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La trilogia. La rivolta dei racchi, I labirinti, Zil Zelub
Per le sue storie fantastiche e visionarie, nelle quali dietro l'ironia si nascondeva una critica feroce del potere e della società dei consumi, è stato considerato "il Michelangelo dei mostri" e "il Goya del fumetto". La rivolta dei racchi, I labirinti e Zìi Zelub: ecco La trilogia che ha reso celebre Guido Buzzelli, consacrando uno dei precursori del graphic novel tra i maestri del fumetto internazionale.
- GenresComicsGraphic Novels
192 pages, Paperback
First published May 18, 2017
About the author
Guido Buzzelli
40 books11 followersGuido Buzzelli (1927-1992) was an Italian cartoonist, illustrator and painter from Rome, best known as a pioneer of Italian graphic novels in the 60's and 70's.
Buzzelli was born of a family of painters on his father side, while his mother was a model. As a teenage, he studied to become a painter like his father and grandfather. Soon, he added comics to his interests, working as an apprentice to Italian cartoonists Vittorio Cossio and Rino Albertarelli. In his youth Guido lived in Spain and England, working as an illustrator and comic book artist. In 1960 he came back to Italy and married Grazia de Stefani, who will also become his main collaborator.
After a few years focusing on his painting career, Buzzelli returned to comics to create La Rivolta del Racchi ("The Rebellion of the Uglies", 1966), an early example of graphic novel. He could not find a regular publisher for this work, yet the story attracted the attention of the curators of the 1967 Lucca Comics Festival, being released in the proceedings of the show. The comic acquired notoriety only in 1970, when French cartoonist Georges Wolinski noticed the book on a newsstand during a trip to Naples and decided to have it published in the French comics magazine Charlie Mensuel. La Rivolta del Racchi was a fantasy in a historic setting and presented a certain social commentary undertone, something that will remain in many of Buzzelli following works.
In the the 70's and 80's Buzzelli will continue to publish comics and political cartoons in a number of French publications, such as Pilote, Circus, L'Écho des Savanes, Vailant, Métal Hurlant, À Suivre, Fluid Glacial, Le Monde, as well as Italian ones, like Linus, Alterlinus, Comic Art, L'Eternauta, Paese Sera, Il Messaggero, L'Espresso, Psyco, Corriere dei Ragazzi, Comic Art, Playmen, Menelik, l'Unità, L'Occhio, Repubblica.
Among his comics are I Labirinti (1968-1970), Zil Zelub (1971), Annalisa e il diavolo (1973), H.P (with Alexis Kostandi, 1974), L'intervista (1975), L'Agnone (1977), La guerra videologica (1978), L'uomo del Bengala (1979), Il mestiere di Mario (1980), Zasafir (1981) and many others.
Buzzelli continued to produce traditional painting work throughout his life. His paintings have appeared in a number of exhibitions in Europe and North America. Additionally, he was a teacher at the European Institute of Design. Towards the end of his life he also collaborated with the Italian and French television.
Guido Buzzelli died at age 64 in his hometown Rome in 1992.
Buzzelli was born of a family of painters on his father side, while his mother was a model. As a teenage, he studied to become a painter like his father and grandfather. Soon, he added comics to his interests, working as an apprentice to Italian cartoonists Vittorio Cossio and Rino Albertarelli. In his youth Guido lived in Spain and England, working as an illustrator and comic book artist. In 1960 he came back to Italy and married Grazia de Stefani, who will also become his main collaborator.
After a few years focusing on his painting career, Buzzelli returned to comics to create La Rivolta del Racchi ("The Rebellion of the Uglies", 1966), an early example of graphic novel. He could not find a regular publisher for this work, yet the story attracted the attention of the curators of the 1967 Lucca Comics Festival, being released in the proceedings of the show. The comic acquired notoriety only in 1970, when French cartoonist Georges Wolinski noticed the book on a newsstand during a trip to Naples and decided to have it published in the French comics magazine Charlie Mensuel. La Rivolta del Racchi was a fantasy in a historic setting and presented a certain social commentary undertone, something that will remain in many of Buzzelli following works.
