24 de Julho de 2014

"An act of god, maybe?"
Kieron Gillen, Jamie McKelvie & Matt Wilson
Image Comics, 2014
39 págs., tetracromia, floppy

A descoberta da música como elemento essencial da minha vida aconteceu quando entrei na adolescência. Passei horas a ver MTV numa altura em que a programação não estava tão virada para os reality shows e consistia maioritariamente de video clips dos meus artistas favoritos. Nunca cheguei ao ponto da idolatria, o que me interessava mesmo era ouvir algo que me fizesse sentir.
Mas esse tipo de idolatria e histerismo não é algo recente, - embora actualmente haja um maior enfoque neste tipo de reacções tipicamente adolescentes, já que os meios de comunicação se globalizaram e democratizaram - tudo se vive mais intensamente na adolescência e os músicos podem ser modelos de vida quase divinos.
O primeiro número de "The Wicked + The Divine" pega nessa ideia e assume-a como realidade. Há um acontecimento centenário chamado "the Recurrence" do qual emergem pessoas que afirmam ser deuses. Estes pretensos deuses apresentam-se em eventos onde, alegadamente, fazem milagres e seduzem as massas, muito semelhantes a concertos. Como de esperar, este tipo de situação não é universalmente bem aceite.
Não é a primeira vez que Kieron Guillen e Jaime McKelvie se debruçam sobre o tema da música pop misturada com fantasia (ver Phonogram). Guillen introduz bem este novo mundo com personagens interessantes e personalidades já bem definidas, embora haja algumas questões de lógica que foram sacrificadas pela história (o processo legal decorre de uma forma que não será a mais realista, mesmo num mundo fantástico).
Mesmo assim, "The Wicked + The Divine" começa bem e misteriosamente, ficam inúmeras questões por responder e fica aguçado o apetite para o segundo número. O desenho de McKelvie é, como nos tem habituado, muito "limpo" e aprazível e é especialmente bem complementado pelas cores de Matt Wilson.
Uma bd para seguir porque se avizinham grandes coisas.

July 21, 2014

"I'm ready for anything."
Joe Keatinge & Ross Campbell
Image Comics, 2014
352 pages, cymk, digital

Glory is another (the other is Prophet) of "infamous" creator Rob Liefield's comics that had a recent makeover.
In the hands of Joe Keatinge and Ross Campbell's, Glory was transformed from a Wonder Woman clone to a more classic science fiction oriented character with a pinch of japanese influences.
The reeinvisioned Gloriana Demeter is an alien from another world, a (literal) by-product of two warring factions and a symbol for peace - one way or the other.
To escaped her legacy as a living weapon she found sanctuary on a small planet called Earth, where she naturally played the part of superheroine. And then she was gone.
Riley is a small woman that has regular dreams about Glory. It so happens that her dreams are real and so she begins a quest to find what happened to Glory. 
Spoilers, she ends up finding Glory and that is when our book takes flight.
There is a substancial departure from the older version of the character, instead of a sexy vixen with an abnormally flexible spinal column, we have a hulked-out battle-scarred version. It's a different kind of fetish. It's the same plotwise, superheroics are gone to be replaced by a basic sci-fi concept: an invasion story. But it's not that simple, there are twists and turns and a kind of focus on family dinamics.
Glory is a pretty straight forward conflited protagonist - her scars run more than just skin deep. The reasons for her absence entail most of the plot and her character motivation.
Riley is basically the reader's avatar (as she learns about the story, so do we), she shares a connection with Glory but other than that, we know very little about her and, unfortunately, she ends up being just an instrument of the plot.
This is an action-packed, two-fisted (most of the time two-clawed) comic, so you can't really argue that character development was its primary concern. In that regard, there is an affinity to manga that can also be seen in certain moments of storytelling decompression (an example, the scene before the final battle) and the "subtle" wink to gigantic reptilian monsters emerging from a rift in Tokyo (this is before Pacific Rim, people).
Something that bothers me is the recurrence of hyper-violence in the book. I can understand that its purpose is to make the reader understand the magnitude of the strenght used but it isn't so much disturbing as it is off-putting.
Another thing is the final chapter, that feels a bit disjointed with the rest of the narrative and its intent to unnecessarily humanize Glory and give her a "happy ending" was a bit uncomfortable.
Ross Campbell's art is beautiful. His bulky Glory and delicate Riley are almost like the extremities of  the continuum of his character design, some cool looking monsters and good storytelling made him the star of this book.
Again, some good coloring, its subtlety can only be understood when we reach the penultimate chapter of the book when the characters enter the battlefieldand the color pallete changes drastically and with it the importance of that moment.
If you like over-the-top, fast-paced, action-packed, ultra-violent (and other hyphenated adjectives) manga/comic/life, this is your book.

