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Human Target #1-2
Human Target: Chance Meetings
Collecting the Vertigo title that inspired the upcoming Fox TV series! Christopher Chance makes his living by turning himself into a human target. A master of disguise, he cunningly takes on the appearance and persona of men and women with contracts out against them. But when a routine assignment to impersonate an African-American minister with a bounty on his head goes south, Chance finds himself caught between a lethal assassin and a vicious gang war. After the assignment changes his life completely, Chance's next adventure takes him into the world of Hollywood as he impersonates an aging actor to find a missing boy and flirts with the idea of leaving his dangerous life behind him.
This volume collects the original 4-issue Vertigo HUMAN TARGET miniseries with art by Edvin Biukovic along with the follow-up, standalone, 96-page HUMAN TARGET: FINAL CUT OGN with art by Javier Pulido (ROBIN: YEAR ONE).
This volume collects the original 4-issue Vertigo HUMAN TARGET miniseries with art by Edvin Biukovic along with the follow-up, standalone, 96-page HUMAN TARGET: FINAL CUT OGN with art by Javier Pulido (ROBIN: YEAR ONE).
200 pages, Paperback
First published January 19, 2010
2 people are currently reading
120 people want to read
About the author
Peter Milligan
1,317 books393 followersLibrarian note:
There is more than one author in the GoodReads database with this name
Peter Milligan is a British writer, best known for his work on X-Force / X-Statix, the X-Men, & the Vertigo series Human Target. He is also a scriptwriter.
He has been writing comics for some time and he has somewhat of a reputation for writing material that is highly outlandish, bizarre and/or absurd.
His highest profile projects to date include a run on X-Men, and his X-Force revamp that relaunched as X-Statix.
Many of Milligan's best works have been from DC Vertigo. These include: The Extremist (4 issues with artist Ted McKeever) The Minx (8 issues with artist Sean Phillips) Face (Prestige one-shot with artist Duncan Fegredo) The Eaters (Prestige one-shot with artist Dean Ormston) Vertigo Pop London (4 issues with artist Philip Bond) Enigma (8 issues with artist Duncan Fegredo) and Girl (3 issues with artist Duncan Fegredo).
Series:
* Human Target
* Greek Street
* X-Force / X-Statix
There is more than one author in the GoodReads database with this name
Peter Milligan is a British writer, best known for his work on X-Force / X-Statix, the X-Men, & the Vertigo series Human Target. He is also a scriptwriter.
He has been writing comics for some time and he has somewhat of a reputation for writing material that is highly outlandish, bizarre and/or absurd.
His highest profile projects to date include a run on X-Men, and his X-Force revamp that relaunched as X-Statix.
Many of Milligan's best works have been from DC Vertigo. These include: The Extremist (4 issues with artist Ted McKeever) The Minx (8 issues with artist Sean Phillips) Face (Prestige one-shot with artist Duncan Fegredo) The Eaters (Prestige one-shot with artist Dean Ormston) Vertigo Pop London (4 issues with artist Philip Bond) Enigma (8 issues with artist Duncan Fegredo) and Girl (3 issues with artist Duncan Fegredo).
Series:
* Human Target
* Greek Street
* X-Force / X-Statix
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Displaying 1 - 30 of 31 reviews
October 24, 2024
Peter Milligan and artist Edvin Biuković, and for Human Target: Final Cut, artist Javier Pulido, bring back a re-invented (from DC Comics) 'Human Target' for Vertigo. The 4-issue launch series sees the master of disguise and impersonation private investigator Christopher Chance (who's White) assumes the identity of an African American preacher caught between a drug war and an assassin - a clever and quite intriguing premise, that's well executed. The weaker follow-up one-shot Human Target: Final Cut sees Chance become an ageing actor in Hollywood. Both cases leave their mark with Chance. An OK concept, which Milligan did quite well with. 7 out of 12 firm Three Stars.
RIP Edvin Biuković
2017 and 2013 read
RIP Edvin Biuković
2017 and 2013 read
November 24, 2023
Maravillosa historia (aunque tosca y violenta, producto de su época de publicación) que nos pone a pensar sobre la latente y desesperada búsqueda de nuestra identidad en los demás. Christopher Chance es un gran personaje, es tan bueno en lo que hace, que no encuentra valor en su propia personalidad. Su villano más despiadado, él mismo.
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January 16, 2021This book very much has the classic Vertigo feel. It has the classic Vertigo look, the classic Vertigo method of reinventing older, obscure DC Comics characters, and it has the sense of danger and unpredictability that the old Vertigo books had, though sadly this book isn't quite as innovative as some of the more well known Vertigo titles such as The Sandman, Doom Patrol, or Hellblazer.
