#wydawnictwo lost in time

[ponapisach]

W posłowiu autor scenariusza do komiksu "Wypadek na polowaniu" wspomina, że na wstępnym etapie pomysłu wszystkie składowe pasowały jak pięść do oka. Tak, gdyby zebrać je razem i wymieniać po przecinku, uzbierałaby się z tego niezły bałagan. I ja byłem nieco zakłopotany po pierwszych stronach. Jednak to wszystko jest częścią układanki, wszystko jest ostatecznie spójne, komiks jest wybitny. Skłania do refleksji, po lekturze chciałem sięgnąć po inne materiały. Komiks spełnia również ambicje autorów, to bardzo ważne. Nie pozostawia czytelnika z uczuciem niedosytu.

Każda historia opowiedziana z werwą, z dobrym pomysłem i przy użyciu odpowiednich środków może być zajmująca. Każdy ma swoją opowieść, wiele z nich może być niesamowitych. Nieraz nie zdajemy sobie sprawy obok kogo mieszkamy, z kim pracujemy, obok kogo siadamy na ławce w parku. Dla osoby postronnej Matt Rizzo jest nikim. Ale jak w większości przypadków przy inspirujących opowieściach, zaczyna się od tego, że trzeba się na drugą osobę otworzyć, trzeba zacząć słuchać.

Formalnie komiks to arcydzieło. Sposób narracji powala. Ogrom szczegółów, ciekawostek, wątków pobocznych które mają niejako zachęcać do tego, by sięgnąć do źródeł, jest przeogromny. Te rzeczy, które napisano wcześniej (w wielu miejscach) o komiksie są prawdą. Treść wciąga. Mógłbym wzorem innych recenzentów napisać o tych wszystkich niezwykłych zabiegach zaczynając od konceptu na umieszczenie "Boskiej komedii" Dantego jako punktu wyjściowego dla zbudowania opowieści. Mógłbym wskazać na wyjątkową rolę komiksu przy kreowaniu świata inspirowanego poezją i prawdziwymi wydarzeniami. Droga Matta Rizzo jest niecodzienna, wydarzenia są nierzadko sensacyjne, ale po prawdzie dlaczego? Na świecie zdarzają się bardziej nieprawdopodobne historie, są dużo ciekawsze persony. Postaci historycznych, które zasługują na to by pochylić nad ich życiorysami jest całe mnóstwo. Ale i tutaj, w wątkach pobocznych, przeczytamy wiele rzeczy o tych osobach, poetach, pisarzach, innych ludziach którzy znaleźli swoje miejsce w encyklopediach czy podręcznikach do historii.

Punktem zaczepnym dla rozwiązania całego worka z atrakcjami jest rozmowa dwóch mężczyzn, ojca i syna. Ojciec jest niewidomy, ma pod opieką syna. Jest kilka nieścisłości co do tego, w jaki sposób ojciec stracił wzrok. Wszystko będzie wyjaśnione. Dużą część komiksu wypełniają wspomnienia z więzienia i znajomość z Nathanem Leopoldem skazanym na dożywocie za morderstwo 14-letniego Bobby'ego Franksa. Nie będę wchodził w szczegóły, to esencja "Wypadku na polowaniu".

Ta niekiedy posępna esencja stoi ramię w ramię z rysunkiem Landisa Blaira. Jego charakterystyczny styl to zbiór natrętnych kresek, całe miliony miniaturowych pociągnięć czarnymi nitkami. To wręcz chorobliwa mania wykończenia każdego centymetra kolejną, nawet najmniejszą, linią. Unikat.

Jednak "Wypadek na polowaniu" jest czymś więcej. Ma w sobie wszystko o czym napisałem, ale ja chciałbym wskazać ten aspekt najbardziej ludzki i wrócić do rozmowy ojca z synem. Moim zdaniem to jest kwintesencją tego utworu. Nierzadko jest tak, że o najbliższych dowiadujemy się najwięcej po śmierci. Przeglądamy biurka, szuflady, wynosimy stare graty. I wówczas dopiero poznajemy historię tego jednego człowieka. To bardzo smutne. Niestety zmarła osoba nic już nie wyjaśni. W "Wypadku na polowaniu" ojciec z synem wyjaśnili sobie wszystko za życia. Poruszające arcydzieło.

