Habrán apreciado nuestros lectores, que una de las piezas clave para que funcione una colección como esta, radica en el atractivo de las cubiertas. Y más tratándose de una obra que ha contado con ilustradores mitificados por los fans en ediciones precedentes, como ocurrió con Batet, o en menor grado, con el correcto trabajo de Salvador Fabá para la primera edición de Forum de 1983.

Tras varios intentos con algunos dibujantes y numerosas pruebas, llegamos a la conclusión de que era Guéra (se pronuncia Guéra) la persona indicada. Su conocimiento en profundidad de la figura humana, dominio de la perspectiva y el color, habilidad para crear climas y ambientes, y sobre todo, dibujar caballos, algo que no está al alcance de muchos ilustadores, algunos bastante hábiles dibujando personas, pero incapaces de dar soltura y movimiento a un cuadrúpedo.

Y algo muy importante, Guéra posee el don de trabajar deprisa y entregar a tiempo, algo indispensable para una serie de periodicidad semanal.

Aparte de un conocimiento total del oficio, una de las mejores virtudes de Gera, es su habilidad para ponerse en situación, entrar dentro del tema y trabajar desde los sentimientos. De igual modo que algunos actores practican el método vivencia, ideado por Stanislavski, para transmitir emociones vividas desde lo más hondo para que afloren con espontaneidad al exterior, Guéra vive intensamente lo que acontece cuanto dibuja, lo siente y lo expresa de tal manera, que no realiza las cubiertas por orden numérico correlativo, sino del modo que se encadenan sus sentimientos según le van dictando las situaciones creadas por los personajes. Un dominio total del trazo, de gran espontaneidad y frescura, y sabiduría en la aplicación del color confieren a cada ilustración un look de tratamiento pictórico en el que realismo y naturalismo causan impresión de veracidad.

Decía Gaudí que en la naturaleza está todo y si miras atentamente la puedes interpretar, y un colega muy próximo a nosotros se llama a sí mismo recreativo, ya que considera que el artista plástico sublima, magnifica, parodia y elabora  como un poliedro de muchos prismas lo que todo lo creado refleja en él.

Pero lo que está detrás de todo auténtico artista, y que a menudo la gente no lo ve, son muchas, muchísimas horas de trabajo y estudio. Y este es el caso del imparable Gera que lleva tras de sí bastantes años de oficio, aunque sea todavía un desconocido por buena parte del público español.

Nacido en Belgrado el 24 de noviembre de 1959, (su nombre completo es Rajko Milosevich Gera) a edad muy temprana empezó a publicar en su país natal. Stripoteka, EKS Almanah, Yu Strip, Ilustrovana Politika y muchas más, fueron las publicaciones que a lo largo de una década le dieron a conocer por todo el emplazamiento geográfico de los Balcanes.

Se trasladó a nuestro país en 1991, el año en que el conflicto interno latente en el estado multinacional de Yugoslavia, estalló en guerra civil abierta, crisis que conformó el primer enfrentamiento bélico acontecido en Europa tras la Segunda Guerra Mundial de 1945. La posibilidad de que los derechos de millones de personas en su propia diversidad, no fueran respetados, empujó al exilio y la búsqueda de nuevos horizontes a miles de yugoslavos, especialmente artistas, periodistas, escritores y todo tipo de creativos con visión lúcida y crítica de los hechos.

Desde sus primeros meses en España, viene colaborando Gera en diversos medios. Realizador de story boards para cine y televisión, ha trabajado en series de dibujos animados y ha publicado historietas en Zona 84 y Comic Internacional entre otras. El buen nivel de su obra y diversidad de técnicas y estilos le ha permitido trabajar para varios países, entre ellos Dinamarca, Méjico, Brasil o Estados Unidos.

Además de participar en diferentes muestras y exposiciones, entre ellas la del Salón Permanente en la Academia de Arte de Belgrado o exhibir sus obras en el Salón de Angulema (Francia) y estar en posesión del Premio al mejor cómic del año (Yugoslavia, 1987) y el premio académico Plumilla de oro de Belgrado 1988.

En la actualidad, contratado por Glénat y en colaboración con el excelente guionista Patrick Cothias es autor de los álbumes de la serie Howard Blake.

Con todo, Guéra ha sido capaz de arañar tiempo al tiempo para cumplir con nuestro encargo de pedirle, no una miniserie, sino 96 cubiertas para la presente edición de El Coyote, que ha cuidado con mimo extraordinario.

Y por si esto fuera poco, Guéra ha contado para la realización de estas cubiertas con un ayudante fuera de lo común: el joven artista Toni Fejzula, quien ha empezado o terminado varias de las ilustraciones, aportando rasgos de su toque personal y dotes naturales para el oficio. Podemos ver uno de los primeros trabajos profesionales de Fejzula, la historieta titulada El vínculo, en el núm. 1 de El Reino Salvaje de Conan. Además Fejzula se ha ocupado del escaneado de todas las ilustraciones, de modo no solamente mecánico, sino que ha introducido hábiles retoques para ajustar la fidelidad al original y conseguir todos los registros de la escala cromática.

El resultado general del conjunto de ilustraciones que conforman las cubiertas de R.M. Guéra y Toni Fejzula es excelente. No solo subraya los valores de la obra literaria de José Mallorquí sino que sirve de ayuda para adentrarnos en ella y disfrutar de su lectura.

Y mientras tenemos in mente una futura exposición de los originales de estas cubiertas de El Coyote, reproducimos aquí unas cuantas ilustraciones de diversos trabajos de Guera y nos preparamos para una segunda distribución de El Coyote de Mallorquí, por si alguno se ha perdido algún número de tan formidables novelas.

