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The Family Guy/Simpsons Crossover Review

Regardless of the hype, remember that this is an episode of Family Guy. It's like when Batman guest-starred in the New Scooby Doo Movies, the Simpson family are really only here for plot elements and a few jokes, but not as three dimensional characters. This "cross-over event" is really just like any other episode of Family Guy but with a Simpsons skin, rather than actually co-starring anyone from Springfield. 

The episode starts with Peter becoming a controversial cartoonist who has to flee until the outcry over his misogynistic strip dies down. The Griffins end up in Springfield and the crossover truly begins. There's the classic Springfield locations, some of the notable side-characters, and references to all the most famous Simpsons moments. That's where the problem with this crossover truly lies, everything feels obligatory rather than inspired. The hour-long episode is like a series of jokes stitched together as opposed to anything resembling an over-arching theme or plot. Admittedly the rivalry between the two shows is addressed rather nicely in a courtroom sequence, but overall it didn't feel like anything was uniting all of the disparate scenes. 

The Simpsons and Family Guy are often mentioned in the same breath because they are two trailblazers of the more adult-oriented animated genre, but putting them together just contrasts how wildly different and often incompatible they can be. Some of the darker humor of Family Guy just feels plain wrong being anywhere near Bart Simpson, even though he was the original bad boy. I don't think the folks at Family Guy are devil worshippers or should be censored, but I do think their brand of comedy just doesn't work with The Simpsons. In addition, putting anything next to The Simpsons is not going to be flattering, and that's still the case even with Family Guy. Hearing Homer utter a classic Peter line just seems below the storied patriarch. 

Did I laugh when I watched this episode? Yes. Do I think  a few good observations were made? You bet. Do I recommend this episode? Maybe. It really is more of a Family Guy episode than anything else, and that may turn Simpsons fans off. And again, there are some really fundamental flaws in the tone of this thing. In the end I'd only recommend this for the spectacle value rather than anything else.

-Will

Related:

New Footage of Simpsons/Family Guy Crossover

Bojack Horseman Review

Cheers Theory: Infinite Norms

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AD-SPACE ODDITIES: Daisy BB Guns

One of the stranger ad campaigns from the 70s. While BB guns are dangerous, I've always felt this was selling it like it was spider-powers or something. Like your uncle Ben was going to be killed if you weren't ready for your BB gun (which i guess could happen). This advertisement makes be question whether I, a grown ass man, am ready for the responsibility of a BB gun (which I've supposedly dreamt about since childhood). 

We found this in Shazam! #10 from 1974. 

-Will

Do you think you're responsible enough for this?

Related:

Ad-Space Oddities: Wrasslin'

Ad-Space Oddities: TMNT Video Games

Ad-Space Oddities: Facial Hair

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Hey, Another Found Footage Horror Movie Trailer! THE HOUSES THAT OCTOBER BUILT

We can officially bury the rotting corpse of summer and gladly welcome the splendor of the fall season. With the coming of the fall season, there's also bound to be, yes, found footage horror movies for the month of October (we've thankfully been dodging the Paranormal Activity sequel-bullet for a couple of years now). Here we have an independent found footage horror movie: The Houses That October Built. Houses follows a group of friends as they rent an RV and travel across the U.S. in search of the country's most extreme (and therefore, spookiest) haunted attraction. Naturally, scary shit starts to go down, and well, y'know, movies.

This is a toss-up here for me. The basic concept of a haunted house or maze gone wrong is great because it is rooted in reality. We all know that no matter how frightening a haunted attraction may be, it is all for show, but the "what if?" factor lingers. "What if the looney in the mask is a real looney, eh?" The use of found footage, though, is not so great. I'm sure it works well to a certain extent with this concept, but, Crom damn it, I think we're all tired of the found footage style of film-making, especially horror movie fans.

The Houses That October Built is getting a limited release starting Spooktober 10th --I'm sorry, October 10th --and good or bad, I think what we can all take away is that we have finally have an idea of what a hellish, live-action version of Cynthia from Rugrats looks like and can comfortably live in a nightmares for a long time.

--Mike

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The Legend of Zelda Review

Credit: Nintendo

I've tried to play through 1986's The Legend of Zelda for the NES on 2 prior occasions, and both times I found the game to be much too obtuse to play effectively. My second attempt saw me get pretty far in the game before losing my save data, but I was able to learn what a number of the items did as well as where some secrets were thanks to using a walkthrough. Flash forward a few years and I finally sat down and beat it for the first time on the 3DS virtual console. This time I played through without any help from the internet for more than half of the game, and I used it sparingly for the rest. For the first time I actually enjoyed it, but it was only because I finally understood how to really play the game.

