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WORK TITLE: The Cult of the Sacred Fire
WORK NOTES:
PSEUDONYM(S):
BIRTHDATE: 9/9/1940
WEBSITE:
CITY:
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COUNTRY:
NATIONALITY: Spanish
RESEARCHER NOTES:
PERSONAL
Born September 9, 1940 in Barcelona, Spain; married; children: two daughters.
ADDRESS
CAREER
Comic book artist and writer. Worked formerly as an ENASA draughtsman; a figure and colour specialist for publicity agency Ruescas McCann Erikson; a designing director for a publicity agency; the cover artist for Italian science fiction magazine Urania from 1988 to 1991.
WRITINGS
SIDELIGHTS
Vicente Segrelles is a Spanish comic book artist and writer. He was born on September 9, 1940 in Barcelona. Segrelles grew up in an artistic family and he began painting and drawing at age fourteen. At fourteen he also entered ENASA, a training school that produced trucks. Soon thereafter he attended a high school that taught technical skills. There Segrelles learned mechanics, technical drawing, and how to work with materials. By seventeen he was working as a draughtsman as well as in the department of technical publications of ENASA.
When Segrelles was twenty-three he left ENASA to work as a figure and color specialist for Ruescas McCann Erikson, a publicity agency in Barcelona. A year later, he moved to Zaragoza to work as a designing director for another publicity agency. Segrelles settled in Saragoza for many years, eventually marrying and having his first daughter in the region. Throughout his twenties, Segrelles provided freelance illustration work for various companies. In 1970, when he was thirty, he decided to leave publicity and focus solely on illustration. Over the next ten years, Segrelles providing illustrations for books, manuals, magazines, and reference books. In 1974 Segrelles moved outside of Barcelona to be closer to the large city. Segrelles has lived in Barcelona since, and had his second daughter in the city.
In 1980 Segrelles got his big break when publisher Raphael Martinéz offered him the opportunity to write a graphic novel. The Mercenary, Volume 1: The Cult of the Sacred Fire was the resulting book.
“The Mercenary” series was published over twenty years ago. The first installment, The Formula from Hell, was released in 1982, and the last, The Ransom II, came out in 2003. In the graphic novels, Segrelles made each panel through oil painting, a lengthy and time-consuming artistic process. For this reason, Segrelles released no more than one installment a year, sometimes taking as long as four years to complete a book.
Volume 1 opens with an introductory section describing the history of the book and detailing Segrelles’ process. This section includes notes, essays, explanations and preparatory work. Segrelles briefly addresses what has become a controversial aspect of his work, and is often a questionable component of the Sword and Sorcery genre; the focus on subservient, objectified women. While this aspect of the genre was more accepted in the 1980s, when Segrelles first began publishing, in recent years he and artists of the genre have received some backlash.
In the notes Segrelles also explains that the story feels divided because it was, indeed, two stories joined together. The opening pages of the story were essentially Segrelles’ pitch to publishers. When the graphic novel was commissioned, he had to develop a plot line that continued beyond and built upon those sample pages.
“The Mercenary” series opens in fantasy version of Central Asia around the year 1000 AD. In this world, known as The Land of Eternal Clouds, dinosaurs fly though the air, weaving around the mountainous Himalayas. The majestic creatures have survived by living up in the clouds far above ground-dwelling mankind. These dinosaurs have been tamed by man, who saddle them up and ride them through misty sky. In this world, humans reside in tall minaret towers that connect to one another through a vast bridge system. The protagonist, a skilled mercenary, travels the land on his trained dinosaur, seeking work. In this book he is tasked with saving two damsels in distress, one in The Land of Eternal Clouds and the other down on earth.
The Mercenary’s first mission is to save a young bride who has been kidnapped. When he finds the woman, he snatches her from her captors, who chase after the protagonist. The two get away, but not without damage to the Mercenary’s dinosaur. The beast’s wings are damaged, but the Mercenary quickly fixes the situation by making a pair of mechanical wings. After the Mercenary saves the first woman from her captors, she offers herself to him. He rejects the offer and instead returns her to her wealthy but aging husband. Furious at the man’s rejection, the woman tells her husband that he raped her. The Mercenary must dash off to avoid retaliation from the man. Jumping on his dinosaur, he flies off, but finds that his mechanical fix will not hold for long. Eventually, the protagonist and his dinosaur plummet down below the cloud-line, from where no one has ever returned. Down on earth he receives help from humans that live there, and learns that they need his help to retrieve a captured family member.
