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Judge Dredd: Mandroid

is now eyeing the side of Mega-City One with Judge Dredd : Mandroid , published by Sun.

Sergeant Nate Slaughterhouse is a veteran of the Space Corps. He fought on hostile planets and delivered dozens of fighting, until one day, seriously injured, it is recovered half dead on the battlefield. Placed in cryogenic suspension, he owes his life as cybernetic implants that now constitute the bulk of his body.

The psychological shock is intense. Demobilized from Nate, with his wife and son for Mega-City One. Here, the family found an apartment block in a filthy, plagued by crime. They are short of money, without jobs, without any psychological help. Slaughterhouse thought to have lived through difficult times, but it's hell in the megalopolis that is going to know the worst. And when he finally has nothing to lose, he will do what he always does: killing.

Unfortunately for this brave victim of such circumstances, the law in Mega-City One, is made by the Judges. Dredd, who took a liking to a veteran, if indeed he might feel in will find himself obliged to hunt him down.

They should have the same side, life has decided otherwise ...

branch U.S. Comics Sun is not at his first attempt on the famous Judge Dredd, from the equally famous British weekly 2000 AD. Last year, the publisher had already published a collection of short stories, whose content and assorted looks very particular could just discard it.

Here, these reserves are not expected to be as it is one long story , written by John Wagner and illustrated by Kev Walker (who officiated at Marvel Zombies ), Simon Coleby and Carl Critchlow . Graphically, the result is efficient, especially for the first part (in fact this volume contains two different arcs forming a whole), with a style and dark shadows and contrasts that are able to transcribe both the violence of the city's destruction of its inhabitants. The second part is more conventional and less inspired but still quite honest.

The story is particularly harsh and uncompromising, the events occurring with a cold logic that enhances the horror and inevitability. Especially, Dredd must face here, not a monster or a hardened criminal but a man who fundamentally good, in desperation, will depart from the Act only reference to a judge who will nevertheless be a little less cynical than usual (initially at least). What could have been a banal story of revenge is finally enhanced by a moral questioning interesting and, above all, a relentless increase dramatically, giving the impression that the characters can only undergo a crushing and inhuman consequences.

You'll understand that it is not very gay. The book reveals disturbing, muscular without being simplistic and sometimes even moving. It also has the advantage of presenting the world of Dredd (based combat armor, blocks glaucous also immense and strong sense of desolation) in a coherent and accessible.

Technically, nothing special to report. T good, hardcover and (very) small gallery of covers.

From SF brutal and scary.

To avoid night of blues.

ps: I take this opportunity to let you change the address of the site Watchtower now Hosted by: http://wtcomics.mdata.fr/

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Adaptations of Comics to Film: The Boomerang Effect

recent years, the adaptations of comics to the movies come thick and fast pace, with the inverse of the quality that she deserves to be more.
Petit point on the perverse effects of poorly conceived business practice.

Seen on TV! "
We've all seen this teaser on a bunch of products for mass consumption, but do you know what Affriolé even a commercial?
Yes, the small Seen at the Cinema " tape that can actually or mentally commodities it is responsible.
It is necessary at the beginning of this article, (re) make a point on the business aspect of comics (or any literary work elsewhere). Yes, the books must be sold, yes, it is normal to take into account the economic aspect of a work, no money, it's not dirty.
By cons, no, cultural products can not sell like Bolino or Kinder Bueno, and bring the artistic aspect of a work remains the surest way, precisely, do not sell well.

But, first things top ...
The porous side of the various fields of entertainment is not new. Already in the 80s and 90s, often spent a license movies to video games, sometimes making detours through the comics, novels and role playing. And at that time (not so far anyway), what characterized the implementation of a work from one medium to another, it was often the poor quality of the result.
Even then, a Rambo on the Amstrad was pitiful compared to Ikari Warriors (veterans will appreciate this example prehistoric!). It was found that the reverse process was equally true a few years later, with the movie adaptation of ... Mario Bros. (for the idea of adapting to the cinema a platform game with a mustached plumber jumping on mushrooms and spends his time in pipes, or should really be incredibly optimistic or totally unconscious) and TV series as Mortal Kombat.
short, it was not obvious, with few exceptions, such as Call of Cthulhu , declination in the RPG and the eponymous new pantheon created by Lovecraft. Except that an RPG, it's not supposed to affect millions people. And we come to the first brake structural adaptations night cinema: the audience.

