Berlin 2.0 | Review


Published on Dec 01, 2017


Margot has twenty-three years old, is French, a girl like many others in Europe. He studied philosophy and is in search of a doctorate. Berlin for her is a hope, a sort of european Mecca for young, creative and in search of an environment that is stimulating and alive. But the reality is a bit different.

Berlin 2.0 is the fresco of an entire generation that lives to the search for stability, hoping for something other than a part-time contract, a salary of 600 euros, and a work environment that is demanding, but that protection little or nothing of its human capital.

Margot is sucked up in the gears of the everyday life of a city often stereotyped, usually observed from a point of view, ideal but not practical and pragmatic. The Berlin lived from the point of view of a young man in search of work and dreams to be realized is not the one sponsored by musicians and creative people.

In its delicacy Berlin 2.0 paints a portrait to a certain extent also brutal of a German capital that is saturated with young people looking for a job in the creative field, and therefore over-exploited and considered to be interchangeable. In short, this is the world globalized, multicultural, and the economy 2.0? Margot will live all of this on your shoulders, sometimes accepting it, sometimes going to compromise, and finding, on their journey, people, simple but important, like the young university teacher Felix.

Berlin 2.0 is a work that affascinerebbe definitely a non-comics reader, a simple story, but effective, gently cutting edge; a tale of everyday life, able to reflect, and to think of everything that the world (not) is offering us, but from which we can move away and start afresh in order to give concreteness and tangibility to our vision.

The screenplay by Mathilde Ramadier gives great space to the captions, through which narrates the thoughts and experience of Margot, and that are a pleasant accompaniment during the course of the reading. Unlike what sometimes happens in the comics all the many captions do not overload or slow down the story, which instead proves to be quite robust and effective, the pace and timing of a narrative.

The drawings of Alberto Madrigal represent in detail the landscapes of Berlin, shown in all its angles, the most usual of daily life (why Berlin 2.0 is a portrait of a life lived, not a comic brochure). The physical traits of the characters and their expressions, instead, are treated with a light touch and less attentive to detail, but able to catch them in all their expressiveness.

In more the colors, more and Alberto Madrigal, have a light touch typical bande dessinée, which is well suited to the drawings and to the history, delicate but realistic, that Mathilde Ramadier says.

In short, the Berlin 2.0 is a comic in which would a generation of young people ranging from 20 to 38 years old you can reflect, but it is also a reading attracting anyone who wants to reach to a cross-section of a life lived alive and vivid, well-told in the course of all of its 96 pages. A simple story, but effective, which tells the story of hopes, illusions and disillusions, but also want to go ahead and give substance to their vision of the world.


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