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I had coveted this book for quite some time before I ordered my copy. Aside from being a longtime and irredeemable fantasy geek, I am also an English teacher at a small independent school, and our reference library has a copy. This fact has enabled me to waste many happy free periods rifling through the _Encyclopedia_ instead of, say, grading papers or thinking deep, serious thoughts about the state of pedagogy in America. But before you write me off as a disgrace to my profession, hear me out:
_The Encyclopedia of Fantasy_ is a remarkable book, and any time I have spent with it in lieu of more mundane tasks is time very well spent indeed. I can even justify this frivolous perusal academically, because what really makes the _Encyclopedia_ a great resource isn't so much its exhaustive listing of authors or titles (much of which information is available elsewhere anyway), but the fact that Clute et al. have managed to accomplish nothing less than a rigorous, consistent, and phenomenally well cross-referenced taxonomy and analytical vocabulary for fantasy. I know, I know, that sounds awfully dry, but it isn't.
I'm a word junkie, so I love learning apt new terms for things, especially if those nameless concepts have gone begging for far too long. When Clute coins the term "thinning" to describe any fantasy world that, over time, loses its magic [Middle-earth, anyone?], you cannot help (assuming you're an aficionado of the genre) but say to yourself, "Aha! Now I know what to call it!" Furthermore, the fact that this vocabulary is employed consistently throughout the _Encyclopedia_ allows for thematic and formal juxtapositions of specific works, combinations and comparisons that might not occur even to the serious fantasy buff. Who needs hypertext when you've got such meticulous cross-indexing?
I recently received an Amazon.com gift certificate from thoughtful in-laws, and decided that even though I have access to a copy at school, I had to have an _Encyclopedia of Fantasy_ at home, both for reference while reading/writing and for couch-sprawl browsing.
I splurged and bought the $75.00 hardback. I had a hunch it would get a lot of use, and I wanted it to last. Money very well spent, as far as I'm concerned, and if you're a fantasy partisan, a literary theory wonk, or just someone who gets off on thousands of pages of really, really small type, you'll probably agree.
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As well as having pictures of beautiful work, the book is full of useful and informative writing about techniques, materials, colours, and also has some good "brainstorming" projects. Incidentally, this is the book where I first heard of Mervyn Peake's "Gormenghast Trilogy". I did a painting of Gormenghast Castle, as it suggested in the book, and sold it for $100!
Sadly, work for fantasy artists is quite rare in Australia, especially in Brisbane. A lot of ordinary people won't take fantasy and science fiction seriously as an art form. I don't know if it's because of conservatism, or just plain lack of interest. Either way it's annoying. Many people associate it with "Star Trek" and brand it "kitsch" or "unoriginal".
Much of the fantasy art I do is of futuristic cities and post-apocalyptic scenes. Radioactive fallout gives me a good excuse for having bad figure work! The "Encyclopedia of Fantasy and Science Fiction Art Techniques" also dispels a lot of myths. For example: there's nothing wrong with using photographs! (As long as you own the copyright to it.) The book also proves that the computer is a valid art tool.
If you have a good imagination, this book is certainly worth having.
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I first read this book back in 1970 and it forever changed my life.I've studied his cryptic books since then,but always found this "autohagiography" the most enjoyable.Take him anyway you want but understand that Crowley ranks up there as one of the most unusual eccentrics in history...one of the "old school" Occult adventurers from the turn of the century who actually DID what he thought he could DO...made himself "god" (no small feat folks). Sure he was looney(duh),but through all his aspects showed himself as literate, scientific, intelligent, witty, devilish, daring and absolutely aware of his ability to confound the world. He died in relative obscurity in a sterile boarding house room,alone except for the presence of an attendant nurse who said his last words exclaimed were "I am perplexed". This book can be read on several levels, fact or fiction.Take a ride with the Father of Lies and remember, PERDURABO! ("I shall endure unto the end for in the end there is naught to endure")
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Howard Porter's art is a distorted "super-heroic" comic art style more at home in a 90's X-Men book (maybe that's a plus for some readers); it just doesn't seem right to me for DC flagship characters.
Morrison seems to have fun writing Batman, Superman, Flash and Green Lantern in this storyline, but doesn't seems to have grip on the rest of the team. Aquaman, Wonder Woman and the Martian Manhunter's characterizations are utterly generic and interchangeable.
My real problem here though is with Morrison's plot and storytelling. I love his work on Animal Man and Doom Patrol; both proving he has an extraordinary talent for injecting fresh plots and intelligence into the superhero genre. Here I swear to you it reads like he's doing comics by the numbers, simply earning the paycheck without going beyond the minimum requirements for the job.
I haven't read any of the subsequent Morrison JLA stories, although I'm sure I will eventually. Here's hoping he decided to start writing up to his own highly enjoyable standards later in the run.
The story is fast paced but the characters have ghostly roles that lack depth & the power to attract. Superman has grown his hair in a silly style, WonderWoman is as always abscent from the actual events...Aquaman & the Martian Manhunter are denied their distinctive introvert qualities...The Flash is supporting cast & the Green Lantern is a casual bystander. Only Batman shines in a good plot & his actions are drawn to make a difference.
Morrison offered the JLA some decent stories later on but this is not the way I like to remember the start of the team... the enormously superior JLA: Year One is so breath-taking it renders Morisson's tale(& its lame artwork) rather artificial...
May be necessary if you are a completist & wants to have all the issues of the JLA...I can't find any other reason for having it...
Now, in JLA, DC has brought back the core seven: Superman, Batman, Wonder Woman, Aquaman, the Flash, Green Lantern and Martian Manhunter. Most of whom comprised the original Justice League way back in BRAVE AND THE BOLD #28 in the early Silver Age of Comics.
Avant-garde comics writer, Grant Morrison takes the helm in this new JLA series and begins his run of wild, over-the-top, blockbuster epics featuring DC's mightiest. I don't want to spoil the secrets of this first tale, but suffice it to say there are some great twists and turns in the story. Morrison draws the reader in by pitting our heroes against a menace that seemingly can't be beaten because the public at large doesn't WANT them to!
Anyone who's ever wanted to fly like Superman, worn a bath towel around his neck to play Batman or loved the DC heroes in any way shape or form will love this book. Morrison has an uncanny ability to pull the reader's strings with these characters. You find yourself rooting for them uncontrollably as they face down a menace that only THEY can see and understand even in the face of widespread disdain by the public. They're heroes because they choose to be. Not because of the fame or fortune, but because it's in their very being.
Howard Porter, while not my favorite artist by any stretch of the imagination, is good at visually telling Morrison's epic story and great at conveying the personalities of each and every JLAer. If you missed out on this series when it came out, here's a cheap way to get the back issues (they're getting more expensive by the day!) and read one heckuva terrific comic story.