E sim, eu estou dizendo que ambas DC e Panini deveriam fazer todo possível para diminuir essa diferença. O tempo de produção gráfica me parece bastante para conseguir traduzir tudo. Com roteiro traduzido, seja por dc ou pela Panini, e a arte feita, a diferença entre as duas publicações pode ser bem menor. Acho eu que pode ser uma ou duas semanas, ou mesmo zero.
O renascimento da DC chegou ao Brasil e eu tenho aqui minhas primeiras revistas, atrasadas, é claro, porque a assinatura não me garante recebê-las junto com as bancas da minha cidade. Aliás, voltando ao ponto da globalização, não só não há porque este ou o outro atraso ocorrerem, eles fazem com que muito do impacto de cada estória seja diminuído. É, Panini, você deve estar perdendo bastante leitores porque toda outra forma de saber sobre a estória tem tempo de ganhar leitores que podem não querer ler sua versão.
E, eu sei que estou saindo do assunto, mas já que estamos falando da Panini, por que não contatar seus clientes para oferecer a revista "Universo DC: Renascimento"? A primeira página da revista do superhomem sugere que é uma leitura relevante -E muitos, como eu, gostariam de ter lido antes -Então, por que não facilitar o acesso? Provavelmente pelo mesmo motivo de eu ver que já faziam artigos sobre a primeira revista da Mulher Maravilha antes de eu receber a minha primeira revista do renascimento: Dane-se o assinante.
Panini, pessoas como eu assinam por falta de tempo. Eu literalmente não comprei Homem-Aranha/Deadpool #3 por falta de tempo, e ainda não comprei esta e #4 por, quando tenho tempo, não ter acesso a uma banca que aceite cartão (fim de mês é uma mer). E mesmo que vocês estejam contando mais com clientela infantil, você quer mesmo que os pais desistam de assinaturas pelas revistas demorarem? Crianças querendo algo o quanto antes é bastante comum, sabia?
De fato, eu não tenho dúvidas que vocês teriam muito mais assinantes se as opções não fossem só "tudo da editora" ou "metade de tudo da editora." Não pode ser tão dificil fazer uma distribuição similar a jornais, cada revista podendo ter sua assinatura e centenas ou milhares de fãs podendo assinar porque agora não precisam acompanhar inúmeras séries de cada vez.
Mas, vamos voltar à questão: Eu ainda não tinha lido Superman 52, da mesma forma que até agora não terminei A Sombra do Batman 52 -últimas edições destas antes do renascimento,
Ao mesmo tempo, eu estava um tanto animado com o renascimento. Comentários de um youtuber que eu sigo, Linkara, sugerem que o primeiro ano do renascimento foram uma real mudança na forma como as coisas as estórias eram escritas, levando a estórias sobre superheróis, em vez das muito comuns estórias a la "este cara é dark" ou "este cara é foda", quase sempre não tendo qualquer personalidade.
Este é o motivo para este pequeno experimento. Eu deixei para ler Superman 52 e Superman 1 juntas. A ideia é comparar e ver se a mudança foi realmente notável. Eu não li renascimento até agora, mas nenhum evento deve fazer grande diferença na série em si. Então vamos lá:
O Péssimo Fim
Primeiro, o antes: Coração de Aço (título na capa que não parece ter relação com as estórias e só me faz querer ver Batman ASA -Não confundir com Batwing) é uma péssima revista, mas ainda assim ligeiramente menos pior que outras antes. Mesmo com a tola ideia de "se eu fizer todo mundo foda, os leitores vão gostar", parece que ser um final ainda acorda quem está escrevendo.
São duas estórias que terminam o arco de Superhomem x Vandal Savage (originalmente publicadas em Superman/Wonderwoman 27 e Superman 50).
