A recent discussion on a mailing list Subscribed concerned the vexed question of the wrath of the deadly Pelide Max Bunker against Sergio Bonelli , rekindled (although, as far as I know, unilaterally) from a new measure of last Secchi Alan Ford. A few months ago, in an earlier attack bunkers had been followed by a response posted by Maria Grazia Perini, which I have already addressed in my post , limited to a small point that I drew in dance ( in the lower photo you can see Piffarerio, Bunker, Magnus and the Perini Salon of Humour di Bordighera negli anni Settanta, in quella qui accanto Secchi e Raviola nel 1967: le immagini sono tratte dal volume della Glittering Images dedicato a Magnus la cui cover è riprodotta più avanti). Della faccenda, peraltro, mi capita spesso di sentirmi chiedere, sia in pubblico che in privato, venendo ritenuto persona informata sui fatti (cosa che in realtà non sono, o almeno non lo sono più di molti altri che leggono o sentono dire). Una delle domande che più spesso mi fanno è se io mi senta in "imbarazzo" dato che, pur lavorando in casa Bonelli, sono anche da più di un anno the author of introductions and afterwords the series Mondadori Alan Ford Story .
For example, here is what he wrote Nico-Te-Nay, a frequenter of forum Zagoria SCLS in "direct line" dedicated to me, "Moreno Hello, I am going to ask you a question certainly uncomfortable, then you can send me to hell and do not answer me. Today flipping Reprints Alan Ford, as I read your preface, it occurred to me that of course you need to know Max Bunker. Thinking about the latest releases of the latter referring to Bonelli , I wondered how it should be 'cooperate', if that is so, con tutti e due, e se puoi darci delucidazioni sulla cosa. Non sto chiedendo informazioni personali o gossippate, solo mi piacerebbe capire di più la situazione ".
Ovviamente, non ho avuto nessun problema a rispondere a stretto giro di posta (come non ne avrò nel proseguire la conversazione approfondendo più sotto l'argomento). Ecco che cosa ho scritto: "Il mio primo incontro con Max Bunker risale al 1989, dunque lo conosco da vent'anni (di persona, intendo - come lettore, da quasi quaranta!). I miei rapporti con Bonelli sono, ovviamente, non solo più antichi (la prima stretta di mano è avvenuta nel 1987, ma per lettera e per telefono eravamo in contatto long), but also closer, because we have a professional relationship between direct and continuing attendance almost daily at work. I can say on good terms with both, and I'm happy because both of them, with their comics, marked and enriched my life. Of course I have read, probably more delayed than others, what Bunker wrote in the mail from Alan Ford you're referring to. I am also aware of other jabs done before, and probably there will be other incidents that do not know where the thing will be repeated. I'm sorry and, like everyone else, I wonder what happened. Each has its own character, and all we have, on occasion, sides and angular pebble in your shoes. We all know also of other whimsical characters which you may not agree with the excesses that we can only forgive the shortfall with other positive aspects of their company. Of course, every action has a reaction, so that what is said and done has a consequence, in every circumstance of life. I think what has happened (and is not a bolt from the blue) relates to the privacy of Bunker, in which, naturally, I will not go. Do not forget that bucket is a satirist, used to provoke, to create a scandal, on the other hand, fortunately, Bonelli is also used to a genteel fair play so I guess (And strongly hope) that everything runs out here. In any case, my collaboration (which fills me with satisfaction) with Alan Ford Story is a collaboration with the Mondadori, for which I write in my capacity as the competent authority on the subject, comments on a classic comic strip about Stories of the Seventies, so I do not feel particularly embarrassed. It 'obvious that I am not to blame. Moreover, before starting to play the part of the Mondadori I informed commentator Sergio told me that there were no problems, and even added: 'If you become famous, we'll all be happy'. "
This is was written before the last action of Secchi. Now, I suppose (to my own surprise) list of the ten most writers published by Bonelli in all its history, and was also fourth in the standings in 2010 . I am a corporate conviction, as evidenced by the same graphics on this blog, and an employee with over twenty years behind Bonelli. I wrote dozens of articles and books on the production of Via Buonarroti, where even work as an intern for more than a decade. Rather than "embarrassed" I regret the situation. In any case, after having exchanged a few comments in writing, the thing is over there. I think there can be no doubt that the considerations on bunkeriane Sergio are the result of a personal grudge and can not be of interest to those who consider a comic argument, funny but serious cultural debate. It 'just that the attitude that I write my songs for Alan Ford Story: I work on stories have become classics of fiction designed and mark all connections with reality, society, customs, thought, sometimes politics . But I do not mind, writing in the guise of a critic and essayist, the private life of the author, except when it has a clear impact on the texts and designs, however, when it can be historicized freeing herself from gossip. In my personal relationships, however, it is obvious that also involved issues of my close friends and colleagues. However, my way of being spiteful and shies away from controversy free. Are always available to the comparison and discussion (as evidenced by my speeches have been published anywhere and my attitudes in debates, public or private, wherever you happen). I am glad that somebody has called "constructive" in a recent exchange of posts about " ay aaaak . Piero writes: "I find that in readiness for dialogue, in the simplicity with which he confronts the questions, including publishing critical, there is an attitude by Moreno extraordinary. E ' constructive." Tarlo replies: " Moreno is a great item and are not convinced at all out of place as publisher. In addition to knowing well the media is a person of great humility and professionalism . Thank you very much, and I hope that made myself proud of these comments do not change the mind of the author about my humility.
