Review: Jem and the Holograms Volume 2 - Viral

After being signed to the same label as their musical rivals, Jem and the Holograms must learn to navigate the murky waters of working in such close proximity with the Misfits. Meanwhile, the shifty Eric Raymond is assigned as the new manager of the Misfits. His first order of business? To dig up dirt on the competition. What Eric finds out may very well mean the end of Jem and the Holograms.

Jem and the Holograms Volume 2: Viral collects Jem and the Holograms #7-10, the Outrageous Annual 2015 and the 2015 Holiday Special, written by Kelly Thompson with art by Jen Bartel, Sophie Campbell, Agnes Garbowska, Corin Howell, Rebekah Isaacs and more.

Following their splashy concert opposite the Mistfits’ Vs. competition, Jem and the Holograms are riding high on a new level of popularity and acclaim. However, Jerrica is finding it increasingly difficult to manage the group while her sisters and bandmates are off pursuing their own interests. This leaves her alone to make the big decisions – like signing to the same label as the Misfits and agreeing to open for them on tour. Unbeknownst to Jerrica and the others, the Misfits’ new manager Eric Raymond is working tirelessly to ensure that Jem and the Holograms are nothing more than a flash in the pan. These developments make up the bulk of Viral, which build upon the events that preceded it in Showtime. Writer Kelly Thompson continues to show off her knowledge and affection for the classic cartoon through this introduction of Eric Raymond (that snake!) and she even has Shana pursuing fashion design. However, she adds new layers by digging into more realistic emotional components. Namely, we’re seeing Jerrica struggling to keep the group going and Kimber remains very much hung up on Stormer.

For the most part, Viral continues to build on the events that preceded it in Showtime. Thompson does this through the introduction of new characters (the aforementioned Eric Raymond, as well as the slimy hacker Techrat) and by rolling out new plot developments. Thompson’s pacing is impeccable for the vast majority of these issues in that respect. She knows how to tease out a series of dramatic reveals, all of which lead into an explosive Halloween-themed issue that ends with two incredible cliffhangers. Not to spoil anything – but Thompson’s twist regarding a beloved character hikes the tension up to an unbearable level. Unfortunately, what proceeds it is a rather oddly plotted issue that focuses almost entirely on Rio and explores his past and present relationships with the Misfits and with Jerrica. Thompson does almost nothing with the dangling plot threads from the issue that preceded it, with the only sense of progression being when Jerrica agrees to tour with the Misfits.

The annual and Christmas special are placed at the beginning and end of this collection, which contribute to an overall sense of filler to this chunk of stories. This, of course, isn’t a fair assessment as these are bonus stories intended to be enjoyed outside of the main narrative. Regardless, both are super fun. The annual features a series of dream sequences wherein the Holograms imagine themselves in parodies of iconic movies (i.e. Jerrica in Teen Wolf, Aja in Mad Max), with each sequence drawn by a different artist. The issue doesn’t exactly develop the characters, but it does have a lot of fun dialogue and it showcases their personalities really well (especially Aja’s). The Christmas special feels less tacked on, as it is clearly set shortly after the events of issue 10. The Holograms go to a holiday party thrown by their record label and are unwittingly forced into doing a Secret Santa with the Misfits. What follows is a really sweet and heartwarming exchange that shows readers a different side of the Misfits – without undermining their reputation, of course.

Overall, Jem and the Holograms Volume 2: Viral is not quite as poppy and electric as the volume that preceded it. The absence of Sophie Campbell on art duties is felt and diminishes the overall aesthetic quality of this collection. That said, Emma Vieceli (who handles the bulk of the pencils here) is an excellent replacement. Her style is similar to Campbell’s, though it’s admittedly less whimsical, and the characters look beautifully expressive throughout. The same cannot be said for Corin Howell, whose work on issue 10 is extremely rough and clashes entirely with the aesthetic of Jem and the Holograms. Thankfully, Thompson is on point for the vast majority of the issues collected here. Her dialogue and character dynamics continue to be captivating, thus cultivating a very loveable cast. She gets bonus points for her cliffhangers, but a slight demerit for issue 10’s maddening halting pace.

