Dealing with superheroes isn't easy; from a certain point of view it is almost a superpower. In fact, I really need a superpower to talk about Invincible without bothering and upsetting anyone. A series born from the mind of R, screenwriter of The Walking Dead, and from the hand of two artists, Cory Walker e Ryan Ottley, in 2002; today achieved success thanks to the animated series on Amazon Prime Video.
Invincible has reached in a short time (at least in the environment that I frequent) peaks of popularity very similar to The Boys or the Marvel movies thanks to the animated series; before, a bit like Watchman, there were few who had read it and followed its events.
Today I will deal with the animated series, with some sporadic reference to the comic; pay attention to spoiler, therefore, for those who have not finished the first season / want to start reading the comic.
First opinion on Invincible? Recycled.
I admit to having had, watching the animated series, a huge feeling of deja-vu; on the other hand, you certainly do not need an expert to frame the characters of Invincible as the most famous counterparts belonging to DC and Marvel. On the one hand Omni-Man is a superman with a very 90s mustache, on the other the Guardians of the Globe similar to the Justice League. The first episode, moreover, is too full of all the topos of American superheroic comics; teenagers in a sentimental crisis, dangerous criminals all located in the USA, ultra-sexualized female characters, even boob-armor.
In short, at first touch, Invincible did not strike me: it was a usual series on Superheroes quite banal and already seen. Even the final clffhanger, in which Omni-man demolishes the Guardians of the Globe, had left me quite indifferent (narratively speaking, because technically she is gorgeous). The usual twist that turns a children's series into something more serious using death / gore / violence as a medium. Examples, in the world of cinema and the small screen, there are galore: Attack on Titan, Goblin Slayer, Games of Thrones. All "fantasy" or "nerd" series exploded due to the sudden change of themes, used at HOC to impress the public and cause the effect "wow, I didn't understand at all that it was something serious!"
Subsequent visions and final: interesting
Despite this not too pleasant start, I continued to watch Invincible "kidnapped" by the cliffhanger, more curious to understand where the plot was going (and having grabbed it a bit, given the departure) than actually kidnapped by the characters. And, paradoxically, it was precisely the slow progress of history that made a winning streak invincible. Let me be clear, I was rooting for Omni-Man until the last episode. I wanted to understand his intentions, why he acted the way he acted, and I really didn't care about Mark.
It was during the last episode, in fact, that my interest shifted to Omni-Man's son, for two reasons. The first: I found the "showdown" too two-dimensional, even though Omni-man had until now had a "mysterious hidden plan". Beyond that, perhaps because accustomed to Star Trek, I logically found violence to be a lazy response to dominate a race; Brightborn had already fed me enough of crazy heroes, and with him The Boys. The second one? Once the reasons for his actions were explained, Omni-man lost all interest of mine. Now I'm interested in how Mark will handle the situation, and that's great for the show (and for us viewers, of course).
So, is Invincible?
Invincible is, like so many works, an animated series that came out well but that is profoundly detached from the comic in terms of depth, directorial times and writing. Here is Captain Obvious, you say, verissimo, I would answer. It was just talking to one that the comic he had actually read it (thanks Fra), proficient in drawing and writing, which I understood as the series Amazon Prime was actually a pale example of what Kirkman's comic carries with it; reason why I can not judge it as coming bad, but not exceptional.
A bit like it happens with Watchmen, V for Vendetta e The Walking Dead (superhero comics thicker than their animated counterparts or Kirkman's plays kicked with impunity), Invincible comes out of the "cinematization"In a bruised way. Completely busted power relationships, rewritten characters and many differently rendered scenes are only part of the change made on the original work. Normal, as it should be, but in this work perhaps it would have been useful to stick to the program more instead of modifying its added value. Because if in the aforementioned works we start with a basis of originality, in this we start with a feeling of already seen very dangerous, in which case things should change more than what is allowed to the viewer. There is the risk of being faced with a work similar to many others, without the touch of the writer that makes it original.