Archie #14 Review: The Veronica Strikes Back


Still depressed over Veronica’s departure, Archie hands over the reigns to Jughead, which leads to a much weirder issue. Jughead tends to go off into imaginative fantasies like J.D., the main character in Scrubs. For example, the issue starts with Archie trying to persuade Jughead to buy a phone because it’ll improve his life, even comparing him to a fifty-year-old after Jughead’s complaints about not wanting to go anywhere or do anything.

Side note, I was actually confused at first, because I know that I’ve read an issue with Jughead owning a phone, but that was actually in an issue of his own series. In any case, it does lead to some odd moments, so it’s necessary to go over the pages more than once. In any case, Archie’s depression over Veronica and his anxiety over the resulting actions leads to unintended consequences. He becomes more like Jughead, not wanting to care about life and all about relaxing.


Meanwhile, Veronica takes her revenge on Cheryl after last issue’s encounter, but it leaves her feeling empty inside. Being in Riverdale has changed her. Exposure to the mostly nice townspeople (looking at you, Reggie) has left her wanting to be nice. Humiliating Cheryl as a petty act of vengeance doesn’t make her happy, instead just wanting to go back to Riverdale even more. By the issue’s end, she is even more unhappy with her life and Jughead is going to drastic measures to get Archie out of his funk. If Archie is going to turn into Jughead, then Jughead has to become Archie!



Archie #14 is a solid issue, advancing more of the plot while being entertaining. I’m excited to see the next piece of the story arc, especially if we do see a complete role-reversal with Jughead and Archie. Check it out! It’s written by Mark Waid and Lori Matsumoto and drawn by Joe Eisma. You can find it at your local comic book shop.

Zachary Krishef is an evil genius. Do not question his knowledge of Saturday Night Live trivia or Harry Potter books.

Critical Hits and Misses #74




For today's musical hit, the ever fabulous Lindsey Stirling and ZZ Ward regales us with "Hold My Heart."  (Ivonne)



Today's critical rolls:

1.Have you played Mass Effect and/or Dragon Age? If not, why not?! If yes, who is your favorite companion?


— Critical Writ has a super-duper strict comment policy that specifies a single rule above all others: don't be one of THOSE people. Yeah THOSE people. You know the kind.

Saturday Night Live S42 E7: Kristen Wiig Comes Home For The Holidays



Cold Opening:
Earlier on Friday, Alec Baldwin confirmed that he would be returning as Donald Trump. At least we’re prepared for it. Grab your barf bags and cover the eyes of your children, lest they be scarred forevermore by the orange demon. Despite my jokes, I must say that it is refreshing to see a sketch with Donald Trump that doesn’t revolve around a debate. It helps to keep the impression from growing too formulaic. He is still portrayed as an utter buffoon and a reverse-Jack Donaghy, but we also see that Alec Baldwin’s interpretation procrastinates enough to rival even the laziest college student. Finally, I loved seeing Jason Sudeikis as Mitt Romney again. His impression just radiates humor.



Monologue: Yeah, another singing monologue, but it had a ukelele. How can I dislike a song with a ukelele, especially when it’s as bizarre as this? Kristen Wiig’s fever dream of a retelling of Thanksgiving is much more entertaining than the real thing, especially because it has less racism. Steve Martin and Will Forte didn’t really add a lot to the bit, but just seeing them was great. Although, I might be watching too much of The Last Man On Earth because I initially mistook Will for Phil Miller. You can watch it here.

The Bubble: Hey, hate websites and vitriol-filled comment sections? Whatever you’re accusing of being an echo chamber probably isn’t an echo chamber. Now this, on the other hand, is an echo chamber. Still, it’s a funny one and it contains some apt criticisms of society, particularly Brooklyn.



Secret Word: We’ve got the first recurring character for Kristen, sadly not with Bill Hader’s frustrated game show host. Kenan’s host seems oddly similar to his other game show host characters, but I do appreciate the vocal cameo from Bill. The main joke of Kristen Wiig’s actress immediately saying the word does get old after a while, but I mostly enjoy hearing the asides from the other characters.



