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Post by codystarbuck on Sept 26, 2018 18:28:50 GMT -5
Segrelles also did some of the best covers that Skywald published in the early-to-mid 70s. Was gonna mention that; but, I haven't had enough sleep over the past two days and drew a blank on which American company he did work for.
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Post by codystarbuck on Sept 29, 2018 23:32:12 GMT -5
Now it's time for a couple of Americans who produced graphic novels for NBM. We'll start with one who is still published by them, Rick Geary. Geary, a native of Kansas City. Mo, came to prominence in 1976, working for National Lampoon, for whom he worked for 13 years. he would also contributed to heavy Metal and some of the alternative publishers, including Kitchen Sink (Bizarre Sex), Eclipse (Bruce Jones' Twisted Tales and Alien Worlds, Epic (Epic Illustrated) and First Comics (on the Classics Illustrated revival, working on Great Expectations, Wuthering Heights, and The Invisible Man). He also contributed some work to DC's Big Book of...series, from their Paradox press imprint. However, his big claim to fame, comic-wise, is his Treasury of Victorian Murder and Treasury of 20th Century Murder series of graphic novels. A fan of Edward Gorey, Geary applies similar techniques in his work, mixing a cartoony style with Victorian-era storytelling techniques. The result is both fascinating and chilling, as the light style belies some gruesome tales. Geary's tales are well researched and engaging pieces, and he is a tremendous storyteller, who has things stripped down to the essentials. The subject matter isn't for everyone; but, if you enjoy true crime writing r history, they are well worth a read. We now switch to a more pleasant subject for graphic novels, the fairy tales of Oscar Wilde. When you think of fairy tales, the names that usually come to mind are the Brothers Grimm and Hans Christian Anderson (maybe Charles Perrault or Andrew Lang's collections). When you think of Oscar Wilde, you tend to think of the Picture of Dorian Gray, Salome, The Importance of Being Ernest and probably his wit and somewhat debauched lifestyle. However, he also created a series of fairy tales for his children and for magazines, which were quite popular. Among the noted tales are the Happy Prince, The Selfish Giant, The Nightingale and The Rose, and The Devoted Friend. As he did with opera, P Craig Russell set about adapting these stories in albums, designed for all ages and they proved to be quite popular and a critical hit. As you can see, Russell employs a slightly simplified version of his normal style, making his characters rounder, and more accessible to children, yet without losing the artistic quality that has been a hallmark of his work, particularly his more personal material, beyond superheroes and mainstream comics. He is the perfect person to adapt these tales, both because of the sensitivity and quality of his art; and, his abilities as a storyteller. Russell also brought some of his opera work to NBM, as they published The P Craig Russell Library of Opera, in three volumes... These collect Russell's opera adaptations, previously published in places like Star*Reach and Eclipse. The only thing missing was Ring of the Nibelung, which was published by Dark Horse. I've covered these works before, in discussion of tar*Reach and Eclipse. Suffice to say, they are gorgeous. NBM also reprinted Russells adaptations of Rudyard Kipling's Jungle Book stories. These were short pieces done by Russell in his Night Music series, at Eclipse, and in ComicsLit Magazine, which was published by NBM. As you would expect, Russell has a way with Mowgli, Baloo, Bagheera, and Shere Khan, as well as Ka, the serpent. It's a shame he didn't also adapt the Just So Stories, as that would be a real delight. Russell wasn't the only artist working in fairy tales and comics aimed at younger readers, at NBM. Dave Wenzel and Will Eisner published volumes there, too. NBM also picked up the rights to reprint the Classics Illustrated works that were originally done at First Comics, when they revived the name. These were straight reprints of those works, including material from Rick Geary, Dave Wenzel, Garry Gianni, and John K Snyder III. There was also the parody, Classics Desecrated, from Doug Wheeler and a group of artists.. These were parodies of Aesop's Fables and other works. These stories had appeared at Rip-Off Press, Dark Horse's Cheval Noir, and Caliber's Negative Burn. NBM also published the Classics Illustrated Deluxe line, with adaptations of classic lit, from European artists and writers. Next, we will look at some old favorites, as NBM continues reprint European works, which had been showcased at Catalan and Heavy Metal. Come back as we return to works of Milo Manara, Guido Crepax, and Vittorio Giardino.