Pere Olivé (diciembre 2003)

May 05, 2008
Anatomy of a Panel: Scalped
Posted by Rich Barrett

I'm Rich Barrett and I'll be doing an ongoing column here at Rescued By Nerds called Anatomy of a Panel. Each month I'll pick a great scene from a comic and interview the book's team - the writers, pencillers, inkers, colorists and editors - in order to delve into the creative process and deconstruct the thinking that goes into these scenes.

For our first column we're honored to have the team behind Vertigo's Scalped - Writer Jason Aaron, artist RM Guera, colorist Lee Loughridge and editor Will Dennis. We'll be discussing the opening scene of issue #3 which can be found in the trade paperback Scalped Vol.1: Indian Country.

Scalped is a dark and gritty crime drama set in a Native American reservation in South Dakota. The main character is "Dash" Bad Horse, who has recently returned to the Reservation after a mysterious fifteen year absence. He joins the local tribal police to help clean up the increasing problems of drugs and organized crime. But Dash comes with his own agenda and his own dark secrets.

In this scene, Dash and fellow officer Falls Down are about to bust a secret meth house, unaware that they've been setup and are about to walk into a trap.

RB: Flashbacks are a big part of the overall story of Scalped. In this scene, you cut into a very tense moment in present time to show a relevant piece of Dash's childhood. Can you talk a little bit about what you hoped to show about Dash by interspersing these two moments?

JASON AARON: This is the first glimpse we get of Dash's childhood and the root of his angst and his tense relationship with his mother, which are all themes we're still exploring in the series, more than a year later. And I think with the flashbacks like this, it's not just important what they show us about a character's past, it's also important what they tell us about the present. Why have this flashback at this particular moment? What triggers it? Here it's the fact that he's about to use a gun. Does that mean this flashback runs through his head every time he's about to use a gun?

WILL DENNIS: That is mostly all jason's call. it's important in these early issues to establish that all these characters have history -- that they are not just two dimensional action movie stand ups. We made a concentrated effort early on to establish this idea -- that the sins of the past will echo down thru the lives of the characters.

Also in all the research we all did for this book -- me, Jason and Guera -- it's clear that history is such a vital part of the living native life. not just the cultural history which is so rich -- arts, dance, music, folklore, etc -- but also the tragic history that exist in relationship to the American people and government.

So not making flashbacks a big part of this would have been a real huge mistake.

RB: The visual cue for the flashbacks throughout the book is the desaturated coloring. How did the idea come about to distinguish them in this way?

LEE LOUGHRIDGE: RM had proposed the idea along with Will Dennis about the flashback treatments. I played with a couple of the ideas and we came up with the blue/grey scheme rather than the normal sepia garb.

RM GUERA: Color is reduced because it's more graphic. Making it stronger instead of richer. This way we're trying to make it stronger AND richer (if this is understandable).

RB: On page 2 we see a closeup of Dash's face but, like many of his scenes, his face is very shadowed, which seems to make him more mysterious to the reader. How do you want the readers to see Dash at this point in the book? Do you have anyone in particular in mind as inspiration for this character when you are writing and drawing him?

JASON AARON: In terms of visual inspiration, no, I leave that up to Guera, though I do always provide some notes and ideas for how different characters might look. I think this particular scene here is our first real glimpse of Dash's deep-sided psychological scars. Couple that with the fact that he's obviously pretty deadly with a gun, and you have yourself a very dangerous individual. Dangerous to others, sure. But mostly just a danger to himself.

RM GUERA: He still is mysterious to himself mostly, therefore I'm trying to make his appearances as such to the reader. His emotional life is almost always the issue.

As about his attitude - I'm trying to dig in what I/myself am, in the situations Jason put "me" in. It's because we both are Dash, and therefore we MUST accept "our" character as one. Luck comes into it in the actual relationship with the writer and artist - both do it gladly. It's like a happy marriage. I am laughing out loud at the sound of this. .;

RB: Will, as the editor, how do you work with Jason and RM to help shape Dash as a character?

WILL DENNIS: Most of my work really happens at the initial stages in terms of helping to shape the narrative and the overall feel of the world. Jason creates the characters -- gives them life, emotions, problems, etc. That's the really hard work and it's all his.

With Guera, he just got it. He was born to draw this book. We mostly talked about other things -- music, books, movies, actors, etc that we loved and there was like 99% agreement between the three of us on the "feel" of what we wanted. To me, it's all feel...i don't always know what I'm looking for but I know it when I see it.
We almost never talked about comics in the initial stages -- but that's true of all the books I work on. The point is to try and do something no one else has ever done, so really there should be no precedent for it, if it's this good.

RB: RM, something that I love about how you designed this scene is how, especially on pages 2 and 4, the layering of the panels creates a transition from present to past and then back to present. Is this something that you planned or an interesting result of how you designed the pages?

RM GUERA: Thank you, it's both. This is the most precise word for it I can think of. It's both - as much as possible, at the same time. What moved ("inspired") me was the idea that he has closed his eyes now because he had them open then (in the flashback). It's the way the page starts and concludes, anyway. I dunno about other artists, but thoughts like these work for me. Overtime, eh.;)

RB: Of course, Lee, without color this effect wouldn't work the same way.

LEE LOUGHRIDGE: I just read the script on this one and figured that was the best way to transition the art.

RB: The owls perched on the trees, watching over the scene below, is a striking image. And it's an image that seems to be repeated within the design of the totem pole on page 4. What do the owls represent in this scene?

JASON AARON: They are an omen of death. And they tip Dash off that something's not right about this place.

RB: On page 3 the first thing we see is the bright red of the blood stains. Lee, was this your idea to use this bright splash of color in an otherwise monochromatic scene?

LEE LOUGHRIDGE: The red was definitely used for impact. RM and Will put that bird in my ear.
The two-panel page with the big money shot. That was actually drawn after the whole issue was finished, and it was just the extra beat that the scene needed to drive it home.