A primeira, Cair Matando, é só uma luta longa e sem graça. Eu me importo tanto de ver os superherois lutando sem nenhum impacto quanto eu me importo em ler a Mulher Maravilha -Que literalmente lutara antes para ser uma deusa da guerra mais para Atena que para Ares -fazendo referência a Velozes e Furiosos,
É bastante apropriado, já que é uma série de filmes que demonstra as ideias que permeiam este arco em quão vazios são. "Mas, eu gosto de ver os carros e as corridas!" Ótimo. É como a série de Transformers de Michael Bay. Eu não gostei de ver os transformers cheios de peças se movendo. É coisa demais para não fazer nada, na minha opinião, mas você pode preferir essa versão mais cheia de partes. Nenhum dos dois quer dizer que os filmes são bons como filmes.
O máximo que eu posso dizer é que um pouco de paralelo entre Superhomem e Vandal Savage é mostrado no final, em uma perseguição que continua não tendo impacto para o leitor, e que uma imagem -Só uma -Teve um ligeiro impacto: a última página, em que o imenso meteoro torna os dois obscuros. É estragado por Vandal estar falando coisas sem graça, mas, ao menos, dá a impressão de algo grande e poderoso. E... VANDAL TEM UMA GENKI DAMA!
A segunda estória começa com a luta dos dois, ainda sem grande impacto para leitor. Isto, entretanto, não parece ser devido à atitude na anterior de "vamos por todo mundo brigando e todo mundo vai automaticamente gostar", mas pela tola, TOLA ideia de por o Superhomem sem dúvida nenhuma de que pode vencer.
É a isto que me refiro quando digo que "este cara é foda" não funciona. O Superhomem ser superpoderoso não é novidade. Mas, da mesma forma que dar kriptonita a todos como já foi feito só mostra que você não sabe lidar com este problema (cof cof, roupa de chumbo, cof cof), só aumentar a força do adversário faz o mesmo.
Basta considerar um de seus maiores inimigos: Darkside. Superhomem já derrotou o ser que é basicamente um deus, mas sua contínua reinvenção de como atacá-lo cria novas ameaças, batalhas contra ele sempre sendo problemáticas e sempre sendo ameaças ao resto do mundo, que Superhomem sempre quer proteger. Ele não é o inimigo de "Justice League: Guerra" (Não, eu não gostei dessa animação. Aliás, todas as animações mais baseadas nos "Novos 52" perderam bastante se comparadas com as anteriores)
Vandal Savage usa o meteoro para por neon no cabelo e... Pausa para repetir um tropo sem nenhum motivo. Superhomem vê Kripton salva por Savage. Ele continua sendo ele mesmo e interage normalmente com as pessoas na ilusão, então ELE NUNCA PODERIA SEQUER ACHAR QUE ISSO É REAL, mas é Savage tentando convencê-lo que vale a pena ter um tirano como ele no comando.
Quando isso não funciona ('Toma fôlego'... DUUUUUUUUUuuuuuuuuuuuuuuuuuuuuuuuuuuuh), ele mostra a Terra sob seu domínio. E, eis um pequeno elogio: o roteiro força o Superhomem a passar mais tempo nesta ilusão (não, não é bem inserido. Ocorre porque está no roteiro), sugerindo que os outros que vê podem ser pessoas também sendo inseridas no mundo falso dele. Isso o leva a lutar sob o comando de Savage e ele se sente bem lutando pelo bem da cidade.
O elogio, entretanto, se limita a isso. Superhomem lutando lado-a-lado com outros que atacam selvagemente seus inimigos não faz sentido. Ele jantando com Savage e aceitando continuar como general a seguir não faz sentido. E, especialmente, Savage usando os amigos dele como escravos enquanto tenta convencê-lo não faz sentido.
Finalmente, ele acorda, decide que deve fazer o que qualquer pessoa sabe que ele vai decidir -E que ele mesmo teria decidido muito MUITO mais rápido a fazer quando bem escrito -Faz a alteração de gravidade para voar que tem no filme e vai brigar.
Enquanto Savage continua empurrando o meteoro contra a terra para seu "novo começo" (ele não podia voar, mas agora tem cabelo de fogo como a Estelar, então...), Quebra-Cabeça, em uma versão parecida com o péssimo visual novo do Metalo, é enviado para destruir Superhomem, mas decide conversar, sem nenhum motivo, e se volta contra seu "pai."
