High Hard Cervix Thick Discharge

MAGICO EVENTO

Uno degli eventi del 2010 è stata la chiusura di Magico Vento . Tutta la serie di Gianfranco Manfredi , del resto, si può considerare un evento nella storia del fumetto italiano, per una lunga serie di elementi innovativi e caratteristici, a partire dall'autorialità del prodotto, firmato peraltro da un autore decisamente multimediale, scrittore, cantautore, regista e attore. Nel mio ipod figurano alcune canzone da lui scritte per Ricky Gianco , and I remember seeing him in a very funny film as "A more first class" (with Enrico Montesano), "White Collar " (with Giorgio Faletti), "In my room " (with Nastassja Kinski and Ricky Tognazzi) and "Kamikaze " (which was the main character).

I was with him in Istanbul and proved, even more than they already knew, a person of culture and fun at the same time, always acute and never dull in the ratings and comments. At the time the output of the first issue of Wind Magic had the good fortune to interview him for a preview of the series published on Dime Press , Of which I was one of the founders. As if to close the circle, Xavier Ceri, another column of that magazine and valuable contributor to this blog, dedicated to Ned Ellis the fifth installment of his column "Let's numbers." After his stats are interesting as always, are right in the interview that I realized Manfredi in 1997.

NUMBERS WIND
We in umer 5

Xavier Ceri

Just over two months ago has been lost, as announced from time, the saga of Magic Wind the first character created by Gianfranco Manfredi for Sergio Bonelli Editore. The series began in 1997 was for the publisher after years of stagnation, the first of eight new series that were launched within a short time.

career Magic Wind closes after 13 years at an altitude of 131 books. The first 100 monthly, then bimonthly. The change of frequency also coincides with the increase of the foliation of the books that went from 94 to 124 tables, especially if the number of closure, which officially numbers while maintaining regular shows clearly on the cover and rib elements that distinguish it as a special register , and containing 206 pages in comics. In total

Magic Wind were published tables that rank 13,326 Ned Ellis, this is the first name of the protagonist, solidly in 12th place in the ranking of Bonelli characters ever.

The writers who have linked their names to the shaman only five are white, according to this order given in tables contribute to the character.

Manfredi 1, 12578 boards
2 nd 3 rd Faraci
Queirolo 372 188 141
Segura
4 ° 5 ° 47 Lugano

The lion's share is of course the "father" of personaggio che ha realizzato oltre il 94% delle storie. Una doverosa segnalazione anche per Renato Queirolo, lo “zio” di Magico Vento, si potrebbe dire, vista la cura con cui lo ha seguito fin dalla nascita. Queirolo, per Ned Ellis è tornato, eccezionalmente, a scrivere in prima persona: tre le storie da lui sceneggiate.

Decisamente più folto il gruppo dei disegnatori che si sono alternati sulla pagine della testata; ventotto il loro numero. Di questi ben dodici sono poi (o prima) transitati sulle pagine di Tex , a testimonianza anche dell’alta qualità degli illustratori della serie. Qui li trovate elencati in ordine di tavole realizzate:

1, Ramella boards 1761.5 1503.67
Barbati
2 ° 3 ° 4 ° Perovic
Frisenda 1316 1090 1034
Milazzo
5 ° 5 ° Parlov 1034
Biglia 970.17
7 ° 8 ° Siniscalchi 620
9 ° 10 ° Mastantuono
Ortiz 564 376 376
Milan
10 ° 12 ° 13 ° steering
Talami 350.5 334.83
Piccatti 14 ° 15 ° 282
Vincent 250 218
Leomacs
16 ° 17 ° Giez 188 Sycamore 188

17 ° 19 ° 20 ° Nespolino
Spadoni 186 124 124
Della Monica
20 ° 22 ° 22 ° Roi
Marcello 94 94 94
Spadavecchia
22 ° 25 ° pieces 61 Raffaelli
26 ° 27 ° 47
Copello
31.33 28 ° 14 Matteoni

Vince Bruno Ramell a, creator of the graphic character and the author of reference for many of the artists who have succeeded him to the brush. The resulting decimal numbers that some stories have been signed with six or even eight hands.

Three cover artist that have ruled on the head: Venturi onset, and then finally Frisenda Mastantuono. The order of the amount of cover is designed reverse order of appearance:

Mastantuono 1, 2 ° 56 cover
Frisenda 3 ° 44
Venturi 31

to close some curiosity.
The longest story is " Sitting Bull's war" of 500 pages, published on the numbers from 97 to 101, the shortest " Memories of Lost Time", that is 14 pages of links between the three episodes of 'last number.

Barbati Ramella and staff are the only artists to have accompanied the initial character until the end: each year between 1997 and 2010, was published at least their history. Until next time.

Xavier Ceri

THIRD GRADE
INTERVIEW WITH
GIANFRANCO MANFREDI
by Moreno B urattini
the magazine "Dime Press" No. 16 (1997)

seems almost impossible that there can be com and a Gianfranco Manfredi . That is, you can well imagine that there is someone able to write three hundred songs, make records and write critical essays even musical e. E 'inconceivable that a writer of films and television series can act or have acted as an actor in any film. One can suppose that a novelist is able to pas sare con disinvoltura ai testi dei fumetti, p ropo nendosi sia come interprete di personaggi altrui si a come creatore di serie proprie. Ma che ci sia una sola persona in grado di fare tutto ciò , ha dell'incredibile. Se poi si aggiunge che la persona in questione è anche autore di scritti di filosofia ("L'amore e gli amori in J.J.Rousseau") e che pur proponendosi come sceneggiatore unico di una nuova serie bonelliana non ha intenzione di mollare Nick Raider e continua anche a coltivare a tempo perso anche le altre attività, beh... allora, c'è un mistero sotto. Tutto lascia supporre che il Mister Jinx di Martin Mystère esista dav true, and that you Manfredi frequency the basis of the time, Zero, where the clock is slow to dilate and twenty-four hours a month. Born in Senigallia (Ancona) in 1948, Manfred has a degree in philosophy in Milan, where he still resides. There, Dime Press has tracked down and scored an interesting interview on Magic Wind.

Dime Press - Magic Wind: for hours only a name, and if too very evocative. Even before the series grows, it can briefly describe who this new character and what saran not its main features?

Gianfranco Manfredi - Magic Wind is what the Sioux call it a "strange man". In other words, is not only a medicine man, but a shaman and a warrior with the gift of vision and skills that go beyond the normal rituals of India. The strange man, in short, it escapes all rules and he can be expected of all. Among other things, Magic Wind is not an Indian but a white past with the Sioux, following a mysterious incident that will be told in the first episode. Because of a fragment of metal lodged in his head, Magic Wind has lost his memory and thus ignores his past as a white. On the other hand, that same injury has opened the doors the future, in the sense that Magic Wind is able to intuit through dramatic prophetic visions. Magic Wind, therefore, is not a hero "in one piece." The personality is somewhat divided.