Peter Milligan has certainly garnered a cult following over the years, I've had friends who've praised him as one of best talents to come out of the Vertigo 'Britwave' movement of the 80s and 90s who birthed the careers of such creators like Moore, Ellis, Morrison, Gaiman, Ennis, and many others, but I've yet to encounter his full genius. I did enjoy his Britannia that he did for Valiant some years back, though I didn't find his book to be quite as inventive as some of the other books on the Valiant line, who might be putting out some of the best and most unusual superhero comics today. But I kept with him, some of the other Britwavers took me a bit to get into as well, and I thought that perhaps I was looking in the wrong place.
The idea of The Human Target is a million dollar one, and one that I think that Vertigo wouldn't have much difficulty adapting into their catalogue: An assassin/bodyguard who decides to become the target, to become a sort of method actor in order to distract the assassins or whoever is after the person who's hired him. The theme of identity often lurks throughout this run, as it would with a story about a man who pretends to be other people. The theme of identity is touched upon throughout this run, but is a bit uneven in its exploration throughout the story, which I found myself disappointed in in the run of this book.
Yet nonetheless I enjoyed what I encountered through this book, it was well written, with a sense of verve and intensity that dripped through the pages that I read, I certainly enjoyed this book more than Britannia. It showcased Milligan's more playful side, skewering genre conventions in the way that early Vertigo is renowned for.
The first story was strong, showcasing Milligan as a subversive, occasionally provocative voice in comics. His style is lively and full of verve, he can be provocative, though he doesn't feel petulant or uber-edgy in its approach. He's not afraid to get political and while the political commentary is apparent, I found it more subtle and well handled than some other comics that attempt to be political and I was relieved to see that it doesn't succumb to the self-importance of such books like Renato Jones or Bitch Planet nor did it get in the way of the story that it wanted to tell.
Likewise, Biukovic's art in the first arc is quite good too, and also has the classic Vertigo style of art, though I was reminded of R.M. Guera's art on Scalped, where it made me feel like I was walking through an unpleasant, sleazy part of town, I do wonder if Guera took any influence from Biukovic during the duration of Scalped's run, I wouldn't be much surprised if this were the case. I was quite saddened to hear that we lost a talent like Biukovic so young, as it always is when a burgeoning talent suddenly loses their life.
Sadly, the second story was not as strong as the first. It's much more of a standard noir than the first arc. While Milligan's writing continues to be solid and inventive, I found that the art from Pulido was lacking. There were times that it looked solid and then times where the characters looked like pencils, not unlike Mr. Higgins Comes Home. I was reminded of Darwyn Cooke, one of the great comic book artists, who also had a simple, cartoon like style, yet his style felt evocative, expressive, and utterly vibrant. Reading through the latter half of the book made me pine for Darwyn Cooke to illustrate the book more often than not.
Yet Milligan's writing was still solid throughout the book, his satire of the superficiality of Hollywood is a bit obvious, but still effective in what the story was going for and the general mystery that was to be solved in the story was also well handled, with an ending and twist that genuinely surprised me. Milligan's verve continues to shine throughout this arc, though I don't find that the characterization was strong as the first one was, it felt rather...uneven at points.
Overall, despite its more provocative themes and satire, The Human Target proves to be a rather intriguing pulp crime story, though done in the classic Vertigo style that caused me to fall in love with the label to begin with.
Peter Milligan has certainly garnered a cult following over the years, I've had friends who've praised him as one of best talents to come out of the Vertigo 'Britwave' movement of the 80s and 90s who birthed the careers of such creators like Moore, Ellis, Morrison, Gaiman, Ennis, and many others, but I've yet to encounter his full genius. I did enjoy his Britannia that he did for Valiant some years back, though I didn't find his book to be quite as inventive as some of the other books on the Valiant line, who might be putting out some of the best and most unusual superhero comics today. But I kept with him, some of the other Britwavers took me a bit to get into as well, and I thought that perhaps I was looking in the wrong place.
The idea of The Human Target is a million dollar one, and one that I think that Vertigo wouldn't have much difficulty adapting into their catalogue: An assassin/bodyguard who decides to become the target, to become a sort of method actor in order to distract the assassins or whoever is after the person who's hired him. The theme of identity often lurks throughout this run, as it would with a story about a man who pretends to be other people. The theme of identity is touched upon throughout this run, but is a bit uneven in its exploration throughout the story, which I found myself disappointed in in the run of this book.
