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From BleedingCool: "The Amazing Spider-Man #798" speculator clown show continues.
From THR: "Justice League: No Justice" is a four-issue, weekly comic book miniseries that will affect the direction of the DCU.
From CatholicUniverse: Catholic comic book creators have started a Kickstarter to raise money for a 50-page, full-color, "pro-life" graphic novel.
From TheOuthousers: Sherard Jackson talks about his webcomic, "Darbi."
From Syfy: Jimmy Palmiotti talks about the Kickstarter crowdfunding campaign (which has already reached its goal) for a horror graphic novel, "Killing Time in America."
From Newsweek: Marvel well begin publishing a "Fantastic Four" comic book again in August 2018 with writer Dan Slott and artist Sara Pichelli as the creative team.
From BleedingCool: "Death of the Inhumans" in July.
From DCComicsBlog: DC Comics signs Frank Miller to a five-project deal.
From BleedingCool: Veteran comic book writer-artist William Messner-Loebs is currently homeless... and has one arm!
From BleedingCool: Award-winning novelist Margaret Atwood and comic book artist unite for the comic book miniseries, "War Bears."
From BleedingCool: Gail Simone talks about bringing together Tarzan and Red Sonja in a new comic book.
From ComicBookBin: New Johnny Bullet episode #156 in English.
From ComicBookBin: New Johnny Bullet episode #156 in French.
From PublishersWeekly: DC Comics signs Frank Miller to an exclusive book deal that is part of a larger strategy to increase its presence in the bookstore market.
From BleedingCool: Classic horror comics character, Swamp Thing, is getting a redesign for his appearance in the new "Justice League Dark" comic book series.
From BleedingCool: Julie Benson and Shawna Benson will be the new writers on "Green Lantern" beginning with "Green Lantern Annual 2."
From BleedingCool: Only the first issue of "DC Nation #0" will cost .25 cents.
From Vibe: Comic Book Anthology "Puerto Rico Strong" To Donate Proceeds To Hurricane Maria Relief Efforts
From PBSNewsHour: Opinion: Why ‘Black Panther’ and other comic books belong in the classroom
From BleedingCool: Oni Press solicitations for June 2018
From ComicBookBin: New web comic - Johnny Bullet episode #155 in English
From ComicBookBin: New web comic - Johnny Bullet episode #155 in French
From BleedingCool: IDW Publishing solicitations for June 2018
From ComicsBeat: Your crash course guide to DC’s new SANDMAN UNIVERSE line
From BleedingCool: Archie meets "Batman '66" in... what else... "Archie Meets Batman '66."
From MonkeysFightingRobots: "Free Comic Book Day" is not free for the retailers that offer comic books. Diamond Distributors is offering some relief on those costs for FCBD 2018.
From Newsarama: Dark Horse Comics will publish comic books that tie-in with Pixar's upcoming 3D animated film, "The Incredible 2."
From BleedingCool: DC Comics to translate and publish manga based on Batman and the Justice League.
From ComicBook: The current "Marvel 2-in-One" will introduce new Fantastic Four costumes.
From BleedingCool: Marvel Comics has a plan to make retailers over-order on "A Fresh Start."
From BleedingCool: DC Comics launches a new line of collections called "Essential Edition."
From Newsarama: Anne McCaffrey's "Dragonriders of Pern" returns to comic books via Dabel Brothers this fall. Eclipse Books previously adapted the fantasy novel series into comics in 1991.
From BlackEnterprise: Jazmin Truesdale has created Aza Comics, an all-female superhero comic book universe.
From BleedingCool: There will be a new "Hawkman" monthly comic book written by Robert Vendetti and drawn by Bryan Hitch. [Good luck with that. - Editor]
From BleedingCool: Chip Zdarsky Goes Marvel Exclusive
From SanDiegoUnionTribune: With 'Black Panther' and 'Black Lightning' emerging, the 'Encyclopedia of Black Comics' is here to help
From Ohio: 23-year-old Jimmy Scott was killed in 1966. His family hung onto his collection of over 1100 comic books, many of them key Silver Age issues. Jimmy's family recently sold the collection to a comic book store in Canal Fulton, Ohio.
From Brightly: 12 Things Parents and Educators Should Know About Manga for Middle Schoolers
From BleedingCool: 100 most ordered comic books and 100 top graphic novels for February 2018.
From TheHollywoodReporter: DC Comics announces a new imprint, "Black Label." It will place the best creators with established characters for out-of-continuity stories. "Superman: Year One" written by Frank Miller and drawn by John Romita, Jr. was one of the first announced titles.
From Newsarama: February 2018 comic book sales are down, but with a caveat.
From Comicsverse: Princess Leia manga arrives on "Star Wars Day."
From BleedingCool: Rich Tommaso giving us a really "special edition" of Clover Honey."
From BleedingCool: Netflix acquires Rob Liefeld's "Extreme Universe" of characters.
From BleedingCool: Former Marvel Comics editor and writer is now an editor at Valiant Entertainment.
From BleedingCool: Chris Ryall steps down as Editor-in-Chief as IDW Publishing.
From TheHollywoodReporter: Brian Michael Bendis has announced two new titles from "Jinxworld" (his creator-owned imprint), including one that reunites him with his "Alias" cohort, Michael Gaydos. Both will be published by Bendis' new home, DC Comics.
From ComicBook: Marvel will reinvent the origins of Captain Marvel/Carol Danvers.
From BleedingCool: Mark Buckingham is adapting four Neil Gaiman stories for a graphic novel anthology from Dark Horse Comics.
From BleedingCool: Illustrator J. Scott Campbell is the latest comic book star to express concern over the recent turns of events concerning legendary comic book creator and editor, Stan Lee.
From TheGuardian: "Neil Gaiman is to oversee a new line of comic books set in the world of the Sandman, continuing the adventures of some of his best-loved characters including Dream of the Endless and Lucien the librarian."
From WCET: Comic book store, "Memory Lane Comics and Toys" in Wilmington, NC, sees uptick in business after release of 'Black Panther'
From TokyoReporter: Manga artist Nobuhiro Nishiwaki fined for possessing child pornography
From Asahi: Mongolians irate over manga showing penis on Genghis Khan
From BleedingCool: To help alleviate the risk retailers take, Dark Horse Comics is expanding "returnability" of new titles.
From JapanToday: In 2017, online sales of manga surpassed print editions for the first time.
From TheAtlantic: Ta-Nehisi Coates explains why he is writing Marvel Comics "Captain America," with his first issue appearing Summer 2018.
From BleedingCool: AfterShock Comics Sends Care Packages to Comic Book Stores
From BleedingCool: Oni Press is publishing a new edition of Paul Tobin and Colleen Coover's all-ages comic, "Banana Sundays."
