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Camelot 3000 #1-12
Camelot 3000
In the year 3000, an armada of destructive aliens has unleashed an all-out assault on Earth and is poised to conquer the planet. But when a young boy stumbles upon the crypt of King Arthur, the legendary monarch and the Knights of the Round Table are magically reincarnated.
Together once again, King Arthur, Sir Lancelot, Merlin, and the rest of the classic knights take on the invading extraterrestrials and their wicked leader, Morgan Le Fay, the half-sister of Arthur. A mythical tale of honor and bravery, CAMELOT 3000 proves that some heroes are timeless.
Together once again, King Arthur, Sir Lancelot, Merlin, and the rest of the classic knights take on the invading extraterrestrials and their wicked leader, Morgan Le Fay, the half-sister of Arthur. A mythical tale of honor and bravery, CAMELOT 3000 proves that some heroes are timeless.
320 pages, Paperback
First published January 1, 1982
37 people are currently reading
779 people want to read
About the author
Mike W. Barr
830 books73 followersMike W. Barr is an American writer of comic books, and mystery, and science fiction novels. Barr's debut as a comics professional came in DC Comics' Detective Comics #444 (Dec. 1974-Jan. 1975), for which he wrote an 8-page back-up mystery feature starring the Elongated Man. Another Elongated Man story followed in Detective Comics #453 (November 1975). He wrote text articles and editorial replies in letter columns for the next few years. By mid-1980 he was writing regularly for both DC and Marvel, including stories for Marvel Team-Up, Mystery in Space, Green Lantern, and various Batman titles.
Legion of Super-Heroes #277 (July 1981) saw him take on editorial duties at DC, while writing issues of DC's Star Trek comic, for whom he created the native American character Ensign Bearclaw and a pacifist Klingon named Konom. In December 1982, he and artist Brian Bolland began Camelot 3000, a 12 issue limited series that was one of DC Comics' first direct market projects. In August 1983, Barr created what may well be his most enduring work, the monthly title Batman and the Outsiders with art by Jim Aparo. Barr wrote every issue of the original series, and its Baxter paper spinoff, The Outsiders.
His other comics work includes Mantra and Maze Agency as well as the 1987 OGN hardcover book Batman: Son of the Demon (with art by Jerry Bingham), proceeds from which reputedly "restored DC Comics to first place in sales after fifteen years." This title, and Barr's work on Batman with artist Alan Davis have been cited by Grant Morrison as key inspirations for his recent (2006) run on the Batman title.
In 2007, he wrote a two-part story for the pages of DC's JLA: Classified (#47-48, Jan-Feb 2008), returned to the Outsiders with Outsiders: Five of a Kind—Katana/Shazam #1 (Oct 2007), contributed to Tokyopop's Star Trek: The Manga, and relaunched Maze Agency at IDW Publishing. He has also scripted many of Bongo Comics' Simpsons titles, including a Christmas story for 2010.
In May 2010, the Invisible College Press published Barr's science fiction/fantasy novel, Majician/51, about the discoveries of a scientist working at Area 51.
Legion of Super-Heroes #277 (July 1981) saw him take on editorial duties at DC, while writing issues of DC's Star Trek comic, for whom he created the native American character Ensign Bearclaw and a pacifist Klingon named Konom. In December 1982, he and artist Brian Bolland began Camelot 3000, a 12 issue limited series that was one of DC Comics' first direct market projects. In August 1983, Barr created what may well be his most enduring work, the monthly title Batman and the Outsiders with art by Jim Aparo. Barr wrote every issue of the original series, and its Baxter paper spinoff, The Outsiders.
His other comics work includes Mantra and Maze Agency as well as the 1987 OGN hardcover book Batman: Son of the Demon (with art by Jerry Bingham), proceeds from which reputedly "restored DC Comics to first place in sales after fifteen years." This title, and Barr's work on Batman with artist Alan Davis have been cited by Grant Morrison as key inspirations for his recent (2006) run on the Batman title.
In 2007, he wrote a two-part story for the pages of DC's JLA: Classified (#47-48, Jan-Feb 2008), returned to the Outsiders with Outsiders: Five of a Kind—Katana/Shazam #1 (Oct 2007), contributed to Tokyopop's Star Trek: The Manga, and relaunched Maze Agency at IDW Publishing. He has also scripted many of Bongo Comics' Simpsons titles, including a Christmas story for 2010.
In May 2010, the Invisible College Press published Barr's science fiction/fantasy novel, Majician/51, about the discoveries of a scientist working at Area 51.
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Displaying 1 - 30 of 173 reviews
January 3, 2025
This is a thoroughly entertaining telling of the return of King Arthur and his knights of the Round Table at a time of great need in the year 3000. It has a good mix of adventure, tragedy, and comedy, so there's something for every mood here. Fantasy and sci-fi are blended in a way that is engaging and approachable. My favorite character in this story is Merlin, who comes across as both extremely powerful and menacing.
February 13, 2016
A fantastic retelling and updating of the King Arthur story. The art is fantastic, the plot exceptional and the characters awesome. A must read for comic and Arthur fans. Highly recommended
March 12, 2020
#ThrowbackThursday - Back in the '90s, I used to write comic book reviews for the website of a now-defunct comic book retailer called Rockem Sockem Comics. From the December 1996 edition with a theme of "Fantasy":
DC Comics has been mining the fantasy genre for years. Here's an oldie but goody offered every month on the DC Comics backlist. It was one of the first maxi-series (a 12-issue limited series) ever published when it originally began back in 1982. CAMELOT 3000 should be purchased first and foremost just to admire the gorgeous art by Brian Bolland. Unfortunately, in recent years he has restricted himself to cover art for series like ANIMAL MAN and WONDER WOMAN for DC Comics. CAMELOT 3000 and BATMAN: THE KILLING JOKE are among his last feature length works. The detail of his linework is incredible.
As an added bonus, the story is incredible too. Written by Mike W. Barr -- of BATMAN, THE MAZE AGENCY, and G.I. JOE fame -- CAMELOT 3000 tells of the reincarnation of King Arthur and his Knights of the Round Table in the year 3000. England has need of its greatest legends to fight off an alien invasion created by the sorceress Morgan Lefay. But reincarnation is not all it's cracked up to be. For instance, the sexist and macho Sir Tristan is now a woman. The sensitive and handsome Percival is now a mute giant mutant. And given a second chance to do right by Arthur, Sir Lancelot and Queen Guinevere must struggle again with their adulterous passions.
CAMELOT 3000 is an epic story of hope, betrayal, slavery and freedom. Combining mythical swords and sorcery with science fiction, Barr has produced his greatest story ever. Even my wife liked this one. So why don't you buy it, already?
