Publication Date: 2012 - Present Creative Team: Writer: Tim Seeley Artist: Mike Norton Colors: Mark Englert
Covers: Jenny Frison Genre: Horror, Drama
I’m
not a fan of Hack/Slash. I know, I know. I reviewed Freddy vs Jason vs Ash, how can I
like that and not love Hack/Slash? I
love the slasher genre. I enjoy horror
comics. By all accounts I am exactly the
sort of person that should be head over heels for Hack/Slash but I’m just not. While there are a couple of stories I have
enjoyed, on the whole I think it’s just ok.
So what does any of that have to do with Revival, you ask. (Unless you already know in which case I have
a Kudos for you. Yes, the granola
bar.) Here’s the point. Tim Seeley the writer/creator of Hack/Slash
is the writer/co-creator on Revival.
That didn’t click for me until long after getting into Revival which is
good because I might have passed on it.
Luckily, there were great teaser ads for this all over the series of
tubes we call The Internet. Image comics
published various strange small town newspaper ads and articles that got me all
excited. So here I am today happily
reading the series and reviewing it for you fine folks.
Revival takes place in the
small town of Wausau, Wisconsin. For
some reason on January the 2nd, the dead are beginning to rise from
the grave. The phenomenon so far seems
limited to just Wausau and just to the recently dead. These dead are not your typical zombies. In fact, most of them seem completely
normal. You would never even know that
they had died unless they told you. Now
Wausau, is the focus of national attention.
The town has been quarantined but people sit at the road blocks day and
night hoping to get in and indulge in the miracle. The people inside the town are just
scrambling to try and understand what’s going on and dealing with their forced isolation. All of this would be enough to cause drama but
it seems the majority of Revivers, as they are called, came back a little wrong. Some are even deadly.
Ma proves that amateur dentists are just as good as the kind with degrees.
One of the biggest draws of this series for
me is also one of the few negatives (if you can even call it that): The
characters.This requires a little
explanation.Revival primarily focuses
on the Cypress sisters.Martha Ann Cypress
is a college student with a bit of mystery surrounded her and Dana Cypress is a
police officer who works for the girls’ father, Sheriff Wayne Cypress.There is a sibling rivalry between Martha and
Dana which primarily centers around their issues with their father.Besides the Cypress family, there is Ibrahaim
Ramin, the CDC Liaison; Blaine Abel, the exorcist/snowmobile repairman; May
Tao, the fluff journalist who first reported on the Revival; and many more.All of these characters are interesting.The closer to the center of the series the
more 3 dimensional they feel.I have no
complaint in that regard.However,
despite being well fleshed out, I can’t quite shake feeling like these are the
exact characters you would see in Fargo or Twin Peaks or even The Killing.It’s not necessarily bad. It’s just that
sometimes I get the impression that Tim Seeley and Mike Norton said we’ll pull this
character from over here and that character from over there until they had a fictional
town full of people. Still even if the
cast doesn’t feel completely original, how they’ve been used and developed
feels real.
Martha Ann describes her circumstances writing for NBC's Heroes.
When it comes to pacing, Revival has a slow burn that’s
refreshing compared to the majority of modern comics. A lot of the top selling comics need to punch
something hard or blow something up every few pages. Don’t get me wrong, Revival has action in
it. It is at least in part a horror
comic after all but it’s not afraid to setup the atmosphere and set the burner
to simmer. Revival absolutely
simmers. A dash of mystery here, some
intriguing character development there, set the range to low and wait. We as the audience get to do what you always
do in the presence of a cook with finesse; you sit back and hungrily anticipate. The story is so well crafted and the
characters are so intriguing that it was only later that I realized I didn’t
feel any closer to finding out why the dead came back to life. It doesn’t really matter because while this
isn’t a zombie story per se, it does have something in common with the best
undead fiction: It’s not concerned with why the dead rose. At least, not yet. Tim and Mike may have something in mind but truthfully,
I would prefer a Y the Last Man ambiguity about it rather than a hard
explanation. The real story is what happens after they rise not how it started.
When will rampant racism toward zombies stop?