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Post by EdoBosnar on Sept 30, 2018 6:19:04 GMT -5
Man, all of that stuff by Russell looks so beautiful, but especially I would especially like to have Wilde's fairy tales - I love those stories, and I can't think of an artist better suited than Russell to render them as comics.
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Post by beccabear67 on Sept 30, 2018 17:30:21 GMT -5
Russell and Geary; two genuine originals! There should always be a place and audience for work of that quality! I still remember the first Geary I ever saw... either in an Eclipse book or possibly a San Diego Con souvenir book of long ago... had a comically understated panel of someone with a tea cup with the caption "was that an earth tremor?" First P. Craig Russell I probably saw was a War Of The Worlds Marvel comic, or possibly that Dr. Strange annual!
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Post by MDG on Sept 30, 2018 17:42:45 GMT -5
Geary, probably more than any other cartoonist, has a unique "rhythm."
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Post by codystarbuck on Sept 30, 2018 21:54:50 GMT -5
Geary, probably more than any other cartoonist, has a unique "rhythm." Yeah, his pacing is different; but it draws you in. Loved his stuff in the Big Book of....series, from Paradox. I had a hadful of those (Urban Legends, Conspiracy Theories, 70s and maybe one other) and he was one of the guys who just sucked me in, regardless of the topic. Some of the entries I would skim; never his.
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Post by codystarbuck on Sept 30, 2018 21:57:25 GMT -5
Russell and Geary; two genuine originals! There should always be a place and audience for work of that quality! I still remember the first Geary I ever saw... either in an Eclipse book or possibly a San Diego Con souvenir book of long ago... had a comically understated panel of someone with a tea cup with the caption "was that an earth tremor?" First P. Craig Russell I probably saw was a War Of The Worlds Marvel comic, or possibly that Dr. Strange annual! First thing I remember seeing from Russell was Killraven; the Deathbreeders issue, set in Chicago. That warped my young little mind. Marvel seriously needs to get taht going for a movie; it would have the potential to blow away the other stuff and be different enough to grab some of the audience burnt out on the superhero formula.
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Post by EdoBosnar on Oct 2, 2018 14:53:48 GMT -5
Just finished reading these a few days ago, found them in two different libraries: I really liked Exterminator 17 - I found the English translation published by Humanoids:
I read the Croatian edition of Ranks of the Black Order and the Hunting Party. They're printed together in a handsome hardcover edition published by a local comics publisher, Fibra, under the joint title "End of an Epoch." Both were translated by Darko Macan, and the book includes some extras, like an interview with Bilal and Christin and some additional art. Otherwise, I definitely stand by my observation made above, that Bilal really works better with a collaborator. That said, I thought Black Order was the weaker of the two; it started out strong, but I thought the story kind of fizzled as it neared its conclusion (and I thought the end was a bit, I don't know, predictable). Hunting Party is really good, though. I really liked the plot involving a bunch of aging top security officers from the various Eastern Bloc states meeting for a hunt in the country, like the corrupt aristocrats they fought to overthrow when they were young. A very well-told story, and, yes, wonderfully moody and ornate art. This edition also had a different cover image for the Hunting Party:
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Post by codystarbuck on Oct 3, 2018 23:03:19 GMT -5
NBM became a home for some familiar faces, after Catalan went under and Milo Manara was one whose work became synonymous with NBM. They reprinted the material that Catalan had published and his subsequent works. Manara is a great artist; but, I'm not overly impressed with a lot of his stories. They're sexist, cliched, and not especially erotic, beyond naked women engaged in sexual acts. They have moments where they rise above that; but, most are hardly classics of erotic literature. His work with Hugo Pratt, though, is another story. Pratt ia Manara's idol and mentor and he is one of the seminal adventure comic creators, which adds much needed depth to Manara's work, helping them rise above the level of a Cinemax film. Butterscotch, Click and Manara's Kama Sutra were adapted into tv and film. There are worse "erotic" comics" out there and there are better. For Manara, if story is any kind of factor, I recommend the Giuseppe Bergman stories, Indian Summer and El Gaucho, because of Pratt's involvement or inspiration. Beyond that, Hidden Camera is light fun, with some lesser offensive material and a lot of the rest is sex and nudity for the sake of sex and nudity, well drawn though it may be. Your mileage may vary. NBM also gave a new home to Vittorio Giardino. Thankfully, they didn't just retread Little Ego (which had already