Frank Plowright, on the Slings & Arrow website, wrote: “NBM’s reissue program has done Segrelles proud, presenting uniform clothbound hardcover editions with the sharper art reproduction afforded by digital technology, and revised translations providing a more coherent read.” A contributor to Publishers Weekly described the book as “visually sumptuous.” Win Wiacek in Now Read This! website wrote, “this landmark series is a long overdue and welcome returnee to our bookshelves and seems certain to garner a whole new legion of fans and admirers.”
BIOCRIT
PERIODICALS
Publishers Weekly, November 27, 2017, review of The Mercenary, Volume 1: The Cult of the Sacred Fire, p. 46.
ONLINE
Now Read This!, https://www.comicsreview.co.uk/ (November 7, 2017), Win Wiacek, review of The Mercenary, Volume 1.
SF Crows Nest, https://www.sfcrowsnest.info/ (December 13, 2017), Eamonn Murphy, review of The Mercenary, Volume 1.
Slings & Arrow, http://theslingsandarrows.com/ (April 19, 2018), Frank Plowright, review of The Mercenary, Volume 1.
Vicente Segrelles
From Wikipedia, the free encyclopedia
Vicente Segrelles
Born September 9, 1940 (age 77)
Barcelona, Spain
Nationality Spanish
Area(s) Cartoonist, Writer, Artist
Notable works
The Mercenary (El Mercenario)
http://www.segrelles.com
Vicente Segrelles (born 9 September 1940 in Barcelona) is a Spanish comic book artist and writer.
Segrelles gained popularity in Europe for his painted comic book epic The Mercenary (El Mercenario), started in 1980. Set in a medieval fantasy world, El Mercenario follows the adventures of a mercenary in his fight against evil. Unusual for the craft of comic books, every panel of his work for this series—which has reached 14 issues so far—is painted in oil, a time-consuming process.
Segrelles was also the cover artist for the Italian science fiction magazine Urania from 1988 to 1991.
Vicente Segrelles
(b. 9 September 1940, Spain) Spain
El Mercenario by Vicente Segrelles
Vicente Segrelles Sacristán is an illustrator from Barcelona, who is best-known for his painted comic epos 'El Mercenario' ('The Mercenary'). Growing up in an artistic family, he started drawing and painting at age fourteen. After many failed attempts to get his work published, he got his first assignment in 1970, illustrating a book on firearms. Through an agency, he did several cover illustrations, which resulted in a permanent relationship with the publisher AFHA. Here, he illustrated a series of books called 'Los Inventos'.
El Mercenario, by Vicente Segrelles
It was agent and publisher Raphael Martinéz who gave him the opportunity to create a graphic novel. This resulted in the first book of 'El Mercenario' in 1980, when the artist was already 40 years old. In 'El Mercenario', Segrelles has combined all his favorite themes - the Prehistoric, Middle Ages, technology, and aircrafts. This work was an instant success, but because of his very time-consuming technique (every panel is oil-painted), the series appears irregularly. Segrelles has established himself as one of the absolute masters of the Sword & Sorcery genre.
El Sheriff Pat by Vicente Segrelles
El Sheriff Pat
In addition to his epic series, Segrelles has made the comical series 'El Sheriff Pat' in the early 1990s. Segrelles was also the cover artist for the Italian science fiction magazine Urania from 1988 to 1991.
El Mercenario, by Vicente Segrelles
www.segrelles.com
Artwork © 2018 Vicente Segrelles
Vicente Segrelles is a bestselling comics painter and author of The Mercenary series, which revolutionized comics with its fully realistic oil painted art starting in 1982.
Vicente Segrelles was born in Barcelona (Spain) on September 9, 1940 during the postwar period after the Spanish Civil War. His childhood lapsed in a peculiar atmosphere: his father loved paintings and inventions, and his uncle, José Segrelles, had international prestige as illustrator and watercolorist. This atmosphere influenced his innate passion to drawing, to which he dedicated any free moment, and just inclined him towards illustration.
