Mount Hood

Phone Power: They Might Be Giants

By: Darien Campo 
Staff Writer

This week, March 8th, alternative rock duo They Might Be Giants released their 19th studio album “Phone
Power”. “Phone Power” is the third collection of songs from the 2015 revival of TMBG’s Dial-a-Song
project, in which they recorded and released a brand new song (with an accompanying video) every
week this year. The previous two collections of 2015 Dial-a-Songs, released earlier this year, were
“Why?” and “Glean”.

Anybody who follows TMBG is already familiar with most of the songs on this album, since they’ve
previously made an appearance on dialasong.com, but it’s still great to hear them all collected together
for the first time.

For a band that’s been releasing music almost constantly for the past 30 years, it’s truly amazing that
they’ve kept the same standard of quality on each album. Every song on “Phone Power” shows the same
attention to detail that Johns Flansburgh and Linnell have consistently delivered to their eager fans.
There are some really fun tracks on this album. My personal favorite is “I Am Alone”, which details a
very dramatic (and hilarious) standoff between 4 characters with too many plot twists to count. The
songs are creative and fun as always, but nothing on the album really breaks away from the TMBG
standard — which is hardly even a complaint.

The most notable detail about “Phone Power” is that it is TMBG’s first foray into the world of “pay-what-
you-want” releases. If you visit tmbg.com/phonepower you’re greeted with the option to choose your
own price for the 18 track album. They even say that you can pay nothing for the album, “because, like,
you don’t have any money right now. We understand. We totally support that idea. We don’t mind
giving things away.” They do offer special deals for folks who pay more for the album, like a physical CD
instead of a download link, and even an exclusive live stream to a show of theirs in April.

Though the songs on “Phone Power” are fun, I’m still waiting for TMBG to blow me away again like they
did with their 2013 release “Nanobots”. Regardless, “Phone Power” is a powerful addition to the
unstoppable The Might Be Giants discography, and is sure to please any fan.

‘Ghostbusters’ Returns to Big Screens This Summer

By: Ashton Newton
Staff Writer

We’ve all known for a long time what to do if there happens to be something strange
in the neighborhood. That’s common knowledge: Who ya gonna call? Ghostbusters.
But this summer, a new team is putting on the jumpsuits and taking on the iconic
role in the ‘Ghostbusters’ reboot film.

The first trailer for the upcoming film debuted last week, featuring plenty of laughs,
ghosts, and slime. The reboot has all new, all female team. The film stars Melissa
McCarthy, Kristen Wiig, Kate McKinnon, and Leslie Jones.
The film follows the scientists and a subway worker as they work together to defeat
a powerful demon who can take over the bodies of humans. The trailer also revels
that there is someone in the city who created a device that amplifies ghostly activity.
People are much more opposed to the idea of ghosts in the reboot’s New York than
in 1984 New York, which adds a new goofy dynamic to being a Ghostbuster.
The trailer put a lot of focus on the comedy of the movie, making it look like an over
the top modern day comedy film, instead of the classic ‘Ghostbusters’ style like long
time fans were hoping for.

Although the trailer stars out with a nod to the original, director Paul Feig has stated
that there are no narrative ties between the reboot and the original. Luckily, fans
can count on the original song being in the reboot, as well as a lot of nods to the
original ghosts.

The ‘Ghostbusters’ reboot sparked up some controversy when it was first
announced because of its all female cast, but Feig has since than talked about how
the all female cast is going to provide a new energetic dynamic to the classic
‘Ghostbusters’ concept and criticism has died down.

There has also been speculation that Bill Murray will reprise his role as Dr. Peter
Vankman, for he’s listed as a cast member on IMDB. Some people believe he’ll play
an important role in the movie, while others are saying he’ll simply be a cameo.

‘Ghostbusters’ will premiere worldwide this summer.

Primal fear over petty scares

By: Megan Clark
Campus Life Editor

When I saw the first trailer for “The Witch” over summer, I was hyped. A Puritan themed horror movie full of black magic and dancing goats was right up my alley. I saw it opening night, knowing it probably wasn’t going to be amazing, but a fun watch nonetheless.

Much to my surprise, I was wholly disappointed, but not because of the movie. No, the movie was good and full of the gloomy, mystical vibes I had so desired.

I was disappointed because of the audience, who complained and joked throughout the entire film.
Now, “The Witch” isn’t necessarily bad. It has an 89 percent rating on Rotten Tomatoes, and that’s a better grade than what I’m getting in some of my classes this term.

While I understand it’s not everybody’s cup of tea, I have a hunch that the audience wasn’t adequately prepared for what they were going to see. I mean, sure, there were like three different trailers for it that they could’ve watched, but maybe there’s more to it than that.

When horror is mentioned, people expect scary.

They expect horror films to follow a certain formula that they have grown accustomed to, usually involving horror movie tropes and tricks like jump scares or twist endings that don’t seem much like scares or twists anymore because people come to expect them more often than not.

Horror, however, encapsulates a large array of films, the genre being defined only by its ability to make the viewers uncomfortable through feeding on their primal fears.

The first horror movies of the silent film era, like “Nosferatu” (1922) or “The Cabinet of Dr. Caligari” (1925), aren’t exactly terrifying, especially by today’s standards. They are, however, still super creepy due to their chilling visual effects and their ability to prey on fears innate in humanity, like the fear of supernatural creatures or of inevitable death.

In my opinion, the golden age of horror started in the late ‘60s and ‘70s, with classics like “Night of the Living Dead” (1968), “Rosemary’s Baby” (1968), and “The Exorcist” (1973), that focused on supernatural, ghostly, or satanic happenings.

Again, not super scary, perhaps even a bit comical. The group of elderly folk chanting “Hail Satan!” in “Rosemary’s Baby” isn’t particularly terrifying, but the film is still widely considered one of the best horror movies to date.

These paranormal themed movies have stayed strong, alongside the thrills and chills provided by the slasher crowd pleasers of the ‘70s, ‘80s and ‘90s, like “A Nightmare on Elm Street” (1984) and “Scream” (1996).
The focus in popular horror has shifted from the inventive plotlines and visually arresting atmospheres of the early and mid 20th century to simply imitating other movies that have found a foothold in popular culture.

The early 2000s welcomed in a slew of found footage films, starting with “The Blair Witch Project” (1999) that has continued with the ever popular “Paranormal Activity” series.