Anderson Cooper 360: The newscasters start out seemingly stable, before growing more and more frantic. Still, despite the increasingly more disturbing (and real) news reports they deliver inane and insufficient commentary on, hardly anything changes. I was actually imagining it to be some kind of time loop and I was partially correct. The ending twist reveals it to be a Westworld-style set populated by robots. The twist wasn’t as chilling as the X-Files mashup in the Tostino’s commercial parody from last season, but it was still effective. I don’t know about you, but I’m going to start checking CNN for robot duplicates. You can watch it here.

Target Commercial: SNL knows you need to vent. They’ve created a commercial parody specifically meant to parallel your real life frustrations. In fact, why do I get the feeling that this was written in a parking lot? Did a writer actually see this earlier in the week? “Mmmm, nice lunch break, I love Taco Bell- AHH, NUTS, I’M LATE, quick, quick, what’s going on around me? I need inspiration!”

QVC Auditions: I wasn’t really amused by the premise until the feuding neighbors actively started messing with each other. As the tension grew, it got funnier as I wondered how their conflict would finally end. As it happened, it ended with an anti-climax. Eh, at least the middle portion was good. You can watch it here.

The xx #1 Performance #1- “On Hold”: I enjoyed hearing the song. You can watch it here.

Weekend Update: Solid edition this week with both Colin and Michael landing some solid jokes at the expense of the Trump cabinet. A couple of jokes did fall slightly flat, but most of them stayed firmly in the tongue in cheek category. Pete’s guest segment made me laugh. I don’t know why, but he reminds me of Adam Sandler during his glory days on the show. Kenan Thompson’s guest spot as Willy made me laugh, as it usually does. Every time he sets up a punchline, I just imagine how disturbing it’s going to be. Most of the time, the events of his horrible life are worse than what I imagine. Poor, poor Willy. You can watch it here, here, here, and here.

Thanksgiving Parade: I’m pretty sure this is the Ghostbusters reference I was hoping for. Whatever the heck that was, I want to see more of it. Seriously, though, the sketch did feel rather short. I want to see more of that universe. You can watch it here.


Whiskers R We With Kristen Wiig: I want Kate and Kristen to star in a series of buddy cop movies. As of the sketch itself, cats and puns. What more do you need?


Surprise Lady: Thanksgiving: And another classic character returns! Yeah, I’ll admit, Aunt Sue is one of Kristen’s weaker characters, but I do appreciate the slapstick. Kristen Wiig eating a pillow hits the right bizarre note.


The xx #1 Performance #2- “I Dare You”: It was okay.

Overall Thoughts: The latter half of the episode dragged on slightly, but I really enjoyed the episode. It felt like a nostalgic tribute to the first time that I started watching the show live. It’s interesting to see how the newer style of humor melds with Kristen Wiig’s comedic style. In terms of politics, the episode didn’t have anything really laugh-out loud, save for “The Bubble”, but it did effectively insult Trump.

The twenty-third will feature a Thanksgiving special featuring the best of the show’s past Turkey Day material, including Rachel Dratch’s Debbie Downer character. That is, if the commercials are to be believed. As for the next live show, December third will feature Emma Stone as the host and Shawn Mendes as the musical guest. I have to say, I do prefer finding out who the host is live on the air rather than reading about it online. It just adds more excitement and anticipation.

Zachary Krishef is an evil genius. Do not question his knowledge of Saturday Night Live trivia or Harry Potter books.

Critical Hits and Misses #73




For today's musical hit, it's Friday, so here's Coldplay's Hymn For The Weekend:



Today's critical rolls:
1. If you could be any kind of scientist right now, what would your specialization be and why?


— Critical Writ has a super-duper strict comment policy that specifies a single rule above all others: don't be an ignorant jackhole.

