The price of the Full Colour Omnibus Edition (hardback) has come down to something reasonable so I bought it on a whim. No regrets, no complaints.
It's a lovely volume – pink and blue and solid.
But how about that colouring? Ideologically, I am not opposed. Damage is not being done to the legacy. The b&w version still exists.
But does the coloured version look good?
It tends to work less well in Book 3 where Gibson's inks were more delicate, and there are more than a few instances where things look downright odd, if not wrong. But on the other hand there are plenty of places where it undoubtedly enhances the art.
What mattered to me is that the colouring made the story fresh. It made me pay attention. It made me see things I'd forgotten.
What else is there? Well, there's introductory matter that Moore wrote for earlier editions, there are the scripts for a couple of episodes from Book 3*, and there are various creator notes and sketches.
All nice to have.
Steve MacManus writes the foreword and Kieron Gillen provides the introduction. Both these people are Our People. Both of them Get It. Both are well worth the inclusion.
And then you've got the puff pieces and all that stuff in the blurb proclaiming this to be a groundbreaking feminist work.
Is it? Was it?
In the context of British boys' comics of the '80s this was undoubtedly groundbreaking. Was good use made of the broken ground thereafter? Was the cause of the greater sisterhood advanced? Don't ask me – I'm just here for the words and the pictures.
But let me emphasise, my brothers and sisters, that the words and the pictures are sweet indeed.
I am revelling in a story that I've loved since I was a teenager.
Grace Jones is singing in my head and Miami Vice is on telly later on.
*with one honking great printing error that replaces a page of Chapter 9 with a page from Chapter 10. We never do get to see that page from Chapter 9.
Admit it: doesn't the colouring here just look nice?
Whereas this to my eyes looks off somehow.
And I include this one as a reminder of how Ian Gibson, for all his talent, just wasn't much good at drawing plain women.
It's a lovely volume – pink and blue and solid.
But how about that colouring? Ideologically, I am not opposed. Damage is not being done to the legacy. The b&w version still exists.
But does the coloured version look good?
It tends to work less well in Book 3 where Gibson's inks were more delicate, and there are more than a few instances where things look downright odd, if not wrong. But on the other hand there are plenty of places where it undoubtedly enhances the art.
What mattered to me is that the colouring made the story fresh. It made me pay attention. It made me see things I'd forgotten.
What else is there? Well, there's introductory matter that Moore wrote for earlier editions, there are the scripts for a couple of episodes from Book 3*, and there are various creator notes and sketches.
All nice to have.
Steve MacManus writes the foreword and Kieron Gillen provides the introduction. Both these people are Our People. Both of them Get It. Both are well worth the inclusion.
And then you've got the puff pieces and all that stuff in the blurb proclaiming this to be a groundbreaking feminist work.
Is it? Was it?
In the context of British boys' comics of the '80s this was undoubtedly groundbreaking. Was good use made of the broken ground thereafter? Was the cause of the greater sisterhood advanced? Don't ask me – I'm just here for the words and the pictures.
But let me emphasise, my brothers and sisters, that the words and the pictures are sweet indeed.
I am revelling in a story that I've loved since I was a teenager.
Grace Jones is singing in my head and Miami Vice is on telly later on.
*with one honking great printing error that replaces a page of Chapter 9 with a page from Chapter 10. We never do get to see that page from Chapter 9.
Admit it: doesn't the colouring here just look nice?
Whereas this to my eyes looks off somehow.
And I include this one as a reminder of how Ian Gibson, for all his talent, just wasn't much good at drawing plain women.