Generally, I don’t like
when a comic features a different cover artist than the interior artist. I feel like this usually means one of three
things.A) Whoever is publishing the
book doesn’t have enough faith in the interior artist’s work to sell, B) The
interior artist doesn’t have the time to do draw the covers, or C) there’s an
artistic motivation that oh the whole serves the series.Now clearly, the reason can be a mixture of
any of those three or some other consideration altogether.More often than not I feel like it’s ‘A’,
which is too bad really.I like when I
can look at a comic’s cover and know what I’m going to get on the inside.With Revival so far, all covers have been by
Jenny Frison with a couple variants by Craig Thompson.Mike Norton is a strong artist.His characters are distinct and they emote
well. He’s got a good sense of panel layout and design.He’s versatile. He can do engaging talking
heads in on one page and a kinetic action sequence on the next. You couldn’t
really ask for a better artist.I’m not
sure why he’s not doing the covers on this book but it feels like option ‘C’,
the artistic choice.Jenny Frison’s covers
set an excellent tone at a glance and work in concert with Norton’s
interior.The covers and interiors feel
unified rather than working against one another.
Revival is a book that needs more attention. It’s certainly a rising star over at Image
Comics but it’s not doing the kind of numbers that Batman or even Saga is.But it should be.Revival’s official site has the Free Comic
Book Day preview from a year ago.I’ve
provided the link so please check it out and support this book.
On Tuesday I had the opportunity to make a guest appearance
on Death Ray Comics’ new podcast, On the Rack.
On the Rack focuses on what’s new in comics each week. Death Ray Comics’ owner and On the Rack’s
host/producer is Trent Hunsaker. I met
Trent at a pub trivia he ran that was sponsored by his other podcast Zeros
N’ Heroes. Clearly, Trent is a busy man.
Trent and I were also joined by Steve Kent. Mr. Kent is very knowledgeable about all things comic and has appeared occasionally on both On the Rack and Zeros N’ Heroes. We all discuss various up coming comics some superhero related and some not. I've highlighted my picks for the week below.
There were some technical difficulties as Trent explains on the podcast so unfortunately the first half of the recording was lost but hopefully you folks at home will still enjoy listening to it.
Nowhere Men 5 from Image Comics (missing due to technical difficulties)
Revival 10 from Image Comics (a review of
Revival vol. 1: You’re Among Friends is forthcoming)
Occupy Comics 1 from Black Mask Studios
Invincible Universe 1 also from Image Comics (An excellent superhero book but a bit outside the scope of this blog and thus it is not pictured below. )
Thanks for stopping in and be sure to listen to my podcast
debut. I’ll be sure to post any future
appearances.
I’m a sucker for a time travel story. If time travel was steak, I would be on my 32nd
heart attack (one for every year of life).
I saw the words “Time Travel Memoir” and without further consideration,
I bought it. See? Sucker.
Luckily, my 7 bucks at Comixologywere not spent in vain.
After reading this highly entertaining time travel memoir, I figured I
would study up on what else Ms. Fink has been up too. As far as I could tell, We Can Fix It! is
Jess’ only non erotic comics work.
Having said that, the comic is still sexually charged but in a soft ‘R’
college movie sort of way. So if that is
not your cup of tea, you have been warned.
All in all, I think We Can Fix It! is a very unapologetic self aware
work. Jess Fink knows who she is.
Don't worry your secrets are my secrets are your secrets....right?
The premise of the comic is pretty simple. Jess Fink has a time machine. I think we all like to kid ourselves that if
we could travel through time we would endeavor to better the world
somehow. Some people think they would kill Adolf Hitler, others
would save a loved one from peril, and still others would correct a long
regretted mistake. However, Jess’ goal
is probably a bit more realistic. She’s going to visit her past and make out
with it! Sort of like a personal greatest
sexual escapades world tour. That could
have been the whole plot but Jess soon discovers that reliving (and
occasionally joining in) with her sexist moments is not as pleasant as it
sounds.
Guitar sounds are the harbinger of all sexy things.
We Can Fix It! deals with the erroneous
nature of memory in a playful way. Jess, like all of us, remembers the events of her life differently depending on her
mood. At first, she remembers the
moments of her sexual awakening as intense and wonderful but quickly realizes
that they were awkward and a bit embarrassing. (I doubt there is an adult alive
who can’t relate to that). Finding her
journey unexpectedly depressing, she decides to rethink her trip. She starts to visit moments she remembers
going poorly hoping to be pleasantly surprised.
Finding that they aren’t any better she decides that…She Can Fix It!
