Caput Mundi: Black 2 – As a Beast | Review


Published on Nov 30, 2018


Caput Mundi: Black 2 – As a Fierce Beast opens with a small jump space-time: Black is in Milan, in the Navigli district, chino on a lot with a corpse. How did it get there?

We go back to the seven days of the Black is locked up in Regina Coeli after the prank giocatogli by the new Mummy. A USB pen drive, containing mysterious information, it has been the pretext to unleash a war across the field in a triangle involving Rome, Naples and Milan, and in the middle there is over a girl guilty of being found by pure bad luck this USB pen in the bag. Black had sent to Milan by Eva in the hope of stopping the birth of the madness of the new Mummy, which, however, with a move unpredictable was able to not only escape but also to break the alliance with the neapolitans, to which this USB pen belonged, leaving Black to the Police.

The Mummy and the Dwarf head to Milan, while Black must face a bevy of inmates ready to give him the skin, but the wolf unsheathes the claws, defending mandandone a little bit at the hospital and someone at the cemetery, but, above all, earning the insulation where it will meet one of our old knowledge. The director of the prison then captures the ball to transfer the two dangerous prisoners who, by contrast, exploit the opportunity for escape during transport and head also towards Milan, but only after having made the acquaintance of the mysterious Skull.

The neapolitans, meanwhile, reveal their trades in the city of milan, while the Mummy shakes a dangerous new alliance... everything converges on the Eve and on poor Natasha. The situation is now hopelessly compromised and it is just waiting for the showdown between the Black and the Mummy.


If the first number of the second season of Caput Mundi was dense, this Caput Mundi: Black 2 – As a Fierce Beast, still is but is being kissed by a script truly is the perfect and cutting edge, the duo of Michele Monteleone/Dario Sicchio which, while maintaining balance on the ball of the narration, play with the rhythm and, above all, with the action of the true thread of the register.

The two writers do not hide the various influences that occur at various “stages” that make up the register of death film and TV in a clever way and by filtering all to tell a story that is reduced to a war field, a war of a nihilist for many of these characters and that can be summed up with two bars – “we are all prisoners of something...” and “should never end like that, but...”.

From one side, then re-emerges bossy one of the main themes of the Caput Mundi – the inevitability of the condition of the protagonists of the events – on the other hand, however, this instance is mediated by the will of Monteleone and Sicchio not to abandon, nor the voice of “social” already in the first number – the conversation between the director of the Regina Coeli, and one of the two candidates for mayor of Rome, the more “conservative” shall we say – much less the fantastic element by introducing officially, and in an extremely incisive, the Skull, thereby recovering part of one of the characters of the incisors of the first season.

This second issue is devoted to the action and move on the high rates of often not granting respite to the reader: it is difficult to find a weak point in the As a Ferocious Beast that is candida to be the best album of the Caput Mundi from the beginning.

The two writers are also an excellent support for their crazy screenplay about Andy Pompeo – who replaced Francis Furniture arrived in Marvel and who is obviously our good luck.

Pompey, a little timidly, to tell the truth with a stretch that wetsuit after thirty pages, going from one style more stylized, and with a tendency to the use of chiaroscuro for a more “american” playing more with the plasticity of the shapes, adding more details and using shots the most spacious and spectacular, thus increasing the sense of “action movie with a big budget,” which pervades the whole book. Of note, the sequence “dream” of Pierluigi Minotti with the protagonist Eva, slightly less incisive than that of the register of the previous.

As usual, excellent care carto-technical of the register Editorial Cosmos, and embellished by the excellent work being lettering of Maria Letizia Mirabella and a cover of Marco Mastrazzo, which became the artist's recognizable and trademark of the books of the series, the Caput Mundi, from the flavour distinctly ottantiano.

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