Giuseppe Bergman. Volume 4. Mythological Adventures

In those years, namely in the early seventies, the word «adventure» caused some discomfort, if not open disdain. All respected writers, filmmakers, and comic book authors were forced to turn to existential, social, or political themes, carefully avoiding even the slightest suspicion of «escaping from reality».
But there was one man, one wandering knight, who fought like a lion for the right to proudly carry the banner of adventurers. For Hugo Pratt, adventure was a life credo, which he proclaimed in his amazing drawn stories and the most significant testament of which was his own life.
My personal adventure and the adventure of Giuseppe Bergman began because I was fortunate to meet Hugo Pratt and become his devoted disciple.
Conversations with the Master made me ask many questions.
Why is adventure literature valued so low? Were we not taught in school that Homer’s «Odyssey» is one of the cornerstones of our civilization?
Why has the great era of adventure literature—the era of Melville, Conrad, Stevenson, London, Kipling, and many other excellent storytellers—gradually faded into the past, approximately at the time when the assembly line was introduced into industrial production?
Perhaps adventure is incompatible with our social structure? But why?