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DYLAN DOG N.445 – XENON! – PAG 64 -

Artists: Corrado Roi (Inker) ,  Roberto Recchioni (Writer)

8 Comments  -   234 Views  -   4 Likes


DYLAN DOG N.445 – XENON! – PAG 64 - Comic Art

 

   

Artwork Details

Title: DYLAN DOG N.445 – XENON! – PAG 64 -
Artist: Corrado Roi (Inker)
Artist: Roberto Recchioni (Writer)
Media Type: Pen and Ink
Art Type: Splash Page
For Sale Status: NFS
Views: 234
Likes on CAF:
Comments: 8
Added to Site: 10/4/2024
Comic Art Archive:

Description

Dylan Dog 445 "Xenon!", 29x42 cm
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ON SALE
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English and Italian description listed below:




Corrado Roi
Dylan Dog No. 445 – “Xenon!” (2023)
Original page No. 60 – Ink on paper

This splash page, one of the most powerful in the entire diptych Morte in sedici noni / Xenon!, marks the pivotal moment of Dylan Dog’s sacrifice. Depicted completely naked, eyes closed and mouth wide in a silent scream, Dylan is enveloped by spiral-tentacles that drain him—not of blood, but of his nightmares: fears, memories, deep-rooted pain. His body is no longer human, but functional. Not a victim, but a willing offering: he allows himself to be consumed in order to save others, accepting to become mental fuel for the alien ship.

The image is divided into three horizontal panels, clearly referencing the 16:9 cinematic format. But here, the language of cinema is subverted: no longer a tool for storytelling, it becomes the mechanism of an alien machine that digitizes nightmares and converts them into energy. Dylan’s fragmented body, seen as through a lens and paced like a tape on play, is suspended in a dimension beyond time and space.

Roi renders all of this in an image that is both narrative and symbolic. The stark black and white intensifies the absence of context: there is no physical space, only inner void, mental space. The tentacles appear as extensions of a current—conduits, not threats. Dylan is no longer a man: he is interface, mechanized soul, a psychic device.

In this page, Corrado Roi distills his most mature poetics: horror is no longer the appearance of the monster, but the normalization of inner terror. The nightmare doesn’t erupt—it is extracted, channeled, exploited. The body, intimate and fragile, becomes transit technology; identity dissolves into the scream.

In the diptych Morte in sedici noni / Xenon!, sequential art adopts the language of cinema, but goes further: it becomes architecture of the unconscious. And this page, in its icy clarity, is not just a drawing—it’s a portal.






Corrado Roi
Dylan Dog n. 445 – “Xenon!” (2023)
Tavola originale n. 60 – China su carta

Questa splash page, tra le più potenti dell’intero dittico Morte in sedici noni / Xenon!, segna il momento cruciale del sacrificio di Dylan Dog. Raffigurato completamente nudo, con gli occhi chiusi e la bocca spalancata in un grido muto, Dylan è avvolto da tentacoli-spirali che lo svuotano non del sangue, ma dei suoi incubi: paure, ricordi, sofferenze profonde. Il suo corpo non è più umano, ma funzione. Non vittima, ma offerta consapevole: si lascia consumare per salvare altri, accettando di diventare carburante mentale per la nave aliena.

L’immagine è suddivisa in tre riquadri orizzontali, un chiaro riferimento al formato cinematografico 16:9. Qui, però, il linguaggio del cinema è stato sovvertito: non più strumento di narrazione, ma ingranaggio di una macchina aliena che digitalizza l’incubo e lo trasforma in energia. Il corpo, sezionato come da una lente, scandito come un nastro in play, viene mostrato in una dimensione fuori dal tempo e dallo spazio.

Roi traduce tutto questo in un’immagine insieme narrativa e simbolica. Il bianco e nero assoluto accentua l’assenza di contesto: non c’è spazio fisico, solo vuoto mentale. I tentacoli sembrano estensioni di una corrente, conduttori più che minacce. Dylan non è più un uomo: è interfaccia, anima meccanizzata, dispositivo psichico.

In questa tavola, Corrado Roi condensa la sua poetica più matura: l’horror non è l’apparizione del mostro, ma la normalizzazione dell’orrore interno. L’incubo non irrompe — viene estratto, incanalato, sfruttato. Il corpo, intimo e fragile, si fa tecnologia di transito; l’identità si dissolve nel grido.

Nel dittico Morte in sedici noni / Xenon!, l’arte sequenziale si piega al linguaggio del cinema, ma lo supera: si fa architettura dell’inconscio. E questa tavola, nel suo gelo lucido, non è solo una pagina disegnata — è un portale.

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About the Owner

Roberto Aesse
Joined: September 2024
Last Login: April 2025
Country: ITALY
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Comments on this Artwork

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A. G. 
Member Since 2017

1 - Posted on 10/4/2024

Stupenda!!complimenti!

Roberto Aesse 
Member Since 2024

Posted on 11/12/2024

A. G. wrote:

Stupenda!!complimenti!

In vendita

Marcus Wai 
Member Since 2005

1 - Posted on 10/4/2024

Great layout!  It brings a splash of horror, but broken into segments to prolong the feeling.  Roi's sponge technique creates just the right mood. 

Roberto Aesse 
Member Since 2024

Posted on 11/12/2024

Marcus Wai wrote:

Great layout!  It brings a splash of horror, but broken into segments to prolong the feeling.  Roi's sponge technique creates just the right mood. 

In vendita

Andrea F. 
Member Since 2008

1 - Posted on 10/7/2024

Awesome! Congrats!

Roberto Aesse 
Member Since 2024

Posted on 11/12/2024

Andrea F. wrote:

Awesome! Congrats!

In vendita

Gio Scarp 
Member Since 2011

1 - Posted on 10/7/2024

I tentacoli tanto amati da Roi, Dylan intrappolato, splash molto suggestiva, complimenti!

Roberto Aesse 
Member Since 2024

Posted on 11/12/2024

Gio Scarp wrote:

I tentacoli tanto amati da Roi, Dylan intrappolato, splash molto suggestiva, complimenti!

In vendita

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