Interview to Mauro Uzzeo and Giorgio Santucci: Dylan Dog in search of the Truth – Lucca Comics & Games 2017
Hall Sergio Bonelli in the piazza Antelminelli. Slipping between the rows of fans in a Lucca Comics And Games sometimes rainy, sometimes bright, we are able to get behind the scenes of the stand to make some question to the authors of the comic Dylan Dog of the month of November, entitled “the end of The darkness”. Distributed on newsstands and in the comic store, in this number, we find Dylan Dog struggling with a strange being that high above the skies of london, came out after a mysterious Light has flooded and killed hundreds of inhabitants. Mauro Uzzeo (writer) Giorgio Santucci (penciler) stand out imposing on the table for the firmacopie.
Thanks for the availability! Could you tell me how did your first collaboration on the pages of Dylan Dog.
Uzzeo: After some presentations of simple subjects, ideas, in a row for Dylan Dog, at a certain point I can think of an idea for a story more complicated, more busy.
I wanted to talk about an apocalypse that comes in the way, silly, a bit like when The shadow of a scorpion, revelation comes because of a cold. An apocalypse that was born in the era of today, that of social media, where truth begins to lose shape, and everyone takes refuge inside her. Dylan Dog is a horror, and usually the horror uses reality to tell the story of a social aspect in a more or less evident. The point is that, from the beginning, there was the possibility of having you by my side George (Santucci ed.). Then I tried from the beginning to have him with me. I asked Roberto Recchioni ed.)if he could collaborate with me and he told me yes. Then I tried to sew the story about the designs of Giorgio, because the thing that got me upset most of the comic serial is the lack of dialogue between writer and designer. It is clear to me that the comic is a hybrid of the work of two figures, that of the draughtsman and the writer.In fact, my idea of comic is similar to a game of volleyball: I get up, and the designer crushes. If the opposite happens, i.e. I sovrasto the designer and I will write too much or I who am writing the script without knowing who is the designer, the end may come out a comic book that is not great.
Santucci: I would Add that as soon as I read the script, the effect was like a trip of lsd. The scenes I have broken out in my head like a vision, are games now the views of the boards. I did it immediately as if it were something completely my own.
Uzzeo: One thing that I never said my script was in fact looking at his work on Facebook, such as drawing on the Universal Order. See this image?
There are the wires, the men like puppets... First of all, I wanted to enter the largest destruction of London that you have ever seen in thirty years of history of DYD. When I sent him the first pages of the script, there were 20 pages of destruction, instructions and references of the areas of London that had to destroy. Not only he could draw what he wanted, but when he focused that he was not to make an effort in finding the documentation because it was already ready, he was so happy that he has sent a hymn to the Lord!
Santucci: Well, Mauro is a professional! In fact, the register is made. Then I put my: I am a Cthulista, then I put all the imagery in, including pagan symbols, accompanied even by a musical imagination of black metal.
Uzzeo: Ah, I also add that the view of god is the whole flour out of his bag. I on the script I had written of a kind of celestial light kirbyana. A huge being that appeared, without knowing if it was good or bad, but he had to have these two hands are huge which also came out of the wires. Him at a certain point, I proposed another idea, and sends me a sketch that corresponds to the splash page of the comic. I immediately said yes!
In this Dylan you see mutilation, partition, dead mass, very different from an approach to horror-philosophy of the recent numbers. There is a lot of harshness. What was your approach to this Dyd inside and outside of the box?
Santucci: I Have been very lucky, and also treated well. I have done this Dyd as if it were a comic book. There was to draw a scene splatter? I did it in no uncertain terms. I was afraid that the editorial I censurassero something, I have touched nothing. In Bonelli, I had a great time. I've done the sentimental, and I destroyed the palaces and the people in my style and has been published as well. I am glad of it.
Despite the screenplay was written three years ago, the world has evolved and with it the consciousness of its actions in a digital world. How was the reaction of the public? It is revised in your narrative or not?
Uzzeo: At the beginning, seeing that it was a story pushed by that time, I risked coming out of time. If he wanted three and a half years ago, we would have passed anyone. Now it is easy to say “Ah, reminds me of Black Mirror, or make the parallel with the book of the Hermit crabs last month (“The flame”, n°373), when the latter, for reasons of timing obvious, I have not had the opportunity to read it when it is released in newsagents. In fact, I realized a few things, especially after the very violent reaction (either positive or negative) of people on the internet. Probably, if they had published three and a half years ago would not be a topic the mainstream, and then you would not understand totally the history. Today, it is a story that comes to all, before it would have arrived only to a restricted circle of people. The answers that we are having are multiple: we did piss off those of the Family Day and had an article on “The Truth”. They think that our history goes against the traditional family: what makes me laugh, because I myself have a traditional family. The point is that they have not read history, because if they had read they would have noticed that this is a story about the truth. The same Dylan is wrong in believing that there is an absolute truth, and understates that for another is the Truth. Ah, another anecdote: these people have written to me, that we have depicted the protesters as if they were Satan. In fact, the screenplay I had written that they had to look like Pierfrancesco Favino. Apparently they came out for a little demonic! (both laugh).
During the days of Lucca Comics And Games, many readers have come to stand Bonelli also to give their feedback. What is the difference between these comments and those of web users?
Uzzeo: There is a world of difference! Many times in social there are also those that do not read more Dylan Dog by the number 100.
Santucci: I consider myself lucky! I get compliments for the designs, then for the controversy that refer you all to the writer. (laughs)
What would be the perfect soundtrack for “The end of the darkness”?
Santucci: Surely the Emperor! The first Mayhem should be very good. We want that nice metal apocalyptic; when you browse the register, see the darkness, the power that remind of black metal.
Uzzeo: There is an anecdote of music tied to this register. The whole sense of this history is contained in the song God by John Lennon, which consists of a long list of things that has stopped believing. At the end of the song, he claims to believe in himself and in the woman that he loves: there is the God. By changing the term “God” with “Truth”, is the sense of history in this issue.
Will you collaborate together again in the future?
Uzzeo: Yes, sure. Already we tonight going to eat together as a chianina... (laughs)
Interview to Mauro Uzzeo and Giorgio Santucci: Dylan Dog in search of the Truth – Lucca Comics & Games 2017 is MangaForever.net