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Holy Terror Hardcover – Oct 11 2011


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Product Details

  • Hardcover: 120 pages
  • Publisher: Legendary Comics LLC (Oct. 11 2011)
  • Language: English
  • ISBN-10: 193727800X
  • ISBN-13: 978-1937278007
  • Product Dimensions: 23.1 x 31 x 1.3 cm
  • Shipping Weight: 590 g
  • Average Customer Review: 2.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: #335,496 in Books (See Top 100 in Books)

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By AlexanderTGish on Oct. 4 2014
Format: Hardcover
I will give the book 1 star for the art, Miller is unusual, kinetic and original and was keen to develop his style from his earlier work. (see wolverine mini series, 1980s).
This book was such a disappointment, a pathetic political rant, with an even more pathetic story line. I understand that we come to expect high things from great creators and that some will be below par, but this is awful, stay away and go back to his best work, Ronin, The Dark Knight and Hard Boiled.
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3 of 4 people found the following review helpful By cyberfox29 on Dec 5 2011
Format: Hardcover
hmm... On consideration, I rather liked it! Yes, it requires consideration (and an atlas -- see below). My first reaction was less favorable, though I couldn't help feeling strangely drawn to the tortured artwork. By a literalist approach, this graphic novel gives the impression of a banally scripted revenge fantasy tethered to a skimpy plot: embodying America's post-9/11 combative urge to strike back at Someone Over There, we have "The Fixer" who in anti-heroic form will make the threatened Empire all better by busting toweled heads. The best defense is a strong offense, and The Fixer certainly knows how to take offense -- he takes it all the way to the enemy's front door.

But there's more going on here. The storytelling throughout is dense with symbolism. To read it prima facie as a propagandist slam against Islam is to vastly oversimplify its scope and I think uncharitably fails to credit its author for keener sense. Frank Miller's "Holy Terror" is political commentary delivered with a punch, a kick, an eye-gouge -- it's unrestrained Juvenalian satire at once straightforwardly damning of jihadist psychoses yet also reflecting on the erosion of democratic values as a casualty of the War on Terror, simultaneously potent as an emotively rendered memorial to the victims of a national tragedy.

The opening chase sequence maps a conspicuous geography of shadowed tenement buildings -- that's New York State outlined on page 4, events navigating toward Ground Zero. Deluged by a violent climate, Liberty's rightful place has been usurped by blind justice. Captions spun in staccato beats disclose that Empire City isn't a proxy for Gotham, it's America.
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4 of 7 people found the following review helpful By Alexandre Petrin on Oct. 9 2011
Format: Hardcover Verified Purchase
Frank Miller is one of the greatest comics storyteller in the United States. He's even one of the greatest in the world. But, this isn't one of his greatest work. The story of this story isn't really great, but it's entertaining. A bit simple, but entertaining none less. The strength of this story, HOLY TERROR, is the artwork. Miller deliver here a stylistic artwork in the vein of Sin city, but more sloppy. And it's great ! And work wonderfully with the kind of story.

This story is for Miller fan (fans who loved The Dark Knight Strikes again or All Star Batman and Robin the boy wonder will be please). It's not a great read (it's ok), but it's wonderful to watch !
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Amazon.com: 92 reviews
232 of 294 people found the following review helpful
Final Evidence In the "Frank Miller Has Lost It" Case (SPOILERS* Sept. 30 2011
By NazzNimrod - Published on Amazon.com
Format: Hardcover
Although I had some reservations about the subject matter compounded by the "quality" of Frank's recent work, there's so much he's done right (albeit more than 15 years ago) in comics that I have remained willing to give him another, then another, chance to make good on his early promise.

"Holy Terror" is puerile garbage of the lowest order. Miller's "art" has devolved from his last outings (hard to imagine!), and although the earliest pages are invested with some kind of experimental energy, they are also the least comprehensible in a book that makes little sense. But at least they have a spark, even if the actions depicted are near-impossible to follow and the writing/dialogue is shameful.

I assume these early pages were done almost a decade ago, when this was originally envisioned as a Batman vehicle for Miller to funnel his 9-11 anger into. Vengeful anger may not be the best motivation to tell a story, but those emotions have fueled some powerful art in the past. This isn't one of them.

