| Title | : | Longshot |
| Author | : | |
| Rating | : | |
| ISBN | : | 087135568X |
| ISBN-10 | : | 9780871355683 |
| Language | : | English |
| Format Type | : | Paperback |
| Number of Pages | : | 176 |
| Publication | : | First published January 1, 1989 |
Longshot Reviews
-
The story isnt good at all.
Sometimes it becomes exciting but gets boring too damn fast after that.
I am just reading it because longshot will join the x men down the way. -
I read this collection for one reason, and it wasn't because of the X-Men title, nor was it because I'm a fan of Longshot (who is?), nor was it even for the great artwork by a young Art Adams. No, I read this because I have a morbid fascination with Ann Nocenti's utterly bizarre use of dialogue.
All the way up to her current work at DC Comics, Nocenti's dialogue defies any sense of realism, and if I thought it was purposely written in a surreal fashion, then it'd be brilliantly weird. As it is, she's always been the Tommy Wiseau of comics dialogue, having people spout bizarre things in bizarre ways, often with little bearing to the context of the scene. It's not like they're just saying random things, though, it's just that it's always close but... off.
She writes the dialogue equivalent to the Uncanny Valley. To read her is like reading a badly-translated manga while high on acid. Seriously, everyone always holds up writers like Grant Morrison for writing trippy comics, but Nocenti's writing more realistically conveys what it's like trying to read something while on drugs, where your brain just can't quite connect the words you're seeing into something that makes total sense.
To give an example, the first issue features of a moment where our amnesiac hero has just escaped a mob of gawkers who think he's a new superhero. After a brief, random meeting with a wacky survivalist-type, Longshot wanders down the streets of a small town and thinks aloud, "What was he talking about? Outrunning those people was easy. This whole sluggish place moves in slow motion. Oh, help. I must know who I am. Of course I do. Everyone knows who they are. I know the language. I must know the planet. Ha heha haha what a great joke... oh, this is a riot... hahaha who am I... haha well, somebody must know." Try imaging those lines delivered by Tommy Wiseu, and it works all too well.
It just gets more bizarre from there on out, and if this were just prose, the story might be unreadable. Thank god for Art Adams, whose work here is great, albeit a bit rougher than his later work. Then again, the 80's coloring doesn't do him any favors in that regard. This volume includes some small images of Adams' original uninked pages, and they're so gorgeous that I'd much rather see a whole book of them, free of both the coloring and Whilce Portacio's inking.
I could try talking about the story itself, but there hardly seems to be a point. For me, this was a rare case where the story takes a distinct backseat to the creative team at the helm. I wholeheartedly recommend for those who likes to enjoy things that are distinctly (and possibly unintentionally) off-kilter. -
This story may appear dated because of the art with the backgrounds, the costume design and the lead has a mullet. The art is unabashedly Eighties, but the issues it commented on, like how energy companies spend millions only to squeeze their customers in their bills, right wing survivalists, and how entertainment media exploits the innocent and unwary and capture the purses of their audience seems timely today. These issues never died, they lie low and come back when it is a slow news day. The more things change, the more they remain the same.
Though there is much social commentary in Ann Nocenti’s script, it is chock-full of superhero action. It is not the story that carries this book, but the work of two talented artists who made their debut here. Both Art Adams and Whilce Portacio skill grow here as the character Longshot developed from an amnesiac with superhuman luck to a rebel messiah seeking to free his people. Issue by issue, Adams emerges with his own artistic voice. He has an animated and detailed style that makes this comic stand from its contemporaries. Even Portacio grows in skill enough to give justice to Adam’s line while giving it a signature lushness that will be his signature as he graduates to full pencils. It is said that Portacio was given this assignment in order for him to learn his storytelling chops. That is a good way to learn as Adams’ skill in storytelling is particularly strong and I manage to follow each panel in the right sequence.
Adams’ art is the best reason to buy this book. He is notorious for not having extensive runs on a monthly title since his detail extensive work makes keeping a regular schedule impossible. I only wish this was done with an oversized trim with larger pages so to enjoy the art better. -
This could have been a really good miniseries, and, as it stands, it's quite solid, but it is hampered by a few things. First, Longshot himself and particularly Mojo are vastly more interesting than they become later in the X-Men universe itself. Longshot's luck powers are more interesting, and have far greater repercussions. Mojo is one of those scary-insane type villains, instead of the humorous putz he will become later. I was particularly disappointed in this, because Mojo here is so interesting--scary, bizarre, and otherworldly--and his later incarnation as an X-Men villain is essentially a clown.
