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Popeye - Topic Ufficiale

Aperto da Azrael, 18 Gennaio 2012, 19:29:03

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Azrael

EXCLUSIVE: ROGER LANGRIDGE SCRAPS WITH "POPEYE"


Roger Langridge tells new tales of Segar's most famous creation in April

First announced at 2011's Comic-Con International in San Diego, E.C. Segar's spinach-chomping Sailor Man, Popeye returns to comics in April, and IDW Publishing has revealed exclusively to CBR News that one of comics' most acclaimed humor cartoonists will be at the helm. Roger Langridge, writer of "Thor: The Mighty Avenger" and writer/artist of "The Muppet Show Comic Book" and the creator-owned series "Snarked!," will pen the ongoing "Popeye" series, with newcomer Bruce Ozella on art.

Debuting in the newspaper strip "Thimble Theatre" in 1929, Popeye's offbeat appeal soon led the character to a leading role in the then-ten year old comic. Soon, the strip was billed as "Thimble Theatre Starring Popeye" and, finally, just "Popeye." "Thimble Theatre" became one of King Features' most popular strips throughout the 1930s, continuing after Segar's death in 1939 under the hand of several different artists until Segar's former assistant Bud Sagendorf took the reins in 1959, continuing the daily strip until 1986 and the Sunday until his own death in 1994. Since then, Hy Eisman has helmed the Sunday strips, while the daily has featured reprints of Sagendorf's material since 1992. Popeye has also enjoyed success in comic books throughout the decades, with Dell launching a series in 1948 that was later continued by Gold Key, King Features and other publishers before wrapping up in the mid-1980s. In 1999, a publisher called Ocean released the one-shot "Wedding of Popeye and Olive," written by Peter David and drawn by Dave Garcia.

With the new series pulling into the dock in April, Comic Book Resources spoke with Roger Langridge about his view of the character, his approach to the series, and what makes a good "Popeye" comic.

"I was aware of the character from a very early age from the animated cartoons, which used to be on TV when I was a lad. But I became a really ardent fan after reading the book 'All In Color For A Dime' when I was about 10 years old; there was a chapter in there about Popeye and 'Thimble Theatre' by Bill Blackbeard, which was a kind of awakening for me in terms of the rich history of the character, and of the comic strip medium generally," Langridge told CBR. "For a couple of years, I was a total Popeye obsessive. It helped that the Robert Altman film put the character in the pop culture spotlight a year or two later, so there was quite a bit of stuff around for me to absorb, including a Segar reprint or two (and the superior quality of Segar's work wasn't lost on me, even at that age). When Fantagraphics started collecting the original Segar strips in the 1980s, I devoured them all. By that point, I guess I was pretty much hooked for life."

Popeye first appeared in 1929 as a minor character in "Thimble Theatre," took over the strip and has maintained a level of recognition and popularity to the present day. Langridge attributes the Sailor Man's enduring appeal to a unique personality and appearance. "I think it's partly his total lack of pretension, partly his willingness to take a stand, partly his sheer bizarreness -- how many other pop culture icons can be said to be ugly, one-eyed, tattooed, with multiple speech impediments and a vegetable fetish? Whatever else you say about Popeye, you have to admit he stands out in a crowd," the writer said. "In many ways, he's an unlikely cartoon star. I mean, he's certainly not cute in any sense of the word! But I suspect that's part of his appeal -- you can still like Popeye after you feel you've outgrown other, cuter characters."

Asked about his own take on Popeye -- what makes him tick, in what types of stories he shines -- Langridge described a straightforward guy who's not afraid to throw a punch. "To me, Popeye is someone who thinks in straight lines. Mentally, he's not complicated. This is right, this is wrong; we need to achieve this, so let's just go and do it in the most direct way possible," Langridge said. "He's not the sort of character who experiences a lot of doubt; on the rare occasions when he does, it's a real crisis for him. The best Popeye stories generally give him something to feel righteously angry about -- that can be an external threat or an emotional one, because he's quite thin-skinned, emotionally. And, of course, it helps if he's got an excuse to clobber somebody at some point!"