Grade: A
DC Comics has been mining the fantasy genre for years. Here's an oldie but goody offered every month on the DC Comics backlist. It was one of the first maxi-series (a 12-issue limited series) ever published when it originally began back in 1982. CAMELOT 3000 should be purchased first and foremost just to admire the gorgeous art by Brian Bolland. Unfortunately, in recent years he has restricted himself to cover art for series like ANIMAL MAN and WONDER WOMAN for DC Comics. CAMELOT 3000 and BATMAN: THE KILLING JOKE are among his last feature length works. The detail of his linework is incredible.
As an added bonus, the story is incredible too. Written by Mike W. Barr -- of BATMAN, THE MAZE AGENCY, and G.I. JOE fame -- CAMELOT 3000 tells of the reincarnation of King Arthur and his Knights of the Round Table in the year 3000. England has need of its greatest legends to fight off an alien invasion created by the sorceress Morgan Lefay. But reincarnation is not all it's cracked up to be. For instance, the sexist and macho Sir Tristan is now a woman. The sensitive and handsome Percival is now a mute giant mutant. And given a second chance to do right by Arthur, Sir Lancelot and Queen Guinevere must struggle again with their adulterous passions.
CAMELOT 3000 is an epic story of hope, betrayal, slavery and freedom. Combining mythical swords and sorcery with science fiction, Barr has produced his greatest story ever. Even my wife liked this one. So why don't you buy it, already?
Grade: A
May 14, 2011
I first read this when I was 14, and it completely blew my mind. This was in the early 90s, and I'd never before encountered a comicbook that explored the themes that this one did. This was probably the collection that cemented my admiration for the art form, for its ability to convey messages that art and text on their own just couldn't quite manage. I've always looked back on this series with an extreme, 5-star fondness.
Recently, my best friend expressed an interest in reading more comics, and I thought I'd get this for him for his birthday (the Deluxe edition, with a spoiler-tastic Mike Barr intro.) I admit with a little guilt that I then went in for a quick trip down Memory Lane.
Bluntly, the collection hasn't aged well. The story is quite obviously dated, but if you keep in mind that it was written in the 80s, you can easily see how it refused to conform to stereotypes (and it's still really nice to see that Sir Gawain didn't die first, I'm just saying.) The pacing doesn't work for me, but I think I just read at a less leisurely clip nowadays. The art still holds up, though. Again, if you remember the limitations of the time, it's easier to admire.
So, basically, I gave this book 4 stars not on its own merits, but due to its significance in (mostly my personal) history. I'd recommend it for the comicbook historian, or for the kid who's into Arthurian legend and is ready for adult themes/mature comics. Okay, that's a pretty narrow segment of the reading populace, but I'm a part of it and know, I believe, whereof I recommend.
Recently, my best friend expressed an interest in reading more comics, and I thought I'd get this for him for his birthday (the Deluxe edition, with a spoiler-tastic Mike Barr intro.) I admit with a little guilt that I then went in for a quick trip down Memory Lane.
Bluntly, the collection hasn't aged well. The story is quite obviously dated, but if you keep in mind that it was written in the 80s, you can easily see how it refused to conform to stereotypes (and it's still really nice to see that Sir Gawain didn't die first, I'm just saying.) The pacing doesn't work for me, but I think I just read at a less leisurely clip nowadays. The art still holds up, though. Again, if you remember the limitations of the time, it's easier to admire.
So, basically, I gave this book 4 stars not on its own merits, but due to its significance in (mostly my personal) history. I'd recommend it for the comicbook historian, or for the kid who's into Arthurian legend and is ready for adult themes/mature comics. Okay, that's a pretty narrow segment of the reading populace, but I'm a part of it and know, I believe, whereof I recommend.
December 24, 2015
When I first read Camelot 3000, the first direct-market comic published by DC, it was in the individual issues, and as back issues that I had picked up somewhere. Since then, I've read almost every Outsiders comic written by Camelot 3000 writer Mike W. Barr, and in retrospect, Batman and the Outsiders was more than a bit clumsy, and often heavy-handed in its politics. So when I re-read Camelot 3000, I was expecting a frankly substandard effort from Barr, despite the always-gorgeous art from Brian Bolland (and for perhaps the apotheosis of his art, go look for Batman: The Killing Joke. Trust me; it's one of the best comics stories ever published).
How wrong I was. When left to his own universe, without resorting to cheap Reagan-era politics, Barr is an excellent writer, as evidenced by the cohesive whole of Camelot 3000. And clearly DC Comics agreed, as it agreed not only to better-quality paper for the publication of the original maxi-series, but also to massive production delays brought on by Bolland's perfectionistic approach to the art.
In a nutshell, Camelot 3000 tells the story of the reappearance of King Arthur and his Knights of the Round Table in the far future in response to a world-shaking threat to planet Earth in general and England in particular. And as far as swashbuckling sci-fi action-adventure goes, Camelot 3000 is really quite good. (Add to that the sly trope concerning the consequences of abandoning a space program presented early on, and Camelot 3000 is even better.) The adaptation of Le Morte d'Arthur to science fiction conventions is smooth and clever, and even the "improvements" thereto, in the form of the characters' "do-overs", so to speak, make fine work of the original material. (There's also some sensitive portrayal of transgender and transsexual issues in the pages of Camelot 3000, and considering that Marvel, as late as 1992, had exactly one openly gay character [Alpha Flight's Jean-Paul "Northstar" Beaubier]—and the less said about Marvel's handling of that business the better—that's to DC's credit.)
In general, Camelot 3000 not only succeeds, but stands the test of time. Barr was never better than when he published Camelot 3000—and the behind-the-scenes production information at the back of my volume is enlightening—and Bolland's art would only get better over time, and he would eventually shine strongly as part of the burgeoning British Invasion of comics talent of that era. My re-reading of Camelot 3000 was a pleasant surprise, and I would recommend it to comics fans of a certain—or any—age.
How wrong I was. When left to his own universe, without resorting to cheap Reagan-era politics, Barr is an excellent writer, as evidenced by the cohesive whole of Camelot 3000. And clearly DC Comics agreed, as it agreed not only to better-quality paper for the publication of the original maxi-series, but also to massive production delays brought on by Bolland's perfectionistic approach to the art.
