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Stephen King |

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| Marvel Comics in 2007 began a challenging sequential art adaptation of Stephen King’s Dark Tower novels. The story is not being presented in the order in which King wrote it, but rather relates the story chronologically, beginning with the origin of Roland the Gunslinger and moving, like Roland, ever forward. The epic tale is being told in story arcs consisting of several issues per story; the issues comprising the story arc are then being collected and printed in hardbound format.
The story here is all that it should be: exciting, breathtaking, heartbreaking, and terrifying. Furth and David have captured King’s language, his rhythm, his style, and made it, if not their own, a part of them. I must confess, however, that as entranced as I was by the narrative—and entranced is not too strong a word—I was even more enthralled by the cinematic vision of Jae Lee’s and Richard Isanove’s cinematic art. Each panel is worth lingering over—one cannot help it. There is a vertigo-inducing scene, early on, that effectively flipped my stomach over, to the extent that I felt the room tilt. Lee’s pencils are exquisitely detailed in The Long Road Home, while Isanove’s inking and shading provide a dark, brooding atmosphere to each page, panel, and—yes—each word. It is concept brought as close to life, to reality, as one will find on the printed page.
One feels, from the first gentle crack of the binding of The Long Road Home, that this is the presentation, the interpretation, that these ideas and characters truly deserve. Just so. Satisfying and complete unto itself, The Long Road Home will leave you longing for more. Highly recommended.
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