Teddy Kristiansen
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The Red Diary: The Re(a)d Diary Flipbook por Teddy Kristiansen
This one was really cool. I started with the Re[a]d Diary side, and I'm glad I did, but I don't really know if that's the side I was supposed to read first. I don't think it matters which order you choose. I do recommend reading the notes at the end of Re[a]d Diary at some point, unless you already know the deal with this book, which I didn't. I don't think I would have enjoyed it so much without knowing the idea behind splitting it the way they did. Good stuff.
Read the first part years ago. Still holds up. Now it's like someone sprung a leak from it and it deflated to nothing. Oh well.
I think I would have appreciated the artwork more if the subject matter wasn't bad. I can stomach a lot but, if you're going to write about child abuse then the storyline needs to be good, and it can't feel like exploitation. This seemed like torture porn. I don't know the purpose of the plot and I don't care to read more about "Grendel" to find out.
James Robinson’s WitchCraft collects issues 1-3 of the 1994 limited series featuring art from Teddy Kristiansen, Peter Snejbjerg, Michael Zulli, and Steve Yeowell with colors by Daniel Vozzo, letters by Starkings, and cover art by Michael Kaluta. The series features the Three Witches of Thessaly/the Fates/the Hecatae from Neil Gaiman’s The Sandman series. The story begins with the brutal death of one of their worshippers in ancient Londinium, inspiring the Hecate to offer the chance for vengeance by allowing their devotee and her killer to be reborn. In keeping with the cyclical nature of the Three Witches, the first two attempts fail as their supplicant is reborn as a young woman and a middle-aged man. The story also moves through time, beginning in 133 A.D. before moving on to 1342, 1842, and the 1990s. Each artist takes a different time period, with Snejbjerg’s depiction of the Middle Ages evoking the style of similar fantasy art, such as Hal Foster’s work. Similarly, Zulli portrays the grit of Victorian London, in which class struggle and industrialization leave their mark upon the world. Yeowell’s portrayal of the 1990s uses cleaner lines and straightforward designs to give the illusion of a modern world without magic, thereby belying the true nature of things. The overall effect is a work that complements the portrayal of the Hecate in The Sandman and builds upon the magical world Gaiman created. The series continued with a second three-issue mini-series in 1998, WitchCraft: La Terreur.… (más)
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