Treasure Island: Classics Illustrated
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One interesting sequence on p. Focalization on both the hand and the eye as disturbing parts of the body. As in the film versions, J expounds his theories in a conversation here, in a night club, with Lanyon. Jekyll tests the potion on animals first as in the film and injects the potion as in the film. H appeals to Lanyon and it is through innocent memories that he returns momentarily to J. The final image before a brief return to the framing narrative is of paper and pen but no trace of J. Moore, Alan script ; Kevin O'Neill art , book form; 6-part magazine publication in The League of Extraordinary Gentlemen.
Moore, Alan script ; Kevin O'Neill art ; 6-part magazine publication The League of Extraordinary Gentlemen, vol 2. At one point he expresses his opinion of Jekyll. Mould, Chris Illustrator Oxford University Press [disappointing treatment]. Novellen Comic. Hamburg: Terrapex, In Tom Poplum ed. Graphic Classics: Robert Louis Stevenson.
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Milano: Scuola del Fumetto. The script finds new ways of representing and interpreting the narrative: mixing times of narrating and time of narrative p. The influence of the film tradition can be seen in the drawings including rats but is otherwise absent, and the important role given to Utterson shows an intelligent attempt to interpret the original text. Dylan Dog. Indagatore dell'incubo 33 [Milano: Bonelli] Aprile Opening in , psychology professor, Henry Jekyll, seems to be associated with murderous raven and a Hyde-figure with stick who attacks pedestrians in lonely night streets the killing of the tramp is equivalent to the trampling of the girl ; ironic and detached horror-investigator Thomas Dylan finally discovers that it is HJ's partner, Lesley, who has doubled as Fay with whom Dylan himself has had a relationship , who for complicated reasons has committed all the crimes.
At the end Dylan Dog, the horror investigator, works out that behind a series of mysterious deaths there is a doctor who by hypnotizing his clients frees their lower, instinctive side. The doctor, confessing his guilt, declares that he did it with a good intent, to cure his clients by freeing them from inner struggles.
At the same time his hypocrisy comes out as he expresses his sense of scientific triumph and his indifference to the fate of his patients. Yet, the doctor explains that after a previous investigation into inner and multiform side of human beings DD 61 , he reached a point of no return, like J. Though this comic-book is not faithful to the text that inspired it or to one of the texts — Sclavi appreciated by Umberto Eco always works in complex intertextual space , it shows how strong is the myth grown that has around it and how it its elements are constantly being re-used.
Wood, Wallace art , Ray Zone 3-D adaptation The 3-D Zone No. Wallace Wood is one of the classic American comic book artists of the s and 60s. Battaglia, Dino art Isola del tesoro. Fornasari script In Il Giornalino. Bertho, Pascal script et Tim McBurnie art Sept Pirates. Bottaro art Topolino No. The three Ducklings are playing at pirates in the bathroom till the water reaches Donald downstairs. He gets furious and forbids them to read such harmful stuff as adventure novels.
So suddenly three generations like RLS, his father and Lloyd? In this parody, the pirates steal the map from a sleep-walking Donald Duck and then load him and his nepews on the vessel. There are no winners because both of the boats sink and with them the treasure. The adventure is over, and the three duck generations return home to blame the ghost for involving them in such a dangerous experience.
In Albi della Ventura No. Paris: Delcourt Ex-Libris. Corteggiani trad. Paris: Dargaud, ill. De la Fuente, Chiqui La Isla del tesoro. Larousse-Itaca, ]. DeLay, Harold art. Doughty drew historical strips for British educational weekly Look and Learn during its whole period of publication The format is a grid of drawings with short printed texts. Long John Silver. Paris: Dargaud. This first volume has been much praised n BD sites.
Faorzi, Fiorenzo art Florence: Corrado Tedeschi. Robert Louis Stevenson's Treasure Island. The Graphic Novel. Readers will also learn that the author approaches storytelling in a cinematic way, which may explain why there are so many images of characters' faces hidden dramatically in shadows.
