Zagor Più 4: water that screams, review: marching on the trail of tears
Zagor Più 4
Zagor Più 4: water that screams will be available from tomorrow, 22 February in all newsstands. Fourth issue of the new special series dedicated to the Spirit with the Hatchet which replaced the Maxi Zagor and presents, every four months, some stories out of the continuity of the regular issues and so far it has been presented by publishing in the even numbers a single unpublished story that occupies therefore all 192 pages of the register (a greater foliation and which distinguishes the series from regular publications) while in the odd numbers there is space The Tales of Darkwood or 5 short stories entrusted to as many creative teams.Zagor Più 4: the water that screams Zagor Più 4: the water that screams is therefore an unpublished story written by Luca Barbieri, a signature known above all to the readers of Dragonero, with pencils by Emanuele Barison. In reality, it is not the first that the two engage with Zagor having worked on some previous Maxi Zagor, Color and Speciale and the designer having also signed two registers of the regular series (613 and 614 to be precise). To act as a link between the regular publications and Zagor Più are the covers of the always effective Alessandro Piccinelli.
Zagor Più 4: the water that screams, the fire of revolt
if (jQuery ("# crm_srl-th_culturapop_d_mh2_1"). is (": visible")) {console. log ("Edinet ADV adding zone: tag crm_srl-th_culturapop_d_mh2_1 slot id: th_culturapop_d_mh2"); } Northern Michigan. Zagor and Chico help a caravan stormed by a surprisingly well-armed group of Potawatomi Indians. This is very unusual for two reasons: the guns are new and the tribe in question has always been among the most peaceful. It is the guide of the caravan, Thomas Howlett, who unravels the mystery: there is a revolt in the area and Fort Rhymes, where the caravan was headed with living and reinforcements, is the last remaining bulwark albeit besieged.Zagor and Chico, on the trail of some arms smugglers, willingly agree to escort the caravan and listen to what the commanding officer has to tell about the Indian revolt and beyond. The march towards the fort is not the easiest, the area is really full of Potawatomi ready to hit any white in range and Zagor in fact has a new clash with a group ready to attack the camp. Once in Fort Rhymes, however, the situation does not seem to improve: Major Hudson in fact does not seem willing to grant any truce to the Potawatomi or to listen to their reasons but on the contrary he is waiting for nothing but reinforcements for a harsh retaliation even if this means sacrificing the lives of the settlers present in the Lost River valley.
Disregarded by the officer's intransigence, Zagor embarks on a mission to rescue the settlers, including a young pregnant woman. Thus begins a furious hunt in which the Spirit with the Hatchet must try everything to escape the fury of the Potawatomi even at the cost of challenging the fury of the river itself. Back in Forte Rhymes, Zagor finds the military ready for retaliation but surprisingly it is Zagor himself who is called to interview by the tribe.
if (jQuery ("# crm_srl-th_culturapop_d_mh3_1") .is (": visible")) {console.log ("Edinet ADV adding zone: tag crm_srl-th_culturapop_d_mh3_1 slot id: th_culturapop_d_mh3"); } Zagor Plus 4: the Water that Screams Suspiciously the Spirit with the Hatchet goes to the meeting where the elderly Uncas reveals to him the many crimes committed by white men and the guerrilla acts committed by the young Potawatomi warriors. There is no possibility of peaceful coexistence but there is a way to stop the massacre: an Indian duel between Hudson and the Potawatomi Adizoke sakem. A solution that is close to the Spirit with the Hatchet but the only viable one that will involve him in spite of himself.
Zagor Più 4: the Water that Urla, marching on the trail of tears
Excluding the various vicissitudes that are involving Zagor in his regular series such as the return of Rakosi or the imminent meeting with Flash, the Scarlet Sprinter from DC, and therefore with his more profoundly syncretic inclination, Luca Barbieri digs and returns to roots of the Spirit with the Hatchet and his western and adventurous soul. Although far from the dusty southwestern territories of Texian memory, there is no doubt that Zagor Più 4: the Water that Urla draws heavily from that imaginary typical of the most raw and realistic, less romantic and fictional frontier narrative.In this sense, classic Zagorian stories of the same type come to mind, such as The March of Despair or Farewell, Red Brother! in which Zagor witnesses the violent cultural clash between whites and Native Americans, even though he often takes action in a decisive way. In this sense, Barbieri wisely and intelligently doses, articulating the phases of the story very well, all those stylistic features typical of the genre: the encounter / clash between whites and natives, reprisals, ignorance and white arrogance, the impetus native.
if (jQuery ("# crm_srl-th_culturapop_d_mh4_1"). is (": visible")) {console.log ("Edinet ADV adding zone: tag crm_srl-th_culturapop_d_mh4_1 slot id: th_culturapop_d_mh4"); } As often happens then in this type of frontier tale, the moment of resolution is the one in which the various feelings of the protagonists are actually revealed, as in this case those of Major Hudson (who cannot escape his role as sadistic officer of the army) and Watseka, one of the proudest Potawatomi warriors. However, compared to other Zagorian and other stories, in Zagor Più 4: l'Acqua che Urla there is no happy ending: a truce is established but not a definitive peace, as if to emphasize the unbridgeable distance but white and natives. br>
Zagor Più 4: the water that screams This is perhaps the greatest strength of this story that maintains a certain robustness and basic awareness in which Barbieri, on the one hand, exalts himself above all in the the central part in which the adrenaline rate rises with the excellent sequence linked to the rescue of the settlers and the escape along the river while on the other hand it does not give up on recovering some distinctly Nolittian passages, which will make many historical readers of Zagor happy, including the more evident is the use of Cico as a comic relief in moments of greatest tension.
The convincing and very solid work of Emanuele Barison moves along this same binary ideal. It is a muscular test but inserted within a construction of the table and an organization of the spaces that clearly reinterpret those of the Bonellian tradition, but are neither cloying nor limiting. From this point of view it is also impossible not to trace the references from Gallieno Ferri, especially in some close-up shots and in the hatching of some expressions, however Barison's work is even more incisive when the graphic plasticity typical of Zagor is replaced by thicker and thicker inks and wider (intended as portions of black) as for example in the nocturnal clash between Zagor and Potawatomi at the beginning of the register and when the hatching becomes fuller by opting for a greater quantity of broken lines that give Zagor a very "American" strength.
In light of the work done on Zagor Più 4: l'Acqua che Urla, Barison is certainly a candidate for a next work on Zagor, perhaps with darker atmospheres or on the contrary all devoted to action that enhance the aforementioned characteristics.
