110 Katanas Graphic Work

Since the second book of Malefic Time is right around the corner, Laberinto Gris puts at your disposal two limited edition graphic works signed by the authors. Both are part of “110 Katanas”.

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COMIC, ILLUSTRATION or PAINTING.

- The hoary.

Definitions, dimensions, manifestos, thesis. Supposed to be explanatory. They define the product, set the difference in the market. They delineate and put it in a corset. Something that has always worried me in the arts subject. It concerns me … and the basis beguin to oppress.

True it is that the corset is beautiful. And the countless little buttons that close it to fit and stick to the gorgeous form. But always, in my fetishistic desire I enjoyed letting go button after button of this refined shell. It is a pleasure to discover at last the naked and anarchic body. The pleasure of the unexpected.

Each button is a guideline to follow, a distinctive sign of a nearby art, a dimensioning mark. The Painting was dropping all those buttons and dimensions days ago. Oh Duchamp, you also loved to unzip corsets.

In contemporary art today there are in the same basket urban street graffiti painting, the poor art of a broken bag with a shoe on the floor, installation of stones scattered around the room, etc… etc… contemporary art. But a young art like the comics, talks about graphic novel, about manga, about illustrated book… and many more, with even more eagerness to diferenciate, to separate.

Each one of them is getting sewed buttons increasingly closer together to form their snug waist, even at its meeting in public. Accepted that industry and market need to label products in order to decorate them for sale, even at the risk of separating on Fairs and Exhibitions akin public to that art (it is very gourgeous the corset emphasizing the forms).

But the author should fly free, let him burn his wings when, reckless, he come close to the Sun.

Malefic Time, Alado con espada

Eventually, with text and pictures they tell us a story. Without going into: speech baloons, vignettes here and there, black and white pages and huge eyes, etc … Recent past yet forgotten: What were the old strips on newspapers or old comic pages where the text was written at the bottom of each picture and where not any dialogue bubbles?

What obsession to separate and parcel the people lovers of this art as a whole and lovers of its potential. I hope that a glance at the art of painting in general that is much older and already has learned in its long road that the horizon is wide, will serve us as an example. The creativity needs to unbotton the guidelines in order to find new ways and encounters … and its so beautiful to unzipp a corset.

Lilith, sculpture by Yamato

The place is reddish …  stone, even the air seems to be wrapped in that color.

Like her hair. Long hair, of blood. Hair belonging to a woman of infinite beauty. A woman, The Woman … known to all as Lilith and also called the Great Mother.

 

—When we depart. When we decided not to follow the required dictation, when we protest against the imposition and broke the chains. When He lost his wings for us and they called us ‘Fallen’ ‘Banished’. When She also rejected the imposition and left the place she had been confined to. Since then, rejected, persecuted.

—¿Eva?

—Lilith.

 

Many are the names of the True Mother.

Ki.

Ninhursag.

Inanna.

Ishtar.

Astarte.

Isis-Hator

…Luna.

—¡Luna!

Luz was before and now again Yamato puts us within reach of a new character from Malefic Time universe. It has already gone on sale Lilith a ¼ scale resin sculpture sculpted by Shin Tanabe.

Some pictures of the process:

www.yamatotoysusa.com

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110 KATANAS in Print

110 Katanas already in the machines. It will come out soon!

Pruebas de impresion 110 Katanas

Pruebas de impresion aprobadas

Pruebas de impresion 110 Katanas

Pruebas de impresion 110 Katanas

In the workshop again to continue spotting papers and fabrics. Akelarre, third part of Malefic Time.

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We are what we are

—Are you gods?

—No. We are what we are – says bitterly – . But some love to use that title when they appear before you. Others… we fell.

—I saw a battle. I saw you raising a flag. I saw him tearing your wings off.

Lucifer looks at her with certain indolence. There is a shred of nostalgia in his lifeless eyes.

—That was a long time ago…

—That war continues. That’s why i’m here, isn’t it?

Lucifer turns around and raises an eyebrow.

—Long ago I absolved myself of world affairs.

—You’re not like I expected.

—Disappointed?

—Yeah, pretty much.

—Here you have the great Lucifer – adds with distressed grandiloquence -. The evil scourge, the great fear of humanity. For ages we have fought to Anu and Marduk, their ability to manipulate to their convenience. To present his speech as the only valid. Ages ago I also got tired. Sorry for the disappointment.

2038. THE WORLD HAS TURNED FROM DREAM TO NIGHTMARE

The sun wears red blood an ancient city near the horizon. Tokyo gives out day by day its former glory. The silence has settled like a crushing slab on the streets, but the buildings are still standing. Lackluster with chipped facades and signs, but still standing, and that could not be said for all cities. The old districts have become hermetic. Each has its own rules, life and owners. Many of its colorful streets of the past are now nothing more than sinister and dangerous alleys. Creatures that previously thought to exist in legend and fantasy inhabit them.

