Usage examples of "action comics" in English with translation to Russian

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He is a man of action. Он - человек действия.
He can't do without comics. Он жить не может без комиксов.
Not words but action is needed now. Сейчас необходимы не слова, а действия.
If you ask me, reading comics is a complete waste of time. Я склонен считать чтение комиксов пустой тратой времени.
He put emphasis on the necessity for immediate action. Он подчеркнул, что необходимо действовать немедленно.
It was the very first time comics came to life on the screen, not a bit ashamed of their illustrational nature, and without pretending to be a “real” film. Впервые на экране комикс оживал, ничуть не стесняясь своей графической природы, а не притворялся "настоящим" фильмом.
The action took place in a mountain village. Действие имело место в горной деревне.
Second in the list of the most "prosperous" departed celebrities compiled by Forbes magazine at year's end was Elvis Presley - 55 million per year, and a line lower the author of Peanuts comics Charles Schultz with 37 million. Вторым в списке самых "состоятельных" ушедших знаменитостей, составленном журналом Forbes по итогам года оказался Элвис Пресли - 55 миллионов за год, а строчкой ниже автор комиксов Peanuts Чарльз Шульц с 37 миллионами.
He is what is called a man of action. Он был так называемым "человеком действия".
The comics phenomenon, in its modern context, was born at the end of the 1920s, when Dashiell Hammett’s novels, Red Harvest (1929), The Maltese Falcon (1930), and The Glass Key (1931), created the noir cannon, which at that time was called the hard-boiled school. Феномен комикса в современном виде родился в конце 1920-х годов, тогда же, когда романы Дэшила Хэммета "Кровавая жатва" (1929), "Мальтийский сокол" (1930) и "Стеклянный ключ" (1931) создали канон нуара, именовавшегося тогда hard-boiled school - "крутой школой".
The situation seemed to call for immediate action. Казалось, ситуация требовала немедленных действий.
The first Sin City was remarkable because it counterintuitively, yet organically, blended comics with noir. Первый "Город грехов" был замечателен именно тем, что противоестественно, но органично соединил комикс с нуаром.
What on earth spurred them to such an action? Какая муха его укусила?
The sequel is also revolutionary in its own way: in the sense that it destroys a formula that is fundamental to modern thinking, “thesis – antithesis – synthesis” (if we understand thesis to mean the universe of noir, and antithesis to mean space comics). Сиквел тоже по-своему революционен: в том смысле, что он разрушает фундаментальную для современного мышления цепочку "тезис - антитезис - синтез" (если понимать под тезисом вселенную нуара, а под антитезисом - космос комиксов).
Lights, camera, action! Свет, мотор, начали!
The first Sin City (2005), shot with the minimal, but symbolic, participation of Quentin Tarantino, accomplished a revolution in the relationship between film, comics, and noir fiction. Первый "Город грехов" (2005), снятый при минимальном, но символическом, участии Квентина Тарантино, совершил революцию в отношениях между кино, комиксами и литературным нуаром.
The result of his action still remains to be seen. Результат его действий еще предстоит увидеть.
Comics and noir fiction are two diametrically opposed “realities”. Комикс и нуар - две агрессивно противоположные "реальности".
He calculated the consequences of his action. Он просчитал последствия своего действия.
Comics have given Hollywood many dozens of characters: from Popeye the Sailor Man – who ate spinach to give himself heroic strength – Superman, Batman, and the gumshoe, Dick Tracy, to the Hulk, Thor, Spiderman, and other such “avengers”. Комиксы подарили Голливуду многие десятки героев: от морячка Попая - пожирателя шпината, дающего ему богатырскую силу, Супермена, Бэтмена и сыскаря Дика Трейси до Халка, Тора, Человека-паука и прочих "мстителей".
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