Zelda's gameplay seems simple due to the rudimentary controls, but the strategies involved are far more complex. Playing this game in 2014, one will wonder how the gamers of yesteryear managed to conquer such a daunting quest without a tutorial or NPCs telling you where to go. Were gaming frontiersmen of the 80s really that much more hardy than we are? A little bit, yes, but many forget that there were advantages at their disposal as well. The first and most obvious being the manual packed with the NES cartridge. Not only did it tell you the story and controls, but it also helped you understand how to approach the game and even where the first few dungeons were. While the 3DS port comes with a digital manual, it only lays out the controls. It's assumed that a player can just use the internet for help these days, but the manual was a pretty perfect hands-off teacher back in the day. It told you how to use the items in the game, how to get to the first 2 dungeons, and then expected you to catch on after that. When one uses the internet, things are often explicitly spelled out, taking some of the magic out of the experience. My having played the game a good ways through on my 2nd attempt allowed me to start the game with something akin to the knowledge bestowed from the original instructions guide. With this info in my head, I had a great time and now believe the manual should be made available with any digital download of the game.

There are some very difficult moments in The Legend of Zelda even if you know what you're doing, but the difficulty is often at strange intervals. Many of the bosses are complete cream puffs, but some random rooms will make your life a nightmare. While it is a relief to quickly dispatch a boss after you've taken a beating from a tough dungeon, it doesn't make much sense thematically. This is no more evident than in the final level when you're forced to traverse a maze that is full of very strong enemies that will tax you dearly, only to let you dispatch the prince of darkness, Ganon, in a quick fight. The limitations of the time must  be taken into account, but it's still very strange. The difficulty spikes are some of the major set backs to a still beautiful game overall.

The game is still a treat to look at. The 8-bit sprites are charming and can keep the game lighthearted when a tough room makes you want to pull your hair out. While countless elements from this installment are series staples now, the music seems to stand out as the most well-known of them all. The over world theme in particular has captured the imagination of gamers everywhere as the perfect tune to complement a wide-spanning quest. Despite hearing this melody non-stop for most of the game, it really never got annoying. The music makes one feel like they really are a hero facing overwhelming odds to save a kingdom. In regards to presentation, The Legend of Zelda reaches a point of perfection for what the NES was capable of.

I harped quite a bit about the experience involved in playing this classic, as the world of Hyrule needs explanation to be traversed effectively. The manual included in it's original release reached a perfect middle-ground of information to still leave some mystery to the quest ahead. The game is truly a classic and enjoyable once one knows what to actually do. I highly recommend getting this one, as it's available on a number of different platforms.

What do you think of it? Let us know!

-Will

Related:

Characters We Want in Hyrule Warriors

Shovel Knight Review

Wario Land Review

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Check out the Powered Pop crew as they give their impressions of the new horror sensation: Five Nights at Freddy's. Tell us what you thought of the game!

-Will

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Justice League #33 Review

Image Credit: DC Comics

*Spoilers*

Not a lot of revelations out of one of the only DC titles this week to not be touched by the "Future's End" event, but some pretty nice action. The precious few things we learned during the fights in this issue were about Niles Caulder's previous life in the New 52 DC universe as well as a little tease of the Anti-Monitor's eventual appearance. One of the biggest problems with this comic book is how crowded it was, with two full super teams squaring off, plus a few extra stragglers. Once again team members like the Flash and Aquaman are really only present as background characters. The Doom Patrol also end up just fighting this month, meaning we still know very little about these weirdos, apart from the bit of exposition last month. This well-rendered action (courtesy of the great Doug Mahnke) ultimately amounts to nothing because the issue climaxed with old news. We were blatantly told that Lex Luthor would end up in the Justice League a few issues ago, so ending on that note is a bit of a yawn. 

While still an entertaining comic, very few substantial things happened. We all read a Geoff Johns book for the action and the characters, but this issue played a little too much to his strengths. The action took up a lot of the page count without accomplishing all that much and there were far too many heroes in this book. With all the different characters, none really got to shine. Conversely, I'm excited by Lex Luthor being on the team, but how about letting some other members talk for a bit?

What did you think of this issue? Let us know!

--Will

Related:

Justice League #32 Review

The Multiversity #1 Review

Negative Man Looks Like Which Rocker?

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Mike Does THE MONSTER SQUAD (1987)

There’s a certain magic in making a film. You can have a killer screenplay and a phenomenal cast, but for some reason, the spark is not there. Sometimes, things just fall into place, almost as if it was meant to be. Other times, all it takes is heart, the unbridled care that the cast and crew deliver in genuinely wanting to make a great movie. THE MONSTER SQUAD is a movie that is overflowing with heart.

It’s also overflowing with badass kids and a who’s-who of classic cinematic creatures, but y’know, also, a lot of heart.

Following in the steps of THE NIGHT OF THE CREEPS(1986), director and screenwriter Fred Dekker delivered another mash-up of B-movie styles and tropes. Dekker has stated in a number of interviews/commentaries that the inspiration behind this film was basically an updated version of the Little Rascals taking the place of Abbott and Costello in ABBOTT AND COSTELLO MEET FRANKENSTEIN (1948). Then he added Shane Black to the mix. I believe that bringing in Shane Black as his co-writer on this screenplay gave the film more of an attitude and efficiency that was lacking in NIGHT OF THE CREEPS.

The attitude is evident within the first few seconds of the movie as the opening text sets the scene for the prologue, and continues through out, a wildly enjoyable balance between the albeit lighter horror elements and the biting dialogue. The basic plot concerns Sean, a young kid and mega-monster fan, and his friends trying to prevent Count Dracula from bringing about the end of the world. The Count has arrived in town to collect an ancient amulet which, every one hundred years, can upset the balance between the cosmic forces of good and evil, but Sean and his squad are privy to this nefarious plot and realize that they’re the only ones that can do a damn thing about it, setting up the titanic confrontation between group of semi-adolescent children and freakin’ monsters.