JASON AARON: You also can't discount the input of our editors, Will Dennis and Casey Seijas. It was their idea to add the title page that you see here. The two-panel page with the big money shot. That was actually drawn after the whole issue was finished, and it was just the extra beat that the scene needed to drive it home.

WILL DENNIS: This was a vital moment. You don't always know something is missing until it's all together though (with letters and all). I was bothered by not having a really good shot of this dead body and Dash, but the art as it existed seemed so strong that I was letting it ride -- sometimes you can really over-manage these things. but in this case I felt strongly that we needed something really dramatic so I went and asked "The Powers That Be" if we could get an extra page for this and they said YES.

This was the defining moment of Dash's youth and his relationship with his mother - which is really the core of this book to me - and it needed some space. I remember being at Irish wakes as a kid and going up to the body in the coffin and being dared to touch it - it's just one of those experiences that stays with you and we wanted that same thing for the readers.

And I knew that Guera was going to make it the perfect page and it is. it's so sadly beautiful and captures so much of this book - Gina(Dash's mother)'s commitment to her beliefs, the squalor of the "Rez", the senselessness of the violence, the toll that alcohol has taken on native life and just the weight of it all, the gravitas - everything that gives this book it's soul is on that page. somethings are worth fighting for.

RB: There are a lot of objects and background elements in this scene - from the broken down truck on page 3 to the junk both inside and outside the meth house. Every object seems to contain its own sad history. How much do you think about the history of the setting you are creating here? Jason and RM - do you guys discuss little details like these when you are creating a scene like this?

JASON AARON: I used to throw in several details about the different settings, and then Guera would take that and just go wild with it and give me back far more than I ever imagined. These days, I pretty much know what I'm going to get from him, so I don't usually bother with as many details. I know he's already got the idea down. He feels the setting. He doesn't need me to describe it to him.

RM GUERA: I just think we're trying to help each other's part.

Maybe at first yes, but right now - no, not too much comments, but when they do appear, they're abundant, solid, serious - however you want it and depending on a case - all in order to be as clear (honest) as possible towards the subject we're creating together.

It's fondness of other ones work. I like the fact that we're friends right now, but we admired each others work first. NOT the other way around, y'know?

RB: Will, do you ever need to inspect these kind of details for accuracy or narrative continuity?

WILL DENNIS: Do I check to see if a particular beer bottle is in the same place on every panel? Hell no. That would be soul-killing to an artist and have a chilling effect. Plus I don't have time for that level of minutae. If that's something that bothers a reader then I'd say they're reading the wrong book. We keep important things consistent - colors, hair, clothes, etc - but I'm not going to break Guera's flow with something that nit picky. I've never been in a meth lab but I imagine this is what it looks like!

RB: In general, Scalped is a very dark book, with lots of heavy inking. Lee, does this make your job more challenging?

LEE LOUGHRIDGE: Scalped is a very difficult book to color for the fact that it is so black. If i had it my way it would be far more monochromatic over all. I think that would be the most visually successful way to handle RM's art.

RB: When the shootout begins, this is one of the most chaotic scenes of the comic. How do you plan a scene like this? How do you guys work together to stay in control of everything that is happening and yet still make it look out of control to the reader?

My feeling is that it NEEDS to be somewhat confusing and unclear. It was one of the only fight scenes like this I've ever seen that wasn't really choreographed feeling

WILL DENNIS: Jason describes the scene in loose terms and Guera just went to town on it. My feeling is that it NEEDS to be somewhat confusing and unclear. It was one of the only fight scenes like this I've ever seen that wasn't really choreographed feeling - it gave me what I imagine to be is the feeling that Dash had...just lots of guns, flashes, chaos. But we also wanted to show that Dash is BAD ASS. That he's got the training and skills of a professional.

I definitely did some directing on the colors to help separate inside and outside but that's about it. I'm not in the business of telling my writer or artist to make it 10% more "actiony".

JASON AARON: I wrote a pretty specific shoot-out and then Guera took that and stuck to the general idea, but still very much made it his own. That's the great thing about collaborating with someone. In those best moments, you may end up with something that's not like what you wrote and it's not like what the person would've drawn given free reign, but it's what you create together. This is my favorite scene from that first story arc of SCALPED, and I think it's where Guera and I first started to really hit it off.

RM GUERA: Visual equilibrium. Never too much time spent on this. Amplify one thing, reduce the other, but all in order to tell what (in this case) the chaos of a shoot-out is like.

Besides, situations like this MUST be chaotic, it wouldn't be real the other way. It's the clear head inside the chaos - but it must be intuitive. Simple. Impossible to re-think it while it's happening. One must be instinctively aimed, BUT intuitively clever (clear so far? It's complicated to talk about simplicity, ha, ha).

So this is the risk I'm also taking. Like him. Like Dash.

RB: How do you lead the reader through the shootout, panel to panel? How do you handle the rhythm of this scene as opposed to how you handle the quieter flashbacks? Lee, what tricks do you use to draw the reader to certain elements or guide them through the action?

LEE LOUGHRIDGE: Heat would be the best word for it. Heat up the center of the action and push everything else to the foreground/background.

RM GUERA: I literally try to explain to someone how I (myself) survived by this close. As clear as I can, but NOT making a movie about it. I try to be real. All the rest are doubts about it and work. There's NO system to it. If there is, I'm against it, anyway. The same goes for calmed sequences (or flashbacks). Jason gives me a lot of freedom, BUT - he's the responsible one, eh. He does some really inspiring writing first, so this quality gives me the necessary frame to apply my freedom to.

With less words: there's a script I believe in, and I act and direct according to it.
I try to, anyway.

