Now comic cons have had far less to do with comics over the last 20 years -cosplayers and the latest kids toy collectibles taking over. It can be annoying if you turn up to a con and find you cannot get past the endless crowds of Harley Quinns or Deadpools -someone reported 60 Deadpools at one recent US con. Get original.
Anyway, I have written about how creative these cosplayers are and some of them put the work of movie studio costume departments to shame. They have all got different reasons for cosplaying but 99% of them do it for the sheer fun and show.
There were one or two reports of female cosplayers having their breasts and bums tweaked by men at US conventions and that is a criminal offence (in the UK at least). Everyone condemned it and things went quiet -even though one offender was beaten up by female cosplayers.
But I noticed more and more in event videos that there were cordoned off "Private Photo areas" with convention staff standing guard. A couple of You Tube videos popped up about a year ago -both since removed because of You Tube guidelines. Let me make it clear that I am not going to mention names because there are trolls of all types out there and I do not want any female cosplayer targeted. In the background of one of the deleted You Tube videos you could clearly see a mother pull her youngster back from the cordon as the photo shoot was going on.
I had always assumed that the private photo shoots were extra money for cosplayers to do harmless "cheesecake" poses. I am not going to argue about cheesecake photos so do not bother. About a month ago I asked a female cosplayer who is a Face Book friend about these photo shoots and got the reaction "I would NEVER do those!" We talked a little more about this and I was told "I would sooner seriously like die before doing anything like that!" Then I had it explained to me.
Now, at my age I am not surprised or shocked by much but I found what I was being told very hard to believe. We were talking about cosplayers at comic cons. I was told to ask another friend who is a cosplayer about what went on. She named some very well known cosplayers. A couple I was not too surprised by because they tend to flash a little more boobage than others on their You Tube channels and enjoy the rewards of more patreon funding and lots of gifts. I was told that, in costume, the cosplayers exposed almost -some every- part of their anatomy and had no problem with adopting submissive poses of every type.
I was told to check out Patreon to see which cosplayers offered the "naughty stuff". I didn't and left it at that. Apparently male cosplayers "don't earn that way" and also that the staff used by conventions could get "very physical" with any convention goers trying to see what was going on.
A couple of days ago my friend gets in touch and wrote: "I didn't know ------ and ------ were on your friends list?" I was told both do quite explicit photo shoots and as I knew the two women involved had spoken out against "seedy cosplayers" I responded that I couldn't believe that. I was unsure whether this was just some "bitching rivalry". Later in the day I was sent two links and a message: "Check this out!" I trust the sender so clicked on the link to find it was a big porn site and the first image was of the cosplayer I knew in very explicit photos taken at a comic con -there were even the men who paid for the private photo shoot with their name tags on and seriously trying to shoot from every possible angle. I assume one of these had posted their photos.
I left the page quickly.
Then I did some online searching and found there were articles on "introducing soft core" or simply "porn" to cosplay and comics "by the back door" and much more.
Now I have no problem with nudity or women wanting to pose in any shape or form for money. Ffs I'm 60 and I've known strippers, exotic dancers and others. That is up to them and it is their body after all. But I suddenly understood why some young male con goers might think "it's okay" (which it very definitely is not!!) to grab butt or breast. Face it, most of them haven't seen a real naked woman before anyway so they have no idea of how to be appropriate (I am talking a small per centage here).
Cosplay is supposed to be about fun and when you see a costume that has taken 9 months of designing and creating/building and the fact that the cosplayer is really proud of what they have done that's great.
There are some cosplay outfits I've looked at over and over again because some young man or woman has produced something that, I repeat, puts some movie costumes to shame. They base a costume on a comic character, it might be revealing but that is beside the point -it is based on a comic, TV, movie or Anime/Manga character and spot on accurate. People enjoy seeing the outfits and if there are family groups cosplayers always tend to be happy to pose for photos with kids, mum and dad.