DP - Accept the definition of "western" for his new series, or would prefer another?

GM - Series Magic Wind is definitely western setting and attention to history and geography, but I like to think "beyond" gender. Suffers because of influences and develops themes that the public is not accustomed to find in the classic western.

DP - In what, especially , Magic Wind will stand from the traditional literature (comic book on film and in prose) and the epic mythology of the West and the Frontier?

GM - The idea of \u200b\u200ba character like I had come a few years ago, reflecting the decline of Western movies (which, apart from sporadic type Dances with Wolves or The Last of the Mohicans still slavishly follows in the footsteps of Sergio Leone ). What I was wondering: can you find a new way to tell the west? Then I went back to the sources and I found the water warm, even hot: that for the first writers of the frontier, the West is "the boundaries of reality." The stories in booklets published by Buffalo Bill are full of ghosts and supernatural manifestations, e persino le memorie del Generale Custer ci presentano le Grandi Pianure come il regno dell'ignoto, terra di miraggi e apparizioni. Del resto basta leggere una cartina geografica del West per rendersi conto di questo modo "fantastico" di interpretare la realtà e di trasfigurarne i luoghi: Wounded Knee (Ginocchio ferito), Dust Bowl (Palla di polvere), Loup Fork (Cappio da Forca), Devil's Tower (Torre del Diavolo)... l'elenco potrebbe durare per pagine. Qui ho trovato il fondamento per raccontare il West coniugando storia reale e leggenda, e sfruttando una certa mia propensione per l'horror e il magico. Un tentativo del genere del resto lo avevo già fatto nel mio libro di racconti Ultimi Vampiri, che raccontava eventi cruciali della storia europea dal punto di vista dei vampiri, cioè della leggenda. A quel tempo Grazia Cherchi, un critico letterario che stimavo moltissimo e che rimpiango, aveva definito questa mia inclinazione come "realismo visionario", una definizione che mi va ancora benissimo.

DP - Qual è, o qual è stato, il suo rapporto con il western in passato? Ne era un appassionato culto re, un critico selezionatore, un fruitore distratto, o addirittura un detrattore?

GM - Il primo film western che ho visto da bambino era Kociss. Ricordo che mi emozionò molto la scena in cui Kociss veniva legato a una graticola sui carboni ardenti. Da allora sono sempre stato dalla parte degli indiani. Dunque, più avanti, i film western che ho gradito di più sono stato Il Piccolo Grande Uomo e Un Uomo chiamato cavallo. Mi è suonato quasi offensivo che Sergio Leone si sia sempre altamente fregato degli indiani. Tra i western "bianchi" metto tra i memorabili: La Leggenda del Generale Custer con Erroll Flynn, attore che mi folgorò da piccolo per la sua leggerezza e ironia, L'Uomo che uccise Liberty Valance e Il mucchio selvaggio. Anche questi sono western che parlano insieme della storia e della leggenda del West.


DP - Crede anche lei che, comunq ue, il genere western sia definitivamente al tramonto?

GM - Non credo che la grandezza del cinema western a time to return. Today western movies that become big hits do not work because they are Western, but because they are good movies. And this applies not only to the film. I agree with Sergio Bonelli, according to which Tex is still a popular comic not because it is a western, but because it is Tex. What decides the fate of a comic book series, in short, is the character, first, and then the climate created by the stories and the quality of implementation. The genre is much, much later. It is no longer the most important thing.

DP - The tables show thumbnail views in a setting very classical and traditional (in the sense Bonelli) scanning and editing. La struttura è quella classica su tre strisce, la narrazione sembra molto fluida. Non ci sono scomposizioni dirompenti dell' impaginazione standard o ricerche di effetti grafici sofisticati come, per esempio, in Nathan Never. E' stato lei a scegliere questo tipo di impostazione? Se sì, perché?

GM - Questa impostazione credo sia la cosa più importante e notevole della tradizione Bonelli che, unico editore al mondo, ha tenuto fede a un programma molto impegnativo di fumetto popolare e narrativo. La condivido appieno ed è perfetta per Magico Vento, perché le storie di questa serie sono molto ricche di situazioni, svolte impreviste e legami interni. Non voglio che i lettori si distraggano e perdano the sense of history, what would happen if they costringessimo inevitably have to decipher every moment what is the right order of the cartoons, or lost in the maze of tables that drown the "fucking point" (ie the central and decisive gesture) in a thousand other details.

DP - Magic Wind will be a character more adventurous or more difficult? In other words, what kind of stories will be proposing? Stories will be especially action-packed (or mystery), or the characters will also focus on introspection and deepening of themes and issues such as, for example, the question of India (or the most eternal of "who we are, where we where do we go? ")?

GM - I do not want to anticipate the stories not to spoil the surprise, least of my intentions, because, as we know, is paved with good intentions hell. I do not think, however, that the adventure, if it is a good adventure, can now afford to neglect the "problematic". I will not address issues presumptuously "metaphysical", which would be completely ridiculous in a cartoon, but this does not mean that we can not due so also allude to important issues. To "have a way" I mean the good rules of cinema and literature (and should also apply to the comic strip) not to reveal too much metaphors. If Melville had told us that Moby Dick represents God or the Devil, or Fate Human, his novel would be smaller. We must believe it to be a whale because the story can stand up and fans. It is then up to our sensibilities of readers grasp the symbolic meanings.

DP - Episodes of Magic Wind will be self-contained and each in its own right, to the point that it can be or incomplete? exchangeable as in Dylan Dog or Nick Raider, to cite some examples, or there is a continuity inside like Ken Parker?

GM - The stories are episodes conclusive but "in progress", that there is continuity in the series that the authors of comics have always dreamed of and rarely are were enabled to achieve. I could do it thanks to the work of the publishing house and in particular to Renato Queirolo who studied an appropriate plan that would allow output to meet the overall design. So the character of Magic Wind will be marked in some way by the experiences they go through and will mature over time, gradually discovering new things about himself and new ways to deal with situations. Add to that a crowd of people who return regularly in the side stories. In short, I treated the individual episodes as chapters of a "romanzone," trying to be careful not to do it ever become a "meatloaf." The reader can follow that individual episodes without having to be informed of the background, but what I hope is that it remains attached to the series because the situations do not replicate, but are in development and always leave the door open to curiosity about the future.

P Q - What do you think it will be, above all, the public's Magic Wind? Has set a particular target? Which "catchment areas" draw?