been done by Heavy Metal and Catalan. They published the continuing Max Friedman, who this time returns to Spain, in the midst of the Spanish Civil War, in No Pasaran! No Pasaran! finds Max drawn back to Spain by the wife of a close friend. Friedman had served with the Lincoln Brigade, part of the Leftist side of the war, fighting Franco and the Fascists. The woman's husband has gone missing and Friedman reluctantly agrees to help her find him and finds himself drawn back into the quagmire of a failing cause. The work features flashback's to friedman's time in Spain and it does much to puncture romantic visions of the Lincoln brigade and the Leftists, while also bringing sharp focus to the Fascist atrocities. Giardino did his homework and this is a compelling, realistic and balanced view of the conflict as you will find in literature. This is no grand Hemingway adventure; it is the dirty reality and the sight of dreamers being confronted with reality. No Pasran! , alone, would be a triumph for NBM to publish; but it would pale in comparison to Giardino's masterpiece: A Jew in Communist Prague (aka Jonas Fink) This is a coming-of-age story, mixed with historical fiction, seen through the eyes of young Jonas Fink. Jonas' father has been arrested and imprisoned by the Communist government, though why is a major question (fittingly, for a city whose arguably greatest literary resident was Franz Kafka). His mother seeks endlessly to see him and is denied even letters from him. Young Jonas must grow up quickly. Because of his father, he is denied avenues open to others. Because of his mother's obsession, he is forced to mostly fend for himself. He is denied advanced education and enters into a series of jobs. He makes deliveries for a tailor/dressmaker, which leads to a scene where a mature woman plays seduction games with him, igniting a response in him; but which leads to Jonas being fired. He works for a bookshop keeper, who has conections to dissidents and becomes an apprentice to a plumber, who teaches him how to rebel against authority in more subtle fashion. A Jew in Communist Prague earned Giardino a lot of attention in the publishing and bookselling world. If there were any justice in American publishing, you'd be able to find the work on the shelf of any major bookstore. However, after NBM's rights elapsed, so did the American editions. My greatest hope is that IDW, Dark Horse or even NBM may pick up the rights to reprint Giardino's masterpieces (all of them, from Sam Pezzo, to Max friedman, to Jonas Fink, with Little Ego and Deadly Dalliance along for good measure). His work is pue literature. Now, for our third returning party we have the controversial Guido Crepax. here, NBM went pretty much just for his erotic work, though they did, at least, give us a look at Valentina. Valentina actually began life as a supporting character, in Guido Crepax's Neutron, an adventure series about a superhuman, who can freeze people with his gaze. Valentina Rosselli was introduced as Phillip Rembrandt's , aka Neutron, girlfriend, who works as a photographer. Her image was based on actress Louise Brooks.... Valentina would find herself involved in the bizarre mysteries that Neutron investigated, where she would play both damsel-in-distress and adventuress. Her popularity eclipsed Neutron and sparked a greater imagination in Crepax. Soon Valentina was at the center of the stories, which took on even more erotic overtones (and the strip was pretty adult, to start with). Valentina was hugely popular in Europe, in the 60s and 70s, leading to the film adaptation Baba Yaga (aka Kiss Me, Kill Me), from Italian director Corrado Farina, and featuring actress Carroll Baker, as Baba Yaga, the mysterious woman who has some hold on Valentina (Crepax, himself, has a cameo in the film, which also features some of his art). You can see the trailer here. (definitely NSFW!!) Crepax deals more in real eroticism than Manara, often in the darker aspects (which I will get to, in a minute); but, his artistry is amazing, with evocative and symbolic layouts, arresting images and sheer talent on display. Crepax is an artist's artist, which can really make looking at his work frustrating, since so much of it deals in the darker realms of erotic literature, such as the Marquis De Sade and Pauline Reage's (Anne Desclos) The Story of O. NBM published several of his adaptations of these "classic" works... Someone I knew in high school picked this up (the novel) in a college bookstore, on a class trip to the university's Engineering Open House. Some of us got a peek at it and our jaws hit the floor. I later ran across Vol 1. (of the graphic novel series) in one of my two local comic shops (this one had a wide selection of graphic novels, including adult material). The work was even more arresting in Crepax's visuals, which are anything but understated. However, there is tremendous artistry there, if you can tolerate the subject matter (BDSM). You are left to wonder what Crepax could have done with more accessible subjects, which was best answered by The Man From Harlem and Dr Jekyll & Mister Hyde. However, the truth is probably that Crepax wouldn't have been Crepax, without his interest in these works of