Style
Both the writing and artwork in 100 Bullets exemplifies the noir and pulp genres of popular modern fiction. It presents morally ambiguous stories with dark realism. Consistent with noir convention, most of the characters are deeply flawed. As is also quite common in such genres, 100 Bullets frequently portrays stylized and graphic violence.
100 Bullets is notable for creator/writer Brian Azzarello's realistic use of regional and local dialects/accents, as well as the frequent, sometimes dense use of slang and oblique, metaphorical language in his characters' dialogue.
While initially presented as an episodic series of self-contained storylines, 100 Bullets eventually becomes a sprawling crime saga that embraces a sense that everyone and everything is connected.
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Famous quotes containing the word style:
“I am so tired of taking to others
translating my life for the deaf, the blind,
the “I really want to know what your life is like without giving up any of my privileges
to live it” white women
the “I want to live my white life with Third World women’s style and keep my skin
class privileges” dykes”
—Lorraine Bethel, African American lesbian feminist poet. “What Chou Mean We, White Girl?” Lines 49-54 (1979)
“Sometimes among our more sophisticated, self-styled intellectuals—and I say self-styled advisedly; the real intellectual I am not sure would ever feel this way—some of them are more concerned with appearance than they are with achievement. They are more concerned with style then they are with mortar, brick and concrete. They are more concerned with trivia and the superficial than they are with the things that have really built America.”
—Lyndon Baines Johnson (1908–1973)
“The flattering, if arbitrary, label, First Lady of the Theatre, takes its toll. The demands are great, not only in energy but eventually in dramatic focus. It is difficult, if not impossible, for a star to occupy an inch of space without bursting seams, cramping everyone else’s style and unbalancing a play. No matter how self-effacing a famous player may be, he makes an entrance as a casual neighbor and the audience interest shifts to the house next door.”
—Helen Hayes (1900–1993)