Motor Girl Terry Moore | Review


Published on Feb 15, 2018


Samantha, known as Sam, is a veteran of the Gulf War, is back in the United States after being a prisoner and victim of a bomb attack in Iraq, where he was trying to save a child.

Now runs a ferrivecchi property of Libby, a sympathetic and despotic old lady, who loves Sam as his own daughter, but that he got an offer almost indispensable for the sale of the land on which is located the activity.

Company in Sam we find a gorilla named Mike. Early in the life of Sam will be with that of dr Walton, the one who wants to buy all the land in the area to develop their own research on extra-terrestrial life; extra-terrestrial life that soon peeps out of the front door of Sam.

Sam is the column around which revolves the whole story, a story which from the beginning of double track, since on the one hand we have the reality that is still alive Sam, immersed in a realm all its own, isolated from the rest of the world, both figuratively and physically, given that the activity that manages the place is really surrounded by nothing; on the other we have the reality of all others, a reality that is unidirectional, that at some point intersects with that of Sam, and from then on, being able to distinguish what is real from what is not is not always easy.

I think that Terry Moore is one of the best designers currently in circulation, especially when it comes to giving expression to the faces of his characters: with a few simple lines can convey the thoughts and feelings that lie behind that figure on paper. This saves on the dialogues, which, in fact, here are reduced to the essential, allowing the work to keep the pace very light, and allowing the reader to read without difficulty a comic that does not saves you from dealing with important issues and (if they were treated by others) probably heavy; but Moore proves once again to have a special sensitivity in dealing with certain issues, without wanting to impose a personal vision. In any case, the pace is always tight, given that Moore is not lost on small and unnecessary details, but brings all his work forward as the perfect opera, which starts with an overture (which is needed to frame the characters) and then deal with the issue of the founding of the work itself.

The characters are well-balanced in texture, with a perfect symbiosis (could not be otherwise...) between Sam and Mike, with Libby nice caricature with a heart of gold. But the best Moore the gives with the appearance of the aliens, in which he builds the scenes funny without having to resort to dialogue, but constructing the tables, and sequences with a precision enviable. Very interesting also the inking and the use of shadows.

Moore demonstrates his knowledge of comics and of the great masters paying a tribute to (explicitly) in the volume is also a great comic of the franco-belgian school, Hergé. And it giving a character the name of the famous author of The adventures of Tintin (Les Aventures de Tintin), both playing in the same vignette, the rocket that appears in volume 16 of the adventures of the famous reporter, Objectif Lune (Objective Moon), 1953. A real touch of class, which crowns a great comic book.

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