But the problem here is related--nothing is every really explained. There are a lot of hints at his origin, and some superficial details, but the real meat of the story is never forthcoming. We learn WHAT Longshot is, and a little of what he did, but we never really learn WHO he is. So the mythology is left nascent, ripe for someone to take and really make something great out of. Unfortunately, what happened is that this got absorbed into one of the sillier aspects of the already-convoluted X-Men universe.
The book has some other flaws--one issue is a blatant "guest appearance" issue, with no real worth otherwise. The first half of the series is too episodic, while the last half has all the story but not time to explain. But there's definitely some great stuff in here, and if someone were to do a re-make today, taking the basics of the story, but modernizing them and providing more explanation, I would totally read it. -
Un comic donde se nos relata un poco sobre el origen de Longshot. Como en casi todos los comics que tratan sobre un xmen en solitario, no llega al nivel de la saga madre pero tiene buenos momentos sobretodo con la llegada del héroe a la tierra y sus enfrentamientos con Mojo y sus esbirros.
-
Early Art Adams cartooning is the top reason to read this and he improves measurably issue over issue, it's fun to watch happen, especially knowing the style he was working toward, which I've always loved. Also, while it's canon that Longshot himself was modeled after Euro pop star Limahl, of Kajagoogoo and The NeverEnding Story fame, this not too infrequently looks and feels like a link between The Smiths' consumer lamentations of the early 80s and Radiohead's dissociated android rock of the mid 90s. Longshot is quite literally a superhumanly lucky homesick amnesiac alien who bristles at the idea of disappointing children and wishes American prefab detritus would more effectively narrate and explain existence at large. He's relentlessly pursued by a spineless media-mogul bad guy who's scared shitless that Longshot might inspire a slave rebellion on the TV-obsessed world he hails from. Read-sing Ann Nocenti's elliptical dialogue from a page that depicts an Exacto knife, a Gobot, a bloodied baby doll, an X-Wing, and a Eurythmics tape, and then you tell me which alienated, twitchy Brit rocker you can see crooning it over glistening guitar arpeggios:
"I left those demons to slaughter each other, but did I?
Thoughts and memories, they're just burdens, crutches, I don't want them.
I want to be a man without a past. That's the way Rita liked me.
As if objects had answers. I know the answers.
I've lost my luck, my faith, my friends.
A displaced nobody,
Heartbroken and homesick for a world I can't even remember." -
The mulleted one's first story. It sounds like the book is an Arthur Adams creation and they brought in Ann Nocenti to give it some dialogue. Arthur Adams art is strong here. He seems to have had a hand in shaping the upcoming emergence of Silvestri, and I think I can see Liefield pulling from his art. Don't let that last comment dissuade you from him though. It should be noted this is a very 80s looking book.
The dialogue is a funny thing here. Claremont trademarked Longshot's awkward alien dialogue after this mini-series, but here Ann Nocenti kinda bounces between Longshot's awkward naivete and being far more aware of the world than he is usually presented. This seeming confusion of the character may be caused by my being accustomed to Longshot being humorously naive, and rarely used especially seriously. The awkward dialogue was actually fairly entertaining for the rest of the cast. But for some reason it always tweaked me a bit with Longshot himself.
Oh and this introduces Mojo and Spiral, for what it's worth.
Anyhow, this book actually hits some notes that could lead the reader to some higher themes on identity, freedom, worship, and some others. Not especially subtle...
All of this just poses the question: who has the better mullet, MacGyver or Longshot? -
Was pleasantly surprised with this, I have a soft spot for the art work of this time but the story and script was far more mature than I expected and enjoyed it more for it.
-
This is the most bananas 80s shenanigans I've maybe ever read, but I loved every minute of it! Longshot is a beautiful, optimistic idiot, and I love him so, so much!
-
Saya terus terang terseksa membaca buku ini. Bukan kerana lukisannya tetapi terlalu banyak dialog menerangkan semua perkara. Watak utamanya amnesia, dan alien kepada bumi, sudah cukup menerangkan kenapa terlalu banyak penerangan disuapkan kepada pembaca.
