cptgaio

PS: thanks also to Hardrock.

Well, I believe your nickname makes it clear how much you love the great Ortolani (I'll tell you, I haven't reviewed anything of his yet because I was waiting for you... and I'm not joking :-D). Regarding the "superhero comic" discussion, I can't disagree with you because I see it the same way, and indeed you mention all the authors I love very much (many of whom I have already reviewed: some directly like Gaiman, Moore, Miller, Spiegelman, even though the latter belongs to a completely different genre; some indirectly like Crumb, who is also from another genre). With this writing, I have, in fact, almost closed a circle on American superhero comics (though it would be more accurate to say Anglo-American) that I personally find relevant for anyone wanting to approach the genre, citing at least one review each for those I think should be remembered (Gaiman, Moore, Miller, and I've also included Waid, Ross, and O'Barr) among the "innovators." I say almost closed because I still have to dedicate something to the "founding fathers," so I have three more reviews on the genre to complete: one for each author (and I believe you can guess who I'm talking about). Then I will move on (though to be honest, I’ve already started) to other genres and other national realities, being a lover of comics in all their forms. As for the unpublished review, I had the same issue with a Dylan Dog issue, and the reason given to me was that reviews of individual issues belonging to serial comics are not published (a reasoning I somewhat agree with) to avoid 200,000 reviews on the same character, perhaps. Thank you for stopping by!

Man, damn, for once that I had stayed silent... do you think I didn't follow the "controversy"? ;-)

Uh, aged poorly? I wouldn't say so... I still find it vibrant, both graphically and conceptually. DeGustibus :-D

Don't worry, platonic, platonic ;-)

You bring a fairly clear and extreme example, in the sense that parables like those of Litfiba in Italy are quite rare: for better or for worse. The After, when they were completely independent, never received the critical acclaim that Litfiba had when they were independent too, just as they will never achieve the public approval that Litfiba had when they chose a more radio-friendly rock path. I can't tell you why, but the fact is that the history of Litfiba is so unique in its dichotomy that it’s quite unmatched by any other reality, and I must say, I believe that at least until "Terremoto," there wasn't even a "artistic decline," but rather some well-defined and, all in all, quite "credible" "artistic" choices. Then from "Spirito" onwards, pop (with a lowercase "p" not by chance) took too much control: they wanted to exaggerate. However, in the After, I sense that the albums in the "00s" are not the result of well-defined strategies but of a creativity a bit aimlessly, lacking stimuli, and the choice to sign with a major record label was forced to save both the goat and the cabbage, not certainly to fly high. This is how I see it, at least :-D

I thank Eletto (I suppose you mean "Watchmen," right? I think a little differently, but we'll have a chance to talk about it later...) and Supersoul (thank you for the clarification: I wasn't familiar with that edition; I'm fortunate to have American uncles who have known of my passion for comics since I was little, so I've always had plenty of original versions or at most second prints, and with every "return trip," they would bring as many as they could carry, sharing space with gifts for the other cousins, unfortunately ;-) and amidst a lot of forgettable stuff, I also have some gems, like this miniseries that probably made me "lose" track of the Italian release. Your interventions are always helpful and precise). @Ghemi: I thank you for your appreciation of the writing: you mention wonderful works (and as Super also says) graphically probably better than this, but of course, I speak from emotional premises and not just "technical" ones. Anyway, one thing is certain: it's a shame that Miller in Italy is known only, or almost, for works like "300" or "Sin City." Bye.

here you see... what tricks sleep plays at a certain hour? ;-)

Thank you for the links, tomorrow (today...) at a more suitable hour I'll take my time to check them out and let you know what I think. Now, since you've been so kind to provide me with clarifications, I feel it’s my "duty" :-D to rate your review, but since you just passed from one of mine to give me a 5, I can't give you the same because otherwise those "rascals" ;-) from DeBaser might think I'm doing it out of "paraculaggine" (is that how you say it?). Let's do this: I wanted to rate you a 4, but unfortunately, my mouse slipped to another number... okay? Bye!

Thank you, you’re too kind with the score on the written piece! I generally agree with your ideas regarding participation in Sanremo and the value of the "training and age journey" on the "products" that an artist brings to their fans. However, this is precisely where I struggle to empathize: it doesn't bother me that the After have "dedicated" themselves to a major or have winked at a broader audience (the "Sanremo" discussion applies here: for me, it’s absolutely irrelevant, and if we get to know each other better on these pages, you'll understand that it’s the last thing I look for in a musician or any other performer), but I have indeed found an artistic regression that began in 2001, and I hope it has ended with this "operation." A regression made up of songs without peaks and without anger, if you know what I mean. Then again, yes, you’re right, maybe I haven’t been able to adjust to their "growth," but many other long-time fans have felt the same way (you can see it from the comments on this page), and so I think it’s something Agnelli has had the chance to reflect on. Goodbye!