From BleedingCool: Diamond Brings Spinner Racks Back to Comic Stores
STAN LEE MELODRAMA:
From TheDailyMail: Stan Lee fires manager and his nurse who gave him naked showers over 'plot to estrange him from his daughter and sole heir' as cops probe missing millions and he battles pneumonia
From TheDailyBeast: ‘Picked Apart by Vultures’: The Last Days of Stan Lee
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Saturday, March 31, 2018
I Reads You Juniors March 2018 - Update #61
Labels:
Brian Michael Bendis,
Chip Zdarsky,
Colleen Coover,
DC Black Label,
Frank Miller,
Gail Simone,
Juniors,
Mark Buckingham,
Neil Gaiman,
Paul Tobin,
Rob Liefeld,
Star Wars,
Ta-Nehisi Coates,
The Sandman
Friday, March 30, 2018
Review: NICK FURY #1
NICK FURY No. 1 (2017)
MARVEL COMICS – @Marvel
[This review was originally posted on Patreon.]
STORY: James Robinson
PENCILS: ACO
INKS: Hugh Petrus
COLORS: Rachelle Rosenberg
LETTERS: Travis Lanham
COVER: ACO
VARIANT COVERS: John Tyler Christopher; Greg Land with Frank D'Armata; Mark Morales with Jason Keith; Bill Sienkiewicz
28pp, Color, $3.99 U.S. (June 2017)
Rated “T+”
“The Sky High Caper”
Nick Fury (Colonel Nicholas Joseph "Nick" Fury) is a Marvel Comics character. Created by writer/artist Jack Kirby and writer Stan Lee, Fury first appeared in Sgt. Fury and his Howling Commandos #1 (cover dated: May 1963), a World War II combat comic book series, in which Fury was depicted as a cigar-chomping, leader of an elite United States Army unit.
Marvel Comics introduced the modern Nick Fury in Fantastic Four #21 (cover dated: December 1963), making him a CIA agent. In Strange Tales #135 (cover dated: August 1965), the character again transformed, this time from a spy into the leading agent of the fictional espionage agency, S.H.I.E.L.D. In 2002, Nick Fury became a Black man that resembled actor Samuel L. Jackson in The Ultimates #1. Jackson would portray Fury in the Marvel Studios movies based on Marvel Comics, and the Jackson-lookalike Fury would replace the original white Fury in the main Marvel Universe.
That Sam Jackson Fury is the star of the new comic book series, Nick Fury. It is written by James Robinson; drawn by ACO (pencils) and Hugh Petrus (inks); colored by Rachelle Rosenberg; and lettered by Travis Lanham.
Nick Fury #1 (“The Sky High Caper”) opens with Nick Fury arriving in the French Riviera, where he must infiltrate the most secure parts of a imposing casino. Fury's target is a hidden data-stash belonging to Auric Goodfellow, a Hydra moneyman. Fury will likely be successful in getting what he wants, but Frankie Noble, Agent of Hydra plans on standing in his way.
I love the art in Nick Fury #1. Drawn by the artist known as ACO, the art recalls the Pop-Art infused comic book art that legendary comic book artist Jim Steranko produced during his run of Nick Fury comics in the late 1960. ACO's layout and design also recall Steve Rude's layout and design on his long-running comic book series, Nexus. ACO's art for Nick Fury combined with Rachelle Rosenberg's pastel-lite coloring sure is pretty.
However, the storytelling is shallow when it isn't confusing and confusing when it isn't shallow. As graphical storytelling, ACO's art is just too busy. Yeah, it is eye-candy to look at, but is a busy mess as storytelling. Honestly, if writer James Robinson had even attempted to tell a more complex story, there is no telling how crowded ACO would have made his art.
I think James Robinson offers in Nick Fury what Chris Samnee did in the first issue of his recent Black Widow comic book – an introductory issue that reads like a two-minute-egg version of an action sequence from a James Bond or Jason Bourne movie.
Honestly, I'll try the second issue of Nick Fury, although I never tried the second issue of Samnee's Black Widow.
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.
--------------------------
MARVEL COMICS – @Marvel
[This review was originally posted on Patreon.]
STORY: James Robinson
PENCILS: ACO
INKS: Hugh Petrus
COLORS: Rachelle Rosenberg
LETTERS: Travis Lanham
COVER: ACO
VARIANT COVERS: John Tyler Christopher; Greg Land with Frank D'Armata; Mark Morales with Jason Keith; Bill Sienkiewicz
28pp, Color, $3.99 U.S. (June 2017)
Rated “T+”
“The Sky High Caper”
Nick Fury (Colonel Nicholas Joseph "Nick" Fury) is a Marvel Comics character. Created by writer/artist Jack Kirby and writer Stan Lee, Fury first appeared in Sgt. Fury and his Howling Commandos #1 (cover dated: May 1963), a World War II combat comic book series, in which Fury was depicted as a cigar-chomping, leader of an elite United States Army unit.
Marvel Comics introduced the modern Nick Fury in Fantastic Four #21 (cover dated: December 1963), making him a CIA agent. In Strange Tales #135 (cover dated: August 1965), the character again transformed, this time from a spy into the leading agent of the fictional espionage agency, S.H.I.E.L.D. In 2002, Nick Fury became a Black man that resembled actor Samuel L. Jackson in The Ultimates #1. Jackson would portray Fury in the Marvel Studios movies based on Marvel Comics, and the Jackson-lookalike Fury would replace the original white Fury in the main Marvel Universe.
That Sam Jackson Fury is the star of the new comic book series, Nick Fury. It is written by James Robinson; drawn by ACO (pencils) and Hugh Petrus (inks); colored by Rachelle Rosenberg; and lettered by Travis Lanham.
Nick Fury #1 (“The Sky High Caper”) opens with Nick Fury arriving in the French Riviera, where he must infiltrate the most secure parts of a imposing casino. Fury's target is a hidden data-stash belonging to Auric Goodfellow, a Hydra moneyman. Fury will likely be successful in getting what he wants, but Frankie Noble, Agent of Hydra plans on standing in his way.
I love the art in Nick Fury #1. Drawn by the artist known as ACO, the art recalls the Pop-Art infused comic book art that legendary comic book artist Jim Steranko produced during his run of Nick Fury comics in the late 1960. ACO's layout and design also recall Steve Rude's layout and design on his long-running comic book series, Nexus. ACO's art for Nick Fury combined with Rachelle Rosenberg's pastel-lite coloring sure is pretty.
However, the storytelling is shallow when it isn't confusing and confusing when it isn't shallow. As graphical storytelling, ACO's art is just too busy. Yeah, it is eye-candy to look at, but is a busy mess as storytelling. Honestly, if writer James Robinson had even attempted to tell a more complex story, there is no telling how crowded ACO would have made his art.