erotica. These works revolve around power games and Crepax demonstrated the power of the image, probably more than any other European comic artist (with the arguable exception of Moebius). NBM published other Crepax pieces, including an adaptation of Emmanuelle, the erotic novel by Emmanuelle Arsan (Marayat Rollet-Andriane, nee Bibidh), which was the basis for the popular 1970s and early 80s erotic film series (most notably with Dutch actress Sylvia Kristel) which was a staple of Cinemax, in the 80s. If you've ever glimpsed any of that, you know what you are in for here, though with greater artistry. NBM reprinted Justine and Dr Jekyll, which was also covered by Catalan. Later, Taschen would reprint the bulk of Crepax's erotic work. NBM also reprinted, in two volumes, Loeb and Pichard's classic erotic take on Homer, with Ulysses (based on The Odyssey). They relatively faithfully interpret the story of Odysseus' (Ulysses in Roman mythology) travels home from Troy, with added adult touches (not that the original stories lacked those touches). Heavy Metal had already published a volume of the series, in 1978, as well as serialize it in the magazine. This line of material would become quite dominant for NBM and they eventually launched two imprints, to focus on erotica: Eurotica, featuring European works, and Amerotica, with American contributors. I've seen bits and pieces and a lot dealt with BDSM and other elements that would be at home in your average porn. Few of them strived to be true art, like Crepax or Manara (when he was at his best). I don't have much to say, there and few of the covers are suitable for here; so, we will leave it at that. if that kind of material interests you, I'd say check it out; but don't invest too much time or money in it. Next, a look at some later-era comic strip compilation and the apex of adventure strips: Corto Maltese.
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Post by mikelmidnight on Oct 4, 2018 11:52:36 GMT -5
Manara is a great artist; but, I'm not overly impressed with a lot of his stories. They're sexist, cliched, and not especially erotic, beyond naked women engaged in sexual acts. They have moments where they rise above that; but, most are hardly classics of erotic literature. His work with Hugo Pratt, though, is another story. Pratt ia Manara's idol and mentor and he is one of the seminal adventure comic creators, which adds much needed depth to Manara's work, helping them rise above the level of a Cinemax film. Butterscotch, Click and Manara's Kama Sutra were adapted into tv and film. There are worse "erotic" comics" out there and there are better. For Manara, if story is any kind of factor, I recommend the Giuseppe Bergman stories, Indian Summer and El Gaucho, because of Pratt's involvement or inspiration. Beyond that, Hidden Camera is light fun, with some lesser offensive material and a lot of the rest is sex and nudity for the sake of sex and nudity, well drawn though it may be. Your mileage may vary. I've never been able to engage in Manara's work, and I probably ought to like the books with Pratt, but his art style just turns me off. There's actually one Manara book I do enjoy: Gullivera! I know it's just as sexist and clichéd as all the rest of his work, but something about the idea of an erotic version of Gulliver's Travels strikes me as so ... outlandish and yet so completely appropriate that it amuses me. I own all of Giardino's work which has been translated into English that I know about (minus one, that I think was in Heavy Metal? but I do own his Homage to Carl Barks!). I consider it a scandal that his work is not more readily available to English-speaking comics fans. He's not the most prolific creator but there is a book's worth of stories at least that have never been translated, including a twenty (or so) page strip about art forgers that I don't own and have only seen once. I do like Crepax, and own a few books by him, although a little goes a long way with me. So back in the 1980s I travelled through Europe for a bit, including Italy. One thing I noticed was that every single newsstand in Rome had at least two graphic novels: something by Giardino (usually the first Friedman book, but sometimes the second), and some erotica by Crepax!
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Post by codystarbuck on Oct 4, 2018 20:04:06 GMT -5
Crepax was massive in Italy and much of Europe, particularly through the late 60s and early to mid-70s. His work captures that freewheeling zeitgeist that was permeating European media of the period, with loosening of censorship and the ascendency of a younger generation. The art world was focused on the avant garde and pop art and guys like Crepax, Jean-Claude Forrest, Druillet, Moebius, and Guy Peellaert became superstars, mixing in with cinema and comics, appearing in documentaries and on television. They were treated as the New Wave of art. Peellaert is relatively unknown in the US; but, Grove published an English translation of the Adv. of Jodelle in 1967. However, it was largely forgotten until the more recent Fantagraphics edition. Grove also published the English translation of Barbarella, in conjunction with Roger Vadim's film, starring then-wife Jane Fonda.