In one corner, we’ve got the titular Monster Squad. Sean is the leader, the big idea guy; Patrick is his right-hand man, a quirky motormouth; Fat Kid is, well, the fat kid and therefore, the heart of the Squad; Eugene is the cute little kid with a dog; Phoebe is Sean’s younger sister, also a cute little kid; and Rudy. I give Rudy special attention, as most fans of the film do, because he is nearly effortlessly cool. For some reason, this cigarette-smoking, leather jacket-clad older kid stands up for Fat Kid and becomes part of the club. I, however, personally laud Rudy for the simple fact that all those other cute moppets would have been mutilated and murdered were it not for him. Seriously, watch the montage. He does all of the proverbial heavy lifting, which, y’know is understandable given his age, but during the climax, he also kills nearly all of the monsters. This rad dude is a modern-day Simon Belmont. 

In the opposing corner are the monsters. For the making of this film, certain attention was to be paid to the make-up designs of the monsters, in that they had to be evocative of the arch-types while not infringing on the copyrighted designs of Universal Studios. This is where Stan Winston, legendary makeup effects artist, and his team were given the opportunity to pay homage to the ghouls they grew up worshiping while creating their own interpretations for a new generation of moviegoers. All of the monsters look incredible, whether it is the added lupine features of the Wolf Man or the ghastly dead-flesh tones of the Frankenstein monster. I am big personal fan of the Creature from the Black Lagoon (or as I call him, Uncle Gilbert) and the piranha-like fierceness of this Gill-man gives him an edge. While the overall design of Dracula is nothing new, and errs slightly on the side of store-bought Halloween costume, it is Duncan Regehr’s performance that makes the character stand out as a genuine threat and menace. Tom Noonan’s performance as Frankenstein is where a lot of the film’s said heart comes from, and I am guaranteed to cry at the finale every single time thanks to the lovable, gnarly corpse. The Mummy is, well, a mummy —ya can’t mess that up.

On the surface, we already have a fun, action-packed story with smartass kids spouting cuss words and fiendish monsters on their trail, which is enough for any movie to be remembered, but, on a technical level, it should be noted that it has wonderful cinematography and a fantastic original score. Bradford May sets up shots that are authentically creepy and evocative of the Universal Studios horror films while making excellent use of lighting to, well, lighten the mood so as to not make it too scary. Bruce Broughton produces a wonderful score with a number of distinct themes, at times mixing in a chromatic conglomeration of strings and rousing horns to create pandemonium and dread, only to balance it out with childlike and bittersweet melodies filled with raw emotion (yes, the Frankenstein/Phoebe theme makes me cry. I won’t apologize, damn it, I am an emotional man!). There is also a poorly underrated (and unreleased) 1980s montage Michael Sembello track, “Rock Until You Drop”, to get your blood pumping for the climax and yes, a rap song about monsters, because, why the hell not?

The film is far from perfect, though. There’s an oddly executed subplot about Sean’s parents going to marriage counseling and a possible divorce. There is also a weirdly incorporated reference to the Holocaust in dialogue between Fat Kid and the Scary German Guy. These scenes are here to ground the film in some sort of reality, to add a gravity to the threats, but I feel like they fall flat. You’ve got a movie with a guy named “Scary German Guy,” helping some neighborhood kids suck a vampire into limbo, get your gravitas out of here, pal. Also, a lot of flack can be thrown at the kids’ dialogue, specifically the slurs and curse words, but, face it, folks, most kids are little shits and they talk like that in real life, even today.

It is easy to lump this film into the “fueled by nostalgia” category, but once you look past the 1980s style, and see the film as a whole, you can see why it is a film that is greatly enjoyed and loved by many. That enjoyment and love is rightfully earned by the filmmakers’ earnest effort to make a big, fun, old-fashioned good time for all moviegoers, young and old, and isn’t that why we watch cinema? Sure, it is an art form, and we need to be roused by the harsh, yet beautiful truths of life and the human condition, but other times, we just want an innocent escape, and sometimes that escape is about the forces of good conquering evil in the form of a fat kid kicking the wolf man square in his dick.

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Wario Land Review

Image Credit: Nintendo

Many are surprised to learn that Wario Land is actually a direct sequel to Super Mario Land 2: 6 Golden Coins, forgetting its actual title is Wario Land: Super Mario Land 3. Having had this game as a child on the original Game Boy, I loved it then and wanted to experience it again after the Super Beard Bros. YouTube channel did a very informative few episodes on it. Does it hold up to my fond memories from long ago? Not exactly.

Wario Land finds our protagonist (and antagonist of the last game), Wario, in search of a statue of Princess Peach that he can use to fund the creation of his new castle, as he lost the one he stole from Mario in Super Mario Land 2. Wario must steal the statue from a band of pirates who stole it before him. I rarely associate this game in my head with Super Mario Land 2, but it's related to it in so many ways. Not only does the story pick right up from the second Mario Game Boy title, but it's also the point of transition from the Mario Land series to the Wario Land series in terms of gameplay. 

