El Lucifer de Neil Gaiman como caso límite de los estudios de adaptación
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Universidad Complutense de Madrid
info
ISSN: 1853-3523, 1668-0227
Datum der Publikation: 2020
Titel der Ausgabe: Literaturas gráficas y relatos visuales. Sobre poéticas y políticas de la imagen narrativa
Nummer: 123
Seiten: 87-101
Art: Artikel
Andere Publikationen in: Cuadernos del Centro de Estudios en Diseño y Comunicación. Ensayos
Zusammenfassung
The aim of this paper is to examine the intertextual processes affecting Lucifer Morningstar and their convoluted continuity from The Sandman comic books (1989-96) to the spin-off Lucifer (1999) and the homonymous TV show (2016-ongoing).It is noteworthy that the various literary sources employed by Neil Gaiman to create his Lucifer (from classic literature and biblical tradition to DC’s superhéroes) did not exercise the same level of influence during The Sandman’s complete run. Instead, the centrality of each of them fluctuated over the years. As a result, all three of Lucifer’s appearances can be regarded as semi-independent versions of the character, the third one serving as the base for later adaptations. Regarding the TV show, this translated in a delicate intertextual balance between the original comic book and its common literary sources: by targeting both the comic book reader and a non-specialized audience familiar only with the judeo-christian myth of the Devil, it was mandatory to maintain multiple “loyalties” that are impossible to conceptualize using conventional reception chains. This makes Lucifer a paradigmatic case of analysis for Adaptation Studies in the sense that it highlights some of its most extreme scenarios.
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