RATING: B

Review: Jem and the Holograms Volume 1 - Showtime

With a deadline looming for entries into a music contest, singer-songwriter Jerrica Benton is gripped with anxiety and strage fright. Facing the prospect of dropping out and letting her bandmates down, Jerrica overcomes her fear by transforming into the glamorous Jem with the help of a holographic computer program created by her late father. After a splashy online debut, Jem and the Holograms achieve viral popularity – much to the chagrin of the spastic Misfits.

Jem and the Holograms Volume 1: Showtime collects issues 1-6 of Jem and the Holograms written by Kelly Thompson and illustrated by Sophie Campbell.

As a team, Kelly Thompson and Sophie Campbell were charged with a rather challenging task – update an iconic (and totally outrageous!) ‘80s cartoon for today’s comic book readership. What they accomplished was spectacular and inspired. They hit the ground running by telling the origins of the titular Jem and the Holograms, eschewing the villainous Eric Raymond and Starlight Records in favour of having their popularity stem from a music contest held by the Misfits (who have been seemingly established as an A-list rock group in this version). Thompson’s dialogue improves upon the characters we know and love from the cartoon, particularly giving them more distinct personalities that help the reader relate to them more. Aja is more sarcastic and has constant playful banter with Kimber, while Kimber herself is seen as an always-late flake that is as loud as she is talented. Shana sits comfortably as the voice of reason, filling the role of mediator whenever arguments arise. Interestingly, Thompson seems to lose Jerrica’s voice and personality in the process of fleshing out her sisters. I love the new dimension of Jerrica suffering from anxiety as it makes her easier to relate to personally and her relationship with Rio seems much more organic than it did in the cartoon, but she isn’t as pronounced as a savvy businesswoman and her quietness makes her seem dull in comparison to her bandmates.

From their debut onwards, Thompson and Campbell unravel a series of events that serve to develop the characters further. Kimber begins a secretive relationship with Stormer of the rival group the Misfits, Jerrica must contend with Rio’s negative perception of Jem (basically he thinks Jem is selfish and not a team player), and the Holograms pull double duty trying to prepare for the Mistfits’ music contest and a charity event for which they’ve volunteered their talent. The pacing is great as it moves the story along with a jaunty pace – occasionally tossing in splashy musical scenes artfully rendered by Campbell. The mix of interpersonal drama and their musical exploits is handled well, thankfully never veering too far into the melodrama box its animated predecessor often did. Thompson and Campbell work well together in this respect, as they’re able to balance camp with serious drama. Kimber’s relationship with Stormer becomes an emotional focal point for the readers. While there’s a humorous side to the subplot, it’s played straight (pardon the pun) and we see an impeccably well-written relationship that feels neither exploitative nor forced. It’s a development I love and one which helps to, not only endears me to, but relate to both Kimber and Stormer. On the other side of the equation, Thompson and Campbell do not pull back from the absolute insanity that is Pizzazz. They allow her to have epic meltdowns, often cumulating in fits of rage. It gels with her animated persona and it’s absolutely hilarious to see, made all the more gut-busting by Campbell’s unrivaled expressiveness.

While Thompson’s dialogue and plotting is flawless throughout, not nearly enough can be said about Campbell’s work as the book’s artist. It’s vibrant, outrageous, colourful, expressive, dynamic, glamorous, punk, girlie, sexy and a million other things. Everything from the way she draws hair to the special care she takes to create characters that are visually distinct from one another makes this book truly extraordinary. Part of what I love about this book is how inclusive it is. Not only is it explicitly and unapologetically LGBTQ+-friendly, but Campbell came up with a series of character designs that speak to today’s modern society. She gives the cast different body types, all of which more accurately reflect what we see in the real world. For instance, I adore that Stormer is portrayed as a desirable love interest for Kimber and as the key to the Misfits’ success (she writes their songs) rather than as the sassy or supportive best friend archetype as would usually be the case based on the body type Campbell draws her with here.

