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Strange Tales (1951) #163-168
Nick Fury, a S.H.I.E.L.D. ügynöke, 2. rész
De volta mais uma vez ao auge dos agitados anos 1960, enquanto o superespião Nick Fury é arremessado num mundo de espionagem e intriga com um quê de psicodelia. A aventura continua quando Fury e as forças da SHIELD dão tudo para impedir que tipos como Garra Amarela, Centurius e o misterioso Escorpião causem devastação ao redor do globo, tudo apresentado no estilo inconfundível e magnífico de Jim Steranko.
Este volume reúne as edições Strange Tales 163-168 e Nick Fury, Agent of SHIELD 1-5.
Este volume reúne as edições Strange Tales 163-168 e Nick Fury, Agent of SHIELD 1-5.
Hardcover
First published January 1, 1967
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About the author
Jim Steranko
296 books50 followersJames Steranko is an American graphic artist, comic book writer-artist-historian, magician, publisher and film production illustrator who has work for decades till the present.
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Displaying 1 - 9 of 9 reviews
February 12, 2018
Como ya es algo típico de estos tomos clásicos, algunas historias tienen un ritmo raro y algunos conceptos se sienten un poco anticuados, pero no se puede negar lo innovador que fue Jim Steranko. En este tomo podemos verlo separarse completamente del estilo narrativo y gráfico de Jack Kirby y Stan Lee del primer tomo, y es francamente genial, con historias que van más allá de los estereotipos de las películas de espionaje para abarcar géneros como la ciencia ficción y el misterio (metiendo incluso un homenaje a El Sabueso de los Baskerville, la historia de Sherlock Holmes. Me encantó.
April 13, 2023
don't ask me about the plot bc i honestly wasn't paying attention but jim steranko sir, you slayed. if i had it in my heart to rip off the pages and hang then on my wall, i totally would
July 15, 2021
Está BIEN SURREALISTA
January 5, 2022
This volume really shows the innovation that Jim Steranko introduced via his art.
The stories breathed better once Fury got his own title with the additional pages this offered.
The two volumes actually almost offer a history in brief of the development of Marvel story-telling and art during this hugely influential period.
The stories breathed better once Fury got his own title with the additional pages this offered.
The two volumes actually almost offer a history in brief of the development of Marvel story-telling and art during this hugely influential period.
August 18, 2018
Jim Steranko DIOS
Guion: 7,5
Dibujo: 9
Guion: 7,5
Dibujo: 9
April 11, 2016
Reading this I can’t help but think there’s a certain something lost from comics since Frank Miller and Alan Moore accidentally set the comic book universe down a dark road. Storytelling has improved, there’s a huge range of lusciously produced art styles to please almost any eye… in terms of technique we’re in a golden age, where comics can almost be machine tooled; beautiful gift-wrapped packages. The trouble is there’s often nothing inside these packages; with darkness combined to decompressed storytelling it’s the same heroes and villaind going through the same moves in slow motion. There are clever creators who can escape these traps – the likes of Fraction, Slot and Gillen – but these are exceptions rather than the rules.
The second half of this reprint collection of Steranko’s stewardship of Nick Fury exposes what’s been lost. It’s overly wordy by modern standards, the writer’s clearly busking it month by month and, as with aging material, the prejudices of the time and relatively unsophisticated cultural understanding can be discomforting but… it’s got a verve, energy and excitement that decompressed storytelling loses. What’s important is the moment, that Nick Fury never stops moving, that there’s always a villain to foil. The last issue’s almost forgotten as soon as the cliffhanger’s resolved and there’s no situation a hero or villain can’t escape by a hitherto unsuspected and unhinted at method. Steranko’s art is equally thrilling, emphasising action and drawing in creative techniques from then contemporary art movements. There are wonderful moments where Steranko’s clearly chafing at the limits of the spy genre, particularly towards the end of the Yellow Claw story presented here, where he runs fearlessly and heedlessly into the realms of sci-fi and fantasy, stretching the creative possibilities of the series. It feels like anything’s possible, rather than narrowly prescribed by genre conventions, as so many of today’s seem to be. It’s a missive from a more innocent time, when the genre was full of possibilities. It’s fuel to the Alan Moore’s notion that it’s unhealthy for past icons to be hogging the cultural stage. Do the heroes of the past have something to say about the modern age or should we have torn down the icons long ago and created new ones for a new age? Perhaps we need to stop admiring the past respond to the times as inventively as the likes of Steranko did.