Isso me parece claramente uma ideia forçada para algo que queriam fazer depois, assim como Savage sumir, a desculpa sendo que um ser que seria tão forte quanto o Superhomem e que eles mostraram voando foi lançado para o espaço. Ah, e Lois e Clark se amam... Do nada... Talvez tenha tido alguma reprise da série deles, ou algo assim...
Só pra terminar, temos Superhomem, voando ao lado de uma pomba meio estranha (ela me parece estar pousando em vez de voando), junto ao gigantesco título "O que poderia ter sido, o que ainda pode ser e o que É." E bota mais "é" aí pq é um bruta É gigantesco. Em inglês, essas frases podem ser bem menores. Eu não achei o título, mas seria algo como "What could've been, what could still be and what is." Não é uma questão do tamanho das palavras, mas de como elas soam. No original é rápido. No nosso é lento. O original também não é bom se for assim -E é possível de ter sido feito melhor -Mas, parece que o título foi traduzido por significado apenas, e esta questão de estética acabou ficando de lado. Em uma obra de arte, estética claramente deveria ser importante.
O Renascimento
Já nas capas, você pode ver uma clara diferença entre os dois na intenção. A capa da revista anterior tem Superhomem quebrado como um bumerangue, suas pernas para baixo com distorção leve e linhas de voo, embora o tórax esteja apontado para baixo também. Linhas no abdômen escuro que me lembram do Justiceiro da Marvel. Queixo e abaixo do tórax escurecidos, veias e olhos brilhando vermelho. Isso tudo na frente de raios em um céu... Verde? Eu achei que a fase de envenenamento por kriptonita tinha acabado... Mas, quem é esse cara que finge ser o homem de aço e parece querer agir como o... homem de aço... do cinema... Talvez a kriptonita esteja causando um efeito psicológico (Sim, eu gosto de Inimigos Públicos).
A capa do número 1 do Renascimento é melhor. Aliás, Dc e Panini, este é o momento para ter algo no topo como colocaram aqui. É um jeito de dizer para os leitores "Ei! Temos algo que talvez te interesse!" Não deve ser usado para "promover o filme do momento." Ou você acha que eu vou comprar revistas extras quando elas já vem com a capa estragada?
Temos o símbolo proeminente, os personagens no centro, e cores ao redor formadas por cenas e personagens ainda desconhecidos (talvez seja algo do renascimento, mas não li ainda). Ainda é um pouco escurecido demais, na minha opinião. Mas, ao menos, parece tentar interessar o leitor, em vez de só dizer "esse cara é foda." Isso talvez tenha algo a ver com a primeira estória ter sido originalmente publicada em "Superman: Rebirth 1", cuja capa ainda é um superhomem sério, voando para frente e com olhos vermelhos de EEEEEEEVILLLL.
As duas estórias são já de início mais interessantes que as anteriores. Ainda assim, elas parecem um pouco sombrias demais. Eu não vou falar muito sobre as estorias em si porque não se faz necessário, mas a ideia de um superhomem saindo de um período de luto na primeira é particularmente interessante para dizer ao leitor "Gente... Foi mal. Vamos tentar parar com isso."
A segunda estória, originalemnte publicada em "Superman 1", se foca no filho do superhomem, rapidamente estabelecendo a situação da família. Eu devo dizer que, por mais que eu entenda a ideia do garoto tendo de se adaptar ao seu poder, o "problema" que ele tem é tratado com muito pouca importância. Eu sei, eu sei... Ele se envergonha, não sabe o que fazer...
Mas, temos uma testemunha e um garoto que parece se importar com o mundo, os dois decidindo só não falar sobre aquilo. Eu realmente não acredito que um garoto orgulhoso por seu pai se importar tanto com o mundo esconderia algo tão grave que envolve alguém de quem ele gosta.
Fim das contas...? Boas intenções, possivelmente no caminho certo, mas ainda não está lá. Quem decidisse esperar mais não estaria sem razão.
Inglês/English:
Well, as followers of the channel might remember, I subscribe to DC comics through Panini. In fact, I'd prefer immensely to read the DC's current comics, but, since it's not doable, this over-a-year-late version is the closest I can get.
