![]() Naturally to Grant are jarring in the context of these stories. Grant/Ranson team hits a snag: Ranson's artwork is so much about serious toneĪnd careful observation that the broad gestures and jokes that still came Subtlety is not the selling point of Dredd and its spinoffs, of course, but that's where the Of "The Protest"-that even dissenters who value principle above their lives can be dissuaded from sacrifice, and from dissent itself, by the most trivialĬonciliatory gesture-comes off as insulting in any number of ways. Theologically subtle as a ninth-grade production of Jesus ChristĬitizens believing this Jesus is greater than us.") And, reading it almost exactly a year after Mohamed Bouazizi's suicide (and in the light of the genuinely world-changing protests about specific things, and the momentum of subsequent protests that are about broader systems, that have followed it), the punch line "The Jesus Syndrome," in particular, is about as To mention deep stuff, and let that pass for depth his take on it doesn't tend Serial comics outside of, say, the Dennis O'Neil/Denys Cowan run on The Sort of philosophical engagement hasn't happened too often in English-language Problem of evil and so on in the context of an action-adventure series that Psychic sensitivity as a device for grappling with religious doubt and the I admire the way Grant basically uses Anderson's ![]() ![]() I can't get quite as enthusiastic about most of the writing here, for the most part. (Speaking of "soft-edged": is it me, or is everyĪnderson story required to include at least one blatant ass shot? That gets a little old.) Of an even-more-Debbie-Harry-than-usual Anderson as the Silver Surfer to Of watercolor blobs beneath a pen drawing of Anderson, or that delicious image In "The Protest" where we see the Big Meg from above as a cell-scape Ranson can deliver some kind of spectacular "soft-edged" visual, likeĪnderson's entry into the Buddha-mind in "Shamballa," or or the bit The Grant/Ranson collaboration on Anderson is full of moments where Grant pulls back so that Ranson to cut loose, and use ultrarealist technique in the service of things That's true, and that means they provide a springboard for an artist like Outside themselves, making overt or implied connections to other stories, timesĪnd places, other ways of viewing existence and are often open-ended." Interview, "Alan's stories are soft edged, suggestive of things
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