Yet nonetheless I enjoyed what I encountered through this book, it was well written, with a sense of verve and intensity that dripped through the pages that I read, I certainly enjoyed this book more than Britannia. It showcased Milligan's more playful side, skewering genre conventions in the way that early Vertigo is renowned for.
The first story was strong, showcasing Milligan as a subversive, occasionally provocative voice in comics. His style is lively and full of verve, he can be provocative, though he doesn't feel petulant or uber-edgy in its approach. He's not afraid to get political and while the political commentary is apparent, I found it more subtle and well handled than some other comics that attempt to be political and I was relieved to see that it doesn't succumb to the self-importance of such books like Renato Jones or Bitch Planet nor did it get in the way of the story that it wanted to tell.
Likewise, Biukovic's art in the first arc is quite good too, and also has the classic Vertigo style of art, though I was reminded of R.M. Guera's art on Scalped, where it made me feel like I was walking through an unpleasant, sleazy part of town, I do wonder if Guera took any influence from Biukovic during the duration of Scalped's run, I wouldn't be much surprised if this were the case. I was quite saddened to hear that we lost a talent like Biukovic so young, as it always is when a burgeoning talent suddenly loses their life.
Sadly, the second story was not as strong as the first. It's much more of a standard noir than the first arc. While Milligan's writing continues to be solid and inventive, I found that the art from Pulido was lacking. There were times that it looked solid and then times where the characters looked like pencils, not unlike Mr. Higgins Comes Home. I was reminded of Darwyn Cooke, one of the great comic book artists, who also had a simple, cartoon like style, yet his style felt evocative, expressive, and utterly vibrant. Reading through the latter half of the book made me pine for Darwyn Cooke to illustrate the book more often than not.
Yet Milligan's writing was still solid throughout the book, his satire of the superficiality of Hollywood is a bit obvious, but still effective in what the story was going for and the general mystery that was to be solved in the story was also well handled, with an ending and twist that genuinely surprised me. Milligan's verve continues to shine throughout this arc, though I don't find that the characterization was strong as the first one was, it felt rather...uneven at points.
Overall, despite its more provocative themes and satire, The Human Target proves to be a rather intriguing pulp crime story, though done in the classic Vertigo style that caused me to fall in love with the label to begin with.
March 3, 2013
The original mini collected in this book is really really good. Better than the later ongoing by Milligan and other artists.
This is the real Human Target, the tv show is fun but not as interesting,smart as this series. This is a clever and mind-twisting series of identity, deception in the service of undercover detective work. Much better,darker story than the old pre-Vertigo Christopther Chance and the tv version.
This is the real Human Target, the tv show is fun but not as interesting,smart as this series. This is a clever and mind-twisting series of identity, deception in the service of undercover detective work. Much better,darker story than the old pre-Vertigo Christopther Chance and the tv version.
May 16, 2021
Milligan has always been a bit of an odd comics writer because he’s happy to do traditional genre stuff as much as he is genuinely mind bending stuff. This is how a writer survives and thrives in 2000AD after all. Sometimes he seems to struggle with superhero books, because it feels like he can’t do the episodic bits as well as he could the Grant Morrisonesque bonkers bits. But this is a lovely surprise - taking a spy thriller and not so much subverting it as actively undermining the certainties of the genre. Chance should be a chisel jawed hero but is increasingly riddled with doubts and the whole question of identity and what actually makes up a person causes a huge shadow over the whole book. They’re also both pacy thrillers too and never lose sight of that. The art is also excellent, especially Pulido’s work on Final Cut which is cartoony and fluid and uses shadow brilliantly
August 27, 2012
Classic B-List "Detective Comics" backup character gets the Vertigo treatment. This edition collects a 4-issue 1999 miniseries and the graphic novel "Final Cut." It's easy to love the cool concept behind Human Target, but in execution it leaves the protagonist too cold a character to sympathize with. As a result, the story is gripping on an intellectual level but stays as emotionally distant as its main character.
Anyway, if ya didn't know, Christopher Chance is a professional impersonator who specializes in taking the place of people who have been targeted for assassination. In the Vertigo version, he goes so deep into his subjects' lives that he loses his own sense of self and often forgets that he's not really the person he's impersonating. The first story in this volume offers several layers of impersonation within impersonation, Inception style. The second offers a more compelling mystery, but I didn't particularly care for the solution. The whole is intriguing in a dark, pulp noir kind of way, but I don't really feel hooked enough to come back for volume 2.
