古董動(dòng)漫中的超級(jí)英雄們

古董動(dòng)漫中的超級(jí)英雄們

NICK FURY AGENT OF S.H.I.E.L.D.? Artist’s Edition?

《神盾局的尼克·弗里：藝術(shù)家版本》

By Jim Steranko?

吉姆·斯特蘭科(Jim Steranko)著。

184 pages. IDW and Marvel. $150.

184頁(yè)。IDW和漫威漫畫(huà)公司(IDW and Marvel)。150美元。

“Marvel’s Agents of S.H.I.E.L.D.” on ABC is a diverting thriller, and Samuel L. Jackson epitomizes 21st-century cool as Nick Fury in the Marvel movies, but to experience the most raw and primal take on Fury and S.H.I.E.L.D., it’s necessary to go back to the late 1960s and Jim Steranko’s reinvention of these sleek characters. Which is exactly what this book does, reprinting S.H.I.E.L.D. stories from Strange Tales Nos. 151 to 162 in their full-size, black-and-white glory from the original art.

ABC頻道的《神盾局特工》(Marvel’s Agents of S.H.I.E.L.D.)是一部有趣的驚悚片，塞繆爾·L·杰克遜(Samuel L. Jackson)在漫威電影中飾演尼克·弗里，是這個(gè)角色在21世紀(jì)的超酷縮影，但是要想感受原汁原味的弗里和神盾局，還是要回到20世紀(jì)60年代末，看看吉姆·斯特蘭科對(duì)這些精彩人物的重新闡釋。這本書(shū)正好滿(mǎn)足你的需要，它重印了《奇怪故事》(Strange Tales)第151至162集的神盾局故事，采用最初版本的尺寸和黑白色彩。

Mr. Steranko transformed the grizzled Sgt. Nick Fury from World War II afterthought to postmodern spy, with stylish nods to Expressionism, Surrealism, Op Art and Pop Art. In these hyperkinetic, over-the-top comics, it’s psychedelia that wins the Cold War.

斯特蘭科把“二戰(zhàn)”后頭發(fā)斑白的尼克·弗里中士變成了后現(xiàn)代偵探，風(fēng)格上向表現(xiàn)主義、超現(xiàn)實(shí)主義、歐普藝術(shù)和波普藝術(shù)致敬。在這些非常活躍、十分夸張的漫畫(huà)中，贏得“冷戰(zhàn)”靠的是致幻劑。

EDGAR RICE BURROUGHS’ TARZAN ?The Sunday Comics: 1933-1935?

《埃德加·賴(lài)斯·伯勒斯的人猿泰山——星期天漫畫(huà)：1933-1935》

By Hal Foster?

哈爾·福斯特(Hal Foster)著。

104 pages. Dark Horse Comics. $125.

104頁(yè)。黑馬漫畫(huà)出版社(Dark Horse Comics)。125美元。

In these luxuriant, oversize pages, Tarzan slashes at thrashing sharks, grapples with humongous crocodiles and makes fierce lions mewl. There’s enough animal humiliation here to prompt the World Wildlife Fund to place a bounty on him. As supple and powerful as a panther, Tarzan has been drawn by many fine artists, including Burne Hogarth, Russ Manning and Joe Kubert. But the very best was Hal Foster (1892-1982), who later created Prince Valiant.

在這些豪華的超大頁(yè)面上，人猿泰山猛擊兇猛的鯊魚(yú)，和龐大的鱷魚(yú)較量，讓兇猛的獅子低泣。為了讓世界野生動(dòng)物基金會(huì)給他獎(jiǎng)賞，這本書(shū)對(duì)動(dòng)物們的侮辱真是夠了。人猿泰山像黑豹一樣矯捷強(qiáng)大，很多優(yōu)秀藝術(shù)家都描繪過(guò)他，包括伯恩·霍格思(Burne Hogarth)、魯斯·曼寧(Russ Manning)和喬·庫(kù)伯特(Joe Kubert)。但最好的是哈爾·福斯特(1892-1982)，他后來(lái)又創(chuàng)作了《豪邁王子》(Prince Valiant)。

This book, the second in a series, showcases Foster’s work in testosterone-suffused confections like “The Egyptian Saga” and “Tarzan and the Lost Vikings.” And when our hero in the leopard-skin loincloth isn’t shaming rogue gorillas, he even bests a few knavish humans.