When a comic has sold 100,000 copies in the U.S. nowadays is a huge publishing success. If we get 10,000 sales in France for a work distributed in bookstores, is also a success. In other words, in figures, books (or comics specifically) do not address the same audience as the film. On the big screen, audiences in the millions, and revenues in the tens or hundreds of millions. A Superman or Spider-Man can not rely solely on Readers of comics to fill the rooms and their goals. Instead, we must address the widest possible audience.
We come to the frightening concept of lowest common denominator. That specialize in television and film are accustomed to regard as suitable for everyone, unlike the "segmenting." Again, to be honest, there are exceptions and modifications as more successful than others. Watchmen , for example, do not betray the spirit of the original story while adding a modern dimension and perhaps a greater fluidity than the comic (by getting rid of famous scenes from pirates), but for success, how many dismal failures?
Daredevil, Hulk , Ghost Rider, all examples of frightful turds, bad damn fast and curly. Consider the
Spider-Man , considered, to my great astonishment, as a success. It is typically the kind of silly movies and soft knee, without any creativity or personal touch, which are supposed to apply to everyone. So to anyone. And besides, it's directed by Sam Raimi, a guy who can make masterpieces like A Simple Plan or stuff much fun as hell until . His version of Spider-Man, by comparison, seems very bland. I'm going a bit far, but it's hard to call a gadget otherwise sanitized, drowned in boredom and lack of inspiration. The third installment (oddly generally the least appreciated) starts to offer some interesting things, but at this rate, it would have in Raimi makes 50 so that we have a chance not to fall asleep before the end . Or come out happy and satisfied to have seen a "real" Spidey.

Well, I will not continue this way, if you enjoyed some adjustments, fine, you probably your reasons. For cons, I think that it is now, after several years of decline, interest in the effect of "boomerang" of these changes on our comics.
The first of these effects, the worst that present both the U.S. and France, this false impression that the viewer of a film could potentially become the future readers of the comic book franchise . It's like if you consider that the guy who drinks wine at the restaurant will perhaps participate in the harvest next year . Me that a little booze, frankly, I can tell you that it is unlikely.
Seriously, go back on this infinitely perverse. Publishers in the broadest sense of the term, consider that when the film adaptation of a franchise out, the chances of selling are greatly increased.
This principle of communicating vessels are actually in a sense (readers of comics will often see the film adaptations) but not the other (the viewer does not rush lambda on BD). How
be sure? For a very simple comparison.
The film adaptation has never been so numerous and drain millions of viewers in North America and Europe. However, in recent years, sales figures, with regard to comics, are rather sharply downward. Not only is the comic industry in a few decades, lost many readers, but the wave of "promotion" in the film is not contained. Consider some recent figures
. In May 2007, Captain America: Fallen Son flows 170,000 copies in the U.S. (a good figure today, but nothing compared to sales in previous decades). In June of that year, World War Hulk also reached 170 000, New Avengers is 160 000 ...
Three years later, not only DC Comics truste first places, but what counts! The first
titles (Batman ) in November 2010, reaching over 100 000 copies. In December 2010, no one reaches 90 000. Even and Green Lantern Brightest Day are well below 80 000.
The decrease is constant and, when up there, it is mainly due to important events related to comics ( the death of Captain America for example, or Blackest Night at DC ), not the massive influx of regulars cinemas.

These famous "new players" that the editors hope and cajole to the extreme, it never did see the trace. Or very anecdotal. Yet, these same editors have taken the party today, to approach them. To people who do not exist. Or at least, who do not read comics.
Some examples?
few years ago, Ultimate Spider-Man is specifically created to attract younger readers who are unfamiliar with the past (loaded) of the hero. This time, it serves . Fresh, pleasant to read, the early years Bendis and Bagley are making a run exceptionally well in length. And it does not affect the series history of the Monte-in-air. This will be the only good idea unfortunately.
Obviously, this concept does not fit on the long term (as, inevitably, after a few years, the Ultimate universe also generates its continuity and thus supposed disincentives to purchase). We will therefore Ultimatum , an event winded and questionable value, at the base supposed to wipe the slate clean. In fact, it is the quality that will quickly escape from the range. Always
about Weaver, Quesada will implement the controversial One More Day throwing again the hero's past to the winds, while, however, the character had matured and interest. Those who read the series grumble, those who do not read ... not read it yet.
Such missteps will multiply to almost become a norm. Until recently, the series Iron Man Legacy (without interest) is launched by Marvel to suit the hypothetical readers from the viewing of Iron Man II Favreau. The same argument is echoed by Panini, who in his editorials, never fails to praise the supposed qualities of a comic adapted film.

