211-913: Cubitus is a Franco-Belgian comics series, and the basis for the Wowser cartoon series appearing in the United States. Cubitus was created by the Belgian cartoonist Dupa , and features Cubitus, a large anthropomorphic dog, who lives with his owner Semaphore. Cubitus is known as Dommel in Flanders and the Netherlands , Muppelo or Pom Pom in Finland , Teodoro in Italy , Zıpır in Turkey and Доммель in Russia . His name derives from
422-466: A big-game hunter , accidentally killing fifteen antelope as opposed to the one needed for the evening meal. However, concerns over the number of dead animals led Tintin ' s Scandinavian publishers to request changes. A page of Tintin killing a rhinoceros by drilling a hole in its back and inserting a stick of dynamite was deemed excessive; Hergé replaced the page with one in which the rhino accidentally discharges Tintin's rifle while he sleeps under
633-527: A questionable character . Both were, however, already very popular before the war and the hardships of the war period only seemed to increase the demand. This created an opportunity for many young artists to start working in the comics and animation business. At first, authors like Jijé in Spirou and Edgar P. Jacobs in Bravo continued unfinished American stories of Superman and Flash Gordon . Thus, by imitating
844-504: A 24th unfinished album was released, the studios were disbanded, and the assets were transferred to the Hergé Foundation . Tintin is a young Belgian reporter and adventurer who becomes involved in dangerous cases in which he takes heroic action to save the day. The Adventures may feature Tintin hard at work in his investigative journalism, but seldom is he seen actually turning in a story. Readers and critics have described Tintin as
1055-566: A BD artist and something the de facto inventor of the Franco-Belgian BD, Hergé, has never achieved even once, not even from his own native country Belgium (presumably because of the lingering impressions left by either the criticisms regarding his early Tintin stories, the post-war collaboration allegations, or both and neither of which he had ever managed to fully free himself from in his lifetime). Exemplary of Mœbius' standing in French culture,
1266-458: A Dutch-language version as well under the name Robbedoes for the Flemish market. Export to the Netherlands followed a few years later shortly after the war. The magazine was conceived and published by publisher Éditions Dupuis S.A. (as of 1989, simply: Dupuis ), which was established by its founding namesake Jean Dupuis [ fr ] as a printing business in 1898, but changed to being
1477-513: A book-like format about half the former size. The albums, usually colored all the way through, are almost always hardcover for the French editions and softcover for the Dutch editions—though the hardcover format has steadily gained ground from the late-1980s onward as customer option alongside the softcover format, contrary to Francophone Europe, where the hardcover format is the norm. When compared to American comic books and trade paperbacks (such as
1688-601: A branch of the Western Publishing Company in the 1950s. The albums were translated from French into American English with some artwork panels blanked except for the speech balloons. This was done to remove content considered to be inappropriate for children, such as drunkenness and free mixing of races. The albums were not popular and only six were published in mixed order. The edited albums later had their blanked areas redrawn by Hergé to be more acceptable, and they currently appear this way in published editions around
1899-547: A children's publication – but also because communist members of the commission had issues with the strong anticommunist sentiment expressed in the comic according to writer Charlier. Both volumes remained prohibited in France until 1969, though French fans on holiday in Belgium, Switzerland or Luxembourg could pick up the albums unhindered over there. The law also came in handy to somewhat regulate – though not prohibiting –
2110-593: A classic Franco-Belgian strip". Syldavia in particular is described in considerable detail, Hergé creating a history, customs, and a language, which is actually a Slavic-looking transcript of Marols , a working-class Brussels dialect. He set the country in the Balkans , and it is, by his own admission, modelled after Albania . The country finds itself threatened by neighbouring Borduria, with an attempted annexation appearing in King Ottokar's Sceptre . This situation parallels
2321-462: A compilation of animated short pilots adapted from comics from the Tintin magazine by Belvision, and broadcast on Radio-Québec 's Ciné-cadeau on December 29, 1984 and January 1, 1986, and Télétoon in 2000. On November 28, 1984, the strip was adapted into three animated sequences on La bande à Bédé . In 1988, the strip was adapted into a Japanese cartoon series named Don Don: Domeru to Ron , which
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#17331147025942532-632: A criminal case was initiated, although the matter was transferred to a civil court. Belgium's Centre for Equal Opportunities warned against "over-reaction and hyper political correctness ". Hergé altered some of the early albums in subsequent editions, usually at the demand of publishers. For example, at the instigation of his American publishers, many of the African characters in Tintin in America were re-coloured to make their race Caucasian or ambiguous. The Shooting Star originally had an American villain with
2743-407: A few gather collections of shorter stories or, in rare cases, one long story throughout the entire album. Some of the single gag albums or short story compilations are thematic, with for instance in " Cubitus illustre ses ancêtres " revisiting history of humankind, " L'ami ne fait pas le moine " being pastiches of fellow authors from Tintin magazine or Les enquêtes de l'inspecteur Cubitus where he
2954-480: A few. It was not just the BD scene these new publications and their artists changed, the perception of the medium in French society also changed radically in the 1970s–1980s, in stark contrast to the one it held in the 1940s–1950s. Recognizing that the medium-advanced France's cultural status in the world, the cultural authorities of the nation started to aid the advancement of the medium as a bonafide art form, especially under
3165-416: A group of artists who were as much responsible for its success and then some as it was this group that defined the rejuvenated magazine in the post-war era. Upon war's end three artists from the defunct animation studio CBA were hired by Dupuis as staff artists for Spirou , Eddy Paape (before he switched over to World Press), André Franquin and Maurice "Morris" De Bevere , and it was Morris who created in 1946
3376-534: A lesson in mathematics. Hergé later admitted the flaws in the original story, excusing it saying: "I portrayed these Africans according to ... this purely paternalistic spirit of the time". Sue Buswell, who was the editor of Tintin at Methuen, summarised the perceived problems with the book in 1988 as "all to do with rubbery lips and heaps of dead animals", although Thompson noted her quote may have been "taken out of context". Drawing on André Maurois ' Les Silences du colonel Bramble , Hergé presents Tintin as
3587-940: A long tradition in comics, separate from that of English-language comics. Belgium is a mostly bilingual country, and comics originally in Dutch ( stripverhalen , literally "strip stories", or simply "strips") are culturally a part of the world of bandes dessinées , even if the translation from French to Dutch far outweighs the other direction. Among the most popular bandes dessinées are The Adventures of Tintin (by Hergé ), Spirou and Fantasio ( Franquin et al.), Gaston ( Franquin ), Asterix ( Goscinny & Uderzo ), Lucky Luke ( Morris & Goscinny ), The Smurfs ( Peyo ) and Spike and Suzy ( Willy Vandersteen ). Some highly-regarded realistically drawn and plotted bandes dessinées include Blueberry ( Charlier & Giraud , a.k.a. "Moebius"), Thorgal ( van Hamme & Rosiński ), XIII (van Hamme & Vance ), and
3798-422: A major element for the revolt at Pilote . That changed as well after 1968, when more and more artists decided to ply their trade as free-lancers , the L'Écho des Savanes founders having been early pioneers in that respect, and has as of 2017 become the predominant artist-publisher relationship. While contracts tend to be long-term for specific series at a particular publisher, they no longer prevent artists, like
4009-418: A more traditional style with more text and fewer drawings. This meant that in France, magazines like Pilote and Vaillant (relaunched as Pif gadget in 1969), and Spirou and Tintin for French-speaking Belgium, gained almost the entire market and became the obvious goal for new artists from their respective countries, who took up the styles prevalent in those magazines to break into the business. With
4220-464: A museum in the capital of France, Paris. These politicians did have a point however, as Angoulême is somewhat located off the beaten tourist track, resulting in that the museum only draws in about roughly half the visitor numbers its smaller Belgian counterpart does annually, and most of them visiting the museum during the festival season, whereas the Belgian museum draws in a steady stream of visitors all year round. A further revival and expansion came in
4431-471: A number of publishers in place, including Dargaud ( Pilote ), Le Lombard ( Tintin ), and Dupuis ( Spirou ), three of the biggest influences for over 50 years, the market for domestic comics had reached (commercial) maturity. In the following decades, magazines like Spirou , Tintin , Vaillant (relaunched as Pif Gadget in 1969), Pilote , and Heroïc-Albums [ fr ] (the first to feature completed stories in each issue, as opposed to
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#17331147025944642-500: A printing and publishing company) had somewhat limited itself as the album publisher of Hergé's Tintin since 1934, slightly expanded upon after the war with a couple of Hergé inspired creations by closely affiliated artists such as Jacques Martin, François Craenhals and the Danish C. & V. Hansen couple. It was with the specific intent to expand beyond the somewhat limited Hergé boundaries with other, more diverse high quality work, that
4853-509: A publishing house in 1922, publishing non-comic books and magazines. Since the launch of Spirou however, Dupuis has increasingly focused on comic productions and is currently, as of 2017, a comics publisher exclusively and one of the two great Belgian Franco-Belgian comic publishing houses still in existence. As post-war exports to France (like in the Netherlands, the magazine was not available in France until 1945-46), Spirou – featuring
5064-624: A result of their deviating from the American 32-page comic book standard. In recent decades the English "graphic novel" expression has increasingly been adopted in Europe as well in the wake of the works of Will Eisner and Art Spiegelman , but with the specific intent to discriminate between comics intended for a younger and/or general readership, and publications which are more likely to feature mature content, literary subject matter or experimental styles. As
5275-633: A result, European BD scholars have retroactively identified the 1962 Barbarella comic by Jean-Claude Forest (for its theme) and the first 1967 Corto Maltese adventure Una ballata del mare salato ( A Ballad of the Salt Sea ) by Hugo Pratt (for both art, and story style) in particular, as the comics up for consideration as the first European "graphic novels". During the 19th century, there were many artists in Europe drawing cartoons, occasionally even utilizing sequential multi-panel narration, albeit mostly with clarifying captions and dialogue placed under
