The dramatic sound effects punctuate key moments in the action, and the shootout is a showcase of how lettering impacts storytelling, with line weight, letter shape, and balloon placement working together to create a feeling of total mayhem. The superhero influence is strongest at the start of Monsters, and Elias’ mission to rescue Bobby unfolds in an exhilarating car chase that leads to a devastating shootout. As impressive as Windsor-Smith’s cross-hatching is, it’s equally powerful when he minimizes the linework. His inks are mostly very tight and specific, but in the opening sequence, the lines have a wildness that contributes to the chaos. Windsor-Smith is known for his meticulous inking, and his cross-hatching gives Monsters’ world and characters remarkable dimension. a family drama of kindness, cruelty and redemption takes centre stage, offering the chance for a broken man to shed his skin, and begin again. His command of pose and gesture.brings his cast to life. Monsters hums with suppressed violence and regret, and Windsor-Smith renders both with real power. It’s a book about how we got here a story about a lost boy, his put-upon mother and his brutal, traumatised father, about fraught dinners and PTSD, and about how it takes a monster to make one. Windsor-Smith does give us shootouts, stakeouts and chases, but Monsters is more interested in turning back the clock. A lesser writer might crank up the cliches another notch, and focus on the violence and drama of a super-soldier on the loose in 60s America. It feels a well trodden set-up, part Captain America, part Frankenstein’s monster. forcefully told and thoroughly affecting.the ambitious Monsters uses time lapses to great effect.
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