’68 2 & 3 | Review


Published on Aug 10, 2018


The epidemic zombie is widening between the Vietcong, and it is spreading on a large scale in the United States. After a first album in which yet were not made to fire the real protagonists of the story, in the numbers two and three of the ’68 a character starts to soar above the other: we speak of the soldier's Yam, a asiamericano that, of course, for its physical and cultural is fitting metaphorical between the two armies, the american and the vietnamese.

The american army, in addition to the difficulties for the continuous attacks of the vietcong, he is now faced with an epidemic of zombies that do not know how to counter. For this reason, it airs even the possibility of an alliance with the enemy, to fight an opponent even bigger.

But, as we said, is a character to soar above the others: the soldier asiamericano Yam, which, through their own letters sent in the United States dictates the rhythm of the narrative, and introduces the reader in scenarios such as the California (area quite eventful in 1968), and New York, places where people live which is very close.

In addition, these two new collections of ’68 are characterized by the introduction of a character that will attract (and not a little) the readers attention: it is the largest Swan, a sort of two faces, which seems to have no problem to show off in public their scars of war. Have some difficulty to relate to him some of the newcomers in the squad, as the same Yam.

The narrative brought forward by Mark Kidwell continues using dialogues rather hard, and scenes that leave nothing to the imagination. A roughness that is able to enhance the scenarios and moments of the war represented, as well as the zombie attacks. The ’68 is a comic that you do not miss anything: from the erotic references, to the splatter of pure, violence-rough the war.

The designs of Nat Jones enhance the narrative potential described by Kidwell. The stretch-marked and rough fits very well to the scenarios described, they do not lack that little bit of attention to detail, able to mould better to the reader within the story.

The ’68 is a comic that still has a lot to tell and to give. The potential metaphorical socio-political is obvious, as is the references to the tradition of zombiesca romeriana. Kidwell has chosen to set the story in the suitable time and with suitable items. Three stapled from the beginning of ’68 the story might go a little’ everywhere. Has since its of the excellent scenarios of the setting, and narrative contexts can explore the senselessness of a war in Vietnam, brought forward, accused by various us administrations, while within the us borders, the protest and the rebellion of the youth go crazy.

’68 is a pleasant surprise, a comic can tell a lot, without wanting to weigh down the reader with excessive socio-political. What is shown within the story is a pure narration of the genre, that exploits, however, the characters and contexts that can bring the narrative metaphor beyond the simple horror, where the player most crafty knows that the narrator wants to get there, but introducing always some element of surprise, and a couple of the characters and situations are tasty.

In short, there are so many reasons to read ’68, one of these is to become fascinated once more by the stories about zombies and their potential metaphorical, and that since that first Night of The Living Dead, George Romero was able to reveal to the world.

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