This paper focuses on the numerous comic book adaptations of Dante Alighieri’s Divine Comedy, released in Italy and in several countries (France, the Netherlands, Germany, the United States, Japan) in the 20th and 21st centuries. This major phenomenon of a rapidly expanding media universe - the Dante pop - is interpreted according to two complementary theoretical approaches. On the one hand, the criteria governing parodic diversion according to structuralist theory (Genette, Kristeva, Hutcheon) make it possible to grasp the cultural issues involved in the Italian comic book adaptations; on the other hand, the reflections carried out around the notions of transculturality (De Toro) and transmediality (Rajewsky) highlight some common tendencies in the comics inspired by Dante’s Inferno and published in the French editorial market, such as the processes of character actualisation, the narrative frameworks driven by the cultural industry, and the transnational evolution the adjective Dantesque and its meaning.