Found footage films are pretty uncomplicated movies to make, considering the film’s grain and shaky footage excuses poor special effects or lack in production value. They follow a similar recipe for plot, using healthy doses of invisible, overpowered evils and helpless protagonists to evoke excitement from viewers.

A lot of movies have come out as being genuinely unique and exciting, such as “Insidious” (2010) or “The Conjuring” (2013), but the quality of these movies is diminished because the market is flooded with sequels, prequels, and offshoots that mirror the style and plot of previous films.

There are still really great horror movies that don’t rely on imitating other plots, like “It Follows” (2014) or “The Babadook” (2014), which also have social commentary alongside their wonderfully eerie storylines and visuals.

While plenty of good horror movies are still being made, the majority of horror movies currently out are heavily referential and uncreative. This may make horror movie audiences ill-prepared for movies that break the mold, like “The Witch” (which isn’t really scary, but pretty good if you like that sort of thing).

Contact the author at meclark13@wou.edu or on Twitter @WOU_campuslife

Mack strikes back

By: Conner Williams
Editor-in-Chief

Alright, thrift shoppers, if you’re like me, then you stayed up late and waited until “This Unruly Mess I’ve Made” dropped and then proceeded to listen to it on repeat for the next week.

Hip-hop duo Macklemore & Ryan Lewis released their debut album “The Heist” back in 2012 when I was a pipsqueak freshman, and their follow-up came out just in time to take its place as the anthem of my senior year.

Without further adieu, I have decided to list out each track into specified categories that I think make most sense. It should be noted, however, that I have only heard the standard version of the album and not the full deluxe version, so the list below is missing the two extra tracks on the deluxe version.

Certified Bangers

With tracks like “Can’t Hold Us,” “White Walls,” and “Jimmy Iovine,” producer Ryan Lewis has proven that he is one of the best in the business at mixing up beats that bang. TUMIM is a bit more mellow, but it still has a few certified bangers.

“Downtown”: This track was released as a single back in August, and became an instant hit. The best part? It’s a song about mopeds. “Chromed out mirror, I don’t need a windshield; banana seat, a canopy on two wheels; eight hundred cash that’s a hell of a deal!”

“Light Tunnels”: As the opening track, this song sets the tone for the album, and it does just that. Macklemore calls out celebrities as he recounts his experience at the Grammy’s when he won album of the year and details what it’s been like facing the pressure of living up to the success of “The Heist.” “Watch celebrities take selfies with celebrities; it feels so make believe; they want the gossip, they want the drama; they want Britney Spears to make out with Madonna.”

“Brad Pitt’s Cousin”: There’s no doubt that Macklemore has an interesting sense of humor. With the chorus chanting “When you see me in the club; Brad Pitt, that’s my cousin; Angelina show me love,” the song still leaves me a bit confused as to where to draw the parallel between the two men (despite them both being incredibly attractive). But who cares, the song still bangs. “Every white dude in America went to the barbershop like ‘Give me that Macklemore haircut!’”

“Dance Off”: Featuring a celebrity appearance by Idris Elba (“Thor,” “Beasts of No Nation”) on the hook, this song is another Macklemore great that details just how much he loves to dance. And the bass is killer too. “I grab my ankle and pull it up; and do that thing where I move my butt; I got the juice motherfucker don’t use it up.”

Social Justice Issues:

Macklemore is fairly well-known for being a present voice of many social justice issues; “Same Love” advocated for marriage equality and became a huge hit that inspired millions around the country, and “Wings” detailed the culture around Jordan shoes and how people literally kill for them.

“White Privilege II”: This track is a nine-minute-long slap to the face for white Americans. Macklemore discusses his conflicted thoughts of taking part in a Black Lives Matter protest as he feels like he should be doing something while simultaneously feeling out of place, as well as how he used the hip-hop genre that arose from black culture to further his own agenda. “Want people to like you, want to be accepted; that’s probably why you are out here protesting; don’t think for a second you don’t have incentive.”

“Let’s Eat”: This track is all about positive body image. The message: quit worrying about eating that slice of cake. Go for it. “Supposed to be on a diet; I wanna be like Ryan; he lost 30 pounds on that paleo; but fuck it man I love fried shit!”

“Kevin”: Macklemore premiered this song at the AMAs, and it sure had an impact. A huge shot at the prescription drug industry, it discusses how Rx’s have harmed people by getting them addicted and, in some cases, killing them, all while robbing them blind. “Got anxiety, better go and give him a Xanax; focus, give him Adderall; sleep, give him Ambien; ‘til he’s walking ‘round the city looking like a mannequin!”

(Potential) Cult Hits:

Tracks like “Thrift Shop” and “Can’t Hold Us” became iconic pop anthems that have a special place in everyone’s musical repertoire. Let’s be honest, who doesn’t know where the line “I’m gonna pop some tags” comes from?

“Buckshot”: I honestly don’t know what it is about this track, but it’s got me bobbing my head and dancing around my apartment like I’m possessed. There’s just something behind a song about graffiti that I find intriguing. “They hella mad, say my art is really bad for business; but I’mma paint a better world until the cans are empty.”

“Need to Know”: Featuring a fantastic hook and verse by the increasingly popular Chance The Rapper, this track gives off a vibe of a lazy Sunday afternoon coffee shop. Gentle piano and horns serve as the background beat and almost supersede the fact that this track is about bending the truth and only revealing what one truly needs to know. Macklemore believes he is living a life that is a lie and really just looks better on the surface. “I’m really good at telling the half truth but usually only when I have to; the money doesn’t work, the chain doesn’t work; something broken in my brain got me praying in the dirt.”

Lowkey Jams:

In the midst of his speedy verses and eccentric dance themes, Macklemore likes to take it easy with a few slow jams as well.

“Growing Up”: Featuring an appearance by Ed Sheeran on the hook, this track is simply a heartfelt love letter from Macklemore to his unborn daughter. This really is a fantastic song and shows the rapper’s emotional side. “I’m gonna be there for your first breath; I don’t know if I’ll be there for your first step; I can promise you I’ll try to work less.”

“St. Ides”: While the title is a referenece to the malt liquor, it’s really about Macklemore appreciating the “non-commercial greatness of life,” as Genius.com put it. “Rollin’ round, we know where to go; argue with the homies over who’s gonna roll; bumpin’ Goodie Mob, have some food for the soul.”

“Bolo Tie”: This track shows Macklemore’s frustration with originally trying to get his music out there, and then people harassing him for new content after the hype of “The Heist” had ended. He didn’t want to put out music just for the sake of it; he wants it to be real. “Motherfucker you ain’t my accountant; you don’t know what I’m doing; focusing on what I’m giving back; man, make better music.”