July 20, 2014

"The Earth abides."
Ian Edginton & Francesco Trifogli
Vertigo Comics, 2014
144 pages, cymk, digital

Post-apocalyptic futures abound. We're used to see them everywhere , on tv, books or movies. We're just not used to them like the one portraited in "Hinterkind".
The human race is on the verge of extinction, cities have reverted to a more primitive landscape with vegetation overcoming everything and wild animais are roaming free.
All because of the Blight, the event that changed the world. And, once again, it's all our fault.
After her grandfather's own departure to investigate strange happenings outside Manhattan, Prosper Monday decides to leave her community with her friend Angus. Angus' recently discovered physical changes (not talking about puberty, people, Angus has - wait for it... - a long furless tail) have him fearing ostracization or worse and leaving seems to be the only choice. When they encounter a Troll on their journey, things take a turn for the worse.
What began as a standard post-apocalyptic trope his suddenly turned on its head with the introduction of creatures from a completely different genre. "Hinterkind" is precisely about that, being able to surprise the reader with a couple of curveballs that twart his/her expectations.
It's a very well paced comic, taking its time to build up tension and mistery (you could argue that this story probably works better as an ongoing monthly title than as a collection) , working well as the introductory text for what will surely be an epic journey. The characters are well developed and diverse, and somewhat familiar while subverting old-school conventions.
Francesco Trifogli and Chris Peter's art isn't flashy but is very funcional and does its job really well. I still feel that Trifogli could improve on his facial expressions that sometimes don't convey the subtlety of feeling that the words need (an example is when head councilman Ross is confronted by his wife with the sugestion of sending his presumed mistress to accompany Asa on his trip).
Something that clashes a bit with the naturally rough artwork is the lettering, that, at times, most noticeably the sound effects, is almost plastic in appearance.
The book has a "young adult" feel about it, maybe because of the similiarities between the Prosper and another recent favorite protagonist. Which isn't in anyway a bad thing.
So, this is a great start to Vertigo's new series with enough mistery and ingenuity to have left me wanting to read more of it.
If you like sci-fantasy books with a secret to uncover, this is your book.

July 18, 2014

"Great, a fake."
Paul Dini, Joe Quinones & Dave McCaig
DC Comics, 2014
144 pages, cymk, digital

This is going to be a hard one for me. I hope I'm wrong about this book, since people seem to have enjoyed it, but it was a seriously disappointing read.
Paul Dini is one of the people responsible for the very cool "Batman: The Animated Series" and co-created (with Bruce Timm) impish crazy lady, Harley Quinn. He is also the writer of this book and apparently was off his game when he wrote it.
Well, "Bloodspell" is a story about a spirit that returns from the dead to take revenge on her partners in crime after, when she betrayed them during a casino robbery, the tables were turned and the super hero Black Cannary caught her on the act. Since the Cannary isn't used to this kind of supernatural stuff, she sought help from her friend, master magician, Zatanna.
It's a pretty straightfoward tale and that is precisely its greatest problem. The lack of subtlety (the villain is named Spettro), with very obvious hints to the reader (a full page where Zatanna explains the dangers of being turned into an animal) and a few inconsistencies in plot (I'm not even going to discuss how the bad girl was defeated or why she decided to die after she escaped. Zatanna turns jerks into fishes and says that the effect will last an hour but later in the book she has to dispel the same, well, spell. Oh, and jetpack!) made this a hard read.
Some of the dialogue seemed stunted and clichéd, the humor relied too much on cheap jokes about female physical attributes and other female stereotypes (Black Cannary and the Green Arrow's bed scene and Black Cannary and Zatanna's shopping spree).
There is something that always annoyed me about Zatanna, her deus ex machina powers (by the way nice use of sign language by Dini) are almost limitless and she is clearly playing that part in the book's resolution.
The best thing about the book is the duo protagonists' relationship, they interact naturaly and the recapitulation of their previous encounters, a review of the characters' shared history and a look at the DCU, was very well executed.
Joe Quinone's art is beautiful, although there are some storytelling issues that can be easily ignored and I always have this feeling that he's trying that his characters resemble someone (Cannary reminds me of Elisha Cuthbert and see if you can find him in there), which can be a little distracting. Dave McCaig's colors are vibrant and extremely appropriate for a super hero book. 
In conclusion, "Bloodspell" is an all around pretty book but that can only go so far.
If you like pretty books and can withstand a less than subtle narrative, this is your book.