In any case, without being aware of all the background, I could not fare a meno di notare l'improvvisa scomparsa di un forum dedicato ad Alan Ford presente in rete. E' facile collegarla alle recenti polemiche, ed è ovvio che io non sia affatto contento della faccenda. Spero con tutto il cuore che la cosa si risolva quando gli animi si saranno rasserenati (se mai accadrà) e di certo non giova alimentare il fuoco per spegnere l'incendio (tenetene conto in un eventuale vostro commento). La Rete è un grande strumento per veicolare idee: autori ed editori dovrebbero considerarla una risorsa e non un pericolo. Certo, bisogna imparare a destreggiarsi, ignorando i provocatori e combattendo gli abusi (che nessuno però chieda consiglio a me su come fare, però), ma approfittando della possibilità di far parlare of their work and thus make Him known. Not everyone understands (and there are different natures and characters), and in any case it is always sad when, for one reason or another, they close the space for discussion or pose unacceptable poles of the same.
But there are other things that I would like to add. First, when I started working, Bonelli agree with Mondadori for Story Alan Ford, the project provided only thirty volumes, which were reprinted sixty episodes, all of the period Magnus & Bunker. Only after I saw the first double and then triple my efforts. Sono stato contento del successo dell'iniziativa, come lo sono sempre quando qualcosa a fumetti va bene in edicola o in libreria, e come quando qualcosa a cui anch'io ho dato il mio contributo riceve un riconoscimento. Però, inizialmente ero lieto di poter, soprattutto, saldare un mio debito con una delle mie letture d'infanzia di cui, insieme con Zagor , conservo il più bel ricordo: appunto, il Gruppo TNT del periodo magnusiano. Sul fatto che i primi 75 episodi siano dei capolavori nessuno, credo, ha dei dubbi. Anche su Magnus ho scritto molte cose, cominciando da alcuni articoli apparsi su Collezionare nella seconda metà degli anni Ottanta, passando a un saggio su Comics dell'ANAFI where I have compiled one of the first and most comprehensive histories and reasoned things going on with my post a bit 'all over (from smoke in China If ). So much so that even Mrs. Raviola, in a preface to a book dedicated to the work magnusiana, he mentioned among the critics who have devoted more attention to her husband. By dint of writing, I finished to be considered an expert in production bunkeriana and it is precisely for this reason that I work with Alan Ford Story . note: if therefore in this capacity were to give an opinion about the law urban Magnus would personally involved in rewriting the script of Bunker intervened heavily, as I read it again a few days ago, on "Ayaaaak" I would have to deny. Notwithstanding that, I have not read the original scripts in question, and therefore express an opinion only well acquainted with the work of two artists, I think the humor of Alan Ford is clearly and typically Magnus of his bunker and put us ( which is more than enough to do honor to the Olympus of the cartoonists) only its amazing graphics genius. It 'just what is the value added between the adventures of the TNT Group designed by him and the rest of the series. The idea that Raviola intervene in the scripts that I know of was sustained for the first time in 1982 by Stefano Tamburini (co-author of Ranxerox , who died in 1986) in an interview on the No. 14 of Fumo di China, where he stated that the designer would have rewritten many of the scripts of its own Bunker. This bizarre idea has been repeatedly denied by Magnus himself (I've never read an interview where it says, and I've read where some said the opposite), but in any case is no basis to anyone with eyes to see . In fact, not only the spirit manifested bunkers at every turn in the history pre-and post-alanfordiane alanfordiane described by others as well as by Raviola, but also constitutes the foundation of all literary production Secchi. Just think of the character Riccardo Finzi, Detective Milan star of a dozen detective novels written by Secchi and illustrated by some. That's really a step paradigm: "It was a big woman big as a hippopotamus, the square jaw and nose that fell into his mouth. Not only that, but the tip of her trunk was a wart the size of a cherry embellished further the already pretty little face. " Without taking anything away from the indisputable merits of Magnus, in this description is all Alan Ford.
