Comic Review: Stumptown, Vol. 3: The Case of the King of Clubs

Published: April 15th, 2015
Written by: Greg Rucka
Art by: Justin Greenwood, Ryan Hill

Oni Press, 133 Pages

Review:

I kind of dug the first two volumes of Stumptown and I’ve also been enjoying the television series, which debuted last fall. However, this third volume in the comics series felt like a real step down.

First off, I don’t like the art. The artist changed and the previous volumes felt more refined and less cartoonish. They still had a good, indie feel to them but this feels more like a typical Oni Press book where the other ones looked more polished and like crime comics put out by a bigger indie publisher like Image.

Also, I thought the story was weak as hell, pretty predictable and felt more like an advertisement for the Portland Timbers soccer team, as well as Portland soccer culture, than it did a gritty, edgy crime story. It felt less neo-noir and more ABC Afterschool Special.

This volume was a bore to get through, didn’t live up to the expectations I had based off of the two stories before this one and it just felt like everything was dialed in.

The story lacked layers, proper plot twists and was completely bogged down by slice of life shenanigans and repetitive conversations between paper thin characters.

Rating: 5/10
Pairs well with: the other Stumptown volumes, as well as Gotham CentralKill Or Be Killed, The Fade Out and Sin City.

Vids I Dig 204: Comic Tropes: ‘Akira’: Breaking Down the Themes and Influences

From Comic Tropes’ YouTube description: Katsuhiro Otomo is the writer and illustrator of the Akira manga as well as the director of the anime adaptation. Both were being worked on at the same time and influenced one another. This video takes a look at the cultural and artistic inspirations that influenced Otomo’s work, as well as breaking down his stated intentions. After comparing and contrasting the manga and anime, the video discusses the themes of Akira.

Vids I Dig 197: For the Love of Comics: Will Eisner’s ‘The Spirit’: A Celebration of 75 Years – An Edition Overview

From For the Love of Comics’ YouTube description: A quick look at Will Eisner’s The Spirit: A Celebration of 75 Years, the hardcover collection of Spirit stories from DC Comics.

We look at the physical specifications, including dustjacket, endpapers, binding, paper, and printing, as well as the number, range, and type of stories included in this new collection.

Includes a look at the non-Eisner Spirit stories also included, including work by some of the biggest names in comics. This includes the Batman/ The Spirit one-shot which launched DC comics’ new Spirit series by Darwyn Cooke

This edition overview also includes comparisons to the Best of the Spirit, one of two DC comics trade paperbacks (along with The Spirit: Femme Fatales) which were previously the only easy ways to read a collection of Spirit stories.

Vids I Dig 190: Comic Tropes: ‘Criminal’: How Ed Brubaker and Sean Phillips Tackle Noir

From Comic Tropes’ YouTube description: Writer Ed Brubaker and artist Sean Phillips formed one of my personal favorite creative teams in comics. Since 2006, they’ve been releasing crime stories in their series Criminal. This video looks at their partnership and the noir tropes they utilize to make their comics.

Vids I Dig 177: Comic Tropes: Greg Rucka’s Approach to Crime Fiction as Seen in ‘Stumptown’

From Comic Tropes’ YouTube description: Crime fiction is an underrepresented genre in comic books but what can be found is often excellent. This week, I’m breaking down the techniques Greg Rucka uses to write mysteries, with an eye to Stumptown, his series about a private eye named Dex. It was recently adapted into an ABC show so it seemed like a good time to break it all down.

Vids I Dig 169: For the Love of Comics: ‘Akira’ Edition Comparison: Marvel/Epic Comics Vs. Kodansha 35th Anniversary Hardcovers

From For the Love of Comics’ YouTube description: A quick comparison between the new 35th Anniversary Edition of Akira and the ‘88 Epic Comics edition, focusing on: production and content differences.