P.s.: Joe Quinones, you should have gone with the levitation cover, it looked awesome.

July 17, 2014

"Death rides on the wind!"
Kelly Sue DeConnick, Emma Ríos, Jordie Bellaire & Clayton Cowles
Image Comics, 2014
120 pages, cymk, digital

Can love triumph over death? Apparently not, according to Kelly Sue DeConnick, Emma Ríos and Jordie Bellaire's Pretty Deadly. 
Pretty Deadly is an unorthodox story about love and loss, a mix between fairytale and western.
The book begins with "Bunny" and "Butterfly", two animals (Bunny is an animated skeleton) that are our narrators. They are about to tell us a story.
So, Ginny is the daughter of Death and a woman whose beauty - more precisely, the stupidity and covetousness of men - was her downfall. We learn about her through Sissy, a young girl with different colored eyes that is being hunted down by unknown forces for unknown reasons. She is the companion of Fox, a blind man who protects her from said forces.
Eventually, things unravel, each character plays its part and the story ends. I may be oversimplifying it but, essentially that is it.
Simple things can be multilayered and nuanced, DeConnick is a good writer and has a great grasp on dialogue. Character development could be better but we have an idea of each of their motivations and roles, more archetypal than one-dimensional.
Alegory is very strong in the book, "Bunny" and "Butterfly" are the better example of it, their real identity is unveiled at the end of the book but still leaving some mistery to it.
Plotwise I feel that the story could have been stretched out a bit more, building up more tension, making the ending feel a bit less rushed and more satisfying.
Emma Ríos' is the only penciler for this book, her long, thin but strong lines bring the right feeling to the action and characters. The only negative aspect that I can point out has to do with the smaller panels in the fighting scenes, that are there to give more detail but end up cluttering the image, making it harder to follow.
Jordie Bellaire's colors are what they always are: an essential part of the reading experience. As I have said before, colorists are on the rise and it's amazing to see that they can change their style depending on the theme and feeling of a book.
When this book was first published as a "floppy", there was some controversy, supposedly because of the almost entirely female creative team but mainly because of the stupidity and covetousness of men.
If you like hard hitting tales with strong female characters, this is your book.

July 14, 2014

"You might be a dimensionaut after all."
Rick Remender, Matteo Scalera & Dean White
Image Comics, 2014
152 pages, cymk, digital

If we could explore every possible outcome of our choices, would we be content?
One of the things that makes us humans is our infinite capacity for remorse and how we make a wrong option a focal point of our lifes. On the other hand, living without regret, taking a change and making it work are our most rewarding moments. Carpe diem and all that.
Black Science is the path to our most ideal objectives: the cure for disease, war and even death. But Black Science (a pun on black magic), is achieving our goals ignoring its very bleak consequences.
That is one of the themes of Rick Remender, Matteo Scalera and Dean White's "Black Science", a fast-paced sci-fi action adventure about a group of individuals that inadvertently end up jumping from layer to layer of "The Onion", "the Eververse" or as we, humble comic nerds know it, the multiverse.
The Onion is actually a cool concept: the first choice created different realities and each subsequent ramification originated infinite variations of the same world. The rest is, basically, pseudo-scientific babble.
This comic is actually, in a way, trying to mimic that multilayered disposition. Besides from its main theme, about the consequences of technology, personal and otherwise, it is about a man's options. That man is genius, rebel and long time adulterer, Grant Mackay. Mackay ends up dragging his children, friends, colleagues and rivals to an apparent one-way trip round the Onion.
Remender is fast on track to becoming one of my favorite comic book writers. Although not a new idea (what comes to my mind is the tv show Sliders, which had basically the same main concept), Remender hits the ground running and doesn't stop for (the reader's) breath. You're quickly introduced to the main cast and their role on the overarching narrative - that doesn't mean that role won't change later - and there is a clear and empathetic goal: returning home.
Matteo Scalera's art is great. He can easily navigate through the different worlds and creatures and give them the solidity and coherence needed for this kind of story. Everything is possible and nothing is gaping contrast.
What I am particularly enjoying in comics nowadays is the part the colorist is gradually but firmly conquering. Dean White's colors are amazing and are an extra, ahem, layer to the artwork. And his name is on the cover!
If you like action-packed, sci-fi blockbusters, this is your book.

