Dylan Dog 374: The end of darkness – Review
Dylan Dog splits the community of readers with a story of powerful and controversial!
With immense pleasure we present to you the review of The end of the darkness, the new issue of Dylan Dog published by Sergio Bonelli Editore. In the claims of this register we find the brand-new couple composed to texts by the sensitive Mauro Uzzeo and drawings from the TRVE Giorgio Santucci. To speak today of "Dylan Dog" means to divide into two factions: the worshipers of the unconditional of the new course, which the current curator Roberto Recchioni has given away a few years ago and instead die-hard detractors, those that “Dylan was nice in the first 100 numbers”.
The comparison is becoming more and more switched on to the register in the register, and then I particularly want to take sides from the outset, and to throw me into the fray: I am a supporter light of the new course. Light in the sense that in these years I read things that I liked a lot, things that I liked... medium-sized and things that I struggled to finish reading from the great that were boring. Let's say, however, that the events so far have not disappointed me: the first few numbers of the new course, those of the retirement of Bloch, and the appearance of John's Ghost, Mater Dolorosa, and the return of Tiziano Sclavi with the bomb After a long silence.
And now this.
A book that I waited as a child waits for christmas since I've seen sometimes as much as posted by the designer Giorgio Santucci on his page Facebook. And appreciating the skills of Mauro Uzzeo as a writer, I felt from the beginning that this volume would have been really good.
The end of the darkness of Uzzeo & Santucci's not nice. More. Is colossal. Is huge.
It is like the song of the Exodus-era Dukes played live at full volume, is like the bullet of a shotgun fired at the height of a man, is as as a tank that makes its way at full speed during a Lucca Comics Saturday afternoon.
I hope you get the idea.
The screenplay by Mauro Uzzeo opens up to us the doors of a London nightmare where truth does not exist, where it is not possible to distinguish the true from the false, where hordes of fanatics invade the streets, where a mysterious deity exit from the pen of H. P. Lovecraft seems to affect the destinies of human beings. A London post-apocalyptic, but not too much, as this version is clearly amplified and brought to the extreme consequences of the reality that we know: the reality of the buffaloes, who flood the social network and to which a lot of people give full credit, the reality of the Sentries standing and the return in popularity of the political movements that we all believed disappeared or, at least, reduced to a flicker. Mauro Uzzeo and transports us into a near future where everything is turning to its most extreme consequences, and where the few with a glimmer of conscience and humanity must fight to survive.
This register presents a "Dylan Dog" that is as it should be: an investigator's nightmare (where by nightmare you mean our everyday reality) to grips with the workings of the society and of the human mind. Let's be clear: the only designer capable of representing with such vividness, as outlined by Uzzeo in his script, it could only be George Santucci.
Artist cult of the underground scene (but not only) Italian, Santucci for some time, has arrived at Sergio Bonelli Editore, first making a register of Orphans, the sci-fi series created by Roberto Recchioni, then with a short history of a Dylan Dog Color Fest. Now finally we see land on the regular series with its massive black-and-white. I do outing: I am one of those of whom the same Santucci would say that “takes the quotes of Shakespeare in the dialogues, but does not understand anything about design”. Well, yes, master, forgive me.
Nevertheless, from the bottom of my ignorance there are a few observations I can make: the first is that in this album there are scenes never before seen on Dylan Dog. The level of splatter, for example, is very high, and the destruction involving London is unprecedented in the stories of the investigator of the nightmare. The second is that Santucci you must surely be amused like crazy to represent the divinities sumerian, the scenes of destruction, chaos in the streets. The designer of viterbo it is dedicated heart and soul to this volume riversandovi, in tandem with Uzzeo, all imagery related to the occult, pentacles to the religious sects, passing of course for the inevitable divinity lovecraftiane of the myth of Chtulu.
Third, the women drawn by Santucci are the most sexy of Italian comics. There is no history.
Closing, immediately jumps to the eye that this is one of those books destined to leave their mark, a volume that can not miss on the shelves of fans of Dylan Dog. Icing on the cake, a fabulous cover of Gigi Cavenago, increasingly launched both in the role of cover artist for that in the Olympus of the great designers, which refers deliberately to the Executives of the faculty of Gustav Klimt. A cover, then, which refers directly to the contents of the register.
We are facing a masterpiece? I don't know, I don't have the means to say it. What is certain is that we are facing one of those books that divide and divide for a long time and that will discuss a lot.
Goal centered, in short.
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