Langridge, an artist as well as a writer who was responsible for full cartooning duties for BOOM! Studios' "The Muppet Show Comic Book" for most of its run, said that he is looking forward to the "Popeye" series in part because E.C. Segar had a strong impact on his own work. Langridge was drawn, he said, to "the directness of his style." "There's a clear link between Segar's intentions and the lines he lays down which seems clear and uncomplicated, which I find enormously appealing," he said. "But working in tension with that clarity of intent is a humanity as well -- the lines aren't perfect, especially when the action heats up and the figures become a blur of broken, frenetic, wobbly lines. It's a combination that can't help but draw you in.

"As for his writing, the big thing is that Segar's work is so incredibly funny. A lot of that is carried by the artwork -- Segar could draw characters like Oscar, who were just plain funny to look at without saying a word -- but his use of language is a huge part of that as well."

While Popeye can get himself into some unlikely situations, Langridge does not see him as a mischief-maker, "at least not in an intentional way." "When Popeye causes a ruckus, one of the funniest parts of it is the fact that he often doesn't have the slightest idea that he's doing something controversial," Langridge noted. "For example, if he took off his pants at a tea dance because he was hot, it would be mischievous if he'd done it with the intention of causing offense, but Popeye isn't wired like that -- he'd genuinely wonder what all the fuss was about ('I'm hot, ain't I?'). I like that about him -- that he thinks what he's doing is logical and reasonable even if it's totally outlandish. The gap between Popeye's perception of the world and the reality is one of the great sources of comedy in the strip. Great fun to play with as a writer!"

In portraying the comically out-of-touch protagonist, some of Segar's "Popeye" strips could be quite dark in their humor. Langridge said that there would be a bit of this in the new series, as well. "I'm hoping to hit roughly the same sort of tone as Segar, which means it will occasionally get dark -- the comedy will occasionally be quite black (especially where Wimpy's relationship with the animal kingdom is involved!), and there will be spooky moments," he said. "But most of the time, I'll be aiming straight for the funny bone. I'm trying to take the stories somewhere different each time -- we've got ocean voyages, desert islands, dark slum neighborhoods and boxing rings, as well as the domestic setting we usually see in the strip these days. Hopefully, we'll be able to vary the tone according to the circumstances."

With Popeye's origins in the newspaper funnypages and Langridge's talent for writing both issue-length adventures ("Thor: The Mighty Avenger" and his current creator-owned "Snarked!") and shorter, comedy sketch-style stories ("Muppet Show"), CBR asked him how the "Popeye" series would be presented. "It'll be a mix. Of the ones I've written, we've got a couple of full-length issues and a couple with two stories, a longer adventure at the front and a short comedy backup story," he said. "I think most Popeye fans prefer the longer adventures, but I wanted to play with some of Segar's other toys, like Professor Wotasnozzle, as well -- so this was a way of having my cake and eating it. I've deliberately made each story quite dense -- eight panels per page is the norm -- to try and evoke that Segar feeling. We're not going the whole Segar route of twenty-four panel pages(!), but I felt a bit of density was desirable. It seems to be a good rhythm for the stories so far, allowing us to pack a lot of plot and gags into every issue."

Langridge is working with newcomer artist Bruce Ozella for the series, an artist whose appeal once again rests in evoking the classic Popeye strips of yore. Asked what Ozella's style brings to a series like "Popeye," Langridge said simply, "You mean apart from his uncanny ability to draw like E. C. Segar? I'm not sure you need anything else!"




In continuing the pattern from much of Langridge's previous work, each issue of "Popeye" will be a self-contained story rather than expanding into multi-issue arcs. "We all felt that was the best way to go, at least to begin with. In the first four issues, we've got the Sea Hag, Bluto, the return of Willy Wormwood ('Thimble Theatre's' original baddie, from 1919 -- this will be the first time he's come up against Popeye), a fiendish anti-Wimpy plot by George W. Geezil, and other heavies and ne'er-do-wells. (As I say, the stories will be pretty packed!)," Langridge told CBR. "We've deliberately avoided having Bluto as the only major villain like he is in the cartoons (Segar only ever used him once), so he's not in every issue -- but he's definitely around!"