Motor in cross-section
But at that time things were not easy, specially to take a risk with such a uncertain business as art was, so at fourteen he entered in the training school of ENASA, the factory of trucks from Barcelona that produced Pegaso. There, a kind of high school focused towards technical specialisation, he learnt mechanics, technical drawing and knowledge of materials. At seventeen years old he was already draughtsman and soon he passed to the department of technical publications of ENASA, where catalogues of instructions and replacement pieces were carried out. Segrelles contributed with new ideas, completely revolutionising the artistic concept of publications, and was soon well-regarded by his superiors. Anyway, the job did not yet satisfied Segrelles, still in love with illustration, although it provided him with great ease in perspective, line drawing and other matters that would be very useful to him in the future.Illustration made with Chinese inks
At the same time, Segrelles had been continuing his self-taught formation in artistic drawing, to which he dedicated any spare time. He experienced with different art techniques (watercolor, Chinese inks, gouache, oil treated as watercolor and so on) and prepared samples. It was by 1960 when he got in touch for the first time with professional illustration through Afha Editorial, to whom he illustrated Homer's Odyssey and Iliad.
Advert created by mid sixties
Finally, at 23 years old he left ENASA and, through a press advert, he entered in Ruescas McCann Erikson, a publicity agency in Barcelona, as a figure and colour specialist. One year later, he moved to another agency in Zaragoza as designing director. He lived in Zaragoza for several years, there he married and had the first of his two daughters.
But his inclination towards illustrations moved his to look for new matters and by 1968 he contacted with Editorial Bruguera, in Barcelona. By correspondence, he made for them several collections of coloured prints and also illustrated some books. In 1969 he contacted with an artists' agency called Selecciones Ilustradas and initiated collaboration with a series of illustrations on western weapons. This meant for Segrelles the discovery of a new world, the world of international, elite illustration. By 1970 he finally decided to abandon publicity and devote exclusively to illustration.
Helmet - golden details painted with gouaches, the rest with inks.
By that time he retook his collaboration with Editorial Afha, illustrating many reference books for several years. He also wrote some of these books, since they dealt about topics he is very fond of: inventions, ships, airplanes, weapons and so on. Most of the publishing business in Spain was located in Barcelona, so in 1974 he decided to come closer and settled down in a small seaside town 50 km far from the capital, where his second daughter was born and where he still lives. By 1976 and 1977 he collaborated with a recent magazine from Barcelona, INTERVIÚ, creating B/W illustrations for their articles during 30 issues.Book cover for an American publisher
At the same time, Segrelles continued his career as a book cover illustrator, firstly through Selecciones Ilustradas and later through Norma Agency. He specialised in fantasy and science fiction topics, though he also painted covers on western, terror, war and detective stories. By mid seventies, while he was already affirmed in Europe, Segrelles entered the severe North American market and began producing illustrations and covers for the best publishing houses in the USA.
The Mercenary
In 1980, attracted by comics, Segrelles created THE MERCENARY, a character who reported him world-wide reputation and was even praised by film director Federico Fellini. Painted in oils and published in 14 countries, THE MERCENARY was a beautiful fantasy comic-book in full colour that evidenced all Sheriff Pathis experience and hobbies. Little by little, he spent more and more time in graphic novels so early on nineties he discontinued his work on book covers to fully devote to THE MERCENARY. However in 1991 he briefly tackled comic cartoons with two volumes of a new character, SHERIFF PAT. Tired of time-consuming oil technique, Segrelles decided in 1998 to try on with computers for the creation of his graphic novels. Some images made with this tool were finally included in the tenth volume of THE MERCENARY series, GIANTS. Subsequent volumes of the series, which reach now book 13 with THE RANSOM II, have been completely created with computers.
In 1999 Segrelles published an ART HANDBOOK explaining many of the secrets of professional illustrators. The complete series was finally reissued under his own imprint in the Spanish language in Summer 2004. On the other hand, Segrelles has just ventured in the field of children's books with an illustrated tale entitled THE MAGIC WATER, which he has also written and was published by Ediciones B in Autumn 2004. The amazing story has been illustrated with computer tools but in a different style from THE MERCENARY.
Book cover for an American publisher
Mud model - 50cm tallV. Segrelles and articulated dragon
At his spare time, Segrelles uses mud to make figures of nudes, warriors, dragons and so on. He also loves making scale models starting from scratch, of boats, airplanes and castles. Among his scale models there is an aluminium airplane Messerschmit 109 of one meter long which he made from the manufacturer plan found in a book, with its timbers, its retractable landing gear with suspension in the wheels and many other details; a 1,60 m high model of Columbus' ship, la Santa María, where even pulleys work and guns shoot; a wooden articulated flying dragon; a model of more than two square meters for electric trains with a small castle, etc.
