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The story-within-a-story, told by a homeless man to a visiting Englishman in L.A., tells of the first murder ever: An Angel killed in "The Shining City"; Our homeless storyteller is in reality the Angel Raguel, the vengeance of "The Name" (God). Raguel becomes, in effect, the first Detective, attempting to discover a motive that can lead to bringing the killer to justice.
Gaiman's story works on many levels, and I have to say that as much as I loved the prose short story, the ending has always left me vaguely puzzled; It's a very involved and thought-provoking piece, and I often find myself thinking about the ending. Russell's adaptation went a long way towards making that ambiguous ending more clear. It turns out I was on the right track, but Russell's visuals make the ending more visceral and powerful.
Murder Mysteries is presented in a gorgeous hardcover format, much the same as Dark Horse's previous Gaiman/ John Bolton book, Harlequin Valentine. This is a must read for all fans of Horror/Fantasy, as well as lovers of beautiful art. It deserves as wide an audience as possible. Give it a try, and spread the word.
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This is continued from Vol. 1.
Siegmund's son, Siegfried, is raised by Alberich's ambitious brother, who wants the ring held by Fafnir the giant, now a dragon. Siegfriend reforges his father's sword, and with it he slays first Fafnir and then the dwarf who would kill him for the ring. Alberich, in the meantime, is watching mirthfully. Voton looks for advice from the first goddess, then meets Siegfriend on his way to win Brunhildé He shatters Voton's spear and climbs through the river of fire, and at the top wins love in the former Valkyrie.
The series wraps up in Gotterdammerung, twilight of the gods. Siegfried sails out to find his fortune, and meets a kingdom run by several characters out to ensnare the power of the ring. With a powder they make the hero fall in love with a princess, and pledge to retrieve Brunhilde for the king -- and the ring for his advisor. After a blood-oath he sails away to do this. The valkyrie is visited by one of her fellow maidens-at-arms, demanding Brunhilde throw the ring into the Rhine, but she refuses, claiming it as a symbol of her love. Siegfriend, in guise of the king, finds her and wins her again, this time for another. It is seen that the advisor is Alberich's son, thus his interest in the ring. A marvelous feast is prepared for a double-marriage on the king's return, when Brunhilde finds out she was tricked; she then helps this advisor and the king to devise a way to kill him. Siegfried is warned by mermaids, but refuses to grant them back the ring. He is later tricked into talking with longing of the king's new wife, and the king's advisor promptly slays the warrior; later that night, in a duel, he also kills his brother the king. Brunhilde demands a funeral pyre built, and in the end, everyone dies and everything burns.
Even such a long summation can barely do this dense and powerful opera justice. Rather than the standard practice of rewriting or removing speech in parts, nearly everything is kept, translated directly from the original words of Wagner. The translation itself is very nice, keeping an archaic and formal syntax, while remaining accessible to modern readers. It is similar to Shakespeare or any contemporary, high without pretnetion. While the music cannot be included, the songs remain, to be fleshed out instead by lush art. The parallel goes deeper, in fact; as mentioned in the introduction, where Wagner's music has its lietmotifs, quickly recognizable strains that pull the whole together, so does the art include its own repeated motifs.
The story is classic, and told as well as befits a master. The politics between the gods is as fierce or more than that between men, and between them battles and intrigue rage. No major point is left unexplored, nothing forgotten and left to the wayside. Each character introduced comes back to play at least once, most exiting only through death. So much goes on that it is dizzying to keep up, but the intention is never to leave the reader behind, so it isn't overly difficult to follow. Even the reintroductions that catch the reader up on the events of each previous part are handled deftly. The art is vivid and colorful, very detailed and realistically shaded and textured. At times it seems more like acrylic paint than simple color press. The scenery is well detailed, matched by the people, whose actions and expressions are each striking and individual. While characters are seen from many angles and perspectives, anatomy of each is still proper. The story is very visual and cinematic; some places are very dense and wordy, while sometimes pages go by with no words needed. The fights in particular flow this way, becoming very abstract, yet the action clearly laid out. Russel is very comfortable with his ability to tell a tale however it needs to be told, certainly.