Patryk Karwowski

[open-hearth-rpg]

#licensedRPGs2015 STALKER: gra fabularna

This is a self-published, pseudo- unlicensed, electronic-only product from Poland. But it has a weird enough story to warrant a mention. We've seen another "Roadside Picnic" aka STALKER-based game, Stalker, the officially licensed one from Finland. It released in 2008, with an English translation in 2012. But STALKER: gra fabularna is an earlier game. RPG Geek translates the publisher's blurb thusly:

“They came unannounced. They were gone without a single word. All that was left was traces of their presence."

STALKER is a complete role-playing game based on the novel "Roadside Picnic" by Arkady and Boris Strugatsky. Set in a near future, in a year 2014. The world if ruled by international corporations. Alien artifacts of incredible and incomprehensible powers are being extracted from the Zones surrounding alien landing sites. There are stalkers, who enter the Zones and bring back alien objects, defying corporate monopoly and ownership of extraterrestrial technologies."

"The rulebook contains the rules, setting description including alien artifacts, an introductory scenario and rules regarding the use a special deck of STALKER cards"

"STALKER is a long lost Polish game that was announced at the end of the year 1996. It was to be published with a permission from Boris Strugatsky by Wydawnictwo S.R., at a time a publisher of Strugatskys' works in Poland. Unfortunately the publisher encountered financial difficulties and the game was never released.”

STALKER resurfaced after almost 20 years. The text of the game along with almost all original illustrations (apart from a set of card deck art which was lost) was published in February 2015 as a free PDF file under Creative Commons BY-NC-SA license.

For a more extended statement (in Polish), see here. https://stalkergrafabularna.blogspot.com/p/historia-stalkera.html

[popkulturowykociolek]

Wydawnictwo Lost in Time w swojej ofercie ma kilka naprawdę wybitnych komiksowych westernów. Czy do tego grona można również zaliczyć niedawno wydany album Indianie! Czarny cień białego człowieka? Można się o tym przekonać, czytając poniższą recenzję.

[lady-nightmare]

Google translation:

Suddenly three Russians came and told me in Romanian to go with them. I knew what they wanted. I don't know how, but I knew. I told Mamma that they were taking me to the hospital to treat the wounded. My mother looked at me, she started begging: "Don't go with them, child, don't go, because they will hurt you". In 1991, the well-known Hungarian psychologist Alaine Polcz published her memoirs, which confirmed everything that had been speculated and conjectured for the last fifty years The public finally heard about the horrors of women trapped on the front lines in the last months of World War II: starvation, sleeping in basements, poverty, filth, lice and disease, unceasing gunshots and regular rape. Alaine Polcz devoted her entire later professional life to working with the dying and their families and who, by breaking the code of silence, did justice to the suffering of many anonymous women We publish a fragment of the book "Kobieta na frontcie" by Wydawnictwo Marginesy More such content can be found on the Onet.pl home page

A few days after the men had disappeared, the women gathered up their belongings and began to hide them… They drowned silver in the well, rummaged for valuables in the manure, hid jewelry in beds, and I don't know what else. I slipped my box under the Yugoslavian priest's bed; I went to him often to feed and care for him. As the women did not want to sleep in the same room, we split up. It was towards evening. I was sitting with my mother in the room and I was afraid. There was silence, a fire was burning in the tiled stove, the shots stopped.

Suddenly three Russians came and told me in Romanian to go with them. I knew what they wanted. I don't know how, but I knew. I told Mamma that they were taking me to the hospital to treat the wounded. My mother looked at me, she started begging: "Don't go with them, child, don't go, because they will hurt you". I don't know how many Russians there were later, how many before

I told them that my mother (I didn't want to say she was my mother-in-law) wouldn't let me go. Then they pointed at the iron-plated stove door, saying in Romanian that if I didn't go, they would smash Mamcia's head against it (I still remember the stove to this day). In Hungarian, I told Mamcia that there were many wounded, I had to go.

I put on my shoes and tied a scarf around my head, then took it off and tied it again, trying to buy time. I heard a clatter on the floor. It was the heels of my shoes - I was shaking so much. I embraced and kissed Mama: "I will only be as long as it takes." I also told her to think about the injured. Mom looked at me and started crying.

We walked out into the L-shaped corridor (this is where the men had stumbled upon the Russians on that fateful day). When we were halfway down the hall, I launched myself to attack. I kicked and hit them with all my might, but soon I was on the ground. No one made the slightest sound, neither they nor I struggled in silence. They dragged me into the kitchen and threw me on the floor - apparently I was trying to defend or attack again - so that I hit my head on a garbage bin. It was made of hardwood, as in a wealthy dean's house. I lost consciousness.