Scale model of Santa María
Messerschmitt 109 made of aluminium
Segrelles' last amusement has been the construction, piece by piece, of a castle of one-meter high and 300 kg weight. At first, it was to be the entrance in a fortified wall but it evolved mysteriously and finally got two towers, a bridge across them and, as a wink to Mercenary, a dome. It has been made with artificial stone ashlar by ashlar and the intention of following the medieval building system: walls that are equivalent to three meters wide filled with lime and pebble, with stairs and passages within the walls, fireplaces, water wells, traps, etc.
see larger images
Segrelles also likes painting seascapes on canvas. Heavy seas are his favourite.
The Mercenary, Vol. 1: The Cult of the Sacred Fire
Publishers Weekly. 264.48 (Nov. 27, 2017): p46.
Copyright: COPYRIGHT 2017 PWxyz, LLC
http://www.publishersweekly.com/
Full Text:
The Mercenary, Vol. 1: The Cult of the Sacred Fire
Vicente Segrelles, trans from the French by
Mary McKee. NBM, $17.99 (64p) ISBN 978-168112-124-6
Exotic cults, mounted dinosaurs, and daring rescues feature in this fully-painted escapade from France. The Mercenary, a solitary warrior who lives by his fists in the Land of Eternal Clouds, becomes ensnared by the Cult of the Sacred Fire after he rescues a ransomed damsel. The cult's origin is as mysterious as its intentions. This is a visually sumptuous work: Segrelles depicts everything from craggy mountaintops to a woman's startled eye with the same lush detail. This clashes, occasionally, with the rather stiff translated dialogue--especially discomfiting are the multiple exclamations of "we're toast!"--and the extremely compressed nature of the story. This is an epic adventure squeezed into a mete 50 pages, and it shows. Regardless, Segrelles talent as an artist makes it a worthwhile jaunt. The first book in the series celebrates all that is masculine, chivalrous, and loincloth-clad in richly rendered style. (Nov.)
Editor's note: Reviews noted as "BookLife" are for self-published books received via BookLife. PW's program for indie authors.
Source Citation (MLA 8th Edition)
"The Mercenary, Vol. 1: The Cult of the Sacred Fire." Publishers Weekly, 27 Nov. 2017, p. 46. General OneFile, http://link.galegroup.com/apps/doc/A517575679/ITOF?u=schlager&sid=ITOF&xid=29b61650. Accessed 19 Apr. 2018.
Gale Document Number: GALE|A517575679
THE MERCENARY: 1. THE CULT OF SACRED FIRE
Writer / Artist
VICENTE SEGRELLES
RATING: BUY NOW
Review by Frank Plowright
Has it really been over thirty years since the Mercenary was first sighted flying across his dinosaur infested world? It was quite the landmark of its early 1980s era, showcasing the wonder of representational artwork, drawing on both classical painting and Frank Frazetta.
The initial pages seem influenced by Arzach as the mercenary serenely heads between mountains toward a distant tower saddled on a flying dinosaur. It’s an effective homage that also comprehensively establishes the scene. Vicente Segrelles sets his stories in a mist-shrouded area high in the Himalayas lost to time, where giant saurians are a constant danger, yet man also exists amid complex minaret towers and vast bridges spanning even vaster chasms. The Mercenary has no other name, but his warrior’s skills and ingenuity ensure employment wherever he finds himself. Here it’s on two rescue missions of women held for ransom.
Time has a caught up with Segrelles regarding a couple of matters. While still looking very good, the years have diminished some of the wonder of Segrelles’ art. When it comes to painted naturalism he’s no longer the only game in town, and the heroic poses have a slight stiffness to them. The wonder of the imagination and the landscapes still astonish, however, and Segrelles pulls off the trick of the impressive individual images flowing together into a single cohesive story, to this day often a problem for artists producing painted graphic novels.
In the welcome supplementary material fleshing out the 2017 edition Segrelles provides plenty of notes, essays, explanations and preparatory work. He only briefly addresses what since the original publication has become a more controversial issue. Sword and Sorcery is a predominantly male fantasy genre, and among its genre tropes are an abundance of naked and subservient women, and so it is throughout The Mercenary. The objectification is very apparent, notwithstanding the classical tradition of painting the nude figure, the purpose here is titillation and in the 21st century it will offend more than it did in the 1980s.