Anyway, if ya didn't know, Christopher Chance is a professional impersonator who specializes in taking the place of people who have been targeted for assassination. In the Vertigo version, he goes so deep into his subjects' lives that he loses his own sense of self and often forgets that he's not really the person he's impersonating. The first story in this volume offers several layers of impersonation within impersonation, Inception style. The second offers a more compelling mystery, but I didn't particularly care for the solution. The whole is intriguing in a dark, pulp noir kind of way, but I don't really feel hooked enough to come back for volume 2.
March 9, 2010
Esta misma edición que recopila la primera miniserie más el especial "final cut" (verdadero cierre de la historia anterior) no la leí nunca, pero marqué como que sí cuando recién estaba aprendiendo a usar esta página así que la dejo por nostalgia (además de que leí todo el contenido del libro en distintas ediciones, así que tan tramposo no soy). Cuando pueda leer la edición íntegra -que seguro caiga en mis manos en castellano antes que en inglés- seguro le haga su correspondiente reseña, aunque veo difícil hacerle justicia a un comic casi impecable en una reseña improvisada como las que suelo hacer. Sepa explicarme bien o no, jamás voy a dejar de recomendar esta joya del noveno arte.
February 9, 2010
from the first page;
"I am a severed penis stuffed in a mouth."
i can see why fox thought this worth making into a tv series. ididn't read beyond the first page might be as good as "war and peace" or "little lulu," but i don't care to find out.
"I am a severed penis stuffed in a mouth."
i can see why fox thought this worth making into a tv series. ididn't read beyond the first page might be as good as "war and peace" or "little lulu," but i don't care to find out.
March 25, 2020
I'm only giving this a second star because I thought the first half was pretty good. I did not like the second half of the book. I like a good mystery, which I thought this was going to be. It wasn't.
The first story with Tom, Emerald, Earl, and all that I found was great. Like how it ended with a question but still felt complete. I loved all the questions about family and what the man in each family did wrong but they could've still been forgiven.
~~~~possible mild spoilers~~~~
I really did not like the big reveal for the second story, Final Cut. I felt like the big reveal at the end came out of nowhere. There wasn't any hint/foreshadowing to what the reveal was gonna be. Like, the whole red herring of the guy being alive and was still doing everything was great. But, then when it's revealed that he isn't alive and can't be the one behind this, there weren't any clues as who it could actually be.
And, the big reveal felt more like a villain giving his big speech to the hero and revealing his master plan than like a reveal of how everything comes together. It left me disappointed.
Also, I don't like Christopher Chance. I just find him very unlikable. You're coming in for a job about a missing boy and all you can think is how beautiful the man's wife is? Come on, man. I mean, I've liked some womanizing men before but I was under the impression that Chance was supposed to be a professional. There's nothing professional about that. And, it continues.
~~~~end of possible spoilers~~~~
So, I did not like Final Cut. I did not like Christopher Chance. The only reason I didn't DNF was because this was a comic book I could finish quickly. Next time, I'll just DNF.
The first story with Tom, Emerald, Earl, and all that I found was great. Like how it ended with a question but still felt complete. I loved all the questions about family and what the man in each family did wrong but they could've still been forgiven.
~~~~possible mild spoilers~~~~
I really did not like the big reveal for the second story, Final Cut. I felt like the big reveal at the end came out of nowhere. There wasn't any hint/foreshadowing to what the reveal was gonna be. Like, the whole red herring of the guy being alive and was still doing everything was great. But, then when it's revealed that he isn't alive and can't be the one behind this, there weren't any clues as who it could actually be.
And, the big reveal felt more like a villain giving his big speech to the hero and revealing his master plan than like a reveal of how everything comes together. It left me disappointed.
Also, I don't like Christopher Chance. I just find him very unlikable. You're coming in for a job about a missing boy and all you can think is how beautiful the man's wife is? Come on, man. I mean, I've liked some womanizing men before but I was under the impression that Chance was supposed to be a professional. There's nothing professional about that. And, it continues.
~~~~end of possible spoilers~~~~
So, I did not like Final Cut. I did not like Christopher Chance. The only reason I didn't DNF was because this was a comic book I could finish quickly. Next time, I'll just DNF.
September 29, 2017
Spettacolare. Un personaggio davvero originale per un'idea fantastica e storie dalla dinamica imprevedibile. Christopher Chance è un trasformista che prende le identità altrui per fare da bersaglio umano in caso di minacce ai propri clienti, ma se prendi la vita di qualcun altro, dopo un po', ti viene da chiederti cosa sia rimasto della tua vita. Azione e psico dramma mescolati insieme indissolubilmente. Belli i disegni di Bukovic per la prima miniserie (sembra una versione senza effetti speciali di Eduardo Risso), meno belli ma comunque efficaci i disegni di Pulido (molto verticali, riassuntivi senza esserlo troppo, magari con una personalità che si intravede ma non è così spiccata). Entrambi gli archi narrativi davvero belli.
