After the idea of using Charlton characters was abandoned, he decided to model Silk Spectre on superheroines like Phantom Lady and Black Canary (also an alias shared by mother and daughter). However, Moore did not find Nightshade particularly interesting and was not even very familiar with the character. In the early stages of the series' development, the characters were Charlton Comics superheroes and the female superhero was supposed to be Nightshade. Created by Alan Moore and Dave Gibbons, the original Silk Spectre, Sally " Jupiter" Juspeczyk, was a member of the crimefighting team the Minutemen, while the second, Sally's daughter Laurel " Laurie" Jane Juspeczyk, became a member of the vigilante team Crimebusters, also known as the titular Watchmen. Hopefully future issues will allow the series to blossom into something remarkable.Silk Spectre is the name of two fictional superheroines in the graphic novel limited series Watchmen, published by DC Comics. Silk Spectre #1 isn’t the slam dunk that Minutemen was, but it’s another visual accomplishment that has the seeds of a focused, character-centric story. She also makes great use of Watchmen’s patented grid-style layouts, which makes her level of detail all the more impressive. Conner’s level of detail is also remarkable, as she includes everything from items in an open refrigerator to detailed photos in background picture frames, something a less skilled artist would have most certainly fudged. One page in particular –the aforementioned confrontation with the bully – stands out for the subtle progression of Laurie’s facial expression as she goes from embarrassed to enraged in the space of a few well-paced panels. Laurie in particular fares especially well here, as the wide range of her emotions are expertly rendered by Conner. Amanda Conner brings her usual delicate lines and exceptionally expressive figure work to Silk Spectre #1. But, just as was the case in Minutemen #1, the real draw of this issue is the artwork. This device gives Silk Spectre #1 an emotional weight that is otherwise absent elsewhere in the book. Opening on a page that reflects the falsities of fairy tales and how those expectations weigh on a child throughout their life, the writers often offer one-off panels on subsequent pages in a newspaper strip cartooning style that suggests Laurie’s disconnected and wistful view of how she views the events of her life. However, the framing device that the writers use for this issue is by far the book’s best quality as far as the narrative goes. The reason for the choice is unclear, as it lessens the impact of the moment by having it appear pages afterwards. For instance, instead of showing Laurie clock a bully after getting teased, Cooke and Conner flashback in the next scene to show the incident. The pacing of the story is rather linear save for a few bizarre moments that jump forward/backward in time it doesn’t derail the narrative or anything, but it does make for a few awkward spots. Trust me, it won’t let you down.” Bummer. Wait until you’re older and the world gives you a good reason. The exception to this is the book’s opening scene between a young Laurie and her mother, in which Sally lies about Laurie’s father and offers her a rather cynical piece of advice when saying, “You’re too young to hate. The characters, particularly Laurie, get by mostly on their actions rather than anything that comes out of their mouths. The trouble with the story itself is primarily the dialog, which is often unnatural and stilted, leaving many conversations to fall flat.
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