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20 YEARS

No, in 1990 I do not remember it that way .

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" TEBEOSFERA. You were born in the eighties, when censorship in Spain had already been abolished, but ... you've ever felt little freedom in your creative work? CRISTINA

VELA. So far I have not had significant problems of censorship, although very occasionally, certain limitations regarding the "politically correct." Occasionally, you may indicate the direction to take in a play, an editor can recommend changes in a cover to avoid hurting sensibilities, for example, or an event has a line or profile that you understand that you must follow. Remains perhaps the idea of \u200b\u200bcomics as childish and there are many occasions you have to tweak elements in this regard. Although sometimes I think this is reasonable, the graphic novel is or should be a commercial industry and can find a balance without compromising your creative freedom.

T. Do you think that the story (what you call "graphic novel") is a medium that lets you express yourself differently than other media?

CV Among other considerations is that I can draw, draw, draw, what I like. "

Cristina Vela, interviewed in Tebeosfera

---" For you is different to a make a comic book and graphic novel? What do you think is the difference?

not even really know what's what, really. Everybody asks me and gives me the impression that these terms of better control critical those who truly believe the material. I use "comics", "graphic novels" or "comics" based on who spoke, and "graphic novel" is cool when you want to sell the bike to someone, but I do not care or I put it in interviews but never . I limit myself to write and draw my stories.

think there is an artistic movement of "graphic novel" in Spain as if the nouvelle vague is not true. Basically, the authors told the editors: "I'm going to win shit, let us make history and give us the win", and the editors replied: "Because we sell so little, make me a billet that can be sold for at least fifteen euros. " This hypothesis seems more plausible.

Perhaps the Minister of Culture will fill your mouth with the term "graphic novel", but this is something that comes from outside. If we see wrinkles as the banner of this movement by media coverage and unanimity of public criticism, we must not forget that it is a project born of a line of Delcourt on current issues and because of its quality transcended that label. So when we start patting us on the health of comics in Spain we must remember that this comic has not been published if not for France. Fortunately, Thanks to that success, Paco Roca can focus on that for what it truly is born, it is to have great stories, but it is a case of continuity and professionalism extremely isolated.

Kings Elves can consider English graphic novel, but Mice Templar or Filthy Rich comic books are American. Here are most migrants went in the country, only that the patera is the Internet.

And this is what I think on the subject of the graphic novel. "

Victor Santos, interviewed in Tebeosfera

----

" T. There is a profusion of titles on the market recently, most Americans Japanese or French, but English is not so plentiful. Do you think the industrial situation of the English comic and Spain today is better than twenty years ago? DR

I think is the best in the last ten or fifteen years, no doubt. There is still the dream panacea, but have to start somewhere, and the truth is I am a little tired of both mourn and both complain that the situation is very sick in the English comic, years ago you could not see both author English, and so different, in the offer that you can find at any bookstore, and I think many of the most interesting English comics are happening right now. Things to do, instead of repeating as a mantra the label of living here is not the comic, is trying to make comics that are of interest not only to regular readers of the medium, but casual readers, thus creating a mass jump growing readership, that's all going to get that you can someday live comics around here, that reading is normalized in society and be treated in the literature, as in France, and thanks several works published in recent years, little by little, I think they're getting, but do not think we can get to the French model of today for tomorrow.

T. Given the current state of the industry of comics in Spain, many English young authors are opting to work for foreign markets such as French or American. Is it your case? How do you prefer to work? DR
Public
my works in several countries and languages, that is what allows you to more or less live in it. But rather than sell my work directly to a foreign publisher, I prefer, at least for now, move first by English publishers and agents they make me and sell my work to other publishers from outside. Astiberri is the case, for example, I am very happy with them, really curran much the subject of foreign sales of works by English authors, not other publishers, it seems that only care about buy rights to edit out here, that is fine, but we must also sell it from here out, not only in reverse. Moreover, the percentage who remain the most reasonable is that a publisher offers an author in Spain right now, if not the most ".

David Rubin, interviewed in Tebeosfera

---

T . What you're thinking in particular as a comic strip and you do as a professional, other than comics?
KN
My only ambition is to tell the stories I tell and give it to them the way people more consistent and honest as possible. And of course, enjoying the creative process. Working

occasionally as an illustrator, because it is a field that pays well and because I can develop it more visual, sometimes in comic makes over other things. Comic book also teaches workshops in France and Spain, which began as a way to earn some money while studying, but that helps me to test my knowledge and learn new things. These are two things that I think are complemented my work as a cartoonist and I are having fun.

T. For you the story is connected to other art or communication? KN

Yes, very closely. I think this can not only benefit the environment, which, on the other hand, is relatively young and still imagine that will go through many changes. For me the most radical change is the emergence of computers and internet, not only for the commercial or broadcast, but because they are radically changing the habits of reading. All this merely give us new possibilities and hope that allows me to be making a stronger narrative and in keeping with the times.

