It’s still difficult to get a handle on the overarching story with the Trust, Minutemen, and all the characters’ roles, but I’m understanding things bIt’s still difficult to get a handle on the overarching story with the Trust, Minutemen, and all the characters’ roles, but I’m understanding things better after this book. As ever, the individual stories are very well-done. Azzarello still uses new and/or minor characters as proxies to advance the larger plot. This particular book focuses more on recurring characters though, a sign that we’re nearing the endgame. Like the previous volume, this one ends in the death of a major character. There are thoughtful and affecting moments amid the crime, violence, conspiracies, and tough-guy talk.
I have to highlight the dialogue and the art again. These are my two favorite aspects of the series. Even if his writing can be indirect, Azzarello’s dialogue is gritty, realistic, well-timed, and truly a pleasure to read. And Risso is an absolute beast. He draws every single issue and gives his all every time. I love his style....more
I’m inclined to say 100 Bullets is treading water. While scene to scene the series has good moments, even great moments, the overall narrative is simuI’m inclined to say 100 Bullets is treading water. While scene to scene the series has good moments, even great moments, the overall narrative is simultaneously stretched thin and somewhat confusing. Characters are interesting… but I don’t get attached to them because they come and go. The Trust and Minutemen storyline has potential… but it doesn’t seem like it’s progressing. I kind of wish Azzarello kept the series as a strict anthology without a larger narrative, where you see what different people do with Graves’ briefcases of bullets. No need to connect them all.
The highlight in this volume is the seven-part “Wylie Runs the Voodoo Down.” Very well-told with intriguing character dynamics, unexpected violence, and top-notch dialogue. The coda to that story does point towards a potential new direction. We’ll see how things go in the next book....more
What a romp! Multiversal mother-daughter bounty hunting and bickering set against colorful sci-fi worlds. With soul.
Tabitha is a cold bounty hunter whWhat a romp! Multiversal mother-daughter bounty hunting and bickering set against colorful sci-fi worlds. With soul.
Tabitha is a cold bounty hunter whose relationship with her loud(and potty)mouthed mother, a once celebrity hunter with a tracking eye, is toxic. Her brother, now an interdimensional criminal, is wreaking havoc across worlds. So daughter must reluctantly team up with wheelchair-bound, lonely, and still fame-seeking mother to find him. All the while being filmed for the masses. At its core, this is about two people reaching some sort of closure after years of bitter resentment and/or neglect. A familiar plot, sure, but the energetic dialogue, funny moments, action, and creative visuals give it extra spice, not to mention tons of fun. The ending is perfectly emotional, too. Not that I can necessarily relate, though I love stories like this about broken people healing each other, especially when one of those people is on the older side.
Be warned: even though the story gets sentimental, it’s very crass and gory. Also, Rachael Stott’s art reminds of Mike and Laura Allred’s at times; never a bad thing....more
Even if I’m a tad confused by the whole Truth/Minutemen backstory, I’m still very much enjoying this series because the vibe is just so cool. I also lEven if I’m a tad confused by the whole Truth/Minutemen backstory, I’m still very much enjoying this series because the vibe is just so cool. I also like how Azzarello pieces together short stories about different (often brand new) characters that collectively progress the larger plot. Some of these shorts are better than others, sure, but all are at least interesting and/or clever. The best part of this book is not one of the shorter stories, but the epic, seven-part “Counterfifth Detective,” a pitch perfect piece of noir straight out of a 40s pulp novel. I could read that one again right now. The dialogue grabs you by the throat....more
One of the big Vertigo series I have yet to tackle, 100 Bullets hasn’t been high on my reading list. This is because Brian Azzarello mostly misses forOne of the big Vertigo series I have yet to tackle, 100 Bullets hasn’t been high on my reading list. This is because Brian Azzarello mostly misses for me. I find his storytelling to be frustratingly indirect. Azzarello was given the keys to Batman, Superman, and John Constantine, and largely fumbled all three jobs because of that trait. His Wonder Woman was pretty good though (which is surprising because it was far from his usual crime beat).
And I have to say I really liked this, though maybe more for its style than substance. The feel and look is so cool and so noir. The comic that it most reminds me of is Frank Miller’s Sin City, which I have to believe was an influence. Like that series, this one is like noir on steroids. It’s exaggerated but in a good way. Risso’s art is just phenomenal for this type of comic. Every single page stands out, even though I think the coloring for the early issues is better than the later ones, which have a slight 3-D/digital sheen that doesn’t accentuate his shadows as much.