In a nutshell, Camelot 3000 tells the story of the reappearance of King Arthur and his Knights of the Round Table in the far future in response to a world-shaking threat to planet Earth in general and England in particular. And as far as swashbuckling sci-fi action-adventure goes, Camelot 3000 is really quite good. (Add to that the sly trope concerning the consequences of abandoning a space program presented early on, and Camelot 3000 is even better.) The adaptation of Le Morte d'Arthur to science fiction conventions is smooth and clever, and even the "improvements" thereto, in the form of the characters' "do-overs", so to speak, make fine work of the original material. (There's also some sensitive portrayal of transgender and transsexual issues in the pages of Camelot 3000, and considering that Marvel, as late as 1992, had exactly one openly gay character [Alpha Flight's Jean-Paul "Northstar" Beaubier]—and the less said about Marvel's handling of that business the better—that's to DC's credit.)
In general, Camelot 3000 not only succeeds, but stands the test of time. Barr was never better than when he published Camelot 3000—and the behind-the-scenes production information at the back of my volume is enlightening—and Bolland's art would only get better over time, and he would eventually shine strongly as part of the burgeoning British Invasion of comics talent of that era. My re-reading of Camelot 3000 was a pleasant surprise, and I would recommend it to comics fans of a certain—or any—age.
November 23, 2017
Qué década la de los 80. He aquí uno de esos clásicos que no envejece. Pura diversión en un cómic deliberadamente informal, un canto al desparpajo heróico que lo da todo en pos del entretenimiento. El culebrón artúrico es potenciado por sus autores y transmutado en un ejercicio de ciencia ficción escapista. Hasta la pésima edición trae recuerdos de cuando leer tebeos era un puro disfrute alejado de intelectualismos y requiebros. Y qué dibujos de Bolland. A veces, una inmersión en el pasado, incluso si cambia el recuerdo que se tenía, no defrauda.
November 24, 2012
I've always been a sucker for a King Arthur and the Knights of the Round Table book.
And I guess they managed to sucker me into this one as well :-)
No regrets as it's a nice futuristic version of a familiar story with a couple of added twists to freshen it up. And with nice artwork by a young(-er) Brian Bolland it's visually pleasing to look at.
And I guess they managed to sucker me into this one as well :-)
No regrets as it's a nice futuristic version of a familiar story with a couple of added twists to freshen it up. And with nice artwork by a young(-er) Brian Bolland it's visually pleasing to look at.
November 6, 2019
It's an overall nice futuristic scifi reimagining of the Arthurian myth, apart from the fact that the future setting itself does not make a whole lot of sense. This put me off of the story a few times.
January 19, 2017
No puedo sentirme más feliz de que esta obra haya llegado a mi vida.
A pesar de ser una historia futurista y que la Ciencia Ficción no sea mi género, el leer una obra acerca del Rey Arturo en un cómic de 300 páginas, con ilustraciones bellísimas y con un tema que me encanta -y que jamás esperé- como la reencarnación, ha hecho que definitivamente este sea uno de mis libros favoritos del 2017.
Además, no solo es acción con mezcla de fantasía y la tecnología del año 3000, sino que logra envolverte en los problemas de cada personaje: el rey, la reina, los caballeros reencarnados, de los propios antagonistas: temas que van desde la magia negra, el medio ambiente, el gobierno; hasta el hecho de que uno de los caballeros de la Mesa Redonda sea transexual y no pueda lidiar con ello.
Jamás pensé que un cómic de hace más de 30 años me pudiera llegar a gustar tanto.
A pesar de ser una historia futurista y que la Ciencia Ficción no sea mi género, el leer una obra acerca del Rey Arturo en un cómic de 300 páginas, con ilustraciones bellísimas y con un tema que me encanta -y que jamás esperé- como la reencarnación, ha hecho que definitivamente este sea uno de mis libros favoritos del 2017.
Además, no solo es acción con mezcla de fantasía y la tecnología del año 3000, sino que logra envolverte en los problemas de cada personaje: el rey, la reina, los caballeros reencarnados, de los propios antagonistas: temas que van desde la magia negra, el medio ambiente, el gobierno; hasta el hecho de que uno de los caballeros de la Mesa Redonda sea transexual y no pueda lidiar con ello.
Jamás pensé que un cómic de hace más de 30 años me pudiera llegar a gustar tanto.
June 17, 2022
Man, i just love when a classic meets your expectation about it's quality.
It's the 3000's. Earth is being heavily invaded by aliens, and our guy Tom just stumbled on a tomb, which happens to be of the late King Arthur. Then, Arthur finds Merlin, bring back his round table knights and go straight to war.
A really fun book, with an amazing art by Brian Bolland, and so many good questions brought by Mike Barr. The Tristan's core on this book is amazing. It's really a book that was really thinking forward on his conception. It's sad to know how it has suffered with censure and stuff like that. But i'm really happy that it could see the light as the way it was conceived. And happy to have this on Kindle Unlimited. This is one of the most important comics of our modern age and everyone should read it.
It's the 3000's. Earth is being heavily invaded by aliens, and our guy Tom just stumbled on a tomb, which happens to be of the late King Arthur. Then, Arthur finds Merlin, bring back his round table knights and go straight to war.
A really fun book, with an amazing art by Brian Bolland, and so many good questions brought by Mike Barr. The Tristan's core on this book is amazing. It's really a book that was really thinking forward on his conception. It's sad to know how it has suffered with censure and stuff like that. But i'm really happy that it could see the light as the way it was conceived. And happy to have this on Kindle Unlimited. This is one of the most important comics of our modern age and everyone should read it.
August 19, 2016
I found it interesting that they had a transgender character, so I thought it would be a good read, but boy was I wrong. Ultimate misogyny, the man turned woman spent his entire time in agony and everyone else took pity on his plight. Plus the main characters best friend has an affair with his wife, and all the anger and retribution is turned towards her and treats his friend like nothing ever happened.
September 21, 2018
This is a reread. I've had this on my shelf for years, but with all the comics appearing on my feed I thought it about time I have a look again. Still love it. Loved the idea of Camelot and Author, and with Sir Tristan reincarnated as a woman, it appeals even more. Probably one of the reasons I bought it way back when. Still does.
Fun read.
March 3, 2019
I regret waste my time reading this comic book. I can not say that the drawings are bad but the script is really a kind of marijuana child. No sense and full of agendas dressed as genial ideas. I am sorry but I threw it to the garbage 🗑
July 3, 2022
I was slightly disappointed, when I read Doom Patrol, Vol. 1 recently, that although Brian Bolland drew the cover, he was not the principle artist for the book. I decided to look for something that he had drawn... and found Camelot 3000. I loved Brian's work on Judge Dredd (in black and white) and initially found the garish colours in this collection somewhat off-putting but I guess I got used to it as, by the end, it wasn't annoying me.
