Hello kind readers!
I promised you a return on this blog and finally here I am again.
I've been quite busy with university and girls (both fortunately things are going well it seems) so excuse me if I did not hear, but obviously I had nothing better to do!
But now I'm here to torture your eyes with the review of '(yet another shovelful of earth on the coffin of a famous cartoon character represented by') last comic book Dylan Dog.
Oh well.
Rieduchiamoci va '.
Screenplay: Giuseppe De Nardo
Drawings: Peter Dall'Agnol
Cover: Angelo Stano
START SPOILER
'm not a big fan of De Nardo, I admit. Rarely do his stories left me something very important to me that would make her remember with the passing of time.
I do not know well the why, but he can never satisfy me.
Again, I do not think I have read nothing in particular. The subject is a bit 'abused and the basic idea is derived from countless other products (by the way: I found despicable any combination with Clockwork Orange, especially considering that the book is ten thousand times more profound and complex than this book).
We understand all too soon and the performance (at least in the beginning) originates from a coincidence that Dylan meets an old criminal who proceeded to beat up in jail when he was still wearing his uniform.
There may be, do not say no, but it is quite difficult:
1) Dylan encounters a case for a guy who stopped a long time and be able to recognize it despite the obvious physical changes.
2) The guy in question is embroiled in a super-secret program (but super-secret of that '? To do Dylan enter without problems!) Which aims the rehabilitation of criminals and bla bla.
In short, the story is not born under a lucky star.
For the rest it seemed that Dylan was accompanied by a bit 'too happy to be around for a workshop in which a few should have access and which would soon be something fishy happened (and the one who commits the sinister fact is precisely what which manages the laboratory), the classic villains that are given in the foot. The screenplay
overall I found it very heavy at the beginning. Despite a good rhythm, things happen but they never leave a deep impression in the reader, you find yourself turning the pages without having in mind what is happening.
I felt the lack of a track to follow a well-defined path in which to move Dylan and, therefore, the reader. It 's a story that is presented as a thriller (a term that was added in horror Post a free rather than the adjective "psychological", but in reality is closer to science fiction to psychological thriller and that he has no nothing), but that does not behave like a good thriller: it leaves the reader at the mercy of events.
Things happen and in the meantime, Dylan is consumed by unrequited love for this Eleanor (one of the most unbearable that I have ever read in a comic book) that will prove to be a classic psychopath with the trauma behind them.
Groucho and the remainder are Bloch Groucho and Bloch and at the end of the story is, as usual, the unexpected (Ah) twist accompanied by spiegone.
Nothing new under the sun.
From the point of view of the drawings, for me the new style of Dall'Agnol is a crazy shit. (Cited)
(92 minutes of applause)
Once Dall'Agnol knew how to draw, then decided that he did not want to do it and started to copy Stano, at the same time managing to be even more ugly (yes, Stano I never liked). Art
Paladins have obviously enjoyed the ugliness of the stretch of Dall'Agnol (approaching from time to time to Piccatti (?) And the aforementioned Stan), but I did only get a headache.
Now, I do not know anything about design. Seriously, I'm not kidding and I'm not doing the mock humility: I am profoundly ignorant in the field of design.
But I am quite convinced that the main purpose of the drawing within a comic is to make understandable what is going on? Am I right?
Perfect. The designs of this book are incomprehensible.
Characters that change size and shape, strangely elongated faces, backgrounds, or just totally missing sketchy, pictures without the slightest detail, the interiors of homes with indecipherable objects stacked everywhere in bulk, characters that change the face within a couple of pages.
Just for one thing: the person who stops Dylan at the beginning of the story (among other things, he finds himself in front of the store by chance, well then add another voice to the two coincidences start to roll I said before ) is the same one who accompanied him to the lab and then that will ultimately be owned by the bad guys. I had not understood. I swear that I had not realized it was the same person! I was able to understand only because I noticed that both characters are named John.
So: you can back up at any time the superiority of a stretch than the one sought, shall we say, more commercial and appreciate the search for a new style made by Dall'Agnol, but if I, comics reader, I can not understand that two characters are actually just a character, then the designer has failed across the board.
