![]() ![]() The “monster” reveals itself as the byproduct of the true monsters, whether they be the Nazis behind “Prometheus,” or America’s military-industrial complex. The majority of the book delves into flash-backs to the horrific abuse Bobby suffered at the hands of his father, who returned from World War II a broken man. Like the original Frankenstein, Monsters doesn’t really center on the horror of Bobby getting turned into a deformed, muscle-bound goliath. ![]() In fact, that’s exactly why Bailey’s attempt to join the army got him thrust into the neo-Nazi research project “Prometheus.” Except, Windsor-Smith doesn’t present protagonist Bobby Bailey as a brilliant scientist or a super-powered mutant. The concept of evil scientists trying to make a human weapon might recall the aforementioned Wolverine arc as well. Originally conceived for The Incredible Hulk, Monsters echoes some of those character tropes-specifically the unforeseen effects of military science. To that effect, Monsters redeems the time Windsor-Smith spent on it as a triumph of masterful storytelling and emotional depth. It’s fair to assume the quality of an original tale from this writer/illustrator. His clout speaks for itself, with accolades like Marvel Comics’ Weapon X-arguably the greatest Wolverine arc. So, it’s automatically noteworthy when respected artist Barry Windsor-Smith announces a graphic novel he’s been working on for three decades. Very rarely does an artist linger with a piece of work for decades. Comic books have become synonymous with serialization. ![]()
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