(that’s almost the title). Before long
she’s zipping back and forth across her life trying to smooth out the rough
patches. We’re shown everything from
Jess taking ‘sexy’ (awkward) pictures for a boy to an especially bratty
encounter with her hard working single mother.
Eventually after having little luck with the smaller moments she tries
to fix the big ones. It’s heart breaking
watching an especially dark moment involving her estranged father. While hoping from the ridiculous to the
tragic nothing feels out of place. Jess
easily manages to maintain a uniformity of tone. By the end Jess has learned what we all
eventually have to come to terms with: all our experiences, even the horrible
ones, make us who we are. It’s more
important to look to the future than to dwell on the past.
This generally light-hearted story does momentarily get dark.
At first glance, We Can Fix It! feels like it
was torn from the pages of someone’s high school notebook. The art work looks like it was entirely
produced with a standard lead pencil. I’m
not sure if that’s truly the case or if she achieved that look by some other
process. When an artist has a more
simplistic style I always wonder if that’s the best they can manage or a
stylistic choice. With Ms. Fink, I assume
it’s the later. She seems to have a good
grasp of anatomy and has fun caricaturizing it.
Her style is entertaining and doodle-esque which fits well with the time
period of her life that’s being covered.
It helps to maintain a light playful tone. The art, like the story, doesn't take itself
too seriously.
Past Jess trying to make sense of drunk night watching Bio-dome.
All in all, We Can Fix It! was a fun ride. I realized that I’m close to the same age as
Jess so I easily related to some of the quirks of being a kid in the 90s. Sure, there were spots that were awkward,
juvenile, and weird but that’s a lot of what life is when you’re growing up. I’ll be keeping an eye out for what Jess Fink
does next.
Paradox free time travel. That's Allstate's stand.
Creative Team: Writer: Peter M. Lenkov Artist: Lucas Marangon
Inks: Randy Emberlin Colors: Dave Nestelle
Genre: Afterlife, Cop Drama, Black
Comedy
I’ve never been afraid to ask a stupid question about the
mechanics of a fiction world. (Embarrassed afterward? Maybe.) For instance in Toy Story, Why do all the
toys accept as a rule that they cannot reveal that they are alive? Who made that rule? Why do they all follow it? Why does Buzz Lightyear follow it when he
doesn’t believe he’s a toy? I
digress. Sure Toy Story isn’t a work of
great philosophical depth. It’s not
intended to spark questions of how the world functions. It’s just supposed to be our world with
another fairly simple layer on top. RIPD
hit me similarly. Not that it’s about
toys or even simple but it inspired me to ask a lot of questions about how it
all works.
I don't want to know but I do. I'm confused and scared.
The premise of RIPD is simple enough really. Nicholas Cruz is a good cop who dies. Once he’s dead he gets recruited to be a cop
for the Rest In Peace Department (RIPD).
He’s tasked with catching demons, ghosts, and other supernatural
business but before all that he has to solve his murder. See? Simple-ish. The plot doesn’t get much more complex than
that but what made it interesting (or infuriating) to me were the implications
in the background. For instance, Nick is
a rookie cop so of course he needs to be partnered with a grizzled vet close to
retirement whose last partner died on the job.
It’s a cop story, that’s pretty much how they work. That partner is Sheriff Roy Powell. Roy is dead just like Nick and Roy’s older
partner McKenzie was dead too…and then McKenzie went and died some more. So, if you’re dead already and you die again then
what? RIPD doesn’t give us a very clear answer. There is a Heaven and Hell in this mythos and
we’re told when Roy retires he’ll go to Heaven.
So when McKenzie died for the second time did he go to Heaven or just
cease to exist? The demon killed in the
same scene clearly went back to Hell. Anyhow,
it bugged me but I like to over think things (like Toy Story for instance). But as one of RIPD’s characters says, “Don’t
sweat the details, kid”.
Men without necks don't need writing on their business cards.
The story relies on a handful of clichés to set up our
characters. Nick before dying is the standard
young hotheaded cop. He dies and leaves
behind a hot young widow, daughter, and dog.
Nick also had a partner that was like a brother who’s going to do his
best to watch over Nick’s family. Roy is
a rough around the edges cowboy and as I have mentioned soon to retire. Since Nick is going to be a cop in the
afterlife he’s got to get there by being murdered. After all, what’s the fun of following a dead
character if they can’t solve their own murder?
