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FS 76 Extra: Louis Mignacco!

Louis Mignacco Tesla and portraits by Maurizio Dotti © SBE

Writer extremely prolific and versatile Mignacco Luigi is the star of a long interview about the number 76 of the School of Comics, currently on newsstands and comic books. From Comics made in the eighties for magazines such as Orient Express and Comic Art, collaborations with artists such as Micheluzzi and Zaniboni, up more than twenty years of experience for the Bonelli (Mister No, Dylan Dog, Zagor, etc. ...), the author traces the his career and explains his method of work in eight-page richly illustrated, embellished with a few pages of script taken from the latest Dylan Dog Color Fest. Below is a brief excerpt in the journal all the rest!

What kind of cooperation established with the designers of your stories? What characteristics must have in the graphic rendering, your Dylan Dog?

I write screenplays quite detailed but succinct: I describe only what the designer has to draw, and that the reader can "read" in the individual vignettes. Provide enough graphic documentation, often inserting images into Word files. They are very attentive to the visual aspect, the "disegnabilità" of history, the possibility that the story is not understand by looking at the drawings and reading the texts (in fact, "reading" drawings). I ask the designer is able to tell just by design: the readability of the action interests me more than the beauty of the individual drawings. Legibility is achieved through the dynamism of the images, the editing the page and also with the economy of signs, or at least with a hierarchy of them: a page is read too badly designed, but also invites you to read not too empty. We must find a balance between figure and ground, between expressive signs and other purely decorative.

How is your DD?

do not think there is a "my" Dylan Dog: I try to do the character "authentic" and not to give a personal interpretation. But it is also true that Dylan is a very multifaceted, and that every writer ultimately more illuminating a single face, perhaps at the expense of others. Each of us has a key with which he tries to explain the character.

Once I said that I see Dylan as a "good analyst" means one who listens without bias problems of its customers and finding a solution is not through reason, but with the emotional involvement, that is putting at stake and even "getting his hands dirty." Although, of course, an analyst who promptly falls in love with its customers do not seem to me a model of professional ethics! Among other things, Dylan has his psychological problems, which are expressed in many phobias, and confronts them with the same application that takes care of those of his patients ... Well, no è perfetto, ma a me Dylan piace così!