A few things about the writing annoyed me. I found Barr's dialogue was more than a little clunky in places. For example, when Tom awakens the king, who announces himself as "Arthur Pendragon, King of Britain, Lord of the Roman Empire" - Tom response: "Oh wow...!". Oh dear! It annoyed me too that, when betrayed by his Queen and a knight, Arthur states that the punishment would have been death, but that, "...now times have changed." and so they are banished instead, but later in the story, another knight betrays him and there is no, "the times they are a changing", just the sentence of death.
Most annoying though is that sexism (and homophobia) are still rampant in the year 3000. For example, compare the costumes the females wear with the males' outfits. And, even more damningly, the Tristran sub-plot is just offensive - a man trapped the the weak and useless body of a woman desperate to become a man again. Hmm!
Despite that, the story was generally fun.
A few things about the writing annoyed me. I found Barr's dialogue was more than a little clunky in places. For example, when Tom awakens the king, who announces himself as "Arthur Pendragon, King of Britain, Lord of the Roman Empire" - Tom response: "Oh wow...!". Oh dear! It annoyed me too that, when betrayed by his Queen and a knight, Arthur states that the punishment would have been death, but that, "...now times have changed." and so they are banished instead, but later in the story, another knight betrays him and there is no, "the times they are a changing", just the sentence of death.
Most annoying though is that sexism (and homophobia) are still rampant in the year 3000. For example, compare the costumes the females wear with the males' outfits. And, even more damningly, the Tristran sub-plot is just offensive - a man trapped the the weak and useless body of a woman desperate to become a man again. Hmm!
Despite that, the story was generally fun.
January 17, 2019
I can't say I loved this one, but I definitely didn't hate it. I loved the bright costumes, the general absurdity of King Arthur waking up and fighting aliens, and the swords and laser fights. It's a fun read.
One thing that bugged me was the weirdly insensitive treatment of Tristan's gender. I feel that a man-in-a-woman's-body narrative is blatantly a transgender one, regardless of what the writers intended. Their intention was clearly, ooh hot future lesbians, but Tristan spends the entire comic saying he's a man and rejecting his body for not reflecting who he is. At the end, Tristan allows himself to be with Isolde because she loves him no matter what he looks like. I didn't think the narrative was pointing toward Tristan going, "I have a vagina and therefore I'm a woman. And I'm cool with it!" just cause his girlfriend still loves him. The shock and disappointment Tristan felt throughout the story can't just go away!
But I'm not going to die on that hill since this was written in the 80s and, you know, comics be like that. It's got fighting, it's got drama, it's got ugly futuristic costumes, and Arthur saves the day, like always. So, if you were looking for an action comic that's just Arthur in space with his knights, then this is it. Not bad, but not very good either.
One thing that bugged me was the weirdly insensitive treatment of Tristan's gender. I feel that a man-in-a-woman's-body narrative is blatantly a transgender one, regardless of what the writers intended. Their intention was clearly, ooh hot future lesbians, but Tristan spends the entire comic saying he's a man and rejecting his body for not reflecting who he is. At the end, Tristan allows himself to be with Isolde because she loves him no matter what he looks like. I didn't think the narrative was pointing toward Tristan going, "I have a vagina and therefore I'm a woman. And I'm cool with it!" just cause his girlfriend still loves him. The shock and disappointment Tristan felt throughout the story can't just go away!
But I'm not going to die on that hill since this was written in the 80s and, you know, comics be like that. It's got fighting, it's got drama, it's got ugly futuristic costumes, and Arthur saves the day, like always. So, if you were looking for an action comic that's just Arthur in space with his knights, then this is it. Not bad, but not very good either.
November 27, 2016
This is the series that sparked my interest in all things Arthurian way back in the early 80s. In this story Artur awakes to a world that needs him. He is reunited with Merlin, six of his knights, Guinevere and a young man who who awakens him Tom. Together they fight Morgan La Fey and her minions for the entire planet.
The story holds up well and is actually very modern in its treatment of women. Guinevere in her modern form is the commander of Earth defenses and a warrior in her own right. Tristan is reincarnated as woman and has to learn to live as woman and deal with her love of Isolde who has also been reincarnated. Both of these themes were ahead of their time when this was first published.
The story itself is well told and the art is beautiful. I am so glad I that I reread this. I was just a novice the first time not knowing much of the legend and I was still drawn into the story. Now some thirty years later and knowing a lot more of the mythos I see the richness of it weaved into the story.
The story holds up well and is actually very modern in its treatment of women. Guinevere in her modern form is the commander of Earth defenses and a warrior in her own right. Tristan is reincarnated as woman and has to learn to live as woman and deal with her love of Isolde who has also been reincarnated. Both of these themes were ahead of their time when this was first published.
The story itself is well told and the art is beautiful. I am so glad I that I reread this. I was just a novice the first time not knowing much of the legend and I was still drawn into the story. Now some thirty years later and knowing a lot more of the mythos I see the richness of it weaved into the story.
December 20, 2016
Adaptación de las leyendas artúricas en el futuro, con invasión alienígena incluida... en su momento esta maxi-serie (que al ser independiente cumple como novela gráfica) fue innovadora por varias razones, fue de los primeros cómics que se crearon para su venta exclusiva en tiendas especializadas, por lo que al no venderse en kioskos no estuvo sujeta al comic code estadounidense, lo que permitió que los autores se tomaran algunas libertades.
Como no puede ser de otra manera se repiten todos los clichés de las adaptaciones de las leyendas del rey Arturo, aunque hay un par de elementos originales como el hecho de que sir Tristán es una mujer, lo que plantea un dilema de difícil resolución que es una de las claves de la historia.
El dibujo es excepcional, la historia no diría que lo sea tanto, a ratos la narración se hace un poco confusa y la visión del futuro ha sufrido el paso del tiempo, es un producto de su tiempo...
Para pasar una tarde entretenida sirve y sobretodo el dibujo es para admirarlo, hoy en día la historia puede resultar demasiado sencilla y previsible.
Como no puede ser de otra manera se repiten todos los clichés de las adaptaciones de las leyendas del rey Arturo, aunque hay un par de elementos originales como el hecho de que sir Tristán es una mujer, lo que plantea un dilema de difícil resolución que es una de las claves de la historia.
El dibujo es excepcional, la historia no diría que lo sea tanto, a ratos la narración se hace un poco confusa y la visión del futuro ha sufrido el paso del tiempo, es un producto de su tiempo...
Para pasar una tarde entretenida sirve y sobretodo el dibujo es para admirarlo, hoy en día la historia puede resultar demasiado sencilla y previsible.