The notes also explain the segmented nature of the story, confirming that its two pieces stitched together. Already a known painter before moving into comics, Segrelles produced the self-contained opening pages as a sample, and had to complete the remainder when a graphic novel was commissioned.
Minor picking at matters shouldn’t derail the overall quality. Any editor today would be stunned if presented with the opening six pages as samples from an unknown artist, yet this is very much a trial run, successfully establishing a world that would come to be explored with greater facility over successive volumes. NBM’s reissue program has done Segrelles proud, presenting uniform clothbound hardcover editions with the sharper art reproduction afforded by digital technology, and revised translations providing a more coherent read. In an era when four issues of a superhero title cobbled together sell at over $20, a list price of $17.99 for the lavish presentation is some bargain.
The Mercenary: The Definitive Editions:Vol.1 The Cult Of The Sacred Fire (Mercenary The Definitive Editions) by Vincente Segrelles (book review).
December 13, 2017 | By EamonnMurphy | Reply
According to the hype, ‘The Mercenary 1: The Cult Of The Sacred Fire’ is something of a classic which is why we have this anniversary edition forty years after the first printing. It’s a superior reproduction made from scans of the original paintings and a very lovely book it is, too, with hard covers and big pages featuring fine pictures. Vincente Segrelles is a talented artist, though I do find his stuff more static than is usual in graphic novels. On the other hand, I’m more familiar with American comics and they probably did things differently in Europe forty years ago.
The setting is around 1000AD in the massive mountainous area of Central Asia, crossed by the Himalayas. A land of legends. Here, tall peaks protrude above the cloud layer and in one remote valley ‘insulated by its exceptional geographic location’, the dinosaurs survived above the clouds and have been tamed by man. Hence, the flying dragons with saddle and rider on the cover. This concept may have been inspired by the plateau in Conan Doyle’s ‘The Lost World’. That plateau, however, was in a hot region of South America, not a cold region of Asia. Oh well.
Vincente Segrelles is an artist and the primary aim of the strip is to provide him with the opportunity to do some nice paintings. The story is episodic because he admits he made it up as he went along. The concepts are as old as Edgar Rice Burroughs but, because it was birthed in Post-Franco Spain, an era of liberation, he was able to draw lots of beautiful topless ladies which he likes. I don’t mind it neither but there’s no real reason for most of them to be baring their breasts. I guess this is another old tradition of fantasy art.
The book reminded me of Jack Kirby’s work, not because of the art which is completely different but for the stilted dialogue. It was translated from the Spanish by Mary McKee, so I’m not sure who to blame. On page 8, imperilled on a wounded ‘dragon’ our hero says: ‘If she dies now, we’re toast.’ On page 21 he says: ‘Alcohol? What a bunch of lushes!’ This is very contemporary slang for a thousand years ago in the Himalayas. Our hero is a bit of a puritan because the first lovely lady he rescues wants to thank him physically and he declines. Naturally, she then tells her husband that he raped her and the plot thickens.
The dialogue is a kind of half-way house between Kirby and James Michener, solid exposition without flair. I would compare this to ‘The Trigan Empire’ hardback editions. You get it for the art. I don’t think Segrelles’ art is as pretty as that of Don Lawrence but it’s accomplished. Bearing in mind the mad price you would have to pay now for ‘The Trigan Empire’, this might be worth buying and saving for your pension plan.
There’s a lot of extra material with more art and an essay by Vincent Segrelles about his life. He’s clearly a fellow who worked hard and earnestly to get on in his chosen profession and I don’t want to denigrate his book but he should have got someone else to do the script, if not the plot. On the other hand, the original was translated into several languages and sold zillions of copies so what do I know?
If I had to sum it up in one word I’d say ‘worthy.’ A good artbook if you want one and no doubt a nice bit of nostalgia if you liked the original but have lost it in the vicissitudes of life.
Eamonn Murphy
December 2017
NOW READ THIS!
Graphic Novel Reviews and Recommendations by WIN WIACEK
POSTED ON NOVEMBER 7, 2017 BY NOW READ THIS
The Mercenary – The Definitive Editions volume 1: The Cult of the Sacred Fire
By Vicente Segrelles, translated by Mary McKee (NBM)
ISBN: 978-1-68112-124-6
Win’s Christmas Gift Recommendation: A Mythic Masterpiece Returns… 9/10
Born in Barcelona in 1940, Vicente Segrelles Sacristán is a renowned illustrator of magazines and book covers on three continents and the creator of one of the world’s most popular graphic novel series.