This opening sequence has "Batman" (I read it this morning and cannot even remember what the lead's name was changed to after DC declined to publish it) pursuing "Catwoman" (did this character even get a name here?) after she commits a theft. They engage in a brutal extended acrobatic/arial battle, before becoming aroused and "Batman" admits he loves her - In what world does this make sense? They appear to have (or be ready to have, who can tell?) post-battle sex when a terrorist's nail bomb goes off, catching "Catwoman" in the leg.

Apparently Miller doesn't think we readers would understand that A NAIL IN THE LEG HURTS because she keeps talking about it for what seems like four pages. I assume Miller stepped on a nail sometime around the writing of this part and was surprised at how much it hurt. There's no other explanation for this much exposition regarding such a minor detail (which is never mentioned again, btw).

In the overall scheme of things it's a distraction that stalls the story so much that the reader is taken out of the moment entirely. That this book is full of moments like that ought to be a huge source of embarrassment for both writer and editor. Furthermore, the sexual psychology of the superhero psyche is well-trodden ground that has been done to death by more talented creators than Miller. His attempt here is just embarrassing and adds nothing to the story, as both characters are ciphers, devoid of personality.

After this, it looks like Miller stopped working on the book for a while and the next part has all the bad writing, art and editing of the first, but with none of the energy. We are introduced to a mysterious Jewish character who has known the terrorist act would happen but either no one would listen or he couldn't stop it or something (??) because he walks away and is never seen again, which makes you wonder WTF he was put in at all. How do I know he's Jewish? Star of David painted on his otherwise nondescript face, of course!

I forgot to mention that two fetish-dress sword-wielding Asian girls make an appearance in this scene as well, but they also leave without having any impact on the story, which again, makes you wonder why they are here. Of course, they may have wandered in from a 1987 Zalman King Skinemax fantasy vignette or Sin City - either is as likely as the other.

Finally the last part of the book, which one presumes was finished after Miller's Spirit movie bombed and his Flash Gordon movie reboot was canned by the studio, leaving little options for income but to finish this mess. I'm guessing the anniversary of 9-11 was looming and someone told him to wrap the book or he'd never see the rest of the advance.

The ending makes the first two parts look like a meticulously structured Shakespeare epic -it's THAT BAD. The heroes(?) end up in battling Jihadists in Al Quaeda's UNDERGROUND SECRET HEADQUARTERS! It's like Miller was channeling his 80's Batman for the first part of the book, but then switched to 60's TV Batman, with all the trappings of outlandish, personality-less minions and tilted panels.

Who edited this? Obviously no one, because this is an unrestrained ego cranking out a hackjob - with no regard for the reader, story, art or even page to page flow.

A colorist is credited, but, like many of Miller's recent books this is a B&W book - but with some spot reds this time! This color scheme has been used effectively in say, the Grendel comics, but here it's overuse only serves to distract from the story - leaving the reader wondering "why are 'Catwoman's' boot soles red while the rest of the page is black & white?

Also, what's up with all of the portraits scattered throughout the book? The original use - showing the losses of innocents is cliche, but tolerable. After that, they become nonsensical - as various political figures are mixed with (terrible) drawings of nobodies (at least as far as the story is concerned). I guess it fills space...

To Sum Up:

The writing and plotting is trite and insulting. Miller's phony-baloney "hard-boiled noir" style is the work of a deluded creator - it's so hackneyed that it stops the story instead of propelling it.

Miller's artwork has degenerated to the point that it seems to be an afterthought - while I appreciate that it's highly stylized, it shouldn't be so stylized as to fail to tell the story. It looks like there are panels that Miller spilled ink on, and rather than re-draw them, he just brushed it over most of the panel underneath. This is laziness, not an effective way to tell a story.

Overall, there are so many things that should have been fixed but were left in that the book unfolds like an FU to readers/victims who are left with the feeling that Miller & his publisher have so little respect for them that the content doesn't matter.

I assume the publishers were well-aware of the quality of the book and published it as an expensive (but slight) hardcover in order to take advantage of Miller's aging fanbase before word of mouth entirely kills sales. No one could read this and think it would've been published if it wasn't by Miller. And if someone else had done this, you'd never had heard of it...

This is putrid - another black mark on Miller's once-promising career, and the last work of his I'll be picking up. Avoid at all costs.
108 of 154 people found the following review helpful
If Miller can't care you should not care Oct. 1 2011
By Veese - Published on Amazon.com
Format: Hardcover Verified Purchase
Be forewarned. The only reason to purchase this worthless mess is to see just how far Miller has sunk to the depths of madness and contempt.