Wario runs and jumps like his more popular rival, but the platforming is less of a priority than it was in Super Mario Land 2, as Wario has a few more tricks up his sleeve. The yellow-and-purple-garbed goon also has a charge attack that allows him to break blocks and hit enemies. In addition, Wario can pick up and throw enemies that have been knocked over, allowing for slightly more varied combat than simply jumping on someone's head. These two mechanics allow for more stages to have puzzle-ish elements, even if they are rather rudimentary. Playing this in retrospect allows the gamer to see how this installment was really the transition between the Mario Land series that focused more on platforming to the Wario Land series that had more focus on puzzles and problem solving. One downfall to this particular installment is that the platforming that remains can be very slow and tedious. It's not particularly hard most of the time, it's just there. 

From a presentation stand-point, Wario Land 's graphics look great and some of the music is very effective in characterizing our protagonist. The low honking theme in the first few stages is something akin to the Baby Elephant Walk song, setting the tone for the entire game. It makes Wario seem like the goofy, crude, chubby guy we know today that had not been firmly established at the point of this game's release. While some of the music is very effective, other tracks are wholly forgettable, but what game isn't guilty of that?

All in all, Wario Land is a pretty neat game, but players might find it a bit slow except for the very few times the difficulty shoots up. With the benefit of hindsight, one can see that this game was really just the gestation period for a more differentiated game from the Mario series, realized in Wario Land 2. Despite it's more impressive successors, Wario Land has a lot of charm and might be worth your money on the 3DS virtual console.

What do you think of Wario Land? Let us know!

--Will

RELATED________________________

Rayman Legends Review

Shovel Knight Review

Top 10 AVGN Episodes

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BoJack Horseman: Season One Review

Image Credit: Netflix

Life didn't go the way BoJack Horseman wanted it to, and the audience experiences a very similar feeling all throughout the first season of his eponymous show. Raphael Bob-Waksberg's brainchild does what it wants, when it wants, and couldn't care less about what you want. It's first few episodes make it seem as though it might be more straight-forward as a series, but the remainder of the season seems to shirk any expectations about what it is building towards, often intentionally misleading the audience to  prepare for something that will never happen. Despite it's seeming contempt for what we want, BoJack Horseman is a an entertaining and smart show, but like its title character it can be a little self-absorbed. 

BoJack starred in an extremely popular television sitcom from the 1990s, and then really did nothing since then. While it may seem to be an important note that BoJack is an anthropomorphic horse, it's really not. In this world, intelligent animals and humans coexist without any explanation, so the viewer just assumes it's natural. That being said, there's a strange ambivalence about the whole sentient animal setting, in that it's referenced only when there's a joke to be made. For instance, BoJack can stomach far more alcohol than the average life form because he's a horse, but being a horse does not define his character. It's as if these animal-specific jokes really only provide the cast with eccentricities rather than anything inherent to their characters.  For the most part this works, although it is a bit jarring at first to see a flying bird-person, when the rest of the show is mostly planted in reality. If you're not a fan of animal-related jokes, BoJack Horseman might not be the show for you as they are made pretty consistently throughout this season.

In this world of animals wearing clothes and drinking at bars, BoJack has found himself with a book deal for his memoirs, but he's been missing his deadlines. A ghost-writer, Diane (a human), has been brought on board and BoJack falls for her, but she's currently in a relationship with an actor (a dog) from a rival television show from the 90s. That mainly fills out our cast except for BoJack's roomate/mooch Todd (a human) and his agent (a cat). The voice work is excellent, although it seems somewhat unnecessary that most of the characters are voiced by celebrities who are often not showcased to their full potential. For instance, Breaking Bad's Aaron Paul plays Todd, but seems to just be going through the motions rather than justifying his casting. All that aside, Will Arnett's low signature voice is perfect for the character of BoJack, exuding both pomp and likeability. 

The animated presentation can be a little jarring as it isn't as idealized as other animated comedies like Family Guy or The Simpsons. The thin line-work and often (intentionally) ugly characters seems somewhat reminiscent of Cartoon Networks Sheep In the Big City, but without any whimsical flairs. Often the world can look a little boring, but it only helps accentuate some of the more absurd images that are used for visual jokes. Speaking of jokes, the plots and humor of BoJack Horseman seem a little inconsistent from episode to episode, but when they work it is a riot. Once the the first few episodes do the job of establishing our cast and their world, the series is more free to have running gags and more intelligent explorations of the cast of characters. It's hard to say any of the story-lines chart new territory, but they're handled well regardless. One final nitpick, however, it that the show seems to partake in a few too many tangents and flights of fancy. One extended drug hallucination in particular goes on far too long and seemed like something the creators wanted rather than the show actually needed.

LIke a wild horse (or horseman), Bojack does as he pleases. The animation is not particularly pleasing to the eye, the show builds toward big confrontations only to minimize them at the last second, and it's not afraid of self-indulgence. Putting these cons aside, there's a lot to love about BoJack Horseman. It's zany, makes some very funny observations on our world, and has a lot of heart. Happily Netflix offers there seasons all at once, because its slow start builds to some very engaging and funny television. Give this wild stallion a chance, it just might surprise you.

