El megapost del Cómic

[Atreyub]

Pues yo recomiendo encarecidamente fuera de Marvel la saga Blacksad. Impecables e imprescindibles. De quedarse embobado con cada viñeta y un entramado en cada volumen que deja con ganas de más. Cine negro en estado puro.

 

[Sorel]

Los clásicos están bien... Pero no para el siglo XXI.

Los clásicos estan bien, SIEMPRE, que por eso son clásicos. Y el siglo XXI es una misera decada y media... bueno, ni eso. Si no vas a leer el Quijote porque "suena raro" allá tú. Me vas a compara tu ahora en cuanto a modernidad Kirby con Watchmen... anda vete a paseo...

Yo imagino que con "Marvel y eso", clara se referirá a lso superheroes,q ue es en lo que destacan las dos grandes casas, y no aquella etapa de comic erótico de los ssesenta (que no existe, dejad esos dientes sin alargar, pecadores). Porque para recomendarle Conan, ya puestos, recomendamos comics de grandeza y ya nos ponemos a hablar de Eisner. Pero esa fue mi interpretacion; si me equivoco, seré feliz siendo corregido.

 

[Jesse Custer]

Yo no estaba recomendando nada, sólo estaba comentando lo último que había leído

 

[Usuario eliminado 4583]

Los clásicos están bien... Pero no para el siglo XXI. Con mi hijo estoy leyendo las Bibliotecas Marvel de la Patrulla X y Spiderman y son... Bueno... Clásicos.

Mande??? de que hablas, colega??? como bien dice sorel, los clasicos son siempre clasicos, para todos los siglos. por algo son clasicos. el termino clasico es por bueno, no por viejo. y anda que siguen siendo frescos y nuevos los trabajos de lee , kirby y ditko en los 60s.


And by the way, como sorel ha dicho, yo tambien pensaba que se pedia recomendaciones de cosas superheroicas al mencionar a la marvel. pero si, conan tiene miles de cosas recomendables. para mi sus mejores etapas son con thomas/buscema y windsor smith. o tambien podria mencionar el dracula de colan y wolfman, o el werewolf by night, o el monster of frankenstein, o man thing, o howard the duck, y otras tantas cosas de marvel que no son estrictamente de superheroes.

 

[Insidius]

Empezar a leer cómics de los años 60, lee&kirby es un suicidio.

Si me dices Claremont&Byrne(Cockrum) (saga fénix oscura, días del futuro pasado) vale. O los primeros Nuevos Mutantes hasta que llego Liefeld y los convirtió en X-Force.

 

[Usuario eliminado 4583]

Y porque coño debemos recomendar cosas del siglo XXI, una miserable decada y media repleta de putas mierdas ultimatizadas?? las cosas son grandes y buenas y recomendables independientemente de la epoca en la que fueron creadas. lo bueno no entiende de modas y tiempos, lo malo y lo mediocre si es lo que esta en función de las modas o el tiempo.

 

[Usuario eliminado 4583]

Empezar a leer cómics de los años 60, lee&kirby es un suicidio.

Si me dices Claremont&Byrne(Cockrum) (saga fénix oscura, días del futuro pasado) vale. O los primeros Nuevos Mutantes hasta que llego Liefeld y los convirtió en X-Force.

Jajjaja, muy bueno, tio. Sobre tu segundo parrafo,de acuerdo sin pero alguno. pero el primer parrafo no hay por donde cogerlo. por ponerte unos ejemplos, los 4 fantasticos de lee y kirby, el thor de lee y kirby y el spiderman de lee y ditko primero y luego de lee y romita son autenticas masterpieces, cada una en su estilo. la ciencia ficcion y lo mitologico en los dos primeros y la frescura , el humor y la novedad del tercero y cuarto son autenticas joyas. por no decirte de la primera patrulla x de lee y kirby y luego de thomas y adams. o el doc extraño de lee y ditko, o el nick furia de steranko, o el primer capitan america de lee y kirby y luego con steranko. si eso es un suicidio, me apunto, tio. this suicide is painless, you know.

