Caput Mundi 6 – Upon This Rock | Review


Published on Feb 20, 2018


In the last, adrenaline-filled number – our review here – the Battle and its unlikely allies had set fire to the night in rome in a chase through the streets of the capital in an attempt to escape from the German and from the men of the Mummy. Holding on tight, mysterious and incriminating information contained in a hard disk drive, Battle and his were driven directly into the arms of the Mummy...

With the sixth and last album of Caput Mundi – entitled On This rock we find, then, at the showdown final. Battle and his are captives, and the Mummy thought to be inspired by the punishments of dante's to incapacitate them while the Vatican is protected by the military.

But what is really the floor of the Mummy and, above all, what really is the Mummy?

It is not easy to tame individuals with the capabilities with Eva, Black, and the Invisible Man... it will be just Eve the first one to get rid of helping Peter and the others all decided to take out the Mummy, and take possession of the incriminating information contained in the disk.

Just when our seem to have the advantage, they will discover the origins of the Mummy, the origins that lie in the dawn of time, and in the foundation of the catholic church. This revelation changes once the cards in the boards, forcing the colorful group to retrace their steps to neutralize once and for all the Mummy.

Your Mummy also warn you of the our that a war is looming on the horizon...

As well as the previous number is also On This Stone turns on high rates, making the action its central point in a series of sequences, lightning-fast and extremely cinematic, especially in the final part of the register.

Caput Mundi closes its first season, giving substance to what has been the villain/deus-ex-machina of the whole affair: The Mummy. Its origin is linked, appropriately, to those of the monster “classic,” from which it takes its name, but Giovanni Masi and Dario Sicchio the fold in an unexpected double twist with which in a single stroke, provide a center of gravity of the monstrous universe, the Cosmos, and a background from which to start afresh for the future second season.

The two writers then sublimate with the last comic book characters that over the course of the albi earlier had been chiselled and legittimandoli as possible protagonists of the new adventures, alone, saw the final semi-open, and the cryptic words of the Mummy.

What strikes most About This Stone is the lucidity with which the new characters are the reason for their existence – the inevitability of their new condition – while Peter Battle continues, undaunted, to carry on its existence, the number of which is in the phrase “the enemy of all... a slave to no one!”.

The register is then embellished with a lot of work to the drawings of Elisa Di Virgilio, Alessio Moroni, Federico Butticé and Andy Pompeo that not only illustrate with personality and stretch the cutting edge of this last number, but thanks to the use of the shots less static and a construction of the table that winks an eye especially to the american comics give a unique dynamism to the already crackling plot and a taste that is definitely more “international”.

In general, the entire editorial care of the series was really valuable being able to collect under the same project, a set of pencils, more or less, the notes of the panorama of Italian independent, giving them the possibility to show off. Not to forget the “constants” Marco Mastrazzo, that is a candidate as one of the best copertinisti currently working in Italy, and Maria Letizia Mirabella with his lettering punctual and always precise.

This last album of Caput Mundi states that the bet made by the Editorial Cosmos is won. Both from the commercial point of view, has already confirmed a second season, and from that “creative” since these characters are already out of the bulky shadow of their “noble father” Peter Battle, thanks to the excellent work in terms of screenplay.

Ultimately what we hope for next season is a greater balance, a greater cohesion between the realism of the first register and the need to always have in view certain elements of horror. Very good choice, especially in the last two issues, to push on the accelerator, bringing to the extreme the action sequences; as far as the Battle, the Caput Mundi could do without but maybe the resume of the Vampire Sicilian that tendency to set his stories in the contexts of the meta-historical.

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