Albo very special for several reasons. First, the style of Bartoli, who builds a story in the tradition of rock that is the traditional style of his companion, Roberto Recchioni. There is even an inkling of his lyrical writer, but there is that call to tamarraggine (in a good way) that smells of rockenroll (see the angels with the faces of the dead rock star). Another reason is that you should refer a strong character, loved and hated during previous seasons, which was believed lost: no other than Mordred, the son of God Neo-John Doe. And of course, around the son of God is built up a mythology that follows the tales Gospel, the true point of departure in the history of Bartoli, who draws heavily from various parables and events of Christ's life, complete with a narrated via crucis for metaphors and the inevitable death and resurrection after three days. Besides this, our hero sets still struggling with the upper echelons of the bureaucracy, waiting to win back the faithful who believe now in its surrogates: the food for the journey, this time, JD is the intent of the son. Funny entr'actes between Mordred and his father, reversing the roles that traditionally sees the parent dispenser of advice or at least more adult while the child is the most reckless. Gallicchio begins well, with a safe and firm, which seem appropriate for this kind of story in between realism and flights of fancy of imagination. The faces of the characters are clear and easy to read and some of the scenes remain imprinted on the evocative power. De Cubellis confirms the great artist with a taste of a hard cover of the psychedelic 70's, acid colors and lines that portray only a small part of the contours of characters and objects nearby.
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