commit 442300d2644d0298dd2fe89845ccf19b8622f69f Author: Simon Martens Date: Thu Oct 2 23:31:45 2025 +0200 Initial diff --git a/Dockerfile b/Dockerfile new file mode 100644 index 0000000..ca1a944 --- /dev/null +++ b/Dockerfile @@ -0,0 +1,5 @@ +# Use the official, lightweight Nginx web server image +FROM nginx:latest + +# Copy the entire contents of your httpdocs folder into Nginx's default site directory +COPY httpdocs/ /usr/share/nginx/html/ diff --git a/docker-compose.yml b/docker-compose.yml new file mode 100644 index 0000000..15fac7a --- /dev/null +++ b/docker-compose.yml @@ -0,0 +1,10 @@ +services: + konkykru: + build: . + restart: unless-stopped + networks: + - caddynet + +networks: + caddynet: + external: true diff --git a/httpdocs/.user.ini b/httpdocs/.user.ini new file mode 100644 index 0000000..643b4f8 --- /dev/null +++ b/httpdocs/.user.ini @@ -0,0 +1,5 @@ +[PHP] +safe_mode=off +open_basedir="C:/Inetpub/vhosts/konkykru.com\;C:\Windows\Temp\" +error_reporting=22519 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+Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru +
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Abstract Comics 2009 +
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Abstract Comics 2011 +
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Abstract Comics (earlier) +
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+©2008 Copyright by Andy Konky Kru +


+
+ + \ No newline at end of file diff --git a/httpdocs/ac.01_konkykrupicturestrips.html b/httpdocs/ac.01_konkykrupicturestrips.html new file mode 100644 index 0000000..1200680 --- /dev/null +++ b/httpdocs/ac.01_konkykrupicturestrips.html @@ -0,0 +1 @@ + Comics made by Andy
Home      
Abstract Comics       Other Comics       Konky Kru

Andy's Konky Kru

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©2008 Copyright by Andy Konky Kru


\ No newline at end of file diff --git a/httpdocs/ac.05_thisandthat.html b/httpdocs/ac.05_thisandthat.html new file mode 100644 index 0000000..556601c --- /dev/null +++ b/httpdocs/ac.05_thisandthat.html @@ -0,0 +1 @@ + Comics made by Andy
Home       Early Comics       Links      Fanzines      Festivals       Abstract Comics       Other Comics       Konky Kru

Andy's other comics




























































Unspannend

Unspannend means 'Unexiting'. These are comics where almost nothing happens.
Or where something seems to be about to happen, and doesn't.


       


       


       


       


       


       




(the little Konky chappie is thinking: 'Actually, this is rather unexiting')
Oh, and in the preceding panel, 'zusammenklapp' means he's closing the book (litterally 'together-clapping'). It's really funny, trust me.)









(Cover-illustration by Wittek, from an idea-sketch by me. Typography by me)
       

































Mumpitz



























































































Wer Vorzeichnet hat Angst






©2008 Copyright by Andy Konky Kru


\ No newline at end of file diff --git a/httpdocs/ac.all.abstract.comics.html b/httpdocs/ac.all.abstract.comics.html new file mode 100644 index 0000000..d9b3a58 --- /dev/null +++ b/httpdocs/ac.all.abstract.comics.html @@ -0,0 +1,178 @@ + Comics made by Andy + + +
+ + + Abstract Comics +
+
+
+
+Scroll Down !
+
+
+
+
+ + + + + + 'Sequence 1' (Acrylic on canvas, 40 x 30 inches) 2013 +


+












+ + + +
+ + +
+
+
+ + + for exihibtion 'Script Score' Nov 2012, curated by John Miers +
+
+ + +
+
+
+
+ +
+
+ Ink, size A3, 2011 +

+
+
+
+
+ + +
+
+
+ + Pen & watercolour, size A5, 2011 +

+ + +












+












+












+












+












+












+












+












+












+












+












+












+












+












+












+ +












+ + +
+ 2009 +
+(Ink & watercolour/gouache, size A4) +
+ + +(published in the anthology 'Abstract Comics' by Fantagraphics, 2010, editor Andrei Molotiu) + +


+












+












+












+












+












+












+












+
+and a few more, less abstract. Colour added in 2011: +
+












+












+












+

+
+ + + +Ink, size A3 2008 +


+ + +
+
+
+
+ + + + + +
+
+
+ + + (1990s) +
+
+ + +



+
+ + + +



+ +



+ +



+ +



+
+ + + + +



+ +



+ +



+ + + + + +



+ +



+ +



+ +



+ + +



+ + + +
+ + + + \ No newline at end of file diff --git a/httpdocs/ac.all.konkykru.html b/httpdocs/ac.all.konkykru.html new file mode 100644 index 0000000..6b31dad --- /dev/null +++ b/httpdocs/ac.all.konkykru.html @@ -0,0 +1,163 @@ + Comics made by Andy + + +
+Andy's 'Konky Kru' + +




+2013 +
+
+ +



+



+



+



+



+



+



+ + + + + +(old pages) + +
+
+ + +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ + + +
+
+
+
+
+ + + +Konky Kru - Teddy + +
+
+
+ +
+
+
+





+ + +
+
+
+ + + +Konky Kru - Sandwich + +
+
+
+
+
+





+





+





+





+ + + +Konky Kru Sculpture + +
+ +
+ +
+
+
+





+





+





+ + +





+ + +





+ + + + + + + +Copyright © 2014 by Andy Konky Kru + +
+ + + + \ No newline at end of file diff --git a/httpdocs/ac.all.other.comics.html b/httpdocs/ac.all.other.comics.html new file mode 100644 index 0000000..848808a --- /dev/null +++ b/httpdocs/ac.all.other.comics.html @@ -0,0 +1,183 @@ + Comics made by Andy + + +
+Other comics
+
+
+
+
+
+2012
+ + +
+
+
+
+
+
+
+
+
+
+
+
+
+ + +
+
+
+ + + +2008
+
+





+
+ +
+
+
+ + + + +



+
+
+2006 - Limerick Comics
+ + + + + +



+



+ + +
+
+1990s
+ + + + +



+
+



+ +



+ +



+ +



+ +



+ + + + +Unspannend +
+
+
+Unspannend means 'Unexiting'. These are comics where almost nothing happens.
+ +Or where something seems to be about to happen, and doesn't. + +
+
+
+ +(Cover-illustration by Wittek, after an idea-sketch by me. Logo by me) +
+ + + + + + + +
+ + + + + + + + + + + + + + + +
+(the little Konky chappie is thinking: 'Actually, this is rather unexiting') +
+Oh, and in the preceding panel, 'zusammenklapp' means he's closing the book (litterally 'together-clapping'). It's really funny, trust me.) +


+


+


+


+


+


+


+ +
+
+Jam Comics (1990s)
+
+By me and Andy Roberts: +
+






+ +Alternating between me (all panels on the left) and first Andreas Alt, then Joel Naber: +
+ + +
+ + +

+



+ + +
+First (or top) strip by me, then Rayman,Andy Roberts,Marcel Ruijters,Gilliom,Reinder Dijkhuis +
+



+ + +First (or top) strip by me, then Lee Kennedy, ? , Jean-Paul Jennequin,Woodrow Phoenix, Craig Conlan +
+



+ +First and last panel by me, then James Kochalka,Chris Webster,Pat Moriarity,Jim Cameron +
+



+ + +First and last panel by me, then Andy Roberts, Jim Cameron, Simon Gane, Chris Webster +
+



+ +First and last panel by me, then Chris Webster, Jim Cameron, David Morris, Terry Wiley +
+



+ + + + +©2014 Copyright by Andy Konky Kru +


+ + +
+ + + \ No newline at end of file diff --git a/httpdocs/ac.bilderbogen.html b/httpdocs/ac.bilderbogen.html new file mode 100644 index 0000000..a2c0e2c --- /dev/null +++ b/httpdocs/ac.bilderbogen.html @@ -0,0 +1,26 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+
+ +A few water-coloured pages
+
+ +



+ +



+ +



+ + + + \ No newline at end of file diff --git a/httpdocs/ac.die.gestalten.html b/httpdocs/ac.die.gestalten.html new file mode 100644 index 0000000..ea6bd31 --- /dev/null +++ b/httpdocs/ac.die.gestalten.html @@ -0,0 +1,63 @@ + Comics made by Andy + + +
+ + + 'Die Gestalten' + +
+
+ +
+
+
+
+
+
+
+
+
+
+
+ + + +
+
+
+
+ +
+ + + +Autobiographical (sort of) (2006) +
+
+
+ + + + +




+




+




+




+




+

+ + + + +
+ +
+©2014 Copyright by Andy Konky Kru +


+ + +
+ + + \ No newline at end of file diff --git a/httpdocs/ac.green.paper.html b/httpdocs/ac.green.paper.html new file mode 100644 index 0000000..f824247 --- /dev/null +++ b/httpdocs/ac.green.paper.html @@ -0,0 +1,22 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+(on green paper)
+ +
+
+ +



+ + + + \ No newline at end of file diff --git a/httpdocs/ac.limericks.html b/httpdocs/ac.limericks.html new file mode 100644 index 0000000..602badf --- /dev/null +++ b/httpdocs/ac.limericks.html @@ -0,0 +1,29 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+
+Limericks
+
+
+ + +



+ +



+ +



+ +



+ + + + \ No newline at end of file diff --git a/httpdocs/ac.magazine.covers.html b/httpdocs/ac.magazine.covers.html new file mode 100644 index 0000000..7582e08 --- /dev/null +++ b/httpdocs/ac.magazine.covers.html @@ -0,0 +1,24 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+
+Fanzine Covers
+
+ + +



+ +



+ + + + \ No newline at end of file diff --git a/httpdocs/ac.meine.comics.html b/httpdocs/ac.meine.comics.html new file mode 100644 index 0000000..2218ea7 --- /dev/null +++ b/httpdocs/ac.meine.comics.html @@ -0,0 +1,709 @@ + Comics made by Andy + Comics made by Andy + + + + +
+Comics by Andy +

+
+
+
+
+ +
+
+
+
+
+'Konky Kru' + +
+
+ +



+



+



+



+



+



+



+ + + + + +
+
+ + +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ +                  +                  + +




+ + + +
+
+
+
+
+ + + +Konky Kru - Teddy + +
+
+
+ +
+
+
+





+ + +
+
+
+ + + +Konky Kru - Sandwich + +
+
+
+
+
+





+





+





+





+ + + +Konky Kru Sculpture + +
+ +
+ +
+
+
+





+





+





+ + +





+ + +





+ + +
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Other comics
+
+
+
+
+
+2012
+ + +
+
+
+
+
+
+
+
+
+
+
+
+
+ + +
+
+
+ + + +2008
+
+





+
+ +
+
+
+ + + + +



+
+
+2006 - Limerick Comics
+ + + + + +



+



+ + +
+
+1990s
+ + + + +



+
+



+ +



+ +



+ +



+ +



+ + + + +Unspannend +
+
+
+Unspannend means 'Unexiting'. These are comics where almost nothing happens.
+ +Or where something seems to be about to happen, and doesn't. + +
+
+
+ +(Cover-illustration by Wittek, after an idea-sketch by me. Logo by me) +
+ + + + + + + +
+ + + + + + + + + + + + + + + +
+(the little Konky chappie is thinking: 'Actually, this is rather unexiting') +
+Oh, and in the preceding panel, 'zusammenklapp' means he's closing the book (litterally 'together-clapping'). It's really funny, trust me.) +


+


+


+


+


+


+


+ +
+
+Jam Comics (1990s)
+
+By me and Andy Roberts: +
+






+ +Alternating between me (all panels on the left) and first Andreas Alt, then Joel Naber: +
+ + +
+ + +

+



+ + +
+First (or top) strip by me, then Rayman,Andy Roberts,Marcel Ruijters,Gilliom,Reinder Dijkhuis +
+



+ + +First (or top) strip by me, then Lee Kennedy, ? , Jean-Paul Jennequin,Woodrow Phoenix, Craig Conlan +
+



+ +First and last panel by me, then James Kochalka,Chris Webster,Pat Moriarity,Jim Cameron +
+



+ + +First and last panel by me, then Andy Roberts, Jim Cameron, Simon Gane, Chris Webster +
+



+ +First and last panel by me, then Chris Webster, Jim Cameron, David Morris, Terry Wiley +
+



+ + + + +
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+Mumpitz
+
+ + + +
+
+
+
+ + +






+ +
+2009
+






+ +






+ + +



+ + + + + + + +



+ + +



+ +



+ +



+ + + + + + +



+ + + +



+ + + + +
+
+ +






+






+






+






+






+






+






+






+ + +
+
+
+
+

+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ Wounded Sokrates +
+ (after the short story by Bertolt Brecht) +
+
+



+



+



+



+



+



+



+



+



+
+(mit freundlicher Genehmigung des Merkur) +
+
+ + +


+ +
+
+
+
+
+
+
+
+
+
+
+
+ + +Autobiographical (sort of) (2006) +
+
+
+ + + + +




+




+




+




+




+

+ +
+
+
+
+
+
+ + 'Die Gestalten' + +
+
+ +
+
+
+
+
+
+
+
+
+
+
+ + + +
+
+
+
+
+
+ + + + + 'Sequence 1' (Acrylic on canvas, 40 x 30 inches) 2013 +


+












+ + + +
+ + +
+
+
+ + + for exihibtion 'Script Score' Nov 2012, curated by John Miers +
+
+ + +
+
+
+
+ +
+
+ Ink, size A3, 2011 +

+
+
+
+
+ + +
+
+
+ + Pen & watercolour, size A5, 2011 +

+ + +












+












+












+












+












+












+












+












+












+












+












+












+












+












+












+ +












+ + +
+ 2009 +
+(Ink & watercolour/gouache, size A4) +
+ + +(published in the anthology 'Abstract Comics' by Fantagraphics, 2010, editor Andrei Molotiu) + +


+












+












+












+












+












+












+












+
+and a few more, less abstract. Colour added in 2011: +
+












+












+












+

+
+ + + +Ink, size A3 2008 +


+ + +
+
+
+
+ + + + + +
+
+
+ + + (1990s) +
+
+ + +



+
+ + + +



+ +



+ +



+ +



+
+ + + + +



+ +



+ +



+ + + + + +



+ +



+ +



+ +



+ + +



+ + +
+
+
+ + + + + +Copyright © 2014 by Andy Konky Kru + +
+ + + + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.2010.06.html b/httpdocs/ac.mumpitz.2010.06.html new file mode 100644 index 0000000..0be406e --- /dev/null +++ b/httpdocs/ac.mumpitz.2010.06.html @@ -0,0 +1,27 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+Mumpitz +
+
+ + + +






+ + +
+ +


+
+ + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.alles.html b/httpdocs/ac.mumpitz.alles.html new file mode 100644 index 0000000..69ff0df --- /dev/null +++ b/httpdocs/ac.mumpitz.alles.html @@ -0,0 +1,82 @@ + Comics made by Andy + + +
+ +Mumpitz
+
+ + + +
+
+
+
+ + +






+ +
+2009
+






+ +






+ + +



+ + + + + + + +



+ + +



+ +



+ +



+ + + + + + +



+ + + +



+ + + + +
+
+ +






+






+






+






+






+






+






+






+ + +
+
+
+
+
+©2014 Copyright by Andy Konky Kru +


+ + +
+ + + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.buntstift.html b/httpdocs/ac.mumpitz.buntstift.html new file mode 100644 index 0000000..849070b --- /dev/null +++ b/httpdocs/ac.mumpitz.buntstift.html @@ -0,0 +1,21 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+ +
+
+
+Mumpitz Monsters
+
+






+ + + + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.html b/httpdocs/ac.mumpitz.html new file mode 100644 index 0000000..e9a6730 --- /dev/null +++ b/httpdocs/ac.mumpitz.html @@ -0,0 +1 @@ + Comics made by Andy
Home
Abstract Comics       Other Comics       Konky Kru

Mumpitz



























































































\ No newline at end of file diff --git a/httpdocs/ac.mumpitz.jam.with.andy.roberts.html b/httpdocs/ac.mumpitz.jam.with.andy.roberts.html new file mode 100644 index 0000000..e31e219 --- /dev/null +++ b/httpdocs/ac.mumpitz.jam.with.andy.roberts.html @@ -0,0 +1,21 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+
+ +Jam comic with Andy Roberts
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.mini.comic.html b/httpdocs/ac.mumpitz.mini.comic.html new file mode 100644 index 0000000..e1f9597 --- /dev/null +++ b/httpdocs/ac.mumpitz.mini.comic.html @@ -0,0 +1,33 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+Mumpitz +
+
+ +
+






+






+






+






+






+






+






+






+

+ +
+ +


+
+ + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.oma.html b/httpdocs/ac.mumpitz.oma.html new file mode 100644 index 0000000..7ab9c09 --- /dev/null +++ b/httpdocs/ac.mumpitz.oma.html @@ -0,0 +1,22 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+ +
+
+
+Mumpitz - Granny and the Purse
+
+ +



+ + + + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.stinke.teufel.html b/httpdocs/ac.mumpitz.stinke.teufel.html new file mode 100644 index 0000000..ece00ce --- /dev/null +++ b/httpdocs/ac.mumpitz.stinke.teufel.html @@ -0,0 +1,26 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+Mumpitz - Thwarted
+
+ + + +



+ +



+ +



+ + + + \ No newline at end of file diff --git a/httpdocs/ac.mumpitz.wurm.hund.html b/httpdocs/ac.mumpitz.wurm.hund.html new file mode 100644 index 0000000..6f7e31b --- /dev/null +++ b/httpdocs/ac.mumpitz.wurm.hund.html @@ -0,0 +1,27 @@ + Comics made by Andy + +
+ +Home +
+Abstract Comics       +Other Comics       +Konky Kru +
+
+
+Mumpitz +
+
+






+ +






+ + + +
+ +


+
+ + \ No newline at end of file diff --git a/httpdocs/ac.my.own.comics.html b/httpdocs/ac.my.own.comics.html new file mode 100644 index 0000000..cb68adf --- /dev/null +++ b/httpdocs/ac.my.own.comics.html @@ -0,0 +1,406 @@ + Comics made by Andy + +
+ +
+
+Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru +
+
+ +
+
+
+

Abstract Comics 2011 +
+
+ +Use the 'backspace' key to get back to this page! +
+
+All on one page (large) click here! +

+
+
+ +(Even larger click here) + +
+
+ + + + + + + + + + + + + + + + +
+
+
+ +
+
+ +

Abstract Comics 2009 +

+ +(These were printed in 'Abstract Comics', a hardcover book published by Fantagraphics) +
+
+ + + + + + + + + +
+ +
+
+ +

Abstract Comics (earlier) +
+ + + + + + +
+ + + +
+ + + + + + +
+ + + + + + + +
+ + + + + + + + + + + Comics made by Andy + +
+ +
+
+Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru +
+
+ +
+
+ +Andy's other Comics +
+
+
+ + + + + +
+
+ + +Limericks
+ +
+
+
+ + +
+
+ +Silly comic
+ +
+
+
+ + +
+
+Fanzine Covers
+ +
+
+
+ + +
+
+A few water-coloured pages
+ +
+
+
+ + +
+
+(on green paper)
+ +
+
+
+ + +
+
+Jam comic with Andy Roberts
+ +
+
+
+ + +
+
+ + +Mumpitz - Thwarted
+ +
+
+
+ + +
+
+Mumpitz - Granny and the Purse
+ +
+
+
+ + +
+
+Mumpitz Mini Comic Book
+ +
+
+
+ + +
+
+ +Mumpitz - Worm & Bird, Dog & Sausage
+ +
+
+
+ + +
+
+Mumpitz Monsters
+ +
+
+
+ + +
+
+Unspannend
+ +
+
+
+ + +
+
+Minicomic in (mostly) German 'Wer Vorzeichnet hat Angst'
+ + +
+
+
+ + + + + Comics made by Andy + +
+ +
+
+Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru +
+
+ +
+
+ +Andy's Konky Kru +
+
+
+ +You can't click on individual pages. +Only on groups of pages! +
+ +
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+
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Unspannend

Unspannend means 'Unexiting'. These are comics where almost nothing happens.
Or where something seems to be about to happen, and doesn't.



















































(the little Konky chappie is thinking: 'Actually, this is rather unexiting')
Oh, and in the preceding panel, 'zusammenklapp' means he's closing the book (litterally 'together-clapping'). It's really funny, trust me.)









(Cover-illustration by Wittek, from an idea-sketch by me. Typography by me)










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+ +'Wer Vorzeichnet hat Angst' +
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+ +(a minicomic, improvised on postcard-size paper) +
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+ + +©2008 Copyright by Andy Konky Kru + +
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Itsy Bitsy #1






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Itsy Bitsy #2






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Graphic Reviews
(March 1997)






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and three more from 'Magazine Nr.1':














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Zeitraum






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('Zeitraum #1' was in German.)


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Shtumm #1






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Shtumm #2






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Shtumm #3






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Flickermouse 1




























































































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Flickermouse 2
































































































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Flickermouse 3




























































































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a/httpdocs/dunk.hrt1896.124.complete.jpg b/httpdocs/dunk.hrt1896.124.complete.jpg new file mode 100644 index 0000000..015a7cc Binary files /dev/null and b/httpdocs/dunk.hrt1896.124.complete.jpg differ diff --git a/httpdocs/dunk.hrt1896.300.complete.jpg b/httpdocs/dunk.hrt1896.300.complete.jpg new file mode 100644 index 0000000..7e9aa1c Binary files /dev/null and b/httpdocs/dunk.hrt1896.300.complete.jpg differ diff --git a/httpdocs/dunk.hrt1896.348.complete.jpg b/httpdocs/dunk.hrt1896.348.complete.jpg new file mode 100644 index 0000000..c70b43f Binary files /dev/null and b/httpdocs/dunk.hrt1896.348.complete.jpg differ diff --git a/httpdocs/e.advertising.html b/httpdocs/e.advertising.html new file mode 100644 index 0000000..e1ff137 --- /dev/null +++ b/httpdocs/e.advertising.html @@ -0,0 +1 @@ + Advertising Comics
Advertising Comics



Blackwell's Durham








(from the collection of Doug Wheeler)

\ No newline at end of file diff --git a/httpdocs/e.andral.la.clemence.html b/httpdocs/e.andral.la.clemence.html new file mode 100644 index 0000000..cf3862d --- /dev/null +++ b/httpdocs/e.andral.la.clemence.html @@ -0,0 +1,26 @@ +G.Andral + + +
+
+ + + + + + +G. Andral + + +
+
+ +
+
+(from the collection of Harald Kiehn) + +
+
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+
+ \ No newline at end of file diff --git a/httpdocs/e.bahr.all.html b/httpdocs/e.bahr.all.html new file mode 100644 index 0000000..b68e2e4 --- /dev/null +++ b/httpdocs/e.bahr.all.html @@ -0,0 +1,240 @@ + Johann Bahr + + +
+ + + +Johann Bahr + +




+




+ + +'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) +
+
+
+ + +




+




+




+




+




+




+ + + +




+




+ + +'Schnelles Wachstum' (Fast growth) +
+
+
+ +


+


+


+ + + + + + +




+




+ + +'The Mechanical Racehorse' (originally published in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893, minus one panel) +
+
+
+ +




+ +
+
+ + +




+




+ +from 'Lustige Blätter' 1892' +


+


+


+


+


+


+


+


+


+


+


+




+




+ + + + +from 'Lustige Blätter' 1892' +


+


+


+


+


+


+


+


+


+


+


+


+


+


+




+




+ + +from 'Lustige Blätter' 1892' +


+(Speech by Professor Strubelmann on how to take care of your hair) +
+
+
+ + +


+


+


+


+


+


+




+




+ +from 'Lustige Blätter' 1892' +


+ + +
+
+
+
+ +




+




+ + + +'Der Sonntagsfrevler - oder - Die verbotene Angelei' (1892) +
+
+
+ + +
+
+
+
+
+
+
+




+




+ + +'Der gefoppte Schwarzseher' (1892) +
+
+
+ + +


+


+


+


+


+ +




+




+ + + + +'Better Than an Alrarum' +
+
+
+
+ +




+




+ + +'The Clown Takes a Ride' +
+
+
+
+




+




+ + +'Woes of a Chaperone' 1891 +
+
+
+
+ + +




+




+ +'A Nervous Lady Takes a Walk' 1892 +
+
+
+
+ +




+




+ +'A Proposal under Difficulties'' 1892 +


+
+ +




+




+ +'A Saving Man' +


+
+ + + + + + + + + + + + + + +
+ + +Home +           +Andy's Early Comics Archive + + +
+ + \ No newline at end of file diff --git a/httpdocs/e.bahr.html b/httpdocs/e.bahr.html new file mode 100644 index 0000000..12e492e --- /dev/null +++ b/httpdocs/e.bahr.html @@ -0,0 +1,138 @@ +Johann Bahr + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Johann Bahr
+ + +
+
+
+
+
+		 + +
+ +'Der kurzsichtige Bassgeiger' (The short-sighted bass-player)

+

+ + +
+
+
+
+		 + +
+ +'Schnelles Wachstum' (Fast Growth)

+

+ + +
+
+
+
+		 + +
+ +'The Mechanical Racehorse' (originally published in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893)

+

+ + +
+
+
+
+		 + +
+ +Die Rivalen auf dem Eise (1892)

+

+ + +
+
+
+
+		 + +
+ +Die verrätherische Fata Morgana (1892)

+

+ + +
+
+
+
+		 + +
+ +(Speech by Professor Strubelmann on how to take care of your hair) (1892)

+

+ + +
+
+
+
+		 + +
+ +Der kluge Plüsecke (1892)

+

+ + +
+
+
+
+		 + +
+ +'Der Sonntagsfrevler - oder - Die verbotene Angelei' (1892)

+

+ + +
+
+
+
+		 + +
+ +'Der gefoppte Schwarzseher' (1892)

+

+ + + +
+
+
+ + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.bahr.pm.racehorse.html b/httpdocs/e.bahr.pm.racehorse.html new file mode 100644 index 0000000..9689587 --- /dev/null +++ b/httpdocs/e.bahr.pm.racehorse.html @@ -0,0 +1,28 @@ + Johann Bahr + + +
+ + +Johann Bahr + +
+ +'The Mechanical Racehorse' (originally published in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893, minus one panel) +
+
+
+ +




+ + + +
+
+ + + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.bahr.pm1893.1-6.b.11.better.than.an.alarum_lustige.html b/httpdocs/e.bahr.pm1893.1-6.b.11.better.than.an.alarum_lustige.html new file mode 100644 index 0000000..a66f551 --- /dev/null +++ b/httpdocs/e.bahr.pm1893.1-6.b.11.better.than.an.alarum_lustige.html @@ -0,0 +1,31 @@ + Andy's Early Comics Archive - Johann Bahr + + +
+ + + + +Johann Bahr + +
+
+ +'Better Than an Alrarum' +
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+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.bahr.pm1893.1-6.b.131.bahr_woes.of.a.chaperone.html b/httpdocs/e.bahr.pm1893.1-6.b.131.bahr_woes.of.a.chaperone.html new file mode 100644 index 0000000..6613d9e --- /dev/null +++ b/httpdocs/e.bahr.pm1893.1-6.b.131.bahr_woes.of.a.chaperone.html @@ -0,0 +1,30 @@ + Andy's Early Comics Archive - Johann Bahr + + +
+ + + +Johann Bahr + +
+
+ +'Woes of a Chaperone' 1891 +
+
+
+ + +
+ + +


+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.bahr.pm1893.1-6.b.132.bahr_nervous.lady.takes.a.walk.html b/httpdocs/e.bahr.pm1893.1-6.b.132.bahr_nervous.lady.takes.a.walk.html new file mode 100644 index 0000000..202afaf --- /dev/null +++ b/httpdocs/e.bahr.pm1893.1-6.b.132.bahr_nervous.lady.takes.a.walk.html @@ -0,0 +1,30 @@ + Andy's Early Comics Archive - Johann Bahr + + +
+ + + +Johann Bahr + +
+
+ +'A Nervous Lady Takes a Walk' 1892 +
+
+
+ + +
+ + +


+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.bahr.pm1893.1-6.b.254.bahr_proposal.under.difficulties.html b/httpdocs/e.bahr.pm1893.1-6.b.254.bahr_proposal.under.difficulties.html new file mode 100644 index 0000000..4658e19 --- /dev/null +++ b/httpdocs/e.bahr.pm1893.1-6.b.254.bahr_proposal.under.difficulties.html @@ -0,0 +1,22 @@ + Andy's Early Comics Archive - Johann Bahr + + +
+ +Johann Bahr + +

+ +'A Proposal under Difficulties'' 1892 +


+ +
+


+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.bahr.pm1893.1-6.b.312.bahr_a.saving.man.html b/httpdocs/e.bahr.pm1893.1-6.b.312.bahr_a.saving.man.html new file mode 100644 index 0000000..2780d91 --- /dev/null +++ b/httpdocs/e.bahr.pm1893.1-6.b.312.bahr_a.saving.man.html @@ -0,0 +1,22 @@ + Andy's Early Comics Archive - Johann Bahr + + +
+ +Johann Bahr + +

+ +'A Saving Man' +


+ +
+


+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.bahr.pm1893.1-6.b.44.bahr_the.clown.takes.a.ride.html b/httpdocs/e.bahr.pm1893.1-6.b.44.bahr_the.clown.takes.a.ride.html new file mode 100644 index 0000000..d9b87cb --- /dev/null +++ b/httpdocs/e.bahr.pm1893.1-6.b.44.bahr_the.clown.takes.a.ride.html @@ -0,0 +1,29 @@ + Andy's Early Comics Archive - Johann Bahr + + +
+ + +Johann Bahr + +
+
+ +'The Clown Takes a Ride' +
+
+
+ + +
+ + +


+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.baric.html b/httpdocs/e.baric.html new file mode 100644 index 0000000..37403d5 --- /dev/null +++ b/httpdocs/e.baric.html @@ -0,0 +1,44 @@ +Baric + + +
+ + +Baric + +
+ +
+
+
+ + + +





+





+





+





+





+





+





+





+





+





+





+





+





+





+





+





+





+ +
+
+ +
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.barnes.all.html b/httpdocs/e.barnes.all.html new file mode 100644 index 0000000..b69e7da --- /dev/null +++ b/httpdocs/e.barnes.all.html @@ -0,0 +1,26 @@ + Andy's Early Comics Archive + + +
+ +Culmer Barnes + +

+ + +


+ +
+


+ + +
+


+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.beard.on.the.road.html b/httpdocs/e.beard.on.the.road.html new file mode 100644 index 0000000..0d01eaf --- /dev/null +++ b/httpdocs/e.beard.on.the.road.html @@ -0,0 +1,38 @@ + +Frank Beard + + + + +Frank Beard + + +
+ + +Frank Beard +
+ + +
+
+IT DIDN'T WORK FOR A CENT.
+ + (from Puck 'On the Road' 1889) +
+
+ +
+
+
+(from the collection of John Ronan) +
+
+ +
+ +
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.bernard_une.ligne.resistante.1898.html b/httpdocs/e.bernard_une.ligne.resistante.1898.html new file mode 100644 index 0000000..7320673 --- /dev/null +++ b/httpdocs/e.bernard_une.ligne.resistante.1898.html @@ -0,0 +1,25 @@ +Edouart Bernard + + +
+ + + + +Edouart Bernard + + +
+
+ +(Polichinelle 1898) +
+








+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.bilderbogen.jeder.ist.seines.glueckes.schmied.html b/httpdocs/e.bilderbogen.jeder.ist.seines.glueckes.schmied.html new file mode 100644 index 0000000..b6bbf79 --- /dev/null +++ b/httpdocs/e.bilderbogen.jeder.ist.seines.glueckes.schmied.html @@ -0,0 +1,26 @@ +? + + +
+ + +Bilderbogen: (Nr.222) 'Jeder ist seines Glückes Schmied' + + +
+
+
+
+ +
+ +
+
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.blashfield.pm1893.1-6.38.from.judge.html b/httpdocs/e.blashfield.pm1893.1-6.38.from.judge.html new file mode 100644 index 0000000..62a7bc4 --- /dev/null +++ b/httpdocs/e.blashfield.pm1893.1-6.38.from.judge.html @@ -0,0 +1,33 @@ + + Andy's Early Comics Archive + + +
+ + + +A.D.Blashfield + +

+ + +


+ + +

+ +



+ +



+ +



+ +

+ +
+Home +           +Andy's Early Comics Archive +
+ + \ No newline at end of file diff --git a/httpdocs/e.branston.all.html b/httpdocs/e.branston.all.html new file mode 100644 index 0000000..bc535ca --- /dev/null +++ b/httpdocs/e.branston.all.html @@ -0,0 +1,294 @@ +The Comic Adventures of Old Mother Hubbard and her Dog (1819) + + +
+ + + + + + + + + +Robert Branston (probably) +
+Old Mother Hubbard and her Dog - 1819 + +
+ + + +






+ + + + + + + The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805)
+ + + + + + +



+ + The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805) + + +
+ + + + + + + + + + + + + + + +
+
+
+
+ + + + + + + +
+ +Old Mother Hubbard +
+ + +circa 1805/10 +
+ +
+(from an 1893 reprint) + + + + + +






+ + + + +
+ + + + + + +These English picture stories for children may have inspired German manufacturers of popular prints, (the so-called 'Bilderbogen') to include picture stories in their programm. The earliest Bilderbogen featuring comics seem to be from 1835, including the following example of a German copy of Branston's version of Mother Hubbard. +
+ +
+What makes this so interesting is the fact that these Neuruppiner Bilderbogen (sold in vast numbers) inspired the creation of Munich Bilderbogen around 1848, which become the stomping ground for the slapstick comics by Wilhelm Busch, who in turn became the starting point of American sequential comics, the Katzenjammer Kids.
+
+ +There seems to be a direct line of influence from British children's comics 1800-1840, via German Bilderbogen 1835-1890, to US newspaper comics (from 1895) where modern comics as we know them were finally established. + +
+ + + + +



+ + +
+ + + + + +Geschichte der Madam Rips und ihres Hundes Bello
+(Neuruppiner Bilderbogen, 1835-40) + + + +
+
+ +
+
+ + +(Bello comes from 'bellen', to bark. Typical doggie name) + + + +
+ +
+ + + + +
+ + +
+ + + + + + + + + + + + + + + + +
+
+
+ +
+ + +
+ +Robert Branston +'The Comical Cat' (1818) + + +
+
+ + + + + + + +
+ + + +
+ + + + + + +

+
+
+
+
+ + + + + + + + +
+ + +This book contains two stories, the second one (shown below) was a new version of Branston's comical cat (1818), apart from the first picture which in turn was based on the original chapbook from 1806. The drawings are in reverse. + +
+
+ + +
+ + + + + + + +
+ +
+ +
+
+
+
+ +
+ +
+ Old Mother Mitten and Her Funny Kitten
+(circa 1825)
 +
+ +Huestis & Cozans, 104 Nassau Street, New York +
+ (The original order of the panels seems to have gone astray in this version) + +
+ +
+
+ +
+ + + +
+
+
+ + + +
+
+ + +Robert Branston - + Dame Wiggins of Lee and her Seven Wonderful Cats (1823)
+ +More an illustrated story than a comic, because not enough of the relevant action is shown visually. + +
+ +This was a favourite childrens book of the art critic John Ruskin. + + + +
+
+ + + +
+
+
+Home +           +Andy's Early Comics Archive + + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.branston.comical.cat.html b/httpdocs/e.branston.comical.cat.html new file mode 100644 index 0000000..68d4147 --- /dev/null +++ b/httpdocs/e.branston.comical.cat.html @@ -0,0 +1 @@ +The Comic Adventures of Old Dame Trot and her Cat
Robert Branston
Old Dame Trot and her Cat
(1818)






Here you behold Dame Trot, and here
her comic cat you see.
Each seated in an elbow chair
as snug as they can be.


Dame Trot came home one wintry night,
a shivering, starving soul,
but Puss had made a blazing fire,
and nicely trussed a fowl.


The Dame was pleased, the fowl was dressed,
the table set in place.
The wondreous cat began to carve,
and Goody said her grace.


The cloth withdrawn, old Goody cries,
I wish we'd liquor too.
Up jumped Grimalkin for some wine,
and soon a cork she drew.


The wine got up in Pussy's head,
she woud not go to bed,
but purred and tumbled, leaped and danced,
and stood upon her head.


Old Goody laughed to see the sport,
as though her sides would crack,
when Puss, without a single word,
leaped on the spaniels back.


'Ha, ha! Well done!' old Trot exclaims,
'My cat, you gallop well'.
But Spot grew surly, growled and bit,
and down the rider fell.


Now Goody sorely was fatigued,
nor eyes could open keep.
So Spot and she and Pussy too,
agreed to go to sleep.


Next morning Puss got up bedtimes,
the breakfast cloth she laid.
And ere the village clock struck eight,
the tea and toast she made.


Goody awoke and rubbed her eyes,
and drank her cup of tea;
amazed to see her cat behave
with such propriety.


The breakfast ended, Trot went out
to see old neighbour Hards,
and coming home she found her cat
engaged with Spot at cards.


Another time the Dame came in,
when Spot demurely sat
half lathered to the ears and eyes,
half shaven by the cat.


Grimalkin having shaved her friend,
sat down before the glass,
and washed her face, and dressed her hair,
like any modern lass.


A hat and feather then she took,
and stuck it on aside,
and o'er a gown of crimson silk,
a handsome tippet tied.


Just as her dress was all complete,
in came the good old Dame.
She looked, admired, and curtsied low,
and Pussy did the same.








This book contains two stories, the second one (shown below) was a new version of Branston's comical cat (1818) which in turn was based on the original chapbook from 1806. The drawings are in reverse.


































Old Mother Mitten and Her Funny Kitten
(circa 1825)
Huestis & Cozans, 104 Nassau Street, New York







Old Mother Mitten
And her pretty Kitten,
Took supper, one night rather late;



(The original order of the panels seems to have gone astray in this version)




But they sat down to tea,
And the dog came to see
Pussy cut the meat up on her plate.






The dog and the cat
Were having a chat,
When Pussy cried out with a mew;






Dear old mother Mitten,
Just look at your kitten,
She's gonig to drink mead with you.






When the supper was over,
The kitten moreover,
Did stand on the top of her head.






So the dog he declares,
They must sleep in their chairs,
And none of them get into bed.






So when they awoke,
Miss Pussy first spoke,
And to the old Lady said she;






My dear if you please,
Take this bread and cheese,
And I'll give you a hot cup of tea.






At the table they sat,
The dog and the cat,
With cards they were trying to play;






But the dog's beard is long,
Which the cat thinks is wrong,
And here she is shaving poor Tray.






Having shaved Mr. Tray,
She hastens away,
And dresses herself for a walk;






And when she came in,
Told where she had been,
To have with the neighbours a talk.






Says granny indeed,
I believe you're agreed,
To marry miss Puss, Mr. Tray;






The dog made a bow,
The cat she said mow,
And I think they got married that day.



\ No newline at end of file diff --git a/httpdocs/e.brave.kinder.bahr.bass.html b/httpdocs/e.brave.kinder.bahr.bass.html new file mode 100644 index 0000000..27b9238 --- /dev/null +++ b/httpdocs/e.brave.kinder.bahr.bass.html @@ -0,0 +1,27 @@ + Johann Bahr + + +
+ + +Johann Bahr + +
+ +'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) +
+
+
+ + +




+




+




+




+




+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.bahr.pilz.html b/httpdocs/e.brave.kinder.bahr.pilz.html new file mode 100644 index 0000000..ad5adca --- /dev/null +++ b/httpdocs/e.brave.kinder.bahr.pilz.html @@ -0,0 +1,24 @@ + Johann Bahr + + +
+ + +Johann Bahr + +
+ +'Schnelles Wachstum' (Fast growth) +
+
+
+ +




+




+




+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.meggendorfer.html b/httpdocs/e.brave.kinder.meggendorfer.html new file mode 100644 index 0000000..cbd6e41 --- /dev/null +++ b/httpdocs/e.brave.kinder.meggendorfer.html @@ -0,0 +1,27 @@ + Lothar Meggendorfer + + +
+ + + +Lothar Meggendorfer + +(1847-1925) + +
+
+ +'Aus den Kinderjahren eines Kautschukmenschen' +
+
+
+ + +
+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.oberl.tante.html b/httpdocs/e.brave.kinder.oberl.tante.html new file mode 100644 index 0000000..e4761a8 --- /dev/null +++ b/httpdocs/e.brave.kinder.oberl.tante.html @@ -0,0 +1,38 @@ + Adolf Oberländer - Die Kurzsichtige Tante + + +
+ + + +Adolf Oberländer + +(1847-1925) + +
+
+ +'Die kurzsichtige Tante' (The shortsighted aunt) 1903 +
+
+ + +
+
+
+
+
+ +
+
+
+
+
+
+ + + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.oberlaender.html b/httpdocs/e.brave.kinder.oberlaender.html new file mode 100644 index 0000000..cd75ab8 --- /dev/null +++ b/httpdocs/e.brave.kinder.oberlaender.html @@ -0,0 +1,25 @@ + Lothar Meggendorfer + + +
+ + +Lothar Meggendorfer + + +
+
+ +'Aus den Kinderjahren eines Kautschukmenschen' +
+
+
+ + +
+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.reinicke.elefant.html b/httpdocs/e.brave.kinder.reinicke.elefant.html new file mode 100644 index 0000000..454af7e --- /dev/null +++ b/httpdocs/e.brave.kinder.reinicke.elefant.html @@ -0,0 +1,25 @@ + Emil Reinicke + + +
+ + +Emil Reinicke + + + +
+
+ +'Der Kluge Elefant' (The clever elephant) 1902 +




+ + +




+




+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.reinicke.jumbo.html b/httpdocs/e.brave.kinder.reinicke.jumbo.html new file mode 100644 index 0000000..cf24db0 --- /dev/null +++ b/httpdocs/e.brave.kinder.reinicke.jumbo.html @@ -0,0 +1,28 @@ + Emil Reinicke + + +
+ + +Emil Reinicke + + + +
+
+ +'Der durstige Jumbo' (Thirsty Jumbo) 1902 + +
+ +Reinicke 'nach Hans Horina' +




+




+




+




+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.reinicke.nashorn.html b/httpdocs/e.brave.kinder.reinicke.nashorn.html new file mode 100644 index 0000000..dcd8498 --- /dev/null +++ b/httpdocs/e.brave.kinder.reinicke.nashorn.html @@ -0,0 +1,31 @@ + Emil Reinicke + + +
+ + + +Emil Reinicke + + + +
+
+ +'Das jähzornige Nashorn' (The angry Rhino) 1886 +




+




+




+




+




+




+




+




+




+




+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.schliessmann.clown.html b/httpdocs/e.brave.kinder.schliessmann.clown.html new file mode 100644 index 0000000..db827b9 --- /dev/null +++ b/httpdocs/e.brave.kinder.schliessmann.clown.html @@ -0,0 +1,28 @@ + Schliessmann + + +
+ + +Schliessmann + +
+ +'Der Sechsfüssler - ein Clownscherz' (The six-footer, a clownish joke) +
+
+
+ + +




+




+




+




+




+




+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.auto.wider.willen.html b/httpdocs/e.brave.kinder.storch.auto.wider.willen.html new file mode 100644 index 0000000..7761b67 --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.auto.wider.willen.html @@ -0,0 +1,27 @@ + C.Storch + + +
+ + +C. Storch + + + + + +
+
+ +'Der Automobilfahrer wider Willen' (The unwilling motorist)
+ +Storch after R.Bergan +




+




+




+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.bestrafter.geiz.html b/httpdocs/e.brave.kinder.storch.bestrafter.geiz.html new file mode 100644 index 0000000..837c0c7 --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.bestrafter.geiz.html @@ -0,0 +1,30 @@ + C.Storch + + +
+ + + +C. Storch + + + + + +
+
+'Bestrafter Geiz' (Punished Selfishness) +
+
+ +
+

+

+

+

+

+

+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.blinder.eifer.html b/httpdocs/e.brave.kinder.storch.blinder.eifer.html new file mode 100644 index 0000000..743331a --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.blinder.eifer.html @@ -0,0 +1,29 @@ + C.Storch + + +
+ + +C. Storch + + + + + +
+
+'Blinder Eifer' (Blind Zeal) +




+ + +




+




+




+




+




+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.glueck.im.unglueck.html b/httpdocs/e.brave.kinder.storch.glueck.im.unglueck.html new file mode 100644 index 0000000..90eced6 --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.glueck.im.unglueck.html @@ -0,0 +1,28 @@ + C.Storch + + +
+ + +C. Storch + + + + + +
+
+'Glück im Unglück'
+ (German saying: bad luck which turns out to be not so bad, 'luck within bad luck')
+Storch after Pomerhanz + +




+ + +




+




+




+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.gnom.maulwurf.html b/httpdocs/e.brave.kinder.storch.gnom.maulwurf.html new file mode 100644 index 0000000..4b9df3d --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.gnom.maulwurf.html @@ -0,0 +1,27 @@ + C.Storch + + +
+ + + +C.Storch + + + +
+
+ +'Gnom und Maulwurf' (Gnome and Mole) +




+ + +




+




+




+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.maler.stier.html b/httpdocs/e.brave.kinder.storch.maler.stier.html new file mode 100644 index 0000000..f03b3f3 --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.maler.stier.html @@ -0,0 +1,28 @@ + C.Storch + + +
+ + + +C. Storch + + + + + +
+
+'Der Maler und der Stier' (The Painter and the Bull) +




+ + +




+




+ + + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.musikuntericht.html b/httpdocs/e.brave.kinder.storch.musikuntericht.html new file mode 100644 index 0000000..32ad1c1 --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.musikuntericht.html @@ -0,0 +1,35 @@ + C.Storch + + +
+ + + +C. Storch + + + + + +
+
+ +'Verunglückter Musikuntericht' (The music lesson that went wrong) +




+ + +




+




+




+




+




+




+




+




+ + + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.brave.kinder.storch.zwerge.fischer.html b/httpdocs/e.brave.kinder.storch.zwerge.fischer.html new file mode 100644 index 0000000..cb94123 --- /dev/null +++ b/httpdocs/e.brave.kinder.storch.zwerge.fischer.html @@ -0,0 +1,28 @@ + C.Storch + + +
+ + + +C. Storch + + + + + +
+
+'Die Zwerge und der Fischer' (The Dwarfs and the Fisherman) +




+ + +




+




+




+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.burret.all.html b/httpdocs/e.burret.all.html new file mode 100644 index 0000000..6153bf8 --- /dev/null +++ b/httpdocs/e.burret.all.html @@ -0,0 +1,115 @@ +Léonce Burret + + +
+ + + +Léonce Burret + +
+ +Le Rire 1898 (Number 166) + +
+
+ + +
+
+Larger +
+
+
+
+ +Le Rire 1898 (Number 211) + +
+
+ + +
+
+Larger +
+
+
+ +Le Rire 1898 (Number 190) + +
+
+ + +
+
+Larger +
+
+ + + + + + +Le Rire 1898 (Number 174) + +
+
+ + +
+
+Larger +
+
+ + +Le Rire 1898 (Number 200) + +
+
+ +
+
+
+Larger +
+
+ + + + + + + + + +(from the collection of Harald Kiehn) +
+
+ + + + + + + + + + + + +
+
+
+
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.burret.html b/httpdocs/e.burret.html new file mode 100644 index 0000000..70b3ed8 --- /dev/null +++ b/httpdocs/e.burret.html @@ -0,0 +1,92 @@ +Léonce Burret + +
+Home +           +Andy's Early Comics Archive +
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+ +Vieux Garcon - Le Rire 1898 (Number 166)

+ +

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+		 + +
+ +Quoi qu'il dirait, s'il reviendrait? - Le Rire 1898 (Number 211)

+ +

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+ +Le choix d'une villégiature - Le Rire 1898 (Number 190)

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+ +De la coupe aux làvres - Le Rire 1898 (Number 200)

+ +

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+ +La nouvelle Famille - Le Rire 1898 (Number 174)

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+ + + + + \ No newline at end of file diff --git a/httpdocs/e.burret.leonce_de.la.coupe.aux.levre_le.rire.1898.200.html b/httpdocs/e.burret.leonce_de.la.coupe.aux.levre_le.rire.1898.200.html new file mode 100644 index 0000000..65f5ccb --- /dev/null +++ b/httpdocs/e.burret.leonce_de.la.coupe.aux.levre_le.rire.1898.200.html @@ -0,0 +1,27 @@ +Léonce Burret + + +
+ + +Léonce Burret + +
+ +Le Rire 1898 (Number 200) + +
+
+ +
+
+
+Larger +
+
+(from the collection of Harald Kiehn) +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.burret.leonce_la.nouvelle.famille_1898.174.le.rire.html b/httpdocs/e.burret.leonce_la.nouvelle.famille_1898.174.le.rire.html new file mode 100644 index 0000000..56387b5 --- /dev/null +++ b/httpdocs/e.burret.leonce_la.nouvelle.famille_1898.174.le.rire.html @@ -0,0 +1,27 @@ +Léonce Burret + + +
+ +Léonce Burret + +
+ +Le Rire 1898 (Number 174) + +
+
+ + +
+
+Larger +
+
+
+(from the collection of Harald Kiehn) +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.burret.leonce_le.choix.d.une.villegiature_le.rire.1898.190.html b/httpdocs/e.burret.leonce_le.choix.d.une.villegiature_le.rire.1898.190.html new file mode 100644 index 0000000..0054fda --- /dev/null +++ b/httpdocs/e.burret.leonce_le.choix.d.une.villegiature_le.rire.1898.190.html @@ -0,0 +1,28 @@ +Léonce Burret + + +
+ + +Léonce Burret + +
+ +Le Rire 1898 (Number 190) + +
+
+ + +
+
+Larger +
+
+
+(from the collection of Harald Kiehn) +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.burret.leonce_napoleon_le.rire.1898.211.html b/httpdocs/e.burret.leonce_napoleon_le.rire.1898.211.html new file mode 100644 index 0000000..25ffd47 --- /dev/null +++ b/httpdocs/e.burret.leonce_napoleon_le.rire.1898.211.html @@ -0,0 +1,27 @@ +Léonce Burret + + +
+ +Léonce Burret + +
+ +Le Rire 1898 (Number 211) + +
+
+ + +
+
+Larger +
+
+
+(from the collection of Harald Kiehn) +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.burret.vieux.garcon.1898.166.le.rire.html b/httpdocs/e.burret.vieux.garcon.1898.166.le.rire.html new file mode 100644 index 0000000..a9f8344 --- /dev/null +++ b/httpdocs/e.burret.vieux.garcon.1898.166.le.rire.html @@ -0,0 +1,27 @@ +Léonce Burret + + +
+ +Léonce Burret + +
+ +Le Rire 1898 (Number 166) + +
+
+ + +
+
+Larger +
+
+
+(from the collection of Harald Kiehn) +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.busch-ross-comparison.html b/httpdocs/e.busch-ross-comparison.html new file mode 100644 index 0000000..9558163 --- /dev/null +++ b/httpdocs/e.busch-ross-comparison.html @@ -0,0 +1,22 @@ + Wilhelm Busch + + +
+ +Wilhelm Busch + +

+Comparison between Wilhelm Busch (1865) and Charles Ross (1867) +
+ +
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+ + +
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+
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.busch.all.html b/httpdocs/e.busch.all.html new file mode 100644 index 0000000..8ed4a27 --- /dev/null +++ b/httpdocs/e.busch.all.html @@ -0,0 +1 @@ +Wilhelm Busch
Wilhelm Busch
(all on one page) (scroll down for other stories)

Don't worry too much about the text. You can 'read' most of it by just looking at the pictures. One of the reasons this guy was (and still is) so popular.





Max und Moritz 1864






































Die kleinen Honigdiebe (1859)
(The Little Honeythieves)

'Du', sagt der Peterl zum Hansel, 'gehn wir 'nüber zu dem Nachbar seinen Bienenstock, der ist bis obenauf voll vom schönsten Honig!'




Und richtig, sie gehen 'nüber und begucken lüstern des Nachbars Bienenstock.




'Den werden wir gleich haben', sagt's Peterl, packt den Bienenstock und hebt ihn, aber im Nu spürt jeder von den zwei Schleckern einen Stich auf der Nase, der nicht von ungefähr zu kommen scheint.




'Ha, ha', sagt der Nachbar, der auf das Zetergeschrei herbeikommt, 'habt ihr's gemerkt, wie es beim Honigstehlen zugeht, jetzt lauft nur heim mit euerm Denkzettel.'




Und einen ordentlichen Denkzettel haben sie davongetragen, so dass keiner mehr den andern gekannt hat.




Und die Mutter hat geschaut, wie's heimgekommen sind!




Der Vater hat erst gewaltig gezankt, dann hat er aber helfen wollen, allein es war umsonst, und die zwei haben allweil geschrien, als ob sie am Spiesse stäken.




Jammernd sassen sie vor ihrem Lieblingsessen, einer Schüssel voll duftender Knödel. Der Vater aber überlegte hin und her, wie man die zwei Stacheln, welche die Bienen zurueckgelassen, wieder herausziehen und dadurch helfen möchte.




Da der Schmied im Dorf der Gescheiteste ist, so führt der Vater den Peterl und das Hanserl zu ihm. Der Schmied aber ist ein resolvierter Mann, packt die Bienenstachel gleich mit der grossen Zange und zieht sie auch wirklich glücklich wieder heraus.




Jetzt war allerdings die Hauptsache geschehen, allein die Wunden, welche die Stacheln hinterlassen, mussten erst verheilt werden, und da musste der Bader Dr. Bauxel kommen und auf jede Nase ein grosses Pflaster legen.




Damit sind die zwei drei Wochen im Bett gelegen, bis die Sache wieder gut war.




Endlich aber sind sie wieder gesund geworden und haben vor einer Schüssel voll Knödel feierlich gelobt, nie mehr zu einem Bienenstock zu gehen. Und das sollen sich alle Kinder merken, denn die Bienen stechen noch alle Tage, und nicht immer ist so ein resolvierter Mann wie der Schmied bei der Hand, der von den Folgen des Naschens helfen kann.




'Der kleine Maler mit der grossen Mappe' 1859
(The little painter with the large portfolio)






























































































'Die Maus'



































































(Münchner Bilderbogen 278, 29. Auflage)

'Der Bauer und der Windmüller'














Der hohle Zahn
(The hollow tooth)



Oftmalen bringt ein harter Brocken
Des Mahles Freude sehr ins Stocken.





So geht's nun auch dem Friedrich Kracke
Er sitzt ganz krumm und hält die Backe.





Um seine Ruhe ist's getan;
Er biss sich auf den hohlen Zahn.





Nun sagt man zwar: es hilft der Rauch!
Und Friedrich Kracke tut es auch;





Allein schon treiben ihn die Nöten,
Mit Schnaps des Zahnes Nerv zu töten.





Er taucht den Kopf mitsamt dem Übel
In einen kalten Wasserkübel.





Jedoch das Übel will nicht weichen,
Auf andre Art will er's erreichen.





Umsonst, er schlägt, vom Schmerz bedrängt,
Die Frau, die einzuheizen denkt.





Auch zieht ein Pflaster hinterm Ohr
Die Schmerzen leider nicht hervor.





Vielleicht - so denkt er - wird das Schwitzen
Möglicherweise etwas nützen.





Indes die Hitze wird zu gross,
Er strampelt sich schon wieder los;





Und zappelnd mit den Beinen
Hört man ihn bitter weinen.





Jetzt sucht er unterm Bette
Umsonst die Ruhestätte.





Zuletzt fällt ihm der Doktor ein.
Er klopft. - Der Doktor ruft: Herein!





'Ei, guten Tag, mein lieber Kracke,
Nehmt Platz! Was ist's denn mit der Backe?'





'Lasst seh'n! Ja, ja! Das glaub' ich wohl!
Der ist ja in der Wurzel hohl!'





Nun geht der Doktor still beiseit.
Der Bauer ist nicht sehr erfreut.





Und lächelnd kehrt der Doktor wieder,
Dem Bauern fährt es durch die Glieder.





Ach! wie erschrack er, als er da
Den wohlbekannten Hacken sah





Der Doktor, ruhig und besonnen,
Hat schon bereits sein Werk begonnen.





Und unbewusst nach oben
Fühlt Kracke sich gehoben.





Und rack - rack ! - da haben wir den Zahn,
Der so abscheulich weh getan!





Mit Staunen und voll Heiterkeit
Sieht Kracke sich vom Schmerz befreit.





Der Doktor, würdig wie er war,
Nimmt in Empfang sein Honorar.





Und Friedrich Kracke setzt sich wieder
Vergnügt zum Abendessen nieder.





Das Warme Bad (The Warm Bath - 1865)



























































































Die gestörte und wiedergefundene Nachtruhe oder: Der Floh (The Flea)





























































































Der gewandte, kunstreiche Barbier und sein kluger Hund
(The artful Barber and his clever Dog




























































































Der Virtuos
(The Virtuoso)


Silentium





Introduzione





Scherzo





Adagio





Adagio con sentimento





Piano





Smorzando





Maëstoso





Capriccioso





Passagio chromatico





Fuga des diavolo





Forte vivace





Fortissimo vivacissimo





Finale funioso





Bravo Bravissimo







Der Bauer und sein Schwein (The peasant and his pig)
Bilderbogen 315 & 316, both 27. Auflage






















































































'Der vergebliche Versuch' (1865)


















'Der Katzenjammer am Neujahrsmorgen' (1866)


























'Der schöne Ritter' (1866)






























\ No newline at end of file diff --git a/httpdocs/e.busch.bb.0316-bauer.schwein.html b/httpdocs/e.busch.bb.0316-bauer.schwein.html new file mode 100644 index 0000000..2d19355 --- /dev/null +++ b/httpdocs/e.busch.bb.0316-bauer.schwein.html @@ -0,0 +1,117 @@ + Wilhelm Busch + + +
+ +Wilhelm Busch + +

+Der Bauer und sein Schwein (The peasant and his pig) +
+Bilderbogen 315 & 316, both 27. Auflage +
+
+ +
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+
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+ +
+
+Andy's Early Comics Archive + +
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.busch.bb_243-honig.html b/httpdocs/e.busch.bb_243-honig.html new file mode 100644 index 0000000..bf7e2dd --- /dev/null +++ b/httpdocs/e.busch.bb_243-honig.html @@ -0,0 +1 @@ + Wilhelm Busch
Wilhelm Busch

Die kleinen Honigdiebe (1859)
(The Little Honeythieves)

'Du', sagt der Peterl zum Hansel, 'gehn wir 'nüber zu dem Nachbar seinen Bienenstock, der ist bis obenauf voll vom schönsten Honig!'




Und richtig, sie gehen 'nüber und begucken lüstern des Nachbars Bienenstock.




'Den werden wir gleich haben', sagt's Peterl, packt den Bienenstock und hebt ihn, aber im Nu spürt jeder von den zwei Schleckern einen Stich auf der Nase, der nicht von ungefähr zu kommen scheint.




'Ha, ha', sagt der Nachbar, der auf das Zetergeschrei herbeikommt, 'habt ihr's gemerkt, wie es beim Honigstehlen zugeht, jetzt lauft nur heim mit euerm Denkzettel.'




Und einen ordentlichen Denkzettel haben sie davongetragen, so dass keiner mehr den andern gekannt hat.




Und die Mutter hat geschaut, wie's heimgekommen sind!




Der Vater hat erst gewaltig gezankt, dann hat er aber helfen wollen, allein es war umsonst, und die zwei haben allweil geschrien, als ob sie am Spiesse stäken.




Jammernd sassen sie vor ihrem Lieblingsessen, einer Schüssel voll duftender Knödel. Der Vater aber überlegte hin und her, wie man die zwei Stacheln, welche die Bienen zurueckgelassen, wieder herausziehen und dadurch helfen möchte.




Da der Schmied im Dorf der Gescheiteste ist, so führt der Vater den Peterl und das Hanserl zu ihm. Der Schmied aber ist ein resolvierter Mann, packt die Bienenstachel gleich mit der grossen Zange und zieht sie auch wirklich glücklich wieder heraus.




Jetzt war allerdings die Hauptsache geschehen, allein die Wunden, welche die Stacheln hinterlassen, mussten erst verheilt werden, und da musste der Bader Dr. Bauxel kommen und auf jede Nase ein grosses Pflaster legen.




Damit sind die zwei drei Wochen im Bett gelegen, bis die Sache wieder gut war.




Endlich aber sind sie wieder gesund geworden und haben vor einer Schüssel voll Knödel feierlich gelobt, nie mehr zu einem Bienenstock zu gehen. Und das sollen sich alle Kinder merken, denn die Bienen stechen noch alle Tage, und nicht immer ist so ein resolvierter Mann wie der Schmied bei der Hand, der von den Folgen des Naschens helfen kann.






Busch




\ No newline at end of file diff --git a/httpdocs/e.busch.bb_248-kleine.maler.mappe.html b/httpdocs/e.busch.bb_248-kleine.maler.mappe.html new file mode 100644 index 0000000..f856738 --- /dev/null +++ b/httpdocs/e.busch.bb_248-kleine.maler.mappe.html @@ -0,0 +1,42 @@ + Wilhelm Busch + + +
+ + +Wilhelm Busch + +

+'Der kleine Maler mit der grossen Mappe' +
+(The little painter with the large portfolio) +




+ + +




+




+




+




+




+




+
+




+ +
+




+




+
+




+ +




+




+




+




+




+




+




+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.busch.bb_278-die.maus.html b/httpdocs/e.busch.bb_278-die.maus.html new file mode 100644 index 0000000..84e71ae --- /dev/null +++ b/httpdocs/e.busch.bb_278-die.maus.html @@ -0,0 +1,34 @@ + Wilhelm Busch + + +
+ +Wilhelm Busch + +

+'Die Maus' +
+ +
+
+ +




+




+




+




+




+




+




+




+




+ +




+




+




+




+ + +(Münchner Bilderbogen 278, 29. Auflage) +

+ + \ No newline at end of file diff --git a/httpdocs/e.busch.bb_300.html b/httpdocs/e.busch.bb_300.html new file mode 100644 index 0000000..e1d6c54 --- /dev/null +++ b/httpdocs/e.busch.bb_300.html @@ -0,0 +1,20 @@ + Wilhelm Busch + + +
+ +Wilhelm Busch + +

+'Der Bauer und der Windmüller' +
+
+
+ + +




+




+ +

+ + \ No newline at end of file diff --git a/httpdocs/e.busch.bb_330-zahn.html b/httpdocs/e.busch.bb_330-zahn.html new file mode 100644 index 0000000..46790ce --- /dev/null +++ b/httpdocs/e.busch.bb_330-zahn.html @@ -0,0 +1 @@ + Wilhelm Busch
Wilhelm Busch

Der hohle Zahn
(The hollow tooth)



Oftmalen bringt ein harter Brocken
Des Mahles Freude sehr ins Stocken.





So geht's nun auch dem Friedrich Kracke
Er sitzt ganz krumm und hält die Backe.





Um seine Ruhe ist's getan;
Er biss sich auf den hohlen Zahn.





Nun sagt man zwar: es hilft der Rauch!
Und Friedrich Kracke tut es auch;





Allein schon treiben ihn die Nöten,
Mit Schnaps des Zahnes Nerv zu töten.





Er taucht den Kopf mitsamt dem Übel
In einen kalten Wasserkübel.





Jedoch das Übel will nicht weichen,
Auf andre Art will er's erreichen.





Umsonst, er schlägt, vom Schmerz bedrängt,
Die Frau, die einzuheizen denkt.





Auch zieht ein Pflaster hinterm Ohr
Die Schmerzen leider nicht hervor.





Vielleicht - so denkt er - wird das Schwitzen
Möglicherweise etwas nützen.





Indes die Hitze wird zu gross,
Er strampelt sich schon wieder los;





Und zappelnd mit den Beinen
Hört man ihn bitter weinen.





Jetzt sucht er unterm Bette
Umsonst die Ruhestätte.





Zuletzt fällt ihm der Doktor ein.
Er klopft. - Der Doktor ruft: Herein!





'Ei, guten Tag, mein lieber Kracke,
Nehmt Platz! Was ist's denn mit der Backe?'





'Lasst seh'n! Ja, ja! Das glaub' ich wohl!
Der ist ja in der Wurzel hohl!'





Nun geht der Doktor still beiseit.
Der Bauer ist nicht sehr erfreut.





Und lächelnd kehrt der Doktor wieder,
Dem Bauern fährt es durch die Glieder.





Ach! wie erschrack er, als er da
Den wohlbekannten Hacken sah





Der Doktor, ruhig und besonnen,
Hat schon bereits sein Werk begonnen.





Und unbewusst nach oben
Fühlt Kracke sich gehoben.





Und rack - rack ! - da haben wir den Zahn,
Der so abscheulich weh getan!





Mit Staunen und voll Heiterkeit
Sieht Kracke sich vom Schmerz befreit.





Der Doktor, würdig wie er war,
Nimmt in Empfang sein Honorar.





Und Friedrich Kracke setzt sich wieder
Vergnügt zum Abendessen nieder.





Busch




\ No newline at end of file diff --git a/httpdocs/e.busch.bb_378-bad.html b/httpdocs/e.busch.bb_378-bad.html new file mode 100644 index 0000000..4f359c4 --- /dev/null +++ b/httpdocs/e.busch.bb_378-bad.html @@ -0,0 +1 @@ + Wilhelm Busch
Wilhelm Busch

Das Warme Bad (The Warm Bath - 1865)



























































































Busch




\ No newline at end of file diff --git a/httpdocs/e.busch.bb_390-floh.html b/httpdocs/e.busch.bb_390-floh.html new file mode 100644 index 0000000..7be89c6 --- /dev/null +++ b/httpdocs/e.busch.bb_390-floh.html @@ -0,0 +1 @@ + Wilhelm Busch
Wilhelm Busch

Die gestörte und wiedergefundene Nachtruhe oder: Der Floh (The Flea)



























































































Busch




\ No newline at end of file diff --git a/httpdocs/e.busch.bb_399-barbier.html b/httpdocs/e.busch.bb_399-barbier.html new file mode 100644 index 0000000..527d6fb --- /dev/null +++ b/httpdocs/e.busch.bb_399-barbier.html @@ -0,0 +1 @@ + Wilhelm Busch
Wilhelm Busch

Der gewandte, kunstreiche Barbier und sein kluger Hund
(The artful Barber and his clever Dog



























































































Busch




\ No newline at end of file diff --git a/httpdocs/e.busch.bb_465-virtuos.html b/httpdocs/e.busch.bb_465-virtuos.html new file mode 100644 index 0000000..cf149fb --- /dev/null +++ b/httpdocs/e.busch.bb_465-virtuos.html @@ -0,0 +1 @@ + Wilhelm Busch
Wilhelm Busch

Der Virtuos
(The Virtuoso)


Silentium





Introduzione





Scherzo





Adagio





Adagio con sentimento





Piano





Smorzando





Maëstoso





Capriccioso





Passagio chromatico





Fuga des diavolo





Forte vivace





Fortissimo vivacissimo





Finale funioso





Bravo Bravissimo





Busch




\ No newline at end of file diff --git a/httpdocs/e.busch.html b/httpdocs/e.busch.html new file mode 100644 index 0000000..8ed4a27 --- /dev/null +++ b/httpdocs/e.busch.html @@ -0,0 +1 @@ +Wilhelm Busch
Wilhelm Busch
(all on one page) (scroll down for other stories)

Don't worry too much about the text. You can 'read' most of it by just looking at the pictures. One of the reasons this guy was (and still is) so popular.





Max und Moritz 1864






































Die kleinen Honigdiebe (1859)
(The Little Honeythieves)

'Du', sagt der Peterl zum Hansel, 'gehn wir 'nüber zu dem Nachbar seinen Bienenstock, der ist bis obenauf voll vom schönsten Honig!'




Und richtig, sie gehen 'nüber und begucken lüstern des Nachbars Bienenstock.




'Den werden wir gleich haben', sagt's Peterl, packt den Bienenstock und hebt ihn, aber im Nu spürt jeder von den zwei Schleckern einen Stich auf der Nase, der nicht von ungefähr zu kommen scheint.




'Ha, ha', sagt der Nachbar, der auf das Zetergeschrei herbeikommt, 'habt ihr's gemerkt, wie es beim Honigstehlen zugeht, jetzt lauft nur heim mit euerm Denkzettel.'




Und einen ordentlichen Denkzettel haben sie davongetragen, so dass keiner mehr den andern gekannt hat.




Und die Mutter hat geschaut, wie's heimgekommen sind!




Der Vater hat erst gewaltig gezankt, dann hat er aber helfen wollen, allein es war umsonst, und die zwei haben allweil geschrien, als ob sie am Spiesse stäken.




Jammernd sassen sie vor ihrem Lieblingsessen, einer Schüssel voll duftender Knödel. Der Vater aber überlegte hin und her, wie man die zwei Stacheln, welche die Bienen zurueckgelassen, wieder herausziehen und dadurch helfen möchte.




Da der Schmied im Dorf der Gescheiteste ist, so führt der Vater den Peterl und das Hanserl zu ihm. Der Schmied aber ist ein resolvierter Mann, packt die Bienenstachel gleich mit der grossen Zange und zieht sie auch wirklich glücklich wieder heraus.




Jetzt war allerdings die Hauptsache geschehen, allein die Wunden, welche die Stacheln hinterlassen, mussten erst verheilt werden, und da musste der Bader Dr. Bauxel kommen und auf jede Nase ein grosses Pflaster legen.




Damit sind die zwei drei Wochen im Bett gelegen, bis die Sache wieder gut war.




Endlich aber sind sie wieder gesund geworden und haben vor einer Schüssel voll Knödel feierlich gelobt, nie mehr zu einem Bienenstock zu gehen. Und das sollen sich alle Kinder merken, denn die Bienen stechen noch alle Tage, und nicht immer ist so ein resolvierter Mann wie der Schmied bei der Hand, der von den Folgen des Naschens helfen kann.




'Der kleine Maler mit der grossen Mappe' 1859
(The little painter with the large portfolio)






























































































'Die Maus'



































































(Münchner Bilderbogen 278, 29. Auflage)

'Der Bauer und der Windmüller'














Der hohle Zahn
(The hollow tooth)



Oftmalen bringt ein harter Brocken
Des Mahles Freude sehr ins Stocken.





So geht's nun auch dem Friedrich Kracke
Er sitzt ganz krumm und hält die Backe.





Um seine Ruhe ist's getan;
Er biss sich auf den hohlen Zahn.





Nun sagt man zwar: es hilft der Rauch!
Und Friedrich Kracke tut es auch;





Allein schon treiben ihn die Nöten,
Mit Schnaps des Zahnes Nerv zu töten.





Er taucht den Kopf mitsamt dem Übel
In einen kalten Wasserkübel.





Jedoch das Übel will nicht weichen,
Auf andre Art will er's erreichen.





Umsonst, er schlägt, vom Schmerz bedrängt,
Die Frau, die einzuheizen denkt.





Auch zieht ein Pflaster hinterm Ohr
Die Schmerzen leider nicht hervor.





Vielleicht - so denkt er - wird das Schwitzen
Möglicherweise etwas nützen.





Indes die Hitze wird zu gross,
Er strampelt sich schon wieder los;





Und zappelnd mit den Beinen
Hört man ihn bitter weinen.





Jetzt sucht er unterm Bette
Umsonst die Ruhestätte.





Zuletzt fällt ihm der Doktor ein.
Er klopft. - Der Doktor ruft: Herein!





'Ei, guten Tag, mein lieber Kracke,
Nehmt Platz! Was ist's denn mit der Backe?'





'Lasst seh'n! Ja, ja! Das glaub' ich wohl!
Der ist ja in der Wurzel hohl!'





Nun geht der Doktor still beiseit.
Der Bauer ist nicht sehr erfreut.





Und lächelnd kehrt der Doktor wieder,
Dem Bauern fährt es durch die Glieder.





Ach! wie erschrack er, als er da
Den wohlbekannten Hacken sah





Der Doktor, ruhig und besonnen,
Hat schon bereits sein Werk begonnen.





Und unbewusst nach oben
Fühlt Kracke sich gehoben.





Und rack - rack ! - da haben wir den Zahn,
Der so abscheulich weh getan!





Mit Staunen und voll Heiterkeit
Sieht Kracke sich vom Schmerz befreit.





Der Doktor, würdig wie er war,
Nimmt in Empfang sein Honorar.





Und Friedrich Kracke setzt sich wieder
Vergnügt zum Abendessen nieder.





Das Warme Bad (The Warm Bath - 1865)



























































































Die gestörte und wiedergefundene Nachtruhe oder: Der Floh (The Flea)





























































































Der gewandte, kunstreiche Barbier und sein kluger Hund
(The artful Barber and his clever Dog




























































































Der Virtuos
(The Virtuoso)


Silentium





Introduzione





Scherzo





Adagio





Adagio con sentimento





Piano





Smorzando





Maëstoso





Capriccioso





Passagio chromatico





Fuga des diavolo





Forte vivace





Fortissimo vivacissimo





Finale funioso





Bravo Bravissimo







Der Bauer und sein Schwein (The peasant and his pig)
Bilderbogen 315 & 316, both 27. Auflage






















































































'Der vergebliche Versuch' (1865)


















'Der Katzenjammer am Neujahrsmorgen' (1866)


























'Der schöne Ritter' (1866)






























\ No newline at end of file diff --git a/httpdocs/e.busch.max.und.moritz.html b/httpdocs/e.busch.max.und.moritz.html new file mode 100644 index 0000000..2d10aeb --- /dev/null +++ b/httpdocs/e.busch.max.und.moritz.html @@ -0,0 +1,27 @@ +Andy's Early Comics Archive + + +
+ +Wilhelm Busch + + +
+



+



+



+



+



+



+



+



+



+ + +
+Home +           +Andy's Early Comics Archive + + + \ No newline at end of file diff --git a/httpdocs/e.busch.silent.comics.ohne.worte.html b/httpdocs/e.busch.silent.comics.ohne.worte.html new file mode 100644 index 0000000..6f5268b --- /dev/null +++ b/httpdocs/e.busch.silent.comics.ohne.worte.html @@ -0,0 +1,626 @@ +Wilhelm Busch + + +
+ + + +Wilhelm Busch + +
+Silent Comics from 1865 + +
+
+ + + + + + +

+Die Maus / The Mouse +
+ +
+
+ +




+




+




+




+




+




+




+




+




+ +




+




+




+
+ + +(Münchner Bilderbogen 278, 29. Auflage) +

+ + + + + +
+
+
+
+
+ + + + + +Das Warme Bad (The Warm Bath - 1865) +
+
+ +
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+ +

+ + + + + +
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+ + + + + + + + + + + + + +Die gestörte und wiedergefundene Nachtruhe +oder: +Der Floh + +
+ (Interupted and re-aquired peace at night - or - The Flea) +
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+ +
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+ + + + + +
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+ + + + + + + + + + + + + + +

+Der gewandte, kunstreiche Barbier und sein kluger Hund (1865)
+(The artful Barber and his clever Dog) + +
+
+ +
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+ +

+ + + + + +
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+
+ + + + + + + + + + + +

+Der Virtuos (1865)
+(The Virtuoso) + +
+
+ +
+Silentium +
+
+
+
+
+ +
+Introduzione +
+
+
+
+
+ +
+Scherzo +
+
+
+
+
+ +
+Adagio +
+
+
+
+
+ +
+Adagio con sentimento +
+
+
+
+
+ +
+Piano +
+
+
+
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+ +
+Smorzando +
+
+
+
+
+ +
+Maëstoso +
+
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+
+
+ +
+Capriccioso +
+
+
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+ +
+Passagio chromatico +
+
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+
+
+ +
+Fuga des diavolo +
+
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+
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+ +
+Forte vivace +
+
+
+
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+ +
+Fortissimo vivacissimo +
+
+
+
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+ +
+Finale funioso +
+
+
+
+
+ +
+Bravo Bravissimo + +
+
+
+
+
+
+ + +
+ +'Der vergebliche Versuch' (1865) +
+(A hopeless Endeavour) +
+
+
+ +Herr Lehmann had invited his friends for a punch-party and, after the removal of his guests, intends to light a cigar... + +
+
+ + +
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+ +
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.busch.the.first.modern.comics.html b/httpdocs/e.busch.the.first.modern.comics.html new file mode 100644 index 0000000..8966626 --- /dev/null +++ b/httpdocs/e.busch.the.first.modern.comics.html @@ -0,0 +1 @@ +Wilhelm Busch
Wilhelm Busch


Wordless Comics from 1865



















'Die Maus'





(Münchner Bilderbogen 278, 29. Auflage)



















Das Warme Bad (The Warm Bath - 1865)





















Die gestörte und wiedergefundene Nachtruhe oder: Der Floh (The Flea)





















Der gewandte, kunstreiche Barbier und sein kluger Hund (The artful Barber and his clever Dog





















Der Virtuos (The Virtuoso)


Silentium



Introduzione



Scherzo



Adagio



Adagio con sentimento



Piano



Smorzando



Maëstoso



Capriccioso



Passagio chromatico



Fuga des diavolo



Forte vivace



Fortissimo vivacissimo



Finale funioso



Bravo Bravissimo






















'Der vergebliche Versuch' (1865)










\ No newline at end of file diff --git a/httpdocs/e.caldecott.all.html b/httpdocs/e.caldecott.all.html new file mode 100644 index 0000000..8efdc9a --- /dev/null +++ b/httpdocs/e.caldecott.all.html @@ -0,0 +1,82 @@ +Caldecott + + +
+ + +Randolph Caldecott (1844-1884)
+ + +
+
+
+
+
+




+




+




+




+




+




+




+




+




+




+




+




+




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+




+




+




+ + +
+ +
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+ +

+ +
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+

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+

+
+
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+ +
+Click to see full size of the long third panel +
+






+
+
+
+ +




+ +
+ + +
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.caldecott.carlyon.s.christmas.html b/httpdocs/e.caldecott.carlyon.s.christmas.html new file mode 100644 index 0000000..389f984 --- /dev/null +++ b/httpdocs/e.caldecott.carlyon.s.christmas.html @@ -0,0 +1,25 @@ + Randolph Caldecott + + +
+ + +Randolph Caldecott + +
+
+ + +
+
+ +
+
+ + + + + +


+ + \ No newline at end of file diff --git a/httpdocs/e.caldecott.html b/httpdocs/e.caldecott.html new file mode 100644 index 0000000..22a0cde --- /dev/null +++ b/httpdocs/e.caldecott.html @@ -0,0 +1,75 @@ +Caldecott + + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Randolph Caldecott (1844-1884)
+ + +
+
+
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+		 + +
+The Rivals

+

+ + +
+
+
+
+		 + +
+The Wynchdale Steeplechase (scroll sideways)

+

+ + +
+
+
+
+		 + +
+Our Haymaking

+

+ + +
+
+
+
+		 + +
+Carlyon's Christmas

+

+ + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.caldecott.milkmaid.html b/httpdocs/e.caldecott.milkmaid.html new file mode 100644 index 0000000..cfcf0f4 --- /dev/null +++ b/httpdocs/e.caldecott.milkmaid.html @@ -0,0 +1,41 @@ + Randolph Caldecott + + +
+ + +Randolph Caldecott + +
+
+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+

+ + + + +


+ + \ No newline at end of file diff --git a/httpdocs/e.caldecott.our.haymaking.html b/httpdocs/e.caldecott.our.haymaking.html new file mode 100644 index 0000000..9a3f66e --- /dev/null +++ b/httpdocs/e.caldecott.our.haymaking.html @@ -0,0 +1,25 @@ + Randolph Caldecott + + +
+ + +Randolph Caldecott + +
+
+ + +
+
+ +
+
+ + + + + +


+ + \ No newline at end of file diff --git a/httpdocs/e.caldecott.the.rivals.html b/httpdocs/e.caldecott.the.rivals.html new file mode 100644 index 0000000..e5c1af3 --- /dev/null +++ b/httpdocs/e.caldecott.the.rivals.html @@ -0,0 +1,27 @@ + Randolph Caldecott + + +
+ + +Randolph Caldecott + +
+
+ + +





+ +





+ +





+ + + + + + + +


+ + \ No newline at end of file diff --git a/httpdocs/e.caldecott.wychdale.steeplechase.html b/httpdocs/e.caldecott.wychdale.steeplechase.html new file mode 100644 index 0000000..9bb2d70 --- /dev/null +++ b/httpdocs/e.caldecott.wychdale.steeplechase.html @@ -0,0 +1,43 @@ + Randolph Caldecott + + +
+ + +Randolph Caldecott + +
+
+ + +
+Scroll sideways +
+ + + +
+ +

+ + +       + +       + +       + +       + +       + + + + +
+ + + +


+ + \ No newline at end of file diff --git a/httpdocs/e.caran.d.ache_la.loi.de.la.femme.html b/httpdocs/e.caran.d.ache_la.loi.de.la.femme.html new file mode 100644 index 0000000..b1536e1 --- /dev/null +++ b/httpdocs/e.caran.d.ache_la.loi.de.la.femme.html @@ -0,0 +1,23 @@ +Caran d'Ache + + +
+ + + + +Caran d'Ache + + +
+



+
+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.caran.d.ache_querelle.html b/httpdocs/e.caran.d.ache_querelle.html new file mode 100644 index 0000000..0fd8e29 --- /dev/null +++ b/httpdocs/e.caran.d.ache_querelle.html @@ -0,0 +1,36 @@ +Caran d'Ache + + +
+ + + + + +Caran d'Ache + + +
+
+Le Rire - 25 January 1896 +
+
+ +



+


+


+


+


+


+


+


+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.caran.d.ache_tenor.entete.html b/httpdocs/e.caran.d.ache_tenor.entete.html new file mode 100644 index 0000000..9f40348 --- /dev/null +++ b/httpdocs/e.caran.d.ache_tenor.entete.html @@ -0,0 +1,27 @@ +Caran d'Ache + + +
+ + + + +Caran d'Ache + + +
+
+ + +
+
+(larger) +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.carandache.all.html b/httpdocs/e.carandache.all.html new file mode 100644 index 0000000..f530fce --- /dev/null +++ b/httpdocs/e.carandache.all.html @@ -0,0 +1,188 @@ +Caran D'Ache + + +
+ +Caran D'Ache
+ + +
+
+
+



+
+
+
+
+
+
+ + + + +
+
+Le Rire - 25 January 1896 +
+
+ +



+


+


+


+


+


+


+


+ +
+
+
+
+
+ + + + +
+
+ + +
+
+(larger click here) +
+
+
+
+
+ + + +
+
+(Le Rire, 2.November 1895) +
+
+ + +
+
+(larger click here) +
+
+
+
+
+ + + + + + +
+
+from 'Le Figaro' 1897 +
+
+
+ +








+
+
+as published originally: +
+ + +
+

+
+ +(all the above from the collection of Harald Kiehn) + +
+
+
+
+
+ + + + + +
+ + +'A popular Favourite' +
+(originally from 'La Caricature', before 1893) +
+
+This is an inventive variation on the famous 'The Virtuoso' by Busch +
+
+
+ + + + + + +
+
+
+
+
+
+
+
+ +
+ +'Trappeur d'Arkansas ou Une Erreur Judiciaire' (The Arkansas Trapper's Error of Judgment) +
+originally published in 'Bric a Brac' (1893) +
+
+
+ + +
+
+(from the collection of Scott Dechaine) + + +
+
+
+
+
+(from before 1893) +
+
+
+ + + +
+
+
+ +


+








+ + +








+








+







+

+








+ + +








+ +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.carandache.dog.snake.html b/httpdocs/e.carandache.dog.snake.html new file mode 100644 index 0000000..d7ada6c --- /dev/null +++ b/httpdocs/e.carandache.dog.snake.html @@ -0,0 +1,33 @@ +Caran d'Ache + + +
+ + + + +Caran d'Ache + + + +
+ +'Trappeur d'Arkansas ou Une Erreur Judiciaire' (The Arkansas Trapper's Error of Judgment) +
+originally published in 'Bric a Brac' (1893) +
+
+
+ + + +
+
+(from the collection of Scott Dechaine) + + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.carandache.express.html b/httpdocs/e.carandache.express.html new file mode 100644 index 0000000..b2b7a63 --- /dev/null +++ b/httpdocs/e.carandache.express.html @@ -0,0 +1,26 @@ +Caran d'Ache + + +
+ + + + +Caran d'Ache + + +
+
+(from before 1893) +
+
+
+ + + + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.carandache.html b/httpdocs/e.carandache.html new file mode 100644 index 0000000..d31cd76 --- /dev/null +++ b/httpdocs/e.carandache.html @@ -0,0 +1,135 @@ +Caran D'Ache + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Caran D'Ache
+ + +
+
+
+ + + +
+
+
+		 + +
+ +La Loi de la Femme

+

+ + + + +
+
+
+		 + +
+ +Trappeur d'Arkansas ou Une Erreur Judiciaire (1893)

+ + +

+ + + +
+
+
+		 + +
+A popular Favourite (originally from 'La Caricature', before 1893) +
+ (a variation on 'The Virtuoso' by Busch)
+
+ +

+ + + +
+
+
+		 + +
+(Catching the train) (before 1893)
+
+ + +

+ + + +
+
+
+		 + +
+La Vie de Chateau 1897
+ +

+ + + +
+
+
+		 + +
+A la Houzarde (Le Rire, 2.November 1895)
+ +

+ + + + +
+
+
+		 + +
+Querelle d'Allemand (Le Rire - 25 January 1896)
+ +

+ + + + +
+
+
+		 + +
+Le Ténor enteté
+ +

+ + + + +
+
+
+ +
+ + + \ No newline at end of file diff --git a/httpdocs/e.carandache_a.la.houzarde.html b/httpdocs/e.carandache_a.la.houzarde.html new file mode 100644 index 0000000..96bda65 --- /dev/null +++ b/httpdocs/e.carandache_a.la.houzarde.html @@ -0,0 +1,30 @@ +Caran d'Ache + + +
+ + + + +Caran d'Ache + + +
+
+(Le Rire, 2.November 1895) +
+
+ + +
+
+(larger) +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.carandache_vie.de.chateau.html b/httpdocs/e.carandache_vie.de.chateau.html new file mode 100644 index 0000000..45966dc --- /dev/null +++ b/httpdocs/e.carandache_vie.de.chateau.html @@ -0,0 +1,35 @@ +Caran d'Ache + + +
+ + + + + +Caran d'Ache + + +
+
+from 'Le Figaro' 1897 +
+
+
+ +

+
+
+as published originally: +
+ + +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.carandache_virtuoso.html b/httpdocs/e.carandache_virtuoso.html new file mode 100644 index 0000000..39d45a0 --- /dev/null +++ b/httpdocs/e.carandache_virtuoso.html @@ -0,0 +1,34 @@ +Caran d'Ache + + +
+ + + + +Caran d'Ache + + +
+ + +'A popular Favourite' +
+(originally from 'La Caricature', before 1893) +
+
+This is an inventive variation on the famous 'The Virtuoso' by Busch +
+
+
+ + + + + + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.chicki.html b/httpdocs/e.chicki.html new file mode 100644 index 0000000..c9b8338 --- /dev/null +++ b/httpdocs/e.chicki.html @@ -0,0 +1 @@ + George Chicki
George Chicki (1870)




























































\ No newline at end of file diff --git a/httpdocs/e.children.wood.html b/httpdocs/e.children.wood.html new file mode 100644 index 0000000..ee65665 --- /dev/null +++ b/httpdocs/e.children.wood.html @@ -0,0 +1,137 @@ +The Children in the Wood + + +
+ + The Children in the Wood
+(circa 1825)
+
+published by Dunigan, New York +
+
+ + +
+ +
+ + +
+Shrubland Hall.

+ +Deep seated in a flowery vale,
+Beside a woody dell,
+Stood Shrubland Hall, where, says the tale,
+A worthy pair did dwell. +
+
+
+
+ + + +
+ +
+The Children with their Parents
+
+Two beauteous babes this happy pair,
+To crown their loves had got:
+The proudest monarch on his throne,
+Might envy them their lot. +
+
+
+
+ +
+ +
+The Uncle Taking the Children.
+
+But death, in midst of all their joys,
+Did seize this loving pair,
+Who, dying, left their girl and boy,
+Unto an Uncle's care. +
+
+
+
+ +
+ +
+The Uncle Bribing the Ruffians
+
+But to their fortunes he aspired,
+And to secure his prey,
+How two unfeeling Ruffians hired
+To take their lives away. + +
+
+
+
+ +
+ +
+The Ruffians with the Children.
+
+These wretches, cruel, fierce and bold,
+Conveyed them to a wood,
+There, for the sake of filthy gold,
+To shed their infant blood. +
+
+
+
+ +
+ +
+The Ruffians Fighting.
+
+But one his purpose did repent,
+Before the deed was done,
+And slew the other Ruffian there,
+Then left the babes alone. +
+
+
+
+ +
+ +
+The Children in the Wood.
+
+Their little hearts with terror sank,
+With hunger, too, they cried,
+At length upon a flowery bank
+They laid them down, and died. +
+
+
+
+ + +
+ +
+The Children's Death.
+
+The Redbreasts, in their clustering bowers,
+Sung mournful on each spray,
+And there with leaves and fragrant flowers,
+O'erspread them as they lay. +



+ +
+Home +           +Andy's Early Comics Archive + +
+ + \ No newline at end of file diff --git a/httpdocs/e.china_how.it.is.made.html b/httpdocs/e.china_how.it.is.made.html new file mode 100644 index 0000000..617c1a5 --- /dev/null +++ b/httpdocs/e.china_how.it.is.made.html @@ -0,0 +1,24 @@ + How China is Made + + +
+ + +How China is Made + +
+
+ + (china = porcelain) (late 18th cent., reprinted 1893) + + +
+ + + + + +



+ + + diff --git a/httpdocs/e.chinks.html b/httpdocs/e.chinks.html new file mode 100644 index 0000000..d8b426c --- /dev/null +++ b/httpdocs/e.chinks.html @@ -0,0 +1 @@ + Chinks 'Mr. Lee - His Yacht' (1857)
Chinks
'Mr. Hardy Lee, His Yacht' (1857)


Gentleman Gets Yacht
Gentleman Meets Girl
Gentleman Gets Girl
Gentleman Loses Yacht





Mr. Hardy Lee's Meditations
Mr. Hardy Lee, On coming into his fortune, wonders how he shall spend it.





A Brilliant Idea
'By Jove, I can keep a Yacht!'





Mr. Lee Announces His Plan at Uncle Ned's
'Won't it be Jolly!'
'A yacht! How perfectly magnificent!'
'You'll be sure to be drowned, child!'
'I should think the money might be more profitably expended on some charitable object.'
'You will find it much more expensive, Sir, than you anticipate.'





A Great Man Consulted
Builder: 'You don't want her sloop-rigged more'n you want water in your boots.'





Mr. Lee has a Few Friends (who really know what a boat is) To Look At Her
'I'd ha' given her a little more dead-rise.'
'Bearing ought to be higher, Lee!'
'She'll drift off to leeward, close hauled like an old crab!'
'Too full in the counter, Lee, my boy; she'll carry dead-dead water from the Cape to Liverpool.'





The Christening
'Now then, Miss Goldmore! just below the rail!'
Small Boy in Background: 'My eye Mickey! if the gal ain't agoin' to fire the rum-bottle at the cove with mustarshers!'





Nautical and Nauseating
Mr. Lee: 'Nice breeze!'
Graves:'Ay, ay, Sir! she begins to feel it now!'
Voice from the Lee Rail: 'So do I, by Jove.'





A New York Lady Edified
Young Lady from New York: 'Well, Captain Graves,
I can't see now, how that little card makes teh rudder turn.'





Taking a Tender in Tow
'Yes, do you say yes, dearest? then I'm --- now then, what the devil are you after?'
'Fore-peak-halliards, please, Sir!'





Melancholy Termination of this Season's Boating
Wedding Guest: 'Well, old Skip! this puts your pipe out!
He can't go a wife and a yacht too, you know!'
Ancient: Mariner: 'You be derned, young 'and spike! can't they live abroad!'


(from the collection of Arnold Wagner)

(not complete)

\ No newline at end of file diff --git a/httpdocs/e.chip.all.html b/httpdocs/e.chip.all.html new file mode 100644 index 0000000..a415c76 --- /dev/null +++ b/httpdocs/e.chip.all.html @@ -0,0 +1,49 @@ +Chip + + + +
+ + + +F.P.W. Bellew 'Chip' +
+ + +
+
+ +'The Rivals'
+A Tale of St. Valentine + +
+
+('Chip's Dogs', 1895 ) +
+
+
+ + +
+
+
+(from the collection of Doug Wheeler) + +
+
+
+
+
+
+
+
+








+








+








+








+ +
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.chip.rivals.html b/httpdocs/e.chip.rivals.html new file mode 100644 index 0000000..f112d53 --- /dev/null +++ b/httpdocs/e.chip.rivals.html @@ -0,0 +1,41 @@ +Chip + + + +
+ + + +F.P.W. Bellew 'Chip' +
+ + +
+
+ +'The Rivals'
+A Tale of St. Valentine + +
+
+('Chip's Dogs', 1895 ) +
+
+
+ + +
+
+
+
+
+
+
+ +(from the collection of Doug Wheeler) + +
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.christophe-baron.cram-petit.f.i-16.nov.1901.html b/httpdocs/e.christophe-baron.cram-petit.f.i-16.nov.1901.html new file mode 100644 index 0000000..f74a278 --- /dev/null +++ b/httpdocs/e.christophe-baron.cram-petit.f.i-16.nov.1901.html @@ -0,0 +1,30 @@ +Christophe (George Colomb) + + +
+ + + + + +Christophe (George Colomb) + + +
+Larger view, click here +
+
+



+ + + + +



+ +(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.christophe.all.html b/httpdocs/e.christophe.all.html new file mode 100644 index 0000000..c021643 --- /dev/null +++ b/httpdocs/e.christophe.all.html @@ -0,0 +1,96 @@ +Christophe (George Colomb) + + +
+ + + + + +Christophe (Georges Colomb) + + +
+
+
+
+ +
+ + + + + + + + +
+
+ +As published on two pages: +
+ +page 1 +  +page 2 + +



+
+
+
+ + + + + + + + +
+
+
+
+ +
+
+larger scan click here +
+ + +
+
+
+
+ + +
+
+



+Larger view, click here + + + + +

+(all from the collection of Harald Kiehn) + +
+
+
+ + + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.christophe.html b/httpdocs/e.christophe.html new file mode 100644 index 0000000..a772ae3 --- /dev/null +++ b/httpdocs/e.christophe.html @@ -0,0 +1,72 @@ +Christophe (George Colomb) + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Christophe
+ +

+ + + +
+
+
+		 + +
+ +La Fontaine Modernisé - Le Renard et la Cigogne (Petit France 1901, Number 108)

+

+ + + +
+
+
+		 + +
+ +Le Malices de Plick et Plock (Petit France 1902, Number 122)

+ +This page shows how much Christophe was influenced by German comics: Wilhelm Busch's Icepeter motiv is turning up again, and more directly the various dwarf stories by Lothar Meggendorfer, as seen in Münchner Bilderbogen etc. + +

+ + +
+
+
+		 + +
+ +Le Baron de Cramoisy (Vll) - Le Petit Francais Illustré 1901

+ + +

+ + + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.christophe_la.fontaine.modernise.html b/httpdocs/e.christophe_la.fontaine.modernise.html new file mode 100644 index 0000000..3466305 --- /dev/null +++ b/httpdocs/e.christophe_la.fontaine.modernise.html @@ -0,0 +1,29 @@ +Christophe (Georges Colomb) + + +
+ + + + + +Christophe (Georges Colomb) + + +
+
+ +
+
+larger scan +|
+ + +
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.christophe_plick.et.plock.html b/httpdocs/e.christophe_plick.et.plock.html new file mode 100644 index 0000000..8e5f333 --- /dev/null +++ b/httpdocs/e.christophe_plick.et.plock.html @@ -0,0 +1,36 @@ +Christophe (George Colomb) + + +
+ + + + + +Christophe (George Colomb) + + +
+
+ + +
+
+ + + +As published on two pages: +
+ +page 1 +page 2 + +



+ +(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.cohl.logement.a.louer.html b/httpdocs/e.cohl.logement.a.louer.html new file mode 100644 index 0000000..40aaa39 --- /dev/null +++ b/httpdocs/e.cohl.logement.a.louer.html @@ -0,0 +1,33 @@ +Emile Cohl + + +
+ + + + + +Emile Cohl + +
+
+from 'Polichinelle' 9.Mai 1897 +
+
+
+ +
+
+
+
+(the jpg on its own) + +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.cricket_1840.html b/httpdocs/e.cricket_1840.html new file mode 100644 index 0000000..cb4c0fb --- /dev/null +++ b/httpdocs/e.cricket_1840.html @@ -0,0 +1 @@ + Grandmamma Easy's Old Dame Hicket and Her Wonderful Cricket
Grandmamma Easy's Old Dame Hicket and Her Wonderful Cricket
(circa 1840)

Boston: Brown, Bazin & Co. Nashua, N.H.: N.P Greene & Co.







There was one old Dame Hicket,
Had a wonderful Cricket,
That dwelt in a hole by the fender,
And when he came out
He would walk all about,
On his hind legs so tall and slender.
This so pleased the old Dame
That she gave him a name,
'Little Peter', it was, you must know;
And she fed him with crumbs
'Twixt her fingers and thumbs,
Before into his hole he did go.




When the everings were long
He would sing a gay song,
And loudly out he would bellow
Or as merry as a grig
Dance a lively jig;
Now was n't he a comical fellow?
Sometimes, too, 't is said,
He would stand on his head,
And swing his legs up in the air;
Then down he would pop,
And chirp, run and hop,
Just as if he was mad, I declare.




He's sit on a stool
Like a child at school,
Whilst the Dame she would read him a book;
And nod with his head
At each word she said,
As now he is doing, just look.
When the Dame took her snuff,
Which was often enough,
Politely she'd hand him the box;
But the first thing he did,
Was to shut down the lid,
And then give it two or three knocks.




When the Dame took her tea,
There on one side was he,
Seated up in a large arm-chair;
And he wrinkled with his eyes
So knowing and wise,
As if he had been the Lord Mayor.
Sometimes from her cup
He would just take a sup,
Or of tea-cake a very thin slice;
And the Dame all the while,
As she on him did smile,
Would ask if he thought it was nice.




But the Dame, one night,
Had a terrible fright,
For the Cricket he hopped on her nose.
She cried, 'What's there?'
When down went her chair,
And up in the air went her toes.
The Cricket did run,
When he saw this fun,
And quickly got right out of sight;
Whilst the Dame, with much pain,
Scrambled up once again,
And vowed she would kill him outright.




Now with this fall, alack!
The poor Dame hurt her back,
And that was a sad disaster,
For the Doctor he came
And to cure the poor Dame,
He brought her a very large plaster.
She went straight to bed,
Not to sleep though, 't is said,
For the pain in her back it was cruel;
So a neighbor's kind daughter
Put her feet in warm water,
And made her a basin of gruel.




Now all the same day
She was in the sameway,
And scarcely could hobble at all ;
Whilst the Cricket, to tease,
Danced about at his ease,
And once again near made her fall.
This the Dame so much vexed,
And sorely perplexed,
She'd have done with the Cricket forever,
So, as well as she could,
With a nail and some wood,
She stopped up the hole quite clever.


\ No newline at end of file diff --git a/httpdocs/e.cristophe-baron.cram-petit.f.i-16.nov.1901.html b/httpdocs/e.cristophe-baron.cram-petit.f.i-16.nov.1901.html new file mode 100644 index 0000000..6c9eed5 --- /dev/null +++ b/httpdocs/e.cristophe-baron.cram-petit.f.i-16.nov.1901.html @@ -0,0 +1,34 @@ +Christophe (George Colomb) + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + + +Christophe (George Colomb) + + +
+Larger view, click here +
+
+



+ + + + +



+ +(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.crowquill.panto.html b/httpdocs/e.crowquill.panto.html new file mode 100644 index 0000000..8bbc1ba --- /dev/null +++ b/httpdocs/e.crowquill.panto.html @@ -0,0 +1 @@ + Alfred Crowquill
Alfred Crowquill
1849






















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Cruikshank
Two-panel cartoon by Cruikshank, which, it seems to me, must have been the main inspiration for a famous comic by A.B.Frost, part of which is below.









\ No newline at end of file diff --git a/httpdocs/e.cruikshank.george.all.html b/httpdocs/e.cruikshank.george.all.html new file mode 100644 index 0000000..a8959c1 --- /dev/null +++ b/httpdocs/e.cruikshank.george.all.html @@ -0,0 +1,122 @@ + Rodolphe Töpffer Index' + + +
+ +
George Cruikshank (1792-1878)
+ + +
+ +
+ +
+
+ +The Progress of MR. LAMBKIN (1844) + +





+
+
+





+





+





+





+





+





+





+





+ +





+





+





+





+





+





+





+





+





+





+ + +





+





+





+





+





+





+





+
+(sorry, the new of version of this is missing) +




+





+





+ + + + +



+
+
+
+
+
+
+ + + + + + +
+ +
+
+ + +
+ +
+
+ + + + + + +
+ +
+The Strange Cat +
+
+ + +Two-panel cartoon by Cruikshank, which, it seems to me, must have been the inspiration for a famous comic by A.B.Frost, part of which is shown here. +
+
+ +            + + + + + + + +
+
+
+ + + + + + + + +
+
+ + + diff --git a/httpdocs/e.cruikshank.george.html b/httpdocs/e.cruikshank.george.html new file mode 100644 index 0000000..b313786 --- /dev/null +++ b/httpdocs/e.cruikshank.george.html @@ -0,0 +1,58 @@ + Rodolphe Töpffer Index' + +
+Home +           +Andy's Early Comics Archive +
+
+ +
George Cruikshank (1792-1878)
+ + +
+ +
+ + +
+
+
+
+		 + +
+ +'The Progress of Mr. Lambkin' (1844)

+

+
+
+
+
+		 + +
+ +'Premium Discount'

+

+
+
+
+		 + +
+ +Comparison with A.B.Frost

+

+
+
+
+
+
+
+ +
+
+ + + diff --git a/httpdocs/e.cruikshank.lambkin.html b/httpdocs/e.cruikshank.lambkin.html new file mode 100644 index 0000000..5bc0307 --- /dev/null +++ b/httpdocs/e.cruikshank.lambkin.html @@ -0,0 +1 @@ + Cruikshank
Cruikshank

The Progress of MR. LAMBKIN (1844)






























































































































































(sorry, the new of version of this is missing)






















\ No newline at end of file diff --git a/httpdocs/e.cruikshank.premium.discount.html b/httpdocs/e.cruikshank.premium.discount.html new file mode 100644 index 0000000..2d9b17c --- /dev/null +++ b/httpdocs/e.cruikshank.premium.discount.html @@ -0,0 +1,23 @@ + +Cruikshank + + + + +
+ + +Cruikshank
+ +
+ +
+
+ +
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.dalrymple.all.html b/httpdocs/e.dalrymple.all.html new file mode 100644 index 0000000..c3778ba --- /dev/null +++ b/httpdocs/e.dalrymple.all.html @@ -0,0 +1,63 @@ +Dalrymple + + +
+ +Dalrymple + +
+
+ + +
+
+ + +

+(from the collection of John Ronan) +


+ + + + + +
+
+
+
+
+ + +

+(from the collection of John Ronan) +


+
+
+
+(Le Rire, 11.Mai 1895 - originally published in Puck) + +
+
+
+
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.dalrymple.chevelure.html b/httpdocs/e.dalrymple.chevelure.html new file mode 100644 index 0000000..ed57129 --- /dev/null +++ b/httpdocs/e.dalrymple.chevelure.html @@ -0,0 +1,30 @@ +Dalrymple + + +
+ + + + +Dalrymple + + +
+
+(Le Rire, 11.Mai 1895 - originally published in Puck) + +
+

+ +
+
+
+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.dalrymple.goat.html b/httpdocs/e.dalrymple.goat.html new file mode 100644 index 0000000..14ef286 --- /dev/null +++ b/httpdocs/e.dalrymple.goat.html @@ -0,0 +1,20 @@ + Dalrymple + + +
+ +Dalrymple + +
+
+ + +
+
+ + +

+(from the collection of John Ronan) +


+ + \ No newline at end of file diff --git a/httpdocs/e.dalrymple.his.disploma.html b/httpdocs/e.dalrymple.his.disploma.html new file mode 100644 index 0000000..3210d5f --- /dev/null +++ b/httpdocs/e.dalrymple.his.disploma.html @@ -0,0 +1,20 @@ + Dalrymple + + +
+ +Dalrymple + +
+
+ + +
+
+ + +

+(from the collection of John Ronan) +


+ + \ No newline at end of file diff --git a/httpdocs/e.dalrymple.html b/httpdocs/e.dalrymple.html new file mode 100644 index 0000000..0e6c6d9 --- /dev/null +++ b/httpdocs/e.dalrymple.html @@ -0,0 +1,72 @@ +Dalrymple + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Dalrymple
+ + +
+
+
+
+
+
+
+		 + +
+'The unexpected always happens'

+ +

+ + +
+
+
+
+		 + +
+ +(At the theatre) (Le Rire, 11.Mai 1895 - originally published in Puck)

+

+ + + + + +
+
+
+
+		 + +
+ +'His Diploma'

+ + +

+ + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.dame_wiggins.html b/httpdocs/e.dame_wiggins.html new file mode 100644 index 0000000..ef6b644 --- /dev/null +++ b/httpdocs/e.dame_wiggins.html @@ -0,0 +1 @@ +Dame Wiggins of Lee and her Seven Wonderful Cats
Dame Wiggins of Lee and her Seven Wonderful Cats (1823)

I would not regard this as a comic. This is an illustrated story (as comics are too, of course) where not enough of the relevant action is shown visually. However, it's a close call, and as this is a particularly charming book, I let it in.

NB: This was a favourite childrens book of the art critic John Ruskin.



Dame Wiggins of Lee was a worthy old soul,
as e'er threaded a nee-dle, or wash in a bowl;
She held mice and rats in such antipathy,
That seven fine cats, kept Dame Wiggins of Lee.



The rats and mice scared by this fierce whiskered crew,
The poor seven cats soon had nothing to do;
So, as any one idle, she ne'er loved to see,
She sent them to school, did Dame Wiggins of Lee.



But soon she grew tired, of living alone,
So she sent for her cats, from school to come home;
Each rowing a wherry, returning you see;
The frolic made merry Dame Wiggins of Lee.



To give them a treat, she ran out for some rice;
When she came back, they were skating on ice;
'I shall soon see one down, aye, perhaps two or three,
I'll bet half-a-crown,' said Dame Wiggins of Lee.



While, to make a nice pudding, she went for a sparrow,
They were wheeling a sick lamb, home , in a barrow.
'You shall all have some sprats, for your humanity,
My seven good cats,' said Dame Wiggins of Lee.



While she ran to the field, to look for its dam,
They were warming the bed, for the poor sick lamb;
They turned up the clothes, as neat as could be;
'I shall ne'er want a nurse,' said Dame Wiggins of Lee.



She wished them good night, and went up to bed;
When lo! in the morning, the cats were all fled.
But soon, what a fuss! 'Where can they all be?
Here, pussy, puss, puss!', cried Dame Wiggins of Lee.



The Dame's heart was nigh broke, so she sat down to weep;
When she saw them come back, each riding a sheep.
She fondled and patted, each purring Tom-my:
'Ah! Welcome my dears,' said Dame Wiggins of Lee.



The Dame was unable, her pleasure to smother,
To see the sick lamb, jump up to his mother;
In spite of the gout, and a pain in her knee,
She went dancing about, did Dame Wiggins of Lee.



The Farmer soon heard, where his sheep went astray,
And arrived at Dame's door, with his faithful dog Tray.
He knocked with his crook, and, the stranger to see,
Out of window did look, Dame Wiggins of Lee.



For their kindness he had them, all drawn by his team,
and gave them some field-mice, and raspberry cream;
Said he, 'All my farm, you shall presently see,
For I honour the cats, of Dame Wiggins of Lee.'



For the care of his lamb, and their comical pranks,
He gave them a ham, and abundance of thanks.
'I wish you good day, my fine fellows, ' said he;
'My compliments, pray, to Dame Wiggins of Lee.







\ No newline at end of file diff --git a/httpdocs/e.db.weise.010.scherenberg.html b/httpdocs/e.db.weise.010.scherenberg.html new file mode 100644 index 0000000..fd70eac --- /dev/null +++ b/httpdocs/e.db.weise.010.scherenberg.html @@ -0,0 +1,20 @@ + Scherenberg + + +
+ +Scherenberg + +
+
+ + + +
+
+ + +



+
+ + diff --git a/httpdocs/e.db.weise.049.scherenberg.html b/httpdocs/e.db.weise.049.scherenberg.html new file mode 100644 index 0000000..94ac7c1 --- /dev/null +++ b/httpdocs/e.db.weise.049.scherenberg.html @@ -0,0 +1,22 @@ + Scherenberg + + +
+ +Scherenberg + +
+
+ + + +
+
+ +
+ + +



+
+ + diff --git a/httpdocs/e.db.weise.096.carl.reinhardt.html b/httpdocs/e.db.weise.096.carl.reinhardt.html new file mode 100644 index 0000000..4b6a878 --- /dev/null +++ b/httpdocs/e.db.weise.096.carl.reinhardt.html @@ -0,0 +1,22 @@ + Carl Reinhardt + + +
+ +Carl Reinhardt + +
+
+ + + +
+
+ +
+ + +



+
+ + diff --git a/httpdocs/e.db.weise.098.scherenberg.html b/httpdocs/e.db.weise.098.scherenberg.html new file mode 100644 index 0000000..f6fc057 --- /dev/null +++ b/httpdocs/e.db.weise.098.scherenberg.html @@ -0,0 +1,20 @@ + Scherenberg + + +
+ +Scherenberg + +
+
+ + + +
+
+ +
+



+
+ + diff --git a/httpdocs/e.db.weise.105.schoenborn.html b/httpdocs/e.db.weise.105.schoenborn.html new file mode 100644 index 0000000..d064c35 --- /dev/null +++ b/httpdocs/e.db.weise.105.schoenborn.html @@ -0,0 +1,21 @@ + Schönborn + + +
+ +R. Schönborn + +
+
+ + + +
+
+ +
+ +



+ + + diff --git a/httpdocs/e.db.weise.162.c.koch.html b/httpdocs/e.db.weise.162.c.koch.html new file mode 100644 index 0000000..d896f46 --- /dev/null +++ b/httpdocs/e.db.weise.162.c.koch.html @@ -0,0 +1,19 @@ + C. Koch + + +
+ +C. Koch + +
+
+ + + +
+
+ +



+ + + diff --git a/httpdocs/e.db.weise.170.schoenborn.html b/httpdocs/e.db.weise.170.schoenborn.html new file mode 100644 index 0000000..3d29b5f --- /dev/null +++ b/httpdocs/e.db.weise.170.schoenborn.html @@ -0,0 +1,19 @@ + Schönborn + + +
+ +R. Schönborn + +
+
+ + + +
+
+ +



+ + + diff --git a/httpdocs/e.db.weise.187.scherenberg.html b/httpdocs/e.db.weise.187.scherenberg.html new file mode 100644 index 0000000..b7902c6 --- /dev/null +++ b/httpdocs/e.db.weise.187.scherenberg.html @@ -0,0 +1,21 @@ + Scherenberg + + +
+ +Scherenberg + +
+
+ + + +
+
+ +
+ +



+ + + diff --git a/httpdocs/e.db.weise.207.c.offterdinger.html b/httpdocs/e.db.weise.207.c.offterdinger.html new file mode 100644 index 0000000..9853b57 --- /dev/null +++ b/httpdocs/e.db.weise.207.c.offterdinger.html @@ -0,0 +1,19 @@ + C.Offterdinger + + +
+ +C. Offterdinger + +
+
+ + + +
+
+ +



+ + + diff --git a/httpdocs/e.db.weise.215.m.von.beckerath.html b/httpdocs/e.db.weise.215.m.von.beckerath.html new file mode 100644 index 0000000..3d5df09 --- /dev/null +++ b/httpdocs/e.db.weise.215.m.von.beckerath.html @@ -0,0 +1,21 @@ + M.von Beckerath + + +
+ +M. von Beckerath + +
+
+ + + +
+
+ +
+ +



+ + + diff --git a/httpdocs/e.db.weise.228.scherenberg.html b/httpdocs/e.db.weise.228.scherenberg.html new file mode 100644 index 0000000..41c4da5 --- /dev/null +++ b/httpdocs/e.db.weise.228.scherenberg.html @@ -0,0 +1,21 @@ + Scherenberg + + +
+ +Scherenberg + +
+
+ + + +
+
+ +
+ +



+ + + diff --git a/httpdocs/e.deb.all.html b/httpdocs/e.deb.all.html new file mode 100644 index 0000000..9f53fec --- /dev/null +++ b/httpdocs/e.deb.all.html @@ -0,0 +1,54 @@ +Deb + + +
+ + +Deb? +
+ + +
+(from 'Album Noel', 1900) + +
+
+'En Essai'
+ +




+ + + +




+ + + + + + + + + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Souvenir de pêche'
+ +




+ + + + +




+ + + + \ No newline at end of file diff --git a/httpdocs/e.deb.html b/httpdocs/e.deb.html new file mode 100644 index 0000000..685ea05 --- /dev/null +++ b/httpdocs/e.deb.html @@ -0,0 +1,41 @@ +Deb + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Deb
+ + +
+
+
+
+
+
+
+		 + +
+Un essai

+

+
+
+
+		 + +
+Souvenir de pêche

+

+ + + + + + + \ No newline at end of file diff --git a/httpdocs/e.depaquit-carneval-le.rire-27.fev.1897.html b/httpdocs/e.depaquit-carneval-le.rire-27.fev.1897.html new file mode 100644 index 0000000..812f628 --- /dev/null +++ b/httpdocs/e.depaquit-carneval-le.rire-27.fev.1897.html @@ -0,0 +1,25 @@ +Jules Dépaquit + + +
+ + + + +Jules Dépaquit + + +
+
+ +
+
+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.depaquit.all.html b/httpdocs/e.depaquit.all.html new file mode 100644 index 0000000..ae78e5d --- /dev/null +++ b/httpdocs/e.depaquit.all.html @@ -0,0 +1,61 @@ +Jules Dépaquit + + +
+ + + +Jules Dépaquit + + +
+
+ +
+
+(larger image) +
+
+



+ + + +
+
+Le Rire - 11 April 1896 +
+
+ + +
+
+(Larger image) +
+



+ + + +
+
+
+ +
+
+
+
+(all from the collection of Harald Kiehn) + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.depaquit.html b/httpdocs/e.depaquit.html new file mode 100644 index 0000000..d16ad7c --- /dev/null +++ b/httpdocs/e.depaquit.html @@ -0,0 +1,55 @@ +Jules Dépaquit + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Jules Dépaquit
+ +

+ + +
+
+
+
+		 + +
+ +Le Bourreau trop vigoureux - ou - erreur n'est pas compte

+

+ + +
+
+
+
+		 + +
+ +Zola veut séduire l'académie

+

+ + + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.depaquit_bourreau.html b/httpdocs/e.depaquit_bourreau.html new file mode 100644 index 0000000..24279d6 --- /dev/null +++ b/httpdocs/e.depaquit_bourreau.html @@ -0,0 +1,27 @@ +Jules Dépaquit + + +
+ + + + + +Jules Dépaquit + + +
+
+ +
+
+(larger image) +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.depaquit_zola.html b/httpdocs/e.depaquit_zola.html new file mode 100644 index 0000000..f6b14c6 --- /dev/null +++ b/httpdocs/e.depaquit_zola.html @@ -0,0 +1,31 @@ +Jules Dépaquit + + +
+ + + + + +Jules Dépaquit + + +
+
+Le Rire - 11 April 1896 +
+
+ + +
+
+(Larger) +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.dio.biding.la.mechancete.html b/httpdocs/e.dio.biding.la.mechancete.html new file mode 100644 index 0000000..866c2f0 --- /dev/null +++ b/httpdocs/e.dio.biding.la.mechancete.html @@ -0,0 +1,31 @@ +Dio Biding + + +
+ + +Dio Biding + + +
+
+from 'Polichinelle' 9.Mai 1897 +
+
+
+ +
+
+ +

+
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.does.all.html b/httpdocs/e.does.all.html new file mode 100644 index 0000000..b250ca5 --- /dev/null +++ b/httpdocs/e.does.all.html @@ -0,0 +1,50 @@ +Doës + + +
+ + + +Doës
+ +

+ +Polly's Little Joke (from 'Le Papillon', reprinted in Picture Magazine 1893)

+ + + + +





+ + +Subjection (from 'Scribner's Magazine')
+
+ +
+(from the collection of Doug Wheeler) +





+ + +How Pierre sent his Boots by Telegraph and got a Receipt for them (from 'La Revue illustré, reprinted in Picture Magazine 1893) +
+
+ + + + + + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.does.html b/httpdocs/e.does.html new file mode 100644 index 0000000..d35be11 --- /dev/null +++ b/httpdocs/e.does.html @@ -0,0 +1,63 @@ +Doës + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Doës
+ +

+ +
+
+
+
+		 + +
+Polly's Little Joke (from 'Le Papillon', reprinted in Picture Magazine 1893)

+

+ +
+
+
+
+		 + +
+Subjection (from 'Scribner's Magazine')

+

+ +
+
+
+
+		 + +
+How Pierre sent his Boots by Telegraph and got a Receipt for them (from 'La Revue illustré, reprinted in Picture Magazine 1893)

+

+ + + + + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.does.polly.html b/httpdocs/e.does.polly.html new file mode 100644 index 0000000..9268515 --- /dev/null +++ b/httpdocs/e.does.polly.html @@ -0,0 +1,25 @@ + +Does + + + + +
+ +Doës + +
+
+ + + + + +
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.does.subjection.html b/httpdocs/e.does.subjection.html new file mode 100644 index 0000000..866e3c3 --- /dev/null +++ b/httpdocs/e.does.subjection.html @@ -0,0 +1,26 @@ + +Does + + + +
+ + +Doës + +
+
+ + +Scribners Magazine +
+ +
+(from the collection of Doug Wheeler) +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.does.telegraph.html b/httpdocs/e.does.telegraph.html new file mode 100644 index 0000000..92385d2 --- /dev/null +++ b/httpdocs/e.does.telegraph.html @@ -0,0 +1,23 @@ + +Does + + + + +
+ +Doës (1890s) + +
+
+ + +
+
+
+ +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.dore.trois.artistes.incompris.1.html b/httpdocs/e.dore.trois.artistes.incompris.1.html new file mode 100644 index 0000000..606d064 --- /dev/null +++ b/httpdocs/e.dore.trois.artistes.incompris.1.html @@ -0,0 +1,95 @@ + Doré + + +
+ +Gustave Doré + +
+
+ + Trois artistes incompris et mecontens (1858) + +
+
+ +1 +       +       +2 +       +       +3 +
+
+
+ +




+




+




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+ + +1 +       +       +2 +       +       +3 +
+Andy's Early Comics Archive + +
+
+
+
+ + diff --git a/httpdocs/e.dore.trois.artistes.incompris.2.html b/httpdocs/e.dore.trois.artistes.incompris.2.html new file mode 100644 index 0000000..949294f --- /dev/null +++ b/httpdocs/e.dore.trois.artistes.incompris.2.html @@ -0,0 +1,97 @@ + Doré + + +
+ +Gustave Doré + +
+
+ + Trois artistes incompris et mecontens (1858) + +
+
+ +1 +       +       +2 +       +       +3 +
+
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+




+ + + +1 +       +       +2 +       +       +3 +
+
+Andy's Early Comics Archive + +
+
+
+
+ + diff --git a/httpdocs/e.dore.trois.artistes.incompris.3.html b/httpdocs/e.dore.trois.artistes.incompris.3.html new file mode 100644 index 0000000..4370714 --- /dev/null +++ b/httpdocs/e.dore.trois.artistes.incompris.3.html @@ -0,0 +1,99 @@ + Doré + + +
+ +Gustave Doré + +
+
+ + Trois artistes incompris et mecontens (1858) + +
+
+1 + +       +       +2 +       +       +3 +
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+




+ + +1 + +       +       +2 +       +       +3 + +
+
+Andy's Early Comics Archive + +
+
+
+
+ + diff --git a/httpdocs/e.dore.trois.artistes.incompris.html b/httpdocs/e.dore.trois.artistes.incompris.html new file mode 100644 index 0000000..e033dd2 --- /dev/null +++ b/httpdocs/e.dore.trois.artistes.incompris.html @@ -0,0 +1,177 @@ + Doré + +
+Home +           +Andy's Early Comics Archive +
+
+ +Gustave Doré + +
+
+ + Trois artistes incompris et mecontens + +
+
+




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+
+ + diff --git a/httpdocs/e.dore.trois.artistes.incompris.on.one.page.html b/httpdocs/e.dore.trois.artistes.incompris.on.one.page.html new file mode 100644 index 0000000..79cceee --- /dev/null +++ b/httpdocs/e.dore.trois.artistes.incompris.on.one.page.html @@ -0,0 +1,194 @@ + Doré + + +
+ +Gustave Doré + +
+
+ + Trois artistes incompris et mecontens (1858) + +
+
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+




+




+




+ + + +
+
+Andy's Early Comics Archive + +
+
+
+
+ + diff --git a/httpdocs/e.douhin.generation.spontanee.html b/httpdocs/e.douhin.generation.spontanee.html new file mode 100644 index 0000000..d82a854 --- /dev/null +++ b/httpdocs/e.douhin.generation.spontanee.html @@ -0,0 +1,32 @@ +A. Douhin + + +
+ + + +A. Douhin + + +
+
+from 'Journal Amusant' 11. November 1899 +
+
+
+ +
+
+
+
+(the jpg on its own) + +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.doyle.html b/httpdocs/e.doyle.html new file mode 100644 index 0000000..d770c6f --- /dev/null +++ b/httpdocs/e.doyle.html @@ -0,0 +1 @@ + Richard Doyle - Brown, Jones and Robinson
Richard Doyle
Brown, Jones and Robertson - 1850


(sorry about the quality of these scans. Eventually I'll replace them with large colour scans.)















































The last two pages from Punch are the start of a longer narrative, a travelogue comic through Germany and Switzerland. - Very unfortunately for Punch magazine and especially English comics as a whole, the anti-catholic stance (nasty cartoons etc) forced the catholic Doyle to leave the magazine.












He did continue with his narrative, but less experimental, more illustrative, and published the work as a large book in 1854. The sequences here are pure 'comics', but most of the book is not, although it is sequential, and despite Kunzle's reservations, one could regard it as the first graphic novel in English. (Not counting translations of Töpffer).
Long narrative comics sequences in English only really started with Winsor McCay's 'Little Nemo' in 1906, half a century later (L.N. started in 1905, but at first it was just separate episodes). The type of long story that Töpffer and Busch came up with, both funny and thoughful at the same time, still is very rare today, in any language.




\ No newline at end of file diff --git a/httpdocs/e.dunk.all.html b/httpdocs/e.dunk.all.html new file mode 100644 index 0000000..699f010 --- /dev/null +++ b/httpdocs/e.dunk.all.html @@ -0,0 +1,43 @@ +Fernand Fau + + +
+ +M.Dunk + +
+(as published in Harper's Round Table) +
+ + +
+
+
+ + +
+ + + + + + + + +




+




+




+ +




+




+




+ +




+




+




+ +



+
+ + + \ No newline at end of file diff --git a/httpdocs/e.edwina.html b/httpdocs/e.edwina.html new file mode 100644 index 0000000..c4f9b0b --- /dev/null +++ b/httpdocs/e.edwina.html @@ -0,0 +1,45 @@ +Edwina (Edwina Dumm) + + +
+ + +Edwina + +
+
+ +






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+






+ +
+
+
+
Home +           +Andy's Early Comics Archive + +
+ + + \ No newline at end of file diff --git a/httpdocs/e.esquire.brown.html b/httpdocs/e.esquire.brown.html new file mode 100644 index 0000000..93abec1 --- /dev/null +++ b/httpdocs/e.esquire.brown.html @@ -0,0 +1 @@ + Esquire Brown
Esquire Brown






(from the collection of Joe Evans)
\ No newline at end of file diff --git a/httpdocs/e.fau.all.html b/httpdocs/e.fau.all.html new file mode 100644 index 0000000..5a02c25 --- /dev/null +++ b/httpdocs/e.fau.all.html @@ -0,0 +1,141 @@ +Fernand Fau + + +
+ + + +Fernand Fau + + + + + + +
+
+(Le Rire, 11.Mai 1895) +
+
+



+



+



+



+



+



+



+



+ +larger image



+ + + +
+
+Le Rire, 14 April 1896 +
+
+



+



+



+



+



+



+



+



+



+ +
+
+ + +
+
+Le Rire, 14 April 1896 +
+
+
+ +





+





+





+





+





+





+





+





+ +(as printed)

+
+
+ +
+
+(Le Rire, 11.Mai 1895) +
+ +
+
+ +
+
+larger image
+ +
+
+
+
+
+Le Rire, 14 April 1896 +
+
+ +






+





+






+





+





+





+ +(as printed, click here)

+
+
+ + + + + +
+
+(Le Rire, 4.Mai 1895) +
+ +
+
+
+
+
+
+
+
+
+
+
+
+panel layout as printed
+ +
+
+(all from the collection of Harald Kiehn) + +
+
+ +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.fau.champagne.html b/httpdocs/e.fau.champagne.html new file mode 100644 index 0000000..5a470f0 --- /dev/null +++ b/httpdocs/e.fau.champagne.html @@ -0,0 +1,31 @@ +Fernand Fau + + +
+ + + +Fernand Fau + + +
+
+(Le Rire, 11.Mai 1895) +
+
+



+



+



+



+



+



+



+



+ +larger image



+ +(from the collection of Harald Kiehn) + +



+ + \ No newline at end of file diff --git a/httpdocs/e.fau.creation.du.monde.html b/httpdocs/e.fau.creation.du.monde.html new file mode 100644 index 0000000..753dd00 --- /dev/null +++ b/httpdocs/e.fau.creation.du.monde.html @@ -0,0 +1,36 @@ +Fernand Fau + + +
+ + + +Fernand Fau + + +
+
+Le Rire, 14 April 1896 +
+
+
+ +





+





+





+





+





+





+





+





+ +(as printed)

+
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.fau.duel_rire.1895.html b/httpdocs/e.fau.duel_rire.1895.html new file mode 100644 index 0000000..72737bf --- /dev/null +++ b/httpdocs/e.fau.duel_rire.1895.html @@ -0,0 +1,29 @@ +Fernand Fau + + +
+ +Fernand Fau + + +
+
+(Le Rire, 11.Mai 1895) +
+ +
+
+ +
+
+larger image
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.fau.echo.html b/httpdocs/e.fau.echo.html new file mode 100644 index 0000000..8566b69 --- /dev/null +++ b/httpdocs/e.fau.echo.html @@ -0,0 +1,38 @@ +Fernand Fau + + +
+ + +Fernand Fau + + +
+
+Le Rire, 14 April 1896 +
+
+ +






+





+






+





+





+





+ +(as printed, click here)

+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ +Home +           +Andy's Early Comics Archive + + + \ No newline at end of file diff --git a/httpdocs/e.fau.fernand_interviews.html b/httpdocs/e.fau.fernand_interviews.html new file mode 100644 index 0000000..7baf420 --- /dev/null +++ b/httpdocs/e.fau.fernand_interviews.html @@ -0,0 +1,40 @@ +Fernand Fau + + +
+ + + + + +Fernand Fau + + +
+
+(Le Rire, 4.Mai 1895) +
+ +
+
+
+
+
+
+
+
+
+
+
+
+panel layout as printed
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.fau.html b/httpdocs/e.fau.html new file mode 100644 index 0000000..8b8d563 --- /dev/null +++ b/httpdocs/e.fau.html @@ -0,0 +1,107 @@ +Fernand Fau + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Fernand Fau
+ +

+ + +
+
+
+
+		 + +
+ +(Champagne) (Le Rire, 11.Mai 1895)

+

+ + +
+
+
+
+		 + +
+ +La Création du monde

+

+ +
+
+
+
+		 + +
+ +Le Duel Pini-Thomeguex (Le Rire, 11.Mai 1895)
+Not a comic, just a cartoon (ie one panel). But with a speechballoon. Influenced by Caran d'ache. +
+ +

+ + +
+
+
+
+		 + +
+ +Échos de la semaine prochaine (Le Rire, 14 April 1896)
+Not a comic, but very interesting and modern looking. +
+

+ +
+
+
+
+		 + +
+ +Interviews printaniers (Le Rire, 4.Mai 1895)

+

+ + +
+
+
+
+		 + +
+ +Etre président de la république (Le Rire, 14 April 1896)

+

+ + + + + + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.fau.president.html b/httpdocs/e.fau.president.html new file mode 100644 index 0000000..da00ff2 --- /dev/null +++ b/httpdocs/e.fau.president.html @@ -0,0 +1,35 @@ +Fernand Fau + + +
+ + + + +Fernand Fau + + +
+
+Le Rire, 14 April 1896 +
+
+



+



+



+



+



+



+



+



+



+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.fau_champagne.html b/httpdocs/e.fau_champagne.html new file mode 100644 index 0000000..15ace04 --- /dev/null +++ b/httpdocs/e.fau_champagne.html @@ -0,0 +1,35 @@ +Fernand Fau + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Fernand Fau + + +
+
+(Le Rire, 11.Mai 1895) +
+
+



+



+



+



+



+



+



+



+ +larger image



+ +(from the collection of Harald Kiehn) + +



+
+ \ No newline at end of file diff --git a/httpdocs/e.fau_creation.du.monde.html b/httpdocs/e.fau_creation.du.monde.html new file mode 100644 index 0000000..0ba21a0 --- /dev/null +++ b/httpdocs/e.fau_creation.du.monde.html @@ -0,0 +1,41 @@ +fFernand Fau + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Fernand Fau + + +
+
+Le Rire, 14 April 1896 +
+
+
+ +





+





+





+





+





+





+





+





+ +(as printed)

+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.fau_duel_rire.1895.html b/httpdocs/e.fau_duel_rire.1895.html new file mode 100644 index 0000000..fa3705b --- /dev/null +++ b/httpdocs/e.fau_duel_rire.1895.html @@ -0,0 +1,36 @@ +Fernand Fau + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Fernand Fau + + +
+
+(Le Rire, 11.Mai 1895) +
+ +
+
+ +
+
+larger image
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.fau_echo.html b/httpdocs/e.fau_echo.html new file mode 100644 index 0000000..a38d3dd --- /dev/null +++ b/httpdocs/e.fau_echo.html @@ -0,0 +1,44 @@ +Fernand Fau + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Fernand Fau + + +
+
+Le Rire, 14 April 1896 +
+
+ +






+





+






+





+





+





+ +(as printed, click here)

+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ +Home +           +Andy's Early Comics Archive + +
+ \ No newline at end of file diff --git a/httpdocs/e.fb046.006.busch.html b/httpdocs/e.fb046.006.busch.html new file mode 100644 index 0000000..1f3eedb --- /dev/null +++ b/httpdocs/e.fb046.006.busch.html @@ -0,0 +1,30 @@ + Wilhelm Busch + + +
+ + +Wilhelm Busch + +
+
+ +'Der vergebliche Versuch' (1865) +
+
+
+ + +
+
+
+
+
+
+
+
+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb046.076.schmelzer.html b/httpdocs/e.fb046.076.schmelzer.html new file mode 100644 index 0000000..91d1933 --- /dev/null +++ b/httpdocs/e.fb046.076.schmelzer.html @@ -0,0 +1,26 @@ + Schmelzer + + +
+ + +Schmelzer + +
+
+ +'Hansel und Gretel - oder - Nach und nach' (1865) +
+
+
+ + +
+ +
+
+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb046.101.html b/httpdocs/e.fb046.101.html new file mode 100644 index 0000000..d57bbd6 --- /dev/null +++ b/httpdocs/e.fb046.101.html @@ -0,0 +1,26 @@ + Der Ofen + + +
+ + + + +
+
+ +'Der Ofen - Eine Familiengeschichte' (1865) +
+
+
+ + +
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb046.112.oberlaender.html b/httpdocs/e.fb046.112.oberlaender.html new file mode 100644 index 0000000..fda4eb4 --- /dev/null +++ b/httpdocs/e.fb046.112.oberlaender.html @@ -0,0 +1,28 @@ + Oberländer + + +
+ + + + +Adolf Oberländer + +
+
+ +'Münchener Tartarus' (1865) +
+
+
+ + +
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb046.149.html b/httpdocs/e.fb046.149.html new file mode 100644 index 0000000..6aed9f6 --- /dev/null +++ b/httpdocs/e.fb046.149.html @@ -0,0 +1,42 @@ + FB 1865 + + +
+ + + + + +
+
+ +'Die Kunst und Wissenschaft des Totschlagens, in ihrer Vergangenheit, Gegenwart und Zukunft' (1865) +
+
+
+ + +





+





+





+





+





+





+





+





+





+
+





+





+
+





+





+
+





+





+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb046.157.html b/httpdocs/e.fb046.157.html new file mode 100644 index 0000000..7c5deaa --- /dev/null +++ b/httpdocs/e.fb046.157.html @@ -0,0 +1,28 @@ + 'Die Crinoline als Barometer' (1865) + + +
+ + + + + + +
+
+ +'Die Crinoline als Barometer' (1865) +
+
+
+ + +
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb046.174.oberlaender.html b/httpdocs/e.fb046.174.oberlaender.html new file mode 100644 index 0000000..a48dd4c --- /dev/null +++ b/httpdocs/e.fb046.174.oberlaender.html @@ -0,0 +1,31 @@ + Oberlaender - 'Täuschung' (1865) + + +
+ + + +Adolf Oberländer + +
+
+ +'Täuschung' (1865) +
+
+
+ + +

+
+
+
+
+ +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb046.202.html b/httpdocs/e.fb046.202.html new file mode 100644 index 0000000..2e2115c --- /dev/null +++ b/httpdocs/e.fb046.202.html @@ -0,0 +1,30 @@ + 'Das theuere Vermächtniss' (1865) + + +
+ + + + + +
+
+ +'Das theuere Vermächtniss' (1865) +
+
+
+ + +
+
+
+
+
+
+
+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.007.html b/httpdocs/e.fb047.007.html new file mode 100644 index 0000000..ecb9c05 --- /dev/null +++ b/httpdocs/e.fb047.007.html @@ -0,0 +1,33 @@ + 'Bedenken eines Hauseigenthühmers' (1865) + + +
+ + + + + + +
+
+ +'Bedenken eines Hauseigenthühmers' (1865) +
+
+
+ + +
+
+
+
+
+
+ +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.024.oberlaender.html b/httpdocs/e.fb047.024.oberlaender.html new file mode 100644 index 0000000..17efe81 --- /dev/null +++ b/httpdocs/e.fb047.024.oberlaender.html @@ -0,0 +1,25 @@ + Oberländer - Die unterbrochene Trauung + + +
+ +Adolf Oberländer + +
+
+ +'Die unterbrochene Trauung' (1865) +
+
+
+ + +
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.044.html b/httpdocs/e.fb047.044.html new file mode 100644 index 0000000..40db5bf --- /dev/null +++ b/httpdocs/e.fb047.044.html @@ -0,0 +1,28 @@ + 'Illustrierte Kriegsberichte' (1865) + + +
+ + + + +
+
+ +'Illustrierte Kriegsberichte' (1865) +
+
+
+ + +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.060.html b/httpdocs/e.fb047.060.html new file mode 100644 index 0000000..1d9157e --- /dev/null +++ b/httpdocs/e.fb047.060.html @@ -0,0 +1,28 @@ + 'Der spannende Roman' (1865) + + +
+ + + + + +
+
+ +'Der spannende Roman' (1865) +
+
+
+ + +
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.070.html b/httpdocs/e.fb047.070.html new file mode 100644 index 0000000..5fa3d55 --- /dev/null +++ b/httpdocs/e.fb047.070.html @@ -0,0 +1,25 @@ + 'Regnen oder Tröpfeln' (1865) + + +
+ + + + + +
+
+ +'Regnen oder Tröpfeln' (1865) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.076.html b/httpdocs/e.fb047.076.html new file mode 100644 index 0000000..7682247 --- /dev/null +++ b/httpdocs/e.fb047.076.html @@ -0,0 +1,34 @@ + 'Die projectierte Landpartie' (1865) + + +
+ + + + + +
+
+ +'Die projectierte Landpartie' (1865) +
+
+
+ + +
+
+
+
+ +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.128.html b/httpdocs/e.fb047.128.html new file mode 100644 index 0000000..51ac2f8 --- /dev/null +++ b/httpdocs/e.fb047.128.html @@ -0,0 +1,26 @@ + 'Der Wunderdoktor' (1865) + + +
+ + +Adolf Oberländer + +
+
+ +'Der Wunderdoktor' (1865) +
+
+
+ + +
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.174.html b/httpdocs/e.fb047.174.html new file mode 100644 index 0000000..a663955 --- /dev/null +++ b/httpdocs/e.fb047.174.html @@ -0,0 +1,28 @@ + 'Pariser Abenteur des Herrn Schwäbele' (1865) + + +
+ + + + +
+
+ +'Pariser Abenteur des Herrn Schwäbele' (1865) +
+
+
+ + +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb047.181.html b/httpdocs/e.fb047.181.html new file mode 100644 index 0000000..d99c264 --- /dev/null +++ b/httpdocs/e.fb047.181.html @@ -0,0 +1,29 @@ + 'Der Raub der Sabinerinnen' (1865) + + +
+ + + + + +
+
+ +'Der Raub der Sabinerinnen' (1865) +
+
+
+ + +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb048.012.busch.html b/httpdocs/e.fb048.012.busch.html new file mode 100644 index 0000000..066b7bc --- /dev/null +++ b/httpdocs/e.fb048.012.busch.html @@ -0,0 +1,40 @@ + 'Der Katzenjammer am Neujahrsmorgen' (1865) + + +
+ + + +Wilhelm Busch + +
+
+ +'Der Katzenjammer am Neujahrsmorgen' (1866) +
+
+
+ + +
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb048.068.busch.html b/httpdocs/e.fb048.068.busch.html new file mode 100644 index 0000000..11a8728 --- /dev/null +++ b/httpdocs/e.fb048.068.busch.html @@ -0,0 +1,42 @@ + Busch 'Der schöne Ritter' (1866) + + +
+ + + +Wilhelm Busch + +
+
+ +'Der schöne Ritter' (1866) +
+
+
+ + +
+
+
+
+
+
+
+ +
+ +
+
+
+
+
+
+ +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb048.100.html b/httpdocs/e.fb048.100.html new file mode 100644 index 0000000..0d45bb7 --- /dev/null +++ b/httpdocs/e.fb048.100.html @@ -0,0 +1,26 @@ + 'Zwei Engagements' (1866) + + +
+ + + + + +
+
+ +'Zwei Engagements' (1866) +
+
+
+ + +
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb048.143.html b/httpdocs/e.fb048.143.html new file mode 100644 index 0000000..b5f5be1 --- /dev/null +++ b/httpdocs/e.fb048.143.html @@ -0,0 +1,27 @@ + 'Wie das Ausweichen oft schwer ist' (1866) + + +
+ + + + + +
+
+ +'Wie das Ausweichen oft schwer ist' (1866) +
+
+
+ + +
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb048.165.html b/httpdocs/e.fb048.165.html new file mode 100644 index 0000000..6f03d26 --- /dev/null +++ b/httpdocs/e.fb048.165.html @@ -0,0 +1,27 @@ + 'Das Zuckerfass' (1866) + + +
+ +R.G. + +
+
+ +'Das Zuckerfass' (1866) +
+
+
+ + +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb048.180.html b/httpdocs/e.fb048.180.html new file mode 100644 index 0000000..2f73840 --- /dev/null +++ b/httpdocs/e.fb048.180.html @@ -0,0 +1,24 @@ + 'Wochenkalender für moderne Liebe' (1866) + + +
+ + + + +
+
+ +'Wochenkalender für moderne Liebe' (1866) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb048.198.hexe.walburga.html b/httpdocs/e.fb048.198.hexe.walburga.html new file mode 100644 index 0000000..0caffeb --- /dev/null +++ b/httpdocs/e.fb048.198.hexe.walburga.html @@ -0,0 +1,23 @@ + (Hexe Walpurga) (1866) + + +
+ + + +
+
+ +(Hexe Walpurga) (1866) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.004.reinicke.html b/httpdocs/e.fb082.004.reinicke.html new file mode 100644 index 0000000..e4c2d23 --- /dev/null +++ b/httpdocs/e.fb082.004.reinicke.html @@ -0,0 +1,25 @@ + Reinicke + + +
+ + +Emil Reinicke + +
+
+ +'Irren ist menschlich' (1884) +
+
+
+ + +

+ +

+

+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.010.meggendorfer.html b/httpdocs/e.fb082.010.meggendorfer.html new file mode 100644 index 0000000..2041c3c --- /dev/null +++ b/httpdocs/e.fb082.010.meggendorfer.html @@ -0,0 +1,32 @@ + Ludwig Meggendorfer + + +
+ + +Lothar Meggendorfer (1847-1925) + +
+
+ +'Rache ist süss' (Revenge is sweet) +
+
+
+ + +

+

+

+

+

+

+

+

+

+

+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.043.meggendorfer.html b/httpdocs/e.fb082.043.meggendorfer.html new file mode 100644 index 0000000..63b06b7 --- /dev/null +++ b/httpdocs/e.fb082.043.meggendorfer.html @@ -0,0 +1,29 @@ + Ludwig Meggendorfer + + +
+ + +Lothar Meggendorfer (1847-1925) + +
+
+ +Misslungene Arretierung (Unsuccessful Arrest) +
+
+
+ + +

+

+

+

+

+

+

+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.046.reinicke.iberus.html b/httpdocs/e.fb082.046.reinicke.iberus.html new file mode 100644 index 0000000..c2e952a --- /dev/null +++ b/httpdocs/e.fb082.046.reinicke.iberus.html @@ -0,0 +1,34 @@ + Reinicke + + +
+ + + +Emil Reinicke + +
+
+ +'Iberus' (1884) +
+
+
+ + +

+

+

+

+

+

+

+

+ +

+

+

+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.050.reinicke.mokel.html b/httpdocs/e.fb082.050.reinicke.mokel.html new file mode 100644 index 0000000..c6ff1fd --- /dev/null +++ b/httpdocs/e.fb082.050.reinicke.mokel.html @@ -0,0 +1,27 @@ + Reinicke + + +
+ + + +Emil Reinicke + +
+
+ +'Dr. Mokel in Afrika' (1884) +
+
+
+ + +

+

+

+

+

+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.053.meggendorfer.html b/httpdocs/e.fb082.053.meggendorfer.html new file mode 100644 index 0000000..3bf8452 --- /dev/null +++ b/httpdocs/e.fb082.053.meggendorfer.html @@ -0,0 +1,36 @@ + Ludwig Meggendorfer + + +
+ + +Lothar Meggendorfer (1847-1925) + +
+
+ +
+
+
+ +
+
+'Liebesgram und Heilung' (Love sickness and Recuperation) +
+ + +
+
+ +

+ + + + + +
+
+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.070.sl.html b/httpdocs/e.fb082.070.sl.html new file mode 100644 index 0000000..1af6078 --- /dev/null +++ b/httpdocs/e.fb082.070.sl.html @@ -0,0 +1,22 @@ + S.L. + + +
+ + + +S.L. + +
+ +'Die lästigen Gardedamen - oder - Gut Aufgehoben' (Fliegende Blätter vol 82) +
+
+
+ + +

+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.077.urteil.paris.html b/httpdocs/e.fb082.077.urteil.paris.html new file mode 100644 index 0000000..d8440d7 --- /dev/null +++ b/httpdocs/e.fb082.077.urteil.paris.html @@ -0,0 +1,22 @@ + Das Urteil des Paris + + +
+ + +(from Fliegende Blätter) + +
+
+ +'Das Urteil des Paris' (1884) +
+
+
+ + + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.084.oberlaender.html b/httpdocs/e.fb082.084.oberlaender.html new file mode 100644 index 0000000..2da4347 --- /dev/null +++ b/httpdocs/e.fb082.084.oberlaender.html @@ -0,0 +1,34 @@ + Oberländer + + +
+ + +Adolf Oberländer + +
+
+ +'Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser' +
+
+
+ + +



+



+



+



+



+



+



+ +



+



+



+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.102.meggendorfer.html b/httpdocs/e.fb082.102.meggendorfer.html new file mode 100644 index 0000000..2fb3fdd --- /dev/null +++ b/httpdocs/e.fb082.102.meggendorfer.html @@ -0,0 +1,25 @@ + Meggendorfer + + +
+ + +Meggendorfer + +
+
+ +'Das bockbeinige Schwein und der Philosoph' +
+
+
+ + +
+



+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.103.mandl.html b/httpdocs/e.fb082.103.mandl.html new file mode 100644 index 0000000..8acae3a --- /dev/null +++ b/httpdocs/e.fb082.103.mandl.html @@ -0,0 +1,24 @@ + M.Mandl + + +
+ + +M.Mandl + +
+
+ +'Praktische Verwertung der neuesten Mode' (1885) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.113.oberlaender.html b/httpdocs/e.fb082.113.oberlaender.html new file mode 100644 index 0000000..1fa53f6 --- /dev/null +++ b/httpdocs/e.fb082.113.oberlaender.html @@ -0,0 +1,30 @@ + Adolf Oberländer + + +
+ + + +Adolf Oberländer + +
+ +'Ein jedes Tierchen hat sein Pläsierchen' 1885
+Verses by Edwin Bormann + +
+
+
+ + +



+



+



+ +



+



+



+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.118.oberlaender.html b/httpdocs/e.fb082.118.oberlaender.html new file mode 100644 index 0000000..e9853cc --- /dev/null +++ b/httpdocs/e.fb082.118.oberlaender.html @@ -0,0 +1,24 @@ + Adolf Oberländer + + +
+ + + +Adolf Oberländer + +
+ +'Zufalls Tücke - oder - Unfreiwillige Illustration' 1885
+ +
+
+
+ + +



+



+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.120.1.html b/httpdocs/e.fb082.120.1.html new file mode 100644 index 0000000..3215e16 --- /dev/null +++ b/httpdocs/e.fb082.120.1.html @@ -0,0 +1,24 @@ + 'Ein Wiedersehen auf dem Eise' 1885 + + +
+ + + + + +
+ +'Ein Wiedersehen auf dem Eise' 1885
+ +
+
+
+ + +
+



+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.123.reinicke.html b/httpdocs/e.fb082.123.reinicke.html new file mode 100644 index 0000000..f5eecd5 --- /dev/null +++ b/httpdocs/e.fb082.123.reinicke.html @@ -0,0 +1,22 @@ + Reinicke + + +
+ +Emil Reinicke + +
+
+ +'Sächsisches Landsknechtlied' (1885) +
+
+
+ + +
+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.136.reinicke.html b/httpdocs/e.fb082.136.reinicke.html new file mode 100644 index 0000000..a1620a7 --- /dev/null +++ b/httpdocs/e.fb082.136.reinicke.html @@ -0,0 +1,31 @@ + Emil Reinicke + + +
+ + + +Emil Reinicke + +
+
+ +'Die verschwundene Wurst - Eine merkwürdige Begebenheit' (1885) +
+
+
+ + +
+
+
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.142.meggendorfer.html b/httpdocs/e.fb082.142.meggendorfer.html new file mode 100644 index 0000000..7d69712 --- /dev/null +++ b/httpdocs/e.fb082.142.meggendorfer.html @@ -0,0 +1,25 @@ + Meggendorfer + + +
+ + + +Meggendorfer + +
+
+ +'Die Macht der Musik' (FB 1888) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.154.reinicke.html b/httpdocs/e.fb082.154.reinicke.html new file mode 100644 index 0000000..71a473a --- /dev/null +++ b/httpdocs/e.fb082.154.reinicke.html @@ -0,0 +1,24 @@ + Reinicke + + +
+ +Emil Reinicke + +
+
+ +Das Kegelspiel - Historisches Gedicht (1885) +
+
+
+ + +
+
+
+ + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.158.fvb.html b/httpdocs/e.fb082.158.fvb.html new file mode 100644 index 0000000..bb90ab0 --- /dev/null +++ b/httpdocs/e.fb082.158.fvb.html @@ -0,0 +1,30 @@ + F.von B. + + +
+ + +F. von B. + +
+
+ +'Der schlaue Pepi - oder - Die geraubte Gans' +
+
+
+ + +




+




+




+




+




+




+




+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.166.erysichthon.html b/httpdocs/e.fb082.166.erysichthon.html new file mode 100644 index 0000000..8dfb794 --- /dev/null +++ b/httpdocs/e.fb082.166.erysichthon.html @@ -0,0 +1,31 @@ + 'Erysichthon von Thessalien - oder - So grausam bestraft sich der Baumfrevel' 1885 + + +
+ + + + +
+ +
+(Text Edwin Bormann) +
+
+
+'Erysichthon von Thessalien - oder - So grausam bestraft sich der Baumfrevel' 1885
+ +
+(Just illustrations, not a comic, but stylistically related to more sequential satires of mythology) + +
+
+ + +
+
+
+ +





+ + \ No newline at end of file diff --git a/httpdocs/e.fb082.182.01.meggendorfer.html b/httpdocs/e.fb082.182.01.meggendorfer.html new file mode 100644 index 0000000..ed3288c --- /dev/null +++ b/httpdocs/e.fb082.182.01.meggendorfer.html @@ -0,0 +1,36 @@ + Ludwig Meggendorfer + + +
+ + + +Lothar Meggendorfer (1847-1925) + +
+
+ +'Die schlauen Zwerge' (The Clever Dwarfes) +
+
+
+ + +





+





+





+





+





+





+





+





+





+





+





+





+





+





+





+ + + \ No newline at end of file diff --git a/httpdocs/e.frost.tenderfoot.html b/httpdocs/e.frost.tenderfoot.html new file mode 100644 index 0000000..d111e16 --- /dev/null +++ b/httpdocs/e.frost.tenderfoot.html @@ -0,0 +1 @@ + A.B.Frost
A. B. Frost


He was a Tenderfoot.

(from Scribner's Magazine Vol.XIII No.1, January 1893 )



(from the collection of John Ronan)


\ No newline at end of file diff --git a/httpdocs/e.gerlach_lamp.bath.html b/httpdocs/e.gerlach_lamp.bath.html new file mode 100644 index 0000000..39f0d1d --- /dev/null +++ b/httpdocs/e.gerlach_lamp.bath.html @@ -0,0 +1,12 @@ + Gerlach + + +
+ +Gerlach +

+before 1893 +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.gilray.tables.turned.html b/httpdocs/e.gilray.tables.turned.html new file mode 100644 index 0000000..b85ad9c --- /dev/null +++ b/httpdocs/e.gilray.tables.turned.html @@ -0,0 +1,29 @@ + Gilray 'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' + + +
+ + +James Gillray (1756-1815) + +
+
+ +'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' + +
+
+
+
+
+ +

+ +
+
+(from the collection of Doug Wheeler) +
+
+
+ + diff --git a/httpdocs/e.godefroy.pm.comfortable.html b/httpdocs/e.godefroy.pm.comfortable.html new file mode 100644 index 0000000..5a3fbb4 --- /dev/null +++ b/httpdocs/e.godefroy.pm.comfortable.html @@ -0,0 +1,12 @@ + Godefroy + + +
+ +Godefroy +

+'A Comfortable Smoke' (originally published in Revue Illustré - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.goez.1783.lenardo.und.blandine.1.html b/httpdocs/e.goez.1783.lenardo.und.blandine.1.html new file mode 100644 index 0000000..83ad653 --- /dev/null +++ b/httpdocs/e.goez.1783.lenardo.und.blandine.1.html @@ -0,0 +1,366 @@ + 1783, The first graphic novel, 'Lenardo und Blandine' by Joseph Franz von Goez + + +
+ + + +The First Graphic Novel - 1783 + +
+ +'Lenardo and Blandine' + + + +by + + +Joseph Franz von Goez + +
+ +(pronounced 'yozeff frunts fon goats/guts') + +
+
+ +(translation by Andy Bleck, Nov. 2007) +
+
+ +1       +2       +3       +4       +5 +
+ + + + + +
+ +Just after the birth of the United States and before the French revolution, the human race started out on two interesting journeys. One was to leave the humdrum two-dimensional flatness of mother earth and take the first steps to conquer space (Brothers Montgolfier's first free flight of a hot air balloon with passengers, 21.11.1783). Another journey, of the same year, was for people on paper to escape, not the flatness of paper, but the confinement of existing on a single image, the confinement of time. In a way it was yet another journey of space exploration, the space beyond the picture frame. +
+
+The two events may not be entirely unrelated. Both are a direct expression of the 18th century curiosity to know about, understand and rationally categorize knowable aspects of life, similar to Samuel Johnson's dictionary (1747-1754) or Diderot's encyclopedia (1750-1784). +Visualising a story, or as in Goez's case a person in distress, not via one or a few representative depictions, but with a seemingly unnessecary generosity or overabundance of obsessive variation, belongs to a modern sensibiliy, a thirst for both sensual and material information. +
+
+ +Joseph Franz Freiherr von Goez, was born 28.2.1754 in Hermannstadt (Siebenbürgen), and died 16.9.1815 in Regensburg. Until 1779 Goez was working as a lawyer in Vienna. There he became a portrait painter. From 1779-1783 he lived in Munich, where he wrote and directed the muscial drama 'Lenardo und Blandine' (musical score by P.Winter) after Bürger's ballad, which itself was greatly inspired by a story from Boccaccio's Decamerone (fourth book, first story - Count Tancredo of Salerno). +The success of this performance inspired him to create the sequence 'Attempt of a numerous sequence of passionate Designs for sentimental friends of art and theatre' (during a long stay in Augsburg). From 1785-1791 he was back in Munich, and 1791-1815 in Regensburg. - +Because of his picture sequence, he became known by his contemporaries as 'the German Hogarth'. + +


+ +

+ +
+ +
+
+ +


+ +

+ +
+ +
+Lenardo and Blandine - A melodrama after Bürger in 160 passionate designs. +
+Invented and etched in copper by J.F.von Götz 1783 +
+ +







+

+ +
+ +
+The Duke, lead by the Prince, appears at the door. +
+ +









+ +
+ +
+He wants to be sure of the deed and listens. +
+ +









+ +
+ +
+Arroused in pain and anger, he tries to enter. +
+ +









+ +
+ +
+Overcome by pain and anger, he sinks to earth. +
+ +









+ +
+ +
+After having recovered, he tries to get a grip on himself. +
+ +









+ +
+ +
+One can hear the lovers whispering. +
+ +









+ +
+ +
+Blandine: Oh Darling, beloved, stay a while, stay! +
+ +









+ +
+ +
+Lenardo: Let me go, let me go heavenly creature, my soul is yours! +
+ +









+ +
+ +
+God, if only I wouldn't have to go. +
+ +









+ +
+ +
+Blandine: My husband! Can't you see my eyes shining in the moonlight? +
+ +









+ +
+ +
+Don't you feel my yearning and love? +
+ +









+ +
+ +
+Lenardo: Oh woe! Fear is overtaking me! +
+ +









+ +
+ +
+If the King, oh if he would find out! +
+ +









+ +
+ +
+Blandine: (Ahndung = retribution) Heaven, you received our true vows. +
+ +









+ +
+ +
+Oh, how it is beating there! +
+ +









+ +
+ +
+God, I cannot let go of you. +
+ +









+ +
+ +
+You don't want to leave, beloved?
+ +Lenardo: Princess, my heart and soul are yours, they should never be parted from you, but I must. +
+ +









+ +
+ +
+Listen to the sound, the swallow announces the morning! +
+Blandine: No no, those are just the love-warbling nightingales. +
+ +









+ +
+ +
+See how the mountain ranges are turning red. +
+ +









+ +
+ +
+This look! +
+ +









+ +
+ +
+And this touch! +
+ +









+ +
+ +
+God is our witness! True, unbreakable love! +
+ +









+ +
+ +
+Once more now close to my breast. +
+ +









+ +
+ +
+Good bye. ..! Adieu! +
+ +









+ +
+ +
+Oh woe, how your heart in beating! +
+ +









+ +
+ +
+Sleep sweet! Sleep well! +
+ +









+ +
+ +
+They try to separate. +
+ +









+ +
+ +
+They separate. +
+ +









+ +
+ +
+They open up their arms once more. +
+ +









+ +
+ +
+And rush back, beast to breast. +
+ +













+ +

+ +
+ +
+(Lenardo is filled with fear, after a few palpitations of his shaken heart.) +
+ +









+ +
+ +
+King: Die, scoundrel.
+Lenardo: God, have pity! + +
+ +













+ +

+ +
+ +
+(Blandine on her night bed, fighting with heavy dreams.) +
+ +
+


+
+


+1       +2       +3       +4       +5 +


+
+ + diff --git a/httpdocs/e.goez.1783.lenardo.und.blandine.2.html b/httpdocs/e.goez.1783.lenardo.und.blandine.2.html new file mode 100644 index 0000000..ef5e20f --- /dev/null +++ b/httpdocs/e.goez.1783.lenardo.und.blandine.2.html @@ -0,0 +1,303 @@ + 1783, The first graphic novel, 'Lenardo und Blandine' by Joseph Franz von Goez + + +
+ + +The First Graphic Novel - 1783 + +
+ +'Lenardo and Blandine' + + + +by + + +Joseph Franz von Goez + +
+ +(pronounced 'yozeff frunts fon goats/guts') + +
+
+ +(translation by Andy Bleck, Nov. 2007) +
+
+ +1       +2       +3       +4       +5 +
+
+ + + +

+ +
+ +
+Lenardo, where are you! +
+ +









+ +
+ +
+Come, come, with your love. +
+ +









+ +
+ +
+And chase away the terrors of the night. +
+ +









+ +
+ +
+Oh, the night was cruel. +
+ +









+ +
+ +
+More cruel than the long daytime yesterday, when I didn't see my husband. +
+ +









+ +
+ +
+My eyes were searching everywhere. +
+ +









+ +
+ +
+And none was met by yours. +
+ +









+ +
+ +
+Where did you hide on that first blessed morning after our wedding? +
+ +









+ +
+ +
+Oh, how often have the first rays of sunshine lightened upon you like someone transfigured. +
+ +









+ +
+ +
+When you were galloping near, hill after hill +
+ +









+ +
+ +
+so happy, so beautifully rustic among the dark green shadows preceding you. +
+ +









+ +
+ +
+The rows of bower arches. +
+ +









+ +
+ +
+And all the fruit trees blinking through. +
+ +









+ +
+ +
+And reaching the orange blossoms under my window, you refresh and revive the dear fruits. +
+ +









+ +
+ +
+And with your eyes looking up... +
+ +









+ +
+ +
+...me! +
+ +









+ +
+ +
+Oh, the joy of life, how it has taken hold of my heart with those blissful looks. +
+ +









+ +
+ +
+What solace the rising sun to my lingering lovesick yearning. +
+ +









+ +
+ +
+It pushed away crowns and treasures... +
+ +









+ +
+ +
+... and bid you come. +
+ +









+ +
+ +
+Soon, soon it's midnight. +
+ +









+ +
+ +
+Beautiful as Lenardo. +
+ +









+ +
+ +
+But, how you wither? +
+ +









+ +
+ +
+Come back to live on these breasts. +
+ +









+ +
+ +
+Still he hasn't come, and it is so close to the appointed hour. +
+ +









+ +
+ +
+Oh, how terribly gloomy. +
+ +









+ +
+ +
+Not one little comforting star on all the sky. +
+ +









+ +
+ +
+And how the wind is rushing in stifling stormclouds. +
+ +









+ +
+ +
+All the landscape as if dead. +
+ +









+ +
+ +
+Croaking toads instead of nightingales. +
+ +









+ +
+ +
+And my beloved still not here! +
+ + +
+


+
+


+1       +2       +3       +4       +5 +


+
+ + diff --git a/httpdocs/e.goez.1783.lenardo.und.blandine.3.html b/httpdocs/e.goez.1783.lenardo.und.blandine.3.html new file mode 100644 index 0000000..34a0151 --- /dev/null +++ b/httpdocs/e.goez.1783.lenardo.und.blandine.3.html @@ -0,0 +1,284 @@ + 1783, The first graphic novel, 'Lenardo und Blandine' by Joseph Franz von Goez + + +
+ + + +The First Graphic Novel - 1783 + +
+ +'Lenardo and Blandine' + + + +by + + +Joseph Franz von Goez + +
+ +(pronounced 'yozeff frunts fon goats/guts') + +
+
+ +(translation by Andy Bleck, Nov. 2007) +
+
+1       + +2       +3       +4       +5 +
+
+ + + + +

+ +
+ +
+From afar she hears a churchtower strike 12 midnight. +
+ +









+ +
+ +
+God, the last stroke over, and you're still not in my arms. +
+ +









+ +
+ +
+And night getting worse and worse. +
+ +









+ +
+ +
+The garden like a churchyard! +
+ +









+ +
+ +
+Don't I hear a death knell? +
+ +









+ +
+ +
+Whoever you are, poor fellow! It's a dying hour for you. To me as well, it almost seems. +
+ +









+ +
+ +
+Husband, husband! Can't you hear my fearful calling? +
+ +









+ +
+ +
+Ever since my mother's death no night has been like this. +
+ +









+ +
+ +
+God, there's fire in the sky. +
+ +









+ +
+ +
+From afar the thunder follows. +
+ +









+ +
+ +
+Dead and destruction above him! +
+ +









+ +
+ +
+Dismay is gripping me. +
+ +









+ +
+ +
+God save my husband.
+I want to search for him, must find him. +
+ +









+ +
+ +
+A man covered by gauze brings a bowl on which lies a blooody, broken ring. +
+ +









+ +
+ +
+Trembling she reaches for it. +
+ +









+ +
+ +
+And with a cry: Blood - she let's it fall on the table. +
+ +









+ +
+ +
+A second man has brought a sealed urn. +
+ +









+ +
+ +
+The third brings a sealed letter. +
+ +









+ +
+ +
+After having broken the seal.. +
+ +









+ +
+ +
+She reads in a broken voice: The most depraved of your kind, marry again and follow the damned one. +
+ +









+ +
+ +
+Overtaken by fright, she pauses. +
+ +









+ +
+ +
+Now she reads on: +
+He is off to eternity, and as a souvenir sends you his heart. +
+ +









+ +
+ +
+After emitting these last words with a terrified cry.. +
+ +









+ +
+ +
+she jumps up.. +
+ +









+ +
+ +
+..breaks down and looses conscience. +
+ +









+ +
+ +
+Repeatedly she tries to get up, and looks around her with wild gestures.
+Morning already, and so much light and jubilation all around her.. +
+ +









+ +
+ +
+My marriage day.. +
+ +









+ +
+ +
+Welcome! +
+ +
+


+
+


+1       +2       +3       +4       +5 +


+
+ + diff --git a/httpdocs/e.goez.1783.lenardo.und.blandine.4.html b/httpdocs/e.goez.1783.lenardo.und.blandine.4.html new file mode 100644 index 0000000..bec6ad9 --- /dev/null +++ b/httpdocs/e.goez.1783.lenardo.und.blandine.4.html @@ -0,0 +1,317 @@ + 1783, The first graphic novel, 'Lenardo und Blandine' by Joseph Franz von Goez + + +
+ + + +The First Graphic Novel - 1783 + +
+ +'Lenardo and Blandine' + + + +by + + +Joseph Franz von Goez + +
+ +(pronounced 'yozeff frunts fon goats/guts') + +
+
+ +(translation by Andy Bleck, Nov. 2007) +
+
+1       + +2       +3       +4       +5 +
+
+ + + + + +

+ +
+ +
+But look, the long row of black men over there - and the gently mourning youth in their midst. +
+ +









+ +
+ +
+Oh! He is dripping of blood! +
+ +









+ +
+ +
+Stop! Stop! +
+ +









+ +
+ +
+I want to heal his wounds with my lips! +
+ +
+ + + +








+ +
+ +
+What a fool I am, they are the wedding guests, my bridegroom amongst them. +
+ +









+ +
+ +
+Mytle crowns are hanging from his silky hair. +
+ +









+ +
+ +
+Quiet, they're coming.. +
+ +









+ +
+ +
+Closer! closer! +
+ +









+ +
+ +
+Surrounded by snakes you walk, pale and gruesome! +
+ +









+ +
+ +
+And you glide in clouds like an angel. +
+ +









+ +
+ +
+Oh come, come down here to me! +
+ +









+ +
+ +
+I cannot reach you, gliding up! +
+ +









+ +
+ +
+And the floor is sinking. +
+ +









+ +
+ +
+Here are unfathomable crevices! +
+ +









+ +
+ +
+And mounds of corpses underneath me! +
+ +









+ +
+ +
+There, whole rows of drawn swords towards us! +
+ +









+ +
+ +
+And the souls of the slain move towards heaven, singing. +
+ +









+ +
+ +
+Ah! My bridal jewels! +
+ +









+ +
+ +
+Yes, the ring belongs surely on my finger. +
+ +









+ +
+ +
+But you arke bloody and bloken. +
+ +









+ +
+ +
+Oh! All this indicates joy! +
+ +









+ +
+ +
+There too is the marriage goblet filled with blood! +
+ +









+ +
+ +
+Oh woe! Oh woe! +
+ +









+ +
+ +
+She is sinking, dazed.. +
+ +









+ +
+ +
+..down to the urn. +
+ +









+ +
+ +
+There is my heart! +
+ +









+ +
+ +
+Oh, Why have you torn it out of me? +
+ +









+ +
+ +
+And here it is bleeding and rotting! +
+ +









+ +
+ +
+(And around me it is emptied) +
+ +









+ +
+ +
+But no, how strange? Here it is beating. +
+ +









+ +
+ +
+And here it is beating too! +
+ +









+ +
+ +
+Exactly, it's beating as one! +
+ +
+


+
+


+1       +2       +3       +4       +5 +


+
+ + diff --git a/httpdocs/e.goez.1783.lenardo.und.blandine.5.html b/httpdocs/e.goez.1783.lenardo.und.blandine.5.html new file mode 100644 index 0000000..a313030 --- /dev/null +++ b/httpdocs/e.goez.1783.lenardo.und.blandine.5.html @@ -0,0 +1,334 @@ + 1783, The first graphic novel, 'Lenardo und Blandine' by Joseph Franz von Goez + + +
+ + +The First Graphic Novel - 1783 + +
+ +'Lenardo and Blandine' + + + +by + + +Joseph Franz von Goez + +
+ +(pronounced 'yozeff frunts fon goats/guts') + +
+
+ +(translation by Andy Bleck, Nov. 2007) +
+
+ +1       +2       +3       +4       +5 +
+
+ + + +

+ +
+ +
+She stands up and moves as if about to talk.. +
+ +









+ +
+ +
+..stands a while, oblivious to her thoughts, with downcast eyes.. +
+ +









+ +
+ +
+..cries an aching 'Oh' heavenward.. +
+ +









+ +
+ +
+..and is overcome by tears.. +
+ +









+ +
+ +
+Now she covers the urn with her face and hair.. +
+ +









+ +
+ +
+..and on her lap is pressing it hurtfully to her chest. +
+ +









+ +
+ +
+..holds it towards heaven and wants to smile.. +
+ +









+ +
+ +
+..but suddenly sinks to earth.. +
+ +









+ +
+ +
+.. and floods the urn with her tears. +
+ +









+ +
+ +
+Bewildered, with weakening senses, she moves closer to the seat.. +
+ +









+ +
+ +
+..but keeps sinking next to it. +
+ +









+ +
+ +
+Dance for my grave, you kings, and ladies and gentlemen! +
+ +









+ +
+ +
+You're smiling contemptously - you don't want to? +
+ +









+ +
+ +
+Go away, noble riff-raff, go far away.. +
+ +









+ +
+ +
+My bridegroom is he, I am his bride +
+ +









+ +
+ +
+His wife before heaven and earth! +
+ +









+ +
+ +
+My handsome love is full of high and sobre courage, look at him! +
+ +









+ +
+ +
+Listen to him mocking your airs and graces! +
+ +









+ +
+ +
+But to me he is waving kindly: +
+ +









+ +
+ +
+I want to .. I'll come ..pull me up! +
+ +









+ +
+ +
+We are betrothed for eternity! +
+ +









+ +
+ +
+Just my bridal jewels to take with me. +
+ +









+ +
+ +
+Help me, help me.. it is crushing me. +
+ +









+ +
+ +
+Lenardo you are +
+ +









+ +
+ +
+Your wife +
+ +









+ +
+ +
+I come +
+ +









+ +
+ +
+She's lying stricken, and dies. +
+ +









+ +
+ +
+King: My child! My child! +
+ +









+ +
+ +
+Thoughtless Father! +
+ +









+ +
+ +
+Monster! +
+ +









+ +
+ +
+You were Adviser! +
+ +









+ +
+ +
+Upon you the curse of all sin! +
+ +









+ +
+ +
+And of the unhappy girl's death! +
+ +









+ +
+ +
+His downcast eyes espy the urn; +
+ +









+ +
+ +
+He seizes it, and in an excess of pain is wringing it heavenwards. +
+ +
+


+
+


+1       +2       +3       +4       +5 +


+
+ + diff --git a/httpdocs/e.goez.1783.lenardo.und.blandine.all.on.one.page.html b/httpdocs/e.goez.1783.lenardo.und.blandine.all.on.one.page.html new file mode 100644 index 0000000..42d6e5b --- /dev/null +++ b/httpdocs/e.goez.1783.lenardo.und.blandine.all.on.one.page.html @@ -0,0 +1,1370 @@ + 1783, The first graphic novel, 'Lenardo und Blandine' by Joseph Franz von Goez + + +
+ + + +The First Graphic Novel - 1783 + +
+ +'Lenardo and Blandine' + + + +by + + +Joseph Franz von Goez + +
+ +(pronounced 'yozeff frunts fon goats/guts') + +
+
+ +(translation by Andy Bleck, Nov. 2007) +
+
+ + + +
+ +Just after the birth of the United States and before the French revolution, the human race started out on two interesting journeys. One was to leave the humdrum two-dimensional flatness of mother earth and take the first steps to conquer space (Brothers Montgolfier's first free flight of a hot air balloon with passengers, 21.11.1783). Another journey, of the same year, was for people on paper to escape, not the flatness of paper, but the confinement of existing on a single image, the confinement of time. In a way it was yet another journey of space exploration, the space beyond the picture frame. +
+
+The two events may not be entirely unrelated. Both are a direct expression of the 18th century curiosity to know about, understand and rationally categorize knowable aspects of life, similar to Samuel Johnson's dictionary (1747-1754) or Diderot's encyclopedia (1750-1784). +Visualising a story, or as in Goez's case a person in distress, not via one or a few representative depictions, but with a seemingly unnessecary generosity or overabundance of obsessive variation, belongs to a modern sensibiliy, a thirst for both sensual and material information. +
+
+ +Joseph Franz Freiherr von Goez, was born 28.2.1754 in Hermannstadt (Siebenbürgen), and died 16.9.1815 in Regensburg. Until 1779 Goez was working as a lawyer in Vienna. There he became a portrait painter. From 1779-1783 he lived in Munich, where he wrote and directed the muscial drama 'Lenardo und Blandine' (musical score by P.Winter) after Bürger's ballad, which itself was greatly inspired by a story from Boccaccio's Decamerone (fourth book, first story - Count Tancredo of Salerno). +The success of this performance inspired him to create the sequence 'Attempt of a numerous sequence of passionate Designs for sentimental friends of art and theatre' (during a long stay in Augsburg). From 1785-1791 he was back in Munich, and 1791-1815 in Regensburg. - +Because of his picture sequence, he became known by his contemporaries as 'the German Hogarth'. + +


+ +

+ +
+ +
+
+ +







+ +

+ +
+ +
+Lenardo and Blandine - A melodrama after Bürger in 160 passionate designs. +
+Invented and etched in copper by J.F.von Götz 1783 +
+ +







+

+ +
+ +
+The Duke, lead by the Prince, appears at the door. +
+ +









+ +
+ +
+He want to be sure of the deed and listens. +
+ +









+ +
+ +
+Arroused in pain and anger, he tries to enter. +
+ +









+ +
+ +
+Overcome by pain and anger, he sinks to earth. +
+ +









+ +
+ +
+After having recovered, he tries to get a grip on himself. +
+ +









+ +
+ +
+One can hear the lovers whispering. +
+ +









+ +
+ +
+Blandine: Oh Darling, beloved, stay a while, stay! +
+ +









+ +
+ +
+Lenardo: Let me go, let me go heavenly creature, my soul is yours! +
+ +









+ +
+ +
+God, if only I wouldn't have to go. +
+ +









+ +
+ +
+Blandine: My husband! Can't you see my eyes shining in the moonlight? +
+ +









+ +
+ +
+Don't you feel my yearning and love? +
+ +









+ +
+ +
+Lenardo: Oh woe! Fear is overtaking me! +
+ +









+ +
+ +
+If the King, oh if he would find out! +
+ +









+ +
+ +
+Blandine: (Ahndung = retribution) Heaven, you received our true vows. +
+ +









+ +
+ +
+Oh, how it is beating there! +
+ +









+ +
+ +
+God, I cannot let go of you. +
+ +









+ +
+ +
+You don't want to leave, beloved?
+ +Lenardo: Princess, my heart and soul are yours, they should never be parted from you, but I must. +
+ +









+ +
+ +
+Listen to the sound, the swallow announces the morning! +
+Blandine: No no, those are just the love-warbling nightingales. +
+ +









+ +
+ +
+See how the mountain ranges are turning red. +
+ +









+ +
+ +
+This look! +
+ +









+ +
+ +
+And this touch! +
+ +









+ +
+ +
+God is our witness! True, unbreakable love! +
+ +









+ +
+ +
+Once more now close to my breast. +
+ +









+ +
+ +
+Good bye. ..! Adieu! +
+ +









+ +
+ +
+Oh woe, how your heart in beating! +
+ +









+ +
+ +
+Sleep sweet! Sleep well! +
+ +









+ +
+ +
+They try to separate. +
+ +









+ +
+ +
+They separate. +
+ +









+ +
+ +
+They open up their arms once more. +
+ +









+ +
+ +
+And rush back, beast to breast. +
+ +













+ +

+ +
+ +
+(Lenardo is filled with fear, after a few palpitations of his shaken heart.) +
+ +









+ +
+ +
+King: Die, scoundrel.
+Lenardo: God, have pity! + +
+ +













+ +

+ +
+ +
+(Blandine on her night bed, fighting with heavy dreams.) +
+ +









+ +
+ +
+Lenardo, where are you! +
+ +









+ +
+ +
+Come, come, with your love. +
+ +









+ +
+ +
+And chase away the terrors of the night. +
+ +









+ +
+ +
+Oh, the night was cruel. +
+ +









+ +
+ +
+More cruel than the long daytime yesterday, when I didn't see my husband. +
+ +









+ +
+ +
+My eyes were searching everywhere. +
+ +









+ +
+ +
+And none was met by yours. +
+ +









+ +
+ +
+Where did you hide on that first blessed morning after our wedding? +
+ +









+ +
+ +
+Oh, how often have the first rays of sunshine lightened upon you like someone transfigured. +
+ +









+ +
+ +
+When you were galloping near, hill after hill +
+ +









+ +
+ +
+so happy, so beautifully rustic among the dark green shadows preceding you. +
+ +









+ +
+ +
+The rows of bower arches. +
+ +









+ +
+ +
+And all the fruit trees blinking through. +
+ +









+ +
+ +
+And reaching the orange blossoms under my window, you refresh and revive the dear fruits. +
+ +









+ +
+ +
+And with your eyes looking up... +
+ +









+ +
+ +
+...me! +
+ +









+ +
+ +
+Oh, the joy of life, how it has taken hold of my heart with those blissful looks. +
+ +









+ +
+ +
+What solace the rising sun to my lingering lovesick yearning. +
+ +









+ +
+ +
+It pushed away crowns and treasures... +
+ +









+ +
+ +
+... and bid you come. +
+ +









+ +
+ +
+Soon, soon it's midnight. +
+ +









+ +
+ +
+Beautiful as Lenardo. +
+ +









+ +
+ +
+But, how you wither? +
+ +









+ +
+ +
+Come back to live on these breasts. +
+ +









+ +
+ +
+Still he hasn't come, and it is so close to the appointed hour. +
+ +









+ +
+ +
+Oh, how terribly gloomy. +
+ +









+ +
+ +
+Not one little comforting star on all the sky. +
+ +









+ +
+ +
+And how the wind is rushing in stifling stormclouds. +
+ +









+ +
+ +
+All the landscape as if dead. +
+ +









+ +
+ +
+Croaking toads instead of nightingales. +
+ +









+ +
+ +
+And my beloved still not here! +
+ +









+ +
+ +
+From afar she hears a churchtower strike 12 midnight. +
+ +









+ +
+ +
+God, the last stroke over, and you're still not in my arms. +
+ +









+ +
+ +
+And night getting worse and worse. +
+ +









+ +
+ +
+The garden like a churchyard! +
+ +









+ +
+ +
+Don't I hear a death knell? +
+ +









+ +
+ +
+Whoever you are, poor fellow! It's a dying hour for you. To me as well, it almost seems. +
+ +









+ +
+ +
+Husband, husband! Can't you hear my fearful calling? +
+ +









+ +
+ +
+Ever since my mother's death no night has been like this. +
+ +









+ +
+ +
+God, there's fire in the sky. +
+ +









+ +
+ +
+From afar the thunder follows. +
+ +









+ +
+ +
+Dead and destruction above him! +
+ +









+ +
+ +
+Dismay is gripping me. +
+ +









+ +
+ +
+God save my husband.
+I want to search for him, must find him. +
+ +









+ +
+ +
+A man covered by gauze brings a bowl on which lies a blooody, broken ring. +
+ +









+ +
+ +
+Trembling she reaches for it. +
+ +









+ +
+ +
+And with a cry: Blood - she let's it fall on the table. +
+ +









+ +
+ +
+A second man has brought a sealed urn. +
+ +









+ +
+ +
+The third brings a sealed letter. +
+ +









+ +
+ +
+After having broken the seal.. +
+ +









+ +
+ +
+She reads in a broken voice: The most depraved of your kind, marry again and follow the damned one. +
+ +









+ +
+ +
+Overtaken by fright, she pauses. +
+ +









+ +
+ +
+Now she reads on: +
+He is off to eternity, and as a souvenir sends you his heart. +
+ +









+ +
+ +
+After emitting these last words with a terrified cry.. +
+ +









+ +
+ +
+she jumps up.. +
+ +









+ +
+ +
+..breaks down and looses conscience. +
+ +









+ +
+ +
+Repeatedly she tries to get up, and looks around her with wild gestures.
+Morning already, and so much light and jubilation all around her.. +
+ +









+ +
+ +
+My marriage day.. +
+ +









+ +
+ +
+Welcome! +
+ +









+ +
+ +
+But look, the long row of black men over there - and the gently mourning youth in their midst. +
+ +









+ +
+ +
+Oh! He is dripping of blood! +
+ +









+ +
+ +
+Stop! Stop! +
+ +









+ +
+ +
+I want to heal his wounds with my lips! +
+ +









+ +
+ +
+What a fool I am, they are the wedding guests, my bridegroom amongst them. +
+ +









+ +
+ +
+Mytle crowns are hanging from his silky hair. +
+ +









+ +
+ +
+Quiet, they're coming.. +
+ +









+ +
+ +
+Closer! closer! +
+ +









+ +
+ +
+Surrounded by snakes you walk, pale and gruesome! +
+ +









+ +
+ +
+And you glide in clouds like an angel. +
+ +









+ +
+ +
+Oh come, come down here to me! +
+ +









+ +
+ +
+I cannot reach you, gliding up! +
+ +









+ +
+ +
+And the floor is sinking. +
+ +









+ +
+ +
+Here are unfathomable crevices! +
+ +









+ +
+ +
+And mounds of corpses underneath me! +
+ +









+ +
+ +
+There, whole rows of drawn swords towards us! +
+ +









+ +
+ +
+And the souls of the slain move towards heaven, singing. +
+ +









+ +
+ +
+Ah! My bridal jewels! +
+ +









+ +
+ +
+Yes, the ring belongs surely on my finger. +
+ +









+ +
+ +
+But you arke bloody and bloken. +
+ +









+ +
+ +
+Oh! All this indicates joy! +
+ +









+ +
+ +
+There too is the marriage goblet filled with blood! +
+ +









+ +
+ +
+Oh woe! Oh woe! +
+ +









+ +
+ +
+She is sinking, dazed.. +
+ +









+ +
+ +
+..down to the urn. +
+ +









+ +
+ +
+There is my heart! +
+ +









+ +
+ +
+Oh, Why have you torn it out of me? +
+ +









+ +
+ +
+And here it is bleeding and rotting! +
+ +









+ +
+ +
+(And around me it is emptied) +
+ +









+ +
+ +
+But no, how strange? Here it is beating. +
+ +









+ +
+ +
+And here it is beating too! +
+ +









+ +
+ +
+Exactly, it's beating as one! +
+ +









+ +
+ +
+She stands up and moves as if about to talk.. +
+ +









+ +
+ +
+..stands a while, oblivious to her thoughts, with downcast eyes.. +
+ +









+ +
+ +
+..cries an aching 'Oh' heavenward.. +
+ +









+ +
+ +
+..and is overcome by tears.. +
+ +









+ +
+ +
+Now she covers the urn with her face and hair.. +
+ +









+ +
+ +
+..and on her lap is pressing it hurtfully to her chest. +
+ +









+ +
+ +
+..holds it towards heaven and wants to smile.. +
+ +









+ +
+ +
+..but suddenly sinks to earth.. +
+ +









+ +
+ +
+.. and floods the urn with her tears. +
+ +









+ +
+ +
+Bewildered, with weakening senses, she moves closer to the seat.. +
+ +









+ +
+ +
+..but keeps sinking next to it. +
+ +









+ +
+ +
+Dance for my grave, you kings, and ladies and gentlemen! +
+ +









+ +
+ +
+You're smiling contemptously - you don't want to? +
+ +









+ +
+ +
+Go away, noble riff-raff, go far away.. +
+ +









+ +
+ +
+My bridegroom is he, I am his bride +
+ +









+ +
+ +
+His wife before heaven and earth! +
+ +









+ +
+ +
+My handsome love is full of high and sobre courage, look at him! +
+ +









+ +
+ +
+Listen to him mocking your airs and graces! +
+ +









+ +
+ +
+But to me he is waving kindly: +
+ +









+ +
+ +
+I want to .. I'll come ..pull me up! +
+ +









+ +
+ +
+We are betrothed for eternity! +
+ +









+ +
+ +
+Just my bridal jewels to take with me. +
+ +









+ +
+ +
+Help me, help me.. it is crushing me. +
+ +









+ +
+ +
+Lenardo you are +
+ +









+ +
+ +
+Your wife +
+ +









+ +
+ +
+I come +
+ +









+ +
+ +
+She's lying stricken, and dies. +
+ +









+ +
+ +
+King: My child! My child! +
+ +









+ +
+ +
+Thoughtless Father! +
+ +









+ +
+ +
+Monster! +
+ +









+ +
+ +
+You were Adviser! +
+ +









+ +
+ +
+Upon you the curse of all sin! +
+ +









+ +
+ +
+And of the unhappy girl's death! +
+ +









+ +
+ +
+His downcast eyes espy the urn; +
+ +









+ +
+ +
+He seizes it, and in an excess of pain is wringing it heavenwards. +
+ +



+
+
+
+
+ + + + +
+ + + + diff --git a/httpdocs/e.grandville.gertrude.html b/httpdocs/e.grandville.gertrude.html new file mode 100644 index 0000000..bf1067f --- /dev/null +++ b/httpdocs/e.grandville.gertrude.html @@ -0,0 +1,24 @@ + Grandville + +
+Home +           +Andy's Early Comics Archive +
+
+ + +Grandville + +
+
+ + 'Gertrude' + +
+
+ +



+
+ + diff --git a/httpdocs/e.grandville.html b/httpdocs/e.grandville.html new file mode 100644 index 0000000..32017a6 --- /dev/null +++ b/httpdocs/e.grandville.html @@ -0,0 +1 @@ + Grandville
Grandville

(1847)





'Gertrude'





\ No newline at end of file diff --git a/httpdocs/e.griffin.a.friend.in.need.html b/httpdocs/e.griffin.a.friend.in.need.html new file mode 100644 index 0000000..c1580b8 --- /dev/null +++ b/httpdocs/e.griffin.a.friend.in.need.html @@ -0,0 +1,21 @@ + Griffin + +
+Home +           +Andy's Early Comics Archive +
+
+ + +Syd B. Griffin + +


+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.griffin.all.html b/httpdocs/e.griffin.all.html new file mode 100644 index 0000000..84104e7 --- /dev/null +++ b/httpdocs/e.griffin.all.html @@ -0,0 +1,37 @@ +Syd B. Griffin + + + +
+ + + +Syd B. Griffin + +


+ +
+
+ +


+


+


+ + +


+


+


+ +


+(all from the collection of John Ronan) +
+
+
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.griffin.friend.in.need.html b/httpdocs/e.griffin.friend.in.need.html new file mode 100644 index 0000000..0ab9db5 --- /dev/null +++ b/httpdocs/e.griffin.friend.in.need.html @@ -0,0 +1,17 @@ + Griffin + + +
+ + +Syd B. Griffin + +


+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.griffin.his.name.was.mud.html b/httpdocs/e.griffin.his.name.was.mud.html new file mode 100644 index 0000000..7c6287f --- /dev/null +++ b/httpdocs/e.griffin.his.name.was.mud.html @@ -0,0 +1,17 @@ + Griffin + + +
+ + +Syd B. Griffin + +


+ +


+(from the collection of John Ronan) +
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.griffin.html b/httpdocs/e.griffin.html new file mode 100644 index 0000000..141c31c --- /dev/null +++ b/httpdocs/e.griffin.html @@ -0,0 +1,54 @@ +Syd B. Griffin + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Syd B. Griffin
+ + +
+
+
+
+
+
+
+		 + +
+A Friend in Need

+

+
+
+
+		 + +
+His Name was Mud

+

+
+
+
+		 + +
+Let Her Go

+

+
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.griffin.let.her.go.html b/httpdocs/e.griffin.let.her.go.html new file mode 100644 index 0000000..575d2bc --- /dev/null +++ b/httpdocs/e.griffin.let.her.go.html @@ -0,0 +1,21 @@ + Griffin + + +
+ + +Syd B. Griffin + +


+ +
+
+
+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.grip.magazine.1881.html b/httpdocs/e.grip.magazine.1881.html new file mode 100644 index 0000000..f0790ef --- /dev/null +++ b/httpdocs/e.grip.magazine.1881.html @@ -0,0 +1,32 @@ +Grip Magazine + + + +
+ + +Grip Magazine +

+1881 +


+ +
+
+
+ + +
+Canadian cartoonists, too, were producing sequential word balloon strips prior to Outcault's Yellow Kid. This is from the Canadian humor magazine Grip, volume 31, issue 3, page 8, January 21, 1881.  +
+Doug Wheeler +

+
+
+ +(from the collection of Doug Wheeler) + +
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.heath.html b/httpdocs/e.heath.html new file mode 100644 index 0000000..faa2bfc --- /dev/null +++ b/httpdocs/e.heath.html @@ -0,0 +1 @@ + William Heath
William Heath (1830)


Volume 1, issue 7, page 3, July 1st, 1830, of The Looking Glass.   


(From the collection of Doug Wheeler)   

\ No newline at end of file diff --git a/httpdocs/e.herford.all.html b/httpdocs/e.herford.all.html new file mode 100644 index 0000000..ab8d25a --- /dev/null +++ b/httpdocs/e.herford.all.html @@ -0,0 +1,62 @@ +O.Herford + + +
+ + + + +O. Herford
+ + +
+
+
+ +'The Bow Legged Admiral and the Educated Dog' (Harper's Round Table, 1897)
+ + +

+ +

+ +

+ +

+ +

+ + + +

+

+

+

+ + +'The Lost Joke Recovered by Xray'(Harper's Round Table, 1897)
+ + +

+ +

+ +

+ +

+ + +

+ + + + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.herford.html b/httpdocs/e.herford.html new file mode 100644 index 0000000..47dfb26 --- /dev/null +++ b/httpdocs/e.herford.html @@ -0,0 +1,46 @@ +O.Herford + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +O.Herford
+ + +
+
+
+
+
+
+
+		 + +
+'The Bow Legged Admiral and the Educated Dog' (Harper's Round Table, 1897)

+

+
+
+
+		 + +
+'The Lost Joke Recovered by Xray'(Harper's Round Table, 1897)

+

+
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.herriman.all.html b/httpdocs/e.herriman.all.html new file mode 100644 index 0000000..b4d539e --- /dev/null +++ b/httpdocs/e.herriman.all.html @@ -0,0 +1,44 @@ +George Herriman + + +
+ +George Herriman + +
+
+ + + + +
+





+ +





+ +





+ +





+ +





+ +





+ +





+ +





+ +





+ +





+ +





+ + + + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.hoffmann.html b/httpdocs/e.hoffmann.html new file mode 100644 index 0000000..8b3f9ef --- /dev/null +++ b/httpdocs/e.hoffmann.html @@ -0,0 +1,73 @@ + Hoffmann - Struwwelpeter + + + +
+ + + +Heinrich Hoffmann
+Struwwelpeter +
+ +
+ + + (drawn 1844, published 1845 - English edition 1848) +
+ +
+
+This famous picture book is stylistically related to earlier chapbooks and Bilderbogen (picture sheet). +
+The hunter-rabbit story is similar to a panel from a Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world.
+
+
+ +
+ +



+



+



+



+ + + +



+ +



+



+



+



+



+



+



+



+



+



+ +



+ +



+ + +



+



+



+



+



+



+



+



+ +Alternative Cover +
+



+ + + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.hogarth.harlot.s.propgress.html b/httpdocs/e.hogarth.harlot.s.propgress.html new file mode 100644 index 0000000..e9344a9 --- /dev/null +++ b/httpdocs/e.hogarth.harlot.s.propgress.html @@ -0,0 +1,47 @@ + William Hogarth + + +
+ + + + +William Hogarth +
+
+
+'The Harlot's Progress' 1730
+ (original version 1730, these are 19th century copies by E.F.Walker, S.Davenport, T.Phillibrown, G.Presbury and J.Stubbs ) + +




+ + +small version click here + +
+
+ +
+ + Although not a comic, these 'morality plays on paper' were highly influencial in the history of the medium + +



+ +





+





+





+





+





+





+
+
+
+
+ +





+ + +


+
+ + diff --git a/httpdocs/e.hogarth.harlot.s.propgress.small.html b/httpdocs/e.hogarth.harlot.s.propgress.small.html new file mode 100644 index 0000000..f7b38fa --- /dev/null +++ b/httpdocs/e.hogarth.harlot.s.propgress.small.html @@ -0,0 +1,43 @@ + William Hogarth + + +
+ + + +William Hogarth +
+
+
+'The Harlot's Progress' 1730
+ (original version 1730, these are 19th century copies by E.F.Walker, S.Davenport, T.Phillibrown, G.Presbury and J.Stubbs ) + +




+ + + + +
+ + Although not a comic, these 'morality plays on paper' were highly influencial in the history of the medium + +



+ +





+





+





+





+





+





+
+
+
+
+ +





+ + +


+
+ + diff --git a/httpdocs/e.hogarth.html b/httpdocs/e.hogarth.html new file mode 100644 index 0000000..a0fc07d --- /dev/null +++ b/httpdocs/e.hogarth.html @@ -0,0 +1,47 @@ + William Hogarth Index' + +
+Home +           +Andy's Early Comics Archive +
+
+ + +William Hogarth + +
+
+ +
+
+ + + +
+ +'The Harlot's Progress (1730) +(large scans) + +
+
+ + +
+ + +Not a comic, but influencial in the history of the medium. +
+
+I'll add his other 'progresses' and sequential series from the same source at a later date. This is from a 19th century reprint version, not his own engravings. But his most authentic 'artistic' version are the paintings (sadly lost for the Harlot), and in a way this second hand (or third hand, for the series which Hogarth let others engrave), are very much in keeping with the reproduceability of popular graphics.
+ + +
+
+
+ +
+
+ + + diff --git a/httpdocs/e.hopkins.tigwissel.html b/httpdocs/e.hopkins.tigwissel.html new file mode 100644 index 0000000..702950b --- /dev/null +++ b/httpdocs/e.hopkins.tigwissel.html @@ -0,0 +1 @@ +Livingstone Hopkins
Livingstone Hopkins (1875)





One of the first American newspaperstrips with a contiuous character, Professor Tigwissel.

(from the collection of Bob Beerbohm)

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Howarth, F.M.
(died 22. 9. 1908)


Le Rire - 9 May 1896











(Puck, 28.7.1897)


















(Le Rire, 4.Mai 1895 - originally published in Puck)



(panel layout as printed, click here)






(Puck, 28.7.1897)










F.M.Howarth

(The Dog at the Butcher's)

(Le Rire, 2.November 1895 - orginially published in 'Judge')



(layout as printed)
(above from the collection of Harald Kiehn)


Howarth (Puck Magazine, 1894)



The Editor: Heavens! Circulation down to nothing, coal-bin down to nothing, wood-pile down to nothing. If something doesn't n't turn up soon, I'll freeze.




Poet (entering): I would like to leave this poem, in the hope that you will be able to use it. Good-day!




The Editor: Able to use it? Well, I should smile!




The Editor (writing): Mr. T. Emerson Gibbs. - Your poem is accepted, and will be paid for on publication. We would like to add that there is more poetic warmth in these verses than in any we have received, lately.



