Classic European comics

[The Confessor]

Not sure where to start - the 1930s, or can I go back earlier than that?

I've read that Tintin In The Land Of The Soviets (published 1929) was the first time an American-style comic strip, complete with word balloons, had ever been published in mainland Europe. Dunno how true that is, but it may limit you from going back any further than the 1930s.

[Polar Bear]

Redondo & Alcala were from the Phillipines, not South America. There is a current thread on Latin comics, with some great recommendations. Filipino comics are a world of their own.

OOPS.

[FanboyStranger]

I'm in, despite my limited knowledge. This looks interesting.

What are the rules? If Romana Scarpa (Italy) did work for Disney (in the USA) that was printed mostly by Edmont (in Europe) and later got reprinted in the US, is that European?

Do Alan Moore and Neil Gaiman comics count as European? How about Neil's work now that he's an American?

Herge is pretty easy to figure out, for which much thanks.

One more silly comic: Why Europe? Why omit Manga/Manwa, Africa, South America (M. Deodato, Rios, Nino, N. Redondo, Alcala, etc.)? Do they get their own threads, or are they actually going to be here? This is exciting!

I'd put Neil Gaiman's and most of Alan Moore's work squarely within the context of American comics because of the format of the 20-22 page comic book. When I think Euro-comics, I think mostly of the album format, and when I think British comics, I think 6-8 page "progs". I'd also say the nationality of the publishing house matters. For example, Pat Mills is probably the quintessential British comics writer, but I'd still say that his Requiem albums are clearly European in format and intent.

[Rob Allen]

I encountered this site yesterday by way of a link on metafilter:

Shining Examples of European Comic Book Covers

It's a graphic-design blog, so the work is evaluated from that perspective.

[benday-dot]

Thanks for that link Rob.

The author relates the peculiar act of Franco banning superhero comics in the era of fascist Spain. This is something I did not know, and am curious as to the reasoning behind such a censorship. I know Franco banned almost everything he found remotely offensive from overt political opposition to bikinis, but you would think superhero comics might be ripe for regime exploitation given the pseudo fascistic tendencies some claim inherent in the genre. Perhaps he perceived degenerate or even satirical elements in the the "kingdom" of the capes he found not to his liking.

Maybe Fesch has some illumination on the subject.

[berk]

I encountered this site yesterday by way of a link on metafilter:

Shining Examples of European Comic Book Covers

It's a graphic-design blog, so the work is evaluated from that perspective.

I like those two Dossier Negro covers. Wonder if the contents are as good.

[Johnny P. Sartre]

I'd put Neil Gaiman's and most of Alan Moore's work squarely within the context of American comics because of the format of the 20-22 page comic book. When I think Euro-comics, I think mostly of the album format, and when I think British comics, I think 6-8 page "progs". I'd also say the nationality of the publishing house matters. For example, Pat Mills is probably the quintessential British comics writer, but I'd still say that his Requiem albums are clearly European in format and intent.

Moore and Gaiman are British writers writing for American audiences but one could argue with the recent albums that Moore has put out with the League that he is going back to the Euro way.

I encountered this site yesterday by way of a link on metafilter:

Shining Examples of European Comic Book Covers

It's a graphic-design blog, so the work is evaluated from that perspective.

This is absolutely fabulous! Thank you!

[FanboyStranger]

Moore and Gaiman are British writers writing for American audiences but one could argue with the recent albums that Moore has put out with the League that he is going back to the Euro way.

I was actually thinking that when I wrote my criteria with the added complication that LoEG is published by Knockabout in the UK, which adds a whole other level to the argument against what I was saying. I do think that it's very much an exception to the rule, as are Eddie Campbell's, Bryan Talbot's, and Los Bros Hernandez' work over the past half decade. As a general guideline, however, I do think the American 20-22 page monthly comic, the 6-8 page weekly British prog, and the 64-120 page European album are useful categories. (Not that conversant with manga to create a category.)

[Roquefort Raider]

1940s:
?

Here are a few suggestions: Edgar P. Jacobs "Le rayon U", a 1943 SF story with a curious history. With the advent of WWII, it's not surprising that American comic-strips translated in French newspapers and magazines should be interrupted; but instead of just putting them on hiatus, editors often asked local artists to continue them for a while, bringing their story to some sort of conclusion. So was it with Flash Gordon, which Jacobs continued from where the Raymond run was halted. Right after that, Jacobs started his own, Flash Gordon-like series, the aforementioned "Le rayon U". It is really quite charming, with the innocence of the Blake and Mortimer series and that classy 1940's elegance.

