Four Knights of The Apocalypse 1, review: the beginning of an adventure

Four Knights of The Apocalypse 1, review: the beginning of an adventure

Four Knights of The Apocalypse 1, review

After the conclusion of The Seven Deadly Sins, Nakaba Suzuki did not stop for a moment starting almost immediately the serialization of Four Knights Of The Apocalypse 1. The latter is a fantasy manga that like its predecessor (spiritual and not only) takes its place in the Breton cycle of Britain reinterpreted and enriched by Suzuki. And Star Comics has decided to bring a sequel so long awaited and appreciated by Italian fans to our libraries.

We are facing a serialized shonen on Kodansha which focuses on the fights characterized by one fresh and modern style that at the same time winks at the now classic style of the master Toriyama.

Four Knights of The Apocalypse 1: the beginning of an adventure

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However, on the day of his birthday, an unforeseen event that throws a new light on the boy's grandfather will catapult him, in spite of himself, into the world he had tried to avoid so much. Percival will have to measure himself against a very different and terrible reality than he ever imagined.

The end of the world is coming

With Four Knights Of The Apocalypse 1 we return to the storytelling and style that made Suzuki's first work unique with a I start with a bang. The premises demonstrated have made all fans of the lands of Britannia created by the mangaka fall in love again. Although you feel too much an exasperated quotation towards Dragon Ball with situations, developments and intertwining all too derivative from the Toriyama manga. Surely this feature will make some fans happy but the sense of deja vù is always around the corner and at times it becomes annoyingly oppressive.

We are facing the umpteenth journey of the hero which nevertheless leaves much room for the particular enrichment given. from Suzuki's vivid imagination. If with The Seven Deadly Sins the mangaka has managed very well to play and, in his own way, to renew a Western epic well established in our imagination, only time will tell us if he will succeed again in the enterprise with Four Knights Of The Apocalypse but already from first volume we perceive the mangaka's ability to renew himself and continue to surprise us.

The dialogues are essential and reduced to the bone, the narration is fluid and dynamic and the characters rarely stop to analyze fighting techniques or powers . We do not get too lost in chatter and the progress of events takes place in a natural but very quick way. And the incipit of the adventure that takes place in a single chapter already throws us at the center of the story and the adventure.

The thing that immediately strikes us Four Knights of The Apocalypse 1 are the characters who, with their strong characterization and their simple but effective design, manage to make us passionate from the first chapter and make us fond of almost all the characters that will appear during the events.

The protagonist shines with a design that seems to be born from the sensei Toriyama, a great source of inspiration for Suzuki, in an alternation of soft lines in the face and in the body with a hair full of broken lines. Dark fantasy armors are always very captivating and perform the double function of hiding faces and at the same time making the villains that still cannot be revealed to us unique.

The backgrounds are barely mentioned but they perform their function, making us immerse in a verdant and medieval setting. The outlines of the characters are very thick and defined making the characters very caricatured. The composition of the tables, although linear and classic, leave space from time to time to surprises and innovative graphic solutions, with splash pages and double splash pages when the manganka has to introduce us to a new character or has to leave room for plastic and lively combat scenes. br>

The Volume

Star Comics prefers to publish Four Knights Of The Apocalypse 1 in a classic tankobon edition: it is in fact an 11.5 × 17.5 cm volume without dust jacket at the cover price of € 4.50. The paper used is dark uncoated paper with a good weight that only partially avoids annoying transparencies, without infamy and without praise the binding that allows a comfortable reading albeit with some compromises. The cover and interior graphics are minimal. From an editorial point of view, the volume has an extra at the end of the volume, as Suzuki has usually accustomed us, while both the translation and the adaptation are very smooth.

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