“The Train”: As the final track on the album, it explores the rapper’s feelings of detachment and that he feels like he’s departing somewhere, like he’s on a train to nowhere. “Watchin’ the trees pass by at a tempo; got a round trip ticket out to limbo; and I’m getting close to my kinfolk.”

Contact the author at journaleditor@wou.edu or on Twitter @journalEIC

perfectly marvelous

By: Brianna Bonham

As a theatre geek, I went into Cabaret with very high expectations, and I was not disappointed.

The audience was met with two different seating options, as they entered the auditorium. There were wooden risers built that had a slight curve around the stage, and held seats to give the place an almost “theatre in the round” feel.

The second option was round tables around the sides and front of the stage; each table held a lamp and table number. Before the show began, the Cabaret Boys offered the tables menus with refreshments such as cookies, biscuits, sparkling water, pink lemonade, coffee, and tea. If the audience members had a couple dollars, the Cabaret Boys would take audience members’ orders and interact with them.

If you want to grab a cabaret table, get there early! I was fortunate to sit at the cabaret table four, which is right next to one reserved for an actor for a scene in the show. It was a really good way to break the fourth wall and make the audience feel involved.

The set and lighting combined made the show feel dingy, but in a good way. The air looked slightly smoky in the light and the mirrored set was stippled with rust and dirt colors to give it an older feel. Darker lighting was used during the scenes that took place in the cabaret to give the space a darker appearance.

Costumes were done very well, and all looked very time period appropriate which set the scene for much of the show. Those who had never seen the show before may have been a little shocked to see that the Kit Kat boys and girls wore minimal clothing as they danced around the stage and cabaret tables to gave the show that raunchy, nightclub feel.

The main characters all had very appropriate costumes, Emcee and Sally both sporting more colorful, extravagant clothing. Sally wears a beautiful red coat in a couple scenes that I loved, because even though we had just seen her dance onstage in lingerie, it gave her an elegant poise and class. Other characters such as Cliff and Fraulein Schneider wore more practical, simpler costumes, with less color which reflected their characters quite well.

The actors and actresses all did a marvelous job staying in character, carrying their accents, and projecting to the audience throughout the entire show. I was very impressed with the ability to hear everything they were saying consistently. There were a couple times where it was hard to catch what they were saying, but I think it was a mixture of the accents and the speed at which they were talking that caused me to miss a few seconds here and there, so keep your ears open.

I’ll admit that I was a bit nervous about Emcee going into the show, because he is so bizarre and exorbitant, and when people think of Cabaret, a lot of people can’t picture anyone else but Alan Cumming playing him. All of my fears were disbanded after the first number because Gabriel Elmore did an amazing job playing Emcee. He was so relaxed and gave the character a sense of ease as he danced eroticly with the other cast members. The Kit Kat boys and girls were an essential part to the show and provided great audience interaction, and a seedy quality to the space whenever they were on stage.

Rebecca LaPorte (Sally) and Janelle Rae Davis (Fraulein Schneider) both sang beautifully and gave their characters so much life, though the characters were very opposite. LaPorte belted Sally’s rebellious anthem “Don’t Tell Mama” and hit every note perfectly. Davis utilized character voice and facial movements to make her aging character believable. Her despise for Lindsay Spear’s character, the fiery red-head Fraulein Kost, is hilarious as Kost keeps sneaking sailor boys into her home.

Zachary Warner plays the likeable Cliff and was refreshing to watch on stage. His interactions with Sally, Ernest, and the other characters were very believable and added quality to the show. Taylor Mead was flawless in his portrayal of Herr Schultz, giving the mousy man a lovable light in all of his numbers and providing great comic relief overall.

I would not recommend the show to kids under 12, because it is filled with lewd humor. I thoroughly enjoyed the performance and I look forward to seeing it again the second weekend.

Contact the author at bbonham15@wou.edu or on Twitter @WOUjournalphoto

“Deadpool” is Dope

By: Ashton Newton
Staff Writer

Superheroes have been huge in movies lately. A little too huge, some might say, but they’ve been wildly successful nonetheless.

Marvel’s “Deadpool” brings a new kind of superhero to the big screen; One which comic lovers know as an “anti-hero.” For him, the lines between good and bad are very blurry. So, obviously, when I found out everyone’s favorite “Merc with a Mouth” was getting his own movie, I was skeptical and afraid we’d get a watered down version.

By far the best part of “Deadpool” was the R rating. If comic Deadpool is known for three things, it’s blood, language, and chimichangas. The R rating allowed all three of those to be expressed in full. There was no holding back in the language or the gore, so the comic Deadpool was really well portrayed on film.

Ryan Reynolds did an incredible job as Deadpool, he didn’t hold back at all in his portrayal of the character. Even under a thick red suit, Reynolds was able to bring so much emotion out of the character through his masterful use of dialogue.

“Deadpool” was also a chance that Fox took to poke fun at itself and the entire superhero genre. Deadpool makes fun of Ryan Reynolds’ “almost Deadpool” from “X-men Origins: Wolverine” and his Green Lantern. The movie also jokes about the low budget being the cause of the lack of X-Men characters and the very confusing X-Men Universe timeline.

The movie is a very easy to understand story of revenge. Set in the larger universe of the X-Men movies, the film seemed a little underwhelming in its small scale. I mean, there’s a guy named Apocalypse who’s about to try destroying the world in a few months. But at its core, “Deadpool” is a fun and entertaining debut of the beloved character on the big screen.

Comedy outweighed action in “Deadpool”. Whether it was breaking the fourth wall or one of his many one-liners, Deadpool had the audience laughing from start to finish. Comedy worked most of the time. As expected, a few one-liners fell flat, and some jokes were placed at awkward times, but “Deadpool” was still an extremely funny and entertaining movie.

A major weak point in the film was the side characters. Colossus and Negasonic Teenage Warhead played the role of the voices of reason for Deadpool and Colossus trying to recruit him to the X-Men. The characters were undeveloped and provided nothing but some extra muscle for Deadpool and a few X-Men jokes.

The action was very fast paced and fun. I found myself wanting more of it in slower moments. The R rating allowed the action to be filled with blood and gore. The film didn’t hold back at all when it came to blood or dismemberment, and it was fantastic.

