PDF Ebook Mort Cinder (Alberto Breccia Library), by Alberto Breccia
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Mort Cinder (Alberto Breccia Library), by Alberto Breccia
PDF Ebook Mort Cinder (Alberto Breccia Library), by Alberto Breccia
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Review
“Great news for fans of the astonishingly brilliant South American comic artist Alberto Breccia.†- Down the Tubes“Breccia's art just about demands cliche descriptors. It really is eye-popping.†- The Comics Journal“Mort Cinder is a pioneer of the macabre. ... Breccia's ready to match any genre [writer] Oesterheld throws at him ― suspense, historical adventure, horror, even science fiction ― with a sincere and unpretentious mastery.†- Comics Beat
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About the Author
Alberto Breccia (1919–1993) was born in Uruguay and grew up in Argentina. With Hugo Pratt, he cofounded Pan-American School of Arts in Buenos Aires and the Instituto de Arte.  Héctor Germán Oesterheld (HGO) (born July 23, 1919; "disappeared" by the military and presumed dead 1977), was an Argentine journalist and graphic novel and comics writer. Notable works include his science-fiction series El Eternauta, as well as Che, a biography of Che Guevara.
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Product details
Series: Alberto Breccia Library (Book 1)
Hardcover: 224 pages
Publisher: Fantagraphics Books; 1 edition (November 13, 2018)
Language: English
ISBN-10: 1683960793
ISBN-13: 978-1683960799
Product Dimensions:
7.7 x 1.2 x 11.1 inches
Shipping Weight: 2.4 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
6 customer reviews
Amazon Best Sellers Rank:
#69,591 in Books (See Top 100 in Books)
I'd long heard that Breccia was a great innovator, even changing styles to suit a story, but since only three or four of his stories have been printed in English until now it was difficult to appreciate his facility and imagination until now. This reprint of material from 1963-4 is incredible and humbling in that I can't think of anything in the US that at the time could begin to compare. Breccia utilizes multiple techiniques (including texture creating by dipping wadded up paper towels into ink then lightly appling it to the page) and media. If this doesn't win Harvey and Eisner awards for best American/English reprint next year something is wrong. And it's only the 1st volume of translations to come from Fantagraphics.
Great production of the book, amazing art and good stories.
Appearing for the first time on July 1962 in the Argentine magazine Misterix as a weekly serial consisting of five-page installments (at the beginning in a landscape or horizontal format, before the magazine reverted back to the standard portrait or vertical format) was Héctor Germán Oesterheld and Alberto Breccia’s Mort Cinder. This serial would set a new standard in comic books and become one of the most important and celebrated strips not only in Argentina but around the world. First, by the thoughtful and intelligent, although verbose, scripts of Oesterheld, and secondly by Breccia’s innovations with his artwork.For this particular series, Breccia began inking with a razor blade — an idea he got while shaving; he cut himself once, and when he put the razor down on the sink, he noticed it left traces of blood similar to the lines he produced with pen and ink. He also rubbed the ink with a piece of cloth or with his fingers to create tones, mixed his ink with soap or glue to create an emulsion that when dried left an interesting toning-effect, and let drops of ink on the paper, and immediately blew on them through a straw so that they would create interesting, spindly patterns. His treatment of light and shade, and the white spaces of the paper over the black from the ink within the panels, would also give the series an eerie, expressionistic aspect.The serial appeared at a time when both the writer and artist were in serious financial difficulties. Oesterheld had gone bankrupt with his publishing house venture and had to close down his magazines Hora Cero and Frontera, and Breccia’s wife had become seriously ill. So when Oesterheld was contacted by the magazine Misterix to create a new adventure series, he jumped at the occasion with no idea of what he would do. Having worked previously with Breccia on the strip Sherlock Time, and having had a good experience from that collaboration, he contacted him again for the new, as yet unknown serial. Breccia, due to the problems he was having at home, accepted the work without knowing what it was about either. Also, due to the costly medicine Breccia had to buy for his wife, he drew on a thin, sketch paper pad that he had received from a friend, and not on the usual, more expensive, art boards — which he couldn’t afford.On top of all that, Breccia had trouble finding the proper look for the main protagonist, reason why the character didn’t appear until five