Gain exposure and media coverage, it, nobody can blame the publishers. It is even more logical and sensible. But destroying the significant progress of the inspired authors to address a lack of the public is not particularly a good idea. On the other side of the Atlantic, it's a stupid idea, and when it leads us, she has not won in intelligence. For the intro
Losers example, the henchmen paniniens find nothing better than not talking almost only ... Film! This is stupid because if you read the intro, is that it has already bought the book. So no need to surround it with a pseudo halo-based prestigious Hollywood lights. Yet at Panini, we continue to praise the films in the comics for ... sell these comics (even if only in Kick Ass example). This does not detract from the content but surreptitiously installs the idea that comics would only be the poor relation of artistic universe where the cinema is king. Paper, knighted by adaptation, therefore accede to the supposed literary aristocracy.
One can even question some journals that regularly come in at number # 1 while series contained therein has not changed and still evolving. Funnier still, the quest for "new player" is so ingrained in the genes that publishers Panini (which is never the last when it comes to anything) goes even publish in some collections, several numbers # 1 of the same series but with different content. For Daredevil in Marvel Deluxe example, Panini will release a first number # 1 (containing episodes signed Smith, Quesada and Mack), then they will release a ... second number # 1 (for the same series of the same character) with the start of the run of Bendis. Oh, sure, a number # 1 is reassuring. For fans by
cons is really absurd and famous for newcomers, it's a trap con (put a "1" on a book has never contributed to its contents more accessible) . Yet while the interest of a shared universe with a continuity of several decades is its wealth, it seems that publishers regularly tempted to believe (those who do not read what they publish) everything is as accessible as the latest film insipid they saw on the big screen.

In the end, what the film adaptations of comics have such real effects?
Do they make fun of comics readers? Often I am tempted to say no.
Do they attract new readers? No, they are not even able to stop the bleeding now.
Do they highlight the characters? Well ... er ... honestly ... Daredevil / Ben Affleck, Spidey / Tobey Maguire ... good, everything is said (to be honest, Robert Downey Jr. Tony Stark is embodying a pleasant surprise, it must be exceptions).
But ultimately, they have no positive effects could royally fuck it, we, selfish players and avid readers. Except that regularly, it is taken on the face of the perverse binz: Series launched quickly and badly written, runs the whole balanced with nettles, a general nervousness, a constant back for the VF, the choices based on criteria staggering, and finally, an impression that we still do not care a bit about our mouths. Or even that it is not for us, which is still an achievement!

Basically, bad films, it is usual, environmental practices but are they also influenced comics who, at the base, were good but sometimes end up looking like their distant cousins animated. Ie they focus on announcement effects, silly action, special effects, superlatives and stalled narrative.
It works sometimes. On an audience not looking, very young or novice, but what about what we've really come to look in the comics? What happens to these historical players, adults, the faithful who have always accompanied the footsteps of their heroes? (And also filled the pockets of their authors and publishers?)
What was nice to find in the marvelverse recent years, it was exciting sagas, less Manichean conflict than in the past, deep characters, subtle relationships, drama, controversy, or painful moments of magic. Much risk taking, artistic advances that fail most often to the cinema on the pretext that only warm, not spicy soup may be suitable for everyone. Also provided boomerang effect, in turn, are stripped of some series which made their appeal, although, fortunately, it is not (yet) a general rule. Each medium has

its qualities and defects. And of course everyone is free to have their preferences. However, the effects of fashion, who regularly put the ease (or "comer") on a pedestal are harmful in the long term and, especially, suggest that the medium or technology take precedence over content and creativity which, of course, is heresy and, incidentally, the best way of stopping any series.
The belief is to believe that a work must be simplified and standardized in order to sell "plus" is an absurdity. And focus on the number at the expense of quality is a mistake, even for securities mainstream. Simply because what can grow in number and it's the quality. Or
artistic integrity. Or know-how, call it what you want. Stripping
a work does not make it more attractive, except to think that the vacuum is attractive, it simply makes it poorer. This poverty is bearable level adjustments, which are nothing more than derivatives, but it becomes painful when it spread to the heart of this universe of paper that we thought - correctly - that richer and today is threatened by a race to the bottom which is likely to precipitate his loss. Or at least remove him, year after year after flap flap, which did its magic and pleasure of our readers.

ps: on a related topic I would point out an article in the last Brazil, interested in comics transposed onto the big screen and in which I was pleased to speak a little. FYI, Jeremy Manesse was also questioned on the subject.

