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4.0étoiles sur 5
The mother of all battles..., Avril 28 2004
...is the apex in this Fourth Volume of the Alan Moore helmed issues #43 - 50 of D.C. Comics, 'The Swamp Thing.' But before this battle occurs some interesting things take place. For starters we get an imaginative hallucinatory ride as two people under different circumstances eat servings of the Swamp Thing's 'yam fruit,' and experience vibrant psychedelic journeys that change their lives in one way or another. The Swamp Thing also does battle with a serial killer, faces a legion of ghosts in a Winchester Mystery House-esque haunted mansion, stumbles into violent chaos when parallel worlds collide, learns some new Elemental tricks while meeting his ancestors, and finally faces off with the ancient tribe of Warlocks - the Brujeria - who are bent on unleashing an ancient evil that will destroy Heaven itself. From this point, the last few chapters build up too a whopper of a climax in the ultimate battle between dark and light that the universe has ever seen. Definitely a great volume in this series as it offers fans everything that they've come to expect while taking it to new metaphysical heights and thus gearing readers for some intersting twists to come.
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5.0étoiles sur 5
The best book in Moore's series., Aoû 19 2003
When I read this book, I could feel myself warming to the whole storyline, and when I got near the end I knew I couldnt stop for anything. Most comics have a very black and white feel, and there are standard storylines that both Marvel and DC use constantly, but the whole Swamp Thing series is totally different. I felt as though I was reading a novel, where anything could happen, and I could identify with Swamp Thing. Swamp Thing isn't a super hero, he's just a regular guy who finds himself turned into a plant. One part of him, the human part keeps looking for answers, but the plant part already knows the answers, and just wants to surrender to the green. In this fourth book Swamp Thing learns what will happen when he lets the plant part of himself take over, but he also seems to strike a balence, He relaxes into himself, and by the end of the book he seems changed. Swamp Thing grows up in this book.
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5.0étoiles sur 5
Swampy Saves the Multiverse, Mai 3 2003
In this round of Swamp Thing installments from Alan Moore (original issues #43-50, which includes the double-size anniversary issue), plot elements that had been developing for a year or more finally come to fruition. That would be a battle even bigger than good vs. evil in the final story of this collection, fittingly titled "The End." Here we see the full apotheosis of Alan Moore's groundbreaking work with comic horror writing, a defunct style that he courageously made hip again at the time. And although the Swamp Thing series was thematically unlike anything else DC was doing at the time, Moore still ties Swampy's saga into the greater DC universe. John Constantine and a collection of minor and obscure characters associated with magic and sorcery help in the great battle for the universe. Meanwhile Swamp Thing allies himself with the heaviest hitters in DC's stable of occult characters, including Spectre, Etrigan (The Demon), Phantom Stranger, Dr. Fate, and the very suave Deadman. There is also a flawless crossover with the then-current Crisis on Infinite Earths epic, surely one of the great endeavors ever undertaken by a comics company.One very interesting aspect of Moore's plotlines during this period is how Swamp Thing himself often falls into the background of the stories, as the focus is on the horrors around him, and he makes dramatic Lone Ranger-like appearances to save the day. Even in "The End" Swampy is a minor presence, action-wise, then defeats the force of darkness simply by reasoning with it rather than fighting. In this collection's first tale, "Windfall," Swamp Thing only appears on one page, and the focus of the story is a psychedelic fruit that grew on his back. During this period of the series, things were changing artistically, as regular artists Stephen Bissette and John Totleben were often overworked or unavailable. Here Stan Woch and Ron Randall really make their presence felt, especially in the most tremendous story of this stretch, "The Parliament of Trees." This concept is surely inspired by Tolkein, and in turn I bet that Woch and Randall's visual creations were an influence on the producers of the recent "Two Towers" film. By the end of this collection Moore and his great team of artistic collaborators continue to teach us about the deep roots of the Swamp Thing character, and he's not yet done learning himself.
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