Originally I was compiling a lengthy review of "HOLY TERROR" covering story, plot, etc. but realized this horrendous tomb was not worth any more effort on my behalf than Miller exhibited on any page of this book.

Like others here I am in total agreement that this is not only Frank Miller's worst output in his storied career, this is an example of Miller's contempt for the Graphic Novel genre and any audience his work is intended for. No matter if you are a fan of his work dating well back into the `80s (Daredevil, Dark Knight) as I was or a potential reader completely new and curious about the "controversial" 911 subject matter, Miller has delivered nothing less than a punch in the face and kick to the groin of anyone who pays to suffer through this utter garbage.

I use the word "contempt" for the genre and audience because this is a creator who has professed over and over his influence and mentor in comics has always been Will Eisner. Eisner was one of the most respected proponents, teacher even of comic book or graphic novel storytelling. Miller spits in the face of every rule here and you can't even defend he does so for some sort of artistic "voice" or groundbreaking storytelling advantage. Even the most hardcore fan of Miller's work will struggle to get through the story and decipher action on many, many pages.

I'm not offended by a "plot" centered around a superhero (Fixer/really Batman) avenging himself against a 911 terrorist attack, I'm talking about obvious lack of engagement between creator and reader and even creator and his own vision. Since Miller toiled on this mess for over a decade you can literally pinpoint the pages in the book where he went from having some sort of artistic vision in his mind and look for the book, stopped, walked away, came back worked a bit more stopped again and then years later just wanted to get the thing done and absolutely hacked out the majority of the second half. I bet Miller wrote and drew the last third of this book within this year and most of the final pages were completed weeks before this book saw print. It's just stunning how poorly even by Miller's simple black and white, blocky ink swipe style how bad this book looks. He doesn't even spot blacks or use any sort of contrast in the last half. It's there in the beginning ala Sin City, then just gone. It's simple open line art packed with pages and pages of panels with ugly head shots. And the dialog...beyond insulting to any level of intelligence.

So here is how one can imagine how this mess came to be. In 2001 Miller was so angry about the 911 attack in NYC that he had an idea for a story where a fictional alter ego tracks down and gets revenge on those that did us harm. He began work with a passion, gave up, eventually walked away from his then publisher DC Comics for assorted reasons and dropped the idea for some time. When it came time to finish it and collect a paycheck, he started up again but clearly had lost any form of passion or idea of where he was going with it. It didn't matter, he hacked it all out and the joke is on those of us dumb enough to pay for this abuse.

Had to select one star but really give it ZERO stars. AVOID AT ALL COSTS.
19 of 28 people found the following review helpful
An Angry Book Oct. 10 2011
By Man of La Book - Published on Amazon.com
Format: Hardcover
"Holy Ter­ror" by Frank Miller is a new graphic novel which has our heroes fight­ing Al-Qaeda. The book was writ­ten after 9/11 and it feels like it.

The book intro­duces The Fixer chas­ing after cat bur­glar Natalie Stack, if you're think­ing Bat­man and Cat­woman you got it right. After they beat each other up the blood filled intro­duc­tion ends.

Then ter­ror strikes in Empire City, The Fixer and Stack go on a rage fueled mis­sion after those responsible.

To say that "Holly Ter­ror" by Frank Miller is an angry graphic novel would be an under­state­ment. In a recent inter­view Mr. Miller said that he hopes the book will "really piss peo­ple off", I think he achieved his goal.

This is a wrath­ful book and it seems like it was writ­ten right after 9/11 when the nation was in an ass-kicking mood, Miller's rage towards Al-Qaeda is lit­er­ally spilling off the pages. How­ever, ten years later the book is some­times funny, some­times dis­turb­ing, yet sim­plis­tic and could cer­tainly be inter­preted as hate­ful. That being said, a lit­tle of Mr. Miller's sto­ry­telling genius shines through.

"Holy Ter­ror" was orig­i­nally sup­posed to be a story about Bat­man, but even for Bat­man this book is far too vio­lent. But the two main char­ac­ters, The Fixer and cat bur­glar Natalie Stack, rep­re­sent Bat­man and Cat­woman, they have dif­fer­ent names and look a lit­tle dif­fer­ent, but there really is no mis­tak­ing who they're sup­pose to be.

As in many of his books, Mr. Miller tells a sub­tle story, allows the book to breath in between pan­els and cer­tainly makes strong state­ments about world pol­i­tics with few, if any, words.

