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American Carnage #1-9
American Carnage
Richard Wright is a white-passing African-American former FBI agent offered a chance to right the wrongs of his past as his old mentor sends him deep undercover to infiltrate a radical and dangerous white supremacist group believed to be responsible for the death of a fellow agent. For Richard, this is his last shot to turn his life around. With the ghosts of the past constantly reminding him of the man he once was, he will have to not only find the redemption he seeks in the eyes of others, but within himself. Collects the entire nine-issue DC Vertigo series!
224 pages, Kindle Edition
First published October 29, 2019
About the author
Bryan Edward Hill
346 books71 followersBryan Hill is a screenwriter, photographer, tv writer, and director. He is known for his work on the DC show TITANS and for his work in comics, most notably his outings on DETECTIVE COMICS, POSTAL, AMERICAN CARNAGE, KILLMONGER and ANGEL.
His writing is infused with esoteric principles, which can also be found in his photography and music.
He lives and works in Los Angeles.
His writing is infused with esoteric principles, which can also be found in his photography and music.
He lives and works in Los Angeles.
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Displaying 1 - 30 of 38 reviews
November 20, 2019
Modern crime noir meets our current political climate. This reminded me some of Jason Aaron's Scalped with white supremacists. An ex-FBI agent goes undercover with an alt-right politician to discover who lynched an FBI agent in his front yard. Leonardo Fernandez's art is a very good choice for a book that quickly descends into the dark underbelly of this world. I was confused about the motivations for why this ended the way it did. It didn't make a whole lot of sense to me. But it was a thrilling ride getting there.
November 28, 2019
A guy goes undercover to discover how racist a family can be. This family just happens to be able to control a lot of things, including the police, gang violence, and more.
This is a interesting racially charged graphic novel of a character who has lost everything after doing something terrible. He isn't trying to atone so much as try to find a answer for his future. On top of that have a family of power, who can do whatever they want, and shows how they manipulate the system in their favor.
The thing that works well here is everyone feels realistic. Bryan Hill is able to capture the human moments of people and even the biggest pieces of shit in here have a moment where you might see where they're coming from. As the title suggest, everything is in pure carnage and plenty of character's meet their fates in fucked up ways. A look into the american world, well written, with plenty of nice surprises. Well worth the read. A 4 out of 5.
This is a interesting racially charged graphic novel of a character who has lost everything after doing something terrible. He isn't trying to atone so much as try to find a answer for his future. On top of that have a family of power, who can do whatever they want, and shows how they manipulate the system in their favor.
The thing that works well here is everyone feels realistic. Bryan Hill is able to capture the human moments of people and even the biggest pieces of shit in here have a moment where you might see where they're coming from. As the title suggest, everything is in pure carnage and plenty of character's meet their fates in fucked up ways. A look into the american world, well written, with plenty of nice surprises. Well worth the read. A 4 out of 5.
April 20, 2020
The art is spectacular, especially the page composition and the chiaroscuro on objects and characters: 5 well-deserved stars.
Lettering: extremely well done: 5 stars.
The writing - oh, boy. This is one of the most heavy-handed, cliché-ridden, superficial, juvenile, mindless script I have ever found in a comic book of this level. A cocktail of stereotypes with no depth, no complexity and no originality. 1 star would be too much. So, zero stars.
Just to clarify, my complaint here is in the substance of what animates the main characters. I hated the writing not because of the TYPE of politics that it represents (I wouldn't care, as a reader, if it was left or right), but because they are FARCICAL politics. It's a worldview made of stereotypes that, for the most part, exist only in the mind of the observer.
Overall : 2.5 stars.
Lettering: extremely well done: 5 stars.
The writing - oh, boy. This is one of the most heavy-handed, cliché-ridden, superficial, juvenile, mindless script I have ever found in a comic book of this level. A cocktail of stereotypes with no depth, no complexity and no originality. 1 star would be too much. So, zero stars.
Just to clarify, my complaint here is in the substance of what animates the main characters. I hated the writing not because of the TYPE of politics that it represents (I wouldn't care, as a reader, if it was left or right), but because they are FARCICAL politics. It's a worldview made of stereotypes that, for the most part, exist only in the mind of the observer.
Overall : 2.5 stars.
January 4, 2020
Starts off well, but the story kind of falls apart by the end. Fernandez's artwork looks very familiar--reminds me of 100 Bullets and Scalped--but I guess I haven't seen it before.
March 30, 2020
The pieces are all there for American Carnage, but it never quite comes together as the Epic Crime Narrative it clearly intends to be. The art is fantastic, first and foremost, perfectly suited to the noir vibes. The lettering too was unexpectedly appealing. The story starts strong, then peters out - American Carnage is a far smaller tale than it should have been.
The big picture is there at the outset. We have a semi-disgraced FBI agent who's convinced that a far right billionaire paid to have her partner lynched. We have the definitely-disgraced former agent who infiltrates the billionaire's white terrorist mob in an attempt to uncover the truth. And finally, we have the femme fatale, the billionaire's daughter, who plays foil to the infiltrator.
If Bryan Hill had bothered to keep pulling back the curtain on the narrative, American Carnage could have been truly remarkable. Instead, he maintains a tight focus on the handful of main characters and the current time period - there are few, if any, flashbacks to round out everyone's backstory. In the end, it's unclear why each character is compelled to act as they do. Instead of feeling invested in the actors, we watch at a surface level as they betray each other repeatedly. It's fairly exciting (and great to look at), but could have been so much more.
The big picture is there at the outset. We have a semi-disgraced FBI agent who's convinced that a far right billionaire paid to have her partner lynched. We have the definitely-disgraced former agent who infiltrates the billionaire's white terrorist mob in an attempt to uncover the truth. And finally, we have the femme fatale, the billionaire's daughter, who plays foil to the infiltrator.
If Bryan Hill had bothered to keep pulling back the curtain on the narrative, American Carnage could have been truly remarkable. Instead, he maintains a tight focus on the handful of main characters and the current time period - there are few, if any, flashbacks to round out everyone's backstory. In the end, it's unclear why each character is compelled to act as they do. Instead of feeling invested in the actors, we watch at a surface level as they betray each other repeatedly. It's fairly exciting (and great to look at), but could have been so much more.