Jeva, Lino art L'isola del tesoro. The result is an awkward and uninspiring combination of illustrated simplified version and comic-book. Robert Louis Stevenson: Caccia all'oro da L'isola del tesoro e altri racconti. Milano: Xenia [comic-book version followed by text of i Treasure Island ch. Natoli, Domenico art L'isola del Tesoro.
Milano: Magnesia S. Pellegrino Granelli S. Morse, N. Brewster art , Major Malcolm Wheeler-Nicholson script Milano: Epipress. Also published as L'isola del tesoro a fumetti Cinizello Balsamo: Edizioni paoline, "Meraviglie della letteratura a fumetti" n. Ozamu Tezuka Published in Corriere dei piccoli from No. Soria, Carlos R. Paris: Larousse..
Woehrel, Jean-Marie script , Christophe Lemoine art Paris : Adonis Romans de toujours. The page narrative is followed by pages on author and his work, historical background etc. Jim Hawkins.
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A pleasure for the eye: Atmospheric watercolour washes and adventurous impagination]. Joyas Literarias Juveniles 2. Barcelona: Editorial Bruguera. Reprinted in : R. La isla del Tesoro. Joyas Literarias Juveniles Cover by Antonio Bernal Romero. La freccia nera [The Black Arrow]. In Il giornalino.
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Republished Alba : Periodici San Paolo, Also Milano: Periodici San Paolo this version in colour, others not seen. Forina, Danilo script , Dino Battaglia art La Freccia nera [The Black Arrow]. Corrierino dei piccoli Republished in Hugo Pratt et al. I crociati. Milano: Il gatto e la volpe edizioni. Fuente, Ramon de la art Milano: AMZ I classici a fumetti. An Americanized version will be published by Tundra of Toronto in the fall of I remember him as if it were yesterday, as he came plodding to the inn door, his sea-chest following behind him in a hand-barrow; a tall, strong, heavy, nut-brown man; his tarry pigtail falling over the shoulders of his soiled blue coat; his hands ragged and scarred, with black, broken nails; and the sabre cut across one cheek, a dirty, livid white.
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I remember him looking round the cove and whistling to himself as he did so, and then breaking out in that old sea-song that he sang so often afterwards:- "Fifteen men on the dead man's chest- Yo-ho-ho, and a bottle of rum! Then he rapped on the door with a bit of stick like a handspike that he carried, and when my father appeared, called roughly for a glass of rum.
This, when it was brought to him, he drank slowly, like a connoisseur, lingering on the taste, and still looking about him at the cliffs and up at our signboard. Much company, mate? Here you, matey," he cried to the man who trundled the barrow; "bring up alongside and help up my chest. I'll stay here a bit," he continued. What you mought call me?
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You mought call me captain. Oh, I see what you're at-there;" and he threw down three or four gold pieces on the threshold. And, indeed, bad as his clothes were, and coarsely as he spoke, he had none of the appearance of a man who sailed before the mast; but seemed like a mate or skipper, accustomed to be obeyed or to strike. The man who came with the barrow told us the mail had set him down the morning before at the "Royal George;" that he had inquired what inns there were along the coast, and hearing ours well spoken of, I suppose, and described as lonely, had chosen it from the others for his place of residence.
And that was all we could learn of our guest. He was a very silent man by custom. All day he hung round the cove, or upon the cliffs, with a brass telescope; all evening he sat in a corner of the parlour next the fire, and drank rum and water very strong. Mostly he would not speak when spoken to; only look up sudden and fierce, and blow through his nose like a fog-horn; and we and the people who came about our house soon learned to let him be. Every day, when he came back from his stroll, he would ask if any seafaring men had gone by along the road?
At first we thought it was the want of company of his own kind that made him ask this question; but at last we began to see he was desirous to avoid them. When a seaman put up at the "Admiral Benbow" as now and then some did, making by the coast road for Bristol , he would look in at him through the curtained door before he entered the parlour; and he was always sure to be as silent as a mouse when any such was present.
