preview In paragraph 2.2 of the comic book Analysis - The composition of the pairs of tables :
"Rat-Man by Leo Ortolani
" It 'a rat with a monkey face? E 'with a monkey-faced rat? It 'a poor fool who can not help but slip two pathetic mouse ears and go around in tights? Probably all these things put together " (1) .
Rat-Man, the character by Leo Ortolani that has carved a prominent place in contemporary comics, is a poor figure in that appearance may seem like a close relative of Batman the pipistrellone created by Bob Kane : it is rich and Archibald Butler takes care of him, he lives in an isolated villa on the outskirts of the city's name, the trust Topin the Wonder Mouse makes him the shoulder and then took his vocation as a caped crusader when a rodent's suddenly appeared in front (but Batman was a scary bat while the Rat-Man has received from the postman a copy of the weekly of the Rat ...) (2) .
There is one detail that betrays the character of Ortolani and questions the blood ties with the Dark Knight: the hyphen between " Rat" and "Man . The name "Batman " while it is devoid of this is the Marvell "Spider-Man . And Rat-Man is indeed a character in the mold Marvell, as to make it clear in an interview the same Ortolani " Actually I always thought of more Spider-Man because - I admit - Batman, I never even read a story. Among other things, the first appearance of Rat-Man of 1989 simultaneously with the first film Bat Man, that of Tim Burton, I, however, I have only seen on video and then " (3) .
DNA Marvell of Rat-Man is mapped in an article by Maurizio Clausi :
" And when we say that the reference is Ortolani Marvel sixties we are not referring to the origin of comics parody but rather the use of styles and languages \u200b\u200bwe now call Marvel Style.
" Orton takes great maturity with the characteristic elements of that style, bowing to its demands or detached narrative, all with a brilliant internal consistency " (4) .
E 'Marvelli sense of inadequacy which is aware Rat-Man.
E 'prisoner of his face like a monkey Strapazzata What is the shape of the rock. E 'and more overloaded with superproblemi as Spider-Man (other than the millionaire playboy Bruce Wayne ...) and its superproblema is that nothing fails. In addition to these aspects typically
marvelliani the author draws on forms of language that belong to the American comics outright but must be traced solely to the way of doing comics of the House of Ideas by love and preference Ortolani for Marvel . For example, the opening splash page has for years been a hallmark of both the Marvel comic as those DC but the first that the author has known, understood and assimilated. "In a comic Rat-Man table that contains the title is constructed as the equivalent of a comic book superhero. The image is a full-page and summarizes the main reasons of history, the title is clearly visible with spectacular graphics, captions (so many, because the speech enhanced by breaks, multiplies the tension and suspense) offer an epic tone to the story » (5) .
In addition, the graphical style and Kirby. Ortolani capture the power of Jack Kirby's drawings , metabolizes and uses the naturally into a comic book that has humor in one of his main reasons to exist. If the author is able to achieve in a convincing way through this strange fusion is a long-standing love for the American author (6) that in the early '90s and before the great success of Rat-Man, was expressed even with the construction of four numbers of the apocryphal " Fantastic Four" for the magazine "Made in USA " (7) .
The composition of the pairs of plates Parent Rat-Man with American comics. In his misadventures can identify the real surprise effects achieved with the combination of the two tables. It 's the case of "The threat green " (8) , one of the episodes because most beloved by readers starring the lovely Thea. In the ninth table Rat-Man lunch with Thea's father when all of a sudden (the last vignette) the two are recalled by a scream, turning the page, we discover a splash page in which Thea is crushed by the tentacles of a monstrosity.
that the purpose both emphasize the dramatic element (and hence the pair of tables with its surprise effect is to serve this purpose) is confirmed by the same Ortolani :
(discussing the boards eight nine) ' The natural inclination of this to the dramatic story and my obvious inability to do anything to avoid it, emerge in these scenes more fitting. In my opinion there are very few jokes, often "stacked" the story without the accompanying smoothly, as in a real comic story. In these two pages, the dinner scene is a clear example of what I mean. The bar of the "cover", the "old fool" and the "felt the wine" are little more than brush strokes of yellow on a framework blue tones. " And then (discussing the ten board that forms the pair): "Finally, the splash page revealing of rejection called" Primus "" (9) .
Ortolani but goes further and does not use tables to create pairs only surprise of the effects typical of comic book action-adventure. His Rat-Man is above all a comic character and each story contains a barrage of gags.
The composition of the pairs of panels is folded so that its requirement, as is the case in " Rat-Man against Spider! " (10)
Police surrounded a dilapidated building in which hides a" thug "who can not flush out. Fortunately, help arrives in the Rat-Man that in Tables 7 and 8 (11) an essay of his ability ...
