COMICS & GRAPHIC NOVELS
DEC170980 ACTIONVERSE ONGOING #6 STRAY CVR A BALLARD RAMOS JR $3.99
DEC170981 ACTIONVERSE ONGOING #6 STRAY CVR B MILLER & RAMOS JR $3.99
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JAN181940 ALISIK FALL #2 (OF 2) CVR B HARDING $5.99
JAN181143 ANIMOSITY #13 (MR) $3.99
JAN181239 ARCHIE 1000 PAGE COMICS TREASURY TP $14.99
NOV171800 BAD MACHINERY POCKET ED GN VOL 04 CASE LONELY ONE $12.99
DEC171694 BATTLECATS #1 (OF 5) $3.99
JAN181790 BATTLECATS #2 (OF 5) $3.99
JAN181432 BELLADONNA FIRE FURY #1 BONDAGE (MR) $9.99
JAN181433 BELLADONNA FIRE FURY #1 BONDAGE NUDE (MR) $9.99
JAN181434 BELLADONNA FIRE FURY #1 GOLD LEATHER (MR) $39.99
SEP172154 BLACK SABLE #5 (OF 6) CVR A JOHNSON $3.99
SEP172155 BLACK SABLE #5 (OF 6) CVR B RICHARDSON $3.99
SEP172156 BLACK SABLE #5 (OF 6) CVR C SANTACRUZ $3.99
SEP172157 BLACK SABLE #5 (OF 6) CVR D ATKINS $3.99
JAN188660 BLOODBORNE #1 (OF 4) 2ND PTG (MR) $3.99
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DEC171888 BOX BOY GN $14.99
DEC171696 BREAKING THE TEN GN VOL 02 $12.99
JAN181299 BREATHLESS #1 CVR A (MR) $3.99
JAN181300 BREATHLESS #1 CVR B (MR) $3.99
JAN181591 BRUCE LEE WALK OF THE DRAGON ONE SHOT $3.99
JAN181786 CATALYST PRIME INCIDENTALS #7 $3.99
NOV171208 CAVEWOMAN BATTLE ANKHAS BROOD #1 (OF 2) CVR A MASSEY (MR) $3.99
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DEC171845 DAN DARE TP VOL 01 HE WHO DARES (MR) $16.99
AUG171666 DF ROCKET #4 DEADPOOL LTD BLOOD RED MAYHEW SGN $19.91
JAN181629 DF WALKING DEAD #176 HAESER SGN HEAD SKETCH ED $69.99
DEC171880 DISNEY MANGA PIXAR WALL E GN $10.99
JAN181900 FACTORY #1 CVR A BISLEY (MR) $4.99
JAN181901 FACTORY #1 CVR B ELGHORRI (MR) $4.99
JAN181897 FARLAINE THE GOBLIN #6 $5.00
DEC171579 FLAYED CORPSE AND OTHER STORIES HC (MR) $24.99
DEC171057 GALAKTIKON #6 (OF 6) $3.99
OCT171771 GRAVELAND #4 $3.99
NOV171817 HOTEL TRANSYLVANIA HC VOL 02 HIDE AND SHRIEK $12.99
JAN181791 INITIATES GN $19.99
DEC171034 JIMMYS BASTARDS #7 (MR) $3.99
JAN181896 JOHN CARPENTER TALES OF SCI FI VORTEX #6 (OF 8) (MR) $3.99
JAN181438 JUNGLE FANTASY SURVIVORS #1 ROYAL BLUE NUDE LEATHER (MR) $49.99
JAN181435 JUNGLE FANTASY SURVIVORS #6 FLORA CHEEKY (MR) $9.99
JAN181436 JUNGLE FANTASY SURVIVORS #6 FLORA CHEEKY NUDE (MR) $9.99
JAN181465 LADY DEATH DAMNATION GAME RAW ED S&N (MR) $25.00
DEC171982 LAID BACK CAMP GN VOL 01 $13.00
JAN181429 LOOKERS EMBER #2 BIG GUNS (MR) $9.99
JAN181430 LOOKERS EMBER #2 BIG GUNS NUDE (MR) $9.99
JAN181778 LOST PATH HC $19.99
JAN181834 LOUD HOUSE GN VOL 03 LIVE LIFE LOUD $7.99
JAN181835 LOUD HOUSE HC VOL 03 LIVE LIFE LOUD $12.99
JAN181880 MAGICAL GIRL APOCALYPSE GN VOL 14 (MR) $12.99
DEC171863 MANDRAKE THE MAGICIAN FRED FREDERICKS SUNDAYS VOL 01 $49.99
JAN181882 MY MONSTER SECRET GN VOL 10 $12.99
JAN181982 NARWHAL GN VOL 03 PEANUT BUTTER & JELLY $12.99
JAN181883 NOT LIVES GN VOL 08 $12.99
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DEC172009 PEEK A BOO #1 (OF 5) CVR B ERIC J $3.99
