Blood in the Game: Chapter 6
By Brian Wood (writer) and Riccardo Burchielli (artist)
The end of this arc is a bit anticlimactic. There were some tense moments, not everything went smoothly. The note it ended on wasn't too dramatic but does hint at possibilities of things yet to come.
I love the way Burchielli depicts the rain. There's a lot of it in this chapter. It feels real and wet, whether it is coming down hard or dripping from somebody's scalp.
Overall I enjoyed this arc very much. It isn't the best arc, that would be Friendly Fire, but I'm eager to continue reading this series. I want to see where the story goes next and I am hopeful that I will enjoy it.
DMZ is published by Vertigo, an imprint of DC Comics.
Tuesday, February 22, 2011
Monday, February 14, 2011
DMZ #33
Blood in the Game: Chapter 5
By Brian Wood (writer) and Riccardo Burchielli (artist)
This is another chapter that is told visually, for the most part. There are lots of big panels and a couple splash pages. It begins with a crime scene investigation of an incident that occured off screen and ends with what looks to be the planning stages of further criminal activities. Interestingly enough, both the investigation and the planning are conducted by the same compant, Trust Well.
Although it only occurs a few times, all of them early in the chapter, the use of speed lines was appropriate. Some people see them as a short cut, an easy way to convey motion. Bottom line, love 'em or hate 'em, they get the job done, in these cases work well with the rest of the art in those panels and help to tell the story.
DMZ is published by Vertigo, an imprint of DC Comics.
By Brian Wood (writer) and Riccardo Burchielli (artist)
This is another chapter that is told visually, for the most part. There are lots of big panels and a couple splash pages. It begins with a crime scene investigation of an incident that occured off screen and ends with what looks to be the planning stages of further criminal activities. Interestingly enough, both the investigation and the planning are conducted by the same compant, Trust Well.
Although it only occurs a few times, all of them early in the chapter, the use of speed lines was appropriate. Some people see them as a short cut, an easy way to convey motion. Bottom line, love 'em or hate 'em, they get the job done, in these cases work well with the rest of the art in those panels and help to tell the story.
DMZ is published by Vertigo, an imprint of DC Comics.
Saturday, February 12, 2011
DMZ #32
Blood in the Game: Chapter 4
By Brian Wood (writer) and Riccardo Burchielli (artist)
Most of this chapter is slowly paced. Most of it is devoted to the immediate aftermath of the event that happened at the beginning of the arc and the end of the previous chapter. Matty is waiting for news, something to happen. Eventually something does.
While he is waiting the visual storytelling gets a little more interesting than it was in the previous chapter, which is to say more visual. There are a number of splash pages and pages with a limited number of panels. They don't move the story forward by leaps and bounds but they do help to reveal some of the nuances. The panels flow together better in this chapter. The gestures and facial expressions are more expressive and meaningful.
Eventually the pace picks up, towards the end, and the story starts to move forward more quickly, once again. It ends on a cliffhanger with Matty having to decide what to do, how he should handle the situation. He doesn't hold all the cards. He is at a bit of a disadvantage but doing nothing is not an option.
DMZ is published by Vertigo, an imprint of DC Comics.
By Brian Wood (writer) and Riccardo Burchielli (artist)
Most of this chapter is slowly paced. Most of it is devoted to the immediate aftermath of the event that happened at the beginning of the arc and the end of the previous chapter. Matty is waiting for news, something to happen. Eventually something does.
While he is waiting the visual storytelling gets a little more interesting than it was in the previous chapter, which is to say more visual. There are a number of splash pages and pages with a limited number of panels. They don't move the story forward by leaps and bounds but they do help to reveal some of the nuances. The panels flow together better in this chapter. The gestures and facial expressions are more expressive and meaningful.
Eventually the pace picks up, towards the end, and the story starts to move forward more quickly, once again. It ends on a cliffhanger with Matty having to decide what to do, how he should handle the situation. He doesn't hold all the cards. He is at a bit of a disadvantage but doing nothing is not an option.
DMZ is published by Vertigo, an imprint of DC Comics.
Saturday, January 29, 2011
DMZ #31
Blood in the Game: Chapter 3
By Brian Wood (writer) and Riccardo Burchielli (artist)
The speed at which this story moves and should be read varies quite a bit. This chapter, for example, opens up with a splash page and moves along fairly quickly until Matty gets interviewed by Liberty News. At that point the story hits rush hour traffic and slows down considerably. The dialogue and narration up to this point have been sparse and the story has in large part unfolded visually.
The interview portion of the chapter, in which Matty is asked about his associations with Parco Delgado, is very dialogue heavy. Unlike the rest of the chapter, it isn't possible to get the picture by breezing through the visuals in this part of the chapter. Even if one is reading the visual narrative slowly, it takes a different skill or ability to process the interview portion. It is more than just a matter of slowing down but a matter of switching gears or possibly even vehicles because the terrain has changed.
DMZ is published by Vertigo, an imprint of DC Comics.
By Brian Wood (writer) and Riccardo Burchielli (artist)
The speed at which this story moves and should be read varies quite a bit. This chapter, for example, opens up with a splash page and moves along fairly quickly until Matty gets interviewed by Liberty News. At that point the story hits rush hour traffic and slows down considerably. The dialogue and narration up to this point have been sparse and the story has in large part unfolded visually.
