Mister Miracle (USA) di Tom King & Mitch Gerads

[No Use For A Name]

Variant cover by Mitch Gerads:

[Arkin Torsen]

 

[Bruce Wayne]

#11: Uno dei numeri migliori finora. 

Fuuuug.

[Man of Steel]

Letto #11
Bellissimo.
Non so nemmeno da dove partire, pensavo di aver capito tutto e invece dopo questi ultimi twists...
Ora si spiega perchè la testata abbia una loose continuity nonostante King abbia sempre rimarcato il fatto che sia in continuity col Rebirth, Metal, DClock ecc...

Spiacente, ma non sei autorizzato a visualizzare il contenuto degli spoiler.

Ora manca solo l'ultimo numero, e la madre di tutti i twistoni, adieu Scott!

[Bruce Wayne]

Il finale mi ha lasciato più dubbi che risposte in effetti.

Aspetto l'ultimo numero e poi mi lascio andare ad ipotesi, perché con King non si può mai sapere.

Perché fin dall'inizio sembrava una serie a sé, senza troppe implicazioni di continuity nonostante alcune piccole incongruenze, però potenzialmente potrebbe essere una serie molto importante nel quadro complessivo. Boh...

[Man of Steel]

potenzialmente potrebbe essere una serie molto importante nel quadro complessivo.

Eh sì, dopo quella splashpage.

Cioè

Spiacente, ma non sei autorizzato a visualizzare il contenuto degli spoiler.

Non pensavo saremmo arrivati fin qui, se devo essere sincero.

[Bruce Wayne]

Ammetto di non stare leggendo moltissime serie DC, quindi ho un'idea molto limitata di quanto stia succedendo... però mi pare che sia soprattutto King ad apprezzare quanto fatto da Morrison e quindi riprendere anche certe sue idee come l'hypertime, che dalla DC invece era stato bocciato.

Vedi le citazioni nella run di Batman ai primi incontri con Selina o il #50 dove c'erano citazioni a continuity di tutti i tipi. O in questo numero in cui

Spiacente, ma non sei autorizzato a visualizzare il contenuto degli spoiler.

Spiacente, ma non sei autorizzato a visualizzare il contenuto degli spoiler.

[Man of Steel]

Non so se avrà grosse conseguenze per DClock, ma probabilmente sarà legata ad essa.
Di fatto loro stanno anche approfittando dei "ritardi" di DClock e Geoff/King comunicano molto tra di loro, infatti in uno degli ultimi numeri di DClock ci siamo pure ritrovati un riferimento al Sanctuary di HiC, quindi..bho, mai dire mai!

[Azrael]

Mister Miracle Artist Mitch Gerads Reveals the 'Real' Issue #12 Variant Cover


https://www.cbr.com/mister-miracle-artist-mitch-gerads-reveals-the-real-issue-12-variant-cover/

[Azrael]

Preview: Mister Miracle #12



https://www.pastemagazine.com/articles/2018/11/the-curtains-close-in-this-exclusive-mister-miracl.html

[Man of Steel]

Finalmente....

[Azrael]

Mister Miracle #12
Written by Tom King
Art by Mitch Gerads
Lettering by Clayton Cowles
Published by DC Comics
Review by David Pepose
'Rama Rating: 8 out of 10

Spoilers ahead. You have been warned.

The show is over. The curtains are closing. The final bow is upon us.

Darkseid is... no more. But what does that mean for Mister Miracle?

Maybe it's freedom. Maybe it's prison. There's an ambiguity to Tom King and Mitch Gerads' final epilogue that flies in the face of typical superhero conventions, even as it adheres to the rigidity of a nine-panel grid. But ultimately, structure and expectations are not what makes Mister Miracle such an arresting work - instead, it is the sheer production values, the deliberate point of view that comes across every page that makes this finale worth reading.

With the death of Darkseid, the rescue of Jacob Free, and the warring planets of New Genesis and Apokolips coming to an uneasy standstill, what's left for Scott Free, with ghosts of another world still flickering within his periphery? That's the uneasy ground that King and Gerads still manage to stick the landing upon, as we've been led to question everything that's happened so far - did Scott really save the day? Or is he trapped within the Anti-Life Equation? And if the latter, a more sinister thought begins to percolate - did Scott willing remain in this cell of his own choosing?

