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A couple of Warren Ellis recs

Both Cemetery Beach (an Image comic) and Finality (a weekly webtoon) are pretty much standard Ellis fare: secret history, shadowy groups, and violent, foul-mouthed hypercompetent characters prone to dry and yet hyperbolic wit, and also full of shit.

Cemetery Beach, in particular, has a very interesting premise, although I don't want to spoil the hilariously straightforward reveal at the beginning of the first issue (besides, here the *art* carries a lot of the information).

As usual, I think you'll like it if you have liked other works from Ellis, and won't if you haven't. (This isn't meant to imply that the's monotonous; it's just that his creativity lies more in his world-building — the depth and love with which he puts together bits of fictional lore, history, and random bits pieces of knowledge, into a something that makes sense — than in the psychological and linguistic range of his characters.)

Comics (Warren Ellis Edition)

Injection #12: Injection is, essentially, Planetary, except that everything secret in the word is terrifying and the protagonists screwed up and are responsible for about half of it.

The Wild Storm #3: Mostly the original WildStorm universe, but tightened down into a much more consistent history, and in a relatively more realistic-looking setting.
It's a deconstruction... no, it's a deliberately ironical shattering of Karnak. First Ellis builds him up as this cool hyper-competent philosophical badass, and then he finds the flaw in him, kicks it very, very hard, and lets us see the cracks.

It's a peek at the what's behind the curtain of cool-looking ultraviolence and nihilism. From a psychological, emotional point of view, Karnak isn't well. That's a rather ballsy move to make after you rebuilt a C-list character into a niche favorite; it's done to Bruce Wayne in about one issue out of five (to an extreme, interesting, but probably inconsistent degree in I am Suicide), but then, Batman is Batman, with his huge cultural standing and long-accepted spectrum of psychological descriptions from Batman:TAS "good, mostly sane man coping with lingering trauma and depression in a weird way" to the late Miller's clinical psychopath.

A last, short, but spoilery paragraph.Collapse )

Injection #2

It's such a Warren Ellis work in conception, dialogue, and pacing that the name on the cover is almost ridiculously redundant. That's the best reason for or against reading it, depending on your tastes.

One thing of note: his use of non-dialogue text is quite interesting, somewhat similar in spirit to his Moon Knight run. Not as out there as more experimental comics, but he's probably one of the current relatively well-known comic book writers that focuses the most on fiddling with media possibilities in general (his email newsletter is often a record of what he's reading and thinking about, and although I don't share many of his interests, he's clearly a reflective and inquisitive writer).

As an aside, Morrison's Nameless #4 is also pure late Morrison, which means it's a deranged excursion into forces of reality-destroying supernatural evil.

You know, the transition between Morrison's early JLA and Morrison's Final Crisis could be described as going from professionals so badass they become legendary to legends so legendary they become godlike. A movement from tactical engineering to hermeneutical magic, if you will.

*rubs forehead*

Sometimes, Warren Ellis is a *really* depressing motherfucker. (Preview of ASTONISHING X-MEN: GHOST BOXES #2).

Nope, I'm not going to read it. There's darkfic (which, I admit, I've written sometimes), and there's just fucking with you for the sake of it.

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