The Superhero Global Bepi Vigna | Review


Published on Nov 17, 2019


For certain environments, and the cultural awareness general, do not have this concept (see case Scorsese), superheroes are a serious thing. Indeed, the mythology and prosthetics started in the Thirties of the Twentieth century have created a literature so powerful as to have reached in these years, phases of unprecedented popularity, and is now ready to become a canon of mythology to all the effects.

All this to say that superheroes, pop culture, and everything that revolves around it, with the passing of the generations, they are entering a phase in which will more and more represent the popular consciousness, and are therefore a something to take seriously, as well as fun and entertainment.

And this is what makes the rate of Bepi Vigna, entitled The Superhero Global. It is a work suitable for newbies, and even the most experienced. In a concise, but effective, the Vineyard is able to dissect the history and the influence of superheroes on the collective consciousness, and on popular culture worldwide.

Because, if the initial objective of the superheroes was to create a “sense of wonder” in children, hand in hand, the potential of the literary and mythological of these characters in costume was released and propagated through the various media, from comics, to radio, to television, to the cinema.

In Italy, this “sense of wonder” has reverberated for much longer, and has led to underestimate the potential, even at the film level (the rate of the Vineyard is the example of the film The three Superman, a sort of film-adventurous-humorous, as the model of the feature films dedicated to the superheroes that were produced in our Country in the Sixties, Seventies, and beyond).

But, the United States, where it all started, were the first to understand that the potential of the superheroes went well beyond the simple sense of wonder.

In this way, Bepi Vigna tells the story of the growth of the genre, made it through the first feature-length films supereroistici level (the Superman of Richard Donner, the Batman of Tim Burton), and with comics that were evolving (Watchmen and the Return of the Dark Knight). Everything culminated with the explosion of the Marvel Cinematic Universe.

The vineyard stresses as the first film of the MCU have been those dedicated to the Iron Man and Thor, superhero, the power of narrative and human detail (especially the God of Thunder, which has many echoes shakeasperiani). Whatever one can say, even the Marvel movies have shown, in part, the superhero as a figure capable of expressing the fragility and the depth of the human being. And lately the Joker Joaquin Phoenix was the apotheosis.

These and others are the contents of the essay by Bepi Vigna, that, in little more than fifty pages, he manages to dissect eighty years of the history of comics and cinema, in an essential way, but not superficial.

The author, known for having scripted the stories of Dylan Dog and Nick Rider, and you have created Nathan Never, got in the game in a different role from the usual, opening the necklace Resh Visions, dedicated to the wise a study on the comics culture.

The essay, available for free on the store, is a pioneer in a series of content on the same topic that will follow on a monthly basis, and that will be available in digital at a cost of one euro. In short, a lot of pop culture good the reach really of all.

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