I woke up in the Dean's inner bedroom. The windows were broken, the windows boarded up, the bed bare, I was lying on bare boards, one of the Russians was on top of me.

I heard a woman's voice bouncing off the ceiling: "Mom, Mom!" she screamed. I realized it was my voice, I was screaming.

When I realized this, I fell silent, lay still, still. The feeling of numbness or ossification did not return with awareness. I must have been cold lying half naked in an unheated room with boarded up windows. I don't know how many Russians there were later, how many before. They went at dawn. I struggled to get up, I could barely move. My head ached, my whole body ached. I was bleeding heavily. I didn't feel raped, but physically hurt. It had nothing to do with sex, with touch. It had nothing to do with anything. It was plain violence.

I don't know if it happened then or some other time - but they took everyone. Even Mom. I took it somehow, I was married after all, but Mina was still a virgin. I scouted, her groans and sobs led me to her; she was lying on the concrete in some shed. I approached her. "Let's not go left," she said, "because that's where the Russians are and we'll fall into their hands again." We wanted to get to the corridor through the window to get back to Mamma. I managed to squeeze through, but Mina was bigger and got stuck. I went back through the other wing and tried to push her through the window opening. They treated her so brutally that her thighs were lacerated. As I pressed against her naked buttocks - which were wedged - we began to laugh. Maybe it's weird, but that's what we needed at the time.

Outside, we tidied up and sneaked over to Mama's. Was that when they took her? all of it mixes to me, nights and days, what happened when, when which squad attacked us, when the Russians came and when the Germans, when they fired, and when there was peace. Nothing is clear to me today. It wasn't like that then either. Then I found out that when they took me for the first time, Mamcia, crying and screaming, renounced and cursed God. That day she gave up her faith. It wasn't until much later that I realized he didn't go to church. Whether she prayed, I don't know. (Now I understand why I met so many atheists in Israel last summer.) I also never managed to take her to the gynecologist, and they certainly infected her, they infected all of us. But when and which of them all?

In the morning I understood why some people break their spines

One night a whole unit came over us, it was dark and cold, they were shooting. One scene stuck in my memory: I was lying on the ground, and around me eight or ten Russian soldiers crouched down on top of me one by one. The others counted their time. They looked at the clock, lit matches, one even had a lighter. They rushed each other. One asked, "Good job?" I lay still. I thought I would die. But a man does not die so easily. Unless his spine breaks, and even then, not right away. I don't know how long it took or how many there were.

In the morning I understood why some people break their spines. Well, they lifted our legs and bent them to the shoulders, and then they raped us from a kneeling position. If someone did it too hard, it broke a woman's spine. He didn't kill her intentionally, just with excessive force. He jerked back and forth the woman's bowed spine and didn't even notice when it broke. I too thought they would kill me, that I would die in their hands. They hurt my spine, but they didn't break it. My back turned into a bloody gash and my dress and petticoat were stuck to it, but I didn't notice it at the time. My whole body hurt so much that I didn't even notice it. Many times Mina and I wondered how many minutes, how many soldiers made up that night. They did the same with her in the next room. But why always on the floor?

The village was burning, everything was creaking.

Once an officer came and took pity on me, took me on his knees, covered me with his coat, stroked my head and hummed. I was waiting for him to rape me. Or maybe he raped me first and only then took me in his arms or took me out of the hands of others? But I distinctly remember him groping my hands for the ring. He struck a match and watched them. I immediately took off the ring and handed it to him. It belonged to my father, a small green stone in the shape of a horseshoe surrounded by real pearls. It was a woman's ring, so my father wore it on his little finger. Why did dad wear a lady's ring? I didn't like them myself, so why did I have it on my finger? Laughing, the officer reached into his pocket and pulled out a handful of rings, started to slip them on my fingers, but I smiled and gave them all to him. I don't know why, maybe they were not good, I just remember that I didn't want to take them. Then he released me from his arms and started to leave. Desperate, I ran after him, grabbed him by the hem of his greatcoat and didn't want to let go. He tried to explain something, but I couldn't understand him. He left and I followed him out of fear. He walked over to the manure heap and started peeing. He looked to the side and when he saw me he laughed. He came back and hugged me again, and I told him to wait, and I went to the privy and stood on the board, because it had been impossible to sit on it for a long time.