GM - I do not know. It 'the audience of comics and this is enough for me. I am fortunate to work in a publishing company that does market research before moving and does not follow the fashions of the moment. I have experienced in both film and on television with the obsession to follow the tastes and demands of the market alleged do not get nothing but produce for the "market that no longer exists, or that" there is always, "thus serving food mold or the usual stuff. As for the "target", who makes too long the target usually does not hit it. In the West then, ends up regularly to hit him, from shooters faster and looser.

DP - The staff of designers is of exceptional caliber. What do you think? They chose her? There is not yet enlisted someone who would like to have as one of yours?

GM - In choosing the artists was crucial Renato Queirolo, who understood perfectly, even more than me, that the direction of this series would not be come to readers if betrayed the mark, in the ability of people to play and in the fluidity of the shares. In this series is not only to illustrate a script, but bring it to life on the page and make full shades. For me, I demand to know the designers personally one by one. Following their work with care, not the spirit of "oversight", but to learn how to best use their talents and favor in the distribution of stories, their different characteristics. There are others, of course. The important thing is that they are right for the series and will share this mutual willingness, possibly with enthusiasm. I wish that we were not merely professional working together, but a real Wild Bunch.

D P - she will always and only to write stories or already is scheduled to arrive from other writers to give her a hand?

GM - From what I've said before I think it is clear that for the moment (and will be a moment that will last a long time) I have to write the stories himself, precisely because the individual episodes are connected and plugged into a general development. Moreover there is now no urgency to writers because I had the chance to "write speed" and, especially if I enjoy it, as in this case, I produce a great pace.

DP - What is the contribution of Renato Queirolo, curator of the series?

GM - Queirolo knows how to make my writing work less lonely. Review and discuss with him the individual scripts and lines of development of the series. Renato dedicated to Magic Wind is a rare and special commitment, and can catch even the "sound" of my ideas with me and evaluate the proper way to get it, just like a good arranger can do with a song not written by him, respectfully to the end, but always trying to give its contribution to improve it.

DP - Having to write Magic Wind, Dylan Dog and leave Nick Raider?

GM - Whenever I feel the need to take a break from the West and the mysterious paths magic, I start writing a story about Nick Raider. Write me a yellow plot is as natural and find it relaxing to go out for a walk. Dylan Dog, by its nature, is far more relaxing and therefore can not continue to cooperate. But the stories written by me will come out the same as that in the first two years of my work for I have delivered several Bonelli.

DP - She arrived at the Sergio Bonelli Editore after the experience of Gordon with Link Dardo. What differences found between the two publishing houses and as we found in step?

GM - Experience with the Casarotti Dardo was very important to me, in a sense, my ship school for comics. The collaboration came about by chance (after writing a series of telefilms Valentina, designed a TV series on the Great Blek). E 'was also telling Casarotti write directly to comics, because I loved them so much, and not to limit myself to try to transfer them on the screen. So, I have my debut in the comics to him. Bonelli I found the editorial and organizational structure that allowed me to work the best. What honestly I did not expect was to discover in a big publishing house artisan spirit and enthusiastic people who believe in what you do and you are passionate about something without which the work of writing is an unbearable heaviness. The surprise was so nice for the first time in my life I end up spending measure to others (and many others) work I was doing. I still maintain what I consider important for my growth, and rejected all offers "commission" that I could no longer bear the experience happy with Bonelli. Sergio Bonelli in person, then, I have always shown great respect and friendship even before me "it transferred" from him, inviting, just as an example, many initiatives born around Dylan Dog, to speak of my Gordon Link. As long as it gave me confidence for a new series, Magic Wind, in fact, even if his team was among the last to arrive. Sorry if it is little.

DP - You un autore singolarmente multimediale: autore di canzoni, critico musicale, sceneggiator e cinematografico e televisivo, attore, saggista e scrittore di romanzi. Normalmente, il fumetto viene considerato la cenerentola dei media, l'ultimo dei possibili modi di comunicare. Lei non pare di questo avviso, visto che accanto ai suoi tanti interessi vi si sta dedicando da tempo, con ottimi risultati.

GM - Non mi pare affatto che i comics siano tanto negletti. Tanto per dirne una, mi è capitato dopo la pubblicazione di una delle prime storie che ho scritto per Dylan Dog, di poter leggere una recensione di quattro colonne di Giulio Giorello sulle pagine culturali del Corriere della Sera. Tra the other Giorello had caught a number of mathematical and philosophical aspects in the history of everything I put in the background. Now, in my novels I always tucked a wealth of philosophical elements (after all, have a degree in philosophy) and in much greater clarity. He had noticed someone!

DP - She was the writer of the TV series inspired by the character of Crepax, Valentina, played by Demetra Hamptom. Therefore, it has already dealt with the transposition to the screen of comic book stories. Do you think that paper is beneficial to the heroes of the transition to the movies or on TV?

GM - I chose the balloon after much professional experience. I feel the pride of making comics perhaps more than many who do this job for years and years and who may have never done anything else. The comic should be happy to be himself. If someone wants to get from a comic book movie, it can also be good, but it is a kind of added value. In short, even if the television has become more popular Valentina, Valentina remains true to Crepax, that of the comics.

DP - Having to report to the reading public Bonelli as the author of "other" from the cartoon, which of his records, his films and his books to track down? What extrafumettistici its work, in fact, she considers her best business cards?

GM - My records are untraceable. I do not say which deserve to be traced if not then the readers will ask for a copy to me, and I could not oblige. My books are commonly found in public libraries and free will, I hope, reprinted, but not before I have it published a new one. I do not like rankings, for they would prefer a son to another. Each still means something to me. The films that I made as an actor, I beg you: Do not See them! Most I made them for friendship, for fun, or to pay the rent. What I did as a writer, except for the first, liquorice Samperi, most or all the others were purely professional work written on commission. Someone came cute. Sometimes I even enjoyed it. The most jobs are not at all happy. The stories I created were never realized, and for ever "by a hair." So the thing I have most of the movies is the flexibility and size in the work of writer.

DP - Over Nick Raider and Magic Wind, is continuing its other activities? What projects has in the drawer or in the works right now?

GM - I'm working on two novels. At first, working for four years. It 's a very challenging historical novel (for documentation, style, topic). I did not hurry to finish it, nor to publish it because it is a work to be carried out with extreme weights. The other, due out next year: a story is very dark, very Italian and very contemporary. Thrilling, in fact.

