Dylan Dog 392 – The primordium | Review


Published on May 16, 2019


Like the flower of a cactus, that challenge the scorching heat and the weather, while to display to the world its inherent strength in its beauty continues to blossom on the change in the History of the investigator of the nightmare. This time, in the role of the three Moirae dylandogghiane, come the stainless Paola Barbato, curator Roberto Recchioni and the epic Paul Martinello, and spin (and how if they spin!) the golden thread of the life of the character of Tiziano Sclavi, taking into dangerously shears near it. In the number of the month of may the authors scomodano even the Ancient, by dragging them away from the narrative universe gained and bringing them on one of our days, touching all the Earth and uniting it under the waving flag of the Old Boy.

A package without the sender comes to the door of the Craven Road 7 and carries within it a strange charm, capable of altering the surrounding reality, depending on how it is placed. The artifact is connected to one of the tribes of australia, where the shaman, in turn, is simply the messenger of a great demand on the part of the Ancients: put them in except by the meteor, taking them away from the Earth. From here, Dylan will find himself the victim and puppet of forces greater than him, that could (maybe) manage only thanks to the other owners of the artifacts scattered around the world.

If in the previous numbers, there were small moments that were connected to the questions of the suspended relating to the figure of John the Ghost and the Queen of England, now finally Barbato and Recchioni they bring out something more clear from the muddy waters of the narrative. You collect the narrative elements open that we left behind in Deep Space, At the service of the chaos and ... And ash you shall return, for you to shape finally, the figure of the true villain, deploying even the Great Ancient and revealing what (or maybe who?) is the Meteor, not relegandola more simple rock moving towards the Earth by following his course, but revealing that there is something more, that goes beyond the humanly conceivable. Outside of the story special, Barbato and Recchioni press down on the accelerator on the narrative of a horizontal, telescoping the many pieces of the puzzle: only eight numbers from the infamous 400, the race to the end indicates that there are still many narrative holes to fill and many new events to “serve”.

Martinello confuses and intermingles the eyes of the reader, causing him to lose in the atmospheres escheriane so full that they miss the horror vacui of medieval, related more recently in the works of Benito Jacovitti and Luciano Bottaro. It is almost impossible to take breath in the new London, parallel, visible to the guardians of the dawn. The skill of the Martinello is to point out the details that are the pillar of the story without making them to detach from the rest of the composition of the elements in the vignette, avviluppandosi as a tentacle around the throat of those who are about to read.

The cover of Gigi Cavenago is spiralizza directly to the inside of the register, with a trend almost “fibonaccico”, but taking it as the ideal centre of the perspective, the bust of Dylan by emphasizing the contrast between the core behavior and balance with the tension of a life on the edge of the abyss: it takes very little to be dragged by the wind of events, as was already happening in the number 390.

The hank continues to sbrogliarsi: now the conclusion of the period of the renewal is close and you will continue to see more and more of the white light that filters in between the cracks of a symbol belonging to the past that is about to yield.

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