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DIANE999
THE HYPATIA'S SAGA |
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drawings: theHand
textes: Birgitta Jonsdottir
plot:
Two parallel existences in so far times touch and cross themselves throught the notes of a magic harp.
The painter Elettra Es and the ginecyborg Diane discover to be chained by a thin but perpetual sonic thread, that
hide other truths.
 
Sinestesia
Everything began by Diane. The protagonist of serie was made in 1992, on a page of History of
Architecture during a boring lesson of mathematics at the University.
Drawn with a green pencil and being a scribble like so many others on those pages, doesn't make justice to what it would evolve into and the world it would materialize around it.
Since the early scribbles the
character has changed and been given many different names.
Then it's drawn Elettra Es, mirror identuty of Diane, marlene, third corner of narrative triangle, and Lady Harp, sort of ghost evocated with sound.
On 1999, even if stuff is not enough and ready it's shaped a pilot episode titled MOSAICO.
It's just an experiment of nearly 60 pages, more useful to the author, to understand how tale and personages can work and which changements have to be done.
In following years, in fact, work of re-shaping starts, so to give more completing aspect to the work.
It's also changed a different graphic style, related to the extraordinary drawings of master Toppi, and a restyling
on personages too (Elettra and Marlene melt in the same personage with name of the first one), focused the locations and subject, and made the last and step that close the circle of all project.
The personage previously simply named like Lady Harp, reaveals her real deep identity, the one of alexandrian scientist Hypatia, brutally murdered on 415 A.D.
The hard work in progress of drawings for the first episode, titled FREQUENCIES FROM THE PAST,
advices a different estethic of language, not traditional. Attempt is the one to melt book and comics and to use
associations of dream-activity as guidelines for creation of imagines.
between the strings of harp...
Gotharp is one of few things that Diane is able to save from the
destruction lead by the evil Lee Zard.
She uses it and her longbow in her fight against the Noktys.
Frequencies of the harp disturb normal processes of life within the mud monsters Noktys moulded and shaped by Lee Zard, resulting in their death.
When she plays the harp, Diane gets in touch with the intimate
part of her being, to integrate the shadow of human nature that dwells
inside of her.
Through the music she is able to communicate and to remember fragments of her distant past.
The harp of Elettra, an Obermayer, is surrounded by mystery.
A woman she doesn’t know leaves it to her in inheritance.
Elettra tries to ignore the existence of the harp and the reason for why it was given to her.
To begin with she doesn't know what to do with it, all she sees is an
uncomfortable reminder of something she is not to keen to explore, so
she puts in a darkest corner of her home, but she can’t ignore its
presence, so she tries to destroy it. It is like a dark shadow that
follows her in her dreams and having it there is a constant reminder of
something she knows but cannot accept about herself.
As she is about to destroy the harp she decides to feel the strings, to
hear its sounds and when she does a whole vortex of emotion and flashes
of images overwhelm her to such an extent that she is transformed
forever. And that is the beginning of a journey of learning to play the
harp and to break the code of the mystery of the harp.
official website of project
www.diane999.com
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THE NOLAN
GIORDANO BRUNO IS BACK |
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drawings: theHand
textes: Maurizio Di Bona
plot:
Giordano Bruno comes to life merging by the water of lagoon of Venice in a not specified time.
It starts from here a back trip, between places, visions and remembering of previous life, till when the commoted back
to Cicala's hill, in Nola, his homecountry.
Guided by Minerva
Reason why I'm working at a comic project on Giordano Bruno is hard to explain. It's about intimate feelings, perceptions, visions and empathy, are with no doubt wrong to rationalize.
If possible, I'ld answer with words of master Fellini, you feel like work picks its author
...to make it shape from his hands and mind and not the opposite, like it's used to think.
In this optic Bruno and all fashinating
stuff related to him have perfectly respected these upset classical roles, because it has very often happened that I've found stuff in my hands without I had to look for it.
 
Project starts from the original screenplay of Giordano Bruno by Giuliano Montaldo, courtesy furnished by director, to open at re-reading in fantasy optic of the nolan's life and philosophy.
Offering the comic, chance to "draw" visionary landscapes and to shape time paradoxes, without reader feel himself lost, intention is to put Bruno inside his own thoughts and visions, deleting chronology of events and overput to his real life a parallel and imaginary one predicted, some way, just by him.
These are first frames and sketches will compose plates.
Imagine I've decided to adopt for my Bruno is that one of Gianmaria Volontè, who played Bruno's role in Montaldo's movie.
Also this step of project has come by itself.
Because it doesn't exist a certain portrait of philosopher, since first pencil sketches, the extraordinary and deep face of Volontè has imposed as the perfect one and better than any fantasy result.
Very important the support by Giovanna Gravina (Volontè's daughter), who has welcomed project with curiosity and kindly offered photos of her father, to contribute to the best result of work.
These are first frames and sketches will compose plates.
[the author]
official website of project
www.giordanobruno.biz
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...NON CI RESTA CHE SOB! |
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drawings: theHand
textes: Maurizio Di Bona
the Idea
I've asked to myself lots of times, and I go on doing it, how could have been the sequel of the amazing
Non Ci Resta Che Piangere, gifted to cinematographic crowd in 1987, by the duet Troisi-Benigni.
I've asked to myself, and with me all persons would never be tired to see that movie, which more funny episodes
Mario and Saverio would have gifted us, if fate don't take away Massimo Troisi so soon and so brutally.
Too strong the will to caress this project and attempt to create a sequel to that jump back in the 1400 "...almost 1500!".
Not possible to stop temptation to draw Troisi and to make him moves again.
To order to the pencil to make him
gesticulate in that particular his own way. To gift to that body all parade of positions and movements that make all of us still love him. To try to light again in those eyes a little of those expressions left in, so few, movies and interviews, I've collected in past and that now I can recall in my head all times I want, to understand perfectly
how must be drawn face of happyness and the one of sadness.
the Project
If in the movie those two friends, jump back in the almost sixteenth century, to meet Leonardo Da Vinci and try to stop,
Cristoforo Colombo from leaving, why not now to make they find themselves in the world of comics and enjoy what happens?
Seeing how they manage themselves with onomatopeas, rubber-bodies, gravity decided by the cartoonist and everything fantasy and the power of a pencil can snatch out from a white sheet?
Rules of comics advice so many ways and a big serie of interesting meetings with personages, everything to write and draw, better if with the fathers of that movie, Roberto Benigni and Giuseppe Bertolucci first, but also, involving in the enterprise someone else, thinking for istance to Pino Daniele, even also for having a sort of blessing and authorization, before to handle and scribble a so fragile, beautiful and special creatures and shapes for this experiment of drawn movie.
 
Enjoy and make enjoy!
Roberto Benigni has expressed himself this way lots of times, to explain his joy in making cinema, and he gave same answer, when someone asked, just to him, why Felline made movies. Even if comics is still wrongly considered a too little sort of art, personal joy in giving shape to these pencilled dreams is absolute and can't hide, that I see this
big bet like a chance to give finally a vengance to the nineth art over the seventh one.
And it caouldn't be different, because having the way to draw two extraordinary artists like Troisi and Benigni are, is no doubt what more mad and exciting I could desire to do. Those bodies so perfectly greased, those movements of muppets, those expressions by real cartoons, seem made just to be used in comics and made so that they can run and run in frames of strips. Joy is double, and even more, when the illusion to still enjoy a gag of Troisi change at once in a sequence of scribbles, where it needed just two lost scared eyes or two praying hands to fill another blank plte and go on....
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