And yes, I'm saying both DC and Panini should do everything in their power to lessen this gap. The graphic production time seems to be plenty to get it all translated. With the script translated, be it by DC or Panini, and the art done, the difference between the two releases could be shorter. I'd think it could be one or two weeks, or even zero.
DC's Rebirth got to Brazil and I have here my first books, late,of course, because subscribing doesn't guarantee getting them the same day the newsstands of my city do. By the way, going back to the globalization issue, not only there isn't a reason for this or the other delay happening, they make much of the impact of the each story be diminished. Yeap, Panini, you must be loosing plenty of readers because every other way of knowing about the story has time to win readers over who might not want to read your version.
And, I know I'm getting off-topic, but since we're talking about panini, why not contact your clients to offer the "DC Unvierse: Rebirth" comic? The first page of Superman's comic suggests it's a relevant read -And many, such as myself, would've liked to have read it before -So, why not ease the access? Probably or the same reason I saw articles done on Wonder woman's first comic before I got my first Rebirth comic; screw the reader.
Panini, people like me sub because they don't have a lot of time. I literally haven't bought Spiderman/Dedpool #3 for lack of time, and haven't yet gotten that one and #4 because, when I have time, I don't have access to a newsstand that takes cards (the end of the month sucks). And even if you are counting more on children clients, do you really want parents to give up on subscriptions because the comics take too long? Children wanting something asap is a thing, you know.
In fact, I have no doubts you would have many more subscribers if the options weren't "everything from a ppublishing house" or "half of everything from a publishing house." It can't be that difficult to have distribution similar to newspapers, each comic book having their own subscription and hundred or thousands of fans being able to sub because then they don't need to follow several series at once.
But, back to the issue: I still haven't read Superman 52, the same way I still haven't finished The Shadow of the Batman -the last numbers of these before Rebirth (Brazil numbering). At the same time, I was somewhat hopeful with Rebirth. Comments from a youtuber I follow, Linkara, suggest the first year of Rebirth were a real change in the way stories were written, leading to stories about superheroes, instead of the very common "this dude's dark" or "this dude's awesome', almost always not having any personality.
This is the reason for this little experiment. I waited to read Superman 52 and Superman 1 together. The idea is to compare and see if the change was really noticeable. I didn't read Rebirth so far, but no event should make too big a difference to the series itself. So, let's go:
First, the before: Heart of Steel (title on the cover that doesn't seem to have any relation to the stories and just makes me want to see Batman TAS -Not to be confused with the Tasmanian Devil) is a horrible book, but still a slightly less horrible one than the previous ones. Even with the silly idea of "if everybody is fucking awesome the readers will like it", it seems an ending will still wake the writer up.
It's two stories that end the arc of Superman x Vandal Savage (originally published in Superman/Wonderwoman 27 and Superman 50).
The first, Cair Matando (sounds somewhat like "Beating Down"), is a long and dull fight. I care as much for seeing superheroes fighting without any punch as I do for reading Wonder Woman -Who had literally fought to be a goddess of war closer to Athena than to Ares -making a reference to The Fast and The Furious.
It's quite appropriate, since it's a series of movies that shows the ideas permeating this arc in how shallow they are. "But, I like watching the cars and the races!" Great. It's like the Transformers series from Michael Bay. I didn't like the transformers full of moving parts. It's too many things that don't do much, in my opinion, but you could prefer that version more full of parts. Neither means the movies are good as movies.
The most I can say is that there is a bit of parallel between Superman and Vandal Savage shown in the end, in a chase that continues not having any punch to the reader, and that one image -just one -had a slight punch: the last page, in which the huge meteor makes them both dark. It's ruined by Vandal saying boring stuff, but, at least, it does give the impression of something big and powerfull. And... VANDAL HAS A GENKI DAMA!
