arf88's review against another edition
3.0
The art is amazing, very similar to some 2000ad art. I think it's because of the art this book has such a high rating, because the story is a bit meh. There's no real over arching plot, outside of one gods refusal to pay nice with others. But the little "mini" plots of each section are entertaining enough I never felt bored.
myrymayranen's review
adventurous
challenging
dark
medium-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.0
Content Warnings
Moderate: Sexism
ninj's review against another edition
4.0
Three rather strange and disjointed tales of a spaceman who comes back to earth in ~2023, frozen after 30 years, and a set of egyptian gods including Anubis the rebel. Cute fact: referenced chessboxing 30 years ago, actually predates real chessboxing (was the inspiration for it).
shenema's review against another edition
5.0
Qualcuno mi ha prestato la trilogia UN MILLENNIO FA e io ho un impellente bisogno fisico di rileggerla ADESSO.
jgkeely's review
3.0
There's something so indulgent about French stories, which is at the same time their strength and their downfall. They lilt along, laughing and provoking, never shying away, but there is also a lack of self-editing there that tends to leave them a bit silly and unfocused.
Sometimes, I think it's a problem of translation, and this translation is so unusually literal from the French, as if it were meant for primary English readers who understand the French language and culture, but who are unable to read in the language on their own. This is certainly one style of translation, but for a story like this, I tend to prefer a translation of idioms, emotions, and speech into the new language; but that requires a new writer just as creative and interesting as the original author.
But I also know it isn't entirely the problem of translation, as I've seen complex, intriguing stories that are delightful and deep even in translation, such as the works of Kurosawa or Charlier's 'Blueberry' comic. Then again, they are both familiar with the same Western traditions I am, so perhaps it's an easier shift.
Nikopol shows some of those indulgent tendencies, but also has an undercurrent of satire for overblown space operas like 'L'Incal'. Between engaging in indulgence and mocking indulgence, we get some fun, ironical, self-aware amusement, but there isn't a very strong plot to hang it all on. Perhaps it's my problem, but I tend to feel that nothing can really replace a good story.
The art was good, but the stylization was rather extreme. Everyone had the same cheekbones and the range of expression was disappointingly lacking. The world design was fun and detailed, though it all became similar rather quickly.
The colors were surprisingly straightforward, showing little dynamic exploration, especially when compared to the Moebius works that inspired it. The soft colors were pretty, but Bilal wasn't exactly pushing the boundaries. People were pinkish and the backgrounds were washed out browns and blues. When people were blue or green, it wasn't a mood choice, just some aliens.
It's always interesting to see the sci fi influence of Jodorowski's failed European Dune, from Blade Runner to most of Moebius' sci fi, but Nikopol is just another entry, not particularly revolutionary in its own right, though it was the inspiration for the sport of Chess Boxing, which is amusing enough, as legacies go.
My Suggested Reading In Comics
Sometimes, I think it's a problem of translation, and this translation is so unusually literal from the French, as if it were meant for primary English readers who understand the French language and culture, but who are unable to read in the language on their own. This is certainly one style of translation, but for a story like this, I tend to prefer a translation of idioms, emotions, and speech into the new language; but that requires a new writer just as creative and interesting as the original author.
But I also know it isn't entirely the problem of translation, as I've seen complex, intriguing stories that are delightful and deep even in translation, such as the works of Kurosawa or Charlier's 'Blueberry' comic. Then again, they are both familiar with the same Western traditions I am, so perhaps it's an easier shift.
Nikopol shows some of those indulgent tendencies, but also has an undercurrent of satire for overblown space operas like 'L'Incal'. Between engaging in indulgence and mocking indulgence, we get some fun, ironical, self-aware amusement, but there isn't a very strong plot to hang it all on. Perhaps it's my problem, but I tend to feel that nothing can really replace a good story.
The art was good, but the stylization was rather extreme. Everyone had the same cheekbones and the range of expression was disappointingly lacking. The world design was fun and detailed, though it all became similar rather quickly.
The colors were surprisingly straightforward, showing little dynamic exploration, especially when compared to the Moebius works that inspired it. The soft colors were pretty, but Bilal wasn't exactly pushing the boundaries. People were pinkish and the backgrounds were washed out browns and blues. When people were blue or green, it wasn't a mood choice, just some aliens.
It's always interesting to see the sci fi influence of Jodorowski's failed European Dune, from Blade Runner to most of Moebius' sci fi, but Nikopol is just another entry, not particularly revolutionary in its own right, though it was the inspiration for the sport of Chess Boxing, which is amusing enough, as legacies go.
My Suggested Reading In Comics
jgkeely's review against another edition
3.0
There's something so indulgent about French stories, which is at the same time their strength and their downfall. They lilt along, laughing and provoking, never shying away, but there is also a lack of self-editing there that tends to leave them a bit silly and unfocused.
Sometimes, I think it's a problem of translation, and this translation is so unusually literal from the French, as if it were meant for primary English readers who understand the French language and culture, but who are unable to read in the language on their own. This is certainly one style of translation, but for a story like this, I tend to prefer a translation of idioms, emotions, and speech into the new language; but that requires a new writer just as creative and interesting as the original author.
But I also know it isn't entirely the problem of translation, as I've seen complex, intriguing stories that are delightful and deep even in translation, such as the works of Kurosawa or Charlier's 'Blueberry' comic. Then again, they are both familiar with the same Western traditions I am, so perhaps it's an easier shift.
