Make no mistake: regardless of the employee register (comic book), you are dealing with a major work that marks a decisive leap in the writing of comics, the birth of the "graphic novel". If Alan Moore signs his masterpiece to date (yes, From Hell remains indented) it owes largely to Gibbons, whose accuracy the line serves wonderfully careful decoupage. Each thumbnail sense, each transition is calibrated. This is more of comics, this is no longer the novel, it is not the cinema, this is more of the written and audiovisual press, yet borrows Watchmen has all these media. In this tragedy has both classic and modern, the superhero universe is famous for much more subtle way than in "Supreme". Moore and Gibbons give birth to an exceptional pleiade, each character ESTABLISHING AN unpublished category while assuming the legacy of the "old" (should there not a little Angel in Veidt?). Manhattan and Rorschach judiciously out standards of human and all too human to serve this remarkable tale. A deguster in appreciating each sip. This amount does not swallowed like a common manga. Stephane MOT.