5486-664: A result, the colourful supporting cast was developed during this period. Thomson and Thompson ( Dupont et Dupond in Hergé's original version) are two incompetent detectives who look like identical twins, their only discernible difference being the shape of their moustaches. First introduced in Cigars of the Pharaoh , they provide much of the comic relief throughout the series, being afflicted with chronic spoonerisms . They are extremely clumsy, thoroughly incompetent, and usually bent on arresting
5697-476: A sense of responsibility to my readers". Hergé's use of research and photographic reference allowed him to build a realised universe for Tintin, going so far as to create fictionalised countries, dressing them with specific political cultures. These were heavily informed by the cultures evident in Hergé's lifetime. Pierre Skilling has asserted that Hergé saw monarchy as "the legitimate form of government", noting that democratic "values seem underrepresented in [such]
5908-411: A short time thereafter, transforming the magazine into a purely French one. However, while the magazine was now targeted at an older adolescent readership with stories featuring more mature themes, Goscinny stopped short of letting the magazine become a truly adult magazine. Yet, the magazine was unable to regain the dominant position it had held in the previous one-and-a-half decade, due to the flooding of
6119-403: A single so-called "hero" in sight anywhere in his series. To hammer home the point, both artists had their medieval knights , around whom both narratives were centered, die violent deaths nowhere near the fulfillment of their respective quests, thereby reinforcing the futility of such endeavors. With such series driving home the point that real history is made by mere humans and not "super-humans",
6330-598: A staunchly Roman Catholic, conservative Belgian newspaper based in Hergé's native Brussels . Run by the Abbé Norbert Wallez , the paper described itself as a "Catholic Newspaper for Doctrine and Information" and disseminated a fascist viewpoint. Wallez appointed Hergé editor of a new Thursday youth supplement, titled Le Petit Vingtième (" The Little Twentieth "). Propagating Wallez's sociopolitical views to its young readership, it contained explicitly pro-fascist and antisemitic sentiment. In addition to editing
6541-567: A strip about a Boy Scout patrol leader titled Les Aventures de Totor C.P. des Hannetons ( The Adventures of Totor, Scout Leader of the Cockchafers ) for the Scouting newspaper Le Boy Scout Belge ( The Belgian Boy Scout ). Totor was a strong influence on Tintin , with Hergé describing the latter as being like Totor's younger brother. Jean-Marc and Randy Lofficier stated that graphically, Totor and Tintin were "virtually identical" except for
Cubitus - Misplaced Pages Continue
6752-704: A strong protagonist. Tintin's iconic representation enhances this aspect, with Scott McCloud noting that it "allows readers to mask themselves in a character and safely enter a sensually stimulating world". Snowy ( Milou in Hergé's original version), a white Wire Fox Terrier dog, is Tintin's loyal companion. Like Captain Haddock, Snowy is fond of Loch Lomond brand Scotch whisky , and his occasional bouts of drinking tend to get him into unintentional trouble, as does his only fear: arachnids. Captain Archibald Haddock ( Capitaine Haddock in Hergé's original version)
6963-608: A tree. In 2007, the UK's Commission for Racial Equality called for the book to be pulled from shelves after a complaint, stating: "It beggars belief that in this day and age Borders would think it acceptable to sell and display Tintin in the Congo." In August 2007, a Congolese student filed a complaint in Brussels that the book was an insult to the Congolese people. Public prosecutors investigated, and
7174-419: A very prolific comic script writer, becoming his trademark henceforth, Charlier also became an editorial driving force and spokesperson for the agency, because of his background in law and his assertive personality. As such, he was responsible for introducing the two Frenchmen René Goscinny (who also starting out his comics career at the agency) and former Bravo artist Albert Uderzo to each other in 1951 at
7385-411: A well-rounded yet open-ended, intelligent, and creative character, noting that his lack of backstory and neutral personality permits a reflection of the evil, folly, and foolhardiness which surrounds him. The character never compromises his Boy Scout ideals, which represent Hergé's own, and his status allows the reader to assume his position within the story, rather than merely following the adventures of
7596-602: A work given to him by Wallez and authored by Joseph Douillet , the former Belgian consul in Russia, that is highly critical of the Soviet regime, although Hergé contextualised this by noting that in Belgium, at the time a devout Catholic nation, "anything Bolshevik was atheist ". In the story, Bolshevik leaders are motivated by personal greed and a desire to deceive the world. Tintin discovers, buried, "the hideout where Lenin , Trotsky , and Stalin have collected together wealth stolen from
7807-430: A work whose idioms and jokes would be meritorious in their own right. Despite the free hand Hergé afforded the two, they worked closely with the original text, asking for regular assistance to understand Hergé's intentions. The British translations were also Anglicised to appeal to British customs and values. Milou, for example, was renamed Snowy at the translators' discretion. Captain Haddock's Le château de Moulinsart
8018-422: A younger, post-war generation of French BD artists like Yves Chaland , Édika and Philippe Foerster [ fr ] debuted, whereas veterans like Gotlib and Franquin found a home for their later, darker and more cynical work. A major player in the field became French publisher and newcomer Glénat Éditions (founded in 1972, and who actually started out publishing graphic novels directly as albums before
8229-405: A youth supplement to the Belgian newspaper Le Vingtième Siècle ( The Twentieth Century ). The success of the series led to serialised strips published in Belgium's leading newspaper Le Soir ( The Evening ) and spun into a successful Tintin magazine . In 1950, Hergé created Studios Hergé , which produced the canonical versions of ten Tintin albums. Following Hergé's death in 1983,
8440-558: Is a Merchant Marine sea captain and Tintin's best friend. Introduced in The Crab with the Golden Claws , Haddock is initially depicted as a weak and alcoholic character, but later evolves to become genuinely heroic and even a socialite after he finds a treasure from his ancestor, Sir Francis Haddock ( Chevalier François de Hadoque ). The Captain's coarse humanity and sarcasm act as a counterpoint to Tintin's often-implausible heroism; he
8651-567: Is a fictional police inspector. Cubitus first appeared in the Franco-Belgian comics magazine Tintin on April 16, 1968. The series gained immediate popularity, and began album publication in 1972. After several years of gags and album publications, it became the title strip for a magazine of its own. The first publication of Cubitus was published by Le Lombard in December 1989, though it proved short-lived, lasting only six issues. In 2005,
Cubitus - Misplaced Pages Continue
8862-574: Is a series of 24 comic albums created by Belgian cartoonist Georges Remi, who wrote under the pen name Hergé . The series was one of the most popular European comics of the 20th century. By 2007, a century after Hergé's birth in 1907, Tintin had been published in more than 70 languages with sales of more than 200 million copies, and had been adapted for radio, television, theatre, and film. The series first appeared in French on 10 January 1929 in Le Petit Vingtième ( The Little Twentieth ),
9073-422: Is always quick with a dry comment whenever the boy reporter seems too idealistic. The hot-tempered Haddock uses a range of colourful insults and curses to express his feelings, such as "billions of bilious blue blistering barnacles!" ( Mille milliards de mille sabords! ) or "ten thousand thundering typhoons!" Professor Cuthbert Calculus ( Professeur Tryphon Tournesol in Hergé's original version; tournesol
9284-399: Is an opera singer of whom Haddock is terrified. She was first introduced in King Ottokar's Sceptre and seems to appear wherever the protagonists travel, along with her maid Irma and pianist Igor Wagner . Although amiable and strong-willed, she is also comically foolish, whimsical, absent-minded, talkative, and seemingly unaware that her voice is shrill and appallingly loud. Her speciality
9495-405: Is currently also a prolific publisher of children's books. Yet, it remained French publications and French artists who would continue to dominate the field from the late-1970s onward to this day, with such (sometimes short-lived) magazines as Bananas , Virus , Mormoil , the feminist Ah ! Nana [ fr ] , Casablanca and Fluide Glacial . It were in these such magazines that
9706-558: Is especially noticeable in the seascapes, which are reminiscent of works by Hokusai and Hiroshige . Hergé also declared Mark Twain an influence, although this admiration may have led him astray when depicting Incas as having no knowledge of an upcoming solar eclipse in Prisoners of the Sun , an error T. F. Mills attributed to an attempt to portray "Incas in awe of a latter-day ' Connecticut Yankee '". Tintin first appeared in English in
9917-422: Is frequently replaced by malapropisms such as " Paddock ", " Stopcock ", or " Hopscotch ", while Nestor, Haddock's butler, is confused with "Chestor" and "Hector". Her own name means "white and chaste flower": a meaning to which Professor Calculus once refers when he breeds a white rose and names it for the singer. She was based upon opera divas in general (according to Hergé's perception), Hergé's Aunt Ninie (who
10128-663: Is the French word for 'sunflower') is an absent-minded and partially deaf physicist and a regular character alongside Tintin, Snowy, and Captain Haddock. He was introduced in Red Rackham's Treasure , and based partially on Auguste Piccard , a Swiss physicist. "Everybody wants to be Tintin: generation after generation. In a world of Rastapopouloses , Tricklers and Carreidases —or, more prosaically, Jolyon Waggs and Bolt-the-builders —Tintin represents an unattainable ideal of goodness, cleanness, authenticity". Hergé's supporting characters have been cited as far more developed than
10339-453: Is the Jewel Song ( Ah! Je ris de me voir si belle en ce miroir / Ah! My beauty past compare, these jewels bright I wear ) from Gounod 's opera Faust , which she sings at the least provocation. She is often maternal toward Haddock, of whose dislike she remains ignorant. She often confuses words, especially names, with other words that rhyme with them or of which they remind her; "Haddock"
10550-475: Is why they are nowadays sub-categorized as Flemish comics , as their evolution started to take a different path from the late 1940s onward, due to cultural differences stemming from the increasing cultural self-awareness of the Flemish people. And while French-language publications are habitually translated into Dutch, Flemish publications are less commonly translated into French, for cultural reasons. Likewise, despite
10761-465: The Journal de Mickey , a weekly 8-page early "comic-book". The success was immediate, and soon other publishers started publishing periodicals with American series, which enjoyed considerable popularity in both France and Belgium. This continued during the remainder of the decade, with hundreds of magazines publishing mostly imported material. The most important ones in France were Robinson , Hurrah , and
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#173311470259410972-523: The Adventures of Tintin from a more "adult" perspective as Les Métamorphoses de Tintin , published in English as The Metamorphoses of Tintin, or Tintin for Adults in 2010. In reviewing Apostolidès' book, Nathan Perl-Rosenthal of The New Republic thought that it was "not for the faint of heart: it is densely-packed with close textual analysis and laden with psychological jargon". Following Apostolidès's work, French psychoanalyst Serge Tisseron examined