Italian cinema jumped on comics far earlier than most (leaving out the comic-based serials and adaptions of newspaper comics), with Barbarella, Diabolik, Kriminal, Satanik, and Baba Yaga (from Valentina). If it weren't for budget they probably would have tried Corto Maltese. A couple of years ago, Video Watchdog had an article on what they and others) termed Continental Cinema, with European films of the late 60s and early 70s: Things like Barbarella and Diabolik, The Tenth Victim, the Gamma One films of Antonio Margheriti, the Kommissar X films (and other Euro-Spy films) and similar fare, which tended to showcase the same design aesthetics, high fashion, anti-authoritarian heroes, wild visuals, fusions of pop and jazz music and very style-oriented productions. I love a lot of that stuff, as some of it was a staple of the film packages we used to see on our local tv, back when weekends featured movies (parts of syndication packages). It also helped that there was a lot of Mid-Century Modern architecture and design about, in the early 70s, when I was a kid. I developed a great love of that aesthetic and my dream home, if I ever won Powerball, would look like a Ken Adams set, from a Bond film (not that my wife would be too happy).
Crepax is one of the European artists who work I really love for its artistry; but have trouble actually reading, given some of the subjects. One volume of The Story of O was enough; I didn't need to read the other two. Valentina was a bit more palatable. His stuff is too artistic to be mere porn; but, I can do without scenes of people being whipped or other extremes. To be fair, it's amazing how much of that you could see in 1930s and 40s newspaper comics and early comic books.
Giardino I have loved everything I have seen and wish that Sam Pezzo was available, so I could check it out, beyond a few panels. Little Ego and deadly Dalliance were delightful erotica and storytelling (more the latter, as Ego is more of brief scenes, following the structure of Little Nemo).
Barbarella is more "cute" than anything else (depending on the story). Jodelle is wild imagery, though rather light on story (Pravda even more so).
I read Maurice Horn's World Encyclopedia of Comics, in the first edition, via the local library, back when it first came out (within a year or so) and I came across so much European stuff that I wanted to see that it kind of shaped much of the next 30 years, as I discovered some of it, in bits and pieces. I'm still jonesin' to read Esteban Maroto's Cinco Por Infinito and the best I have done is slog through Neal Adams' destruction of it as Zero Patrol.
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Post by mikelmidnight on Oct 5, 2018 11:29:42 GMT -5
Yeah ... I was going to buy Zero Patrol out of curiosity, but when I saw the panel-to-panel comparisons over on the Euro thread (I think?) it completely put me off.
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Post by codystarbuck on Oct 10, 2018 17:27:05 GMT -5
In the 80s, comic strip compilation books became all the rage. Garfield had made a name for itself via reprint books, long before it was in every paper. That helped lead to the merchandise and tv specials, which made Jim Davis a millionaire. Andrews McMeel, which was part of the United Press Syndicate, became the top dogs, with things like Bloom County (massive in the 80s, before Berke Breathed put it to bed) and the new Calvin & Hobbes juggernaut. Prior to that. most comic strip collections were pocket-sized paperbacks, with endless peanuts, Family Circus, Beetle Bailey, Wizard of Id and similar strips reprinted in their black & white pages. Some, like Pogo, had pioneered bigger reprints and the adventure strips had a few collections, like the Nostalgia Press reprints of Flash Gordon and Prince Valiant, not to mention the Barks' Ducks and Gottfredson Mickey Mouse strips. However, the success of these books didn't seem to prompt the syndicates to cut deals for all of them. Some, like Mother Goose & Grim and Shoe found homes, but weren't as prominent in bookstores. others were ignored. NBM picked up a bit of slack there, while also printing things like classic Tarzan, Terry & The Pirates and Bringing Up Father. They were soon joined by Beetle Bailey, Dennis the Menace, and Funky Winkerbean. Garfield would join them later... These days, NBM's Papercutz division is most dominant, publishing books for the Children's market. This has brought us Hardy boys and Nancy Drew comics... In recent years, Papercutz has been involved in movie & tv tie-ins, with things like Hotel Transylvania. One of these opportunities led to some of the first English translations of classic European comics, for America (apart from a 1979 Random House edition of Astrosmurf). Unlike the Marvel Smurf