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Vertigo: Progetti Futuri

Aperto da Lar Gand, 10 Agosto 2009, 16:59:03

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Azrael



Absolutely difficult to put down, "Fables" #117 is a superbly engaging fantasy adventure filled with memorable characters from folklore and literature. A desperate father searches for his missing children, who are stranded in the magical kingdom of lost toys.

What's absolutely terrific about this issue is how carefully and skillfully constructed the narrative is. Bill Willingham presents three intertwining subplots, each running at the same time. The reader totally becomes invested in all three, because no plotline attempts to outshine the other. As each story progresses, Willingham is able to develop the protagonists with their own arc.

Willingham clearly wants the reader to focus on the emotional journey of the three protagonists. Each character has their own story, which will eventually change them. The writer captures the essence of childhood memories through giant teddy bears and talking toy soldiers. Toyland is a dream for Therese and Darien, Bigby's children, who fantasize about being someone they are not, whether it be a princess or a hero.

Armed with a wooden shield and sword in his hands, Darien rides across the desert on top of the clockwork tiger, presented as the so-called knight in shining armor. Readers will find it difficult not to root for the naive Darien because of his rebellious and adventurous spirit. Willingham slowly sets up the passage for Darien to become a natural leader, essentially a hero.

While taking elements from children's literature, Willingham cleverly uses the landscape of lost toys to represent youthful dreams and earnest wishes. It's clear Darien and Therese want to fulfill a part of themselves that is missing -- whether it's the little girl who wants to be a queen or the boy who wants to be a fighter. Bigby, the only adult in the narrative, presents two sides of himself; the concerned, loving father and the always vigilant detective. For the grown-up, Bigby is too old to be a hero, but is more than ready to be a parent.

There is so much attention to detail in the artwork by Mark Buckingham. On the left and right side of the pages, Buckingham illustrates two vertical and thin panels to serve as metaphors for the narratives. These particular panels specifically tell the reader which subplot they are following. During Therese's arc, the panels showcase many different toy figures drowning in murky water. Throughout Bigby's investigation, the panels are drawn with ticking clocks. As Bigby wanders into a snowy field, the panels also change, depicting snow-covered mountains. The search for Therese suddenly widens for Bigby, because she is lost in the outside world.

With each page of "Fables" #117, readers will find themselves enjoying Buckingham's grand-scale imagery and Willingham's epic storytelling. Trapped in Toyland, Therese is stuck inside a magical castle, anxiously waiting to be rescued. As Bigby attempts to find clues for his daughter's whereabouts, Darien truly believes he's Therese's only hope, rushing headfirst into action. This is definitely a comic book you should be holding in your hands.

4 su 5


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Preview: AMERICAN VAMPIRE #27



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"American Vampire" #27 is the final part of a two issue arc where Riccardo Burchielli fills in for initial arc artist Roger Cruz. The contrast of art is quite jarring and not completely successful. Luckily, Scott Snyder still drops an enjoyable tale, as he always does. In fact, if you're paying attention, you'll start to see some things tying together here that will make the future of "American Vampire" extremely exciting.

This is the moment where Scott Snyder openly widens the scope of the series. This arc might be small at two issues but the main thrust behind it is something much larger. We discover the truth behind the term "vampire" in this world and ponder the further implications of this reveal. Snyder casts a wide net, successfully capturing everything he needs. What was hinted at in the "Survival of the Fittest" miniseries comes to the fore in a talky scene which will have readers scrubbing each word for meaning and losing an afternoon considering the possibilities.

The character of Agent Poole of the Vassals of the Morning Star is an intriguing addition to the cast. His personal profile matched with his agent status give us a great understanding of him as a man as well as the organization to which he is affiliated. He toes the line between introspective sleuth and shadow lurking action star. It's an interesting fit and enough to make us want to see more.

Burchielli's art is by no means bad on this book, it's just not a very aligned fit. "American Vampire" is as defined by Rafael Albuquerque's art as it is Snyder's words. Replacing Albuquerque has always been difficult, but this issue shows the largest stretch from his style. Burchielli is one of the best at what he does, but what he does isn't draw creatures of the night fighting. If you go through each page you'll see plenty of examples of where he excels, but in the end it's too jarring to completely lose yourself. It's like watching the world's best male actor play a female role; it'll always feel just that bit off.