Whats Difference Between Grinder And Blender

DOMANDE E RISPOSTE

I started to do some 'projects and to consider planning for the next topics of this blog. I even agreed with Xavier Ceri a program of twelve of his actions with the heading "Let the numbers ", an episode per month, beginning with the January publication in early February and then continue to the end of each month. The topic of the first episode of 2011 will be the final statistics of the saga of Magic Wind . The are so many things to say and what I do not forget to write down the street and program deadlines, it always happens that I can think of other more urgent topics that are putting on hold.

Anyway, I promised a few posts on the problem of young artists, aspiring artists and writers and account to do so during February. I'd also like to take up some issues dear to me that I left out, such as poetry, literature, book reviews, mystery, esotericism and religion. Then there are photos of my meetings with the authors of twenty or thirty years ago, and my personal reviews on the subject of the stories I have written before that I asked for more party continue drafting. Of course, there are the usual advances on zagoriani programs and more generally Bonelli and those related to collections of characters Mondadori Max Bunker.

Equally obviously, will speak at length of the celebrations of fifty years the Spirit with the Hatchet . I will continue to comment, also, the various phenomena of the universe of multimedia communication and just walk out of the drawer curiosity and articles written by me in the past and I will update you on the most interesting video Zagor TV . But before storing il mese di gennaio, ho pensato di recuperare alcune mie risposte fornite ai lettori durante l'anno 2010, nel "filo diretto" che tengo da tempo in uno dei forum zagoriani presenti in rete , in modo da metterle a disposizione di tutti gli interessati. Non ho citerò i nomi degli interlocutori proprio per rendere il più universale possibile il dibattito, svincolato dalla contingenza del momento. In corsivo troverete le domande, in tondo le mie repliche.

La storia di Mignacco, criticata da alcuni per la sua ingenuità, a me non è dispiaciuta.

The Pascoli praised the "little boy" that he felt within himself and that all we should be able to rediscover. In any case, what you say gives a fairly photographic reality, as many readers particularly attentive and sensitive to understand the reasons of naivety or immaturity can not appreciate some of the stories is not properly managed or that are likely exposed to criticism well deserved , I assure you that many others, perhaps those who do not write on the Internet and read Zagor with more relaxed approach are not as outraged as the first and maybe even appreciate the stories more "naive" to remind them, who knows, the lightness of some stories time. Why then, if the same criteria with which legitimate and proper, criticizing some of the stories of today, were applied to the classics of the past, very few adventures would be saved. In any case, I will not defend any office, nor myself (although I have inherited some stories that do not belong, so to speak, my management, which however remained unpublished and only the surplus accumulated over time, otherwise outputs would be ready soon). I would just remember how in a context of mass production that sends the newsstands two thousand pages a year, sometimes it happens that someone is not happy as someone else.

I always say to me are your dialogues are sometimes too mechanical or too polished, it is conceivable that this is due to your person, your preparation, your desire to put many ideas into the pot, a lot of your stored information.

In reality, as I see it, I build my dialogues "elevated" (if at all) not to "customize" my script so that it recognizes my "handwriting", but instead to blend in Nolitta sense. That is, I believe that his characters speak Nolitta did exactly as I speak. The Zagor Nolitta speaks of polished (and I always have some phrases like "blunt the points of friction"). Just re-read the classic Zagor to realize that even Cico is expressed with a formal elegance worthy of a brilliant Oxford professor. In my opinion, I continue the tradition. If instead of writing my Zagor write a detective or a free field I had my mini-series and expressiveness, I would say to my characters swear words, if they serve the story. But I do not write more, write Zagor, and are called to take my work on the desk of an editor who is also the creator of the hero and that they want to speak as he did speak, you respect its rhythm, his type of humor, his setting of the adventure, it's scenes, its kind of stories.

I'm crazy about the tendency of interdimensional travel, so I was fascinated with the subject of "Shadows yellow " fascinated me at the time as "the mysterious source." What is my personal gripe? Which I have had a powerful idea but have not dared to leave the limits of orthodoxy Zagor and the stakes involved.

Zagor is not my character. I've got just under management, and consider myself very lucky to have had this opportunity. Sergio Bonelli is the creator of Zagor, his most beloved writer, publisher of the character. There is enough because if I try makes demands as possible to rectify it. Like all publishers, however, decide what to publish and what not. If one proposes an erotic novel to Pauline, probably will be rejected: it is part of the editorial line of the company. So, if Sergio tells me to believe that time travel should be avoided because, as he means to scrape the bottom of the barrel of the imagination, like a gimmick "too easy", even if they do not agree (because otherwise I I would, like most of my colleagues, a series entirely centered about time travel), I adapt and accept willingly the suggestion. Similarly, as everyone has their own taste in favorite topics (you told me about the your passion for the dimensional gates), there are also least favorite topics. It is no secret that Sergio does not appreciate the stories on "Romans", we always joked that the above also Castelli has put the issue in his small book on the idiosyncrasies Bonelli and talked about it in the catalog "Bold Bonelli" with the permission of the person concerned. I do not know why the injury on centurions and gladiators, perhaps because in sixty years of career as an editor Sergio has been seen to present a subject "anticoromano" once a week and you will be convinced that it is, again, the last beach banality, but all of us who work with him know that present a story in the peplum will turn up your nose. As Bonelli demonstrated in many occasions to have the pulse of his readers and he's right, we stick to this also its indication. In particular, I do I write one of your characters. After twenty years working with him, though, I also learned (at least a little ') what Sergio can accept and what not, and then try to "mediate" between my needs and hers. Yeah, because I have my narrative instincts to be satisfied, as all the writers. I just do not write my character. So, if my idea provides a cronomoto with hordes of barbarians projected to Darkwood, I have to make the most authentic guardian of orthodoxy Zagor me and ultimately I approve the post, and the most authentic guardian is clearly Nolitta, who certainly knows what they want players who are more traditional heritage and the hard core of a time series as Zagor. So, I tried to set my story in a way that, for two books flow like a traditional adventure story and mysterious, in the wake of the classic adventures of the Spirit with the Hatchet, and reveal only the last register is an arcane magic and potentially disruptive. Not surprisingly, Sergio has really appreciated the first two episodes and I was reprimanded for the third. Naturally, I objected to the time travel and I had, fortunately, good game in reiterating that Zagor not actually traveling between eras, but it's a magic to lead to Darkwood the Mongols. The story, in short, was set to be as darkwoodiana as our editor (and most loyal readers) are now insisting on. Nothing I was reprimanded by the ancient Romans, but only because I was careful not to make them appear for more than a couple of tables. It seems to me a point on my part, being able to satisfy my desire to cronomoti legionnaires and putting them in the series, however, without betraying too, at the same time, the signs of the creator and publisher of the series. I defy anyone to be able to do better, indeed. Then I know that it was possible to do so and to do what.