 

[Insidius]

Que no digo que no haya obras buenas. Digo, que para empezar no es lo mejor. Porque el contexto histórico en el que se escribieron no es el actual.

Enviat des del meu GT-N7100 usant Tapatalk

 

[Usuario eliminado 4583]

Y eso que tiene que ver??? estamos hablando de comics de superheroes en donde lo que prima es la aventura, la acción, y la fantasia. no hace falta tener un contexto actual o pasado para disfrutar de ellos. y en mi opinion, y creo que en la de muchos, el nacimiento del universo marvel en los 60 y su continuacion en los 70 y 80 es grandioso en su gran mayoria. lo mismo que con dc, aunque esta abarca aun mas años.

yo estoy convencido que para una persona que sea nuevo en esto del comic de superheroes, se pilla el spiderman de lee y dikto y flipa en colores de lo bueno que es, por ponerte un ejemplo.

 

[Sorel]

Empezar a leer cómics de los años 60, lee&kirby es un suicidio.

.

No te enteras ¿eh?

(todo dicho con buen humor y sin malicia, eh, que a veces uno olvida lo dificil que es tarnsmitir ciertos tonos por escrito )

Deje bastante clarito en mi recomendacion inicial justamente eso...

Es que tio, estamos hablando de clasicos, si, pero de Dark Knight y Watchmen, no del Superman del 39... Que el siglo XX no es unicamente los sesenta ¿o eres Walt Disney crionizado hasta hoy?

O mas a huevo... ¿El Capi?

Aparte que no, no es un suicidio, necesariamente. Para algunos puede, para otros no, por eso di la opcion avisando que quizás no era lo mejor.

Lennon, a ver, yo entiendo lo que quiere decir Insidious. Si alguien no ha leido uan novela en su vida, a lo mejor que la primera sea El Lazarillo de Tormes no sea la mejor de las ideas... Algo más cercano al contexto cultural que le rodea siempre es preferible para poder entar más facilmente. Para contextualizar y comprender otras mentalidades culturales ya habrá tiempo cuando se haya refinado el paladar. Loq ue pasa es que yo le he recomendado EL Guardian Entre el Centeno ¡no el Buscon o El LIbro del Buen Amor!

 

[Usuario eliminado 4583]

A ver, que para empezar la marvel de los 60s no sea la mejor opcion? quizas en algunos casos, en otros no. yo veo al spiderman de los 60s o a la patrulla x o al doctor extraño o a estela plateada de kirby y buscema perfectamente tragables y disfrutables para un recien iniciado en el mundo del comic.
Que quizas sea mejor empezar con un dark knight o una broma asesina o un watchmen o un año 1 o un v de vendetta? pues si generalizamos, es posible, aunque ya digo, para disfrutar del comic de superheroes y de fantasia no creo que sea necesario un contexto historico , salvo en algunos casos en que forma tan parte de la historia que sea inevitable, you know.

 

[Insidius]

Exacto.

Para leer el Lazarillo tienes que ponerte en el contexto histórico en el que se escribió. No es una novela que te lees sin mas (o no se debería). Y el Lazarillo, como el Buscón o Luces de bohemia para el siglo XX.

Puede leer Watchmen (Moore&Gibbons&Higgino) o V de Vendetta ( Moore&Lloyd) que "no pasan de moda".

 

[Usuario eliminado 4583]

Y eso que cuando defiendo la marvel de los 60s, reconozco que hay cosas no tragables hoy dia. los primeros numeros de los vengadores de lee y kirby o los de thomas y buscema se hacen bastante durillos. los muy primeros de thor, idem, hasta que transcurridos unos 12 o 15 numeros la cosa remonta hasta la estratosfera y mas alla. o los primeros iron mans o los primeros daredeviles. y si hablamos de los primeros numeros de superman, batman o wonder woman alla por los 30s, 40s y 50s la cosa se pone bastante ardua, you know.

Ya digo, lo clasico es bueno por ser bueno no por ser antiguo, you know.