11183-469: The Allies entered Brussels and Hergé's German employers fled. Le Soir was shut down and The Adventures of Tintin was put on hold. Then in 1946, Hergé accepted an invitation from Belgian comic publisher Raymond Leblanc and his new publishing company Le Lombard to continue The Adventures of Tintin in the new Le journal de Tintin ( Tintin magazine). Hergé quickly learned that he no longer had
11394-601: The Art Deco designer, also affected early Tintin adventures: "His influence can be detected at the beginning of the Soviets , where my drawings are designed along a decorative line, like an 'S'". Hergé also readily adopted the image of round noses from George McManus , feeling they were "so much fun that I used them, without scruples!" During the extensive research Hergé carried out for The Blue Lotus , he became influenced by Chinese and Japanese illustrative styles and woodcuts . This
11605-689: The Fleurus presse [ fr ] (on behalf of the Action catholique des enfants [ fr ] a.k.a. Cœurs Vaillants et Âmes Vaillantes de France) publications Cœurs Vaillants ("Valiant Hearts", 1929, for adolescent boys), Âmes vaillantes [ fr ] ("Valiant Souls", 1937, for adolescent girls) and Fripounet et Marisette [ fr ] (1945, for pre-adolescents), while Belgian examples included Wrill and Bravo . Coeurs Vaillants started to publish The Adventures of Tintin in syndication from 1930 onward, constituting one of
11816-611: The German-speaking Community of Belgium lies within the territory of the Walloon Region , so that French is the most utilized (second) language in that area and has caused the handful of BD artists originating from there, such as Hermann and Didier Comès , to create their BDs in French. Born Dieter Hermann Comès, Comès actually "Frenchified" his given name to this end, whereas Hermann has dispensed with his (Germanic) family name "Huppen" for his BD credits, though he maintained
12027-610: The Italian conquest of Albania , and that of Czechoslovakia and Austria by expansionist Nazi Germany prior to World War II. Hergé's use of research would include months of preparation for Tintin's voyage to the Moon in the two-part storyline spread across Destination Moon and Explorers on the Moon . His research for the storyline was noted in New Scientist : "The considerable research undertaken by Hergé enabled him to come very close to
12238-579: The Paris Gare du Nord railway station, following which he organised the publication of the story in book form. The story's popularity led to an increase in sales, so Wallez granted Hergé two assistants. At Wallez's direction, in June he began serialisation of the second story, Tintin in the Congo , designed to encourage colonial sentiment towards the Belgian Congo . Authored in a paternalistic style that depicted
12449-851: The United Kingdom . He also sent Tintin to fictional countries of his own devising, such as the Latin American republic of San Theodoros , the East European kingdom of Syldavia , or the fascist state of Borduria —whose leader's name, Müsstler, was a portmanteau of the names of the Nazi German Führer Adolf Hitler and the Italian Fascist Prime Minister Benito Mussolini . In May 1940, Nazi Germany invaded Belgium as World War II spread further across Europe. Although Hergé briefly fled to France and
12660-553: The Western comic series Jerry Spring , that started its run in Spirou in March 1954. Jijé incidentally, had magazine tenure, but closely cooperated with the World Press artists before embarking on his own creation. Successful series Charlier himself created in this period were the educational short series Les Belles Histoires de l'oncle Paul (serving as proving ground in order to develop
12871-404: The below-mentioned Frenchman Claude Moliterni [ fr ] , the article series was in itself an example of a Franco-Belgian BD project. The publication of Francis Lacassin 's book Pour un neuvième art : la bande dessinée in 1971 further established the term. In North America , Franco-Belgian BDs are often seen as equivalent to what are known as graphic novels — most likely
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#173311470259413082-625: The standard) or, to a lesser degree, 62 pages (discounting the two disclaimer, and title pages) for print and binding technical reasons as printers traditionally printed eight double-sided pages on one sheet of print paper, though albums with a larger page count—provided the total page count is a multiple of eight—are not that uncommon, the graphic novel album publications of À Suivre publisher Casterman in particular. The Adventures of Tintin The Adventures of Tintin ( French : Les Aventures de Tintin ; [lez‿avɑ̃tyʁ də tɛ̃tɛ̃] )
13293-507: The " Asterix " series as an almost instantaneous success. The audience radicalized at a faster pace than the editors, however, which had trouble keeping up. The French satire magazine Hara-Kiri was launched, also aimed at an adult audience. In the 1960s, most of the French Catholic magazines, such as the Fleurus publications, waned in popularity, as they were "re-christianized" and went to
13504-537: The (early) creations of Belgian greats like Morris , Franquin and Jijé – became a significant inspiration for future French bande dessinée greats such as Jean "Mœbius" Giraud and Jean-Claude Mézières , eventually setting them off on their comic careers, but who were schoolboys at the time they became acquainted with the magazine. When Germany invaded France and Belgium, it became close to impossible to import American comics . The occupying Nazis banned American animated movies and comics they deemed to be of
13715-452: The 1968 revolt in the editorial offices, but he now found himself suddenly confronted with the magazine hemorrhaging its most promising BD talents and diminishing sales. The magazine was eventually turned into a monthly magazine, its artists who had not yet left given more creative freedoms and the Belgian influence terminated definitively with the departure of co-editor Charlier in 1972 and the last Belgian artists Hubinon and Jijé following suit
13926-471: The 1979 Angoulême comics festival with its most prestigious award), along with the magazines they created their work for. It has been observed that, unlike the Belgian publications, these mostly secular native magazines were largely left alone by the Commission de Surveillance, save for one notable exception; Pierre Mouchot, creator and editor of American inspired comic magazines in the immediate post-war era,
14137-798: The 1990s with several small independent publishers emerging, such as L'Association (established in 1990), Le Dernier Cri , Amok , Fréon (the latter two later merging into Frémok ), and Ego comme X . Known as "la nouvelle bande dessinée" (similar to the North American alternative comics ), these books are often more artistic, graphically and narratively, than the usual products of the big companies. Dupuy and Berberian , Lewis Trondheim , Joann Sfar , Marjane Satrapi ( Persepolis ), Christophe Blain , Stéphane Blanquet , Edmond Baudoin , David B , and Emmanuel Larcenet all started their careers with these publishers, and would later gain fame with comics such as Donjon (Trondheim & Sfar), Isaac
14348-524: The 20 December 2006 - 19 February 2007 Hergé exposition in the even more prestigious Centre Georges Pompidou modern art museum (likewise located in Paris and incidentally one of President Mitterrand's below-mentioned "Great Works") on the occasion of the centenary of that artist's birth. Giraud's funeral services in March 2012 was attended by a representative of the French nation in the person of Minister of Culture Frédéric Mitterrand , who also spoke on behalf of
14559-520: The 76,000 copy circulation of Tintin , and it was but one of the many American comics published in France in the immediate post-war era. It was the very reason for the unlikely French Catholic-Communist alliance in this regard, and a very effective one at that as American comics all but disappeared from the French comic scene for the time being, the Le Journal de Mickey excepted, which only reappeared three years later in former occupied western Europe. It
14770-507: The American ones in particular (even though they were not mentioned by name in the law), and in this the French law actually foreshadowed the 1954 publication of the comic condemning treatise Seduction of the Innocent by Fredric Wertham in the United States itself. But there was an equally important, but unofficial, reason for the law as well; American comics were doing so well in post-liberation France, that native comic magazines, particularly
14981-689: The Arab emir, and Abdullah his mischievous son, Dr. Müller the evil German psychiatrist, Oliveira da Figueira the friendly Portuguese salesman, Cutts the butcher whose phone number is repeatedly confused with Haddock's, and Allan the henchman of Rastapopoulos and formerly Haddock's first mate. The settings within Tintin have also added depth to the strips. Hergé mixes real and fictional lands into his stories. In King Ottokar's Sceptre (revisited once more in The Calculus Affair ) Hergé creates two fictional countries, Syldavia and Borduria , and invites
15192-604: The British countryside would be acceptable to British readers. The resulting 1966 album is the dramatically updated and redrawn version most commonly available today. As of the early 21st century, Egmont publishes Tintin books in the United Kingdom and elsewhere. The Tintin books have had relatively limited popularity in the United States. The works were first adapted for the American English market by Golden Books ,
15403-464: The Catholic Church, in the form of its then powerful and influential Union des œuvres ouvrières catholiques de France [ fr ] , was creating and distributing "healthy and correct" magazines for children. In the early 1900s, the first popular French comics appeared. Two of the most prominent comics include Bécassine and Les Pieds Nickelés . In the 1920s, after the end of
15614-498: The Catholic ones, became threatened in their very existence, and the law therefore became concurrently a veiled market protection mechanism . An added sense of urgency was, besides the huge popularity the American magazines enjoyed among France's youth, that the native publications had at that time a distinct disadvantage over their American counterparts as the country still experienced a serious post-war paper shortage (reflected as such in
15825-430: The Congolese as childlike idiots, in later decades it was accused of racism, but at the time was uncontroversial and popular, and further publicity stunts were held to increase sales. For the third adventure, Tintin in America , serialised from September 1931 to October 1932, Hergé finally got to deal with a scenario of his own choice, and used the work to push an anti-capitalist, anti-consumerist agenda in keeping with
16036-491: The Franco-Belgian BD with the Japanese manga format (see below ). But it is however Jean "Mœbius" Giraud, coined "the most influential bandes dessinées artist after Hergé" by several academic BD scholars , who is considered the premier French standard bearer of "Le Neuvième Art", as he has received two different civilian knighthoods with a posthumous rank elevation of his Arts and Letters knighthood to boot, an unicum for
16247-558: The Franco-Belgian historical BD had come a long way since their first romanticized and/or idealized appearances in the 1940s–1970s, particularly in Tintin and Pilote as portrayed by such artists as the Fred Funcken [ fr ] ( Le Chevalier blanc , Harald le Viking , Lieutenant Burton ), William Vance ( Howard Flynn , Rodric , Ramiro ), François Craenhals ( Chevalier Ardent ) or Victor Hubinon ( Barbe Rouge ), to name but
16458-465: The French counterparts of the slightly earlier American underground comix , also conceived and popularized as a result of the counterculture of the 1960s , of which the French May 1968 events were only a part. But unlike their American counterparts, the French magazines were mainstream from the start when they eventually burst onto the scene in the early 1970s, as publications of this kind could not escape