Betty And Veronica #2 Review: Absence Makes The Heart Grow Fonder As The Series Improves


Readers may recall, I wasn't the biggest fan of the first issue of the rebooted Betty & Veronica series. To me, the debut issue faltered by not giving the title characters enough agency, inexplicably having a fanservice moment as a 'joke,' and throwing away the complex relationship between the two in favor of 'catfight' jokes. Thankfully, it seems like the extended length of time between issues has ironed out most of the problems.

Betty And Veronica #2 focuses on Betty's attempts to save Pop Tate's Choklit Shoppe from destruction and convince Veronica to stop supporting the company threatening to tear it down. Unfortunately, for every one of her well-meaning fundraising attempts, Veronica retaliates with a slimy, underhanded trick. Betty makes a lemonade stand, Veronica parks an alcoholic snow cone stand nearby.

Don't worry, that's lipstick, not blood. Veronica will do a lot of things, but she won't sign a blood pact with a demon. As far as I know.
At one point, Veronica even goes so far as to set up a bikini car wash, much to Archie's delight. One amusing background gag has someone, presumably Jughead, pulling him away as he tries to film them. You're a class act, Andrews. Thankfully, the scene isn't too uncomfortable. The one time that it does show them in full has the panel's 'camera' simply showing everyone reacting, with the car washers not drawn in a lot of detail. I do have to laugh at Cheryl Blossom being one of the car washers, given her recent appearance in the main Archie title.

Betty's exasperation can be used as a reaction to a lot of things.
I'm really enjoying the issue's exploration of the differences in personality between Betty and Veronica. Due to her lifestyle, Veronica doesn't think much of Pop Tate's, believing that a corporate-owned chain is automatically better. On the other hand, Betty has lived in Riverdale for her entire life and she's grown up around small stores. She has a lot of faith in humanity and devotes much of her day to social justice. As the issue progresses, she gets more and more frustrated, even snapping at her adorable cat. Veronica seems to see Betty's views as 'outrage culture', to use her words, because of her privileged life.

The issue is a vast improvement over the last one. If I had to nitpick, then I would say that the artistry occasionally produces some awkward facial expressions. Other than that, it's perfectly fine.

Betty And Veronica #2 is written and drawn by Adam Hughes. You can find it at your local comic book shop.

Zachary Krishef is an evil genius. Do not question his knowledge of Saturday Night Live trivia or Harry Potter books.

Critical Hits and Misses #72




The Shining is now an opera, and for the month of November you can listen to the whole thing for free! (Megan)

Bitch Media’s podcast discusses how abortion is talked about in the media, and how the conversation has been changing, and needs to continue changing. (Tova)

Women voted for Trump. Sad fact. But what does it mean for feminism in America going forward? The Guardian discusses how Ivanka Trump has become the symbol of Conservative femininity… and how she gave cover for other women to vote for a monster. (Ivonne)

If opera isn't your thing, please enjoy Phildel's "Holes In Your Coffin." I'm doing my best to resist the pull of holiday music, I swear. (Megan)



Today's critical roll: The last dream you had that you really, really wish you could make into a movie/video game/book/comic?

— Critical Writ has a super-duper strict comment policy that specifies a single rule above all others:  Don't be a fascist cumstain.

Critical Hits and Misses #71



For today's musical hit, we have Adele's "Hello."



Today's critical rolls:
1. Doctor Strange came out recently. Fantastic Beasts comes out this week. Beauty & the Beast just dropped the official trailer. What are you looking forward to in the coming weeks at the movies?


— Critical Writ has a super-duper strict comment policy that specifies a single rule above all others: it says love thy neighbor, not troll thy neighbor.

Throwing "Shade" - The Flash S03E06

I remember when The Flash used to be fun and light-hearted and sweet, back in season one. And then we got kinda dark and dreary in season two, which was okay for character evolution, I guess, but it just wasn't as fun. Season three is trying really hard to strike some kind of balance between cheerfully light and srz bizness, I think, and it isn't always working. So far in six episodes, we've had some really great fun moments, intermingled with some "WTF!" times as well.