The fact that then, pizza, laughing and joking fra loro (come è stato più volte raccontato da loro stessi) Magnus & Bunker fossero protagonisti di scambi di battute che potevano servire da spunto per delle gag, o che si discutessero insieme alcune storie, è normale (capita anche a me con i mie amici disegnatori), ma poi, nella divisione dei compiti, è pacifico che uno sceneggiasse e uno illustrasse. Appunto in questo ambito, però, Magnus era Magnus e dunque riusciva a visualizzare da par suo la situazione proposta dall'autore dei testi, valorizzandola al massimo. La stessa gag disegnata da Raviola o da Piffarerio (piuttosto che da uno qualunque dei suoi successori) non aveva la stessa efficacia. Ecco perché, andandosene Magnus , ad Alan Ford è mancata la marcia in più che il talento del bolognese sapeva dare. Rileggendo gli episodi piffareriani mi rendo conto di come sarebbero state più efficaci se alle matite ci fosse stato il suo predecessore (senza nulla togliere al buon Piff, che onestamente ha fatto del suo meglio). Raviola era in sintonia perfetta con Secchi, aveva il senso della gag, interpretava in modo perfetto la vignetta e di suo ci aggiungeva appunto la convinzione e la partecipazione che Piffarerio non ha mai avuto del tutto. Del resto, anche quando Magnus si è messo a fare l'autore in proprio, i suoi personaggi non avevano più l'impronta bunkeriana, neppure quelli della Compagnia della Forca, che più di altri possono essere paragonati agli agenti TNT Group. 
Finally, after the abandonment of ravioli and exploded the success of Alan Ford in " Supergulp!" who did get tested to the maximum of its distribution and popularity, but at the cost of a lowering of the target: the arrival of a new young audience came to replace the more adult that followed Magnus & Bunker blacks since the days of comics, the writer has convinced (rightly or wrongly) to make stories easier and more " television "than previous, and that's why there has been no more episodes of a shocking maturity as" coup "but came" Gommaflex " or "talking shark." Piffarerio, for its part, has made it more cartoonish (he worked in the studio as an animator just Gavioli ) alanfordiane tables that were once drawn in the style of Kriminal and Satanik or, if we want to Maxmagnus. It must be said that the current owner (for a long time) pencils, Dario Perucca (pictured), is very good and if he were the first heir of Magnus, perhaps the difference with the predecessor would be seen less (but time was too young to be taken into account). Finally, as I mentioned my "direct line" on the forum SCLS, are a couple of my other work on the subject. A reader asked me, "Moreno I discovered that you're a big fan and expert work by Magnus & Bunker, I really appreciate your introductions in the volumes Mondadori. I ask you this: why among the many characters created by the big-time duo, no one has resisted time? Only Alan Ford is still on newsstands, but I'd say vivacchia with a very small number of copies. Why, no character has had the longevity that has characterized several other characters instead Bonelli? . I replied: "My introduction to the volume of the series Alan Ford Story are challenging to write, but give me much satisfaction, when I reread them after some time I like and I think it would be nice to just get by writing articles and essays of this sort, without having to face the gauntlet of readers critical of my work as a writer. Receive a salary for writing literary articles would improve the quality of my life and it would return some peaceful sleep. The best job ever may be the reviewer of books: those who can pay the bills doing just that, found the key to happiness. There are others to do the hard work of inventing stories and develop theories, who reviewed and may be limited to pontificate and make judgments, however, feared or fondled by the same writers who hang on his every word. Actually, it would even nicer to live by writing their own blog. One gets up in the morning, look at the sky, writes: 'The blue above me, today, makes me realize how small we are compared to the universe'. And that day we'll get it (if, indeed, someone pour out a salary). But, unable to survive in this way (and in fact, being totally unable to open it technically a blog for free), so I'm happy to escape from the nightmare of every writer to take refuge in the Elzevir alanfordiani. I just wrote the introduction to volume 19, entitled The Great Conspiracy and I really enjoyed it. I guess that will be even more fun to write the next one, even having choose to go deeper into the issue of the Foreign Legion in the seventies or raging pollution. Regarding your question, the discussion would be long. But I think the answer can be summed up as heroes by Magnus & Bunker did not continue long (Alan Ford excluded) because most of the heroes Bonelli, because I think they were so typically tied to the unmistakable style of the two authors that they have no right to compare when they were entrusted to others. Just browse Kriminal to realize that only the books written and designed by Magnus Bunker are masterpieces, all the rest you can safely forget (Woo covers separately). The success of Alan Ford absorbed so much to distract the energies of the duo, inevitably, and by Kriminal Satanik. Bonelli's heroes have always been able to count on a stable of writers able to alternate the creators or holders, which has not happened for many, too many heroes Horn, inextricably linked to the charisma of Secchi and Raviola. It must be said that the production of Magnus & Bunker took a decade, roughly: there were years when the market was very different from today, the authors were imposed on a tight rhythms, Magnus also worked with deliveries workaholic, the characters had normally short-lived, we tried a series, if it was not opened another but even if it was build on the success to enlarge the production and the catchment area. Big ideas like those of Gesebel or Satanik (two heroines particularly original) would have deserved more attention when the time made this possible (these were the years of blacks and all in all the rhythms were the ones).
At that, the critical friend and expert Giampiero Belardinelli spoke thus: "On Kriminal Satanik and could respond, if you use the Internet, Ferriani Paul, a true expert of the two characters. For my part, having read carefully Kriminal on the two volumes, edited and written by the same Ferriani, some have made me the idea. Kriminal Satanik and, in addition to being viscerally linked to Magnus & Bunker , people were in line with the desire of transgression that hovered in the sixties. Characters were perhaps too tied to the instincts of that period and, once left to other authors, that office has failed transgressive. And then, over the years, including broader emancipation of the costumes, the audience began to disaffected with the two characters, thinking perhaps overcome those emotions. Even Diabolik was very attached to the extraction of Giussani sisters, who have never left your character, the two women followed the changes in Italian society and thus have made the right changes to the series, which was maintained up to date . I replied: "I am not entirely agree in the sense that your right should be supplemented by some other considerations. First, it must be said that the charge of transgressive and Kriminal Satanik went waning because of hostage-taking complaints and processes that Bunker and Horn had to endure in the sixties. Just read the editorial in No. 100 of Kriminal to realize this: you can imagine tutto lo sconforto dell'autore chiamato ad adeguarsi a un rigido elenco di paletti da non oltrepassare che praticamente gli impediva qualunque movimento. Ciò nonostante le trame da telefilm che lo sceneggiatore riuscì a imbastire anche in seguito (con l'avvento di mister Ypsilon e del Triangolo Isoscele , per esempio) riuscirono a far raggiungere e superare comunque il numero 400. Però, certo, se a un personaggio come Satanik alla fine si fa dare una 'patente speciale' di tutrice della legge, come accade a un certo punto appunto per le imposizioni moralistiche di giudici, magistrati e censori vari, è chiaro che il gioco è finito. Anche Diabolik, del resto, si è adeguato e ha addolcito di molto i suoi tone: at one point almost did not kill in cold blood and his only other victims were criminals who deserve it (not a fan of killing in cold blood, I just found that if one should be called Diabolik Diabolik) . However, the difference compared with Diabolik Kriminal Satanik and was the first curator of the scars on their skin drama, Diabolik is instead returned in the next adventure. Diabolik lives in an imaginary city out of time, and Kriminal Satanik have to reckon with the reality of sex, drugs, political corruption, intrigue, love. A Kriminal kill a child, destroy the hideout, has an affair with the girlfriend of his enemy (the Commissioner Milton) eccetera: insomma, Kriminal ha una continuity serrata (nelle storie di Bunker), Diabolik no. La continuity serrata porta a una maggiore usura di un personaggio, più di uno sempre più o meno uguale a se stesso come Diabolik. Se a tutto ciò si aggiunge che, appunto, lo staff della Corno, tolti Magnus & Bunker, non era in grado di competere con la qualità dei due creatori, ecco che dieci anni (che comunque non sono pochi) sono stati il limite per Tuta di Scheletro e per Marny Bannister". E con ciò, mi pare che possa bastare.
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