Ghemison

I can't give it more than 4 stars, but it's known that its importance goes well beyond its (subjective) beauty. The review wouldn't have been bad if you had avoided the track-by-track approach and had focused less on stylistic pedantry.

I really hope you are no older than thirteen because the review shows a complete lack of intellectual depth, a critical sense of zero, a unique pedantry, and an irritating fragmentation: you merely collected information and threw it all together, without verifying, without checking, without refining the form. In short, the review is unreadable; it's a pity because I was interested in this album, and I would have liked to read a critique that was perhaps shorter but also more focused.

I forgot to vote, sorry.

a lot of notes: as beautiful, deep, and intelligent as your analysis is, the first part of the review felt really too heavy. Anyway, I agree with you on the symbolic value of the work, a sort of contemporary pop mythological narrative, an apologia of meta-human vs human thought, power, and responsibility: however (of course there’s a "however"), the starting points are as fascinating as the execution is impure, the pacing of the plot is often limping, and everything is masked by excessive rhetoric. Moreover, the discussion on the theme of mythology-deities-superheroes is limited to the DC Universe: it is the characters of this universe that have characterization, an iconic and mythical foundation; for the characters of the House of Ideas (Marvel), one cannot certainly make the same argument (this is to take up Kemosabe's first comment). Instead, I grasp the reference made by Ratman (with which I absolutely do not agree) to Civil War, which, while starting from similar premises (the danger of a world where humans and superhumans coexist and the legitimacy of the latter to use their powers to protect the former often at the expense of those they actually want to protect) realizes it in a more realistic style (as is customary in the Marvel house) and less epic, more reasoned and less heartfelt (the lack of a happy ending compared to this work by Waid and Ross). Lastly, a reference to Il Migliore and Terry: it will be the first time I read a comment from the first where he doesn't shoot off a stream of insults, but at the same time mentions as great comics works from the early '90s that characterized the period (not always positively) but ultimately often show their weaknesses (I think of McFarlane's Spider-Man, which, aside from being almost aesthetically unwatchable, contains stories of rare banality and lack of depth, but I also think of Bisley, Giffen, and Grant’s Lobo, which, after the subversive and hilarious charge of the first issues, becomes uniquely repetitive). And Terry: I don't know how representative your statement is, but if you want advice to get to know the world of American comics, don’t start from this, there are too many nerdy references to the DC universe and there's also too much rhetoric; instead, start from important but more human (and less super) works, such as Miller’s reimagining of Batman's origins or (even easier and better) any quality cycle at Marvel about Daredevil (and so again Miller, then Mack, Bendis, and Brubaker) or Spidey (and especially Stan Lee, Peter David, Straczynski, and why not, all of Ultimate Spider-Man signed by Bendis).

Beautiful page, yes. And always great Piero, but I miss this album.

It's a guy in the sense that she's not a knockout, but I think she's pretty (I believe she's married to one of the two Autreche). This, however, is a really great album, captivating and disturbing; it manages to blend musical inspirations and practices that are almost opposite. And then there's something inscrutable, hidden, and challenging that pushes you to listen to it over and over again. Recently, I've also been getting into the latest album, but I'm still not sure. Nice page.

But if someone criticizes you, do you have to accuse them of not having read the review? It seems to me like childish behavior. As for the scorpion scene, I had actually said I wasn't sure; who knows how this thing got mixed up in my memory of the film.

I'm sorry to say it, but you're not clear at all. And the review is a bit boring. Sorry. And please don't start writing about metal, there's already too much of that on deB.

It doesn't seem like a very deep analysis. Anyway, I saw this movie as a child, but maybe it's because in my house we never really cared much about God and his little friends and relatives, so it didn't mean much to me. However, it seems to me that Marcellino dies because of a scorpion sting, and I've always hated scorpions.

I, like a Sunflower, believe the Wu Tang vs Cypress debate has no reason to exist.