Hombres de Meridiano Zero,
you tell me?
More and more authors, especially Americans, experience in parallel the language of comics and novels. What do you think? Above all, do you think is a mix that works? I think so, I am increasingly convinced that one of the things that can rejuvenate some formulas narrative, bringing new potential readers to books, is the crossover, intended as a soup, jam languages \u200b\u200band suggestions that can forge a style that is always immediate but no less complex, indeed. The comic is ultimately a very popular language. Just to take a recent example and noble, I think "The tigers of Mompracem" released on Lizard Rizzoli designed by Hugo Pratt and written by Mino Milani. The novel by Emilio Salgari comic ... not bad, but then we read the names of new authors writers rained American "bastards" who misrepresented continuously between novel and comic strip by the name of Joe R. Lansdale, who wrote novels drawn from characters in the comics - The long road to revenge (Edizioni BD) - and has scripted comics directly, the last is arriving Sandwiches featuring Conan the Barbarian. And what about Victor Gischler? Writer who has just become the regular series of Dead Pool for Marvel and has recently finished writing a series of stories for Wolverine and The Punisher? And Duane Swierczynski? Also working for Marvel at full capacity? (Cable and The Punisher, among others). But then there Gianfranco Manfredi, creator of one of the most beloved Italian comic as Magic Wind, which has just come out with the novel "I'm cold" by Gargoyle Books, and then Greg Rucka, Charlie Huston, Tiziano Sclavi ... But what
I was interested in bringing to light, so to speak in short, do not discover anything new, is that familiarity with the dialogue, the script, the obligation to write stories full of twists, weaving, changes in perspective and reversals in the face as required by the comic, these trains authors to write novels that have amazing stories and hyperkinetic.
Among other things, too often it seems to me, it tends to trivialize the effort that an author makes in constructing plot full of blind alleys, action scenes, syncopated dialogue, narrative elements as if they were discounted in the public domain, property of many.
I do not think so at all. Instead more and more I feel that all those authors and critics who disparage or criticize this kind of narrative, advocating the superiority of feeling, internalization, reflection, small things, the facts of each day, well I think they scontino atavistic inability to tell fascinating stories.
In this sense, the comic strip, with its fast-paced arena, to go go action and creation of atmosphere, I can make a vital contribution to the language of the novel.
on your aff.mo
Matthew Strukul
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