 

[Henry Morrison]

Yo empecé a leer comics de Superheroes justo por ahí... la Marvel 60 y 70,s además, guiado por Sorel. Y he disfrutado como un p**o enano. Nunca antes había leido nada de superheroes, si exceptuamos Watchmen y algún numero suelto de Batman. Para mi, ciñéndome a lo que hasta ahora he leído, Los cuatro fantásticos de Lee y Kirby son la puta hostia, sobre todo a partir del famoso especial de la Boda Richards, donde se encadenaron algunos de los mejores comics de superheroes, jamás igualados (Galactus&Estela Plateada, Los Inhumanos, la zona Negativa, las primeras apariciones de Pantera negra...) o el Capitán América, Furia de Steranko, o el Spiderman de lEE y Ditko... ni me molesto en mencionar a la Patrulla x Claremont/Byrne (siempre se olvidan del pobre Cockrum) porque es de lo mejorcito que jamás he visto. Fuera de Marvel he leido cosas tan apabullantes como el Superman de John Byrne, o la etapa Wonder Woman de Perez (que justo acabo de terminarla ahora) o... ¡Crisis en tierras infinitas!

Es cierto que Lee no era el mejor guionista de comics del mundo, yo por ejemplo me estoy leyendo muuuy poco a poco el "Estela plateada" de Lee y Buscema, porque, si bien cada viñeta de Buscema está como para ponerle un piso en Marbella (primera linea de playa) el texto es repetitivo y farragoso, respecto a las aventuras del dichoso alienígena que necesitaba anti depresivos urgentemente, siempre penando por las esquinas. Pero de ahí a querer decir que el comic añejo de superheroes es inrecomendable para los que empiezan... me parece excesivo. Es más, si alguien empieza por el comic de hoy, tiene mas posibilidades de abandonar el mundillo que si empieza con algo clásico!

PD: Lo de Conan era una pullita para Sorel que no sé si habrá surtido efecto
PD2: No me resisto a recomendar a quien para mi, es uno de los personajes más maravillosos y poco reconocidos de Marvel: el doctor Extraño (etapa de Ditko).

 

[Geralt de Rivia]

¿Qué me contáis de la serie Fábulas? ¿Me confirmáis que en los recopilatorios de tapa dura se incluyen todas las historias de los tomos de tapa blanda?

 

[Sorel]

Y

Es cierto que Lee no era el mejor guionista de comics del mundo,

Si te quieres divertir un rato, siempre puedes hacerlo con la polémica de que Shakespaere es Sir Francis Bacon u Homero un churro formado de diferentes poetas, estilo Marvel. Existe una legendaria entrevista a Kirby en la que afirma que todo Marvel sesentero fue obra suya, y la teoria de que hasta los dialogos son de Kirby está ahí fuera. (la entrevista es laaarga y muy detallada, pero merece la pena: http://www.tcj.com/jack-kirby-interview/)

GROTH; When did you meet Stan Lee for the first time?​

KIRBY: I met Stan Lee when I first went to work for Marvel. He was a little boy. When Joe and I were doing Captain America. He was about 13 years old. He’s about five years younger than me.​

GROTH: Did you keep in touch with him at all?​

KIRBY: No, I thought Stan Lee was a bother.​

GROTH: [Laughter.]​

KIRBY: I did!​

GROTH: What do you mean by “bother”?​

KIRBY: You know he was the kind of kid that liked to fool around — open and close doors on you. Yeah. In fact,once I told Joe to throw him out of the room.​

GROTH; Because he was a pest?​

KIRBY: Yes, he was a pest. Stan Lee was a pest. He liked to irk people and it was one thing I couldn’t take.​

GROTH: Hasn’t changed a bit, huh?​

KIRBY: He hasn’t changed a bit. I couldn’t do anything about Stan Lee because he was the publisher’s cousin. He ran back and forth around New York doing things that he was told to do. He would slam doors and come up to you and look over your shoulder and annoy you in a lot of ways. Joe would probably elaborate on it.​

GROTH: When you went to Marvel in ’58 and ’59, Stan was obviously there.​

KIRBY: Yes, and he was the same way.​

GROTH: And you two collaborated on all the monster stories?​

KIRBY: Stan Lee and I never collaborated on anything! I’ve never seen Stan Lee write anything. I used to write the stories just like I always did.​

