Etna Comics 2025: Nick Dragotta, la conferenza: la rivoluzione di Batman Absolute

Gamesurf.it

01/06/2025

Nel cuore pulsante di Etna Comics 2025, abbiamo partecipato alla conferenza di Nick Dragotta. Il celebre fumettista americano, noto per East of West, ha parlato della sua nuova e sorprendente versione di Batman, nata dalla collaborazione con Scott Snyder. Una conversazione intensa, in cui Dragotta ci ha raccontato la genesi di Batman: Absolute (la nuova serie che sovverte la formula classica), il suo approccio visivo e narrativo e le profonde trasformazioni dei personaggi dell’universo DC.

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00:00Sì, questo è probabilmente uno dei più collaborativi

00:22in cui non ho mai avuto una parte di scuola, quindi scott'initialità

00:30era creare un nuovo Batman per oggi

00:34e quando mi ha detto che questo Bruce Wayne's tragedia

00:38fosse fuori da una scuola di scuola e lo scuola

00:41e lo scuola il suo padre

00:43e mi ha detto che questo è qualcosa di più importante

00:47e molto pertinente per gli Stati

00:50e in termini di scuola di scuola

00:53scott'initialità

00:54la maggior parte del suo scuola

00:56è stato il più importante

00:57e quando ti dicevole che ha fatto il più grande

01:00scott'initialità

01:02e ha detto che è più grande

01:04per me, Batman è come a una sua scuola mission

01:18se ti dicevole

01:20se fosse un personale

01:21se fosse un personale

01:22se fosse un personale

01:23come potrebbe poter

01:24poterlo?

01:25se fosse un personale

01:27se fosse un personale

01:29se fosse un personale

01:30lo scuola

01:32lo scuola

01:33lo scuola

01:34lo scuola

01:36lo scuola

01:37lo scuola

01:38lo scuola

01:39lo scuola

01:40lo scuola

01:41lo scuola

01:42era una scuola

01:43che ha fatto

01:44i bambini

01:45e poi

01:47il fatto

01:49lo scuola

01:50è stato

01:51il sogno

01:53che

01:55l'unico

01:56ciò

01:57ciò

01:58tutto

01:59l'unico

02:00nel libro

02:02è un'occhia

02:03è un'occhia

02:04ciò

02:05il città

02:06ciò

02:07ciò

02:08ciò

02:09ciò

02:11ciò

02:12ciò

02:13non

02:13ciò

02:14ciò

02:15ciò

02:16ciò

02:17è

02:18in

02:18In terms of the violence, to me, when I draw this book, I draw the little boy, and I like

02:24to think maybe he died that day at the zoo, and this is almost like a fever dream of this

02:30hero, because that's what it feels like when I draw it.

02:32To me, comics are escapism, and I like to draw the violence and the brutality, not in

02:40a fun way, but a brutal way, and to make you feel the blood in this flatter of my ink

02:46represents blood, and it kind of works very effectively when you go more simplistic.

02:51But to me, that's Batman's world, it's very brutal.

02:55Yes, yeah, well, I mean, he's from Crying Out, so this Batman also grew up with Two-Face,

03:07the Riddler, the Penguin, and when we get into, I don't know if you guys are up into this point

03:15yet, but you start to see Waylon, Croc Jones, it's like all these characters will become

03:20the villains that we know them as, but as you see, they all grew up together.

03:26Selina Kyle, Two-Face, the Penguin, the Riddler, Croc, Miller Croc.

03:32So they all grew up as friends, they all were at that shooting, and they were all affected

03:38in different ways.

03:40So it's just kind of like not a very simplistic black and white take, it's like the real world,

03:46there's a lot of gray.

03:52Yeah, I mean, too many to name.

03:55Frank Miller, Dark Knight Returns, very much influenced the way I drew the book, because

04:02in America, and I would say even in European comics, we've gotten so illustrative, so illustrative

04:10that like, the picture could dominate the words, or the writers are like novels, and too many

04:17words, and I feel like good comics should be cinematic and move, and my favorite comics are Frank

04:25Miller, David Mazzucchelli, Micheluzzi, Hugo Pratt, these are simplistic drawings, emotional drawings,

04:33they hit beats, they hit the emotional beat, and so like, I didn't want to labor over the drawing.

04:39I could sit and draw a page all day and make it the most detailed thing, but I feel like

04:44that bores the reader.

