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Polar Volume 1: Came from the Cold (Second Edition) Kindle & comiXology
Ripped out of retirement by an assassination attempt, the world's most deadly spy--the former agent known as Black Kaiser--is a wanted man that's wanted . . . dead! On a collision course with his former employer, the Damocles Agency, Black Kaiser goes head to head with a stab-happy, psychotic torture expert and a seductive but deadly redhead. His mission only ends if he dies or kills everyone out to get him, and he's not in the habit of dying.
A guns-blazing espionage action-adventure in the grand tradition of Jim Steranko and Frank Miller, this graphic novel by Victor Santos (Mice Templar, Filthy Rich) is a brutal, fast-tempo story of revenge that Newsarama says is "as ice-cold as its name." Originally a silent webcomic, but Santos has crafted a script as hard boiled and intriguing as his art for this hardcover collection.
- Print length176 pages
- LanguageEnglish
- PublisherDark Horse Books
- Publication dateJanuary 29, 2019
- File size197239 KB
- Due to its large file size, this book may take longer to download
- Read this book on comiXology. Learn more
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Editorial Reviews
About the Author
Product details
- ASIN : B07G6NDSYC
- Publisher : Dark Horse Books; 2nd edition (January 29, 2019)
- Publication date : January 29, 2019
- Language : English
- File size : 197239 KB
- Text-to-Speech : Not enabled
- Enhanced typesetting : Not Enabled
- X-Ray : Not Enabled
- Word Wise : Not Enabled
- Sticky notes : Not Enabled
- Print length : 176 pages
- Best Sellers Rank: #872,429 in Kindle Store (See Top 100 in Kindle Store)
- #1,136 in Mystery Manga
- #2,178 in Mystery, Thriller & Crime Manga
- #7,756 in Action & Adventure Manga (Books)
- Customer Reviews:
About the author
Born in Valencia in 1977, Victor Santos has written and illustrated a variety of
comics published in Spain and France, including Los Reyes Elfos (The Elf Kings),
Pulp Heroes, Young Ronins, Lone in Heaven, Rashomon, Sukeban Turbo and Black Kaiser.
Santos has illustrated numerous comics in the United States, Azzarello’s New York Times best-selling Filthy Rich, one of the first titles of DC Comics’ Vertigo Crime line, the fantasy epic The Mice Templar, written by Bryan J. L. Glass and Michael Avon Oeming, James Patterson’s New York Times best-selling Witch & Wizard series, as well as different titles like Furious, Black Market, Godzilla: Kingdom of Monsters, Sleepy Hollow or Big Trouble in Little China.
His last works are the Image comics series Violent Love with Frank Barbiere and the oncoming Bad Girls, written by Alex de Campi for Simon & Schuster.
Meanwhile, Santos has continued his career as a writer in Spain with other
artists, creating the graphic novels Silhouette, Ragnarök, La sangre de las Valkirias (The Blood of the Valkyries), Ezequiel Himes: Zombie Hunter, La Hija de la Tormenta (The Storm´s Daughter) and Infinity Outrage.
His Polar trilogy published by Dark Horse, his most personal project to date, has been adapted by awarded videoclip/movie director Jonas Akerlund, with Mads Mikkelesen (Casino Royal, Hannibal, The Hunt, Roge One: A Star Wars story), Vanessa Hudgens (High School Musical, Spring Breakers) Katheryn Winnick (Vikings) and Matt Lucas (Alice in Wonderland, Dr Who) in a Constantin films/Netflix production.
Santos has won six awards at the Barcelona international comic convention
for his work and three at the Madrid comics convention. In 2014 he was nominated to the prestigious Harvey Award for his work in Polar: Came from the cold.
He lives in Bilbao, Spain.
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Die Bilder sind sehr beeindruckend, Victor Santos liefert ein Meisterwerk des Framings.
Durch Kontraste der drei exklusiven Farben Rot, Schwarz, Weiß, gelingt ihm eine Blickführung sondergleichen, die Idee erinnert mich an Picasso oder Duchamp, mehrere Blickwinkel, Bewegung oder Perspektive in einem Bild darzustellen - ohne den Kubismus natürlich - und es ist sehr befriedigend, ein Bild zu betrachten und in den Details immer mehr Handlungselemente wiederzufinden. Rahmen werden mal als klassische Trennlinien zwischen Perspektiven oder Zeitabschnitten gesetzt, mal blickt man durch die Rahmen, wie durch ein Fenster auf eine große Szene und sie dienen erneut der gekonnten Blickführung.
Wie zurecht von einigen Kritikern bemerkt, hält Santos die prominenten Charakteristika, Gesichtszüge zum Beispiel, nicht konsequent durch und scheint nur einen Typ Frau zeichnen zu können oder darstellen zu wollen: Klein, schlank, breite Hüften, proportionierte Brüste, volle rote Lippen (und Haare), sexy (gefährlich) und verführerisch. Das ist natürlich schön anzusehen, aber wie die Geschichte etwas eintönig.
The characters are pretty basic, one-dimensional, generic stereotypes of their roles - thuggish protagonist; lustworthy femme fatale; dim-witted assassins, and this seems matched by the story being one we’ve read and seen before in various action-based ‘thrillers’, where the main character slugs their way from bloody, gun-toting, high-kick body-slamming sequence to another, always managing to avoid critical damage, and invariably coming out the victor