(from the collection of Doug Wheeler)




(from 'Album Noel', 1900)

'Récréation Chinoise'

















'An ingenious Device' (Life - before 1893)







'Lovers of Art' (Life - before 1893)





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+ + + + +F.M.Howarth + + +
+
+(The Dog at the Butcher's) +
+
+(Le Rire, 2.November 1895 - orginially published in 'Judge') +
+ +
+
+
+
+
+
+
+
+(layout as printed)
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.howarth.editor.html b/httpdocs/e.howarth.editor.html new file mode 100644 index 0000000..56503c0 --- /dev/null +++ b/httpdocs/e.howarth.editor.html @@ -0,0 +1,53 @@ + +Howarth + + + +
+ + +Howarth (Puck Magazine, 1894) + +
+
+ +
+ +
+
+
+The Editor: Heavens! Circulation down to nothing, coal-bin down to nothing, wood-pile down to nothing. If something doesn't n't turn up soon, I'll freeze. +
+
+
+
+
+
+Poet (entering): I would like to leave this poem, in the hope that you will be able to use it. Good-day! +
+
+
+
+
+
+The Editor: Able to use it? Well, I should smile! +
+
+
+
+
+
+The Editor (writing): Mr. T. Emerson Gibbs. - Your poem is accepted, and will be paid for on publication. We would like to add that there is more poetic warmth in these verses than in any we have received, lately. +
+
 +
+
+
+(from the collection of Doug Wheeler) +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.howarth.enlevement.acrob.html b/httpdocs/e.howarth.enlevement.acrob.html new file mode 100644 index 0000000..1ac9a9d --- /dev/null +++ b/httpdocs/e.howarth.enlevement.acrob.html @@ -0,0 +1,39 @@ +F.M.Howarth + + +
+ + + + + +F.M.Howarth + + +
+
+Le Rire - 9 May 1896 +
+
+ + +
+
+
+
+
+
+
+
+
+
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.howarth.html b/httpdocs/e.howarth.html new file mode 100644 index 0000000..6daebfc --- /dev/null +++ b/httpdocs/e.howarth.html @@ -0,0 +1 @@ +Howarth, F.M. (18.. - 22.9.1908)
Home           Andy's Early Comics Archive

F.M. Howarth
(Franklin Morris Howarth , died 1908)

Récréation Chinoise

Editor and Poet (Puck 1894)

'An ingenious Device' (Life - before 1893)

'Lovers of Art' (Life - before 1893)

'Pelle et Brouette' (originally published in 'Puck', reprinted in 'Polichinelle' 31 July 1898)

Le Portrait trop resemblant...

Un enlevement acrobatique...

The dog at the butcher's

(Le Rire, 2.November 1895 - orginially published in 'Judge')

An Assisted Flirtation (Puck 28. July 1897 )


Easily Arranged (Puck 28. July 1897 )




external links:

(John Adcock's Blog)




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+ +F.M.Howarth +

+'An ingenious Device' (Life - before 1893) +


+ +


+
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+ + + + + + +F.M.Howarth + + +
+
+(Le Rire, 4.Mai 1895 - originally published in Puck) + +
+ +
+
+
+
+
+ +








+
+
+(panel layout as printed, click here)
+
+
+(from the collection of Harald Kiehn) + +
+
+
+
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+ +F.M.Howarth +

+'Lovers of Art' (Life - before 1893) +


+ +


+
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+ + + + +F.M.Howarth + + +
+

+
+
+






+
+
+(from the collection of Harald Kiehn) + +
+
+
+
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+ + + + +F.M.Howarth + + +
+
+(Puck, 28.7.1897) + +

+
+ +
+
+
+
+
+ + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.howarth.puck.1897.07.28.flirt.html b/httpdocs/e.howarth.puck.1897.07.28.flirt.html new file mode 100644 index 0000000..478c326 --- /dev/null +++ b/httpdocs/e.howarth.puck.1897.07.28.flirt.html @@ -0,0 +1,37 @@ +F.M.Howarth + + +
+ + + + + + +F.M.Howarth + + +
+
+(Puck, 28.7.1897) + +
+ +
+
+
+
+
+
+
+
+
+
+
+ + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.howarth_boucher.html b/httpdocs/e.howarth_boucher.html new file mode 100644 index 0000000..820a703 --- /dev/null +++ b/httpdocs/e.howarth_boucher.html @@ -0,0 +1,43 @@ +F.M.Howarth + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + + + +F.M.Howarth + + +
+
+(The Dog at the Butcher's) +
+
+(Le Rire, 2.November 1895 - orginially published in 'Judge') + +
+
+
+
+
+
+
+
+(layout as printed)
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
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+Home +           +Andy's Early Comics Archive +
+
+ + + + + + +F.M.Howarth + + +
+
+Le Rire - 9 May 1896 +
+
+ + +
+
+
+
+
+
+
+
+
+
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.howarth_le.portrait.html b/httpdocs/e.howarth_le.portrait.html new file mode 100644 index 0000000..4e94117 --- /dev/null +++ b/httpdocs/e.howarth_le.portrait.html @@ -0,0 +1,42 @@ +F.M.Howarth + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + + + +F.M.Howarth + + +
+
+(Le Rire, 4.Mai 1895 - originally published in Puck) + +
+ +
+
+
+
+
+ +








+
+
+(panel layout as printed, click here)
+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.hrt.html b/httpdocs/e.hrt.html new file mode 100644 index 0000000..6ba8cf7 --- /dev/null +++ b/httpdocs/e.hrt.html @@ -0,0 +1 @@ + Comics from the magazine 'Harper's Round Table'
'Harper's Round Table', Annual 1897
The boys magazine Harpers Round Table had a little wordless strip on many of its back covers.
Here are those from the year 1897, when regular comics were already being developed in the newspapers.




                72 - W. M. Goodes - 'The Funniest Thing he ever saw'
                176 - Gustav Verbeek - 'The Hunter's Strategy'
                280 - ? - How Tommy made one Skate do
                544 - ? - An African Bridge
                568 - R. F. Bunner - 'An Event that was not on the Programme'
                640 - W. C. Kemble - 'An Ingenious Escape'
                736 - O. Herford - 'The Bow Legged Admiral and the Educated Dog'
                760 - ? - 'The Stolen Cigar or The Monkey who got it in the Neck'
                784 - ? - 'An Interesting Article'
                808 - P. Newell - Policeman / Fourth of July
                832 - A. S. Daggy - 'A New Use for the Japanese Umbrella'
                864 - ? - 'An Unintentional Exchange'
                888 - O. Herford - 'The Lost Joke Recovered by Xray'
                912 - ? - 'The Adventures of a Cartwheel'
                936 - ? - 'How a Famous Hunter Won a Reputation'
                960 - ? - 'A New Wag to an Old Tale'
                1008 - ? - 'A Cat Tale'
                1032 - F. T. Richards - 'It's an Ill Wind Blows Nobody Good'
                1056 - H.Mayer - 'How the Dromedary Became a Camel'
                1080 - H.W.Phillipp - 'A Friend in Need is a Friend Indeed'
                1104 - C. J. Budd - 'The Bill Poster's Revenge'
                1128 - F. T. Richards - 'The Fakir and the Prestidigitateur'
                1152 - F. T. Richards - 'An Occidental Transformation'
                1176 - ? - 'The Patent Sure-to-arrouse Alarm Clock'
                1200 - ? - 'The Artist and his Model'
                All on one page




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Harper's Round Table Index
W.M. Goodes




































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Harper's Round Table Index

Gustav Verbeek




































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Harper's Round Table Index


















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Harper's Round Table Index































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Harper's Round Table Index

R.F.Bunner

































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Harper's Round Table Index

W.C.Kemble






















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Harper's Round Table Index

O.Herford





































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Harper's Round Table Index

M.Tucker





































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Harper's Round Table Index



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Harper's Round Table Index

Peter Newell
































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Harper's Round Table Index

A.S.Daggy








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Harper's Round Table Index



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Harper's Round Table Index

O.Herford





































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Harper's Round Table Index



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Harper's Round Table Index

M.Dunk


















































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Harper's Round Table Index



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Harper's Round Table Index



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Harper's Round Table Index

F.T.Richards






















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Harper's Round Table Index

Hy Mayer






































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Harper's Round Table Index

H.W. Phillipp








































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Harper's Round Table Index

C.J.Budd





























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Harper's Round Table Index

F. T. Richards







































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Harper's Round Table Index

F. T. Richards
















(Note: the rearrangement are the same letters backwards)


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Harper's Round Table Index



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Harper's Round Table Index



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+ + +'Harper's Round Table', Annual 1897 +

+ +The boys magazine Harpers Round Table had a little wordless strip on many of its back covers. +
+Here are those from the year 1897, when regular comics were already being developed in the newspapers. +




+ + +All on one page + +




+ + +
+
+
+
+ + +
+
+

+ +




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+


+ + \ No newline at end of file diff --git a/httpdocs/e.hubbard.html b/httpdocs/e.hubbard.html new file mode 100644 index 0000000..249e359 --- /dev/null +++ b/httpdocs/e.hubbard.html @@ -0,0 +1,335 @@ +The Comic Adventures of Old Mother Hubbard and her Dog (1819) + + + +
+


+ + The Comic Adventures of Old Mother Hubbard and her Dog
+(1819)
+
+ +(possibly) Robert Branston
+ +
+ +
+
+
+
+ + + +
+ + +Old Mother Hubbard
+Went to the cupboard,
+To give the poor dog a bone:
+When she came there,
+The cupboard was bare,
+And so the poor dog had none.
+ +
+
+
+
+ + + +
+ + +She went to the baker's
+To buy him some bread;
+When she came back
+The dog was dead!
+ +
+
+
+
+ + + +
+ + +She went to the undertaker's
+To buy him a coffin;
+When she came back
+The dog was laughing.
+ +
+
+
+
+ + + +
+ + +She took a clean dish
+to get him some tripe;
+When she came back
+He was smoking his pipe.
+ +
+
+
+
+ + +
+ + +She went to the alehouse
+To get him some beer;
+When she came back
+The dog sat in a chair.
+ +
+
+
+
+ + +
+ + +She went to the tavern
+For white wine and red;
+When she came back
+The dog stood on his head.
+ +
+
+
+
+ + + +
+ + +She went to the fruiterer's
+To buy him some fruit;
+When she came back
+He was playing the flute.
+ +
+
+
+
+ + + +
+ + +She went to the tailor's
+To buy him a coat;
+When she came back
+He was riding a goat.
+ +
+
+
+
+ + + +
+ + +She went to the hatter's
+To buy him a hat;
+When she came back
+He was feeding her cat.
+
+ +
+
+
+
+ + + +
+ + +She went to the barber's
+To buy him a wig
+When she came back
+He was dancinc a jig.
+ +
+
+
+
+ + + +
+ + +She went to the cobbler's
+To buy him some shoes;
+When she came back
+He was reading the news. + +
+
+
+
+ + + +
+ + +She went to the sempstress
+To buy him some linen;
+When she came back
+The dog was spinning.
+ +
+
+
+
+ + +
+ + +She went to the hosier's
+To buy him some hose;
+When she came back
+He was dressed in his clothes.
+ +
+
+
+
+ + + +
+ + +The Dame made a curtsy,
+The dog made a bow;
+The Dame said, Your servant;
+The dog said, Bow-wow.
+ +
+
+
+
+ + + +
+ + +This wonderful dog
+Was Dame Hubbard's delight,
+He could read, he could dance,
+He could sing, he could write;
+She gave him rich dainties
+Whenever he fed,
+And erected this monument
+When he was dead.
+ +
+ +
+
+ +
+
+
+
+
+
+
+
+
+
+
+
+ The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805)
+
+ + + + + + +
+
+
+
+
+
+ The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805)
+
+ + + +
+

+

+

+

+

+

+

+

+

+

+

+

+

+

+
+
+
+
+
+ +Old Mother Hubbard +
+ + +circa 1805/10 (Text reset) +
+ + + + + +
+ +
+
+

+



+
+ +
+
+
+ + +
+ +
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.hubbard_1.html b/httpdocs/e.hubbard_1.html new file mode 100644 index 0000000..c9a435b --- /dev/null +++ b/httpdocs/e.hubbard_1.html @@ -0,0 +1,263 @@ +The Comic Adventures of Old Mother Hubbard and her Dog (1819) + + +
+ + The Comic Adventures of Old Mother Hubbard and her Dog
+(1819)
+
+ +(possibly) Robert Branston
+ +
+ +
+
+
+
+ + + +
+ + +Old Mother Hubbard
+Went to the cupboard,
+To give the poor dog a bone:
+When she came there,
+The cupboard was bare,
+And so the poor dog had none.
+ +
+
+
+
+ + + +
+ + +She went to the baker's
+To buy him some bread;
+When she came back
+The dog was dead!
+ +
+
+
+
+ + + +
+ + +She went to the undertaker's
+To buy him a coffin;
+When she came back
+The dog was laughing.
+ +
+
+
+
+ + + +
+ + +She took a clean dish
+to get him some tripe;
+When she came back
+He was smoking his pipe.
+ +
+
+
+
+ + +
+ + +She went to the alehouse
+To get him some beer;
+When she came back
+The dog sat in a chair.
+ +
+
+
+
+ + +
+ + +She went to the tavern
+For white wine and red;
+When she came back
+The dog stood on his head.
+ +
+
+
+
+ + + +
+ + +She went to the fruiterer's
+To buy him some fruit;
+When she came back
+He was playing the flute.
+ +
+
+
+
+ + + +
+ + +She went to the tailor's
+To buy him a coat;
+When she came back
+He was riding a goat.
+ +
+
+
+
+ + + +
+ + +She went to the hatter's
+To buy him a hat;
+When she came back
+He was feeding her cat.
+
+ +
+
+
+
+ + + +
+ + +She went to the barber's
+To buy him a wig
+When she came back
+He was dancinc a jig.
+ +
+
+
+
+ + + +
+ + +She went to the cobbler's
+To buy him some shoes;
+When she came back
+He was reading the news. + +
+
+
+
+ + + +
+ + +She went to the sempstress
+To buy him some linen;
+When she came back
+The dog was spinning.
+ +
+
+
+
+ + +
+ + +She went to the hosier's
+To buy him some hose;
+When she came back
+He was dressed in his clothes.
+ +
+
+
+
+ + + +
+ + +The Dame made a curtsy,
+The dog made a bow;
+The Dame said, Your servant;
+The dog said, Bow-wow.
+ +
+
+
+
+ + + +
+ + +This wonderful dog
+Was Dame Hubbard's delight,
+He could read, he could dance,
+He could sing, he could write;
+She gave him rich dainties
+Whenever he fed,
+And erected this monument
+When he was dead.
+ +
+ +
+
+ +
+
+ +
+
+
+Home +           +Andy's Early Comics Archive + + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.hubbard_2.html b/httpdocs/e.hubbard_2.html new file mode 100644 index 0000000..43204a3 --- /dev/null +++ b/httpdocs/e.hubbard_2.html @@ -0,0 +1,22 @@ +The Comic Adventures of Old Mother Hubbard and her Dog (1819) + + +
+ + The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805)
+
+ + + + + + +
+ +
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.hubbard_3.html b/httpdocs/e.hubbard_3.html new file mode 100644 index 0000000..006d861 --- /dev/null +++ b/httpdocs/e.hubbard_3.html @@ -0,0 +1,58 @@ +The Comic Adventures of Old Mother Hubbard and her Dog (1819) + + +
+ + The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805) + + +
+
+ + + +
+

+

+

+

+

+

+

+

+

+

+

+

+

+

+
+
+
+
+
+ +Old Mother Hubbard +
+ + +circa 1805/10 (Text reset) +
+

+
+
+ + + +
+Home +           +Andy's Early Comics Archive + + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.illustrierte.welt.html b/httpdocs/e.illustrierte.welt.html new file mode 100644 index 0000000..332de95 --- /dev/null +++ b/httpdocs/e.illustrierte.welt.html @@ -0,0 +1 @@ + Die Illustriete Welt



Illustrierte Welt
(1858)










(from the collection of Harald Kiehn)

\ No newline at end of file diff --git a/httpdocs/e.jensen.all.html b/httpdocs/e.jensen.all.html new file mode 100644 index 0000000..a395d2e --- /dev/null +++ b/httpdocs/e.jensen.all.html @@ -0,0 +1,78 @@ +A.Jensen + + +
+


+ + +A. Jensen
+ +
+ + +(all from 'Lustige Blätter' 1892) +
+



+
+ +
+
+
+ +The Member of Parliament and his Voter
+'Der Abgeordnete und der Wähler' (1892) + +
+ +

+

+

+

+

+

+ + +


+



+'Die Vermehlung des Schornsteinfegers' (1892) +
+
+


+


+ + + + + +'Die Ratte' (1892) +
+ + +

+ + + +





+ +'Ein armer Lahmer' (1892) +
+ + + +
+
+
+
+
+ + + +





+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.jensen.html b/httpdocs/e.jensen.html new file mode 100644 index 0000000..0bb90c7 --- /dev/null +++ b/httpdocs/e.jensen.html @@ -0,0 +1,42 @@ +A.Jensen + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +A. Jensen
+ +

+ + +
+ +
+'Der Abgeordnete und der Wähler' (Lustige Blätter 1892) (the often repeated visual joke of relating the size of people to their power or importance)
+

+'Die 'Vermehlung' des Schornsteinfegers' (Lustige Blätter 1892)
+

+'Die Ratte' (Lustige Blätter 1892)
+

+'Ein armer Lahmer' (Lustige Blätter 1892)
+ + + +
+
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.keene-lavinia.html b/httpdocs/e.keene-lavinia.html new file mode 100644 index 0000000..68e53ef --- /dev/null +++ b/httpdocs/e.keene-lavinia.html @@ -0,0 +1 @@ + Charles Keene



Charles Keene
'The Adventures of Miss Lavinia Brounjones' (1866)























































© 2002 Copyright by Andy   
\ No newline at end of file diff --git a/httpdocs/e.kerlie.all.html b/httpdocs/e.kerlie.all.html new file mode 100644 index 0000000..935e538 --- /dev/null +++ b/httpdocs/e.kerlie.all.html @@ -0,0 +1,33 @@ +Kerlie? + + +
+


+ + +Armelle Kerlie +
+(both from 'Album Noel', 1900) + +
+
+'Histoire de deux chinois...'
+ +




+ + +




+ +
+
+
+'Histoire lamentable de Prosper et de sa soupe'
+ +




+ + +




+ + + + \ No newline at end of file diff --git a/httpdocs/e.kerlie.html b/httpdocs/e.kerlie.html new file mode 100644 index 0000000..e43f558 --- /dev/null +++ b/httpdocs/e.kerlie.html @@ -0,0 +1,38 @@ +Kerlie? + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Kerlie?
+ +

+ +
+
+
+ + +
+ +? 'Histoire de deux chinois et d'un enfant trop malin pour son age'

+ +(?) 'Histoire lamentable de Prosper et de sa soupe'
+
+
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.knerr.all.html b/httpdocs/e.knerr.all.html new file mode 100644 index 0000000..ce35213 --- /dev/null +++ b/httpdocs/e.knerr.all.html @@ -0,0 +1,53 @@ +Knerr + + + +
+ + + +Harold Knerr +
+ +
+
+
+ + + + + +
+
+
+Large + +
+ + +
+
+
+ +
+ + + + +
+ + + + +
+
+
+
+Large + +
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.02.02.html b/httpdocs/e.lb.1892.02.02.html new file mode 100644 index 0000000..16fc2c8 --- /dev/null +++ b/httpdocs/e.lb.1892.02.02.html @@ -0,0 +1,19 @@ + Lustige Blätter 1892 + + +
+ + +A. Jensen + + + +

+from 'Lustige Blätter' 1892' +


+
+


+


+
+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.02.05.html b/httpdocs/e.lb.1892.02.05.html new file mode 100644 index 0000000..03c764e --- /dev/null +++ b/httpdocs/e.lb.1892.02.05.html @@ -0,0 +1,25 @@ + Lustige Blätter 1892 + + +
+ + + + + + +

+from 'Lustige Blätter' 1892' +


+
+

+

+

+

+

+

+


+


+
+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.0502.html b/httpdocs/e.lb.1892.0502.html new file mode 100644 index 0000000..8b80aca --- /dev/null +++ b/httpdocs/e.lb.1892.0502.html @@ -0,0 +1,29 @@ + Lustige Blätter 1892 + + +
+ + +Johann Bahr + + + +

+from 'Lustige Blätter' 1892' +


+


+


+


+


+


+


+


+


+


+


+


+Andy's Early Comics Archive +


+
+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.0607.html b/httpdocs/e.lb.1892.0607.html new file mode 100644 index 0000000..e89622c --- /dev/null +++ b/httpdocs/e.lb.1892.0607.html @@ -0,0 +1,32 @@ + Lustige Blätter 1892 + + +
+ + +Johann Bahr + + + +

+from 'Lustige Blätter' 1892' +


+





+





+





+





+





+





+





+





+





+





+





+





+





+


+Andy's Early Comics Archive +


+
+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.0707.html b/httpdocs/e.lb.1892.0707.html new file mode 100644 index 0000000..b7bb99b --- /dev/null +++ b/httpdocs/e.lb.1892.0707.html @@ -0,0 +1,31 @@ + Lustige Blätter 1892 + + +
+ + +Johann Bahr + + + +

+from 'Lustige Blätter' 1892' +


+(Speech by Professor Strubelmann on how to take care of your hair) +
+
+
+ + +


+


+


+


+


+


+


+Andy's Early Comics Archive +


+
+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.0806.html b/httpdocs/e.lb.1892.0806.html new file mode 100644 index 0000000..70f0ebe --- /dev/null +++ b/httpdocs/e.lb.1892.0806.html @@ -0,0 +1,26 @@ + Lustige Blätter 1892 + + +
+ + +Johann Bahr + + + +

+from 'Lustige Blätter' 1892' +


+ + +
+
+
+
+ +


+Andy's Early Comics Archive +


+
+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.1712.html b/httpdocs/e.lb.1892.1712.html new file mode 100644 index 0000000..c8c69b4 --- /dev/null +++ b/httpdocs/e.lb.1892.1712.html @@ -0,0 +1,31 @@ + Lustige Blätter 1892 + + +
+ + + + + + + +

+from 'Lustige Blätter' 1892' +


+ + +





+





+





+





+





+





+





+





+





+


+Andy's Early Comics Archive +


+
+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2106.html b/httpdocs/e.lb.1892.2106.html new file mode 100644 index 0000000..3601a22 --- /dev/null +++ b/httpdocs/e.lb.1892.2106.html @@ -0,0 +1,30 @@ + Jensen - Die Ratte + + +
+ + + + +A.Jensen + +
+
+ +'Die Ratte' (1892) +
+
+
+ + +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2302.html b/httpdocs/e.lb.1892.2302.html new file mode 100644 index 0000000..5a99f65 --- /dev/null +++ b/httpdocs/e.lb.1892.2302.html @@ -0,0 +1,30 @@ + Theele 'Die fünf Sinne' (1892) + + +
+ + + +John Theele + +
+
+ +'Die fünf Sinne' (The five senses) (1892) +
+
+
+ + +
+
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2305.html b/httpdocs/e.lb.1892.2305.html new file mode 100644 index 0000000..0ce98f8 --- /dev/null +++ b/httpdocs/e.lb.1892.2305.html @@ -0,0 +1,26 @@ + 'Wie eine Gans durch allzuviel Rücksicht auf den Hund kommt' (1892) + + +
+ + + + +G.W. + +
+
+ +'Wie eine Gans durch allzuviel Rücksicht auf den Hund kommt' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2402.html b/httpdocs/e.lb.1892.2402.html new file mode 100644 index 0000000..e845bd3 --- /dev/null +++ b/httpdocs/e.lb.1892.2402.html @@ -0,0 +1,26 @@ + 'Ein schwungvoller Heimweg' + + +
+ + + + + + +
+
+ +'Ein schwungvoller Heimweg' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2507.html b/httpdocs/e.lb.1892.2507.html new file mode 100644 index 0000000..144e2bb --- /dev/null +++ b/httpdocs/e.lb.1892.2507.html @@ -0,0 +1,30 @@ + Jensen 'Ein armer Lahmer' (1892) + + +
+ + + + +A. Jensen + +
+
+ +'Ein armer Lahmer' (1892) +
+
+
+ + +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2706.html b/httpdocs/e.lb.1892.2706.html new file mode 100644 index 0000000..76dc770 --- /dev/null +++ b/httpdocs/e.lb.1892.2706.html @@ -0,0 +1,23 @@ + 'In die unrechte Kehle gekommen' (1892) + + +
+ +A.K. + +
+
+ +'In die unrechte Kehle gekommen' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2802.html b/httpdocs/e.lb.1892.2802.html new file mode 100644 index 0000000..3b7760a --- /dev/null +++ b/httpdocs/e.lb.1892.2802.html @@ -0,0 +1,24 @@ + 'Ein französisches Duell' (1892) + + +
+ + + + +
+
+ +'Ein französisches Duell' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2805.html b/httpdocs/e.lb.1892.2805.html new file mode 100644 index 0000000..8077bd6 --- /dev/null +++ b/httpdocs/e.lb.1892.2805.html @@ -0,0 +1,23 @@ + 'Missglückter Aufsprung' (1892) + + +
+ + + +
+
+ +'Missglückter Aufsprung' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2902.html b/httpdocs/e.lb.1892.2902.html new file mode 100644 index 0000000..18e7016 --- /dev/null +++ b/httpdocs/e.lb.1892.2902.html @@ -0,0 +1,24 @@ + s.Vitou 'Ein Photograph in der Wüste' (1892) + + +
+ + +S. Vitou + +
+
+ +'Ein Photograph in der Wüste' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.2908.html b/httpdocs/e.lb.1892.2908.html new file mode 100644 index 0000000..3853c0c --- /dev/null +++ b/httpdocs/e.lb.1892.2908.html @@ -0,0 +1,25 @@ + M. Vaiselow + + +
+ + +M. Vaiselow + +
+
+ +'Das gewohnte Stichwort' (1892) +
+
+
+ + +
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.3102.html b/httpdocs/e.lb.1892.3102.html new file mode 100644 index 0000000..85106c7 --- /dev/null +++ b/httpdocs/e.lb.1892.3102.html @@ -0,0 +1,31 @@ + Johann Bahr - 'Der Sonntagsfrevler - oder - Die verbotene Angelei' (1892) + + +
+ + + +Johann Bahr + +
+
+ +'Der Sonntagsfrevler - oder - Die verbotene Angelei' (1892) +
+
+
+ + +
+
+
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.3402.html b/httpdocs/e.lb.1892.3402.html new file mode 100644 index 0000000..95ae0c9 --- /dev/null +++ b/httpdocs/e.lb.1892.3402.html @@ -0,0 +1,26 @@ + 'Der neue Brutapperat' (1892) + + +
+ + + + +A.K. + +
+
+ +'Der neue Brutapperat' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.3412.html b/httpdocs/e.lb.1892.3412.html new file mode 100644 index 0000000..7699d08 --- /dev/null +++ b/httpdocs/e.lb.1892.3412.html @@ -0,0 +1,27 @@ + F.Graetz + + +
+ +F. Graetz + +
+
+ +'Die Wirkung der afrikanischen Sonne auf das Kilimandscharo-Gebiet' (1892) +
+
+
+ + +
+
+
+
+
+ + + +





+ + diff --git a/httpdocs/e.lb.1892.3502.html b/httpdocs/e.lb.1892.3502.html new file mode 100644 index 0000000..2f4aa6c --- /dev/null +++ b/httpdocs/e.lb.1892.3502.html @@ -0,0 +1,24 @@ + 'Triumph des Drills' (1892) + + +
+ + +A. K. + +
+
+ +'Triumph des Drills' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.3607.html b/httpdocs/e.lb.1892.3607.html new file mode 100644 index 0000000..2650e18 --- /dev/null +++ b/httpdocs/e.lb.1892.3607.html @@ -0,0 +1,25 @@ + Gestillter Liebesdurst' (1892) + + +
+ + + + + +
+
+ +'Gestillter Liebesdurst' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.3705.html b/httpdocs/e.lb.1892.3705.html new file mode 100644 index 0000000..f19c75d --- /dev/null +++ b/httpdocs/e.lb.1892.3705.html @@ -0,0 +1,31 @@ + 'Wenn zwei dasselbe tun..' (1892) + + +
+ + + + + +
+
+ +'Wenn zwei dasselbe tun..' (1892) +
+
+
+ + +
+




+
+




+
+




+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.3706.html b/httpdocs/e.lb.1892.3706.html new file mode 100644 index 0000000..582cb32 --- /dev/null +++ b/httpdocs/e.lb.1892.3706.html @@ -0,0 +1,29 @@ + Bahr - 'Der gefoppte Schwarzseher' (1892) + + +
+ + + +Johann Bahr + +
+
+ +'Der gefoppte Schwarzseher' (1892) +
+
+
+ + +





+





+





+





+





+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.3802.html b/httpdocs/e.lb.1892.3802.html new file mode 100644 index 0000000..24b2629 --- /dev/null +++ b/httpdocs/e.lb.1892.3802.html @@ -0,0 +1,29 @@ + Pommerhanz - 'Bestrafte Unhöflichkeit' (1892) + + +
+ + + +Karl Pommerhanz + +
+
+ +'Bestrafte Unhöflichkeit' (1892) +
+
+
+ + +
+
+
+
+
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.4202.html b/httpdocs/e.lb.1892.4202.html new file mode 100644 index 0000000..788c645 --- /dev/null +++ b/httpdocs/e.lb.1892.4202.html @@ -0,0 +1,30 @@ + Jensen - 'Der Abgeordnete und der Wähler' (1892) + + +
+ + +A. Jensen + +
+
+ +'Der Abgeordnete und der Wähler' (1892) +
+
+
+ + +





+





+





+





+





+





+ + + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.4302.html b/httpdocs/e.lb.1892.4302.html new file mode 100644 index 0000000..8895796 --- /dev/null +++ b/httpdocs/e.lb.1892.4302.html @@ -0,0 +1,23 @@ + 'Das Vogelschiessen' (1892) + + +
+ + + +
+
+ +'Das Vogelschiessen' (1892) +
+
+
+ + +
+ + + +





+ + \ No newline at end of file diff --git a/httpdocs/e.lb.1892.4702.html b/httpdocs/e.lb.1892.4702.html new file mode 100644 index 0000000..0df6066 --- /dev/null +++ b/httpdocs/e.lb.1892.4702.html @@ -0,0 +1,28 @@ + Lagemann 'Der zerstreute Professor' (1892) + + +
+ + + +Ch. Lagemann + +
+
+ +'Der zerstreute Professor' (1892) +
+
+
+ + +
+ +
+
+
+(This gag was inspired by the frog scene in the graphic novel 'Die fromme Helene' by Wilhelm Busch) + +





+ + \ No newline at end of file diff --git a/httpdocs/e.le.bocain_courage.html b/httpdocs/e.le.bocain_courage.html new file mode 100644 index 0000000..8de2fe3 --- /dev/null +++ b/httpdocs/e.le.bocain_courage.html @@ -0,0 +1,36 @@ +Le Bocain + + +
+ + + + +Le Bocain + + +
+
+(Le Rire, 11.Mai 1895) + +
+
+ +
+
+
+
+ + +
+
+(larger version) +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.le.bocain_courage.large.html b/httpdocs/e.le.bocain_courage.large.html new file mode 100644 index 0000000..77ff470 --- /dev/null +++ b/httpdocs/e.le.bocain_courage.large.html @@ -0,0 +1,35 @@ +Le Bocain + + +
+ + + + + +Le Bocain + + +
+
+(Le Rire, 11.Mai 1895) + +
+
+ +
+
+
+
+
+ + +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.le.petit.en.chasse.html b/httpdocs/e.le.petit.en.chasse.html new file mode 100644 index 0000000..910c518 --- /dev/null +++ b/httpdocs/e.le.petit.en.chasse.html @@ -0,0 +1,33 @@ +Alfred Le Petit + + +
+ + + + + +Alfred Le Petit + +
+
+from 'Polichinelle' 9.Mai 1897 +
+
+
+ +
+
+
+
+(the jpg on its own) + +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.leech.1855.weather.html b/httpdocs/e.leech.1855.weather.html new file mode 100644 index 0000000..b1b8df7 --- /dev/null +++ b/httpdocs/e.leech.1855.weather.html @@ -0,0 +1,27 @@ +John Leech + + +
+ + +John Leech + +
+ + + +
+
+
+
+
+ + +



+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.leech.all.html b/httpdocs/e.leech.all.html new file mode 100644 index 0000000..4be814f --- /dev/null +++ b/httpdocs/e.leech.all.html @@ -0,0 +1,525 @@ + John Leech Index' + + +
+ +John Leech
+ +






+ + + + + + +
+(These scans were made in 2002, and will have to be redone. Still, better than nothing for the moment)
+ +John Leech - 'Mr. Briggs'
+ + +
1850
 +
+ + +
+
+
+
+
+Pleasures of Horsekeeping
+ +
+By the time Mr. Briggs's horse (which suits him exactly) has recovered from his cold, a long frost sets in.

+ +Groom. 'That's just what I say, sir; it is aggeravatin' to see a nice oss like that, sir, a doin' nothin' but eatin' his ed off!' +
+
+
+
+
+
+
+
+
+
+
+ +
+The Frost goes and Mr. Briggs's horse is disagreeably fresh after his long rest. He sets up his back and squeaks, and plunges at everything he meets. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs, not being good at his 'fences', goes through the performance of opening a gate. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs has another day with the hounds. +
+
+Mr. Briggs can't bear flying leaps, so he makes for a gap - which is immediately filled by a franctic protectionist, who is vowing that he will pitchfork Mr. Briggs if he comes 'galloperravering' over his fences - danged if he doant ! +
+
 +
+
+
+
+
+
+
+ +
+
+ +
+Mr. Briggs has gone to the exhibition. - A Boy holds his horse in the meantime. +
+
+(in speechbaloons) ' Come, you get off you've had your turn' -
+ 'Go along Irish. I shan't ! Why, I aint galloped im yet' +
+
 +
+
+
+
+
+
+
+
+
+Mr. Briggs starts on his fishing excursion.
+ +
+
+ + +
+
+Mr. B. won't have a man with him, as he thinks he can manage a punt by himself; and the consequence is, he is obliged to go to bed while his things are dried, having upset himself, as a matter of course. +
+
+
+ +
+
+
+
+
+
+
+
+ +
+
+Mr. Briggs tries (for many hours) a likely place for a perch; but , upon this occasion, the wind is not in a favourable quarter.
+
+
+ +
+ +Minnow caught by Mr. Briggs,August 23rd 1850. - Exact size of life. +
+
+
+
+
+
+
+
+
+
+ +
+
+Mr. Briggs thinks of running down the day after to-morrow to his friend Haycock for a day's shooting, and has borrowed a dog to go with him. For the ninth time during the night he has been disturbed by the howling of the animal. +
+
+ +
+
+
+Mr. Briggs no sooner returns to his bed, than Mrs. Briggs says, 'My dear! There's that nasty tiresome dog again!!' +
+
+
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs has another day's fishing. +
+
+He is so fortunate as to catch a large eel. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Triumphant success of Mr. Biggs. +
+
+Somehow or other (assisted by his little boy Walter), he catches a Jack, which, to use Mr. B.'s own words, flies at him, and barks like a dog ! +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs has another glorious day with the hounds, and gets the brush (for which he pays half-a-sovereign - only don't tell anybody). +
+
 +
+
+
+
+
+
1851
 +
+ +
+
+
+
+
+ +
+
+Mr. Briggs has backed himself to ride a steeple chase against his friend Muffins, of the St-k Exch-nge. He is going round the course just to look at the jumps. +
+
+Spectator (to Mr. B) 'Oh no, sir! - This ain't the Big One. The Big One is after you get out of the lane and afore you come to the brook. +
+
+
+
+
+
+
+ + + + + +
+
+
+
+
+Mr. Briggs Rides his Match +
+
+ +
+Mr. Briggs is weighed, of course. +
+
+
+ +
+His friends recommend him a little jumping powder. +
+
+
+ +
+Here he takes a preliminary canter, and puts his horse at a flight of hurdles. +
+
+
+ + +
+and gets over very cleverly. +
+
+
+ + + + + +
+Some time after the start, Mr. Briggs goes on the wrong side of the flag, and is obliged to go back, which, as the ground is rather heavy, 'takes it out of old Blunderbuss considerably'. + +
+
+ +
+who, in consequence, makes a mistake at the next fence. +
+
+
+ +
+However, Mr. Briggs is not hurt; and after some exertion, remounts. +
+
+
 + +
+
+Mr. Briggs as he appeared, coming to the brook. In the distance may be observed his opponent, who has a nasty fall, but fortunately tumbles on his head. +
+
+
+ +
+ +Mr. Briggs, as he appeared in the brook. +
+
+
+ +
+As he appeared when he came out of the brook. +
+
+
+ +
+Portrait of Mr. Briggs Winning the race. - N.B. The dense crowd is cheering him. +
+
+
+ +
+
+
+
+
+
+
+
+
+
+ +
+
+ +Mr. Br - ggs (We suppress the Gentleman's name for obvious reasons) thinks he will go to Hampton Races. + +
+ +
+
+
+
+ +On his return from the races, he assures his man that he's a most 'ekshellent servant' - that the mare never carried him better. He also tells him to make the mare quite 'comf-able', and to be 'very caref-l of hish candle' because there's so much straw about! +
+
+
+
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs, anxious to become a 'complete angler', studies the 'gentle art' of fly-fishing. +
+
 + +
+
+Mr. Briggs goes out. His chief difficulty is, that every time he throws his line - the hooks (of which there are five) will stick behind in his jacket and tr-ws-rs. +
+
+
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs goes grouse shooting. +
+
+
+9 A.M. His arrival on the moor. - Mr. Briggs says that the fine bracing air makes him so vigorous that he shall never be beat. he also facetiously remarks that he is on 'his native heath', and that his 'name is Macgregor!' +
+ +
The result of the day's sport will be comunicated by Electric Telegraph.
+
+
+ +
+ +
+
+
Mr. Briggs grouse shooting.
+
+11 a.m. Mr. Briggs begins to show symtoms of distress. He finds his 'native heath' a very different thing to his native Flag Stones. +
+
+
+ +

+ + +12 a.m. Total prostration of Mr. Briggs. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs is off again shooting. +
+ +
 +
+ + + +






+ + + + + +Portrait of 1855 (in watercolours)
+ +
+ +






+ + + + + + +(Before and After) 1855
+ +
+ +






+ + + + +The Best Preventive against Sea Sickness, 1855
+ + + +
+
+ + +
+
+






+ + + +The Removal of the Snow, 1855
+ + +
+ + +
+
+






+ + + +Noddy 1, (Mr. Tom Noddy's first Day with the Hounds after the long Frost) 1855
+ + + + + + +
+
+






+ + + +Noddy 2, (At the Seaside) 1855
+ + + + + +
+ +
+ +






+ + +Mr. Popplewit, - How Mr. Popplewit enjoyed a day's Rook Shooting, 1855
+ + + + + + + +

+
+ +
+
+ + + diff --git a/httpdocs/e.leech.before.after.html b/httpdocs/e.leech.before.after.html new file mode 100644 index 0000000..8395a85 --- /dev/null +++ b/httpdocs/e.leech.before.after.html @@ -0,0 +1,38 @@ +John Leech + + +
+ + +John Leech + +
+ + + +
+ +
+
+
+
+
+ + + + + +



+



+ + +
+ +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.leech.html b/httpdocs/e.leech.html new file mode 100644 index 0000000..28b4db9 --- /dev/null +++ b/httpdocs/e.leech.html @@ -0,0 +1,134 @@ + John Leech Index' + +
+Home +           +Andy's Early Comics Archive +
+
+ +John Leech + + +




+ + + + + +1850/1 + + +
+
+
+
+		 + +
+ +Mr. Briggs

+

+ + + + +1855 +
+
+ +
+
+
+
+		 + +
+Portrait of 1855 (in watercolours)

+

+ + + +
+
+
+
+		 + +
+Before and After

+

+ + + + + + + + + + + + +
+
+
+
+		 + +
+The Best Preventive against Sea Sickness

+

+ + +
+
+
+
+		 + +
+The Removal of the Snow

+

+ + +
+
+
+
+		 + +
+Noddy 1

+

+ + +
+
+
+
+		 + +
+Noddy 2

+

+ + +
+
+
+
+		 + +
+Mr. Popplewit

+

+ +
+
+ +
+
+ + + diff --git a/httpdocs/e.leech.mr.briggs.html b/httpdocs/e.leech.mr.briggs.html new file mode 100644 index 0000000..cda1f82 --- /dev/null +++ b/httpdocs/e.leech.mr.briggs.html @@ -0,0 +1 @@ +John Leech
John Leech - 'Mr. Briggs'

1850

(scroll down)









Pleasures of Horsekeeping

By the time Mr. Briggs's horse (which suits him exactly) has recovered from his cold, a long frost sets in.

Groom. 'That's just what I say, sir; it is aggeravatin' to see a nice oss like that, sir, a doin' nothin' but eatin' his ed off!'







The Frost goes and Mr. Briggs's horse is disagreeably fresh after his long rest. He sets up his back and squeaks, and plunges at everything he meets.







Mr. Briggs, not being good at his 'fences', goes through the performance of opening a gate.







Mr. Briggs has another day with the hounds.

Mr. Briggs can't bear flying leaps, so he makes for a gap - which is immediately filled by a franctic protectionist, who is vowing that he will pitchfork Mr. Briggs if he comes 'galloperravering' over his fences - danged if he doant !







Mr. Briggs has gone to the exhibition. - A Boy holds his horse in the meantime.

(in speechbaloons) ' Come, you get off you've had your turn' -
'Go along Irish. I shan't ! Why, I aint galloped im yet'






Mr. Briggs starts on his fishing excursion.
Mr. B. won't have a man with him, as he thinks he can manage a punt by himself; and the consequence is, he is obliged to go to bed while his things are dried, having upset himself, as a matter of course.





Mr. Briggs tries (for many hours) a likely place for a perch; but , upon this occasion, the wind is not in a favourable quarter.


Minnow caught by Mr. Briggs,August 23rd 1850. - Exact size of life.





Mr. Briggs thinks of running down the day after to-morrow to his friend Haycock for a day's shooting, and has borrowed a dog to go with him. For the ninth time during the night he has been disturbed by the howling of the animal.


Mr. Briggs no sooner returns to his bed, than Mrs. Briggs says, 'My dear! There's that nasty tiresome dog again!!'







Mr. Briggs has another day's fishing.

He is so fortunate as to catch a large eel.







Triumphant success of Mr. Biggs.

Somehow or other (assisted by his little boy Walter), he catches a Jack, which, to use Mr. B.'s own words, flies at him, and barks like a dog !







Mr. Briggs has another glorious day with the hounds, and gets the brush (for which he pays half-a-sovereign - only don't tell anybody).





1851


Mr. Briggs has backed himself to ride a steeple chase against his friend Muffins, of the St-k Exch-nge. He is going round the course just to look at the jumps.

Spectator (to Mr. B) 'Oh no, sir! - This ain't the Big One. The Big One is after you get out of the lane and afore you come to the brook.






Mr. Briggs Rides his Match


Mr. Briggs is weighed, of course.



His friends recommend him a little jumping powder.



Here he takes a preliminary canter, and puts his horse at a flight of hurdles.



and gets over very cleverly.


Some time after the start, Mr. Briggs goes on the wrong side of the flag, and is obliged to go back, which, as the ground is rather heavy, 'takes it out of old Blunderbuss considerably'.



who, in consequence, makes a mistake at the next fence.



However, Mr. Briggs is not hurt; and after some exertion, remounts.


Mr. Briggs as he appeared, coming to the brook. In the distance may be observed his opponent, who has a nasty fall, but fortunately tumbles on his head.



Mr. Briggs, as he appeared in the brook.



As he appeared when he came out of the brook.



Portrait of Mr. Briggs Winning the race. - N.B. The dense crowd is cheering him.








Mr. Br - ggs (We suppress the Gentlemman's name for obvious reasons) thinks he will go to Hampton Races.

On his return from the races, he assures his man that he's a most 'ekshellent servant' - that the mare never carried him better. He also tells him to make the mare quite 'comf-able', and to be 'very caref-l of hish candle' because there's so much straw about!







Mr. Briggs, anxious to become a 'complete angler', studies the 'gentle art' of fly-fishing.

Mr. Briggs goes out. His chief difficulty is, that every time he throws his line - the hooks (of which there are five) will stick behind in his jacket and tr-ws-rs.






Mr. Briggs goes grouse shooting.
9 A.M. His arrival on the moor. - Mr. Briggs says that the fine bracing air makes him so vigorous that he shall never be beat. he also facetiously remarks that he is on 'his native heath', and that his 'name is Macgregor!'
The result of the day's sport will be comunicated by Electric Telegraph.



Mr. Briggs grouse shooting.

11 a.m. Mr. Briggs begins to show symtoms of distress. He finds his 'native heath' a very different thing to his native Flag Stones.



12 a.m. Total prostration of Mr. Briggs.







Mr. Briggs is off again shooting.






\ No newline at end of file diff --git a/httpdocs/e.leech.noddy.2.html b/httpdocs/e.leech.noddy.2.html new file mode 100644 index 0000000..a3ac6bf --- /dev/null +++ b/httpdocs/e.leech.noddy.2.html @@ -0,0 +1,29 @@ +John Leech + + +
+ + +John Leech + +
+ +1855 + +
+ +
+ +



+ + + +
+ +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.leech.noddy.html b/httpdocs/e.leech.noddy.html new file mode 100644 index 0000000..997cf1c --- /dev/null +++ b/httpdocs/e.leech.noddy.html @@ -0,0 +1 @@ +John Leech
John Leech
1855














\ No newline at end of file diff --git a/httpdocs/e.leech.popplewit.html b/httpdocs/e.leech.popplewit.html new file mode 100644 index 0000000..a222b99 --- /dev/null +++ b/httpdocs/e.leech.popplewit.html @@ -0,0 +1,28 @@ +John Leech + + +
+ + +John Leech + +
+Mister Popplewit + +
+ + +



+ +



+ + +
+ +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.leech.sea.html b/httpdocs/e.leech.sea.html new file mode 100644 index 0000000..e836cdc --- /dev/null +++ b/httpdocs/e.leech.sea.html @@ -0,0 +1,26 @@ +John Leech + + +
+ + +John Leech + +
+ + + +
+ + + +
+
+ +



+ +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.leech.snow.html b/httpdocs/e.leech.snow.html new file mode 100644 index 0000000..f5c3d2e --- /dev/null +++ b/httpdocs/e.leech.snow.html @@ -0,0 +1,36 @@ +John Leech + + +
+ + +John Leech + +
+ + + +
+ +
+
+
+
+
+ + + +
+ +



+ + +
+ +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.leech_before.after.html b/httpdocs/e.leech_before.after.html new file mode 100644 index 0000000..e9b56d7 --- /dev/null +++ b/httpdocs/e.leech_before.after.html @@ -0,0 +1,42 @@ +John Leech + +
+Home +           +Andy's Early Comics Archive +
+
+ + +John Leech + +
+ + + +
+ +
+
+
+
+
+ + + + + +



+



+ + +
+ +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.leech_mr.briggs.html b/httpdocs/e.leech_mr.briggs.html new file mode 100644 index 0000000..b564650 --- /dev/null +++ b/httpdocs/e.leech_mr.briggs.html @@ -0,0 +1 @@ +John Leech
Home           Andy's Early Comics Archive

John Leech - 'Mr. Briggs'

1850

(scroll down)









Pleasures of Horsekeeping

By the time Mr. Briggs's horse (which suits him exactly) has recovered from his cold, a long frost sets in.

Groom. 'That's just what I say, sir; it is aggeravatin' to see a nice oss like that, sir, a doin' nothin' but eatin' his ed off!'







The Frost goes and Mr. Briggs's horse is disagreeably fresh after his long rest. He sets up his back and squeaks, and plunges at everything he meets.







Mr. Briggs, not being good at his 'fences', goes through the performance of opening a gate.







Mr. Briggs has another day with the hounds.

Mr. Briggs can't bear flying leaps, so he makes for a gap - which is immediately filled by a franctic protectionist, who is vowing that he will pitchfork Mr. Briggs if he comes 'galloperravering' over his fences - danged if he doant !







Mr. Briggs has gone to the exhibition. - A Boy holds his horse in the meantime.

(in speechbaloons) ' Come, you get off you've had your turn' -
'Go along Irish. I shan't ! Why, I aint galloped im yet'






Mr. Briggs starts on his fishing excursion.
Mr. B. won't have a man with him, as he thinks he can manage a punt by himself; and the consequence is, he is obliged to go to bed while his things are dried, having upset himself, as a matter of course.





Mr. Briggs tries (for many hours) a likely place for a perch; but , upon this occasion, the wind is not in a favourable quarter.


Minnow caught by Mr. Briggs,August 23rd 1850. - Exact size of life.





Mr. Briggs thinks of running down the day after to-morrow to his friend Haycock for a day's shooting, and has borrowed a dog to go with him. For the ninth time during the night he has been disturbed by the howling of the animal.


Mr. Briggs no sooner returns to his bed, than Mrs. Briggs says, 'My dear! There's that nasty tiresome dog again!!'







Mr. Briggs has another day's fishing.

He is so fortunate as to catch a large eel.







Triumphant success of Mr. Biggs.

Somehow or other (assisted by his little boy Walter), he catches a Jack, which, to use Mr. B.'s own words, flies at him, and barks like a dog !







Mr. Briggs has another glorious day with the hounds, and gets the brush (for which he pays half-a-sovereign - only don't tell anybody).





1851


Mr. Briggs has backed himself to ride a steeple chase against his friend Muffins, of the St-k Exch-nge. He is going round the course just to look at the jumps.

Spectator (to Mr. B) 'Oh no, sir! - This ain't the Big One. The Big One is after you get out of the lane and afore you come to the brook.






Mr. Briggs Rides his Match


Mr. Briggs is weighed, of course.



His friends recommend him a little jumping powder.



Here he takes a preliminary canter, and puts his horse at a flight of hurdles.



and gets over very cleverly.


Some time after the start, Mr. Briggs goes on the wrong side of the flag, and is obliged to go back, which, as the ground is rather heavy, 'takes it out of old Blunderbuss considerably'.



who, in consequence, makes a mistake at the next fence.



However, Mr. Briggs is not hurt; and after some exertion, remounts.


Mr. Briggs as he appeared, coming to the brook. In the distance may be observed his opponent, who has a nasty fall, but fortunately tumbles on his head.



Mr. Briggs, as he appeared in the brook.



As he appeared when he came out of the brook.



Portrait of Mr. Briggs Winning the race. - N.B. The dense crowd is cheering him.








Mr. Br - ggs (We suppress the Gentlemman's name for obvious reasons) thinks he will go to Hampton Races.

On his return from the races, he assures his man that he's a most 'ekshellent servant' - that the mare never carried him better. He also tells him to make the mare quite 'comf-able', and to be 'very caref-l of hish candle' because there's so much straw about!







Mr. Briggs, anxious to become a 'complete angler', studies the 'gentle art' of fly-fishing.

Mr. Briggs goes out. His chief difficulty is, that every time he throws his line - the hooks (of which there are five) will stick behind in his jacket and tr-ws-rs.






Mr. Briggs goes grouse shooting.
9 A.M. His arrival on the moor. - Mr. Briggs says that the fine bracing air makes him so vigorous that he shall never be beat. he also facetiously remarks that he is on 'his native heath', and that his 'name is Macgregor!'
The result of the day's sport will be comunicated by Electric Telegraph.



Mr. Briggs grouse shooting.

11 a.m. Mr. Briggs begins to show symtoms of distress. He finds his 'native heath' a very different thing to his native Flag Stones.



12 a.m. Total prostration of Mr. Briggs.







Mr. Briggs is off again shooting.






\ No newline at end of file diff --git a/httpdocs/e.leech_noddy.2.html b/httpdocs/e.leech_noddy.2.html new file mode 100644 index 0000000..2adb669 --- /dev/null +++ b/httpdocs/e.leech_noddy.2.html @@ -0,0 +1,33 @@ +John Leech + +
+Home +           +Andy's Early Comics Archive +
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+ + +John Leech + +
+ +1855 + +
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+ + + +
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+
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Home           Andy's Early Comics Archive

John Leech
1855














\ No newline at end of file diff --git a/httpdocs/e.leech_popplewit.html b/httpdocs/e.leech_popplewit.html new file mode 100644 index 0000000..2dfa56c --- /dev/null +++ b/httpdocs/e.leech_popplewit.html @@ -0,0 +1,32 @@ +John Leech + +
+Home +           +Andy's Early Comics Archive +
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+Mister Popplewit + +
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+ + +
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+ + + + \ No newline at end of file diff --git a/httpdocs/e.leech_sea.html b/httpdocs/e.leech_sea.html new file mode 100644 index 0000000..e5dd999 --- /dev/null +++ b/httpdocs/e.leech_sea.html @@ -0,0 +1,30 @@ +John Leech + +
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+ + + + \ No newline at end of file diff --git a/httpdocs/e.leech_snow.html b/httpdocs/e.leech_snow.html new file mode 100644 index 0000000..357084d --- /dev/null +++ b/httpdocs/e.leech_snow.html @@ -0,0 +1,40 @@ +John Leech + +
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+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.leguey.all.html b/httpdocs/e.leguey.all.html new file mode 100644 index 0000000..0459332 --- /dev/null +++ b/httpdocs/e.leguey.all.html @@ -0,0 +1,64 @@ +Luc Luguey + + +
+ + +Luc Luguey + +

+
+Le Rire - 14 March 1896 +
+
+ +



+


+


+


+


+


+
+
+(Smaller - layout as printed)
+ +
+
+ + + + + + + + + +










+
+ +
+
+(larger) +
+
+(from the collection of Harald Kiehn) + +
+ + + + + + + + + + + +
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.leguey.html b/httpdocs/e.leguey.html new file mode 100644 index 0000000..aaca09a --- /dev/null +++ b/httpdocs/e.leguey.html @@ -0,0 +1,47 @@ +Luc Luguey + +
+Home +           +Andy's Early Comics Archive +
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+ + + +Luc Luguey + +

+ +
+
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+
+		 + +
+Le Rire - 14 March 1896

+

+ +
+
+
+
+		 + +
+La nuit de noces du Viveur (containing small speechballoon)

+

+ + + + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.leguey.luc_nuit.de.noce.html b/httpdocs/e.leguey.luc_nuit.de.noce.html new file mode 100644 index 0000000..54b407f --- /dev/null +++ b/httpdocs/e.leguey.luc_nuit.de.noce.html @@ -0,0 +1,26 @@ +Luc Leguey + + +
+ + + + +Luc Leguey + + +
+
+ +
+
+(larger) +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.leguey.luc_poids.net.html b/httpdocs/e.leguey.luc_poids.net.html new file mode 100644 index 0000000..aa772a9 --- /dev/null +++ b/httpdocs/e.leguey.luc_poids.net.html @@ -0,0 +1,36 @@ +Luc Leguey + + +
+ + + + +Luc Leguey + + +
+
+Le Rire - 14 March 1896 +
+
+ +



+


+


+


+


+


+
+
+(Smaller - layout as printed)
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.lemot.all.html b/httpdocs/e.lemot.all.html new file mode 100644 index 0000000..6881d39 --- /dev/null +++ b/httpdocs/e.lemot.all.html @@ -0,0 +1,80 @@ +Lemot, Achille (Uzès) + + +
+ + + +Achille Lemot (aka Uzès) + +

+ + +Avec de la tenacité

+




+ +Un jeune inventeur

+




+ +'A.L.' 'Fourrures a l'essai!

+




+ +C'est que la vie (A.L. in the squiggly border)

+




+ + +Une Faute de Gugusse (the classic hosepipe gag)

+




+ + +Une tartine pour trois

+




+ +Maladroit mais rusé

+




+ +Un farceur attrapé ou un voleur envolé

+ +




+ +Punition mériteée

+ +




+ +Valeur du temps

+ +




+Une lecon de botanique

+ +




+ +Ce qu'il en coute d'apprendre à un éléphant à se balancer

+ +




+ +Un tour de force

+ +




+ +Rira bien qui rira le dernier

+ +




+ +Les cinq sens (not a comic)

+ +




+




+




+




+




+ + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.lemot.html b/httpdocs/e.lemot.html new file mode 100644 index 0000000..442fa67 --- /dev/null +++ b/httpdocs/e.lemot.html @@ -0,0 +1,175 @@ +Lemot, Achille (Uzès) + +
+Home +           +Andy's Early Comics Archive +
+
+ + + +Achille Lemot (aka Uzès) + +

+ +
+
+
+
+		 + +
+Avec de la tenacité

+

+ +
+
+
+
+		 + +
+Un jeune inventeur

+

+ +
+
+
+
+		 + +
+'A.L.' 'Fourrures a l'essai!

+

+ +
+
+
+
+		 + +
+C'est que la vie (A.L. in the squiggly border)

+

+ +
+
+
+
+		 + +
+Une Faute de Gugusse (the classic hosepipe gag)

+

+ +
+
+
+
+		 + +
+Une tartine pour trois

+

+ +
+
+
+
+		 + +
+Maladroit mais rusé

+

+ +
+
+
+
+		 + +
+Un farceur attrapé ou un voleur envolé

+

+ +
+
+
+
+		 + +
+Punition mériteée

+

+ +
+
+
+
+		 + +
+Valeur du temps

+

+ +
+
+
+
+		 + +
+Une lecon de botanique

+

+ +
+
+
+
+		 + +
+Ce qu'il en coute d'apprendre à un éléphant à se balancer

+

+ +
+
+
+
+		 + +
+Un tour de force

+

+ +
+
+
+
+		 + +
+Rira bien qui rira le dernier

+

+ +
+
+
+
+		 + +
+Les cinq sens (not a comic)

+

+ + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.leoy_bravissimo.pm.html b/httpdocs/e.leoy_bravissimo.pm.html new file mode 100644 index 0000000..10a7995 --- /dev/null +++ b/httpdocs/e.leoy_bravissimo.pm.html @@ -0,0 +1,11 @@ + Leoy + + +
+Leoy +

+Variation on 'The Virtuoso' by Busch (before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.leuchtkugeln.html b/httpdocs/e.leuchtkugeln.html new file mode 100644 index 0000000..28bbaa4 --- /dev/null +++ b/httpdocs/e.leuchtkugeln.html @@ -0,0 +1,33 @@ + Leuchtkugeln 1848 + + +
+ +(from Magazine 'Leuchtkugeln', 1848) + +
+
+ + + +
+
+ +Leuchtkugeln 1848, Nr.25 - 5 +



+ +



+Leuchtkugeln 1848, Nr.25 - 6 +
+ +



+Leuchtkugeln 1848, Nr.48 - 189 +



+ +(from the collection of Harald Kiehn) +
+
+ +
+ + diff --git a/httpdocs/e.little.man.little.maid.html b/httpdocs/e.little.man.little.maid.html new file mode 100644 index 0000000..4e38ba4 --- /dev/null +++ b/httpdocs/e.little.man.little.maid.html @@ -0,0 +1 @@ + The Little Man and the Little Maid
The Little Man & the Little Maid
(1807)
There was a little man,
and he wooed a little maid,
and he said, 'Little maid,
will you wed, wed, wed?
I have little more to say,
than will you , aye or nay?
For the least said
is soonest amended, ded.'


The little maid replied,
'Should I be your little bride,
pray what shall we have
for eat, eat, eat?
Will the flame you're only rich in,
light a fire in the kitchen,
or the little god of love
turn the spit, spit, spit?'


The little man replied,
and some say a little cried,
for his little heart was big
with sorrow, sorrow, sorrow,
'My offers are but small,
but you have my little all
and what we have not got
we must borrow, borrow, borrow.


The little man thus spoke,
his heart was almost broke,
and all for the sake
of her charms, charms, charms.
The little maid relents,
and, softened, she consents,
the little man to take
to her arms, arms, arms.


The little maid's consent,
obtained, to church they went,
where the parson joined their hands
with pleasure, pleasure, pleasure.
With rapture now he eyed
his blooming little bride.
His all! His house and lands!
His treasure, treasure, treasure.


They passed their days away,
as all the neigbours say,
in feasting, mirth and play,
and dancing, dancing, dancing;
The little maid, they say,
tripped merrily away,
with her little man so gay,
lightly prancing, prancing, prancing.


The honeymoon soon over,
no more a flaming lover,
the little man repents,
of his folly, folly, folly;
His little cash had fled,
while he droops his pensive head,
and in sighs his sorrows vents,
a prey to melancholy.


The little maid grew bold,
she would rant and she would scold,
and call her little man
a great oaf, oaf, oaf.
He wished the deuce would take her,
while the butcher or the baker,
would not trust him for a chop,
or a loaf, loaf, loaf.


The little man reflected,
his little means neglected
would serve but to increase
his sorrow, sorrow, sorrow.
To his little wife he cried,
'Let us lay our feuds aside,
and endeavour to provide
for tomorrow, morrow, morrow.


His little wife repented,
to his wishes she consented,
and said she would work,
with her needle, needle, needle.
The little man was not idle,
he played upon the fiddle,
and he earned a good living
with his tweedle, tweedle, tweedle.


To the little man's great joy,
he soon had a little boy,
which made his little heart
quite glad, glad, glad.
'T'was the little mother's pleasure
to nurse her little treasure,
which rapture did impart
to his dad, dad, dad.


Now everything was smiling,
there was no more reviling,
while cheerful plenty crowned
their labours, labours, labours.
The little man with joy
would take his little boy,
and show him all around
to his neighbours, neighbours, neighbours.




\ No newline at end of file diff --git a/httpdocs/e.little.woman.html b/httpdocs/e.little.woman.html new file mode 100644 index 0000000..255e5f2 --- /dev/null +++ b/httpdocs/e.little.woman.html @@ -0,0 +1,80 @@ + +The Little Woman + + + +
+ + +The Comical Adventures of the Little Woman, Her Dog and the Pedlar + +
+
+
+ + +1820s +
+ +
+ +
+ +
+ + + +
+
+
+ +
+
+
+ +
+
+
+ + + +





+ + + + + + + + + +
+ + +
+ + +
+
+
+ + +
+ +
+
+
+(American reprint?) +
+
+(from the collection of Scott Dechaine) +
+
+ + +
+
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.lobrichon.html b/httpdocs/e.lobrichon.html new file mode 100644 index 0000000..ebcfc88 --- /dev/null +++ b/httpdocs/e.lobrichon.html @@ -0,0 +1 @@ +Lobrichon
Timoléon Marie Lobrichon
(1831-1914)

Histoire de Mr. Tuberculus (1856)

(selected pages)































(from the collection of Bob Beerbohm)

\ No newline at end of file diff --git a/httpdocs/e.ludwigsburger.html b/httpdocs/e.ludwigsburger.html new file mode 100644 index 0000000..ed7a18e --- /dev/null +++ b/httpdocs/e.ludwigsburger.html @@ -0,0 +1 @@ + Ludwigsburger Sonntagsbeilage
Ludwigsburger Sonntagsbeilage



























(from the collection of Harald Kiehn)


\ No newline at end of file diff --git a/httpdocs/e.malatesta.all.html b/httpdocs/e.malatesta.all.html new file mode 100644 index 0000000..00eccb0 --- /dev/null +++ b/httpdocs/e.malatesta.all.html @@ -0,0 +1,52 @@ +H.Malatesta + + +
+ + + + +H.Malatesta + +

+ +(all from 'Album Noel', 1900) + +
+
+'Le Voleur Bien Volé' 1895
+ +




+ + +




+ + + +
+'Le bon pauvre et le mauvais riche'
+ +




+ + +




+ +'Le Fils d'Adoption' 1896
+ +




+ + +




+ + + + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.malatesta.html b/httpdocs/e.malatesta.html new file mode 100644 index 0000000..2d47063 --- /dev/null +++ b/httpdocs/e.malatesta.html @@ -0,0 +1,62 @@ +H.Malatesta + +
+Home +           +Andy's Early Comics Archive +
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+ +
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+		 + +
+ + 'Le voleur bien volé' 1895

+

+ +
+
+
+
+		 + +
+ +'Le bon pauvre et le mauvais riche'

+

+ +
+
+
+
+		 + +
+ +'Le Fils d'Adoption' 1896

+

+ + + + + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.maurier-1869.html b/httpdocs/e.maurier-1869.html new file mode 100644 index 0000000..4bc1e8f --- /dev/null +++ b/httpdocs/e.maurier-1869.html @@ -0,0 +1 @@ + George du Maurier
George du Maurier
'The Philosopher's Revenge'














\ No newline at end of file diff --git a/httpdocs/e.may.all.html b/httpdocs/e.may.all.html new file mode 100644 index 0000000..7755cf4 --- /dev/null +++ b/httpdocs/e.may.all.html @@ -0,0 +1,34 @@ +Chas May + + +
+ + + +Chas May +
+ + +
+(both from 'Album Noel', 1900) + +
+
+'Un sac, un homme, un chien & un tonneau'
+ +
+ + +




+ + +'Dans la cave'
+ +
+ + + + + + + \ No newline at end of file diff --git a/httpdocs/e.may.html b/httpdocs/e.may.html new file mode 100644 index 0000000..0c1fe5c --- /dev/null +++ b/httpdocs/e.may.html @@ -0,0 +1,45 @@ +Chas May + +
+Home +           +Andy's Early Comics Archive +
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+ +
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+		 + +
+Un sac, un homme, un chien & un tonneau

+

+
+
+
+		 + +
+Dans la cave

+

+ +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.mccay.130119.fiend.html b/httpdocs/e.mccay.130119.fiend.html new file mode 100644 index 0000000..14fd7de --- /dev/null +++ b/httpdocs/e.mccay.130119.fiend.html @@ -0,0 +1,17 @@ +Winsor McCay + + +
+ +Winsor McCay + +
+

+
+ + +(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.mccay.130727.html b/httpdocs/e.mccay.130727.html new file mode 100644 index 0000000..46c8531 --- /dev/null +++ b/httpdocs/e.mccay.130727.html @@ -0,0 +1,26 @@ +Winsor McCay + + +
+ + + + + + + + +Winsor McCay + +
+
+ + + +
+
+(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.mccay.all.html b/httpdocs/e.mccay.all.html new file mode 100644 index 0000000..b5996a1 --- /dev/null +++ b/httpdocs/e.mccay.all.html @@ -0,0 +1,57 @@ +Winsor McCay (1869-1934) + + +
+ +Winsor McCay (1869-1934) + +

+ + + +Comparison: +
+ +Winsor McCay, detail from Little Nemo 5. August 1906 + + +
+ Baroque theatrical design by Martin Klötzel (Dresden 1709) + +
+
+ + +


+ + +









+ + +Dream of the Rarebit Fiend (19.1.1913) + +
+

+



+ + + +Dream of the Rarebit Fiend (27.7.1913) + +


+ +
+
+(both from the collection of Guy Lawley) + + + + + + +
+
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.mccay.html b/httpdocs/e.mccay.html new file mode 100644 index 0000000..49f5c4a --- /dev/null +++ b/httpdocs/e.mccay.html @@ -0,0 +1,56 @@ +Winsor McCay (1869-1934) + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Winsor McCay (1869-1934) + +

+ + +
+
+
+
+		 + +
+Comparison of McCay dragon to Baroque theatrical design

+

+ + +
+
+
+
+		 + +
+Dream of the Rarebit Fiend (19.1.1913)

+

+ + +
+
+
+
+		 + +
+Dream of the Rarebit Fiend (27.7.1913)

+

+ + +
+
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.mccay.kloetzel.html b/httpdocs/e.mccay.kloetzel.html new file mode 100644 index 0000000..db9122a --- /dev/null +++ b/httpdocs/e.mccay.kloetzel.html @@ -0,0 +1,25 @@ +Winsor McCay + + +
+ + +Comparison: +
+ +Winsor McCay, detail from Little Nemo 5. August 1906 + + +
+ Martin Klötzel (Dresden 1709) + +
+
+ + +


+ +
+ + + \ No newline at end of file diff --git a/httpdocs/e.mcdougal.030201.html b/httpdocs/e.mcdougal.030201.html new file mode 100644 index 0000000..67e4787 --- /dev/null +++ b/httpdocs/e.mcdougal.030201.html @@ -0,0 +1,33 @@ +Walt McDougal + + + + +
+ + +Walt McDougal + +
+
+ +



+



+



+



+



+



+



+



+



+



+



+



+



+
+
+(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.mcdougal.all.html b/httpdocs/e.mcdougal.all.html new file mode 100644 index 0000000..92afd25 --- /dev/null +++ b/httpdocs/e.mcdougal.all.html @@ -0,0 +1,52 @@ +Walt McDougal + + +
+ +Walt McDougal + +





+Hank the Hermit (29.9.1912)
+
+ + + + +
+
+(from the collection of Guy Lawley) + +








+ +
Professor Jyblitz (1.2.1902) +
+
+ + + +
+ + + + + + + + + + + + + +
+
+(from the collection of Guy Lawley) +
+ + + + +
+ + + \ No newline at end of file diff --git a/httpdocs/e.mcdougal.html b/httpdocs/e.mcdougal.html new file mode 100644 index 0000000..c91a259 --- /dev/null +++ b/httpdocs/e.mcdougal.html @@ -0,0 +1,45 @@ +Walt McDougal + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Walt McDougal + +

+ + +
+
+
+
+		 + +
+Professor Jyblitz (1.2.1902)

+

+ + +
+
+
+
+		 + +
+Hank the Hermit (29.9.1912)

+

+ + + + + + + + \ No newline at end of file diff --git a/httpdocs/e.mcdougall.120929.html b/httpdocs/e.mcdougall.120929.html new file mode 100644 index 0000000..7a32566 --- /dev/null +++ b/httpdocs/e.mcdougall.120929.html @@ -0,0 +1,20 @@ +Walt McDougal + + +
+ + +Walt McDougal + +
+
+ + + +
+
+(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.mclenan_1861.html b/httpdocs/e.mclenan_1861.html new file mode 100644 index 0000000..11cdf94 --- /dev/null +++ b/httpdocs/e.mclenan_1861.html @@ -0,0 +1,36 @@ + +John Mclenan + + + +
+ + + +John Mclenan (1861) + +

+
+
+ + +
+
+ +
+Depiction of President-elect Lincoln, sneaking into Washington. From the back cover page of volume 5, issue 219, of Harper's Weekly (March 9, 1861). The artist is John McLenan.  Finally, probably the least/most arguable one in the set (depending on your angle), due to the heavy text beneath the panels, in addition to teh word balloons inside. But, in THIS case, I'd argue that it is the text beneath which is extraneous -- mere quotings from news reports -- while the word balloons inside are enough to convey the story by themselves.
+Doug Wheeler +

+
+ +
+
+ +(from the collection of Doug Wheeler) +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.meggendorfer.all.html b/httpdocs/e.meggendorfer.all.html new file mode 100644 index 0000000..4500d09 --- /dev/null +++ b/httpdocs/e.meggendorfer.all.html @@ -0,0 +1,144 @@ +Lothar Meggendorfer (1847-1925) + + +
+ +Lothar Meggendorfer + +(1847-1925) + +
+
+ +'Aus den Kinderjahren eines Kautschukmenschen' +
+
+
+ + +
+
+ +







+







+'Rache ist süss' (Revenge is sweet) +
+
+
+ + + +
+ + + + + + + + + + +







+







+ +'Die schlauen Zwerge' (The Clever Dwarfes) +
+
+
+ + +
+ + + + + + + + + + + + + + + + +





+







+Misslungene Arretierung (Unsuccessful Arrest) +
+
+
+ + + +
+ + + + + + + + + +







+ +
+'Liebesgram und Heilung' (Love sickness and Recuperation) +
+ + +
+
+ +

+ + +


+
+

+ + +







+ + +
+
+ +'Das bockbeinige Schwein und der Philosoph' +
+
+
+ + +
+



+







+ + + +'Die Macht der Musik' (FB 1888) +
+
+ + + +
+ + + + + + +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.meggendorfer.html b/httpdocs/e.meggendorfer.html new file mode 100644 index 0000000..e4f6823 --- /dev/null +++ b/httpdocs/e.meggendorfer.html @@ -0,0 +1,83 @@ +Lothar Meggendorfer (1847-1925) + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Lothar Meggendorfer (1847-1925) + +

+ +
+
+
+
+		 + +
+Aus den Kinderjahren eines Kautschukmenschen (from the infant years of the plastic man)

+

+
+
+
+		 + +
+Rache ist süss (Revenge is sweet)

+

+
+
+
+		 + +
+Die schlauen Zwerge (The Clever Dwarfes)

+

+
+
+
+		 + +
+Misslungene Arretierung (Unsuccessful Arrest)

+

+
+
+
+		 + +
+Liebesgram und Heilung (Love sickness and Recuperation)

+

+
+
+
+		 + +
+Das bockbeinige Schwein und der Philosoph (The recalcitrant pig and the philosopher)

+

+
+
+
+		 + +
+Die Macht der Musik' (FB 1888)

+

+
+
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.merryman.html b/httpdocs/e.merryman.html new file mode 100644 index 0000000..0612363 --- /dev/null +++ b/httpdocs/e.merryman.html @@ -0,0 +1 @@ + Merryman's Monthly
Merryman's Monthly (1865)







(from the collection of Robert Beerbohm)
\ No newline at end of file diff --git a/httpdocs/e.mob.all.html b/httpdocs/e.mob.all.html new file mode 100644 index 0000000..a31881d --- /dev/null +++ b/httpdocs/e.mob.all.html @@ -0,0 +1,72 @@ +Mob + + +
+ + + +Mob + +

+ + + + + +(from 'Album Noel', 1900) + +
+
+




+'L'Aumone'
+ + +
+ +

+




+




+ +'Un Drame'
+ +




+ + +




+ + +'Pêche Difficile'
+ +




+ + + +




+ + + +'Repos troublé'
+ +




+ + +




+ + + + + + + + + + +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.mob.html b/httpdocs/e.mob.html new file mode 100644 index 0000000..0fe43db --- /dev/null +++ b/httpdocs/e.mob.html @@ -0,0 +1,68 @@ +Mob + +
+Home +           +Andy's Early Comics Archive +
+
+ + + + +Mob + +

+ + +
+
+
+
+		 + +
+L'aumone

+

+ +
+
+
+
+		 + +
+Un drame

+

+ +
+
+
+
+		 + +
+Pêche difficile

+

+ +
+
+
+
+		 + +
+Repos Troublé

+

+ + + +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.monnier_punition.html b/httpdocs/e.monnier_punition.html new file mode 100644 index 0000000..8f69fce --- /dev/null +++ b/httpdocs/e.monnier_punition.html @@ -0,0 +1,36 @@ +M.Monnier + + +
+ + + + + +M.Monnier + + +
+
+ +('Le Petit Francais' 26.April 1902) +
+
+






+
+
+
+
+
+ +complete page (large) +
+
+ +(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.moriss.interruption.piquante.html b/httpdocs/e.moriss.interruption.piquante.html new file mode 100644 index 0000000..1553402 --- /dev/null +++ b/httpdocs/e.moriss.interruption.piquante.html @@ -0,0 +1,29 @@ +Moriss + + +
+ + + +Moriss + +
+
+ +
+
+
+ +
+
+
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.neur.ku_1059_cinderella-1193.html b/httpdocs/e.neur.ku_1059_cinderella-1193.html new file mode 100644 index 0000000..de6c738 --- /dev/null +++ b/httpdocs/e.neur.ku_1059_cinderella-1193.html @@ -0,0 +1 @@ +Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

Cinderella (1835/40)


\ No newline at end of file diff --git a/httpdocs/e.neur.ku_1103_snow.rose.html b/httpdocs/e.neur.ku_1103_snow.rose.html new file mode 100644 index 0000000..90b7e4b --- /dev/null +++ b/httpdocs/e.neur.ku_1103_snow.rose.html @@ -0,0 +1 @@ +Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

Schneeweisschen und Rosenrot
 (Little Snowwhite and Rosered) (not theSnowwhite, that would be 'Schneewittchen')
(1835/40)


\ No newline at end of file diff --git a/httpdocs/e.neur.ku_1156_hansel.html b/httpdocs/e.neur.ku_1156_hansel.html new file mode 100644 index 0000000..2ef2aae --- /dev/null +++ b/httpdocs/e.neur.ku_1156_hansel.html @@ -0,0 +1 @@ +Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

Hansel and Gretel (here called Martin and Ilse) (1835/40)


\ No newline at end of file diff --git a/httpdocs/e.neur.ku_1198_kleiner.mann.html b/httpdocs/e.neur.ku_1198_kleiner.mann.html new file mode 100644 index 0000000..ad6549d --- /dev/null +++ b/httpdocs/e.neur.ku_1198_kleiner.mann.html @@ -0,0 +1 @@ +Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

The little Man and the large Woman, a satire on the hen-pecked husband (1835/40)


\ No newline at end of file diff --git a/httpdocs/e.neur.oe_1572_tom.thumb.html b/httpdocs/e.neur.oe_1572_tom.thumb.html new file mode 100644 index 0000000..677e7cc --- /dev/null +++ b/httpdocs/e.neur.oe_1572_tom.thumb.html @@ -0,0 +1 @@ + Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

Erzählung vom kleinen Däumling / Story about Little Tom Thumb
(1835/40)



\ No newline at end of file diff --git a/httpdocs/e.neur.oe_2170_rinaldo.html b/httpdocs/e.neur.oe_2170_rinaldo.html new file mode 100644 index 0000000..77019b9 --- /dev/null +++ b/httpdocs/e.neur.oe_2170_rinaldo.html @@ -0,0 +1 @@ +Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

Rinaldo Rinaldini, a popular Italian bandit
(1835/40)


\ No newline at end of file diff --git a/httpdocs/e.neuru.oehm_3216_rips.html b/httpdocs/e.neuru.oehm_3216_rips.html new file mode 100644 index 0000000..cf919cc --- /dev/null +++ b/httpdocs/e.neuru.oehm_3216_rips.html @@ -0,0 +1 @@ + Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

Madam Rips, a straight copy from the English chapbook
'The Comic Adventures of Old Mother Hubbard and her Dog' (1819) see here

(1835/40)


\ No newline at end of file diff --git a/httpdocs/e.neuruppiner-all.html b/httpdocs/e.neuruppiner-all.html new file mode 100644 index 0000000..9d7fdd7 --- /dev/null +++ b/httpdocs/e.neuruppiner-all.html @@ -0,0 +1 @@ + Neuruppiner Bilderbogen -
Neuruppiner Bilderbogen

Madam Rips, a straight copy from the English chapbook
'The Comic Adventures of Old Mother Hubbard and her Dog' (1819) see here

(1835/40)







Cinderella (1835/40)








Hansel and Gretel (here called Martin and Ilse) (1835/40)








Erzählung vom kleinen Däumling / Story about Little Tom Thumb
(1835/40)







Schneeweisschen und Rosenrot
 (Little Snowwhite and Rosered) (not theSnowwhite, that would be 'Schneewittchen')
(1835/40)







Rinaldo Rinaldini, a popular Italian bandit
(1835/40)






The little Man and the large Woman, a satire on the hen-pecked husband (1835/40)







\ No newline at end of file diff --git a/httpdocs/e.newell.all.html b/httpdocs/e.newell.all.html new file mode 100644 index 0000000..72203f3 --- /dev/null +++ b/httpdocs/e.newell.all.html @@ -0,0 +1,49 @@ +Peter Newell + + +
+ +
Harper's Round Table Index

+ +Peter Newell + +
+
+(Policeman and Matchstick) (Harper's Round Table, Annual 1897 +
+
+ + + +
+ + + + + +
+ + +
+
+
+
+ + + +
+
+from 'Harpers Round Table' 1896 +
+
+

+
+ + + + + + + + + \ No newline at end of file diff --git a/httpdocs/e.newell.html b/httpdocs/e.newell.html new file mode 100644 index 0000000..692f06f --- /dev/null +++ b/httpdocs/e.newell.html @@ -0,0 +1,40 @@ +Peter Newell + +
Home +           +Andy's Early Comics Archive

+ + + +Peter Newell + +

+ + +
+
+
+
+		 + +
+(Policeman and Matchstick) (Harper's Round Table, Annual 1897

+

+ +
+
+
+
+		 + +
+'Introduction' (Harper's Round Table, Annual 1896)

+

+ + + + + + + + \ No newline at end of file diff --git a/httpdocs/e.newell.introduction.html b/httpdocs/e.newell.introduction.html new file mode 100644 index 0000000..9cdd274 --- /dev/null +++ b/httpdocs/e.newell.introduction.html @@ -0,0 +1,22 @@ +Peter Newell + + +
+ + +Peter Newell + + +
+
+from 'Harpers Round Table' 1896 +
+
+

+
+ +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.noel.index.html b/httpdocs/e.noel.index.html new file mode 100644 index 0000000..c2e41ba --- /dev/null +++ b/httpdocs/e.noel.index.html @@ -0,0 +1,86 @@ + Album Noel (1900) + + +
+


+ +Album Noel (1900) + + +
+ +
+ +page 2 - ? 'Un jeune inventeur'
+page 4 - K.Rey 'Une histoire qui finit mal'
+page 8 - Achille Lemot (Uzès) - 'Avec de la tenacité'
+page 10 - 'Histoire d'un nid'
+page 12 - Mob 'L'aumone'
+page 14 - H. Malatesta ? 'Le voleur bien volé' 1895
+page 16 - Armelle Kerlie 'Histoire de deux chinois et d'un enfant trop malin pour son age'
+page 18 - C.Cyl. 'Peche à la ligne'
+page 20 - James A. Shepherd 'Les Grenouilles et le héron'
+page 22 - 'A.L.' 'Fourrures a l'essai!'
+page 24 - Armelle Kerloc (?) 'Histoire lamentable de Prosper et de sa soupe'
+page 26 - Mob 'Repos Troublé'
+page 28 - C'est que la vie
+page 30 - Le premier cigare (photo comic)
+page 32 - J.B.Clark 'Les Malheurs d'un chat'
+page 34 - Achille Lemot (Uzès) - Une Faute de Gugusse (hosepipe gag)
+page 36 - Mob 'Un drame'
+page 38 - 'Joies d'un bon sujet - Mesaventures d'un mauvais sujet'
+page 40 - H. Malatesta ? 'Le bon pauvre et le mauvais riche'
+page 42 - H. Malatesta ? 'Le Fils d'Adoption' 1896
+page 44 - Achille Lemot (Uzès) 'Une tartine pour trois'
+page 46 - 'Pour rouler toujours'
+page 48 - Achille Lemot (Uzès) 'Maladroit mais rusé'
+page 50 - F.M.Howarth
+page 52 - 'Histoire d'une bete'
+page 54 - Mob 'Pêche difficile'
+page 56 - Achille Lemot (Uzès) 'Un farceur attrapé ou un voleur envolé'
+page 58 - (Reichert) 'Un drame'
+page 60 - Achille Lemot (Uzès) 'Punition mériteée'
+page 62 - A.Rusden 'La Peau du Lion'
+page 64 - 'A la recherche des champignons'
+page 66 - (Deb?) 'Un essai'
+page 68 - 'Chasse d'hiver'
+page 70 - Deb? 'Souvenir de pêche'
+page 72 - Achille Lemot (Uzès) 'Valeur du temps'
+page 74 - Achille Lemot (Uzès) 'Une lecon de botanique'
+page 76 - Achille Lemot (Uzès) 'Ce qu'il en coute d'apprendre à un éléphant à se balancer'
+page 78 - (no comic) Harry B. Neilson
+page 80 - 'Deception d'un chasseur' (from 'Puck')
+page 82 - Achille Lemot (Uzès) 'Un tour de force'
+page 84 - Chas May? 'Un sac, un homme, un chien & un tonneau'
+page 86 - Achille Lemot (Uzès) 'Rira bien qui rira le dernier'
+page 88 - (no comic) Elephants
+page 90 - 'Ce qu'est la vie'
+page 92 - 'Les successives stations d'un amateur'
+page 94 - (Giraffe and Biker)
+page 96 - 'Un jeu amusant' (bears playing rugby)
+page 98 - Chas May 'Dans la cave'
+page 100 - BP sc 'Une singulière aventure'
+ + +
+ + +
+ +
+
+
+ + +



+ +



+ + +
+
+
+ +


+ + \ No newline at end of file diff --git a/httpdocs/e.noel02.html b/httpdocs/e.noel02.html new file mode 100644 index 0000000..fff86ce --- /dev/null +++ b/httpdocs/e.noel02.html @@ -0,0 +1,27 @@ + anon. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ +(from 'Album Noel', 1900) + +
+
+'Un jeune inventeur'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel04.html b/httpdocs/e.noel04.html new file mode 100644 index 0000000..67e0d31 --- /dev/null +++ b/httpdocs/e.noel04.html @@ -0,0 +1,28 @@ + Album Noel 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ +K.Rey
+(from 'Album Noel', 1900) + +
+
+'Une histoire qui finit mal'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel08.html b/httpdocs/e.noel08.html new file mode 100644 index 0000000..ba2a7af --- /dev/null +++ b/httpdocs/e.noel08.html @@ -0,0 +1,27 @@ + Achille Lemot (Uzès) + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ +(from 'Album Noel', 1900) + +
+
+Avec de la tenacité
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel10.html b/httpdocs/e.noel10.html new file mode 100644 index 0000000..13e0d6f --- /dev/null +++ b/httpdocs/e.noel10.html @@ -0,0 +1,26 @@ + anon. + + +
+


+
Noel 1900 Index + +
+ + +
+ +(from 'Album Noel', 1900) + +
+
+'Histoire d'un Nid'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel100.html b/httpdocs/e.noel100.html new file mode 100644 index 0000000..53cab95 --- /dev/null +++ b/httpdocs/e.noel100.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Une singulière aventure'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel12.html b/httpdocs/e.noel12.html new file mode 100644 index 0000000..5c0a0c9 --- /dev/null +++ b/httpdocs/e.noel12.html @@ -0,0 +1,28 @@ + Mob + + +
+


+ +
Noel 1900 Index + +
+ +Mob +
+ +(from 'Album Noel', 1900) + +
+
+'L'Aumone'
+ +




+ + +




+




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel14.html b/httpdocs/e.noel14.html new file mode 100644 index 0000000..b3a83e0 --- /dev/null +++ b/httpdocs/e.noel14.html @@ -0,0 +1,27 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +H. Malatesta ? +
+ +(from 'Album Noel', 1900) + +
+
+'Le Voleur Bien Volé'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel16.html b/httpdocs/e.noel16.html new file mode 100644 index 0000000..33ee7b9 --- /dev/null +++ b/httpdocs/e.noel16.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ +Armelle Kerlie +
+(from 'Album Noel', 1900) + +
+
+'Histoire de deux chinois...'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel18.html b/httpdocs/e.noel18.html new file mode 100644 index 0000000..090e658 --- /dev/null +++ b/httpdocs/e.noel18.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ +C.Cyl +
+(from 'Album Noel', 1900) + +
+
+'Peche à la ligne'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel20.html b/httpdocs/e.noel20.html new file mode 100644 index 0000000..76fdc84 --- /dev/null +++ b/httpdocs/e.noel20.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ +James A. Shepherd +
+(from 'Album Noel', 1900) + +
+
+'Les grenouilles et le héron'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel22.html b/httpdocs/e.noel22.html new file mode 100644 index 0000000..0677643 --- /dev/null +++ b/httpdocs/e.noel22.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ +'A.L.' +
+(from 'Album Noel', 1900) + +
+
+'Fourrures à l'essai'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel24.html b/httpdocs/e.noel24.html new file mode 100644 index 0000000..560a7e5 --- /dev/null +++ b/httpdocs/e.noel24.html @@ -0,0 +1,28 @@ + Album Noel, 1900. + + +
+


+
Noel 1900 Index + +
+ +Armelle Kerlie +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Histoire lamentable de Prosper et de sa soupe'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel26.html b/httpdocs/e.noel26.html new file mode 100644 index 0000000..f096f83 --- /dev/null +++ b/httpdocs/e.noel26.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Mob +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Repos troublé'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel28.html b/httpdocs/e.noel28.html new file mode 100644 index 0000000..31b2e1e --- /dev/null +++ b/httpdocs/e.noel28.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Ce qu'est la vie'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel30.html b/httpdocs/e.noel30.html new file mode 100644 index 0000000..3a1944d --- /dev/null +++ b/httpdocs/e.noel30.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Le premier cigare'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel32.html b/httpdocs/e.noel32.html new file mode 100644 index 0000000..246eccf --- /dev/null +++ b/httpdocs/e.noel32.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +J.B.Clark +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Le Maleurs d'un chat'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel34.html b/httpdocs/e.noel34.html new file mode 100644 index 0000000..b24adcb --- /dev/null +++ b/httpdocs/e.noel34.html @@ -0,0 +1,30 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot ('Uzès') + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Une Faute de Gugusse'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel36.html b/httpdocs/e.noel36.html new file mode 100644 index 0000000..97488c2 --- /dev/null +++ b/httpdocs/e.noel36.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Mob +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Un Drame'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel38.html b/httpdocs/e.noel38.html new file mode 100644 index 0000000..eeac84d --- /dev/null +++ b/httpdocs/e.noel38.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Joies d'un bon sujet - Mesaventures d'un mauvais sujet'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel40.html b/httpdocs/e.noel40.html new file mode 100644 index 0000000..bdb2ac9 --- /dev/null +++ b/httpdocs/e.noel40.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +H. Malatesta ? +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Le bon pauvre et le mauvais riche'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel42.html b/httpdocs/e.noel42.html new file mode 100644 index 0000000..8b01216 --- /dev/null +++ b/httpdocs/e.noel42.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +H. Malatesta ? +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Le Fils d'Adoption' 1896
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel44.html b/httpdocs/e.noel44.html new file mode 100644 index 0000000..22cf3fe --- /dev/null +++ b/httpdocs/e.noel44.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot ('Uzès') +
+ + +
+(from 'Album Noel', 1900) + +
+
+'une Tartine pour trois'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel46.html b/httpdocs/e.noel46.html new file mode 100644 index 0000000..ba03440 --- /dev/null +++ b/httpdocs/e.noel46.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Pour Rouler Toujours'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel48.html b/httpdocs/e.noel48.html new file mode 100644 index 0000000..4021e7f --- /dev/null +++ b/httpdocs/e.noel48.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+ 'Maladroit mais rusé'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel50.html b/httpdocs/e.noel50.html new file mode 100644 index 0000000..3e93936 --- /dev/null +++ b/httpdocs/e.noel50.html @@ -0,0 +1,41 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +F.M.Howarth +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Récréation Chinoise'
+ +




+ + +
+
+
+
+
+
+
+
+
+
+
+
+
+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel52.html b/httpdocs/e.noel52.html new file mode 100644 index 0000000..5b15dd4 --- /dev/null +++ b/httpdocs/e.noel52.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Histoire d'une Bête'
+ +




+ + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/e.noel54.html b/httpdocs/e.noel54.html new file mode 100644 index 0000000..ce1edeb --- /dev/null +++ b/httpdocs/e.noel54.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Mob +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Pêche Difficile'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel56.html b/httpdocs/e.noel56.html new file mode 100644 index 0000000..2b42994 --- /dev/null +++ b/httpdocs/e.noel56.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Un farceur attrapé ou un voleur envolé'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel58.html b/httpdocs/e.noel58.html new file mode 100644 index 0000000..6de7c44 --- /dev/null +++ b/httpdocs/e.noel58.html @@ -0,0 +1,28 @@ + Album Noel, 1900. + + +
+


+
Noel 1900 Index + +
+ +Reichert +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Un Drame'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel60.html b/httpdocs/e.noel60.html new file mode 100644 index 0000000..020edc9 --- /dev/null +++ b/httpdocs/e.noel60.html @@ -0,0 +1,28 @@ + Album Noel, 1900. + + +
+


+
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Punition mériteée'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel62.html b/httpdocs/e.noel62.html new file mode 100644 index 0000000..2e484b8 --- /dev/null +++ b/httpdocs/e.noel62.html @@ -0,0 +1,28 @@ + Album Noel, 1900. + + +
+


+
Noel 1900 Index + +
+ +A.Rusden +
+ + +
+(from 'Album Noel', 1900) + +
+
+'La Peau du Lion'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel64.html b/httpdocs/e.noel64.html new file mode 100644 index 0000000..ddff3b0 --- /dev/null +++ b/httpdocs/e.noel64.html @@ -0,0 +1,28 @@ + Album Noel, 1900. + + +
+


+
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'A la recherche des champignons'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel65.html b/httpdocs/e.noel65.html new file mode 100644 index 0000000..0cef95d --- /dev/null +++ b/httpdocs/e.noel65.html @@ -0,0 +1,35 @@ + Album Noel, 1900. + + +
+


+
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Les cinq sens'
+ +




+ + +




+




+




+




+




+Andy's Early Comics Archive +
+
+
+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel66.html b/httpdocs/e.noel66.html new file mode 100644 index 0000000..ecebf2e --- /dev/null +++ b/httpdocs/e.noel66.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Deb? +
+ + +
+(from 'Album Noel', 1900) + +
+
+'En Essai'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel68.html b/httpdocs/e.noel68.html new file mode 100644 index 0000000..c1ca556 --- /dev/null +++ b/httpdocs/e.noel68.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Chasse d'hiver'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel70.html b/httpdocs/e.noel70.html new file mode 100644 index 0000000..ea8c8d3 --- /dev/null +++ b/httpdocs/e.noel70.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Souvenir de pêche'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel72.html b/httpdocs/e.noel72.html new file mode 100644 index 0000000..8124070 --- /dev/null +++ b/httpdocs/e.noel72.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Valeur du temps'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel74.html b/httpdocs/e.noel74.html new file mode 100644 index 0000000..27da17c --- /dev/null +++ b/httpdocs/e.noel74.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Une lecon de botanique'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel76.html b/httpdocs/e.noel76.html new file mode 100644 index 0000000..81c292d --- /dev/null +++ b/httpdocs/e.noel76.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Ce qu'il en coute d'apprendre à un éléphant à se balancer'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel78.html b/httpdocs/e.noel78.html new file mode 100644 index 0000000..8edb15b --- /dev/null +++ b/httpdocs/e.noel78.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + + +
+


+
Noel 1900 Index + +
+ +Harry B. Neilson +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Moers des Betes'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel80.html b/httpdocs/e.noel80.html new file mode 100644 index 0000000..c063e75 --- /dev/null +++ b/httpdocs/e.noel80.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Deception d'un chasseur' (originally from 'Puck')
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel82.html b/httpdocs/e.noel82.html new file mode 100644 index 0000000..561f9de --- /dev/null +++ b/httpdocs/e.noel82.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Achille Lemot (Uzès) +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Un tour de force'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel84.html b/httpdocs/e.noel84.html new file mode 100644 index 0000000..13bccf3 --- /dev/null +++ b/httpdocs/e.noel84.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Chas May +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Un sac, un homme, un chien & un tonneau'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel86.html b/httpdocs/e.noel86.html new file mode 100644 index 0000000..9037e88 --- /dev/null +++ b/httpdocs/e.noel86.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Rira bien qui rira le dernier'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel88.html b/httpdocs/e.noel88.html new file mode 100644 index 0000000..de71dad --- /dev/null +++ b/httpdocs/e.noel88.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel90.html b/httpdocs/e.noel90.html new file mode 100644 index 0000000..a7e3465 --- /dev/null +++ b/httpdocs/e.noel90.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Ce qu'est la vie'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel92.html b/httpdocs/e.noel92.html new file mode 100644 index 0000000..8867d27 --- /dev/null +++ b/httpdocs/e.noel92.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Les successives stations d'un amateur'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel94.html b/httpdocs/e.noel94.html new file mode 100644 index 0000000..70da09e --- /dev/null +++ b/httpdocs/e.noel94.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel96.html b/httpdocs/e.noel96.html new file mode 100644 index 0000000..6f62aad --- /dev/null +++ b/httpdocs/e.noel96.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ + +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Un jeu amusant'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel98.html b/httpdocs/e.noel98.html new file mode 100644 index 0000000..56b5ea3 --- /dev/null +++ b/httpdocs/e.noel98.html @@ -0,0 +1,29 @@ + Album Noel, 1900. + + +
+


+ +
Noel 1900 Index + +
+ +Chas May +
+ + +
+(from 'Album Noel', 1900) + +
+
+'Dans la cave'
+ +




+ + + +




+
+ + \ No newline at end of file diff --git a/httpdocs/e.noel_all.html b/httpdocs/e.noel_all.html new file mode 100644 index 0000000..150df56 --- /dev/null +++ b/httpdocs/e.noel_all.html @@ -0,0 +1,812 @@ + Album Noel 1900 - all on one page + + +
+


+ +
Noel 1900 Index + +
+
+
+
+'Album Noel', 1900 +
+
+ +Below are all the comics from this book. They are also presented alphabetically by artist, but this could be useful too. +
+
+
+
+
+ + + +
+
+'Un jeune inventeur'
+ +




+ + +




+





+ +K.Rey
+ + +
+
+'Une histoire qui finit mal'
+ +




+ + +




+ +





+ +Achille Lemot (Uzès) +
+ + + +
+
+'Histoire d'un Nid'
+ +




+ + +




+ +





+ + + +
+
+'Histoire d'un Nid'
+ +




+ + +




+ +





+ +Mob +
+ + + +
+
+'L'Aumone'
+ +




+ + +




+




+





+ +H. Malatesta ? +
+ + + +
+
+'Le Voleur Bien Volé'
+ +




+ + +




+ +





+ +Armelle Kerlie +
+ + +
+
+'Histoire de deux chinois...'
+ +




+ + +




+ +





+ +C.Cyl +
+ + +
+
+'Peche à la ligne'
+ +




+ + +




+





+ +James A. Shepherd +
+ + +
+
+'Les grenouilles et le héron'
+ +




+ + +




+





+ +'A.L.' +
+ + +
+
+'Fourrures à l'essai'
+ +




+ + +




+





+ +Armelle Kerlie +
+ + +
+ + +
+
+'Histoire lamentable de Prosper et de sa soupe'
+ +




+ + +




+





+ +Mob +
+ + +
+ + +
+
+'Repos troublé'
+ +




+ + +




+ +





+
+ + +
+
+'Ce qu'est la vie'
+ +




+ + +




+





+
+ + +
+
+'Le premier cigare'
+ +




+ + +




+





+ +J.B.Clark +
+ + +
+ + +
+
+'Le Maleurs d'un chat'
+ +




+ + +




+





+ +Achille Lemot ('Uzès') + +
+ + +
+ + +
+
+'Une Faute de Gugusse'
+ +




+ + +




+





+ +Mob +
+ + +
+ + +
+
+'Un Drame'
+ +




+ + +




+





+
+ + +
+
+'Joies d'un bon sujet - Mesaventures d'un mauvais sujet'
+ +




+ + +




+ +





+ +H. Malatesta ? +
+ + +
+ + +
+
+'Le bon pauvre et le mauvais riche'
+ +




+ + +




+





+ +H. Malatesta ? +
+ + +
+ + +
+
+'Le Fils d'Adoption' 1896
+ +




+ + +




+





+ +Achille Lemot ('Uzès') +
+ + +
+ + +
+
+'une Tartine pour trois'
+ +




+ + +




+





+ + +
+ + +
+
+'Pour Rouler Toujours'
+ +




+ + +




+





+ +Achille Lemot (Uzès) +
+ + +
+ + +
+
+ 'Maladroit mais rusé'
+ +




+ + +




+





+ +F.M.Howarth +
+ + +
+ + +
+
+'Récréation Chinoise'
+ +




+ + +
+
+
+
+
+
+
+
+
+





+ + +
+ + +
+
+'Histoire d'une Bête'
+ +




+ + +









+ +Mob +
+ + +
+ + +
+
+'Pêche Difficile'
+ +




+ + + +





+ +Achille Lemot (Uzès) +
+ + +
+ + +
+
+'Un farceur attrapé ou un voleur envolé'
+ +




+ + + +





+ +Reichert +
+ + +
+ + +
+
+'Un Drame'
+ +




+ + + +





+ +Achille Lemot (Uzès) +
+ + +
+ + +
+
+'Punition mériteée'
+ +




+ + + +





+ +A.Rusden +
+ + +
+ + +
+
+'La Peau du Lion'
+ +




+ + + +





+ + +
+ + +
+
+'A la recherche des champignons'
+ +




+ + + +





+ + +
+ + +
+
+'Les cinq sens'
+ +




+ + +




+




+




+




+




+





+ +Deb? +
+ + +
+ + +
+
+'En Essai'
+ +




+ + + +





+ + +
+ + +
+
+'Chasse d'hiver'
+ +




+ + + +





+ + +
+ + +
+
+'Souvenir de pêche'
+ +




+ + + +





+ +Achille Lemot (Uzès) +
+ + +
+ + +
+
+'Valeur du temps'
+ +




+ + + +





+ +Achille Lemot (Uzès) +
+ + +
+ + +
+
+'Une lecon de botanique'
+ +




+ + + +





+ +Achille Lemot (Uzès) +
+ + +
+ + +
+
+'Ce qu'il en coute d'apprendre à un éléphant à se balancer'
+ +




+ + + +





+ +Harry B. Neilson +
+ + +
+ + +
+
+'Moers des Betes'
+ +




+ + + +




+ + +
+ + +
+
+'Deception d'un chasseur' (originally from 'Puck')
+ +




+ + + +




+ +Achille Lemot (Uzès) +
+ + +
+ + +
+
+'Un tour de force'
+ +




+ + + +




+





+ +Chas May +
+ + +
+ + +
+
+'Un sac, un homme, un chien & un tonneau'
+ +




+ + + +




+ + +
+ + +
+
+'Rira bien qui rira le dernier'
+ +




+ + + +




+ + +
+ + +
+
+
+ +




+ + + +




+ + +
+ + +
+
+'Ce qu'est la vie'
+ +




+ + + +




+ + +
+ + +
+
+'Les successives stations d'un amateur'
+ +




+ + + +




+ + +
+ + +
+
+
+ +




+ + + +




+ + +
+ + +
+
+'Un jeu amusant'
+ +




+ +Chas May +
+ + +
+ + +
+
+'Dans la cave'
+ +




+ + + +




+ + +
+ + +
+
+'Une singulière aventure'
+ +




+ + + +




+
+
+
+
+
+
+
Andy's Early Comics Archive
+
Noel 1900 Index + +
+ + \ No newline at end of file diff --git a/httpdocs/e.oberlaender.all.html b/httpdocs/e.oberlaender.all.html new file mode 100644 index 0000000..b8d95a3 --- /dev/null +++ b/httpdocs/e.oberlaender.all.html @@ -0,0 +1,203 @@ +Adolf Oberländer + + +
+ + + + + +Adolf Oberländer (1847-1925) + +
+
+ +'Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser' +
+
+
+ + +



+



+



+



+



+



+



+ +



+



+



+ + + +

















+ + + + + + + + + +'Ein jedes Tierchen hat sein Pläsierchen' 1885
+Verses by Edwin Bormann + +
+
+
+ + +



+



+



+ +



+



+



+ +

















+ + + + + + + + + + + +'Zufalls Tücke - oder - Unfreiwillige Illustration' 1885
+ +
+
+
+ + +



+



+ +

















+ + + + + + + + + +'Die kurzsichtige Tante' (The shortsighted aunt) 1903 +
+
+ + +
+
+
+
+
+ +
+
+
+
+
+
+ + + + + + + +

















+ + + + + +'Münchener Tartarus' (1865) +
+
+
+ + +
+
+
+ + + +

















+ + + + + + + + + + + + +'Die unterbrochene Trauung' (1865) +
+
+
+ + +
+
+
+ + + +

















+ + + +'Täuschung' (1865) +
+
+
+ + +

+
+
+
+
+ +
+ + + +

















+ + + + +'Der Wunderdoktor' (1865) +
+
+
+ + +
+
+
+ + + +


+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.oberlaender.html b/httpdocs/e.oberlaender.html new file mode 100644 index 0000000..12999a8 --- /dev/null +++ b/httpdocs/e.oberlaender.html @@ -0,0 +1,97 @@ +Adolf Oberländer + + +
+ + + +Adolf Oberländer + +

+ + +
+
+
+
+		 + +
+Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser

+

+ +
+
+
+
+		 + +
+Ein jedes Tierchen hat sein Pläsierchen - 1885

+

+ +
+
+
+
+		 + +
+Zufalls Tücke - oder - Unfreiwillige Illustration - 1885

+

+ +
+
+
+
+		 + +
+Die kurzsichtige Tante (The shortsighted aunt) 1903

+

+ +
+
+
+
+		 + +
+Münchener Tartarus (1865)

+

+ +
+
+
+
+		 + +
+Die unterbrochene Trauung (1865)

+

+ +
+
+
+
+		 + +
+Täuschung - (text with three illustrations) (1865)

+

+ +
+
+
+
+		 + +
+Der Wunderdoktor (1865)

+

+ + + + + + \ No newline at end of file diff --git a/httpdocs/e.oberlaender.tante.html b/httpdocs/e.oberlaender.tante.html new file mode 100644 index 0000000..d13e25c --- /dev/null +++ b/httpdocs/e.oberlaender.tante.html @@ -0,0 +1,33 @@ + Adolf Oberländer + + +
+ + + +Adolf Oberländer + +
+ +'Die kurzsichtige Tante' (The shortsighted aunt) 1903 +
+
+
+ + +
+
+
+
+
+ +
+
+
+
+
+
+ +


+ + \ No newline at end of file diff --git a/httpdocs/e.opper-hh.12.si.puts.in.a.good.word.html b/httpdocs/e.opper-hh.12.si.puts.in.a.good.word.html new file mode 100644 index 0000000..ce51bd9 --- /dev/null +++ b/httpdocs/e.opper-hh.12.si.puts.in.a.good.word.html @@ -0,0 +1,19 @@ +Fred Opper + +
Home +           +Andy's Early Comics Archive

+ +Fred Opper + +
+
+ + +
+
+(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.opper-hh.17.there.might.have.html b/httpdocs/e.opper-hh.17.there.might.have.html new file mode 100644 index 0000000..8b5167f --- /dev/null +++ b/httpdocs/e.opper-hh.17.there.might.have.html @@ -0,0 +1,20 @@ +Fred Opper + +
Home +           +Andy's Early Comics Archive

+ +Fred Opper + +
+
+ + + +
+
+(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.opper-hh.deutsches.journal.1913.html b/httpdocs/e.opper-hh.deutsches.journal.1913.html new file mode 100644 index 0000000..beed235 --- /dev/null +++ b/httpdocs/e.opper-hh.deutsches.journal.1913.html @@ -0,0 +1,19 @@ +Fred Opper + +
Home +           +Andy's Early Comics Archive

+ +Fred Opper + +
+
+ + +
+
+(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.opper-hh.sometimes.it.almost.html b/httpdocs/e.opper-hh.sometimes.it.almost.html new file mode 100644 index 0000000..85781d9 --- /dev/null +++ b/httpdocs/e.opper-hh.sometimes.it.almost.html @@ -0,0 +1,21 @@ +Fred Opper + +
Home +           +Andy's Early Comics Archive

+ + + +Fred Opper + +
+
+ + +
+
+(from the collection of Guy Lawley) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.opper.1900.html b/httpdocs/e.opper.1900.html new file mode 100644 index 0000000..0db0512 --- /dev/null +++ b/httpdocs/e.opper.1900.html @@ -0,0 +1,69 @@ +Fred Opper + +
Home +           +Andy's Early Comics Archive

+ + + +Fred Opper + +
+(after 1900) + +

+ +
+
+
+
+		 + +
+Si puts in a good word for Happy Hooligan (1912)

+

+ + +
+
+
+
+		 + +
+Happy Hooligan - There might have been a lot of wisdom... (1912)

+

+ + +
+
+
+
+		 + +
+Happy Hooligan - Sometimes it almost seems as if (1913)

+

+ + +
+
+
+
+		 + +
+(Happy Hooligan in German) (Deutsches Journal 1913)

+

+ + + +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.opper.1901-1903.html b/httpdocs/e.opper.1901-1903.html new file mode 100644 index 0000000..84ad092 --- /dev/null +++ b/httpdocs/e.opper.1901-1903.html @@ -0,0 +1,507 @@ +Fred Opper + + +
+ + +Fred Opper + +
+ + +'Happy Hooligan'
+ Sunday pages 1901-1903 from a 1903 reprint book + + +
+
+
+ + + +1901 - February - 17 +

+ + +





+





+





+





+





+





+






+
+






+1901 - March - 10 +

+ + +





+





+





+





+





+





+ +






+
+






+1901 - September - 08 +

+ +





+





+





+





+





+





+ + +






+
+






+1901 - December - 08 +

+ +





+





+





+





+





+





+






+
+






+1901 - December - 29 +

+ +





+





+





+





+





+





+






+
+






+1902 - April - 13 +

+ + +





+





+





+





+





+





+






+
+






+1902 - June - 08 +

+ + +





+





+





+





+





+





+






+
+






+1902 - October - 05 +

+ + +





+





+





+





+





+





+






+
+






+1902 - November - 30 +

+ + +





+





+





+





+





+





+






+
+






+1903 - February - 01 +

+





+





+





+





+





+





+






+
+






+1903 - March - 03(?) +

+ + +





+





+





+





+





+





+ +






+
+






+1903 - March - 08 (?) +

+ +





+





+





+





+





+





+ +






+
+






+1903 - March - 08 (?) +

+ +





+





+





+





+





+





+






+
+






+1903 - April - 12 +

+ + +





+





+





+





+





+





+






+
+






+1903 - May - 17 +

+ + + +





+





+





+





+





+





+ + + + + + + +
+
+
+ + + + + + + + + + + + + + + + + + + + +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ +





+





+





+





+





+





+






+
+






+ + +





+





+





+





+





+





+ + + + +






+
+






+

+





+





+





+





+





+ + + +






+
+






+ +

+ +





+





+





+





+





+





+ + + + + + + + + +
+
+
+
+ + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.opper.a.distint.success.html b/httpdocs/e.opper.a.distint.success.html new file mode 100644 index 0000000..37323c3 --- /dev/null +++ b/httpdocs/e.opper.a.distint.success.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+A Distinct Success (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.a.quick.reponse.html b/httpdocs/e.opper.a.quick.reponse.html new file mode 100644 index 0000000..bf7de92 --- /dev/null +++ b/httpdocs/e.opper.a.quick.reponse.html @@ -0,0 +1,17 @@ + Fred Opper + + +
+Fred Opper +


+ +
+
+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.opper.a.slight.error.html b/httpdocs/e.opper.a.slight.error.html new file mode 100644 index 0000000..2c5a3ee --- /dev/null +++ b/httpdocs/e.opper.a.slight.error.html @@ -0,0 +1,17 @@ + Fred Opper + + +
+Fred Opper +


+ +
+
+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.opper.a.story.of.the.road.html b/httpdocs/e.opper.a.story.of.the.road.html new file mode 100644 index 0000000..607e689 --- /dev/null +++ b/httpdocs/e.opper.a.story.of.the.road.html @@ -0,0 +1,14 @@ + Fred Opper + + +
+Fred Opper +


+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.opper.all.html b/httpdocs/e.opper.all.html new file mode 100644 index 0000000..4ad43e7 --- /dev/null +++ b/httpdocs/e.opper.all.html @@ -0,0 +1,220 @@ +Fred Opper + + +
+ + + + +Fred Opper + +

+ + +
+
+
+ +

+Mike Cassedy's Toothache (originally published in Puck - before 1893) +
+ +
+ +(from the collection of John Ronan) +





+





+ + +

+The Wicket Seal Hunter and the Clever Seal (originally published in Puck - before 1893) +


+ +





+ +


+ + + +

+Saved - A Tale of Simple Heroism Rewarded (originally published in Puck - before 1893) +


+ +





+ +


+ + +

+Puck 28. July 1897 +
+
+
+
+


+ +





+ +
+
+ + + +

+Puck 28. July 1897 +
+
+
+
+


+ + +


+Large +





+
+
+
+ + + +

+(The Pretty Typewriter) (originally published in Puck - before 1893) +


+ +





+ +


+ + +


+ + +
+
+ + + +
+(from the collection of John Ronan) +
+
+
+


+ +
+(from the collection of John Ronan) +
+
+


+ +
+
+ +
+(from the collection of John Ronan) +
+
+
+


+ + +
+
+ +
+(from the collection of John Ronan) +
+
+
+ + +

+A Distinct Success (originally published in Puck - before 1893) +


+ +





+ +


+ + +

+A Close Shave (originally published in Puck - before 1893) +


+ +





+ +


+ + + + + + + +

+The Power of Habit (originally published in Puck - before 1893) +


+ +





+ +


+ + + +

+The Result of Feeding a Neapolitan Greyhound on Macaroni (originally published in Puck - before 1893) +


+ +





+ +





+ +


+ + + + + + +

+In Maine (originally published in Puck - before 1893) +


+ +





+ +





+


+ + +

+A Real English Outfit in America (originally published in Puck - before 1893) +


+ + +





+ +





+ + +

+His Doctors, and how they didn't do him any good (originally published in Puck - before 1893) +


+ +





+ +


+





+ + + + +
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.opper.doctor.html b/httpdocs/e.opper.doctor.html new file mode 100644 index 0000000..943afca --- /dev/null +++ b/httpdocs/e.opper.doctor.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+His Doctors, and how they didn't do him any good (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.english.outfit.html b/httpdocs/e.opper.english.outfit.html new file mode 100644 index 0000000..a8e4feb --- /dev/null +++ b/httpdocs/e.opper.english.outfit.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+A Real English Outfit in America (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.globe.html b/httpdocs/e.opper.globe.html new file mode 100644 index 0000000..cb5f9af --- /dev/null +++ b/httpdocs/e.opper.globe.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+In Maine (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.greyhound.html b/httpdocs/e.opper.greyhound.html new file mode 100644 index 0000000..d8e3659 --- /dev/null +++ b/httpdocs/e.opper.greyhound.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+The Result of Feeding a Neapolitan Greyhound on Macaroni (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.habit.html b/httpdocs/e.opper.habit.html new file mode 100644 index 0000000..18432e8 --- /dev/null +++ b/httpdocs/e.opper.habit.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+The Power of Habit (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.html b/httpdocs/e.opper.html new file mode 100644 index 0000000..0bf6990 --- /dev/null +++ b/httpdocs/e.opper.html @@ -0,0 +1,296 @@ +Fred Opper + +
Home +           +Andy's Early Comics Archive

+ + + + +Fred Opper + +

+ +
(These are from before 1893 - There's more by Opper in the '1900-1930' section) +
+
+
+ +
+
+
+
+		 + +
+The Wicket Seal Hunter and the Clever Seal

+

+ + + +
+
+
+
+		 + +
+His Doctors, and how they didn't do him any good

+

+ + + +
+
+
+
+		 + +
+A Real English Outfit in America

+

+ + + +
+
+
+
+		 + +
+In Maine

+

+ + + +
+
+
+
+		 + +
+The Result of Feeding a Neapolitan Greyhound on Macaroni

+

+ + + +
+
+
+
+		 + +
+The Power of Habit

+

+ + + +
+
+
+
+		 + +
+A Close Shave

+

+ + + +
+
+
+
+		 + +
+(The Pretty Typewriter)

+

+ + + +
+
+
+
+		 + +
+Mike Cassedy's Toothache

+

+ + + +
+
+
+
+		 + +
+A Distinct Success

+

+ + + +
+
+
+
+		 + +
+Saved - A Tale of Simple Heroism Rewarded

+

+ + + +
+
+
+
+		 + +
+The latest dodge

+

+ + + +
+
+
+
+		 + +
+A story of the road

+

+ + + +
+
+
+
+		 + +
+A Quick Response

+

+ + + +
+
+
+
+		 + +
+A slight error of judgement

+

+ + + +
+
+
+
+		 + +
+Not quite out of practice

+

+ + +
+
+
+
+		 + +
+True too his word (Puck 28. July 1897)

+

+ + +
+
+
+
+ + + + +

+ +
+ + +
+
+ +(after 1900) + +
+ +
+ + + +
+ + +
+ + +
+
+		 + +
+ +Si puts in a good word for Happy Hooligan (1912)

+
+ + +
+
+
+
+		 + +
+Happy Hooligan - There might have been a lot of wisdom... (1912)

+
+ + +
+
+
+
+		 + +
+Happy Hooligan - Sometimes it almost seems as if (1913)

+
+ + +
+
+
+
+		 + +
+(Happy Hooligan in German) (Deutsches Journal 1913)

+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.opper.nose.html b/httpdocs/e.opper.nose.html new file mode 100644 index 0000000..78b25fb --- /dev/null +++ b/httpdocs/e.opper.nose.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+A Close Shave (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.not.quite.out.of.practice.html b/httpdocs/e.opper.not.quite.out.of.practice.html new file mode 100644 index 0000000..617a3e8 --- /dev/null +++ b/httpdocs/e.opper.not.quite.out.of.practice.html @@ -0,0 +1,17 @@ + Fred Opper + + +
+Fred Opper +


+ +
+
+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.opper.pretty.typewriter.html b/httpdocs/e.opper.pretty.typewriter.html new file mode 100644 index 0000000..952ffec --- /dev/null +++ b/httpdocs/e.opper.pretty.typewriter.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+(The Pretty Typewriter) (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.puck.1897.07.28.true.html b/httpdocs/e.opper.puck.1897.07.28.true.html new file mode 100644 index 0000000..d1816b4 --- /dev/null +++ b/httpdocs/e.opper.puck.1897.07.28.true.html @@ -0,0 +1,17 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+Puck 28. July 1897 +
+
+




+ +


+Large
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.opper.puck.1897.07.28.true.large.html b/httpdocs/e.opper.puck.1897.07.28.true.large.html new file mode 100644 index 0000000..344e724 --- /dev/null +++ b/httpdocs/e.opper.puck.1897.07.28.true.large.html @@ -0,0 +1,15 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+Puck 28. July 1897 +
+
+




+ +
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.opper.saved.pm.html b/httpdocs/e.opper.saved.pm.html new file mode 100644 index 0000000..cb9a08d --- /dev/null +++ b/httpdocs/e.opper.saved.pm.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+Saved - A Tale of Simple Heroism Rewarded (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.seal.html b/httpdocs/e.opper.seal.html new file mode 100644 index 0000000..1f6294c --- /dev/null +++ b/httpdocs/e.opper.seal.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+The Wicket Seal Hunter and the Clever Seal (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.opper.the.latest.dodge.html b/httpdocs/e.opper.the.latest.dodge.html new file mode 100644 index 0000000..eb3837c --- /dev/null +++ b/httpdocs/e.opper.the.latest.dodge.html @@ -0,0 +1,14 @@ + Fred Opper + + +
+Fred Opper +


+ +


+(from the collection of John Ronan) +
+
+
+ +
\ No newline at end of file diff --git a/httpdocs/e.opper.toothache.html b/httpdocs/e.opper.toothache.html new file mode 100644 index 0000000..223a03c --- /dev/null +++ b/httpdocs/e.opper.toothache.html @@ -0,0 +1,11 @@ + Fred Opper (pre 1893) + + +
+Fred Opper +

+Mike Cassedy's Toothache (originally published in Puck - before 1893) +


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.payne.all.html b/httpdocs/e.payne.all.html new file mode 100644 index 0000000..5e0ea1a --- /dev/null +++ b/httpdocs/e.payne.all.html @@ -0,0 +1,50 @@ +Charles M. Payne + + + +
+ + + +Charles M. Payne + +
+
+
+ + +
+
+









+ +
+large version click here



+ + + +
+
+









+ +
+large version click here



+ + + + + + +
+
+









+ +
+large version click here



+ + + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.payne.bear.creek-1911.06.11.large.html b/httpdocs/e.payne.bear.creek-1911.06.11.large.html new file mode 100644 index 0000000..a868c0b --- /dev/null +++ b/httpdocs/e.payne.bear.creek-1911.06.11.large.html @@ -0,0 +1,29 @@ +Charles M. Payne + + +
Andy's Early Comics Archive

+ + + +Charles M. Payne +
+ + + +



+ + +
+ + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.payne.possum.gang.1911.06.11.large.html b/httpdocs/e.payne.possum.gang.1911.06.11.large.html new file mode 100644 index 0000000..dc2bbd2 --- /dev/null +++ b/httpdocs/e.payne.possum.gang.1911.06.11.large.html @@ -0,0 +1,34 @@ +Charles M. Payne + + +
Andy's Early Comics Archive

+ + + +Charles M. Payne + +
+
+
+ + +
+ +
+ + + +
+ + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.payne.trubbel.large.html b/httpdocs/e.payne.trubbel.large.html new file mode 100644 index 0000000..87d1680 --- /dev/null +++ b/httpdocs/e.payne.trubbel.large.html @@ -0,0 +1,29 @@ +Charles M. Payne + + +
Andy's Early Comics Archive

+ + + +Charles M. Payne +
+ + + +



+ + +
+ + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.photo.comic_hunter.dog.html b/httpdocs/e.photo.comic_hunter.dog.html new file mode 100644 index 0000000..8e5a74c --- /dev/null +++ b/httpdocs/e.photo.comic_hunter.dog.html @@ -0,0 +1,32 @@ +Hunter and Dog 1899 + + +
+ + + + + +Hunter and Dog - 1899 + +
+
+'Penny Pictorial Magazine' +
+
+ +




+




+




+ + + +
+ +
+ +(page 1)
+(page 2)
+ +
+ \ No newline at end of file diff --git a/httpdocs/e.photo.comic_saluting.the.flag.html b/httpdocs/e.photo.comic_saluting.the.flag.html new file mode 100644 index 0000000..be1d782 --- /dev/null +++ b/httpdocs/e.photo.comic_saluting.the.flag.html @@ -0,0 +1,22 @@ +Saluting the Flag + + +
+ + + + + +Saluting the Flag - 1912 + +
+
+
+
+ + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.photo.comics.all.html b/httpdocs/e.photo.comics.all.html new file mode 100644 index 0000000..5a90887 --- /dev/null +++ b/httpdocs/e.photo.comics.all.html @@ -0,0 +1,97 @@ +Photo Comics + + +
+ + +Photo Comics + +

+ + +
+
+
+ + +
+(from 'Album Noel', 1900) + +
+
+'Le premier cigare'
+ + + + +




+




+




+ +(from 'Album Noel', 1900) + +
+
+'Histoire d'un Nid'
+ + + +




+ + +




+




+ + + + + + + +Saluting the Flag - 1912 + +
+
+
+
+ + +
+
+
+ +




+




+ + + + + +Hunter and Dog - 1899 + +
+
+'Penny Pictorial Magazine' +
+
+ +




+




+

+ + + +(page 1)
+(page 2)
+ + +
+ + +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.photo.comics.html b/httpdocs/e.photo.comics.html new file mode 100644 index 0000000..8218116 --- /dev/null +++ b/httpdocs/e.photo.comics.html @@ -0,0 +1,48 @@ +Photo Comics + +
Home +           +Andy's Early Comics Archive

+ + + +Photo Comics + +

+ + +
+
+
+ +
+
+
+
+		 + +
+Le premier cigare

+

+ + + +
+
+
+
+		 + +
+Histoire d'un nid (not photos, only traced from photos)

+

+ + + +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.piery.fantaisie.sur.le.duel.html b/httpdocs/e.piery.fantaisie.sur.le.duel.html new file mode 100644 index 0000000..a8816bb --- /dev/null +++ b/httpdocs/e.piery.fantaisie.sur.le.duel.html @@ -0,0 +1,33 @@ +Emile Piery + + +
+ + + + + +Emile Piery + +
+
+from 'Polichinelle' 31 July 1898 +
+
+
+ +
+
+
+
+(the jpg on its own) + +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.pm-fb.athletics.html b/httpdocs/e.pm-fb.athletics.html new file mode 100644 index 0000000..2cb232f --- /dev/null +++ b/httpdocs/e.pm-fb.athletics.html @@ -0,0 +1,10 @@ + xxx + + +
+from 'Picture Magazine' 1893 +

+


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.pm.early.worm.html b/httpdocs/e.pm.early.worm.html new file mode 100644 index 0000000..009f2b4 --- /dev/null +++ b/httpdocs/e.pm.early.worm.html @@ -0,0 +1,11 @@ + Early Worm + + +
+from 'Picture Magazine' 1893 +font> +

+


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.pm.fishing.expressions.html b/httpdocs/e.pm.fishing.expressions.html new file mode 100644 index 0000000..06bced4 --- /dev/null +++ b/httpdocs/e.pm.fishing.expressions.html @@ -0,0 +1,11 @@ + Fishing Expressions + + +
+from 'Picture Magazine' 1893 +font> +

+


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.pm.mr_wheeler.html b/httpdocs/e.pm.mr_wheeler.html new file mode 100644 index 0000000..27a34c8 --- /dev/null +++ b/httpdocs/e.pm.mr_wheeler.html @@ -0,0 +1,11 @@ + xxx + + +
+from 'Picture Magazine' 1893 +font> +

+


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.pm1893.cow.html b/httpdocs/e.pm1893.cow.html new file mode 100644 index 0000000..ed4a837 --- /dev/null +++ b/httpdocs/e.pm1893.cow.html @@ -0,0 +1,11 @@ + Cow + + +
+from 'Picture Magazine' 1893 +font> +

+


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.pm_pubs.html b/httpdocs/e.pm_pubs.html new file mode 100644 index 0000000..d1d5590 --- /dev/null +++ b/httpdocs/e.pm_pubs.html @@ -0,0 +1,11 @@ + from Picture Magazinee + + +
+from 'Picture Magazine' 1893 + +

+


+ +


+
\ No newline at end of file diff --git a/httpdocs/e.pommerhanz.05.html b/httpdocs/e.pommerhanz.05.html new file mode 100644 index 0000000..a497b1c --- /dev/null +++ b/httpdocs/e.pommerhanz.05.html @@ -0,0 +1,19 @@ + Pommerhanz + + +
+ +Pommerhanz + +
+
+ + + +
+
+ +



+
+ + diff --git a/httpdocs/e.pommerhanz.06.html b/httpdocs/e.pommerhanz.06.html new file mode 100644 index 0000000..2af59f2 --- /dev/null +++ b/httpdocs/e.pommerhanz.06.html @@ -0,0 +1,18 @@ + Pommerhanz + + +
+ +Pommerhanz + +
+
+ + + +
+
+




+
+ + diff --git a/httpdocs/e.pommerhanz.08.html b/httpdocs/e.pommerhanz.08.html new file mode 100644 index 0000000..4df14b3 --- /dev/null +++ b/httpdocs/e.pommerhanz.08.html @@ -0,0 +1,19 @@ + Pommerhanz + + +
+ +Pommerhanz + +
+
+ + + +
+
+ +



+
+ + diff --git a/httpdocs/e.pommerhanz.09.html b/httpdocs/e.pommerhanz.09.html new file mode 100644 index 0000000..2373f59 --- /dev/null +++ b/httpdocs/e.pommerhanz.09.html @@ -0,0 +1,18 @@ + Pommerhanz + + +
+ +Pommerhanz + +
+
+ + + +
+
+





+
+ + diff --git a/httpdocs/e.pommerhanz.12.html b/httpdocs/e.pommerhanz.12.html new file mode 100644 index 0000000..010f187 --- /dev/null +++ b/httpdocs/e.pommerhanz.12.html @@ -0,0 +1,18 @@ + Pommerhanz + + +
+ +Pommerhanz + +
+
+ + + +
+
+




+
+ + diff --git a/httpdocs/e.pommerhanz.14.html b/httpdocs/e.pommerhanz.14.html new file mode 100644 index 0000000..3f3441a --- /dev/null +++ b/httpdocs/e.pommerhanz.14.html @@ -0,0 +1,18 @@ + Pommerhanz + + +
+ +Pommerhanz + +
+
+ + + +
+
+




+
+ + diff --git a/httpdocs/e.pommerhanz.16.html b/httpdocs/e.pommerhanz.16.html new file mode 100644 index 0000000..35e9f1e --- /dev/null +++ b/httpdocs/e.pommerhanz.16.html @@ -0,0 +1,19 @@ + Pommerhanz + + +
+ +Pommerhanz + +
+
+ + + +
+
+

+



+
+ + diff --git a/httpdocs/e.pommerhanz.19.html b/httpdocs/e.pommerhanz.19.html new file mode 100644 index 0000000..8735ef8 --- /dev/null +++ b/httpdocs/e.pommerhanz.19.html @@ -0,0 +1,20 @@ + Pommerhanz + + +
+Pommerhanz + +
+
+ + + +
+
+
+
+
+



+
+ + diff --git a/httpdocs/e.pommerhanz.all.html b/httpdocs/e.pommerhanz.all.html new file mode 100644 index 0000000..90cfec9 --- /dev/null +++ b/httpdocs/e.pommerhanz.all.html @@ -0,0 +1,123 @@ +Karl Pommerhanz + + +
+ + + +Karl Pommerhanz + +

+ + +
+
+
+ + + + + + + +
+Ein Frechdachs +
+ +



+ + +





+





+ +
+Der kleine Turner und seine Lebensrettung +
+
+
+
+



+





+





+ + +Die Pferdelspieler +
+

+



+ + +





+





+ +
+Das boshafte Geschwisterpaar +
+




+ +





+





+ +
+Der Herr Professor und das Feuerwerk +
+




+ + + +





+





+ +
+Die kleinen Verwandlungskünstler
+





+





+





+ + + +
+Die Benutzte Gelegenheit
+ +



+





+





+ + +
+Der getäuschte Arzt +
+




+





+





+ +'Bestrafte Unhöflichkeit' (1892) +
+
+
+ + +
+
+
+
+
+ + + +





+





+
+
+ +
+
+
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.pommerhanz.html b/httpdocs/e.pommerhanz.html new file mode 100644 index 0000000..7df1689 --- /dev/null +++ b/httpdocs/e.pommerhanz.html @@ -0,0 +1,134 @@ +Karl Pommerhanz + +
Home +           +Andy's Early Comics Archive

+ + + +Karl Pommerhanz + +

+ + +
+
+
+ +
+
+
+
+		 + +
+Ein Frechdachs

+

+ + + +
+
+
+
+		 + +
+Der getäuschte Arzt

+

+ + + +
+
+
+
+		 + +
+Die Benutzte Gelegenheit

+

+ + + +
+
+
+
+		 + +
+Die kleinen Verwandlungskünstler

+

+ + + +
+
+
+
+		 + +
+Der Herr Professor und das Feuerwerk

+

+ + + +
+
+
+
+		 + +
+Das boshafte Geschwisterpaar

+

+ + + +
+
+
+
+		 + +
+Die Pferdelspieler

+

+ + + +
+
+
+
+		 + +
+Der kleine Turner und seine Lebensrettung

+

+ + + +
+
+
+
+		 + +
+Bestrafte Unhöflichkeit (1892)

+

+ +
+
+
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.puck.1897.07.28.html b/httpdocs/e.puck.1897.07.28.html new file mode 100644 index 0000000..6d4fa83 --- /dev/null +++ b/httpdocs/e.puck.1897.07.28.html @@ -0,0 +1,66 @@ + +Does + + + +
+ + +Puck + +
+
+ +(to see these same pages much larger, click here) +
+
+ + +


+


+


+ +
+This comic is also in the Howarth Index - Click here. +
+
+
+
+
+ +


+


+ +
+This comic is also in the Howarth Index - Click here. +
+
+
+
+
+ +


+


+ +
+This comic is also in the Opper Index - Click here. +
+
+
+
+
+


+


+


+


+ +
+To see this comic much larger, click here. +
+
+ +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.puck.1897.07.28.large.html b/httpdocs/e.puck.1897.07.28.large.html new file mode 100644 index 0000000..d8eb460 --- /dev/null +++ b/httpdocs/e.puck.1897.07.28.large.html @@ -0,0 +1,66 @@ + +Does + + + +
+ + + +Puck + +
+
+ +


+


+


+ +
+This comic is also in the Howarth Index - Click here. +
+
+
+
+
+ +


+


+ +
+This comic is also in the Howarth Index - Click here. +
+
+
+
+
+ +


+


+ +
+This comic is also in the Opper Index - Click here. +
+
+
+
+
+


+


+


+


+ +
+To see this comic much larger, click here. +
+
+
+
Home +           +Andy's Early Comics Archive + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.pughe.large.application.html b/httpdocs/e.pughe.large.application.html new file mode 100644 index 0000000..316cb59 --- /dev/null +++ b/httpdocs/e.pughe.large.application.html @@ -0,0 +1,27 @@ +J.S. Pughe + + +
+ + + + + + +J. S. Pughe + + +
+
+(from Puck 28.July 1897) + +
+







+ + + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.rabier.all.html b/httpdocs/e.rabier.all.html new file mode 100644 index 0000000..097df25 --- /dev/null +++ b/httpdocs/e.rabier.all.html @@ -0,0 +1,72 @@ +Benjamin Rabier + + +
+ + +Benjamin Rabier + + +
+
+Le Rire - 11 April 1896 +
+
+ + +
+
+(Larger) +
+ +
+
+












+
+Le Rire - 27 June 1896 +
+
+ + + +
+
+ + + +
+
+
+
+ + + + +
+
+
+
+
+ + + +
+
+
+
+
+
+ + + + +
+(all from the collection of Harald Kiehn) +
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.rabier.html b/httpdocs/e.rabier.html new file mode 100644 index 0000000..9fa476a --- /dev/null +++ b/httpdocs/e.rabier.html @@ -0,0 +1,43 @@ +Benjamin Rabier + +
Home +           +Andy's Early Comics Archive

+ + + + + +Benjamin Rabier + + +
+
+
+
+
+
+		 + +
+Le Lion Télescopé (Le Rire - 11 April 1896 )

+

+ + +
+
+
+
+		 + +
+Gontran à Trouville (Le Rire - 27 June 1896 )

+

+ + + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.rabier_deshabillage.html b/httpdocs/e.rabier_deshabillage.html new file mode 100644 index 0000000..86fab0c --- /dev/null +++ b/httpdocs/e.rabier_deshabillage.html @@ -0,0 +1,32 @@ +Benjamin Rabier + + +
+ + + + +Benjamin Rabier + + +
+
+Le Rire - 27 June 1896 +
+
+ + +






+





+





+ +
+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.rabier_lion.telescope.html b/httpdocs/e.rabier_lion.telescope.html new file mode 100644 index 0000000..3af632a --- /dev/null +++ b/httpdocs/e.rabier_lion.telescope.html @@ -0,0 +1,31 @@ +Benjamin Rabier + + +
+ + + + + +Benjamin Rabier + + +
+
+Le Rire - 11 April 1896 +
+
+ + +
+
+(Larger) +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.radiguet.all.html b/httpdocs/e.radiguet.all.html new file mode 100644 index 0000000..8a44697 --- /dev/null +++ b/httpdocs/e.radiguet.all.html @@ -0,0 +1,38 @@ +M.Radiuet + + +
+ + + + + +M.Radiguet + + +
+
+ +
+
+
+
+
+
+
+
+
+ +
+larger version, click here +

+
+
+ +(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.red_1820.html b/httpdocs/e.red_1820.html new file mode 100644 index 0000000..10dff89 --- /dev/null +++ b/httpdocs/e.red_1820.html @@ -0,0 +1,107 @@ +Little Red Riding Hood (circa 1820) + + +
+ + + Adventures of Little Red Riding Hood
+(circa 1820)
+
+Mark's Edition - Published by Fisk & Little, 82 State-Street, Albany, New York +
+
+
+ + +
+ + +

+
+In a Little Thatched Cot, by the side of a Wood,
+Lived an innocent lass, Little Red Riding Hood;
+You would scarce find her equal, the neighbours all say,
+So kind and obedieant, so cheerful and gay. +



+ + +

+
+One day this young lass, To Grandma was sent,
+A nice pot of Butter, To her to present;
+Besides a Cheesecake, And a new loaf of Bread,
+For Grandma was ill, And confined to her Bed. +



+ +

+
+But her Mother before She set out on her way,
+Charged her not on her journey To loiter or play;
+This charge she neglected, And rambled for hours,;
+To gather Primroses, And other wild flowers. +



+ + +

+
+So she wandered about Till the close of the day,
+When the wicked old Wolf, He came prowling that way,
+He enquired her errand, She soon let him know
+Ah! silly young creature, Why did she do so? +



+ + +

+
+Away ran the Wolf, While his heart did rejoice,
+And he knocked at the door, And spoke in a feign'd voice;
+The Old Dame who for Her Grand-daughter did watch
+Cried pull up the bobbin, Twill open the latch. +



+ + +

+
+So he open'd the door, And run up stairs with speed,
+Poor Grandmamma was Very much frightened indeed;
+But he tore to pieces, Oh merciless beast,
+To make of a poor Harmless Lady a Feast. +



+ + +

+
+Then he put the poor Lady's Nightcap on his head,
+And cunningly slipped himself Into the bed;
+And when Riding Hood knocked As she'd oft done before,
+Says the Wolf, pull the Bobbin 'Twill open the door. +



+ + +

+
+Then up stairs she went, And was struck with surprise,
+When she saw his sharp teeth, And his great goggle eyes;
+She would have cried out, Bit at her he flew,
+And tore her to pieces, And ate her up too. +



+ + + + + + +
+
+
+ + + +
+ +
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.reinicke.all.html b/httpdocs/e.reinicke.all.html new file mode 100644 index 0000000..b43ac46 --- /dev/null +++ b/httpdocs/e.reinicke.all.html @@ -0,0 +1,187 @@ +Emil Reinicke + + +
+ + + +Emil Reinicke + + + +
+
+
+
+
+
+
+ + +'Das jähzornige Nashorn' (The angry Rhino) 1886 +
+ + + + + + + + + + + + +





+ + + +
+
+ +'Die verschwundene Wurst - Eine merkwürdige Begebenheit' (1885) +
+
+
+ + + + + +

+ + +





+ +
+
+ +'Irren ist menschlich' (1884) +
+
+
+ + +

+ +

+

+ +





+ + +
+
+ +'Iberus' (1884) +
+
+
+ + +

+

+

+

+

+

+

+

+ +

+

+

+ +





+ + +
+
+ +'Dr. Mokel in Afrika' (1884) +
+
+
+ + +

+

+ +      +

+

+ +





+ + + +
+
+ +'Sächsisches Landsknechtlied' (1885) +
+
+
+ + +
+ + +





+ +
+
+ +Das Kegelspiel - Historisches Gedicht (1885) +
+
+
+ + +
+
+
+ + +





+ + +
+
+ +'Der Kluge Elefant' (The clever elephant) 1902 +
+ + + +




+ + + +





+ + +
+
+ +'Der durstige Jumbo' (Thirsty Jumbo) 1902 + +
+ +Reinicke 'nach Hans Horina' +
+ + +




+ + + +





+ + + + + + + + \ No newline at end of file diff --git a/httpdocs/e.reinicke.html b/httpdocs/e.reinicke.html new file mode 100644 index 0000000..aa6f115 --- /dev/null +++ b/httpdocs/e.reinicke.html @@ -0,0 +1,116 @@ +Emil Reinicke + +
Home +           +Andy's Early Comics Archive

+ + + +Emil Reinicke + +

+ +
+
+
+
+		 + +
+Das jähzornige Nashorn' (The angry Rhino) (1886)

+

+ + +
+
+
+
+		 + +
+Die verschwundene Wurst - Eine merkwürdige Begebenheit (FB 1885)

+

+ + +
+
+
+
+		 + +
+Irren ist Menschlich (to err is human) (FB 1884)

+

+ + +
+
+
+
+		 + +
+Iberus - Eine antimusikalische Ballade (FB 1884)

+

+ + +
+
+
+
+		 + +
+Dr. Mokel in Afrika (FB 1884)

+

+ + +
+
+
+
+		 + +
+Sächsisches Landsknechtlied (FB 1885)

+

+ + +
+
+
+
+		 + +
+Das Kegelspiel - Historisches Gedicht (FB 1885)

+

+ + +
+
+
+
+		 + +
+Der Kluge Elefant (The clever elephant) (1902)

+

+ + +
+
+
+
+		 + +
+Der durstige Jumbo' (Thirsty Jumbo) (1902)

+

+ +



+ + + + + \ No newline at end of file diff --git a/httpdocs/e.reznicek.all.html b/httpdocs/e.reznicek.all.html new file mode 100644 index 0000000..1abd716 --- /dev/null +++ b/httpdocs/e.reznicek.all.html @@ -0,0 +1,31 @@ + +Reznicek + + + +
+ + +F. Reznicek + +
+
+ +
+
+
+
+ +





+





+





+ +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.reznicek.das.verbotene.buch.html b/httpdocs/e.reznicek.das.verbotene.buch.html new file mode 100644 index 0000000..e870fcd --- /dev/null +++ b/httpdocs/e.reznicek.das.verbotene.buch.html @@ -0,0 +1,23 @@ + +Reznicek + + + +
+ + +F. Reznicek + +
+
+





+ +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.reznicek.die.sphinx.html b/httpdocs/e.reznicek.die.sphinx.html new file mode 100644 index 0000000..9f2c848 --- /dev/null +++ b/httpdocs/e.reznicek.die.sphinx.html @@ -0,0 +1,29 @@ + +Reznicek + + + +
+ + +F. Reznicek + +
+
+ + +





+
+
+
+
+
+Smaller version +
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.reznicek.gehupft.wie.gesprungen.html b/httpdocs/e.reznicek.gehupft.wie.gesprungen.html new file mode 100644 index 0000000..7b0a8ae --- /dev/null +++ b/httpdocs/e.reznicek.gehupft.wie.gesprungen.html @@ -0,0 +1,25 @@ + +Reznicek + + + +
+ + +F. Reznicek + +
+
+ + +





+ +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.reznicek.html b/httpdocs/e.reznicek.html new file mode 100644 index 0000000..7426260 --- /dev/null +++ b/httpdocs/e.reznicek.html @@ -0,0 +1,34 @@ + +Reznicek + + + +
Home +           +Andy's Early Comics Archive

+ + +F. Reznicek + +
+
+ +Smaller version +
+
+
+
+ +





+





+





+ +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.reznicek.small.html b/httpdocs/e.reznicek.small.html new file mode 100644 index 0000000..0a5fcd3 --- /dev/null +++ b/httpdocs/e.reznicek.small.html @@ -0,0 +1,30 @@ + +Reznicek + + + +
Home +           +Andy's Early Comics Archive

+ + +F. Reznicek + +
+
+
+ +





+





+ +





+ +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.richards.all.html b/httpdocs/e.richards.all.html new file mode 100644 index 0000000..0aab2b8 --- /dev/null +++ b/httpdocs/e.richards.all.html @@ -0,0 +1,109 @@ +F.T. Richards + + +
+
+
+
+ +
Harper's Round Table Index

+ +F.T.Richards + +
+
+It's an Ill Wind Blows Nobody Good (Harper's Round Table, 1897) +
+ +




+ +
+
+
+
+ +




+ +




+ + +
+
+
+
+ +
+
+The Fakir and the Prestidigitateur (Harper's Round Table, 1897)
+ + + +




+ +
+
+
+
+
+ + +




+ +




+ +




+ +




+ + +




+ + + +
+ +
+
+
+
+ +
+
+An Occidental Transformation (Harper's Round Table, 1897)
+ + +




+ +
+
+
+
+
+ + +




+ + + +
+
+ +
+
+ +
+(Note: the rearrangement are the same letters backwards) + + + +
+
+
+
+
+ + + + + + \ No newline at end of file diff --git a/httpdocs/e.richards.html b/httpdocs/e.richards.html new file mode 100644 index 0000000..5f065db --- /dev/null +++ b/httpdocs/e.richards.html @@ -0,0 +1,49 @@ +F.T. Richards + +
Home +           +Andy's Early Comics Archive

+ + + +F.T. Richards + +

+ +
+
+
+
+		 + +
+It's an Ill Wind Blows Nobody Good (Harper's Round Table, 1897)

+

+ + +
+
+
+
+		 + +
+The Fakir and the Prestidigitateur (Harper's Round Table, 1897)

+

+ + +
+
+
+
+		 + +
+An Occidental Transformation (Harper's Round Table, 1897)

+

+ + + + + + \ No newline at end of file diff --git a/httpdocs/e.richards.sonntagsbeilage.html b/httpdocs/e.richards.sonntagsbeilage.html new file mode 100644 index 0000000..2a4a77e --- /dev/null +++ b/httpdocs/e.richards.sonntagsbeilage.html @@ -0,0 +1,64 @@ + +Richards + + + +
+ + +P. Richards +
+'Die Sonntagsbeilage' + + + +(The Sunday Supplement) + + +
+ + + +Berlin, 1907 +
+ + + + + + +
+
+ +
+ +This is probably the first text explaining the new phenomenon of American Sunday comics to a German audience. +
+ + +P.Richards was a German-American cartoonist, working in America. This is from a book of recollections, called 'Zeichner und Gezeichnete' . +Zeichner means draughtsmen/graphic artists /drawers' (Gezeichnete means 'those which have been drawn') +
+
+
+
+
+ +


+ + +



+



+



+



+



+



+



+ +
+Andy's Early Comics Archive
+ + +
+ + \ No newline at end of file diff --git a/httpdocs/e.roodkapje.1800.html b/httpdocs/e.roodkapje.1800.html new file mode 100644 index 0000000..5963a9e --- /dev/null +++ b/httpdocs/e.roodkapje.1800.html @@ -0,0 +1 @@ + Oortmann
G. Oortmann
Little Red Ridinghood (De Vertelling van Roodkapje)
Dutch Broadsheet -1800
publisher: by de Erve H. Rynders - earliest Dutch broadsheet after Perrault

\ No newline at end of file diff --git a/httpdocs/e.ross.1.html b/httpdocs/e.ross.1.html new file mode 100644 index 0000000..fc70de9 --- /dev/null +++ b/httpdocs/e.ross.1.html @@ -0,0 +1,107 @@ +Ally Sloper (1867) - Charles Ross & Marie Duval + + +
+ +'Ally Sloper' +
+ +by Charles Ross & Marie Duvall +
+ +1   +2   +3 +
+
+
+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ +



+



+



+



+



+



+ + +



+



+



+



+



+



+



+



+



+



+




+ + + + +



+



+



+



+



+



+



+



+



+



+



+



+



+ + +



+



+



+



+



+



+



+



+



+



+



+



+



+ + +1   +2   +3 + +
+Home +           +Andy's Early Comics Archive + + + +
+ + \ No newline at end of file diff --git a/httpdocs/e.ross.2.html b/httpdocs/e.ross.2.html new file mode 100644 index 0000000..c0a22a2 --- /dev/null +++ b/httpdocs/e.ross.2.html @@ -0,0 +1,100 @@ +Ally Sloper (1867) - Charles Ross & Marie Duval + + +
+ +'Ally Sloper' +
+by Charles Ross & Marie Duvall +
+1   +2   +3 +
+
+
+ +



+



+



+



+



+ +



+



+



+



+



+



+



+



+ + +



+



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+



+



+



+



+



+



+



+



+ + +



+



+



+



+



+



+



+



+



+



+



+



+ +



+



+



+



+



+



+



+



+



+



+



+



+



+ +



+



+



+



+



+



+



+



+



+



+



+



+



+ +1   +2   +3 + +
+Home +           +Andy's Early Comics Archive + + +
+ + \ No newline at end of file diff --git a/httpdocs/e.ross.3.html b/httpdocs/e.ross.3.html new file mode 100644 index 0000000..e227d92 --- /dev/null +++ b/httpdocs/e.ross.3.html @@ -0,0 +1,91 @@ +Ally Sloper (1867) - Charles Ross & Marie Duval + + +
+ +'Ally Sloper' +
+ +by Charles Ross & Marie Duvall +
+1   +2   +3 +
+
+
+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



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+ + + +



+



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+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



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+



+



+



+



+



+



+



+



+



+ +1   +2   +3 + +
+ + +Home +           +Andy's Early Comics Archive + + + +
+ + \ No newline at end of file diff --git a/httpdocs/e.ross.html b/httpdocs/e.ross.html new file mode 100644 index 0000000..f923351 --- /dev/null +++ b/httpdocs/e.ross.html @@ -0,0 +1,37 @@ +Charles Ross & Marie Duval + +
Home +           +Andy's Early Comics Archive

+ + + +Charles Ross & Marie Duval + +

+ +'Ally Sloper' (reprint in bookform, 1867) + +
+
+
+ + +
+Pages 18-39

+Pages 40-61

+Pages 62-82

+Pages 83-103

+Pages 104-125

+Pages 126-148

+Pages 149-176

+Pages 177-205


+ + +
+

+ + + + + \ No newline at end of file diff --git a/httpdocs/e.rowlandson.doctor.syntax.1.html b/httpdocs/e.rowlandson.doctor.syntax.1.html new file mode 100644 index 0000000..240ac3c --- /dev/null +++ b/httpdocs/e.rowlandson.doctor.syntax.1.html @@ -0,0 +1 @@ + Rowlandson - Doctor Sytax
1     2     3



This is not a comic. It's not even a sequential series of images, like a Hogarthian progress, or even illustrations of a novel.
But it can be seen as a milestone in comics history, because of the influence on Rodolphe Toepffer, who imitated the type of main character, the drawing style and the general atmosphere of countryfied wackyness.
The use and re-use of one striking visual character, generally recognized and popular, is certainly typical of many comics to come.


Thomas Rowlandson
THE TOUR
of
DOCTOR SYNTAX,
In search of the
PIC TURESQUE
A POEM

































































































































1     2     3


\ No newline at end of file diff --git a/httpdocs/e.rowlandson.doctor.syntax.2.html b/httpdocs/e.rowlandson.doctor.syntax.2.html new file mode 100644 index 0000000..6e5fb29 --- /dev/null +++ b/httpdocs/e.rowlandson.doctor.syntax.2.html @@ -0,0 +1 @@ + Rowlandson - Doctor Sytax
1     2     3

Thomas Rowlandson
DOCTOR SYNTAX,
In search of
Consolation


































































































1     2     3


\ No newline at end of file diff --git a/httpdocs/e.rowlandson.doctor.syntax.3.html b/httpdocs/e.rowlandson.doctor.syntax.3.html new file mode 100644 index 0000000..147ec73 --- /dev/null +++ b/httpdocs/e.rowlandson.doctor.syntax.3.html @@ -0,0 +1 @@ + Rowlandson - Doctor Sytax
1     2     3

Thomas Rowlandson
DOCTOR SYNTAX - In Search of a Wife





































































































1     2     3


\ No newline at end of file diff --git a/httpdocs/e.rowlandson.doctor.syntax.html b/httpdocs/e.rowlandson.doctor.syntax.html new file mode 100644 index 0000000..f79dfdb --- /dev/null +++ b/httpdocs/e.rowlandson.doctor.syntax.html @@ -0,0 +1 @@ + Thomas Rowlandson
Thomas Rowlandson
THE TOUR
of
DOCTOR SYNTAX,
In search of the
PIC TURESQUE
A POEM





























































































































Thomas Rowlandson
DOCTOR SYNTAX,
In search of
Consolation


































































































Thomas Rowlandson
DOCTOR SYNTAX





































































































\ No newline at end of file diff --git a/httpdocs/e.sarah.html b/httpdocs/e.sarah.html new file mode 100644 index 0000000..87f156f --- /dev/null +++ b/httpdocs/e.sarah.html @@ -0,0 +1,128 @@ + +Little Sarah and Her Johnny-Cake + + + +
+ + The Story of Little Sarah an Her Johnny-Cake
+(circa 1830)
+
+Boston: W.J.Reynolds & Co. +
+
+
+ + +
+

+ +
+ +



+

+ +
+Little Sarah she stood by her grandmother's bed,
+'And what shall I get for your breakfast?' she said;
+'You shall get me a Johnny-cake: quickly go make it, +In one minute mix, and in two minute bake it.'
+
+So Sarah she went to the closet to see
+If yet any meal in the barrel might be.
+The barrel had long time been empty as wind;
+Not a speck of the bright yellow meal could she find. +



+

+ +
+But grandmother's Johnny-cake - still she must make it,
+In one minute mix, and in two minutes bake it.
+
+She ran to the shop; but the shopkeeper said,
+'I have none - you must go to the mille, fair maid;
+'For he has a mill, and he'll put the corn to it,
+And grind you some nice yellow meal in a minute; +



+

+ +
+But run, or the Johnny-cake, how will you make it,
+In one minute mix, and in two minutes bake it?'
+
+Then Sarah she ran every step of the way;
+But the miller said, 'No, I have no meal today;
+Run, quick, to the cornfield, just over the hill,
+And if any be there, you may fetch it to mill. +



+

+ +
+Run, run, or the Johnny-cake, how will you make it,
+In one minute mix, and in two minutes bake it?'
+
+She ran to the cornfield - the corn had not grown,
+Though the sun in the blue sky all pleasantly shone.
+'Pretty sun', cried the maiden, 'please make the corn grow.'
+'Pretty maid', the sun answered, 'I cannot do so.' +



+

+ +
+'Then grandmother's Johnny-cake - how shall I make it,
+In one minute mix, and in two minutes bake it?'
+
+Then Sarah looked round, and she saw what was wanted;
+The corn could not grow, for no corn had been planted. +



+

+ +
+Shee asked of the farmer to sow her some grain,
+But the farmer he laughed till his sides ached again.
+'Ho! ho! for the Johnny-cake - how can you make it,
+In one minute mix, and in two minutes bake it?'
+
+The farmer he laughed, and he laughed out aloud, -
+'And how can I plant till the earth has been ploughed? +



+

+ +
+Run, run to the ploughman, and bring him with speed;
+He'll plough up the ground, and I'll fill it with seed.'
+
+Away, then, ran Sarah, still hoping to make it,
+In one minute mix, and in two minutes bake it. +



+

+ + +
+The ploughman he ploughed, and the grain it was sown,
+And the sun shed his rays till the corn was all grown;
+It was ground at the mill, and again in her bed
+These words to poor Sarah the grandmother said:
+'You shall get me a Johnny-cake - quickly go make it,
+In one minute mix, andin two minutes bake it.' +



+ + + + + +
+
+ + +
+
+
+Home +       +       +Andy's Early Comics Archive +
+ + + \ No newline at end of file diff --git a/httpdocs/e.scherenberg.all.html b/httpdocs/e.scherenberg.all.html new file mode 100644 index 0000000..ef8a4f6 --- /dev/null +++ b/httpdocs/e.scherenberg.all.html @@ -0,0 +1,67 @@ +H.Scherenberg + + +
+ + +H. Scherenberg + +

+ + +
+ + + + +
+
+
+Der Bauer und der Kobold (The peasant and the kobold) +
+ + +



+












+ + +
+Ferientag eines Zerstreuten (Holiday of someone very distracted) +





+ +












+ +
+Das Ständchen (The serenade) +
+ +
+



+












+ +
+Die entführte Wurst (The kidnapped sausage) +





+ + +












+ + + + + + +Die Drei Wünsche (The three wishes) +





+ + +
+
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.scherenberg.html b/httpdocs/e.scherenberg.html new file mode 100644 index 0000000..ccefcec --- /dev/null +++ b/httpdocs/e.scherenberg.html @@ -0,0 +1,79 @@ +H.Scherenberg + +
Home +           +Andy's Early Comics Archive

+ + + +H.Scherenberg + +

+ + +
+
+
+
+		 + +
+Der Bauer und der Kobold (The peasant and the kobold)

+

+ + +
+
+
+
+		 + +
+Die entführte Wurst (The kidnapped sausage)

+

+ + +
+
+
+
+		 + +
+Das Ständchen (The serenade)

+

+ + +
+
+
+
+		 + +
+Ferientag eines Zerstreuten (Holiday of someone very distracted)

+

+ + +
+
+
+
+		 + +
+Die Drei Wünsche (The three wishes)

+

+ + + +
+
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.schliessmann.html b/httpdocs/e.schliessmann.html new file mode 100644 index 0000000..530a844 --- /dev/null +++ b/httpdocs/e.schliessmann.html @@ -0,0 +1,31 @@ + Schliessmann + + +
+ + + +Schliessmann + +
+
+
+ + +'Der Sechsfüssler - ein Clownscherz' (The six-footer, a clownish joke) +
+
+
+ + +




+




+




+




+




+




+ + +


+ + \ No newline at end of file diff --git a/httpdocs/e.schmidthammer.html b/httpdocs/e.schmidthammer.html new file mode 100644 index 0000000..c9586f7 --- /dev/null +++ b/httpdocs/e.schmidthammer.html @@ -0,0 +1,104 @@ +Arpad Schidthammer + + +
+ + + + + + +Arpad Schmidthammer + +
+ +(1905) + +
+ +
+ + + + + + + +
+
+ + + + +
+This was very likely an inspiration for 'The Kinder-Kids' by Lionel Feininger. Schmidthammer's 'Mucki' had just been published when Feininger (living in Germany) was commisioned by the Chicago Tribune to come up with a comic strip. The style and content, especially the trip-round-the-world nonsense, shows similarities, although Feininger is far more inventive. - Schmidthammer himself was influenced by Busch, the plump parents are classic Busch (see Tobias Knop and wife), and the gag of hanging onto the stork is lifted from Max and Moritz. + + + +
+
+
+ + +Schmidthammer 1905 (from the picture book below) +
+
+ + +
+
+
+
+ +Feininger 'Kinder-Kids' (1906)

+ + +   + +

+ + +
+
+
+ + + +
+
+
+
+
+
+ + + +
+
+
+ + + + + + + + + + + + + + + + + + + +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.schoenborn.all.html b/httpdocs/e.schoenborn.all.html new file mode 100644 index 0000000..fba466b --- /dev/null +++ b/httpdocs/e.schoenborn.all.html @@ -0,0 +1,30 @@ + Schönborn + + +
+ +R. Schönborn + +
+
+ + + +
+
+




+ + + + + + + + +
+
+ +



+
+ + diff --git a/httpdocs/e.shepherd.james.all.html b/httpdocs/e.shepherd.james.all.html new file mode 100644 index 0000000..b07ae0f --- /dev/null +++ b/httpdocs/e.shepherd.james.all.html @@ -0,0 +1,52 @@ +James A. Shepherd + + +
+ + + +James A. Shepherd + +
+
+
+
+
+Parrot and Dog (Boys' Own Paper 1891)
+
+ + +

+
+ + +
+One of numerous sequential strips told via word balloons/in-panel dialogue by British artist James A. Shepherd in the 1880's and early 1890's, in various magazines. This example comes from The Boys' Own Paper, February 21, 1891, volume 13, issue 632, page 329.     +
+Doug Wheeler + +
+ + +(from the collection of Doug Wheeler) +
+
+
+
+
+
+ +
+(from 'Album Noel', 1900) + +
+
+'Les grenouilles et le héron'
+ +
+ + +




+ + + \ No newline at end of file diff --git a/httpdocs/e.shepherd.james.html b/httpdocs/e.shepherd.james.html new file mode 100644 index 0000000..f95d9bd --- /dev/null +++ b/httpdocs/e.shepherd.james.html @@ -0,0 +1,40 @@ +James A. Shepherd + +
Home +           +Andy's Early Comics Archive

+ + + +James A. Shepherd + +

+ +
+
+
+
+		 + +
+Parrot and Dog (Boys' Own Paper 1891)

+

+ + +
+
+
+
+		 + +
+Les Grenouilles et le héron

+

+ + + + + + + + \ No newline at end of file diff --git a/httpdocs/e.shepherd.parrot.1891.html b/httpdocs/e.shepherd.parrot.1891.html new file mode 100644 index 0000000..e6786d0 --- /dev/null +++ b/httpdocs/e.shepherd.parrot.1891.html @@ -0,0 +1,34 @@ + +James A. Shepherd + + + +
+ + +James A. Shepherd - 1891 + +
+
+ +

+
+ + +
+One of numerous sequential strips told via word balloons/in-panel dialogue by British artist James A. Shepherd in the 1880's and early 1890's, in various magazines. This example comes from The Boys' Own Paper, February 21, 1891, volume 13, issue 632, page 329.     +
+Doug Wheeler + +
+
+
+ +(from the collection of Doug Wheeler) +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.sisters_1825.html b/httpdocs/e.sisters_1825.html new file mode 100644 index 0000000..ef81bd6 --- /dev/null +++ b/httpdocs/e.sisters_1825.html @@ -0,0 +1 @@ +The Two Sisters (circa 1825)
The Two Sisters
(circa 1825)

From The Pretty Primer (The Juvenile Gem)
Huestis & Cozans, 104 Nassau Street, New York



           


           


           


           


\ No newline at end of file diff --git a/httpdocs/e.storch.all.html b/httpdocs/e.storch.all.html new file mode 100644 index 0000000..f9d8717 --- /dev/null +++ b/httpdocs/e.storch.all.html @@ -0,0 +1,123 @@ + C.Storch + + +
+ + + +C. Storch + +
+
+ (Eight comics from circa 1900)
+ +
+
+
+
+
+'Der Automobilfahrer wider Willen' (The unwilling motorist)
+ +Storch after R.Bergan +




+




+




+




+ +







+'Blinder Eifer' (Blind Zeal) +




+ + +




+




+




+




+




+




+ +







+'Bestrafter Geiz' (Punished Selfishness) +
+
+ +
+




+




+




+




+




+




+ +




+ + +'Glück im Unglück'
+ (German saying: bad luck which turns out to be not so bad, 'luck within bad luck')
+Storch after Pomerhanz + +




+ + +




+




+




+







+ +'Gnom und Maulwurf' (Gnome and Mole) +




+ + +




+




+




+




+







+ +'Verunglückter Musikuntericht' (The music lesson that went wrong) +




+ + +




+




+




+




+




+




+




+




+







+ + +'Der Maler und der Stier' (The Painter and the Bull) +




+ + +




+




+







+ +'Die Zwerge und der Fischer' (The Dwarfs and the Fisherman) +




+ + +




+




+




+




+







+ +'Hausherr und Automobil' (Houseowner and Automobile) +
+(not a comic, but cute) +




+ + +




+ +
+Andy's Early Comics Archive + +
+ + \ No newline at end of file diff --git a/httpdocs/e.storch.html b/httpdocs/e.storch.html new file mode 100644 index 0000000..a47ac9a --- /dev/null +++ b/httpdocs/e.storch.html @@ -0,0 +1,110 @@ +C. Storch + +
Home +           +Andy's Early Comics Archive

+ + + +C. Storch + +

+ +
+
+
+
+		 + +
+Der Automobilfahrer wider Willen (The unwilling motorist)

+

+ + +
+
+
+
+		 + +
+Bestrafter Geiz (Punished Selfishness)

+

+ + +
+
+
+
+		 + +
+Blinder Eifer (Blind Zeal)

+

+ + +
+
+
+
+		 + +
+Glück im Unglück - Storch after Pomerhanz

+

+ + +
+
+
+
+		 + +
+Gnom und Maulwurf (Gnome and Mole)

+

+ + +
+
+
+
+		 + +
+Der Maler und der Stier (The Painter and the Bull)

+

+ + +
+
+
+
+		 + +
+Verunglückter Musikuntericht (The music lesson that went wrong)

+

+ + +
+
+
+
+		 + +
+Die Zwerge und der Fischer (The Dwarfs and the Fisherman)

+

+ + + +
+
+
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.storkmann_indiquer.html b/httpdocs/e.storkmann_indiquer.html new file mode 100644 index 0000000..1af383d --- /dev/null +++ b/httpdocs/e.storkmann_indiquer.html @@ -0,0 +1,27 @@ +fStorkmann + + +
+ + + + + +Storkmann + + +
+
+ +
+
+(larger) +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.sullivan.james.francis.html b/httpdocs/e.sullivan.james.francis.html new file mode 100644 index 0000000..6eb1c6e --- /dev/null +++ b/httpdocs/e.sullivan.james.francis.html @@ -0,0 +1,42 @@ + +Sullivan + + + +
+ + +James Francis Sullivan + +

+
+
+
+ + + +
+(from the collection of Doug Wheeler) +
+
+ + + + +
+
+
+
+









+









+









+









+ + + +
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.tenniel.all.html b/httpdocs/e.tenniel.all.html new file mode 100644 index 0000000..440d632 --- /dev/null +++ b/httpdocs/e.tenniel.all.html @@ -0,0 +1,115 @@ + John Tenniel Index' + + +
+ + +John Tenniel (1820-1914) +
+
+ + + (the illustrator of Alice in Wonderland, 1864)
+ +
+ +Mr. Piper (1853)
+ +
+
+ + + +How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking'
+Near Burhampoor, Bengal +
+
+
+
+
+How Mr. Peter Piper Tried his Hand at Buffalo-shooting
+Near Burhampoor, Bengal +
+ +
+
+
+
+How Mr. Peter Piper Was Induced to Join in a Bear-hunt
+Near Burhampoor, Bengal +
+ +
+
+
+
+
+How Mr. Peter Piper Accepted an Invitation
+From the Rajah of Rhubburddubdub to Hunt a 'Royal Bengal Tiger' +
+ + + + + + + + + + + + +
+
+ +
+ +
+ + + + +
+ + + +John Tenniel - Mr Spoonbill 1855 +
+ + +This was published in three installments, in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. + + +
+
+ +
+ +
+ +
+ +
+
+ +
+ +
+ + +
+ +
+ +
+ +
+ + +
+
+ + + + + diff --git a/httpdocs/e.tenniel.html b/httpdocs/e.tenniel.html new file mode 100644 index 0000000..fb58fe8 --- /dev/null +++ b/httpdocs/e.tenniel.html @@ -0,0 +1,95 @@ + John Tenniel Index' + +
Home +           +Andy's Early Comics Archive

+ +John Tenniel (1820-1914) +
+ + +(the illustrator of Alice in Wonderland, 1864) + +




+ +1853 + +
+
+
+
+		 + +
+ +How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking'

+

+ + +
+
+
+
+		 + +
+ +How Mr. Peter Piper Tried his Hand at Buffalo-shooting

+

+ + +
+
+
+
+		 + +
+ +How Mr. Peter Piper Was Induced to Join in a Bear-hunt

+

+ + +
+
+
+
+		 + +
+ +How Mr. Peter Piper Accepted an Invitation from the Rajah of Rhubburddubdub to Hunt a 'Royal Bengal Tiger'

+

+ +(all Mr. Piper at once) +
+
+
+
+
+
+ +1855 + +
+
+
+
+		 + +
+ +Mr Spoonbill

+These 19 panels were published as three installments in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. + +

+ + +
+
+ +
+
+ + + diff --git a/httpdocs/e.tenniel.piper.1.pig-sticking.html b/httpdocs/e.tenniel.piper.1.pig-sticking.html new file mode 100644 index 0000000..b9ae51e --- /dev/null +++ b/httpdocs/e.tenniel.piper.1.pig-sticking.html @@ -0,0 +1,97 @@ +John Tenniel - Mr. Piper + + + +
+ +John Tenniel (1853)
+
+
+
+
+
How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking'
+Near Burhampoor, Bengal +
+ + + +
+Mr. Peter Piper rides to cover, and comes to the conclusion, that a camels back bears little or no resemblance to an arm-chair. +
+
+
+
+ + + +
+Having arrived at the 'Hunting Ground', Mr. Peter Piper tries to take a 'first spear' and fails. +
+
+
+
+ + + +
+Mr. Peter Piper begins to think 'pig-sticking' a sport only fit for maniacs. He anathematizes all foreign countries - +
+
+
+
+ + + +
+- and Bengal in particular, and fervently wishes himself in the bosom of his family. +
+
+
+
+ + + +
+After a tremendous run for his life, Mr. Peter Piper meets a trusty syce, who, to the intense delight of Mr. Piper has brought his horse. +
+
+
+
+ + + +
+On his way through the jungle, Mr. Peter Piper encounters a 'sounder' and dispatches three 'hogs' in gallant style. +
+
+
+
+ + + +
+He persues his way in a triumphant manner - +
+
+
+
+ + + +
+- and ultimately rejoins his friends at 'tiffin', where he affirms that a day's 'pig-sticking' is the height of all human enjoyment and Bengal rather a jolly place than otherwise. +
+
+
+
+ +
+ + + +
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.tenniel.piper.2.buffalo-shooting.html b/httpdocs/e.tenniel.piper.2.buffalo-shooting.html new file mode 100644 index 0000000..89e310d --- /dev/null +++ b/httpdocs/e.tenniel.piper.2.buffalo-shooting.html @@ -0,0 +1,105 @@ +John Tenniel - Mr. Piper + + + +
+ +John Tenniel (1853)
+ + +
+
+
+
+
+
How Mr. Peter Piper Tried his Hand at Buffalo-shooting
+Near Burhampoor, Bengal +
+ + + +
+Mr. Peter Piper is morally certain that he can't possibly fire without upsetting the canoe. +
+
+
+
+ + + + +
+Moment of intense anxiety - Mr. Peter Piper fires and his prediction is fulfilled. +
+
+
+
+ + + + +
+The shot, however, takes effect - the buffolo becomes a corpse, but Mr. Peter Piper thinks it hardly worthwhile securing the body. +
+
+
+
+ + + + +
+Mr. Peter Piper has no faith whatever in 'those gimcrack canoes' and begins to think buffalo-shooting 'very poor fun' as compared with 'pig-sticking'. He takes a little refreshment. +
+
+
+
+ + + + +
+Terrific descent of a heard of buffalos. Mr. Peter Piper is seized with a panic - +
+
+
+
+ + + + +
+- and with considerable difficulty climbs into a tree for safety. Peculiarly perplexing position of Mr. Peter Piper. +
+
+
+
+ + + + +
+But a well-directed second barrel settles the matter satisfactorily, and Mr. Peter Piper 'knocks over' the 'monster' in gallant style. +
+
+
+
+ + + + +
+Having secured the skin and horns as trophies of his prowess, Mr. Peter Piper returns to Burhampoor in a triumphant manner. +
+
+
+
+
+
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.tenniel.piper.3.bear-hunt.html b/httpdocs/e.tenniel.piper.3.bear-hunt.html new file mode 100644 index 0000000..217364e --- /dev/null +++ b/httpdocs/e.tenniel.piper.3.bear-hunt.html @@ -0,0 +1,106 @@ +John Tenniel - Mr. Piper + + + +
+ +John Tenniel (1853)
+
+ +
+
+ +
+
+
+
How Mr. Peter Piper Was Induced to Join in a Bear-hunt
+Near Burhampoor, Bengal +
+ + + +
+Mr. Peter Piper takes up what he considers to be a 'first-rate' position'. The firework is about to be thrown into the den of the bear - moment of intense exitement. +
+
+
+
+ + + + + +
+Sudden and unexpected appearance of a bear in the wrong direction. Mr. Peter Piper begins to think his position rather inferior than otherwise. +
+
+
+
+ + + + +
+But - nothing daunted - he grapples manfully with his ferocious antagonist, and a terrific struggle ensues. +
+
+
+
+ + + + +
+In due course of time Mr. Peter Piper and the ferocious antagonist arrive at the bottom of the ravine, in a very dilapidated and exhausted condition. +
+
+
+
+ + + + +
+Having collected his scattered senses, Mr. Peter Piper is determined to subdue the monster or 'perish in the attempt'. He prepares to renew the conflict. +
+
+
+
+ + + + +
+A desperate struggle ensues and Mr. Peter Piper is on the point of 'perishing in the attempt', when a timely shot from his trusty syce alters the position of affairs. +
+
+
+
+ +
+ +
+
+
+
+ +
+Mr. Peter Piper returns to Burhampoor in a triumphant manner, and begins to look upon himself in the light of a hero. +
+
+
+ +
+
+
+ + +
+
+ +
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.tenniel.piper.4.bengal.tiger.html b/httpdocs/e.tenniel.piper.4.bengal.tiger.html new file mode 100644 index 0000000..2cb7adc --- /dev/null +++ b/httpdocs/e.tenniel.piper.4.bengal.tiger.html @@ -0,0 +1,104 @@ +John Tenniel - Mr. Piper + + + +
+ +John Tenniel (1853)
+
+ +
+
+
+
How Mr. Peter Piper Accepted an Invitation
+From the Rajah of Rhubburddubdub to Hunt a 'Royal Bengal Tiger' +
+ + +
+Elated by his recent triumphs, Mr. Peter Piper is determined to perform prodigies of valour, but is somewhat disconcerted on trying to mout his elephant in an active manner. +
+
+
+
+ + + + +
+On entering the jungle an appaling growl is distinctly audible; the elephant is seized with a panic and gets rid of Mr. Peter Piper by a summary process. +
+
+
+
+ + + + +
+Bewildered condition of Mr. Peter Piper on reaching the ground. (Another growl). Wherever he turns his frenzied gaze he 'makes sure' he sees the tiger. He begins to feel no longer valiant - +
+
+
+
+ + + + +
+- and is on the point of 'lifting up his voice' for help, when the Mahout reappears with the elephant, which performs a timely service by lifting up his body. Mr. Peter Piper is rescued from the horrors of his position. +
+
+
+
+ + + + +
+Once more securely seated on the back of the elephant, Mr. Peter Piper persues the chase with renewed energy. Terrific appearance of the 'Royal Bengal Tiger'. +
+
+
+
+ + + + +
+Ungovernable rage of the infuriated elephant. The 'Royal Bengal Tiger ' falls to rise no more. In the intensity of the excitement Mr. Peter Piper looses his equilibrium. +
+
+
+
+ + + + +
+On regaining his perpendicular Mr. Peter Piper perceives the dangerous condition of the 'feline monster' , and determines to 'polish him off at once' . He does so in gallant style. +
+
+
+
+ + + + +
+Mr. Peter Piper receives the congratulations of his friends for the 'indomitable courage' and 'reckless daring' he has manifested throughout the perils of the day's adventure. +
+
+
+
+ + +
+
+ +
+
+ + + + \ No newline at end of file diff --git a/httpdocs/e.tenniel.piper.html b/httpdocs/e.tenniel.piper.html new file mode 100644 index 0000000..df93ef8 --- /dev/null +++ b/httpdocs/e.tenniel.piper.html @@ -0,0 +1 @@ +John Tenniel - Mr. Piper
John Tenniel (1853)


How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking'
Near Burhampoor, Bengal
Mr. Peter Piper rides to cover, and comes to the conclusion, that a camels back bears little or no resemblance to an arm-chair.



Having arrived at the 'Hunting Ground', Mr. Peter Piper tries to take a 'first spear' and fails.



Mr. Peter Piper begins to think 'pig-sticking' a sport only fit for maniacs. He anathematizes all foreign countries -



- and Bengal in particular, and fervently wishes himself in the bosom of his family.



After a tremendous run for his life, Mr. Peter Piper meets a trusty syce, who, to the intense delight of Mr. Piper has brought his horse.



On his way through the jungle, Mr. Peter Piper encounters a 'sounder' and dispatches three 'hogs' in gallant style.



He persues his way in a triumphant manner -



- and ultimately rejoins his friends at 'tiffin', where he affirms that a day's 'pig-sticking' is the height of all human enjoyment and Bengal rather a jolly place than otherwise.















How Mr. Peter Piper Tried his Hand at Buffalo-shooting
Near Burhampoor, Bengal
Mr. Peter Piper is morally certain that he can't possibly fire without upsetting the canoe.



Moment of intense anxiety - Mr. Peter Piper fires and his prediction is fulfilled.



The shot, however, takes effect - the buffolo becomes a corpse, but Mr. Peter Piper thinks it hardly worthwhile securing the body.



Mr. Peter Piper has no faith whatever in 'those gimcrack canoes' and begins to think buffalo-shooting 'very poor fun' as compared with 'pig-sticking'. He takes a little refreshment.



Terrific descent of a heard of buffalos. Mr. Peter Piper is seized with a panic -



- and with considerable difficulty climbs into a tree for safety. Peculiarly perplexing position of Mr. Peter Piper.



But a well-directed second barrel settles the matter satisfactorily, and Mr. Peter Piper 'knocks over' the 'monster' in gallant style.



Having secured the skin and horns as trophies of his prowess, Mr. Peter Piper returns to Burhampoor in a triumphant manner.











How Mr. Peter Piper Was Induced to Join in a Bear-hunt
Near Burhampoor, Bengal
Mr. Peter Piper takes up what he considers to be a 'first-rate' position'. The firework is about to be thrown into the den of the bear - moment of intense exitement.



Sudden and unexpected appearance of a bear in the wrong direction. Mr. Peter Piper begins to think his position rather inferior than otherwise.



But - nothing daunted - he grapples manfully with his ferocious antagonist, and a terrific struggle ensues.



In due course of time Mr. Peter Piper and the ferocious antagonist arrive at the bottom of the ravine, in a very dilapidated and exhausted condition.



Having collected his scattered senses, Mr. Peter Piper is determined to subdue the monster or 'perish in the attempt'. He prepares to renew the conflict.



A desperate struggle ensues and Mr. Peter Piper is on the point of 'perishing in the attempt', when a timely shot from his trusty syce alters the position of affairs.




Mr. Peter Piper returns to Burhampoor in a triumphant manner, and begins to look upon himself in the light of a hero.








How Mr. Peter Piper Accepted an Invitation
From the Rajah of Rhubburddubdub to Hunt a 'Royal Bengal Tiger'
Elated by his recent triumphs, Mr. Peter Piper is determined to perform prodigies of valour, but is somewhat disconcerted on trying to mout his elephant in an active manner.



On entering the jungle an appaling growl is distinctly audible; the elephant is seized with a panic and gets rid of Mr. Peter Piper by a summary process.



Bewildered condition of Mr. Peter Piper on reaching the ground. (Another growl). Wherever he turns his frenzied gaze he 'makes sure' he sees the tiger. He begins to feel no longer valiant -



- and is on the point of 'lifting up his voice' for help, when the Mahout reappears with the elephant, which performs a timely service by lifting up his body. Mr. Peter Piper is rescued from the horrors of his position.



Once more securely seated on the back of the elephant, Mr. Peter Piper persues the chase with renewed energy. Terrific appearance of the 'Royal Bengal Tiger'.



Ungovernable rage of the infuriated elephant. The 'Royal Bengal Tiger ' falls to rise no more. In the intensity of the excitement Mr. Peter Piper looses his equilibrium.



On regaining his perpendicular Mr. Peter Piper perceives the dangerous condition of the 'feline monster' , and determines to 'polish him off at once' . He does so in gallant style.



Mr. Peter Piper receives the congratulations of his friends for the 'indomitable courage' and 'reckless daring' he has manifested throughout the perils of the day's adventure.





\ No newline at end of file diff --git a/httpdocs/e.tenniel.spoonbill.html b/httpdocs/e.tenniel.spoonbill.html new file mode 100644 index 0000000..aead192 --- /dev/null +++ b/httpdocs/e.tenniel.spoonbill.html @@ -0,0 +1 @@ +f Mr. Spoonbill
Mr. Spoonbill (1855)



\ No newline at end of file diff --git a/httpdocs/e.toepffer-aubert.html b/httpdocs/e.toepffer-aubert.html new file mode 100644 index 0000000..e6ebe95 --- /dev/null +++ b/httpdocs/e.toepffer-aubert.html @@ -0,0 +1 @@ + Töpffer - Pirate Copy of 'Vieuxbois'
French pirate edition of 'Monsieur Vieuxbois' by anonymous artist, 1839
The original edition by Toepffer only had a very small printrun , so this rather awful pirate copy was made in Paris. What makes this extremely important is that it got into the hands of a British publisher who again made a copy of it. This British 'copy of a copy' was made by a better artist than the perpetrator of the stuff below. And it became the first long comicbook in England, and indeed America, because an American edition with the British printingblocks was made soon afterwards.
It's not quite correct to see in this the beginning of US comics literature, because the main inspiration came from later artists, who were probably inspired by the original versions of Toepffer . (This needs more research.)




Page 2 and 3 advertise further Aubert products:






The 'preface', without the many figures in the background. (Which are a wonderful example of Töpffer's draughtsmanship)


Page 2 -12 . Notice the missing soldiers: making fun of the military is one thing in liberal Switzerland, but quite another in Paris. Compare with the original.



























































Comparison of key sequence in Vieuxbois (second version, 1839) and the Aubert pirate version (1839) and the Obadia Oldbuck US version (1842)









These enlightening comments were sent to the Platinumcomics discussion group (Message 6980) by Leonardo di Sá

Chronologically we have:

1837: first Swiss Rodolphe Töpffer edition of his "Histoire de Mr. Vieux Bois".
1839: early this year were published the first Aubert versions of three Töpffer albums, including "Vieux Bois".
1839: in April, in Geneva, Töpffer released the second improved edition of his "Vieux Bois" in reaction to the bootlegs.
1839: by the end of the year Töpffer's protests against the bad quality of the fakes had apparently Aubert do second editions of the three stories, now closer to the originals.
1841: late this year "The Adventures of Mr. Obadiah Oldbuck" was published in Great Britain by Tilt & Bogue, in London.
1842: the British edition was reprinted in the USA in another format by Wilson and Company, New York, dated September 14, 1842, as a supplement to "Brother Jonathan" Extra no. IX.

One should note that a mid-nineteenth century reprint or copy is not photographically the *same* as the original printing. We have talked about this before and this Töpffer case is exemplary. A manual copy redrawn by some artisan is just that: A COPY. The result can be one of three things:

- the almost exact duplication of the original, which is not very likely or common;

- the simplified version of the drawings as compared to the original, which is what happens in most instances;

- and finally, the copy can add some sort of detail as compared to the original, which just goes to show that engravers had a fair amount of liberty.

Now, what we first have here is a somewhat crude (simplified) Parisian copy of the Töpffer originals. Then we have another Brit / American copy which apparently adds some flourishing to the drawings. As far as it goes, this doesn't seem at all impossible.

From the comparison of Töpffer's 1839 version of "Vieux Bois", the known Aubert bootleg and the Brit / American editions I would say that was exactly what happened.

And this is what Andy has plainly shown us.

We know that Töpffer had a private distribution *network* that allowed for copies of his albums to be sold by book-dealers abroad: Cherbuliez in Paris, Jules Gerster in Neuchâtel, in Tübingen (Germany), in London, etc. But we also know that there weren't really enough Swiss copies to go around. Even Paris, sharing the same language, didn't get an adequate amount of copies - and this permitted the appearance of the Parisian counterfeits. Most probably very few original Töpffer editions made it to England.

On the other hand we know that Aubert had it's authorized agent in London, Delaporte's in the Burlington Arcade (remember we are talking about the first half of the nineteenth century, when any educated Englishman had at least some knowledge of French...) and the Parisian publisher was in contact with Tilt & Bogue. We also have George Cruikshank's assertion that the frontispiece for the British edition was "copied from a French book by my Brother."

BUT...

The problem is that I at least do not know the Töppfer 1837 published version which was the direct original for the Parisian bootleg. Nor do I know anyone who has that edition, which was also NEVER reprinted.

To further complicate matters, there were the different Aubert versions of the three albums. Reportedly, the first versions published in early 1939 deviated from the originals (inverted drawings et al) whereas the second editions had corrections introduced. Andy's copy is surely a second bootleg edition, not a first. For one it does not have any inverted drawings and besides the publisher's catalog has two of Cham's comic strip albums which also came out in 1839 but only AFTER the first Töpffer counterfeits ("Mr. Lamélasse" and "Histoire de Mr. Lajaunisse").

It *could* well be that Obadiah is CLOSER in detail to the 1837 Töpffer version than to the 1839 Aubert edition, but this can only be deduced if we can compare all versions.

In conclusion: in all likelihood, the British Tilt & Bogue edition (and hence the American) was indeed taken from the Parisian Aubert. But we will not know absolutely for sure until we have seen the missing versions.

I have discussed this problem some months ago with Michel Kempeneers and Thierry Smo., namely the possibly of having copies made from some library in Switzerland. Unfortunately nothing has yet surfaced.

Leo



 


\ No newline at end of file diff --git a/httpdocs/e.toepffer-pirate-obadiah.html b/httpdocs/e.toepffer-pirate-obadiah.html new file mode 100644 index 0000000..655ab90 --- /dev/null +++ b/httpdocs/e.toepffer-pirate-obadiah.html @@ -0,0 +1 @@ +Comparison of Töpffer's Vieuxbois, the pirate edition and Obadia Oldbuck
Comparison of key sequence in Vieuxbois (second version, 1839) and the Aubert pirate version (1839) and the Obadia Oldbuck US version (1842)









These enlightening comments were sent to the Platinumcomics discussion group (Message 6980) by Leonardo di S´;

Chronologically we have:

1837: first Swiss Rodolphe Töpffer edition of his "Histoire de Mr. Vieux Bois".
1839: early this year were published the first Aubert versions of three Töpffer albums, including "Vieux Bois".
1839: in April, in Geneva, Töpffer released the second improved edition of his "Vieux Bois" in reaction to the bootlegs.
1839: by the end of the year Töpffer's protests against the bad quality of the fakes had apparently Aubert do second editions of the three stories, now closer to the originals.
1841: late this year "The Adventures of Mr. Obadiah Oldbuck" was published in Great Britain by Tilt & Bogue, in London.
1842: the British edition was reprinted in the USA in another format by Wilson and Company, New York, dated September 14, 1842, as a supplement to "Brother Jonathan" Extra no. IX.

One should note that a mid-nineteenth century reprint or copy is not photographically the *same* as the original printing. We have talked about this before and this Töpffer case is exemplary. A manual copy redrawn by some artisan is just that: A COPY. The result can be one of three things:

- the almost exact duplication of the original, which is not very likely or common;

- the simplified version of the drawings as compared to the original, which is what happens in most instances;

- and finally, the copy can add some sort of detail as compared to the original, which just goes to show that engravers had a fair amount of liberty.

Now, what we first have here is a somewhat crude (simplified) Parisian copy of the Töpffer originals. Then we have another Brit / American copy which apparently adds some flourishing to the drawings. As far as it goes, this doesn't seem at all impossible.

From the comparison of Töpffer's 1839 version of "Vieux Bois", the known Aubert bootleg and the Brit / American editions I would say that was exactly what happened.

And this is what Andy has plainly shown us.

We know that Töpffer had a private distribution *network* that allowed for copies of his albums to be sold by book-dealers abroad: Cherbuliez in Paris, Jules Gerster in Neuchâtel, in Tübingen (Germany), in London, etc. But we also know that there weren't really enough Swiss copies to go around. Even Paris, sharing the same language, didn't get an adequate amount of copies - and this permitted the appearance of the Parisian counterfeits. Most probably very few original Töpffer editions made it to England.

On the other hand we know that Aubert had it's authorized agent in London, Delaporte's in the Burlington Arcade (remember we are talking about the first half of the nineteenth century, when any educated Englishman had at least some knowledge of French...) and the Parisian publisher was in contact with Tilt & Bogue. We also have George Cruikshank's assertion that the frontispiece for the British edition was "copied from a French book by my Brother."

BUT...

The problem is that I at least do not know the Töppfer 1837 published version which was the direct original for the Parisian bootleg. Nor do I know anyone who has that edition, which was also NEVER reprinted.

To further complicate matters, there were the different Aubert versions of the three albums. Reportedly, the first versions published in early 1939 deviated from the originals (inverted drawings et al) whereas the second editions had corrections introduced. Andy's copy is surely a second bootleg edition, not a first. For one it does not have any inverted drawings and besides the publisher's catalog has two of Cham's comic strip albums which also came out in 1839 but only AFTER the first Töpffer counterfeits ("Mr. Lamélasse" and "Histoire de Mr. Lajaunisse").

It *could* well be that Obadiah is CLOSER in detail to the 1837 Töpffer version than to the 1839 Aubert edition, but this can only be deduced if we can compare all versions.

In conclusion: in all likelihood, the British Tilt & Bogue edition (and hence the American) was indeed taken from the Parisian Aubert. But we will not know absolutely for sure until we have seen the missing versions.

I have discussed this problem some months ago with Michel Kempeneers and Thierry Smo., namely the possibly of having copies made from some library in Switzerland. Unfortunately nothing has yet surfaced.

Leo



 



\ No newline at end of file diff --git a/httpdocs/e.toepffer.cruiksh.html b/httpdocs/e.toepffer.cruiksh.html new file mode 100644 index 0000000..f16e7c1 --- /dev/null +++ b/httpdocs/e.toepffer.cruiksh.html @@ -0,0 +1 @@ + Cruikshank Influence
"The Last Chance" George Cruikshank's illustration for Oliver Twist (1939)    and Mr Vieux Bois (1839 version)



(Sent to the Platinum Comics mailinglist by Thierry Smolderen)

Rodolphe's father, Adam, who was an excellent caricaturist in the english tradition, made a trip to england (during Rodolphe's youth) and evidently brought back some material from there. The influence of Rowlandson is particularly visible in the aquatint by Adam Toepffer . The Toepffers were anglophiles in a town (Geneva) where a lot of rich englishmen visited, and I guess there was a constant flux of books between the capitals of Europe, as book were (and still are), the perfect token of friendship from individual to individual.As someons said in this thread, it's probably safe to take for granted that most of the actors concerned by political caricature, illustrated books, printed sketchbooks, picture-novels etc. where aware of each other's work.
There is a tantalizing Toepffer-Cruikshank-Grandville triangle of reciprocal influence (Cruikshank's career of course, was long enough to permit early influence on someone that he would later be influenced by). I submit this to you all (I'll try to check it out myself at the CNBDI this afternoon) : - one image is from the 1839 edition of Mr Vieux Bois : it shows Mr Vieux Bois on a roof, escaping from jail : notice the general framing, the chimney, the rope, the dog. - all these elements are found in one of Cruishank's best known illustrative work for Oliver Twist : Sike's escape ("The last chance"), also published in 1839.
All the elements are there : the dog, the chimney, the rope, the escape theme, the framing etc.
It could be a coincidence, of course. Or maybe there is a "third party" influence. Anyway, here's is what Vogler writes about this image in "Graphics Works of George Cruikshank" (Dover) : "The Last Chance : After Dickens had written the text for this illustration, he wrote to Cruikshank "that the scene of Sikes' escape will not do for illustration. It is so very complicated, with such a multituyde of figures, such violent action and torch-light to boot, that a small plate could not take in the slightest idea of it". Notwhistanding this comment, the artist was able to catch in roughly a four-by-four-inch etching a great deal of the atmosphere surrounding Sikes' escape. Although the crowd below is not shown, its presence and mood are sensed and the dynamics of the scene felt because the window watchers and the expression on Sikes' face. The theme of hanging isdramatically foreshadowed in this scene as are the theme s of confinement and suffocation in the next." Now, the catch : according to Thierry Groensteen's preface of the Mr Vieux Bois reediton for le Seuil, the 1839 edition of Mr Vieux Bois was revised in depth by Töpffer so as to distance his work from pirates copies. Was this scene in the original version (so pre-dating Cruikshank's version), or was it a new adjunction ?
I favor the first hypothese (Cruikshank was influenced by Toepffer), but maybe those of you who have the pirated versions could check. This is of importance to me, because the fact that Cruikshank would have used a typically slapstick sequence by Toepffer as a model for an action that Dickens saw as impossible to represent in a four-by-four-inch etching would show that at least in his these action or slapstick scenes, Toepffer was exploiting a new graphical-space that held useful solutions for illustrators.
Thierry Smolderen







\ No newline at end of file diff --git a/httpdocs/e.toepffer.html b/httpdocs/e.toepffer.html new file mode 100644 index 0000000..1be056d --- /dev/null +++ b/httpdocs/e.toepffer.html @@ -0,0 +1,94 @@ + Rodolphe Töpffer Index' + + +
+ +Rodolphe Töpffer + +
+(1799-1846) +
+
+
+ +
+
+
+
+
+		 + +
+ +Monsieur Vieuxbois (1839) + +

+ + + + +
+
+
+
+		 + +
+ +Comparison of the Aubert Pirate Version (1839) and the US copy (1842)

+

+ +
+
+
+
+		 + +
+ +Comparison of Monsieur Tric Trac and a Dutch sequel (Prikkebeen)

+

+ +
+
+
+
+		 + +
+ +Comparison of Vieuxbois and Cruikshank
+

+ + + +
+
+
+ + +
+ +External Link: +
+
+ +'Histoire de Mr. Vieux Bois' +  + +Original manuscript version of Monsieur Vieuxbois, 1827 (30 pages/158 panels) with text helpfully typed out underneath, and a translation by Leonardo De Sà. The first printed edition was published ten years later, expanded to 88 pages/198 drawings. The second edition 1839 (as presented above on my own site) had 92 pages / 220 panels.
+ +
+ + + + + +
+
+ +
+
+ + + diff --git a/httpdocs/e.toepffer.neef.html b/httpdocs/e.toepffer.neef.html new file mode 100644 index 0000000..a9cc820 --- /dev/null +++ b/httpdocs/e.toepffer.neef.html @@ -0,0 +1 @@ + Töpffer and Prikkebeen
Comparison of panel 6 and 7 from Toepffer's 'Monsieur Trictrac'
   


and panels 8 and 11 from 'De Neef van Prikkebeen' (the sequel to the Dutch children's classic 'Prikkebeen' after Cryptogramme):






\ No newline at end of file diff --git a/httpdocs/e.toepffer.vieuxbois.1839.html b/httpdocs/e.toepffer.vieuxbois.1839.html new file mode 100644 index 0000000..1d065bb --- /dev/null +++ b/httpdocs/e.toepffer.vieuxbois.1839.html @@ -0,0 +1,262 @@ +Töpffer - Monsieur Vieuxbois complete online + + +
+ +Rodolphe Töpffer + + +
+ +
+ +Monsieur Vieuxbois
+2nd. edition - 1839 +
+(new translation © 2002 Andy Konky Kru) + + +
+
+smaller pictures? Click here +
+
+ + + + +
+ +
+
+
+
+
+
+
+
+
+
+ + +
+The first encounter. - Monsieur Vieuxbois notices with bitterness that one disappears. - Monsieur Vieuxbois feels that this is for life. + +
+
+
+
+Monsieur Vieuxbois tries to distract himself with study. - This bringing no relief whatsoever, Monsieur Vieuxbois tries music. - Monsieur Vieuxbois feels that all his efforts are in vain. + + +
+
+
+
+Leaning out of the window, Monsieur Vieuxbois espies the Beloved Object. - Having descended to the street Monsieur Vieuxbois can see the Beloved Object no longer. - Monsieur Vieuxbois decides to write a letter. +
+
+
+
+Dream of Monsieur Vieuxbois. - Monsieur Vieuxbois receives no reply. - Monsieur Vieuxbois kills himself......fortunately the sword passes under his arm. +
+
+
+ +
+Monsieur Vieuxbois believes himself to be dead for 48 hours.- Monsieur Vieuxbois comes back to life, considerably thinner. - Change of underwear. +
+
+
+
+Third encounter. Declaration, sighs, hopefulness. - The Beloved Object disappears. - Suspicions. + +
+
+
+
+Growing suspicions. - Suspicions return. - Crisis. - Plans. +
+
+
+
+Monsieur Vieuxbois kills himself...... fortunately the rope is too long. - After 48 hours, hearing the voice of the Beloved Object in the street, Monsieur Vieuxbois forgets he is dead and hastens towards her. - Monsieur Vieuxbois pulls along the beam at which he hung himself... +
+
+
+
+...causing unpleasantness among the citizenry... +
+
+
+
+...and no less among the Garde Nationale. - Monsieur Vieuxbois can almost touch the Beloved Object. +
+
+
+
+At the moment of reaching the Beloved Object, Monsieur Vieuxbois is halted by a cruel fate. - Monsieur Vieuxbois, wishing to return home, cannot. + +
+
+
+
+Monsieur Vieuxbois inventing a procedure for returning home. - Change of underwear. - After having changed underwear, Monsieur Vieuxbois suffers palpitations. +
+
+
+ + +
+Monsieur Vieuxbois consults his doctor. - Monsieur Vieuxbois taking asses milk. +
+
+
+
+On the doctor's advice Monsieur Vieuxbois buys an arab stallion, for his health. - Monsieur Vieuxbois taking his excercise on horseback. +
+
+
+
+The fall of Monsieur Vieuxbois. The racehorse returns home. - While getting up, Monsieur Vieuxbois becomes aware of the Beloved Object, who is not alone !!! +
+
+
+
+Perched on a tree he discovers a little tete-a-tete. - Heated argument. The Beloved Object flees. +
+
+
+
+Satisfaction. Monsieur Vieuxbois kills his rival.....fortunately the sword passes under his arm. - The rival, quite relieved, comes back to life. + +
+
+
+
+Monsieur Vieuxbois, victorious, asks for the blessing of her parents, with the Beloved Object present. - Having been accepted, Monsieur Vieuxbois returns home and spends three hours bounding with joy. + +
+
+
+
+After three hours the neighbours arrive, not best pleased. - Monsieur Vieuxbois in prison for nocturnal disturbance. - The prospective godparents trying to rend a visit are astonished to learn of his imprisonment. + +
+
+
+
+The third suicide. Being told that his engagement is off, Monsieur Vieuxbois drinks hemlock. Fortunately it is just herbal soup. - Monsieur Vieuxbois believes himself to be dead for eight days. - The rats have chewed away the front legs of his chair, causing Monsieur Vieuxbois to fall and come back to life. +
+
+
+
+
+
+
+
+ +
+
+
+
+ +
+
+
+



+


+


+


+ +

+page 29 will be added later
+ + +


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+ +

+pages 54, 55 will be added later
+ +


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+ + + +
+ +
+
+
+ +
+
+ +©2002 Copyright by Andy Konky Kru + +
+
+
+ + diff --git a/httpdocs/e.toepffer.vieuxbois.1839.small.html b/httpdocs/e.toepffer.vieuxbois.1839.small.html new file mode 100644 index 0000000..3855e45 --- /dev/null +++ b/httpdocs/e.toepffer.vieuxbois.1839.small.html @@ -0,0 +1,261 @@ +fTöpffer - Monsieur Vieuxbois complete online + + +
+ +Rodolphe Töpffer + + +
+ +
+ +Monsieur Vieuxbois
+2nd. edition - 1839 +
+(new translation © 2002 Andy Konky Kru) +
+
+Larger pictures? Click here + +
+
+ + + + +
+ +
+
+
+
+
+
+
+
+
+
+ + +
+The first encounter. - Monsieur Vieuxbois notices with bitterness that one disappears. - Monsieur Vieuxbois feels that this is for life. + +
+
+
+
+Monsieur Vieuxbois tries to distract himself with study. - This bringing no relief whatsoever, Monsieur Vieuxbois tries music. - Monsieur Vieuxbois feels that all his efforts are in vain. + + +
+
+
+
+Leaning out of the window, Monsieur Vieuxbois espies the Beloved Object. - Having descended to the street Monsieur Vieuxbois can see the Beloved Object no longer. - Monsieur Vieuxbois decides to write a letter. +
+
+
+
+Dream of Monsieur Vieuxbois. - Monsieur Vieuxbois receives no reply. - Monsieur Vieuxbois kills himself......fortunately the sword passes under his arm. +
+
+
+ +
+Monsieur Vieuxbois believes himself to be dead for 48 hours.- Monsieur Vieuxbois comes back to life, considerably thinner. - Change of underwear. +
+
+
+
+Third encounter. Declaration, sighs, hopefulness. - The Beloved Object disappears. - Suspicions. + +
+
+
+
+Growing suspicions. - Suspicions return. - Crisis. - Plans. +
+
+
+
+Monsieur Vieuxbois kills himself...... fortunately the rope is too long. - After 48 hours, hearing the voice of the Beloved Object in the street, Monsieur Vieuxbois forgets he is dead and hastens towards her. - Monsieur Vieuxbois pulls along the beam at which he hung himself... +
+
+
+
+...causing unpleasantness among the citizenry... +
+
+
+
+...and no less among the Garde Nationale. - Monsieur Vieuxbois can almost touch the Beloved Object. +
+
+
+
+At the moment of reaching the Beloved Object, Monsieur Vieuxbois is halted by a cruel fate. - Monsieur Vieuxbois, wishing to return home, cannot. + +
+
+
+
+Monsieur Vieuxbois inventing a procedure for returning home. - Change of underwear. - After having changed underwear, Monsieur Vieuxbois suffers palpitations. +
+
+
+ + +
+Monsieur Vieuxbois consults his doctor. - Monsieur Vieuxbois taking asses milk. +
+
+
+
+On the doctor's advice Monsieur Vieuxbois buys an arab stallion, for his health. - Monsieur Vieuxbois taking his excercise on horseback. +
+
+
+
+The fall of Monsieur Vieuxbois. The racehorse returns home. - While getting up, Monsieur Vieuxbois becomes aware of the Beloved Object, who is not alone !!! +
+
+
+
+Perched on a tree he discovers a little tete-a-tete. - Heated argument. The Beloved Object flees. +
+
+
+
+Satisfaction. Monsieur Vieuxbois kills his rival.....fortunately the sword passes under his arm. - The rival, quite relieved, comes back to life. + +
+
+
+
+Monsieur Vieuxbois, victorious, asks for the blessing of her parents, with the Beloved Object present. - Having been accepted, Monsieur Vieuxbois returns home and spends three hours bounding with joy. + +
+
+
+
+After three hours the neighbours arrive, not best pleased. - Monsieur Vieuxbois in prison for nocturnal disturbance. - The prospective godparents trying to rend a visit are astonished to learn of his imprisonment. + +
+
+
+
+The third suicide. Being told that his engagement is off, Monsieur Vieuxbois drinks hemlock. Fortunately it is just herbal soup. - Monsieur Vieuxbois believes himself to be dead for eight days. - The rats have chewed away the front legs of his chair, causing Monsieur Vieuxbois to fall and come back to life. +
+
+
+
+
+
+
+
+ +
+
+
+
+ +
+
+
+



+


+


+


+ +

+page 29 will be added later
+ + +


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+ +

+pages 54, 55 will be added later
+ +


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


+


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+


+


+


+


+


+


+


+


+


+ + + +
+ +
+
+
+ +
+
+ +©2002 Copyright by Andy Konky Kru + +
+
+
+ + diff --git a/httpdocs/e.toms.holiday.html b/httpdocs/e.toms.holiday.html new file mode 100644 index 0000000..787e825 --- /dev/null +++ b/httpdocs/e.toms.holiday.html @@ -0,0 +1 @@ + Tom's Holiday (1864)
Tom's Holiday (1864)






(from the collection of Doug Wheeler)

\ No newline at end of file diff --git a/httpdocs/e.urbanus.isabel.html b/httpdocs/e.urbanus.isabel.html new file mode 100644 index 0000000..1ee91f4 --- /dev/null +++ b/httpdocs/e.urbanus.isabel.html @@ -0,0 +1 @@ +Urbanus en Isabel
Urbanus en Isabel (Dutch - circa 1750)

They marry, he goes off whoring. She divorces him.
Years later he comes crawling back and she is overjoyed to take him back and all is well.



