Read Muerte en la familia by Jim Starlin Free Online


Ebook Muerte en la familia by Jim Starlin read! Book Title: Muerte en la familia
The author of the book: Jim Starlin
ISBN 13: No data
Language: English
Format files: PDF
The size of the: 938 KB
City - Country: No data
Loaded: 2813 times
Reader ratings: 7.3
Edition: Grupo Editorial Vid
Date of issue: 1988
ISBN: No data

Read full description of the books:



As someone who has written a serialized story that solicited input from the reading public to determine the course of the plot (see the greatest adventure tale ever told, The Chronicle of Heloise & Grimple), I fully appreciate the gimmick of canvassing readers to help shape a story. On the other hand, there’s something so horrifically impersonal about the idea of comic readers calling a 900 number to weigh in on whether Robin/Jason Todd should live or die (as opposed to their usual reason for calling a 900 number, which would be to indulge in erotic audio fantasies, perhaps related to mommy delivering a firm spanking, whilst attached to a tube sock…not that there’s anything wrong with that, and does anyone know how to get stains out of tube socks?). (I’ll note that this story came out in the 1980s, incidentally, which may or may not go a long way toward explaining why this went down the way it did.)

Did the Romans have their own, far more terrible real-life version of this in the gladiator pits? Sure. So, let’s not lose sight of the fact that we’re talking about comic book characters here.

Still, putting aside that whole big-picture perspective issue (because no one likes a big-picture perspective killjoy), and ignoring the fact that death is essentially meaningless in comics (particularly now that the Bucky Barnes rule has been so egregiously violated), there’s something more than a little unsettling about having fans vote on whether a character suffers an untimely demise. There’s an unspoken pact between readers and writers and artists to at least try to pretend that comic characters aren’t corporate brands, and that there really is the possibility that anything can happen to them (when the reality is that nothing can happen to them—or be done by them—that will potentially harm a company’s ability to leverage that character across different platforms to maximize revenue—granted, this was less of an issue in the ‘80s when no one was monetizing any aspect of comics (notwithstanding the early ‘90s speculater/alternate cover boom, but that’s a whole different story), but it was still the case that writers and artists only had so much latitude, particularly within the confines of a book that’s based in a company’s primary continuity).

When a company advertises the potential death of a character, however, and solicits votes from readers as to whether that character should live or die, it destroys the illusion of that pact, and, as a reader, you’re reminded that, contrary to what we want to believe, all major comic book events are contrived as ways to spike sales rather than as natural evolutions of a character’s story. That doesn’t mean that they can’t be such evolutions, or even high-quality stories, mind you; simply that the impetus for them is more corporate than creative. And, that can make you feel, to use a highly technical term, a little icky when you’re reading.

I’m not going to preface with a spoiler alert the fact that the Joker bludgeons poor Robin to death in a scene that is chilling despite, or perhaps because of, the fact that we don’t actually see the blows strike Robin’s body (the reasons I’m not calling this out as a spoiler are 1) it happened almost 30 years ago (and Jason Todd has since resurfaced as the Red Hood); 2) the outcome is already spoiled by the title of the book; and 3) anyone who has ever read a Batman story couldn’t honestly think that the reading public could be given a vote as to whether or not Jason Todd would bite it and vote for him to remain amongst the living). The story is contrived to create maximum mawkish sentiment, as Robin bucks the kicket only hours after meeting his real mother, one he didn’t know was alive until the beginning of the story, and one can’t help but think that it was crafted with the presumption that his death would, indeed, be the outcome.

Were it not for the unsavory voting aspect, this would be a potentially affecting tale (especially given Tim Drake’s appearance in the aftermath in a story that drives at the heart of why Robin exists in the first place); as it stands, however, it goes down with chrome covers, multiple variant covers, polybagged black arm bands, and Rob Liefeld’s art as a questionable curiosity of the weird time that was the late 80s/early 90s in the world of mainstream superhero comics.

We’ll call it 2.5 stars.


Download Muerte en la familia PDF Muerte en la familia PDF
Download Muerte en la familia ERUB Muerte en la familia PDF
Download Muerte en la familia DOC Muerte en la familia PDF
Download Muerte en la familia TXT Muerte en la familia PDF



Read information about the author

Ebook Muerte en la familia read Online! James P. "Jim" Starlin is an American comic book writer and artist. With a career dating back to the early 1970s, he is best known for "cosmic" tales and space opera; for revamping the Marvel Comics characters Captain Marvel and Adam Warlock; and for creating or co-creating the Marvel characters Thanos and Shang-Chi, Master of Kung Fu. Death and suicide are recurring themes in Starlin's work: Personifications of Death appeared in his Captain Marvel series and in a fill-in story for Ghost Rider; Warlock commits suicide by killing his future self; and suicide is a theme in a story he plotted and drew for The Rampaging Hulk magazine.

In the mid-1970s, Starlin contributed a cache of stories to the independently published science-fiction anthology Star Reach. Here he developed his ideas of God, death, and infinity, free of the restrictions of mainstream comics publishers' self-censorship arm, the Comics Code Authority. Starlin also drew "The Secret of Skull River", inked by frequent collaborator Al Milgrom, for Savage Tales #5 (July 1974).

When Marvel Comics wished to use the name of Captain Marvel for a new, different character,[citation needed] Starlin was given the rare opportunity to produce a one-shot story in which to kill off a main character. The Death of Captain Marvel became the first graphic novel published by the company itself. (

In the late 1980s, Starlin began working more for DC Comics, writing a number of Batman stories, including the four-issue miniseries Batman: The Cult (Aug.-Nov. 1988), and the storyline "Batman: A Death in the Family", in Batman #426-429 (Dec. 1988 – Jan. 1989), in which Jason Todd, the second of Batman's Robin sidekicks, was killed. The death was decided by fans, as DC Comics set up a hotline for readers to vote on as to whether or not Jason Todd should survive a potentially fatal situation. For DC he created Hardcore Station.




Reviews of the Muerte en la familia


LEWIS

Interesting, exciting story.

ARTHUR

Best in Books

ZARA

The book caused contradictory feelings!

LOGAN

Interesting look on the other side

AISHA

Great book!




Add a comment




Download EBOOK Muerte en la familia by Jim Starlin Online free

PDF: muerte-en-la-familia.pdf Muerte en la familia PDF
ERUB: muerte-en-la-familia.epub Muerte en la familia ERUB
DOC: muerte-en-la-familia.doc Muerte en la familia DOC
TXT: muerte-en-la-familia.txt Muerte en la familia TXT