Crowdfunded Comics that deserve more attention: Emet Comics

Normally on this blog, we talk about a single comic book project that is trying to get funded through a site like Kickstarter or Patreon.  However, today we’re going to do something a bit different.  Instead of looking at a single project we’re going to be looking at an entire company called Emet Comics.

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Emet Comics is a Los Angeles based comic book publisher that focuses on comic books written and drawn by female creators about female characters.

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They have a relatively small, but incredibly diverse, line up of titles that include everything from science fiction to slice of life stories.

One series of note, this March they completed a successful Kickstarter campaign to continue production of a title called Fresh Romance, a romance comic anthology they had acquired from a publisher called Rosy Press after it shut down in 2014.

So technically this blog post still falls within the bounds of its original purview, it’s just about a comic that has already been funded.

Emet Comics website: http://www.emetcomics.com/

Why I like this company

Because I reached out to the head of Emet Comics, a wonderful lady by the name of Maytal Gilboa, and instead of either passing me off to an assistant or simply ignoring me she took time out of her day to actually talk to me about her work, and motivations.

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Mrs. Gilboa got her start in Hollywood as a development executive and as a leading voice in Hollywood for the advancement of women in executive positions.  She founded Emet Comics in 2015 and has been steadily growing and expanding a network of highly capable female talent as a way to draw more attention to female creators and to empower women by creating better role models in fiction and in its creation.

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Long story short, she knows her stuff.

While empowering women is a noble goal but one thing that Mrs. Gilboa made very clear during the time we talked was that she was an entrepreneur and this is a business venture.  It’s worth mentioning that Emet Comics does have an open submissions policy for female creators and female driven stories, which points towards a company policy that favors new ideas and expansion.

You can find the submissions page here

Now, I know from personal experience that this kind of work isn’t easy.  You have to manage your artists, make sure the website is in working order, find new and interesting ways to get people engaged with your product and paying attention, and if you’re creating something yourself?  Then you have to do all of that while cranking out an original story on a fairly regular basis.

For me, it’s exhausting…and all I do is write a couple of blogs and produce a webcomic!

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So what we have here is a company run by a capable, dedicated, and highly motivated founder with a clear cut mission and an ever expanding library of books and creators.

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I think I might have a new role model.

Why you should donate/be on the lookout for their books

We all know how the cutthroat, knuckle dragging, razor thin profit margin world of comic book publishing is dominated by male creators.  While that does need to change I’m not going to focus on that.  Instead, I’m going to talk about another buzzword that’s been floating around the comic book world for some time now: diversity.

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It’s a pretty powerful word.  In fact, it’s such a powerful word that there are some people who infamously said that diversity is the thing that’s actually killing established companies like Marvel Comics.

That is simply not true.  It’s not diversity that is hurting sales, it’s a lack of diversity (and a handful of other things but we don’t have time for that right now).  But not just in the racial or sexual identity of its characters, it’s the lack of diversity in the types of stories that are being told.

Want historical proof?  During the Golden Age of Comics, a time in comic book history where comic books were sold to boys and girls, publishers put out all sorts of books from superheros,

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to crime comics,

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to romance comics.

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It was this diversity of content that allowed the budding comic book industry make a tidy profit and become a pop culture phenomenon.

Today we have an industry that is dominated by a core group of superheroes owned by two companies that dominate over two thirds of the market.

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One could be forgiven for growing weary of the endless parade of costumed vigilantes.

Granted, there are a growing number of comics and comic book publishers who are branching out, but in an industry that is dominated by male creators creating stories for a male audience I would like to make the argument that if the comic book industry wants to survive, publishers need to start finding new stories and new audiences.

Emet Comics is a new comic book publisher that has made it their mission to destroy many of the long held assumptions about women in the comic book industry, even if they wind up being the only ones who do it.  They have new and different creators telling new and different stories across new and different genres.  It is the right publisher, doing the right thing, at the right time and more than worthy of your attention and money.

Emet Comics website: http://www.emetcomics.com/

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Golden Age Showcase: Atomic Tot

So I just discovered Rick and Morty last night.

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It’s a good show, a bit dark, bleak, and incredibly pessimistic.

I bring this up because it provides a direct contrast with my love of superheroes.

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Yes they’re bright, colorful, and probably have no place in modern society but that’s not the point.

Superheroes are supposed to be titans of morality and/or walking metaphors that can solve all their problems by punching them or blasting them with energy rays.  Sure, sometimes they may a bit more complicated and complex, but in the end that’s what they are.