December 9, 2020
(4 of 5 for solid undercover agent alt-right drama about revenge, redemption)
So far Bryan Edward Hill did nothing that would catch my eye. I'm looking for Postal for a long time but it's like C priority on my reading list. This looked interesting and as miniseries, it was worth to try. And yes, the beautifully done covers have some credit in that.
The story is well-executed, even if the premise of it is kind of common from other comics, TV series and movies. The art is on the simpler side, but enough for the purpose. It kind of reminds me Scalped, with its style, atmosphere and roughness, but it's not as good as Scalped. Even though I was kind of surprised how engaging the reading was and I really enjoyed it. The ending felt a bit rushed and unsatisfying. But I like this genre and I liked this comic book. I recommend it to fans of Scalped and Punisher MAX.
So far Bryan Edward Hill did nothing that would catch my eye. I'm looking for Postal for a long time but it's like C priority on my reading list. This looked interesting and as miniseries, it was worth to try. And yes, the beautifully done covers have some credit in that.
The story is well-executed, even if the premise of it is kind of common from other comics, TV series and movies. The art is on the simpler side, but enough for the purpose. It kind of reminds me Scalped, with its style, atmosphere and roughness, but it's not as good as Scalped. Even though I was kind of surprised how engaging the reading was and I really enjoyed it. The ending felt a bit rushed and unsatisfying. But I like this genre and I liked this comic book. I recommend it to fans of Scalped and Punisher MAX.
May 22, 2021
American Carnage collects issues 1-9 of the series written by Bryan Hill and art by Leandro Fernandez.
After a FBI agent is lynched, a former agent is coaxed back to going undercover and infiltrating the white supremacists group responsible for the murder. The book has a lot of seedy underground, domestic terrorism, and themes ripped from modern new stories.
The beginning of this book is great but falls apart at the end. The book delves into more of a bad romance story and really detracts from the earlier work. It is a bizarre ending. For the most part the art is strong but sometimes characters who were completely lit would somehow have their faces in complete shadows which looked strange. I had high hopes for this but felt it was underwhelming.
After a FBI agent is lynched, a former agent is coaxed back to going undercover and infiltrating the white supremacists group responsible for the murder. The book has a lot of seedy underground, domestic terrorism, and themes ripped from modern new stories.
The beginning of this book is great but falls apart at the end. The book delves into more of a bad romance story and really detracts from the earlier work. It is a bizarre ending. For the most part the art is strong but sometimes characters who were completely lit would somehow have their faces in complete shadows which looked strange. I had high hopes for this but felt it was underwhelming.
March 27, 2020
Bryan Edward Hill é um roteirista norte-americano conhecido por seu envolvimento com temas relacionados com etnia e racialidade. Este Carnificina Americana é sua participação no último suspiro do selo adulto da DC Comics, o Vertigo, tanto que no Brasil já saiu sob a tabela de Black Label, O estilo de escrita de Bryan Edward Hill lembra bastante os trabalhos de roteiristas como Garth Ennis e Brian Azzarello principamente quando essas narrativas pendem para a crítica social associada com uma dose de sarcasmo e ironia. Estes dois escritores dos quadrinhos norte-americanos estão associados com um estilo de desenho conhecido como chiaroscuro, de autores como Paul Dini e Eduardo Risso. Portanto os editores do falecido selo Vertigo terem chamado o argentino Leandro Fernandez para se encarregar das artes desse encadernado não é um fato surpreendente, mas uma escolha orgânica e natural numa tema que não se usa do maniqueísmo, do preto no branco, do chiaro no oscuro do mundo super-heróico, mas na penumbra e nas nuances do mundo real que força a barra para que tudo seja mantido como um disputa entre dois lados. O problema é que na maioria das vezes os dois lados pertencem à mesma moeda.
August 29, 2021
(Zero spoiler review) 3.5/5
Crime noir is my favourite comic genre. I can make that statement with a fair degree of certainty, though I can't decide whether that works in American Carnage's favour or not. Do I like it more because I like the genre, or because I like the genre, am I perhaps a little more inclined to forgive its foibles, of which there are quite a few, because even an average crime noir is still a thoroughly decent use of time. I lean towards the latter, mostly because I'm objective and cynical enough to tell it like it is and pan something that deserves it, regardless of my feelings for the genre.
Like I said, This is in no way a perfect crime noir. this doesn't reach Brubaker levels of greatness, nor perhaps even the levels of his closest contemporaries. What this is, however, is a thoroughly decent modern slab of noir, which despite me picking it apart and sighing on more than one occasion, left me glad I had read it come the end. I was really surprised when I saw this was written only a couple of years ago, and published by DC no less. This is a very non-PC book, to the extent that I kept waiting for the hammer to drop and to find out that it was a troll all along, as they drop with the right leaning narrative and go full woke. It stays the course, and was all the better for its seeming lack of compromise.
For every page that had me hooked, there was another that dragged me out again. The dialogue was convincing and well written at times, and jarring and unbelievable at others. When I start re- writing panels as I'm reading, that's never a good thing. Yet there was still enough on offer here that those gaffs didn't preclude me powering through. This was a good first draft, but there was a better story to be built on the bones of this, had a stronger editor or writer gotten their hands on it. The art was solid throughout, with the colours probably being the best part of this book. The washed out, simple yet effective palette of yesteryear telling the story at least as well as the story did itself. That seedy, sordid LA, filled with debauchery, drugs and deceit. I wouldn't call either of them amazing, but they both combined well and added to the experience.
Despite a bit of an underwhelming ending (only the best noir seem to stick the landing), I would still recommend this book to any fans of the genre, and even those who aren't. Its art, general narrative and uncompromising nature were enough to elevate this above average and into the category of books that I would read again. That's not bad praise that. Definitely could have been better though. 3.5/5
OmniBen.
Crime noir is my favourite comic genre. I can make that statement with a fair degree of certainty, though I can't decide whether that works in American Carnage's favour or not. Do I like it more because I like the genre, or because I like the genre, am I perhaps a little more inclined to forgive its foibles, of which there are quite a few, because even an average crime noir is still a thoroughly decent use of time. I lean towards the latter, mostly because I'm objective and cynical enough to tell it like it is and pan something that deserves it, regardless of my feelings for the genre.
