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Although he did admit that 'Arcadia' was a mistake that almost killed the book, I don't think it's true to say that he dumbed down for volume 2, after all, that was over a year later. However, the style he close for volume 2, the 'Hollywood' all guns and glamour, was supposed to look like it was dumbed down, to contrast with what happens about 8 months in, when it starts getting really dense. In volume 3 they move back to England and the style returns to that Wicker Man/Sweeny/Edge of Darkness riff. I would have preferred it if they'd moved to India and the last volume was done Bollywood style, but that's just me...
As for Jolly Roger, the justification used round here is usually that all the characters are stereotypes, the supercool assassin, the tearaway with the heart of gold, the superglam tranny tart and the ballbreaking dyke is just an addition to that. It's not a justification I go along with as everyone but her (and Jim Crow) do get to break out of their roles here and there but then at least she wasn't in because the story had to be wrapped up some 14 issues earlier than first intended.
It was a remarkable achievement, it doesn't read like a team book (a la X-Men or Doom Patrol), but as though there was one central character around who the rest revolve, you can read it as Fanny's Story, Gideon's Tale, Robin: From Here to Eternity... Not quite to the thirty-something characters promised in King Mob's Invisibles game in the last issue, but then the technology isn't there yet.
Doom Patrol, as I understand it it's only two or three pages taken from the last issue in the Trade that set things up for the next storyline, which has the first appearence of the Brotherhood of Dada. |
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