16669-502: The French language's cultural status. Belgium is officially a trilingual country as there is a German-speaking Community of Belgium . Belgian BD home market first print releases, be it in Dutch or in French, are rarely translated into that language with German-speaking Belgians having to wait for internationally released editions for reading in their native tongue, typically those from licensed publishers stemming from neighboring Germany . Though Dutch and German both are Germanic languages,
16880-405: The French to exercise self-censorship. Having already embarked on their divergent evolutionary path, Flemish comics escaped this kind of scrutiny, as they were at the time rarely, if at all, translated into French. In 1959, the influential French weekly Pilote launched, already from the start an attempt to be a more mature alternative to Spirou and Pilote , aimed at a teenage audience, with
17091-522: The French-language BDs extends beyond Francophone Europe, as France in particular has strong historical and cultural ties with several Francophone overseas territories. Of these territories it is Quebec , Canada , where Franco-Belgian BDs are doing best, due – aside from the fact that it has the largest BD reading Francophone population outside Europe – to that province's close historical and cultural ties with France from colonization , in
17302-476: The Frenchman Rob-Vel (and thus another early cross-fertilization example) and who served as the mascot and namesake for the new magazine, and Tif et Tondu created by Belgian artist Fernand Dineur . Both series would survive the war and achieve considerable popularity after the war, albeit under the aegis of other artists (see below). Published in a bi-lingual country, Spirou simultaneously appeared in
17513-564: The Germanic spelling for his first name. Due to its relative modesty, both in size and in scope, and despite the close historical and cultural ties, no German-Belgian artists are as of 2018 known to have created BDs specifically for the German comics world, when discounting commercial translations of their original Francophone creations. A similar situation exists in France, which has several regional languages , of which Breton and Occitan are two of
17724-570: The Golden Claws was the first to be published with Hyslop's lettering. Hyslop was given versions of Hergé's artwork with blank panels. Hyslop would write his English script on a clear cellophane -like material, aiming to fit within the original speech bubble. Occasionally the size of the bubbles would need to be adjusted if the translated text would not fit. In the early 2000s, Tintin's English publishers Egmont discontinued publishing books featuring Hyslop's handwritten lettering, instead publishing books with text created with digital fonts. This change
17935-714: The Hergé Foundation has presented such criticism as naïveté and scholars of Hergé such as Harry Thompson have said that "Hergé did what he was told by the Abbé Wallez", Hergé himself felt that his background made it impossible to avoid prejudice, stating: "I was fed the prejudices of the bourgeois society that surrounded me". In Tintin in the Land of the Soviets , the Bolsheviks were presented as villains. Hergé drew on Moscow Unveiled ,
18146-670: The Hergé Foundation, Hergé's widow Fanny Rodwell said: "We never thought that this story of friendship would have a resonance more than 40 years later". The study of Tintin, sometimes referred to as "Tintinology", has become the life work of some literary critics in Belgium, France and the United Kingdom. Belgian author Philippe Goddin has written Hergé et Tintin reporters: Du Petit Vingtième au Journal Tintin (1986, later republished in English as Hergé and Tintin Reporters: From "Le Petit Vingtième" to "Tintin" Magazine in 1987) and Hergé et les Bigotudos (1993) amongst other books on
18357-571: The Jewish surname of "Blumenstein". This proved controversial, as the character exhibited exaggerated, stereotypically Jewish characteristics. "Blumenstein" was changed to an American with a less ethnically specific name, Mr. Bohlwinkel , in later editions and subsequently to a South American of a fictional country São Rico. Hergé later discovered that 'Bohlwinkel' was also a Jewish name. In recent years, even Tintin's politics of peace have been investigated. The Adventures of Tintin has been adapted in
18568-599: The Pirate (Blain), Professeur Bell (Sfar). Léo Quievreux , a key artist in the 1990s scene, founded and ran his own publication house, Gotoproduction, which he ran along with Jean Kristau and Anne-Fred Maurer from 1991 to 2000 or 2001, and which published over 60 books. Before the Second World War, comics were almost exclusively published in tabloid newspapers . Since 1945, the " comic album " (or " comics album ", in French " album BD " for short) format gained popularity,
18779-528: The Scout uniform, also noting many similarities between their respective adventures, particularly in the illustration style, the fast pace of the story, and the use of humour. He was fascinated by new techniques in the medium such as the systematic use of speech bubbles—found in such American comics as George McManus ' Bringing up Father , George Herriman 's Krazy Kat , and Rudolph Dirks 's Katzenjammer Kids , copies of which had been sent to him from Mexico by
18990-571: The Soviet Union, Belgian Congo, Peru, India, Egypt, Morocco, Indonesia, Iceland, Nepal, Tibet, and China. Other actual locales used were the Sahara Desert, the Atlantic Ocean, and the Moon. Hergé's extensive research began with The Blue Lotus ; Hergé said that "it was from that time that I undertook research and really interested myself in the people and countries to which I sent Tintin, out of
19201-520: The Wind , seven volumes, set in 18th-century seafaring and slave trading Europe, becoming one of the first BD series to deal realistically in considerable detail with the dark slavery chapter in human history) and Les Compagnons du crépuscule (1983–1989, Companions of the Dusk , three volumes, set in 13th-century Europe and published by Casterman incidentally). Both series made short work of any romantic notion about
19412-549: The Youth") and passed in response to the post-liberation influx of American comics, was invoked as late as 1969 to prohibit the comic magazine Fantask [ fr ] —which featured translated versions of Marvel Comics stories — after seven issues. The formal and official justification for the law was the legislative desire to protect the youth of France from the perfidious and corruptive influence perceived to permeate foreign comics, especially in regard to violence and sexuality,
19623-608: The advent of Pilote magazine and more specifically the May 1968 social upheaval . Legally, the Commission had no punitive powers, only advisory ones, but in practice Charlier begged to differ. The all powerful Commission, shielded by the Justice Ministry (which was the punitive authority, but who took any and all Commission recommendations at face value, no questions asked), convened on a weekly basis, sifting through publications and weeding out those they felt subject to prohibition under
19834-617: The arts ) as "Le Neuvième Art" ("the 9th art"), aside from becoming accepted as a mature part of French culture by Francophone society at large (in France and French-speaking Belgium it is as common to encounter grownup people reading BDs in public places, such as cafe terraces or public transportation, as it is people reading books, newspapers or magazines). Since then more than one BD artist have received " Ordre des Arts et des Lettres " civilian knighthoods, and these were not restricted to French nationals alone, as Japanese artist Jiro Taniguchi has also received one in 2011 for his efforts to merge
20045-472: The availability in France of Belgian magazines like Spirou (which actually came close to prohibition however, as the Korean War stories were serialized in the magazine, but which was narrowly averted at the eleventh hour by Charlier) and Tintin in favor of the native Catholic magazines, after the conservatives had reasserted their political predominance in the country during the 1950s. Rigorously enforced by
20256-408: The below-mentioned François Bourgeon and Hermann Huppen, to create other BDs for other publishers, sometimes even suspending a series for the one in favor of a series for the other. The advent of the new adult magazines had a profound effect on France's hitherto most influential BD magazine Pilote . Editor-in-chief Goscinny had at first refused to implement the changes demanded by its artists during
20467-523: The central character, each imbued with strength of character and depth of personality, which has been compared with that of the characters of Charles Dickens . Hergé used the supporting characters to create a realistic world in which to set his protagonists' adventures. To further the realism and continuity, characters would recur throughout the series. The occupation of Belgium and the restrictions imposed upon Hergé forced him to focus on characterisation to avoid depicting troublesome political situations. As
20678-479: The character of Tintin and the sort of adventures that would befall him came to me, I believe, in five minutes, the moment I first made a sketch of the figure of this hero: that is to say, he had not haunted my youth nor even my dreams. Although it's possible that as a child I imagined myself in the role of a sort of Tintin". Georges Prosper Remi, best known under the pen name Hergé , was employed as an illustrator at Le Vingtième Siècle ( The Twentieth Century ),
20889-413: The comic became successful in Tintin magazine in the period 1958–1962 (and thus, alongside Martin's The Adventures of Alix , one of the first purely French comics to appear in the Belgian magazine), effectively becoming the "spiritual father" of their later Asterix creation. But it were not just the artists contracted by World Press who infused Spirou with its new elan, Dupuis itself had contracted
21100-535: The comic magazine Vaillant (not to be confused with the two near-similarly named Fleurus publications) was launched in 1945 upon war's end. The secular magazine provided a platform for predominantly native comic talent born between the 1920s and the 1940s, not able or willing to work for the Catholic magazines, to showcase their work. French names of note who started out their career in the magazine were among others Nikita Mandryka , Paul Gillon , Jean-Claude Forest and Marcel Gotlib , and were less beholden to what
21311-458: The creations of Hermann . In Europe, French is spoken natively not only in France and the city state of Monaco , but also by significant portions of the population of Belgium , Luxembourg and Switzerland . The shared language creates an artistic and commercial market where national identity is often blurred, and one of the main rationales for the conception of the (English) "Franco-Belgian comics" expression itself. The potential appeal of
21522-484: The earliest known French-Belgian comic world cross-fertilizations, only reinforced when Abbot Courtois, editor-in-chief of Coeurs Vaillants , asked Hergé to create a series about real children with a real family as opposed to Tintin ' s ambiguous age and family (and thus more in line with the Catholic norms and values on which the magazine was founded), which resulted in the 1936 comic The Adventures of Jo, Zette and Jocko . Incidentally, as Hergé created his comics in
21733-418: The earliest. Following suit was Métal Hurlant (vol. 1: December 1974 – July 1987 from also new French publisher Les Humanoïdes Associés , founded by likewise Pilote defectors, Druillet , Jean-Pierre Dionnet and Mœbius ) with the far-reaching science fiction and fantasy of Mœbius, Druillet, and Bilal . Its translated counterpart made an impact in America as Heavy Metal . This trend continued during
