Cemetery Beach Warren Ellis and Jason Howard | Review


Published on Oct 15, 2019


Warren Ellis is an author that, when compared to some of his colleagues as the most venerated, has almost never lost the enamel with the passing of the years succeeding without too much effort, not so much to reinvent itself as, rather, to dig to the bottom of those that were his inspirations, the stories that he really wanted to tell and thus to devote themselves to projects worthy of attention and qualitatively impressive.

Fortunately, Ellis has found a privileged home in Italy in saldaPress that you're proposing that what is in fact his most recent production of which they are a part of the series Injection and Trees but also some interesting volumes minions as Shipwreck – our review HERE.

The latter category is this Cemetery Beach in which Ellis finds the designer Jason Howard, formerly his partner on the Trees and already the artist of Super Dinosaur and The Astounding Wolf-Man.

Michael Blackburn is locked up in a cell, naked. Is going to be questioned. When the guard who keeps an eye starts to reciprocate some question, however, we begin to understand that Michael is not a prisoner to any place in... 100 years ago, a secret program launched a space ship on a planet just discovered. The details of the mission have been forgotten by time and have been rediscovered only recently.

An agent was sent to the planet to see if anyone survived and to report on the state of things. As soon as he arrived at the destination, however, that the agent has been captured, it is Michael.

The escape is sudden and Michael is worthy of support in Grace Moody, a young rebel who does not repeat two times if he would like to escape with him. So begins a crazy race in a world decadent and alien to reach the ship with which Michael has traveled... the final will be quite different from what you might expect.

The 160 pages of Cemetery Beach are a cazzutissimo journey in which Warren Ellis compound, typical suggestions of the british science fiction with a certain cinema, post-apocalyptic refers, evidently, to George Miller and his Mad Max.

A man and a woman – and their escape. But what is the flight really? This is the assumption that is as simple as it is effective, on which the writer engages in a screenplay minimalist to master it, is the action, and the few but meaningful dialogues. He flees from death, it flees from nothing, fleeing from a ruined world to accept a paradise where we eat of the pergola... they come to give you hope.

If Ellis can afford to sketching the worlds, and make them credible without any kind of depth, the real star of the book is Jason Howard here, maybe his best performance ever.

His suddenly edgy mitigates the urgency typically the ’90s with a taste almost kirbyano in an action which is so disruptive as extremely high budget which translates into a large double-splashpage and in the construction of the table who prefers the horizontal and the panes square and less rectangular.

A test uppercase and demonstrates as you can tell from the images at the highest pace without lose neither expressiveness, nor in the details while maintaining personality and style.

As always impeccable care carto-technical hardback packaged by saldaPress where stands out the excellent adaptation.

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