weeks later into the first episode — or second, since a six-page episode where Mort Cinder isn’t even mentioned, appeared a month earlier on the magazine’s supplement Supermisterix, and has since been used as the opening prologue to the series when reprinted in book form. Seeing the difficulties the artist had defining the main character, Oesterheld padded his text, unfortunately leaving many doors open that were never closed when the main character was graphically defined.As to the narrator of the series, an antiquarian named Ezra Winston that served as a Watson to Mort Cinder’s Sherlock Holmes, Breccia chose himself as model — making the character much older than he was back then — and, finally, based Mort Cinder on Horacio Lalia, a football/soccer player friend of his who happened to be visiting him one day. Lalia would later become his assistant and a comic book artist on his own right, as well.As mentioned earlier, the series revolved around antiquarian Ezra Winston who along with Mort Cinder — a man who has spent his life dying and resuscitating by embodying different persons throughout the ages, although always keeping his same physical appearance — have many adventures bearing witness to historical events through time, some fantastic, and some more contemporary. Most of the stories serve as a comment on social, racial and humane issues dear to the writer, all disguised within a particular genre. It’s difficult to pin-point if this series is science-fiction, horror, adventure or a thriller, or all at the same time.The serial ended in 1964 with a tenth episode taking place during the battle of Thermopylae in 480 BC. A further episode with a western setting (as in the Wild West) has remained only as a rough script, since the magazine went bankrupt at around that time. However, as a whole, it has become a cult classic in both Europe and South America, and been in constant reprint in book form (mostly in Europe).As to the re-printing, it has relied on two main variants. The first is the original Argentine magazine print — which is terrible —, and the second a version done in 1977 in Italy, re-shooting what remained of the original artwork — which is better, although shot through a half-tone screen, leaving the artwork in a white and gray tone, and with the landscape pages remounted in a standard portrait format, and the title logo appearing at the beginning of each weekly apparition removed and replaced with an enlarged portion of a panel from a previous page. This latter version was corrected in the two-part French edition of 1999/2000, with the first episode ‘The Eyes of Lead’ (second episode in the reprints, and titled ‘Lead Eyes’ in the Fantagraphics version) shown in its original landscape/horizontal format, and each weekly segment appearing with the series’ logo/header at the top left-hand corner of the page. However, by darkening the inking to stark black it loses much of the finer “pen†lines and details, and all the nuances of the original inking. Some further tweaking was done in 2002 for a Spanish edition, bringing back most of the finer details lost in the French one, but again, losing all the nuances of Breccia’s original inking methods. This has been used as a third source variant, but it’s still not the closest to Breccia’s original art.Even though most of the artwork had been considered “lost†for many decades — hence the use of only the second or third variants —, original pages have been resurfacing as of lately in some art galleries and among private collectors in Europe. Finally in 2017, another Spanish publisher located much of the art, and scanned it for an almost perfect edition closer to the original source material — although some of the artwork is still missing — with all the nuances of the inking apparent (so it’s reproduced with some graying tones; think of it as an “art edition†but without the tanning of the paper and shot in black and white). Whether this is a better alternative to the third variant or not, is open to discussion. Some detractors to this option say Breccia knew his work was being reproduced in black and white, and even though his ink was watered down, it was meant to be reproduced as stark black. Nevertheless, this was also the only option he had back in the day. Is seeing his watered-down inking and different nuances thereof a better option for reproduction or not? In my opinion it looks much better, as all the detail is here, and it’s nice to see how the original art actually looked before printing — although they did re-letter the text with a digital font due to differences between some words and idioms used in Argentina to those used in Spain; ridiculous choice to my understanding as it doesn’t truly reflect the flavor of Oesterheld’s writing with its local idioms.OK, now let’s delve into this book by Fantagraphics, published on November 6, 2018. This is the first time the series is ever printed in English. As to the reproduction, it seems