|Perfect example of how much V is famous. Internet is full of apocryphal illustration about V like this.|
Lasciando da parte per un attimo i fumetti, David è una persona eccezionale. Per certi versi simile al suo Guy Fawkes, è sempre pronto alla rivoluzione in qualunque momento, sia che si tratti di andare a pranzo durante una convention o buttarsi in una nuova avventura editoriale.
Lo abbiamo voluto intervistare proprio per parlare di Aces Weekly, la rivista di fumetti che ha creato; sul blog di SdF vi proponiamo l'intevista in inglese e divisa in due parti. La traduzione italiana con illustrazioni esclusive la potete trovare su Scuola di Fumetto 87 in edicola in questo momento.
|from Valley of Shadow, Aces Weekly vol. 1. David incredible digital rendering of watercolour on cardboard|
Hi David, can you talk about what is Aces Weekly?
ACES WEEKLY is an exclusively digital comic art magazine tailored for tablet and computer, that features top talents in sequential art from around the globe and gives its creators the ability to connect directly with their readers, unchained by the limitations of retail and distribution that exist in print. Creators in Aces Weekly are given the freedom to tell almost any story they want to tell, with complete ownership of their creation assured, and an equal share of all income generated. It can only be acquired via online payment at our website - www.acesweekly.co.uk- and appears every 7 days with a mix of serials and short stories from creators like : DavidLloyd, David Hitchcock, John McCrea, Mark Wheatley, Lew Stringer, Yishan Li, Herb Trimpe,David Leach, Alain Mauricet, Paul Maybury, Bill Sienkiewicz, Marc Hempel, James Hudnall, Carl Critchlow, Kev Hopgood, Steve Bissette, Val Mayerick, Henry Flint, Dan Christensen, Shaky Kane, Dave Hine, Colleen Doran, Dylan Teague... and many more. Aces Weekly runs in volumes comprising of seven weeks duration, with two-week breaks between volumes. Each volume consists of up 210 pages of material, and costs just 7.99 Euros per volume.
How do you met with Bambos? Can you tell something about how you two reached the decision of working on something so big and ambitious?
I've known Bambos for years, since the mid-Eighties. He's an artist/writer/cartoonist and ex-editor for Marvel UK, who I knew had a great respect and admiration for the weekly anthology comics that were once a common feature of the British cultural landscape - though now not-so-common because of high print, distribution and retail costs in regular periodical publishing. I needed help and a great managing editor with the crazy idea, and Bambos was the ideal person to ask. Luckily he turned out to be as crazy as me, and also as committed as I was to the idea of this new way of bringing great comics anthologies to a new readership.
Which comic magazines are the references for AW?
In the past, the British weekly comics - but they were all theme or gender-specific, and meant for a casual child readership. I don't think there are any references in the comics market in the UK and US now. The many anthology strip magazines that exist in Europe in print are vaguely similar to us, of course. But no-one does what we do. No-one says ' you can do whatever you like '. Most all magazines need to steer their contributors, and the magazine they're featured in, to some common subject matter or specific crowd - but we just let creators do what they want to do. We trust them to entertain, we ask them to join us because we trust them to entertain, and that's what we present to the readers - artists who have had the freedom to express themselves and entertain at the same time. So the entertainer and entertained have an equally balanced experience.
We can't ask for the future, but I'm wondering which stories or authors from the past would you publish for first if they come out today? Example: if V for Vendetta would come out today, do AW would make an offer?
Interestingly V appeared because it was given a similar kind of freedom to that which we offer our contributors. In the case of V however, the freedom was a compensation for not getting the accepted pay rate for the work, rather than a central policy behind the whole project, as it is with us. I can't think of any specific works from the past which we would have been happy to give a platform to if they'd been rejected by those who did publish them because our arms are open so wide it's difficult to narrow the focus, but I'm certain that many great ideas from many excellent creators have been rejected by publishers in the past that didn't fit into their limited views of what they thought they could present to readers and we're happy to be a possible port-of-call for such things now.
AW is "something new". Do you think that AW will change the comics in the future?
I think we're in a very fluid situation re digital comic art. Technology changes the landscape all the time. What we do with Aces Weekly is keep faith with the traditional art form of the comics medium and just use the digital platform as just another stage to perform on. We don't do motion comics. We don't do ' tricksy '. This is just great comic art on screen instead of the page. If we can keep doing that with creators who want to keep joining us, we don't yet need to look beyond that.