Customer Reviews

The Faceless: A Terry Sharp Story

5 star:		(6)
4 star:		(0)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

"You were drafted into a war, Terry. A war against an enemy who is nameless. Faceless. They lay low for years, spinning their webs. Makes one paranoid in time - wondering if you've dreamt it all. And then tonight happens. And you realize it isn't all a dream."

I love that. For me, that passage sums up the mood of THE FACELESS perfectly. Subtle. Secretive. It takes its time to weave its magic spell, much like Bava took his time to work his sorcery with some of his films (KILL BABY KILL being the best example of his slow-burn approach to horror). Terry is a enigma. A womanizer. A creative. Arrogant and full of bluster, it's no surprise he has at least one failed marriage behind him. But you like the guy. He's tough. He doesn't mess around and he doesn't suffer fools. And he's larger-than-life, but if twice-as-ugly, at least the ladies don't care. ("Will you be breaking my heart too, Terry?" "Most likely." "Splendid. . .")

Unanswered questions tantalize us. Who are The Faceless, and what, exactly, were the tragedies that Terry was unfortunate enough to witness which pulled him into this nightmare requiring magical protection to survive? We want to know. Peppered with Hammer Films in jokes, and a very pleasing THE DEVIL'S BRIDE vibe running thru it, I am already thrilling at how the circles of protection in basement rooms and freshly conjured marauding demons would translate to the big screen. Perhaps Terry could even meet the Duc De Richleau? Will the J&B flow freely in YELLOW? *CLINK*

I write a blog all about horror from the '60s-'70s, and I'm here to tell you that FACELESS hits the groovy nail on the head. The story is an absolute treat for Hammer fans. The look is spectacularly reminiscent of the colored-gel lighting techniques of Italian horror masters Mario Bava and Dario Argento. If, like me, you have an overlapping love of Hammer and eurotrash, you'll really be in heaven!

Tinnell knows his Hammer. He doesn't just make references or winks; he creates a whole alternate world where "Midwich Studios" cranks out schlocky cult classics like Baron Frankenstein, Return of Frankenstein, Blood of Frankenstein, and Cult of Dracula. We get stars like "Peter Lingham" selecting eyeballs from glass jars in gruesome close-up. I got so caught up in it, I started to wish there really had been a Midwich Studios, and then I had to remind myself--oh yeah, there was! Satanic cults were probably the top horror staple all through the period, so Tinnell's use of them here just ratchets up the groovy factor that much more.

Art-wise, this is Adrian Salmon's American breakout effort, and he clearly understands the stakes, because he goes for broke. I've already remarked on the eye-popping colors, which are the first thing you'll notice on a casual flip-through. Salmon's drawing is just as arrestingly stylized and non-realistic, and it suits the story to a T.

Then we get a mock retrospective article on Midwich by Mark Clark and Bryan Senn, and a mock interview with one of the actresses by Tom Weaver. The backup feature--scenes from Return of Frankenstein drawn by Neil Vokes--alone is worth the price of admission.

I just can't recommend this highly enough!

The Faceless (the first Terry Sharp tale in a long line I hope) is one of the rarest of all birds these days. A graphic novel that manages to create a solid air of mystery around both the characters and what could happen next. Taking an obvious love of horror films to a new level in comics storytelling, not only is it LIKE the classic Hammer films, it creates something new from that stylized mythos. A character obviously crafted with care, Terry is exactly the kind of guy you would expect to find in the middle of a bizarre conspiracy...but cooler! Blended with just the right sprinkles of cool and confusion-The Faceless leaves the reader wanting more. And you get it with the bonus interview and a short "film" that is worthy of it's heritage with each panel. And the art... Adrian Salmon mixes total stylistic coolness with the rare ability (and attention to) actual SEQUENTIAL STORYTELLING that is lost so often in the "hep" world of graphic (design) novels. Excellent character design that doesn't forget expressiveness in both motion and in simple telling details such as facial expressions, it flows well and compliments the story instead of overpowering it. The coloring is simply peerless as well-instead of candy coloring everything and making it look like everything else on the market these days, the mood is set by the colors and the story flows through the art. Neil Vokes provides the startlingly cinematic backup art, complimented well by the coloring of lead artist Salmon.
Overall, a chance to get something that many comics don't bear out of late-pure graphic satisfaction.

Robert Tinnell is indeed one of us...the lurking faceless hordes of "monster kids" who love classic horror films. That he has parlayed that love into the creation of such an engaging and original character - horror film director by day, occult adventurer by night - is a boon for anyone who loves spooky noir-ish atmosphere, historical background (in this case, Midwich Films as a stand-in for the famous Hammer studios) and hints of mind-numbing horrors just beyond the everyday facade of British civility. These hints are what make one salivate for the next Sharp adventure...that, plus the fact that the character is so much fun! Adrian Salmon's artwork is just fantastic...some of the most imaginative use of color and shadings I've seen.

i picked up the faceless at my local comic shop and couldn't put it down. terry sharp is a old school swashbuckling type hero who you can tottaly enjoy and the story has teh right mixture of british cinema and the supernatural.i can't wait for the next one...no one will regret buying this book.

This is a graphic novel with a whimsical sense of humor and a simultaneous kick of thrills. The Terry Sharp character, a 1962-era director of Hammer-style horror films, provides witty homage to that great era while still being a hero doing battle with evil that is anything but invented. The art has an almost relentless energy to it; you want to just bask in the eye pleasure it delivers (but the story is too compelling to let you dawdle.) The colors alone can be breathtaking. And the story just gets things started. We can only hope there's a lot more of Terry's adventures to come.