Caput Mundi 4 – The Lake That Fights | Review


Published on Dec 21, 2017


Let's go in the second half of Caput Mundi, by making first a brief review: the darkest secrets of the Mummy, the cardinal without scruples by the mysterious powers, are locked in a hard drive stolen by the Invisible Man – as seen in the third issue, our review here – and while the Battle seems for the moment to play on the “defensive” the criminal underworld is divided into two factions; on the one hand, Eva and Black, who have been trying to get ally's own the Invisible Man by another Child who, opposed by the Mummy, put together a team of unsavory characters to retrieve the above-mentioned hard disk.

The Lake That Fights fourth issue of the mini-series, is built around the recovery of these valuable information from some of the two groups from the lake the Lake the ex-Snia... the ordinary administration if it were not that the lake is inhabited by a monster, an urban legend called the Conscience of Rome, which from what is said to dispense justice, and keep right on the bottom of the lake, the secrets, the most gory of the Eternal City.

The meeting point, or it is better to clash, it will then be the lake while Eva and Black must convince the Invisible Man to stand by their side, the situation escapes the control of the Child. But apparently the two factions are pawns in a game of great with Battle who decides to make his move while a new player is put in the field from the Mummy.

While the two previous issues focused much on the construction of the series, with the Lake That Fights, Caput Mundi begins decided to start the march towards towards the end with the fourth number in which to master it, is the action, but not only.

It is not a coincidence that the texts of returns that Dario Sicchio, supported by the excellent Roberto Cirincione, who had opened the mini-series: the characters in fact come back to be more alive, more aggressive in their being distinctly linked to the roman " that is one of the mainstays of the idea at the base of the Caput Mundi while the city returns to play a fundamental role in the narrative almost as a decadent Gotham City.

From one side the divertissement initial protagonist, a known figure of the scene, the current policy of the capital only provides the pretext to build a character effective in its brutality and simplicity, or the monster in the lake. In a picture full of gray areas, such as the one painted by the early numbers of the series there is this character that, instead, it simplifies morality in the dualism of the guilty/innocent, and angrily lays claim to its genesis and its role in a city and in a humanity without scruples.

The screenplay is extremely rhythmic of the album is marked by the appearances of the monster, which is also the catalyst of the turn in events with the Battle that finally takes the field first-person – why are you looking him to appropriate the hard disk for now, remains still to be deepened – and the new player put into the field from the Mummy seems really the antagonist that was missing to make a counter to the vampire in sicily.

Graphics part 4-the hands and entrusted to Stefano Manieri and Francis Prenzy Chiappara, the latter already seen at work on the great Battle – The Groom. Manors illustrates the register with security and taste very american: the anatomies are very muscular playing with poses, statues and action scenes that are simple, to the choreography, but extremely effective in filling the pages with a sense of rhythm. The construction of the table is just as solid but never static, rather, alternate solutions to vertical and horizontal allowing himself also some splash-page impact. To Prenzy instead tap to highlight a few sequence, flashback, and the “point of view” of the monster seems a good choice given its more “cartoonish”. Both designers are keep an eye on, surely we will see them soon on projects of high profile.

Complete the framework of the excellent editorial care for the cover art of Marco Mastrazzo already punchy with the previous three numbers, but particularly franzettiano and impressive with this fourth number, and the “usual” excellent job on the lettering of Maria Letizia Mirabella.

The Lake That Fight is without a shadow of a doubt the album's most engaging up to this moment of Caput Mundi. Packaged masterfully thanks to a script that presses on the accelerator's action, returning vitality and inertia in the characters and situations are left aside in the previous numbers, you need to build a framework for more organic and designed with the same safe and extremely spectacular.

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