It’s not to say that RIPD isn’t fun it’s just not new. There really isn’t any innovation. It feels like supernatural Men in Black.
They might make this look good but they don't produce music videos.
RIPD is only a 4 issue miniseries so it doesn’t have a lot of time
to introduce us to the characters or the world.
This is maybe why so many clichés were relied upon to get past the setup
quickly and move on to the plot. The
story moves along at a fairly quick pace and never gets boring. Peter Lenkov has worked as a writer and
producer in television since the 90s. He
helped developed and is currently an Executive Producer on the reboot of Hawaii
Five-0. I think this explains why RIPD
feels so much like a TV pilot. I
wouldn’t be surprised to find out it was a rejected TV pitch that Lenkov decided
to turn into a comic. It certainly feels
like a concept that could easily be mined for an off-kilter story of the week
police procedural. It’d be like Hawaii
666. With the recent movie adaptation
anything could happen.
Book 'Em Danno!
The art work in RIPD is just fun.
It fits the story nicely by setting a tone that’s not too serious. If this comic had been drawn by someone like
Jim Lee or Alex Maleev it would have been horrible. However, to just look at Marangon’s art work
you can tell he must have had a blast drawing this thing. His characters have a cartoony feel to
them. I have no trouble imagining this
book as a 90s Saturday morning cartoon show.
It could air between Teenage Mutant Ninja Turtles and X-Men without
missing a beat. I almost had to restrain
myself from grabbing a pair of footy pajamas and bowl of Fruit Loops.
The Fashion Police start using Lethal Force.
Overall, I enjoyed reading this book well enough but I just wasn’t
impressed by it. I figured with the
movie coming out soon it was about time I checked it out. If they change the story a bit while adapting
it for the silver screen, I won’t care one bit.
The trailer has already hilariously illustrated that the dead cops don’t
appear like they did when they were alive but there is nothing of the sort in
the comic. My hope is that the movie
fixes what was bad about the source material.
I guess I’ll have to wait and see.
I wouldn’t suggest buying RIPD but if you know someone that owns it or
have a local library that carries it check it out. It’s a quick read and I have certainly read
worse.
So you're telling me you died in True Grit and woke up here?
I Killed Adolf Hitler
was the book that introduced me to Jason. I have been reading comics for
years but I’ve never encountered another comic creator quite like him.
His work is deceptive within the medium’s American comic landscape.
It would be easy to pass his work on the shelf and assume that you were
looking at a comic made for children. His characters are
anthropomorphized dogs, rabbits, and birds. His dialogue is simple and
sparse. His illustrations have a minimalist style. It would be easy
to think you were looking at a children’s book. However, that assumption would
be very wrong.
From the classic Children's tale 'Mom is Horny but Daddy is a Hitman'
Jason is actually the nom de plume for Norwegian comic creator, John
Arne Sæterøy. Apart from living in Norway he’s also lived in Denmark,
Belgium, and France. Much of his work began life overseas before being
translated to english and published in the United States by Fantgraphics. The
interesting thing about European comics to me is how differently they have evolved
over time compared to American comics. In 1950s, American comics were
attacked by Fredric Wertham in his now infamous book, Seduction of the
Innocent. These ideas gained traction when Senate hearings on the subject
forced the comics industry to self regulate by forming the Comics Code
Authority. The Comics Code pushed some publishers to the point where they
had to close their doors and forced entire genres out of the American comics
medium. The regulations were so draconian that famous comics writer Marv
Wolfman was not allowed to have his last name in print because of its
association with the mythical half-man/half-wolf creature. But comics in
Europe didn’t face these trials they weren’t forced to adapt or die. They
were allowed to grow as an art form. In the United States, the stigma of
being seen as juvenile and trivial has forced many comics creators away from
anything that even gives the appearance of youthful frivolity. A comics
creator like Jason would have a hard time finding a place in mainstream
American comics. But lucky for us, he’s not American.
Nobody noticed Hitler's illiterate attempt to read a gibberish newspaper due to an assassin's arrival.