GROTH: On all the monster stories it says “Stan Lee and Jack Kirby.” What did he do to warrant his name being on them?​

KIRBY: Nothing! OK?​

GROTH: Did he dialogue them?​

KIRBY: No, I dialogued them. If Stan Lee ever got a thing dialogued, he would get it from someone working in the office. I would write out the whole story on the back of every page. I would write the dialogue on the back or a description of what was going on. Then Stan Lee would hand them to some guy and he would write in the dialogue. In this way Stan Lee made more pay than he did as an editor. This is the way Stan Lee became the writer. Besides collecting the editor’s pay, he collected writer’s pay. I’m not saying Stan Lee had a bad business head on. I think he took advantage of whoever was working for him.​

GROTH: But he was essentially serving in a capacity as an editorial liaison between you and the publisher?​

KIRBY: Yes, he wasn’t exactly an editor, or anything like that. Even as a young boy, he’d be hopping around — I think he had a flute, and he was playing on his flute.​

GROTH: The Pied Piper.​

KIRBY: Yeah. He’d come up and annoy me, and I told Joe to throw him out.​

GROTH: Stan wrote, “Jack and I were having a ball turning out monster stories.’’ Were you having a ball. Jack?​

KIRBY: Stan Lee was having the ball.​

GROTH: You turned out monster stories for two or three years I think. Then the first comic that rejuvenated superheroes that you did was The Fantastic four. Can you explain how that came about?​

KIRBY: I had to do something different. The monster stories have their limitations — you can just do so many of them. And then it becomes a monster book month after month, so there had to be a switch because the times weren’t exactly conducive to good sales. So I felt the idea was to come up with new stuff all the time — in other words there had to be a blitz. And I came up with this blitz. I came up with The Fantastic Four, I came up with Thor (I knew the Thor legends very well), and the Hulk, the X-Men, and The Avengers. I revived what I could and came up with what I could. I tried to blitz the stands with new stuff. The new stuff seemed to gain momentum.


GROTH: Let me ask you something that I think is an important point: Stan wrote the way you guys worked — and I think he’s referring to the monster stories specifically here — he wrote, “I had only to give Jack an outline of the story and he would draw the entire strip breaking down the outline into exactly the right number of panels. Then it remained for me to take Jack’s artwork and add the captions and dialogue which would hopefully add a dimension of reality to sharply delineated characterization.” So he’s saying that he gave you a plot, and you would draw it, and he would add the captions and dialogue.​

ROZ KIRBY: I remember Jack would call him up and say it’s going to be this kind of story or that kind of story and just send him the story. And he’d write in everything on the side.​

KIRBY: Remember this: Stan Lee was an editor. He worked from nine to five doing business for Martin Goodman. In other words he didn’t do any writing in the office. He did Martin Goodman’s business. That was his function. There were people coming up to the office to talk all the time. They weren’t always artists, they were business people. Stan Lee was the first man they would see and Stan Lee would see if he could get them in to see Martin Goodman. That was Stan Lee’s function.


Y...


GROTH: Can you tell me give me your version of how The Fantastic Four came about? Did Stan go to you…?​

KIRBY: No, Stan didn’t know what a mutation was. I was studying that kind of stuff all the time. I would spot it in the newspapers and science magazines. I still buy magazines that are fanciful. I don’t read as much science fiction as I did at that time. 1 was a student of science fiction and I began to make up my own story patterns, my own type of people. Stan Lee doesn’t think the way I do. Stan Lee doesn’t think of people when he thinks of [characters]. I think of [characters] as real people. If I drew a war story it would be two guys caught in the war. The Fantastic Four to me are people who were in a jam — suddenly you find yourself invisible, suddenly you find yourself flexible.​