In Mindszent, in the forester's lodge, it was similar, the Russians defecated not only into the hole in the board, but also everywhere around; something nasty. There was nowhere to put your feet. In a word, I took care of the need and then I realized that sometimes a person is so afraid or does not have time that he even forgets to pee. He waited for me and we went home together, he spoke a lot of Russian, but I couldn't understand him. He put his fur hat on my head to keep me warm; when he saw that I was trembling, he covered me with a muzzle - that's how we waited until the morning. That night was better than any other, although I was constantly afraid that he would throw me to the mercy of others.

What happened to Mom and the others during this time? I remember one more incident from those days. Mina's hair was long, and a soldier twisted it around his arm and began to pull her behind him. She screamed in pain and called out to me. When I came running, she was begging: "Help me!". And I said quietly, "Go with them!" And Mina went, or rather, they dragged her. Was it before they took me or one of the nights? In the evening? For the first time? Or once again?

Marianne was saved by her mouth foaming and her eyes rolling whites up. The soldiers left her alone, but they took her grandmother. In the morning, my grandmother proudly announced, "I am disciplined." Long we laughed at that.

I went to a doctor I knew in Csákvár. He reassured me that if I bleed I wouldn't catch anything. It's the exact opposite, but what could he do? Nothing. We were all bleeding and had no way to take care of hygiene. We secretly tried to wash ourselves off with snow.

[batri-jopa]

I've read a brilliant article about toxic masculinity recently, go check it out yourself:

How Patriarchy Destroys Men

[It's in Polish but the site can be easily Google-translated]

Some quotes:

In the media, we hear from time to time about the crisis of masculinity. Meanwhile, masculinity is in crisis by definition: it can be taken away at any moment. That's why you have to constantly fight for it - anthropologist Kacper Pobłocki on the problem of (non)socialization of men

.

"Men are allowed a lot," Plank writes, "but they are not allowed to ask for help." Because in this way they show weakness, and this is the greatest threat to masculinity. That's why men themselves build a wall of silence around themselves. As bell hooks writes, the author of the book Ready for a change. About men, masculinity and love , (2022, Wydawnictwo Krytyki Polityczna) of another recently published book on masculinity: "It always shocks me when men confess in conversations with me that when they tell their colleagues about strong feelings, they interrupt them, to interrupt the story, they do not react or distance themselves from them.

In one study, female students who opened up to their friends and talked about their problems were listened to. When men behaved in a similar way, i.e. they wanted to tell their roommates about their problems with depression, as Terrence Real writes in the recently reissued book I don't want to talk about it. How to deal with male depression (2020, Wydawnictwo Czarna Owca), "they met with social isolation and open hostility".

.

As Plank notes, masculinity is not "an identity, more like a task to be performed or a reward for getting out of some monstrously difficult situation." Masculinity is not given once and for all, but it must be constantly proven. Plank continues: "Gender may be a social construct for both women and men, but femininity is not lost through social behavior. Its gain or loss occurs mainly through normal changes in the body, such as puberty or menopause. There are no activities to restore femininity, because femininity is not something you have to earn. For men, it's the other way around."

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In one of the studies cited by Plank, men ate 93% more food when in the presence of a woman. more pizza than when they were alone. The mere presence of women made them feel that they had to prove their masculinity, even in such bizarre ways. In another study cited by a Canadian journalist, men were first measured in terms of grip strength and then asked about their height. If they were told that their grip strength was less than it really was, they overstated their height more than the other subjects (other men also overestimated their height, but to a lesser extent).

But undermined masculinity can also be deadly: studies show that sex offenders and female boxers have no higher testosterone levels than other men. In contrast, Plank writes, "men with boyish features are more likely to be hostile and commit crimes" and are more likely to "behave aggressively, molest women, and humiliate other men."

.

This does not mean that men are not beneficiaries of patriarchy – of course they are, but the losses often outweigh the gains. We know a lot about how patriarchy harms women. The books discussed here show that patriarchy also harms most men - although the mechanism is quite different.

In the influential publication In another voice: psychological theory and women's development (2015, Wydawnictwo Krytyki Polityczna), Caroll Gilligan shows how patriarchy takes away women's assertiveness, the sense that they have the right to speak "in their own" voice, to express their own needs in public. This process takes place when the girls are in early school age. "If you ask an eight-year-old what kind of pizza she wants," explains Catherine Steiner-Adair of Harvard University, quoted by Real, "you'll get an answer like cheese and peppers. The same girl of eleven or twelve will already say that she does not know. What will she say when she's thirteen? He'll ask what kind of pizza you like.