Superheroes did the right thing, ate their vegetables, said their prayers, and told little Timmy that doing the right thing came first, no matter what.  They were uncomplicated lessons in morality for kids in an uncertain and dangerous time and that is something that the Golden Age of Comics did better than almost anyone else.

So let’s talk about a superhero named Atomic Tot, who was a superhero that was unquestionably for the kids,

Tom Tot undergoes his amazing transformation. Artist: probably Ernie Hart.

and kind of dropped the ball in that regard.

Origin and Career

Atomic Tot made his first appearance in Quality Comics’ All Humor Comics #1 in September of 1946.

Comic Book Cover For All Humor Comics #1

That joke on the cover of the issue?  That’s as good as they would get.

He was created by comic book writer and artist, Ernie Hart.  While I can’t find a picture of him, I can tell you that his most famous creation was the famous Super Rabbit for Quality Comics.

Pssh, the idea of talking anthropomorphic animals is so lame.  Who could possibly make any money off of that?

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Anyway, before Atomic Tot got his name he was originally known as “Mitymite”, the weakling son of a poor peasant living in a land being terrorized by an evil giant.

Comic Book Cover For All Humor Comics #1

Yes the captions are in rhyme, to explain why I don’t have time.

Mitymite grows up wishing to meet this princess, but is blocked by the wicked giant.  Humiliated, he swears revenge.

Comic Book Cover For All Humor Comics #1

So what does he do?  Does he subject himself to strange experiments?  Find a magical artifact?  Nope!  He eats his cereal and works out.

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Wheaties would love this guy.

Naturally he defeats the giant, by tossing him out a window…presumably to his death.

Comic Book Cover For All Humor Comics #1

However, it turns out the princess isn’t all she cracks up to be and Mitymite acts like a total dick and abandons her.

It’s worth mentioning that he looks like he’s only six year old.

Mitymite was given a modern update in the very next issue.  His new name was Atomic Tot and he got an alter ego of Tom Tot.

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His second adventure saw him stopping an evil scientist that was kidnapping children and turning them into monkeys.  Why?  To sell them to the zoo of course.

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How does he do that and wouldn’t it make more sense to sell them to laboratories as test specimens?  I don’t know and the comic doesn’t care.

It’s worth mentioning that Atomic Tot could be incredibly cruel to his enemies.  He even threatened to turn the scientist into a monkey if he didn’t help return the kids.

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Atomic Tot would go on to have five more stories just like this one.  There really isn’t anything else to say.

So what happened?

For some strange reason, Atomic Tot did not survive past the 1940’s.

Why he didn’t last long is a real mystery.

For some bizarre reason, Atomic Tot wasn’t fondly remembered enough to get a reworking in modern comics either, although he did make an appearance in an anthology title called Not Forgotten which was successfully funded through Kickstarter a few months ago.

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The anthology has a website, it’s pretty interesting stuff and worth checking out.

Atomic Tot is a superhero boiled down to its most basic essence.  There is no complicated backstory, no surprising plot twist about his parents, not horrifying life event that inspired him to become a superhero.  He’s just a kid who has the ability to do great things and decides to use his talents for good.

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Huh, come to think of it…that is pretty boring.  Maybe all this straight laced morality isn’t quite for me than.

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Golden Age Showcase: Amazing Man

Well, last week was fun but I think it’s time for a return to form.  Let’s talk about an obscure comic book hero from an obscure comic book publisher who had more of an impact on the world of comics than he had any right to have.

Today we’re talking about the aptly named Amazing Man.

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Origin and Career

Amazing Man was one of the greatest and most noteworthy heroes to come out of a small publisher called Centaur Publishing, mostly because he was created by comic book super creator Bill Everett.

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Centaur was a spin off company created by two former employees of National Allied Publications, the company that would eventually become DC Comics.

They were actually one of the first comic book publishing companies in American history and in 1939 they debuted Amazing Man in the creatively named Amazing Man Comics #5.

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Now, I’ve seen some covers created by some of the greatest comic book talent and while this one isn’t as colorful or as action packed as most of them, it certainly does a hell of a lot to pique my interest.

In traditional Golden Age fashion, his backstory is explained in one page.  When he was a baby he was adopted by a group of monks and trained to be their instrument.

Comic Book Cover For Amazing Man Comics #5

I love how they call him an “ultra man” and how a group of Tibetan monks look so pale and white.

The monks put him through a battery of tests, Comic Book Cover For Amazing Man Comics #5

Comic Book Cover For Amazing Man Comics #5

I honestly don’t know which one I think is more awesome.