When I have my own series and I will be given carte blanche, I will do exactly what you suggested and I have even more, because I have my ideas too, and often are much more beautiful (to me) than I is it possible to achieve. In this "I may" not be read no controversy, because they are proud and honored to play in this team, something I consider a privilege, but right when it is part of a team working with others listening to the directions of the coach .

Have you ever had a moment of "tired" in your work as a writer Zagoria, so you found yourself thinking about something like: "What a break dramatize this Zagor ... we move on to something else?

The only time I thought (once every two minutes) to drop Zagor was when I suffered unjust criticism in the newsroom. And I thought I'd switch to something else but to go back to the baker as I did, very young, helping my father. I think I'd still be a good baker.

Why not suggest your own mini-series?

As it is obvious that the miniseries has some ideas in the drawer, but a bit 'for nature is not one that sgom, a little' I have much to do with Zagor and coming away with I can not design anything, a little 'not receive any kind of encouragement in that way by elders of the publishing house (none that say "why do not we make a proposal?"), a little 'I see the difficulties of others who have tried and failed to pass the second ideas me very good, to which I refer to a date to be my firm commitment to try and make those two or three of my projects that would seem to me pretty well. But I do not feel frustrated about this, being able to devote myself to Zagora, which feel like "my" ideal figure.

am curious to know if you have a particular method for choosing books to read, do not talk about when you do business, but in general.

Here a good question that prompted me to think about it. First, I should say that in reality books to read not I choose or not choose them enough, because I always buy too many towers that accumulate in high concern in every corner of the various houses including I move (which are at least three), and in particular on the bedside tables. If I choose to more, not sleep in the constant threat of a collapse that could kill me in my sleep (although it could be the second best possible death - and do not ask what is the first). But, in those circumstances, I try to answer some other venture. First, I often go to the library and look at all the shelves as a greedy in a candy store. It 'difficult to come out without buying something. Then, carefully avoiding all the "instant book" means any book that is dedicated to the last political scandal, to winning the championship by one team, the last actor or singer on the crest of a wave or just passed away, or publications related to a television program or written, say, from the comic of Zelig of the moment that collects their monologues. If I buy a book to be something that, at least in theory, it is destined to grow old within a year, or having to be updated. A book, for me, is forever and should remain there to mark a milestone on something. Then there are the books that I avoid for the topics that deal, which I'm not interested: psychology, economics, politics, law, fashion, sports, gossip, costume, television, automobiles, astrology, alternative medicine, esotericism and who knows what else yet. Actually I should say that I avoid the essays that speak of this in a "sectarian," ie, supporting the thesis partial passed off as universal but trying to proselytize, or too tied to current phenomena covered: do not read even the ' Morelli's last book but I read Freud, I read an economist who analyzes the current crisis, but I read Adam Smith, I do not read Bruno Vespa, but I read John Stuart Mill, I do not read the autobiography of Totti but I read the history of climbing K2, and so on. I like science books, history, literature, cinema, travel and exploration, philosophy. Among the novels or confidence to do an author I already know (I bought it with my eyes closed the last two titles by Umberto Eco and Arturo Perez Reverte, for example) or try to understand, reading the first chapter, where the writer can write or not even when the title or the cover is intriguing. Since I travel a lot, I often stop in roadside restaurants and became an expert in reading up while eating a sandwich: I read a couple of books coming to latch to a certain point in a service area and pick up where I had come to 'service area of \u200b\u200bthe next stop (in the case of "Catherine" di Antonio Socci, che mi ha lasciato un po' perplesso). Vedo subito se lo scrittore è un pulp senza valore o è un narratore di razza. Di solito, non dò chance a quelli che non mi convincono. Mi fido anche dei consigli degli amici. A volte il parere altrui mi fa leggere libri molto belli come "Caos calmo", che mai avrei comprato di mia sponte (la trama non era proprio la più entusismante, letta nei risvolti di copertina), o "L'eleganza del riccio", consigliatomi da mia sorella e sicuramente uno dei libri più belli che abbia mai letto (devo a mia sorella anche "Il cacciatore di aquiloni" e "Tutto per una ragazza", altri testi che di mio non avrei comprato e invece mi sono molto piaciuti). Ho accennato alla trama nei risvolti Cover: I think, a good book should, in principle, have an interesting storyline. The books that speak only of the movements of the soul or restlessness of life make me the milk in the knees. But if I read a mystery, an adventure, a journey, a survey of a historical reconstruction, I am very interested. Looking at my current reading I must say, however, more and more, I prefer the essays and novels. I do not know why. In any case, I started ten books that I carry in bits and pieces depending on the inspiration and mood (and the stories that I write).

About Nolitta now that I bought back the entire series of tuttoZagor, I would write a small sum of the criticisms that were leveled at his masterpieces our forums if it had existed at the time. For example: the whole story of the march of despair topical - that is, the capture of Zagor, the misunderstanding that falls on Winter Snake believing a traitor, as Zagor is tied up and can not reveal the truth, the resulting attack of the Kiowas, the execution of the ants, the encounter with Frida, and then everything else - from the moment they are born Zagor is captured ... believing that instead of a trap it is another admirer. And he delivered himself to the attackers, with a faint-hearted "Next, I am ready for another stroke!" One of the thugs in Memphis Joe also says that " got caught like a fool. "Next, what we said we would? That is not possible, such ridicule is not never seen it, you can not be so stupid Zagor, that the enemy can not do with it as a mockery, we lacked only began to unfasten his pants, now you've done away with its ability to give advance notice of the dangers. Force Moreno, who are strong!

Nolitta The audience for which he wrote was, fortunately for him, very different from what we write today We writers heirs. It is not just a difference in age (probably at the time the players were very much younger than those of today) but also in attitude, culture, sensitivity. In any case, talking to young Nolitta grown seeing the TV series Zorro and Tarzan movies, also used to reading comics, and proposed a character on their own wavelength. Today the boys have grown to Japanese cartoons and video games, and only read the messages on Facebook. The audience of old, including adults, were amazed more easily than today have seen it all, readers were once more willing to "suspension of disbelief", to this day there wants to hypnotize and make them dream. Nolitta Even today, much more difficult and would probably bowls me or Mignacco a scene of the attack such as that of "Memphis" Joe "Messages di morte". Anzi, oggi staremmo attenti anche a un altro particolare. Fateci caso: all'inizio dello stesso albo, Zagor e Cico lasciano Fort Trust decisi a raggiungere la carovana dei ricchi europei cacciatori di bisonti che minaccia di scatenare una guerra indiana. La logica vuole che Zagor debba raggiungere i carri del barone von Swieten nel più breve tempo possibile, o i danni saranno irreparabili. Per arrivare alla carovana c'è da attraversare una prateria. Zagor e Cico si incamminano a PIEDI. Perchè non si procurano dei cavalli al Forte? A me, lettore dell'epoca, il fatto che lo Spirito con la Scure si muovesse camminando anche in quel frangente andava benissimo e mai ho trovato che ci fosse un problema in questa scelta. Oggi, come sceneggiatore e editor, I would place the problem.

