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"Making Of" Manifesto: interview with Joseph "cam" Camuncoli

As you can see, looking at the poster for the fifth edition of Mantova Comics and Games, the now legendary Mantova-Man was designed Camuncoli so extraordinary that Joseph, who with his class has given us a hero by the aggressiveness disruptive in a real context and at the same time dynamic, characterized by an overwhelming centripetal force. Camm, besides being a leading exponent of the Italian and international comics scene, is among the forerunners of the 'italian invasion "of American comics, and embodying the dreams of all those to whom Mantova Comics & Games is planning to voice this year more than ever: the young Italian who, thanks to the event, had the good fortune to land in the thriving U.S. market. For this reason we decided to interview him to find out more about his experience of the author and the achievement of our poster.

As you know the main theme of the fifth edition of the convention is the American Dream, then it seems only right to ask what is the American dream for you?

I think for people like me who has devoured since childhood tons of American comics, to get to publish publishing houses like Marvel and DC comics scene are the pillars of the world really is a priceless feeling. The same of course happens to those who began to work with any publishing house, so to speak also Italian, which has been a player in his time, but with Americans this occurred very rarely. Until a few years ago our own fact that the authors were able to activate a partnership across the Atlantic could be counted on the fingers of one hand. Then the technology and the evolution of a native scene, which has proven over the years and professional success, have definitely changed for the better situation, and now the prospects Working Americans "are much higher than they were ten years ago when, for example, I've started my first experience with Vertigo. Despite everything, I think the fascination remains intact to work, by authors, and on characters with other authors, famous or not, who continue to inspire its readers around the world.

're one of the top Italian designers to overcome the ocean and break through the united states, what can you tell me your location?

As I said, now able to interface with the American editor has become much easier than before. To name but a few, the birth of the comics forum, the community of designers and personal blogs have facilitated not just how an author can propose and make their work known to the proper authorities. Besides the editors Americans now travel abroad with continuity, not only in Italy, in search of new talent, and assess for themselves what are the most promising authors of each country. And Mantua, to stay at home, was one of the first exhibitions in Italy to give a great importance to these professional events, hosting first-rate talent scout in the years of Marvel and DC, and helping to launch the careers of many designers Italian. I, who have started with the self in the distant 1997, I had to hand, together with my buddy Matt Casali, bringing it to promote my work in their homes, and more specifically in New York first and then the San Diego Comicon, in which event after event and year after year, I finally managed to get myself noticed and got me assign the first, agognatissimo work. They were really different times, remember that the first appointments were made by telephone and even fax, and I opened my first email account at the end of the 90s, just to begin match more easily with overseas editors. Well, sometimes when riparlo of those years I realize what our experience has been pioneering, and in any case for this perhaps even more beautiful, because more daring, more painful. That said, however, I would be very happy anyway if there had been time to review the portfolio Mantova Comics, I would have made life much easier!

What advice would you give to young writers who want to enter the market of comics and intend to present their work to an international editor?

to behave in an impeccable manner, ensuring the most of every single detail of the portfolio that will put the editor on duty. The portfolio review opportunities are important, and editors are professionals which can not be ignored, and must be persuaded to give a chance to those undergoing their scrutiny. And to convince them, must obviously be very good at their job (in the sign, in storytelling, in the care of the details and backgrounds, etc to personalize your style. Etc.), But also a human level. So, as someone said, "power is nothing without control" ... If an author is very good but not convincing on a human level, is unlikely to be taken, because will be unreliable. Experience also teaches that it always pays to be honest and to be honest with themselves and with the editor: useless to lie about how many pages you can draw per month, for example. So, to summarize, you must be professional and confident of his talent, without essere né troppo entusiasti né troppo disfattisti, e cercare di affrontare questi colloqui con molta serenità d’animo, senza darsi per vinti nel caso vadano male (tanto non si tratta mai di “o la va o la spacca”, ci si può e si deve sempre riprovare, mostrando i miglioramenti ottenuti da un incontro al successivo) e senza fare al tempo stesso gli smargiassi se vanno a buon fine. Last but not least, orecchie sempre aperte! Se c'è qualcosa che non funziona nel proprio lavoro, è davvero importante che le critiche che l’editor muove vengano recepite (o anche scritte, meglio ancora) alla perfezione, in modo da poter correggere quello che non va. Non c’è niente di peggio di chi se la prende per a "no" momentary, and then starts to not listen to the valuable advice of the editor, who always does it anyway and in any event for the benefit of the author.

