Excellent.
Je n avais jamais fzit le lien.
Comme quoi, on peut faire n’importe quoi avec l’anatomie si la mise en scène et le dessin sont suffisamment solides et travaillés. La cuisse d’Apocalypse, c’est quand même un sacré morceau !
Ah ouais ?
Bah ouais.
Decevant, hein !
Totalement. Je te reconnais plus (sauf dans le sujet politique)
C’est son côté « carrure de gorille » (avec option lèvres de poisson et tuyaux de douche), tel la version de Mignola (qui lui donne aussi un côté « simiesque »), mais plus extrême (90’s oblige).
les omnibus shade…
Ah, les années 90 dans tous leurs excès…
Prends ça, erik larsen !
Superman Annual #11 (1985) :
José Villarrubia : “Alan Moore has often expressed regret about introducing mature and darker themes into characters originally created for children. He began pursuing this direction in the 1980s with Miracleman, then Swamp Thing, and most famously with Batman in The Killing Joke. With Superman, though, Moore took a different path. In Whatever Happened to the Man of Tomorrow?, he crafted a heartfelt farewell to the version of the character he grew up with. And together with his Watchmen collaborator Dave Gibbons, he created the brilliant Superman Annual #11, “For the Man Who Has Everything.”
One panel from that story epitomizes the shifting tone of superhero comics at the time. Superman, pushed to his breaking point, lashes out and burns his enemy with heat vision. It was startling and undeniably cool when it first appeared. But in hindsight, it helped open the door to later portrayals of a darker Superman, like the one seen in the Snyderverse.
Years later, Moore made a conscious return to the Silver Age sensibility he once deconstructed. With Tom Strong and especially Supreme, he embraced the wonder of early superhero comics, deliberately rejecting the grim approach he had helped popularize.”
Ouaip !
Un run trop souvent mis de coté je trouve