04:46It's when the pictures and the words perfectly work together, and like, I think that's why

04:51most children read, most kids or younger readers read manga now, because the comics flow, and

04:57I feel like in America, we've gotten away from that, we've gotten writer-driven, and we need

05:02more artist-driven comics, like they do in Japan, and I feel like that's where you really get

05:07the imagination to explode, because I can't get into a writer's head.

05:10You can see the Mazzucchelli pose right there, and then this page too, I thought that my idea was,

05:20rather than a utility belt, the whole Batman would be a utility, the whole suit is a utility,

05:26every part of it is a weapon, and constantly reinforcing who this character is, who this Bruce is,

05:33he's a construction worker, he's a city engineer, he repairs what he brings, and so you reflect that

05:41even in his uniform, everything is a tool, from his ears, to his boots, to his belt, to his cape,

05:47all of it's a tool.

05:56I think you, as an artist, you have to, I'm constantly trying to grow and evolve,

06:02so I don't know if you're familiar with my work 10, 15 years ago, it's very Jack Kirby, 1960s classic

06:08Marvel, and I think Kid's introduction to Batman now is video games, Arkham Asylum, or the movies,

06:19so I look at that stuff and take inspiration from it, and if you look at Arkham Asylum, I mean,

06:25everyone is jacked big, so you want to, I don't want to reject any of that, I want to pull it in,

06:32I want to bring it into my own work, and it's just fun, I mean, I think comics should be big,

06:37at Bombaston.

06:46So we work, in America, there's two styles of writing, full script, which is page one, panel one,

06:53panel two, three, four, five, six, whatever, all the dialogue, all the words, or Marvel style,

07:00like the method Jack Kirby created, where basically Stan Lee would say,

07:05give me a space alien, that just roams this, and there's, his villain eats planets,

07:10that's fine with God, like the, the, the, the, the, Marvel style, and then Jack would go off,

07:16and draw a whole book, basically create the whole thing, Stan Lee would come back in,

07:22and put words all over top of it, so we're, we and Scott are working like a hybrid Marvel style,

07:28so, one, we live close together, so I can go over to Scott's house, we hang out, we talk,

07:34and then we basically beat it out on a whiteboard, an issue, and Scott will type that up, and then I

07:42go away for three or four weeks, and I start drawing it, and I finish pages and send them to Scott,

07:48and then Scott starts putting the dialogue in, so I, Scott gives me the direction,

07:54but I can go in any direction, as long as I'm going and meeting, you know, the story is going to end

08:01up where he wants it to end up, and then we're both just throwing ideas at it, and constantly replying,

08:08and constantly editing, to try and make it as best, and as entertaining as it can make it.

08:18I think you just want to, you want to draw likable characters, and show that emotion on the page,

08:33that they all love one another, and then when, for better or worse, when the shit hits the fan,

08:40you're going to feel it, and be like, wow, are they going to be friends or foe?

08:45And like, in terms of Alfred, Scott has said that that relationship with him and Bruce very much

08:52reflects his relationship with his son, because his son is like, I'm going to go change the world,

08:59and I'm going to do this, and Scott is very much of the old ways, as you know, as I am older,

09:05and don't always understand the youth, but like, our Bruce is idealistic, and is really setting out to

09:14change the world, and Alfred is very much the old system, the old guard. He's like a super spy, CIA,

09:23I don't know what you have in Italy that would be the equivalent, but you know, he's behind the scenes,

09:28pulling strings, and saying, slow down, it doesn't work this way, you got to do it this way, but Bruce,

09:35like I said, is chaos, he's anarchy, he's going to upset the system.

09:38I think it's just, you know, through your own experience as a human being, and gods are more

09:54distant, gods are omnipotent, gods are always powerful, and that doesn't lend itself to good drama.

10:02We want to believe that these heroes could lose, right? And then I think they're all really,

10:07really interesting takes, like you said, Wonder Woman is burnt out of hell, Superman is basically like,

10:14you know, the real immigrant story on the run, you see that throughout the world now,

10:19and Batman is very representing what's going on in America, where the 1% is ruining the day,

10:26and is controlling everything, and even possibly taking away democracy. So Bruce is like that,

10:34again, that human element that we all yearn to be and fight for, so I think that's,

10:40it just, it's good drama and good everything.

10:43Thank you.

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