How changes in technical terms, to work for America rather than Italy?

Not that I'm an expert on Italian works, having worked mainly for American publishers, but in purely technical terms I would say that there are vast differences, except of course the language and time zone. The editor with whom you interface, be it Italian, American or French, it has a professional and highly recognized, and it can do its job well. And the job remains the same in any Country: check that the quality of the head is high, there are no errors, that deadlines are respected, obviously aiming to make the most of all, and even looking to enhance and bring out the best talent of the individual author. In all these years I must say that I have always been happy with any editor or publisher of any country, with whom I worked, and that each has contributed his advice, his criticism or his insights to improve the my work.

When we asked you to realize the obvious, what was your first idea, what did you think to accomplish?

Well, in the meantime before you even set the Mantua Man I tried to figure out which end of Mantua, I wanted to use my manifesto. He must of course be an element not used it yet, and yet be representative of the city suitable for cutting and then I would have given illustration. I remember that I was talking to Christian villages [ed Artistic Director and be inspired mind of Mantova Comics and Games], and I think it was he who suggested the Ponte di San Giorgio. In any case, it was an idea fits perfectly, because I think the skyline of Mantua, which overlooks the lake on that side when you cross the bridge to get to town, is very suggestive, yet recognizable. Then I started thinking how I could put in that context, the mascot of the convention. Immediately I thought of a classic pose, much more static, iconic, almost film noir, the "Sin City" for instance, but I wanted to move in a more dynamic superhero, not to go too just by leitmotif of the 'American dream "of which I knew from the beginning.

Which approach you choose to differentiate your character from one of the posters gone?

First I had a unique fixed point: it would fly. The last three posters had a Mantova Man steering wheel, I would be metropolitan, urban, in contact with the earth. As I said before, I wanted to wear a trench coat, like Marv from Frank Miller, or how well I know that John Constantine. Once you've decided that I would quote in a less hard-boiled, I am moving to the less solar superhero possible, like Batman or Midnighter, which went perfectly to combine all these elements that I absolutely wanted to include in my interpretation. Then, to give an extra touch to the whole U.S., I wanted to add the lightning, electricity, however, to explicitly invoke the idea of \u200b\u200bsuperpower At that point, my pencil sketch, I was in the meantime by progressively defining My suggestions to those in succession, had arrived at the final stage and now final, and fortunately, at least for me already good.

Lightning and aviator goggles, dust coat and American flag, which is the hero of the American dream "Italian"?

As I said before, is a hero - or antihero rather than a view of the characters that inspired him - metropolitan, night and rough. At the same time is dynamic, decisive, and I would even say elegant, with a focus on retail, ready for anything, but with an eye to tradition, the roots, which in our case (besides the good which is the source of Nuvolari ' the first inspiration of the character) I would go back to the Italian comic, but also Italian art, as always remember, give us "artists" an educational contribution, stylistic and aesthetic of inestimable value. How would you define

Mantova Man in an adjective?

snappy.

What has been fun to create "your" Mantua Man?

Very much. It was not at all easy to deal with this delicate task, given the four authors who have preceded me, and at the same time do something original, different and particular personnel. Eventually, though, I can say with complete honesty to be very satisfied, at least as regards the setting of the image and design of the character, I feel very much "my" in style. I really hope I understand that this will please the many visitors to Mantova Comics & Games, but also to see that the Mantovani affixed to the walls of their beautiful city.

Since this interview will be read by many aspiring artists, interested, in addition to the "theory" to the realization of your job do you explain the stages of design creation, making a sort of "making of" the manifesto?

Work In Progress

Step 1: the idea. The image you see is both a point of arrival and departure. Arrival because it was largely unchanged at least ten times before it reached the desired effect, and (unfortunately I have saved all the steps because the design phase is always of the project, almost furious at the level of creativity). And starting from here because, once we receive approval from the staff of Mantova Comics & Games, I started to set all the finishing work later. Compared to the above, I wanted to point out three details: the addition of loose sheets, underlining once again the idea of \u200b\u200bcomics and "American Dream" for aspiring designers, the electrical effect of lightning in the draft is disseminate asphalt (and then I decided to raise, to avoid thinking of the destruction of the bridge), and the empty space left behind the skyline of Mantua, who had already planned to fill with the American flag, which is reflected in the sky in the two patches of lake side of the bridge.