Intention
For the moment, my hardest intention consists in spotting existence (awh, don’t want this to sound too poetic nor rare). To try not to think. I try to “exist” only in the moment of actual drawing of the line…how to say this? Like trying to think about this line - moment before and moment after, but WHILE actually drawing it – no…Heavy task... ;

-…in that sense of the word. Like I said, to make the time stop. You sense the control of it, you know it, you got it, and it goes…;

Comic
Comic is a range choice of frozen images.
The very moment image is frozen in, and context between the last and the next – tells the story. It means that one must be very carefull where exactly freezes it, because, when you think of it, there are so many angles to put the camera eye, that the number of possibilities is simply never ending. When you take a look at what masters have done, for example Mezieres or Giraud, no matter whom of the greats, all these people made so many books, and not one image is repeated totally. So it means that, if ones choice is entering that kind of approach, mannerist behaviour is almost impossible, because there’s no end to it. But after this kind of ones decision, when mastered it and you’re free, the most important thing of that choice is – if you in fact have something to say…;

Hours
I work a lot. Ten to twelve hours a day minimum. But, I’ll sign wherever you want, that a person can not be creative more than four hours a day. No way. Tremendously difficult. These four hours should be guided to peaks of the day. Then the rest of it is a physical part. To plan, to do, to draw…It must be arranged, because its really difficult. I never could’ve top more than four…I have the feel that afterwards something bad could happen…or after you sleep for three days …;

Reading
Each frame brings the conclusion with it. When a person reads comic, he can read the last page first, if he wants. He could jump frames. But the comic has to have kind of strength, to make the reader NOT WANT to turn the page and miss the frame. And if he does, he must have the wish to go back to it immediately…he must say “wait, wait, I wanna see what happened here”…;

Script
What I miss the most, more than anything, are strong scripts. In drawing sense, lately there is a large number of quality craftsmen, especially in France, because French opened, and people came from all over. But what happens is that the scripts are mostly, lets say – quality of B or C movies… I expect from comic scripts to be all like Hugo Pratt’s, all strong and deep. Like in the literature: a few books of Danilo Kish I didn’t like, but when I red “The tomb for Boris Davidovich”, than I red “Garden, Ashes” and then you say “WAOW”…Something like that, when people really try to build out something from their work…I think that inside script writers heads, there’s a lack of mastering of comic as it could be… I think that they’re only using what comic already has, but still do not risk to try something that could be achieved with a good enough try. To bring out nuances, ambience talk, or atmosphere achievement…To suck out from a drawing makers something that could define better comic possibilities…

I miss the fact that scriptwriters, do not do their work for a year or more, like book writers …it really should not matter quantity of action, or these stereotypes…it simply should not matter…
Like scripts of Zeljko Pahek…Should’ve mention him at the beginning…His script can be drawn by a bad craftsman, however it’ll always have this line never spoken, but its simply there. So clear, so present, and so what’s left for me is simple awe…You can only be in awe of him or hate him. That’s it. And all the frames are connected. You can not miss one. This is the real thing…Inspires…;

Technique
People should see that the very choice of these images, choice of the style, no matter how spontaneous, fast or slow, no matter at all, that its here because I exactly want it that way, and not because I cant do it some other way. The impression should be that I couldn’t do it differently regarding the story, and not because of lack of craft or technique. Technique you must have…and not because of knowing how to play no ending scales…nothing to do with that…not in that sense…it must be technique of choice to use. Dominated in a sense of approaching the medium, to know what to use to tell something…that’s maybe the most important thing…Because to tell the story, you’re using the choice …;

The great masters
When you take a look at Hugo Pratt, with time I’m more and more surprised - its incredible how much Milton Caniff influenced him…And all this “school”…Or, if you look at early “Blueberry” – well its “Jerry Spring” …However, the excuse for something you wear inside, ought to echo great masters in order to learn to speak a language…like wanting to express yourself in French, but you do not know a word. First, you must meet it properly, and for this, the great writers will offer you a good path. It means that you cant only at university or some grocery store, it must have something else, some ornament or decoration to it, something more. To make you see how somebody makes better the very language he uses. Better with what HE wants to say.
Great Masters are important, and I’m especially sensible to this question, because in my early years, after American, I identified with French school, with Giraud, Jije, Franquin as leaders, and so, at one point, I – at myself looked in doubt if I just took somebody else’s manner. And so I struggled very hard to bring out that it was the way to see what in fact is happening inside comic subject. Not a rip off nor mannerism stuff…and so, at some moment, all this impressions united and it just took off - to my own language - with lots of subjects started: what’s there in that composition, why is it like this, what to do with light, with perspective, to deform it or not…all this is as much scrupulous, if your master is somebody great…to choose a good teacher, that is…And after, typically, you start to ask yourself who was the teachers teacher, then teachers teacher, and so forth, finally to make you see that it’s a circle, that all this is logical, and that to all of them happened the same as to you…

November 2006.

I talked to Jason Aaron a little bit about American media's tendency to portray Native Americans with westernized features. What do you think about that kind of ethnocentricity?

Awh…That’s a serious one for me… I think that it’s understandable, but not justifiable. It’s something generations were “talked into”. I miss movies about Native Americans like “Border” or “Lone Star” about Mexicans. Movies that later open the look on them as the people first. Y´know, people that love, hate, laugh etc. Like we all do. It’s this cliché from the past that needs them not to be people, but Indian people instead, whatever this could mean…Resuming, I think that into any type of fiction, even in highest & craziest imagination flights – there must be some kind of  base, author’s personal intent, or better put – point - that matches realism 100% (even if not presented obviously). Because if not, casts are empty aesthetical exercise - which is heavily the case with Native Americans. (I mean, yes, we do have masterpieces like “Ulzana’s raid” or “Hombre” or recent “The Last Of The Mohicans”, but it’s maybe 6 or 7 in 35 years /or more?/, and it’s all western)… So, I think first Jason & half-a-sec-after-him me, are hoping that if someone was “talked into” something, it does not mean he is personally convinced. We’re trying to enter that field, I suppose…

From what I've seen of the first issue of "Scalped," you've taken great pains to draw Natives that actually look like Natives.