21944-686: The early 21st century, Little, Brown and Company (owned by the Hachette Book Group USA ) continues to publish Tintin books in the United States. Moulinsart 's official Tintin app in Apple 's App Store , launched with the release of the digital version of Tintin in the Congo on 5 June 2015, features brand new English language translations by journalist, writer and Tintin expert Michael Farr . The English-language Adventures of Tintin books were originally published with handwritten lettering created by cartographer Neil Hyslop. 1958's The Crab with
22155-550: The episodic approach of other magazines) would dominate the market. At this time, the French creations had already gained fame throughout Europe, and many countries had started importing the comics in addition to—or as substitute for—their own productions. The aftermath of the May 1968 social upheaval brought many mature – as in aimed at an adult readership – BD magazines, something that had not been seen previously and virtually all of them of purely French origin, which
22366-417: The era under the shadow of the all-present Catholic publications to fill the void left by the banned American comics such as Les Grandes Séries Internationales , Cricri Journal , Mireille , Ouest-Magazine , Nano et Nanette , Héros du Far West , Frimousse , Cocorico and Allez-France , all of which filled with work from French artists, now forgotten save Marijac himself (who was honored for his efforts at
22577-518: The executive director of ICT Europe Tsering Jampa noted was "for many ... their introduction to the awe-inspiring landscape and culture of Tibet". In 2001, the Hergé Foundation demanded the recall of the Chinese translation of the work, which had been released with the title Tintin in Chinese Tibet . The work was subsequently published with the correct translation of the title. Accepting on behalf of
22788-422: The faith) such as Jijé (whose early realistic works were deeply steeped in the faith), or had, like Hergé did, strong ties with the as "healthy" considered scouting movement – a significant presence in Belgian society at the time, which also explains the contemporary popularity of Charlier's La patrouille des Castor series in Belgium, which was centered around a scouting chapter – and were thus, to use
22999-460: The few exceptions. It was (À Suivre) that popularized the concept of the graphic novel – in French abbreviated as "Roman BD", "roman" being the translation for "novel" – as a longer, more adult, more literate and artistic BD in Europe. Unlike its Dupuis counterpart, and while their BD catalog has expanded considerably since then, Casterman has never evolved into a purely BD publisher by completely abandoning its book publishing roots, as it
23210-546: The final instalment of the series, Tintin and Alph-Art , was released posthumously. The series is set during a largely realistic 20th century. Its protagonist is Tintin , a courageous young Belgian reporter and adventurer aided by his faithful dog Snowy ( Milou in the original French edition). Other allies include the brash and cynical Captain Haddock , the intelligent but hearing-impaired Professor Calculus (French: Professeur Tournesol ), incompetent detectives Thomson and Thompson (French: Dupont et Dupond ), and
23421-453: The first world war, the French artist Alain Saint-Ogan started out as a professional cartoonist, creating the successful series Zig et Puce in 1925. Saint-Ogan was one of the first French-speaking artists to fully utilize techniques popularized and formularized in the United States, such as Speech balloons , even though the text comic format would remain the predominant native format for
23632-437: The formal status (when discounting the manga, which has achieved a near-similar status in native Japan), with its resultant strong backing from cultural authorities. A visible manifestation of the latter has become the prestigious " Centre belge de la Bande dessinée " (Dutch: "Belgisch Centrum voor het Beeldverhaal", English: "Belgian Comic Strip Center") established in 1989 in the Belgian capital Brussels , and which, as one of
23843-403: The former French resistance, although most were released soon afterwards without charges being pressed. For example, this happened to one of the famous magazines, Coeurs Vaillants . It was founded by Abbot Courtois (under the alias Jacques Coeur) in 1929. As he had the backing of the church, he managed to publish the magazine throughout the war, and was charged with being a collaborator. After he
24054-475: The government oversight committee Commission de surveillance et de contrôle des publications destinées à l'enfance et à l'adolescence [ fr ] (Committee in Charge of Surveillance and Control over Publications Aimed at Children and Adolescents), particularly in the 1950s and the first half of the 1960s, the law turned out to be a stifling influence on the post-war development of the French comic world until
24265-437: The highest court of appeal (though only receiving symbolic punishment) under article 2 of the 1949 law for real. However, the conviction did serve as an effective deterrent for other native artists – and thus firmly establishing the Commission as a force to be reckoned with, even though they had a tough time becoming so as Mouchot kept winning his lower court cases – who continued to create their comics while erring on
24476-500: The historical town of Angoulême , already the locus of France's biggest annual BD festival since 1974. A major project in the making, involving the renovation of several ancient buildings and the designing of a new one spread over the grounds of the town's former brewery by renowned architect Roland Castro , the museum, Cité internationale de la bande dessinée et de l'image [ fr ] , only opened its doors in June 2009 (though two smaller sub-museums, eventually incorporated in
24687-432: The in that year opened Paris, France, office of World Press, in the process creating one of Franco-Belgium's most successful bande dessinée partnerships. One of the first comics both men created together in the employ of the agency was the in colonial French-Canada era set Western series Oumpah-pah , which was already conceived as loose gags in 1951, but failed to find a magazine publisher. Reworked into complete stories,
24898-433: The increasingly popular speech balloon format, it initially led to a conflict with Cœurs Vaillants , which utilized the text comic format its editors considered more appropriate from an educational point-of-view. Hergé won the argument, and speech balloon comics were henceforth featured alongside text comics in the magazine (and that of its spin-offs) until the mid-1960s, when speech balloon comics were all but abandoned by
25109-427: The independence he preferred; he was required to produce two coloured pages a week for Leblanc's magazine, a tall order. In 1950, Hergé began to poach the better members of the Tintin magazine staff to work in the large house on Avenue Louise that contained the fledgling Studios Hergé . Bob De Moor (who imitated Hergé's style and did half the work), Guy Dessicy (colourist), and Marcel DeHaye ( secretary ) were
25320-449: The larger final one, were already open to the public as early as 1991) in the process becoming the largest BD museum in Europe. The museum is administered by the CNBDI, established in 1985 for upcoming museum, but which has since then expanded its work on behalf of the bande dessinée beyond the confines of the museum alone, as already indicated above. On 11 December 2012, one of the buildings on
25531-513: The largest BD museum in Europe, draws in 200,000 visitors annually. The museum is housed in a state-owned 1905 building designed by architect Victor Horta in the Art Nouveau style, the same style French female artist Annie Goetzinger has employed for her BDs. Belgium possesses two other, smaller, museums dedicated to individual BD artists, the Marc Sleen Museum (est. 2009), located across
25742-456: The later American graphic novel format), the European albums are rather large (roughly A4 standard). Comic albums started to receive their own individual ISBNs from the mid-1970s onward all over Europe solidifying their status as books. Conceived as a format as currently understood in Belgium with the first Tintin albums in the early 1930s—incidentally the second reason for considering Tintin
25953-498: The latter in the 1960s) other than the original creators, none of them succeeded to find a readership outside France itself and are consequently remembered in their native country only. One of the earliest proper Belgian comics was Hergé 's The Adventures of Tintin , with the story Tintin in the Land of the Soviets , which was published in Le Petit Vingtième in 1929. It was quite different from future versions of Tintin,
26164-449: The launch of Circus ) with their two main magazine publications Circus (comics) [ fr ] (1975–1989) and Vécu [ fr ] (1985–1994, with emphasis on mature stories of an accurate historical nature), featuring predominantly the work of French BD talents, but who did so with a twist; Glénat targeted their magazines at a readership positioned between the adolescent readership of Pilote , Tintin and Spirou and
26375-412: The law, every decision they took being final, under no obligation to ever provide any formal justification whatsoever and without any possibility for appeal, which amounted to de facto state censorship according to Charlier. Yet, it were also the communists who provided the comic scene in France with a single bright-spot; Having its origins in the communist wartime underground resistance publications,
26586-469: The magazine at a later point in time. Nonetheless, with Lombard Francophone Europe had received its first specialized comics publisher actually conceived as such. Le Lombard went on to become one of the three great Belgian publishing houses to produce comics in French (and in Dutch as well for that matter due to the bi-lingual nature of the country), alongside Dupuis and Casterman, and like them as of 2017 still in existence. Many other magazines did not survive
26797-403: The magazine directly after the liberation, when he started the secular comics magazine Coq hardi [ fr ] (1944–1963), France's first recognizable modern bande dessinée magazine. Marijac himself became a prolific figure of note in the French comic scene of the 1950s as co-editor and contributor for a series of native comic magazines other than his own Coq Hardi , and conceived in
27008-416: The magazine on his most popular creation Gaston in 1957. With the addition of artist Willy "Will" Maltaite , who took over the series Tif et Tondu from original creator Fernand Dineur, the group that became known as " La bande des quatre " (Gang of 4), consisting of Jijé, Franquin, Morris and Will, was complete and constituted the foundation of what was coined the "Marcinelle school"-style. However, such
27219-423: The magazine to break out on their own, after they had staged a revolt in the editorial offices of Dargaud, the publisher of Pilote , during the 1968 upheaval, demanding and ultimately receiving more creative freedom from then editor-in-chief René Goscinny (see also: " Jean "Mœbius" Giraud on his part in the uprising at Pilote "). Essentially, these new magazines along with other contemporaries of their kind, were
27430-449: The magazine — in the process introducing something new in the Belgian comic world: the comic album . The 1930 Tintin au pays des Soviets title is generally considered the first of its kind – even though there are three similar Zig et Puce titles from French publisher Hachette , known to predate the Tintin title by one to two years, but which failed to find an audience outside France however. The magazine continued to do so for
27641-575: The magazine(s), the general trend notwithstanding. In 1938, the Belgian Spirou magazine was launched. Conceived in response to the immense popularity of Journal de Mickey and the success of Tintin in Le Petit Vingtième , the black and white/color hybrid magazine featured predominantly comics from an American origin at the time of its launch until the war years, but there were also native comics included. These concerned Spirou , created by