Like I said, This is in no way a perfect crime noir. this doesn't reach Brubaker levels of greatness, nor perhaps even the levels of his closest contemporaries. What this is, however, is a thoroughly decent modern slab of noir, which despite me picking it apart and sighing on more than one occasion, left me glad I had read it come the end. I was really surprised when I saw this was written only a couple of years ago, and published by DC no less. This is a very non-PC book, to the extent that I kept waiting for the hammer to drop and to find out that it was a troll all along, as they drop with the right leaning narrative and go full woke. It stays the course, and was all the better for its seeming lack of compromise.
For every page that had me hooked, there was another that dragged me out again. The dialogue was convincing and well written at times, and jarring and unbelievable at others. When I start re- writing panels as I'm reading, that's never a good thing. Yet there was still enough on offer here that those gaffs didn't preclude me powering through. This was a good first draft, but there was a better story to be built on the bones of this, had a stronger editor or writer gotten their hands on it. The art was solid throughout, with the colours probably being the best part of this book. The washed out, simple yet effective palette of yesteryear telling the story at least as well as the story did itself. That seedy, sordid LA, filled with debauchery, drugs and deceit. I wouldn't call either of them amazing, but they both combined well and added to the experience.
Despite a bit of an underwhelming ending (only the best noir seem to stick the landing), I would still recommend this book to any fans of the genre, and even those who aren't. Its art, general narrative and uncompromising nature were enough to elevate this above average and into the category of books that I would read again. That's not bad praise that. Definitely could have been better though. 3.5/5
OmniBen.
October 31, 2019
Una investigación del FBI sobre un supremacista blanco con serias chances de volverse senador de los EEUU termina de manera nefasta: el principal investigador (blanco) es linchado y su compañera (negra) escapa herida por un pelo. Aunque los responsables materiales mueren durante su arresto, a la agente no le alcanza y deduce -sin ninguna dificultad, ni que fuera tan difícil- que el supremacista está detrás de todo, pero la Agencia considera que el caso está cerrado, que el poder político del otro es demasiado y, que joder, teniendo a Trump en la presidencia tampoco es que ser supremacista blanco sea algo taaan malo. Pero nuestra muchacha no se va a quedar de brazos cruzados y recluta a nuestro protagonista, Richard Wright -un ex agente del FBI caído en desgracia, hijo de negro y blanca, pero completamente caucásico en apariencia- para infiltrarse en las filas del candidato a senador. Para ello, deberá acercarse y relacionarse mucho (quizá demasiado) con su hija. El escritor Bryan Hill elabora una trama clásica -como la sinopsis anterior creo que indica- quizá antes vista, pero la desarrolla con una potencia, una elaboración muy cuidada y una contundencia que ya quisieran para sí varios escritores. Su mayor mérito es la construcción de personajes complejísimos, humanos, fallidos, con más capas que una cebolla, de entre los que destacan con margen Wynn Morgan, el supremacista que termina por ser un personaje tan magnético como desagradable, y su hija Jennifer, quien odia y ama a su padre a partes iguales. Y si la trama policial, con drama familiar y un desarrollo denso de varios personajes termina por fluir estupendamente, se debe al dibujo maravilloso de Leandro Fernández, un narrador nato, uno de esos dibujantes increíblemente intuitivos, uno que reconoce qué tiene que hacer para aportar a la historia, al relato, y lo hace asumiendo cuando corresponde una función meramente funcional por momentos y desbordando impacto cuando la historia a su vez lo necesita. Este mundo de traiciones, mentiras y villanos con máscaras de Barack Obama es uno donde Fernández se mueve como pez en el agua, para beneficio de nosotros, los lectores. La historia se compone de 8 episodios, con un final que algo se apresura (quizá no eran 8 en un principio), y se cuenta entre las últimas publicaciones del sello Vertigo antes de su desaparición. Viendo lo que publicaba -esto que hoy nos ocupa pero su historia toda- es una pérdida que todavía creo no hemos evaluado con el dolor que corresponde.
February 2, 2020
This thriller wasn't the page-turner it seemed to be at the start. Still, it's worth it for the ending. Not everything goes according to plan in the real world, but there are strong people out there risking their lives behind the scenes. They don't always fight cleanly. Often they have to fight fire with fire and sometimes they get burned.
FBI Agent Sheila Curry goes against protocol when she confronts her partner Bernard Watson's killer. Sheila believes that philantropist and suspected extremist Wynn Allen Morgan is connected to Watson's death, but her superiors order her to close the case. She goes off record and convinces former FBI agent Richard Wright to infiltrate Morgan's organization in the hopes of uncovering the truth and redeeming himself to the FBI.
FBI Agent Sheila Curry goes against protocol when she confronts her partner Bernard Watson's killer. Sheila believes that philantropist and suspected extremist Wynn Allen Morgan is connected to Watson's death, but her superiors order her to close the case. She goes off record and convinces former FBI agent Richard Wright to infiltrate Morgan's organization in the hopes of uncovering the truth and redeeming himself to the FBI.
December 22, 2022
Poucas HQs conseguem dialogar tanto com o Brasil quanto Carnificina Americana. Em vários pontos. Claro que existem alguns temas e situações vividas dentro da HQ que remetem diretamente à conjuntura americana, mas o resto está todo ali: tráfico de influência, preconceito étnico, exploração de vulneráveis, política e religião querendo andar juntas, fundamentalismo religioso. É impressionante o quanto Bryan Hill foi capaz de colocar em nove edições, fazendo um apanhado das piores coisas acontecendo em nossa realidade nos últimos anos. O autor incorporou parte do espírito de Garth Ennis para escrever essa HQ; disse parte, porque Ennis é impossível de ser copiado. Ao terminar essa série limitada a impressão que fiquei é de que ela poderia facilmente ser uma minissérie da HBO ou do Starz. E ela parece ter sido concebida pensando nisso. E não é um problema, se pensarmos que é uma HQ que fala de assuntos tão próximos.
