But what a nice thought, but what a beautiful thought ... David murphy 
For the first episode of "911" I decided to throw me and give it a rather complex narrative structure (in the context of the text) made up of flashbacks, breaks analog and narrative ellipses.
I must say that the end result has convinced me a lot and I think that from a purely technical point of view, this first episode of "911" has concocted one of the best things I've written.
other hand it is far from classic and comforting and not at all well is part of Italy in the wake of a comic book story and a lot of this reminds me of the first things John Doe.
E 'for some time they are struggling with the second episode and I are stuck alone.
The bottom line is obvious: compared to the first 94 pages I started writing this second chapter in the normal way: I started at the point where I had left David at the end of the first story and went straight ahead, proceeding step by step the ending. Nothing begins in medias res, no flashbacks, no fittings in parallel and, above all, no trick of coming off. "
The trick of coming off is the trick that I use on a massive scale since the beginning that John Doe No. 1 and brutally copied by the likes of Edgar Rice Burroghs Gianluigi Bonelli and then declined in a personal, mixing it with some stuff Americans are doing in the serial and some solutions of Elmore Leonard, to make a kind of brand factory.
E 'also one of my favorite narrative devices ever for several reasons: keeps the tension high, it makes you get out easily from any deadlock or impasse, engages the reader, increases the rate of reading ... and then it's easy and makes a lot scene.
The fact that it is a trick and more
"easy" is also the reason that prompted me to limit their use in recent times, so as to force me to use more orthodox solutions and challenging but perhaps less fun and more classic for me and for the reader.
In short, this second roll of "911" I came out as a comic adventure in full and sign the Italian comic tradition.
That is by no means a bad thing, mind you ... in other areas is just what I'm trying to do because I want to prove (in the first place to myself) that are not just a writer all "talk and stop narrative" but I also know if I'll put stuff like telling a cristo controls and would not turn up your nose too to John Ford (for me the classic storyteller par excellence).
Rereading the script, however, reflecting on the production context of "911", the reasons which led me to choose the Panini and other medium and expectations of my readers and my publisher, I decided that this approach was wrong.
Yes, friends, artists that look at me with a reproachful look: sometimes they are a bitch enough to cater for the expectations of those who read me and those who give me work and get influenced by them, giving it some times, other times disappointing consciously.
I realize that this is blasphemy against those 'art
artists that you will proudly pinned on his chest ... but what can you do? Have done so. However
and returning to bomb ... I took the script of the second part of "911" and I trashed.
Not just squeaked in its classic simplicity with what has been done in the first episode but it was not fully mine. It was a screenplay by Roberto Recchioni wanted to show that to be a serious person who knew how to behave at the table.
Let's face it, are not a serious person and I do not want to be.
I'm a dick who loves every trick that allows him to take the player and drag it around that wants to tell the story, holding it by the balls, heart, throat and stomach.
I do not give anything to be consistent, educated, impeccable and classic.
I care only that my story functions.
And now I'm rewriting again the second episode of "911" so that the new script works.
Perhaps it is not particularly smart or good taste, perhaps does not meet the standards of a solid comic Italian adventure and certainly violates many of its rules and its cage ... but when it is published, I challenge you to tell me that you have not read all in one go and did not want more.
