And if the king did not come back? And if the hero of the cartoon had failed to meet after the crisis? Then we will see a chilling rendition of the myth to reality. See the end of fumetto, alla sconfitta di quest’arte sequenziale volta all’intrattenimento? Il fumetto sarebbe forse inutile, dannoso? È quanto si evince dal volume Wanted, non caso scritto dal profetico Mark Millar per lo studio Top Cow di Marc Silvestri, caso più unico che raro nel panorama mondiale. La storia narra di un giovane, Wesley Gibson, perfettamente integrato nella società consumistica del giorno d’oggi, felice per il suo megaschermo al plasma e appena consapevole dell’infedeltà della fidanzata. Questo personaggio assomiglia in modo evidente al protagonista di “Fight Club” di Chuck Palahniuk. E proprio come il suo gemello letterario la sua vita sarà completamente sconvolta. Non a causa di una doppia personalità paranoid rebel and ready to put fire to the system of capital but by the legacy of his father. This is not even a bequest of money which the good son uses for the good of humanity.
is the awareness.
The prodigal father died and left was actually a supervillain, the Killer with a capital K, elected a winning a race of evil that have long swept away the heroes who opposed them, even relegating memory, thanks to devices that take hypnotic mortals minds in check, just in comics. And once you understand that the last breath was next ruled that the degenerate son will take his place. It follows a long period of training as a supervillain in which our antihero must first learn to be free from the constraints of civil society that have made a sheep of the flock. It must lay the moral qualms and self-imposed limitations to reach the true legacy: freedom.
And if you read the comics you laugh and have fun for the folly of their boards, venting his id and his repressed violence enjoying the misdeeds of discharge excited to cheer for the poor, as indeed was the player of the nineteenth century novel appendix, the last words in the latest table cast a new shadow about the hero of the comic and its role, returning to open the debate, going back to generate doubt those who have fueled the research, the development of this figure:
Happy? Happy [...] that your hero has had a girl, money, and that at the end of the story is one of the secret rulers of the world? God, that ass you are, and I speak from experience. It seems only yesterday that I was at your level, pathetic as you are. Why should boast how's life for me? I'll kill you work twelve hours a day, for greasing the junk you eat, and almost certainly your girl fucks someone else. Just because you have a plasma TV and a lot of DVDs does not mean that you are free, cocks. You are only well-paid slaves as all the high sheep out there. Also this comic is not a holiday than a quarter of an hour of your life to serve. I thought the world had always been that way, right? War, famine, terrorism and elections rigged. But now you know that it is not. Now you know what happened to the superheroes. And you know the funny thing? And you know what makes me laugh now that I'm the other way? That you close this book and you will buy something else to fill the void we've created in your lives. And this is my face while I'm putting you in the ass.
A slap, a cold shower "the face" of the hoax. If the hero is unable to regain its place in the world of comics, then touch the "bad", the "Villain" take its place as a legendary guide, figure that reveals the world. And his methods are far more peanuts, and most tragically effective.
Now here we are.
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