A arte de Fernandez bebe muito da do Frank Miller em obras como Cavaleiro das Trevas ou Sin City. O emprego de um ângulo de câmera cinematográfico, as grades de nove quadros de Watchmen (do Alan Moore). O objetivo é oferecer um tom realista ao quadrinho com personagens vivendo momentos de drama e tensão. Não é uma arte redondinha e chega até a ser meio complicada de admirar em alguns momentos, mas ela se conecta bem ao roteiro. Senti falta de alguns momentos de ação mais explícita para poder aproveitar a habilidade do artista. Podia ser uma perseguição, um tiroteio ou qualquer outra coisa. Não acontece. O roteiro busca empregar a arte para explorar o lado humano dos personagens. Algo legal que Fernandez faz é como ele deixa Wynn Jones quase sempre com o rosto escuro ou suplantado por uma sombra. Somente quando ele revela os seus reais sentimentos é que vemos sua silhueta de homem branco. Um truque de arte para se ligar ao roteiro de um supremacista branco que se pinta como alguém que ajuda as minorias étnicas. Também senti falta do artista explorar mais as expressões faciais ou gestuais dos personagens. Isso colocaria mais um traço de humanidade neles. Mesmo a Jen sendo a filha do grande chefão, ela ainda se importa com sua filha, presa em dois mundos. Mas, isso não transparece em seu rosto, sempre impassível. Passando pelas páginas, as únicas vezes em que os personagens demonstram emoções é quando eles põem ou escondem a mão no rosto. Ou quando eles direcionam seu olhar pelo horizonte. Existem outras formas de fazer isso.
O roteiro é uma maravilhosa crítica social a uma extrema direita conservadora que busca o seu espaço na política de qualquer forma. Na trama temos Wynn Jones, um pregador carismático que usa os seus movimentos sociais para se promover e buscar uma vaga como senador nos EUA. Por trás disso tudo, ele usa uma milícia armada de extremistas para levar a cabo a sua ideologia de destruição de negros. O bom e velho discurso preconceituoso que se adaptou a uma nova realidade no século XXI. Um homem de negócios que não tem escrúpulos de pintar uma máscara de bom samaritano e que por trás disso tudo lidera toda uma ala radical como ele. Seu poder financeiro serve para subornar agentes federais, ter espiões em toda parte e aliciar pessoas em estado de vulnerabilidade. A narrativa se inicia quando um dos seus homens mata um agente do FBI em circunstâncias cruéis. É aí que a agente Sheba entra em contato com Richard para ajudá-la a se infiltrar na organização de Wynn e conseguir provas de seus crimes.
Mais fácil falar do que fazer. O personagem de Richard é um homem amargurado por um passado de desafios e tristezas. Sendo o produto da miscigenação entre brancos e negros, ele aparenta ser um homem branco. Sendo assim, ele não se sente nem branco e nem negro, não sendo aceito por nenhuma das comunidades. Apesar de que achei um pouco forçada essa ideia. Até entendo toda uma questão de identidade internamente, mas ampliá-la para um escopo social? Posso estar enganado, mas acho pouco verossímil. Enfim, é um homem atormentado por um problema de pertencimento que se torna agente do FBI e atua como alguém capaz de se infiltrar em organizações criminosas. Um trabalho difícil e que exige muito trabalho mental e emocional para isso. É uma vida sob pressão o tempo todo. Durante uma de suas ações, ele acaba sendo obrigado a matar um garoto inocente, algo que o marca para sempre. Tendo caído em depressão, o agente se afoga em bebida e drogas peadas até ser mandado embora do FBI. Sheba entra em contato com ele por Richard ser um dos melhores agentes na arte da infiltração. Mas, claro, toda essa bagagem emocional terá um papel importante na trama.
A narrativa fala muito de EUA, e ela é um produto da era trumpista. Só que ela pode facilmente refletir a realidade brasileira. Movimentos neopentecostais que possuem algum tipo de organização extremista interna, políticos da bancada da bala que defendem a morte de negros ou indígenas. A fala de Wynn Jones para Richard acerca de suas motivações para fazer o que faz é muito próxima da de vários empresários e políticos brasileiros. É a normalização do caos, da morte e de um falso moralismo que prega a morte de inocentes. E, para isso, nenhum deles teme usar os próprios indivíduos que eles aliciam, sejam pessoas em estado de vulnerabilidade ou meros fieis, para cometer os seus crimes. Nenhum destes supremacistas que são líderes de suas organizações sujam suas mãos. Eles mandam matar.. usam seus recursos para comandar. E é como Wynn comenta mais para o final da HQ: por mais que ele seja preso, ele vai achar um jeito de sair; e mesmo que deem um fim nele, outro dois tomarão o seu lugar, como a cabeça de uma hidra.
Jennifer é a filha de Wynn. Uma mãe solteira cuja filha, Amy, tem deficiência auditiva. O que já seria uma vida difícil se complica ainda mais por Jen atua ativamente entre os comandados de seu pai. Em determinados momentos é possível até acreditar que ela é a real força por trás da organização. A HQ nunca deixa muito clara essa posição. Fato é que ela é uma mulher atormentada e que desejaria apenas ser uma mulher normal, precisando superar as dificuldades do cotidiano. Não a percebo como alguém materialista ou apegada a dinheiro ou poder. Ela é um fruto do contexto em que vive e não há saída simples. Tem um ótimo momento lá pela metade do encadernado onde Jen oferece uma saída a Richard: pegue a chave do carro e desapareça. Essa é uma oferta que ele, nitidamente, gostaria de oferecer a si mesma. Não percebo Jen como um par romântico de Richard, mas mais como alguém que se envolve sexualmente com outra pessoa em um mundo de violência. Richard foi aquele que demonstrou carinho e atenção a ela. Observou sua filha com respeito, sem se importar com sua deficiência. Fica claro para o leitor desde o começo que essa relação não teria futuro por tudo o que está em jogo na investigação. Mas, Bryan Hill é habilidoso em nos fazer acreditar que há uma saída. Resta saber se terá e como será.
