Ana Galvañ
Auteur de Press Enter to Continue
A propos de l'auteur
Œuvres de Ana Galvañ
Oeuvres associées
Étiqueté
Partage des connaissances
- Nom canonique
- Galvañ, Ana
- Date de naissance
- 1975
- Sexe
- female
- Nationalité
- Spain
- Lieu de naissance
- Murcia, Spain
- Lieux de résidence
- Madrid, Spain
- Études
- Faculty of Fine Arts, Valencia, Spain
- Prix et distinctions
- Premio Especial del Jurado en el III Certamen Creacómic (2010)
premios Gráffica (2016) - Courte biographie
- Ana Galvañ is an illustrator and a comic creator from Murcia, a town in the south of Spain. After her time studing at the Faculty of Fine Arts in Valencia, she moved to Madrid, where she worked as Art Director. Later she left advertising to pursue comics and illustration full time. Her work has appeared in publications coordinated by Fantagraphics, Nobrow, Ultrarradio, Vertigo DC, Off Life, Autsáider, Apa-Apa and Fosfatina. Recently, she has published Pulse enter para continuar, a compilation of five stories that travel between science fiction and fantasy, published by Apa Apa cómics.
Membres
Critiques
Sigh. Another graphic novel by an artist who can't draw, about characters with no personalities, describing events that have no point.
Some key takeaways: non-representational art is not for story-telling. Those random blobs of color that represent neither light nor shadow, nor clouds or mist, nor emotional state, and just sorta overlay parts of the scene: they seem intended to add some interest to a flat and decidedly two-dimensional scribble, and it doesn't work. There's a panel depicting two cones, one black and one white, when the characters are having sex - I'm not going bother puzzling that one out, because it's clear the payoff isn't going to be worth it.
In response to some of the more glowing reviews here: this ain't Black Mirror, this ain't Twilight Zone, and this ain't Phillip K Dick. The stories here are not thought-through, which eliminates the first two right off the bat, and entirely ignore the inner landscape of the protagonist, which knocks PKD out as well. What is missing from this comic is the sense that these stories started out from a premise, "What if X?". Instead of, presumably, "Wouldn't it be cool if X happened?". There's just no thought put into it.
So why the extra star, if it's so bad? Well, the last three stories attempt to form a narrative, and for a brief moment in the middle story they being to have one. It appears to have been a mis-step by the author, however, and the third part rapid generates into the same pointlessness as the rest of the stories.… (plus d'informations)
Some key takeaways: non-representational art is not for story-telling. Those random blobs of color that represent neither light nor shadow, nor clouds or mist, nor emotional state, and just sorta overlay parts of the scene: they seem intended to add some interest to a flat and decidedly two-dimensional scribble, and it doesn't work. There's a panel depicting two cones, one black and one white, when the characters are having sex - I'm not going bother puzzling that one out, because it's clear the payoff isn't going to be worth it.
In response to some of the more glowing reviews here: this ain't Black Mirror, this ain't Twilight Zone, and this ain't Phillip K Dick. The stories here are not thought-through, which eliminates the first two right off the bat, and entirely ignore the inner landscape of the protagonist, which knocks PKD out as well. What is missing from this comic is the sense that these stories started out from a premise, "What if X?". Instead of, presumably, "Wouldn't it be cool if X happened?". There's just no thought put into it.
So why the extra star, if it's so bad? Well, the last three stories attempt to form a narrative, and for a brief moment in the middle story they being to have one. It appears to have been a mis-step by the author, however, and the third part rapid generates into the same pointlessness as the rest of the stories.… (plus d'informations)
Pulse Enter para continuar. Para sufrir con una mujer-muñeca de circo difamada desde que dejó de ser útil, de dar dinero. Para ser controlada mentalmente en campamentos interestelares con puertas de cristal líquido. Para sufrir chantajes con virus informáticos que se nutren de nuestros traumas más inconfesables. Para entender la malicia de las grandes corporaciones en escenas pequeñas y cotidianas, reales pero surrealistas. Para comprender por qué debería caer el sistema. Para entrar en las dimensiones desconocidas, tan reconocibles, de Ana Galvañ: ciencia ficción y enfado cósmico; John Varley y Rod Serling en colores difuminados. Que no le tiemble el pulso. No lea los términos y condiciones. Pulse Enter para continuar. (Reseña de la editorial)… (plus d'informations)
Vous aimerez peut-être aussi
Auteurs associés
Statistiques
- Œuvres
- 4
- Aussi par
- 2
- Membres
- 46
- Popularité
- #335,831
- Évaluation
- 3.1
- Critiques
- 3
- ISBN
- 6
- Langues
- 1
The story is about a world where you can win a chance to time travel. One of the winners took an opportunity to meet themselves in the future, and moved the "intramolecular membrane" upon returning with both of their "essence." The world also contained "I-Me's" that are designed like an egg-shaped, walking Bonzi Buddy -- they make observations, talk, follow commands, and move around -- which the aforementioned winner described as inhibiting people's ability to think and being annoying. Oh, and one of the friends didn't win (Dani), but Dani and another one of her winning friends (Pepa) hugged when Pepa told Dani that she was still there in the future.
Tbh, the theme I got from the story is we share the same essence throughout life, we'll keep the friends who really love and understand us, and that technology is making us dumb. I agree with the last one but not anything else. I've gone through substantial relationship changes, and it wasn't because they ~didn't understand me enough.~ I don't believe in essence, plain and simple. I like to believe we're always adapting to our environment, and that our self is the product of our environment. There is no self that permanently exists because what the self is changes across time, place, and perspective.… (plus d'informations)