At the request of respectable
" 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? CRISTINACristina Vela, interviewed in Tebeosfera
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. "
---" For you is different to a make a comic book and graphic novel? What do you think is the difference?Victor Santos, interviewed in Tebeosfera
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. "
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" 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? DRDavid Rubin, interviewed in Tebeosfera
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 ".
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T . What you're thinking in particular as a comic strip and you do as a professional, other than comics?Ken Niimura, interviewed in Tebeosfera
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.
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