Hill trabalhou pouco a personagem da Sheba. Ele até nos apresenta uma personagem interessante e que vale a pena ser observada. Uma agente que deseja fazer justiça pelo seu parceiro morto de maneira trágica. Alguém que está disposta a atravessar uma linha fina que separa o trabalho de investigadora e prender um criminoso. Seu instinto de vingança é forte, mas ela ainda assim deseja fazer as coisas dentro das regras da organização. Deseja uma investigação e provas para colocar Wynn na cadeia. Mas, ela sofre com vários obstáculos: ser uma mulher negra em uma organização federal e estar começando a sofrer de uma doença degenerativa. Ela tinha tudo para ser uma grande personagem e até ser um par romântico para Richard formando um triângulo amoroso entre ela, Jen e Richard. Mas, Hill acaba escanteando-a para dar mais espaço para Richard e Jen.
Essa série precisava de mais três volumes para poder dar mais espaço para seus personagens desenvolverem seus arcos. E o final parece um pouco apressado, sim. Faltou uma dosagem no ritmo da trama, que é muito boa. Mas, ela foi vítima de prazos e necessidades, o que a fez perder o prumo. Gostei da narrativa como um todo, só que esses detalhes a fazem perder todo o potencial que tinha. A arte cumpre o seu papel e não passa disso. Esqueci de comentar sobre as cores de Dean White que, para quem conhece o seu trabalho, vão logo se lembrar de Black Science. Ele sabe empregar muito bem cores frias o que combina com o ambiente melancólico dessa HQ. Os poucos momentos em que as cores seguem para o outro espectro é quando acontece algo realmente dramático. No mais, Carnificina Americana foi uma daquelas HQs que li em um momento chave da história do meu país. Parece brincadeira, mas se eu tivesse lido em outro momento, possivelmente não teria curtido tanto assim.
A arte de Fernandez bebe muito da do Frank Miller em obras como Cavaleiro das Trevas ou Sin City. O emprego de um ângulo de câmera cinematográfico, as grades de nove quadros de Watchmen (do Alan Moore). O objetivo é oferecer um tom realista ao quadrinho com personagens vivendo momentos de drama e tensão. Não é uma arte redondinha e chega até a ser meio complicada de admirar em alguns momentos, mas ela se conecta bem ao roteiro. Senti falta de alguns momentos de ação mais explícita para poder aproveitar a habilidade do artista. Podia ser uma perseguição, um tiroteio ou qualquer outra coisa. Não acontece. O roteiro busca empregar a arte para explorar o lado humano dos personagens. Algo legal que Fernandez faz é como ele deixa Wynn Jones quase sempre com o rosto escuro ou suplantado por uma sombra. Somente quando ele revela os seus reais sentimentos é que vemos sua silhueta de homem branco. Um truque de arte para se ligar ao roteiro de um supremacista branco que se pinta como alguém que ajuda as minorias étnicas. Também senti falta do artista explorar mais as expressões faciais ou gestuais dos personagens. Isso colocaria mais um traço de humanidade neles. Mesmo a Jen sendo a filha do grande chefão, ela ainda se importa com sua filha, presa em dois mundos. Mas, isso não transparece em seu rosto, sempre impassível. Passando pelas páginas, as únicas vezes em que os personagens demonstram emoções é quando eles põem ou escondem a mão no rosto. Ou quando eles direcionam seu olhar pelo horizonte. Existem outras formas de fazer isso.
O roteiro é uma maravilhosa crítica social a uma extrema direita conservadora que busca o seu espaço na política de qualquer forma. Na trama temos Wynn Jones, um pregador carismático que usa os seus movimentos sociais para se promover e buscar uma vaga como senador nos EUA. Por trás disso tudo, ele usa uma milícia armada de extremistas para levar a cabo a sua ideologia de destruição de negros. O bom e velho discurso preconceituoso que se adaptou a uma nova realidade no século XXI. Um homem de negócios que não tem escrúpulos de pintar uma máscara de bom samaritano e que por trás disso tudo lidera toda uma ala radical como ele. Seu poder financeiro serve para subornar agentes federais, ter espiões em toda parte e aliciar pessoas em estado de vulnerabilidade. A narrativa se inicia quando um dos seus homens mata um agente do FBI em circunstâncias cruéis. É aí que a agente Sheba entra em contato com Richard para ajudá-la a se infiltrar na organização de Wynn e conseguir provas de seus crimes.
Mais fácil falar do que fazer. O personagem de Richard é um homem amargurado por um passado de desafios e tristezas. Sendo o produto da miscigenação entre brancos e negros, ele aparenta ser um homem branco. Sendo assim, ele não se sente nem branco e nem negro, não sendo aceito por nenhuma das comunidades. Apesar de que achei um pouco forçada essa ideia. Até entendo toda uma questão de identidade internamente, mas ampliá-la para um escopo social? Posso estar enganado, mas acho pouco verossímil. Enfim, é um homem atormentado por um problema de pertencimento que se torna agente do FBI e atua como alguém capaz de se infiltrar em organizações criminosas. Um trabalho difícil e que exige muito trabalho mental e emocional para isso. É uma vida sob pressão o tempo todo. Durante uma de suas ações, ele acaba sendo obrigado a matar um garoto inocente, algo que o marca para sempre. Tendo caído em depressão, o agente se afoga em bebida e drogas peadas até ser mandado embora do FBI. Sheba entra em contato com ele por Richard ser um dos melhores agentes na arte da infiltração. Mas, claro, toda essa bagagem emocional terá um papel importante na trama.
A narrativa fala muito de EUA, e ela é um produto da era trumpista. Só que ela pode facilmente refletir a realidade brasileira. Movimentos neopentecostais que possuem algum tipo de organização extremista interna, políticos da bancada da bala que defendem a morte de negros ou indígenas. A fala de Wynn Jones para Richard acerca de suas motivações para fazer o que faz é muito próxima da de vários empresários e políticos brasileiros. É a normalização do caos, da morte e de um falso moralismo que prega a morte de inocentes. E, para isso, nenhum deles teme usar os próprios indivíduos que eles aliciam, sejam pessoas em estado de vulnerabilidade ou meros fieis, para cometer os seus crimes. Nenhum destes supremacistas que são líderes de suas organizações sujam suas mãos. Eles mandam matar.. usam seus recursos para comandar. E é como Wynn comenta mais para o final da HQ: por mais que ele seja preso, ele vai achar um jeito de sair; e mesmo que deem um fim nele, outro dois tomarão o seu lugar, como a cabeça de uma hidra.