Lukisan Art Adams memang teliti, tetapi ketelitian penulisannya tidak memudahkan saya baca, seperti keadaan padat ditambah lebih padat.
Dari segi ceritanya ini adalah asal-usul kepada watak Longshot dan pengenalan kepada dunianya yang asing bagi kita. Hal ini menarik kepada saya secara konsep dan juga rekaan watak Mojo misalnya yang hodoh dan unik. Saya tak cukup sabar untuk perlahan-lahan mengikuti monolog setiap watak, mungkin mengurangkan faktor seronok ketika membaca buku ini. -
The art is great, the concept is great, but the writing is a meandering sort of stream of consciousness until issue 4, when it noticeably improves. Mojo and Spiral's interactions are especially fun, but Longshot continues to speak like an overdubbed anime character, and the pacing gets wonky and cyclical. Actually, now that I think about it, this series would've made a great 80's cartoon. Doctor Strange plays deus ex-machina: I'm always a little pissed when standalone characters get squeezed into the Marvel Marketing Universe. Keep an eye out out for all the Gumby easter eggs.
-
Tomo único que recopila la miniserie homónima.
Además de una introducción a cargo de la guionista en la página 6, según el índice se incluye:
CONTENTS
A Man Without a Past 8…
"…I'll Wave to You from the Top!" 33
Just Let Me Die 57
Can't Give it All Away! 81
Deadly Lies 107
A Snake Coils 132
más tres páginas en gris. -
A really pleasant surprise. More "Fourth World" than I ever thought Marvel would have the nerve to publish.
-
A favorite from my youth. Very eighties vibe. One of my all-time favorite villains.
-
Reseña de Santiago Negro para La Casa de El:
http://www.lacasadeel.net/2016/07/res...
La nostalgia es un arma poderosa, bien los saben en el mundillo de la viñeta. La cantidad de reediciones que encontramos en nuestras librerías favoritas dice mucho de cómo funciona hoy en día el mercado, para desgracia de nuestros bolsillos. Especialmente Panini está haciendo una labor de recuperación de sus clásicos bastante importante, con gran cantidad de material que hace años no se asomaba a las estanterías de las librerías. Longshot vuelve a la palestra con todo su sabor ochentero, a pesar de que hace años que perdió el brillo de antaño. La miniserie que nos presentó al personaje, auténtico clásico de culto, se presenta ahora recopilada en el formato Mavel Gold, para disfrute de los muchos fans de la Marvel de mediado de la década de los 80.
Y es que hablar de este tipo suertudo es hacerlo de la época que lo vio nace. El aspecto que luce, la forma de sus aventuras iniciales, los autores implicados, e incluso su edición original son buena muestra de cómo se hacían las cosas en aquel lejano 1985. De hecho, para conocer la génesis de Longshot toca un recuerdo a uno de los personajes claves de la historia de Marvel: Jim Shooter.
Shooter pasó a la historia como un tipo lleno de luces y sombras, tan aplaudido en las reformas iniciales que introdujo en La Casa de las Ideas como odiado por su última etapa al frente de la editorial. A pesar de sus sonados enfrentamientos con autores de primera línea y su puño de hierro a la hora de dirigir el cotarro, lo cierto es que también apostó por nuevos autores y formatos. La aparición de las miniseries permitían tentar el mercado con las posibilidades de algunos personajes con brillo propio en series grupales, al mismo tiempo que jóvenes artistas escritores encontraban su primera oportunidad. Este es el caso de los dos siguientes protagonistas de esta historia: Ann Nocenti y Arthur Adams.
Nocenti llegó al mundo del cómic un poco por casualidad. De hecho, no era una gran fan del medio en sus comienzos, pero pronto encontró en las viñetas una forma de narrativa con la que se sentía muy cómoda. Nocenti siempre ha sido una autora bastante guerrera, de fuertes convicciones sociales. Su posicionamiento político siempre está presente en sus historias, siempre con el ojo puesto en las problemáticas urbanas y las desigualdades. Al mismo tiempo, la escritora también ha mostrado interés en los argumentos de contenidos mágicos y sobrenaturales, todo un ejercicio de contradicción que, al contrario de lo que se puede pensar, ha dado muchos buenos momentos a Nocenti.
Arthur Adams, en el momento en que se edita este cómic, tenía 19 años. Todo un caso de precocidad, y más si tenemos en cuenta que toda su formación como artista era completamente autodidacta. Longshot fue la serie que descubrió a este dibujante al mundo y le puso en el ojo de los lectores, gracias al increíble trabajo realizado en las páginas de esta miniserie.
