John Byrne (1)Rezensionen
Autor von Hellboy 1: Saat der Zerstörung
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Rezensionen
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Historien starter på Muir Island umiddelbart efter overvindelsen af Prometeus. Banshee trækker sig officielt tilbage fra holdet for at passe på Moira McTaggert, og ingen af de andre mutanter har lyst til at slutte sig til det decimerede hold. På vej tilbage oplever Jean Grey endnu et tidsspring, hvor hun tilsyneladende genoplever en fjern slægtnings liv, men alligevel ser tingene ud til at gå den rigtige vej: Professor X vender tilbage fra rummet, og da Cerebro opfanger to nye mutanters eksistens deler holdet sig op. Det ene sætter kursen mod Chicago for at opsøge teenageren Kitty Pryde, mens det andet hold skal til diskoshow med Dazzler.
Problemet er, at andre kigger med, og da holdene når frem bliver de snart angrebet af lejesoldater i kampdragter. Bagmændene er en mystisk inderkreds i Hellfire Club. Klubben er en elitær klub med base i New York, der afholder middage og skaber netværk for New Yorks rigeste mænd og kvinder, men ukendt for de fleste bliver den styret af en hemmelighedsfuld gruppe. De har superkræfter, stræber efter ubegrænset magt, og så klæder de sig i en blanding af 1700-tals tøj og bondagefantasier.
I spidsen står bl.a. Emma Frost, også kendt som Den hvide Dronning, der leder angrebet på holdet i Chicago, og det lykkes i første omgang at tage dem alle til fange, mens New York holdet og Dazzler klarer sig bedre. Kitty Pryde viser for første gang sine kvaliteter under befrielsesaktionen, og derefter beslutter Cyclops for at gå i offensiven. Under et stort selskab trænger X-Men ind i klubbens hovedkvarter, og derfra går det stærkt: Phoenix bliver endnu engang ført tilbage i tiden, hvor hun loyalt hjælper sin ”mand” Jason Wyngarde med at nedkæmpe de andre X-Men. Hun er blevet forført og de mentale barrierer, hun har lagt på sine guddommelige kræfter er blevet nedbrudt.
Et hold af superhelte er selvfølgelig aldrig slået helt. Wolverine er ikke druknet i kloakken, og i længden kan ingen kontrollere Phoenix’ kræfter. Desværre, for efter flugten fra palæet går det for alvor galt. Jean Grey bliver opslugt af sine egne ufattelige kræfter og forvandlet til Dark Phoenix. Holdkammeraterne fejes af vejen som fluer, hvorefter hun forlader jorden. Hun er blevet forvandlet til en gud, og da hun uden omtanke udsletter et helt solsystem, konfronteres hun af de store galaktiske imperier. Det hele kulminerer i nummer 137, hvor X-Men kæmper mod Shi’arernes kejserlige garde. Afslutningen er nok velkendt for de fleste – den måtte hurtigt tegnes om, så Phoenix alligevel kom til at stå til regnskab for sine ofre.
Jeg har læst serien mange gange, først i Marvelklubbens hæfter fra midten af 1980’erne. Det er stadig en fremragende historie fyldt med originale ideer og med en perfekt vekselvirkning mellem de enkelte numres handling og den overordnede spændingskurve. Samtidig er John Byrnes grafiske skaberkraft også på toppen, både i de kosmiske sekvenser og i Jean Greys mimik, hvor man tydeligt kan aflæse hendes angst og spirende vanvid. Man skal selvfølgelig kunne lide tegneserier som medie og acceptere superheltegenrens særlige præmisser – men gør man det, så bliver det ikke meget bedre.
Ending was pretty good (remind me a lot of Ghostbusters) but in overall neat, short story, nothing too exquisite about it. It is not stand-on-your-own book, more of a side-story.
Art is good, as expected from Hellboy universe comic.
Recommended to all Hellboy fans.
My first contact with Hellboy was a little bit weird - art was pretty much reduced, at some points it seemed like you had to look at it from a distance to figure out what happens on the page. It was interesting approach and tone and pacing of events was excellent. But then it always seemed bit off - when it comes to art I prefer golden-age comics, for newer art I enjoy Frank Miller for example (not that far from Mignola's black&white-shadow-plays), but for Hellboy it seemed like drawings and paintings lost basic definitions and were just shapes that up close made no sense.
