Klaus Janson was born in Coburg, Germany. He emigrated to the US in 1957 and settled in Connecticut, discovering comics very shortly thereafter. Janson made a professional debut for Marvel in 1973, inking the artwork of Rich Buckler for the series called 'The Black Panther', that were published in Jungle Action. During years he continued inking the diverse Marvel titles, like 'the Defenders', 'Deathlock', 'Battlestar Galactita' and 'Howard Duck'. But Janson main series was 'Daredevil'. In this period he inkted to Gene Colan, Gil Kane, Carmine Infantino and Frank Miller. Working with Miller, Janson changed his ink style.
Later on Janson decided also to take care of the pencils. With Miller, Janson worked on the influential mini-series 'The Dark Knight Returns'. After Janson ended his work on 'Daredevil', he had developed a constant work as a sketcher, were he devolped a Gothic like style. He also did a lot of work on 'The Punisher', 'Spawn' and an adventure of Batman in five episodes which was scripted by Grant Morrison.
Splotchy watercolors interrupted with segments of pretty prose. Something about aging and stuff all set on another planet. The abbreviated nature of the story is obvious as its mediocrity. Not sure how well this compares to its source but this stone is better left unturned.
This is a graphic novel adaptation of Ray Bradbury's wonderful story of the same title. Unfortunately, it comes nowhere close to doing the tale justice. To do so it would have needed to be a number of pages longer and the ending shouldn't have been tampered with. It was an intersting experiment but I found it badly flawed.
Com Ray Bradbury não há que enganar, esta lenda da literatura fantástica tinha um estilo demasiado afinado para que até a mais elementar história embale o leitor. Nesta, humanos sobrevivem num estranho planeta, descendentes dos sobreviventes de uma nave colonizadora cujos vestígios são quase inacessíveis, devido ao estranho clima planetário. A acompanhar as palavras de Bradbury, o ilustrador Klaus janson leva longe o grafismo nas pranchas, prenunciando na DC dos anos 80 a aposta na estética de vanguarda que viria a caracterizar a Vertigo.