In the the 70's and 80's Buzzelli will continue to publish comics and political cartoons in a number of French publications, such as Pilote, Circus, L'Écho des Savanes, Vailant, Métal Hurlant, À Suivre, Fluid Glacial, Le Monde, as well as Italian ones, like Linus, Alterlinus, Comic Art, L'Eternauta, Paese Sera, Il Messaggero, L'Espresso, Psyco, Corriere dei Ragazzi, Comic Art, Playmen, Menelik, l'Unità, L'Occhio, Repubblica.
Among his comics are I Labirinti (1968-1970), Zil Zelub (1971), Annalisa e il diavolo (1973), H.P (with Alexis Kostandi, 1974), L'intervista (1975), L'Agnone (1977), La guerra videologica (1978), L'uomo del Bengala (1979), Il mestiere di Mario (1980), Zasafir (1981) and many others.
Buzzelli continued to produce traditional painting work throughout his life. His paintings have appeared in a number of exhibitions in Europe and North America. Additionally, he was a teacher at the European Institute of Design. Towards the end of his life he also collaborated with the Italian and French television.
Guido Buzzelli died at age 64 in his hometown Rome in 1992.
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Displaying 1 - 8 of 8 reviews
January 17, 2024
Preso così a scatola chiusa, senza saperne niente in merito, alla fine vengo a sapere che, Buzzelli, trattasi di uno dei primi fumettisti italiani e l'opera "La rivolta dei racchi", considerata il primo fumetto in assoluto in Italia.
Appunto "La rivolta dei racchi" è la prima opera della trilogia qui presentata e trattasi di una storia satirica sulla voglia di rivalsa, ovviamente in salsa estremamente ironica, per certi versi divertente ma non mi ha entusiasmato granchè. Voto **1/2
La seconda, "I labirinti", invece sconfina nella fantascienza e dove Buzzelli, come già nel precedente, si mette in prima persona o comunque con un suo alter ego e ci racconta di come districarsi in una società oppressiva, così come anche nell'ultimo racconto, intitolato "Zil Zelub", marcatamente autobiografico e lo si capisce già dal titolo, praticamente un anagramma del suo cognome. Voto ***1/2 per tutti e due.
Nel complesso una discreta scoperta, soprattutto per le illustrazioni molto particolari e divertenti.
Appunto "La rivolta dei racchi" è la prima opera della trilogia qui presentata e trattasi di una storia satirica sulla voglia di rivalsa, ovviamente in salsa estremamente ironica, per certi versi divertente ma non mi ha entusiasmato granchè. Voto **1/2
La seconda, "I labirinti", invece sconfina nella fantascienza e dove Buzzelli, come già nel precedente, si mette in prima persona o comunque con un suo alter ego e ci racconta di come districarsi in una società oppressiva, così come anche nell'ultimo racconto, intitolato "Zil Zelub", marcatamente autobiografico e lo si capisce già dal titolo, praticamente un anagramma del suo cognome. Voto ***1/2 per tutti e due.
Nel complesso una discreta scoperta, soprattutto per le illustrazioni molto particolari e divertenti.
January 20, 2020
Guido Buzzellin "Trilogia" (Täysi Käsi, 2019) sisältää kolmen tarinan verran italialaisen sarjakuvataiteilijan unenomaisia ja painajaismaisia visioita, joissa tajuntaa ja käsityskykyä venytellään aika jännittäviin asentoihin. Yhteiskuntakriittisyyttähän tässä kai on mukana, ainakin ensimmäisessä tarinassa uskontoa arvostellaan voimallisesti. Buzzelli tarjoilee visuaalisesti aika huikeita juttuja, mutta ei tämä minun teekupilliseni noin muuten ollut.
October 26, 2024
Fantastic science fiction comics from the early 70s by Italian master artist Guido Buzzelli.
Get ready to have your mind blown !
