It is so good to be reading these comics again after so many years! Miller has always been one of my favourite Batman storytellers (although lately heIt is so good to be reading these comics again after so many years! Miller has always been one of my favourite Batman storytellers (although lately he's gone nuts) and the inks and colouring are superlative and nostalgic, especially when I see the Univers typeface used to great effect. Gordan's back-story is great; there hasn't been anything like it....more
I've only perused certain parts of this book, but I know enough to say that this is an absolute keeper. Alex Ross has revolutionised comic book art wiI've only perused certain parts of this book, but I know enough to say that this is an absolute keeper. Alex Ross has revolutionised comic book art with his hyper-realistic illustrative style, imbuing all his characters with a mythological and heroic pathos. Amazing....more
I've only skimmed through this book but the wondrous, whimsical illustrations and restrained hand-drawn typography speak for themselves.
I was lucky enI've only skimmed through this book but the wondrous, whimsical illustrations and restrained hand-drawn typography speak for themselves.
I was lucky enough to see Sara Fanelli live at the AGideas design conference in Melbourne last year. She talked in much detail behind the workings of the book. Unfortunately her signed copies ran out very quickly....more
OK, I absolutely adore Miller's 80s work; he has essentially shaped the psyche and persona of Batman as we know him today, but here he has really blowOK, I absolutely adore Miller's 80s work; he has essentially shaped the psyche and persona of Batman as we know him today, but here he has really blown things way out of proportion and way out of the typical comfort zone into a bizarre marriage of self-parody and camp.
Jim Lee's superlative pencil work apparently conceals this new Miller style, so if anything I'd be buying this for the artwork, but maybe also for one good laugh, 'cause this is just too hilariously good to be taken seriously. Batman is nothing short of a manipulative, ignorant/misogynistic bastard, Robin a whiny little kid, Batgirl a wondrously kick-arse character (especially her language) and everyone else just barely recognisable from their roots. I mean, Batman calls Catwoman his "baby", Robin "retarded" ... it elicits so much hilarity. Classic....more
If you can remind yourself that this is an Elseworlds story, thus completely outside of the canon, Thrillkiller is a fantastic romp into the pulpy undIf you can remind yourself that this is an Elseworlds story, thus completely outside of the canon, Thrillkiller is a fantastic romp into the pulpy underworld of Gotham City in the 1960s. The characters are all familiar to us and yet entirely changed. Barbara/Batgirl is the leading character torn between her sometime lover and partner, Dick/Robin and GCPD detective Bruce. The Joker is a delirious femme fatale by the name of Bianca Steeplechase, while Killer Croc, Catwoman, Two-Face, Harley Quinn and Black Canary also make appearances albeit in an entirely deviant form to their original characters. The pace and action is brilliant, but once Batman enters the picture things get a bit too bizarre for comfort. Luckily, the end is nigh, so it's not as painful as it could have been.
The artwork by Dan Brereton is terrific—bold, brash and vibrant, with heavy red tones, and high contrasts, complementing the period's sensibilities beautifully. ...more
I'm doomed. It seems I have to buy the horrid US paperback that apparently purports that this novel is a bodice-ripper, and while I have no qualms aboI'm doomed. It seems I have to buy the horrid US paperback that apparently purports that this novel is a bodice-ripper, and while I have no qualms about such a statement, this is clearly insulting to the author whose story well steers into a different path altogether to the typical formula. And all this because I got it in my inebriated, sleep-deprived head to buy the US version of Silent in the Sanctuary. Still, I can assure you (maybe) the Australian version of this book is equally awful, with the most contrived stock photo of some non-descript lady in a gown all wrong for the Victorian period, and some Photoshop-in-a-Minute mists and trees supposedly looking very moor-like. I can't believe the gall of the publishers, that's all I can say. On behalf of all designers, I am utterly ashamed of the cover designer/s for producing this uninspired drivel. FOR SHAME.
Anyhow, having thoroughly enjoyed my romp into Deanna Raybourn's previous two Julia Grey novels, I was most anxious with trepidation to devour this latest instalment, and it doesn't disappoint, not really, although it definitely shows signs of weakness not apparent before. Ah, but so what, eh?
Brisbane and Julia clearly still have "issues" to resolve, to say the least. Heh. Their tumultuous relationship seems like a rough wave in the ocean, blowing hot and cold. At first Brisbane's ambivalence towards Julia is potent with sexual tension, but after the umpteenth time of his pushing Julia away I couldn't help but think OH FOR GOD'S SAKE MAN, GET WITH THE BLOODY PROGRAM! For someone so unconventional already surely he wouldn't give a damn about his financial means if it meant achieving personal happiness? I have to say though, despite my pleasure at the "resolution" it seemed a tad too contrived to be completely believable, given Brisbane's wild erratic behaviour (What ho! He speaks Egyptian now? What else can this silent brooding overbearing wonder-stud do I wonder?). I wonder why Julia doesn't just demand he bow down to her like the "earl's daughter" she is, wipe that exasperating smugness off the "Gypsy lad". In any case, I am just glad Raybourn had the good sense to do something about this unwavering tension, rather than leave it stalling.
The underlying mystery feels a little lazy and nowhere near as potentially complex (although I have to say I love the grisliness of its subject matter even if it was patchily resolved), but it's merely an agent in bringing our two obstinate lovebirds together. Also can't fault Raybourn for the distinct gothic setting she's established—I felt decidedly chilled myself. (Then again maybe it's 'cause I let a draught into the house, ahem) Mostly her strength lies in her characters, all of whom are colourful and intriguing. Most memorable to me has to be the amorous adventures of Pugglesworth and Florence and Brisbane's deaf elderly uncle's brief appearance. Read it to believe it.
Oh well, for all its faults, I still unashamedly like Silent on the Moor. I know I shall devour any forthcoming Julia Grey novels regardless. I should like to know more about China. ;)...more