July 13, 2014

"So were to now?"
Mike Mignola & Dave Stewart
Dark Horse Comics, 2014
152 pages, cymk, digital

Hellboy returns home and if you've been reading this comic for the past 20 years, you have a pretty good idea of where that is.
But in case you haven't been reading this comic, here's the skinny: Hellboy is an aptly named demon that happens to be a paranormal investigator and the one who will be responsible for bringing about the End of Times. He doesn't much care about it and abandons his destiny in favour of a normal life, well, as much as it can be when you're a red-skinned dude with a disproportionate right hand made of rock that happens to be the Key to the Apocalypse.
After falling in battle in one of his most recent adventures - spoilers, he dies - Hellboy finds himself in Hell and not everything is as expected.
In 1999, I bought my first Hellboy comic: "Despierta al Demonio", the collected spanish version of "Wake the Devil". What immediately caught my attention was the art. Mike Mignola, the creator of Hellboy, is an amazing penciler and inker and his striking blacks and monster design (I dare say, only second to the "King", Jack Kirby) were the main reasons why I picked up the comic.
What kept me coming back was the stories. Mignola's love for all kinds of myths and folklore, his ability to inject them into the character's adventures and to weave a fairly consistent and interesting narrative is the other major selling point of Hellboy.
Concerning "Hellboy in Hell", Mignola mantains his high standard as an artist and storyteller, helping him out is the understatedly efective coloring of Dave Stewart. Storywise, we have the usual romp, a few not so subtle references to classic works like "The Christmas Carol" and "Paradise Lost" and the parallels between those and the present narrative. The story moves in a slow pace, accentuating its preliminar nature (it is, after all, the first volume of a longer story). Mignola likes his moments of silent comtemplation and embarking on  his "side quests".
One of the flaws of this comic is precisely the backlog of 20 years of Hellboy. It is, at times, very self-referencial and, although gratifying for loyal readers, even with flashbacks trying to contextualize characters from previous encounters, my concern is that new readers can feel a bit lost. That is the problem of having an universe to explore and a growing handicap of present day comics.
If you enjoy long narratives with a Lovecraftian feel and incredible art, this is your book.

12 de Julho de 2014

July 12, 2014

"NetGalley is a service to promote titles to professional readers of influence. If you are a reviewer, blogger, journalist, librarian, bookseller, educator, or in the media, you can use NetGalley for FREE to request, read and provide feedback about forthcoming titles. Your feedback and recommendations are essential to publishers and readers alike."

So, here are a few short reviews of books supplied by NetGalley. This week I'll be posting the rest of my "influent" reviews (Hellboy in Hell Vol.1: The Descent; Black Science Vol.1; Pretty Deadly Vol.1; Glory: The Complete Saga; Black Canary and Zatanna: Blodspell and Hinterkind Vol. 1: The Waking World).

Joe Hill & Gabriel Rodriguez
IDW Publishing, 2014
192 pages, cymk, digital

This final chapter of Locke and Key brings closure. Usually when a story ends, the reader can be left with a sense of sadness and disappointment. This final volume is the culmination of Joe Hill's overarching story about the Locke family and their particular relationship with a set of keys that endow their owners with special abilities. There's a catch, they don't work for adults and when you reach adulthood you forget everything you knew about those gifts. Quite the nifty metaphor about innocence. 
Put aside the usual struggle between good and evil and this would still be a good story. Why? Because of its characters and their capacity for growth. Because the reader has learned to understand them and what motivates them. Good or evil, each character has their unique voice.
Gabriel Rodriguez's art was an acquired taste but most of the things you love are actually like that. Solid and competent, Rodriguez's gift for storytelling and character design shines through each of these books. 
If you want to read a book about people who just happen to have their lives thrown into desarray by circumstances bigger than themselves, this is the book for you. Plus, there are monsters and crazy action, all the small things I personally enjoy.

P.s.:Shame on you, Hollywood, for not making the tv series! It was everyone's loss.