Thank you Coconino Press for these great collections :
https://youtu.be/lyHGbUDdD_s
January 25, 2020
Kolme tarinaa 1970-luvun alun tienoilta. Ensimmäinen tarina tapahtuu fantasiamaailmassa, jonka totuudet ja lainalaisuudet ovat kuitenkin kovin tuttuja, kun vähän raaputtaa. Toisessa aluksi tapahtuu ydinsota ja hengissäselviytyjillä ei mene vahvasti, voi vaikka joutua osaksi epäillyttäviä lääketieteellisiä kokeita. Viimeisessä tarinassa ollaan yksittäisen ihmisen marxilaisten vieraantumisongelmien äärellä. Hänen raajansa nimittäin ovat vieraantuneet hänestä ja hän on ihan palasina. Sananmukaisesti. Soita siinä sitten selloa. Tässäkin taustalla on luonnon lähes apokalyptinen tila.
Piirrosjäljestä ei ehkä vuosikymmentä heti keksisi, mutta naiset pukeutuvat osassa tarinoista kovin lyhyisiin hameisiin. Ja jokaisessa tarinassa on keikisteleviä nuoria naisia, jotka luonnollisesti on kytketty tärkeäksi osaksi tarinaa, tai ei sitten... Mutta ei kannata hirveästi pöyristyä tästä, kaikkien tarinoiden keskiössä on keski-ikäinen setä, joka tuijottaa enimmäkseen omaan napaansa, silloinkin kun ei kannattaisi ja ei missään nimessä kasva ihmisenä. Eikä aina oikein edes pysty vaikuttamaan tapahtumien kulkuun. Herooisia hyviksiä ei näissä tarinoissa näy. Yhteiskunnallinen näkemys on vasemmistolais-kyyninen.
Tämä synopsis ei varmaan saisi ketään innostumaan ja kipittämään kauppaan, joten kerrottakoon, mikä tässä on parhautta. Kynän jälki on nerokas, ja kuvat surrealistisia, tarinat irvailevat kaikelle mikä oli pyhää kirjoittamisen aikaan.
Henk.koht. muistelen, että hajonneen sellistin tarinasta oli osa 1980-luvun alussa julkaistussa sarjakuva-antologiassa Sarjakuvan maailmat. Nyt sitten sain tietää miten tarina alkoi ja loppui. Olihan tässä muutama vuosi jo ehtinyt vierähtääkin.
Piirrosjäljestä ei ehkä vuosikymmentä heti keksisi, mutta naiset pukeutuvat osassa tarinoista kovin lyhyisiin hameisiin. Ja jokaisessa tarinassa on keikisteleviä nuoria naisia, jotka luonnollisesti on kytketty tärkeäksi osaksi tarinaa, tai ei sitten... Mutta ei kannata hirveästi pöyristyä tästä, kaikkien tarinoiden keskiössä on keski-ikäinen setä, joka tuijottaa enimmäkseen omaan napaansa, silloinkin kun ei kannattaisi ja ei missään nimessä kasva ihmisenä. Eikä aina oikein edes pysty vaikuttamaan tapahtumien kulkuun. Herooisia hyviksiä ei näissä tarinoissa näy. Yhteiskunnallinen näkemys on vasemmistolais-kyyninen.
Tämä synopsis ei varmaan saisi ketään innostumaan ja kipittämään kauppaan, joten kerrottakoon, mikä tässä on parhautta. Kynän jälki on nerokas, ja kuvat surrealistisia, tarinat irvailevat kaikelle mikä oli pyhää kirjoittamisen aikaan.
Henk.koht. muistelen, että hajonneen sellistin tarinasta oli osa 1980-luvun alussa julkaistussa sarjakuva-antologiassa Sarjakuvan maailmat. Nyt sitten sain tietää miten tarina alkoi ja loppui. Olihan tässä muutama vuosi jo ehtinyt vierähtääkin.
June 13, 2020
I read the finnish translation. The absurd cruel scifi fantasy Labyrinths really gripped me and lifted me away in a way only art can in the middle of the absurd cruel scifi fantasy we are living right now. My 7yo daughter just chimed ”happy korona time” in the end of a video message she made for her cousins.
February 11, 2020
Kolmen albumin kokoelma 1970-luvulta. Kaksi viimeistä albumia oli aika hauskoja. Viimeinen Gogol-henkinen oli 4 tähden.
January 17, 2026
Grande esempio di fumetto d'autore. Buzzelli ci trasporta nella sua mente e tramite un protagonsita che è sempre lui stesso racconta tre storie che parlano di più cose rispetto a quanto si direbbe
Displaying 1 - 8 of 8 reviews