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Alt 06.06.2015, 03:09   #419  
Servalan
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Irvine Welsh (Jahrgang 1958), wurde als Autor mit seinem Debüt Trainspotting (1993) berühmt. Seither gilt der Schotte, der den rauhen Dialekt in die Literatur bringt und ein düster-brutales Bild von Edinburgh zeichnet, als Kultautor. Neben einer stattlichen Bibliographie an Romanen und Kurzgeschichtensammlungen, schreibt er für die Bühne, das Fernsehen (BBC, Channel 4), führt bei Kurzfilmen für Bands Regie und beteiligt sich an Dokumentarfilmen.

Sein erster Ausflug ins Comicgenre entstand im Rahmen des "Stripped"-Förderprogrammes des 2013 Edinburgh International Book Festivals. Denise Mina (# 267) hatte die Idee eines utopischen Comicromans, der dank der Förderung des Scottish Government’s Edinburgh Festivals Expo Fund von einer Riege europäischer Stars umgesetzt wurde. Mit diesem Comic feierte das Literaturfestival sein 30jähriges Bestehen.
IDP: 2043 (Freight Books 2014), die Dystopie eines Schottlands im Jahre 2043 (weitere 30 Jahre in der Zukunft), das wegen geschmolzener Polkappen zu einem Archipel geworden ist, stammt von einer Supergroup:
Zitat:
A graphic novel that brings together a dream-team of European artists and writers to imagine the country in 30 years. (...)
Contributors: Celebrated French graphic novelist and illustrator Barroux, Costa Award winner Mary Talbot and artist Kate Charlesworth, ‘godfather of British comics’ and creator of 2000AD Pat Mills and graphic novelist Hannah Berry, enfant terrible of Scottish letters and author of Trainspotting Irvine Welsh and graphic artist Dan McDaid, graphic novelists Adam Murphy and Will Morris. Story editor: crime writer and graphic novelist, Denise Mina.
Freight Books, hardback, 160 pages, published August 2014
Der Comic wurde konspirativ gestaltet, so daß selbst die Beteiligten nicht wußten, wer mitmachte.
Zitat:
So, last year I was at the Edinburgh Book Festival, doing kids’ workshops with The Phoenix, and I got a strange request. Would I like to be a part of a collaborative graphic novel, being commissioned by the Book Festival, to celebrate their 30 year anniversary? (...)
Complicated, high-concept and full of social injustice; just how I like ’em. My job was to take the characters of the first chapter (written by comics legend Pat Mills, although at the time I didn’t know that – they were very cloak-and-dagger about who was actually involved in the early stages), tell the story of how they met and flesh out the world a bit.
Well, the result is IDP:2043, a glorious sprawling bastard mutant of a book, throwing 10 wildly different writers and artists together and kind of just seeing what comes out. Comics and crimewriting goddess Denise Mina had the unenviable role of story editor, in charge of herding this group of cats into some sort of coherent narrative.
Eine der ausführlichsten Rezensionen stammt von Craig Naples und liegt auf writer pictures (12. September 2014). Obwohl er teilweise harte Kritik anbringt, läßt in seinem zweiteiligen Beitrag die meisten Beteiligten zu Wort kommen:
Zitat:
This was appropriate, as the book itself is let’s say, not as big a success as it probably could have been, and I think the two events illuminated exactly why it wasn’t. I’ll explain as we go along, so get a cuppa, this could take a while. The tl;dr version is: some of it is world-class, some is 1980s Vertigo C-list quality, some wouldn’t make a 2000AD try-out one-shot and one section is just so bafflingly stylised I’m not even sure what it is: a post-apocalyptic 7-Up advert featuring Fido Dido, perhaps. (...)
Mina’s attention then moved on to Irvine Welsh: “Irvine, how did you find writing it because you’ve never written comics before, I felt you were a real natural at it.”
His reply was revealing: “I didn’t really know what I was doing or what I was supposed to do and sometimes that works to your advantage. You sent me a template that it had to be like a screenplay. I kind of messed around with it one afternoon and I didn’t have any strong reactions to it at all until I saw what Dan had illustrated and the thing that struck me about it was that working on a novel or a screenplay or stage play the essence of those things is alway the storytelling.
“I thought the story I’d actually done for this character’s backstory, there wasn’t a lot of depth to it but when I saw the drawings come back I thought it was very colourful and very harrowing. It struck me that more than any other medium that the comic book isn’t about story it is about illustration, the power that the artist can bring to it. The evocation of the imagery is actually stronger than the story. It crystallised a lot of my feelings about comics and graphic novels that the story isn’t king as it is in other mediums. The illustrator is the secondary storyteller. I noticed that all the nuances he added to it really created something that was much stronger.”
Der Comic wurde gerade für die SICBA Awards 2015 nomniert und steht auf der Shortlist der fünf besten schottischen Graphic Novels!

Geändert von Servalan (07.06.2015 um 20:37 Uhr)
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