Did you watch the first season? What did you think? Let us know!

--Will

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MONSTER Vs. SPACE INVADER!

The title may sound like a 50s B-movie, but I'm actually writing about rock legends. With the release of Ace Frehley's Space Invader last week (our review) and Gene Simmon's birthday this week, it was only a matter of time before a comparison between the two former bandmates was made. KISS's latest album, 2012's Monster, is a very different beast (pun!) than Frehley's Space Invader, but is one better than the other? 

One of the really neat things about KISS is the variety in their song book. No matter the era, KISS has always had four members, that often all get to both write and sing songs on their albums. This dynamic makes for extremely varied releases, as you've got at least two different musicians taking the lead on the record, as opposed to a lone artist. In this sense, Monster has the edge, because Space Invader does suffer a bit from sounding a little too same-y from track to track. Monster varies quite a lot from each song, whether it be vocals or the specific style of rock. 

While I may seem to be putting down Space Invader for its more unified sound, I actually think it's a feather in its cap, as well. Almost all the songs are cohesive with one another, and a good number of them contribute to the overall theme of space that's infused in this release (and Frehley's 40-year persona). Apart from the songs, the album cover and supporting materials for Space Invader that fortify the cosmic theme are also downright beautiful. Monster, on the other hand, has no real unified vision, instead trying to deliver a hard-hitting record. Its album cover was also a source of disappointment at the time of its release, as it merely features the members of KISS posing in front of a grey background. The band that prides itself on image and spectacle has one of the tamer record sleeves I've seen. So in the case of overall presentation, Space Invader seems to win. The supporting materials are nice, but I'm sure it's the music we care about, right?

In the case of musicianship, it's really tough to say who's put out a better record. The most obvious difference is the vocals between the two albums, as Monster has four different leads, while Space Invader only has Frehley. Frehley's voice fits his persona perfectly. It's for those spacey weirder songs, but he can definitely belt out an anthem or two. The problem is that he just doesn't have the vocal range to support a whole record. One of the nice things about his 1987 album, Frehley's Comet (by a band of the same name), was that he had Tod Howarth to sing the songs that required more variation and a fuller voice. I found myself thinking that many of the tracks of Space Invader were excellent compositions, but could have benefitted from a different sort of voice than Frehley's own. Rightly so,the four-membered KISS was able to put the right man for the job on each song for Monster. Drummer Eric Singer's raspy-voice is perfect for "All For The Love Of Rock and Roll," even though it was written by founder Paul Stanley. 

While Frehley may have been beaten in the vocal department, there's a lot more to a song than the singer. I would say that Space Invader has far better and more guitar hooks than Monster does. I think that KISS guitarist Tommy Thayer is an excellent musician and essential member of the band, but his ability to write really catchy guitar riffs is not showcased on this album. Conversely, almost every song in Frehley's new album has a distinctive guitar track, even if the other parts of the compositions sound similar to each other. Other than that, the two albums really try to be different things. KISS was aiming for a more hard-hitting rock album, while Frehley wanted something a little more melodic and just slightly softer. There's benefits to both sounds, making them hard to compare.

So, the moment of truth--Is there a better album? It may seem like a cop-out, but overall I would say the two albums are pretty equal. If this were the 50's B-movie the title sounds like, the two opponents would fight each other to a standstill. Monster excels in variety and vocals, while Space Invader has a great presentation and excellent guitar work. If I absolutely had to give the win to someone, I would probably hand it to KISS, because Frehley seems like he's stretched a bit too thin being a solo artist. If only your name is on the album, it'd be pretty strange if you had other people singing the songs. A part of me wishes he would form a new band, like Frehley's Comet, so he could sing the songs that his vocals would shine on, but could also just focus on guitar on others. All that being said, both albums are great additions to the playbooks of their respective artists. I suggest fans who haven't picked these up to give them a try.

Which album do you think is better? Were we completely wrong? Let us know!

Also, check out our top 5 Ace Frehley songs here!

-Will

Image Credit:  KISS || Ace Frehley & Ken Kelly

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Pop Theories: Norms on Infinite Bar Stools

Editor's Note: Cheers fans should make sure to read Mike's article Bill Towner or: The Man Cliff Clavin Wishes He Was  for more Cheers fun! 

The concept of parallel universes is not uncommon in the world of fiction, whether it is the mirror universe of the original Star Trek series, the multiverses of DC and Marvel comic books or even the titular 8th dimension of The Adventures of Buckaroo Banzai Across the 8th Dimension. It allows for a multitude of stories involving slightly or radically different variations of a familiar universe partitioned off due to some singular phenomenon. Sometimes, though, these existences converge with one another, the universes momentarily collide, allowing for momentary interactions between worlds.

And sometimes you watch entirely too much Cheers and develop a Pigman-from-PCU theory. Distinguished colleagues of the internet, I present to you the theory of Norms on Infinite Bar Stools. 