27852-405: The main market. The situation for France's German-speaking minority is therefore identical to its more sizable counterpart in northern neighbor Belgium in regard to BD-related matters. The term bandes dessinées is derived from the original description of the art form as "drawn strips". It was first introduced in the 1930s, but only became popular in the 1960s, by which time the "BD" abbreviation
28063-502: The market with alternatives. Lagging behind the French for the first time in regard to the more mature BDs, the Belgians made good on their arrear when publisher Casterman launched the magazine ( À Suivre ) ( Wordt Vervolgd for its Dutch-language counterpart, both of which translating into English as "To Be Continued") in October 1977. Until then the old venerable publisher (est. in 1780 as
28274-517: The mature readership of such magazines as (À Suivre) , Métal Hurlant and others. French BD artists of note who were nurtured into greatness in the Glénat publications were among others Mayko and Patrick Cothias , but most conspicuously François Bourgeon and André Juillard . Exemplary of the different, older target audience Glénat was aiming at, became the two finite, historical series Bourgeon created; Les Passagers du vent (1979–2009, The Passengers of
28485-423: The modern Franco-Belgian BD format was conceived after all, was somewhat slower in advancing the format as a bonafide art form, but has strongly followed suit in considering the Franco-Belgian BD as a "key aspect of Belgium's cultural heritage". While the expression "the 9th art" has been popularized in other countries as well, Belgium and France remain as of 2017, the only countries where the medium has been accorded
28696-459: The modern Franco-Belgian comic as currently understood, and as amply demonstrated in the vast majority of treatises and reference works written on the subject since the 1960s, and the first to find a readership outside its originating country. As such the Tintin series went on to become one of the greatest post-war successes of the Franco-Belgian comic world, having seen translations in dozens of languages, including English, as well as becoming one of
28907-443: The modern expression, already " politically correct " in the first place, that is from the Belgian perspective at least. However, the incident Charlier had experienced with the Commission shook up the editors of Spirou and Tintin , and as France was a too important market to lose, they too henceforth chose to err on the side of caution by screening the creations of their artists before magazine publication, essentially being forced by
29118-525: The more substantial ones. But while these languages are culturally recognized as regional languages, they are not official national languages, contrary to Belgium in regard to German, with similar consequences as in Belgium for BDs and their artists. Native BDs are rarely, if at all, released in these languages by the main BD publishers, whereas artists stemming from these regions, invariably create their BDs in French – like their German-Belgian counterparts forced to do so in order to gain commercial access to
29329-434: The museum grounds, the futuristic building finished at the end of the 1980s housing the museum and CNBDI administrations, cinema, conference rooms, library and the other facilities for comics studies , was rechristened "Le Vaisseau Mœbius" (English: "The Vessel Mœbius"), in honor of the in that year deceased BD artist. When Lang had presented his plans, he was faced with opposition from some politicians who had rather seen such
29540-410: The nation at the services, and who was incidentally also the nephew of former President of France François Mitterrand , who had personally awarded Giraud with his first civilian knighthood in 1985, thereby becoming one of the first BD artists to be bestowed the honor. Giraud's death was a considerable media event in France, but ample attention was also given to his demise in press releases all around
29751-455: The native comics (aided by the fact that Belgium had not seen the massive influx of American comics in the same measure France had, as Belgium had been predominantly liberated by British and Canadian forces, whose soldiers did not bring along their comics in the same volume the Americans did), whereas the majority of Belgian comics artists were either Catholics themselves (or at least sympathetic to
29962-575: The next two to three decades in France, propagated as such by France's educators. In 1920, the Abbot of Averbode in Belgium started publishing Zonneland , a magazine consisting largely of text with few illustrations, which started printing comics more often in the following years. Even though Les Pieds Nickelés , Bécassine and Zig et Puce managed to survive the war for a little while longer, modernized in all three cases and all of them continued by artists (the most notable one being Belgian Greg for
30173-825: The nucleus. To this, Hergé added Jacques Martin (imitated Hergé's style), Roger Leloup (detailed, realistic drawings), Eugène Evany (later chief of the Studios), Michel Demaret ( letterer ), and Baudouin Van Den Branden (secretary). As Harry Thompson observed, the idea was to turn the process of creating The Adventures of Tintin into a "veritable production line, the artwork passing from person to person, everyone knowing their part, like an artistic orchestra with Hergé conducting". The studios produced eight new Tintin albums for Tintin magazine, and coloured and reformatted two old Tintin albums. Studios Hergé continued to release additional publications until Hergé's death in 1983. In 1986,
30384-465: The old anatomical name of the ulna bone, supposedly derived from the Greek kybiton (elbow). The series tells the story of Cubitus, a good-natured large, white dog endowed with speech. He lives in a house in the suburbs with his master, Sémaphore, a retired sailor, next door to Sénéchal, the black and white cat who is Cubitus' nemesis. A vast majority of the album publications collect single page gags, but
30595-433: The opera diva Bianca Castafiore . The series has been admired for its clean, expressive drawings in Hergé's signature ligne claire ("clear line") style. Its well-researched plots straddle a variety of genres: swashbuckling adventures with elements of fantasy, mysteries, political thrillers, and science fiction. The stories feature slapstick humour, offset by dashes of political or cultural commentary. "The idea for
30806-524: The panels rather than the speech balloons commonly used today. These were humorous short works rarely longer than a single page. In the Francophonie , artists such as Gustave Doré , Nadar , Christophe and Caran d'Ache began to be involved with the medium. In the early decades of the 20th century, comics were not stand-alone publications, but were published in newspapers and weekly or monthly magazines as episodes or gags. Aside from these magazines,
31017-580: The paper's reporter Léon Degrelle . Although Hergé wanted to send Tintin to the United States, Wallez ordered him to set his adventure in the Soviet Union , acting as antisocialist propaganda for children. The result, Tintin in the Land of the Soviets , was serialised in Le Petit Vingtième from January 1929 to May 1930. Popular in Francophone Belgium, Wallez organised a publicity stunt at
31228-492: The paper's ultraconservative ideology. The Adventures of Tintin had been syndicated to a Catholic magazine named Cœurs Vaillants ( Brave Hearts ) since 1930, and Hergé was soon receiving syndication requests from Swiss and Portuguese newspapers, too. Hergé wrote a string of Adventures of Tintin , sending his character to real locations such as the Belgian Congo, United States, Egypt , India , Tibet , China , and
31439-435: The patronage of Minister of Culture Jack Lang , who had formulated his long-term Quinze mesures nouvelles en faveur de la Bande dessinée ( 15 new measures in favor of the BD ) ministry policy plan in 1982, which was updated and reaffirmed by a latter-day successor of Lang in 1997. It was consequently in the 1980s–1990s era that the medium achieved its formal status in France's Classification des arts ( Classifications of
31650-467: The people who worked there were Bob de Moor , Jacques Martin and Roger Leloup , all of whom exhibit the easily recognizable Belgian ligne claire (clean line style), often opposed to the " Marcinelle school "-style (named for the seat of Spirou publisher Dupuis), mostly proposed by authors from Spirou magazine such as Franquin, Peyo and Morris. In 1946, Hergé also founded the weekly Tintin magazine, which quickly gained enormous popularity, like
31861-573: The people". In 1999, the issue of Tintin's politics was the subject of a debate in the French parliament; this event prompted the British weekly newspaper The Economist to publish an editorial on the matter. Tintin in the Congo has been criticised as presenting the Africans as naïve and primitive. In the original work, Tintin is shown at a blackboard addressing a class of African children: "My dear friends. I am going to talk to you today about your fatherland: Belgium". Hergé redrew this in 1946 to show
32072-460: The poor paper quality, relatively low page count and lower circulation numbers of the native magazines of that era), something the higher quality American ones did not suffer from, they receiving preferential treatment under the Marshall Plan . The first targeted American comic for example, Tarzan , enjoyed a weekly circulation of 300,000 copies, twice the one Coeurs Vaillants had and dwarfing
32283-508: The process heavily influencing its own native Quebec comics scene. This is in stark contrast to the English-speaking part of the country, which is culturally American comics oriented. While the originally in Dutch written Flemish Belgian comic books, or rather comic/BD albums (see: below ) are influenced by Francophone BDs, especially in the early years, they evolved into a distinctly different style, both in art and in spirit, which
32494-521: The publisher launched (À Suivre) , which printed BD creations by Ted Benoît , Jacques Tardi , Hugo Pratt , François Schuiten , Paul Teng and many others from French, Italian and/or Dutch origins, but relatively few from Belgian artist as there were not that many active in the adult field at that time, with Schuiten, Didier Comès – as already stated, one of the very few BD artists of German-Belgian descent, alongside Hermann Huppen – and Jean-Claude Servais [ fr ] being three of
32705-570: The reader to tour them in text through the insertion of a travel brochure into the storyline. Other fictional lands include Khemed on the Arabian Peninsula and San Theodoros , São Rico , and Nuevo Rico in South America, as well as the kingdom of Gaipajama in India. Apart from these fictitious locations, Tintin also visits real places such as Switzerland, the United Kingdom, the United States,
32916-410: The relatively few European comics to have seen a major, successful, Hollywood movie adaptation as late as 2011, nearly thirty years after the death of its creator. A further step towards modern comic books happened in 1934 when Hungarian Paul Winkler , who had previously been distributing comics to the monthly magazines via his Opera Mundi bureau, made a deal with King Features Syndicate to create
33127-507: The remainder of his life, creating close to three dozen series, several of them becoming classics of the Franco-Belgian bande dessinée . Spirou magazine became the agency's first and foremost client, and the first post-war decade saw the infusion into the magazine with many new series from young, predominantly Belgian talents like Eddy Paape , Victor Hubinon , Mitacq , Albert Weinberg [ fr ] , instituting an era in which Jijé's career truly took off with his best-known creation,