to be from the 2017 Spanish edition, which is the best version so far. However, for the lettering Fantagraphics chose a similar font used on the Spanish version of 2002 (the third variant), which seems an odd choice as the font from the 2017 Spanish version came closer to the original lettering (I know, I’m nitpicking here, but Fanta used a font for ‘The Eternaut’ similar to the original lettering of that series). Also, the headers — called “title cards†here — from the magazine have been replaced by a new logo created by Fantagraphics with each episode numbered (beginning with the solo Ezra Winston adventure titled ‘The gift of the Pharaoh’, as most reprints have done so far, by calling it number ’00’, an odd choice to start numbering episodes). It also contains a script excerpt from what would have been another episode (number 11), ‘Stagecoach to Cuchillo’ (the western story I mentioned earlier); an afterword, and biographies of both writer and artist. As to the translation it’s relatively well done from what I’ve glanced over so far (although I believe it was based on the Spanish versions and not the actual Argentinian one).So, finally, what’s so special about this series, aside from the fact that it has been voted one of the best comic books of all time?Oesterheld and Breccia had previously worked on an earlier strip with a similar premise: Sherlock Time — a time-traveller also accompanied by a Watson-like acolyte, drawn in a much-influenced Milton Caniff-style. But for Mort Cinder they worked on a more adult-themed adventure/thriller, and Breccia dropped his influences from Milton Caniff and Frank Robbins, and created his own expressionistic style that would influence countless other artists thereafter (most notably among the Spanish artists who worked for the Warren horror magazines during the ’70s).Although the first episode of Mort Cinder was mostly improvised until we meet the main protagonist, it does really kick forward after that, giving free rein to Oesterheld’s imagination and emotions. Add to that Breccia’s absolutely magnificent artwork, where he totally re-imagined his graphic style, and, beyond all the circumstances and odds he was going through at the time, managed to pull-off some of the most visually intriguing and arresting images ever!Newer readers might be startled by the relatively verbose scripts, as opposed to today’s comics that can be read in less than ten minutes. However, that was Oesterheld’s purpose, as he believed comics were more than “children’s literatureâ€, and could also address more significant social issues aimed at older readers. If you hang onto the stories, and take your time, it will be a perplexing and thoughtful read, though not meant to be taken in one single-sitting.Unfortunately for us fans, Breccia and Oesterheld never continued Mort Cinder’s adventures (although various attempts were made throughout the following years). All in all, highly recommended!
Excellent book quality.Good story and amazing artwork
Technically I could not say if it is an artistic comic or the maximum expression of art in a comic ... the dominance of the climate in the chiaroscuro technique ... reaches the top where each sheet is meticulously worked to complete a style in Sometimes visual images are almost perceived as an essential style to disburse each plot according to its history ... taken to realism ... with excellent graphics and perspective techniques ... very independent of the plot and the story. ..more than a comic ... it's more than an expressive concept ... I even imagine this work taken to the Japanese anime ... Breccia reached maturity in this two-year work ... 1962- 1964 ... after this is difficult to see a top in the comic ... from the stylistic point of view and achieved ... of quality and performance .. a total respect and an incredible visual achievement ... Breccia with his avant-garde zeal ... dabbled in several styles ... where he later stood out more by creating mannerism and taking his work to a more abtract or experimental work ... where he did not always triumph as is the case of El eternauta ... where his innovative zeal was not understood ... But the emptiness of Mort Cinder transcends until our times ... as a personal referent the work Danijel Zezelj ... reaches excellent climates ... at the level of Breccia ... in chiaroscuro technique ... if you really like the visual quality in a comic book ... this book is for you.
Finally able to enjoy some Breccia art AND enjoy the story.The detail is incredible. The reproduction is overall outstanding, and you can see the variance in tone in every line smudge or wash. There are several pages reproduced NOT from the original art. These pages are pure black and white with no grey tones, either stats or cleaned up reproductions of previously published pages, but they are acceptable.Hopefully we'll see some of Breccia's color work soon from FB.
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