Graphic Novel Review: The Most Disturbing Part of Alisik Is Its Sexualization of Teenage Girls

The first volume of Alisik opens with the lead character, a teenage girl, asking the reader, “Do you believe in love at first sight?” She says, but, “There’s one problem. I’m dead” (8). A pretty big problem considering that her love, Ruben, is alive. The catch is, he doesn’t know that she’s dead. He takes frequent short cuts through the graveyard she’s buried in since his accident left him blind. Other humans can’t see or hear Alisik or her undead companions, but Ruben can.

While Alisik frames the wrong side of the tracks love story as the center of the story by opening and closing the first volume with it, the world is what’s really remarkable. There are five other “post mortals” waiting with Alisik—Ottie, General, Frings, Hothead, and Pointy Head. They try to explain to Alisik what’s going on, but all they know is, “We’re no longer living, but haven’t made our final journey yet” (41). There’ll eventually be a judgement on whether each of them belongs in the good place or the bad place. Much of this volume is dedicated to establishing the rules that Alisik and the others must follow, which they break frequently.

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Trigger Warnings

I lost my lactase enzymes—the ones responsible for breaking down milk products—when I was still in high school. It was a bumpy road figuring out what had milk in it, and what didn’t. Things with cheese and ice cream were obvious, but less obvious was where there might be butter. In restaurants, the answer was almost everything. At home, it took some time too. Eventually—probably too long after—I noticed that at the end of every list of ingredients there was a bolded sublist that had all of the potential allergens.

Even cheese has a warning that it contains milk.

There’s good news: this list doesn’t affect anyone who doesn’t need it. The lactose was still there. And even better, no one was forced to read it that didn’t want to.

Cinepocalypse 2018 Review: The Cop Baby Almost Lives Up to It’s Hilarious Premise

Buddy cop comedies are a staple of American media. From Starsky and Hutch, to Lethal Weapon the movies series, to Lethal Weapon the TV series where Clayne Crawford is being replaced by Seann William Scott for its third season. They’re fun because the old-cop-who’s-about-to-retire and the young-cop-who-doesn’t-play-by-the-rules dynamic works. It leads to friction, and in the end, an unbreakable friendship. Russian director Aleksandr Andryuschenko and writer Andrey Zolotarev get that, but they sensed that something was missing. Or maybe that it had become too familiar. Or maybe it wasn’t Russian enough. So they decided that buddy cop movies would work better if the older officer was a baby. Thus, The Cop Baby was born.

It opens with a prison exit interview. Katya (Liza Arzamasova) is assessing whether Khromov (Sergey Garmash) is rehabilitated enough to be allowed back on the streets. She doesn’t know that he’s a cop who has gone undercover for the last year to gain the trust of the elusive drug lord, the Dragon. He doesn’t know that in the next fifteen minutes of film he’ll trade bodies with the baby she’s pregnant with. He insults her husband, his soon-to-be father, calling him a loser who ruined her career.

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Cinepocalypse 2018 Review: Satan’s Slaves is a Must See

The characters in bad horror films miss the easy opportunities to solve their problems. They stay the night in haunted houses on the anniversary of someone’s violent death when they damn well know about AirBnB. They investigate that noise in the dark attic where the killer is lurking when they could stay downstairs and finish their beer. They refuse to see that the puncture wounds on their anemic friends neck might be caused by vampires and don’t go out for Italian food. If the characters found those easy ways out, the movies wouldn’t be any fun. It puts horror storytellers in a hard place. They need the characters to do stupid things to advance the plot, but need the characters to be smart enough that the audience identifies with them. It’s a challenge that director and writer Joko Anwar navigates superbly in Satan’s Slaves.

The movie starts with Rini (Tara Basro), negotiating with a record company executive. Her mother (Ayu Laksmi) was a pop star before her illness. The family can’t afford the mother’s medical bills, but the executive won’t budge, leaving Rini to go home with next to nothing. Her brother Tony (Endy Arfian) sells his motorcycle. Her father (Bront Palarae) has mortgaged the house and can’t afford to pay the phone bill.

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Graphic Novel Review: The Beautiful Death is Depressing and Gorgeous

Mathieu Bablet’s graphic novel The Beautiful Death combines the desolation of Richard Matheson’s I Am Legend with the bleak pessimism of Cormac McCarthy’s The Road. It starts following an unnamed young man, who’s internally reciting a poem that ends each stanza with, “For I am the last man on Earth.” After fifteen or so pages, it switches to the protagonists. Wayne, Jeremiah, and Soham are young men who survived the apocalypse. They spend their days traveling an unnamed city, scavenging for supplies. Wayne points out that the expiration date on the can is their expiration date too.

His and Soham’s spirits are broken. That’s precisely why Jeremiah is such a breath of fresh air. While Wayne and Soham wax poetic on the meaning of life after the apocalypse (“Do we have a duty to survive for all those who died?” Wayne asks through tears on page 73), Jeremiah builds snowmen. He maintains a sense of play, and a story this dark needs the light of hope to see everything else that’s going on.

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