But I enjoyed the story a lot. So after reading omnibus vol #4 (I know, I know but it was a gift and I like to read :) ) I finally got opportunity to read omnibus vol #1. Art is beautiful, much more structured but story-telling and page flow are as always flawless.
After reading omnibus vol #1 it is visible that author was always experimenting with his drawings and coloring and it is clear that later stories show artists skill evolution (albeit little bit radical for my taste).
Excellent story, beautiful art - treat yourself and read it :)
So then the first issue ol’ Fingy gets to fight Iron Man is great, but it’s the second issue that really lost me. The second one was the beginning of the “Dragon Seed Saga” and it was...bad. There was barely any action, unnecessary words seemed to be just CRAMMED into panels, and yeah. Don’t read that part. And even before that, it was starting to feel like a chore to read because nothing really happened.
From my TBR shelf, published by Marvel Comics, in Hardback. In the introduction, Jim Salicrup mentions that he comes into the sub-editor space near the end of a story process, where no one was happy with the story, but it was too late to change anything. When he became editor, it allowed him to ditch the previous arc which was out of canon by doing what could be classed as a "Bobby Ewing in the shower" moment by having the previous arc as implanted false memories. It's this story that kicks off this collection. Captain Marvel works with Dum-Dum Dugan and Nick Fury from SHIELD to recover his original memories, as Cap has to face Dragon Man and Machine Man.
The storyline of Cap possibly running for President is as relevant in the current election cycle as when it was written; Mister Hyde has teamed up with Batroc the Leaper to blackmail the New York Harbour with a container of Liquid Gas in exchange for several billion dollars, only for the pair to turn on each other; Cap gets a phone call that calls him back to England to team up with his old friend Union Jack (James Falsworth), who is now bedridden and dying but has to confront the threat of Baron Blood the vampire. Interspersed with these stories are the fact that Cap is still coming to terms that all his old friends are now getting very old or dead whilst he is still in his prime (after being in suspended animation for decades). He is also trying to balance being a super hero (Captain America) against earning a living and paying the bills - something that I dont think is necessarily covered in the current batch of comics. He is also getting out and dating again, whilst wondering when to/if to reveal his secret identity and the reasons why Steve Rogers keeps disappearing at strange moments. Previous partners are either now much older (e.g. Jacqueline Falsworth/Spitfire), or have died as part of the life of the super hero.
This was written and produced in the 1980s, and I'm surprised this style of comic has survived this late. There's lots of exposition via text, lots of "BAM!"s and "THWOCK!"s, the cells are of standard size and colouring, and it's a straight linear narrative (top left to bottom right, same again on the opposite page). I'm much more in favour of the more modern style, where there's less story-dump-through-text, more variation in the cell sizes (where narrative can switch into across the two pages), and the colours are more varied and occasionally darker.
Author Details
John Lindley Byrne is a British-born Canadian-American author and artist of comic books. Since the mid-1970s, Byrne has worked on nearly every major American superhero.
Byrne's better-known work has been on Marvel Comics' X-Men and Fantastic Four and the 1986 relaunch of DC Comics’ Superman franchise. Coming into the comics profession exclusively as a penciler, Byrne began co-plotting the X-Men comics during his tenure on them, and launched his writing career in earnest with Fantastic Four (where he also started inking his own pencils). During the 1990s he produced a number of creator-owned works, including Next Men and Danger Unlimited. He also wrote the first issues of Mike Mignola's Hellboy series and produced a number of Star Trek comics for IDW Publishing.
From my TBR shelf, published by Marvel Comics, in Hardback. In the introduction, Jim Salicrup mentions that he comes into the sub-editor space near the end of a story process, where no one was happy with the story, but it was too late to change anything. When he became editor, it allowed him to ditch the previous arc which was out of canon by doing what could be classed as a "Bobby Ewing in the shower" moment by having the previous arc as implanted false memories. It's this story that kicks off this collection. Captain Marvel works with Dum-Dum Dugan and Nick Fury from SHIELD to recover his original memories, as Cap has to face Dragon Man and Machine Man.