Valker agent is skeptical: "I asked for reinforcements ... not really believe that idiot manages to capture the spider, right? " The answer
Captain Krik is piqued: " idiot, Valker, and Rat-Man! justice alive! disguised arm of the law! And I'm willing to bet that capture has taken place! "Krik
Obviously the captain took a crab. Turning the page to see Rat-Man trapped up to his underwear in the giant spider web ...
You can close the circle citing a Marvel comic in which the pair of tables is not destined for classic but surprise at bat, as in a number of "Fantastic Four " (12) of J. Michael Straczynski and Mike McKone .
The two authors, while focusing a lot on such topics as pure science fiction and the great questions of metaphysics, not forgiveness sight of the need to explore the everyday and the little weaknesses of the characters in the series. Here is that Sue has to fight against a social worker to get her serious about the children because it considers too dangerous life in the Baxter Building along with a family continually being targeted by crazy super-villains and alien invaders.
To quench this invasive intruder, Sue decides to hide the baby sitter of Valeria and Franklin Crystal of the Inhumans, living on the moon. The Invisible Woman is a good face and bad game and decides to take a girl on earth. At the interview shows a group of unsuspecting girls who think they are in a skyscraper to be taken by any family whatsoever.
do not know that you are in the lair of the wolf and the boy to talk to and that in the future accudirà one of them is the son of Sue and Reed Richards, the famous when they wear tight-fitting costume.
" Oh, hello, you have to be the little Franklin. Your mother was there talking about you.
" We talked about monsters? asks the child.
The girls are off-limits and give the application to the imagination of Franklin. They soon
stare and think again because - turning the page - appears before them a brute of orange stone that greets with a 'beautiful Hi, how are you? '...
NOTES
(1) Andrea Plazzi, "Who's Rat-Man?" Rat-Man All No 1, the first reissue, Panini, Modena, 2002 [1997], p.. 33.
(2) Leo Ortolani, "The disturbing origins of the Rat-Man," Rat-Man All No 1, the first reissue, Panini, Modena, 2002 [1996] ECR. 7.
(3) Diego Del Pozzo, "Leo Ortolani ... The interview! "Rat-Man All No 4, the first reissue, Panini, Modena, 2002 [1998], p.. 64.
(4) Maurizio Claus, "The Mouse Behind the Mask ' All Rat-Man, No 7, the first reissue, Panini, Modena, 2003 [1998], p.. 118.
(5) Andrea Plazzi, "Signs of style," in The Classics cartoon Republic No 18, La Repubblica, Rome, 2003, p.. 8.
(6) Jack Kirby was even starred in an episode of "Rat-Man": Leo Ortolani, "The King and I," Rat-Man Collection , Cult Comics, Modena, 2002.
(7) Leo Ortolani, "The Fantastic Four," Made in USA No 7-10, Pisa, 1992-1994. The four false numbers of the Fantastic Four, emerged as a flip book of the magazine, had a fake numbers beginning from 103 and an internal graphics identical to the cartoon Horn. The first issue was presented in this way: "With pride and emotion we offer exclusive for Italy a real scoop: the conclusion of the saga of the Fantastic Four. Yes, we already see in disbelief and appalled, but there it is: FANTASTIC FOUR closed its doors in the 70s! What's worse is that nobody told us anything, the diabolical horn not only changed the colors of the costumes of superheroes, but for years has published trivial stories (made by a Milanese Sesto sinister band of authors who imitated, and evil ones U.S.) while continuing to build on the success that we collect from Fantastic Four but in America, we repeat, does not come out in years . Obviously the "diabolical plot" was started after the No 102 the last one designed by Kirby.
(8) Leo Ortolani, "The Green Threat," Rat-Man All No 1, the first reissue, Panini, Modena, 2002 [1996] ECR. 67.
(9) Leo Ortolani, "Behind the scenes 2 ', the site http://www.imd.it
(10) Leo Ortolani," Rat-Man against Spider! "All Rat-Man No 1, the first reissue, Panini, Modena, 2002 [1995], p.. 41.
(11) Ortolani, commenting on this episode, when he talks about on page 8 states explicitly that he wanted to create a composition (in opposition), " The first issues of self-schemas were firm enough to establish the events within the story. Since I had available a few pages (24), a third and two thirds of the narration had to happen something that would advance the story dramatically. Whatever it was, the appearance of the enemy or otherwise, emphasize its importance with a splash page (the page where there is one large sticker) that the player is in front of "suddenly" turning the page. It is a fairly straightforward narrative trick: turning the page, there is a twist. Insert a splash page on the next page that you are reading does not have the same impact, because you see it already . See Leo Ortolani, "Behind the Scenes 1 ', the site http://www.imd.it
(12) J. Michael Straczynski and Mike McKone, "Appointment Delay ', trans. com. Andrea Plazzi, Fantastic Four No 260, Marvel Italy, Modena, 2006 [2005], p.. 15.
See also:
description the book's blog Abigail Press.
0 comments:
Post a Comment