Overall, Deadpool was a fun but small film that managed to bring a fan favorite character to the big screen while parodying the entire superhero genre. The film didn’t disappoint and left me wanting more.

Kanye West: Living “The Life of Pablo”

Kanye-WestColor

By:  Declan Hertel
Entertainment Editor

This may end up as my favorite Kanye album.

I dig his first three albums, but “808s and Heartbreak” is the first album of his I really, really dug, and I’ve only dug each subsequent one more and more. “The Life of Pablo” is the latest in a line of really great records. I love the gospel sound with all my heart, plus it keeps the weird industrial synths and sudden tone shifts of Yeezus, and lyrically speaking this is an album of a man struggling with his faith, his fame, his marriage, his baser urges, his fans, and his own mythology. It’s heavy and weird and—somehow—a little bit inspirational.

Look, my boy Kanye is a bit of a polarizing figure. For people who don’t listen to his music or his interviews or anything, all they’ve got is the award show outbursts and the Twitter rants. And while it’s unfair, it’s understandable. But that’s Kanye West the Public Figure.

I recommend listening to “My Beautiful Dark Twisted Fantasy” and “The Life of Pablo” to get a good idea of who Kanye West the Man is. I get this vibe from much of this album, and some of the tracks on “Fantasy” and “Yeezus,” that he is uncomfortably with finding himself happy.

He’s married to a woman who loves him and has guided him through his darkest times, not to mention mothered his children, and yet he still dreams of the destructive rock star life. He’s one of the biggest names in music, but can’t allow himself to take a break from work to tend to the rest of his life. On “Wolves,” the beautiful and haunting closing track of the album proper, he worries that his deceased mother would disapprove of his life and art, that he’s “too wild.”

He is a man deeply troubled by a great many things (not the least of which is his ego, which he freely admits), and his level of unabashed honesty on “Pablo” makes it really easy to empathize with a man who should be, by all rights, impossible to relate to.

Currently “The Life of Pablo” is only available on Tidal because who the hell knows, but just snag dat free trial, and I would be really, really surprised if it never found its way to a real release.

Incomplete and Miscellaneous Thoughts I Wrote While Listening to this Album Stoned:

Ultralight Beam:
Oh man when the gospel backing comes in, blew my damn mind for a second. Chance the Rapper’s verse is dooooope. Apparently this was why the album’s release was delayed initially, I can see why.

Father, Stretch My Hands Pts 1-2

Damn Yeezy getting weird again. Dude’s got a hell of a relationship with his family. His flow on Part 2 makes me uncomfortable and I loooove it

Feedback:
Man what a cool song. Savage feedback-y synths warm my soul parts

Low Lights:
More weirdness. Love the gospel influence. Ye did say this was a gospel record, dude wasn’t lyin’.

Highlights:
Oh man that first hook is giving me flashbacks to Daft Punk’s “Discovery.” Love it.

Freestyle 4:
This song strikes me as uncomfortably honest. So dope.
I Love Kanye:

Heheheheh Yeezy knows what’s up, love the self-awareness of closing with “I love you like Kanye loves Kanye”.

Waves:
The almost-namesake song. Comes in SUPER HEAVY after “I Love Kanye”

FML:
This song is fascinating, trying to give up the rock star life he worked so hard for so that he can be good to his family. Way dark and a bit spacey

Wolves:
Ugh this song breaks my heart. I hope he “fixes” it like he said he was gonna. I miss Sia and the other dude.

Sing Hallelujah for the Old Machine

ThreeBlindWolvesColor

By: Darien Campo 
Staff Writer

Three Blind Wolves is a three-piece indie rock band that hails from Glasgow, Scotland. Though they’ve not been active long, they have quickly proven themselves to be a stellar group that is well worth listening to. Their unique sound, self-described as “folk-tinged psychedelic blues-rock,” is brought to life in their first full-length album “Sing Hallelujah for the Old Machine.”

Released in 2013 under Scottish indie label Instinctive Raccoon, “Sing Hallelujah for the Old Machine” is a piece brimming with a tremendous amount of power and emotion.

The tracks are a fantastic blend of driving guitar rock, backed by a complex orchestra of instruments. Mandolins, slide guitars, and horns fill out the sound on this album, bringing a very country/folk feel to the music. Almost like The Decemberists meets Arcade Fire.

Listeners are served with a wide array of arrangements on “Sing Hallelujah.” From songs like “Parade,” which pound the crunching guitar and hit us with a rousing chorus, to songs like “When the Garden Gets Near,” which features no more than Ross Clark and his acoustic guitar. And even with the diversity in dynamics, all of the songs seem equally compelling.

The album spans 11 tracks of raw humanity, poured out into your headphones. We’ve all listened to sad music, but you’ve probably never heard it sung like Ross Clark.

Clark’s vocals soar from soft whispers, mumbled into the microphone, all the way to roaring screams of power. Clark’s lyrics weave a gorgeous tapestry of wanting. Each song is a thread through different aspects of loss and loneliness, all penned by Clark himself.

“Sing Hallelujah for the Old Machine” is less about wallowing in our own sadness, and more about rejoicing in it. These songs almost seem to celebrate our human ability to experience such emotional pain. It brings a delightful edge to what could have just been a series of sad songs.

On the album’s single, “Parade,” Clark said: “Times are hard just now. You’ve got to keep yourself moving on.”

If you’re looking for a new rising band to keep an eye on, it’d be hard for me to find a better recommendation than Three Blind Wolves, and their album “Sing Hallelujah for the Old Machine.”

Guns and Gore: New Doom Releasing This Year

By: Ashton Newton
Staff Writer

When gamers hear the name Bethesda, they may be too focused on some of their newer material like “Fallout” or “Skyrim” to remember the roots of the company, a huge part of the early gaming industry: “Doom.”

The original “Doom” was first released in 1993 and shocked the gaming industry with its graphic and bloody gameplay. Since its release, “Doom” has had numerous sequels, remasters, and a film. The newest “Doom” will be released this May.

“Doom” follows a Space Marine working for the Union Aerospace Corporation who fights hordes of demons and undead. The original “Doom” was one of the first ever first person shooters and paved the way for current first person shooter games.

The newest Doom was announced at E3 2015, executive producer Marty Stratton promised “badass demons, big effing guns, and moving really fast” as the game’s key principles.

“Doom 3” was released in 2004 and pushed the boundaries for violence in games, just as every installment of “Doom” had done in the past. The newest “Doom” is no different; the newly released campaign trailer shows off the game’s action with chainsaws, dismemberment, and buckets of blood. It’s safe to say that those with weak stomachs should stay far away.

