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Dampyr 221 – Planet of Blood | Review

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Published on Aug 02, 2018

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When a young author succeeds in the same month to catalyze two of the most important publishing house of the calibre of Sergio Bonelli Editore it means that maybe in the future that the author will become quite important.

Giorgio Giusfredi writes for the SBE already in 2014, but in recent times, his output has been a positive increase and today, in the span of a month, during this August 2018, two of his albi bonelli has just arrived on newsstands. We speak of the last Color Zagor, and the monthly album series Dampyr.

And if in the comics of Zagor the ability to Giusfredi to weave a good plot thriller, with shades of horror, succeeded, but with a few little hiccups, with regards to the register dampyriano the Planet of the Blood enters in the excellence.

Many authors dampyriani are film buffs, the same thing applies to most of the readers of the head dedicated to Harlan Draka. So what can be better than that of the albi dampyriani dedicated to cinema, and horror in particular?

In the Planet of Blood back to the dawn of the seventh art, starting from the founding fathers: the likes of Georges Méliès. But the character on which she focuses most of the story is “forgotten”, a man ready to charm the world with their inventions and film that instead has mysteriously vanished into nothing. Let's talk about Louis Aimé Augustin Le Prince.

The mysterious disappearance of The Prince was inspired by the author Giusfredi, which he has woven around a storyline in which the Master of the Night Henzig will leverage the pioneer of the seventh art to bring forth its games of blood and terror. But a hundred years later by the first acts of horrific of Henzig will be Harlan Draka to be called into question, and to face the Master of the Night, surrounded by vampires and visions of the most iconic monsters of the horror in the history of cinema, against the backdrop of a beautiful parisian.

A film buff, and especially a fan of horror, Planet of Blood goes to the wedding. By the time, in fact you couldn't find a register dampyriano dedicated to the cinema so rewarding. The citations clearly are wasted, but are well-enhanced by a solid storyline, and capable of inspiring the right suggestions.

 

Magistral are the scenes visionary, and characters of the cinema of yesterday and today that accompany the adventure of the parisian dampyriana.

To enhance the perfect texts of Giusfredi are equally azzeccatissimi designs of Alessio Fortunato, who uses a lightweight style and evocative able to give more feelings and atmosphere to a story set inside a Paris well-represented.

Planet of Blood stands out as one of the best albi dampyriani of the last times, and as the most rewarding and stimulating of the last few months. What a dampyriano loves stories of Harlan Draka is its ability (or, better, that the writers who work there) to shape around the stories taken from mythology, from the fantastic tradition and literary, or directly from cinema, comic books, able to adapt to a character that is strong and recognisable in each book, with a solid narrative structure. In short, the principle of Umberto Eco's stories “rickety and sgangherabili” fits perfectly to Dampyr.

And authors such as Giusfredi may represent the promise of a future of stories for a good leave in the hands of a strong, able to entertain readers of today and tomorrow, without losing the spirit of the origins, calandolo in a context appropriate to our times.

Dampyr 221 – Planet of Blood | the Review is of MangaForever.net

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