The art, in Milleresque style, works only for the first quar­ter of the book. It seems to me that the last three quar­ters or so of the book the art became sloppy. The dia­log, some bril­liant, some ridicu­lous but mostly pro­pa­ganda, which, in my opin­ion, is about a decade too late.

My prob­lem with the book is that it crosses a fine line. The book infers, inten­tion­ally or not, that Al-Qaeda rep­re­sents Islam. That's like say­ing that the Ku Klux Klan rep­re­sents Chris­tian­ity. Both groups have aspects of their reli­gion in their hate­ful pro­pa­ganda but I would say that the vast major­ity of Chris­tians I met dur­ing my life despise the KKK. The mes­sage in the book, crys­tal clear by the way, is not con­vinc­ing, not bal­anced with weak reasoning.

Frank Miller is a won­der­ful artist and an intel­li­gent writer, but this book felt as if a Miller fan wrote it, not the man him­self. The art is all over the place, some pages are absolutely bril­liant, while some are just a mass. How­ever, with all its pos­i­tives, this is an over­sim­pli­fied book with a resent­ful message.

There are a few exam­ples which are obvi­ous, The Fixer calls the ter­ror­ists "Mohammed" because "you've got to admit that the odds are pretty good it's Mohammed". The name is short­ened to Moe later on in the book. A dis­turb­ing page con­trasts Amer­i­can watch­ing a Transformers-like movie vs. Arabs ston­ing a woman to death while curs­ing her.
As if these are two dif­fer­ent types of entertainment.

I have read this book on a com­puter through a pre­view gal­ley I got. I haven't decided yet if I want to pick up the printed ver­sion. Maybe I'll see some­thing I didn't on the computer.

The book is ded­i­cated to slain Dutch film­maker Theo Van Gogh (1957 - 2004). Mr. Van Gogh, great-grand son of the brother of the famous painter, was mur­dered by Islamic extrem­ists for mak­ing a movie about the treat­ment of women in Islam.
Horribly written, illustrated, and offensive on every single page! Is this really the same Frank Miller who gave us TDKR?! Dec 15 2014
By Dr. Rorschach Hound - Published on Amazon.com
Format: Hardcover
Oh Frank Miller, what has happened to thee?! He who once wrote the masterpiece that was BATMAN: THE DARK KNIGHT RETURNS, the thrilling take on noir-crime fiction that was Sin City, and the compelling battle of the Spartans in 300?! I know you stooped low with BATMAN: THE DARK KNIGHT STRIKES AGAIN and ALL-STAR BATMAN AND ROBIN, but even those could be considered Shakespeare in comparison to this abomination known only as HOLY TERROR!!!

Sorry for being so overdramatic and unnecessarily poetic folks, but I just find it hard to believe that the Frank Miller who wrote this trash was the same man who gave us such wonderful comic classics in the past. I know that countless great authors have had declines in the quality of their writing in the later years of their careers, but even then they can at least produce somewhat enjoyable material. Even ALL-STAR BATMAN AND ROBIN was enjoyable for being as hilariously bad as Mr. Freeze and his Ice-Puns in Joel Schumacher's BATMAN AND ROBIN, but this?! Even for a decline in quality, this is simply inexcusable for an author known major and critically acclaimed stories. For those who are unaware of what I'm rambling about, Frank Miller is quite easily one of the biggest contributors to the comic book industry. He first became prevalent with his work on Daredevil and the graphic novel RONIN (which I'd love to read in the future), but the work that first garnered him major attention was BATMAN: THE DARK KNIGHT RETURNS. Not only was TDKR a great story about an aging Batman attempting to take back his city one last time, but like Alan Moore's WATCHMEN, it helped comics be recognized as a serious literary medium. He also showed major promise with BATMAN: YEAR ONE, SIN CITY, and 300, but then something happened. All of a sudden Miller's work became a parody of itself, becoming lost in mad ramblings and repetition of sentences that even SIN CITY would find excessive. The first sign of this was in the sequel to TDKR, BATMAN: THE DARK KNIGHT STRIKES AGAIN, which was a contrived mess that was not only poorly written and illustrated, but failed as a successor to one of the greatest comics of all-time. He then completely forgot how Batman was supposed to be written in ALL-STAR BATMAN AND ROBIN: THE BOY WONDER, which was laughably bad, and portrayed Batman as a psychotic lunatic that referred to himself as "the Godd*** Batman" (which has since become an Internet meme). But even after all of that, you'd think his writing couldn't possibly stoop any lower, but Frank Miller reaches his lowest in HOLY TERROR.