One of the charges that you most often hear is that of "explanation." I struggle to understand what you're talking about. How can I be accused of any explanations author claims to construct a story that has a minimum of suspense, intrigue, skeleton, survey, construct, mystery, research and so on. Let me know, removing all of these ingredients, what you build an adventure? Be it in the west, in the west of Zagor fantastic or at any other juncture? What you should reduce a history of Zagor? He who jumps from vine to vine like a maniac shouting 'ayaaak' like crazy, landing between people, Waving like a madman extracting information to the sound of punches, and apportionment among the trees?

I too have the same concerns, but whatever I think, in twenty years of screenwriting, having written stories of all kinds, something for everyone, trying to satisfy every need, but also trying to not to betray the character as I think I know him. However, my versatility and this "generosity" of ideas (forgive me if I may say to yourself, not a substantive proceedings, only the "quantity" that is a fact) ends up not having acknowledged by critics, from which, however, I can not claim to be appreciated. If there are detractors, are detractors. What do we want?

While on the one hand, that Zagor has not had many "business" in his romantic life on stage (then, you yourself have written about what happens behind the scenes we can not know ), it is also true that to date you, even with thousands of tables dramatized, you have not created a "your" woman of Zagor. Yet one can not say that you do not know nor characterize female characters of great depth (Denise Lafitte, Sophie, Duff, but also some children, I remember Eyes of Heaven), nor that you do not you know how to get away with the flirts zagoriani invented by others (Gambit). Why, then, this "gap" persists?

E' molto semplice: Zagor non è un mio personaggio, ce l'ho soltanto in affidamento, e ho un grande rispetto per l'indirizzo che Nolitta/Bonelli (il creatore, principale sceneggiatore ed editore dello Spirito con la Scure) decide di scegliere per la sua creatura. Mi è capitato diverse volte di confrontarmi con Sergio e il suo consiglio è sempre stato quello di non far vivere storie di cuore all'eroe di Darkwood, dato che ci sono stati, nel passato della serie, momenti romantici che giustamente devono restare "particolari" e che sarebbero inevitabilmente sminuiti se si ripetessero troppo spesso. Proprio perché altri sceneggiatori si sono presi, in altre epoche, maggiori libertà, Now the choice is to stay, at least for a while 'time.

As for the aging but also Zagor Tex we know that aging is a `front 'in the sense that we realize that progress in this' age when our stories a story or adventure that they lived before the beginning of the series, or when they meet again old friends or enemies surely already seen that mark on their journey time, or even when you talk about their past or that of the supporting actors. However is it just me, or my definition abstruse fact that Ferri is aging as our hero some basis of truth?

Regarding aging, we know that Zagor is a hero of a comic book series, and blessed him, never gets old. But in the narrative coherence of the universe, the Spirit with the Hatchet does not know how to be a fictional character: it is as Jack Slater, the hero played by Arnold Schwarzenegger in "The Last Action Hero." So there is that before throwing in a hazard may think that'll pull through because the writer will find a way to get it out unscathed: he thinks he really risking their lives. Thus, presenting himself to the Indians, could not have said, are not immortal and never grow old, because from his point of view he knows he is mortal. After ten years, must provide that the Indians will find that mind. So, intelligence suggested him the hero must not shoot too big and not expect him believe invulnerable (since the injury will be seen) or forever (because the lines will increase). That's why I am convinced that the logic requires that what the Indians believe they can, and Zagor has thought to tell them, whether he enjoyed the protection of Manito to protect the mission of which was spent on its merits as a man came and courageous. A protection is not free and automatic, but subject to the fact that it continues to be just and brave, so the fact that if the merits Zagor. About Ferri aging Zagor può essere: anche Galep invecchiava Tex. I disegnatori tendono a dare al proprio eroe il proprio volto perchè disegnando mimano le espressioni e/o si guardano allo specchio. Tuttavia non mi pare un fenomeno troppo vistoso.

Sono rimasto meravigliato dalla prima vignetta di pagina 19 dell`albo "Magia Indiana" Ebbene,proprio in quella vignetta Zagor appena presentatosi ai Sakem di Darkwood dice testuali parole: "Continuerò a essere al vostro fianco ANCORA A LUNGO fratelli rossi....per aiutarvi a vivere in pace fra voi e con i bianchi". Ebbene,proprio quell`ANCORA A LUNGO mi dà da pensare: ma come?Se tutti gli indiani a parte MOLTI OCCHI ritengono ZAGOR un vero spirito immortale dovrebbero dare adito a quelle tre parole del that in our practice implicitly admits to himself that perhaps he really is not immortal, even presented himself as a god fallen from the sky!

Personally, without denying anything of the myth as well as Zagoria Nolitta imagined fifty years ago (taking it a bit 'on loan from the Masked Man), I tend not to tread in the hands of the alleged immortality Zagor. This, not to make it look like the Indians of the gullible ready to be hoodwinked by a charlatan of the first step, and therefore out of respect for the Indians. This does not mean that Zagor should not do his tricks, and in fact I do them to him and invite other writers to invent new ones. However, tricks have to be very good, the aim must be noble and above all the aim must not seem to mock the natives but to satisfy their spirituality, speak their language of symbols, respect their beliefs. The idea that I have done is that Zagor is not intended as an immortal, but as protected by the Great Spirit, as well as inspired by him and invested with an important mission. Zagor that is not invulnerable, after all, the Indians have seen it a thousand times. And if our hero could not die, not even heroic. What courage it takes, to an immortal, the jump in danger? Instead Zagor suffer and may die. Probably also see all the old, so could not believe it immortal. What the Indians believe, in my opinion, that Zagor has the support of Manito in so far as fighting on the right side: if it should be in the wrong, you lose this protection. That said, even assuming, however, that Zagor is immortal, the phrase "I will continue to be at your side for a long time" (which are not even went to check, taking it on the good word) does not contradict anything in the legendary aura surrounds the Spirit with the Hatchet. One may be immortal and play the role of defender of Darkwood only for a long time and not for eternity. Maybe after a hundred years Zagor moves to protect the people of South West or those of the Amazon. Having to obey the will of Manito, Zagor is also ready to move or change their mission. Only promises that his mission will last much longer. That's it. For a long time can mean a thousand years, for another, which is almost eternity, for my part (in the time scale of my life, that is). I do not know if I have been convincing, but I tried to be.