Likewise with the colors, Dave McCaig does a great job bringing depth and detail to the world, as he does with every issue, but it doesn't work as well here. McCaig's style doesn't flow with Burchielli's and the result is a comic that feels as though it's playing pretend. It knows the words and puts on the big shoes but it can't walk a straight line consistently. It really just feels like a '90s Vertigo comic. While those books were good, "American Vampire" is not one of them.

"American Vampire" #27 needs to be read so you can enjoy the spectacle of story and world building. Snyder is pushing this title up to the next speed and many of the gear shifts are right here. They're mostly in the words -- probably for the best for just one month because the art might have had difficulty conveying it.

3,5 su 5


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It's the conclusion of 'The Nocturnes.' There's a lot going on in Alabama and new developments over the existence of other types of vampires.
The Good
Scott Snyder has created several interesting characters in AMERICAN VAMPIRE. With a story taking place in Alabama in 1954, we've been following a story involving Calvin Poole, a soldier during WWII who was accidentally turned into an American Vampire. As a member of the Vassals of the Morning Star, there's so much he could be involved in and a story focused on him is a nice change of pace.

Last issue Calvin witnessed something different. It's these moments when Snyder adds a new layer of mystery to the mythos of vampires that makes this so much more than a simple vampire story. The inclusion of the Vassals as well keeps you on the edge of your seat as you can't help but wonder what Snyder is going to throw at us next. There's just so much to the world Snyder has created, it's no wonder we'll be getting another miniseries in June to go along with this series.

The final page has a great cliffhanger.

The Bad
What happened to the art? Part 1 had art by Roger Cruz but this issue, Part 2 of 2, had art by Riccardo Burchielli. The styles are different enough to be noticeable and disappointing. The vampire/action scenes just didn't seem detailed enough. Once the fangs came out and the blood was flying, there was just something missing.

The cover by Rafael Albuquerque was great. But having Pearl on the cover wasn't the best idea.

The Verdict
AMERICAN VAMPIRE continues to be a remarkable series. Scott Snyder has taken the idea of vampires and keeps adding new twists to the whole idea. Calvin Poole is a fascinating character and one that I'd love to see more of. Unfortunately there was a change in the art from Part 1 and it didn't feel as if it was on the same level as Roger Cruz's. We do have a great story and final page that just might leave your jaw on the floor.

4 su 5


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Preview: SWEET TOOTH #34



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Bill Willingham continues to deliver a wonderfully creative story featuring some fairy-tale favorites.
The Good
Wow, what's not to like about this issue? Or this series for that matter? Bill Willingham proves once again that he can do no wrong when it comes to his FABLES characters. First off, the cover by Adam Hughes is absolutely magnificent. Hughes captures a moment in the issue that we see very briefly -- one where Ali Baba is surrounded by throngs of beautiful women; and he makes this scene the focus of his cover with Ali Baba at the center of the harem. The warmth of the colors make the scene look inviting and compelling -- who wouldn't want to pick it up for that reason alone? If you can believe it, it gets better.

The issue picks up from where we were last left off with Ali Baba standing at the edge of the Snow Queen's palace. It's this scene where the reader begins to realize that this Genie isn't on anyone's side, really, but his own. Or at least it appears that way. Willingham does a superb job portraying the Genie as a selfish brat in the last issue, but you begin to recognize his real motivations here. His dialogue is witty, intelligent and interesting and Willingham conveys him in a way that doesn't dumb the other characters down. It's great.

The issue will also leave the reader wondering if Ali Baba will eventually get the girl; and if so, which one? Willingham mixes just enough of Grim's Fairy Tales in with his original story -- and the Grimm's story of Briar Rose is what connects all the characters together. It's a great way to use familiar characters and present them in a new way, and he executes it brilliantly in this issue.

The Bad
Nothing bad here! Gorgeous issue and awesome story.

The Verdict
Everything from the way that Willingham combines Grimm Fairy Tales with his own unique story, to Jimenez's stunning interiors, to Adam Hughes' breathtaking cover -- all these things make this a brilliant issue. The way that Willingham is able to take these classic characters and utilize them to create a new, interesting and edge of your seat story is amazing. This is definitely not a good jumping on point for new readers; I would recommend starting with the first issue of FAIREST to get the most out of the series and this issue.