\ No newline at end of file diff --git a/httpdocs/e.verbeck_quelque.chose.malheur.html b/httpdocs/e.verbeck_quelque.chose.malheur.html new file mode 100644 index 0000000..279cbd7 --- /dev/null +++ b/httpdocs/e.verbeck_quelque.chose.malheur.html @@ -0,0 +1,31 @@ +Verbeek + + +
+ + + + + +Guvtave Verbeek / Verbeck + + +
+
+
+
+
+
+ +
+
+very large version
+
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.verbeck_quelque.chose.malheur.large.html b/httpdocs/e.verbeck_quelque.chose.malheur.large.html new file mode 100644 index 0000000..2bc2a1f --- /dev/null +++ b/httpdocs/e.verbeck_quelque.chose.malheur.large.html @@ -0,0 +1,28 @@ +Gustave Verbeek + + +
+ + + + + +Gustave Verbeek / Verbeck + + +
+
+
+
+
+
+ +
+
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.verbeek.all.html b/httpdocs/e.verbeek.all.html new file mode 100644 index 0000000..07a0df9 --- /dev/null +++ b/httpdocs/e.verbeek.all.html @@ -0,0 +1,77 @@ +Gustave Verbeek + + +
+ + +Gustave Verbeek / Verbeck + + +
+
+
+
+
+
+ +
+
+very large version click here
+ +(from the collection of Harald Kiehn) + +











+
+ + + + + + + +(from Harpers Round Table)
+ + + + +
+ + + + + + +
+
+
+ +
+
+











+ +The Upside Downs - 1904
+
+
+ + + +
+
+ +and the same page turned upside down: +
+
+ + + + +
+
+
+(from the collection of Pete Maresca) +
+
+
+ + + \ No newline at end of file diff --git a/httpdocs/e.verbeek.html b/httpdocs/e.verbeek.html new file mode 100644 index 0000000..466f699 --- /dev/null +++ b/httpdocs/e.verbeek.html @@ -0,0 +1,48 @@ +Gustave Verbeek + +
Home +           +Andy's Early Comics Archive

+ + + +Gustave Verbeek
+ +

+ + +
+
+
+
+		 + +
+ +A quelque chose malheur est bon (The Swan)

+ +

+ + +
+
+
+
+		 + +
+ +'The Hunter's Strategy' (Harper's Round Table, Annual 1897)
+ +

+ + + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.verbeek.upside.downs.html b/httpdocs/e.verbeek.upside.downs.html new file mode 100644 index 0000000..c714b3d --- /dev/null +++ b/httpdocs/e.verbeek.upside.downs.html @@ -0,0 +1,29 @@ +Gustav Verbeek + + +
+ +Gustav Verbeek + +
+
+ + +
+
+ +and the same page turned upside down: +
+
+ + + + +
+
+
+(from the collection of Pete Maresca) +
+ + + \ No newline at end of file diff --git a/httpdocs/e.world.1897.06.20.large.html b/httpdocs/e.world.1897.06.20.large.html new file mode 100644 index 0000000..98ea702 --- /dev/null +++ b/httpdocs/e.world.1897.06.20.large.html @@ -0,0 +1,34 @@ + +The World 'Comic Weekly' 20. June 1897 + + + + +
+ + +The World 'Comic Weekly' 20. June 1897 + +
+
+ + + + +


+


+


+


+


+


+ +
+
Home +           +Andy's Early Comics Archive + +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.world.1897.06.20.small.html b/httpdocs/e.world.1897.06.20.small.html new file mode 100644 index 0000000..7007d7a --- /dev/null +++ b/httpdocs/e.world.1897.06.20.small.html @@ -0,0 +1,28 @@ + +Does + + + +
+ + +The World 'Comic Weekly' 20. June 1897 + +
+
+ + + + +


+


+


+


+


+


+ +
+ + + + \ No newline at end of file diff --git a/httpdocs/e.zim.all.html b/httpdocs/e.zim.all.html new file mode 100644 index 0000000..b77a4c1 --- /dev/null +++ b/httpdocs/e.zim.all.html @@ -0,0 +1,81 @@ +Zim (Eugen Zimmerman) + + +
+ + + +Zim (Eugene Zimmerman) +
+ + +
+
+
+
+
+
+('Le Renseignement exact') (originally published in 'Judge') +
+
+
+
+
+ +
+ +
+
+(as published)
+
+
+ + + + + + +
+(Mule Récalcitrant) (originally published in 'Judge') +
+
+
+
+
+ +
+ +
+
+ +
+ +
+Blackville (originally published in 'Judge') +
+
+
+
+
+
+
+ +as published
+
+ + + +(all from the collection of Harald Kiehn) + +
+
+
+ +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.zim.html b/httpdocs/e.zim.html new file mode 100644 index 0000000..45b4635 --- /dev/null +++ b/httpdocs/e.zim.html @@ -0,0 +1,64 @@ +Zim (Eugen Zimmerman) + +
Home +           +Andy's Early Comics Archive

+ + + +Zim (Eugene Zimmerman) +
+ +

+ + +
+
+
+
+		 + +
+ +Blackville (originally published in 'Judge')

+ +

+ + +
+
+
+
+		 + +
+ +(Mule Récalcitrant) (originally published in 'Judge')

+ +

+ + +
+
+
+
+		 + +
+ +('Le Renseignement exact') (originally published in 'Judge')

+ +

+ + +
+ + +
+
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/e.zim_blackville.html b/httpdocs/e.zim_blackville.html new file mode 100644 index 0000000..362b64a --- /dev/null +++ b/httpdocs/e.zim_blackville.html @@ -0,0 +1,35 @@ +Zim + + +
+ + + + + +Zim (Eugene Zimmerman) + + +
+
+ +
+
+
+
+
+
+
+
+ +as published
+
+ +
+(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.zim_mule.recalcitrant.html b/httpdocs/e.zim_mule.recalcitrant.html new file mode 100644 index 0000000..00d0e95 --- /dev/null +++ b/httpdocs/e.zim_mule.recalcitrant.html @@ -0,0 +1,36 @@ +Zim + + +
+ + + + + +Zim (Eugene Zimmermann) + + +
+
+
+
+
+
+ +
+ +
+
+ + +(as published)
+
+
+ +(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/e.zim_renseignement.html b/httpdocs/e.zim_renseignement.html new file mode 100644 index 0000000..6c931e0 --- /dev/null +++ b/httpdocs/e.zim_renseignement.html @@ -0,0 +1,34 @@ +Zim + + +
+ + + + + +Zim (Eugene Zimmerman) + + +
+
+
+
+
+
+ +
+ +
+
+(as published)
+
+
+ +(from the collection of Harald Kiehn) + +
+
+
+
+ \ No newline at end of file diff --git a/httpdocs/early.birth.of.modern.comics.html b/httpdocs/early.birth.of.modern.comics.html new file mode 100644 index 0000000..ed6e1a9 --- /dev/null +++ b/httpdocs/early.birth.of.modern.comics.html @@ -0,0 +1,336 @@ + Andy's Early Comics Archive + +
+
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological + +
+
+
+ + + + + + +The Birth of Modern Comics (1800-1860) +
+ + + +Modern comics, with a storytelling vocabulary that's still used today, were developed in America's newspaper strips, circa 1900-1920. They were mostly following a tradition of short, colourful picture-stories for children. The direct influence was the slapstick work by Wilhelm Busch and others in a similar vein. But that in turn was built on a sixty year (or more) tradition of children's comics. +
+Busch started working in 1859, for a series of picture broadsheets called 'Münchner Bilderbogen' (See below, or click here for examples), which had been going since 1849, a series which included many inventive and sumptiously illustrated comics from the start. These were themselves influenced by the charmingly naive 'Neuruppiner Bilderbogen', which started producing comic-like picture stories in 1835. + +
+And those again were influenced by British chapbooks with comic-like picture stories, starting around 1800. +
+Even earlier were precursors in Holland. +
+
+Below are a number of examples, in case you think I'm making this all up. +
+ + +First two very early examples from Holland. It seems that although the Dutch had the most spectacular fall in artistic relevance around 1700, there still was an important tradition of printmaking, and highly important for the development of comics. +
+ + +
+
+ + +Urbanus and Isabel Dutch Broadsheet (circa 1750)
+They marry. He goes off whoring. She divorces him. Years later he comes crawling back and she is overjoyed to take him back and all is well. +
+ +Maybe this one wasn't a childrens story yet (although you never know with the Dutch), but the next one is. +
+ +
+
+
+ + + +
+ + +Little Red Ridinghood Dutch Broadsheet (1800)
+ by G. Oortmann, publisher: by de Erve H. Rynders - earliest Dutch broadsheet after Perrault. +This predates the famous Grimm's version by 11 years. +
+
+
+
+
+
+
+ +From around 1800 the most important country for comics is England. Here stories told in pictures turn up inside chap-books. +Chapbooks were small booklets of four, (or multiples of four: 8, 12,...) pages, and sold by itinerant merchants or chapmen (Old English: ceapman from 'ceap' - bargaining, trade) from the 16th to the early 19th century. They were illustrated with woodcuts and had stories of popular heroes, folklore, famous crimes, ballads, nursery rhymes, schooltexts (ABCs), bible tales, etc, and were the main literature beside the bible for the common man and children. +They too were sometimes sold as sheets which had to be cut up and bound, DIY-fashion. +
+Most chapbooks were not comics of course, but enough of them were to constitute a genuine and influential tradition. +Some of the examples below are from American edtions. I'm not sure if these were reprints, copies or original. +
+ +
+
+ +
+
+ + +The Little Man & the Little Maid (1807)
+
+
+ +
+ + +
+ +The Comical Adventures of the Little Woman, Her Dog and the Pedlar (1820s) + +printed in Baltimore, by William Raint +
+ +
+ +
+
+ + +Robert Branston Old Mother Hubbard and her Dog - Various early editions including a lovely one from 1819, probably by Robert Branston +
+
+
+
+ +
+
+ + +Robert Branston 'The Comical Cat' (1818) + Another 'Madam with an animal' thingy by Branston, plus a couple of later US variations. +
+
+
+
+ +
+
+ +
+ + +Robert Branston Dame Wiggins of Lee and her Seven Wonderful Cats (1823)
+More an illustrated story than a comic, because not enough of the relevant action is shown visually. +
+ This was a favourite childrens book of the art critic John Ruskin. +
+
+ +
+
+ + +Grandmamma Easy's Old Dame Hicket and Her Wonderful Cricket (circa 1840) +
+Boston: Brown, Bazin & Co. Nashua, N.H.: N.P Greene & Co. +
+
+ +
+
+ + +There are a lot more of these wacky old-Mother-this-Grandma-that picture books. +
+Below examples of more conventional 19th century stories. +
+
+
+ + +The Two Sisters (circa 1825)
+From The Pretty Primer (The Juvenile Gem), +Huestis & Cozans, 104 Nassau Street, New York +
+
+ +
+ +
+
+ + +The Story of Little Sarah and Her Johnny-Cake (circa 1830)
+ Boston: W.J.Reynolds & Co. +
+
+ +
+
+
+ + +The Children in the Wood (circa 1825) +
+published by Dunigan, New York +
+
+
+
+
+ + +Adventures of Little Red Riding Hood (circa 1820) +
+Mark's Edition - Published by Fisk & Little, 82 State-Street, Albany, New York +
+
+
+ +
+
+
+ + + +These chapbooks had an important influence on the next stage of mass-market comics for children. +In the mid 1830s the little town of Neuruppin, north of Berlin, became an important centre for picture sheets. A good number of these were comics. Below are a few early examples. +
+
+Later on, in 1848, these Neuruppiner Bilderbogen themselves influenced the more sophisticated 'Münchner Bilderbogen' (Munich picture broadsheets), where in 1859 the great Wilhelm Busch started his own brand of picture stories, which would influence cartoonists all over the world, and eventually the Sunday supplement comics. In other words, there is a direct line of influence from the Dutch broadsheets/ English chapbooks to 20th century comics. +
+ +
+
+ + + + +
+ +Geschichte der Madam Rips und ihres Hundes Bello 1835/40 + + +This sheet demonstrates the international influence of British picture stories - a close copy of Old Hubbard, translated into German: (the English version was here) . + +Bello comes from 'bellen', to bark. Typical doggie name. +
+ +
+
+ +
+ + +More common were these charming fairy tale adaptations: + +        +Cinderella 1835/40                        +
+
+
+ +
+ + +Hansel and Gretel (here called Martin and Ilse) 1835/40
+
+
+ +
+ + +Erzählung vom kleinen Däumling / Story about Little Tom Thumb (1835/40)
+
+
+ +
+ +
+ + +Schneeweisschen und Rosenrot (1835/40) +(Little Snowwhite and Rosered) (not the Snowwhite, who is called 'Schneewittchen' in German)
+
+ + +
+ +
+ + + +There were also popular stories of romantic robbers: + + + +Rinaldo Rinaldini (1835/40) ... +
+
+
+ +
+ + +...or a satire for grown-ups about emancipated women (and why to avoid them): Der Kleine Mann und die grosse Frau (The little Man and the large Woman) (1835/40) +
+
+ +
+
+ + + + + + + +Heinrich Hoffmann 'Struwwelpeter' +(drawn 1844, published 1847 - English edition 1848) + +This famous picture book is stylistically related to earlier chapbooks and Bilderbogen / picture broad sheets. +The hunter/rabbit story is similar to a panel from an earlier Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world. +
+
+ +
+
+
+
+ +Copyright © 2011 by Andy Konky Kru + +
+ + +Home + +
+ + + \ No newline at end of file diff --git a/httpdocs/early.sunday.supplement.html b/httpdocs/early.sunday.supplement.html new file mode 100644 index 0000000..c55d1fa --- /dev/null +++ b/httpdocs/early.sunday.supplement.html @@ -0,0 +1,99 @@ + + + + Andy's Early Comics Archive + +
+
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological +


+ + + +1895-1900 (The Sunday Supplements) +
+ + +
+ +
+ +
+ + + +Eventually there should be a larger section presenting this crucial period in more detail. At the moment I don't have sufficient material. Magazine comics from that time will remain in the preceding section. +
+It is difficult to decide how important the development of comics in humorous magazines and in the newspapers respectively were, without studying a lot more of the work. + +Below you can at least sample the visual flavour of one magazine and that exciting new thing, a comics supplement, both from the summer of 1897. +
+At the time it wasn't clear that it would be the supplements which would develop into modern comics. Magazines like Puck, which were based on German magazines of the time, such as 'Lustige Blätter', were stuck in a bit of a rut. The type of comics they presented had not changed much for 30 years. But there were other magazines, such as the German weekly 'Simplizissimus' (starting April 1896), which came up with sublimely inventive designs, and satirical adult themes. +
+HOWEVER: +
+Looking at this Puck and the Sunday Comics Supplement , it struck me that both the format and the audience for the latter may be the cause of significant changes. The newspaper format was much larger and cheaper, providing a lot more empty space to fill. The audience was less sophisticated, but (possibly because of this) more open to a particular type of experimentation, despite the dumb and lowbrow humour. Admittedly, this is being wise in retrospect. For whatever reason, these American Sunday pages became the breeding ground for something new. Weirder, rougher, slapdashier. Also easier, for children, but not childish. More popular. More ... somethingier.
+Maybe it was that new type of human being, the urban immigrant, who was most prepared and eager to pay for all this new visual goings on. +
+
+As you can see in the example below, early supplements didn't actually have many comics, apart from the usual short black and white snippets, similar to those in magazines. The new, enormous areas of colour were at first used for large, sometimes complex cartoons. + +But sequential cartoons did start to pop up with a vengeance in the form of Hans and Fritz, the Katzenjammer Kids, based on the popular classic 'Max und Moritz' (1864) by Wilhelm Busch. These two remarkable rapscallions appeared onto this stage of coloured spreads a few months later, on the 12th of December 1897. The Busch influence was of course felt througout the 'magazine-comics-period' 1860-1900. But in young Dirks he had finally found a follower of genius, who together with other likeminded artists, and above all an avaricious public, created the new parameters of the medium. + + +
+ +
+ + +
+ +
Puck 28. July 1897
+

+ + +
+
+
+ +
The World 'Comic Weekly' 20. June 1897 (6 pages, ie two missing) +
+

+ +
+
+ + +
+ + + +
+ + +Home + + +
+ + + \ No newline at end of file diff --git a/httpdocs/early.unidentified.artists.html b/httpdocs/early.unidentified.artists.html new file mode 100644 index 0000000..3ee0be6 --- /dev/null +++ b/httpdocs/early.unidentified.artists.html @@ -0,0 +1,329 @@ + Andy's Early Comics Archive + +
+
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological +


+ + + + + + + + + + + +Unidentified Artists (1860-1900)
+ + + +
+ + + +from Harper's Round Table, 1897
+280 - - How Tommy made one Skate do (Kemble?)
+

+544 - - An African Bridge
+

+784 - - 'An Interesting Article' S.I.Theriat ?
+

+864 - - 'An Unintentional Exchange' Hilder?
+

+912 - - 'The Adventures of a Cartwheel' Hilder?
+

+960 - - 'A New Wag to an Old Tale' (imitator of Frost)
+

+1008 - - 'A Cat Tale'
+

+1176 - - 'The Patent Sure-to-arrouse Alarm Clock' (A.Berk ?)
+Note the interesting use of stars as sound icons in the first panel!
+ +

+1200 - - 'The Artist and his Model' gag pinched from Frost, as is the style. Very nicely done though.
+

+ + +
+
+ + +
+ + + +from Album Noel 1900
+ + +page 2 - ? 'Un jeune inventeur' (probably Lemot)
+

+page 38 - 'Joies d'un bon sujet - Mesaventures d'un mauvais sujet'
+

+page 46 - 'Pour rouler toujours'
+

+page 52 - 'Histoire d'une bête
+

+page 64 - 'A la recherche des champignons'
+

+page 68 - 'Chasse d'hiver'
+

+page 80 - 'Deception d'un chasseur' (from 'Puck')
+

+page 88 - (no comic) Elephants
+

+page 90 - 'Ce qu'est la vie'
+

+page 92 - 'Les successives stations d'un amateur'
+

+page 94 - (Giraffe and Biker)
+

+page 96 - 'Un jeu amusant' (bears playing rugby)
+

+page 100 - BP sc 'Une singulière aventure'
+ + + +
+
+ + +
+ + + +from Picture Magazine, 1893
+Tommy goes to sell his pups (originally published in Judge)
+

+The Advantage of athletics (originally published in Fliegende Blätter) Meggendorfer?
+

+A Story with a Moral (originally published in Life)
+

+Some Fishing Expressions
+

+The Flying Steed (originally published in Puck)
+

+The Portrait of a Cow (originally published in Life)
from Fliegende Blätter vol 82
+

+'Das Urteil des Paris' (The Judgement of Paris) - Fliegende Blätter vol.82 p.77
+

+'Erysichthon von Thessalien - oder - So grausam bestraft sich der Baumfrevel' 1885
from Fliegende Blätter vol 46 (1865)
+

+'Der Ofen - Eine Familiengeschichte' (1865)
+

+'Die Kunst und Wissenschaft des Totschlagens, in ihrer Vergangenheit, Gegenwart und Zukunft' (1865)
+

+'Die Crinoline als Barometer' (1865)
+

+'Das theuere Vermächtniss' (1865)
+

+ +
+
+ + +
+ + + +from Fliegende Blätter vol 47 (1865)
+'Bedenken eines Hauseigenthühmers' (1865)
+

+'Illustrierte Kriegsberichte' (1865)
+

+'Der spannende Roman' (1865)
+

+'Regnen oder Tröpfeln' (1865)
+

+'Die projectierte Landpartie' (1865)
+

+'Pariser Abenteur des Herrn Schwäbele' (1865)
+

+'Der Raub der Sabinerinnen' (1865)
+

+ + + +
+
+ + +
+ + +from Fliegende Blätter vol 48 (1866)
+'Zwei Engagements' (1866) (1866)
+

+'Wie das Ausweichen oft schwer ist' (1866)
+

+'Das Zuckerfass' (1866) R.G.
+

+'Wochenkalender für moderne Liebe' (1866)
+

+not a comic - (Hexe Walpurga) (1866)
+

+ + +
+
+ + +
+ + +from Lustige Blätter 1892
+
+ +Eine Liebesgeschichte
+ +
+
+Der Kritische Tag
+ +
+
+'Wie eine Gans durch allzuviel Rücksicht auf den Hund kommt' (1892) G.W.
+ +
+
+'Ein schwungvoller Heimweg' (1892)
+ +
+
+'Ein französisches Duell' (1892)
+ +
+
+'Missglückter Aufsprung' (1892) (faint signature)
+ +
+
+'Gestillter Liebesdurst' (1892)
+ +
+
+'Wenn zwei dasselbe tun..' (1892) (1892)
+ +
+
+'Das Vogelschiessen' (1892)
+(Kerner? - signature in last panel)
+ +
+
+ +
+
+ + +
+ + + + + +L., S. (S L)
+'Die lästigen Gardedamen - oder - Gut Aufgehoben' (F.B. vol 82)
+ +
+
+ + +
K., A. (A K)
+'In die unrechte Kehle gekommen' (1892)
+'Der neue Brutapperat' (1892)
+'Triumph des Drills' (1892)
+ + +    + +    +
+ + + + + + +
Unidentified Bilderbogen ('Nr.222')
+'Jeder ist seines Glückes Schmied' (Everyone makes his own luck)
+
+ + +
from Ludwigsburger Sonntagsbeilage
+(4 pages)
+ + + + + +
+
+ +
Advertising Comics
+ + 'Blackwell's' - 'A romance for married men' (1870s)
+
+
+ +'Hold Fast Tobacco'
+
+ +
+ +Esquire Brown Amercian (1864)
+
+
+
+ + + +'Tom's Holiday' W Q ?
+
+ +
+ + +
Grip Magazine (Canadian) (1881)
+'The Amende Honorable - A Globe Experience in three scenes'
+
+
+ + +
Merryman's Monthly (1865)
+'The Flying Machine'
+
+ + +
+
+
+ +Copyright © 2011 by Andy Konky Kru + + + +
+ + + \ No newline at end of file diff --git a/httpdocs/earlycomics.a-z.html b/httpdocs/earlycomics.a-z.html new file mode 100644 index 0000000..70cc520 --- /dev/null +++ b/httpdocs/earlycomics.a-z.html @@ -0,0 +1,407 @@ + +Andy's Early Comics Archive - simple a-z index + + + +
+Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru +
+ +Andy's Early Comics Archive + + + + +
+A-Z Index + +
+
+ + + + +
+ +Andral, G.
+B., F. von
+Bahr, Johann
+Baric
+Beard, Frank
+Bernard, Edouart
+Budd, C.J.
+Bunner, R.F.
+Burret, Léonce
+Busch, Wilhelm
+Caldecott, Randolph
+Caran d'Ache
+Chicki, Georges
+Chinese (probably late 18th c.)
+Chinks
+Chip   (F.P.W.Bellew)
+Christophe (Georges Colomb)
+Cohl, Emile
+Clark, J.B
+Crowquill, Alfred
+Cruikshank, George
+Cyl, C.
+ + +          +          +          +          +		 +Daggy A.S.
+Dalrymple
+Deb
+Dépaquit, Jules
+Dio-Biding
+Doës
+ +Douhin, A.
+Doré, Gustave
+Doyle, Richard
+Dunk, R.M.
+Fau, Fernand
+Frost, A.B.
+Gerlach
+Gillray, John
+Godefroy
+Goez, Joseph Franz von
+Goodes, W.M.
+Graetz, F.
+Grandville, J.J.
+Griffin, Syd B.
+Heath, William
+Herford, O.
+ +          +          +          +          +		 +Hoffmann, Heinrich
+Hogarth, William
+Hopkins, Livingstone
+Howarth, F.M.
+Jensen, A.
+Keene. Charles
+Kemble, W.C.
+Kerlie?
+C. Koch
+Lagemann, Ch.
+Le Bocain
+Leech, John
+Leguey, Luc
+Lemot, Achille (Uzès)
+L., S.
+Leoy
+Le Petit, Alfred
+Lobrichon, Timoléon Marie
+Malatesta, H. ?
+Mandl, M.
+Maurier, George de
+May, Chas
+ +          +          +          +          +		 + +Mayer, Hy
+McCay, Winsor
+McDougal, Walt
+Mclenan, John
+Meggendorfer, Lothar
+Mob
+Monnier, M.
+Moriss
+Newell, Peter
+Oberländer, Adolf
+Opper, Fred (before 1900)
+Opper, Fred (after 1900)
+Photo Comics
+Piery, Emile
+Phillipp, H.W.
+Pommerhanz, Karl
+Pughe, J.S.
+ + +Rabier. Benjamin
+Reinhardt, Carl
+Reichert
+ +Reinicke, Emil
+ +Rey, K.
+ +          +          +          +          +		 +Richards, F.T.
+Richards, P.
+Ross, Charles & Marie Duval
+ +Rowlandson, Thomas (Dr Syntax)
+Rusden, A.
+Scherenberg, H.
+Schönborn, R.
+Schliessmann, H.
+Schmelzer
+Schmidthammer, Arpad
+Shepherd, James A.
+Storch, C.
+Storkmann
+Sullivan, T.E.
+Tenniel, John
+Theele, John
+Töpffer, Rodolphe
+Tucker, M. ?
+ + +Vaiselow, M.
+Verbeek, Gustav
+Verbeek, Gustav (after 1900)
+Vitou, S.
+ + +
+ +Unidentified Artists +       +Early Comics in print +
+
+ + +
+
+ +English + +
+ +Caldecott, Randolph
+Crowquill, Alfred
+Cruikshank, George
+Doyle, Richard
+Gillray, John
+ + +                                                                        +		 + +Heath, William
+Hogarth, William
+Leech, John
+Maurier, George de
+May, Chas
+ +                                                                +		 + +Ross, Charles & M. Duval (Ally Sloper)
+Rowlandson, Thomas (Dr Syntax)
+ + +Shepherd, James A.
+Sullivan, James
+Tenniel, John
+ + + + + + +                                                                +
+ + + + +
+German + +
+ + +B., F. von
+Bahr, Johann
+Busch, Wilhelm
+Gerlach
+Goez, Joseph Franz von
+Graetz, F.
+Hoffmann, Heinrich (Struwwelpeter)
+Jensen, A.
+C. Koch
+ +                                                                        +		 +Lagemann, Ch.
+ +Mandl, M.
+Meggendorfer, Lothar
+Oberländer, Adolf
+Pommerhanz, Karl
+Reinhardt, Carl
+Reichert
+Reinicke, Emil
+Rusden, A.
+ +                                                                +		 +Scherenberg, H.
+Schönborn, R.
+ +Schliessmann, H.
+Schmelzer
+Schmidthammer, Arpad
+Storch, C.
+Storkmann
+Theele, John
+Vaiselow, M.
+ + + + + +                                                                +
+ + + + +
+French + +
+ +Andral, G.
+Baric
+Bernard, Edouart
+Caran d'Ache
+Chicki, Georges
+Christophe (Georges Colomb)
+Cohl, Emile
+Cyl, C.
+Deb
+Dépaquit, Jules
+Dio-Biding
+ + +                                                                        +		 + +Doës
+Douhin, A.
+Doré, Gustave
+Godefroy
+Grandville, J.J.
+Le Bocain
+Leguey, Luc
+Lemot, Achille (Uzès)
+L., S.
+Leoy
+Le Petit, Alfred
+                                                                +		 + + +Lobrichon, Timoléon Marie
+ +Malatesta, H. ?
+Mob
+Monnier, M.
+Moriss
+Piery, Emile
+Rabier. Benjamin
+Rey, K.
+Töpffer, Rodolphe
+Vitou, S.
+ + + +                                                                +
+ + + +
+American + +
+ + +Beard, Frank
+Budd, C.J.
+Bunner, R.F.
+Chinks
+Chip   (F.P.W.Bellew)
+Clark, J.B
+Daggy A.S.
+Dalrymple
+Dunk, R.M.
+Frost, A.B.
+Goodes, W.M.
+ + + +                                                                        +		 + +Griffin, Syd B.
+Herford, O.
+Hopkins, Livingstone
+Howarth, F.M.
+Keene. Charles
+Kemble, W.C.
+Kerlie?
+Mayer, Hy
+McCay, Winsor
+McDougal, Walt
+Mclenan, John
+Newell, Peter
+ + +                                                                +		 + +Opper, Fred (1890s)
+Opper, Fred (after 1900)
+Phillipp, H.W.
+Pughe, J.S.
+Richards, F.T.
+Richards, P.
+Tucker, M. ?
+Verbeek, Gustav
+Verbeek, Gustav (after 1900)
+ + + +                                                                +
+
+
+
+
+
+Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru +
+ + + + \ No newline at end of file diff --git a/httpdocs/earlycomics.british.comics.html b/httpdocs/earlycomics.british.comics.html new file mode 100644 index 0000000..4ea3179 --- /dev/null +++ b/httpdocs/earlycomics.british.comics.html @@ -0,0 +1,1929 @@ + Andy's Early Comics Archive - Early British Comics + +
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological + +

+
+ + +Early British Comics +
+
+ +(All the British Comics from this website displayed on one page, roughly chronological) + + + + +





+ + + + + + + +1700 - 1800 + + + + + + +



+ + + + + + + + + + + +
+ + + +James Gillray (1756-1815) + +
+ +'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' + + + + + +

+ + + +
+
+(from the collection of Doug Wheeler) + +
+ + + + + +
+
+
+
+ + + +
+ + + +William Heath + +
+ + +White - Bait (1830) +
+(a four-panel comic strip with speechbaloons)
+ + +

+Volume 1, issue 7, page 3, July 1st, 1830, 'The Looking Glass' +
+(From the collection of Doug Wheeler) +
+ + + + + + +


+ + + + + + + +
+ + +
+ +Thomas Rowlandson
+DOCTOR SYNTAX +
+
+ + + +This is not a comic. It's not even a sequential series of images, like a Hogarthian progress, or even illustrations of a novel. + +But it can be seen as a milestone in comics history, because of the influence on Rodolphe Toepffer, who imitated the type of main character, the drawing style and the general atmosphere of countryfied wackyness. + +The use and re-use of one striking visual character, generally recognized and popular, is certainly typical of many comics to come. + + + +
+
+ + + + +THE TOUR
+of +
+ DOCTOR SYNTAX, +
+In search of the +
+ PIC TURESQUE +
+ + +A POEM + + +
+
+ + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


+ + + + +Thomas Rowlandson + + +
+ + + + DOCTOR SYNTAX, +
+In search of +
+ Consolation +
 + +
+
+ + + + + + + + + + + + + + + + + + + + + + + + +


+ + + +Part 3 - DOCTOR SYNTAX - In Search of a Wife
+
+
+ + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + +
+



+



+ +Early Comics for Children + + +
+
+







+ + + +Starting off with a non-British work - I suspect there may be many more 18th century comics from Holland. + +
+
+ + +G. Oortmann + +
+ +Little Red Ridinghood + (De Vertelling van Roodkapje) +
+Dutch Broadsheet -1800 + +
+ +publisher: by de Erve H. Rynders - earliest Dutch broadsheet after Perrault + +
+
+ +


+ + + + +











+ + +
+ + + +These comics/picture stories are from 'chapbooks'. +Chapbooks were small booklets of four, (or multiples of four: 8, 12,...) pages, sold by itinerant merchants or chapmen (Old English: ceapman from 'ceap' - bargaining, trade) from circa 1500-1850. They were illustrated with woodcuts and had stories of popular heroes, folklore, famous crimes, ballads, nursery rhymes, schooltexts (ABCs), bible tales, etc, and were the main literature beside the bible for the common man and children. +
+ +Sometimes they were sold as sheets which had to be cut up and bound, DIY-fashion. + +
+ +Most chapbooks did not contain comics (=picture stories), but from circa 1800 many did. Enough to constitute a genuine and influential tradition. +
+ +Some of the examples below are from American editions. I'm not sure if these were reprints, copies or original. + +





+ + + + +
+ + +The Little Man & the Little Maid +(Chapbook, 1807) + +
+ + + + + + + + + + + + + +
+
+
+ + + +





+ + + + + + + + + The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805)
+ + + + + + +



+ + The Comic Adventures of Old Mother Hubbard and her Dog
+(circa 1805) + + +
+ + + + + + + + + + + + + + + +
+
+
+
+ + + + + + + +
+ +Old Mother Hubbard +
+ + +circa 1805/10 +
+ +
+(from an 1893 reprint) + + + + + +






+ + + + + + + + +Robert Branston (probably) +
+Old Mother Hubbard and her Dog - 1819 + +
+ + + +






+ +
+ + + + + + +These English picture stories for children may have inspired German manufacturers of popular prints, (the so-called 'Bilderbogen') to include picture stories in their programm. The earliest Bilderbogen featuring comics seem to be from 1835, including the following example of a German copy of Branston's version of Mother Hubbard. +
+ +
+What makes this so interesting is the fact that these Neuruppiner Bilderbogen (sold in vast numbers) inspired the creation of Munich Bilderbogen around 1848, which become the stomping ground for the slapstick comics by Wilhelm Busch, who in turn became the starting point of American sequential comics, the Katzenjammer Kids.
+
+ +There seems to be a direct line of influence from British children's comics 1800-1840, via German Bilderbogen 1835-1890, to US newspaper comics (from 1895) where modern comics as we know them were finally established. + +
+ + + + +



+ + +
+ + + + + +Geschichte der Madam Rips und ihres Hundes Bello
+(Neuruppiner Bilderbogen, 1835-40) + + + +
+
+ +
+
+ + +(Bello comes from 'bellen', to bark. Typical doggie name) + + + +
+ +
+ + + + +
+ + +
+ + + + + + + + + + + + + + + + +
+
+
+ +
+ + +
+ +Robert Branston +'The Comical Cat' (1818) + + +
+
+ + + + + + + +
+ + + +
+ + + + + + +

+
+
+
+
+ + + + + + + + +
+ + +This book contains two stories, the second one (shown below) was a new version of Branston's comical cat (1818), apart from the first picture which in turn was based on the original chapbook from 1806. The drawings are in reverse. + +
+
+ + +
+ + + + + + + +
+ +
+ +
+
+
+
+ +
+ +
+ Old Mother Mitten and Her Funny Kitten
+(circa 1825)
 +
+ +Huestis & Cozans, 104 Nassau Street, New York +
+ (The original order of the panels seems to have gone astray in this version) + +
+ +
+
+ +
+ + + +
+
+
+ + + +
+
+ + +Robert Branston - + Dame Wiggins of Lee and her Seven Wonderful Cats (1823)
+ +More an illustrated story than a comic, because not enough of the relevant action is shown visually. + +
+ +This was a favourite childrens book of the art critic John Ruskin. + + + +
+
+ + + +







+ +
+ + + + + + + + + + + + + +
+ +
+ + + +
+
+
+
+ + +
+ +
+ + + +The Comical Adventures of the Little Woman, Her Dog and the Pedlar (1820s) + + +
+(printed in America, possibly from British plates)
+ +
+
+ + + + + + +
+ + + + + +

+ + +
+printed in Baltimore, by William Raint +
+(from the collection of Scott Dechaine) +
+
+ + + +





+ + +There are a lot more of these wacky old-Mother-this-Grandma-that picture books. + +
+ +Below examples of more conventional 19th century stories. + + +





+ + + + + +The Two Sisters (circa 1825)
+ +From The Pretty Primer (The Juvenile Gem), + +Huestis & Cozans, 104 Nassau Street, New York + + +
+ + + + + + + + + + + + + + + + + + + + + +





+ + + + + + + + + + +
+ +
+ +







+ + + + + +The Children in the Wood (circa 1825) + +
+ +published by Dunigan, New York + +
+ + +
+ +
+ +






+ + + + + +Adventures of Little Red Riding Hood (circa 1820) + +
+ +Mark's Edition - Published by Fisk & Little, 82 State-Street, Albany, New York + +
+ + +
+
+ + + + + +






+
+ +






+ + + + + +1840 - 1860 (post Rudolphe Töpffer, pre Wilhelm Busch) + +
+
+ + +  + +Alfred Crowquill (Alfred Henry Forrester) 'Pantomime, to be played at home' 1849
+ + + +
+ + + +
+ + + + + + + + +







+ + + + + + + + +George Cruikshank + +
+ +'The Progress of Mr. Lambkin' (1844) + + +
+ A story told in 25 tableau-type pictures. + +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ +(sorry, the last page needs to be re-scanned) +
+
+ +





+ + +George Cruikshank + + +
+ + +'Premium Discount' (Spoof on dangerous railways) + + + + + +
+ +
+ + +





+ + + +Comparison between Cruikshank and A.B.Frost - +
+(Two-panel cartoon which may have been the inspiration for a famous comic by A.B.Frost, part of which is shown) + +
+ + + +






+ + + + + + +  + + Richard Doyle +
+Pleasure Trips of Brown, Jones and Robertson - from Punch, 1850
+ +
+
+ + +(sorry about the quality of these scans. Eventually I'll replace them with large colour scans.) +
+ + + + + + + + + + + +
+
+The last two pages from Punch are the start of a longer narrative, a travelogue comic through Germany and Switzerland. - Very unfortunately for Punch magazine and especially English comics as a whole, the anti-catholic stance (nasty cartoons etc) forced the catholic Doyle to leave the magazine. + +
+ + + +
+
+ +He did continue with his narrative, but less experimental, more illustrative, and published the work as a large book in 1854. The sequences here are pure 'comics', but most of the book is not, although it is sequential, and despite Kunzle's reservations, one could regard it as the first graphic novel in English. (Not counting translations of Töpffer).Long narrative comics sequences in English only really started with Winsor McCay's 'Little Nemo' in 1906, half a century later (L.N. started in 1905, but at first it was just separate episodes). The type of long story that Töpffer and Busch came up with, both funny and thoughful at the same time, still is very rare today, in any language. + + + + + + + + +
+ + +






+ + + + +
+ + + + + + +John Leech
+ +






+ + + + + + +
+(These scans were made in 2002, and will have to be redone. Still, better than nothing for the moment)
+ +John Leech - 'Mr. Briggs'
+ + +
1850
 +
+ + +
+
+
+
+
+Pleasures of Horsekeeping
+ +
+By the time Mr. Briggs's horse (which suits him exactly) has recovered from his cold, a long frost sets in.

+ +Groom. 'That's just what I say, sir; it is aggeravatin' to see a nice oss like that, sir, a doin' nothin' but eatin' his ed off!' +
+
+
+
+
+
+
+
+
+
+
+ +
+The Frost goes and Mr. Briggs's horse is disagreeably fresh after his long rest. He sets up his back and squeaks, and plunges at everything he meets. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs, not being good at his 'fences', goes through the performance of opening a gate. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs has another day with the hounds. +
+
+Mr. Briggs can't bear flying leaps, so he makes for a gap - which is immediately filled by a franctic protectionist, who is vowing that he will pitchfork Mr. Briggs if he comes 'galloperravering' over his fences - danged if he doant ! +
+
 +
+
+
+
+
+
+
+ +
+
+ +
+Mr. Briggs has gone to the exhibition. - A Boy holds his horse in the meantime. +
+
+(in speechbaloons) ' Come, you get off you've had your turn' -
+ 'Go along Irish. I shan't ! Why, I aint galloped im yet' +
+
 +
+
+
+
+
+
+
+
+
+Mr. Briggs starts on his fishing excursion.
+ +
+
+ + +
+
+Mr. B. won't have a man with him, as he thinks he can manage a punt by himself; and the consequence is, he is obliged to go to bed while his things are dried, having upset himself, as a matter of course. +
+
+
+ +
+
+
+
+
+
+
+
+ +
+
+Mr. Briggs tries (for many hours) a likely place for a perch; but , upon this occasion, the wind is not in a favourable quarter.
+
+
+ +
+ +Minnow caught by Mr. Briggs,August 23rd 1850. - Exact size of life. +
+
+
+
+
+
+
+
+
+
+ +
+
+Mr. Briggs thinks of running down the day after to-morrow to his friend Haycock for a day's shooting, and has borrowed a dog to go with him. For the ninth time during the night he has been disturbed by the howling of the animal. +
+
+ +
+
+
+Mr. Briggs no sooner returns to his bed, than Mrs. Briggs says, 'My dear! There's that nasty tiresome dog again!!' +
+
+
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs has another day's fishing. +
+
+He is so fortunate as to catch a large eel. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Triumphant success of Mr. Biggs. +
+
+Somehow or other (assisted by his little boy Walter), he catches a Jack, which, to use Mr. B.'s own words, flies at him, and barks like a dog ! +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs has another glorious day with the hounds, and gets the brush (for which he pays half-a-sovereign - only don't tell anybody). +
+
 +
+
+
+
+
+
1851
 +
+ +
+
+
+
+
+ +
+
+Mr. Briggs has backed himself to ride a steeple chase against his friend Muffins, of the St-k Exch-nge. He is going round the course just to look at the jumps. +
+
+Spectator (to Mr. B) 'Oh no, sir! - This ain't the Big One. The Big One is after you get out of the lane and afore you come to the brook. +
+
+
+
+
+
+
+ + + + + +
+
+
+
+
+Mr. Briggs Rides his Match +
+
+ +
+Mr. Briggs is weighed, of course. +
+
+
+ +
+His friends recommend him a little jumping powder. +
+
+
+ +
+Here he takes a preliminary canter, and puts his horse at a flight of hurdles. +
+
+
+ + +
+and gets over very cleverly. +
+
+
+ + + + + +
+Some time after the start, Mr. Briggs goes on the wrong side of the flag, and is obliged to go back, which, as the ground is rather heavy, 'takes it out of old Blunderbuss considerably'. + +
+
+ +
+who, in consequence, makes a mistake at the next fence. +
+
+
+ +
+However, Mr. Briggs is not hurt; and after some exertion, remounts. +
+
+
 + +
+
+Mr. Briggs as he appeared, coming to the brook. In the distance may be observed his opponent, who has a nasty fall, but fortunately tumbles on his head. +
+
+
+ +
+ +Mr. Briggs, as he appeared in the brook. +
+
+
+ +
+As he appeared when he came out of the brook. +
+
+
+ +
+Portrait of Mr. Briggs Winning the race. - N.B. The dense crowd is cheering him. +
+
+
+ +
+
+
+
+
+
+
+
+
+
+ +
+
+ +Mr. Br - ggs (We suppress the Gentleman's name for obvious reasons) thinks he will go to Hampton Races. + +
+ +
+
+
+
+ +On his return from the races, he assures his man that he's a most 'ekshellent servant' - that the mare never carried him better. He also tells him to make the mare quite 'comf-able', and to be 'very caref-l of hish candle' because there's so much straw about! +
+
+
+
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs, anxious to become a 'complete angler', studies the 'gentle art' of fly-fishing. +
+
 + +
+
+Mr. Briggs goes out. His chief difficulty is, that every time he throws his line - the hooks (of which there are five) will stick behind in his jacket and tr-ws-rs. +
+
+
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs goes grouse shooting. +
+
+
+9 A.M. His arrival on the moor. - Mr. Briggs says that the fine bracing air makes him so vigorous that he shall never be beat. he also facetiously remarks that he is on 'his native heath', and that his 'name is Macgregor!' +
+ +
The result of the day's sport will be comunicated by Electric Telegraph.
+
+
+ +
+ +
+
+
Mr. Briggs grouse shooting.
+
+11 a.m. Mr. Briggs begins to show symtoms of distress. He finds his 'native heath' a very different thing to his native Flag Stones. +
+
+
+ +

+ + +12 a.m. Total prostration of Mr. Briggs. +
+
 +
+
+
+
+
+
+
+
+
+ +
+Mr. Briggs is off again shooting. +
+ +
 +
+
+
+
+ + + + +Portrait of 1855 (in watercolours)
+ +
+ +
+ +
+ + + + + +(Before and After) 1855
+ +
+ +
+ +
+ + + +The Best Preventive against Sea Sickness, 1855
+ + + +
+
+ + +
+
+ + + +The Removal of the Snow, 1855
+ + +
+ + +
+
+ + + +Noddy 1, (Mr. Tom Noddy's first Day with the Hounds after the long Frost) 1855
+ + + + + + +
+
+ + + +Noddy 2, (At the Seaside) 1855
+ + + + + +
+ +
+ + + +Mr. Popplewit, - How Mr. Popplewit enjoyed a day's Rook Shooting, 1855
+ + + + + + + +





+





+





+ + + + + + + + + +John Tenniel
+ + (the illustrator of Alice in Wonderland, 1864)
+ +
+ +Mr. Piper (1853)
+ +
+
+ + + +How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking'
+Near Burhampoor, Bengal +
+
+
+
+
+How Mr. Peter Piper Tried his Hand at Buffalo-shooting
+Near Burhampoor, Bengal +
+ +
+
+
+
+How Mr. Peter Piper Was Induced to Join in a Bear-hunt
+Near Burhampoor, Bengal +
+ +
+
+
+
+
+How Mr. Peter Piper Accepted an Invitation
+From the Rajah of Rhubburddubdub to Hunt a 'Royal Bengal Tiger' +
+ + + + + + + + + + + + +
+
+ +
+ +
+ + + + +
+ + + +John Tenniel - Mr Spoonbill 1855 +
+ + +This was published in three installments, in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. + + +
+
+ +
+ +
+ +
+ +
+
+ +
+ +
+ + +
+ +
+ +
+ +
+ + +
+ +Randolph Caldecott + +
+
+ +

+ +
+
+
+

+
+
+
+

+
+
+
+ +
+Click to see full size of the long third panel +
+
+
+
+ +




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+




+

+ + +






+
+
+
+ +




+ + + + + + + + + +George du Maurier +
+ 'The Philosopher's Revenge' (Punch 1866)
+ + + + + +
+
+
+
+ + +
+ + + + + + + + + + + Chas May
+ +
+ +Un sac, un homme, un chien & un tonneau (from 'Album Noel', 1900)
+ + + + +





+ + Chas May
+Dans la cave (from 'Album Noel', 1900)
+ + + + + + + +





+ + + + + + + +Photo Comics
+ +Saluting the Flag - 1912
+ + + +





+ + + + +Hunter and Dog - 1899
+'Penny Pictorial Magazine' +
+ + + +



+ +



+ + +





+





+ + + + + + + +Charles Ross & Marie Duval + +
+'Ally Sloper' (magazine pages rearranged for an early reprint in bookform. Original appearance of the strips in the magazine Judy from 1867, this reprint from 1873) + +

+
+ + + +
+
+
+ + + +
+
+
+ + + +
+
+
+ + + + +
+
+
+ + + + +
+
+
+ + +
+
+
+ + +To read the whole book, click on these: +
+ + + + + +






+ + + +
+ + + + + + + + +James A. (Affleck) Shepherd +
+ (1867-1946)
+ +
+ +Parrot and Dog (Boys' Own Paper 1891) (uses plot-relevant speechballoons)
+ +

+ +
+
+
+ (1867-1946)
+Les Grenouilles et le héron (from 'Album Noel', 1900)
+
+ +

+ + + + + + +





+ + + + + + + + +James Francis Sullivan
+ +
+ +
+
+ + + + + + +
+ + + + + + + + +
+ + + + + + + +Home       + +
+ + +Copyright © 2014 by Andy Konky Kru + +
+ + + + + + \ No newline at end of file diff --git a/httpdocs/earlycomics.chronological.html b/httpdocs/earlycomics.chronological.html new file mode 100644 index 0000000..fae7fb1 --- /dev/null +++ b/httpdocs/earlycomics.chronological.html @@ -0,0 +1,2614 @@ + Andy's Early Comics Archive + +
+
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological +


+
+Chronological Version + +
+
+ + +
+

+ +
+ + +
+ + +
+ + + +
1700 - 1800
+ +
+ + +William Hogarth 'The Harlot's Progress (1730) +     + +small version click here +
+
+
+ + + + The famous 'progressions' by Hogarth were not actually comics. The images don't lead into and don't interact with each other. Each shows a distinct, separate stage of a longer story. However, because of their great popularity, they established the very notion of telling entertaining stories with a series of pictures and so became a highly influencial stepping stone for future developments.
+ +
+
+ + + + + +
+
+
+ + + + + +Franz Joseph Goez 'Lenardo und Blandine' 1783
+
+
+ + + +Ironically this, the first actual graphic novel(ette), probably had little influence. It was too ahead of its time as far as the comic-structure is concerned. In content it was delightfully very much of its time, full of outrageous melodrama. +
+Here's the complete sequence, with my translation underneath:
+ +
+
+ + + page 1-34     + page 35-65     + page 66-93     + page 94-125     + page 126-160    + +All on one page +
+
+
+
+ +
+
+
+ + + + + +James Gillray - 'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' +
+
+ + + +Much more influencial than Hogarth or Goez were the thousands of British political cartoons. Most were just that, cartoons, meaning single image jokes. However, a huge number of them used (and developed the use of) speechbaloons. And a good number did in fact use two or more interdependant images to tell a story. (That means they were comics.) + +
+
+
+ + +
+ +
+
+
+ + +Chinese Woodcut 'How China is Made' (china = porcelain) (late 18th cent., reprinted 1893)
+
+
+ + + + + +
+
+
+ +
+
+ +
+ +1800 - 1840 (pre-Töpffer) +
+ +William Heath - 'White Bait' (1830) +
+(a four-panel comic strip with speechbaloons)
+
+ +
+
+
+ + + + +Thomas Rowlandson
+Part 1 - 'THE TOUR of DOCTOR SYNTAX, In search of the PICTURESQUE' +
+ +
+
+ + + +This is not a comic. It's not even a sequential series of images, like a Hogarthian progress, or even illustrations of a novel. +But it can be seen as a milestone in comics history, because of the influence on Rodolphe Toepffer, who imitated the type of main character, the drawing style and the general atmosphere of countryfied wackyness. +The use and re-use of one striking visual character, generally recognized and popular, is certainly typical of many comics to come. +
+
+
+ + + +
+
+
+
+ + + + +The Birth of Modern Comics (1800-1860) +
+ + + +Modern comics, with a storytelling vocabulary that's still used today, were developed in America's newspaper strips, circa 1900-1920. They were mostly following a tradition of short, colourful picture-stories for children. The direct influence was the slapstick work by Wilhelm Busch and others in a similar vein. But that in turn was built on a sixty year (or more) tradition of children's comics. +
+Busch started working in 1859, for a series of picture broadsheets called 'Münchner Bilderbogen' (See below, or click here for examples), which had been going since 1849, a series which included many inventive and sumptiously illustrated comics from the start. These were themselves influenced by the charmingly naive 'Neuruppiner Bilderbogen', which started producing comic-like picture stories in 1835. + +
+And those again were influenced by British chapbooks with comic-like picture stories, starting around 1800. +
+Even earlier were precursors in Holland. +
+
+Below are a number of examples, in case you think I'm making this all up. +
+ + +First two very early examples from Holland. It seems that although the Dutch had the most spectacular fall in artistic relevance around 1700, there still was an important tradition of printmaking, and highly important for the development of comics. +
+ + +
+
+ + +Urbanus and Isabel Dutch Broadsheet (circa 1750)
+They marry. He goes off whoring. She divorces him. Years later he comes crawling back and she is overjoyed to take him back and all is well. +
+ +Maybe this one wasn't a childrens story yet (although you never know with the Dutch), but the next one is. +
+ +
+
+
+ + + +
+ + +Little Red Ridinghood Dutch Broadsheet (1800)
+ by G. Oortmann, publisher: by de Erve H. Rynders - earliest Dutch broadsheet after Perrault. +This predates the famous Grimm's version by 11 years. +
+
+
+
+
+
+
+ +From around 1800 the most important country for comics is England. Here stories told in pictures turn up inside chap-books. +Chapbooks were small booklets of four, (or multiples of four: 8, 12,...) pages, and sold by itinerant merchants or chapmen (Old English: ceapman from 'ceap' - bargaining, trade) from the 16th to the early 19th century. They were illustrated with woodcuts and had stories of popular heroes, folklore, famous crimes, ballads, nursery rhymes, schooltexts (ABCs), bible tales, etc, and were the main literature beside the bible for the common man and children. +They too were sometimes sold as sheets which had to be cut up and bound, DIY-fashion. +
+Most chapbooks were not comics of course, but enough of them were to constitute a genuine and influential tradition. +Some of the examples below are from American edtions. I'm not sure if these were reprints, copies or original. +
+ +
+
+ +
+
+ + +The Little Man & the Little Maid (1807)
+
+
+ +
+ + +
+ +The Comical Adventures of the Little Woman, Her Dog and the Pedlar (1820s) + +printed in Baltimore, by William Raint +
+ +
+ +
+
+ + + Robert Branston Old Mother Hubbard and her Dog - Various early editions including a lovely one from 1819, probably by Robert Branston +
+
+
+
+ +
+
+ + + Robert Branston 'The Comical Cat' (1818) + Another 'Madam with an animal' thingy by Branston, plus a couple of later US variations. +
+
+
+
+ +
+
+ +
+ + + Robert Branston Dame Wiggins of Lee and her Seven Wonderful Cats (1823)
+More an illustrated story than a comic, because not enough of the relevant action is shown visually. +
+ This was a favourite childrens book of the art critic John Ruskin. +
+
+ +
+
+ + +Grandmamma Easy's Old Dame Hicket and Her Wonderful Cricket (circa 1840) +
+Boston: Brown, Bazin & Co. Nashua, N.H.: N.P Greene & Co. +
+
+ +
+
+ + +There are a lot more of these wacky old-Mother-this-Grandma-that picture books. +
+Below examples of more conventional 19th century stories. +
+
+
+ + +The Two Sisters (circa 1825)
+From The Pretty Primer (The Juvenile Gem), +Huestis & Cozans, 104 Nassau Street, New York +
+
+ +
+ +
+
+ + +The Story of Little Sarah and Her Johnny-Cake (circa 1830)
+ Boston: W.J.Reynolds & Co. +
+
+ +
+
+
+ + +The Children in the Wood (circa 1825) +
+published by Dunigan, New York +
+
+
+
+
+ + +Adventures of Little Red Riding Hood (circa 1820) +
+Mark's Edition - Published by Fisk & Little, 82 State-Street, Albany, New York +
+
+
+ +
+
+
+ + + +These chapbooks had an important influence on the next stage of mass-market comics for children. +In the mid 1830s the little town of Neuruppin, north of Berlin, became an important centre for picture sheets. A good number of these were comics. Below are a few early examples. +
+
+Later on, in 1848, these Neuruppiner Bilderbogen themselves influenced the more sophisticated 'Münchner Bilderbogen' (Munich picture broadsheets), where in 1859 the great Wilhelm Busch started his own brand of picture stories, which would influence cartoonists all over the world, and eventually the Sunday supplement comics. In other words, there is a direct line of influence from the Dutch broadsheets/ English chapbooks to 20th century comics. +
+ +
+
+ + + + +
+ +Geschichte der Madam Rips und ihres Hundes Bello 1835/40 + + +This sheet demonstrates the international influence of British picture stories - a close copy of Old Hubbard, translated into German: (the English version was here) . + +Bello comes from 'bellen', to bark. Typical doggie name. +
+ +
+
+ +
+ + +More common were these charming fairy tale adaptations: + +        +Cinderella 1835/40                        +
+
+
+ +
+ + +Hansel and Gretel (here called Martin and Ilse) 1835/40
+
+
+ +
+ + +Erzählung vom kleinen Däumling / Story about Little Tom Thumb (1835/40)
+
+
+ +
+ +
+ + +Schneeweisschen und Rosenrot (1835/40) +(Little Snowwhite and Rosered) (not the Snowwhite, who is called 'Schneewittchen' in German)
+
+ + +
+ +
+ + + +There were also popular stories of romantic robbers: + + + +Rinaldo Rinaldini (1835/40) ... +
+
+
+ +
+ + +...or a satire for grown-ups about emancipated women (and why to avoid them): Der Kleine Mann und die grosse Frau (The little Man and the large Woman) (1835/40) +
+
+ +
+
+ + + + + + + +Heinrich Hoffmann 'Struwwelpeter' +(drawn 1844, published 1847 - English edition 1848) + +
+
+ + + +This famous picture book is stylistically related to earlier chapbooks and Bilderbogen / picture broad sheets. +The hunter/rabbit story is similar to a panel from an earlier Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world. + +
+
+ +
+ +
+
+
+ +
+ + + + +
+ + +Rodolphe Töpffer + +
+ +Index
+
+
+
+ +Monsieur Vieuxbois (1839) (partial translation) +    +    +    +the same, but with smaller pictures - click here + +
+
+ + + +
+
+
+
+Comparison of the Aubert Pirate Version (1839) and the US copy (1842)
+
+
+
+
+
+Comparison of Monsieur Tric Trac and a Dutch sequel (Prikkebeen)
+
+
+
+
+ +Comparison of Vieuxbois and Cruikshank
+
+
+
+ +
+EXTERNAL LINK: +
+ +'Histoire de Mr. Vieux Bois' +  + +Original manuscript version of Monsieur Vieuxbois, 1827 (30 pages/158 panels) with text typed out underneath, and a translation. The first printed edition was published ten years later, expanded to 88 pages/198 panels. The second edition 1839 (as presented above on my own site) had 92 pages / 220 panels.
+ + +
+
+
+
+
+ +
+
+
+ + +1840 - 1860 (pre-Busch) +
+ + +
+ + + + +
+ + +  +Alfred Crowquill (Alfred Henry Forrester) 'Pantomime, to be played at home' 1849
+
+ + + +
+
+
+ + + +George Cruikshank +
+'The Progress of Mr. Lambkin' (1844) A story told in 25 tableau-type pictures. Nice large scans.
+
+
+
+ +'Premium Discount' (Spoof on dangerous railways)
+
+
+
+Comparison with A.B.Frost - + +(Two-panel cartoon which may have been the inspiration for a famous comic by A.B.Frost, part of which is shown) +
+
+ +
+
+
+ + + +Gustave Doré
+'Trois artistes incompris et mecontens' (1858) - Outstanding lithos by his own hand
+
+part 1
+
+ +part 2
+
+ +part 3
+
+ +
+
+
+ + +  +Richard Doyle- Pleasure Trips of Brown, Jones and Robertson - from Punch, 1850
+
+ + +
+
+
+ + +Grandville - A dream of crime and punishment, Gertrude (1847)
+
+ + +
+
+
+ + + +Anonymous - Two comics from the magazine 'Die Illustrierte Welt' Stuttgart (1858) (sechster Jahrgang) +
+
+ +
+
+
+ + +John Leech
+
+
+ +Mr. Briggs 1850/1
+
+
+
+ +Portrait of 1855 (in watercolours)
+
+
+
+ + +(Before and After) 1855
+
+
+
+ +The Best Preventive against Sea Sickness, 1855
+
+
+
+ +The Removal of the Snow, 1855
+
+
+
+ +Noddy 1, (Mr. Tom Noddy's first Day with the Hounds after the long Frost) 1855
+
+
+
+ +Noddy 2, (At the Seaside) 1855
+
+
+
+ +Mr. Popplewit, - How Mr. Popplewit enjoyed a day's Rook Shooting, 1855
+
+ +
+
+
+ + + Pages from the magazine 'Leuchtkugeln' 1848
+
+ +
+
+
+ + + + +Timol?on Marie Lobrichon Histoire de Mr. Tuberculus (1856) (only a few pages)
+
+ +
+
+
+ +JohnTenniel (the illustrator of Alice in Wonderland, 1864)
+
+How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking' 1853
+
+
+
+ +How Mr. Peter Piper Tried his Hand at Buffalo-shooting 1853
+
+
+
+How Mr. Peter Piper Was Induced to Join in a Bear-hunt 1853
+
+
+
+How Mr. Peter Piper Accepted an Invitation from the Rajah of R. to Hunt a 'Royal Bengal Tiger' 1853
+
+
+
+Mr. Piper (all on one page)
+
+
+ +
+ + +Mr Spoonbill 1855 +
+
+ + +This was published in three installments, in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. + +
+
+ +
+
+
+
+
+
+
+
+ +
+ +Wilhelm Busch +
+ +
+Index
+
+
+
+The Little Honey Thieves (1859) - Bilderbogen number 242 - The first appearance of two Katzenjammer Kids type rapscallions. + +
+
+ + + +It's in the format of an illustrated story, but the pictures work as a comic on their own. Which is a fitting start for Busch, as this is how modern comics evolved: illustrated stories, where the text became of secondary importance. The art is a mixture of the detailed illustration of the time in the backgrounds and the already snappy characterisation of the figures. (The beginning of 'big nose cartooning'). +
+
+ + + +
+
+
+Der kleine Maler mit der grossen Mappe (1859) (The little painter with the large portfolio) +
+ +This early work still uses the romantic drawing style of Ludwig Richter (Grimms Fairy Tales etc). +
+
+
+
+ + +Das warme Bad / The Warm Bath (1865) Bilderbogen number 278
+
+
+
+Der Floh / The Flea (1865) Bilderbogen number 390 - wordless - alternative title: .Disturbed and Refound Peace of Night'
+
+
+
+ +Der Virtuos / The Virtuoso (1865) Bilderbogen number 465 + Astonishing page, which was particularly influencial.
+
+
+
+ +Der gewandte, kunstreiche Barbier und sein kluger Hund / The Baber and his clever dog (1865) BB399 +   +Was imitated by Charles Ross, especially the last panel
+
+
+
+ +The Hollow Tooth (1865) Bilderbogen number 330 This was inspired/heavily influenced by George Cruikshank's 'The Toothache'
+
+
+
+ +Der Bauer und sein Schwein (The peasant and his pig)
+
+
+
+ + +Der Bauer und der Windmüller (The Peasant and the Miller) (two Bilderbogen in sequence)
+
+
+
+Der vergebliche Versuch (Returning home after New Year's Eve...) (1865) (from Fliegende Blätter vol.46)
+
+
+
+Der Katzenjammer am Neujahrsmorgen (The hangover on Newyear's Day) (1866) (from Fliegende Blätter)
+
+
+
+Der schöne Ritter' (The handsome Knight) (1866) (from Fliegende Blätter)
+
+
+ +
+
+
+
+
+
+
+
+ +
+ + + +1860-1900 (The Magazine Comics Period) + +
+
+ + +
+ + +Album Noel (all) 1900 (collecting work from previous years) + +(This link presents all the pages from the book in one go. Most of them are also listed separately by author). + +
+
+
+ + +G. Andral 'La clémence d'Auguste' (Le journal pour tous' 1895)
+
+ +
+
+
+ + +F. von B. 'Der schlaue Pepi - oder - Die geraubte Gans' (Fliegende Blätter vol 82)
+
+ + +
+
+
+ + +Johann Bahr
+ +
+
+ + +'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) (without words)
+
+
+
+'Schnelles Wachstum' (Fast Growth) (without words)
+
+
+
+'The Mechanical Racehorse' (originally in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893)
+
+
+
+Die Rivalen auf dem Eise (Lustige Blätter 1892)
+
+
+
+Die verrätherische Fata Morgana (Lustige Blätter 1892) (without words)
+
+
+
+(Speech by Professor Strubelmann on how to take care of your hair) (Lustige Blätter 1892)
+
+
+
+Der kluge Plüsecke (Lustige Blätter 1892)
+
+
+
+'Der Sonntagsfrevler - oder - Die verbotene Angelei' (Lustige Blätter 1892)
+
+
+
+'Der gefoppte Schwarzseher' (Lustige Blätter 1892) (without words)
+
+
+
+
+
+ +
+ + +Baric - 'Histoire de Martin Landor' ou 'La musique des enfants' ecrite par Kroknotski, dessinée par Baric' 1865
+This is only partially a picture story (ie comic). But it shows a different way how the Struwwelpeter influened picture books. +
+Also, it's a precursor of McCay dream-stories, with equal visual brilliance. +
+ +
+
+
+ + + + +Frank Beard 'It Didn't Work for a Cent' (from Puck 'On the Road' 1889)
+
+ + +
+
+
+ + +Edouart Bernard 'Une ligne résistante' (Polichinelle 1898 - Journal humoristique hébdomadaire pour la famille)
+
+ + +
+
+
+ + +C.J.Budd 'The Bill-Poster's Revenge' (Harper's Round Table, Annual 1897)
+
+ + +
+
+
+ + +R.F. Bunner - (The Circus Lion) (Harper's Round Table, Annual 1897) (without words)
+
+ +
+ +
+
+
+ + + +Léonce Burret
+
+ + +
+Vieux Garcon - Le Rire 1898 (Number 166)
+Quoi qu'il dirait, s'il reviendrait? - Le Rire 1898 (Number 211)
+Le choix d'une villégiature - Le Rire 1898 (Number 190)
+De la coupe aux làvres - Le Rire 1898 (Number 200)
+La nouvelle Famille - Le Rire 1898 (Number 174) +
+ +
+ + + +     + +     + +     + +     +
+ +
+
+
+ + +Randolph Caldecott
+
+The Rivals
+
+
+
+The Wynchdale Steeplechase (scroll sideways)
+
+
+
+Our Haymaking
+
+
+
+Carlyon's Christmas
+
+
+ +
+
+ +
+ +Caran D'Ache
+
+ + +La Loi de la Femme
+
+

+Trappeur d'Arkansas ou Une Erreur Judiciaire (1893)
+
+

+A popular Favourite (originally from 'La Caricature', before 1893) + (a variation on 'The Virtuoso' by Busch)
+
+

+(Catching the train) (before 1893)
+
+

+La Vie de Chateau 1897
+
+

+A la Houzarde (Le Rire, 2.November 1895)
+
+

+Querelle d'Allemand (Le Rire - 25 January 1896)
+
+

+Le Ténor enteté
+
+ + +
+
+
+ + + +George Chicki - Souvenirs Bachotiques (1870) (graphic novel in the manner of Töpffer)
+
+
+ + +
+ + + +
+ + + +Chip (F.P.W. Bellew) +The Rivals' A Tale of St. Valentine ('Chip's Dogs', 1895 ) +
+
+ + + +
+
+
+ + +Christophe (Georges Colomb)
+
+ +La Fontaine Modernis? - Le Renard et la Cigogne (Petit France 1901, Number 108
+
+
+
+ +Le Malices de Plick et Plock (Petit France 1902, Number 122) +
+This page shows how much Christophe was influenced by German cartoonists. Wilhelm Busch's Icepeter motiv is turning up again, and more directly the various dwarf stories by Lothar Meggendorfer or Johan Bahr.
+
+
+
+ +Le Baron de Cramoisy (Vll) - Le Petit Francais Illustré 1901
+
+ + +
+
+
+ + +Emile Cohl 'Logement a Louer' (Polichinelle 9.Mai 1897) +(That's the same Cohl famous for creating the first animated cartoon.)
+
+ +
+
+
+ + +J.B. Clark 'Le Maleurs d'un chat' (from 'Album Noel', 1900)
+
+ +
+
+
+ +C.Cyl 'Peche ? la ligne' (from 'Album Noel', 1900)
+
+ +
+
+
+ + + +A.S.Daggy 'A new use for the Japanese Umbrella' (Harper's Round Table, Annual 1897) (without words)
+
+ +
+
+
+ + +Dalrymple
+
+ +'The unexpected always happens' (from 'Puck's Library')
+
+
+
+(At the theatre) (Le Rire, 11.Mai 1895 - originally published in Puck)
+
+
+
+'His Diploma'
+
+
+
+
+ + +Deb
+
+Un essai (from 'Album Noel', 1900)
+ +
+
+Souvenir de pêche (from 'Album Noel', 1900)
+
+ +
+
+
+ + +Jules Dépaquit
+
+ +Le Bourreau trop vigoureux - ou - erreur n'est pas compte
+Zola veut séduire l'académie
+Carneval (1897 - Le Rire)
+
+
+ +        + +        +
+ +
+
+
+ + + + +Dio Biding 'La méchanceté' (from 'Polichinelle' 9.Mai 1897)
+
+ + +
+
+
+ + +Doës
+
+Polly's Little Joke (from 'Le Papillon', reprinted in Picture Magazine 1893)
+ +
+
+ +Subjection (from 'Scribner's Magazine')
+ +
+
+How Pierre sent his Boots by Telegraph and got a Receipt for them (from 'La Revue illustré, reprinted in Picture Magazine 1893)
+ + +
+
+
+ + + + +A. Douhin 'Génération Spontanée' (from 'Journal Amusant' 11. November 1899)
+
+ + +
+
+
+ + + + +M. Dunk 'How a Famous Hunter Won a Reputation' (Harper's Round Table, Annual 1897) (without words)
+
+ + +
+
+
+ + + + + +Fernand Fau
+ +
+ +(Champagne) (Le Rire, 11.Mai 1895)
+
+
+ +La Création du monde
+
+
+ +Le Duel Pini-Thomeguex (Le Rire, 11.Mai 1895) +Cartoon with a speechballoon, influenced by Caran d'Ache.
+
+
+ +Échos de la semaine prochaine (Le Rire, 14 April 1896)
+
+
+ +Interviews printaniers (Le Rire, 4.Mai 1895)
+
+
+ +Etre président de la république (Le Rire, 14 April 1896)
+
+ + +
+
+
+ + + + +A. B. Frost 'He was a Tenderfoot' (from Scribner's Magazine Vol.XIII No.1, January 1893 )
+
+ + +
+
+
+ + + + +Gerlach 'A Tale of a Lamp and a Bath' (from'Universum', reprinted in Picture Magazine 1893)
+
+ + +
+
+
+ + + + +Godefroy 'A Comfortable Smoke' (from Revue Illustr? - reprinted Picture Magazine 1893)
+
+ + +
+
+
+ + + +W.M. Goodes 'The Funniest Thing He ever Saw' (Bear & Fishing Rod) (from Harper's Round Table, Annual 1897) (without words)
+
+ +
+
+
+ + + + +F. Graetz 'Die Wirkung der afrikanischen Sonne auf das Kilimandscharo-Gebiet' (1892) (Lustige Blätter)
+
+ +
+
+
+ + +Syd B. Griffin
+
+ +'Snap-Shots'/A Friend in Need
+ +
+
+His Name was Mud (from Puck's Library)
+ +
+
+Let Her Go
+
+
+ +
+
+
+ + +O. Herford
+
+ + +'The Bow Legged Admiral and the Educated Dog' (Harper's Round Table, 1897)
+ +
+
+ + +'The Lost Joke Recovered by Xray'(Harper's Round Table, 1897)
+ + +
+
+
+ + + + +Livingstone Hopkins 'Professor Tigwissel' (1875) - very early U.S. newspaper comic
+ + + +
+
+
+ + + +F.M. Howarth
+
+ +Récréation Chinoise (from 'Album Noel', 1900)
+

+Editor and Poet (Puck 1894)
+

+'An ingenious Device' (originally published in Life - reprinted in Picture Magazine 1893)
+

+'Lovers of Art' (originally published in Life - reprinted in Picture Magazine 1893)
+

+'Pelle et Brouette' (originally published in Puck, reprinted in 'Polichinelle' 31 July 1898)
+

+Le Portrait trop resemblant et la veuve trop démonstrative' (originally published in Puck - reprinted in Le Rire, 4.Mai 1895)
+

+Un enlevement acrobatique ou le vrai amour ne connait pas d'obstacles' (originally published in Puck - reprinted in Le Rire - 9 May 1896 )
+

+The dog at the butcher's (orginially published in 'Judge' - reprinted in Le Rire, 2.November 1895)
+

+An Assisted Flirtation (Puck 28. July 1897 )
+

+Easily Arranged (Puck 28. July 1897 )
+

+ + +        +External link +(John Adcock's Blog) Selfportrait & short strip

+ + + +
+
+
+ + +A. Jensen
+
+ +'Der Abgeordnete und der Wähler' (Lustige Blätter 1892) (the often repeated visual joke of relating the size of people to their power or importance)
+

+'Die 'Vermehlung' des Schornsteinfegers' (Lustige Blätter 1892)
+

+'Die Ratte' (Lustige Blätter 1892)
+

+'Ein armer Lahmer' (Lustige Blätter 1892)
+ + + +
+
+
+ + + + +Charles Keene (1823-91) 'The Adventures of Miss Lavinia Brounjones' (Punch 1866)
+ + +
+
+
+ + + +W.C.Kemble 'An Ingenious Escape' (Harper's Round Table, Annual 1897)
+ + + +
+
+
+ + + + +Kerlie?
+'Histoire de deux chinois et d'un enfant trop malin pour son age'
+

+'Histoire lamentable de Prosper et de sa soupe'
+ + + +
+
+
+ + + + +C. Koch (Deutsche Bilderbogen 162 - Gustav Weise Stuttgart)
+ + + +
+
+
+ + +Ch. Lagemann 'Der zerstreute Professor oder Eine Überraschung' (Lustige Blätter 1892)
+
+ +
+
+
+ + + + +Le Bocain (jeune ou vieille?) (Le Rire, 11.Mai 1895)
+ + + +
+
+
+ + + + +Achille Lemot (aka Uzès) +(all from 'Album Noel', 1900)
+Avec de la tenacité
+Un jeune inventeur
+'A.L.' 'Fourrures a l'essai!
+C'est que la vie (A.L. in the squiggly border)
+Une Faute de Gugusse (the classic hosepipe gag)
+Une tartine pour trois
+Maladroit mais rusé
+Un farceur attrapé ou un voleur envolé
+Punition mériteée
+Valeur du temps
+Une lecon de botanique
+Ce qu'il en coute d'apprendre à un éléphant à se balancer
+Un tour de force
+Rira bien qui rira le dernier
+Les cinq sens (not a comic)
+         +         +         +         +         +

+ +         +         +         +         +         +

+         +         +         +         +         + + +
+
+
+ + + +Luc Luguey
+Le Rire - 14 March 1896
+

+La nuit de noces du Viveur (containing small speechballoon)
+ + + +
+
+
+ + + + +Alfred Le Petit - 'En Chasse' ('Polichinelle' 9.Mai 1897)
+
+ + +
+
+
+ + + + +Leoy (Variation on 'The Virtuoso' by Busch) (reprinted in Picture Magazine 1893)
+
+ + +
+
+
+ + + + +H.Malatesta
+
+ 'Le voleur bien volé' 1895 (from 'Album Noel', 1900)
+ +
+
+'Le bon pauvre et le mauvais riche' (from 'Album Noel', 1900)
+ +
+
+'Le Fils d'Adoption' 1896 (from 'Album Noel', 1900)
+ + + +
+
+
+ + + + +M. Mandl 'Praktische Verwertung der neuesten Mode' ('Practical application of the latest fashion') (1885) (Fliegende Bl&amul;tter vol 82)
+
+ +
+
+
+ + + + +George du Maurier 'The Philosopher's Revenge' (Punch 1866)
+
+ + +
+
+
+ + + + +Chas May
+
+Un sac, un homme, un chien & un tonneau (from 'Album Noel', 1900)
+ +
+
+ +Dans la cave (from 'Album Noel', 1900)
+ + + +
+
+
+ + + + +Hy Mayer 'How the Dromedary became a Camel' (Harper's Round Table, Annual 1897) +
+
+ + + +
+
+
+ + + + +John Mclenan 'The Flight of Abraham - as reported by a Modern Daily Paper' (Harper's Weekly 1861)
+
+ + +
+
+
+ + + + +Lothar Meggendorfer
+
+Aus den Kinderjahren eines Kautschukmenschen (from the infant years of the plastic man)
+

+Rache ist süss (Revenge is sweet)
+

+Die schlauen Zwerge (The Clever Dwarfes)
+

+Misslungene Arretierung (Unsuccessful Arrest)
+

+Liebesgram und Heilung (Love sickness and Recuperation)
+

+Das bockbeinige Schwein und der Philosoph (The recalcitrant pig and the philosopher)
+

+Die Macht der Musik' (FB 1888)
+ + +
+
+
+ + + + +Mob
+
+L'aumone
+Un drame
+Pêche difficile
+Repos Troublé
+
+ + + + + +
+
+
+ + + + +M. Monnier 'La Punition d'un Gourmand' (The punishment of a glutton) ('Le Petit Francais' 26.April 1902) +
+A forerunner of McCay's dream comics !!!
+
+ + +
+
+
+ + + + +Moriss - Interruption Piquante
+(Note - The chap is reading the magazine in which the comic is published)
+
+ +
+
+
+ + + +Peter Newell
+ +(Policeman and Matchstick) (Harper's Round Table, Annual 1897)
+

+'Introduction' (Harper's Round Table, Annual 1896)
+ + +
+
+
+ + +Adolf Oberländer
+
+Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser
+

+Ein jedes Tierchen hat sein Pläsierchen - 1885
+

+Zufalls Tücke - oder - Unfreiwillige Illustration - 1885
+

+Die kurzsichtige Tante (The shortsighted aunt) 1903
+

+Münchener Tartarus (1865)
+

+Die unterbrochene Trauung (1865)
+

+Täuschung - (text with three illustrations) (1865)
+

+Der Wunderdoktor (1865)
+

+ + +
+
+
+ + + +Fred Opper (before 1900) +(see also the post-1900 Opper Index)
+
+The Wicket Seal Hunter and the Clever Seal
+

+His Doctors, and how they didn't do him any good
+

+A Real English Outfit in America
+

+In Maine
+

+The Result of Feeding a Neapolitan Greyhound on Macaroni
+

+The Power of Habit
+

+A Close Shave
+

+(The Pretty Typewriter)
+

+Mike Cassedy's Toothache
+

+A Distinct Success
+

+Saved - A Tale of Simple Heroism Rewarded
+

+The latest dodge
+

+A story of the road
+

+A Quick Response
+

+A slight error of judgement
+

+Not quite out of practice
+

+True too his word (Puck 28. July 1897)
+ + +
+
+
+ + + + +Photo Comics
+
+Le premier cigare
+
+ +
+ +Histoire d'un nid (not photos, only traced from photos)
+ +
+
+ +Saluting the Flag - 1912
+ +
+
+ + +Hunter and Dog 1899
+ + + + +
+
+
+ + + + +Emile Piery - Fantaisie sur le duel (from 'Polichinelle' 31 July 1898)
+ + + +
+
+
+ + + + +H.W. Philips - A Friend in Need is a Friend Indeed (Harper's Round Table, Annual 1897)
+
+
+ + + +
+
+
+ + + + +Karl Pommerhanz
+
+Ein Frechdachs
+

+Der getäuschte Arzt
+

+Die Benutzte Gelegenheit
+

+Die kleinen Verwandlungskünstler
+

+Der Herr Professor und das Feuerwerk
+

+Das boshafte Geschwisterpaar
+

+Die Pferdelspieler
+

+Der kleine Turner und seine Lebensrettung
+

+Bestrafte Unhöflichkeit (1892)

+ +
+
+
+ + + + +J. S. Pughe A Small Story with a Large Application (from Puck 28.July 1897)
+
+ + +
+
+
+ + + + +Benjamin Rabier
+
+Le Lion Télescopé (Le Rire - 11 April 1896 )
+

+Gontran à Trouville (Le Rire - 27 June 1896 )
+

+ + +
+
+
+ + + + +Carl Reinhardt (Die Landpartie) (Deutsche Bilderbogen fôr Jung und Alt Nr.96)
+
+ + +
+
+
+ + + +Reichert 'Un Drame en deux actes avec trois personnages' (from 'Album Noel', 1900)
+
+ + +
+
+
+ +Emil Reinicke
+
+Das jähzornige Nashorn' (The angry Rhino) (1886)
+

+Die verschwundene Wurst - Eine merkwürdige Begebenheit (FB 1885)
+

+Irren ist Menschlich (to err is human) (FB 1884)
+

+Iberus - Eine antimusikalische Ballade (FB 1884)
+

+Dr. Mokel in Afrika (FB 1884)
+

+Sächsisches Landsknechtlied (FB 1885)
+

+Das Kegelspiel - Historisches Gedicht (FB 1885)
+

+Der Kluge Elefant (The clever elephant) (1902)
+

+Der durstige Jumbo' (Thirsty Jumbo) (1902)

+ + + +
+
+
+ + + +K.Rey 'Une histoire qui finit mal'(from 'Album Noel', 1900)
+
+ + +
+
+
+ + + +F. Reznicek
+ +    +    +
+ + + +
+
+
+ + + +F.T. Richards
+
+ +It's an Ill Wind Blows Nobody Good (Harper's Round Table, 1897)
+

+The Fakir and the Prestidigitateur (Harper's Round Table, 1897)
+

+An Occidental Transformation (Harper's Round Table, 1897)
+ + +
+
+
+ + +Charles Ross & Marie Duval +
+'Ally Sloper' (magazine pages rearranged for an early reprint in bookform, 1867)

+
+ +
+
+
+ +
+
+
+
+ + +
+
+
+ + + +A.Rusden 'La Peau du Lion' (from 'Album Noel', 1900)
+ + + +
+
+
+ +H. Scherenberg
+
+Der Bauer und der Kobold (The peasant and the kobold)
+Die entführte Wurst (The kidnapped sausage)
+Das Ständchen (The serenade)
+Ferientag eines Zerstreuten (Holiday of someone very distracted)
+Die Drei Wünsche (The three wishes)
+
+
+ +    +    + +    +    + +
+
+ +    +    + +
+ +
+
+
+ + + +Schmelzer 'Hansl und Gretel - oder - Nach und nach' (1865) (Fliegende Blätter vol.46)
+
+ + +
+
+
+ + + +R. Schönborn (Drei Räuber) (Deutsche Bilderbogen Nr.105)
+
+ + +
+
+
+ + + +Schliessmann 'Der Sechsfôssler - ein Clownscherz' (The six-footer, a clownish joke)
+
+ + +
+
+
+ + + +James A. (Affleck) Shepherd (1867-1946) Index
+
+Parrot and Dog (Boys' Own Paper 1891) (uses plot-relevant speechballoons)
+

+Les Grenouilles et le héron (from 'Album Noel', 1900)
+

+ + +
+
+
+ + +C. Storch
+
+Der Automobilfahrer wider Willen (The unwilling motorist)
+

+Bestrafter Geiz (Punished Selfishness)
+

+Blinder Eifer (Blind Zeal)
+

+Glück im Unglück - Storch after Pomerhanz
+

+Gnom und Maulwurf (Gnome and Mole)
+

+Der Maler und der Stier (The Painter and the Bull)
+

+Verunglückter Musikuntericht (The music lesson that went wrong)
+

+Die Zwerge und der Fischer (The Dwarfs and the Fisherman)
+ + + +
+
+
+ + + +H. Storkmann (French reprint) (originally published in Fliegende Blätter)
+
+ + +
+
+
+ + + +James Francis Sullivan
+
+ + +
+
+
+ + + +John Theele 'Die fônf Sinne' (The five senses) (Lustige Bl&aumml;tter 1892)
+
+ +
+
+
+ +M. Tucker
+760 - - 'The Stolen Cigar or The Monkey who got it in the Neck' Tucker ?
+

+ +
+
+
+ + + +M. Vaiselow 'Das gewohnte Stichwort' (Lustige Bl&aumml;tter 1892)
+
+ + +
+
+
+ + + +Gustav Verbeek
+
+'The Hunter's Strategy' (Harper's Round Table, Annual 1897)
+

+'A quelque chose malheur est bon' (The Swan)
+

+ + +
+
+
+ + + +S. Vitou 'Der Photograph in der Wôste - Vorzug der Revolver Camera' (Lustige Bl&aumml;tter 1892)
+ +
+ +
+
+
+ + + +Zim (Eugene Zimmerman) Index
+
+Blackville (originally published in 'Judge')
+

+(Mule Récalcitrant) (originally published in 'Judge')
+

+('Le Renseignement exact') (originally published in 'Judge')
+ + +
+
+
+ + + + + +
+
+
+ + +1895-1900 (The Sunday Supplements) + + +
+ + +
+ + + + +Eventually there should be a section presenting this crucial period in more detail. At the moment I don't have sufficient material. Magazine comics from that time will remain in the preceding section. +
+It is difficult to decide how important the development of comics in humorous magazines and in the newspapers respectively were, without studying a lot more of the work. + +Below you can at least sample the visual flavour of one magazine and that exciting new thing, a comics supplement, both from the summer of 1897. +
+At the time it wasn't clear that it would be the supplements which would develop into modern comics. Magazines like Puck, which were based on German magazines of the time, such as 'Lustige Blätter', were stuck in a bit of a rut. The type of comics they presented had not changed much for 30 years. But there were other magazines, such as the German weekly 'Simplizissimus' (starting April 1896), which came up with sublimely inventive designs, and satirical adult themes. +
+HOWEVER: +
+Looking at this Puck and the Sunday Comics Supplement , it struck me that both the format and the audience for the latter may be the cause of significant changes. The newspaper format was much larger and cheaper, providing a lot more empty space to fill. The audience was less sophisticated, but (possibly because of this) more open to a particular type of experimentation, despite the dumb and lowbrow humour. Admittedly, this is being wise in retrospect. For whatever reason, these American Sunday pages became the breeding ground for something new. Weirder, rougher, slapdashier. Also easier, for children, but not childish. More popular. More ... somethingier.
+Maybe it was that new type of human being, the urban immigrant, who was most prepared and eager to pay for all this new visual goings on. +
+
+As you can see in the example below, early supplements didn't actually have many comics, apart from the usual short black and white snippets, similar to those in magazines. The new, enormous areas of colour were at first used for large, sometimes complex cartoons. + +But sequential cartoons did start to pop up with a vengeance in the form of Hans and Fritz, the Katzenjammer Kids, based on the popular classic 'Max und Moritz' (1864) by Wilhelm Busch. These two remarkable rapscallions appeared onto this stage of coloured spreads a few months later, on the 12th of December 1897. The Busch influence was of course felt througout the 'magazine-comics-period' 1860-1900. But in young Dirks he had finally found a follower of genius, who together with other likeminded artists, and above all an avaricious public, created the new parameters of the medium. +
+ + +
+
+ + +
Puck 28. July 1897
+Small version - Large version +

+ +

+ + +
+
+
+ +
The World 'Comic Weekly' 20. June 1897 (6 pages, ie two missing)
+Small version - +Large version
+
+

+ + + +
+ +
+
+ +
+ +
1900 - 1929
+
+ +
+ + + +
+ + + +
+
+ + + +Walt McDougal
+
+Professor Jyblitz (1.2.1902)
+

+Hank the Hermit (29.9.1912)
+ + +
+
+
+ + + +Winsor McCay
+
+Comparison of McCay dragon to German Baroque theatrical design
+

+Dream of the Rarebit Fiend (19.1.1913)
+

+Dream of the Rarebit Fiend (27.7.1913)
+

+ +
+
+
+ + + + +Fred Opper (after 1900) Index +(see also the Pre-1900 Opper Index)
+
+Si puts in a good word for Happy Hooligan (1912)
+

+ +Happy Hooligan - There might have been a lot of wisdom... (1912)
+

+ +Happy Hooligan - Sometimes it almost seems as if (1913)
+

+ +(Happy Hooligan in German) (Deutsches Journal 1913)
+ + + +
+
+
+ + + +Arpad Schmidthammer (1905) This was very likely an inspiration for 'The Kinder-Kids' by Lionel Feininger. Schmidthammer's 'Mucki' had just been published when Feininger (living in Germany) was commisioned by the Chicago Tribune to come up with a comic strip. The style and content, especially the trip-round-the-world nonsense, shows similarities, although Feininger is far more inventive. - Schmidthammer himself was influenced by Busch, the plump parents are classic Busch (see Tobias Knop and wife), and the gag of hanging onto the stork is lifted from Max and Moritz. +
+ +
+
+
+ + +
+
+
+ + + +Gustav Verbeek - The Upside Downs of Little Lady Lovekins and Old Man Muffaroo - The Thrilling Adventure of the Dragon (8. Mai 1904)
+
+ + +
+
+
+ + + +P. Richards 'Die Sonntagsbeilage' (The Sunday Supplement) +Berlin, 1907 + - +This is probably the first text explaining the new phenomenon of American Sunday comics to a German audience. + + +P.Richards was a German-American cartoonist, working in America. This is from a book of recollections, called 'Zeichner und Gezeichnete' . +Zeichner means draughtsmen/graphic artists /drawers' (Gezeichnete means 'those which have been drawn') +
+
+ + + +
+ +
+
+
+ + +
+ + + + + + +
+ +A-Z (these lead to the links above) + +
+ + +
+ +Andral, G.
+B., F. von
+Bahr, Johann
+Baric
+Beard, Frank
+Bernard, Edouart
+Budd, C.J.
+Bunner, R.F.
+Burret, Léonce
+Busch, Wilhelm
+Caldecott, Randolph
+Caran d'Ache
+Chicki, Georges
+Chinese (probably late 18th c.)
+Chinks
+Chip   (F.P.W.Bellew)
+Christophe (Georges Colomb)
+Cohl, Emile
+Clark, J.B
+Crowquill, Alfred
+Cruikshank, George
+Cyl, C.
+Daggy A.S.
+Dalrymple
+Deb
+Dépaquit, Jules
+Dio-Biding
+Doës
+ +                                                                +		 + +Douhin, A.
+Doré, Gustave
+Doyle, Richard
+Dunk, M.
+Fau, Fernand
+Frost, A.B.
+Gerlach
+Gillray, John
+ +Godefroy
+Goez, Joseph Franz von
+Goodes, W.M.
+Graetz, F.
+Grandville, J.J.
+Griffin, Syd B.
+Heath, William
+Herford, O.
+Hoffmann, H. (Struwwelpeter)
+Hogarth, William
+Hopkins, Livingstone
+Howarth, F.M.
+Jensen, A.
+Keene. Charles
+Kemble, W.C.
+Kerlie?
+C. Koch
+Lagemann, Ch.
+Le Bocain
+ +                                                                +		 + +Leech, John
+Leguey, Luc
+Lemot, Achille (Uzès)
+L., S.
+Leoy
+Le Petit, Alfred
+Lobrichon, Timoléon Marie
+Malatesta, H. ?
+Mandl, M.
+Maurier, George de
+May, Chas
+Mayer, Hy
+McCay, Winsor
+McDougal, Walt
+Mclenan, John
+Meggendorfer, Lothar
+Mob
+Monnier, M.
+Moriss
+Newell, Peter
+Oberländer, Adolf
+Opper, Fred (before 1900)
+Opper, Fred (after 1900)
+Photo Comics
+Piery, Emile
+Phillipp, H.W.
+Pommerhanz, Karl
+Pughe, J.S.
+ + +                                                                +		 + + +Rabier. Benjamin
+Reinhardt, Carl
+Reichert
+ +Reinicke, Emil
+ +Rey, K.
+Richards, F.T.
+Richards, P.
+Ross, Charles, Marie Duval (Ally Sloper)
+Rowlandson, Thomas (Dr Syntax)
+Rusden, A.
+Scherenberg, H.
+Schönborn, R.
+Schliessmann, H.
+Schmelzer
+Schmidthammer, Arpad
+Shepherd, James A.
+Storch, C.
+Storkmann
+Sullivan, James
+Tenniel, John
+Theele, John
+Töpffer, Rodolphe
+Tucker, M. ?
+ + +Vaiselow, M.
+Verbeek, Gustav
+Verbeek, Gustav (after 1900)
+Vitou, S.
+Unidentified Artists
+ + + + + + +                                                                + + + + + +
+
+ + + + + + +

+If you have questions about early comics, please direct them to this mailing list: Platinum Age Comics +
+Copyright © 2011 by Andy Konky Kru + +
+ +Home       + +
+ + + \ No newline at end of file diff --git a/httpdocs/earlycomics.german.comics.html b/httpdocs/earlycomics.german.comics.html new file mode 100644 index 0000000..ae1529a --- /dev/null +++ b/httpdocs/earlycomics.german.comics.html @@ -0,0 +1,1136 @@ + Andy's Early Comics Archive + + +
+
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological +


+Early German Comics + + + + + + + +
+ +
+ + + + + + + + + + + +
+ + + + + +
+ + +
1700 - 1800
+ +
+ +
+ + + + + + + + + + + +Franz Joseph Goez 'Lenardo und Blandine' 1783
+ +
+ +
+ + + + + + + +Ironically this, the first actual graphic novel(ette), probably had little influence. It was too ahead of its time as far as the comic-structure is concerned. In content it was delightfully very much of its time, full of outrageous melodrama. + +
+ +Here's the complete sequence, with my translation underneath:
+ + + +
+ +
+ + + + + + page 1-34     + + page 35-65     + + page 66-93     + + page 94-125     + + page 126-160    + + + +All on one page + +
+ +
+ +
+ +
+ + + +
+ + +
+ + + + + +
+ + + +1800 - 1840 (pre-Töpffer) + + +
+ + + + + + + + + +
+ + + +Geschichte der Madam Rips und ihres Hundes Bello 1835/40 + + + + + +This sheet demonstrates the international influence of British picture stories - a close copy of Old Hubbard, translated into German: (the English version was here) . + + + +Bello comes from 'bellen', to bark. Typical doggie name. + +
+ + + +
+ +
+ + + +
+ + + + + +More common were these charming fairy tale adaptations: + + + +        + +Cinderella 1835/40                        + +
+ +
+ +
+ + + +
+ + + + + +Hansel and Gretel (here called Martin and Ilse) 1835/40
+ +
+ +
+ + + +
+ + + + + +Erzählung vom kleinen Däumling / Story about Little Tom Thumb (1835/40)
+ +
+ +
+ + + +
+ + + +
+ + + + + +Schneeweisschen und Rosenrot (1835/40) + +(Little Snowwhite and Rosered) (not the Snowwhite, who is called 'Schneewittchen' in German)
+ +
+ + + + + +
+ + + +
+ + + + + + + +There were also popular stories of romantic robbers: + + + + + + + +Rinaldo Rinaldini (1835/40) ... + +
+ +
+ +
+ + + +
+ + + + + +...or a satire for grown-ups about emancipated women (and why to avoid them): Der Kleine Mann und die grosse Frau (The little Man and the large Woman) (1835/40) + +
+ +
+ +
+ + +
+ +
+ + + + + + +
+ + + + + + + + + +Heinrich Hoffmann 'Struwwelpeter' + +(drawn 1844, published 1847 - English edition 1848) + + + +
+ +
+ + + + + + + +This famous picture book is stylistically related to earlier chapbooks and Bilderbogen / picture broad sheets. + +The hunter/rabbit story is similar to a panel from an earlier Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world. + + + +
+ +
+ + + +
+ + + +
+ +
+ +
+ + + +
+ + + + + +
+ +
+ +
+ + + + + +1840 - 1860 (pre-Busch) + +
+ + + +
+ +
+ + + + + + + +Anonymous - Two comics from the magazine 'Die Illustrierte Welt' Stuttgart (1858) (sechster Jahrgang) + +
+ +
+ + + +
+ +
+
+
+
+
+
+
+ +Wilhelm Busch + +
+ + + + + + + +
+ +all on one page
+ +
+ +
+ +
+ +The Little Honey Thieves (1859) - Bilderbogen number 242 - The first appearance of two Katzenjammer Kids type rapscallions. + + + +
+ +
+ + + + + + + +It's in the format of an illustrated story, but the pictures work as a comic on their own. Which is a fitting start for Busch, as this is how modern comics evolved: illustrated stories, where the text became of secondary importance. The art is a mixture of the detailed illustration of the time in the backgrounds and the already snappy characterisation of the figures. (The beginning of 'big nose cartooning'). + +
+ +
+ + + + + + + +
+ +
+ +
+ +Der kleine Maler mit der grossen Mappe (1859) (The little painter with the large portfolio) + +
+ + + +This early work still uses the romantic drawing style of Ludwig Richter (Grimms Fairy Tales etc). + +
+ +
+ +
+ +
+ + +Max und Moritz (1864) The famous story which inspired Randolph Hearst to commission Dirks to create the Katzenjammer Kids and thus create the modern comics strip. +
+
+
+
+
+
+
+ + + + + +Das warme Bad / The Warm Bath (1865) Bilderbogen number 278
+ +
+ +
+ +
+ +Der Floh / The Flea (1865) Bilderbogen number 390 - wordless - alternative title: .Disturbed and Refound Peace of Night'
+ +
+ +
+ +
+ + + +Der Virtuos / The Virtuoso (1865) Bilderbogen number 465 + + Astonishing page, which was particularly influencial.
+ +
+ +
+ +
+ + + +Der gewandte, kunstreiche Barbier und sein kluger Hund / The Baber and his clever dog (1865) BB399 + +   + +Was imitated by Charles Ross, especially the last panel
+ +
+ +
+ +
+ + + +The Hollow Tooth (1865) Bilderbogen number 330 This was inspired/heavily influenced by George Cruikshank's 'The Toothache'
+ +
+ +
+ +
+ + + +Der Bauer und sein Schwein (The peasant and his pig)
+ +
+ +
+ +
+ + + + + +Der Bauer und der Windmüller (The Peasant and the Miller) (two Bilderbogen in sequence)
+ +
+ +
+ +
+ +Der vergebliche Versuch (Returning home after New Year's Eve...) (1865) (from Fliegende Blätter vol.46)
+ +
+ +
+ +
+ +Der Katzenjammer am Neujahrsmorgen (The hangover on Newyear's Day) (1866) (from Fliegende Blätter)
+ +
+ +
+ +
+ +Der schöne Ritter' (The handsome Knight) (1866) (from Fliegende Blätter)
+ +
+ +
+ + + +
+ +
+ +
+
+
+ + +
+
+ +
1860 - 1900
+ +
+ + + +
+ + +F. von B. 'Der schlaue Pepi - oder - Die geraubte Gans' (Fliegende Blätter vol 82)
+
+ + +
+
+
+ + +Johann Bahr
+ +
+
+ + +'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) (without words)
+
+
+
+'Schnelles Wachstum' (Fast Growth) (without words)
+
+
+
+'The Mechanical Racehorse' (originally in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893)
+
+
+
+Die Rivalen auf dem Eise (Lustige Blätter 1892)
+
+
+
+Die verrätherische Fata Morgana (Lustige Blätter 1892) (without words)
+
+
+
+(Speech by Professor Strubelmann on how to take care of your hair) (Lustige Blätter 1892)
+
+
+
+Der kluge Plüsecke (Lustige Blätter 1892)
+
+
+
+'Der Sonntagsfrevler - oder - Die verbotene Angelei' (Lustige Blätter 1892)
+
+
+
+'Der gefoppte Schwarzseher' (Lustige Blätter 1892) (without words)
+
+
+
+ +'Better than an Alarum
+'The Clown Takes a Ride'
+'Woes of a Chaperone' 1891
+'A Nervous Lady Takes a Walk' 1892
+'A Proposal under difficulties' 1892
+'A Saving Man'
+ + + + +    + +    + +    + +    + +    + + + + + + + +
+
+
+ + + + + + + +
+ + + + +Gerlach 'A Tale of a Lamp and a Bath' (from'Universum', reprinted in Picture Magazine 1893)
+
+ + +
+ + + +
+
+ + + + +F. Graetz 'Die Wirkung der afrikanischen Sonne auf das Kilimandscharo-Gebiet' (1892) (Lustige Blätter)
+
+ +
+ +
+
+ + + + +A. Jensen
+
+ +'Der Abgeordnete und der Wähler' (Lustige Blätter 1892) (the often repeated visual joke of relating the size of people to their power or importance)
+

+ +'Die 'Vermehlung' des Schornsteinfegers' (Lustige Blätter 1892)
+'Die Ratte' (Lustige Blätter 1892)
+'Ein armer Lahmer' (Lustige Blätter 1892)
+
+ + +     + +     + + + +
+
+ +
+ + + + +C. Koch (Deutsche Bilderbogen 162 - Gustav Weise Stuttgart)
+ + + +
+
+ + +
+ + +Ch. Lagemann 'Der zerstreute Professor oder Eine Überraschung' (Lustige Blätter 1892)
+
+ +
+
+ +
+ + + + +M. Mandl 'Praktische Verwertung der neuesten Mode' ('Practical application of the latest fashion') (1885) (Fliegende Bl&amul;tter vol 82)
+
+ +
+
+ +
+
+ + + + +Lothar Meggendorfer
+
+Aus den Kinderjahren eines Kautschukmenschen (from the infant years of the plastic man)
+

+Rache ist süss (Revenge is sweet)
+

+Die schlauen Zwerge (The Clever Dwarfes)
+

+Misslungene Arretierung (Unsuccessful Arrest)
+

+Liebesgram und Heilung (Love sickness and Recuperation)
+

+Das bockbeinige Schwein und der Philosoph (The recalcitrant pig and the philosopher)
+

+Die Macht der Musik' (FB 1888)
+ + +
+
+ + +
+ + +Adolf Oberländer
+
+Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser
+

+Ein jedes Tierchen hat sein Pläsierchen - 1885
+

+Die kurzsichtige Tante (The shortsighted aunt) 1903
+

+Münchener Tartarus (1865)
+Die unterbrochene Trauung (1865)
+Täuschung - (text with three illustrations) (1865)
+Der Wunderdoktor (1865)
+Zufalls Tücke - oder - Unfreiwillige Illustration - 1885
+
+ + +       + +       + +       + +       + + + +
+
+ + +
+ + + + +Karl Pommerhanz
+
+Ein Frechdachs
+Der getäuschte Arzt
+Die Benutzte Gelegenheit
+Die kleinen Verwandlungskünstler
+Der Herr Professor und das Feuerwerk
+ + +  +  +  + +  +  +  + +  +  +  + +  +  +  +

+ +Das boshafte Geschwisterpaar
+Die Pferdelspieler
+Der kleine Turner und seine Lebensrettung
+
+ +  +  +  + +  +  +  + +
+
+ +Bestrafte Unhöflichkeit (1892)

+ +
+
+ + + +
+ + + +Carl Reinhardt (Die Landpartie) (Deutsche Bilderbogen für Jung und Alt Nr.96)
+
+ + +
+
+ +
+ +Emil Reinicke
+
+Das jähzornige Nashorn' (The angry Rhino) (1886)
+

+Die verschwundene Wurst - Eine merkwürdige Begebenheit (FB 1885)
+ +Irren ist Menschlich (to err is human) (FB 1884)
+ + +      +

+ +Iberus - Eine antimusikalische Ballade (FB 1884)
+

+ + +Dr. Mokel in Afrika (FB 1884)
+Sächsisches Landsknechtlied (FB 1885)
+Das Kegelspiel - Historisches Gedicht (FB 1885)
+ + +      + +      +
+
+ +Der Kluge Elefant (The clever elephant) (1902)
+Der durstige Jumbo' (Thirsty Jumbo) (1902)

+ +      + + + +
+
+ +
+ + + +F. Reznicek
+ +    +    +
+ + + +
+ +
+
+ +H. Scherenberg
+
+Der Bauer und der Kobold (The peasant and the kobold)
+Die entführte Wurst (The kidnapped sausage)
+Das Ständchen (The serenade)
+Ferientag eines Zerstreuten (Holiday of someone very distracted)
+Die Drei Wünsche (The three wishes)
+
+
+ +    +    + +    +    + +
+
+ +    +    + +
+ +
+
+
+ + + +Schmelzer 'Hansl und Gretel - oder - Nach und nach' (1865) (Fliegende Blätter vol.46)
+
+ + +
+
+
+ + + +R. Schönborn (Drei Räuber) (Deutsche Bilderbogen Nr.105)
+
+ + +
+
+
+ + + +Schliessmann 'Der SechsfÙssler - ein Clownscherz' (The six-footer, a clownish joke)
+
+ + +
+
+ +
+ + + + +Arpad Schmidthammer (1905) This was very likely an inspiration for 'The Kinder-Kids' by Lionel Feininger. Schmidthammer's 'Mucki' had just been published when Feininger (living in Germany) was commisioned by the Chicago Tribune to come up with a comic strip. The style and content, especially the trip-round-the-world nonsense, shows similarities, although Feininger is far more inventive. - Schmidthammer himself was influenced by Busch, the plump parents are classic Busch (see Tobias Knop and wife), and the gag of hanging onto the stork is lifted from Max and Moritz. +
+ +
+
+
+ + +
+ + +
+
+ + +C. Storch
+
+Der Automobilfahrer wider Willen (The unwilling motorist)
+

+Bestrafter Geiz (Punished Selfishness)
+

+Blinder Eifer (Blind Zeal)
+

+Glück im Unglück - Storch after Pomerhanz
+

+Gnom und Maulwurf (Gnome and Mole)
+

+Der Maler und der Stier (The Painter and the Bull)
+

+Verunglückter Musikuntericht (The music lesson that went wrong)
+

+Die Zwerge und der Fischer (The Dwarfs and the Fisherman)
+ + + +
+
+
+ + + +H. Storkmann (French reprint) (originally published in Fliegende Blätter)
+
+ + +
+
+ +
+ + + +John Theele 'Die fünf Sinne' (The five senses) (Lustige Blätter 1892)
+
+ +
+
+ + + + + +
+ + + +M. Vaiselow 'Das gewohnte Stichwort' (Lustige Blätter 1892)
+
+ + +
+ +
+
+ + + +S. Vitou 'Der Photograph in der Wüste - Vorzug der Revolver Camera' (Lustige Blätter 1892)
+ +
+ +
+
+
+ + + + + + + + +

+ +If you have questions about early comics, please direct them to this mailing list: Platinum Age Comics + +
+ +Copyright © 2014 by Andy Konky Kru + + + +
+ + + +Home       + + + + + +
+ + + + + + \ No newline at end of file diff --git a/httpdocs/earlycomics.html b/httpdocs/earlycomics.html new file mode 100644 index 0000000..41f5b64 --- /dev/null +++ b/httpdocs/earlycomics.html @@ -0,0 +1,2592 @@ + Andy's Early Comics Archive + +
+
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological +


+A - Z +
+

+ + +
+ +Click on the artist's name to see all his work on one page +
+
+
+
+
+ + + +A +
+ + + + + +
+ +G. Andral 'La clémence d'Auguste' (Le journal pour tous' 1895)
+
+
+ + + + + + + + +B + + + +
+ + +F. von B. 'Der schlaue Pepi - oder - Die geraubte Gans' (Fliegende Blätter vol 82)
+
+ + +
+
+
+ + +Johann Bahr
+ +
+
+ + +'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) (without words)
+
+
+
+'Schnelles Wachstum' (Fast Growth) (without words)
+
+
+
+'The Mechanical Racehorse' (originally in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893)
+
+
+
+Die Rivalen auf dem Eise (Lustige Blätter 1892)
+
+
+
+Die verrätherische Fata Morgana (Lustige Blätter 1892) (without words)
+
+
+
+(Speech by Professor Strubelmann on how to take care of your hair) (Lustige Blätter 1892)
+
+
+
+Der kluge Plüsecke (Lustige Blätter 1892)
+
+
+
+'Der Sonntagsfrevler - oder - Die verbotene Angelei' (Lustige Blätter 1892)
+
+
+
+'Der gefoppte Schwarzseher' (Lustige Blätter 1892) (without words)
+
+
+
+ +'Better than an Alarum
+'The Clown Takes a Ride'
+'Woes of a Chaperone' 1891
+'A Nervous Lady Takes a Walk' 1892
+'A Proposal under difficulties' 1892
+'A Saving Man'
+ + + + +    + +    + +    + +    + +    + + + + + + + +
+
+ +
+ + +Baric - 'Histoire de Martin Landor' ou 'La musique des enfants' ecrite par Kroknotski, dessinée par Baric' 1865
+This is only partially a picture story (ie comic). But it shows a different way how the Struwwelpeter influened picture books. +
+Also, it's a precursor of McCay dream-stories, with equal visual brilliance. +
+ +
+
+ + + +
+ + +Culmer Barnes - 'The Chinaman's Sled' & 'A Free Lunch'
+ +
+ + +      +
+ + + +
+
+ + + + +
+ + + + +Frank Beard 'It Didn't Work for a Cent' (from Puck 'On the Road' 1889)
+
+ + +
+
+
+ + +Edouart Bernard 'Une ligne résistante' (Polichinelle 1898 - Journal humoristique hébdomadaire pour la famille)
+
+ + +
+ +
+ +
+ +A.D.Blashfield 'Too much for Brer Rabbit'(pre 1893)
+
+ +
+ +
+ +
+ + + + + + +
+ Robert Branston + +
+ + + Old Mother Hubbard and her Dog - Various early editions including a lovely one from 1819, probably by Robert Branston +
+
+
+
+ +
+
+ + + 'The Comical Cat' (1818) + Another 'Madam with an animal' thingy by Branston, plus a couple of later US variations. +
+
+
+
+ +
+ + + Dame Wiggins of Lee and her Seven Wonderful Cats (1823)
+More an illustrated story than a comic, because not enough of the relevant action is shown visually. +
+ This was a favourite childrens book of the art critic John Ruskin. +
+
+ +
+ +
+
+ +
+ + +C.J.Budd 'The Bill-Poster's Revenge' (Harper's Round Table, Annual 1897)
+
+ + +
+
+
+ + +R.F. Bunner - (The Circus Lion) (Harper's Round Table, Annual 1897) (without words)
+
+ +
+ +
+
+
+ + + +Léonce Burret
+
+ + +
+Vieux Garcon - Le Rire 1898 (Number 166)
+Quoi qu'il dirait, s'il reviendrait? - Le Rire 1898 (Number 211)
+Le choix d'une villégiature - Le Rire 1898 (Number 190)
+De la coupe aux làvres - Le Rire 1898 (Number 200)
+La nouvelle Famille - Le Rire 1898 (Number 174) +
+ +
+ + + +     + +     + +     + +     +
+ +
+
+
+ + + + +Wilhelm Busch + +
+ + +The Little Honey Thieves (1859) - Bilderbogen number 242 - The first appearance of two Katzenjammer Kids type rapscallions. +It's in the format of an illustrated story, but the pictures work as a comic on their own. Which is a fitting start for Busch, as this is how modern comics evolved: illustrated stories, where the text became of secondary importance. The art is a mixture of the detailed illustration of the time in the backgrounds and the already snappy characterisation of the figures. (The beginning of 'big nose cartooning'). +
+
+
+
+Der kleine Maler mit der grossen Mappe (1859) (The little painter with the large portfolio) +
+ +This early work still uses the romantic drawing style of Ludwig Richter (Grimms Fairy Tales etc). +
+
+
+
+ + + +Max und Moritz (1864) The famous story which inspired Randolph Hearst to commission Dirks to create the Katzenjammer Kids and thus create the modern comics strip. +
+
+
+
+
+
+
+ + +Das warme Bad / The Warm Bath (1865) Bilderbogen number 278
+
+
+
+Der Floh / The Flea (1865) Bilderbogen number 390 - wordless - alternative title: .Disturbed and Refound Peace of Night'
+
+
+
+ +Der Virtuos / The Virtuoso (1865) Bilderbogen number 465 + Astonishing page, which was particularly influencial.
+
+
+
+ +Der gewandte, kunstreiche Barbier und sein kluger Hund / The Baber and his clever dog (1865) BB399 +   +Was imitated by Charles Ross, especially the last panel
+
+
+
+ +The Hollow Tooth (1865) Bilderbogen number 330 This was inspired/heavily influenced by George Cruikshank's 'The Toothache'
+
+
+
+ +Der Bauer und sein Schwein (The peasant and his pig)
+
+
+
+ + +Der Bauer und der Windmüller (The Peasant and the Miller) (two Bilderbogen in sequence)
+
+
+
+Der vergebliche Versuch (Returning home after New Year's Eve...) (1865) (from Fliegende Blätter vol.46)
+
+
+
+Der Katzenjammer am Neujahrsmorgen (The hangover on Newyear's Day) (1866) (from Fliegende Blätter)
+
+
+
+Der schöne Ritter' (The handsome Knight) (1866) (from Fliegende Blätter)
+
+
+ +
+ +
+
+
+
+ + +C +
+
+ +
+ + + +Randolph Caldecott
+
+ +The Milkmaid
+
+ + +
+
+The Rivals
+
+
+
+The Wynchdale Steeplechase (scroll sideways)
+
+
+
+Our Haymaking
+
+
+
+Carlyon's Christmas
+
+
+ +
+
+ +
+ +Caran D'Ache
+
+Trappeur d'Arkansas ou Une Erreur Judiciaire (1893)
+
+

+La Vie de Chateau 1897
+
+

+Querelle d'Allemand (Le Rire - 25 January 1896)
+
+

+ + + +La Loi de la Femme
+A popular Favourite (originally from 'La Caricature', before 1893) + (a variation on 'The Virtuoso' by Busch)
+(Catching the train) (before 1893)
+A la Houzarde (Le Rire, 2.November 1895)
+Le Ténor enteté
+ + + + +   + +   + +   + +   +
+ + +
+
+
+ + + +George Chicki - Souvenirs Bachotiques (1870) (graphic novel in the manner of Töpffer)
+
+ + + +
+
+
+ + + +Chinese Woodcut 'How China is Made' (china = porcelain) (late 18th cent., reprinted 1893)
+
+
+ +
+ + +
+ + + +Chip (F.P.W. Bellew) +The Rivals' A Tale of St. Valentine ('Chip's Dogs', 1895 ) +
+
+
+ + +
+ + + +
+ + +J.B. Clark 'Le Maleurs d'un chat' (from 'Album Noel', 1900)
+
+ +
+ + + +
+
+ + +Emile Cohl 'Logement a Louer' (Polichinelle 9.Mai 1897) +(That's the same Cohl famous for creating the first animated cartoon.)
+
+ +
+
+ + + + + +
+ + +Christophe (Georges Colomb)
+
+ + +Le Malices de Plick et Plock (Petit France 1902, Number 122) +
+This page shows how much Christophe was influenced by German cartoonists. Wilhelm Busch's Icepeter motiv is turning up again, and more directly the various dwarf stories by Lothar Meggendorfer or Johan Bahr.
+
+
+
+La Fontaine Modernis? - Le Renard et la Cigogne (Petit France 1901, Number 108
+Le Baron de Cramoisy (Vll) - Le Petit Francais Illustré 1901
+ + +   +   +   +
+ + +
+ + +
+ + + + + +
+ + +  +Alfred Crowquill (Alfred Henry Forrester) 'Pantomime, to be played at home' 1849
+
+ +
+ +
+ +
+ + + + + +George Cruikshank +
+'The Progress of Mr. Lambkin' (1844) A story told in 25 tableau-type pictures. Nice large scans.
+
+
+
+ +'Premium Discount' (Spoof on dangerous railways)
+
+
+
+Comparison with A.B.Frost - + +(Two-panel cartoon which may have been the inspiration for a famous comic by A.B.Frost, part of which is shown) +
+
+ +
+
+ + + + + +
+ +C.Cyl 'Peche ? la ligne' (from 'Album Noel', 1900)
+
+ +
+
+ +
+
+D +
+ +
+ + + +A.S.Daggy 'A new use for the Japanese Umbrella' (Harper's Round Table, Annual 1897) (without words)
+
+ +
+
+
+ + + + + + + + +Dalrymple
+
+ +'The unexpected always happens' (from 'Puck's Library')
+'His Diploma'
+(At the theatre) (Le Rire, 11.Mai 1895 - originally published in Puck)
+
+ + +   +   + +   +   + + +
+
+
+ + +Deb
+
+Un essai (from 'Album Noel', 1900)
+Souvenir de pêche (from 'Album Noel', 1900)
+ + +   +   +
+ +
+
+
+ + +Jules Dépaquit
+
+ +Le Bourreau trop vigoureux - ou - erreur n'est pas compte
+Zola veut séduire l'académie
+Carneval (1897 - Le Rire)
+
+
+ +        + +        +
+ +
+
+
+ + + + + + + + + + + +Dio Biding 'La méchanceté' (from 'Polichinelle' 9.Mai 1897)
+
+ + +
+
+
+ + + + + + + + + + + +Doës
+
+Polly's Little Joke (from 'Le Papillon', reprinted in Picture Magazine 1893)
+Subjection (from 'Scribner's Magazine')
+How Pierre sent his Boots by Telegraph and got a Receipt for them (from 'La Revue illustré, reprinted in Picture Magazine 1893)
+
+ + +        + +        + + +
+
+ + + +
+ + +Gustave Doré
+'Trois artistes incompris et mecontens' (1858) - Outstanding lithos by his own hand
+
+all on one page + +
+
+ +part 1
+
+ +part 2
+
+ +part 3
+
+ +
+
+ +
+ + + + +A. Douhin 'Génération Spontanée' (from 'Journal Amusant' 11. November 1899)
+
+ +
+
+
+ + +  +Richard Doyle- Pleasure Trips of Brown, Jones and Robertson - from Punch, 1850
+
+ + + + +
+
+
+ + + + +M. Dunk
+
+ + 'How a Famous Hunter Won a Reputation' (Harper's Round Table, Annual 1897) (without words)
+
+ +
+
+
+
+E +
+
+
+ + + + + + + +Edwina Book Collection
+
+ +
+
+
+
+F +
+
+
+ + + + + + + + + + +Fernand Fau
+ +
+ +(Champagne) (Le Rire, 11.Mai 1895)
+
+
+ +La Création du monde
+
+
+ +Le Duel Pini-Thomeguex (Le Rire, 11.Mai 1895) +Cartoon with a speechballoon, influenced by Caran d'Ache.
+
+
+ +Échos de la semaine prochaine (Le Rire, 14 April 1896)
+
+
+ +Interviews printaniers (Le Rire, 4.Mai 1895)
+
+
+ +Etre président de la république (Le Rire, 14 April 1896)
+
+ + +
+
+
+ + + + +A. B. Frost 'He was a Tenderfoot' (from Scribner's Magazine Vol.XIII No.1, January 1893 )
+
+ + +
+
+
+
+G +
+ + + + + + +
+ + + + +Gerlach 'A Tale of a Lamp and a Bath' (from'Universum', reprinted in Picture Magazine 1893)
+
+ + +
+
+
+ + + + + + + +James Gillray - 'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' + +Much more influencial than Hogarth or Goez were the thousands of British political cartoons. Most were just that, cartoons, meaning single image jokes. However, a huge number of them used (and developed the use of) speechbaloons. And a good number did in fact use two or more interdependant images to tell a story. (That means they were comics.) +
+ +
+ +
+
+ +
+ + + + + + +Godefroy 'A Comfortable Smoke' (from Revue Illustré - reprinted Picture Magazine 1893)
+
+
+
+ + + + +
+ +Franz Joseph von Goez 'Lenardo und Blandine' 1783
+ +Ironically this, the first actual graphic novel(ette), probably had little influence. It was too ahead of its time as far as the comic-structure is concerned. In content it was delightfully very much of its time, full of outrageous melodrama. +
+Here's the complete sequence, with my translation underneath:
+
+All on one page + +
+
+ + + + page 1-34     + page 35-65     + page 66-93     + page 94-125     + page 126-160    + +
+
+
+
+ +
+
+
+ + +W.M. Goodes 'The Funniest Thing He ever Saw' (Bear & Fishing Rod) (from Harper's Round Table, Annual 1897)
+
+ +
+
+
+ + + + +F. Graetz 'Die Wirkung der afrikanischen Sonne auf das Kilimandscharo-Gebiet' (1892) (Lustige Blätter)
+
+ +
+
+
+ + + +Grandville - A dream of crime and punishment, Gertrude (1847)
+
+ + +
+ + +
+
+ + +Syd B. Griffin
+
+ +'Snap-Shots'/A Friend in Need
+His Name was Mud (from Puck's Library)
+Let Her Go
+ + + +    + +    +
+
+
+
+ +
+
+H +
+ + +
+ +William Heath - 'White Bait' (1830) +
+(a four-panel comic strip with speechbaloons)
+
+ +
+
+ + +
+ + +O. Herford
+
+ + +'The Bow Legged Admiral and the Educated Dog' (Harper's Round Table, 1897)
+ +
+
+ + +'The Lost Joke Recovered by Xray'(Harper's Round Table, 1897)
+ + +
+
+ + + + +
+ +George Herriman - 'Krazy Kat' +
+
+ +
+
+ + + + + + + + +
+ + +Heinrich Hoffmann 'Struwwelpeter' +(drawn 1844, published 1847 - English edition 1848) + This famous picture book is stylistically related to earlier chapbooks and Bilderbogen / picture broad sheets. +The hunter/rabbit story is similar to a panel from an earlier Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world. +
+
+
+
+ + + + +
+ + +William Hogarth 'The Harlot's Progress (1730) +     + +small version click here +
+ + The famous 'progressions' by Hogarth were not actually comics. The images don't lead into and don't interact with each other. Each shows a distinct, separate stage of a longer story. However, because of their great popularity, they established the very notion of telling entertaining stories with a series of pictures and so became a highly influencial stepping stone for future developments.
+ + + + +
+ + + + +
+
+ + + + +Livingstone Hopkins 'Professor Tigwissel' (1875) - very early U.S. newspaper comic
+ + + +
+
+
+ + + +F.M. Howarth
+
+ +Récréation Chinoise (from 'Album Noel', 1900)
+

+Editor and Poet (Puck 1894)
+

+'An ingenious Device' (originally published in Life - reprinted in Picture Magazine 1893)
+

+'Lovers of Art' (originally published in Life - reprinted in Picture Magazine 1893)
+

+'Pelle et Brouette' (originally published in Puck, reprinted in 'Polichinelle' 31 July 1898)
+

+Le Portrait trop resemblant et la veuve trop démonstrative' (originally published in Puck - reprinted in Le Rire, 4.Mai 1895)
+

+Un enlevement acrobatique ou le vrai amour ne connait pas d'obstacles' (originally published in Puck - reprinted in Le Rire 9 May 1896 )
+

+The dog at the butcher's (orginially published in 'Judge' - reprinted in Le Rire, 2.November 1895)
+

+An Assisted Flirtation (Puck 28. July 1897 )
+

+Easily Arranged (Puck 28. July 1897 )
+

+ + +        +External link +(John Adcock's Blog) Selfportrait & short strip

+ + + +
+
+
+
+J +
+
+
+ + + + +A. Jensen
+
+ +'Der Abgeordnete und der Wähler' (Lustige Blätter 1892) (the often repeated visual joke of relating the size of people to their power or importance)
+

+ +'Die 'Vermehlung' des Schornsteinfegers' (Lustige Blätter 1892)
+'Die Ratte' (Lustige Blätter 1892)
+'Ein armer Lahmer' (Lustige Blätter 1892)
+
+ + +     + +     + + + +
+
+
+
+K +
+
+
+ + + + +Charles Keene (1823-91) 'The Adventures of Miss Lavinia Brounjones' (Punch 1866)
+ + +
+
+
+ + + +W.C.Kemble 'An Ingenious Escape' (Harper's Round Table, Annual 1897)
+ + + +
+
+
+ + + + +Kerlie?
+'Histoire de deux chinois et d'un enfant trop malin pour son age'
+'Histoire lamentable de Prosper et de sa soupe'
+
+ + +      + + + +
+
+
+ + + + + + +Harold Knerr
+
+ + +      + + +
+ + +
+
+ + + +
+ + + + + + + + + + +C. Koch (Deutsche Bilderbogen 162 - Gustav Weise Stuttgart)
+ + + +
+
+
+
+L +
+
+
+ + +Ch. Lagemann 'Der zerstreute Professor oder Eine Überraschung' (Lustige Blätter 1892)
+
+ +
+
+
+ + + + +Le Bocain (jeune ou vieille?) (Le Rire, 11.Mai 1895)
+ + + +
+
+
+ + + + + +John Leech
+
+
+ +Mr. Briggs 1850/1
+
+
+
+Noddy 1, (Mr. Tom Noddy's first Day with the Hounds after the long Frost) 1855
+Noddy 2, (At the Seaside) 1855
+ + +       + +
+
+
+Mr. Popplewit, - How Mr. Popplewit enjoyed a day's Rook Shooting, 1855
+ +
+
+ + +Portrait of 1855 (in watercolours)
+(Before and After) 1855
+The Best Preventive against Sea Sickness, 1855
+The Removal of the Snow, 1855
+
+ +       + +       + +       + + +
+
+ + + + +
+ + + + +Achille Lemot (aka Uzès) +(all from 'Album Noel', 1900)
+Avec de la tenacité
+Un jeune inventeur
+'A.L.' 'Fourrures a l'essai!
+C'est que la vie (A.L. in the squiggly border)
+Une Faute de Gugusse (the classic hosepipe gag)
+Une tartine pour trois
+Maladroit mais rusé
+Un farceur attrapé ou un voleur envolé
+Punition mériteée
+Valeur du temps
+Une lecon de botanique
+Ce qu'il en coute d'apprendre à un éléphant à se balancer
+Un tour de force
+Rira bien qui rira le dernier
+Les cinq sens (not a comic)
+         +         +         +         +         +

+ +         +         +         +         +         +

+         +         +         +         +         + + +
+
+
+ + + + + +Timoléon Marie Lobrichon Histoire de Mr. Tuberculus (1856) (only a few pages)
+
+ +
+
+
+ + + + + + + +Luc Leguey
+Le Rire - 14 March 1896
+

+La nuit de noces du Viveur (containing small speechballoon)
+ + + +
+
+
+ + + + +Alfred Le Petit - 'En Chasse' ('Polichinelle' 9.Mai 1897)
+
+ + +
+
+
+ + + + +Leoy (Variation on 'The Virtuoso' by Busch) (reprinted in Picture Magazine 1893)
+
+ + +
+
+
+
+M +
+
+
+ + + + +H.Malatesta
+
+ 'Le voleur bien volé' 1895 (from 'Album Noel', 1900)
+'Le bon pauvre et le mauvais riche' (from 'Album Noel', 1900)
+'Le Fils d'Adoption' 1896 (from 'Album Noel', 1900)
+
+ + + +    + +    + + + +
+
+
+ + + + +M. Mandl 'Praktische Verwertung der neuesten Mode' ('Practical application of the latest fashion') (1885) (Fliegende Bl&amul;tter vol 82)
+
+ +
+
+
+ + + + +George du Maurier 'The Philosopher's Revenge' (Punch 1866)
+
+ +
+ + +
+
+
+ + + + +Chas May
+
+Un sac, un homme, un chien & un tonneau (from 'Album Noel', 1900)
+Dans la cave (from 'Album Noel', 1900)
+
+ +      + + + +
+
+
+ + + + +Hy Mayer 'How the Dromedary became a Camel' (Harper's Round Table, Annual 1897) +
+
+ + + +
+
+
+ + + +Winsor McCay
+
+Comparison of McCay dragon to German Baroque theatrical design
+

+Dream of the Rarebit Fiend (19.1.1913)
+

+Dream of the Rarebit Fiend (27.7.1913)
+

+ +
+
+ + +
+ + + + +Walt McDougal
+
+Professor Jyblitz (1.2.1902)
+

+Hank the Hermit (29.9.1912)
+ + +
+
+ + +
+ + + + + +John Mclenan 'The Flight of Abraham - as reported by a Modern Daily Paper' (Harper's Weekly 1861)
+
+ + +
+
+
+ + + + +Lothar Meggendorfer
+
+Aus den Kinderjahren eines Kautschukmenschen (from the infant years of the plastic man)
+

+Rache ist süss (Revenge is sweet)
+

+Die schlauen Zwerge (The Clever Dwarfes)
+

+Misslungene Arretierung (Unsuccessful Arrest)
+

+Liebesgram und Heilung (Love sickness and Recuperation)
+

+Das bockbeinige Schwein und der Philosoph (The recalcitrant pig and the philosopher)
+

+Die Macht der Musik' (FB 1888)
+ + +
+
+
+ + + + +Mob
+
+L'aumone
+Un drame
+Pêche difficile
+Repos Troublé
+
+ + + + + +
+
+
+ + + + +M. Monnier 'La Punition d'un Gourmand' (The punishment of a glutton) ('Le Petit Francais' 26.April 1902) +
+A forerunner of McCay's dream comics !!!
+
+ + +
+
+
+ + + + +Moriss - Interruption Piquante
+(Note - The chap is reading the magazine in which the comic is published)
+
+ +
+
+
+
+N +
+
+ +
+ + + +Peter Newell
+ +(Policeman and Matchstick) (Harper's Round Table, Annual 1897)
+

+'Introduction' (Harper's Round Table, Annual 1896)
+ + +
+ +
+
+ + + +Neuruppiner Bilderbogen (Neuruppin Picture-sheets) 1835/1840
+ + + + + +
+ +Geschichte der Madam Rips und ihres Hundes Bello 1835/40 + + +This sheet demonstrates the international influence of British picture stories - a close copy of Old Hubbard, translated into German: (the English version was here) . + +Bello comes from 'bellen', to bark. Typical doggie name. +
+ +
+ +More common were these charming fairy tale adaptations:
+ +Cinderella 1835/40                        +
+ +Hansel and Gretel (here called Martin and Ilse) 1835/40
+ + +Erzählung vom kleinen Däumling / Story about Little Tom Thumb (1835/40)
+ + +Schneeweisschen und Rosenrot (1835/40) +(Little Snowwhite and Rosered) (not the Snowwhite. The 'real' name of Snowwhite is 'Schneewittchen', which is a dialect version. A direct translation of snowwhite would be 'Schnee-weiss' )
+ +       + +       + +       + + +
+ + + +There were also popular stories of romantic robbers:
+ + + + +Rinaldo Rinaldini (1835/40) +
+ + +or a satire for grown-ups about emancipated women (and why to avoid them):
+ Der Kleine Mann und die grosse Frau (The little Man and the large Woman) (1835/40) +
+ + +       + + +
+ + +
+
+O +
+ +
+ + +Adolf Oberländer
+
+Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser
+

+Ein jedes Tierchen hat sein Pläsierchen - 1885
+

+Die kurzsichtige Tante (The shortsighted aunt) 1903
+

+Münchener Tartarus (1865)
+Die unterbrochene Trauung (1865)
+Täuschung - (text with three illustrations) (1865)
+Der Wunderdoktor (1865)
+Zufalls Tücke - oder - Unfreiwillige Illustration - 1885
+
+ + +       + +       + +       + +       + + + +
+
+
+ + +Fred Opper +
+
+The Wicket Seal Hunter and the Clever Seal
+His Doctors, and how they didn't do him any good
+A Real English Outfit in America
+In Maine
+The Result of Feeding a Neapolitan Greyhound on Macaroni
+The Power of Habit
+
+ + +     + +     + +     + +     + +     +

+ + +A Close Shave
+(The Pretty Typewriter)
+Mike Cassedy's Toothache
+A Distinct Success
+Saved - A Tale of Simple Heroism Rewarded
+The latest dodge
+
+ + +     + +     + +     + +     + +     + +
+
+ +A story of the road
+A Quick Response
+A slight error of judgement
+Not quite out of practice
+True too his word (Puck 28. July 1897)
+
+ + +     + +     + +     + +     + + + +
+ + + +
+ +'Happy Hooligan' 1901-1903 +
+
+ + + + + +
+
+
+
+P +
+
+
+ + + + + + + + + + + + +Charles M. Payne
+

+all on one page
+
+ + +
+
+
+ + + + + + + + + + + +Photo Comics
+
+Le premier cigare
+Histoire d'un nid (not photos, only traced from photos)
+Saluting the Flag - 1912
+Hunter and Dog 1899
+
+ + +  +  + +  +  + +  +  + + + + +
+
+
+ + + + +Emile Piery - Fantaisie sur le duel (from 'Polichinelle' 31 July 1898)
+ + + +
+
+
+ + + + +H.W. Philips - A Friend in Need is a Friend Indeed (Harper's Round Table, Annual 1897)
+
+
+ + + +
+
+
+ + + + +Karl Pommerhanz
+
+Ein Frechdachs
+Der getäuschte Arzt
+Die Benutzte Gelegenheit
+Die kleinen Verwandlungskünstler
+Der Herr Professor und das Feuerwerk
+ + +  +  +  + +  +  +  + +  +  +  + +  +  +  +

+ +Das boshafte Geschwisterpaar
+Die Pferdelspieler
+Der kleine Turner und seine Lebensrettung
+
+ +  +  +  + +  +  +  + +
+
+ +Bestrafte Unhöflichkeit (1892)

+ +
+
+
+ + + + +J. S. Pughe A Small Story with a Large Application (from Puck 28.July 1897)
+
+ + +
+
+
+
+R +
+
+ +
+ + + + +Benjamin Rabier
+
+Le Lion Télescopé (Le Rire - 11 April 1896 )
+Gontran à Trouville (Le Rire - 27 June 1896 )
+
+ + +      + + + +
+
+
+ + + + +M. Radiguet
+
+(on one page)
+
+ +
+
+
+ + + + + + + +Carl Reinhardt (Die Landpartie) (Deutsche Bilderbogen für Jung und Alt Nr.96)
+
+ + +
+
+
+ + + +Reichert 'Un Drame en deux actes avec trois personnages' (from 'Album Noel', 1900)
+
+ + +
+
+
+ +Emil Reinicke
+
+Das jähzornige Nashorn' (The angry Rhino) (1886)
+

+Die verschwundene Wurst - Eine merkwürdige Begebenheit (FB 1885)
+ +Irren ist Menschlich (to err is human) (FB 1884)
+ + +      +

+ +Iberus - Eine antimusikalische Ballade (FB 1884)
+

+ + +Dr. Mokel in Afrika (FB 1884)
+Sächsisches Landsknechtlied (FB 1885)
+Das Kegelspiel - Historisches Gedicht (FB 1885)
+ + +      + +      +
+
+ +Der Kluge Elefant (The clever elephant) (1902)
+Der durstige Jumbo' (Thirsty Jumbo) (1902)

+ +      + + + +
+
+
+ + + +K.Rey 'Une histoire qui finit mal'(from 'Album Noel', 1900)
+
+ + +
+
+
+ + + +F. Reznicek
+ +    +    +
+ + + +
+
+
+ + + +F.T. Richards
+
+ +It's an Ill Wind Blows Nobody Good (Harper's Round Table, 1897)
+

+The Fakir and the Prestidigitateur (Harper's Round Table, 1897)
+

+An Occidental Transformation (Harper's Round Table, 1897)
+ + +
+
+
+ + +Charles Ross & Marie Duval +
+'Ally Sloper' (magazine pages rearranged for an early reprint in bookform, 1867)

+
+ +
+
+
+ +
+
+
+
+ + +
+
+ + + + + +
+
+ +Thomas Rowlandson
+Part 1 - 'THE TOUR of DOCTOR SYNTAX, In search of the PICTURESQUE' +
+ +Part 2 - DOCTOR SYNTAX, In search of Consolation
+Part 3 - DOCTOR SYNTAX - In Search of a Wife +
+ +This is not a comic. It's not even a sequential series of images, like a Hogarthian progress, or even illustrations of a novel. +But it can be seen as a milestone in comics history, because of the influence on Rodolphe Toepffer, who imitated the type of main character, the drawing style and the general atmosphere of countryfied wackyness. +The use and re-use of one striking visual character, generally recognized and popular, is certainly typical of many comics to come.
+
+
+
+
+
+ +
+
+ + + +
+
+ + + + +A.Rusden 'La Peau du Lion' (from 'Album Noel', 1900)
+ + + +
+
+
+
+S +
+
+
+ +H. Scherenberg
+
+Der Bauer und der Kobold (The peasant and the kobold)
+Die entführte Wurst (The kidnapped sausage)
+Das Ständchen (The serenade)
+Ferientag eines Zerstreuten (Holiday of someone very distracted)
+Die Drei Wünsche (The three wishes)
+
+
+ +    +    + +    +    + +
+
+ +    +    + +
+ +
+
+
+ + + +Schmelzer 'Hansl und Gretel - oder - Nach und nach' (1865) (Fliegende Blätter vol.46)
+
+ + +
+
+
+ + + +R. Schönborn (Drei Räuber) (Deutsche Bilderbogen Nr.105)
+
+ + +
+
+
+ + + +Schliessmann 'Der Sechsfôssler - ein Clownscherz' (The six-footer, a clownish joke)
+
+ + +
+
+ +
+ + + + +Arpad Schmidthammer (1905) This was very likely an inspiration for 'The Kinder-Kids' by Lionel Feininger. Schmidthammer's 'Mucki' had just been published when Feininger (living in Germany) was commisioned by the Chicago Tribune to come up with a comic strip. The style and content, especially the trip-round-the-world nonsense, shows similarities, although Feininger is far more inventive. - Schmidthammer himself was influenced by Busch, the plump parents are classic Busch (see Tobias Knop and wife), and the gag of hanging onto the stork is lifted from Max and Moritz. +
+ +
+
+
+ + +
+ +
+
+ + + +James A. (Affleck) Shepherd (1867-1946) Index
+
+Parrot and Dog (Boys' Own Paper 1891) (uses plot-relevant speechballoons)
+Les Grenouilles et le héron (from 'Album Noel', 1900)
+ + + +

+ + +
+
+
+ + +C. Storch
+
+Der Automobilfahrer wider Willen (The unwilling motorist)
+

+Bestrafter Geiz (Punished Selfishness)
+

+Blinder Eifer (Blind Zeal)
+

+Glück im Unglück - Storch after Pomerhanz
+

+Gnom und Maulwurf (Gnome and Mole)
+

+Der Maler und der Stier (The Painter and the Bull)
+

+Verunglückter Musikuntericht (The music lesson that went wrong)
+

+Die Zwerge und der Fischer (The Dwarfs and the Fisherman)
+ + + +
+
+
+ + + +H. Storkmann (French reprint) (originally published in Fliegende Blätter)
+
+ + +
+
+
+ + + +James Francis Sullivan
+
+ + +
+
+
+
+T +
+
+ +
+ + + +John Theele 'Die fünf Sinne' (The five senses) (Lustige Blätter 1892)
+
+ +
+
+
+ + + + +John Tenniel (the illustrator of Alice in Wonderland, 1864)
+
+How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking' 1853
+
+
+
+ +How Mr. Peter Piper Tried his Hand at Buffalo-shooting 1853
+
+
+
+How Mr. Peter Piper Was Induced to Join in a Bear-hunt 1853
+
+
+
+How Mr. Peter Piper Accepted an Invitation from the Rajah of R. to Hunt a 'Royal Bengal Tiger' 1853
+
+
+
+Mr. Piper (all on one page)
+
+
+ + + + +Mr Spoonbill 1855 This was published in three installments, in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. + +
+
+
+
+
+
+ + + + + +
+ + +Rodolphe Töpffer + +
+Index
+
+
+
+ +Monsieur Vieuxbois (1839) (partial translation) +    +    +    +the same, but with smaller pictures - click here + +
+
+ + + +
+
+
+
+Comparison of the Aubert Pirate Version (1839) and the US copy (1842)
+
+
+
+
+
+Comparison of Monsieur Tric Trac and a Dutch sequel (Prikkebeen)
+
+
+
+
+ +Comparison of Vieuxbois and Cruikshank
+
+
+
+ +
+EXTERNAL LINK: +
+ +'Histoire de Mr. Vieux Bois' +  + +Original manuscript version of Monsieur Vieuxbois, 1827 (30 pages/158 panels) with text typed out underneath, and a translation. The first printed edition was published ten years later, expanded to 88 pages/198 panels. The second edition 1839 (as presented above on my own site) had 92 pages / 220 panels.
+ + +
+
+
+ + + + + +
+ + +M. Tucker
+760 - - 'The Stolen Cigar or The Monkey who got it in the Neck'
+

+ +
+
+
+
+V +
+
+ +
+ + + +M. Vaiselow 'Das gewohnte Stichwort' (Lustige Blätter 1892)
+
+ + +
+
+
+ + + +Gustav Verbeek
+
+'The Hunter's Strategy' (Harper's Round Table, Annual 1897)
+

+'A quelque chose malheur est bon' (The Swan)
+

+
+ +
+ + + +The Upside Downs of Little Lady Lovekins and Old Man Muffaroo - The Thrilling Adventure of the Dragon (8. Mai 1904)
+
+ + +
+ + + + + + +
+
+ + + +S. Vitou 'Der Photograph in der Wüste - Vorzug der Revolver Camera' (Lustige Blätter 1892)
+ +
+ +
+
+
+
+Z +
+
+
+ + + +Zim (Eugene Zimmerman) Index
+
+Blackville (originally published in 'Judge')
+(Mule Récalcitrant) (originally published in 'Judge')
+('Le Renseignement exact') (originally published in 'Judge')
+
+ +      + +      + + +
+
+ + + + \ No newline at end of file diff --git a/httpdocs/earlycomics.in.print.html b/httpdocs/earlycomics.in.print.html new file mode 100644 index 0000000..7a2845d --- /dev/null +++ b/httpdocs/earlycomics.in.print.html @@ -0,0 +1,2176 @@ + Andy's Early Comics Archive + +
+
+
+Home +      +A-Z +      +A-Z text +      +British +      +German +      +Unidentified +      +Reprint +      +Birth +      +Sunday +      +Chronological +


+ + + + + +Recently Reprinted Early Comics +
+Not sure which of these are still available from shops or the publisher. +If not, just get them second hand. +
+
+
+ +
+ +Chat Noir      + +Feininger      + +Frost      + +Gray      + +Gross      + +Herriman      + +Hoffmann      + +Kley      + +King      + +McCay      + +McDougal      + +
+ + + +Messmer      + +McManus      + +Opper      + +Rubino      + +Saint-Ogan      + +Segar      + +Smithsonian Collection...      + +Sterrett      + +Verbeek      + + + + + +
+ +
+ + + + +
+ + + +
+ + + + + +Society Is Nix: Gleeful Anarchy At The Dawn of the Newspaper Comic Strip (1896-1915) + +
+ +2013 + +
+ + + +		 + +
+ +
+ +
+
+
+ + + + + + + + + +
+ + + +
+ + + + + +Histoires sans paroles du Chat Noir + +
+ +1998, 54 pages, ISBN: 2-907848-13-5 + +
+(out of print) + + +		 + +
+ +
+ + + + + + + + + + + +
+ + + +
+ + + + + +Lyonel Feininger + +
+ +The Comic Strip Art of Lyonel Feininger + + + +
+ +Fantagraphics $16.95 + +
+ + + +		 + +
+ +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + +
+ + + +
+ + + + + +A.B. Frost + +
+ +'L'Anthologie A.B. Frost' + +
+ +2003, 204 pages, bilingue francais/anglais, ISBN : 2-84856-009-6 + +
+ +En coédition avec Fantagraphics Books + + + +
+ + + +		 + +
+ +
+ + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + + + +
+ + + +
+ + + + + +A.B. Frost + +
+ +Stuff and Nonsense + +
+ +Fantagraphics $24.95 + +
+ + + +
+ + + +		 + +
+ +
+ +
+ +
+ +
+ +
+ + + + + + + + + +
+ + + +
+ + + + + +Harold Gray + +
+ +'Little Orphan Annie' + +
+ + + +		 + +
+ +




+ + + + + +
+ + + +
+ + + + + +Harold Gray + +
+ +'Little Orphan Annie' + +

+ + + +		 + +
+ +




+ + + + + +
+ + + +
+ + + + + +Harold Gray + +
+ +'Little Orphan Annie' + +

+ + + +		 + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + + + + + + + +
+ + + +
+ + + + + +Harold Gray + +
+ +'Little Orphan Annie' + +
+ + + +		 + +
+ +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + +
+ + + +
+ + + + + +Milt Gross + +
+ +The Complete Milt Gross Comic Books and Life Story
+ +Craig Yoe + +

+ + + +		 + +
+ +
+ + + + + +
+ +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + + + +
+ + + +
+ + + + + +George Herriman + +
+ +George Herriman's Krazy Kat: A Celebration of Sundays 1909 - 1944 + +
+ +Edited by Patrick McDonnell & Peter Maresca. Sunday Press, July 2010 + +
+ + + +		 + +
+ + + + + +
+ + + +
+ + + + + +George Herriman + +
+ +Krazy & Ignatz: The Complete Sunday Strips 1925-1934 [2nd Ed.] + +
+ +Fantagraphics Books, 2008 + +
+ + + +compiles the first five Krazy Kat & Ignatz soft cover collections books, 1925 through 1934 + + + +		 + +
+ + + + + +
+ + + +
+ + + + + +George Herriman + +
+ +Krazy & Ignatz: The Complete Sunday Strips 1935-1944 [2nd Ed.] + +
+ +Fantagraphics Books, 2008 + + + +
+ + + +		 + +
+ + + + + +
+ + + +
+ + + + + +Krazy Kat The Comic Art of George Herriman + +
+ +Patrick McDonnell, Karen O'Connell, Georgia Riley de Havenon + +
+ +Abrams, 2004 + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + +George Herriman + +
+ +The Kat Who Walked In Beauty ­ The Panoramic Dailies of 1920 + +
+ +Edited by Derya Ataker. Fantagraphics Books, 2007 + +
+ + + +		 + +
+ + + + + + + + + + + + + + + + + + + +
+ + + +
+ + + + + +George Herriman + +
+ +Krazy Kat / 'Krazy and Ignatz' + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
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+ + + +		 + +
+ + + + + + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + + + +
+ + + +
+ + + + + +Heinrich Hoffmann
+ +Struwwelpeter + +
+ + + +		 + +
+ +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + +
+ + + +
+ + + + + +Frank King
+ +Drawn & Quarterly Nr.3 - includes many Gasoline Alley Sunday pages + +
+ + + +		 + +
+ + + + + +
+ + + +
+ +



+ +



+ +



+ + + +		 + +Frank King
+ +Walt and Skeezix- 1921-1922 (Volume One)
+ +Walt and Skeezix- 1923-1924 (Volume Two)
+ +Walt and Skeezix- 1925-1926 (Volume Three) + +
+ + + +		 + +
+ +
+ +
+ + + + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + + + +
+ + + +
+ + + + + +Heinrich Kley
+ +Leben und Werk by Alexander Kunkel + +
+ + + +		 + +
+ + + + + + + + + + + + + + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +Dream of the Rarebit Fiend (complete collection) + +
+ + + +		 + +
+ +
+ + + +
+ +
+ +
+ + + +
+ + + + + + + + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +Winsor McCay, His Life and Art - John Canemaker + +
+ + + +		 + +
+ + + + + + + + + + + + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +Little Nemo 1905-1914 (Taschen) + +
+ + + +		 + +
+ + + + + + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +Dreams of the Rarebit Fiend (Dover) + +
+ + + +		 + +
+ + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +The Rarebit Fiend + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +Little Nemo + +
+ +Pete Maresca + +
+ + + +		 + +
+ + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +Little Nemo 2 + +
+ +Pete Maresca + +
+ + + +		 + +
+ + + + + +
+ + + +
+ + + + + +Winsor McCay + +
+ +Little Sammy Sneeze + +
+ +Pete Maresca + +
+ + + +		 + +
+ + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + +
+ + + +
+ + + + + +Walt Mcdougal + +
+ +Queer visitors from the marvellous land of oz + +
+ + + +		 + +
+ + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + +
+ + + +
+ + + + + +
+ +Otto Messmer + +
+ +Felix - 100 pages of Sundays, plus several sequeces of dailies + +
+ +Fantagraphics $39.95 + +
+ + + +		 + +
+ + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + +
+ + + +
+ + + + + +George McManus + +
+ +Bringing Up Father 'From Sea to Shining Sea' + +
+ +IDW Publishing + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + +George McManus + +
+ +Bringing Up Father + +
+ + + +		 + +
+ +
+ +
+ +
+ +
+ +
+ + + + + + + + + +
+ + + +
+ + + + + +Fred Opper + +
+ +Happy Hooligan (NBM) + +
+ + + +		 + +
+ + + + + +
+ + + +
+ + + + + +Fred Opper + +
+ +The early comics of Fred Opper + +
+ +$ 13.95 + + + +		 + +
+ + + + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + +
+ + + +
+ + + + + + + + + +Antonio Rubino, le maestro italien de la bande dessinée enfantine + +
+ +(traduit de l'italien par Eve Duca) + +
+ +Textes de présentation de Mario Stefanelli et Fabio Gadducci + +
+ +2009, 120 pages, ISBN 978-2-7427-8721-0 + +
+ + + +		 + +
+ + + + + + + + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + +
+ + + +
+ + + + + +'L'Art d'Alain Saint-Ogan' + +
+ +par Thierry Groensteen et Harry Morgan + +
+ +2007, 112 pages, ISBN 978-2-7427-7106-6 + +
+ + + +		 + +
+ + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + +
+ + + +
+ + + + + +E.C.Segar + +
+ +Popeye + +
+ +
+ + + +Ok, Popeye only appeared in 1929. Which fact is among the reasons I chose that year as a cut-off point (also Tintin). But as long as there's no reprint of Segar's pre-Popeye 'Thimble Theatre' (1919-1929) at least the Popeye reprints should be listed here. + + + + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + + + + + +
+ + + +
+ + + + + + + +
+ + + +		 + +
+ + + +
+ +
+ +
+ +
+ +
+ + + + + + + +
+ + + +
+ + + + + +Smithsonian Collection of Newspaper Comics + +
+ +(not in print, but having had a large print-run, it shouldn't be too difficult to find it second-hand.) + +
+ + + +
+ + + +		 + +
+ + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + + + + + +
+ + + +
+ + + + + +Cliff Sterrett + +
+ +Polly and her Pals - French edition + +
+ +2005, 120 pages, ISBN 2-84856-032-0 + + + +
+ + + +		 + +
+ + + + + + + + + +
+ +
+ +
+ +
+ +
+ + + + + + + + + +
+ + + +
+ + + + + +Gustav Verbeek + +
+ +The Upside Downs
+ +Pete Maresca + +
+ + + +
+ + + +		 + +
+ + + + + + + + + +


+ +
+ + + + + + + + + diff --git a/httpdocs/earlycomics.version.2010.html b/httpdocs/earlycomics.version.2010.html new file mode 100644 index 0000000..b613bf9 --- /dev/null +++ b/httpdocs/earlycomics.version.2010.html @@ -0,0 +1,2265 @@ + Andy's Early Comics Archive + +konkykru.com + +
+ +
+ +1. Click on the mini-pictures +
+2. Click on the big pictures to return. +
+
+ +Andy's Early Comics Archive + + +
+Comics from 1783 to 1929 +
+
+
+
+ +This is a presentation of historical comics, intended to enlighten and amuse students of comics history, (and to provide their teachers with reference material.) + +Maybe these early comics will also inspire some of today's comics artists. + +Most were scanned by me, ususally from books or magazines lent to me. Sometimes I get sent a dvd with scans someone made from his own collection. +
+ +
+ + + +
+
+
+1700-1800      +The Birth of Modern Comics      +Töpffer      +1840-1860      +Busch      +1860-1900      +1895      +1900-1929      +(unidentified 1860-1900) +
+ + + + + +
+ + +
+ +
+ + + +
1700 - 1800
+ + + +
+
+
+ + + +
+ + +
+ + + +William Hogarth 'The Harlot's Progress (1730) +     +small version click here +
+ + The famous 'progressions' by Hogarth were not actually comics. The images don't lead into and don't interact with each other. Each shows a distinct, separate stage of a longer story. However, because of their great popularity, they established the very notion of telling entertaining stories with a series of pictures and so became a highly influencial stepping stone for future developments.
+ +
+ + + +
+ + + +
+ +Franz Joseph Goez 'Lenardo und Blandine' 1783
+ +Ironically this, the first actual graphic novel(ette), probably had little influence. It was too ahead of its time as far as the comic-structure is concerned. In content it was delightfully very much of its time, full of outrageous melodrama. Here's the complete sequence, with my translation underneath:
+ page 1-34     + page 35-65     + page 66-93     + page 94-125     + page 126-160    + +All on one page +
+
+
+ + +
+ + +
+ + +James Gillray - 'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' + +Much more influencial than Hogarth or Goez were the thousands of British political cartoons. Most were just that, cartoons, meaning single image jokes. However, a huge number of them used (and developed the use of) speechbaloons. And a good number did in fact use two or more interdependant images to tell a story. (That means they were comics.) +
+ +
+
+ + + +
+ + +Chinese Woodcut 'How China is Made' (china = porcelain) (late 18th cent., reprinted 1893)
+
+ +


+ + + + +
+
+
+
+
+ +
+
+ +
+ +
+ +1800 - 1840 (pre-Töpffer) + +
+ + + + + +
+ + + +
+ + +
+William Heath - 'White Bait' (1830) +
+(a four-panel comic strip with speechbaloons)
+ +
+ +
+ + + +
+ + + + +Thomas Rowlandson
+Part 1 - 'THE TOUR of DOCTOR SYNTAX, In search of the PICTURESQUE' +
+ +This is not a comic. It's not even a sequential series of images, like a Hogarthian progress, or even illustrations of a novel. +But it can be seen as a milestone in comics history, because of the influence on Rodolphe Toepffer, who imitated the type of main character, the drawing style and the general atmosphere of countryfied wackyness. +The use and re-use of one striking visual character, generally recognized and popular, is certainly typical of many comics to come.
+ +Part 2 - DOCTOR SYNTAX, In search of Consolation
+Part 3 - DOCTOR SYNTAX - In Search of a Wife +


+ + + +
+ + + + +The Birth of Modern Comics + + +
+Modern comics, with a storytelling vocabulary that's still used today, were developed in America's newspaper strips, circa 1900-1920. They were mostly following a tradition of short, colourful picture-stories for children. The direct influence was the slapstick work by Wilhelm Busch and others in a similar vein. But that in turn was built on a sixty year (or more) tradition of children's comics. +
+
+Busch started working in 1859, for a series of picture broadsheets called 'Münchner Bilderbogen' (See below, or click here for examples), which had been going since 1849, a series which included many inventive and sumptiously illustrated comics from the start. These were themselves influenced by the charmingly naive 'Neuruppiner Bilderbogen', which started producing comic-like picture stories in 1835. +
+
+And those again were influenced by British chapbooks with comic-like picture stories, starting around 1800. +
+
+Even earlier were precursors in Holland. +
+
+Below are a number of examples, in case you think I'm making this all up. +
+
+
+
+ + +First two very early examples from Holland. It seems that although the Dutch had the most spectacular fall in artistic relevance around 1700, there still was an important tradition of printmaking, and highly important for the development of comics. +
+
+
+ + + + +
+ + +
+Urbanus and Isabel Dutch Broadsheet (circa 1750)
+They marry. He goes off whoring. She divorces him. Years later he comes crawling back and she is overjoyed to take him back and all is well. +
+ +Ok, maybe this one wasn't a childrens story yet (although you never know with the Dutch), but the next one is. +
+ +
+ + + +
+ + +
+Little Red Ridinghood Dutch Broadsheet (1800)
+ by G. Oortmann, publisher: by de Erve H. Rynders - earliest Dutch broadsheet after Perrault. +
+This predates the famous Grimm's version by 11 years. + +
+ +
+
+ + +From around 1800 the most important country for comics is England. Here stories told in pictures turn up inside chap-books. +Chapbooks were small booklets of four, (or multiples of four: 8, 12,...) pages, and sold by itinerant merchants or chapmen (Old English: ceapman from 'ceap' - bargaining, trade) from the 16th to the early 19th century. They were illustrated with woodcuts and had stories of popular heroes, folklore, famous crimes, ballads, nursery rhymes, schooltexts (ABCs), bible tales, etc, and were the main literature beside the bible for the common man and children. + +They too were sometimes sold as sheets which had to be cut up and bound, DIY-fashion. +
+ +Most chapbooks were not comics of course, but enough of them were to constitute a genuine and influential tradition. +Some of the examples below are from American edtions. I'm not sure if these were reprints, copies or original. + + +
+
+ + + +
+ + +
+The Little Man & the Little Maid (1807)
+
+ +
+ + +
+ + +
+The Comical Adventures of the Little Woman, Her Dog and the Pedlar (1820s) +
+printed in Baltimore, by William Raint +
+ +
+
+ + +
+Robert Branston Old Mother Hubbard and her Dog
various editions from 1800, 1805, 1805/10 and a lovely one from 1819, probably by Robert Branston. +
+ +
+
+ + +
+Robert Branston 'The Comical Cat' (1818)
Another 'Madam with an animal' thingy by Branston, plus a couple of later US variations. +
+ +
+ +
+ + +
+Robert Branston Dame Wiggins of Lee and her Seven Wonderful Cats (1823)
+More an illustrated story than a comic, because not enough of the relevant action is shown visually. However, it's a close call. - This was a favourite childrens book of the art critic John Ruskin. +
+ +
+
+ + +
+Grandmamma Easy's Old Dame Hicket and Her Wonderful Cricket (circa 1840) +
+Boston: Brown, Bazin & Co. Nashua, N.H.: N.P Greene & Co. +
+ +
+ + + +
+ + +There exist quite a few of these wacky old-Mother-this-Grandma-that stories. +
+ +Below examples of more conventional 19th century stories. + +
+
+ +
+ + +
+The Two Sisters (circa 1825)
+From The Pretty Primer (The Juvenile Gem), +Huestis & Cozans, 104 Nassau Street, New York + +
+ +
+
+ + +
+The Story of Little Sarah an Her Johnny-Cake (circa 1830)
+ Boston: W.J.Reynolds & Co. +
+ +
+
+ + +
+The Children in the Wood (circa 1825) +
+published by Dunigan, New York +
+ +
+
+ + +
+Adventures of Little Red Riding Hood (circa 1820) +
+Mark's Edition - Published by Fisk & Little, 82 State-Street, Albany, New York +
+ +
+ + +These chapbooks had an important influence on the next stage of mass-market comics for children. +In the mid 1830s the little town of Neuruppin, north of Berlin, became an important centre for picture sheets. A good number of these were comics. Below are a few early examples. +
+
+Later on, in 1848, these Neuruppiner Bilderbogen themselves influenced the more sophisticated 'Münchner Bilderbogen' (Munich picture broadsheets), where in 1859 the great Wilhelm Busch started his own brand of picture stories, which would influence cartoonists all over the world, and eventually the Sunday supplement comics. In other words, there is a direct line of influence from the Dutch broadsheets/ English chapbooks to 20th century comics. +
+
+ + + +
+ + +
+Geschichte der Madam Rips und ihres Hundes Bello 1835/40
+Remember Old Mother Hubbard from a bit further up (or see here) ? +This page clearly shows that the good folks from Neuruppin were not averse to a bit of borrowing. +
+Bello comes from 'bellen', to bark. Typical doggie name. +
+
+ +
+ + +More common were these charming fairy tale adaptations: +
+
+ +
+ + +
+Cinderella 1835/40
+
+ +
+ + +
+Hansel and Gretel (here called Martin and Ilse) 1835/40
+
+ +
+ + +
+Erzählung vom kleinen Däumling / Story about Little Tom Thumb (1835/40)
+
+ +
+ +
+ + +
+Schneeweisschen und Rosenrot (1835/40)
+(Little Snowwhite and Rosered) (not the Snowwhite, who is called 'Schneewittchen' in German)
+ + +
+ +
+ + + +Another theme were popular stories like romantic robber Rinaldo Rinaldini, or a satirial story for grown ups about emancipated women (and why to avoid them): +
+ +
+ + +
+Rinaldo Rinaldini (1835/40)
+
+ +
+ + +
+Der Kleine Mann und die grosse Frau (The little Man and the large Woman) (1835/40)
A satire on the hen-pecked husband +
+ +
+ + + + + +
+ + +
+ +Heinrich Hoffmann 'Struwwelpeter' +(drawn 1844, published 1847 - English edition 1848) +
+This famous picture book is stylistically related to earlier chapbooks and Bilderbogen / picture broad sheets. +The hunter/rabbit story is similar to a panel from an earlier Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world. +
+ +
+
+
+
+ + + +
+ +
+
+
+
+
+ + + + +
+ + + + +
+
+ +Rodolphe Töpffer + +
+Index
+Monsieur Vieuxbois (1839) (partial translation) +    +the same, but with smaller pictures +
+Comparison of the Aubert Pirate Version (1839) and the US copy (1842)
+Comparison of Monsieur Tric Trac and a Dutch sequel (Prikkebeen)
+Comparison of Vieuxbois and Cruikshank
+
+
+
+
+EXTERNAL LINK: +
+ +'Histoire de Mr. Vieux Bois' +  + +Original manuscript version of Monsieur Vieuxbois, 1827 (30 pages/158 panels) with text typed out underneath, and a translation. The first printed edition was published ten years later, expanded to 88 pages/198 panels. The second edition 1839 (as presented above on my own site) had 92 pages / 220 panels.
+ +
+ +


+ +
+
+
+ +
+
+
+ + +1840 - 1860 (pre-Busch) +
+ + + + + + +
+ + +
+ + +Chinks 'Mr. Hardy Lee, His Yacht' (1857) - Series of illustrations

+ +
+ + +
+ + +Alfred Crowquill (Alfred Henry Forrester) 'Pantomime, to be played at home' 1849
+ +
+ +
+ + +
+ +George Cruikshank Index
+'The Progress of Mr. Lambkin' (1844) A story told in 25 tableau-type pictures. Nice large scans.
+'Premium Discount' Spoof on dangerous railways
+Comparison with A.B.Frost (Two-panel cartoon which, it seems to me, must have been the main inspiration for a famous comic by A.B.Frost, part of which is shown) +
+ +
+ +
+ + +
+ +Gustave Doré 'Trois artistes incompris et mecontens' (1858) - Outstanding lithos by his own hand - + part 1
+part 2
+part 3
+ +
+ +
+ + +
+ +Richard Doyle- Pleasure Trips of Brown, Jones and Robertson - from Punch, 1850
+ +
+ +
+ + +
+ +Grandville - A dream of crime and punishment, Gertrude (1847)
+ +
+
+ + +
+ +Anonymous - Two comics from the magazine 'Die Illustrierte Welt' Stuttgart (1858) (sechster Jahrgang) +
+ + + +
+ + +
+ +
+ +John Leech Index
+Mr. Briggs 1850/1
+Portrait of 1855 (in watercolours)
+(Before and After) 1855
+The Best Preventive against Sea Sickness, 1855
+The Removal of the Snow, 1855
+Noddy 1, (Mr. Tom Noddy's first Day with the Hounds after the long Frost) 1855
+Noddy 2, (At the Seaside) 1855
+Mr. Popplewit, - How Mr. Popplewit enjoyed a day's Rook Shooting, 1855

+ +
+ + +
+ + +
+ +Two pages from the magazine 'Leuchtkugeln' 1848
+ +
+ + + +
+ + +
+ +Timoléon Marie Lobrichon Histoire de Mr. Tuberculus (1856) (selected pages)
+ +
+ + +
+ + +
+ +
+ +JohnTenniel (the illustrator of Alice in Wonderland, 1864) - Index
+How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking' 1853
+How Mr. Peter Piper Tried his Hand at Buffalo-shooting 1853
+How Mr. Peter Piper Was Induced to Join in a Bear-hunt 1853
+How Mr. Peter Piper Accepted an Invitation from the Rajah of R. to Hunt a 'Royal Bengal Tiger' 1853
+Mr. Piper (all on one page)
+ +Mr Spoonbill 1855 These 19 panels were published as three installments in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. +

+
+ + + +
+
+ + +
+
+
+
+
+ + + +
+ + + +
+ +Wilhelm Busch +
+ + +Index
+Das warme Bad / The Warm Bath (1865) Bilderbogen number 278
+Der Floh / The Flea (1865) Bilderbogen number 390 - wordless - alternative title: .Disturbed and Refound Peace of Night'
+ +Der Virtuos / The Virtuoso (1865) Bilderbogen number 465       +
+ + + Astonishing page, which was particularly influencial.
+ +Der gewandte, kunstreiche Barbier und sein kluger Hund / The Baber and his clever dog (1865) BB399 +       +Was imitated by Charles Ross
+ +The Little Honey Thieves (1859) - Bilderbogen number 242 - The first appearance of two Katzenjammer Kids type rapscallions. +It's in the format of an illustrated story, but the pictures work as a comic on their own. Which is a fitting start for Busch, as this is how modern comics evolved: illustrated stories, where the text became of secondary importance. The art is a mixture of the detailed illustration of the time in the backgrounds and the already snappy characterisation of the figures. (The beginning of 'big nose cartooning').
+The Hollow Tooth (1865) Bilderbogen number 330 +       +
+ +This was inspired/heavily influenced by George Cruikshank's 'The Toothache'
+Der Bauer und sein Schwein (The peasant and his pig)
+Der kleine Maler mit der grossen Mappe (The little painter with the large portfolio) +       +
+ +This early work (1859) still uses the romantic drawing style of the best known illustrator at the time, Ludwig Richter (Grimms Fairy Tales etc).
+Der Bauer und der Windmüller (The Peasant and the Miller) (two Bilderbogen in sequence)
+Der vergebliche Versuch (Returning home after New Year's Eve...) (1865) (from Fliegende Blätter vol.46)
+Der Katzenjammer am Neujahrsmorgen (The hangover on Newyear's Day) (1866) (from Fliegende Blätter)
+Der schöne Ritter' (The handsome Knight) (1866) (from Fliegende Blätter)
+ +
+
+ + +
+
+
+
+
+ +
+
+ +
+ + + +1860-1900 (The Magazine Comics Period) + + + +
+ + + +
+ + +
+ +Album Noel (all) 1900 (collecting work from previous years)
+ +
+ + +
+ + +
+ +G. Andral 'La clémence d'Auguste' (Le journal pour tous' 1895)
+ +
+
+ + +
+ +F. von B. 'Der schlaue Pepi - oder - Die geraubte Gans' (Fliegende Blätter vol 82) (Without Words)
+ +
+ +
+ + +
+ +Johann Bahr Index
+'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) (without words)
+'Schnelles Wachstum' (Fast Growth) (without words)
+'The Mechanical Racehorse' (originally in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893)
+Die Rivalen auf dem Eise (Lustige Blätter 1892)
+Die verrätherische Fata Morgana (Lustige Blätter 1892) (without words)
+(Speech by Professor Strubelmann on how to take care of your hair) (Lustige Blätter 1892)
+Der kluge Plüsecke (Lustige Blätter 1892)
+'Der Sonntagsfrevler - oder - Die verbotene Angelei' (Lustige Blätter 1892)
+'Der gefoppte Schwarzseher' (Lustige Blätter 1892) (without words)
+ +
+
+ + +
+ +Baric - 'Histoire de Martin Landor' ou 'La musique des enfants' ecrite par Kroknotski, dessinée par Baric' 1865
+ +
+
+ + +
+ +Frank Beard 'It Didn't Work for a Cent' (from Puck 'On the Road' 1889)

+ +
+
+ + +
+ +Edouart Bernard 'Une ligne résistante' (Polichinelle 1898 - Journal humoristique hébdomadaire pour la famille)
+ +
+
+ + +
+ +C.J.Budd 'The Bill-Poster's Revenge' (Harper's Round Table, Annual 1897)
+ +
+
+ + +
+ +R.F. Bunner - (The Circus Lion) (Harper's Round Table, Annual 1897) (without words)
+ +
+ +
+ + +
+ +Léonce Burret
+Vieux Garcon - Le Rire 1898 (Number 166)
+Quoi qu'il dirait, s'il reviendrait? - Le Rire 1898 (Number 211)
+Le choix d'une villégiature - Le Rire 1898 (Number 190)
+De la coupe aux làvres - Le Rire 1898 (Number 200)
+La nouvelle Famille - Le Rire 1898 (Number 174)
+ + + + +
+ + + +
+ + +
+ +Randolph Caldecott Index
+ +The Rivals
+The Wynchdale Steeplechase (scroll sideways)
+Our Haymaking
+Carlyon's Christmas

+ +
+ +
+ + +
+ +Caran D'Ache Index
+La Loi de la Femme
+Trappeur d'Arkansas ou Une Erreur Judiciaire (1893)
+A popular Favourite (originally from 'La Caricature', before 1893) + (a variation on 'The Virtuoso' by Busch)
+(Catching the train) (before 1893)
+La Vie de Chateau 1897
+A la Houzarde (Le Rire, 2.November 1895)
+Querelle d'Allemand (Le Rire - 25 January 1896)
+Le Ténor enteté
+ +
+ + +
+ + +
+ +George Chicki - Souvenirs Bachotiques (1870) (graphic novel in the manner of Töpffer)
+ +
+
+ + +
+ +Christophe (Georges Colomb) Index
+La Fontaine Modernisé - Le Renard et la Cigogne (Petit France 1901, Number 108
+
+ +Le Malices de Plick et Plock (Petit France 1902, Number 122) +
+This page shows how much Christophe was influenced by German cartoonists. Wilhelm Busch's Icepeter motiv is turning up again, and more directly the various dwarf stories by Lothar Meggendorfer or Johan Bahr.
+ +Le Baron de Cramoisy (Vll) - Le Petit Francais Illustré 1901

+ +
+ + + + +
+ + +
+ +Emile Cohl 'Logement a Louer' (Polichinelle 9.Mai 1897) +(That's the same Cohl famous for creating the first animated cartoon.) + +
+
+ +
+ + +
+ +J.B. Clark 'Le Maleurs d'un chat' (from 'Album Noel', 1900)

+ +
+ +
+ + +
+ +C.Cyl 'Peche à la ligne' (from 'Album Noel', 1900)
+ +
+
+ + +
+ +A.S.Daggy 'A new use for the Japanese Umbrella' (Harper's Round Table, Annual 1897) (without words)
+ +
+
+ + +
+ +Dalrymple Index
+ +'The unexpected always happens' (from 'Puck's Library')
+(At the theatre) (Le Rire, 11.Mai 1895 - originally published in Puck)
+'His Diploma'
+ +
+ +
+ + +
+ +Deb Index
+Un essai (from 'Album Noel', 1900)
+Souvenir de pêche (from 'Album Noel', 1900)
+ +
+
+ + +
+ +Jules Dépaquit Index
+Le Bourreau trop vigoureux - ou - erreur n'est pas compte
+Zola veut séduire l'académie
+ +
+ +
+ + +
+ +Dio Biding 'La méchanceté' (from 'Polichinelle' 9.Mai 1897)
+ +
+
+ + +
+ +Doës Index
+Polly's Little Joke (from 'Le Papillon', reprinted in Picture Magazine 1893)
+Subjection (from 'Scribner's Magazine')
+How Pierre sent his Boots by Telegraph and got a Receipt for them (from 'La Revue illustré, reprinted in Picture Magazine 1893)
+ +
+ +
+ + +
+ +A. Douhin 'Génération Spontanée' (from 'Journal Amusant' 11. November 1899)
+ +
+
+ + +
+ +M. Dunk 'How a Famous Hunter Won a Reputation' (Harper's Round Table, Annual 1897) (without words)
+ +
+
+ + +
+ +Fernand Fau Index
+(Champagne) (Le Rire, 11.Mai 1895)
+La Création du monde
+Le Duel Pini-Thomeguex (Le Rire, 11.Mai 1895) +Not a comic, just a cartoon with a speechballoon. Influenced by Caran d'Ache. +
+Échos de la semaine prochaine (Le Rire, 14 April 1896)
+Interviews printaniers (Le Rire, 4.Mai 1895)
+Etre président de la république (Le Rire, 14 April 1896)
+ +
+ +
+ + +
+ +A. B. Frost 'He was a Tenderfoot' (from Scribner's Magazine Vol.XIII No.1, January 1893 )
+ +
+
+ + +
+ +Gerlach 'A Tale of a Lamp and a Bath' (from'Universum', reprinted in Picture Magazine 1893)
+ +
+
+ + +
+ +Godefroy 'A Comfortable Smoke' (from Revue Illustré - reprinted Picture Magazine 1893)
+ +
+
+ + +
+ +W.M. Goodes 'The Funniest Thing He ever Saw' (Bear & Fishing Rod) (from Harper's Round Table, Annual 1897) (without words)
+        +External link (John Adcock's Blog) (Possum for Thanksgiving)
+        +External link (John Adcock's Blog) (The Skates on the Livingroom Floor)
+ +
+ + + + +
+ + +
+ +F. Graetz 'Die Wirkung der afrikanischen Sonne auf das Kilimandscharo-Gebiet' (1892) (Lustige Blätter)
+
+
+ + +
+ +Syd B. Griffin Index
+'Snap-Shots'/A Friend in Need
+His Name was Mud (from Puck's Library)
+Let Her Go
+ +
+ + + + +
+ + +
+ +O. Herford Index
+'The Bow Legged Admiral and the Educated Dog' (Harper's Round Table, 1897)
+'The Lost Joke Recovered by Xray'(Harper's Round Table, 1897)
+ +
+
+ + +
+ +Livingstone Hopkins 'Professor Tigwissel' (1875) - A very early American Newspaper comic
+ +
+
+ + +
+ +F.M. Howarth Index
+Récréation Chinoise (from 'Album Noel', 1900)
+Editor and Poet (Puck 1894)
+'An ingenious Device' (originally published in Life - reprinted in Picture Magazine 1893)
+'Lovers of Art' (originally published in Life - reprinted in Picture Magazine 1893)
+'Pelle et Brouette' (originally published in Puck, reprinted in 'Polichinelle' 31 July 1898)
+Le Portrait trop resemblant et la veuve trop démonstrative' (originally published in Puck - reprinted in Le Rire, 4.Mai 1895)
+Un enlevement acrobatique ou le vrai amour ne connait pas d'obstacles' (originally published in Puck - reprinted in Le Rire - 9 May 1896 )
+The dog at the butcher's (orginially published in 'Judge' - reprinted in Le Rire, 2.November 1895)
+An Assisted Flirtation (Puck 28. July 1897 )
+Easily Arranged (Puck 28. July 1897 )
+ + +        +External link +(John Adcock's Blog) Selfportrait & short strip

+ + +
+ +
+ + +
+ +A. Jensen Index
+'Der Abgeordnete und der Wähler' (Lustige Blätter 1892) (the often repeated visual joke of relating the size of people to their power or importance)
+'Die 'Vermehlung' des Schornsteinfegers' (Lustige Blätter 1892)
+'Die Ratte' (Lustige Blätter 1892)
+'Ein armer Lahmer' (Lustige Blätter 1892)
+ +
+ +
+ + +
+ +Charles Keene (1823-91) 'The Adventures of Miss Lavinia Brounjones' (Punch 1866)
+ +
+
+ + +
+ +W.C.Kemble 'An Ingenious Escape' (Harper's Round Table, Annual 1897)
+ +
+
+ + +
+ +Kerlie?
+'Histoire de deux chinois et d'un enfant trop malin pour son age'
+'Histoire lamentable de Prosper et de sa soupe'
+ +
+ + +
+ + +
+ +C. Koch (Deutsche Bilderbogen 162 - Gustav Weise Stuttgart)
+ +
+
+ + +
+ +Ch. Lagemann 'Der zerstreute Professor oder Eine Überraschung' (Lustige Blätter 1892)
+ +
+ +
+ + +
+ +Le Bocain (jeune ou vieille?) (Le Rire, 11.Mai 1895)
+ +
+
+ + +
+ +Achille Lemot (aka Uzès) Index +(all from 'Album Noel', 1900)
+Avec de la tenacité
+Un jeune inventeur
+'A.L.' 'Fourrures a l'essai!
+C'est que la vie (A.L. in the squiggly border)
+Une Faute de Gugusse (the classic hosepipe gag)
+Une tartine pour trois
+Maladroit mais rusé
+Un farceur attrapé ou un voleur envolé
+Punition mériteée
+Valeur du temps
+Une lecon de botanique
+Ce qu'il en coute d'apprendre à un éléphant à se balancer
+Un tour de force
+Rira bien qui rira le dernier
+Les cinq sens (not a comic)
+ +
+
+ + +
+ +Luc Luguey Index
+Le Rire - 14 March 1896
+La nuit de noces du Viveur (containing small speechballoon)
+ +
+ + +
+ + +
+ +Alfred Le Petit - 'En Chasse' ('Polichinelle' 9.Mai 1897)
+ +
+
+ + +
+ +Leoy (Variation on 'The Virtuoso' by Busch) (reprinted in Picture Magazine 1893)
+ +
+
+ + +
+ +H.Malatesta Index
+ 'Le voleur bien volé' 1895 (from 'Album Noel', 1900)
+'Le bon pauvre et le mauvais riche' (from 'Album Noel', 1900)
+'Le Fils d'Adoption' 1896 (from 'Album Noel', 1900)
+ +
+ + +
+ + +
+ +M. Mandl 'Praktische Verwertung der neuesten Mode' ('Practical application of the latest fashion') (1885) (Fliegende Bl&amul;tter vol 82)

+
+
+ + +
+ +George du Maurier 'The Philosopher's Revenge' (Punch 1866)
+ +
+
+ + +
+ +Chas May Index
+Un sac, un homme, un chien & un tonneau (from 'Album Noel', 1900)
+Dans la cave (from 'Album Noel', 1900)
+ +
+
+ + +
+ +Hy Mayer 'How the Dromedary became a Camel' (Harper's Round Table, Annual 1897) +
+
+External link +(John Adcock's Blog) 'The Many Inventions of Hy. Mayer' by V. Robard, Godey's Magazine Vol. CXXXV No.807 Sept. 1897
+ +
+
+ + +
+ +John Mclenan 'The Flight of Abraham - as reported by a Modern Daily Paper' (Harper's Weekly 1861)
+ +
+
+ + +
+ +Lothar Meggendorfer Index
+Aus den Kinderjahren eines Kautschukmenschen (from the infant years of the plastic man)
+Rache ist süss (Revenge is sweet)
+Die schlauen Zwerge (The Clever Dwarfes)
+Misslungene Arretierung (Unsuccessful Arrest)
+Liebesgram und Heilung (Love sickness and Recuperation)
+Das bockbeinige Schwein und der Philosoph (The recalcitrant pig and the philosopher)
+Die Macht der Musik' (FB 1888)
+ +
+
+ + +
+ +Mob Index
+L'aumone
+Un drame
+Pêche difficile
+Repos Troublé
+ +
+ + +
+ + +
+ +M.Monnier 'La Punition d'un Gourmand' (The punishment of a glutton) ('Le Petit Francais' 26.April 1902) +
+Highly original page, similar to McCay's later dreamcomics
+ +
+ + +
+ + +
+ +Moriss - Interruption Piquante
+ +(Note - The chap is reading the magazine in which the comic is published) +
+ +
+ + +
+Peter Newell Index
+ +(Policeman and Matchstick) (Harper's Round Table, Annual 1897)
+'Introduction' (Harper's Round Table, Annual 1896)
+ +
+ +
+ + +
+ +
+ +Adolf Oberländer Index
+Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser
+Ein jedes Tierchen hat sein Pläsierchen - 1885
+Zufalls Tücke - oder - Unfreiwillige Illustration - 1885
+Die kurzsichtige Tante (The shortsighted aunt) 1903
+Münchener Tartarus (1865)
+Die unterbrochene Trauung (1865)
+Täuschung - (text with three illustrations) (1865)
+Der Wunderdoktor (1865)
+ +
+ +
+ + +
+ +
+ +Fred Opper Index (before 1900) +(see also the post-1900 Opper Index)
+The Wicket Seal Hunter and the Clever Seal
+His Doctors, and how they didn't do him any good
+A Real English Outfit in America
+In Maine
+The Result of Feeding a Neapolitan Greyhound on Macaroni
+The Power of Habit
+A Close Shave
+(The Pretty Typewriter)
+Mike Cassedy's Toothache
+A Distinct Success
+Saved - A Tale of Simple Heroism Rewarded
+The latest dodge
+A story of the road
+A Quick Response
+A slight error of judgement
+Not quite out of practice
+True too his word (Puck 28. July 1897)
+ +
+
+
+ + +
+ +Photo Comics Index
+Le premier cigare
+Histoire d'un nid (not photos, only traced from photos)

+ +
+ + +
+ + +
+ +Emile Piery - Fantaisie sur le duel (from 'Polichinelle' 31 July 1898)
+ +
+
+ + +
+ +H.W. Philips - A Friend in Need is a Friend Indeed (Harper's Round Table, Annual 1897)
+        External link (John Adcock's Blog) H. W. Phillips
+ +
+ +
+ + +
+ +Karl Pommerhanz Index
+Ein Frechdachs
+Der getäuschte Arzt
+Die Benutzte Gelegenheit
+Die kleinen Verwandlungskünstler
Der Herr Professor und das Feuerwerk
+Das boshafte Geschwisterpaar
+Die Pferdelspieler
+Der kleine Turner und seine Lebensrettung
+Bestrafte Unhöflichkeit (1892)

+ +
+ + +
+ +J. S. Pughe A Small Story with a Large Application (from Puck 28.July 1897)
+ +
+
+ + +
+ +Benjamin Rabier Index
+Le Lion Télescopé (Le Rire - 11 April 1896 )
+Gontran à Trouville (Le Rire - 27 June 1896 )
+ +
+
+ + +
+ +Carl Reinhardt (Die Landpartie) (Deutsche Bilderbogen für Jung und Alt Nr.96)
+ +
+ +
+ + +
+ +Reichert 'Un Drame en deux actes avec trois personnages' (from 'Album Noel', 1900)
+ +
+
+ + +
+ +Emil Reinicke Index
+Das jähzornige Nashorn' (The angry Rhino) (1886)
+Die verschwundene Wurst - Eine merkwürdige Begebenheit (FB 1885)
+Irren ist Menschlich (to err is human) (FB 1884)
+Iberus - Eine antimusikalische Ballade (FB 1884)
+Dr. Mokel in Afrika (FB 1884)
+Sächsisches Landsknechtlied (FB 1885)
+Das Kegelspiel - Historisches Gedicht (FB 1885)
+Der Kluge Elefant (The clever elephant) (1902)
+Der durstige Jumbo' (Thirsty Jumbo) (1902)

+ +
+ + +
+ +K.Rey 'Une histoire qui finit mal'(from 'Album Noel', 1900)
+ +
+ +
+ + +
+ +F. Reznicek
+ +
+ + +
+ + +
+ +F.T. Richards Index
+It's an Ill Wind Blows Nobody Good (Harper's Round Table, 1897)
+The Fakir and the Prestidigitateur (Harper's Round Table, 1897)
+An Occidental Transformation (Harper's Round Table, 1897)
+ +
+
+ + +
+ +Charles Ross & Marie Duval - 'Ally Sloper' (reprint in bookform, 1867)
+Pages 18-39
+Pages 40-61
+Pages 62-82
+Pages 83-103
+Pages 104-125
+Pages 126-148
+Pages 149-176
+Pages 177-205
+ +
+
+ + +
+ +A.Rusden 'La Peau du Lion' (from 'Album Noel', 1900)
+ +
+
+ + +
+ +H. Scherenberg Index
+Der Bauer und der Kobold (The peasant and the kobold)
+Die entführte Wurst (The kidnapped sausage)
+Das Ständchen (The serenade)
+Ferientag eines Zerstreuten (Holiday of someone very distracted)
+Die Drei Wünsche (The three wishes)
+ +
+ +
+ + +
+ +Schmelzer 'Hansl und Gretel - oder - Nach und nach' (1865) (Fliegende Blätter vol.46)
+ +
+
+ + +
+ +R. Schönborn (Drei Räuber) (Deutsche Bilderbogen Nr.105)
+ +
+
+ + +
+ +Schliessmann 'Der Sechsfüssler - ein Clownscherz' (The six-footer, a clownish joke)
+ +
+
+ + +
+ +James A. (Affleck) Shepherd (1867-1946) Index
+Parrot and Dog (Boys' Own Paper 1891) (uses plot-relevant speechballoons)
+Les Grenouilles et le héron (from 'Album Noel', 1900)
+ +
+
+ + +
+ +C. Storch Index
+Der Automobilfahrer wider Willen (The unwilling motorist)
+Bestrafter Geiz (Punished Selfishness)
+Blinder Eifer (Blind Zeal)
+Glück im Unglück - Storch after Pomerhanz
+Gnom und Maulwurf (Gnome and Mole)
+Der Maler und der Stier (The Painter and the Bull)
+Verunglückter Musikuntericht (The music lesson that went wrong)
+Die Zwerge und der Fischer (The Dwarfs and the Fisherman)
+ +
+ +
+ + +
+ +H. Storkmann (French reprint) (originally published in Fliegende Blätter)
+ +
+ +
+ + +
+ +James Francis Sullivan
+ +
+
+ + +
+ +John Theele 'Die fünf Sinne' (The five senses) (Lustige Bl&aumml;tter 1892)
+ +
+
+ + +
+ +M. Vaiselow 'Das gewohnte Stichwort' (Lustige Bl&aumml;tter 1892)
+ +
+
+ + +
+ +Gustav Verbeek Index
+'The Hunter's Strategy' (Harper's Round Table, Annual 1897)
+'A quelque chose malheur est bon' (The Swan)
+ +
+ +
+ + +
+ +S. Vitou 'Der Photograph in der Wüste - Vorzug der Revolver Camera' (Lustige Bl&aumml;tter 1892)
+ +
+
+ + +
+ +Zim (Eugene Zimmerman) Index
+Blackville (originally published in 'Judge')
+(Mule Récalcitrant) (originally published in 'Judge')
+('Le Renseignement exact') (originally published in 'Judge')
+ +
+ + + +
+
+
+ + + + + + + +
+ + +1895-1900 (The Sunday Supplements) +
+ + +
+
+
+ +Eventually there should be a section presenting this crucial period in more detail. At the moment I don't have sufficient material. Magazine comics from that time will remain in the preceding section. +
+It is difficult to decide how important the development of comics in humorous magazines and in the newspapers respectively were, without studying a lot more of the work. + +Below you can at least sample the visual flavour of one magazine and that exciting new thing, a comics supplement, both from the summer of 1897. +
+At the time it wasn't clear that it would be the supplements which would develop into modern comics. Magazines like Puck, which were based on German magazines of the time, such as 'Lustige Blätter', were stuck in a bit of a rut. The type of comics they presented had not changed much for 30 years. But there were other magazines, such as the German weekly 'Simplizissimus' (starting April 1896), which came up with sublimely inventive designs, and satirical adult themes. +
+HOWEVER: +
+Looking at this Puck and the Sunday Comics Supplement , it struck me that both the format and the audience for the latter may be the cause of significant changes. The newspaper format was much larger and cheaper, providing a lot more empty space to fill. The audience was less sophisticated, but (possibly because of this) more open to a particular type of experimentation, despite the dumb and lowbrow humour. Admittedly, this is being wise in retrospect. For whatever reason, these American Sunday pages became the breeding ground for something new. Weirder, rougher, slapdashier. Also easier, for children, but not childish. More popular. More ... somethingier.
+Maybe it was that new type of human being, the urban immigrant, who was most prepared and eager to pay for all this new visual goings on. +
+
+As you can see in the example below, early supplements didn't actually have many comics, apart from the usual short black and white snippets, similar to those in magazines. The new, enormous areas of colour were at first used for large, sometimes complex cartoons. + +But sequential cartoons did start to pop up with a vengeance in the form of Hans and Fritz, the Katzenjammer Kids, based on the popular classic 'Max und Moritz' (1864) by Wilhelm Busch. These two remarkable rapscallions appeared onto this stage of coloured spreads a few months later, on the 12th of December 1897. The Busch influence was of course felt througout the 'magazine-comics-period' 1860-1900. But in young Dirks he had finally found a follower of genius, who together with other likeminded artists, and above all an avaricious public, created the new parameters of the medium. +
+ + +
+ +
Puck 28. July 1897
+ +Small +        +Large + +
+
The World 'Comic Weekly' 20. June 1897 (6 pages, ie two missing)
+ +Small +        +Large +
+
+ + + +
+
+ +
+ +
1900 - 1929
+
+ +
+ + + + + + + +        Rudolph Dirks
+ + +        (Well, these Katzies strips were ghosted by someone else, but interesting nonetheless)
+        +External link (John Adcock's Blog) Advert and 3 dailies 'The Katzies' 1917
+        +External link (John Adcock's Blog) 1 daily 1918 'Der Dough vas Haunted'
+        +External link (John Adcock's Blog) 6 dailies 1918 (name change in October to 'Shenanigan Kids')
+        +External link (John Adcock's Blog) page with characters by Opper, Swinnerton and Dirks

+ +
+ + +
+ + +
+ +Walt McDougal Index
+Professor Jyblitz (1.2.1902)
+Hank the Hermit (29.9.1912)
+ +
+ + +
+ + +
+ +Winsor McCay Index
+Comparison of McCay dragon to Baroque theatrical design
+Dream of the Rarebit Fiend (19.1.1913)
+Dream of the Rarebit Fiend (27.7.1913)
+ +
+ + +
+ + +
+ +Fred Opper (after 1900) Index +(see also the Pre-1900 Opper Index)
+Si puts in a good word for Happy Hooligan (1912)
+Happy Hooligan - There might have been a lot of wisdom... (1912)
+Happy Hooligan - Sometimes it almost seems as if (1913)
+(Happy Hooligan in German) (Deutsches Journal 1913)
+ +
+ + + +
+ + +
+ +Arpad Schmidthammer (1905) This was very likely an inspiration for 'The Kinder-Kids' by Lionel Feininger. Schmidthammer's 'Mucki' had just been published when Feininger (living in Germany) was commisioned by the Chicago Tribune to come up with a comic strip. The style and content, especially the trip-round-the-world nonsense, shows similarities, although Feininger is far more inventive. - Schmidthammer himself was influenced by Busch, the plump parents are classic Busch (see Tobias Knop and wife), and the gag of hanging onto the stork is lifted from Max and Moritz. +
+ +
+
+
+ +
+ + +
+ +Gustav Verbeek - The Upside Downs of Little Lady Lovekins and Old Man Muffaroo - The Thrilling Adventure of the Dragon (8. Mai 1904)
+ +
+ + +
+ + +
+ +P. Richards 'Die Sonntagsbeilage' (The Sunday Supplement) +Berlin, 1907 + - +This is probably the first text explaining the new phenomenon of American Sunday comics to a German audience. + + +P.Richards was a German-American cartoonist, working in America. This is from a book of recollections, called 'Zeichner und Gezeichnete' . +Zeichner means draughtsmen/graphic artists /drawers' (Gezeichnete means 'those which have been drawn') +
+ +
+ + + +
+
+ + + + + +





+ + +
+
+ + + + +
+ + + +
+Unidentified Artists (1860-1900)
+ + +
from Harper's Round Table, 1897
+280 - - How Tommy made one Skate do
+544 - - An African Bridge
+760 - - 'The Stolen Cigar or The Monkey who got it in the Neck' Tucker ?
+784 - - 'An Interesting Article' S.I.Theriat ?
+864 - - 'An Unintentional Exchange' Hilder?
+912 - - 'The Adventures of a Cartwheel' Hilder?
+ +960 - - 'A New Wag to an Old Tale' (poor imitator of Frost)
+1008 - - 'A Cat Tale'
+1176 - - 'The Patent Sure-to-arrouse Alarm Clock' (A.Berk ?)
+1200 - - 'The Artist and his Model' Hilder ? - gag pinched from Frost
+ + + +
from Album Noel 1900
+ + +page 2 - ? 'Un jeune inventeur' (probably Lemot)
+page 38 - 'Joies d'un bon sujet - Mesaventures d'un mauvais sujet'
+page 46 - 'Pour rouler toujours'
+page 52 - 'Histoire d'une bête
+page 64 - 'A la recherche des champignons'
+page 68 - 'Chasse d'hiver'
+page 80 - 'Deception d'un chasseur' (from 'Puck')
+page 88 - (no comic) Elephants
+page 90 - 'Ce qu'est la vie'
+page 92 - 'Les successives stations d'un amateur'
+page 94 - (Giraffe and Biker)
+page 96 - 'Un jeu amusant' (bears playing rugby)
+page 100 - BP sc 'Une singulière aventure'
+ + + +
from Picture Magazine, 1893
+Tommy goes to sell his pups (originally published in Judge)
+The Advantage of athletics (originally published in Fliegende Blätter) Meggendorfer?
+A Story with a Moral (originally published in Life)
+Some Fishing Expressions
+The Flying Steed (originally published in Puck)
+The Portrait of a Cow (originally published in Life)
from Fliegende Blätter vol 82
+'Das Urteil des Paris' (The Judgement of Paris) - Fliegende Blätter vol.82 p.77
+'Erysichthon von Thessalien - oder - So grausam bestraft sich der Baumfrevel' 1885
from Fliegende Blätter vol 46 (1865)
+'Der Ofen - Eine Familiengeschichte' (1865)
+'Die Kunst und Wissenschaft des Totschlagens, in ihrer Vergangenheit, Gegenwart und Zukunft' (1865)
+'Die Crinoline als Barometer' (1865)
+'Das theuere Vermächtniss' (1865)
+ + +
from Fliegende Blätter vol 47 (1865)
+'Bedenken eines Hauseigenthühmers' (1865)
+'Illustrierte Kriegsberichte' (1865)
+'Der spannende Roman' (1865)
+'Regnen oder Tröpfeln' (1865)
+'Die projectierte Landpartie' (1865)
+'Pariser Abenteur des Herrn Schwäbele' (1865)
+'Der Raub der Sabinerinnen' (1865)
+ + + +
from Fliegende Blätter vol 48 (1866)
+'Zwei Engagements' (1866) (1866)
+'Wie das Ausweichen oft schwer ist' (1866)
+'Das Zuckerfass' (1866) R.G.
+'Wochenkalender für moderne Liebe' (1866)
+not a comic - (Hexe Walpurga) (1866)
+ + +
from Lustige Blätter 1892
+Eine Liebesgeschichte
+Der Kritische Tag
+ +'Wie eine Gans durch allzuviel Rücksicht auf den Hund kommt' (1892) G.W.
+'Ein schwungvoller Heimweg' (1892)
+'Ein französisches Duell' (1892)
+'Missglückter Aufsprung' (1892)
+'Gestillter Liebesdurst' (1892)
+'Wenn zwei dasselbe tun..' (1892) (1892)
+'Das Vogelschiessen' (1892)
+ + +
+ +
L., S. (S L)
+'Die lästigen Gardedamen - oder - Gut Aufgehoben' (F.B. vol 82)
+ + +
K., A. (A K)
+'In die unrechte Kehle gekommen' (1892)
+'Der neue Brutapperat' (1892)
+'Triumph des Drills' (1892)
+ + + + + + + + + + + + + + + + + +
Unidentified Bilderbogen ('Nr.222')
+'Jeder ist seines Glückes Schmied' (Everyone makes his own luck)
+ + +
from Ludwigsburger Sonntagsbeilage
+(4 pages)
+ + + + + +
+
+ +
Advertising Comics
+ 'Blackwell's' - 'A romance for married men' (1870s)
+'Hold Fast'
+ +
+ +
American (1870s)
+Esquire Brown
Amercian (1864)
+'Tom's Holiday' W Q ?
+
+ +
Grip Magazine (Canadian) (1881)
+'The Amende Honorable - A Globe Experience in three scenes'
+
+ +
Merryman's Monthly (1865)
+'The Flying Machine'
+ + +
+
+
+ + + + + + +
+ +A-Z (these lead to the placement on this index page) + +
+ + +
+ +Andral, G.
+B., F. von
+Bahr, Johann
+Baric
+Beard, Frank
+Bernard, Edouart
+Budd, C.J.
+Bunner, R.F.
+Burret, Léonce
+Busch, Wilhelm
+Caldecott, Randolph
+Caran d'Ache
+Chicki, Georges
+Chinese (probably late 18th c.)
+Chinks
+Chip   (F.P.W.Bellew)
+Christophe (Georges Colomb)
+Cohl, Emile
+Clark, J.B
+Crowquill, Alfred
+Cruikshank, George
+Cyl, C.
+Daggy A.S.
+Dalrymple
+Deb
+Dépaquit, Jules
+Dio-Biding
+Doës
+ +                                                                +		 + +Douhin, A.
+Doré, Gustave
+Doyle, Richard
+Dunk, R.M.
+Fau, Fernand
+Frost, A.B.
+Gerlach
+Gillray, John
+ +Godefroy
+Goez, Joseph Franz von
+Goodes, W.M.
+Graetz, F.
+Grandville, J.J.
+Griffin, Syd B.
+Heath, William
+Herford, O.
+Hoffmann, Heinrich (Struwwelpeter)
+Hogarth, William
+Hopkins, Livingstone
+Howarth, F.M.
+Jensen, A.
+Keene. Charles
+Kemble, W.C.
+Kerlie?
+C. Koch
+Lagemann, Ch.
+Le Bocain
+ +                                                                +		 + +Leech, John
+Leguey, Luc
+Lemot, Achille (Uzès)
+L., S.
+Leoy
+Le Petit, Alfred
+Lobrichon, Timoléon Marie
+Malatesta, H. ?
+Mandl, M.
+Maurier, George de
+May, Chas
+Mayer, Hy
+McCay, Winsor
+McDougal, Walt
+Mclenan, John
+Meggendorfer, Lothar
+Mob
+Monnier, M.
+Moriss
+Newell, Peter
+Oberländer, Adolf
+Opper, Fred (before 1900)
+Opper, Fred (after 1900)
+Photo Comics
+Piery, Emile
+Phillipp, H.W.
+Pommerhanz, Karl
+Pughe, J.S.
+ + +                                                                +		 + + +Rabier. Benjamin
+Reinhardt, Carl
+Reichert
+ +Reinicke, Emil
+ +Rey, K.
+Richards, F.T.
+Richards, P.
+Ross, Charles & Marie Duval ('Ally Sloper')
+Rowlandson, Thomas (Dr Syntax)
+Rusden, A.
+Scherenberg, H.
+Schönborn, R.
+Schliessmann, H.
+Schmelzer
+Schmidthammer, Arpad
+Shepherd, James A.
+Storch, C.
+Storkmann
+Sullivan, James
+Tenniel, John
+Theele, John
+Töpffer, Rodolphe
+Tucker, M. ?
+ + +Vaiselow, M.
+Verbeek, Gustav
+Verbeek, Gustav (after 1900)
+Vitou, S.
+Unidentified Artists
+ + + + + + +                                                                +



+ + + + +
+ + +
+
+ + + + + + +
+  +Early Comics in Print + +

+If you have questions about early comics, please direct them to this mailing list: Platinum Age Comics +
+
+ +
+Copyright © 2011 by Andy Konky Kru + +
+
+
+ +Home (konkykru.com) +
+
+ + +
+ + + \ No newline at end of file diff --git a/httpdocs/earlycomics_1730-1860.html b/httpdocs/earlycomics_1730-1860.html new file mode 100644 index 0000000..2da1262 --- /dev/null +++ b/httpdocs/earlycomics_1730-1860.html @@ -0,0 +1,754 @@ + Andy's Early Comics Archive + +
+ +Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru +
+ + + +The best way to return to the previous page is the backspace key (above the return key). + +On Macs this is the 'delete' key. +
+Or just click on the pictures to get back here. + +
+
+Andy's Early Comics Archive + + +
+Comics from 1783 to 1929 +
+
+ +This is a presentation of historical comics, intended to enlighten and amuse students of comics history, (and to provide their teachers with reference material.) + +Maybe these early comics will also inspire some of today's comics artists. + +Most were scanned by me, ususally from books or magazines lent to me. Sometimes I get sent a dvd with scans someone made from his own collection. + +
+ +
+ +
+1700-1800      +The Birth of Modern Comics      +Töpffer      +1840-1860      +Busch      +1860-1900      +1895      +1900-1929      +(unidentified 1860-1900) +
+ + + + + +
+ + +
+ + + +
1700 - 1800
+ +
+ + +William Hogarth 'The Harlot's Progress (1730) +     + +small version click here +
+ + The famous 'progressions' by Hogarth were not actually comics. The images don't lead into and don't interact with each other. Each shows a distinct, separate stage of a longer story. However, because of their great popularity, they established the very notion of telling entertaining stories with a series of pictures and so became a highly influencial stepping stone for future developments.
+ + + + +
+
+
+ + + + + +Franz Joseph Goez 'Lenardo und Blandine' 1783
+ +Ironically this, the first actual graphic novel(ette), probably had little influence. It was too ahead of its time as far as the comic-structure is concerned. In content it was delightfully very much of its time, full of outrageous melodrama. +
+Here's the complete sequence, with my translation underneath:
+ page 1-34     + page 35-65     + page 66-93     + page 94-125     + page 126-160    + +All on one page +
+
+
+
+ +
+
+
+ + + + + +James Gillray - 'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' + +Much more influencial than Hogarth or Goez were the thousands of British political cartoons. Most were just that, cartoons, meaning single image jokes. However, a huge number of them used (and developed the use of) speechbaloons. And a good number did in fact use two or more interdependant images to tell a story. (That means they were comics.) +
+ +
+ +
+
+
+ + +Chinese Woodcut 'How China is Made' (china = porcelain) (late 18th cent., reprinted 1893)
+
+
+ + +
+
+
+ +
+
+ +
+ +1800 - 1840 (pre-Töpffer) +
+ +William Heath - 'White Bait' (1830) +
+(a four-panel comic strip with speechbaloons)
+
+ +
+
+
+ + + + +Thomas Rowlandson
+Part 1 - 'THE TOUR of DOCTOR SYNTAX, In search of the PICTURESQUE' +
+ +This is not a comic. It's not even a sequential series of images, like a Hogarthian progress, or even illustrations of a novel. +But it can be seen as a milestone in comics history, because of the influence on Rodolphe Toepffer, who imitated the type of main character, the drawing style and the general atmosphere of countryfied wackyness. +The use and re-use of one striking visual character, generally recognized and popular, is certainly typical of many comics to come.
+
+ + +
+
+
+
+ + + + +The Birth of Modern Comics (1800-1860) +
+ + +
+Modern comics, with a storytelling vocabulary that's still used today, were developed in America's newspaper strips, circa 1900-1920. They were mostly following a tradition of short, colourful picture-stories for children. The direct influence was the slapstick work by Wilhelm Busch and others in a similar vein. But that in turn was built on a sixty year (or more) tradition of children's comics. +
+Busch started working in 1859, for a series of picture broadsheets called 'Münchner Bilderbogen' (See below, or click here for examples), which had been going since 1849, a series which included many inventive and sumptiously illustrated comics from the start. These were themselves influenced by the charmingly naive 'Neuruppiner Bilderbogen', which started producing comic-like picture stories in 1835. + +
+And those again were influenced by British chapbooks with comic-like picture stories, starting around 1800. +
+Even earlier were precursors in Holland. +
+
+Below are a number of examples, in case you think I'm making this all up. +
+ + +First two very early examples from Holland. It seems that although the Dutch had the most spectacular fall in artistic relevance around 1700, there still was an important tradition of printmaking, and highly important for the development of comics. +
+
+ +Urbanus and Isabel Dutch Broadsheet (circa 1750)
+They marry. He goes off whoring. She divorces him. Years later he comes crawling back and she is overjoyed to take him back and all is well. +
+ +Maybe this one wasn't a childrens story yet (although you never know with the Dutch), but the next one is. +
+ +
+
+
+ + + +
+ + +Little Red Ridinghood Dutch Broadsheet (1800)
+ by G. Oortmann, publisher: by de Erve H. Rynders - earliest Dutch broadsheet after Perrault. +This predates the famous Grimm's version by 11 years. +
+
+
+
+
+ + +From around 1800 the most important country for comics is England. Here stories told in pictures turn up inside chap-books. +Chapbooks were small booklets of four, (or multiples of four: 8, 12,...) pages, and sold by itinerant merchants or chapmen (Old English: ceapman from 'ceap' - bargaining, trade) from the 16th to the early 19th century. They were illustrated with woodcuts and had stories of popular heroes, folklore, famous crimes, ballads, nursery rhymes, schooltexts (ABCs), bible tales, etc, and were the main literature beside the bible for the common man and children. +They too were sometimes sold as sheets which had to be cut up and bound, DIY-fashion. +
+Most chapbooks were not comics of course, but enough of them were to constitute a genuine and influential tradition. +Some of the examples below are from American edtions. I'm not sure if these were reprints, copies or original. +
+
+
+ + +The Little Man & the Little Maid (1807)
+
+
+ +
+ + +
+ +The Comical Adventures of the Little Woman, Her Dog and the Pedlar (1820s) + +printed in Baltimore, by William Raint +
+ +
+ +
+
+ + +Robert Branston Old Mother Hubbard and her Dog - Various early editions including a lovely one from 1819, probably by Robert Branston +
+
+
+
+ +
+
+ + +Robert Branston 'The Comical Cat' (1818) + Another 'Madam with an animal' thingy by Branston, plus a couple of later US variations. +
+
+
+
+ +
+
+ +
+ + +Robert Branston Dame Wiggins of Lee and her Seven Wonderful Cats (1823)
+More an illustrated story than a comic, because not enough of the relevant action is shown visually. +
+ This was a favourite childrens book of the art critic John Ruskin. +
+
+ +
+
+ + +Grandmamma Easy's Old Dame Hicket and Her Wonderful Cricket (circa 1840) +
+Boston: Brown, Bazin & Co. Nashua, N.H.: N.P Greene & Co. +
+
+ +
+
+ + +There are a lot more of these wacky old-Mother-this-Grandma-that picture books. +
+Below examples of more conventional 19th century stories. +
+
+
+ + +The Two Sisters (circa 1825)
+From The Pretty Primer (The Juvenile Gem), +Huestis & Cozans, 104 Nassau Street, New York +
+
+ +
+ +
+
+ + +The Story of Little Sarah an Her Johnny-Cake (circa 1830)
+ Boston: W.J.Reynolds & Co. +
+
+ +
+
+
+ + +The Children in the Wood (circa 1825) +
+published by Dunigan, New York +
+
+
+
+
+ + +Adventures of Little Red Riding Hood (circa 1820) +
+Mark's Edition - Published by Fisk & Little, 82 State-Street, Albany, New York +
+
+
+ +
+ + +These chapbooks had an important influence on the next stage of mass-market comics for children. +In the mid 1830s the little town of Neuruppin, north of Berlin, became an important centre for picture sheets. A good number of these were comics. Below are a few early examples. +
+
+Later on, in 1848, these Neuruppiner Bilderbogen themselves influenced the more sophisticated 'Münchner Bilderbogen' (Munich picture broadsheets), where in 1859 the great Wilhelm Busch started his own brand of picture stories, which would influence cartoonists all over the world, and eventually the Sunday supplement comics. In other words, there is a direct line of influence from the Dutch broadsheets/ English chapbooks to 20th century comics. +
+
+ + + + +
+ +Geschichte der Madam Rips und ihres Hundes Bello 1835/40 + + +This sheet demonstrates the international influence of British picture stories - a close copy of Old Hubbard, translated into German: (the English version was here) . + +Bello comes from 'bellen', to bark. Typical doggie name. +
+ +
+
+ +
+ + +More common were these charming fairy tale adaptations: + +        +Cinderella 1835/40                        +
+
+
+ +
+ + +Hansel and Gretel (here called Martin and Ilse) 1835/40
+
+
+ +
+ + +Erzählung vom kleinen Däumling / Story about Little Tom Thumb (1835/40)
+
+
+ +
+ +
+ + +Schneeweisschen und Rosenrot (1835/40) +(Little Snowwhite and Rosered) (not the Snowwhite, who is called 'Schneewittchen' in German)
+
+ + +
+ +
+ + + +There were also popular stories of romantic robbers: + + + +Rinaldo Rinaldini (1835/40) ... +
+
+
+ +
+ + +...or a satire for grown-ups about emancipated women (and why to avoid them): Der Kleine Mann und die grosse Frau (The little Man and the large Woman) (1835/40) +
+
+ +
+
+ + + + + + + +Heinrich Hoffmann 'Struwwelpeter' +(drawn 1844, published 1847 - English edition 1848) + +This famous picture book is stylistically related to earlier chapbooks and Bilderbogen / picture broad sheets. +The hunter/rabbit story is similar to a panel from an earlier Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world. +
+
+ +
+
+
+
+ + + + +
+ + +Rodolphe Töpffer + +
+ +Index
+
+
+
+ +Monsieur Vieuxbois (1839) (partial translation) +    +    +    +the same, but with smaller pictures - click here + +
+
+ + + +
+
+
+
+Comparison of the Aubert Pirate Version (1839) and the US copy (1842)
+
+
+
+
+
+Comparison of Monsieur Tric Trac and a Dutch sequel (Prikkebeen)
+
+
+
+
+ +Comparison of Vieuxbois and Cruikshank
+
+
+
+ +
+EXTERNAL LINK: +
+ +'Histoire de Mr. Vieux Bois' +  + +Original manuscript version of Monsieur Vieuxbois, 1827 (30 pages/158 panels) with text typed out underneath, and a translation. The first printed edition was published ten years later, expanded to 88 pages/198 panels. The second edition 1839 (as presented above on my own site) had 92 pages / 220 panels.
+ + +
+
+
+
+
+ +
+
+
+ + +1840 - 1860 (pre-Busch) +
+ + +
+ + + + +
+ + +  +Alfred Crowquill (Alfred Henry Forrester) 'Pantomime, to be played at home' 1849
+
+ + + +
+
+
+ + + +George Cruikshank +
+'The Progress of Mr. Lambkin' (1844) A story told in 25 tableau-type pictures. Nice large scans.
+
+
+
+ +'Premium Discount' (Spoof on dangerous railways)
+
+
+
+Comparison with A.B.Frost - + +(Two-panel cartoon which may have been the inspiration for a famous comic by A.B.Frost, part of which is shown) +
+
+ +
+
+
+ + + +Gustave Doré
+'Trois artistes incompris et mecontens' (1858) - Outstanding lithos by his own hand
+
+part 1
+
+ +part 2
+
+ +part 3
+
+ +
+
+
+ + +  +Richard Doyle- Pleasure Trips of Brown, Jones and Robertson - from Punch, 1850
+
+ + +
+
+
+ + +Grandville - A dream of crime and punishment, Gertrude (1847)
+
+ + +
+
+
+ + + +Anonymous - Two comics from the magazine 'Die Illustrierte Welt' Stuttgart (1858) (sechster Jahrgang) +
+
+ +
+
+
+ + +John Leech
+
+
+ +Mr. Briggs 1850/1
+
+
+
+ +Portrait of 1855 (in watercolours)
+
+
+
+ + +(Before and After) 1855
+
+
+
+ +The Best Preventive against Sea Sickness, 1855
+
+
+
+ +The Removal of the Snow, 1855
+
+
+
+ +Noddy 1, (Mr. Tom Noddy's first Day with the Hounds after the long Frost) 1855
+
+
+
+ +Noddy 2, (At the Seaside) 1855
+
+
+
+ +Mr. Popplewit, - How Mr. Popplewit enjoyed a day's Rook Shooting, 1855
+
+ +
+
+
+ + + Pages from the magazine 'Leuchtkugeln' 1848
+
+ +
+
+
+ + + + +TimolŽon Marie Lobrichon Histoire de Mr. Tuberculus (1856) (only a few pages)
+
+ +
+
+
+ +John Tenniel (the illustrator of Alice in Wonderland, 1864)
+
+How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking' 1853
+
+
+
+ +How Mr. Peter Piper Tried his Hand at Buffalo-shooting 1853
+
+
+
+How Mr. Peter Piper Was Induced to Join in a Bear-hunt 1853
+
+
+
+How Mr. Peter Piper Accepted an Invitation from the Rajah of R. to Hunt a 'Royal Bengal Tiger' 1853
+
+
+
+Mr. Piper (all on one page)
+
+
+ +
+ + +Mr Spoonbill 1855 This was published in three installments, in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. + +
+
+
+
+
+ + + +
+ + + + + + +
+  +Early Comics in Print + +

+If you have questions about early comics, please direct them to this mailing list: Platinum Age Comics +
+Copyright © 2011 by Andy Konky Kru + +
+ + +Home       +Early Comics       +Links      +Abstract Comics       +Other Comics       +Konky Kru + + +
+ + + \ No newline at end of file diff --git a/httpdocs/earlycomics_1860-1895.html b/httpdocs/earlycomics_1860-1895.html new file mode 100644 index 0000000..df8cd99 --- /dev/null +++ b/httpdocs/earlycomics_1860-1895.html @@ -0,0 +1 @@ + Andy's Early Comics Archive
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The best way to return to the previous page is the backspace key (above the return key). On Macs this is the 'delete' key.
Or just click on the pictures to get back here.
Andy's Early Comics Archive
Comics from 1783 to 1929
This is a presentation of historical comics, intended to enlighten and amuse students of comics history, (and to provide their teachers with reference material.) Maybe these early comics will also inspire some of today's comics artists. Most were scanned by me, ususally from books or magazines lent to me. Sometimes I get sent a dvd with scans someone made from his own collection.