Conventions have become more about money -and sleazy percentages taken from things like these photo shoots. It should take you about 5 minutes to find what I did in the form of articles and even photos online. This is why fans need to take these events back by running their own.
The two "holier than thou" cosplayers I have unfriended. Being hypocritical is not something I admire very much and, yes, I did explain to them why I unfriended them. I don't think they were that concerned with the unfriending. As far as I know this seems to be an American thing and I hope it doesn't spread to the dwindling number of UK conventions left.
I actually wish I had not opened this can of worms but if you are a man or women who doesn't mind this type of thing -don't pay the cosplayer because you can get the same thing for free online.
Just so everyone knows and cannot say I never make this clear: some times photos/images are used 20 times on the internet with no credits. I do contact blog users to ask the source but that takes you to...uncredited source blog and from there (sometimes) to uncredited source blog spot.
In the past when someone has said "That's my photo!" the blog post is changed to show this. however, at the bottom of the page you will find this:
all material (c)2018 Terry Hooper-Scharf and respective copyright holders.
I do prefer giving credit and you will note I often ask readers if they know a source for a picture to get in touch.
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And none of you wants to buy comics?!!
And yet I provide you with just the blog posts you need. Cruel. That writ -THANKS to Subzero (Tales From The Kryptonian blog) I am up-to-date on the Caprain Berlin comic series and I hope to be taking a look at that in the next week or so. He also provided me with copies of LDH: Liga Deutscher Helden (League of German Heroes) and ASH: Austrian Super Heroes. Lots of action but, unless my poor German is failing even more, it all seems a bit more humorous and satirical. I'll need to read them again.
Yet, no matter how excited I was to see German and Austrian super heroes in colour, the comic Subzero sent that had me squealing with joy was a black and white horror -Fragments of Horror by Junji Ito. This was far better than Dark Horse's Hungry Ghosts which was very unimpressive.
So look out for upcoming reviews...and buy some of my books.....?
40 pp
black and white
A5 (US Digest)
£4.00 Adults Only https://www.facebook.com/AsteriaComix/
I suggest checking out the Face Book page for more art and to ask about p&p or:
asteriacomix@gmail.com
I will point out that the quality of printing is superb and the paper-stock used is not just glossy but quite thick so you'll need to make an effort to accidentally rip a page! For £4.00 this is a bloody good comix (yes, "comix" as in Underground").
Let me start out by writing that when you look at the art pages you might see the occasional "naughty word". Move on and live with it. The character on the front cover has big boobs -outrage! Scandal!
Here is a little secret you might not have noticed. Neal Adams has said repeatedly that comic readers like to see strong, attractive men and beautiful women -that's natural. So he draws women his way. Look at how Kirby drew a lot of his female characters -many are so obviously inspired by actresses in those old sword and sandle epics like Hercules (you see this a lot in the Asgardian women he drew). Don Heck drew women in his own style -both John and Sal Buscema had their own styles. I was once told (several times actually) that I drew women who "look good but they aren't typical comic females". I'll call BS on that because the people talking were probably basing their views on just American comics. France, Spain, Italy, Philippines -where ever- each artist will have his/her personal likes and they draw according to that.
Ross likes a "woman with a bit of meat on her" as my old gran used to say. Live with it. Move on. His comics are semi-biographical so obviously that is personal.
Look at this cover:
It still has plenty of shading work but it's subject style I have seen in French bandes dessinées and I've reviewed those in the past. So no silly "outrage" just grow up -unless you want to round up and arrest every woman who looks like this, and there are a lot.
It is the art style that helps to convey the personalised stories. If you are not reading the stories just complaining about "sexism" or whatever then you need to really be quiet because you just make yourself look silly. When I got my first Ross comic I looked at the cover and thought "Can you do this stuff in the 21st century?" I was, of course, being an ass. Because I read and review everything sent to me which means it only took a few pages before I could see how good this all was.
