These days I read, watch and write a lot, as you know how to understand and even stones. Dancing, too, but the role of narrative in dance is minimal and fragmented.
In particular, in addition to minding my own business, this weekend I saw two products in comics: the two volumes of Magic Press Hellboy and the saga of Morgan of Luca Enoch and Mario Alberti .
begin by saying that although two productions that can not be more different, both are very high quality.
Hellboy può ingannare più facilmente: grazie al fatto di essere un prodotto popolare, con un tono più "basso" e con qualche sketch umoristico, può sembrare di qualità inferiore. E in effetti come tale l'avevo avvicinato: avendo visto i due film, me lo immaginavo meno profondo.
E invece, già parlandone col mio disegnatore, ho capito che mi sbagliavo. Già la qualità del disegno basterebbe. E poi ha ragione lui: ogni storia, nelle mani di Mignola , diventa una poesia. Anche se volano pugni, parolacce, pezzi di mostri vari e chincaglieria esoterica. L'iconografia classica dei mostri e delle creature infernali viene piegata ad altri fini, reinventata per suscitare sentimenti diversi dallo spavento or repulsion.
I think the figure of the protagonist: a real devil of hell, red, with horns and tail. Of course, if I met a guy on the street so frightens me, but in the narrative HB looks like a positive character, sympathetic and reassuring.
I also think of a short story on HB child, "Pancakes", in which HB to 3 years for the first time tasted the pancakes and says that he likes. In the city where HB hell it came from, this event is seen as very serious, because the baby is becoming more and more human: the various demons, despair and one of them sentenced "This indeed is our darkest hour."
Told so, it seems bullshit. But those 2 play very well with small pages a series of stereotypes (the child of three years, the military makes him the babysitter, the infernal world) and the result is a sense of humor and tenderness were not trivial.
Here, Hellboy has this feature: every story, even dramatic, dense, leaves you smiling. In the hands of Mignola, the happy ending is not trivial.
Morgana, however, is entirely of another pasta, though most valuable, too. Apart from the design of Alberti, a beauty not to be able to describe it (I would say that is inspired by the liberty and perhaps even a little 'to Manara, but would not make the idea: you can only watch his deeds). Apart from the size of France, who was born completely different for editorial purposes dai comics americani.
Morgana, per definizione stessa dei suoi creatori , nasce come una space opera ispirata un po' a Star Wars, un po' a Dune e un po' alla tradizione tragica dai greci al melodramma.
C'è un personaggio che all'inizio cerca di alleggerire un po' il tono, ma dal terzo tomo in poi scivoliamo nel dramma puro, quello dei sentimenti assoluti e devastanti, in cui anche una battuta legittima suona troppo cinica.
Detto così, non è che l'opera ci guadagni granché. Invece una storia tutto sommato banale (due innamorati separati da bambini si ritrovano su fronti apparentemente opposti, fino all'agnizione) diventa veramente bella grazie alla caratterizzazione dei personaggi.
you, the protagonist, is beautiful and pure, and no rain on this (do you want to Enoch miss the chance to draw a nice pair of tits ? Never let it be!). But his love lost a child because it was so pricey but it looks (and methods) from the big bad: it makes hard expression and poor, red eye, look a bit 'to be a bit crazy' by murderess, weapons and clothes not quite reassuring. This already led astray, besides the fact that the two do not bear the names of two children seen in the prologue, because both, for different reasons, they have changed.
Moreover, later in history, is that he found his lost love, change too much attitude or methods: it is always willing to get his revenge, although the main reason (or her death) has come to fall.
not tell you the ending (which is not a real ending: the series was discontinued on the fourth volume of Economic editor for French), but from all these premises we can see that it is a nice happy ending, the more that comes from a devastating emotional climax.
is probably the only possible final, and also the most effective, why do you tie your gut for days and continue to think about it and come back up. A final striking the kiai.
Well, this is to say that I had two entirely different models on which to meditate, both valid and enforceable. And I decided that, at least for this project in the process of conception and Viola, the ending is not happy is not for me. I do not mind the happy ending is easy, commercial, and all bales autoconsolatorio I can tell the Grandiscrittori. I want to bring home all my characters, possible interactions and functioning. I also dramatic moments, too serious, even profound. But I also want a good final solution. I want my readers continue to read my stories to feel excited again and raised to the conclusion, not to worry and awaken their fears.
With all that to "that" scene I'm thinking maybe Morgana so much because I know how it goes further than any table.