Originally conceived in 2006 as a project called HOLY TERROR BATMAN!, the comic would pay homage to propaganda comics of the 1940's (the ones that had superheroes punching Hitler, or fighting the Nazis and Japanese), by having Batman go up against Al Qaeda and Osama Bin Laden. It was considered to be a passion project by Frank Miller, as he was living in New York's district Hell's Kitchen when 9/11 occurred. He wanted this comic to convey the evils that America was up against, and encourage people to take up arms against terrorism. Even it's production the project the project was controversial, with comics writer Grant Morrison (whose work I'm a fan of) deriding the concept of Batman fighting Al-Qaeda as, "decadent indulgence when real terrorists are killing real people in the real world." According to Miller, he stated about halfway through writing the comic HOLY TERROR "was not a Batman story," and would focus on a new character that was "closer to Dirty Harry than Batman." He then left to work at Legendary Comics alongside former DC editor Bob Schreck (who was apparently championing the project; who knows why?), and finally hit stores in 2011. HOLY TERROR may possibly be one of the most controversial comics ever created. Both critics and readers have labeled the comic as propaganda against not just terrorists, but anyone who was Muslim or followed Islamic beliefs. Essentially, Miller's book states that if you're a Muslim, than you are automatically a terrorist. Not only is this highly racist and offensive as many Muslims are also victims of terrorism (and the fact that all religions have extremists; including Christians), but the bigotry is not the only problem to plague this comic. Filled to the brim with horrible writing, horrendous artwork, and zero characterization, HOLY TERROR is a complete mess comes off as not an actual comic, but an unfinished draft of a comic that was not proof-read by editors (was Schreck even championing the book like he stated?!) which may possibly be the single worst comic I have ever read.

For what passes as a story, the book opens with Not-Batman (who has been named the Fixer; did he forget that he was a veterinarian and not a superhero?) chasing Not-Catwoman (called Natalie Stack; what is she a stripper?! Then again, this is by the man who wrote SIN CITY) on the roof tops of the Gotham City rip-off known as Empire City. After the Fixer attempts to arrest her for stealing a diamond bracelet, the two begin fighting each other while simultaneously kissing in the rain (was this supposed to be the plot of Jiriya's book "Make-Out Violence" in NARUTO?). Their disturbing battle-sex (or whatever it was) is suddenly stopped when a nail-bomb explodes in their vicinity, wiping out hundreds of citizens and destroying several buildings. The Fixer and Natalie Stack survive the explosion and soon witness several more explosions go off across Empire City. Immediately jumping to the conclusion that it's an Islamic terrorist attack (seriously, he has no evidence that terrorists are responsible, even though the reader knows that it is), the Fixer and Natalie Stack soon confront the terrorist and begin to kill and torture them. Ignoring the fact that these terrorists look like mummies rather than actually Arabs (did Miller do no research on Middle-Eastern attire?!), Frank Miller then goes into conspiracy theory nonsense by writing that Al-Qaeda is not a simple guerilla force, but is a massive army that employs every Muslim in the world, and possesses chemical weapons and fighter-jets (if they have these, then why would the terrorists use suicide bombers?!). Gaining this stupid information, the Fixer and Stack then race to stop the terrorists from completely destroying all of Empire City.