Jennifer é a filha de Wynn. Uma mãe solteira cuja filha, Amy, tem deficiência auditiva. O que já seria uma vida difícil se complica ainda mais por Jen atua ativamente entre os comandados de seu pai. Em determinados momentos é possível até acreditar que ela é a real força por trás da organização. A HQ nunca deixa muito clara essa posição. Fato é que ela é uma mulher atormentada e que desejaria apenas ser uma mulher normal, precisando superar as dificuldades do cotidiano. Não a percebo como alguém materialista ou apegada a dinheiro ou poder. Ela é um fruto do contexto em que vive e não há saída simples. Tem um ótimo momento lá pela metade do encadernado onde Jen oferece uma saída a Richard: pegue a chave do carro e desapareça. Essa é uma oferta que ele, nitidamente, gostaria de oferecer a si mesma. Não percebo Jen como um par romântico de Richard, mas mais como alguém que se envolve sexualmente com outra pessoa em um mundo de violência. Richard foi aquele que demonstrou carinho e atenção a ela. Observou sua filha com respeito, sem se importar com sua deficiência. Fica claro para o leitor desde o começo que essa relação não teria futuro por tudo o que está em jogo na investigação. Mas, Bryan Hill é habilidoso em nos fazer acreditar que há uma saída. Resta saber se terá e como será.
Hill trabalhou pouco a personagem da Sheba. Ele até nos apresenta uma personagem interessante e que vale a pena ser observada. Uma agente que deseja fazer justiça pelo seu parceiro morto de maneira trágica. Alguém que está disposta a atravessar uma linha fina que separa o trabalho de investigadora e prender um criminoso. Seu instinto de vingança é forte, mas ela ainda assim deseja fazer as coisas dentro das regras da organização. Deseja uma investigação e provas para colocar Wynn na cadeia. Mas, ela sofre com vários obstáculos: ser uma mulher negra em uma organização federal e estar começando a sofrer de uma doença degenerativa. Ela tinha tudo para ser uma grande personagem e até ser um par romântico para Richard formando um triângulo amoroso entre ela, Jen e Richard. Mas, Hill acaba escanteando-a para dar mais espaço para Richard e Jen.
Essa série precisava de mais três volumes para poder dar mais espaço para seus personagens desenvolverem seus arcos. E o final parece um pouco apressado, sim. Faltou uma dosagem no ritmo da trama, que é muito boa. Mas, ela foi vítima de prazos e necessidades, o que a fez perder o prumo. Gostei da narrativa como um todo, só que esses detalhes a fazem perder todo o potencial que tinha. A arte cumpre o seu papel e não passa disso. Esqueci de comentar sobre as cores de Dean White que, para quem conhece o seu trabalho, vão logo se lembrar de Black Science. Ele sabe empregar muito bem cores frias o que combina com o ambiente melancólico dessa HQ. Os poucos momentos em que as cores seguem para o outro espectro é quando acontece algo realmente dramático. No mais, Carnificina Americana foi uma daquelas HQs que li em um momento chave da história do meu país. Parece brincadeira, mas se eu tivesse lido em outro momento, possivelmente não teria curtido tanto assim.
November 8, 2019
I really enjoyed this graphic novel. Shines a light on our current political moment.
August 11, 2020
A series that I'm very disappointed in given the huge amounts of praise I saw for it. The idea of a politician who's very clearly a white supremacist but sanitizes himself and his speech in front of others while being involved in crime, murder, and the like is very much an idea I'd super be into reading about. That he aligns himself so closely, if not publicly, with white nationalist militias who decry him for not being more open about his beliefs is also the kind of stuff that is all too real and would have made for a fantastic series.
But... it's got problems. The story is mainly about the aftermath of a lynching done by a white supremacist who then blows himself up while he's being interrogated in his home. There's some excellent points made about how the sanitized version of white nationalism can still inspire others to extremism and an investigation is being handled by an undercover agent. All of that is great. He gets in deep with the politician, the people he associates with, and his family. It's all a set up that almost seems tailor made to get me interested.
But beyond that the politics are just kind of messy and shallow. There doesn't seem to want to be any real discussion between the obvious connections between the modern Republican party and the ideology of white nationalism. There's an extremely cringeworthy scene where a black woman is talking to a fancy, liberal politician (clearly meant to represent Democrats) and she points out that his party isn't exactly doing anything good for people like her and tends to engage in identity reductionism. Which is excellent! I love that point, it's one that rarely gets made!
But then she just has to tack on "People like you are why I vote Republican" and it's just the most tone deaf line I think I've ever read in anything ever. Decrying the Democrat party for being just as useless to the common man as the Republicans is great, but ending with an endorsement for the actively hostile one just made my head want to explode.
There's also a few other little annoyances throughout. There's a guy working for the politician who is basically a crazy fuckin' psycho murderer but he wears an Obama mask to hide his face. Which is fine, but... he's not an important character. He's built up as if he's wearing the mask to hide who he is and you'll find out he's someone important, but he turns out to be a literal nobody. And sure there could be some symbolism there about how racist extremists could be anybody, but from a storytelling standpoint an awful lot was built up to make him seem as if he'd be important. Additionally all the praise (Especially from a black character, no less) of institutions like the FBI are offputting in a story that's supposedly attempting to dissect extremism and how racist groups can recruit and operate.
It does have its good points, of course. As insanely bad as some of the misses are it does hit occasionally, and I liked the grand finale of the story with Richard realizing that the politician is too powerful to take out without causing a whole lot more trouble, so he comes up with an alternate way of handling things. It's gritty, it's violent, and it employs extensive use of racist slurs but I honestly didn't mind any of that given the subject matter.
It's ultimately a book that tries to tackle some big topics but seems to lack the political breadth to do so. I do find it funny how most of the people complaining about this book's politics are exactly the type that it's discussing, but they don't at all go into what a true alternative to these people would be like. It makes for a grittier story to make your only options be something bad and something worse, but being set in a fairly realistic world means that it also loses a lot in the process.