For me, at least, there was no secret about the matter; for I was, in a way, a sharer in his alarms. He had taken me aside one day, and promised me a silver fourpenny on the first of every month if I would only keep my "weather-eye open for a seafaring man with one leg," and let him know the moment he appeared. Often enough, when the first of the month came round, and I applied to him for my wage, he would only blow through his nose at me, and stare me down; but before the week was out he was sure to think better of it, bring me my fourpenny piece, and repeat his orders to look out for "the seafaring man with one leg.
On stormy nights, when the wind shook the four corners of the house, and the surf roared along the cove and up the cliffs, I would see him in a thousand forms, and with a thousand diabolical expressions. Now the leg would be cut off at the knee, now at the hip; now he was a monstrous kind of a creature who had never had but the one leg, and that in the middle of his body.
To see him leap and run and pursue me over hedge and ditch was the worst of nightmares. And altogether I paid pretty dear for my monthly fourpenny piece, in the shape of these abominable fancies. But though I was so terrified by the idea of the seafaring man with one leg, I was far less afraid of the captain himself than anybody else who knew him. There were nights when he took a deal more rum and water than his head would carry; and then he would sometimes sit and sing his wicked, old, wild sea-songs, minding nobody; but sometimes he would call for glasses round, and force all the trembling company to listen to his stories or bear a chorus to his singing.
Often I have heard the house shaking with "Yo-ho-ho, and a bottle of rum;" all the neighbours joining in for dear life, with the fear of death upon them, and each singing louder than the other, to avoid remark. For in these fits he was the most over-riding companion ever known; he would slap his hand on the table for silence all round; he would fly up in a passion of anger at a question, or sometimes because none was put, and so he judged the company was not following his story.
Nor would he allow any one to leave the inn till he had drunk himself sleepy and reeled off to bed. His stories were what frightened people worst of all. Dreadful stories they were; about hanging, and walking the plank, and storms at sea, and the Dry Tortugas, and wild deeds and places on the Spanish Main. By his own account he must have lived his life among some of the wickedest men that God ever allowed upon the sea; and the language in which he told these stories shocked our plain country people almost as much as the crimes that he described. My father was always saying the inn would be ruined, for people would soon cease coming there to be tyrannised over and put down, and sent shivering to their beds; but I really believe his presence did us good.
People were frightened at the time, but on looking back they rather liked it; it was a fine excitement in a quiet country life; and there was even a party of the younger men who pretended to admire him, calling him a "true sea-dog," and a "real old salt," and such like names, and saying there was the sort of man that made England terrible at sea. In one way, indeed, he bade fair to ruin us; for he kept on staying week after week, and at last month after month, so that all the money had been long exhausted, and still my father never plucked up the heart to insist on having more.
If ever he mentioned it, the captain blew through his nose so loudly, that you might say he roared, and stared my poor father out of the room. I have seen him wringing his hands after such a rebuff, and I am sure the annoyance and the terror he lived in must have greatly hastened his early and unhappy death. All the time he lived with us the captain made no change whatever in his dress but to buy some stockings from a hawker.
One of the cocks of his hat having fallen down, he let it hang from that day forth, though it was a great annoyance when it blew. I remember the appearance of his coat, which he patched himself up-stairs in his room, and which, before the end, was nothing but patches.
Treasure Island (Classics Illustrated #21) (Paperback)
He never wrote or received a letter, and he never spoke with any but the neighbours, and with these, for the most part, only when drunk on rum. The great sea-chest none of us had ever seen open. He was only once crossed, and that was towards the end, when my poor father was far gone in a decline that took him off. Livesey came late one afternoon to see the patient, took a bit of dinner from my mother, and went into the parlour to smoke a pipe until his horse should come down from the hamlet, for we had no stabling at the old "Benbow.
Suddenly he-the captain, that is-began to pipe up his eternal song:- "Fifteen men on the dead man's chest- Yo-ho-ho, and a bottle of rum! Drink and the devil had done for the rest- Yo-ho-ho, and a bottle of rum!