Wilhelm Busch

Index


The Little Honey Thieves (1859) - Bilderbogen number 242 - The first appearance of two Katzenjammer Kids type rapscallions. It's in the format of an illustrated story, but the pictures work as a comic on their own. Which is a fitting start for Busch, as this is how modern comics evolved: illustrated stories, where the text became of secondary importance. The art is a mixture of the detailed illustration of the time in the backgrounds and the already snappy characterisation of the figures. (The beginning of 'big nose cartooning').



Der kleine Maler mit der grossen Mappe (1859) (The little painter with the large portfolio)
This early work still uses the romantic drawing style of Ludwig Richter (Grimms Fairy Tales etc).



Das warme Bad / The Warm Bath (1865) Bilderbogen number 278



Der Floh / The Flea (1865) Bilderbogen number 390 - wordless - alternative title: .Disturbed and Refound Peace of Night'



Der Virtuos / The Virtuoso (1865) Bilderbogen number 465 Astonishing page, which was particularly influencial.



Der gewandte, kunstreiche Barbier und sein kluger Hund / The Baber and his clever dog (1865) BB399   Was imitated by Charles Ross, especially the last panel



The Hollow Tooth (1865) Bilderbogen number 330 This was inspired/heavily influenced by George Cruikshank's 'The Toothache'



Der Bauer und sein Schwein (The peasant and his pig)



Der Bauer und der Windmüller (The Peasant and the Miller) (two Bilderbogen in sequence)



Der vergebliche Versuch (Returning home after New Year's Eve...) (1865) (from Fliegende Blätter vol.46)



Der Katzenjammer am Neujahrsmorgen (The hangover on Newyear's Day) (1866) (from Fliegende Blätter)



Der schöne Ritter' (The handsome Knight) (1866) (from Fliegende Blätter)







1860-1900 (The Magazine Comics Period)

Album Noel (all) 1900 (collecting work from previous years) (This link presents all the pages from the book in one go. Most of them are also listed separately by author).

G. Andral 'La clŽmence d'Auguste' (Le journal pour tous' 1895)

F. von B. 'Der schlaue Pepi - oder - Die geraubte Gans' (Fliegende Blätter vol 82)

Johann Bahr


'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) (without words)



'Schnelles Wachstum' (Fast Growth) (without words)



'The Mechanical Racehorse' (originally in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893)



Die Rivalen auf dem Eise (Lustige Blätter 1892)



Die verrätherische Fata Morgana (Lustige Blätter 1892) (without words)



(Speech by Professor Strubelmann on how to take care of your hair) (Lustige Blätter 1892)



Der kluge Plüsecke (Lustige Blätter 1892)



'Der Sonntagsfrevler - oder - Die verbotene Angelei' (Lustige Blätter 1892)



'Der gefoppte Schwarzseher' (Lustige Blätter 1892) (without words)

Baric - 'Histoire de Martin Landor' ou 'La musique des enfants' ecrite par Kroknotski, dessinée par Baric' 1865
This is only partially a picture story (ie comic). But it shows a different way how the Struwwelpeter influened picture books.
Also, it's a precursor of McCay dream-stories, with equal visual brilliance.

Frank Beard 'It Didn't Work for a Cent' (from Puck 'On the Road' 1889)


Edouart Bernard 'Une ligne résistante' (Polichinelle 1898 - Journal humoristique hébdomadaire pour la famille)


C.J.Budd 'The Bill-Poster's Revenge' (Harper's Round Table, Annual 1897)

R.F. Bunner - (The Circus Lion) (Harper's Round Table, Annual 1897) (without words)

Léonce Burret

Vieux Garcon - Le Rire 1898 (Number 166)
Quoi qu'il dirait, s'il reviendrait? - Le Rire 1898 (Number 211)
Le choix d'une villégiature - Le Rire 1898 (Number 190)
De la coupe aux làvres - Le Rire 1898 (Number 200)
La nouvelle Famille - Le Rire 1898 (Number 174)

               

Randolph Caldecott

The Rivals



The Wynchdale Steeplechase (scroll sideways)



Our Haymaking



Carlyon's Christmas

Caran D'Ache

La Loi de la Femme



Trappeur d'Arkansas ou Une Erreur Judiciaire (1893)



A popular Favourite (originally from 'La Caricature', before 1893) (a variation on 'The Virtuoso' by Busch)



(Catching the train) (before 1893)



La Vie de Chateau 1897



A la Houzarde (Le Rire, 2.November 1895)



Querelle d'Allemand (Le Rire - 25 January 1896)



Le Ténor enteté


George Chicki - Souvenirs Bachotiques (1870) (graphic novel in the manner of Töpffer)


Christophe (Georges Colomb)

La Fontaine ModernisŽ - Le Renard et la Cigogne (Petit France 1901, Number 108



Le Malices de Plick et Plock (Petit France 1902, Number 122)
This page shows how much Christophe was influenced by German cartoonists. Wilhelm Busch's Icepeter motiv is turning up again, and more directly the various dwarf stories by Lothar Meggendorfer or Johan Bahr.



Le Baron de Cramoisy (Vll) - Le Petit Francais Illustré 1901

Emile Cohl 'Logement a Louer' (Polichinelle 9.Mai 1897) (That's the same Cohl famous for creating the first animated cartoon.)

J.B. Clark 'Le Maleurs d'un chat' (from 'Album Noel', 1900)


C.Cyl 'Peche ˆ la ligne' (from 'Album Noel', 1900)


A.S.Daggy 'A new use for the Japanese Umbrella' (Harper's Round Table, Annual 1897) (without words)

Dalrymple

'The unexpected always happens' (from 'Puck's Library')



(At the theatre) (Le Rire, 11.Mai 1895 - originally published in Puck)



'His Diploma'

Deb

Un essai (from 'Album Noel', 1900)


Souvenir de pêche (from 'Album Noel', 1900)

Jules Dépaquit

Le Bourreau trop vigoureux - ou - erreur n'est pas compte
Zola veut séduire l'académie
Carneval (1897 - Le Rire)


               

Dio Biding 'La méchanceté' (from 'Polichinelle' 9.Mai 1897)

Doës

Polly's Little Joke (from 'Le Papillon', reprinted in Picture Magazine 1893)


Subjection (from 'Scribner's Magazine')


How Pierre sent his Boots by Telegraph and got a Receipt for them (from 'La Revue illustré, reprinted in Picture Magazine 1893)

A. Douhin 'Génération Spontanée' (from 'Journal Amusant' 11. November 1899)

M. Dunk 'How a Famous Hunter Won a Reputation' (Harper's Round Table, Annual 1897) (without words)

Fernand Fau

(Champagne) (Le Rire, 11.Mai 1895)


La Création du monde


Le Duel Pini-Thomeguex (Le Rire, 11.Mai 1895) Cartoon with a speechballoon, influenced by Caran d'Ache.


Échos de la semaine prochaine (Le Rire, 14 April 1896)


Interviews printaniers (Le Rire, 4.Mai 1895)


Etre président de la république (Le Rire, 14 April 1896)


A. B. Frost 'He was a Tenderfoot' (from Scribner's Magazine Vol.XIII No.1, January 1893 )


Gerlach 'A Tale of a Lamp and a Bath' (from'Universum', reprinted in Picture Magazine 1893)

Godefroy 'A Comfortable Smoke' (from Revue IllustrŽ - reprinted Picture Magazine 1893)

W.M. Goodes 'The Funniest Thing He ever Saw' (Bear & Fishing Rod) (from Harper's Round Table, Annual 1897) (without words)

F. Graetz 'Die Wirkung der afrikanischen Sonne auf das Kilimandscharo-Gebiet' (1892) (Lustige Blätter)


Syd B. Griffin

'Snap-Shots'/A Friend in Need


His Name was Mud (from Puck's Library)


Let Her Go

O. Herford

'The Bow Legged Admiral and the Educated Dog' (Harper's Round Table, 1897)


'The Lost Joke Recovered by Xray'(Harper's Round Table, 1897)

Livingstone Hopkins 'Professor Tigwissel' (1875) - very early U.S. newspaper comic

F.M. Howarth

Récréation Chinoise (from 'Album Noel', 1900)


Editor and Poet (Puck 1894)


'An ingenious Device' (originally published in Life - reprinted in Picture Magazine 1893)


'Lovers of Art' (originally published in Life - reprinted in Picture Magazine 1893)


'Pelle et Brouette' (originally published in Puck, reprinted in 'Polichinelle' 31 July 1898)


Le Portrait trop resemblant et la veuve trop démonstrative' (originally published in Puck - reprinted in Le Rire, 4.Mai 1895)


Un enlevement acrobatique ou le vrai amour ne connait pas d'obstacles' (originally published in Puck - reprinted in Le Rire - 9 May 1896 )


The dog at the butcher's (orginially published in 'Judge' - reprinted in Le Rire, 2.November 1895)


An Assisted Flirtation (Puck 28. July 1897 )


Easily Arranged (Puck 28. July 1897 )


        External link (John Adcock's Blog) Selfportrait & short strip

A. Jensen

'Der Abgeordnete und der Wähler' (Lustige Blätter 1892) (the often repeated visual joke of relating the size of people to their power or importance)


'Die 'Vermehlung' des Schornsteinfegers' (Lustige Blätter 1892)


'Die Ratte' (Lustige Blätter 1892)


'Ein armer Lahmer' (Lustige Blätter 1892)

Charles Keene (1823-91) 'The Adventures of Miss Lavinia Brounjones' (Punch 1866)

W.C.Kemble 'An Ingenious Escape' (Harper's Round Table, Annual 1897)

Kerlie?
'Histoire de deux chinois et d'un enfant trop malin pour son age'


'Histoire lamentable de Prosper et de sa soupe'

C. Koch (Deutsche Bilderbogen 162 - Gustav Weise Stuttgart)

Ch. Lagemann 'Der zerstreute Professor oder Eine Überraschung' (Lustige Blätter 1892)


Le Bocain (jeune ou vieille?) (Le Rire, 11.Mai 1895)

Achille Lemot (aka Uzès) (all from 'Album Noel', 1900)
Avec de la tenacité
Un jeune inventeur
'A.L.' 'Fourrures a l'essai!
C'est que la vie (A.L. in the squiggly border)
Une Faute de Gugusse (the classic hosepipe gag)
Une tartine pour trois
Maladroit mais rusé
Un farceur attrapé ou un voleur envolé
Punition mériteée
Valeur du temps
Une lecon de botanique
Ce qu'il en coute d'apprendre à un éléphant à se balancer
Un tour de force
Rira bien qui rira le dernier
Les cinq sens (not a comic)
                                       

                                       

                                       

Luc Luguey
Le Rire - 14 March 1896


La nuit de noces du Viveur (containing small speechballoon)

Alfred Le Petit - 'En Chasse' ('Polichinelle' 9.Mai 1897)


Leoy (Variation on 'The Virtuoso' by Busch) (reprinted in Picture Magazine 1893)


H.Malatesta

'Le voleur bien volé' 1895 (from 'Album Noel', 1900)


'Le bon pauvre et le mauvais riche' (from 'Album Noel', 1900)


'Le Fils d'Adoption' 1896 (from 'Album Noel', 1900)

M. Mandl 'Praktische Verwertung der neuesten Mode' ('Practical application of the latest fashion') (1885) (Fliegende Bl&amul;tter vol 82)

George du Maurier 'The Philosopher's Revenge' (Punch 1866)

Chas May

Un sac, un homme, un chien & un tonneau (from 'Album Noel', 1900)


Dans la cave (from 'Album Noel', 1900)

Hy Mayer 'How the Dromedary became a Camel' (Harper's Round Table, Annual 1897)


John Mclenan 'The Flight of Abraham - as reported by a Modern Daily Paper' (Harper's Weekly 1861)


Lothar Meggendorfer

Aus den Kinderjahren eines Kautschukmenschen (from the infant years of the plastic man)


Rache ist süss (Revenge is sweet)


Die schlauen Zwerge (The Clever Dwarfes)


Misslungene Arretierung (Unsuccessful Arrest)


Liebesgram und Heilung (Love sickness and Recuperation)


Das bockbeinige Schwein und der Philosoph (The recalcitrant pig and the philosopher)


Die Macht der Musik' (FB 1888)

Mob

L'aumone
Un drame
Pêche difficile
Repos Troublé

M. Monnier 'La Punition d'un Gourmand' (The punishment of a glutton) ('Le Petit Francais' 26.April 1902)
A forerunner of McCay's dream comics !!!

Moriss - Interruption Piquante
(Note - The chap is reading the magazine in which the comic is published)

Peter Newell
(Policeman and Matchstick) (Harper's Round Table, Annual 1897)


'Introduction' (Harper's Round Table, Annual 1896)

Adolf Oberländer

Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser


Ein jedes Tierchen hat sein Pläsierchen - 1885


Zufalls Tücke - oder - Unfreiwillige Illustration - 1885


Die kurzsichtige Tante (The shortsighted aunt) 1903


Münchener Tartarus (1865)


Die unterbrochene Trauung (1865)


Täuschung - (text with three illustrations) (1865)


Der Wunderdoktor (1865)

Fred Opper (before 1900) (see also the post-1900 Opper Index)

The Wicket Seal Hunter and the Clever Seal


His Doctors, and how they didn't do him any good


A Real English Outfit in America


In Maine


The Result of Feeding a Neapolitan Greyhound on Macaroni


The Power of Habit


A Close Shave


(The Pretty Typewriter)


Mike Cassedy's Toothache


A Distinct Success


Saved - A Tale of Simple Heroism Rewarded


The latest dodge


A story of the road


A Quick Response


A slight error of judgement


Not quite out of practice


True too his word (Puck 28. July 1897)

Photo Comics

Le premier cigare


Histoire d'un nid (not photos, only traced from photos)


Saluting the Flag - 1912


Hunter and Dog 1899

Emile Piery - Fantaisie sur le duel (from 'Polichinelle' 31 July 1898)

H.W. Philips - A Friend in Need is a Friend Indeed (Harper's Round Table, Annual 1897)

Karl Pommerhanz

Ein Frechdachs


Der getäuschte Arzt


Die Benutzte Gelegenheit


Die kleinen Verwandlungskünstler


Der Herr Professor und das Feuerwerk


Das boshafte Geschwisterpaar


Die Pferdelspieler


Der kleine Turner und seine Lebensrettung


Bestrafte Unhöflichkeit (1892)

J. S. Pughe A Small Story with a Large Application (from Puck 28.July 1897)

Benjamin Rabier

Le Lion Télescopé (Le Rire - 11 April 1896 )


Gontran à Trouville (Le Rire - 27 June 1896 )

Carl Reinhardt (Die Landpartie) (Deutsche Bilderbogen fŸr Jung und Alt Nr.96)

Reichert 'Un Drame en deux actes avec trois personnages' (from 'Album Noel', 1900)


Emil Reinicke

Das jähzornige Nashorn' (The angry Rhino) (1886)


Die verschwundene Wurst - Eine merkwürdige Begebenheit (FB 1885)


Irren ist Menschlich (to err is human) (FB 1884)


Iberus - Eine antimusikalische Ballade (FB 1884)


Dr. Mokel in Afrika (FB 1884)


Sächsisches Landsknechtlied (FB 1885)


Das Kegelspiel - Historisches Gedicht (FB 1885)


Der Kluge Elefant (The clever elephant) (1902)


Der durstige Jumbo' (Thirsty Jumbo) (1902)

K.Rey 'Une histoire qui finit mal'(from 'Album Noel', 1900)


F. Reznicek
       

F.T. Richards

It's an Ill Wind Blows Nobody Good (Harper's Round Table, 1897)


The Fakir and the Prestidigitateur (Harper's Round Table, 1897)


An Occidental Transformation (Harper's Round Table, 1897)

Charles Ross & Marie Duval
'Ally Sloper' (magazine pages rearranged for an early reprint in bookform, 1867)

A.Rusden 'La Peau du Lion' (from 'Album Noel', 1900)

H. Scherenberg

Der Bauer und der Kobold (The peasant and the kobold)
Die entführte Wurst (The kidnapped sausage)
Das Ständchen (The serenade)
Ferientag eines Zerstreuten (Holiday of someone very distracted)
Die Drei Wünsche (The three wishes)

               

       

Schmelzer 'Hansl und Gretel - oder - Nach und nach' (1865) (Fliegende Blätter vol.46)

R. Schönborn (Drei Räuber) (Deutsche Bilderbogen Nr.105)


Schliessmann 'Der SechsfŸssler - ein Clownscherz' (The six-footer, a clownish joke)

James A. (Affleck) Shepherd (1867-1946) Index

Parrot and Dog (Boys' Own Paper 1891) (uses plot-relevant speechballoons)


Les Grenouilles et le héron (from 'Album Noel', 1900)

C. Storch

Der Automobilfahrer wider Willen (The unwilling motorist)


Bestrafter Geiz (Punished Selfishness)


Blinder Eifer (Blind Zeal)


Glück im Unglück - Storch after Pomerhanz


Gnom und Maulwurf (Gnome and Mole)


Der Maler und der Stier (The Painter and the Bull)


Verunglückter Musikuntericht (The music lesson that went wrong)


Die Zwerge und der Fischer (The Dwarfs and the Fisherman)

H. Storkmann (French reprint) (originally published in Fliegende Blätter)

James Francis Sullivan

John Theele 'Die fŸnf Sinne' (The five senses) (Lustige Bl&aumml;tter 1892)

M. Tucker
760 - - 'The Stolen Cigar or The Monkey who got it in the Neck' Tucker ?

M. Vaiselow 'Das gewohnte Stichwort' (Lustige Bl&aumml;tter 1892)


Gustav Verbeek

'The Hunter's Strategy' (Harper's Round Table, Annual 1897)


'A quelque chose malheur est bon' (The Swan)



S. Vitou 'Der Photograph in der WŸste - Vorzug der Revolver Camera' (Lustige Bl&aumml;tter 1892)


Zim (Eugene Zimmerman) Index

Blackville (originally published in 'Judge')


(Mule Récalcitrant) (originally published in 'Judge')


('Le Renseignement exact') (originally published in 'Judge')


  Early Comics in Print

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Andy's Early Comics Archive
Comics from 1783 to 1929
This is a presentation of historical comics, intended to enlighten and amuse students of comics history, (and to provide their teachers with reference material.) Maybe these early comics will also inspire some of today's comics artists. Most were scanned by me, ususally from books or magazines lent to me. Sometimes I get sent a dvd with scans someone made from his own collection.




1895-1900 (The Sunday Supplements)



Eventually there should be a section presenting this crucial period in more detail. At the moment I don't have sufficient material. Magazine comics from that time will remain in the preceding section.
It is difficult to decide how important the development of comics in humorous magazines and in the newspapers respectively were, without studying a lot more of the work. Below you can at least sample the visual flavour of one magazine and that exciting new thing, a comics supplement, both from the summer of 1897.
At the time it wasn't clear that it would be the supplements which would develop into modern comics. Magazines like Puck, which were based on German magazines of the time, such as 'Lustige Blätter', were stuck in a bit of a rut. The type of comics they presented had not changed much for 30 years. But there were other magazines, such as the German weekly 'Simplizissimus' (starting April 1896), which came up with sublimely inventive designs, and satirical adult themes.
HOWEVER:
Looking at this Puck and the Sunday Comics Supplement , it struck me that both the format and the audience for the latter may be the cause of significant changes. The newspaper format was much larger and cheaper, providing a lot more empty space to fill. The audience was less sophisticated, but (possibly because of this) more open to a particular type of experimentation, despite the dumb and lowbrow humour. Admittedly, this is being wise in retrospect. For whatever reason, these American Sunday pages became the breeding ground for something new. Weirder, rougher, slapdashier. Also easier, for children, but not childish. More popular. More ... somethingier.
Maybe it was that new type of human being, the urban immigrant, who was most prepared and eager to pay for all this new visual goings on.

As you can see in the example below, early supplements didn't actually have many comics, apart from the usual short black and white snippets, similar to those in magazines. The new, enormous areas of colour were at first used for large, sometimes complex cartoons. But sequential cartoons did start to pop up with a vengeance in the form of Hans and Fritz, the Katzenjammer Kids, based on the popular classic 'Max und Moritz' (1864) by Wilhelm Busch. These two remarkable rapscallions appeared onto this stage of coloured spreads a few months later, on the 12th of December 1897. The Busch influence was of course felt througout the 'magazine-comics-period' 1860-1900. But in young Dirks he had finally found a follower of genius, who together with other likeminded artists, and above all an avaricious public, created the new parameters of the medium.

Puck 28. July 1897
Small version - Large version







The World 'Comic Weekly' 20. June 1897 (6 pages, ie two missing)
Small version - Large version


1900 - 1929




Walt McDougal

Professor Jyblitz (1.2.1902)


Hank the Hermit (29.9.1912)

Winsor McCay

Comparison of McCay dragon to German Baroque theatrical design


Dream of the Rarebit Fiend (19.1.1913)


Dream of the Rarebit Fiend (27.7.1913)

Fred Opper (after 1900) Index (see also the Pre-1900 Opper Index)

Si puts in a good word for Happy Hooligan (1912)


Happy Hooligan - There might have been a lot of wisdom... (1912)


Happy Hooligan - Sometimes it almost seems as if (1913)


(Happy Hooligan in German) (Deutsches Journal 1913)

Arpad Schmidthammer (1905) This was very likely an inspiration for 'The Kinder-Kids' by Lionel Feininger. Schmidthammer's 'Mucki' had just been published when Feininger (living in Germany) was commisioned by the Chicago Tribune to come up with a comic strip. The style and content, especially the trip-round-the-world nonsense, shows similarities, although Feininger is far more inventive. - Schmidthammer himself was influenced by Busch, the plump parents are classic Busch (see Tobias Knop and wife), and the gag of hanging onto the stork is lifted from Max and Moritz.




Gustav Verbeek - The Upside Downs of Little Lady Lovekins and Old Man Muffaroo - The Thrilling Adventure of the Dragon (8. Mai 1904)

P. Richards 'Die Sonntagsbeilage' (The Sunday Supplement) Berlin, 1907 - This is probably the first text explaining the new phenomenon of American Sunday comics to a German audience. P.Richards was a German-American cartoonist, working in America. This is from a book of recollections, called 'Zeichner und Gezeichnete' . Zeichner means draughtsmen/graphic artists /drawers' (Gezeichnete means 'those which have been drawn')





Unidentified Artists (1860-1900)
from Harper's Round Table, 1897
280 - - How Tommy made one Skate do (Kemble?)


544 - - An African Bridge


784 - - 'An Interesting Article' S.I.Theriat ?


864 - - 'An Unintentional Exchange' Hilder?


912 - - 'The Adventures of a Cartwheel' Hilder?


960 - - 'A New Wag to an Old Tale' (imitator of Frost)


1008 - - 'A Cat Tale'


1176 - - 'The Patent Sure-to-arrouse Alarm Clock' (A.Berk ?)
Note the interesting use of stars as sound icons in the first panel!


1200 - - 'The Artist and his Model' gag pinched from Frost, as is the style. Very nicely done though.

Unidentified Artists (1860-1900)
from Album Noel 1900
page 2 - ? 'Un jeune inventeur' (probably Lemot)


page 38 - 'Joies d'un bon sujet - Mesaventures d'un mauvais sujet'


page 46 - 'Pour rouler toujours'


page 52 - 'Histoire d'une bête


page 64 - 'A la recherche des champignons'


page 68 - 'Chasse d'hiver'


page 80 - 'Deception d'un chasseur' (from 'Puck')


page 88 - (no comic) Elephants


page 90 - 'Ce qu'est la vie'


page 92 - 'Les successives stations d'un amateur'


page 94 - (Giraffe and Biker)


page 96 - 'Un jeu amusant' (bears playing rugby)


page 100 - BP sc 'Une singulière aventure'

Unidentified Artists (1860-1900)
from Picture Magazine, 1893
Tommy goes to sell his pups (originally published in Judge)


The Advantage of athletics (originally published in Fliegende Blätter) Meggendorfer?


A Story with a Moral (originally published in Life)


Some Fishing Expressions


The Flying Steed (originally published in Puck)


The Portrait of a Cow (originally published in Life)
from Fliegende Blätter vol 82


'Das Urteil des Paris' (The Judgement of Paris) - Fliegende Blätter vol.82 p.77


'Erysichthon von Thessalien - oder - So grausam bestraft sich der Baumfrevel' 1885
from Fliegende Blätter vol 46 (1865)


'Der Ofen - Eine Familiengeschichte' (1865)


'Die Kunst und Wissenschaft des Totschlagens, in ihrer Vergangenheit, Gegenwart und Zukunft' (1865)


'Die Crinoline als Barometer' (1865)


'Das theuere Vermächtniss' (1865)

Unidentified Artists (1860-1900)
from Fliegende Blätter vol 47 (1865)
'Bedenken eines Hauseigenthühmers' (1865)


'Illustrierte Kriegsberichte' (1865)


'Der spannende Roman' (1865)


'Regnen oder Tröpfeln' (1865)


'Die projectierte Landpartie' (1865)


'Pariser Abenteur des Herrn Schwäbele' (1865)


'Der Raub der Sabinerinnen' (1865)

Unidentified Artists (1860-1900)
from Fliegende Blätter vol 48 (1866)
'Zwei Engagements' (1866) (1866)


'Wie das Ausweichen oft schwer ist' (1866)


'Das Zuckerfass' (1866) R.G.


'Wochenkalender für moderne Liebe' (1866)


not a comic - (Hexe Walpurga) (1866)

Unidentified Artists (1860-1900)
from Lustige Blätter 1892

Eine Liebesgeschichte


Der Kritische Tag


'Wie eine Gans durch allzuviel Rücksicht auf den Hund kommt' (1892) G.W.


'Ein schwungvoller Heimweg' (1892)


'Ein französisches Duell' (1892)


'Missglückter Aufsprung' (1892) (faint signature)


'Gestillter Liebesdurst' (1892)


'Wenn zwei dasselbe tun..' (1892) (1892)


'Das Vogelschiessen' (1892)
(Kerner? - signature in last panel)

Unidentified Artists (1860-1900)
L., S. (S L)
'Die lästigen Gardedamen - oder - Gut Aufgehoben' (F.B. vol 82)



K., A. (A K)
'In die unrechte Kehle gekommen' (1892)
'Der neue Brutapperat' (1892)
'Triumph des Drills' (1892)
       

Unidentified Bilderbogen ('Nr.222')
'Jeder ist seines Glückes Schmied' (Everyone makes his own luck)


from Ludwigsburger Sonntagsbeilage
(4 pages)
Advertising Comics
 'Blackwell's' - 'A romance for married men' (1870s)


'Hold Fast'


Esquire Brown Amercian (1864)



'Tom's Holiday' W Q ?



Grip Magazine (Canadian) (1881)
'The Amende Honorable - A Globe Experience in three scenes'



Merryman's Monthly (1865)
'The Flying Machine'



A-Z (these will lead you to the artist's mini pictures above)
Andral, G.
B., F. von
Bahr, Johann
Baric
Beard, Frank
Bernard, Edouart
Budd, C.J.
Bunner, R.F.
Burret, Léonce
Busch, Wilhelm
Caldecott, Randolph
Caran d'Ache
Chicki, Georges
Chinese (probably late 18th c.)
Chinks
Chip   (F.P.W.Bellew)
Christophe (Georges Colomb)
Cohl, Emile
Clark, J.B
Crowquill, Alfred
Cruikshank, George
Cyl, C.
Daggy A.S.
Dalrymple
Deb
Dépaquit, Jules
Dio-Biding
Doës
                                                                		Douhin, A.
Doré, Gustave
Doyle, Richard
Dunk, R.M.
Fau, Fernand
Frost, A.B.
Gerlach
Gillray, John
Godefroy
Goez, Joseph Franz von
Goodes, W.M.
Graetz, F.
Grandville, J.J.
Griffin, Syd B.
Heath, William
Herford, O.
Hoffmann, Heinrich (Struwwelpeter)
Hogarth, William
Hopkins, Livingstone
Howarth, F.M.
Jensen, A.
Keene. Charles
Kemble, W.C.
Kerlie?
C. Koch
Lagemann, Ch.
Le Bocain
                                                                		Leech, John
Leguey, Luc
Lemot, Achille (Uzès)
L., S.
Leoy
Le Petit, Alfred
Lobrichon, Timoléon Marie
Malatesta, H. ?
Mandl, M.
Maurier, George de
May, Chas
Mayer, Hy
McCay, Winsor
McDougal, Walt
Mclenan, John
Meggendorfer, Lothar
Mob
Monnier, M.
Moriss
Newell, Peter
Oberländer, Adolf
Opper, Fred (before 1900)
Opper, Fred (after 1900)
Photo Comics
Piery, Emile
Phillipp, H.W.
Pommerhanz, Karl
Pughe, J.S.
                                                                		Rabier. Benjamin
Reinhardt, Carl
Reichert
Reinicke, Emil
Rey, K.
Richards, F.T.
Richards, P.
Ross, Charles & Marie Duval ('Ally Sloper')
Rowlandson, Thomas (Dr Syntax)
Rusden, A.
Scherenberg, H.
Schönborn, R.
Schliessmann, H.
Schmelzer
Schmidthammer, Arpad
Shepherd, James A.
Storch, C.
Storkmann
Sullivan, James
Tenniel, John
Theele, John
Töpffer, Rodolphe
Tucker, M. ?
Vaiselow, M.
Verbeek, Gustav
Verbeek, Gustav (after 1900)
Vitou, S.
Unidentified Artists
                                                               

  Early Comics in Print

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Copyright © 2011 by Andy Konky Kru
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+'The Progress of Mr. Lambkin' (1844) A story told in 25 tableau-type pictures. Nice large scans.
+'Premium Discount' Spoof on dangerous railways
+Comparison with A.B.Frost (Two-panel cartoon which, it seems to me, must have been the main inspiration for a famous comic by A.B.Frost, part of which is shown) +
+ +		 +
+


+ + + + +
+ +
+ + +Richard Doyle- Pleasure Trips of Brown, Jones and Robertson - from Punch, 1850
+ +		 +
+


+ + +
+ +
+ + + +James Gillray - 'The Table's turned - Billy in the devil's claws / Billy sending the devil packing' + +Much more influencial than Hogarth or Goez were the thousands of British political cartoons. Most were just that, cartoons, meaning single image jokes. However, a huge number of them used (and developed the use of) speechbaloons. And a good number did in fact use two or more interdependant images to tell a story. (That means they were comics.) +
+ +		 +
+


+ + + +
+ +
+ + +
+William Heath - 'White Bait' (1830) +
+(a four-panel comic strip with speechbaloons)
+ +		 +
+


+ + + + + +
+ +
+ + + +William Hogarth 'The Harlot's Progress (1730) +     +small version click here +
+ + The famous 'progressions' by Hogarth were not actually comics. The images don't lead into and don't interact with each other. Each shows a distinct, separate stage of a longer story. However, because of their great popularity, they established the very notion of telling entertaining stories with a series of pictures and so became a highly influencial stepping stone for future developments.
+ + +		 +
+


+ + + + + +
+ +
+ + +Charles Keene (1823-91) 'The Adventures of Miss Lavinia Brounjones' (Punch 1866)
+ +		 +
+


+ + + + +
+ +
+
+ + +		 +John Leech Index
+Mr. Briggs 1850/1
+Portrait of 1855 (in watercolours)
+(Before and After) 1855
+The Best Preventive against Sea Sickness, 1855
+The Removal of the Snow, 1855
+Noddy 1, (Mr. Tom Noddy's first Day with the Hounds after the long Frost) 1855
+Noddy 2, (At the Seaside) 1855
+Mr. Popplewit, - How Mr. Popplewit enjoyed a day's Rook Shooting, 1855

+ + +		 +
+


+ + + + +
+ +
+ + +George du Maurier 'The Philosopher's Revenge' (Punch 1866)
+ +		 +
+


+ + + + +
+ +
+ + +Chas May Index
+Un sac, un homme, un chien & un tonneau (from 'Album Noel', 1900)
+Dans la cave (from 'Album Noel', 1900)

+ +		 +
+


+ + + +
+ +
+ + +Charles Ross & Marie Duval - 'Ally Sloper' (reprint in bookform, 1867)
+Pages 18-39
+Pages 40-61
+Pages 62-82
+Pages 83-103
+Pages 104-125
+Pages 126-148
+Pages 149-176
+Pages 177-205
+ +		 +
+


+ + + + +
+ +
+ + + + + + +Thomas Rowlandson
+Part 1 - 'THE TOUR of DOCTOR SYNTAX, In search of the PICTURESQUE' +
+ +This is not a comic. It's not even a sequential series of images, like a Hogarthian progress, or even illustrations of a novel. +But it can be seen as a milestone in comics history, because of the influence on Rodolphe Toepffer, who imitated the type of main character, the drawing style and the general atmosphere of countryfied wackyness. +The use and re-use of one striking visual character, generally recognized and popular, is certainly typical of many comics to come.
+ +Part 2 - DOCTOR SYNTAX, In search of Consolation
+Part 3 - DOCTOR SYNTAX - In Search of a Wife + +		 +
+

+ + + + + + +
+ +
+ + +James A. (Affleck) Shepherd (1867-1946) Index
+Parrot and Dog (Boys' Own Paper 1891) (uses plot-relevant speechballoons)
+Les Grenouilles et le héron (from 'Album Noel', 1900)
+ +		 +
+


+ + + + + + + +
+ +
+ + +James Francis Sullivan
+ +		 +
+


+ + + + + +
+ +
+
+ + +		 +JohnTenniel (the illustrator of Alice in Wonderland, 1864) - Index
+How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking' 1853
+How Mr. Peter Piper Tried his Hand at Buffalo-shooting 1853
+How Mr. Peter Piper Was Induced to Join in a Bear-hunt 1853
+How Mr. Peter Piper Accepted an Invitation from the Rajah of R. to Hunt a 'Royal Bengal Tiger' 1853
+Mr. Piper (all on one page)
+ +Mr Spoonbill 1855 These 19 panels were published as three installments in Punch. Nine years later Busch created his famous 'Eispeter' (Peter falls into the same type of hole in the ice and turns into an iceblock). As Busch had already copied Cruikshank's toothache, he possibly found some inspiration in this story as well. +
+		 +
+
+ + +
+
+ +
+
+ + + + + \ No newline at end of file diff --git a/httpdocs/ec.usa.html b/httpdocs/ec.usa.html new file mode 100644 index 0000000..b3f5d88 --- /dev/null +++ b/httpdocs/ec.usa.html @@ -0,0 +1,508 @@ +Early American Comics + + +
+Home +
+
+ + +Early American Comics
+ +
+
+ +You need to use your 'back' button (or tap the key at the top right corner of your keyboard) to get back to this page... +
+
+
+ + + + + + +
+ +
+ + +Frank Beard 'It Didn't Work for a Cent' (from Puck 'On the Road' 1889)

+ +		 +
+


+ + + + +
+ +
+ + +C.J.Budd 'The Bill-Poster's Revenge' (Harper's Round Table, Annual 1897)
+ +		 +
+


+ + +
+ +
+ + +R.F. Bunner - (The Circus Lion) (Harper's Round Table, Annual 1897) (without words)
+ +		 +
+


+ + + +
+ +
+ + + +Chinks 'Mr. Hardy Lee, His Yacht' (1857) - Series of illustrations
+		 +
+


+ + + + + +
+ +
+ + +J.B. Clark 'Le Maleurs d'un chat' (from 'Album Noel', 1900)

+ + +		 +
+


+ + + +
+ +
+ + +A.S.Daggy 'A new use for the Japanese Umbrella' (Harper's Round Table, Annual 1897) (without words)
+ +		 +
+


+ + +
+ +
+ + +Dalrymple Index
+ +'The unexpected always happens' (from 'Puck's Library')
+(At the theatre) (Le Rire, 11.Mai 1895 - originally published in Puck)
+'His Diploma'
+ +		 +
+


+ + + + +
+ +
+ + +M. Dunk 'How a Famous Hunter Won a Reputation' (Harper's Round Table, Annual 1897) (without words)
+ +		 +
+


+ + + + +
+ +
+ + +A. B. Frost 'He was a Tenderfoot' (from Scribner's Magazine Vol.XIII No.1, January 1893 )
+ +		 +
+


+ + + + +
+ +
+ + +W.M. Goodes 'The Funniest Thing He ever Saw' (Bear & Fishing Rod) (from Harper's Round Table, Annual 1897) (without words)
+        +External link (John Adcock's Blog) (Possum for Thanksgiving)
+        +External link (John Adcock's Blog) (The Skates on the Livingroom Floor)

+ + +		 +
+


+ + + + +
+ +
+ + +Syd B. Griffin Index
+'Snap-Shots'/A Friend in Need
+His Name was Mud (from Puck's Library)
+Let Her Go

+ + +		 +
+


+ + + + + +
+ +
+ + +O. Herford Index
+'The Bow Legged Admiral and the Educated Dog' (Harper's Round Table, 1897)
+'The Lost Joke Recovered by Xray'(Harper's Round Table, 1897)

+ +		 +
+


+ + +
+ +
+ + +Livingstone Hopkins 'Professor Tigwissel' (1875) - A very early American Newspaper comic
+ +		 +
+


+ + +
+ +
+ + +F.M. Howarth Index
+Récréation Chinoise (from 'Album Noel', 1900)
+Editor and Poet (Puck 1894)
+'An ingenious Device' (originally published in Life - reprinted in Picture Magazine 1893)
+'Lovers of Art' (originally published in Life - reprinted in Picture Magazine 1893)
+'Pelle et Brouette' (originally published in Puck, reprinted in 'Polichinelle' 31 July 1898)
+Le Portrait trop resemblant et la veuve trop démonstrative' (originally published in Puck - reprinted in Le Rire, 4.Mai 1895)
+Un enlevement acrobatique ou le vrai amour ne connait pas d'obstacles' (originally published in Puck - reprinted in Le Rire - 9 May 1896 )
+The dog at the butcher's (orginially published in 'Judge' - reprinted in Le Rire, 2.November 1895)
+An Assisted Flirtation (Puck 28. July 1897 )
+Easily Arranged (Puck 28. July 1897 )
+ + +        +External link +(John Adcock's Blog) Selfportrait & short strip

+ + + +		 +
+


+ + + + + + +
+ +
+ + +W.C.Kemble 'An Ingenious Escape' (Harper's Round Table, Annual 1897)
+ +		 +
+


+ + + + +
+ +
+ + +Chas May Index
+Un sac, un homme, un chien & un tonneau (from 'Album Noel', 1900)
+Dans la cave (from 'Album Noel', 1900)

+ +		 +
+


+ + +
+ +
+ + +Hy Mayer 'How the Dromedary became a Camel' (Harper's Round Table, Annual 1897) +
+
+External link +(John Adcock's Blog) 'The Many Inventions of Hy. Mayer' by V. Robard, Godey's Magazine Vol. CXXXV No.807 Sept. 1897
+ +		 +
+


+ + + +
+ +
+ + +Winsor McCay Index
+Comparison of McCay dragon to Baroque theatrical design
+Dream of the Rarebit Fiend (19.1.1913)
+Dream of the Rarebit Fiend (27.7.1913)
+ +		 +
+


+ + + + + +
+ +
+ + +Walt McDougal Index
+Professor Jyblitz (1.2.1902)
+Hank the Hermit (29.9.1912)
+ +		 +
+


+ + + + + + + +
+ +
+ + +John Mclenan 'The Flight of Abraham - as reported by a Modern Daily Paper' (Harper's Weekly 1861)
+ +		 +
+


+ + + + +
+ +
+ + +P.Newell - (Policeman and Matchstick) (Harper's Round Table, Annual 1897)
+ +		 +
+


+ + + + +
+ +
+
+ + +		 +Fred Opper Index (before 1900) +(see also the post-1900 Opper Index)
+The Wicket Seal Hunter and the Clever Seal
+His Doctors, and how they didn't do him any good
+A Real English Outfit in America
+In Maine
+The Result of Feeding a Neapolitan Greyhound on Macaroni
+The Power of Habit
+A Close Shave
+(The Pretty Typewriter)
+Mike Cassedy's Toothache
+A Distinct Success
+Saved - A Tale of Simple Heroism Rewarded
+The latest dodge
+A story of the road
+A Quick Response
+A slight error of judgement
+Not quite out of practice
+True too his word (Puck 28. July 1897)
+ +		 +
+


+ + + + +
+ +
+ + +Fred Opper (after 1900) Index +(see also the Pre-1900 Opper Index)
+Si puts in a good word for Happy Hooligan (1912)
+Happy Hooligan - There might have been a lot of wisdom... (1912)
+Happy Hooligan - Sometimes it almost seems as if (1913)
+(Happy Hooligan in German) (Deutsches Journal 1913)
+ +		 +
+


+ + + + +
+ +
+ + +H.W. Philips - A Friend in Need is a Friend Indeed (Harper's Round Table, Annual 1897)
+        External link (John Adcock's Blog) H. W. Phillips
+ +		 +
+


+ + + +
+ +
+ + +J. S. Pughe A Small Story with a Large Application (from Puck 28.July 1897)
+ +		 +
+


+ + + + +
+ +
+ + +F.T. Richards Index
+It's an Ill Wind Blows Nobody Good (Harper's Round Table, 1897)
+The Fakir and the Prestidigitateur (Harper's Round Table, 1897)
+An Occidental Transformation (Harper's Round Table, 1897)
+ +		 +
+


+ + + + +
+ +
+ + +Gustav Verbeek Index
+'The Hunter's Strategy' (Harper's Round Table, Annual 1897)
+'A quelque chose malheur est bon' (The Swan)
+ +		 +
+


+ + + + +
+ +
+ + +Gustav Verbeek - The Upside Downs of Little Lady Lovekins and Old Man Muffaroo - The Thrilling Adventure of the Dragon (8. Mai 1904)
+ +		 +
+


+ + + + +
+ +
+ + +Zim (Eugene Zimmerman) Index
+Blackville (originally published in 'Judge')
+(Mule Récalcitrant) (originally published in 'Judge')
+('Le Renseignement exact') (originally published in 'Judge')
+ +		 +
+
+
+
+ +
+
+
+ + + + \ No newline at end of file diff --git a/httpdocs/edwina_02.jpg b/httpdocs/edwina_02.jpg new file mode 100644 index 0000000..16bc8d9 Binary files /dev/null and b/httpdocs/edwina_02.jpg differ diff --git a/httpdocs/edwina_03.jpg b/httpdocs/edwina_03.jpg new file mode 100644 index 0000000..8d9ad39 Binary files /dev/null and b/httpdocs/edwina_03.jpg differ diff --git a/httpdocs/edwina_04.jpg b/httpdocs/edwina_04.jpg new file mode 100644 index 0000000..5fd5d9e Binary files /dev/null and b/httpdocs/edwina_04.jpg differ diff --git a/httpdocs/edwina_05.jpg b/httpdocs/edwina_05.jpg new file mode 100644 index 0000000..b2c77ea Binary files /dev/null and b/httpdocs/edwina_05.jpg differ diff --git a/httpdocs/edwina_06.jpg b/httpdocs/edwina_06.jpg new file mode 100644 index 0000000..feb1025 Binary files /dev/null and b/httpdocs/edwina_06.jpg differ diff --git a/httpdocs/edwina_07.jpg b/httpdocs/edwina_07.jpg new file mode 100644 index 0000000..f8c9204 Binary files /dev/null and b/httpdocs/edwina_07.jpg differ diff --git a/httpdocs/edwina_08.jpg b/httpdocs/edwina_08.jpg new file mode 100644 index 0000000..c29c3f7 Binary files /dev/null and b/httpdocs/edwina_08.jpg differ diff --git a/httpdocs/edwina_09.jpg b/httpdocs/edwina_09.jpg new file mode 100644 index 0000000..f1eb75b Binary files /dev/null and b/httpdocs/edwina_09.jpg differ diff --git a/httpdocs/edwina_10.jpg b/httpdocs/edwina_10.jpg new file mode 100644 index 0000000..09e3970 Binary files /dev/null and b/httpdocs/edwina_10.jpg differ diff --git a/httpdocs/edwina_11.jpg b/httpdocs/edwina_11.jpg new file mode 100644 index 0000000..00b40da Binary files /dev/null and b/httpdocs/edwina_11.jpg differ diff --git a/httpdocs/edwina_12.jpg b/httpdocs/edwina_12.jpg new file mode 100644 index 0000000..9260efe Binary files /dev/null and b/httpdocs/edwina_12.jpg differ diff --git a/httpdocs/edwina_13.jpg b/httpdocs/edwina_13.jpg new file mode 100644 index 0000000..667eb62 Binary files /dev/null and b/httpdocs/edwina_13.jpg differ diff --git a/httpdocs/edwina_14.jpg b/httpdocs/edwina_14.jpg new file mode 100644 index 0000000..293cece Binary files /dev/null and b/httpdocs/edwina_14.jpg differ diff --git a/httpdocs/edwina_15.jpg b/httpdocs/edwina_15.jpg new file mode 100644 index 0000000..da4eb2f Binary files /dev/null and b/httpdocs/edwina_15.jpg differ diff --git a/httpdocs/edwina_16.jpg b/httpdocs/edwina_16.jpg new file mode 100644 index 0000000..02842ee Binary files /dev/null and b/httpdocs/edwina_16.jpg differ diff --git a/httpdocs/edwina_17.jpg b/httpdocs/edwina_17.jpg new file mode 100644 index 0000000..80e8ea5 Binary files /dev/null and b/httpdocs/edwina_17.jpg differ diff --git a/httpdocs/edwina_18.jpg b/httpdocs/edwina_18.jpg new file mode 100644 index 0000000..ac86b9b Binary files /dev/null and b/httpdocs/edwina_18.jpg differ diff --git a/httpdocs/edwina_19.jpg b/httpdocs/edwina_19.jpg new file mode 100644 index 0000000..4763b32 Binary files /dev/null and b/httpdocs/edwina_19.jpg differ diff --git a/httpdocs/edwina_20.jpg b/httpdocs/edwina_20.jpg new file mode 100644 index 0000000..b78e228 Binary files /dev/null and b/httpdocs/edwina_20.jpg differ diff --git a/httpdocs/edwina_21.jpg b/httpdocs/edwina_21.jpg new file mode 100644 index 0000000..fbc9079 Binary files /dev/null and b/httpdocs/edwina_21.jpg differ diff --git a/httpdocs/edwina_22.jpg b/httpdocs/edwina_22.jpg new file mode 100644 index 0000000..a2f5679 Binary files /dev/null and b/httpdocs/edwina_22.jpg differ diff --git a/httpdocs/edwina_23.jpg b/httpdocs/edwina_23.jpg new file mode 100644 index 0000000..42543e6 Binary files /dev/null and b/httpdocs/edwina_23.jpg differ diff --git a/httpdocs/edwina_24.jpg b/httpdocs/edwina_24.jpg new file mode 100644 index 0000000..529367c Binary files /dev/null and b/httpdocs/edwina_24.jpg differ diff --git a/httpdocs/efc.html b/httpdocs/efc.html new file mode 100644 index 0000000..ba6901b --- /dev/null +++ b/httpdocs/efc.html @@ -0,0 +1,613 @@ +Early French Comics + +
+ + + +Home +
+
+ + +Early French Comics
+ +
+
+ +You need to use your 'back' button (or tap the key at the top right corner of your keyboard) to get back to this page... +
+
+ + + + + + +
+ +
+ + + + +Rodolphe Töpffer + +
+Index
+Monsieur Vieuxbois (1839) (partial translation) +    +the same, but with smaller pictures +
+Comparison of the Aubert Pirate Version (1839) and the US copy (1842)
+Comparison of Monsieur Tric Trac and a Dutch sequel (Prikkebeen)
+Comparison of Vieuxbois and Cruikshank
+ +
+
+
+
+
+EXTERNAL LINK: +
+ +'Histoire de Mr. Vieux Bois' +  +
+ +Original manuscript version of Monsieur Vieuxbois, 1827 (30 pages/158 panels) with text typed out underneath, and a translation. The first printed edition was published ten years later, expanded to 88 pages/198 panels. The second edition 1839 (as presented above on my own site) had 92 pages / 220 panels.
+ +
+ +		 +
+


+ + + + + + + + +
+ +
+ + +Gustave Doré 'Trois artistes incompris et mecontens' (1858) - Outstanding lithos by his own hand - + part 1
+part 2
+part 3
+ +		 +
+


+ + + +
+ +
+ + +Grandville - A dream of crime and punishment, Gertrude (1847)
+ +		 +
+


+ + + + +
+ +
+ + +Timoléon Marie Lobrichon Histoire de Mr. Tuberculus (1856) (selected pages)
+ +		 +
+


+ + + + + + + + + + +
+ +
+ + +G. Andral 'La clémence d'Auguste' (Le journal pour tous' 1895)
+ +		 +
+


+ + + + + +
+ +
+ + +Baric - 'Histoire de Martin Landor' ou 'La musique des enfants' ecrite par Kroknotski, dessinée par Baric' 1865
+ +		 +
+


+ + + + +
+ +
+ + +Edouart Bernard 'Une ligne résistante' (Polichinelle 1898 - Journal humoristique hébdomadaire pour la famille)
+ +		 +
+


+ + + + +
+ +
+ + +Caran D'Ache Index
+La Loi de la Femme
+Trappeur d'Arkansas ou Une Erreur Judiciaire (1893)
+A popular Favourite (originally from 'La Caricature', before 1893) + (a variation on 'The Virtuoso' by Busch)
+(Catching the train) (before 1893)
+La Vie de Chateau 1897
+A la Houzarde (Le Rire, 2.November 1895)
+Querelle d'Allemand (Le Rire - 25 January 1896)
+Le Ténor enteté
+ +		 +
+


+ + + + + +
+ +
+ + +George Chicki - Souvenirs Bachotiques (1870) (graphic novel in the manner of Töpffer)
+ +		 +
+


+ + + +
+ +
+ + +Christophe (Georges Colomb) Index
+La Fontaine Modernisé - Le Renard et la Cigogne (Petit France 1901, Number 108
+
+ +Le Malices de Plick et Plock (Petit France 1902, Number 122) +
+This page shows how much Christophe was influenced by German cartoonists. Wilhelm Busch's Icepeter motiv is turning up again, and more directly the various dwarf stories by Lothar Meggendorfer or Johan Bahr.
+ +Le Baron de Cramoisy (Vll) - Le Petit Francais Illustré 1901

+ + +		 +
+


+ + + + + + +
+ +
+ + +Emile Cohl 'Logement a Louer' (Polichinelle 9.Mai 1897) +(That's the same Cohl famous for creating the first animated cartoon.) + + + +
+


+ + + + +
+ +
+ + +C.Cyl 'Peche à la ligne' (from 'Album Noel', 1900)
+ +		 +
+


+ + + +
+ +
+ + +Deb Index
+Un essai (from 'Album Noel', 1900)
+Souvenir de pêche (from 'Album Noel', 1900)
+ +		 +
+


+ + + +
+ +
+ + +Jules Dépaquit Index
+Le Bourreau trop vigoureux - ou - erreur n'est pas compte
+Zola veut séduire l'académie
+ +		 +
+


+ + + + +
+ +
+ + +Dio Biding 'La méchanceté' (from 'Polichinelle' 9.Mai 1897)
+ +		 +
+


+ + + +
+ +
+ + +Doës Index
+Polly's Little Joke (from 'Le Papillon', reprinted in Picture Magazine 1893)
+Subjection (from 'Scribner's Magazine')
+How Pierre sent his Boots by Telegraph and got a Receipt for them (from 'La Revue illustré, reprinted in Picture Magazine 1893)
+ +		 +
+


+ + + + +
+ +
+ + +A. Douhin 'Génération Spontanée' (from 'Journal Amusant' 11. November 1899)
+ +		 +
+


+ + + + +
+ +
+ + +Fernand Fau Index
+(Champagne) (Le Rire, 11.Mai 1895)
+La Création du monde
+Le Duel Pini-Thomeguex (Le Rire, 11.Mai 1895) +Not a comic, just a cartoon with a speechballoon. Influenced by Caran d'Ache. +
+Échos de la semaine prochaine (Le Rire, 14 April 1896)
+Interviews printaniers (Le Rire, 4.Mai 1895)
+Etre président de la république (Le Rire, 14 April 1896)
+ +		 +
+


+ + + + + +
+ +
+ + +Godefroy 'A Comfortable Smoke' (from Revue Illustré - reprinted Picture Magazine 1893)
+ +		 +
+


+ + + + + + +
+ +
+ + +Kerlie?
+'Histoire de deux chinois et d'un enfant trop malin pour son age'
+'Histoire lamentable de Prosper et de sa soupe'
+ +		 +
+


+ + + + + +
+ +
+ + +Le Bocain (jeune ou vieille?) (Le Rire, 11.Mai 1895)
+ +		 +
+


+ + + +
+ +
+ + +Achille Lemot (aka Uzès) Index +(all from 'Album Noel', 1900)
+Avec de la tenacité
+Un jeune inventeur
+'A.L.' 'Fourrures a l'essai!
+C'est que la vie (A.L. in the squiggly border)
+Une Faute de Gugusse (the classic hosepipe gag)
+Une tartine pour trois
+Maladroit mais rusé
+Un farceur attrapé ou un voleur envolé
+Punition mériteée
+Valeur du temps
+Une lecon de botanique
+Ce qu'il en coute d'apprendre à un éléphant à se balancer
+Un tour de force
+Rira bien qui rira le dernier
+Les cinq sens (not a comic)
+ +		 +
+


+ + + +
+ +
+ + +Luc Luguey Index
+Le Rire - 14 March 1896
+La nuit de noces du Viveur (containing small speechballoon)
+ +		 +
+


+ + + + + +
+ +
+ + +Alfred Le Petit - 'En Chasse' ('Polichinelle' 9.Mai 1897)
+ +		 +
+


+ + + +
+ +
+ + +Leoy (Variation on 'The Virtuoso' by Busch) (reprinted in Picture Magazine 1893)
+ +		 +
+


+ + + +
+ +
+ + +H.Malatesta Index
+ 'Le voleur bien volé' 1895 (from 'Album Noel', 1900)
+'Le bon pauvre et le mauvais riche' (from 'Album Noel', 1900)
+'Le Fils d'Adoption' 1896 (from 'Album Noel', 1900)

+ + +		 +
+


+ + + + + + +
+ +
+ + +Mob Index
+L'aumone
+Un drame
+Pêche difficile
+Repos Troublé
+ +		 +
+


+ + + + + +
+ +
+ + +M.Monnier 'La Punition d'un Gourmand' (The punishment of a glutton) ('Le Petit Francais' 26.April 1902) +
+Highly original page, similar to McCay's later dreamcomics
+ +		 +
+


+ + + + + +
+ +
+ + +Moriss - Interruption Piquante
+ +(Note - The chap is reading the magazine in which the comic is published) + +		 +
+


+ + + + + + +
+ +
+ + +Emile Piery - Fantaisie sur le duel (from 'Polichinelle' 31 July 1898)
+ +		 +
+


+ + + +
+ +
+ + +Benjamin Rabier Index
+Le Lion Télescopé (Le Rire - 11 April 1896 )
+Gontran à Trouville (Le Rire - 27 June 1896 )
+ +		 +
+


+ + + + + +
+ +
+ + +K.Rey 'Une histoire qui finit mal'(from 'Album Noel', 1900)
+ +		 +
+


+ + + + + +
+ +
+ + +A.Rusden 'La Peau du Lion' (from 'Album Noel', 1900)
+ +		 +
+


+ + +
+
+
+ +
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+ +
+ + + + +Franz Joseph Goez 'Lenardo und Blandine' 1783
+ +Ironically this, the first actual graphic novel(ette), probably had little influence. It was too ahead of its time as far as the comic-structure is concerned. In content it was delightfully very much of its time, full of outrageous melodrama. Here's the complete sequence, with my translation underneath:
+ 1 - page 1-34       + 2 - page 35-65       + 3 - page 66-93       + 4 - page 94-125       + 5 - page 126-160
+
+             +All on one page - click here + +		 +
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+ + +
+Neuruppiner Bilderbogen 1835/40
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+ +		 +
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+ +
+ + +Heinrich Hoffmann 'Struwwelpeter' +(drawn 1844, published 1847 - English edition 1848) +
+This famous picture book is stylistically related to earlier chapbooks and Bilderbogen / picture broad sheets. +The hunter/rabbit story is similar to a panel from an earlier Bilderbogen showing (non-sequential) instances of a 'topsy turvy' world. +
+ +		 +
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+ + + + + + +
+ +
+ + +Two pages from the magazine 'Leuchtkugeln' 1848
+ +		 +
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+ +
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+ + + + +
+ +
+ + + +Wilhelm Busch +
+ + +Index
+Das warme Bad / The Warm Bath (1865) Bilderbogen number 278
+Der Floh / The Flea (1865) Bilderbogen number 390 - wordless - alternative title: .Disturbed and Refound Peace of Night'
+ +Der Virtuos / The Virtuoso (1865) Bilderbogen number 465       +
+ + + Astonishing page, which was particularly influencial.
+ +Der gewandte, kunstreiche Barbier und sein kluger Hund / The Baber and his clever dog (1865) BB399 +       +Was imitated by Charles Ross
+ +The Little Honey Thieves (1859) - Bilderbogen number 242 - The first appearance of two Katzenjammer Kids type rapscallions. +It's in the format of an illustrated story, but the pictures work as a comic on their own. Which is a fitting start for Busch, as this is how modern comics evolved: illustrated stories, where the text became of secondary importance. The art is a mixture of the detailed illustration of the time in the backgrounds and the already snappy characterisation of the figures. (The beginning of 'big nose cartooning').
+The Hollow Tooth (1865) Bilderbogen number 330 +       +
+ +This was inspired/heavily influenced by George Cruikshank's 'The Toothache'
+Der Bauer und sein Schwein (The peasant and his pig)
+Der kleine Maler mit der grossen Mappe (The little painter with the large portfolio) +       +
+ +This early work (1859) still uses the romantic drawing style of the best known illustrator at the time, Ludwig Richter (Grimms Fairy Tales etc).
+Der Bauer und der Windmüller (The Peasant and the Miller) (two Bilderbogen in sequence)
+Der vergebliche Versuch (Returning home after New Year's Eve...) (1865) (from Fliegende Blätter vol.46)
+Der Katzenjammer am Neujahrsmorgen (The hangover on Newyear's Day) (1866) (from Fliegende Blätter)
+Der schöne Ritter' (The handsome Knight) (1866) (from Fliegende Blätter)
+ +		 +
+


+ +
+
+
+
+ + + + + +
+ +
+ + +F. von B. 'Der schlaue Pepi - oder - Die geraubte Gans' (Fliegende Blätter vol 82) (Without Words)
+ +		 +
+


+ + + + +
+ +
+ + +Johann Bahr Index
+'Der kurzsichtige Bassgeiger' (The short-sighted bass-player) (without words)
+'Schnelles Wachstum' (Fast Growth) (without words)
+'The Mechanical Racehorse' (originally in 'Lustige Blätter' 1892, here also from 'Picture Magazine' 1893)
+Die Rivalen auf dem Eise (Lustige Blätter 1892)
+Die verrätherische Fata Morgana (Lustige Blätter 1892) (without words)
+(Speech by Professor Strubelmann on how to take care of your hair) (Lustige Blätter 1892)
+Der kluge Plüsecke (Lustige Blätter 1892)
+'Der Sonntagsfrevler - oder - Die verbotene Angelei' (Lustige Blätter 1892)
+'Der gefoppte Schwarzseher' (Lustige Blätter 1892) (without words)
+ +		 +
+


+ + + + + +
+ +
+ + +Gerlach 'A Tale of a Lamp and a Bath' (from'Universum', reprinted in Picture Magazine 1893)
+ +		 +
+


+ + + + + + + +
+ +
+ + +F. Graetz 'Die Wirkung der afrikanischen Sonne auf das Kilimandscharo-Gebiet' (1892) (Lustige Blätter)
+ + +		 +
+


+ + + + + +
+ +
+ + +A. Jensen Index
+'Der Abgeordnete und der Wähler' (Lustige Blätter 1892) (the often repeated visual joke of relating the size of people to their power or importance)
+'Die 'Vermehlung' des Schornsteinfegers' (Lustige Blätter 1892)
+'Die Ratte' (Lustige Blätter 1892)
+'Ein armer Lahmer' (Lustige Blätter 1892)
+ +		 +
+


+ + + + +
+ +
+ + +C. Koch (Deutsche Bilderbogen 162 - Gustav Weise Stuttgart)
+ +		 +
+


+ + + +
+ +
+ + +Ch. Lagemann 'Der zerstreute Professor oder Eine Überraschung' (Lustige Blätter 1892)
+ +		 +
+


+ + + + + +
+ +
+ + +M. Mandl 'Praktische Verwertung der neuesten Mode' ('Practical application of the latest fashion') (1885) (Fliegende Bl&amul;tter vol 82)
+ + +		 +
+


+ + + + +
+ +
+ + +Lothar Meggendorfer Index
+Aus den Kinderjahren eines Kautschukmenschen (from the infant years of the plastic man)
+Rache ist süss (Revenge is sweet)
+Die schlauen Zwerge (The Clever Dwarfes)
+Misslungene Arretierung (Unsuccessful Arrest)
+Liebesgram und Heilung (Love sickness and Recuperation)
+Das bockbeinige Schwein und der Philosoph (The recalcitrant pig and the philosopher)
+Die Macht der Musik' (FB 1888)
+ +		 +
+


+ + + + + +
+ +
+
+ + +		 +Adolf Oberländer Index
+Illustrierte Anzeige - Ein Grotesktänzer, durch Kabalne dem Ballett entrissen, empfielt sich als Bodenwichser
+Ein jedes Tierchen hat sein Pläsierchen - 1885
+Zufalls Tücke - oder - Unfreiwillige Illustration - 1885
+Die kurzsichtige Tante (The shortsighted aunt) 1903
+Münchener Tartarus (1865)
+Die unterbrochene Trauung (1865)
+Täuschung - (text with three illustrations) (1865)
+Der Wunderdoktor (1865)
+ +		 +
+


+ + + + +
+ +
+ + +Karl Pommerhanz Index
+Ein Frechdachs
+Der getäuschte Arzt
+Die Benutzte Gelegenheit
+Die kleinen Verwandlungskünstler
Der Herr Professor und das Feuerwerk
+Das boshafte Geschwisterpaar
+Die Pferdelspieler
+Der kleine Turner und seine Lebensrettung
+Bestrafte Unhöflichkeit (1892)
+ + +		 +
+


+
+ + + + +
+ +
+ + +Carl Reinhardt (Die Landpartie) (Deutsche Bilderbogen für Jung und Alt Nr.96)
+ +		 +
+


+ + + + +
+ +
+ + +Reichert 'Un Drame en deux actes avec trois personnages' (from 'Album Noel', 1900)
+ +		 +
+


+ + + +
+ +
+ + +Emil Reinicke Index
+Das jähzornige Nashorn' (The angry Rhino) (1886)
+Die verschwundene Wurst - Eine merkwürdige Begebenheit (FB 1885)
+Irren ist Menschlich (to err is human) (FB 1884)
+Iberus - Eine antimusikalische Ballade (FB 1884)
+Dr. Mokel in Afrika (FB 1884)
+Sächsisches Landsknechtlied (FB 1885)
+Das Kegelspiel - Historisches Gedicht (FB 1885)
+Der Kluge Elefant (The clever elephant) (1902)
+Der durstige Jumbo' (Thirsty Jumbo) (1902)
+ + +		 +
+


+ + + + + +
+ +
+ + +F. Reznicek
+ +		 +
+
+
+
+ + + + + +
+ +
+ + +H. Scherenberg Index
+Der Bauer und der Kobold (The peasant and the kobold)
+Die entführte Wurst (The kidnapped sausage)
+Das Ständchen (The serenade)
+Ferientag eines Zerstreuten (Holiday of someone very distracted)
+Die Drei Wünsche (The three wishes)
+ +		 +
+


+ + + + +
+ +
+ + +Schmelzer 'Hansl und Gretel - oder - Nach und nach' (1865) (Fliegende Blätter vol.46)
+ +		 +
+


+ + + +
+ +
+ + +R. Schönborn (Drei Räuber) (Deutsche Bilderbogen Nr.105)
+ +		 +
+


+ + + +
+ +
+ + +Schliessmann 'Der Sechsfüssler - ein Clownscherz' (The six-footer, a clownish joke)
+ +		 +
+


+ + + + + +
+ +
+ + +Arpad Schmidthammer (1905) This was very likely an inspiration for 'The Kinder-Kids' by Lionel Feininger. Schmidthammer's 'Mucki' had just been published when Feininger (living in Germany) was commisioned by the Chicago Tribune to come up with a comic strip. The style and content, especially the trip-round-the-world nonsense, shows similarities, although Feininger is far more inventive. - Schmidthammer himself was influenced by Busch, the plump parents are classic Busch (see Tobias Knop and wife), and the gag of hanging onto the stork is lifted from Max and Moritz. +
+ +		 +
+


+


+ + + + + +
+ +
+ + +C. Storch Index
+Der Automobilfahrer wider Willen (The unwilling motorist)
+Bestrafter Geiz (Punished Selfishness)
+Blinder Eifer (Blind Zeal)
+Glück im Unglück - Storch after Pomerhanz
+Gnom und Maulwurf (Gnome and Mole)
+Der Maler und der Stier (The Painter and the Bull)
+Verunglückter Musikuntericht (The music lesson that went wrong)
+Die Zwerge und der Fischer (The Dwarfs and the Fisherman)
+ +		 +
+


+ + + + +
+ +
+ + +H. Storkmann (French reprint) (originally published in Fliegende Blätter)
+ +		 +
+


+ + + + + +
+ +
+ + +John Theele 'Die fünf Sinne' (The five senses) (Lustige Bl&aumml;tter 1892)
+ +		 +
+


+ + +
+ + +
+
+ + + + +
+ +
+ + +P. Richards 'Die Sonntagsbeilage' (The Sunday Supplement) +Berlin, 1907 + - +This is probably the first text explaining the new phenomenon of American Sunday comics to a German audience. + + +P.Richards was a German-American cartoonist, working in America. This is from a book of recollections, called 'Zeichner und Gezeichnete' . +Zeichner means draughtsmen/graphic artists /drawers' (Gezeichnete means 'those which have been drawn') +
+ +		 +
+


+
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100644 index 0000000..43fce77 Binary files /dev/null and b/httpdocs/festivals.angouleme/9901-angouleme_trondheim.jpg differ diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.alles.html b/httpdocs/festivals.angouleme/cf0601.angouleme.alles.html new file mode 100644 index 0000000..fc7bb0a --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.alles.html @@ -0,0 +1,1318 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + + + + +
+Angoulême Index + +
+
+
+
+ + + +Angoulême 2006

+Drawings & Photos by Andy +
+
+ + + + + + + + + +Palmares (Awards for 'best album' etc.) + + +


+ + +Leclerc, Fréderique Vidal (Bodoï), Thévenet (directeur du festival) +
+ + + +



+ + + +



+ + + +
+
+
+
+
+ + + +Gipi + + +
+ + + + + + + +



+ + + + + + + +
+
+
+
+
+Derib, Job +
+ + + + + + + +



+ + + + +



+ + + + + + + + + +



+ + + + + +



+ +Dominique Poncet (PLG) + +
+ +
+



+ +



+ +Ville Ranta +
+ + +



+Prix Fanzine - 'Mycose' +
+ + + + + +



+Catel, Etienne Davodeau +
+ +



+ +Etienne Davodeau +
+ + + + +



+Benoit Monchart (directeur artistique du festival), Lewis Trondheim +
+ + + + +



+ +Marguerite Abouet & Clement Oubrerie +
+ + + + + + + + + +



+Thierry Mornet, Mike Mignola +
+ + + + + + + + + + +



+Gendrot Claude Dupuis (directeur editorial) +
+ + + + + + +



+Benoit Monchart, Ralf König, Fabrice Ricker (König's translator) +
+ + + + + +



+Etienne Davodeau +
+ + + + +



+Jim Lee +
+ + + + + +



+Juanjo Guarnido & Juan Diaz Canales +
+ + + + + +



+Paul Gravett +
+ + + +



+Vincent Bernière (Seuil editorial) +
+ + + + + +



+Wolinski +
+ + + + + + + +



+Gipi +
+ + + + + + +



+ +



+ + + + + + + + + + + +



+ +



+ +



+ + +



+ + + + + + + +


+ +
+(after making this sketch I blagged my way to the front to take the photos) +






+ + + + + +
+
+
+ +Theatre Foyer, after awards ceremony + +
+
+
+ + + + + + + + + + + + + + + + + +



+ + + + + +Bar +
+
+ + +3 Paul Gravett / 5,6 Tom Gould / 7,8,9 Gary Northfield / 9, 10 Marie de la Villèsbrunne +
+10, 11 Nick Abadzis / 14-17 Paul Gravett & Russian fanzine editor +
+
+
+ + + + + + + + + + + + + + + + + + + + + + +
+
+

+
+
+ + +Big Ben (Groinge) - Ria Schulpen (Bries) - El Don Guillermo (Misma) +
+ + + + + + + + + + + + + + + + + + + + + + + + + +
+These last two were in some exhibition in town. +
+He's looking at my fanzine with sketches of the Frankfurt Bookfair. + +
+
+
+
+
+
+ + +Jimmy Beaulieu fait un dédicace + +
+ + + + + + + + + + + + + + + + +
+
+
+
+
+
+ +Ben Katchor +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+ +
+ + +
+
+
+ + +
+
+
+ + +Chococreed & Morvel +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+
+
+ + + + + + + + + + + + + + + + + +
+
+
+ + + + + + + + + + + + + + + + + + + +
+
+
+ +
+
+
+ +Comics Museum (CNBDI) +
+These were permanent displays. By now they've all gone of course, as the museum moved to another building. +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+ +Peurs du Noirs' (CNBDI) + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+ +Expo: Wolinsky at the Comics Museum (CNBDI) +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+ +
+ + +The little curtain on the left was closed during the festival, because behind it were the naughty sexy comics. +
+
+
+ + +Expo Coconino World +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+ +
+ +
+
+
+ + + +Concert Dessins + +starring: +
+
+Zep - O'Groj - Hervé Tanquerelle +
+Jean-Christophe Chauzy - Ludovic Debeurme - Blutch +
+Charles Berberian - Philippe Dupuy - Jeff Pourquié - Grégory Mardon + +
+
+
+
This festival event was introduced last year by the cartoonist Zep, a combination of music and life drawing. Circa ten artists are producing a complete pre-scripted story on two tables, which is being filmed and shown on the screen. When one artist has nearly finished a panel, the next one is ready to go on, brush hovering over paper, so there is constant action, accompanied by loud, moody or pulsating music. The artists are very cool and calm while the audience goes nuts with admiration and applause.
+ + + +
+
+
+
+ + + +(The Encore) +
+ +
+
+
+ + + + +
+
+
+
+
+
+Dinner at La Palma with (left to right) Paul Gravett, James McKay, Peter Stanbury, Laurent Mélikian + +
+ + + + + + + + + + +
+
+
+ + + +Dinner (Ben Katchor, Richard McGuire) +
+ + + +
+ + +
+
+
+ + + + +Dupuy / Berberian and Andi Watson +
+ + +
+ + + +
+
+
+ + + + + +
+
+ +(2 days later, table of publisher 'Ca et la') +
+Andy Watson with Serge Ewenczyk (editeur) +
+ + + + + +
+
+
+ + +Figurines (There's a photo of me, with Tweety) +
+ + + + + + + + + + + + + + + + + + +
+
+
+ + +Fréderic Boilet + +
+ + + + + + + + + + + + + +
+
+
+ + +'Rencontres Internationales' Finnish alternative cartoonists + +

+ + +Ltr: Matti Hagelberg, Kati Kovacs, Katja Tukinainen, Terhi Ekebom, Kirsi Kinnunen (organizer, translator), French moderator +
+ + + + + + + + + + + + + + + + + +
+
+
+ + + +
+ +That first drawing was commented on in this Finnish blog +




+ +
+
+
+ + +Exposition Martin Tom Dieck, Musée du papier +
+ + + + + + + + +
+
+
+Bigwigs from L'association at the 'Theatre de Poche' +
+ + + + + + + + + + + + + + + + + + +
+(Menu, Killofer, Baudoin, Trondheim) arguing about the usefulness (and humiliation) of signing books.
+ (They didn't have a table this year, some sort of protest against one thing or another.) + + + + +
+
+
+
+
+
+Hotel de Ville / Soiree finlandaise + + +
+
+ Not very good photos, but maybe interesting to compare them to the drawing. (Yes, I can draw in the dark.) +
+ +There's a brilliant autobio-comic-gag by Nicolas Mahler which relates the behaviour of drunk fins at this very evening. + +
+It keeps reminding me how attractive it would be to have a website just for Comic-Festival-Diary-Comics. + +
+ + + + + + + + + + + + + + + +


+ +
+ + +
+
+
+Snow +
+ + + + + + + + + + + + + + +
+
+
+Angouleme on Monday (when everyone had gone) + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+ +View +
+ + + + + + + + + +
+
+
+ +Paris (ie post-Angouleme) +
+
+
+Exhibition 'Zep' (creator of comics superstar 'Titeuf')
+This show was the main exhibition at last year's Angouleme, which I had missed. Lots of original watercolours. + +
+ + + + + + + + + + + + + + +
+ + + + +
+
+ +
+
+
+Paris (ie post-Angouleme) +
+Jimmy Beaulieu at the Institute Canadien +
+ + + + + + + + + + + + + + + + +
+
+
+
+ + +
+
+
+Paris (ie post-Angouleme) +
+ +Gabrielle Bell & Matt Kindt at the Comicshop Superheros + + +
+ + + + + + + + + + + + + + +
+
+
+ + + + +
+I went back later for the second drawing and was sitting more or less where the signing table stood. +






+ + + + + + + + + + + + + + + + + + + + + +
+
+Official opering at the CNBDI Comics Musum (with Wolinski) +
+
+
+
+
+ +Queuing for a 'dedication' (signature with drawing) by J.P.Peyraud +
+
+
+
+
+ +Ralf König +
+ + +
+ +
+
+
+ +Railway station Angouleme with comics ogre +
+
+
+
+
+ +Exhibition Matti Hagelberg and Katia Tukenainen at the Finnish Cultural Institute +
+ (I made some sketches in this room 4 years earlier, see Angouleme 2002) +
+
+
+ + + + +
+ + + + + +
+Angoulême Index + +
+ + + + + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.awards.html b/httpdocs/festivals.angouleme/cf0601.angouleme.awards.html new file mode 100644 index 0000000..508ff11 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.awards.html @@ -0,0 +1,285 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
+ +Angoulême 2006

+Drawings & Photos by Andy +
+
+ +Palmares (Awards for 'best album' etc.) + + +


+ + +Leclerc, Fréderique Vidal (Bodoï), Thévenet (directeur du festival) +
+ + + +



+ + + +



+ + + +
+
+
+
+
+ + + +Gipi + + +
+ + + + + + + +



+ + + + + + + +
+
+
+
+
+Derib, Job +
+ + + + + + + +



+ + + + +



+ + + + + + + + + +



+ + + + + +



+ +Dominique Poncet (PLG) + +
+ +
+



+ +



+ +Ville Ranta +
+ + +



+Prix Fanzine - 'Mycose' +
+ + + + + +



+Catel, Etienne Davodeau +
+ +



+ +Etienne Davodeau +
+ + + + +



+Benoit Monchart (directeur artistique du festival), Lewis Trondheim +
+ + + + +



+ +Marguerite Abouet & Clement Oubrerie +
+ + + + + + + + + +



+Thierry Mornet, Mike Mignola +
+ + + + + + + + + + +



+Gendrot Claude Dupuis (directeur editorial) +
+ + + + + + +



+Benoit Monchart, Ralf König, Fabrice Ricker (König's translator) +
+ + + + + +



+Etienne Davodeau +
+ + + + +



+Jim Lee +
+ + + + + +



+Juanjo Guarnido & Juan Diaz Canales +
+ + + + + +



+Paul Gravett +
+ + + +



+Vincent Bernière (Seuil editorial) +
+ + + + + +



+Wolinski +
+ + + + + + + +



+Gipi +
+ + + + + + +



+ +



+ + + + + + + + + + + +



+ +



+ +



+ + +



+ + + + + + + + + + + + +

+
+Home +       +       +       +Angoulême Index +
+
+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.bar.html b/httpdocs/festivals.angouleme/cf0601.angouleme.bar.html new file mode 100644 index 0000000..3f15558 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.bar.html @@ -0,0 +1,61 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
+ +Angoulême 2006

+Drawings & Photos by Andy +
+
+ +Bar +
+
+ + +(photo 3) Paul Gravett / 5,6 Tom Gould / 7,8,9 Gary Northfield / 9, 10 Marie de la Villèsbrunne / 10, 11 Nick Abadzis / 14-17 Paul Gravett & Russian fanzine editor +
+
+
+ + + + + + + + + + + + + + + + + + + + + + + +

+
+Home +       +       +       +Angoulême Index +
+
+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.ben.katchor.html b/httpdocs/festivals.angouleme/cf0601.angouleme.ben.katchor.html new file mode 100644 index 0000000..47d84a9 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.ben.katchor.html @@ -0,0 +1,69 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
+ +Angoulême 2006

+Drawings & Photos by Andy +
+
+ +
Ben Katchor
+ +
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+
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Chococreed & Morvel 1 +
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Expo Coconino World +
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+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.concert.dessins.1.html b/httpdocs/festivals.angouleme/cf0601.angouleme.concert.dessins.1.html new file mode 100644 index 0000000..00b741e --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.concert.dessins.1.html @@ -0,0 +1,51 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
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Concert Dessins + +
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+
This festival event was introduced last year by the cartoonist Zep, a combination of music and life drawing. Circa ten artists are producing a complete pre-scripted story on two tables, which is being filmed and shown on the screen. When one artist has nearly finished a panel, the next one is ready to go on, brush hovering over paper, so there is constant action, accompanied by loud, moody or pulsating music. The artists are very cool and calm while the audience goes nuts with admiration and applause.
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+ + + +(The Encore) +
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+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.dinner.html b/httpdocs/festivals.angouleme/cf0601.angouleme.dinner.html new file mode 100644 index 0000000..d60392e --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.dinner.html @@ -0,0 +1,40 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
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Dinner +
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+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.dinner.la.palma.html b/httpdocs/festivals.angouleme/cf0601.angouleme.dinner.la.palma.html new file mode 100644 index 0000000..093a0c7 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.dinner.la.palma.html @@ -0,0 +1,47 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
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+ +Dinner at La Palma with (left to right) Paul Gravett, James McKay, Peter Stanbury, Laurent Mélikian + +
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+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.dupuy.berberian_andi.watson.html b/httpdocs/festivals.angouleme/cf0601.angouleme.dupuy.berberian_andi.watson.html new file mode 100644 index 0000000..2df7904 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.dupuy.berberian_andi.watson.html @@ -0,0 +1,60 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
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+ +Dupuy / Berberian and Andi Watson +
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+ +(2 days later, table of publisher 'Ca et la') +
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+ +Palmares (Awards for 'best album' etc.) + + +


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+ +'Rencontres Internationales' Finnish alternative cartoonists + + +


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+
+ +Ltr: Matti Hagelberg, Kati Kovacs, Katja Tukinainen, Terhi Ekebom, Kirsi Kinnunen (organizer, translator), French moderator +
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+ +Jimmy Beaulieu fait un dédicace + +
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+ +Paris (ie post-Angouleme) + +Jimmy Beaulieu at the Institute Canadien + + + +
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+ +Exposition Martin Tom Dieck, Musée du papier +
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+ +Bigwigs from L'association at the 'Theatre de Poche' +
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+ +Angouleme on Monday (when everyone had gone) + + + +
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+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.paris.zep.html b/httpdocs/festivals.angouleme/cf0601.angouleme.paris.zep.html new file mode 100644 index 0000000..1f061a1 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.paris.zep.html @@ -0,0 +1,53 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
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+ +Hotel de Ville / Soiree finlandaise + + +
+
+ +(these are not very good photos, which at first were not included. +
+ +However, there's a very good autobio-comic-gag by Nicolas Mahler which takes place at this very evening. + +
+It keeps reminding me how amusing it would be to have a website just for Comic-Festival-Diary-Comics. +
+Anyway, as another reminder, here are the photos after all.) + +
+ + + + + + + + + + + + + + + + + +

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+ + + + + diff --git a/httpdocs/festivals.angouleme/cf0601.angouleme.theatre.foyer.html b/httpdocs/festivals.angouleme/cf0601.angouleme.theatre.foyer.html new file mode 100644 index 0000000..15a9513 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0601.angouleme.theatre.foyer.html @@ -0,0 +1,61 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy + +
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+ +Theatre Foyer, after awards ceremony + +
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+ +
Friday 30.January
+(Empoyé du Moi, Groinge, Judith et Marinette, Misma, Plus Plus, Gorgonzola)
+
+ + +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.awards.html b/httpdocs/festivals.angouleme/cf0901.angouleme.awards.html new file mode 100644 index 0000000..73d00f8 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.awards.html @@ -0,0 +1,126 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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Award Ceremony +
+Sunday 1. February + +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.bittercomix.html b/httpdocs/festivals.angouleme/cf0901.angouleme.bittercomix.html new file mode 100644 index 0000000..e5cc9df --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.bittercomix.html @@ -0,0 +1,51 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.champ.de.mars.html b/httpdocs/festivals.angouleme/cf0901.angouleme.champ.de.mars.html new file mode 100644 index 0000000..7474fe8 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.champ.de.mars.html @@ -0,0 +1,50 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
+Angoulême 2009

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+ +
Champ de Mars (Mainstream publishers) +
+Thursday 29.January
+
+ + +






+





+





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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.cnbdi.outside.html b/httpdocs/festivals.angouleme/cf0901.angouleme.cnbdi.outside.html new file mode 100644 index 0000000..09e4706 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.cnbdi.outside.html @@ -0,0 +1,82 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+ +CNBDI
+Saturday 30.January +
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+ + + +






+






+






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+






+






+






+






+






+






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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.dupuy.berberian.html b/httpdocs/festivals.angouleme/cf0901.angouleme.dupuy.berberian.html new file mode 100644 index 0000000..9226dba --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.dupuy.berberian.html @@ -0,0 +1,125 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+Monday 2. February
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+
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.espace.de.la.selection.officielle.html b/httpdocs/festivals.angouleme/cf0901.angouleme.espace.de.la.selection.officielle.html new file mode 100644 index 0000000..9ce5529 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.espace.de.la.selection.officielle.html @@ -0,0 +1,45 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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Espace de la Sélection Officielle +
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+ +





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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.espace.manga.html b/httpdocs/festivals.angouleme/cf0901.angouleme.espace.manga.html new file mode 100644 index 0000000..a9126d2 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.espace.manga.html @@ -0,0 +1,38 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+ +Espace Franquin / Manga + + +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.espace.new.york.html b/httpdocs/festivals.angouleme/cf0901.angouleme.espace.new.york.html new file mode 100644 index 0000000..1786f9b --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.espace.new.york.html @@ -0,0 +1,41 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.flamands.html b/httpdocs/festivals.angouleme/cf0901.angouleme.flamands.html new file mode 100644 index 0000000..6adcd70 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.flamands.html @@ -0,0 +1,122 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ +
Flamands - Thursday 29.January
+
+ + +
+Pieter de Poortere +





+
+Kristof Spaey +






+
+Kristof Spaey +






+
+Luc Cromheecke +






+
+Reinhart / PIeter de Poortere +






+
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+
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+
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+
+Philip Paquet + +






+
+Simon Spruyt +






+ +
+Simon Spruyt +






+ +
+(Detail of the photo above) +






+ + + + +
+Randall C. +






+
+Randall C. + +






+
+ilah +






+
+ilah +






+
+ilah + +






+
+(Detail) + +






+
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+
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.frank.margerin.html b/httpdocs/festivals.angouleme/cf0901.angouleme.frank.margerin.html new file mode 100644 index 0000000..8c0474a --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.frank.margerin.html @@ -0,0 +1,52 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ +Thursday 29.January +
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+
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+Expo Frank Margerin +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.houses.at.night.html b/httpdocs/festivals.angouleme/cf0901.angouleme.houses.at.night.html new file mode 100644 index 0000000..cbe15e1 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.houses.at.night.html @@ -0,0 +1,94 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+ + Buildings at Night - small pictures +


+(Large pictures, click here)
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+
+
+
+ + +Wednesday Evening + +
+





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+
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Sunday 1. February
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.houses.at.night.large.html b/httpdocs/festivals.angouleme/cf0901.angouleme.houses.at.night.large.html new file mode 100644 index 0000000..c6c8948 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.houses.at.night.large.html @@ -0,0 +1,100 @@ + Comics Festival Angoulême 2009 - Photographs by Andy + +
+Index +
+

+Angoulême 2009

+ + + +Photos by Andy


+ + + + Buildings at Night - large pictures +


+(Small pictures, click here)
+ +
+
+
+
+
+ +Wednesday Evening + +
+





+





+





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+
+
+
+
+ +
Sunday 1. February
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+ + + + + + + +Index + +
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+ + + + + + diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.james.kochalka.html b/httpdocs/festivals.angouleme/cf0901.angouleme.james.kochalka.html new file mode 100644 index 0000000..5eddd9a --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.james.kochalka.html @@ -0,0 +1,40 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+ +James Kochalka Interview +
+Saturday 30.January
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.london.lille.html b/httpdocs/festivals.angouleme/cf0901.angouleme.london.lille.html new file mode 100644 index 0000000..924bdd4 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.london.lille.html @@ -0,0 +1,46 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+ +Wednesday 28.January + +
+
+ + + London, Tube Station (6.45h) + +
+





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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.maison.des.auteurs.low.res.html b/httpdocs/festivals.angouleme/cf0901.angouleme.maison.des.auteurs.low.res.html new file mode 100644 index 0000000..e03a90b --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.maison.des.auteurs.low.res.html @@ -0,0 +1,104 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ +Maison des Auteurs +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.museum.more.html b/httpdocs/festivals.angouleme/cf0901.angouleme.museum.more.html new file mode 100644 index 0000000..5c18b56 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.museum.more.html @@ -0,0 +1,45 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ +
(a few more shots of the Museum) +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.nananan.html b/httpdocs/festivals.angouleme/cf0901.angouleme.nananan.html new file mode 100644 index 0000000..250d892 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.nananan.html @@ -0,0 +1,44 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.nouveaux.talents.html b/httpdocs/festivals.angouleme/cf0901.angouleme.nouveaux.talents.html new file mode 100644 index 0000000..a3c777f --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.nouveaux.talents.html @@ -0,0 +1,104 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ +Nouveaux Talents
+Saturday 30.January
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+Home +       +       +       +Angoulême Index +
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+ +Thursday 29.January +
+ (Nylso, Marie, Hélène) + +

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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.posy.simmons.html b/httpdocs/festivals.angouleme/cf0901.angouleme.posy.simmons.html new file mode 100644 index 0000000..19e2966 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.posy.simmons.html @@ -0,0 +1,35 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
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+ +
Posy Simmons Interview +
+Saturday 30.January
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.sai.comics_south.corea.html b/httpdocs/festivals.angouleme/cf0901.angouleme.sai.comics_south.corea.html new file mode 100644 index 0000000..5faa9b4 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.sai.comics_south.corea.html @@ -0,0 +1,48 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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+ +
South Korea / 'Sai Comics'
+Saturday 30.January
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.sunday.last.hours.html b/httpdocs/festivals.angouleme/cf0901.angouleme.sunday.last.hours.html new file mode 100644 index 0000000..93d14cf --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.sunday.last.hours.html @@ -0,0 +1,110 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
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Sunday 1. February (the last hours) + +
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Friday 30.January
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.wednesday.cnbdi.cafe.html b/httpdocs/festivals.angouleme/cf0901.angouleme.wednesday.cnbdi.cafe.html new file mode 100644 index 0000000..fe0ec0b --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.wednesday.cnbdi.cafe.html @@ -0,0 +1,35 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
+Angoulême 2009

+Drawings & Photos by Andy +
+
+ +CNBDI (official opening) Café +
+ + + + + + + + +

+
+Home +       +       +       +Angoulême Index +
+
+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.wednesday.dupuy.berberian_nananan_bittercomix.html b/httpdocs/festivals.angouleme/cf0901.angouleme.wednesday.dupuy.berberian_nananan_bittercomix.html new file mode 100644 index 0000000..46eff6f --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.wednesday.dupuy.berberian_nananan_bittercomix.html @@ -0,0 +1,73 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
+Angoulême 2009

+Drawings & Photos by Andy +
+
+ +Wednesday 28.January + +
+ +CNBDI (official opening) 'Dupuy & Berberian' +
+ + + + + + +
+
+ +CNBDI (official opening) 'Kiriko Nananan' +
+ + + + + + + + + + + + +
+
+CNBDI (official opening) Bittercomix +
+ + + + + + + + + + + + + + + +

+
+Home +       +       +       +Angoulême Index +
+
+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901.angouleme.winschluss.html b/httpdocs/festivals.angouleme/cf0901.angouleme.winschluss.html new file mode 100644 index 0000000..7178205 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901.angouleme.winschluss.html @@ -0,0 +1,60 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + +
+Home +       +       +       +Angoulême Index +
+Angoulême 2009

+Drawings & Photos by Andy +
+
+ +
Winschluss +
+Friday 30.January
+
+ + +





+





+ +





+





+





+





+





+





+





+





+ + +





+





+





+





+





+





+





+





+





+ +





+





+





+





+





+ +

+
+Home +       +       +       +Angoulême Index +
+
+ + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901angouleme.1.html b/httpdocs/festivals.angouleme/cf0901angouleme.1.html new file mode 100644 index 0000000..3489f5b --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901angouleme.1.html @@ -0,0 +1,889 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + + +
+Angoulême Index + +
+
+
+
+Angoulême 2009 +

+Drawings & Photos by Andy +
+
+ + +


+Scroll Down!!!! +
+
+
+ + + + + + + +


+
+Le Chat Noir + + + + +


+
+ Fanzine award and other prizes, for schools etc. + + +


+
+Bar + +


+
+Jean-Paul Jennequin (with the checkered shirt) + + +


+
+Preview of the new Miyazake film. Very impressive (apart from the toddler music at the end) + + +


+
+final press conference + +


+ +More drawings are below with the corresponding photos. +
+No, I did not draw from any photos, all 'in situ' + + + +


+
+ + + +

+ +Wednesday 28.January + +
+
+ +
+ +
+ London, (Overground) Tube Station (darkness at 6.45h) + +





+ +
+ +St Pancrass at eight in the morning. + +


+
+ + +
+EVERYone on that train went to Disneyland Europe. Except me. And I nearly did as well, because I very, very nearly missed the stop at Lille. No announcement whatsoever, my clock had stopped, and the downstairs bit of Lille station outside my window looked like rough tunneling. Guess that's modern 'A'rchitecture. As ususal, function over form doesn't actually function all that well. +
+
+
+
+Lille +
+ + + + +
+(note Paul Auster Poster, by Actes Sud, who also published City of Glass (Karasik, Micheluzzi) in France) +
+ +


+
+Waiting Room, Lille +

+
+ +Wednesday 28.January +
+ +CNBDI (official opening) 'Dupuy & Berberian' +
+ + + + + +


+
+Expo 'Dupuy & Berberian' +


+
+
+ + + +CNBDI (official opening) 'Kiriko Nananan' +
+ + + + + + + + + + +
+
+CNBDI (official opening) Bittercomix +
+ + + + + + + + + + + + + +
+
+
+
+CNBDI (official opening) Café +
+ + + + + + + + + +


+
+Reception at the CNBDI (the Comics Museum) +


+ + +

+Thursday 29.January +
+Nylso, Marie, Hélène +
+ + + + + + + + +
+
+
+
+
+Friday 30.January +
+(Empoyé du Moi, Groinge, Judith et Marinette, Misma, Plus Plus, Gorgonzola) +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+Sunday 1. February (the last hours) +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+ +
+ +
+
+Champ de Mars (Mainstream publishers) +
+Thursday 29.January
+ + + + + + + + + + + + + + + + + + + + + + +


+
+Champs de Mars, Glénat queues + + +
+
+ +
+ +
+
+Espace de la Sélection Officielle +
+Thursday 29.January +
+ + + + + + + + + + + + + + + + +


+
+Expo 'Julie M.' + + +
+
+ +
+ +
+
+Espace Franquin / Manga +
+ + + +


+
+Expo 'Shigeru Mizuki' +


+ + + + + + + + +
+
+ +
+ +
+
+Espace New York +
+ + + + + + + + + + + + + + + +
+
+ +
+ +
+
Flamands - Thursday 29.January +
+
+ +Pieter de Poortere (compare to my drawing at the top of this page) + +
+ + +



+ +Kristof Spaey
+ + + +



+Luc Cromheecke
+ + +



+ + +Reinhart (PIeter de Poortere,
+ + + + + +



+Marten van de Wiele +
+ + +



+Nix
+ + +



+Kim
+ + +



+ + +



+Philip Paquet +
+ + + +



+Simon Spruyt +
+ + + +



+ +Randall C. + +
+ + +



+ +ilah +
+ + + + + + +



+Olivier Schrauwen +
+ + + + + +


+ + +
+Expo 'Flamands'
+ (ie Flemish cartoonists, - the big paper doll is by Pieter de Poortere) + + +
+
+ +
+ +
+
+ +Expo Frank Margerin +
+ + + + + + + + + + + +


+
+
+Expo 'Frank Margerin' (in the theatre)
+For this one I had a permanent audience of 20 kids, who were being carted through the popular bits of the Festival (Margerin is a star in France). The teacher kept urging them to take a look at the exhibition as they had to move on, but no go. +
+ + +
+
+ +
+ +
+
+James Kochalka Interview +
+Saturday 30.January
+
+ + + + + + + + + + + +


+
+James Kochalka Interview (with Jean-Paul, who now sports a mustache) + +
+
+
+
+
+Posy Simmons Interview +
+Saturday 30.January
+ + + + + + +


+
+Posy Simmons Interview + + + + + +
+
+
+
+
+South Korea / 'Sai Comics'
+Saturday 30.January
+ + + + + + + + + + + + + + + + + + + + +


+ + +
+Expo 'Sai Comics' (from South Korea) + +
+
+
+
+
+Winschluss +
+Friday 30.January
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


+ +
+Expo 'Winschluss' + + + +
+
+
+
+
+ + +Award Ceremony +
+Sunday 1. February + +
+
+
+ + + +Artists included in these photos: +
+Wolinkski, Charles Berberian, Philippe Dupuy, Jose Munoz, Posy Simmons, Emil Bravo, Etienne Davidau, Blutch (president!!!), Christian Mézieres, Gally, Marjane Satrapi, Winschluss (best album), Bastien Vivès (first publication) + + + + +
+
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


+ + +
+A novelty: the main award ceremony takes place right at the end. Something about making the Monday newspapers. +
+Main winners were Blutch and Winschluss (that's supposed to be him here). +
+Posy Simmons got a prize for 'Tamara Drew'. +
+As did Bastien Vivès making his first appearance (yes, that's him with the short hair). + +


+ + >>> Another page with photos of more exhibitions, click here <<< +


+ + + + +
+
+
+
+ + +Angoulême Index + +
+ + + + + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/cf0901angouleme.2.html b/httpdocs/festivals.angouleme/cf0901angouleme.2.html new file mode 100644 index 0000000..5233f13 --- /dev/null +++ b/httpdocs/festivals.angouleme/cf0901angouleme.2.html @@ -0,0 +1,553 @@ + International Comics Festival Angoulême 2009 - Photographs by Andy + + +
+Angoulême Index + +
+
+
+
+Angoulême 2009 +

+Drawings & Photos by Andy +
+
+ + + + + + + +Nouveaux Talents
+Saturday 30.January
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+ + +Maison des Auteurs +
+Saturday 30.January +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+ + + +CNBDI
+Saturday 30.January +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+ + +Nananan (without visitors)
+ + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+CNBDI / Dupuy Berberian (without visitors) +
+Monday 2. February
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+ +Bittercomics (without visitors) +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+
+ +(a few more shots of the Museum) +
+ + + + + + + + + + + + + + + + + + + +
+
+
+
+
+ +Friday 30.January
+
+ + + + + + + + +
+
+
+
+
+ + +Wednesday Evening + +
+ + + + + + + + + + + + + + +
+
+
+
+
+ + +
Sunday 1. February
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+ + +Angoulême Index + +
+ + + + + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/home.0408.caption.jpg b/httpdocs/festivals.angouleme/home.0408.caption.jpg new file mode 100644 index 0000000..4b4e88e Binary files /dev/null and b/httpdocs/festivals.angouleme/home.0408.caption.jpg differ diff --git a/httpdocs/festivals.angouleme/home.0503.comics.thing.jpg b/httpdocs/festivals.angouleme/home.0503.comics.thing.jpg new file mode 100644 index 0000000..d5a59a5 Binary files /dev/null and b/httpdocs/festivals.angouleme/home.0503.comics.thing.jpg differ diff --git a/httpdocs/festivals.angouleme/home.0508.manga.jpg b/httpdocs/festivals.angouleme/home.0508.manga.jpg new file mode 100644 index 0000000..0b88c58 Binary files /dev/null and b/httpdocs/festivals.angouleme/home.0508.manga.jpg differ diff --git a/httpdocs/festivals.angouleme/home.0603.comics.thing.jpg b/httpdocs/festivals.angouleme/home.0603.comics.thing.jpg new file mode 100644 index 0000000..f32046f Binary files /dev/null and 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differ diff --git a/httpdocs/festivals.angouleme/index.angouleme.2006.html b/httpdocs/festivals.angouleme/index.angouleme.2006.html new file mode 100644 index 0000000..d3d173c --- /dev/null +++ b/httpdocs/festivals.angouleme/index.angouleme.2006.html @@ -0,0 +1,111 @@ + International Comics Festival Angoulême 2006 - Photographs by Andy Konky Kru + +
+ +Home       +Early Comics       +Links      + +
+Comic Festivals +
+ + +Angoulême 2006 +
+Drawings & Photos by Andy


+(scroll down)


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+ +Palmares (Awards for 'best album' etc.)
+ + +




+ +Theatre Foyer, after awards ceremony
+




+ +Bar: Paul Gravett,Tom Gould,Gary Northfield, Marie de la Villèsbrunne, Nick Abadzis
+




+Fanzines - Big Ben/Groinge, Ria Schulpen/ Bries, Misma
+




+Jimmy Beaulieu fait un dédicace
+




+Ben Ketchor Interview
+




+Chococreed / Morvel
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+Chococreed / Morvel 2
+




+CNBDI (Comics Museum)
+




+Expo - Peurs du Noir
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+Expo - Wolinsky
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+Expo - Coconino
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+Concert Dessins
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+Dinner
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+Dinner
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+Dupuy / Berberian & Andi Watson
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+Expo 'Figurines'
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+Frederic Boilet
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+Rencontres Internationales' Finnish alternative cartoonists
+ +Matti Hagelberg, Kati Kovacs, Katja Tukinainen, Terhi Ekebom, Kirsi Kinnunen
+




+Exposition Martin Tom Dieck, Musée du papier
+




+L'association, 'Theatre de Poche' (Trondheim, Menu, Killofer, Baudoin, Neaud)
+



+Hotel de Ville / Soiree finlandaise
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+Snow
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+Monday (when everyone had gone, so had the snow)
+




+View
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+Paris (ie post-Angouleme) - Expo Zep
+




+Paris - Jimmy Beaulieu - Institute Canadien
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+Paris - Gabrielle Bell & Matt Kindt - (Comicshop Superheros)
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+ +Home       +Early Comics       +Links      + +
+Comic Festivals +
+ +Angoulême 2009 +
+(scroll down)


+
+ + + + +Drawings & Photos by Andy


+ + + + +London tube station / Lille
+




+CNBDI official opening Wednesday
+Dupuy Berberian - Kikiro Nananan - Bittercomix
+




+CNBDI official opening - Café
+




+ +Nylso, Marie, Hélène - Thursday 29. January
+




+Friday 30.January +
+Empoyé du Moi - Groinge - Judith et Marinette - Misma - Plus Plus - Gorgonzola
+




+Sunday 1. February (the last hours)
+




+Champ de Mars (Mainstream publishers) - Thursday 29.January
+




+Espace de la Sélection Officielle +- Thursday 29.January
+




+Espace Franquin / Manga
+




+Espace New York
+




+Flamands - Thursday 29.January
+




+Expo Frank Margerin
+




+James Kochalka Interview +- Saturday 30. January
+




+Posy Simmons Interview +- Saturday 30. January
+




+South Korea / 'Sai Comics' +- Saturday 30. January
+




+Winschluss +- Friday 30. January
+




+ + +Award Ceremony +- Sunday 1. February
+




+ + +Nouveaux Talents +- Saturday 30. January
+




+Maison des Auteurs +- Saturday 30. January
+




+CNBDI (the comics museum then, and the new one across the river) +- Saturday 30.January
+




+Nananan (on Monday without visitors)
+




+ +Dupuy Berberian (on Monday without visitors)
+




+ +Bittercomics (on Monday without visitors)
+




+ A few more shots of the Museum (on Monday without visitors)
+




+ +View - Friday 30.January
+




+Houses at Night - Wednesday & Sunday
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+
+Les dessins - format A4 - pen & pencil (encre & crayon?) +
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+Comic Festivals +
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a/httpdocs/festivals.angouleme/z.angouleme.1999.html b/httpdocs/festivals.angouleme/z.angouleme.1999.html new file mode 100644 index 0000000..0da3b65 --- /dev/null +++ b/httpdocs/festivals.angouleme/z.angouleme.1999.html @@ -0,0 +1,51 @@ + Comics Festival Angoulême + + + +
+ +Angoulême Index +
+ +

+ + + +Angoulême 1999 +
+(Only two sketches - I was a bit too overwhelmed and not yet sufficiantly comfortable drawing everywhere) + +
+
+
+ + + + + +
+Expo Francois Boucq (on Wednesday evening, when all was quiet.) +
+
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+ + +
+Lewis Trondheim (explaining to children (in the first row) how to draw a monster) +
+
+
+
+ +Angoulême Index + +
+ + + + + + + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/z.angouleme.2002.html b/httpdocs/festivals.angouleme/z.angouleme.2002.html new file mode 100644 index 0000000..e00df82 --- /dev/null +++ b/httpdocs/festivals.angouleme/z.angouleme.2002.html @@ -0,0 +1,101 @@ + Comics Festival Angoulême + + + +
+ +Angoulême Index +
+ +

+Angoulême 2002 +
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+
+
+ + + + + +

+Train from Frankfurt to Paris +






+

+Two friends joining at Kaiserslautern. +






+

+Paris Montparnasse, where the trains are leaving for the south of France, including the one to Angouleme. +






+

+Angouleme at night. This was done on the last day, when even the 'Chat Noir' was closed (notice head of cat), one of the main haunts for international cartoonists. +






+

+Small cafe next to the Tent New York (I think), where I had a long and peaceful breakfast with a friend. Outside the long queue for the festival tickets. +






+

+Main tent before the masses are let inside. Topshelf/Knockabout table in the middle. That poster shows Depp in 'From Hell'. +






+

+Tent New York, the Fanzine tent. +






+

+Same place, with Stripburger table in the middle. +






+

+Will Eisner interview. Note his signature. ('Will Eisner, I think') +






+

+Fanzine tent again, at night. The sketching at night resulted in a terrible cold, obviously. (This was January). +






+

+Angouleme Comics Museum 'CNBDI' +






+

+Expo 'Martin Veyron' inside the museum. +






+

+More exhibitions, the one below organized by Jean-Paul Jennequin about US independent cartoonists. +






+

+Large exhibition over three floors of the municipal theatre (which also houses the annual prizes) showing work by dozens of young, sometimes very unknown, cartoonists. +






+

+Wacky event-expo by the group Requins Marteaux, the infamous 'Supermarché Ferraille'. A pseudo supermarket full of 'selfmade' products. On their wine bottles (real) was a very fancy looking label, with the tiny incription 'Les aristocrates a la laterne'. +






+

+(another sketch done late in the evening, but I was too tired to do any more crosshatching). Palais de la Justice, with a small show of new artists from the Angouleme comic school. +






+ +

+Paris, on Tuesday, Institute Finlandais (Finnish Institute), with yet more comics, this time of a famous (in Finland) newspaper strip by Jussi Tuomola. I didn't find time to actually read any, which is a shame, because this was the only opportunity to see them with translation labels. + +






+

+The artist in the middle, signing books. +






+

+The Swedish Institute, with yet more comic exhibitions. + +






+ +
+
+
+






+ + +

+Paris - Comicshop 'Au Regard Moderne' (August 2002) +


+ + +
+Angoulême Index + +
+ + + + \ No newline at end of file diff --git a/httpdocs/festivals.angouleme/z.angouleme.2003.html b/httpdocs/festivals.angouleme/z.angouleme.2003.html new file mode 100644 index 0000000..82e6c18 --- /dev/null +++ b/httpdocs/festivals.angouleme/z.angouleme.2003.html @@ -0,0 +1,88 @@ + Comics Festival Angoulême + + + +
+ +Angoulême Index +
+ +

+Angoulême 2003 +
+
+
+
+
+ +
+ + +
+Paris railway terminal Montparnasse where the trains to Angoulem leave from. +






+
+Special tent for internantional dealmaking. (I got in as a journalist.) +






+
+Espace Franquin. (Franquin room). Another special meeting place for journalists and artists. +






+
+Opening of the Herge memorial, actually the re-naming of a whole street. Herge's widow was there, as was the Queen of Belgium etc, but I could see a thing.- Later on a TV crew filmed me drawing, so I have been on telly. So there. +






+
+Grand prizegiving ('palmareze'). The big prize for best Album went to Chris Ware (his Jim Corrigan had juts been published, and what can compete against that?). But he wasn't there, too busy working. Good for him of course, still, a bit disappointing. - J.C.Denis got prize for best script, which cheesed him off a bit, because he's a very proud artist as well. +






+
+Cool exhibition featuring truckloads of old books all over the place (which was a motiv of the exhibited album). +






+
+Small but interesting expo at the Italian tourist office. They had good food too, but I was too busy with the sketch, and then had to go off with the Platirum mailinglist group. +






+
+Amazing exhibition by the Ferraille crew. About a make believe robotic cinema/comics star, with fake posters, dolls, comics, films, the lot. Superb. +






+
+'New York Tent' aka Fanzine Tent. Where all the fanzines are. Well, most, some snuck into the main tent. Absolutely overwhelming. And wonderful stuff to buy. Unmissable. +






+
+Bunch of sketches done at 'Le Chat Noir', pub where lots of comics people meet. +






+
+






+







+







+







+
+Another pub, or rather hotel with a large bar, which was still open the Chat Noir close, at 3 in the moring. (yes, insane.). That's Charles Berberian on the left. + +






+
+Here are a number of Mini-publishers who made it into the main tent: Flblb, Atrablie, Büb, Fremok. +
+They were actually packing up, when I made this. + +
+
+
+ +



+ Paris
+
+
+ +
+



+
+Christian Schad expo +



+ +
+ +
+Angoulême Index + +
+ + + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/0006.01-haarlem.jpg b/httpdocs/festivals.deutschland/0006.01-haarlem.jpg new file mode 100644 index 0000000..8c0a106 Binary files /dev/null and b/httpdocs/festivals.deutschland/0006.01-haarlem.jpg differ diff --git a/httpdocs/festivals.deutschland/0006.02-tintin.jpg b/httpdocs/festivals.deutschland/0006.02-tintin.jpg new file mode 100644 index 0000000..4f12911 Binary files /dev/null and b/httpdocs/festivals.deutschland/0006.02-tintin.jpg differ diff --git a/httpdocs/festivals.deutschland/0006.03-lambiek.jpg b/httpdocs/festivals.deutschland/0006.03-lambiek.jpg new file mode 100644 index 0000000..75ecf36 Binary files /dev/null and b/httpdocs/festivals.deutschland/0006.03-lambiek.jpg differ diff --git a/httpdocs/festivals.deutschland/0006.07-erlangen.jpg b/httpdocs/festivals.deutschland/0006.07-erlangen.jpg new file mode 100644 index 0000000..65187a5 Binary files /dev/null and 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+Erlangen 2000 + + + +
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+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0109.berlin.html b/httpdocs/festivals.deutschland/d0109.berlin.html new file mode 100644 index 0000000..5fd5912 --- /dev/null +++ b/httpdocs/festivals.deutschland/d0109.berlin.html @@ -0,0 +1,40 @@ + Drawings made at comics festivals by Andy Bleck + +Home +           +Comic Festivals +
+
+

+Berliner Comicfest 2001 +
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+ + + +

+ +
+ + Kulturbrauerei, an old brewery in Berlin, now an arts complex, the venue for the Comicfest. The upper drawing was done a week later. The courtyard was full of tables on the first day. During the night they were all blown to bits in a heavy storm.
+ The second drawings shows the inside of the tall building to the left. +
+ + +






+

+Comicfest - talks and slideshows (top Jens Balzer, bottom Thierry Groensteen) +






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+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0110.buchmesse.html b/httpdocs/festivals.deutschland/d0110.buchmesse.html new file mode 100644 index 0000000..59b7d72 --- /dev/null +++ b/httpdocs/festivals.deutschland/d0110.buchmesse.html @@ -0,0 +1,53 @@ + Drawings made at comics festivals by Andy Bleck + +Home +           +Comic Festivals +
+
+

+Frankfurt Buchmesse / Bookfair 2001 +
+ +(these are scanned from a little booklet I made - I'll have to rescan the actual drawings - sometime) +
+
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+ + + + +

+Frankfurt Buchmesse - Two views of the brandnew Hall 3, which is where the Comic events ('Faszination Comic') took place. +






+

+Top: Comic Quartett (four critics discuss four newly published comics)
+Bottom: Moebius again, interviewed by Andreas Knigge +






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+ + +

+ +Moebius at the Frankfurt bookfair (Buchmesse) - I asked him to sign to my sketch. + + + + + +
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+ +
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+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0208.heftich.html b/httpdocs/festivals.deutschland/d0208.heftich.html new file mode 100644 index 0000000..f0be7d4 --- /dev/null +++ b/httpdocs/festivals.deutschland/d0208.heftich.html @@ -0,0 +1,102 @@ + Drawings made at Comic Festivals + +andybleck.de +           +Comic Festival Drawings +
+
+(Click on any picture to get back to the Index)
+
+
+
+Hamburg 'Heftich' 2002 +

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+ + + + +

+Heftich Minicomics Festival - which took place in this nightclub under the bridge. (see arrow) +






+

+Tables with selfpublished comics and visitors. +






+

+Prizes for best comic. My anthology 'Shtumm' got nothing. +






+

+Nearly at the end of the selling bit. Afterwards, there was some loud music: +






+

+Trash Emperors +






+

+Klaus Cornfield +






+

+Klaus Cornfield +






+

+Klaus Cornfield +






+

+'Die Assozialen Superhelden' dressed up as superheroes (held-hero) +






+ +

+ Calle Claus pencil glass +






+

+'Norddeutsche Comic Messe', a very large comic mart. + +
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+ Heftich 2001 +
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+ Heftich 1999 +
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+ +
+Diese Zeichnungen während dem Auftritt von Fil gemacht, weil ich dachte 'deutscher Komiker? Naja'. +
+Als ich spaeter mitgekriegt hab wie gut der ist, hab ich mich natürlich geärgert, aber jetzt bin ich doch froh die Zeichnungen gemacht zu haben. +
+Die Figuren oben (weisse Farbe auf rotem Stoff) waren übrigens von mir. + +

+ + + +


+
+andybleck.de +           +Comic Festival Drawings
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+
+

+Buchmesse 2002 +
+
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+ + +
+Special Comics section at the Bookfair - Stripburger Exhibition +







+ +
+Trondheim Exhibition +







+ +
+socalled 'Elefantenrunde', a podium discussion of the bigwigs of German comics publishing. +
+ (Elefant means elephant, Runde means round.) +







+
+Stripburger table +







+
+Igor from Stripburger (eating a dodgy kebab) +







+ +
+'Filu' Illustrators meeting point +







+
+Comics exhibition outside the fair, at the Mousonturm, a cultural center. +







+
+same exhibition, in fact the same table seen from the other side. +







+
+Party at 'Labor', an illustrator's co-op. +







+
+another exhibition with 'Labor' artists contributing (rooms inside the Technisches Rathaus) +







+ +
+Party at a club, organized by 'Titanic', the leading satirical magazine in Germany. +
+ A bit like Private Eye. Only has a few comics. More cartoons. +







+
+Talk by comics dealer Chuck Rosinsky. +







+ +
+Slideshow about East European comics by Igor Prassel (sorry, doesn't look like him). +







+
+Talk about children's comics, as an inroduction to the Trondheim Interview. +







+
+Trondheim Interview. +







+
+The 'Comic Quartett', a recurring discussion at German festivals of four critics chewing the fat about four +
+ new comics (each presenting one). Very effective format, should be tried in France/England/USA as well. +







+
+Another discussion. About arty comics. +







+
+Interview with legendary comcis publisher Abi Melzer. As you see, he published Micky Mouse, the Gotfredson collections. +
+ Also Little Nemo and Prince Valliant. All devoured by me as a kid. The chap has my eternal gratitude. +







+
+Sergio Aragones signing. He kindly enhanced by portrait of him. What a nice guy. +







+
+Manga Madness. Loooads of little girls at a mange dressing up competition. + + +
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+
+Thomas Ott, Frankfurt Nov. 2002 +

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+ + + + +
+Exhibition Thomas Ott at Galerie Streitenfeld, Oberursel.
+That's him, with the moody look. +







+
+Thomas Ott again, leaning on the table. + + + +
+
+
+ F.K.Waechter, Frankfurt Nov. 2002 +

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+ + +
+Exhibition 'F.K.Waechter', one of the very best German cartoonists, indeed anywhere.
+(Historisches Museum) + +







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+ + +
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+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0407.erlangen.de.html b/httpdocs/festivals.deutschland/d0407.erlangen.de.html new file mode 100644 index 0000000..3da3d78 --- /dev/null +++ b/httpdocs/festivals.deutschland/d0407.erlangen.de.html @@ -0,0 +1,975 @@ + Drawings made at Comic Festivals + +andybleck.de +           +Comic Festival Drawings +
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+Erlangen Comics Festival 2004 +
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+
Bildbericht vom elften Comic Salon Erlangen +
+Aufgeschrieben und abgezeichnet von Andy Bleck + + +
+
+ + Noch vor wenigen Jahren vermutete Anke +Feuchtenberger in einer Podiumsdiskussion, dass die +Armseligkeit der deutschen Comicproduktion nicht nur +von Nachteil wäre, denn sie schüfe einen +Freiraum für +die unkommerzielleren Kunstcomics, die damals das +einzige waren, was man an deutschen Comics im Ausland +wahrnahm. Nun, die Feuchtenberger ist eine der besten +deutschen Zeichner im Comicbereich (etwas anderes als +'Comiczeichner'), und die sogenannt unkommerziellen +Arbeiten der Kunstcomiczeichner (im +Illustrationsbereich natürlich sehr gefragt) die +in +den Neunzigern aus den Randbereichen des deutschen +Kulturraums, Ex-DDR und Schweiz, hineinschwappten, haben +die Szene zweifellos ungeheuer bereichert. Aber ein +bisschen deprimierend war sie doch, diese Absage an +unsere Fähigkeit, klassische Bildgeschichten +hinzukriegen. +
+
+ Inzwischen scheint mir eine klare Verbesserung +eingetreten zu sein. Nicht alle neuen Zeichner +imitieren Flächenbepünktelung oder +Beseeltsein ohne +gleich in die Albernheiten der alten Kindercomics +(oder 'Erwachsenencomics') zurückzufallen. +Stattdessen +gibt es immer mehr, teilweise blutjunges, Talent, was +es nicht nur gut meint sondern auch gut kann. Der +Erlangener Jury ist es teilweise schon zu viel, sodass +etwa der geschliffene Zeichenstil von Uli Oesterle +nicht nominiert wurde, aber diese Preise sind im +einzelnen egal (vielleicht nicht ganz so daneben wie +die Oscars). Entscheidend ist dass jetzt eine +ganze Reihe von unterschiedlichen, anspruchsvollen und +ausgesprochen comichaften Arbeiten von deutschen +Zeichnern prämiert werden konnten. Und das ist +auch +gut so. +
+
+ + Englische Landstrassen sind schlängelnd +gewunden wie +ein angelsächsischer Halsreif. Das beruht zwar +auf dem +komplizierten Besitzerwechsel der anliegenden Felder, +aber eine andere Erklärung wäre, dass nur +dadurch das +relativ winzige England (etwa verglichen mit dem +südlichen Nachbarn) nicht allzuschnell durchquert +werden kann, und so die Illusion einer etwas +substanzielleren Landfläche entsteht. +Eine ähnliche Illusion von nicht zu +überwältigender +Fülle entstand diesmal in Erlangen, indem man +wiederholt wichtige Interview- und Diskussionstermine +parallel laufen liess (unterbrochen von langen +Pausen), sodass dem anwesenden Reporter der Kopf +surrte, und er beinah glauben konnte, das Angebot +wäre +viel zu gross um selbst das Wichtigste zu +bewältigen. +Nunja, natürlich war es das in jedem Fall, aber +trotzdem wäre eine gleichmässigere +Verteilung nicht +unpraktisch. +
+
+ Parallel liefen am Donnerstag: Das Comicquartett +und der ICOM Preis, letzteres wohl die wichtigste +Veranstaltung neben der Max-und-Moritz-Gala, auf die +ich verzichten musste, unter anderem weil ich mir vom +Comicquartett ein inspirierenderes Zeichenmotiv +erhoffte (rennen nicht dauernd alle rum). Freitag war +noch schlimmer parallel-besetzt: Vortrag zu Linie +Claire und Diskussion über das neue Urheberrecht. +Dummerweise ging ich zur Linie Claire, die leider +fürs +Laufpublikum konzipiert war. Hätt ich mir denken +können, aber immerhin eine gute Skizze +hinbekommen. +Drei Stunden später war eine grosse Donald Duck +Veranstaltung, auf die ich mich schon seit Tagen +freute, bis ich sah, dass gleichzeitig ein Vortrag +über +Bilderzählen nach Dante's Göttlicher Komödie stattfand, +also die +frühen Anfänge der Comicentwicklung, die +mein +Spezialgebiet sind. (siehe bugpowder.com/andy +) - Am +Abend lag dann die traditionelle 'Elefantenrunde', +also die Diskussion der grossen Verlage, parallel zum +Swarte Interview. Das wurde selbst vom +Swarte-Interviewer kommentiert, sie hätten ja +grosse +Konkurrenz. Swarte ist einer meiner absoluten Helden, +da musste ich hin. Aber nachdem ich die Enten und +Elefanten verpasst hatte, hat mich deren Organisator, +Andreas Platthaus, nicht mehr gegrüsst. Alles nur +wegen dem blöden Stundenplan. +
+
+ + Aber in erster Linie bin ich Zeichner, das +Bildreporterische ist eine auch weniger an +Ästhetischem Interessierte interessierende +Nebenfunktion. Ich hätte genausogut alle +Topfpflanzen +im Rathaus, oder die Schaufenster der Erlangener +Fussgängerzone zeichnen können. Ich denke +aber, mein +persönliches Verlangen und Suchen nach Inhalten +muss +die abstrakte Qualität der Arbeiten nicht +einschränken. Hier sind jedenfalls die Bilder, +mehr +oder weniger chronologisch, der Anordnung des +dazugehörigen Heftchens folgend. +
+
+
+ +Ich bin Mittwoch mittag angereist. Mit etwas +Verspätung, denn zwischen Nürnberg und +Erlangen war jemand auf den Gleisen verunglückt. Als die Bahn +noch eine öffentliche Institution war, hat man einfach +jemand daneben gestellt und nach kurzer Zeit durften +die Züge wieder passieren, aber für ein +Privatunternehmen gelten andere Regeln. Da müssen +erst Staatsanwalt und andere alles genau untersuchen, und es +kann 3-4 Stunden und länger dauern. (Das hat mir +während der Rückfahrt ein Schaffner +erzählt). Die Erlangen-erstrebenden Reisenden wurden zweimal in +andere Züge vertröstet, was auch nichts +brachte. Ein kompetent wirkender Bahnmensch stimmte schliesslich +zu, dass es sinnvoller sei den Bus zu nehmen. Zum +Glück konnte ich mich einer Erlangenerin +anschliessen, die mehrere Verlaufene durch U-Bahn, Strassenbahn und +Bus schleuste. - Es blieb noch genug Zeit, mir zwei +Ausstellungen anzugucken, die über Dante im Comic +im Stadtmuseum und Joost Swarte/Bourgeon in der +Städtischen Galerie am Marktplatz. + +









+ + + +

+ +
+Seite 1 +
+ Dies war einer der Räume von Swarte. Die Bilder +waren immer seltsam zusammengedrängt in einer +Ecke jedes Raumes, ansonsten waren sie leer bis auf die +klobigen, aufgemalten Symbole wie hier die Wolke +rechts oben, welche mir erst sinnlos vorkamen, bis +beim Abzeichnen klar wurde, dass diese Bilder +Schlüssel zu den vergruppten Bildern waren. Hier +gab es also lauter Wölkchen, oder zumindest Leitern, +die ja symbolisch hoch hinaus wollen. Gar nicht so +blöde, was? - (Weiteres zu Swarte weiter unten). +
+ Die Bourgeon Schau in der gleichen Galerie war +kleiner, aber auch sehenswert. Am Freitag war ich +nochmal dort, mit Wittek und Haina Fischer. Wittek ist +von Bourgeon begeistert, sein Lieblingszeichner! +Besonders gefielen mir: ein Bild für den Playboy, +so ne Tussi mit Regenwasser auf die Schultern prasselnd, mit +weisser Gouache draufgesetzt. Noch besser die +Schwarz-weiss Vorzeichnung zu einem Klapp-umschlag, +ein Panorama von Sumpf und Pflanzen. Wir standen +andächtig davor. + + +









+ + + + +

+ +
+Seite 2 +
+Mittwochabend gab's bereits die offizielle +Eröffnung. +Ich war etwas zu spät (musste den Swarte-raum +noch +fertigkriegen). Die fand in einer Werbeagentur statt, +wie auch eine angebliche 'Comics in der Werbung' +Ausstellung, aber wie zu erwarten waren das meist +keine Comics, sondern gezeichnete Figürchen oder +Trickfilm, wie die ollen Mainzelmännchen. Dabei +wär +eine historische, tatsächlich comicspezifische +(also +Bildergeschichten) Ausstellung von Comics in der +Werbung voll interessant. Kommt vielleicht noch. - +Besser als die Werbung gefiel mir die Innenarchitektur +des Publicis Gebäudes, die in meiner +Ruckzuck-skizze +leider nicht zur Geltung kommt. Die Redner standen auf +einer Brücke mitten durch den Raum und hielten +die +Lobreden auf uns runter, wie herrische +Comicdiktatoren. +









+ + + + +

+ +
+Seite 3 +
+Am selben Abend im Hauptgebäude, in dem noch +leeren +Standplatz vom Schwarzen Turm, wo ich mehrfach gefragt +wurde, ob ich dazugehöre. Naja, so ganz entfernt, +weil +diesmal eine 'Konky Kru' Seite ins 'Panik Elektro' +reinkam (siehe Seite 20). Aber natürlich war ich +bloss +eingeschmuggelter Begucker der Aufbauarbeiten. Das +Brett auf dem Schild ist das 'Schwarzer Turm' +Namensschildchen, was 30 Sekunden nach Abgezeichnetwerden schon wieder wech war. Neben und hinter mir +wurde wild geschraubt und gepinselt, alles musste +geschleckt weiss aussehen. Die Renoviertrupps gaben +sich grosse Mühe, einige waren täglich von +8.30 bis +23.30 beschäftigt! +









+ + + + +

+ +
+Seite 4 +
+Immer noch Mittwoch, kurz vor Sonnenuntergang (und dem +schlechten Wetter am nächsten Tag) noch einen +Eindruck +vom Hauptgebäude und Rathaus hingekriegt. Auf den +Fahnen steht natürlich 'Comic Salon'. Das grosse +Plakat zum Festival ist hinter Bäumen und +Laternen +versteckt. Die 'Panik Elektro' Ausstellung war in dem +niedrigen Seitenflügel rechts. (siehe unten, +Seite 20) +









+ + + + +

+ +
+Seite 5 +
+Neben Swarte meine Lieblingsausstellung: Max (ja, ja, +trotz der Krickelichkeit meiner Skizzen bin auch ich +ein Freund von de Klare Lijn). Vor zwei Monaten sah +ich im Londoner Comicladen 'Gosh' seinen Prachtband +mit +graphischen Arbeiten, Illustrationen, Postern +etc. Eigentlich bin ich im Zweifelsfall dafür, +dass ein +Cartoonist doch bitte ein Strip-cartoonist sei und +bleibe, aber wenn einer so zeichnet, mache ich eine +Ausnahme. - Bei dieser Zeichnung half der Zufall: erst +hatte ich ¸ber zwei Stunden Zeit, die ganze Detailtreue +hinzukriegen (Donnerstag morgens, die Horden durften +erst um 12 rein) und als es fast fertig war, machten +die Kerle das Licht aus. Erst wollte ich schimpfen, +aber dann entpuppte sich das als das viel bessere +Motiv, 'mit Dunkel'. + +









+ + + + +

+ +
+Seite 6 +
+Die 'Strip Bar', in dem Häuschen neben der +Städtischen +Galerie untergebracht, welches früher mal +'Kulturtreff' hiess. Hier gab es ein bisschen +Geplauder von +Andreas Michalke und Mawil (rechts) zum Thema Comics +und Populärmusik. Mawil bekam zwar diesmal noch +keinen Max +und Moritz Preis, hat aber bei der ICOM Jury abgesahnt +(bestes Album 'Wir können ja Freunde bleiben'). +Andreas hat Vinyl Singles auf seinem alten +Miniplattenspieler abgespielt, das Ding hätte ich +eigentlich auch noch zeichnen sollen. +









+ + + + +

+ +
+Seite 7 +
+Diaschau über Ligne Claire . Nicht besonders +erhellend: dass Tim und Struppi zu L.C. gehören, +weiss +doch jeder. Besser wäre die Unmenge Zeichner zu +erwähnen, die keiner kennt. Das Dia hinten ist +übrigens +die letzte Seite aus Swartes 'Modern Art'. +









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+Seite 8 +
+Das Swarte Interview. Sieht ihm nicht allzu +ähnlich, +aber ansonsten gute Zeichnung, ausnahmsweise mit +Bleistift auf A5 (ansonsten mit Rapi 0.35 Faber +Castell auf A4). Er konnte hervorragend deutsch +sprechen. Auf die Liebe zum Quadrat befragt, +korrigierte er: das wäre ein 'optisch +couragiertes +Quadrat'. Und zum Realismusbezug seiner Bilderwelt: +'Perspektive verstehen die Leute. Ich verstehe das +auch. Das ist der Ramen um Kontakt zu haben.' Findichn +guten Spruch. +









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+Seite 9 +
+Zweites Bild: Herr Swarte als D.J. (oder 'Dee Jee' wie +die Erlangener Kulturbeauftragte ihn vorstellte). +Nicht uncool, im pechschwarzen Anzug, weissem Hemd, +so'n bisschen Marke Büroangestellter mit was +Schrägem +im Ausdruck (wie übrigens auch Hergé), und +dann dufte +Musik auflegen. Ich habe ihm am Schluss mein 'Berlin +2003' Skizzenheft verabreicht, mit acht Bildern von +der Loveparade, und beinah dazugesagt, es müsste +dort +mal ein Swarte-float geben. Aber er soll doch lieber +zeichnen, wie auf demselben Bild rechts am Tisch, wo +er stundenlang seelenruhig signierte. (Also niet zo, +maar zo.) - Ich habe nix signieren lassen, zu pleite. +(Leider verdusselt, mein 'Collection 30/40' Album +mitzubringen). Stattdessen die ganze Zeit zugeguckt +und so mitbekommen, wie er die Signiermotive variiert, +wie die Vignetten alle von oben nach unten aufgebaut +(oder abgebaut?) waren ohne dass sie so aussahen +(damit der Filzer nicht verwischt) und wie gestochen +scharf alles gezeichnet war, inklusive für nen +Typen, +der meinte, 'Zeichnen sie mich'. +









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+Seite 10 +
+Das Comic Quartett, wo vier Alben vorgestellt und +umstritten werden, wird immer interessanter und dem +Fernsehvorbild (Das Literarische Quartett) +ähnlicher, weil die Jungs sich mehr und mehr die Köppe heiss +reden, was natürlich unterhaltsamer ist, als uns +einhellig vorzutragen, was wir für gut oder +schlecht zu befinden haben. Vor allem der Zusatz vom +streitlustigen Fanboy Lutz Göllner brachte den +Ball ins Rollen. Spannender als dessen Verteidigung von so +Zeugs wie Catwoman ist, wenn er die +Edelcomicsvorschläge der anderen runterputzt. +Allerdings ist etwa 'Palestina' von Joe Sacco ein +schwieriger Fall. Er meinte, der könne nicht als +Journalist auftreten und dann hanebüchen +subjektiv berichterstatten und auf die Lügen der Araber +hereinfallen. Göllner war selber in Israel +gewesen und hatte sich sichtlich über das Buch geärgert. +Platthaus meinte dagegen, ein Journalist könne durchaus aus +einer bestimmten Sichtweise schreiben. Zu Göllners +Zitat einer im Buch erwähnten palästinischen +Villa, deren Finanzierung dann nicht weiter kommentiert wurde, +meinte er richtig, dass dem Leser zuzumuten sei hier +seine eigenen Schlüsse zu ziehen und dass Sacco +natürlich darüber nachdächte, auch wenn +er nicht alle Gedanken vorkaut. - Aber es stimmt schon, dass die +Pseudoobjektivität von Sacco, besonders in der +westlichen anti-israelischen Rezeption, problematisch +ist. Die Antwort auf den Vorwurf des ideologischen +Mülls sollte vielleicht nicht sein, dass Sacco ein +subtiler Künstler ist den man genauer lesen +müsse, sondern das Sacco ein Künstler ist, der das Recht +hat, völlig beknackten subjektiven Mist +zusammenzuschreiben, wenn das Kunstwerk als solches +faszinierend bleibt. Was Sacco oder andere +Künstler über sich selber und ihre Intentionen +verlautbaren ist schnurzegal, war es schon immer. Sacco ist kein +Journalist. Auch dass er so tut, sollte man ihm nicht +zum Vorwurf machen, es ist schwierig genug, +intelligente Comics zu verkaufen. Interessant ist hier +der ideologische Vergleich mit einem ihm +stilverwandten Künstler. Zwar wird bei Sacco eher +auf +Bill Elder (detailversessener Mad Zeichner) oder Crumb +verwiesen, aber die sture, leicht hölzerne +Pingeligkeit der Anordnung und Ausstrichelung erinnert +auch an den politisch durchgeknallteren, und +storymässig nicht weniger genialen Harold Gray, +der +wohl auch meinte, die Dinge zu zeigen wie sie sind. +









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+Seite 11 +
+Eckart Sackmann stellte hier eine neue Zeitschrift +vor, bzw ein Jahrbuch, namens 'Das Neueste von Onkel +Jup'. Was sich so salopp anhört, könnte +eines der +wichtigsten Comicprojekte in Deutschland werden. Das +Wissen um historische Comics (18tes, 19tes +Jahrhundert) ist dermassen katastrophal +lückenhaft, +dass man sich ins Mittelalter zurückversetzt +fühlt, so +wenig Daten sind über die Künstler bekannt. +Jetzt will +man versuchen, wenigstens die noch lebenden Zeitzeugen +des letzten Jahrhunderts aufzuspüren und soviel +wie +möglich Neues über das Alte +zusammenzutragen, und zwar +präzise und verläßlich. Und das nur +für den +deutschsprachigen Comic, also sehr spezifisch, was als +einengend empfunden werden könnte, aber nur so +bleibt +Raum für eingehendes Recherchieren. Die Franzosen +und +Amerikaner konzentrieren sich jedenfalls lieber auf +ihre Leute und stehen Deutscher Vorreiterschaft +desinteressiert bis feindselig gegenüber, z.B. +was +den ersten Comicroman angeht, 'Lenardo und Blandine' +von 1783. +
+Bei internationalen Verstrickungen sollte allerdings +auch ausländisches Material mitrecherchiert +werden. +Ich vermute, einer der wichtigsten frühen +Entwicklungen +für den Comic als populäres Massenmedium ist +der Einfluss der holländischen Bilderbogen seit +Mitte +des 18. Jahrhunderts auf die Neuruppiner +Bilderbogen um 1830, aus denen sich der Münchner +Bilderbogen entwickelte, der Auslöser des +modernen +Comics schlechthin. Das zu erforschen w"re nicht +unwichtig. + +









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+Seite 12, 13 +
+Ich hatte mich schon 20 Minuten vor dem sonstigen +Publikum ins Hoftheater geschlichen. Eine Aufseherin +kam auch mehrfach reingedackelt, um nachzuprüfen +ob ich +denn auch wirklich abzeichne, und nicht irgendetwas +Unpassendes im Sinne führte. Die Sinnigkeit +dieser Zeichnungen zu determinieren überlasse ich +anderen, +aber das leere Theater war auch sonst +überraschend, denn obwohl unten diverse Aufpasser +oder +Organisatoren kichernd rumgökelten, war der Raum +unheimlich still, eben ganz anders als man das +erwartet, ausser in einem Hitchcock Film. +Am neugierigsten machte natürlich die +Möglichkeit, den +Zeichner des berühmtesten französischen +Comics +leibhaftig vor sich zu sehen (das Presseinterview +hatte ich vergessen), aber der Abend war auch sonst +sehr gut. Die Bühne bestand aus zwei +Asterixdorfhäuschen, den drei Hauptfiguren (nein, +nicht Idefix) und einer Tafelrunde, oder Halbrunde, +wie am Ende eines jeden Albums. Das war eine klasse +Idee, jeder der Prämierten durfte sich dann an +die +Runde setzten. Wie oben erwähnt waren die vielen +Preise an junge deutsche Zeichner sehr willkommen, +auch weil einige der ausländischen +Preisträger gar +nicht da waren, etwa Satrapi oder Sfar. Die +Bücher +verkaufen sich auch so. Das Fehlen einer vorangehenden +'unterhaltsamen Darbietung' wurde auch nicht unbedingt +als negativ empfunden. Einziger Wermutstropfen war, +dass Harald Havas seine Übersetzungen ins +Englische +diesmal vorbereitet hatte und nicht aus dem Stegreif +vortrug. - Statt Seifenballett und anderem +Comicfremdem Klimbim (hö, hö, da sollte mal +Klaus +Cornfield mit seiner Band aufspielen) kam zum +Abschluss ein Interview mit Uderzo. Das war auch gut. +Habe zwar nicht so viel hingeguckt, weil ich noch eine +zweite Zeichnung machen wollte, aber hingehört. +Dafür +hat man schliesslich zwei Gehirnhälften und nicht +nur +eine. Am besten gefiel mir, als Platthaus nach der +Zusammenarbeit mit Goscinny fragte. Man bekam den +Eindruck, dass dessen Tod auch jetzt noch ein +wirklicher Verlust für Uderzo ist, menschlich wie +künstlerisch. Sein Wunsch, dass alle +Comicschaffenden +eine so gute Zusammenarbeit erreichen mögen, wie +er +mit Goscinny, machte mich richtig neidisch, aber auch +dankbar. +









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+Seite 14, 15, 16 +
+Leider fiel diesmal die Party im Schlossgarten aus +(mitsamt Bratwurst und Bier). Zwar war das Wetter +diesmal eh nicht danach, aber trotzdem schade. Wir +standen eine Weile im Foyer und bekamen immerhin etwas +Sekt, wurden aber nach einer Weile +hinauskomplimentiert, zum E-werk (grosser +Tanzschuppen). Dort konnte man genausowenig sitzen und +plaudern, aber ich bekam diese drei Zeichnungen +zustande. Seite 15 war in einem kleineren Raum ganz +oben, mit ausgefallenerer Musik und einer dusteren, +aber lebendigen Stimmung. - Ach so, das Bierglas auf +Seite 14 ging logischerweise zu Bruch, kurz nachdem +ich es skizziert hatte, sonst wären da noch mehr +Striche drin. + +









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+Seite 17 +
+Am Sonntag versammelten sich die Max-und-Moritz Preisträger +nochmal im'Kleinen Rathaussaal'. Von links nach rechts: Eckart +Schott, ausgezeichnet für die Herausgabe von +Juillards Eiffelturmansichten. Nunja, ausgezeichnet +(in dreifachem Sinne) waren natürlich die Bilder +selber, aber in gewisser Hinsicht auch nicht, denn +gerade die Übersetzung von unkommerzielleren +Arbeiten +wird mit den Preisen besonders gelobt. Ich hätte +allerdings Schotts 'The Spirit Archive' prämiert, +eine wahre Grosstat. Das gehört in jede +öffentliche +Bücherei, aber jede! - Dann Volker Reiche +(Tschuldigung, der sieht viel netter aus), welcher mit +seinem Strizz in der Fazz Furore macht, als bester +Zeichenstrip überhaupt, nicht nur deutscher. Zu +dieser +Aufwertung könnte man sagen, na und, was gibt's +denn +eigentlich aus den USA? Nochmal an Calvin & Hobbes +vergeben, für den Rerun? Aber es gibt ihn schon, +den +guten US Zeitungsstrip, oft nicht syndikiert, +ähnlich +wie bei uns . Auch Chris Wares Seiten werden +zeitungs-vorpubliziert, um ein bekannteres Beispiel zu +geben. Ein guter Zeitungsstrip ist etwa 'James' im +Minimalstil von Mark Tonra. Dessen witzige, und +oberelegant gezeichnete vorherige Serie 'Top of the +World' wurde noch weniger wahrgenommen. - Next in +Lain: Flix, der gemeinsam mit Jens Harder (zu weit +rechts, deswegen nicht mehr im Bild) 'beste +Eigenpublikation' gewonnen hat. - Daneben sass Harald +Havas und dann der 'beste deutschsprachige +Comiczeichner', Ulf K.. (Wenn ein abgekürztes +Wort wie +'K.' am Ende eines Satzes kommt, weiss ich nie, ob ich +noch einen Punkt dazusetzen soll, sieht dann fast aus +wie Fortsetztungspünktchen). - Hatta auch +verdient, +obwohl die dicke graphische Novelle kommt ja noch. +
+Alles in allem ziemlich gute Auswahl, auch was das +Nominieren betrifft. Das zeigt sich schon daran, dass +man sich nicht auf ein bestes Album einigen konnte. +Die deutsche Comicszene ist aber noch komplexer und +reichhaltiger als die Nominierungen über die +Jahre das +vermuten lassen. Zum Beispiel hätten zwei +Frankfurter +längst mal drankommen sollen, Hans Traxler und Clodwig Poth. +So +comicmässig wie viele der Nominierten sind die +schon +lange (schon ziemlich lange sogar). Und die beiden +Untergrundgenies Fil und Cornfield scheinen irgendwie +zu lustig zu sein um ernstgenommen zu werden. Kommen +wohl zu kultich. Besonders Fil hätte den Preis +für +besten Sprachwitz seit Erika Fuchs verdient. (Kleine +Leseempfehlung: Didis Zeugenaussage über wie er +gestorben ist und was dann mit 'Dschieses' passierte - +Didi & Stulle 2, Seite 42) +
+Trotzdem, allmählich scheint der Preis die +nachwachsenden Zeichner nicht nur zum Cartoonstil oder +Kunstmachen anzuspornen, sondern ausgesprochen +comichaften Erzählungen, was mir der richtige Weg +scheint, um eine breite, aber kultivierte Leserschaft +heranzuziehen. + +









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+Seite 18 +
+Strapazins Geburtstagsausstellung mit lustigen +Bastelarbeiten. Die Schweizer haben zwar bis jetzt +nicht gecheckt, dass meine Comics und Zeichnungen ganz +toll sind und mich drum nie abgedruckt, aber kann ja +noch werden. Der Raum war trotzdem der +unstrapazierenste im Gebäude, ruhige +Atmosphäre, +kuhle Musik. Ausserdem Massimo Milano beim Signieren +zugeguckt. Den hatte ich anscheinend schonmal +abgezeichnet, ohne mich dran zu erinnern, wie er beim +Durchblättern meines 'Angouleme 2002' Heftchens +feststellte. Tja, mit an Gesichter erinnern ist bei +mir nicht viel los, bin wohl leicht autistisch oder +so. Aber Comiczeichner haben ja bekannterweise alle +einen Knacks. + +









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+Seite 19 +
+Erster Stock beim Stand von Berlin Comix. Das ist +Andreas Michalke, der gerade signiert. Ganz links das Haar +von Calle Claus, der da 30 Sekunden sass und +meineserartens bald superberühmt wird. Hinten +bisschen +von Stand Edition Panel, dann der von Strapazin und +ganz rechts bisschen vom Reprodukt Tisch. +









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+Seite 20 +
+Auf den letzten Drücker noch diese Bild von halb +5 bis +kurz nach 6 hingekriegt, als abgeschlossen wurde, +finito. Das war die 'Panik Elektro' Ausstellung, die +cholesteringefährdet fette Untergrund-comix +Anthologie, co-publiziert von Schwarzer Turm und +Tausendsassa Wittek. Die Teppichstücke am Boden +waren +in militärischen Tarnfarben, die Tatlinesken +Konstrukte noch von einer anderen Veranstaltung +übriggeblieben, und genau so sah es auch aus, wie +aus +Strandgut zusammengezimmert. Echtmässig klasse +oder +was? Das Teppichstückchen was da rechts am Holz +hochkrabbelt durfte ich als Andenken mit nach Hause +nehmen. Im Rahmen darüber sind übrigens 4 +Seiten einer +schön ekligen (aber richtig) Geschichte von +Calle. Wer +wissen will, was da abgeht: Buch kaufen. +
+
+ +Weiteres: +
+Die Elefantenrunde wie gesagt ärgerlicherweise +verpasst, aber wenigstens die Diskussion der +sogenannten Independent Verlage mitbekommen +(Reprodukt, Edition Moderne, Zwerchfell, Gringo, +Panel). Mich interessiert besonders, welche Vorteile +ein kleiner Verlag bringt, ob er einen +ungewöhnlichen +Zeichner vielleicht mehr betüddelt als ein +grosser? So +ganz klar wurde das nicht, und es sieht so aus, als ob +alle deutschen Kleinverlage vor allem aus Comicfanatik +existieren, also kein wirkliches Gehalt abwerfen. +Vielleicht hat Edition Moderne jetzt, mit der +Herausgabe von Bestseller Satrapi, die Kurve +(an)gekratzt, nach 20 Jahre Pionierarbeit. +Selbstverständlich ist das nicht, dass Persepolis +bei +Pipapo landet, das hätten die gigantischen +Buchverlage +vermutlich auch gerne eingesackt. In England werden +die 'Buch Comics' (Ware, Sacco, Clowes, Satrapi etc) +von Cape rausgeben, die absolut nüscht getan +haben, um +solche Künstler aufzubauen, aber da gibt's auch +nix +wie Edition Moderne. Selbst in Amerika wird das +dicke Ware Stück ebenfalls nicht vom Stammverlag +Fantagraphics gedruckt, denen fehlte einfach die +Vertriebsverbindung zu den (comicfreien) +Buchläden, +was sich aber langsam bessert. Topshelf hat da eine +eindeutigere Strategie, als reiner Bildroman Verlag, +wenn auch noch klitzeklein. So kann Topshelf viele +hervorragende Sachen nicht reinnehmen, weil sie dann +zusätzliches Personal anheuern müssten, und +dafür ist +die Gewinnspanne noch zu gering. So muss die +Produktion eines Vielzeichners, wie Kochalka, auf +mehrere Kleinverlage aufgeteilt werden, um die +Kerlchen nicht zu bankrottieren. Aber, je mehr man an +Titeln zusammenträgt, je grösser die +Wahrscheinlichkeit, einen Verkaufsschlager wie Satrapi, +oder Craig Thompson an Land zu ziehen. +
+
+ Talking of which: Das Doppelinterview mit Jim Lee +und Craig Thompson fiel erst aus, weil Thompson noch +nicht da war, und beim zweiten Termin hatte die oben +genannte Independent Runde etwas überzogen, +sodass die +beiden Zeichner nochmal abdackelten, einen Kaffee +trinken. Wir witzelten schon, dass jetzt das Publikum +vielleicht auch nochmal einen Kaffee trinken sollte, +und dann die beiden Verspäteten auch nochmal etc, +aber +dann warn se doch da, und es war auch richtig klasse. +Mir schwante entsetzliche Peinlichkeit, aber die +Kombination von Superheldenstar und +Alternativcomicautor, die sich die Leute von der +Comixene da ausgedacht hatten, funktionierte obergut. +Lee war richtig sympathisch und voller +Grosszügigkeit +dem jungen Emporkömmling gegenüber, der die +meisten +Fragen des Publikums abbekam, und begann sogar selber +ihn zu interviewen. Als Thompson eine lange Latte von +europäischen Zeichnern runterrasselte, die ihn +beieinflusst hätten, witzelte Lee, ja, die +gleichen +(hätten auch ihn beeinflusst). Bei der Frage nach +storymässigen Comiceinflüssen stutzten sie +beide, das +wäre schwierig zu sagen, weil abstrakter. +Könnten sich +die Zeichner unter Euch ja auch mal fragen, welche +Comics haben Euch drehbuchmässig inspiriert? +
+
+ Diese Frage interessierte mich auch wegen eines +vorhergehenden Interviews mit Max und Igort. Anders +als bei Lee/Thompson befürchtet, widerfuhr hier +zumindest mir eine gewisse Peinlichkeit, als Igort +voll einen auf beleidigte Leberwurst machte, nachdem +ich die gar nicht abfällig gemeinte Frage +stellte, ob +die Zweitfarbe Blau in seinem Buch dekorativ oder +narrativ eingesetzt sei. Interessierte mich wirklich, +weil das Aussehen von Comics einen Rieseneinfluss auf +die Geneigtheit des Publikums hat. Igort meinte, das +wäre bei ihm rein dekorativ, weil er nämlich +zu dumm +für etwas anderes sei. - (Schluck) - Tja, ist +natürlich schön, einen so bescheidenen +Zeichner +anzutreffen, aber auch traurig, dass das Dekorative +mal wieder soviel niedriger bewertet wird als das +Narrative. Vielleicht ist diese weitverbreitete +Haltung in Comic-kreisen eine Reaktion auf die +traurige Flucht der guten Szenaristen, die sich alle +ins Fernsehgeschäft verpissen, um ordentlich +abzusahnen. - Naja, das habe ich dem Igort +natürlich +nicht erzählt. Stattdessen +Beschwichtigungsversuch mit +einem Groth/Ware Zitat, wo Groth wissen wollte was es +mit den verschiedenen Lettering Stilen auf sich +hätte +und Ware einfach meinte 'it looks pretty'. Hat ihn +auch halbwegs beruhigt. Er sagte, er wäre eben +sehr +empfindlich. Besonderes interessant war die +Erklärung, +wie es zu den stummen Passagen kam: Sein japanischer +Verleger hatte ihm erklärt, dass die Leser dort +auch +wortlose Comicseiten wie mit einer +Geräuschkulisse +versehen wahrnähmen, sodass er seine +europäische Scheu +davor ablegte. - Max hatte wie erwähnt einen +exaltierend schönen Bildband seiner +Illustrationen +rausgebracht, von dem Igort fand, er sei vielleicht ein +kleines bisschen zu schön, worauf Max meinte, das +läge +daran dass er so empfindlich sei. +
+
+ + Es gab noch jede Menge andere Dinge, die ich gerne +noch mitbekommen hätte, aber ich war auch so +schon fix +und fertig (wie das Skizzenheft, relativ fix fertig). +Die McKean Ausstellung etwa nur kurz durchhuscht. Sein +Hauptstil ist nicht so mein Fall, aber er ist so +vielseitig, dass auch manches mich beeindruckende +dabeiwar. Gerne gezeichnet hätte ich den tollen +Stand +von Moga Mobo, und noch mehr von den Besuchern. Und +noch mehr Verleger bequatscht. Und noch mehr +vielversprechende neue Zeichner aufgestöbert. Das +macht vielleicht am meisten Spass, Neuland entdecken. +Im ersten Stock lümmelten jede Menge +verschlafener +Kunststudenten herum. Statt ein Dutzend Einzeltische +der Hochschulen sollte vielleicht ein grosser +Gemeinschaftsstand organisiert werden, wo man +abwechselnd aufpasst und noch besseren Austausch +untereinander hat, und den restlichen Raum für +Ausstellung und Rumsitzen benutzen? Oder zumindest die +Ausruhlager von den Tischen verbannen, damit da +bisschen mehr Pepp in die Sache kommt. Egal, sie +konnten sich vielleicht noch nicht so gut +präsentieren, aber hatten teilweise voll was aufm +Kasten. Wenn die nicht in die Werbung abhauen, kann man +für unsere Comickultur viel Gutes und Spannendes +erwarten. + +
+
+Andy +
+
+
+(published in 'Plop') +



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+ +


+
+andybleck.de +           +Comic Festival Drawings
\ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0407.erlangen.html b/httpdocs/festivals.deutschland/d0407.erlangen.html new file mode 100644 index 0000000..e53f8fa --- /dev/null +++ b/httpdocs/festivals.deutschland/d0407.erlangen.html @@ -0,0 +1,190 @@ + Drawings made at comics festivals by Andy Bleck + +Home +           +Comic Festivals +
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+Erlangen Comics Festival 2004 +
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+1. Joost Swarte exhibition. The pictures were curiously grouped together, all huddled in one corner of each room, which was mostly empty otherwise, except those strange big signs of clouds (here) or other stuff. This however was a clue to each group of drawings, which I only realized when I slowed down and did this drawing. + +



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+Official opening, already on Wednesday (things really start on Thursday). The characters on the 'bridge' inside this atrium were holding forth on the greatness of comics etc. +



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+Also Wednesday evening, the tables are being prepared for the next day. It occured to me that this drawing would not have been much different at the end of the festival, with everything being taken down again, which was a rather curious experience. + +



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+Municicpality of Erlangen, where most of the comics stuff takes place. Entrance is behind all those flags (which have 'Comic Salon' written on them.) +The low 'wing' at the right had an exhibition of the German underground anthology 'Panik Elektro', which can be seen on the last drawing, at the bottom of this page. +



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+Apart from Swarte this was my favourite show, 'Max'. (Yes, despite the sketchiness of my drawings, I'm a big fan of ligne claire.) +



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+'Strip Bar', a small bar near the market place. Here's a discussion between Andreas Michalke (left) and Mawil (right) about similarities of making music and comics. Which they both do. Mawil got the 'ICOM' price for best independant graphic album, an autobiographical love story, or non-love story ('Wir können ja Freunde bleiben'). +



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+Slideshow about Ligne Clair comics, with the last page of Swarte's Modern Art on the wall. +



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+Swarte Interview. Doesn't look too much like him, but a nice drawing anyway, done in pencil, as I had forgotten my pens. He spoke perfect German. - Concerning the degree of realism in his pictures he explained 'Perspective is something people understand. So do I. This is the common base where one can make contact.' (Not a good translation. What he said in German was: 'Perspektive verstehen die Leute. Ich verstehe das auch. Das ist der Ramen um Kontakt zu haben.') +



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+Still Swarte, here as DJ !!! Very nice music too. +



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+'Comic Quartett', four critics discuss four recent publications, most interestingly, and controvertially Sacco's 'Palestine'. +



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+Presentation by Eckart Sackmann of a new magazine project (or Jahrbuch, Annual book), dealing with early German comics and nothing else. Sounds very promising. Title: 'Das Neueste von Onkel Jup' (The latest of Uncle Jup)



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+The main event for giving out prizes, best album, best strip, best German artist (Ulf K. !!!) etc. I was allowed in 20 Minutes earlier to start this sketch. On the stage a little Asterix village with Miraculix (?) in the middle, because Albert Uderzo was the star guest... +



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+... of whom I didn't see that much, being busy drawing, but interesting to listen to. Asked if he had any advice to young artists, he touchingly said he would wish anyone to have such a good partnership as he had with Goscinny, whom he was still missing. +



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+No final party in the Castle garden, instead this evening at this large dance club on several floors. ('E-werk') +



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+ +
+ +



+ + + +

+ +
+ +



+ + + +

+ +
+Some of the winners of the 'Max and Moritz' prizes. Ulf K. on the right. Then moderator Harald Havas, best album winner Flix, best strip winner Volker Reiche (in the prestigious Frankfurter Allgemeine) and publisher Eckart Schott (special prize for his edition of Juillard's book on the Eiffel tower. He was also nominated in the same cathegory for the German edition of the Spirit volumes, which I thought even more deserving.) - Best translated album went to M.Satrapi, but she wasn't there. +



+ + + +

+ +
+The Swiss-German magazine 'Strapazin' has a 20 year jubilee and exhibted various birthday prezzies here in this charming show. +



+ + + +

+ +
+First floor, main exhibitors hall, with the table of 'Berlin Comics'. That's the fluffy lettering on the left. +



+ + + +

+ +
+At the very last minute I managed to squeeze in this drawing. Exhibition 'Panik Elektro' with mostly German alternative cartoonists, but a few foreign stars as well, for instance James Kochalka. I too got a little Konky Kru page in there. + +
+
+Ok, hoped you liked the sketches. Feel free to say so if you notice me sitting around sketching at the next festival... +
+ + + +
+
+ +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0506.berlin.html b/httpdocs/festivals.deutschland/d0506.berlin.html new file mode 100644 index 0000000..972a13b --- /dev/null +++ b/httpdocs/festivals.deutschland/d0506.berlin.html @@ -0,0 +1,57 @@ + Drawings made at comics festivals by Andy Bleck + +Home +           +Comic Festivals +
+
+

+ Berlin 6/2005 + + +
+ + +Comic Garten + +
+
+
+
+
+ + + +
+Exhibition opening +






+ +






+ +
+The chap with the cap is Fil (creator of 'Diddi und Stulle') +






+ +
+Ben Katchor giving picture story slide show +






+ +
+Lutz Göllner +






+ +
+'Comic Garten' +
+
+
+ + + + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0510.buchmesse.html b/httpdocs/festivals.deutschland/d0510.buchmesse.html new file mode 100644 index 0000000..45c48bf --- /dev/null +++ b/httpdocs/festivals.deutschland/d0510.buchmesse.html @@ -0,0 +1,328 @@ +Frankfurter Buchmesse 2005 - Photographs by Andy Konky Kru + +
+Index +
+ +Frankfurt Bookfair/Buchmesse 2005
+Photos by Andy Konky Kru
+
+
+ +
+Marjane Satrapi
+Craig Thompson
+Manga Girlies ('Cosplay')
+Naomi Fearn / Jule K.
+Jim Lee (with Volker Reiche holding forth about the uselessness of superheroes).
+Mawil / Robert Labs
+Volker Reiche
+Albert Uderzo
+various
+ + +
+ +
+
+ + + Marjane Satrapi +
+ + + + + + + + + + + + + + + + +
+
+
+
+
+
+
+
+ +Craig Thompson + +
+
+
+ + + + + + + + + + + + +


+
+
+
+
+
+
+ + + + +Cosplay + + +
+
+ +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+





+ + +Naomi Fearn / Jule K. + +
+
+ + + + + + +


+ + +
+
+
+
+
+
+ + +Jim Lee
+ +(including Volker Reiche holding forth about the uselessness of superheroes). +
+
+ + + + + + + + + + + + +
+
+
+
+
+
+ +Mawil , Robert Labs + +
+
+ + + + + + + + + +


+
+
+
+
+
+
+ +Volker Reiche + +
+
+ + + + + + + + + + +
+
+
+
+
+
+
+
+ +Albert Uderzo + +
+
+ + +
+
+ + + + + + + +
+
+
+ +various + +
+
+ + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+ + + + + + + + + +And a few drawings + +
+
+ + +
+Craig Thompson Interview + +





+
+Marjane Satrapi +





+
+'Labor Proben' exhibition & party +




+
+'Labor Proben' exhibition & party +





+
+Discussion (Craig Thompson, Andreas Platthaus, Flix, Marjane Satrapi) +




+
+Inside stall of publishers 'Comicplus' and 'Schreiber & Leser'
+(third from right, behind the girl in front: Rossi Schreiber) +





+ +
+left to right: Eckart Schott (editor Salleck, publishes Juillard), André Juillard, Interpreter, Andreas Knigge (comics historian, ex editor-in-chief of Carlsen) +





+ +





+ +
+'Sondermann' awards (audience awards for best art, album, cartoon-book etc) +





+ +


+ + + + +Index +
+ +
+ + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0606.erlangen.html b/httpdocs/festivals.deutschland/d0606.erlangen.html new file mode 100644 index 0000000..2576479 --- /dev/null +++ b/httpdocs/festivals.deutschland/d0606.erlangen.html @@ -0,0 +1,727 @@ +Erlangen 2006 - Photos by Andy Konky Kru + +
+Index +
+ +
+
+
Erlangen, June 2006

+570 Photos by Andy Konky Kru

+ + + +
+ +Avant Verlag
+Reprodukt Konglomerat
+Andreas Michalke
+Arne Bellsdorf
+Andreas Michalke, Mawil, Arne Bellsdorf
+Fil
+Flix
+Gregor Wiggert
+Paul Karasik
+Sascha Hommer
+(Balkon)
+ + +              +              +              +              +              +		 + +Laureline Michon, Fabian, Barbara Yelin
+Cargo
+Comic Quartett
+Elefantenrunde
+Fanzine Ecke
+Fil sein Auftritt
+Frühstück, Fussgängerzone
+Max und Moritz Gala
+Halle
+Herrensahne
+Hund
+ +              +              +              +              +              + +		 + + + +Icom Preisverleihung
+Isabel Kreitz
+Kenichi Kusano
+Laska / Xoomix
+Lorenzo Mattotti
+Jacques Tardi
+Volker Reiche
+Zwerchfell/Naomi Fearn
+Verschiedenes
+Ausstellungen/Exhibitions
+ +              +              +              +              +              + +
+ + + + +
+ + +
Avant Verlag

+ + + + + + + + + + + + +











Reprodukt
+ + + + + + + +
+ +











Andreas Michalke
+ +
+ + + + + + + +
+ + +











Arne Bellsdorf
+ + + + + + + + + + + +
+ + +











Andreas Michalke, Mawil, Arne Bellsdorf
+ + + + + + + + + +
+ + +











Fil
+ + + + + + + + + + + + +
+ + +











Flix
+ + + + + + +
+ + +











Gregor Wiggert
+ + + + + + +
+ + +











Paul Karasik
+ + + + + + + + + +
+ + +











Sascha Hommer
+ + + + + + + + + +











Balkon

+ + + + + + + + + +











+ + +Laureline Michon (mit Barbara Yelin & Fabian Stoltz)

+ + + + + + + + + + + + +











+ +Cargo

+ + + + + + +











+ +Comic Quartett

+ + + + + + + + + + + + + +











+ +Elefantenrunde

+ + + + + + + + + + +











+ +Fanzine Ecke

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ +











+ +Fil sein Auftritt

+ + + + + +











+ +Frühstück, in der berühmten Fussgängerzone

+ + + + + + + + + +











+ +Max und Moritz Gala

+ + + + + + + + + + + + + +











+ +Halle

+ + + + + + + + +











+ +Herrensahne

+ + + + + + + + + +











+ +Hund

+ + + + + + +











+ +Icom Preisverleihung

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +











+ +Isabel Kreitz

+ + + + + + +











+ +Kenichi Kusano

+ + + + + + +











+ +Laska / Xoomix

+ + + + + + + +











+ +Mattotti

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +











+ +Jacques Tardi

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +











+ +Volker Reiche

+ + + + + + + + + +











+ +Zwerchfell

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +











+ +Verschiedenes

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +











+ +Ausstellungen

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


+ +
+Dédicasse hinten auf meinem Heftchen (das Lied spielte gerade auf Andreas Michalke's Plattenspieler, habe es aber anscheinend missverstanden)

+
+
+ +Das war's. +
+
+ +
+Index + +
+
+
+ + +
+ + diff --git a/httpdocs/festivals.deutschland/d0610.buchmesse.html b/httpdocs/festivals.deutschland/d0610.buchmesse.html new file mode 100644 index 0000000..54efdaa --- /dev/null +++ b/httpdocs/festivals.deutschland/d0610.buchmesse.html @@ -0,0 +1,405 @@ +Buchmesse Frankfurt 2006 - Photographs by Andy Konky Kru + +
+Index +
+Frankfurt Buchmesse 2006

+Photos von Andy Konky Kru +
+(and some drawings at the bottom of this page) +

+ + +
+Jeff Smith
+Ralf König & Volker Reiche interviewed by Dennis Scheck
+Panel discussion: 'The International Comics Market 2006
+Laborproben Party, Sachsenhausen, Moerfelder Landstrasse
+Andreas Dierks: Talk about Manga
+Hommer, Claus, Mawil, Klaus Schikowski, Leowald
+Sascha Hommer
+Calle Claus
+José Munuera interviewed by Andreas Platthaus
+Leo Leowald
+Mawil
+Cartoon des Jahres
+Jean-Pierre Gibrat
+Mordillo +
+ +
+ +Jeff Smith
+ + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +





+ +Ralf König & Volker Reiche interviewed by Dennis Scheck
+ + + + + + + + + + + + + + + + + + + + + + + + +





+ +Panel discussion: 'The International Comics Market 2006'
+ + + + + + + + + + + + + + + + + + + + + + + + + + +





+ +Laborproben Party, Sachsenhausen, Moerfelder Landstrasse
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +





+ + +Ebbelwoi Kneipe
+ + + + + + + + + + +





+ +Andreas Dierks: Talk about Manga
+ + + + + +





+Various cartoonists + +
+(left to right on first picture: Sascha Hommer, Calle Claus, Mawil, Klaus Schikowski (critic), Leo Leowald)
+ + + + + + + + + + + + + + + + +





+ +Sascha Hommer
+ + + + + +





+ +Calle Claus
+ + + + + + +
+
+
+
+
+
+ + +José Munuera interviewed by Andreas Platthaus
+ + + + + + + + + + + + + + + + + + + + + + + + + +





+ +Leo Leowald
+ + + + + + + +





+ +Mawil
+ + + + + + + + + + + + + + + + + + + + + + +





+ +Cartoon des Jahres
+ + + + + + + + + + +





+ +Jean-Pierre Gibrat
+ + + + + + + + + + + + + + + + + + +
+
+
+ + + +





+ +Mordillo
+ + + + + + + + + + + + + + + +




+ + + And a few drawings I made: + + + +




+
+ +




+




+




+ +




+




+




+ +




+




+ +




+




+




+ + +




+




+ +




+ +
+
+Index +
+
+
+ + + + + diff --git a/httpdocs/festivals.deutschland/d0706.fil_berlin_grober.unfug.html b/httpdocs/festivals.deutschland/d0706.fil_berlin_grober.unfug.html new file mode 100644 index 0000000..3b736d9 --- /dev/null +++ b/httpdocs/festivals.deutschland/d0706.fil_berlin_grober.unfug.html @@ -0,0 +1,155 @@ +Fil Berlin 2007 - Photographs by Andy Konky Kru + +
+Index +
+

+Fil +
+ (Berlin, Zossener Strasse, June 2007)

+Photos by Andy Konky Kru


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+Index + +
+ + + + + + + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0710.buchmesse-uebereinander.html b/httpdocs/festivals.deutschland/d0710.buchmesse-uebereinander.html new file mode 100644 index 0000000..e08ee2e --- /dev/null +++ b/httpdocs/festivals.deutschland/d0710.buchmesse-uebereinander.html @@ -0,0 +1,1251 @@ +Buchmesse Frankfurt 2007 - Photographs by Andy Konky Kru + +
+Index +
+ +Buchmesse Frankfurt 2007

+Photos by Andy Konky Kru
+
+
+ +
+ +Wilhelm Busch as seen by...
+Max with Carlos Santamaria
+Various Publishers
+Ralf König & Volker Reiche
+Discussion, International Comics Market
+Laborproben Party
+Exhibition: Catalan Comics Artists
+Carlos Santamaria (Catalan Comics)
+Comics im Buchhandel
+Cola (Comic Laden) des Jahres
+(Fearn, Stefan Dinter, Piwi, Mawil)
+Piwi
+ + + +              +              +              +              +              +              +		 + +Mawil
+Naomi Fearn
+Ralf Schlüter
+Scott McCloud
+Calle Claus
+Carlsen Verlag - Empfang
+Ulf K.
+Naomi looking at graphic novel from 1882
+Martin Tom Dieck
+Andreas Michalke
+Thomas Schützinger
+Laudatio for Max by Henrik Dorgathen
+ + +              +              +              +              +              +              +		 + +Ivan Alagbé
+Zep
+Scott McCloud interviewed by A. Platthaus
+50 years 'Michel Vaillant'
+Timo Wuerz
+Joscha Sauer
+Ralph Ruthe
+Fil
+Various
+Manga / Cosplay
+Cosplay Meisterschaft
+ + + +              +              +              +              +
+ + +
+ +Wilhelm Busch as seen by... + + + +
+ + +These were all drawn into my copy of a new Wilhelm Busch homage book (because of the centenery of his death), where cartoonists made up new stories with his characters. +
+Mawil, Zep and Fil didn't actually contribute to the book, just my copy. Mawil not even to that, as he drew Busch into his own latest comic ('Action Sorgenkind'). Zep offered to add his without prompting, after having had a look at the others. +
+Fil nearly doused the whole book with fizzy water. + +
+

+ +Ralf König +
+



+Flix
+



+Martin Tom Dieck
+



+Fil
+



+Joscha Sauer
+



+Volker Reiche
+



+Ulf K. +
+



+Mawil
+



+Zep
+



+
+
+
+
+
+
+
+ +Max (on the left) with Carlos Santamaria +
+
+ +



+



+



+



+



+



+



+



+



+ + + +Various Publishers +
+
+ + + +



+



+ +



+ +



+ +



+ +



+



+



+



+ + + + + +Ralf König & Volker Reiche +
+
+ + +



+



+



+



+



+



+



+



+



+



+



+



+



+



+ + +



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ + + + +



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ +



+ +



+ + +




+ + +



+ + + + + +Podium Discussion - 'The International Comics Market' + +
+

+ + +



+ +



+



+



+



+ +



+



+



+



+



+



+



+



+



+



+ + +



+ + + + + + + +Laborproben Party (Sachsenhausen, Moerfelder Landstrasse) +
+
+
+ + + +



+



+



+



+



+



+



+



+



+



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+



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+



+



+



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+



+



+



+ +



+



+ + + + +Exhibition: Catalan Comics Artists +
+




+ + + +History of Catalan Comics by Carlos Santamaria +
+ + + + +



+ + + + +Comics im Buchhandel / Graphic Novels und Autorencomics als Bestseller +
+
+
+Elisabeth Schiefer (Thalia Buchhandlung), Stefan Hauck (Börsenblatt), David Basler (Edition Moderne), Steffen Volkmer (Panini) +
+
+ + + +



+



+



+



+



+ + + + + +'Cola des Jahres' (Comics Shop of the year) +
+
+ +



+



+



+



+



+ +



+



+



+



+



+ +
+
+



+



+ +



+



+ +




+ + + + +Signierende +
+(Naomi Fearn, Stefan Dinter, Piwi, Mawil)
+




+ + +Piwi + +
+
+ + +



+



+
+



+ +



+ + +Mawil +
+
+ + +



+



+



+ + + +



+



+ +



+



+ +



+ + +



+



+



+



+



+



+



+



+



+



+



+



+ +



+ + +



+ + +



+ + +Naomi Fearn +
+
+ +



+



+ +



+



+



+



+



+



+



+



+



+ + +Ralf Schlüter +
+
+



+



+ + + +



+



+ + +



+ + +



+ +



+Comicsammler +
+
+



+



+



+ + +Scott McCloud +
+

+ +
+
+ + + +



+



+



+



+



+



+



+ + + +



+



+



+



+



+



+



+



+ + +



+ +Calle Claus +
+
+ +



+



+



+



+



+



+



+



+



+



+



+ +

+ +Carlsen Verlag - Empfang + +


+ + + +
+
+ +



+



+



+



+ + +



+



+



+



+



+



+



+



+



+



+



+



+



+ + +Ulf K. + +
+



+



+



+



+



+



+



+ + + +Naomi Fearn +
+(looking at a graphic novel from 1882) + +



+



+



+ +

+ + +Martin Tom Dieck +
+
+



+



+



+ +



+



+



+ +

+ +Andreas Michalke +
+



+



+



+



+



+



+ + + +Thomas Schützinger +



+



+



+



+

+ + +Laudatio for Max by Henrik Dorgathen +
+ + (in the Museum für Kommunikation)
+
+
+



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+



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+ + +



+ + + +Zep +

+



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+ + +

+ + +Scott McCloud interviewed by Andreas Platthaus + +
+

+
+
+ + + +



+



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+



+



+



+



+



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+ + +



+



+



+



+



+

+ + + + + +50 years 'Michel Vaillant' +
+
+
+
+
+ + + +



+



+



+



+



+



+ + + +



+



+



+



+



+



+



+



+ + +

+ + + +Timo Wuerz +

+ +



+



+



+



+

+ + + +Joscha Sauer
+
+ +



+ +



+



+



+



+



+



+



+ + + +



+



+



+ +



+ + + +



+

+ + +Ralph Ruthe
+ +



+ +



+



+



+ + + +Fil +
+
+ + +



+



+



+



+



+ + +



+



+



+ + +



+Various +
+
+



+ +



+



+



+ +



+ +



+



+



+



+



+



+



+



+



+



+



+ + + +




+ + +Manga / Cosplay +
+
+



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+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ + +



+



+



+ + +



+



+



+



+ +




+ + +



+ +Cosplay Meisterschaft +
+
+ +



+ + +



+



+



+



+



+ +



+ +



+ + +



+ +



+



+ +



+ +



+



+



+



+



+



+



+



+



+



+ +



+ +



+ +



+



+



+ +



+



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+ +



+



+



+



+ +



+



+



+



+



+



+ +



+ +



+



+ +



+



+ +



+



+ + +Auf Wiedersehen +
+
+
+
+ + +Index +
+ + + + + + + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0710.buchmesse.html b/httpdocs/festivals.deutschland/d0710.buchmesse.html new file mode 100644 index 0000000..18f58fc --- /dev/null +++ b/httpdocs/festivals.deutschland/d0710.buchmesse.html @@ -0,0 +1,1290 @@ +Buchmesse Frankfurt 2007 - Photographs by Andy Konky Kru + +
+Index +
+ +Buchmesse Frankfurt 2007

+Photos by Andy Konky Kru
+
+
+ +
+ +Wilhelm Busch as seen by...
+Max with Carlos Santamaria
+Various Publishers
+Ralf König & Volker Reiche
+Discussion, International Comics Market
+Laborproben Party
+Exhibition: Catalan Comics Artists
+Carlos Santamaria (Catalan Comics)
+Comics im Buchhandel
+Cola (Comic Laden) des Jahres
+(Fearn, Stefan Dinter, Piwi, Mawil)
+Piwi
+ + + +              +              +              +              +              +              +		 + +Mawil
+Naomi Fearn
+Ralf Schlüter
+Scott McCloud
+Calle Claus
+Carlsen Verlag - Empfang
+Ulf K.
+Naomi looking at graphic novel from 1882
+Martin Tom Dieck
+Andreas Michalke
+Thomas Schützinger
+Laudatio for Max by Henrik Dorgathen
+ + +              +              +              +              +              +              +		 + +Ivan Alagbé
+Zep
+Scott McCloud interviewed by A. Platthaus
+50 years 'Michel Vaillant'
+Timo Wuerz
+Joscha Sauer
+Ralph Ruthe
+Fil
+Various
+Manga / Cosplay
+Cosplay Meisterschaft
+ + + +              +              +              +              +
+ + +
+ +Wilhelm Busch as seen by... + + + +
+ + +These were all drawn into my copy of a new Wilhelm Busch homage book (because of the centenery of his death), where cartoonists made up new stories with his characters. +
+Mawil, Zep and Fil didn't actually contribute to the book, just my copy. Mawil not even to that, as he drew Busch into his own latest comic ('Action Sorgenkind'). Zep offered to add his without prompting, after having had a look at the others. +
+Fil nearly doused the whole book with fizzy water. + +
+

+ +Ralf König +
+



+Flix
+



+Martin Tom Dieck
+



+Fil
+



+Joscha Sauer
+



+Volker Reiche
+



+Ulf K. +
+



+Mawil
+



+Zep
+



+
+
+
+
+
+
+
+ +Max (photo 1 and 2 with Carlos Santamaria) +
+(I don't know who the artist with the nice scetchbook is - send me a mail if you do) +
+
+ + + + + + + + + +



+ + + +Various Publishers +
+
+ + + +



+



+ +



+ +



+ +



+ +



+



+



+



+ + + + + +Ralf König & Volker Reiche +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +




+ + +



+ + + + + +Podium Discussion - 'The International Comics Market' + +
+

+ + +



+ + + + + + + + + + + + + + + + + + +



+ + + + + + + +Laborproben Party (Sachsenhausen, Moerfelder Landstrasse) +
+
+
+ + + +



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ +



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ +



+



+ + + + +Exhibition: Catalan Comics Artists +
+




+ + + +History of Catalan Comics by Carlos Santamaria +
+ + + + +



+ + + + +Comics im Buchhandel / Graphic Novels und Autorencomics als Bestseller +
+
+
+Elisabeth Schiefer (Thalia Buchhandlung), Stefan Hauck (Börsenblatt), David Basler (Edition Moderne), Steffen Volkmer (Panini) +
+
+ + + + + +
+ + +



+ + + + + +'Cola des Jahres' (Comics Shop of the year) +
+
+ + + + + + + + + + + + + + + + + + + + + + + +
+ + + + +
+ + + + +



+ + + + +Signierende +
+(Naomi Fearn, Stefan Dinter, Piwi, Mawil)
+




+ + +Piwi + +
+
+ + + + +
+ + +



+ + +Mawil +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +



+ + +Naomi Fearn +
+
+ + + + + + + + + + + + +



+ + +Ralf Schlüter +
+
+ + + + + + + + + + + + + + +



+Comicsammler +
+
+ + +



+ + +Scott McCloud +
+

+ +
+
+ + + + + + + + + +


+(Scott McCloud with Didier Pasamonik) +
+ + + + + + + + + + + + + + +



+ +Calle Claus +
+ + + + + + + + + + + + + +



+ +Carlsen Verlag - Empfang + +


+ + + +
+
+ + + + + + + + + + + + + + + + + + + + + +



+ + +Ulf K. + +
+ + + + + + + + + +



+ +Naomi Fearn + +(looking at a graphic novel from 1882) +
+ + + + +



+ + +Martin Tom Dieck +
+ + + + + + + + +



+ +Andreas Michalke (with Mawil at Reprodukt booth) +
+ + + + + + + +



+ + +Thomas Schützinger +
+ + +



+ +Calle Claus +
+ +



+ + +Mawil & Arne Belsdorf in U-bahn +
+



+

+ + +Laudatio for Max by Henrik Dorgathen +
+ + (in the Museum für Kommunikation)
+
+
+ + + + + + + + + + + + + + + + +
+ + +Calle Claus, Ivan Alagbé, Sascha Hommer +
+ + + +
+ + + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + + + + + + + + + +



+ + + +Zep +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ +
+ +

+ + +Scott McCloud interviewed by Andreas Platthaus + +
+

+
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

+ + + + + +50 years 'Michel Vaillant' +
+
+
+
+
+ + + + + + + + + + + + + + + + + + + + + + +

+ + + +Timo Wuerz +

+ + + + + +

+ + + +Joscha Sauer
+
+ + + + + + + + + + + + + + + + + + + + + + +

+ + +Ralph Ruthe
+ + + + + +



+ + + +Fil +
+
+ + + + + + + + + + + + + + +



+Various +
+
+ + + + + + + + + + + + + + + + + + + + + + +
+ + +



+ + +Manga / Cosplay + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + +



+ +Cosplay Meisterschaft +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + +



+ + + + + + + + + + +

+Auf Wiedersehen +
+
+
+
+ + +Index +
+ + + + + + + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d0805.erlangen.html b/httpdocs/festivals.deutschland/d0805.erlangen.html new file mode 100644 index 0000000..660d7bc --- /dev/null +++ b/httpdocs/festivals.deutschland/d0805.erlangen.html @@ -0,0 +1,876 @@ +Erlangen 2008 - Photographs by Andy Konky Kru + +Index +
+
+ + +Erlangen 2008 +
+Photos von Andy Konky Kru +
+Also some Drawings at the bottom of this page
+ + +
+
+
+ + +Ulf K. signiert am Stand von Edition Alfons / Reddition
+Thomas Schützinger, Paul Gravett
+Reinhard Kleist, Edition 52
+Uwe Garske, Thomas Schützinger
+Vernissage 'Pomme d'Amour' - Paz Boïra, Verena Braun, Elodie Durand, Claire Lenkova, Uli Lust, +Laureline Michon, Barbara Yelin
+ICOM Preisverleihung
+Manhatten Bar
+David B. - Edition Moderne
+Ulf K. signiert bei Panel
+Presse Raum
+'La Nouvelle Bande Dessinee' + / David B., Guy Delisle
+Max und Moritz Preis
+'Global Comics' Gravett, Yao Fei La, Delisle, Hommer, Balzer
+Rautie, Max Jähling, Bert Dahlmann (Edition Panel)
+Fanzines - Luzern/Kati Rickenbach
+Edition 52 + & + Reddition
+Panel / Max Jähling
+Comicplus / Eckhart Sackmann
+Schwarzer Turm / Weissblech
+Thierry Smolderen
+Edition Mops
+
+
+
+
+
+Donnerstag, 25. Mai 2008 +








+Nürnberg +
+ + + + + + + + + +








+Ulf K. signiert am Stand von Edition Alfons / Reddition +
+ + + + + + + + +








+Edition 52 + + - +Thomas Schützinger, Paul Gravett +
+ + + + + + + + +








+Reinhard Kleist +
+ + + + + + + + +








+Uwe Garske, Thomas Schützinger +
+ + + + + + + + + +








+Vernissage 'Pomme d'Amour' - Sieben Geschichten über die Liebe +
+ + + + +Die Zeichnerinnen Paz Boïra (Spanien), Verena Braun, Elodie Durand (Frankreich), Claire Lenkova, Uli Lust, +
+Laureline Michon (Frankreich/Deutschland) und Barbara Yelin erläutern und signieren ihre neue Anthologie. +
+ + + + + + + + +
+ + + + + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+ + + + +
+ +(Schluss: Elodie Durand signiert mein Buch) + +








+Donnerstag, 25. Mai 2008 +
+ + + + + + + +








+ + +ICOM Preisverleihung +
+ + + + + + + + +








+ +Manhatten Bar +
+ + + + + + + + + + + + + + + +








+Freitag, 26. Mai 2008 +
+ + +








+ +David B. - Edition Moderne +
+ + + + + + + + + + + + + + + + + + + + + + + +
+ + + + + +



+ + + + + + +








+ +Ulf K. signiert bei Panel +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + +








+ +Presse Raum +
+ + + + + + +
+ + + + + + +








+








+ + + + + + + + + + + + + + +








+ +'La Nouvelle Bande Dessinee' + / David B., Guy Delisle + + + +
+ + + + +
+ + + +








+Freitag, 26. Mai 2008 +








+ + + +Max und Moritz Preis +
+ +
+
+ +
+ +
+
+
+ + + + + + + + + + + + + + + + + + + + + + + +








+ + + +'Global Comics' Diskussion + + +
+
+ + +(von rechts nach links: Paul Gravett, Yao Fei La, Übersetzer, Guy Delisle, Sascha Hommer, Jens Balzer) +
+ + + + + + + + + + + + + + +








+(Samstag 27.5.2008) + + + + + +








+ + + +








+ +Rautie, Max Jähling, Bert Dahlmann (Edition Panel) +
+ + + +
+
+ +
+
+
+ + + + + + + + + + + + + +








+ + + +








+ +Fanzines +
+ + + +








+Luzern +
+ +
+
+
+
+
+
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+Kati Rickenbach (mit Max und Moritz Fanzine Preis) + + +








+ +Bremen +
+ + + +
+ + + + + +








+ +Offenbach +
+ + + + + + + +
+ + + + + + + +








+ +Kassel (Schüler von Dorgathen) +
+ + + + +
+ + + + +
+
+
+
+
+
+ + + + +
+
+
+ +(Sonntag 28.5.2008) + + + +








+ +Edition 52 + & + Reddition + + +
+ + + + + + + + + + + +
+ +
+ +
+ +








+ + +








+ + +(Verschiedenes) +
+ + + + +Panel / Max Jähling + + + +
+ + + +
+ + + + + +








+ +Comicplus / Eckhart Sackmann +
+
+ + + + + +
+
+
+ + + + + + +








+ +Schwarzer Turm / Weissblech +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +








+ +Edition Mops +
+ + + +
+ + + + +








+ + + + + + +
+ + + +
+
+
+ + +
+Restbestände der Abziehbildchen die überall auslagen. + +
+
+
+ + + + + + + + + + + + + Finally, my drawings, mostly technical pen on A3 paper +


+ + + +



+ +



+ +



+ +



+ +



+ +



+ +



+ +



+ +



+ +



+ +



+ +



+ +Here I had to borrow a brush-pen as I had left my pen at the hotel - Vielen Dank, Rautie!
+ +
+
+ +



+ +



+ +



+ +



+ +



+ +



+ + +
+
+ +Schloss-theater (hinten in der Mitte mit dem Efeu) +(click to open large version in new window) +
+ + +



+ +



+ + +
+
+Luther Platz (Stadtmuseum mit Wilhelm Busch Plakat) +
+(click to open large version in new window) +
+ + +



+ + +

+Ausstellungsräume in alter Fabrik +
+(click to open large version in new window) +
+ +



+ +This one took over three hours, I made this on Monday morning, when everyone had already gone. +
+ + +



+ + +(a last sketch, waiting for my train in front of Nuremburg Station, background on the left. The round thing is some really old bit.) +
+Nürnberg, Bahnhof +
+ +
+
+ +



+ + + + + +
+ +Index + + + + + + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d9806.erlangen.html b/httpdocs/festivals.deutschland/d9806.erlangen.html new file mode 100644 index 0000000..320dd9e --- /dev/null +++ b/httpdocs/festivals.deutschland/d9806.erlangen.html @@ -0,0 +1,39 @@ + Drawings made at comics festivals by Andy Bleck + +Home +           +Comic Festivals +
+
+

+Erlangen 1998 +
+
+
+
+ +
+



+
+



+
+



+
+



+
+



+
+



+
+



+
+



+
+ +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/d9806.robert.crumb.haarlem.html b/httpdocs/festivals.deutschland/d9806.robert.crumb.haarlem.html new file mode 100644 index 0000000..0f78bda --- /dev/null +++ b/httpdocs/festivals.deutschland/d9806.robert.crumb.haarlem.html @@ -0,0 +1,80 @@ + Drawings made at comics festivals by Andy Bleck + +Home +           +Comic Festivals +
+
+

+ + + Robert Crumb
+with 'The Cheap Suit Serenaders' (Haarlem, near Amsterdam 1998)
+
+ +
+That's his signature and arrow up there, I asked him to put his name on the drawing. + +
+ +           + + +           + + +







+
+







+ +
+(Haarlem Comics Festival) - left to right:
+Iztok, Mark Hendriks, Ole Comoll Christiansen, Jakob Klemencic, Marcel Ruijters, Maaike Hartjes + +


+


+
+Jakob Klemencic, Iztok +


+



+ +
+
+ + + + + + + + +Haarlem 2000 +
+
+
+ + +
+Haarlem +



+



+ +
+Haarlem - Tintin Exhibition +



+



+ +
+Amsterdam - Lambiek Comicshop & Gallery + +


+
+ + +
+ +Home +           +Comic Festivals + + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/home.0408.caption.jpg b/httpdocs/festivals.deutschland/home.0408.caption.jpg new file mode 100644 index 0000000..4b4e88e Binary files /dev/null and b/httpdocs/festivals.deutschland/home.0408.caption.jpg differ diff --git a/httpdocs/festivals.deutschland/home.0503.comics.thing.jpg b/httpdocs/festivals.deutschland/home.0503.comics.thing.jpg new file mode 100644 index 0000000..d5a59a5 Binary files /dev/null and b/httpdocs/festivals.deutschland/home.0503.comics.thing.jpg differ diff --git a/httpdocs/festivals.deutschland/home.0508.manga.jpg b/httpdocs/festivals.deutschland/home.0508.manga.jpg new file mode 100644 index 0000000..0b88c58 Binary files /dev/null and b/httpdocs/festivals.deutschland/home.0508.manga.jpg differ diff --git a/httpdocs/festivals.deutschland/home.0603.comics.thing.jpg b/httpdocs/festivals.deutschland/home.0603.comics.thing.jpg new file mode 100644 index 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+ Juni 2005 +
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+Mai 2007
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+ + + + + + + + + + + +



+ +Oktober 2007 - Feuer und Flamme
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+ + +Dezember 2007
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+ + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/p.frankfurt.comic.stammtisch.2008.html b/httpdocs/festivals.deutschland/p.frankfurt.comic.stammtisch.2008.html new file mode 100644 index 0000000..be95614 --- /dev/null +++ b/httpdocs/festivals.deutschland/p.frankfurt.comic.stammtisch.2008.html @@ -0,0 +1,96 @@ + Photos Comicstammtisch Frankfurt von Andy Konky Kru + +
+Comic Stammtisch Frankfurt +
+2005 +    +2006 +    +2007 +    +2008 + +
+
+
+Dezember 2008
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
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+ + + + + + + +
+
+
+
+
+ + +2005 +    +2006 +    +2007 +    +2008 + +
+ + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/p.frankfurt.comic.stammtisch.html b/httpdocs/festivals.deutschland/p.frankfurt.comic.stammtisch.html new file mode 100644 index 0000000..df41236 --- /dev/null +++ b/httpdocs/festivals.deutschland/p.frankfurt.comic.stammtisch.html @@ -0,0 +1,31 @@ + Photos Comicstammtisch Frankfurt von Andy Konky Kru + +
+Comic Stammtisch Frankfurt + +
+
+
+
+
+
+
+
+ +2005 +    +2006 +    +2007 +    +2008 +
+
+ + + +




+ +
+ + \ No newline at end of file diff --git a/httpdocs/festivals.deutschland/panorama.psb1009-1020.html b/httpdocs/festivals.deutschland/panorama.psb1009-1020.html new file mode 100644 index 0000000..70c9cf4 --- /dev/null +++ b/httpdocs/festivals.deutschland/panorama.psb1009-1020.html @@ -0,0 +1,12 @@ + Drawings made at Comic Festivals + +andybleck.de +           + Comic Festival Drawings +
+ + + + + +
\ No newline at end of file diff --git a/httpdocs/festivals.deutschland/panorama.psb1021-1028.html b/httpdocs/festivals.deutschland/panorama.psb1021-1028.html new file mode 100644 index 0000000..cfc47a6 --- /dev/null +++ b/httpdocs/festivals.deutschland/panorama.psb1021-1028.html @@ -0,0 +1,12 @@ + Drawings made at Comic Festivals + +andybleck.de +           + Comic Festival Drawings +
+ + + + + +
\ No newline at end of file diff --git a/httpdocs/festivals.deutschland/panorama.psb1029-1036.html b/httpdocs/festivals.deutschland/panorama.psb1029-1036.html new file mode 100644 index 0000000..ecca1f1 --- /dev/null +++ b/httpdocs/festivals.deutschland/panorama.psb1029-1036.html @@ -0,0 +1,12 @@ + Drawings made at Comic Festivals + +andybleck.de +           + Comic Festival Drawings +
+ + + + + +
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+
+

+ + Buchmesse / Bookfair Frankfurt 2008 + +
+
+ +
+ + +My bookfair drawings this year are on the website of the 'Frankfurter Allgemeine Zeitung': + +
+
+ +Taschen Books, 2 x Labor Party, Peter Ensikat +


+ + + +Lutes, Trondheim, Rolltreppe +


+ + +Penguin in Halle 8, Comicforum, Messeturm +


+ + +2 x Reiche, Zeit +


+ + +5 x Buchpreis, 2 x Messeaufbau +


+ + +Suhrkamp Halle 4.1 +


+ + + +
+ + +
+
+
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+
+(Click on any picture to get back to the Index)
+
+
+
+ Caption - Oxford, August 2004 +
+
+ + +(Alternative Comics Convention) +
+ + + +
+
+
+ + +Here are eight sketches I made during the 'Caption' weekend, this time at a new location, Wolfson College (end of Linton Rd). This is no longer in the center, but one can walk there and see a bit of beautiful Oxford. (If you come by bus, get off at High Street and walk up Catte St, Parks Rd, through the Parks, Fyfield Rd, Chalbury Rd. and then turn right. It's less easy to find than before, but Caption isn't meant for normal punters to stroll in anyway. It's a convention for comic-artists or those who like to think of themselves as such, or upcoming talent, or hardcore 'handmade-comics'-fans. - There were a few mainstream talks as well, for instance Pat Mill's about his anti-war series 'Charlie's War', which was so interesting that I forgot to do a drawing. He's in the background on picture six, the sixth head from the left. I missed his interview on Sunday, having to psyche myself up (or down) for my own talk about Early Comics. +
+Being able to project computer scans onto a huge screen was an enormous advantage at the new venue, which will probably encourage more html-slide-shows in future. There could even be a presentation of flash-animations, such as the cute Porno-cartoon from the Belgrade comics festival . +
+
+ +No picture of the dealer's tables, sorry, must remember to do that next time. Nor the bar. Nor the workshop rooms upstairs. + + +
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+ + +
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+
+
+ +Tony Keen showing comics with Greeks and Romans in them. In German the equivalent films, such as Ben Hur, Quo Vadis etc, are called 'Sandalen-filme', because everyone is wearing sandals. So this was about sandal-comics. +
+
+ +








+
+
+
+
+ +Les Coleman and Paul Gravett chatting about mini-comics. And showing off what a cool collection they have. By the way, mini is a somewhat vague expression in this context. Larger than normal format can also be mini. Very complicated. Oh, and please buy more than a handful of my own minicomic 'Flickermouse' next time, eh? It's just 70p, like the Beano. (Even sharing a contributor). Minimal sales seem to also be a feature of mini-comics, but one needn't overdo it (or should that be 'underdo'?) +
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+
+
+Pizza-pause outside. The building really is that ugly, but the landscape is lovely. (See last picture for the view from those steps leading down to the grass, which one wasn't supposed to step on). + Not only ugly, but one could harldy find the bar, or the way back, even in comparatively sober condition. On the plus side, the conference rooms are not bad at all. +
+
+ +








+
+
+
+
+Auction of donated artworks. I forget what that bosomy sketch on the sceen was, but there were also some really great drawings to be had. I was determined not to buy anything, but when they were about to flog off a whole fantastic sketchbook by Paul 'Mooncat' Schroeder for twelve quid I got that for 13. Fools! This will be turned into one or two Dachshund minizines now... +
+
+








+
+
+
+
+The National Theatre of Earth Prime performs 'The League of Extraordinary Gentlemen'. The chap in the wooly wig is the infamous 'composite-character-of-former-caption-organizers' or somesuch. +
+
+








+
+
+
+
+Lee Kennedy and foreign guest artist Aleksandar Zograf reporting from a comics festival called 'Grrr' in Belgrade (October 2003). Apparently they make a big fuss there about us artists, which is nice. They can't afford to invite us though (meaning paying for plane and hotel), so you have to show a bit of initiative if you want to broaden your comicultural horizons. +
+Second from the left is Mardou, sketching (a lot prettier in natura), 3: Jenni Scott, 5: Andy Roberts, 6: Pat Mills, and sitting at the front, Pete Ashton, who incidentally made a really good point during my own talk, concerning the definition of comics. + +
+
+








+ +
+
+
+
+Daniel Merlin Goodbrey, Mardou, Andy Roberts (as the chairman, not doing a lot of autobio, or any, comics himself lately) (Maybe this will goad him into action) , Alexsander Zograf and Al Davison discussing autobiographical comics. At one point even artistic influences on one's comicish output were counted as part of the biography, effectively turning all comics into autobio-comics. + +
+
+








+ +
+
+ +
+
+When nearly everyone else had beetled off I made this quick sketch of the adjoining nature. +Trees, bushes, river, rivulets, boats, islands and whatnot. Typically, hardly any of the assembled cartoonists could be coaxed from the dingy bar and pursuaded to relax by the water. But for me the river more than made up for the loss of the romantic garden of the former venue. Maybe we should have an impromtu exhibtion down there, as an incentive, a sort of 'Water-caption'. For instance, short versions of Treasure Island, on the island, or of Wind in the Willows, exhibited on a boat? + + + +
+
+ +
+
+I didn't have a camera then, but here are some photos of me drawing, taken by Pete Ashton. + +
+On the first one I'm giving a talk about the history of comics. I forgot to bring a pointer thing, so used a metal pole that was lying about. + +
+The drawing of the trees at the end I made when everyone else had gone. The chap sitting behind me was actually my designated driver (reading one of the comics I had bought). +
+ +
+ + + + + + + + + +
+
+ + +Home +           +Comic Festivals +
+

\ No newline at end of file diff --git a/httpdocs/festivals.england/e0503.comix.thing.html b/httpdocs/festivals.england/e0503.comix.thing.html new file mode 100644 index 0000000..3900e0f --- /dev/null +++ b/httpdocs/festivals.england/e0503.comix.thing.html @@ -0,0 +1,80 @@ +Comixthing, London 2005 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
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+


+ + + + + +In the pub after 'The Comix Thing' (18.3.05) + + +

+Photos by Andy Konky Kru +

+ +
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+ +






+ +






+ +






+ +






+ +






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+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e0508.manga.html b/httpdocs/festivals.england/e0508.manga.html new file mode 100644 index 0000000..88b07bf --- /dev/null +++ b/httpdocs/festivals.england/e0508.manga.html @@ -0,0 +1,38 @@ + Drawings made at Comic Festivals + +Home +           +Comic Festivals +
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+(Click on any picture to get back to the Index)
+
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+



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+



+



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+
+Home +           +Comic Festivals +
+ \ No newline at end of file diff --git a/httpdocs/festivals.england/e0603.comix.thing.html b/httpdocs/festivals.england/e0603.comix.thing.html new file mode 100644 index 0000000..67302f9 --- /dev/null +++ b/httpdocs/festivals.england/e0603.comix.thing.html @@ -0,0 +1,4 @@ +Comix Thing 2006 - Photographs by Andy Home           Comic Festivals

Comix Thing (London), 2006

Photos by Andy




'The UK Web and Mini Comix Thing'



Count The Pages Competition



The Goldfish Bowl



Incarnadine



A Mad Tea Party



I Thought of It First



Papertiger
papertigercomix.co.uk



Portent Comics



Lifewaltz



Jordan Mead



Little Gamers



Crashlander



Boot Error



Blink Twice
studioblinktwice.com



Tozzer
tozzer.com



Gary Millidge - 'Strangehaven'
millidge.com



Pulp Theatre
pulptheatre.com
Daley Osiyemi (Art Director)



Jon Chandler (minding the 'Gosh' table)
info@goshlondon.com



Nice



Pantomime Press



Doppies
doppies.comicgenesis.com



Claude T.C.



