Dampyr 210 | Review


Published on Sep 13, 2017


During this month of September, several Bonelli's albums seem to recall that the theme of fathers and sons. After the last two numbers of Tex that have evoked stories strongly set on the theme of father-son, that, behold, one of the main protagonists of the stories produced by the publishing house Via Buonarroti, highlights this theme.

On the other hand, the relationship between Harlan Draka and his father is the topic, the hinge of the whole series of Dampyr. This time, however, in the register #210 just came out on newsstands, the issue is the hinge of history is not the relationship between Draka and Harlan (at least not only), but what of the void left by Erlik Khan, and one of his sons is taking advantage of. Because even in death the master of the night continues to affect the life of the Dampyr.

Obviously the title of the story is The Son of Erlik Khan makes clear the centrality of this topic in the book, but there are many shades of this number #210 in the series.

First of all, there is a beginning of register, perhaps mindful of the influences of the great crossover Dylan Dog-Dampyr (released last month), it seems very dylandoghiano. Ann Jurging, a woman with magic powers, and a recurring character in the books of Dampyr (he made a cameo in issue #200) continues to have visions of the battle with Erlik Khan (fought in the two hundredth roll of the series). Harlan suspected that the visions may be caused by one of the sons of Erlik: Kerey Khan, the Lord of Discord.

Kerey Khan is a rebellious son (all the best stories have the protagonist, a rebellious child), that Erlik has imprisoned in Turkmenistan. The objective of Dampyr will be to get up there to defeat Kerey and his army of the undead. Harlan will, of course, accompanied by Tesla and Kurjak, but also from the other characters, including the same Ann Jurging, and the policeman Bobby Quintana.

There is to say that the atmospheres of this album are very different: the scenes in the tomb of Kerey Khan know of a Indiana Jones and the sauce splatter, while the appearance of some characters (one in particular) gives to some parts of the story more breathing epic. The character that plays most of this function is to Caio Narcissus, an old roman warrior who, during the register will become more and more important to the hinge of the plot, until the epilogue in which will become fundamental.

The potential of this story is large, so much so that some extras would have deserved much more space: for example, the guys in the mask (from the styling really impressive), fanatical devotees of the Kerey Khan take only a couple of pages, but are very evocative. May even take a whole roll maybe dedicated precisely to the effect that the worship of Kerey Khan has created about young people in search of something in which to believe (the theme is very actual among other things).

The screenplay of Giorgio Giusfredi mixes well various atmospheres (ranging from horror, to fantasy, to the adventure), able to balance multiple time-lines (there are several flashbacks, and only a weighs a little scrolling of the narrative), and create ideas and characters that could in the future be taken up and expanded.

The drawings of Andrea in The Field, have a stretch, fresh and soft, with the lines sometimes not all defined, but always very detailed in the representation of the environments (both internal and external). In addition, there are several tables that are semi-splash page elements and rather original (and also unusual by the standards of a comic classic bonelliano) that are capable of making some of the pages remarkable on a visual level (the first flashback on Kerey Khan, between pages 37 and 43 presents some of the cartoons that depict scenes of combat or preparation for the battle of considerable impact).

In short, Dampyr #210 continues on the good road a speech that opened with the two-hundredth number, and that is going forward in the series. The character of Erlik Khan, even if not directly present, continues to influence the fate of Harlan, and the feeling that you are boiling something big in the pot is stronger than ever. Because when the stories put at the center the question of fathers and children, you want to the perennial theme of the conflict between generations, you have for the perfect and striking time represented by the passage of the deliveries, or you want to the charm of the dynamics engaged by the theme of heredity (moral or power that is a) kept or disregarded, and the level of the impact of the narrative rises always to great levels. And the series of Dampyr, this theme was born.

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