Almost as a side note, one of the monks injects him with a serum that turns him into a green mist.

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Why? How?  Who cares!

He goes out into the world and stops his first crime by uncovering a conspiracy by a greedy railroad president to wreck his trains but not before our hero uses his unexplained powers of telepathy to boost a moving train over a washed out bridge.

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It’s like the movie Speed, only with trains instead of buses.

It’s presumed that the President of the railroad company did it for insurance money, but the reason is never given and the story ends with the criminal committing suicide rather than being captured.

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There was an interesting plot point revealed early on that actually managed to separate the Amazing Man from the competition.  Early in the series it was revealed that one of the monks from The Amazing Man’s home turned out to be evil.

The monk’s name was “The Great Question” and he had the ability to control Amazing Man telepathically,

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What’s really interesting is that Everett didn’t shy away from violence, showing people getting beaten and even shot.

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The battle between Amazing Man and the Great Question would become the defining conflict of the series until it was cancelled in 1942.  Most of the adventures were pretty run of the mill, if it weren’t for the glorious covers that were featured on almost all of the issues.

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So what happened?

One of the defining traits of comic book publishers during the Golden Age was that, with the exception of Marvel and Detective Comics, a lot of them wound up either going out of business or folded into other publications.

Centaur Publications is a rather unique story because it’s shelf life was even shorter than most of its competitors.

Thanks to a bad distribution deal the company went out of business in 1942, they didn’t even get to see the end of the war.

Someone must have remembered them, because in 1992 a good portion of their characters were revived by another comic book publisher called Malibu Comics.

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Amazing Man was part of the revival and he found himself part of a superhero group known as the Protectors,

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complete with all the trappings and glorious excess that was a hallmark of superheroes in the 1990’s.

In a sad twist of fate, Malibu Comics would suffer the same fate as Centaur.  They fell victim to the skulduggery surrounding the comic book industry of the 1990’s and were bought out by Marvel in 1994.

Amazing Man would make another appearance in Dynamite’s Project Superpowers title,

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but what’s really interesting is how his legacy managed to live on in Marvel Comics itself.

John Aman would make an appearance in the Invincible Iron Fist #12 in 2008.

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Marvel kept the name, the ability to change into a glowing green mist, and his mystical connections to Tibetan culture by having him become the “Prince of Orphans” and being charged with hunting down a character named Orson Randall, the man who was the Iron Fist superhero before Danny Rand took over.

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Long story short, Orson and Aman are originally enemies but wind up fighting for the same side when Aman learns that his employers lied to him about their plans for their city and Earth.

The Prince of Orphans would also make appearances in Secret Avengers,

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the Marvel event comic Fear Itself, where he had to fight a possessed Iron Fist in order to save the universe, and most recently as an antagonist in the 2012 Defenders series.

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So what we have here is a revamped Golden Age superhero with ties to Tibetan mysticism, who is a brilliant martial artist who can turn himself into a green mist, and who winds up being a sort of assassin for the same mystical city that created Iron Fist.  Now, I don’t want to put thoughts in anyone’s head, but don’t you think a guy with a cool power set would be perfect for a certain set of shows on a tiny little network like say…Netflix?

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All I’m saying is that there’s a lot of history to go back on here, and while I haven’t gotten around to watching the Iron Fist show on Netflix, everything I’ve heard tells me that they could use something a bit more…amazing.

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Crowdfunded Comics that deserve more attention: Drawing Blood

Normally this blog is reserved for obscure, small time artists and creators looking to fund a project that would have a very difficult time getting attention from a major publisher.  That’s the spirit in which sites like Kickstarter were created and it’s a spirit that we appreciate and aspire to.

However, today is the day where we attempt to sell out in a blatant attempt to gain more views and popularity.

Today we’re looking at a project called Drawing Blood.  It’s a biographical graphic novel detailing the rise and fall of a humble comic book creator named Shane Bookman.  The project is headed by Kevin Eastman, David Avallone, and Ben Bishop.

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As of the time of writing the project has already reached over $40,000 of it’s $75,000 goal and ends in 24 days.

Kickstarter link: https://www.kickstarter.com/projects/2073065927/kevin-eastmans-drawing-blood-vol-1-a-graphic-novel/description

Why I like it

I like it because it’s a biography about indie comic book legend Shane Bookman and his journey from the highest highs of success to the lowest lows of fame and fortune.

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What, you’re telling me that you’ve never heard of Shane Bookman?  The creator of the 1992 hit comic “Radically Rearranged Ronin Ragdolls”?

