Caput Mundi 3 – The man who wasn't there | Review


Published on Nov 16, 2017


Caput Mundi arrives at the halfway point with this third number in The man who wasn't there and returns to the atmosphere of crime in comparison to those more traditionally horror of the previous number – our review here – and is introduced to the third pawn of the dark chess board that is of this Rome, the occult and grim.

Julius A. Gualtieri manages the editing of this third issue and part from an assumption evident when one talks of the Eternal City: Rome is one of the richest cities in the world in terms of works of art. And in this “playground” that is the Invisible Man – a professional thief that caters to the few and unscrupulous individuals with a passion for art.

The turnover of the Invisible Man, however, did not go unnoticed and is soon recruited, or rather blackmailed, for a shot inside of the residence of the Mummy – a sinister character that we met at the end of the second number and is linked to the presence of occult than religious of the city – where you will recover anything but a work of art.

In the meantime his path crosses with that of Black and Eva and two other characters that we saw from the first number... the clash then it is inevitable since all of them have interest in the put your hands on the object he stole the Mummy, the object that, however, the Invisible Man, a perfect professional, he delivered it to a third man: the Monster in the Lake.

The writer manages very well to blend, especially in the first part of the album, the influences of the book of H. G. Wells with some specific captions that give us the mood and the motivations of the protagonist with a tradition that goes back to the great heist movie but also the comic Italian black. Gualtieri, as was his wont, he's not exaggerating ever with the dialogue, preferring to orchestrate scenes that it is up to the designers to “let speak” not giving up as I said to wink to the great thieves of the Italian comics of the ’70s, especially Diabolik, here reinterpreted with a more pulp if you want and the action that monopolises the final part of the register.

The forts of the great freedom granted to them by the texts never ridonanti of the author of the disegnatrici Elisa Of Virgil and Ludovica Ceregatti offer a try capital – the best likely view of the Caput Mundi so far – fusing the sophistication of the anatomy of the american school, with a construction of the table that alternates with more traditional solutions, and soothing with the other the most imaginative and sought that fit the protagonist and his activities as a thief: here, then, is that the panes are inclined or become irregular to accommodate the sinuous movements of the Invisible Man during his shots.

It's also an excellent use of chiaroscuro that with simplicity, it is used to accompany the idea that The Invisible Man takes advantage of the shadows to move around instead of special powers... but will it really be so?

And is this then the core narrative of the register: while in previous issues the “skills” of the characters became central in the narrative, here, as in Wells ' novel, the “condition” of the protagonist is always put in doubt. It is only skills or there really is something monstrous in the execution of the theft? And, above all, the real monster is not the one that can hide at the sight of all?

Come to the mid-Caput Mundi continues to build and add the blocks to a universe of increasingly complex and varied, although all the characters so far introduced are interesting – and worthy of developments in solitary as if it had the opportunity – we need to start squaring the circle and this is the third issue succeeds only in part in introducing the item that will lead to the clash of the two greatest actors of this parade of “monsters” you must now understand, however, if these individuals caught in the middle of this underground war will want to take a side or decide to act only for its own sake.

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