July 7, 2020
Recreación de las leyendas artúricas en el año 3000, en un futuro invadido por extraterrestres de un décimo planeta del sistema solar, dirigidos por la media hermana del rey Arturo, Morgana le Fay. En la época en que fue lanzada (principios de los años 80), resultó ser un suceso editorial, tanto por el tipo de edición más cuidada y con papel de mejor calidad, como por algunos temas "adultos" que trata la historia. Para la actualidad, se entendería, más bien, como una historieta para adolescentes que toca temas diversos como la honradez, el adulterio, la transexualidad (con una resolución discutible), la traición, la mentira, el honor redimido y el amor no correspondido.
Barr recurre a sobreexplicaciones por medio de los diálogos o, incluso, los pensamientos de los personajes (esto también lo aplica en Batman y los Outsiders). Los dibujos, impecables, con un Bolland en un momento de ascenso y ayudado por las eficaces tintas de Bruce D. Patterson y Terry Austin.
En definitiva, una lectura ágil y amena, y con algunas cosillas interesantes, pero nada espectacular.
Barr recurre a sobreexplicaciones por medio de los diálogos o, incluso, los pensamientos de los personajes (esto también lo aplica en Batman y los Outsiders). Los dibujos, impecables, con un Bolland en un momento de ascenso y ayudado por las eficaces tintas de Bruce D. Patterson y Terry Austin.
En definitiva, una lectura ágil y amena, y con algunas cosillas interesantes, pero nada espectacular.
November 13, 2012
You know what's really great about late 80s DC? It's subtle subversity. I mean, Sir Tristan being reicarned as a woman, a man trapped in a woman's body, but still loving Isolade who is also reincarnated as a woman? Now, reading something like that would be cheesy or cliched, but back then, it's pretty groundbreaking. It's really to bad the rest of the GN couldn't take it's queue from that and evolve into a more compelling story.
February 8, 2020
Rating is mostly for the Brian Bolland art.
November 21, 2024
Em Camelot 3000, Mike W. Barr pela arte de Brian Bolland nos oferece algo entre um reconto e uma atualização sequência da história do lendário Rei Arthur e da lenda do Graal. A narrativa retoma a premissa da lenda do retorno de Arthur quando sua terra mais necessitasse dele. É interessante notar como essa ideia de retorno místico permeia diversos povos.
Como o próprio autor admite em seu prefácio algumas das inovações e liberdades tomadas pela obra, revolucionárias em sua publicação, hoje nos parecem corriqueiras ou mesmo datadas. Ainda assim julgo que a graphic apesar de algumas limitações trás discussões ainda relevantes.
No que respeita ao mito arturiano em si, qualquer um familiarizado não vai encontrar grandes mudanças, o autor atualiza e ao mesmo tempo segue a história original. Entretanto, o Arthur presente aqui é um tanto difícil de gerar simpatia ao leitor. A narrativa nos comunica o tempo todo o quanto ele é especial, mas ele nos parece um fraco. A questão do triângulo amoroso ainda que explorada, poderia ter sido melhor trabalhada tornando o personagem mais complexo.
A narrativa torna-se de fato interessante quando se dirige para o arco de dois personagens secundários: Percival e Tristan. O arco de Percival não é tão desenvolvido, o que é uma pena porquê seria um complemento interessante ao de Tristan. Em Percival há uma discussão superficial sobre humanidade e identidade.
É no arco de Tristan o cavaleiro “mutilado”, no entanto, que essa questão de identidade e também de papéis de gênero é discutida com mais propriedade. Poderia sim ter sido melhor aprofundada, mas dada a época da HQ pode-se dizer que os autores foram bem ousados.
A despeito de algumas ousadias, incomoda um pouco o machismo que perpassa a obra. É um tanto “curioso” que tão adiantados no futuro a sociedade descrita seja tão machista e limitada. A prova disso é o fato de Arthur não ter tido maiores dificuldades para se “aclimatar”.
Apesar da sensação de que a narrativa poderia ter se aprofundado mais, Camelot 3000 é um reconto arturiano bastante interessante, original e que dada a época, se permite pensar questões quase que impensáveis ou publicáveis naquele tempo.
Como o próprio autor admite em seu prefácio algumas das inovações e liberdades tomadas pela obra, revolucionárias em sua publicação, hoje nos parecem corriqueiras ou mesmo datadas. Ainda assim julgo que a graphic apesar de algumas limitações trás discussões ainda relevantes.
No que respeita ao mito arturiano em si, qualquer um familiarizado não vai encontrar grandes mudanças, o autor atualiza e ao mesmo tempo segue a história original. Entretanto, o Arthur presente aqui é um tanto difícil de gerar simpatia ao leitor. A narrativa nos comunica o tempo todo o quanto ele é especial, mas ele nos parece um fraco. A questão do triângulo amoroso ainda que explorada, poderia ter sido melhor trabalhada tornando o personagem mais complexo.
A narrativa torna-se de fato interessante quando se dirige para o arco de dois personagens secundários: Percival e Tristan. O arco de Percival não é tão desenvolvido, o que é uma pena porquê seria um complemento interessante ao de Tristan. Em Percival há uma discussão superficial sobre humanidade e identidade.
É no arco de Tristan o cavaleiro “mutilado”, no entanto, que essa questão de identidade e também de papéis de gênero é discutida com mais propriedade. Poderia sim ter sido melhor aprofundada, mas dada a época da HQ pode-se dizer que os autores foram bem ousados.
A despeito de algumas ousadias, incomoda um pouco o machismo que perpassa a obra. É um tanto “curioso” que tão adiantados no futuro a sociedade descrita seja tão machista e limitada. A prova disso é o fato de Arthur não ter tido maiores dificuldades para se “aclimatar”.
Apesar da sensação de que a narrativa poderia ter se aprofundado mais, Camelot 3000 é um reconto arturiano bastante interessante, original e que dada a época, se permite pensar questões quase que impensáveis ou publicáveis naquele tempo.
May 30, 2020
Yo por mi parte le he puesto una puntuación de 5 sobre 10. Porque a pesar de que la historia no me dio todo lo que yo esperaba me mantuvo entretenida.
La historia desde el principio prometía toda la epicidad de tener de vuelta la leyenda arturica y los caballeros de la mesa redonda en un ámbito futurista. Yo esperaba mucha acción, muchos momentos épicos y me mato terriblemente que gran parte de la historia tuviera de fondo el triángulo amoroso de Arturo, Ginebra y Lancelot. Sentí que todo se convirtió en una telenovela.
Me llamó la atención que se tomaran temas modernos como el problema de transgénero de Tristán.
La resolución de los problemas fue demasiado sencilla y fácil. Se sintió bastante la época en que fue escrito.
