Dylan Dog 383 – Deep Black | Review


Published on Jul 30, 2018


Deep Black has a very special guest, that leaves a glimpse of reflections “argentine” of the cover signed by Gigi Cavenago: the number 383 of the regular series sees the debut for the first time in Bonelli, Dario Argento, historical director of horror movies known throughout the world for his masterpieces such as Deep Red, Suspiria and Phenomena. The acclaimed director is joined by screenwriter Stephen Storey, who has written in the past, the screenplay of the film “argentiano” Dracula 3D, while the role of the he moulded the chart of nightmares has been entrusted to the historic Corrado Roi.


The ingredients are all there: the horror, the love, justice, death and nightmare. Because of an administrative detention of the beetle, for unknown reasons, Dylan finds himself to visit the exhibition of an artist that depicts some of the people during sessions of bdsm. Our hero suddenly becomes attracted to a beautiful woman, the same one that is portrayed in the photo, and begins to follow her even to know his name. This woman, who only manages to discover the name of art (Lais, as the lover/slave of Diogenes, portrayed later by Hans Holbein in 1526) invades the dreams of Dylan, asking him to frustarla until she reached the moment of maximum pain and pleasure. The surveys will continue up to discover that the model in question has, of course, a secret that must be revealed in order to be saved from the spiral of self-destruction to which it is bound.

Let's face it: a combo better than this to break up the hot summer with the typical chills of a horror classic could not be better. The ruse to translate the two authors who have worked in film between the pages of a comic book works and makes the horror even more palpable. The movements of the directing of Silver are evident, and they jump to the eye of the reader who has already seen his films. Recall, the more obvious it is located approximately in the centre of the register and sees as its protagonist, Charity: the camera movements, which alternate between details, the barely perceptible and the movement of fluids of the character, remind you of a particular scene of Deep Red (no spoiler. I can only say that the background music of the scene is Death Dies Goblin, piece that to me resonated in the head while my eyes were running from one vignette to another).

You have chosen to tackle a topic that is unusual for a newspaper Bonelli: the fil rouge (or better, the rope) that binds the protagonists of this story is bdsm, a series of extreme practices aimed at the union of the physical pleasure with the mental through the “game” between two (sometimes more) people, identified as master and slave. The only character outside of this world is our own Dylan, the good par excellence, and that would not hurt a fly, let alone a woman. Lais/Beatrix pushes him necessarily to practise violence upon her if only to get his safe word: the scene is made even better by the stretch of Roi, that distorts the face ethereal Dylan until it becomes a mixture of suffering and anger while you whip the back of Laish/Beatrix.

Sad to admit it, but on the Roi you can spending more than many words: impeccable work, graphic choices accurate, his Dylan stands out among all the characters in the story, while women tend to be confused between them (that is a metaphor about the transience of amorous feelings of Dylan, to which we are accustomed?). Very nice register of the summer and with a few flaws: in addition to the flashback starting, devoid of stain, you add a narration too hasty that is highly susceptible to the constriction within the 96 pages the canonical. The classic game of Silver, and that makes you kid you've got, and caught the real killer before the end here is wasted in view of the number of pages that are still missing before the end of the roll. But then a story of Dario Argento's work in comics?

Nì. The experiment worth the expense, but there is still much work to do.


The editorial by Roberto Recchioni is sadly lacking musical tips to adopt during the reading of this register. In this regard, I strongly recommend you tap into the discography of the Goblin, the authors of almost all of the soundtrack of the film of Silver, alternated with pieces of Massive Attack, Marylin Manson, or the more ethereal Sade and Enigma.


Plus: the best scenes, no doubt if you won the prize for the dream songs, where Lais/Beatrix speaks for the first time. scene, identical to that of the cover, sees the two at the centre of a theatre of the circular, surrounded by various animals that they observe them in a purely carnal. The metaphor recalls the most dangerous form of voyeurism, where the beasts observe and comment on the game between the master and the slave; with their grunting indecipherable judge what is outside of them, putting the nose in situations where they themselves schifano to enter. Prefer to just watch the outside of their lives as if it were the art of filmmaking, almost impalpable and unreal. The moment is metaphorically very close to the opinion expressed through social media: at a glance, Silver, Plans, and Roi show the daily violence to an audience that enjoys seeing her and that thanks you after enjoyed. A bit like those that greet the bust at the end of a tg.

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