Then there is also the 1944 book "La bête est morte", by Dancette and Calvo. As with Chaplin's the great dictator, it is a take on world events before and during WWII; the protagonists are represented as Walt Disney-style animals. It is quite a beautiful accompllishment!

Early Spirou stories are also quite good. The 1940s were an interesting time in Europe, as young cartoonists, heavily influenced by pre-war Amercian comics, suddenly had to fend on their own and developed a unique sensibility about storytelling.

[Fesch_]

Thanks for that link Rob.

The author relates the peculiar act of Franco banning superhero comics in the era of fascist Spain. This is something I did not know, and am curious as to the reasoning behind such a censorship. I know Franco banned almost everything he found remotely offensive from overt political opposition to bikinis, but you would think superhero comics might be ripe for regime exploitation given the pseudo fascistic tendencies some claim inherent in the genre. Perhaps he perceived degenerate or even satirical elements in the the "kingdom" of the capes he found not to his liking.

Maybe Fesch has some illumination on the subject.

Apparently, according to Vicente Escudero, they were banned in 1964 because the censors didn't like their god-like powers. Too much competition for the one and only true God, I guess. In any case, censorship under Franco's regime was completely crazy. You can see a few examples (clothes appearing on women, swords disappearing from warriors' belts, etc) in Tebeosfera, one of the best Spanish pages devoted to comics: http://www.tebeosfera.com/documentos...spanoles_.html

[benday-dot]

Thanks for the response and the link Fesch. Whatever ones opinion of "jungle girls" and their leopard skin acts of modesty, the fashion choice of a white blouse to accompany all that vine swinging is utterly bizarre.

[Johnny P. Sartre]

Apparently, according to Vicente Escudero, they were banned in 1964 because the censors didn't like their god-like powers. Too much competition for the one and only true God, I guess. In any case, censorship under Franco's regime was completely crazy. You can see a few examples (clothes appearing on women, swords disappearing from warriors' belts, etc) in Tebeosfera, one of the best Spanish pages devoted to comics: http://www.tebeosfera.com/documentos...spanoles_.html

Oooh man, pains me to read that.

[berk]

Here are a few suggestions: Edgar P. Jacobs "Le rayon U", a 1943 SF story with a curious history. With the advent of WWII, it's not surprising that American comic-strips translated in French newspapers and magazines should be interrupted; but instead of just putting them on hiatus, editors often asked local artists to continue them for a while, bringing their story to some sort of conclusion. So was it with Flash Gordon, which Jacobs continued from where the Raymond run was halted. Right after that, Jacobs started his own, Flash Gordon-like series, the aforementioned "Le rayon U". It is really quite charming, with the innocence of the Blake and Mortimer series and that classy 1940's elegance.

Then there is also the 1944 book "La bête est morte", by Dancette and Calvo. As with Chaplin's the great dictator, it is a take on world events before and during WWII; the protagonists are represented as Walt Disney-style animals. It is quite a beautiful accompllishment!

Early Spirou stories are also quite good. The 1940s were an interesting time in Europe, as young cartoonists, heavily influenced by pre-war Amercian comics, suddenly had to fend on their own and developed a unique sensibility about storytelling.

Excellent, thanks for the suggestions. I was a little stumped on the 40s - though of course there's always Tintin.

[Libaax]

Any fans of Corto Maltese here ?

Im reading right now the first volume Corto Maltese: The Ballad of the Salt Sea. There was a thread about the creator,Corto Maltese that reminded me this series existed and im very thankful to those posters. I have grown in Europe and i respect highly the Southern European style of Graphic Novels. I bought this volume looking for elegant art, different style and im getting what i want.

Im really thankful for Universe publisher in New York cuz i cant read spanish,french,italien comics like this.

The cover blurb says this series is for fans of swashbuckling adventure and readers who are looking for elegent art and im both :)

[pierrick]

[QUOTE=Libaax;15233205]Any fans of Corto Maltese here ?

to get an idea of ​​the diversity of the comic strip in France and Europe
watch this blog =>http://dedicacedebd.blogspot.fr/