The storyline of Cap possibly running for President is as relevant in the current election cycle as when it was written; Mister Hyde has teamed up with Batroc the Leaper to blackmail the New York Harbour with a container of Liquid Gas in exchange for several billion dollars, only for the pair to turn on each other; Cap gets a phone call that calls him back to England to team up with his old friend Union Jack (James Falsworth), who is now bedridden and dying but has to confront the threat of Baron Blood the vampire. Interspersed with these stories are the fact that Cap is still coming to terms that all his old friends are now getting very old or dead whilst he is still in his prime (after being in suspended animation for decades). He is also trying to balance being a super hero (Captain America) against earning a living and paying the bills - something that I dont think is necessarily covered in the current batch of comics. He is also getting out and dating again, whilst wondering when to/if to reveal his secret identity and the reasons why Steve Rogers keeps disappearing at strange moments. Previous partners are either now much older (e.g. Jacqueline Falsworth/Spitfire), or have died as part of the life of the super hero.
This was written and produced in the 1980s, and I'm surprised this style of comic has survived this late. There's lots of exposition via text, lots of "BAM!"s and "THWOCK!"s, the cells are of standard size and colouring, and it's a straight linear narrative (top left to bottom right, same again on the opposite page). I'm much more in favour of the more modern style, where there's less story-dump-through-text, more variation in the cell sizes (where narrative can switch into across the two pages), and the colours are more varied and occasionally darker.
Author Details
John Lindley Byrne is a British-born Canadian-American author and artist of comic books. Since the mid-1970s, Byrne has worked on nearly every major American superhero.
Byrne's better-known work has been on Marvel Comics' X-Men and Fantastic Four and the 1986 relaunch of DC Comics’ Superman franchise. Coming into the comics profession exclusively as a penciler, Byrne began co-plotting the X-Men comics during his tenure on them, and launched his writing career in earnest with Fantastic Four (where he also started inking his own pencils). During the 1990s he produced a number of creator-owned works, including Next Men and Danger Unlimited. He also wrote the first issues of Mike Mignola's Hellboy series and produced a number of Star Trek comics for IDW Publishing.
...I guess I am finally into Hellboy! The writing can sometimes make me feel lost in the dialogue and the high contrast artwork doesn't help illuminate anything in that regard, but looks lovely and helps sell the mysterious vibe they're going for. I liked the use of folklore and the occult to keep the stakes high and the enemies unpredictable.
It starts with two story arcs from the Super Spider-Man and Captain Britain Weekly anthology title which were ok, but nothing special.
Then has a fantastic two-part Marvel Team-Up story by Chris Claremont and John Byrne where Captain Britain actually teams up with Spider-Man (as opposed to just sharing title duties on a book) and they face off against Arcade in his first appearance ever. It's amazing seeing how many of the classic Arcade story beats and iconic character points are present right from this first story.
Then, finally, we move to Hulk Comic (another anthology title) and its Black Knight stories because, after the cancellation of Super Spider-Man and Captain Britain Weekly, CB was not seen as a viable or interesting character. But editor Dez Skin, writer Steve Parkhouse and artists Paul Neary and John Stokes wanted to give CB another shot so reintroduced him as a side character in the Black Knight series. They grounded the character further into Arthurian legend and successfully set him up for the upcoming seminal run by Alan Moore and Alan Davis and the introduction of the Marvel-616 designation for the main Marvel universe as part of the Jasper Warp storyline (coming up in volume 4).
Overall, worth the read for the Arcade story in the middle and the Captain Britain backstory which helps setup the best X-book ever: Excalibur!
A boring story of Wonder Woman fighting a PR war against a demagogic televangelist.
are okay, but what really stands out is Mignola's art. Artists with a strong inking background make a unique and powerful visual style that's unique to comic books. It's not just an homage to Jack Kirby either but also a perfect marriage of heavy blacks to occult subjects.
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I have to give it to Byrne to try to break out of the standard punch-em-up every issue. He's working to give Ben Grimm so gravitas, some depth, and while I applaud that, it does come across as more of a failed experiment.
The art by Ron Wilson is of the standard, run-of-the-mill artist output of Marvel in the late 70s/early 80s. It gets the job done, but it's rarely memorable.
And that's the bottom line here. Byrne's trying to reinvent Ben Grimm, much like Walt Simonson reinvented Thor, but it's just only okay.