5 su 5


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Preview: AMERICAN VAMPIRE: LORD OF NIGHTMARES #1



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If you read past issues of AMERICAN VAMPIRE or this is your first, you'll be in for a treat as Scott Snyder teams up with Dustin Nguyen to give us a great take on vampires.
The Good
Where to begin? This AMERICAN VAMPIRE mini-series is by Scott Snyder and Dustin Nguyen. That's reason enough to check this out. Snyder's take on vampires has been great from the beginning. He has created a rich new world with different types of vampires along with various characters and organizations like the Vassals of the Morning Star.

Taking place during 1954, the story focus on Linden Hobbes, the leader of the Vassals. With the focus on him and Felicia Book, you know this series is going to deliver big time action. Just after this first issue, I'm not sure if I like the focus here or Skinner Sweet-related stories better.

I can still recall back before reading the first issue. I couldn't believe Vertigo was going forward with a new vampire series and that Stephen King was doing some of the writing. Little did I know what Scott Snyder was capable of creating. Like many, I had grown tired of the overexposure of vampires in the media but Snyder has created a spectacular and rich world where I can't get enough. I don't know how he can work on AMERICAN VAMPIRE and BATMAN and still have ideas for these mini-series. As long as they keep coming, I really don't need to know how he does it.

Nguyen is a great choice for this. I love seeing him work on a different genre. Snyder either has a lot of pull or has incredible luck with the talented artists he manages to get for each arc.

The Bad
It was a great first issue. I would absolutely love for this to be an ongoing series as well.

The Verdict
This is a mini-series by Scott Snyder and Dustin Nguyen set in Snyder's AMERICAN VAMPIRE universe. There really isn't much else to say. Focusing on the vampire hunting group, the Vassals of the Morning Star, we get a different focus for the series and the implications of what happens here is mind boggling for the series. I love the fact that Snyder somehow manages to write these AV mini-series while still delivering great stories in the main series as well as BATMAN. This series is an example of what Vertigo is about and knows how to do. It's a great issue and it's only the beginning.

5 su 5


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I'm normally a little skeptical about spin-off mini-series from an ongoing comic. A title like "American Vampire" has never been afraid to set some of its main characters aside for months at a time, so in theory "American Vampire: Lord of Nightmares" #1 could have run as part of the regular series. But by the end of the first issue, I found myself sold on why this should be its own mini-series; both in terms of Scott Snyder's story and also Dustin Nguyen's art.

Set in 1954 London, Snyder quickly sets the scene; an extremely dangerous vampire being freed, a former agent from the vampire-hunting Vassals of the Morning Star getting pulled back into active duty, a human child who was once a vampire and then transformed back into a mortal. Parts of "American Vampire: Lord of Nightmares" were set up in earlier "American Vampire" comics, but Snyder reminds old readers and fills in new ones on any pieces of information they would need to do in order to be comfortable. More importantly, Snyder needs to convince us why "American Vampire: Lord of Nightmares" is an important story to warrant its own subtitle, and I believe he gives us just that. There are hints early on that start to explain why this one vampire is so important, and the pay off on the last page clinches the deal. By the time we're given that last piece of the puzzle, Snyder's teased our interest enough that it's a strong cliffhanger on which to end the first issue.

Perhaps even more important, though, is that "American Vampire: Lord of Nightmares" #1 existing as its own unit means that while Rafael Albuquerque continues to handle the majority of art duties on "American Vampire" itself, we can have Nguyen step in for all of "American Vampire: Lord of Nightmares." I'd forgotten how much I enjoyed getting a monthly title drawn by Nguyen, but "American Vampire: Lord of Nightmares" #1 quickly reminded me of what I'd been missing as of late. Nguyen and colorist John Kalisz work perfectly together. Like Albuquerque and Dave McCaig on the parent title, Nguyen and Kalisz use a combination of ink washes and coloring to provide an overall look that reminds me of watercolors. The grey of the Thames River or the café stones comes across perfectly, and that's before more vibrant colors and explosive subjects are tackled by the duo. When Agent Hobbes finds what "Tommy Glass" has managed to achieve, the look of horror on his face is strong and palpable; even if we didn't see the carnage that he's viewing actually drawn, the expression and reaction from Hobbes would be enough to give us the same response. Just as easily, though, Nguyen draws the quieter moments of "American Vampire: Lord of Nightmares" #1. Tree-lined Paris streets and winding staircases look beautiful, and even shrouded in darkness, the interior of Book's apartment makes me just a little bit enchanted by its furnishings.