You set the design in a line, describe the characters and the environment with such a precise text. I guess then that this envelope with the script to give the designer and you know, you'll be more verbose or not depending on how you know that you will play. But the plan, how much can afford to change the division of the table in the text or cartoons? The text should always be respected and literally? Another question: there is a story of "models" in length? if so what are they? Let me explain: As you already know the story should be long tables in the narrative, and then adapt to that or go freely and when it ends, it ends (except when physically to end with the end of the register)? I know they are naive questions, but I have always been interested in the details, all the hard work of preparation is hidden behind the finished product.

Indeed they are sometimes more sometimes less detailed, not only based on the talent of the designer (though I know it is clear that certain Scenes may be more problematic for someone, I try to explain better, but if I am convinced that those who go on the draw pile are very essential) but also by the difficulty of the scene to illustrate. If it is just to walk in the forest Cico Zagor and not have to explain anything special, just ask the designer to refer to a thousand have already seen examples to understand the situations. If it comes to describing a new environment (such as the port of Callao in Lima where Zagor has landed in a story I'm writing now) encyclopedic description and documentation. They are more careful with the new design is more relaxed with those already tested, as is logical. The designer, in theory, can not afford to change the division into cartoons nor the dialogue, but if you notice an obvious error in a balloon or have an idea to improve the scanning of the scene can call me and suggest a change, since all the work best possible result. Of course if I write vignettes that serve six four and I find myself, if I ask a long shot and I find a close-up, not good: to each his work! Again, yes. Literally, no. We try to work together to get the best, each according to his talent. I suggest a scene, a shot, sometimes only at the situation, the designer is called upon to make sense rather than the letter of the scene. I do picere if a designer is involved in the story and feels the way he plays, putting us his. But "interpretation" is, in fact. As a singer who plays a song: it respects a text, a score, but how much difference between an interpreter and another! The models are a long roll of 94 pages (for example, an Almanac), a register of 160 pages (the Special), 2 books = 188 pages, then three or four rolls if their is a major story. For Maxi, we decided to do more stories of just 318, but 286 (or less, down to sixteenths). Usually we try to stay within these limits. Then, if you need some stories special lengths spurious (two and a half albums, three albums and a half) if I can speak. Obviously the length of a script must be proportionate to the events planned by the subject. It is not possible to fit in 94 pages the events of "American Odyssey", you can not expand in four books the facts of Indian Circus (if there are only those). Generally I do not go freely, try to stick to the limits, and above all try to respect my "metronome" inner ring "on time" on the basis of the rate of Zagor, so without stretching the broth without sobbing or syncopated. Then, if new ideas that came to my narrative or special needs that make me understand I can not be in two or three albums accurate books, I decided to lengthen (if there are times and for the sake of the story).

What Happens To The Cervix Before Your Period?

FATE IL VOSTRO GIOCO

I happened to tell, a few days ago, of my visit to the library of humanistic Sélestat in Alsace, halfway between Colmar and Strasbourg. I thought the old codes and ancient incunabula were a topic that interests only me (I always think of being strange and different from the rest of the world), instead I got, especially in public but in private, many more responses than I could imagine. I even received an invitation to visit, complete with a guided tour, a library where you can admire the Roman relics such as those enshrined in the collection of Alsace.

But, between the responses to come mail and by phone after the publication of "The effort to write " (the title of my article), one has created a short circuit, not only with a number of other posts, but also with an "e". Or rather, with a "Postaaa", since this is called the book of correspondence with the players signed by Sergio Bonelli on each book of Zagor. I'll try to explain.

First, we read what he wrote just the publisher of Via Buonarroti on page 4 of Zenith No. 536, "The man came from the East " of December 2005. This is something quite unusual.

"Dear friends, it was concluded a few weeks ago Salone del Lucca Comics , and as usual some authors zagoriani met with the players at our booth, signing of the drawings: c 'were this time Ferri Gallienus and Mauro Laurenti . The latter was also the protagonist of another event of Lucca: the presentation, under the heading Lucca Games, a board game (for Specifically, a "game of placement) called 'Big Manitou' focuses on Native American legends and mythology of their world. Laurenti, in fact, a Another important designer of our publishing house, Corrado Mastantuono , were rewarded with a 'special mention' for making the designs of playing cards and the image of the box that contains .

Usually, I admit, I'm always puzzled when, in many events, I combined the comics and games (role playing, electronic or table may be), of which I declare myself the profane. This time I had at least three reasons to devote my attention to one of these 'games', because the illustrations of 'Big Manitou' are really beautiful and impressive, because the game is about the American Indian (la cui epopea è alla base di Tex, di Zagor, di Magico Vento e di molte altre nostre serie), e, infine, perché una mostra dei disegni originali dei due autori - allestita a Lucca per l'occasione, intitolata 'Dai balloon al tavolo da gioco' - ha sottolineato i punti di contatto fra il mondo dei games e quello dei comics. Il gioco, pubblicato da 'What's Your Game?' si può trovare nei negozi specializzati".

Vedete qui accanto due disegni di Mastantuono (tra cui la copertina del gioco) e più sotto due illustrazioni di Laurenti.

What has this to do with the Bibliotheque Humanite of Sélestat? Get there, though not before he pointed out, by chance, we happened to go back to talking Mauro Laurenti as an illustrator and as a subject of an exhibition, just like a couple of posts ago. Well: who is that at the time of "Big Manitou" Mauro was involved in the initiative by commissioning the designs? One of the curators of the game, whose name is Alessandro Lanzuisi tied from an old friend of the Roman comic. Just the same Lanzuisi, immediately after reading of my interest in medieval manuscripts, contacted me to let me know that he made not long ago, another board game called, not surprisingly, "De vulgari eloquentia . That is, as the treatise written (in Latin) by Dante Alighieri with the intent to justify and advocate the use of the vernacular (ie the proto-Italian) in literary composition, as in his time (between the thirteenth and fourteenth century), now the Provencal poets had already set the example by also to Italians in the use of a written language that was similar to that spoken, and therefore understandable by all, while above was written, because of habit and a misguided sense of nobility of culture, only in Latin.

Now, do not miss the most careful of my twenty-three players (one less than in Guareschi was content that it already had taken off from a twenty-five claimed to have Manzoni) the that, too, such as Bonelli, I recently expressed my concern in front of the computer games (justify my suspicion based on the examples seen in the hands of children of families who seemed to have nothing to particularly interesting to prefer them to cartoons, on the contrary, I think I can give points to any pim-pam-pum from playstation).