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The Unwritten - Between the Lines

decidedly February is a month full of quality publications, since this is the first volume of The Unwritten , fantasy eyeing the metaphysics of writing.

Tommy Taylor is the main character in a series of successful novels which depicts a young magician and has created a craze in the world, surpassing even the popular media when Harry Potter. Fans are eagerly awaiting a hypothetical 14th book, the author have disappeared long ago.

Tom Taylor, he is the son of the writer and the supposed inspiration for the character. It connects festivals and book signings, a success surfing proxy that allows him to eke out a living but also has its bad sides, like those lunatics who, from time to time, take it for what it really is not: a sorcerer.

One day, a meeting will change Tom's life. An unknown challenges in the audience and reveals that a photo is supposed to represent the child is in fact a fake. It also suggests that the past of the young man is oddly formed voids and disturbing elements. It does not take more to unleash the wrath of fans of the series, ulcerated have conducted boat by what might be an imposter. Others believe illuminated explain the mysterious past of Tom in that it would actually be born with the novels and coming straight lines lying on the paper by its creator.

Tom Taylor will quickly see that in the dark, very dangerous characters are very interested in words and their power ...

Ah 'Vertigo' ... a label that does not lie so much, in general, the series that rep ... hours , thin, no, I have made this intro Saturday (see American Vampire ). That said, the context is somewhat the same: an original series, well thought, the rich and fascinating topic. The subject is however very different, but let us first look at a creative team. The script, Mike Carey ( Faker , Neverwhere , God save the Queen , X-Men Origins ), a specialist in fantasy worlds and strange. Drawings, Peter Gross. Well, obviously, this is not the look that is the main attraction of this series. Nothing horrible, just a mat style, no soul (except for a few performances, such as the "world on the other side of the door," impressive and inspiring). To make a comparison, it looks a little like Buckingham (the designer, not the palace). But nothing insurmountable, especially since the theme offers plenty to look at these first five episodes.

Carey talks about the power of words and stories, the magic that manipulate Storytellers and scribbling of all sorts, a vision which I am particularly sensitive because I share a very long time and continues to amaze me to this incredible power that is to feel remote, to a perfect stranger, emotions that we will generate by simply filling in an ordinary letter paper. This is the very definition of magic. Not one of the taverns, the real, which, by signs and symbols to influence the physical world and the mood of our fellow men.

The author goes so patiently build a clever back-and-forth between fiction and the real world, each chapter opens on a few pages adventures of Tommy Taylor before returning to the woes of the real Tom Taylor. The line between hero paper and flesh will fade quickly, however, and from that moment on, the doors of the Imagination will be opened on broad philosophical questions. The reflection is of course on the impact of fiction on life, but it goes further and questions about what makes a human being a "reality" in the eyes of others. Thus, without pictures, without social security number, without birth certificates or registrations in a vague administrative register, is it possible to demonstrate to others his own existence? What is the evidence that we reject or, conversely, to hold credible, hardly used, without any real reflection on their importance?

Worse - for signs of the times - the power of information, even if erroneous, and its transformation into mass hatred and veneration by a crowd as terrifying as versatile, makes one wonder about our reflexes and the vagaries of the over-communication. For, in the era of the Net and the "buzz", relevance is buried under a flood of sordid trash, quickly uttered, not assumed, but particularly painful for that is the target. That is indeed the word of an "author" in the broadest sense of the term, when the natural filter of editing can no longer separate the wheat from the chaff?

Mike Carey brings everything to even begin to answer since, ultimately, even manipulated, the crowds still react very strongly compared to the writings, the Paper, noble medium par excellence and remains not only just as promising in the era of pixels, but almost reassuring.

Caution, do not let cool for my extrapolations. The Unwritten is a series that is easily affordable, with action, suspense, real bad and a main character very endearing. By cons, obviously, when one looks a bit like writing in general, it is a pure delight as it feels to navigate a sea of old and familiar that it feels good to come across some old Captains face etched by the spray. O)

The literary references are multiple, it is Mary Shelley to Conan Doyle, to Oscar Wilde, George Orwell and Rudyard Kipling same the last chapter which is also enshrined. Nice reminder of what the British were able to provide Letters.

Finally, it was right to preface a (very smart one, unlike the last Rex Mundi ) by Bill Willingham, author of Fables , which will evoke Karic but also Guard finally come to a very interesting concept of unification of the fantastic genres.

short, very good. And that translates Manesse, So no surprises.

A great idea can lead us to consider the immense opportunities that proves to be an intelligent and practical bridge between pop culture and literature more "institutional".

Not to be missed.