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May 12, 2025I will go 3.5 stars - Christopher Chance is the Human Target! He assumes the identity of persons who may be targeted for assassination or kidnapping in order to draw out the perpetrators. Along the way he loses his own identity and cannot seem to tell who is real and who is impersonated.
It seems to be a good premise but can use tighter writing. I kept thinking about any mystery he was trying to solve would be beyond the scope of his contract.
It seems to be a good premise but can use tighter writing. I kept thinking about any mystery he was trying to solve would be beyond the scope of his contract.
January 27, 2024
I think I set my expectations too high for this... I know post-90s Milligan can be very hit or miss, but this book had been popping up in various artist Instagrams recently, so I thought I'd give it a shot. It's all right. Quite readable, even. It's just not very engaging.. Javier Pulido definitely takes it up a notch in the second half of the book, but not enough to make it past decent
March 5, 2023
La capacità di Milligan di trasmettere la confusione mentale del personaggio è assurda. Ci sono momenti in cui il lettore stesso non sa più cosa sta leggendo e non riesce a riconoscere il protagonista, ipotizzando prima che sia uno e poi che sia l'altro.
Milligan, solita certezza.
Milligan, solita certezza.
January 26, 2023
Complicated film-noir storytelling with dynamic art, this collection shows why this character needs to be in an on-going series.
March 6, 2019
Tomo que recopila la primera miniserie de Human Target más el especial que sirve de puente con la serie regular, material que se recopiló originalmente en castellano primero dividiendo los cuatro números de la miniserie en dos libritos más un especial.
December 28, 2014
Reseña de José Torralba para Zona Negativa:
http://www.zonanegativa.com/blanco-hu...
Blanco Humano: El realismo psicológico
Introducción y notas a la edición
¿Qué es un Blanco Humano? ¿Quién es Christopher Chance? Desde un punto de vista simplista puede ser fácil decirlo pero si profundizamos puede que la respuesta, lector, le sorprenda. Porque Christopher Chance… puede ser usted. Pero no vayamos tan deprisa y empecemos por el principio, porque Christopher Chance –tan elusivo, misterioso y esquivo en la mente de Peter Milligan– ha conocido una peripecia editorial que no debe envidiar en nada a su vida en la ficción y ha sido recurrente en el panorama cultural desde hace aproximadamente 35 años. Aparecido por primera vez en las páginas de Action Comics durante de la década de 1970 (concretamente en el número 419 de diciembre de 1972, aunque podría rastrearse una primera aparición del Blanco Humano como concepto en el Gang Busters #61 de enero de 1958), Chance es creación original de Len Wein, y sus aventuras fueron dibujadas en un principio por Carmine Infantino, Neal Adams o Dick Giordano entre otros. Tras estar “en activo” irregularmente entre 1972/73, el personaje desapareció para volver en Detective Comics #483 (1979), publicación en la que estuvo durante un tiempo siempre de la mano de Wein. Durante esta época apareció en algunos números de Batman e incluso en la Crisis por antonomasia del Universo DC (Crisis on Infinite Earths #11). Desaparecido totalmente del mapa desde entonces, el personaje se rescató de forma anómala en 1992 para una adaptación televisiva en forma de thriller que consistió en 7 capítulos de 60 minutos de duración cada uno. Coincidiendo con su emisión, DC sacó un número único guionizado por Mark Verheiden, dibujado por Rick Burchett y entintado por Dick Giordano. Y ahí quedó todo…
… hasta 1999, justo cuando Vertigo le encarga a Peter Milligan la realización de una miniserie basada en el personaje en el contexto editorial de la recuperación puntual de personajes “olvidados” (como Jonny Double). Este trabajo fue tan exitoso que propició la aparición de una segunda parte en forma de novela gráfica (Blanco Humano: Montaje Final en 2002), y de una serie regular de 21 números en total. Por desgracia, el dibujante de la miniserie que reflotó el personaje (Biukovic), murió antes de poder hacerse cargo de sus frutos, siendo sustituido por Javier Pulido y por Cliff Chiang sucesivamente. La colección no duró mucho, tal vez por la exigencia que suponía para el lector medio un thriller más psicológico que de acción con una arquitectura narrativa realmente compleja. Pero sea como fuere, aún hoy día persiste en el recuerdo como uno de los productos más sólidos jamás alumbrados en el sello adulto de DC y goza, por lo general, de la consideración de obra de culto entre el connoisseur adicto a las delicatessen.