Brandon Graham et al.
Image Comics, 2014
128 pages, cymk, digital

The third volume of Prophet collects numbers 32 and 34 to 38 of the regular comic book series. 
In this version of Prophet there is a clear distancing from the aesthetics of the original series created by Rob Liefeld in the 90s. There is, furthermore, a complete break with the recurring themes of superheroism. This incarnation is now a science fiction comic, reminiscent of classics like Dune and its european counterparts (the works of Jodorowsky and Moebius come to mind) in terms of plot and structure. 
Prophet blossoms with each issue, and in this volume we have a better notion of where the narrative might be going to. Clear factions are established, we learn more about the characters and there is the odd homage to the older version of the series.
The strongest point of the book is its ambience. The third person narration, the small details that are offered to the reader about the various creatures and mechanics of this universe are never done in a boring, straightforward way. A different penciler for different sections of the narrative while avoiding a mangled, mashed up whole. Everything is very organic and fluid. This is a very special book, with a "personality" rarely seen in american comics. I'm buying the next one and you should too.

28 de Junho de 2014

A Água Castello celebra este ano os seus 115 anos de existência e para comemorar a efeméride contratou a agência publicitária Strat para a campanha "Não é água. É Castello.". 
Segundo o director criativo da Strat, José Campos, "a marca Castello é uma marca com história. Faltava-lhe uma narrativa." e, como tal, a agência inspirou-se na bd (meio narrativo supremo!) para desenvolver esta campanha que deve aproximar a Água Castello de um "território urbano, cosmopolita e trendy".
Ora, a inspiração roça muito intimamente o plágio já que, para aqueles que conhecem o trabalho de Charles Burns (responsável pela graphic novel Black Hole e inúmeras colaborações com a revista Believer), há semelhanças difíceis de justificar com base na coincidência. É caso para dizer "Não é Strat. É Burns.".

Agradecimentos a Carol Tilley, que me chamou à atenção para isto no Twitter.

June 15, 2014

"It's just a job. It's not who I am."
Ethan Rilly
AdHouse Books, 2012
40 pages, B&W, floppy

We sometimes forget that reading a comic book is more than just a visual experience.
The first thing you notice about Pope Hats #3 is its paper stock, the cover is sturdy and has a weight that feels different than other comics (at least those that aren´t published by AdHouse). It's a sort of heftiness that will translate into the reading of the book.
Frances Scarland is a law clerk in a major law firm that is, slowly but surely, rising in its hierarchy. People like Frances, she's a workaholic and that's starting to take its toll. Her best friend and flat mate, Vickie is an actress that apparently has finally made it and is leaving Frances for a successful career in California.
There is something terribly soap opera-y about this comic, but in a good way. Forget about Ethan Rilly's clean cut art - informed by Hergé's ligne claire -, his ridiculously good storytelling and design sense, one of the strenghts of this book is its abbility to engage and imerse the reader in an unusual environment: the inner workings  of a law firm. Rilly's universe is coherently solid and what is left unsaid speaks more about each character than any dialogue.
Trust me, this is a strangely magnetic book that sucks you in and leaves you wanting more. If you don't believe me, why not go to Pope Hat's letters page (I love that it has a letter page!) and read what the anonimous reader (like Jeffrey Brown, Adrian Tomine, Seth and Tonči Zonjić) has to say.
By the way, a pope's hat is a mitre.

9 de Junho de 2014

"This was about the time that mom started to pull away."
Charles Forsman
Fantagraphics, 2014
68 págs., P&B, capa mole

O ano passado, a Fantagraphics publicou The End of the Fucking World de Charles Forsman. Eu fiquei de escrever algo sobre o livro mas fiquei-me pelo teaser. Era uma história sobre uma adolescência difícil, diferente das outras, se calhar um oposto diametral, era sobre não sentir e como isso nos aproxima e afasta da nossa humanidade.
Forsman foi aluno do Center for Cartoon Studies e, após se formar, rapidamente se aventurou na publicação independente de banda desenhada. Fundou a editora Oily Comics, baseando-se numa política muito específica: formatos simples e preços acessíveis.
Celebrated Summer é a sua primeira longa história - na verdade, TEOTFW foi primeiro serializado e só depois colectado pela Fantagraphics - e continua a abordar o tema da adolescência.
Desta feita, o protagonista é um adolescente obeso chamado Wolf. Com o seu amigo Mike, Wolf faz uma pequena viagem de auto-descoberta após terminar o liceu. Wolf é um ser solitário (talvez seja daí que derive o seu apelido) que faz da introversão uma forma de viver. São os momentos de monologo interno que mais revelam sobre si e que nos dão vislumbres das áreas da sua vida que não são exploradas na narrativa - nomeadamente, porque vive só com a sua avó.
No desenho de Forsman nota-se a clara influência de Charles Schultz (Peanuts), um traço familiar e seguro que descomplica. Apropriado e familiar, ao contrário do que pensa a populaça, é sempre adulto e concilia-se bem com a temática e o ambiente desta bd.
Portanto, Celebrated Summer não é uma história per se, não segue um enredo nem se chega a uma conclusão concreta. É uma história sobre uma pessoa, a sua solidão e o que se pode, ou não, deduzir das entrelinhas. Um pouco como a vida real.

