Deadwood Dick 7 – Wind of Death | Review


Published on Jan 10, 2019


Deadwood Dick is a bit Django Unchained, a bit of a version of the “thrust” of Tex. We know that the character of the cowboy of color comes from the fertile creative mind of writer Joe R. Lansdale, but the adaptation bonelliano has allowed Deadwood Dick enter full scheme in the pantheon of character Bonelli (and in fact there would be a good crossover between Tex and Deadwood).

But, let's go with order. The number 7 of the mini-series dedicated to Deadwood Dick at the end of this “first” series dedicated to the character (just because we think that the stories of the cowboys of color may not end up here). After surviving the indian attack on the Adobe Walls, the Deadwood with Jack and Millie flee. But the relationship of the cowboy of color with this last will be put at the centre of the whole comic. A white woman walking to the West with a black is not something well seen by the american society of the mid-Nineteenth century. Especially if between the two seems to be born of a feeling rather important.

This register closing is the epilogue to the miniseries that between points at a rather high level of quality, and an overall figure of the product at the height of the standard Bonelli, has offered an interesting title for the readers. Deadwood Dick, as mentioned before, is a version of push-Tex (just to find a comparison bonelliano fitting), which in some numbers have suffered an excessive burden caused by the constant voice-over narration and too many captions, which had the purpose of keep alive can the text and the words of Lansdale.

But in this last number Mauro Boselli has done the best thing: it has reduced the captions with the narration to a minimum, and left space for the dialogues (not many) of the characters, and especially to the images. This last roll of Deadwood Dick has, in fact, a fast-paced, and is perhaps the most sliding of the entire miniseries.

Mauro Boselli, from a skilled writer such as you, has wanted to travel the narration at a dizzying rate, thinning more and more dialogues. All this has enhanced the central part of the register that is focused more on the emotional relationship (and carnal) between Deadwood and Millie, leading to a leave of absence at the height of the great western stories. A final, melancholy, a little bitter, worthy of a time that was not made for the happy ending.

Deadwood Dick is a mini-series succeeded also to the great artistic level reached thanks to the excellent designers. In this last roll Stefano Andreucci has given to the characters expressive, and the backgrounds on the black-and-white able to call to mind another classic of western bonelliano, or Ken Parker.

In short, we are faced with another test of the skill and craftsmanship of Sergio Bonelli Editore. The birth of the label Bold marks a point of change for the publishing house Via Buonarroti, which is looking more and more to diversify the offer to the readers. And Deadwood Dick from this point of view is a hybrid: a story that follows the tradition of the comic western bonelli, but at the same time tries to push a little further with the content and with the images.

If the label Bold will mark the turning point for Sergio Bonelli Editore, opening up new spaces and extensive production and editorial, the progenitor of all this will be a miniseries, similar to the past of the SBE, but at the same time full of that spark that the Bold carries within himself: the intention to expand the boundaries of narrative and creative one of the biggest publishing houses in italy and international.

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