If I had to pin down one of season three's greatest weaknesses, it has to be that the writers this season have written all the freaks-of-the-week as entirely disposable. These are characters that, for the most part, they haven't cared about enough to develop in any way. That's okay sometimes for a show like this, but I think what's been particularly painful this season has been that some of the freaks-of-the-week have been classic Flash villains from the comics who have been tossed aside with no care at all. This week's freak was a prime example of this failing.

(spoilers beyond the fold)


Flash writers, can we talk?

 If you all want to make up throwaway freaks-of-the-week, like Magenta a few weeks back, cool. At least with Magenta, she had a backstory with an important social commentary attached. But then this week, we get Shade, who is a classic comic book Flash villain. I mean, we get a dude, who appears as a shadow, and kills people, and that HR Wells names Shade because there's a Shade on his Earth as well. But the resemblance to the comic book character stops with the name. I wish I could say there was anything at all interesting about Shade, but there isn't. We get zero backstory, we don't know who the person is beyond the shadow, and Shade's attack at the beginning of the episode was completely random. Even the guy he kills at the time--a random stock broker who sounds terribly bored as he talks to a client--seems uninterested in even being there.

He's actually on the phone with his acting agent: "Look, I know Hollywood doesn't hire Asians, but can't we do better than this crappy role? I'll even act like a ninja, if you want!"
Shade's other attack was on the movie-at-the-park event that Joe West takes his new date, along with Cisco and Caitlyn and HR. Since we are given no reason whatsoever for the random attack on the park, I can only assume that Shade was directed by Dr. Alchemy to attack, as a distraction to Flash, while Alchemy tried to entice Wally to go to him. But I mean, Shade apparently doesn't even warrant that much explanation from Alchemy's scenes either.

HR be like, "I halp!" for all of this episode. Tom Cavanagh's goofy useless writer from Earth-18 is the light-hearted aspect, and while in the last episode it fell flat and was obnoxious, this week HR's shenanigans were pretty amusing. He suggests to the team that they need to open up STAR Labs as a museum, and he offers to be the public face... until Cisco tells him that wouldn't be a good idea, since this Earth knows Harrison Wells as a murderer. At which point, HR reveals he's got a toy from back home to help with that:

Since everyone thinks I'm a murderer, I'll just put on a face that looks like Simon Cowell, so everyone will just think I'm an asshole instead!
I have no emotional attachment to HR, but I hope he doesn't turn out to be evil, because yet another treacherous Wells would be a genuinely obnoxious story. But it has not escaped my notice that the only two people who seem to refer to Wally West as "Wallace" are HR and Dr. Alchemy. I mean, last night the show tried really, really hard to make the viewers believe that Julian was Alchemy, since our man Draco disappeared suddenly and mysteriously right when Alchemy popped in, but it's too obvious.

Flash writers, please don't do this to us. Please, not another tired evil Wells story. And omg, please, not another big bad evil speedster!

Dammit. Another big bad evil speedster. Meet Savitar, the god of speed, who only Barry can see...
So the other two story threads going on here, besides Joe West finally going on a date with that hot DA (and HR totally ruining it by running his mouth the whooooole time), are that Wally finally starts having the Alchemy dreams about his Flashpoint alternate life. It starts out pleasantly enough, in that he dreams of being a hero.

Yay! Go Kid Flash!
 And Wally and Joe argue because Wally perceives that Joe trusts his precious Barry with those powers, but not Wally himself. There's a genuinely decent story happening here, some good character development between a father and son. Moreover, I think it's relatively rare for tv to show us a black father and son and work on their relationship. I am appreciating the character development for both of these characters, although I certainly wish Iris had more to do.

That said, for all that Iris had like two scenes total in this episode, she did have one short conversation that was super important. Barry is frustrated with Wally rushing headlong into seeking his powers, and Iris puts him in his place. She points out that it's very frustrating to look around and not be superpowered, scientist, or cop who can actually do something useful in being part of this team. She herself has yet to figure out what her role should be and how she can be useful to Team Flash. Barry quickly tries to assure her that he couldn't do this without her, which while we know it's true, Iris' expression says all: I don't want to just be your emotional support.