For the purposes of this theory, Norm Peterson is the most recognizable character in the Cheers-verse, and for good reason. He's the lovable loaf and barfly who would gladly pay you next year for a beer or ten today. He's always greeted by the entirety of the establishment with a hearty, "Norm!" and they are rewarded with one of his classic witty retorts, or "Norm-isms" as my good friend Chris and I have labeled them. Norm is such a likable and legendary lush that he's known even in other watering holes, including bowling alley bars.

The question is, how can one man who spends almost every second of his day either at Cheers or the Hungry Heifer (and certainly not at home with his wife, Vera) be known through the whole Beantown? There's easy answers like, "He's charming, so even a couple of visits here and there warrants a warm salutation for Mr. Peterson," or "It's a t.v. show, you rambling jackass," but I've never been one for the easy, boring answers. I believe it can be argued that there are multiple Norm Petersons wandering through a singular universe.

Norm is the anchor in all of the alternate universes that constitute the Cheers-verse. Norms may take on different appearances, but they retain intrinsic qualities that include, but are not limited to, their sedentary nature, their love for libations and their simple, but humorously wise attitudes.

Norm Peterson, or Norm-Prime as we will refer to him, is definitely a constant at 112½ Beacon Street. In the cold opening to What Is...Cliff Clavin?, an older gentleman returns to Cheers after having moved to Alaska twenty years ago. He describes all the aesthetic changes that have happened in that time. "They even changed the paneling," he tells Woody, "...Over there, behind Norm." Sure, this is a humorous instance that implies that Norm has always been at Cheers, but it is a slight hint at Norm's true purpose. In the episode Crash of the Titans, Rebecca has an appraiser come in to generate a price on the bar in order to make a bid. As the appraiser makes his rounds, he notices a deformity in the floor, "...almost as if this bar stool is sinking into the earth." The joke lies in the fact that Norm spends so much time sitting in that one spot that he has caused the floor underneath him to sink in, but there is more at play here. The floor may be sinking into the earth because it is a weak point between the primary Cheers-verse and the other alternate universes, and other Norms have been coming and going for some time now.

One Happy Chappy in a Snappy Serape (Season 7, Episode 4)

At the beginning of the fourth season, Sam Malone finds himself tending bar in Mexico, and having the time of his life. Here he meets Pepe, who is, for all intent and purposes, the Mexican Norm. Pepe walks into the bar, greets the patrons and is greeted back as a Norm would be, even rendering onto Sammy a Norm-ism in Spanish. When Rebecca goes to extreme ends to get Sam to return to Boston, Sam ponders the reasoning behind his friendship with her in front of Pepe. "Nice buns, Sammy?" Pepe replies. "You people see things so clearly," Sam says, most likely meaning the native inhabitants south of the border and their lax perspective. Perhaps, though, "you people" is a subtle references to the Norms.

I Do, Adieu (Season 5, Episode 26)

In the fifth season finale, Sam daydreams about a future where he and Diane are happily married well into their golden years. Of course, even in their old age, Norm is still a part of their lives. Old Norm frequents Woody's bar, still hangs out with Cliff and is more than capable to dish out a witty retort. While it can be argued that this is nothing more than a figment of Sam's wishful thinking of a future that would never come to be, it could also be argued that Sam had a The Dead Zone-esque vision into one of the alternate realities of the Cheers-verse, solidifying Old Norm's existence. I mean, Sam once talked to the ghost of Elvis Presley through a television set, so anything is possible. 

Bad Neighbor Sam (I Hate Leases to Pieces) (Season 9, Episode 8)

This episode finds John Allen Hill, a successful New York restaurateur, purchasing Melville's, the fine dining establishment above Cheers, and bringing in an upscale crowd that treats the bar as an extended lounge. Here we are introduced to Yuppie Norm, or as the crowd greets him, "Bradley," after he walks in with an uppity, "Ciao, gang!" As if the horde of yuppies overtaking the bar was not bad enough, they even go so far as to disrupt the balance of the universes. A couple occupies Norm's stool, forcing him to become worried and weak. He resorts to a fainting spell as a means to distract everyone so he could take his rightful place, knowing that the barrier between worlds was weakening. It was to no avail, though, as his absence was long enough to allow Yuppie Norm to momentarily cross into the primary universe just a few moments later.

One Hugs, the Other Doesn't (Season 10, Episode 16)

One season later, we find the Cranes holding little Frederick's second birthday party at Cheers. Y'know, because small children and bars are just meant to be. After raiding the snack table with Cliff, Norm returns to his stool to find it occupied by a youngster. Norm-Prime questions him before removing him from the stool, lamenting that he wishes that someone would have done the same for him. This raises two interesting questions. The first is, does the stool and the space underneath it have supernatural powers that make food and beverages tastier? The second is, are Norms born or are they created? It is possible that Norm-Prime is not the first of his kind in the primary universe and that it was a responsibility that fell quite literally into his lap.

From these examples, it is clear that the bar stool and the spot underneath is seem to have otherworldly qualities, brought upon by the fact that it is a weakness in the barrier between realities. This weakness has allowed for multiple Norms to cross over into the primary Cheers-verse, adding to Norm-Prime's near omnipresent popularity, even though Norm-Prime tries to his best to serve as a plug in the hole by sitting atop the stool. The Norm-like qualities seem to be a result of serving as a Norm: the superhuman-levels of consumption to sustain long bouts of sitting, the physical stamina to remain seated for hours on end and the comedic perspective brought about from the existential responsibility of being a Norm. 

