parte de una entrevista que le hizo
megan kelso a
brian ralph (ambos hacedores de comiquitas de las que me gustan)... nada, no quise traducir por pereza y de puro esnob que soy,leanla y me dicen, a mi me tramo lo que dice el man.
pd: la entrevista completa en
http://www.girlhero.com/BR_Interview.html
MK: Well, I happen to think keeping it fun is the only way one can keep doing comics, period! Can you describe your creative process? How a story is born and then how it eventually becomes a comic?
BR: I have little snippets of ideas, mostly things that have happened to me,
I'll take events and turn them into comics. When I start a comic I only have a vague idea of where it's headed, I know some of the characters and then I let the comic unfold. I just let the characters go. I know that might sound corny, but I let the characters take over and the thing just happens. The characters have a life of their own--- I honestly believe that, to the point that they just write the stories themselves. Each character has it's own personality, and playing them against each other is where I think I develop the ideas from. I tend to draw the exciting parts first and not worry too much about how all the parts will eventually fit. Then later, when I'm putting it all together, I'll see where I have to explain more, so then I draw more pages to link it all up. For instance, I added 25 pages to Cave-In at the very end when we were putting together the book for print at Tom's house. A lot of times I will work from the center of the story and work in both directions, it is honestly a fun way to work.
MK: Wow! I'd like to try that.
BR: I came up with a theory, that it's like playing a slot machine. Imagine the panels are all spinning and anything can happen, and one panel is finished, it's locked in. And then the next panels play off that panel, and then they all fall into place one after another like on a slot machine. Each one comes up in succession. The new story I am working on deals with characters travelling through time, so I can write in the past present and future as if they are all happening at the same time. I never set out to write insanely complex stories, or stories that even really have a point.
MK: My theory is that we all have some major points we need to make in our work, even if we don't consciously know what they are. If we take care of the little things, the big things'll take care of themselves.
BR: That would be my one tip to cartoonists. Stop trying so hard to make good stories. When you stop trying, that's when it starts happening. God, there is nothing worse than someone trying to write stories, it is pathetic. Just start making comics and before you know it, you've done it. It's instinct.
MK: Ahh, the mystery of comics.
BR: I was honestly a little bummed out at the last SPX EXPO, there was a panel of cartoonists, Jessica Abel, Jason Lutes, Brian Biggs, and
Jordan Crane---all cartoonist I have a lot of respect for, and I genuinely like the work they do.
But all of them except Jordan were talking like they wanted to be filmmakers, instead of cartoonists. And I found that to be discouraging. They all said, basically,
"we want to be making movies, but it's too expensive and there's too much involved, so comics is the next best thing." It was depressing to be at a comics convention and here are the best and brightest in the field and all they say is that they want to make movies.
I don't want to make movies or novels or even comic strips. Just comics.