La historia desde el principio prometía toda la epicidad de tener de vuelta la leyenda arturica y los caballeros de la mesa redonda en un ámbito futurista. Yo esperaba mucha acción, muchos momentos épicos y me mato terriblemente que gran parte de la historia tuviera de fondo el triángulo amoroso de Arturo, Ginebra y Lancelot. Sentí que todo se convirtió en una telenovela.
Me llamó la atención que se tomaran temas modernos como el problema de transgénero de Tristán.
La resolución de los problemas fue demasiado sencilla y fácil. Se sintió bastante la época en que fue escrito.
Read
March 9, 2019Did not finish. σελίδα 27.
Πολύ παλιακό για τα γούστα μου.
Πολύ παλιακό για τα γούστα μου.
February 14, 2023
A truly wild ride as I continue knocking out Arthurian books left and right.
August 2, 2020
Η γνωστή Υπερηρωική ιστορία του Βασιλιά ��ρθούρου, σετάκι εννοείται με Εξκάλιμπερ, Μάγο Μέρλιν, Λάιδη Γκουίνεβιρ, Πέρσιβαλ, Σερ Λάνσελοτ, Ιππότες Στρογγυλής Τραπέζης και φυσικά τη Σατανική του αδερφή Φατα Μοργκάνα, σεταρισμένη στο 3000 μ.χ. σε έναν κόσμο που ετοιμάζεται να καταληφθεί από αιμοβόρους Πασόκους Εξωγήινους.
Φανταστική πολύχρωμη εικονογράφηση (ανήκει στην κατηγορία των βιβλίων που δέ ζωγραφίζονται πια έτσι), και μία εμπνευσμένη επανατοποθέτηση του Μύθου του πολυδιαφημισμένου Άγγλου Βασιλιά στο σήμερα, στο αύριο, στο πάντα, μιας Μύθοι όπως ο δικός του προφανώς και δεν πρόκειται να πεθάνουν.
Ποτέ.
Φανταστική πολύχρωμη εικονογράφηση (ανήκει στην κατηγορία των βιβλίων που δέ ζωγραφίζονται πια έτσι), και μία εμπνευσμένη επανατοποθέτηση του Μύθου του πολυδιαφημισμένου Άγγλου Βασιλιά στο σήμερα, στο αύριο, στο πάντα, μιας Μύθοι όπως ο δικός του προφανώς και δεν πρόκειται να πεθάνουν.
Ποτέ.
March 22, 2021
I first read this 12-issue series back in college, when a friend loaned me the actual separate issues. I was impressed by it then, & I'm still impressed today by its audacity of imagination. I'm not a regular reader of graphic novels, but anything that combines the prophesied return of Arthur with far-future alien invasion will get (& probably hold) my attention pretty quickly.
I took a while getting through this one, because I was savoring the artwork along with the sheer weirdness of the narrative. There is also much truly Arthurian flavor to this, with detailed references to some of the more obscure stories.
New readers should know that this series is somewhat dated. It came out in the mid-1980s, & imposes the flavor of that time onto the year 3000. The president of the US is a Reaganesque gunslinger, the Soviet Union is still very much alive, & nothing much has changed with either Communist China or Africa. Certain plot twists (no spoilers!) which were pretty radical at the time now seem quite tame, and the overall treatment of the female characters leaves a good bit to be desired by current standards.
That said, I'd still recommend this series to lovers of the Arthurian legend, & particularly to those who are also SF fans.
I took a while getting through this one, because I was savoring the artwork along with the sheer weirdness of the narrative. There is also much truly Arthurian flavor to this, with detailed references to some of the more obscure stories.
New readers should know that this series is somewhat dated. It came out in the mid-1980s, & imposes the flavor of that time onto the year 3000. The president of the US is a Reaganesque gunslinger, the Soviet Union is still very much alive, & nothing much has changed with either Communist China or Africa. Certain plot twists (no spoilers!) which were pretty radical at the time now seem quite tame, and the overall treatment of the female characters leaves a good bit to be desired by current standards.
That said, I'd still recommend this series to lovers of the Arthurian legend, & particularly to those who are also SF fans.
August 6, 2017
Obra maestra. Clásico imprescindible.
En el año 3000 una ocasión alienigena amenaza la Tierra. Tal y como se predijo, Arturo vuelve para ayudar a Inglaterra en su mayor necesidad, y muchos más de los personajes de su leyenda vienen con él, para bien y para mal.
Es un clásico irrepetible. Se debe leer.
En el año 3000 una ocasión alienigena amenaza la Tierra. Tal y como se predijo, Arturo vuelve para ayudar a Inglaterra en su mayor necesidad, y muchos más de los personajes de su leyenda vienen con él, para bien y para mal.
Es un clásico irrepetible. Se debe leer.
September 12, 2022
I finished reading "Camelot 3000: The Deluxe Edition" (2008) by Mike W. Barr and Brian Bolland.
Originally released in individual comic book issues from DC Comics as "Camelot 3000" #1-12 (December 1982-April 1985). Writer: Mike W. Barr. Penciller: Brian Bolland. Inkers: Bruce Patterson, Terry Austin, and Dick Giordano. Colorist: Tatjana Wood. Letterer: John Costanza. "Continuing Legends Chronicled by Sir Thomas Mallory."
"Camelot 3000" was a big deal when it came out. It was DC's first "maxi-series" (a year-long--well, it was intended to run for only one year--twelve-issue long limited run series three times as long as DC's four-issue "mini-series" up to that point). It was also DC's first series distributed exclusively to the "direct market", not available on newsstands and in drug stores, etc. Instead, it was sold only in comic book stores. DC had done a few single issue direct market only releases prior to this (the first being an all reprints "Superboy Spectacular" one-shot giveaway in 1980) but this was the first DC monthly series testing the idea of releasing to the direct market exclusively. (Marvel Comics got their first, though, with monthly direct market only titles like "Dazzler" and "Ka-Zar the Savage" in 1981.)
Releasing "Camelot 3000" direct market only also allowed it to be released without the Comics Code and to allow the material to push the boundaries of what would probably not be allowable in a standard newsstand title. (The beautiful villainess of the story, who I will talk about in a bit, is basically naked throughout the series aside from a cape and a tiny backless two-piece bikini.)
This was also the first regularly monthly work by British artist, Brian Bolland, on an American comic book title. Bolland got his start in the U.K. comics scene and worked in that area for most of the 1970s—including being an early regular artist on the “Judge Dredd” series and drawing the first three "Judge Death" stories in 1979-1980.
