Dylan Dog: The flame – Review

Published on Sep 29, 2017

Dylan Dog goes in the news with a story written by Emiliano Pagani, designed by Daniele Caluri

Some have argued that the heroes of the comics, to be such, they should live out of the reality, never enter in your daily life, avoiding it to not get sucked in and collide with uncomfortable comparisons. Personally, I believe there is nothing more exciting that to see a character in a comic to get their hands dirty with reality, to take of the chest themes ‘dangerous’. Exactly how did Dylan Dog with The flame, the number currently on the newsstand.

In the last year, Dyd has already boldly gone in our daily life, as you will recall if you have read The terror. At the time, the story of Gabriella Contu (designed by Caserta) had been unfairly criticised by some, who believed it to be a manifesto feel-good devoid of concrete content, and a little near to the soul of Dylan. I'm not surprised that it is now a master of provocation as Emiliano Pagani (if I say Don Zauker?) give us a story of Dylan, who is rooted deeply in our everyday lives, touching on subjects that are very delicate.

The flame sees Dylan Dog intent to survive during a riot town in one of the popular districts of London, where the discontent of the residents for the opening of a landfill (remember anything?) flows slowly in the revolt against authority, a power that reacts by sending teams of anti-riot police at Scotland Yard. But not everything is as it should be, as always, the horror is around the corner.

There are many themes that are addressed in the history of the Pagans. To understand how I have dealt with this reading, know that I took The flame, then I joined in the usual bar for coffee and finally I read the register. And it seemed to me to be back at the bar, but it was not the most pleasant, as well as ten minutes, now there was a certain amount of concern.

The first tables of The flame are set in a pub, where the patrons complain for the umpteenth protest. It is not so much the place to hit than the words. While in television, they pass images of the urban guerrilla, the capopopolo tavern of the time, criticizing anyone who actively opposes the decision is apparently unpopular, he comes up with a phrase that we have heard all these situation, maybe we have heard in the house, or perhaps we have even thought at least once

“If they were at home or in the pub, he would not hit anything evil, no?”

Already this exclamation, you are immediately in the face of reality. Then the coup de grace, the request to change the channel, for the famous quiz of the beans of Jack (young people might not catch the tribute to Raffaella Carrà, who was actually in the early ’80s). Why face the reality, if I can rintontirmi with the television?

Here is the first theme, the commitment to civil society. We have the right to complain, if we are not willing to do something to change the world, or even join a simple protest? Good question, Emiliano!

But up to what point is it right to go? In The flame, Pagani manages to insert a question after the other, pushes us to think, showing all the possible positions, so it is polished and sincere, visceral, without compelling us to take sides necessarily.

Alev, the girlfriend of Dylan Dog in this album holds true to its name (the Turkish word meaning flame) and it is the spark that wants to give life to revolt. Shoot down the system, the ination and the dialogue doesn't work, violence is the only way. His arguments are strong, they have a certain charm, and they embody the scenes you've already seen the news. And, in this case, Dylan is the point of view of more moderate, with sarcasm tries to resize this explosive force.

On the other hand, there is the repression of the police, embodied by an agent is held by the guerrilla, anonymous, without a face, violent. The fear of every protester. The entry in the scene of the bobbies armor is awesome, seems to hear their marching out from the pages (about Daniele Caluri to the drawings), a sense of fear snaking up to strike hard, when will the retribution, the pacification of the insurgents. And here Dylan stands against this violence, taking the parts of demonstrators, not all violent like the black block that we imagine usually.

The figure of Dylan in The flame for me is perfect. Its not be categorized in one of the parties is a sign of deep respect for the character, his vision of the world is not enslaved to a political reason, but it is the lens with which the reader sees this story, the character supra partes who wants to understand this delirious day of war of the district.

If you think that we are faced with a simple portrait of a police brutal, violent, immediately changed the registry. The beat Tyron in the second half of this album is clear

“Behind these helmets, there is no monster, but only the boys who do their duty, they are the children of normal people”

If you think that it is easy to tell a similar story in a way so passionate, but without giving an accusation peremptory, to give it a go. The pagans with a skills acrobat has. Perchéalla the end you see the limits of the protestants and of the policemen, the sins and righteous deeds, on both sides. See the black block of the Genoa G8, but even the policemen who came to Diaz. The errors are from both the parties, let us accept it.

Quotations and cultural references are another refinement of this register. By the already mentioned game of the beans, you go to an Alan Moore version guru that combines beautifully the mindset of the famous author of the dynamics of the story. Signal style the evolution of the onomatopoeia of the march of the cops, that with the escalation of the situation and their attitude of repression will pass from the Tump to the table 6 at the Trump page 41.

This beautiful story of the Pagani has an incredible force for the good work of Daniele Caluri. In a story In which the tension and the violence are always present, even if not manifest, and to transmit this electricity to the reader is essential, and Caluri not betray the expectations. Take, for example, table 38 ( you can admire here above), where the expression grim Dylan is opposed to Alev who is ready to throw a molotov. The girl is portrayed in a moment of explosive force, a mirror of his inner tension: the face contracted with rage, one arm outstretched in the effort. The details of this table that make the difference: the hand tense and nervous, the characters in the background. But especially the action which pierces the limits of the vignette, as if it were ready to explode with all the anger and the ardor of the demonstrators beyond the confines of the register.

The flame is proof that a comic strip has not only can, but must enter in the real. And Dylan Dog can do it even better than the other perhaps. The horror with which is often associated with the character of the Sclavi also exists in everyday life, Dylan can be fictional, because of the nature of the media (it's still a comic), but the source we have under the eyes every day. And it is okay to talk about it, even in a comic book.

I would like to say something also on the cover of Cavenago, who is always at the height of his task, but with The Flame exceeds. Usually I put the cover on the top of the articles, this time I make an exception, because only see it can give you the idea of how intense.

The appointment with Dylan Dog is out on 28 October, with the end of The darkness.

The article Dylan Dog: The flame – Review comes from Justnerd.en.


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