As for plot: I appreciate that it builds from individual stories, slowly revealing more information about these people and organizations. Azzarello does exhibit that indirect storytelling characteristic that frustrates me, but it’s not so bad yet. The vibe of the book allowed me to push past the occasional confusion. And there is certainly some strong writing here. The issue about the waitress and her missing daughter, “Heartbreak Sunny Side Up,” is Exhibit A in how to write an effective single issue comic. The four-part “Hang Up on the Hang Low” (and its epilogue issue) is another highlight for its portrayal of a complex father-son relationship. Genuine human emotion exists underneath all the stylized noir characteristics.
I’ll keep reading, but my library doesn’t have the entire series, so it might be a bit before I return. I can already tell though that I will forget details. C’est la vie....more
A twelve issue coda to Fables published seven years after the presumed ending. Since Willingham has had a falling out with DC, it’s likely this will bA twelve issue coda to Fables published seven years after the presumed ending. Since Willingham has had a falling out with DC, it’s likely this will be the last we see of the series. And for all my problems with Fables, it’s not a terrible way to go out. It’s a smaller story that largely focuses on Snow, Bigby, and their kids in a new setting. There’s no world-ending threat, just smaller adventures and conflicts, plus some new characters. There are problems, like Willingham’s easy plotting decisions, an out of nowhere five year time jump, an underdeveloped villain, and addressing the should-be-huge plot point of the mundy world discovering fables in an easy, minor way. Also, something happens to the villain at the end that seems to go against the previous characterization of another character. It didn’t quite make sense to me. Still, these twelve issues capture the tone of the original series and deliver some nice moments. The decision to go small here was a smart one.
—
So. Fables as a whole. Even though I read the entire series and had problems with it throughout, I swear I wasn’t hate reading. There were parts I liked. The art, for one, and the overall concept of the series. Also Boy Blue and Flycatcher. But I do have problems.
First, the characterization of these fairy tale and folklore characters feels arbitrary most of the time; they feel like entirely new characters, distinct from their archetypes except in name. And aside from Boy Blue and Flycatcher, and maybe one or two others, I never really felt attached to the characters. Willingham tried his hardest, but I just could not get invested in Snow, Bigby, Rose Red, and the others. This comes down to the writing. The way Willingham writes is clunky, obvious, and easy a lot of the time. His writing is almost too “nice” and “whimsical” (too many exclamation points), and his plotting rarely feels inventive or surprising. That’s the best way I can describe how I feel about it. The story also went on too long; you could tell Willingham didn’t really know where the story was going after the war ended halfway through.
So it mainly comes down to writing for me; with a better writer at the helm, Fables could have been a compelling, enthralling series with memorable characters and epic storylines, instead of the clunky jumble of obviousness we got. This series has many fans, so it’s probably a case of “not for me.” But from where I’m standing, it’s clear how inferior Fables is to other comics of its type....more
The end of Fables before Willingham decided to return to it six years later. First off, all those "final stories" reek of lazy storytelling. Instead oThe end of Fables before Willingham decided to return to it six years later. First off, all those "final stories" reek of lazy storytelling. Instead of working these characters' endings into the main narrative, Willingham shuffles them aside to tell quick little codas. It feels too easy, not to mention anticlimactic for some of these characters. Another thing that bugged me was how inconsequential the mundy world discovering that fables exist turned out to be. Willingham doesn’t make it a major plot point, when you think it clearly should be, and it’s nicely resolved in one of those final stories. Really?
The primary storyline continues the conflict between Rose Red and Snow. While I still think this whole conflict came out of nowhere, that it wasn't developed organically, it does tie back to the beginning of the series when Rose and Snow were at odds. And I suppose it ties into their original fairy tale. Overall, the storytelling here is fragmented and, again, too easy. I don't feel the stakes are as high as they should be. Yes, characters die and there are dramatic happenings, but things are resolved almost too quickly. This could have been better. Really, the whole series could have been better....more
Several years before he started his run on Hellblazer proper, Andy Diggle wrote this fun little miniseries about Lady Johanna Constantine. It's a highSeveral years before he started his run on Hellblazer proper, Andy Diggle wrote this fun little miniseries about Lady Johanna Constantine. It's a high seas adventure with magic and demons, tying in to both Hellblazer and Sandman (and, in a way, Lucifer and Swamp Thing). This is quite different tonally than the main Hellblazer series. I like it though. Johanna isn't as outwardly flawed as her descendent, but her strength and cleverness are endearing. I wish the series was longer because there's clearly more backstory to be mined. But I'll take the four-issue romp that we got....more
This whole "Rose Red creates her own Camelot and gets superpowers and now she and Snow are fighting" thing comes out of nowhere. Maybe Willingham is hThis whole "Rose Red creates her own Camelot and gets superpowers and now she and Snow are fighting" thing comes out of nowhere. Maybe Willingham is harkening back to "Legends in Exile," when Rose was the problem child that Snow was ashamed of? I don't know. But he seems to be setting this up as the series finale.