From the information I've provided, one would believe that the main problem with this comic is that it is both racist towards Muslims, and fails as propaganda by making up conspiracy theory nonsense that only serves to disconnect people further from Miller's cause. While these are definitely deserving of the hate and criticism that this book has received, they are not the only problems with this comic. Out of all the comics I've read and reviewed, HOLY TERROR may be the most horribly written, illustrated, and lazily produced comic that I have ever seen in my life. Actually, it may be worst constructed book in general that I have ever seen period. There is no substantial plot or characterization anywhere present in this travesty whatsoever. Over half of the book consists of splash-pages (full-page images without panels) of the Fixer and Stack chasing each other across the roof tops, and it isn't until more than halfway through the comic that they actually confront the terrorists. Frank then tries to condense the plot as much as he can by filling pages with too many panels than a single page should contain (even with the sideways format that 300 had), and rushingly explains any vital plot information that should have been presented earlier. I have never seen a book padded out to such a horrendous extent than what is present here. This makes nearly every plot point in the book feel redundant and unnecessary. We don't even get any dialogue until page five, and it's only the Fixer and Stack grunting and ripping-off SIN CITY by repeating fragmented sentences over and over again. He only chooses to actually write genuine dialogue three-fourths of the way into the comic, and even then there is pointless nonsense spread throughout the comic. The reader is presented with the Fixer meeting with a guy who has the Star of David tattooed on his face alongside twin Asian assassins (what?!), random images of a coffee mug beside a t-rex (huh?!), an image of silhouetted figures in a movie theater (is the comic now ripping off MYSTERY SCIENCE THEATER 3000?), as well as the stupid conspiracy theories that Frank apparently believes. But probably the worst example of pointless nonsense is that there are random images of politicians, talking-heads, and terrorists splashed throughout the comic, but they don't say a single thing. Are the politicians responding to the terrorists attack?! What is the point of placing the heads of people like George W. Bush, Michael Moore, Hillary Clinton, President Obama, Sara Palin, and Hillary Clinton in the comic if they're not even saying anything? Even the unnecessary talking heads in TDKSA at least were saying things that attempted to make a plot. This is simply laziness incarnate. I'm sure there are more pointless elements that I forgot to elaborate on, but honestly it would take an eternity to list them all.

The characters are cardboard and racist cutouts with zero-dimension to them. The reader knows nothing about who the Fixer and Natalie Stack are, and what their personalities and characters are supposed to be. The only impression that the reader gets is that they're rip-offs of two of DC's most popular characters, and that they're racist murderers who enjoy inflicting pain on others. This particularly presents itself when the Fixer and Stack are fighting the terrorists, and decide to torture one in order to gain intel. They suspend the terrorist in the air by suspending his limbs from a building, with the Fixer standing on the terrorist's back at the same time. This is made worse by the Fixer clamping his foot down to snap his spine when the terrorist refuses to talk, and also threatens to gouge out his eyes (such a likable character...). The reader also gets no clue as to what motivates the Fixer to brutally murder these terrorists, as the only excuse provided is quite possibly the laziest backstory ever conceived. Apparently the only reason the Fixer fights crime simply to prepare for the night when a terrorist attack may occur in Empire City. What the heck?! How could he predict when Al-Qaeda would launch an attack on the city? Does he have psychic power that let him see into the future? That is simply lazy and uncaring on Miller's part. Just wow...

The artwork in this comic is also atrocious. Frank Miller is widely known for illustrating characters in a blocky and gritty style in order to create darker tones, and for is heavy use of negative space which was simply amazing in SIN CITY. Just like his writing however, his artwork has also degenerated over the years, with the proportions of characters being over stylized and unnatural, as well as several images lacking any background. While this first became apparent in TDKSA, at least in that comic there were points where the illustrations partially resembled those of Miller's earlier work. In HOLY TERROR everything looks as if a kindergartener drew it. Heck, even a kindergartener could draw better than this (I know I could when I was that age). While some areas do work in conveying Miller's trademark use of negative space (such as the opening shot of the book), the art is heavily weighed down by inadequate proportions of the characters bodies. The Fixer and Natalie Stack often bend their bodies in bizarre manners that even Rob Liefeld would laugh at, and their designs look messy and unfinished. The backgrounds (or whenever there are backgrounds) are also atrocious. For example, several images during the opening chase have rain in the background, but the rain looks more like random splotches of paint splattered over the scene, making it hard to make out what is going on as they blend in with the characters Liefeldesque proportions and fights. It was as if Miller had a seizure while illustrating them. What's also confusing is that Miller places color in areas that don't make sense. Throughout the book, the reader constantly sees the red bottoms of Natalie Stack's shoes, always focused on for no apparent reason. The reason that color is added into certain objects in a black and white setting is to place emphasis on them. Here however, the colors are just randomly inserted onto objects that don't require symbolism to them, making them a distraction to the reader. Overall, the artwork of this book looks like a bad parody of SIN CITY meshing with THE DARK KNIGHT STRIKES AGAIN.