Step 2: pencils. As you can see here, "simply" I went to define a clear and compact the raw power of the model.

Step 3: halftoning. At this point, having already more or less decided that I would not have inked the piece, I went to add a brush of gray tones. I wanted to prove that many subjects, so then blend well with the next color, I would have done in Photoshop. With the mouse, I emphasize, because I still do not know wand handle. In fact it took me a lifetime ...

Step 4: base color. I had already decided that I would have given a blue hue to the piece, so it mixes with the lightning, and at the same time as this could pull in white. By practicing your tone, I then went to turn the pencil to a brown hue, which seemed more suited to hot and the next simple graphite gray color.

Step 5: spot. On a separate layer, I went to fill the individual masses, choosing the base colors of each element, from the glove scarf, the asphalt of the city wall.

Step 6: lights and shadows. Necessary to give greater strength and three-dimensionality to the character. In addition to this, you will see that we have filled in the loose sheets (I used to tell the truth, my sketches for true comic page I had to part), and which has been blurred the background to accentuate the sense of depth and distance of the city.

Step 7: final settings. Here you can see how you have added the lightning, and always with the white to "pierce" the background, the effects of light on the Man a little slower Mantova 'reflection, a little' direct emanation of energy, I also strongly eyes of our hero stand out powerfully. Furthermore, I again worked on levels, saturation and "Ciappini" Photoshop for the color and contrast that I wanted as the final impact.

Step 8: the "American Dream". Here is the final touch: the addition of vertical American flag, to fill the sky at Mantua, and reflected on the water. Decided from the outset, only in the closing has been included to complete the whole. And then my signature, digitally added in the most appropriate. I would like here to thank Fabio D'Auria and Mauro Corradini, who are the "resident" of the Studio play hard with regard to the color and graphics, in which more than one occasion I have helped and guided through the process. Without them, I would have never "jumped out" (as they say here in Reggio Emilia).

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Wanted, or when the ball goes to the poor - 3

We are not yet arrived, however, the focus of the speech, yet not all that clear. Then think of a Stormwatch of Wildstorm. The cartoon in which events are narrated training of heroes in the service of the UN, not just entrusted to Warren Ellis is transformed to become the nightmare of the hero soldier in the service of a big brother crazy, embodied by the Weatherman, ready to use the power of "superhuman" to crush the freedom internationally. Then, defeat the evil tyrant, the group becoming emancipated from the UN "The Authority", or the authorities whose purpose is to bring world peace, but did not observe the regole degli uomini. I protagonisti di questa serie, oltre che assolutamente innovativi sul piano della caratterizzazione (per la prima volta si legge di una supercoppia gay, Apollo e Midanighter, sorta di riscrittura di Superman e Batman, da sempre accusati di parsifalismo) agiscono in modo assolutamente sconvolgente. Prendono coscienza del loro stato di Dei in terra. E come tali agiscono, modificando il loro tempo su scala mondiale, scardinando una volta per tutte la gabbia di insensata e mistificatoria moralità che tratteneva i primi supereroi.

Addirittura, nelle ultime fasi, una volta affidato allo Scottish Marc Millar, in a dark period coinciding with the disaster of September Eleventh, 2001, which led to the closure of the series, deemed too "dangerous" since New York on its pages is that Rome had been wiped out due to catastrophic and attacks, these heroes will find themselves, after having survived torture and harassment by agents of the service of the G8 heads of state, dealing with the possible destruction of Earth due to a cataclysm, to make the decision not to intervene:

Hawksmoor: I'll tell you exactly what to do, people. We will not do anything. Absolutely nothing. Perhaps resolving this story, we must be able to understand what we spend every second of every damn day. [...] Humanity is putting into this mess alone, and it is important that you learn to face the bloody consequences.

Doctor: For God's sake, Jack, we are all angry about what we have done, but you do not believe that this is a little extreme?

Hawksmoor: It's not about revenge, Doctor: Got to give the [...] to genes that have created Seth (just defeated an opponent) a way to show what they are really capable of. Trust me. The only way to save humanity is to leave that for a time for her to save herself.

The hero does not act this way and are forced to become a hero. The cycle began with Marvels has found the right ending. Maybe ...

say that the hero, the king, is gone.

But still something is missing ...