Iris, I feel you, girl. We all want you to have a more important role in this show. You could, if the writers would just figure out what that role is.

The other important storyline in this episode is Caitlyn coming out to Cisco about her powers, and only because she was forced to admit she took his anti-meta cuffs for herself.

A brief glimpse of the future, and it looks really COOL!
At her request, Cisco vibes her and sees a future where he and Killer Frost are fighting each other. Caitlyn doesn't want to tell the team, but Cisco ends up outing her anyway, because he feels they shouldn't be keeping secrets from each other.

There's certainly a story being told here about outing people before they are comfortable being outed, but I'm not sure The Flash's writers will ever truly have the nuance capable of telling that kind of story correctly, so I'm kind of glad that the "outing" is metaphorical and that no one is actually gay here.

Regardless, Barry, as usual, makes this about himself too, feeling guilty about Caitlyn's powers because he thinks that it was his Flashpoint meddling that caused it.

I'm not sure I buy that, personally. Nothing about how Caitlyn's powers are manifesting suggests that it had anything to do with Flashpoint. Everyone who has gotten their powers "because Flashpoint" has done so through Alchemy. Jesse Quick doesn't count because she got zapped by dark matter last season and Flashpoint did not affect other Earths.

I'm inclined to think that Killer Frost was inevitable since episode one of this show, when everyone got zapped by the dark matter wave that created Flash and others. Either way, next week is a heavily Caitlyn-centric episode, plus it was directed by Kevin Smith, so I am genuinely looking forward to it.

Maybe Kevin Smith can give Iris something useful to do, too! And do we finally get a genuine Kid Flash here? When last we see him, Wally has picked up the philosopher's stone and become encased in a cocoon, presumably to emerge with his speedster powers.

See you next week!


Ivonne Martin is a writer, gamer, and avid consumer of all things geek—and is probably entirely too verbose for her own good.


SNL Scraps: Kristen Wiig Returns, Hopefully With A Ghostbusters Sketch In Tow




Former SNL cast member and comedy legend Kristen Wiig will grace Studio 8H with her presence for the second time as a host. Meanwhile, the musical guest will be The xx, presumably because they announced a new album this month. I always like it when former cast members return to host the show. Like with last year’s season finale hosted by Fred Armisen, it often brings a sense of camaraderie and comfort, especially because the host is already used to the hectic routine.

I really hope that this means that we’ll be getting some kind of Ghostbusters sketch. Hey, they already have Kate and Leslie as cast members. If Melissa McCarthy isn’t too busy then maybe she can squeeze in a cameo. If not, I’ll settle for Kristen Wiig reprising her role as the Target lady or an equally funny character. Just, please, no Garth and Kat. My good will can only extend so far.

See? Even the Target lady thinks they're annoying.

Additionally, you sick of David S. Pumpkins yet? I'm not! Evidently, SNL has seen fit to include David's skeleton entourage in a promo for this week's episode. It features the Internet's newest odd trend, the 'Mannequin Challenge.'





Zachary Krishef is an evil genius. Do not question his knowledge of Saturday Night Live trivia or Harry Potter books.

Christopher Hastings Talks 'Gwenpool', Mixing Humor With Drama, And The Intricacies Of 'Longshot Saves The Marvel Universe'


Critical Writ sits down with writer Christopher Hastings, to discuss the origin story of The Unbelievable Gwenpool, Longshot, and what's next in the wacky side of the Marvel Universe.



Critical Writ: Many of your comics straddle the line between comedy and drama. How do you properly keep the two balanced, depending on what you want to convey in the story?