I think James Robinson offers in Nick Fury what Chris Samnee did in the first issue of his recent Black Widow comic book – an introductory issue that reads like a two-minute-egg version of an action sequence from a James Bond or Jason Bourne movie.
Honestly, I'll try the second issue of Nick Fury, although I never tried the second issue of Samnee's Black Widow.
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.
--------------------------
Labels:
Bill Sienkiewicz,
Frank D'Armata,
Greg Land,
James Robinson,
Jason Keith,
John Tyler Christopher,
Mark Morales,
Marvel,
Rachelle Rosenberg,
Review
Wednesday, March 28, 2018
Review: BLACK PANTHER AND THE CREW #1
BLACK PANTHER AND THE CREW No. 1 (2017)
MARVEL COMICS – @Marvel
[This review was originally posted on Patreon.]
WRITER: Ta-Nehisi Coates
PENCILS: Butch Guice
INKS: Scott Hanna
COLORS: Dan Brown
LETTERS: VC's Joe Sabino
COVER: John Cassaday with Laura Martin
VARIANT COVERS: Rich Buckler; Jim Cheung with Jason Keith; John Tyler Christopher; Tom Palmer with Rachelle Rosenberg; Damian Scott with John Rauch
28pp, Color, $3.99 U.S. (June 2017)
Black Panther created by Stan Lee and Jack Kirby
Rated “T+”
“We are the Streets” Part 1 “Double Consciousness”
Although it was only published for seven issues in 2003, the comic book, The Crew, is apparently fondly remembered by some readers (myself among them) and comic book writers. Written by Christopher Priest and drawn by Joe Bennett, The Crew featured four hardened heroes who band together to fight for an impoverished neighborhood.
The Crew is the inspiration for the latest expansion of Marvel Comics' Black Panther line of comic books, Black Panther and The Crew. This new series is written Ta-Nehisi Coates; drawn by Butch Guice (pencils) and Scott Hanna (inks); colored by Dan Brown; and lettered by Joe Sabino.
Black Panther and The Crew #1 (“Double Consciousness”) opens in The Bronx in 1957 with a tale of Ezra Keith and his “crew.” The story moves to present day Harlem for the funeral of Ezra, who was killed while in police custody. Ezra's family has asked Misty Knight to investigate, but Knight is conflicted because of her ties to law enforcement. However, Misty is forced to admit that something is officially wrong and unites with the X-Men's Storm to fight the forces arrayed against her.
Apparently, writer Yona Harvey will script every other issue of this series, which means she will write Black Panther and The Crew #2 with Ta-Nehisi Coates returning for the third issue. I hope Harvey is as good as Coates is on this first issue, and I'm saying that considering that I did not expect much from the first issue. But I'm impressed and look forward to more.
Black Panther and The Crew #1 reads like one of those crime comic books published by DC Comics' Vertigo imprint or Image Comics and written by someone like Ed Brubaker or Brian Azzarello. Coates offers a sharply written urban drama that is complicated about complex matters. Black people vs. cops – it is not so clear cut simply because there are so many players and groups of players involved with their own goals and motivations.
I like Butch Guice's pencil art; it is his storytelling that realizes Coates' script as a multi-layered, street-level superhero drama. I have always thought that Guice's talent was underutilized, but here he gets to show the scope of his graphical storytelling abilities. I highly recommend trying at least the first issue of Black Panther and The Crew.
A
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.
----------------------------------
MARVEL COMICS – @Marvel
[This review was originally posted on Patreon.]
WRITER: Ta-Nehisi Coates
PENCILS: Butch Guice
INKS: Scott Hanna
COLORS: Dan Brown
LETTERS: VC's Joe Sabino
COVER: John Cassaday with Laura Martin
VARIANT COVERS: Rich Buckler; Jim Cheung with Jason Keith; John Tyler Christopher; Tom Palmer with Rachelle Rosenberg; Damian Scott with John Rauch
28pp, Color, $3.99 U.S. (June 2017)
Black Panther created by Stan Lee and Jack Kirby
Rated “T+”
“We are the Streets” Part 1 “Double Consciousness”
Although it was only published for seven issues in 2003, the comic book, The Crew, is apparently fondly remembered by some readers (myself among them) and comic book writers. Written by Christopher Priest and drawn by Joe Bennett, The Crew featured four hardened heroes who band together to fight for an impoverished neighborhood.
The Crew is the inspiration for the latest expansion of Marvel Comics' Black Panther line of comic books, Black Panther and The Crew. This new series is written Ta-Nehisi Coates; drawn by Butch Guice (pencils) and Scott Hanna (inks); colored by Dan Brown; and lettered by Joe Sabino.
Black Panther and The Crew #1 (“Double Consciousness”) opens in The Bronx in 1957 with a tale of Ezra Keith and his “crew.” The story moves to present day Harlem for the funeral of Ezra, who was killed while in police custody. Ezra's family has asked Misty Knight to investigate, but Knight is conflicted because of her ties to law enforcement. However, Misty is forced to admit that something is officially wrong and unites with the X-Men's Storm to fight the forces arrayed against her.
Apparently, writer Yona Harvey will script every other issue of this series, which means she will write Black Panther and The Crew #2 with Ta-Nehisi Coates returning for the third issue. I hope Harvey is as good as Coates is on this first issue, and I'm saying that considering that I did not expect much from the first issue. But I'm impressed and look forward to more.
Black Panther and The Crew #1 reads like one of those crime comic books published by DC Comics' Vertigo imprint or Image Comics and written by someone like Ed Brubaker or Brian Azzarello. Coates offers a sharply written urban drama that is complicated about complex matters. Black people vs. cops – it is not so clear cut simply because there are so many players and groups of players involved with their own goals and motivations.
I like Butch Guice's pencil art; it is his storytelling that realizes Coates' script as a multi-layered, street-level superhero drama. I have always thought that Guice's talent was underutilized, but here he gets to show the scope of his graphical storytelling abilities. I highly recommend trying at least the first issue of Black Panther and The Crew.
A
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this site for reprint and syndication rights and fees.
