Heroes of the house 2 and cartoon characters. Foreign heroes of our time. Cartoon Characters: Girls for Girls

After the unusual success of sales, which was registered soon after its appearance, its popularity began to decline. Who is your absolute favorite superhero? It is known to pass the "Visibility" of the Italian lessons of Italo Calvino, in which the Ligurian writer recalls his love in childhood for the illustrated stories of "Corriere dei Piccoli." Remember that he was still illiterate, he could read the images of these comics and build stories, according to the projects of foreign and Italian authors such as Pat Sullivan, Frederic Berr Opper, Attilio Mussino, Antonio Rubino and Sergio Tofano in the art of Sto, Bonaventura, one of the the main names of the magazine to which the Italian comics belongs.

However, Calvin's love of the origins drawn does not end with maturity. The writer's eclecticism, his curiosity and stylistic research also make him interact with this first love and life, a literary story. All this, told by a parallel or intersecting history of prose and description or indication of boards, cartoons and graphic solutions, which in comics could tell the same story.

Maybe even better, says Calvino. A recent date for the history of the comics in Italy. That year, in fact, comes out of the Apocalypse and is integrated by Umberto Eco, the first scientific research, the first expressed reflection that appears in the country on the comics, his characters and his language, in a more general speech about culture mass.

Until the 1960s, the cultural climate was completely different. It is well known how many clouds have lasted since their birth. The symbolic episode remains the American crusade of the 1950s against the comics, as a danger to children, both moral and cultural.

Indeed, in the 1940s and 1950s comics in the United States were subjected to real aggression. And similar situations also exist in Europe. In Italy, there is also a lack of crosses aimed at revealing the responsibility of the so-called decadence of new generations in comic books.

We are in the 50s, from the moment of the emergence of the "young", for the first time no longer embryos of adults, but a social category with their own identity, use and customs, clothing, passions and aggregation regimes. For the most conservative public, they are all "plush boys", criminals, chaplains degenerate to counteract. Between those who shout at the apocalypse, comics are considered among those responsible for the theft, accused of telling bold stories in poor and disadvantaged languages.

Studies and inquiries are published on the so-called "burnt youth" with speeches of intellectuals, sociologists, psychiatrists, writers, poets who put them in the index. And these voices, in fact, are basically divided. This is a kind of general feeling, and therefore schools expel and counteract the dangerous clouds that, moreover, are placed in the index by both the Catholic and Communist press even by well-known representatives of the progressive political class, revised as "Il Vittorioso" and "Pioneer" on the position of the Christian Democrats and the Communist Party of Italy in addressing young Catholics and Communists, where there were good and bad.

Absolutely from the chorus of Elio Vittorini. In his "Polytechnic", still in the 40's, he gives space to the clouds and does not treat them as entertainment alone or danger. Declarations intended for "oblivion" for exactly twenty years, before the birth of "Linus", which will be separated from exactly the same point. 60's, years of fermentation.

The 1960s were the years of cultural liberation, even for the comics. Schultz and J. Greimas and again - Eco, who writes about the interference in Ian Fleming's narrative structures: James Bond's father. Language, the form of narration, the place of interaction between the image and the written word, which now is the stimulating part of the imaginary. And to whom in the same years at the Faculty of Master's Degree in Rome, Romano Kalishi founded the National Cartoon Database, which organizes meetings, conferences, study days dedicated to the clouds.

Curiosity and the search for literary authors. Calvin writes "The Origin of Birds" in this context. At a time when structuralist and semiotic studies offer a new critical view, a new way of analyzing texts, not just literary.

Comic, such as cinema or other languages, in which not only verbal, syncretic texts interact, is a viable way for narration. After all, Calvino is not the only Italian literary author, although very polite, who is interested in this medium. It should not be forgotten that the science fiction comic was born in our country thanks to Cesare Zavattini.

Even in Italy, as well as abroad, there is the use of comics among the language of protest. Ironically, shameless, the middle is considered to be the second, poor and, therefore, a free place for political and social studies and denunciations. He is Dino Buzzati, another enthusiastic author of a fantastic territory, which prints a really unusual book for his panorama: "Comic poem."