The Noob



Pirates
the yak shack.co.uk/pirates
Mark Stickley






Two Sides Wide
twosideswide.com



Liz Greenfield
stuffsucks.com
+



Beaver and Steve
beaverandsteve.com
James



HousD
housd.net



The Were Bear
thewerebear.com
Dave



Mr. Maximo & Rabbit



The Girly Comic



Paul Rainey
bookoflists.co.uk



Merry-Go-Sun
Karrie Fransman



Daniel Merlin Goodbrey & Douglas Noble
e-merl.com
Daniel Merlin Goodbrey, Karrie Fransman, Douglas Noble (left)
+



David Baillie



Tales From The Flat
Powell/Lambden




Vented Spleen




A Foot Books



Arthur Goodman
favouritecrayon.co.uk



Zoi Cal



Comics Creators Guild
comicscreators.org.uk






Moochowski



Kelly Hernandez



Roger Langridge
hotelfred.pwp.blueyonder.co.uk






Uamou
uamou.com
(Uamou Ayako Takagi)









Scar Comics



Small Zone
smallzone.co.uk



Mark Stafford
bugpowder.com/stafford/index.html



Papertiger (editor Sean Duffield)
papertigercomix.co.uk

+








Ilya (Ed Hillyer) & Paul Gravett



John ('Loadsamoney') Allison
scarygoround.com


















                       


Home           Comic Festivals \ No newline at end of file diff --git a/httpdocs/festivals.england/e0603.comix.thing_alte.version.html b/httpdocs/festivals.england/e0603.comix.thing_alte.version.html new file mode 100644 index 0000000..914bfab --- /dev/null +++ b/httpdocs/festivals.england/e0603.comix.thing_alte.version.html @@ -0,0 +1 @@ +Comix Thing 2006 - Photographs by Andy Konky Kru Home           Comic Festivals


Comix Thing (London), 2006

Photos by Andy Konky Kru






'The UK Web and Mini Comix Thing'










































Count The Pages Competition
























The Goldfish Bowl


















Incarnadine


















A Mad Tea Party


















I Thought of It First


















Papertiger
papertigercomix.co.uk
























Portent Comics


















Lifewaltz


















Jordan Mead


















Little Gamers


















Crashlander


















Boot Error


















Blink Twice
studioblinktwice.com




































Tozzer
tozzer.com
























Gary Millidge - 'Strangehaven'
millidge.com












Pulp Theatre
pulptheatre.com






Daley Osiyemi (Art Director)


















Jon Chandler (minding the 'Gosh' table)
info@goshlondon.com
























Nice






Herc


















Pantomime Press
























Doppies
doppies.comicgenesis.com




































The Noob


















Pirates
the yak shack.co.uk/pirates






Mark Stickley









Two Sides Wide
twosideswide.com

















Liz Greenfield
stuffsucks.com





























Beaver and Steve
beaverandsteve.com





James












HousD
housd.net























The Were Bear
thewerebear.com





Dave












Mr. Maximo & Rabbit

















The Girly Comic























Paul Rainey
bookoflists.co.uk























Merry-Go-Sun





Karrie Fransman


















Daniel Merlin Goodbrey & Douglas Noble
e-merl.com





Daniel Merlin Goodbrey, Karrie Fransman






Douglas Noble (left)


















David Baillie























Tales From The Flat





Powell/Lambden
























Vented Spleen


























































A Foot Books



























































Arthur Goodman
favouritecrayon.co.uk



































Zoi Cal


















Comics Creators Guild
comicscreators.org.uk











































Moochowski

























Kelly Hernandez
























Roger Langridge
hotelfred.pwp.blueyonder.co.uk





























Uamou
uamou.com





(Uamou Ayako Takagi)















































Scar Comics























Small Zone
smallzone.co.uk

















Mark Stafford
bugpowder.com/stafford/index.html













Papertiger (editor Sean Duffield)
papertigercomix.co.uk






































Ilya (Ed Hillyer) & Paul Gravett









John ('Loadsamoney') Allison
scarygoround.com






























                                                   


Home           Comic Festivals \ No newline at end of file diff --git a/httpdocs/festivals.england/e0603.feuchtenberger.html b/httpdocs/festivals.england/e0603.feuchtenberger.html new file mode 100644 index 0000000..b3e5b79 --- /dev/null +++ b/httpdocs/festivals.england/e0603.feuchtenberger.html @@ -0,0 +1,51 @@ +Anke Feuchtenberger / Stefano Ricci 2006 - Photographs by Andy Konky Kru + + +Home +           +Comic Festivals +
+
+ +Anke Feuchtenberger / Stefano Ricci at the ICA, London 2006
+Photos by Andy
+ + + + + + +
+
+ + + + + +
+
+

+ +
+
+ + +
+
+

+
+
+ + + +
+
+ +Home +           +Comic Festivals + + + + + diff --git a/httpdocs/festivals.england/e0703.sfar.london.html b/httpdocs/festivals.england/e0703.sfar.london.html new file mode 100644 index 0000000..51d7a87 --- /dev/null +++ b/httpdocs/festivals.england/e0703.sfar.london.html @@ -0,0 +1,197 @@ +Joan Sfar 2007 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+

+Joann Sfar (London, March 2007)

+Photos by Andy


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +





+ + + + + + + + + + + + + + + + +
+(looking at my Caran d'Ache album) + +




+ + + + + + + + + + + + + + +




+ + + + + + +



+ + + +
+
+
+
+
+Home +           +Comic Festivals + + diff --git a/httpdocs/festivals.england/e0708.caption.html b/httpdocs/festivals.england/e0708.caption.html new file mode 100644 index 0000000..12fb662 --- /dev/null +++ b/httpdocs/festivals.england/e0708.caption.html @@ -0,0 +1,195 @@ +Caption Oxford 2007 - Photographs by Andy + +Home +           +Comic Festivals +
+
+ +

+Caption, Oxford 2007

+Photos & drawings by Andy


+ + + +Main Room with sale tables (no photos) +
+ +



+ +

+ + +Doug Noble, David Merlin Goodbrey, James McKelvey, Mark Stafford +
+ + + + + + + + +

+ +



+ +
+
+
+
+ +Historical, Mainstream and Independent Comics featuring Dreams +
+(right to left at table: Guy Lawley, Richard, Jenni Scott) +
+ + + + +
+ + + +
+
+ +
+
+
+ Bar +
+ + + + + + + + + + + + + + + + +

+ +



+ +
+
+
+
+Monster Comics Quiz +
+ + + + + +
+ + + + +
+
+
+
+
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+



+ + +
+The auction (no photos) +


+ + + +



+24 Minute Comic +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

+ +



+ + +
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+ + + + +

+ +



+ + + + + +
+
+Home +           +Comic Festivals + + + + + + + diff --git a/httpdocs/festivals.england/e0808.caption.html b/httpdocs/festivals.england/e0808.caption.html new file mode 100644 index 0000000..e3142a0 --- /dev/null +++ b/httpdocs/festivals.england/e0808.caption.html @@ -0,0 +1,125 @@ +Caption 2008 - Photographs by Andy + +Home +           +Comic Festivals +
+
+Caption Convention/ Oxford +
+9/10. August 2008
+Photos & Drawings by Andy
+

+

+ + + +
+ + + + + + + + + + + + + + + + + + + + + + + +




+ + +
+In the bus to Oxford +




+
+Oxford High Street +




+
+Panel about the new KFS Comics Weekly +




+
+In the Bar - the chap right in the middle with the goatee is Daniel Merlin Goodbrey +




+
+In the Bar +




+
+Slide show about apes in comics +




+
+Auction of comics artwork. I got a Brian Talbot. +




+
+Where I stayed. The cat had brought in a mouse during the night, but was very sweet otherwise. +




+
+Third from left is Woodrow Phoenix +




+
+Quick sketch where I waited for the bus home (which came sooner than expected) +




+ + + + +D'israeli signing at Gosh, 16. August 2008 +
+ + +
+
+ +
+
+
+



+



+



+



+



+



+



+



+



+



+



+ + + + + + +
+ +
+ +
+ + + +
+
+ + + + + + +
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e0808.underground.html b/httpdocs/festivals.england/e0808.underground.html new file mode 100644 index 0000000..567fb50 --- /dev/null +++ b/httpdocs/festivals.england/e0808.underground.html @@ -0,0 +1,84 @@ +Erlangen 2008 - Photographs by Andy Konky Kru + + +Home +           +Comic Festivals +
+ +
+ + + +Camden - London Underground, August 2008
+Photos by Andy Konky Kru
+

+ + +August 2008
+
+
+Typically, I forgot to photograph my own table !!! +
+
+ + + +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
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+
+ + + +

+ + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e0906.bravo.guibert.html b/httpdocs/festivals.england/e0906.bravo.guibert.html new file mode 100644 index 0000000..e00dfb9 --- /dev/null +++ b/httpdocs/festivals.england/e0906.bravo.guibert.html @@ -0,0 +1,230 @@ +Emile Bravo, Emmmanuel Guibert - Photos by Andy + + +Home +           +Comic Festivals +
+
+
+Émile Bravo, Emmanuel Guibert + +
+London, June 2009 - large pictures +


+
+
+Photos by Andy + + +
+
+
+ + + +
+ +Nick Njuyen, Stephen Betts + +





+ +
+ +Stephen Betts, Nick Abadzis +





+ +
+ +Ian Rakoff + +





+ +
+ +Peter Stanbury +





+ +
+ +Émil Bravo + +





+ +
+ +Émil Bravo, Paul Gravett +





+ +
+ +Émil Bravo, Paul Gravett + +





+ +
+
+ +Nick Abadzis, Émil Bravo, Paul Gravett +





+ +
+ +Émil Bravo, Paul Gravett + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert + + +





+





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert +





+ +
+ +Ellen Lindner, Stephen Betts + +





+ +
+ +Émil Bravo, Emmanuel Guibert, Nathalie Dufayet +





+ +
+ +Anne Simon, Nick Abadzis + +





+ +
+ + +





+ +
+ +Emmanuel Guibert, Nathalie Dufayet + +





+ +
+ +Emmanuel Guibert, Nathalie Dufayet +





+ +
+ +Nick Abadzis, Bart Beaty, Stephen Betts, Nick Njuyen + +





+ +
+ +Stephen Betts, Bart Beaty, Nick Njuyen +





+ +
+ +Emmanuel Guibert, Sylvia Libedinsky (Agentina) + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert +





+ +
+ +Nathalie Dufayet (looking at my latest comic) + +





+ +
+ +Nathalie Dufayet, Paul Gravett, Raphael Taylor (Hergé expert) +





+ +
+ +Nathalie Dufayet + +





+ +
+ +Nathalie Dufayet +





+ +
+ +Anne Simon, Émil Bravo + +





+ +
+ +Émil Bravo, Sarah Lightman +





+ +
+ +Émil Bravo, Sarah Lightman + +





+ +
+ +Anne Simon, Émil Bravo +





+ +
+ +Anne Simon, Émil Bravo + +





+ +
+ +Anne Simon, Émil Bravo + + + +
+
+
+
+Home +           +Comic Festivals +
+ + + + + diff --git a/httpdocs/festivals.england/e0906.bravo.guibert.small.html b/httpdocs/festivals.england/e0906.bravo.guibert.small.html new file mode 100644 index 0000000..18adbcf --- /dev/null +++ b/httpdocs/festivals.england/e0906.bravo.guibert.small.html @@ -0,0 +1,230 @@ +Emile Bravo, Emmmanuel Guibert - Photos by Andy + +Home +           +Comic Festivals + +
+ +
+
+Émile Bravo, Emmanuel Guibert + +
+London, June 2009 - small pictures +


+
+
+Photos by Andy + + +
+
+
+ +
+ +Nick Njuyen, Stephen Betts + +





+ +
+ +Stephen Betts, Nick Abadzis +





+ +
+ +Ian Rakoff + +





+ +
+ +Peter Stanbury +





+ +
+ +Émil Bravo + +





+ +
+ +Émil Bravo, Paul Gravett +





+ +
+ +Émil Bravo, Paul Gravett + +





+ +
+
+ +Nick Abadzis, Émil Bravo, Paul Gravett +





+ +
+ +Émil Bravo, Paul Gravett + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert + + +





+





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert +





+ +
+ +Ellen Lindner, Stephen Betts + +





+ +
+ +Émil Bravo, Emmanuel Guibert, Nathalie Dufayet +





+ +
+ +Anne Simon, Nick Abadzis + +





+ +
+ + +





+ +
+ +Emmanuel Guibert, Nathalie Dufayet + +





+ +
+ +Emmanuel Guibert, Nathalie Dufayet +





+ +
+ +Nick Abadzis, Bart Beaty, Stephen Betts, Nick Njuyen + +





+ +
+ +Stephen Betts, Bart Beaty, Nick Njuyen +





+ +
+ +Emmanuel Guibert, Sylvia Libedinsky (Agentina) + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert + +





+ +
+ +Paul Gravett, Émil Bravo, Emmanuel Guibert +





+ +
+ +Nathalie Dufayet (looking at my latest comic) + +





+ +
+ +Nathalie Dufayet, Paul Gravett, Raphael Taylor (Hergé expert) +





+ +
+ +Nathalie Dufayet + +





+ +
+ +Nathalie Dufayet +





+ +
+ +Anne Simon, Émil Bravo + +





+ +
+ +Émil Bravo, Sarah Lightman +





+ +
+ +Émil Bravo, Sarah Lightman + +





+ +
+ +Anne Simon, Émil Bravo +





+ +
+ +Anne Simon, Émil Bravo + +





+ +
+ +Anne Simon, Émil Bravo + + + +
+
+
+
+Home +           +Comic Festivals + +
+ + + + + diff --git a/httpdocs/festivals.england/e0906.underground.html b/httpdocs/festivals.england/e0906.underground.html new file mode 100644 index 0000000..863617e --- /dev/null +++ b/httpdocs/festivals.england/e0906.underground.html @@ -0,0 +1,101 @@ +Erlangen 2008 - Photographs by Andy + + +Home +           +Comic Festivals +
+ +
+ + + +Camden - London Underground, June 2009
+Photos by Andy
+

+ + + +
+ + + + + + + + + + + + +
+
+Daniel Merlin Goodbrey reading my mini version of 'Abstract Comics' +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+(Olli, who organised this and a bunch of similar comic thingies before - this was the last one though) + + + + + +
+
+
+
+ + + + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e0911.comica.comiket.large.html b/httpdocs/festivals.england/e0911.comica.comiket.large.html new file mode 100644 index 0000000..c195744 --- /dev/null +++ b/httpdocs/festivals.england/e0911.comica.comiket.large.html @@ -0,0 +1,657 @@ +Comica Market - Photos by Andy + + +Home +           +Comic Festivals +
+

+
+ Comica Comiket +
+ICA, London, November 2009 + +
+
+
+Photos by Andy + + +
+
+ + + +
+Mark Stafford +



+ + + + + + + + + + + + + + + + + + + + + + + + + +



+Nobrow +'Nobrow' Website +
+ + + +



+ + + + + + +



+ + + + +



+John Maybury
+'Spacebabe' Website +
+ + + +



+ + + + +



+Howard Hardiman +
+'Cute But Sad' Website +
+ + + + + + +



+ + + + + +



+Lizz Lunney +
+ +



+ + + + + + + + + + + + + + + + + + + + + + +



+Tom Humberstone
+'Solipsistic Pop' Website +
+ + + + + + + +



+ + + + + + + +



+Terry Martin
+'Murky Depths' Website +
+ + + + + +



+ + + + + + + + + + + + +



+Paul Rainey
+Paul Rainey's Website +
+ + + + + + +



+ +Martin Eden - David O'Connell +
+ + + + + +



+ + + + + +



+ + + + + + + +



+ + + + + + + + + +



+Philip Spence
+Ninja Bunny Website +
+ + + +



+Sean Azzopardi +
+ + + + +
+
+
+
+ +Steve Braund
+Atlantic Press Website +
+ + + + + + +
+
+
+
+Terome McNally
+Semiotic Cohesion Website +
+ + + + + +
+
+
+ +
+
+
+
+ + +Steffen P. Maarup
+Aben Maler Website +
+ + +
+ + + + +
+
+
+
+Francesca Cassavetti
+Fabtoons Website +
+ + + + + + +
+
+
+
+ + + + + + + + + + + + + + + + + + + +
+
+
+
+
+Jeremy Dennis, David Baillie, Daniel Merlin Goodbrey, David Noble +
+(next 23 pictures) +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+Karrie Fransman +
+ +
+
+
+
+ + + + + + + + + +
+
+
+
+ +James Nash +
+ + +
+ + + +
+
+
+
+ Richard Cowdry (in black t-shirt) ('The Bedsit Journal') +
+Richard Cowdry's Website +
+ + + + + + +



+David Ziggy Green +
+ + + +



+ + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+
+Ellen Lindner
+Ellen Lindner's Website +
+ + + + +
+
+
+ + + + + + + + + + + + + + + + + +



+Steve Braund
+Atlantic Press Website +
+ + + +



+Karrie Fransman, Steffen P. Maarup +
+ + + +



+ +Karrie Fransman, Ellen Lindner, David Baillie, Sean Azzopardi, Steffen P. Maarup +
+ + + +



+



+ + + + + +



+James McElvie
+James McElvie's Website + +
+ + + + + +



+



+ + + + + + + + + + + + + + + + + + + +



+Sean Duffield (Papertiger) +
+ + +



+ + +



+Paul Gravett +
+Paul Gravett's Website +
+ + + + +



+



+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +



+Paul Gravett, Brian Talbot +
+ + + + + +



+Mark Stafford, Brian Talbot +
+(who had just published a book together) +
+ + + + + + +



+



+ + + + + +



+



+Dan Berry (also at the top of this page, photo 3 & 4) +
+ + +



+



+ + + +
+ + + +
+ +
+
+
+ +
+Home +           +Comic Festivals +
+ + + + + diff --git a/httpdocs/festivals.england/e0911.comica.comiket.small.html b/httpdocs/festivals.england/e0911.comica.comiket.small.html new file mode 100644 index 0000000..2111926 --- /dev/null +++ b/httpdocs/festivals.england/e0911.comica.comiket.small.html @@ -0,0 +1,1330 @@ +Comica Market - Photos by Andy + + +Home +           +Comic Festivals + +
+

+
+ Comica Comiket Market +
+(at the ICA) London, November 2009 - small pictures +


+(Large pictures, click here)
+ +
+
+
+Photos by Andy + + +
+
+ + + +
+Mark Stafford +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
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+ +
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+ +
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+ +
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+ +
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+ +
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+ +
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+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+John Maybury
+'Spacebabe' Website + + + +



+ +
+John Maybury
+'Spacebabe' Website + + + +



+ +
+John Maybury
+'Spacebabe' Website +



+ + + +
+ +



+ +
+Howard Hardiman +
+'Cute But Sad' Website + +



+ +
+Howard Hardiman +
+'Cute But Sad' Website + +



+ +
+Howard Hardiman +
+'Cute But Sad' Website + +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
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+ +
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+ +
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+ +
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+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Tom Humberstone
+'Solipsistic Pop' Website + + + + +



+ +
+Tom Humberstone
+'Solipsistic Pop' Website + +



+ +
+Tom Humberstone
+'Solipsistic Pop' Website + +



+ +
+Tom Humberstone
+'Solipsistic Pop' Website + +



+ +
+ +



+ +
+Tom Humberstone
+'Solipsistic Pop' Website + +



+ +
+Tom Humberstone
+'Solipsistic Pop' Website + +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Terry Martin
+'Murky Depths' Website + + +



+ +
+Terry Martin
+'Murky Depths' Website + +



+ +
+Terry Martin
+'Murky Depths' Website + +



+ +
+Terry Martin
+'Murky Depths' Website + +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Paul Rainey
+Paul Rainey's Website + +



+ +
+Paul Rainey
+Paul Rainey's Website + +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
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+ +
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+ +
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+ +
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+ +
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+ +
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+ +
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+ +
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+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Philip Spence
+Ninja Bunny Website + + + +



+ +
+Philip Spence
+Ninja Bunny Website + +



+ +
+Philip Spence
+Ninja Bunny Website + +



+ +
+ +



+ +
+ +



+ +
+Steve Braund
+Atlantic Press Website + +



+ +
+Steve Braund
+Atlantic Press Website + +



+ +
+Steve Braund
+Atlantic Press Website + +



+ +
+Steve Braund
+Atlantic Press Website + +



+ + + + + + + + +
+ +



+ +
+Terome McNally
+Semiotic Cohesion Website + +



+ + +
+Terome McNally +Semiotic Cohesion Website +



+ +
+ + +



+ +
+Steffen P. Maarup
+Aben Maler Website + +



+ +
+Steffen P. Maarup
+Aben Maler Website + +



+ +
+Steffen P. Maarup
+Aben Maler Website + +



+ +
+Steffen P. Maarup
+Aben Maler Website + +



+ +
+Francesca Cassavetti
+Fabtoons Website + +



+ +
+Francesca Cassavetti
+Fabtoons Website +



+ +
+Francesca Cassavetti
+Fabtoons Website +



+ +
+Francesca Cassavetti
+Fabtoons Website +



+ +
+Francesca Cassavetti
+Fabtoons Website +



+ +
+Francesca Cassavetti
+Fabtoons Website +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Jeremy Dennis, David Baillie, Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Jeremy Dennis, David Baillie, Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Jeremy Dennis, David Baillie, Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Jeremy Dennis, David Baillie, Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Jeremy Dennis, David Baillie, Daniel Merlin Goodbrey +



+ +
+David Baillie, Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Jeremy Dennis, David Baillie, Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+David Baillie, Daniel Merlin Goodbrey +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+Daniel Merlin Goodbrey, Sean Azzopardi +



+ +
+David Baillie, Daniel Merlin Goodbrey +



+ +
+David Baillie, Daniel Merlin Goodbrey +



+ +
+Jeremy Dennis, David Baillie +



+ +
+Jeremy Dennis, David Baillie +



+ +
+Jeremy Dennis, David Baillie +



+ +
+ +



+ +
+ +



+ +
+Karrie Fransman +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +James Nash + +



+ +
+James Nash +



+ +
+James Nash +



+ +
+James Nash +



+ +
+ Richard Cowdry ('The Bedsit Journal'), James Nash +
+Richard Cowdry's Website + + +



+ +
+ Richard Cowdry ('The Bedsit Journal') +
+Richard Cowdry's Website +



+ +
+ Richard Cowdry ('The Bedsit Journal'), James Nash +
+Richard Cowdry's Website +



+ +
+ Richard Cowdry ('The Bedsit Journal') +
+Richard Cowdry's Website + +



+ +
+ Richard Cowdry ('The Bedsit Journal') +
+Richard Cowdry's Website + +



+ + + +
+ +



+ +
+ +



+ + + + +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Will Morris
+Will Morris's Website + +



+ +
+Will Morris
+Will Morris's Website + +



+ +
+Will Morris
+Will Morris's Website + +



+ +
+Will Morris
+Will Morris's Website + +



+ +
+Ellen Lindner
+Ellen Lindner's Website + +



+ +
+Ellen Lindner
+Ellen Lindner's Website +



+ +
+Ellen Lindner
+Ellen Lindner's Website +



+ + + +
+Steve Braund
+Atlantic Press Website + +



+ + + + + +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Steve Braund
+Atlantic Press Website +



+ +
+Steve Braund
+Atlantic Press Website +



+ +
+Karrie Fransman, Steffen P. Maarup +
+ +



+ +
+Karrie Fransman, Steffen P. Maarup +



+ +
+Karrie Fransman, Ellen Lindner, David Baillie, Sean Azzopardi, Steffen P. Maarup +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+James McElvie
+James McElvie's Website + +



+ +
+James McElvie
+James McElvie's Website +



+ +
+James McElvie
+James McElvie's Website +



+ +
+ +



+ +
+ +



+ + + + + + + +
+ +



+ +
+Paul Rainey
+Paul Rainey's Website +



+ +
+ +



+ +
+Steffen P. Maarup, Ellen Lindner
+Steffen P. Maarup/Aben Maler Website +      +Ellen Lindner's Website + + +



+ +
+ +



+ +
+ + + + + + + + + + + + + + +



+ +
+ +



+ +
+Sean Duffield (Papertiger) +



+ +
+ +



+ +
+Paul Gravett +
+Paul Gravett's Website +



+ +
+Paul Gravett +
+Paul Gravett's Website +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+Paul Gravett, Brian Talbot +



+ +
+Paul Gravett, Brian Talbot +



+ +
+Mark Stafford, Brian Talbot +



+ +
+Mark Stafford, Brian Talbot +



+ +
+Mark Stafford, Brian Talbot +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +



+ +
+ +
+
+
+
+ + + +
+Home +           +Comic Festivals + + + + + diff --git a/httpdocs/festivals.england/e1007.caption.large.html b/httpdocs/festivals.england/e1007.caption.large.html new file mode 100644 index 0000000..3d8f40c --- /dev/null +++ b/httpdocs/festivals.england/e1007.caption.large.html @@ -0,0 +1,124 @@ +Caption 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ + +Caption Convention/ Oxford +
+31. July 2010
+Photos by Andy
+ +
+
+
+
+
+Melinda Gebbie interviewed by Jennie Scott
+ +




+




+




+




+




+




+




+




+
+
+
+ +Tigers (because it's the year of the tiger, apparently)
+




+




+
+
+
+'Web Comics' +
+David O'Connell, Sydney Padua, Paul J. Holden, Philippa Rice, Lizz Lunney, Paul Gravett
+ + +




+




+




+




+




+




+




+




+




+




+
+
+
+John Miers
+ +




+




+




+




+




+




+




+




+




+




+




+




+




+




+ + +
+
+
+Cowley Road
+ + +




+




+




+




+




+




+




+




+




+




+




+ + + +




+ + + +
+Melinda Gebbie (right) with Jenni Scott, the chap on the left is Darryl Cunningham, whose interview on Sunday I missed. +



+
+Melinda Gebbie (right) with Jenni Scott +




+
+ +




+
+ +
+
+
+
+ + + + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1007.caption.small.html b/httpdocs/festivals.england/e1007.caption.small.html new file mode 100644 index 0000000..71f2f39 --- /dev/null +++ b/httpdocs/festivals.england/e1007.caption.small.html @@ -0,0 +1,134 @@ +Caption 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+ +
+ + +Caption Convention/ Oxford +
+31. July 2010
+Photos by Andy Konky Kru
+ +
+
+ (Small pictures) +


+(Large pictures, click here)
+ +
+
+
+
+
+Melinda Gebbie interviewed by Jennie Scott +
+
+ +




+




+




+




+




+




+




+




+
+
+
+ +Tigers (because it's the year of the tiger, apparently) +
+
+ +




+




+
+
+
+'Web Comics' +
+David O'Connell, Sydney Padua, Paul J. Holden, Philippa Rice, Lizz Lunney, Paul Gravett +
+
+ + +




+




+




+




+




+




+




+




+




+




+
+
+
+John Miers +
+
+ +




+




+




+




+




+




+




+




+




+




+




+




+




+




+ + +
+
+
+Cowley Road +
+
+ +




+




+




+




+




+




+




+




+




+




+




+ + +
+
+
+That's all. Next time I'll be there both days. + + + + + +
+
+
+
+ + + + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1008.comica.comiket.html b/httpdocs/festivals.england/e1008.comica.comiket.html new file mode 100644 index 0000000..d694b29 --- /dev/null +++ b/httpdocs/festivals.england/e1008.comica.comiket.html @@ -0,0 +1,581 @@ +Comiket, August 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ + +Comica Comiket + +
+ +London, Bayswater Park, Pumphouse Gallery + - +22. August 2010 + +
+
+
+ +Photos by Andy
+ +
+ +
+
+
+ +(The tables were in a tent in front of the Pumphouse Gallery, which is just a small space. Sorry, forgot to take a photo of the building.) +
+ + + +
+ +
+Claude T.C. talking to Paul Gravett
+ +



+



+ +Claude T.C. talking to Paul Gravett - behind them Terome McNally & Howard Hardiman (blue T-shirt) +



+ + +David Ziggy Green +
+



+



+



+Terome McNally - Howard Hardiman (blue T-shirt) +
+ +



+



+John Maybury (holding his comic book 'Space Babe') +
+



+John Maybury +
+



+ +Tony Bennett +
+



+William Morris +
+



+William Morris & David Lander (drawing a 'dedicasse' for me) +
+



+William Morris & David Lander (drawing a 'dedicasse' for me) +
+



+William Morris & David Lander (drawing a 'dedicasse' for me) +
+



+



+



+ +William Morris +
+



+William Morris +
+



+ +David Lander - Mark Pawson +
+ +



+David Lander +
+



+ +David Lander - Mark Pawson - Barnaby Richards +
+ +



+ +David Lander sketchbook +
+ +



+



+



+



+



+



+



+



+



+



+ +David Lander - Mark Pawson - Camila from Orbital (London comic shop) +
+ +


+ +Daniel Merlin Goodbrey explaining his exhibition +
+(by the way, if there were no rules, where would be the fun in breaking them?) +
+ +



+ +Paul Gravett
+



+Paul Gravett
+



+



+



+Daniel Merlin Goodbrey +
+



+



+



+Gavin Burrows +
+ +



+Mark Stafford +
+ +



+Mark Stafford +
+



+



+



+



+



+Daniel Merlin Goodbrey +
+



+Daniel Merlin Goodbrey +
+



+Daniel Merlin Goodbrey +
+



+Daniel Merlin Goodbrey +
+



+



+



+



+



+



+



+Daniel Merlin Goodbrey +
+



+Dave McKean +
+



+Dave McKean +
+



+Dave McKean +
+



+Dave McKean +
+



+



+ + +
+
+
+
+Dave McKean + +
+



+ +Mark Stafford +
+



+Mark Stafford +
+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ + + + +



+



+



+



+ +Soju Tanaka +
+



+Soju Tanaka +
+



+



+Geoff Coupland (peeking) +
+



+ +Mark Kessler +
+ +



+Mark Kessler +
+



+Mark Kessler +
+



+



+John Miers talking to Mark Stafford +
+ +



+John Miers talking to Mark Stafford +




+ +Tony Bennett +
+ +



+Tony Bennett +
+



+



+



+



+Jenika Ioffreda +
+



+Jenika Ioffreda +
+



+



+



+



+ +Dan Berry +
+



+Dan Berry +
+



+Dan Berry +
+



+ +
+



+



+



+



+



+



+



+Sean Azzopardi +
+



+Sean Azzopardi +
+



+Sean Azzopardi +
+



+Sean Azzopardi +
+



+Sean Azzopardi +
+



+Ellen Lindner talking to Barnaby Richards +
+ +



+Ellen Lindner talking to Barnaby Richards +
+



+Ellen Lindner +
+



+Ellen Lindner +
+



+Ellen Lindner talking to Barnaby Richards +
+



+Ellen Lindner talking to Barnaby Richards +
+



+Ellen Lindner +
+



+ +Woodrow Phoenix & Sarah McIntyre +
+



+Woodrow Phoenix & Sarah McIntyre +
+



+Woodrow Phoenix & Sarah McIntyre +
+



+Woodrow Phoenix & Sarah McIntyre +
+



+ +
+



+



+Daniel Merlin Goodbrey +
+



+Karen Rubins +
+



+ +



+



+



+ +
+



+



+



+



+



+



+Mark Pawson (talking with Peter Stanbury) +
+



+



+



+



+



+



+



+ +Cliodna Lyons +
+ +



+Cliodna Lyons - (Darryl Cunningham in the background) +
+



+ +Dan White +
+



+Dan White +
+



+ + +



+



+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+'No Brow' Table +
+



+Francesca Cassavetti +
+



+Francesca Cassavetti +
+



+Francesca Cassavetti +
+



+Francesca Cassavetti +
+



+Dan Lester +
+



+Dan Lester +
+



+



+



+ +Claude T.C. - Terome McNally +
+



+Claude T.C. - Terome McNally +
+



+



+



+David Ziggy Green - Terome McNally +
+



+Gareth Brookes - David Ziggy Green +
+



+Jimi Gherkin - Gareth Brookes - David Ziggy Green + +
+ +


+



+


+Paul Rainey +
+



+Paul Rainey +
+



+Paul Rainey (holding the final issue of 'There's no time...' +
+



+Paul Rainey (holding the final issue of 'There's no time...' +
+



+Paul Rainey (holding the final issue of 'There's no time...' +
+



+Paul Rainey (holding the final issue of 'There's no time...' +
+



+ +Ian Williams +
+



+Ian Williams +
+



+John Miers +
+



+John Miers +
+



+Soju Tanaka +
+



+Soju Tanaka +
+



+Soju Tanaka +
+



+Mark Kessler, Soju Tanaka +
+



+Mark Kessler, Soju Tanaka +
+



+Mark Kessler, Soju Tanaka +
+



+



+Daryl Cunningham, Peter Stanbury, Paul Gravett +
+



+Daryl Cunningham, Peter Stanbury, Paul Gravett +
+



+Daryl Cunningham, Peter Stanbury +
+



+ +Paul Gravett - Dave McKean +
+



+Paul Gravett - Dave McKean - Peter Stanbury +
+



+Paul Gravett - Dave McKean - Peter Stanbury +
+



+



+



+



+ +David Morris - Paul Gravett +
+



+



+Bayswater Park +
+(wherein the Comiket took place - I decided to do some sketching afterwards - had to use an umbrella) +
+



+



+ +



+



+ + +Way to railway station 'Battersea Park'
+(note chimneys from the Power Station) +
+



+



+



+



+ + + +2 x Dave McKean (sitting on the floor: Sarah McIntyre) +
+ +
+ +
+
+
+
+ +
+
+Home +           +Comic Festivals + + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1008.comica.comiket.small.html b/httpdocs/festivals.england/e1008.comica.comiket.small.html new file mode 100644 index 0000000..f8f9556 --- /dev/null +++ b/httpdocs/festivals.england/e1008.comica.comiket.small.html @@ -0,0 +1,386 @@ +Comiket, August 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ + +Comica Comiket + +
+ +London, Bayswater Park, Pumphouse Gallery +
+22. August 2010 + +
+Photos by Andy
+ +
+ + + (small pictures) +


+(Large pictures, click here)
+ +
+
+
+ +(The tables were in a tent in front of the Pumphouse Gallery, which is just a small space. Sorry, forgot to take a photo of the building.) +
+ + + +
+ +
+Claude T.C. talking to Paul Gravett
+ +



+



+ +Claude T.C. talking to Paul Gravett - behind them Terome McNally & Howard Hardiman (blue T-shirt)
s +



+ + +David Ziggy Green +
+



+



+



+Terome McNally - Howard Hardiman (blue T-shirt) +
+ +



+



+John Maybury ('Space Babe') +
+



+



+ +Tony Bennett +
+



+William Morris & David Lander (drawing a 'dedicasse' for me) +
+



+



+



+



+



+



+



+



+



+



+ +Barnaby Richards +
+ +



+



+



+



+



+



+



+



+



+



+



+Camila from Orbital (London comic shop) +
+ +


+ +Daniel Merlin Goodbrey explaining his exhibition +
+(by the way, if there were no rules, where would be the fun in breaking them?) +
+ +



+



+



+



+



+



+



+



+Gavin Burrows +
+ +



+Mark Stafford +
+ +



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+Dave McKean +
+



+



+



+



+



+



+ + +



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+ + + + +



+



+



+



+ +Soju Tanaka +
+



+



+Geoff Coupland (peeking) +
+



+



+ +Mark Kessler +
+ +



+



+



+



+John Miers (talking to Mark Stafford) +
+ +



+



+ +Tony Bennett +
+ +



+



+



+



+



+Jenika Ioffreda +
+



+



+



+



+



+ +Dan Berry +
+



+



+



+ +
+



+



+



+



+



+



+



+Sean Azzopardi +
+



+



+



+



+



+Ellen Lindner talking to Barnaby Richards +
+ +



+



+



+



+



+



+



+ +Woodrow Phoenix & Sarah McIntyre +
+



+



+



+



+ +
+



+



+



+Karen Rubins +
+



+ +



+



+



+ +
+



+



+



+



+



+



+Mark Pawson (talking with Peter Stanbury) +
+



+



+



+



+



+



+



+ +Cliodna Lyons - (Darryl Cunningham in the background) +
+ +



+



+Dan White + +
+ + +



+ +



+



+



+



+'No Brow' Table +
+



+



+



+



+



+



+



+



+



+



+Francesca Cassavetti +
+



+



+



+



+Dan Lester +
+ +



+



+



+



+



+



+



+



+David Ziggy Green +
+



+



+Jimi Gherkin - Gareth Brookes - David Ziggy Green + +
+ +


+



+


+



+



+Paul Rainey (holding the final issue of 'There's no time...' +
+



+



+



+



+ +Ian Williams +
+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+



+Bayswater Park +
+



+



+ +



+



+



+



+



+



+ + + +
+
+ +Home +           +Comic Festivals +
+ \ No newline at end of file diff --git a/httpdocs/festivals.england/e1011.comica.comiket.html b/httpdocs/festivals.england/e1011.comica.comiket.html new file mode 100644 index 0000000..8aff34d --- /dev/null +++ b/httpdocs/festivals.england/e1011.comica.comiket.html @@ -0,0 +1,348 @@ +Comiket, November 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ +Comica Comiket +
+ + +(London, Bloomsbury, Royal National Hotel) + +7. November 2010 +
+ + Large pictures +
+(Small pictures, click here)
+
+ +Photos by Andy Konky Kru
+ +
+ + +
+ +Hunt Emerson
+Steve Draund (Atlantic Press) talkin to Edd (from Last Hours)
+Dan Berry
+Paul Grist ('Kane')
+Steve Ponlacheris
+Garen Ewing
+Paul Duffield
+Peter Stanbury
+Martin Eden - Paul Rainey ('There's no time like the present')
+John Maybury ('Space Babe')
+ + + +              +              +              +              +              +              +              +              +		 + + + + + +Woodrow Phoenix
+Philippa Rice
+Ilya, Darryl Cunningham, Mark Stafford
+Tony Bennett
+Charlie Adlard
+David O'Connell
+Paul Gravett talking to Bob Lynch
+Overview
+Ian Rakof & Guy Lawley
+ + + + +              +              +              +              +              +              +
+ + + + + + +
+
+
+ +The Royal National is the venue for a monthly comic dealers mart (where I usually hang out at Guy Lawley's/Paul Hudson's table).
+ This was the first time (but very likely not the last) that the Comica Comiket event was using one of the rooms, and thusly broadened the scope of this otherwise mainly mainstream market. +
+ +
+ + + +
+



+



+ +
+
+ +Hunt Emerson +
+ +



+



+
+
+ +Steve Draund (Atlantic Press) talkin to Edd (from Last Hours) +
+ +



+



+ +
+
+ +Dan Berry +
+



+



+



+ + +



+



+



+



+



+
+
+ +Paul Grist ('Kane') +
+



+



+



+ + +



+



+



+ + +
+
+ +Steve Ponlacheris +
+



+
+
+
+ +Garen Ewing ('Rainbow Orchid') (see Interview here) +
+



+



+



+ +



+ +
+
+ +Paul Duffield +
+ +



+



+



+
+
+ +Peter Stanbury +
+



+



+
+
+ +Martin Eden - Paul Rainey ('There's no time like the present') +
+ +



+



+



+



+



+



+ +
+
+ +John Maybury ('Space Babe') +
+



+ + +
+
+ +Woodrow Phoenix +
+ +



+



+



+



+



+



+



+



+



+



+ +
+
+ +Philippa Rice +
+



+



+ +
+
+ +Ilya, Darryl Cunningham, Mark Stafford +
+ +



+



+
+
+ +Tony Bennett +
+



+
+
+ +Charlie Adlard +
+



+
+
+ +David O'Connell +
+



+



+ +
+
+
+ +



+



+
+ +
+ +Paul Gravett talking to Bob Lynch +
+ +



+



+



+ + +



+



+ +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + +
+
+ +
+
+
+
+
+
+
+And here a few photos from the main (mainstreamier) market. +
+
+ +Ian Rakof & Guy Lawley +
+



+



+



+



+



+



+
+
+(packing up) +
+ + +



+



+



+

+ +
+ +
+toodeloo pip pip +
+
+
+ +Home +           +Comic Festivals +
+ + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1011.comica.comiket.small.html b/httpdocs/festivals.england/e1011.comica.comiket.small.html new file mode 100644 index 0000000..dbe9836 --- /dev/null +++ b/httpdocs/festivals.england/e1011.comica.comiket.small.html @@ -0,0 +1,348 @@ +Comiket, November 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ +Comica Comiket +
+ + +(London, Bloomsbury, Royal National Hotel) + +7. November 2010 +
+ + small pictures +
+(Large pictures, click here)
+
+ +Photos by Andy Konky Kru
+ +
+ + +
+ +Hunt Emerson
+Steve Draund (Atlantic Press) talkin to Edd (from Last Hours)
+Dan Berry
+Paul Grist ('Kane')
+Steve Ponlacheris
+Paul Duffield
+Peter Stanbury
+Martin Eden - Paul Rainey ('There's no time like the present')
+John Maybury ('Space Babe')
+ + + +              +              +              +              +              +              +              +              +		 + + + + + +Woodrow Phoenix
+Philippa Rice
+Ilya, Darryl Cunningham, Mark Stafford
+Tony Bennett
+Charlie Adlard
+David O'Connell
+Paul Gravett talking to Bob Lynch
+Overview
+Ian Rakof & Guy Lawley
+ + + + +              +              +              +              +              +              +
+ + + + + + +
+
+
+ +The Royal National is the venue for a monthly comic dealers mart (where I usually hang out at Guy Lawley's/Paul Hudson's table).
+ This was the first time (but very likely not the last) that the Comica Comiket event was using one of the rooms, and thusly broadened the scope of this otherwise mainly mainstream market. +
+ +
+ + + +
+



+



+ +
+
+ +Hunt Emerson +
+ +



+



+
+
+ +Steve Draund (Atlantic Press) talkin to Edd (from Last Hours) +
+ +



+



+ +
+
+ +Dan Berry +
+



+



+



+ + +



+



+



+



+



+
+
+ +Paul Grist ('Kane') +
+



+



+



+ + +



+



+



+ + +
+
+ +Steve Ponlacheris +
+



+
+
+
+ +Garen Ewing ('Rainbow Orchid') (see Interview here) +
+



+



+



+ +



+ +
+
+ +Paul Duffield +
+ +



+



+



+
+
+ +Peter Stanbury +
+



+



+
+
+ +Martin Eden - Paul Rainey ('There's no time like the present') +
+ +



+



+



+



+



+



+ +
+
+ +John Maybury ('Space Babe') +
+



+ + +
+
+ +Woodrow Phoenix +
+ +



+



+



+



+



+



+



+



+



+



+ +
+
+ +Philippa Rice +
+



+



+ +
+
+ +Ilya, Darryl Cunningham, Mark Stafford +
+ +



+



+
+
+ +Tony Bennett +
+



+
+
+ +Charlie Adlard +
+



+
+
+ +David O'Connell +
+



+



+ +
+
+
+ +



+



+
+ +
+ +Paul Gravett talking to Bob Lynch +
+ +



+



+



+ + +



+



+ +
+
+ + + + + + + + + + + + + + + + + + + + + + + + + +
+
+ +
+
+
+
+
+
+
+And here a few photos from the main (mainstreamier) market. +
+
+ +Ian Rakof & Guy Lawley +
+



+



+



+



+



+



+
+
+(packing up) +
+ + +



+



+



+

+ +
+ +(The same as above as large pictures, click here)
+ + +
+toodeloo pip pip +
+
+
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1105.comica.comiket.html b/httpdocs/festivals.england/e1105.comica.comiket.html new file mode 100644 index 0000000..051e63d --- /dev/null +++ b/httpdocs/festivals.england/e1105.comica.comiket.html @@ -0,0 +1,194 @@ +Comiket, November 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ +Comica Comiket + + + + +
+28 May 2011 + + + + +
+ +Photos by Andy
+
+
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+Philippe Morin - French publisher PLG - +plg-editions.com + +
+ + + + + + + + + + + + + +
+
+
+ + + + + + + + + + +
+
+
+ + + + + + + + +
+
+
+ + + + + + + + + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1106.print.studio.html b/httpdocs/festivals.england/e1106.print.studio.html new file mode 100644 index 0000000..16a6186 --- /dev/null +++ b/httpdocs/festivals.england/e1106.print.studio.html @@ -0,0 +1,64 @@ +Comiket, November 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ +Print Studio 16. June 2011 + + + + +
+28 May 2011 + + + + +
+ +Photos by Andy Konky Kru
+
+
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1111.comica.comiket.html b/httpdocs/festivals.england/e1111.comica.comiket.html new file mode 100644 index 0000000..b8a10ea --- /dev/null +++ b/httpdocs/festivals.england/e1111.comica.comiket.html @@ -0,0 +1,266 @@ +Comiket, November 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ +Comica Comiket + + + + +
+12 November 2011 + + + + +
+ +Photos by Andy
+
+
+Brecht Evens +
+ + + + + +
+
+
+ + + + + + + + + + + + +
+
+
+(brushpen sketch, published in my little zine 'Picture London') +
+ + + +
+
+
+ + + + +
+
+
+Adam Brockbank +
+ +
+
+
+Baltic Comics table +
+ + +
+
+
+David O'Connell +
+ + +
+
+
+Douglas Noble +
+ + + + +
+
+
+Gary Northfield +
+ +
+
+
+Howard Hardiman +
+ +
+
+
+Joe Decie +
+ +
+
+
+Karrie Fransman (with her first graphic novel) +
+ + + + + + +
+
+
+Katie Green +
+ + +
+
+
+Liam Cobb +
+ +
+
+
+Lizz Lunney +
+ +
+
+
+Nick Edwards +
+(Lovely sketchbook, eh?) +
+ + + + + + +
+
+
+Nicolas Rossert +
+ +
+
+
+Posy Simmons on the podium with Paul Gravett (sorry, I should have taken a better photo) +
+ + +
+
+
+Philippa Rice +
+ + + +
+
+
+Roger Langridge +
+ + + +
+
+
+Sally-Ann Hickman, Francesca Ghermandi +
+ + +
+
+
+Timothy Winchester +
+ +
+
+
+Tom Humberstone +
+ +
+
+
+Tony Bennett +
+ +
+
+
+ +
+
+
+Richy K. Chandler +
+ +
+
+
+Dan Berry +
+ +
+
+
+ + + + + +From the bus on the way home +
+ + + + +
+
+
+On the day before (11.11.11) (we'll have to wait until 2022 to get a similarly punchy number) +
+I went to a small press thing at Conway Hall - not many comics, but Tom Gauld had a table: + +
+ + + + + + + + + + + + + + + + + +
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1204.comica.comiket.html b/httpdocs/festivals.england/e1204.comica.comiket.html new file mode 100644 index 0000000..f1c2cf5 --- /dev/null +++ b/httpdocs/festivals.england/e1204.comica.comiket.html @@ -0,0 +1,189 @@ +Comiket, November 2010 - Photographs by Andy Konky Kru + +Home +           +Comic Festivals +
+
+ +Comica Comiket + + + + +
+21 April 2012 + + + + +
+ +Photos by Andy Konky Kru
+ +
+ +Jaimie Huxtable (on the left) +
+ + +
+
+ + + + + + + + + + +
+
+
+John Allison interviewed by Alex Fitch +
+ + + + +
+
+
+Douglas Noble +
+ +
+
+
+Dan Berry +
+ + +
+
+
+Craig Conlan +
+ + + + +
+
+
+Daryl Cunningham +
+ + +
+
+
+Sally-Ann Hickman & Francesca Cassavetti +
+ + + +
+
+
+Isabel Greenberg +
+ + + + + + +
+
+
+Simone Lia (and Tom Gauld) +
+ + + + + + + + + + +
+
+
+Lizzie from Selfmadehero +
+ +
+
+
+Luke Pearson & Sarah McIntyre +
+ + +
+
+
+Megan +
+ + +
+
+
+Philippa Rice +
+ + + + +
+
+
+Rosie +
+ + +
+
+
+Mark Stafford +
+ + + +
+
+
+ +
+
+
+Marten Vande Wiele (with his salacious graphic novel from Knockabout) +
+ + + + + + +
+Here he's drawing my request for 'two insects, before the party and after the party' + + + + + + +
+
+
+
+
+Home +           +Comic Festivals + \ No newline at end of file diff --git a/httpdocs/festivals.england/e1206.london.elcaf.html b/httpdocs/festivals.england/e1206.london.elcaf.html new file mode 100644 index 0000000..31643a9 --- /dev/null +++ b/httpdocs/festivals.england/e1206.london.elcaf.html @@ -0,0 +1,315 @@ + Andy Bleck 2012 + +
+Home +           +Comic Festivals + +
+Scroll Down !
+ + London, 'ELCAF' - 17. June, 2012 +
+Photos by Andy + + +


+(Sorry, forgot to take a photo of the cool exterior wallpainting - check other websites) +
+ + +
+ + + + +
+
+
+Dan Berry +
+ + + + + + + + +
+
+
+
+ + + + + + + + + + + +
+
+
+Darryl Cunningham (blue T-shirt) +
+ + +
+
+
+Karrie Fransman, Darryl Cunningham +
+ + + + + + +
+
+
+Blex Bolex +
+ + + + + + + + + + +
+
+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+Luke Pearson +
+ + + + + + + +
+
+
+Nobrow Table +
+ + + + + + + +
+
+
+Gosh Table +
+ + + + + + + + + + + + +
+
+
+Isabel Greenberg +
+ + + + + + + + + + +
+
+
+ +
+ + + + + + + + +
+
+
+Tom Humberstone (Sollipsistic Pop) - Joe Decie +
+ + + + + +
+
+
+Darryl Cunningham +
+ + + + + + + + + +
+
+
+Phillippa Rice +
+ + + + + + + +
+
+
+Soyu Tanaka +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +


+ + + + + +
+
+
+ + + +


+ +
+ +


+ +
+ +


+ +
+ + +


+ + + + +

+Home +           +Comic Festivals +
diff --git a/httpdocs/festivals.england/e1207.bd.passion.institut.francais.html b/httpdocs/festivals.england/e1207.bd.passion.institut.francais.html new file mode 100644 index 0000000..ce33530 --- /dev/null +++ b/httpdocs/festivals.england/e1207.bd.passion.institut.francais.html @@ -0,0 +1,204 @@ + Andy Bleck 2012 + +
+Home +           +Comic Festivals + +



Photos & Drawings by Andy
+Scroll Down !
+


+ + London, 'Comics Festival BD-Passion' at Institut Français May, 2012 + +


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
+
+
+ + (pencil, size A4) +
+
+
+ +
+Allesandro Barbucci +


+ +
+outside (expressionist architecture) +


+ +
+ +


+ +
+George Rosinski +


+ +
+Tom Gauld +


+ +
+Tom Gauld, Guy Delisle +


+ +
+Tom Gauld, Guy Delisle + +


+ +
+Johnatan Ross +


+ +
+David B. +


+ +
+Luke Pearson, Allesandro Barbucci +


+ +
+Luke Pearson, Allesandro Barbucci + +


+ +
+Pat Mills, Kevin O'Neill +


+ +
+Pat Mills, Kevin O'Neill +


+ +
+Guy Delisle +


+ +
+Guy Delisle + +


+ +
+David B. +


+ +
+Luke Pearson, David B. (in the background, on the left is the Gosh table) +


+ +
+George Rosinski +


+ +
+George Rosinski +


+ +
+Karrie Fransman lecture +


+ +
+Paul Gravett, Nicolas Duval +


+ + + + + + +

+Index +
diff --git a/httpdocs/festivals.england/e1211.robert.crumb_aline.crumb.html b/httpdocs/festivals.england/e1211.robert.crumb_aline.crumb.html new file mode 100644 index 0000000..bf9606b --- /dev/null +++ b/httpdocs/festivals.england/e1211.robert.crumb_aline.crumb.html @@ -0,0 +1,61 @@ + Andy Bleck 2012 + +
+Home +           +Comic Festivals + + +



Photos by Andy
+Scroll Down !
+


+ + Robert Crumb & Aline Crumb in London, Foyles November 2012 + +


+ + + + + + + + + + + + + + + + + + + + + + + + + + + +





+ + + + + + + + + + + + + +

+Home +           +Comic Festivals +
diff --git a/httpdocs/festivals.england/e1212.rn.talbot.emmerson.hine.eden.html b/httpdocs/festivals.england/e1212.rn.talbot.emmerson.hine.eden.html new file mode 100644 index 0000000..1d5b44e --- /dev/null +++ b/httpdocs/festivals.england/e1212.rn.talbot.emmerson.hine.eden.html @@ -0,0 +1,98 @@ + Andy Bleck 2012 + +
+Home +           +Comic Festivals + + +



Photos by Andy
+Scroll Down !
+


+ + Hunt Emmerson / Brian Talbot - London Comic Mart at 'Royal National Hotel' December 2012 + +


+ + + + + + + + + + + + + + + + + + + + + + + + + +


+


+


+ + Paul Hudson Table +
+ + + + + + +


+


+


+ + David Hine - London Comic Mart at 'Royal National Hotel' April 2012 + +


+ + + + + + + + + + +


+


+


+ + Martin Eden - London Comic Mart at 'Royal National Hotel' June 2012 + +


+ + + + + + + + + + + + + + +


+ + +

+Home +           +Comic Festivals +
diff --git a/httpdocs/festivals.england/e1212.score.script.exhibition.html b/httpdocs/festivals.england/e1212.score.script.exhibition.html new file mode 100644 index 0000000..96ef3de --- /dev/null +++ b/httpdocs/festivals.england/e1212.score.script.exhibition.html @@ -0,0 +1,54 @@ + Andy Bleck 2012 + +
+Home +           +Comic Festivals + + +



Photos by Andy
+Scroll Down !
+


+ + 'Score Script' Exhibition, Finissage December 2012 + +


+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +

+Home +           +Comic Festivals +
diff --git a/httpdocs/festivals.england/e1304.comica.comiket.html b/httpdocs/festivals.england/e1304.comica.comiket.html new file mode 100644 index 0000000..e8d0c9d --- /dev/null +++ b/httpdocs/festivals.england/e1304.comica.comiket.html @@ -0,0 +1,257 @@ +Comica Market - Photos by Andy + + +Home +           +Comic Festivals +
+

+
+ Comica Comiket +
+Kings Cross, London, April 2013 + +
+
+
+Photos by Andy + + +
+
+
+
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+
+(Click on any picture to get back to the Index)
+
+
+
+ + + Oxford - 'Caption' + +
+
+
+
+ 2010 + +
+only went for the Saturday this time +
+
+
+Melinda Gebbie (right) with Jenni Scott, the chap on the left is Darryl Cunningham, whose interview on Sunday I missed. +




+
+Melinda Gebbie (right) with Jenni Scott +




+
+ +




+
+ +




+
+ + + + + +
+
+
+ Oxford - Caption Convention 2008 + +
+
+
+In the bus to Oxford +




+
+Oxford High Street +




+
+Panel about the new KFS Comics Weekly +




+
+In the Bar - the chap right in the middle with the goatee is Daniel Merlin Goodbrey +




+
+In the Bar +




+
+Slide show about apes in comics +




+
+Auction of comics artwork. I got a Brian Talbot. +




+
+Where I stayed. The cat had brought in a mouse during the night, but was very sweet otherwise. +




+
+Third from left is Woodrow Phoenix +




+
+Quick sketch where I waited for the bus home (which came sooner than expected) +


+
+ + + + + + + +
+
+
+ + Oxford, Caption 2007 - Large pictures +


+(Small pictures, click here)
+ +
+
+ +



+ +



+ +



+ +



+ +



+ +



+



+ + + +
+
+
+ Caption - Oxford, August 2004 +
+
+ + +(Alternative Comics Convention) +
+ + + +
+
+
+ + +Here are eight sketches I made during the 'Caption' weekend, this time at a new location, Wolfson College (end of Linton Rd). This is no longer in the center, but one can walk there and see a bit of beautiful Oxford. (If you come by bus, get off at High Street and walk up Catte St, Parks Rd, through the Parks, Fyfield Rd, Chalbury Rd. and then turn right. It's less easy to find than before, but Caption isn't meant for normal punters to stroll in anyway. It's a convention for comic-artists or those who like to think of themselves as such, or upcoming talent, or hardcore 'handmade-comics'-fans. - There were a few mainstream talks as well, for instance Pat Mill's about his anti-war series 'Charlie's War', which was so interesting that I forgot to do a drawing. He's in the background on picture six, the sixth head from the left. I missed his interview on Sunday, having to psyche myself up (or down) for my own talk about Early Comics. +
+Being able to project computer scans onto a huge screen was an enormous advantage at the new venue, which will probably encourage more html-slide-shows in future. There could even be a presentation of flash-animations, such as the cute Porno-cartoon from the Belgrade comics festival . +
+
+ +No picture of the dealer's tables, sorry, must remember to do that next time. Nor the bar. Nor the workshop rooms upstairs. + + +
+
+
+ + +
+
+
+
+ +Tony Keen showing comics with Greeks and Romans in them. In German the equivalent films, such as Ben Hur, Quo Vadis etc, are called 'Sandalen-filme', because everyone is wearing sandals. So this was about sandal-comics. +
+
+ +








+
+
+
+
+ +Les Coleman and Paul Gravett chatting about mini-comics. And showing off what a cool collection they have. By the way, mini is a somewhat vague expression in this context. Larger than normal format can also be mini. Very complicated. Oh, and please buy more than a handful of my own minicomic 'Flickermouse' next time, eh? It's just 70p, like the Beano. (Even sharing a contributor). Minimal sales seem to also be a feature of mini-comics, but one needn't overdo it (or should that be 'underdo'?) +
+
+








+
+
+
+
+Pizza-pause outside. The building really is that ugly, but the landscape is lovely. (See last picture for the view from those steps leading down to the grass, which one wasn't supposed to step on). + Not only ugly, but one could harldy find the bar, or the way back, even in comparatively sober condition. On the plus side, the conference rooms are not bad at all. +
+
+ +








+
+
+
+
+Auction of donated artworks. I forget what that bosomy sketch on the sceen was, but there were also some really great drawings to be had. I was determined not to buy anything, but when they were about to flog off a whole fantastic sketchbook by Paul 'Mooncat' Schroeder for twelve quid I got that for 13. Fools! This will be turned into one or two Dachshund minizines now... +
+
+








+
+
+
+
+The National Theatre of Earth Prime performs 'The League of Extraordinary Gentlemen'. The chap in the wooly wig is the infamous 'composite-character-of-former-caption-organizers' or somesuch. +
+
+








+
+
+
+
+Lee Kennedy and foreign guest artist Aleksandar Zograf reporting from a comics festival called 'Grrr' in Belgrade (October 2003). Apparently they make a big fuss there about us artists, which is nice. They can't afford to invite us though (meaning paying for plane and hotel), so you have to show a bit of initiative if you want to broaden your comicultural horizons. +
+Second from the left is Mardou, sketching (a lot prettier in natura), 3: Jenni Scott, 5: Andy Roberts, 6: Pat Mills, and sitting at the front, Pete Ashton, who incidentally made a really good point during my own talk, concerning the definition of comics. + +
+
+








+ +
+
+
+
+Daniel Merlin Goodbrey, Mardou, Andy Roberts (as the chairman, not doing a lot of autobio, or any, comics himself lately) (Maybe this will goad him into action) , Alexsander Zograf and Al Davison discussing autobiographical comics. At one point even artistic influences on one's comicish output were counted as part of the biography, effectively turning all comics into autobio-comics. + +
+
+








+ +
+
+
+
+When nearly everyone else had beetled off I made this quick sketch of the adjoining nature. + + + + +Trees, bushes, river, rivulets, boats, islands and whatnot. Typically, hardly any of the assembled cartoonists could be coaxed from the dingy bar and pursuaded to relax by the water. But for me the river more than made up for the loss of the romantic garden of the former venue. Maybe we should have an impromtu exhibtion down there, as an incentive, a sort of 'Water-caption'. For instance, short versions of Treasure Island, on the island, or of Wind in the Willows, exhibited on a boat? +
+
+ + + + +andybleck.de +           +Comic Festival Drawings
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+  + + + + \ No newline at end of file diff --git a/httpdocs/index.text.html b/httpdocs/index.text.html new file mode 100644 index 0000000..115e87e --- /dev/null +++ b/httpdocs/index.text.html @@ -0,0 +1,211 @@ + konkykru.com ('Andy's Early Comics Archive' and some other stuff) + +
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+ + + + + + + + + + + + +
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+ + +
+ + + +
+ +Andral, G.
+B., F. von
+Bahr, Johann
+Barnes,Culmer
+Baric
+Beard, Frank
+Bernard, Edouart
+Blashfield,A.D.
+Branston, Robert
+Budd, C.J.
+Bunner, R.F.
+Burret, Léonce
+Busch, Wilhelm
+Caldecott, Randolph
+Caran d'Ache
+Chicki, Georges
+Chinese (c.18th)
+Chip   (F.P.W.Bellew)
+Christophe (Georges Colomb) 
+Cohl, Emile
+Clark, J.B
+Crowquill, Alfred
+Cruikshank, George
+Cyl, C.
+              +              +                  +		 +Daggy A.S.
+Dalrymple
+Deb
+Dépaquit, Jules
+Dio-Biding
+Doës
+Douhin, A.
+Doré, Gustave
+Doyle, Richard
+Dunk,M.
+Edwina
+ +Fau, Fernand
+Frost, A.B.
+Gerlach
+Gillray, John
+Godefroy
+Goez, Joseph Franz von
+Goodes, W.M.
+Graetz, F.
+Grandville
+Griffin, Syd B.
+Heath, William
+Herford, O.
+Herriman, George (Krazy Kat)    
+ + + +              +              +                  +		 +Hoffmann (Struwwelpeter)    
+Hogarth, William
+Hopkins, Livingstone
+Howarth, F.M.
+Jensen, A.
+Keene. Charles
+Kemble, W.C.
+Kerlie?
+Knerr, Harold
+C. Koch
+Lagemann, Ch.
+Le Bocain
+Leech, John
+Leguey, Luc
+Lemot, Achille (Uzès)
+Leoy
+Le Petit, Alfred
+Lobrichon 
+Malatesta, H.
+Mandl, M.
+Maurier, George de
+May, Chas
+Mayer, Hy
+McCay, Winsor (Little Nemo)    
+ +              +              +                  +		 + +McDougal, Walt
+Mclenan, John
+Meggendorfer, Lothar
+Mob
+Monnier, M.
+Moriss
+Newell, Peter
+ +Oberländer, Adolf
+Opper, Fred 1890s
+Opper, Fred 1901-1903
+Payne, Charles M.
+Photo Comics
+Piery, Emile
+Phillipp, H.W.
+Pommerhanz, Karl
+Pughe, J.S.
+Rabier. Benjamin
+Radiguet, M.
+Reinhardt, Carl
+Reichert
+Reinicke, Emil
+Rey, K.
+Reznicek, F.
+Richards, F.T.
+ + +              +              +                  +		 + +Richards, P. (1907 article)
+Ross & Duval (Ally Sloper)
+Rowlandson (Dr Syntax)
+Rusden, A.
+Scherenberg, H.
+Schönborn, R.
+Schliessmann, H.
+Schmelzer
+Schmidthammer, Arpad
+Shepherd, James A.
+Storch, C.
+Storkmann
+Sullivan, James
+Tenniel, John
+Theele, John
+Töpffer, Rodolphe
+Tucker, M.
+ +Vaiselow, M.
+Verbeek, Gustav
+Vitou, S.
+ +      +
+ +Unidentified + + + + +
+
+ + + + + + \ No newline at end of file diff --git a/httpdocs/index.version.2011.08.html b/httpdocs/index.version.2011.08.html new file mode 100644 index 0000000..cc0f98b --- /dev/null +++ b/httpdocs/index.version.2011.08.html @@ -0,0 +1,434 @@ + konkykru.com + +
+ + +
+
+ + + +Andy's Early Comics Archive + + + +
+
+ +(click here for the Picture Index) +
+
+ + + + + +
+ +Andral, G.
+B., F. von
+Bahr, Johann
+Baric
+Beard, Frank
+Bernard, Edouart
+Budd, C.J.
+Bunner, R.F.
+Burret, Léonce
+Busch, Wilhelm
+Caldecott, Randolph
+Caran d'Ache
+Chicki, Georges
+Chinese (probably late 18th c.)
+Chinks
+Chip   (F.P.W.Bellew)
+Christophe (Georges Colomb)
+Cohl, Emile
+Clark, J.B
+Crowquill, Alfred
+Cruikshank, George
+Cyl, C.
+ + +          +          +          +          +		 +Daggy A.S.
+Dalrymple
+Deb
+Dépaquit, Jules
+Dio-Biding
+Doës
+ +Douhin, A.
+Doré, Gustave
+Doyle, Richard
+Dunk, R.M.
+Fau, Fernand
+Frost, A.B.
+Gerlach
+Gillray, John
+Godefroy
+Goez, Joseph Franz von
+Goodes, W.M.
+Graetz, F.
+Grandville, J.J.
+Griffin, Syd B.
+Heath, William
+Herford, O.
+ +          +          +          +          +		 +Hoffmann, Heinrich
+Hogarth, William
+Hopkins, Livingstone
+Howarth, F.M.
+Jensen, A.
+Keene. Charles
+Kemble, W.C.
+Kerlie?
+C. Koch
+Lagemann, Ch.
+Le Bocain
+Leech, John
+Leguey, Luc
+Lemot, Achille (Uzès)
+L., S.
+Leoy
+Le Petit, Alfred
+Lobrichon, Timoléon Marie
+Malatesta, H. ?
+Mandl, M.
+Maurier, George de
+May, Chas
+ +          +          +          +          +		 + +Mayer, Hy
+McCay, Winsor
+McDougal, Walt
+Mclenan, John
+Meggendorfer, Lothar
+Mob
+Monnier, M.
+Moriss
+Newell, Peter
+Oberländer, Adolf
+Opper, Fred (before 1900)
+Opper, Fred (after 1900)
+Photo Comics
+Piery, Emile
+Phillipp, H.W.
+Pommerhanz, Karl
+Pughe, J.S.
+ + +Rabier. Benjamin
+Reinhardt, Carl
+Reichert
+ +Reinicke, Emil
+ +Rey, K.
+ +          +          +          +          +		 +Richards, F.T.
+Richards, P.
+Ross, Charles & Marie Duval
+ +Rowlandson, Thomas (Dr Syntax)
+Rusden, A.
+Scherenberg, H.
+Schönborn, R.
+Schliessmann, H.
+Schmelzer
+Schmidthammer, Arpad
+Shepherd, James A.
+Storch, C.
+Storkmann
+Sullivan, T.E.
+Tenniel, John
+Theele, John
+Töpffer, Rodolphe
+Tucker, M. ?
+ + +Vaiselow, M.
+Verbeek, Gustav
+Verbeek, Gustav (after 1900)
+Vitou, S.
+ + +
+ +Unidentified Artists +       +Early Comics in print +
+
+The same material presented by country/language: +
+ +Early British Comics +       +Early German Comics +       + +Early French Comics +       + + +Early American Comics +
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+ + +Little Fanzines presenting comics by a range of artists, which I 'published'. + +
+ +   +   +   +   +   +   +   +   + + + +
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+ +
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+Some of my non-comics: +
+ + + +
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+Paintings 2009
+Small +       +Large +
+		 +
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+Drawings 2010
+Small +       +Large +
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+Photos: London Windows
+Small +       +Large + + +
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+  + + + + \ No newline at end of file diff --git a/httpdocs/index.version.2011.10.html b/httpdocs/index.version.2011.10.html new file mode 100644 index 0000000..ec6a580 --- /dev/null +++ b/httpdocs/index.version.2011.10.html @@ -0,0 +1,147 @@ + konkykru.com + + +
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+eXTReMe Tracker +
+  + + + + \ No newline at end of file diff --git a/httpdocs/index.version.2011.10.weiteres.html b/httpdocs/index.version.2011.10.weiteres.html new file mode 100644 index 0000000..e1348c2 --- /dev/null +++ b/httpdocs/index.version.2011.10.weiteres.html @@ -0,0 +1,270 @@ + konkykru.com + +
+ + + +
+
+ + +
+ +This is a presentation of historical comics, intended to enlighten and amuse students of comics history, (and to provide their teachers with reference material.) + +Maybe these early comics will also inspire some of today's comics artists. + +Most were scanned by me, ususally from books or magazines lent to me. Now and then someone sends a dvd with scans made from his own collection. + +The Archive is devided into eight chronological sections. The artists in sections 4 to 8 are listed alphabetically. + + +
+ +  +  + + +  +
+ +  + +  + +
+
+A-Z Index & Country Index +     +     +     +     +     +(unidentified artists 1860-1900) +
+
+
+ + +
+
+I will place some of the additions here, to let you know what's new. +
+
+ + +13.September 2011 +
+ + +Peter Newell (1896) + + +

+ +
+There's another Newell strip here: Newell Index page. +
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+ + +Information +     +Publishers     +Early Comics     +Message Boards     +Online Comics     +Other Links     +London Art Exhibitions +

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+ +Angoulême +     +Erlangen +     +Oxford/Caption +     +London +     +Frankfurt/Buchmesse +     +Hamburg +     +Berlin +     Haarlem/Crumb +
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+  + + + + \ No newline at end of file diff --git a/httpdocs/indexfruehecomics_autoren.html b/httpdocs/indexfruehecomics_autoren.html new file mode 100644 index 0000000..f943e6b --- /dev/null +++ b/httpdocs/indexfruehecomics_autoren.html @@ -0,0 +1 @@ + FrueheComics_Autoren
This website in May 2000

'Andy's Early Comics Archive' has been going since early 2000, inspired by the Platinum Age Comics mailinglist (founded December 1999). My website started out as a link list. So, all it did was to refer to early comics on other websites - not that many at the time. (I had some pictures parked on another website, which is mentioned further down: 'My visual archive of early comics (just pictures, no text)'). Nowadays you would simply google particular artists, especially by using the Google image feature. On the other hand, how would you know the artist's names, let alone find anonymous works from earlier centuries? So, maybe a dedicated link list would still be useful, especially one focussing on more detailed contributions. Here's what I had come up with in May 2000.
It seems I had not even figured out how to create a link, so I just copied the website adresses into the text.

Andy


Note: this is a very old list, included for historical interest, where most of the links will be dead by now!!!

Frühe Comics
(Early Comics)



The best place to ask for further information is this mailing list:
Platinum Comics
http://www.eGroups.com/group/PlatinumAgeComics
e Diskussion of early comics, anything up to 1930.

When looking for stuff on the web, try <http://www.google.com>. Within long texts your searchword is sometimes difficult to find, for that Google have a 'show matches' link to the same page, saved on their computers, with those words highlighted. Which is also handy when the actual page no longer exists online.

When looking for links about 'fine art' artists the best bet is:
http://www.artcyclopedia.com/index.html
Not as detailed as it could be, doesn't tell you if a site has two or 200 images of the chosen artist.

Some other searchengines:
<http://www.altavista.com>,<http://search.aol.com/index.adp>, <http://www.cannylink.com/artartists.htm>, <http://www.1place4all.com/search/search.cgi>, <http://www.curryguide.com>, <http://www.directhit.com>, <http://www.easyq.de/start/index_ie.htm>, <http://www.goto.com>, <http://hotbot.lycos.com>, <http://infoseek.go.com>, <http://search.mamma.com>, <http://www.excite.com>, <http://search.netscape.com>, <http://www.northernlight.com>, <http://www.scrubtheweb.com>, <http://vancouver-webpages.com/VWbot/searchBC.html>, <http://www.bazarin.com>, <http://www.webcrawler.com>, <http://www.yahoo.com>

This is a list of artists, divided chronologically into five groups and alphabetically within those groups. Some artists could be put into two groups of course, especially those straddling the 1900 divide, for instance Dirks. If you have a better idea, good for you. Well, I could have made 1896 the cutoff point, but the real change was the establishment of speechballoons, which happened gradually around the turn of the century. This list stops with 1929, before the appearance of non-comical adventure strips in the USA and the real start of modern comics with Hergé. The five time-groups are:
Very Early
1700-1800
1800-1850
1850-1900
1900-1929

Very Early:
(Illuminated Manuscripts and gothic painting)


Adam & Eve
http://web.nwe.ufl.edu/~ronan/Platinum/10_10_moutier_grandval_bible.GI
Illumination (low res scan)

Cantigas de Alfonso el Sabio 1250-1300
http://gallery.euroweb.hu/html/zgothic/miniatur/1251-300/index.html
http://gallery.euroweb.hu/art/zgothic/miniatur/1251-300/08s_1250.jpg
Life of marine merchants
This comes from a rather interesting book, because it seems to contain several picturestories. In 'A history of Illuminated Manuscripts' by C.de Hamel, p,147 is a charming comic about a man accidentally falling into a bullring, and being spared when the Virgin Mary sends the bull to sleep. The last panel shows the spectators congratulating the bull! (MS.C.I.I, f.200r)
http://www.hnh.com/composer/alfonso.htm
e about Alfonso el Sabio (Alfonso the Wise) (1221/30-1284)
http://www.fundego.es/artcult/musica/1epoca/alfonso.htm
s Alfonso el Sabio (picture of him)

Queen Mary' Psalter 1300-1320
http://gallery.euroweb.hu/html/zgothic/miniatur/1301-350/index.html
http://gallery.euroweb.hu/html/zgothic/miniatur/1301-350/04e_1300.html
'This page is divided into six fields of different background patterns, all representing the figures of a prophet and an apostle. Their names are at the bottom of the fields.' - So it's not a comic whatsoever, but interesting for the speech bands (?) winding around the figures.

Legend of Saint Ladislas (from the Anjou Legendarium)
http://gallery.euroweb.hu/html/zgothic/miniatur/1301-350/08h_1300.html
http://gallery.euroweb.hu/html/zgothic/miniatur/1301-350/08h_1301.html
"The collection contains stories from the life of saints important for the House of Anjou. It was intended for children with brief text for the picture."
(Not exactly a comic, but the same guy in each picture)

Duccio (active 1278, died 1319)
http://web.nwe.ufl.edu/~ronan/Platinum/duccio.jpg%20
Painting: Jesus healing the Blind Man - definitely a comic

Giovanni di Paolo (active 1420, died 1482)
http://web.nwe.ufl.edu/~ronan/Platinum/giovanni.jpg
Beautiful gothic comic of a saint walking out of his house and up into the mountains, like the Duccio (above) both scenes within the same 'panel'.
A two-panel comic doesn't need two physical panels (in fact, those can be quite misleading, when they only show the same character in different situations in a longer story, which means they are two illustrations, not a comic.) (Yes, there is no clear division.)


1700 - 1800:

Engel, Johann Jacob (1741 - 1802)
'Ideen zur Mimik' 2 Bände, Berlin 1785/86 of which a four-panel sequence for the play 'Otto von Wittelsbach' was reprinted in the Goez reprint from 1980 (see below). - (Prof. am Joachimsthaler Gymnasium in Berlin, unterrichtete u.a. d. Prinzen Friedr. Wilhelm III. u. galt als grosser Förderer d. Familienromans seiner Zt.)

Gillray, James (1756-1815)
http://web.nwe.ufl.edu/~ronan/Platinum/bullsprogress.gif
The Bull's Progress - 4 panel comic
http://web.nwe.ufl.edu/~ronan/Platinum/tableturn.gif
The table's turned - 2 panel comic (with speechballoons !!!)
http://web.nwe.ufl.edu/~ronan/Platinum/slippery.jpg
Very Slippery Weather - not a comic, but interesting as the background shows a shopwindow with lots of cartoons exhibited there.
http://www.arpla.univ-paris8.fr/spoutnik/juillet/gillray_portfolio/index.htm 
f Portfolio
http://sheldon.unl.edu/HTML/ARTIST/Gillray_J/FFF.html
e Mini Biogr. - Fat Cattle, 1802, hand colored etching
http://www.mcs.csuhayward.edu/~malek/Zebufolder/Zebulandnorth.html
e 'The Bloomsbury Farmer Planting Bedfordshire Whear'
Goez, Joseph Franz Freiher von (1745-1815)
The inventor of the graphic novel (Sorry, Toepffarians). Well, maybe novelette, because 160 panels isn't really enough to call it a novel. Let's say comic book. Published in 1783, a very overacted melodrama called 'Lenardo und Blandine' after a poem by Bürger. Lots of sighing and dying. Especially sighing.
Complete title, first edition:
'Versuch einer zalreichen Folge leidenschaftlicher Entwürfe für empfindsame Kunst- und Schauspielfreunde. Erfunden, gezeichnet, geätzt und mit Anmerkungen begleitet ('with accompanying explanations') von J.F.von Götz, Augsburg (o.J.,1783)
Second edition, without the (lengthy) accompanying explanations! Apparently someone thought the public would understand the pictures on their own, with only the speech of the protagonists in short captions underneath:
'Lenardo und Blandine, ein Melodram nach Bürger in 160 Leidenschaftlichen Entwürfen. Erfunden und auf Kupfer gezeichnet von J.F.von Göz 1783' (o.O., Augsburg)
(He keeps spelling his name differently. Even more intriguing: he was a baron from Transylvania! Tabloid headline: 'Dracula Invents Comics Shock')
http://www.kfki.hu/keptar/english/g/goez/
e biography
http://www.kfki.hu/keptar/english/g/goez/muvek/onarckep.html
e Larger version of the Self-portrait & description
http://212.172.255.2/medien/DA_Medien.htm?id=208855&con_id=2511413
d Insel-Verlag (who did the reprint)
http://www.amazon.com/exec/obidos/search-handle-form/102-3264726-5898412
e Booksearch (all sold out)
http://www.omega.it/ospite_bo/n.5/teatro.htm
i Not sure what this is. Scroll down to:
Josef Franz con Goez "Lenardo und Blandine" melologo per recitazione e orchestra (...) Gottfried August Buerger "Lenore" ballata per recitazione e pianoforte "Lenardo und Blandine" ballata per recitazione e pianoforte

Hogarth, William (1697-1764)
Haven't found a site that lets you see the famous sequences in a convenient way. The one most of these urls are from (famsf.org) has the prints all topsy turvy in no sequence. But you can enlarge them to see lots of detail, so that's good. When there is a better site I'll dump all this for one url.
You could also try:
http://www.lamp.ac.uk/hogarth/01_to_19.html
'The William Hogarth Archive', which has an impressive 126 prints on view, but the list has no titles, just Image 001, Image 002 etc.
Pity there is no complete online page with the painted sequences. They are much more beautiful. (Compare the first two in Marriage a la Mode).
A Harlot's Progress
http://sunsite.auc.dk/cgfa/hogarth/harlots.htm
(1732) The complete series of engravings (6)

Marriage a la Mode:
http://www.kfki.hu/~arthp/html/h/hogarth/marriag1.html
(painted version scene 1, 1743 Oil on canvas, 70x91cm National Gallery, London)
http://search.famsf.org/4d.acgi$Record?51325&=list&=51&=william&=And&=51&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
(print version scene 1) (click several times on it to make it really large)
http://www.kfki.hu/~arthp/html/h/hogarth/marriage.html
(painted version scene 2)
http://search.famsf.org/4d.acgi$Record?51553&=list&=31&=william&=And&=38&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
(print version scene 2) (the rest are all prints)
http://search.famsf.org/4d.acgi$Record?51550&=list&=41&=william&=And&=41&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?51552&=list&=31&=william&=And&=39&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?51328&=list&=41&=william&=And&=48&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?51329&=list&=41&=william&=And&=47&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?51548&=list&=41&=william&=And&=43&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f

Rake's Progress
http://search.famsf.org/4d.acgi$Record?47190&=list&=11&=william&=And&=11&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?47191&=list&=1&=william&=And&=10&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?47192&=list&=1&=william&=And&=9&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?47193&=list&=1&=william&=And&=8&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?47194&=list&=1&=william&=And&=7&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?47195&=list&=61&=william&=And&=63&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?47196&=list&=61&=william&=And&=62&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?47197&=list&=61&=william&=And&=61&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
The last scene, here also in the painted version:
http://www.artchive.com/artchive/H/hogarth/hogarth_rake_in_bedlam.jpg.html

Before & After:
http://search.famsf.org/4d.acgi$Record?51428&=list&=41&=william&=And&=45&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f
http://search.famsf.org/4d.acgi$Record?51429&=list&=41&=william&=And&=44&=0&=keywords&=Yes&=hogarth%20&=&=&=Yes&=&=f

http://sunsite.auc.dk/cgfa/hogarth/hogarth_bio.htm
Biography
http://www.tate.org.uk/servlet/ArtistWorks?id=301
Holdings of the Tate Gallery, 13 paintings viewable online
http://www.nga.gov/cgi-bin/psearch?Request=S&imageset=1&Person=220620
Only 2 images, but one of them is the amazing 'The Battle of the Pictures',1744
My theory of why comics became possible is that the public had to be softened up for the mindboggling explosion of multi-panel imagery that comics present to the viewer (compared to what existed before). And this was accomplished by the thousands of prints which for the first time ever became widely available in the early 18th century. (Both modern music and modern imagery were established then). That's why comics or picturestories were not the direct result of new technology, but of the change of perception of non-sequential imagery. This change of course was the result of new technology, but it's very important to make the distinction, or one completely misunderstands the nature of comics.
Some argue that the invention of printing (on a small scale) in the early 1400s stopped book-illuminations and altar pieces to use picture stories, because the printed bits were put on separately from the images. Or that the fact that now the educated classes actually could read made expensive picturestories redundant. Another reason must surely be that artists suddenly saw themselves no longer as decorators or purveyors of religious propaganda, but creators of new aesthetic constructs, independent of the content; (ie, it was more important how the Madonna was painted than the fact that it was a Madonna). But it also ties in with my theory, that a printed comic as opposed to the odd painted one, would have been too much to stomach. 300 years later, when pictures became ubiquitous, was there no avoiding them, and the even more brutal notion of taking away the power of the single image by telling the story in lots of pictures could slowly take hold, to be finally, irrevocably, realised by Toepffer in 1827.
The 'Battle of the Pictures' print is a nice illustration of the new overwhelmingness of all those pictures being churned out at the time, for the first time.

Rowlandson, Thomas (1756-1827)
http://web.nwe.ufl.edu/~ronan/Platinum/account.jpg
The Captain's account current - or - Charge and Discharge, 2 panel comic
http://web.nwe.ufl.edu/~ronan/Platinum/advised.jpg
Reform Advised - Reform Begun, 2 panel comic
http://web.nwe.ufl.edu/~ronan/Platinum/love.jpg
The four seasons of love, 4 panel comic (duh!)
http://web.nwe.ufl.edu/~ronan/Platinum/gamester.jpg
The Huntsman rising/The Gamester going to bed, 2 panels but not really a comic, more a comparison
http://web.nwe.ufl.edu/~ronan/Platinum/humbug.jpg
The double Humbug - 2 panel comic
http://web.nwe.ufl.edu/~ronan/Platinum/emperor.jpg
The Progress of Emperor Napoleon, 4 panel comic
http://www.artcyclopedia.com/artists/rowlandson_thomas.html
e Links: Fine Arts Museums of San Francisco   (628 gifs)
http://www.mcs.csuhayward.edu/~malek/Zebufolder/Zebulandnorth.html
e 7 thumbs of the famous Doctor Syntax series of illustrations. Nothing to do with comcics of course, except that the protagonist and type of story clearly was a great influence on Toepffer. They are unusual too in that they were drawn before the text. And many of his cartoons are like that, even now they invite the viewer to invent a story for them.



1800 - 1850:

Cham (Amédée de Noé) (1819-1879)
http://www.nga.gov/cgi-bin/psearch?Request=A&Person=214040
e (No Pictures)
http://polyglot.cal.msu.edu/efg/curiosities/Cham/cham.htm
f Curiosités du Dix-Neuvième Siècle Français (Biographie)
http://www.pemberley.com/janeinfo/182chamj.gif
Satire on the beaked bonnet by "Cham" (Amédée de Noé); probably drawn in the 1840's, but apparently depicting the fashions of the early 1820's
http://www.ricochet-jeunes.org/biblio/base10/c/cham.htm
f (Mini-biographie)
http://bebop.chass.utoronto.ca/french/zola/periodiques/char.htm
f Le Charivari
http://www.nga.gov/feature/manet/t_credit_context.htm
e (?)

Cruikshank, George (1792-1878)
http://web.nwe.ufl.edu/~ronan/Platinum/G62.gif
The Brave Boys (287 kb) 2 panel comic
http://web.nwe.ufl.edu/~ronan/Platinum/G63.gif
Snowgliding (214 kb) 2 panel comic
http://www.mcs.csuhayward.edu/~malek/Zebufolder/Zebulandnorth.html
e 'Monstrosities' (of fashion)
http://www.speel.demon.co.uk/artists2/cruik.htm
e
http://libnt6000.princeton.edu/Visual_Materials/cruikshank/comparison.html
e 46 comparisons between original artwork and printed version. (You can pull the lower window within the webwindow up with the mouse, otherwise scrolling becomes awkward.)
http://libnt6000.princeton.edu/Visual_Materials/cruikshank/index.html
http://libnt6000.princeton.edu/Visual_Materials/cruikshank/intro.html
http://www.vcu.edu/hasweb/for/grimm/grimm_menu.html
e/d 'Fairy Tales by the Grimm Brothers' with his and other's illustrations, for instance:
http://www.vcu.edu/hasweb/for/grimm/rumpeng_cruikshank.html
e Rumpelstilzchen
http://www.artcyclopedia.com/artists/cruikshank_george.html
e links
http://www.spartacus.schoolnet.co.uk/PRcruikshank.htm

Doré, Gustave (1832-1883)
http://web.nwe.ufl.edu/~ronan/Platinum/russepage117.gif
Histoire de la Sainte Russe 1854, p.117 211 kb
http://web.nwe.ufl.edu/~ronan/Platinum/russepage179.gif
Histoire de la Sainte Russe 1854, p.179 183 kb
http://pressibus.org/bd/debuts/auteurs/frdore.html
f 1847, Gustave Doré

Doyle, Richard (1824-1883)
http://web.nwe.ufl.edu/~ronan/Platinum/mountainwalk.gif
The Mountainwalk
http://web.nwe.ufl.edu/~ronan/Platinum/switzerland.gif
Switzerland
http://web.nwe.ufl.edu/~ronan/Platinum/coblentz.gif
Coblentz
http://www.pitt.edu/~enroom/illustrators/doyle.htm
e The Illustrators Project

Dros, Gustave
http://pressibus.org/bd/debuts/auteurs/frdroz.html
f 1848, Monsieur Trouillard

Goya, Francisco (1746-1826)
http://www.giuntimultimedia.com/edicola/cdarte/goya/222mcd10.html
http://www.giuntimultimedia.com/edicola/cdarte/goya/images/222gcd10.jpg
La maja desnuda, 23 kb 1797-1800 circa
http://www.giuntimultimedia.com/edicola/cdarte/goya/223mcd10.html
http://www.giuntimultimedia.com/edicola/cdarte/goya/images/223gcd10.jpg
La maja vestida, 30kb 1800-1805
http://users.erols.com/browndk/art/maja.htm
(ha, ha)
http://web.nwe.ufl.edu/~ronan/Platinum/pedro1.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/pedro2.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/pedro3.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/pedro4.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/pedro5.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/pedro6.jpg
Fray Pedro & Maragato - The Monk Pedro and the Robber Maragato, 1812
Don't miss this one! A real comic, all done as fine art paintings. Probably totally unique.

Hoffman, Heinrich (1809-1894)
http://www.vcu.edu/hasweb/for/struwwel/struwwel.html
e Inhalt/Contents (The English versions are from Slovenly Peter or Cheerful Stories and Funny Pictures for Good Little Folks - Philadelphia: John C. Winston Company, n.d. ,1900?)
http://www.vcu.edu/hasweb/for/struwwel/vorwort_dual.html
d Struwwelpeter Vorwort
http://www.vcu.edu/hasweb/for/struwwel/twpete.html
e 1 Struwwelpeter translated by Mark Twain
http://www.vcu.edu/hasweb/for/struwwel/peter_dual.html
- Struwwelpeter dual language -
d/e 1 Struwwelpeter (An den Händen beiden, Ließ er sich nicht schneiden)
http://www.vcu.edu/hasweb/for/struwwel/friedrich_dual.html
d/e 2 Die Geschichte vom bösen Friederich /
The Story of Cruel Frederick(Er schlug die Stühl' und Vögel tot, Die Katzen litten große Not.)
http://www.vcu.edu/hasweb/for/struwwel/pauline_dual.html
d/e 3 Die gar traurige Geschichte mit dem Feuerzeug/ The Dreadful Story of Pauline and the Matches (Paulinchen war allein zu Haus, Die Eltern waren beide aus.)
0http://www.vcu.edu/hasweb/for/struwwel/bub_dual.html
d/e 4 Geschichte von den schwarzen Buben/ The Story of the Inky Boys (Die Sonne schien ihm aufs Gehirn, Da nahm er seinen Sonnenschirm.)
http://www.vcu.edu/hasweb/for/struwwel/jaeger_dual.html
d/e 5 Die Geschichte von dem wilden Jäger/The Story of the Wild Huntsman (Er springt hinein. Die Noth war groß; Es schießt der Haas die Flinte los.)
http://www.vcu.edu/hasweb/for/struwwel/daumen_dual.html
d/e 6 Die Geschichte vom Daumenlutscher/The Story of Little Suck-a-Thumb("Konrad!" sprach die Frau Mamma, "Ich geh aus und du bleibst da. ... )
http://www.vcu.edu/hasweb/for/struwwel/kaspar_dual.html
d/e 7 Die Geschichte vom Suppen-Kaspar/The Story of Augustus who would not have any Soup (Der Kaspar, der war kerngesund, Ein dicker Bub und kegelrund,)
http://www.vcu.edu/hasweb/for/struwwel/philipp_dual.html
d/e 8 Die Geschichte vom Zappel-Philipp/The Story of Fidgety Philip (Und die Mutter blickte stumm, Auf dem ganzen Tisch herum.)
http://www.vcu.edu/hasweb/for/struwwel/guck_dual.html
d/e 9 Die Geschichte von Hans Guck-in-die-Luft/The Story of Johnny Look-in-the-Air (Also daß er kerzengrad, Immer mehr zum Flusse trat.)
http://www.vcu.edu/hasweb/for/struwwel/robert_dual.html
d/e 10 Die Geschichte vom fliegenden Robert/The Story of Flying Robert (Und der Hut fliegt weit voran, Stößt zuletzt am Himmel an.)
http://www.struwwelpeter.com/
d/e/f Der Struwelpeter, Slovenly Peter, Pierre L'ébouriffé
http://www.vcu.edu/hasweb/for/struwwel/em-peter.gif
- Original illustration by Edward Waldo Emerson
http://www.vcu.edu/hasweb/for/struwwel/emerson.html
e Ralph Waldo Emerson and Struwwelpeter

Nadar (Félix Tournachon 1820-1910)
http://pressibus.org/bd/debuts/auteurs/frnadar.html
f 1848, Mossieu Réac

Pocci, Franz von (1807-1876)
http://www.comic.de/gelbeseiten/lex_fpocci.html
d Biographie (Eckart Sackmann)
http://www.comic.de/gelbeseiten/lex_fpocci.spinat.html
http://www.comic.de/gelbeseiten/lex_fpocci.staatshaem.html
(art-samples)

Schroedter, Adolph (1805-1875)
http://www.comic.de/gelbeseiten/lex_schroedter.html
d Biographie (Eckart Sackmann)
http://www.comic.de/gelbeseiten/lex_schroedter.piepmeyer.html
d "Piepmeyer" 26 KB Comic: political satire. German follower of Töpffer.

Töpffer, Rodolphe (1799-1846)
http://web.nwe.ufl.edu/~ronan/Platinum/cryptogamea.gif
3 panels showing two independent actions, people going overboard in the foreground, a ship slowly approaching in the background.
http://web.nwe.ufl.edu/~ronan/Platinum/1833jabot30a-1.gif
page from 'Monsieur Jabot': Early use of speechballoons (well, thoughtballoons) containing a separate strip sequence (comic within a comic) (155 KB)
http://www.reuben.org/evry/obadiah.html
Many pages from the American edition. The first US comicbook in fact.
http://web.nwe.ufl.edu/~ronan/Platinum/Obadiah1840pg30original.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/Obadiah1840pg30.jpg
Brother Jonathan Extra - Adventures of Mr. Obadiah Oldbuck, page 30
http://www.geneva-city.ch:80/bpu/toepffer/
f Société d'Etudes Töpffériennes
http://pressibus.org/bd/debuts/gen/frintro.html
f
http://www.mediadesk.com.fr/groensteen/seq2/topffer.htm
f 'Töpffer Scenariste' Thierry Groensteen
http://www.snl.ch/repertoi/perst/toepf001.htm#tˆpffer,%20rodolphe%201799
- Genève: Bibliothèque publique et universitaire (Adresse und Liste der Nachlässe - Adresse et liste des fonds - Indrizzo e lista degli fondi)
http://www.swissemb.org/quiz/html/answer_comics.html
e Embassy of Switzerland 2900 Cathedral Ave. NW Washington
http://www.swisscomics.ch/~swisscom/magazine/tpfexpl.htm
f Essai sur Rodolphe Töpffer © Léonard Morand
http://www.lambiek.net/topffer.htm
e
http://www.dds.nl/~ljcoster/J.J.A.Goeverneur/indext.html
h J.A.A. Goeverneur 1829-1861
http://www.swisscomics.ch/~swisscom/authors/toepftra.htm
- Bibliography of the translations (English, German)
http://web.nwe.ufl.edu/~ronan/Platinum/horay.jpg
Horay cover, (almost complete edition of the comics.)



1850 - 1900:

Brown, Tom (1870-1910)
'Tired Tim and Weary Willy'
http://web.nwe.ufl.edu/~ronan/Platinum/browne.jpg
Comic: Phil Garlic, Bones & Billy Whiskers (1898)

Bunny (C.E.Schultze) (1866-1939)
'Foxy Grandpa'

Busch, Wilhelm (1832-1908)
The best English publication of his comics is "The Genius of Wilhelm Busch" translated & edited by Walter Arndt, (University of California Press 1982)
http://gutenberg.aol.de//autoren/busch.htm
d The German Gutenberg site: His complete works in low res scans, circa 50 comics
http://web.nwe.ufl.edu/~ronan/Platinum/M_M_TOP.jpg
Wots sis? Max und Moritz in den Vereinigten Staaten? Well, it's just the Katzies in a German language newspaper, where they are still named after their original inspiration:
'Max und Moritz bringen Sonneschein in Onkel Leo's Leben' Lustige Blätter des Morgen-Journal's - Copyright 1908 by the American and Examiner
http://www.rivertext.com/max.html
e some comics, translated by Gabriele Kahn
http://www.rivertext.com/hans.shtml
e Hans Huckebein - der Unglücksrabe (the unlucky raven)
http://www.vcu.edu/hasweb/for/mm/mmmenu.html
e/d Max & Moritz
http://www.cnbdi.fr/coconinoworld/recits.html
f 'Pierre Le Gelee' (Der Eispeter) & Christian et la Pipe (lovely colours)
also on this site:
f 'Les attracteurs étranges de Wilhelm Busch' par Thierry Smolderen (4200 W)
http://web.nwe.ufl.edu/~ronan/Platinum/comparison.jpeg
comparison of original drawing and published version
http://web.nwe.ufl.edu/~ronan/Platinum/uebrigens.gif
MM page 'Übrigens bei alle dem, ist so etwas nicht bequem...' 1860
http://web.nwe.ufl.edu/~ronan/Platinum/knacks.gif
MM page 'Knacks! da bricht der Stuhl entzwei. Schwapp, da liegen sie im Brei.'
http://pressibus.org/bd/debuts/auteurs/frbusch.html
f le maître des premières BD muettes
http://www.krref.krefeld.schulen.net/biographien/b0074t00.htm
d Krefelder Referate
http://www.aski.org/institute/wb.htm
d Wilhelm-Busch-Museum Hannover · Deutsches Museum für Karikatur und kritische Grafik
http://www.hamburg.de/Altonaer-Museum/Sonder/busch.html
d Ausstellung
http://www.lambiek.net/busch.htm
e

Capy, Marcel (1865-1941)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Caran D'Ache (1859-1909)
http://web.nwe.ufl.edu/~ronan/Platinum/cow1.jpeg
http://web.nwe.ufl.edu/~ronan/Platinum/cow2.jpeg
e The Cow
http://web.nwe.ufl.edu/~ronan/Platinum/bath.jpeg
e The Bracing Bath
http://web.nwe.ufl.edu/~ronan/Platinum/captain1.jpeg
http://web.nwe.ufl.edu/~ronan/Platinum/captain2.jpeg
e The Captain
http://pressibus.org/bd/debuts/auteurs/frcaran.html
f De 1881 à 1909, les BD de Caran d'Ache
http://pressibus.org/bd/debuts/auteurs/frcaran2.html
f 1894-1999, Maestro, le chef d'oeuvre retrouvé de Caran d'Ache
http://www.cnbdi.fr/BD/edition/bibli_9art.htm
f Maestro, de Caran d'Ache, fin du 19ème siècle.
http://www.cnbdi.fr/BD/edition/catalog.htm
f (Les années Caran d'Ache Catalogue de l’exposition présentée au Musée du 21 janvier au 3 mai 1998.)
http://graphicwitness.org/group/inpress.htm
e (see under 'Le Rire')
Also reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Christophe (1856-1945)
http://www.paris.org/Expos/Cosinus
f Cosinus: version complete de cette album
Or just look at some pictures:
http://web.nwe.ufl.edu/~ronan/Platinum/3.1deuxieme-123.gif
http://web.nwe.ufl.edu/~ronan/Platinum/3.2deuxieme-456.gif
http://web.nwe.ufl.edu/~ronan/Platinum/4.1equilibre-123.gif
http://web.nwe.ufl.edu/~ronan/Platinum/4.2equilibre-456.gif
http://web.nwe.ufl.edu/~ronan/Platinum/6.1ballons-123.gif
http://web.nwe.ufl.edu/~ronan/Platinum/6.2ballons-456.gif

Daumier, Honore (1808-1879)
No, unfortunately he didn't draw any comics. If only.
http://cccw.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LCC08.html
e Louis Philippe, "La Poire", masks of 1831 - Leading Politicians, Gargantua litho1831
http://www.mcs.csuhayward.edu/~malek/Zebufolder/Zebulandnorth.html
e

Dirks, Rudolph (1877-1968)
http://www.geocities.com/~jimlowe/katzies/katzdex.html
e Katzenjammer Kids (3300 W)
http://lcweb2.loc.gov/ammem/oahtml/oapres.html
e Downloadable silent cartoon films (free)
http://www.geocities.com/~jimlowe/katzies/artists.html
e The "Other" Artists
http://www.nadir.org/nadir/periodika/jungle_world/50/27a.htm
d "Mit dose kids, society is nix" - Vor hundert Jahren erschienen die "Katzenjammer Kids" zum ersten Mal im New Yorker Journal  Jens Balzer
http://www.comic-art.com/~herriman/bios-1/dirks001.htm
e Rudolph Dirks was born in 1877 in Heinde, Germany.
http://www.kingfeatures.com/news/story8.htm
e The Katzenjammer Kids celebrate 100 years of mischief
http://www.chunkymonkey.com/funnies/beacartoonist3.htm
A few facts about the funnies
http://www.serve.com/shea/germusa/katzjamm.htm
e 'Much of this information came to us from a niece of Dirks. It was fun to meet her and have her tell about her two talented uncles.' Eberhard & Ruth Reichmann
http://www.geocities.com/~jimlowe/knerr/knerrdex.html
e Harold H. Knerr (2900 W)
http://www.balchinstitute.org/comics/subhuman.html
e 'Ethnic Characters in the Comics'
http://www.cagle.com/prolinks/library/mcGeean/newsviews0398.asp
e 100th anniversary, Ed's Column from July 1997 (Runterrollen, da kommt erstmal weisse Flaeche,)
http://www.imaginet.fr/bd/bdfevrier4.html
f BD Le Centenaire:'1877 naît Rudolph Dirks. Cet Allemand émigré aux...'

Doës, Louis-Christian (1859-1944)
http://www.cnbdi.fr/BD/edition/does.htm
Marvelous wordless Comic: "14, avenue Marigny" planche tirée des 'Histoires sans paroles du Chat Noir':
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Fau, Fernan (1858-1917)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Frost, A. B. (Arthur Burdett) (1851-1928)
Hopefully there will be a Frost Section on the Coconino site soon.
http://web.nwe.ufl.edu/~ronan/Platinum/raking.jpg
Comic: Gentleman tires of raking the garden, enlists helper. Harper's Bazaar, October 1884
http://web.nwe.ufl.edu/~ronan/Platinum/tiger.jpg
Watercolour: Tiger having eaten professor, smoking. "She Was a Very Nice Girl" 1892; 21 kb

Godefroy (circa 1865-1903)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Howarth, F.M. (Franklin Morris) (1865-1908)

Kemble, W.C.(Edward Windsor) (1861-1933)
http://etext.virginia.edu/railton/huckfinn/kemblec.html
e ‘I've found hundreds of Kemble illustrations of African Americans in periodicals and...’

Meggendorfer, Lothar (1847-1925)
http://www.comic.de/gelbeseiten/lex_lmeggendorfer.html
d Biographie (Eckart Sackmann)
http://www.comic.de/gelbeseiten/lex_lmeggendorfer.moritat.html
Comic: Eine Moritat
http://www.lib.msu.edu/comics/rri/mrri/medicine.htm
e Bibliography (scroll down)

Oberländer, Adolf (1845-1923)
Together with Busch and Meggendorfer the most accomplished contributor to Münchner Bilderbogen.

Pissaro, Lucien (1863-1944)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Poirson, Victor Armand (1858-1893)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Sta, Henri de (1845-1920)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Staudinger, Karl
http://web.nwe.ufl.edu/~ronan/Platinum/CAT_UND_THE....jpg
Brilliant Art Nouveau Comic: The Cat and the Dachshunds

Steinlen, Théophile Alexandre (1859-1923)
A whole series of comics can be studied here:
http://web.nwe.ufl.edu/~ronan/Platinum/amoonlighttragedy.jpg
A moonlight Tragedy
http://web.nwe.ufl.edu/~ronan/Platinum/cute_little_girL.jpg
A cute little girl
http://web.nwe.ufl.edu/~ronan/Platinum/mouse_and_two_cats.jpg
A mouse and two cats
http://web.nwe.ufl.edu/~ronan/Platinum/black_and_white_cat.jpg
Black cat and white cat
http://web.nwe.ufl.edu/~ronan/Platinum/cat_and_wool.jpg
Cat and wool
http://web.nwe.ufl.edu/~ronan/Platinum/cat_and_milkjug.jpg
Cat and Milkjug
http://web.nwe.ufl.edu/~ronan/Platinum/wintertime.jpg
Wintertime
http://web.nwe.ufl.edu/~ronan/Platinum/cockfight.jpg
Cockfight
http://web.nwe.ufl.edu/~ronan/Platinum/two_young_apes.jpg
Two Young Apes
http://web.nwe.ufl.edu/~ronan/Platinum/raven_and_wine.jpg
Raven and Wine
http://web.nwe.ufl.edu/~ronan/Platinum/beggar.jpg
The blind beggar
http://web.nwe.ufl.edu/~ronan/Platinum/summerouting.jpg
Summerouting
http://web.nwe.ufl.edu/~ronan/Platinum/waving_gentleman.jpg
A cane-waving gentleman (use of speedlines)
http://graphicwitness.org/group/inpress.htm
e (see under 'Simplicissimus')
Also reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Stuck, Franz von (1863-1928)
There is at least one funny and brilliantly drawn comicpage, 'Der Bauer im Museum' (or something similar). Stuck (pronounced Shtook) of course was a brilliant painter, for instance:
http://www.artmagick.com/paintings/stuck/stuck13.jpg
Der Mörder/The Murderer
http://www.artmagick.com/paintings/stuck/stuck23.jpg
Sünde/Sin
http://www.artmagick.com/paintings/stuck/stuck20.jpg
Kuss der Sphinx/The Kiss of the Sphinx
http://www.artmagick.com/paintings/stuck/stuck22.jpg
Salome

Sullivan, J.F. (1875-1974)
http://web.nwe.ufl.edu/~ronan/Platinum/thief.gif
Comic: The British Thief 375 kb
http://web.nwe.ufl.edu/~ronan/Platinum/garden.gif
Comic: A Suburban Garden 328 kb
http://web.nwe.ufl.edu/~ronan/Platinum/row.gif
Comic: The Triumph of Row 326 kb
http://web.nwe.ufl.edu/~ronan/Platinum/gas_company.gif
Comic: Our Gas Company 354 kb
http://web.nwe.ufl.edu/~ronan/Platinum/nightmare.gif
Comic: Real Live Nightmare 431 kb

Swinnerton, James (1875-1974) (wie Saint-Ogan)
http://www.lambiek.net/swinnerton.htm
e 2 panels, no text
http://www.comic-art.com/~herriman/bios-1/swinrtn1.htm
e Biogr.

Tenniel, John (1820-1914)
http://www.sfs.nphil.uni-tuebingen.de/~kolb/alice/alice_toc.html
e ‘Alice in Wonderland’
http://www.spartacus.schoolnet.co.uk/Jtenniel.htm
e Biog.
http://press-www.uchicago.edu/cgi-bin/hfs.cgi/98/ohio_st/84011842.ctl
e (no pictures) The Tenniel Illustrations to the "Alice" Books

Uzès (1846-1909)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Willette, Adolphe (1857-1926)
reprinted in 'Histoires sans paroles du Chat Noir' 1998, see:
http://www.cnbdi.fr/BD/edition/bibli_9art.htm

Yeats, Jack Butler (1871-1957)
http://www.spartacus.schoolnet.co.uk/ARTyeats.htm
e Comic: The Farmer and the Farmlabourer




1900 - 1929:

Ahern, Gene (1895-1960)
Nov Schmoz Ka Pop?

Andersson, Oskar Emil (1877-1906)

Bancks, Jimmy (1895-1952)
http://surf.to/witzworx
e Ginger Meggs

Bateman, H.M. (1887-1970)
http://www.spartacus.schoolnet.co.uk/ARTbateman.htm
e Comic: The Politician who addressed the troops

Beck, Billy de (1890-1940)
http://web.nwe.ufl.edu/~ronan/Platinum/snuffycover.jpg
Cover of new book on him

Berndt, Walter (1899-1980)

Briggs, Clare (1875-1930)
http://www.reedsburg.com/briggs.htm
e Biography, Selfportrait & single panel cartoon

Brunhoff, Jean
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/05/LL26.html
e
http://homearts.com/depts/relat/sendakb9.htm
e Sendak on Children's books.

Byrnes, Gene (1889-1974)

Crosby, Percy (1890-1964)
http://web.nwe.ufl.edu/~ronan/Platinum/takeiteasy.gif
http://web.nwe.ufl.edu/~ronan/Platinum/chasin.gif
Two dailies
http://www.bpib.com/crosby.htm
e Bug Plant Biography

Crane, Roy (Royston Campbell)(1901-1977)
http://www.cartoon.org/crane.htm
e

Dorgan, T.A. (‘TAD’) (1877-1929)

Dwiggins, Clare Victor (1874-1959)

Edwina, (Frances Edwina Dumm) (1893-1990)

Ewer, Raymond Crawford (18 -1915)
'Slim Jim and the Force'

Feininger, Lionel (1871-1956)
http://web.nwe.ufl.edu/~ronan/Platinum/LF01.gif
Comic: The Kinder Kids (Introduction page) 195 kb
http://web.nwe.ufl.edu/~ronan/Platinum/LF02.gif
Comic: The Kinder Kids ‘Piemouth is rescued by kindhearted Pat’ 367 kb
http://www.tcj.com/2_archives/r_Ce2De.html
e The Comic Strip Art of Lyonel Feininger, Reviewed by Robert Boyd, “Comics Library,” TCJ #178
http://search.famsf.org/4d.acgi$Search
'fine art'

Fisher, Bud (Harry Conway) (1885-1954)
http://cccw.adh.bton.ac.uk/schoolofdesign/MA.COURSE/15/LMJ.html
e Kellogs Cornflakes Werbe-Comic
http://cartoon.org/fame.htm
e mini bio
http://www.lib.msu.edu/comics/rri/frri/fisc.htm
e bibliography

Forton, Louis (1879-1934)
http://www-ensimag.imag.fr/eleves/Matthieu.Chevrier/bio.html
f Biographie (Pieds Nickelés)
http://pressibus.org/bd/polis/b/bibi.html
f Bibi Fricotin (1928 à 1988)

Fox, Fontaine (1884-1964)
http://web.nwe.ufl.edu/~ronan/Platinum/15.gif
part of comicpage: Toonerville Folks

Fougasse (1887-1965)
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LFundF.html
e Comic
http://www.spartacus.schoolnet.co.uk/ARTbird.htm
e

Frink, George (18 -1912)

Goldberg, Rube (1883-1970)
http://www.cartoon.org/goldberg.htm
e
http://www.chunkymonkey.com/funnies/beacartoonist3.htm
e Rube Goldberg - in a class of his own

Gray, Harold (1894-1968)
http://www.liss.olm.net/loahp
e Website

Gross, Milt (1895-1953)
http://cccw.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComics03.html
e Milt Gross's version of William Faulkner's "The Wild Palms" 1939
http://www.bpib.com/gross.htm
e Biogr.
http://www.nightgarden.com/nize.htm
e Nize Baby! by Milt Gross

Gulbranson, Olaf (1873-1958)
http://www.museen-in-bayern.de/Tegernsee-Olaf.htm
d Museum
http://web.nwe.ufl.edu/~ronan/Platinum/poster.jpg
Poster

Hasleden, W.K. (1872-1953)
http://web.nwe.ufl.edu/~ronan/Platinum/dervish.gif
Comic: The Kaiser and his Son become Whirling Dervishes... 1916
http://web.nwe.ufl.edu/~ronan/Platinum/thinkofit.gif
Comic: If you could only think of it 1916 159 kb

Hamlin, Vincent T. (1900-1993)
http://www.cagle.com/prolinks/library/mcGeean/newsviews0598.asp
e Alley Oop in Ancient Egypt Ed's Column from April 1998

Heine, T.T.
http://graphicwitness.org/group/inpress.htm
e (see under 'Simplicissimus')

Held Jr., John (1889-1958)
None of his comics, but some very nice drawings:
http://web.nwe.ufl.edu/~ronan/Platinum/policemanhides.jpg
Policeman hides eyes as flapper disrobes
http://web.nwe.ufl.edu/~ronan/Platinum/boyandgirlonacouch.jpg
Boy & Girl on a Couch
http://web.nwe.ufl.edu/~ronan/Platinum/hisfingers.gif
His Fingers encountered disappointment...
http://web.nwe.ufl.edu/~ronan/Platinum/lifecover.jpg
Life - cover
http://web.nwe.ufl.edu/~ronan/Platinum/dancing.gif
Dancing

Herriman, George (1880-1944)
http://xroads.virginia.edu/~HYPER/SELDES/ch15.html
e famous article by Seldes: 'The Krazy Kat That Walks By Himself
http://web.nwe.ufl.edu/~ronan/Platinum/10apr43.gif
daily
http://web.nwe.ufl.edu/~ronan/Platinum/23jan39.gif
daily 'Not Do?' 75 KB
http://web.nwe.ufl.edu/~ronan/Platinum/29jul38.gif
daily 'Blindman's Bluff'
http://web.nwe.ufl.edu/~ronan/Platinum/ABrickAndBrothers.jpeg
Sunday page 'A Brick and his Brothers'
http://lcweb2.loc.gov/ammem/oahtml/oapres.html
e Downloadable silent cartoon films (free)
http://toons.artie.com/ransfrans/arg-love-hurts-sm.htm
- daft animated gif
http://www.krazy.com/
e
http://www.comic-art.com/~herriman/bios-1/herrimn1.htm
e Biogr. (680 W)
http://www.cnbdi.fr/BD/edition/catalog.htm
f Mini info Catalogue de l’exposition Krazy Herriman
http://www.io.com/~norwoodr/kk.html
e Color
http://www.lambiek.net/herriman.htm
e
http://www.amazon.com/exec/obidos/ASIN/0810923130/affiniinc/103-2107098-9395868
e Amazon
http://www.wenet.net/~flubble/krazykat.html
e 'My Favorite Krazy Kat Panel'
http://www.britannica.com/bcom/eb/article/idxref/5/0,5716,190862,00.html
e Encyclopedia Britannica entry
http://www.illustration-house.com/bios/herriman_bio.html
e short bio. and pic (300 W)
http://www.google.com/search?q=cache:encarta.msn.com/events/black_history_month/africana/lit_aa11.asp+herriman
e
http://www.clstoons.com/paoc/herriman.htm
e
http://web.nwe.ufl.edu/~ronan/Platinum/9art2.gif
'Neuvieme art' Herriman cover

Holman, Bill (1903-1987)
http://www.lib.msu.edu/comics/rri/hrri/hollo.htm#holmanb
e Bibliography

Horrabin, Frank (James Francis)
http://web.nwe.ufl.edu/~ronan/Platinum/who_was_that.gif
Japhet and Happy (Who was that?)

Irvin, Rea (1881-1972)
http://www.mcny.org/reairvin.htm
e 16 covers for New Yorker
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComicsLine.html
e The Great Crash: 'The day they sold a unit of stock'
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComicsLine.html
e

Jacobsson, Oscar (1889-1945)
(Adamson)

Jeffrey, E.
(Toby Twirl)

Kahles, Charles William (1878-1931)

King, Frank (1883-1969)
http://www.lambiek.net/king.htm
e

Kley, Heinrich (1863-1945)
pronounced 'Kligh', ie rhymes with high. No comics and rather an indulgence to place him here. His animals inspired one of the dances in 'Fantasia'.
http://web.nwe.ufl.edu/~ronan/Platinum/cloudburst.jpg
Cloudburst ca. 1920
http://web.nwe.ufl.edu/~ronan/Platinum/smoke.jpg
Smoke
http://web.nwe.ufl.edu/~ronan/Platinum/girldiver.gif
Girl and Diver
http://web.nwe.ufl.edu/~ronan/Platinum/elephant1.gif
Dancing Elephant 1
http://web.nwe.ufl.edu/~ronan/Platinum/elephant2.gif
Dancing Elephant 2
http://web.nwe.ufl.edu/~ronan/Platinum/elephantcrocs.gif
Elephant & 2 crocodiles
http://web.nwe.ufl.edu/~ronan/Platinum/traum.jpg
The Engineer's Dream 1912-13
http://www.bpib.com/illustrat/kley.htm
e
http://graphicwitness.org/group/inpress.htm
e (see under 'Simplicissimus')

Knerr, Harold H. (1883-1949) (see: Dirks, Rudolph in 1850-1900)
http://web.nwe.ufl.edu/~ronan/Platinum/HHK04.jpg
Comic: 'der prime minister uf Peru' 99 kb
http://web.nwe.ufl.edu/~ronan/Platinum/HHK17.jpg
Comic: 'Leaf der Goldfishes alone' 155 kb
http://web.nwe.ufl.edu/~ronan/Platinum/HHK18.jpg
Comic: 'Himmel, how did you get so numerous?'
http://web.nwe.ufl.edu/~ronan/Platinum/M_M_TOP.jpg
Comic: 'Max und Moritz bringen Sonneschein in Onkel Leo's Leben'
Lustige Blaetter des Morgen-Journal's
Copyright 1908 by the American and Examiner
http://lcweb2.loc.gov/ammem/oahtml/oapres.html
e Downloadable silent cartoon films (free)
http://www.geocities.com/~jimlowe/knerr/knerrdex.html
e Katzenjammer Kids

Low, David (1891-1963)
http://web.nwe.ufl.edu/~ronan/Platinum/photomaton.gif
Comic: A Photomaton of Jix (1935) 201 kb
http://web.nwe.ufl.edu/~ronan/Platinum/when_I_caricature.gif
Comic: When I caricature Mr. Baldwin's nose (1935) 61 kb
http://webtext.library.yale.edu/sgml2html/beinecke.low.sgm.html
e

Mager, Gus (1878-1956)

Masereel, Frans (1889-1972)
http://web.nwe.ufl.edu/~ronan/Platinum/idee09.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/idee10.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/idee11.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/idee12.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/idee13.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/idee14.jpg
http://web.nwe.ufl.edu/~ronan/Platinum/idee15.jpg
Die Idee - The idea
'The idea' is a proper comic, the next two more a bunch of thematically related pictures. Not comics, but nice enough.
http://graphicwitness.org/historic/s01.html
Die Stadt - The city 1925 (click on image to see the next one)
http://www.tomatoweb.com/lesbread/frans.htm
Die Stadt - The city 1925 (All the images as thumbs on one page)
http://graphicwitness.org/historic/l01.htm
Landschaften und Stimmungen (landscapes and atmospheres) 1929 (click on image to see the next one)

McCay, Winsor (1869-1934)
http://www.wondersociety.com/rws/art/mccay/index.html
e 25 comic pages from many of his series (not just Little Nemo)
http://lcweb2.loc.gov/ammem/oahtml/oapres.html
e Downloadable silent cartoon films (free)
http://www.carlsen.de/infos/kueaz_archiv/mccay/kue_bio.htm
d kurze Biographie
http://www.bpib.com/illustrat/mccay.htm
e Biography with some pics (2400 W)
http://vegalleries.com/winsorbio.html
e 'A brief Biography of Winsor McCay'
http://vegalleries.com/gerthistory.html
e 'A Brief History of Gertie the Dinosaur'
http://vegalleries.com/gertieart.html
e Artwork from "Gertie the Dinosaur"
http://www.stus.com/books/8littlenemo.htm
e Available Books
http://www.sp.uconn.edu/~epk93002/fff.html
e 'Text, Image, and Design in the Comics Narratives of Winsor McCay, Art Spiegelman, and Chris Ware' by Gene Kannenberg (4900 W)
http://www.thecomicstore.com/merchant/mckay.htm
e Howard Price (1400 W)
http://www.dinosaur.org/Gertie.htm
e Gertie The Dinosaur 1914 Does Art imitate Science, or does Science imitate Art?    by Edward Summer
http://www.wondersociety.com/rws/art/mccay/
e (this was a great site, but seems to have died)
http://www.gographics.com/funnies/nemoindx.htm
e Comics; ua 'Nemo Tries Stilts'  
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComicsMcCay.html
e comicpage
http://www.desnews.com/movies/reviews/ip0u45p5.htm
e (Kino) 'Adventures in Slumberland' Chris Hicks
http://www.suntimes.com/ebert/ebert_reviews/1992/08/773410.html
e (Kino) 'Adventures in Slumberland' Roger Ebert
http://www.arpla.univ-paris8.fr/cyborg/SmCBD63b.html
f Deux etoffes pour un songe Thierry Smolderen 1985
http://www.arpla.univ-paris8.fr/cyborg/SmCBD78.html
f Winsor McCay, le magicien Thierry Smolderen 1987
http://www.lambiek.net/mccay.htm
e

McManus, George (1884-1954)
http://www.cartoon.org/mcmanus.htm
e Foto, Zeichenbeispiel und Mini-autobiographie
http://www.comic-art.com/~herriman/bios-1/mcmanus1.htm
http://www.comic-art.com/~herriman/media/jpegs/mcmns01a.jpg
e Comic: Bringing Up Father - Top half of a Sunday page from 1935. 207k Jpeg (‘That wuz a funny thing - me bawlin’ out Maggie, thinking she wuz out an’ she heard me an’it frightened her - now I’ve got the upper hand around here an’ it’s about time -’)
http://www.comic-art.com/~herriman/media/jpegs/mcmns01b.jpg
(Bottom half)
http://cccw.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LCC04.html
e images

Messmer, Otto (1892-1983)
http://www.cartoon.org/messmer.htm
e

Monvel, Boutet de
http://cccw.adh.bton.ac.uk/schoolofdesign/MA.COURSE/01/LIABoutet04.html
e La Fontaine: Comix!!! circa 1905

Opper, Frederick B. (1857-1937)
http://www.lambiek.net/opper.htm
e
http://graphicwitness.org/group/inpress.htm
e (see under 'Puck')

Outcault, Richard Felton (1863-1923/8)
http://www.lambiek.net/outcault.htm
e
http://www.neponset.com/yellowkid
e Yellow Kid
http://www.chunkymonkey.com/funnies/beacartoonist3.htm
e A few facts about the funnies
http://www.comic-art.com/~herriman/bios-1/outcalt1.htm
e Richard Felton Outcault was born on January 14, 1863...

Payne, A.B.

Payne, Charles M. (1873-1964)

Pinchon, Emile (1871-1953)
http://web.nwe.ufl.edu/~ronan/Platinum/autocar.gif
Bécassine 'Les Surprises de L'autocar' (on the bus) (1938)

Potter, Beatrix (1866-1943)
http://dmoz.org/Arts/Illustration/Historic_Illustrators/Potter,_Beatrix/
e
http://web.nwe.ufl.edu/~ronan/Platinum/letter1.gif
http://web.nwe.ufl.edu/~ronan/Platinum/letter2.gif
http://web.nwe.ufl.edu/~ronan/Platinum/letter3.gif
http://web.nwe.ufl.edu/~ronan/Platinum/letter4.gif
http://web.nwe.ufl.edu/~ronan/Platinum/letter5.gif
http://web.nwe.ufl.edu/~ronan/Platinum/letter6.gif
http://web.nwe.ufl.edu/~ronan/Platinum/letter7.gif
http://web.nwe.ufl.edu/~ronan/Platinum/letter8.gif
Peter Rabbit in letter form

Powers, T.E.
http://xroads.virginia.edu/~HYPER/SELDES/comics.html
e 'Mike and Mike' (Comicpage quoted by Seldes)

Rabier, Benjamin (1864/9-1939)
http://www.ifrance.com/rabier/
f Mini-biographie

Rea, Gardner (1892-1966)
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LComicsLine.html
e Comic 'The Boardroom'

Saint-Ogan, Alain (1875-1974) & Greg (1931-1999)
http://www.starwatcher.org/zigpuce.htm
e Zig & Puce
http://www.alapage.tm.fr/fiche/4/1/6/2/ZS273762614.htm
f

Segar (1894-1938)
http://gographics.com/funnies/thimidx.htm
(two weeks worth of daily strips)
http://web.nwe.ufl.edu/~ronan/Platinum/Pop0278.jpg
She's too darn romantic (daily)
http://web.nwe.ufl.edu/~ronan/Platinum/sunday_segar.jpg
The Fight (sunday page) 164 kb
http://web.nwe.ufl.edu/~ronan/Platinum/muscles.jpg
Me muskles are like steel wires- (2 panels) 112 kb
http://web.nwe.ufl.edu/~ronan/Platinum/tough_face.gif
Here1s how to draw a tough face (How-to comic) 171 kb
http://www.bestweb.net/~mentzerm/popeye.htm
Page about the movies
http://www.lambiek.net/segar.htm
e

Seuss, Dr. (19 -1991)


Soglow, Otto (1900-1975)
http://www.kulturnetvestsj.dk/tegneseriemuseet.dk/emner/kylie_A-F.htm
http://web.nwe.ufl.edu/~ronan/Platinum/polish.jpg

Sterett, Cliff (1883-1964)
http://web.nwe.ufl.edu/~ronan/Platinum/sterett_water.gif
316 kb (fantastic strip)

Tuthill, Harry (1886-1957)

Verbeck, Gustave (1867-1937)
http://www.lambiek.net/verbeck.htm
e Bio & comic sample
(Some ealier work is reprinted in 'Histoires sans paroles du Chat Noir' 1998, see: http://www.cnbdi.fr/BD/edition/bibli_9art.htm )

Ward, Lynd (1805-1895)
http://www.bpib.com/lyndward.htm
e
http://www.wondersociety.com/rws/art/ward/index.html
Two very interesting 'novels in woodcut'. Complete:
http://www.wondersociety.com/rws/art/ward/madman/index.html
Madman's Drum
http://www.wondersociety.com/rws/art/ward/godsman/index.html
God's Man

Watt, John Millar

Webster, H.T. (1885-1953)
http://www.shsw.wisc.edu/press/big/comic.htm
e Comic: ‘And nothing can be done about it’

Wheelan, Edgar (1888-1966)
(Minute Movies)

Willard, Frank Henry (1893-1958)

______________________________________________________________________
______________________________________________________________________
______________________________________________________________________






Other Sites/pages about early comics:

Origins of American Animation, 1900-1921
http://lcweb2.loc.gov/ammem/oahtml/oapres.html
e Comlete silent cartoon films (ie Krazy Kat, Katzenjammer Kids) gratis

The American Comic Book: 1897 - 1932
http://www.gemstonepub.com/guides/comicguide/beerbohm/beerbohm.html
e History by Robert Beerbohm (9700 W)

(Bibliography) The Comics Research Bibliography
http://www.rpi.edu/~bulloj/comxbib.html
e

(Bibliography) Michigan State University Libraries
http://www.lib.msu.edu/comics/rri/arri/arti.htm
e 863 'comic strip, newspaper panel, and comic book artists'
http://www.lib.msu.edu/comics/rri/index.htm
e

Chronology of Comic Strips & Comic Books in America
http://www.psu.edu/dept/inart10_110/inart10/striptime.html
e (starts too late, of course)

Comic-art
http://www.comic-art.com/quikbios.htm
e

Deutschsprachige Comics vor 1945
http://www.comic.de/studierstube/fruehecomics.html
d

Early Comic Book Covers
http://www.geocities.com/~quesinberry/comics/comllst.html
e very early American comicbooks in chronological order, all the covers reproduced. Very nice. (But it does make one yearn to see the contents as well)

Forging a New Medium
http://www.student.kuleuven.ac.be/~m8107966/Forging.html
Information about the book "Forging a New Medium, The Comic Strip in the 19th Century."

Frühe Comix - Bilder
http://web.nwe.ufl.edu/~ronan/Platinum/FrueheComixBilder.html
e/f/d  My visual archive of early comics (just pictures, no text)

The International Museum of Cartoon Art Hall of Fame
http://cartoon.org/fame.htm#A
e (International my eye) 31 short biographies of US-cartoonists, mostly of newspaper-comics.

(Illustrators) Bud Plant Illustrators
http://www.bpib.com/crosby.htm
e Large, interesting site with many biographies of artists one rarely hears about. Some dodgy stuff, but nevertheless impressive.

(Illustrators) An Alphabet of Illustrators
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/01/LIA01.html
e Large, cumbersome, but treasure-trovy picture archive
see also (all a bit confusing):
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/TheLectListPage.html
http://www.adh.bton.ac.uk/schoolofdesign/MA.COURSE/LPI.html
The Illustrated book

(Illustrators) The Evolution of the Illustrated Children's Book
http://www.library.ucla.edu/libraries/special/childhood/pictur.htm
e

(Illustrators) Books
http://www.speel.demon.co.uk/other/decpage.htm
e Some decorated book pages from the late 19th Century

(Illustrators) Grimm Fairy Tales
http://www.vcu.edu/hasweb/for/grimm/grimm_menu.html
e/d Especially: Illustrations by Otto Ubbelohde, 1907

(Illustrators) Posters
http://www.mairie-lyon.fr/fr/archives/fonds/aff/mini.htm
- 10 thumbs of French Advertising posters

Imigrant Stereotypes
http://www.english.swt.edu/Rosenbalm/humor/vol1os/immigrant_stereotypes.htm
e Studies in American Humour - Imigrant Stereotypes: 1880-1900 by William R. Linneman
http://www2.alcala.es/asi/stereo/hays.htm
e 'Cartoons, Ethnic Stereotypes, and Uncle Sam' by David M. Hays

Library of Congress
http://lcweb.loc.gov/rr/print/swann/cartoon_research.html
e Cartoon-related Research at the Library of Congress

Mark Cohen Original Cartoon Art
http://www.markomics.com/list.html
Mostly more modern work, but some oldtimers in there as well.

Patrick Gaumer
http://www.afaa.asso.fr/c-15/
f La bande dessinée francophone des origines aux années 60

Timeline directory
http://www.tacoma.ctc.edu/home/sneiman/art_247/timeline/time_dir.htm
e short overview of names and titles

(? - includes jpg of 'Fliegende Blaetter' cover)
http://www.uta.fi/laitokset/kielikeskus/kv/ruotsi/humor/humorbas.htm#fliegend
Språknät/Thomas Henrikson DET LUSTIGA SEKELSKIFTET - Svensk skämtpress omkring 1900


d = deutsch
e = englisch
f = franzoesisch
h = hollaendisch
i = italienisch
s = spanisch


(This page ended with my adress and email at the time, both no longer valid)

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+Index +


+ +Comics by +
+Andy +



+ +'Konky Kru' +
+
+ + +
+
+
+





+





+





+ + +
+
+
+
+
+ + + +


+©2008 Copyright by Andy Konky Kru +


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(Here is a selection of links and commentary from a large Jane Austen page with lots of visual documents from the time (including some wonderful drawings by Ingres, delightful prints of the latest fashions, dances and parlour games. The skimpily clad girls looked a lot sexier than their Victorian granddaughters...).
Below are only the links to the cartoons (or caricatures, as they were known then).




Anonymous
Anon - 'Strechit'
early 19th century, commenting on a few young females who were daring enough to ride astride, rather than sidesaddle - (Part of the intended humor is suposed to come from the confrontation between the genteel, though "fast" young lady and the salty British tar.) -
Young lady: 'Pray, Sir, is this the way to Stretchit?'
Signpost: 'To Stretchit'
Sailor: 'Shiver my top-sails, my Lass, if I know a better way.'

"A section of The Petticoat, or The Venus of 1742 and 1794"
(English engraving, presumably from 1794, comparing fashion silhouettes of the two years; the left half is taken from a detail in the Hogarth painting "Taste in High Life", engraved 1746)
Text on the left: "The Mode - 1742 - Hogarth pinxit - from a picture of Hogarth's in the Collection of J. B. Esquire"
Text on the right: "The Ton - 1794 - Lady CC...'l pinxit - from an Original (in the Collection) at the Opera" (Notice the high heels that the 1742 lady is wearing.)

"La Walse", caricature from Le Bon Genre
Paris, 1801 (at this time the Waltz was unknown in England, and in Germany and France still had not entirely shed its connotations of being a German peasant dance) On the left: a raffish couple; on the right: German "egghead", and a lady with her feet none too firmly planted.

"La Sauteuse", waltz caricature from Le Bon Genre
1806 (a satire on the craze for imitations of things ancient-Egyptian)
Paris, 1806 - (Intended to caricature the walz as having an abandoned nature, compared to the more decorous dances which had previously prevailed in genteel circles.)

"Les Modernes Incroyables"
satire on would-be fashionable young bucks of the day, from Caricatures Parisiennes, 1810

"Les Invisibles"
1810 - caricature of how various fashions (including women's bonnets, along with male hats and high collars) seemed to hide the face ("Invisible" is the French word for a poke bonnet) (This scan courtesy Bob Whitworth of PrintsGeorge.Com.)

Englishmen after dinner ("L'après-Dinée des Anglais")
1814 French satire on gentlemen taking liberties in the dining room after the ladies have withdrawn to the drawing room

English ladies after dinner ("Les Dames Anglaises Après-Diné")
1814 French satire of ladies in the drawing room

(Women ogling kilt-wearing young souldier)
1815

The Regency Cat Lady
(caricature published in Vienna, 1815)

A hobby horse built for four
(ca. 1817)
1st woman: "Vy, Poll, this beats the Delly!!" ["delly"="dilly", a shortening of "Diligence", which is an older and foreign word for "stagecoach"] "Vy, Poll, it's capsized" [Using the nautical word "capsize" instead of normal "overturn"]
2nd woman: "And we have capsized a Dandy"
1st sailor: "D--n it Jack, this is rare sailing without a wind"
2nd sailor: "A very pretty invention, Tom!" "D--n it we shall run down the Dandy!"
Dandy: "Curse you, you tarpauling!" ["tarpaulin"="sailor"] "Wy don't you mind how you steer?"

French satire on the poke bonnet ("invisible")
(ca. 1817)
No. 16 in the series of engravings, "Le Supreme Bon Ton" (from the second half of the 1810's) Caption: "Les Invisibles en Tête-a-Tête"

A satirical engraving of the quaint English custom of "wife-selling"
, which wasn't quite what it sounds like, but was more a ritual among the non-genteel classes (who couldn't possibly obtain a full parliamentary divorce according to the pre-1857 laws), to publicly proclaim a dissolution of marriage (though not one that was really recognized by the authorities of Church and State). 1820 English caricature (even though the sign says "Marché de Bêtes à Cornes") ( Notice how the artist has arranged things so that the cattle's horns are strategically placed in line-of-sight behind the husband's head.



Louis-Leopold Boilly
Facial expression study
(chalk sketch, probably from the early 1820's)



Chalon
A millinery shop in Paris
1822; the lady is giving directions on the making of her new bonnet, while her husband is ogling the shopgirls; the assistant isn't wearing so many layers of petticoats that she can't grip her bonnetmaker's dummy firmly between her knees



Cham
Satire on the beaked bonnet
by "Cham" (Amédée de Noé); probably drawn in the 1840's, but apparently depicting the fashions of the early 1820's



Isaac Cruikshank
'Female Opinions on Military Tactics', Sept. 30 1790
Rustic Couple: Wife: "I have made good the Accident of last night, -- and now John, though thee dost not look very like a Soldier, there shall not be a man in the Regiment with a better Ramrod."
Old Couple: Husband: "I can't conceive what is the matter with my Old Gun. I can't do any thing with it."
Wife: "It's owing to the Cock, my Dear; it has been so a long time!!"
Third Couple: Man: "Is not that very Gentlemanly and upright."
Young Lady: "Yes, and I hope you will always continue so. I doat upon everything upright."
Fourth Couple: Man: "Oh -- had you but seen me Fire last night; I astonish'd every Lady on the ground. I don't think I wink'd once during the whole evening."
Woman: "I am happy to hear you improve in any thing -- I had almost given you up, I assure you.
Fifth Couple: Husband: "A mere Flash in the pan, as I am a Gentleman and a Soldier!"
Wife: "That's nothing uncommon my Dear -- the only way is to try again."
Sixth Couple: Husband: "Bring me the Hammer, Wife -- I want to make an improvement in my Tailpipe."
Wife: "That I will, my Dear; I love improvements of any kind."
Seventh Couple: Young Man: "This, Miss, is what we call the Cock -- and this is the Swell."
Young Miss: "Well, I never knew so much of a Musket before -- how I should like to marry a soldier!"
Eighth Couple: Onlooker: "That a Military tail? I would not give a farthing for a Cart-load of them! I am told it is his Majesty's orders that every Gentleman Soldier in this Village shall at least have a tail of nine inches, to set a good example."

"Parisian Ladies in their Full Winter Dress for 1800"
(exaggerated satirical print by Isaac Cruikshank, Nov. 24th 1799)

(attributed) - "Crying for a New Toy"
Jan. 25th 1803 - portrays Napoleon's planned coronation in a rather undignified light
Nurse -- "Well Child, you shall have it, but I don't think you'll be a bit better for it, nor quieter when you've got it." Nappy -- "I will have it, I will, or else I'll cry -- give me the Crown!" (Torn picture of "the world" and broken crowns and scepters litter the floor.)



George Cruikshank
"Tom, Jerry, and Logic Making the Most of an Evening in Vauxhall"
by Robert and George Cruikshank, from Pierce Egan's Life in London (1821)

"Sporting a Toe among the Corinthians at Almacks in the West"
from Pierce Egan's Life in London (1821)

"Monstrosities of 1822"
- satirizing the manners and modes of 1822 Here Cruikshank wildly exaggerates recent high-fashion trends of the time, including the incipient trend towards recorseting.

(Detail) Napoleon and his officers reviewing their troops on the retreat from Moscow Nov. 1812
May 27th 1813, based on a Russian print.

"Longitude and Latitude of St. Petersburgh"
Countess Lieven waltzing at Almack's, May 13th 1813

THE BERKELEY SLIP, or a Lesson for Spinsters
by (George or Robert?) Cruikshank, 1816 (probably an allusion to some specific event or gossip)
Caption: "Not one false Slip entirely damns her Fame." Trust not to Man, however Debonair, Nor trust your bottoms on a slippery Chair.
Brother: 'Oho, I am afraid I have interrupted you!'
Suitor: 'No, No, only a-going... Nothing criminal, upon my honor. Just going to Kiss Mary a little.'
Mary: 'No, brother, the Gentleman was only going to behave genteely.'

"The inconveniences of a crowded drawing room"
famous caricature by George Cruikshank, May 6th 1818

Illustration and partial text from "Neckclothitania or Tietania, being an essay on Starchers, by One of the Cloth"
published by J.J. Stockdale, Sept. 1st. 1818

"An Interesting scene, on board an East-Indiaman, showing the Effects of a heavy Lurch, after dinner"
Nov. 9th 1818, after a drawing by Captain Frederick Marryat
The sailor on the right is saying "My precious eyes, Tom!!! here's a smash!! !! -- hold on, my hearties!! hang on by y'r eyelids"

"Dandies Dressing"
1818 caricature on the artificial Regency beau

A caricature of the Prince Regent
illustrating "The Political House that Jack Built" by William Hone (1819)



Robert Cruikshank
"The English Ladies' Dandy Toy"
1818, somewhat symbolic caricature showing a type of toy popular at the time

"Blind Man's Buff"
ca. 1824 (showing festive jollities and frolics in an English household)



Richard Dighton
"The Dandy Club"
Dec. 29th 1818



W. Elmes
"A Milling Match Between Decks"
A print that will make you wish you lived in the Regency, when things were decorous and elegant! , -July 13th 1812. (A caricature satirizing situations which arose in some navy ships when officers appeased the seamen by turning a blind eye to indulgences below decks -- especially allowing women who were not the sailors' wives to freely come on board when a ship was in port)
The devotee of terpsichore on the left is saying "I love a bit of hop -- Life is ne'er the worse for it when in my way do drop a Fiddle -- that's your sort." and the pugilistic spectator on the right is saying "Now Jack -- Brail up his peepers or Mungo will tip you yankey-doodle-doo." ("Hop" = "dance", "brail" nautical for "to haul up a sail", "peepers" = "eyes". The name "Mungo" is probably at least as much in honor of Scottish explorer Mungo Park as it is authentically African.)



James Gillray
"Love-à-la-mode, or Two dear friends"
early 19th-century - reportedly depicting a scandalous rumour told about Emma, Lady Hamilton (Nelson's mistress), and Queen Maria Carolina of Naples (presumably the the lady on the left, who seems to be wearing some kind of coronet or crown beneath the feathers in her headdress). Two men spy out the situation in some distate, from behind some bushes.
One lady to the other: "Little does he imagine that he has a female rival"
Nautical gentleman (Nelson?): "What is to be done to put a stop to this disgraceful Business?"
Other gentleman: "Take her from W???"

'Leaving Off Powder, or A Frugal Family Saving the Guinea'
March 10th 1795 caricature, on the results of the new tax on hair-powder. The mother is trying on a new unpowdered wig, the daughter is disconsolately surveying in a mirror the effect of her new unpowdered hair style, the father is standing with his back to the fire in an unpowdered wig and reading a Gazette -- the first page of which says "New Taxes", and the second page "Bankruptcies" -- and the extremely dandified son isn't wearing a wig at all. The very powdered Charles II looks down from the wall

A fashion prediction of 1796: "Ladies Dress, as it soon will be --"
Jan 20th, 1796, after a drawing by "Henry C----e"

"Lady Godina's Rout -- or -- Peeping-Tom spying out Pope-Joan. Vide Fashionable Modesty"
March 12th 1796 - An exaggerated satire on the extremes of classical-influenced styles which were very new and cutting edge in England at that time. The caricature is said to refer to Lady Georgiana Gordon; the title, as well as the servant lecherously peering down while trimming the candle, are allusions to the Lady Godiva legend. "Pope-Joan" is a cardgame -- see http://www.trussel.com/maig/pope.htm for information on the game; Lady "Godina" is holding the nine of diamonds which is called the "Pope" in the game. (This scan courtesy Bob Whitworth of PrintsGeorge.Com.)

"The Comforts of a Rumford Stove"
June 12th 1800 - caricature of Rumford (who was an American, Benjamin Thompson, awarded the title of "Count Rumford" by the elector of Bavaria), standing before his famous invention, the Rumford grate (popularized by his 1796 essay on "Chimney fireplaces", and mentioned in Northanger Abbey)
According to the inscription, this was drawn ad virum (i.e. in Rumford's presence).

Engraving satirizing young ladies' "accomplishments"
(drawing of a prosperous farmer's family 1809)

"La Walse"
1810 adaptation by Gillray of the earlier French waltz caricature - (At this time the Waltz was very new in England, and considered rather scandalous, because of the way the gentleman's arm encircles the lady's waist as part of the dance.)

Detail from "The Three Graces in A High Wind"
semi-satirical engraving (reportedly from 1810, perhaps originally drawn earlier) (Imagine a wind blowing from the right; its effects on the women's clothing would seem funny to a generation that had been accustomed to skirts stiffened with more layers of petticoats.)



W. Heath
"Corinthian Steamers, or Costumes and Customs of 1824"
Feb. 26 1824 caricature by W. Heath. This shows the very beginnings of the transition from Regency to Victorian with respect to facial hair and smoking (both of which were considered outlandish and un-English during the Regency, and are ridiculed here, but later would come to be considered highly respectable during the Victorian period)

Caption: Flaming dandy (2nd from left): "Fire! Fire! oh Dear, my best Mustacios will be quite Destroyd!"
Alarmed dandy (next to left): "Fire! Fire!"
Irish fireman (at left): "My Master, I must fetch our Engine to put out your Steam Engine"
At the right of the image a dandy is blowing smoke in a lady's face, in flagrant violation of the etiquette of the time (in which smoking was mostly not done indoors at all, and never in the presence of ladies). Caption is "Fond of Steaming Ladies! do you smoke it, eh!" (The steam engine was a shiny new technology in 1824, so smokers are jocularly compared to steam-engines...) Moustaches were associated with foreign (continental European) and military influences at the time (and so had a secondary association with conspicuous dandyism), while beards were totally out of fashion (generally only a few elderly working-class people and invalids would have had them).



John Nixon
Two of spades, depicting a mother-daughter dialogue
,from an 1803 draft design by for the "Metastasis Transformation" pack of playing cards (London).
``Ah Child, when I was at your Age, I never had occasion to go abroad for admirers, the young Fellows used to give me as a toast. Fanny the fair and prodigiously clever at all kinds of curious Work.. that I was..''
``Lord Mamma, I have heard that so often.''



Thomas Rowlandson
"A Peep at the Gas-lights in Pall Mall"
reactions to installation of the new invention of gas-lighting on Pall-Mall, London, by Rowlandson, 1809 (mediocre-quality image)
Well-informed gentleman: "The Coals being steam'd produces tar or paint for the outside of Houses -- the Smoke passing thro' water is deprived of substance and burns as you see."
Irishman: "Arragh honey, if this man bring fire thro water we shall soon have the Thames and the Liffey burnt down -- and all the pretty little herrings and whales burnt to cinders."
Rustic bumpkin: "Wauns, what a main pretty light it be: we have nothing like it in our Country."
Quaker: "Aye, Friend, but it is all Vanity: what is this to the Inward Light?"
Shady Female: "If this light is not put a stop to -- we must give up our business. We may as well shut up shop."
Shady Male: "True, my dear: not a dark corner to be got for love or money."

"Portsmouth Point"
ca. 1811, mainly satirizing various types of lower-class boisteriousness and carousing in Portsmouth harbor

"Lady Godina's Rout -- or -- Peeping-Tom spying out Pope-Joan. Vide Fashionable Modesty"
Coach(?) and six, with a "box" in front and "basket" behind (1798)

"Modern Antiques"
1806 (a satire on the craze for imitations of things ancient-Egyptian)
In the Morning Chronicle in 1805, a lady complained that 'since this accursed Egyptian style came into fashion... my eldest boy rides on a sphinx instead of a rocking-horse, my youngest has a papboat in the shape of a crocodile, and my husband has built a watercloset in the shape of a pyramid, and has his shirts marked with a lotus.'

A view of "Ackermann's Repository of Arts, 101 Strand"
an illustration by Pugin and Rowlandson to the magazine Ackermann's Repository of Arts, Literature, Commerce, January 1809 . Rudolph Ackermann was a publisher, print-seller, and "manufacturer of fancy articles" (e.g. screens, card racks, flower stands).

Trevithick's steam locomotive
as an attraction for paying customers in London's Euston Square; watercolour by Rowlandson, 1809

Coach(?) and six, with a "box" in front and "basket" behind
(1798)

Dr. Syntax plays the fiddle at a village dance
from The Tour of Dr. Syntax In Search of the Picturesque, 1810)

Dr. Syntax in village harvest procession
1823


Robert Williams
"The Merry Ship's Crew, or Nautical Philosophers"
a satirical caricature on severe naval discipline, from the late 1810's [Mediocre-quality scan]
Caption: Captain: "Well, Mate! Just come on shore? How did you leave the ship's crew?"
Mate: "Why Captain, I left them all to a man the merriest fellows in the world -- I flogged seventeen of them as your Honor commanded, and they are happy it is over; and the rest are happy because they have escaped."
"For all the happiness mankind can gain,
"Is not in pleasure, but in rest from pain." -- Dryden



Woodward
"The Fashions of the Day, or Time Past and Present"
1807 - engraved by Charles Williams after a drawing by Woodward, which presents an (exaggerated) contrast between "The Year 1740: A Lady's full dress of Bombazeen" and "The year 1807: ..." (well, you can read the rest yourself)
Note that "undress" didn't mean anything naughty -- you can read a definition of it at Cathy's Regency fashion pages. In pursuing his goal of satirizing certain features of contemporary 1807 fashions, the caricaturist did not really draw a fair comparison between the styles of 1740 and 1807, since a young Regency fashionable is juxtaposed here to a sedate middle-aged pre-Regency lady (perhaps in mourning), and such features of mid-18th century dress as tight stiff stays with extremely low necklines were not included (also, the "1740" costume actually seems to be somewhat of a pastiche with 17th century styles). Women's fashions of the Regency weren't always "sensible", but their excesses do seem to be more in accord overall with the spirit of the 20th century than the fashion excesses of most other periods between the 16th century and World War I (which tended to go in for such things as huge hoopskirts and tight corsets...)

"TOO MUCH and TOO LITTLE, or Summer Cloathing of 1556 & 1796"
satirical print by Isaac Cruikshank after drawing by George M. Woodward, February 8th 1796

"Squatting plump on an unexpected cat in your chair!!"
detail of an engraving by Isaac Cruikshank after a drawing by Woodward, ca. 1808 (part of a series on "Miseries of Human Life")









\ No newline at end of file diff --git a/httpdocs/links.music.html b/httpdocs/links.music.html new file mode 100644 index 0000000..fcb059d --- /dev/null +++ b/httpdocs/links.music.html @@ -0,0 +1,870 @@ + Music + + + + + + +A + + + +
Laurindo Almeida
+ Laurindo Almeida
+ + +
Maydra Andrade
+ (new bossa nova)
+ +
Aneka
+ Japanese Boy
+ + +
Architecture in Helsinki
+Heart It Races
+ +
Chet Atkins
+ +
Nicole Atkins
+ Live +     + 60 Minutes Interview - Maybe Tonight (2nd. song at 37 minutes)
+B + +
Beach Boys
+ 1969
+ + +
Bee Gees
+ 1977
+ + +
Big Joe Turner
+Big Joe Turner
+ + +
Black Sabbath
+ +She's Gone +     +It's Alright +     + (both from album 'Technical Ecstasy')
+ + +
Blondie
+Heart of Glass +     +
+ +
Blümchen
+ Blümchen
+ +
Bollywood
+ Asha Bhonsle Dum Maro Dum
+ + Asha Bhonsle & Mohammed Rafi Chura Liya Hai Tum Ne (from 'Yaadon Ki Baraat' 1973)
+ + Kishore Kumar Roop Tera Mastana ( from 'Aradhana') + + Pyar Diwana Hota Hai
+ + Udit Narayan Kuch Kuch Hota Hai
+ + Lata Mageshkar Didi Tera Devar Deewana
+ + +
Bonzo Dog Band
+ Bonzo Dog Band
+ + + + +
David Bowie +
+In The Heat Of The Morning + +. +
+Album 'Ziggy Stardust' (1972): 1:Five Years +     +2:Soul Love +     +3:Moonage Daydream +     +4:Starman +     +5:It Ain't Easy +     +6:Lady Stardust +     +7:Star +     +8:Hang On To Yourself +     +9:Ziggy Stardust +     +10:Suffragette City
+ + + + +
George Brassens +
George Brassens
+ + +
The Buggles
+Video Killed The Radio Star 1979
+ + +C + +
Johnny Cash
+Ballad Of The Teenage Queen +     +Ring of Fire
+ + +
The Chandelles
+The Chandelles
+ +
Gene Chandler
+Duke of Earl
+ +
The Chevrons
+Lullabye
+ +
Chicane
+Chicane
+ +
The Chiffons
+The Chiffons
+ +
The Chords
+Sh-Boom
+ + +
The Chordettes
+My Boy Lollipop
+ +
The Chrystals (aka The Metros) (Doo Wop)
+ Watching You (1960) +     + The Chrystals
+ +
Chubby Checker
+ Chubby Checker
+ +
Chuck Berry
+Chuck Berry
+ Oh Baby Doll
+ +
The Chrytals
+Watching You +
+ +
The Clovers (Doo Wop)
+Little Mama +     +
+ + The Clovers
+ + +
The Cordettes
+ Lollipop (1958) (Doo Wop)
+ + +
The Cole Porters
(altern. Blue Grass)
+ + +
Clubhouse
+ Light my fire
+ + +
Crazy Cole
+Topsy
+ +
The Crests
+Step by Step
+ +D +
The Dandy Warhols
+The Dandy Warhols +     +Album: Welcome To The Monkey House 2003 +
+ +
The Danleers +
The Danleers
+ +
Bobby Darin
+ Dream Lover
+ + + +
The Del Vikings
+Jitterbug Mary +     +
+ + +
Deodato
+Also Sprach Zarathustra (live) +     +
+ +
The Diamonds
+ Little Darlin'
+ +
Dion and The Belmonts
+A Teenager in Love +     +
+ +
The Dixe Cups (Doo Wop)
+ Chapel Of Love (1964)
+ +
DJ Mujava
DJ Mujava
+ + +
Duffy
+ Distant Dreamer
+E + +
Earl Bostic
+ Earl Bostic
+ +
Earth, Wind &am; Fire
+That's The Way Of The World
+ + +
Elvis
+ Mystery Train +     +Are you Lonesome tonight +     +Love Me +     +Lawdy Miss Clawdy +     +Can't Help Falling in Love +     +Blue Moon +     +Return to Sender +     +Love Me Tender +     +Devil in Disguise +     +Fever +     +King Creole +     +Treat Me Nice +     +Viva Las Vegas +     +I Want You I Need You +
+ +
Brian Eno
+ +Crime in the Desert +     +Lay My Love +     +Empty Frame +     +Mother Whale eyeless +     +The great Pretender +     +Third Uncle +     +The True Wheel +     +I'll Come Running +     +Another Green World +     +Sombre Reptiles +     +Golden Hours +
+ +
The Exciters
+ 1963
+F + +
The Five Satins
The Five Satins
+ +
The Five Keys (Doo Wop)
+ Ling Ting Tong (1955)
+ + +
The Flamingos
+The Flamingos
+ Would I Be Crying (1956)
+ + +
The Four Seasons
+ Big Girls Don't Cry (1962)
+ + +
Free
+ All Right Now
+G + +
Les Gams +
(les choristes de Gilbert Bécaud) He's Got The Power
+ + +
Melody Gardot
(Jazz)
+ +
Garrick, David
+ 'Don't Go Out into the Rain'
+ +
The G-Clefs
+ The G-Clefs
+ + +
Glitter Band
+Angel Face
+ + +
Leslie Gore
+It's My Party + You Don't Own Me
+H + +
Bill Haley
+Bill Haley
+ +
Hercules & Love Affair
+ Hercules Theme +     + Blind
+ +
Herman's Hermits
+ 'Don't Go Out into the Rain' +     + Herman's Hermits
+ +
Hot Chip
+ Hot Chip +     + Live
+ + + + + +
The Hush Sound
Crawling Towards the Sun
+ +I + +
Ideal
+ Hundsgemein + +     + + Monotonie +     + + Blaue Augen
+ +
The Isley Brothers
+The Isley Brothers
+ Shindig
+ + + +
Israhn
+ Ihtidael 1999
+ +
Ivory Joe Hunter +Don't Stop Loving Me
+ + Since I Met You Baby
+ +K + + +
Kitsch Electronica
+ Kitsch Electronica
+ + + +
Kraftwerk
+Autobahn +     +Kometenmelodie 2 +
+L + + +
Denise LaSalle
+ Try My Love (1980) +     + + A Love Reputation (Northern Soul)
+ +M + +
Cass McCombs
Cass McCombs
+ +
Pat Metheny
+Pat Metheny
+ +
Martina Topley Bird
+Martina Topley Bird
+ +
Martha Reeves and the Vandellas
+ Martha Reeves and the Vandellas
+Martha Reeves & the Vandellas + + 1965
+ + + +
The Marvelettes
+Marveletes
+Marveletes
+ + +
Millionaires
+ In My Bed
+ +
Missippi John Hurt
+Missippi John Hurt
+ +
The Moonglows
+The Moonglows
+ The Moonglows
+I Knew From The Start (1957) +
+ + + +
Yves Montand
+Paris Canaille
+ + +
Enrico Morricone
+ 1964 +     + 1965 +     + 1966 +     + 1967 +     + 1968 +     + 1969 +     + 1970
+N + + +
Frances Nero
+Frances Nero
+ +O + +
Odyssey
+ Native New Yorker
+P + +
Les Paul
+
Lloyd Price
+Stagger Lee
+ +
Tito Puente
+ Tito Puente
+Q +
Suzi Quatro
+Devil Gate Drive +    +Daytona Demon +    +48 Crash +    +48 Crash +    +Too Big +    +If You Can't Give Me Love +    +Can The Can +    +Stumblin' in (with Chris Norman) +    +
+ +R + +
Max Rabe
+Max Rabe +     +Mambo No. 5 +     +Sex Bomb +     +We Will Rock You +     +Max Rabe Live +     +
+  + +
Ra Ra Riot
+ Dying Is Fine
+ +
Retromantics
+ (their own website)
+ + +
Robots in Disguise
+ Robots in Disguise +     +La Nuit
+ +
The Rock-A-Teens
+ The Rock-A-Teens
+ +
The Ronettes
Be My Baby (1965)
+ + +
Xavier Rudd
+Xavier Rudd
+S +
Donna Summer
+On the Radio +     +Love to Love You Baby +     +Mac Arthur Park +     +Hot Stuff +     +Last Dance +     +Sunset People / Bad Girls +     +Dim All the Lights +     +Dim All The Lights-Sunset People-Bad Girls-Hot Stuff (Live) +
+ +  + + + +
17 Hippies
+ 17 Hippies
+ + +
The Schoolboys
+The Schoolboys
+ + +
+The Shangri-Las
+The Shangri-Las
+ + +
Frank Sinatra / Antonio Carlos Jobim
+ Frank Sinatra / Antonio Carlos Jobim
+ +
Alice Smith
Alice Smith
+ + +
Smokie
+Lay Back in the Arms of Someone +     +
+ +
Soul Train (TV show)
+Disco Dance routines - very slick +
+ +
The Spaniels
+ The Spaniels
+ + +
Spliff
+ Deja Vu +     + Carbonara +     + Heut Nacht +     + Radio
+ +
The Lovin' Spoonful
+ The Lovin' Spoonful
+ +
Shirelles
+Shirelles
+ +
Deuce Spriggens +
Missouri (Western Swing)
+ + + +
Nick Straker Band
+A Walk in the Park +     +
+ +
Supertramp
+Dreamer 1974 +     +Goodbye Stranger 1979 +     +
+ + +
The Supremes
+The Supremes
+ +
Les Surfs
+ Ce n'a pas d'importance
+ +
The Sweet
+Ballroom Blitz +     +Great Balls of Fire +     +Hellrazer +     +Blockbuster +     +
+ +T + +
The Temptations +
Get Ready - My Girl +     + + I'm Losin' You
+ + + +
Transvision Vamp +
+ Transvision Vamp +     +Wendy James
+ + +
Doris Troy
+ Doris Troy
+ + + +
Tina Turner
+Nutbush City Limits +     +River Deep and Moutain High +     +
+
The Turtles
+The Turtles
+U + +
(Ukulele Player) +
+ Slow Boat to China
+  +
Uriah Heep
+Easy Livin' +     +Lady in Black 1977 +     +
+V + +
Marlos Valle & Quarteto Em Cy (Bossa Nova)
+ (Bossa Nova)
+ +
Sylvie Vartan
+ 1962
+ +
The Veronicas
+Take Me on the Floor +     +
+
Visage
+ Fade to Grey
+ +
The Viscountts
+ The Viscountts
+ +W + +
Dionne Warwick
+60s
+ +
Crystal Waters
+ Crystal Waters
+  + +
Johnny Guitar Watson
+Tarzan +     +A real mother for ya +     +
+
Larry Williams
+Larry Williams
+ + +
Wir Sind Helden
+Wir Sind Helden
+ +
Stevie Wondor
+Sir Duke +     +
+ +
+
+ +
+ +
+
+ + 'Rare Doo Wop'
+ Doo-wop.net
+
+
+
+
+ +Swing +
+
+ Raymond Scott - War Dance For Wooden Indians
+ Raymond Scott - Twilight in Turkey 1937
+ + Astaire / Jane Powell I Left My Hat In Haiti +     + + How Could You
+ + Astaire / Eleanor Powell Begin the Beguine
+ + Astaire / Paulette Godard Dig It - from 'Second Chorus' 1940
+ + Astaire Top Hat
+ + Bobby Haggart / Ray Bauduc
+ + Twilight in Turkey
+ + Helen Forrest You Made Me Love You 1942
+ + Harry James
+ + Peggy Lee Why Don't You Do It Right
+ + Leena Horne Can't Help Lovin' Dat Man from 'Till the Clouds Roll By' 1946
+ + Charles Trenet Douce France 1963
+ + + Jimmy Blythe
+ + + Meade Lux Lewis
+ + The Hokum Clones (Folk)
+ + + Jean Goldkette
+ + The Boswell Sisters
+ + + Gene Krupa
+ + + Erhard Bauschke
+ + Dorothy Donegan (Jazz)
+ + Charlie Christian
+ + Slim Gaylard
+ + Slam Steward
+ + Tommy Dorsey
+ + Glen Gray
+ + Casa Loma
+ + Bix Beiderbecke
+ + Chu Berry
+ + Earl Scruggs (Bluegrass)
+ + Anita O'Day
+ + Albert Ammons
+ + Bob Crosby
+ + 'Swing Tap'
+ + +
+ + +
+
+
+Klassik +
+ 
Alfred Deller
+ (Alfred & Mark Deller) +     + (Alfred Deller)
+ + 
Mozart
+Serenade in B flat major 'Gran Partita' +
+ + + 
Schubert
+Schwanengesang: 'Abschied', 'Der Doppelgänger' +
+ +  +  + + + + + + + + + + +
+
+
+
+
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+ diff --git a/httpdocs/plop/ente.42.html b/httpdocs/plop/ente.42.html new file mode 100644 index 0000000..1d397a3 --- /dev/null +++ b/httpdocs/plop/ente.42.html @@ -0,0 +1,30 @@ +Plop Comics + +
+Index     +

+Plop 42 +

+ + + + +Ente

+ + +








+ +








+ +








+ +








+ + + +
+
+
+ +
+ diff --git a/httpdocs/plop/ferreira.47.html b/httpdocs/plop/ferreira.47.html new file mode 100644 index 0000000..741a9a5 --- /dev/null +++ b/httpdocs/plop/ferreira.47.html @@ -0,0 +1,24 @@ +Plop Comics + +
+Index     +

+Plop 47 +

+ + +Oliver Ferreira

+ +








+ +








+ +








+ + +
+
+
+ +
+ diff --git a/httpdocs/plop/ferreira.50.html b/httpdocs/plop/ferreira.50.html new file mode 100644 index 0000000..244cce7 --- /dev/null +++ b/httpdocs/plop/ferreira.50.html @@ -0,0 +1,18 @@ +Plop Comics + +
+Index     +

+Plop 50 +

+ + + + + +
+
+
+ +
+ diff --git a/httpdocs/plop/ferreira.63.html b/httpdocs/plop/ferreira.63.html new file mode 100644 index 0000000..95b77bf --- /dev/null +++ b/httpdocs/plop/ferreira.63.html @@ -0,0 +1,20 @@ +Plop Comics + +
+Index     + +

+Plop 63 +

+ + + + + + +
+
+
+ +
+ diff --git a/httpdocs/plop/frunk.69.html b/httpdocs/plop/frunk.69.html new file mode 100644 index 0000000..9e359bc --- /dev/null +++ b/httpdocs/plop/frunk.69.html @@ -0,0 +1,21 @@ +Plop Comics + +
+Index     +

+Plop 69 +

+ + + +








+ + + + +
+
+
+ +
+ diff --git a/httpdocs/plop/haggi.47.html b/httpdocs/plop/haggi.47.html new file mode 100644 index 0000000..562ce80 --- /dev/null +++ b/httpdocs/plop/haggi.47.html @@ -0,0 +1,33 @@ +Plop Comics + +
+Index     +

+Plop 47 +

+ + + +Haggi

+ +








+ +








+ +








+ +








+ +








+ +








+ +








+ + +
+
+
+ +
+ diff --git a/httpdocs/plop/haggi.53.html b/httpdocs/plop/haggi.53.html new file mode 100644 index 0000000..709fb6c --- /dev/null +++ b/httpdocs/plop/haggi.53.html @@ -0,0 +1,15 @@ +Plop Comics + +
+Index     +

+Plop 53 +

+ + + +
+
+ +
+ diff --git a/httpdocs/plop/hawro.59.html b/httpdocs/plop/hawro.59.html new file mode 100644 index 0000000..a361d10 --- /dev/null +++ b/httpdocs/plop/hawro.59.html @@ -0,0 +1,20 @@ +Plop Comics + +
+Index     +

+Plop 59 +

+ + +








+ +








+ + +
+
+
+ +
+ diff --git a/httpdocs/plop/herod.50.html b/httpdocs/plop/herod.50.html new file mode 100644 index 0000000..05c08ca --- /dev/null +++ b/httpdocs/plop/herod.50.html @@ -0,0 +1,17 @@ +Plop Comics + +
+Index     +

+Plop 50 +

+ + + + +
+
+
+ +
+ diff --git a/httpdocs/plop/herod.69.html b/httpdocs/plop/herod.69.html new file mode 100644 index 0000000..85710a8 --- /dev/null +++ b/httpdocs/plop/herod.69.html @@ -0,0 +1,17 @@ +Plop Comics + +
+Index     +

+Plop 69 +

+ + +








+ +
+
+
+ +
+ diff --git a/httpdocs/plop/ilian.44.html b/httpdocs/plop/ilian.44.html new file mode 100644 index 0000000..b4c150d --- /dev/null +++ b/httpdocs/plop/ilian.44.html @@ -0,0 +1,23 @@ +Plop Comics + +
+Index     +

+Plop 44 +

+ + + + +Michaela Ilian

+ +








+ +








+ +
+
+
+ +
+ diff --git a/httpdocs/plop/index.html b/httpdocs/plop/index.html new file mode 100644 index 0000000..644c061 --- /dev/null +++ b/httpdocs/plop/index.html @@ -0,0 +1,1051 @@ +Plop Comics + +
+ + + +
+
+ + + +
+
+ + +
+
+
+ + +Plop ist das dienstälteste Comicfanzine in Deutschland. Seit 30 Jahren werden hier unterschiedliche Comics, Besprechungen und Leserbriefe gedruckt.
+Hier sind 280 Seiten aus der 'Andreas Alt' Periode. +
+ +Ich habe einfach Comics ausgewählt, die mir besonders gefielen. Vielleicht kommt noch mehr aus anderen Ausgaben dazu. +
+
+ +Andy Konky Kru + + + + + +
+
+ + + +
+
+
+
+ + +

Comics: + +
+
+
+
+ +Andreas Alt +
+Plop 42 +
+ + + + + + + +
+Plop 53 +
+ + + + + +
+Plop 60 +
+ +
+
+
+
+
+
+ + +Rainer Baldermann

+ +Plop 43 +
+ + + +
+Plop 47 +
+ + + +
+Plop 59 +
+ +
+
+
+
+
+
+ +Gregor Beckmann +
+Plop 49 +
+ + +
+
+
+
+
+
+ +Holger Bommer +
+Plop 42 +
+ + + + + + +
+Plop 49 +
+ + +
+Plop 50 +
+ + +
+
+
+
+
+
+ +Klaus Bosch +
+
+Plop 50 +
+ +
+Plop 53 +
+ + +
+
+
+
+
+
+ +
+Benjamin Brandt +
+Plop 45 +
+ + + +
+Plop 47 +
+ + + + + +
+Plop 51 +
+ + + + +
+
+
+
+
+
+Ente +
+Plop 42 +
+ + + + + +
+
+
+
+
+
+ + +Oliver Ferreira +
+
+Plop 47 +
+ + + + + +
+Plop 50 +
+ +
+Plop 63 +
+ +
+
+
+
+
+
+Frunk +
+Plop 69 +
+ + + +
+
+
+
+
+
+Haggi +
+Plop 47 +
+ + + + + + + + +
+Plop 53 +
+ +
+
+
+
+
+
+Agate Hawro +
+Plop 59 +
+ + + +
+
+
+
+
+
+Herod +
+Plop 50 +
+ +
+Plop 69 +
+ + + +
+
+
+
+
+
+Michaela Ilian +
+Plop 44 +
+ + + + +
+
+
+
+
+
+Max Jähling +
+Plop 71 +
+ + + + + + + + + + + + + +
+
+
+
+
+
+Ilse Kilic +
+Plop 47 +
+ + + + +
+Plop 51 +
+ + +
+
+
+
+
+
+Malte Knaack +
+Plop 55 +
+ +
+
+
+
+
+
+Andy Konky Kru +
+Plop 49 - 63 +
+ + + + + + + + +
+Plop 71 +
+ + + + + + + +
+
+
+
+
+
König Lük +
+Plop 69 +
+ +
+
+
+
+
+
+Isabel Kreitz +
+Plop 53 +
+ +
+
+
+
+
+
+Levin Kurio (Werbung) +
+Plop 48 +
+ +
+
+
+
+
+
+
+Manfred Lafrentz +
+Plop 46 +
+ + + + +
+Plop 52 +
+ + + + + + + + +
+Plop 58 +
+ + + + +
+Plop 59 +
+ + +
+
+
+
+
+
+Michael Machner +
+Plop 71 +
+ +
+
+
+
+
+
+Till Lenecke +
+Plop 53 +
+ +
+Plop 63 +
+ + + + + + + + +
+Plop 64 +
+ + + + + + + + + + +
+
+
+
+
+
+Sabiene Lieb +
+Plop 60 +
+ + + +
+Plop 64 +
+ + + + + + +
+
+
+
+
+
+Ulrich Magin +
+Plop 42 - 53 +
+ + + + + +
+Plop 54 +
+ + + + +
+Plop 56 +
+ + + + + + + + + + +
+Plop 71 +
+ + +
+
+
+
+
+
+Radek Matuszak +
+Plop 69 +
+ +
+
+
+
+
+
+Mawil +
+Plop 53 +
+ + +
+
+
+
+
+
+Lorenz Migsch +
+Plop 41 +
+ + + + + + + + +
+
+
+
+
+
+Klaus Mischkus +
+Plop 50 +
+ +
+
+
+
+
+
+Jens Natter +
+Plop 52 +
+ + +
+Plop 60 +
+ +
+
+
+
+
+
+Nils +
+Plop 50 +
+ + + + +
+
+
+
+
+
+Armin Parr +
+Plop 63 +
+ + +
+Plop 68 +
+ + + + +
+
+
+
+
+
+Alex Pawlenko +
+Plop 44 +
+ + + + + +
+
+
+
+
+
+Jan Prose +
+Plop 68 +
+ + +
+
+
+
+
+
+Rattelschneck (und Andreas Alt) +
+Plop 40 +
+ + + +
+
+
+
+
+
+Jürgen Scheftlein +
+Plop 49 +
+ +
+Plop 51 +
+ + + +
+Plop 53 +
+ + + + +
+
+
+
+
+
+Kim Schmidt +
+Plop 49 +
+ + +
+
+
+
+
+
+Frank Schmolke +
+Plop 45 +
+ + + +
+
+
+
+
+
+Moritz Stetter +
+ +Plop 69 +
+ + +
+Plop 71 +
+ + + + + +
+
+
+
+
+
+Rüdiger Störy +
+Plop 57 +
+ + + + + +
+
+
+
+
+
+Bernd Teuber +
+Plop 41 +
+ + + + + +
+Plop 45 +
+ + + +
+Plop (Oktober 1995) +
+ + + +
+
+
+
+
+
+
+Rainer Thomas +
+Plop 42 +
+ + + +
+
+
+
+
+
+Unterkreuter +
+Plop 69 +
+ + + + + + +
+
+
+
+
+
+Ursula Wedde +
+Plop 44 +
+ + + + +
+
+
+
+
+
+Hubert Wenig +
+Plop 41 +
+ + +
+
+
+
+
+
+Wittek +
+Plop 68 +
+ + +
+
+
+
+
+
+''Über-Plop'' +
+ + + + + + + + + + + +
+ + + + + + + + + + +
+
+
+
+
+
+ + + +
+ + + +Hier sind die gleichen Comics nochmal anders angeordnet, nähmlich chronologisch, in der jeweiligen Plop-Ausgabe. +
+
+
+Nr.40 (2 Seiten) Rattelschneck/Andreas Alt +
+Nr.41 (14 Seiten) Bernd Teuber, Hubert Wenig, Lorenz Migsch, +
+Nr.42 (13 Seiten) Holger Bommer, Ente, Ulrich Magin, Thomas Rainer +
+Nr.43 (10 Seiten) Rainer Baldermann, Andreas Alt +
+Nr.44 (10 Seiten) Ursula Wedde, Alex Pawlenko, Michaela Illian +
+Nr.45 (6 Seiten) Frank Schmolke, Benjamin Brand, Bernd Teuber +
+Nr.46 (4 Seiten) Manfred Lafrentz +
+Nr.47 (26 Seiten) Rainer Baldermann, Benjamin Brandt, Oliver Ferreira, Haggi, Ilse Kilic, Ulrich Magin +
+Nr.48 (2 Seiten) Ulrich Magin, Levin Kurio +
+Nr.49 (7 Seiten) Andy, Holger Bommer, Jürgen Scheftlein, Kim Schmidt, Gregor Beckmann +
+Nr.50 (11 Seiten) Holger Bommer, Oliver Ferreira, Nils Knoblich, Klaus Mischkus, Herod, Klaus Bosch, Andy +
+Nr.51 (9 Seiten) Benjamin Brandt, Jürgen Scheftlein, Ilse Kilic +
+Nr.52 (11 Seiten) Manfred Lafrentz, Jens Natter, Jasmin Abdulhack +
+Nr.53 (16 Seiten) Isabel Kreitz, Haggi, Till Lenecke, Mawil, Jürgen Scheftlein, Andreas Alt, Klaus Bosch, Ulrich Magin +
+Nr.54 (4 Seiten) Ulrich Magin +
+Nr.55 (1 Seiten) Malte Knaack +
+Nr.56 (10 Seiten) Ulrich Magin +
+Nr.57 (4 Seiten) Rüdiger Störy +
+Nr.58 (5 Seiten) Andy, Manfred Lafrentz +
+Nr.59 (8 Seiten) Rainer Baldermann, Agata Hawro, Manfred Lafrentz, Andy +
+Nr.60 (6 Seiten) Andreas Alt, Jens Natter' Sabine Lieb, Andy +
+Nr.63 (12 Seiten) Oliver Ferreira, Till Lenecke, Armin Parr +
+Nr.64 (13 Seiten) Till Lenecke/Andreas Alt, Sabine Lieb +
+Nr.68 (7 Seiten) Wittek, Jan Prose, Armin Parr +
+Nr.69 (14 Seiten) König LüQ, Frunk, Radik Matuszak, Herod, Moritz Stetter, Andreas Unterkreuter +
+Nr.71 (26 Seiten) Max Jähling/Andreas Alt, Ulrich Magin, Leger Legende, Moritz Stetter, Andy +
+
+ +Über-Plop (Sonderheft) (19 Seiten) +Wittek, Andreas Alt, Herod, Jens Natter, Aaron Jordan, Peter Schaaff, Ulrich Magin, Rainer Baldermann, Moritz von Wohlzogen, Oliver Ferreira, Max Jähling, Till Lenecke, Oliver Gfeller, Moritz Stetter, Joachim Guhde, Haggi, Rudolph Perez +
+
+ + + + +
+
+
+
+

Besprechungen: +

Rezensionen von anderen Comics (nicht nur Selbstgetackertes): +
+ +40 +41 +42 +43 +44 +45 +46 +47 +48 +49 +50 +51 +52 +53 +54 +55 +56 +57 +58 +60 +62 +63 +64 +65 +66 +67 +68 +69 +70 +71 +72 +73 +74 +75 +
+
+
+
+
+ + +
+
+
+
+ diff --git a/httpdocs/plop/jaehling.71.html b/httpdocs/plop/jaehling.71.html new file mode 100644 index 0000000..46a07a9 --- /dev/null +++ b/httpdocs/plop/jaehling.71.html @@ -0,0 +1,39 @@ +Plop Comics + +
+Index     +

+Plop 71 +

+ + +








+ +








+ +








+ +








+ +








+ +








+ +








+ +








+ +








+ +








+ +








+ + + +
+
+
+ +
+ diff --git a/httpdocs/plop/kilic.47.html b/httpdocs/plop/kilic.47.html new file mode 100644 index 0000000..b53b293 --- /dev/null +++ b/httpdocs/plop/kilic.47.html @@ -0,0 +1,24 @@ +Plop Comics + +
+Index     +

+Plop 47 +

+ + +Ilse Kilic

+ +








+ +








+ +








+ + +
+
+
+ +
+ diff --git a/httpdocs/plop/kilic.51.html b/httpdocs/plop/kilic.51.html new file mode 100644 index 0000000..8674d03 --- /dev/null +++ b/httpdocs/plop/kilic.51.html @@ -0,0 +1,19 @@ +Plop Comics + +
+Index     +

+Plop 51 +

+ + +








+ + + +
+
+
+ +
+ diff --git a/httpdocs/plop/knaack.55.html b/httpdocs/plop/knaack.55.html new file mode 100644 index 0000000..a20f447 --- /dev/null +++ b/httpdocs/plop/knaack.55.html @@ -0,0 +1,17 @@ +Plop Comics + +
+Index     +

+Plop 55 +

+ + +Malte Knaack

+ +
+
+
+ +
+ diff --git a/httpdocs/plop/koenig.69.html b/httpdocs/plop/koenig.69.html new file mode 100644 index 0000000..4f8f932 --- /dev/null +++ b/httpdocs/plop/koenig.69.html @@ -0,0 +1,19 @@ +Plop Comics + +
+Index     +

+Plop 69 +

+ + + + + + +
+
+
+ +
+ diff --git a/httpdocs/plop/kplop_40_rattelschneck_1.jpg b/httpdocs/plop/kplop_40_rattelschneck_1.jpg new file mode 100644 index 0000000..c5a72fd Binary files /dev/null and b/httpdocs/plop/kplop_40_rattelschneck_1.jpg differ diff --git a/httpdocs/plop/kplop_40_rattelschneck_2.jpg b/httpdocs/plop/kplop_40_rattelschneck_2.jpg new file mode 100644 index 0000000..36d7516 Binary files /dev/null and b/httpdocs/plop/kplop_40_rattelschneck_2.jpg differ diff --git a/httpdocs/plop/kplop_41_migsch.lorenz_1.jpg b/httpdocs/plop/kplop_41_migsch.lorenz_1.jpg new file mode 100644 index 0000000..490cda6 Binary files /dev/null and b/httpdocs/plop/kplop_41_migsch.lorenz_1.jpg differ diff --git a/httpdocs/plop/kplop_41_migsch.lorenz_2.jpg b/httpdocs/plop/kplop_41_migsch.lorenz_2.jpg new file mode 100644 index 0000000..60ece3e Binary files /dev/null and b/httpdocs/plop/kplop_41_migsch.lorenz_2.jpg differ diff --git a/httpdocs/plop/kplop_41_migsch.lorenz_3.jpg b/httpdocs/plop/kplop_41_migsch.lorenz_3.jpg 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+Index     +

+Plop 53 +

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+ diff --git a/httpdocs/plop/kurio.48.html b/httpdocs/plop/kurio.48.html new file mode 100644 index 0000000..6f24006 --- /dev/null +++ b/httpdocs/plop/kurio.48.html @@ -0,0 +1,19 @@ +Plop Comics + +
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+Plop 48 +

+ +Levin Kurio (Werbung)

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+ diff --git a/httpdocs/plop/lafrentz.46.html b/httpdocs/plop/lafrentz.46.html new file mode 100644 index 0000000..bcad6e4 --- /dev/null +++ b/httpdocs/plop/lafrentz.46.html @@ -0,0 +1,23 @@ +Plop Comics + +
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+Plop 46 +

+ + + + +Manfred Lafrentz

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+ diff --git a/httpdocs/plop/lafrentz.58.html b/httpdocs/plop/lafrentz.58.html new file mode 100644 index 0000000..41e7cef --- /dev/null +++ b/httpdocs/plop/lafrentz.58.html @@ -0,0 +1,21 @@ +Plop Comics + +
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+ diff --git a/httpdocs/plop/lafrentz.59.html b/httpdocs/plop/lafrentz.59.html new file mode 100644 index 0000000..66308e2 --- /dev/null +++ b/httpdocs/plop/lafrentz.59.html @@ -0,0 +1,18 @@ +Plop Comics + +
+Index     +

+Plop 59 +

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+ + +
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+ diff --git a/httpdocs/plop/leger.71.html b/httpdocs/plop/leger.71.html new file mode 100644 index 0000000..121753e --- /dev/null +++ b/httpdocs/plop/leger.71.html @@ -0,0 +1,21 @@ +Plop Comics + +
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+Plop 71 +

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+Plop 53 +

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+Index     +

+Plop 63 +

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+Plop 64 +

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+ diff --git a/httpdocs/plop/lieb.60.html b/httpdocs/plop/lieb.60.html new file mode 100644 index 0000000..4f94690 --- /dev/null +++ b/httpdocs/plop/lieb.60.html @@ -0,0 +1,20 @@ +Plop Comics + +
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+Plop 64 +

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+ diff --git a/httpdocs/plop/magin.1996.html b/httpdocs/plop/magin.1996.html new file mode 100644 index 0000000..d7fcf48 --- /dev/null +++ b/httpdocs/plop/magin.1996.html @@ -0,0 +1,21 @@ +Plop Comics + +
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+Plop (Juni 1996) +

+ + +Ulrich Magin

+ + + + + +
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+Plop 42 +

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+Plop 47 +

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+Plop 48 +

+Ulrich Magin

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+Plop 54 +
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+ diff --git a/httpdocs/plop/magin.56.html b/httpdocs/plop/magin.56.html new file mode 100644 index 0000000..82e2674 --- /dev/null +++ b/httpdocs/plop/magin.56.html @@ -0,0 +1,32 @@ +Plop Comics + +
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+ diff --git a/httpdocs/plop/magin.71.html b/httpdocs/plop/magin.71.html new file mode 100644 index 0000000..1349586 --- /dev/null +++ b/httpdocs/plop/magin.71.html @@ -0,0 +1,18 @@ +Plop Comics + +
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+ diff --git a/httpdocs/plop/matuszak.69.html b/httpdocs/plop/matuszak.69.html new file mode 100644 index 0000000..160fc5d --- /dev/null +++ b/httpdocs/plop/matuszak.69.html @@ -0,0 +1,19 @@ +Plop Comics + +
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+Plop 69 +

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+ diff --git a/httpdocs/plop/migsch.41.html b/httpdocs/plop/migsch.41.html new file mode 100644 index 0000000..3069963 --- /dev/null +++ b/httpdocs/plop/migsch.41.html @@ -0,0 +1,33 @@ +Plop Comics + +
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+Plop 41 +

+ + +Lorenz Migsch

+ +








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+ diff --git a/httpdocs/plop/mischkus.50.html b/httpdocs/plop/mischkus.50.html new file mode 100644 index 0000000..5f34793 --- /dev/null +++ b/httpdocs/plop/mischkus.50.html @@ -0,0 +1,17 @@ +Plop Comics + +
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+ diff --git a/httpdocs/plop/natter.60.html b/httpdocs/plop/natter.60.html new file mode 100644 index 0000000..d01b1e6 --- /dev/null +++ b/httpdocs/plop/natter.60.html @@ -0,0 +1,21 @@ +Plop Comics + +
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+Plop 68 +

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+ diff --git a/httpdocs/plop/pawlenko.44.html b/httpdocs/plop/pawlenko.44.html new file mode 100644 index 0000000..461b575 --- /dev/null +++ b/httpdocs/plop/pawlenko.44.html @@ -0,0 +1,22 @@ +Plop Comics + +
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+Plop 44 +

+ +Alex Pawlenko

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+ diff --git a/httpdocs/plop/plop-logo.gif b/httpdocs/plop/plop-logo.gif new file mode 100644 index 0000000..2a50441 Binary files /dev/null and b/httpdocs/plop/plop-logo.gif differ diff --git a/httpdocs/plop/plop.html b/httpdocs/plop/plop.html new file mode 100644 index 0000000..a198817 --- /dev/null +++ b/httpdocs/plop/plop.html @@ -0,0 +1 @@ +Plop Comics


Plop ist das dienstälteste Comicfanzine in Deutschland. Seit 30 Jahren werden hier unterschiedliche Comics, Besprechungen und Leserbriefe gedruckt.
Hier sind 280 Seiten aus der 'Andreas Alt' Periode.
Ich habe einfach Comics ausgewählt, die mir besonders gefielen. Vielleicht kommt noch mehr aus anderen Ausgaben dazu.