----------------------------------
Labels:
Black Panther,
Dan Brown,
Jason Keith,
Jim Cheung,
John Cassaday,
John Tyler Christopher,
Laura Martin,
Marvel,
Rachelle Rosenberg,
Review,
Scott Hanna,
Ta-Nehisi Coates,
Tom Palmer
Monday, March 26, 2018
BOOM! Studios from Diamond Distributors for March 28, 2018
BOOM! STUDIOS
JAN181347 ABBOTT #3 (OF 5) $3.99
JAN181371 ADVENTURE TIME BMO BONANZA #1 $7.99
JAN181335 JIM HENSON LABYRINTH CORONATION #2 (OF 12) $3.99
JAN181336 JIM HENSON LABYRINTH CORONATION #2 (OF 12) SUBSCRIPTION ISAA $3.99
JAN181346 LUCAS STAND INNER DEMONS #2 (OF 4) (MR) $3.99
JAN181369 LUMBERJANES #48 $3.99
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NOV171352 LUMBERJANES BONUS TRACKS TP $14.99
JAN181312 MIGHTY MORPHIN POWER RANGERS #25 POLYBAG MIX SG $4.99
JAN181313 MIGHTY MORPHIN POWER RANGERS #25 SUBSCRIPTION GIBSON VAR SG $4.99
JAN181352 PLANET OF THE APES URSUS #3 MAIN & MIX $3.99
JAN181353 PLANET OF THE APES URSUS #3 SUBSCRIPTION CAREY VAR $3.99
JAN181328 RUGRATS #6 $3.99
JAN181329 RUGRATS #6 SUBSCRIPTION CHARM VAR $3.99
NOV171371 STEVEN UNIVERSE ONGOING TP VOL 02 PUNCHING UP $14.99
NOV171311 WWE THEN NOW FOREVER TP VOL 01 $16.99
JAN181347 ABBOTT #3 (OF 5) $3.99
JAN181371 ADVENTURE TIME BMO BONANZA #1 $7.99
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JAN181336 JIM HENSON LABYRINTH CORONATION #2 (OF 12) SUBSCRIPTION ISAA $3.99
JAN181346 LUCAS STAND INNER DEMONS #2 (OF 4) (MR) $3.99
JAN181369 LUMBERJANES #48 $3.99
JAN181370 LUMBERJANES #48 SUBSCRIPTION WONG VAR $3.99
NOV171352 LUMBERJANES BONUS TRACKS TP $14.99
JAN181312 MIGHTY MORPHIN POWER RANGERS #25 POLYBAG MIX SG $4.99
JAN181313 MIGHTY MORPHIN POWER RANGERS #25 SUBSCRIPTION GIBSON VAR SG $4.99
JAN181352 PLANET OF THE APES URSUS #3 MAIN & MIX $3.99
JAN181353 PLANET OF THE APES URSUS #3 SUBSCRIPTION CAREY VAR $3.99
JAN181328 RUGRATS #6 $3.99
JAN181329 RUGRATS #6 SUBSCRIPTION CHARM VAR $3.99
NOV171371 STEVEN UNIVERSE ONGOING TP VOL 02 PUNCHING UP $14.99
NOV171311 WWE THEN NOW FOREVER TP VOL 01 $16.99
Dark Horse Comics from Diamond Distributors for March 28, 2018
DARK HORSE COMICS
NOV170058 BLOOD BLOCKADE BATTLEFRONT TP VOL 09 $12.99
JAN180124 BTVS SEASON 11 GILES #2 JOVELLANOS VAR $3.99
JAN180123 BTVS SEASON 11 GILES #2 MAIN $3.99
NOV170045 CRASH BANDICOOT FILES HC $29.99
JAN180113 HUNGRY GHOSTS #3 (OF 4) (MR) $3.99
APR170129 WITCHER 3 WILD HUNT FIGURE DANDELION $39.99
APR170128 WITCHER 3 WILD HUNT FIGURE SHANI $39.99
NOV170046 WORLD OF WARCRAFT CHRONICLE HC VOL 03 $39.99
NOV170058 BLOOD BLOCKADE BATTLEFRONT TP VOL 09 $12.99
JAN180124 BTVS SEASON 11 GILES #2 JOVELLANOS VAR $3.99
JAN180123 BTVS SEASON 11 GILES #2 MAIN $3.99
NOV170045 CRASH BANDICOOT FILES HC $29.99
JAN180113 HUNGRY GHOSTS #3 (OF 4) (MR) $3.99
APR170129 WITCHER 3 WILD HUNT FIGURE DANDELION $39.99
APR170128 WITCHER 3 WILD HUNT FIGURE SHANI $39.99
NOV170046 WORLD OF WARCRAFT CHRONICLE HC VOL 03 $39.99
DC Comics from Diamond Distributors for March 28, 2018
DC COMICS
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JAN180257 BATGIRL #21 VAR ED $3.99
DEC170375 BATGIRL TP VOL 03 SUMMER OF LIES REBIRTH $16.99
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JAN180272 BATMAN BEYOND #18 VAR ED $3.99
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DEC170388 BATMAN NOIR THE DARK KNIGHT STRIKES AGAIN HC $39.99
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JAN180353 TRINITY #20 VAR ED $3.99
JAN180356 WONDER WOMAN #43 $2.99
JAN180357 WONDER WOMAN #43 VAR ED $2.99
-----------------------------
JAN180256 BATGIRL #21 $3.99
JAN180257 BATGIRL #21 VAR ED $3.99
DEC170375 BATGIRL TP VOL 03 SUMMER OF LIES REBIRTH $16.99
DEC170384 BATMAN 66 MEETS WONDER WOMAN 77 TP $16.99
JAN180271 BATMAN BEYOND #18 $3.99
JAN180272 BATMAN BEYOND #18 VAR ED $3.99
SEP170452 BATMAN BLACK & WHITE BATMAN SPY STATUE BY KUPER $80.00
DEC170389 BATMAN GOTHIC TP NEW EDITION $16.99
DEC170388 BATMAN NOIR THE DARK KNIGHT STRIKES AGAIN HC $39.99
DEC170230 DARK NIGHTS METAL #6 (OF 6) $4.99
DEC170231 DARK NIGHTS METAL #6 (OF 6) DANIEL VAR ED $4.99
DEC170232 DARK NIGHTS METAL #6 (OF 6) KUBERT VAR ED $4.99
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Labels:
AfterShock,
Archie Comics,
Book News,
comics news,
Diamond Distributors,
Disney,
Fantagraphics Books,
manga news,
Titan Publishing,
Valiant Comics,
Zenescope Entertainment
Friday, March 23, 2018
Review: LOVECRAFT: The Myth of Cthulhu
LOVECRAFT: THE MYTH OF CTHULHU
IDW PUBLISHING – @IDWPublishing
[This review was originally posted on Patreon.]
