Thursday, February 10, 2011

This looks interesting: You Have Killed Me

 Find this graphic novel at: [Amazon] [Borders] [Barnes & Noble]

Description from the publisher (Oni Press):
Things just can't get any worse for Antonio Mercer. A private eye by trade, a dame from his past has re-surfaced in his life as a client along with all of the emotional baggage he thought he'd left behind forever. Of course, this unusual client doesn't have just any case - her family is mixed up with seriously dangerous people and the body count is just starting to pile up!

See what some reviewers have to say about this graphic novel:

Johanna Draper Carlson at Comics Worth Reading
The theme of roast almonds is spooky, giving me shivers from the beginning. It’s not spelled out, but the mystery fan will know from the start it’s the scent of poison, providing overtones of coming death. It’s also unusual for a comic to consider the sense of smell, which sets the story apart.

Brian at BSCreview
Jones eschews the blocky thrust of Frank Miller-inspired crime art and comes away with an elegance of style. She also places the characters in a prominent place so they aren’t overshadowed by stylized flourishes.

Greg McElhatton at Read About Comics
The untrustworthy gambler, the secret relationship on the side, the clandestine trip to the casino, the local police leaning hard on Mercer, it’s all there. One of the very first lessons you learn as a reader is that none of the characters in this book are to be trusted; Rich has made sure that every last one of them have their own secrets waiting to be unearthed, and all of them are doing their best to keep them hidden.

John Hogan at Graphic Novel Reporter
My favorite visual motif comes fairly early on in You Have Killed Me. At the onset of chapter two, our protagonist, private eye Antonio Mercer, is driving through the streets of 1930s-era New York City, and out the back of his oblong rear car window, we see an actual picture of the city. It immediately calls to mind the olden days of Hollywood and the heyday of film noir, with jumpy street scenes visible behind cars in every driving scene.

Don MacPherson at Eye on Comics
Jones’s art is as attractive as ever, and not just because she captures seductive silhouettes. She captures the historical backdrop for this piece of fiction incredibly well, but she never goes so far as to strive for a photorealistic approach in her linework.

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