Can't recommend this. There is definitely some interesting aspects, but the worst parts are what have resonated so strongly with me and I can't give it more than 2 stars.
But... it's got problems. The story is mainly about the aftermath of a lynching done by a white supremacist who then blows himself up while he's being interrogated in his home. There's some excellent points made about how the sanitized version of white nationalism can still inspire others to extremism and an investigation is being handled by an undercover agent. All of that is great. He gets in deep with the politician, the people he associates with, and his family. It's all a set up that almost seems tailor made to get me interested.
But beyond that the politics are just kind of messy and shallow. There doesn't seem to want to be any real discussion between the obvious connections between the modern Republican party and the ideology of white nationalism. There's an extremely cringeworthy scene where a black woman is talking to a fancy, liberal politician (clearly meant to represent Democrats) and she points out that his party isn't exactly doing anything good for people like her and tends to engage in identity reductionism. Which is excellent! I love that point, it's one that rarely gets made!
But then she just has to tack on "People like you are why I vote Republican" and it's just the most tone deaf line I think I've ever read in anything ever. Decrying the Democrat party for being just as useless to the common man as the Republicans is great, but ending with an endorsement for the actively hostile one just made my head want to explode.
There's also a few other little annoyances throughout. There's a guy working for the politician who is basically a crazy fuckin' psycho murderer but he wears an Obama mask to hide his face. Which is fine, but... he's not an important character. He's built up as if he's wearing the mask to hide who he is and you'll find out he's someone important, but he turns out to be a literal nobody. And sure there could be some symbolism there about how racist extremists could be anybody, but from a storytelling standpoint an awful lot was built up to make him seem as if he'd be important. Additionally all the praise (Especially from a black character, no less) of institutions like the FBI are offputting in a story that's supposedly attempting to dissect extremism and how racist groups can recruit and operate.
It does have its good points, of course. As insanely bad as some of the misses are it does hit occasionally, and I liked the grand finale of the story with Richard realizing that the politician is too powerful to take out without causing a whole lot more trouble, so he comes up with an alternate way of handling things. It's gritty, it's violent, and it employs extensive use of racist slurs but I honestly didn't mind any of that given the subject matter.
It's ultimately a book that tries to tackle some big topics but seems to lack the political breadth to do so. I do find it funny how most of the people complaining about this book's politics are exactly the type that it's discussing, but they don't at all go into what a true alternative to these people would be like. It makes for a grittier story to make your only options be something bad and something worse, but being set in a fairly realistic world means that it also loses a lot in the process.
Can't recommend this. There is definitely some interesting aspects, but the worst parts are what have resonated so strongly with me and I can't give it more than 2 stars.
June 26, 2022
(8/10): Most of everything about this book is solid, it's just not my thing. Bryan Edward Hill writes a narrative filled with a very strategic expression of rage due to the political state of America. I very much appreciate that the commentary provided between the lines of this story is cohesive and easy to read, especially with Leandro Fernandez and Dean White's art to paint a very engaging story nevertheless. I feel like this story has all of the elements to build something truly special, but it only settles for something fine. As backstories for characters are given hooks but never truly fleshed out into something effective, and the story ends with something subversive and bitter in a way that feels unsatisfying yet understandable. I do want to emphasize that I do like the character writing in this book, especially for Richard, but I wish more was done to make it something special rather than something simply promising. I do like how organic the progression of the story feels, neat twists included, and I was engaged nevertheless. Therefore, story only left me hoping for more but being satisfied with less at the same time.
November 14, 2019
To American History X συναντάει το 100 bullets.
Μιγάς πρώην πράκτορας του FBI (που μοιάζει με λευκό) διεισδύει σε οργάνωση ακροδεξιών και σταδιακά βρίσκεται όλο και πιο μπλεγμένος.
Πρόκειται για ένα πολύ ενδιαφέρον νουάρ θρίλερ, με πολλούς και καλογραμμένους χαρακτήρες και συγκρούσεις μεταξύ τους καθώς έχουν πολύ διαφορετικά κίνητρα και στόχους. Αν και, λόγω του θέματος, ήταν πολύ εύκολο να δούμε χαρακτήρες-καρικατούρες, κανένας τους δεν είναι ξεκάθαρα άσπρος ή μαύρος (όπως και ο πρωταγωνιστής του).
Ο ρυθμός είναι εξαιρετικός, οι διάλογοι ζωντανοί και το σχέδιο θυμίζει τρομερά το καρτουνιστικό ύφος του 100 bullets (αν και το στόρι είναι πολύ πιο "βατό" σε σχέση με τη συνωμοσία του 100 bullets).
Προς το τέλος ένιωσα ότι το στόρυ έτρεχε λίγο, αλλά τελειώνει συγκλονιστικά και κλείνει ό,τι πλοκή είχε ανοίξει, άρα δεν έχω παράπονο.
Από τα διαμάντια του 2019 που πέρασε λίγο απαρατήρητο από ότι νομίζω.
Μιγάς πρώην πράκτορας του FBI (που μοιάζει με λευκό) διεισδύει σε οργάνωση ακροδεξιών και σταδιακά βρίσκεται όλο και πιο μπλεγμένος.
Πρόκειται για ένα πολύ ενδιαφέρον νουάρ θρίλερ, με πολλούς και καλογραμμένους χαρακτήρες και συγκρούσεις μεταξύ τους καθώς έχουν πολύ διαφορετικά κίνητρα και στόχους. Αν και, λόγω του θέματος, ήταν πολύ εύκολο να δούμε χαρακτήρες-καρικατούρες, κανένας τους δεν είναι ξεκάθαρα άσπρος ή μαύρος (όπως και ο πρωταγωνιστής του).
Ο ρυθμός είναι εξαιρετικός, οι διάλογοι ζωντανοί και το σχέδιο θυμίζει τρομερά το καρτουνιστικό ύφος του 100 bullets (αν και το στόρι είναι πολύ πιο "βατό" σε σχέση με τη συνωμοσία του 100 bullets).
Προς το τέλος ένιωσα ότι το στόρυ έτρεχε λίγο, αλλά τελειώνει συγκλονιστικά και κλείνει ό,τι πλοκή είχε ανοίξει, άρα δεν έχω παράπονο.