I Killed Adolf Hitler follows the tale (no anthropomorphic animal pun
intended) of a hired hitman, his girlfriend, and a time machine. A story
with a title like this one sounds like it would be all about putting Hitler on
ice but really it’s more about relationships and timing. The story starts
out in present day with the hitman and his girlfriend (who are never named)
clearly having problems in their relationships. Our hitman’s business is
positively booming. He has calls from people from all walks of life to
kill people for all sorts of petty reasons. If that weren’t bad enough
competition in the hitman business is pretty stiff. Assassinations of
average people in broad daylight are a common occurrence. The hitman
would continue killing lousy bosses and noisy neighbors if it wasn’t for a
client with a time machine. The hitman can’t pass up the chance to kill
Hitler and accepts but things quickly go awry.
Who hasn't tried to hire someone to kill there mother?
Just another day in the life of a hitman.
Jason’s works is often
almost completely silent. While I Killed Adolf Hitler has sparse
dialogue, it’s quite verbose in comparison to works like You Can’t Get There
From Here and Sshhhh!. The dialogue Jason does include is very
concise. This works in interesting concert with his illustration style.
While his characters are dogs, cats, birds etc, there faces are almost
always stoic. They rarely betray emotions. His stories depend more
on slow burning plot lines to instill emotional weight. He could have a
character say they were lonely or their face could look depressed but instead
Jason chooses to show a lonely life over time. Through repetition he
gives a clear view of what the character must be feeling without having to
spell it out. He’s not a writer you would ever accuse of telling more
than showing.
Jason’s art work seems
partly inspired by Herge’s ligne claire (“clear line” in french) style.
His line work has equal weight. He never uses illustrated shading.
His colors are usually flat rather than employing the use of gradients.
His work is a fun change of pace visually from most other American
comics. However, his simplistic art style occasionally makes
distinguishing characters a bit of a chore. There was a point in the
story where I had a difficult time seeing that a character had aged
significantly and there were a couple times where I didn’t realize I was
following a new character. Both these issues threw off the the story for
me momentarily.
Overall I Killed Adolf
Hitler despite the morbid subject matter is a lot of fun. I think most
people can relate to the relationship issues at the core of the story and who
doesn’t like a little zany time travel from time to time. If you decide
to check this comic out and find you like it then I would greatly suggest
looking into Jason’s other work. Hey, Wait... is probably my next
favorite of his works but be ready for a rather heartbreaking story.
Enjoy!
No one seems concerned about burning alive but then Freddy's already done that.
Before getting too deep into this review I think it’s worth noting
that this comic isn’t for everyone.There is fiction that’s written to be universally accessible and there
is fiction written for a target audience.Freddy vs Jason vs Ash is definitely the latter.I have a hard time imagining someone being
interested in this comic who wasn’t already a fan of one or more of the film
series.On top of that, this comic sits
firmly in the Slasher genre so it will be violent and there will be sex.If that sort of thing bothers you, you should
probably seek entertainment elsewhere.And like a group of happy-go-lucky teens who have just encountered a
crazy old man prophesying doom…You have been warned!Enjoy.
Friday the 13th was rebooted in 2009. Nightmare on Elm Street was rebooted in
2010. And now this month the reboot of Evil
Dead has been released. Before there was
talk of reboots there was an attempt to bring all three franchises
together. Things didn’t pan out and a
film was never made but the script was able to live on in comic form. So I figured what better way to celebrate the
reboot of the Evil Dead franchise than to visit what could have been.
I'm still waiting on that Leprechaun reboot.
Freddy vs Jason left Jason as more or less the official
winner. Freddy was brought out from the
dream world (as is usually the case in the Nightmare on Elm Street series) at
which point Jason was eventually able to overpower him. However, at the end it’s made clear that
Freddy has still managed to survive in some capacity. Five years later the story of Freddy vs Jason
vs Ash begins. Crystal Lake is going
through a bit of a town reboot (as is usually the case in Friday the 13th
sequels). In the wake of this
redevelopment an S-mart Super Center has been constructed and is nearly ready
to open. The kids working at the new
S-Mart store are more or less the same clichés you would expect to find in a
post Scream slasher film engaging in the same clichéd dick and fart jokes. Where S-mart is, Ash is not far behind. Ash has been asked to transfer to the new
store to get it ready for its big grand opening. However things aren’t going to go too
smoothly. Jason is still at large same
as usual but now Freddy is trapped in his head and desperately wants out. Freddy’s escape requires the
Necronomicon. As you can imagine Ash
will have something to say about this.