The second story starts with the two fighting, still without much impact to the reader. This, however, doesn't seem to be due to the previous one's attitude of "let's make them all fight and everyone will automatically like", but for the foolish, FOOLISH idea to have Superman without any doubt about being able to win.
this is what I mean when I say that "This dude's awesome" doesn't work. Superman being superpowerful is nothing new. But, the same way that giving everybody kriptonite as it has been done just shows you can't handle this problem (cough cough lead clothes, cough cough), just increasing the adversary's strength does the same.
Just consider one of his biggest enemies: Darkside. Superman has defeated the being that is basically a god, but his continuous reinvention of how he attacks him creates new threats, battles against him always being problematic and always being threats to the rest of the world, which Superman always wants to protect. He isn't the enemy in "Justice League: War" (No, I didn't like that one. In fact, every animation based on the "New 52" lost a lot comparing to the previous ones)
Vandal Savage uses the meteor to put neon on his hair and... Pause to repeat a trope without any reason. Superman sees Kripton saved by Savage. He's still himself and interacts normally with the people there, so THERE IS NO WAY HE COULD THINK THIS IS REAL, but Savage tries to convice him it's worth having a tirant like himself in charge.
When that doesn't work ('Breathes in'... DUUUUUUUUUuuuuuuuuuuuuuuuuuuuuuuuuuuuh), he shows Earth under his domain. And, here's a small compliment: the cript forces Superman to spend more time in this illusion (no, it's not well implemented. It happens because the script says so), suggesting the others he sees could be pople also put into this fake world of his. This leads him to fight under Savage's command and he feels good fighting for the good of the city.
The compliment, though, is limited to that. Superman fighting side-by-side with others that attack their enemies savagely makes no sense. Him dinning with Savage and accepting to continue as a general after that makes no sense. And, especially, Savage using his friends as slaves while trying to convince him doesn't make sense.
Finally, he wakes up, decides he has to do what every person knows he is going to decide -And would have decided much MUCH faster to do when well-written -Does the gravity altering thing to fly from the movie and goes after Savage.
Whiel Savage keeps pushing the meteor agains the Earth for his "new beginning" (he couldn't fly, but now he has hair like fire as Starfire does, so...), Puzzler, in a version similar to the horrible visuals of Metallo, is sent to destroy Superman, but decides to talk, for no reason, and turns against his "father."
This clearly seems to be an idea forced for something they wanted to do later, as with Savage disappearing, the excuse being that the being that could be as strong as Superman and tht they show flying was thrown into space. Oh, and Lois and Clark love each other... Out of nowhere... Maybe there had been a rerun of their series, or something...
Just to finish, we have Superman, flying besides an awkward dove (it seems to be landing rather than flying), together with a gigantic title "O que poderia ter sido, o que ainda pode ser e o que É." And add some more "é" there, because it's a damn big É. In English, these phrases could be much smaller. I couldn't find the title, but I'm guessing something like "What could've been, what could still be and what is." It's not an issue of the size of the words, but of how they sound. In the original it's fast. In Portuguese it's slow. The original isn't good either if it's such -And it's possible that it was done better -But, it seems like the title was translated for meaning alone, and this aesthetic issue ended up on the side. In a piece of art, aesthetics clearly should be important.
And yes, I'm saying both DC and Panini should do everything in their power to lessen this gap. The graphic production time seems to be plenty to get it all translated. With the script translated, be it by DC or Panini, and the art done, the difference between the two releases could be shorter. I'd think it could be one or two weeks, or even zero.
DC's Rebirth got to Brazil and I have here my first books, late,of course, because subscribing doesn't guarantee getting them the same day the newsstands of my city do. By the way, going back to the globalization issue, not only there isn't a reason for this or the other delay happening, they make much of the impact of the each story be diminished. Yeap, Panini, you must be loosing plenty of readers because every other way of knowing about the story has time to win readers over who might not want to read your version.
And, I know I'm getting off-topic, but since we're talking about panini, why not contact your clients to offer the "DC Unvierse: Rebirth" comic? The first page of Superman's comic suggests it's a relevant read -And many, such as myself, would've liked to have read it before -So, why not ease the access? Probably or the same reason I saw articles done on Wonder woman's first comic before I got my first Rebirth comic; screw the reader.