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"Murder Mysteries", a nimble tale about an inchoate Heaven and the constructive angels who populate it, is by far the best of the lot. Here Gaiman does what a great mystery writer should--let the details about the characters and their surroundings emerge and become increasingly richer as the story draws to a close. The hilarious "The Case of Four And Twenty Blackbirds" is a different kind of mystery; one which turns the tale of Humpty Dumpty on its ear. "Troll-Bridge" is another modernization of a children's tale--in this case, "The Three Billy Goats Gruff"--which is written for a very different effect. It is a bittersweet story about the loss of innocence and how, as adults, we embrace the monsters that once frightened us. "Mouse" is, as another reviewer notes, an allegory that makes gentle, yet effective use of irony. "Chivalry" is an entertainingly comic tale about finding the Holy Grail. Finally, there's "Luther's Villanelle", a poem which conjures up gothic images that keep the reader's imagination going long after he or she has finished reading it.
These works have remained fresh in my mind, although I finished reading this book more than three years ago. The mere fact that so many have remained in my memory speaks much more about Gaiman's ability to write than my ability to remember. A good writer can keep you interested in what you're reading. A great one is one whose storytelling stays with you for a long time.
However, Neil is also damned good at the more traditional types of writing. He co-wrote the amazingly funny Good Omens with Terry Pratchett, and he also wrote the equally funny biography Don't Panic: Douglas Adams & The Hitch Hiker's Guide to the Galaxy . His writing has appeared in anthologies. "Troll-Bridge" appeared in the adult fairy-tale compilation Snow White, Blood Red. "Murder Mysteries" (set in the Sandman universe, I do believe) was in the magazine and horror compilation Midnight Graffiti.
Angels and Visitations shows what else he can do. A miscellany of fiction, humour, non-fiction, poetry, and artwork, Angels and Visitations journeys from science fiction and fantasy shorts to detective stories and meticulously-researched literary works. There is a story about a worldwide shortage of animals--it reads like a cross between C. S. Lewis's "On Vivisection" and Jonathan Swift's "A Modest Proposal." There is a postcard story about the fiendish enforced slavery of a certain well-loved mythical figure. There's a prologue to someone else's book, and an odd and timely story on venereal disease. There's a poem about a computerized hell that reads like a cross between William Gibson's Neuromancer and Kit Marlowe's Doctor Faustus. There's a disquieting allegory called "Mouse." There's a whole lot more, and it's all poignant, bitter-sweet, or rollickingly funny. It's all good. But are you going to get something out of Angels and Visitations? To quote "Prologue," "For that you gotta read the book."
For those who did not get this great book, you can still enjoy Mr. Gaiman's unique talent in Smoke and Mirrors; it does not have the illustrations and essays, but it brings a lot of new stories. And unlike this one, it is in print.
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Musically and dramatically, it is Mozart's greatest opera. From the striking Overture to the use of dark strings, trumpet and soaring flute passages, the individual arias which express intense emotions to the neverending theme that good triumphs over evil, the Magic Flute stands out as a great opera to begin with for newcomers and a favorite for old time opera fans.
In this recording, conductor Wolfgang Sawallisch leads the Bavarian State Orchestra in a highly effective, thoroughly dramatic and sentimental, full interpretation of Mozart's score. Tenor Peter Schreir as Tamino is exceptional, passionate in his aria "Dies Bildnis" (This portrait), and again as he plays his flute in "Wie Stark ist Nicht dein Zauberton" (How powerful is your music, magic flute), his individual lines in the ensembles and his duet with Pamina as they undergo the final trial of fire. Annelise Rothenberger, a sublime German lyric soprano, is moving in her portrayal of Pamina. She has her moments in this recording. Note how her high, melodic voice seems to come from nowhere as she confronts Sarastro and Tamino for the first time "Herr! Ich bin zwar Verbrecherin ! (Sir! I am the transgressor). Her aria "Ach Ich Fuhls" (O, I feel that happy days have passed) is the finest interpretation, full of pathos and a kind of melancholic madness, as well as her lines in her suicide attempt, finally, she is sublime as a strong woman ready to face trials with Tamino, especially striking when she sings the line "Tamino!".