Film Review: Body Double (1984)

Release Date: October 15th, 1984 (New York City premiere)
Directed by: Brian De Palma
Written by: Brian De Palma, Robert J. Avrech
Music by: Pino Donaggio
Cast: Craig Wasson, Gregg Henry, Melanie Griffith, Deborah Shelton, Guy Boyd, Dennis Franz, Al Israel, Barbara Crampton, Slavitza Jovan

Delphi II Productions, Columbia Pictures, 114 Minutes

Review:

“I do not do animal acts. I do not do S&M or any variations of that particular bent, no water sports either. I will not shave my pussy, no fistfucking and absolutely no cumming in my face. I get $2000 a day and I do not work without a contract.” – Holly Body

Having now seen all three movies in Brian De Palma’s neo-noir trilogy from the early ’80s, I’d have to say that this one is the weakest but it is also the most fun. But I’ll explain what I mean.

The first two movies in De Palma’s noir thrillers came out back-to-back. This third film, however, came out after he did Scarface. I feel like I need to mention that, as this feels like a weird amalgamation of the style from the other noir pictures, as well as the style from Scarface, which was poppier, livelier and had an early ’80s neo-noir aesthetic in its own way due to its use of lighting, shadows and neon accents. Scarface almost had vibrant giallo tones and they carried over into this movie.

I’ve talked about De Palma also tapping into Alfred Hitchcock for these films and honestly, this might be his most Hitchcockian of the lot, as it channels parts of Rear Window and Vertigo.

As simply as I can state it, Body Double channels Rear Window in how it explores voyeurism and it channels Vertigo in how it features two women appearing as one with some noir styled trickery.

This might also be tapping into Dial M for Murder due to the use of the phone as a narrative prop when the girl that the protagonist is obsessing over has a killer in her midst.

There’s really a lot going on in this movie and it’s a solid homage to all of these great things but it is very much its own film that taps multiple creative wells but still comes up with something refreshing and unique.

I thought that the plot was well conceived and executed and even if you can start to put it together fairly early, there is still a bit more to the big reveal than you’ll anticipate.

While this might be the worst acted of De Pama’s neo-noir flicks, no one in it is bad and the performances kind of add to the bonkers proceedings. I feel as if the performances are a bit hammy because the tone of the film called for that. And that’s not to say that this isn’t a serious movie, it is, but it seems pretty self aware that it is tapping into schlock territory while still being real cinematic art.

The film also uses some gore and it works well here. De Palma has used gore before; look at Sisters for instance, as that had some brutal moments in it. But the use of gore really adds something to the dreamlike quality of the film. While this takes place in the real world, there is something fantastical and magical about the look and feel of the picture.

On a side note: I love the use of Frankie Goes to Hollywood’s “Relax” in this film. It briefly turns the film into a bizarre ’80s style MTV music video with a bit of sexploitation thrown in. It may sound odd for someone who hasn’t seen this film but it’s the moment where I realized that I love this picture. And it’s that moment where the film really commits to the bit and shows you that despite the harsh moments and violence, this is a film that’s really having fun with itself. It’s like cinematic masturbation of the highest regard.

And thinking about that moment, it really helps to set this film apart from the other two that are so closely associated with it. Where the first film was really dark and gritty, the second one started to let some light into it and then this third picture, really embraces the bright lights and becomes somewhat chipper, creating a lot of contrast from the beginning to the end of De Palma’s neo-noir work. In fact, the visual tones also remind me a bit of De Palma’s very lively Phantom of the Paradise.

Due to the length of this review, it seems that I have more to say about this picture than the other two, which I still feel edge it out. But I think that’s due to the fact that this gave me the most to chew on and it feels like the most Brian De Palma film of all-time, as he calls back to a lot of his previous work and his main influences.

Despite this being my least favorite of the three noir thrillers, it’s still a damn fine film and honestly, it’s probably the one I will revisit the most.

Rating: 8.5/10
Pairs well with: Brian De Palma’s other neo-noir thrillers from this era: Dressed to Kill and Blow Out.