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You know, the comic that started off as a darkly humorous parody of the grim and gritty comic books of the time and was spun off into a merchandise and tv empire that remains a pop culture phenomenon to this day?  In fact, it was so successful that there are rumors there will be a big budget action movie produced by some super Hollywood director named Daniel Flay, who really likes explosions and movie series with a seemingly infinite number of sequels.

Ok, so you probably know that Shane Bookman doesn’t exist.  In fact, those of you in the know probably recognized what this project actually is when you saw who was creating it.

For those of you who don’t know, Kevin Eastman is one of the co creators of the Teenage Mutant Ninja Turtles,

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You know, the comic that started off as a darkly humorous parody of the grim and gritty comic books of the time and was spun off into a merchandise and tv empire that remains a pop culture phenomenon to this day and has been turned into another Michael Bay reboot that will probably churn out sequels until the day we die.

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Drawing Blood was created to be a fictitious, semi autobiographical, darkly comedic look at the creation of the Teenage Mutant Ninja Turtles and the rise and fall of a great artist.  It looks like it’s going to be grim, dark, violent, and promises to go behind the scenes of the creation of one of the most famous and popular comics of recent memory.

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I love this sort of stuff.  Call me weird but there are few things more satisfying than watching a success story pan out with all the trials, tribulations, thrills, chills, and potential for violence.

Why you should donate

Because being a comic book creator is hard, and while a select few creators do get to enjoy the fruits of their labor and create characters and stories that are enjoyed by millions of people,

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there are hundreds, if not thousands more men and women who put their heart and soul into their work and got screwed out of their righteously deserved credit.

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Ok sure, Alan Moore isn’t the best example but when it comes to talking about creators getting nothing for their work (although while he has made a lot of money you could make a strong case for him getting shafted by watching Hollywood butcher some of his greatest work like V for Vendetta and The League of Extraordinary Gentlemen) but the comic book world is a special case when it comes to the discussion of creator’s rights and credit.

In the very beginning comic book artists and writers didn’t own anything they created.  Their work belonged to the companies that employed them and the only money many o them would see from their creations would be the page rate they received on a work for hire basis.

This is why legends such as Jerry Seigel and Joe Shuster,

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who created the iconic Superman had to sue Warner Brothers in the 1970’s for the credit and recognition they justly deserved, and why Shuster died in debt.

The struggle of the creator for the rights and recognition to their work is a long and often tragic tale and it’s problems are still being worked out and argued over today.

Some creators, such as the founders of of Image Comics,

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have made it possible for creators to have greater control over their work and how it’s used, but it’s still a sensitive and complex issue that’s still being talked about.

I bring all this up because I think that a project like Drawing Blood is important to this discussion.  Audiences see the end result of the hard work and sacrifice that goes into creating stories and characters, but not a lot of people pay attention to the stuff that really goes on behind the scenes.

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Sometimes the creation of a story is just as import as the actual story itself, and if a project like Drawing Blood can draw more attention to the world behind the story than it is a story worth reading.

Kickstarter link: https://www.kickstarter.com/projects/2073065927/kevin-eastmans-drawing-blood-vol-1-a-graphic-novel/description

Comics that deserve more attention: Valerian and Laureline

So I saw Valerian and the City of a Thousand Planets this week.

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Now, the reviews have been not that great and it looks like this movie is going to be a massive flop at the box office, but I thought it looked fantastic, it had some really cool ideas and set pieces, and I wouldn’t really mind seeing more of it.  In short, I thought it was basically a retread of director Luc Besson’s other science fiction movie that didn’t get the attention it deserved,

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Like most science fiction movies that are made today, the Valerian movie is based off of a comic book series.  The books in question are the Valerian et Laureline series, which was written by French writer Pierre Christin and drawn by Jean-Claude Mezieres.

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The series started as a comic strip in the French magazine Pilote  in 1967 and published its final series in 2010.  It was published by French comic book publisher Dargaud.

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The series is an epic space opera starring the titular character Valerian and his colleague and co agent Lauraline as special agents working for the Terran Empire across time and space.

To go into any sort of detail about the adventures of these two would take hours, long story short it’s good enough that you should go read it, like right now.  But if you’re still here and need more convincing the real treat of the comic is its art.  Now, I’ve never fancied myself as an art lover and I tend to focus on story over art in my comics but…

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Yeah, I can see why the director wanted to make this movie.

So the comic is a long running, absolutely gorgeous, and thought provoking epic that was good enough to inspire at least one famous movie director to adapt it but how did it get here?  How did it remain so popular and long lasting?  and why was it so unknown to most comic book reading Americans?