Christopher Hastings: I wouldn't necessarily declare myself the master of this quite yet. That balance is something I'm very interested in, and strive for, but I think I'm squarely in the middle of my education on it. Right now, I find the best way to keep that balance, to "keep it real" is to treat the characters honestly, think about their drives and desires, and how they'll be affected by different situations. That can drive comedy, or it can drive drama. Things can get silly, but so long as it comes from an honest point of view, it surprisingly can get balanced with some real feelings too and not be jarring. But again, I feel like you're asking someone who's in the middle of working on their degree in this topic, and doesn't quite have it figured out yet, heh.

Critical Writ: Did you have any other concepts for Gwenpool before the final iteration of the character?

Christopher Hastings: Not really. The entirety of her character really stems out of that "normal girl from real world knows she's in a comic book" idea, and everything grew out of that. That idea came from trying to figure out a way to create an original character, but match what an audience's expectations would be from that costume, from that name. To me, that meant fighting with weapons instead of super powers, and breaking the fourth wall in a similar way to Deadpool, but for different reasons.

Critical Writ: Is there anything that you can say about how your ideas for the first Gwenpool story arc changed from the initial brainstorming to the completed project?

Christopher Hastings: Oh sure. It was initially going to be a lot darker, with her being forced to work for and train under Bullseye. But Bullseye was not available, so my editors suggested MODOK instead. It really shows how much rewriting on the fly, and working as a team with your collaborators and editors can affect a book. I think what it turned into was a lot of fun, and I'm not sure I would care for my original version of the story anymore.



One of my favorite panels from Irene Strychalski.
Critical Writ: Irene Strychalski and Gurihiru have been doing a fantastic job on the art. Were you always aware that their respective styles of art would work well with the series or was it a surprise? Now that the comic has six month's worth of issues, has your collaborative process changed in any particular way?

Christopher Hastings: I first worked with Gurihiru for the Gwenpool short in the Gwenpool Holiday Special, and that completely blew me away. And then once we got the series together, from that initial short, I had a pretty good idea what the book was going to be like. And I had seen samples from Irene, and I could see she would do an amazing job picking up those two issues off the tone that Gurihiru had already laid down, while of course making those two issues totally her own. She does some great character acting that I would have never thought of that really elevates scenes.

Working with Gurihiru for this long, I like to think I've adjusted my writing style to suit them better. They pretty much do everything amazingly, so I would honestly have no idea if I'm doing something they hate in the script, or doing a bad job that they are secretly spinning into gold. But I do see little comedic moments that they latch onto, or work in themselves, and I love them, and try to find more opportunities for them to get them in. Our upcoming issue has a fantasy sequence where they let loose in another style and it's pretty fabulous. (Editor's note: At the time of this interview, Gwenpool #8 had not yet been released.) Sometimes I'll lay out the basics of the scene and say that specifics on how it's executed are up to them. I completely trust them, and getting the artwork in is a highlight of every month. I could go on and on how much I love their work and why, but I imagine it could get kind of dull to read, instead of just looking at some of it.

Critical Writ: In the past few years, Marvel has been making a significant effort to showcase diverse legacy characters. So far, Gwenpool has interacted with Thor and teamed up with Miles Morales, two characters that jump-started the change. Is it possible that future issues could showcase some appearances from LGBT characters?

Christopher Hastings: I see no reason why not! I will say Thor and Miles showed up in Gwenpool simply because I really like their books myself. There was no push for that from the company. So if I have a good reason to stick say Iceman or Angela in there, I totally will. Actually as I'm writing this now, I'm already thinking of some fun stuff for Iceman, so that could be sooner than later!



Critical Writ: What was your approach going into the Longshot Saves The Marvel Universe miniseries? If possible, would you ever want to write for the character again?

Christopher Hastings: Longshot was pretty much just "have the craziest things possible happen due to over powered luck" and figure out ways to show that it was Longshot's luck doing it, and weird coincidences and connections, instead of it just being random. I think that unfortunately, a lot of readers missed those little connections.