Fotos Dsnudas De Paty Diaz

Wanted, or when the ball goes to the poor - 4

And if the king did not come back? And if the hero of the cartoon had failed to meet after the crisis? Then we will see a chilling rendition of the myth to reality. See the end of fumetto, alla sconfitta di quest’arte sequenziale volta all’intrattenimento? Il fumetto sarebbe forse inutile, dannoso? È quanto si evince dal volume Wanted, non caso scritto dal profetico Mark Millar per lo studio Top Cow di Marc Silvestri, caso più unico che raro nel panorama mondiale. La storia narra di un giovane, Wesley Gibson, perfettamente integrato nella società consumistica del giorno d’oggi, felice per il suo megaschermo al plasma e appena consapevole dell’infedeltà della fidanzata. Questo personaggio assomiglia in modo evidente al protagonista di “Fight Club” di Chuck Palahniuk. E proprio come il suo gemello letterario la sua vita sarà completamente sconvolta. Non a causa di una doppia personalità paranoid rebel and ready to put fire to the system of capital but by the legacy of his father. This is not even a bequest of money which the good son uses for the good of humanity.

is the awareness.

The prodigal father died and left was actually a supervillain, the Killer with a capital K, elected a winning a race of evil that have long swept away the heroes who opposed them, even relegating memory, thanks to devices that take hypnotic mortals minds in check, just in comics. And once you understand that the last breath was next ruled that the degenerate son will take his place. It follows a long period of training as a supervillain in which our antihero must first learn to be free from the constraints of civil society that have made a sheep of the flock. It must lay the moral qualms and self-imposed limitations to reach the true legacy: freedom.

And if you read the comics you laugh and have fun for the folly of their boards, venting his id and his repressed violence enjoying the misdeeds of discharge excited to cheer for the poor, as indeed was the player of the nineteenth century novel appendix, the last words in the latest table cast a new shadow about the hero of the comic and its role, returning to open the debate, going back to generate doubt those who have fueled the research, the development of this figure:

Happy? Happy [...] that your hero has had a girl, money, and that at the end of the story is one of the secret rulers of the world? God, that ass you are, and I speak from experience. It seems only yesterday that I was at your level, pathetic as you are. Why should boast how's life for me? I'll kill you work twelve hours a day, for greasing the junk you eat, and almost certainly your girl fucks someone else. Just because you have a plasma TV and a lot of DVDs does not mean that you are free, cocks. You are only well-paid slaves as all the high sheep out there. Also this comic is not a holiday than a quarter of an hour of your life to serve. I thought the world had always been that way, right? War, famine, terrorism and elections rigged. But now you know that it is not. Now you know what happened to the superheroes. And you know the funny thing? And you know what makes me laugh now that I'm the other way? That you close this book and you will buy something else to fill the void we've created in your lives. And this is my face while I'm putting you in the ass.

A slap, a cold shower "the face" of the hoax. If the hero is unable to regain its place in the world of comics, then touch the "bad", the "Villain" take its place as a legendary guide, figure that reveals the world. And his methods are far more peanuts, and most tragically effective.

Now here we are.

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Wanted, or if the the ball is bad - 2

They spend nearly two decades and appear to be the stars of Watchmen by Alan Moore and Dave Gibbons. In this graphic novel, in fact, heroes are tired, who no longer have to struggle, heroes who have realized the absurdity of their task and of human existence.

We find that heroes are simply psychopaths incapable of having a normal life, in short we are in front of the degeneration of the paladins is that the American comics usually show: the final crisis. The patriotic hero, embodied in the history of comics by Captain America, for example, this graphic novel, turns out to be a fanatic and fascist psychotic. Death, Rorschach, is a crazy average incapable, so far from the perfection of paranoid madness of Batman or the Punisher from glossy to be a little disconcerting. Yet something is still missing ... We are not yet free from the image of the hero that always accompanies us.

we go on in the history of comics, and we see how successful publishers have been able to counter these heroes are tired. One of the most successful attempts, in my opinion, by the publisher of Marvel, is the graphic novel Marvels, Kurt Busiek and Alex Ross, who moved sharply to the point of view from which the events are narrated, making it coincide with that of " normal "photographer Phil Sheldon.

