and I started to think that the entire story would take place within several interior locations.  There is a major battle that should please horror fans, but it occurs quite early on.  Somehow, the pacing for the entire film simply felt … off.  Finally, this movie suffers somewhat from a slightly irritating musical score that sometimes felt like cheesy 1980’s synth-pop.

This is still quite a serviceable entry into the genre, though.  I’d give it an 8 out of 10, and I’d recommend it.

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Throwback Thursday: THIS PEN.

Simply put, these pens were fun as hell.  Remember how cool it was to click the different colors, even if you weren’t writing or drawing anything?

Why don’t they make them anymore?  iPhones be damned — I know kids these days would love these things.

 

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Publication notice: Eric Robert Nolan to be featured in The Bees Are Dead

I received some great news this morning — my colleagues over at The Bees Are Dead have elected to publish a short story of mine.  Its title is “Shine Now, Fiercely, Forever,” and it is a science fiction/horror story about the perils of time travel.

The story should appear sometime over the next month or so — I will link to it here when it does.

Thank you, Philippe Atherton-Blenkiron and Dennis Villelmi!  I am honored!

There’s some terrific new poetry over at The Bees Are Dead …

Be sure to stop by and check out Strider Marcus Jones’ “The Samaritan Machine” and three new pieces by Matthew Borczon.

The Bees Are Dead

 

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Photo credit:  Des Blenkinsopp [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)%5D, via Wikimedia Commons

A spoiler-free review of “Sherlock” Season 4

I actually can understand why some “Sherlock” fans were less than thrilled with its fourth (and apparently last?) season.  (I’ve read that the final episode received the lowest ratings in the show’s history.)  Even if Season 4 wasn’t quite as strong as past seasons, however, I’d still give it a 9 out f 10.

The narrative style and the content of this three-episode arc changed drastically.  The detail and methodical pace of past seasons gave way to a faster, looser narrative that made the show feel more … mainstream, in a way.  These episodes felt more like the standard adventure tales that you’d expect from any television thriller, and far less a genuine homage to the literary source material.  At times it was a little sloppy, with bombs, disguises, false memories and other over-the-top plot devices that were sometimes pretty implausible.  The final episode even seemed directly inspired by a series of horror films not known for being critically acclaimed.

The writing and directing wasn’t as clean, either.  This was easily the most surreal of the show’s four seasons — especially if you count the standalone “special,” “The Abominable Bride,” which preceded the official initial episode.  There were some overly stylized flashbacks, spliced scenes, and other departures from a linear narrative.  (I can’t be more specific without spoilers.)

The tone of the humor changed, too.  Some of the droll, dialogue-driven British humor was replaced by the zanier, crowd-pleasing stuff that you would expect from a more mainstream television comedy.  (One lamentable scene involving the outcome of a car chase, for example, was entirely too silly.)

At the same time, this was the darkest season yet.  The goofier humor was juxtaposed with story elements that were hard-hitting, sad and occasionally frightening.  When one character delivers the line, “Maintain eye-contact,” it was chilling enough to stay with me hours after the show aired.  There was some scary stuff this season, on a couple of different levels — the second episode, in particular, superbly delivers creeping psychological horror, then tops if off with a chilling story resolution.

And here is where Season 4 shined.  At one point, I asked myself, “When did ‘Sherlock’ become a horror show?”  But it was shortly thereafter that I realized that I absolutely didn’t mind.

The season’s success boils down to three things.  The first is the darker story content, which I thought was a bold and surprising choice for what is probably the show’s last season.

The second is the quality of the writing.  I realize that sounds strange, given my above criticisms above, but it is still a superbly scripted show.

And, third, the performances from its principal actors were still uniformly excellent.  (And when they combine via some great dialogue, “Sherlock” still hits it out of the park.)  Martin Freeman, Benedict Cumberbatch, and Amanda Abbington were all at their peak — particularly since their characters have evolved now to what is probably their culmination.  This last  season was easily the most personal and character-focused, and sees these protagonists finally complete their individual arcs.  Sherlock is finally sufficiently humanized, Mary’s development finally reaches full fruition, and Watson has finally grown into his own man.  If I had quibbles about Holmes and Watson’s portrayals in past seasons, it was that Holmes was too much of a jerk , while Watson was merely a weak, even neutered foil for him.  Holmes was never such a heel in the stories I loved a boy — neither was he in the film adaptations.  And I found the far stronger Watson in “The Abominable Bride” to be truer to the stories as well — not to mention reminiscent of my favorite Holmes films, like 1976’s “The Seven Percent Solution” or 1979’s “Murder By Decree.”

The villains were damn good too.  “Sherlock” has always excelled at bringing believable, well scripted and creatively conceived bad guys, and this season was no exception.

All in all, this was still terrific television, despite its relative flaws.  I heartily recommend it to Holmes fans.

 

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Throwback Thursday: Rough Riders!

These were powered by a single AA battery, and made little boys everywhere quite happy on early 80’s Christmas mornings.  I always thought that the nearly identical “Stompers” were a ripoff of Rough Riders.   But, as it turns out, Stompers came first, in 1980.

Do NOT play the commercial below unless you want the Rough Riders jingle stuck in your head.  It’s a hell of an earworm, especially if you remember it from childhood.