Thank you, I sure hope this is a compliment. I'm still not sure of how much I succeeded (you never really are), as my style depends a lot on the line nerve used on the particular panel. So sometimes the nerve IS the look & there you plain hope it’ll be authentic enough. You simply never really know.  But what I do know is that this definitely is kind of serial that counts on time, where characters grow & define themselves with new events of the plot. Without any doubt - each time I make a new drawing of some of them, I’m more & more convinced of who he is & consequently how he really looks. If it works, reader should feel pretty much the same…

Jason told me you are very passionate about the characters and the world of "Scalped." What is it about the project that made you want to be involved?

Jason is a wonderful mate to tell you that. My passion comes from the intent of reaching some kind of visual depth of the character. And here, I like to have it as intense as a warrior is, I suppose. And what attracted me instantly to Scalped was the “feel” of synopsis. It red like the clear path, that’s somehow visible exclusively if realistic art approach is used. Man, I thought “this is 100% for me”…I simply can’t thank enough Will Dennis for offering it to me. Even if not doing it, I’d still would like to meet Jason, y’know… I mean, it’s an actual moment crime plot, clearly written with heart, with western attitude around. What do you want more?  I grew up on westerns & they’re the biggest percentage of liquid inside my drawing vein (ha, ha, ha)… so I felt pure. Identified & attracted instantly…

What kind of research did you do to make sure that the settings, clothing, etc. were accurately depicted?


Anything I could get my eyes on: related movies, National Geographic, Ed Curtis, Dee Brown….But the final aspect is a personal mix of all this. Common sense inside the chosen drawing style plays bigger part than people usually think.  Lets say that the goal could be to make it as accurate as possible – but without sacrificing the script dynamics or art style…In order to achieve exclusively “Scalped” story nerve…We try…;

Do you hope that books like "Scalped" will raise awareness of things like living conditions, crime stats, etc. on Native reservations?

Yes, of course I do hope. As much as this media range lets us. But I must say that if anything, my personal & intimate wish would be to inspire someone how to roll with the punches in life there. I come from a small country that “once was big”, I know the importance of it, believe me…;

Even today, modern day Reservations are such a different world from the rest of the U.S. Do you think in the current landscape of mainstream comics that there are that many opportunities for accurate, non-stereotypical depictions of Native lifestyle and heritage, short of having more comics that take place on Reservations?

I’m a great, great admirer of simplicity mixtures , but if it lacks depth, that’s where stereotype danger lies. Y’know, I really don’t think that tomahawk should be the base to build your story on.
It is character’s depth you need in order to break the stereotypes & move the story wherever you understand it better. Character’s exterior simplicity WITH depth, real believable depth, the one based on life, simply can’t go wrong. Because that’s where all differences really connect & make an interesting mix to work on. Not on the surface, y’know…Deeper you go, easier the stereotype break is, & more possibilities for the plot(s) you find.
And especially with Native Americans, if not character depth - what else they got? (…).  So, mainstream? …Well, why not…

What Native American comics characters that have influenced you,  past and present?

None. Sorry to say, if you know what I mean. Twas movies mostly. USA comic-wise I think I’m influenced by the, lets say,  aspect of western Noel Sickles did: strong, classy drawing attempt, but somehow free… The very second I see Sickles’ western drawings, “bad movie” feel vanishes. I mean, my personal goal could be the drawing that’s  instantly believable. That’s about all one should work on, & more than enough if achieved…

Thanks!

You’re more than welcome. It’s nice to receive the attention when you believe the project you’re in, so thank you. These questions were the right stuff…;

September 2006.

How did you become involved with the project?

It happened while discussing possibilities with Will Dennis about eventual & desirable collaboration with Vertigo. I was pretty much "caught on the spot" by Will's speed about all, he really is 1st class in just about anything that comes to mind in this profession. Real pro, amazing connoisseur & above all good person. It all happened in matter of 5 or 6 e-mails. He offered to jump into some already well known serials right on, but for some reason I wished something more modest in the beginning...To get to know each other better first, I suppose...& so it happened: the very first synopsis he sent was Scalped, and for me that was it...Will likes to call it kismet & I'd agree...;

What attracted you to Scalped? Do you have an interest in this type of material?

First, the synopsis was clearly written with heart. With heart, but technically serious. Pretty long, but not one emotional dead spot in it. I thought, “Just who is this guy?”…Twas different, but somehow totally familiar, and above all it red like something in desperate need of realistic approach. That made it for me...
Anyway, it's difficult to say what you exactly like about something that falls so natural to your imagination. I grew up on westerns, so for me it was like putting 2 & 2 together...Totally natural, I don't even call it choice nor decision, y'know, twas simply made for me to visualise...I think Will somehow smelled that...;

Was there any particular reason for wanting to illustrate this comic?

Yes, there was. Twas seeing absolutely clear what's NOT written in the script and floats the air between characters. What should be felt. I don't even know how this sounds, but twas maybe the most important thing for me...;

How would you describe the concept?

It's a character driven crime serial, with action sequences moved about & violent events dosed around (the plot). But let's say where they naturally fall into place. Not forced to happen. So when thinking about the concept, the word realistic again comes to mind...;

What about the basic storyline?

It's about the pure blood Indian who has to go back to something he wanted to run away from...
Apart from that as main emotional guide, everything else is mix of the life realities in Indian reservation nowadays. And lots of strong & defined characters mixture all around...As Jason explored the whole area to the very bone (stone), story is really thick, there's not a sec of empty space, all the time opening...;

What aspects of Jason Aaron's script inspired you the most. 

