Composion takes up the story on the subject and screenplay for the new comic. Similar books, dreams and reflections, I had become clear that the point of view from which I developed the narrative was that of a paranoid schizoid that would move in a context of fierce border placed in a near future Sicily, say located at a distance of a paltry handful of two to three years in the future compared to today.
James G. Ballard somewhere argued that the only possible reality is that we build within ourselves : I tried to keep me on track in this path.
Initially I concentrated on collecting narrative material that formed spontaneously from observation and from the restructuring of reality, to say things dictated solely by the simple burning of their urgency and relevance. The
threw them all away like water skiing: the characters, concepts, ideas and situations.
I sat down by the river and waited for the body of the enemy. In those moments aspects, you have to do. Aspects, and if nothing happens, wait a while '.
Only what was returned to the surface to grab and feel useful to the affair, the story that I was going to tell. That time of
flowing from the idea of \u200b\u200ba story, writing a story, the development of a subject, the collection of appropriate documentation is in my view the most important and delicate stage in the writing of a comic, because if it proves inadequate even the best designer in the world to succeed in straightening of the fate of a comic book born evil.
This is the most valuable and simultaneously most unknown in the creation of a comic book: the weather.
Nobody will put in the credits of a cartoon of the time.
(pictured: Edward Hopper, Rooms by the Sea , 1951)
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