ROZ KIRBY: Gary wantsto know how you created The Fantastic Four.​

GROTH: Did you approach Marvel or —​

KIRBY: It came about very simply. I came in [to the Marvel offices] and they were moving out the furniture, they were taking desks out — and I needed the work! I had a family and a house and all of a sudden Marvel is coming apart. Stan Lee is sitting on a chair crying. He didn’t know what to do, he’s sitting in a chair crying —he was just still out of his adolescence. I told him to stop crying. I says. “Go in to Martin and tell him to stop moving the furniture out, and I’ll see that the books make money.” And I came up with a raft of new books and all these books began to make money. Somehow they had faith in me. I knew 1 could do it, but I had to come up with fresh characters that nobody had seen before. I came up with The Fantastic Four. I came up with Thor. Whatever it took to sell a book I came up with. Stan Lee has never been editorial minded. It wasn’t possible for a man like Stan Lee to come up with new things — or old things for that matter. Stan Lee wasn’t a guy that read or that told stories. Stan Lee was a guy that knew where the papers were or who was coming to visit that day. Stan Lee is essentially an office worker, OK? I’m essentially something else: I’m a storyteller. My job is to sell my stories. When I saw this happening at Marvel I stopped the whole damned bunch. I stopped them from moving the furniture! Stan Lee was sitting on some kind of a stool, and he was crying.​

GROTH: Now did the success of The Justice League of America over at National have anything to do with creating The Fantastic Four? Did that prompt you to create the F.F.?​

KIRBY: No. It didn’t prompt me. I felt an urgency at the time. It was an instinct. Here you have an emergency situation — what do you do? The water is pouring in through a big hole in the wall — you don’t stop to put adhesive bandages around the wall to shore it up. You get a lot of stuff together and slam it against the wall and keep the water out. That’s what I did.​

GROTH: Who came up with the name “Fantastic Four”?​

KIRBY: I did. All right? I came up with all those names. I came up with Thor because I’ve always been a history buff. I know all about Thor and Balder and Mjolnir, the hammer. Nobody ever bothered with that stuff except me. I loved it in high school and I loved it in my pre-high school days. It was the thing that kept my mind off the general poverty in the area. When I went to school that’s what kept me in school — it wasn’t mathematics and it wasn’t geography; it was history.​

GROTH: Stan says he conceptualized virtually everything in The Fantastic Four — that he came up with all the characters. And then he said that he wrote a detailed synopsis for Jack to follow.​

ROZ KIRBY: I’ve never seen anything.​

KIRBY: I’ve never seen it, and of course I would say that’s an outright lie.

GROTH: Stan pretty much takes credit in an introduction to one of his books for creating all the characters in The Fantastic Four. He also said he created the name.​

KIRBY: No, he didn’t.​

GROTH: The next character, if I remember correctly, was The Hulk. If I remember correctly you drew a six-issue run of that, then it was cancelled for a little while, then Steve Ditko started it in an anthology book called Tales to Astonish. Can you talk a little bit about how you were involved in creating The Hulk?

KIRBY: The Hulk I created when I saw a woman lift a car. Her baby was caught under the running board of this car. The little child was playing in the gutter and he was crawling from the gutter onto the sidewalk under the running board of this car — he was playing in the gutter. His mother was horrified. She looked from the rear window of the car, and this woman in desperation lifted the rear end of the car. It suddenly came to me that in desperation we can all do that — we can knock down walls, we can go berserk, which we do. You know what happens when we’re in a rage — you can tear a house down. I created a character who did all that and called him the Hulk. I inserted him in a lot of the stories I was doing. Whatever the Hulk was at the beginning I got from that incident. A character to me can’t be contrived. I don’t like to contrive characters. They have to have an element of truth. This woman proved to me that the ordinary person in desperate circumstances can transcend himself and do things that he wouldn’t ordinarily do. I’ve done it myself. I’ve bent steel.

GROTH: Was the child caught between the running board…?