The best part of the book is the interlude issue featuring Boy Blue and Bigby. Willingham's writing here is uncharacteristically subtle, with just the right touches of emotion. This issue also has possibly my favorite cover of the entire series, which is saying something....more
"Cubs in Toyland" is one of the better Fables arcs. It focuses on Snow and Bigby's kids (mainly two of them) dealing with some scary fables in another"Cubs in Toyland" is one of the better Fables arcs. It focuses on Snow and Bigby's kids (mainly two of them) dealing with some scary fables in another land. The emotional beats are strong, while Willingham paces the story well and delivers a heartbreaking ending.
The rest of the book is fine. We get a fun story about Bufkin, one about Bigby in the past, and a consequential saga concerning Snow and Bigby in the present. On balance, this volume is pretty good, but I'm still not really attached to the characters and am basically only reading to finish the series at this point....more
Jamie Delano returned to Hellblazer a few times after his run ended at issue 40 in 1991. This, a standalone story published in 2010 right before the NJamie Delano returned to Hellblazer a few times after his run ended at issue 40 in 1991. This, a standalone story published in 2010 right before the New 52 wiped away the original series, is up there with his best work. It’s a thoughtful and unsettling saga that takes John to war-torn Iraq. Delano’s writing loses none of its intelligence and political bite, while his characterization of John as a bastard of the purest order is spot on. I love how Delano writes him. The story is about those who leech off war, both demons and humans, with John reacting to it all exactly as you'd expect him to. An evocative, poetic, and entertaining read....more
I read this in one of the newer Hellblazer collections, but wanted to read it again on its own because I remember thinking it was great. And after a sI read this in one of the newer Hellblazer collections, but wanted to read it again on its own because I remember thinking it was great. And after a second read, yeah, I agree that it’s great. This is John Constantine the bastard trickster, walking into danger while ultimately trying to do the right thing. It’s a kind of quintessential Hellblazer and wouldn’t be a bad introduction to the series and the character. You’ve got John’s banter and narration, Chas, and demons. I guess this book came out to coincide with the release of the Keanu movie, and while there might be a “paycheck” quality behind it, the story is well-written, well-drawn, and engrossing. I have no complaints....more
Even Garth Ennis has his duds. Goddess came out just after Preacher started, and there are definite similarities between the two. A regular person getEven Garth Ennis has his duds. Goddess came out just after Preacher started, and there are definite similarities between the two. A regular person gets supernatural powers in a sudden, shocking way, powerful people track her down, there's lots of blood and humor. But Goddess isn't good. The dialogue is by-the-numbers and the characters are underdeveloped. It feels like any number of edgy black comedies from the 90s. Ennis’ writing is really a step below his usual standards, it’s night and day between this and Hellblazer or Preacher. I barely felt anything about the story or characters. No need to seek this out unless you're an Ennis completist (yes, like me)....more
I'm getting to the point where I just want to be done with the series. I didn't feel much at all reading this.I'm getting to the point where I just want to be done with the series. I didn't feel much at all reading this....more
By far the longest deluxe edition so far, this book has a lot going on. First off, it's definitely better than the last stinker of a volume. We get seBy far the longest deluxe edition so far, this book has a lot going on. First off, it's definitely better than the last stinker of a volume. We get several arcs, all more or less leading up to the battle with Mister Dark in the oversize 100th issue (which is kind of anticlimactic). There's drama on the farm, a central character's reemergence, and lots of magic. My favorite part is the two-issue Flycatcher/Haven story that actually has little to do with the Mister Dark plotline. I just really like Flycatcher, and his humanity is further drawn out in this story. The rest of the book is fine, par the course for the series. It heavily focuses on Rose Red, Frau Totenkinder, Bufkin, and Geppetto. We get Rose Red and Snow White’s backstory here. Despite big things happening, the series doesn't seem quite purposeful enough at this stage. Then again, maybe it’s that I’m not super attached to the characters.