His first comics album ‘El Mercenario’ (The Mercenary) was released in 1982; the tale of an itinerant knight-for-hire fighting his way through a fantastic world of science and sorcery, often on the back of a flying dragon.
Rendered initially in lush oil-paints (before graduating to creating art digitally from 1998 onwards), the epic tales blend visual realism and accuracy with fable, myth, historical weaponry, contemporary technology and classical science fiction themes. All these fantastic scenes are screened through the visual lens of a natural architect and engineer. Fourteen albums were released between 1982 and 2003, most of them seen by English-language readers through the auspices of publisher NBM.
Hugely in demand for his painted covers since the 1970s, Segrelles has created book covers for the works of such authors as H, Rider Haggard, Poul Anderson, Roger Zelazny, Alistair McLean, Desmond Bagley, G. F. Unger, Andre Norton, Joel Rosenberg, Charles DeLint, C.H. Guenter, Jason Dark, Terry Pratchett and a host of others.
European prose readers may also know him as the cover artist of Italian science fiction magazine Urania.
The artist came to comics relatively late in his career and the reasons for that can be learned in a prodigious “behind-the-scenes” section at the back of this stunning hardcover (and eBook) remastered reissue entitled ‘Meet Vicente Segrelles’, relating his life and career and breaking down his working methodology. That includes how this volume and the Mercenary series came into being, augmented with a wealth of illustrations from the artist’s early days, discarded paintings and drawings plus many detail-shots taken from the story that precedes it.
Originally serialised in Spanish magazine Cimoc in 1980, El Mercenario was one of the earliest European series NBM published in English and to celebrate forty years in business the company have finally rereleased the series in fabulous oversized (314 x 236 mm) remastered hardcover albums to once more set the world alight. If you prefer, you could instead pick up a thoroughly modern digital edition.
What’s it about?: in the mediaeval world, a region of Central Asia lies all but undiscovered. The Land of Eternal Clouds is an isolate region where life has taken a different turn at the highest mountain levels. Here reptilian fliers dubbed dragons abound and the outposts of humanity have turned them into beasts of burden. This setting is the backdrop to introduce a nameless action hero and problem-solver who is engaged in this premier tome by the puissant potentate of one super-cumulus city-state to rescue his queen from vile abductors…
Riding a gigantic bat-winged lizard, The Mercenary plucks the unfortunate lady from peril and defeats the dragon-riding guards who give chase but only at great personal and financial cost…
Happily, the wary warrior has made prior contingency plans and – even after they go awry following a clash with a predatory beast – is smart enough to build a mechanical flyer to replace the ones he has lost to this ill-fated mission…
This initial yarn is actually a tryptic of three interrelated vignettes, and the second begins once the hero-for-hire returns the comely bride to her rich but old and flabby husband. Safely re-ensconced in the lap of luxury, she repays her dutiful saviour for spurning her amorous attentions by accusing him of assaulting her…
Although the Mercenary escapes to his hastily constructed contraption, it is not enough to keep him airborne and slowly he plunges into the swirling cloud mass from which no man has ever returned…
Crashing to earth he finds a whole new and undiscovered world, and an old sage with a handy potion that soothes his wounds and allows him to breathe better in air that cloys like soup. He soon returns the favour when the oldster shares his woes: the family have also suffered a recent kidnapping.
This time a young woman has been taken by a mystery group demanding as ransom all the alcohol the village contains…
Soon the tireless adventurer has broached the cage in which she hangs above certain death only to find himself also a captive: this time inside a colossal and all but invisible floating city ruled by mysterious cloaked figures claiming to be the Cult of the Sacred Fire…
Before long the doughty champion has discerned the incredible rational secret behind all the seemingly magical phenomena and set the city on a course of appalling destruction and personal vengeance…
To Be Continued…
Although sometimes considered a little static, Segrelles’ vibrant, classical realism set a benchmark for illustrative narrative that has inspired generations of artists and millions of readers. This landmark series is a long overdue and welcome returnee to our bookshelves and seems certain to garner a whole new legion of fans and admirers.
© 2015 Vicente Segrelles. English Translation © 2017 NBM for the English Translation.
For more information and other great reads see http://www.nbmpub.com/