This is how girls learn that being a woman means fulfilling the needs of men.

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The patriarchy gets to boys earlier than girls. Studies of boys from all walks of life indicate that “at the age of three, four, five there is a clear, measurable decline in expressiveness and inclination to contact. Most boys show a significant decline in their readiness to express strong feelings and openly show their dependence before they enter kindergarten. Before they can read, our sons acquire the ability to decipher the code of male stoicism."

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Little boys as young as three or four learn that masculinity is not achieved through development, but rather through negation. As Real writes, “Achieving a sense of masculinity is not, as with other elements of identity, striving for something valuable, but cutting off from something that is not valued. The development of male identity is not really a process of development, but a process of elimination, a gradual loss of certain characteristics.

Boys do it in spite of themselves, because that's how they read social expectations. In one study reported by Real, a nine-month-old baby was recorded crying at one point. One group was told it was a boy and the other group was told it was a girl. Those who thought it was a girl thought she was scared. Those who thought they were watching the boy assumed that the child was angry. "If you think a child is angry," the authors of this study rhetorically ask, "wouldn't you treat him differently than when you think he's scared? With a high degree of probability, it can be assumed that a frightened child will be more often and more willingly hugged by parents than one in which they perceive anger.

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In other words, it is easier for women to regain a lost voice than it is for men to regain a lost heart. But it is in the mutual interest to stop the process of gender violence to which we are all subjected. As postulated by bell hooks,

"Dismantling and transforming patriarchal culture is a job that men and women must do together."

_________

(And the song mentioned in the article about "Take care of me, even if I don't want to" is: Zaopiekuj się mną by Rezerwat)

[artsvark]

LBF International Excellence Awards: Shortlist

The London Book Fair International Excellence Awards 2017: Shortlist revealed. France, China, USA, South Africa and Canada lead the way.

The shortlist for The London Book Fair International Excellence Awards 2017 has been announced, with France leading the way with four nominations and China, USA, South Africa and Canada not far behind with three each.

2017 SHOW DATES

14-16 MARCH 2017

THE LONDON BOOK FAIR OLYMPIA, LONDON

www.londonbookfair.co.uk

The awards, which are held in partnership with the UK Publishers Association (PA) and sponsored by Hytex, celebrate excellence in sixteen categories, including international publishing, academic and scholarly publishing, children’s publishing, literary translation and digital innovation. In each award category, the judging panel was comprised of experts in that sector.

The Literary Agent Award promises to be a close battle between Nermin Mollaoglu (Kalem Agency – Turkey), Pierre Astier (Astier-Pecher Literary Agency – France), and Anna Soler-Pont (Pontas Literary and Film Agency – Spain). The Bookstore of the Year Award, sponsored by Gardners Books Ltd, sees nominees from three continents – Shakespeare and Company (France), Time Out Bookstore (New Zealand) and Exclusive Books (South Africa) – looking to take the crown from last year’s winner Readings (Australia).

Book Aid International (Africa), Open Book Festival (South Africa) and Wydawnictwo DwieSiostry (Poland) have been shortlisted for a second consecutive year in their respective categories.

France (4), China (3), USA (3), South Africa (3), Canada (3) and India (2) all received multiple entries. Lithuania is represented for the first time in the award’s four-year history, in the Educational Learning Resources category.

Jacks Thomas, Director, The London Book Fair, said: “I am delighted that the 2017 International Excellence Awards shortlist is truly global, with all five continents represented. The strength and breadth of the entrants on this list is impressive, and is a testament to the passion, commitment and creativity of all those involved in publishing, selling and bringing books to a wider audience. What better place than the globally focussed, multicultural and creative hub of London to bring all these talented individuals and inspiring organisations together? I’m very much looking forward to welcoming the shortlisted nominees to London in March, to celebrate their success.”

Stephen Lotinga, Chief Executive, the Publishers Association, said: “These awards uniquely celebrate the global publishing industry here in London. We are especially delighted to see the introduction of the Inclusivity in Publishing award for publishers who are excelling in their efforts to improve inclusivity in the publishing supply chain. This award, together with the other UK awards which recognise young and upcoming talent in our industry and efforts from the industry to improve the supply chain for accessible publishing, showcases a real cross-section of excellence in publishing.”

