There's an extremeness to his work, painted characters twisted and ugly or haunting and beautiful-they're real people, but exaggerated to their highest highs and lowest lows. Of course, the main draw of the book is easily Bisley's art - his style is one immediately recognizable, aggressively drawn yet realistically rendered. It's ridiculous but undoubtedly entertaining, and as the stakes rise so too should the level of mayhem. The writers make the scenes between them almost absurdly big, characters acting and mouthing like born action stars. That being said, the writers do enough with their initial offering to create intrigue, the idea of two shadow societies operating around and within the real world an exciting one. Considering that this is our first exposure to these characters and their world, their initial presentation feels thin, lacking any real reason to want to follow John.
It's not a bad tactic, per se, but it's so obvious that it ultimately detracts from the overall narrative.Įven our hero isn't immune to such treatment - the writers posit John as a talented man felled by poor decisions, but their way of doing so feels unnaturally forced, his past summed up in short, blatantly expositional statements that are as generic as they are trope heavy. Rather than allow each character to reveal their connections/motivations organically, the writers toss in odd anecdotal mentions and random asides as a way to create history and show relationships. Unfortunately, said pacing goes off the rails soon after as they work to quickly introduce the rest of the players to varying effect. From the opening prologue (delivered with such cinematic zeal that you can practically hear Morgan Freeman's booming voiceover), it's apparent what's at stake - Brennan and Jackson waste no time diving into the narrative, their pacing brisk and to the point.
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The result is an interesting yet uneven debut that's a few coins short of a full roll.Īn angels vs demons (who are really angels) yarn, 13 Coins offers a new take on a familiar tale, presenting down on his luck John Pozner as the one man ill-fated enough to be humanity's savior and/or destroyer. Rising to prominence behind his strong, painterly visuals (including his iconic Lobo and oft-seen Heavy Metal covers), the Eisner winner returns to interiors, joined by the writing team of Hitman: Absolution scribes Martin Brennan and Michael B.
Freeman seemed to enjoy himself as an ex-black ops agent in Red and has played active military types onscreen before.If you read comics during the event happy, pouch-laden majesty that was the nineties, chances are that you're familiar with the work of Simon Bisley. While Freeman is not exactly a physically intimidating figure, his involvement in the Hughes Brothers' Akira would lend the film an air of gravitas it might not otherwise have - especially if Efron signs on to play the lead. He was in charge of the experimental project that inadvertently unleashed the psychic powers of Akira, which led to the outbreak of World War III and a nuclear holocaust, some thirty years before the events of the original film. The Colonel (a.k.a Colonel Shikishima in the original Akira) is a hard-edged man whose bulky physical build and military hairdo resembles that of Colonel Quaritch from Avatar - the former is also very much a pragmatic fellow and eschews the corruption of the "New Tokyo" government. The new casting rumor for Akira should sit better with fans, as it seems that Oscar-winner and all around sophisticated gentleman Morgan Freeman may star in the film as "The Colonel." Fans were more than willing to express their displeasure when the news broke last week that Zac Efron may play the lead in the Hughes Brothers' live-action, U.S.