- Tapa dura: 320 páginas
- Editor: Knockabout Comics; Edición: UK ed (11 de agosto de 2012)
- Idioma: Inglés
- ISBN-10: 086166180X
- ISBN-13: 978-0861661800
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº118.648 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
Lost Girls (Inglés) Tapa dura – 11 ago 2012
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'Lost Girls' is an erotic graphic novel inspired by Victorian children's literature. The three protagonists are fictitiously based on the familiar faces from Wonderland, Oz, and Neverland, who meet as grown women in a mysterious hotel in 1913 England.
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They succeed, and break each others' inhibitions as well. With Moore's script and Gebbie's delicate colors, we follow a delightful debauch. Alice takes the two younger ladies under her opium-scented wing, for languidly choreographed affections of the sapphic kind. Dorothy brings her farm-girl awareness of livestock breeding to her human relations, male and female. Wendy, the ignored housewife, blossoms under any attention at all. Other characters round out the goings-on with straight, gay, and solo loving. The happy and consensual tone could appeal to readers who've been turned off by harsher kinds of erotica, and Gebbie's delicate artwork treats it all with lucious respect.
Make no mistake, this is smut. Decide whether that's what you want. It's good smut, though, of a female-friendly kind - the kind that also appeals to men tired of all that negative imagery. If you often find your genitals requesting the company and comfort of your hands, this could be a story for them to read to each other.
Moore was typically clever - I loved the allusions (both in dialogue and in artwork), from the setting of the story where the girls meet (a resort in Austria called "Himmelgarten" - "Heavenly Garden" - "Eden", perhaps?) to references to Robert Graves (Good-Bye to All That) and Oscar Wilde (The Picture of Dorian Gray (Modern Library Classics)). As each character told their story, the artwork similarly changed: with Alice, images were portrayed in an oval (as a mirror), Wendy images through silhouettes (as in a picture book), and with Dorothy with wide panoramic expanses. Stylistically there are elements of pointillism, abstract expressionism and art nouveau - all in keeping with the time period in which the story is set (summer, 1914). Of course Moore couldn't resist subtle word play, which I also immensely enjoyed - a soldier with a foot fetish, was described as "Boots, boots, boots, boots, marching up and down again ... having to start at the bottom, all that spit and polish, I wouldn't want to be in his shoes." The artwork similarly had its playful elements, as a stodgy British couple, with typical Victorian attitudes politely looking away as one slips into a nightgown, and gingerly kissing each other goodnight, the artwork juxtaposed into a more lewd reference - a suggestion of what each may be really thinking beneath their "proper" behaviour.
The creative license Moore took with the stories was also intriguing - although understandably disturbing to some. The idea that Wendy's experiences were a sexual awakening with a street urchin (her "Peter"), that Dorothy's tin man, scarecrow and cowardly lion were farm hands with whom she had various sexual laisons, (the "wizard" was particularly suprising) or that Alice's journey "through the looking glass" was her self-discovery of her budding sexuality certainly shade the way in which I think about these classics. As Wendy put it, "It is magic, isn't it, the time before we were all properly grown up? Its all so shadowy and wild."
In fact, it was precisely the nature of the "shadowy and wild" parts of the story that I didn't care much for; the sex (and I'm all for sex, don't get me wrong) was a bit over the top. So much so, that I began to wonder if the purpose of the book was to re-invent these stories or to merely titilate. Regarding the broader story being told, the girls are vacationing in the summer of 1914, and the murder of Archduke Franz Ferdinand and Sophie figure into the story as a way of pointing out the changes Europe is undergoing (specifically sexually, but also in the myriad of other ways in which the world was transformed as a result of the conflict.) Had this been more developed - even subtly as Moore has demonstrated he can do, I think the book would have been much better. Instead it is an entertaining (if somewhat disturbing) story with a strong sexual content that exists largely to serve its own purposes. I'd pass on this one.
*I always put re-readability in my reviews for people who like to keep their TPB to re-read*
Lost Girls is definitely something WAY out there! It's wild, it's crazy, it's fantastic in my opinion! Unlike some others on here that critique the artwork, I commend it! It's illustrated like an old storybook that you might find in an antique store. The artwork is imaginary, seductive, and very extensive when things get heated up.
Lost Girls has found it's place on my bookshelf...I just gotta make sure it's high enough where my kids can't reach it.
It's also a brilliant piece of literature. What Moore did previously with League of Extraordinary Gentlemen, he does again here, on a grander and more ambitious scale. He deconstructs these tales with a ruthlessness that is both horrifying and inspired.