Panini, people like me sub because they don't have a lot of time. I literally haven't bought Spiderman/Dedpool #3 for lack of time, and haven't yet gotten that one and #4 because, when I have time, I don't have access to a newsstand that takes cards (the end of the month sucks). And even if you are counting more on children clients, do you really want parents to give up on subscriptions because the comics take too long? Children wanting something asap is a thing, you know.
In fact, I have no doubts you would have many more subscribers if the options weren't "everything from a ppublishing house" or "half of everything from a publishing house." It can't be that difficult to have distribution similar to newspapers, each comic book having their own subscription and hundred or thousands of fans being able to sub because then they don't need to follow several series at once.
But, back to the issue: I still haven't read Superman 52, the same way I still haven't finished The Shadow of the Batman -the last numbers of these before Rebirth (Brazil numbering). At the same time, I was somewhat hopeful with Rebirth. Comments from a youtuber I follow, Linkara, suggest the first year of Rebirth were a real change in the way stories were written, leading to stories about superheroes, instead of the very common "this dude's dark" or "this dude's awesome', almost always not having any personality.
This is the reason for this little experiment. I waited to read Superman 52 and Superman 1 together. The idea is to compare and see if the change was really noticeable. I didn't read Rebirth so far, but no event should make too big a difference to the series itself. So, let's go:
The Horrible End
First, the before: Heart of Steel (title on the cover that doesn't seem to have any relation to the stories and just makes me want to see Batman TAS -Not to be confused with the Tasmanian Devil) is a horrible book, but still a slightly less horrible one than the previous ones. Even with the silly idea of "if everybody is fucking awesome the readers will like it", it seems an ending will still wake the writer up.
It's two stories that end the arc of Superman x Vandal Savage (originally published in Superman/Wonderwoman 27 and Superman 50).
The first, Cair Matando (sounds somewhat like "Beating Down"), is a long and dull fight. I care as much for seeing superheroes fighting without any punch as I do for reading Wonder Woman -Who had literally fought to be a goddess of war closer to Athena than to Ares -making a reference to The Fast and The Furious.
It's quite appropriate, since it's a series of movies that shows the ideas permeating this arc in how shallow they are. "But, I like watching the cars and the races!" Great. It's like the Transformers series from Michael Bay. I didn't like the transformers full of moving parts. It's too many things that don't do much, in my opinion, but you could prefer that version more full of parts. Neither means the movies are good as movies.
The most I can say is that there is a bit of parallel between Superman and Vandal Savage shown in the end, in a chase that continues not having any punch to the reader, and that one image -just one -had a slight punch: the last page, in which the huge meteor makes them both dark. It's ruined by Vandal saying boring stuff, but, at least, it does give the impression of something big and powerfull. And... VANDAL HAS A GENKI DAMA!
The second story starts with the two fighting, still without much impact to the reader. This, however, doesn't seem to be due to the previous one's attitude of "let's make them all fight and everyone will automatically like", but for the foolish, FOOLISH idea to have Superman without any doubt about being able to win.
this is what I mean when I say that "This dude's awesome" doesn't work. Superman being superpowerful is nothing new. But, the same way that giving everybody kriptonite as it has been done just shows you can't handle this problem (cough cough lead clothes, cough cough), just increasing the adversary's strength does the same.
Just consider one of his biggest enemies: Darkside. Superman has defeated the being that is basically a god, but his continuous reinvention of how he attacks him creates new threats, battles against him always being problematic and always being threats to the rest of the world, which Superman always wants to protect. He isn't the enemy in "Justice League: War" (No, I didn't like that one. In fact, every animation based on the "New 52" lost a lot comparing to the previous ones)
Vandal Savage uses the meteor to put neon on his hair and... Pause to repeat a trope without any reason. Superman sees Kripton saved by Savage. He's still himself and interacts normally with the people there, so THERE IS NO WAY HE COULD THINK THIS IS REAL, but Savage tries to convice him it's worth having a tirant like himself in charge.