Από τα διαμάντια του 2019 που πέρασε λίγο απαρατήρητο από ότι νομίζω.
July 28, 2020
2.5 stars, actually. It starts out well, but fizzles out toward the end, and on the way there, there's cliches, and interesting details and ideas that are never explored. Like, I kept expecting some in-depth explorations of racism, considering the plot, the main character is a bi-racial man named after a well-known Black writer who focused on race, and that character's struggle with himself, if he still fit in the world and how, but those things are just hinted at on the surface (well, being named "Richard Wright," that's just there, apparently no reason for it other than Hill being cute in hinting at depth?). A shame, because this could've been great, exploring some hard, multilayered topics, and it's just meh, overall.
August 2, 2022
Great setup about a nationalist but eloquent right-wing politician who secretly works with white supremacists to take over California and a disgraced ex-FBI agent getting entangled into the mess.
I liked the dialogue, the nuances to characters that would normally be portrayed as one-note evil and the unpredictable story, which unfortunately ends in a disappointing mess.
I'd rate the first half of the book as 4-5 stars, and the second half as 3 stars.
I can still recommend the crime thriller novel as it deals with a loaded political issue that most wouldn't touch and/or handle competently.
January 7, 2020
This book is a dark story but one full of realism and is pretty topical right now too!
A former FBI agent who is mixed race but looks white is talked into going undercover into an organisation founded on white supremacy.
The story take the main character deeper and deeper into the world he hates and further and further into trouble. The story is about how deep he can go before he needs to pull himself out and can he even pull himself out.
I liked the gritty and heartfelt story in this book and enjoyed every page of it.
A former FBI agent who is mixed race but looks white is talked into going undercover into an organisation founded on white supremacy.
The story take the main character deeper and deeper into the world he hates and further and further into trouble. The story is about how deep he can go before he needs to pull himself out and can he even pull himself out.
I liked the gritty and heartfelt story in this book and enjoyed every page of it.
January 13, 2020
Fantastic storytelling, awesome artwork, American Carnage is like a much more contemporary and slick Incognegro: Renaissance #1...
Both were dope for different reasons, American Carnage wins for most current and politically relevant.
Did I mention the artwork is fresh as hell? twas...
Both were dope for different reasons, American Carnage wins for most current and politically relevant.
Did I mention the artwork is fresh as hell? twas...
October 22, 2021
4.2
Uff, w paru momentach wydaje się, że chce coś powiedzieć, ale ostatecznie porusza zbyt wiele wątków, przeważająca część z nich to narracyjne klisze, a drobne przebłyski możliwości rozwoju tej opowieści przykrywane są przez dość nieciekawą historię samego protagonisty. Nie jest to najgorsza rzecz zanurzona w socjo-politycznym rozkładzie amerykańskiej polityki, ale niestety bliżej jej do tych złych niż dobrych pozycji.
Uff, w paru momentach wydaje się, że chce coś powiedzieć, ale ostatecznie porusza zbyt wiele wątków, przeważająca część z nich to narracyjne klisze, a drobne przebłyski możliwości rozwoju tej opowieści przykrywane są przez dość nieciekawą historię samego protagonisty. Nie jest to najgorsza rzecz zanurzona w socjo-politycznym rozkładzie amerykańskiej polityki, ale niestety bliżej jej do tych złych niż dobrych pozycji.
March 6, 2022
American Carnage has the ingredients for a great story, and I'm glad I read it. It really feels like a Vertigo book from the glory days of Scalped and 100 Bullets.
That said, it never quite gels like those books did. It's not the art, which is great, the dialogue, characters, etc. The issue with American Carnage is it's simply too short. It didn't need to go on for years and years, but even a handful more issues might have given it the room it needed to breathe.
That said, it never quite gels like those books did. It's not the art, which is great, the dialogue, characters, etc. The issue with American Carnage is it's simply too short. It didn't need to go on for years and years, but even a handful more issues might have given it the room it needed to breathe.
December 30, 2022
Entretenido. El género me gusta mucho (policial, racismo, supremacistas, violencia, política...) lo que pasa es que es muy poco original (leído mil veces antes), hay cosas del guión que se cogen con alfileres, tiene menos poso del que pretende (todo va tan rápido que no te da tiempo a empatizar ni a meterte en esas supuestas emociones que machacan a los personajes) y además el dibujo no ayuda tampoco (debería ser más oscuro, más realista). Resumiendo, bien pero más pretencioso que realidad
September 2, 2020
Wow. This starts out great, a noir thriller with the typical themes of hatred, guilt and redemption, and it's a real page-turner. Heading for a rare 5 stars when it unexpectedly sort of peters out, leaving a feeling of being somewhat let down.
Great artwork, well suited to the characters and general atmosphere.
Great artwork, well suited to the characters and general atmosphere.
January 9, 2023
I loved the art. It reminded me of 100 Bullets - gritty, memorable action, gorgeous characters. The story is non-stop action and drama with great characters and a fitting conclusion. One criticism is I found Wynn Morgan a bit of a caricature but otherwise a really strong story here. Highly recommend!
March 26, 2020
Very enjoyable read, came up in my recommendations awhile ago and finally picked it up and flew through it.
I've seen other reviewers say they were reminded of Scalped and 100 Bullets while reading and those reviewers hit the nail on the head if you liked those books you'll like this.
I've seen other reviewers say they were reminded of Scalped and 100 Bullets while reading and those reviewers hit the nail on the head if you liked those books you'll like this.
June 20, 2021
I've loved the series... but the finale? Not as much as the rest of the story. It still remains a great comic. I didn't like the drawing style in the beggining, but it grew on me and it gave the comic something different that I really liked.
March 8, 2023
A wild ride- great cop story. Dirty hands, political lies, FBI drama, RIVETING.
I am not sure the ending was right. I didn’t feel happy or relieved or anything at the end. I like that that is as close to reality as we would probably get- nothing really changes.
I am not sure the ending was right. I didn’t feel happy or relieved or anything at the end. I like that that is as close to reality as we would probably get- nothing really changes.
This entire review has been hidden because of spoilers.
Read
October 5, 2020DNF; read 6/9
May 13, 2021
3.5 stars.
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