approaches an as Blacksad is not an easy task. It requires calmness, gentleness and patience, thinking twice before speaking. The black cat and GUARNIDO Canales came last October in the fourth chapter in its history, after a wait of about five years since the last book, "Blood Red".
"Hell, the Silence" is a turning point for the Blacksad detective and his readers: changing cities, from New York to New Orleans, but to change significantly and is the register narrative. Continue forward and jump back in history to be fit together like pieces of a mosaic that can be seen only when viewed from a distance. But proceed in order: he cites Sartre and his idea of \u200b\u200bhell beginning of the book, a quote that is currently end in itself, a little 'as the whole story. The story, in its banality, reminiscent of the first volume, but at the same time if it departs from light years away. "Somewhere in the shadows" is a story cynical, dark, straight like a punch to the base of the stomach: there are no heroics, no princesses, no happy ending. The linearity of the story serves as a flux capacitor (thanks Doc for this definition) throughout the sphere of feelings, impulses and primitive animals, it is no coincidence that the characters are anthropomorphic animals, which hatch in each of us and inside that bubble up to explode. It is a tribute to the genre hard boiled americano degli anni ’50 più puro, che diverte pur non arrivando ai maestri del genere, Hammett e Chandler in primis e poi i vari McBain, Ellroy e compagnia cantante. Se nei successivi volumi, “Arctic Nation” e “Anima Rossa” vengono esplorati altri campi e altre tematiche (il razzismo, la guerra e il senso di colpa che lascia) e le storie diventano più complesse, tese, ma sempre con quel fondo di amarezza tipica della solitudine, la semplicità della storia di questo quarto capitolo invece manca di questo tipo di contraltare forte: la tecnica narrativa degli stacchi temporali non funziona così bene, or at least does not have a big emotional impact, and requires a second reading to understand (and appreciate) the nuances. The same plot is easily predictable almost from the first table and follows virtually every forecast ending exactly as it was imagined, or almost.
It seems that long wait has not been rightly rewarded. It seems that time has Canales firing blanks, with a story that strikes without leaving marks or memories. But ... yeah, there's a though: people like Blacksad must be given a second chance. We must give some time to regain confidence after long meetings with them. Or maybe it's just a personal need not to be disappointed by a character who is deeply fond. The fact is that once again re-reading this graphic novel I've looked through a new light, I filtered through that initial quote apparently only useful as a reminder on the back cover.
"Hell is other people. Brilliant statement, but I think it reflects more a state of mind that a universal truth. " Flowing under my fingers every cartoon, every table, reading carefully and then moving, watching from afar, you can see the whole picture. Looking over the fragility of the plot set up, you realize that the theme of this book is hell. What is defined as hell? Each character is put in front of his weaknesses, his personal hell: Little Hand Fletcher his hell are the drugs? Faust Lachapelle is cancer? For Blacksad is death? And for me? What is hell for me? A flaming and desolate place, with half-naked devils who taunt me your ass? I think not. A mood, a feeling of emptiness, the absence of someone or something? Maybe. Be that it is in this tiny detail that the story of Canales leaves the page in es'inserisce reader. If you like you can choose from here, otherwise what will remain will be a good story, without infamy and without praise.
To enrich the whole, but there is no need to say it is the extraordinary power of visual GUARNIDO Juanjo, who has a torn hands to God and uses them to make marks on paper works of art. If I think that people like Fontana's paintings are kept in a museum and paid its weight in gold, while this gentleman's nobody talks about it, I feel bad. As for the story, including drawings, always impeccable, the maximum expression of the work of GUARNIDO focuses on details, on the second floor. Gestures, postures, expressions, hand movements: there is one line that was out of place, a character, either primary or secondary, it does not work perfectly, a wrong color.
GUARNIDO grabs it and makes it his perfection, every other word is too often.
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