No one ever said it was easy being Mr. Peterson, let alone a Norm, so the next time you watch an episode of Cheers, remember that the Norm you see has the weight of infinite worlds resting underneath his butt.

--Mike

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Pokémon Fighting Game Announced: Pokkén Tournament

The official Pokémon YouTube channel has posted a reveal trailer this morning for a brand new Pokémon game: Pokkén Tournament. This new franchise will see Nintendo working with Bandai Namco to make a traditional fighting game with Pokémon characters. Unfortunately, even though the trailer is in English, it says the game will be released in arcades in Japan during 2015, without a word about anywhere else. Hopefully we'll get a home console release in other territories sometime in the future.

Obviously the name is a take on Namco's popular Tekken fighting series, so it's safe to assume the game may have similar mechanics. The trailer only showcased two fighters, Machamp and Lucario, so it's really unclear what sort of characters we're going to see in this game. In addition, Lucario mega-evolves in the trailer, which brings into question what other fighters without mega-evolutions will do. Also, Since both Lucario and Machamp are part fighting-type, does that mean we'll only see fighting-types on the roster? It seems likely, although it's hard to believe we'll see Pokémon game without good-old Pikachu in it. Lastly, since this project is being worked on by Namco, could we see some Tekken-series characters make cameos? Nintendo did allow Final Fantasy characters in the Square Enix developed Mario Hoops 3-on-3. This trailer really sparked more questions than it answered, but the possibilities are enticing. 

What kind of cast do you think would be best suited for this game? Watch the trailer here, and let us know what you think! 

-Will

Image Credit: The Pokemon Company & Nintendo

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I know, I know, this review comes almost a week too late, but I just needed to write about Grant Morrison's The Multiversity #1. Believe it or not, I actually read it the day it came out, I've just been mulling it over for the past few days. Most of what I've been asking myself is: "Was that really Grant Morrison?" I don't mean that as an insult or as a complement, but more as an honest question. Sure, there's the trademark weird and unconventional characters in this comic, but the overall oddness was very tame. This is by the man who wrote the baffling Final Crisis as well as the bizarre Batman RIP and Return of Bruce Wayne story lines. One would think that a series that is founded on the idea of alternate universes would be near incomprehensible from Morrison, but it's not. Sure it's strange, but it all made sense in one way or another. The Multiversity #1 was one of the best comics I've read in a long time, and might be some of my favorite work that Morrison's done to date. 

The most charming aspect of this book is the sheer number of characters Morrison is able to fit in. They're memorable, unique, and usually have something to do with a storied corner of the DC universe. Now sure, it does feel crowded at times, but that comes off as wholly intentional to the reader. What story about 52 parallel realities should be made up of a small cast of characters? In all honesty, I'll take as many characters as Morrison wants, as long as I get some more Captain Carrot moments in the future. While I've liked the character in the past, Morrison makes a talking, carrot-themed, anthropomorphic rabbit believable as a sentient being. He embraces the absurdity of the idea, which helps the reader feel comfortable with it. I hope to the maker that many series are coming for a few of the characters appearing in this issue.

I feel bad for ignoring the always stellar work of Ivan Reis, but I suppose I just expect the very best from him at this point. His work absolutely sells some of the stranger ideas that Morrison can't quite make us believe with words, which can even be seen in the cover (pictured). I don't want to give away much more, so I'll just recommend this book with all my heart. It's a fantastic read and something that has me really excited for the future of the "New 52" DC universe.

Did you like this issue? We want to know! For more, check out our review of the last issue of Justice League!

--Will

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Space Invader Review

Some musicians you listen to for the music or the message, but with Ace Frehley it's the personality. His distinct voice and play-style permeate through his works, and his new album Space Invader is no exception to this. Even the album's name is a reference to his over four decades old persona as the "Space Ace." For this reason, the album has a neat cosmic theme that makes it not only novel, but also surprisingly cohesive. While not a concept album by any stretch of the imagination, the space subject that ties some of the tracks together makes for a pretty enjoyable experience.

Before getting into the music, one must appreciate the little things about the physical release of Space Invader. Before even being able to access the music within, you're treated to a pretty rad album cover that is reminiscent of 1977's Love Gun, but with a unique "Space Ace" spin (pictured). The interior and back prints all have pictures of Frehley looking sufficiently cosmic, even with storm trooper cufflinks from Star Wars. The deluxe edition includes a poster as well as two modified tracks. While the poster is nice, it's still rather small, and the modified tracks are not really worth your money. The deluxe is really only necessary for the biggest of Ace fans.

Once you put your music on you'll notice two things: 1. The lyrics are pretty goofy and 2. The guitar riffs and hooks are awesome. Frehley is first and foremost a guitarist, and that is on full display in his most recent release. Just about every track on Space Invader had me thinking, "Wow, this is exactly the kind of guitar work we need more of." At the same time, I chuckled often at some of the lyrics in a few of the songs. Ace Frehley has never taken himself too seriously, so it's rather obvious he's just having some fun in his persona of a man from another world. Like watching a movie, I put aside my notions of reality and really started to enjoy myself while listening to some of the stranger tracks on this album, like "Immortal Pleasures" or "Past the Milky Way." 