Pure quality writing. Atmosphere. Dialogue. It's dry & direct, but human & possible. Juice obviously belongs to HOW you say it & so it's clearly left to me. Indicated but left to be completed. Extraordinary as road material...;

What elements in particular do you want to emphasise through your art?

 That's a tough one. Let's see... First & foremost - common sense towards what's written in the script. In other words  -storytelling.  I think that my task, or even duty if you like, is to put in the final stamp to the    emotion & atmosphere of the story. Something that should be visually essential for the script.  But in order to complete it. Not to compete it. I don't think it's possible to make a good comic out of bad script, and the good script reaches the point with average art...It's all about the story...;

Did you have any freedom to design new characters and/or settings? 

Jason's textual character design was pretty much interior description, so yeah, I was visually totally free, but guided safely when felt I should ask this or that...;

What influences and inspirations did you bring to any such designs?

My influences when creating character could be just anywhere. Life, book, music (most times song), neighbour, old photo, movie. Never comic. Never painting. I think that the inspiration in its source of the search, should be as far as possible from the final aspect... Raw feel about something inside the particular character... Also, you do lots of them, but for some reason one sketch appeals more than others. And you never really know why. I suppose that actual casting choice depends on a particular life moment you're in, as you yourself must act all of 'em ... All in all, it's a mixture of impressions I do not really know how to clarify (maybe intimately don't want to have it defined)...;

In what ways, if any, have you altered your normal approach to storytelling when working on Scalped? 

Well, it is different from what I'm used of in European album/book/style comics, but true answer would be - no, not real alteration included. I think it could be called adjustment...It's all about the story, really, so from some point on, it's simply other language using the same words. It just looks different because of the type of publication, but inside me happens the same thing: I try to tell a story visually...;

How would you describe the style you are using on the project?

Awh....Realistic maybe, but I'm too close to it to know (or to want to know). It's mine too much... When I work, I (like to) feel that the "Scalped" style existed long time before it was written or drawn, we're just trying to help this story to be on it's natural path...Y'know, to help it breathe "exclusively Scalped" life environment...;

Are you working traditionally (i.e., from full script)? 

Yes. But I like to jump pages or sequences. With no particular reason... It's a vice, I know...;

Do you have any plot interaction with Jason? 

We'd write more about things like movies, dialogues, music...I think this interacts afterwards, while each of us actually work alone, but precise moves are left to ones decision. I never felt I should, or had to, interfere there. If I write about plot to him, it's because it's fun to say it, or opens some interesting subject to talk about...;

Do shortcomings in the script lead to frustration for you or do you rework the story to correct the error (in conjunction with Jason or otherwise)?

With Jason this was never the case, his scripts fit like a glove to me, really.  And I rarely keep my mouth shut if something doesn't fit.  To me, it's the other way around - wonder is that he approves my pages so much, as I tend to see there lots of discussable spots... But shortcomings in general - yes, in my career I did have to fill gaps like these (lots of times)...I don't call it good experience, but I say you do learn a lot about yourself. It's kind of test, because writer rarely knows he did this, or if he does twas never "on purpose", so you're in a danger of war there, and we're supposed to be on the same side...All in all it doesn't have to be all-frustration. It can bring problems, yes, but is also great accomplishment if you're lucky enough to succeed... Or just plain fond of improvisation (which I am)...;

What sort of working relationship do you have with Jason?

After he writes it, I read it. Than I say “WOW!” & start drawing it as soon as Will confirms the draft. I'm working on 6th book now & this has happened exactly 6 times, so in one word: excellent... As long as I keep the dynamics & dialogues as written, he lets me change anything I want:  house, order or number of panels, even the mood... In return, absolutely every time I finish the page, I (almost) demand Jason to confirm that it's OK with him, as if not, I couldn't  go on working until he's satisfied, or until we're both sure I had some really good reason behind it... But it should be pointed out that Will, his tact, timing or just plain experience largely encourage all this. He and his assistant Casey Seijas are SO helpful in all this, simply priceless really. You get the feel that the reader already understood all you're working on. Even when doubting if something works, exchange of thoughts with them gives confidence all the time...;

How many pages a month can you comfortably produce?

Right now I do totally calmly 22 pencil & inked pages in a month & a half. I did lots of insane records in my career not to be afraid of dead lines ever again, but Will planned it in such a way that we'll be ahead at least 9 or10 books when the first one appears in bookstores. So he tells me all the time to do it exactly as I want it, not to think about time, & everything is going so smooth (his words), that I'm starting to be afraid of it. Y'know, outer space equilibrium is the only thing I fear... (There is something mysterious inside Will & Casey's act towards artists. You simply never ever sense tension or pressure. Nothing surprises them, ever. I have heard lots of stories about "American dead lines" & things like these. All fears I still don't know nothing about.
So, I thank "Thee"...)...;

What level of research do you feel these characters required?

As much as one can find. All the related movies I could get my eyes on, all National Geographic with "Powwow" photos, re-reading Dee Brown's "Wounded Knee" again & again...Ed Curtis' photos...Maybe I was lucky enough that my real research was done years ago, when I watched all those westerns, I really think there are very few in western movie history I haven't seen... But, I don't do too much sketches once characters are accomplished, I leave that to be inspired with the dynamics script requires, it is THEN that I do it & it's mostly pretty rough drawing... But than again, I'm capable of changing the entire, finished page if it doesn't tell the story. Two or three times - as average when it refuses to "work"...For me, if there's not story behind the drawing, it's just an empty aesthetics exercise...Doesn't offer much...It must have life of some kind behind the line you make - it is than it appeals to me, and I'm capable of doing it endlessly...;

Do you maintain a comic collection for research?