When that doesn't work ('Breathes in'... DUUUUUUUUUuuuuuuuuuuuuuuuuuuuuuuuuuuuh), he shows Earth under his domain. And, here's a small compliment: the cript forces Superman to spend more time in this illusion (no, it's not well implemented. It happens because the script says so), suggesting the others he sees could be pople also put into this fake world of his. This leads him to fight under Savage's command and he feels good fighting for the good of the city.
The compliment, though, is limited to that. Superman fighting side-by-side with others that attack their enemies savagely makes no sense. Him dinning with Savage and accepting to continue as a general after that makes no sense. And, especially, Savage using his friends as slaves while trying to convince him doesn't make sense.
Finally, he wakes up, decides he has to do what every person knows he is going to decide -And would have decided much MUCH faster to do when well-written -Does the gravity altering thing to fly from the movie and goes after Savage.
Whiel Savage keeps pushing the meteor agains the Earth for his "new beginning" (he couldn't fly, but now he has hair like fire as Starfire does, so...), Puzzler, in a version similar to the horrible visuals of Metallo, is sent to destroy Superman, but decides to talk, for no reason, and turns against his "father."
This clearly seems to be an idea forced for something they wanted to do later, as with Savage disappearing, the excuse being that the being that could be as strong as Superman and tht they show flying was thrown into space. Oh, and Lois and Clark love each other... Out of nowhere... Maybe there had been a rerun of their series, or something...
Just to finish, we have Superman, flying besides an awkward dove (it seems to be landing rather than flying), together with a gigantic title "O que poderia ter sido, o que ainda pode ser e o que É." And add some more "é" there, because it's a damn big É. In English, these phrases could be much smaller. I couldn't find the title, but I'm guessing something like "What could've been, what could still be and what is." It's not an issue of the size of the words, but of how they sound. In the original it's fast. In Portuguese it's slow. The original isn't good either if it's such -And it's possible that it was done better -But, it seems like the title was translated for meaning alone, and this aesthetic issue ended up on the side. In a piece of art, aesthetics clearly should be important.
Rebirth
On the covers you cna already see a clear difference between the two in the intention. The cover for the previous comic has Superman broken into a boomerang, his legs down with slight distortion and flight lines, though his chest is pointing down too. Lines on the dark abdomen that remind me of Marvel's Punisher. Chin and below the chest darkened, veins and red glowing eyes. All of that in front of lightning and a... Green sky? I thought the kriptonite poisoning part was over..., But, who is this guy pretending to be the man of steel and seemingly wanting to act like... the man of steel... from the movie... Maybe the kriptonite has caused a psychological effect (Yes, I like Public enemies).
Rebirth's number 1's cover is better. By the way, DC and Panini, this is the time to have something on the top as it was done here. It's a way to say to readers "Hey! We have something you might like!" It shouldn't be used to "promote the current movie." Or do you think I'm going to buy extra books that come with their covers ruined?
We have the symbol prominent, the characters in the center, and colors around them formed by scenes and characters still unknown (maybe it's something from Rebirth, but I haven't read it yet). It's still a bit dark, in my opinion. But, at least, it seems to try to interest the reader, instead of just saying "this dude's awesome." This might have something to do with the first story having been originally published in "Superman: Rebirth 1", Whose cover still is a serious Superman, flying forward and with red eyes of EEEEEEEVILLLL.
The two stories are more interesting that the ones before already at the start. They do seem to be a little too dark still. I won't talk much about the stories themselves because it's not necessary, but the idea of a superman coming out of a period of mourning in the first is particularly interesting to say to the reader "People... Our bad. We'll try to stop with that."
The second story, originally published in "Superman 1", focus on Superman's son rapidly establishing the family's situation. I must say that, as much as I understand the idea of the boy having to adapt to his power, the "problem" he has doesn't get the importance it deserves. I know, I know... He's embarassed, doesn't know what to do...
But, we have a witness and a boy that seems to care about the world, the two deciding to just not talk about it. I really don't believe the boy proud of his father caring so much about the world would hide such a big thing that involves someone he loves.
End of the day...? Good intentions, possibly on the right way, but still not quite there. Those who decided to wait a bit more wouldn't be wrong.
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