"American Vampire: Lord of Nightmares" #1 is another strong "American Vampire" comic, and one that is living up to the need for it being its own mini-series. If you haven't read "American Vampire" up until now, this is a good a place as any to jump in and see what you think. For readers who are already familiar with the series, though, it's a crucial new chapter that fits in well with everything else that we've seen so far. All in all, a win-win for everyone involved.

4 su 5


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Preview: FABLES #118



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Preview: AMERICAN VAMPIRE #28



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"American Vampire" #28 is a very good comic that suddenly kicks your ass and becomes great. There is a cool concept at the heart of this new arc and even if you only read the first seventeen pages you'll be satisfied, but it's the final three pages that will have old school fans salivating for more. This title is still on track, continually trying and succeeding with new things.

There are multiple beats in these twenty pages that ensure the issue has quiet moments between the peaks of violence and action. Snyder twists introspective moments into powerful showcases of just what these violent creatures are capable of. The threat of needing to turn into monsters and settle your problems with claws and fangs is always bubbling so very close in the background. The world of an American vampire is one fraught with constant peril.

The main thrust of this new arc is that Hollywood entities in the 1950s are housing and helping vampires. This situation shows how widespread the vampire epidemic across America is and how entrenched these creatures are in the cultural landscape, even if people don't realize it. Snyder uses this scenario to bring his story into our world while warping his fictional landscape enough to generate the high concept situations he needs. This book and its world straddle the line between what is real and unreal enough to hold the new without feeling false.

It is a major testament to the series as a whole that seeing an old character in a new setting can stir up such emotion and desire. The final pages of this issue are charged with the glee of seeing someone you've come to know and completely love finally return in a manner that feels fresh and exciting. Snyder and Rafael Albuquerque should feel extremely proud that someone created within the last few years resonates so strongly within the cultural landscape of comics. There is also strength to how they use this character in the closing sequence as it borders enough on the silly to feel amazing while still keeping true to the core of the character and title.

Rafael Albuquerque's art is continually atmospheric and dangerous. Innocent faces switch at a moment into snarling maws of doom within one panel and yet the similarity of character is still there for us to recognize what is happening to whom. In this issue, he gets to play with some new locations and his world-building in the new base of the Vassals is simply fantastic. The scope and detail enriches this world and settles you into each scene.

"American Vampire" #28 begins a new arc that is both set in Hollywood and also wants to use the storytelling structures of old Hollywood to tweak this tale. The result is a comic that pushes characters into a pinpoint situation where their friction and movement is explosive. This issue demonstrates how smart "American Vampire" is and its potential for fun. By the end of this issue, Snyder and Albuquerque will have you right in the palm of their hands.

4 su 5


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Angel Lupo

Che palle ogni volta che entro in sto topic mi aspetto qualcosa di interessante...invece solo Fables e American Vampire  :cry:

Green Hankey

Citazione di: Angel Lupo il 27 Giugno 2012, 21:26:58
Che palle ogni volta che entro in sto topic mi aspetto qualcosa di interessante...invece solo Fables e American Vampire  :cry:

almeno quei due  :lolle:

Comunque dovrebbe iniziare una nuova serie Collider e  una mini di Sean Murphy per il 2012....

Si ventila poi un rilancio della Vertigo nel 2013, ma chissà
I've got new kidneys. I don't like the colour.

Murnau

Citazione di: Metta World Hankey il 27 Giugno 2012, 21:30:07
Citazione di: Angel Lupo il 27 Giugno 2012, 21:26:58
Che palle ogni volta che entro in sto topic mi aspetto qualcosa di interessante...invece solo Fables e American Vampire  :cry:

almeno quei due  :lolle:

Comunque dovrebbe iniziare una nuova serie Collider e  una mini di Sean Murphy per il 2012....

Eh, cazzo, adesso sì che si ragiona. :ahsisi:
Vendo vari Alan Moore, Grant Morrison, Frank Miller




Tu non sai che cosa voglia dire sentirli tutti addosso, gli anni, e non capirli più.
                                                                                                                                   La notte, 1961

Non c'è storia più grande della nostra, quella mia e tua. Quella dell'Uomo e della Donna.
                                                                                                                                    Il cielo sopra Berlino, 1987