Andy Konky Kru





Comics:



Andreas Alt
Plop 42

Plop 53

Plop 60






Rainer Baldermann

Plop 43

Plop 47

Plop 59






Gregor Beckmann
Plop 49






Holger Bommer
Plop 42

Plop 49

Plop 50






Klaus Bosch

Plop 50

Plop 53







Benjamin Brandt
Plop 45

Plop 47

Plop 51






Ente
Plop 42






Oliver Ferreira

Plop 47

Plop 50

Plop 63






Frunk
Plop 69






Haggi
Plop 47

Plop 53






Agate Hawro
Plop 59






Herod
Plop 50

Plop 69






Michaela Ilian
Plop 44






Max Jähling
Plop 71






Ilse Kilic
Plop 47

Plop 51






Malte Knaack
Plop 55






Andy Konky Kru
Plop 49 - 63

Plop 71






König Lük
Plop 69






Isabel Kreitz
Plop 53






Levin Kurio (Werbung)
Plop 48







Manfred Lafrentz
Plop 46

Plop 52

Plop 58

Plop 59






Michael Machner
Plop 71






Till Lenecke
Plop 53

Plop 63

Plop 64






Sabiene Lieb
Plop 60

Plop 64






Ulrich Magin
Plop 42 - 53

Plop 54

Plop 56

Plop 71






Radek Matuszak
Plop 69






Mawil
Plop 53






Lorenz Migsch
Plop 41






Klaus Mischkus
Plop 50






Jens Natter
Plop 52

Plop 60






Nils
Plop 50






Armin Parr
Plop 63

Plop 68






Alex Pawlenko
Plop 44






Jan Prose
Plop 68






Rattelschneck (und Andreas Alt)
Plop 40






Jürgen Scheftlein
Plop 49

Plop 51

Plop 53






Kim Schmidt
Plop 49






Frank Schmolke
Plop 45






Moritz Stetter
Plop 69

Plop 71






Rüdiger Störy
Plop 57






Bernd Teuber
Plop 41

Plop 45

Plop (Oktober 1995)







Rainer Thomas
Plop 42






Unterkreuter
Plop 69






Ursula Wedde
Plop 44






Hubert Wenig
Plop 41






Wittek
Plop 68






''Über-Plop''







Hier sind die gleichen Comics nochmal anders angeordnet, nähmlich chronologisch, in der jeweiligen Plop-Ausgabe.


Nr.40 (2 Seiten) Rattelschneck/Andreas Alt
Nr.41 (14 Seiten) Bernd Teuber, Hubert Wenig, Lorenz Migsch,
Nr.42 (13 Seiten) Holger Bommer, Ente, Ulrich Magin, Thomas Rainer
Nr.43 (10 Seiten) Rainer Baldermann, Andreas Alt
Nr.44 (10 Seiten) Ursula Wedde, Alex Pawlenko, Michaela Illian
Nr.45 (6 Seiten) Frank Schmolke, Benjamin Brand, Bernd Teuber
Nr.46 (4 Seiten) Manfred Lafrentz
Nr.47 (26 Seiten) Rainer Baldermann, Benjamin Brandt, Oliver Ferreira, Haggi, Ilse Kilic, Ulrich Magin
Nr.48 (2 Seiten) Ulrich Magin, Levin Kurio
Nr.49 (7 Seiten) Andy, Holger Bommer, Jürgen Scheftlein, Kim Schmidt, Gregor Beckmann
Nr.50 (11 Seiten) Holger Bommer, Oliver Ferreira, Nils Knoblich, Klaus Mischkus, Herod, Klaus Bosch, Andy
Nr.51 (9 Seiten) Benjamin Brandt, Jürgen Scheftlein, Ilse Kilic
Nr.52 (11 Seiten) Manfred Lafrentz, Jens Natter, Jasmin Abdulhack
Nr.53 (16 Seiten) Isabel Kreitz, Haggi, Till Lenecke, Mawil, Jürgen Scheftlein, Andreas Alt, Klaus Bosch, Ulrich Magin
Nr.54 (4 Seiten) Ulrich Magin
Nr.55 (1 Seiten) Malte Knaack
Nr.56 (10 Seiten) Ulrich Magin
Nr.57 (4 Seiten) Rüdiger Störy
Nr.58 (5 Seiten) Andy, Manfred Lafrentz
Nr.59 (8 Seiten) Rainer Baldermann, Agata Hawro, Manfred Lafrentz, Andy
Nr.60 (6 Seiten) Andreas Alt, Jens Natter' Sabine Lieb, Andy
Nr.63 (12 Seiten) Oliver Ferreira, Till Lenecke, Armin Parr
Nr.64 (13 Seiten) Till Lenecke/Andreas Alt, Sabine Lieb
Nr.68 (7 Seiten) Wittek, Jan Prose, Armin Parr
Nr.69 (14 Seiten) König LüQ, Frunk, Radik Matuszak, Herod, Moritz Stetter, Andreas Unterkreuter
Nr.71 (26 Seiten) Max Jähling/Andreas Alt, Ulrich Magin, Leger Legende, Moritz Stetter, Andy

Über-Plop (Sonderheft) (19 Seiten) Wittek, Andreas Alt, Herod, Jens Natter, Aaron Jordan, Peter Schaaff, Ulrich Magin, Rainer Baldermann, Moritz von Wohlzogen, Oliver Ferreira, Max Jähling, Till Lenecke, Oliver Gfeller, Moritz Stetter, Joachim Guhde, Haggi, Rudolph Perez






Besprechungen:

Rezensionen von anderen Comics (nicht nur Selbstgetackertes):
40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 60 62 63 64 65 66 67 68 69 70 71 72 73 74 75







\ No newline at end of file diff --git a/httpdocs/plop/plop_40.html b/httpdocs/plop/plop_40.html new file mode 100644 index 0000000..4942f75 --- /dev/null +++ b/httpdocs/plop/plop_40.html @@ -0,0 +1 @@ +Plop Comics (Plop Online Comics, hier klicken)  
Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 60 62 63 64 65 66 67 68 69 70 71 72 73 74 75



Plop 40
Besprechungen



Zebra # 12. Georg K. Berres, Gisel-herstraße 19 50739 Köln. 40 Seiten, schwarz-weiß,  Din A4. 4,50 DM.
 
Über Zebra zu schreiben, hatte bisher immer den Haken, daß jede Ausgabe gleich gut war (bin ich froh, daß ich's bisher nicht machen mußte). Zebra # 12 ist anders. Nicht, daß dieses Heft nun im Vergleich zu den vorherigen abfällt. Aber es ist eine Jubiläumsausgabe. Zehn Jahre Zebra bedeuten: nur 16 reguläre Comicseiten, dazu viele, viele Glückwunschzuschriften, zum Beispiel von Heike Anacker, Bia Biafra, Martin Frei, Hartmut Klotzbücher, Jo84 und Kim Schmidt. Wie wir die Dame und Herren kennen, schreiben die nicht bloß "Alles Liebe zum Fest" oder so ähnlich. Die liefern zum Teil ausgewachsene fünfseitige Comics. Und so ist dieses Zebra zum bisher buntesten, abwechslungsreichsten und damit kurzweiligsten geworden. Sogar Altmeister Volker Reiche hat eine Seite beigesteuert und Comic-Professor Wolfgang J. Fuchs, der anscheinend selber auch zeichnen kann. Jedoch ist die Feststimmung mit etwas Melancholie durchsetzt. Die traditionelle Vorschau auf der letzten Seite bleibt unverbindlich wie nie zuvor. Der Zebra-Crew behagt zwar der wehmütige Rückblick auf zehn Jahre Comic-Geschichte, aber größer denn je sind die Zweifel, ob's denn auch weitergeht ins nächste Zebra-Jahrzehnt. Die neue Ausgabe zeigt da nur einen Weg auf: Mehr Gastbeiträge aus der beachtlich großen Fangemeinde. Aber ob ein Zebra ohne Dominanz der Berres/Perez/Goger/Kreutzner wohl stattfinden wird? Naja, das sind typisch skeptische Kritiker-Spekulationen. Warten wir stattdessen lieber auf Zebra # 13. Die hier besprochene Ausgabe habe ich mir übrigens beim Comicsalon in Köln selbst besorgt. Kein Wunder: Daß ich nun in PLOP rezensiere, konnten die Zebra-Leute nicht wissen. Mir war an dieser Besprechung gelegen, da ich damit eine alte Schuld abzutragen hoffe. Die Sache liegt so lange zurück, daß sie womöglich längst vergessen ist. Mir aber bereitet sie immer noch Magengrimmen. 1987/88 forderte die Zebra-Crew bei mir einige Exemplare des eben erschienenen zweiten Amateurcomic-Readers an. Dafür hatte ich ja auch kräftig Werbung gemacht. Leider war die Resonanz sonst äußerst dürftig, präziser: Die Kölner waren die einzigen, die überhaupt Reader bei mir bestellten. Nachdem von dem Massenversand, mit dem ich gerechnet hatte, keine Rede sein konnte, verlor ich auch diese eine Order aus dem Gedächtnis - bis sich Georg Berres wieder bei mir meldete. Aber statt mich mit Verwünschungen zu überziehen, mutmaßte er, der Reader sei wohl schon ausverkauft. Über meinen Fauxpas bin ich nie so ganz hinweggekommen. Naja, vielleicht kann ich ja jetzt wieder ruhig schlafen. aa
 
si-kartuun # 8. Michael Groenewald, Zum Bernstein 22, Siegen. 84 Sei-ten, schwarz-weiß, Cover zweifarbig, Din A4, 6 DM.
 
Noch ein Wackelkandidat. Bei der PLOP-Party vergangenen November in Düsseldorf war von den si-kartuunern zu hören, es werde wohl keine weiteren Ausgaben geben. Zum einen ist einer der maßgeblichen Macher des Hefts Matthias Langer von Siegen nach Köln gezogen. Zum anderen sollen dem si-kartuun nach dem Überraschungserfolg in Siegen einige Konkurrenten erwachsen sein, so daß der Anzeigenkuchen zur Finanzierung nicht mehr ausreiche. Letzteres allerdings ist kaum zu glauben. Schwer vorstellbar, daß jemand in Siegen so mirnichts dirnichts ein vergleichbares Magazin auf die Beine stellt. si-kartuun versammelt einige der besten Undergroundzeichner, wie das etwa Ende der 70er Jahre in Zomix und Anfang der 80er in Hinz-und-Kunz-Comix geschah. Der Akzent liegt hier eindeutig auf kurzen Gags, wenn auch in der neuen Ausgabe etwa der Zwölfseiter "Unternehmen Fehlschlag" von Bia Biafra und Jürgen Raatz darunter ist. Wer ist sonst dabei? Aus PLOP kennen wir noch (mindestens) Hartmut Klotzbücher, Kim Schmidt, Marcus Frede, Mathias Dinter und Jo Guhde. Des weiteren Altmeister Willi Blöss, Niels Fliegner (MAD) und Hansi Kiefersauer. Außerdem als Beilage (wenn mir da nicht meine Unterlagen durcheinandergeraten sind) ein wilder Jam-Comic namens "Hartmut" von Marcus Frede, Niels Fliegner, Thomas Harske, Bia Schaaff, Egon Lebt, Robert Sladek, Heinz Wolf, Stefan Neuwinger und Nicolas Mahler. Besonders bedauerlich ist es im Fall dieses Magazins, daß es so schwer ist, eine bundesweite Verbreitung sicherzustellen. si-kartuun wäre eine Zierde für jeden Bahnhofskiosk. Wie hat das Robert Crumb bloß gemacht, nachdem er seine ersten Hefte persönlich an der High School verkauft hatte? aa
 
Klaus Jesinger, Achim H. Sauer (Text), Holger Bommer (Zeichnungen): Ferdinand der Verführer & Edgar der Erdverbundene. Amigo Comics Holger Bommer, Starenweg 18, 73730 Eßlingen. 56 Seiten, schwarz-weiß, Vierfarbcover, Albumformat, 14,80 DM.
 
Sie saßen zu dritt am Kartentisch: Besagter Ferdinand, besagter Edgar sowie ein gewisser Guntram der Gutfrisierte, für den offenbar im Titel kein Platz mehr war. Beim Zocken sind alle drei gleich wichtig. Edgar gewinnt meist, und Guntram schafft es meist, nicht die nächste Runde zahlen zu müssen. Soweit aber die Handlung vorangetrieben wird, steht Ferdinand im Mittelpunkt des Interesses. Ferdinand nämlich hat sich in Dolores verliebt, die "gleich neben dem Schnapsladen" wohnt, der "neben dem Bordell steht". Verständlich also, warum sein Auge gerade auf Dolores gefallen ist. Soweit er nicht mit Edgar und Guntram am Kartentisch sitzt, bemüht sich Ferdinand, Dolores seine Liebe zu gestehen. Jeder, der sich schon mal in ein Mädchen verliebt hat, weiß, wie schwierig das sein kann. In dem Album spielen auch Tiere eine wichtige Rolle. In erster Linie Hunde: Fido von Fallersleben (aufblasbar), Zorro der Wunderhund, aber auch gefräßige Ziegen und Krokodile, ein Elefant namens Bonzo, ein Hirsch und ein Bär. Außerdem hören wir einige Geschichten, wie sie am Kartentisch erzählt zu werden pflegen. Da weder die Charakterzeichnung der Protagonisten noch der Fortgang der Handlung besondere Konzentration erfordert, läßt sich das Album flüssig und zügig durchlesen. Manchmal keimt der Verdacht, die Geschichte sei aus vier oder fünf Versatzstücken zusammengebosselt. Trotzdem wirkt sie bruchlos. Der Zeichner hat so gearbeitet, daß er während der Entstehungszeit des Albums möglichst wenig vom Kartenspielen abgehalten wurde. Abgesehen von der kompromißlosen Einfachheit fällt die Grafik aber nicht weiter unangenehm auf. Damit wäre soweit alles gesagt Ich möchte mit einem Zitat schließen, das ich mir mal von einem Plattencover einer Band namens "Tiny Giants" notiert habe. Vielleicht paßt es nicht so ganz hierher, aber das ist für diese Kritik unerheblich. Es lautet: "Du sagst: Ich liebe die Blumen. Aber du pflückst sie. Ich liebe die Bäume. Aber du sperrst sie ein. Ich liebe die Tiere. Aber du ißt sie. Nun habe ich Angst, du sagst zu mir: Ich liebe dich!" aa
 
Au Weia # 5. Kringel Comics, Hartmut Klotzbücher, Herderstraße 10, 70734 Fellbach. 52 Seiten, schwarz-weiß mit farbigem Titelaufkleber, Din A5, 3,50 DM.
 
Zur totalen Demontage hatte er seine Geschichte viel zu lieb, schrieb kürzlich Hans Günther Pflaum über Mel Brooks neue Parodie "Robin Hood - Men in Tights". So könnte auch mein vorweggenommenes Fazit über Haggis neues Werk lauten. Untertitel: "Das gottesglatte Comic-Magazin". Sein Stoff stammt aus der Thora, genauer gesagt aus dem erste Buch Moses, Kapitel vier bis zwölf. Dort wird im wesentlichen die Geschichte von Noah und der Sintflut erzählt und der Beginn der Lebensgeschichte von Abraham. Den noch bekannteren Anfang der Bibel, die Erschaffung der Welt und die Vertreibung aus dem Paradies, hat Haggi bereits auf 29 Seiten in früheren Au Weia-Ausgaben verarbeitet. Diese Bibelversion ist weder so unerträglich salbungsvoll geraten wie manche seriösen Werke noch so bösartig blasphemisch wie viele Sachen aus dem Cartoon- und Comicbereich. Sie liegt ziemlich in der Mitte dazwischen. Einerseits ist Haggi der Text so wichtig, daß er ihn bis in die Details nachzeichnet (nur bei den exzessivsten Ahntentafeln erlaubt er sich schon mal, ein paar Zeilen zu überspringen). Andererseits macht er jene Eigenheiten der Überlieferung zur Zielscheibe seines Spotts, die nach ein paar tausend Jahren nicht mehr ohne weiteres verständlich sind. Beinahe rührend wiederum erscheinen seine Überlegungen, wie die Sintflut eigentlich die Meerestiere auslöschen konnte - darüber diskutiert ein Mensch des wissenschaftlichen Zeitalters schon gar nicht mehr. Mit Au Weia # 5 hat Haggi nun summa summarum 76 Seiten Bibelcomics aufgehäuft. Mal sehen, wie das weitergeht - die Fortsetzung der Geschichte Abrahams ist bereits angekündigt. Wollte er das gesamte Alte Testament auf diese Weise vercomixen, so würden rund 8000 Seiten zusammenkommen. Beschränkte sich Haggi auf das erste Buch Moses, die Genesis, so wäre er, überschlägig gerechnet, bereits nach 420 Seiten fertig. Eine vermutlich beinahe überflüssige Bemerkung zum Schluß: Diese Ausgabe, die Haggi im Alleingang bestreitet, bringt makellos gedruckt und geheftet vorzüglich gezeichnete Comics zu einem vergleichsweise günstigen Preis. War aus Fellbach etwas anderes zu erwarten? aa
 
cOMIc ## 9, 10 und 11. Gerd Bonau, Waldweg 19, 24351 Damp. Je 28 Seiten, schwarz-weiß, Din A5. 2,50 DM (Nachbestellung der Back-Issues a` 2,- teilweise möglich).
 
Leider ist die Gefahr groß, über dieses Magazin auf eine Weise zu schreiben, die unweigerlich negativ klingt. Dinge wie etwa: Kein Konzept, Ablage für Gelegenheitsarbeiten, die sonst keiner drucken würde. Das trifft zwar zu. Dennoch habe ich die Hefte mit Gewinn durchgeblättert. Das liegt zum einen daran, daß hier nicht irgendwer seinen Abfall ablädt, sondern "erste Adressen" aus dem Fandom wie Heike Anacker, Anja + Joy, Kim Schmidt, Jürgen Raatz oder Thomas Harske. Mitunter findet man dazwischen sogar Sachen von Felix oder - man höre und staune - von Scott Hampton. Ich kam mir vor wie beim Kramen in einem vollgestopften Antiquariat, wo man auch Bücher, die man letztlich nicht kauft, gern mal zur Hand nimmt. Zum anderen - und so gesehen ist der Vergleich mit einem vollgestopften Antiquariat irreführend - präsentiert Gerd Bonau sein Material übersichtlich und mit Gefühl für die Wirkung der Einzelseite. So lädt er zum Betrachten ein und wertet auch noch flüchtig hingekritzelte Zeichnungen auf. Also doch ein Konzept, würde ich meinen. aa
 
Mathias und Stefan Dinter: Bolf Akim Asylum. Zwerchfell Verlag, Christian Heesch, Tonndorfer Strand, Hamburg. 76 Seiten, schwarz-weiß, Vierfarbcover, Piccoloformat, 6,- DM.
 
Dieses Werk ist schon etwas älter. Aber erst beim jüngsten Comictauschtag im Herbst in Köln habe ich's erworben. Zunächst ist das ein dicker, luxuriöser Piccolo mit gewohnt sauberer Dinter-Grafik, erhältlich mit drei verschiedenen Covern (was aber nur daran liegt, wie mir Andreas Anger mal verriet, daß man am besten im Prinzip ein Din A4-Heft produziert und daraus dann drei Piccolos schneidet). Der Titel signalisiert, daß hier zwei Comiclinien miteinander verknüpft werden: der eigenwillige, Maßstäbe setzende Stil von Dave McKean und der eigenwillige, Maßstäbe setzende Stil von Hansrudi Wäscher. Welch denkwürdige Entwicklungsmöglichkeiten bietet diese Kombination! Doch verschenkt - nach zehn Seiten, die Meister McKean nicht besser hingekriegt hätte, nimmt ein konventionelles Bolf-Abenteuer seinen Lauf, anspielungsreich und witzig, aber ohne die kleinste Spur vom McKean-Touch, sondern Wäscher, nur besser. Die Aufgabe, das Beste der amerikanischen Comic-Tradition mit dem Besten aus Deutschland zusammenzuführen, bleibt also einem künftigen Comiczeichner vorbehalten. Abgerundet wird der Band mit einer bunt zusammengewürfelten Bolf-Galerie, die nach meiner Erinnerung im wesentlichen bei der ersten PLOP-Party Anfang 1992 entstanden ist. Fazit: Viel Bolf fürs Geld, unverzichtbar für den Bolfianer, kein Fehler für andere Comicfans, den Band zu erwerben, nicht zu empfehlen nur für diejenigen, die unablässige Sex-Exzesse und derben Humor nicht komisch finden. aa
 
Filmriß # 2. Amigo Comics Holger Bommer, Starenweg 18, 73730 Esslingen. 44 Seiten, schwarz weiß, Din A4. 7 Mark.
 
Beinahe eine Zwei-Mann-Produktion. Andreas Mergenthaler und Holger Bommer, die einen Großteil des Hefts allein bestreiten, sind denn auch im Impressum als "Redakteure" aufgeführt. Mergenthaler dominiert den Band mit einer monumentalen 17-Seiten-Geschichte um einen glatzköpfigen Actionheld namens McDrive mit dem sinnigen Titel "Overdrive". Die Story beginnt ein wenig unvermittelt, das schadet aber nichts, denn der Held purzelt von einer Kalamität in die nächste. Das ganze ist aufwendig und bildmächtig unter Zuhilfenahme von Rasterfolie gezeichnet und erinnert an den frühen Corben. Der zweite Mergenthaler-Comic "Besuch von guten Freunden" ist kürzer, strenger, mehr sophisticated (es geht um großmäulige US-Amerikaner und ihr Verhältnis zu den an den Rand gedrängten Ureinwohnern). Zeichnerisch scheinen hier frankobelgische Vorbilder der ersten Garnitur durch, vor allem Hermann. Also, der Mergenthaler kann schon was; ich würde mal sagen: Der ist nur einen Tick von einem richtig guten Zeichner entfernt. Die Holger-Bommer-Comics sind von einfacher Machart und ziemlich witzig. Sie handeln von der Absurdität des Alltags im Büro, im heimischen Wohnzimmer, im Weltraum und auf der Straße. Und dann gibt es in "Filmriß" noch kürzere Beiträge von Jochen Kauffmann aus Denkendorf. Seine "Sito"-Strips sind besetzt mit Vogel und Wurm und funktionieren getreu dem Tex-Avery-Motto: "The early Bird dood it!" Und dann streiten sich noch zwei Aborigines um das Ei des Kolumbus. Alles ziemlich gut gezeichnet. Der Magazin-Teil "Filmschnipsel" ist arg kurz ausgefallen und läßt leider kaum Rückschlüsse auf  das Redaktionsteam im Hintergrund zu. Aber vielleicht hören wir ja bald mehr von "Amigo Comics". Aa
 
Max Cabanes: Die Zeit der Halbstarken. 64 Seiten, vierfarbig, Hardcover, Albumformat. Carlsen lux,´39,90 DM.
 
Es ist wie im Märchen. Max steht versunken vor dem Schaufenster einer Musikalienhandlung, als Marina die Straße betritt. Sie hat sich gerade die neue Single der Chausettes Noires gekauft. Zwei Blicke treffen einander, und das Wunder ist geschehen: Liebe auf den ersten Blick. Hand in Hand schwebt das Paar durch den tiefblauen Sommerhimmel in einen Park am Rande der Stadt, wo Marina bereitwillig und freizügig für Max' Zeichenblock posiert. Nur als sie ihn plötzlich fragt, ob er eine Vespa besitze, muß er verneinen - und im selben Augenblick erweist sich das ganze Geschehen als Wunschtraum: Max steht immer noch vor der Musikalienhandlung und schaut der schönen Unbekannten nach, die zu dem einige Meter entfernt wartenden Motorroller ihres Freundes eilt. Sinnliches Verlangen, das an der Klippe der Wirklichkeit zerschellt und, wenn überhaupt, seine Erfüllung nur auf Umwegen, in Ersatzhandlungen findet: darum ging es bereits in Max Cabanes' Erfolgsalbum "Herzklopfen" (deutsch 1990). Mit einer in den Comics nicht eben häufigen Kraft zur poetischen Vergegenwärtigung schilderte der französische Künstler dort, stark autobiographisch akzentuiert, die Erlebnisse eines Jungen in der verwirrenden Übergangsphase zwischen Kindheit und Pubertät. "Herzklopfen" zog seinen eigentümlichen Reiz aus den Spannungskreisen, die Cabanes, vor allem in den ersten beiden Episoden des Albums, aufzubauen verstand. Zugleich durchtrieben und naiv, frühreif und unschuldig suchte der kleine Maxou in den Mädchen und Frauen seiner Umgebung halb noch die früh verstorbene Mutter, halb begehrte er sie schon als Mann. In "Die Zeit der Halbstarken" ist aus ihm der 15jährige Max geworden. Béziers in Südfrankreich, Anfang der 60er Jahre. Eine kleine Welt, in der, neben der sich die Jugendlichen eine noch kleinere, eigene Welt errichten, deren vier Himmelsrichtungen Mode, Musik, Motorräder und Mädchen sind. Die Stars der Leinwand liefern die Vorbilder für das richtige Verhalten. Der 'Alte', Leitwolf des Trios, zu dem Max gehört, vermag sie am besten zu imitieren: "Ein Lächeln wie ein Springmesser, das bei Newman anfängt und bei Wayne aufhört; der Yul-Brynner-Gang, der dich die Straßenseite wechseln läßt; ein Killerblick wie Van Cleef. Aber was das Allerwichtigste ist: der Alte redet wenig. Wie Weissmuller." Mit liebevoller Genauigkeit rekonstruiert Cabanes die Welt von Gestern. Wir lernen, daß die Gitarrenmarke "Eko" der Marke "Ohio" unterlegen und dieser wiederum die "Egmond" vorzuziehen war; wir erfahren, welches Haargel man damals benutzte, wieviel eine Jeans kostete, und daß die Schlaghose eine sensationelle Kreation war. "Souvenir, Souvenir" - dieser Schlager, der auf einer Party aus dem Transistor tönt, ist das geheime Leitmotiv des Albums. Genau deshalb ist es freilich recht fad zu lesen. Nicht, daß Cabanes keine durchgehende Geschichte erzählt, sondern nur lässig eine Handvoll Episoden aneinanderreiht, wirkt störend. Dies war schon in "Herzklopfen" der Fall. Aber er hat nichts mehr mitzuteilen. Nichts außer der Botschaft, wie wunderschön damals alles war. Im milden Licht der Erinnerung geraten dem Autor die Stadt und Landschaft seiner Jugend zu einer von ewig blauem, meist sommerlichem Himmel überwölbten Insel der Seligen. Hier gibt es keine Eltern und keinen Zwang zum Lernen oder Geldverdienen. Die Mädchen haben überwiegend das Gesicht von Brigitte Bardot und die Figur von Anita Ekberg, sehen ausnahmslos aber aus, als seien sie dem Cover der "Vogue" entsprungen. Es ist eine Welt ohne Schmerz, in der sich nach und nach auch die einzigen ernsthaften Nöte des Protagonisten, seine erotischen Nöte, fast beiläufig lösen. Nur in einem kleinen Detail am Anfang des Albums ist das Unterdrückte präsent. Als Max und seine Freunde auf einer Diebestour durch die Stadt an der Technischen Hochschule vorbeikommen, bemerkt der sich erinnernde Erzähler: "Nie habe ich auf einem Kubikmeter so viel Haß erlebt." Das dazugehörige Panel liefert die Illustration: Schüler mit verzerrten Mienen, einer von ihnen ermahnt arrogant einen jüngeren, andere prügeln und stechen wie besessen aufeinander ein. Es war wohl doch nicht alles heiter, damals in Béziers? Aber diese Szene bleibt folgenlos. Der Verlust des unsichtbaren Knisterns, der Mischung von Entzücken und Schrecken, die "Herzklopfen" auszeichnete, drückt sich auch in den Bildern aus. Die Farben sind blasser, die Striche weicher und spärlicher geworden. Alles ist flüchtiger, detailärmer gezeichnet, ohne dadurch den Reiz des Spontanen gewonnen zu haben. Im Gegenteil: Einige Panels wirken schludrig, fast unbeholfen, als sei Cabanes auf das Niveau eines begabten Nachwuchszeichners zurückgefallen. Nicht nur, was er erzählt, sondern auch, wie er es visuell umsetzt, hat im Vergleich zum Vorgängeralbum deutlich Intensität eingebüßt. Es ist schon eine Plage mit den Fortsetzungen. Ob im Film, in der Literatur oder im Comic - fast nie gelingt es ihnen, würdig an das gelungene und ursprünglich als Einzelsache geplante erste Werk anzuschließen. Mach's also bitte nicht noch einmal, Max! Verschone uns mit einem weiteren Album, das die Erlebnisse Deines Alter ego während der Studentenrevolte erzählt, und laß Dir lieber etwas Neues einfallen. Langweilige europäische Autorencomics gibt es nämlich genug. Hans Lucas
 
Versch. Autoren und Zeichner: Der Tag, an dem Superman starb. 168 Seiten, vierfarbig, Softcover, Comicbook-Format. Carlsen, 25 DM.
 
Hier ist nichts abzuwägen, nichts zu beschönigen: Dieses Album ist so schlecht, schlechter geht's kaum. Wer Vorurteile gegen die Comics im allge-meinen oder gegen die amerikanischen Comics im besonderen hegt - hier kann er sie bestätigen. Auf dem Cover von "Der Tag, am dem Superman starb" prangt in einem roten Kreis der unbescheidene Hinweis "168 dramatische Seiten". Das ist werbend gemeint, enthüllt sich bei der Lektüre aber als Drohung. "Kraang! Kraakk! Krakoom!" Von zahlreichen Soundwords umschwirrt, gräbt sich ein monströses Wesen mit mächtigen Schlägen aus seinem gepanzerten unterirdischen Gefängnis. Als es die Oberfläche erreicht hat, steht es inmitten idyllischer Natur. Ein Hirsch springt elegant zur Seite. Zutraulich landet ein niedliches, gelbes Vögelchen auf der ausgestreckten Hand des vermummten, von Stahltrossen noch halb gefesselten Monstrums - und wird sofort in der sich schließenden Faust zerquetscht. Der Alien Doomsday, fehlgeleitetes Produkt eines genetischen Experiments der amerikanischen Regierung, beginnt seinen Vernichtungsfeldzug. Er wird Lastwagen, Brücken, Hochhäuser und einige dutzend Menschen zertrümmern, angetrieben von nichts als dem reinen Willen zur Zerstörung. Sein prominentestes Opfer schließlich: Superman, niedergestreckt von derselben Faust, die anfangs dem gelben Vögelchen das Leben kostete. In dieser geradezu literarischen Symbolik, die Anfang und Ende des sieben Kapitel - ursprünglich sieben Hefte - umfassenden Albums miteinander verklammert, liegt der größte erzählerische Kunstgriff, zu dem die Texter sich aufraffen konnten. Das hat fast das Format barocker Welttrauer: Auch Superman, der mightiest of all heroes, ist, wenn ihm die Personifikation des Jüngsten Gerichts gegenübertritt, offenbar nicht mehr als ein gelbes Vögelchen. O vanitas vanitatum! Ansonsten geht es wesentlich schlichter zu. Eine Prügelei folgt der anderen in immer kürzerem Abstand. Zuerst fordert Doomsday die Justice League heraus, und als diese ihn nicht bändigen kann, eilt der Man of Steel zu Hilfe. Im dritten Kapitel kreuzt er mit seinem neuen Gegner zum ersten Mal die Fäuste. Im nächsten Kapitel werden wir ebenfalls Zeuge einer ausgedehnten Schlägerei zwischen den beiden. Genauso im fünften und sechsten Kapitel. Was im siebten Kapitel passiert, überlasse ich der Phantasie des Lesers. Von den komplexen Inhalten mancher Superheldencomics der letzten Jahre ist hier nichts zu spüren, alles verströmt den schlichten Charme der "Nimm das, Schurke!"-Stories früherer Zeiten. Auch die Dialoge: Phrasenhaftes Pathos wechselt mit unfreiwilliger Komik, und noch in den heftigsten Auseinandersetzungen ergehen sich die Helden in gedrechselten Erklärungen dessen, was sie gerade getan haben, eben tun oder sogleich tun werden. Da lobt man sich den guten Doomsday, dessen ausgefeilteste verbale Äußerung ein grollendes "Mhh-trr-plss" - soll heißen: Metropolis - ist, der sich ansonsten aber auf  "Hah-ha-ha", "Ungh" und "Urrggh" beschränkt. Wären sie nur alle so wortkarg wie er, das Album wäre deswegen nicht besser, aber etwas weniger lächerlich. Also nur Spott und Hohn über diesen dazu noch sehr mäßig gezeichneten Comic? Nein, denn lustig anzusehen ist es nicht, mit welch liebloser Routine, mit welch krassem Mißverhältnis von gigantischem Werbeaufwand und mangelndem künstlerischem Ehrgeiz der frühere Superheld Nummer eins in den Tod befördert wurde. Vielleicht ist diese Storyline eine verpaßte Gelegenheit. Neil Gaiman oder Alan Moore anvertraut, hätte sie zu einer Meditation über einen selten beleuchteten Aspekt des Superheldenmythos werden können. Zu einer Meditation darüber, daß der Tod für einen Superhelden immer nur die finale, nie aber eine unerwartete Katastrophe sein kann, weil er seit dem Unfall oder der Mutation, die ihm übermenschliche Fähigkeiten schenkten, mit der Katastrophe, dem Chaos zutiefst verbunden ist - und das, obwohl er doch immer Gesetz und Ordnung herstellen will. Nun gut, daraus ist nichts geworden. Und ob Superman zu solch revisionistischen Exerzitien taugen würde? Zugegeben: Es ist zweifelhaft. Warum aber der phänomenale Erfolg, den die Geschichte von seinem Tod in den USA erzielte? Und warum die lasche Teilnahmslosigkeit ihrer Macher? Nur die Gesetze des Kommerzes und der Werbung verantwortlich zu machen, der diese vertrauten und von der jene sich blenden ließen, hieße zu kurz zu greifen. Es hat wohl etwas damit zu tun, daß der Stählerne heute Rost angesetzt hat. Packende, glaubwürdige Geschichten lassen sich über ihn nicht mehr erzählen. Seine Ära ist abgelaufen. Gerade deshalb aber konnte im Herbst 1992 die Erzählung seines Todes einen doppelten sentimental-nostalgischen Effekt auslösen. Unter den über fünf Millionen Amerikanern, die das fatale Superman-Heft Nr. 75 kauften, an dessen Ende der Held wie der tote Christus in Lois Lanes Armen liegt, müssen viele nicht gewohnheitsmäßige Comicleser gewesen sein. Sie ließen sich einfangen von der Vergangenheit. Sie flohen vorübergehend sowohl in ihre von den bunten Bildern begleitete Kindheit als auch, wahrscheinlich unbewußt, in die Zeit, als ein positiv denkender, die Ideale der weißen Mittelklasse vertretender Superheld eine nationale Ikone sein konnte. Heute ist das anders. Heute klagen die ethnischen und sozialen Minoritäten ihre lange vorenthaltenen Rechte ein, und die populärsten Superhelden - Batman, Wolverine oder der Punisher - formulieren nicht mehr die Träume der Amerikaner, sondern ihre Alpträume. Es ist höchste Zeit, Abschied zu nehmen: Der Tag, an dem Superman starb, liegt in Wahrheit schon lange zurück.
Hans Lucas
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 41
Besprechungen



cOMIc # 12 bis 14. Gerd Bonau, Waldweg 19, 24351 Damp. Je 28 Seiten, schwarz-weiß, DIN A 5. # 12 2 DM, ## 13 und 14 1,50 DM.
 
Gerade wollte ich meine Rezension zu cOMIc ## 12 und 13 ins Reine schreiben, in der ich bemängelte, daß das Material vorwiegend aus abgefallenen Skizzen besteht und deshalb in maximal fünf Minuten pro Ausgabe durchgelesen ist, da flattert mir die # 14 ins Haus, in der genau dieser Mangel behoben ist: Neben einer elfseitigen Macbeth-Adaption von Britta Loose finden sich hier etliche kürzere Comics von Andreas Alt, Uli Brunner, Bernd Teuber und anderen sowie ein Kurzinterview mit Anja & Joy. Wer bisher mit cOMIc wenig anfangen konnte, sollte es mit dieser Ausgabe noch einmal versuchen. Es sieht ganz so aus, als hätte sich Gerds Durchhalten gelohnt und als sei er in Zukunft nicht mehr auf die ausgesuchten Schubladen verschiedener Fanszene-Größen wie Ralf Leismann (cOMIc # 12) oder Andreas Alt (cOMIc # 13) angewiesen. hg
 
Wimmersuse # 22 / Una Nox Dormienda... Levi’athan in Love, c/o J. Kopperschläger, Torfweg 17 a, 32425 Minden. Je 24 Seiten, schwarz-weiß, DIN A 5, nur im Tausch gegen Beiträge oder andere Fanzines.
 
Wimmersuse # 22 bietet die für dieses Magazin übliche Mischung aus von überall her zusammengepuzzelten Schnipseln, Comics und Illus im individuell-chaotischen Layout. Wer - außer Levi’athan - käme auf die Idee, einen Comic (Meatmen) und eine surrealistische Science-Fiction-Kurzgeschichte (Gefahr im All) zu zerrupfen und in willkürlicher Reihenfolge durcheinanderzuwerfen? Wenn dann, wie bei meinem Exemplar, die Seiten 9/10 und 11/12 die Plätze tauschen, spielt das schon gar keine Rolle mehr. Eine Konzertkritik von Jo 84 verrät uns mindestens ebenso viel über das Seelenleben des Autors wie über das besuchte Konzert. Fast schon beängstigend ordentlich kommt „Una Nox Dormienda...“ (das Endzeit-Tauschzine, das Wimmersuse # 23 sein wollte) daher. Ohne größere Einmischung des Herausgebers (der sich neuerdings J. 94 nennt) sind hier die Comics „Heimfahrkarte“, 1. Teil (leider ohne Autorenangabe), „Eis“ von Lorenz Migsch und „Verrückte Zeiten“ von Shadow Dancer aneinandergereiht. Letzterer allerdings erweckt beinahe den Eindruck, als handele es sich bei Shadow Dancer um ein neues Pseudonym des Herausgebers. hg
 
Eingemachtes. Thomas Harske, Grobsbachstraße 30, 76829 Landau. 24 Seiten, schwarz-weiß, DIN A 5. 2 DM.
 
In diesem Heft hat Thomas Harske den größten Teil der Comics und Cartoons versammelt, die zwischen 1989 und 1991 in PLOP, Sprühende Phantasie und anderen Fanzines veröffentlicht wurden. Mit seiner vorbildlichen Gestaltung und makellosem Kopierdruck läßt das Heft nur einen Wunsch offen: daß Thomas in Zukunft noch etwas fleißiger zeichnet, um uns noch häufiger in den Genuß seiner Werke zu bringen. hg
 
Mr. Right und der Sauger des Grauens. Thomas Harske, Grobsbachstraße 30, 76829 Landau. 20 Seiten, schwarz-weiß, DIN A 5. 1,80 DM.
 
Nach „Winni mit der Wunderwindel“ und „Heroes of the Black Lagoon“ hat die deutsche Fanszene einen weiteren Superhelden hervorgebracht: Mr. Right kämpft - wer hät-te es gedacht? - mit Superkräften gegen das Böse, in diesem Fall in Gestalt von Hooverman, dem grauenhaften Sauger, und Dumpf, dessen wahre Identität wir hier nicht preisgeben wollen. Wer eine Leseprobe will: Den Schluß der Geschichte findet Ihr in dieser Ausgabe von PLOP. hg
 
Heikes Läspen Comics. Heike Anacker, Rheydter Straße 100, 41065 Mönchengladbach. Zwölf Seiten, schwarz-blau und handcoloriert, DIN A 5. 1 DM plus  3 DM Porto.
 
In diesem Heft versammelt Heike Anacker, die alten PLOP-Hasen ja bestens bekannt sein dürfte, Comics und Cartoons aus ihrer Feder, in denen sie sich locker-witzig mit den Themen Homosexualität (in diesem Fall die weibliche) und „Coming out“ auseinandersetzt. Ansprechen will sie damit vor allem „Betroffene“, doch sollte sich niemand, der / die mit Comics etwas anfangen kann, dieses Werk entgehen lassen. Sauber auf blaues Papier kopiert und mit Buntstift-Colorierung veredelt, darf dieses Heft auch in den Sammlungen jener Veteranen der Fanszene, die die gebotenen Comics und Cartoons schon aus PLOP, Au Weia und cOMIc kennen, nicht fehlen. Achtung: Beim Bestellen unbedingt die Handcolorierung verlangen (gibt’s auch ohne) und Rückporto nicht vergessen! hg
 
Nur für die besten Freunde. Anja Kocker und Thorsten „Joy“ Schmidt, Hauptstraße 16, 32457 Porta Westfalica. 20 Seiten, schwarz-weiß mit Farbcover, DIN A 5 + Farbpostkarte + Button (bei den ersten 99 Exemplaren, danach nur noch ohne Gimmicks). 5 DM inclusive Porto.
 
Wer in den letzten paar Jahren mal ein deutsches Comic-Fanzine in der Hand gehabt hat, wird sie sicher kennen, die absurden kleinen Geschichten von Anja & Joy, angesiedelt irgendwo zwischen Voll aus dem Leben und Etwas daneben. Mit „Nur für die besten Freunde“ präsentieren sie - nach „Nur für gute Freunde“ - bereits ihren zweiten Sammelband. Sowohl der Humor als auch der Zeichenstil dieses unglaublich kreativen Paars sind recht eigenwillig und deshalb vor allem denjenigen, die nicht immer wieder das Gleiche vorgesetzt bekommen wollen, wärmstens zu empfehlen. Das Heft ist zwar schon im Januar erschienen, aber vielleicht schafft Ihr es ja trotzdem noch, eins der 99 Exemplare mit Farbcover, Postkarte und Button zu ergattern. Aber Achtung: „Nur für die besten Freunde“ gibt es nicht an jeder Pommesbude, sondern nur bei oben angegebener Adresse. hg
 
El Condor Pasa. Milan Knezevic, c/o SFFC New Worlds, Postfach 661, 3101 St. Pölten / Austria. 28 Seiten, schwarz-weiß, DIN A 5. Preis: ?
 
„Das vorliegende Fanzine beschäftigt sich mit verschiedenen Elementen der Erzählweise. Mittels einer Kurzgeschichte, einem Comic und einer Ballade wird ein und dasselbe Thema behandelt. Interessant dürfte also sein, welche Effektelemente jedes Genre in den Vordergrund stellt, um die Geschichte möglichst glaubwürdig darzustellen.“ Soweit aus dem Vorwort zu „El Condor Pasa“. Ein recht ambitioniertes Projekt also, mit dessen Umsetzung der Autor allerdings so seine Probleme hatte, da er in allen drei Erzählformen erhebliche stilistische Mängel aufweist. Offenbar ist Milan Knezevic auf der Suche nach der für ihn passenden Ausdrucksform. Mit „El Condor Pasa“ hat er sie jedenfalls noch nicht gefunden. hg
 
Kromix # 6. Totenkopf Verlag, Stefan Riedl, Warthestraße 16, 81927 München. 84 Seiten, schwarz-weiß mit Farb-cover, DIN A 4. 9,80 DM.
 
Um die lange Wartezeit bis Kromix # 5, das als deutsch-russische Koproduktion in der ehemaligen Sowjetunion gedruckt wird, zu verkürzen, haben Ralf Palandt und Stefan Riedl nun vorab die # 6 ihres Magazins vorgelegt. Nachdem schon in den bisherigen Ausgaben jeweils eine Sonderform des Mediums vorgestellt wurde wie 3-D-Comics, Comics mit Soundtracks etcetera, ist diese Nummer komplett dem Thema Pantomimencomic gewidmet. Auf über 80 Seiten finden sich Comics ohne Worte von Kim Schmidt, Alain Béthune (bekannt aus PLOP), Nicolas Mahler, Ralf Palandt, Jean-Marc Reiser (!), Michael Hutter und etlichen anderen. Dazwischen wie üblich Rezensionen von Fanzines und Profipublikationen. Kromix # 6 bietet wieder eine interessante Mischung von genial bis unsäglich; reichlich Stoff in professioneller Aufmachung zu einem ausgesprochen günstigen Preis. hg
 
Menschenblut # 12 und 13. Eisenfresser Comix, Postfach 1141, 36094 Petersberg. Je 36 Seiten, schwarz-weiß mit Farbcover, Comicbook-Format. # 13 hat zusätzlich vier Seiten Magazinteil nur für Abonnenten. Je 6,80 DM.
 
Die Blutkru ist zurück - und sie macht da weiter, wo sie vor knapp zehn Jahren auf Anraten der Bundesprüfstelle für jugendgefährdende Schriften aufgehört hat. Ich bin mir nicht sicher, ob man den Jungs um Michael Hau und Mille Möller nicht unrecht tut, wenn man sie in der Rubrik „Fanzines“ rezensiert.  - zu professionell ist die Aufmachung ihres Hefts, und ebenso professionell die Qualität des dargebotenen Materials. Wie eh und je bieten sie Horror vom Feinsten, durchzogen mit Humor der schwärzesten Sorte, effektreich in Szene gesetzt von Mille Möller, Michael Hau, den Brüdern Atzenhofer und Geier Speh, garniert mit Backcover-Illus von Klapper (nett) und Murschetz (na ja). Wer keinen überempfindlichen Magen sein eigen nennt und nicht verpassen will, was die deutsche Szene außer König und Moers zu bieten hat, kommt an einem Menschenblut-Abo nicht vorbei. hg
 
Au weia (Das Comic-Magazin mit dem grünen Punkt) # 6. Hartmut Klotzbücher, Herderstraße 10, 70734 Fellbach. 32 Seiten + 24seitiger Beihefter + 20seitiges Mini-Zinchen + Postkarte + Gimmicks + Werbebroschüre, schwarz-weiß mit individuell farbig gestaltetem stabilem Cover, DIN A 4. 7 DM.
 
Was soll ich sagen? Die Info-Lines sagen ja schon fast alles: Hier haben wir das definitive Mega-Fanzine vor uns; mehr Aufwand, mehr Zutaten sind nun wirklich kaum mehr vorstellbar. Im ersten Moment hat mir das gar nicht sonderlich gefallen (vom baffen Staunen über diesen geradezu barocken Prunk natürlich abgesehen). Was steckt an Substanz hinter all dem Brimborium? Neues Material findet sich jedenfalls nur im Beihefter mit neuen Bibel-Comics und in Teilen des  Au weia # 6 1Ž2 mit Beiträgen von Michael Groenewald, Bia Biafra, Herod und den Dinters, dem Australier Jan Gunn und Jo 84. Der „Basis-Band“ reproduziert die - zugegeben geniale - Geschichte von „Winni mit der Wunderwindel“, die im Großformat viel besser zur Geltung kommt. Den Vogel schießt aber das Mini-Zinchen ab, in dem Haggi „prähistorische“ Kringel-Comics präsentiert, die er in den Jahren 1975 bis 1977 gemeinsam mit Andreas Niederberger angefertigt hat. Korrekt, wie er ist, hat Haggi zuvor die Erlaubnis seines damaligen Kumpels eingeholt, diese goldig nostalgischen Arbeiten erneut zu veröffentlichen. Und nun? Gibt’s bei Au weia irgendwas zu mäkeln? Gute Comics, nicht nur Nachdrucke, höchst lobenswerte Extra-Anstrengungen bei der Produktion dieses Bandes, natürlich ein Muß für jeden Sammler - was kann der Kritikaster überhaupt dagegen einwenden? Na ja, ich hab’ mir halt das Gute, Wahre und Schöne immer in ganz schlichtem Gewand vorgestellt. So, jetzt darf die Fanszene mich höhnisch niedergrölen. Andreas Alt
 
Verschiedene Zeichner: Die Träume des Arzach. 56 Seiten, vierfarbig, Hardcover, Albumformat. Carlsen Studio, 39,90 Mark.
 
Fünfzig überwiegend amerikanische Comiczeichner ehren mit je einer Zeichnung Moebius und seine berühmte Figur Arzach, den schweigsamen Abenteurer auf dem weißen Flugdrachen. Muß das sein? Sind uns die vier knappen Arzach-Geschichten, die man wieder und wieder lesen kann, nicht des Vergnügens genug? Aber ach, um künstlerische Belange geht es hier wohl kaum, eher darum, den zahlreichen Moebius-Fans ein paar Scheine mehr aus der Tasche zu ziehen. Nur eine Zeichnung hat der Meister selbst dem Album beigesteuert. Dessen Erträge fließen ihm trotzdem reichlich zu, da „Die Träume des Arzach“ ursprünglich in dem von ihm gegründeten Starwatcher Verlag erschienen ist. Schön für einen Künstler, wenn er mit so geringem Aufwand sein Konto wachsen lassen kann. Whatever the product, Moebius sells... Der nichtmaterielle Ertrag des Unternehmens ist, wie bei einem Sammelband zu erwarten, gemischt: Gelungenes steht neben Mißlungenem; der Gesamteindruck bleibt vage. Am besten ziehen sich die wenigen Zeichner aus der Affäre, die nicht in Ehrfurcht vor dem Genie und seinem Werk erstarren, sondern es dreist und liebevoll parodieren. David Mazzucchelli spinnt eine der Arzach-Geschichten fort und zeigt den peinlich berührten Helden als ertappten Voyeur. Die Frau, die er in ihrem Turm von seinem Flugtier aus beobachtete, hat die Polizei gerufen; Arzach wird verhört, und an einer bizarren Felsformation baumelt sein Steckbrief im Wind. Die Zeichner, die dagegen versuchen, Moebius’ visionären Stil nachzuahmen, machen nur unbarmherzig deutlich, wie sehr sie ihrem Vorbild hinterherhinken. Selbst große Namen scheitern hier völlig. So sind, um nur einige zu nennen, die Beiträge von Norm Breyfogle und Paul Chadwick, von Dave Gibbons, Wendy Pini und Jim Steranko entweder unsäglich hölzern oder ambitionierter Kitsch. Ihre eigene künstlerische Subjektivität zu bewahren und zugleich mit der Arzach-Welt zu verschmelzen - dieser schwierigen Aufgabe erweisen sich nur die wenigsten Beteiligten gewachsen. Allen voran Brian Bolland: Durch die stille Seitenstraße einer asiatischen Stadt verfolgt der fliegende Arzach eine rothaarige Frau, die nackt auf einem roten Fahrrad sitzt. Zwei Passanten beobachten erstaunt die ungewöhnliche Szene. Ein Bild, so klar und rätselhaft wie die Gemälde Magrittes; ein Bild, das zu jenen Träumen einlädt, die nicht nur Schäume sind. Insgesamt zeigt das Album also, daß die Ehrung eines Meisters denen, die ihn ehren, nicht immer zum Ruhm gereicht. Selbst wenn sie mit Eifer zur Sache gehen - einen Eindruck, den übrigens einige der recht lieblos hingeworfenen Arbeiten nicht vermitteln -, fällt es ihnen doch schwer, sich neben dem Geehrten zu behaupten. Moebius hat seinen künstlerischen Zenit zwar überschritten. Der Schatten, den seine besten Arbeiten - und dazu gehört „Arzach“ zweifellos - werfen, ist aber immer noch lang genug, um die meisten aktuellen Comic-Künstler in ihm verschwinden zu lassen. Hans Lucas
 
Cosey: Aminata. 48 Seiten, vierfarbig, Softcover, Albumformat. Carlsen, 16.90 Mark.
 
Schon immer schlug im Werk Coseys eine verborgene dokumentarisch-didaktische Ader. Ob Jonathan im Himalaya Schweizer Käse zubereitete oder ob in „Auf der Suche nach Peter Pan“ das Altwalliser Dorfleben mit liebevoller Genauigkeit geschildert wurde - wiederholt hat es den Künstler gereizt, in das Gewebe seiner Fiktionen einige Maschen des Realen einzuflechten. Und immer standen bei Cosey nicht das vordergründige Geschehen, erst recht nicht Sex and Crime im Mittelpunkt des Erzählens. Vielmehr ging es ihm um die psychologische Komponente, um die mitunter schmerzhaften geistigen Erfahrungen, die seine Protagonisten auf ihren Reisen machten. All dies ist auch in „Aminata“ zu finden, und doch hat sich nun das Verhältnis von Dokumentation und Didaxe einerseits und innerem Abenteuer andererseits verändert - leider nicht zum Vorteil des Albums. Zélie kehrt zurück nach Burkina Faso. Als Waise ist sie vor Jahren zusammen mit ihren zwei Brüdern von Schweizern adoptiert worden. Erst die Briefe ihrer früheren Freundin Aminata veranlassen sie zu einem Besuch in der alten Heimat. Aber diese ist der jungen Schwarzen doppelt fremd geworden: zunächst, weil sie sich trotz ihrer Herkunft inzwischen als Mitglied der „elektrischen Zivilisation“ empfindet; dann, weil in Burkina Faso nur noch wenig ist wie früher. Soziale Umwälzungen und klimatische Probleme verändern das Gesicht des Landes in der Sahel-Zone. Auf der Suche nach Aminata lernt Zélie durch ihren Begleiter Fred eine Unterstützung der Dritten Welt kennen, die nicht mehr auf Spenden, sondern auf die aktive Mitarbeit der Bevölke-rung setzt. Hier liegt, das ist nicht zu verkennen, der Schwerpunkt des im Auftrag eines Schweizer Entwicklungshilfebüros gestalteten Albums. Nicht die Begegnung Zélies mit einer vertrauten, fremden Kultur und wie sie darauf reagiert, ist Cosey in erster Linie wichtig, sondern daß es ihm unauffällig gelingt, Informationen über den Kampf gegen die Erosion, das Bauen von Brunnen und andere Maßnahmen der Hilfe zur Selbsthilfe zu vermitteln. Das ist ehrenwert, führt aber dazu, daß das Album einen zwiespältigen Eindruck hinterläßt. Einerseits gelingt es Cosey mit leichter Hand, Belehrung und Unterhaltung zu verbinden. Und wenn „Aminata“ wirklich, wie in einer Nachbemerkung angeregt, an Schulen eingesetzt wird - um so besser. Andererseits bleibt der passionierte Cosey-Leser nach der Lektüre etwas hungrig zurück, ist er von seinem Autor doch gehaltvollere Kost gewöhnt. Beim nächsten Mal also bitte wieder mehr Fleisch und etwas weniger Beilage - wir können es schon vertragen! Hans Lucas
 




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 42
Besprechungen



cOMIc # 15. 28 Seiten s/w, DIN A 5. Im Tausch gegen Beiträge, andere Fanzines, Gold und große Geldscheine. Gerd Bonau, Waldweg 19, 24351 Damp.
 
Der gute Eindruck aus dem letzten Heft hält an. Diesmal gibt es zwar keine längere Geschichte, aber recht amüsante One-Pagers und Cartoons von Bernd Teuber, Uli Brunner, Karsten Schley und anderen, ein Fragment von Andreas Alt und ein Kurzporträt von Thomas Harske. hg
 
Rübe runter. 16 Seiten s/w DIN A 5. Im Tausch. Jürgen Kopperschläger, Torfweg 17 A, 32425 Minden.
 
„Sicher nicht das Wimmersusenachfolgezinchen“, so verrät uns das Vorwort. Und sicher nur für eingefleischte Levi’athan/J. 94-Fans. Liebt es oder laßt es. hg
 
Terror Dome. 60 Seiten s/w plus schwarzer, handbemalter Umschlag. DIN A 5. 3,80 Mark. Stephen Janke, Schinkenkamp 11, 32425 Min-den.
 
Hartmut schreibt unter anderem: „Eigentlich wollte Stephen Janke ein Magazin mit Horror-Comics machen. Da er aber offenbar nicht rechtzeitig genug Material zusammenbekam, findet der geneigte Käufer nun hinter dem ansprechend schlicht gehaltenen Cover aus schwarzem Karton eine ziemlich wirre Sammlung von Illus und Skizzen“ (es geht noch weiter). Diese Beschreibung ist zutreffend. Aber ich möchte daraus ein anderes Urteil ableiten als Haggi, der sich kaum zu einer Kaufempfehlung durchringen mag. Soweit ich mich erinnere, sind an Erstlinge meistens mildere Maßstäbe als an etablierte Magazine angelegt worden. So sollten wir es auch hier halten. Positiv finde ich zunächst, daß Stephen immerhin 60 Seiten Comics und Zeichnungen zusammenbekommen hat. Und davon ist keineswegs der Großteil Schrott. Besonders Jo 84 hat dem Jung-Verleger kräftig unter die Arme gegriffen. Der Leser muß sich freilich durch ein Sammelsurium hindurchsuchen. Aber in einem älteren Verständnis ist ein Fanzine genau das. Ich traue Stephen Janke - im Gegensatz zu Haggi - eine deutliche Steigerung in Terror Dome # 2 zu. Andreas Alt
 
Heikes Läspen Comics # 2. 12 Seiten schwarz/-rot und handcoloriert DIN A 5. 1 Mark plus 3 Mark Porto. Heike Anacker, Rheydter Straße 100, 41065 Mönchengladbach.
 
In der gleichen gediegenen Aufmachung wie die Nummer 1, nur diesmal auf wunderhübsch feuermelderrotem Papier, präsentiert uns Heike weitere männerfreie Comics. Mensch hat das Teil zwar in unter einer Minute durch, aber allein die klasse Colorierung ist den Kaufpreis von einer müden Mark wert (wieder ausdrücklich die handcolorierte Version verlangen). hg
 
Zeitlupe # 23. 24 Seiten s/w plus Farbcover DIN A 5. 2 Mark. Igolin Verlag c/o Tim Böhm, Ludwigshafener Straße 21 D, 76187 Karlsruhe.
 
Obwohl Tim „Igel“ Böhm und sein Bruder Paddy schon seit einigen Jahren mit ihrem Magazinchen aktiv sind, sind sie in der Fanszene noch relativ unbekannt. Die neueste Ausgabe der „Zeitlupe“ legt ihren Schwerpunkt mehr denn je auf Comics überwiegend von Tim Böhm selbst. Man merkt seinen Arbeiten zwar noch an, daß er zu den ganz jungen Zeichnern gehört, aber es ist ja nicht uninteressant, die Entwicklung eines Kreativen vom Frühstadium an zu verfolgen. In nächster Zeit will sich Igel allerdings mehr der Produktion von Zeichentrickfilmen widmen. Unter den Gastzeichnern dieser Ausgabe befindet sich übrigens auch der Schreiber dieser Zeilen, unter anderem mit einem noch nicht im Album nachgedruckten Ferdi-Strip. hg
 
Thomas Harske: Knorpel - Gnome, Girls und saure Gurken. 68 Seiten s/w Piccolo-Überformat (1/3 DIN A 4). 5 Mark (incl. Porto). Hirnlos Comics. Thomas Harske, Grobsbachstraße 30, 76829 Landau.
 
Dieses Piccolo-Heft versammelt alte und neue Gag-Strips um Knorpel, den Waldgnom, der auszog, um in der Zivilisation zu leben. Humor von hintergründig-dezent bis kalauerig-platt. (Siehe auch das Thomas Harske- und Alexandra Willems-Interview auf Seite 23, Anm. des Herausgebers). hg
 
Sprühende Phantasie # 13. 56 Seiten s/w mit kunstvoll verziertem Cover DIN A 4. 5 Mark. Flying Kiwi Verlag Jens Junge, Schloß Glücksburg, 24960 Glücksburg.
 
Es ist wieder da. Und es ist so gut wie eh und je. Eine gelungene Mischung aus Comics verschiedenster Genres und Stilrichtungen, einem Bericht vom 1. Hamburger Comic-Salon aus der Sicht von Jo 84 und einem sehr interessanten Interview mit Oliver Ferreira. Auch wenn die neue Ausgabe im Flying Kiwi Verlag erscheint, hat Jo Guhde immer noch die redaktionelle Oberaufsicht über sein Heft. Und er greift auch endlich wieder selber zum Zeichenstift: Zusammen mit Thomas Strauß hat er den ersten Teil eines albenlangen Depri-Thrillers mit dem Titel „Langer Donnerstag“ zu Papier gebracht. Weitere Höhepunkte: Das besagte Oliver-Ferreira-Interview und eine Kurzfassung von Goethes „Faust“ aus der Feder von Eckhard Schneider. hg
 
si-kartuun # 9 und 10. 68, bzw. 72 Seiten s/w mit zweifarbigem Cover DIN A 4. Nummer 9 mit 16seitiger Beilage s/w DIN A 5 quer. Je 6 Mark. Michael Groenewald, Zum Bernstein 22, 57076 Siegen.
 
Das ist das Ende: Siegens bestes Comicmagazin soll eingestellt werden. Aber zum Abschluß zeigen uns die Siegener nochmal so richtig, wie’s geht: Sie bringen zwei Nummern gleichzeitig heraus, insgesamt satte 140 Seiten, und bieten darin Comics nur vom Feinsten. Wer sich für 12 Mark das Beste gönnen will, was die deutsche Fanszene zur Zeit zu bieten hat, ist mit diesem Doppelpack gut beraten. Bleibt nur zu hoffen, daß es sich die si-kartuun-Crew nochmal überlegt und ihren absolut verdienten ICOM-Fanzine-Preis zum Anlaß nimmt, ihr Magazin fortzuführen. Auf jeden Fall steht noch das si-kartuun-Party-Special aus, und bei dem Kettencomic um Hartmut, den legasthenischen Sportreporter, ist wohl auch noch nicht das letzte Wort gesprochen. Hoffen wir das Beste. hg
 
Panel # 13. 52 Seiten s/w mit Farbcover DIN A 4 plus 24seitige Beilage s/w DIN A 5. 4 Mark. Panel e. V. Postfach 10 26 65, 28026 Bremen.
 
Hartmut hebt an: „Auch wenn sich die Panel-Macher ausdrücklich von der Fanszene distanzieren, werden sie bei uns gnadenlos rezensiert.“ Aber dann rezensiert er das Heft nicht, sondern zählt nur seine Favoriten unter den Künstlern auf, Andreas Keiser und Isabel Kreiz. Deshalb von mir ein paar Worte zur Einordnung: Panel boxt in der Gewichtsklasse von si-kartuun, Outside, Kromix oder Algier. Absolut professionelles Layout, Comics von anspruchsvoll über schräg bis hinein ins Strapazinhafte von einigen der besten Avantgarde-Leute. In den Rezensionen werden nur die Aktivitäten von Carlsen, Feest, Ehapa (soweit sie künstlerisch ambitioniert sind - Breccia, Prado, Clowes und Co.) und die anspruchsvollsten Veröffentlichungen von Zwerchfell und Edition Moderne wahrgenommen. Das ist der Ball, auf dem man tanzen will. Die Panel-Macher verkennen freilich, daß bei den Verlagen, mit denen sie sich messen, nicht die Leidenschaft für das Medium Comic, sondern die Notwendigkeit, Geld zu verdienen, Motiv und Antrieb der Arbeit ist. Bei Panel sind zweifelsfrei Comic-Enthusiasten am Werk. Aber gerade das läßt Panel wie ein teils freundliches, teils ärgerliches Mißverständnis aussehen. Andreas Alt
 
Comicstrich # 6. 20 Seiten s/w mit farbigem Cover DIN A 4. Kostenlos.
Comicstrich - das Album # 2. 112 Seiten s/w mit Farbcover DIN A 4. 10 Mark. Comicstrich   e. V., Rolandseckstraße 17, 81375 München.
 
Seit rund anderthalb Jahren kann man in Münchner Kneipen und Läden alle zwei Monate das neueste Heft vom Comicstrich kostenlos mitnehmen: Zwanzig Seiten mit ein paar Comics von Münchner Zeichnern und viel Werbung. Und einmal im Jahr tun sich die Jungs und Mädels zusammen und geben ein dickes Album mit vielen Comics und wenig Werbung heraus. Das bietet zu einem günstigen Preis einen guten Überblick über die Münchner Comicszene mit einem breiten Spektrum an Stilen und In-halten. Ich persönlich konnte zwar nur mit wenigen der gebotenen Arbeiten etwas anfangen, aber so ist das wohl mit solchen Samplern. Und es dürfte wohl für jede/n etwas dabei sein. hg
 
Kromix # 5 / Myxa. 80 Seiten farbig, Farbcover DIN A 4. 9,80 Mark. Totenkopf Verlag. Stefan Riedl, Warthestraße 16, 81927 München.
 
Wie immer präsentieren Ralf Palandt und Stefan Riedl auch in dieser Ausgabe ihres Magazins eine Sonderform des Mediums Comic. Diesmal ist es der zweisprachige Comic - und so steht Kromix # 5 ganz im Zeichen der deutsch-russischen Freundschaft, symbolisiert durch eine Flasche Jägermeister und eine Flasche Moskovskaja, die sich die Hand reichen. Dreht man das Heft um, hat man eine Ausgabe des russischen Punk-Comicmagazins Myxa in der Hand. Hier wird die russisch-deutsche Freundschaft durch Porträts von Stalin und Hitler symbolisiert, was manche Leute gar nicht lustig finden. Satire darf eben alles, außer, es gefällt uns nicht. Überhaupt zeigt die russische Hälfte des Magazins einen ganz eigenartigen Humor, der uns westlichen Lesern nur schwer zugänglich ist - was vielleicht nicht zuletzt daran liegt, daß die deutschen Texte offenbar von einem Russen stammen, dessen Deutsch nicht viel besser ist als mein Russisch. Auf jeden Fall mal eine prima Gelegenheit, über den deutschen Tellerrand hinauszugucken, und zwar in eine ganz neue Richtung. Und Rudi oder das kleine Arschloch mit russischen Blasen kommen auch recht gut. hg
 
Sack voller Sorgen # 1. 28 Seiten s/w mit farbigem Umschlag DIN A 4. 5,90 Mark. Richard Peteler / Isabella Malek Verlag, Teutoburger Straße 1, 81543 München.
 
Decadence rules - wie im richtigen Leben, so auch auf den Seiten dieses Magazins. Düster, witzig, ziemlich abgefahren, aber gut. Sieht so aus, als wären Comics doch Kunst. Als Gastzeichner - neben den beiden Herausgebern - Gunter Hansen (bekannt aus Titanic, Kowalski). hg
 
Good Comics / Thirteen Interviews. Zwei Bände im Schuber, 108 und 204 Seiten s/w DIN A 4. 40 Mark. Stefan Dinter, Hinter Weingarten 1, 78343 Gaienhofen.
 
Wer sich für die Geschichte der amerikanischen Underground-Comix von 1968 bis 1976 interessiert, sollte sich Stefan Dinters Diplomarbeit zulegen. Stefan hat hier nicht aus zehn Büchern ein elftes gemacht; er bezieht seine Informationen hauptsächlich aus Interviews, die er selbst mit 13 Comiczeichnern, die zum Teil diese Ära wesentlich mitgeprägt haben, führte. Diese 13 Interviews sind im zweiten Buch im Original-Wortlaut (also in englischer Sprache) abgedruckt. Darunter findet sich nicht nur ein authentisches Gespräch mit Szene-Star Peter Bagge (im Gegensatz zu anderen Bagge-Interviews, die man in letzter Zeit hierzulande zu lesen bekam), sondern auch das einzige Interview, das Underground-Megastar Robert Crumb in den letzten Jahren gegeben hat. Für Interessierte auf jeden Fall eine lohnende Anschaffung. hg
 
Lippe # 15. Schluß! Geschichten vom Ende. Album mit 48 Seiten s/w und Farbcover DIN A 4. 14,80 Mark. Lippe Productions. Andreas Anger, Schreibersgasse 7, 97318 Kitzingen.
 
Das neue Album aus dem Hause Lippe Productions versammelt hinter einem exklusiven Cover von Matthias Schultheiss düster-makabre Kurzgeschichten von Markus Grolik, Isabel Kreitz, Martin Frei, Dirk Tonn, Thomas Scheileke, Tom Ising und Viktor Boden. Grafisch durchweg sehr ansprechend, inhaltlich durchwachsen. hg
 
Menschenblut # 14 und 15. Je 36 Seiten s/w mit Farbcover, Comicbook-Format. # 14 mit eingeklebtem Farbpanel. Je 6,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg.
 
Nachdem die # 14 ein ausnehmend widerwärtiges Cover von Snake Marschall zierte, wartet der Umschlag von MB # 15 mit zwei wunderschönen Arbeiten von Dieter Klapper auf. Innen drin die übliche tiefschwarz-witzige Mischung von Mille, Robi, BiMi, A. & S. Atzenhofer, Geier, A. MacCartney, Kim Schmidt und Bernd Frenz. Empfohlen für Leute mit starkem Magen. hg
 
Haimo Kinzler: Wüttner 1 - Die rauhe Herzlichkeit des Lebens. 108 Seiten s/w mit Farbcover DIN A 5. 14,80 Mark. Zwerchfell Verlag. Christian Heesch, Tonndorfer Strand 57, 22045 Hamburg.
 
Nach etlichen Episoden in Caiser’s und einem Album im Eigenverlag präsentiert uns Haimo Kienzler  nun seinen ewigen Underdog Wüttner in einer dicken Sammlung na-gelneuer Abenteuer bei Zwerchfell: Von seiner Vermieterin ins Arbeitsleben gedrängt, findet sich unser schmächtiger Held als Möbelpacker wieder mit der glorreichen Aussicht, bei guter Führung zum letzten Arsch aufsteigen zu können. Sein zweites Abenteuer führt ihn nach ganz unten, wo er in Frau Kleinschrotts feuchtem Keller kompromittierende Spuren der Vergangenheit entschärfen soll. Auch die weiteren Episoden um Beziehungskrisen, Bio-Produkte und Unterwäsche aus naturbelassenen Materialien sind für etliche Lacher gut. Genau das richtige Buch für einen Verlag, der sich auf die Fahnen geschrieben hat, das Zwerchfell des Lesers durch ständiges Training zu stärken. hg
 
Isabel Kreitz: Schlechte Laune. 48 Seiten s/w mit Farbcover DIN A 4. 8 Mark. Zwerchfell Verlag. Christian Heesch, Tonndorfer Strand 57, 22045 Hamburg.
 
Isabel Kreitz, Trägerin mehrerer Comicpreise (L & M, Achterbahn), erzählt in diesem Heft die Geschichte des frustrierten Jugendlichen Ralf, der seine Kicks beim S-Bahn-Surfen sucht. Wie es weitergeht, nachdem er knallharte Bekanntschaft mit einem harten Hindernis schließt, soll nicht verraten werden. Nur soviel: Isabel erzählt in stimmungsvollen Schwarzweiß-Bildern eine zwar düstere, aber auch sehr unterhaltsame Geschichte, ohne auf sattsam bekannte Klischees zurückzugreifen. Auf Wunsch der Zeichnerin wurde „Schlechte Laune“ nicht als Album, sondern als Heft publiziert, wobei die Unterschiede nur in der Klammerheftung und dem ungewohnt niedrigen Preis liegen. hg
 
Gespräch zwischen Manfred Kooistra, Birgit Hartung und Gregor Abraham. 36 Seiten s/w Zwischenformat. Hardcover mit Schutzumschlag. 30 Mark. argoat zwei / M. Kooistra & B. Hartung, Bachgasse 1, 88709 Meersburg.
 
Ein Romanfragment. Und ein Comic, in Manfred Kooistras perfekter, fotorealistischer Pünktchen-Technik gezeichnet. In den Hauptrollen er selbst und seine Co-Autorin. Inhalt: Ein Gespräch über das vorne abgedruckte Romanfragment. Auf jeden Fall mehr was für Intellektuelle. Prima Weihnachtsgeschenk für Leute, die einen Professor für Kommunikationswissenschaft zum Onkel haben. hg
 
Burkhard Ihme: Renn um dein Leben. 48 Seiten s/w mit zweifarbigem Umschlag. Hardcover. 22 Mark. Limitierte Luxusausgabe mit Original-Siebdruck 40 Mark. Buch Musik und Film Verlag, Danneckerstraße 12, 70182 Stuttgart.
 
Ein geradezu klassischer Krimi-Plot um einen Verbrecher, der die Polizei durch absichtlich hinterlassene, aber nur schwer zu entschlüsselnde Hinweise narrt, bildet die raffiniert konstruierte Handlung des neuesten Werkes von Burkhard Ihme. Und wie seine bisherigen Arbeiten lebt auch „Renn um dein Leben“ hauptsächlich von der gut gemachten Story. Denn obwohl sich Burkhard diesmal eines betont lockeren Strichs befleißigt hat und seine Seitenlayouts gekonnt und abwechslungsreich konstruiert sind, erkennt man doch den typischen „Ihme-Strich“, der grafisch einfach nicht so recht zu begeistern vermag. hg
 
In gleicher Aufmachung zum selben Preis im selben Verlag erschienen:
 
Burkhard Ihme: Um Kopf und Kragen.
 
Wenn ein Comiczeichner keine Lust oder nicht genügend Zeit hat für aufwendige Bilder, wird man in seinen Geschichten viele Großaufnahmen von Köpfen finden, die die Story per Dialog vorantreiben. Und wenn Burkhard Ihme sich zu diesem Thema Gedanken macht, kommt dabei ein Album heraus, das diese Methode zeichnerischer Sparsamkeit auf die Spitze treibt und ad absurdum führt: Neun Kurzgeschichten, in denen sattsam bekannte Handlungsmuster verschiedener klassischer Genres ausschließlich durch sprechende Köpfe dargestellt werden. Obwohl in die Stories genügend zusätzliche Gags und witzige Verweise eingebaut wurden, wirkt das ganze ob seiner grafischen Gleichförmigkeit doch etwas ermüdend. Zum Schluß präsentiert Burkhard zwar noch eine originelle Variante - einen Comic ganz ohne Bilder -, aber insgesamt leidet das Album doch, mehr noch als bei seinen bisherigen Arbeiten, unter Kopflastigkeit. hg
 
Alberto Breccia / Juan Sasturain: Perramus. Grafischer Roman in drei Bänden. 176, 144 und 168 Seiten, schwarz-weiß, Softcover, Albumformat. Carlsen. 36,80, 39,90 und 59,90 Mark.
Alberto Breccia: Dracula. 72 Seiten, farbig. Hardcover, Albumformat. Carlsen. 49,90 Mark.
 
Endlich! Die Veröffentlichung dieser Alben ist ein Ereignis. Mit ihr schließt sich, wenigstens ansatzweise, eine empfindliche Lücke. Allzu lange ist Alberto Breccia den deutschen Comiclesern kaum mehr als ein großer Name gewesen, dessen Ruf sich nicht durch die Lektüre seiner Werke verifizieren ließ. Vor rund zwei Jahren erlaubte dann „Mort Cinder“ einen ersten gründlichen Blick in den künstlerischen Kosmos des Argentiniers. Was sich an diesem kapitalen Frühwerk schon erkennen ließ, bestätigt sich mit „Perramus“ und „Dracula“ in entschiedener Weise: Alberto Breccia gehört zu den größten Künstlern, die das Medium Comic hervorgebracht hat. Worauf gründet sich dieser Rang? Vor allem auf einer außergewöhnlichen artistischen Integrität. Ab dem Beginn seiner Reifezeit Ende der 50er Jahre - zu diesem Zeitpunkt zeichnete er bereits seit 20 Jahren Comics - hat Breccia bis zu seinem Tod nicht aufgehört zu experimentieren. Rastlos war er auf der Suche nach neuen Ausdrucksmöglichkeiten. Er arbeitete in Schwarzweiß und in Farbe, mit der Feder und dem Pinsel, mit Tusche und Wasserfarben; er zeichnete, malte und collagierte. Ungewöhnlich auch, daß seine künstlerische Potenz im Alter nicht nachließ, sondern sich weiter steigerte. Das Spätwerk Breccias kennt weder müde Reprisen noch lustlose Selbstplagiate, nur das rastlose Weiterziehen auf dem einmal eingeschlagenen avantgardistischen Weg. Noch die größte Bedrohung seines Lebens, die blutige Diktatur der Generäle zwischen 1976 und 1983, konnte Breccia so bewältigen: Der Schrecken dieser Jahre hat ihn, wie „Perramus“ und „Dracula“ zeigen, nicht verstummen lassen, sondern seinem Werk eine weitere politische Dimension eröffnet. „Perramus“ beginnt mit einem Verrat und einer symbolischen Neugeburt. In tiefer Nacht erwacht ein Mann, als er Schritte auf der Treppe hört. Die Polizei naht, eine Gruppe der Stadtguerilla, die gegen die argentinische Diktatur kämpft, auszutreiben. Der Mann weckt seine Freunde nicht, sondern schleicht sich davon; die Überraschten sterben in den Maschinenpistolensalven der Schergen. Von Schuld gepeinigt, sucht und findet der junge Guerillero Vergessen in den Armen einer mit magischen Kräften begabten Hure. Am nächsten Morgen ist ihm seine Vergangenheit entschwunden; er weiß nicht einmal mehr, wie er heißt. Eine neue Identität findet er nur durch den Markennamen des Mantels, den ihm die Hure schenkt: Perramus. Von 1984 bis 1989 hat Alberto Breccia an diesem nahezu 500 Seiten starken Opus magnum gearbeitet. Personen, Schauplätze und Handlungsmuster erinnern mitunter an den vertrauten Abenteuercomic alter Schule. Aber das sind nur spielerische Zitate, flüchtige Duftmarken. Schon der Anfang zeigt, daß es Breccia und seinem Autor Juan Sasturain um mehr geht. Sie wollen nicht nur spannende Unterhaltung liefern. Sie erzählen von der jüngsten Vergangenheit, von dem „schmutzigen Krieg“, den die argentinische Junta gegen die Bevölkerung führte. Aus den Armen der Hure verschlägt es Perramus zunächst auf ein Schiff, dessen Aufgabe es ist, die von den Machthabern Ermordeten im Meer zu versenken. Von dort gelangt er auf eine Insel vor der argentinischen Küste, auf der Mr. Whitesnow, ein amerikanischer Geheimdienstler mit der Physiognomie Henry Kissingers, seinen Geschäften nachgeht. Auf bizarren Umwegen durch eine Welt zwischen Tag und Traum kehrt Perramus schließlich im Auftrag der Untergrundbewegung aufs Festland zurück, trifft dort den greisen Dichter Jorge Luis Borges und nimmt mit ihm und seinen neuen Freunden, dem hünenhaften Mulatten Canelones und einem nur „der Feind“ genannten alten Bomberpiloten, den Kampf gegen die Diktatur auf. Der zweite Teil des Werks erzählt die Suche des ungleichen Gespanns nach sieben Gerechten, in denen sich die von der Gewaltherrschaft bedrohte Seele der argentinischen Hauptstadt, hier mythisierend Santa Maria genannt, verkörpert. Im dritten Teil beteiligen sich die vier an dem erfolgreichen Aufstand gegen Mr. Whitesnow und seine sieben Zwerge, deren Sturz symbolisch den Sturz der Generäle widerspiegelt. Als den ersten Comic-Roman des magischen Realismus hat die Kritik „Perramus“ bezeichnet. Tatsächlich entwirft Juan Sasturain eine Welt, in der sich Realismus und Phantastik, Alltägliches und Wunderbares nicht ausschließen, sondern ständig durchdringen. In dieser Hinsicht steht „Perramus“ zweifellos in der Tradition eines Marquez oder Borges. Aber der erste Comic-Roman des magischen Realismus? Das ist der Ehre zuviel. Immerhin sind schon in den Corto-Maltese-Geschichten der 70er Jahre Magie und Moderne virtuos miteinander verschmolzen. Ich glaube sogar, daß Hugo Pratt, der ebenso kunstvoll kunstlos erzählt, wie er zeichnet, Sasturain überlegen ist. So raffiniert dieser Autor zur Sache geht, so bewundernswert sein mehr als seltener Versuch ist, der politischen Aktualität Eintritt in einen Comic zu verschaffen - mißt man „Perramus“ an den Maßstäben, die das überaus ambitionierte Unternehmen verdient, muß man doch zugeben, daß seine Lektüre kein reines Vergnügen ist. Gerade weil Sasturain so viel will, erreicht er weniger, als er könnte. Die extreme Literarisierung des Erzählens, die er betreibt, exorziert zwar alle Comic-Klischees, führt aber zum Aufbau eines bleischweren symbolischen Apparats, der das Werk in seinen ersten drei Teilen mitunter zu erdrücken droht. Überall tiefere Bedeutungen, überall Figuren, die über sich hinaus ins Allgemeine weisen. Es ist, als mißtraue Sasturain der Wucht dessen, von dem er erzählt, als fühlte er sich verpflichtet, immer noch eins draufzusetzen, um den Leser auf jeden Fall zu beeindrucken. Sogar vor Plattheiten schreckt er daher nicht zurück: Was von den Generälen und ihren Schergen zu halten ist, würde man sicher auch verstehen, wenn sie nicht alle Totenköpfe trügen. Vermutlich ist es der politische Leidensdruck, der Sasturain sich so verkrampfen läßt. Der vierte Teil, der die Helden nach dem Sturz der Diktatur auf eine weltweite Suche nach zwölf verschollenen Zähnen des legendären Tangosängers Carlos Gardel schickt, ist nämlich, ohne in die Comic-Konvention zurückzufallen, von jedem störenden Überbau befreit. Nur hier erreicht Sasturains Szenario durchgehend die Qualität von Breccias Illustrationen. Sie sind es, die „Perramus“ doch noch zu einem Meilenstein werden lassen. Was zunächst auffällt: die Perfektion. Nirgendwo auf diesen vielen Seiten, nicht im Detail eines einzigen Panels ist die Spur einer Flüchtigkeit oder Unsicherheit zu entdecken. Breccia arbeitet mit einer Präzision und Grazie, als würden sich seine künstlerischen Visionen, ohne daß Hand und Pinsel eingreifen müßten, direkt auf die leere Seite übertragen. Alles wirkt selbstverständlich: So muß es sein und nicht anders; jeder Strich, jeder Tupfer sitzt. Und trotzdem ist Breccias schwarzweiße Aquarelltechnik nie steril, nie leblos, im Gegenteil: Jedes Panel birst vor Vitalität, vor dem offenkundigen Vergnügen, das der Künstler empfindet, Menschen, Gesichter, Natur- und Stadtlandschaften in immer neuen Perspektiven und Be-leuchtungen einzufangen. Breccia scheint das Papier zugleich zu attackieren und zu streicheln. Mal ballen sich seine Pinselstriche zu dunklen Wolken zusammen; mal hinterlassen sie nur zarte, graue Schlieren; mal bleibt so viel weiß, daß sich das Bild nur im Zusammenspiel von Angedeutetem und Ausgespartem vollendet... „Perramus“ ist ein Festmahl für die Augen. Anders als bei den meisten seiner jüngeren Kollegen, die den Comic als Comic Art verstehen, ist die Maltechnik Breccias vorbildlos. Sie schielt nicht eifersüchtig und kopierend auf die Malkunst - ein Mangel, der für Mattotti, Sienkiewicz, McKean und ihnen verwandte Künstler leider typisch ist -, sondern findet in sich ihre Erfüllung. Breccia arbeitet nicht im Stil von Matisse oder Hockney, von Klimt oder Bacon, sondern im Stil von Breccia. Man mag in seiner Vorliebe für groteske Visagen und perspektivische Verengungen, für das Spiel von Licht und Schatten eine Nähe zum Expressionismus erkennen. Aber auch hier handelt es sich nur um eine Verwandtschaft im visionären Gestus, nicht um eine Nachahmung. Breccia ist Breccia - in dieser Tautologie liegt vielleicht das größte Lob, das man dem Künstler aussprechen kann. Vom Schwarzweiß zur Farbe: Das 1989 entstandene „Dracula“-Album ist eine Orgie gedämpft leuchtender Schattierungen von Blau, Braun und Grün, von Schwarz, Rot und Lila. Auch hier kann man sich nicht sattsehen. „Dracula“ ist einer der schönsten farbigen Comics, die ich je in den Händen hatte. Dazu erweist sich Breccia als ein begabter Erzähler. Während Francis Ford Coppola in seinem jüngsten Film eine mühevolle artifizielle Rekonstruktion des unsterblichen Mythos vom transsylvanischen Grafen versuchte, setzt Breccia zu einer frechen Dekonstruktion an. Dracula - eine Gestalt, um einen das Fürchten zu lehren? Hier taugt sie eher dazu, das Lachen nicht zu vergessen. Schon wie Breccia Dracula malerisch anlegt, ist bezeichnend. In einem Mantel, groß und schwarz wie eine Gewitterwolke, birgt sich ein vogelscheuchendünner Körper auf krummen Beinen. Das bleiche, totenkopfähnliche Gesicht erhält durch die schwarzen Tränensäcke und die roten Wulstlippen einen Zug ins Tragikomische und Lächerliche. Dieser Dracula gleicht einem tuberkulösen Schmierenkomödianten, der Dracula spielt. Und tatsächlich bleibt dem Grafen in den fünf ohne ein einziges Wort auskommenden Kurzgeschichten wenig erspart. Als er im venezianischen Karneval einer unbekannten Schönen an das zarte Hälschen will, schlägt ihn ein zu Hilfe eilender Doppelgänger Supermans nieder. Zu Hause in Transsylvanien paßt ihm sein Zahnarzt ein schlecht sitzendes Gebiß an, das er, als er einen fetten Reisenden beißt, sofort verliert. Und am Blut des trunksüchtigen Edgar Allen Poe holt der unvorsichtige Dracula sich eine Alkoholvergiftung. In „Ich bin nicht länger eine Legende“, der besten Kurzgeschichte des Albums, schlägt die Stimmung des brillant-makabren Scheins um. Wieder sind wir im Argentinien der Junta. Ein sonnenbebrillter Dracula, der als Tourist verkleidet umherstreift, wird zum zunehmend fassungslosen Zeugen von Schießereien und Hinrichtungen, von Folter und Ausschweifungen - bis ihm vor Entsetzen darüber, was Menschen einander antun, so sehr die Haare zu Berge stehen, daß er in ein Kloster flieht und Mönch wird. Der reale Horror unserer Zeit übertrifft den literarisch-romantischen Horror der Vergangenheit. Wo Menschen zu Monstern werden, erscheint das Monster plötzlich menschlich. Eine bittere Pointe. Bleibt am Schluß nur der Wunsch, daß so schnell wie möglich weitere Arbeiten von Alberto Breccia verfügbar gemacht werden. Noch gibt es viel zu veröffentlichen. Die deutschen Comicverlage sind gefordert, die deutschen Comicleser auch. Hans Lucas
 
Hunt Emerson: Casanovas Abgang. 64 Seiten, schwarz-weiß, Softcover, Albumformat. Carlsen, 19,90 Mark.
 
Hunt Emerson ist ein Pornograph mit Sinn für Humor. Seine großen Vorbilder sind Harvey Kurtzman und Robert Crumb. Aber die Pornographie ist eine ernste Sache; mit ihr scherzt man nicht. Daher ist dieses Album, in dem der alte Casanova sich melancholisch-schwärmerisch der erotischen Höhepunkte seines bewegten Lebens erinnert, zwar schwungvoll gezeichnet, aber leider kaum komischer als der siebte Teil des „Schulmädchen-Reports“. Die Stiftung Comictest rät ab. Hans Lucas
 




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 43
Besprechungen



Der dicke Onkel / Extended Bloodlust. 16 Seiten, s/w, DIN A6 quer. Wird nach Gutdünken des Herausgebers an nette Menschen abgegeben. Levi’athan in Love c/o Jürgen Kopperschläger, Torfweg 17a, 32425 Minden.
 
Prima: Zwei Hefte in einem! Cartoons und Kurzcomics von und mit dem dicken bärtigen Onkel von der einen Seite, al-lerlei Gedanken zum Thema Horror von der anderen. Wer Levis Sachen noch nie mochte, wird auch hiermit nicht auf den Geschmack kommen, alle anderen mögen ihn beknien, noch ein Exemplar rauszurücken. hg
 
cOMIc # 16. 28 Seiten s/w, DIN A5. Im Tausch gegen Geld und gute Worte. Gerd Bonau, Waldweg 19, 24351 Damp.
 
Wieder eine runde Mischung aus Comics, Cartoons und Illus für alle, die die Naivität der frühen Fanzine-Tage zu schätzen wissen. Von stark ausbaufähig bis professionell ist von allem etwas dabei. In einem Kurzporträt wird Olaf „BAT“ Bathke (siehe auch „Paddelcomics“) vorgestellt. hg
 
Bat: Paddelcomics. 64 Seiten s/w. DIN A5.    3 DM. Olaf Bathke, Festungsstraße 4, 25832 Tönning.
 
„Paddelcomics“ ist ein Sammelband mit ein- bis fünfseitigen Comicgeschichten, die Olaf Bathke (der einen oder dem anderen dürften seine „Reisenden aus Plüsch“ aus cOMIc bekannt sein) für seinen Paddelverein in Tönning schuf. Nach Auskunft des Zeichners haben die meisten der auftretenden Figuren Vorbilder im richtigen Leben, und diese dürften auch den meisten Spaß an seinen Comics haben. Doch auch, wer die Tönninger Paddler nicht kennt, wird mit diesem Heft auf seine Kosten kommen. hg
Weil nämlich (an dieser Stelle mischt sich wieder mal der Herausgeber ein) Olaf Bathke etwas ganz Schwieriges gelungen ist, und zwar einfache Geschichten zu erzählen. Zugegeben, den Episoden fehlt es manchmal an dramatischer Spannung. Deshalb wissen sie möglicherweise nur die zu schätzen, die sie miterlebt haben. Aber die Geschichten haben eine ganz merkwürdig beschwingte und zugleich melancholische Atmosphäre, wie ich sie nur in ganz wenigen Comics gefunden habe. Wenn die Comics nicht so insiderhaft wären, daß man sich bisweilen zur Aufmerksamkeit zwingen muß, und nicht manches von den Figuren und ihren Beziehungen zueinander verschleiert bliebe, wären die „Paddelcomics“ ein Meisterwerk. Andreas Alt
 
Der Herold # 22 (2/94). 32 Seiten s/w, DIN A5. Gratis (Versandabo: 5 DM pro Jahr). Michael Schneider, Freuenbach 30, 97993 Creglingen.
 
„Der Herold“ ist kein Comic-Fanzine, sondern widmet sich ganz allgemein „Politik, Wirtschaft und Kultur“. Die mir vorliegende Ausgabe setzt jedoch ihre Schwerpunkte in den Bereichen Literatur und Comic/Cartoon. Neben Comics von Joachim Ullmer („Dummy“-Strips) und den Gebrüdern Schwandt (eine Geschichte über eine Seance, deren Sinn mir verborgen blieb) findet man fantasy-orientierte Illustrationen vonThomas Knip, thematisch breit gefächerte Comic- und Buchrezensionen, zwei Kurzgeschichten sowie Artikiel über die Frankfurter Buchmesse, den Comic „Karl der Spätlesereiter“ und eine professionelle Briefeschreiberin. hg
 
Zeitlupe # 24. 24 Seiten s/w mit farbigem Umschlag, DIN A5. 2 DM plus Porto (mit S/w-Co-ver 1 DM plus Porto). Igolin Verlag c/o Tim Böhm, Ludwigshafener Straße 21d, 76187 Karlsruhe.
 
Tim „Igel“ Böhm legt den Schwerpunkt seines Fanzines immer deutlicher auf Comics. In dieser Ausgabe finden sich Beiträge von Thomas Harske, Holler, Haggi und dem Herausgeber. Darüber hinaus ein Artikel über die Produktion von Igels neuestem Zeichentrickfilm, ein Rouladenrezept von Omi, ein paar biblische Geschichten in ganz neuen Versionen, und das erste Haggi-Porträt, das bei seinem Erscheinen noch nicht veraltet war. hg
 
si-kartuun Party Special. 72 Seiten s/w, DIN A5. 4 DM. Michael Groenewald, Zum Bernstein 22, 57076 Siegen.
 
Lang erwartet, ist es endlich da: das si-kartuun-Sonderheft zur großen Abschiedsparty am 22. und 23. Januar 1994. Mit vielen Skizzen und Cartoons zwischen saukomisch und albern und - dem ersten zusammenhängenden Abenteuer von Brett, dem tapferen Raumpiloten. Damit ist endlich die empfindliche Lücke zwischen dem PLOP-Party-Special und der ab Mai 1995 erscheinenden regelmäßigen Brett-Serie geschlossen. Zwangsläufig enthält so ein Heft einige Insidergags, die Nicht-Partygästen verschlossen bleiben, doch für diese bleibt genug übrig, um den Kaufpreis zu lohnen. hg
 
Kromix # 7. 80 Seiten s/w mit Farbcover, DIN A 4. 9,80 DM. Totenkopf-Verlag Stefan Riedl, Warthestraße 16, 81927 München.
 
Der Inhalt eines Comicmagazins ist naturgemäß geprägt vom persönlichen Geschmack seines Chefredakteurs oder seines Redakteurs. Die heißen in diesem Fall Ralf Palandt und Stefan Riedl und haben eine ausgeprägte Vorliebe für Experimentelles und Abstruses. Das ist sicher nicht jedermanns Geschmack, und auch die in den zahlreichen Rezensionen wiedergegebene Meinung wird nicht jeder teilen können. Damit auch Leute, die’s lieber lustig haben, in Kromix etwas finden, gibt’s zwischendurch ein paar Stories von Leuten wie Walter Moers, Peter Puck und Harm Bengen. Als „Sonderform“ des Comics wird diesmal der Literaturcomic, also Adaptionen literarischer Vorlagen, vorgestellt. Was dann als Beispiel folgt, sind allerdings aneinandergereihte Einzelillustrationen zu Kurzgeschichten von Charles Bukowski selig. Auch wenn das Ganze jetzt vielleicht eher negativ geklungen hat, kann ich zum Kauf von Kromix nur raten, denn seinen Preis ist das als Album aufgemachte Magazin allemal eher wert als die hundertste Episode irgendeiner noch so vierfarbigen Kommerzserie. hg
 
Menschenblut # 16/17 (Winter-Spaßdick-Doppelnummer). 72 Seiten s/w mit Farbcover, Comicbook-Format. 14,80 DM. Eisenfresser Comix, Postfach 1141, 36094 Petersberg.
 
Was soll man noch sagen über dieses Magazin, das sich nun schon seit 16 Ausgaben mit gleichbleibendem Erfolg der Aufgabe widmet, Horror in seinen verschiedenen Erscheinungsformen in absolut professioneller Qualität darzubieten? Vielleicht, daß das Team erneut Zuwachs zu verzeichnen hat: Roger Rebmann, der mit „Gunbitch“ seine ganz eigenen Vorstellungen von einer zweckdienlichen Uniform für weibliche Polizeikräfte präsentiert. Oder daß die Gebrüder Murschetz mit ihrer Cover-Illu einen aussichtsreichen Kandidaten für die Meisterschaft im Tabubrechen vorlegen. Wenn die Jungs solche Phantasien wirklich nötig haben, sollten sie sich schleunigst in therapeutische Obhut begeben.
Kostenlos für „Menschenblut“-Abonnenten:
Dünnschiß-Funnies # 425. 24 Seiten s/w, DIN A5.
Was passiert, wenn eine Handvoll Comiczeichner mit Hang zum Makabren und Geschmacklosen sich zusammensetzen und drauflos kritzeln? Das Ergebnis dürfte so ziemlich genauso aussehen wie die neueste Ausgabe von Dünnschiß-Funnies, mit der die Menschenblut-Crew ihren Abonnenten die Wartezeit auf die neueste Nummer verkürzte. hg
 
Kim Schmidt: Schronz - Comics wie Du und ich. 64 Seiten s/w mit Farbcover, Comicbook-Format. 12 DM. Flying Kiwi Verlag Jens Junge, Schloß Glücksburg, 24690 Glücksburg.
 
Seit rund zehn Jahren gehört Kim Schmidt, Deutschlands nördlichster Comiczeichner, zu den Fixsternen des Comic-Fandoms. Und was da so an Comics, Cartoons und Illustrationen in den verschiedensten Fanzines (und sonstigen Publikationen) zusammengekommen ist, kann man sich hier in einem ausgiebigen Querschnitt noch einmal geballt zu Gemüte führen. Doch auch wer alle Fanzines aus diesem Zeitraum im Regal stehen hat, wird in „Schronz“ noch Neues finden - zum Beispiel auf elf Seiten Reiseskizzen von Kims Amerika-Trip 1992. Deutlich wird in dieser komprimierten Form auch die Vielseitigkeit von Kims Zeichenstil, der nicht auf eine einmal gefundene Formel festgelegt ist, sondern immer wieder erfolgreich Neues ausprobiert. Was Kims Humor betrifft, wird von ultraflach bis hintergründig-aberwitzig jeder Geschmack bedient. Und wem das immer noch nicht genügt, dem sei verraten, daß „Schronz“ der erste Comic mit Airbag ist - es ist also nicht nur für viel Vergnügen, sondern auch für die äußerste Sicherheit des Lesers gesorgt. Was will man mehr? hg
 
Haimo Kinzler: Wüttner 2 - Wer ist dazu geboren, diese herrlichen Bildergeschichten zu zeichnen? 108 Seiten s/w mit Farbcover, DIN A5. 14,80 DM. Zwerchfell Verlag Christian Heesch, Tonndorfer Strand 57, 22045 Hamburg.
 
„Namhafter Comickonzern sucht ambitionierten und flexiblen Bügelverschlußflaschenzeichner zwecks Entlastung unseres Hausautors.“ Mit dieser Anzeige beginnt für unseren Antihelden Wüttner ein wahrer Alptraum. Denn Frau Kleinschrott, seine Vermieterin, beschließt, aus ihm diesen erfolgreichen jungen Zeichner zu machen. Und welche abstrusen Drillmethoden und fiesen Psychoterrortricks sie sich zu diesem Zweck einfallen läßt, das erschüttert für den größten Teil des Albums das Zwerchfell jedes Lesers mit Sinn für absurden Humor. Mit dieser Geschichte wurden Wüttner und sein Schöpfer Haimo Kienzler in dem Magazin „Caisers sehr feine Comics“ erstmals einem breiten Publikum vorgestellt. Als Bonustrack gibt es noch den Reißer „Nackt und wehrlos unter außerirdischen Kannibalen-Sexmonstern“ sowie eine ausführliche Erklärung (ebenfalls in Comicform), warum Walter Jens auch diesmal keine Einleitung geschrieben hat. hg
 
Dean Williams / Günther von Wegen: Crack Whore # 1. 24 Seiten, Farbcover, Comicbookformat. 2,75 $. EROS Comix, Seattle WA, USA (beim lokalen Direktimporteur nachfragen).
 
Wie man an der Verlagsangabe erkennt, ist „Crack Whore“ kein Fanzine und schon gar kein deutsches. Wer aber wissen will, womit man als deutscher Comiczeichner sein Geld verdienen kann, sollte mal in das Heft reinschauen: Günther von Wegen ist nämlich unter anderem Namen fest in der deutschen Fanszene etabliert. Die Story von Crack Whore (tatsächlich von einem Amerikaner) ist eine krude Porno-Posse, deren Frauenfeindlichkeit nur dadurch gemildert wird, daß die Männer auch nicht besser wegkommen. Zeichnerisch schwankt die Qualität noch ziemlich, selbst bei der für einen Pornocomic doch so wichtigen Anatomie. Wer nach der Lektüre immer noch rätselt, um welchen Zeichner es sich handelt, der sei auf dessen kleinen Gastauftritt auf Seite 16 hingewiesen. hg
 
Au weia. Das piccolotische Comic-Magazin    # 7, sowie 8 und 9. Je 32 Seiten s/w mit Farbcover, Piccoloformat. Je 4 DM. Comic Archiv Jürgen Metzger, Ludwig-Feuerbach-Straße 63, 90489 Nürnberg.
 
Mit Au weia # 6 war bekanntlich erstmal Schluß. Haggi hatte dabei einkalkuliert, daß noch die Ausgaben 7 bis 9 in weitaus bescheidenerem Format hinterhertrudeln würden. Mehr gibt’s vorerst nicht (außer in PLOP natürlich). Haggi hört mit den Fanzines auf, wenn es am schönsten ist; er verabschiedet sich mit drei kleinen Meisterwerken. Wer jemals ein Piccolo gelesen hat, wird meine Verblüffung nachvollziehen können, was in den drei Heftchen so alles drinsteckt. Werden Piccolos meist dazu benutzt, endlose Fortsetzungsgeschichten zu erzählen, die sich in einem einzelnen Band kaum weiterentwickeln, oder abgeschlossene Comics zu bringen, die immer irgendwie kurzatmiger wirken als in einem Heft oder Album, so füllt Haggi seine mit einem Sack voll Späßen an. Rasante Gedichte, Kuriositäten wie etwa ein weinendes Käsebrötchen oder Reibereien zwischen Schaf und Elefant, neue Folgen des Ferdi-Quiz und auch ein paar Kalauer sind darunter. Vielleicht die ersten Piccolos, die nicht nur für Piccolo-Fans uneingeschränkt zu empfehlen sind. Andreas Alt
 
Francois Rivière / Jean-Claude Floc’h: Die rätselhaften Fälle des Francis Albany. Band 1: Der Fall Harding; Band 2: Begegnung in Seven Oaks; Band 3: Auf der Suche nach Sir Malcolm. Je 48 Seiten, farbig, Softcover, Albumformat. Carlsen, 16,90 DM.
 
Ein Blick auf die Geschichte der Nouvelle ligne claire - das ist kein Blick zurück im Zorn. Unübersehbar ist aber, daß die Zeit an den einst hoch gelobten Werken dieser Schule nicht spurlos vorübergegangen ist. Blättert man heute durch die Alben Yves Chalands oder Ted Benoits, Serge Clercs oder Joost Swartes, so ist der Eindruck häufig ernüchternd. Die Nouvelle ligne claire war, obwohl ihre Wurzeln in den 70ern liegen, ein Kind der 80er, und ihr Glanz scheint zu verblassen, je mehr wir uns von diesem Jahrzehnt entfernen. Mode und Nostalgie - aus diesen schnell verderblichen Ingredienzien war der Cocktail gemixt. Modisch war die Nouvelle ligne claire insofern, als sie den Stil Hergés, seiner Schüler und Konkurrenten vor allem als schicke Oberfläche begriff. Was vorgestern in und gestern, in der psychedelischen Zeit um 1968, out gewesen war, wurde nun plötzlich wieder in: die zeichnerische Beschränkung auf das Wesentliche, die Liebe zur scharf gezogenen Kontur. Nostalgisch war die Nouvelle ligne claire insofern, als sie trotz all ihrer Verdrehungen und Ironisierungen der großen Vorbilder - erinnert sei nur an Chalands Freddy Lombard, diese Karikatur Tintins - doch immer ostentativ dem Goldenen Zeitalter der frankobelgischen Comics nachtrauerte. Freilich ohne dessen Meisterwerke zu erreichen. Eine Schwachstelle vieler Alben der Nouvelle ligne claire ist das Szenario. So hübsch die Bilder, so banal und albern oft die Geschichten. Die prominenten Vertreter der Schule waren typische postmoderne Epigonen: Sie hatten nichts zu sagen, taten dies aber auf formal bestechende Weise. Vor die Wahl zwischen Sein und Design gestellt, wählten sie allzu oft das Design.
Um so erfreulicher ist es, daß eine der wenigen Ausnahmen von dieser Regel nun komplett in deutscher Übersetzung vorliegt. Die Francis-Albany-Trilogie Floc’hs und Rivières ist nicht nur eine der Sternstunden der Nouvelle ligne claire, sondern des intelligenten französischen Erwachsenencomics überhaupt. In „Der Fall Harding“ versuchen der Titelheld und seine Freundin, die erfolgreiche Kriminalautorin Olivia Sturgess, sich als Amateurdetektive. Sir Christopher Harding, der Verleger Olivias, wird in einem Londoner Taxi ermordert aufgefunden. War die verschleierte Dame in Schwarz, mit der er das Taxi bestiegen hat und die bald darauf verschwunden ist, die Täterin? Im Verlauf ihrer Ermittlungen geraten Francis und Olivia bald auf den Landsitz der Hardings. Hier überstürzen sich die Ereignisse: Ein Dorftrottel macht geheimnisvolle Andeutungen; die Dame in Schwarz spukt als Todesengel durch das alte Gemäuer; und selbstverständlich ist die Familie des Verstorbenen nicht so nobel und heil, wie es auf den ersten Blick scheint. „Der Fall Harding“ ist das schwächste der Francis-Albany-Alben. Nicht, daß es schlecht gezeichnet oder geschrieben wäre - im Gegenteil. Es ist sogar sehr unterhaltsam und spannend. Aber im Gegensatz zu den beiden anderen Alben ist es nur unterhaltsam und spannend. Interessant ist es nur in stofflicher Hinsicht, als der zweifellos gelungene Versuch, einen Comic im Stil der Romane Agatha Christies zu schreiben. „Ein faszinierender Romananfang“ urteilt eine der Queen of Crime verblüffend ähnlich sehende Freundin Olivias, als sie von der Ermordung Sir Christophers hört. Und: „Ist das in Ihren Romanen nicht auch immer so, meine Teure?“, fragt Francis wenig später Olivia, als diese feststellt, der Mörder müsse sich auf dem Landsitz aufhalten. In diesem Ton eines selbstironischen Klassizismus ist der ganze „Fall Harding“ gehalten. Das Album ist eine Stilübung - nicht weniger, aber auch nicht mehr. Von anderem Format sind die „Begegnung in Seven Oaks“ und „Auf der Suche nach Sir Malcolm“. In ersterem Album tritt Francis Albany nur am Rande auf. Im Mittelpunkt steht vielmehr der Journalist und Schriftsteller George Croft, der in einem Antiquariat eine bestürzende Entdeckung macht. Die Sammlung von Schauergeschichten, die er verfaßt hat, ist nämlich vor über 20 Jahren und Wort für Wort schon einmal von einem gewissen Basil Sedbuk geschrieben worden. Und nicht nur das: Als Croft nach Sedbuk, einem seinerzeit berühmten Meister des Grand Guignol, zu recherchieren beginnt, treten alle unheimlichen und makabren Geschehnisse des Buches nach und nach ein. Die Grenze zwischen Wirklichkeit und Fiktion löst sich zunehmend auf und ist am ebenso virtuosen wie rätselhaften Ende des Albums völlig verschwunden. „Begegnung in Seven Oaks“ zählt zu den raren Comics, die man immer wieder lesen kann, weil man sie nie ausliest. Francois Riviere ist das Kunststück gelungen, ein Album zu schreiben, das zwar in Hergéscher Manier rigoros konstruiert ist, das aber - und hier übertrifft der Schüler sogar seinen Meister - die Imaginationskraft des Lesers nicht einengt, sondern freisetzt. Die Spuren, die der Autor ihm legt, kann und muß jeder selbst deuten. Und nicht nur eine Lösung ist möglich. Am wahrscheinlichsten ist wohl diese: Das Album ist nur eine Fiktion innerhalb einer Fiktion; es ist ein Wunschtraum, eine Wahnvorstellung des sterbenden Basil Sedbuk. So wird die „Begegnung in Seven Oaks“ plötzlich zu einer außerordentlich gescheiten Reflexion über die Nachtseiten der dichterischen Phantasie. Denn der Traum, erfundene Gestalten ins Leben treten zu lassen und umgekehrt mit wirklichen Menschen so umspringen zu können wie mit erfundenen Gestalten, ist wohl keinem Autor  fremd. „Auf der Suche nach Sir Malcolm“ greift das in „Begegnung in Seven Oaks“ behandelte Thema auf, variiert es aber zugleich. Nicht zufällig erinnert der Titel des Albums an Marcel Prousts Romanzyklus „Auf der Suche nach der verlorenen Zeit“. Wie Prousts Ich-Erzähler versucht Francis Albany, die Vergangenheit zum Leben zu erwecken, sie erinnernd zur Gegenwart zu machen. Und ebenso wie in der „verlorenen Zeit“ gelingt ihm dies nicht mit Hilfe des exakt forschenden Verstands, sondern nur mit Hilfe der frei schweifenden Assoziation. Die Rolle des Gebäcks, das bei Proust zum Auslöser der mémoire involontaire wird, spielt hier ein altes Fotoalbum. Dessen Betrachtung versetzt Francis zurück in das Jahr 1912, in dem sein Vater gerade zum britischen Botschafter in Washington ernannt worden ist. Zusammen mit seinem Sohn, seiner Frau und der kleinen Olivia macht sich Sir Malcolm auf die Reise in die USA - an Bord der „Titanic“. Als der Luxusliner untergeht, bleibt der Vater zurück, seine Familie wird gerettet. Im träumerischen und träumenden Nachvollzug der damaligen Ereignisse gelingt es Francis, die Spionageaffäre, in die Sir Malcolm auf der „Titanic“ verwickelt wurde, aufzuklären und ihn vom Vorwurf des Hochverrats zu befreien. Aber auch hier erweist sich zumindest ein Teil des Geschehens als Fiktion in der Fiktion. Francis war nämlich, wie schließlich deutlich wird, gar nicht wirklich auf der „Titanic“. Genauer gesagt: Er war noch im Bauch seiner Mutter, die ihn erst kurz nach dem Schiffbruch gebar. Anders als bei Proust zielt die Erinnerungsarbeit also nicht auf Ereignisse, die der sich Erinnernde tatsächlich erlebt hat, sondern die er erlebt haben könnte. Die Erinnerung wird zur Spekulation, zur Dichtung. Der Stellenwert, der ihr eingeräumt wird, ist daher sehr ambivalent. Einerseits läßt sich das Album in der Nachfolge Prousts als Hommage an die visionäre Kraft der assoziativen Erinnerung lesen. Andererseits klingt in ihm eine grundsätzliche Skepsis gegen den Wahrheitsanspruch jeder Erinnerung an. Wer sich erinnert, der erfindet und verfälscht - auch so läßt sich seine Aussage deuten. Die Suche nach dem unerreichbaren Vater - ist sie nicht der geheime und gemeinsame Nenner aller Arbeiten der Nouvelle ligne claire? Auffällig ist allerdings, daß der geistige Vater Floc’hs und Rivières weniger Hergé als Edgar P. Jacobs ist. Nicht nur, daß in „Begegnung in Seven Oaks“ mehrfach „Das gelbe M“ zitiert wird. Die Dramatik der Geschehnisse bei gleichzeitigem Verzicht auf die für Hergé typische humoristische Brechung, die von detailbesessener Anglophilie geprägte Evokation des London der Zeit um 1950 - all dies verweist auf eine tiefe Affinität zum Schöpfer der Blake-und-Mortimer-Serie. Aber darin, daß die Francis-Albany-Trilogie sich in dieser Affinität nicht erschöpft, daß sie wenigstens zu zwei Dritteln mehr ist als modisches Design und ironisch gebrochene Nostalgie - darin liegt ihre Bedeutung. In ihrem Bemühen, den Comic aus den Fesseln der Genres zu befreien, ohne ihn ganz der Reize des Genres zu berauben, gleichen diese in den 70ern und frühen 80ern entstandenen Alben den besten aktuellen Arbeiten Alan Moores, Neil Gaimans und Frank Millers. Hans Lucas
 
Katsuhiro Otomo: Der Feuerball. 110 Seiten, s/w. Begraben im Sand. 120 Seiten, s/w und farbig, jeweils Softcover, Comicbookformat. 29,90 DM. Carlsen.
 
Zeichentrickfilme, Popmusik, Comics, Mode, Trash Movies: Japan entwickelt sich zum neuen Eldorado der populären Kultur. Auch hierzulande ist dies nun, mit der üblichen Verzögerung gegenüber den USA und Frankreich, bemerkt worden. So verwundert es nicht, daß der Carlsen Verlag nach Abschluß seiner „Akira“-Edition zwei Bände mit zwischen 1977 und 1981 entstandenen Kurzgeschichten Katsuhiro Otomos herausbringt. Ein Unternehmen, dam man zunächst skeptisch gegenüberstehen mag. Ist das alte Spiel doch bekannt: Kaum hat ein bislang unbekannter Autor - sei es in der Literatur, sei es in den Comics - überraschend Erfolg, so beginnt die hektische Suche nach seinen älteren Arbeiten, die im Eilverfahren ebenfalls auf den Markt geworfen werden. Wiederholt zum Schaden der Leser und des Autors. Denn manche Jugendsünden und Nebenwerke verdienten es eher, gnädig vergessen als gierig ausgegraben zu werden. Im vorliegenden Fall trifft dies allerdings nur zum Teil zu. Zwar sind die frühen Kurzgeschichten Otomos stilistisch und qualitativ sehr uneinheitlich. Insgesamt erweitern sie aber in interessanter Weise den Blick auf den Starzeichner. Und siehe da: Einige sehr gelungene Arbeiten sind auch dabei. „Der Feuerball“ ist mit Abstand der schwächere Band. In der Titelgeschichte verhindern zwei einst feindliche Brüder die Machtübernahme eines gigantischen Computers, der sich mit Hilfe willfähriger Technokraten zum Big Brother aufzuschwingen versucht. Paranormale Phänomene, Rückkehr aus dem Reich der Toten, apokalyptisches Finale - „Der Feuerball“ ist eine Vorstufe zu „Akira“. Auf den banalen zweiteiligen Funny „Chronik des Planeten Tako“ hätte man getrost verzichten können. Am interessantesten in diesem Band ist „Der Marsmensch“. Ein junger Mann, der zum Fischen aufs Meer gefahren ist, schwimmt nach dem Kentern seines Boots zurück ans Land. Aber die Industrieabwässer, die er durchquert, überziehen ihn mit giftigem, im Trockenen betonhart werdendem Schlamm. Nur um den Preis der körperlichen Zerstückelung ist diese Verwandlung rückgängig zu machen. In ihrem tiefschwarzen Humor, in ihrer ungewöhnlichen Mischung von Schrecken und Komik erinnert diese Geschichte an den frühen Berni Wrightson und an die Horrorstories aus dem Hause EC. Der Fischer, der in seiner Schlammhülle steckt wie in einem Panzer - damit ist ein Thema angeschlagen, das Otomo offenkundig fasziniert. Seine Ambivalenz zeigt sich in einer Szene des „Feuerballs“, in der einer der beiden Brüder seinen Tod als beglückende Wiederherstellung des Embryonalstadiums erlebt. Zusammengerollt schwebt er selig in einer großen Blase aus Licht: „Es ist so warm,... so vertraut.“ Auch in „Begraben im Sand“ erzählt Otomo mehrfach von nestartiger Geborgenheit und bedrohlicher Gefangenschaft. In der Titelgeschichte häufen sich die Bilder des Eingeschlossenseins und Verschlungenwerdens. Hier versinkt ein Astronaut langsam in lebendigem Treibsand, der in seinen Schutzanzug eindringt und ihn auffrißt. In „Gedeih und Verderben“ versucht ein einsamer Mann, auf einem Wüstenplaneten eine Pflanze, deren Schutzkuppel zerbrochen ist, vor dem Verdorren zu retten. Aber bevor er ihr in seinem Helm Wasser bringen kann, zerquetscht ihn ein spinnenartiges Ungeheuer, und er tränkt die Pflanze mit seinem Blut. In „Die Mission“ gelingt es einem Soldaten nur dadurch, sich vor einem nahezu unzerstörbaren Roboter zu retten, daß er seinen Kampfanzug auszieht und der mörderischen Maschine als Zivilist gegenübertritt. Die romantisch-melancholische Geschichte „Erinnerungen“ erzählt dagegen von einer Frau, die von der Erde flieht, um sich in der Tiefe des Alls eine Raumstation in Form einer riesigen Rosenblüte zu bauen. Dieses Denkmal ihrer großen und enttäuschten Liebe wird schließlich zu ihrem Grab, dem Ort letzter Geborgenheit, den keine diesseitige Verletzung mehr erreicht. So zeigt sich Otomo in den interessanteren seiner Kurzgeschichten seinem Ruf überlegen. Er versteht es nicht nur, allerlei technisches Gerät zu zeichnen und virtuos Actionsequenzen zu inszenieren. Er ist nicht nur der Mann der Motorräder, Explosionen und Schießereien. Es gibt bei ihm einen Hintergrund der Melancholie, des Pessimismus - alle seine Geschichten sind ohne Happy End - und eine überraschende, intime Vertrautheit mit den tiefsten unserer Ängste und Sehnsüchte. Und auch Otomos Heimat kommt nicht ungeschoren davon: In „Der Hauch alter Zeiten“ und „Vögel“ lebt eine ganze Gesellschaft in der hygienischen Verpackung eines totalitären Sozialstaats, der nicht nur Krieg, Krankheit und klimatische Unbill, sondern auch jegliche individuelle Freiheit ausgerottet hat. Hierin ein kritisches Bild des modernen Japan zu erkennen, fällt nicht schwer. Otomos utopische Phantasien, seine Erinnerungen an die Zukunft sind in ihren besten Momenten Erinnerungen an die Gegenwart. Die zeichnerischen Mängel der zwei Bände sind die Mängel aller japanischen Comics. Die Figuren sind in ihrem Aussehen auf einige Typen reduziert, die wie ein Ei dem anderen gleichen; die Hintergründe sind spärlich, von Moebius abgekupfert oder überhaupt nicht vorhanden. Japanische Comics werden schnell hergestellt und sind zum schnellen Konsum bestimmt. Otomo macht da keine Ausnahme. Aber manchmal lohnt es sich doch, ihn eher zu Hause als in der U-Bahn zu lesen. Hans Lucas
 




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 44
Besprechungen



cOMIc # 17 und 18. Je 28 Seiten s/w DIN A5. Im Tausch gegen Beiträge, andere Fanzines oder große Scheine. Gerd Bonau, Eckernförder Straße 30, 24398 Karby.
 
Obwohl (oder weil?) er nach eigener Aussage alles druckt, was er angeboten bekommt, schafft es Gerd Bonau immer wieder, einen interessanten, wenn auch kleinen Querschnitt durch das ganze Spektrum der Fancomics zu präsentieren. Kurzporträts gibt’s diesmal von Bernd Teuber (# 17) und Karsten Schley (# 18), deren Arbeiten neben denen von Ulrich Magin auch die Highlights dieser beiden Ausgaben bilden. aa
 
Menschenblut # 18 und 19, je 32 Seiten s/w plus vierfarbiger Umschlag, Comicbook-Format. 6,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg.
 
Die übliche Mischung von Qualitäts-Horror. Bilder-Micky hat eine unveröffentlichte Story aus frühen MB-Tagen ausgegraben, und Kim Schmidt stellt mit dem Comic „Leibesübungen“ einmal mehr sein virtuoses Können unter Beweis. Zum Kauf empfohlen (nur für Erwaxene). hg
In der Nummer 19 sind die Anmerkungen von Doc Dipperz endlich länger als die Leserbriefe selbst. Im Magazin erfahren wir, warum Robi und seine Freunde seit „Schlagring ‘84“ keinen Film mehr auf die Beine gestellt haben. Es gibt eine wunderschön in der Schwebe gehaltene Geschichte von Rochus Hahn und Stefan Atzenhofer über einen Kinderschänder (oder ist er’s doch nicht?). Jürgen (Geier) Spehs Lena Wombat (das deutsche Tank Girl) gewinnt Geschmack am Briefmarkensammeln. Die schon angekündigte Gunbitch ist erstmal auf einen Monolog von einer Seite beschränkt. Dafür kriegen Abonnenten eine Gunbitch-Kunstpostkarte. Dann haben wir noch eine verschärfte Kasper-Hauser-Geschichte von Pelle und BiMi und einen gespielten Witz - nur von BiMi. Auch auf dem Umschlag wie immer exzellente Grafik. aa
 
Terrorsuse. 132 Seiten (!) s/w mit eingeklebten Fotokopien und aufwendig gestaltetem Cover DIN A5. 5 DM. Shadow Dancer c/o Stephen Janke, Schinkenkamp 11, 32425 Minden.
 
Shadow Dancer und Levi’athan in Love, die beiden Chaos-Fanzinemacher aus Minden, haben ihre Hefte Terrordome und Wimmersuse zusammengeworfen und eine pralle Terrorsuse daraus gemacht. Wirkte der erste Terrordome noch etwas lieblos zusammengeschustert, und war die Wimmersuse schon immer ein Zine, an dem sich die Geister schieden, so ist bei diesem Zusammenschluß nun ein Magazin herausgekommen, das durchaus zu empfehlen ist. Es ist zwar immer noch einiges aus der Rubrik „rar und rätselhaft“ zu finden, aber auf satten 132 Seiten ist garantiert für jeden etwas dabei, das den Kaufpreis lohnt. Namen wie Jo 84, Kim Schmidt, Andreas Alt, Stefan Dinter oder Karsten Schley dürften inzwischen für sich sprechen. Mein persönlicher Favorit in dieser Ausgabe ist Rainer Baldermann, dessen irgendwo zwischen Sieber und Rattelschneck angesiedelte Stories ja auch aus PLOP bekannt sind. hg
 
Sprühende Phantasie # 14. 48 Seiten s/w DIN A4. 6 Mark. Flying Kiwi Verlag, Jens Junge, Schloß Glücksburg, 24960 Glücksburg. ISBN 3-926055-07-3.
 
In dieser neuen Nummer seines Magazins zeigt Herausgeber Jo 84, daß er nicht nur als Chefredakteur ein glückliches Händchen bei der Auswahl der Beiträge hat, sondern mit diesem auch noch prima inken kann: Bei gleich drei Comics stammt die Tusche von ihm. Interessant dabei ist besonders „Der Wilde Wolfhard“ von Oliver Ferreira, denn hier hat der Leser unmittelbar die Möglichkeit, die von Jo geinkten Seiten mit anderen im Heft abgedruckten Arbeiten zu vergleichen, die Oliver allein gestaltet hat. Sein „Gesang des Erhabenen“ zeigt einen neuen, recht experimentellen Zeichenstil, der zwar graphisch sehr ansprechend ist, aber leider etwas auf Kosten der Lesbarkeit geht. Außerdem präsentiert Jo ein wie immer sehr aufschlußreiches Interview mit ICOM-Preisträger Markus Huber. aa
 
Filmriß # 3. 40 Seiten DIN A4 s/w plus vierfarbiger Umschlag plus Bonusheft DIN A6. 6,80 Mark. Amigo Comics c/o Holger Bommer, Starenweg 18, 73730 Esslingen.
 
Auch das Magazin von Holger Bommer und Andreas Mergenthaler kommt inzwischen recht professionell daher. Da sich Holger auf Funnies spezialisiert hat, Andreas dagegen auf realistisch gezeichnete SF und Fantasy, ist die Abwechslung von vornherein gewährleistet. Gastzeichner wie Thomas Harske, Manfred Zukunft oder Martin Frei (der drei Seiten von Andreas’ neuer McDrive-Episode übernommen hat, was zu einem interessanten Stilbruch führt) tun ein übriges dazu. Absolutes Highlight ist die wahre Geschichte des ICOM, gezeichnet von Holger Bommer - für Mitglieder ein Muß, für alle anderen ein höchst informativer (und amüsanter) Einblick in das Innenleben von Deutschlands Comic-Fachverband. aa
 
Moga Mobo # 1 bis 4. Je 16 Seiten s/w mit vierfarbigem Umschlag DIN A4. Liegt in Stuttgart und Umgebung überall kostenlos aus, ansonsten eventuell über Cobalt Productions c/o Christof Ruoss, Im Häldle 24, 70327 Stuttgart (Bezugsbedingungen selbst erfragen).
 
Nun hat also auch Stuttgart sein durch Anzeigen finanziertes Gratis-Comicheft. Es erscheint ab sofort zweimonatlich, präsentiert ausschließlich Zeichner (und -innen) aus dem Ländle und zeigt, daß es hier noch mehr Talente außer Peter Puck und Haimo Kienzler gibt. Was die redaktionellen Beiträge von Chefredakteur Christof Ruoss (vormals Caiser’s sehr feine Comics) angeht, muß man zum Glück nicht unbedingt seiner Meinung sein. hg
 
Art Attack # 3. Fanzine für Comics und Musik. 44 Seiten s/w DIN A4. 4 Mark. Angi Henn, Dreieichweg 9, 64291 Darmstadt.
 
Letztes Jahr gab es im Radio („Zündfunk“, Bayerischer Rundfunk) eine eineinhalbstündige Sendung nur über Fanzines, und die, welche wir so kennen, nämlich Comic-Fanzines, kamen darin überhaupt nicht vor. Auch wer sich mal einen Katalog eines Fanzine-Vertriebs schicken läßt, wird feststellen, daß es eine ganze Menge ausgefallener Titel gibt, von denen wir Comicfans überhaupt nichts mitbekommen. Die meisten davon sind Punk-Fanzines (Punk - wir erinnern uns: ab 1977 - war für Fanzines überhaupt eine äußerst wichtige Bewegung mit der Philosophie: Jeder kann Gitarre spielen, jeder kann ein Magazin herausgeben) und Literatur-Fanzines mit fließenden Übergängen zu Ego-Zines. Dies vorweg. Nun bekam ich neulich ein Fanzine auf den Tisch mit Punk-typischem Design, Konzertberichten und Bandinterviews und mit 27 Seiten Comics - also mehr als die Hälfte des Umfangs. Fand ich verwunderlich, ohne mir das richtig erklären zu können. Gut, daß ich Angi Henn geschrieben und meine Eindrücke mitgeteilt habe, denn sie antwortete mir: „Das mit dem Art Attack als Punk-Fanzine fand ich lustig. Angefangen hat das Heft als reines Comic-Fanzine circa 1990, und ich war ständig am Zeichner-Jagen, weil niemand Lust hatte mitzumachen. So ergaben sich auch die ewig langen Abstände zwischen den Heften. Die Umstellung zum Fanzine für Comics und Musik war eine echte Notlösung, weil ich sonst das Heft einfach nicht vollbekommen hätte.“ Die Comicautoren und -zeichner dürften uns ziemlich unbekannt sein, es sind: Jan Ahrens, Sven Bahr, Bo Beckmann, Marko Schacher, Dirk Tacke und ein Medienzentrum Contra aus Berlin. Vielleicht macht ja jemand von Euch mal bei Art Attack mit, damit die arme Angi nicht mehr so viel auf die Jagd gehen muß. Auf jeden Fall lohnt es sich, Art Attack anzufordern. Für manche sicher eine ganz neue Fanzine-Erfahrung. Angi Henn fühlt sich denn auch in anderen Szenen mehr bestätigt: „Die Reaktionen aus dem Punk-Fanzine-Bereich sind sehr positiv, aus der Comic-Ecke habe ich bis jetzt so gut wie gar keine Reaktionen bekommen, und wenn, ging es mehr um die Qualität einzelner Zeichner als um das Heft als Ganzes.“ aa
 
Brigitte Schroeder: Faul und stinken. 56 Seiten s/w DIN A4. 7,80 DM. Edition Panel im Dreieck Verlag Jens Neumann, Nerotalstraße 38, 55124 Mainz.
 
Am meisten beeindruckt mich, daß Brigitte Schroeder über ein ganz eigenes hermetisches Zeichensystem verfügt. Ihr Personal sind eine nackte Frau, ein schwarzes Wesen mit Krone (erinnern an den Froschkönig und die Prinzessin) und einige überwiegend weiße Zwerge, alle gezeichnet in harten Schwarzweiß und einem recht einfachen Formenkanon. Mit ihnen konstruiert Brigitte Schroeder kurze Comicstücke, in denen mal ein Werbespruch, mal ein Schlagertext verwurstet werden. Sie spielt mit Schlagworten wie „sozialer Sprengstoff“ oder „hochwertiges Spielzeug“. Ich stelle mir vor, daß diese teils unauslotbar tiefgründigen, teils skurrilen und manchmal platten Arbeiten spontan beim Fernsehen oder Zeitunglesen entstehen. Manches erscheint sehr persönlich; ich komme jedenfalls auf der Suche nach dem Code nicht recht weiter. Welchen Gewinn die Lektüre von „Faul und stinken“ dem Leser bringen soll, kann ich beim besten Willen nicht sagen. Es ist einfach ein faszinierendes Rätselheft. Ein Co-mic von Brigitte Schroeder war übrigens auf den Mittelseiten von PLOP # 42 zu bewundern. aa
 
Panel - ambixious Comix # 14. 68 Seiten s/w mit vierfarbigem Cover DIN A4. 4 Mark. Panel eV, Verein zur Förderung der Neunten Kunst, Postfach 102665, 28026 Bremen.
 
Das neue Panel erinnert sehr, mehr noch als frühere Ausgaben, an Strapazin und soll wohl auch daran erinnern. Depressive Comics wie etwa von Jörg Schiebe oder Dice und clevere subkulturelle Essays, etwa über das Werk von Neil Gaiman, allerdings mit postmodernen typografischen Sperenzien, die schon deutlich auf Kosten der Lesbarkeit gehen - das Vorbild dieser Kombination ist klar. Aber die Übertreibungen im Design werden aufgewogen durch die Beiträge von Haimo Kienzler („Herr Wüttner und Frau Kleinschrott“) und Peter Puck („Rudi“), beste Unterhaltung, die einen netten Kontrapunkt zum hehren Kunstanspruch setzen. Schön ist das Cover, das spät, aber wirkungsvoll die peinlichen Werbeaktionen von Benetton verspottet; Geschmacklosigkeiten soll man halt denen überlassen, die sowas souverän zu handhaben verstehen, zum Beispiel der Blutkru (siehe oben). Bert Dahlmann hat übrigens für diese Panel-Ausgabe eine Menge Anzeigen verkauft, zwei davon sogar in Farbe. Daß das Unternehmen Panel offenbar floriert, ist uneingeschränkt zu begrüßen. aa
 
Isabel Kreitz: Ralf lebt. 52 Seiten s/w mit Farbcover DIN A4. 8 Mark. Zwerchfell Verlag, Christian Heesch, Tonndorfer Strand 57, 22045 Hamburg.
 
Ein überflüssiges Album. Trotzdem großartig. Um es mal so auszudrücken: Wenn ich ein so tolles Werk wie „Schlechte Laune“ (siehe PLOP # 42) vorgelegt hätte, dann hätte ich wohl auch der Versuchung kaum widerstanden weiterzumachen. Am Ende dieses Bandes war alles gesagt: Ralf hatte sich damit abgefunden, in der Unterwelt Hamburger S-Bahn-Schächte lebendig begraben zu sein. Susanne hatte einen neuen Freund. Die Stadt schloß das Kapitel mit der Ankündigung, einsturzgefährdete Tunnel mit Elbschlick zu vefüllen. Vielleicht ein etwas zu grausam pessimistisches Ende, aber sehr ergreifend. Was blieb noch zu sagen? Für Ralfs Freunde und Verwandte war er verschollen. Aber das entsprach ja seiner Lage. Und jetzt - Ralf II. Die Rückkehr des S-Bahn-Surfers! Noch ausgefeiltere Zeichnungen, wieder diese beklemmende Stimmung des alltäglichen Horrors. Bauleute beginnen, Kanäle zu vermauern und zuzuschütten. Ralf und seine Leidensgenossen leben von geklauten Lebensmitteln wie die Creeps aus Will Eisners „Geheimnis der Unterwelt“. Und am Ende werden sie entdeckt. Ralf wird zur Mediensensation. Erstere Ereignisse waren abzusehen. Letztere wollte ich lieber nicht lesen. Manchmal macht es Sinn, eine Geschichte nicht fertigzuerzählen. aa
 
Schnalke / Baltscheit: Valerius der Comicagent. Band 1: ...vom Index bedroht! Band 2: Zeitlos. Je 56 Seiten, farbig, Hard-cover, Albumformat. Carlsen, je 39,80 DM.
Ottavio de Angelis / Anna Brandoli: Cuba ‘42. Die Perle der Karibik. 48 Seiten, vierfarbig. Softcover, Albumformat. 16,90 DM. Carlsen.
 
„Valerius“ von Schnalke und Baltscheit: ein deutscher Comic, eine Originalproduktion aus dem Hause Carlsen. Im ersten, 1992 erschienenen Band jagte der Held im Auftrag des ominösen „Comic-Imperiums“ die in die Jahre gekommene Krimi-Legende Ric Hochet... Verzeihung: Rick Snere, dessen plötzliche und unkontrollierbare Anfälle von Gewalttätigkeit seine Serie auf den Index zu rücken drohten. Der zweite Band erzählt nun, alles in allem, die gleiche Geschichte. Erneut muß Valerian... Verzeihung: Valerius in die Welt der bunten Bilder reisen, um einen rebellischen Helden zur Raison zu bringen. Diesmal ist es der alte Kronau, ein verdienter Comic-Veteran, der gleichwohl nicht einsehen will, daß seine Zeit, sprich: seine Serie, abgelaufen ist und er in Pension gehen soll. Und erneut ist diese magere Plot für die Autoren nur ein Vorwand. Ihre große, ihre einzige Liebe gilt dem Meta-Gag. So befreit Valerius sich etwa aus einer mißlichen Lage indem er, wie eine Stimme ihm empfiehlt, einfach umblättert. Oder er landet auf dem Tisch seines Zeichners, ein Ort, den bereits Gotlibs „Witzbold“ besucht hat. Am Ende beginnt das Abenteuer gar von neuem, da die Seiten des Albums rückwärts numeriert sind. Diese selbstironische Thematisierung des Mediums ist zwar recht witzig, nutzt sich aber schnell ab. Auf Albumlänge gebracht, zum einzigen Inhalt gemacht, ist sie nicht nur langweilig, sondern peinlich. Schnalke und Baltscheit entfalten eine Poetik des Augenzwinkerns, die nicht mehr erzählen, sondern sich nur noch kumpelhaft verständigen will. Der Leser soll unter eine Decke; er wird in die warme Gemeinschaft derer gezogen, die sich auskennen und dafür einander wechselseitig beglückwünschen. Ein Schelm, wer dieses Spiel nicht mitmachen will. Ein großer Bluff ist dieses Album auch in zeichnerischer Hinsicht. Baltscheit versteht zwar sein Handwerk. Er zeichnet sehr schwungvoll, hat einen eigenen Stil. Aber er verdirbt alles durch seine Neigung zu hektischen Effekthaschereien und delirierenden Arrangements. „Zeitlos“ ist ein ebenso pompöses wie nichtssagendes Album. Wohltuend dezent ist dagegen der Zeichenstil Irene Brandolis. Schade, daß ihre in der Renaissance spielende Serie „Rebecca“ bislang ohne deutschen Verlag geblieben ist; der kleine Auszug, den Karlheinz Borchert im sechsten Band seiner vorzüglichen „Macao“-Reihe vorgestellt hat, macht sehr neugierig. Brandoli besitzt die in den Comics viel zu seltene Fähigkeit, Menschen zu zeichnen. Nicht die üblichen Dutzendhelden und Dutzendschurken, sondern wirkliche Menschen mit individuellen Gesichtern und Körpern, in deren Mimik, Gestik und Haltung sich ihre Gedanken und Gefühle widerspiegeln. Erstaunlich, daß der Zeichnerin dies gelingt, obwohl ihr Stil recht reduziert, alles andere als fotografisch ist. Auch läßt sie ihre Figuren niemals schauspielerische Posen einnehmen, um etwas „darzustellen“. - alles wirkt vielmehr ganz natürlich, dem Leben abgeschaut. Im Vergleich zu „Rebecca“ ist der Einfluß von Hugo Pratt und José Munoz zurückgetreten. „Cuba ‘42“ vermischt in glücklicher Weise den expressiven Stil der Vorbilder mit realistischen Elementen. Wie Munoz schreibt Brandoli Geschichten in Gesichtern, meidet aber extreme Close Ups und groteske Verzerrungen. Wie Pratt arbeitet sie direkt, ohne Umschweife, wahrt aber dabei den Blick für Details. Die gelungene Colorierung rundet das erfreuliche Gesamtbild ab. Und der Inhalt? Ach ja, den könnte man fast vergessen. „Cuba ‘42“ ist ein Abenteuercomic, der im Kuba des Jahres 1942 spielt. Nazis, Spione, Schüsse, Explosionen, eine schöne Frau, ein desillusionierter spanischer Antifaschist, ein amerikanischer Schriftsteller, der an Hemingway erinnert und an Hemingway erinnern soll. Mit einem Wort: Nichts, was man nicht schon woanders und besser gelesen hätte. Etwa bei Pratt, dessen Kunst, die Linien des Geschehens letztlich im Spiel, im Ungefähren verschwimmen zu lassen, Ottavio de Angelis nachahmt. Allerdings ohne den poetischen Zauber des großen Venezianers zu erreichen. Was verbindet die beiden so unterschiedlichen, durch Zufälle der Edition zusammengetroffenen Alben? Erstens der Eindruck, daß man einen Comic sowohl durch das lustlose Nachbeten allzu erprobter erzählerischer Rezepte („Cuba ‘42“) als auch durch alberne Insider-Gags und falsche zeichnerische Ambitioniertheit („Valerius“) verderben kann. Zweitens der Eindruck, daß die europäischen Comics in einer tiefen Krise stecken. Aber das tun sie schon seit Jahren. Hans Lucas
 
Frederic Tuten: Tim und Struppi in der neuen Welt. Roman. Amman Verlag, 34 Mark.
 
Parodien haben mich immer fasziniert. Die Möglichkeit, gute Bekannte aus den Comicserien mal ganz anders agieren zu sehen, ist einfach reizvoll. Neben den Giganten Disney und Asterix, deren inoffizielle Parodierung ja schon einigen Comicmachern großen Schaden einbrachte (man denke nur an „Mickey Mouse meets the Air Pirates“ oder die Asterixparodie „Hysterix“) ist Tim speziell im französisch-niederländischen Sprachraum ein beliebtes Opfer der Parodisten gewesen. Ob man ihn nun als unrasierten, verantwortungslosen Globetrotter oder als verzweifelt ums Erwachsenwerden bemühten Jungen (zum Beispiel in dem Album „Tim und Struppi in der Schweiz“) oder als hoffnungslos in seiner Rolle festgefahrenen Profi („Im Lande der eckigen Sprechblasen“) erlebte, den besseren Werken dieser Art war immer gemein, daß sie sich mit der Psyche der Figuren auseinandersetzten. Dies hat auch Frederic Tuten, amerikanischer Literaturwissenschaftler und Freund Herges, ernsthaft versucht, und das Resultat ist durchaus lesenswert für Tintin-Kenner. Das einzige Problem: Es ist kein Comic, sondern ein Roman, und dann noch einer mit literarischem Anspruch. Die Story ist einfach: Tim, Struppi und Haddock werden durch eine geheimnisvolle Botschaft nach Südamerika gerufen, wo sie in einem Hotel mit diversen Figuren aus Thomas Manns „Zauberberg“ (einem 1000-Seiten-Giganten von Roman) zusammentreffen. In langen Unterhaltungen und einem hochinteressanten, mehr als 60 Seiten währenden Traum Tims (Seite 65 bis 132) werden die Figuren ausgeleuchtet, mit Liebe, Eros, Kunst und Politik konfrontiert, als hätte sich der Autor vorgenommen, die alten Vorurteile gegenüber Comics auszuloten, die beinhalten, daß es diese Aspekte entweder nicht oder nur in verkümmerter, beschränkter Form in Comics gebe. Tim verliebt sich überraschend übergangslos und schnell in die ältere, welterfahrene Clawdia Chauchat und spielt im oben erwähnten Traum ein ganzes Leben mit ihr durch. Man sieht ihn als feurigen Liebhaber, als Abenteuergefährten, der sogar Struppi in einer Notsituation für seine Freundin opfern würde (das stärkste Symbol des Unschuldsverlusts in diesem Buch), dann als Vater und Herrn auf  Mühlenhof, als Clawdias Komplizen in morbiden Racheakten, schließlich als betrogenen Ehemann und verbitterten Witwer. Diese Parodie, wenn man sie so nennen mag, da eine solche Entwicklung im Comic ziemlich undenkbar ist, überzeugt und liest sich stimmig und dramatisch. Vor allem Haddocks Vergreisung und der Tod des ersten Struppi sowie die Nachfolge durch Struppis Sohn, der nicht mit Tim spricht und so für den schwächeren Struppi späterer Abenteuer stehen könnte, überzeugt durchaus. Verwunderlich nur, daß hier immer wieder hinzuerfunden wurde, zum Beispiel ein im Comic nicht existierender Erzschurke (Pimento, warum nicht Rastapopoulos?). Auch das wäre nicht schlimm, warum aber hat Tuten, der hier im Roman ja eher mehr als weniger Platz hat als ein Comicautor, sämtliche Nebenfiguren ausgeschlossen. Zu gerne hätte ich erfahren, wie die Schul(t)zes, Professor Bienlein und die Castafiore in diese komplettere Tim-Sicht passen. Selbst Haddock bleibt platte Comicfigur. Gerade er macht im Comic einen beachtlichen Wandel durch, vom alkoholkranken Proletenseebär zum Bildungsbürger mit erlesenem Geschmack auf Mühlenhof. Stattdessen muß sich der Leser danach auf lange Gespräche mit Settembrini und Mynheer Peeperkorn einstellen (falsch geschrieben; muß „Mijnheer“ heißen, und das in einem Roman über einen francobelgischen Helden!), die Tim als Kunstliebhaber und mit seiner Vergangenheit ringenden, nach einem Vater suchenden Jungen zeigen. Zugegeben, die völlige Inexistenz der Eltern ist bei Tim ein irritierendes Element, aber diese psychologisierende Vervollständigung wirkt etwas gezwungen und paßt auch nicht zu den frühen Abenteuern, in denen er weniger Verbrechensjäger als sich treiben lassender kolonialer Abenteurer ist. Das Ende ist noch merkwürdiger: Tim begeht ohne besonders gravierenden Anlaß einen Mord und scheint diesen im weiteren kaum zu bereuen. Also hier wird’s hanebüchen. Diese platte Ödipusparallele paßt nun wirklich überhaupt nicht zum belgischen Engel Tintin. Dramaturgisch ist es natürlich interessant, einen Helden in diese Situation zu bringen, aber ihn danach nur seiner verlorenen Liebe und seiner verlorenen Unschuld nachtrauern zu lassen, ist schlicht unstimmig. Interessanter wäre es gewesen, Tims lange Jugend zu erklären, schließlich geistert er bereits in den 20er Jahren durch die Weltgeschichte und ist in den 70ern immer noch rüstig. Handelt es sich nicht vielmehr um drei Generationen? Den kolonialen Großvater („Tim im Kongo“, 20er Jahre), den fortschrittsgläubigen Vater („Reiseziel Mond“, 50er Jahre) und den toleranten, auch übernatürlichen Einflüssen aufgeschlossenen Sohn („Flug 714 nach Sydney“, 70er)? Zugegeben, dieser Erklärungsansatz ist schon fast „donaldistisch“ (oder sollte ich sagen „tintinesk“?), aber er hätte seinen Platz in einem Roman doch durchaus haben können, oder? Fazit: Für einen Comickenner wirkt das Werk nicht umfassend, es läßt Fragen offen und verändert willkürlich an Stellen, für die bei genauem Hinsehen Informationen vorgelegen hätten. Wer es eilig hat, sollte sich auf den zitierten Traum beschränken, der ist wirklich genial. Interessant und reizvoll bleibt die Grundidee, Comichelden so zu „vervollständigen“. Wie müßten Suske und Wiske die Welt sehen, die nach unzähligen parapsychologischen Abenteuern und Zeitreisen die Zivilisation doch recht lächerlich finden dürften, wie Lucky Luke, der belgische Cowboy, dem aus unerfindlichem Grund persönliches Glück stets versagt bleibt und der gänzlich entgegen dem „American Dream“ keine feste Richtung in seinem Streben erkennen läßt, wenn man ihn nicht für den frühen Prototypen amerikanischen Weltpolizeitums nimmt. Wie sieht das Privatleben von Spirou und Fantasio aus? Was ist die genaue Gesellschaftsstruktur und Stammesgeschichte der Schlümpfe? Hat Isnogud auch romantische Interessen? Unendliche Möglichkeiten tun sich auf, eine Romanwelle mit Comichelden wäre kein Problem, hätte man die Zeit, diese zu lesen. Herod




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 45
Besprechungen



Zeitlupe # 25. 28 Seiten, s/w mit Farbcover DIN A5, 3 Mark. Tim „Igel“ Böhm, Ludwigshafener Straße 21 D, 76187 Karlsruhe.
 
Auch in der neuesten Ausgabe von Tim Böhms Fan-zine liegt der Schwerpunkt deutlich auf Comics. Neben seinen eigenen Arbeiten - sein Strich wird immer runder und perfekter - hat er schon eine beachtliche Riege von Gastzeichnern in seinem Heft versammelt, alle aus dem Funny- und Cartoonbereich. Artikel über Igels neuen Trickfilm, eine SWF-Radiosen-dung sowie ein Kochrezept von Oma runden das sympathische Zinchen ab. hg
 
cOMIc # 19 und 20. Je 28 Seiten, s/w (Umschlag auf farbigem Papier) DIN A5. Nur im Tausch gegen Beiträge und andere Fanzines. Gerd Bonau, Eckernförder Straße 30, 24398 Karby.
 
Auf ganzen 19 Seiten präsentiert die Nummer 19 ein neues Abenteuer von „Lyle & Phönix“ von Britta Loose. Trotz einiger graphisch interessanter Ansätze überwiegt bei ihrem Comic um Privatfernsehen, Sekten und Drogen der Eindruck totaler Verworrenheit. Im Heft 20 gibt’s wieder die bewährte bunte Mischung verschiedenster Stile und Qualitätsstufen. hg
 
Heikes Läspen Comics # 3. 16 Seiten, s/w plus handcoloriertes Cover, DIN A6. 2 Mark zuzüglich Porto. Heike Anacker, Rheydter Straße 100, 41065 Mönchengladbach.
 
Die dritte Ausgabe von Heikes kleinem feinem Zinchen bringt nicht, wie gewohnt, Kurzgeschichten und Illus, sondern eine durchgehende Story über Piratinnen-Action. Sex & Crime aus Frauensicht? Für Lesben und alle anderen Menschen, die Comics mögen. hg
 
Menschenblut # 20. 40 Seiten, s/w plus vierfarbiger Umschlag, Comicbook-Format. 6,80 Mark. Eisenesser Comix, Postfach 1141, 36094 Petersberg.
 
Bilder-Micky hat Nachschubprobleme; der Zeichnernachwuchs verbringt seine Nächte wohl lieber damit, sich ein paar schlüpfrige Videos reinzuziehen, als sich ans Zeichenbrett zu setzen. Es zeugt von der besonderen Qualität des Magazins, daß man von der Materialnot überhaupt nichts merkt. Daß Geiers „Sternschnuppe“, eine nette Variation der Meteoritenstory aus Romeros „Creep-Show“, schon zehn Jahre alt ist, erkennt man höchstens an der Signatur. Und daß Mille wohl erst nach einigen kräftigen Tritten in den Hintern Rochus Hahns superbe Story „Der Wal“ fertiggezeichnet hat, braucht die Leser nicht zu kümmern. Ein komplexbeladener Versicherungsangestellter mit einer monumentalen Tätowierung auf der Brust, die aber nicht wie gehofft sein Selbstbewußtsein hebt, sondern ihn ins Verderben stürzt - das ist beste EC-Tradition. Nur „Coup de Grace“ von Rojó - auch schon ein älterer Comic - fällt ein bißchen ab; dem Stellungskrieg 1916 in Frankreich originelle Aspekte abzugewinnen, ist zugegeben ziemlich schwierig. Das Cover stammt von Meister Bi-Mi persönlich. Plus: Ein Bericht von der ICOM-Preisverleihung in Hamburg, bei der „Menschenblut“ zum besten Independent-Comic 1995 gewählt worden ist, ein kenntnisreicher Überblick über japanische Zeichentrickfilme und für Abonnenten noch ein bißchen „vertrauliches Matrial“, vornehmlich Dünnschiß-Funnies. aa
 
Art Attack # 4. Fanzine für Comics und Musik. 52 Seiten, s/w DIN A4. 3 Mark. Angi Henn, Dreieichweg 9, 64291 Darmstadt.
 
Das Fanzine aus der Punk-Szene bewegt sich mit der neuen Ausgabe noch etwas weiter von den Comics weg. Wir finden zwar nach dem Aufruf im letzten PLOP, Angi mit weiterem Comicmaterial zu versorgen, jetzt ein paar alte Bekannte wieder: Karsten Schley, Olaf Bathke, Benjamin Brandt, Hubert Wenig. Aber der interessantere Teil des Hefts sind eindeutig die Bandinterviews (unter anderem mit den klasse „Dog Food Five“), Plattenkritiken und Rezensionen von uns weithin unbekannten Fanzines aus dem Punk- und Ego-Bereich. Wie dem auch sei, Angi Henns Grenzgängerei verdient unsere besondere Aufmerksamkeit. Vielleicht wird Art Attack zum Scharnier zwischen Comicfreaks und anderen Szenen. Das wär’ doch was. aa
 
Weißblech / Koma Comics # 6 und 7. Je 36 Seiten, s/w DIN A5. 2,50 Mark. Edition Weißblech, An der Landstraße 5, 23758 Kükelühn.
 
Ein Fanzine wie in alten Zeiten: Klein, schwarzweiß und in miesester Kopierqualität (zumindest das mir vorliegende Exemplar von # 7). Der Inhalt: Jeweils ein - wohl autobiografisch inspirierter - Comic über Paadies mit Komasaufen und Abkotzen - Werner läßt grüßen - und die Fortsetzung einer mäßig gezeichneten Fantasysaga über Biersäufer und Kiffer auf dem Drogenplaneten Alcoholic. Also mir ging die Einseitigkeit der Thematik nach zwei Heften ziemlich auf den Geist. hg
 
Flupp # 1. 36 Seiten, s/w mit zweifarbigem Umschlag DIN A4. 3,50 Mark. Flupp Enterprises c/o Christoph Hans, Wilhelm-Hein-rich-Straße 22, 66117 Saarbrücken.
 
„Comix aus dem Saarland“ bietet Christoph Hans uns an, und was er da überwiegend im Alleingang und in einem flotten, recht sparsamen Strich gezeichnet hat, weiß durchaus zu überzeugen. Bei der ersten Geschichte, die von einer exzessiven Party handelt, dachte ich, da ich das Heft gleich nach den Koma Comics zur Hand genommen hatte - zwar: „Nicht schon wieder!“ Aber alles in allem sind die hier versammelten Stories sehr abwechslungsreich und überwiegend wirklich witzig. Fazit: Viel Kurzweil für wenig Geld. hg
 
Zebra # 13. 40 Seiten, s/w DIN A4. 4,80 Mark. Georg K. Berres, Giselher Straße 19, 50739 Köln.
 
Die Zeiten, da die Zebra-Redaktion ihr Heft praktisch im Alleingang produziert hat, sind endgültig vorbei. In der neuen Ausgabe begnügt sie sich mit der Safari-Story „Untamed Love“, dem Daniela-Abenteuer „Rückkehr in den Sumpf“, der unvermeidlichen Redaktionskonferenz und zwei, drei Griffen ins Archiv. Aber der Kreis derer, die Zebra auf keinen Fall sterben lassen wollen, ist groß und namhaft. Diesmal erzählt Haggi Klotzbücher den Kinokult „Casablanca“ weiter, und Volker Reiche steuert die skurrile Geschichte „Cururupu“ bei. Wie viele Satiriker auf der Höhe ihres Schaffens driftet Reiche zunehmend in eine düster-groteske und kafkaeske Welt ab. Bemerkenswert fand ich aber vor allem, daß dieser Zeichner, der sich schon im Underground (zum Beispiel in den „Hinz & Kunz Comix“) tummelte, als die meisten von uns noch „Silberpfeil“ oder „Kobra“ gelesen haben, sich überhaupt noch für die Fanszene engagiert. Auch das Cover stammt übrigens von Reiche. Allein sein Beitrag lohnt die Anschaffung des neuen Zebra. aa
 
Unangenehm # 2. 84 Seiten, s/w DIN A4 mit Farbcover. 7 Mark. Rainer Penk, Dö-scher Straße 15, 22083 Hamburg.
 
„Sex & Drugs & Rock’n’Roll“ sollen die Themen von Unangenehm # 2 bis 4 sein, wobei man mit dem letzten der drei angefangen hat. Als alter Fanzine-Konsument fragt man sich unwillkürlich: Wo wurden all diese guten Zeichner und Zeichnerinnen bisher versteckt gehalten? Natürlich sind die Beiträge sehr unterschiedlich ausgefallen, manches doch zu experimentell geraten bis hin zu Seiten, auf denen absolut nichts mehr zu erkennen ist, aber insgesamt überwiegt ein äußerst positiver Eindruck, und man kann zum Kauf des Albums nur raten. hg
 
Harald „Sack“ Ziegler: KaufHouse. 24 Seiten, s/w / zweifarbig, Zwischenformat. 4,99 Mark. Harald Ziegler, Eupener Straße 42, 50933 Köln.
 
Harald „Sack“ Ziegler, bisher mehr im musikalischen Underground tätig, hat sein erstes Comicheft kreiert. Mit minimalistischem Strich erzählt er hauptsächlich skurrile Episoden um einen jungen Mann, der in einem Kaufhaus wohnt. Man hat das Heft zwar schnell durch, kann es aber immer wieder zur Hand nehmen. Wer sich’s bestellt, sollte auch gleich ein paar von Sacks genialen Cassetten ordern. Titel wie „Gott sei Punk“, „Schnapp Flopp Fetz“ oder „Zehn Meter langes Regal kippte um“ sprechen doch für sich, oder? hg
 
Ilsemann # 1. 40 Seiten, s/w mit farbigem Umschlag, Comic-Book-Format. Liegt in Hannover gratis aus, überall sonst auf Anfrage: KariCartoon Verlag c/o Manfred Ilsemann, Fössestraße 12, 30451 Hannover.
 
Der Comicstrich macht Schule, und die durch Anzeigen finanzierten (wenn’s klappt) Gratis-Comicmagazine schießen überall wie Pilze aus dem Boden. Ilsemann aus Hannover macht dabei mit den professionellsten Eindruck. Der Schwerpunkt des Heftes liegt im Bereich Funny. Etwas problematisch könnte es sein, in einem vierteljährlich erscheinenden Magazin gleich drei Fortsetzungsgeschichten aufzunehmen (die aber durchweg in der Lage sind, Lust auf mehr zu machen). hg
 
The Kainsmal # 3. 28 Seiten, s/w mit zweifarbigem Cover DIN A4. Für nix in Gießen, ansonsten mal anfragen bei: Hanspeter Ludwig, Gartenstraße 5, 35435 Wettenberg-Wißmar.
 
Das zweite Gratis-Magazin, das mir vorliegt, kommt aus Gießen und legt seinen Schwerpunkt im Bereich Experimentelles/Underground. Es sind durchaus interessante Arbeiten dabei, aber ob man mit diesem Material neue Leserschichten für das Medium Comic interessieren kann, ist fraglich. hg
 
Wock Classics. Early Years of Herod Comics. 16 Seiten, s/w DIN A5. Kurumpu Quality Publications, Kürenbergweg 2, 45279 Essen.
 
Die meisten Fanzeichner bewahren tief versteckt irgendwo im Schrank ein paar Schulhefte oder Malblocks mit ihren allerersten Comics auf. Sowas zeigt fast niemand freiwillig vor - zu peinlich sind die Dokumente zeichnerischen Unvermögens, plumper Kopien der damaligen Lieblingscomics; das alles hat man zum Glück weit hinter sich gelassen. Herod ist meines Wissens der erste, der seine frühen Comics  nun veröffentlicht hat. Das Heft hat er mir gratis zugeschickt, nicht zum Rezensieren, sondern verbunden mit der Aufforderung, meine Frühwerke doch auch mal zu publizieren. Zu meinem Glück ist das schwierig - alles, was ich nicht veröffentlicht habe, ist nur mit Bleistift gezeichnet und kaum reproduzierbar. Aber Herod ist vielleicht der einzige, der sich für seine ersten Gehversuche im Medium Comic nicht zu schämen braucht. Klar, er war noch nie ein exzellenter Zeichner; seine Comics von 1980 sehen also nicht viel schlechter aus als heute. Verblüffend ist aber, daß Herods kapriolenschlagender, parodistischer Humor von Anfang an voll ausgeprägt war. Die Wock Classics sind ideensprühende Superheldenparodien, vielleicht noch unbekümmerter und munterer als in späteren PLOP-Zeiten. Sehr empfehlenswert. aa
 
Kromix # 8. 80 Seiten, s/w plus vierfarbiger Umschlag DIN A4. 9,80 Mark. Totenkopf-Verlag Stefan Riedl, Müllerstraße 56, 80469 München.
 
Mit dieser Ausgabe verabschieden sich Ralf Palandt und Stefan Riedl fürs erste vom Magazinmarkt - Schwierigkeiten beim Vertrieb und daraus resultierend unbefriedigende Umsätze zwingen sie dazu. Schade, denn auch wenn - oder gerade weil? - der Schwerpunkt des Heftes immer auf „strange“ und „experimentell“ lag, war es jedesmal eine Bereicherung für die deutsche Comiclandschaft. Bleibt zu hoffen, daß auch wieder andere Zeiten kommen. hg
 
Artige Zeiten # 5. 32 Seiten, s/w plus vierfarbiger Umschlag, Comicbook-Format. 8 Mark. Reprodukt; zu beziehen über Jochen Enterprises, Möckernstraße 78, 10965 Berlin.
 
Andreas Michalke, der häßliche Deutsche, und seine Freundin Minou Zaribaf erzählen wieder auf ihre sehr persönliche Art Geschichten, die das Leben schrieb. Ein Heft, das in keiner anspruchsvollen Comicsammlung fehlen darf. hg
 
Phil: Always Ultra. 36 Seiten, s/w mit vierfarbigem Umschlag, Comicbook-Format. 7,70 Mark. Jochen Enterprises, Möckernstraße 78, 10965 Berlin.
 
Vorweg: Ich bin Phil-Fan. Deshalb möchte ich auch unbedingt auf seine neue Publikation hinweisen. Leider wird es aber ein Verriß. Dafür kann Phil nichts, aber die Leute von Jochen verdienen eine Verwarnung für ihre Schnapsidee, ein „schönes“ Heft mit Phil-Comics zu produzieren. Da passen dann halt Form und Inhalt überhaupt nicht zusammen, und das mindert schon ein wenig das Lesevergnügen. Die Zitty-Leute machen das wesentlich besser. Von Zeit zu Zeit stellen sie einen dicken Band mit Comics und Satiren aus ihrem Stadtmagazin zusammen und werfen den billig auf den Markt. In dieser Ausstattung gibt’s auch einen sehr empfehlenswerten Phil-Sammelband. Always Ultra dagegen ist irgendwie so, wie Woody Allen das Leben sieht (leicht abgewandelt): Zu glatt, sauber, langweilig, und dann ist es auch noch viel zu schnell vorbei. Trotzdem ist Always ultra natürlich um Längen besser als jeder Werner- oder Tom-Band. aa
 
Burkhard Ihme: Reino # 7 - 20 Jahre Peinlichkeit. 36 Seiten, s/w DIN A4. 14,80 Mark. Buch Musik und Film Verlag Burkhard Ihme, Danneckerstraße 12, 70182 Stuttgart.
 
Zum 20jährigen Jubiläum seines Antihelden Reino legt Burkhard Ihme eine Dokumentation vor, in der er jeden auch noch so wirren Gastauftritt seines leidgeprüften Liedermachers mit gewohnter Akribie zusammengetragen hat. Wahrscheinlich werden sich nur eine Handvoll eingefleischter Reino-Fans finden, die bereit sind, dafür 14,80 Mark hinzublättern. Wer sich aber bisher nicht aufraffen konnte, sich die - durchaus lesenswerten - Alben des Stuttgarter Szene-Unikums zuzulegen, sei auf die parallel erscheinende Sammelbox mit allen Reino-Alben einschließlich dieses Hefts sowie eines handsignierten Farbdruckes verwiesen, die für 60 Mark beim Verlag erhältlich ist. hg
 
Haimo Kinzler: Wüttner 3 - Urwüttner. 136 Seiten, s/w mit Farbcover, Paperback DIN A5. 19,80 Mark. Zwerchfell Verlag Christian Heesch, Tonndorfer Strand 57, 22045 Hamburg.
 
Mit dem dritten Band der Serie läßt Haimo Kinzler seinen Wüttner quasi zu seinen Ursprüngen zurückkehren: Das in diesem Buch veröffentlichte Material entstand bereits vor den ersten beiden Zwerchfell-Bänden und den Caiser-Stories. Das heißt nun nicht, daß man versucht, noch eine schnelle Mark zu machen, indem man den geneigten Leser mit ollen Kamellen abspeist. Zeichnerisch überarbeitet und dem Zwerchfell-Format angepaßt braucht sich die Geschichte auch inhaltlich nicht hinter ihren Nachfolgern zu verstecken. Die von Haimo Kinzlers Comics gewohnte Zwerchfellmassage ist auch diesmal garantiert. hg
 
Sigi Sparbier, der pfiffige Aushilfsbriefträger # 1. 36 Seiten, s/w mit vierfarbigem Umschlag, Piccoloformat. Comic Archiv Jürgen Metzger, Hamburger Straße 146, 90766 Fürth.
 
Sigi Sparbier hat zwar ein massiges, entschlossenes Kinn, aber sonst der bösen Welt nur viel naive Unternehmungslust entgegenzusetzen. Seinen neuen Briefträgerjob stellt er sich wie eine große Abenteuerreise vor. Die hinterhältigen Kollegen legen ihn gleich mit einem kniffligen Auftrag rein. Aber gerade dadurch wird Sigis Tour wirklich zum Abenteuer. Einem Wissenschaftler, dem er einen Brief bringt, muß er als Versuchskaninchen herhalten. Der verrückte Professor möchte Materie von einer Kabine in eine andere transferieren. Bevor eine Fliege das Experiment stören kann, ist der Piccolo schon zuende. Haggi hat es sicher gedrängt, eine soeben erfundene neue Figur ins brausende Comicleben zu stürzen. Zu wenig Gedanken hat er sich jedoch gemacht, welche Geschichte er mit seiner neuen Figur erzählen könnte. Was er hier schildert, könnte auch Fred, dem Gärtner, Hugo, dem Straßenkehrer, oder Bernie, dem Finanzbeamten, passieren. Würde Haggi nicht immer mit so viel Schwung und Liebe zum Detail erzählen, wäre ich auf die Fortsetzung namens „Der Kartoffelbreimann“ nicht die Bohne neugierig. aa
 
Levi 94: Der dicke Onkel. Voll fette Gags im dünnen Gewand. 16 Seiten, s/w Postkartenformat, handgenäht. Im Tausch erhältlich bei J. Kopperschläger, Torfweg 17A, 32425 Minden.
 
Der Untertitel übertreibt keineswegs. Levi 94 ist eine der eigenwilligsten Gestalten der Szene, der es konsequent nur auf Kommunikation mit seinen Fans abgesehen hat. Deshalb gibt’s seine liebenswert zusammengeschusterten Fanzines auch nur gegen an-dere Einsendungen, bevorzugt andere Zines. Laßt Levi nicht hängen. aa
 
Bill Willingham: Ironwood, Band 1 und 2. Je 64 Seiten. Gilbert Hernandez: Birdland. 80 Seiten. Schwarzweiß, Soft-cover, Comicbookformat. Comicpress Verlag, Holzäcker Straße 32, 91353 Wimmelbach.
 
Pornographische Comics kennen nur ein Ziel: Sie wollen ihre zumeist männlichen Leser ohne Umschweife scharf machen. Aber das ist, stellt man nur ein Minimum an Ansprüchen, leichter gesagt als getan. Die Konstruktion eines pornographischen Szenarios ist keineswegs einfach. Einerseits mündet die bloße Aneinanderreihung von Kopulationsszenen nach wenigen Seiten in erbarmungslose Monotonie. Wer nur den Unterleib anzusprechen versucht, spricht ihn speziell gar nicht mehr an. Andererseits droht der ernsthafte Versuch, eine Geschichte zu erzählen, das eigentliche Anliegen des Comics in den Hintergrund zu drängen. Wer nicht nur den Unterleib anzusprechen versucht, spricht schnell nur noch den Kopf an. Ein Dilemma ohne Ausweg? Die meisten pornographischen Comics suchen sich aus ihm zu retten, indem sie Geschichten erzählen, die nur einen Vorwand für die Entfaltung sexueller Aktivitäten bilden. So soll der Leser zugleich erregt und unterhalten werden. Bill Willingham läßt im wilden, wilden Wald von „Ironwood“ eine junge Dame namens Pandora Breedlswight den Abenteurer Dragavon anheuern. Der freche Elfe soll sie zu dem berühmten Zauberer Gnaric führen. Nur dieser verfügt über die Mittel, Pandora von dem Dämon zu befreien, der ihre Familie seit Generationen verfolgt und in den sie sich mitunter verwandelt. Als Lohn für Gnaric führt Pandora den legendären Lazarus-Dolch mit sich. Hinter dem sind aber auch die obligatorischen Bösewichter, allen voran eine attraktive Kopfgeldjägerin, her. Es ist unübersehbar: Willingham hat tief in den Fundus der Fantasyliteratur gegriffen. Leider ist die Geschichte, die er sich zusammengeschraubt hat, alles andere als spannend. Sie besteht nur aus Versatzstücken, die nach tausendfachem Einsatz besser weiter still vor sich hin gerostet wären, anstatt noch einmal in den Dienst gezwungen zu werden. Jeglicher Erzählrhythmus wird zudem durch die ausgedehnten Sexszenen - auch Freunde der lesbischen Liebe kommen reichlich auf ihre Kosten - zerstört. Nach über 100 Seiten tritt die episch angelegte Serie immer noch auf der Stelle. Der scheinbare Ausweg aus dem Dilemma ist nur ein fauler Kompromiß, über den auch die handwerklich soliden, der genretypischen Massenproduktion überlegenen Zeichnungen nicht hinwegtäuschen können. Erregt wird der Leser durch „Ironwood“ vielleicht, unterhalten sicher nicht. Es sei denn, er gibt sich mit jenem Vergnügen zufrieden, das der Autor ihm mehrfach mit penetrantem Augenzwinkern empfiehlt: „Habt jetzt Euren Spaß. Aber ein bißchen vorsichtig, das Album ist nicht abwaschbar.“ Ein gutes Stück besser geschrieben ist „Birdland“. Gilbert Hernandez ist etwas durchaus Originelles gelungen: ein parodistisches Porno-Melodram. Erzählt wird die Geschichte einer doppelten unglücklichen Liebe im Milieu hispanoamerikanischer Yuppies. Der Anwalt Mark Herrera ist mit der Psychiaterin Fritzi verheiratet. In diese ist sein Bruder Simon verliebt, genauso wie Fritzis Schwester Petra in Mark. Fritzi ist frigide, verkehrt aber heimlich sexuell mit ihren hypnotisiert auf der Couch liegenden Patienten. Mark betrügt sie derweil mit zwei munteren Stripperinnen und seiner ersten Ehefrau, liebt in Wahrheit aber nur seine Angetraute, die ihn dauernd zurückstößt. Natürlich sind all diese Herzensqualen, die am Schluß gar wundersam von einigen im Stadtpark gelandeten Außerirdischen (!) gelöst werden, erneut nur der Vorwand, um alle zwei, drei Seiten sexuell die Post abgehen zu lassen. Trotzdem hat die höchst verwickelte, hier nur fragmentarisch wiedergegebenen Story ihren Charme: Sie ist so abstrus und an den Haaren herbeigezogen, daß es schon wieder Spaß macht, sie zu lesen. Das elaborierte Storytelling, das „Love and Rockets“ auszeichnet, wird lustvoll ins Lächerliche gezogen. Einige mit Alliterationen vollgestopfte Dialoge sind von geradezu majestätischem Pomp. Völlig übertrieben schließlich die Sexszenen: Die Brüste und Glieder der Agierenden sind riesig, das Sperma fließt in Strömen, und die Ejakulationen schießen wie Fontänen hervor. Von derselben falschen Naivität, die der Geschichte eignet, sind auch Hernandez’ Zeichnungen.Stets sind sie kurz davor, ganz ins Rustikal-Derbe oder ganz ins Urban-Elegante umzuschlagen, wahren aber letztlich eine merkwürdige Balance. Auch zeichnerisch ist „Birdland“ die unmögliche Synthese aus einem modernen Autorencomic und den Eight Pagers vergangener Zeiten. Große Kunst ist hier nicht entstanden, aber immerhin ein grotesk überdrehter Edelporno, dessen Autor es sichtlich Spaß gemacht hat, alle in „Love and Rockets“ gepflegte Seriosität für einige Zeit über Bord zu werfen. Hans Lucas
 




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 46
Besprechungen



FulaTidningen Serier und Dunkar Dags. Je 40 Seiten, s/w mit zweifarbigem Umschlag, DIN A5. Serie Tecknar Skolan, Edskevägen 18, 81330 Hofors (Schweden).
 
Zu den Vorzügen, die ein Fanzine-Herausgeber genießt, gehört, daß er hin und wieder unverlangt  Fanzines aus aller Welt in seinem Briefkasten findet.  Vielleicht ist es richtig, daß Fanzines nur gegenseitig von ihren Machern gelesen werden, wie manchmal zu hören ist. Das aber zumindest international. Mattias Gordon, der mit mir Kontakt aufnahm, schrieb mir, daß Serie Tecknar Skolan eine Schule für Comiczeichner sei. Es gebe in Schweden sehr wenige Veröffentlichungsmöglichkeiten. Deshalb sei man sehr froh, daß einer der Schüler inzwischen in USA veröffentlichen könne. Abgesehen von diesen Informationen ist es für mich mit einigen Schwierigkeiten verbunden, zwei schwedische Magazine zu besprechen. Ich verstehe einfach nicht, was zum Beispiel dieser Helmut Kohl ähnliche Fernsehprediger meint, wenn er eine „Bibeln“ hochhebt und sagt: „Jo, det skall jag tala om för er! Det är Kyrkans fel alltihop!“ Es läßt sich lediglich feststellen, daß das gelb eingebundene „Fulatidningen“ eine Mischung aus eher realistischen comics und Funnies darstellt. „Dunkar Dags“ in leuchtend roter Schrift bringt dagegen fast ausschließlich harte, gewaltgeneigte Fantasy- und Science-Fiction-Stories. Vielleicht weiß ich in der nächsten Ausgabe mehr über die Schweden. aa
 
Andy’s Konky Kru Picture Strips # 1. 28 Seiten, s/w, DIN A5, 1,50 Pfund. Andy, PO Box 8892, SW 15 London (Großbritannien).
 
Dieses Magazin ist recht einfach zu verstehen. Man braucht nicht mal Englisch zu können, da „Andy“ (leider kenne ich nur diesen stilisierten Künstlernamen) auf Worte völlig verzichtet. Im Begleitbrief schreibt er merkwürdigerweise auf deutsch: „Schreibst Du mir welche 5 Seiten am gelungensten sind? (Und welche daneben) Für ein PLOP zum Tausch würde ich mich freuen.“ Etwa ein Deutscher? Daß er am Ende bei der Präposition danebengreift, muß nichts besagen. Mit diesen Dingern können auch Deutsche immer weniger umgehen. Auf jeden Fall ist er germanophil, denn er nennt die Ausgabe „Heftchen Nr. 1“ und bringt sie im „Zeitraum Verlag“ heraus. Wie auch immer: Die skurrilen One-Pager handeln in immer gleichen sechs Panels von einem bis drei immer gleichen unförmigen Männchen, die Slapstick-Nummern vorführen oder die Regeln des Comics zu durchbrechen versuchen. Eine sehr konsequente und fast immer witzige kleine Comicsammlung. Es fällt mir wirklich schwer, fünf Seiten zu nennen, die „daneben“ sind. Aber ich werde mich bemühen, mit „Andy“ im Gespräch zu bleiben. aa
 
Lippe # 14: Obsession. 48 Seiten, s/w mit vierfarbigem Umschlag, Albumformat, 15,80 Mark. Andreas Anger, Schreibersgasse 7, 97318 Kitzingen.
 
Eigentlich wollte Andreas Anger aus dieser Ausgabe eine reine Pornonummer machen, um die rückläufigen Verkaufszahlen seines Magazins wieder etwas anzuschieben, aber bis auf die Vorspann-Illu von Stefan Dinter und das Backcover von Mozart Couto fällt keine der enthaltenen Arbeiten so recht in diese Kategorie, auch wenn sie alle mit dem Thema Sex zu tun haben. So steuert Thomas Scheileke einmal mehr eine etwas verquaste Fantasystory bei, Geier bietet neben einer wunderschönen Coverillu eine ziemlich rüde Pornopersiflage und Stefan Haqenow eine seiner düster-makabren Blut- und Hoden-Orgien. Mozart Couto (ein Neuzugang aus Spanien?) kommt uns mit einer recht zweifelhaften Vergewaltigungsposse, die sich zeichnerisch stark an das Spätwerk von Robert Crumb anlehnt, umd Markus Grolik rundet das ganze mit seinem wirklich witzigen Beitrag ab. Zeichnerisch bieten sämtliche Beiträge professionelles Niveau, und es ist Andreas und der deutschsprachigen Comicszene nur zu wünschen, daß seine Rechnung aufgeht und er sich nicht gezwungen sieht, sein Magazin nach dieser Nummer einzustellen. hg
 
Menschenblut # 21. 40 Seiten, s/w mit vierfarbigem Umschlag, Comicbook-Format, 6,80 Mark. Eisenesser Comix, Postfach 1141, 36094 Petersberg.
 
 
Menschenblut ist eines der wenigen Magazine, in denen Themen wie Tod und Pornografie unpeinlich behandelt werden. Also uneingeschränkte Kauf-, nein: Abo-Empfehlung und ein kurzer Blick auf die Highlights der neuen Ausgabe: „Martyrium“ von Mille ist keine Story mit Spannungsaufbau, sondern eine Charakterstudie eines Massenmörders, ein Blick in sein schuldgeplagtes Inneres. Ähnlich liegt der Fall bei „Töte sie!“, geschrieben von Götz, gezeichnet von Mille und Bi-Mi. Die Mordlust des Delinquenten geht auf seinen Verteidiger über. Noch ein ausgefeiltes Psychogramm. Ansonsten kürzere Schmankerl von Petrus Hoegl, A. Macartney, Robi und Mille sowie wieder mal was aus den „Tagebüchern des Doktor Dipperz“. Empfehlenswert - ich sagte es schon. aa
 
Achtung! Jetzt kommt ein Buch über uns! 20 Seiten, s/w, DIN A5 Querformat. Jetzt erst recht! 12 Seiten. Die Welle Wilma. Alles im Lot. 16 Seiten, jeweils s/w auf farbigem Papier, zum Teil mit Farbkopien, DIN A5. Jeweils 2,50 Mark. Thorsten Schmidt und Anja Kocker, Hauptstraße 16, 32457 Porta Westfalica.
 
Drei liebevoll handgenähte Fanzines, sehr persönlich gehalten und daher schwer zu rezensieren. Näheres über Anja & Joy im Reiseteil (6. Station). aa
 
Der Comicer # 43. 8 Seiten, s/w, DIN A4. Comicer, Stiftstraße 39, 60313 Frankfurt/Main.
 
Ein achtseitiges, kompetent geschriebenes Nachrichten- und Rezensionsmagazin mit offenbar längerer Geschichte. Die Ausgabe wurde beim Frankfurter Comicstammtisch im Dezember verteilt. aa
 
Pendler. Live aus dem Zug # 5. 24 Seiten, s/w, DIN A4. SAMP Angelika Petzinger, Taunusstraße 20, 65520 Bad Camberg.
 
„Hier ist HR 3 - es ist jetzt 7.05 Uhr.“ - „Viele Leute tun nur so, als ob es ihnen gut geht.“ - „Die Hausfrau als bezahlter Beruf. Dann würde ich auch zuhause bleiben.“ - „Bei so viel Nullen in unserem Staat kann es einem ja nur schlecht werden.“ Angelika und Rudolf Petzinger haben sich gründlich im Zugabteil umgehört, in dem jeden Morgen mißmutig die Berufspendler zur Arbeit fahren. Das ganze haben sie zu einer Comic-Collage verarbeitet. Schnell hingeworfene, aber treffende Skizzen werden mit kommentarlosen Dialogen angereichert, in denen der stets schwer nachzubildende Alltag eingefangen ist. Das Magazin habe ich auf der Frankfurter Buchmesse in der Nähe der Rolltreppen gefunden, wo es die Macher offenbar listig ausgelegt hatten. Statt weiterer Bemerkungen schließe ich mit einem Pendler-Dialog: „Wie geht es denn deiner Freundin?“ - „Ich habe mit ihr Schluß gemacht. Ach, ich hatte keinen Bock mehr. Immer nur Disco und so - verstehst du? Und im Bett - einfach nix mehr los. Wenn sie anfing, sich auszuziehen, konnte ich einfach nicht mehr. Absolute Ladehemmung.“ - „O je, das ist Scheiße. Ja und? Was machst du jetzt? Hi hi hi.“ - „Solo, erst mal solo - Miezen gibt’s ja genug. Lach nicht so blöd!“ aa
 
Hunt # 6, 52 Seiten, s/w, DIN A5 plus Supplement „Musik: Shit! Goethe? Rülps.“ plus Lucilectric-Promofoto, 5 Mark. James Hunt, Im langen Loh 66, 4123 Allschwil (Schweiz).
 
Dieses eigenwillige Fanzine stellte mir Gerd Bonau freundlicherweise zur Verfügung. Hier wird mit spürbarer Lust herumgeschmiert, wild collagiert und die Gesellschaft mit Mut zum Risiko glossiert. Das Magazin erfordert einen wohlwollenden oder selbst leicht abgedrehten Leser. aa
 
Wieselflink, Hamburgs Schulcomicmagazin # 3, 32 Seiten, s/w, DIN A5. A. Hahn & N. Preilowski Verlag, Farmser Landstraße 97b, 22359 Hamburg.
 
Von den Anfängen her ist dies wohl eine Schülerzeitung (noch heute gibt es viel Werbung aus dem Raum Hamburg). Der redaktionelle Teil wird jedoch ausschließlich mit Comics unterschiedlicher Qualität bestritten. Vielleicht ist das der richtige Weg für die Fanszene; er erfordert jedoch regionale Verankerung und die Bereitschaft zur regelmäßigen Akquise (und dafür sind wir uns doch eigentlich zu fein). aa
 
SchwarzWeiß Promo. 12 Seiten, s/w, DIN A5, 2 Mark. Max Herrmann, Uh 78, 76863 Herxheim
 
„Ich dachte, ich schick euch mal mein Promo schwarz/weiß. Es stellt mehr eine Vorgeschichte zum Hauptwerk dar, das in Arbeit ist. Falls etwaiges Interesse besteht, könnt Ihr Euch ja bei mir melden.“ Solche etwas unklar formulierten Briefe habe ich öfter auf dem Tisch. Das Promo ist kein richtiger Comic, eher ein langer Monolog (Gedanken eines „dekadenten Mannes“, wie es im Text heißt) mit vielen Illustrationen. Ich hoffe, ich bin mit diesem Hinweis Max’ Anliegen gerecht geworden. aa
 
cOMIc # 21 und 22. 28 Seiten s/w (Umschlag auf farbigem Papier) DIN A5. Nur im Tausch gegen Beiträge oder andere Magazine. Gerd Bonau, Eckernförder Straße 30, 24398 Karby.
 
Die neue Nummer bietet die bewährt bunte Mischung von Stilen und Genres, vorwiegend von alten Hasen der Fanszene wie Bernd Teuber, Anja & Joy oder Olaf Bathke. hg
Kurz vor Redaktionsschluß ist die Nummer 22 eingetroffen. Gerd hat diesmal längere Beiträge von Manfred Lafrentz, Bernd Teuber und Benjamin Brandt. Mit Jens Natter - einem anderen Comic von Jens - ist er PLOP zuvorgekommen. Ansonsten mehr oder meist weniger ambitionierte Onepager von alten Bekannten. Die Fanzinerezensionen sind diesmal so knapp wie nie ausgefallen, und auch sonst hält sich Gerd selbst fast völlig aus seinem Magazin raus. Schade eigentlich. aa
 
Ilsemann # 3. 36 Seiten s/w mit farbigem Umschlag, Comicbook-Format. Kostenlos in Kneipen und Läden rund um Hannover. Karicartoon Verlag, Fössestraße 12, 30451 Hannover.
 
Hannovers Gratismagazin bleibt mit bewährter Mannschaft auf bewährtem Kurs (Schwerpunkt Funny). Neu im Team: Jan Velbinger mit einem netten Strip („Velbis Welt“) und der Fortsetzung des Jamcomics sowie Clavi/Schmidt mit einem Cartoon. hg
 
Graffity # 1 bis 4. Je 20 Seiten s/w DIN A5. Je 2 Mark (13 öS). Milan Knezevic, Postfach 661, A 3101 St. Pölten.
 
„Graffity“ ist eine auf sieben Ausgaben angelegte Miniserie, in der Autor und Zeichner Milan Knezevic offenbar die Welt, das Leben und alles andere abhandeln will. So präsentiert er in Heft 1 seine recht eigenwillige Version der Schöpfungsgeschichte bis hin zur Kreuzigung Jesu. Heft 2 handelt die Geschichte der Welt von der Steinzeit bis heute ab, wobei die Auswahl der näher beschriebenen Epochen und die wilden Sprünge dazwischen nicht unbedingt für jeden nachvollziehbar sind. Mit Heft 3 wechselt die Serie vom Allgemeinen zum Persönlichen und behandelt Probleme mit dem Kinderkriegen und deren Aufzucht und Pflege. Das vierte Heft mit dem Titel „Jugendjahre“ beschäftigt sich in ähnlicher Weise mit ebendiesen. Angekündigt sind noch die Themen „Der Tod“, „Der neue Anfang“ und „Utopia“. Wenn auch sowohl die Erzählweise als auch die Zeichnungen noch etwas unausgegoren und holprig wirken, verdient die Tatsache, daß hier jemand seinen ganz eigenen Weg sucht, Anerkennung. Empfohlen für alle Leser, denen Eigenständigkeit über Perfektion geht. hg
 
Moga Mobo # 8 20 Seiten s/w mit Farbcover DIN A4. Kostenlos in Kneipen und Läden rund um Stuttgart. Bostel Productions, Am Römerkastell 19, 70376 Stuttgart.
 
Moga Mobo # 8 bietet einserseits, wie üblich, „Comix für alle“ von verschiedenen Stuttgarter Zeichnern; von der anderen Seite gelesen gibt es diesmal „Sven für alle“, ein Special von und mit Sven Abel, dem neuen Chefredakteur, der auch PLOP-Lesern schon bekannt ist. Das Special besteht aus der „Geschichte des Mannes, der seinem Arsch das Reden beibrachte“ nach W.S. Borroughs (wenn Ihr mich fragt, ist die Geschichte fürn Arsch, aber wer fragt mich schon?) sowie einem launigen Interview mit Onkel Sven (Onkel Senf? Ontel Seff? Ombel Hanf? Na, egal). hg
 
The Origin Story of Dr. Boredom. A Moga Mobo Special. 28 Seiten Piccoloformat. Wurde als Eintrittskarte für eine Party in der Stuttgarter Dixieland Hall verteilt. Eventuell noch zu bekommen bei Bostel Productions, Am Römerkastell 19, 70376 Stuttgart.
 
