Dampyr 228 – The Servant | Review


Published on Mar 06, 2019


Erszbeth Bathory is also known as the countess Dracula, this character actually existed in the second half of the Sixteenth century he became known for his sadism, and obsession in relation to young women, who loved to torture and kill. The number of kills made by the countess Bathory and her servants, according to some calculations, would reach up to 650, a figure that would make it the biggest serial killer ever.

Among his servants, the most faithful, there was Dorothea, known as Dorka. This character was put in the middle of the last register of a Dampyr and made the new enemy of Harlan Draka. The Servant is set in Budapest, the city in which he lives, the private detective, Vilmos Farkas: a man who remembers some of the characters traits from the most classic of film noir.

And it is precisely the narrator's Farkas makes us cross a Budapest decadent, full of crime and horror, in which the Dampyr and his companions will come to put an end to the escalation of the dead that is tied to the story of the countess Bathory, and of his servant.

Antonio Zamberletti, the author of the subject and the screenplay of the register, has made for an intriguing story, which manages to move from the canons typical of the stories of Harlan Draka, to enable us to enter in a comic in strong colours, crime, thriller, dramatic, and, of course, horror. It is a question of literary genres that, up to now, we have already seen on this series, but not declined as Zamberletti has done, with The Handmaid.

In this album, in fact, the roughness of narrative and of the characters is much more tangible, and the realism descriptive of one of Budapest's difficult to live on, transmitted to us by detective Farkas is a small jewel of a narrative. You breathe in the air stories at the Gomorrah, which is rather atypical for comics Dampyr.

But, despite this, the link with the past, and with the story of the countess Bathory is quite synergistic, and offers insights and suggestions to the Hammer Horror films, not to please fans dampyriani.

The designs of Fabrizio Russo mark very the china, and have a stretch irregularly, failing to give the right suggestions for the setting of the Sixteenth-century, both for the scenarios of the Budapest contemporary.

The Servant is a variant on the theme that manages to break well with the stories of the hidden truth that we are usually accustomed to reading. In this album, despite the fact that it exploited a historical character, as Erszbeth Bathory, what prevails over everything else is that big and deep narrator of the detective Farkas.

The point of view of a character so strong it will even put a little in the second floor of the same Harlan Draka, while providing a good balance between the various characters. But the captions Farkas are a ray of light that illuminates the series in a way that is almost unheard of. An experiment that we hope will be repeated to give us once again the narrator's voice is rough, and with a deep story to tell to the readers dampyriani.

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