Given that Popeye first appeared in print more than 80 years ago -- another era, by any standard -- fans may wonder whether IDW's take on the character will be a modern update, acknowledge that time has passed, or take some other approach. But Langridge reiterated that the new stories will have much the same feel as the originals, and that includes a sense of timelessness. "We're being pretty non-specific with the period -- partly because Segar's work was like that, being set in a kind of timeless place; and partly because if we suddenly had the characters using cellphones (or whatever it might be), it would do more than just yank you out of the story, it would slap you vigorously around the head and leave you bleeding in an alley," Langridge said. "It would just feel very, very wrong -- very Not Popeye. So we're keeping it vague."

Similarly, there will be no radical leaps for the characters going into the ongoing "Popeye" series. "Things are pretty much as you would expect if you know your Segar -- Popeye loves Olive, Olive loves Popeye in her own fickle way, Popeye is a devoted stepfather to Swee'Pea, Wimpy's always looking for a free meal, etc. It ain't broke, so we ain't fixing it!" Langridge said. "Olive's brother Castor and their parents, Cole and Nana Oyl, are a part of the mix too. (And you may spot Olive's first boyfriend, Ham Gravy, at some point -- if you keep your eyes open!) Other familiar faces will pop up as well -- I've tried to get all of the regulars from the Segar years in there at some point, even if it's only a cameo."


Roger Langridge and Bruce Ozella's "Popeye" debuts in April from IDW.

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Lois Lane

da piccolo leggevo i fumetti di braccio di ferro. erano bellissimi

Azrael

Citazione di: Clark Kent il 18 Gennaio 2012, 19:45:22
da piccolo leggevo i fumetti di braccio di ferro. erano bellissimi

Anche io  :wub:
Ero cosi piccolo che dicevo "Voglio gli spinaci"  :lolle:
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Lois Lane

guardavo anche i cartoni. in generale braccio di ferro mi è sempre piaciuto

Azrael

Citazione di: Clark Kent il 18 Gennaio 2012, 19:49:27
guardavo anche i cartoni. in generale braccio di ferro mi è sempre piaciuto

Anche io, Anche io  :wub:

Troppo bello  :D se dovesse arrivare in italia un occasione gliela darei  :sisi:
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Matches Malone

Citazione di: Azrael il 18 Gennaio 2012, 19:50:52
Citazione di: Clark Kent il 18 Gennaio 2012, 19:49:27
guardavo anche i cartoni. in generale braccio di ferro mi è sempre piaciuto

Anche io, Anche io  :wub:

Troppo bello  :D se dovesse arrivare in italia un occasione gliela darei  :sisi:

Si penso anch'io, speriamo!

Cappellaio Matto

La Planeta non aveva comunque dato alle stampe qualcosa?

Azrael

Preview: POPEYE #1



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Popeye the Sailor Man is back in comics and he's brought along all his friends. Get ready for some new stories with a classic feel to them.
It's great to see Popeye back in comic book form. It's crazy to think how long it's been since he's appeared in comics.

The Good
I haven't watched episodes of Popeye in a long time. Growing up, I probably watched pretty much all the episodes on a syndicated channel and really loved the old black and white episodes. The idea of bringing back Popeye in new adventures was a scary thought, even though the idea is a great one. The (obvious) key is ensuring the stories retain the quality and feel fans of the show would expect. The good news is, that feeling is there.

The first thing you'll notice is the art by Bruce Ozella. The art is spot on for what I'd want to see in a Popeye comic. The story by Roger Langridge channels the classic feel of Popeye. There's no way you can't help but get excited over a story focusing on Eugene the Jeep. We also get appearances by Olive Oyl, her brother Castor, Wimpy, Bluto and even the Sea Hag.

The Bad
It's a great story but three fourths of the way, it feels like it loses something. I was thrilled that the story was a feature length tale and this comic wasn't filled with a bunch of short tales. I was completely sucked into the story but then was almost confused at how quickly it was all resolved.

Olive Oyl was pretty interesting here. I must have forgotten how...harsh she could come across (I gotta dig out that DVD I have with the old 'classic' episodes). I recall her fawning over Popeye often but you could say she came across as a bit rude and cold to him here.

