jack
The Legendary Troll King
You know, what he started Commie for? Guess in the process, he decided to whore himself out by reprinting everything he ever did, to reviews like this:
Let me get this out of the way before I go any further so you can understand my opinion on Veitch: They are both really, really bad. In fact, Can't Get No may be the most unbearable reading experience I've ever had with a graphic novel. It only took maybe 10 pages for me to realize I was going to hate it, and yet I read all 352 pages of it for the same reason, I suppose, that I refuse to walk out of a movie or turn off a DVD even if I can't stand what I'm watching. Veitch's art is clear and accomplished enough, but his subject matter and storytelling style are so pretentious and cloying that they easily overwhelm any enjoyment that comes from the appealing visuals. The book is in an odd horizontal format, with long, squat pages, and the art is simple, black-and-white linework. The most striking formal element, though, is the disconnect between the words and the pictures. There are no dialogue bubbles or thought balloons; rather the entire book is filled with narrative captions that form sort of an epic, free-verse poem, using overwrought and pseudo-profound language that generally has little if anything to do with what the reader is looking at.
Great work, Rick!
Let me get this out of the way before I go any further so you can understand my opinion on Veitch: They are both really, really bad. In fact, Can't Get No may be the most unbearable reading experience I've ever had with a graphic novel. It only took maybe 10 pages for me to realize I was going to hate it, and yet I read all 352 pages of it for the same reason, I suppose, that I refuse to walk out of a movie or turn off a DVD even if I can't stand what I'm watching. Veitch's art is clear and accomplished enough, but his subject matter and storytelling style are so pretentious and cloying that they easily overwhelm any enjoyment that comes from the appealing visuals. The book is in an odd horizontal format, with long, squat pages, and the art is simple, black-and-white linework. The most striking formal element, though, is the disconnect between the words and the pictures. There are no dialogue bubbles or thought balloons; rather the entire book is filled with narrative captions that form sort of an epic, free-verse poem, using overwrought and pseudo-profound language that generally has little if anything to do with what the reader is looking at.
Great work, Rick!