From the trailer, the new “Doom” is looking to be one of the most violent games ever created. The studio is shying away from the horror aspects of “Doom 3,” and jumping right into the fast-paced, gory goodness of the original.

Doom will be released on May 13 for Playstation 4, Xbox One, and PC, and is up for pre-order now.

Hooray for Hollywood: “Hail, Caesar!” Review

By: Declan Hertel
Entertainment Editor

There is a subgenre of movies that I started to enjoy with “The Big Lebowski,” began to love with 2014’s “Inherent Vice,” and have truly begun to appreciate with “Hail, Caesar!,” the latest offering from near-legendary filmmakers Joel and Ethan Coen: comedic neo-noir that is light on plot and heavy on mood.

In these films, what is happening is not nearly as important as the world it’s happening in and the people it’s happening to. The mood is what matters, character is what matters, and the meandering, disjointed plotline (or more appropriately, plot-dots (coined it)) becomes secondary.

I have to admit, I didn’t expect this at all from the Coen Brothers, two of my favorite filmmakers ever. Even the aforementioned “Lebowski,” which shows elements of plot-dot structure, still has a clearly visible and comprehensible progression of events, or as much of one as a noir can have. Noir has never been a genre known for easy-to-follow, A-B-C plotting, but these particular sorts of noir films take the inherent complexity and winding stories of the genre to their logical conclusion.

But just because I didn’t expect it doesn’t mean I didn’t love it. A sunny, comedic neo-noir taking place during the Golden Age of Hollywood, starring an astounding number of supremely talented actors, as created by the Coen Bros? It sure feels like someone asked me what I would really, really dig in a movie, although I don’t remember such an incident.

There are no real standout performances in “Hail, Caesar!” because literally everyone in the film is fantastic and clearly having the time of their lives playing these larger-than-life Hollywood types. Although, one performance that does rise above is Alden Ehrenreich as Hobie Doyle, a slightly dim, yet earnest and kindhearted star of many silly cowboy flicks.

Ehrenreich is a relatively unknown name in Hollywood at the moment, but I hope that this movie puts him on the map for real. Every moment he’s onscreen is an absolute joy and his adorable rapport with Veronica Osorio’s character in the middle third of the movie melted my heart (speaking of unknowns, I would also love to see Osorio get more work).

The best thing about this movie is that it not only takes its setting from the Hollywood Golden Age, but it also plays like a movie from the era. It’s a feeling that’s hard to describe, but it’s at least partially due to about half the cast getting at least one moment to be the undisputed star of the picture. It harkens back to when times were perpetually trying and movies were about entertainment: escapism. Before “intellectual” movies, before cinema was an “art,” and film was trying to find what it was. And it was entertaining. That’s what “Hail, Caesar!” is; it’s entertainment of the purest form.

I won’t pretend to know what the motivation behind “Hail, Caesar!” was for the Coen brothers. But as it is, it is a wonderfully fun piece of entertainment that doesn’t have any illusions of being something “greater.” It comes in, makes you all happy and fuzzy, and leaves. And sometimes, a film doesn’t need to do anything else.

The Super Bowl Ads Were the Real Winner This Year

By: Ashton Newton
Staff Writer

With Super Bowl 50 came a new batch of hilarious, awesome, and strange commercials. For years, Super Bowl commercials have been making us laugh, cry, and have warm feelings inside, and Super Bowl 50 was no different.

This Super Bowl felt specifically tailored toward fans of comic book movies. “Deadpool” had a pretty large presence, “Captain America: Civil War” had an awesome new trailer, and Coca-Cola had a movie-quality Hulk vs. Ant-Man commercial, with the two characters fighting over a can of Coke mini.

Turkish Airlines gave everyone a look at Gotham City and Metropolis to promote the upcoming “Batman v Superman” starring Ben Affleck as Bruce Wayne and Jesse Eisenberg as Lex Luthor.

Doritos delivered some extremely funny material, as always. One featured dogs dressed as people to buy Doritos from a store, and the other featured an ultrasound where the baby wanted Doritos enough to be born early.

The NFL itself had a notable ad that spanned the length of the entire game featuring a choir of “Super Bowl babies” playing off the statistic that 9 months after the Super Bowl, winning cities see a huge growth in children born.

Super Bowl 50’s commercials were star-studded. Kevin Hart chased his daughter’s boyfriend, Key and Peele danced in a hallway, Alec Baldwin entered a hilarious battle of words, and Steven Tyler talked to himself in Skittle form.

One commercial managed to become trending on Twitter. Mountain Dew’s Puppy-Monkey-Baby instantly became a big deal, not because it was funny but because it was so strange. The commercial received very mixed feelings from people on social media.

The strange was definitely a huge part of the Super Bowl ads this year too. One ad featured a personified intestine running to go to the bathroom. Another featured a man and his humanoid marmot hiking in the woods, until the man attempted to kiss the marmot.

The Super Bowl wouldn’t be the Super Bowl without some sentimental ads, too. One in general stood out for Audi. The ad features a retired astronaut who felt like he was blasting off into space one more time while behind the wheel of an Audi. Jeep also touched the hearts of millions with an incredible commercial detailing all the events that Jeep has been there for, including “running from dinosaurs” and “on the beaches of Normandy”.

Overall, the Super Bowl commercials did what Super Bowl commercials do best and left viewers happy, entertained, and a little confused (I’m looking at you puppy-monkey-baby).

Radiohead fans have gone berserk

By: Darien Campo
Staff Writer

Radiohead announced the release of their first album as an unsigned band, “In Rainbows,” on September 30, 2007. Guitarist Johnny Greenwood made the announcement in a one sentence blog post with no prior build-up:

“Well, the new album is finished, and it’s coming out in 10 days […] We’ve called it ‘In Rainbows’.”

Four years later on Feb. 14, 2011, Radiohead announced they would be releasing their eighth studio album, “The King of Limbs,” in only five days – again, with no previous mention of an album. To everyone’s surprise, the album actually released a day early.

It’s been almost five years since their last release and Radiohead fans are beginning to feel the rumblings of a new LP on the horizon.

In 2005 Radiohead ended their contract with EMI in order to pursue a modern method of exchanging music between the band and their followers.

“I like the people at our record company, but the time is at hand when you have to ask why anyone needs one,” said Thom Yorke, lead singer.

