A couple of weeks ago, writing about the previous Gilbert Hernandez Love and Rockets book Human Diastrophism , I said that those stories came from a ten-year span, because Hernandez was busy with other things as well during that time.
Well, Beyond Palomar collects two of those things between one set of covers: two full-length graphic novels originally serialized in Love and Rockets, both of them related to the “Palomar” cycle of stories but not directly part of that main stream. First up is Poison River, originally appearing from 1988 through 1994, which tells the story of Luba’s life up to the point she arrived in Palomar in Heartbreak Soup. Then there’s Love & Rockets X (from 1989-1993), which is more complicated: it was the first of Gilbert’s stories to show some of his Palomar characters in Southern California — traditionally his brother’s Jaime’s turf [1] — but also featured a mostly new cast,...
Well, Beyond Palomar collects two of those things between one set of covers: two full-length graphic novels originally serialized in Love and Rockets, both of them related to the “Palomar” cycle of stories but not directly part of that main stream. First up is Poison River, originally appearing from 1988 through 1994, which tells the story of Luba’s life up to the point she arrived in Palomar in Heartbreak Soup. Then there’s Love & Rockets X (from 1989-1993), which is more complicated: it was the first of Gilbert’s stories to show some of his Palomar characters in Southern California — traditionally his brother’s Jaime’s turf [1] — but also featured a mostly new cast,...
- 7/31/2018
- by Andrew Wheeler
- Comicmix.com
Some filmmakers keep their endings ambiguous so the art lingers with the viewer in order to interpret the piece rather than merely consume it. Writer/director Peter Lynch looks to go one step further with his noir Birdland (co-written by Lee Gowan) by rendering the whole a mystery wherein beginnings and ends are both fluid as far as linear coherency is concerned and meticulously structured to amplify the emotional machinations of his lead Sheila Hood (Kathleen Munroe). Lynch intentionally disorients so that mood overshadows action. He focuses on Sheila’s place within a story branching off in multiple directions independent of her despite her obvious visible presence within each as lurker, voyeur, lover, or friend. Is she therefore a victim of external circumstances or the one deliberately pulling every string?
Even before the title flashes across the screen we’re drowning in images strung together as though tonal poem, gleaning...
Even before the title flashes across the screen we’re drowning in images strung together as though tonal poem, gleaning...
- 1/24/2018
- by Jared Mobarak
- The Film Stage
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