In this work, described by the visionary talent of Ross paintings, the heroes are seen as gods or feared that the common people worship at different times. And how god is distant from man, which becomes a mere observer, passive spectator of their actions. While the comic highlights the need for the superhero genre has to show the "sense of wonder, the sense of wonder that inspired the first series and which allows the reader to see the tables dreaming with open mouth, d ' On the other hand shows the senselessness of deception that occurred in those books.

fact, the reader, like the protagonist narrator, feels useless, an ant in a world full of giants. Giants, gods, which among other things are not always able to save and protect the innocent mortals. This feeling, inevitably, leads to an awareness of, and distances the reader from blind faith in the hero that everyone can and everyone knows it. Example of this is the scene where the photographer, having made friends with Gwen Stacy will witness the death. Sheldon is convinced that until the last spiderman able to save it. But his conviction is wrong, and will be disappointed. His despair at what had happened is the echo of what Spider-Man test, and that will change there. And the despair that the reader is warned at the time in which the output of the register to this important mourning. The first death of an excellent character prominent in the Marvel Universe. The first time the hero of the comic clashed significantly with death, when it was challenged, so real, definitive, his invincibility. And because the echo of these feelings, these intuitions, it broadens the scope of this scene, showing the current dichotomy of the comic hero, torn between wonder and helplessness of the hero of the first Titans tired and defeated, much like the problematic literary hero of the twentieth century, which upsets and annoys the reader, unable to comfortably enjoy the satisfying once the hoax was administered at the same time tired of heroes incapable of consoling.

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serpeggerà Often, the other between a speech during the conference organized by Mantova Comics & Games , the term Graphic Novel .

undisputed theme of the 2008 was, in fact, powerfully proposed last year too, during the events related to the "women's literature " thanks to the work of the authors cui storie a fumetti non possono che essere considerata vera e propria letteratura, pensiamo ad esempio a Persepolis di Marjane Satrapi . Lo stesso J. G. Jones , ospite della quinta edizione della convention, è entrato di diritto nell’olimpo a fumetti grazie a Wanted , graphic novel di ultima generazione. Il successo dei film tratti da capolavori come Sin City e 300 di Frank Miller e Watchmen e V for Vendetta di Alan Moore , hanno fatto sì che tale espressione sia diventata sempre più utilizzata e conosciuta.

Ma che cos’è una graphic novel?

Meanwhile, it should be noted that this term originated in America in relation to the characteristics of American comics. Indeed, it was Will Eisner to use for the first time that phrase to describe his A Contract with God and other tenement stories , just to differentiate it, in an explicit and clear, the size and consistency of comic books normally produced for the U.S. market, monopolized, then, by an endless series of albums of superheroes and compelling stories, though generally small thickness.

Ma quali sono queste differenze?

Per capire dobbiamo esaminare qualche esempio e addentrarci ancora un po’ nel mondo del “romanzo disegnato”.

Come già detto la prima graphic novel della storia è stata Contratto con Dio di Eisner del 1978. Il grande Will, utilizzando un tratto maturo e di una crudezza quasi spietata, ben supportata dalla decisione di presentare la storia in bianco e nero, ci racconta di quattro storie ambientate nella New York degli anni trenta, in particolare nel Bronx. It speaks of an orthodox jew and his religious crisis, a street singer, a poor guardian of the summer holidays. Nothing sensational, just life, so that if a film is about reviving neorealism. Yet we are faced with the novelty of the newspaper comic strip, which displaces us, attracts us and shows us that even you can do with the balloon high literature.

An important milestone in the comic book, considered one of the graphic novel, is The Dark Knight Returns Frank Miller of the first graphic novel dedicated to a hero of the comics mainstream. Published for the first time as a miniseries in 1988, but designed to single author, the story tells of the adventures outside continuity, Batman now a senior and disillusioned. The stretch of Miller, and never jumped so schizoid, offers a very effective cross-section of the Bat, under order in a chaotic world, making him face his biggest enemy has always embodiment of the two main themes in the regular series, the Duefacce noir and Gothic Joker. Batman kills, maims, is even more uncompromising and extreme, as to be almost a villain down the field against other villains. In short, this work shows us a hero diametrically opposed to the easy-going smile and that some of the 70 comics and television series with Adam West there told. This Batman can not and should not be a comic book for children.