No. My comic collection is for having a good time once or twice a year with each title & then I like to forget about it. To keep looking at it requires state of emotion that is expendable, and it's easily the very same one you'll need afterwards while doing your own stuff, so while creating it, you won't be gallant enough, your nerve could be spent... When I do look at them, if not for short analysis, than it's in order to envy the good times its creator had with it. To remind myself on how much better I could be doing mine & that's about it...I have really lots of fiction in my studio, books, documents,  movies, comics, but I think that the real research is inside the non-fictional-old-fashioned-life. Nothing tops that...;

You are inking your own pencils on this project. Do you prefer this to a third party providing the finishes? Why?

Well, my pencils & roughs are SO rough, that I really doubt anybody could do anything with them...When working on a page, I very rarely define too much in pencil, as it sucks life from inking if you try to do the same thing once already done...I mean, what's the point?... I try to pencil to define, but I'd stop while it's still "rough enough", so while inking - to have the feeling that I'm simply finalising the pencil... I think this profession is  privileged enough as it is: we are expressing our beings here, not "just our hands or imagination"...And so I think it's natural & part of the same job to do both pencil AND ink yourself. No more no less than natural…Well - to me, it should be said...I'm not against anything here...Question of personal choice, I suppose...;

For you, as an artist, what was the most challenging aspect of the project?

To tell a good story. If you do it as a good story should be done, that's a challenge enough... And also - let’s say - being yourself inside the variety of characters, interiors, landscapes. Achieving honesty to all-of-them by using all-of-you...Trying to expand your personality to these limits... But I think that the main condition is to have the NEED to tell a good story...

Maj 2002.

Kako je doslo do toga da sada vi crtate “Le Lievre De Mars" ?

Mislim da je ipak sticaj okolnosti u pitanju. Sa Glenatom sam se     vec neko vreme dogovarao oko razlicitih projekata, kada je Antonio Parras napustio seriju, a o Cothiasu imam misljenje samo u superlativu, tako da mi samo "uskakanje" u tudj kaput predstavljalo manji napor nego obicno, jer po prirodi i senzibilitetu nisam autor koji to lako obavlja. To je situacija u kojoj se neprirodno osecam, ali moram priznati da je sve proslo interesantnije (kao iskustvo) nego sto sam ocekivao.

Mozete li reci nesto o dosadasnjoj karijeri, uticajima? 

U svojoj zemlji sam vec poznato ime u stripu sa raznoraznim priznanjima koji uz to idu, a i kada sam presao u Spaniju da zivim strip je bio baza svega sto sam radio. Kazem tako jer me je mogucnost eksperimentisanja u vizuelnom smislu uvek vukla, te sam radio uz strip valjda sve sto ovaj poziv moze pruziti kao mogucnost (od plakata za festivale preko studija za naucni muzej do animacije). A kao autor definitivno pripadam generaciji koju je obelezio Francuski "bum" kasnih sezdesetih i sedamdesetih (daklem nezaobilazni uticaj Girauda, Alexisa, Mezieresa i "slicnih", mada sam posebno ponosan na koincidenciju da su i oni pretrpeli u svom razvoju takozvanu "americku skolu" kao i ja sam, od autora kao Jack Davis, Walace Wood ili pak Frank Robbins. Licno sam ponosan i na tu bazu kao i na koincidenciju sa majstorima), mada sebe zamisljam kao autora dovoljno "aktuelnog" izraza (nadam se opravdano).

Da li ste imali poteskoca sa preuzimanjem serijala?

Ne, zaista nikakvih specijalno. Mislim da je tome apsolutno    doprinelo i ukazano poverenje Glenata, i jedina sugestija koju sam dobio (i to samo na pocetku) je bila da "dovoljno podseca na staro" u tom "prelaznom" albumu. Sama kolicina "podsecanja" mi je ostavljena na licnu procenu, na cemu sam zaista zahvalan.

Patrick Cothias mi ja kazao da je trazio od vas "licniji pristup". Da li vi pokusavate da se oslobodite (otarasite) od stila  Parras-a ?

Mislim da je pozitivan odgovor na ovo logican.  Fizicki smo uslovljeni za ovaj posao isto kao i psihicki, te smatram neprirodnim puko "prosledjivanje" poteza predhodnog autora, pa ma ko to bio. Trenutno radim na sledecem (IX) nastavku, i jos uvek to nije stilski onako kako to finalno vidim. Mislim da je to neophodno u smislu skladnijeg prelaza na ono sto ja vizuelno zelim reci iz cistog postovanja prema publici (kao i do sada uradjenom u seriji, naravno). Po meni ce serija dobiti definitivan oblik tek u desetom albumu. Trenutno se bavim "limitima" stila koji sam namenio, sa ciljem da pruzim sto siru mogucnost dometa, daklem od najfinijih do najgrubljih nijansiranja likova i prostora - da bih, kako Cothiasu, tako i sebi, dao prostora za razrade u bilo kom pravcu.

Da li ste akcentirali ili modifikovali izgled nekih likova ?

Da. Rutherforda vidim kao nesto melanholicnijeg od svog predhodnika, i to zelim transmitovati i kroz lik. Toliki broj zagonetnih dogadjaja u njegovom zivotu po meni moraju rezultovati introvertnijim karakterom, bez obzira na njegov ocigledan talenat kada do "ekstrovertnosti" dodje. Mislim da je sa vremenom on postao primoran na to vise nego sto bi sam zeleo.

Crtati monstrume moze biti originalna stvar. Da li imate afinitet prema tome?

