Reviews
  
  



WHAT HAS BEEN WRITTEN ABOUT DAMPYR





THE OBSCURE SON OF THE VAMPIRE, MEPHISTO’S LAST DISCIPLE, review of the first issue of Dampyr, which appeared in Il Foglio, 7 June 2000: "… (a taste for the spine-tingling emotion of throwing down the gauntlet to mystery) has hardly spared a single soul among Bonellian protagonists and has found its fullest expression in Dylan Dog, created by Tiziano Sclavi, a grown-up man in the prime of his young days who’s always grappling with zombies and ghosts. The experiment has been successful once more with Dampyr, the most recent Bonellian creature".

THE NEW BONELLI VAMPIRE, by Piero Zanotto. Article in Azione, 7th. June, 2000: "Psychologically, it is about a complex character, originating in several cultural fronts. From literature to cinema to music...".

VAMPIRE-HUNTING WITH DAMPYR, NEW HORROR HERO, by Cesare Medail. Article in Il Corriere della Sera, 12th. May, 2000: "The saga, then, has all the imaginative ingredients to enter that elite cult group which is keeping the comic-strip alive at the dawn of a century which is supposed bury it or box its shadows in the computer monitor...".

THE VAMPIRE GOES TO WAR, by Francesco Specchia. Article in Il Giornale di Vicenza, 7th. May, 2000: "And so we’re no longer in the regions of Stoker’s Dracula, but rather in the vicinity of Post-Modernism, of the vampire myth Anna Rice wrote about, or in the films of the last twenty years by Katherine Bigelow (Near Darkness) and John Carpenter (Vampires)...".

WHAT THE PAPERS SAY ABOUT THE BANALITY, by Antonio Faeti. In La Repubblica, 6th. May, 2000: "Dampyr is a sort of crossroads of the imagination, in that he’s the child of a vampire and a woman, and for this reason he can kill vampires, the un-dead...".

VAMPIRES 2000, by Paolo Guiducci. Article in Mucchio, May, 2000: "(…) And if Boselli and Colombo’s vampires aren’t frightened of garlic and crosses, and can even stand the light of day, Dampyr doesn’t fool around either: he’s longer-lived and more resilient than ordinary humans and his weapons are of the same ilk, deadly for the lords of the night...".

AFTER TEX, THE DEVIL’S SON, by Piero Zanotto. Article in L’Adige, 21st. April, 2000: "Like Tex, Harlan Draka also has a couple of pards at his side : an ex-mercenary called Kurjak and Tesla, a girl changed into an un-dead by one of the Masters of the Night who she turns against...".

VAMPIRES IN AMBUSH ON THE BATTLEFIELD, by Umberto Folena. Article in Avvenire, 14th. April, 2000: "Boselli and Colombo’s talent lies in gathering together well-known stereotypes with indisputable expertise. The hero is created from the clash between Good and Evil, just like Merlin...".

DAMPYR, THE POST-MODERN VAMPIRE, by Emanuele Rebuffini. Article in Il Mattino, 7th. April, 2000: "An alchemy of horror and adventure where Gothic, ghostly narrative blends with the modern action movie…".

HUMAN, TOO HUMAN (OR MAYBE VAMPIRE…), by Emanuela Rossi. Articolo apparso su Gulliver, April, 2000: "Bonelli’s new hero is the offspring of the literary horror tradition, from Lovecraft to Rice. But he fights on the side of Good...".

DRACULA’S NICE LITTLE GRANDSON, by Danila Elisa Morelli. Article in Il Borghese, 3rd. April, 2000: "He looks like the British actor Ralph Fiennes. He’s called Harlan Draka, he’s young, tall, athletic. Good-looking then, pity there’s just a tiny something wrong with him, he’s a vampire - sorry, a dampyr. That’s to say his parents are a woman and a blood-sucker…".

A VAMPIRE AS A FRIEND, BONELLI’S CHALLENGE, by Stefano Rossi. Article in La Repubblica, 3rd. April, 2000: "Expectations also concern the plan to give the author’s hallmark to a popular serial production, without however making it too heavy or elitist, seeing that the aim is to drag teenagers away from the Internet and video games…".

DAMPYR’S HOUR, Mauro Boselli and Maurizio interviewed by Colombo di Domenico Catagnano, in Lombardia Oggi, supplement to La Prealpina, 2nd. April, 2000: "Half human and half vampire, he’s the only creature that can kill archvampires, their entourage of un-dead and other creatures of the darkness which infest our and other worlds...".

AVANTGUARDE HORROR, editorial in Tutto, April, 2000: "Dampyr blends Gothic atmosphere with action (like mixing directors such as Hitchcock with more dynamic ones like John Woo) thanks to a team of `visionary´ designers among whom are Majo,Luca Rossi and Maurizio Dotti…".

DAMPYR, A HEART OF DARKNESS FIGHTING FOR GOOD, by Alessandro Mezzena Lona. Article in Il Piccolo, 25th. March, 2000: "Disillusioned, rather cynical, tough and tormented by a series of strange nightmares about his mysterious past, Harlan Draka is really a positive person. A sort of anti-hero, in the best tradition of all the new `wild boys´ launched into space by Bonelli’s writers…".

HORROR ADVENTURE WITH NO FIXED ABODE, by Gino Frezza. Article in Alias, supplement to Il Manifesto, March 2000: "The visual and imaginary features of Dampyr’s two authors are a well-mixed revival of literature starting from 19th. and 20th. century Gothic going up to horror fantasy films of today…".

DAMPYR, THE GOOD VAMPIRE, by Pier Paolo Simonato. An article that appeared in Il Gazzettino, 2 February 2000: "At Bonelli’s, the figure of the “blood-sucker” is recurrent. Zagor has faced Rakosi, Nathan Never’s had to contend with Shrek, Dylan even had the experience of living amongst vampires. But there was still a gap just waiting to be filled with a really special fellow like Harlan Draka".

DAMPYR, THE VAMPIRE CATCHER, by Maria Arruzza. An article that appeared in La Gazzetta del Sud, 23 May 1999: "The authors are keen to specify that they also draw on the vampire tradition, ranging from Hoffman to Kafka, from Dracula to Stoker to that of Leiber, from the interpretation of Bela Lugosi and Christopher Lee right up to the movies made by Carpenter and Coppola".