Comic book – interview. Patrice Buendia, scriptwriter
Already the author of “Thomas Silane” and “Les Enragés du Normandie-Niemen,” Patrice Buendia is the writer of the comic books “Tanguy et Laverdure,” “Adler, l’aigle à deux têtes,” and the very recent “Ghost Squadron.” He agreed to talk to us about his work and its specificities.
Hello Patrice, what was the defining moment that led you to aviation-themed comics?
It was meeting Alexandre Paringaux, founder of Éditions Zéphyr (now part of Éditions Dupuis). I’ve always loved planes for their aesthetics, but I didn’t have the technical knowledge. Alexandre wanted to develop “Les Enragés du Normandie-Niemen,” so he mentored me, teaching me the codes of the industry, its requirements, and its imperatives.
What are the specific challenges of writing a comic book script about aviation?
All the technical aspects! In addition to the difficulties of constructing a narrative, there are technical, historical, and technological constraints. This requires a lot of research, documentation… and good support.
Which eras and contexts are you most familiar with?
I enjoy writing the script for “Adler, l’aigle à deux têtes” (Adler, the double-headed eagle), which takes place in 1939-1945, just as much as I enjoy writing the modern “Tanguy et Laverdure,” which is set in the present day. Each period has its own specific characteristics! But I must admit that I particularly appreciate the elegance of the 1950s and 1960s, with their clothes and gadgets.
Which experts do you work with?
Frédéric Zumbiehl, of course, author of “Team Rafale,” “Buck Danny,” and former fighter pilot. Working with him on “Les Ailes du temps,” “Tanguy et Laverdure,” and “Buck Danny Origines” ensures credibility—and he’s a friend. Another comic book like “Médecins de Guerre” requires experts, in this case two nurses who served in the special forces. For “Tanguy et Laverdure Classic – Une taupe chez les Cigognes,” I was advised by General Marc Leduc, a former Mirage IV pilot. Sometimes I collaborate with artists such as Damien Andrieu, Matthieu Durand, and Sébastien Philippe. They’re real enthusiasts! Author Samuel Prétat, another enthusiast, also helps me out often. Every project needs its experts!
Is there any particular collaboration with the artist for the in-flight action?
Always! With an almost contradictory requirement: to be precise in the representation and imaginative in the staging, which parallels the contradiction of aeronautics, namely heavy masses of metal defying the lightness of air. With Matthieu Durand, for example, who draws the “Classic” series of “Tanguy et Laverdure,” we exchange ideas regularly, especially for the storyboard, to ensure that the planes “fly well” and that their movements in the sky are clear to everyone.
What place does Dassault Aviation have in your world?
As the head writer for both “Tanguy et Laverdure” series, Dassault aircraft are of paramount importance! With the Mirage 2000 for the modern series and the Mirage III—my favorites, I must admit—for the “Classic” series.