The interview portion of the chapter, in which Matty is asked about his associations with Parco Delgado, is very dialogue heavy. Unlike the rest of the chapter, it isn't possible to get the picture by breezing through the visuals in this part of the chapter. Even if one is reading the visual narrative slowly, it takes a different skill or ability to process the interview portion. It is more than just a matter of slowing down but a matter of switching gears or possibly even vehicles because the terrain has changed.
DMZ is published by Vertigo, an imprint of DC Comics.
Sunday, January 23, 2011
DMZ #30
Blood in the Game: Chapter 2
By Brian Wood (writer) and Riccardo Burchielli (artist)
The story continues to focus on the politicization of the media. Parco Delgado and Matty discuss the topic as Parco seeks to convince him that the unbiased journalist is a thing of the past or a lie. Feeling pressure from both sides, Liberty Media (his employer) and Delgado, he picks a side.
Ricardo Burchielli's art continues to depict war-torn Manhattan using very few straight lines. Instead of grounding Manhattan in the grid of streets he focuses on the denizens and draws the multicultural stew of people very fluidly.
DMZ is published by Vertigo, an imprint of DC Comics.
By Brian Wood (writer) and Riccardo Burchielli (artist)
The story continues to focus on the politicization of the media. Parco Delgado and Matty discuss the topic as Parco seeks to convince him that the unbiased journalist is a thing of the past or a lie. Feeling pressure from both sides, Liberty Media (his employer) and Delgado, he picks a side.
Ricardo Burchielli's art continues to depict war-torn Manhattan using very few straight lines. Instead of grounding Manhattan in the grid of streets he focuses on the denizens and draws the multicultural stew of people very fluidly.
DMZ is published by Vertigo, an imprint of DC Comics.
Tuesday, January 11, 2011
DMZ #29
Blood in the Game: Chapter 1
By Brian Wood (writer) and Riccardo Burchielli (artist)
Starts in the middle or near the end of the story with Parco Delgado, one of the pivotal characters in this arc, getting shot. Matty, as usual, is smack in the middle of the situation. As in at least one of the previous arcs, he does not seem to be a neutral observer but to have chosen a side. Is it possible or does it make sense for a journalist to try and remain neutral in the DMZ? Probably not.
By no means decisive but it is the first chapter of a longer story that will probably run the length of this collection.
Having been away from DMZ for quite some time it was refreshing, even if it was also a bit jarring, to be thrown into the story so quickly. The dual narration, which has probably been used before in this series, helps to emphasize the fractured nature of life in the DMZ. It also should resonate with anyone who lives in a country, such as the US of A, where the media is politicized, a tool of the larger political factions; where it is no longer the neutral observer it once was.
By Brian Wood (writer) and Riccardo Burchielli (artist)
Starts in the middle or near the end of the story with Parco Delgado, one of the pivotal characters in this arc, getting shot. Matty, as usual, is smack in the middle of the situation. As in at least one of the previous arcs, he does not seem to be a neutral observer but to have chosen a side. Is it possible or does it make sense for a journalist to try and remain neutral in the DMZ? Probably not.
By no means decisive but it is the first chapter of a longer story that will probably run the length of this collection.
Having been away from DMZ for quite some time it was refreshing, even if it was also a bit jarring, to be thrown into the story so quickly. The dual narration, which has probably been used before in this series, helps to emphasize the fractured nature of life in the DMZ. It also should resonate with anyone who lives in a country, such as the US of A, where the media is politicized, a tool of the larger political factions; where it is no longer the neutral observer it once was.
Comic Cons 2011
I've started to make my comic book convention plans for 2011. I went to 3 cons in 2010. I'm planning to double that number in 2011. I'm a little worried that I may be taking on too much but it's a risk I'm willing to take. In the first half of 2011 I'm planning to attend 4 shows.
- Emerald City Comic Con (Mar 4-6; Seattle, WA)
- Wild Pig Spring Con (Apr 3; Springfield, NJ)
- Comic Geek Speak Super Show (Apr 29 & May 1; Reading, PA)
- Heroes Con (Jun 3-5; Charlotte, NC)
In the second half of the year I'm planning to attend a couple more cons...
- Baltimore Comic Con (Aug 20-21; Baltimore, MD)
- Small Press Expo (Fall; North Bethesda, MD)
My plans may change but I'm already locked and loaded for Emerald City and Super Show. Wild Pig is a little less certain, although it will probably be the least expensive trip, after SPX which is just a 1/2 hour drive from my apartment. I'm still in the planning and logistics stage for the other conventions.
- Emerald City Comic Con (Mar 4-6; Seattle, WA)
- Wild Pig Spring Con (Apr 3; Springfield, NJ)
- Comic Geek Speak Super Show (Apr 29 & May 1; Reading, PA)
- Heroes Con (Jun 3-5; Charlotte, NC)
In the second half of the year I'm planning to attend a couple more cons...
- Baltimore Comic Con (Aug 20-21; Baltimore, MD)
- Small Press Expo (Fall; North Bethesda, MD)
My plans may change but I'm already locked and loaded for Emerald City and Super Show. Wild Pig is a little less certain, although it will probably be the least expensive trip, after SPX which is just a 1/2 hour drive from my apartment. I'm still in the planning and logistics stage for the other conventions.
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