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.