The second half of this reprint collection of Steranko’s stewardship of Nick Fury exposes what’s been lost. It’s overly wordy by modern standards, the writer’s clearly busking it month by month and, as with aging material, the prejudices of the time and relatively unsophisticated cultural understanding can be discomforting but… it’s got a verve, energy and excitement that decompressed storytelling loses. What’s important is the moment, that Nick Fury never stops moving, that there’s always a villain to foil. The last issue’s almost forgotten as soon as the cliffhanger’s resolved and there’s no situation a hero or villain can’t escape by a hitherto unsuspected and unhinted at method. Steranko’s art is equally thrilling, emphasising action and drawing in creative techniques from then contemporary art movements. There are wonderful moments where Steranko’s clearly chafing at the limits of the spy genre, particularly towards the end of the Yellow Claw story presented here, where he runs fearlessly and heedlessly into the realms of sci-fi and fantasy, stretching the creative possibilities of the series. It feels like anything’s possible, rather than narrowly prescribed by genre conventions, as so many of today’s seem to be. It’s a missive from a more innocent time, when the genre was full of possibilities. It’s fuel to the Alan Moore’s notion that it’s unhealthy for past icons to be hogging the cultural stage. Do the heroes of the past have something to say about the modern age or should we have torn down the icons long ago and created new ones for a new age? Perhaps we need to stop admiring the past respond to the times as inventively as the likes of Steranko did.
June 9, 2016
I have given this two stars because there was some better stories towards the end of this collection (when the character was given his own comic), but it should really only be 1.5 stars.
This material hasn't aged well I'm afraid but it can't have really made a lot of sense within the larger setting of the Marvel universe at the time, considering the technology that Nick Fury gets to use. Whoever is making his stuff, should have been giving both Reed Richards and Tony Stark a run for their money. Basically, Nick Fury is being run as a superhero with his super power being that he always has exactly the right device he needs to help him survive. And some of those devices can do things that should have world changing consequences, in the hands of a government agency.
Along the same lines, another thing I don't like about the earlier stories is that Nick Fury, who is the leader of SHIELD, is also portrayed as their lead field operative. The rest of this huge agency just appears to be a plot device to let him be put in harm's way, something that is never going to happen in anything approaching real life.
Your mileage may differ, but I'm glad this storyline doesn't have a third part.
This material hasn't aged well I'm afraid but it can't have really made a lot of sense within the larger setting of the Marvel universe at the time, considering the technology that Nick Fury gets to use. Whoever is making his stuff, should have been giving both Reed Richards and Tony Stark a run for their money. Basically, Nick Fury is being run as a superhero with his super power being that he always has exactly the right device he needs to help him survive. And some of those devices can do things that should have world changing consequences, in the hands of a government agency.
Along the same lines, another thing I don't like about the earlier stories is that Nick Fury, who is the leader of SHIELD, is also portrayed as their lead field operative. The rest of this huge agency just appears to be a plot device to let him be put in harm's way, something that is never going to happen in anything approaching real life.
Your mileage may differ, but I'm glad this storyline doesn't have a third part.
November 28, 2015
This volume kicks off exactly where the previous one left us, Fury in mortal danger. The early comics follow a similar format to the previous stories. Some of it is now dated especially how it presents the female characters. They aren't the strong female characters Marvel are famous for Black Widow, Jessica Jones et al. The longer the volume went on the more experimental Steranko got, you can tell Marvel gave him full control to stretch his imagination and cover any genres he wished to deal with. I particularly liked the homage to Hound of the Baskervilles.
November 25, 2015
Another bunch of issues to showcase the legend that is Nick Fury. If you are not much of a fan then I wouldn't bother, but being a comic fan it is good to see the difference in styles. This is so 60s yet being a fan of inspired stuff as James Bond 007 you can't help but like it.
Nothing really stands out as it's not so much of an arc just the first lot of issues to prove that Nick Fury can stand with the superheroes in his own right. Relying on his smarts and gadgets to prevail against anyone who stands in his way.
Nothing really stands out as it's not so much of an arc just the first lot of issues to prove that Nick Fury can stand with the superheroes in his own right. Relying on his smarts and gadgets to prevail against anyone who stands in his way.
Displaying 1 - 9 of 9 reviews