![]() In Monsters, Windsor-Smith oars readers backwards in time over two decades of his characters' post-WWII family history, showing the shreds of lives destroyed after generational traumas have exploded, then sifting obsessively through the details of time's passage to watch the blasts themselves. ![]() than all but a few other comics are capable of. The mood that Windsor-Smith summons in Monsters is simply more intense, more impactful. more. I myself found it an overpowering experience of simultaneous disquiet and awe. How Monsters hangs together as a plot, I think, is less important than the feeling passed on to its readers as they push slowly through hundreds of densely gridded, intricately drafted, balloon laden pages. Half a century later the process peaks with Monsters, a massive tome intent on more intensity, more realism, more grandeur, a mixing of the stuff of life with baroque and overwhelming dread.ĭespite the deep focus his artwork strives for, Windsor-Smith feels less intent on presenting the specifics of his narrative than its tone - one most often sumptuously gloomy. ![]() Since his ornately embellished Conan run at Marvel in the early '70s, Barry Windsor-Smith has been resisting his art form's instinctive reach for simplicity, and making comics with more. ![]() In this respect, it must be counted a success. ![]() There's more to this one than most comics - more high points, more flaws, more time in the making, more lines on the page. ![]()
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