I burst out when I saw this back cover because it is, obviously, based on Harvey Pekar's American Splendor. Take a look at the record covers. This is all very personalised to Ross and if you read his comics you'll know why.
Sadly I am having to use the alternative scanner so these are not great. That said, had there still been anything resembling a British comics industry Ross should be earning well from it. I have a lot of old British comics and some of the professionals providing work were a lesser standard. Thomson or Amalgamated Press/Fleetway would have employed him because he has the technique and style that could be used for mainstream or Underground Comics.
It may well look a simple enough page but take a closer look. Look at the amount of tedious cross-hatching applied to give the 'material' the right look. Have you any idea just how much work and concentration that takes? I once strained my eyes badly as every one of 7 panels on an A3 sheet of paper was loaded with cross-hatching (it hurt my eyes, thanks for asking).
Now this next one may be a small panel (I have no idea what sheet size Ross draws on) but look at the work in this -the shirt, the outline of the lighted area, the back of the drawing board and even the tiny window in the background. The spectacles even have shading! If this were a full colour comic all of that would be filled with colour but if you are dealing with b&w work you have three choices:
1) Leave the art clean with no cross-hatching just solid b&w areas
2) Light shading lines, or
3) Go the full. totally committed to what you are drawing and creating .
So when you pay £4.00 for a 40 pager like this do not complain because you are not paying enough for this amount of work.
"Confessions of a Teenage Pervert" might make it sound sleazy but it isn't. I think they call this a "Rights of Passage" story -American Underground and European creators get awards and put on pedestals for strips like this. However, we are in the UK where people will look and read these comics but feel obliged by some stupid "sheep-flock" mentality to declare how shocked they are. An actual real adult would understand this story.
"Town Monsters"...you know I thought it was only the UK had these types, in Bristol we call them "tatters" -imagine the usual type that appears on Jeremy Kyle or the American version of "trailer trash family fighting" show. These are people who, seeing an electric grass-cutter that has been in every type of bad weather for over a year will actually sneak into the neighbours's garden to "steal it"!
"Evening With The Stars" is another tour de force and the cross-hatching made my eyes turn.
The comic is A5 (US Digest) in format so you really need to look and you'll see (apart from the two familiar figures above Ross's head) that there are people inside the entrance hall.
And I've noticed the figure behind the bald photographer. This detailed work takes effort. I've not seen comparable from someone who works via computer.
"Plague Jobs" does not entail clearing up after some apocalyptic cataclysm. It's 13 pages of work that had me guiltily laughing.
There are other strips but I suggest you buy a copy of Better Than Nothing. In my opinion one of the publishing houses that treat graphic novels as trendy or art forms should be paying Ross to actually produce "English Squalor" because it would have the controversy as well as provide a real look at British life than any middle class, mummy and daddy financed art school flounder can.
Can we call Ross's work British Underground Comix? Yes, because we simply have very few if any of those left (don't get me started!).
Dal 26 al 29 marzo 2018 ritorna a Bologna la Children's Book Fair, uno dei più importanti eventi al mondo dedicato all'illustrazione e alla letteratura per ragazzi.
Come ogni anno Hamelin sarà impegnata in numerosi eventi e iniziative legati alla manifestazione. In questa e nelle prossime newsletter cercheremo di riassumerli tutti.
Vita di uno strano signore: mostra e incontri con Sergio Ruzzier
Una passeggiata tra i libri di Sergio Ruzzier: quelli scritti e disegnati da lui e quelli che hanno segnato il suo percorso di lettore, accompagnati da opere create per l’occasione, presso la sede di Hamelin Associazione Culturale. Inaugurazione mercoledì 28 marzo, ore 19.30.
Sergio Ruzzier sarà protagonista anche di alcuni incontri e di una pubblicazione specialea cura di Hamelin, su cui vi forniremo aggiornamenti nei prossimi giorni.