SCRIPT: Esteban Maroto – adapted from stories by H.P. Lovecraft
ART: Esteban Maroto
TRANSLATION: Anna Rosenwong
EDITORS: Justin Eisinger and Alonzo Simon
COVER: Esteban Maroto with Santi Casas
ISBN: 978-1-68405-125-0; hardcover (February 2018)
80pp, B&W, $19.99 U.S., $25.99 CAN (February 14, 2018)
Introduction to the Cthulhu Mythos by José Villarrubìa
Prologue and Preface by Esteban Maroto
Estaban Maroto is a Spanish comic book artist. Maroto was the second most prolific contributor to Warren Publishing's line of horror comic book magazines (Creepy, Eerie, and Vampirella) and worked for the publisher from 1971 to 1983. Many fans may remember Maroto as the artist on DC Comics' seven-issue miniseries, Atlantis Chronicles, or perhaps for designing the “metal bikini” worn by Marvel Comics' Conan the Barbarian character, Red Sonja.
Howard Phillips Lovecraft, better known as H.P. Lovecraft (1890 – 1937) was an American writer of horror fiction. After his death, Lovecraft's writing became hugely influential and some critics, historians, and writers now regard him as one of the most significant 20th-century authors not only in the horror genre, but also in literature in general.
Back in the early 1980s, a Spanish publisher (Editorial Bruguera) planned a series of comic book adaptations of classic short stories from the science fiction, fantasy, and horror genres. Asked to contribute, Estaban Maroto decided to adapt three of H.P. Lovecraft stories that were part of a story cycle now known as “the Cthulhu Mythos.” Those stories were “The Nameless City” (first published in the November 1921 issue of the amateur press journal, The Wolverine); “The Festival” (initially published in the January 1925 issue of seminal pulp magazine, Weird Tales); and “The Call of Cthulhu” (first published in Weird Tales, February 1928).
Bruguera went bankrupt before publishing Maroto's three Lovecraft tales. According to Spanish comic book artist and colorist, José Villarrubìa, the stories were eventually published in a Spanish children's comics magazine (Capitán Trueno). In 2000, defunct American publisher, Cross Plains, published Maroto's stories with a new script written by legendary comic book writer and editor, Roy Thomas. In 2016, Spanish media company, Editorial Planeta, SA, published Maroto's Lovecraft stories in an edition that satisfied Maroto and was entitled, Los Mitos de Cthulhu de Lovecraft.
Now, IDW Publishing is releasing an American edition of Los Mitos de Cthulhu de Lovecraft as a hardcover book under the title, Lovecraft: The Myth of Cthulhu. It sports a full-color cover with the interior art reproducing Esteban Maroto's comics art in its original black and white.
Esteban Maroto! H.P. Lovecraft! I'm all in! Lovecraft: The Myth of Cthulhu is the latest entry in IDW Publishing's catalog of gorgeous hardcover original graphic novels, comics art books, and trade collections. These books are so fine that they are worthy of being sexed-up. Seriously, Lovecraft: The Myth of Cthulhu is a gorgeous book, and I cannot stop looking through it.
As for the contents, Maroto's adaptations of Lovecraft are... well... lovingly crafted. Almost decades after their creation, these comics are like treasures from comics days of yore, but they are also still vibrant in their design and conception and unsettling in the narratives they hold.
“The Nameless City” is a travelogue that I can best describe as blending Lovecraft with director Paolo Sorrentino's 2013 film, The Great Beauty. It is as if the protagonist is traveling through the hideous beauty of the declining elder gods bourgeoisie. In this story, Maroto's art is highly detailed, but the subject matter is impressionistic rather than literal. Some observers have argued that the horror of Lovecraft’s fiction is that the reader visualizes the horror in his mind, rather than have an artist show them what that “Lovecraftian” horror looks like.
That observation is evident in the shadowy, misty, dream world of “The Festival.” Here, Maroto art is sparse and elaborate at the same time. It is as if the artist is creating a realist portrait of a surrealistic and nightmarish shadow land. Crosshatching and line work emanate from buildings and walls like aurora borealis from a shimmery world that could just as easily be Hell or an other-dimensional Hades.
Maroto's blend of the literal and the impressionistic, of the dreamlike and of the waking nightmares culminates in “The Call of Cthulhu,” a masterpiece of a story within a story within a story. In Maroto's graphical storytelling, the high art of Hugo Pratt meets the madness of Graham Ingels in a story that gave me chills by the time the last ten pages slithered before me. The story's dark, inescapable destiny is visualized, so, yes, the graphics of the comics mediums can match the horrors that the reader's mind might fashion out of the end of “The Call of Cthulhu.”
I can only imagine what might have been if the original solicitor of this work had not gone bankrupt so early in the process of its project to adapt classic genre short stories into comics. What Esteban Maroto did give us, however, is a graphics masterpiece of horror storytelling, so I appreciate what we do have all these years later. Thank you, IDW.
9 out of 10
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.
------------------------------
IDW PUBLISHING – @IDWPublishing
[This review was originally posted on Patreon.]
SCRIPT: Esteban Maroto – adapted from stories by H.P. Lovecraft
ART: Esteban Maroto
TRANSLATION: Anna Rosenwong
EDITORS: Justin Eisinger and Alonzo Simon
COVER: Esteban Maroto with Santi Casas
ISBN: 978-1-68405-125-0; hardcover (February 2018)
80pp, B&W, $19.99 U.S., $25.99 CAN (February 14, 2018)
Introduction to the Cthulhu Mythos by José Villarrubìa
Prologue and Preface by Esteban Maroto
Estaban Maroto is a Spanish comic book artist. Maroto was the second most prolific contributor to Warren Publishing's line of horror comic book magazines (Creepy, Eerie, and Vampirella) and worked for the publisher from 1971 to 1983. Many fans may remember Maroto as the artist on DC Comics' seven-issue miniseries, Atlantis Chronicles, or perhaps for designing the “metal bikini” worn by Marvel Comics' Conan the Barbarian character, Red Sonja.
Howard Phillips Lovecraft, better known as H.P. Lovecraft (1890 – 1937) was an American writer of horror fiction. After his death, Lovecraft's writing became hugely influential and some critics, historians, and writers now regard him as one of the most significant 20th-century authors not only in the horror genre, but also in literature in general.
Back in the early 1980s, a Spanish publisher (Editorial Bruguera) planned a series of comic book adaptations of classic short stories from the science fiction, fantasy, and horror genres. Asked to contribute, Estaban Maroto decided to adapt three of H.P. Lovecraft stories that were part of a story cycle now known as “the Cthulhu Mythos.” Those stories were “The Nameless City” (first published in the November 1921 issue of the amateur press journal, The Wolverine); “The Festival” (initially published in the January 1925 issue of seminal pulp magazine, Weird Tales); and “The Call of Cthulhu” (first published in Weird Tales, February 1928).
