Oblivion Song Vol. 1 of Robert Kirkman & Lorenzo De Felici | Review


Published on Mar 07, 2018


Robert Kirkman is one of the creators of the most influential in the world scene if not for anything else, because he has given life to one of the last true global phenomena: The Walking Dead.

While ignoring TWD, Kirkman, unlike his more famous colleagues, he never had the habit of firing its cartridges in an endless flurry of publications, preferring instead to launch or relaunch his series with the right timing it is enough to see Outcast and Invincible.

This preamble was necessary because we are facing a unique, not only Kirkman is launching a new series co-created with an all Italian team, but he is doing it at the same time between Italy and the US.

What is Oblivion Song?

Ten years ago, suddenly, 300,000 inhabitants of Philadelphia have disappeared, mysteriously transported into the dimension baptized by scientists by the name of Oblivion. After numerous attempts to recover the missing, the government has finally decided to suspend the research. Nathan Cole, instead, each and every day risks his own life to try to bring home those who are still living in the hell of the apocalypse of Oblivion. And if, instead, Nathan was trying something else? But, above all, because they were unable to resist the lure of the song of Oblivion?

In this context, we make the acquaintance of the protagonist, Nathan Cole, a unique point of view of the narrative, which carries out its raids to Oblivion while badly equipped and without the support of the government in search of survivors but, above all, in search of a particular survivor...

Kirkman takes his time and prepares a narration extremely laid throughout the first part of the book seems to want to ideally accompany the situation with which the citizens of Philadelphia have learned to live with: there is another dimension, populated by monsters, which has engulfed thousands of people. There is not much to do if not getting used, forget it. The protagonist is the only one left with the hope of finding those people.

In the mid-register, the situation is reversed and the rhythm rises: Nathan is taken prisoner just a few of the survivors trapped in Oblivion discovering a point of view diametrically opposed to what has been theorized on Earth. That held up until then, a dimension that is hostile becomes a place of peace, a place to rediscover oneself in communion with others.

Failing to realize this “inconvenient truth,” Nathan returns to Earth, only to discover that the government has identified the cause of the Transposition – the event that made up the parallel dimension – because that sees Nathan involved in first person....

There are some aspects of the literature of Kirkman obviously resurface bullies in Oblivion Song: the idea of the end and especially the intention to bring the characters to the limit of endurance psychological more than physical in what the author has defined in the course of the last Lucca Comics & Games, a new narrative genre of the “coming apocalypse”.

This joins of course the skill of the author in the preparation of a cliffhanger is very effective, and to disseminate some of the ideas in the course of the volume that will surely will be taken up and extended at a later date.

The narrative possibilities that are new and potentially away from those already seen in TWD (for example, because in Oblivion the Song the core theme seems to be resignation and the so-called “guilt of the survivor”: at the end of the volume we understand the cause of the apocalyptic event, freeing ourselves as well from the burden of his research to focus on the consequences of the extraordinary fact from the point of view of the protagonist that the one of the missing... two implications several of the medal of survival.

To accompany Kirkman in this new journey there is the Italian designer Lorenzo De Happy.

The stretch edgy and dynamic, the designer romano marries well with the plot woven by the author manages to marry the hectic moments of the action with the parties most reflective in which the characters communicate almost melancholy, especially thanks to a clever use of the placement of the figures rather than simple facial expressions.

Crucial in this sense, the work in the colors of Annalisa Leoni, who provide depth to the table most ordered of De Happy – evident in the influence of the school starting – and complete with a palette that combines shades of the dark green and yellow/ochre brilliant the world of Oblivion.

To underline the work carried out by De Happy in the stage of creation of the world to Oblivion that with a personal touch imagine a world of molds, fungi and vegetation aggressive in which gigantic creatures from the forms melliflue move in search of prey.

Oblivion Song will not disappoint of some fans of Robert Kirkman you will find all those themes that have made the fortune of its series but could also be a pleasant surprise for readers not familiar with the comics, thanks to the pencils “accessible” to De Happy.

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