Type of bind: Paperback
Dewey Decimal Number: 741.5973
EAN num: 9780930289300
ISBN number: 0930289307
Label: DC Comics
Manufacturer: DC Comics
Quantity: 1
Page Count: 312
Printing Date: October 01, 1997
Publishing house: DC Comics
Release Date: October 01, 1997
Sale Popularity Level: 1015127
Studio: DC Comics
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Rated by buyers -
I'm posting a review in the form of a letter I wrote to someone who asked me to review this series, and I hope it's well-received as I intend it to be my honest review of Mike W. Barr's and Brian Bolland's unique and stirring comic. Anyway, here goes:
Max, your question cost me three days' worth of delving into introspective mental waters. What did I think of Camelot 3000?
First off, I passed on a tpb version of this a year or so ago after flipping through it. (So perhaps I'll go back and buy those Bacchus tpbs, the original subject of this post, after all. Who knows?) But after reading review after review of this series that lauded it, I was still interested. When I found a bagged bundle at my local comic shop for $5.00, well, why not purchase it at that point, at that price?
I agree with your praise of the master quality of the art, Max. From Todd Klein's logo, to Bolland's art, to Tatjana Wood's coloring, it's exceptionally well done artistically. I'm not much of a lettering evaluator. But, perhaps, the fact that I don't notice it means that it's good. The only lettering I ever truly notice is the lettering that makes it hard for me to read the text and/or somehow seems to deviate from the overall feel of the words themselves (or the work itself). I don't know much about Bolland as an artist. I haven't sought him ought, per se. The works of his that I own have been bought for other reasons (e.g., his happening to be the artist for Alan Moore's work). But I especially loved his sense of kinesthetic action in this work. There's a panel on the thirteenth page of the very first issue in which King Arthur shoots an alien with a vaporizer that he's holding in his left hand and, in running stride, expertly tosses a weapon (well, it kind of looks like a big, alien wrench thing) with deadly through-the-alien's-throat accuracy. The swing brings his right right arm across his chest so that, just looking at the picture, one feels the bunched bulk of his pecs and the fatal physics of the released potential energy of muscle, hand grip, momentum, as well as the stuck-pig moment of momentum recontained. Poor alien. Another grand kinesthetic moment can be found in pages 18-20 of the fourth issue, in which Arthur traipses between laser fire from a spaceship to stand his ground and shred it into uselessness by means of his own physical power and the invulnerability of Excalibur. There's also much to appreciate in the overall mastery of Bolland as an artist. There are no mistakes here. It's almost too perfect, meaning that you might overlook just how high this artisanship is because it's so real that you just keep reading and passing through it as you would through your normal, prosaic workaday world. To play devil's advocate, however, I'm not sure Bolland's ships are all that great: too technical with little imaginativeness. But what about that wonderful picture of Merlin in a space cadet suit, raising his hand quizically -- his eyebrow raised so that he looks puzzled, perhaps helpless (page fourteen of issue 2) -- that sequays into his demystification of the costume and his manipulation of matter as the words "DO NOT DISTURB" fall like extra puzzle pieces to the floor? Awesome stuff.
As to the writing of Mike W. Barr, it, at times, seems derivative. I'm tired of seeing people steal George Lucas's and Obi-wan Kenobi's Jedi mind trick. (The same page referenced above: page fourteen of the second issue). Merlin would have better, more unique, more disturbing alternatives. His claim to fame in this series is, of course, the idea of transformation. And with the dual sexuality or transsexuality or omnisexuality of Tristan, he truly puts the trans- back in transformation. Other than sexuality, however, all the characters receive Metamorphosis in a rather powerful and classical sense. Is Percival human are a zombie-like Neo-Man? And is Barr commenting on religion or ecstatic religions thereby? Could Lancelot so easily be enmeshed in the ego-grandiosity of the big businessman and is his philanthropy undercut by his lust (or is it truly love?) that causes him to put a whole world at stake again and again? And is Arthur just as much to blame for the tragic fall of Camelot as his truly unpardonable sin, the murder of babes and his intent to kill rather than rear his very own son, suggests? Is it a cycle of bloodlust or a cyle of heroism that Camelot is all about? Is it the grail or the sword that saves us?
