The Voices of the Water of Tiziano Sclavi & Werther Dell'edera | Review


Published on Jan 11, 2019


The name Tiziano Sclavi still remains today inextricably linked to Dylan Dog, character who not only created but also helped to make great, and extremely popular, with a series of stories that are moving clearly in the comic genre were in existential reflections, more or less, obvious also affecting the readers less attentive and perceptive.

And there is no doubt, moreover, that Sclavi has entered the ranks of the writers of the comic's most influential italians, one of the first writers, in the broadest sense of the term that is able to give his impression on the Italian comic without the aid of the drawing board like so many of his distinguished colleagues and predecessors, you do the list. This precision – cryptic if not downright ridonante to most – it is important to understand what is the core of the Entries in The Water, which is the first graphic novel of the Sclavi, who ventured so again with the comics after the return on Dylan Dog a few years ago with the register 362 entitled emphatically After a Long Silence.

It Entries in The Water, we follow Stavros, a man plagued by those who appear to be different phobias, if not even a disease, and his wanderings in a city that is constantly beaten by rain. Stavros will then traumas and fears on the background of a carousel of characters-absurd, improbable, and they also torn to pieces by phobias and neuroses, while the one that seems to be the end of the world seems to approach completely ignored by everyone. But is it really the end of the world or just the end of a world, that of Stavros, which is approaching?

The Sclavi is a narrative extremely rarefied, which refers in part to certain stylistic features of the never too much praised Vertigo – and Neil Gaiman in particular – but also to a certain sci-fi alienating and disturbing, as well as David Lynch, director, master of “the absurd”, with a tribute to his The Elephant Man.

The novel concerted by the author has a protagonist – Stavros – but the reality is, his neuroses and phobias to be the pivot of a story that you configure at times almost as a serial novel in which each chapter claim their autonomy, and structural and thematic.

Death, especially, love, little and elusive of any type, take then over in a diegesis is always poised, never certain, the horror, the bigger the life, with its inevitability and indifference until the epilogue absurd yet familiar, and in which the style of Sclavi is strongly recognizable.

The pencils of the novel are entrusted to Werther Dell'edera, the illustrator from the stretch to be always recognizable and staff here focuses mainly on the hatch and on the line by crafting a job is “minimal” but very impressionist in which there are evident echoes of the great masters Toppi and Battle especially, a performance, as always, impeccable on the part of the designer of sources baresi.

The Voices of Water is not easy and that will surely make the joy of the lovers of a certain kind of atmosphere “british”, but be careful because here Dylan Dog there is very little, or very much depends on how well you know the Investigator of Nightmare, and especially his creator.

The edition Feltrinelli Comics is, as usual, agile and essential, a column that has no extras of any kind.

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