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2.82 AVERAGE
2.82 AVERAGE
I was intrigued by the basic outline of this series -- four detectives in four different timelines all investigating the same murder (ie, the same body with the same wounds discovered in the same part of London's East End). The four settings (1890, 1940, 2014, 2050) are each rendered by different artists with distinctively different styles, but in each case, the detective is an outsider.
The punctilious young detective of 1890 is a homosexual, the corrupt detective of 1940 is a Jewish Polish refugee (how such a person might become a London police detective is one question I pondered), in 2014 there is a hijab-wearing Muslim detective, and the woman in 2050 is mentally shattered. So in that sense, the story appears to be trying to make a point about English identity, but it's such a convoluted tale and contains such a heavy dose of weird, almost Lovecraftian, elements that it's hard to really grasp.
I personally found it to be just too baroque to enjoy as a narrative, but some of the art is fantastic. I quite liked the fine lines and monotones used by Dean Ormston for the 1890s sections, and the more muscular and craggy work of Phil Winsalde for the 1940s portion. But that's down to personal taste, and others may find the other artists more to their taste. Overall a failure, although a fairly ambitious one with at least some great visuals at times.
The punctilious young detective of 1890 is a homosexual, the corrupt detective of 1940 is a Jewish Polish refugee (how such a person might become a London police detective is one question I pondered), in 2014 there is a hijab-wearing Muslim detective, and the woman in 2050 is mentally shattered. So in that sense, the story appears to be trying to make a point about English identity, but it's such a convoluted tale and contains such a heavy dose of weird, almost Lovecraftian, elements that it's hard to really grasp.
I personally found it to be just too baroque to enjoy as a narrative, but some of the art is fantastic. I quite liked the fine lines and monotones used by Dean Ormston for the 1890s sections, and the more muscular and craggy work of Phil Winsalde for the 1940s portion. But that's down to personal taste, and others may find the other artists more to their taste. Overall a failure, although a fairly ambitious one with at least some great visuals at times.
i don't know how i feel about this. i think i disliked it more because i was expecting something and got something else completely differente. and not in a good way. i think the ending was rushed and shallow. it this was bigger maybe it would have liked it better because the story would have more space to be developed. right now, my only thought is "wth did i just read?"
Disclaimer: I received this book as a Goodreads giveaway on the premise that I would review it. No other compensation was involved.
A string of seemingly-identical murders baffles London detectives in four time periods. It can’t be the same killer every time…can it? And what is the mysterious Long Harvest? From Victorian times to the too-near future, those involved must seek out the common thread.
Each of the detectives has issues. In 1890, Inspector Edmond Hillinghead thinks his attraction to other men is hidden; after all, he’s never succumbed. His closet has a transparent door, however. In 1940, Inspector Charles Whiteman is a Jew who escaped Nazi-occupied Poland, only to find a niche running the rackets. He’s blamed a captured German pilot for the mysterious corpse, but his own crimes are about to be exposed. In 2014, Detective Sargeant Shahara Hasan wears her issue out in the open. She’s a practicing Muslim, and British to the core, in a time when many think those are contradictory traits. And in 2050, a woman whose name might be Maplewood and might be a detective suffers from scrambled memories, as does everyone in London–but this corpse seems familiar and important.
The four artists each cover one of the time periods as the narrative cuts back and forth, making it easy to tell when we are in the timeline. I don’t care for all of them, but it works well.
Each of the detectives must discover things about their own identity (literally in Maplewood’s case) in order to uncover the deeper mystery, and its connection to the theme of England.
This is part of Vertigo Comics, which is well known for its reliance on British writers. That, and being DC’s “Mature Readers” line. As such, there’s violence, nudity, sex scenes and some filthy language. College age and up, I’m thinking.
To be honest, some knowledge of British history and culture is going to go a long way towards making this graphic novel more enjoyable. Those who haven’t studied such things are likely to find themselves lost.
A string of seemingly-identical murders baffles London detectives in four time periods. It can’t be the same killer every time…can it? And what is the mysterious Long Harvest? From Victorian times to the too-near future, those involved must seek out the common thread.
Each of the detectives has issues. In 1890, Inspector Edmond Hillinghead thinks his attraction to other men is hidden; after all, he’s never succumbed. His closet has a transparent door, however. In 1940, Inspector Charles Whiteman is a Jew who escaped Nazi-occupied Poland, only to find a niche running the rackets. He’s blamed a captured German pilot for the mysterious corpse, but his own crimes are about to be exposed. In 2014, Detective Sargeant Shahara Hasan wears her issue out in the open. She’s a practicing Muslim, and British to the core, in a time when many think those are contradictory traits. And in 2050, a woman whose name might be Maplewood and might be a detective suffers from scrambled memories, as does everyone in London–but this corpse seems familiar and important.
The four artists each cover one of the time periods as the narrative cuts back and forth, making it easy to tell when we are in the timeline. I don’t care for all of them, but it works well.
Each of the detectives must discover things about their own identity (literally in Maplewood’s case) in order to uncover the deeper mystery, and its connection to the theme of England.
This is part of Vertigo Comics, which is well known for its reliance on British writers. That, and being DC’s “Mature Readers” line. As such, there’s violence, nudity, sex scenes and some filthy language. College age and up, I’m thinking.
To be honest, some knowledge of British history and culture is going to go a long way towards making this graphic novel more enjoyable. Those who haven’t studied such things are likely to find themselves lost.