Lucca Comics posts: Massimo Tunuè 
Not all
Tunuè this year, I've only had the finances to buy three volumes. The results, as a tradition of publishing house, I have only partially satisfied. As they say in a movie, I start with the bad news and end with the good, or better, with those very good. Also in a sign of my personal "de gustibus.
"I'm looking for" (
screenplay: John Marchese - Drawings: Luca Patanè ) follows a young Moroccan to find his father, landing after landing in Lampedusa in Puglia. The story is small, the trace of the two parallel journeys of father and son, spread over a few scenes and a few characters, so that (
but not the first time I read similar synopsis ) seemed a little exaggerated the promise "
through a journey full of ups and downs " on the back cover. The reality described is terrible and gives strength to the story, if only for the description of the inhuman conditions of immigrants, the outlook in the hallucinatory "civil" reality of the south Italian, but the impression remains that everything is told too quickly, which run out too soon, the Italian and Tunisian merciful fraudulent characters are placed there in too ostentatious and openly symbolic. The drawings start at this fascination of the brown spots that seem to echo an almost watercolor Andrea Bruno. But the slopes below me seemed just too simple, the two fast lines and away series, with no mention of anatomy consistent (
bodies are often rectangles with arms straight at your sides or on the sides diverge, as puppets), and fields of color that cover them, if at times seem very relaxed in most cases give the impression of being absolutely inconsistent with the context that should be (
namely, instead of making three-dimensional impression remain what they are: brown spots, nothing more ). It suffers from the narrative, because often the images, rather than participate in the story, make everything more confusing. (
here and here two reviews )
"Look at me stronger" (
screenplay: Cristiano Silvi - Drawings: Luca Russo) is a story that aims to be romantic, who wants to squeeze a blind eye to the sad beauty of an autumn Rome , set a mix of puppet characters who seem to waltz to a mechanic. The problem is that puppets are too, too romantic to be really alive, as too is the novel solution of the plot that captivates them. Why everyone is talking so well, as if they were in a constant campaign rally? Why detection Morteaux is the very instant of the accident? Why a bell (
issimo ) a girl in one day must conceive a desire for imaginative while homeless? Why David is the right choice at the end (
yeah, no spoilers ), without which there is room for different behaviors and less "pure" (
the "purity" behavior always seemed to me something very real and very much " narrative ")? Drawings: interesting technical note for the spectrum of colors used in the initial pages. To me this looks washed out, faded, reported fatigue more than nostalgia, and for the umpteenth time I wondered if the halftones have not covered a profuse designs based on very poor (
that in anatomy and elongated in the dreamy eyes reminiscent Vanna Vinci, although worse ). Overall, a book that maybe I liked most of what I have left to shine here, but I certainly left at least puzzled.
"Wrinkles" (
script and drawings: Paco Roca ). Wrinkles is simply spectacular, and gives a lesson to the other two: there is no attempt at special effects, the treatment is simple, easy (
reminded me a little Dupuy Berberian ), the colors spread out in solid colors with a few shadows net, the story does not take schema artifact, does not speak of adventure and daring adventures. He can play with humor unintentionally macabre senile uncertainty, with the ironic beast that knows how to be Alzheimer's. It 's a little sad and delicate affair, in which the characters do not say, do not talk to him, but they act and their acts are defined in full, without the need for more. There is little to say: beautiful, to be read. (
two reviews: here and here )
Not all Tunuè this year, I've only had the finances to buy three volumes. The results, as a tradition of publishing house, I have only partially satisfied. As they say in a movie, I start with the bad news and end with the good, or better, with those very good. Also in a sign of my personal "de gustibus. 
"I'm looking for" ( screenplay: John Marchese - Drawings: Luca Patanè ) follows a young Moroccan to find his father, landing after landing in Lampedusa in Puglia. The story is small, the trace of the two parallel journeys of father and son, spread over a few scenes and a few characters, so that ( but not the first time I read similar synopsis ) seemed a little exaggerated the promise " through a journey full of ups and downs " on the back cover. The reality described is terrible and gives strength to the story, if only for the description of the inhuman conditions of immigrants, the outlook in the hallucinatory "civil" reality of the south Italian, but the impression remains that everything is told too quickly, which run out too soon, the Italian and Tunisian merciful fraudulent characters are placed there in too ostentatious and openly symbolic. The drawings start at this fascination of the brown spots that seem to echo an almost watercolor Andrea Bruno. But the slopes below me seemed just too simple, the two fast lines and away series, with no mention of anatomy consistent ( bodies are often rectangles with arms straight at your sides or on the sides diverge, as puppets), and fields of color that cover them, if at times seem very relaxed in most cases give the impression of being absolutely inconsistent with the context that should be ( namely, instead of making three-dimensional impression remain what they are: brown spots, nothing more ). It suffers from the narrative, because often the images, rather than participate in the story, make everything more confusing. ( here and here two reviews ) 
"Look at me stronger" ( screenplay: Cristiano Silvi - Drawings: Luca Russo) is a story that aims to be romantic, who wants to squeeze a blind eye to the sad beauty of an autumn Rome , set a mix of puppet characters who seem to waltz to a mechanic. The problem is that puppets are too, too romantic to be really alive, as too is the novel solution of the plot that captivates them. Why everyone is talking so well, as if they were in a constant campaign rally? Why detection Morteaux is the very instant of the accident? Why a bell ( issimo ) a girl in one day must conceive a desire for imaginative while homeless? Why David is the right choice at the end ( yeah, no spoilers ), without which there is room for different behaviors and less "pure" ( the "purity" behavior always seemed to me something very real and very much " narrative ")? Drawings: interesting technical note for the spectrum of colors used in the initial pages. To me this looks washed out, faded, reported fatigue more than nostalgia, and for the umpteenth time I wondered if the halftones have not covered a profuse designs based on very poor ( that in anatomy and elongated in the dreamy eyes reminiscent Vanna Vinci, although worse ). Overall, a book that maybe I liked most of what I have left to shine here, but I certainly left at least puzzled. 
"Wrinkles" ( script and drawings: Paco Roca ). Wrinkles is simply spectacular, and gives a lesson to the other two: there is no attempt at special effects, the treatment is simple, easy ( reminded me a little Dupuy Berberian ), the colors spread out in solid colors with a few shadows net, the story does not take schema artifact, does not speak of adventure and daring adventures. He can play with humor unintentionally macabre senile uncertainty, with the ironic beast that knows how to be Alzheimer's. It 's a little sad and delicate affair, in which the characters do not say, do not talk to him, but they act and their acts are defined in full, without the need for more. There is little to say: beautiful, to be read. ( two reviews: here and here )
