Battle – The Groom | Review


Published on Sep 29, 2017


For a industrial in the rapid rise in the effective arm armed is fundamental to achieve its goals, whatever the cost. And this is the incipit simple, but effective, Battle – The Groom chapter due of the adventures of the vampire sicilian, who, having crossed the length and breadth of the history of our country, would not have not been able to meet that Silvio that the history of Italy, has monopolized first as an entrepreneur and then as a politician splitting public opinion and experiencing the seasons is exciting, but also troubled with the double thread of the gossip and of the ever present trouble with the law.

We have to clarify immediately that The Groom is different from the previous Guys to Death, both in form and in content.

Dario Sicchio, in fact, imbastisce a story exaggerated as the other could not be done when there is Silvio. It begins in the early ’80s, with the recruitment of the Battle by Marcello right arm of Silvio still only an entrepreneur and about to launch his private television, from then on you will cross 30 years of Italy's history from the season of the attacks of the Mafia through the drop-down in the field of policy of the Knight, until the recent trouble with the law related to the parties in Arcore.

Prose with a dirty and sex in abundance – the thought of Silvio – the author describes the controversial relationship between the Battle and his employer, a relationship which is ambiguous but in whom resides the key to the reading of this register.

Initially the Battle is fascinated by this figure: Silvio is blunt wants to change the balance in Italy and want to do it reversing the system of sacrifices, and promoted by a political class that Battle, he served, willingly or not, while remaining a servant of the powerful and killing people, but not choosing who to kill.

The cynicism and nihilism by always distinctive and irreverent Battle seem so give in under the blows of the idealism and self-centeredness of Silvio, who relies on a character that is “independent” of the vampire, even when the same Silvio the “will betray” down in the policy. In a very strained exchange of accusations, in fact, the Knight will fail to convince the Vampire that the political is a necessary step in order to persevere and continue to implement that change in culture that otherwise would have been precluded by his enemies.

But the covenant between the two will not last long because the system created by Silvio it soon starts to creak. The streets of the two, plotted in parallel, they begin to diverge.

It is here that Darius Sicchio can superimpose reality and fiction, to penetrate the whole of the history of our country, and make the idea very well how deceitful the system-Silvio: it is impossible to think that the money will put to silence all and everything just as it is impossible to think that “friends of friends” adhere to the same ideals of Silvio instead of exploit them to your liking.

The author manages very well to make this separation of intent by slowly but surely maturing the two characters: Silvio is proud, confident, cocky in the ’80s, but soon the idealism to give place to the vices and the intoxicating taste of power. The battle is almost a hero of action movies of the 80's – the violence is almost cartoony, and often touching, the humor – but the vampire soon incupirà and brutality will prevail.

The battle also never as in this register takes on the traits of the anti-hero: the overthrow of the old system to the new one brings the vampire to realize that that grey area where the work is more crowded than he thought. The hope preached by Silvio is a decoy of a “regime” supported by terror, and while the vampire becomes a guilty conscience, and violent, of an Italy that raises the head is always too late, the same Silvio becomes a small man-small in the mercy of events and, above all, the puppet of those same “friends of friends” who had supported/endured until he was comfortable.

In Boys of Death the clash of Battle, and Pasolini was existentialist and hermeneutical here against Silvio is ideological, and historical-materialistic.

Small note on the end, completely unexpected, and that portends that the next adventure of Battle – which we hope will come soon – have a breath, so to say, international...

Francis Prenzy Chiappara draws the album on the way.... unsettling. Yes, because his stroke is cartoonish and deformed and it clashes with its predecessors, which instead changed the style of realistic and/or stylized to enhance the “darkness” of the character and the situations. Chiappara is literally out the figures making use of a clear contrast between the white and black accenting the traits grotesque of the protagonists and events. The construction of the table is simple but rhythmic in a very efficient way, alternating between horizontal panels and vertical and spacing the plates with some splash page single and a double, which also shows a certain influence of the television in the choreography especially.

Chiappara draw Battle with personality and this is crucial in order to compete with the Battle.

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