Radiohead is the world’s most popular band to go without a label, which has led to some pretty unorthodox and “Surprise!” album releases.

If you have ever spent time talking with a Radiohead fan, you pick up just how rabid and obsessive they can be. If you let them, they will go on for hours about how two albums recorded a decade apart are actually written to be played together in a certain order.

Although we sound insane, we’re completely justified in our obsession. Radiohead feeds their fans with cryptic messages and mysterious photos knowing that we’ll pick them apart for clues. Never before have I seen a band that can so successfully manufacture fanatical hype for their music without dropping a dime on marketing.

These last few months alone have been an incredible testament to the perseverance of the Radiohead fandom. Anyone curious enough to follow the “r/radiohead” sub-Reddit can watch the detective work unfold daily. Fans have programs set to alert them to every slight change in code on WASTE and Dead Air Space, the two parts of Radiohead’s website. (Is the album being secretly uploaded where we can’t see it?)

Fans collectively lost their minds the other week when a Soundcloud glitch revealed that the band had privately uploaded a track that no one could listen to yet. (A new single, set to release any minute?)

Anything posted online by band members is picked apart and scrubbed through as fans struggle to find any clue to the release of Radiohead’s ninth studio album – which they’ve collectively dubbed “LP9.”

The best part of riding the “Radiohead Hype Train 2016 (CHOO CHOO)” is knowing that the music we get will be completely worth the wait. And although we have to fight for every detail and go for years at a time with no encouragement or clues, I know that not a single one of us would have it any other way.

The Schwartz Awakens with “Spaceballs 2”

By: Ashton Newton
Staff Writer

It doesn’t take much to notice that, right now, Star Wars is on fire. The franchise has had an extremely successful past six months and shows no signs of slowing down.

Right now is the perfect time for Mel Brook’s “Spaceballs” sequel, “Spaceballs 2: The Search for More Money.”

The sequel was first officially mentioned when the original film came out in 1987 as a joke, but Brooks has recently confirmed on “The Nerdist” podcast; yes, it’s happening.

Brooks wants to bring back as much of the original cast as possible. Unfortunately Joan Rivers, Dick Van Patten, and John Candy have all passed away.

Brooks said in a 2014 interview that he would never do a “Spaceballs” sequel without Rick Moranis. Moranis hasn’t been active since 1997 and has yet to comment on the rumors. Moranis recently turned down a cameo in the “Ghostbusters” reboot.

The original “Spaceballs” was released in 1987, four years after “Star Wars: Return of the Jedi” and quickly became a beloved member of the parody family. IMDB has the movie ranked at the seventh best parody movie of all time, with the list topped by “Monty Python and the Holy Grail” and “Airplane!”

“Spaceballs” received a reboot in 2005 when Brooks directed a 13 episode animated series following the release of the “Star Wars” prequels. The series saw the return of Daphne Zuniga and Joan Rivers, but no other original cast members.

You can find the animated series on YouTube with all of its “Star Wars” parody fun. The first episode “Revenge of the Sithee” even features a character very similar to Darth Maul.

Not much has been confirmed regarding “Spaceballs 2,” but Brooks told “The Nerdist” that the film is in early stages of development and that he hopes to start shooting early this year.

Catching ‘em all for 20 years

By: Declan Hertel
Entertainment Editor

When it comes to my generation, I prefer the moniker “’90s Kids” to “Millenials” because at least the derision “’90s Kids” carries is self-inflicted. And “’90s Kids” are now reaching that age where they’re realizing that the things they love are aging with them, and not too long ago, a beloved franchise had an early release of their anniversary Super Bowl ad: kids, Pokémon just turned 20.

For those of you just emerging from that cave and joining the surface dwellers, Pokémon are fantastic creatures that inhabit far off lands, and certain humans that live in those lands, Pokémon Trainers, capture them, befriend them, and pit their team of Pokémon against the teams of their rivals in Pokémon battles.

With six generations of Pocket Monsters (“Pokémon” is a portmanteau) in a long-running anime and series of movies, a trading card game, twenty-four video games in the main series with a great many spinoffs plus an augmented-reality game on the way, and no end in sight for any of that, Pokémon is a cultural force to be reckoned with the world over, especially in America and Japan, its country of origin.

People love Pokémon. There are countless videos of Pokémon events wherein a large contingency of people dress up as Pikachu, the most iconic Pokémon, and perform silly dances. There is a very active “Trainer” community, with players of all colors and creeds coming together to whoop on each other’s virtual pets. Even the Trading Card Game, which is admittedly not as popular as it once was, still has a dedicated player base (that I would be an unashamed part of if I had time or money).

I was honestly a bit inspired by the ad put out by The Pokémon Company, probably because I’ve grown up with it. The message the franchise has always carried is gloriously represented: if you work hard and never, ever give up, you can be the very best, like no one ever was. Train on.

Oscars Bring Controversy

OscarsColor

By: Ashton Newton
Staff Writer

Each year, all kinds of movies are watched and talked about, but there is no bigger honor in cinema than winning an Oscar.

On Feb. 28, actors, directors, editors, and all manner of moviemakers from all over the world will come together in red carpet fashion for the 88th annual Academy Awards.

Still weeks away, The Oscars have been huge in the news with speculations and controversies, as well as the annual Internet memes about Leonardo Dicaprio wanting nothing but to win an Oscar.

This year, the nominees for best picture are “Spotlight,” “The Martian,” “The Big Short,” “Bridge of Spies,” “Mad Max: Fury Road,” “Room,” “The Revenant,” and “Brooklyn.” Each of these movies, in its own way, brought something new and unique to theaters.

Last year, best picture went to Alejandro G. Iñárritu’s “Birdman,” which also won three other awards. Wes Anderson’s “The Grand Budapest Hotel” took home four awards.

All the actors nominated for Best Actor are pretty big names. The list includes Eddie Redmayne (“The Danish Girl”), Michael Fassbender (“Steve Jobs”), Bryan Cranston (“Trumbo”), Matt Damon (“The Martian”), and Leonardo Dicaprio (“The Revenant”).

As for Best Actress, the list includes Brie Larson (“The Room”), Charlotte Rampling (“45 Years”), Cate Blanchett (“Carol”), Saoirse Ronan (“Brooklyn”), and Jennifer Lawrence (“Joy”).

The controversies started when the managing editor of BroadwayBlack.com, April Reign, pointed out that for the second year in a row, all 20 nominated main and supporting actors and actresses were white. She took to Twitter, getting the hashtag #OscarsSoWhite trending.