T. Tell us what you think about the current state of the comics industry in Spain. KN

If I refer to magazines eighties that I have been recovering in time, I think we are at a global level to which that model is disappearing prepublication review (unfortunately for me, because I love). Regarding the English authors, we believe, many publishers willing to publish, but I think the pre-publication in journals that allow authors regularly overcharged, while advances are currently paid less than proportional. Apart from that, the relevance level of media and the very different displays that are winning the media in Spain actually result in a more promising than 20 years ago.

Ken Niimura, interviewed in Tebeosfera

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continuing horrors in the editions "remastered" old comics ... This time he has had an old comic English, now made by Planeta DeAgostini "glorious" color computer.

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For Tebeobien . I've already read and, frankly, I subscribe. I encourage it to all those authors who so wish, if they agree with what is said there. I am.

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LINT Xerxes

Last night I finished reading the last of Chris Ware ACME, and confirmed the feeling I had while reading it, that of standing before a historic comic. ACME NOVELTY LIBRARY # 20, entitled LINT (Drawn and Quarterly), is in my opinion the greatest thing that has made Ware so far, and if we are talking about a genius, as I believe it judging by his previous work, we talking about a before and after in the history of comics, and as such I think this comic will be tried in a few years, with the appropriate perspective. Some may think that how you can be as daring and even "arrogant" to anticipate the future to assert such a thing. Well, then I will simply say that you you read the comic. Because what seems superhuman LINT Ware, a dimensional leap not only in his career but in the history of comics. This has nothing to do with the formal roll "McCay, Herriman-King-etc." Ware is the "cut his teeth" in the first stage of his career to find his language and his speech as an author. LINT is far from that, it is profoundly different, and it is, as it can not be otherwise, for the form.

now I can not imagine how you can overcome that Ware and while I suspect you can do in the next ACME. I've seen things you people would not believe ... I mean, seriously, things that have never seen a comic book. The amazes me most of all, over your domain monumental and wasteful way of innovation and work put into each page (must be seen to be believed, his work as a goldsmith, his patience to finish), is his effort have permanent things with pictures + words, in a manner impossible to transfer to other media, literature, film, etc.., nothing other than a comic. Or, rather than a comic Chris Ware. A LINT you could devote a review of 50 pages and still stay short, there are so many issues addressed or suggest, from the representation of consciousness to the "mirror stage" in profound childhood, passing by, it occurs to me now , the huge narrative effect of temporal ellipses from one page to another. So far above just mention three things.


1), the design sense of Ware. If we knew that was a supreme designer, you must read to see what peaks LINT is now climbing. For Ware, comics are designed above all else, because the design only allows you to achieve the complexity and depth of his narrative voice. 2) the notion of "stream of consciousness" takes on new meaning here, with no resemblance to the literary or any other that has been built earlier in the comic (for example, nothing to do with that achieved Miller in his comics of the eighties), claiming that new meaning precisely by the effort to visually represent Ware, treating the text as if drawing and the drawings as being "words" or signs. For example, those little circles that appear next to the labels "major" and that good ideas seem to evoke the unconscious, while the residual thoughts appear and disappear in the periphery of our brains while we're focused on something else. Small circular vignettes, tiny, sometimes suggesting the regrets and mistakes of the past and future desire for other things and people. For example, the flood of incomplete and incoherent sentences that often floats drawn around the images, evoking the nature of thought, the stuff of memories and desire.

3), the point of view, unique. As Paul told me the other day quite rightly, point of view of LINT is a singularity that you can not find anywhere else, comic, novel or movie, at least I've seen or read. It is a subjective viewpoint, and once, just as Ware used to represent, objective and omniscient. It is as if LINDT was narrated at a time from within and from outside, from the depths of a single mind, individual and unique, the subject's character, and from the external view "God", very nearly almost as if both eyes were the same. Subject and object in the same pages. Again, this is possible with form. That is content. Now I can not help but smile at such statements, I've read, I do not inventors that Ware "does not have anything." LINT is so, so dense (and it is, this is the most amazing, in a predominantly visual) its only 72 pages it takes to read like 300 of a normal comic. But of course, LINT is anything but a comic "normal."

That what has LINT? A lifetime, that of a certain Jordan Wellington Lint, whose character is revealed more and more complex due to the successive layers of meaning that add little biographical details we discovered when we least expect. The first 16 pages of LINT and read last year, they were included in the anthology of literary narrative prepared by Zadie Smith, which included, among many stories of writers, two comic , one of Ware and Clowes another. Now Ware has continued these pages to tell the entire life of the subject. But as I say, not only has facts of that life. LINT aims to capture the perceptions, mind and soul subject's biography, and I think he succeeds. LINT must read to understand it, the best comics I've read not already this year ends, but many years ago. It is often said that the comic has not yet given its "Citizen Kane, his IN SEARCH OF LOST TIME. Well, maybe Ware is already producing some of these works similar, and we are privileged to attend this in mind, as he does in comics as monumental and, yes, exciting as this LINT. Reading it is also to understand why Ware is now in a different dimension to that of all his contemporaries. A dimension as the distant future or, rather, an alternate world that nobody else can go. ----



