Leggere l'opera di Mazzucchelli in inglese non l'ho trovato affatto easy, because my English is not the top floors, but I did, but perhaps including cutting out all that layer of religious notions, sociological, moral and philosophical in the book is steeped.
Basically, I was interested in the aspect of figurative language with which the work consists Mazzucchelli.
Shortly before reading this book, I was lucky enough to buy An Anthology of Graphic Fiction Vol.1, edited by Bruno. The introduction of the book is outlines a definition of Spiegelman, "the comic is written with the figures" and the same Brunetti adjusts the shooting saying that comics "is not a mix of words and figures, but rather emulsion [...] the cartoonist uses its own display method to establish a visual vocabulary with which to communicate ... "then I eye drops on the image above the text:
E 'a illustration Saul Steinberg and I remain so impressed that when I finish reading the book I Mazzucchelli comes to mind. In Asterios Polyp is the need to revive and renew that comic language of origin. Mazzucchelli, right from 'beginning of its work independently, he was always looking for new forms of expression, dealing Japanese approach, honoring the school Harvey Comics and a wink to the French . With his latest work straight from the base of the so-called American cartoon, setting the discourse on the expression and communication. 
It is clear from the above sketch of proof here, coupled with the stylized symbols allows us to identify the moods of the characters and situations, and helps us to understand the differences in both emotional and physical, or the compatibility between one or more actors. also triggers the receptivity of the reader's mind and set in motion all the mechanisms that make the comics a unique medium. 
As noted by this picture above, already 60 years Saul Steinberg is used this approach. The size of Mazzuccheli is the ability to enhance and build upon this kind of expression, channeling them in a storytelling and to form a book.
Mazzucchelli breaks, cuts, peels, and the design team, (re) taking the essential comics. In doing so, showing only the backbone, in some way deceive us in the proposal for a comic book difficult to decipher. This is only apparent because all these symbols and geometrical codes that are used we have well etched in our minds since the dawn of time and perhaps have been years of reading super-eroistiche it stays buried in our brains.
Simple things in fin dei conti, immediate, come i colori. Qua sopra potete notare come Mazzucchelli usi il colore e la geometria per evidenziare una situazione di conflitto, di distacco e di indifferenza. Una sostanziale incompatibilità o forse solo un momento no. 
E ancora qua sopra Saul Steinberg, diversa situazione ma con esito apparentemente simile. In tempi più recenti un altro fumettesta che segue questa strada è Mark Newgarden , anche se lo fa in maniera molto più radicale come potete vedere qua sotto.
Mazzuchelli dispone le sue vignette in modo pacato, raramente le sue tavole sono confuse (e se lo sono è volontariamente), ma anzi, hanno un moto circolare che softens the reading as you can see below. 
Another detail is the mirror image and balance, here you can see two different examples. 
are two different situations, both in composition to that situation (a shocking, the other intimate), but both the first and the second picture everything is perfectly balanced. An example is even more radical Mark Newgarden, as you can see below.
Mazzucchelli's skill is knowing how to revise the basics of comics without end as pure experimentation, but building a product that can tell a story in a mostly brilliant. Finally, I show you a recent picture of batman that simplifies what has been said so far approaches to super-vision eroistica.
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