This is book two of the Red Riding Hood series, a quadrilogy of books set in Northern England in the late 70's and early 80's. The subject is ostensib...moreThis is book two of the Red Riding Hood series, a quadrilogy of books set in Northern England in the late 70's and early 80's. The subject is ostensibly the Yorkshire Ripper, although the author is more concerned with corruption, violence and cultural rot.
David Peace needs a hug and a cookie. He has read way too much James Ellroy than is healthy, and it shows. His semi-lucid prose features fractured narratives, splintered back stories and short, jutting sentences; he should be in a Twelve Step Program for semi-colon abusers.
And then there's the plot...the cops spend so much time setting up their big conspiracy it would have been less work to just catch the guy.(less)
Some of these short stories are good, others are truly awful. The story about the giant pig is magnificent in its badness, and single-handedly dropped...moreSome of these short stories are good, others are truly awful. The story about the giant pig is magnificent in its badness, and single-handedly dropped the rating from three stars to two. Hodgson's style is clunky; his tales begin very suddenly; and he is always interrupting the story to ask the reader if he/she understands what he's saying, which is annoying. However, there's some interesting stuff happening here, especially in the story about the ghost horse. I wouldn't be surprised if Hodgson read Freud or Jung, BTW.
One final note: I read this book because Carnacki is in LOEG: Century 1910 and I wanted to get a better idea of the character. Unfortunately Alan Moore has misinterpreted Carnacki, who does NOT have dreams or visions, and is most definitely not a psychic, magician or sorcerer. Carnacki may use the the tools of the magician's trade, but he is a rationalist. He is always trying to explain the reason behind the manifestation of that giant hog; and anyway, half of the "ghosts" in these stories are actually human tricksters.(less)
Good, clean fun. Introduces Dredd mainstays such as Judge Giant and Walter the Wobot. The art is a bit wobbly in spots. Most of the stories are six pa...moreGood, clean fun. Introduces Dredd mainstays such as Judge Giant and Walter the Wobot. The art is a bit wobbly in spots. Most of the stories are six pages - I'd like to see some of today's comic creators write a complete story in that amount of space!(less)
This creepy graphic novel series about exterminators and mutant cockroaches is very well done (influences include Kafka and William S. Burroughs) but...moreThis creepy graphic novel series about exterminators and mutant cockroaches is very well done (influences include Kafka and William S. Burroughs) but not for the squeamish.(less)
Just read the first volume of Strangers in Paradise. Boy oh boy, did it rile me up. In a good way, of course. Let's just say I admire this graphic nov...moreJust read the first volume of Strangers in Paradise. Boy oh boy, did it rile me up. In a good way, of course. Let's just say I admire this graphic novel, but I'm not its intended audience. Loved the art. It put me in the mind of Berke Breathed's Bloom County. For some reason Francine's mother reminded me of Bill the Cat.
OK, let's get down to it. Every single male character in this volume is an asshole. Every. Single. One. Does Terry Moore hate men? I doubt it – he is a man, after all. I think it's more likely that he's a shrewd marketer who knows his audience. I admire his audacity: you've got to admire a guy who can make moving statements about feminine empowerment and draw great cheesecake at the same time and get away with it.
SIP is a graphic novel about sex, minus the sex (the first volume is, anyway). Instead we have the slow, richly deserved torment of the male characters. Let's talk about those male characters, shall we? Freddie and David, the scalp-taker and the teddy bear.
Freddie, first; he's the scalp-taker. Go to a used-car lot and he'll try to sell you a car. Go to a bar and he'll try to pick you up. He's an asshole, but at least he's up-front about it. In the interests of fairness I must also state that guys like Freddie get laid a lot. Moore nails him; the only thing he doesn't get right is that there's no way he would wait a year for sex. A real scalp-taker cuts ties and says bye-bye after two weeks.
David is the teddy bear. He's worst than Freddie, because he can’t take responsibility for his filthy sexual urges. Here’s a scoop: every man has filthy sexual urges. David neuters himself. He is the mascot, the little buddy, the pet. David is the type of character women like, because he’s harmless; men despise and pity him. Unfortunately for him, no woman will ever, ever find him attractive.
I give Katchoo credit; she tells David to go away. He doesn't, of course. David’s job is to read puerile poetry and tell Katchoo he loves her and be her designated punching bag while she works out her aggression. This is empowering, for Katchoo. In the spirit of abusive relationships David sits there and takes it. At one point he tells her he had it coming. I guess it’s Katchoo's pure soul; either that, or he likes being slapped in the face. Whatever; he stays.
The laundered Mob money storyline was a bit incoherent. It also put my Melodrama Meter off the charts. One of the characters ends up being related to another character, which - in the words of the Church Lady - is rather convenient.
Oh, and there's a wonderful fight scene between a female assassin and a fat guy. Yes, I know comic book violence is not realistic, but if you outweigh somebody by 100 pounds, all you need to do is sit on them and the fight is over. By the end of that one I was waiting for the ninjas to show up; maybe they will, in Volume 2.(less)