Kurt Moll's Sarastro is without question the best. His voice is suited for God. So divine and sonorous and full of grace, his voice is especially noticeable in the aria "O Isis and Osiris " and "In deisen Heilen Hallen"( In these holy halls). Finally, and not to be missed, is Edda Moser's incredible interpretation of the Queen of the Night. You have not heard the true Queen of the Night, until you've heard Edda Moser. She has a Wagnerian intensity and neurosis in her lines, apt and effective for the role of a Queen bent on deception and the murder of her rival, Sarastro. Her aria "O Zittre Nicht, Mein Lieber Son" (O tremble not, beloved son" is full of lyric dramatic passages and coloratura at the end. The vengeance aria "Der Holle Rache Kocht Meine Herzen "(Hell's Anger Burns Within My Heart) is full of fire. The way she attacks the dramatic, powerful lines is out of this world and the high F's she escalates are unsurpassed.
In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work.
An irate Mozartian
In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work.
An irate Mozartian
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The stories themselves? Some make you think. Some make you wonder. All make you remember.
The most impact is provided by the independent, i.e. non-superhero, writers who express what they went through with pictures and words. From the initial shock to the lingering malaise, the complete cycle is expressed. Reading this book brought back those feelings in me and, even though my emotions were swelling up, I kept reading. This event is now part of our collective experience and we are forever affected by it.
I recommend reading through when you need some perspective on what's important in life. Enjoy life, tell your friends and family that you love them because you never know when it may end.
This review doesn't get too into the content of the book but the impact that it had. As for me, that's the sign of a good read.
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Although "Rikki-Tikki-Tavi" and "The White Seal" are just as good as the least of the Mowgli stories, it is the various tales of the boy raised in the jungles of India that are - and justifiably - the heart of the collection.
As a baby, Mowgli is found and raised by a clan of wolves and three godfatherly mentors who each teach him about life in different ways - Baloo the Bear, who teaches him the technical laws he'll need to survive; Kaa the Python, the nearly archtypal figure who teaches him even deeper lessons; and Bagheera the Panther, who perhaps loves Mowgli most of all but understands all too well the implications of the ambiguous humanity of the boy he's come to care for.
The stories have it all, from the alternately humorous and frightening "Kaa's Hunting", where Mowgli learns an important lesson about friendship and it's responsibility, to the epic "Red Dog" that reads like something out of Homer, to "Letting in the Jungle" which, without giving anything away contains a disturbing paragraph that's both glaring and a long time in coming if you've read between the lines in the previous Mowgli stories and yet at the same time so subtle you can almost miss it's importance.
If you didn't read it as a child, read it now. If you did, read it again as an adult.
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To be perfectly honest though, reading the implementation of this idea did leave me with somewhat mixed fealings to having spend 12.57 purchasing it.
Don't get me wrong, it was nice enough. The story is good enough to keep most Star Wars fans interested, and it certainly is somewhat more original compared some other Star Wars comics. But nevertheless, it certainly isn't novel-grade material either.
in addition to this, the pencils were downright poor, and almost suggest that the artist suffered from a serious lack of either time or skill. The drawings weren't really hearthwrenchingly awfull either, but that is also the nicest thing I have to say about them.
The colouring was a lot better, even sometimes compensating for the poor pencils.
All in all, this certainly isn't a comic even the most zealous fans of the series really OUGHT to have. Nevertheless, those SW-junkies who do decide to purchische this book will probably have a good time reading it. And of course it IS a must have for the Royal Guard fans amongst us.
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Anyway, I loved it. And the homophobes who did'nt like Neil Gaiman story can go look at ... bunnies.
Those of us who love comics will tell you the undisputed master was Jack Kirby. And his New Gods is his masterpiece. This book ranks up there with this work of the King. Every page astonishes.