To answer that question I did some research and decided that today we’re going to run through a very, VERY brief description of

The history of Franco Belgian comics.

 What a lot of people may not understand is that the idea of using words and pictures to communicate ideas has been around for a pretty long time.  In an age where most people couldn’t read, it was easier to convey ideas or stories through pictures.  As a result, the first comics were strips or single page stories that were owned and published by newspapers.

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In the early 20th century comic strips started to separate themselves from the newspapers to create their own comic series.  Two of the most famous were, Pieds Nickeles 

and the very first female protagonist in comics: Becassine.

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What’s really interesting is that during the 1920’s and 1930’s even the Catholic Church was getting involved in telling stories with pictures with publications like the Belgian Zonneland creating morally upright and decent stories for the children to read.

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Side note: it’s worth mentioning that a lot of people lump France and Belgium together when talking about comics since French is spoken by a healthy chunk of the Belgian population and French and Belgian comics often share the same readers.

France and Belgium had a very strong tradition of graphic storytelling through the 1920’s and 1930’s the art form took off in popularity, and publishers such as Dargaud rose up to meet the demand.

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This time also saw Belgian artist Herge would create a comic series that remains one of my personal favorites in 1929 with the publication of Tintin in the Land of the Soviets.

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This particular title is a bit simplistic and has some really uncomfortable caricatures in it, but it was popular and provided a good jumping off point to one of Europe’s most beloved characters.

The art form was so popular that the French gave a name to it: bande dessinée.  A rough translation would be “drawn strips”.

Now, while the French and Belgian comic book industry did manage to produce some original work it was being rapidly overshadowed by a flood of American comics that could be bought and printed at a lower price.  After all, why spend all the time and money making your own stuff when you can just pay someone else to do the work for you.  However, in the late 1930’s and early 1940’s Europe had a bit of a problem.

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There was a war on and the Germans clamped down on American imports, including comics and animated films.  This cut off helped Europe develop its own stories and characters free from American influence and after Paris was liberated and the war was over, it was local artists and comic book creators who filled the gap.

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What’s really interesting is that even when the war was over, American comics never really came back in France.  This was epitomized by a law passed in 1949 that slowed the import of American literature, a law that was pushed by the French Communist Party who sought to limit American influence in Europe.

Free from the cultural behemoth of post war America, artists like Herge would go on to give Tintin his own comic magazine, and it remains incredibly popular to this day.

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Tintin’s success, coupled with the demand for more comics, resulted in a boom of magazines being published in post war France.  Eventually the market stabilized and Herge’s Tintin magazine and the French magazine Spirou became the dominant magazines throughout the 1950’s.

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It’s worth mentioning that France never had the backlash against comics that America went through in the 1950’s, so while American readers were doing this,

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French comics spent the fifties expanding, diversifying into different stories, and never lost their appeal as an art form.

Some of the highlights included the future 1980’s cartoon fodder The Smurfs, created by comic book artist Peyo and published in 1958 by Spirou,

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and another personal favorite of mine Asterix and Obelix, published by the Belgian magazine Pilote in 1959.

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The 1960’s and 70’s saw a more mature type of storytelling, with the debut of Valerian and Laureline in 1967,

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and tripy and far reaching sci fi art from artists like Jean Giraud (better known as Moebius) and Bilal making their way into a comic magazine called Metal Hurlant.  

That comic would eventually go out of business, but not before it was brought to America where it became the comic Heavy Metal, which is still around.

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The French and Belgian comic traditions have continued to this day.  They’re remarkably different from their American counterparts because while many Americans do tend to think of comics as reading material “for the kids” (no offense to the readers of this blog but come on, everyone knows at least one person who turns their noses up at comics) the French view it as a form of literature that is just as important as the novel or poem.

A modern example?  One of my favorite modern graphic novels created by the French-Iranian writer and artist Marjane Satrapi’s Persepolis.

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Franco Belgian comics are also reknown for their artwork, with many of the older French artists divided into three distinct schools of comic art, including the realistic, which was popularized by artists such as Moebius,

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the “Linge claire” style, which favored more angular and simplistic character designs set against realistic backgrounds and was popularized by Herge and the Tintin books,

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the “comic dynamic style” which featured a more cartoonish emphasis on characters, movement, and action which was popularized by the Asterix books.

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So there you have it, a simplistic, generalized, and far too brief look at the comic book culture that inspired the movie Valerian and the City of a Thousand Planets.  If this piqued your interest at all I highly recommend checking some of the titles out that I posted above and if you haven’t seen the movie yet…please go see it now.