All in all, there are a number of fun tracks on this new album with "Gimme a Feelin," which was released in advance, being the leader of the pack. Songs like "Past the Milky Way" and "I Wanna Hold You" certainly have their merits as well. And like any album, some songs just really miss the mark, like the titular "Space Invaders" track. There's definitely a tongue-in-cheek aspect to many of the songs on Space Invaders, but there's nothing silly about the truly excellent guitar work within it. 

What did you think of Space Invader? Check out our list of the top 5 Ace Frehley songs from yesterday!

--Will

Image credit: Ken Kelly, Ace Frehley, Ken Gullic, eOne Music

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New Ant-Man Movie Details

The Ant-Man twitter page has released the first image of Paul Rudd as Scott Lang in the upcoming movie. He looks down-trodden and a little beat-up, so expect a rough time for Scott on his road to redemption. 

We'd also like to point out that one of our wishes is being granted, as according to USA Today, the plot of the movie will involve a heist being pulled off by Ant-Man to save the world. In our Ant-Man wish list, we asked that the thief element of Scott Lang's history be focused on. So put one up for us on the old scoreboard! Oh yeah, it seems that Yellow Jacket is going to be the villain too. But does that really matter compared to Powered Pop's titanic triumph?

Are you psyched for Ant-Man? Are we patting ourselves on the back too much? Let us know!

--Will

Image Credit: Zade Rosenthal & Marvel 

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Top 5 Ace Frehley Songs

Credit: AceFrehley.com

As unique as his laugh, Ace Frehley brings a distinctive touch to whatever he's working on. His heavy strokes guitar playing and signature vocals make his songs unmistakable when compared to his KISS brethren. In honor of his greatness and his new Space Invader album dropping tomorrow, we're counting down Ace's top 5 songs of all time.

5. Shock Me

Ace's first vocal effort was a sign of things to come. Written after Frehley was accidentally electrocuted before a KISS show in the 70s, Ace originally wanted someone else to sing it. While the lyrics seem to be hinting at more of a sexual pleasure from electricity, Ace's delivery certainly sounds like a man who's been through a thing or two (whether or not that's electrocution is anyone's guess). The backing vocals are vintage 70s KISS and give the song a certain charm.

Preview it on iTunes!

4. 2000 Man

Despite "I Was Made For Loving You" becoming the main single from KISS's 1979 album Dynasty, "2000 Man" has aged far better over the years. While it's technically a cover of the Rolling Stones song of the same name from Their Satanic Majesties Request, it's hard not to think of it as it's own beast. Ace's rendition is so wildly different than the low energy ditty the Stones played more than a decade earlier. Where Jagger sang his tune in a soft and subtle tone, Frehley belts it out and creates the most earnestly rocking song of the entire album. Despite all his prowess, Ace still couldn't fix the nonsensical lyrics, but nobody's perfect.

Preview it on iTunes!

3. Trouble Walkin'

"Trouble Walkin'," from the 1989 album of the same name, is exactly what you want from Ace Frehley--rough and tumble rock. The lyrics harken back to the tough-guy persona Ace has used in songs like "Hard Times," but the hard guitar riff at the beginning really sells it. The chorus, with backing vocalists that supposedly includes fellow KISS founder Peter Criss, give the listener the impression that Frehley is taking to the streets with a posse that's ready for action. The cherry on top? Ace's distinctive laugh can be heard as the song fades out.

Preview it on iTunes!

2. Rock Soldiers

It's about drugs. It's about rock. It's about Ace. His personality seeps into whatever he does, and this autobiographical tale of his struggles with substance abuse is a perfect example. The opening drum line and the title of the song seem to make this a marching anthem dedicated to the crazy things rockers face in line of duty-- like soldiers at war. While it is rather silly to compare the two, there's no denying the triumph expressed in this song when Ace seems to defeat his addiction. Sure, Frehley went on to have trouble with substance abuse for years after that--but that war lasts a lifetime.

Preview it on iTunes!

1. New York Groove 

We all knew this was coming--It's an undeniable classic. As a cover, it's definitely not as big a departure from it's source material as the previously mentioned "2000 Man," but it's the little changes that make this the version of the song everyone thinks of. Ace belts out the lyrics with more intensity and the guitars just seem to have more teeth in this version as opposed to the original Hello rendition. This song just oozes Ace. What song is more perfect for a New York native like Ace Frehley?

Preview it on iTunes!

What songs are on your top 5? We want to know! Check out our review of Space Invader tomorrow!

--Will

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Ad-Space Oddities: TMNT Fall of the Foot Clan

I understand that every kid wanted to be a ninja turtle at some point, but I don't think the tagline of "turn your house into a sewer" is very appealing. Also, it must be a serious sanitation issue having a manhole in the middle of your living room. Just blowing up an image of the box art would probably have been more effective as an advertisement, but not nearly as fun.

We found this in Green Lantern vol. 3, #12 from 1991.

--Will

PS: Check out our review of the new TMNT movie HERE!