Dylan Dog 403 – The blade, the Moon and the ogre | Review


Published on Mar 31, 2020


In the midst of the horror of the real, in the midst of a quarantine worthy of the best special issue of Dylan Dog, continue the old-new adventures of an investigator of the nightmare that she must deal with the stories already told, presented with a mise en place different from that published in 1986.

“The blade, the Moon and the ogre” opens with scenes from well-known and already seen in number 2, “Jack the ripper”, which come to life with a Dylan, bearded and dressed with a long coat instead of his usual black jacket. After the bad experience with Jane, the investigator is thrown headlong into a new investigation of the grotesque: in London there is a mysterious assassin who has a bad sense of humor in the kill. Its many victims are linked to each other through a wire very thin and almost imperceptible, so much so that Scotland Yard takes weeks to understand it.

Continues the building of a character that has become more easygoing, less, faithful to duty, and the most insolent of our “old Old Boy”. In the previous issue of the past, Dylan has been doing properly, while here it is only mentioned in some of his paintings, favoring the inclusion of the investigator in the everyday life and interlacciandolo to a case that, probably, it will bind to the double strand with elements of the past of Dylan in a parallel universe (or Dylan, who we already know).

Roberto Recchioni and Mauro Marcheselli weave plots and subplots, following the chronological path of the first outings at the newsstand: they Jane by the number 2, Helga Blucher and his sons by the number 3, a few tables with Anna by the number 4. Flashes of a past editorial far back combined with the new helper Gnaghi and his new relationships with the characters (or nearly) as Bloch, Rania and Carpenter.

Back Nicola Mari more powerful than a bomb, with its designs that offer the public a Dylan more cheeky, more decided in its choices, while fear on the faces of the victims of a mysterious sequestratore and a strange killer is cut from a ghostly light, which marks a dualism between madness and normality, between death and life, between true and false. The last plates of the register, instead, are the work of Sergio Gerasi: his pencil is different, floods of light an Anna in babydoll and sensual poses. Its shadows are evanescent and almost annihilated by the light coming from a point out from the table and mentioning what we find in the number 404. We also note that, starting from the number 400 and the tables of the epilogue are presented to the designer who will work on the next album, forming a " trait d'union among all the books of the new cycle. I wonder if this formula will be adopted definitively by the 407 in then...

On the cover of Gigi Cavenago, made special by the metallic effect of the steel blade, Dylan runs away from the characteristic elements of his cases, the most famous to the research of the resolution of a wrongdoing. A misdeed that will never be forgiven, even when it is made in good faith. What is right for one is not always so for the rest of the community in which they live, and this concept continues to make to blows with the Law, under which we are all (more or less) the same. Dylan knows this and continues to look for the good in the mind of people, presumably bad, forgetting often that there is a Justice of a little more than he chooses for the good of the community.

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