Bruguera went bankrupt before publishing Maroto's three Lovecraft tales. According to Spanish comic book artist and colorist, José Villarrubìa, the stories were eventually published in a Spanish children's comics magazine (Capitán Trueno). In 2000, defunct American publisher, Cross Plains, published Maroto's stories with a new script written by legendary comic book writer and editor, Roy Thomas. In 2016, Spanish media company, Editorial Planeta, SA, published Maroto's Lovecraft stories in an edition that satisfied Maroto and was entitled, Los Mitos de Cthulhu de Lovecraft.
Now, IDW Publishing is releasing an American edition of Los Mitos de Cthulhu de Lovecraft as a hardcover book under the title, Lovecraft: The Myth of Cthulhu. It sports a full-color cover with the interior art reproducing Esteban Maroto's comics art in its original black and white.
Esteban Maroto! H.P. Lovecraft! I'm all in! Lovecraft: The Myth of Cthulhu is the latest entry in IDW Publishing's catalog of gorgeous hardcover original graphic novels, comics art books, and trade collections. These books are so fine that they are worthy of being sexed-up. Seriously, Lovecraft: The Myth of Cthulhu is a gorgeous book, and I cannot stop looking through it.
As for the contents, Maroto's adaptations of Lovecraft are... well... lovingly crafted. Almost decades after their creation, these comics are like treasures from comics days of yore, but they are also still vibrant in their design and conception and unsettling in the narratives they hold.
“The Nameless City” is a travelogue that I can best describe as blending Lovecraft with director Paolo Sorrentino's 2013 film, The Great Beauty. It is as if the protagonist is traveling through the hideous beauty of the declining elder gods bourgeoisie. In this story, Maroto's art is highly detailed, but the subject matter is impressionistic rather than literal. Some observers have argued that the horror of Lovecraft’s fiction is that the reader visualizes the horror in his mind, rather than have an artist show them what that “Lovecraftian” horror looks like.
That observation is evident in the shadowy, misty, dream world of “The Festival.” Here, Maroto art is sparse and elaborate at the same time. It is as if the artist is creating a realist portrait of a surrealistic and nightmarish shadow land. Crosshatching and line work emanate from buildings and walls like aurora borealis from a shimmery world that could just as easily be Hell or an other-dimensional Hades.
Maroto's blend of the literal and the impressionistic, of the dreamlike and of the waking nightmares culminates in “The Call of Cthulhu,” a masterpiece of a story within a story within a story. In Maroto's graphical storytelling, the high art of Hugo Pratt meets the madness of Graham Ingels in a story that gave me chills by the time the last ten pages slithered before me. The story's dark, inescapable destiny is visualized, so, yes, the graphics of the comics mediums can match the horrors that the reader's mind might fashion out of the end of “The Call of Cthulhu.”
I can only imagine what might have been if the original solicitor of this work had not gone bankrupt so early in the process of its project to adapt classic genre short stories into comics. What Esteban Maroto did give us, however, is a graphics masterpiece of horror storytelling, so I appreciate what we do have all these years later. Thank you, IDW.
9 out of 10
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.
------------------------------
Labels:
Art Book,
Esteban Maroto,
Eurocomics,
IDW,
Jose Villarrubia,
Lovecraft,
Review
Thursday, March 22, 2018
Review: BLUBBER #2
BLUBBER No. 2
FANTAGRAPHICS BOOKS – @fantagraphics
[This review was originally posted on Patreon.]
CARTOONIST: Gilbert Hernandez
EDITOR: Eric Reynolds
COVER: Gilbert Hernandez with Paul Baresh
24pp, B&W, $3.99 U.S. (January 2016)
Gilbert Hernandez is the cartoonist, comic book creator, and graphic novelist best known for being one-half of the duo known as “Los Bros.” along with his brother, Jaime Hernandez. Together, the two Eisner Award (Will Eisner Comics Industry Awards) winners have produced the seminal, alternative comic book series, Love and Rockets, for more than 30 years. As a “solo act,” Gilbert (a.k.a. “Beto”) has also produced numerous original graphic novels and several comic book miniseries for publishers Dark Horse Comics, DC Comics, and Drawn & Quarterly, as well as for his original publisher Fantagraphics Books.
In 2015, Fantagraphics launched Beto's latest solo offering, entitled Blubber. This black and white comic book series offers short stories and vignettes featuring a cast of misfits, monsters, and anthropomorphic types. Beto also presents his usual mix of bizarre characters and strange stories, a hallmark of his comix going back to the beginning of his public work.
Blubber #2 (which debuted in late 2015) opens with an inside front cover comic, “XXX Superstar Pupusi and Her Pals!” which is sprinkled with masturbation, fellatio, cock-sucking, and anal penetration. The opening story is “T.A.C. Man vs The Pollum.” T.A.C. (Tactical Advanced Commando) Man wears pro wrestling briefs and is kind of like the T.H.U.N.D.E.R. Agents' Dynamo. T.A.C. Man's boss, Mr. Hippy, orders him to fight “The Pollum,” a yeti/Bigfoot-type creature. T.A.C.'s rival, Marshman, however, has his own plans versus the Pollum. Penises and the various uses of them take center stage.
Also, it's the Froat versus the Loo in “Who Fears the Froat?” Centurions (each one having what is essentially a micro-penis) arrive in a strange locale and use the local fauna to help them climax in “Sweet.” Temperamental “Tamper” fights the Skrull-like “Junipero Molestat” in the story, “TAMPERRRRRR.” In “Padre Puto,” the Padre and a few of his pals learn the dangers of using zombies for sexual pleasure. And in “The Marsh Man's Folly,” T.A.C. Man and Marshman engage in a strenuous contest.
I gave a rave review to Blubber #1 about two years ago. I wrote that it fascinated me and how I re-read much of it and that the one issue was not enough for me. I even wrote that Blubber #1 reminded me of the ethereal and beautiful explorations contained in Moebius' Une jeunesse heureuse (released as a small leather-bound notebook, published in the 1990s).
I don't feel like raving about Blubber #2, but not because it isn't good. I love it, but I might lose control and end up writing a piece that is the review equivalent of “spewing my goo.” This is a fantastic comic book, a true heir to the freedom and ballsy attitude cartoonists and comix creators displayed in the classic Underground Comix of the 1960s and 1970s.
I often praise the stellar art of Beto's brother, Jaime Hernandez, but Beto is also a master cartoonist. The figure drawing of Padre in “Padre Puto” suggests some incredibly precise inking, especially in the depictions of Padre's face, head, and hands. Also, Beto can draw a pretty stout and firm erect penis, to boot, and his T.A.C. Man and Marshman battles are presented with excellence.
Yeah, I have the two issues of Blubber published since the second issue, and I am sure I will have something to say about them. As I wrote of the first issue: this crazy little comic book proves once again that not only is Gilbert Hernandez the best American comic book writer of the last four decades; he is also one of its essential visionaries.
