Broken Frontier

As readers of comics, we are united in a goal. The goal of seeking out stories and art that entertain and delight, from the bountiful wealth that is on offer. For the superhero junkie, you have Marvel, turning out some top-notch comics.  For the anti-hero, you need look no further than DC, with its dark and gritty approach to storytelling and characterisation. If you are still thirsty for something to challenge your brain, Dark Horse and Image offer a wide variety of comics, which pretty much covers the other bases.

For the more adventurous, there is the dark and murky world of small press companies and the independent market, a veritable minefield to navigate, but for those willing to dig, there are some diamonds in the rough, waiting to be unearthed and shared with whispered secrets of true delight. Yet all these companies have something in common. They are American. (Or Canadian, sorry fellas for getting lumped with your border-sharing cousins) Comics from the world scene are so under the radar as to not even be a smudge of ink on the blotting paper of the comics industry. To a certain extent, the Japanese invasion with manga is gaining momentum, but in comparison to the larger market, it is still small fry.

So what about us over the pond, a strange and weird conglomerate of countries sharing land masses and a rich tapestry of history that makes even today’s alliances somewhat tenuous at best on occasion? I am of course referring to that little place called home, Europe.

It may surprise people to learn that Europe has a rich and flourishing comics industry of its own, and while we eagerly lap up our bigger brother’s offering from across the ocean, sometimes looking closer to home can offer up some truly interesting and unique reads.

Obviously, there is one very big and quite significant drawback to gaining access to this market. As it currently stands, Europe is made up of 37 independent countries, each with their own cultural differences, religions and more to the point, languages. With comics mainly being created in their native language, understanding them can be quite a big stumbling block. However, for those willing to search, there are English language comics out there.

Of course, there are some really easy and accessible series, which have grown beyond their national borders. How can one do an article about comics from Europe without covering these giants? Astérix, created by Rene Goscinny and drawn by Albert Uderzo in 1959 has been one of the more successful French exports. Another monolith of talent is Tintin, an even earlier comic series created in 1929 by the Belgian writer/artist Hergé (Georges Remi) and an important influence on the subsequent industry. With translations around the world and many animated cartoons, Tintin is a great icon that has endured the passage of time, to be just as engaging and relevant today as it is was then. Yet none of these even come close to the success that Les Schtroumpfs has had in the US. This truly strange and bizarre creation was the gem of another great Belgian artist Peyo (Pierre Culliford) in 1957, the appeal of these blue-skinned, white peaked hatted oddities is without compare, and no other European comic export has ever rivalled it in its success. They are of course, The Smurfs.

Interestingly enough, it is these old comics, full of high adventure, exotic locations and blue skinned beauties (ah Smurfette) that have consistently done well.  Whilst getting your hands on Astérix may be a little harder, Tintin is readily available and The Smurfs are everywhere, becoming highly collectable in their original language as well as the early translations and editions. It is interesting to note that the industry has been up and running from quite an early start, and whilst the creation of the comics industry as we know it today is firmly planted in the US in the 50s, and rightly so, we haven’t been lagging behind in Europe, but rather contributing to the expansion of the frontier.

Comics from Europe have an unusual and unique feel to them, from their price and format to the style and subjects covered in the art. The artwork has a distinctive feel about it, which holds it apart from the American market, often dealing with topics and subject matter that is often unacceptable in the US environment, such as casual nudity, or heroes that fail or even die. Science fiction is a popular genre covered, with such brilliant artists as Jean Giraud, who writes under the pen name Moebius. One of the original founding members of Associated Humanoids in 1975, (now known as Humanoids Publishing) he along with Druillet, Donnet and Farkas helped to introduce Europe and the US to a darker grittier feel for the sci-fi genre with intricate and fascinating stories through the compilation magazine Metal Hurlant, which is now basking in a deal with DC that will increase its distribution in the US.

Along with his look at science fiction, the Frenchman also helped boost the popularity of a genre that started in the US, but has sustained in longevity bizarrely enough in Europe; under the penname ‘Gir,’ Jean Giraud did what is probably his best known work, ‘Blueberry’, an ongoing western. The western genre has been popular since the 70s with other long running series, such as Lucky Luke by Belgian artist Morris (Maurice de Bévère).  Interestingly, most of the series is written by René Goscinny of Astérix fame.  This series is a pleasant and easy parody of westerns; also of note is the long running series ‘Tex’ by an Italian team.

England has a long tradition in comics, from Victorian times, where political parodies and strips were printed in a political rag known as Punch. With Dan Dare, a squeaky clean public schoolboy hero, in the 50s from a monthly comic called ‘The Eagle,’ to the comedic offerings from the madcap stylings of The Beano and The Dandy. In sharp contrast, perhaps one of the most well known of all English comics is from the long running magazine 2000AD, featuring the nihilistic and grim world of Judge Dredd. When it was originally released, it struggled to get a foothold in the American market, where people were upset by the extreme attitudes and scenarios displayed in this landmark series. Then again, Dredd is certainly not CCA friendly. 

Newspaper strips are usually the only section of the European market that truly struggles in the US. Often topical and very specific forms of humour, these don’t always translate well to a US audience, byt paradoxically, strips from American papers are popular here. Some more notable series that have succeeded are the witty ‘Fred Bassett’ by Alex Graham, and the charming ‘Modesty Blaise’, by Peter O’Donnell.

There is another aspect of the comics industry in Europe that is quite markedly different from the US. The erotic comics industry is a flourishing and thriving medium, where the artists are just as respected as their non-erotic counterparts. Sharp observations on life, the universe and everything, when European artists want to reach a more mature audience, they are not afraid to branch out into this genre. Many of these artists are hugely popular, such as Milo Manara, an artist whose popularity extends far beyond the erotic scene, working on high profile projects such as advertisements for Chanel (the Perfume company), and other advertising and filmic deals. The soft, art deco feel of Azpiri’s science fiction creations are elegant and full of poise, with regular guest appearances in Heavy Metal, he is another artist who easily moves between both erotic and non-erotic comics.

The more relaxed attitude towards certain values and moral standards in Europe opens the door for exploration into the human mind via comics in unexpected and thrilling ways. Even the humour can be dark and unsettling. It can feel that we as a continent are not as mired in the idea that ‘comics are for kids;’ we have comics that are marketed at children, and comics that are marketed at adults, and you the reader are given the discretion to choose what is suitable for yourself. Just as European animators push at the boundaries of animation and what it can do for you, comics do the same, freely exploring issues and topics that can both unnerve as well as entertain. So whilst we do not have the sheer size and weight of our American brethren, we certainly do have something to offer in a world that is ever increasingly becoming a global community.

- Immelda Alty