Also, Willingham uses too many exclamation points....more
“The Great Fables Crossover” is a mess of a story. It mostly features characters from the Jack of Fables series and tries to be all meta and clever an“The Great Fables Crossover” is a mess of a story. It mostly features characters from the Jack of Fables series and tries to be all meta and clever and funny but falls flat. I really dislike Jack as a character, and the whole story feels like a waste.
“Werewolves of the Heartland” is better. Bigby looks for a new place for the fables to live after Mister Dark destroyed Fabletown. He comes across a community of werewolves in Iowa where things aren’t quite as they seem. This story features characters from that World War II story a while back. There are some good Bigby moments here and the art suits the story, but again, it feels like a placeholder before getting to the Mister Dark stuff. I worry Willingham will draw that out like he did with the Homelands war.
Overall, a week volume that has me already questioning my decision to finish the series....more
I think I finally understand my main issue with Fables, aside from the uneven writing, pacing, and tone. In this series, Willingham uses centuries-oldI think I finally understand my main issue with Fables, aside from the uneven writing, pacing, and tone. In this series, Willingham uses centuries-old characters from folklore and fairy tales. The characters exist in the modern age but their characterization feels arbitrary most of the time. Cinderella is a James Bond-type spy. Okay, cool, but take away her name and there's no real indication that she's Cinderella. Snow White is the leader and matriarch or sorts to the fables in Fabletown and the farm. But I can't see much in how she acts that suggests she's the same person from the fairy tale. Again, take away her name and she could be anyone. I'm far from an expert on fairy tales, but it doesn't seem to me like Willingham has a great grasp on the original stories and their characters. Compare to Sandman and Lucifer, two other Vertigo fantasy epics that use characters from religion and mythology and similarly place them in the modern day. The way Gaiman and Carey write those characters makes them feel like the same ones from those myths and legends. You can tell from how they write that they deeply understand the characters’ origins. But I can't say the same for Willingham. The Fables cast feel like entirely new characters who share the names of existing characters from fairy tales, with surface level, obvious suggestions of their background. Halfway through the series, I'm still not sold on their characterization.
That said, I'm going to keep reading because a) I'm a completist, b) I'm halfway done, and c) there are bits of the series that interest me, like Flycatcher, the Homelands, Frau Totenkinder, and Bigby and Snow's family.
So in this volume, the war finally happens, and also ends. It's a little rushed and underwhelming, especially coming after the epic, nine-issue Flycatcher arc. It's like Willingham realized he got there late and had to wrap it up quickly. Meh. There are some good moments, and Buckingham’s art wows, but this culmination could have been far better after all the buildup.
I was more interested in "The Dark Ages” storyline, which follows the fables after the war and sees them contending with a new threat to Fabletown. A new status quo emerges. The stuff with Boy Blue is very affecting, especially his scenes with Rose Red, and I like the Mowgli side story. I’m curious where Willingham is going to take the story in the remaining 70 issues. It kind of seemed like it reached its natural conclusion with the war....more
Definitely the best of the deluxe editions so far. It’s a sustained narrative across all nine issues, with Flycatcher descending into the witching welDefinitely the best of the deluxe editions so far. It’s a sustained narrative across all nine issues, with Flycatcher descending into the witching well to gather dead fables and create a peaceful kingdom in the Homelands. He does this as a means of honoring his family. The story builds and builds, with the Adversary’s forces and a few of the dead fables threatening Fly’s project. Fly emerges as such a likable, brave, and kind character here. I was expecting the story to end differently than it did but was pleasantly surprised by how Willingham handled everything. He does more to set up the coming war, too (or so I assume). Add great art by Buckingham (with some notable Jack Kirby influences), and you’ve got a heartfelt, exciting mini epic. The ‘hams are at the top of their game with this one....more
Even though the first four issues directly deal with the coming war, as the Adversary’s forces discuss how they might attack the mundane world, this vEven though the first four issues directly deal with the coming war, as the Adversary’s forces discuss how they might attack the mundane world, this volume doesn’t advance the main conflict much at all. Those four issues don’t go anywhere (the group comes up with a plan then realizes they can’t enact it after all). And the rest of the book is taken up by minor stories. Though I’m finding I like when Willingham takes time for these smaller stories, giving characters a little bit of added depth. The ones here mostly focus on Snow and Bigby’s kids. All of them are good, but the two-parter drawn by the Allreds stand out, largely because it’s the Allreds....more
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