A+
Reviewed by Leroy Douresseaux a.k.a. "I Reads You'
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.
------------------------------
FANTAGRAPHICS BOOKS – @fantagraphics
[This review was originally posted on Patreon.]
CARTOONIST: Gilbert Hernandez
EDITOR: Eric Reynolds
COVER: Gilbert Hernandez with Paul Baresh
24pp, B&W, $3.99 U.S. (January 2016)
Gilbert Hernandez is the cartoonist, comic book creator, and graphic novelist best known for being one-half of the duo known as “Los Bros.” along with his brother, Jaime Hernandez. Together, the two Eisner Award (Will Eisner Comics Industry Awards) winners have produced the seminal, alternative comic book series, Love and Rockets, for more than 30 years. As a “solo act,” Gilbert (a.k.a. “Beto”) has also produced numerous original graphic novels and several comic book miniseries for publishers Dark Horse Comics, DC Comics, and Drawn & Quarterly, as well as for his original publisher Fantagraphics Books.
In 2015, Fantagraphics launched Beto's latest solo offering, entitled Blubber. This black and white comic book series offers short stories and vignettes featuring a cast of misfits, monsters, and anthropomorphic types. Beto also presents his usual mix of bizarre characters and strange stories, a hallmark of his comix going back to the beginning of his public work.
Blubber #2 (which debuted in late 2015) opens with an inside front cover comic, “XXX Superstar Pupusi and Her Pals!” which is sprinkled with masturbation, fellatio, cock-sucking, and anal penetration. The opening story is “T.A.C. Man vs The Pollum.” T.A.C. (Tactical Advanced Commando) Man wears pro wrestling briefs and is kind of like the T.H.U.N.D.E.R. Agents' Dynamo. T.A.C. Man's boss, Mr. Hippy, orders him to fight “The Pollum,” a yeti/Bigfoot-type creature. T.A.C.'s rival, Marshman, however, has his own plans versus the Pollum. Penises and the various uses of them take center stage.
Also, it's the Froat versus the Loo in “Who Fears the Froat?” Centurions (each one having what is essentially a micro-penis) arrive in a strange locale and use the local fauna to help them climax in “Sweet.” Temperamental “Tamper” fights the Skrull-like “Junipero Molestat” in the story, “TAMPERRRRRR.” In “Padre Puto,” the Padre and a few of his pals learn the dangers of using zombies for sexual pleasure. And in “The Marsh Man's Folly,” T.A.C. Man and Marshman engage in a strenuous contest.
I gave a rave review to Blubber #1 about two years ago. I wrote that it fascinated me and how I re-read much of it and that the one issue was not enough for me. I even wrote that Blubber #1 reminded me of the ethereal and beautiful explorations contained in Moebius' Une jeunesse heureuse (released as a small leather-bound notebook, published in the 1990s).
I don't feel like raving about Blubber #2, but not because it isn't good. I love it, but I might lose control and end up writing a piece that is the review equivalent of “spewing my goo.” This is a fantastic comic book, a true heir to the freedom and ballsy attitude cartoonists and comix creators displayed in the classic Underground Comix of the 1960s and 1970s.
I often praise the stellar art of Beto's brother, Jaime Hernandez, but Beto is also a master cartoonist. The figure drawing of Padre in “Padre Puto” suggests some incredibly precise inking, especially in the depictions of Padre's face, head, and hands. Also, Beto can draw a pretty stout and firm erect penis, to boot, and his T.A.C. Man and Marshman battles are presented with excellence.
Yeah, I have the two issues of Blubber published since the second issue, and I am sure I will have something to say about them. As I wrote of the first issue: this crazy little comic book proves once again that not only is Gilbert Hernandez the best American comic book writer of the last four decades; he is also one of its essential visionaries.
A+
Reviewed by Leroy Douresseaux a.k.a. "I Reads You'
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.
------------------------------
Tuesday, March 20, 2018
Review: STAR WARS: Rogue One Adaptation #1
STAR WARS: ROGUE ONE ADAPTATION No. 1
MARVEL COMICS – @Marvel
[This review was originally posted on Patreon. Please, visit the "Star Wars Central" review page here.]
WRITER: Jody Houser (based on the screenplay by Chris Weitz and Tony Gilroy and the story by John Knoll and Gary Whitta)
ART: Emilio Laiso and Oscar Bazaldua
COLORS: Rachelle Rosenberg
LETTERS: VC's Clayton Cowles
COVER: Phil Noto
VARIANT COVERS: John Tyler Christopher; Terry Dodson; Mike Mayhew; Joe Quinones
36pp, Color, $4.99 U.S. (June 2017)
Rated “T”
Afterword by Gareth Edwards, Rogue One: A Star Wars Story
Released in December 2016, Rogue One: A Star Wars Story is the eighth live-action Star Wars film. It is also the first Star Wars film not to directly focus on the main story line of the previous films, which is the struggle for the fate of the galaxy involving the Skywalker family and the Jedi against the Sith and the Galactic Empire or its antecedents and descendants.
Rogue One is a stand-alone film that is set immediately before the events depicted in the original Star Wars (1977). The Galactic Empire grows ever more powerful, but a determined rebellion against the Empire continues to gain strength. Rogue One tells the story of how a small band of rebels obtained the data and classified information that caused an Imperial Star Destroyer to accost a small Rebel cruiser at the beginning of the film now known as Star Wars: Episode IV – A New Hope.
Marvel Comics just began publishing its comic book adaptation of Rogue One with the release of Star Wars: Rogue One Adaptation. It is written by Jody Houser; drawn by Emilio Laiso and Oscar Bazaldua; colored by Rachelle Rosenberg; and lettered by Clayton Cowles.
Star Wars: Rogue One Adaptation #1 opens 15 years before the main story and reveals how the Empire forced the scientist Galen Erso back into Imperial service. Fifteen years later, the Rebel Alliance has learned that Erso is the key figure in creating a “planet killing” machine for the Empire. That information comes from Bodhi Rook, a Imperial cargo pilot who has defected from service to the Empire. Now, Rook is in the hands of rebel extremist, Saw Gerrera, and only Galen Erso's daughter, Jyn Erso (also known as “Liana Hallick), can help the rebellion find and negotiate with Gerrera for the release of Rook. Can the leaders of the rebellion convince Jyn, a career criminal to help them?
Writing this review, I suddenly realize how much someone has to know in order to fully enjoy Rogue One: A Star Wars Story. I don't know if someone who knows little or nothing about four decades of Star Wars films can fully understand Rogue One because I cannot be in their position. I can't unlearn the Star Wars data, characters, and story that I have absorbed over four decades of loving Star Wars. I guess anyone could enjoy Rogue One if he or she understands the basic premise; fully understanding and/or appreciating Rogue One's context in a larger “world of Star Wars” is another thing.