Like, in the very beginning of the book, Longshot doesn't have money for tacos at a taco stand. He uses his luck, and suddenly there's an explosion that rains down money. That explosion is caused by burglars which he stops by activating his luck, causing their guns to jam. A few pages prior, there was a scene where a newspaper in the background mentioned the recall of a certain brand of faulty guns, which is what the criminals were using. Saving the people from those criminals caused Longshot to encounter the cosmic cube that messes up the universe, splitting the Inbetweener into Chaos and Order. Order is on a spree to stop magic, and is fought by a small group of remaining magic users, including Deadpool with a magic wand he found, a seemingly random addition to the party. Order manages to take control of this small group, including Deadpool. Everyone is hunting for where this cosmic cube is hiding, and Deadpool races Longshot for it when they find it's back at the house that had the explosion in the very beginning (due to other circumstances.) Longshot is not much of a threat to the fighting abilities of even a brain controlled Deadpool, and it looks bad until... they get to the house, where that taco truck is, and the lure of tacos breaks Deadpool out of his spell. Because it's Deadpool, and his beloved Mexican food. This leads to Longshot being able to get the cosmic cube and etc etc happy ending.

So reading it, it may seem that stuff was random, but it wasn't! That taco truck, Deadpool, Longshot, they were all connected, because of Longshot's luck, and it came back around in the very end. The book is full of stuff like that, and it was my main focus for the miniseries.

I would certainly enjoy writing Longshot again. I think I've matured as a writer since then, and I certainly learned a few things writing the book. I tried to cram way much into it, and as a result, many people found it confusing. I've learned a bit more about when you need to be more gentle with your reader, and where you can trust them to make the leaps themselves.


Critical Writ: If you had the freedom to do an original graphic novel similar to Ryan North and Erica Henderson's Unbeatable Squirrel Girl Beats Up The Marvel Universe, what characters would you want to write for? Would it be based on characters that you have written for in the past or would you want to go into an entirely new branch of the comics?

Christopher Hastings: Oh I would LOVE to write an OGN like that. (And SG Beats up the MU is amazing, everybody.) I really love writing Gwenpool right now, so she's probably be my initial choice. The exciting thing about doing an OGN is you don't have to worry about the reader's experience getting interrupted with a month long gap every 20 pages, so you can do some things with the storytelling you can't necessarily do when you're too busy making sure to reintroduce who your character is in every issue along with a cliffhanger at the end of every one.

Critical Writ: Finally, can you tease anything about your upcoming plans for The Unbelievable Gwenpool?

Christopher Hastings: This current arc gets into a little bit about how perspective might be all that separates a hero from a villain, if everybody has just cause and motivations. After that arc, we've got a few shorter stories that explore some different genres for the very genre savvy Gwen to riff on (horror, fantasy). And then after that... we finally reveal Gwen's origin, and things go utterly bananas, and I am just excited that my editors approved my pitch for how things go bananas.

And Deadpool's finally showing up. ;)


Critical Writ: I remember the December solicitations stating that Deadpool would appear in the second holiday special, Merry Mix It Up. I'm not sure of how much you're allowed to say about it, but does it function as a standalone story or a small bit of foreshadowing for the eventual appearance? On another note, how involved was the process of writing such an interconnected story for the first holiday special?

Christoper Hastings: I can tell you his appearance is part of the shorter stories that take part through the book, and is not related to his upcoming appearance in the main Gwenpool series.

I really like the interconnected story aspect of the previous holiday special! For someone who's origin has yet to be revealed, it's kind of funny that I've had to introduce Gwenpool to new audiences three times over the course of a year. Her appearance in that special was one of them. So we had 10 pages to show people what her deal was who didn't read the Howard the Duck backup stories she debuted in, and make it Christmas-y, and also get her to that party somehow. Thankfully Howard the Duck is a mutual friend of Gwen and She-Hulk's, so that was a good way to get her to the party. Also after I turned the script in, we discovered I accidentally made it 12 pages, and I had to condense it even further.

The new Gwenpool holiday special also has that interconnected story aspect to it! It's really cool to see what the other teams did on the book.