ITW LUCHA Free / Part 3: Bill - Gobi - Fabien M.

Let's continue our visit to the universe of Lucha free by lingering this time on the main drawers of the project (those who draw the main story of Lucha Free, others like Tanquerelle and Witko draw short stories) namely: Bill, Gobi and Fabien Mr. Bill & Gobi draw for Glénat the Zblucops series and they founded the Catfish Studio with their friend Fabien Mr. Let's try to know a little more about the three lascars ... Graphically, Lucha free is quite far from your other publications at Glénat. Is it easier to draw Lucha free than Zblucops? Gobi: For my part I would say no, for the whole beast reason that the prepublication system of Lucha has just started and that I had, until now, all the leisure to fuck all the flies that I wanted It's also the first time I'm alone in drawing on a BD project and the air of nothing it hurts me a lot, I spend my time giving everything in question to redo everything for everything to be perfect, while Yet I know that perfection is illusory and patatized and pattear, finally good to do shortly I had too much time playing the perfectionist so far (thing impossible with the rhythm of Tcho) but it will break up and slip Alone over time I think. Bill: Easier, I do not think is not the same way to work, and in any case it was an opportunity to test a little different techniques, the pencil work perhaps a little more FLEXIBILITY. Personally, it remains my favorite tool, the inking being for me a rather painful and laborious task ... What were your inspirations to create the Graphic Universe of LL outside established references (Mexican wrestling / gang)? Gobi: For my part I would talk more about a type of imaginary that precisely references, the type of imaginary that the Japanese Baston game designers (and Japanese authors generally in fact) master wonderfully, for example for tequila we have a big massive wrestler who is a trolling Savate of Mexico so it does; Mexico = Cactus = Power = Violence = Alcohol = Titch, and Hop !! Three-quarters of my influences come from Japan in fact, not being Japanese and not wanting that my graphics necessarily have air, I redistribute what I recovered at the turn of a movie, a BD , a video game, a folk story, in other contexts and other types of stories after taking care to handle all that in my personal blender Bill: overall, all that touches a certain " Undercropper ", B and Z series, mixed with a certain idea that I'm California ... Thierry, who lives at La, also did a big documentation job on the spot, he provided me with tons Pictures of corners he loved well ... Fabien M.: The Z series films, Polynesia, and all that has always fed us. The work of Bill also: having arrived a year after everyone, the universe of Lucha Free was very linked to the Luchadores Five, the boards of Bill really put me a slap ... I thought it would be difficult to pass after him , especially for a first BD. The gobi job is very impressive too. It has to block myself a moment, but now I take my marks well and I am not bad. Between you in general, how is the work distributed? What are the strengths and weaknesses of each? G: For the Zblus it's me and Bill who draws and script, Level Bill has a virtuoso side that I do not have, neamless it's full of weaknesses that politeness forbids me to quote, so I will rather talk about mine, I have trouble framing me and be methodical or patient, which gives me a lot of a hard time on taches gender urban decors or realistic elements that require docs in all kinds, on the other hand I Demerete quite well in bums, and in Baston (of bastards) honestly what gives me the most pleasure is to express the characters, the contexts of these being essential I often find myself obliged to work things that pose problem, which is rather a good thing, even if I rattle B: Gobi is a great designer of guys, it's surely the best I know, it's a big compulsive that spends his days creating characters with always a very background rich ... By cons it always has a little harder with the size of the boxes (it draws everything in grape format if it could) and with the perspective ... Fabien is a super complete guy, both creative and technical, and Whose job in the animal brought two things that make us a little default: a huge productivity and a big rigor of work ... it barely starts in the comic and I find it much more pro that we ... and me, bah I do not know too much ... I think I have a relatively good sense of space and staging, but a priori, no weakness, unfortunately ... F.: Bill is the guy who excels in everything, but then all . The tranquil force, it is even scrolling. I do not know him weaknesses. Gobi is the dynamism, the genius of the man! And in the space of two albums of Zblucops it has progressed in an incredible way. I am pretty much complete, but I need to progress at all levels (energy keeping the rigor ... Rhaaaaa). What are the advantages and disadvantages of writing and drawing several? G: The benefits are diversity and an outstanding wealth (provided well get along well and having a good sense of compromise) and a rather good work efficiency, the disadvantages may be to be very lonely when We must tackle our personal projects. B: Bah in fact it's relatively obvious, it necessarily implies the need to make concessions (as in love!), But it's also very stimulating (the same), we rebound on the ideas of the other and vice- Versa ... and then, make an album alone, it's still very heavy to wear ... especially when we start. As for zblucops, for drawing, we do not draw the 4-hand planks, we make a half album each, but we have gradually tried to set up slide so that the notable differences of our styles, all Similarly very close, fade over the pages ... I think that currently it's very difficult to make a difference ... it really is playing a few details ... Even people who know our job we're not hurting who What did you do! Does the prepublication of your series in magazines are a constraint or a motivation? G: Let's say that even if it can be morally hard, it's often what makes an album getting early enough, it learns to work quickly, has not regretting nothing, learning to see the future in a more radiant way in case of failure (or what is estimated to be a failure as an author). B: I would say it's a bit of the two, the publication in Tchô has sometimes made us behind Lucha, since it was somehow priority, but it's also a good thing to have deadlines to Short deadline and regular ... it's easier to advance on an album that way to project a planning on one year ... F: I feel that it helps, even if it's difficult. To say that the creation needs constraints to flourish has