DEC172010 PEEK A BOO #1 (OF 5) CVR C SANTACRUZ $3.99
DEC172011 PEEK A BOO #1 (OF 5) CVR D POSTCARD $3.99
DEC172012 PEEK A BOO #1 (OF 5) CVR E BLANK SKETCH $10.00
JAN181736 PHOENIX COLOSSAL COMICS COLLECTION TP VOL 01 $14.99
JAN181893 PLEASE KEEP WARM COLLECTION GN VOL 01 THIS MUST BE PLACE $20.00
JAN181643 PUSSYCATS END OF EVERYTHING #1 (OF 2) DEAD GIRL B&W VAR (MR) $3.99
JAN181642 PUSSYCATS END OF EVERYTHING #1 (OF 2) DEAD GIRL VAR (MR) $3.99
JAN181641 PUSSYCATS END OF EVERYTHING #1 (OF 2) PHOTO (MR) $3.99
JAN181737 RAINA TELGEMEIER COLLECTION GN BOX SET $43.96
JAN181826 RICK & MORTY #36 CVR A $3.99
JAN181827 RICK & MORTY #36 CVR B $3.99
JAN181219 RIVERDALE TP VOL 02 $17.99
JAN181150 ROUGH RIDERS RIDE OR DIE #2 (MR) $3.99
JAN182165 SARAHS SCRIBBLES HERDING CATS SC $14.99
JAN182001 SHADOWMAN (2018) #1 CVR A ZONJIC $3.99
JAN182002 SHADOWMAN (2018) #1 CVR B GUEDES $3.99
JAN182006 SHADOWMAN (2018) #1 CVR F PRE-ORDER BUNDLE ED $3.99
JAN181860 SHIVER BUREAU #2 $3.99
DEC171783 SHOMIN SAMPLE ABDUCTED BY ELITE ALL GIRLS SCHOOL GN VOL 08 ( $12.99
JAN181251 SHRUGGED VOL 3 #2 (OF 6) CVR A RISSO $3.99
JAN181252 SHRUGGED VOL 3 #2 (OF 6) CVR B GUNNELL $3.99
DEC171360 SINK #5 (OF 5) (MR) $3.99
JAN181722 SIX COMPLETE GN (MR) $24.99
JAN188084 STABBITY BUNNY #2 2ND PTG $3.99
JAN181863 STABBITY BUNNY #3 $3.99
JAN181439 TAROT WITCH OF THE BLACK ROSE #109 (MR) $2.95
DEC171730 THEA STILTON 3IN1 GN VOL 01 $14.99
JAN181792 TRUE DEATH OF BILLY THE KID HC $15.99
DEC171856 UNDER TP SCOURGE OT SEWER (STATIX) $16.99
JAN181151 UNHOLY GRAIL TP VOL 01 $14.99
JAN181771 WAITING FOR SPRING GN VOL 05 $10.99
FEB181549 WALT DISNEY DONALD DUCK HC VOL 11 LOST PEG LEG MINE $29.99
JAN181243 WORLD OF ARCHIE JUMBO COMICS DIGEST #77 $6.99
JAN181085 WORLDS FINITE CEREBUS #1 (OF 1) $4.00
JAN182024 X-O MANOWAR (2017) #13 CVR A LAROSA $3.99
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MAGAZINES
FEB182122 CARTOONS MAGAZINE #14 $5.99
BOOKS
JAN181950 DISHONORED RETURN OF DAUD MMPB $7.99
JAN182149 JUSTICE LEAGUE CLASSIC RACE TO SAVE THE DAY SC $3.99
JAN182150 MARVEL SUPERHERO ADV SAND TRAP SC $4.99
JAN181592 MEGA ROBO BROS GN $8.99
JAN181960 NETHERSPACE MMPB $7.99
JAN181961 OFF ROCK MMPB $7.99
JAN181951 PACIFIC RIM UPRISING OFF MOVIE NOVELIZATION MMPB $7.99
AUG172295 PHANTOM COMP AVON NOVELS VOL 05 GOLDEN CIRCLE $14.99
OCT172070 PHANTOM COMP AVON NOVELS VOL 06 MYSTERIOUS AMBASSADOR $14.99
JAN182041 SEVEN DEADLY SINS SEPTICOLORED RECOLLECTIONS HC $10.95
JAN181955 VINYL DETECTIVE WRITTEN IN DEAD WAX MMPB $7.99
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Monday, March 26, 2018
Comics, Magazines and Books from Diamond Distributors for March 28, 2018
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.
------------------------------------------------
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Monday, March 19, 2018
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