En el terreno editorial, la obra está editada en Estados Unidos en modestos TPBs y en España la editorial que nos la trajo por primera vez fue Norma Editorial en formato prestigio. Tras la pérdida de derechos Planeta DeAgostini completó con cierto trabajo el resto de la serie y, con el tiempo, volvió a publicar parte del material primigenio, por lo que el tomo de difícil hallazgo a día de hoy es únicamente el que Norma Editorial dedicó al comienzo de la regular. Sirva esta guía de lectura para orientar al lector.
Blanco Humano: Encuentros casuales [#1-4 Miniserie USA y Montaje Final]. Planeta DeAgostini. Septiembre 2010. Tomo que recopila la miniserie original y la novela gráfica subsiguiente y que sustituye a los dos prestigios (miniserie) y al tomo (novela gráfica) descatalogados que Norma dedicó a ambos materiales en junio-julio de 2000 y mayo de 2004, respectivamente.
Blanco Humano: Zonas de Choque [#1-5 Serie regular USA]. Norma Editorial (descatalogado). Marzo 2005.
Blanco Humano: Vivir en Amérika [#6-10 Serie regular USA]. Planeta DeAgostini. Mayo 2006.
Blanco Humano: En el nombre del Padre [#11-16 Serie regular USA]. Planeta DeAgostini. Octubre 2006.
Blanco Humano: El usurpador [#17-21 Serie regular USA]. Planeta DeAgostini. Mayo 2007.
Finalmente cabe destacar que el 17 de enero de 2010 debutó en la Fox estadounidense otra adaptación televisiva de la obra; adaptación cuyo capítulo piloto estaba escrito por Jonathan E. Steinberg y que protagonizaron durante las dos temporadas que tardó en ser cancelada Mark Valley como Christopher Chance, Jackie Earle Haley y Chi McBride. Aquí podréis encontrar unos cuantos clips y más información al respecto, y aquí un análisis del primer episodio. Precisamente para apoyar este lanzamiento, desde DC Comics se proyectó una pequeña miniserie de seis números con el propio Len Wein a los guiones, sin relación alguna con el trabajo de Milligan.
(Reseña completa en http://www.zonanegativa.com/blanco-hu... )
http://www.zonanegativa.com/blanco-hu...
Blanco Humano: El realismo psicológico
Introducción y notas a la edición
¿Qué es un Blanco Humano? ¿Quién es Christopher Chance? Desde un punto de vista simplista puede ser fácil decirlo pero si profundizamos puede que la respuesta, lector, le sorprenda. Porque Christopher Chance… puede ser usted. Pero no vayamos tan deprisa y empecemos por el principio, porque Christopher Chance –tan elusivo, misterioso y esquivo en la mente de Peter Milligan– ha conocido una peripecia editorial que no debe envidiar en nada a su vida en la ficción y ha sido recurrente en el panorama cultural desde hace aproximadamente 35 años. Aparecido por primera vez en las páginas de Action Comics durante de la década de 1970 (concretamente en el número 419 de diciembre de 1972, aunque podría rastrearse una primera aparición del Blanco Humano como concepto en el Gang Busters #61 de enero de 1958), Chance es creación original de Len Wein, y sus aventuras fueron dibujadas en un principio por Carmine Infantino, Neal Adams o Dick Giordano entre otros. Tras estar “en activo” irregularmente entre 1972/73, el personaje desapareció para volver en Detective Comics #483 (1979), publicación en la que estuvo durante un tiempo siempre de la mano de Wein. Durante esta época apareció en algunos números de Batman e incluso en la Crisis por antonomasia del Universo DC (Crisis on Infinite Earths #11). Desaparecido totalmente del mapa desde entonces, el personaje se rescató de forma anómala en 1992 para una adaptación televisiva en forma de thriller que consistió en 7 capítulos de 60 minutos de duración cada uno. Coincidiendo con su emisión, DC sacó un número único guionizado por Mark Verheiden, dibujado por Rick Burchett y entintado por Dick Giordano. Y ahí quedó todo…
… hasta 1999, justo cuando Vertigo le encarga a Peter Milligan la realización de una miniserie basada en el personaje en el contexto editorial de la recuperación puntual de personajes “olvidados” (como Jonny Double). Este trabajo fue tan exitoso que propició la aparición de una segunda parte en forma de novela gráfica (Blanco Humano: Montaje Final en 2002), y de una serie regular de 21 números en total. Por desgracia, el dibujante de la miniserie que reflotó el personaje (Biukovic), murió antes de poder hacerse cargo de sus frutos, siendo sustituido por Javier Pulido y por Cliff Chiang sucesivamente. La colección no duró mucho, tal vez por la exigencia que suponía para el lector medio un thriller más psicológico que de acción con una arquitectura narrativa realmente compleja. Pero sea como fuere, aún hoy día persiste en el recuerdo como uno de los productos más sólidos jamás alumbrados en el sello adulto de DC y goza, por lo general, de la consideración de obra de culto entre el connoisseur adicto a las delicatessen.