become a poncif, but it remains true. It helps to relativize, it prevents you from working four days in a box that a reader will read in two seconds. Is there a graphic style Studio Catfish or rather an attitude, a way of thought, a lifestyle or another anglicism that I have not quoted but that I would like to hear? G: Indeed there is a Waterproof Catfish (this is the first one who came to mind) B: a "spirit"? A "groove"? I think that there is a "catfish attitude", we see things in the same way, we have the same references and the same desires ... F: The catfish krou. Do you see the comic as a stepping stone to the animation? G: Yes, I think we see the comic and a springboard to all that motivates us in the work of the image and the animation is part of the same way as the video game and all these youth tips in which Good taste is more and more present. B: And PAF Transition, that's something that would do us well indeed, it is not necessarily the ultimate goal because the comic to benefits (that of mastering everything in this case, and a great freedom of creation) that The anim will never have, but if we arrived at the end of our career without ever having resulted in an animos project I think we would be a little sad ... but otherwise, I do not consider it especially like a "springboard" ... we start with there, we will see well where it will take us ... F: Yes, it can help. For having worked in the middle of the animation, I can say that you take you more seriously when you have a commerce experience and that you are recognized, there is only to see the number of series adapted in Anime (successful BD of course). Now it's not the absolute goal. Are there studio Catfish projects in progress / coming? G: We wishes himself wholeheartedly, there are one or two who sleep at a drawer in any case B: there are always projects, but it's never obvious to know who will be carried out. F: Yes, but we have to dust it a little What are your animation / BD / swimming / other projects? G: All that as long as we can do it as we feel, and that's in that it's a bit of utopia for the moment but we work there (finally for the fabien swimming has already done a lot of his side and all that being asthmatic in addition, audiovisual documents prove it) B: we have a lot of ideas for the current series, which should take care of a good time, but I would like to start one of my other BD projects, maybe alone this time, but I have for the moment by still time or shoulders needed ... but I do not despair that it is unlocking soon ... F: Actually, swimming does not would not be what she is without me. For the rest, I miss a little time for now. Even if you are only at the beginning of your career, what are your dreams in the world of BD and / or animation? G: Realize our desires simply, do better and better, to master more and more to happen to be more and more pleasure, tell things without compromising reach a kind of nirvana of creativity that gives total freedom In what we do and the way to broadcast it with our own vocabulary, a whole thing, completely independent of all the labels of genres of format movement and everything and everything and who speaks to everyone. After that can be the video game of the clip of the feature film or anything from creative and visual B: Houlà, must not launch us in this way because we are sacred megalos! Basically I think we would like to dominate the world and all that ... ... but I think to talk about the world of French animation, we would like to be able to stir a little all that ... but the big problem of anim c is that it is the world of TV, and therefore above all the questions of money ... it's pretty depressing f: ah ... can continue to do it already, in the best possible conditions. Divert our fields of investigation, Moving from animation to the video games at the comic, enrich themselves and enrich our projects in contact with talented people. Trying to move the animation in Farnce, just that ... there is in this area a lot more to do than in the comic. I have the impression that with you a kind of new scene of designers with a new and really hybrid style, borrowing tonnes of references, full of universes is emerging. Is it something you feel? G: And paradoxically I think it is not necessary to feel it in fact, what we do is the sum of a pack of stuff that we digested if this new material (it's not Pasque J Digested that it's caca huh) incorporates all that harmoniously begins to live, it's good, it must be allowed to evolve without going too much questions about its origins, otherwise o falls into a kind of complacency In the reference that can be friendly but does not offer masses of freedom in my opinion. B: Yes, yes, people who have puffs a little bit of everything that are being deserved to regurgrate the thing as they can, we are more and more I think ... As in all the environments, we arrive at a time when everything already has was done, all we have left, it's the mix ... it leaves a lot of place definitively ... and it makes it possible to decompany the genres ... F: it I do not know too much, necessarily we bathed in a kind of broth culture in our childhood and still today. All this mix, Asian, American, blockbusters and independent, video games, etc. We do not necessarily arise the question of style, it's something moving. Is it more difficult to write for children or for adults? G: The longer it goes less, the only noticeable detail is the ass and the big words for the rest it's substantially the same processes I find B: In fact I believe that in general we not pose too much question, when we create a universe little by little everything is set up and the tone including ... after, everything flows alone ... but it is true that we have not written again for a really adult audience, And I'm not sure I'm going out as well as I could think ... Do you recognize you in current French-speaking production? G: Honestly I do not know, I'm trying to recognize me in what I'm already doing B: not really no, even if there are a lot of things that I like, there is little little from which I feel close What are you waiting for French comics? G: That she gets popularized and stops being complained in diagrams and categories, that she mixes with all that is done in this world without distorting her strength with desires of trendy exotic. B: I do not know too much, no doubt more miscegenation of genres as I explained above f: not much, more experimentation, more hybrid formats, exit from Sacro-Saint 48 cardboard pages. But it's already hurt. I do not worry too much about this side. It is rather the field of French animation that is more worrying, there is really a job.