Transbook SymposiumIncontri con Ben Newman, Nadia Budde e Frédéric Gautier a Bologna Children's Book Fair 2018
L’avvento del digitale nel mondo dei libri per ragazzi, in particolare in quello dell’albo illustrato, mette in discussione il modo in cui il libro si legge, si fruisce, si promuove. Transbook – Children’s Literature on the Move è un progetto che interroga queste trasformazioni e in particolare quelle che riguardano il ruolo di chi narra attraverso le immagini. Come cambia il ruolo dell’illustratore nel confronto con gli spazi del digitale? Come si è trasformata la pratica artistica nel passaggio fra supporti cartacei e digitali?
In occasione di Bologna Children’s Book Fair 2018, un ciclo di tre incontri esplora questi temi attraverso l’esperienza di tre grandi professionisti dell’illustrazione: l’inglese Ben Newman, la tedesca Nadia Budde e il canadese Frédéric Gauthier (fondatore della casa editrice La Pasteque)
Portraits Gallery Mostra e incontri con Chris Riddell
Al genio prolifico di Chris Riddell, uno dei più importanti disegnatori della scena contemporanea, è dedicata una mostra a cielo aperto.
Le vecchie bacheche affissive di Strada Maggiore e via Ugo Bassi accoglieranno i personaggi del grande maestro inglesegiocando con registri stilistici diversi, ingrandimenti, dettagli che si trasformeranno in una galleria di ritratti. Una vera autobiografia d’autore attraverso i protagonisti che animano le storie e l’immaginario di Chris Riddell.
Esci dentro, sali sotto Fanny Millard attraversa Salaborsa
Fanny Millard, architetto di formazione, costruisce libri oggetto che interrogano la dimensione fisica e il dialogo fra corpo, spazio e libro. Millard è la protagonista della prima di una serie di residenze artistiche che ogni anno vedranno un autore impegnato a concepire un progetto per bambine e bambini, valorizzando un luogo della città. Salaborsa e Salaborsa Ragazzi saranno attraversate da un percorso punteggiato di installazioni-gioco. Così Millard rilegge gli ambienti e le architetture della biblioteca e ridisegna una nuova fruizione dello spazio attraverso l’oggetto libro.
L'autrice terrà anche un laboratorio per bambini e parteciperà a una conferenza internazionale.
CLALLAM BAY, WASHINGTON - The 7th annual Clallam Bay Comicon will be held July 14-15, 2018, in the Lion's Club Hall in Clallam Bay (90 Bogachiel Street), on Washington State's Olympic Peninsula.
The date has been changed so the comicon will be held on the same weekend as the Clallam Bay/Sekiu Fun Days, with which the comicon is now associated.
Before the Ultimate Gold Collection there were the single volumes.
For the first time in 60 years some of the lost gems of the British Golden Age of Comics are reprinted! Scanned and cleaned to the best standard possible -see The Phantom Raider,Ace Hart,Secrets Of The Super Sargasso Sea,Phantom Maid,Electrogirl,Skybolt Kid,Wonder Boy,Dene Vernon,Professor Atom and many,many others! Its fun and action all the way -The British Golden Age shines through!
I am only going to mention the first two films because there have been so many versions over the last 100 years! I'll avoid Dr Jekyll and Sister Hyde (1971) and the 1995 comedy version Dr Jekyll and Ms Hyde.
Robert -look what you created!!! "Robert" being Robert Louis Balfour Stevenson b. 13th November 1850 – d. 3rd December 1894
1st January, 1845 -I cannot find a photographer credit
Stevenson photographed by Henry Walton Barnett in 1893, the year before his death at the age of 44.
Without Robert Louis Stevenson we would not have had the movies, TV shows nor the comics so thank the man. Like Mary Shelley or Bram Stoker, Stevenson's creation has become history and each has had their characters names become part of the English language: "Ugly as Frankenstein" or "Right blood-sucking Dracula he was!" and "That bloke is a real Jekyll and Hyde -nice one minute and the next a real nasty piece of work!"