The way King answers this question is provocative in more ways than one. Scott Free has been the ultimate unreliable narrator since the beginning, as we watched him bleed out in the bathroom as he tried to take his own life. But Scott's development since that time has been astronomical - we've watched him go from general to Highfather, from son to father, from super-escape artist to the executor of intergalactic prophecy. As King's cameo from a long-deceased member of the Miracle supporting cast reflects, it's been a long, heartfelt journey, and it's hard not to feel a lump in your throat to see how far Scott has come from the abyss.

Yet longtime readers of the series will remember the way that King bombastically introduced this story, describing a trap that Scott "dare not" escape. Because in many ways, that's what life is - it's the jobs we take, the friends we make, the spouses we choose, the children we bear. And in that regard, King indicts the status quo of his caped and cowled contemporaries, asking us if real life, even if it's in a simulacrum, more real than constant deaths, rebirths and reboots? Like Scott, King offers a subversive take by showing us that, in our own way, we all build our own prisons - but like Scott's time being raised on Apokolips, we slowly shape and mold these prisons until they not only feel comfortable, but they reflect our deepest and inner cells. Sure, we can escape at any time - but would we ever want to?

But all that action has come constricted - there's been much made about Gerads' masterful artwork inside that ever-present nine-panel grid, but it's also the way that King has showed his hero in chains. One might argue that the series' five non-gridded pages might be the only time we've seen Scott actually in the "real" world - but unlike the bloody battles and narrow escapes of the previous issues, we find Scott at peace. Gerads has portrayed the character as looser and happier than he's ever been, even with the flickering afterimages of Granny, Orion, Highfather, and Darkseid looming in the background. The juxtaposition is at times absurd, but the sheer expressiveness and deliberateness of Gerads' artwork reminds us just how much he earned his Eisner Award, because he's delivering some of the most beautiful artwork the Big Two has to offer.

Of course, this finale won't be for everyone - far from it. I'd argue that King's rejection of not just the conventions of superhero universes, but literally the superhero universe itself, might be a bridge too far for readers, who might consider Scott's withdrawal from the never-ending battle to be an act of cowardice rather than an act of subversive freedom. And they might not be wrong - despite all that Scott has survived, despite all that he has suffered, there's the expectation for more. There are no happy endings for superheroes - only death and rebirth. But to that, King does offer Scott an escape - not just from the war, but of the divine expectations of prophecy that have long been thrust upon him.

Regardless of where you stand on the nature of this epilogue, what feels inarguable about Mister Miracle is how much deliberateness has gone into this book. In an industry that's month-in and month-out like comic books, it's easy to deliver product rather than perspective - to hit your deadlines and move onto the next one, rather than have any vision with your execution or anything meaningful to say. And that's what makes books like Mister Miracle feel so special - this book has always taken big swings, and even if not all of them connected, the direction behind this book feels more realized than much of its contemporaries. Scott Free and Big Barda are taking their final bows, but Tom King, Mitch Gerads, and Clayton Cowles are the ones that truly deserve your applause.

[Man of Steel]

Letto #12 FINAL ISSUE...or is it?
! No longer available
Non mi aspettavo una (non)-conclusione di questo tipo, ma....ci sta.
Ho dei mixed feelings su quello che ha fatto King, forse dovrei rileggere la storia, non dico nemmeno tutti e 12 i numeri, ma solo questo, perchè...bhe questo basta e avanza, il resto serve solo a giustificare la scelta di Scott.
Ci sono varie chiavi di lettura, su più livelli, da una parte, è come se avesse tirato fuori le palle per davvero, dall'altra...ehhh diciamo che dopo un build-up mostruoso, è come se avesse cercato un compromesso, poichè regalare un finale che possa rispettare le aspettative di certi lettori come me, sarebbe stato impossibile o comunque molto difficile.

Spiacente, ma non sei autorizzato a visualizzare il contenuto degli spoiler.

Questa serie, per come ha trattato certi temi (tipo la depressione) il suo storytelling, è un piccolo capolavoro, decisamente il lavoro migliore di King.

[Angel Lupo]

Probabilmente il fumetto migliore che ho letto negli ultimi anni.

[Clod]

Letta la mini, davvero ottima.
Ricca di sotto-testi, per nulla banale e volutamente ambigua, ma non per questo meno intrigante.

Altra gran prova di King, non c'è che dire


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