Where's the spinach? Popeye's a tough guy but he never ate any. Sure you won't have the Popeye theme music playing while he opens the can and devours the contents but I kept waiting for it to happen.

The Verdict
Popeye's back. I was a little scared at how it would turn out but this issue shows that the characters are in good hands. I might have had high expectations and because of that I felt the story lost a little steam towards the end. Despite that, Langridge is the perfect writer for this series. Immediately you get the sense that he fully gets who the characters are supposed to be. Often when classic characters are brought back, they can come across as pale imitations of who they're supposed to be. I have no doubt that this series will continue to bring a smile to my face with Landgridge on board. Of course because this is based on an animated series, the visuals play an equally important role. Ozella nails it with his depiction of all the characters. Looking at the pages makes you think you're looking a freshly reprinted story that your grandfather might have read in his youth. As a fan of the show in my childhood, I may have been a little harder when looking over the entire issue but the series is off to a great start and I am ecstatic to be able to buy and read a new Popeye series. My thanks go out to all involved in making this series happen.

4 su 5


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Popeye's famous saying, "I yam what I yam" can easily be applied to his newest comic outing, as Roger Langridge once again shows his brilliance with licensed characters, turning in an amazing debut in IDW's Popeye #1 , this week's selection as my book of the week.

Langridge, perhaps best known for his work on the critically acclaimed Muppet Show comics for Boom! Studios, once again shows that the best way to bring life to an older property is to embrace what makes it unique, not to try to modernize it, where it then has to complete with other comics that are more easily designed to be hipper, grittier, or whatever new direction the author has decided upon. In fact, Langridge's only change is to make Olive Oil just a bit less passive, channeling her traditional character's fiery spirit into more proactive behavior. It's so subtle (and welcome) that only the most obsessive fans of the classic daily newspaper strip could find argument with it, and they have the Fantagraphics Popeye reprints to read if they are unhappy about it.

From the moment we first meet each of the major cast members (all of whom, save Popeye's father, appear in this issue), it is clear that Langridge has the ear for what makes these characters enjoyable, even over 80 years later. Popeye is the kind-hearted, internal-censor free, best friend you'll ever have, willing to go down to hell itself if he finds your reasoning sound. Wimpy is already scheming his way into every reader's hearts, even using his classic "Tuesday" line on the last character you'd expect him to interact with. Bluto will be Popeye's main rival, as it should be, and my only tiny complaint is in this opening adventure, he's just a bit too much of a lightweight. We even get an appearance by the Sea Hag, whose role also sets her up as a frequent antagonist, but with a very different set of motivations from Bluto.

The whole story is plotted extremely densely. Though no larger than a typical comic book, Langridge's story feels like it was three issues worth of material. We have frequent action, snappy banter that rings true to the essence of the characters (right down to their unique speaking patterns), and an ending that rings true to the best Popeye stories, where things end up for the best—but not always how Popeye's friends would like them to be.

None of this would have been possible without selecting the right artist to collaborate with Langridge. While I know that some readers might have preferred if Langridge was drawing as well as writing this story, I disagree (though perhaps a pin-up or two would be fun). Langridge was the right fit for the Muppets, but I think his figures are too rounded and oddly shaped to properly capture the feel of a strip that originated in the more stilted art styles of the Great Depression. That's why I love Bruce Ozella. From the cover itself (a homage of Action Comics #1, complete with Wimpy as the screaming man) to the opening splash page, we can see that Ozella has studied the original portrayals of Popeye and company and is ready to hue closely to the source material. Using a combination of tight, small paneling that resembles a daily comic strip converted to comic book form and a refusal to use anything larger than a half-page splash panel after the opener, Ozella takes an often ignored storytelling form and uses it to great effect. There is so much going on in every page it's hard not to dream of what might happen if a superhero artist tried the same thing. Popeye's battle goes 12 panels, about the length of a typical fight in comics. The difference here is that Ozella places it in only two pages, but does not skimp on the action one bit as Popeye completely wrecks all of Bluto's plans in quite a bit of detail across those two pages. He is definitely the perfect fit and makes me look forward to how he illustrates issue two.

I worry a little that there's not a huge audience for Popeye #1, but I intend to enjoy it as long as the run lasts. Anyone who is a fan of the spinach-eating sailor needs to get on board now.