En el terreno editorial, la obra está editada en Estados Unidos en modestos TPBs y en España la editorial que nos la trajo por primera vez fue Norma Editorial en formato prestigio. Tras la pérdida de derechos Planeta DeAgostini completó con cierto trabajo el resto de la serie y, con el tiempo, volvió a publicar parte del material primigenio, por lo que el tomo de difícil hallazgo a día de hoy es únicamente el que Norma Editorial dedicó al comienzo de la regular. Sirva esta guía de lectura para orientar al lector.
Blanco Humano: Encuentros casuales [#1-4 Miniserie USA y Montaje Final]. Planeta DeAgostini. Septiembre 2010. Tomo que recopila la miniserie original y la novela gráfica subsiguiente y que sustituye a los dos prestigios (miniserie) y al tomo (novela gráfica) descatalogados que Norma dedicó a ambos materiales en junio-julio de 2000 y mayo de 2004, respectivamente.
Blanco Humano: Zonas de Choque [#1-5 Serie regular USA]. Norma Editorial (descatalogado). Marzo 2005.
Blanco Humano: Vivir en Amérika [#6-10 Serie regular USA]. Planeta DeAgostini. Mayo 2006.
Blanco Humano: En el nombre del Padre [#11-16 Serie regular USA]. Planeta DeAgostini. Octubre 2006.
Blanco Humano: El usurpador [#17-21 Serie regular USA]. Planeta DeAgostini. Mayo 2007.
Finalmente cabe destacar que el 17 de enero de 2010 debutó en la Fox estadounidense otra adaptación televisiva de la obra; adaptación cuyo capítulo piloto estaba escrito por Jonathan E. Steinberg y que protagonizaron durante las dos temporadas que tardó en ser cancelada Mark Valley como Christopher Chance, Jackie Earle Haley y Chi McBride. Aquí podréis encontrar unos cuantos clips y más información al respecto, y aquí un análisis del primer episodio. Precisamente para apoyar este lanzamiento, desde DC Comics se proyectó una pequeña miniserie de seis números con el propio Len Wein a los guiones, sin relación alguna con el trabajo de Milligan.
(Reseña completa en http://www.zonanegativa.com/blanco-hu... )
February 14, 2010
Dubbed “The Acclaimed Series that Inspired the FOX Television Show,” I would venture to say that Milligan’s original work is better executed than what I saw of the TV show pilot that was screened back at San Diego Comic-Con last summer. The suspension of disbelief is much bettered achieved through the graphic novel format, as it allows the sleight of hand to truly deceive the reader at every turn. (Don’t worry, I wouldn’t deign to spoil anything here in this paltry review.)
Biukovic’s work in the first story-arc is highly reminiscent of Kevin Maguire, and is brilliantly colored by Lee Loughridge. Pulido, one of my favorites, pencils the second story-arc – although it has been collected in a separate volume, which I reviewed here recently.
Although Human Target has been given new life on TV, as well as a new ongoing series penned by someone other that Milligan, I have a feeling that both will pale in comparison with what Milligan achieved in his original outings. Which is, frankly, too bad. This is a clever and mind-twisting series of identity deception in the service of undercover detection.
Biukovic’s work in the first story-arc is highly reminiscent of Kevin Maguire, and is brilliantly colored by Lee Loughridge. Pulido, one of my favorites, pencils the second story-arc – although it has been collected in a separate volume, which I reviewed here recently.
Although Human Target has been given new life on TV, as well as a new ongoing series penned by someone other that Milligan, I have a feeling that both will pale in comparison with what Milligan achieved in his original outings. Which is, frankly, too bad. This is a clever and mind-twisting series of identity deception in the service of undercover detection.