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SINKING THE DRAWING intended to be displayed



Nth example of why a comic page drawn comic is not finished, as only three posts ago we talked about how the comic book artist working thinking playback . Let's see some pages of DAREDEVIL: BORN AGAIN (1986, Miller and Mazzucchelli) as Mazzucchelli deliver them to the press, comparing with the work already colored by Christie Scheele and finally published. If you click on the images, extending all the many details that I will comment. On the top, you can see the marks Mazzucchelli drew with red marker to show how color should be added to the American flag tattooed on the face of Nuke, the crazy super soldier Kingpin used for his purposes in the last two episodes of the saga. The annotations in the original page (look in the side margins) would not be if it were a painting or work to be exposed, because they would be in a museum or gallery and would not be good (unless the intention of the work beyond that). But here is a work intended to be exposed, since these statements are directed only to the printers and will not in the comic book published. The comics are made to be played, so what matters is the comic published cartoonist, not the cleanliness or "visible" from the original page. Published comics really is finished work. In other words, comics reproduced the work is technically not the original drawing. Unlike what happens in painting, sculpture, etc.

More examples of the same:

"REMOVE RED LINES" indicates the entry in the side of the page. It refers to the red marks who drew Mazzucchelli to indicate the boundaries of the flag tattooed on the face of Nuke. Being in a color that was not the line of black ink, the printer had it sucked for these brands do not come out red pen. What I had to leave were the stars and stripes on his face. Now

page as published, with colors of Christie "Max" Scheele:



Another different example just below. I've always been attracted much attention this page BORN AGAIN, and I mean the fact that the mark of the triangular composition (first bullet) to appear in print. I always wondered if it was a mistake printing, ie, a mark made Mazzucchelli only to compose the picture you printed out by accident. No, judging by the words he made with blue pen (the blue pencil not played out in a "pen" or photolith black line) on the side of the page:

"Please make sure that the triangle is clearly visible. Add white . Mazzucchelli is worried that the line of the triangle did not look enough at the time of printing the comic. Again, you have to worry about what can be drawn form, and anticipate how it will published. On page

published indeed, he could see perfectly the triangle "divine"


can also see how when it comes to color, as requested, left blank the line in areas spanning the "negative" the black shapes, to stand out clearly and not be disguised with color.

And since we are on the same page, another curiosity that can comment here is how Mazzucchelli hit a photocopy of the bullet from the nurse Sicario (third bullet) that appears in the flashback of Ben Urich, to avoid repeating the same pattern and that was exactly the same pages that had already appeared earlier, when they occurred the facts now remembered.

In other words, again we have here an original blobs, indications, clippings pasted over (a cut that is not "original" but a photocopy of a bullet), etc. Something that would not normally be for a painting or drawing truly "original" intended to be exhibited in a museum or gallery. Because repeat the truism, in the comic is drawn to playing, and everything you draw is designed to be viewed not in the original drawing but in the comic reproduced.

By the way, without the color would have the "same" effect in this comic Right? Without the true recital of color (colors listed to print: color was not direct, but above, the traditional color comic book until then) they offered in BORN AGAIN Christie Scheele and Richmond Lewis, the work would be "the same." Richmond Lewis, of course, only colored a number (DD No 228, March 1986) "disguised" under the false signature of Mazzucchelli, he would not tell the editor, Ralph Macchio, the color was not going to tell him in reality but Richmond Lewis, his partner did not want to have to convince him, without any prior experience in the comic book, the artist-painter among other things, could do it perfectly. As he told Mazzucchelli, when printed out the comic Jim Shooter, Marvel's editor in chief, as taught in the office as an example of a good comic book coloring, Richmond Lewis was responsible in 1987, and officially recognized, the colors of BATMAN: YEAR ONE ( Miller and Mazzucchelli).

A true recital of color, despite the limitations of the different colors of the comic book, because Scheele and Lewis outdid their best to keep up the work of Miller and Mazzucchelli. For example, here below, Christie Scheele colors: red expressive that Ben Urich, separating him from the figures in the background and exaggerated expression of horror, a red intensity of which increases from the first bullet the third (attention also to the yellow of his eyes rolling in the third bullet). Or the contrast of the same red with blue twilight scene that takes place elsewhere in the city, in the hospital where the nurse Sicaria do their "work" or the blues that highlight the shadow produced by the fingers Matt Murdock on the sheets, last bullet, suggesting along with the rest of the yellow cartoon sun rays are directly over the body of Matt, an enlightenment that has everything to do with his "rebirth"

Because, as we know, before a generalized direct color and print quality, color in the comic "narrative was not," was merely "decorative" ... and "added nothing." ----



(source of images of original pages: Comic Art Fans )

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