The story idea itself came from a nightmare Stevenson had -his wife, Fanny, had woken him on hearing his screams -as the Jekyll - Hyde transformation scene played out in his dream. The story as it was later put to paper, is about a London lawyer named Gabriel John Utterson who sets out to investigate the strange relationship between his old friend, Dr Henry Jekyll and the evil Mr. Edward Hyde.
Jekyll & Hyde In Movies
Barrymore's on-camera transformation was done without make-up initially. Barrymore contorted his face and body and I have seen others do this (I did a very good version when I was younger) and only when we see Hyde's extended finger length (a camera trick) and later scenes is make up used.
Still looks good today. Judge for yourself:
Above –smooth, suave and sophisticated but he can be a right
bit of old rough if you prefer…mind you –the looks go then!
Before Barrymore -a 1912 version?
But has anyone heard or seen the 1912 version -unlike Barrymore there was make-up use: after a quick editorial cut. See the difference here:
This one is notable as it
stars actor -and later noted film director- James Cruze in the dual role of
Jekyll and Hyde and he is said to have based his version on the 1890s stage
version of Jekyll and Hyde.
Obviously no one has seen me at 03:00 hrs! I know what you are thinking and, yes, I am
going to jump into J&K in comics with the Classics Illustrated version -#13
of October, 1943.
The cover was by Henry C.
Kiefer who also used the name Karl Kief (1890-1957); Kiefer he worked on a
number of covers and for several US Golden Age publishers. Interior art was by
Lou Cameron (1924-2010) who was, again, an artist that contributed to various
comic publishers and became a book author in his own right later.
This was adapted by...no one
knows it seems. However, if you have
read Robert Louis Stephenson's 1886 book The Strange Case of Dr. Jekyll and Mr.
Hyde you will know that the paperback is 224 pages long and there have been 54,
64 and even a 44 pages versions (?!). It
is not easy to adapt unless you can break the scenes down in your head -the same thing script-writers will do to adapt books and you have to be able to think "visually". The original adaptor of the
book I suspect was Cameron. He was a comic writer and artist and it makes
sense.Every version in comics since
then has adopted the 1943 almost scene-for-scene.
That said, I recall the big
argument between the estate of Edgar Rice Burroughs and Marvel Comics on its
adaption of Tarzan. Basically, they
complained that John Buscema drew scene-for-scene the same way Burne Hogarth
had in the original comic version. Roy
Thomas pointed out that the Estate had made it very clear they the adaption had
to be as in the book –no freedom to expand or re-write. John Buscema kept to that rule and there was
no secret that he hated Tarzan and drawing the comic –not that a reader would
see this because he was a professional.
Marvel withdrew from the deal.
With Jekyll & Hyde it
was probably easier to follow the 1943 version when it came to comics.
H. C. Kiefer Lou Cameron
Classics Illustrated 013 Dr.
Jekyll and Mr. Hyde (1947). Cameron art:
In fact, do not stop taking notes as it gets
more complicated. You see, the Gilberton
Company was founded in 1942. They were publishingClassic
Comics between 1941–1947 before changing the imprint
name in March,1947 to Classics Illustrated. Prior to Kiefer’s cover there had been another credited to Arnold L. Nicks. Well, everyone credits "art by Arnold L. Nicks" but having never seen nor been able to find a copy of this edition I have no idea whether that means cover and/or interior and those with "slabbed" copies to sell have no idea it seems -they just quote "art by Arnold L. Nicks"!
In '1947' the cover was made to look more
sophisticated and less comic-booky when 'William Kunstler' painted the new version…or
that is what the Grand Comics Database states.
However, there are some problems here as I can find no “William Kunstler” and the date of the new cover is also incorrect. The big give-away is that the art is obviously that of Mort Künstler (born 1927) and I know that because not only is he one of America’s most noted artists but I also got to see a lot of his work as a youngster (don’t ask) in “Men’s” magazines such as Stag or Men.