Some individuals like Spike Lee, Will Smith, and Michael Moore have taken to boycotting 2016’s Oscars for the lack of diversity, while others like George Clooney, Reese Witherspoon, and Don Cheadle have been outspoken with their negative views toward the lack of diversity. Even President Obama has commented on the controversy, supporting the outcry.

Those who have attempted to downplay the controversy received a lot of criticism, including Charlotte Rampling and Michael Caine.

Although people have urged him to boycott, Chris Rock will still be hosting the Oscars. Rock has said that he is preparing a sketch that shines light on the #OscarsSoWhite controversy. There is also a large line up of African American presenters, including Whoopi Goldberg, Kevin Hart, and Kerry Washington.

The Academy also unanimously voted to double female and minority voters by the year 2020. This will change the current makeup which is 90% Caucasian and 77% male.

Controversies aside, there are some incredible films nominated this year, a ton of big name stars, and Chris Rock’s jokes. The 2016 Oscars are shaping up to be highly memorable.

The Oscars will be held on Feb. 28 in Hollywood, California, but you can view it from the comfort of your own home on ABC at 4 p.m.

Netflix doesn’t chill with 2016 release schedule

By: Ashton Newton
 Staff Writer

Netflix has become a huge player in the television industry. The US alone has 40 million Netflix subscribers, and 61% of subscribers binge watch a series every few weeks.

With so much success, it’s hard to believe that I go on Netflix after a long day and can’t find anything to watch.

Maybe I’m just picky, but luckily Netflix has a solution with an amazing lineup of shows for 2016.

Starting in February, Netflix is releasing the long awaited “Full House” reunion, “Fuller House.” The show will bring back almost all of the original cast members. Also in February, Judd Apatow’s original series “Love” will be coming out. “Love” is said to be a “down to earth look at dating” adult comedy.

March will bring season four of “House of Cards” and the second season of Marvel’s “Daredevil,” which will add The Punisher and Elektra to the Marvel Cinematic Universe.

In April, “That 70’s Show” stars Ashton Kutcher and Danny Masterson will be returning for the new Netflix original “The Ranch.” Also in April, the second season of “The Unbreakable Kimmy Schmidt” will be coming out.

Lastly, season four of “Orange is the New Black” will be released on June 17, just in time for a summer binge-watching session.

As for Netflix’s upcoming content without a definitive release date, there is a lot of content to be excited for in the second half of the year. Marvel’s third superhero will be jumping into the mix with “Luke Cage,” in which Mike Colter will be reprising his “Jessica Jones” character in the title role. “Jessica Jones” will be returning for a second season as well.

“BoJack Horseman” will be getting a second season, along with “Narcos” and “Marco Polo.”

Netflix will also be releasing a television adaptation of Lemony Snicket’s “A Series of Unfortunate Events.” Rumors have surfaced that Neil Patrick Harris will take up the role of main villain Count Olaf.

A list of codes recently surfaced that you can type into Netflix for extremely detailed categories. Some of these categories include “Soccer movies” and “Deep sea horror movies.” You can find a list of some of the codes by hopping onto netflixcodes.me, but there are hundreds to view online and even more that haven’t been found yet.

With all of these options and new ways of finding new content, Netflix users should be excited that 2016 is turning out to be a truly prolific year.

Descend into the “Darkest Dungeon”

By: Declan Hertel
Entertainment Editor

I like my games to hurt.

I have no interest in waltzing through a modern “press A to win” game. I don’t want to be told I’m great just because I sat down and pressed start. I want to be tasked with proving it.

The booming market for indie games has begun to supply me with the beat downs I crave, and one of my favorite entries in the “brutal-difficulty-as-fun” genre just got a full-release on January 19 after a very long period of early access: Red Hook Studio’s debut game, “Darkest Dungeon.”

“Darkest Dungeon” casts you as the heir to a gothic mansion (and all the dungeons and catacombs beneath it) that happens to be infested with all manner of creepy creatures. To take ownership of the house, you must recruit adventurers from all over and send them into the depths to clear out the beasties.

The game is an interesting mash-up of genres: the main meat of the gameplay comes from sending parties of adventurers into the randomly generated dungeons, and the game plays out like a standard RPG. But it also shares some similarity with sports simulation, wherein you have a roster of “players” you can outfit and upgrade to better fight the monsters below.

In addition to the physical damage your men will take, “Darkest Dungeon” is unique in presenting the psychological toll that confronting horrifying abominations bound to take on your heroes. Heroes have a meter that represents their mental health and letting the stress pile up as you adventure may just drive them insane, causing them to desert, cower, or even attack their compatriots. The small hamlet outside the mansion has all manner of amenities to help your adventurers regain their heads, for a price.

“Darkest Dungeon” is a fantastic example of subtle innovation in video games; it mashes mechanics old and brand new together with an unlikely genre combination and puts it all in a beautifully dark environment. Instead of trying to create something totally unique, they created a great game that feels familiar, yet does things no one has even tried before. I love it.

“Darkest Dungeon” can be purchased from darkestdungeon.com through the Steam platform.

“The Book of Mormon” returns to Portland

By: Brianna Bonham

I went into “The Book of Mormon” as a super fan who had never seen the show, expecting only the greatest, side-splitting show I had ever seen. I was not disappointed and plan to see it for a second time as soon as they swing back to Portland.

The exciting journey of the unlikely companions Kevin Price (played by Billy Harrigan Tighe) and Arnold Cunningham (A.J. Holmes) took the audience on a hilarious journey to Africa where the Elders set out to be heroes.

Tighe and Holmes both played their characters brilliantly. Tighe played the haughty, egotistical character of Elder Price perfectly. He made him loveable at times and obnoxiously self-absorbed in others. He performed with very strong vocals throughout the show while maintaining the goofy choreography, and his enunciation was always spotless.

Holmes brought Elder Cunningham to life from the moment he rang his first doorbell. He was very consistent with his character voice and movement during the run of the show, and I never once noticed it waver. He made the audience sympathize with Cunningham and root for his eccentric ways.

The supporting characters and ensemble were all entertaining and performed as a strong unit. The blend of their voices was beautiful as many spoke and sung in a character voice or with an accent throughout the performance. Alexandra Ncube, who played Nabulungi, had a beautiful voice that gave the audience chills as she sang her ballads.

The set, lighting, sound, and pit were all astounding as they were quick with changes and cues. There were a couple moments where microphones cut out but the actors and technicians worked to overcome the obstacle and carry on the show.