With S-Mart's new all Deadite staff everyday feels like Black Friday at Wal-Mart!
The hardest thing about bringing Freddy vs Jason vs Ash to life
has to be the tone. All three movie
franchises have gone through tone revisions.
Friday the 13th has jumped back and forth between black
comedy and straight up horror. Freddy has
evolved over the years into something like a sexually charged standup
comedian. Meanwhile, in only 3 films
Ash’s character has turned from a standard frightened horror movie character
into the ultimate parody of masculinity.
To imagine the Ash from Army of Darkness fighting Freddy and Jason
requires a tone that does justice to all three characters. All three franchises have dabbled in comedy
but comedy is a varied genre unto itself.
I think Billy Madison and I Heart Huckabees are both hilarious but the
two mixed together would be a mess. This
is my main complaint with Freddy vs Jason vs Ash.
It looks like Freddy's played knifey spoony before.
Later Jason and Ash had a brutal slap fight that left few survivors.
Freddy and Jason’s worlds mesh pretty well together. I know not everyone liked Freddy vs Jason but
for me it mostly worked.However, adding
Ash to the mix is where the problems come in.When I think back on how Ash survived the 2 films he did (I am excluding
Evil Dead because Ash isn’t really Ash until Evil Dead 2) it’s really been dumb
luck more than skill.The Deadites
seemed more content to subject Ash to Three Stooges gags rather than any real
attempt to kill him (Sam Raimi loves him some Three Stooges).It’s not a problem with those films.In Evil Dead 2 and Army of Darkness the
slapstick horror worked.The problem is Jason
isn’t going to playfully poke Ash in the eyes.Freddy isn’t going to grab Ash’s nose and then slap it.Quite frankly Ash shouldn’t survive these encounters
unless he steps his game up.Yet
throughout the whole story Ash pulls the same crap as always and meanwhile
Jason and Freddy seem to dial themselves down to accommodate him.Jason will cut people in half without
stopping in one scene but in the next he’ll just throw Ash around.Freddy will slaughter most people in their
dreams without hesitation but he’ll stop and let Ash deliver a monologue.
Nothing good can come of this.
I have spent more time with the Evil Dead series than I have
either Freddy or Jason. With my self-proclaimed
PHD in Evil Dead (still waiting on accreditation) I noticed that James Kuhoric
recycled a fair amount of dialogue from the original trilogy.I know that the intent was to provide a nod
to what came before but I can’t help feeling that it comes off as a little
lazy.There are three instances in
Freddy vs Jason vs Ash where a spell needs to be read from the Necronomicon:
once to free/give power to Freddy, once when Freddy tries to trap Jason, and
multiple attempts to send both Freddy and Jason away.All of these spells apparently require the
same three magic words: Klattu Verata Nikto.It was kind of funny the first time but even Evil Dead 2 had more magic
words than that.Beyond that Ash lifts
several lines verbatim from both Evil Dead 2 and Army of Darkness.When he’s not doing that his characterization
is a bit spotty.On the other hand Jason
and Freddy feel spot on.The move and
act just as you would expect Freddy and Jason to.Jason even has the requisite number of
bizarrely creative kills (I doubt I’ll ever look at a grocery cart the same way
again).
The art on this story was very hit or miss.There were sometimes when the art was dead on
perfect.Ash looked like Bruce Campbell,
Freddy looked like Robert Englund, and Jason looked like Ken (Guy from Freddy
vs Jason).But then other times it
looked like a mess.Rick Burchett is
listed as Storyteller on issues 3 – 6 which I assume means he worked on page
layouts.The first two issues looked
great but as the series moved on the art work started becoming more
erratic.By issue 6 the book looked like
Jason Craig was rushed for time.The
level of detail had fallen dramatically and Ash is face looked right maybe a
quarter of the time.The coloring was
however solid all the way through.
Ash began phoning in his personal appearance during the course of the story.
Freddy vs Jason vs Ash is certainly not going to go down in comics
history as anything special but I did enjoy it.
It was fun seeing Ash take on these two modern movie monsters. I wouldn’t rush out to buy this comic but if
you see it on sale somewhere you could certainly do a lot worse. Now we just need someone to take the material
a little more seriously and get a movie made before Bruce Campbell’s too old to
handle the recoil of a boomstick. In the
meantime have fun seeing the Evil Dead reboot.