A few samples…
Long Island Picture Frame & Art Gallery has this to say about Kunstler:
"He's the premier historical
artist in America
- and now he focuses mainly on the American Civil War. When Mort Künstler began
his current emphasis on Civil War art in the early 1980s, he had already
accomplished more than a half-dozen artists could hope to accomplish in a
collective lifetime. From portraits of prehistoric American life to the odyssey
of the space shuttle, Mort Künstler had painted America's
story - and was already renowned as "the premier historical artist in America."
When he placed his focus on Civil War art, Mr. Künstler quickly established
himself as the country's most-collected Civil War artist, and earned
unprecedented acclaim within the genre of Civil War art.
"Mort Künstler is the
foremost Civil War artist of our time -- if not of all time," says Dr.
James I. Robertson Jr., the dean of Civil War historians and the author of the
celebrated biography, Stonewall Jackson".
Künstler's cover for the Jekyll & Hyde book. And Künstler did not start working until the 1950s and this particular cover dates from 1953. This is why I never go by online sources including the GCD and definitely not Ebay sellers!
Now that brings me to my
‘mystery’ copy. I purchased this from
the Classics Illustrated (UK) store of I bought Classics Illustrated no. 85 Dr
Jekyll and Mr Hyde with a 2/- cover price. Now 2/- (two shillings)
would be bloody expensive for a comic book in the 1950s and I do like to know
the age of the comics I have. When I
contacted Classics Illustrated (UK) to try to find a date for the one I had –they
had no idea. It was, after all, sold as an old book.
No normal indicia as in regular comics but inside
front cover has an offer to pen pals from International Classics Club, London. The back cover
has a Classics Illustrated advert with Ayers & James, Sydney address and the inside back cover has
a binder offer from the same company.
I had wondered whether these
were just international adverts but looking at it again it did seem more likely
Australian ...ah, I really can be dim at times as I have a link to old
Australian comics and that led me here to the Australian CI series': https://ausreprints.net/cover/series/4174/16781/4/200/50
The one I have is HRN #127,
published by Strato, possibly 1959. That said, according to this page it was
also published as #13 in February, 1955 at 1/- (one shilling)! I know there were cover price increases of 1/-
3d then 1/- 6d but the 2/- price tag has to make this an early 1960s edition.
That
took me a few days to find out. Make notes!
Startling Terror Tales
#10 was a Star Comic published by Star Publications in May,1952. This one is
said to have a Jay Disbrow and L.B. Cole cover but it is signed L. B. Cole
quite clearly and I can’t see any of Disbrow’s style here. This is a 25 pages
adaptation of Dr. Jekyll and Mr. Hyde and the art credit, pencils and inks,
are credited to Wally Wood no less and
at times there is an almost Ditko-esque feel to panels.
Of course, the most famous comic book adaption of Jekyll & Hyde can be seen in toy shops, on TV, in very high profile movies and much, much more. Whom? The Incredible Hulk, natch. Stan Lee stated several times over the years that the Banner-Hulk characters were Jekyll and Hyde right down to how the Hulk hated Banner and used to call him "puny".
Marvel Classics Comics was a
comics series which ran from 1976 until 1978 and specialized in adaptations of
literary classics such as Moby-Dick, The Three Musketeers, The Iliad and so on.
It was Marvel attempting to pick up the mantle of Classics Illustrated that had
ceased publishing in 1971. It was a time
when comics were soaring and a new, more “high brow” series would be a feather
in the company’s cap.
There were 36 issues of
Marvel Classics Comics in all but 12 of these were reprints of another publisher's
work. So those 12 were “in hand” while Marvel got its own original adaptions
going.