Das Piccoloheft war Teil einer Konzept-Party, die am 2. Oktober 1995 in der Stuttgarter Dixieland Hall veranstaltet wurde: in der Jam-Box der Moga Mobo-Crew wird die Origin Story von Dr. Boredom erzählt, der so langweilig ist, daß er sogar sich selbst per Spiegelbild einschläfert. Diese Story bekam jeder Besucher mit der Eintrittskarte in die Hand gedrückt. Den ersten Teil des Abends bestritt dann Dr. Boredom, bis in einer Jam-Session-Diashow Moga Mobo-Man auftrat, den Langweiler besiegte und den Abend rettete. hg
 




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 47
Besprechungen



Bob (d. i.: Britta van den Boom): Sonnenfeuer. 52 Seiten, s/w mit zweifarbigem Umschlag, DIN A4-Album, 6,50 Mark. Edition Fantastic Stories, c/o Dirk van den Boom, Rinkerodeweg 28, 48163 Münster.
 
Wenn man auf einem Routine-Raumflug einen tiefgefrorenen Außerirdischen aus dem All fischt, dann bedeutet das meist nichts Gutes. Oder doch: den Sprung ins Abenteuer. Der Außerirdische erweist sich aufgetaut als Überlebender einer uralten Weltraumkatastrophe; ein unverantwortlicher Herrscher hatte die Maschine Sonnenfeuer zur Energiegewinnung eingesetzt, worauf dutzende von Sonnen explodiert und etliche Zivilisationen ausgelöscht worden waren. Ena und Dagh, die beiden Raumfahrer, forschen nach dem Sonnenfeuer und stellen fest, daß die Maschine just in diesem Moment wieder eingesetzt werden soll. Da hilft nur, das Sonnenfeuer seinem Selbstzerstörungsmechanismus anheim zu geben. Dafür muß man aber rein in diesen Todesstern. Klar, das klingt ein bißchen nach Star Wars. Aber die Geschichte ist über weite Strecken durchaus eigenständig. Darüber hinaus sind zwei Dinge an dieser Veröffentlichung bemerkenswert: Der Comic stammt von einer Frau; das bedeutet, daß die harte Space Opera mit vielen romantischen Elementen durchsetzt (das wuschelige Haustier Jört ist mindestens so niedlich wie die Tribbles - und ohne Nebenwirkungen) und eine Frau die überzeugende Hauptfigur der Geschichte ist. Und die Geschichte hat Albumlänge. Das zeichnerische Können reicht zwar nicht immer, die märchenhafte Zukunftswelt wirklich plastisch zu machen, aber die Zeichnungen sind über 45 Seiten hinweg auf konstantem Niveau, und - was noch wichtiger ist - die Story entwickelt sich ruhig, aber spannend. Britta van den Boom versteht, mit dem doch großen Format um-zugehen. „Sonnenfeuer“ erscheint übrigens in der Reihe „Fantastic Stories“ bereits als zehnter Band. Außerdem gibt es vier Son-derausgaben mit phantastischen Kurzgeschichten. aa
 
Kreativo! # 13 und 14. Je 32 Seiten, s/w,  DIN A5, je 1 Mark plus Porto. Kreativo!-Projekt / Birke, Postfach 2022, 58470 Lüdenscheid.
 
Ein ausgesprochen „fanniges“ Fanzine mit relativ geringem Comic- und Cartoon-Anteil, dafür ein weites Themenspektrum bei den Textbeiträgen: Musik (Punk, Independent), Reiseberichte, Termine, Rezis, Gedichte und mehr. Sehr sympathisch. hg
 
cOMIc # 23 und 24. 28 bzw. 40 Sei-ten, s/w, DIN A5. Im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Eckernförder Straße 30, 24398 Karby.
 
Wer’s immer noch nicht weiß: cOMIc hat sich mittlerweile als ernstzunehmendes Fanzine mit vielen lesenswerten Beiträgen etabliert. Gerds Prinzip, alles abzudrucken, was er zugeschickt bekommt, sorgt dafür, daß von „sehr fannig“ bis „ziemlich professionell“ alle Spielarten vertreten sind, und seine winzigen Auflagen sorgen dafür, daß man tunlichst schnell zugreifen sollte. hg
 
Plattform # 0. 16 Seiten, s/w mit rotem Umschlag, DIN A5, kostenlos. Plattform, Wilhelmshafener Straße 17, 24105 Kiel oder Schönberger Straße 83, 24148 Kiel.
 
Ein von Anzeigen getragenes Comicmagazin nun auch in Kiel? Nicht ganz. Der programmatische Titel des Hefts deutet an, daß mehr daraus werden soll. Die Herausgeber wünschen sich neben Comics auch noch Gedichte, Interviews und Reportagen und entschuldigen sich beinahe dafür, daß in ihrer Nullnummer überwiegend Comics enthalten sind. Dabei sind schon jetzt immerhin drei Gedichte und ein Prosatext vertreten. Die Gedichte sind Gymnasiastenlyrik; die Geschichte ist etwas wirr, offenbart aber überraschende Einblicke in weibliches Denken. Die fast ausschließlich auf eine Seite beschränkten Comics kommen da überwiegend besser auf den Punkt. Wie auch immer - den Herausgebern ist zu wünschen, daß sie künftig aus guten Einsendungen auswählen können. aa
 
b 5 # 1. 32 Seiten, s/w mit farbigem Umschlag, DIN A5, kostenlos. Comics für Göttingen e. V., Postfach 1529, 37005 Göttingen.
 
Wenn das so weitergeht, weiß bald zumindest jeder Kneipengänger, daß in Deutschland gute Comics ge-macht werden. Jetzt haben auch einige Leute in Göttingen (der Comics für Göttingen e. V.) ein solches Magazin auf die Beine gestellt und legen 5000 Stück in Cafes und Kneipen aus. Der Göttinger Dirk Tonn ist drin in der ersten Ausgabe, Jo 84 und Heike Anacker. Viele andere Zeichner sind leider nicht so genau zu identifizieren. Der Name des Magazins hat nichts zu bedeuten (kein Ableger der Edition B-17), und man kann mit dem Heft auch „kein Bier aufmachen“. Trotzdem: Ein guter Start. aa
 
Promeile # 2. 60 Seiten, s/w mit Farbcover, Comicbookformat. 8,80 Mark. # 3. 40 Seiten s/w mit Farbcover, Comicbookformat, 6 Mark. Emugraphics c/o Melitta Pallmert, Am Pleidenturm 13, 97070 Würzburg.
 
Comic als Kunst - Kunst als Comic. Ein Magazin mit sehr anspruchsvollem Ansatz, wenn auch grafisch noch nicht immer ganz ausgereift. Trotzdem empfehlenswert. hg
 
Hirngespenster # 2. 52 Seiten, s/w mit Farbcover, Comicbookformat, 10 Mark plus Porto. Ralf Leismann, Am Fischerhof 2, 59368 Werne.
 
Comics und Kurzgeschichten zu einem bestimmten Thema präsentiert Ralf Leismann in dieser Reihe. Während das Thema der ersten Ausgabe „Faschismus“ lautete, heißt es diesmal „Welch ein Tag!“, was natürlich in alle möglichen Richtungen ausgelegt werden kann, und so kommt auch eine recht bunte, aber immer interessante Mischung zustande. Bei den Comics dürfte allerdings al-ten Fanzine-Hasen das eine oder andere bekannt vor-kommen. Daß die Geschichte „Eis“ von Lorenz Migsch, die vor ein paar Jahren in drei oder vier Fanzines gleichzeitig zu lesen war, hier nun noch einmal wiedergekäut wird, ist fast zuviel des Guten. hg
 
Ilse Kilic: Vom kleinen Esli und wie es in die Welt kam. Erster Teil. 44 Seiten s/w mit gelbem Umschlag, DIN A5. Das fröhliche Wohnzimmer, Fuhrmannsgasse 1a/7, A-1080 Wien.
 
Dies ist eine kurzgefaßte Lebensgeschichte. Die Titelheldin verliert früh ihre Mutter; ihr Vater ist mit der Erziehung überfordert; Verwandte schalten sich zu spät ein, um Esli noch „auf die rechte Bahn“ zu führen. Diese Wer-tung kommt in dem Comic aber nicht vor. Am Ende bricht die sehr distanziert erzählte Geschichte abrupt ab. Esli lebt nun in einer progressiven Wohngemeinschaft. Ob sie funktioniert oder nicht und ob sich die Heldin da wohlfühlt, bleibt offen. Vielleicht wird das im angekündigten zweiten Teil der Geschichte vertieft. Der offenbar autobiografische Comic behandelt sein Thema sehr überzeugend und ohne Sozialkitsch. Die Form ist äußerst streng: Zwei stets gleich große Bilder pro Seite mit kurzer Bildunterschrift. Die Zeichnungen sind mit einem Computerprogramm gekritzelt, was Ilse Kilic den Einsatz von Rastern erlaubt, ohne Folien schneiden und kleben zu müssen. Mehr noch ermöglicht der umständliche Zeichenstil eine dem Text vergleichbare Lakonie. Wie weit man mit solch formaler Konsequenz kommen kann, das lohnt sich durchaus anzusehen. aa
 
Menschenblut # 22/23. 72 Seiten, s/w mit Farbcover, Comicbookformat, 14,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg.
 
Wieder eine satte Doppelnummer von den deutschen Meistern  des Comic-Horrors. Immerhin vier Stories und damit fast die Hälfte des Hefts stammen diesmal von Texter Bernd Frenz, kongenial umgesetzt von Geier, BiMi, Kim Schmidt und - erstmals in MB - Oliver Ferreira. Aber auch die Stories von Mille und Robius/St. Atze lassen nichts zu wünschen übrig. Einzig der zweite Newcomer, Oisi Boff, fällt mit seiner „Lara, Herrin der Ratten“ sowohl inhaltlich als auch zeichnerisch gegenüber dem Rest deutlich ab. Alles in allem wieder ein Muß für jede gediegene Comicsammlung. hg
 
Koma Comix # 8 bis 10. 40 bis 56 Seiten, s/w, DIN A5, je 2,50 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn.
 
Koma hat etwas von der „Eis am Stiel“-Kinoserie, nicht nur der endlosen Wiederholung eines Themas wegen, es ist eigentlich auch dasselbe Thema. Wobei die Ak-zente freilich unterschiedlich gesetzt sind: Bei den Israelis geht’s darum, Frauen abzuschleppen und erst in zweiter Linie um Alkohol und Feten. Bei Koma Comix ist das genau umgekehrt. Frauen stören ja nur beim Saufen. In der Zweitstory (ganz alter Begriff aus seligen Marvel-Zeiten) „Alcoholic“ wird das Thema ein wenig sublimiert. Zehn Hefte lang das Gleiche - das heischt Respekt. Denn wenn auch die Zeichnungen nicht 1 A und das Lettering ein wenig krakelig sind, liest sich das Ganze immer wieder ganz gut. Das muß an der Authentizität liegen. Das ist wohl alles wirklich passiert, und die Typen, die uns begegnen, gibt’s tatsächlich. Und das kommt auch rüber. Trotzdem: Koma Comix sind nichts für Comic-Ästheten und wollen es auch gar nicht sein. aa
 
Hunt # 7. 72 Seiten, s/w mit zweifarbigem Umschlag, Comicbookformat, 4 Mark. James Hunt, Im langen Loh 66, 4123 Allschwil (Schweiz).
 
Ein paar Highlights aus der jüngsten Ausgabe: Diodenlämpchen in 76 Worten erklärt; Tips für Zeitungsverkäufer; Schmähschrift auf Thomas Ott; ist Hunt sexistisch?; Koten nach Noten; DJ-Sterben und Milchgetränketest im Lehrplan. In der Heftmitte befindet sich eine 24seitige Kurzgeschichten- und Gedichtsammlung, in der der Hunt-typische systematische Blödsinn Pause macht. aa
 
Haarig! # 1 bis 15. Meist 8 Seiten, s/w, DIN A5. Studio Alpenkönig und Studio Plüsch, Olaf Bathke, Festungsstraße 4, 25832 Tönning.
 
Anfang des Jahres sandte Herod einen kurzen Comic an Olaf Bathke. Darin ließ er einige seiner Figuren um Captain Netherlands auf die Helden aus „Reisende in Plüsch“ treffen. Das Angebot, die Geschichte weiterzuspinnen, war Olaf hochwillkommen, und dann gingen neue Episoden einige Wochen lang hin und her. Erst nach der 15. Folge meinten die beiden, daß die Luft nun allmählich raus sei. Bis dahin wird einiges an Action und Nonsense geboten. Daß zwei sehr unterschiedliche Comicuniversen aufeinanderprallen, führt mitunter dazu, daß Indianer mit Pfeil und Bogen gegen High-Tech-Science-Fiction-Helden kämpfen. Im Eifer des Gefechts wird auch schon mal ein Handlungsstrang aus den Augen verloren und bei der nächsten unpassenden Gelegenheit wieder aufgenommen. Das Ganze ist sicher witziger als Marvel gegen DC (leider konnte ich nur sechs Ausgaben selbst in Augenschein nehmen), verlangt aber an sich nach einer Gesamtausgabe, auch wenn die weit über 100 Seiten umfassen dürfte. aa
 
Der Comic-Herold # 1. 28 Seiten, s/w, DIN A 5, 2,50 Mark. J. Heinrich Heikamp, Postfach 1206, 41565 Rommerskirchen.
 
Dem Thema „Superhelden“ haben sich die Herausgeber dieses neuen Fanzines verschrieben, und so nimmt auch den größten Teil dieser Ausgabe (15 Seiten) eine vor Jahren schon in PLOP abgedruckte Superheldenstory von Andreas Alt ein. Auch „Superstreikposten“ von Olaf Bathke war bereits in PLOP zu bewundern, und ob „Der silberne Adler“ von J. Heinrich Heikamp und Damir Ha-midovic ein Erstabdruck ist, entzieht sich meiner Kenntnis. Den Rest des Hefts bestreiten ein Zeichnerporträt (Uwe Rebner), Rezensionen und die Vorstellung eines neuen, von Herausgeber Heikamp konzipierten Superhelden namens „Windkönig“. Alles in allem ein sauber gemachtes Heft mit einem interessanten inhaltlichen Ansatz; und wenn es gelingt, für die weiteren Ausgaben mehr unveröffentlichtes Material zusammenzubekommen, sicher eine Bereicherung der deutschen Fanzine-Landschaft. hg
 
Moga Mobo # 10. 28 Seiten, s/w mit verschenktem Farbcover, DIN A4, kostenlos in Stuttgart. bostel productions c/o Sven Abel, Am Römerkastell 19, 70376 Stuttgart.
 
In dieser kleinen Jubiläumsausgabe dreht sich (fast) alles um Schnitzel. Die meisten Mitarbeiter wie Haimo Kinzler, Titus, Haggi und Sven Abel dachten  dabei an einen handfesten Schweinebraten. Selbst die Umrisse der Bastelbogen-Insel in der Heftmitte von Jonas erinnern deutlich an ein Schnitzel. Hintergrund ist aber ein Gewinnspiel, bei dem an neun Orten in Stuttgart neun Schnitzel gesammelt und zu einem Bild zusammengesetzt werden sollen. Ferner stellt Stefan Dinter einen Co-miczeichner vor, „der hinter der scheinbar niedlichen, Peyo-inspirierten Fassade seiner Comics eine ganz eigene, schräge Welt und Weltsicht aufgebaut hat“. Das ist kein anderer als PLOP-Rezensent und -Mit-arbeiter Hartmut Klotzbücher. An Auswärtige wird Moga Mobo übrigens nicht mehr kostenlos abgegeben, es sei denn, man läuft einem aus der Moga Mobo-Crew über den Weg, der zufällig ein paar Exemplare dabei hat. Wer sich ansonsten für das Magazin interessiert (was kein Fehler ist), erhält für 8 Mark zweimal im Jahr die zu-letzt erschienenen drei Aus-gaben; ein normales Jahresabo (sechs Ausgaben) kostet 30 Mark. aa
 
Stefan, Mathias und Jan Dinter: Knurf - Held der grünen Hölle. 36 Seiten, s/w mit Farbcover, täuschend echtes US-Comicbookformat, 8 Mark. Zwerchfell Verlag, Christian Heesch, Tonndorfer Strand 57, 22045 Hamburg.
 
Es passiert nur alle paar Jahre, daß noch ein Comic erscheint, über den man wirklich lachen kann - und mehr noch, der einen ins Träumen versetzt wie früher. Die Comicheftgenerationen kennen das Gefühl bestimmt noch: Man hat zum ersten Mal eine Comiczeitschrift in Händen, die man nicht kennt. Sie wimmelt von bereits angefangenen Geschichten, von „Fortsetzung folgt“ und von kaufermunternden Werbeartikeln über weitere Verlagsprodukte. Ob es nun die erste Fortsetzung von Luc Orient in Zack war, die Fix-und-Foxi-Serien oder der erste Kontakt mit dem Marvel-Universum, plötzlich setzen sich in unserem Comicfanhirn irgendwelche Zahnräder in Gang, und eine Welt entsteht. Eine Welt, die wir noch nicht kennen, die wir aber gleichwohl zu erahnen glauben. Klar konnten wir uns vorstellen, welche Abenteuer Prinz Edelhart schon erlebt haben mußte und wie es sein müßte, eine ganze Story davon zu lesen. Und wie oft haben wir uns nach den verschlossenen Welten gesehnt, die sich hinter Werbung für noch nicht erschienene Alben oder Zusammenfassungen anderer Titel verbargen, die man sich aber in jungen Jahren in den wenigsten Fällen leisten konnte. Oft waren diese Ahnungen schöner und origineller als das, was man später vorfand. Knurf wirft uns genau in diese Situation zurück. Plötzlich spürt man wieder den Schulranzen auf dem Rücken, das Zwerchfell-Universum entsteht vor unseren Augen. Eine merkwürdige Mischung aus wahllosen Titeln (Funny Animals, Dschungelhelden, Geisterjäger, Ritter, Superhelden und Undefinierbares), präsentiert von einem guten Onkel mit Halbglatze, der eine Kreuzung aus Rolf Kauka und Norbert Hethke sein könnte. Dennoch sollen nach der Leserbriefseite alle diese Titel in ein Universum sortierbar sein, wie bei Marvel. Und es soll sogar Trickfilme davon geben. Boh! Die 400. Nummer schon, und wo waren wir? Wo haben wir gesessen, als diese grandiose Serie anlief? Da regt sich der alte Sammlertrieb. Man möchte die Flohmärkte durchkämmen nach allen Nummern dieser erstaunlichen Serie. Man möchte dieses Universum erforschen, so wie wir das frankobelgische Universum und das Superheldenuniversum erkundet haben. Aber ach - vergebens! Knurf (von den Dinterbrüdern) ist eine Parodie in erster Linie auf die alten Dschungelhelden à la Akim oder Tibor, aber eben doch mehr. Was die Story noch besser macht als ihre Vorgänger wie Bolf, ist die größere Geschmackssicherheit. So ätzend die Gags diesmal auch sein mögen (und speziell die Franzosen kriegen ihr Fett weg - dank Chiracq), die Hauptfigur hat ein Herzchen bekommen, und das Ganze hat bei aller Absurdität jene kultbildende Kraft der wirklichen Serien. Ja! Man möchte Knurf sein, möchte in diesem Flugzeugwrack hausen, von einer Nilpferdfamilie großgezogen worden sein... ständig Kaffeee schlürfen und Zigaretten paffen (wo zum %&§$ hat er die her, mitten im Dschungel?), möchte diese gnadenvolle Einfalt wiedergewinnen, die Knurf zum Helden macht! Die Zeichnungen sind funnymäßig gelungen und quellen über von altbekannter Absurdität in Nebengags und wechselnden Details. Ob auf dem französischen Reaktor „Tupperware“ steht oder ob die Franzosen Holzschuhe mit der Aufschrift „Herr Antje“ tragen, man muß meistens zweimal hinsehen - das erhöht den Genuß. Die Inhaltsgags sind nicht minder genial: ob man auf die „Nonnenkarawane“ warten muß, bevor man einen Dschungelpfad überqueren kann oder eine sechsarmige Stewardess als Göttin erscheint, die Stimmung stimmt, und der Leser ist der wahre Sieger bei Knurf. Blubb! Make mine Knurf! Herod
 
Zebra Sammelband (Zebra # 1 bis 3). 156 Seiten, s/w, DIN A4, 10 Mark. Zebra c/o Georg K. Berres, Giselherstraße 19, 50739 Köln.
 
„Wer zu spät kommt, den bestraft das Leben“, wie wir ja alle wissen - aber manchmal bekommen auch die zu spät Gekommenen noch eine Chance: zum Beispiel, wenn die Herausgeber von Zebra, einem der anspruchsvollsten deutschen Comicmagazine, die längst vergriffenen ersten drei Ausgaben  ihres Magazins als fetten Sammelband komplett nachdrucken und zum Dumpingpreis auf den Markt werfen. Wer jetzt nicht zugreift, dem ist nicht mehr zu helfen. hg
 
Ilsemann # 1/1996. 36 Seiten, s/w mit Farbcover, Comicbookformat, kostenlos in Hannover. Karicartoon Verlag, Fös-sestraße 12, 30451 Hannover.
 
„Noch höhere Auflage - noch mehr Fehler - geil ey!“ hat mir Verleger Manfred Ilsemann an den Heftrand gekritzelt. Die Auflage liegt jetzt bei 10 000 Stück, die Fehler sind zu vernachlässigen, finde ich. Das Magazin konzentriert sich weiter auf Funnies (was gerade für das Laufpublikum völlig okay ist), und gut sind sie meistens auch. Besonders aufgefallen ist mir Boris, der deutlich Walter Moers nacheifert. aa
 
Jim # 1 bis 3. 24 bis 28 Seiten, s/w mit farbigem Umschlag, Piccoloformat. Spaceboy c/o Frank Schmolke, Hohenzollernstraße 111, 80796 München.
 
Es gibt ja Leute, die jeden Piccolo in ihrer Sammlung haben müssen. Von „Jim“ werden die meisten von ihnen wohl nie hören (offenbar nur 49 Stück Auflage), aber damit entgeht ihnen etwas! Ungewöhnlich an diesen Bänden ist nicht nur ihre äußere Form - dickes Kunstdruckpapier und ab der zweiten Folge statt Heftklammern ein graues Gummiband, das die Seiten zusammenhält -, sondern auch der Inhalt. Frank Schmolke stellt in kurzen Szenen sieben Typen vor, die Flummi-Ute, S/M-Annette, Molli-Olli oder einfach das große Arschloch heißen. Eine bemerkenswerte Galerie der Misanthropie, grafisch dicht und überzeugend gestaltet. Nach welchen Kriterien Frank Schmolke die Piccolos verteilt, ist nicht bekannt, aber ich empfehle: Zugreifen! aa
 
M/S Sweden Titanic. 28 Seiten, s/w mit vierfarbigem Umschlag, Comicbookformat. Serietecknar Skolan, Edskevägen 18, 81330 Hofors, Schweden.
 
Das professionell gedruckte Heft enthält vier Arbeiten aus der schwedischen Comicschule, über die mir Schulleiter Mattias Gordon inzwischen einiges mitgeteilt hat. Die Schule, die erste ihrer Art in Schweden, besteht seit 1993 und hatte bisher rund 50 Schüler. In diesem Jahr sind es 18. Bewerber müssen eine Mappe einsenden und werden zu einem Gespräch eingeladen. Einige kommen von der Oberschule, andere werden von der Arbeitsvermittlung geschickt. Mattias Gordon ist freier Grafiker und hat unter anderem an den Zeichentricksequenzen des Werner-Films mitgewirkt. Etwa 50 Prozent seiner Arbeitszeit stecken inzwischen in der Schule. Neben ihm gibt es einen Vollzeit-Lehrer und etliche Gastdozenten, skandinavische Comiczeichner, darunter Max Andersson („Pixy“) und Peter Madsen („Valhalla“). In Kürze wird der Brite David Lloyd („V for Vendetta“) in Hofors einen Kurs abhalten. Wenn ich richtig verstanden habe, dauert die Ausbildung ein Jahr, wobei es im ersten Halbjahr um technische Grundlagen (des Erzählens und des Gestaltens) geht und im zweiten um größere Projekte, die möglichst in Veröffentlichungen münden sollen. Das vorliegende Heft ist ein Beispiel dafür. Es entstand im Auftrag des Roten Kreuzes, weist aber offenbar keine inhaltlichen Beschränkungen auf. Gemeinsam ist den Comics nur, daß jeder von einem Team (Texter, Zeichner, Inker) hergestellt wurde. aa
 
Blackweiß # 4. 28 Seiten, s/w, DIN A5, 2 Mark. Muh-Imperium, Postfach 1707, 96307 Kronach.
 
Wie die Stadtmagazine scheint Blackweiß in der Stadt verankert zu sein, in der es hergestellt wird. Aber trotz Anzeigen wird in diesem Fall dem Leser Geld abgeknöpft. Deshalb muß die Redaktion auch Leserbriefe wie diesen in Kauf nehmen: „Ich konnte bei keinem einzigen Comic auch nur annähernd grinsen. Und dafür auch noch zwei Mark ausgeben - nee.“ Fünf andere Briefe in der „Sprechstunde“ lesen sich jedoch positiv. Die Auflage wird mit 300 Stück angegeben. Herausragend in Blackweiß ist der Beitrag des Herausgebers Claus Schmidt, der seinen Helden auf dem Rand eines Aschenbechers skaten läßt. Lobenswert außerdem: Claus startet in dieser Ausgabe einen Zeichenkurs. Aa
 
Anja & Joy: Allerlei Merkwürdigkeiten. 32 Seiten, davon zwei vierfarbig, der Rest s/w, DIN A5, 2,50 Mark. Anja Kocker und Thorsten Schmidt, Hauptstraße 16, 32457 Porta Westfalica.
 
Ich habe ein wenig ein schlechtes Gewissen, weil ich letztes Mal über drei neue Fanzines von Anja & Joy ziemlich flüchtig hinweggegangen bin. Das lag nicht daran, daß dazu nichts zu sagen gewe-sen wäre, und ich hoffe, es ist nicht so aufgefaßt worden. Nun will ich die Scharte auswetzen, denn Anja & Joy sind rastlos weiter tätig gewesen und haben bereits einen neuen Band fertig. Darin widmen sie sich schwerpunktmäßig der ganz kleinen Form. Neben Comics aus nur einer Handvoll Panels dominieren Einzelbilder, die in Kombination mit einer kurzen Bildunterschrift skurrile Szenen erge-ben. Die Bilder könnten der überregionalen Zeitung entlehnt sein, welche die Grundierung jeder Seite abgibt. Sie werden aus ihrem Kontext gelöst und in einen neuen gestellt, und diese fiktive Geschichte wird dann wieder zu einer kurzen Bemerkung verdichtet. Ein Fall von souveränem Umgang mit der täglichen In-formationsflut - vielleicht am Ende ein Fall für Medienwissenschaftler.                                                                                        aa
 
Sigi Sparbier, der pfiffige Aushilfsbriefträger # 2. 36 Seiten, s/w mit vierfarbigem Umschlag, Piccoloformat. Comic Archiv Jürgen Metzger, Hamburger Straße 146, 90766 Fürth.
 
Diesen Hinweis muß ich leider aus der Lameng schreiben, da ich mein Exemplar an anderem Ort liegengelassen habe (ja, ja - ich hoffe, die biografischen Angaben sind korrekt). Jedenfalls hat sich Sigi im Vergleich zur Startausgabe mächtig gesteigert. Obwohl auch die zweite Folge allein aus der Feder von Hartmut Klotzbücher stammt, hat die Serie jetzt etwas von einem Jam-Comic. Sigi erlebt nicht mehr Abenteuer, sondern lustige Episoden, die wie bei einem Jam-Comic aus dem Augenblick geboren zu sein scheinen. In der Form kann aus der Reihe noch etwas werden, denn wem könnte Sigi nicht alles Post zustellen. Daß er im zweiten Band übrigens auch bei einem gewissen bärtigen Typ mit Brille vorbeikommt, der sich gerade als Modeschöpfer (!) betätigt, hat auf mein Urteil keinen Einfluß gehabt. aa
 
Vier britische Comicmagazine
 
Von London-Korrespondent Andy
 
Vier Magazine sollen hier vorgestellt werden, die sich kri-tisch mit Comics auseinandersetzen. Fans des Mainstream bedient das auflagenstarke Comics International. Hier werden Endloslisten von Super-heldenserien abgedruckt, aber auch einige Seiten für ausgefallenere Bereiche bereitgestellt. Dazu zählen die Leserbriefe, eine Kommentarspalte und kurze Besprechungen von Independents, darunter auch Fantagraphics, Slave Labor und andere. Die kurios kleinen Selbstverlagsprojekte finden sich unter der Rubrik „Small Press“. Für Kontinentaleuropäer sind zwei andere Magazine von vielleicht größerem Interesse. Zum einen Zum. Klingt ein bißchen verwirrend für deutsche Leser, aber Zum wird „Samm“ ausgesprochen wie in „Sammlung“. Das paßt sogar, denn es ist eine Riesensammlung von Kurzbesprechungen. Aber nicht bloß eine Seite Small Press Comics wie in CI, sondern ausschließlich - von vorne bis hinten. Was Zum so unentbehrlich macht, ist die kritische Haltung: Was nicht überzeugt, wird gnadenlos in die Pfanne gehauen. Und das wichtigste: Fast jede Besprechung ist begleitet von einer kompletten Comicseite (verkleinert). Wer also keinen Bock auf Kritikergelaber hat, kann stattdessen bloß die kleinen Comicseiten durchlesen. Es gibt keine bessere Methode, sich mit dem britischen Underground vertraut zu machen. Zum erscheint nicht allzu oft, aber dafür ist es ein dicker Brocken, an dem man lange zu lesen, beziehungsweise zu gucken hat. Ein noch recht neues Magazin hat ebenfalls einen irreführenden Titel: Vicious. Das bedeutet eigentlich „bösartig“, aber dieses sympathische Heft ist alles andere. Es ist vor allem ein Podium, auf dem Leser untereinander kommunizieren können. Jeder kann so viel mitreden, wie er will, und seltsamerweise ist es selten langweilig. Man muß natürlich ganz gut Englisch können und ein gewisses Interesse auch für Nicht-Frankobelgier mitbringen. Aber der Enthusiasmus im Schreibstil kann das ja erwecken. Und die im März erschienene Ausgabe eröffnet sogar mit dem Aufsatz „In Defense of Herge“. Für Unersättliche gibt es ein weiteres Magazin namens Bypass. Wie in „Zum“ sind es ausschließlich kurze Small Press-Besprechungen (über 500), aber nicht nur Comics, sondern auch Sci-Fi, Spezialkram oder eben auch Comics. Von Layout und Aufmachung her ist es am professionellsten, aber vielleicht doch mehr für Leute mit Lust auf Skurriles. Zu beziehen ist das alles über mein Postfach: Andy, PO Box 8892, London SW 15 (Großbritannien). Zum kostet 6 Mark, Vicious 5 Mark und Bypass 4 Mark. Zahlbar in deutschen Briefmarken (am liebsten mit hübschen Motiven) oder in bar.
 
Moses / Jehrum / Der Bub: Die Abenteuer vom Lieben Gott. Ca. 150 Seiten, s/w mit Farbcover, Paperback. 16,80 Mark, Lappan Verlag Oldenburg. ISBN 3-89082-597-4.
 
Über dieses Buch muß nicht viel gesagt werden. Es ent-hält Haggis Bibelgeschichten aus Au weia und PLOP. Die letzte Episode ist in dieser Ausgabe enthalten. Haggi ist im ersten Buch Moses bis zum 20. Kapitel vorgedrungen, fehlen also nur noch die restlichen 30 Kapitel, die übrigen Pentateuch-Bücher, die Bücher der frühen Propheten und die folgenden Bücher des Alten Testaments und natürlich schließlich das Neue Testament. Da bleibt ja noch einiges zu rezensieren. Spannender hätte ich gefunden, wie Haggi das Buch bei Lappan untergebracht hat. Aber er meinte, da gäbe es nicht viel zu erzählen; das ist wohl relativ reibungslos gelaufen. Probleme gibt es eher, den Band in den Buchhandlungen unterzubringen, wie ich hörte. VielIeicht sind die Buchhändler nach den Umtrieben des Staatsanwalts Hönninger vorsichtig geworden. Immerhin wird in Haggis Buch durchaus die eine oder andere unsittliche Handlung vorgenommen; in alttestamentarischen Zeiten war man da nicht so zimperlich. aa
 
Rraah! # 35. 6,90 Mark, Verlag Sackmann und Hörndl GbR, Eppendorfer Weg 67, 20259 Hamburg.
 
In der Erlangen-Ausgabe des Comic-Fachmagazins werden die Vorgeschichte des Internationalen Comic-Salons und die anderer europäischer Comicmessen be-leuchtet. Es finden sich nähere Informationen zu den Nachrichten der jüngsten Zeit: der groteske Feldzug der Meininger Staatsanwaltschaft gegen Comics unter anderem von Ralf König und die Ankündigung eines zweiten Comic-Preiskatalogs neben dem von Peter Skodzik und Hethke. Erfreulich viel Raum wird diesmal deutschen - oder besser deutschsprachigen - Comiczeichnern eingeräumt: ein Kurzporträt von Thomas Ott, eine Übersicht über deutsche Zeichner in „Schwermetall“ und eine ausführliche Würdigung von Michael Götze, einem einzigartigen Grenzgänger zwischen Profitum (führt jeden Auftrag aus) und eigenbrötlerischem Fandom (hat seine Ideen in einer Unzahl von Fanzines umgesetzt, deren bekanntestes „Voltfeder“ war). Stets in Rraah! eine erläuterte Liste der Neuerscheinungen der kommenden Monate, darunter auch die vom Zwerchfell Verlag und der Sprühenden Phantasie. aa
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 48
Besprechungen



Oliver Ferreira: Schlaraffenland. 52 Seiten, s/w mit vierfarbigem Umschlag, DIN A4-Album, Hardcover. Verlag Sprühende Phantasie, Goebenstraße 37, 32423 Minden
 
Läuterung durch Schmerz - diese Idee kommt in diesem Album nur einmal explizit vor, in der Geschichte „Strafe muß sein“, in der eine Mutter ihren kleinen Sohn immer nur durch Abwesenheit, also durch Liebesentzug bestraft, was bei ihm merkwürdige Gedanken auslöst: Wenn Mama etwas zustieße, das bedeutete dann wohl, daß er einen großen Fehler gemacht hätte. Und dabei zerdrückt er einen Käfer (bedeutsame Geste seit Will Eisner). Läuterung durch Schmerz - das ist aber zugleich ein wichtiger Schlüssel zu den hier versammelten 13 Geschichten von Oliver Ferreira (vier davon bisher unveröffentlicht), mit denen er sich endgültig als einer der interessantesten deutschen Comiczeichner zu erkennen gibt. In der Anthologie, die wohl einen Großteil seines bisherigen Werks versammelt, steckt eine gemeinsame Logik - Oliver Ferreiras eigene Gedankenwelt, was zugleich bedeutet, daß hier einer nicht irgendwelchen bewunderten Comics nachstrebt. Den Schmerz lösen immer widerliche, oft bigotte autoritäre Figuren aus. Schmerz kann den Wunsch nach Flucht auslösen, aber aus den hier gezeigten klaustrophobischen, nicht selten von irrsinnigen Naziideologien durchdrungenen Welten gibt es keinen Ausweg. Nicht nur die kaltäugigen Mächtigen verfolgen die Figuren, sondern auch vorgeblich ganz biedere Nachbarn, ein spießiger Ehemann, der plötzlich auf die Idee kommt, seine Thai-Frau auf den Strich zu schicken (der einzige, den so etwas wie die gerechte Strafe ereilt), Untergebene, die sich über ihresgleichen aufzuschwingen versuchen, und selbst Kinder, die in der Familie eine bessere Position haben als Angestellte des Geschäfts. Gibt es schließlich eine Erlösung vom Schmerz, der mutwillig gegenseitig zugefügten Qual? In der Geschichte „Die buddhistische Maschine“ findet sich ein Hinweis: Ein Fernsehapparat empfängt ein Programm sehr schlecht. Man sieht nur Schemen, „banal und ganz weit weg“. Mit Hilfsmitteln wie Alkohol könnte es vielleicht gelingen, auch die reale Welt wie dieses Fernsehprogramm zu sehen, aber dieser Versuch blieb „bislang ohne Erfolg“. In seinen Zeichnungen erweist sich Oliver Ferreira freilich als einer, der ganz genau hinsieht, der die Fratze in den Gesichtern erkennen kann und psychische Deformationen in den Verkrümmungen der Körper. Auch die Perspektiven sind immer wieder zur Kenntlichkeit verzerrt. Dabei ist sein Stil sehr realistisch. Seine zweifellos vorhandenen jugendstilartigen Manierismen helfen häufig, Bildspannung aufzubauen. Das Album ist sehr schön geworden, gut gedruckt und sorgfältig aufgebunden. Nur etwas schwereres Papier hätte es vielleicht verdient gehabt. aa
 
Unangenehm # 3. 68 Seiten, s/w mit vierfarbigem Umschlag, DIN A4, 7 Mark. Unangenehm, c/o Thomas Wittke, Kieler Straße 425, 22525 Hamburg
 
Gemeinsam ist allen Geschichten dieser Anthologie der alltägliche Umgang mit Drogen. Das ist der Ausgangspunkt für die Hamburger Designstudenten, die zum dritten Mal einen gemeinsamen Comicband herausgebracht haben. Bei den Vorgängern war allein schon die Art der Zusammenstellung interessant: Ein Teil der Leute ist geübt im Verwenden des Ausdrucksmittels Comic, bei anderen merkt man, daß sie sich eben auch mal mit diesem Medium auszudrücken versuchen. Das ergibt jedes Mal eine große Bandbreite von Stilen und Perspektiven. Zu dieser Attraktion kommt in der neuen Ausgabe der selbstverständliche Zugriff auf ein durchaus problematisches Thema. Es geht um Drogen im engeren Sinne, nicht um Sucht allgemein, nicht also um Fernsehen als Droge oder ähnliches. Drogenkonsum wird im allgemeinen nicht verurteilt, aber die zerstörerischen Folgen werden auch nicht ausgeblendet. Es wird auch nicht als cool hingestellt, Drogen zu nehmen. Jeder kann sich seinen eigenen Reim drauf machen. Der Band ist gewiß nicht als Aufklärungsbroschüre gedacht, aber sollte jemand das Bedürfnis haben, mehr über Drogen zu erfahren, bevor er sich beispielsweise einen Joint anzündet, so wäre die Anthologie nicht die schlechteste Wahl, denn hier werden die Karten ehrlich auf den Tisch gelegt. aa
 
cOMIc # 25. 40 Seiten, s/w, DIN A5. Im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Eckernförder Straße 30, 24398 Karby
 
Ein silbernes Jubiläum kann Gerd Bonau mit dieser extradicken Nummer seines liebenswerten Minus-Profit-Magazins feiern. Sein erklärter Grundsatz, alle Beiträge abzudrucken, die er zugeschickt bekommt, beschert uns diesmal hauptsächlich ganzseitige Cartoons und Illus von unterschiedlicher Qualität. Unter den Höhepunkten: Fünfmal Bernd Teubers „Machomania“. hg
 
Plattform # 2. 32 Seiten, s/w mit zweifarbigem Umschlag, DIN A5, kostenlos. Plattform, Wilhelmshafener Straße 17, 24105 Kiel oder Schöneberger Straße 83, 24148 Kiel
 
Meine etwas halbgare Besprechung der Nullnummer von Plattform bedaure ich inzwischen zutiefst, denn die Kieler haben ihren Weg unbeirrt fortgesetzt. Die # 2, die inzwischen dritte Ausgabe, wirkt schon recht überzeugend, wenngleich noch immer sehr „fannig“, wie Haggi sagen würde. Das Prinzip, Comics mit Textbeiträgen zu mischen, wird beibehalten. Die Comics kommen inzwischen auch von Manfred Lafrentz oder Anja & Joy, aber die hauseigenen Zeichner Nils, Oliver und Marco Lensch sind auch nicht schlecht. aa
 
Filmriß # 4. 52 Seiten, s/w mit vierfarbigem Umschlag, DIN A4, 8,80 Mark. Amigo Comics, über Klaus Jesinger, Stegwiesenstraße 11, 73061 Ebersbach
 
Nach wenigen Ausgaben ist es Holger Bommer gelungen, mit seinem Magazin ein bemerkenswertes Qualitätsniveau zu erreichen. Der Umschlag mit einem Bild von Martin Frei trägt die Handschrift von Andreas Mergenthaler, der zeitweise auch die ICOM-Zeitschrift professionell layoutet hat, und der Druck dieser Ausgabe ist exzellent. Das allein würde mich aber nicht überzeugen; vielmehr sind die einzelnen Beiträge fast ausnahmslos hervorragend. Herausheben möchte ich vielleicht die hintergründige Groteske „Paketkriegen“ von Stefan Dinter, ohne damit aber die Arbeiten von Conny Hahn/ Alex Winkler, Haggi, Sten & Jähde, Sten & Pasda, Jo 84, Marcus Schmidt/Jan Thüring oder Bernd Frenz/Kim Schmidt abwerten zu wollen. Holger selbst hat unter anderem zwei Geschichten seines neuen Helden Kurt beigesteuert. Mehr davon sowie Sachen von Rainer Baldermann, Ulrich Magin und Stefan Dinter finden sich in einer kleinen Cartoon-Beilage „Funny Tales“. Dieses Heftchen und Holgers ziemlich alberner Beitrag „Entensüchtig!“ sind es, die den Titel „Filmriß“ hauptsächlich rechtfertigen, bei dem ich eher an eine Bierzeitung denken würde („Filmriß? Das ist doch das, was ich nach meiner Sauftour gestern nacht hatte.“) aa
 
Holger Bommer/Klaus Jesinger/Achim H. Sauer: Ferdinand der Verführer und Edgar der Erdverbundene # 2. 56 Seiten, s/w mit vierfarbigem Umschlag, DIN A4-Album, Softcover. 14,80 Mark. Amigo Comics, über Klaus Jesinger, Stegwiesenstraße 11, 73061 Ebersbach
 
Der zweite Band ist routinierter gezeichnet als der erste; die Story bewegt sich weiter auf Clever & Smart-Niveau. Die Titelhelden bereisen diesmal auf der Suche nach dem Sinn des Lebens mehrere Kontinente und enden schließlich im Kochtopf eines Kannibalenstamms. Das liest sich insgesamt ganz nett, die vielen Gags sind naturgemäß von unterschiedlicher Güte. aa
 
 
Harald Havas: Durch die Blume gesagt. 20 Seiten, s/w mit Farbcover, DIN A5. Harald Havas, Sterngasse 11/18 A-1010 Wien
 
Mit diesem Just-for-fun-Projekt zeigt uns der Chefredakteur des österreichischen Fachmagazins „Comic Forum“, warum er nicht Comiczeichner wurde. Die Pointen seiner Cartoons reichen von „reichlich flach“ bis „ganz schön abgedreht“. Immerhin war er der einzige, der mir in Erlangen meinen Signaturwunsch „Das Wagenrennen von Ben Hur mit allen Teilnehmern und allen Zuschauern“ ohne mit der Wimper zu zucken erfüllte. hg
 
 
Panel # 16. 44 Seiten, s/w mit vierfarbigem Umschlag, DIN A4. 4 Mark. Panel e. V., Postfach 102665, 28026 Bremen
 
Ich weiß, ich gehe mit Panel etwas ungerecht um, aber ein Magazin, das aufgemacht ist wie Strapazin, aber inhaltlich nur guten Durchschnitt bietet, verdient halt eine eher verhalten begeisterte Kritik. Sehr angetan war ich von den Beiträgen von Ulf Keyenburg, die übrigen Comics sind okay. Die Textbeiträge leiden weiter unter modisch postmoderner Unlesbarkeit. Außer Rezensionen gibt’s diesmal einen Artikel über Gustav Doré und offenbar seine Verdienste um die Comickunst. Das chaotische Zauberwürfel-Layout macht die Geschichte allerdings leider - tja, unlesbar. Die nächster Ausgabe sollte man sich möglicherweise trotzdem vormerken, denn die Bremer wollen dann eine CD beilegen. Der Einzelpreis von Panel soll dann steigen, der Abopreis konstant bleiben. aa
 
 
Kim Schmidt: Der neue große Öde Sammelband. 28 Seiten s/w mit vierfarbigem Umschlag, DIN A4. Flying Kiwi Verlag, Jens Junge, Schloß Glücksburg, 24960 Glücksburg
 
Öde, die Comicfigur mit dem Snickers-Namen (siehe PLOP # 44), erscheint im Flensburger Stadtmagazin Moin Moin. Hier sind nun die Strips versammelt, die Kim seit seiner Rückkehr aus USA im April 1994 gezeichnet hat (67 an der Zahl). Klein eingeklinkt wie die Aragones-Scherze in Mad sind die Abenteuer von Pater Potter, die wir ja schon aus PLOP kennen. Häufig arbeiten nur Zeichner der zweiten und dritten Garnitur für Zeitungen und Stadtmagazine, weil da in der Regel schlecht bezahlt wird. Kim Schmidt ist da eine seltene Ausnahme (und das bezieht sich auf seine Arbeit und nicht auf seine Honorare, über deren Höhe ich nichts weiß). aa
 
Der Comic-Herold # 2. 32 Seiten, s/w, DIN A5. 2,50 Mark. Crago Verlag, Postfach 32, 97991 Creglingen
 
Auch in der zweiten Ausgabe dieses Magazins, das sich vor allem den Superhelden verschrieben hat, bildet ein älteres Werk von Andreas Alt den Schwerpunkt: „Geliebt werden“ heißt die 16seitige Fortsetzung von „Stigmata“ aus dem ersten Herold. Bodo W. Keller wandelt mit seiner Kurzgeschichte ohne Titel ganz offensichtlich auf den Spuren von Bernie Wrightson. Ein Selbstporträt des Zeichners Chris Nöth und ein kurzer Artikel über Superman runden das Heft ab. hg
 
Koma Comix # 11. 36 Seiten, s/w, DIN A5, 2,50 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
 
In Kükelühn wird weiter fröhlich gesoffen und mit Frauen rumgemacht (ein bißchen). Es ist sehr schwer, über diese sorglosen Selbsterfahrungs-Comics geistreich zu schreiben, aber sie lesen sich nach wie vor kurzweilig. aa
 
Menschenblut # 24. 40 Seiten, s/w mit vierfarbigem Umschlag, Comicbook-Format, 6,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg
 
Wieder die nötige Dosis Stoff vom Guten, in Erlangen sehr zu Recht erneut mit einem Fanzinepreis ausgezeichnet. Wer hier noch eine lange Besprechung braucht, um sich zum Kauf zu entschließen, dem ist eh’ nicht mehr zu helfen. aa
 
Graffiti! # 5. 20 Seiten, s/w, DIN A5, 2 Mark. SFFC New Worlds, Postfach 661, A- 3101 St. Pölten
 
Im fünften Teil seiner Graffiti!-Reihe beschäftigt sich Milan Knezevic mit dem Thema Tod. Er versucht, sich seinem Thema von ganz unterschiedlichen Seiten zu nähern - mal mit der Comic-Adaption einer der typischen „Legenden von heute“, die in der einen oder anderen Form immer wieder als „wirklich passiert“ erzählt werden oder auf den „bunten Seiten“ verschiedener Zeitungen auftauchen; mal mit schwarzhumorigen Funnies, über deren Geschmackssicherheit sich streiten läßt, und schließlich mit der Bearbeitung einer Kurzgeschichte von Philip K. Dick. hg
 
Molatsch # 1. 96 Seiten, s/w mit gelbem Umschlag, DIN A5. 2 Mark plus 2 Mark Porto. Molatsch, Essig Mederake, Töpfergasse 1, 06188 Landsberg
 
Ein Punk-Fanzine aus Sachsen - das ist zunächst mal nicht so ungewöhnlich. Schon zu DDR-Zeiten hat es zum Beispiel Underground-Cassettenlabels gegeben; wenngleich die Bedingungen natürlich ungleich schwieriger waren als im Westen. Die Molatsch-Macher verarbeiten gleich in ihrer ersten Ausgabe eine Fülle von Material. Der Comix-Anteil (alles von Zack) beträgt etwa zehn Prozent. Außerdem gibt es vier Seiten Comic-Rezensionen und einen allgemeinen Fanzine-Führer. Neben Bandinterviews (mit den Toasters) und Konzertberichten (Wizo, Lassie Singers) bringen die Sachsen auch viele ernsthafte oder lustige Betrachtungen zum Thema Rechtsradikalismus oder Nachwendezeit. Alles absolut lesenswert, insbesondere auch für uns Wessis, die wir sicher noch eine Menge über ostdeutsche Befindlichkeit zu lernen haben. aa
 
Todtenhauser Party Special. 76 Seiten, s/w, handgeklebt, DIN A5. Jo Guhde, Goebenstraße 37, 32423 Minden
 
Diese Party fand schon im April 1995 statt. Nun hat sich Jo Guhde endlich aufgerafft zu erledigen, was Stephen Janke eigentlich tun wollte, nämlich die zeichnerischen Ergüsse der Teilnehmer zu einem Partyheft zusammenzufassen. Aber keine Vorwürfe an Stephen - immerhin war er damals der freundliche Gastgeber. Gäste in Minden waren Alexander Pavlenko, Kim Schmidt, Maura, Matthias Langer, Michael Groenewald, Hartmut Klotzbücher, Rainer Baldermann, Tilo Göbel, Holger Bommer, Nicole Tiemann, Norbert Busch, Holger Krückemeyer, Jan Holm, Joy (ohne Anja), Bernd Frenz, Martin Jurgeit und Eckhard Schneider. Sie waren alle ziemlich aktiv, und die running gags drehten sich diesmal besonders um Jos Nase. Das Party Special (mit herausgegeben auch von Leviathan in Love) ist vermutlich nur unter den Partygästen verteilt worden, aber vielleicht könnt ihr bei Jo noch ein Exemplar bekommen - vorausgesetzt, ihr macht keine Scherze über seine Nase. aa
 
Mixer. # A. 52 Seiten, s/w mit farbigem Umschlag mit zweifarbigem Siebdruck, DIN A5. 6 Mark. Edition Mixer, c/o Hannes Schaidreiter, Pezzlgasse 6/16, A-1170 Wien
 
Dieses neue Fanzine kommt aus Österreich, wo sich eine Handvoll Comic-Newcomer zusammengetan und gleich - eigentlich typisch deutsch - einen Verein gegründet haben. Von einigen der beteiligten ZeichnerInnen und -Außen gibt es parallel dazu auch Einzelpublikationen, so daß sich der Mixer als Reader zum Antesten hervorragend anbietet. hg
 
Eine Kuh und mehr. 24 Seiten, s/w mit blauem Umschlag und Buntstiftcolorierung, DIN A5. Bezugsadresse wie oben („Mixer“) oder: Leopold Maurer, Hauptstraße 8, A-2454 Trautmann
 
Eine der oben erwähnten Einzelpublikationen aus der Mixer-Werkstatt. Zwei Freunde erhalten den Auftrag, ein Auto nach Italien zu überführen. Was ihnen unterwegs an Banalem und Obstrusem widerfährt, erzählt Leopold Maurer in einem herrlich skurrilen Strich. Einfach schön und von Eurem Rezensenten wärmstens empfohlen. hg
 
Markus Grolik: Böse kleine Welt. 52 Seiten, s/w mit vierfarbigem Umschlag, DIN A4-Album, Softcover, 12,80 Mark. Totenkopf Verlag, Stefan Riedl, Warthestraße 16, 81927 München
 
Kinder sind nicht nur süß, sondern häufig genug auch kleine Monster. Vorläufig ohne eigenen familiären Background bin ich dieser Erkenntnis erstmals auf Randy Newmans LP „Little Criminals“ (in „Short People“) begegnet. Markus Groliks Geschichten passen fast alle in diesen Zusammenhang; allzu böse sind sie allerdings nicht. Markus Grolik mag kleine Gemeinheiten. Würde mich nicht wundern, wenn er in der Schule gern seinen Kameraden die Jackenärmel verknotet hat (oder sie ihm verknotet wurden). Wird das böse Spiel ernster, dann läßt er die Geschichte elegant ins Phantastische hinübergleiten, wie etwa in „Sport ist Mord“, wo er einen sadistischen Sportlehrer auf acht Zentimeter Größe zusammenschrumpfen und ihn dann ein ‘Wettrennen gegen eine Kreuzspinne und seine Carrera-Rennautos laufen läßt („eine echte Kämpfernatur... gibt nie auf... kann einfach nicht verlieren“). Markus Groliks Zeichenstil geht bei flüchtigem Hinsehen in die düstere Munoz-Richtung. Entsprechend dem eher heiteren Grundton seiner Stories liegt jedoch die Stärke der Zeichnungen ebenfalls in der treffenden, ein bißchen gemeinen Karikatur. Ein sehr unterhaltsames, gutgemachtes Album. aa
 
Zettelmeiers Känguruh Cartoons. 20 Seiten, s/w mit rotem Umschlag, DIN A5. Zettelmeier, Habsburgerring 63b, 32425 Minden
 
16 Gags nur über Känguruhs - hat da einer eine überraschende, neue Comicfigur entwickelt? Bisher ist das noch nicht abzusehen, denn Zettelmeier, ein weiterer Mindener Zeichner, den ich aber bisher nicht kannte, beschränkt sich in seinem Band zunächst auf Naheliegendes: Känguruhs können gut hüpfen, haben einen großen Beutel, können boxen, und wenn sie einen Rüssel tragen, dann sind sie vermutlich verkleidet. Gezeichnet sind die Cartoons nicht schlecht (abgesehen von zu viel Schraffur); vielleicht wird ja noch etwas aus der Reihe. aa
 
Olaf Bathke: Everybody gives her a hard time. 8 Seiten, s/w, DIN A5. Olaf Bathke, Festungsstraße 4, 25832 Tönning
 
Viel zu sagen wäre über dieses Heftchen eigentlich nicht. Aber das Format, das Olaf gerade in der Szene populär macht, ist interessant. Acht Seiten eignen sich hervorragend für einen Schnellschuß. So kann man eben mal ein paar Ideen an ein paar Leute versenden. Olaf hat in dieser Art einen Korrespondenzcomic mit Herod gemacht (immer abwechselnd eine Fortsetzung), und jetzt mache ich sowas mit Herod... Zur Nachahmung empfohlen. aa
 
Alfred Bekker Magazin # 10. 12 Seiten, s/w, DIN A4. Alfred Bekker, Heilgenberg 88, 58540 Meinerzhagen-Windebruch
 
Wer hätte das gedacht: Neal Chadwick, Leslie Garber, Robert Gruber, Jack Raymond, Frank Larsen - hinter all diesen Namen verbirgt sich ein und dieselbe Person - Alfred Bekker (sicher ein weiteres Pseudonym). Scherz beiseite: Die Pseudonyme verwendet Alfred Bekker für Groschenromane unter anderem bei Bastei. Etwa 40 hat er nach eigenen Angaben inzwischen veröffentlicht. In seinem eigenen Magazin bevorzugt er die ganz kurze Form - um die 2000 Worte. Sieben Stories sind in diesem Band enthalten. Hier enthüllt sich kein verborgenes Schriftstellertalent, aber ein leidenschaftlicher Erzähler allemal. Der Kontakt zu PLOP war so etwas wie ein Mißverständnis, aber Alfred Bekker hätte nichts dagegen, wenn jemand seine Geschichten zu Comics verarbeiten möchte. aa
 
Moga Mobo # 11 und 12. Je 16 Seiten, s/w mit vierfarbigem Umschlag (# 12 plus farbiges A2-Poster), DIN A4, kostenlos in und um Stuttgart. Bostel Productions, Am Römerkastell 19, 70376 Stuttgart
 
Das Cover der elften Ausgabe des Stuttgarter Gratis-Comicmagazins ziert das Konterfei der Hauptgewinnerin der großen Moga Mobo-Schnitzeljagd aus # 10 - in stilechtem Bravo-Layout, komplett mit eingeklinkten Fotos von Rock- und Popgruppen wie „Mogadeath“ (voll evil, ey!), den „Mogay Moboys“ oder den „wahren Kellys“ (allesamt rekrutiert aus der Zeichnerschaft). Innen gibt’s unter anderem den Zweiseiter, mit dem Markus Rapka den Comicwettbewerb der Tübinger Aids-Hilfe gewann, sowie ein Miniheft zum Selberbasteln von Christoph Badoux aus der Schweiz (jawohl, MM hat seine Seiten jetzt auch für Nicht-Stuttgarter Zeichner geöffnet). Mit der # 12 gibt König Titus von Moga-Mobo seinen Abschied als Chefredakteur und stellt dabei mit den Comics „Stereo“ und „Porto Luna“ sowie der Coverillustration und einem Poster seine Vielseitigkeit unter Beweis. Außerdem geben die ICOM-Independent-Preisträger Markus Grolik und Stefan Dinter Gastspiele in dieser Ausgabe. hg
 
Zitty Comic # 2: Er hat gut landen. 100 Seiten, s/w mit Vierfarbumschlag, DIN A4. 6 Mark. Zitty-Verlag GmbH, Tempelhofer Ufer 1a, 10961 Berlin (Kreuzberg)
 
Zitty ist ein Berliner Stadtmagazin mit einem Faible für Comics. Hier wurde schon früh ein Sammelband mit Comics von Phil (Tägert) veröffentlicht, neulich auch einer mit Sachen von Freimut Wössner, und Sonderbände wie den vorliegenden macht man auch gern mal. Alle Beiträge - Comics, Cartoons, Collagen, Satiren - drehen sich um das Thema „Unsere Nachbarn im All“ (na gut, unsereins, der zum Raumflug aufbricht oder einfach fasziniert in den Nachthimmel starrt, kommt auch vor). Das Reservoir an guten Comiczeichnern und Cartoonisten in Berlin ist ganz beachtlich. Dafür, daß sie es ausschöpfen, gebührt Kriki und Kollegen trotzdem Anerkennung, denn neben etablierten Leuten wie Tom, Wössner, Kiefersauer (auch Mezieres ist drin) drucken sie auch viele Arbeiten aus der Fanszene. Daß sie das bewußt tun, davon zeugt eine Liste empfehlenswerter Fanzines am Ende („Blick in den geheimnisvollen Kosmos“), wo der Bogen von Strapazin bis Omi geschlagen wird. Anderen kioskfähigen Publikationen - mit vermutlich weit geringere Auflage als Zitty - würde man eine ähnliche Aufgeschlossenheit wünschen. aa
 
Bernd Stein: Hamburg City-Blues. 60 Seiten, vierfarbig, Softcover DIN A4-Album, 14,80 Mark, Screen Line, Große Elbstraße 146, 22767 Hamburg
 
Bernd Stein hatte schon immer den Big City Blues. Als ich ihn vor zehn Jahren kennenlernte, hatte er dazu einen ziemlich nichtsnutzigen, gitarrespielenden Bluesbären an der Hand. 1993 schickte ihn das „große Strichmännchen“ zur Redaktionskonferenz von „Hinz & Kunzt“, der Hamburger Obdachlosenzeitschrift, von der gerade die erste Ausgabe erschienen war. Und Bernd erkannte, daß Obdachlose die ideaIen Protagonisten seiner Blues-Geschichten sind. So begannen Sven Hinz und Ollie Kunz (und die Möwe Henning) ihr Comic-Dasein, und Bernd liefert seitdem monatlich einen ein- bis dreiseitigen farbigen Comic aus dem Milieu. Das Heft wird nicht nur von Obdachlosen verkauft (damit sind sie in der Lage, ihren Lebensunterhalt selbst zu verdienen), sondern enthält auch Beiträge von ihnen. Ebenso spinnt sich Bernd seine Geschichten nicht selbst zusammen, vielmehr bieten sie einen authentischen Einblick in ihr alltägliches Leben. Eindeutig Bernds Handschrift ist dagegen die heiter-melancholische Stimmung der Stories. Hier wird für eine uns fremde Lebensweise Verständnis erzeugt; meist schauen wir ja weg oder machen uns so unsere ziemlich irrigen Gedanken über „Penner“. aa
 
Wenn der Glöckner auch noch singt...
 
Victor Hugos „Glöckner von Notre Dame“ hätte wohl kaum einer für eine brauchbare Vorlage für einen Familienfilm gehalten, obgleich der Stoff ja schon mehrmals erfolgreich verfilmt wurde. Den Japanern hätte man das ja vielleicht noch zugetraut, aber Disney, dem Garanten für Niedlichkeit? Mutig, mutig... Das Resultat ist durchaus interessant: Der Glöckner wird als deformierter Jugendlicher dargestellt, naiv und stark, ein wenig auch an den alten Hulk erinnernd. Er lebt einsam im Glockenturm von Notre Dame, wo ihn der strenge, brutale Richter Frollo erzieht, durch dessen Schuld Quasimodos Mutter zu Tode kam. Aus Einsamkeit unterhält er sich mit den Steinfiguren der Kathedrale, die - disneygerecht - prompt als lebendig dargestellt werden und die typischen lustigen Nebenfiguren abgeben. Zwei davon heißen auch noch Hugo und Victor - get it? Niedliche Idee, vor allem ihre Fortbewe-gungsart ist drollig, und die Kinder in der Vorstellung, die ich besuchte, mochten sie sehr. Davon abgesehen ist die Story erstaunlich ernst und originalgetreu. Frollo will die Stadt von Zigeunern „säubern“, obwohl er sich zur schönen Esmeralda auch hingezogen fühlt. Er gibt dem Captain den entsprechenden Auftrag, und ein Gewirr von Flucht und Rettung folgt. Der Captain hat ein gutes Herz und erhält den Prinzenpart (oder die Prinzenrolle?) in der Geschichte und auch das Mädchen. Der Böse wird bestraft (mehr verrate ich nicht). Und Quasimodo der Glöckner findet zumindest etwas Anerkennung. Das Ganze erinnert in der Inszenierung sowohl an „Die Schöne und das Biest“ als auch an „Pocahontas“. Die Figuren sind unterschiedlich gut gelöst, von den Super-Steinmonstern über den etwas verzerrten, aber überzeugend sympathischen Quasimodo und den beeindruckend streng-düsteren Frollo bis zur manchmal etwas entgleitenden Esmeralda, die in einer Tanzszene als einzige Figur Airbrushcolorierung erhält, was merkwürdig wirkt, und dem recht hölzernen Captain Phoebus, der manchmal im Vergleich zu den anderen besser animierten Figuren wirkt wie ein Flüchtling aus einem He-Man-Film. Die Musik schien mir etwas altbacken, aber da ist man seit „König der Löwen“ halt recht verwöhnt. Die Farben kommen gut. Grafisch beeindruckt vor allem die Kathedrale, die Festszenen und die Verfolgungsjagden über Treppen, durch Gänge und enge mittelalterliche Höfe. Inhaltlich hinterläßt das Ganze ein merkwürdiges Gefühl. Tragisch und komisch, erwachsen und doch verzuckert wirkt der Film etwas unentschieden. Es ist immerhin neu, daß Disneyritter mit siedendem Blei hantieren und daß eine Art Rassenthematik in einem solchen Werk kritisch verarbeitet wird. Auch wirkt Quasimodo als menschlicher Außenseiter viel wirklicher als etwa das Biest aus dem früheren Film „Beauty and the Beast“. Herod vergibt zweieinhalb Sterne und eine Tüte Popcorn.
 




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 49
Besprechungen



Johann Wolfgang Goethe / Falk Nordmann: Faust # 1. Ca. 180 Seiten, s/w mit zwifarbigem Umschlag, Hardcoveralbum. 58 Mark. Edition B & K.
 
Schon im Vorwort geht Herausgeber Joachim Kaps darauf ein, ob es tatsächlich sein muß, Goethes „Faust“ noch einmal für den Comic zu adaptieren, obwohl er schon in so vielen verschiedenen Bearbeitungen in allen nur möglichen Medien vorliegt. Er kommt zu dem Urteil: In diesem speziellen Fall ja. Ich kann ihm da nur beipflichten. Während fast alle Bearbeitungen darauf aus sind, die Geschichte des Faust in die Moderne zu übertragen, entschloß sich Falk Nordmann, den Originaltext Goethes beizubehalten und nur zu illustrieren. Vielleicht ist ein besserer Ausdruck: die Zeichnungen in den Text einzubinden. Das Ergebnis ist oftmals so ausdrucksstark, daß man sich fragt, welches Element zuerst da war. Die Zeichnungen reißen den Text oft an sich und integrieren ihn ins Artwork. Überhaupt hat sich Falk Nordmann entschlossen, seine zeichnerische Stärke erst im Laufe des Albums preiszugeben. Zu den ersten Worten Goethes zeichnet er noch gar nicht, sondern krakelt Strichstudien neben den Text. Aus dieser Kakophonie des Striches entwickelt sich dann langsam das Artwork, das über viele verschiedene Stile immer besser wird. Dabei befinden wir uns erst in Band 1, denn das Projekt zur gleichnamigen Ausstellung, die 1996 in Erlangen zu sehen war, umfaßt zwei Bücher. Textlich dürfte „Faust“ wohl allen ein Begriff sein. Nur-Comicleser könnten vielleicht Schwierigkeiten mit dem Verständnis des altertümlichen Satzbaus haben. Für alle anderen dürfte es auch nicht leicht sein, den Band in einem Zug durchzulesen. Offen gesagt halte ich das für schier unmöglich. Immerhin hat man schwere Literatur vor sich. Die komplexe Umsetzung verleitet einen aber dazu, den Band immer wieder zur Hand zu nehmen, was letztendlich den hohen Preis rechtfertigt. Denn billig ist die ganze Sache nicht gerade. Dafür kann man aber an der Aufmachung nicht meckern. Ausführliche Einleitung und Skizzen  runden den ersten Teil der Handlung ab. Goethe, der ja dafür bekannt war, (die Vorläufer der) Comics zu mögen, hätte an die-sem experimentellen Werk sicher seine Freude gehabt. jo
 
Frohe Weihnachten. 32 Seiten, s/w, DIN A5, 3 Mark plus 1,50 Mark Porto. Thorsten Schmidt, Hauptstraße 16, 32457 Porta Westfalica
 
13 Menschen haben sich in Wort und Bild Gedanken zum Thema Weihnachten gemacht. Dementsprechend abwechslungsreich ist das Heft ausgefallen. Vertreten sind unter anderem Jo 84, Oliver Ferreira, der allgegenwärtige Bat und natürlich Anja & Joy. Die einzelnen Beiträge variieren inhaltlich zwischen niedlich und zynisch. Tendenziell wird mit dem Thema aber eher kritisch umgegangen. Schön zu wissen, daß die Anzahl der Weihnachtshasser unter den Comiczeichnern dominiert. ml
 
Ultranett. MZ-WI-Comic-Sampler. 112 Seiten s/w mit Farbumschlag, 21 x 21 cm, Softcoveralbum. Offsetdruckerei Gegendruck, Scharnhorststraße 9, 65195 Wiesbaden
 
Christina Zerbe, Robert Cerny, Hendrik Doss, Marcus Rössler, Jürgen Reuss, Marco Bottari, Dirk Scheffler, Inox Kapell, Jürgen Ehlers und Volker Tolksdorff sind an dieser Anthologie beteiligt, die Gegendruck in An-lehnung ans Musikgeschäft Sampler nennt. Die Beiträge lassen sich kaum unter einen Hut bringen. Gemeinsam ist ihnen wohl nur, daß die Macher aus dem Rhein-Main-Raum kommen (nicht nur aus Mainz und Wiesbaden, sondern zumindest auch aus Frankfurt, soweit ich die Leute kenne). Bemerkenswert erscheint mir, daß sich die meisten Künstler dem ungewöhnlichen quadratischen Format anpassen. Nur der längere Comic „Cut“ von Marcus Rössler, ein angestrengter Noir-Thriller, und die Comics von Robert Cerny sind ursprünglich auf DIN-Format produziert. Ausfälle gibt es in „Ultranett“ keine; trotzdem werden dem Leser vermutlich nicht alle Beiträge gleichermaßen gefallen. Als Querschnitt durch das Schaffen von zehn Zeichnern ist der Band allemal interessant. aa
 
Schlund # 1. 24 Seiten, s/w, DIN A4, 3 Mark. Christian Godorr, Hinterer Brühl 8, 31134 Hildesheim oder Quamby Hill, Anton-Grebe-Straße 4, 31139 Hildesheim (Vertrieb)
 
Bei passender Gelegenheit weise ich immer wieder gern darauf hin, daß die Fanzineszene völlig unübersichtlich ist. Das gilt auch für die vergleichsweise kleine Comicszene. Die Zusendung von „Schlund“ - die Macher setzen bisweilen das L in Klammern - bestätigt das wieder einmal. Die neun Mitarbeiter, die teils aus Hildesheim, teils aber auch aus Karlsruhe oder Erkrath kommen, sind mir ausnahmslos unbekannt. Ein paar Namen: Steffen Gumpert, Kristina Köhler, Thomas Zielinski, Rüdiger Hahn, Till Geiger, Yvonne H. Schmidt. Es gibt auch einen Rezensionsteil, in dem eigenartigerweise Magazine aus Großbritannien und Finnland besprochen werden, zu denen das Schlund-Team Kontakt zu haben scheint. Da tut sich also offenbar eine ganz neue eigene Szene auf. Schlund # 1 möchte gern unbekannten Zeichnern eine Veröffentlichungsmöglichkeit bieten. Es scheint mir kein ausgesprochenes Erstlingswerk zu sein, denn wenn auch die Qualität der Bei-träge schwankt, ist der Band doch solide zusammengestellt und gut gedruckt. Bin auf weitere Ausgaben sehr gespannt. aa
 
Die Schweinevogel-Show # 1 und 2. Je 32 Seiten, s/w mit Farbumschlag, Comicbookformat, 7,90 Mark. Extrem Erfolgreich Enterprises, c/o Basement, Schulstraße 10, 04109 Leipzig
 
Schwarwel ist wieder da! Der ostdeutsche Zeichner, an dessen Comics man in den letzten Jahren nur durch Abstecher nach Berlin oder Leipzig kommen konnte (die Rede ist hier von den legendären Housers-Comics), meldet sich endlich mit einem etwas größeren Projekt zurück. Diesmal dürfte zumindest finanziell nichts schiefgehen, den hinter dem Verlag steht kein anderer als „Oberarzt“ Bela B., und Farin Urlaub fungiert als Lektor. Inhaltlich dürfte auch nichts schiefgehen, denn Schwarwels Comics sind zeichnerisch wie textlich über jede Kritik erhaben. Er produziert deutsche Undergrund-Comics, und was sich zunächst wie ein Widerspruch anhört (Undergroundzeichner sind nämlich meiner Meinung nach nicht dasselbe wie Fan- oder Amateurzeichner), wird beim eigenen Lesen plausibel. Der eigene Strich setzt eine Story um, die man eigentlich „schwarwelesk“ nennen muß. Frei übersetzt bedeutet das, es geht drunter und drüber, ist völlig abgedreht, entbehrt jeder Logik genau wie jedem physikalischen Gesetz, aber nicht jedem Witz. Schweinevogel bringt uns alleine durch die abstrusen Situationen zum Lachen, in die er gerät. Eigentlich will er sich nur eine Pizza machen. Aber irgendwas geht schief, und er schwebt plötzlich auf einem Felsbrocken im Nichts, trifft ein bärtiges Baby und soll plötzlich die Welt retten. Wie’s weitergeht, müßt Ihr schon selbst lesen. Wenn Euch der hohe Preis nicht abschreckt. jo
 
Uuthuus. 52 Seiten, s/w. Ralf Leismann, Am Fischerhof 2, 59368 Werne
 
Von Roman Turowskis „Uuthuus“ liegt mir nur das Skript vor, welches mittlerweile aber auch als Heft erschienen sein müßte. Um ehrlich zu sein: Das Werk hinterläßt bei mir einen ziemlich zwiespältigen Eindruck. Unbestritten ist Roman zeichnerisch ein großes Talent, wenn er sich Zeit läßt und sich die Mühe macht, die Seiten vernünftig auszuarbeiten. Dies ist bei Comics, im Gegensatz zu seinen ganzseitigen Illustrationen, nicht immer der Fall. Manchmal schludert er, und dann erscheinen die Menschen anatomisch wie Zwerge, und der Leser ärgert sich, weil er genau weiß, daß Roman es eigentlich besser könnte. Schöne ganzseitige Illustrationen gibt’s ungefähr ein halbes Dutzend im Heft, während der Rest der Geschichte irgendwie erscheint, als wäre sie um diese herumkonstruiert. Die Erzählung wirkt unausgegoren, sprunghaft und teilweise recht zusammenhanglos. Ich muß zugeben, daß ich Schwierigkeiten hatte, der Story zu folgen. Roman sollte sich beim nächsten Projekt die Zeit nehmen, die Geschichte richtig aufzubauen. Wahrscheinlich klingt das jetzt alles viel schlechter, als das Heft ist. Uuthuus hat durchaus große Momente. Der gewollt düstere Charakter des Hefts kommt zum Beispiel sehr gut zur Geltung, und einige der Zeichnungen sind echt klasse. Und das kann man längst nicht bei jedem Fanzine behaupten. jo
 
Heikes Läspen Comics # 4. 24 Seiten, s/w mit rotem, handcoloriertem Umschlag, DIN A6, 2,50 Mark plus 2 Mark Porto. Heike Anacker, Rheydter Straße 100, 41065 Mönchengladbach
 
Auch für Nicht-Läspen, sogar für Männer ist das kleine Heft le-senswert. Die Seiten sind gefüllt mit Comics und Cartoons, die, obwohl überwiegend von Strichfrauchen bevölkert, erstaunlich dynamisch sind. Aus Fotos und Versandhauskatalogschnipseln läßt Heike ebenfalls Comics entstehen. Genial auch der Gastbeitrag von Dirk Tonn. Prima Heft, leider viel zu schnell zuende. ml
 
Crowers # 4. 44 Seiten, DIN A5 / Super Lumpi, 32 Seiten, DIN A5, jeweils mit verstärktem Umschlag. Markus Witzel, Torstraße 190, 10115 Berlin
 
Mawil, so der Künstlername von Markus Witzel, war mir schon in Epidermophytie # 1 positiv aufgefallen. Da ihn dieses Projekt nicht auszulasten scheint, schiebt er noch zwei Egozines, die nur Material von ihm enthalten, nach. Crowers # 4 ist schon etwas älter und enthält Kurzgeschichten mit vielen guten Pointen aus dem Bereich Bullen und Underground. Der Zeichenstil ist bereits recht eigenständig und frei von anatomischen Mängeln. Super Lumpi stellt trotzdem eine zeichnerische Weiterentwicklung dar, auch wenn mir persönlich die Verwendung von Graustufen nicht so zusagt. Was ein Lumpi ist, solltet ihr selbst durch den Kauf eines Hefts herausfinden. Es scheint jedenfalls eine Menge Autobiografisches von Mawil selbst einzufließen. jo
 
Fido el Odif / Mark Paterson: Cobble. 20 Seiten, s/w, mit verstärktem Umschlag, DIN A5. Mark Paterson, Josefstraße 102, 8005 Zürich/Schweiz
 
Brandneu flattert mir ein Heft ins Haus, das man zwar schnell durchgelesen hat, dessen Grafik einen aber in den Bann zieht. Die Rede ist von „Cobble“, das drei Kurzgeschichten beinhaltet, die Mark Paterson gezeichnet hat. Der Texter dürfte Michael Fröhlich sein, der zumindest die erste, schon in „Sprühende Phantasie“ vorveröffentlichte Geschichte entworfen hat. Marks Grafik, wirkt hier im DIN A5-Format allerdings wesentlich ausgereifter und steigert sich dazu noch von Story zu Story. Insgesamt hat das Heft nur den Fehler, daß man mehr sehen will. jo
 
Zeitlupe # 26. 36 Seiten, s/w mit Farbcover, DIN A5. 3 Mark. Tim Böhm, Ludwigshafener Straße 21 D, 76187 Karlsruhe
 
Dieses liebevoll gemachte Fanzine aus Baden erhält seinen unverwechselbaren Charakter immer mehr durch das Ambiente der 50er Jahre, die für Oma und Berta, Tims Protagonistinnen, vermutlich die besten Jahre waren. Tim Böhm plündert mit wachsender Begeisterung Zeitungen oder Zeitschriften aus dem Mittelalter des 20. Jahrhunderts, verfremdet Werbung und versieht Fotos mit neuen Bildunterschriften. Zudem bedient er sich einer exquisiten Mitarbeitercrew: Hartmut Klotzbücher, Thomas Harske, Bernd Hartnagel, Gabor Racsmany, Pit Eberle, Ulrich Magin, Anja & Joy, Karsten Schley, Benjamin Brandt, Bernd Teuber und Alwina Götz, die alle wie er der kurzen, humorigen Form huldigen. Großes Lesevergnügen. aa
 
Hunt # 8. 56 Seiten, s/w mit Farbcover, Comicbookformat, 5 Mark. James Hunt, Hochstraße 74, CH-4053 Basel
 
Die neue Ausgabe ist seltsamer denn je. Man versteht die Anspielungen weniger (sofern es überhaupt welche sind), und die Absurdität fasziniert nicht mehr so aus sich selbst heraus. Dann gibt es aber auch einige Musikkritiken, die ganz ernst gemeint zu sein scheinen und von Sachkenntnis zeugen. Highlight dieser Ausgabe: Oliver Ferreiras Comic „Ist echt passiert“. Die Comics gefallen mir diesmal generell besser als der Rest des Programms; Titel und Künstler kann ich leider nicht nennen, da Hunt wenig Wert auf ein Inhaltsverzeichnis legt. aa
 
Menschenblut # 25. 52 Seiten, s/w mit Farb-umschlag, Comicbookformat, 8,80 Mark. Eisenfresser Comix, Postfach 1141, 36100 Petersberg
 
Hinter einem indizierungsverdächtigen Cover von Steff Murschetz verbirgt sich wieder mal eine starke Nummer, wie immer in letzter Zeit. Es erfreut die Leser, die schon von Anfang an dabei sind, zu sehen, daß die alte eingeschworene Crew von damals immer noch existiert. BiMi, Robi und Klapper eröffnen das Heft, dann folgt wie immer der Höhepunkt von Mille Möller, und Geier bringt eine Geschichte von 1984 zuende, die noch in seinem „alten“ Zeichenstil gehalten ist, der mir sehr viel besser gefällt als der von „Lena Wombat“. Stefan Atzenhofer steuert die Zeichnungen zu einer märchenähnlichen Story von Rochus Hahn bei. Neben Alex McCarthy gefiel mir aber am besten die Arbeit des Neueinsteigers Frank Schmolke, der als Tuscher von Mille Möller noch bessere Qualität erzielt als bisher gewohnt. Ein Abo von Menschenblut ist nach wie vor für Leute, die sich etwas ernster für Comics interessieren, einfach Pflicht. jo
 
Strapazin # 45. 84 Seiten, davon 20 in Farbe, DIN A4, 10 DM. Meiler-Verlag, Gollierstraße 18, 80339 München
 
Ebenfalls Pflichtkauf ist das Art-Magazin Strapazin, das als eines der wenigen Magazine auf dem Markt Trends setzt statt ihnen hinterherzujagen. Der größte Teil des Hefts ist diesmal dem artverwandten Magazin Boxer gewidmet, das leider nach der Nummer 4 eingestellt werden mußte. Nun erscheint das Material der ursprünglichen Nummer 5 als Mittelteil des Hefts mit den Zeichnern Martin tom Dieck, Cossu, Anke Feuchtenberger, Guido Sieber, Markus Huber, Atak, Thomas Ott, Alberto Breccia und einigen etwas unbekannteren Künstlern. Wie immer bietet das durch einen schönen redaktionellen Teil ergänzte Heft sowohl einige wenige Krakelcomics von völlig überschätzten Möchtegernkünstlern als auch viele hervorragende Arbeiten, die die Möglichkeiten des Genres aufzeigen. Besonders einfallsreich der Beitrag Otts, der eine Hinrichtung nur durch das Zeigen von Händen darstellt. Keine volle Punktzahl, aber 80 bis 90 Prozent verdient Strapazin immer. jo
 
Lustige Geschichten. Comics aus den unheilen Tiefen der Seele. 36 Seiten, s/w mit Farbcover, DIN A5, 6 Franken. Eisenfresser Comics, Postfach 1141, 36094 Petersberg
 
Vorsicht: Mit dem besten Comic aus dem Band wirbt Bilder-Micky in „Menschenblut“. Wer die Geschichte des pickeligen Jungen kennt, der seiner großbusigen Freundin „hinterher“ mal so richtig die Meinung sagen will, hat also schon das Beste gelesen. Aber auch Entwarnung: Der Rest wie etwa die spritzige Geschichte von Herrn Strebsam, Egons große Liebe oder Superboys Flegeljahre sind nicht viel schlechter. Das Heft ist im vergangenen Herbst in Zürich erschienen. Über die Macher ist nichts Näheres zu erfahren. Aber hier lebt der Underground. aa
 
Epidermophytie (in Wort und Bild) # 2. 32 Seiten, DIN A4, s/w, 3 Mark. Contra Medienwerkstatt, Hufelandstraße 19, 10407 Berlin
 
Die „Pilzkrankheit der Haut“ # 2 erscheint fast ein Jahr nach der Debütnummer und hat sich stark verbessert. Markus Witzel und eine Freunde, deren Namen schwierig zu bestimmen sind, bieten Comics in schon recht ausgereiftem Zeichenstil. Leider stehen die meisten Texte hinter den Zeichnungen etwas zurück. Nur Preacher hat einen guten, konsequenten Text zu bieten und Mawil eine zwar nicht neue, aber gut umgesetzte Idee. Usis Comic über die Problematik der Schwarzen ist leider viel zu kurz und effekthascherisch aufgebaut, um einen Denkanstoß zu bieten. Dennoch hat mir das Heft insgesamt gefallen. Die Gastzeichner Oliver Busch und Anja & Joy bieten sogar noch recht witzige Sachen. Was mich vor allem stört, ist das Fehlen einer Inhaltsangabe, um auf die Reihe zu bekommen, welcher Beitrag von wem ist. Aber solche Sachen stören meistens nur mich. jo
 
Herod: Wock # 7. 12 Seiten, s/w, DIN A5. Andreas Alt, Waldschulstraße 92, 65933 Frankfurt/Main.
 
Daß Herod auf die zeichnerische Seite seiner Comics nicht so viel Wert legt, ist hinlänglich bekannt. Daß er die Serie abwechselnd mit PLOP-Herausgeber Andreas Alt textet und zeichnet, ist zumindest für die Comic-Chroniken interessant. Damit hört’s für mich leider aber fast schon auf. Die vier Kopien, die Herod zusammentackert und nun Fanzine nennt, beinhalten zirka drei Ideen, vielleicht sind’s auch mehr, aber falls die Schrift nicht genau am Seitenrand untergebracht ist, wo kein Kopierer der Welt sie noch erfassen kann, ist sie so hastig geschrieben, daß sie meine Lesefreude arg trübt. Verstanden habe ich von der Story gar nichts, aber das ist ja eine der drei Ideen des Hefts. Was erwarte ich auch? Schließlich fehlt mir ja auch Wock # 500! Unentbehrlich, um sich im Wock-Universum auszukennen. Nein, mal im Ernst: Herod tobt sich aus. Das sei ihm erlaubt. Aber ich muß anmerken, verstehen kann das keiner. Das sei mir erlaubt. jo
 
Ulf Keyenburg: Klein. Ich verzeih dir noch mal. 12 Seiten, farbig, CD-Format. Liegt der CD bei; gibt’s auch kostenlos in manchen Comicläden
 
Klein, eine Newcomerband mit deutschen Texten, zieht ihren (gar nicht so sonderlichen) Erfolg aus Provokation und geschicktem Management. Letzterem ist wohl die Strategie zu verdanken, Songtexte der Band von dem Comiczeichner Ulf Keyenburg in Szene setzen zu lassen, um sie über kleine Comicgeschenke interessanter zu machen. Ulf macht seine Sache sehr gut. Die nied-lichen Figürchen, die in knallfarbiger Kulisse greuliche Taten begehen, sehen aus, als würde Klaus Cornfield plötzlich auf Dorgathen machen. Das einheitliche Comickonzept gefällt mir wesentlich besser als die Gruppe selbst. jo
 
Illustrated World War 3 # 24. 96 Seiten, s/w mit Farbcover, Comicbookformat, 6 Mark plus Versand/Nachnahme bei Drugstore Records, Postfach 130264, 20102 Hamburg
 
World War 3 kommt aus Amerika und setzt da an, wo der amerikanische Traum aufhört. Jedes Heft ist einem Schwerpunktthema zugeordnet. Die # 24 beschäftigt sich mit dem Thema „Prison“. Die Beiträge, viele Comics, aber auch illustrierte Texte (zum Beispiel von Mumia Abu Jamal), bieten eine stilistische Vielfalt, die kaum zu übertreffen ist. Holzschnittartige Illustrationen, Graffiti-Art, Aquarell, abstrakt oder realistisch, einfühlsam, wütend, zynisch, distanziert oder betroffen - die Art der Darstellung ist so unterschiedlich wie die Betrachtungsweise. 20 Beiträge beziehen Stellung zu ei-nem Thema, das unbequem ist. Text, Bild und Layout bilden eine Einheit. Die Beiträge sind von hoher Qualität (unter anderem von Eric Drooker und Peter Kuper). WW 3 verschafft einen repräsentativen Einblick in die Underground-Szene Amerikas. Geniales Heft. Der Preis lohnt sich. ml
 
Kreativo! # 17 und 18. 28 Seiten, s/w, DIN A5. 1 Mark plus 1,50 Mark Porto. Kreativo Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
 
Kreativo ist, wie mittlerweile jeder wissen sollte, kein reines Comicfanzine, sondern ein kruder Mix aus Artikeln, Interviews, Tourdates, Zeichnungen, Gedichten, Briefen usw. Herausgeberin Birke integriert aber Leser(-briefe und -meinungen) so sehr ins Heft, daß es einem bald ans Herz wächst. Auch Freunde des Visuellen kommen teilweise auf ihre Kosten. So gibt es in # 17 hervorragendes Material von Ghost, Birkes Bruder Cat Künstling, Jo84 und Karikaturist Roger, in # 18 von Michael Möbus, und in beiden Heften kommen Andreas Alt, Bat und Anja & Joy zu Wort. jo
 
Koma Komix # 12 und 13. 40 Seiten, s/w, DIN A5 mit Farbcover, 2,50 Mark plus 1 Mark Porto. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
 
Hinter einem Cover in bester EC-Tradition verbergen sich Storys um die weltbekannten, vielgerühmten Glubbröder, eine Bande postpubertierender Dörfler männlichen Geschlechts, deren Freizeitgestaltung sich auf das Konsumieren von Alkoholika (am liebsten aus Dosen und von Feinkost Albrecht) beschränkt. Die Zeichnungen sind eher schnell heruntergezeichnet, Authentizität der Handlung dominiert vor Ästhetik der Zeichnungen. Textperlen wie „Deine Fresse ist voll roter Punkte“, „Gomm her, du geiles Teil“ und „Ja, gib’s mir“ runden Koma Komix zu dem Gesamtkunstwerk ab, das es ist. Bringt Spaß als Klolektüre - 100 Punkte. ml
 
Björn. Presley. 48 bzw. 32 Seiten, s/w mit Farbcover, Comicbookformat. SerieTecknarskolan, Edskevägen 18, 81330 Hofors (Schweden).
 
Die schwedische Comicschule, von der wir schon in den vorangegangenen Ausgaben berichtet haben, ist unverändert aktiv. Die beiden Ausgaben dürften wieder die Arbeit eines Studentenjahrgangs beinhalten. Während auch ein des Schwedischen nicht mächtiger Leser unschwer bemerkt, daß es sich bei „Presley“ (Untertitel: Comics for the King) um Hommagen an einen Rock’n’Roll-Pionier aus Tupelo/Mississippi handelt, läßt sich der rote Faden bei „Björn“ nicht so leicht entdecken. Die Protagonisten der zehn Geschichten könnten aber etwas miteinander zu tun haben, da sie auf dem Innencover gemeinsam vorgestellt werden. Nicht alle Zeichner bieten technisch Überdurchschnittliches. Ebenso fällt aber auf, daß sich nur wenige an bekannten Vorbildern orientieren. Der Druck der beiden Hefte ist wieder einmal makellos. aa
 
Uwe Timm / Isabel Kreitz: Die Entdeckung der Currywurst. 48 Seiten, s/w mit vierfarbigem Umschlag, Softcoveralbum, 16,90 Mark. Carlsen Comics.
 
Zwölf Jahre ist es her, daß der Erzähler dieses Albums zum letzten Mal eine Currywurst am Stand von Frau Brücker aß. Die Bude ist längst geschlossen und Frau Brücker verschwunden. Dabei war es doch Frau Brücker, die die Currywurst überhaupt erfunden hatte, oder? Auf seinen Nachforschungen spürt er Lena Brücker in einem Altersheim auf. Statt jedoch ihr kulinarisches Geheimnis zu lüften, beginnt die weit über 80jährige eine Geschichte zu erzählen, die zurückführt in das Kriegsjahr 1945. Isabel Kreitz legt hier ein eigentlich recht unspektakuläres Comicalbum nach einem Roman von Uwe Timm vor, das einen trotzdem in seinen Bann zieht. Action sucht man hier vergeblich, dafür findet man Anekdoten, Allgemeinbildung, Geschichtchen aus der Zeit des Kriegsendes. Viele wird das wohl nicht interessieren, aber es muß ja nicht immer ein Ballercomic sein. jo
 
cOMIc # 26 bis 28. 28 Seiten, s/w mit rosa, gelbem, bzw. blauem Umschlag. Im Tausch gegen Beiträge oder andere Fanzines bei Gerd Bonau, Kieler Chaussee 35, 24214 Kiel
 
Omi # 26 vereinigt mit drei längeren Geschichten völlig unterschiedliche Zeichen- und Erzählstile. Britta Loose erzählt in sehr kontrastreichen Bildern, bei denen Schwarz sehr flächig eingesetzt wird, die Geschichte eines außer Kontrolle geratenen Computerprogramms. Manfred Lafrentz steuert in gewohnt ruhigen Bildern eine Geschichte bei, die der buddhistischen Mythologie entstammt. Bat schließlich nimmt einen Badeausflug zum Anlaß, Pantera zu entblößen. Die # 27 ist eher fun-nig geraten. 24 Mitwirkende teilen sich das Heft. Nils legt mit „Schleimiges Fruchtfleisch“ ein gelungenes Debüt hin. Herausragend die Beiträge von Oliver Ferreira und Benjamin Brandt, der herrlich widerlich zeichnen kann. Gerade kam noch die neue Omi (# 28) durch die Post. Jürgen Scheftlein präsentiert mit „Sandwich“ einen gelungenen Lösungsansatz bei Generationskonflikten. Weiter vertreten sind Manfred Lafrentz, Jo84, Bat, Ulrich Magin und viele andere. ml
 
Stefan Greßler / R. Habrik: Scheronimo # 1. 32  Seiten, s/w mit handcoloriertem Cover, DIN A5
 
Zwei Maschinenbaustudenten haben sich zusammengetan, um einen Comic zu publizieren. Herausgekommen ist eher eine kleine Sammlung von Cartoons, die, wie der Titel verrät, im Indianermilieu spielen. Die 13 Gags werden zwar mit Vorliebe über zwei Seiten hinweg entwickelt, ließen sich aber ebensogut in einem Strip, teils sogar in einem einzigen Bild ausdrücken. Die Zeichnungen sind mir zu ungelenk und zu wenig schwungvoll, aber keineswegs anfängerhaft. Der Witz in den Episoden gefällt mir eindeutig besser. Zum Bei-spiel der des Indianers, der in eine Bank kommt, vor der Kasse umständlich ein Lagerfeuer entzündet und dem Kassierer schließlich per Rauchzeichen zu verstehen gibt, daß er es hier mit einem Überfall zu tun hat. In dieser Art gelingt es den Autoren häufig, aus Indianerklischees etwas Neues zu machen. Nur knapper müssen sie werden. Ich hoffe, daß es ihnen in # 2 gelingt, auf dem gleichen Platz 20 Gags unterzubringen, und dann 40 und so weiter. aa
 
Der Comic-Herold # 3. 28 Seiten, s/w,  DIN A5, 2,50 Mark. Crago-Verlag, Postfach 32, 97991 Creglingen
 
Etliche Magazine sind wieder mal auf den letzten Drük-ker reingekommen - auch dieses Superheldenfanzine. Eigentlich hätte ich ja gern jemand anderen rezensieren lassen, denn wie in den vorangegangenen Ausgaben bestreitet ein Beitrag von mir rund ein Drittel des Hefts. Zu „Geliebt werden“, Teil 2, kann ich selbst nur anmerken, daß es schwierig ist, an einen zehn Jahre alten Comic anzuknüpfen. Trotzdem wollte ich die Geschichte ordentlich zuende erzählen, und so sind die letzten vier Seiten aus dem Original von 1986 hier noch einmal auf zehn Seiten wiedergegeben. So richtig mit Feuereifer bei der Sache ist Roman Turowski mit seinem eher in guter Horrortradition stehenden Comic „Überladen“, der haarsträubenden Geschichte eines bodybuildenden Fließbandarbeiters, der Opfer eines abscheulichen wissenschaftlichen Experiments wird. Damir Hamidovic steuert eine zweiseitige Episode aus dem Leben des „Windkönigs“ bei; inhaltlich ist das belanglos (trotz zweier Autoren), aber der eigenständige Zeichenstil von Damir schält sich immer besser heraus. Abgerundet wird das Heft durch einen kleinen Artikel über Manbat, Nachrichten aus dem Superheldenbereich, Rezensionen und Leserbriefe. Der Comic-Herold fällt erneut durch ein sehr gutes Cover von Uwe Rebe auf (diesmal Rocketeer), und Abonnenten erhalten zusammen mit diesem Heft eine „Windkönig“-Trading Card. aa
 
Moga Mobo # 13. 28 Seiten, teils farbig, DIN A4, gratis. Bostel Productions, Am Römerkastell 19, 70376 Stuttgart
 
Moga Mobo läutet die nächste Runde ein um die Professionalität der Umsonst-Magazine. Das Magazin, das bisher in einer Auflage von 15 000 Exemplaren in und um Stuttgart erscheint, verdoppelt mit der vorliegenden Nummer seine Auflage und kooperiert mit der Crew des Wiener Comichefts „Mixer“. Aufgestockt durch einen Farbteil, bietet das Heft viele kurze Comics meist alter Bekannter wie Haggi, Nicolas Mahler, Markus Grolik, Haimo Kinzler, Heinz Wolf, Nina Dietrich und andere. Das sind natürlich Namen, die für Qualität sprechen. Sicher ist schon allein textlich einem Umsonst-Projekt eine Grenze gesetzt, die nur ein bestimmtes Niveau zuläßt. In diesem Rahmen löst Moga Mobo das Problem aber sehr gut. Sicher das momentan beste Gratisheft in diesen unseren Landen. jo
 
Wieselflink # 5. 32 Seiten, s/w, DIN A5, gratis. A. Hahn + N. Preilowski Verlag GbR, Rübenhofstraße 2 A, 22335 Hamburg
 
Mit einer angeblichen Auflage von 45 000 Exemplaren, die an 525 Orten im Norden Deutschlands erhältlich sein sollen, beansprucht Wieselflink für sich, das größte deutsche Comicmagazin zu sein. Kim Schmidt, Karsten Schley, Lutz Mathesdorf sowie Anja & Joy dürften die bekanntesten Zeichner des Hefts sein, die meist mit mehr als einem Beitrag enthalten sind. Abgesehen davon, daß das Heft kaum abwechslungsreich wirkt, legt es auch den Verdacht nahe, daß man Schwierigkeiten mit der Organisation weiterer Zeichner hat. Schade, aber mehr als ganz nett ist das Heft bisher nicht. jo
 
b 5 # 3 und 4. Je 32 Seiten, DIN A5, s/w mit Farb-umschlag, gratis. Comics für Göttingen e. V., Postfach 1529, 37005 Göttingen
 
Es ist immer schön, wenn man ein kleines Heftchen geschenkt bekommt. So richtig empfehlenswert ist das Umsonst-Magazin aus Göttingen aber eigentlich nicht. Textlich irgendwo zwischen recht seicht, belanglos und ganz witzig, ist zeichnerisch der Großteil des Hefts lei-der noch im unteren Fanbereich anzusiedeln. Nur Harald Fischer, Dirk Tonn, Pilar Garcia, Jesko Friedrich und Holger Bommer fallen (auf zwei Hefte verteilt) positiv auf. b 5 sollten sich konzeptionell auch Nicht-Göttingern mehr öffnen, sonst geht das Projekt bald baden. jo
 
Plattform # 3. 28 Seiten plus farbiges Mitelseitenposter, s/w, DIN A5, kostenlos. Plattform, Wilhelmshafener Straße 17, 24105 Kiel oder Wiedenkamp 6, 24107 Quarnbeck
 
„Die Plattform entsteht irgendwo zwischen unseren An-sprüchen und den Grenzen, die uns durch unser  (Nicht-)Können und durch das individuelle Chaos eines jeden gesetzt werden.“ Dieses Zitat aus dem Vorwort von Marco Lensch finde ich sehr treffend und darüber hinaus sehr schön. Die Kieler sind von ihrem Konzept der Mischung von Comics und Literatur noch immer kein Iota abgewichen. Wieder gibt es im Heft eine Menge Gedichte und auch wieder eine Geschichte von Silke Schenck, eine gut beschriebene Szene vom Flohmarkt, die allerdings mit der Furcht vor dem Fremden spekuliert. Die Comics von Manfred Lafrentz, Andy, Bat, Nils Fuhrmann und anderen sind überwiegend eine wirkliche Lesefreude. Das noch nicht ausreichend von Anzeigen finanzierte Magazin hält mich weiter neugierig. aa
 
Fettnäpfchen # 1. 36 Seiten, s/w mit Farbumschlag, Comicbookformat, kostenlos. Thomas Mönnich, Okerring 42, 38300 Wolfenbüttel
 
Der Gründungsboom von Gratis-Stadtmagazinen geht weiter. Die Wolfenbütteler haben sich am erfolgreichen Ilsemann aus Hannover orientiert. Drucktechnisch können sie Ilsemann bereits das Wasser reichen. Und auch die Zeichnercrew ist hochkarätig: unter anderem Bernd Natke, Karsten Weyershausen, Lutz Mathesdorf und Karl-Heinz Wasmus. Die Herausgeber sind Ulrich und Rainer Böder sowie Thomas Mönnich. Der Titel des Magazins soll andeuten, daß man sich in die Lokalpolitik einmischen will; dazu sind freilich erst zarte Ansätze zu erkennen (Forderung nach Probenräumen für Nachwuchsbands). aa
 
The Kainsmal # 5. 36 Seiten, s/w mit zweifarbigem Cover, DIN A4, 5 Mark. Ollo Keßler, Keplerstraße 1, 35390 Gießen
 
So kann’s gehen: Ein Redakteur mußte nach Mallorca - promovieren; zwei kauften sich einen Sack voll Waffen, um einen superreichen Schnösel entführen zu können, der aber inzwischen von anderen Leuten entführt wurde; einer hatte Pech mit einer Rettichkalkschwammzuchtfarm in Kasachstan. Daraufhin mußte der Verkaufspreis des Gießener Stadtmagazins leicht von null auf fünf Mark angehoben werden, um das verlorene Geld wieder reinzuholen. So steht es im Vorwort. Im neuen Kainsmal gibt es noch ungefähr zweieinhalb Seiten verkaufte Werbung, nachdem es anfangs als werbefinanziertes Magazin ganz gut funktioniert hatte. Das Heft ist zweifellos volksnaher geworden: weniger Mystik und Fantasy und mehr Gags. Ob es sich allerdings durch den Verkaufspreis tragen kann, der etwa dem des „Focus“ entspricht, muß man abwarten. aa
 
Comicer # 46. 24 Seiten, s/w, DIN A4, 2 DM. Comica, Stiftstraße 39, 60313 Frankfurt/M
 
Der Comicer wird vom Comica Comic Shop, Frankfurt, herausgegeben und kostenlos an die Kunden verteilt, bzw. gegen Portokosten verschickt. Da erwartet man nicht viel mehr als ein Werbeblättchen, das den Verkauf der im Hause erhältlichen Produkte unterstützt. Sicherlich ist auch dies eine der Motivationen zur Herausgabe des Comicer. Aber der Comicer ist mehr. Er füllt die Lücke zwischen Werbeblatt und Fachmagazin, und das tut er gut. Obwohl mir gar nicht so recht danach war, habe ich das Heft von vorne bis hinten gelesen und war positiv überrascht. Den Hauptteil machen sicher die Rezensionen und News über Neuerscheinungen in den Bereichen Comics und Film aus, die objektiv und angenehm wenig verkaufsheischend verfaßt sind. Überhaupt wird man nicht nur über käufliche Neuerscheinungen informiert, sondern auch über Termine, Tratsch, Trends und Meinungen. Ergänzt wird das Ganze durch Artikel, diesmal über Erlangen ‘96 und Haimo Kinzler, und sogar eine Fanzineseite. Man sieht, daß die Macher des Hefts noch hinter den Comics stehen, wirklich Spaß am Medium und eigene Meinungen über Neuerscheinungen haben. Leider ist das lange nicht bei allen Comichändlern der Fall. Sehr empfehlenswertes Magazin. jo
 
P.L.G. # 31. 84 Seiten, s/w mit Farbteil, DIN A4-Album. 60 FF. P.L.G., BP 94, 92123 Montrouge Cedex, France
 
Wie machen die Franzosen das bloß immer? Irgendwie vollbringen sie (verglichen mit dem deutschen Fanmarkt) künstlerische und drucktechnische Wunder. Andreas schickt mir hier ein Magazin, das wirklich edel aufgemacht ist. Schön dick, farbiger Glanzumschlag, Comics von sehr ausgereiften Zeichnern, von denen man aber noch nie etwas gehört hat, und ein großartiger redaktioneller Teil. Nennen tut sich das Ganze dann „Fanzine“, sieht aber eher aus wie ein Carlsen-Album für 29,80 Mark. Herausgegeben wird P.L.G. von der „Vereinigung zur Förderung junger Comicautoren“. Die mir vorliegende Ausgabe erschien schon im Oktober 1995 und wurde (finanziell?) unterstützt vom Centre National du Livre. P.L.G. erscheint mittlerweile nur noch jährlich in einer Auflage von 1500 Exemplaren. Für diese an der Aufmachung gemessen erstaunlich kleine Auflage gibt sich die Vereinigung wirklich Mühe. Im Blickpunkt steht diesmal der Zeichner Jano (ältere Comicfans erinnern sich vielleicht noch an „Keba die Ratte“) mit einem Farbteil, Interview und aufwendiger Comicografie. Im hinteren Teil des Hefts werden dann mal eben 120 Fanzines rezensiert (davon über 30 nicht aus Frankreich), 20 Alben oder der Rantanplan-Zeichner Yves Gotz interviewt. Das wahre Bonbon sind aber die zwölf völlig unbekannten Zeichner, die das Heft füllen. Alle besitzen einen ausgereiften, perfekten Strich. Würden einige von ihnen aus Deutschland kommen, würden sie sicher hochgejubelt werden. Erzählerisch sind einige der Geschichten sehr stark interpretierbar. Am besten gefiel mir der Zweiseiter „Wonder Rene“ von Francois Ayrolles, der zeichnerisch stark an Nicolas de Crecy erinnert und das haarsträubende Leben eines Menschen schildert, das nur als mehr als bewegt zu bezeichnen ist. Im Grunde genommen ist P.L.G. perfekt und ein Grund, nach Frankreich zu ziehen, aber man kann ein Abo für vier Ausgaben ja auch von hier aus für 200 FF bekommen. jo
 
Fandom Observer # 91. 22 Seiten, s/w, DIN A4. 3,50 Mark. Martin Kempf, Märkerstraße 27, 63755 Alzenau
 
Eine Klammer für die gesamte Amateur- und Fanpresse in Form eines kompetenten Sekundärmagazins - so wünschenswert das wäre, so etwas gibt es leider nicht. Aber es gibt zumindest den Fandom Observer. In der jüngsten Ausgabe werden etwa 30 Fanzines rezensiert; 58 Neuerscheinungen hat die Redaktion insgesamt seit Erscheinen der vorangegangenen Ausgabe registriert (der FO erscheint monatlich). Eingeteilt sind die Besprechungen in die Bereiche SF/Fantasy/Horror, Comic und „Mischmasch“ (das sind im wesentlichen Musik-, Literatur- und Egozines). Hinzu kommen Buch- und Filmkritiken und Nachrichten insbesondere aus der SF-Szene. Sicher leidet der FO darunter, daß die meisten Leute im Fandom völlig damit zufrieden sind, ab und zu ihr Magazin herauszubringen, und sich nicht für die Aktivitäten von anderen interessieren; die Auflage liegt laut Angaben vom Juli 1996 bei nur 125 Exemplaren. aa
 
Kim Schmidt / Peter Bursch: Gib mal’n A. 48 Seiten, Farbalbum, vierfarbiger Pappumschlag, 19,80 Mark. Achterbahn Verlag
 
Jeder, der schon mal eine Gitarre in der Hand hatte, hat schon mal etwas von ihm gehört, vom Gitarrenlehrer der Nation Peter Bursch. Nun will Peter auch in Comics sein Wissen weitervermitteln und schrieb deshalb ein Comicalbum, das von dem Flensburger Zeichner Kim Schmidt als Auftragsarbeit umgesetzt wurde. Ungerechterweise ist Kim wesentlich unbekannter als Peter, aber vielleicht ändert sich das ja mit dieser Zusammenarbeit. Um es vorweg zunehmen, lernen kann man aus diesem Album nichts, höchstens drei Griffe. Man kann deshalb darüber streiten, ob das Album Peters Intention gerecht wird. Aber Kim Schmidts Grafik überzeugt ohne Abstriche, und lustig ist das Album allemal. Wer sich also ohne große Erwartungen einfach nur mal von ei-nem Album unterhalten lassen will, liegt hier goldrichtig. jo
 
Art Attack # 5. 48 Seiten, s/w, DIN A4. Angi Henn, Felchesgasse 40, 64291 Darmstadt
 
Wieder eine ungewöhnliche Mischung aus Comics und Musikartikeln. Angi Henn bemüht sich konsequent, beiden Elementen in ihrem Magazin etwa gleiches Gewicht zu geben. Wieder mal aber erscheinen mir einige der Artikel weitaus lohnender als das Artwork, so ein langer Bericht über eine Reise zu einem großen Punkrock-Treffen in Blackpool, ein Interview mit der Band KGB oder die Vorstellung des Berliner Medienzentrums Contra (siehe auch die Besprechung von „Epidemophytie“). Unter den Comicbeiträgen ragen die von Oli ver Ferreira heraus, die wohl nicht unbeabsichtigt quasi wie ein Mittelseitenposter herausgenommen werden können. Im übrigen sind unter anderem Jens Natter, Olaf Bathke, Andreas Endres, Karsten Schley und Angi Henn mit Comics vertreten. Ich würde mir noch mehr Integration von Comics und Punk wünschen, aber die Szene gibt’s eben offenbar nicht her. aa
 
Mollatsch. Punk und Comix # 2. 88 Seiten, s/w, DIN A5, 2 Mark. Essig Mederake, Töpfergasse 1, 06188 Landsberg
 
Das Besondere an dem Punk-Fanzine sind nicht so sehr die Comics, sondern die Verarbeitung unserer neuen deutschen Wirklichkeit nach der Wende aus spezifisch ostdeutscher Sicht. Als Lieblingsthema der Sachsen kristallisieren sich deutlich die Chaostage in Hannover heraus; die möchten sie gern vor dem Sturz in die Bedeutungslosigkeit retten. „Wie soll das alles nur 1997 werden?“ fragt sich ein Schreiber besorgt. „Wer fährt schon nach Hannover, wenn dort die Bullen ihre eigenen Chaostage feiern?“ Gut ist Mollatsch, wenn mit westlicher Kultur ostisch-respektlos abgerechnet wird, etwa mit einer Studienreise der Jungen Union nach Rumänien (Originalton: „Die Paßformalitäten erinnerten mich ein wenig an die Grenzkontrollen zu DDR-Zeiten. Was gehen denn diese Leute unsere Aufenthaltsorte und der Grund unserer Reise an?“) oder den doofsten Fernseh-Werbespots („Tötet Onkel Dittmeyer!“) oder mit dem DDR-Alltag („Mein kleines Knasttagebuch“). Unbedingt lesenswert sind auch eingestreute Betrachtungen am Rande. Der Rest sind Platten- und Fanzinerezensionen, Konzertberichte und Comics. Nein, nicht ganz: Beigelegt ist der Ausgabe  eine „Jugendschutz-Uhr“ des Bayerischen Landesjugendamts - „kultig“, meint Mollatsch; vielleicht trifft dieses Attribut bald auch auf das Magazin selbst zu. aa
 
Matthias Merkelbach: Manado. Schaum. Erzählungen. 24 bzw. 20 Seiten, DIN A 5. Matthias Merkelbach, Blücherstraße 55, 10961 Berlin
 
Der 34jährige Berliner Autor versendet in dieser Form Proben seines Schaffens an Verlage. Beide mir vorliegenden Erzählungen lesen sich zunächst mal nicht ganz leicht. Obwohl linear angelegt, erscheinen sie wegen der komplexen Fülle von Beschreibungen bruchstückhaft. Die Bruchstücke setzen sich erst bei mehrmaligem oder sorgfältigem Lesen zusammen. Die Erzählungen entfalten sich in sehr unterschiedlichen Milieus. „Manado“ spielt im „Kiez“ einer westdeutschen Großstadt, vermutlich Köln, mit ihren Jugendgangs und Kleinganoven. „Schaum“ handelt von einem Schauspielschüler und einem jungen Journalisten in Berlin. Nachdem die Erzählungen sich in scheinbaren Abschweifungen dahingeschlängelt haben, runden sie sich dann doch in einem traditionellen Short Story-Clou, was sie zu einem ganz eigentümlichen Leseerlebnis macht. Matthias Merkelbach hat mir mitgeteilt, daß er an der FU Berlin Philosophie und Germanistik studiert hat und seit 1991 Literatur veröffentlicht. Mal sehen, ob wir von ihm noch mehr hören werden. aa
 
Alfred Bekker: Golem # 36, 41 und 44. Alfred Bekker Magazin # 11 und Sonderheft # 1. 4 bis 8 Seiten, DIN A4. Alfred Bekker, Heilgenberg 88, 58540 Meinerzhagen-Windebruch
 
Der fleißige Pulpautor, den ich in PLOP # 48 schon vorgestellt habe, hat mit einer Lieferung einiger seiner selbst fabrizierten Kurzgeschichtensammlungen seine enorme Produktivität unterstrichen. Alfred Bekkers Storys eigenen sich bestimmt auch zu Comicbearbeitungen. Wer nach Material sucht, kann sich vertrauensvoll an ihn wenden. aa
 
Britta van den Boom: Hüte Dich vor Hexenringen und andere Geschichten. Fantastic Stories Sonderausgabe # 3.     48 Seiten, s/w, DIN A5. 3 Mark. Edition Fantastic Stories, Dirk van den Boom, Rinkerodeweg 28, 48163 Münster.
 
Die Sonderausgaben in der Edition Fantastic Stories legen den Schwerpunkt auf Prosa. Britta van den Boom, uns schon bekannt durch das Comicalbum „Sonnenwind“ legt hier sechs Fantasy- und eine Science Fiction-Story vor. Der Tonfall erinnert teilweise sehr an die klassischen Grimm-Märchen. Nichts für Kinder freilich - hier geht es um Begegnungen mit dem Magischen und Wunderbaren. Der Band ist mit acht schönen Illustrationen von Irene Salzmann versehen. Aa
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 50
Besprechungen



Axel Blotevogel / Marianne Wesche: Etels Welt. 44 Seiten, Farbkopien (!), 19.90 Mark. Axel Blotevogel, Schulstraße 35, 32427 Hille/Unterlübbe
 
Aus Minden kommen zwei Newcomer, von denen selbst ich als Mindener noch nie gehört habe. „Etels Welt“ ist tatsächlich eine sonderbare Welt, eine eigene, unerklärliche Welt. Ähnlich wie Schuiten und Peeters in ihren Städtezyklen entwerfen Axel und Marianne eine Welt, die weder physikalischen Gesetzen nach noch vom Aufbau oder Charakter her mit unsere eigenen Welt vergleichbar ist. Die gesamte Handlung spielt in der Wohnung Etels und in der Straße, in der diese sich befindet. Diese beiden Orte sind aber anders miteinander verbunden, als wir es so gewohnt sind. Durch Etels Badezimmerspiegel und Fernseher ist ein gegenseitiger Kontakt möglich. Die Lage spitzt sich zu, als Etels perfekte Klospülung eine seismische Störung hervorruft, die ein Dimensionsloch freilegt, welches Etel erstmals einen Blick auf die sagenumwobene Außenwelt erlaubt. Die Handlungsebenen treffen aufeinander, abstruse Geschehnisse nehmen ihren Lauf. Die Story ist eher depressiv und alptraumhaft. Aber auch der Humor kommt nicht zu kurz. Vor allem Fernsehwerbung und Konsumverhalten werden des öfteren auf die Schippe genommen. Die seltsamen Farben (lauter Blau-, Grau- und Violettöne, dafür fehlen Geld und Rot gänzlich) vermitteln eine kalte und unwirtliche Welt. Die mehr als komplizierte Handlung ist beim ersten Lesen kaum zu bewältigen. Bei wiederholtem Konsum erschließt sich Etels perfekt durchkonstruierte Welt dem Leser jedoch langsam. Axel und Marianne legen hier ihr Debüt vor, das für diese Verhältnisse gleich ein Meisterwerk ist. jo
 
Koma Komix # 14 und 15. 36 bzw. 40 Seiten, s/w, DIN A5 mit Farbcover, 2,50 Mark plus 1 Mark Porto. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
 
Die Jungs aus Kükelühn (ich wollte doch immer schon mal nachsehen, wo dieser denkwürdige Ort liegt) werden immer besser. „Koma Comix“ hat jetzt eine klare Heftstruktur - vorne die Hauptstory mit Quevis und Knülle, dann ein etwas experimenteller, mehr oder weniger komischer Füller, hinten eine Fortsetzungssaga, die locker an Marvels klassischen „Thor“ angelehnt ist. Die Leute wissen also jetzt, was sie wollen, und haben auch endlich die angemessene Form dafür gefunden. Quevis’ und Knülles Spielautomat-Bergung in Koma # 14 hat wirklich Comedy-Qualitäten, und der Party-Report in # 15 kommt jedenfalls schön chaotisch. „Jassis cooler Tag“, einer der Füller, ist zumindest gut beobachtet. Die Thor-Parodie fällt dagegen etwas ab, mindert aber den Unterhaltungswert kaum. Ästheten muß man vor der ziemlich siffigen Grafik warnen; mich hat die aber noch nie gestört. aa
 
Unangenehm # 4. 78 Seiten DIN A4, Farbumschlag, 7 Mark. Thomas Wittke, Kieler Straße 425, 22525 Hamburg
 
Unangenehm ist ein Hamburger Comicmagazin, hinter dem die Künstlergruppe „313“ (eine Reminiszenz an Donald Ducks Autokennzeichen) steht, die sich größtenteils aus Studenten des Fachbereichs Gestaltung der FH Hamburg zusammensetzt. Das Konzept des Heftes gibt immer ein Oberthema vor, zu dem die Künstler dann ihre Comics erstellen, die bunt gemischt aus dem Funnybereich kommen, ernster Natur, autobiografisch angehaucht oder völlig frei erfunden sind. Heft 4 bildet den Abschluß der Sex, Drugs + Rock’n’Roll-Trilogie, und zwar mit dem Oberthema Sex. Es geht allerdings eher um das breite Feld der Sexualität und nur vereinzelt um den Geschlechtsakt selbst. Fast 20 Zeichner beiderlei Geschlechts machen sich Gedanken zum Thema, und das Ergebnis ist wie immer sehr empfehlenswert. Die meisten Künstler gehen das Thema erstaunlich sensibel an und auch das Durchschnittsniveau der Zeichnungen liegt erwartungsgemäß (Gestaltungs-FH) sehr hoch. Ich denke, was man in einem Fanzine erreichen kann, erreicht Unangenehm eher als jedes andere Heft dieses Landes. jo
 
Rainer Baldermann: Tu doch was, du Arsch! 60 Seiten, s/w mit Farbcover und festem Rücken, DIN A5. 12 Mark. Verlag Sprühende Phantasie, Goebenstraße 37, 32423 Minden
 
Baldermann zeichnet krakelig, verzichtet auf Hintergründe, Schraffur und guten Geschmack. Getuscht wird eigentlich kaum und das Bildformat wird ignoriert. Die kleinen Geschichten und Cartoons sind zynisch, obszön und manchmal einfach nur böse. Baldermanns Humor ist brutal, zeigt die häßlichen Seiten der Menschen, und political correctness dient dem Autor höchstens als etwas, über das man sich hinwegsetzen sollte. Wer die Absurdität von Rattelschneck mag und über Reisers „Schweinepriester“ lachen kann, dem wird auch „Tu doch was, du Arsch!“ gefallenJede Epoche bekommt den Humor, den sie verdient hat. ml
 
Die Schweinevogel-Show # 3 bis 5. Je 32 Seiten, s/w mit Farbumschlag, Comicbookformat, 7,90 Mark. Extrem Erfolgreich Enterprises, c/o Basement, Schulstraße 10, 04109 Leipzig
 
Nach dem Fall der Mauer und der Wiedervereinigung geisterten Zeichnungen eines Typen namens Schwarwel in den westdeutschen Fanzines herum; Magazine wie „Orgasm Death Gimmick“ oder „Messitsch“ entstanden unter seiner Schirmherrschaft und gingen auch leider wieder ein. Nur die Insiderszene um Berlin oder Leipzig durfte sich ab und zu einmal auf ein kleines Heftchen („Housers“-Zyklus) freuen. Nun ist Schwarwel mit mächtiger Verstärkung wieder da, und anscheinend wollen es alle verdammt noch mal wissen. Für das Heft „Schweinevogel-Show“ (Schweinevogel ist eine schon etwas ältere Figur von Schwarwel) wurde extra der neue Verlag „Extrem erfolgreich Enterprises“ gegründet, hinter dem sich niemand anders als einer der berühmtesten Doktoren Europas, Bela B., verbirgt. Schwarwel ist einer der wenigen deutschen Zeichner, die keine Fan- oder Amateurcomics, sondern Undergroundcomics im wahrsten Sinne des Wortes produzieren. Alles geht drunter und drüber, alles ist Chaos, aus dem heilloser Witz entsteht, an dem erwachsene Comicleser ihre diebische Freude haben können. Schweinevogel will sich nur eine Pizza machen und findet sich plötzlich auf einem Felsbrocken im Nichts wieder. Ein bärtiges Baby offenbart ihm dann, daß er die Welt retten muß, weil... Ja ja, so durchgeknallt wie die kurze Inhaltsangabe sind Story und Zeichnungen wirklich. jo
 
Kim Schmidt: Öde on the Road. 48 Seiten, DIN A4-Album, 16,80 Mark. Verlag Dan Dabey und Flying Kiwi
 
Nach hunderten von Veröffentlichungen in Zeitungen, Magazinen und mehreren eigenen Alben, liegt jetzt das erste durchgehend farbige Öde-Album vor. Dieses Werk, das aus einer 26seitigen Hauptstory und viel kürzerem Ergänzungsmaterial besteht, stellt das bisherige Masterpiece des Flensburger Zeichners dar. Es sind vor allem die unscheinbaren Details, oft erst nach mehrmaligem Hinschauen überhaupt sichtbar, die das Album zu einem Riesenspaß werden lassen. Neben vielen Anspielungen auf bekannte Menschen, Orte, Bands oder Begebenheiten sind es vor allem die abgedrehten Hintergründe. An der Fischbude raucht zum Beispiel ein lecker Fischmob eine Zigarette, aus einem Kohlfeld schaut der Kopf von Helmut, und der Friseurmeister heißt Herr Pottschnitt. Trotz dieser unzähligen Details ist die Story recht geradlinig: Es gibt Probleme im Landeshaus Kiel - der chinesische Wirtschaftsminister Gung Agingogoing hat sich angekündigt, um einen Milliardentransfer abzuziehen. Er ist jedoch für seinen Sinn für exquisite kulinarische Bewirtung bekannt. Woher einen guten Koch nehmen? Man engagiert Oma Kempel und ihren Begleiter Öde, die sich gleich auf den Weg machen, die Zutaten für einen guten „Schwarztopf“ zu besorgen. Dabei geraten sie in die abstrusesten Gegenden und Situationen. Vollprofi Kim Schmidt setzte alles schwungvoll in Szene, die eigene Colorierung ist stimmungsvoll und nicht zu grell. So ziemlich die höchste Punktzahl im Funnybereich. jo
 
Die Hirse # 14 bis 17. Je 16 Seiten, s/w DIN A 4, 2 Mark plus Porto. Michael Laabs, Pantaleonsmühlengasse 6, 50676 Köln
 
Da ist es also, das Comeback der „Hirse“ nach zwölf Jahren Pause. Pünktlich wie angekündigt schmeißt Michael Laabs gleich vier Ausgaben auf den Markt, die größtenteils noch mal die Highlights aus der Blütezeit 1984/85 verbraten. Da die heutzutage kein Mensch mehr kennt, kommen sie recht gut zusammen mit den wenigen neuen Seiten und Gags des Herausgebers. Wie damals bestreitet den Großteil der Ausgaben Laabs selbst unter neuen Pseudonymen wie Kowalski oder ML. Nur wenige Seiten bieten auch Nachdrucke von anderen Künstlern wie Kim Schmidt, Chris Knox oder H. D. Zenteck. Der Schwachsinnsgehalt in Michael Laabs’ Comics ist gewohnt hoch, und wenn er auch kein Zeichengott ist, ja, sich nicht einmal zeichnerisch weiterentwickelt hat, so reicht es doch immer zur Belustigung. jo
 
Aale # 1. 32 Seiten, farbig, Comicbookformat, 5 Mark. Michael Laabs, Pantaleonsmühlengasse 6, 50676 Köln.
 
Vor mehr als zehn Jahren eroberte ein kleines, durch eine Büroklammer zusammengehaltenes kopiertes Magazin mein Herz: „Die Hirse, den Dasein zun Trotz“ von Michael Laabs, der vor allem seine eigenen zeichnerischen und textlichen Ergüsse präsentierte. Jetzt ist er wieder da und ist ganz der Alte. Aale, so heißt das Heft, damit es im Comicpreiskatalog immer ganz vorne steht, präsentiert sich zwar im Amiformat mit Heftklammern und ganz in Farbe. Der Herausgeber hat seine Einstellung zum Comic aber kaum geändert. Schon die Farbgebung ist pure Anarchie. Billigere Filzstifte wird man wohl nirgends finden. Die Geschichten wurden größtenteils schon schwarz-weiß in der Hirse abgedruckt, aber laut Michael kennt sie außer mir kein Mensch. Das ist durchaus möglich, denn wie immer verkauft Michael das Heft per Hand in Läden und Kneipen. Als Verstärkung wurde übrigens Kim Schmidt engagiert, der sechs Seiten bewährten Öde-Humors beisteuert. Der restliche Humor geht auf Michaels Kappe: Erstaunlich tiefes Niveau wie immer, aber der Humorfaktor ist hoch, ein Brüller. jo
 
Beefy Bill # 3. 36 Seiten, s/w mit Farbumschlag, Piccoloformat, 4,50 Mark. Comic Archiv Jürgen Metzger, Hamburger Straße 146, 90766 Fürth
 
Beefy Bill, der kleine Cowboy, der von einem Spucknapf in eine andere Dimension geschleudert wurde, soll den Planeten retten, auf dem durch diesen Spucknapf immer weitere Helden aus allen möglichen Zeiten und Gegenden ankommen. Das Saftnasengeschwader bedroht Bill und seine Freunde. Letzter Ausweg scheint ein Dimensionsloch zu sein. Die Partylaune, in der dieser Jamcomic entstand, sieht man dem Werk an. Jo 84 textete diesen Teil, den Zeichenstift schwangen Isabell Kreitz, Hanspeter Ludwig, Haggi, Holger Bommer, Jo 84 sowie Stefan und Mathias Dinter. Das Heft ist der obskure Höhepunkt einer seltsamen Reihe, die ein unscheinbares kleines Juwel an Absurditäten und intelligentem Schwachsinn ist. jo
 
Menschenblut # 26 und 27. 44 Seiten, s/w mit Farbumschlag, Comicbookformat, 6,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg
 
Nach etlichen Auftritten in Menschenblut liefern Robi (Rochus Hahn) und Geier (Jürgen Speh) nun endlich die lange überfällige Entstehungsgeschichte des durchgeknallten Dr. Dipperz ab, die das Verständnis der bisherigen Geschichten durchaus in einem sinnvolleren Licht erscheinen läßt. Das Heft ist ein absolutes Highlight, obwohl eigentlich jedes Heft der vergangenen zwei Jahre ein Highlight war und sich die Inhalte ständig steigern. Ebenso bei dieser Geschichte, die menschenblutmäßig recht düster und brutal, aber auf seltsame Weise ebenso tragisch und poetisch erscheint. Die Story in wenigen Worten nachzuerzählen, erspare ich mir. Ich möchte aber nicht versäumen, sie zu empfehlen, da sie sowohl zeichnerisch als auch textlich so gut wie perfekt ist. Aber Insider wissen sowieso, daß ein Menschenblut-Abo für ernsthafte Comicfans einfach Pflicht ist. jo
Zugegeben, die # 26 ist bei fast allen Leserbriefschreibern hervorragend angekommen. Andere Leser dürften trotzdem erleichtert sein, daß Menschenblut mit # 27 wieder zu gewohnten Verhältnissen zurückkehrt. Vier Beiträge zwischen Burleske und grimmiger Farce von Bimi, Heinz Helbling, Toni Greis und dem Team Bernd Frenz und Frank Schmolke garantieren irritationsfreies Lesevergnügen. aa
 
Zebra Sonderheft # 3. 16 Seiten, s/w, Comicbookformat. Georg K. Berres, Giselherstraße 19, 50739 Köln
 
Regelmäßige Zebra-Leser werden der Geschichte ansehen, daß sie schon etwas älteren Datums ist. Tatsächlich handelt es sich bei diesem Sonderheftchen um einen Nachdruck des Anniversary-Giveaways „Fast ein poetisches Abenteuer“ von 1981. „Der vollkommene Augenblick“, wie es jetzt heißt, ist wirklich ziemlich poetisch geworden. Das Frühwerk von Rudolph Perez ist zwar alles in allem recht schön, in DIN A 5-Format wäre es aber besser aufgehoben gewesen. Das Heft ist leider mehr als schnell durchgelesen. Egal, trotzdem gut. jo
 
Strapazin # 46 und 47. Je 84 Seiten, teilweise farbig, DIN A 4, 10 Mark. Meiler Verlag, Gollierstraße 47, 80339 München
 
Die # 46 kommt für Gegner der teilweise für Strapazin typischen Krakelkunst („anspruchsvoll, ey“) angenehm bodenständig daher. Neben einem großen redaktionellen Teil liegt ein Schwerpunkt auf dem italienischen Pulp-Zeichner Magnus, der 1996 im Alter von 56 Jahren starb und dessen Arbeiten das Comicpublikum zeit seines Lebens in zwei Lager spaltete. Auch der Comic „Die Formel des Lebens“ nach einem Text von Max Bunker kommt stellvertretend für Magnus’ erfolgreichste Schaffensperiode zum Abdruck. Mit 30 Seiten macht dieser Comic den Löwenanteil des Heftes aus, das durch kürzere Stories von David Mazzuchelli, Ursula Fürst, Vincent Sardon und Strips und Einseiter diverser Künstler abgerundet wird. - „80 Seiten Sex-Comics“ lautet der Untertitel des neuesten Strapazin. Es geht in fast allen Comics um tatsächlich eher pornografische Geschichten. Von der Vielzahl der Zeichner, die sich an diesem Themenschwerpunkt beteiligen, dürften die bekanntesten Daniel Clowes, Julie Doucet, Alex McCartney und Vittorio Giardino sein. Neben den Genannten gefielen mir vor allem die Beiträge von Badoux/Schuler, Stéphane Blanquet und das obskure Machwerk „Die Nudisten-Nonnen der Ziegeninsel“ von Mack White. jo
 
Talon # 7 bis 9. 36 Seiten, s/w mit Farbcover, Piccoloformat, 5 Mark. Verlag Peter Hopf, Bückeburger Straße 15, 32469 Petershagen
 
Ein ambitionierter Versuch, eine Actionserie zu etablieren, dem man die Anstrengung deutlich anmerkt. Die Regeln des Abenteuergenres werden befolgt, aber nicht verstanden. So tappt Thomas Knip immer wieder in die Falle des hohlen Pathos, was der Spannung sehr abträglich ist. Jo 84 gibt dem Ganzen als Inker eine sehr elegante Form, weshalb man in die Reihe ruhig mal reinschauen kann. aa
 
Talon # 0. Dämmerung. 16 Seiten, s/w mit Farbcover, Comicbookformat, 12,80 Mark. Peter Hopf, Bückeburger Straße 15, 32469 Petershagen
 
Hier kommt die Originstory des Dschungelhelden von Thomas Knip. Abonnenten der bisher neun Piccolohefte bekommen erhalten die Ausgabe gratis. Alle, die erst in die Großbandreihe einsteigen wollen, die mit der dreiteiligen Miniserie „Deadly Seasons“ fortgesetzt wird, müssen das Heft kaufen. Dämmerung“ beginnt mit Profikiller Talon, der einen Auftrag abbrechen muß. Seine Auftraggeber, so erfährt der Leser, haben Talons Gedächtnis manipuliert. Als er das erkennt, wehrt er sich gegen seine Peiniger. Die Maschine, in der alle sitzen, stürzt in den Dschungel. Textlich ist die Nullnummer recht geschickt aufgebaut, da sie mehr Fragen aufwirft als beantwortet. Zeichnerisch ist das Heft schwierig zu beschreiben. Knip besitzt ohne Zweifel einen außerordentlich selbständigen Zeichenstil und tuscht seine Scribbles recht eigenwillig. Den Zeitdruck, unter dem das Heft entstand, sieht man ihm jedoch an manchen Stellen an. Denn manche Zeichnungen sind einfach perfekt, andere wiederum enthalten grobe anatomische Mängel. Thomas Knip sollte mehr darauf achten, diese Mängel zu vermeiden. Dann wird Talon sicher ein Erfolg. jo
 
Die Kreuzritter # 1 bis 3. Je 36 Seiten, s/w mit Farbumschlag, Piccoloformat, 5 Mark. Peter Hopf, Bückeburger Straße 15, 32469 Petershagen
 
Zeitgleich mit der Talon-Nullnummer erscheint der erste Satz Piccolos der neuen Reihe von Klaus Grobys. Er wurde vor allem durch seine Serien „Björn der Wikinger“, „Boa, Sohn der Sümpfe“ und „Captain Cody“ bekannt, bevor er seine jüngste Serie „Störtebeker“ lancierte, die ebenfalls bei Hopf-Comics fortgeführt werden soll. „Die Kreuzritter“ beginnen eher gemächlich mit einer Charaktereinführung. Im Jahr 1095 wurden auch die Ärmsten der Armen von der Kirche dazu überredet, in den sogenannten Bauernkreuzzug zu ziehen. Viel Spannung ist hier noch nicht zu verzeichnen. Aber Klaus Grobys setzt die Handlung routiniert in Szene. Als Bonus wird im Vorwort noch leichtfüßig etwas Geschichte vermittelt. Wenn die Story noch ein bißchen mitreißender wird, kann sich „Die Kreuzritter“ zu einer schönen Piccoloserie entwickeln. jo
 
Laura # 1 bis 3. Je 36 Seiten, s/w mit Farb-cover, Piccoloformat. 5 Mark. Junker Hans von Dörnberg. 34 Seiten, s/w mit gelbem Cover, Piccolo-Überformat. Chatten-Vertrieb, Hans-Erich Dingel, Am Schalkert 2, 35279 Neustadt/Hessen
 
Hans-Erich Dingel, der Autor von „Laura“, kommt aus Mittelhessen, der Zeichner Gerhard Schreppel aus Thüringen. Sie korrespondieren nur brieflich und haben sich noch nie gesehen. Trotz der ungünstigen Produktionsbedingungen harminieren sie sehr gut. Die Serie spielt in der Zeit, als die Römer versuchten, ihr Reich nach Germanien auszudehnen. Die historischen Details scheinen sorgfältig recherchiert zu sein. Dingel benutzt sie allerdings als Folie für eine recht kolportagehafte Dreiecksgeschichte. Ähnliches gilt für Schreppel: Er zeichnet für das beschränkte Piccoloformat erstaunlich detailreich, schwungvoll und in einem pointierten Realismus. Die großbusigen Frauen und holzschnittartigen Gesichter mindern das Vergnügen jedoch etwas. „Laura“ ist ein sehr eigenständiges Projekt, das Qualitätsniveau für das Format recht hoch. „Junker Hans“ ist eine Dreingabe, vom selben Team eigens für die jüngste Marburger Comicbörse im April produziert. Es handelt sich um die Umsetzung einer mittelalterlichen Sage aus Neustadt. Die Teufelspakt-Anekdote beweist, daß Dingel und Schreppel mehr draufhaben als kruden Realismus. aa
 
Markus „Mawil“ Witzel: Super Lumpi # 2. 32 Seiten, s/w, DIN A 5. Markus Witzel, Torstraße 190, 10115 Berlin
 
Mawil legt nach gar nicht allzu langer Wartezeit Super Lumpi # 2 vor. Sein Alter Ego füllt das Heft wieder einmal mit alltäglichen Nichtigkeiten des Lebens, die manchmal witzig sind und manchmal einfach nur alltäglich. Zeichnerisch ist alles treffsicher auf den Punkt gebracht, wenngleich ich selbst die Grauschleier weglassen würde. Gute Neuerscheinung. jo
 
Flirren, Schwirren, Wirren. 68 Seiten,  Farbumschlag, Comicbookformat, 5 Mark. Emu Graphics, Andreas Niemeyer, Am Pleidenturm 13, 97070 Würzburg
 
Geil - „Flirren Schwirren Wirren“, die Titelgeschichte von Loppe hinterläßt beim Leser eben genau das. Hätte Kafka Comics gezeichnet, hätten sie wahrscheinlich so ausgesehen. In seinen sehr ausdrucksstarken Bildern beschränkt sich Loppe auf das Wesentliche. Schwarz wird sehr flächig eingesetzt, auf Schraffur gänzlich verzichtet. Die dunklen Bilder transportieren die sich im Laufe der Handlung allmählich entwirrende Handlung perfekt. Gedankenspiele, halluzinogene Momentaufnahmen, Generationenkonflikt und Konsumkritik werden in Fragmenten aneinander gereiht und verdichten sich zu einem Ganzen. Zum Inhalt der Story möchte ich nichts schreiben. Kauft Euch lieber das Heft. Nur so viel vielleicht: Das Ende ist offen, und die Frage nach dem Rauschen des Alls bleibt unbeantwortet. Ganz anders die Beiträge von Wenzl. Walter ist mit schwungvollem Pinsel (?) gezeichnet. Die Titelfigur agiert und kommentiert in Alltagssituationen und erzählt. Walter versucht, die Situation oder auch die Welt zu begreifen, kollidiert aber immer wieder mit der Unzulänglichkeit der eigenen Person. „Die Kuppel“, ebenfalls von Wenzl, ist mehr Bildgeschichte als Comic und beschreibt den historischen Bau einer (Kirchen-)Kuppel. Die Geschichte ist gut erzählt. Schade, daß die stärksten Linien die Rahmen der Panels sind. Auch wenn es der Geschichte ein etwas ernsteres Ambiente schafft, lenkt es doch von den guten Zeichnungen ab. Die letzte Geschichte, wiederum von Loppe, beschreibt die Gefühle eines Menschen, der in einer neuen Umgebung ist und diese sehr sensibel und unvoreingenommen in sich aufnimmt. Nebensächlichkeiten werden zu markanten Orientierungspunkten. ml
 
Satisfiction. 64 Seiten, s/w mit Farbumschlag, Albumformat, 10 Mark. Edition Fiction-Art, Lutz Buchholz, Buchenweg 23, 56579 Rengsdorf
 
Langjährige Comicfans werden sich noch an Herausgeber Lutz Buchholz erinnern. Der Fantasy-Fan veröffentlichte bereits 1982 im Lubu-Verlag den abgedrehten Fantasycomic „Cosmic“, der damals voll farbig für Furore sorgte. Dann war fast 15 Jahre lang Funkstille. Den neueren Sachen sieht man im Vergleich zur alten Perfektion den Bruch etwas an. Schade, daß Lutz das Zeichnen nach eigenen Worten sogar weitestgehend aufgegeben hat und nur noch für das Magazin „Comic-Herold“ tätig sein will. Die 46 Illustrationen aus den Jahren 1985 bis 1994 zeigen jedenfalls viel Können. Ergänzt wird der Band durch Einzelillus von Udo Linke, Fabian Fröhlich, Malte Schulz-Sembten und Peter Puck. Vor allem von letzterem dürfte die Fantasy-Grafik als interessanter Aspekt in seiner zeichnerischen Laufbahn gewertet werden. jo
 
cOMIc # 29. 28 Seiten, s/w, nur im Tausch gegen Beiträge oder andere Fanzines bei Gerd Bonau, Kieler Chaussee 35, 24214 Kiel
 
Noch ein paar Jahre, dann wird die Nummernzahl von Omi die des regulären Fanzine-Flaggschiffs PLOP überrundet haben. Denn das sogenannte Mini-Fanzine ist mit einer Auflage von 85 Heften mittlerweile schon bei Nummer 29 angelangt. Omi ist wohl das größte Fanzine der kleinsten. Mit „kleinsten“ meine ich nicht schlecht oder unprofessionell, sondern unspektakulär. Seltsame Beiträge kürzerer Art mit oft abstrus wirkendem Schluß machen die Mischung natürlich noch seltsamer. Omi ist vor allem was für Insider, die sich auch für den absoluten Underground interessieren, und wer hier nicht viel erwartet, wird belohnt mit Material von Manfred Lafrentz, Ulrich Magin, Anja & Joy, Oliver Ferreira und anderen. jo
 
Kreativo! # 19 und 20. 28 Seiten, s/w, DIN A5. 1 Mark plus 1,50 Mark Porto. Kreativo Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
 
Vor einigen Jahren habe ich eine Kladde angelegt, in der ich Gedanken, die mir so durch den Kopf gingen, notiert und Funde aus Zeitungen, Büchern und ähnlichem eingeklebt habe. Vorher hatte ich immer gedacht, daß mir Unmengen guter Ideen durch die Lappen gehen, weil ich sie nach einiger Zeit wieder vergesse. Jetzt sehe ich, was für fruchtlose Dinge mich schon beschäftigt haben. Wenn ich das Heft veröffentlichen würde, sähe es vielleicht so ähnlich wie Kreativo aus. Birke aus Lüdenscheid tut genau das: Sie und ihre sporadischen Mitarbeiter kümmern sich um keinerlei Leserbedürfnisse, sondern tragen eine seltsame Sammlung von Texten und Bildern zusammen, die sie selbst interessieren. Das sind auch nicht alles aphoristische Perlen, aber Kreativo ist so spannend wie ein Blick in ein Tagebuch. aa
 
Stefan, Mathias und Jan Dinter: Knurf. Spezial-Jahresausgabe mit Bonusseiten # 34 (Mai 1997). Comicheftformat, kleiner als US-Norm, 9 Mark. Zwerchfell Verlag
 
Eine neue Botschaft aus jener seltsamen Parallelwelt, in der Christan Heesch offenbar 40 Jahre früher ins Comicbusiness einstieg und in dem heutzutage sein Enkel Tim Heesch jr. ein Imperium von Zwerchfelltiteln herausgibt. Dieses Zwerchfell-Universum wirkt wie eine ulkige Kreuzung aus Marvel/DC und dem, was vielleicht herauskäme, wenn der Lehning-Verlag mit seinen Abenteuerreihen nicht in den frühen 70ern kläglich aufgegeben hätte. Kostproben davon erhalten wir immer auf den (fiktiven) Verlagswerbungs- und Leserbriefseiten. Da gibt es (angeblich) Titel wie „Gruppe Z“, „Rongk, der furchtlose U-Boot-Fahrer“, „Starkmann Familie“ und „Captain Ibiza“, aber auch „Ciabatta, das härteste Brötchen des Westens“ oder „Schlicht der Amishjunge“. Die Jahresausgabe (eine Anspielung auf das US-Annual-Format; die bessere Übersetzung wäre „Sonderheft“ gewesen) ist genau ein Jahr später angesetzt als Knurf # 400, das erste Zeugnis dieses bizarren Paralleluniversums (siehe PLOP # 47). Diesmal hat es Knurf, der Herr der Nilpferde und Dschungelheld vom „Mount O’Puchlich“, mit einem Klaus Kinski ähnlichen Schurken zu tun, der eine Müllverwertungsrakete über seinem Dschungel abschießen will und dabei von Legionen von biertrinkenden Bayern unterstützt wird sowie vom kleinen eitlen „Moos-Hamma“ (eine der besten Karikaturen in dieser Ausgabe). Klar, daß Knurf die Bayern reihenweise zu Klump schlägt, unterstützt vom „Kommando Bimberle“, einer schwäbisch sprechenden US-Einheit, die zahlreiche Par-allelen zu DCs „Sergeant Rock“ aufweist und die es gemäß Verlagswerbung immerhin auf bereits 218 Ausgaben ihres Titels gebracht hat. Viel Prügelhumor, der oft an Splatter grenzt und somit die verharmlosten Schlägereien von Wäscher oder Popeye durchaus berechtigt persifliert, auch diesmal von „eßbaren Soundwords“ untermalt: Es macht „Mett-ett-ett!“, „Pez!“, „Shrimp!“ oder sogar „Quicchhe!“ Ein wenig abträglich ist die große Zahl von Figuren, so daß sich Sergeant Bimberles Mannen hauptsächlich dadurch charakterisieren, daß sie unterschiedlich groß sind und Knurfs Sidekick „Hey“ (eigentlich Gysbert Wilms-Söderbeck) in einem Sidejoke abgeschoben wird. Etwas ermüdend fand ich die Praxis, wieder einzelne Seiten von Gastzeichnern betreuen zu lassen, was den Stil immer schwächt, ebenso die Gastauftritte von Bekannten der Zeichner, die nicht als Gag, sondern nur als Irritierung durchkommen (Horstmann? Josic?); ebenso den Dialekt. Kannsse dich voastelln, so zwannich Saitn Ruagebietsplatt zu lesn? So eenlich nett is schweebisch, wennse das nich’ kenns, ne? Voll im Trend und doch nostalgisch ist das Heftflair mit Leserbriefen und Verlagswerbung sowie den netten Sonderseiten über den erloschenen Vulkan, in dem Knurf wohnt, oder die Boeing 737, die ihm als Hauptquartier dient. Schön bleibt weiterhin die Vorstellung, es gäbe so einen lebendigen Verlag mit langlebigen, amüsanten, aber auch verläßlichen Eigenproduktionen. Herod
 
P.L.G. # 32. 84 Seiten, s/w mit Farbteil, DIN A4-Album. 60 FF. P.L.G., BP 94, 92123 Montrouge Cedex, France
 
Alles wesentliche über dieses französische Fanzine, das fast jedes deutsche Magazin - „Comic Speedline“ und „Comixene“ eingeschlossen - mühelos in die Tasche steckt, hat Jo schon in PLOP # 49 mitgeteilt. Obwohl meine Französischkenntnisse äußerst limitiert sind, kann ich also auf die neueste Ausgabe hinweisen, die sich schwerpunktmäßig mit den Zeichnern Bezian und Ferrandez beschäftigt (auch in Deutschland durch Albenveröffentlichungen bekannt). Es gibt auch wieder etliche hier noch völlig unbekannte Künstler zu entdecken. Sehr wertvoll ist außerdem der 16seitige Rezensionsteil, in dem auch „nicht frankophone Fanzines“ ausführlich berücksichtigt werden. aa
 
Leopold Maurer: Eine Kuh und mehr, Teil zwei. 60 Seiten, s/w mit violettem Cover, DIN A 5. Edition Mixer, Leopold Maurer, Hauptstraße 8, A-2454 Trautmannsdorf
 
Ein Comic, der über eine Distanz von rund 70 Seiten geht (Teil 1 haben wir in PLOP # 48 besprochen), nötigt von vorneherein Respekt ab. Das epische Format ist natürlich nur zu schaffen, wenn man die Story munter Haken schlagen läßt. Aber sie fällt nicht auseinander, bleibt immer spannend - ein skurriles Roadmovie. Die gewollt krakeligen, manchmal künstlerisch abstrahierten Zeichungen finde ich sympathisch. aa
 
Pas-Califax # 5. 24 Seiten, s/w DIN A 5. Pascalifax, Dittersdorfer Straße 146c, 09122 Chemnitz
 
Diese Veröffentlichung flatterte uns zur ICOM-Fanzinepreisverleihung auf den Tisch. Es handelt sich mehr um ein Spiel- und Bastelheft als um einen Comic oder ein Comicmagazin. In der Heftmitte gibt es unter anderem einen Bogen mit acht Spielkarten. Die Abrafaxe und die Digedags, die alten und die neuen Helden des Comicmagazins „Mosaik“, tauchen in Fancomics und Collagen auf. Hinzu kommt ein Bericht über die erste Chemnitzer „Mosaik“-Börse und eine Materialsammlung von Comicfiguren als Werbeträger. Das Heft kann man nicht guten Gewissens zum Kauf empfehlen, aber liebenswert fand ich’s schon. aa
 
Mosaiker. Info-Blatt des Mosaik-Clubs Apolda # 24 (Juni 1997). 36 Seiten, farbig, Comicbookformat. Mosaik-Club Apolda, PSF 7, 99501 Apolda
 
Die ostdeutschen Comicfans, die bis 1989 mit Comickultur wirklich nicht verwöhnt worden sind, können’s aber auch ganz professionell. Der „Mosaiker“ ist ein absolut kiosktaugliches Magazin, produziert vom Mosaik-Club Apolda, mit dem ich vor mehr als einem Jahr mal Kontakt aufgenommen habe (siehe PLOP # 48). Vielleicht liegt’s ja an ihrem super-aufwendigen Magazin, daß die Apoldaer erst jetzt Zeit gefunden haben, mir zu antworten. Aber das Warten hat sich gelohnt. Klar ist: Wer „Mosaik“ nicht mag, wird auch dem „Mosaiker“ nicht viel abgewinnen können. Zuerst gibt es einen langen Bericht über die „Mosaik“-Modellbauer, dann einen Abrafaxe-Comic von Ulf Schmidt, der den Profis in der Berliner Lindenallee beinahe das Wasser reichen kann. Und dann folgt ein Comic von Ulf Graupner, der tatsächlich zum „Mosaik“-Team gehört und der hier mit „Das alte Kind“ einmal etwas ausprobieren kann, was nicht unbedingt ins „Mosaik“ paßt. Schließlich ein paar Seiten Briefe und Club-Internes, und mit dem von Dino losgetretenen Heftchen-Boom beschäftigt man sich auch am Rande. Der „Mosaiker“ hat mich davon überzeugt, daß die „Mosaik“-Tradition erhalten beiben sollte, und das nicht nur in den neuen Bundesländern. aa
 
Sprühende Phantasie # 16. 48 Seiten, s/w mit Farbcover, gelumbeckt, 7 Mark. Verlag Sprühende Phantasie, Goebenstraße 37, 32423 Minden
 
Bei Jo Guhde bleibt (fast) alles beim alten: die Klagen über schlechte Verkaufszahlen und glücklicherweise ebenfalls die unendlich sorgfältige Zusammenstellung des Hefts. Im Interview wird der Würzburger Robert Wenzl vorgestellt. Neben seinen Beiträgen fielen mir besonders „Spasti“ von Stefan Dinter, der Versuch, die Welt aus dem Blickwinkel eines geistig Behinderten zu sehen, und Mark Patersons/Fido El Odifs „Bäumisches“, eine schräge Parabel über die Auslöschung eines Stadtbaums, auf. Jeder Comic erscheint in „Sprühende Phantasie“ aber besonders kostbar. Man hat immer den Eindruck, daß Jo nur dann eine Seite opfert, wenn er darauf etwas wirklich Außergewöhnliches oder Kunstvolles drucken kann. Irgendwelcher Gimmicks auf dem Cover hat er sich diesmal enthalten, was ich nicht bedaure. aa
 
Wacka Wacka Zine # 2. 32 Seiten, s/w mit Farb-cover, DIN A 5, 5 Mark plus 1 Mark Porto. Guido Kawczynski, Kemnitzer Hauptstraße 26, 14943 Nuthe-Urstromtal/Kemnitz.
 
„Schon diese Ausgabe unterscheidet sich von der ersten so stark, daß wahrscheinlich noch mehr Veränderungen ins Haus stehen“, warnt der Herausgeber schon mal vorsorglich im Nachwort. Nicht zu Unrecht. Comics, Computertips, Plattenkritiken, eine Buchbesprechung, Fanzinerezensionen, eine Kurzreportage aus Zentralasien und eine Anzeigenparodie (neben ein paar echten) fand ich in diesem Heft. Guido Kawczynski hat ganz offensichtlich einen weiten geistigen Horizont, schreibt und zeichnet zwar das meiste selbst, verlangt aber nachdrücklich nach mehr Gastbeiträgen. Obwohl das Magazin keine erkennbare Konzeptlinie zeigt, hab’ ich’s gern gelesen. aa
 
Tote Helden Comix # 7 (Juni 1997). 28 Seiten, s/w, DIN A 5, 4 Mark. Tote Helden Comix, Ludenberger Straße 31, 40629 Düsseldorf
 
Schön, daß Bia Biafra nach drei Jahren weitermacht und in den nächsten zwölf Monaten drei weitere Ausgaben herausbringen will. Obwohl man gleich sieht, daß er Tardi und Pratt sehr verpflichtet ist, sind die „Toten Helden“ so eigenständig, daß man sich gar nicht vorstellen kann, daß es bald eine Ausgabe mit Comics von Haggi, Dirk und Dieter Tonn, Bernd Stein und Ingo Strecker geben soll. Typisch Bia ist auch der ewige Freiheitskampf seiner Helden gegen faschistoide, militaristische Arschlöcher. Kein Wunder: Beide Episoden in diesem Heft spielen in der selben schaurig-schönen Zukunftswelt wie immer, der Neutralen Zone, die mir ein bißchen wie in John Carpenters „Escape from New York“ vorkommt. Bei Bia gibt’s freilich keine schwachen Remakes - bisher jedenfalls. aa
 
Holger Bommer / Jo 84: Kurt Adventures # 1. 24 Seiten, s/w mit vierfarbigem Umschlag, Comicbookformat, 5,90 Mark. Amigo Comics, Softcoveralbum, 16,90 Mark. Carlsen Comics
 
Post, mit der man nicht rechnet, die dann auch noch einen Schwung nette Comics enthält - viel besser kann ein Tag eigentlich nicht beginnen (zumindest wenn man allein aufwacht). Den meisten PLOP-Lesern dürften die Namen der beiden „Kurt“-Macher bekannt sein, ebenso wie Kurt selbst. Kurt ist hilfsbereit und tierlieb, seine Welt hätte ihren Platz zwischen dem Musikantenstadl und der Zahnpastareklame. Sie wäre beschaulich und hätte ihre klaren Grenzen. Leider lebt Kurt aber in den 90ern, und so versucht er, immer mehr Objekt als Subjekt, den Widrigkeiten des Alltags zu trotzen. Er hinterfragt nicht, sondern wundert sich nur. Seiner verrohten Umgebung begegnet er mit einer bewundernswerten Ruhe, teils mit Ignoranz. „Seltsam, seltsam“ ist Haupt- und Grundaussage von Kurt, der sich irgendwo im Graubereich zwischen Nihilismus und Autismus bewegt. Die Zeichnungen sind einfach, klar und gut. ml
 
Ralph Ruthe: Schweinskram. 52  Seiten, farbig, Album-Überformat, Softcover, 19,80 Mark. Verlag Boiselle/Löhmann.
 
Der Bielefelder Comiczeichner Ralph Ruthe dürfte vor allem Lesern der Comic Speedline wegen seiner Stripreihe „Die Frühreifen“ ein Begriff sein. Der Funnyfan, der außerdem regelmäßig an der Gestaltung des Volksbank-Umsonstkundenhefts „Mike der Taschengeldexperte“ mitarbeitet, legt mit „Schweinskram“ sein erstes Farbalbum vor. Wie der Titel vermuten läßt, geht es um sexuelle Themen - ausschließlich im Tierreich angesiedelt. Und das Sexualleben im Tierreich gibt genug Ideen her, von denen Ruthe etwa 50 in einseitigen Cartoons oder Comics gekonnt und spritzig (ähem) in Szene setzt. Am Zeichenstil gibt’s nichts zu meckern, und auch die Gags reichen von harmlos nett bis ganz schön deftig. Wenn das Album nicht hundertprozentig zünden will, so liegt das an dem schlecht gewählten Format, das die Zeichnungen aufgebläht wirken läßt. Zwar haben Dirk Schulz und Delia Wüllner (Indigo, Parasiten, Chic + Chloe /Splitter) die Seiten superprofessionell computercoloriert. Ein kleineres Format hätte dem Erscheinungsbild trotzdem besser getan. Vielleicht hätte man dann auch den Preis senken können, denn für 19,80 Mark ist der Band doch arg schnell durchgelesen. jo
 
Klaus Cornfield: Kranke Comics  # 1. 30  Seiten, s/w mit Farbumschlag, DIN A 5, 6 Mark. Fou-Fou + Haha-Verlag, Postfach 910513, 90263 Nürnberg
 
Möglicherweise hat der „Throw That Beat“-Sänger Klaus Cornfield sein Sonnenscheinimage satt. Jedenfalls war die Lektüre der Erstausgabe seines Hefts „Kranke Comics“ die Entdeckung des Hamburger Salons, und nicht nur für mich eine Offenbarung. Der Name ist jedenfalls Programm und sogar noch untertrieben. Das Heft bietet so ziemlich das Krasseste, was man überhaupt im Comicbereich machen kann. Hier wird ohne Ende rumgehurt, sich vollgekotzt, Köpfe werden abgerissen, Frauen vergewaltigt und ermordet, und der Tag ist mehr als einmal unangenehm. Sicher ist das Heft das widerlichste, frauenfeindlichste und politisch unkorrekteste, das mir je unter die Augen gekommen ist. Aber gleichzeitig ist es auch das überzogenste, und weil es so maßlos überzogen ist, ist es auch mit Abstand das lustigste. Sollen sich die Emanzen doch beschweren; wer solche Sachen ernst nimmt, hat den Schaden, den er durch den Konsum solcher Comics befürchtet, sowieso schon lange selbst. Im übrigen ist Klaus Cornfield nicht nur der lustigste, sondern auch einer der nettesten Zeichner, die man so treffen kann. jo
 
Teer: Klinik. Wahre Seiten für harte Zeiten II. 20 Seiten, DIN A 5, 2,50 Mark und 24 Seiten, DIN A 4. Teer, Kippingstraße 16, 20144 Hamburg.
 
Im Vorwort bezeichnet Teer die Erstnummer von „Klinik“ als „Heftchen, gemacht zur Aufrechterhaltung von Low-Press-Kultur und als Sprachorgan der Unzufriedenen und ewig Zahlungsunfähigen, Heimat für Leute mit Höhenangst und Stütze für diejenigen, die nicht wirklich glauben, daß der Fortschritt ihnen weiterhelfen kann. Die am Ende überhaupt nichts wirklich glauben, die immer alles in Zweifel ziehen und bei sich selbst dabei anfangen.“ Ähnlich agieren auch die Hauptfiguren des Comics „Klagelied“. Sie denken über ihre Depressionen nach und erkennen, daß sie die Welt ähnlich sehen. Alles ist schrecklich, und der Zeichenstil vermittelt dieses Gefühl perfekt. Viele werden das Jammern der Frauen nicht nachvollziehen können, aber einige wenige könnten durch „Klinik“ merken, daß es viele Menschen wie sie gibt. Neben „Klinik“ gibt es bei Teer auch noch das vorliegende DIN A 4-Magazin. Zwischen der ersten und zweiten Ausgabe liegen eineinhalb Jahre. Gegenüber „Klinik“ ist schon eine zeichnerische Weiterentwicklung festzustellen. Von einem sehr krakelig getuschten Stil entwickeln sich Teer Zeichnungenzu wesentlich sauberer getuschten Ausarbeitungen, und trotz der Formatvergrößerung wirkt das Heft nicht so großflächig wie „Klinik“. Ich mag beide Stile sehr gern, obwohl sie eine völlig unterschiedliche Wirkung erzielen. Textlich ist auch „Wahre Seiten“ typisch Teer. Depressionen und fiktive Gedankengänge bestimmen das Heft. Insgesamt finde ich es ziemlich klasse. jo
 
Ilsemann # 8. 36 Seiten, s/w mit farbigem Glanzcover, Comicbookformat, kostenlos. Karicartoon Verlag, Fössestraße 12, 30451 Hannover
 
Begeistert hat mich beim Comicfestival in Hamburg, daß tatsächlich eine Ähnlichkeit zwischen dem Herausgeber und der Figur über dem Ilsemann-Schriftzug festzustellen war. Begeistert bin ich auch vom Ilsemann selbst. Das Layout ist professionell, und die Beiträge (Oliver Sasse, Kim Schmidt, Bernd Teuber, Boris Schütz, Ralf Fieseler und Karsten Schley) sind gewohnt gut. Die beiden längeren Beiträge kommen von Gregor M. Hoffmann (7 Seiten) und von Jörn Krug. Krug eröffnet das Heft mit einer vierseitigen Geschichte, die auf eine Ende 97 im Karicartoon-Verlag erscheinende Mini-Serie neugierig machen will. Das funktioniert auch. Die Zeichnungen bewegen sich irgendwo zwischen Marvel, DC und Image. Karacho Girl, die sexy Hauptfigur der „Cool Patrol“ entfernt sich gleich auf dem ersten Bild von „Zyklitis“ ihren Tampon. Brutalität gegenüber dem Macho-Muskel-Gegner wird mit Menstruationsbeschwerden entschuldigt. Cool Patrol ist die deutsche parodistische Antwort auf Ami-Serien wie Glory oder Wildcats - prima! „Liebe und Hiebe“ von Gregor M. Hoffmann hingegen scheint mir ein bißchen blaß. Etwas mehr Tusche und etwas weniger Text hätten der Agentenstory sicher gut getan. Vielleicht ist das Format aber auch einfach nur zu klein. Das ist schade, denn Gregor beherrscht seine Figuren und hat viele witzige Einfälle. ml
 
Plattform # 5 (1/97). 28 Seiten plus farbiges Mittelseitenposter, s/w, DIN A5, kostenlos. Plattform, Wilhelmshafener Straße 17, 24105 Kiel oder Wiedenkamp 6, 24107 Quarnbeck
 
Das Kieler Umsonst-Magazin mischt nach wie vor Comics, Gedichte und Texte aller Art. Dieser Gemischtwarenladen ist immer für Entdeckungen gut. Wenn ich mich mal auf die Comics beschränke: Marco Lenschs „Ratschläge“ macht aus einer ertrunkenen Kakerlake eine kleine Geschichte. „Da ich so empfindsam bin, seid ihr alle Arschlöcher“ von einem unbekannten Zeichner läuft zwar wirklich so, wie der Titel klingt, aber die Zeichnungen aus einer Fußgängerzone sind überraschend dicht und eigenständig. In der Mitte findet sich wieder eine Farbkopie, eine von der Sorte, die im Grafik-Handbuch abgedruckt sein könnte. aa
 
b 5 # 5 (April 97). 44 Seiten, s/w mit Farbcover DIN A 5, kostenlos. Comics für Göttingen e. V., Postfach 1529, 37005 Göttingen
 
Das Göttinger Pendant zu „Plattform“ geht entschiedener in Richtung Stadtmagazin. Die Leser-Blatt-Bindung wird bemüht, die Comics sind unterhaltsamer und „szeniger“. Überhaupt setzt „b 5“ viel entschiedener auf Comics, die auch nicht ohne Mühen aus allen Teilen Deutschlands organisiert werden. Aufgefallen ist mir Pilis „!x Kino“, so richtig aus dem Leben eines Filmvorführers gegriffen. Außerdem vertreten: Dirk Tonn, Anja & Joy, Yasmin Abdulhack und andere. aa
 
New Worlds # 28. 120 Seiten, s/w, verstärkter Umschlag, DIN A 5, 6 Mark. Science Fiction & Fantasy Club New Worlds, Postfach 661, A-3100 St. Pölten
 
Dies ist ein Science Fiction-Fanzine, das mit Cartoons von Karsten Schley, Ulrich Magin, Jo 84, Milan Knezevic und anderen angereichert wurde. Für uns interessant könnte au-ßerdem das 32seitige Special „Das Königreich im Kopf“ von Milan Knezevic sein, in dem er die Entwicklung des Fandoms nachzeichnet (auch die Comicszene kommt am Rande vor) und das Phänomen darüber hinaus ansatzweise analysiert. Ich habe den Eindruck, daß SF-Fans nicht so gut damit zurechtkommen, daß ihr Engagement von der breiten Masse (auch der Konsumenten des Genres) nicht anerkannt wird. Lektor Wolfgang Jeschke beschrieb das mal so: „...daß ein großer Teil von regelmäßigen SF-Lesern ausschließlich Lesefutter will und sich keinen Deut für Hintergrundinformationen interessiert“. Knezevic kommt zu dem - nicht überraschenden - Ergebnis, daß die Liebhaberei diese Außenseiterstellung mit einschließt. Dennoch, es lohnt sich, sich mit dem Fandom auseinanderzusetzen. Da seine Spuren so flüchtig sind, wäre es wünschenswert, daß mehr Fans sie verfolgen und konservieren. aa
 
Comicer # 47 (März/April 1997). 16 Seiten, grünes Cover, DIN A 4, kostenlos. Comicer, Stiftstraße 39, 60313 Frankfurt/M
 
Bei der Frühjahrsausgabe des Frankfurter Infomagazins hat die Redaktion kräftig auf die Bremse getreten, Rubriken gestrichen und den Blick aufs Fandom deutlich eingeschränkt. Die Produktionskosten halten die Macher davon ab, ihr erfreulich kompetentes und kritisches Heft zum Fachmagazin auszubauen. Schade - trotzdem ist der Comicer unbedingt lesenswert. aa
 
Piccolo Magazin # 22. 46 Seiten, s/w mit gelbem Cover, Piccoloformat, 7 Mark plus 1,50 Mark Versand. Zugabe: Piccolo „Rocky. Sohn der großen Wälder“. Thomas Böhme, Gerauer Straße 76, 60528 Frankfurt/Main
 
Thomas ist zwar kein Hardcore-Wäscher-Fan, was die Lektüre seines Sekundärmagazins zweifellos erleichtert, aber er sammelt alles, was Piccoloformat hat, und da kommt er an Lehning nicht vorbei. Also gibt es eine schon seit mehreren Ausgaben laufende Reportage über eine Spurensuche des Anfang der 70er Jahre eingegangenen Verlags und ein ausführliches Porträt des bei Lehning veröffentlichten und kürzlich gestorbenen Zeichners Augusto Pedrazza („Peterle“, „Akim“). Die Redaktion fragt bei Hansrudi Wäscher an, ob ihm die französische Piccoloserie „Sigur“ bekannt ist (beunruhigende Auskunft seiner Gattin: Nein), und schließlich werden einige japanische Manga-Piccolos vorgestellt. Ein Piccolofan kommt um dieses Magazin schwerlich herum; für andere Leser ist es zumindest eine kuriose Lektüre. aa
 
Enpunkt. Zeitschrift für angewandtes Spießertum # 28 (Februar 1997). 60 Seiten, s/w mit violettem Cover, DIN A 5, 2 Mark. Klaus N. Frick, Leopoldstraße 29, 76133 Karlsruhe
 
Klaus N. Frick ist langjähriger PLOP-Leser, aber kein typischer Comicfan. Seine Brötchen verdient er mit dem Redigieren der einstigen Weltraum-Landser-Serie „Perry Rhodan“, privat ist er Punk, und das schlägt sich in seinem Egozine „Enpunkt“ unzweifelhaft nieder. Klaus füllt die 60 Seiten mühelos mit eigenen Texten, in denen er aus Punksicht die Welt erklärt. Ein kleinerer Teil entfällt auf Plattenkritiken, Bandporträts und Konzertberichte. Ein Schwerpunkt liegt (zumindest in dieser Ausgabe) auf Reiseberichten. Klaus schreibt amüsant und fesselnd, aber auch hartnäckig; bei dem Bericht über die Tour durch Senegal und Gambia hatte ich den Eindruck, daß er entweder ein fotografisches Gedächtnis oder einen Notizblock ständig in Reichweite hat. Statt Fotos zu reproduzieren, die dann häufig im unteren Bereich schwarz und darüber als diffuse Rasterung erscheinen („Sahel-Zone bei Bakel“), sollte Klaus vielleicht lieber mehr auf Zeichner wie Ulrich Magin zurückgreifen. aa
 
PLOP # 50. 32 Seiten, s/w, DIN A5, 3 Mark plus 1,50 Mark Porto. Thorsten Schmidt, Hauptstraße 16, 32457 Porta Westfalica.
 
Nicht weil es einige nicht erwarten konnten, sondern weil sie der Ansicht waren, nach 49 Ausgaben PLOP ihre Anerkennung für dieses publizistische Werk ausdrücken zu müssen, haben Anja & Joy, unterstützt von Jo Guhde diese Tribut-Nummer # 50 produziert. 22 Zeichner haben - wenn ich richtig gezählt habe - dazu etwas beigesteuert. Durch die Tim-artige Galerie auf den Umschlagseiten, die erst deutlich macht, was in 49 Ausgaben PLOP so alles drinsteckt, sind es sogar noch viel mehr. Den Reinerlös haben Anja & Joy übrigens schon vorab, also bevor die gesamte Auflage verkauft war, für das echte PLOP # 50 gespendet. Vielen Dank - im Namen aller Leser. aa
 
Alain Ayroles, Jean-Luc Masbou: Mit Mantel und Degen # 1. Das Geheimnis des Janitscharen. 48 Seiten, DIN A4, Farbalbum. 16,90 Mark. Carlsen
 
Fantasy-Alben liegen voll im Trend, wie die Verkaufszahlen des Splitter-Verlags beweisen. Noch mehr im Trend liegen Rollenspiele. „Laß uns doch aus unserem Rollenspiel einen Comic machen“, mögen sich die Newcomer Ayroles und Masbou gesagt haben, bevor sie die Hauptpersonen Don Armando de Maupertuis und Don Lope de Villalobos aus dem Rollenspiel „Contes et Racontars“ in ein Comicalbum übertrugen. Der Fuchs und der Wolf bewegen sich nun als einzige Tiergestalten unter Menschen in einer Erzählung, die mit reichlich Klischees angereichert wurde. Da darf die hübsche Zigeunerin ebensowenig fehlen wie der hinterhältige Auftraggeber, der schurkische Bösewicht und die unvermeidbare Schatzkarte. Ein bißchen Humor dazu (wobei ein kleines Häschen als Galeerensträfling eigentlich der einzig wirklich gute Gag ist), ab durch den Mixer, fertig. Erzählerisch dürfte das keinen mehr hinter dem Ofen hervorlocken. Aber der Text dürfte kaum den Ausschlag dafür gegeben haben, die Reihe mit ins Programm zu nehmen. Dann wohl doch eher die Zeichnungen von Jean-Luc Masbou, die das Ganze wenigstens professionell umsetzen. Das Coleur directe-Verfahren erzeugt stimmungsvolle Farben, streckenweise recht grell und an anderen Stellen ziemlich sensibel. Die Farben sind vor allem dann eine Wucht, wenn er Wellen oder Wolken zeichnet. Trotzdem - gute Farben allein machen noch keinen Comic. jo
 
Bosse (Text), Michetz (Zeichnungen): Kogaratsu # 7. 48 Seiten, DIN A4, Farbalbum, Softcover, 16,90 Mark. Carlsen Verlag.
 
Kogaratsu dürfte einer der authentischsten und interessantesten Historiencomics sein, die das Medium zu bieten hat. So ist es nicht verwunderlich, daß mittlerweile schon der siebte Band der Reihe bei Carlsen erschien. Während die Bände 1 bis 4 einen Zyklus beinhalten, der in den Jahren 1982 bis 1992 entstand und Band 5 und 6 in sich abgeschlossene Einzelbände von 1992 bis 1994, greift Carlsen mit Band 7 erstmals auf eine Sammlung von fünf Kurzgeschichten zurück, die 1987 und 1988 geschaffen wurden und chronologisch vor dem Beginn des Zyklus einzuordnen sind. Die Entwicklung von einer eher an Schraffuren angelehnten Zeichnung hin zu einer etwas flächigeren Darstellung des Zeichners Marc Michetz (Jahrgang 1951) wird augenfälliger. Textlich bleibt Bosse (Serge Bosmans, Jahrgang 1954) natürlich weniger Spielraum als sonst für seine Ausarbeitungen. Er macht aus der Not jedoch eine Tugend und legt die Geschichten als kurze, philosophisch angehauchte Erfahrungen an, die sich auch gut ins Gesamtkonzept einfügen. Der vorliegende Band der Belgier ist also mal etwas anders aufbereitet als die bisherigen Alben, aber ebenso lesenswert. jo
 
Neon Lit (Band 1 und 2). 140 bzw. 128 Seiten, DIN A5, s/w, Farbcover, 16,90 Mark, Rowohlt
 
Auch Rowohlt startet in der Taschenbuchedition RoRoRo mit dem Abdruck von Comics. Die Reihe Neon Lit, die im Original von Bob Callahan und Art Spiegelman herausgegeben wird, enthält allerdings nur Bearbeitungen von modernen literarischen Kriminalromanen. Ziel des Unterfangens dürfte wohl sein, eine Brücke zu schlagen zwischen den besten Schriftstellern des Kriminalmetiers und den besten Comiczeichnern bzw Illustratoren. Und Neon Lit („where, in crime’s shadow, art and literature meet“) dürfte hierbei genau der richtige Ansatzpunkt sein. Zum einen, weil sich die Reihe allein durch den Namen des Herausgebers Art Spiegelman bis zu einer gewissen Auflage als Selbstläufer entwickeln wird, zum zweiten, weil auch die Autoren der Originalbücher nicht ganz unbekannt sein dürften, und zum dritten, weil hier wirklich auf eigenständige Größen wie David Mazzuchelli gesetzt wird, der selbst schon unter Kritikern einen hervorragenden Ruf genießt. Dies kommt (zum vierten) letztendlich dann wirklich der Qualität des Gesamtwerks zugute. Neon Lit startet in Band 1 mit der Adaption von Paul Austers „Stadt aus Glas“, dessen Text von Paul Karasik in Zusammenarbeit mit David Mazzuchelli für die Comicform bearbeitet wurde, der diesen dann illustrierte. Obwohl man auf dem Cover das Wort „Illustration“ verwendet, ist die Arbeit Mazzuchellis weit mehr als ein illustrierter Text, nämlich eine komplette Übertragung des Buches in die Comicform, wie sie professioneller nicht sein kann. Die Story selbst ist überaus fesselnd, ziemlich verwickelt und außerdem recht tragisch. Der Schriftsteller Quinn, der unter seinem Pseudonym William Wilson vor allem durch seine Detektivfigur Max Work zu Weltruhm gelangte, bekommt seltsame Anrufe. Der Mann am anderen Ende der Leitung will den Detektiv Paul Auster sprechen und läßt sich nicht abwimmeln, obwohl er falsch verbunden ist. Quinn, vom Leben frustriert, beschließt, sich als Auster auszugeben und den dringenden Fall anzunehmen, mit dem der Mann ihn beauftragt. Er soll den Auftraggeber Peter Stillman vor seinem Vater schützen, der als religiöser Fanatiker seinen Sohn neun Jahre lang isoliert einsperrte und nun aus der Psychiatrie entlassen wird. Um ihn verstehen zu können, muß sich Quinn in die geistiger Welt des Fanatikers hineinversetzen. Er merkt nicht, daß er selbst immer mehr in Richtung Wahnsinn abdriftet. Die komplexe Erzählung wird in simplen Schwarzweißbildern festgehalten, um den Lesefluß nicht unnötig durch viele Details zu hemmen. Trotzdem sind die Bilder, die oft in Symbole oder surreale Darstellungen abgleiten, fähig, eine Stimmung zu erzeugen, die einen gefangenhält. Ohne Zweifel ist „Stadt aus Glas“ eine der perfektesten Comicerzählungen der letzten Jahre. Leider kann man das von Band 2 der Reihe, „Perdita Durango“, nicht behaupten. Die Figur kommt auch in David Lynchs bekannter Verfilmung eines anderen Romans von Barry Gifford namens „Wild at Heart“ vor. Lynch hat die ursprüngliche Figur für seinen Film aber völlig verfremdet. Wie dem auch sei, die Geschichte ist langweilig und sinnlos, und die Bilder wirken hier wirklich nur wie Illustrationen zu einer Romanerzählung, denn die Schabkunst von Scott Gillis ist zu filigran für eine Comicerzählung und lenkt zu sehr von der (sowieso recht dürftigen) Handlung ab. In Vor- und Nachwort wird oft darauf hingewiesen, daß „Perdita Durango“ eine starke Frau ist. Trotzdem, die Welt ist ja ach-so-grausam, vor allem, seit ihre Schwester ermordet wurde, so eine himmelschreiende Ungerechtigkeit. Deshalb köpft sie mit ihrem Kumpel Romeo erstmal irgendeinen Indianer und nimmt ein Pärchen als Geiseln für später. Giffords Helden sind Amokläufer, die irgendwann so viele Leute wie möglich ermorden, weil das einfach toll ist. Wer diesen Möchtegern-“Natural Born Killers“-Abklatsch für Arme auch toll findet, kann sich das Buch ja anschaffen. Schon seltsam, daß innerhalb einer Buchreihe zwei solch unterschiedlich niveauvolle Bücher zum Abdruck kommen. Ich bin auf alle Fälle gespannt auf Buch 3 und 4. jo
 
Marc Hempel: Gregory. 120 Seiten, s/w mit Farbcover, Comicbookformat, Softcover, 24,80 Mark. Comic Press Verlag
 
Gregory erschien von 1989 bis 1993 als vierbändige Miniserie bei DC. Gerd Zimmer hat daraus einen ansprechenden Sammelband gemacht. Ein kleiner Junge mit überdimensionalem Kopf lebt isoliert in einer Gefängniszelle. Spielende Kinder schauen durchs Gitterfenster herein. Eine Ratte namens Hermann krabbelt aus dem Abflußrohr, oder die tantige Therapeutin Carol-Ann macht seltsame pädagogische Experimente mit ihm.Marc Hempel blickt meist wie mit einer unbeweglichen Kamera auf das bizarre Geschehen. Er zeichnet einfach und schielt nicht auf grafische Effekte, findet aber immer den richtigen Ausdruck für die Situation. Die Welt als Irrenhaus ist nichts absolut Neues (siehe etwa Dürrenmatts „Die Physiker“ oder „Einer flog übers Kuckucksnest“), aber Hempel hat daraus doch seine persönliche Welt gemacht, die ihn irritiert, ängstigt, die er aber, wie der Schluß nahelegt, doch nicht verlassen möchte. aa
 
Wallace und Gromit Fun Pack. CD-Rom, 69 Mark, über Ehapa
 
Feest/Ehapa schwimmen derzeit voll auf der „Wallace und Gromit“-Welle mit. Für November sind ein „Jahrbuch für Kaseliebhaber“ und eine Storyboard Collection angekündigt, und bereits erschienen sind eine Postkartenkollektion und das Buch „Unter Schafen“. Ebenfalls über Ehapa zu bekommen ist das „Wallace und Gromit Fun Pack“, eine für Windows 3.1, 3.11 oder Windows 95 taugliche CD-Rom, die BBC Multimedia auf den Markt brachte. Daß diese Dinger einigen Speicherplatz auf der Festplatte benötigen, dürfte hinlänglich bekannt sein. Ich mußte deshalb erst Anja & Joy besuchen, auf deren brandneuem Rechner dann alles lief. Die CD-Rom bietet kurze Videoanimationen der schönsten Szenen (die die harten Fans wohl schon auf Video besitzen dürften), spezielle Hintergründe und Signets für den Computer, Akustiksamples aus dem Film und so weiter. Interessanter sind da schon die Videospiele, deren Schwierigkeitsgrad einstellbar ist. Für Videospielamateure ist allerdings auch die erste Stufe schon recht diffizil. Höhepunkt ist wohl ein Quiz, bei dem Fachwissen über „Wallace und Gromit“ getestet wird. Die Spiele machen wirklich Spaß. jo
 
Wallace und Gromit. Unter Schafen und andere Abenteuer. 80 Seiten, DIN A 4, Hardcover, farbig, 19.80 Mark. Ehapa
 
Im Zuge der Vermarktung von Wallace und Gromit wird das intelligente Material natürlich auch für die jüngere Generation vermarktet, und was könnte sich da besser eignen als ein buntes Bilderbuch? Obwohl das eigentlich so recht niemand braucht, ist dagegen generell nichts einzuwenden. Aber die Aufbereitung hätte schon etwas schöner sein können. Eklig sieht’s nämlich immer dann aus, wenn die süßen Figuren schlecht aus den Standbildern herausgeschnitten auf grelle Hintergründe montiert wurden. Dies ist zum Glück nicht sooo oft der Fall, trübt aber den Gesamteindruck doch. Sicherlich wird sich das Buch gut verkaufen, aber wer mit dem Gedanken spielt, es sich zuzulegen, sollte vorher erst reinschauen. jo
 
Käpt’n Blaubär # 1. Seemannsgarn. 48 Seiten, farbig, Hardcoveralbum, 18 Mark. Ehapa
 
Schon seit Jahren werden Käpt’n Blaubärs Abenteuer, deren Figuren aus dem Kopf von Walter Moers entstammen, in Form von Zeitungsstrips veröffentlicht. Für die Realisation dieser halbseitigen und ganzseitigen Comics zeichnen die Berliner Honk Studios verantwortlich, hinter denen sich namhafte Comiczeichner wie Hansi Kiefersauer, Bert Henning und andere verbergen. Es war schon lange Zeit, die Abenteuer gesammelt zugänglich zu machen. Ich hätte nicht damit gerechnet, daß dies gleich in einer Hardcoveredition der Fall sein wird, finde den Ansatz aber gerechtfertigt. Was kann ich besseres schreiben, als daß ich mich bei dem Band wirklich amüsiert habe? Wenn man sich nicht daran stört, daß der Comic für ein seichteres Publikum geschaffen wurde und deshalb viele Gags eher harmloserer Natur sind, kann man den Honk Studios schon eine gute Arbeit bescheinigen. jo
 
Jean-Michel Charlier / Victor Hubinon: Buck Danny # 28 und 29. Je 48 Seiten, Farbalben, 16,90 Mark. Carlsen
 
Sicher wird sich so mancher von Euch fragen, wie ich dazu komme, gerade solche Alben hier zu besprechen. Nun, der Grund ist wohl, daß mich mit Buck Danny eine besondere Leidenschaft verbindet. Diese Albenreihe war nämlich der erste realistische Comic, den ich als Kind 1973 zu Gesicht bekam. Damals kannte ich noch nicht einmal Zack oder Primo, denn unser Tante Emma-Laden hatte sonst nur Micky Maus und Fix und Foxi... und eben „Die Abenteuer von Rex Danny“, wie die Bastei-Heftreihe zum taschengeldgerechten Preis von 1,50 Mark damals hieß. Mittlerweile ist ein Vierteljahrhundert ins Land gezogen. Carlsen hat sich entschlossen, die Fliegerserie aus den 50ern und 60ern als Albenreihe aufzulegen, dafür aber auch mehr als den einfachen Preis von damals zu verlangen. Trotzdem bin ich froh, daß diese Schätze aus meiner Kindheit in chronologischer Reihenfolge und vernünftiger Übersetzung wieder aufgelegt werden. Die Story dieser beiden Alben aus den Jahren 1967/68 ist recht einfach. Vor der Küste von Montegua stürzt ein amerikanischer Flieger mit einer Atombombe an Bord im Dschungel ab. Die unversehrte Bombe wird von dem einheimischen General Diaz geborgen, der sie im Bürgerkrieg gegen seinen Widersacher Gutierez einsetzen will. Danny und seine beiden Sidekicks Tumbler und Tuckson werden als Spione in Diaz’ Lager eingeschleust, um die Bombe zu entschärfen. Bei aller Kritik, die man über Verherrlichung von Patriotismus und Kriegsspielzeug anbringen könnte, muß man zugeben, daß die Alben sich auch heute noch sehr spannend lesen. Einziger Kritikpunkt in der Carlsen-Ausgabe ist für mich die fürchterliche Bonbon-Colorierung. Bei Bastei waren die Farben kräftiger und mit mehr Mischtönen angelegt, was dem Ganzen einen noch professionelleren Touch gab. Auch Farbverschiebungen kamen nicht so oft vor. Zuletzt würde mich noch interessieren, wer in Album # 28 die Seiten 28 bis 38 gezeichnet hat. Hubinon war’s jedenfalls nicht. jo
 
Niki Kopp / Timo Würz: XCT # 1. 48 Seiten, Farbe, Softcoveralbum, 16,90 Mark. Carlsen
 
Amerika irgendwann in der Zukunft. Aids gibt es nicht mehr, Marihuana ist legalisiert, und alle Waffen sind abgeschafft. Die Freundinnen Trish und Corky finden inmitten dieser langweiligen Zeiten ein pralles Waffenlager einer längst vernichteten Sekte. Sie gründen eine Stadt nur für Jugendliche; der Waffenfund bleibt jedoch geheim. Doch der Amateurverbrecher Nybakk bekommt Wind von dem Waffenarsenal, tötet Trish und nimmt Corky als Geisel. Er will den genauen Standort des Lagers erpressen, und droht, ein Konzert mit 25 000 Besuchern in die Luft zu jagen. Die SF-Reihe der jungen Newcomer Niki Kopp und Timo Würz (geboren 1973) ist eine nicht ganz ernst gemeinte Zukunftsvision, wie sie sich die typischen MTV-Kids von heute wünschen würden. Kein Mensch ist älter als Mitte 20, alle sind cool, modisch, hip und auf dem neuesten technischen Stand. Daß diese Züge der Geschichte unrealistisch sind, wissen Kopp und Würz selbst. Deshalb bauen sie diverse Details im Text ein, die wirklich zum Schreien komisch sind, zum Beispiel das Verhütungsmittel Vaginalpalm aus recycletem Sprengstoff. XCT ist kein Funnycomic wie Würz andere Reihe „Lula und Yankee“, sondern ein Abenteuercomic der modernsten Art mit einer Menge Selbstparodie. Die Grafik, in die die kühl gehaltene Computerschrift eingebettet ist, ist eine einzige Farbexplosion. Die Bilder, die direkt in Farbe gemalt wurden, lassen sich manchmal mit einem etwas unsauberen Artwork von Corben vergleichen; nur daß sie viel geiler sind. Die einzelnen Panels wurden dann noch am Computer bearbeitet, zum Beispiel die Schärfe des Hintergrunds ein wenig verwischt. Eine geniale Technik, die manche der Bilder fast wie Fotos aussehen läßt. Der Zweiteiler, der im September vollständig vorliegen soll, ist der oberen Riege der diesjährigen Comicereignisse zuzurechnen. Ein Werk, das das vielzitierte Generation X-Klischee so gut wiederspiegelt wie kein zweites bisher. jo
 
Jean van Hamme/Ted Benoit: Blake und Mortimer # 10. Der Fall Francis Blake. 72 Seiten, farbig, Albumformat, 19,90 Mark. Carlsen
 
Nachdem Band 9 nach dem Tod des Künstlers Edgar P. Jacobs von Bob de Moor vollendet worden war, sind einige Jahre ins Land gezogen. Da die Erben Jacobs’ nicht wie im Fall des Starzeichners Herge eine Fortführung der Serie untersagt haben, wurde sie fortgeführt. Gesucht und gefunden haben sich da Texter Jean van Hamme („XIII“, „Thorgal“) und Zeichner Ted Benoit („Ray Banana“), die dem europäischen Comicleser schon seit vielen Jahren keine Unbekannten mehr sind. Im Gegensatz zu den letzten Alben, die noch unter Originalautor Jacobs zeitlich bis in die 70er Jahre vorgedrungen waren, besann sich das neue Team auf die Glanzzeit der Serie in den 50er Jahren und verlegte ergo auch die Handlung in diese Zeit. Wie in den frühen Alben spielt die Geschichte wieder in England, von wo aus sie sich bald nach Schottland verlagert. Ein Spitzel in den eigenen Reihen macht es dem britischen Geheimdienst schwer, und noch verwirrender wird es, als gerade Francis Blake auf einem Foto als der langgesuchte Spion entlarvt wird. Von den eigenen Leuten gejagt und selbst auf der Suche nach dem Spitzel begibt er sich nach Schottland, wo er auf seinen Erzfeind Olrik trifft. Der Plot hat alles, was die Fans ursprünglich an der Serie so liebten. Simple, aber immer wieder wirksame Tricks helfen Blake und Mortimer, sich durch die aussichtslos erscheinende Geschichte zu hangeln. Die Spannung wird dabei im größten Teil des Albums aufrechterhalten. Deja-Vus wie der flüchtende Olrik auf der letzten Seite sind absichtlich eingebaut. Auch Benoit als Zeichner macht seine Sache sehr gut. Die Grafik ist etwas mehr an die Ligne-Claire mit ihren Strichstärken angelehnt als die ursprünglichen Alben, was dem Band aber gut tut. Die Textlastigkeit der Serie wurde beibehalten, ohne daß damit die Bilder erdrückt werden, wie das früher manchmal der Fall war. Die Colorierung von Madeleine De Mille ist nuanciert genug, um alte Alben zu übertreffen, ohne einen Stilbruch darzustellen. jo
 
Mezieres/Christin: Valerian und Veronique # 16. Im Bann von Ultralum. 60 Seiten, farbig, Albumformat, 19,90 Mark. Carlsen.
 
Alle paar Jahre legen Mezieres und Christin einen Valerian-Band vor, der sich in seiner Originalität nahtlos in die Reihe einfügt, ohne diese zu überbieten oder abzufallen. „Im Bann von Ultralum“ bildet hierbei keine Ausnahme. Der in sich abgeschlossene Band, der 1996 bei Dargaud erschien, bietet weder gänzlich neue Grafik noch wahnsinnig innovative Handlung, sondern einfach eine Geschichte von einem eingespielten Team. Der Reiz liegt wiederum in den köstlichen Ideen, der Darstellung außerirdischer Erscheinungen und Verhaltensweisen, mit denen die recht simple Geschichte wieder kräftig gewürzt ist. Alles beginnt in einem äußerst luxuriösen Hotel, in dem sich Valerian und Veronique während einer Reise aufhalten. Leider wird vor ihren Augen der Thronfolger des Großkalifen von Iksaladam entführt, und Veronique muß die Entführer ebenfalls unfreiwillig begleiten. Valerian begibt sich mit einer recht unangenehmen Begleiterin auf die Suche und begegnet während dieser Suche wieder allerhand skurrilen Wesen. Bis zum Happy-End bietet dieses Album nicht mehr und nicht weniger als gute Unterhaltung. jo
 
Yuzu Takada: 3x3 Augen # 1. 64 Seiten, s/w mit Farbumschlag, amerikanisches Format, 16,90 Mark. Carlsen
 
Die Mangawelle schwappt weiter über Deutschland. Nachdem der Großteil der eher verwestlichten Mangas (wie „Akira“) in diesem Zuge veröffentlicht ist, wagt man sich auch langsam an diejenigen Comics, die schon eine gewisse Manga-Vorbildung erfordern. „3x3 Augen“ ist einer jener Comics, die selbst geübte Comicleser leicht überfordern können, wenn sie die typisch japanische Bildsprache nicht perfekt beherrschen. Gefühle werden extrem überzeichnet oder traditionell völlig anders dargestellt. Kann man das nicht erfassen, so fühlt man sich von der Handlung verwirrt, die zudem nicht sonderlich originell ist. Yakumo begegnt eines Tages dem jungen Mädchen Pai, das - welch ein Zufall - ihn schon seit etlichen Jahren sucht. Pai ist die letzte der rätselhaften Rasse der Triklopen, die sich von Menschen vor allem durch ein drittes Auge auf der Stirn unterscheiden. Ihr einziger Wunsch ist es, ein Mensch zu werden, wobei Yakumo ihr helfen soll. Aber auch ein Dieb und ein Fabelwesen zeigen Interesse an dem ungleichen Pärchen. Yakumo wird tödlich verletzt, von Pais magischen Kräften aber sogleich wieder zum Leben erweckt. Die abstruse Storyline ist zeichnerisch routiniert in Szene gesetzt. Wie für einen Manga typisch werden Stilmittel wie Speedlines verstärkt eingesetzt. Stories, in denen jede Ungereimtheit mit Magie oder übernatürlichen Kräften erklärt wird, sind mir schon immer suspekt gewesen. jo
 
Haldeman/Marvano: Dallas Barr # 1. 48 Seiten, farbig, Albumformat, 18,90 Mark. Carlsen
 
Wir schreiben das Jahr 2075: Dallas Barr, mit seinen 132 Jahren der zweitälteste Mann der Welt, braucht eine Million, damigt er sein Leben durch eine spezielle Behandlungsmethode um eine weitere Phase verlängern lassen kann. Juliums Stileman, der diese Methode entwickelt hat, bietet Barr ein Tauschgeschäft an: eine Gratisbehandlung als Gegenleistung für die Übernahme eines brisanten Auftrags in dem von einer Revolution aufgewühlten Key West. Joe Haldeman und Marvano (Mark van Oppen) legen mit dem in sich abgeschlossenen Erstlingsband von „Dallas Barr“ ein starkes Stück Science Fiction vor. Das Team, von dem auch schon die SF-Reihe „Der ewige Krieg“ bei Carlsen erschienen ist, legt Wert auf realitätsbezogene Fiktionen. Die Darstellungen von Technik und politischen Abläufen wirken glaubhaft. Der Band ist spannend, nachvollziehbar und zeichnerisch geradlinig. Die hervorragende Colorierung von Bruno Marchand gibt dem Album den letzten Schliff. jo
 
Cailleteau/Bayram: Cryozone # 1. Böses Erwachen. 48 Seiten, farbig, Albumformat, 18,90 Mark. Carlsen
 
Im Jahre 2059 durchquert die „UNSS Neil Alden Armstrong“ bereits zehn Jahre lang mit 10 000 Menschen an Bord das Universum, um einen Planeten außerhalb des Sonnensystems zu besiedeln. 400 Besatzungsmitglieder sind jeweils für sechs Monate im Einsatz, während der Rest die Reise in einem kälteschlafähnlichen Zustand in den Cryotek-Kammern verbringt. Nach einem Zwischenfall explodiert jedoch die Zentraleinheit der Kältekammern, und das System läßt sich nur noch für zehn Stunden stabil halten. Newcomer Denis Bajramliefert in seinem ersten Album ein recht passables Artwork ab, ohne jedoch über einen wirklich eigenen Zeichenstil zu verfügen. Auch die Farbgebung von Florence Breton ist ganz okay. Am Text von Thierry Cailleteau hapert es jedoch noch gewaltig. Ein bißchen was aus „Alien“ geklaut, ein paar zuviel Zombiefilme gesehen und in endlosen Texten unheimlich viel technisches Know-how durchblicken lassen. Spannend wird das Album dadurch natürlich noch nicht. jo
 
Sfar/Munuera: Die Potamoks # 1 und 2. Je 48 Seiten, farbig, Albumformat, 18,90 Mark. Carlsen
 
Der auf dem abgelegenen Arichipel Eurysthe öebende Professor Asclepius glaubt fest daran, daß sich im Laufe der Evolution irgendwo auf der Welt auch andere menschenähnliche Lebensformen entwickelt haben könnten. So wird erstmals in der Geschichte des friedliebenden Landes eine entbehrliche Crew, bestehend aus Insassen einer Irrenanstalt für eine Erkundungsreise über das endlos weite Meer zusammengewürfelt. Tatsächlich trifft die Mannschaft auf andere Menschen: Piraten, die sie bestialisch grausam umbringen wollen. sie fliehen mit Hilfe der Potamoks, fremdartiger Wesen, halb Mensch, halb Schwein. Doch damit fängt das Abenteuer erst an. Die Albenreihe Potamoks könnte man als Mischung aus Fantasy- und Splattercomic bezeichnen. Was als Erkundungsreise beginnt, endet bald in einem gegenseitigen Abschlachten, bei der eine ausgefallene Tötungsart die andere überbietet. Bei der Darstellung von Gewalt ist Zeichner Munuera erstaunlich wenig zimperlich, so daß eine unzensierte Veröffentlichung bei Carlsen verwundert. Zeichnerisch und farblich sind die Bände wirklich eine Augenweide. Die Geshichte jedoch kann nicht sonderlich begeistern. Man nehme möglichst viele fremde Lebensformen, zwei Handvoll Klischees, etliche Prisen Magie (wenn die Story sonst in eine Sackgasse geriete), viel Gewalt und eine Prise Pseudoweisheiten, und schon haben wir einen Fantasycomic. jo
 
Diverse: Uderzo von seinen Freunden gezeichnet. 48 Seiten, farbig, Albumformat, Hardcover, 14,80 Mark. Ehapa.
 