Discovered by DC in 1979, Bolland did a few covers and fill-in stories for various DC titles in 1980-1981. Bolland's art in "Camelot 3000" is beautiful and really established in the U.S. as a popular artist. Unfortunately, he also proved to not be a fast enough artist to keep up with a monthly schedule and as a result "Camelot 3000" suffered from several delays over the course of its twelve issue run (and is largely remembered for these delays as much as for how good a series it was): there were three-month delays between issues five and six, eight and nine, and nine and ten, four months between ten and eleven, and an incredible nine-month delay between issues eleven and twelve.
Reading the entire story now in a collected edition like the 2008 "Deluxe Edition" hardcover (like I did) or in the 1988 or 2013 trade paperback editions (or digitally via comiXology/Amazon or the DC Infinite digital comics service), none of that really matters, of course. But at the time it was originally coming out in the 1980s it was a major issue to comics retailers, the late shipping issues. And it was a sign of things to come as late shipping issues would become quite frequent in the "hot artist" dominated late 1980s and 1990s.
However, back to "Camelot 3000". According to Barr, he had the basic story idea (which he was calling "Pendragon") in college. The basic gist is that according to the legend of King Arthur, he didn't actually die but instead "slumbers" until one day that he would return, when his beloved England is in its most desperate hour (or some such). Well, Barr's twist is that "Camelot 3000" is basically a sequel to the Arthur legend as in Barr's tale Arthur does indeed awaken (is discovered and his tomb opened) in the year 3000, right as the entire Earth is being invaded by vicious lizard like aliens.
Reuniting with Merlin (who is basically eternal) and awakening the memories of Queen Guinevere, Launcelot, and his other knights of the round table who have all been reincarnated in the bodies present day men and women (one of the knights, Sir Tristan, reincarnated in the body of a woman, much to his consternation).
Behind the alien invasion is Arthur's half-sister, sorceress Morgan le Fey. Arthur must lead his queen and knights against the forces of Morgan le Fey, her trickery and magicks as well as the alien troops subjugating this wildly futuristic world that Arthur now finds himself in. Regardless, Arthur is still a charismatic leader, able to create hope to a population that had seen all as lost just prior to his sudden return.
I'm not going to go into any other plot specifics here, but just say that it's still holds up today as a fun science fiction/fantasy tale. And Bolland's art is still what really sets this series apart.
There are, of course, some moments where the age of the material creeps in. Bits of dialogue, character motivations, and even caricature like political figures based on real life 1980s politicians as is typical of many comics that came out in the era of Ronald Reagan and the last decade of the U.S.-Soviet Union "cold war". (Oh, and yes, one of the political figures seen in the story is the Soviet Union premier, Barr of course having no idea in 1982 that the Soviet Union would crumble and be no more as of 1991.)
A recurring plot element is that of Tristan hating his new life in a woman's body and trying to find whatever magical method possible to become a man again (first seeking out Merlin, who rejects his plea, and then even considering betraying Arthur to le Fey when the sorceress approaches her promising to do as Tristan wishes). This plot point was pretty ground breaking at the time in the early 1980s when it first came out, an early story dealing with what is now recognized as "gender identity". However, I'm sure that Barr would write Tristan a bit differently today than he did back then if he was writing the tale today, both in some of Tristan's thoughts and statements when decrying his situation and also perhaps in not doing it in every single issue. When "Camelot 3000" was being written and coming out, the notion that comics would start to be collected in trade paperbacks and hardback books to be sold in book stores after the original release of the single issues was not something Barr could have foreseen yet. As a result, Tristan's constant emoting does become a bit repetitive and tiresome after a bit.
Regardless, "Camelot 3000" is a wonderful series that I missed the first time it came out (at age ten I'd just started buying comic books and was all into superheroes and tv/movie tie-in titles like Star Trek, "V", Star Wars, and Indiana Jones). Despite hearing how good it was, it took me thirty years to get around to reading it finally. I recommend others who enjoy comics (especially fantasy or just plain adventure stories) to give it a try in one of the various print or digital versions available. I gave it four out of five stars on GoodReads.
Addendum: Something else I forgot to mention is that I believe this was the first series DC ever published on the heavier and brighter “Baxter” paper (which made the colors a lot brighter than on the traditional newsprint). This was why the cover price was $1.00 (and starting with issue #7, $1.25) while most standard length DC and Marvel comics were $0.60. DC would expand on their deluxe Baxter paper titles in the following years with brand new “Legion of Super-Heroes”, “New Teen Titans”, and “The Outsiders” titles on the higher quality paper.
Originally released in individual comic book issues from DC Comics as "Camelot 3000" #1-12 (December 1982-April 1985). Writer: Mike W. Barr. Penciller: Brian Bolland. Inkers: Bruce Patterson, Terry Austin, and Dick Giordano. Colorist: Tatjana Wood. Letterer: John Costanza. "Continuing Legends Chronicled by Sir Thomas Mallory."
"Camelot 3000" was a big deal when it came out. It was DC's first "maxi-series" (a year-long--well, it was intended to run for only one year--twelve-issue long limited run series three times as long as DC's four-issue "mini-series" up to that point). It was also DC's first series distributed exclusively to the "direct market", not available on newsstands and in drug stores, etc. Instead, it was sold only in comic book stores. DC had done a few single issue direct market only releases prior to this (the first being an all reprints "Superboy Spectacular" one-shot giveaway in 1980) but this was the first DC monthly series testing the idea of releasing to the direct market exclusively. (Marvel Comics got their first, though, with monthly direct market only titles like "Dazzler" and "Ka-Zar the Savage" in 1981.)
Releasing "Camelot 3000" direct market only also allowed it to be released without the Comics Code and to allow the material to push the boundaries of what would probably not be allowable in a standard newsstand title. (The beautiful villainess of the story, who I will talk about in a bit, is basically naked throughout the series aside from a cape and a tiny backless two-piece bikini.)
This was also the first regularly monthly work by British artist, Brian Bolland, on an American comic book title. Bolland got his start in the U.K. comics scene and worked in that area for most of the 1970s—including being an early regular artist on the “Judge Dredd” series and drawing the first three "Judge Death" stories in 1979-1980.
Discovered by DC in 1979, Bolland did a few covers and fill-in stories for various DC titles in 1980-1981. Bolland's art in "Camelot 3000" is beautiful and really established in the U.S. as a popular artist. Unfortunately, he also proved to not be a fast enough artist to keep up with a monthly schedule and as a result "Camelot 3000" suffered from several delays over the course of its twelve issue run (and is largely remembered for these delays as much as for how good a series it was): there were three-month delays between issues five and six, eight and nine, and nine and ten, four months between ten and eleven, and an incredible nine-month delay between issues eleven and twelve.