Another very interesting graphic novel Maus is : A Survivor's Tale of Art Spiegelman 1989. This book recounts, using mice and cats Nazi Jews, the tragedy of the Holocaust, based on the tales of the author's father, a survivor Auschwitz. The theme dramatic and sublime, clashing with the choice of using features characters from the animals, as in the Disney cartoons, produces an estrangement in the reader, emphasizing the brutality of the history of the twentieth century and somehow making justice to the subject.

So let us pull the strings and compare the findings from the analysis of the examples, though not enough to cover the wonders that the market for comics has proposed since 1978, with the literal meaning of the term.

The literal translation, or nearly so, is "designed novel", so that the purists argue should be flexed to the males. From this data, il significato, difficilmente confutabile, e aggiungendo quanto emerso dagli esempi, possiamo trovare le caratteristiche necessarie e sufficienti affinché un fumetto possa essere definito graphic novel senza fallo alcuno: l’unità narrativa, in altre parole la storia in essa raccontata deve essere completa e autosufficiente, e la tematica matura, infatti il pubblico a cui è destinata, in generale, sarà maggiormente consapevole.

Insomma chi sceglie di leggere una graphic novel vuole passare dalla paraletteratura, termine con cui si identificano generalmente i feuilleton e i romanzi di genere, alla letteratura vera e propria, dalle storie per ragazzi a quelle per adulti.

said this should be clarified that when it comes to the narrative drive is done in the sense of the ideal conception of the author. Many graphic novels in fact, cited by The Dark Knight Returns and Maus in Sin City before being collected in one volume were pre-published and serialized in magazines "guests." The fact that they had been conceived as a work unit from the outset, however, permits that may be described as "Novel".

Today, the term graphic novel has exceeded the Atlantic and has been associated with opere europee, come ad esempio Una Ballata del mare salato di Hugo Pratt . Lo stesso artista italiano definiva le sue opere letteratura disegnata , per cui, possiamo dire, l’accostamento non stride, anche se il mercato europeo, da sempre meno mainstream di quello americano, non presenta una dicotomia così evidente tra le varie espressioni, colte e popolari, della nona arte.

Ma proprio a causa della condizione del fumetto europeo, in cui le differenze tra fumetti per adulti e per ragazzi, tra fumetti accessibili e cerebrali è sfumata, ha fatto si che in Italia fosse usata, ultimamente in modo fin troppo ricorrente, a sproposito, as if it were simply a synonym for "attractive" and "fashionable" comic strip. In view of the above we can limit the comics that can really be considered graphic novels and we can orient ourselves in a more conscious and corrected, thus avoiding to commit gross errors.

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Wanted Graphic Novel, or when the ball goes to the poor - a

The presence of JG Jones, the author along with Mark Millar's Wanted, during the fifth edition of the convention Mantova Comics & Games, may be an opportunity to reflect on the figure of the hero in the history of American comics. The masterpiece of Top Cow, in fact, is part in a way that the heroes Americans have perpetrated the dawn of comics today.

The first were those guys all muscles and myth, embodied in an indelible way by Flash Gordon, hero without blemish and without fear. Absolute values, satisfying, mystifying. Identical to those heroes of the novel of the appendix, dull and numbing.

In the Golden Age hero has become superhero. We think the first, messiah, Superman. Aliens arrive on earth who pretends to be human, and therefore weak, to mask his identity and his undoubted superiority. Despite his incredible powers, which might quickly heal the wounds of the world, our hero merely to save Metropolis in a repeated pattern whereby everything returns in the starting conditions. As the hero of Superman doing his amazing stories because companies must do, without choice or awareness. Its function is to mystify, to console the reader that he sees the redemption served on a silver platter, without effort, without commitment. Superman is a messiah without religion, a savior surface an hour of escapism that allows showing the muscles and whispering that everything will be fine.

Then came Lee Stam. And with him superheroes with superproblemi . Here, too, think of the most representative, or Spiderman. Peter Parker, a poor suburb of nerd, gets hit by a wave of powers and, in spite of himself, of responsibility. We all know that, upset by the death of his uncle, our hero wiry, like a repeating mantra "With great power comes great responsibility" has become the first hero of the comic, or nearly so, to be constantly in doubt. To act or not act, to live his life or save someone else's. In short, the figure of the hero in one piece starts to crack.