As one can imagine, it’s difficult trying to adapt the seminal Jem and the Holograms three decades later. Thompson and Campbell capture the fashion, aesthetic and nostalgia surrounding the series. The comics obviously lack the same structure, given the fact that each episode of Jem contained music videos and are comics a strictly visual medium, but does an admirable job of trying to stay true to the essence of the outrageous cartoon. There’s camp and drama – but most importantly there’s glamour, glitter, fashion and fame. Thompson and Campbell make me invested in these characters, while the latter especially creates a gloriously technicolour world full of distinctive musicians and crazy fashions. While it’s not a facsimile or a continuation of the original cartoon, Jem and the Holograms Volume 1: Showtime is a vibrant update on a classic. It’s clear that its creators have respect for the source material, so much so that we see little nods to the series via cameos (Ba Nee! Ashley! Lindsey Pierce!) and fashion choices. I thoroughly enjoyed this first set of issues and look forward to the rest.

RATING: A

Review: Jem and the Holograms - Season One

In the truly outrageous world of rock music, Jem and the Holograms reign supreme as the top divas. Together they must navigate through the fickle and competitive music industry, while lead singer Jem juggles a double-life as record label impresario Jerrica Benton. If that wasn’t enough, the crooked Eric Raymond and rivals The Misfits spend their every waking moment trying to de-throne Jem and the Holograms.

Like many cartoons from the 1980s, Jem is rife with campy fun. Its colourful animation, infectious music and soapy storylines are trademarks of the opulence of the era. While it would be easy to write Jem off as a 20 minute commercial advertisement for Hasbro’s doll line of the same name, it was actually an innovative series that captured the essence of the MTV generation.

In addition to the main storyline, each episode from the first season features at least two fully produced music videos with original songs as performed by Jem and the Holograms and The Misfits. While the quality of these songs varied, most were actually quite contagious (especially that darn theme song!). Lyricist Barry Harman and musical arranger Anne Bryant are to be commended for the work they did on the series. They were able to create songs that not only fit within the narrative and thematic context of each episode, but also craft a sound that was unique to the show’s fictional bands. For instance, Jem and the Holograms had a radio-friendly pop sound, while the Misfits were edgier with their punk electronica music. Britta Phillips, the singing voice for Jem, is also to be applauded. Her unique vocals carried each song with depth and emotion.

During the first season, most episodes follow the same formula. Each week, Jem and the Holograms and The Misfits are pitted against one another in some kind of contest that determines which of the two is more popular and successful. These contests range from anything as official as a battle of the bands to something unofficial such as gaining public favour. More often than not, Jem is the clear favourite, which leaves Eric Raymond to hatch some kind of plot to sabotage the group. In the end, Jem overcomes the odds while The Misfits’ lead singer Pizzazz, the sorest loser there ever was, throws some kind of violent temper tantrum. Such a formulaic format can make a show predictable and stale real quick, but Jem somehow makes it work.  The overall campy tone helps to keep things light, but it’s also the music and surprising amount of action that makes the first season so watchable.

Jem’s biggest flaw within its first season is inconsistency. While lead characters like Jerrica, Pizzazz and Stormer are clearly defined, others are woefully lacking in development. Aja is distinguished by nothing save for her blue hair and an accent that seems to change whenever she speaks, while Roxy is nothing more than Pizzazz Lite. Out of the 26 episodes that make up the first season, not a single one makes an effort to flesh out these characters. To rub salt into that wound, the writers instead opted to spotlight many of the children at Jerrica’s foster home for girls, most of whom are prone to melodrama and bratty behavior. Characters like Kimber and Shana fare much better in the realm of development, but not by much. Kimber struggles to move past seeming like the group’s resident airhead, while Shana’s only distinguishing trait is that she’s stated to be a talented fashion designer. There’s also the matter of Rio. Despite being the series’ central love interest, there’s very little to like about him. He’s moody and disrespectful, which makes the viewer wonder why Jerrica even puts up with him to begin with.

The first season of Jem is a lot of fun if you take it at face value as a high camp series full of catchy music and over-the-top drama. The cartoon holds up better than most of its contemporaries (despite the dated and often hideous fashions), perhaps due to our continued fascination with celebrity and glamour. Aside from a few instances where Eric Raymond’s plots get a little too real, Jem is at its core a family show and is appropriate for kids and the young at heart. The characters and music are endearing in a cheesy guilty pleasure kind of way. If nothing else, the first season of Jem proves why the series is worthy of being considered one of the most iconic cartoons of the 1980s.