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It's well written, is split into sub-articles well in keeping with summary style guidance, but lacks references and detail on the books impact. I haven't rated the importance because I don't think this book has impacted in any way upon the medium. Hiding Talk 20:26, 15 December 2006 (UTC)
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Historians grit their teeth every time someone alludes to the "mystery of the Roanoke colony". There is no mystery deeper than the exact date that the colonists decided to abandon the stockade and live among the natives. The notion that this was a desperation move is exasperatingly Euro-centric. The surrounding Indians were not bloodthirsty savages, nor were resources scarce. Life as a non-colonist was very tempting. In fact, English colonies eventually had to threaten deserters with death. No one at the time was all that shocked that the colony failed, nor did they much doubt why. Or even where the colonists went: nearby Croatan Island, which they'd indicated before leaving.
NEVERTHELESS, the episode of "In Search Of" in which every last bit of balderdash and woo-woo speculation was trotted out for historically-naive viewers was ABSOLUTE GOLD. That was the spookiest work of pseudo-documentary until "The Blair Witch Project", and well deserves to be memorialized in a comic based on a revisionist history of Europe's secret societies.
Hey, if you can't get history right, you can at least make it thrilling.
Its a fictional conspiracy theory, which like all conspiracy theories, encompasses the element that you cant disprove it 100%. Like most yarns this one has a powerful secret society - powerful to cover the fact that they've been able to keep it under wraps and fool everyone, secret to cover the fact that no one believes it, (if its successful at being secretive than we arent suppose to have good evidence). obviously you have to look at the circumstances and the source to judge the merit of these theories, but theres always that bit of "well if it is true then im not suppose to believe it" lingering around which makes these types of stories appealing, not necessarily because people don’t know their history, its suppose to be fiction after all.Philipgraves7 23:04, 2 February 2007 (UTC)
OK, I like the pun on the TPB names, where the number of the volume is stated or implied in the title. However, I can't figure out the third volume.
While some of the connections are a little weak (particularly 8), there is at least some reason there. Can anyone find the connection for the 3rd volume? -- DropDeadGorgias (talk) 15:27, August 10, 2005 (UTC)
It's possible they may not be trying too hard Elijya 16:54, 12 November 2005 (UTC)
The third volume is an exception. This book contains the story arc, which is also titled "Hang Up on the High Low". Since this story won an Eisner Award, DC/Vertigo decided to emphasise the victory in the makrting by selecting the same title for the paperback edition. 14 November 2005 (Martin Ross)
how does vol.10 "decayed" fit into it?~sumguy
[b]dec[/b]=10(decade, got it?)~mulder
I think these sections are really long enough to each warrant their own article. Does anyone really disagree? I think the info could be moved to 100 Bullets(Issues) and 100 Bullets(Characters), respectively.
Thanks. Toffile 15:20, 15 August 2005 (UTC)
Since no one has seemed to mind, I'll move them... Toffile 04:19, 19 August 2005 (UTC)
The quality of the article takes a strange downturn in subsections 2.2 and 2.4. There is a jolting change from a generalized, encyclopedic approach to the subject matter to a very specific approach that drops names of unidentified characters and vaguely addresses plot events as if we already know what the writer is talking about. Subsections 2.1 and 2.3 at least introduce their subject and discuss it with some limited clarity, but 2.2 and 2.4 are nearly gibberish to someone who hasn't read the comic. I think a rewrite is definitely needed here. It's all well and good if you're writing for fans who already know all the details, but this is supposed to be an encyclopedia. Canonblack 22:26, 24 October 2005 (UTC)
With Acclaim coming back into power, the series apparently is coming back as well. An agreement has been made for PC and handheld verisons (DS? PSP?). And none of the old status of the game assets apparently are to be used. Looks promissing: http://www.gamespot.com/news/6148880.html
As stated here: 100 BULLETS is © 2003 Brian Azzarello. ™ DC Comics. All Rights Reserved. All comic related images uploaded to Wikipedia must be tagged accordingly (see Wikipedia:Centralized discussion/Fair use and comics).
100 BULLETS | © Brian Azzarello, Eduardo Risso, and DC Comics. ™ DC Comics. All Rights Reserved.
I just made some changes where a user wrote a lote of bullshit.
first: 100 bullets isn't actually influenced by sin city.there are a lot of noir comics and influences.let's think wider, please.
second: conspiracy analogy TO DA VINCI CODE?c'mon, no sense.
I have removed the Tag "Spoiler Warning" from the beginning of the PLOT section. Frankly, it seemed a little silly- especially as the Plot section only details the premise of the series, and doesn't actually include any spoilers. —Preceding unsigned comment added by Cljohns ( talk • contribs) 04:01, 11 April 2008 (UTC)
The 'Style' section has no references. Azzarello has never stated that the comic is influenced from those films
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David S. Goyer is taking on 100 Bullets as a potential TV series. I hear Goyer is attached to write and executive produce a drama series project for Showtime based on the Eisner and Harvey Award-winning comic book that published 100 issues between 1999 and 2009, all written by Brian Azzarello and illustrated by Eduardo Risso.
It is a dark, noir-style story about the attempt by one man, the mysterious Agent Graves, to destroy a secret group of families that control most of the world's wealth and power, and it also poses a classic moral question, "If you could get away with murdering the person who ruined your life, would you do it?"
The self-contained storylines eventually blend into a sprawling crime saga where everything -- and everyone -- is connected as Graves takes on a multinational clandestine organization named The Trust.
On television, he has created/co-created the Blade series, Threshold and, most recently, Flash Forward. — Preceding unsigned comment added by 65.94.106.31 ( talk) 05:58, 21 June 2011 (UTC)
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