Reading the entire story now in a collected edition like the 2008 "Deluxe Edition" hardcover (like I did) or in the 1988 or 2013 trade paperback editions (or digitally via comiXology/Amazon or the DC Infinite digital comics service), none of that really matters, of course. But at the time it was originally coming out in the 1980s it was a major issue to comics retailers, the late shipping issues. And it was a sign of things to come as late shipping issues would become quite frequent in the "hot artist" dominated late 1980s and 1990s.
However, back to "Camelot 3000". According to Barr, he had the basic story idea (which he was calling "Pendragon") in college. The basic gist is that according to the legend of King Arthur, he didn't actually die but instead "slumbers" until one day that he would return, when his beloved England is in its most desperate hour (or some such). Well, Barr's twist is that "Camelot 3000" is basically a sequel to the Arthur legend as in Barr's tale Arthur does indeed awaken (is discovered and his tomb opened) in the year 3000, right as the entire Earth is being invaded by vicious lizard like aliens.
Reuniting with Merlin (who is basically eternal) and awakening the memories of Queen Guinevere, Launcelot, and his other knights of the round table who have all been reincarnated in the bodies present day men and women (one of the knights, Sir Tristan, reincarnated in the body of a woman, much to his consternation).
Behind the alien invasion is Arthur's half-sister, sorceress Morgan le Fey. Arthur must lead his queen and knights against the forces of Morgan le Fey, her trickery and magicks as well as the alien troops subjugating this wildly futuristic world that Arthur now finds himself in. Regardless, Arthur is still a charismatic leader, able to create hope to a population that had seen all as lost just prior to his sudden return.
I'm not going to go into any other plot specifics here, but just say that it's still holds up today as a fun science fiction/fantasy tale. And Bolland's art is still what really sets this series apart.
There are, of course, some moments where the age of the material creeps in. Bits of dialogue, character motivations, and even caricature like political figures based on real life 1980s politicians as is typical of many comics that came out in the era of Ronald Reagan and the last decade of the U.S.-Soviet Union "cold war". (Oh, and yes, one of the political figures seen in the story is the Soviet Union premier, Barr of course having no idea in 1982 that the Soviet Union would crumble and be no more as of 1991.)
A recurring plot element is that of Tristan hating his new life in a woman's body and trying to find whatever magical method possible to become a man again (first seeking out Merlin, who rejects his plea, and then even considering betraying Arthur to le Fey when the sorceress approaches her promising to do as Tristan wishes). This plot point was pretty ground breaking at the time in the early 1980s when it first came out, an early story dealing with what is now recognized as "gender identity". However, I'm sure that Barr would write Tristan a bit differently today than he did back then if he was writing the tale today, both in some of Tristan's thoughts and statements when decrying his situation and also perhaps in not doing it in every single issue. When "Camelot 3000" was being written and coming out, the notion that comics would start to be collected in trade paperbacks and hardback books to be sold in book stores after the original release of the single issues was not something Barr could have foreseen yet. As a result, Tristan's constant emoting does become a bit repetitive and tiresome after a bit.
Regardless, "Camelot 3000" is a wonderful series that I missed the first time it came out (at age ten I'd just started buying comic books and was all into superheroes and tv/movie tie-in titles like Star Trek, "V", Star Wars, and Indiana Jones). Despite hearing how good it was, it took me thirty years to get around to reading it finally. I recommend others who enjoy comics (especially fantasy or just plain adventure stories) to give it a try in one of the various print or digital versions available. I gave it four out of five stars on GoodReads.
Addendum: Something else I forgot to mention is that I believe this was the first series DC ever published on the heavier and brighter “Baxter” paper (which made the colors a lot brighter than on the traditional newsprint). This was why the cover price was $1.00 (and starting with issue #7, $1.25) while most standard length DC and Marvel comics were $0.60. DC would expand on their deluxe Baxter paper titles in the following years with brand new “Legion of Super-Heroes”, “New Teen Titans”, and “The Outsiders” titles on the higher quality paper.
June 23, 2020
I first read this when it was released as a 12 issue maxi-series in the early 80s and the thing that impressed me most back then is the same thing that impresses me most upon rereading it - the glorious artwork from Brian Bolland, some of the finest artwork of his career. The story by Mike Barr is also good, if a little clunky in a few places. It does feel as though they tried to put too much in to some extent, as the conclusion (even with a double-size final issue) seems a bit rushed.
It was frustrating to read at the time, as the 12 issues were supposed to be released over the course of a year, but there were production issues and eventually it took nearly 2 1/2 years to tell the story. It's much nicer to be able to read the whole thing over the course of a few days.
It was frustrating to read at the time, as the 12 issues were supposed to be released over the course of a year, but there were production issues and eventually it took nearly 2 1/2 years to tell the story. It's much nicer to be able to read the whole thing over the course of a few days.
July 26, 2022
This is a collection of all 12 issues of a comic called Camelot 3000, by Mike Barr and Brian Holland. The original issues were published in the 1980s, which is forty years ago now. I've heard a lot of good things about the comic and how cutting edge it was in art back in the day. Perhaps as a function of reading in 2022, I didn't really see that and might have felt very different if I'd read it in 1990.
You can see that there are some very good reviews of this collection so you should definitely take my review with a grain of salt. But I was not terribly impressed. Earth is being invaded by aliens from a 10th planet in the solar system, but are under the control of Morgana Le Fay. Arthur Pendragon is raised from his grave to take the lead in the fight against them. There's a fair amount of action but a lot of talking as well as the basic subplots of the Arthurian saga are played out.
There's an element in which Tristan has been reincarnated as a woman and is desperate to become a man again. This was almost certainly more shocking to audiences in the 1980s than it would be today, although maybe not as polarizing. I didn't mind the subplot but thought it took up more of the story than it needed to in the plot.
So, not quite my cup of tea but there were some nice elements. I'm not your typical graphic novel reader so maybe it is just what others are looking for.
You can see that there are some very good reviews of this collection so you should definitely take my review with a grain of salt. But I was not terribly impressed. Earth is being invaded by aliens from a 10th planet in the solar system, but are under the control of Morgana Le Fay. Arthur Pendragon is raised from his grave to take the lead in the fight against them. There's a fair amount of action but a lot of talking as well as the basic subplots of the Arthurian saga are played out.
There's an element in which Tristan has been reincarnated as a woman and is desperate to become a man again. This was almost certainly more shocking to audiences in the 1980s than it would be today, although maybe not as polarizing. I didn't mind the subplot but thought it took up more of the story than it needed to in the plot.
So, not quite my cup of tea but there were some nice elements. I'm not your typical graphic novel reader so maybe it is just what others are looking for.
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