But "Big Manitou" is an electronic game, and if one day someone invited me for a game, I would accept willingly (and rejected by a polite "no thanks" an invitation to experiment with Super Mario or Lara Croft). I've always been curious, moreover, from games to "Dungeons & Dragons " and maybe I'm passionate to those roles, if I were to try.

Subisco is the way the charm of the total table games in box, more traditional ones such as the "Monopoly . My absolute favorite is "Risk ", so I'm going crazy, and that in the original game, even though I tried upgrading. I get along with chess, checkers and boring (though, if you want, know the rules). If someone asked me why yes and Risk Lara Croft no, I could answer with a thousand things, but I will, perhaps, on another occasion (so, it is a rearguard action, and most have already lost).

Lanzuisi Back to Alexander. Who calls me and tells me he worked on this game, just the "De vulgari eloquentia", the origin of Italian language and concept development work, along with author Mario Papini for about a year. It 'set in Italy in the late Middle Ages, when it begins to gain importance in the vernacular, the language spoken by the people. The players, I have been told, they must do their part represent one of the many social groups that played a role in the various birth of this new neo-Latin. To win one must however be able to understand the codes written in various Italian dialects, and perhaps be able to discover the secrets hidden in the books of the Papal Library. To do this, some players embrace the religious life, climbing the church hierarchy (and can even be elected pope) merchants and others are run through other means.

was inevitable that I ask him some more clarification, since the main point: it is an electronic game, role, or table?

Lanzuisi response: " is NOT a video game, absolutely! E 'a board game (like Monopoly, Risk, etc., even though it was completely different as performance). He has a billboard depicting medieval Italy, pieces of wood, cardboard cards that depict the manuscripts, duchies, and other characters. Italy is divided into colored areas that represent the different languages \u200b\u200bspoken at the time. Within the areas there are cities (Milan, Rome, Naples, etc.), each with an economic value and / or cultural. Then there are 'scattered' monasteries, abbeys and cathedrals (where the player can change the status of your character, for example, a deaf brother, or where you get some benefits, like those of the scribes). They are then shown five cities 'Franciscan' (Assisi, Gubbio, Celano, etc.): In these, players can search 'The Canticle of the Creatures' , text representing one of the earliest vernacular texts with which we have heard. Do not use dice, players move on the map using the 'actions', including a special There is also to be able to move by land or by sea. "

Lanzuisi I ask if I could play with my children, distributed between the second and third high school average. Answer:" The game does not is easy for those accustomed only to Monopoly, but after a few rounds of practice, everything becomes much easier. E 'from two to five players, say from twelve years upwards, although I think it played a lot more by adults. It lasts about two hours (less if you play two or three). Players start as merchants will pass through Italy and medieval study in various universities to increase their knowledge. Italy is divided into zones, each of which speaks a different language (d'Oc, of Oil, Florence, Palermo, school, etc.). They will learn the manuscripts and texts written by the scribes if they want to win points. Then he can choose to become monks or cardinals (there is a chance to devote himself to religious life). Only those who will become a cardinal can be elected Pope after the game. However, you can win as a merchant, such as a monk and cardinal. The game also contains several 'goodies': the search for Canticle of the Creatures, the' Veronese Riddle, the Psalter . In short, there are many historical and cultural references. It is not easy to synthesize the rules of the game. Players must make more points to win. You score points by using the different manuscripts taken based on the level of knowledge attained through his career during the game that you can do (through the support of politicians, nobles and abbess): from a merchant banker, by a Benedictine monk in monaco by Cardinal Camerlengo or to the pope. You get points thanks to the first documents written in the vernacular that players are able to find. "

At this point it has become, at least for me, particularly interesting. I asked when the game is out where you can find, how much it costs. Lanzuisi replies: "The retail price is 40 €. It 'came out last November and was published in Italy, France, Germany, Spain, England, United States, Canada and Australia.

The game is published in Italy by Giochix . You can download the regulations in Italian clicking here and in English by Z-Man Games clicking here. An Italian site where you can read reviews of the game (and a card that summarizes the issues) is Goblins . One can shop on line this is where to buy .

The reference to foreign countries to Alexander makes me wonder some more news on the market internazionale dei giochi realizzati in Italia. Risponde Lanzuisi: "Vengono tradotti anche all'estero, anzi, il mercato principale è lì. In Italia la diffusione è di qualche migliaio di copie, salvo eccezioni. All'estero si va anche per le decine di migliaia di copie e in alcuni casi anche molto di più (200-300mila copie o più)".

Chiedo se i giocatori di giochi da tavolo siano gli stessi che giocano anche ai giochi elettronici. Risposta: "No. Non sono gli stessi giocatori che giocano alla Playstation, anche se non escludo che qualcuno giochi alla Play e anche a questi giochi da tavolo. In generale, chi gioca alla Play ha un'età media inferiore rispetto a chi gioca al De Vulgari or other board games. In Italy, excluding products from TV ads and mass-market, players have an average age of 25-35 years. At least for this type of product. Abroad, particularly in Germany, are widely-consumption. In Germany, the most famous (so-called family) also sell millions of copies. It is not the case with the 'De Vulgari', alas, that is a product of deliberately a bit 'more niche. "

Another inevitable question: what kind of work that makes Lanzuisi?" I work as a game developer (but I also work as 'agent' for the acquisition of rights from abroad and as a translator and review of regulations). For 'De Vulgari' helped develop the game. To make you understand, is a bit 'like the editing work is done on a comic or a book. The author brings a prototype of a game, then the developer file, edit, adjust, and so, according to market needs and the publisher. Eventually, all the mechanics have to work, there must be 'holes' him:' script as in the comics. I also worked as national coordinator of the tournament Bang!, Card game popular among the western Italian (500,000 copies sold worldwide). Currently working as a freelancer, I'm not tied to any particular company. Right now I'm lav orando a un gioco complesso come il 'De Vulgari' ambientato nell'Atene di Pericle e a un gioco per bambini dai quattro ai dieci anni. Altri giochi a cui ho lavorato sono Siena , Ur , Ghost for Sale , Fairy Tales (che ho importato dal Giappone), Borneo , Fatal , tra gli altri. Per quest'ultimo, ho realizzato anche un breve fumetto di 3 pagine, come sceneggiatore, scaricabile da internet . Anche Luca Enoch ha collaborato a questo progetto con cinque illustrazioni".

Riguardo a ' Siena ', vedete poco sopra la bella copertina del gioco, che ha vinto il Best of Show to Lucca Games, whose board is the fresco of Good Government by Lorenzetti. In practice, you play under. What can I say more? Lara Croft, I'm sorry, but I prefer Dante and St. Francis.