Although the writing is suspiciously mediocre, it is only so in intermittent moments. And there are so many truly memorable scenes in these comics, that I think Barr's achievements outweigh his miscues. Two of those moments are, of course, found in the last issue. Tristan and Isolde's consummation of their love is, I think, so tastefully and powerfully done that it is one to be rediscovered time and time again. I don't believe I ever remember a moment this cogent and well ... Read More
Rated by buyers 
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An original graphic novel way back way. An excellent exploration of heroism, mythology and gender by way of the Arthurian mythos.
Earth is under the thumb of aliens, and resistance is pretty much non-existent. One man still wants to fight, and the discovery of an ancient site may help him out in a big way.
Rated by buyers 
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I had very high hopes for this collection. I had heard that it was a masterpiece, and an important landmark in comic book history. High quality paper, adult themes, ignored the comics code, direct-only market, so on and so forth....
Well, maybe it is a part of comic book history. That doesn't make reading it any more pleasant.
The basic premise sounds like it can't miss. Mix Arthurian legend and an alien invasion. Both low-brow and high-brow audiences should rejoice... for this could have it all!
However, it just doesn't fly. I read that Mike Barr hired an academic consultant to make sure that the script had no errors. While it's true I couldn't find any mistakes, I credit that to the fact that much of the mythos is completely ignored. Worse, the story is just badly written. There are moments of decent writing to spark a reader's interest. Unfortunately, these moments are between long stretches of silliness and boredom.
I figured even a lame story would be rescued by the awesome talent of Brian Bolland. But believe it or not, after spending years on the series, this comic superstar doesn't get the job done. I wouldn't say it is all his fault. I don't recall who the colorist for this book was, but the garish choices he or she made successfully turn the detailed linework cartoony and mediocre. This, coupled with the fact that the design of the characters is outright laughable, actually turns Bolland artwork into crud (I know it is hard to believe, but trust me on this).
In short, the story contains elements making it unsuitable for younger audiences, and is just too poorly done to entertain older ones. The artwork is the worst to come from Brian Bolland's pen that I've ever seen. I cannot really think of anyone who would enjoy owning Camelot 3000.
Rated by buyers 
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I don't see why DC wouldn't keep the trade collection of Mike Barr and Brian Bolland's limited series CAMELOT 3000 in print, simply from a historical perspective. While the story may not be a masterpiece, it was DC's very first direct-only title and was geared for mature readers. It was a contemporary of such classic tales as Watchmen and Batman: The Dark Knight Returns, so just that little point of timing should ensure continued publication. And the sci-fi/fantasy combo, especially when it involves the Knights of the Round Table, should appeal to many new readers. And then there's the abundance of fine-line art from superstar Bolland: holy cow, this is some absolutely beautiful stuff. I know of no other book that contains so much of his work. It's worth keeping in print for that alone!
But then, of course, there's the story. While I liked it, it really didn't age well, especially compared to some of the other titles that I mentioned. It's very basic, even simple, and while some of the situations contained within may have been adult fare for the `80s, they certainly wouldn't raise an eyebrow today. In short, don't expect a masterpiece on the level of the other stories. The plot itself is fairly straightforward: an alien invasion of Earth in the year 3000 leads to the resurrection of King Arthur, who makes good on his promise to return and defend England in its hour of need. Arthur then frees his mentor Merlin from imprisonment, and Merlin orchestrates the return of the Knights of the Round Table via some unusual methods. Suffice to say that these certainly don't seem to be the knights that we're familiar with, but they eventually prove themselves to be none other. Unfortunately, their old problems are present as well, such as the affair between Guinevere and Lancelot, and the general distrust of Merlin. As the alien invasion is actually being orchestrated by the evil Morgan Le Fay and Modred, the ancient conflict is shown to continue on Earth, thousands of years in the future... and to worlds and times beyond. If there's one thing I can say Barr does very well, it's his portrayals of the conflict between the knights. It's apparent that the more things change, the more they stay the same.
While I do treasure this book, it's more for nostalgia and the art than for any exceptional story quality.
Rated by buyers -
Though written quite a while ago,
This Arthur tale is worth the dough.
I read it very first when I was a boy.
I read it still, it gives me joy!
Britain falls to alien spoor
and Arthur returns to even the score.
Gwen and Lance renew their lust.
It's hard to know just who to trust.
Merlin returns, Excalibur too.
This story has a lot for you.
If you love Le Morte D'Art
In your collection, make this book a part.
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