Reading in which mystery, intrigue and the supernatural excels in various forms, one of these is the Dylan Dog comic, which over the decades has become synonymous with the culture and art of the unknown.
With the new book “Dylan Dog OldBoy”, the reader is once again invited to enter a universe where reality and the paranormal merge.
In the first story “Mutant Souls” with subject and drawings by Carlo Ambrosini, through a line that recalls the artists’ preparatory sketches, we begin with the discovery of two corpses, Thomas and George, two brothers who are not exactly saintly.
Meanwhile Dylan has to deal with an artist, Greta in search of her brother David, in which there is a succession of nightmares that are all too real. Meanwhile the investigation takes the nightmare investigator to a “James Cook” restaurant run by mother and son, relatives of the two boys found dead at the beginning of the story who are David’s kidnappers and segregated in a basement full of cockroaches ….
In a whirlwind of shocking events that are very disturbing for the reader which in some ways refers to Franz Kafka’s work “The Metamorphosis”, a reading that is too intrigued and labyrinthine, with a screenplay full of events that lead nothing to the evolution of events if not confusion and loss of the main thread.
“The Lobster Dilemma” with story and screenplay by Alessandro Russo and drawings by Andrea Fattori.
Dylan Dog finds himself in the emergency room where he meets Martin Baker, also waiting, an insurance man, who believes that everyone has their own monsters and nightmares to face in life, so much so that he himself was targeted by an ex-partner of his of the schools, in the meantime he offers him an insurance policy relating to the strange events he experiences.
But who actually is this insurer who, page after page, seems to become an avenger towards all those who suffer abuse and bullying from overbearing and arrogant individuals.
Two very particular stories which, as always, recall the episodes of the series “At the Edge of Reality”, in which everything is very wrapped up in an unreal and dreamlike atmosphere which always ends in murders, in which we ask ourselves the question “why?”.
A book in which the screenplay offers many characters, including those who surround them, who take on such a particular psychology that they seem to have come from unreal and paradoxical contexts, perhaps the healthiest of all is Dylan’s assistant, with his absurd and senseless maxims.