這本書(shū)是這個(gè)系列的第二本，以《埃及傳說(shuō)》(The Egyptian Saga)和《人猿泰山與迷失的北歐海盜》(Tarzan and the Lost Vikings)等充滿(mǎn)睪丸素的有趣故事展現(xiàn)福斯特的作品。我們的英雄穿著豹皮腰布，沒(méi)有令兇猛的大猩猩蒙羞，他甚至擊敗了一些狡詐的人類(lèi)。

THE INCAL

《印加石》(The Incal)

By Moebius and Alejandro Jodorowsky

莫比厄斯和亞歷杭德羅·尤杜洛斯基(Moebius and Alejandro Jodorowsky)著。

313 pages. Humanoids. $44.95.

313頁(yè)。類(lèi)人出版社(Humanoids)。44.95美元。

This reissue of “The Incal” is a galactic blast of French savoir-faire. It collects the first cycle of “Incal” stories from the 1980s, in which the influential French artist Moebius and the Chilean-French writer and filmmaker Alejandro Jodorowsky introduced their dystopian Incal-verse well before dystopias were cool.

《印加石》的重新發(fā)行是法式才華的大爆發(fā)。它收集了20世紀(jì)80年代的第一批“印加石”故事，有影響力的法國(guó)藝術(shù)家莫比厄斯和智利法國(guó)作家、電影制作人亞歷杭德羅·尤杜洛斯基在反烏托邦遠(yuǎn)未流行時(shí)就推出了他們的反烏托邦印加石詩(shī)文。

The nominal hero in this broad satire of sex, politics and religion is John Difool, a shlubby PI who always manages to get in way, way over his head. Mr. Jodorowsky’s headlong futuristic romp entertains, but it is the art of Moebius (born Jean Giraud, 1938-2012) that shines. Moebius goes “Space Odyssey” cosmic and slapstick comic with equal ease — and each page is a lesson in design and craft.

這部漫畫(huà)是對(duì)性、政治和宗教的廣泛諷刺，其中有名無(wú)實(shí)的英雄是蹩腳的私家偵探約翰·迪福(John Difool)，他總是想插手，做遠(yuǎn)超自己能力的事。尤杜洛斯基橫沖直撞的未來(lái)主義嬉鬧場(chǎng)面很有意思，但是真正大放光彩的是莫比厄斯(原名讓·吉?jiǎng)诘?[Jean Giraud]，1938-2012)的藝術(shù)。不管是宏大的《太空漫游》(Space Odyssey)漫畫(huà)還是低俗漫畫(huà)，莫比厄斯都能輕松駕馭，每一頁(yè)都是設(shè)計(jì)和手工藝的典范。

BATMAN UNWRAPPED? The Court of Owls?

《蝙蝠俠現(xiàn)身：貓頭鷹法庭》

By Scott Snyder and Greg Capullo?

斯科特·斯奈德(Scott Snyder)和格雷格·凱普羅(Greg Capullo)著。

264 pages. DC Comics. $39.99.

264頁(yè)。DC漫畫(huà)。39.99美元。

Batman’s noir essence just begs for him to be draped in black and white. There have been four volumes of the “Batman: Black and White” series, Frank Miller’s classic “The Dark Knight Returns” will appear uncolored in May, and this book is the third “Unwrapped” entry, reprinting Scott Snyder and Greg Capullo’s reboot of Batman from Mr. Capullo’s stark pencils.

蝙蝠俠的黑暗本質(zhì)使得他只能穿黑白服裝。《蝙蝠俠：黑白》(Batman: Black and White)系列共有四冊(cè)，弗蘭克·米勒(Frank Miller)的經(jīng)典之作《黑暗騎士歸來(lái)》(The Dark Knight Returns)的黑白版明年5月份將出版。這本書(shū)是《蝙蝠俠現(xiàn)身》系列的第三本，重新激活了凱普羅樸實(shí)鉛筆畫(huà)中的蝙蝠俠。

His art in the raw is all texture, crosshatch and purposeful smudge, capturing the grit of Gotham City, reveling in the inky folds of Bats’s cape. And Mr. Capullo’s waltz of light and shadow is just right for Batman’s visceral intensity. Drawings like these make the kid in me want to grab a No. 2 pencil and start scrawling.

他的藝術(shù)天然質(zhì)樸，質(zhì)感豐富，用交叉線(xiàn)畫(huà)出陰影，有意加上污點(diǎn)，反映哥譚市的粗獷，縱情繪出蝙蝠披肩的漆黑褶皺。凱普羅的光影華爾茲恰好能表現(xiàn)出蝙蝠俠發(fā)自?xún)?nèi)心的激情。這些圖畫(huà)讓我童心大發(fā)，想抓起2號(hào)鉛筆，開(kāi)始涂鴉。