September 9, 2010
It was ok. The whole thing with Emerald was a little ridiculous and a guy who falls in love with every wife for every man he impersonates is a moron to keep doing it, but it wasn't bad. I've certainly read worse. I've definitley read better. I can't recommend the book and I prefer the show. Which is ironic because other then the name Christopher Chance, I found no similarities to the show. In the book, this guy is like Clay Face from Batman- he becomes these guys he impersonates, down to the accent, down to their emotions. Nevermind the height differential, apparently we're supposed to imagine he hunches over really well. In the show, he just plays 'security guard' which isn't nearly as interesting but also helps avoid some psychological pits. Cause book Chance is a hot hot mess in need of electroshock. TV Chance is just an adrenaline junkie who doesn't care if he dies. And TV Chance has Chi McBride who makes anything better. Book Chance could've used Chi McBride. Chi McBride and anti-depressants.
May 31, 2013
At first glance a completely silly concept, the "Human Target" series proves with its opening volume that a goofy premise can stem gripping character drama. The idea here is the following: there are certain people who have the ability to take over another person's personality and life. With prosthetics, plastic surgery and extreme mental exercises they in essence become another person. Sometimes their own identity- quenched for the time of their masquerade- gets lost in the process. This has happened to Christopher Chance, a middle aged man exceptionally talented at being a hired double. Or has it?
Peter Milligan delivers his story from a delicious psychological angle; we feel lost in the myriad identities of who might at some point have been Christopher Chance. As implausible as the core concepts of this tale are, you end up buying them because their subjective experience is so vividly portrayed.
Peter Milligan delivers his story from a delicious psychological angle; we feel lost in the myriad identities of who might at some point have been Christopher Chance. As implausible as the core concepts of this tale are, you end up buying them because their subjective experience is so vividly portrayed.
July 24, 2014
More reviews (and no fluff) on the blog http://surrealtalvi.wordpress.com/
I admit to being very jaded going into this: I've no great love or interest in the whole noir field. But what sets this apart is that it avoids every single cliche of the genre and instead is a slow burn tale of identity and ID. There are some very startling moments of very brilliant storytelling in there: just when you think you know where the tale is going, it makes sharp left and you're left stunned.
The art is clean and easy to understand. The dialog and information bubbles nicely spaced and paced. Really, this is a brilliant piece of work.
May 31, 2016
I never knew about the comic book The Human Target until the television show. The show was fantastic, and it involved references to a secret organization that had recruited Chance for his incredible genius. It didn't have the defining element of the Human Target though. At least with this graphic novel. In the comic books, Chance is a gifted pretender with assassin skills, but he's at a crossroads in his life. I enjoy stories that dance around the line between pretending to be something and actually being something.
March 31, 2015
Human Target: Chance Meetings collects four issue miniseries from 1999 and Final Cut graphic novel.
The idea behind this is interesting, and the writing is pretty good, even though the action occasionally goes over the top, some of the twists are predictable, and some of the characters are a bit too clichéd.
The art is pretty good, especially in Final Cut where it is a bit more cartoonish and fits the story really well.
Overall, this is a good read accompanied with even better art.
The idea behind this is interesting, and the writing is pretty good, even though the action occasionally goes over the top, some of the twists are predictable, and some of the characters are a bit too clichéd.
The art is pretty good, especially in Final Cut where it is a bit more cartoonish and fits the story really well.
Overall, this is a good read accompanied with even better art.
October 2, 2015
Interesting noir premise and top artwork. Script is a bit breathless and lacks rhythm, not to mention the main character's Chance, Esmeralda, etc have some made-up dysfunction, tired one-liners and weary-of-the-world demeanour that is meant to make them vulnerable and interesting but imho sounds contrived. The best est bits belong to the drug lord vs preacher violence as well as the L.A. Hollywood netherworld characters and settings. A film version could be better if the writing improved.
February 28, 2011
Peter Milligan is a top-notch writer. Christopher Chance is a great character. You'd think mixing them would be like peanut butter and jelly. Somehow, though, it isn't. It's by no means a bad comic. It just isn't a good one, either. I don't want to say I was disappointed with it, but I did expect more.
May 24, 2010
An interesting concept but I can see it being played out after a few story lines. Not a series that I will bother following or reading back issues.
November 14, 2011
Really a 4.5. The first storyline was my favorite. Another wonderful example of how great comics can be.
June 2, 2011
Re-read the reprinted repackaged reissue. I liked it at least as much as the first time I read it. Clever fluid noirish writing with superb artwork.
July 27, 2012
Though it was better than the last book DC put out, it still just doesn't ring true to the main character.
September 11, 2012
A clever premise, gets complicated quite fast but decent character development.
March 13, 2014
super confusing to read but it's definitely a page turner. Def looking forward to the rest if the series.
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