KIRBY: He wasn’t caught. He was playing under the running board in the gutter. His head was sticking out, and then he decided he wanted to get back on the sidewalk again. But being under the car frightened his mother. He was having difficulty crawling out from under the running board, so his mother looked like she was going to scream, and she looked very desperate. She didn’t scream, but she ran over to the car and, very determined, she lifted up the entire rear of that car. I’m not saying she was a slender woman, [laughter.] She was a short, firm, well-built woman — and the Hulk was there. I didn’t know what it was. It began to form.​

ROZ KIRBY: You also said the Hulk reminded you of Frankenstein.​

KIRBY: The Hulk was Frankenstein. Frankenstein can rip up the place, and the Hulk could never remember who he formerly was.​

GROTH:Well, this is probably going to shock you, but Stan takes full credit for creating the Hulk. He’s written, “Actually, ideas have always been the easiest part of my various chores.” And then he went on to say that in creating The Hulk, “It would be my job to take a clichéd concept and make it seem new and fresh and exciting and relevant. Once again, I decided that Jack Kirby would be the artist to breathe life into our latest creation. So the next time we met, I outlined the concept I’d been toying with for weeks.”​

KIRBY: Yes, he was always toying with concepts. On the contrary, it was I who brought the ideas to Stan. I brought the ideas to DC as well, and that’s how business was done from the beginning.​

GROTH: Stan also claimed he created the name. “the Hulk.”​

KIRBY: No, he didn’t.​

ROZ KIRBY: It’s just his word against Stan’s.

GROTH: There was a period between ’61 and ’63 when you were just drawing a tremendous number of books.​

ROZ KIRBY: May I make one point? In all these years, when Jack was still creating things, Stan Lee hasn’t been creating things. When Jack left Stan, there wasn’t anything new created by Stan.​

KIRBY: Yeah. Stan never created anything new after that. If he says he created things all that easily, what did he create after I left? That’s the point. Have they done anything new? He’ll probably tell you, “I didn’t have to.”​

GROTH: Can I ask what your involvement in Spider-Man was?​

KIRBY: I created Spider-Man. We decided to give it to Steve Ditko. I drew the first Spider-Man cover. I created the character. I created the costume. I created all those books, but I couldn’t do them all. We decided to give the book to Steve Ditko who was the right man for the job. He did a wonderful job on that.

GROTH: There was a period between ’61 and ’63 when you were just drawing a tremendous number of books.​

ROZ KIRBY: May I make one point? In all these years, when Jack was still creating things, Stan Lee hasn’t been creating things. When Jack left Stan, there wasn’t anything new created by Stan.​

KIRBY: Yeah. Stan never created anything new after that. If he says he created things all that easily, what did he create after I left? That’s the point. Have they done anything new? He’ll probably tell you, “I didn’t have to.”​

GROTH: Can I ask what your involvement in Spider-Man was?​

KIRBY: I created Spider-Man. We decided to give it to Steve Ditko. I drew the first Spider-Man cover. I created the character. I created the costume. I created all those books, but I couldn’t do them all. We decided to give the book to Steve Ditko who was the right man for the job. He did a wonderful job on that.

GROTH: Can you explain how you worked? I think according to Stan he would give you a plot, you would draw it, and he would write it. Now would you dispute —​

ROZ KIRBY: [Stan] would say that he needs the story, and I think they talked two minutes on the phone, and then Jack would go off and write the story on the side of the art.​

KIRBY: Stan didn’t know what the heck the stories were about.​

GROTH; I’ve seen original art with words written on the sides of the pages.​

KIRBY: That would be my dialogue.​

GROTH: You would talk to Stan on the phone — what was a typical conversation like when you were plotting the Fantastic Four: what would he say and what would you say?​

KIRBY: On The Fantastic Four, I’d tell him what I was going to do, what the story was going to be, and I’d bring it in — that’s all.​

ROZ KIRBY: [Stan Lee] would always say “great.”​

KIRBY: And that’s all Stan Lee would say, “great.” [Laughter.]​

GROTH: Did he ever have criticisms of your storylines — would he ever say, ‘“I think you should go in a different direction’’ or anything like that?​

KIRBY: No, no, no, he took them verbatim. If Stan Lee had ever done that I’d’ve been over to DC in about five minutes.​

Y Alan Moore está de acuerdo.

ALAN MOORE - talks about Stan Lee, Jack Kirby and Steve Ditko - YouTube

 

[Jesse Custer]

¿Qué me contáis de la serie Fábulas? ¿Me confirmáis que en los recopilatorios de tapa dura se incluyen todas las historias de los tomos de tapa blanda?

