The Crow: Memento Mori 2 & 3 | Review


Published on May 05, 2018


The mythology of The Crow, which took off in 1988 with the publication of the comic by James O Barr, has recently been enriched by a new and intriguing character. His name is David Amadio, is a sixteen-year-old roman, is strongly catholic. Roberto Recchioni, the author of the screenplay and the creator of the character explained in the course of the Napoli Comicon (held from April 28 to may 1st at the Mostra D'oltremare) that “initially, the main character was supposed to be a priest to Clint Eastwood, but in this way it lacked that youth component that exudes from the original work, so I decided to give space to a protagonist teenager.” And, indeed, a protagonist so young within the mythology of the Crow had never seen.

In the first issue of the miniseries (which is coming out in a contemporary both in Italy and in the United States) we saw the entrance of David and the beginning of his revenge – our review here. The terrorists who had caused the death, as in the more classical style of the Crow, suffer the killings, the most brutal, dispense judgments by biblical verses that evoke the poetry of the original work of O Barr.

In the second and third number, instead we see the entire route history of David, which introduces a flashback dedicated to himself with a phrase masterly: “it Is said that when you die your whole life will pass in front of it as a kind of film..but if you have sixteen years more like episode of a television series.” Retrace the past of David creates the effect of the melancholy which is the stylistic characteristic of the mythology of The Crow myth. The crucial character for the life of David, and the beginning of his religious path is (as in the best traditions of poetic and literary) a young girl, known in the church (and here there is perhaps a reminder of dante), of the name Sarah.

At this moment of history will mark the beginning of a triangle that will play in the lives of David, Sarah, and father Raphael, the spiritual guide of the kids, which will play a fundamental role in the course of history.

Roberto Recchioni, who, in the course of the Napoli Comicon is defined as “an author's political,” he wanted to play with the hot issues of recent times: the religion and the terrorism. But the way in which the writer has managed these elements is not exactly what you would expect. The plot is winding paths, that lead, with the end of the third number, and throw a critical cross against any kind of religious fanaticism (without distinction of creed).

The Italian author, which is usually characterized by scripts and quick rhythm, in this mini-series proves to be even more “fast” (perhaps influenced also by cutting from comics american in the comics you had to pay), and the story flows so quick, that it is a sin to be already arrived at the conclusion. Some still missing the fourth number, which will be released in a month, but you have the desire to want to delve even deeper into the world of David Amadio, and what was its path to the not-death.

To accompany the screenplay are the drawings of a Werther dell'edera, who, with his suddenly nervous and a little dirty, manages to infuse the dynamism that is necessary to sketch the characters off the page during scenes of action, and spread a kind of sense of restlessness and uneasiness, that, with the stories of the Crow there goes the brush.

The colors by Giovanna Niro, however, manage to impress the mood of the page thanks to a chrome base, wrap around, creating a further atmosphere, and knowing very well the modular variations of moods of the highlights of the story.

The short story are made, respectively, by Davide Furnò, Emanuele Ercolani and Daniel De Filippis, and they are both delicious for different reasons. The Furnò is also inspired by the style of Dave Mckean, to spread a sense still more dark and gothic to a mini-story that pays homage to the poem The Raven by Edgar Allan Poe. While the short-story of Ercolani and De Filippis, strikes at the heart and stomach, as well as a certain kind of stories should always do.

In short, the mini-series The Crow: the Memento Mori of the Recchioni and The Ivy is a great “expansion” of the universe of O Barr. It is hoped that such transactions may continue over time, and that in the future this type of stories can have multiple pages available to issue all of their spirit of restlessness, drama and lyricism of youth. Because of a Crow that flies in the night in the streets of the city full of broken hearts and broken lives we will always need it.


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