And yet it’s also a bright, hand-painted cartoon about anthropomorphic animals. I’d also add “macho.” Blacksad is the story of a black private eye whose work brings forces him to confront racial, sexual, and economic violence routinely. When one thinks of pulp, one probably thinks the opposite of “Disney’s classic era.” Vicious, mean, gritty, and dumb. Blacksad is also the perfect pulp comic, alongside Torpedo, for almost exactly opposite reasons.īlacksad is a pulp noir that has nothing classic or traditional about it, but is somehow still exactly that. I had intended to add it on those grounds alone, only to accidentally find an actual good reason.
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The writing is smart, the artwork is incomparable, and the series is one of my all-time favorites. I sing the praises of this brilliant, funny, insightful, and artistically singular book everywhere. Writers/Artists: Juan Díaz Canales and Juanjo Guarnido There’s an undeniable excitement in seeing the pulp book so many pull from. But it’s also very clear that the book has an idea of how those things are “just right” for the aesthetic, and more uncomfortably, so do I.Īnd yet reading it is seeing a sneak preview of 100 Bullets, Sin City and Frank Miller’s artwork, and Jim Lee, Marc Silvestri, and Sean Murphy’s careers, to name only a few. I don’t think it was the goal of the book to interrogate issues of racism, sexism, sexual freedom, and physical/sexual/mental violence. However, Torpedo is also a problem in the way that pulps are problematic. There’s a real joy to that accuracy, like watching athletes move, or when a song you might like becomes one you know you’ll love. Taken as a whole or judged by its smallest panel, it simply feels… “right.” The book is good in the way pulps are good, and it is goofy in the same, specific way. It’s so pitch-perfect, it’s almost like an extremely earnest cliche or satire. TorpedoĪbuli’s hit series is a dark comedy crime comic in the way few things are anything. This is a lived experience, not necessarily better but certainly different than its filmed adaption, the uniqueness of which was wonderfully fitting. Maroh’s artwork is a little manga-inspired, smart in its restrained use of color, and it retains that incredible, naive excitement that very young talents begin with. The only thing harder than describing them is trying to describe what they were like the first time. Today, these two books are still must-reads for just about everybody. You’ll also see The Incal in The Fifth Element, and Metabarones was nearly Xeroxed into Warhammer 40,000. You’ll see a lot of Dune in the book, which should come as no surprise given that Moebius and Jodorowsky have a long history with the book and film. And that might take a little away from them. However, much like old myths, these two books get a little lost through constant reference. And the immortal rulers of creation aren’t so much “cyborgs” as religious fanatics who have ritually sacrificed some part of their body to be painfully replaced by metal and circuitry. There are resurrections of the dead, an immaculate conception. It is about the order of that, its grand design. The Incal is about the birth and death of a universe. Let me break down how literally I mean that. These two (or arguably one) stories are what happens when you let a couple of artistic geniuses set out to make a brand new mythology. This is one of those rare, pure examples of one person using once-in-a-generation abilities simply to have a great time. The sheer enormity and scale of the book. Moebius’s use of color and the cost and difficulty of reproducing it.
Silent, psychedelic, sci-fi, high fantasy, a possible love letter to Peru? It’s also behind the creation of Benedict Cumberbatch. The tropes they invented are still very much in use, and Pratt’s style can still be seen in Moebius, Paul Pope, and more manga than I can count.
The Corto Maltese books feel somehow both dated and contemporary. Support CBH on Patreon for exclusive rewards, or Donate here! Thank you for reading!
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