Dampyr 225 – The horrors of Red Hook | Review


Published on Dec 12, 2018


The one that the writer and curator of the series Mauro Boselli is at a certain point of The Horrors of Red Hook, through some of the characters, is a sort of historical and social analysis of the condition of various writers in the early Twentieth century. H. P. Lovecreft and Robert Howard worked for the same magazine, Weird Tales, which has become a milestone in the history of fantastic literature. Their creative path and life is likened to that of Emilio Salgari, the creator of Sandokan, who, like his colleagues overseas, he has poured out on the pages of his writings, all the fantasy can do that, escape from a life so dull and oppressive, paradoxically burdened by the excessive pace of work of the profession of writer.

But The Horrors of Red Hook deepens especially the character of Lovrecraft, and goes to dig greatly in its diversity, the less positive (sociopathy and racism at all), but at the same time pulls out his fantastic visions more delusional to creating great comics Dampyr.

Harlan, Kurjak and Tesla are called to New York to investigate those monsters in Red Hook, that Lovecraft told of in his stories, but that, apparently, does not seem to be the only creatures confined to the imagination of the writer from Providence.

The connection of this register is done with some of the creatures that have already been seen in comics before, and with a sect that is able to reconnect the characters dampyriani and figures of the universe of Lovecraft.

Mauro Boselli manages to pull off a story reduced to a mere copy, but that digs into the essence of the characters placed at the center of the comic book: Lovecraft, and the same Howard (creator of Conan the Barbarian who makes a fleeting presence), are represented not for what I have become, but for what they were in the depths. Therefore not of the literary icons, but of human beings described in the middle of our own crisis, and phobias.

Probably, if Boselli had managed to dig up even more within these themes, making them even more central, we'd be here to talk about a book that goes beyond the boundaries of the series, Dampyr, capable of reaching peak quality of thematic and narrative high-level comics. But, even if you do not get to do all this, The Horrors of Red Hook is to consider a great number of Dampyr.

To impreziosirlo are the drawings of Paul Raffaelli, who, with a refined style, from the propped up, and vaguely vintage, manages to give a figure of authorship to the stories of Dampyr, and bathes his first appearance on the series with a great test of art.

The Horrors of Red Hook and is a good comic book not only to fans of Lovecraft, but it is also a beautiful story for all fans of horror and the fantastic. The atmosphere of New York of the twenties breathe and are represented in an impeccable manner. The peripheral zone of Red Hook, so much hated by Lovecraft, is a glimpse on those suburbs, urban american, which today attract so much for the transpositions television, and in which they are born musical genres that today rule the roost.

In short, The Horrors of Red Hook, is a great register of a Dampyr who also touches on issues important to the socio-cultural, and which would deserve further deepening. Maybe this will be done in a forthcoming book dedicated to Harlan Draka, or a comic of the SBE, which in recent times is becoming more and more open to stories of any kind and of any genre (thanks also to his new label Bold).


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