Dos autores jóvenes, con hambre, imaginativos y dispuestos a romper moldes, apoyados por el editor más contradictorio y polémico de la historia de Marvel. Ese es el caldo de cultivo del que nace el carismático personaje que hoy protagoniza nuestros espacio.
Longshot se presentó como una serie limitada a seis números, donde Nocenti y Adams introdujeron una cantidad ingente de nuevos conceptos y personajes que han terminado como parte fundamental del universo Marvel, sobre todo en el círculo mutante. En este origen del personaje, Nocenti jugó hábilmente con el misterio que rodeaba a su protagonista. Sin pasado, perseguido por enemigos desconocidos, totalmente encantador por ese aire de inocencia algo bobalicona producida por la desconexión total entre Longshot y su mundo adoptivo…
Todas las piezas encajaban para la construcción de un tipo destinado a encandilar a los fans. Además, el diseño ideado por Adams era carne de aplausos en aquella época. El peinado y el llamativo atuendo acercaban más a Longshot a la apariencia de un miembro de Duran Duran más que al tipo en pijama predominante. Su aspecto físico era tan extraterrestre como reconocible, y, a pesar de esa imagen de guaperas insoportable, lo cierto es que la propia inocencia de Longshot hacía casi imposible que odiases al personaje.
Una vez introducido el protagonista, Nocenti no se durmió en los laureles. No basta con una imagen rompedora. La autora creó todo un universo alrededor de Longshot, tan brutal y violento que contrastaba de manera notable con el caracter alegre y pícaro del protagonista. Veíamos por primera vez el Mojoverso, el despiadado mundo dirigido por este gusano inmundo, donde la raza de Longshot sirve como esclavos a la raza dominante. Nocenti describía una fuerte crítica al mundo de los medios de comunicación y entretenimiento, así como a la sociedad de consumo. El uso de los medios como forma de idiotizar a base de contenidos facilones presagiaba la evolución del espectáculo televisivo en el que hoy estamos inmersos (para desgracia nuestra).
El dibujo de Art Adams se conserva majestuoso e impactante. A pesar de los años, y de lo mal que han envejecido en el aspecto visual muchos cómics de esa época, el trabajo de este imprescindible artista es una delicia en pleno 2016. Detallista hasta la obsesión, maestro en el diseño de los personajes, capaz de dotar de dinamismo a la acción más intrascendente, imaginativo en el diseño de la página, auténtico maestro de la narración gráfica… ¿Se nota mucho que es uno de mis dibujantes favoritos? Es impresionante el grado de madurez que hay en Longshot a nivel visual, si tenemos en cuenta que se trata prácticamente de un debut.
El toque conseguido por Adams para estrellas de la casa como Spiderman, doctor Extraño o Hulka (brillante) es de aplauso. Da la sensación de que Adams es un punto de inflexión, el momento en el que se marca la diferencia entre lo viejo y lo nuevo. En mi opinión, se puede hablar de él como auténtica punta de lanza para toda la generación posterior, que en unos años daría la campanada. Hablamos de los Silvestri, Jim Lee, Mcfarlane…
Nocenti es una escritora muy particular. Densa, con tendencia hacia la reflexión, con gran cantidad de texto en sus cómics, no es una autora típica. No se amedrenta a la hora de marcar el territorio, y su estilo es notable a lo largo de estos seis números. Desde luego, lidiar con la tendencia a la literatura de Nocenti no tuvo que ser nada fácil para Adams, que consigue otro de sus aciertos en el manejo de esta cantidad de texto como parte fundamental de su propuesta gráfica.
Es curioso que Panini apueste por un personaje que hace mucho no es de los personajes más aplaudidos hoy día. Desde luego, es de agradecer la iniciativa, tanto para los lectores veteranos que hace mucho no tienen una edición en condiciones de esta serie, como de los nuevos lectores que descubran ahora al héroe exiliado de Mundo Mojo. Los lectores de X-Men verán por estas páginas el nacimiento de villanos como Espiral, y otros tantos elementos que se convertirían en clásicos de la etapa de finales de los 80 de la colección. Y, sobre todo, podremos disfrutar del arte de Arthur Adams pletórico de juventud y dinamismo. Un lujo.