10 out of 10


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PREVIEW: POPEYE #3



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Wimpy has been accused of being many things, but...a prize fighter?  This one puts the mayo on the hamburger!  Popeye's exclamation on the front page of "Blow me down!!" has never been more accurate as Roger Langridge returns to form and delivers a knockout punch in the third issue of Popeye.

After the crushing disappointment of last issue, where Langridge stayed a bit too true to the source and included ideas and attitudes that have no place in a modern comic (regardless of what it's homaging), I was happy to see that that this issue was everything I liked about the first one.  From the opening page, which features Popeye incredulous at the idea of Wimpy in the ring while ready to chomp on his signature spinach, Popeye is back on a working model for the 21st century.  Langridge is using the ideas of the old Segar material (Popeye is an all-around good guy who packs a punch, Wimpy is a schemer with a huge appetite, Olive Oil likes strong men and has a fiery temper, Bluto is a comic relief bruiser, etc.) without taking it to  point that it's a slavish recreation — and that's how it should be.

In this story, Langridge weaves all of those ideas into one cohesive plot (rather than splitting into two) that features Mr. Geezil, a straight man character, planning an exquisite revenge on the conniving Wimpy by forcing him into a boxing match that he cannot possibly win.  Popeye steps in to be Wimpy's trainer, leading to several hysterical set pieces and a montage sequence that shows off Tom Neely's abilities as an artist.  By the end, the inevitable intervention of Popeye occurs, but the results are not what you'd expect (though they are quite funny).  One last gag finishes off the issue, as we see that the status quo is not quite as changed as it might have appeared at first.

Langridge is at his best when his stories have dense plots and multiple elements going from the start to the finish of the issue.  That's definitely the case here, as we weave in and out of what could have been easily three separate stories that would have worked and might have been several issues worth of material in the hands of a different writer.  Instead, this is another action-packed story that displays Popeye's large supporting cast and uses them in ways that are unique to their character.

Everything in Popeye #3 is note-perfect, and a lot of that is due to Langridge having a great art partner in Tom Neely, whose work in the second issue was very strong, even if the subject material was not.  Given a chance to illustrate Popeye this time, Neely shines in every capacity he's asked, from close-ups to splash panels to crowd scenes.  His art captures the impossible dimensions of the sailor and his friends in a way that makes them look normal, even if they all have their unique design quirks.  The only exception is Bluto, who looked a bit off-model to me.

Though body shapes vary among the cast, they look as though they could all come from the same universe.  In creating similarities, especially in the crowd scenes, Neely actually makes those who are slightly different stand out.  When there is a field of Wimpy heads, the Popeye who sails out of the ring and over top of them is very noticeable. (And hey, who knew that Popeye could crowd-surf?)

Neely's style and coloring do a good job of evoking the newspaper strips, with the tones being just a bit muted and his line work doing just enough, with no busy parts or anything that would distract from the main action.  He keeps the characters moving, even if they are in the background (such as when Popeye is acting and Wimpy is reacting), so that you get the impression that anything we see is important.  I also like that Neely chose to include some African American characters in his group shots, showing that this may be classic Popeye, but we're in a far more modern world.

Though I still wonder a bit about the target audience for Popeye, I'm happy to report that the comic, after a hiccup with Issue #2, is back to being a pleasure to read. This is highly recommended for fans of Langridge or classic cartoon characters revisited.

10 su 10


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Questo quando esce in qualche raccolta me lo prendo :lolle:

Review eccezionali tra l'altro :lol:

Azrael

Citazione di: Matches Malone il 09 Luglio 2012, 22:48:56
Questo quando esce in qualche raccolta me lo prendo :lolle:

Review eccezionali tra l'altro :lol:

Ma chi potrebbe pubblicarlo in italia? spero che arrivi  :D
Io non mi ricordo se da bambino la prima cosa che ho letto è stato o Braccio di Ferro o Topolino  :lolle: di sicuro me lo facevo comprare sempre  :lolle:

EDIT: E' stato "Braccio di Ferro", me l'ha confermato mia madre  :asd:
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PREVIEW: POPEYE #6



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