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The Last of Us: American Dreams: Volume 1 Capa comum – 29 outubro 2013
|Prazo||Valor Mensal (R$)||Total (R$)|
|3x sem juros||R$ 34,77||R$ 104,27|
|2x sem juros||R$ 52,14||R$ 104,27|
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- Editora : Dark Horse Comics; 1ª edição (29 outubro 2013)
- Idioma : Inglês
- Capa comum : 112 páginas
- ISBN-10 : 1616552123
- ISBN-13 : 978-1616552121
- Idade de leitura : 14 - 17 anos
- Dimensões : 17.02 x 0.51 x 25.91 cm
Ranking dos mais vendidos:
Nº 123,174 em Livros (Conheça o Top 100 na categoria Livros)
- Nº 2,611 em Graphic Novels Importadas
- Avaliações dos clientes:
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Ocorreu um problema para filtrar as avaliações agora. Tente novamente mais tarde.
O único motivo pelo qual dei 4 estrelas, é porque acredito que poderia ter mais história para ser contada. Poderia ter sido mais explorado e não ter acabado no quarto capítulo (na quarta HQ). A Naughty Dogs/Play Station tem um tesouro nas mãos e infelizmente não sabe muito bem como aproveitar.
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The Last of Us: American Dreams doesn't entirely escape the difficulties that come with creating a new story that adds something to our experience of the game whilst not being unrealistically touted as 'required reading' before we pick up the PS controller (no doubt Naughty Dog knows that only a small fraction of people who play TLoU will ever read the comic). For one thing, anyone who's completed the game and knows how things turn out between the comic's main characters, Ellie and her friend Riley, may be surprised and perhaps disappointed at where the comic's story ends and may find it all a bit slight (although I'm sure the game's first single-player DLC will pick up this thread). At the same time, though, American Dreams is one of the strongest and most interesting comic tie-ins I've read, and it definitely establishes a distinct identity. If the game left you wanting to know more of Ellie's story (and I don't know why it wouldn't!), you could do much worse ahead of the DLC's release than give this comic a go. It's only 4 issues long, pacey but not especially complex story-wise, and not as dialogue-heavy as, say, the similarly post-apocalyptic Y: The Last Man, so it's a quick read and is not worth paying over the odds for. It probably goes without saying, but this story also does not feature Joel, so anyone looking to see more of Joel and Ellie's relationship would be disappointed in this instance.
Without spoiling too much, American Dreams is essentially a teen story (it starts out as Ellie arrives at a new [military] school and endures bullies, punishments and the tough business of finding a friend, but thankfully moves out of this setting by the second issue), dealing with teen rebellion, anger, and the two girls' desire to carve out meaningful identities and future adult lives for themselves. These familiar themes gain added poignancy from the post-apocalyptic setting, where life is usually brutal and short and truly caring adults and mentors are hard to come by. As the short story unfolds over the course of one night, Ellie's friendship with the seemingly more self-assured and streetwise Riley provides a nice way of exploring these ideas, especially when the story takes a turn that is admittedly predictable but also credible and well-executed.
Stylistically it will not be everyone's cup of tea, but Faith Erin Hicks' artwork suits the story well: she's done teen stories before and her style is quite similar to fellow Canadian comics creator Bryan Lee O'Malley's art (Scott Pilgrim, Lost at Sea). She handles the quiet and haunting moments of the story effectively, and even though the vibrant visions of nature reclaiming the streets that were so memorable in the game are disappointingly substituted for images of grey desolation and emptiness, the backgrounds are generally decent and their spareness makes the action easier to follow. The one place where the comic's style does really fall down for me is the inevitable encounter with the infected. The Runners and Stalker lose their menace in the transition from the game's realistic visuals to Hicks' cartoonish images - the more gruesome Clickers would have been a more effective choice.
Hicks and Neil Druckmann, the game's creative director and writer, handle the writing, preserving Ellie's spiky personality whilst understandably writing her as a more inexperienced character than we see in the game. There are a couple of moments that don't quite work for me from a logical standpoint, but nothing too jarring. Julian Totino Tedesco's cover artwork is an absolute treat, and he captures Ellie's appearance really well.
I imagine that the comic could be comfortably read before, during or after playing the main game. It doesn't spoil anything in the game's story (or, more importantly, contradict it), but instead enhances it, albeit in understandably pretty modest ways. The upcoming DLC is likely to have a far greater impact on how well it feeds into and complements the game, but for the moment it feels like a solid extension of the story and much less like a redundant cash-in than many comic book tie-ins. Big fans of the game may well want to check this one out.
In regards to the story American Dreams tells, it is a nice brief insight to how Ellie came to Boston and when she met Riley and Marlene. As I have mentioned previously, American Dreams is not an essential read if you only intend on playing the main game, so in that light American Dreams is an average story on its own, with no real great depth, but tied with Left Behind the story is fantastic, especially for fans of the original game.
Faith Erin Hicks art, in my personal opinion, was the one thing that drew me out of the experience when initially of reading American Dreams. I found that her art style and interpretation of Ellie and the world of The Last of Us, was a bit too cartoon like. I think Fiona Staple's art style may have enhanced the initial experience. However with that said, you begin to warm to Faiths style, and it soon becomes a vital part of the overall experience.
Overall, American Dreams does not tell an amazing story, but it is a nice little companion to The Last of Us, especially Left Behind. If you have no interest in playing the DLC, then you're missing nothing by skipping this graphic novel. I would say this is a book only for those looking for a nice little addition to The Last of Us.
The story races along relying considerably on unspoken facial panels to display context. The dialogue is jarring, quick and laced with profanity which seems out of place. Action sequences are brief and lacking drama.
It's not bad as such, simply average but quite readable. The artwork is an to a diluted version of DMZ without the detail.