La miniserie de Longshot vuelve en el formato Marvel Gold de Panini. En este libro con solapas de 216 páginas, encontramos los seis números originales de la edición USA de 1985. Además, como extra se incluye la propuesta original de Ann Nocenti, así como una selección de diseños y bocetos de Adams, que dan idea del proceso creativo de la colección. El precio recomendado es de 19,95 euros.
Ann Nocenti comenzó a trabajar en el Bullpen de Marvel a principios de los 80. Ha trabajado como editora y guionista, con etapas importantes al frente de Daredevil. En 1985, crea Longshot con Arthur Adams a los lápices, y se ganan el aplauso de los lectores en una serie considerada de culto. Como editora, ha estado al frente de cabeceras como Uncanny X-Men y Nuevos Mutantes.
Arthur Adams es uno de los artistas más importantes de su generación. Su estilo detallista e impecable le ha alejado de los grandes títulos, por la necesidad de largos tiempos para presentar sus trabajos, incompatibles con las exigencias de la industria. Aún así, se ha ganado el aplauso del medio por sus famosas portadas, y por sus etapas como autor completo de X-Force o los 4 Fantásticos. Fue uno de los fundadores del sello Legend, de Dark Horse.
La miniserie en la que Longshot se presentó en el Universo Marvel, en un único volumen con incontables extras. Descubre a un hombre sin pasado que posee una increíble buena suerte. Ahora debe aceptar su destino de héroe, pero no será fácil. -
The first appearance and origin story of the superhero.
A man arrives on our world pursued by demonic creatures and with no memories of his past, however he soon discovers that by undertaking acts with heroic intentions he can bend fortune in his favour and use luck as a superpower.
Despite being a big Marvel fan, I had never heard of Longshot or his arch-enemy Mojo before picking up this book, but apparently Longshot ends up a long-standing member of the X-Men despite being genetically engineered instead of a mutant.
Now I have read this book, I suddenly understand why the character is no-one's favourite superhero.
If I had to describe this book in one word, the word would be 'weird'.
If I had to describe it in three words, they would be 'weird and boring'.
With its semi-corporeal demons and its luck-powered amnesiac from a dimension where all humans are slaves, Nocenti was clearly trying to do something really innovative here, but she fails on almost every level. The amnesiac hero is an incredibly boring cliché to begin with and nothing we learn about his past ever evokes a reaction stronger than "Well, I suppose that's weird".
Nothing introduced is ever explored to any interesting level of detail. Case in point is the villain Mojo who, as one of the Spineless Ones and a greedy, reactionary blob, is Nocenti firing shots at TV and movie executives. However, that idea is never developed and there's never enough cleverness to the delivery to consider it satire. Nor humour, for that matter.
The one thing I did like about this book was the character Spiral; a six-armed female antagonist in a samurai-esque helmet. But that's it. Even, and I'm aware this is largely a personal-taste thing, the artwork is terrible.
The brief and pointless appearances of She-Hulk, Spider-Man and Doctor Strange feel more like insults to the Marvel Universe than a interweaving of this new character into the existing superhero world.
* More reviews here:
https://fsfh-book-review2.webnode.com * -
Fumetto psichedelico e dal fascino retrò, il protagonista mi ha ricordato David Bowie. Ne emerge una, anzi più critiche sociali che seppur tutt’oggi attuali sono espresse con un modo di fare d’altri tempi (dopotutto il fumetto è targato ’89). Lo stile di disegno è buono, vintage, ma l’abbinamento di colori così forti è un pugno nell’occhio che stona parecchio, eppure non risulta affatto inadeguato per storie di questo tipo. Tra viaggi spazio-temporali e mostri alieni giunti sulla Terra, all’inseguimento di uno smemorato che attira spesso l’attenzione e nonostante la dose di fortuna (da cui long shot) sembra non combinarne mai una giusta. Pur non essendone a conoscenza, il protagonista è un leader ribelle che ha spezzato le catene dello schiavismo mettendosi contro a… rullo di tamburi, il miglior personaggio di questo volume, il business-man (insomma ‘man’ non troppo) del tubo catodico: Mojo! Caratterizzato da una cupidigia ossessiva, una (inspiegabile) alta opinione di sé, e da una guardaspalle teleporta con gli attributi: Spirale.
