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Strange Science Fantasy Paperback – April 12, 2011
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About the Author
Morse is the Eisner and Ignatz Award nominated comics creator responsible for Littlegreyman, Volcanic Revolver, and Soulwind, among others. In animation, Morse has worked as an art director for Universal Studios and Cartoon Network.
Paul Pope is the acclaimed author-illustrator of "Batman: Year 100", "Heavy Liquid", and "100%". Known for his frenetic, high-energy artwork and action-packed, genre-bending storytelling, Pope has won three Eisner Awards. He lives and works in New York City.
Top Customer Reviews
Even better, when you get to the end, you will discover there is a grand design running through the whole thing, it's not just a random collection of one-offs. Scott is batting around the storytelling impulse, questioning and exploring why humans are drawn to mythologize. The last issue works as a heady finish, like a comic book big bang reverberating out into a universe of possibilities.
The stories that Scott tells are not all that is interesting about STRANGE SCIENCE FANTASY, though, it's also how he tells his tales. Scott doesn't employ a traditional comics style, but something more like what Kyle Baker does, a blend of regular sequential page creation and storyboarding. The images and the words are arranged more as pictures and captions, like a picture book, and there aren't really word balloons. It gives STRANGE SCIENCE FANTASY a leaner, more facile appearance.Read more ›
The stories are a sort of campy fun. The title of the book is really appropriate. The stories are strange, have some science and some fantasy. Each seems disconnected from the next until the last story. That one explains how all the stories tie together. For some, the ending will be predictable. I might have seen it coming too, but I was so drawn into the world of each tale that I wasn't thinking much about how these might fit together.
As for the art, this is where this book really shines. One of the things I liked most is how Morse tosses the 'conventional' panel arrangement out the window. In most cases, there are three horizontal panels per page with a sentence or two underneath each one and little to no dialog from the characters. While that might sound boring, the result is that each panel really has to communicate a lot about the story, which they do marvelously. The sentences accompanying the panels felt to me like a voice over narration that reminded me of pulp-type movies, which really worked well and contributed to the style of storytelling here. Since the words were so sparse, I found myself spending a lot of time with the images, absorbing what each panel communicated about the story being told. No doubt about it, Morse's artwork is beautiful and dynamic.
I was so impressed with this book that I've been snatching up his other works because not only is he a good storyteller, he's a great artist. This is a book that I would whole-heartedly recommend. Don't borrow it from a friend, don't check it out from the library. Just buy it. Display it proudly. You won't be sorry.