Words approach Eco in "Apocalypse" and "Integrated", and Vittorini in "Linus" conversation, but can not be defined as separated. As for the 60s, then, as many literate students became interested in comics, there was still a lot of confusion on the comics. Nevertheless, in the retrospective of Italian literary history, from this time there are several distinct names attentive to this environment.

Attention of literate, intellectuals, artists. In the last quarter of the twentieth century, the value and importance of the comics is not without approval, and not just writers. In fact, art, cinema, television, radio and other media can not cope with imagination, narrative situations, perceptions of places, figures and dynamics, as well as comic book stories and phrases. The very book of comics has become a very popular figure, both in reality, and as a character in literature, film and much more.

And he also became a valuable author of authors who pass into other spheres of art. It is well known that the French cartoonist Moebius played in creating the landscape of Running Blade Ridley Scott. And Fellini is not the only one: other artists and intellectuals collaborated with comic books.

With another friend of Roberto Raviola in the art of Magnus, the author was able to move with the ultimate versatility between styles and genres, Guccini collaborated on the scenario of the episode a few hours before the dawn of the Stranger. Since the 80s to of today, almost no competitions are not artistic comics awards. And there is a large number of   literary authors, who are differently related to the media.

That is, in the foreground the names of the "old" and the new Italian literary scene. From this moment, writers who meet with the comedian, multiply. Among modern names worth mentioning Sandronu Daziri, who for a long time participated in the raids in the world of clouds, and Titian Sklavi, creator of the dog Bonellian Dylan, has always been active between literature and comic. This is the same conversation for Leonardo Gori and Andrea Carlo Cappi, or for Luigi Bernardi, who moves as an author, editor and publisher.

Not to mention the musician Gianfranco Manfredi, screenwriter, author and essayist. Many writers begin to create original stories and scripts for comics and novels, or they help translate into stories that have already been published in a volume or in magazines: Claudio Piirzanti, Massimo Carlotto, Valerio Evangelista, Carlo Lucarelli, and others.

Meanwhile, the phenomenon of the "graphic novel" exploded. In Italy, an unmodified loan from a graphic novel is already available. It is used to refer to "comic books", and it can be found in newspapers, specialized magazines, periodicals in the columns of reviews. In addition to blogs such as "Kuerelikhin" by Marco Lupoi, "Cartoonist Global" by Luke Boski or "Stream of Consciousness" by Tito Faraka.

But Eisner is not the father of the graphic novel. My design is trying to write. There are those who claim to be the new form of the novel, or the form of the novel, which considers it a literary genre, which is a text typology. Those who believe that this is a literary novelty, argues that this is nothing new in comics, which, like narrative texts, have always tended to novel. Participate in the discussion of the author and critics around the world, from the United States to Italy. Only for our country, in another, among many discussions there is a morphological: or "graphic novel"?

He would like a male, but in use he wins a woman. Of course, the phenomenon of the graphic novel is intrigued, passionately, culturally and economically is winning. If the press says so, libraries increasingly devote space to the comic book, after the initial doubt about the location of new comic books, festivals and literary fairs such as the Turin Book Exhibition, open to authors of graphic roles, are writers of scripts for designers, while the web -Sites aimed at studying and promoting comic books, multiply.

Comics, for many years, is a mature medium capable of resisting historical, political, social and existential arguments, styles of testing, carelessly moving between genres. Here, however, you are not interested in delving into the details of the polemic raised by cartoon supporters and detractors, or comic books, perhaps called graphic novels. You want to make a historical reconstruction of your success.

Taking into account the graphic novels of non-serial comic books, they are obvious, although with obvious qualitative differences, as the case may be, original stories organized in complex and wide-spiritual texts. Narratives that are able to deal with any subject, with characters from a non-sweeping psychology, must be built in the text, and not a priori. These are texts characterized by the development of a history not related to the historical requirements of the title, with the greatest stylistic freedom for the author, without the use of composite index symbols, participation, language and expressions.