Ho dato un voto alto a questo titolo perché mi ha sorpreso, a occhio e croce non avrei mai pensato di annoverarlo fra le letture che gradisco, invece l’ho apprezzato parecchio. Insomma, questa prima prova (compresi gli editoriali) di Longshot mi è proprio piaciuta. -
This is such a weird book! I'm familiar with Longshot (and his odd history), but I'd never read this original run of his. In this collection, we learn a bit about his past, we meet Mojo, Richochet Rita, and Spiral, among others. There are even guest appearances by She-Hulk, Spider-Man, and Dr. Strange, which adds some weight to this 'new' character (new at the time, of course).
All in all, the story is weird, but the art (Arthur Adams) is just amazing. I wish he'd done more penciling work at Marvel, so that alone is worth getting and reading this collection! That said, there are a LOT of parallels between Mojo and Trump, their self-focus, self-importance, and how they only care about themselves...it was interesting to read taking that into account. -
Avevo seguito la miniserie la prima volta che fu tradotta in Italiano, e ne ero rimasto conquistato. Sia dal personaggio, sia dalla storia in se. I disegni di questo giovane Arthur Adams poi li trovai fantastici. Parliamo di, oramai, venticinque anni fa buoni.
Ho acquistato questa ristampa in volume di recente. Ho riletto la storia dopo 5 lustri e devo dire che non è invecchiata bene. Al di là del disegno di Adams, decisamente acerbo nonostante la gradevolezza (in futuro sarebbe molto migliorato) sia la storia che il personaggio sono invecchiati male.
All'epoca gli avrei dato anche quattro stelle, oggi posso dargli solo 2 stelle e mezza. -
This comic is pretty...comical? I mean I didn't take it too seriously and I hope the author didn't either cause there was nothing fantastical about it and there really wasn't anything too awful about it. The characters were pretty bland. There was a few crossover scenes which I detest, but they weren't too bad.
It just really wasn't my cup of tea. The antagonist of the story really felt evil just so he could be evil like there was nothing really there for me. Gog was much more a villian and I wish he had been the end all. He had a lot more motive to me.
Pretty bland. -
Not what I was expecting, but still entertaining . I was pleased to see cameos by Spiderman, She Hulk and Doctor Strange. It was also interesting to learn that Longshot had other powers including some empathic abilities and some psychometric skills. Come in handy to move the plot along. Mojo was also more powerful and a much more dangerous enemy. Lots of potential story to be developed from this initial introductory tale.
-
La veta más experimental y arriesgada de Ann Nocenti generó junto al entonces prometedor Arthur Adams este singular personaje, situándolo en un universo propio que permite a la dupla creativa moverse cómodamente. El resultado es una miniserie inicial entretenida para el lector que disfruta el tono recargado de los superhéroes ochenteros, pese a prometer finalmente más de lo que cumple; aire fresco para una década ansiosa de modernidad.
-
La historia es floja y demasiado densa para lo que cuenta, al dibujo está un Arthur Adams principiante que no da lo mejor de sí mismo y su trabajo se ve ensombrecido por un tratamiento del color infame, de brocha gorda.
Aquí lo único que se salva es que es el origen de un personaje interesante y un par de villanos que luego darían mucho juego. -
When a writer and an artist truly collaborate, and are allowed the freedom to just do what they want, you can get a comic book like Longshot. Nocenti and Adams here create a character that comes with a literal world of possibilities.
Beginning in the first chapter, the story takes odd and unexpected turns that never stop being interesting. All this and usefully open ending. -
Mitään mielikuvaa ei ole, että näyttikö tämä ilmestyessään vuonna 1990 hyvältä ja coolilta kun päähenkilölläkin on mullet.
Mutta nyt, 30 vuotta myöhemmin, kärsii tämä ihan liian selittämisestä, kuvitus näyttää ihan kivalta ja tarkalta sekä sivuhenkilöt ja ympärillä tapahtuvat tapahtumat ovat kiinnostavampia kuin itse ärsyttävän kaiken unohtanut päähenkilö. -
It’s crazy to think of such a prominent and popular Marvel character coming from such humble origins, but they all started somewhere. It’s a bit of a slog to get through, but there’s a lot of cool little first appearances and ideas running around here.
-
The character design and especially the writing is very dated, but the artwork is pretty spectacular, especially by 1980s standards. It's easy to see why Arthur Adams went on to become a comics superstar.
