Post by Administrator on Oct 30, 2005 15:48:17 GMT -5
GRAPHIC NOVELS A CLASSIC TALE MADE EVEN BETTER
• Absolute Watchmen. Alan Moore, Dave Gibbons. DC Comics. 464 pages. $75.
If Criterion produced a collection for graphic novels, DC's Absolute editions would probably be it. And what better collection to give the special treatment to than this artistic masterpiece? The story has been praised by many within and outside the realm of comic books as the best example of graphic storytelling ever. In a 1985 where Richard Nixon is still president, the Vietnam War was won by the United States via super-powered interference and the masked men of years ago are banned through government action, a disturbing murder brings out the heroes from their hiding places. And some don't make it back in. Loaded with extras -- including Moore's original script, Gibbons' teaser images and pieces of the original proposal -- completely recolored and printed on larger, thicker paper, this edition finally gives the classic tale of deception, betrayal and nostalgia the high-end treatment it so richly deserves.
• The Quitter. Harvey Pekar, Dean Haspiel. Vertigo. 104 pages. $19.99.
American Splendor creator Pekar returns to the sequential art world, this time teaming with noted indie artist Haspiel to focus on a previously unexplored time period: his childhood. Pekar's touching reflections of his youth are strengthened by the consistent pen of Haspiel, who helps stabilize the sometimes rambling tale with his jagged and engaging pen line. A much stronger and worthwhile addition to the American Splendor canon than Pekar's last, middling collection, Our Movie Year.
• The Contract with God Trilogy: Life on Dropsie Avenue. Will Eisner. Norton. 544 pages. $29.95.
A posthumous collection of comic book legend and South Florida resident Eisner's three critically lauded graphic novels, A Contract with God, Life Force and Dropsie Avenue show the master at the top of his game. The blueprint for all graphic novels, the trilogy focuses on the world of Eisner's youth during The Great Depression with Eisner's usually masterful artwork and heartfelt details. A handy compilation for those looking to learn more about Eisner's non-Spirit work.
• Identity Crisis. Brad Meltzer, Rags Morales. DC Comics. 288 pages. $24.99.
Writer Meltzer and artist Morales tear down the DC super-hero universe with an Agatha Christie-like murder mystery clouded by the surprising and unheroic actions of the Justice League's recent past. Meltzer's knack for a strong narrative meshes well with Morales' rough, realistic art, creating a modern super-hero opus.
• The Push Man and Other Stories. Yoshihiro Tatsumi. Drawn and Quarterly. 224 pages. $19.95.
Collecting some of the stories by the godfather of Japanese alternative comics Tatsumi, The Push Man brings out the artist's knack for such off-kilter stories as the one about a man so driven to the brink that he allows his house and wife to burn in a fire. Or a programmed killer who lives a perfect suburban life. The characters seem similar, but with good reason: Tatsumi makes it so any of his characters could be any of the others, crafting a powerful and still-potent commentary on the social and sexual roles of Japanese society.
• Absolute Watchmen. Alan Moore, Dave Gibbons. DC Comics. 464 pages. $75.
If Criterion produced a collection for graphic novels, DC's Absolute editions would probably be it. And what better collection to give the special treatment to than this artistic masterpiece? The story has been praised by many within and outside the realm of comic books as the best example of graphic storytelling ever. In a 1985 where Richard Nixon is still president, the Vietnam War was won by the United States via super-powered interference and the masked men of years ago are banned through government action, a disturbing murder brings out the heroes from their hiding places. And some don't make it back in. Loaded with extras -- including Moore's original script, Gibbons' teaser images and pieces of the original proposal -- completely recolored and printed on larger, thicker paper, this edition finally gives the classic tale of deception, betrayal and nostalgia the high-end treatment it so richly deserves.
• The Quitter. Harvey Pekar, Dean Haspiel. Vertigo. 104 pages. $19.99.
American Splendor creator Pekar returns to the sequential art world, this time teaming with noted indie artist Haspiel to focus on a previously unexplored time period: his childhood. Pekar's touching reflections of his youth are strengthened by the consistent pen of Haspiel, who helps stabilize the sometimes rambling tale with his jagged and engaging pen line. A much stronger and worthwhile addition to the American Splendor canon than Pekar's last, middling collection, Our Movie Year.
• The Contract with God Trilogy: Life on Dropsie Avenue. Will Eisner. Norton. 544 pages. $29.95.
A posthumous collection of comic book legend and South Florida resident Eisner's three critically lauded graphic novels, A Contract with God, Life Force and Dropsie Avenue show the master at the top of his game. The blueprint for all graphic novels, the trilogy focuses on the world of Eisner's youth during The Great Depression with Eisner's usually masterful artwork and heartfelt details. A handy compilation for those looking to learn more about Eisner's non-Spirit work.
• Identity Crisis. Brad Meltzer, Rags Morales. DC Comics. 288 pages. $24.99.
Writer Meltzer and artist Morales tear down the DC super-hero universe with an Agatha Christie-like murder mystery clouded by the surprising and unheroic actions of the Justice League's recent past. Meltzer's knack for a strong narrative meshes well with Morales' rough, realistic art, creating a modern super-hero opus.
• The Push Man and Other Stories. Yoshihiro Tatsumi. Drawn and Quarterly. 224 pages. $19.95.
Collecting some of the stories by the godfather of Japanese alternative comics Tatsumi, The Push Man brings out the artist's knack for such off-kilter stories as the one about a man so driven to the brink that he allows his house and wife to burn in a fire. Or a programmed killer who lives a perfect suburban life. The characters seem similar, but with good reason: Tatsumi makes it so any of his characters could be any of the others, crafting a powerful and still-potent commentary on the social and sexual roles of Japanese society.