June 8, 2014

"This was about the time that mom started to pull away."
Charles Forsman
Fantagraphics, 2014
68 pages., B&W, softcover

Last year, Fantagraphics published The End of the Fucking World by Charles Forsman. I was supposed to write something about the book but all I ended up doing was just tease about it. TEOTFW was a story about a different kind of adolescence, probably a diametric opposite: not being able to feel and how that pushed and pulled you closer and further apart from your humanity.
Forsman was a student at the Center for Cartoon Studies and, after graduating, quickly ventured into the business of publishing comics. He started Oily Comics with a very simple principle: a familiar format and affordable prices.
Celebrated Summer is his first "long" story - in fact, TEOTFW was firstly serialized and then collected - and continues to address the theme of adolescence. This time, the protagonist is an obese teenager named Wolf.
After graduating high school, Wolf and his friend Mike embark on a short trip (in more than one sense) of self-discovery. Wolf is a lonesome creature (hence his nickname?) that has introversion as a way of life. Through his internal monologue we learn more about him and the circunstances of his life, never quite getting the whole picture.
Forsman's draftsmanship is clearly influenced by Charles Schultz (Peanuts) - that secure stroke that is so uncomplicated. Apropriate and familiar and, contrary to popular belief, completely grown-up, the visuals are perfectly in synch with the theme and ambience of the comic.
So, Celebrated Summer is not a story per se, it does not follow a plot or comes to a solid conclusion. It's about characters, loneliness and all that you can infer about a person with the unreliable information they give you. Just like life.

8 de Junho de 2014

June 1, 2014

A taste for alliteration.
Ryan Cecil Smith
Koyama Press, 2013
59 pages, B&W, softcover

If only all saturday morning cartoons were this good. 
S.F. is Ryan Cecil Smith's version of waking up early, turning the tv on, sitting on the floor and telling your mom "just a minute!" when she orders you to have breakfast.
Fun and light-hearted, S.F. is a science fiction comic that plays with the genre's clichés and presents them as an all ages comic book.
This is the third volume of the series but honestly, it's all pretty (literally) self-explanatory. An intergalactic organization of do gooders is in constant battle with evil, evil people. Kudos to Smith for those introductory first two pages - most comics nowadays forget that sometimes the reader isn't as informed as they "should" be.
Smith's cartooning is strangely familiar and clearly influenced by manga (particularly where shading is concerned) or its animation equivalent (Captain Harlock, anyone?). It's quite easy on the eyes.
The book's strength is in its pacing and character development. Each character has a bit of the spotlight and is the book is better for it.
If you want a hardcore science fiction comic, this is not the book you're looking for (try Prophet by Brandon Graham et al.). If you have kids or just want to relive a bit of your lost childhood then go buy this!

1 de Junho de 2014

"You sure?"
Jason Aaron & Jason Latour
Image Comics, Abril 2014
28 págs., tetracromia, floppy

Earl Tubbs deixou Craw County há quarenta anos mas agora, com a mudança do seu tio para um lar, regressa à sua cidade-natal para resolver assuntos pendentes.
Southern Bastards é uma história sobre nostalgia no sentido mais literal da palavra. Passada no sul dos Estados Unidos, região cada vez mais aproveitada como cenário, seja pela sua história violenta como pela mística que lhe é inerente. Southern Bastards é sobre um regresso a casa.
Craw County está sob o domínio de uma figura misteriosa: Boss (será Bruce Springsteen?) e os seus capangas intimidam a população com impunidade. Earl é o filho do antigo xerife, uma lenda local, e, relutantemente, defende uma figura algo patética do seu passado.
Jason Aaron começa assim o seu novo conto americano, mais uma história de conflitos e costumes que, esperamos, terá a mesma qualidade de Scalped.
O que mais surpreende é a arte do outro Jason (Latour) que consegue ser dura mas elegante. De realçar o ritmo conseguido na penúltima página, onde três momentos diferentes se intercalam de forma eficaz e ressonante. Isto sem falar da palete de cores escolhida que complementa perfeitamente o ambiente da história.
Para ler se gostam de séries da HBO.