Dylan Dog 404 – Anna forever | Review


Published on Apr 30, 2020


Continue on the loop to Dylan Dog 666 that combines old and new, loved and hated, seen and never seen in the universe dylandoghiano. The character of horror-Sergio Bonelli Editore meets (again) a beautiful (and awkward) blonde that will make your head spin. And turn, and turn, and turn, as a fantastic hangover.

The fourth number in the cycle, “Anna forever”, is (obviously) closely linked to the number 4 in the series, “The ghost of Anna Never”. Immersed in a dream inside a dream, Dylan meets a woman with long blond hair, who wants him to kill, without any apparent reason. After waking up, Dylan goes to the theater and meets her, Anna Never, his mysterious possible murder suspect. Here the investigator finds that it is not the only one to have had that dream: she recognizes him as the man who has been murdered in a dream and, after an initial moment of mutual fear, the two try to find an explanation to all of this, approaching more and more...

From here, a sequence of plates (30) is completely mute: you see the birth and growth of a loving relationship, the dependence on it, and the consequent desire to evadervi giving himself up to the vices. Tables mute that last as long as a dream, a normal dream that skips the parts that are less important, you leave only the salient points and focuses on the moments most fearful, those scenes that you make you feel worse and make you wake up suddenly in the middle of the night.

Sequences without the text are worse than a slap with an open hand: you condemn violence towards the partner, whatever the gender of the aggressor. Recchioni emphasize how damage to the person you love, you can transform into a monster to deal with, fight and kill.

The consistency of Anna looks gorgeous thanks to the pencils of Sergio Gerasi: the black little filled, the vibrato in the faces and the shadows form a frenetic movement of the characters, that you almost can't never stand still in their cartoons. The stretch is equal on both the first and second floor immerse Dylan and Anna in a frantic dance with the world that he has created around both of them, a dance that someone might abruptly stop.

Interesting to note how the acceptance of, its issues and the redemption of a faithless alcoholic evolves also in the stretch of its designers: after a long and dark path of presentation of Dylan's “dellamortiano” with the tables of Roi, Dossena and Seas, the sins of the Old Boy start to thin out and lighten the black light of the Gerasi to continue to dissolve on the pencils, Giorgio Pontrelli, author of the last tables of the number 404 and the signature of the designs of the 405, which will call the album “killers”.

Ethereal as a ghost is on the cover: the holographic effect on the board of Gigi Cavenago makes it even more intangible, the essence of a real character who lived and will live forever in the hearts of Dylan, and of his readers and hopefully not break anything...

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