The Academic and Professional Publisher Award, supported by Research Information

CSIRO Publishing (Australia)

Journal of Zhejiang University-Science (JZUS) (China)

OECD Publishing (France)

The Educational Initiatives Award

Book Aid International (Africa)

Caramel Tree (Canada)

Foreign Language Teaching and Research Publishing Co., Ltd (China)

The Educational Learning Resources Award, supported by China Publishing & Media Journal

Eduexpert (Poland)

EssayJack Inc. (Canada)

Lithuanian Free Market Institute (Lithuania)

The Literary Translation Initiative Award

Arabic Literature (in English) (USA)

The Short Story Project (Israel)

The Select Centre (Singapore)

World Literature Today (USA)

The Literary Agent Award

Anna Soler-Pont, Pontas Literary & Film Agency (Spain)

Nermin Mollaoglu, Kalem Agency (Turkey)

Pierre Astier, Astier-Pecher Literary Agency (France)

The Literary Festival Award, supported by The International Literary Showcase

Bookaroo Trust – Festival of Children’s Literature (India)

George Town Literary Festival (Malaysia)

Open Book Festival (South Africa)

The Bookstore of the Year Award sponsored by Gardners Books Ltd

Exclusive Books (South Africa)

Shakespeare and Company (France)

Time Out Bookstore (New Zealand)

The Rights Professional Award

Hui Hou, Foreign Language Teaching and Research Publishing Co., Ltd (China)

Heidi Warneke, Editions Grasset (France)

Rose Janssens, Clavis Publishing (Belgium)

Eligible for entries from Market Focus Poland only:

The Market Focus Poland Adult Trade Publisher Award

SIW ZNAK sp. z.o.o (Poland)

Wydawnictwo Literackie (Poland)

Wydawnictwo Czarne (Poland)

The Market Focus Poland Trade Children’s and Young Adult Publisher Award

Wydawnictwo DwieSiostry (Poland)

Wydawnictwo Widnokrag (Poland)

Wydawnictwo Otwarte Sp. z o.o. (Poland)

Eligible for entries from all countries, including the UK:

The Brand Licensing Award

Kaiken Publishing (Angry Birds) (Finland)

The Roald Dahl Literary Estate (UK)

Walker Books (UK)

The Quantum Publishing Innovation Award, supported by Copyright Clearance Center and Ixxus

Cambridge Core (UK)

Cartoon Abstracts (UK)

Lost my name (UK)

NearSt (UK)

Wattpad (Canada)

Accessible Books Consortium International Excellence Award: Publisher

Picsterbooks (South Africa)

SAGE Publishing (UK)

VitalSource Technologies (USA)

Accessible Books Consortium International Excellence Award: Initiative

JISC (UK)

Tata Consultancy Services (India)

Tiflonexos (Argentina)

Eligible for entries from the UK only:

Inclusivity in Publishing Award, supported by Equip

Cassava Republic Press (UK)

HarperCollins Publishers (UK)

Team Angelica Publishing (UK)

The winners of several other Awards will also be presented on the night including: The Simon Master’s Chairman Award, The Association for Publishing Education (APE) Student Awards and The LBF Trailblazer Awards.

The London Book Fair Lifetime Achievement Award will also be presented at the ceremony.

The LBF International Excellence Awards is an invitation-only event, and takes place on Tuesday 14 March 2017 in The Conference Centre, Olympia, London.

For further information about The London Book Fair International Excellence Awards 2017, please contact: Ashley Baugh at Midas Public Relations on 0207 361 7860 or ashley.baugh@midaspr.co.uk

LBF International Excellence Awards: Shortlist was originally published on Artsvark

[ponapisach]

"Jednoręki i Sześć palców"

_______________________________________

Rysunki: Laurence Campbell, Sumit Kumar Scenariusz: Ram V, Dan Watters

Wydawnictwo: Lost In Time

#PoNapisachPoKomiksie

[popkulturowykociolek]

Wydawnictwo Lost in Time ma w swojej ofercie pozycje, które na pewno powinny zwrócić uwagę miłośników mitologii japońskiej. Do takich dzieł należy chociażby recenzowany już album Legenda o Szkarłatnych Obłokach. Teraz segment ten powiększa się o kolejne dzieło scenarzysty Saverio Tenuty i jest nim zbiorcze wydanie serii Izuna.