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MANTOVA COMICS & GAMES 2010 THE AMERICAN DREAM

Dear friends,

We are pleased to announce that the last weekend of February, from Friday 'to Sunday 02/26 28/02, will be held the fifth edition of Mantova Comics & Games , the comic fair and organized game which has now carved out a prominent place in the national program (and others). Thanks to the enthusiasm of the public support of the exhibitors and critics of the Convention has become an unmissable event for lovers and for those who want to spend a weekend immersed in the halls of fun Palabam, between publishers, authors, conference , special events, parades cosplay.

Since its inception Mantova Comics & Games wanted to stand out as the festival of the authors and editor, hosting leading cultural and entertainment designed as Sergio Bonelli, Milo Manara, Valentino Rossi, Luciano Ligabue, Jim Lee, Brian M. Bendis, Lee Bermejo, Simon Smith, the nineteenth Gabriele, Angelo Stano, Nicola Mari, Roberto Recchioni, Licia Troisi, Melissa P., Paolo Barbieri and many others.

This year there will be guests of great importance, to underscore the vocation of Mantova Comics & Games to be the most "American" of Italian trade fairs or meeting place and informally between the public and a great number of cartoonists employed at major publishing houses in the world. There will be JG Jones, artist of great talent and vision and co-creator, along with writer Mark Millar, Wanted masterpiece published in Italy by Panini and which was made of the same name starring Jolie Agelina and Morgan Freeman. There will be the star Camuncoli Joseph, author of the official poster of the event to represent the very large group of Italian artists active today. There will be, among others, Richard Burchielli, Stefano Caselli, Alessandro Vitti, Marco Checchetto, Paolo Barbieri, David Gianfelice , witnesses della nuova grande generazione e di autori italiani che hanno conquistato le pagine dei più bei fumetti americani pubblicati da Marvel e DC Comics. E loro non sono che pochi dei tantissimi nomi che stanno aderendo in questi giorni. Per rimanere sempre aggiornati sulla manifestazione siete invitati a seguire il sito ufficiale www.mantovacomics.it !

Quali saranno gli eventi principali di questa quinta edizione?

* AMERICAN DREAM.

Mantova Comics has been a crossroads of talent and established talent in the grass, a meeting place for fans, authors and publishers. In many cases, fair in Mantua has allowed the dream come true for those who want to enter the world of comics. In this 5th Edition, we decided to take stock and focus on this common dream, a real American Dream or the desire to break across the Atlantic that some pioneers have managed to achieve, and that many others yearn for and perhaps reach. Because the world of comics is the white space where you produce the patterns, but at the same time can be the means by which to realize concrete projects and ambitions of talent "made in Italy ". So we've called so many authors who "have made it," or those who today - in the States - are part of the new Italian Wave. And they will tell us how they started and how they succeeded in their aim.

* meetings with publishers

The meetings between the authors and aspiring professionals under the major publishing houses have always been one of the strengths of the event. Also this year there will be, for the duration of the event, a series of surprises, still top secret, aimed at assessing, by the most important editor on the national and international level, the work of Italian talent.

* WHAT'S NEXT? SCENARIOS OF THE NEW ITALIAN COMIC

That a panel discussion in which publishers, distributors and authors tell us (or try to interpret) the future of the Italian comics market after the acquisition of Marvel by Disney the creation of DC Entertainment, the birth of Aurea, the changes in the market for comics and bookstores.

As every year there will be the most important publishing houses in the area which Sergio Bonelli Editore, Panini Comics, GP Publishing, Planeta De Agostini, Star Comics, Edizioni BD, J-Pop and many other important realities that will present a preview of the latest releases and through interesting lectures we will illustrate the main novelties of 2009. And of course you can also find the best comics in Italy, attending the convention to fill the gaps of your collection, with more exposure than ever graded!

But Mantova Comics & Games is not only that! Also this year the Palabam you can really play: 600 sqm will be dedicated fans games, role-playing games, card games and board games in an event designed for everyone from those who seek competition to the simple fun-loving that can watch demonstrations and presentations preview of the most important titles out and take part in free tournaments and many rich rewards to be able to experience the thrill of the latest gaming news.

Finally, the convention will be colored by COSPLAY EVOLUTION: The event that all cosplayers are waiting to show off their creations fun to play heroes and heroines in an environment that will provide appropriate spaces and lots of visibility, not forgetting, of course, fun.

To stay updated on all news related to the event, we are waiting for you on the site www.mantovacomics.it and immediately upon mantovacomics.blogspot.com !

Do not forget to mark the meeting agenda with the fifth edition of the Fair: February 26-27-28 2010!