Ne smatram sebe pocetnikom u ovom poslu, i to rezultuje samouverenoscu u pristupu radu. Mislim da je unutrasnji zivot likova koje crtam neuporedivo bitniji za transmitovanje citaocu, te je spoljasnji izgled samo posledica toga. Drugim recima, nisam sklon tipiziranju likova, vec nekoj vrsti produbljivanja onoga sto scenario ili sama prica zele reci...Licno sam skloniji nazvati monstrumom neku osobu koju nasa svakidasnjica tako ne zove, i kao protivteza toga, monstrumu sam sklon da dam "dusu" (ili opravdanje ako hocete). Tipiziranje u radu i razmisljanju autora cini tromim, i to se trudim da izbegnem.

Da li ste bili primorani da vodite istrazivanja dokumentacije?

Da, ali u uobicajenoj meri. Generalno sam sklon dizajnu, te se trudim da interijere i eksterijere "prilagodim" svom vidjenju sekvence u kome se scena odigrava. Posedujem relativno dobru dokumentaciju, ali se trudim da je vise pamtim nego preslikavam. U svakom slucaju zbog raznoraznih okolnosti (najvise zbog prelaska iz dosadasnjeg stila u stil koji sam planirao) konkretno ovaj album po mom misljenju jos uvek ne nosi dovoljnu ravnotezu dokumentacija-masta u pristupu kojim se bavim. Tek u ovom koji sada radim je ta ravnoteza stavljena na, po meni - "dobre noge", i moze se prirodno razvijati.

Imate li jos projekata?

Postoje jos dva dosta razradjena projekta (pirati i "blues-avanturisticki") za koje cu sam pisati scenario, ili saradjivati sa ko-scenaristom, ali to je jos u fazi pregovora i planifikacije, te o tome ne mogu mnogo vise reci. Jedino sto sam siguran je da cu ih ostvariti u bliskoj buducnosti. U svakom slucaju interes i ozbiljnost Glenata su laskavi i obavezuju.

February 2004.

Hello. I've found quite nothing about you on internet. So, first, could you introduce yourself? What was your way to comics?

Hello. Well, comics ARE my life, what can I say more? You can't find much on the net about me, because I didn't need it. I've been a professional for a long-long years although always being carefull with choice of the work...So, part of the answer goes there...I sacrificed a lot with this attitude, but I still think that it's better not to do something if you don't believe in it, ESPECIALLY comics, because I respect it too much (and did have some bad experiences)...And existentially speaking - in my ex-country ("Ex-Yugoslavia") being good doesn't mean much, even if you are "officially" prized, and "very" good...so...;

Your work is not really known in France. Have u published in other country?

Well, I live in Barcelona Spain for twelve years now, so - Spain, Ex-Yugoslavia, United States & more, and besides I did a lot for animation-universe regarding story-boards (for Spain, Italy, Denmark...). Did a lot of publicity stuff for the likes of Honda, Science Museums, Music Festivals, and too many to number, but, my real life all this time were - and are comics (I don't know how this sounds for somebody from France, that has incredibly long and vital period of "the best" in comics, but for me it's simply reality...And, reality - the onliest choice you have is to get used of)...

You're from ex-Yugoslavia and you don't speak french. Is it hard to do comics for an audience who may not have the same cultural references than yours?

Well, it's inspiring, to say the least. So, really not hard, even if it needs alot of work. In Glénat I really feel accepted, and this is the basic part for creating "your universe". I've always felt that - spending so much time with French comics, I know them very good, and we're "friends", so the only thing is that French comic didn't know me, and that's all...So - THATS what I'm working on...The difference in cultural references could be the good part, because we all are human beings, and that's more than enough fact...Kusturica is a really good example...;

For France, Howard Blake would be your first comics alone (writing and drawing). What difference does it make for you?

Incredibly big and important. This way I'm in the natural situation of creating, and the other way is that you always doubt if what you do will meet the expectations of the idea-maker...I do consider that our real profession is expressing ourselves, our beings, and not "just our hands OR imagination". Ourselves. And I must say that although I do wish to collaborate with French script writers (and some of them really ARE GOOD!) - the natural part of self-sufficient approach attracts me a bit more...But, there's time for everything if you know how to wait for it...For the moment, I'm more than satisfied , because I also have the enormous help of a friend and a long-time collaborator from Serbia named Dragan Savich. We made together already prized comics in my "ex" country with him as a script writer, and I really feel secure...;

Could you present Howard Blake, the comics?

Basically, it tries to explain the problem of growing up, with the bad reputation of your parent. So, the reputation you're not guilty of. Daniel Blake is the son of Howard Blake, who was publicly known as the executed (hanged) assassin and a pirate. The violent surroundings of the time does not differ so much from the ones we have now - look as far as you want - and the best friend of his fathers' , Gilliam Perrin (the REAL hero of the serial, as long as I'm concerned) will try to bring up and connect Daniel with the REAL person his father was. Father who in fact was killed (NOT executed)before Daniel was born. Difficult task (his AND mine)...; 

How come this interest for the last pirate?

Because I think that the end of an era doesn't mean the end of you as you are. I consider this interesting enough to write a story about it. It's remarkably difficult to change the character you already had hard time to build (it has happened to me, anyway). It needs as much strength as the building it. But the era changes, and you must decide if you're gonna change with it, and it looks as the happy ending is impossible. There's a saying in my country about the "Dark Cave": There's a "Dark Cave" that has a sign on it that says "if you enter, you will regret it, and if you don't, also". It's a metaphor for the wish of knowing more. And not just "informing" - KNOWING(!)... From some moment on, you KNOW that knowing more doesn't mean being better. You're almost sure that it's the opposite. So, entering or not, it brings the moral problem to the surface. Ethical problem. And it's a perfect saying, because, once you know the "Dark Cave"(not knowing what's behind it), and the problem of entering or not, you will never be the same person again, even if you go away from there. Like when the times change. You CAN'T be the same, although you feel you are. It's like being too weak to live, but too strong to die...;