Popular cartoon characters. New era of Russian animation

In this picture, it seems significant, as the author became the protagonist of comics from the past, a phenomenon that goes hand in hand with the introduction of the graphic novel, a term that was already established in the late 1970s in the United States when times seemed ripe for comic stories where the guarantee of certain atmospheres was no longer characters with their series, but the authors with their style. By now, this type of comics finds its space in libraries, and publishers in the past have rarely been interested in the genre, have begun to reprint, and sometimes even to publish new books.

These are stories where the character is no longer in the spotlight as it happens, rather than in the traditional comic book, in which the central place of the main character is emphasized at all times, starting with the cover, an indisputable product and confidence symbol, being a player faced with an established genre and certain quality.

A graphic novel is actually a comedian who often talks more about emotions than facts and does it both through words and through blueprints, leaving it free, that the first and second can alternatively take the upper hand in the page space. Characters do not seek strong feelings, they are there, even when nothing is happening around them. With this new type of comic, the protagonists no longer mask, they no longer have to represent something clearly defined by their actions, remaining the same adventure after the adventures, but they are complex characters that grow and develop in history and most of the time they live in space of the book.

In Italy, the editorial growth of comics novels allowed some authors to concentrate on a very personal language, trying to avoid classical narrative schemes, as well as the traditional cartoonish image as a simple product intended primarily for a young audience.

The Italian author, who became one of the most important international comics novels in recent years, is Gipi, the artistic name of Gian Alfonso Paciniotti. In this work, the author devotes himself to building a long fantastic story, established today in the Italian province of Northeast, stricken by a war with traditional weapons, of which little is known, and the participation of some boys in the transition to adult age.

Gipi tells the story, often breaking the rhythm, using vignettes of different sizes, extending the signatures and, finally, disrupting the flow of reading with a full page vignette, which is not just a contour that extends the reading time, an expression of mood. Here, firstly, his father, Silvio tells us, and he makes an unusual task to try to subordinate the design, which in itself is an objective element. But what can be the memory and, especially, the emotional memory of the beloved in the years of infancy and youth, if not something vague, vague, inconspicuous in the reconstruction, just as strong in the soul?

And then Gipi remembers, stumbles on words, mistakes, rewrites them, not erasing the infidels, because they are part of a communicative, personal, touching and profound game. In it, he manifests himself as an artist formed by the road to write and draw for a sudden vocation and to win with talents knowledge, how to tell and know, the political and social consciousness. This image is almost an allegory of what is happening on the pages of the book, during which the author constantly shows the most intimate part of his humanity, realizing that he becomes a character and is even able to allow some to wink at the reader.

Also interesting is the work of Francesca Hermandi, who in Grenworth talks about the difficult existence of George, a zombie who does not have the courage to accept his fortune and does not know what to do with what remains of his existence. Between the repression of the Grenruum regime and the ongoing attacks, minimized by television news, there is a place for the love story of George with Laura, an activist of the terrorist group. The graphic style of Hermandy brings reality to an impossible, restless and fascinating place elsewhere, and shows us, smiling, absurd.

Many modern cartoon artists are increasingly engaged in graphic new topics such as illness, mental discomfort and death, because characters - no longer immortal masks - in the comic novel can suffer and even die. With love, emotions, pain, the strip repeats the history of the woman and the people around her. Even in this non-autobiographical comics, the goal becomes subjective: memory gives out characters in whose past the past is the present. Often, Rock shows us that the characters drawn in cartoons are imagined and considered real, alternating smoothly in the plane of objective reality.

And he closes the book with a series of faces without eyes, nose, mouth, to turn off the cartoons, then empty until they turn white. The author does all this without letting go of melancholy and sadness, but using a humorous sign that creates a shaky and easy feeling of hope.

Two great novelties of the modern comic book can be found in the author's ability to talk about himself and pain. Many authors really could tell them in the past through their heroes, and many heroes were told tormenting moments, but serialism gave the reader a hope that the novel does not guarantee at all.

The same Eisner in his introduction to the Treaty with the trilogy of God. The first pages of this comic tell the story of Frim Hersh, the pious Jew of Kapsu Avenue, who on a tragic night falls home frantically for the death of his adopted daughter to violate the agreement he made in his youth with God, to whom he had lived up to this moment with deep honesty and truthfulness. The special style of David B. is very stylized and, therefore, unreal, combined with a detailed and intimate story, gives the result of extraordinary expressiveness.

Sometimes reading is breathtaking, dramatic situations leave no room for an exit, and drawings are increasingly taking the form of a nightmare traced by a black marker. Despite the fact that the relationship is caused by the virus, their way to protect themselves from fear opens up new opportunities for love and life.

To this end, the comic book is suitable for solving issues that have never been considered for many years of its history that American Paul Hornshemiere writes to write a novel that imitates a dramatic autobiographical experience in Mathi as at home: the protagonist with whom the author identifies is a seven-year a child who recently lost his mother and whose father, because of this disappearance, falls into a fatal depression.

But the widespread autobiographical comic book novel, released in recent years, is Persepolis Mardzhane Satrapi, who became an editorial phenomenon throughout the world, and also translated into a faithful cartoon. Parents make Marjana go to Europe, but nothing will be easy even on the old and free continent.

The novel of comics, intense and exciting, is made using an elementary and effective graphic sign only for its immediacy. Another type is the autobiography of the American Craig Thompson, who at the age of twenty-eight in Blanket described in six hundred pages the story of his first love in high school with an engagement that never comes to nostalgia. The past passed and served the cause of creating the present and the present, allowing us to tell what happened to mature participation, without regret.

The novel has a central and "heavy" role in the Christian fundamentalism of the author's education and the girl who was in love at that time. Religion, according to Thompson's point of view, limits the freedom to live with the strongest emotions, trying to give an order and the cause of what is naturally chaotic and irrational. For this reason, and for some erotic scenes that are still very punished, the book in the United States caused negative criticism and reaction. But the power of Thompson is simply to tell how to make a great storyteller: without hiding.

Unlock everything to enter with the reader in direct, deep, passionate communication. In this autobiography there is no self-esteem, there is no possibility that Thompson became a character. He gives the reader his story, his world, to communicate with great emotions, it means only that: to realize life through the arising questions. And Thompson has big questions.

However, an autobiography can not be painful or passionate. The first to be published in Italy was Pyongyang, the capital of North Korea, where Delisle worked as an animator. Delil conceives his comics as a diary on board: talks about his arrival, about the specific situations he meets, about his first impressions. He uses a stylized and caricature graphic style precisely in order to establish the distance from the object of his analysis. The next two works, Shenzhen and Kroniks Birmans, continue along the same path, so that a kind of complicity is established between the pages between the reader and the author, since the reader knows that Delil will show the absurdity of dictatorship or democracy, civilization and uncivilization, funny reflections.

It really is an interim report between the report and the autobiographical diary; and this is also a demonstration of the fact that in this type of comic book the author imposes himself as the main character. In particular, in these works, Delil does not program situations, facts or evidence. If you sometimes return songs from pamphlets or guides, it's just because you are pleased with your curiosity and your desire to deepen your situation.

Sacco wants to learn and tell about what is happening in those areas that were beaten up by war, oppression and disinformation, and ends up telling a lot about himself as a scene supervisor. Its never a cold note, but a history of involvement that can reach dramatic tones until desperation. The tragedies of people with whom he comes into contact, both personal and collective, also arise thanks to an expressive feature that often allows photographic realism.