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Chargement... Moving Target: The History and Evolution of Green Arrowpar Richard Gray
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Appartient à la série
For 75 years, Green Arrow has been a part of the DC Comics world, working his way up from a supporting player to the star of a flagship television series. Yet for much of his career, he was a hero without a home, separate from his contemporaries, or unfavorably compared with a certain Dark Knight. Whether it is the "cowboys and Indians" influences of the 1940s and 1950s, the rebellious realism of the 1970s, the darker edge of the 1980s, or the melodrama of his TV personas, Green Arrow has remained the conscience of the comics world, and perhaps an even better representative than Batman of what one person can do. This collection is the definitive analysis of the Emerald Archer, from his Golden Age origins to his small screen adventures and beyond. Exploring overlooked chapters of Green Arrow's life, and those of alter ego Oliver Queen, this book shows that Green Arrow has never been just one thing, but rather a perpetually moving target. Includes new interviews with Green Arrow creators from across the decades, including Neal Adams, Mike Grell, Chuck Dixon, Phil Hester, Brad Meltzer, and Jeff Lemire. From Sequart Organization. More info at http: //sequart.org Aucune description trouvée dans une bibliothèque |
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The book is at its best when Gray has a strong angle on a particular era and highlights aspects of the character that move beyond fan truisms. For example, many dismiss the character in his early years as a mere Batman rip-off, and there is an element of truth to this—but as the quotation in my previous paragraph shows, Gray identifies other aspects of the character’s early formulation that often go unnoticed, especially Westerns. At some point, “blank slate” transitioned into “everyman” (119), and this became the basis for most interpretations of the character from the 1970s onwards. In writer Denny O’Neil and artist Neal Adams’s 1970-1972 run, the former millionaire became a social crusader, standing up for the oppressed of America alongside Green Lantern. The “Hard Travelling Heroes” era has been much discussed because of O’Neil’s social commentary, but Gray provides a close reading of the underappreciated realistic art style of Neal Adams, who used “photomontage and similar pop-art influences” (83), and provided the character with a sense of movement and humanity that grounded the social commentary.
Read the rest of this review in the SFRA Review.