According to some sources Vincent Fago's Pendulum Now
Age Classics, published by Pendulum Press, had begun adapting literary classics
“into black-and-white comics” beginning in 1973. Well, not quite, because the Fago books were
little paperbacks and when you check the Marvel version it is credited as “A
Vincent Fago Production”. Also my copy is Academic Industries Inc. “Pocket
Classics". Pendulum Now Age Comics may just have been the name Fago used to package and sell the product.
As
I’ve written –comics can be real complicated and you should always do your own
research.
Marvel's version had a Gil Kane and Dan Adkins cover. When I first saw a copy I thought someone had hand drawn speech balloons -this was "someone's" work pre-printing as the Fago book had no speech balloons.
Here is the original Fago book inside the Marvel version.
The various issues featured adaptions
by writers such as Otto Binder, Kin Platt, and Irwin Shapiro. Fago had employed such great Filipino artists
as Alex Niño, Rudy Nebres, E. R. Cruz and others. All working on 52 pagers with no adverts!! Marvel really was trying to be classy.
Below the Fago Pocket Classic compared in size to the Marvel version.
But let us go back in time a little. To June,1973 and
Supernatural Thrillers #4 and a Marvel adaption of Dr. Jekyll and Mr.
Hyde.Yes, don’t ask me why the Fago
deal was needed…I may have mentioned that comics is an odd business and if Connecticut is in the
mix (home of Charlton Comics and it’s, uh, upright owners)….
Ron Goulart wrote the
adaption while Winslow Mortimer drew it and Roy Thomas was the editor. I am not complaining as -why not?
Let us go back in time...look on this as a prequel -okay?
Mister Hyde first appeared
in Journey
into Mystery #99, December, 1963, and was created by Stan Lee and Don
Heck and based on Stevenson’s Jekyll & Hyde. In fact, Calvin Zabo was a morally abject but quite brilliant
biochemist who was fascinated by the effect of hormones on human physiology.
One of Zabo’s favorite stories was Stevenson's 1886 classic, and he was unhinged
enough to be convinced that the experiment Dr. Jekyll performed could actually be
accomplished. It became an obsession he had time to toy with after Dr Don Blake
(aka: Thor) refused him a hospital job. Zabo did in fact unleash his full
bestial nature in a superhuman form.
Now, like most British kids,
I read these Thor stories in weekly comics and Hyde really worried me. He
really put Thor and Jane Foster in great peril and when he teamed up with Cobra….
AAAARGH!!!!!!
Are you beginning to see
how much comics owe to Mr. Stevenson now?
Word to your mother.
In 1990, Berkley Publishing
group (Chicago) published Classics Illustrated #8 –their version being a more
stylish version with art by John K. Snyder III.
This was re-published in 2009 by Papercutz as Classics Illustrated #7. See how complicated comics can be?
Above: the Berkley Edition. Below the Papercutz edition.
But you want to see the art, right? Okay.
To be honest this post could
go on longer but I want to deal with one last comic adaption of the story. This one written by none other than Alan
Grant and drawn by -don't faint!- Cam Kennedy.
Above: Alan Grant
Below: Cam Kennedy
If you ask "Who?"
I am going to whip you to death with a wet lettuce leaf!! Judge Dredd, Rogue
Trooper –ring any bells?
Published in 2008 by
Waverley Books this is a good adaption and the art is lovely. What more can I write?
I cannot do it! I cannot pass on this one! Yes you can!
No I can’t! Who said that? Look,
in October, 2002, NBM Publishing gave us a Jerry Kramsky adaption of the story and they had to genius
to haveLorenzo Mattotti draw it. “Draw it” seems such a crude phrase
when you look at the art. And you may.
And if you have not seen the
2015 TV series it is quite fun -but violent (which is why ITV in the UK pledged not
to make any more -after they screened it like morons at 6pm on a Sunday!!
Here are some comic book
adaptions I have not seen. If you have
copies –if you are a publisher and published a comic adaption…I am not opposed
to free copies!