A hooded figure walks down the middle of one of those narrow streets of faded neons.

110 KATANAS is the second part of the most ambitious work by Luis Royo and Romulo Royo, Malefic Time universe. Continue the journey with its iconic character, that will consist of a series of books and other media projects.

110 Katanas Portada

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Interview by Paulino Cuevas (Part Two)

Pictorially (in terms of experimentation, expression, …) at what time you find yourselves, because I understand that projects as this have much work behind it.

The project itself takes a goal of uniting different arctistic branches together to constitute a whole. Each one has to offer its own independent Malefic, but with further addition of the disciplines in the project, the sum of them compleate more the universe of Malefic making it richer and opening new posibilities.

 

We speak of a multidisciplinary project that begins with the union of the music disc by Avalanch. Has the original idea had the intention of making such an open project or have you been taking the ideas on the occasions given?

When we begun, as I said before, we had the intention to unite: story, images prepared to be reproduced and also pictorial image to be seen as exhibition work. And now, after few months of work in Madrid, we saw that the story needed the expansion of a novel (we couldnt give all the nuances and expand in a picture book). So following this, in all this months locked in the world of Malefic day and night, we propose turning it into a multidisciplinary project. It needed music, phisical figures to accompany, videos where the world of Malefic could have movement, manga, comic, etc. And gradually other creatives were adding their quality to the project and enhancing the Malefic universe.

 

Apocalypse is the first part of the trilogy, with Avalanch taking a break, does that change the plans for the launch of the second part or it is independet of Avalanch disc?

The project, in its second and third part will follow together with other arts or media that are added to it. Althought creatives that join and enhance the project must not necessarily be the same. This is about combination of different branches with other nuances, giving in this case the overview of a totally decadent Tokyo and later, an almost medieval Paris in this near future close to Malefic Time.

 

The musical part begins with this tougher version of the asturians and now continues with the finished video of “Silently”. How do you see this very particular “Royo” esthetic embodied in flesh and bones? And the propper music?

Always attracted by the Avalanch music it was essential to contact them for the musical part (the collaboration with Avalanch was established time ago), but it was Antonio Sedliles who made them join the project. They went all in into it and brought their darkest and strongest point of view, making the music Malefic needed for it first part in this apocalyptic New York. Each theme by Avalanch has recreated every moment and character of Apocalypse so that now you can not recall that story and images without their music.

 

Are you taking part, or you supervise somehow the creative process of each new proposal? The manga, novels, video …

The idea is to be part of the project as everyone involved in it does, and not letting each individual and creative plot to get stuck as a sketch and contribute to make a stronger whole.

 

Tell us about the contribution of Kenny Ruiz and Jesus B. Vilches to Malefic Time and give us your personal opinion of their work, as well as other important names related including Alberto Rionda.

Keny in the manga, gave his street, pimp and fresh contribution. Vilches lived the world of Malefic almost form its beginning and all these facets and experiencies that were outside the picture book are embodied in the novel reinforcing Malefic Time. Alberto Rionda was the creative soul behind the music for Apocalypse. All of them have been indispensable in the project.

 

After watching the video and thinking about the word multidisciplinary that accompanies the project, would you see feasible making a film of Malefic Time?

The story, aesthetics and characters are designed with that in mind. But the film industry is complicated due to its dependence on hight budgets, and more in a work like Malefic that requires large scenarios, many characters, 3D effects, etc. We will have to wait for the three parts to be finished in order to talk about this, although that is the true purpose we seek for Malefic.

 

I have understood that Malefic Time will have the life of five years, are you open to more suggestions or everything is sheduled?

The principal axis of the books with images made by Romulo are sheduled. But the contributions of other arts that we add to the project is conditioned by the time and the adaptation of other creatives and even the time that we have while executing the second and third parts.

 

I think that New York, Tokyo and Paris are the scenarios that are chosen to represent this world. What do these cities have or can offer to you? Would a Apocalipse in Spain be too … possible?

New York is the city par excellence, Tokyo represents the city of new aesthetic and flavour of the new millennium, and Paris is the figure of a city with history. We chose this three because they give us the oportunity to walk throught the symbols of decadence of this society.

Luz on the other hand was born in Spain and the Caves of Zugarramurdi appear in Malefic story.

 

Viewing the situation that crosses the society, do you think the Apocalypse will wait until the countdown on your website runn out in 2038?

Since the project began, it seems that the events of this model of worn society go in the same direction and measured with the paec of our story. In the story this brings us to the trigger for the change in the destiny of Luz. It is a matter of following the countdown.

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