Deadwood Dick – Black Hat Jack | Review


Published on Apr 05, 2020


With Deadwood Dick – Black Hat Jack, come to the third volume of the adventures of the cowboy of color born from the pen of the brilliant Joe R. Lansdale, whose stories have been translated into a comic strip by Sergio Bonelli Editore's never stingy in the draw on the extensive production of western-made and not.

We had left Dick in the second volume – our review HERE – to address the “misunderstandings” of the city in the decline of the Hide & Horns. A black who buries a white, in fact, is not something that can go unnoticed, and Dick had learned at his own expense, and risking, of course the skin, that no good deed remains unpunished, and that the color of the skin – black or yellow that is – in the deep south is still a “problem”.

In Deadwood Dick – Black Hat Jack, we find ourselves in West Texas. Dick accompanies the friend Black Hat Jack in what should be a hunt the buffalo. It should because the two of them find shelter in the town of Adobe Wells, a former theatre 20 years earlier of a bloody battle, where a coalition of Comanche indians, Cheyenne, Kiowa and Arapaho are ready to sweep away the white man, guilty of chasing their source of livelihood.

Dick, Jack, and the small groups of men takes refuge in the ramshackle saloon, and try to survive the waves with which the indian warriors, try to get them off. At a certain point, however, in the prairie, there are two knights on the run, and Dick, having regard to the remonstrances of his companions, decides to go out to their rescue. The group then will join the cowgirl Annie. With a shot so impossible how lucky the siege ends and Dick, Annie, and Black Hat Jack can resume their journey.

But the panhandle of Texas is a place that is anything but welcoming, and a new clash with the indians Kiowa will be costly just to Black Hat Jack. Left alone, the attraction between Dick and Annie results in a whirlwind of passion, at least until, upon reaching a small town, Dick remembers that it is a black and Annie is white... the cowboys will resume then his journey alone.

Joe R. Lansdale recalls in a fictionalized, and adding to the character of Deadwood Dick along with other fiction, the Second Battle of Adobe Wells, on 27 June 1874 that Mauro Boselli fit in a story by the manner of lightning that exudes the “frontier” from all pores.

The prose is abrasive, away from the formal correctness and the moral of the icon of the house, the SBE Tex, as well as the action is devoid of heroic deeds, and otherwise it is all full of survival instinct.

The volume is divided into two parts: the first with the siege itself, and the second more reflective and decadent.

The siege is run by Boselli by entering the diverse and contentious group of cowboys in a closed place, in a standoff nervous and grotesque, while the central part becomes almost a long sequence of film is tense and brutal.

Past the danger, the author grants himself a moment of sensuality for a while but then resume the line of what was the thematic backbone of all volumes with the protagonist Deadwood Dick: the racism.

The final then is doubly bitter with the re-enactment of the events and the farewell to the dead lost in the mists of a West that lives in legends.

To further enhance the excellent work of Boselli is there a Stefano Andreucci really in great shape. His stroke is precise, clean and attentive to detail with a table structure which overcomes the classical setting starting using to emphasize the action of horizontal panels wider that amplify the boundless spatiality of the setting texas.

However, in the use of the blacks, in the alternation between empty spaces and full, that the designer is exceeded with the sequences of the central issues of the siege, which, set of the night, take on the connotations of a decidedly more agitated and threatening in a large trial “choreographic”.

Fascinating then the sensual female anatomy of Annie approaches Andreucci to a master such as Paul Eleutieri Serpieri.

Deadwood Dick – Black Hat Jack is the best volume so far product inspired by the stories of the cowboys of color-the Joe R. Lansdale, about a story that manages to combine a more “realistic” of the west with a plot-rich solid action, but not stingy in your resume those the main themes of the series.

Solid volume hardback large format produced by the Publisher Sergio Bonelli, which is characterized also by a full-bodied apparatus of the drafting and where there are, in addition to some preparatory sketches of the designer are also an interesting interview with Joe R. Lansdale.

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