Nikopol shows some of those indulgent tendencies, but also has an undercurrent of satire for overblown space operas like 'L'Incal'. Between engaging in indulgence and mocking indulgence, we get some fun, ironical, self-aware amusement, but there isn't a very strong plot to hang it all on. Perhaps it's my problem, but I tend to feel that nothing can really replace a good story.
The art was good, but the stylization was rather extreme. Everyone had the same cheekbones and the range of expression was disappointingly lacking. The world design was fun and detailed, though it all became similar rather quickly.
The colors were surprisingly straightforward, showing little dynamic exploration, especially when compared to the Moebius works that inspired it. The soft colors were pretty, but Bilal wasn't exactly pushing the boundaries. People were pinkish and the backgrounds were washed out browns and blues. When people were blue or green, it wasn't a mood choice, just some aliens.
It's always interesting to see the sci fi influence of Jodorowski's failed European Dune, from Blade Runner to most of Moebius' sci fi, but Nikopol is just another entry, not particularly revolutionary in its own right, though it was the inspiration for the sport of Chess Boxing, which is amusing enough, as legacies go.
My Suggested Reading In Comics
Sometimes, I think it's a problem of translation, and this translation is so unusually literal from the French, as if it were meant for primary English readers who understand the French language and culture, but who are unable to read in the language on their own. This is certainly one style of translation, but for a story like this, I tend to prefer a translation of idioms, emotions, and speech into the new language; but that requires a new writer just as creative and interesting as the original author.
But I also know it isn't entirely the problem of translation, as I've seen complex, intriguing stories that are delightful and deep even in translation, such as the works of Kurosawa or Charlier's 'Blueberry' comic. Then again, they are both familiar with the same Western traditions I am, so perhaps it's an easier shift.
Nikopol shows some of those indulgent tendencies, but also has an undercurrent of satire for overblown space operas like 'L'Incal'. Between engaging in indulgence and mocking indulgence, we get some fun, ironical, self-aware amusement, but there isn't a very strong plot to hang it all on. Perhaps it's my problem, but I tend to feel that nothing can really replace a good story.
The art was good, but the stylization was rather extreme. Everyone had the same cheekbones and the range of expression was disappointingly lacking. The world design was fun and detailed, though it all became similar rather quickly.
The colors were surprisingly straightforward, showing little dynamic exploration, especially when compared to the Moebius works that inspired it. The soft colors were pretty, but Bilal wasn't exactly pushing the boundaries. People were pinkish and the backgrounds were washed out browns and blues. When people were blue or green, it wasn't a mood choice, just some aliens.
It's always interesting to see the sci fi influence of Jodorowski's failed European Dune, from Blade Runner to most of Moebius' sci fi, but Nikopol is just another entry, not particularly revolutionary in its own right, though it was the inspiration for the sport of Chess Boxing, which is amusing enough, as legacies go.
My Suggested Reading In Comics
shieymn's review
5.0
Fumettista francese pubblicato tra gli altri dal «Métal Hurlant» fondato da Moebius, Enki Bilal disegna le sue storie fantascientifiche dagli anni ’70 ad oggi. La Trilogia di Nikopol contiene tre storie, collegate tra loro, create tra il 1980 e il 1992.
La prima è La fiera degli immortali, capolavoro ambientato in una Parigi futuribile governata dal dittatore Gianferdidando Cavolobianco, fascista e folle, ricalcato sulla figura e sull’effigie di Mussolini. Sospesa nel vuoto sopra la città, una piramide carica di divinità egizie in cerca di carburante. Queste le premesse di un’opera dissacrante, sberleffo al potere e alla religione, campione di una fantascienza visionaria, colorata e conturbante, che prende vita nei meravigliosi disegni di Bilal.
Le vicende scorrono di storia in storia, passando per Berlino e approdando in un’Africa equatoriale sconvolta dai cambiamenti climatici, i cui cittadini sono uomini e animali. Seppure il secondo e il terzo capitolo non abbiano la forza dirompente e grandiosa del primo, la trilogia palpita di idee, di immagini, sconvolge e affascina, è una pietra miliare della fantascienza – disegnata, animata o filmata che sia.
Dalle prime due storie Bilal trae il film Immortal Ad Vitam nel 2004, purtroppo molto meno riuscito del fumetto originale.
La prima è La fiera degli immortali, capolavoro ambientato in una Parigi futuribile governata dal dittatore Gianferdidando Cavolobianco, fascista e folle, ricalcato sulla figura e sull’effigie di Mussolini. Sospesa nel vuoto sopra la città, una piramide carica di divinità egizie in cerca di carburante. Queste le premesse di un’opera dissacrante, sberleffo al potere e alla religione, campione di una fantascienza visionaria, colorata e conturbante, che prende vita nei meravigliosi disegni di Bilal.
Le vicende scorrono di storia in storia, passando per Berlino e approdando in un’Africa equatoriale sconvolta dai cambiamenti climatici, i cui cittadini sono uomini e animali. Seppure il secondo e il terzo capitolo non abbiano la forza dirompente e grandiosa del primo, la trilogia palpita di idee, di immagini, sconvolge e affascina, è una pietra miliare della fantascienza – disegnata, animata o filmata che sia.
Dalle prime due storie Bilal trae il film Immortal Ad Vitam nel 2004, purtroppo molto meno riuscito del fumetto originale.
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