Caput Mundi: Black 3 – Fall from Paradise | Review


Published on Jan 04, 2019


The second issue of the Caput Mundi – the Black had seen the theatre of action to move from Rome to Milan, in a triangle that involved, but also Naples, and in the centre of which there was a USB drive that contains mysterious information. The register – our review HERE – it was then concluded with a comparison between the Black and The Mummy, backed by the silent but deadly salvadorans, in the last car of a train.

The third and last chapter entitled Fall from Paradise opens with a brief flashback relating to the “resurrection” de The Mummy in order to then reconstruct back the events that will bring us back from Milan to Rome. So we will see how the confrontation on the train had ended in the net benefit of the Mummy with the Black gravely wounded and rescue by his allies, Greta, Eva, and The Invisible Man.

The floor of the Mummy, then, seems to spin smooth, and in a tug of war with the powerful Camorra, everything will be resolved, obviously, in Rome and in a moment for the city: the opening of the new St. Peter's Square, and just when the two candidates will be on stage for unto the crowd.

In a whirlwind of events, we discover the contents of the USB drive, its connection with the struggle for an armchair of the mayor of Rome, and how some of the characters have been moved in a masterly way from the Mummy to his advantage, while an enterprising Black has concocted an almost perfect plan with the help of an unexpected ally.

Rome, while experiencing new moments of panic and witnessing a battle between the werewolves, is “save”. Who will be the new King? and, above all, the danger represented by the Mummy is really averted?

Caput Mundi: Black 3 – Fall from Paradise is a perfect and a worthy conclusion to a series that knew how to reread and reprocess the better, not only in the first season but of the series mother, the one starring the vampire sicilian Peter Battle, resulting in a credible way a narrative universe “new” and yet extremely familiar in the landscape of fiction-made – film, television, and paper – that refers to the neo-neorealism of mold crime causing him to turn with confidence, and mastery, to more territories “fumettosi” but no less meaningful.

If the previous register, a duo of Michele Monteleone/Dario Sicchio had packed a script almost perfect, with this third register of the two writers prefer to play up by providing a test that is far beyond the simple exercise of style, is as intricate as it is addictive.

The first half of this album is in fact a long succession of flashbacks and events chained together that unfold adopting the style of a certain school of cinema – I can think of Jackie Brown, just to make a comparison, known – in which the pieces of the puzzle are laid on an imaginary table, and then take it slowly but surely form a framework studied in a carthusian.

Despite being immediately evident that all the events point to the final confrontation between the Black and The Mummy, the two authors manage to crop the right amount of space for the characters “sub - ” and to conclude the series, leaving the door open for a third season.

The maturity of Monteleone and Sicchio is in the pencils Giorgio Shoulder – assisted by Susanna Mariani in the layout of the tables 122-142 – a great relief valve for an album that alternates between moments of action to moments of confrontation between the characters, and the degree of difficulty is still high in view of the non-linear structure of the narrative. The designer defends itself very well with trying to mediate between the more classical school of bonelli – table setting and anatomical precision – and the dynamism of the american school – for the action scenes – but for the absurd, the best moments are those in which the stroke is made less realistic by showing a certain influence “argentina”, and remind us of Carlos Trillo. The usually Pierluigi Minotti illustrates the long flashback at the beginning with the stretch chiaroscuro-and that translates into a sequence sulfur.

The picture is completed by the impeccable work of Maria Letizia Mirabella to the lettering and the monstrous cover of Marco Mastrazzo that closes a triptych of works on the Caput Mundi: the Black is really excellent!

Waiting for announcements on the third season of 'Caput Mundi', a tribute should be done definitely to Editorial Cosmos that has been able to intercept and to develop, within the tradition of the comic book genre and the Italian people, an unprecedented digression narrative anchored, however, to those that are the trends and narrative in vogue currently.

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