The final and most glaring problem with this comic of course, is the bigotry and anti-Islamic propaganda. Miller portrays all Muslims as being members of Al-Qaeda, saying that there is no good or innocent Muslim, but that they are all terrorists. This hateful stance makes its first appearance after the Fixer and Stack survive the nail-bomb explosion, as the scene flashes back ten minutes earlier, revealing the attacker to be an exchange student from the Middle East. The only reason that this scene exists is to highlight Miller's racist beliefs by portraying an adolescent female as a mass murder simply because of her religion (what a load of bullcrap!). The bigotry is also present during the torture segment I previously mentioned, as the Fixer assumes that the terrorist's name is Mohammed (later calling him Moe) just because he is Muslim. While these two are not the only examples of racism present in the comic, they are perfect examples of why this comic deserves the criticism it has received. It shows that Miller obviously did no research in the teachings of Islam, but only wrote his biased opinions because he is racist (there's no dancing around that fact). In actuality, Al-Qaeda is only a small group of religious extremist out of a population of 1.2 billion Muslims. Their holy book, the Quran, does not advocate violence against Non-Muslims, but to shelter others and only fight in self defense as Allah is against aggression. Miller also writes them as if they were barbarians from the dark ages, when in reality Arabs where responsible for the creation of the scientific method, algebra, optics, techniques in surgery, as well as the earliest navigational and geographical charts. These are facts that are taught in classrooms, and can easily be researched on the Internet. The fact that Miller pays no attention to these facts only proves that he could care less about the real-life elements of Islam, and is blinded by bigotry and hatred. Overall, the racist themes of HOLY TERROR don't convince the reader into buying Miller's propaganda, but rather alienate them from the author. We live in an era that has begun to recognize the dangers of racism, and that people who advocate prejudice are more dangerous than the supposed evils they denounce.

At the end of the day, the only things that HOLY TERROR achieves is insulting over 1.2 billion people for their religious beliefs, and brings down the career of a man once hailed as one of the comic industry's greatest writers. It is simply inexcusable and unfathomable as to how awful this comic is, and is quite easily one of the worst, if not the worst that I have ever reviewed (though I still hold eternal hate for Joe Quesada and SPIDER-MAN: ONE MORE DAY). It is just one of those comics that once you finish it, the only thought in your head is, "WHAT THE HECK WAS THAT?!" That is all it is, and it would take a miracle for Frank Miller to dig himself out of the hole that he created with this abomination of a comic.

"Racism is still with us. But it is up to us to prepare our children for what they have to meet, and, hopefully, we shall overcome."
-Rosa Parks
4 of 6 people found the following review helpful
Holy Terrible Nov. 12 2012
By Mike Kenny - Published on Amazon.com
Format: Hardcover
As much as it pains me to say this, I just don't like this book. I've been a Frank Miller fan since I first got into more serious graphic novels and have read Sin City and 300 numerous times. Both of these titles are rightly considered to be comics classics and I have found that the storylines and art are just as relevant and appealing on fifth read as on first. I truly enjoyed Miller's work on Batman and Daredevil as well. I'm such a big fan in fact that I preordered Holy Terror months before it was actually available but, when it finally arrived, I was seriously disppointed.

At the synopsis level, the story of Holy Terror sounded promising - There's a deadly menace on the loose in Empire City and only the Fixer can stop it and save civilisation as we know it. OK, not the most original sounding hook but it still seemed like my cup of tea and so I was expecting great things. However, when I actually got to read the story in full I soon realised that it was a strangely incoherent mash-up of the superhero genre and blatant propaganda.

Holy Terror begins with the Fixer chasing the Cat Burgler (can you tell that this was originally going to be a Batman story?) across the rooftops of Empire City. Their chase is interupted by a series of explosions which cause devistation across the city. The Fixer and Cat Burgler join forces to round up the culprits - a bunch of al-Qaeda terrorists determined to destroy the city on the stroke of midnight. There's lots of violence, mayhem and torture as the Fixer sets out to foil the terrorists' plot at any costs.

Reading Holy Terror and the way Miller portrayed the religion of Islam actually made me feel uncomfortanle in places. This isn't just a bad story, it's like a spoof of right wing propaganda come to life. Like I said though, even if you could ignore the misplaced preaching, the storyline is just dire. It is easy to see why DC Comics didn't want this to be a Batman book. The similarities to a Batman story actually serve to make the whole book more incongruous and disturbing. Even the art is a mess and nowhere near what fans of Miller will expect.

Not only can I not recommend it, I actually feel that I have to write this review to warn people not to bother buying Holy Terror. Stick to Miller's older books, this one will make you nauseous.


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