The lighting was very effective in many scenes, and really impressed me during a tap number in “Turn It Off,” and in “Spooky Mormon Hell Dream.” The lights brought the stage to life and accentuated the scenes nicely. Sound was always right on time with actor’s signals, and sounds such as the gunshots were very effective.

The show is absolutely amazing and one that I would not mind spending money on again. It brought lots of laughter and a great story to Portland.

Take a Trip to “Misfortune County”

By: Ashton Newton
Staff Writer

With the New Year here, moviegoers have begun talking about the films they’ll be seeing over the next 12 months. Students and faculty at WOU, however, get the chance to start their year off with a movie made by students right here on campus.

WOU students Nathaniel Dunaway (Fifth-year, Theatre), Darien Campo (Junior, Visual Communication and Design), and Burke De Boer (Junior, BFA Acting) started their indie film studio Body in the Window Seat back in 2012. Since then, they’ve made three films and are currently in the production of their fourth.

I got a chance to sit down with director Nathaniel Dunaway to talk about the studio’s latest film, “Misfortune County,” which they will be showing on campus on January 29th.

“Misfortune County” is a Western film set in the 1900s in Eastern Oregon’s Malheur County. The film revolves around the mission of an assassin who goes by the name of Lady Vengeance, a revenge killer for hire. Dunaway said that the movie is a Western with comedy woven in, and that the film looks at the idea of quests in cinema.

Dunaway comments that it’s almost a cross between “True Grit” and “The Wizard of Oz,” adding the quest aspect to the Western genre.

The film was shot in Central Oregon, in the Ochoco National Forest. It opened up December 31st in the studio’s hometown of Prineville, OR at the Pine Theater to a full house.

Making a film set in 1900 certainly has its challenges; Dunaway talked about having to find costumes that reflected the time period and having to be very precise with camera positioning to avoid showing anything contemporary. Horses were also used for the first time in one of their films. All shots involving the horses were filmed in one day, and the actors had to be trained the same day as filming. Dunaway says the use of horses adds a lot to the realism of the Western genre, since they’re so important in both classic and contemporary Western films.

“I’m inspired by classic westerns, is the most general way to put it,” Dunaway said, listing “The Man Who Shot Liberty Valance” and “True Grit” as key inspirations.

As a director, Dunaway said that he’s “influenced by the Coen Brothers’ command of the grammar of filmmaking without heavy camera work.”

Quentin Tarantino and Steven Spielberg are also inspirations, as well as John Ford, who Dunaway said defines what the Western genre is.

Dunaway started writing “Misfortune County” in Feb. 2015. In writing, a lot of inspiration for the character’s dialogue was taken from Western novels, as well as the works of Mark Twain.

“Writing was very enjoyable. I like to build a good story,” Dunaway said.

As this is Body in the Window Seat’s third film, Dunaway talked about some differences in directing.

“For this film, I was able to choose actors who I knew would memorize the lines, so in that sense it was easier to direct the actors and I could spend more time with the actual camera work,” he said.

Dunaway also noted that the studio was much more professional and efficient in the film’s production; he was able to take more time with each shot, and production, which took a total of 20 days, was easily the most enjoyable part of making the film.

Also, technical improvements helped in a very direct way: “Misfortune County” is the studio’s first film where the audio and video were recorded completely separately.

“Misfortune County” takes place in a very different time period, a time that Dunaway says is romanticized in Western movies.

“There’s a character in the film named P.W. Foster who comes to Oregon from Philadelphia and expects the west to be full of adventure, but what he finds is a more realistic west; but at the same time we wanted to embrace the Western genre,” said Dunaway.

Dunaway also commented that the film doesn’t celebrate main character Lady Vengeance’s ways, and that she could never be an assassin if not for the lawlessness of the time period.

As a director, there are some stylistic elements that Dunaway loves to put in his films. All three of Body in the Window Seat’s films feature dream sequences and take place in Oregon. Dunaway likes to express hopefulness with his films, the idea that no one is stuck as who they are. With the characters, Dunaway said that he likes to nod to movies he likes in his films, particularly with the names of his characters, giving them names from other movies or the names of actors.

Darien Campo served as the sound designer for the film. All of the music in the film was original, but it was sparse, taking inspiration from “No Country for Old Men” in that sense. Dunaway described the music as subtle, that it is sort of following. The film’s music is orchestral in nature, also a first for the studio.

Body in the Window Seat is currently in production of their fourth film, a mystery-comedy called “Todd Got Clobbered” directed by Darien Campo. “Todd Got Clobbered” will be filmed on Western Oregon University’s campus.

You can catch Body in the Window Seat’s showing of “Misfortune County” starring Paige Scofield, Burke De Boer, and Jim Churchill-Dicks on Jan. 29 in Hamersley Library room 106. The showing is free and starts at 6 p.m.

Demonic possession terrifies in horror comic

By: Ben Bergerson

Pivoting from zombies to demons, “The Walking Dead” comic creator Robert Kirkman takes readers for a dark trip in his 2014-released comic series “Outcast.” He and artist Paul Azaceta conjure up striking frames of the traumatic life of the main character, Kyle Barnes.

Kyle has been plagued his whole life by people close to him and he doesn’t know why. His dark past has haunted him until he is approached by his childhood reverend who takes him to visit a boy who the reverend claims is possessed.

What starts as a simple favor turns into the beginning of a search for answers about the strange things that seem to follow Kyle around. Teaming up with the reverend and an ex-cop, Kyle sets out to finally unlock the truth about his past.

“Darkness Surrounds Him,” the first volume, is a perfect read for winter term; it’s scary and a page-turner. Kirkman makes exorcisms and supernatural encounters (which in other works tend to be overdone) incredibly understated. This adds to the mystery and suspense that drives the comic.

Fans of “The Walking Dead” won’t be disappointed with Kirkman’s intense writing. Azaceta takes the tortured words of Kyle Barnes and translates them into harrowing images, creepily staring out from the pages. The mix of deep blue and hot orange on the page evokes a melancholy set on edge.

“Outcast” is a powerful, chilling tale that will make you want to turn on all the lights and lock your doors. Its haunting images and tense dialogue will leave you wanting more.

The comic is published by Image Comics, who also publish “The Walking Dead” and, another personal favorite, “Saga.” You can subscribe to the “Outcast” series directly from imagecomics.com, or you can order by volume on amazon.com.

Grab your holy water before diving in; you’ll need it.

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