comics, these were not new stories by American artists. These were the classic stories, from peyo, which were virtually unknown, i America. Unfortunately, they were about 30 years late and missed the prime audience for the stories. We got these at Barnes & Noble and they just sat there. Too bad, since they are wonderful tales, without the annoying voicework and earwig song, from the H-B cartoon show. So, lets rewind for a couple of features. The first was an excellent series The Silent Invasion, by Larry Hancock and Michael Cherkas, originally published by renegade Press. NBM collected in albums... It's a great little series that mixes 50s Cold War paranoia with the European ligne claire style. From Europe came the much lauded Jacques Tardi series, The Most Excellent Adventures of Adele Blanc-Sec... Tardi is a name that requires no selling; but, his style is quite different from most American comic artists. he's a fantastic storyteller and these revolve around a wonderful woman, with grand Belle Epoque adventures, involving the supernatural and the horrific, rather in the tradition of the Grand Guigol and French pulp literature (Fantomas, Arsene Lupin, Dr Omega, the Nyctalope). Now, Tardi writes for adults and there are adult situations here; but, he is a master. That leads me to my last feature, which is the true masterpiece of adventure comics: Hugo Pratt's Corto Maltese. Corto Maltese first appeared in 1967, as a feature in the magazine Sgt Kirk (another Pratt classic), in the serial Una Ballata del Mare Salato aka The Ballad of The Salt (or Salty) Sea. There, we meet the mysterious Corto Maltese, who is one of the crew of the pirate Rasputin. They come across a boat with a young man and woman (brother and sister) who are adrift in the South Pacific. Rasputin wants to ransom them but, Corto maltese ends up aiding them and rebelling against Rasputin. The character is a soldier of fortune and sea captain, with a rather laconic demeanor. However, his desire for money never outweighs his thirst for adventure and knack for aiding those in distress. His exploits occur in the time frame around World War One and often involve the European colonial powers and their armed forces. pratt looks at the colonialism through post-Modern eyes, revealing it for what it was, while depicting the natives as real people (some good, some evil, many just ordinary human beings). The Europeans tend to be hapless, pompous, incompetent or pure evil. Pratt is a master of storytelling and his stark black and white is filled with amazing imagery and impressionistic details... Pratt has been compared to literary giants, like Joseph Conrad and Jack London, but with less troublesome aspects. Some of his art may seem a bit caricature, unless you examine it closely and compare to contemporary photographs of the period, with South Sea Islanders and other ethnic groups. Pratt is stylized but not caricatured. In many ways, his art is similar to Toth, with its simplicity and no wasted lines, as well as its natural storytelling and narrative power. You can see why Frank Miller was a huge fan and swiped/homaged the name in Dark Knight (just as he has borrowed from Pratt and Goseki Kojima, of Lone Wolf and Cub, in his artwork). Corto Maltese is one of the most influential adventure comics around the world, reprinted in multiple languages and continents. It spawned a series of animated adaptations, though, amazingly, no live action version (that badly needs to be corrected). After NBM, the work was long out of print, before the 2012 edition of Ballad of the Salt Sea, from Universe, and the subsequent reprinting of the entire series (currently in progress) by IDW's Eurocomics imprint. I highly recommend this series, above all others. If you love adventure, you HAVE to read these stories. That will do it for NBM. There are other works, like Skin Tight Orbit, that are worth checking out and some that you should probably pass by; but, those are the high points, as I see them. Next, we switch gears to something a bit closer to home and examine the fallout of Dave Sim and Deni Loubert's divorce, and the launching of Renegade Press.
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Post by codystarbuck on Oct 10, 2018 17:34:33 GMT -5
Note on the Hardy Boys and Nancy Drew comics: that is the same Scott Lobdell who wrote X-Men, after Claremont was pushed out and Stefan Petrucha, of First Comics' Meta-4 and Topps X-Files comics.
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Post by mikelmidnight on Oct 11, 2018 11:56:21 GMT -5
I never really connected with Corto Maltese, unfortunately, although I admire their craft. I am a fan of Tardi's though and Adele Blanc-Sec is one of my favorite comic characters.
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