33338-427: The revolt in the offices of Pilote , artists worked in a studio system, namely a tenured exclusive working relationship at the magazine or publisher, with artists having little to no control over both commercial and creative aspects of their creations – except for a few artists who also held editorial offices at publishing houses such as Goscinny, Charlier and Greg, the former of which incidentally, having also been
33549-412: The scrutiny of the Commission de Surveillance prior to 1968, as editor François Cavanna of the satirical magazine Hara-Kiri (launched in 1960) had experienced several times to his detriment, having had to reinvent his magazine on several occasions. Aside from the creative aspects, the 1960s brought in effect another kind of freedom for French BD artists as well - commercial and financial freedom. Until
33760-451: The second one of the great Franco-Belgian comic classics, Lucky Luke , which made it first appearance in the Almanach appendix issue of 7 December 1946. Franquin was passed the comic Spirou et Fantasio by his mentor Jijé, who himself had taken over the series from original creator Rob-Vel in the war years, and it was Franquin who provided the series with its popularity, before he embarked for
33971-438: The series contains the key to understanding literature itself. McCarthy considered the Adventures of Tintin to be "stupendously rich", containing "a mastery of plot and symbol, theme and sub-text" which, influenced by Tisseron's psychoanalytical readings of the work, he believed could be deciphered to reveal a series of recurring themes, ranging from bartering to implicit sexual intercourse that Hergé had featured throughout
34182-631: The series in his books Tintin et les Secrets de Famille ("Tintin and the Family Secrets"), which was published in 1990, and Tintin et le Secret d'Hergé ("Tintin and Hergé's Secret"), published in 1993. The first English-language work of literary criticism devoted to the series was Tintin and the Secret of Literature , written by the novelist Tom McCarthy and published in 2006. McCarthy compares Hergé's work with that of Aeschylus , Honoré de Balzac , Joseph Conrad , and Henry James and argues that
34393-424: The series in question, Bourgeon depicted an historical reality devoid of any so-called "heroes", only featuring common people who were as often victimized as they were heroic, living in a world which was brutally hard while living a live which was therefore all too often very short for the common man, being habitually subjugated to the will of the powerful without any recourse whatsoever to objective justice, especially
34604-450: The series was relaunched by Pierre Aucaigne (scenarist), and Michel Rodrigue (artist) under the title Les nouvelles aventures de Cubitus . In 1977, the strip was adapted into a animated short film pilot by the Belgian studio Belvision , featuring the voices of André Gevrey, Georges Pradez and Guy Pion. It was released on VHS by Regie Cassette Video in the 1980s as a part of Les héros du journal de Tintin ("The Heroes of Tintin"),
34815-748: The series. In 1983, French author Benoît Peeters released Le Monde d'Hergé , subsequently published in English as Tintin and the World of Hergé in 1988. English reporter Michael Farr has written works such as Tintin, 60 Years of Adventure (1989), Tintin: The Complete Companion (2001), Tintin & Co. (2007) and The Adventures of Hergé (2007), while English television producer Harry Thompson authored Tintin: Hergé and his Creation (1991). Literary critics , primarily in French-speaking Europe, have also examined The Adventures of Tintin . In 1984, Jean-Marie Apostolidès published his study of
35026-667: The series. Reviewing the book in The Telegraph , Toby Clements argued that McCarthy's work, and literary criticism of Hergé's comic strips in general, cut "perilously close" to simply feeding "the appetite of those willing to cross the line between enthusiast and obsessive" in the Tintinological community. The earliest stories in The Adventures of Tintin have been criticised for animal cruelty; colonialism ; violence; and ethnocentric , caricatured portrayals of non-Europeans. While
35237-466: The seventies, until the original Métal Hurlant folded in the early eighties, living on only in the American edition, which soon had an independent development from its French-language parent. Nonetheless, it were these publications and their artists which are generally credited with the revolutionizing and emancipation of the Franco-Belgian BD world. As indicated, most of these early adult magazines were established by former Pilote BD artists, who had left
35448-546: The shared language, Flemish BDs do not do that well in the Netherlands and vice versa, save for some notable exceptions, such as the Willy Vandersteen creation Suske en Wiske ( Spike and Suzy ) which is popular across the border. Concurrently, the socio-cultural idiosyncrasies contained within many Flemish BDs also means that these comics have seen far less translations into other languages than their French-language counterparts have due to their more universal appeal, and
35659-433: The side of caution for the next decade. It is in this light that some of the other early French contemporary greats, such as Martin, Graton, Uderzo and his writing partner Goscinny opted to start out their careers for Belgian comic publications, neither wanting to submit themselves to the scrutiny of the Commission de Surveillance directly, nor wanting to work for either the Catholic or communist magazines for personal reasons.
35870-435: The situation in Belgium was nowhere near as restrictive as it was in France. Catholics, who were the dominant factor in politics in the country as well at the time, did not have to contend with the negligible influence of the communists, contrary to their French counterparts. There was actually no need perceived for regulating measures in Belgium as American productions, contrary to France, were already supplanted in popularity by
36081-477: The small Belgian animation studio Compagnie Belge d'Animation – CBA), Willy Vandersteen , and the Frenchmen Jacques Martin and Albert Uderzo , who worked for Bravo . A lot of the publishers and artists who had managed to continue working during the occupation were accused of being collaborators and were imprisoned after the liberation by the reinstated national authorities on the insistence of
36292-625: The start of the industry career of the French-Belgian Jean-Michel Charlier , in the process becoming one of its most towering figures. That year and a lawyer by trade, Charlier joined the newly formed comic syndication agency World Press [ fr ] of Georges Troisfontaines , Belgium's answer to King Features Syndicate. Originally hired as an editorial draughtsman, Troisfontaines recognized Charlier's talent for writing and persuaded him to switch from drawing to scripting comics, something Charlier did with great success for
36503-399: The starting point of the modern Franco-Belgian comic, besides the art style and format—albums were usually published as a collected book after a story or a convenient number of short stories had finished their run in serialized magazine (pre-)publication, usually with a one to two year lag. Since the inception of the format, it has been common for these albums to contain either 46 (for decades
36714-529: The street of the Comic Center and dedicated to the work of the namesake Flemish BD creator, and, unsurprisingly, the especially built Musée Hergé (est. 2009) located in Louvain-la-Neuve , its interiors designed by Dutch BD artist Joost Swarte , who had worked in the Hergé tradition. In France, Minister Jack Lang – who hit upon the idea after he had visited the permanent bande dessinée exhibition in
36925-497: The style and flow of those comics, they improved their knowledge of how to make efficient comics. Soon even those homemade versions of American comics had to stop, and the authors had to create their own heroes and stories, giving the new talents a chance to be published. Many of the most famous artists of the Franco-Belgian comics started in this period, including the Belgians André Franquin , Peyo (who started together at
37136-413: The style being very naïve and simple, even childish, compared to the later stories. The early Tintin stories often featured racist and political stereotypes , which caused controversies after the war, and which Hergé later regretted. After Tintin 's early massive success, the magazine decided to release the stories in hardcover book format as well, directly after they had run their respective courses in
37347-433: The subsequent three stories until 1934 when the magazine, as such not particularly well-suited as book publisher, turned album publication over to Belgian specialized book publisher Casterman , who has been the Tintin album publisher ever since. The criticisms regarding the early stories notwithstanding and even though the format still had a long way to go, Tintin is widely considered the starting point and archetype of
37558-409: The supplement, Hergé illustrated L'extraordinaire aventure de Flup, Nénesse, Poussette et Cochonnet ( The Extraordinary Adventure of Flup, Nénesse, Poussette and Cochonnet ), a comic strip authored by a member of the newspaper's sport staff. Dissatisfied with this, Hergé wanted to write and draw his own cartoon strip. He already had experience creating comic strips. From July 1926, he had written
37769-544: The talents and skills of young aspiring artists like Belgians Mitacq, Arthur Piroton [ fr ] , Hermann, Dino Attanasio and the Frenchman Jean Graton among others, several of whom switching over to industry competitor Lombard at a later point in their careers, most notably Hermann), Buck Danny (with Hubinon), La Patrouille des Castors (with Mitacq after his apprenticeship on L'oncle Paul ) and Jean Valhardi (with Paape and Jijé). Aside from being
37980-435: The time of the demise of the animation studio not considered by Dupuis because of his young age. For Spirou Peyo continued with the series Johan et Pirlouit , which he had already started in 1947 for the Belgian newspapers La Dernière Heure and Le Soir . It was this series that in 1957 spawned another of the great Franco-Belgian comic classics, Les Schtroumpfs ( The Smurfs ). With both magazines firmly in place, it
38191-466: The town's art museum in 1982, incidentally inspiring his long-term fifteen points policy plan for the medium that year, which included the establishment of a national BD museum – announced in 1984 the advent of a major national bande dessinée museum as part of President Mitterrand's grand scheme of providing the nation with major public works of a cultural nature (in France coined as Grandes Operations d'Architecture et d'Urbanisme ), to be housed in
38402-470: The two Korean War volumes of the popular aviation comic series Buck Danny , created by Belgians Charlier (who as spokesperson for World Press/ Spirou was actually summoned to appear in person for a board of inquiry at the French Ministry of Information to account for himself) and Hubinon, which were prohibited in 1954 as article 2 expressly forbade any mentioning of an actual, current armed conflict in
38613-472: The two historic eras still lingering in anyone's subconscious because of imagery imbued upon them by 1940s–1960s Hollywood movie productions or Franco-Belgian bandes dessinées as published in Coeurs Vaillants , Tintin or Spirou in the same era for that matter. Renowned for his meticulous research into the subject matter of the BD series he was creating, not seldom taking as long as it took him to create
38824-534: The type of space suit that would be used in future Moon exploration , although his portrayal of the type of rocket that was actually used was a long way off the mark". The Moon rocket is based on the German V-2 rockets. In his youth, Hergé admired Benjamin Rabier and suggested that a number of images within Tintin in the Land of the Soviets reflected his influence, particularly the pictures of animals. René Vincent ,