Me parece que cada tomo nuevo recopila aproximadamente un tomo y medio de la anterior edición. A mi no me convence porque con la tapa dura te sablan más pasta, preferiría una edición más simplona y barata.

 

[Insidius]

Por cierto. En la web de Lektu tenéis para descargar de manera gratuita (pago social, poniendo un tweet por ejemplo) las descargas del Fan Letal Vintage Uno y Dos de Cels Piñol.

 

[Usuario eliminado 4583]

Que crack es Mister Moore, you know.Tiene una forma de hablar que te hipnotiza, you know.

Yo creo que el creador grafico de los personajes es sin duda Kirby. Pero la idea de los mismos yo creo que es mas bien compartida, con ambos aportando cosas. Lo mismo el duo lee/kirby que lee/ditko. Vamos, que no creo que sea un caso a lo Bob Kane, que ninguneo descaradamente tanto a Bill Finger como a Jerry Robinson, durante todos los años de su existencia. Kane fue a true son of a bitch, you know.

 

[Whedon Boy]

Niños, ¿de la colección Extra Superhéroes de Marvel qué merece la pena? Ayer vi el de Fuerza X y tenía buena pinta, ¿es recomendable? Runaways ya la tengo de su día, ¿de Cable y Deadpool son buenas colecciones?

Me gusta el formato, colecciones enteras y a precio más o menos adsequible. En este plan, ¿qué más se puede pillar? ¿Algo de X-Men en tomito bueno-bonito-barato?

Extra Superhéroes

 

[Jesse Custer]

Yo tengo los originales de Fuerza X y me gustaron bastante, aunque me dejaron algo tocado(llamenme moñas) y nos lo reelería xD La verdad es que es algo diferente de lo habitual y tiene bastante humor tambien.

El de los Inhumanos masmola tambien. Pero vamos aquí los expertos son Sorelio y Mr Lennon que te soltarán una disertación cojonuda bilingüe

 

[Whedon Boy]

I know

Voy a por 'Fuerza X' entonces... aunque ahora me acojona leerlo en el metro, lo guardaré para casa con pañuelos a mano

 

[Insidius]

Impossibles XForce.
Soldado de Invierno
Daredevil
Runaways
Ojo de Halcón
el 100% Marvel. X-Men Retorno a la Era de Apocalipsis, lo tengo, si lo quieres lo arreglamos)
Los dos de NYX
De Iron MAn Extremis y Ejecutar Programa
Los de Supreme Power son MUY recomendables ( y tambien podemos llegar a un acuerdo que los tengo todos)

Astonishing Xmen (Agotados... Volumen 1 y 2 muy recomendables)

Spiderman de Straczynski (Idem que con Supreme Power)


joder, la lista no se acaba...

 

[Jesse Custer]

Runnaways está muy bien también, no me acordaba. Del resto de CES, Aniquilación que van a sacarlo el mes que viene (si no me equivoco) estaba bastante chulo también, el de Punisher mola también. Estoy leyendo Capitán Marvel: Primer contacto de Peter David y es divertido pero me gustó más su X-Factor.

 

[Usuario eliminado 4583]

Sorel es un vulgar copion, you know. Here is the original englishman, no doubt.

A ver, de eso que preguntais del extra superheroes. Yo recomiendo cosas como red sonja, la linea noir, casi todo lo de daredevil, caballero luna, motorista fantasma, iron man extremis,shadowlands, el hulk vs la cosa, winter soldier, ashtonishing x-men, el spiderman de strasisnky, y muchos del 100% marvel.

El de deadpool/ cable no esta mal pero aviso que deadpool no es un personaje para todos los paladares con tantas chorradas mentales que se monta.

Buena linea esta, pero yo soy mas bien de clasicos. Te recomiendo mas la linea marvel gold, omnigold o marvel heroes coleccionable( en tomos modestos o tomos regordos), y si no, pues marvel deluxe con cosas como born again, civil war, extremis again, planet hulk, world war hulk, etc.