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Luc Orient #1-4
Luc Orient: 1 /Intégrale
Comprend: Les dragons de feu, Les soleils de glace, Le maître de Terango et La planète de l'angoisse.
Il ne s'agit pas d'une réédition mais bien d'une nouvelle. Ce volume comprend 4 histoires de Luc Orient et non 2 comme l'intégrale de Pictoris Studio.
Il ne s'agit pas d'une réédition mais bien d'une nouvelle. Ce volume comprend 4 histoires de Luc Orient et non 2 comme l'intégrale de Pictoris Studio.
- GenresBande DessinéeComics
200 pages, Hardcover
First published January 1, 2008
About the author
Greg
574 books20 followersPseudonym of Michel Regnier, who also published as Michel Denys and Louis Albert. He legally changed his name to Michel Greg in 1975.
The series for which Greg is best known, Achille Talon, began in 1963 in Pilote magazine, also the source of comics such as Asterix. Regnier became editor-in-chief of Tintin magazine in 1966 and remained so until 1974. He introduced a more adult genre, with less perfect heroes and more violence. He created some of his most famous series like Bruno Brazil and Bernard Prince in this period, and introduced artists like Hermann to the magazine. In 1975 he became literary director for the French publisher Dargaud and launched Achille Talon magazine.
As "Greg", Regnier was one of the most prolific creators of Franco-Belgian comics, working in all genres and collaborating with many other European artists and scriptwriters. Well known for working with artist Hermann, Greg also worked with André Franquin, Eddy Paape (Luc Orient), Dany, Albert Uderzo and René Goscinny, and many others. It is estimated that he contributed as a writer and an artist to some 250 comic albums.
Hergé asked him to remake two of The Adventures of Tintin — The Seven Crystal Balls and Prisoners of the Sun — into a script for one long animated movie, Tintin and the Temple of the Sun. He also wrote the script for Tintin and the Lake of Sharks.
The series for which Greg is best known, Achille Talon, began in 1963 in Pilote magazine, also the source of comics such as Asterix. Regnier became editor-in-chief of Tintin magazine in 1966 and remained so until 1974. He introduced a more adult genre, with less perfect heroes and more violence. He created some of his most famous series like Bruno Brazil and Bernard Prince in this period, and introduced artists like Hermann to the magazine. In 1975 he became literary director for the French publisher Dargaud and launched Achille Talon magazine.
As "Greg", Regnier was one of the most prolific creators of Franco-Belgian comics, working in all genres and collaborating with many other European artists and scriptwriters. Well known for working with artist Hermann, Greg also worked with André Franquin, Eddy Paape (Luc Orient), Dany, Albert Uderzo and René Goscinny, and many others. It is estimated that he contributed as a writer and an artist to some 250 comic albums.
Hergé asked him to remake two of The Adventures of Tintin — The Seven Crystal Balls and Prisoners of the Sun — into a script for one long animated movie, Tintin and the Temple of the Sun. He also wrote the script for Tintin and the Lake of Sharks.
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Displaying 1 - 1 of 1 review
April 5, 2020
Można mieć sentyment do czasów, kiedy dziecięciem będąc czytało się "Świat młodych" - albo raczej czytało komiks na ostatniej stronie i rozwiązywało łamigłówki Bena Akiby (spuśćmy na resztę zasłonę milczenia) - gdzie publikowano fragmenty późniejszych przygód Luca Orienta, ale wszystko ma swoje granice. Perypetie tego francuskiego Flasha Gordona to taka jarmarczna odmiana SF- pozbawiona polotu, schematyczna, nudna, miejscami tylko poprawnie narysowana (te karykaturalne twarze) i pokolorowana przez przedszkolaka, który dostał właśnie w prezencie zestaw dziesięciu flamastrów. Przed zakupem radzę więc ochłonąć, policzyć do dziesięciu, a najlepiej przeczytać coś ciekawszego i zapomnieć o tym relikcie frankofońskiego komiksu. Wydanie uznałbym za dobre, gdyby nie jeden szczegół - wyjątkowo słabe tłumaczenie Wojciecha Birka. Wstęp nie nadaje się w zasadzie do czytania (to zwyczajnie nie jest napisane po polsku, przydałaby się solidna redakcja), a w dialogach poupychał on mnóstwo dziwacznych dętych form i archaizmów, co jeszcze bardziej potęguje wrażenie, że mamy do czynienia z muzealnym eksponatem.
Displaying 1 - 1 of 1 review