Like Marvel Comics' comic book adaptation of the 2015 film, Star Wars: the Force Awakens, their comic book adaptation, Star Wars: Rogue One Adaptation is a nice way to experience the story again. This is not a great comic book, but it is good, and I found myself enjoying it because I really enjoyed the Rogue One film. I need to read at least one more issue to see if this comic book can close to capturing the subtlety, mood, and intense drama of the movie.
Despite what Rogue One film director Gareth Edwards says about artist Emilio Laiso in his afterword to this first issue, Laiso's art is nice, but not beautiful. Laiso's compositions do not result in high drama, and Rachelle Rosenberg's colors are too flat, but everything could improve in later issues.
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.
------------------------------------------------
MARVEL COMICS – @Marvel
[This review was originally posted on Patreon. Please, visit the "Star Wars Central" review page here.]
WRITER: Jody Houser (based on the screenplay by Chris Weitz and Tony Gilroy and the story by John Knoll and Gary Whitta)
ART: Emilio Laiso and Oscar Bazaldua
COLORS: Rachelle Rosenberg
LETTERS: VC's Clayton Cowles
COVER: Phil Noto
VARIANT COVERS: John Tyler Christopher; Terry Dodson; Mike Mayhew; Joe Quinones
36pp, Color, $4.99 U.S. (June 2017)
Rated “T”
Afterword by Gareth Edwards, Rogue One: A Star Wars Story
Released in December 2016, Rogue One: A Star Wars Story is the eighth live-action Star Wars film. It is also the first Star Wars film not to directly focus on the main story line of the previous films, which is the struggle for the fate of the galaxy involving the Skywalker family and the Jedi against the Sith and the Galactic Empire or its antecedents and descendants.
Rogue One is a stand-alone film that is set immediately before the events depicted in the original Star Wars (1977). The Galactic Empire grows ever more powerful, but a determined rebellion against the Empire continues to gain strength. Rogue One tells the story of how a small band of rebels obtained the data and classified information that caused an Imperial Star Destroyer to accost a small Rebel cruiser at the beginning of the film now known as Star Wars: Episode IV – A New Hope.
Marvel Comics just began publishing its comic book adaptation of Rogue One with the release of Star Wars: Rogue One Adaptation. It is written by Jody Houser; drawn by Emilio Laiso and Oscar Bazaldua; colored by Rachelle Rosenberg; and lettered by Clayton Cowles.
Star Wars: Rogue One Adaptation #1 opens 15 years before the main story and reveals how the Empire forced the scientist Galen Erso back into Imperial service. Fifteen years later, the Rebel Alliance has learned that Erso is the key figure in creating a “planet killing” machine for the Empire. That information comes from Bodhi Rook, a Imperial cargo pilot who has defected from service to the Empire. Now, Rook is in the hands of rebel extremist, Saw Gerrera, and only Galen Erso's daughter, Jyn Erso (also known as “Liana Hallick), can help the rebellion find and negotiate with Gerrera for the release of Rook. Can the leaders of the rebellion convince Jyn, a career criminal to help them?
Writing this review, I suddenly realize how much someone has to know in order to fully enjoy Rogue One: A Star Wars Story. I don't know if someone who knows little or nothing about four decades of Star Wars films can fully understand Rogue One because I cannot be in their position. I can't unlearn the Star Wars data, characters, and story that I have absorbed over four decades of loving Star Wars. I guess anyone could enjoy Rogue One if he or she understands the basic premise; fully understanding and/or appreciating Rogue One's context in a larger “world of Star Wars” is another thing.
Like Marvel Comics' comic book adaptation of the 2015 film, Star Wars: the Force Awakens, their comic book adaptation, Star Wars: Rogue One Adaptation is a nice way to experience the story again. This is not a great comic book, but it is good, and I found myself enjoying it because I really enjoyed the Rogue One film. I need to read at least one more issue to see if this comic book can close to capturing the subtlety, mood, and intense drama of the movie.
Despite what Rogue One film director Gareth Edwards says about artist Emilio Laiso in his afterword to this first issue, Laiso's art is nice, but not beautiful. Laiso's compositions do not result in high drama, and Rachelle Rosenberg's colors are too flat, but everything could improve in later issues.
Reviewed by Leroy Douresseaux a.k.a. "I Reads You"
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.
------------------------------------------------
Labels:
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Monday, March 19, 2018
DC Comics from Diamond Distributors for March 21, 2018
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JAN180251 AQUAMAN #34 $3.99
JAN180252 AQUAMAN #34 VAR ED $3.99
DEC170382 AQUAMAN THE LEGEND OF AQUAMAN TP $19.99
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JAN180263 BATMAN #43 VAR ED $2.99
SEP170451 BATMAN ANIMATED JOKER EXPRESSIONS PACK $50.00
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JAN180263 BATMAN #43 VAR ED $2.99
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DEC170390 BATMAN NEW GOTHAM TP VOL 02 $24.99
JAN180264 BATMAN SINS OF THE FATHER #2 (OF 6) $2.99
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JAN180364 FUTURE QUEST PRESENTS #8 VAR ED $3.99
JAN180297 GREEN LANTERNS #43 $2.99
JAN180298 GREEN LANTERNS #43 VAR ED $2.99
JAN180305 HARLEY QUINN #40 $2.99
JAN180306 HARLEY QUINN #40 VAR ED $2.99
JAN180312 INJUSTICE 2 #22 $2.99
JAN180315 JUSTICE LEAGUE #41 $2.99
JAN180316 JUSTICE LEAGUE #41 VAR ED $2.99
DEC170396 JUSTICE LEAGUE TASK FORCE TP VOL 01 PURIFICATION PLAGUE $29.99
JAN180328 NIGHTWING #41 $2.99
JAN180329 NIGHTWING #41 VAR ED $2.99
DEC170398 PLANETARY TP BOOK 02 $24.99
JAN180344 SUPER SONS #14 $3.99
JAN180345 SUPER SONS #14 VAR ED $3.99
JAN180342 SUPERMAN #43 $2.99
JAN180343 SUPERMAN #43 VAR ED $2.99
NOV170353 SUPERMAN ACTION COMICS DLX ED MR OZ HC REBIRTH $29.99
JAN188153 SWAMP THING WINTER SPECIAL #1 2ND PTG $7.99
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Labels:
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Marvel Comics from Diamond Distributors for March 21, 2018
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JAN180909 INCREDIBLE HULK #714 LEG WW $3.99
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IDW Publishing from Diamond Distributors for March 21, 2018
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