The mystic: the review of the ninth book by Samuel Stern

Since their first appearance, Samuel Stern's adventures have had the intention of giving a different vision of the theme of demonic possession. A complex and widely treated theme, in cinema as in comics, but which has not always enjoyed such depth as to grasp corollary aspects that can instead give prestige to this archetype of horror narration. A consideration that has found space in Samuel Stern, as demonstrated by the ninth book, The Mystic.

If in the first episodes of the Scottish exorcist's exploits there seems to be no dynamic evolution of the narrative, starting from Legion we have instead highlighted how the Fumasoli - Filadoro duo wanted to expand their creation in new and promising directions. While maintaining the theme of possession as the narrative fulcrum of the series, the two creators of Samuel Stern have also chosen to emphasize an emotional story related to possession, which has allowed us to read intense and heartbreaking stories such as the recent The second group.

Facing the dark side of faith

The merit of this variety is the choice of Fumasoli and Filadoro to rely on other screenwriters too, avoiding the role of father-master of their character. Last month, thanks to this of their choice, Andrea Guglielmino's narrative flair was appreciated, who treated the theme of the 'monster', of the different with particular sensitivity.

In July, however, the baton is passed to another writer, David Rose . A well-known name in the Italian comics, The Rose has an irony unmistakable, emerged in his works, such as The "Red book" of the trio, anti-fascist, or the cycle-comic-sci-fi dedicated to the poet Parini. A distinctive feature of The Pink is to grasp the essential elements of the topic and places it in a key, emotionally-engaging and ironic , keeping intact the features basics but making them understandable to the reader and providing a starting point of reflection.

Operation that is repeated, with The Mystical . And not with a simple theme, but facing a complex discourse and as delicate as the santoni and the never-well-clarified economic dynamics behind these figures. Faith is an act of devotion, without a doubt, that often pushes desperate people to rely on the words and melliflue promises people the idea that misportray the other's desperate faith in a business deplorable.

The Rose gets inspired by this detail to baste a story that sees Samuel Stern and his father Duncan in charge by the bishop of Edinburgh to investigate Irvin. Seemingly appeared from nowhere, Irvin has become a point of reference for the desperate of the area, who see in his healing powers is a manifestation of divine power.

Concerned by this widespread fame, the curia of the local decides to investigator about these miraculous healings, and who better to Father Duncan and Samuel Stern can discover what hides really the mysterious Irvin?

the Occasion that The Rose makes the most commendable way, not only to further deepen the world of Samuel Stern, but also to analyze the ‘ dark side ’ of blind faith. There are, in fact, in The mystical of the parts in which is analyzed the critical points of a faith that is dogmatic and without control, both in the management of the character of Irvin as mystical in the triggering event, which provided him with his powers.

Deal with a similar topic is an act of courage, because we compare it with a personal dimension and a spiritual that lends itself to be a source of criticism , if handled without due politeness. The Pink in this one doesn't disappoint, offering a vision of logic and rational of the dangers of such a grip dogmatic, but without finger-pointing, on the contrary, portraying with sympathy, and pity those who rely on Irvin. Does not share their blind faith, but it includes humanly to the tragic hope that animates them, to the point of giving life to a scene that shows a desperate father passively accept the words of the guru of turn.

Expanding the world of Samuel Stern

For a more careful analysis, it emerges, a search of The Pink in to give the story a series of calls that give The Mystic a thickness not indifferent. By the mysterious ‘ red book ’ of Bourges sought by one of the readers of the Derryleng ( Otras Inquisiciones , probably) to the vision of the commodification of blind faith, which pushes The Pink to identify the ferryman who brings the faithful to the island of Irvin with the dantesque Charon, with quote the verses of Hell.

The history of The Rose is grafted perfectly within the plot series of horizontal. The manner in which it dealt with the theme of possession is well-characterized, add to what we have seen so far, and allows you to enrich the context of the demonic, showing another piece of the ‘company’ demonic. And there are flashbacks to particularly important to give extra thickness to the figure of the father, Duncan.

To give assistance to The Pink to create The mystical, there are the drawings of Luca Was. He, too, is at his debut on the series, Was has the merit of capturing the spirit of irony of The Pink creating tables in which the dynamism of the pair of Stern-Duncan finds a perfect match in body language and in the construction of the tables.

To reward the good work in giving life to the demonic appearance of the story, where it Was creates a perfect color inversion, alternating the brightness of the panels dedicated to the apparent

With The Mystic, Samuel Stern confirms the narrative progression of this ever-expanding world and definition, offering readers a new look into the life of the exorcist scottish.