This is my thought. Marry her or send him to fuck off.
screenplay Rating: 2 / 5
Rating drawings: 1 / 5
In essence, with different designs of this book may also come to the sufficiency, but the union of "sight and magazine writer without teeth" with "no signs of logical sense on paper" can only produce results in a very serious shortcoming.
Dall'Agnol is good, but does not apply.
I do not know well the why, but he can never satisfy me.
Again, I do not think I have read nothing in particular. The subject is a bit 'abused and the basic idea is derived from countless other products (by the way: I found despicable any combination with Clockwork Orange, especially considering that the book is ten thousand times more profound and complex than this book).
We understand all too soon and the performance (at least in the beginning) originates from a coincidence that Dylan meets an old criminal who proceeded to beat up in jail when he was still wearing his uniform.
There may be, do not say no, but it is quite difficult:
1) Dylan encounters a case for a guy who stopped a long time and be able to recognize it despite the obvious physical changes.
2) The guy in question is embroiled in a super-secret program (but super-secret of that '? To do Dylan enter without problems!) Which aims the rehabilitation of criminals and bla bla.
In short, the story is not born under a lucky star.
For the rest it seemed that Dylan was accompanied by a bit 'too happy to be around for a workshop in which a few should have access and which would soon be something fishy happened (and the one who commits the sinister fact is precisely what which manages the laboratory), the classic villains that are given in the foot. The screenplay
overall I found it very heavy at the beginning. Despite a good rhythm, things happen but they never leave a deep impression in the reader, you find yourself turning the pages without having in mind what is happening.
I felt the lack of a track to follow a well-defined path in which to move Dylan and, therefore, the reader. It 's a story that is presented as a thriller (a term that was added in horror Post a free rather than the adjective "psychological", but in reality is closer to science fiction to psychological thriller and that he has no nothing), but that does not behave like a good thriller: it leaves the reader at the mercy of events.
Things happen and in the meantime, Dylan is consumed by unrequited love for this Eleanor (one of the most unbearable that I have ever read in a comic book) that will prove to be a classic psychopath with the trauma behind them.
Groucho and the remainder are Bloch Groucho and Bloch and at the end of the story is, as usual, the unexpected (Ah) twist accompanied by spiegone.
Nothing new under the sun.
From the point of view of the drawings, for me the new style of Dall'Agnol is a crazy shit. (Cited)
(92 minutes of applause)
Once Dall'Agnol knew how to draw, then decided that he did not want to do it and started to copy Stano, at the same time managing to be even more ugly (yes, Stano I never liked). Art
Paladins have obviously enjoyed the ugliness of the stretch of Dall'Agnol (approaching from time to time to Piccatti (?) And the aforementioned Stan), but I did only get a headache.
Now, I do not know anything about design. Seriously, I'm not kidding and I'm not doing the mock humility: I am profoundly ignorant in the field of design.
But I am quite convinced that the main purpose of the drawing within a comic is to make understandable what is going on? Am I right?
Perfect. The designs of this book are incomprehensible.
Characters that change size and shape, strangely elongated faces, backgrounds, or just totally missing sketchy, pictures without the slightest detail, the interiors of homes with indecipherable objects stacked everywhere in bulk, characters that change the face within a couple of pages.
Just for one thing: the person who stops Dylan at the beginning of the story (among other things, he finds himself in front of the store by chance, well then add another voice to the two coincidences start to roll I said before ) is the same one who accompanied him to the lab and then that will ultimately be owned by the bad guys. I had not understood. I swear that I had not realized it was the same person! I was able to understand only because I noticed that both characters are named John.
So: you can back up at any time the superiority of a stretch than the one sought, shall we say, more commercial and appreciate the search for a new style made by Dall'Agnol, but if I, comics reader, I can not understand that two characters are actually just a character, then the designer has failed across the board.
This is my thought. Marry her or send him to fuck off.
END SPOILER
screenplay Rating: 2 / 5
Rating drawings: 1 / 5
In essence, with different designs of this book may also come to the sufficiency, but the union of "sight and magazine writer without teeth" with "no signs of logical sense on paper" can only produce results in a very serious shortcoming.
Dall'Agnol is good, but does not apply.
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