Solambo. Lone solambo. I don't know what Lone solambo is but I know what it's bad-ish. This is a book. We're going European style today. My name is Andres Jose, Sebastard, your host of the Art of Comics. We're going to talk about this book which is kind of out of control, kind of crazy. It's European. It's European. Produced by, you know, it was rejiggered for the States here by Titan Comics, the UK company translated in old American English and this is a trip. So let's go and talk about Gustave Frembre. I don't know how to pronounce it. That's free, free, free. Gustave and Thili Drillet Book. Lone Sloan Solambo. Boom. Okay boys and girls we're going to talk about Lone Sloan Solambo and I'm not even going to come on this and tell you I'm an authority of Drillet or this book because I'm not but I'm going to show some enthusiasm and tell you this book is really great. This might have been first published in Heavy and Medi-Herland in in Metal Herland also known as Heavy Metal. I think it was. I think it was. And if you don't know Drillet, I don't know how to pronounce it. I'm pronouncing it at Drillet because teas are usually silent in French. I could be wrong about that. This book is it's big, it's oversized. You need to have it oversized because it is a beast and a beautiful drawing and it's 40 bucks but find it cheaper. You can find it cheaper and it's worth it. This guy, I know his stuff from Heavy Metal and I love Heavy Metal and so we're going to talk about Heavy Metal. Don't you worry people are blowing up my page here all the time. We're going to go into Heavy Metal big time. I'm just going to do the whole freaking show. But right now let's talk about this. This guy is crazy. It is the colors are this is what I learned from this book colors dude. There's a thing called complimentary colors. It's amazing. Okay. This first thing I don't even know what to say about this. This double page spread. It's got this like crazy detailed borders. Okay. It's got this. I don't know what amazing kind of done spaceship. I don't even know how he did this. It's like inked. It's like airbrushed. It's got all kinds of stuff going on. And then the framing. Look at this thing. It's going to it's not no it's got these things here and look at this and the colors and it's like are you serious? Like I don't even understand how this works. It's amazing. I can't believe it. Yeah. This is great great stuff. The the the trouble with the story is it is an adaptation of a book. I believe by the same name and it is a challenge to kind of read it because it's a it's a adaptation to a novel and then it's translated into the US and the in the US and to English. And you we do have these big chunks of tax at times. I read this twice Sunday and there's still stuff I don't quite get at all. And I find that's kind of a common thing for me. Maybe I'm just a little dance. But I don't grab it all but I'm just amazed by the the freaking visuals, dude. And that's what this is about the art of comics, the visuals today. Definitely we see some airbrush. We see a lot of fun. Just color choices. The art it's it's basically it's the story of Carthage and all these like a Mesopotamian and Syrian and these kind of societies, ancient civilizations, but it's all kind of retold in this like star space opera-ish type thing. Look at you can't even tell what I'm talking about when I say the art you've got to see. Can I just like, well this even work. Look at this dude's look at the pencil. This is like you know he's using a repudiate graph here. There's times when you can tell he's he's definitely using like a crow quill. But this looks like a lot of this is repudiate graph and he's just I could be wrong. And he look at this. I mean the detail and it is I don't know the original size. I bet they were big. They got to be big. Beautiful beautiful spreads and just my gosh look at the first the first few pages is just these massive spreads of art you know. He's mixing mediums. He's using acrylics. He's using inks. He's using airbrush. It is a site to behold and now we're getting into more kind of a standard. We have an actual narrative. We got some sequential art going here. And it does evolve and it gets better. But then we have these big huge monstrous vistas. This is very 70 sci fi. This is like totally heavy, early heavy metal style stuff that I really love. And the art the colors again. I can't tell you enough about the beautiful complementary colors. The green and the red here. You're going to see it all the time. The blue and the yellow here. It's just he knows how to do colors and an art. And so this book a little silent incomprehensible. It's basically this this guy Sloan who be who turns his name to Mappos. He is a warrior of the best kind. Comes down meets this woman. This priestess princess who is enraptured by and kind of like Helen of Troy. He's going to like tear the earth of the sun together. And so there's a lot of battles. It's a lot of monstrous battles with creatures and armies and craziness and there's deceptions and betrayals and kings and everything happening. And it is a beast. Just just the book is just fabulous. The art again. I'll just stop the freaking book talk. Look at this stuff. Such a great story. Such a great book. Get this book. It is really well done. And this will inspire you. You can just as a master's class of colors again and line work. And how much detail do you put in things? What's the what what do you do? And how do you do it? This guy was one of the European masters. It's called lone, Sloan, salimbo and it's bad age. There you go. The art of comics. That's me. Andra Salazar. Thank you very much for watching. See you guys later.