39035-624: The wake of the events of 1968, their continued legal existence in the fringes does constitute the proverbial " Sword of Damocles " for the French BD world, despite artists, publishers, politicians and academics having questioned the relevance of both manifestations in a modern world in a public debate during a 1999 national conference organized on the subject by the Centre national de la bande dessinée et de l'image [ fr ] (CNBDI), France's largest and most important BD organization. Belgium, where
39246-504: The war: Le Petit Vingtième had disappeared, Le Journal de Mickey only returned in 1952. In the second half of the 1940s many new magazines appeared, although in most cases they only survived for a few weeks or months. The situation stabilized around 1950 with Spirou and the new Tintin magazine (with the team focused around Hergé) as the most influential and successful magazines for the next decade. Yet, 1944 (both France and Belgium were liberated before war's end) had already seen
39457-399: The weekly Spirou appearing in a Dutch version under the name Kuifje for the Flemish and Dutch markets. Notable Belgian comic artists who at a later point in time achieved fame while working for Tintin magazine included among others William Vance , the aforementioned Greg, Tibet and Hermann Huppen . Tintin magazine publisher Les Éditions du Lombard (as of 1989 simply: Le Lombard )
39668-402: The weekly British children's comic Eagle in 1951 with the story King Ottokar's Sceptre . It was translated in conjunction with Casterman , Tintin's publishers, and starts by describing Tintin as "a French boy". Snowy was called by his French name Milou . The process of translating Tintin into British English was then commissioned in 1958 by Methuen , Hergé's British publishers. It
39879-456: The women. Bourgeon however, made his harsh message to his readership palatable by his relatively soft art style and his optimistic view regarding human resilience. No such respite was afforded the reader however with Hermann's 11th-century epos Les Tours de Bois-Maury (1984–1994, The Towers of Bois-Maury ), whose original ten-volume series was serialized in Vécu in the same era Bourgeon's Passagers
40090-455: The world in even as faraway places like Indonesia ( Jakarta Globe , 11 March 2012), a country not particularly known for a thriving comic culture. Yet, and despite the nation having embraced the bande dessinée , it should also be noted that both the law of 1949 and its oversight committee are as of 2017 still in existence, their legitimacy remaining as intact as it was in 1949. And while their impact and influence have significantly diminished in
40301-538: The world. From 1966 to 1979, Children's Digest included monthly instalments of The Adventures of Tintin . These serialisations served to increase Tintin's popularity, introducing him to many thousands of new readers in the United States. Atlantic Monthly Press , in cooperation with Little, Brown and Company beginning in the 1970s, republished the albums based on the British translations. Alterations were made to vocabulary not well known to an American audience (such as gaol , tyre , saloon , and spanner ). As of
40512-510: The wrong character. The detectives usually wear bowler hats and carry walking sticks except when sent abroad; during those missions they attempt the national costume of the locality they are visiting, but instead dress in conspicuously stereotypical folkloric attire which makes them stand apart. The detectives were based partly on Hergé's father Alexis and uncle Léon, identical twins who often took walks together, wearing matching bowler hats while carrying matching walking sticks. Bianca Castafiore
40723-486: The youth market was partly written by the French Communist Party , a major political force in France directly after the war (because of their highly successful and effective resistance in the war years ), to actually exclude most of the American publications. The law, called " Loi du 16 juillet 1949 sur les publications destinées à la jeunesse [ fr ] " ("Law of July 16th 1949 on Publications Aimed at
40934-430: Was a joint operation, headed by Leslie Lonsdale-Cooper and Michael Turner, who worked closely with Hergé to attain a translation as true as possible to the original work. Due in part to the large amount of language-specific word play (such as punning) in the series, especially the jokes which played on Professor Calculus ' partial deafness, it was never the intention to translate literally; instead they strove to fashion
41145-640: Was also in use for its book, or album, publications (see below ). Bandes dessinées were described as the "ninth art" in Francophone scholarship on the medium ( le neuvième art ). The "ninth art" designation stems from a 1964 article by Claude Beylie [ fr ] in the magazine Lettres et Médecins , and was subsequently popularized in an article series about the history of comics, which appeared in weekly installments in Spirou magazine from 1964 to 1967. Written by Belgian Morris with editorial input from
41356-555: Was also indicative of France rapidly becoming the preeminent force in the (continental) European BD world, eventually usurping the position the Belgians held until then. L'Écho des Savanes (from new publisher Éditions du Fromage [ fr ] , founded by Pilote defectors Nikita Mandryka, Claire Bretécher and Marcel Gotlib), with Gotlib's pornography watching deities and Bretécher's Les Frustrés ("The Frustrated Ones"), and Le Canard Sauvage ("The Wild Duck/ Mag"), an art-zine featuring music reviews and BDs, were among
41567-462: Was considered a self-imposed exile, he ultimately decided to return to his occupied homeland. For political reasons, the Nazi authorities closed down Le Vingtième Siècle , leaving Hergé unemployed. In search of employment, he got a job as an illustrator at Belgium's leading newspaper, Le Soir ( The Evening ), which was allowed to continue publication under German management. On 17 October 1940, he
41778-494: Was especially founded by Raymond Leblanc for the magazine's launch in conjuncture with Hergé as the latter could not find a publisher due to the fact that he was at that time still under investigation for alleged collaboration. Remarkably, album publications of the creations from the early group of artists centered around Hergé was, then and now, outsourced to longstanding Tintin book publisher Casterman, while Lombard itself only started album publications for those artist who joined
41989-421: Was forced out, his successor Pihan (as Jean Vaillant) took up the publishing, moving the magazine in a more humorous direction. Likewise, Hergé was another artist who also found himself on the receiving end of similar accusations of the former Belgian resistance. He managed to clear his name and went on to create Studio Hergé in 1950, where he acted as a sort of mentor for the assistants that it attracted. Among
42200-505: Was in Circus ; Not only did Hermann's stark and uncompromising art style served to reinforce the grim atmosphere of his medieval settings, any and all redeeming optimistic commentary on human nature was also lacking in his narrative, quite the contrary actually, making his Middle Ages truly the Dark Ages where the vast majority of humanity was living short, violent lives in abject squalor, with not
42411-653: Was instigated by publisher Casterman and Hergé's estate managers Moulinsart , who decided to replace localised hand-lettering with a single computerised font for all Tintin titles worldwide. On 1 June 2006, the Dalai Lama bestowed the International Campaign for Tibet 's Light of Truth Award upon the Hergé Foundation, along with South African Archbishop Desmond Tutu . The award was in recognition of Hergé's book Tintin in Tibet , Hergé's most personal adventure, which
42622-490: Was known for her "shrill" singing of opera), and, in the post-war comics, on Maria Callas . Other recurring characters include Nestor the butler, Chang (or Chang-Chong-Chen) the loyal Chinese boy, Rastapopoulos the criminal mastermind, Jolyon Wagg the infuriating (to Haddock) insurance salesman, General Alcazar the South American freedom fighter and (on and off) President of San Theodoros, Mohammed Ben Kalish Ezab
42833-490: Was made editor of the children's supplement, Le Soir Jeunesse , in which he set about producing new Tintin adventures. In this new, more repressive political climate of German-occupied Belgium , Hergé could no longer politicize The Adventures of Tintin lest he be arrested by the Gestapo . As Harry Thompson noted, Tintin's role as a reporter came to an end, to be replaced by his new role as an explorer. In September 1944,
43044-484: Was not just American productions which were prohibited under the law, several Belgian French-language comic creations of the era also fell victim to the scrutiny of the oversight committee charged with upholding the law for varying reasons, as stipulated in its rather sweeping article 2 (presently article 3), which allowed for almost at will prohibition of comics for reasons that suited the policies of any French government in power at any given time. A famous example concerned
43255-443: Was on recommendation of the Commission persecuted for his likewise American (and Italian) inspired comic series Big Bill le Casseur and P’tit Gars , having to appear in court no less than eight times in the period 1950 - 1954, actually winning most of his cases in the lower courts. While both he and his creations are likewise forgotten, Mouchot became the only French comics artist to be legally persecuted, and ultimately convicted by
43466-823: Was re-titled as Wowser for US audiences. Dubbed by Saban Entertainment , it is the only part of Cubitus that has been translated into English . In 2011, there were plans to adapt the strip into a new 3D computer animated series. The series was produced by Ellipsanime and Storimages. (in English) • Marcinelle school Franco-Belgian comics Bandes dessinées (singular bande dessinée ; literally 'drawn strips'), abbreviated BDs and also referred to as Franco-Belgian comics ( BD franco-belge ), are comics that are usually originally in French and created for readership in France and Belgium . These countries have
43677-413: Was renamed Marlinspike Hall. When it came time to translate The Black Island , which is set in Great Britain , the opportunity was taken to redraw the entire book. Methuen had decided that the book did not portray Great Britain accurately enough and had compiled a list of 131 errors of detail which needed to be put right, such as ensuring that the British police were unarmed and ensuring that scenes of
43888-413: Was the high-status, high-profile «Mœbius transe forme» exposition the prestigious Parisian Fondation Cartier pour l'Art Contemporain art museum organized from 2 October 2010 – 13 March 2011. As of 2017, it stands out as one of the largest exhibitions ever dedicated to the work of an individual BD artist by an official, state-sanctioned art museum – art as in art with a capital "A" – alongside
44099-404: Was the success of Spirou and Tintin that initiated what many fans and scholars consider the golden age of the (Franco-)Belgian comic. As a result, the American comics didn't come back in as great a volume as before in both Belgium and France after the war, but in the case of France not for want of popularity, quite the contrary actually. In France, a 1949 law about publications intended for
44310-399: Was the success of these artists, that the work of pre-war artists Rob-Vel and Dineur, was eclipsed by that of the younger generation, causing them to slide into oblivion. In 1952, another future great working in the Marcinelle school tradition was added to Spirou , artist Pierre "Peyo" Culliford upon introduction by Franquin. Peyo was actually a former colleague of Franquin at CBA, but was at
44521-401: Was then still the Belgian bande dessinée tradition, other native contemporaries were – in essence ranking among the first native French artists to provide the "Franco" element in what later would become the "Franco-Belgian comics" expression, with comic artist Marijac having been a trailblazer. Marijac actually started out for Coeurs Vaillants in the 1930s, but distanced himself from
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