![]() ![]() Robin Recht inks Poli’s pencils, but then lays out the pages for Julien Telo before then inking his pencils also. What follows is a form of either artistic collaboration or compromise, depending on how you view the production process. Equally, the gods Elric calls on adhere to the same standards of contempt, adding a capriciousness to their own cruelty.Īn artistic turmoil to match the storms of the story appears to have taken place, with artist Didier Poli, who put so much work into designing the look of the series, jumping ship after twelve magnificent pages. He’s capable of astonishing cruelty and contempt for humanity. Writers Julien Blondel and Jean-Luc Cano restore the anger to Elric, who’s not the sympathetic and conflicted hero figure of earlier graphic novel adaptations, but a vengeful ruler entirely sure of the Melinbonéan entitlement to dominate by might alone. ![]() Dire prophecies are given about the course Elric will follow, but he laughs them off as beyond the bounds of credibility. That’s a theme continued throughout Stormbringer as an enraged Elric calls on the gods for help in recovering his kidnapped love and for revenge on her abductor. It presented an arrogance and cruelty to Elric’s land of Melniboné, mentioned, but never really seen in previous adaptations, and reinforced the pulp action hero schematics surrounding Elric. ![]() ![]() As a new interpretation of Elric’s world, The Ruby Throne was a visual tour de force, leaving no doubts as to the validity of Elric’s adventures being adapted for comics again. ![]()
0 Comments
Leave a Reply. |