Mark Millar is the New York Times best-selling writer of Wanted, the Kick-Ass series, The Secret Service, Jupiter’s Legacy, Jupiter’s Circle, Nemesis, Superior, Super Crooks, American Jesus, MPH, Starlight, and Chrononauts. Wanted, Kick-Ass, Kick-Ass 2, and The Secret Service (as Kingsman: The Secret Service) have been adapted into feature films, and Nemesis, Superior, Starlight, War Heroes, Jupiter’s Legacy and Chrononauts are in development at major studios.
His DC Comics work includes the seminal Superman: Red Son, and at Marvel Comics he created The Ultimates – selected by Time magazine as the comic book of the decade, Wolverine: Old Man Logan, and Civil War – the industry’s biggest-selling superhero series in almost two decades.
Mark has been an Executive Producer on all his movie adaptations and is currently creative consultant to Fox Studios on their Marvel slate of movies.
There are two good things about this book (or more correctly, one and a half). The first is that Yeowell’s art is far better than any of the writing deserves. The second is that there is actually a pretty good idea here about post Apocalypse War Sov culture becoming increasingly western and aimless. It’s such a good idea that I suspect someone gave it to Millar because he’s not exactly known for his good ideas or subtlety, and during the course of two tiresome, tedious and increasingly just nonsensical stories that good idea is just kicked around like a small psychotic child laughing while kicking something to pieces. Because that’s always Millar’s approach to everything. Lazy nihilism, lazy use of pop culture, lazy writing and lazy understanding of character’s motivation (I mean the Dredd stuff is just embarrassing). I have yet to see any evidence that suggests Millar is anything more than the laziest, hackiest writer of all time. A far better comics’ writer Gordon Rennie described him the other day as the Rob Liefeld of words and if anything that’s unduly harsh on Liefeld
Dobrá akčňárna ze světa Soudce Dredda. Red Razors se odehrává v Rusku v době, kdy už je Dredd jenom legenda v kómatu, ale i na Východě (nebo toho, co z něho zbylo) mají svoje soudce. Jedním z nich je Razors, bývalý gangster s hrozným účesem.
Nejdřív je v knize jeden příběh, kdy je to pořádnej drsňák, co likviduje zločince, ale i jednoho soudce, kterému hráblo. Později mu ale samotnému hrábne a stává se nebezpečnou hrozbou.
Občas je komiks mírně zmatený, ale většinou pěkně šlape. Millar umí vytvořit drsňácké a stylové scény, i když tohle napsal ještě předtím, než to pořádně rozjel v americkém mainstreamu. Někdy se mu povede i nějakej ten dobrej vtípek. Slušně mě pobavila třeba postapo cynická verze Scooby-Doo a jeho party.
This comic is one of the "World Building" efforts from Judge Dredd, showing the universe of Judge Dredd. In the Vatican they have Devin Waugh and in the USSR, they have the Red Razors. In this world, the police are all "rehabilitated" ex-cons. The first story is about the recovery of the Holy Corpse of Elvis. The Second is Red going rogue.
Early Millar is much like current Millar; brushes of interesting ideas bridled by something frustrating. It's an overlong comic and could have been much more condensed.
Una buena historia del universo del Juez Dredd. El argumento es parecido a Robocop pero con un twist. Razor es un delincuente a quien reprograman para ser un juez y acabar con sus antiguos ex compinches pero la cosa se va de madre y empieza a hacer masacres de villanos y jueces. Dredd tendrá que poner orden en el desaguisado.
A nice send-up of the Judge Dredd world, but it just does not have enough to be a fully engaging story. It is also a nice take on the Cold War era as we get to look at a soviet-style megacity. In East Meg, criminals are reprogrammed to serve as judges, and Razors is one of their best judges. The book features two stories. First, Razors has to get back the holy corpse of Elvis that has been stolen by thieves wanting to return it to the West. In the second story, Razors goes out of control, and only one man can stop him, Judge Dredd. Overall, the stories were quite silly with a lot of pop culture references. But aside from the light entertainment, there is not much else here. Overall, an ok read.
Mark Millar became somewhat phenomenom and good but when he started his thing, things were just bad. Dull, mixed up and trying way too hard to be original and funny and violent. And failing. Oh well, all in the learning curve. Some nice art, though.