Lucifer #60

Writer: Mike Carey Artist: Peter Gross Publisher: Vertigo Critic Reviews: 3
6.7Critic Rating
N/AUser Rating

  • 8.0
    Comics Bulletin - Olivia Woodward Mar 20, 2005

    Nevertheless, few comics integrate soteriological, ontological, teleological, and epistemological elements into their narratives. So, even though Im being a bit harsh on the execution, this issue has much to appreciate. Its an intelligent comic, filled with rich concepts and clever thematic explorations. Because of the impetus of plot, the treatment gets a bit shallow at times, but at its core, theres serious metaphysical exploration here. Thats why, for all of my grousing, I recommend this comic. Read Full Review

  • 8.0
    Comics Bulletin - Shaun Manning Mar 20, 2005

    Like Sandman before it, Lucifer is an intensely cerebral, intricately woven novel in comic book form. When John Miltons Paradise Lost first saw print, the poet fell under damning accusations that hed taken the devils side; its not hard to imagine what those critics (or their less omniscient but equally tenacious modern counterparts) would have to say about Mr. Careys epic. When read, however, with an impartial eye, it is clear that Lucifer is not the hero, but merely the protagonist. Or, rather, he may be considered a hero in the tradition of Odysseusa strong, noble character imbued with a code of honor, though not necessarily a true sense of morality. Hes inarguably intriguing, with complex motivations and a supporting cast ranging from obscure demons and forgotten gods to modern-day humans trying to cope with the end of the world. And as Lucifer, once again taking a cue from Sandman, has a planned ending, there is a sense of purpose to the story, everything building to a p Read Full Review

  • 4.0
    Comics Bulletin - Bob Agamemnon Mar 20, 2005

    For many fans, the arcana of comic books is most appealing: the sense of slowly collecting knowledge of a character, of a universe, and becoming an adept. But this same complexity also forces the art form into a ghetto inhabited only by the initiated, and prevents talents like Mike Carey and Peter Gross from reaching a larger audience. The industry has struggled with this problem for decades and experimented with a variety of solutions. In the seventies and eighties, characters narrated their own identities and histories in thought bubbles, shattering the realism and cluttering up panels with dense text. Another venerable technique entailed notes from Julie [Schwartz] or Stan [Lee] at the bottom of the page, directing us to the appropriate back issue. Today, issues of Marvel comics all begin with a page identifying the main characters and the story up to that point. In the end, the most eloquent solution is to craft a story that manages to reward the faithful, while also ent Read Full Review

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