Ach ja, Uderzo hat es schon schwer. Andauernd wollen hunderte von armen Schluckern mit seinem Asterix ein paar Mark verdienen, während er selbst sich kaum einen zwanzigsten Porsche leisten kann. Und dann kommen Verlage auch noch immer auf so komische und nicht mal neue Ideen wie zum Beispiel „Hommagebände“. Die bitten vorher um Erlaubnis und können nicht einmal verklagt werden. Das ist bitter. Anlässe für solche Bände findet man immer; diesmal ist’s der 70. Geburtstag Uderzos. 26 Zeichner und Texter verwursten nun Asterix-Geschichten in ihrem eigenen Stil, was den Band gut gemischt erscheinen läßt. Viele der Künstler sind hierzulande völlig unbekannt, da der Band direkt aus Frankreich übernommen wurde. Das macht aber nichts, da sich ein Band mit Asterix und Obelix auf dem Cover trotzdem verkaufen wird. Interessant wird es für uns, wo einigermaßen bekannte Leute wie Franz, Crisse, Fauche, Rouge, Rodolphe oder Corteggiani Asterix in ihrem ureigenen Zeichenstil präsentieren oder Anekdoten aus Uderzos Leben als Grundlage nehmen. Die knapp 20 Geschichten sind im Mix schon recht interessant, und wer Asterix mal realistisch gezeichnet oder als abgehalfterten Typen sehen will, sollte mal reinschauen. jo
 
Ulrich Schröder/Floyd Gottfredson: Micky Monstermaus. 48 Seiten, farbig, Albumformat, 16,80 Mark. Ehapa
 
Nachdem die Barks-Collection so erfolgreich läuft wie sonst nur Asterix, entschied sich Ehapa wohl dafür, auch andere klassische Zeichner ins Programm zu nehmen. Floyd Gottfredsons Geschichte „Micky im Bann der Höllenstrahlen“ wurde vom 12. November 1932 bis zum 10. Februar 1933 als Tagesstreifen veröffentlicht. Hintereinandermontiert macht die Geschichte mit 26 Seiten den Löwenanteil des Albums aus. Obwohl Story und Farben 65 Jahre später natürlich unzeitgemäß wirken und auch der Druck zu wünschen übrig läßt, ist es löblich, den schwer erhältlichen Klassiker wieder zugänglich zu machen. Anstatt jedoch eine andere klassische Geschichte von Gottfredson zu ergänzen, wird der Band mit einer völlig konstruiert wirkenden Geschichte von 1996 zusammengepackt, die aus rein kommerziellen Überlegungen entstand und sich auch so liest. Verantwortlich dafür sind Disneys neue Trickfilmwunderkinder Ulrich Schröder und Andreas Deja, die zuvor noch nie einen Comic gemacht haben. Was im Film wirkt, kommt im Comic stinklangweilig daher. Interessant ist lediglich die Abhandlung zur Entstehung des Albums von Klaus Strzyz und die unerwarteten Ideen des Disney-Konzerns zur weitern Vermarktung von Micky. Daß die mal zugeben, daß die Persönlichkeit von Micky Maus praktisch gegen Null geht und Donald Duck weit unterlegen ist, hätte ich nie für möglich gehalten. Schade, daß sie auf der Suche nach dem ultimativen neuen Micky wieder ins Klo gegriffen haben. jo
 
David Lapham: Stray Bullets # 4. Bonnie und Clyde. 36 Seiten, s/w mit Farbumschlag, Comic-bookformat, 7,80 Mark. Feest
 
Diese Ausgabe begeistert ebenso wie die drei vorangegangenen Hefte. Das Konzept wurde beibehalten: Wieder ist die Geschichte in sich abgeschlossen, innerhalb der Reihe jedoch nur ein Teil einer in sich verflochtenen großen Erzählung. Diesmal geht es um die kleine Virginia, die von zuhause wegläuft und von Paul Barrow im Auto mitgenommen wird. Barrow kommt die noch leicht zu beeinflussende Kleine recht. Er erschleicht ihr Vertrauen, um sie zu benutzen. Wieder zieht Lapham alle Register seines Könnens. Von einem realitätsbezogenen Ausgangspunkt entwickelt sich die Story bald zu einer komplexen Erzählung, die wirre Traumsequenzen ebenso beinhaltet wie Spannung und eine falsche Fährte für den Leser, der Barrow zwar immer mißtraut, aber nie genau weiß, was dieser vorhat. Die Reihe ist einfach ein Meisterwerk. jo
 
Lawrence Meyers/Astrid Vohwinkel: Outer Limits # 1. Unter dem Bett. 48 Seiten, farbig, Comicbookformat, Softcover, 16,80 Mark. Feest
 
Diese Mystery-Serie hat im Gegensatz zu „Akte X“ und Konsorten keinen festen Besetzungsstamm, sondern präsentiert in sich abgeschlossene Folgen, die nur alle irgendwie unerklärlich oder mysteriös sein müssen. Feest konnte sich die Rechte sichern, ausgewählte Episoden mit heimischen Zeichnern selbst zu adaptieren. Die drei jungen Zeichnerinnen Astrid Vohwinkel, Sabine Weiss und Anke Siebert sollen abwechselnd je eine Folge zu Papier bringen. Astrid Vohwinkel, die den deutschen Text, Zeichnungen und Lettering des ersten Bandes erstellte, liefert eine mittelprächtige Arbeit ab. Zwar enthält ihr Zeichenstil keine anatomischen Mängel, ist jedoch manchmal noch ein bißchen grob in der Darstellung. Die Farbgebung ist okay, haut einen jedoch nicht vom Hocker. Da auch das Originalscript von Lawrence Meyers sicher nicht das spannendste der ganzen Serie ist, bleibt abzuwarten, welche Ideen und Umsetzungen die weiteren Alben bieten. jo
 
Luc Brunschwig/Servain: Warrens Schwur # 1. Das 19. Opfer. 56 Seiten, farbig, Albumformat, Softcover, 22,90 Mark. Carlsen
 
1967 tötet der Navajo-Indianer Warren Wednesday eine Familie und wird in einer Gaskammer Amerikas hingerichtet. 14 Jahre später ermordet ein Indianerjunge, der behauptet, die Reinkarnation Wednesdays zu sein, einen der zwölf Geschworenen des damaligen Prozesses. Stan und Johnny, die von dem Mord wissen, beschließen, den gleichaltrigen Warren nicht an die Polizei auszuliefern. Doch Johnny ändert seine Meinung, als Warren immer unverblümter ankündigt, auch alle anderen Beteiligten an seiner Hinrichtung töten zu wollen. Er verrät Warren. Der wird inhaftiert, kann aber fliehen. Vier Tage später wird Stan ermordet, und Johnny entgeht nur durch Flucht diesem Schicksal. Elf Jahre lang lebt Johnny in Furcht,bis Warren eines Tages erscheint. Texter Luc Brunschwig baut das erste Album des fünfteiligen Thrillers sehr geschickt auf. Die Handlung beginnt 1992 mit mehreren Rückblenden oder Anspielungen auf die Vergangenheit und verlagert sich in der zweiten Hälfte des Albums ins Jahr 1981, in dem einige Zusammenhänge geklärt werden. Es bleiben aber noch genung Fragen offen, um die weitern Bände zu füllen. Zeichnerisch könnte man das Werk durchaus für einen amerikanischen Comic halten, was natürlich das Feeling für die Handlung verstärkt, da diese ja in Amerika spielt. die wundervolle Colorierung von Claude Guth tut ihr übriges, um den Band über den Durchschnitt zu heben. Einziges Manko sind wie so oft die völlig überzogenen Preisvorstellungen des Carlsen-Verlags. jo
 
Berthet/Yann: Pin up # 1. 60 Seiten, farbig, Albumformat, 29,80 Mark. Salleck Publications Eckart Schott Verlag
 
Bedenkt man, daß das Medium mehr als 100 Jahre alt ist, so fällt auf, daß sich Comics nur sehr wenig mit sich selbst beschäftigt haben. Womöglich ist das Selbstbewußtsein der Comiczeichner so angeknackst, daß sie sich einen Comiczeichner als Held nicht vorstellen können. Hier haben wir einen: den berühmten Milton Caniff, der in den USA bei Kriegseintritt 1942 mit erotischen Zeitungsstrips die Moral der Truppe hebt. Berthet und Yann verhehlen nicht ihre Bewunderung für den beliebtesten Stripzeichner der 30er bis 50er Jahre, der zum Vorbild für Scharen anderer Zeichner wurde. Aber ihr Interesse gilt mehr noch dem Zeitkolorit, den Charakteren im Umfeld wie der Zigarettenverkäuferin Dottie, die zum Vorbild für Caniffs Pin-up-Serie „Poison Ivy“ wird. Die kriegstrunkenen USA werden genau so in Szene gesetzt, wie es Berthets der Ligne Claire verpflichtetem Zeichenstil entspricht. Wegen zehn Seiten Pin up-Skizzen zusätzlich zum 48-Seiten-Album muß der Leser rund zehn Mark mehr berappen. Das Album ist ein paar Mark mehr schon wert. Endgültiges wird man über „Pin up“ aber wohl erst nach dem dritten Band der Miniserie sagen können. aa



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 51
Besprechungen



Graphic Reviews # 1. 32 Seiten, s/w, DIN A4, 1,75 Pfund. Andy Konky Kru, PO Box 8892, London SW 15, Great Britain.
 
Da sitzt einer in London, denkt über das Medium Comic nach und nimmt es wirklich ernst. Während unsereins freudig erregt zur Schere greift, wenn Dr. Fritz Göttler im Feuilleton der Süddeutschen Zeitung wieder mal ein Comicalbum bespricht und damit demonstriert, daß er offenbar nicht alle Comics von vorneherein für Schund hält, sagt sich Andy Konky Kru: Warum sollte das Medium Comic selbst nicht dazu taugen, Comics zu rezensieren? Die neunte Kunst müßte sich damit erstmals nicht ihre Legitimation von der großen Schwester Literatur (hier: Literaturkritik) erbetteln, sondern würde sie sich selbst verschaffen - aus sich heraus. Wenn man Comics tatsächlich für ein brauchbares Ausdrucksmedium hält, sollte man ihnen das schon zutrauen. Eigentlich ist es ja nichts Besonderes oder gar Neues, daß Comicfiguren auftreten, um uns mittels Worten und Bildern einen Essay zu vermitteln oder sich auf sonstige Weise selbstreflexiv zu äußern. Sehr gekonnt hat uns kürzlich Scott McCloud auf diese Weise ein neues Verständnis der Comics gelehrt. Und daß sich Comiczeichner auch mal selbst inszenieren, ist nun wirklich ein alter Hut. Kürzlich sah ich ein Lustiges Taschenbuch, in dem ein Reporter Carl Barks in Entenhausen besucht und interviewt. Daß Andy da nur einen kleinen Schritt weitergeht, ist das Verblüffende. So legt er einen Band mit 30 Comicbeispielen und 30 Stellungnahmen von 16 britischen Comiczeichnern einschließlich ihm selbst vor. Links ist stets eine Seite aus dem besprochenen Werk abgebildet, rechts daneben steht die Comic-Rezension. Die rezensierten Werke reichen vom alten und konventionellen „Blake & Mortimer“ über die kultigen Jim Woodring, Peter Bagge oder Charles Burns bis hin zu britischen Lokalmatadoren wie Chris Webster und mir unbekannten Künstlern wie Fougasse. James Kochalka und Lee Kennedy sind als Rezensent wie auch als Autor rezensierter Werke vertreten. Manche halten einen kleinen Vortrag (konventionelle Rezension), andere versuchen, jene Stimmung zu erzeugen, die sie an dem gewählten Comic fasziniert, oder den Moment nachzuvollziehen, als sie ihn zum ersten Mal lasen, und was da mit ihnen vorging. Andy Brewer versucht, einem japanischen Comic über Insekten gerecht zu werden, indem er ihn eine Gottesanbeterin rezensieren läßt. Bei Clive Scruton tritt, passend zur Vorlage, ein kleines Gespenst auf. Ein höchst interessantes, völlig geglücktes Experiment, das sich zur Dauereinrichtung ausbauen ließe. aa
 
Wittek, 3 Rooosen, Loppe: Heutelein. 24 Seiten, s/w, DIN A5, 6 Mark. Verlag Rooosinelda, c/o Thomas Wittke, Schulweg 29, 20259 Hamburg.
 
Nach „Das 50jährige Heimkind“ und „Die Eier sind fertig!“ gierten die Zeichner Loppe, Wittek und 3 Rooosen nach neuen Strichertaten. Im Rahmen der Inc.-Ausstellung „Die 4. Dimension“ (Zeit & Raum) auf dem Hamburger Spielbudenplatz produzierten sie kurzfristig dieses Heft, das auf der Ausstellung verkauft wurde. Diese ist nun vorbei, und ob noch Exemplare der Erstauflage von 60 Stück zu bekommen sind, weiß ich nicht. Ein mehr als merkwürdiges Heftchen ist es geworden, das für den hohen Preis leider recht schnell durchgelesen ist. Eine durchgängige Geschichte gibt’s nicht, eher grafische Spielereien und seltsam abgedrehte Texte. Mehr kann ich auch kaum darüber sagen, als daß ich eigentlich nix verstehe. Vielleicht mag es „Unangenehm“-Starzeichner Wittek irgendwann mal erklären. Mit dem wird es in „Sprühende Phantasie“ # 17 (erscheint im Januar ‘98) ein prima Interview geben. Jo84
 
Die Hirse # 18. 44 Seiten, s/w, DIN A5-Taschenbuch. Michael Laabs, Pantaleonsmühlengasse 6, 50676 Köln.
 
Über die Hirse habe ich schon das eine oder andere Mal berichtet. Da es mein persönliches Sprungbrett in die Fanszene war, liegt es mir natürlich besonders am Herzen. Die Hirse ist untrennbar mit dem Herausgeber Michael Laabs verbunden, da er meistens den größten Teil des Hefts selbst bestreitet. So ist es auch diesmal wieder: Kim Schmidt steuert vier Cartoons bei, der Rest ist Laabs-Eigenproduktion. Neu ist das Format, und daß Laabs-Kowalski sein schriftstellerisches Talent entdeckt hat. So ist Hirse # 18 eine erquickende Mischung aus Comics, lustigen Kurzgeschichten und abstruser Lyrik. Alles auf der Humorschiene, wobei auch schon mal einzelne Beiträge in den Schwachsinn abgleiten. Stellvertretend für den Humor sei die erste Kurzgeschichte genannt, betitelt mit „Das Leben ist eben kein Tapeziertisch, auf dem man sich sauber alles zurechtschneiden kann“. Laabs ist ein spritzig schreibendes Talent, dem hoffentlich irgendwann mal größeres Talent beschieden ist (?, der Setzer). Jo84
 
Epidermophytie # 3. 32 Seiten, s/w, DIN A4, 3 Mark. Contra Medienwerkstatt, Hufelandstraße 19, 10407 Berlin.
 
Der dritte Streich der Berliner gilt ein paar Lokalgrößen aus Entenhausen. Die Disney-Welt läßt sich verhältnismäßig leicht persiflieren, indem man ihr einfach die Niedlichkeit austreibt ( „From Duck till Dawn“, „Night of the Living Ducks“). Oder man arbeitet die reaktionäre Ideologie heraus, die in den lustigen Enten-und-Mäuse-Geschichten steckt. Das geschieht nicht zum ersten Mal, aber die Fußpilz-Freunde leisten sich immerhin keinen Durchhänger. Auch nicht in grafischer Hinsicht. aa
 
Skitzen. 100 Seiten, s/w, DIN A5. Till Lenecke, Gähler Straße 15, 22767 Hamburg.
 
„Skitzen“ heißt die Megaschwarte, die Till Lenecke aus seinen Skizzenbüchern zusammengebastelt hat und die in sehr gutem Kopierdruck Scribbles und Textpassagen (manchmal etwas unleserlich) der besseren Sorte beinhaltet. Ein Buch, das auch die leeren Seiten oder durchgedrückte Rückseiten präsentiert. Ambitioniert und skurril. Jo84
Tumor # 7, 52 Seiten, s/w, DIN A4, 5 Mark. Heiko Henning, Sandweg 38, 20257 Hamburg.
 
Tumor ist ein Magazin, das sich mit allen Medien beschäftigt, und richtet sich inhaltlich am ehesten in eine als „düster“ zu bezeichnende Ecke. Dazu gehören Berichte und Besprechungen zu Filmen wie „Return of the Living Dead III“, „Requiem der Teufel“ oder „Virus - Die Hölle der lebenden Toten“, Buchbesprechungen usw. ähnlicher Themen. Allerdings ist Tumor auch für Inhalte völlig anderer Art offen. So gibt es zum Beispiel einen Bericht über Georges Méliès (1861 - 1938), der Zauberer, Regisseur, Theaterdirektor, Erfinder, Schauspieler und Besitzer des ersten Filmstudios überhaupt war. Der Artikel mit nachfolgender Filmographie kann als Höhepunkt der Ausgabe gewertet werden. Neben zahlreichen Rezensionen, einer Kurzgeschichte und etlichen Illustrationen von Diana R. Sasse (die hier ziemlich schaurige Motive abliefert, wirklich gelungen, vor allem das Cover) gibt es noch ein Interview mit Jo84, das auch für Insider noch viel Neues beinhaltet. Die hervorragende Ausgabe wird durch viele Briefabdrucke abgerundet, die eine starke Leserbindung beweisen dürften. Jo84
 
Der Herold # 26. 24 Seiten, s/w, DIN A5, 2,50 Mark. Crago-Verlag, Postfach 32, 97991 Creglingen.
 
„Als Michael Schneider am 10. Januar 1983 zum ersten Mal sein Egozine „Shnortys Herold“ veröffentlichte, ahnte er noch nicht, daß dieses Magazin so lange Bestand haben würde. Genausowenig wie ich, als ich am 1. November 1986 meinen Einstand beim Herold # 11 gab. Zuerst war es zumindest für mich nur eine Spielerei, ein Hobby eben. Doch im Laufe der Zeit wurde der Herold für uns immer wichtiger. Wir hatten die Hoffnung, daß er eine richtig professionelle Zeitschrift würde. Da-für haben wir gearbeitet und gekämpft. Auch später, als jeder von uns einen Job in der echten Medienwelt hatte (Michael bei verschiedenen Radiosendern und ich bei mehreren Zeitungen), gaben wir den Herold nicht auf.“ So J. Heinrich Heikamp im Rückblick auf die Geschichte eines eher wenig beachteten Fanzines. Das Seitenprojekt Comic-Herold, das einheimischen Superheldencomics eine Plattform bieten soll, scheint den Herausgebern inzwischen wichtiger als das Mutter-Zine. Aber die vorliegende Nummer des „Kultur-Magazins“ ist mit Video-, Comic- und Buchrezensionen, einem Aufsatz des bekannten Autors Wolfgang G. Fienhold, einem Porträt des Autorenforums in Kaiserslautern, einem Förderkreis für phantastische Literatur, Nachrichten, Terminen und einem Comic von Franc randvoll mit interessanter Lektüre. aa
 
Manfred Lafrentz: Kama-Wakan. 52 Seiten, s/w mit rotem Umschlag, DIN A4-Album, 8 Mark. Honker & Faun Edition. Henning Way & Wiesenmüller, Tieckstraße 3, 30625 Hannover.
 
Über die Zeichenkunst von Manfred Lafrentz muß in PLOP nicht viel gesagt werden. An dem Kieler, der auch zum Illustratorenkreis der Reihe Heyne Science Fiction zählt, scheiden sich ja die Geister der PLOP-Leser, aber gewiß nicht wegen seiner Grafik. Außer „Coyote“ hat Manfred in letzter Zeit vor allem Comics in Omi veröffentlicht, Umsetzungen buddhistischer und indianischer Märchen, die jetzt in einem schön gedruckten Al-bum zusammengefaßt sind. Den Sanskrit-Titel könnte man frei mit „Heilige Liebe“ oder auch „Magischer Sex“ übersetzen, was das Spannungsfeld, in dem sich die Märchen bewegen, ganz gut charakterisiert. Manfred hat die Stoffe aber offenbar nicht nach Eleganz oder Originalität ausgewählt (wofür der Fundus der Legenden aller Länder ausreichend Material liefern würde), sondern will immer etwas über das Geschlechterverhältnis und insbesondere die Frauen aussagen. Mal erscheinen sie als brave Männer bedrohende Versucherinnen, mal als das heimlich dominierende unterdrückte Geschlecht, mal als das pantheistische Prinzip des Lebendigen. Den stärksten Eindruck hinterläßt die abschließende Geschichte „Vancouver“, in der Manfred die westliche Kultur und die im wesentlichen untergegangene Welt der Indianer ineinander verfließen läßt. Das ist Zivilisationskritik in selten erreichter Eindringlichkeit. aa
 
Die Schweinevogel-Show # 6. 36 Seiten, s/w mit Farbcover, US-Format, 4,95 Mark. Extrem Erfolgreich Enterprises, Schulstraße 10, 04109 Leipzig.
 
Die Nummer 6 blieb leider die bislang letzte Ausgabe. Der Zyklus, der dort ein Ende finden sollte, wird sich wohl doch noch über ein bis zwei weitere Hefte erstrecken. Bemerkenswert ist, daß der Preis für alle Ausgaben - also auch die Backlist - inzwischen auf 4,95 Mark reduziert wurde. Dafür gibt’s ab Heft 6 vier Seiten Chaos mehr. „Chaos“ dürfte das einzige Wort sein, das den Inhalt treffend beschreiben kann. Schweinevogel will Sids Tod rächen und geht, mit einem Atomhelm bewaffnet, zum Angriff über. Die dahinrasende Story ist mittlerweile schon etwas schwerer zu durchblicken, Gastauftritte von Kiss und Abrafaxe-Zeichner Ulf Graupner sind purer Kult. Das Heft ist immer noch unterstützenswert - tut es, bevor wieder ein grandioses Mag wegen Lesermangel ausblutet. Jo84
 
P. M. Hoffmann: Die Abenteuer von Kreuzfeld & Jacob # 1 (November 97). 36 Seiten, s/w mit Farbumschlag, DIN A5, 5,90 Mark. Ex-trem Erfolgreich En-terprises, Hamburg und Leipzig. Bezug:  Comicbuch Vertrieb, Peter Poluda, Lortzingstraße 5, 32683 Barntrup; Modern Graphics, 76437 Rastatt.
 
Nach Schwarwels „Schweinevogel-Show“ kommt jetzt im selben Verlag der Comic von Peter Marcellus Hoffmann. Man ist erstmal versucht, Vergleiche zum Schweinevogel zu ziehen; auf jeden Fall trifft Hoffmann Schwarwels Geschmack genau, wie der Meister selbst im Nachwort betont: K & J ist „kein Mainstream, kein Fanzine oder gar Albumscheiß“, sondern purer „Underground“. Ob nun besser oder anders oder vielleicht doch nicht ganz so kultig wie „Schweinevogel“, möchte ich hier nicht vertiefen. Die Zeichnungen sind viel detailreicher, die Story ist ähnlich abgedreht und läßt keinen Gag aus. Die Handlung lehnt sich locker an Tim Burtons „Mars Attacks“ an und ist um unzählige Anspielungen auf Fernsehserien, sogenannte Persönlichkeiten des öffentlichen Lebens und wohl auch etliche DDR-Insider-Witze (Sättigungsbeilage? Califucks? Brotfahrerkind?) angereichert. Kurz vor Schluß der Tour de Force begann mir vor dem zu erwartenden Hinweis „Fortsetzung folgt“ zu grauen, doch dann kriegt Hoffmann glücklich die Kurve, beendet die Episode und läßt K & J beim nächsten Mal (Februar 1998) was anderes durch den Kakao ziehen. Vorausgesetzt, ihr trefft am Kiosk die richtige Entscheidung. aa
 
Filmriß # 5. 44 Seiten, teilweise farbig, DIN A4, 8,80 Mark. Amigo Comics, Holger Bommer, Starenweg 18,73730 Esslingen.
 
Holger Bommer hat inzwischen keine Mühe, in der obersten Liga der Comicfanzines mitzuspielen. Seine Mitarbeiter sind teilweise schon atemberaubend gut - Jan Thüring, der ganz beiläufig eine alltägliche Horrorgeschichte heraufbeschwört, Mark Badger, der mit Farbe so gut wie Matthias Schultheiß umgehen kann, Aurel Voigt und Mikel Gref, die ohne weiteres in „Mad“ passen würden (ist das heute noch ein Lob?), Andreas Mergenthaler und Kim Schmidt (sind uns eh’ bekannt). Die fällige Jubelarie wird diese Besprechung aber trotzdem nicht. Leider fehlt Filmriß nämlich jegliches persönliches Flair. Abgesehen davon, daß Holger zweimal seinen Antihelden „Tobi“ ins Rennen schickt, tritt der Herausgeber überhaupt nicht in Erscheinung. Das Magazin hat dadurch etwas Retortenmäßiges; trotz höchster Qualität fürchte ich ein wenig um den Leserbezug. aa
 
Lorsch und Rautie: Hitzerausch. 16 Seiten, s/w, DIN A5. Oje. 36 Seiten, s/w, DIN A6. Kix-Mini # 26 bis 28 und Kix Extra # 2. Piccolos. Alle bei Rautie, Wilhelmsbader Allee, 63454 Hanau.
 
Rautie schickte wieder einen Schwung allerfitzeligster, handkopierter Werke des Kix-Teams (bzw. Raul und Rautie). Treffend kann man im Vorwort von „Oje“ lesen: „... Versuchen Sie mal, die folgenden Seiten zu verstehen, und verstehen Sie, daß es nichts zu verstehen gibt. Haben Sie das verstanden, so verstehen Sie einiges von dem, was es nicht zu verstehen gibt.“ Damit wäre die Philosophie der Kix-Comics grob umrissen. Hitzerausch ist das akzeptabelste Werk des Stapels. Eine Strichmännchenfigur läuft Amok, weil ihr Bier nicht kalt genug ist. Dank des großzügigen Rasterfolieneinsatzes entbehrt das Heft nicht eines gewissen Charmes. „Oje“ trifft den Inhalt allein durch seinen Titel schon ganz gut. Zeichner, die der Kunst nach zu urteilen zwischen zwei und vier Jahre alt sein müßten, bieten Krakelcomics. Ihr großer fünfjähriger Bruder durfte in die Sprechblasen schreiben. Die anderen Teile erscheinen anscheinend wöchentlich. Es geht um Fußball. Leider sind sämtliche Teile nur stellenweise wirklich witzig. Nicht umsonst heißt es in „Oje“: „Vielen Dank für Ihr Verständnis.“ Jo84
 
Edgar Rice Burroughs-Notizen # 30 (Mai 1997). 20 Seiten, s/w, DIN A5. Initiative Kritischer Utopia Beobachter, Kurt S. Denkena, Postfach 750 331, 28732 Bremen.
 
Das schmale Heft ist fast völlig der Lehning-Serie „Peters seltsame Reisen“ von Helmut Nickel gewidmet, in der auch Tarzan, Edgar Rice Burroughs berühmteste Schöpfung, einen Gastauftritt hatte. Für diejenigen (wie zum Beispiel mich), die Lehning mit Hansrudi Wäscher verbinden und sonst höchstens noch wissen, daß da auch Leute wie der elegante Augusto Pedrazza hin und wieder lizenzgedruckt wurden, ist dieser Nachdruck eine faustdicke Überraschung. Nickels Serie, die aus der „bunten Jugendzeitung Harry“ stammt, ist eine köstliche Comic-Parodie und überhaupt ein großes Lesevergnügen. Und gut gezeichnet obendrein. ERBN bringt sechs Folgen (eine Folge umfaßte stets eine Seite); insgesamt erschienen sind laut Skodziks Deutscher Comic-Bibliographie zwischen 1958 und 1960 etwa 90. Hinzu kommen einige Informationen über die Serie, die Publikation und den Künstler sowie ein Nachruf auf den amerikanischen SF-Literaturagenten Sam Moskowitz. aa
 
cOMIc # 30. 28 Seiten, s/w, grünes Cover, DIN A5, nur im Tausch gegen Beiträge oder andere Fanzines bei Gerd Bonau, Kieler Chaussee 35, 24214 Kiel.
 
Ulrich Magin, Bernd Teuber, Thomas Glatz, Olaf Bathke und Manfred Lafrentz haben diesmal längere Comics beigesteuert, die mir alle sehr gut gefallen. Aber sonst? Früher fand ich Omi unglaublich seltsam. Inzwischen finde ich nur noch seltsam, daß Herausgeber Gerd Bonau sich in seinem eigenen Magazin so sehr zurücknimmt. Er publiziert mit nicht nachlassendem Eifer, aber im Heft findet man dann ein lakonisches „Terve“ auf Seite 2 und die obligatorischen Fanzine-Spielregeln auf der vorletzten Seite. Gerd schreibt wohl noch die Fanzinerezensionen selbst. Aber auch hier versucht er, die Essenz stets in zwei elliptischen Sätzen unterzubringen. Seltsam, sehr seltsam. aa
 
Zeitlupe # 27. 36 Seiten, s/w mit Farbumschlag, DIN A5, 3 Mark. Tim Böhm, Ludwigshafener Straße 21 D, 76187 Karlsruhe.
 
Tim Böhm verfolgt sein Konzept des milden, hintergründigen Humors und der 50er Jahre-Gemütlichkeit unbeirrt weiter. Diesmal hat er diese Stimmung in Yellow Press-Magazinen wie „Das Goldene Blatt“ oder „Frau im Spiegel“ entdeckt, die er mit seinem perfekt montierten Cover parodiert. In derselben Manier berichtet er im Heft über seine diversen Filmprojekte und die Preise, die er dafür gewonnen hat (merkwürdigerweise erwähnt er dagegen den ICOM-Fanzinepreis, der seinem Magazin in Hamburg zugesprochen wurde, mit keiner Silbe). Die Comics, die von seinen Stammzeichnern Thomas Harske, Haggi, Ulrich Magin, Bernd Teuber, Holger Bommer, Karsten Schley, Pit Eberle, Alwina Götz, „Bruno“ Hartnagel und Benjamin Brandt sowie dem Herausgeber selbst stammen, fügen sich wieder zu einer schönen Einheit zusammen. aa
 
Bussi Hamms # 1. 32 Seiten, s/w mit Farb-cover, DIN A5. 5,90 Mark. Amigo Comics, Holger Bommer, Starenweg 18, 73730 Esslingen.
 
Es war eine ausgesprochene Biertischidee, das erfolgreiche Kindermagazin Bussi Bär zu parodieren. Abgesehen davon, daß ich nicht sicher bin, ob Bussi Bär solcherart Hohn und Spott verdient hat (zweifellos besser als He-Man oder Power-Rangers oder Super-Mario oder Tamagotchi oder mit welch Monströsitäten die Kurzen heute so aufwachsen müssen), finde ich das Ergebnis sehr amüsant. Da haben halt Könner wie die Dinters, Holger Bommer, Bia Biafra, Haggi, die Berres-Brüder, Jürgen Raatz und SI-Kartuun-Mann Björn Laser sehr effektiv zusammengearbeitet. Die betont heile Kinderwelt von Bussi Bär wird hier sehr gezielt und hämisch zerstört. Kann man schon mal drüber lachen. aa
 
Zebra # 14. 40 Seiten, s/w, DIN A4, 4,80 Mark. Georg K. Berres, Giselherstraße 19, 50739 Köln.
 
Ich hätte es ja nicht für möglich gehalten, aber die Zebra-Stammcrew tritt in diesem Heft erst auf Seite 25 in Erscheinung und liefert dann bloß noch einen drei Seiten kurzen (aber wunderschönen) Comic am Heftende. Nicht nur Volker Reiche (diesmal mit Bernd Pfarr) ist wieder dabei; dann gibt’s einen sehr Tardi-artigen Beitrag von Ulf Keyenburg; Haimo Kinzler und Karsten Schley werden vorgestellt und geben sodann Proben ihrer Kunst. Diese Leute sind nicht alle voll Zebra-kompatibel, aber alle sehr gut, und überhaupt muß man froh sein, daß es wieder mal ein neues Zebra gibt. aa
 
Jens Natter: ...und die Landschaft ist echt schön! Unten-bei-Comix # 2. 32 Seiten, s/w, DIN A6, 2 Mark. „Mollatsch“-Kultzine, Essig Mederake, Töpfergasse 1, 06188 Landsberg.
 
Bei Jens Natter (auch schon in PLOP zu sehen) zeigt sich ein unbändiges Karikaturistentalent, das zweifellos noch steigerungsfähig ist, aber sich jetzt schon mal in einem eigenen Heftchen austoben darf. Die Sachsen vom „Mollatsch“-Punk-Fanzine geben dem angehenden Erzieher - so ist Jens’ Vorwort zu entnehmen - die Chance, sich im zweiten Unten-bei-Comix darzustellen. Die Gags der Cartoons und kleinen Comics drehen sich um den Tourismus in einem Ostsee-Badeort und reichen vom Sonnenbrand über Fußpilz bis zum Kannibalismus. Nicht immer geschmackssicher (den Begriff habe ich aus alten Texten der Katholischen Filmkritik), aber auch nicht unkomisch. aa
 
Placebo. 16 Seiten, s/w, DIN A6, 1 Mark. Sanchez + Santiago Comics und Cartoons, Hauptstraße 171, 71642 Ludwigsburg.
 
Noch ein Mini-Fanzine. Hier entspricht das Format dem Produktionsprozeß: Das Heft ist, so informieren uns die Autoren, spätabends und dann in einem 14stündigen nächtlichen Gewaltakt entstanden. Es ist gemacht für Leute, die nach den neumodischen Superheldencomics süchtig sind. Wer schon alle neuen Dino-, Splitter- oder Marvelhefte verschlungen hat, findet hier noch eine Dosis Action, wahnsinnige Wissenschaftler, laszive Frauen, finstere Superhelden und natürlich ein Happy-End. Ob dieses Superhelden-Methadon ebenso wirkt wie die Originaldroge, kann der Rezensent leider nicht im Selbstversuch überprüfen, da er schon seit mehreren Jahren weitgehend clean ist. Sanchez und Santiago suchen übrigens für ähnliche Projekte noch Mitstreiter. aa
 
Itsy Bitsy # 1. 32 Seiten, s/w, DIN A7. Andy Konky Kru, PO Box 8892, London SW 15, Great Britain.
 
Jetzt aber zum Meister des Mini-Formats, der sich dabei auch noch wirklich etwas gedacht hat: Trotz der unglaublichen Abmessungen von rund sieben Zentimeter Breite und zehn Zentimeter Höhe fordert Andy Konky Kru von seinen Mitarbeitern richtige Comics mit mindestens drei Panels pro Seite. Zudem sollten die Geschichten sich auch noch um das Thema „Größe“ drehen. Seinen Aufruf haben immerhin mindestens neun Leute befolgt, darunter zwei aus Deutschland (Ulrich Magin, Bernd Teuber), eine Österreicherin (Ilse Kilic) und ein Franzose (David B.). Und alle haben sich etwas Originelles einfallen lassen. Seit Jonathan Swift sind Geschichten über das Thema „Größe“ eher lustig, sieht man mal von Jack Arnolds „Incredible Shrinking Man“ ab (aber sie enthalten somit auch immer ein Element des Schrecklichen). In der ersten Ausgabe von „Itsy Bitsy“ träumt etwa ein Junge wie bei Winsor McCay davon, zum Riesen zu wachsen, zwei Amöben beginnen eine Liebesaffäre, wir lernen die niedliche Smallworld kennen und sehen einem Baum beim Wachsen zu. Da die Teilnehmer alle nicht zufällig im Heft gelandet sind, wünsche ich mir in der zweiten Ausgabe - sollte der Eifer der Künstler, die über Größenverhältnisse nachdenken, anhalten - noch ein paar persönliche Angaben. aa
 
Kreativo! # 21. 28 Seiten, s/w, DIN A5. 1 Mark plus 1,50 Mark Porto. Kreativo Projekt, Birke, Postfach 2022, 58470 Lüdenscheid.
 
Das persönlichste Egozine, das ich kenne, erscheint nach wie vor pünktlich und zuverlässig, obwohl Herausgeberin Birke sich für die kommenden Ausgaben schon mal vorsorglich mit dem Hinweis auf Prüfungsstreß entschuldigt. Der Inhalt, bestehend aus Konzertberichten, Rezensionen, Gedichten und sonstigen Texten, ist nicht so einfach zu würdigen - man muß schon mal eine Ausgabe selbst lesen. Besonders aufgefallen ist mir diesmal, weil er auch das Cover gestaltet hat, Zeichner Ghost, ein technisch perfekter, sehr filigraner Grafiker, der mich ein wenig an Jack Jaxon erinnert. aa
 
Koma Komix # 16. 44 Seiten, s/w, DIN A5 mit Farbcover, 2,50 Mark plus 1 Mark Porto. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn.
 
Das Gemeinschaftsdusche-Cover ist diesmal das Beste am Heft. Die in drei Kapiteln ausgebreiteten Sommer-Strand-Erlebnisse der Clubbrüder reizen erst am Ende so richtig zum Lachen. Die Fortsetzungsgeschichte mit Saufgard-Recke Quyris endet vorerst. Für eine weitere Kurzstory war diesmal kein Platz mehr. Sicher nicht die günstigste Ausgabe, um bei Koma Comics einzusteigen. aa
 
Pascalifax # 6. 24 Seiten, s/w DIN A 5. Pascalifax, Dittersdorfer Straße 146c, 09122 Chemnitz.
 
Dieses Kindermagazin wird von einem Chemnitzer Mosaik-Club herausgegeben. Vom Clubleiter, Jörg Fiedler, habe ich inzwischen Näheres erfahren: Der Club hat sich nach einem gemeinsamen Projekt mit dem bekannten Mosaik-Club in Apolda gebildet. Wie Roman Turowski in PLOP # 49 berichtet hat, gab es zu DDR-Zeiten an Comics praktisch nur „Mosaik“. Deshalb sind Fan-Aktivitäten im Osten offenbar bis heute stark auf „Mosaik“ fixiert. Jörg Fiedler hat also einen anderen Leserkreis als Fanzines im Westen. Dennoch setzen sich auch die „Pascalifax“-Leser durchaus heterogen zusammen: außer eingefleischten „Mosaik“-Fans gibt’s da auch Zeichenanfänger, die ihre ersten Schritte im Comicberich tun. Neben Comics und kindgerechten Unterhaltungs- und Rätselseiten spielen die Clubaktivitäten im Heft eine große Rolle: „Mosaik“-Ausstellung im Neefepark, Fahrt zur „Mosaik“-Redaktion in Berlin, eine Übersicht über bedeutende historische Persönlichkeiten, denen die Abrafaxe bisher noch nicht begegnet sind, und so fort. Es wird immer deutlicher, daß das „Mosaik“-Umfeld eine interessante Bereicherung der Fanszene darstellt. aa
 
Comicer # 48 (Herbst 1997). 16 Seiten, gelbes Cover, DIN A 4, im Abo 20 Mark für sechs Ausgaben oder im Tausch gegen Zines, im Laden kostenlos. Comicer, Stiftstraße 39, 60313 Frankfurt/M.
 
Das Gemaule im letzten PLOP hat gewirkt: Schuldbewußt hat die Redaktion eine Heftchen-Corner eingeführt. Ein etwas irreführender Titel; früher hieß die Abteilung auch mal „Zine-Control“. Aber eine gute Seite über einheimisches Fandom und Underground - da kann man nicht meckern. Auch sonst ist der Comicer natürlich wieder eine höchst informative Lektüre. Besonders lesenswert fand ich die Analysen des deutschen Comicmarkts nach dem Mange-Hype und des risikominimierten Ehapa-/Feest-Herbstprogramms. aa
 
Schattenseiten # 4 (Mai 1997). 32 Seiten, Farbumschlag, DIN A4, 12 Mark im Viererabo, im Ruhrgebiet kostenlos. Fake Press, Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen.
 
Inzwischen ist schon die August-Ausgabe erschienen, aber zur Rezension liegt mir nur die vorangegangene Nummer vor, die mir Alexander Pavlenko freundlicherweise überlassen hat. „Schattenseiten“ ist das Ruhrpott-Pendant zu Moga-Mobo oder Ilsemann. Witzig eigentlich, daß die Stadtzeitung jeder Region ein bißchen anders geprägt ist, was aber nüchtern betrachtet einfach daran liegt, daß sie jeweils von anderen Zeichnern gestaltet wird. Der beste Mann in Schattenseiten ist Ulf Keyenburg, den Stempel drücken dem Heft aber ein paar Superheldenfans auf („diese überbemuskelten Hampel, die aussehen, als hätten sie den gleichen plastischen Chirurgen wie die Baywatch-Darsteller“, heißt es dann wiederum in den Comicrezensionen). Der Rezensent ist aber natürlich auch Superheldenfan, was man spätestens bemerkt, wenn er die Frage aufwirft: „Wie man nur auf die Idee kommen kann, dem Herrn von Krypton diese vorne-kurz-hinten-lang-Kickermatte zu verpassen?“ So leidet nur, wer liebt. aa
 
Art Attack # 6. 56 Seiten, s/w, DIN A4, 3 Mark. Angi Henn, Felchesgasse 40, 64291 Darmstadt.
 
Endlich gibt’s mal wieder ein neues Art Attack. Angi hat einmal mehr ihre liebe Mühe, Comicfans und Punks miteinander zu versöhnen. Ich gehöre jedenfalls zu der Minderheit, die findet, daß es ihr gelingt. Unter den Comics möchte ich vor allem die von Oliver Ferreira, Zack und Anja & Joy hervorheben (alle aus PLOP bekannt). Zudem beendet Angi ihren Fortsetzungscomic „Into the Future“, der in ein richtiges Clockwork Orange-Szenario mündet, bevor sich alles als Traum herausstellt. Aber das ist der Teil des Hefts, der den meisten Lesern stinkt. Ansonsten gibt es Interviews mit den Bands Jet Bumpers und Taktlos; Platten- und Fanzinerezensionen, Reiseberichte unter anderem vom Hamburger Comicfestival und einige sehr persönliche Betrachtungen zu Beziehungsfragen, dem Einfluß von Blondie auf Kinder und einer Bauerndisco in Biebesheim. Art Attack trägt den unverwechselbaren Stempel der Herausgeberin, und das sollte so bleiben. aa
 
Nektar # 1. 20 Seiten, s/w, DIN A4, 1,90 Mark. Maya Birken, Postfach 2090, 32377 Minden.
 
Nektar ist ein nettes Undergroundmagazin aus Minden, das sich allen möglichen Themen widmet und sich an jeden richten möchte, der irgendwie etwas tun oder sagen will. Neben Buchbesprechungen (Clive Barker, William Kotzwinkle, Philippe Djian), Plattentips, einem Mixrezept, Gedichten und allem möglichen gibt es einen Bericht über die band „Assassins“, eine Seite über Julie Doucet und zwei Comicseiten, die den Anfang einer Geschichte bilden. Der Höhepunkt der Ausgabe war für mich jedoch der Erfahrungsbericht über Angstzustände, der durch seine Ehrlichkeit stark beeindruckt. Leider soll Nektar bislang nur zweimal im Jahr erscheinen. Ich würde es dem hervorragend aufgemachten Mag gönnen, auch öfter herauszukommen. Jo84
 
Supersonic Spezialitäten # 22 und 46. Je 24 Seiten, DIN A5. Linda Wölfel, Mozartstraße 2, 32429 Minden.
 
Supersonic Spezialitäten hat ein ähnliches Konzept wie Nektar, präsentiert sich aber wesentlich musikorientierter. Hierbei liegt der Schwerpunkt auf All-Girl-Bands, was auch in Ordnung geht. Das Layout ist etwas punkiger, die Numerierung der beiden ersten Ausgaben pure Anarchie, und die Seiten leider nicht geklammert (sorry, das müßt ihr unbedingt ändern, Mädels). Neben wissenswerten Artikeln über Team Dresch, Ovarian Trolley, Hazel und Sleater Kinney (# 22), Bikini Kill und Ani di Franco gibt’s auch schon mal ein paar kleine Comics und Artikel über Filme, Bücher und Erfahrungen von Frauen in dieser unserer Männerwelt. Mir haben die beiden Hefte ganz gut gefallen. Jo84
 
Persona Non Grata (PNG) # 31 und 32. 64, bzw. 88 Seiten, s/w mit Farbcover, DIN A4, 4 Mark. PNG e. V., Thomas Weber, Schiebestraße 47, 04129 Leipzig.
 
Dieses Musik-Zine hat mir Peter Hoffmann informationshalber mitgeschickt. Er ist beinahe allein für die Grafik zuständig und sucht daher Mitstreiter. PNG ist schon vor mehr als sieben Jahren in Leipzig gegründet worden, seit 1996 steht dahinter der eingetragene „Verein zur Förderung unkommerzieller und unabhängiger Kultur“ (Panel-Modell). „Nein, wir werden nicht die Kölner Spexler jagen, wir wollen ja irgendwie lustig bleiben“, verkündeten die Macher in der # 20. Nach meinem Eindruck ist PNG aber zumindest das, was Spex vor vielleicht zehn Jahren mal gewesen ist. aa
 
Sagittarius # 29. 52 Seiten, s/w, DIN A5, 2 Mark plus Porto. Klaus N. Frick, Leopoldstraße 29, 76133 Karlsruhe.
 
Sagittarius ist noch ein bißchen älter als PLOP und ein Fanzine im besten Sinne. Ähnlich wie Enpunkt, das ich in der vergangenen Ausgabe vorgestellt habe, drückt ihm Herausgeber Klaus N. Frick seinen Stempel auf, wenngleich hier die meisten Beiträge - Prosa, Artikel, Illustrationen - von Fremdautoren stammen. Wir befinden uns in der Welt des Science Fiction-Fandoms. So geht es zum Beispiel um den Autor Wolfgang Altendorf, der in Deutschland so gut wie nicht publiziert wurde, um neue historische Romane des Perry Rhodan-Autors Hans Kneifel oder um eine Bibliographie der DDR-Science Fiction. Aber auch ein Comic von Gerhard Schlegel (vor vielen Jahren auch mal im Amateurcomic-Reader vertreten) ist in dem Heft zu finden. Ich will auf die Inhalte nicht näher eingehen, aber das Konzept von Sagittarius gefällt mir grundsätzlich sehr gut: Ernsthaft und akribisch, wo es nötig ist, und immer sonst mit sympathischer ironischer Distanz zum Thema (die hier im Gegensatz zu Enpunkt aber nur in der einen oder anderen Randnotiz aufscheint). Der alte Mitarbeiter Günther Freunek beklagt freilich im offenen Disput mit dem Herausgeber, Sagittarius habe in dieser Hinsicht nachgelassen. Das Magazin befindet sich wohl im Augenblick auf einer Gratwanderung zwischen Fanzine und Fachmagazin. Mir als Außenstehendem kommt es so vor, als sei sie in dieser Ausgabe gelungen. aa
 
Panik Press # 5. 36 Seiten, s/w, DIN A4. Panik Press, Fischnalerstraße 4, A-6026 Innsbruck.
 
Ein ganz schön wüstes Punk-Fanzine; um welche Ausgabe es sich handelt, erfährt man beispielsweise erst im hinteren Drittel des Hefts (obwohl - wenn ich sowas öfter lesen würde, wäre ich wahrscheinlich nicht ganz so beeindruckt). Daß das Zine aus Österreich kommt, kann man schon daran sehen, daß sich auf der Leserbriefseite Franz Vranitzky zu Wort meldet. Über Geschichte, Leserschaft, Wirkung und so weiter von Panik Press weiß ich sonst nichts. Die Redaktion hat mir einfach ein Exemplar zugesandt. Das Cover fand ich schon mal ziemlich klasse; da sieht man eine mit Palmers-Dessous angetane Riesenfrau, die mit ihrem rechten Fuß einen Omnibus zerdrückt, so wie andere Frauen vielleicht in ihre Espandrillos schlüpfen. Im Inneren gibt es einen deutlichen Musik-Schwerpunkt (Plattenkritiken, Interviews mit Attwenger und einer mir nicht bekannten Band), aber auch andere Elemente von herrlich doofen Schlagzeilen aus der Kronenzeitung bis zur Würdigung des US-Linken Noam Chomsky. Und auch für zwei Comics war Platz. aa
 
Christian Futscher: was mir die adler erzählt. 68 Seiten, s/w, stabiler Umschlag, DIN A5. Zweite Auflage. ISBN 3-900956-30-8. 90 Schilling (13 Mark). Schau, der kleine Vogel! 84 Seiten, s/w, stabiler Umschlag, DIN A5. ISBN 3-900956-35-9. das fröhlichewohnzimmer-Edition, Fuhrmannsgasse 1A/7, 1080 Wien.
 
Als der Erste Weltkrieg vorüber war, hatten Künstler erstmals den Eindruck, daß sie die Kultur nicht länger mit Gutem, Wahrem und Schönem voranbringen würden, sondern den Bankrott aller Sinndeutungen und das Ende der Werte eingestehen müßten. Diese Bewegung hieß Dada, daraus entstand später der Surrealismus, und damit war die Kunst dann irgendwie doch wieder zu Sinngebung und Werterhaltung zurückgekehrt. Leute wie Hans Arp und Ernst Jandl sind zwar heute noch ein bißchen bekannt, aber immer noch gibt es eine Berechtigung dafür, die vorgeblich rationale Wirklichkeit mit Naivität oder hinterfotziger Umdeutung zu zertrümmern. Das tut Christian Futscher, über den ich sonst leider nichts weiß, in seinen beiden Büchern. In „was mir die adler erzählt“ erzeugt er aus Zeichen seiner Schreibmaschine lustige Bildchen (wie das in dieser Ausgabe auch Klaus Bosch für PLOP getan hat), in „Schau, der kleine Vogel“ zeichnet er mit einfachsten Mitteln Einzelbilder und kleine Sequenzen. Ein Vogel besteht da aus zwei Häkchen, „wie ich sie in der Volksschule nicht zeichnen durfte“, merkt Futscher an einer Stelle bissig an. Dreht man die Häkchen zur Seite, so wird daraus ein Popo. Und so weiter. „Die Kunst ist ein großes weites Feld, auf dem die unterschiedlichsten Vogelscheuchen herumstehen“, postuliert er gegen Ende des Buchs. aa
Zu Besuch im fröhlichen Wohnzimmer: Als mir Ilse Kilic neulich wieder mal ein paar Comics schickte, ergriff ich die Gelegenheit, sie danach zu fragen, was denn eigentlich hinter dem „fröhlichen Wohnzimmer“ steckt, das zu ihrer Adresse gehört und offenbar so etwas wie einen Verlag bezeichnet. Wenig später erhielt ich ein dickes Paket mit Verlagsprodukten, Programm und vielen Informationen. Das fröhliche Wohnzimmer, schrieb mir Ilse, „ist so eine Mischung aus Underground und hm -  in sogenannten ,etablierten Zusammenhängen‘ der (Literatur-) Szene sich behaupten können/wollen/müssen. Auflagenhöhe meist 500 Stück. Ist bei den österreichischen Kleinverlagen ,normal’.“ Hier eröffnete sich also wieder mal ein Zugang zu einer anderen Szene, der Underground-Literaturszene. Ilse und Kompagnon Fritz Widhalm starteten vor etwa zehn Jahren mit kopierten, handgehefteten und -bemalten Büchern in 100 bis 150 Stück Auflage, die in „Beiseln“ verkauft wurden. Erst mein Brockhaus von 1948 gab mir Aufschluß darüber, daß das ein österreichisches Wort für Kneipen ist. „Motivation: Texte von unserer Meinung nach fröhlichen Autoren zu veröffentlichen“, heißt es im Verlagsprospekt, „wollte uns wohl jemand unterstellen, wir hätten keinen ordentlichen Verlag gefunden, waren wir darauf vorbereitet, fröhlich zu antworten, daß wir danach nicht gesucht hatten.“ An etablierten Verlagen haben Ilse und Fritz vor allem auszusetzen, „daß nämlich nicht der Text im Vordergrund stünde, sondern dessen Verkäuflichkeit, dessen Eignung zur Ware“. Drei Jahre ging das so, dann beschlossen sie, das Projekt ein wenig zu professionalisieren und selbst „ordentliche“ Bücher zu produzieren. Das erste hieß „fröhlich und einfach ,Buch’“. Inzwischen gibt es 34 Bücher mit teilweise durchaus aussagefähigeren Titeln. Gleichzeitig mit dem Verlag gründeten Ilse und Freunde auch die Musikgruppe „das fröhliche Wohnzimmer“, die sie so beschreibt: „In unserer fröhlichen Wohnzimmerband hat sich die Bezeichnung Experimentalpunk einge-, nein, nicht eingebürgert, eingespielt. Die Elemente des ordentlichen Punk treten allerdings hinter der Lust am fröhlichen Experiment, am Erarbeiten neuer Zugänge zurück.“ Produziert wurden eine Single, eine Mini-CD und zuletzt eine CD als Teil des „Sammelbands“ zum zehnjährigen Bestehen des fröhlichen Wohnzimmers. Kontakt: siehe oben. aa
 
Miguelanxo Prado: Der tägliche Wahn # 3. 64 Seiten, Farbalbum, 24.80 Mark. Ehapa.
 
Miguelanxo Prado dürfte den meisten Comiclesern ein Begriff sein, da er mit diesem Werk sein bereits achtes Album in deutscher Sprache vorlegt. Wie schon in den vorangegangenen Folgen der Reihe „Der tägliche Wahn“ handelt es sich um eine Zusammenstellung von Kurzgeschichten, die für verschiedene Magazine entstanden. Die 17 hierzulande bislang unveröffentlichten Geschichten kann man wieder einmal als bitterböse und absolut treffende Bestandsaufnahmen unserer Gesellschaft bezeichnen. Allerweltsthemen wie der Dinotrend, Behördengänge, Glaubensfragen, Einkauf von Weihnachtsgeschenken und viele weitere werden von Prado erkannt, analysiert und oft recht drastisch überspitzt. Die so entstandenen Satiren sind trotzdem meist leider gar nicht so abwegig. Man sollte meinen, daß Prado bei einer durchschnittlichen Storylänge von vier Seiten wohl kaum genug Platz hat, wirklich tiefgründige Texte zu schreiben. Mir ist jedoch wieder einmal bewußt geworden, daß er einer der besten Comictexter der Welt ist. Besonders sympathisch macht die Lektüre die Tatsache, daß Prado trotz des Zynismus der Stories die Wünsche und Träume seiner Leser erkennt und in fast allen Geschichten die jeweiligen Arschlöcher ihrer gerechten Strafe zuführt. Sehr zur Zufriedenheit des Lesers. Jo84
 
Timo Würz, Niki Kopp: XTC # 2. 48 Seiten,  Farbalbum, 16,90 Mark. Carlsen.
 
Mit Band 2 liegt bereits der Abschluß dieses herrlich grellen, nicht allzu ernst gemeinten ultimativen Comics über die sogenannte Generation X vor. Die Technik, in der dieser absolut grandiose Farbrausch entstand, beschrieb ich schon in PLOP # 50. Die direktcolorierten  Bilder wurden am Computer bearbeitet und so die Vorder- und Hintergrundschärfe verwischt. Diese Spielerei wurde etwas zu exzessiv benutzt; weniger davon hätte manchen Bildern gutgetan. Das ist aber nur ein Kritikpunkt am Rande, denn dieser Band ist ein Meisterwerk. Viele werden Kopp textliche Uninspiriertheit vorwerfen, da das Album nichts weiter ist als ein langgezogener Showdown mit effektheischendem Finale, aber ein Werk, das das Lebensgefühl der MTV-Kids widerspiegelt, kann und darf überhaupt nichts anderes sein. Jo84
 
Brunschwig, Servain: Warrens Schwur # 2. 56 Seiten, Farbalbum, 22.90 Mark. Carlsen.
 
Während einer Sitzung beim Psychologen gelingt dem Serienmörder Warren Wednesday die Flucht aus dem Gefängnis von San Luciano. Lieutenant Ritchie, der mit der Verfolgung des Flüchtigen beauftragt wird, versucht, sich ein Bild von Warrens Leben zu machen, um ein Täterprofil erstellen zu können. Dabei stößt er auf die traurige Geschichte eines Jungen, dessen Leben von Geburt an nur die Bestimmung hatte, den fragwürdigen Traum seines Vaters zu vollenden, der als Massenmörder hingerichtet wurde. Besser als der Werbetext kann man dieses zweite Album des auf fünf Bände angelegten Zyklus wohl kaum beschreiben. Der Band beinhaltet einen Bruch zur Storyline des ersten, ist aber nicht minder spannend und interessant aufgebaut. Hier sind echte Könner am Werk, die es verstehen, eine angemessene Stimmung mit einer hervorragenden Story zu kombinieren. Einige im ersten Band aufgeworfene Fragen werden geklärt, und irgendwann erscheint das Album in sich abgeschlossen. Deshalb bin ich schon gespannt auf die Folgebände. Zusammen mit „XTC“ ist „Warrens Schwur“ die beste der neueren Reihen, die Carlsen momentan zu bieten hat, und in jeder Hinsicht empfehlenswert. Jo84
 
William Vance, Jean van Hamme: XIII # 12. Der letzte Zeuge. 48 Seiten, Farbalbum, 16.90 Mark. Carlsen.
 
Vance und van Hamme sind mittlerweile wohl schon als Altmeister der Comics zu bezeichnen. Ihre vielen Serien erscheinen in kontinuierlich routiniertem Abstand und weisen handwerklich kaum Mängel auf. So ist es auch in Band 12 ihrer Reihe XIII, die von Anfang an durch abenteuerliche und weit hergeholte und trotzdem logisch fehlerfrei aufgebaute Texte bestach. Dieses Album wartet mit dem Anfang eines neuen Zyklus auf, der jedoch thematisch an den letzten anknüpft. In den vorangegangenen Bänden erfuhren wir, daß der fiktive amtierende Präsident der USA, Walter Sheridan, eine Menge Dreck am Stecken hat und daß es XIII bisher unmöglich war, dies der Menschheit zu beweisen. Nun bekommt er eine Chance, dies nachzuholen, als seine alten Freunde den Präsidenten entführen und per Live-Übertragung ganz Amerika Beweise liefern wollen. Offiziell nicht in diese Sache verwickelt, werden er und seine Partnerin Jones bald wieder zum Spielball zwischen den Interessenskonflikten, was sie in eine Menge Schwierigkeiten bringt. Wie immer ist die Story mehr als krude, aber spannend aufgebaut, weshalb ich bisher jedes Album gekauft habe. Zeichnerisch bleibt Vance natürlich immer Vance - warum auch nicht? Schließlich ist er ein Klassiker. Jo84
 
Frank Le Gall: Ein Fest für den Weihnachtsmann. 54 Seiten, DIN A 4 quer, Hardcover, farbig, 34,90 Mark. Carlsen.
 
In letzter Zeit scheint es nicht mehr so verpönt zu sein, Kinder jüngeren Alters auch mit Comics statt Bilderbüchern zu beglücken, während sich immer mehr Erwachsene (inklusive meiner Wenigkeit) dabei ertappen, auch gerne mal Kinderbücher für jüngeres Publikum zu konsumieren. Carlsen, seit jeher Trendsetter im Comic- wie auch im Kinderbuchbereich, schafft mit diesem Album einen Brückenschlag zwischen beiden Bereichen. Textlich eindeutig an Weihnachtsbüchern orientiert, gestaltete Le Gall dieses Buch größtenteils als Comic, der jedoch ab und zu noch dem Kinderbuch huldigt, da er mit ganzseitigen Illustrationen durchsetzt ist. Die Geschichte um Umbala und seinen Besuch beim Weihnachtsmann könnte deshalb der ganzen Familie gefallen. Immer wieder gern liest man Neuinterpretationen aus des Weihnachtsmanns Weihnachtswerkstatt, Schwierigkeiten mit der Fertigung der Geschenke, und wie menschlich es doch selbst bei den himmlischen Heerscharen zugeht. Und man freut sich, wenn dann doch noch alles klappt und man sogar noch eine Weisheit mit auf den Weg bekommt. Preislich fällt der Band jedoch in die Kategorie „Dinge, die man sich selbst kaum leisten kann“. Eine Kreuzung aus Comic und Bilderbuch sollte nicht bedeuten, daß sie so viel kostet wie beides zusammen. Jo84
 
Illustrierte Kinder-Klassiker - Band 1: Mazan: Das tapfere Schneiderlein; Band 2: Miguelanxo Prado: Peter und der Wolf. Je 32 Seiten, DIN A4, Farbalbum, Hardcover, 24,80 Mark. Ehapa.
 
Auch der Ehapa Verlag scheint der Ansicht zu sein, daß Kinderlektüre auch für Erwachsene attraktiv sein kann. Die neue Reihe, im Katalog sogar extra als „Zum Lesen und Vorlesen“ ausgewiesen, soll international profilierten Zeichnern die Möglichkeit zur Interpretation klassischer Stoffe gegeben werden. Den Anfang macht der 1968 in Perigeux geborene französische Künstler Mazan, der hierzulande noch recht unbekannt ist. Die leichtfüßig bebilderte Geschichte der Brüder Grimm ist eine waschechte Comicadaption, die man nur als sehr gelungen bezeichnen kann. 1996 erschien bei Guy Delcourt die Originalausgabe dieses Bandes, der vor allem durch eine wunderschöne Colorierung besticht und sich sehr eng an die Märchenvorlage hält. Band 2 ist zwar ebenso ein Comic, steht jedoch durch seine Maltechnik und die Einführung durch ganzseitige Illustrationen dem Bilderbuch für Kinder wieder einen Schritt näher. Zwar hält sich Prado auch recht eng an die Vorlage. Da jedoch das Bild dominiert, finden sich im Text doch einige Sprünge, bei denen das Gefühl früherer Interpretationen nicht so recht aufkommen will. Das soll allerdings nicht heißen, daß der Band schlecht ist. Der Ehapa-Verlag dürfte mit seinen hervorragend aufgemachten „Kinderbüchern“ zum geringeren Preis jedenfalls das Rennen gegen Carlsen gewinnen. Gespannt bin ich vor allem auf Band 3, in dem Will Eisners Interpretation von Moby Dick zum Abdruck kommen soll. Jo84
 
Akira Toriyama: Dragonball # 1 bis 4. Je 192 Seiten, s/w, 12 mal 17,5 Zentimeter-Taschenbuch mit Farbcover, 9,90 Mark. Carlsen.
 
Endlich scheint Carlsen die Zeichen der Zeit zu erkennen und bietet mal Produkte an, die unter 10 Mark kosten. Hierfür konnten sie sogar einen dicken Fisch an Land ziehen, nämlich den angeblich meistverkauften Comic der Welt. Wahrscheinlich ist er das tatsächlich, denn ich finde, er ist an Belanglosigkeit kaum zu überbieten. Man sieht einmal wieder, daß Verkaufszahlen absolut kein Kriterium für Niveau sind. Der japanische Markt ist eben so groß, daß es zu diesem Titel reicht, auch wenn den Comic außerhalb der Landesgrenzen kein Mensch kennt. Carlsen will diesen Zustand nun seltsamerweise ändern und hat eine riesige PR-Maschinerie angeleiert. Allerdings war man zu geizig, für diesen Endverkaufspreis die Seiten umzumontieren, so daß man wie im japanischen Original von hinten nach vorne lesen muß. Allein dieses Kuriosum sowie die Tatsache, daß man die Taschenbücher selbst schon in Supermärkten kaufen kann, werden die langweiligen und banalen Geschichten für ein circa achtjähriges Publikum schon zum Verkaufsrenner werden lassen. Jo84
 
Brad Wright, Sabine Weiss: Outer Limits # 2. 48 Seiten, US-Format, Farbalbum, 16,80 Mark. Feest.
 
Outer Limits war in den 60er Jahren eine der erfolgreichsten Gruselserien des amerikanischen Fernsehens, bevor es Mitte der 90er Jahre im Fahrwasser von Akte X mit dem Konzept in sich abgeschlossener Geschichten zu neuen Ehren kam. Wie es in den 90ern üblich ist, werden die Drehbücher nicht nur als Fernsehfilme, sondern auch noch als Romane und Comics verwurstet, wobei auch durchaus mal Leute mitmischen dürfen, die ohne den vorgegebenen Markennamen auf dem freien Markt nur äußerst geringe Verkaufschancen hätten. Interessant an dieser Reihe ist höchstens, daß die grafische Umsetzung eine deutsche Eigenproduktion ist und man für die Gestaltung drei junge Zeichnerinnen gewinnen konnte. In einem Land, das nicht gerade von Comiczeichnerinnen überquillt, ist dies wohl schon beachtenswert. Leider will mir die grafische Umsetzung dieses Bandes, wie schon Band 1, nicht so recht zusagen. Das schon ziemlich uninteressante Drehbuch von Brad Wright über einen großen interstellaren Krieg (gähn) wurde in groben Strichen skizziert, denen man sowohl die mangelnde Übung als auch den Zeitdruck der Produktion ansieht. Aber so ist das nun mal, wenn man auf einen Zug aufspringt, der schon lange abgefahren ist. Jo84
 
Convard, Siro: Polka # 1. Die Macht von Orpheus. 60 Seiten, Farbalbum, 16,80 Mark. Delta.
 
Der 1969 in Le Havre geborene französische Zeichner Siro hat in seiner Heimat in den letzten vier Jahren mit seinem angeblich von Liberatore und Frazetta beeinflußten Zeichenstil auf sein Talent aufmerksam gemacht. In Zusammenarbeit mit seinem 1950 geborenen Landsmann Didier Convard entstand der vorliegende Science Fiction-Krimi, der im Paris des Jahres 2038 spielt. Natürlich wird die Zukunft sehr düster dargestellt. Vor allem Smog, Arbeitslosigkeit und Computer machen den Einwohnern das Leben schwer. Das muß auch Lorenz „Polka“ Polsky feststellen. Bei einer Routineuntersuchung eines Selbstmords stößt der Polizist auf Ungereimtheiten. Kurz darauf wird sein Kompagnon ermordet, und seine Computerkarten sind plötzlich gesperrt. Ohne die Karten ist er so gut wie nicht existent. Umgehauen hat mich der in sich abgeschlossene erste Band der neuen Reihe nicht gerade, als schlecht kann man ihn jedoch auch nicht bezeichnen. Die düstere Computercolorierung und der seltsame Zeichenstil sind einfach nicht so mein Geschmack, und der Text kommt über gute Ansätze kaum hinaus, weil das Thema einfach viel zu ausgelutscht ist. Ein Album des absoluten Mittelmaßes, und das reicht mir bei den heutigen Comicpreisen einfach nicht mehr. Jo84
 
Massimiliano Frezzato: Der Planet ohne Erinnerung # 1. Der zweite Mond. 44 Seiten, Farbalbum, 18,90 Mark. Carlsen.
 
Auf den ersten Blick macht das Ding keinen schlechten Eindruck. Der Malstil des Albums, dessen Originale direkt in Farbe entstanden, orientiert sich an den Eckpunkten Vincente Segrelles, Alfonso Azpiri und Juan Giminez, gemischt mit ein bißchen Waterworld. Am besten blättert man es einmal durch und stellt es ins Regal. Denn wenn man erst einmal anfängt zu lesen, merkt man, was für einen unerträglich langweiligen und verwirrenden Scheiß Frezzato da zusammengeklaut hat. Der Einführung kann man gerade noch folgen, wenn man auch gefordert ist, die „Eize“ zusammenzurechnen, um zu wissen, in welchem Eiz die Geschichte spielt. Das Ganze trägt sich zu auf einem Planeten, dessen Namen sich keiner der Bewohner gemerkt hat (siehe Titel). Wer das Album gelesen hat, weiß auch warum: Es lohnt sich nicht. Jedenfalls hat ein blutiger Bürgerkrieg (gähn) mit dem „unterdrückten und geschundenen Volk der Zwerge“ (doppelgähn) im 18. Eiz (jaja, schon gut) die einst blühende Zivilisation (dauergähn) auf einem weit entfernten Planeten (schnarch) zerstört und jegliche Erinnerung daran gelöscht (ratzepüh). Doch einige Bewohner versuchen trotzdem, die alten Legenden zu ergründen. Textlich beschränkt sich das Werk auf das Allernötigste. Einige Zitate gefällig? Seite 26: „Wie spät ist es?“ - „2 Hoz und 30 Moz.“ Seite 27: „Erha! Der zweite Mond! Wir dachten, er würde erst in zwei Syntriben wieder erscheinen.“ Seite 42: „Wo ist er denn jetzt? Ist er weg?“ Slash Strock Stud Clack Clack „Neeiin! Meine Vorräte!“ Vvrrrrr Sock „Friß den Propeller!“ Clunk und so weiter. Leider unter aller Sau. Michael Möllers Lettering ist wieder mal das einzig Gute an dem Band, dessen Inhalt man mit zwei Worten zusammenfassen kann: Schöne Farben. Jo84
 
Honk Studios Berlin: Käptn Blaubär # 2. Schiffbruch. 48 Seiten, Farbalbum, Hardcover, 18 Mark. Ehapa.
 
Relativ schnell legt Ehapa Band 2 der beliebten Kinderserie aus der unerschöpflichen Erfindungskraft von Walter Moers Feder vor. Mit der Erstellung des Blaubär-Kosmos hat er natürlich schon seit Jahren nichts mehr zu tun. Dies erledigt routiniert das Berliner Honk Studio, das mit Peter Petri und Hansi Kiefersauer zwei große Talente beherbergt, bei denen es eine Schande ist, daß sie nie selbst den Durchbruch geschafft haben. Ersterer erstellte die Texte des vorliegenden Bandes, letzerer schuf einen Großteil (40 Seiten) der Zeichnungen. Die restlichen vier Seiten wurden von Graham Higgins realisiert, der nicht ganz so viel Kultstatus genießt. Die Strips und mehrseitigen Geschichten sind letztlich natürlich nichts besonderes, aber immerhin gute Unterhaltung. Obwohl ich bemerken muß, daß Band 1 besser war. Jo84
 
Carl Barks: Barks Library # 31. 56 Seiten, Farbalbum, 16,80 Mark. Ehapa.
 
„Duckman“ Carl Barks erfreut uns in Band 31 der Werkedition wieder mit fünf zum Lachen stark anregenden Geschichten aus der Zeit von Juli bis November 1956, die nach amerikanischem Vorbild wieder sorgfältig bearbeitet wurden. Interessant wie immer auch die Hintergrundinformationen, in denen durch den Abdruck der privaten Briefwechsel Barks’ die Anfänge der Barksmania ersichtlich werden. Jo84
 
Herge: Tim im Kongo / Tim in Amerika / Der blaue Lotus / Die Zigarren des Pharao. Je 64 Seiten, Farbalben, Softcover, 16,90 Mark. Carlsen.
 
Da ist sie nun also, die neue, verbesserte Edition des Zugpferds von Carflsen, „Tim und Struppi“. Neu übersetzt, erstmals nach über 30 Jahren im Programm handgelettert und bereits der neuen Rechtschreibregelung angeglichen. Über die ist ja das letzte Wort noch nicht gesprochen, und eine Reklame mit der im Volk eher unbeliebten Reform könnte auch ganz schön nach hinten losgehen. Tatsache ist, daß das Handlettering den Bänden guttut, wenn der erste Anblick verständlicherweise auch eher ungewohnt ist. Ein Unterschied, der sofort ins Auge fällt, ist das neue Papier. Das alte Druckpapier war stumpf, während das neue eher glänzend ist. Dadurch erscheinen die Farben weniger satt, und da „Tim und Struppi“ sowieso eher dezent coloriert ist, ist dies für mich eindeutig ein Manko. Lobenswert ist die Herausgabe in ihrer ursprünglichen chronologischen Reihenfolge, wobei es bis Ende 1999 (so lange sollen die neuen Abenteuer bis zur kompletten Vorlage brauchen) einige Verwirrung in der unterschiedlichen Numerierung der Alben geben wird. Inhaltlich wird also bei den ersten beiden Alben begonnen, deren ursprüngliche Versionen zwischen 1930 und 1935 in der belgischen Zeitschrift „Le Petit Vingtieme“ erschienen. Die vorliegenden zeichnerischen Überarbeitungen stammen aus den Jahren 1946 (Kongo, Lotus), 1945 (Amerika) und 1955 (Pharao). Textlich ist Tim noch nicht so recht der Charakter, der er später einmal wird. In Band 1 erschießt er zum Beispiel mal eben gerade einen Affen, um sich dessen Fell überzustreifen. So etwas wäre in späteren Bänden undenkbar gewesen. Für eine adäquate Version der Klassiker war es jedoch schon lange Zeit. Ich hätte mir jedoch Hardcoverausgaben gewünscht. Ich wette, ab dem Jahr 2000 erscheinen die dann, damit Carlsen nochmal bei den Fans absahnen kann. Jo84
 
Ralf Schlüter: Schattengänger # 1. Das Dorf im dunklen Land. 48 Seiten, Überformat-Farbalbum, Softcover, 22,80 Mark. Edition Comic Speedline.
 
300 Jahre nach der großen Verwandlung der Welt leben die wenigen überlebenden Menschen in kleinen, verbarrikadierten Städten, den „Domen“. Geschützt von meterhohen Mauern und einem Wall aus Licht warten sie darauf, eines Tages wieder die Herrschaft über die Außenwelt antreten zu können. Denn diese, ehrfurchtsvoll das „dunkle Land“ genannt, wird von unheimlichen Kreaturen und Wesen aller Art bevölkert. Nur der Schattenbrenner zieht von Dom zu Dom, um auf seinem Weg alle nichtmenschlichen Einwohner zu vernichten. Zachain ist ausgewählt, den Schattenbrenner auf seinem Weg zu begleiten. Er ist selbst ein Außenseiter, denn er erinnert sich an ein Leben vor der großen Verwandlung, obwohl dies gar nicht möglich sein kann. Mit dem auf zwei Teile angelegten „Schattengänger“ legt der Bielefelder Ralf Schlüter einen düsteren Comicroman vor, der an der Grenze zwischen Fantasy, Horror und Endzeitepos angelegt ist. Abgesehen von dem thematisch verwandten S/w-Vorläuferwerk „Nachtodyssee“ handelt es sich um das Debüt eines Grafikers, der inzwischen in Hamburg lebt und arbeitet. Jo84
 
Francois Bourgeon: Cyann - Tochter der Sterne # 2. Sechs Monde auf Ilo. 112 Sei-ten, Farbalbum, Softcover, 36 Mark. Carlsen.
 
In Band 1 brach Cyann vom Planeten Oth auf, um mit ihrer Mannschaft auf dem Planeten Ilo ein Heilmittel gegen das tödliche Purpurfieber zu finden, das die Männer in ihrer Heimat dahinrafft. Schon zu Beginn des zweiten Teils muß ihr Raumschiff notlanden; ein Teil der Besatzung kommt dabei um, der Rest wird in mehrere Gruppen aufgeteilt. Auf der Suche nach dem Heilmittel scheint es einen Verräter zu geben, und den Einheimischen kann man auch nicht immer trauen. Francois Bourgeon begibt sich mit seinem dritten Mammutwerk (nach „Reisende im Wind“ und „Gefährten der Dämmerung“) einmal nicht in historische Gefilde, sondern in die Zukunft. Einige Klischees sind deshalb genauso an der Tagesordnung wie auch innovative Ideen. Besonders gefallen haben mir die abgedrehten Frisuren seiner Protagonisten und die meisterhafte Darstellung verschiedenster Landschaften. Wie immer sind die Frauen die Hauptakteure seines Werks, denn Bourgeon interessiert sich auch für die erotische Seite seiner Heldinnen. So nervt in der ersten Hälfte des Albums das allgegenwärtige Anbandeln verschiedenster Paare, das der Story kaum dienlich ist. In der zweiten Hälfte des Albums kommt die Geschichte dann mehr zum Tragen, die noch eine überraschend hohe Komplexität erreicht. Nach anfänglicher Langeweile hat mir das Album als ganzes dann also doch noch gefallen. Man sollte jedoch unbedingt bei Band 1 beginnen, da dieser Zyklus dann geschlossen vorliegt. Jo84



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 52
Besprechungen



Heike Anacker: Bewegung 2. Juni. 12 Seiten, s/w mit schwarzem
Wellpappe-Einband, DIN A 6. Heike Anacker, Rheydter Straße 100, 41065
Mönchengladbach

Wozu eine offene Aussprache doch gut sein kann. Heike Anacker durchschaut
jetzt endlich das Welt-bild ihres Vaters. Der kennt nur Gewinner und
Verlierer, Erfolgreiche und Versager. Unbewußt hat sie dieses Weltbild
selbst übernommen. Und da sie als Werbegrafikerin ihre erste Million noch
nicht verdient hat, ist ziemlich klar, wie sie sich selbst betrachten muß.
Mit wenig Aufwand hat sie sich allerdings nun in diesem kleinen Heft von
Zwangsvorstellungen befreit. "Wie sieht Deine Welt aus? Bitte mache ein Bild
von ihr", wendet sie sich am Ende an den Leser. Der Aufruf war erfolgreich.
Einige Leute haben Heike schon ihr Weltbild auseinandergesetzt, wie sie mir
sagte. aa

Olaf Bathke: Wock Pause. Bounty Hunter. 8 Sei-ten, s/w DIN A 5. Olaf Bathke,
Festungsstraße 4, 25832 Tönning

"Wock Dilemma" hieß ein Korrespondenz-Comic zwi-schen Herod und mir, den wir
1996 entwickelt haben. Ich fand das Projekt sehr aufregend, ein wenig wie
Fernschach. Aber es hatte auch seineTücken. Wenn man Herod, um im Bild zu
bleiben, nämlich mitteilt: "König nach g2", dann antwortet er: "Ich gehe mit
der Dame über Los und tausche Holz gegen Steine." Mit der Zeit habe ich
erst den überblick und dann die Lust an dem Projekt verloren. Aber eine
Wock-Abschlußausgabe habe ich angekündigt, und die werde ich in Kürze auch
liefern (wenn nichts dazwischenkommt). Herod hat sich die Wartezeit schon
vertrie-ben, indem er ein Wock extra produzierte. Und Bat, mit dem Herod
auch schon mal eine Comic-Korrespondenz geführt hat, tut es ihm nun gleich.
Zu-mindest so viel habe ich verstanden, daß die Helden nach dem
Alt-Universum suchen. Na, das muß sich doch irgendwo finden lassen. aa

Klaus Cornfield: Kranke Comics # 2. 36 Seiten, s/w mit Farbcover, DIN A5, 6
Mark. Fou Fou + Ha-ha Verlag, Postfach 910513, 90263 Nürnberg

Offen gestanden hatte ich nicht damit gerechnet, je eine Folgenummer des
grandiosen Erstlings zu Gesicht zu bekommen, geschweige denn ein Album (das
beim Totenkopf-Verlag angekündigt ist). Aber froh bin ich doch, wieder
einmal etwas garantiert Unzensiertes in den Händen zu halten, das so kraß
ist, daß es zum Kaputtlachen genau das richtige ist. Nomen est omen, und
"krank" heißt bei Cornfield eigentlich gleich "kränker geht's einfach nicht
mehr". Höhepunkt der Extreme ist wohl, daß sich unsere Helden diesmal im
Inneren der häßlichsten Nutte der Welt mit ihrem Dealer verabredet haben.
Und die ist auch von innen ganz schön häßlich - zur Freude der Leser (über
18). Jo84

Horst: Welt! Du olle Pottsau! 52 Seiten, DIN A 4, 8 Mark. Weißblech Comics,
Levin Kurio, An der Landstraße 5, 23758 Kükelühn

"Die debilste Redaktion der Welt" (Eigendarstellung) lernte Horst P. beim
jüngsten Hamburger Comicsalon kennen und beschloß, seine philosophisch
angehauchten Sinnlosigkeiten zu verlegen. Die ständig breiten
Hauptdarsteller von Horst sitzen meist im Sessel und lassen den Tag auf sich
wirken, was im Comic kaum weniger langweilig wirkt als im wirklichen Leben.
Der tolle Titel ist ein bißchen unpassend, denn die Welt behandelt hier
eigentlich niemanden ungerecht. Einzig in der Geschichte "Das Pohlsche
Paradoxon" wird ein leichter Denkanstoß gegeben, weshalb diese am ehesten
als ausgereift zu bezeichnen ist. Für den Rest trifft das nicht unbedingt
zu. Jo84

Till Lenecke: Feuerturm. 32 Seiten, DIN A 5. Till Lenecke, Gähler Straße 15,
22767 Hamburg

Till Lenecke wird älteren Fanzinelesern noch aus Pro-duktionen des "Comic
Archiv", von Ralf Leismann oder aus der Piccoloszene ein Begriff sein. Dort
war er vor wenigen Jahren noch "der Mann, der Personen immer so zeichnet,
als hätten die Besenstiele verschluckt". In den letzten Jahren hat Till
allerdings nichts veröffentlicht, sondern an seinem Stil gefeilt und ihn
nahezu perfektioniert. Neben einer Geschichte für "Sprühende Phantasie" # 17
ist "Feuerturm" seine einzige neuere abgeschlossene Geschichte, und das ist
sehr schade. Denn zeichnerisch ist an dem Heft absolut nichts auszusetzen -
die Zeichentechnik wirkt wie aus dem Handgelenk geschüttelt und ist doch
ausgereift, Schraffur und Einsatz der Schwarzflächen sind perfekt. Auch
textlich kann sich der Band sehen lassen, obwohl der Plot an sich nicht
gerade neu ist. Till, schon seit Jahren mit einem Faible für Wasser und
Schiffahrt ausgestattet, thematisiert hier die Sage des Klabautermanns. Gibt
es ihn oder nicht, rätseln ein Junge und sein Großvater auf See. Die Antwort
wird in diesem Heft geliefert - oder war vielleicht doch nur alles ein
Traum? Jo84

Till Lenecke: Raubdrucke. 52 Seiten, DIN A 5. Till Lenecke, Gähler Straße
15, 22767 Hamburg

Neben seinen sehr erfreulichen neueren zeichnerischen Werken betätigt sich
Till in letzter Zeit auch ganz gern als Herausgeber. Hier hat er
unveröffentlichte Comics und Illustrationen seines guten Freundes und
Lieblingszeichners Oliver Ferreira gesammelt. Lange mußte man sich gedulden,
bis sich mal wieder jemand erbarmte, Olivers Meisterwerke als Kompilation
anzupreisen, denn außer dem Band "Schlaraffenland" im Verlag Sprühende
Phantasie ist leider nichts anderes in geballter Ladung erhältlich.
Unverständlich, denn Oliver ist sowohl textlich als auch zeichnerisch ein
Genie, wie auch diese Werke aus der Zeit von Januar 1996 bis November 1997
zeigen. Viele der Werke waren selbst mir noch nicht bekannt, und obwohl
inzwischen wohl etliche einzelne Seiten in anderen Fanzines zum Abdruck
kamen oder auch streckenweise sehr schnell gezeichnet wurden, ist
"Raubdrucke" ein Highlight, eigentlich sogar ein absolutes Muß. Jo84

Michael Machner: ausLegendes Herzen. 8 Seiten, s/w, DIN A5, 3 Mark. Michael
Machner, Falkenweg 4, 61184 Karben

Zum Frankfurter Comicstammtisch brachte Michael Machner seine eigenwilligen
Elefanten-Strips zunächst in Einzelblättern und dann als provisorisches
Heftchen mit. 17 Strips hat er darin versammelt, die zwischen Naivität und
Tiefsinn schwanken. Wie bei "Liebe ist..." geht es meistens um die Liebe.
Etwas poetischer sind ihm seine Miniaturen zweifellos gelungen. Als
Romantiker trifft der Autor genau den richtigen Ton. Michael Machner
zeichnet mit gleichmäßig gutem, zartem und sparsamem Strich. Allerdings wäre
Michael zu raten, sich einen etwas weniger versponnenen Titel auszudenken.
aa

Alexander Mathrian: Splite # 1. 26 Seiten, s/w mit Farbumschlag, DIN A 4, 5
Mark. Alexander Mathrian, Gentzgasse 92/8, A-1180 Wien

Aus dem Umfeld von Comic Forum kommt Alexander Mathrian, der nach
Veröffentlichungen in einigen wenigen Comicfanzines nun sein erstes eigenes
Heft mit den Abenteuern der Hyäne Splite vorlegt. Vom Stil her erinnern die
Zeichnungen der vermenschlichten Tiere ein wenig an Franquin, sind aber viel
großflächiger. Es kommen sogar ungetuschte Bleistiftseiten zum Abdruck, was
durchaus seinen Reiz hat. Alex, der fast zwei Jahre auf der Straße lebte und
durch eine Arbeitsloseninitiative vorläufig eine Wohnung hat, würde sich
über Reaktionen auf seine Publikation sicherlich besonders freuen. Textlich
drehen sich seine Arbeiten um die Pseudo-Punkszene, die er selbst gut
kennengelernt hat. Jo84

Joel Naber: Passage. 20 Seiten, s/w mit Packpapiereinband, DIN A 5, 4 Mark.
Joel Naber, c/o Hansen, Selchower Straße 11, 12049 Berlin

Ohne Worte erzählt Joel Naber hier die Geschichte eines Reisenden, der alle
Leute nach einer kleinen Eidechse fragt, die auf einem Foto abgebildet ist.
Der Mann ißt und trinkt und ruht sich in einem Hotelzimmer aus. Dann hat er
kein Geld mehr. Bevor er die Stadt verläßt, holt er seine Spesen durch
Straßenkehren wieder herein und reist weiter. Wie eine Parabel von Kafka ist
diese Geschichte etwas rätselhaft und sehr weit interpretierbar. Der
Zeichenstil ist angenehm einfach und klar. Von diesem Zeichner, den ich in
London kurz getroffen habe (siehe PLOP # 50), würde ich gern mehr sehen. aa

Kim Schmidt: Local Heroes. Neues aus Hedwig Holzbein. 64 Seiten, teilweise
farbig, DIN A5 quer, 14,80 Mark. Flying Kiwi Verlag, Postfach 1520, 24905
Flensburg

Die Cartoonreihe "Local Heroes" von Kim Schmidt dürfte PLOP-Lesern nicht
ganz unbekannt sein, da sie schon in mehreren Fanzines teilweise zum
Vorabdruck kam. ähnlich wie die öde-Strips ist der Humor des Bandes sehr auf
norddeutsche Verhältnisse zugeschnitten, was man oft am Dialekt merkt.
Manche Witze sind daher in anderen Regionen schwer verständlich. Ansonsten
bleibt bei Kim alles beim Alten - seine Cartoons sind kurz und gut. Jo84

Teer: Gesammelte Strips. 40 Seiten, s/w mit gelbem Cover,
Piccolo-überformat. Teer, Kippingstraße 16, 20144 Hamburg

"Glaub niemals etwas von dem, was dir irgendjemand erzählt", rät uns schon
nach ein paar Seiten ein Typ mit kubistischem Kopf und einem großen Loch in
der Schädeldecke. Diese Empfehlung hat etwas von dem bekannten logischen
Problem hinter der Aussage des Kreters: "Alle Kreter sind Lügner." Teer hat
Spaß daran, uns in seinen Strips Scherze dieser Art zu kredenzen. Außerdem
kommen noch einige apokalyptische Visionen vor, genauer gesagt:
apokalytische ängste. Was zusammen uns sagen soll: Das Ende ist nahe, aber
ich blicke nicht durch. Ist natürlich auch wieder ein logischer Widerspruch.
Raffiniert, dieser Teer. aa

Alfred Bekker Magazin # 16 und Sonderheft # 3. Je ca. 20 Seiten, s/w, DIN A
4. Alfred Bekker, Heiligenberg 88, 58540 Meinerzhagen

Alfred Bekker, eine Ein-Mann-Schreibfabrik (wie das bei einem
Groschenroman-Autor auch sein sollte), sendet mir häufig seine Magazine. Ich
habe noch nicht ganz durchblickt, ob er darin Abfallprodukte seines Werks
bringt oder seine Veröffentlichungen nachdruckt. Jedenfalls sind sie eine
Fundgrube für Comiczeichner, denen öfters mal die passende Story nicht
einfallen will. Alfred Bekker ist in vielen Genres zuhause, und er hat gegen
eine Kooperation nichts einzuwenden. aa

Boiler # 1. 44 Seiten, s/w mit Farbcover, DIN A 4. Wittek, Schulweg 29,
20259 Hamburg

Die Szene um das Hamburger Magazin "Unangenehm" zieht immer weitere Kreise.
Mitarbeiter Wittek, mit Sicherheit der Produktivste dieser
Studentenvereinigung, sammelt schon einige Monate lang Zeichner um sich, um
mit ihnen diverse Projekte auf die Beine zu stellen. Nach dem Heft
"Heutelein" (siehe PLOP # 51), das zusammen mit Loppe (aus dem Dunstkreis
von Emu Graphics) herausgegeben wurde, liegt das Nachfolgeheft "Boiler" vor,
das Ideen von "Heutelein" konsequenter verarbeitet. Als Beiheft zur "Boiler
"-Ausstellung, die im vergangenen Dezember in der Kulturwerkstatt Harburg
stattfand, enthält das Heft Arbeiten der beiden Herausgeber sowie der
Gastzeichner Oliver Ferreira, Calle Claus, Teer und Stefan Kratz. Es sind
vor allem Abenteuer von Geräten und Robotern, die hier, oft textlich mehr
als merkwürdig oder sogar textlos, zum Abdruck kommen. Nach der Lektüre von
Heft 1 schüttelt man den Kopf, ist aber doch neugierig, ob die angekündigten
Fortsetzungen der einzelnen Kurzgeschichten etwas mehr Licht in die
innovativen, aber recht unverständlichen Arbeiten bringen können. Witteks
Kosmos, das fiel mir schon im Verlauf meines Interviews mit ihm für
"Sprühende Phantasie" # 17 auf, ist nahezu unbegrenzt. Man muß sich jedoch
auf diese Schiene einlassen, um etwas mit ihr anfangen zu können. Jo84

cOMIc # 31. 28 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere
Fanzines bei Gerd Bonau, Schleswiger Straße 9, 24392 Süderbrarup

Fast die Hälfte des Hefts nimmt die recht verrätselte 12seitige Britta
Loose-Geschichte "Lyle & Phönix" ein, die einen über die fünf Minuten hinaus
beschäftigt, die man zum Lesen braucht. Es geht um eine Comicstory, die am
Ende des Hefts noch nicht zuende ist, und um eine mysteriöse Ideenkiste, die
einem Computer ähnelt. Wie die Hauptfigur des Comics versucht, ihre
Geschichte mit Hilfe der Ideenbox auf eigene Faust zu einem Ende zu bringen,
könnte ziemlich albern wirken. Britta Loose läßt das aber ziemlich
bedeutungsvoll aussehen. Außerdem ist ein Indianermärchen von Manfred
Lafrentz im Heft sowie kürzere Sachen von Till Lenecke, Olaf Bathke, Jens
Natter, Andri Beyeler, Bernd Teuber, Thomas Glatz, Anja & Joy und Kim
Schmidt. aa

Epidermophytie # 4. 36 Seiten, s/w, DIN A 4, 3 Mark. Contra Medienwerkstatt,
Hufelandstraße 19, 10407 Berlin

"Wir kommen immer noch aus Berlin. Unser Heft kostet immer noch 3 DM. Wir
verstehen uns immer noch eher als Comiczine denn als Fanzine. Wir nutzen
immer noch (trotz Geldnot) jeden freien Platz für Comix statt für Werbung
oder Schriftartikel. Wir freuen uns immer noch über jegliche Unterstützung -
sei es in Form von Kritik, Rezensionen, Mailorder und Verkaufsunterstützung.
" Die Selbstbeschreibung auf dem Waschzettel fand ich bezeichnend. Selber
weiß ich über die Berliner leider wenig. Ich war länger nicht mehr in
Berlin, sonst hätte ich sicher mal Kontakt aufgenommen. "Epidermophytie" hat
nach wie vor Ambitionen, deshalb wohl die Distanzierung vom Fanzinebereich.
Aber die Beiträge sind trotzdem von ziemlich unterschiedlicher Qualität. Und
wie häufig sind die Gags eher schwach, wenn die Zeichnungen gut sind. Ist
aber die Story umgekehrt anspruchsvoll wie etwa die des Samurai Watanabe,
der Opfer eines bösen Zaubers wird, dann hat man dennoch das Gefühl, daß der
Autor etwas zu kurz gesprungen ist. Trotzdem ist das Heft guten Gewissens zu
empfehlen: In der Zusammenstellung liegt ein unbestreitbarer Reiz, und das
künstlerische Niveau ist immer noch höher als in vielen vergleichbaren
Magazinen. aa

Gernikako Arbolaa... 52 Seiten, s/w mit Farbcover, DIN A4-Album, 300
Peseten. Napartheid, 127 PK. Trintxerpe, Gipuzkoa 20110, Basque Country

Von dem baskischen Befreiungsverein namens Napartheid hatte ich schon länger
nichts mehr gehört. Bis dahin hatten sie eigentlich immer nur ausländische
Comicmagazine eingesammelt, die sie angeblich für eine Fanzine-Bibliothek im
Baskenland brauchen. Sie behaupteten zwar, auch selbst Comics zu machen,
aber das hatte ich gar nicht mehr recht glauben wollen. Dann sandten sie mir
kürzlich dieses ansprechend gemachte Album zu. Der Inhalt erinnert mich sehr
an den sehr lebendigen spanischen Underground (zumindest war er das Anfang
der 80er Jahre, als ich mal in Barcelona war). Ich hoffe, Napartheid nimmt
es nicht übel, mit Spanien in einen Topf geworfen zu werden. Viel mehr kann
ich über den Band leider nicht sagen, da ich ihn nicht lesen kann. Aus dem
exzessiven Gebrauch von X und Z in den Worten schließe ich, daß die Comics
wohl in Baskisch verfaßt sind. aa

Hirngespenster # 4. 76 Seiten, s/w mit Farbcover, Comicbookformat, 11,50
Mark. Ralf Leismann, Am Fischerhof 2, 59368 Werne

Ein dickes Paket voller Comics, Kurzgeschichten, Illustrationen und Gedichte
hält Ralf Leismann wieder einmal bereit. Diesmal dreht sich alles um das
Thema "Mensch, Mitmensch", zu dem 15 Mitarbeiter Beiträge lieferten. Die
Sachen sind alle ganz nett. Wirkliche Highlights bieten aber vor allem
Oliver Ferreira mit dem Vierseiter "Love hurts" und der bekannte Cartoonist
Ari Plikat. Tiefpunkt ist ein sinnloser Pornomanga von Thorhall und Deadly.
Witzig, gerade im Vergleich mit dieser Story, ist auch Gregor Beckmann mit
"Political Correctness im Bett". Insgesamt reißt mich das Heft nicht vom
Hocker, geht aber in Ordnung. Jo84

Hirse # 19. 48 Seiten, s/w mit Farbumschlag, DIN A 5, 7,80 Mark. Rake
Verlag, Pannkookenstraat 6, 24768 Rendsburg

Laabs Kowalski hatte ja schon angekündigt, daß sich bei der Hirse etwas
ändern wird. Seit er sein schriftstellerisches Talent entdeckt hat, müssen
die Comics etwas kürzer treten. Durch den Rake Verlag, der als neuer
Herausgeber fungiert, entwickelte sich das absolute Underground-Projekt zu
einem sauber aufgemachten und gut gedruckten Heft. Leider gab's noch eine
Panne: Die grafischen Beiträge sehen aus wie Kopien schlecht aufgerasterter
Faxe, was gerade bei Kim Schmidts Beiträgen total scheiße aussieht. Neben
zwei Seiten Baldermann und etlichen eigenen Comics präsentiert Hirse aber
vor allem Kowalskis geschriebene Ergüsse. Diesmal ist das die Biografie des
fiktiven Schriftstellers Erich Maria Tauenstein. Zum Weglachen! Hirse soll
ab jetzt dreimonatlich erscheinen. Jo84

Itsy Bitsy # 2. 32 Seiten, s/w, DIN A 7, 70 Pence (2,20 Mark). Andy Konky
Kru, P.O.Box 8892, London SW 15, Great Britain

Andy ist deprimiert, weil die Engländer seine vielfältigen Comicaktivitäten
nicht so recht würdigen, seine Produkte nicht kaufen. "Itsy Bitsy" scheint
eine Ausnahme zu sein. Die Leute fanden die Startnummer des Mini-Hefts
"niedlich", berichtete Andy. Also legte er zuversichtlich eine zweite
Ausgabe nach. Wieder haben einige Comiczeichner auf kleinstem Raum ihre
Gedanken über Kleinheit und Größenunterschiede umgesetzt. Bemerkenswert, daß
Andy mit elf Mitwirkenden, darunter auch wieder Bekannte: Bernd Teuber,
Ulrich Magin und Alexander Pavlenko, sein Konzept so klar durchziehen
konnte. Die Inhalte sind alles andere als niedlich. Vielmehr werden ziemlich
ernste bis skurrile überlegungen angestellt. Hoffen wir also, daß sich nicht
allzu viele IB-Käufer nach der Lektüre enttäuscht abwenden. aa

Koma Comix # 17 (Dezember 1997). 36 Seiten, s/w mit Farbcover, DIN A 5
(genauer: 13 x 19 cm), 2,50 Mark. Weißblech Comics, An der Landstraße 5,
23758 Kükelühn

Die neue Ausgabe ist "auf vielfachen Wunsch" ein "einmaliges"
Kiffer-Special. Naja, den Leser erwartet im Prinzip nichts anderes als
sonst, abgesehen davon, daß die Helden Quevis und Knülle diesmal nicht
vorhaben zu saufen, sondern Joints durchzuziehen. Der Witz liegt gerade in
dem teils grotesken, teils tragi-schen Scheitern dieser Versuche fast bis
zur Heftmitte. In der zweiten Story geht's um die üblichen alkoholischen
Ausfälle beim Stadtfest. Alles in allem eine recht amüsante Ausgabe. aa

Kreativo! # 22 (März 1998). 36 Seiten, s/w, DIN A 5. Birke, Postfach 2022,
58470 Lüdenscheid

Kaum dem Prüfungsstreß entronnen, wird Birke wieder publizistisch aktiv. Dem
neuen Kreativo! ist sogar anzumerken, daß seit vergangenem Herbst einiges
Material aufgelaufen war. Etliche bekannte Fanzine-Fahrensleute wie Anja &
Joy, Bat, Oliver Ferreira, Jens Natter, Jo84 und auch ich möchten inzwischen
gern in diesem Magazin gedruckt werden. Außerdem sammeln sich in Birkes
Postfach allmählich eine Menge Leserbriefe an, die sie ungerührt
faksimiliert (da würden einige meiner Klienten aber aufheulen). Den
Charakter von Kreativo! bestimmen aber immer noch die erstaunlich
anlaßfreien Texte und auch die beeindruckenden Illustrationen von Ghost. aa

Mixer # 1 und 2. Je ca. 30 Seiten, s/w, DIN A 4. Claudia Bernhardt,
Freibergerstraße 66, 59558 Lippstadt

Als PLOP-Abonnentin hätte Claudia Bernhardt wissen könne, daß es in
österreich bereits ein Fanzine na-mens "Mixer" gibt. Vielleicht wollte sie
das Publikum verwirren - bei Jo84 ("Das habe ich doch schon längst
rezensiert") ist ihr das auch gelungen. Vielleicht be-stand sie einfach auf
diesem Titel, weil er ihrem Ma-gazin wirklich sehr angemessen ist. "Mixer" -
das ist ein Pappstück, auf das ein Stapel Seiten, meist nur einseitig
bedruckt, gleichsam frisch aus dem Kopierer, festgetackert wurden. Das läßt
die versammelten Co-mics und Texte als eigentümlich leichte Mischung
er-scheinen. Das etwas unordentliche Druckverfahren findet keine
Entsprechung bei der Gestaltung des Hefts. Jeder Beitrag hat sein eigenes
Frontispiz. Alles wird großzügig präsentiert, wozu natürlich auch das große
Format beiträgt, nirgends wirkt etwas gedrängt oder gefizzelt. Und wer ist
dabei? Burkard Leutiger, Nils Heuner, Martin Zak und Jens U. Meyer im
ersten, Benjamin Brandt, Zsuzsanna Gahse, Rafael Voigt und Andrea Bartsch im
zweiten Band. Claudia Bernhardt selbst steuert niedlich-minimalistische
"Heiter bis monstrig"-Comics bei. aa

Panel # 17. 76 Seiten, s/w, Comicbookformat, 5 Mark. Panel, Postfach 102665,
28026 Bremen

Schon erstaunlich, wie supergünstig Panel nach langer Pause wieder in den
Markt einsteigt. Die hochfliegenden Pläne mit Musikbeilage haben sich zwar
nicht verwirklichen lassen, von "kleine-Brötchen-backen" kann man aber
trotzdem nicht sprechen. Vor allem der Formatwechsel hat dem Heft gutgetan,
das mit zirka einem Dutzend Zeichnern und Autoren aufwarten kann. Dabei
natürlich wieder Peter Pucks "Rudi" und Wüttners "Klein-schrott". Meine
Favoriten sind allerdings eher Han-nes Neubauer, Ulf Keyenburg und Reinhard
Kleist, die allesamt hervorragende Comic-Kunst bieten. Jo84

P.L.G. # 33 (Herbst 1997). 84 Seiten, s/w mit Farbcover, DIN A 4-Album, 60
Francs. 3. Rue de la Vanne, 92120 Montrouge Cedex, France

Das erste französische Magazin, in dem PLOP besprochen wird - mir klopft das
Herz! Also, eine Bestellung aus Frankreich habe ich noch nicht erhalten, und
dummerweise verstehe ich höchstens die Hälfte des Textes, aber "sympathique
petit fanzine allemand", "de bon niveau" oder "Szene passe en revue de facon
trÈs dÉtaillÉe" klingt nicht eben nach einem schlimmen Verriß. Hauptsächlich
geht es in diesem dicken Heft, über das Jo84 in PLOP # 50 schon einiges
Grundsätzliche gesagt hat, um Will Eisner. Die Zeichnung, die Eisner zum
Arzach-Tribut beigesteuert hat, zeigt deutlich, wie viel erdverbundener,
körperlicher und unpoetischer Eisner zeichnet als Moebius und viele andere
Franzosen. Ob das in dem 16seitigen Dossier auch herausgearbeitet wird, kann
ich leider nicht sagen. Das ganze Magazin, der Comicteil eingeschlossen,
wirkt aber wieder einmal äußerst kompetent und professionell. aa

Strapazin # 50. 84 Seiten s/w mit Farbteil, überformat, 10 Mark. Meiler
Verlag

Niemand hätte gedacht, daß das recht unkommerziell gehaltene Comicart-Blatt
"Strapazin" sich jemals lange genug tragen könnte, um 50-Hefte-Juliläum zu
feiern. Und die Märznummer 50 ist eine besonders schöne Ausgabe geworden,
die fast alles enthält, was das Herz begehrt. Neben den obligatorischen
Krakelkünstlern Atak oder Anke Feuchtenberger enthält das Heft Beiträge der
bisher besten Strapazin-Mitarbeiter, allen voran Thomas Ott, Julie Doucet,
Martin tom Dieck, Pierre ThomÉ oder Gefe. Bisher eher selten zu Ggesicht
bekommene Leute wie Stefan Atzenhofer, Andreas Michalke oder Markus
Golschinski ergänzen sich hervorragend mit Strapazin-Neulingen wie Ulf K.
oder Minou Zaribaf. Vetternwirtschaft wird in diesem Zusammenhang zwar mehr
als deutlich, führte in diesem Fall aber zu einem qualitativ hochstehenden,
vielseitigen und vorbildlichen Magazin. Glückwunsch! Jo84

Tote Helden Comix # 8. 32 Seiten, s/w, DIN A5, 2 Mark. Peter Schaaff,
Volksgartenstraße 21, 40227 Düsseldorf

Wieder einmal bieten Tote Helden Comix einen neuen Teil der
Fortsetzungsgeschichte um unsere "Helden", die noch lange keinen Abschluß
findet. Nur Bella konnte dem überfall der Faschos auf die Farm der Biafras
entkommen, während ihr kleiner Bruder in Gefangenschaft gerät. Das
Außergewöhnliche dieser Ausgabe ist wohl das siebenseitige "Swimsuit
"-Special, das von Holger Bommer, Ingo Strecker und Haggi gestaltet wurde.
Insgesamt ist das Heft schnell durchgelesen. Dafür ist es ja auch recht
günstig. Jo84

T. R. S # 6 (November 1997). 8 Seiten, s/w, DIN A5, kostenlos. Peter Ashton,
Guild Box 123, Edgbaston Park Road, Birmingham B 15 2TU

Zunächst - weil Andy Konky Kru befürchtete, das Heft, das er mir zusandte,
könnte mich langweilen - möchte ich meine Hochachtung vor diesem Projekt zum
Ausdruck bringen: Ich finde es sehr beachtlich, daß da einer in Birmingham
sitzt und jeden Monat Stapel von Fanzines rezensiert. Das Ergebnis sieht
ganz unspektakulär aus: The Review Sheet (TRS) sind ein paar Seiten reiner
Text. Peter Ashton bespricht die Magazine meist ziemlich nüchtern und
ernsthaft, betreibt nebenher auch einen Vertrieb und sieht sein Heft
folglich auch als Bestellkatalog, was es aber keineswegs zu einer
Werbeveranstaltung macht. Rezensiert werden nur englischsprachige
Publikationen, aber vielleicht hat Ashton lediglich noch keine anderen
Magazine erhalten. Schickt ihm doch mal was. aa

Wacka Wacka # 3 (Januar 1998). 60 Seiten, s/w mit rosa Umschlag, DIN A5,
4,50 Mark. Guido Kawczynski, Kemnitzer Hauptstraße 26, 14943
Nuthe-Urstromtal

Mit der dritten Ausgabe dürfte Guido endlich da sein, wo er hinwollte.
Einige Fremdbeiträge hat er jetzt im Heft (von Jens Natter, Levin Kurio und
Olaf Bathke). Und einen Comic hat er nach dem Vorbild von Robert Crumb und
Aline Kaminsky zusammen mit Anita Hübsch gezeichnet. Aber die meisten
Beiträge, Comics, Gedichte, Artikel und Betrachtungen, stammen nach wie vor
von ihm. Guido ist ein talentierter Beobachter seines (Studenten-)Alltags,
den er meist in locker-witziger, aber zugleich auch nüchtern-sachlicher Form
verarbeitet. Nur selten erliegt er der Gefahr, in alberne Witzchen
abzugleiten. Aber vor allem: Gegenüber der Ausgabe 2 hat sich Guido deutlich
gesteigert. Bin gespannt, ob das so weitergeht. aa

Andreas: Capricorne # 1. Das Objekt. 48 Seiten, Farbalbum, Softcover, 18,90
Mark. Carlsen

Niemand weiß, woher der Fremde im schwarzen Anzug kommt, der plötzlich
mitten im Winter in New York auftaucht. Da er keinen Namen hat, nennt man
ihn Capricorne. Und wenn die Karten, die ihm ein Seher legt, nicht lügen,
hat er ein unheimliches Schicksal zu erfüllen. Tatsächlich gerät er schon
bald in einen Strudel mysteriöser Ereignisse, die ihn in das Labyrinth des
unterirdischen New York zu einem heiß umkämpften "Objekt" führen. Andreas
Martens, 1951 in der damaligen DDR geboren, schuf nach diversen Einzelalben
wieder einmal eine Figur, die wohl in mehreren Bänden die Hauptrolle spielen
soll. Andreas ist zeichnerisch wie immer voll auf der Höhe, sein
individueller Stil ist sofort erkennbar. Textlich geht der Band jedoch
seltsame Wege. Die komplexe Storyline ist in ein 48-Seiten-Korsett gepreßt,
wodurch dem Leser Handlungs- und Logiksprünge ins Auge fallen. viele Ideen
und Symbole werden nicht erklärt oder aufgegriffen (vielleicht passiert dies
in den Folgebänden), dafür überschlägt sich die (ziemlich abstruse)
Handlung. Andreas läßt dem Leser keine Zeit, den Band in textlosen
Stimmungsbildern auf sich wirken zu lassen. Das ist schade, denn darin ist
er Meister. Dieser Band hingegen wirkt leider eher wie ein
Zwei-Minuten-Trailer von "Krieg und Frieden". Jo84

Carl Barks: Barks Library # 33. 56 Seiten, farbig, DIN A 4, 16,80 Mark.
Ehapa

Die gelbe Barks-Library-Reihe, sicher als die beste von allen zu bezeichnen,
hat es schon auf eine stattliche Anzahl von Bänden gebracht. Auch Band 33
bietet wieder fünf verschiedene Barks-Geschichten, die man allesamt nur als
Klassiker bezeichnen kann. wie immer sprühen die Geschichten, die zwischen
Mai und September 1957 erstmals erschienen, nur so vor Witz und skurrilen
Ideen. Ergänzt werden die Geschichten durch den elften Teil des Artikels
"Briefe von Carl Barks". Insgesamt sollen übrigens 51 Bände der gelben Reihe
erscheinen. Jo84

Carl Barks: Barks Library Special # 19. 64 Sei-ten, farbig, DIN A 4, 16,80
Mark. Ehapa

Konsequent führt Ehapa seine Barks-Reihe weiter. Der Donald
Duck-Special-Band präsentiert die Geschichten "Im alten Californien" vom Mai
1951 und "Weihnachten für Kummersdorf" vom Januar 1952. Leider gehören diese
beiden Geschichten nicht gerade zu den lustigsten Erlebnissen Donalds und
der Neffen, sondern sollen wohl eher zum Nachdenken anregen. In einer
chronologischen Reihe gibt es halt bessere und schlechtere Bände. Ergänzt
werden die zwei Barks-Werke durch den Artikel "Der Geist von Kummersdorf"
von Geoffrey Blum. Jo84

BÉhÉ / Schwebel / Noel / Peter / Mühlsteffen / Walz: Des Volkes Freiheit. 58 Seiten, Farbalbum, Hardcover, 19,80 Mark. Ehapa / Haus der Geschichte
Baden-Württemberg

Die Revolution von 1848/49 in Baden und Württemberg ist Thema dieses
geschichtsträchtigen Bandes, der in Gemeinschaftsarbeit beim Ehapa-Verlag
und dem Haus der Geschichte Baden-Württemberg erscheint. Drei Autoren, zwei
Zeichner und einen Koloristen verschlang das eng an die Geschichte angelegte
Album, das sich jedoch selbst nicht ganz ernst nimmt. Die gescheiterte
Revolution, die unter anderem ein geeintes Deutschland, gerechtere Steuern
und Pressefreiheit forderte, wird in diesem Band vor allem anhand des
Schicksals ihrer Rädelsführer Hecker, Struve, Volk und Schaible dargestellt.
Diese scheiterten zwar, waren aber "die Pioniere späterer Errungenschaften".
Die sechsseitige Dokumentation über den Verlauf der Revolution ist leider
schon der interessanteste Teil des Albums. Der Comic selbst ist nicht in der
Lage, Interesse für die Hauptpersonen zu erwecken oder die historischen
Begebenheiten klar verständlich wiederzugeben. Die Zeichnungen sind sicher
gut recherchiert, wirken durch ihre Detailtreue aber eher steif. Da das
Thema nicht uninteressant ist, kann man auch über das Stilmittel Humor in
diesem Band streiten. über ein Che Guevara-Bild an der Wand oder die
Abbildung eines Asterix-Heftes kann ich bei dieser Thematik jedenfalls nicht
lachen. Der Schuß ging nach hinten los, aber warum? Vielleicht, weil zu
viele Köche den Brei verderben. Jo84

Enki Bilal: Erinnerungen aus einer anderen Zeit. 100 Seiten, farbig,
Hardcoveralbum, Großformat, 49,80 Mark. Ehapa

Mit dem vorliegenden Band werden 19 Kurzgeschichten Bilals aus den Jahren
1971 bis 1981 gesammelt präsentiert, die sonst nur teilweise in sehr frühen
Ausgaben von "Schwermetall" zum Abdruck kamen. Die meisten der schwarz-weiß
und farbig gestalteten SF-Kurzgeschichten entstanden für das französische
Magazin "Pilote" und gewähren Einblick in das Werk eines Künstlers, der sich
damals noch auf der Suche nach einem eigenen Stil befand. Sicher ist das
Buch vor allem für Comichistoriker und Liebhaber wichtig, denn die
Zeichnungen erreichen in den ersten Geschichten gerade einmal Fanniveau.
Trotzdem sind sie vor allem wegen ihrer textlich innovativen Handschrift
Klassiker. Die Entwicklung bis in die Jetztzeit wird durchaus deutlich.
Wertung: Gelungene Kompilation. Jo84

Tom Breitenfeldt: Der kleine König der großen Tiere # 1. Es lebe der König!
48 Seiten, s/w, DIN A 5 Querformat, 14,90 Mark. Carlsen

1991 erblickte der kleine König der großen Tiere auf den Kinderseiten der
Frankfurter Rundschau das Licht der Welt, und seitdem tritt er alle 14 Tage
auf, zumeist in Begleitung seines treuen Ratgebers Stelzevogel. Der kleine
König ist gerne König, aber er ist auch eine gut verträgliche Person.
Deshalb stört es ihn kaum, wenn manche Tiere gar nicht wissen, daß er der
König ist. Der Humorstrip, der pro querformatiger Seite ein kleines
Geschichtchen präsentiert, ist in federleichtem, liebevollem Strich
gehalten. Der Humor ist sowohl für Kinder als auch für Erwachsene gut
verständlich. So schuf der 1958 in Flensburg geborene Breitenfeldt einen
Strip mit Sinn für feinen, beiläufigen Witz. Das Projekt, die Strips
gesammelt in Büchern zu präsentieren, ist durchaus unterstützenswert. 14,90
Mark für einen A 5-Band in Schwarzweiß ist natürlich mal wieder viel zu
teuer, was Carlsen sicher zu spüren bekommen wird. Jo84

Stephen Desberg / Enrico Marini: Der Stern der Wüste # 2. Ehapa

Daß es auch anders geht, zeigt Ehapa mit der Veröffentlichung der Reihe
"Stern der Wüste". Mit Band 2 findet die grandiose Story ihren Abschluß,
eine Weiterführung durch neue Zyklen halte ich für ziemlich ausgeschlossen.
Texter Desberg und Zeichner Marini, der durch seine Reihe "Gipsy" bekannt
wurde, befinden sich in Höchstform. Die intensive, feurige Kolorierung tut
ein übriges. Textlich schließt der vorliegende Band an Band 1 an: Skeritt
jagt immer noch Cauldray, den Mörder seiner Frau und Tochter. Den Mann zu
finden, ist eine Sache, ihn unschädlich zu machen, eine andere. Eine
genauere Inhaltsangabe wäre ein Faux Pas. Zwar folgt der "Western" im großen
und ganzen recht ausgelatschten Pfaden, tut dies aber so meisterhaft, daß er
trotzdem als Highlight zu werten ist. Fazit: Großartige Unterhaltung und
darüberhinaus auch großartige Kunst. Jo84

Pierre-Yves Gabrion: Sheikawati # 1. Das Kind der Götter. 136 Seiten, s/w,
Comicbook-Format, 19,80 Mark. Ehapa

Viele werden sich noch an den "Mann aus Java" erin-nern, die Albumreihe, die
bereits komplett bei Ehapa vorliegt. Nun wartet Ehapa mit dem neuen Epos des
Autor Pierre-Yves Gabrion auf, das als Fantasy-/SF-Comic im Mangastil
angelegt ist. Mit schnellem, manchmal skizzenhaft wirkendem Strich führt
Gabrion durch ein Fantasy-Szenario, wie es abgestandener nicht sein könnte.
Der Held ist ein pfiffiger Halbwüchsiger, zufällig der Sohn des Häuptlings,
der selber gerade die Mutprobe zur Häuptlingswürde ablegt. Zur selben Zeit
unterjochen böse Menschen gerade sein Heimatdorf und führen die Frauen in
die Sklaverei. Sheikawati bekommt jedoch einen Zauberring ums Handgelenk
gelegt und ... Muß ich wirklich noch mehr erzählen? Band 1 der Reihe
hinterläßt einen schalen Nachgeschmack. Die Zeichnungen sind nicht sauber
ausgetuscht, die Story schon hundertmal gesehen, und die matschigen Grautöne
von Bertrand Antigny verderben den letzten Rest Charme. Auweia, Ehapa ...
setzen, sechs! Jo84

Carla und Vilhelm Hansen: Petzi baut ein Schiff. 32 Seiten, farbig, 17 mal
23 zentimeter, 7,90 Mark. Carlsen

Der berühmte kleine Bär Petzi feiert 1998 ein Jubilä-um: Vor 45 Jahren
hatten er und seine Feunde ihren ersten Auftritt in Deutschland mit "Petzi
baut ein Schiff". Grund genug, die inzwischen vergriffenen Bände neu
aufzulegen. Carla und Vilhelm Hansen veröffentlichten ihr erstes Petzi-Buch
1951, und von Anfang an war die Arbeitsteilung so, daß Vilhelm für die
Bilder und Carla für die Texte zuständig war. Ebenso klar war, daß der
kleine Bär sich an das jüngste Lesepublikum wandte, das die Geschichten oft
noch vorgelesen bekommen mußte. Dort war Petzi auch von Anfang an ein Erfolg
und ist heute einfach ein Klassiker. Die Neuauflage - bisher sind vier Bände
erschienen - ist eine gute Sache, da die Comics für kleinere Kinder auch
heute noch aktuell wirken. Sogar der Preis ist human. Jo84

Jean-Michel Charlier / Victor Hubinon: Buck Dan-ny # 32 und 33. Je 48
Seiten, farbig, Softcover, 19,90 Mark. Carlsen

20 bis 25 Jahre nach ihrem Entstehen ist es Buck Danny-Fans endlich
vergönnt, die Alben "In der grünen Hölle" und "Haie im Chinesischen Meer" in
einer adäquaten Aufmachung auch in Deutsch zu lesen. Ersterer wurde zwar
schon als Band 30 der berüchtigten Rex Danny-Kioskreihe gleich nach seinem
Entstehen veröffentlicht. Er war jedoch der Abschlußband, mit dem die Reihe
eingestellt wurde. Schlecht war das für Fans vor allem auch, weil er
eigentlich der erste Teil eines Dreiteilers war, deren Fortsetzung bislang
in der Versenkung blieb. "Haie im Chinesischen Meer", hier Band 33 der Reihe
(weil damals noch zwei weitere Alben unveröffentlicht blieben) ist also der
zweite Teil dieser Trilogie und eine deutsche Erstveröffentlichung. Buck und
seine Freunde entdecken zufällig eine riesige Drogenplantage und wollen die
Ernte verhindern. Leider befindet sich das Feld auf fremdem Territorium. Das
Pentagon, unter politischen Druck geraten, verbietet jede Aktion. Band 34
wird im Herbst folgen und der letzte Band sein, den Victor Hubinon zu Papier
bringen konnte. Jo84

David Lapham: Stray Bullets # 6. 32 Seiten, s/w, Comicbookformat, 7.80 Mark.
Feest

Der "Pulp Fiction der Comics" schlägt wieder zu! Etwas abgehobener als die
ersten fünf Folgen präsentiert sich Ausgabe sechs, in deren Verlauf die
ganze Erde zerstört wird. Auslöser dafür ist Amy Racecar, eine Jugendliche,
die sich durch Probleme im Elternhaus von einer Ausreißerin zur
meistgesuchten Verbrecherin der Welt entwickelt. Das Heft, das wie immer
eine in sich abgeschlossene Geschichte bietet, besticht durch eine
differenzierte Darstellung seiner Protagonistin, leider aber auch erstmals
durch eine ziemlich unglaubwürdige und überzogene Storyline. Dank des
Konzepts, die einzelnen Episoden in verschiedenen Zeiten und an
verschiedenen Orten anzusiedeln, werden trotz der Zerstörung der Erde in
dieser Ausgabe weitere "Stray Bullets"-Ausgaben er-scheinen. jo84

David Lapham: Stray Bullets # 7. 36 Seiten, s/w, Comicbookformat, 7.80 Mark.
Feest

Wesentlich bodenständiger als die Vornummer kommt "Stray Bullets" # 7 daher.
Stellvertretend für tausende von ähnlichen Einzelschicksalen schildert das
Heft in eher ruhigem Tempo einen Abschitt der Kindheit von Virginia
Applejack, der sie für ihre Zukunft prägen wird. Virginia versteht sich mit
ihrer Mutter überhaupt nicht, aber liebt ihren Vater abgöttisch. Leider ist
dieser als Trucker selten zuhause. Doch dann schmeißt er überraschend seinen
Job, um mehr Zeit für die Familie zu haben. Virginia ist überglücklich, bis
sie erfährt, daß ihr Vater Krebs hat. Kurz darauf beginnt auch schon sein
körperlicher Verfall. Von "Pulp Fiction der Comics" kann in dieser Ausgabe
einmal nicht die Rede sein. Viel zu subtil und gemächlich beginnt die
Geschichte, deren Dramatik sich dann natürlich steigert. Am Ende fühlt sich
der Leser genauso hilflos wie das Mädchen, dem die Hände gebunden sind. Das
Heft ist wieder mal ein Meisterwerk, wahrscheinlich sogar das beste bisher,
zumindest das realistischste. jo84

Jeph Loeb / Tim Sale: Batman # 4. Irrsinn. 56 Seiten, farbig,
Comicbookformat, 16,80 Mark. Ehapa

"Irrsinn wird eher nach dem Geschmack der Batman-Fans sein. Commissioner
Gordons Tochter reißt von zuhause aus und gerät in die Hände des Hatters,
eines Kindermörders, dessen Aussehen der Zeichner dem Buch "Alice im
Wunderland" entlieh. Auch Batman hat eine besondere Beziehung zu diesem
Buch. Es erinnert ihn an den Tod seiner Eltern. Story und Zeichnungen sind
routiniert in Szene gesetzt, so daß das Bauch durchaus lesenswert ist, ohne
jedoch besonders hervorhebenswert zu sein. Daß die Kids eine fast gleiche
Seitenzahl als Heft zum Preis von 4,90 Mark bekommen, wird viele vom Kauf
abhalten. Jo84

Dave McKean: Cages # 1 bis 5. Je 100 Seiten, teilweise farbig, DIN A 4,
26,90 Mark. Carlsen

Im März 1997 erschien das erste der fünf deutschen Cages-Bücher, und
mittlerweile liegen alle Bände vor. "Cages" ist ein sehr schwieriges und
sperriges, um nicht zu sagen hochphilosophisches Werk. Man kann in McKeans
Kosmos eintauchen, versinken, wird aber nur Teile eines Werks erfassen und
verstehen können. Mit zittrigem Strich, zweifarbigen Strichüberlagerungen
und opulent angelegten Fotoszenen in Schwarz-weiß und Farbe bieten die Bände
Stilbrüche und Abstraktionen am laufenden Band. Die Zeichenstile wechseln
abrupt, und auch Personenkreise, Träume, Realitäten, Worte und Eindrücke
verschwimmen für den Leser und die Darsteller. Die Hauptpersonen des
Cages-Zyklus sind der Maler Leo Sabarsky und die Nachbarn seiner
Mietwohnung, unter ihnen ein Schriftsteller, ein Musiker, eine Katze, eine
einsame Dame und die Frau vom Balkon gegenüber. Anhand dieser Darsteller und
ihrer Beziehungen zueinander reflektiert McKean den künstlerischen
Schöpfungsprozeß, sein Scheitern und seinen Neuanfang. Existentielle
Grundgedanken zu Linien, Sprachen, Tönen, Religion, menschlichen
Beziehungen, Grenzen und Träumen nehmen einen breiten Raum ein. "Cages" kann
man immer wieder zur Hand nehmen und lesen, und bei jedem Mal wird man mehr
über das Werk und das Leben an sich lernen. Bücher zum Wachsen, die den
relativ hohen Gesamtpreis durchaus rechtfertigen. Jo84

Ted McKeever: Batman # 33. Maschinen. 52 Seiten, farbig, Comicbookformat,
19,90 Mark. Carlsen

Ted McKeever gehört sicher zu den eigenständigsten Künstlern, die das Medium
Comic je hervorgebracht hat. Leider ist er in Deutschland nicht sonderlich
bekannt, da die meisten seiner Werke außer "Eddy Current" und "Der Extremist
" bisher hierzulande noch nicht veröffentlicht wurden. Sein verzerrender
Zeichenstil, seine pessimistischen Geschichten und extremen
Darstellungendürften aber auch nicht allzu viele Begeisterungsstürme
auslösen - außer bei einer kleinen Minderheit. Besonders interessant wird es
natürlich, wenn der eigenwillige McKeever eine Mainstreamserie wie Batman
gestaltet. Wie zu erwarten, kommen Batman-Fans kaum auf ihre Kosten,
McKeever-Fans dafür schon. Batman taucht kaum auf, und wenn, dann höchstens
als verzerrte, sich wandelnde Erscheinung in den Fieberträumen der
Hauptperson. Diese ist ein Schlachter. Von Depressionen gequält, beginnt er
irgendwann, seinen Job öffentlich zur Passion zu machen. "Maschinen" ist
eigentlich gar kein so passender Titel. Die Grundthemen "Zersetzung" und
"Verwesung" wären treffendere Schlagwörter gewesen. Ein sehr düsterer Band
ist es jedenfalls geworden, und da Thema und Umsetzung noch nicht so
abgegriffen sind wie bei anderen Batman-Bänden, sicher einer ihrer besten.
Jo84

Mythic + Curd Ridel: Gowap # 1. Ein Monster zum Knuddeln. 48 Seiten, farbig,
DIN A 4, 16,90 Mark. Carlsen

Ein Haustier haben viele Kinder. Doch niemand hat so einen ungewöhnlichen
Spielgefährten wie die kleine Gwendolyn. Ihr bester Freund ist nämlich der
flippige Dino Gowap. Dieser frißt alles, was ihm vors Maul kommt, ist
eigentlich ein ziemlicher Angsthase und hat den Kopf ständig voller
verrückter Ideen. Mythic und Ridel sind in Deutschland noch völlig
unbekannt, obwohl beide schon an einer Menge Comics gearbeitet haben. Gowap,
ihre erste Zusammenarbeit, ist ein belangloser, aber recht lustiger Comic,
der in Streifen, Cartoons und Einseitern gehalten ist. Der Band könnte
sowohl Kindern als auch Erwachsenen zusagen. Er bietet ein recht
kurzweiliges Lesevergnügen und ist endlich mal wieder ein Album, das nicht
in Fortsetzungen ausufert. Jo84

Peyo: Schlumpfgeschichten # 1 bis 4. Je 32 Seiten, farbig, DIN A 5, 7,90
Mark. Carlsen

Als Comic-Hits für Kids gibt es jetzt eine neue Schlumpf-Reihe, die pro Band
meist drei neuer datierte Kurzgeschichten um die blauen Wichtel enthält, die
mit Ein- und Zweiseitern garniert sind. Format und Papier lassen die Seiten
gut zur Geltung kommen, und der Preis ist fair. Auch Björn Liebchen liefert
eine gute Letterarbeit ab. Trotzdem mag ich an einen vollen Erfolg des
Konzepts nicht so recht glauben. Aber wer die Schlümpfe mag, wird auf seine
Kosten kommen, zumal das Material noch von der besseren Schlumpf-Sorte ist.
Jo84

Schuiten / Peters: Führer durch die geheimnisvollen Städte. 176 Seiten,
farbig, Hardcoveralbum, überformat, 69 Mark. Feest (Ehapa)

Das genaue Gegenteil des Durchhängers "Sheikawati" ist dieses edle
Hardcoverbuch. Schuiten und Peters haben mit ihren diversen Alben in
verschiedenen Ver-lagen von jeher Maßstäbe gesetzt. Die Vielzahl von
geheimnisvollen Orten und Städten übten immer eine Faszination aus, die sich
nur mit purem Staunen über die atemberaubenden architektonischen Ideen
umschreiben läßt. Die fiktiven Städte dieser Alben haben nun endlich einen
eigenen Reiseführer, der zum Schmökern, Reisen und Träumen einlädt. Dieser
enthält vor allem Karten und Pläne diverser architektonischer Bauten,
Porträts vieler Bauherrenvon Städten wie Alaxis, Blossfeldtstadt, Calvani
oder Xhystos. Auch auf Technik sowie Flora und Fauna wird genau eingegangen.
Trotz des kleinen Formats wird man von der Vielzahl der ausgeklügelten
Grafiken und Fotos erschlagen, die eine Fülle von Informationen über ein
Universum an der Grenze zwischen Phantasie und Realität offenbaren. Ein
opulentes Buch für Träumer, die trotz alledem in der Realität verwurzelt
sind, das jeden Pfennig des opulenten Preises wert ist. Jo84

Lewis Trondheim: Herrn Hases haarsträubende Abenteuer # 1: Walter

Ganz ernst darf man die Selbstdarstellung wohl nicht nehmen, die Trondheim
in seinem ersten deutschen Album angibt. Fakt ist, daß er ein international
umjubelter Star ist, seitdem seine Geschichten zum ersten Mal erschienen.
Denn Lewis Trondheims Stil ist frisch, und ähnliche Geschichten sind selten
dagewesen. Je-nes der "Lapinot"-Abenteuer (so heißt Herr Hase im Original)
spielt in einem anderen Jahrhundert und an einem anderen Ort. In dieser
Geschichte wird er im Paris der Jahrhundertwende mit einem mysteriösen
Monster konfrontiert. Herrn Hases erstes Album ist spannend, mysteriös und
gleichzeitig witzig bis hin zum albernen Slapstick, wie ich es in ähnlicher
Art höchstens von Tim und Struppi gewöhnt bin. Die Zeichnungen sind einfach,
aber höchst treffend und kommen durch die wunderschönen Farben hervorragend
zur Geltung. Alles in allem ist das Album einfach ein mehr als gelungener
Einstand. Wer mehr über Lewis Trondheim wissen möchte, sollte noch einmal in
seiner "Strapazin"-Sammlung blättern oder im Internet
http://www.kn.com/lewis wählen. Jo84

RenÉ Goscinny / Albert Uderzo: Asterix op Kölsch: Bruut un Spillcher.
Hardcoveralbum, Ehapa

Der "Gladiator" ("Bruut un Spillcher") ist irrsinnig witzig übersetzt: Es
heißt nicht mehr "Beim Teutates", sondern "Beim Tünnemann". Man zahlt in
"Heiermännern", Legionäre sind "Funken", und ein Thraker wird kurzer-hand
zum "Düsseldorfer". Das grenzt an Parodie und läßt einen den Band noch mal
neu erleben. Wann folgen "Asterix und die Preissn" oder "Asterix im
Kohlenpott"? Dafür könnte man den Avernerschild nehmen, wegen der
Kohlen-Gags. Herod

Brad Wright / Anke Siebert: Outer Limits # 3. Das Virus. 48 Seiten,
US-Format, 16,80 Mark. Ehapa

Im Zuge der unkontrollierten Vermarktung aller Dinge, die irgendwie einen
Hauch von "Mystery" wiedergeben könnten, ist der ansonsten recht
professionelle Ehapa Verlag auf den Trichter gekommen, einzelne Drehbücher
der Fernsehserie "Outer Limits" als Comic zu adaptieren. An und für sich ist
das gar keine schlechte Idee, denn das Originaldrehbuch von Brad Wright ist
durchaus spannend und zeitkritisch inszeniert und die Story interessant.
Leider konnte man sich nicht entschließen, Künstler zu engagieren, die schon
lange Comics zeichnen. Statt dessen nahm man drei Girlies unter Vertrag, die
wahrscheinlich noch nie vorher einen Comic gelesen, geschweige denn
gezeichnet haben. Alle drei bisher vorliegenden Bände sind schlecht, im
Falle von Anke Sieberts Adaption sogar katastrophal. Von Anatomie, Mimik
oder Strichstärken hat Anke Siebert keinen Schimmer. Die pastellartige
Kolorierung eignet sich vielleicht für Modeskizzen, bestimmt aber nicht für
einen Mystery-Thriller. Bei Ehapa hat man wohl auch gemerkt, daß der Schuß
nach hinten losging. Im neuen Programm ist jedenfalls kein weiterer Titel
angekündigt. Ich bin mir sogar sicher, daß selbst der geplante vierte Band
noch vor Erscheinen gecancelled wird, wie zum Beispiel bei "Käpt'n Blaubär"
Band 3 und 4 bereits geschehen. Im Gegensatz zu "Käpt'n Blaubär" wäre es um
die "Outer Limits"-Reihe nicht schade. Jo84

Kauka Classics # 1: Pauli - die große Reise. 64 Seiten, farbig, DIN A 4,
16,80 Mark. Ehapa

Viele ältere Comicleser denken gern an die Zeit zu-rück, als es außer
Sigurd, Micky Maus und Fix und Foxi nicht viel gab. Rolf Kauka, der 1953 mit
seiner Comicproduktion begann, war damals einer der ganz Großen, der mit Fix
und Foxi und allen Nebencharak-teren einen Meilenstein in West-Deutschlands
Comicgeschichte schuf. ähnlich wie Disney lancierte er ein eigenes Imperium,
deren viele Erschaffer nicht einmal namentlich erwähnt wurden. Einer dieser
Zeichner war Branco Karabajic, der heute in seiner Heimat Zagreb im
Ruhestand lebt. Er zeichnete den vorliegenden Band, der erstmals 1966 in
sechs Fortsetzungen erschien und für diese Ausgabe mit Hintergrundinfos
versehen wurde. Das Vorhaben, weitere Alben klassischer Kauka-Geschichten zu
publizieren, finde ich schon lobenswert. Ich glaube allerdings nicht, daß
man eine neue Generation von Lesern erreichen kann, zumal die Abenteuer
ziemlich antiquiert wirken. Der wahre Knackpunkt dürfte jedoch der Preis
sein, der anders als in den 60ern wohl kaum noch als "taschengeldgerecht" zu
bezeichnen ist. Jo84

Zensur!? Das Benefizalbum. 60 Seiten, Farbalbum, mit Doppel-CD, 49,80 Mark.
Alpha, Edition Kunst der Comics, Plattenmeister

Einen in der Geschichte der Bundesrepublik beispiellosen Vorgang hat der
Vorsteher des Börsenvereins des Deutschen Buchhandels, Dr. Gerhard Kurtze,
die Sache genannt. In der Tat sind die Umstände in mehrfacher Hinsicht
ungewöhnlich. Im Juni 1995 wurden nach einer Anzeige von Michael Brenner aus
Neckarsgmünd auf Veranlassung des Meiniger Oberstaatsanwalts Reinhard
Hönninger die Räume der Verlage Edition Kunst der Comics und Alpha von der
Polizei durchsucht und 150 Comicbände als "pornografische,
gewaltverherrlichende und jugendgefährdende Schriften" oder "Nazipropaganda"
beschlagnahmt. Darunter waren Werke, über die man wohl unterschiedlicher
Meinung sein kann wie "Nagyara" von Riverstone oder "Alkovenge-heimnisse"
von Ferocius, aber auch zum Beispiel "Fremde Region" von Beb Deum und
Jean-Pierre Dionnet oder "Schrei nach Leben" von Paul Gillon. Das größte
Aufsehen verursachte die Jagd auf Comics von Walter Moers und Ralf König,
die 1996 dann bei Razzien in 1200 Buchhandlungen im gesamten Bundesgebiet,
insbesondere in kleineren Städten, sichergestellt wurden. Verlag und Handel
erhielten keine Entschädigung für die abtransportierte Ware.
Merkwürdig, daß damit erstmals seit langem wieder Comics in die Kritik
geraten sind. Die Verlage konnten darauf verweisen, daß die beanstandeten
Comics von der Bundesprüfstelle für jugendgefährdende Schriften nicht auf
den Index gesetzt wurden. Die hat ja inzwischen selbst mit "Menschenblut"
ihren Frieden gemacht und beschäftigt sich mit Sex und Gewalt auf dem
Videosektor und im Internet (wobei hier nicht dem St. Florians-Prinzip das
Wort geredet werden soll). Michael Brenner, der den Stein ins Rollen
gebracht hatte, erschien bei einem Auftritt 1996 in Erlangen als
fanatisierter Wirrkopf. Oberstaatsanwalt Hönninger seinerseits scheint
besondere Lust daran zu haben, seine Kompetenzen zu überschreiten ("Das
Urteil der Bundesprüfstelle spielt für uns keine Rolle"). Woher kommt das
plötzlich wieder erwachte Interesse der (besser: einzelner) Sittenwächter an
den Comics? Die Frage ist vorerst nicht zu beantworten.
Nicht selten ist ja ein handfester Kunstskandal fürs Geschäft ein wahrer
Segen, weil das Publikum dann erst sehen möchte, wofür es sich vorher nicht
interessiert hat. In diesem Fall lenkten die Polizeiaktionen die
Aufmerksamkeit aber nur auf Produkte, die sich schon vorher gut verkauft
hatten. Etliche Buchhändler beeilten sich dagegen nun, Comics aus ihren
Regalen zu entfernen, da sie nicht in den Ruf geraten wollten, Schweinskram
anzubieten. Der Alpha Verlag wurde damit fast ruiniert.
Jetzt kamen das Album und die CD "Zensur!?" heraus. Die beteiligten Künstler
verzichten auf Honorare und unterstützen damit den Verlag. Vertreten ist
sowohl auf grafischer wie auch auf musikalischer Seite die erste Garde: Art
Spiegleman (dessen "Maus" groteskerweise als faschistisch eingestuft wurde),
Guido Sieber, H. R. Giger, Ingo Stein sowie Die Sterne, Tocotronic, Lotte
Ohm, Notwist, Ton Steine Scherben und viele andere. Daß in dem Album auch
Paolo Eleuteri Serpieri vertreten ist, in meinen Augen ein waschechter
Pornograph, der in seinen Comics aus spekulativen Gründen mit Titten und
ärschen operiert und der in seinem Beitrag scheinheilig anmerkt: "Eine Zeit,
in der die Liebe nicht mehr verdammt wird... das wünsche ich mir, aber kann
sich der Mensch so sehr ändern?" tut der guten Sache keinen Abbruch. Man
sollte sich also diesen Doppelpack anschaffen.
Das juristische Verfahren scheint übrigens noch immer in der Schwebe zu
sein, nachdem den beiden Sonneberger Verlagen Anfang 1997 die Anklage
zugestellt worden war. Die Gerichtsverhandlung hat meines Wissens bisher
noch nicht begonnen. Daß dabei das große Medienecho auf die Aktion eine
Rolle gespielt hat, kann man natürlich nur vermuten. Inzwischen hat die
Meininger Staatsanwaltschaft sogar einige konfiszierte Comicbände nach
Sonneberg zurückgesandt, behält sich aber bei allen inkriminierten Titeln
vor, die Ermittlungen "zu gegebener Zeit" wieder aufzunehmen. aa



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 53
Besprechungen





Max Andersson: Film. 28 Seiten, s/w, 10 x 10 Zentimeter. Jochen Enterprises,
Möckernstraße 78, 10965 Berlin.

Dieses Heftchen wurde kostenlos beim Comic Salon verteilt. Es soll ein
Teaser für die größeren Werke des Künstlers bei Jochen sein. Darin vier
kurze, heftige Grotesken, die hoffentlich keinen falschen Eindruck von den
Andersson-Sachen vermitteln. aa



Willi Blöß: Frühe Werke, späte Schäden. Cartoons. 68 Seiten, teilweise
farbig, Comicbookformat. Willi Blöß, Reimanstraße 13, 52070 Aachen.

Der Künstler am Zeichenbrett. Ihm gegenüber eine Journalistin mit biederem
Dutt; sie ruckelt ihre Brille zurecht und fragt: "Herr Blöß, die Leserinnen
unserer Zeitschrift fragen sich natürlich, woher Sie die Ideen für Ihre
abartigen Darstellungen nehmen..." Hinter ihr im Dunkel der Türfüllung
lauert ein abscheuliches Monster. So sieht sich Willi Blöß vielleicht - als
Enfant terrible der Karikaturistenzunft. Gleichzeitig ist er aber auch
Profi, zielt immer auf den Gag ab, leicht erfaßbar, Kalauer kein Hindernis.
Blöß ist sowohl Herausgeber des ziemlich undergroundigen Fanzines "Outside",
das vor einigen Jahren leider eingegangen ist, als auch Kolumnist der
Aachener Nachrichten, Dozent an der Fachhochschule für Design und
Werbegrafiker. Er bewegt sich in zwei Welten, und das ist den in diesem Band
versammelten Cartoons anzumerken. Wenngleich die gewiß nie in der Bunten
oder in Brigitte veröffentlicht werden. Aber Willi Blöß würde das
hinbekommen. aa



Eckart Breitschuh: Wanda Caramba # 1. 24 Seiten, s/w mit Farbumschlag,
Comicbookformat, 6,80 Msrtk. Zwerchfell Verlag.
Eckart Breitschuh, vielen bekannt von seinen Veröffentlichungen
"Lindenstraße" und "Komplott gegen Berti" hat sich nebenbei für Kunst statt
Kommerz entschieden und legt beim kleinen aber feinen Zwerchfell Verlag
seine bisher beste Publikation vor. Wanda Carambas erste Miniserie "Dying
for a Screw" ist auf vier Seiten vertreten. Die Titelheldin ist die
Spezialagentin Wanda, die es mit einem seltsamen Leichenfund zu tun bekommt.
Dem weiblichen Opfer fehlt das Großhirn, das durch eine komplizierte
Apparatur ersetzt wurde, die die Lebensfunktionen aufrecht erhält. Niemand
weiß so recht, ob die Frau nun als tot zu bezeichnen ist oder nicht. Aber
etwas an der Sache ist heiß, wie der Schlägertrupp in Wandas Wohnung
bestätigt. Nachdem mir anfangs die Grauschleier in dem Heft nicht so
zusagten, kann ich mich nun mit dem Stil anfreunden. Die Geschichte ist
jedenfalls originell und verspricht sogar etwas Spannung. Als Bonus gibt's
noch ein Pin-up von Matthias Schultheiß (lebt der echt noch?) und eine Seite
humoriges Editorial. Was will man mehr? Jo84



Calle Claus: Schwindel # 1. 32 Seiten, s/w mit blauem Umschlag, DIN A 4.
Calle Claus, Grundstr.33, 20257 Hamburg

Calle stellt in diesem schön aufgemachten Band drei seiner schon in
Magazinen erschienenen Comics zu einem Sampler zusammen. Er ist ein guter,
ausgereifter Underground-Zeichner, von dem wir sicher noch mehr hören
werden. aa



Andreas Fecke: ...und matt! 68 Seiten, s/w mit Farbumschlag, Piccoloformat.
Christoph Gerlach, Lange Laube 24, 30159 Hannover.

Diese exzellente Strip-Serie hat eigentlich nur einen Schönheitsfehler:
Etliche Gags verstehen leider nur Schach-Insider. Sehr bedauerlich, da es
Andreas Fecke gelingt, die Schachfiguren, die das Personal dieser Serie
abgeben, wirklich zum Leben zu erwecken. Der weiße König leidet unter
ständigem Verfolgungswahn, die Türme ziehen gravitätisch ihre Bahn, die
Pferde sind höchst aggressiv, die Bauern sind die Underdogs. Zum Personal
gehört schließlich auch ein Holzwurm im wohl schon etwas angejahrten
Schachbrett. Alles, was zu einer guten Stripserie gehört, ist da. Andreas
hat sowohl immer gute Einfälle als auch einen eleganten, aufs Wesentliche
reduzierten Zeichenstil. Trotzdem - wer richtig lachen möchte, sollte
wissen, was eine Kreuzfesselung, Doppelschach oder eine Bauerngabel ist. aa



Ulf Keyenburg / Orlando: Die Sternenwächter; Der Retter der Welt; Theater des Grauens / Cafard; No. 3585; Noel. Je 20 Seiten, s/w mit Farbcover, DIN A
5. Ulf K., Klörenstraße 59, 46045 Oberhausen / Orlando Hoetzel,
Friederikenstraße 20, 45130 Essen.

Vielleicht sind die bibliografischen Angaben etwas irreführend. Wir haben es
mit drei Ausgaben zu tun, die jeweils zur Hälfte von Ulf und Orlando
gestaltet worden sind. Man kann von beiden Seiten her zu lesen beginnen und
endet in der Mitte des Hefts. Beide Autoren sind große Könner sowohl im
Umgang mit dem Zeichenstift als auch als poetische Erzähler. Da fällt es
schwer, etwas dagegen zu sagen. Ich will's trotzdem versuchen, denn das
Können hat hier doch etwas Seelenloses. Man hat das Gefühl, beide könnten
Geschichten wie die von den beiden Ingenieuren, die heruntergefallene Sterne
wieder am Firmament befestigen, oder die vom lemurenhaften Zukunftsmenschen,
der dem völlig verbauten Himmel entgegenstrebt, im Dutzend ausstoßen.
Trotzdem sind die drei Hefte natürlich wunderschön - so das Richtige, um an
einem Ehrenplatz im Regal zu prangen. aa



Mahlers !du falott, baby! 36 Seiten, s/w mit Farbcover, DIN A 5, 6 Mark (35
öS). Edition Brunft, Mahler, Friesgasse 9, 1150 Wien (Österreich). eMail:
nicolas_mahler@blackbox.at

Mahler und Wolf haben sich zusammengetan, um das Volk abwechselnd mit
lustigen Heften zu erbauen. Während ich auf Wolf gleich zu sprechen komme,
habe ich etwas Mühe, Mahlers Humor zu beschreiben. Glücklicherweise gibt er
mir auf Seite 2 selbst das Stichwort: "Avantgarde-Humor". Zum Lesen dieses
Hefts braucht man also zunächst mal eine Haltung, sonst hält sich der Spaß
arg in Grenzen. aa



Jens Natter: Die Schweinewiese. 20 Seiten. s/w auf blauem Papier, DIN A 6.
Jens Natter, Buhrfeindhaus, Elise-Averdieck-Straße 17, 27356 Rotenburg.

Natters Animal Farm. Mit Schweinen lassen sich allerlei witzige Wortspiele
machen. Und menschliches Verhalten läßt sich gut auf sie übertragen.
Eigentlich wollte ich hier meinen Lieblingscartoon zum Besten geben, aber so
gut hat mir dann doch keiner gefallen. Schweinerei! aa



Frank Schmolke: Zwei Prinzen. 60 Seiten, s/w mit Farbcover, Format 14,5 x
14,5 Zentimeter. Edition Spaceboy, Frank Schmolke, Hohenzollernstraße 111,
80796 München.

Ein sehr schönes, professionell gemachtes Büchlein. Darin eine Geschichte,
die für ein romantisches Märchen nur eine Idee zu düster ist. Der Prinzessin
sind ihre Träume abhanden gekommen. Der ritterliche Kasperl bricht auf, um
sie ihr zurückzugewinnen. Aber der schwarze Mann, der Kinderträume hortet,
ist zu clever, um sie sich abjagen zu lassen. Es gibt ja Geschichten, die
sowohl Kinder als auch Erwachsene lesen können, die also auf verschiedenen
Ebenen funktionieren. "Zwei Prinzen" gehört leider nicht dazu. Denn die
Parabel geht nicht auf: Will Prinzessin Susie wirklich ihre Träume
wiederhaben oder schickt sie ihre Kinderwelt zur Aufbewahrung? Mich würde
interessieren, was Kinder von der Geschichte halten. aa



Teer: Wahre Seiten für harte Zeiten # 3. 28 Seiten, s/w mit blauem Umschlag,
Format 10,3 x 29,6 Zentimeter. Teer, Kippingstraße 16, 20144 Hamburg. eMail:
Teer10@Hotmail.com

Hier dominiert die Form über den Inhalt. Der Verdacht liegt einfach nahe,
wenn jemand so ein halbiertes DIN A 4-Format wählt. Zwei Geschichten sind in
dem Heft, die beide mit pubertären Gefühlsverwirrungen zu tun haben. Gut
erzählt, schön gezeichnet, woran niemand, der schon mal einen Comic von Teer
in der Hand gehabt hat, zweifeln würde. Aber man wird beim Lesen den
Eindruck nicht los, daß es hier nicht wirklich ums Erzählen geht, sondern
eher darum, auch mal einen Comic im Format 10 x 30 gemacht zu haben. aa



Teer / Loppe / Jule: Klinik # 2. 48 Seiten, s/w mit dreifarbigem Cover, DIN
A 5, 5 Mark. Teer, Kippingstraße 16, 20144 Hamburg.

Zusammen mit Loppe und Jule geht Teer hier dem merkwürdigen Phänomen auf den
Grund, das sich modernes Leben nennt. Noch eine Lost Generation, die sich so
vorkommt wie einer, der im Krankenhaus liegt, nicht weiß, woran er leidet,
und die Therapien nicht versteht, die bei ihm angewendet werden. Beziehungen
mißglücken, Gefühlen wird mißtraut, Begierden kämpfen sich nach vorn, ein
Lebensziel fehlt irgendwie. Das wird in diesem Heft ziemlich überzeugend
thematisiert. Als Bonus gibt's ein paar Cartoons von John Robinson, der
Engländer oder Amerikaner zu sein scheint, über den man aber nichts näheres
erfährt. aa



Wolfs Zyste # 1. 36 Seiten, s/w mit Farbcover, DIN A 5, 6 Mark (35 öS).
Edition Brunft, Mahler, Friesgasse 9, 1150 Wien (Österreich).

Heinz Wolf fällt mir erst jetzt, am Ende der Comic Forum-Ära, die er wohl
ein Stück mitgeprägt hat, so richtig auf. Wolf ist ein sehr begabter,
grafisch an Franquin geschulter Humorist, der eine gehörige Dosis Wiener
Schmäh beimischt. So nach dem Motto: "Ein Scherzerl hab ich immer auf Lager,
und wenn ich keins hab, hab ich immer noch meins." Alles in allem sehr
amüsant. aa



Babyblues. 36 Seiten, s/w mit Farbcover, DIN A5, 3,50 Mark. Anja & Joy, c/o
Thorsten Schmidt, Osterfeldstraße 3 A, 32457 Porta Westfalica.

Dieses Fanzine ist Anja & Joys Tochter Lara gewidmet. Nach dem
Hochzeitsfanzine, das logischerweise Heiraten zum Thema hatte, präsentieren
Anja & Joy nun also ein Fanzine, das sich nicht nur Lara, sondern dem Thema
Babys ganz allgemein widmet. In Zeiten der Rezession ist leider auch
Engagement rückläufig, so daß Anja & Joy für ihr ambitioniertes Projekt nur
17 Mitarbeiter gewinnen konnten. Trotzdem ist es eine schöne Anthologie
geworden, die schöne Arbeiten vom harten Kern der Szene präsentiert,
darunter Haggi, Kim Schmidt, Oliver Ferreira, Rudolph Perez, Ulrich Magin,
Jo84 und Anja & Joy selbst. Jo84



Blätterteig # 1. 28 Seiten, s/w, DIN A 5. Markus Witzel, Torstraße 190,
10115 Berlin.

Schon seit Weihnachten liegt es bei mir herum, das neue Heft des
ICOM-Independent-Comic-Preisträgers Mawil, der hier mit seinen Kollegen vom
Ex-"Jawoll"-Movement wieder ein vielseitiges Ding präsentiert. Tausendsassa
Markus Witzel dürfte auch die treibende Kraft hinter der Veröffentlichung
dieses seltsamen Mags sein, das von Comics über Shortstories bis zu
ganzseitigen Fotos alles mögliche Unverständliche enthält. Das meiste hat
wohl "Weihnachten" zum Thema. Außerdem sind die Beiträge ziemlich kurz.
Insgesamt finde ich die Ausgabe recht merkwürdig. Jo84



cOMIc # 33. 28 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere
Fanzines bei Gerd Bonau, Schleswiger Straße 9, 24392 Süderbrarup.

Gutes Material von Olaf Bathke, Andri Beyeler, Ulrich Magin, Manfred
Lafrentz, Henning Way und anderen. Gerd Bonau berichtet diesmal darüber,
welche Superheldencomics man in Dänemark so findet und hält Vorwort und
Rezensionen nach wie vor kurz. Nicht viel Neues also aus Süderbrarup, aber
"Omi" ist eine der beständigsten Publikationen in der Fanszene, und
vielleicht hat es PLOP sogar bald überrundet. aa



Comic Forum # 67. 24 Seiten, s/w, DIN A 4, 5 Mark. Medienservice Wuppertal,
Linde 72 - 74, 42287 Wuppertal.

Das ist also das Ende. Seit CF # 13 (aber nicht ganz bis zuletzt) war auch
ich Abonnent; na, das konnte ja nicht gutgehen. Die legendäre "Comixene
"-Zeit habe ich nur noch ganz am Rande mitbekommen. Für mich war also
jahrelang Comic Forum Inbegriff eines guten, kompetenten Comic-Journalismus.
Abschiedsausgaben sind durchaus nicht üblich und kommen in diesem Fall
vielleicht dem Bedürfnis der Wiener nach einer schönen Leich' entgegen.
Bedenkt man, daß es Comic Forum immerhin seit 1979 gegeben und schließlich
auf 67 Ausgaben gebracht hat, so wirkt jedoch dieser Abschiedsband schon ein
wenig kühl und halbherzig. Kernstück des Hefts ist der sechsseitige Index
aller Artikel und Comics. Das auf dem Cover groß annoncierte Carl
Barks-Interview ist netto gerade mal eine Seite lang. Ansonsten viele
Abschiedscomics der CF-Hauszeichner Chris Scheuer, Ronald Putzger, Heinz
Wolf und anderer. Chefredakteur Harald Havas will die Geschichte von Comic
Forum mal bei anderer Gelegenheit nacherzählen, und Herausgeber Wolfgang
Alber, der das Magazin jahrelang mit offenbar nicht unbeträchtlichen
Geldspritzen am Leben erhalten hat, führt dessen Ende mit wolkigen Worten
auf "die Entwicklung der deutschsprachigen Comicszene", auf Inkompetenz und
wirtschaftliches Unvermögen der Protagonisten zurück. Naja - die
Abschiedsausgabe war nun mal angekündigt. aa



Das Gefühl # 1. 64 Seiten, s/w mit Farbumschlag, Comicbookformat, 7 Mark.
Teer, Kippingstraße 16, 20144 Hamburg.

Vermutlich wäre es besser, wenn Jo diese Besprechung schreiben würde. Ich
denke, dieses Heft ist ganz nach seinem Geschmack, und ich finde, es sollte
unbedingt positiv besprochen werden. Calle Claus behauptet im Vorwort, hier
seien lauter Geschichten versammelt, die Gefühle thematisieren. Natürlich
beinhaltet jede Geschichte, in der Menschen vorkommen, auch Gefühle. Den
roten Faden in diesem Heft kann ich aber nicht so recht erkennen. Muß ja
auch nicht sein. Vielleicht mußte einfach ein Vorwort geschrieben werden.
Mir hat die Geschichte "Narbe im Gehirn" von Björn Kuhnke am besten
gefallen. Er zeigt eine Clique, in der einige drogenbeeinflußt Probleme mit
der Wirklichkeitswahrnehmung bekommen. Keine Drogengeschichte, das passiert
alles nebenbei, bestimmt aber zunehmend die Beziehungen zwischen den Leuten.
Die Geschichte kommt mir sehr lebensnah und gut beobachtet wor. Auch die
übrigen Beiträge im Heft aus dem Teer-Umfeld sind nicht schlecht, aber - wie
ich sagte - Jo kann damit vermutlich mehr anfangen. aa



Der geifernde Grapsch # 9 (Mai 1998). 56 Seiten, s/w mit Farbumschlag,
Comicbookformat, 7 Mark. Weißblech Comics, Levin Kurio, An der Landstraße 5,
23758 Kükelühn.

Nummer 9? Ist doch wohl reine Angabe. Hier haben wir es mit einer
Koproduktion von Levin Kurio mit Roman Turowski zu tun, der bei diesem
45seitigen Epos die Reinzeichnungen und das Lettering besorgt hat. Roman
gibt den groben Zeichnungen einen leichten Greg-Irons-Touch, was nicht
schlecht aussieht. Solche Kooperationen sollte es in der Fanszene viel mehr
geben. Levin erzählt eine reichlich klischeebeladene Story von
Venus-Kriegerinnen, die auf die Erde kommen, um den Fortbestand ihres Volkes
sicherzustellen. Das liest sich ganz locker, ist aber - worauf Levin in
einem Nachwort hinweist - sogar interpretierbar. Aufgefüllt wird das Heft
mit einer kleinen Horrorstory von Levin. aa



Hunt # 9. 44 Seiten, s/w mit Farbcover, DIN A 5. James Hunt, Buddy,
Gärtnerstraße 57, 4057 Basel (Schweiz).

Die große Sinnvernichtungsmaschine. So etwas wie "Hunt" widersetzt sich
natürlich einer Rezension. Ich frage mich, warum ich es eigentlich trotzdem
versuche. Aber annoncieren sollte man dieses Magazin schon. Leute mit Sinn
fürs Absurde sollten es ruhig mal anfordern. aa



Kartoffelkäfer # 1. 60 Seiten s/w mit Zweifarbcover, DIN A 5, 5 Mark. Blabla
Verlag, c/o Negrelli, Kremmenerstraße 4, 10435 Berlin.

Ein neues Fanzine erblickt das Licht der Welt, das typisch für Berliner
Underground-Comics ist, aber doch so ganz anders. Man blättert's durch und
denkt: "Berlin, na klar, was sonst?" Denn die Comics haben so einen
bestimmten Hang zum Krakeligen (aber mit Kunstanspruch!), wie er auch in
"Renate", "Schokoriegel" "Strapazin" und anderen vor allem Berliner
Undergroundheften zelebriert wird. Irgendwie liegt man aber dann doch völlig
falsch, denn die Beiträge stammen überhaupt nicht aus Berlin, sondern sind
aus den Underground-Publikationen Amerikas und ganz Europas. Ich finde es
schon gut, auch mal etwas über die ausländische Fanzine-Szene zu erfahren.
Irgendwie ist mir aber alles zu sehr eine Richtung. Vor allem textlich weiß
man auch manchmal nicht genau, was das soll, alles eher experimentell.
Trotzdem gibt's natürlich auch gute Beiträge. Sehr gut auch die Rezensionen
der Fanzines aus aller Welt, vorbildlich die Kurzvorstellung der Zeichner.
Ansonsten merkt man halt, Berlin ist überall, und nicht nur Politiker können
von sich behaupten: "Ich bin ein Berliner." Jo84



Koma Comix # 18 (März 1998). 36 Seiten, s/w mit Farbcover, DIN A 5, 3 Mark.
Weißblech Comics, Levin Kurio, An der Landstraße 5, 23758 Kükelühn.

Munteres Heftchen diesmal. Viel Abwechslung bei sechs Stories
unterschiedlicher Länge, davon zwei Onepager. Irgendwie geht's meistens
wieder ums Saufen, seine Voraussetzungen und Folgen, wenn auch diesmal
durchweg kurzweilig dargeboten. Am Ende schafft es Quevis alias Levin, en
passant auf vier Seiten eine neue philosophische Daseinsform zu entwickeln.
Man sollte die Weißblecher nicht unterschätzen. aa



Kreativo # 23. 28 Seiten, s/w, DIN A5, 2,50 Mark. Kreativo!-Projekt, Birke,
Postfach 2022, 58470 Lüdenscheid.

Kaum frischgebackene Landschaftsgärtnerin (und jetzt offenbar erstmal ohne
Job), macht sich Birke wieder hurtig ans Publizieren. Sie montiert weiter
unbekümmert alles zusammen, was ihr in die Finger kommt, wobei sich, wie
schon in # 22, auch aus PLOP bekannte Leute zunehmend im Heft breitmachen.
Trotzdem bleibt Kreativo (erstaunlicherweise), was es immer schon war. Und
mir wird's beim Lesen nicht langweilig. aa



Kurt Adventures # 2. 28 Seiten, s/w mit Farbcover, Comicbookformat, 5,90
Mark. Amigo Comics, Holger Bommer, Starenweg 18, 73730 Esslingen und Verlag
Sprühende Phantasie, Jo Guhde, Goebenstraße 37, 32423 Minden.

Kurt verstrickt sich wieder in den Tücken des Alltags. Holger und Jo
versuchen jetzt, mit einer getürkten Leserbriefseite (eigentlich
Kummerkasten-Seite), eine Kurt-Fanszene aufzubauen. Den beiden Autoren wäre
zu wünschen, daß das Konzept aufgeht. aa



Menschenblut # 30. 44 Seiten, s/w mit Farbcover, Comicbookformat, 8,80 Mark.
Eisenfresser Comix, Postfach 1141, 36094 Petersberg.

Alle drei Geschichten (Autoren: zweimal Mille, einmal Robi; Zeichner: Roman
Turowski/Bilder-Micky, Alexander Pavlenko und Stefan Atzenhofer) enden mit
einem gruseligen Knalleffekt, einem ziemlich unbefriedigenden allerdings.
Trotzdem nehmen einen die Geschichten ziemlich mit; sie tippen Themen an,
die tabuisiert sind (Geburt) oder steigern Gefühle (das sexuelle Verlangen
eines Ehemanns, die schwärmerische Liebe eines Jungen) bis ins Monströse,
bis man davor erschreckt. Die Figuren sind Menschen aus Fleisch und Blut in
freilich extremen Situationen. Etwas Humor zwischen all dem Wahnsinn wäre
vielleicht wieder mal ganz gut. Aber die Eisenfresser-Crew gibt sich immer
weniger mit raffiniert gebauten Horrorstories zufrieden, sondern nähert sich
zunehmend einem ernsthaften künstlerischen Ausdruck an. (Ob sich damit die
Abonnenten halten lassen?) aa



Mixer # 3 bis 5. Je etwa 30 Seiten, s/w, DIN A 4, 2,50 Mark. Claudia
Bernhardt, Freibergerstraße 66, 59558 Lippstadt.

Drei neue Ausgaben hat Claudia zusammengetackert mit Arbeiten von teils
bekannten Leuten (Benjamin Brandt, Gerd Bonau), überwiegend aber
Szene-Neulingen (so mein Eindruck, auch wenn ich natürlich nicht jeden
kenne). Das Prinzip, nach dem dieses Fanzine funktioniert, wird mir jetzt
erst so richtig klar: Claudia läßt sich die Beiträge bereits 100mal kopiert
zusenden und "mixt" sie dann. Interessantes Prinzip, das den Herausgeber von
einem Teil der Produktionskosten befreit (die Kosten für den Versand hat er
weiter zu tragen). Geht damit sein Einfluß auf die Gestaltung des Hefts
zurück? Stellt sich Claudia auch mal selbst an den Kopierer, um ein Werk ins
Heft zu bekommen, daß ihr nicht vervielfältigt zugeht? Man erfährt leider
nicht viel aus der Redaktion. Aber "Mixer" ist unbedingt ein interessantes
Heft mit einem noch interessanteren Konzept. aa



Napartheid. 52 Seiten, s/w mit Farbcover, DIN A 4, 300 Peseten oder 12
Libera. Napartheid, Igorri Saila, Uztarrotze 40, 31014 Irunea, Baskenland.

Schönes, punkig aufgemachtes Magazin - neben Comics viel Schnipsellayout. In
den Comics geht es auffallend häufig ums Fotografieren und um Paparazzi. Ob
das Zufall oder ein sich durchs Heft ziehender roter Faden ist, weiß ich
allerdings nicht; ich verstehe natürlich kein Baskisch. Trotzdem ist das
Heft auch Fanzine-Liebhabern ohne Kenntnisse der Landessprache durchaus zu
empfehlen. aa



Nichts für ungut # 8. 24 Seiten, s/w, DIN A5. Benjamin Brandt,
Schubertstraße 36. 99423 Weimar.

Benjamin dürfte PLOP-Lesern schon als locker-krakeliger Zeichner und als
launiger Leserbriefschreiber aufgefallen sein. Zusammen mit seinem letzten
Brief sandte er mir dieses Fanzine zu, dessen Vorgeschichte mir leider
entgangen ist. Beim ersten Querlesen meint man: alles Comics von Benjamin
Brandt. In Wirklichkeit hat er offenbar in Thüringen eine ganze Reihe
Gleichgesinnter um sich scharen können, die seinen ironischen Blick auf das
Leben und seinen lakonischen Zugriff darauf teilen. Sehr unterhaltsam liest
sich das. Mich hat das Magazin sehr an Guido Kawczynskis "Wacka Wacka"
erinnert, das interessanterweise auch aus den Neuen Ländern kommt. Benjamin
ist, soweit ich informiert bin, kein echter Ossi, hat sich aber jedenfalls
gut angepaßt. aa



pas-Califax # 7 bis 9. 24 und 28 Seiten, s/w, DIN A 5. Pascalifax,
Dittersdorfer Straße 146 c, 09122 Chemnitz.

Der Chemnitzer Mosaik-Fanclub publiziert munter weiter. Pascalifax ist
einerseits vor allem Spiel-, Rätsel- und Bastelheft für ein ziemlich junges
Publikum. Andererseits ist nicht zu übersehen, daß über Mosaik auch zur
Comicszene die Fühler ausgestreckt werden. Clubleiter Jörg Fiedler war zum
Beispiel auch beim Comic Salon in Erlangen, wo ihm Dick Heins ein für sein
Kindermagazin eigentlich nicht so geeignetes Wet-T-Shirt-Girl gezeichnet hat
(PC # 9). Und es finden sich hin und wieder sehr ordentliche Comics von
offenbar Chemnitzer Zeichnern im Heft. Diese Aktivitäten sollte man
weiterverfolgen. aa



Qwert # 2. 32 Seiten, s/w, DIN A 5, 3 Mark. Dice Industries, Saarlandstraße
29, 22303 Hamburg.

"File under: Palm Readings/Psychic" steht auf dem Cover. Die abstruse
Geschichte um den Schorfsammler, die das ganze Heft beansprucht, entbehrt
jedenfalls nicht eines gewissen Humors. Mit "Psychic" können eigentlich nur
die Zeichnungen gemeint sein, die sich genau im Mittelfeld zwischen
Krakelei, bildlicher Darstellung und Abstraktion befinden und so der Story
in nichts nachstehen. Wie schon oft zeigt sich Dice als Innovator einer
Szene, die glaubt, es wäre nicht mehr viel Neues möglich. Im allgemeinen mag
das zutreffen, Dice findet jedoch imemr einen Weg, sein ureigenes Ding zu
machen und dabei neue Wege zu gehen. Das trifft nicht imemr jedermanns
Geschmack. Mit dem so gänzlich anderen Qwert # 1 konnte ich zum Beispiel
überhaupt nichts anfangen. Die Nummer 2 hingegen gefällt mir - diese Aussage
wird sicher außer mir wieder nur eine Handvoll Insider machen können. Jo84



Sendeschluß. 140 Seiten plus 12seitige Beilage, s/w mit Farbcover, DIN A
4-Album. Ten Eyes Verlag, Fufu Renner, Ad Astra Buchhandlung, Nürnberg.

Die Gruppe Nürnberger Grafik-Studenten, die hinter diesem Wälzer steht,
hatte beim Erlanger Comic-Salon einen eigenen Stand auf der Galerie. Mit
einigem Stolz führte sie mir zwei Videos vor, die auch noch zu dem Projekt
gehören. Eine geballte Ladung Kreativität also. Die inhaltliche Klammer ist
nichts geringeres als das Weltende. Unter diesem Thema gehen die Zeichner
oft ziemlich philosophischen Fragen nach. All die Eschatologie und
Apokalypse erscheint beim Lesen oft eher aufdringlich. Aber eine
interessante Sammlung unterschiedlicher Ausdrucksweisen und Zeichenstile ist
der Band allemal. Die elf Teilnehmer sind für mich in der Comicszene bisher
nicht in Erscheinung getreten, aber ihr grafisches Handwerk verstehen sie
ausnahmslos. aa



Sprühende Phantasie # 17. 48 Seiten, s/w mit Farbcover, DIN A 4, 6 Mark.
Joachim Guhde, Goebenstraße 37, 32423 Minden.

Wird "Sprühende Phantasie" zum Markenzeichen? Neben dem Fanzine heißen
inzwischen auch Jo Guhdes Verlag und seine Comic-Buchhandlung in Minden so.
Aber wofür steht "Sprühende Phantasie"? In auffällig vielen Beiträgen
spielen diesmal körperliche Ge-walt und manchmal tödliche Verletzungen eine
Rolle: Bei Rainer Baldermann ja ohnehin, aber auch Till Lenecke läßt einen
U-Bahn-Fahrer verunglücken, Wittek läßt den Kopf seiner Figur explodieren,
Roland Trosts Protagonist prügelt sich auf der Straße und im Gefängnis, und
Jo hat in seinem eigenen Comic einen schmerzhaften Ski-Unfall. Nur bei
Oliver Ferreira sind die Comicfiguren zwar Opfer der rätselhaften Zeit oder
kotzen die U-Bahn voll, bleiben aber zumindest stets körperlich unversehrt.
Ich weiß, daß Jo die Comics, die er veröffentlichen will, sehr sorgfältig
auswählt, aber wird da wirklich ein System sichtbar? Unzweifelhaft ist
jedenfalls, daß hier wieder einige der ungewöhnlichsten und besten
Comiczeichner der Amateurszene versammelt sind. Hinzu kommen ein langes und
detailliertes Interview mit Wittek und immerhin zwei Seiten Leserbriefe,
alles wie immer penibel handgelettert. Wer "Sprühende Phantasie" kennt, dem
brauche ich sicher nichts weiter zu erzählen, alle anderen seien darauf
hingewiesen: Dieses Magazin ist in der Fanszene eigentlich Pflichtlektüre.
aa



Stripburek. Comics from behind the rusty iron curtain. 168 Seiten, s/w mit
Farbcover, DIN A 4-Album, 12 Mark. Strip Core, Forum Ljubljana, Metelkova
6/I, 1000 Ljubljana, Slowenien. eMail: burger@kud.fp.si

Dieser Band ist eine ungeheure Fundgrube. Andy Konky Kru hat den
"Comic-Burger" entdeckt und mir empfohlen. Er enthält Comics aus Albanien,
Bosnien/ Herzegowina, Kroatien, Tschechien, Estland, Ungarn, Litauen,
Mazedonien, Polen, Rußland, Slowenien, der Ukraine und Rest-Jugoslawien. Man
hört und liest ja viel über die schwierigen Transformationsprozesse in
diesen Ländern aus dem ehemaligen Warschauer Pakt. Aber daß es da auch
Comiczeichner gibt, die sich teils sogar ganz deutlich an westlichen
Underground-Traditionen orientieren (alles gute Leute), war für mich doch
überraschend. Sämtliche Comics sind in englischer Sprache gehalten, so daß
man das alles sogar richtig lesen kann. Beim Lesen merkt man dann auch, daß
diese Künstler doch in anderen Verhältnissen leben und andere Probleme haben
als Westeuropäer, wenn auch die Form der Comics häufig so vertraut
erscheint. Das ist wohl auch der Sinn der Sache. Dieser Band ist
hauptsächlich für westliche Leser gemacht. Er soll über den Osten
informieren. Nach jeder Sektion erfährt man in einem Übersichtsartikel auch
etwas über die Comicszene in dem jeweiligen Land. Ich habe bei der Lektüre
gedacht: Da müßte man doch Verbindungen herstellen. Auf jeden Fall sende ich
den Herausgebern dieses PLOP mit der Besprechung zu. aa



Tabasco # 1 bis 3. Je 40 Seiten, Comicbookformat (# 3: DIN A 5). Nihilist
Mediengruppe, c/o Gerhard Schuster, Obere Krämersgasse 8, 90403 Nürnberg.

Gemäß einer Selbstdarstellung im Vorwort der # 3 lautet die oberste Maxime
des Hefts: "Grafischen Höchstgenüssen sind Schwachsinnsinhalte von seltener
Dämlichkeit entgegenzustellen". Wenn das das Ziel von Tabasco ist, sind die
Jungs auf dem richtigen Weg. Tatsächlich lesen sich die Beiträge recht
unausgegoren, obwohl die Zeichnungen meist gelungen und recht
abwechslungsreich sind. Einzig die umstrittene Reihe Kurzstories "Dirty
Deeds" von A. Lehmeyer hat ein bißchen kranken Humor zu bieten. Bei dem Rest
fragt man sich meistens: Was soll dieser Quatsch jetzt wieder? Positiv
hervorzuheben wäre noch der "Media Mix", in dem abgedrehte Filme, Platten,
Comics und Bücher besprochen werden. Und mit # 3 steigt auch das Niveau
etwas, und die Beiträge werden besser. Es bleibt abzuwarten, wie sich das
Magazin weiter entwickelt. Jo84





Tote Helden Comix # 9. 32 Seiten, s/w, DIN A 5, 2,50 Mark. Tote Helden
Comix, Volksgartenstraße 21, 40227 Düsseldorf.

Bia Biafras After-Doomsday-Welt. Es gibt noch Anarchisten und Nazis, aber
eigentlich keine Werte, keine Regeln mehr. Gewalt regiert. Man muß sich
vorstellen, daß es Bia Biafra, dem diktatorischen Autor und Zeichner der
Toten Helden, in einer solchen Welt gut gefallen würde. Für die aktuelle
Ausgabe hat er sich allerdings Verstärkung besorgt: Dirk Tonn zeichnet
zwischendurch vier Seiten des Epos und fügt sich hervorragend ein. aa





Treffer # 1. Sammlermagazin. 64 Seiten, s/w mit Farbcover, DIN A 4, 6 Mark.
Thomas Schmitt Verlag, Postfach 680367, 50706 Köln.

Ein Comicsammler-Magazin ganz ähnlicher Bauart wie der Comic-Express, den es
schon seit vielen Jahren in Köln gibt: einige Seiten Redaktionelles und dann
viele Comic-Angebots- und -Such-Anzeigen. "Treffer" hat der Konkurrenz
jedoch einiges voraus, was auch eine Voraussetzung ist, um da einen Fuß in
die Tür zu bekommen. Das neue Produkt glänzt zunächst durch guten Druck und
saubere Heftung. Der redaktionelle Teil nimmt fast die Hälfte des Hefts ein
und liest sich recht interessant. Der Erotikcomic-markt wird seriös unter
die Lupe genommen, die Idee, unbekannte Comics wie die des Karikaturisten
Erich Rauschenbach vorzustellen, finde ich gut, ebenso die Hitliste der zehn
meistüberschätzten Sammelobjekte. Der auf dem Cover angekündigte Artikel
"Fanszene mit neuem Drive" fiel allerdings aus, hoffentlich nicht, weil die
Schlagzeile nach der Recherche nicht mehr haltbar war. aa



Tremor Comix # 1 und 2. 24 und 28 Seiten, teilweise farbig, Comicbookformat,
4 Mark. Soziokulturelles zentrum Haus Pusteblume, Zur Saaleaue 43, 06122
Halle/ Saale.

Einen guten Eindruck macht das Fanzine "Tremor", an dem vor allem der hohe
Farbanteil von acht Seiten in Heft 1 und sogar 16 Seiten in Heft 2 erstaunt.
Trotzdem sind die Beiträge nur auf durchschnittlichem Fanniveau, was aber
durchaus in Ordnung geht. Die Beiträge sind vielseitig, und es finden sich
Funnies und ernste Stories. Besonders erwähnenswert finde ich die Story des
Künstlers J. K. F. namens "Mr. Ponelli: Büro für außergewöhnliche
Angelegenheiten", die in Fortsetzungen erscheintund sich noch zu einer recht
spannenden Geschichte entwickeln könnte. Die Farbseiten sind eine Augenweide
und verdienen Respekt. Ebenfalls erwähnenswert die Beiträge von S.
Linientreu, der sich an mehreren Zeichenstilen versucht. Am ausgereiftesten
ist wohl die Onepager-Reihe "Senfheim" von Stefan Czirr. Aber die Gags sind
etwas flach. Grottenschlecht ist übrigens keiner der Beiträge. Das einzige,
was negativ auffällt, ist die Papierverschlechterung in Heft 2. Jo84



Zeitraum # 1 und 2. 32 Seiten, s/w, DIN A 4, 6 Mark. Andy, P.O.Box 8892,
London SW 15 (England).

Die erste Ausgabe dieses Magazins übergehe ich jetzt mal, weil sie im Moment
für mich hier in Augsburg nicht greifbar ist. Begnügen wir uns mit der
Feststellung, daß sie kurz vor dem Comic Salon erschienen ist und daß ihr
Konzept - abgesehen davon, daß es eine Sammlung von Beiträgen war, die dem
Herausgeber gefielen - nicht so recht zu erkennen war. Andy ist mehr
zuzutrauen, wie er mit seiner "Konky Kru", mit "Itsy Bitsy" und vor allem
mit "Graphic Reviews" schlagend bewiesen hat. In der zweiten Ausgabe macht
Andy nun etwas Verblüffendes: Er internationalisiert sein Magazin, indem er
nur stumme Comics - also ohne Erzähltext und Dialog - zuläßt. So können
Werke von Briten, Niederländern, Deutschen und so weiter unmittelbar
nebeneinander stehen und hintereinander weg gelesen werden. Comics werden zu
einem grenzüberschreitenden Kommunikationsmittel. Durch mühevolle und
strenge Auswahl hat Andy ausschließlich erstklassige lustige bis
hintergründige Arbeiten versammelt. Unter den melancholischen und ironischen
Geschichten: die von dem Comiczeichner, dessen unverhofftes Rendezvous von
einem rabiaten Superhelden gestört wird. Der Zeichner weiß, wie er sich den
Typen in bunten Unterhosen vom Leib hält: mit Tipp-Ex nämlich. Oder die von
der seltsamen Gestalt mit einem Handkarren. Hinter wem die herschiebt, der
muß bald sterben. Oder die von dem Mädchen, das nicht schlafen kann, weil
ihm kalt ist, und das sich deshalb beinahe heillos mit seinem Freun-d
verkracht. Nicht alle Beiträge dieses Bandes kann man flüssig weglesen;
manchmal muß man sich an die Bildersprache erst gewöhnen. Aber bei jeder
Geschichte möchte man gern den Code verstehen. Von "Zeitraum" # 2 läßt sich
sagen, was Phrasendrescher so gern und häufig über alles mögliche sagen: Es
trägt zur besseren Verständigung bei. Schade nur: Das nächste Heft ohne
Worte soll erst wieder "Zeitraum" # 4 sein. aa



Francis Bergèse: Buck Danny # 41. Verschwörung im Dschungel. 48 Seiten,
Farbalbum, Softcover, 19,90 Mark. Carlsen.

Wieder liegt ein neuer Buck Danny vor, der erst in diesem Jahr bei Dupuis im
französischen Original veröffentlicht wurde. "Zone interdit", wie er dort
heißt, ist wieder der Beginn eines neuen Zyklus, der im nächsten Band
fortgesetzt wird. Deshalb kann man zu der gesamten Story nicht viel sagen.
Buck und seine Freunde kämpfen mal wieder verdeckt gegen Drogenhändler und
treffen dabei auf alte Bekannte wie Lady X. Francis Bergèse ist ein
handwerklich guter Zeichner und Erzähler, der es schafft, die immer wieder
gleichen Themen interessant zu variieren. Sicherlich hat er als Nachfolger
von Charlier und Hubinon auch nicht den leichtesten Stand. Auch ich habe als
absoluter Fan der alten Geschichten Schwierigkeiten mit dem Buck Danny der
Jetztzeit. Schließlich hat Buck schon im Zweiten Weltkrieg gekämpft und
sollte 50 Jahre später schon ein bis zwei Falten mehr im Gesicht haben. Da
lobe ich mir Blueberry (siehe oben), der innerhalb seiner Lebensspanne
Abenteuer erlebt. Buck Danny werden wir in 50 Jahren wohl noch erleben, wenn
er den Siebten Weltkrieg gewinnt. Trotzdem sind die Stories natürlich nach
wie vor gute Unterhaltung, und das ist doch schon was. Jo84



Charles Burns: Black Hole # 2. 64 Seiten, s/w mit Farbumschlag,
Comicbookformat, Softcover, 19,80 Mark. Reprodukt.

Mehr als ein Jahr mußte man auf die Fortsetzung der deutschen Ausgabe von
"Black Hole" warten. Natürlich hat sich das Warten gelohnt. Die düstere
Story von Charles Burns geht zwar gemächlich, aber stimmig weiter. Die
deutsche Ausgabe enthält die Volumes 3 und 4 der amerikanischen
Originalausgabe. Über den Inhalt möchte ich eigentlich nichts schreiben.
Alles, was ich Euch sagen kann: "Black Hole" ist absolut grandios und mein
Tip für Euch! Ansehen, kaufen und genießen! Jo84



Jean Giraud: Mister Blueberry # 34. Schatten über Tombstone. 48 Seiten,
Farbalbum, 16,80 Mark. Ehapa.

Drei Jahre mußte man auf die Fortsetzung des letzten Blueberry-Bandes
warten, in dem ein neuer Zyklus begann. Viele Fans waren etwas enttäuscht,
denn ähnlich wie beispielsweise bei Will Eisners "Spirit" spielte Blueberry
kaum mit. Giraud stellte eher die Ereingisse um ihn herum in den
Vordergrund. So ist es auch im neuen Band. Während er sich im Bett von
seiner Schußverletzung im Rücken erholt, übernehmen die Menschen um ihn
herum die Hauptrollen. Da Giraud seinen Helden altern läßt, kann sich so
eine Heilung schon über mehrere Bände hinziehen und ist nicht nach ein paar
Seiten erledigt. Während sich also zeitgleich mit seinem Genesungsprozeß
mehrere Handlungsstränge abzeichnen, erzählt er einem Journalisten auch noch
aus seiner Vergangenheit. Diese Geschichte ist eigentlich etwas spannender
als die Rahmenhandlung. An der entscheidenden Stelle der Erzählung bricht
die Storyline natürlich ab. Folge ist, daß man das ganze Album über das
Gefühl hat (ebenso wie beim ersten Teil des Zyklus), einem Vorgeplänkel
beizuwohnen. In zirka drei Jahren wird es dann wohl ein Stück weitergehen.
Trotzdem ist natürlich auch Blueberry # 34 wieder ein Ereignis. Es ist nicht
mehr so spannend wie früher, es wird nicht mehr so viel geballert. Auch
Sidekicks wie McClure vermißt man schmerzlich. Dafür hat man das Gefühl,
einem gereiften Erzähler und ebensolchen Helden seine Aufmerksamkeit zu
widmen. Auch mal was Feines. Jo84



Jean van Hamme/Grzegorz Rosinski: Thorgal # 23. 48 Seiten, Farbalbum,
Softcover, 16,90 Mark. Carlsen.

Dies ist die erste Geschichte im Zyklus um Thorgal Ägirsson, die ich von
vorn bis hinten gelesen habe, und nachdem man schon so viel Gutes über die
Reihe gehört hat, enttäuscht sie mich doch ein bißchen. In diesem Abenteuer
gelingt Thorgal endlich die Rückkehr zu seiner Familie, von der er infolge
seines Erinnerungsverlusts getrennt worden war. Seine Frau Aaricia kann
nicht glauben, daß er wieder der alte Thorgal ist, und hält ihn wie einen
gefährlichen Verbrecher in einem Käfig gefangen. Tja, so würde das doch jede
Frau machen, oder? Die Story ist jedenfalls ein ziemlich unlogischer
Quatsch, den man nicht einmal dadurch erklären kann, daß manche Frauen oft
eher emotional als logisch reagieren. Die Handlung konnte mich in keinster
Weise fesseln, und wahnsinnig überraschende Wendungen, wie sie jeder noch so
dämliche Fantasy-Comic zuhauf bietet, gibt's auch. Als Beispiel sei Seite 20
gegeben, wo Thorgals Sohn einfach durch bloße Willenskraft ein Schiff
versenkt. Er ist halt ein Zauberer. Boah, wie spannend! Zeichnungen und
Farbgebung kann ich leider auch nur als Mittelmaß bezeichnen. Schade drum.
Jo84



Jeph Loeb /Tim Sale: Batman # 6. Geister. 56 Seiten, farbig mit Golddruck,
Comicbookformat, 16,80 Mark. Ehapa.

Jedem ist die Weihnachtsgeschichte von Charles Dickens ein Begriff. Loeb und
Sale übertragen diese auf den Mythos Batman. Würde dieser sich ändern, wenn
ihm Geister Vergangenheit und Zukunft vor Augen führen würden? Und falls ja,
was könnte er ändern? Auf meisterhafte Weise geht dieser Band eben jenem
Thema nach. Dabei sind sowohl Text als auch Zeichnungen perfekt. Vor allem
die Geister, die als Poison Ivy, Pinguin und Joker auftreten, sind herrlich
verzerrt dargestellt. Insgesamt gesehen bietet "Geister" also beste
Unterhaltung, sofern man mit Batman überhaupt etwas anfangen kann. Jo84



Pierre Christin / Jean-Claude Mézières: Jenseits von Zeit und Raum. 128
Seiten, farbig, Format 19 mal 24 Zentimeter, Softcover, 26,90 Mark. Carlsen.

Dieser Sonderband versammelt - erstmals vollständig - alle sieben "Valerian
"-Kurzgeschichten, die Christin und Mézières Anfang der 70er Jahre für das
Taschen-buch "Super Pocket Pilote" schufen. Sie bieten eine kurzweilige
Unterhaltung, denn die Autoren schaffen es auch auf den jeweils 16 Seiten,
ein intelligentes Szenario aufzubauen, das den Leser mit dem Helden Valerian
mitfiebern läßt. Fünf der sieben Short Stories kamen übrigens schon 1984 in
selber Bearbeitung unter gleichem Titel in Carlsens Taschenbuchreihe 16/22
zum Abdruck. Die beiden fehlenden Geschichten wurden 1973/74 in den
Zack-Paraden 3 und 5 in völlig anderer Bearbeitung (Colorierung,
Maschinenlettering) veröffentlicht. Jo84



Jürgen Mick / Andreas Dierssen: Cohn + Markowitz # 1. Ladykiller. 64 Seiten,
Farbalbum, Softcover, 29,90 Mark. Carlsen.

Dieser Band spielt in einer anderen Welt, die ungefähr 23 Zentimeter neben
unserer Wirklichkeit in einem unendlich weit entfernten Teil des Universums
existiert. Aus der Not absoluten Geldmangels beschließen die beiden
seltsamen Freunde Cohn und Markowitz, Privatschnüffler zu werden. Schon ihr
erster Fall ist recht gefährlich. Jürgen Mick und Andreas Dierssen, beide
für sich gesehen hervorragende Künstler, haben zum ersten Mal zusammen an
einem Band gearbeitet. Leider finde ich das Ergebnis ziemlich enttäuschend.
Mick und Dierssen verrennen sich in der Ambition, auf Teufel komm raus etwas
Neues, nie Dagewesenes zu kreieren. Dafür haben sie sich einen neuen
Zeichenstil ausgedacht: Jedes kleine Strichlein in dem Album wird zusätzlich
noch schraffiert. Das sieht ungewohnt und neu aus, aber nicht gut.
Gezeichnet wurde das alles auf Packpapier, was eigentlich einen schönen
Effekt mit der Supercolorierung gibt. Durch den seltsamen Zeichenstil wirken
einige Bilder allerdings so abstrakt, daß man mehrmals hinsehen muß, um
etwas zu erkennen. Dies hemmt natürlich den Lesefluß. Die Story selbst ist
leider auch nicht gerade innovativ, sondern schon zigmal dagewesen. Bis zum
Schluß habe ich nicht herausbekommen, ob das Album eher witzig oder spannend
sein soll. Ist auch egal, denn beides wäre mißlungen. Der Gipfel ist dann
natürlich der unverschämte Preis, und dann wird wahrscheinlich wieder
verallgemeinernd gesagt: "Deutsche Zeichner verkaufen sich halt nicht." Kein
Wunder. Jo84



Akte X # 1. 32 Seiten, farbig, Comicbookformat, 4,90 Mark. Carlsen.

Endlich erkennt Carlsen die Zeichen der Zeit und zollt der Unsitte Tribut,
Comics nur nach dem Format zu verkaufen. So erscheint nun Akte X nach
diversen Versuchen als Tradepaperback-Verschnitt erstmals in Deutschland als
Heft. Zugegebenermaßen ist dieses Format jedoch recht gut geeignet, den
Leser in die Welt der X-Akten zu entführen. Das Team liefert insgesamt eine
recht professionelle Arbeit ab. Die Zeichner Charles Adlard und Gordon
Purcell, vom Zeichenstil her recht gut zu unterscheiden, sind solide
Handwerker, die sogar eine Ähnlichkeit der Hauptdarsteller hinbekommen.
Wahrscheinlich liegt es aber an den beiden Tuschern Adlard und Josef
Rubinstein, daß die Seiten manchmal uneinheitlich wirken. Der Text von John
Rozum ist etwas wirr, was ja bei Akte X allerdings durchaus gewollt ist.
Leider bricht die Story zu früh ab, um genaueres sagen zu können. Bislang
ist mir der Comic nicht düster genug, um mit der TV-Serie mithalten zu
können. Aber vielleicht ändert sich das ja in Heft 2. Jo84



Barks Library # 34. 56 Seiten, Farbalbum, 16,80 Mark. Ehapa.

Die Barks Library # 34 bietet mal wieder feinste Unterhaltung mit
allerköstlichstem Humor. Die fünf Geschichten aus den Jahren 1957 und 58
zeigen den Verlierer Donald diesmal als Obstzüchter, Hotelmanager,
Teilnehmer eines Goldgräberwettbewerbs und Landbriefträger. Zweimal muß er
sogar gegen Gustav Gans antreten. In einer weiteren Geschichte bekommt
Donald ein Rentier zu Weihnachten geschenkt - man kann sich vorstellen, daß
er nicht sehr erbaut ist. Die Geschichten dieses Bandes gehören jedenfalls
eindeutig zu den besseren des "Duck Man" Carl Barks. Jo84



Superman Reprint-Cassette # 1. Jahrgang 1966/ 67. 14 Hefte à 32 Seiten,
Comicbookformat im Schuber, 198 Mark (bis 31. Oktober), danach 228 Mark
(aber nur bis 31. Dezember). Ehapa.

Im September 1966 lancierte der Ehapa Verlag mit großem Aufwand das erste
vierfarbige Superman-Heft auf dem deutschen Markt. Was damals für eine Mark
an jedem Kiosk erhältlich war, wird mehr als 30 Jahre später bereits für
über 1200 Mark gehandelt. Da wurde es also Zeit für einen Nachdruck der
frühen Hefte. In der hochwertigen ersten Reprint-Cassette befinden sich die
vier Hefte des Jahrgangs 1966 sowie zehn Hefte aus dem Jahr 1967. Die
restlichen 14 Hefte aus diesem Jahr werden dann in der zweiten Cassette
veröffentlicht. Mit der ersten Cassette hat sich Ehapa jedenfalls selbst
übertroffen. Sicher, das Ding ist scheißteuer, aber trotzdem jeden Pfennig
wert. Schließlich wird die Cassette beim Verlag nur bis zum 31. Dezember
1998 erhältlich sein. Der Subskriptionspreis gilt sogar nur drei Monate. Ein
numeriertes Zertifikat weist die Limitierung aus. Eine Wertsteigerung ist
somit garantiert. Die Hefte selbst sind vom Feinsten. Das gilt sowohl für
den Druck als auch für die Geschichten selbst. Schon beim ersten
Durchblättern versank ich sofort in Kindheitserinnerungen, da mir etliche
Stories noch vage aus den ersten Superman-Superbänden geläufig waren. Die
Zeichnungen können sich schon sehen lassen und sind wesentlich besser als
zum Beispiel frühe "Spiderman"-Geschichten (wie in Marvel-Classic # 1). (Na
na na, der Setzer.) Schön, einmal zu sehen, was der Comicmarkt zu einer Zeit
produzierte, in der man noch in die Windeln gemacht hat. Wer weiß schon
noch, daß die frühen Supie-Hefte mit "Superkrypta, die Superschildkröte"
sogar Funnycomics enthielt? Dieser Trip in die Kindheit (oder davor) ist
jedenfalls vollstens zu empfehlen. Also zugreifen - jetzt oder nie! Jo84



Tardi. 28 Seiten, s/w, DIN A 5, 5 Mark. Edition Alfons, Dingstätte 35, 25421
Pinneberg.

In einer Auflage von nur 200 Exemplaren entstand passend zur
Tardi-Ausstellung in Erlangen ein Sonderheft der Fachzeitschrift Reddition,
welches die Co-micwerke Tardis in der Zeit von 1970 bis 1998 penibel
bibliographisch auflistet. Genannt wurden die französischen
Erstveröffentlichungen und deutsche sowie französische Nachdrucke. Garniert
wurde die Bibliographie mit einigen Abbildungen seiner Werke, wobei auch
Unveröffentlichtes zum Abdruck kam. Wie immer bei der Edition Alfons läßt
das fertige Heft keinerlei Wünsche übrig. Jo84



Trau keinem über 30! 80 Seiten, teils farbig, Softcoveralbum, 24,90 Mark.
Carlsen.

"Trau keinem über 30" lautete eine der Parolen der 68er. Jetzt ist die
Bewegung selbst ins kritische Alter gekommen. 27 Zeichner halten Rückschau
auf Lust und Frust der Rebellion gegen die deutsche "Sofakissendiktatur" und
fragen, was geblieben ist von dem Traum, die Demokratie neu zu erfinden. Wie
man sich schon denken konnte, haben das denkwürdige Jahr alle etwas anders
erlebt. Das ist aber auch kein Wunder, denn je nach Alter wurde die
Studentenbewegung verschieden empfunden. Deshalb finde ich es auch seltsam,
Zeichnerinnen dieses Thema aufgreifen zu lassen, die 1922 (Marie Marcks)
oder 1973 (Ziska) geboren wurden. Abgesehen von dieser leichten
Ungereimtheit bildet der Band allerdings schon einen interessanten Einblick
in die Erinnerungen der comiczeichnenden Zeitzeugen. Die 22 Künstler,
größtenteils die Crème de la Crème des Underground-Comics und der
politischen Karikatur, bieten abwechslungsreiche Beschäftigung mit der
Geschichte auf unterhaltsame Art. Die meisten trauern der Zeit natürlich
etwas nach, wobei sie auf dem Backcover zugeben müssen: "Es ist alles nicht
so gelaufen, wie es hätte laufen können." Das wird sich Carlsen wohl
nächstes Jahr auch sagen müssen, da der Band wirklich sehr gut ist und sich
deshalb wahrscheinlich nicht besonders gut verkaufen wird. Jo84



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 54
Besprechungen








Benjamin Brandt Nichts für ungut # 8 und 9. 24 bzw. 60 Seiten, s/w, DIN A 5. Benjamin Brandt, Schubertstraße 36, 99423 Weimar.
Ist das tatsächlich schon die Nummer 8 dieses Magazins? Benjamin Brandts Heft "Nichts für ungut" war mir bisher gänzlich unbekannt. Benjamin präsentiert auf 24 Seiten acht Zeichner, die gar nicht mal schlecht sind. Trotzdem läßt mich das Heft irgendwie unbefriedigt zurück, und ich überlege die ganze Zeit, warum. Irgendwie ist textlich alles ziemlich wirr, schwer zu verfolgen oder gibt mir nichts. Bei der Verkleinerung der Originale zum Druck ist wohl auch etliches schiefgelaufen. Denn die Seiten sind zu sehr runterverkleinert, und viele Details fallen weg oder sind nicht mehr erkennbar. Schade drum. Vielleicht wird die nächste Ausgabe besser. Jo84 Mir hat die # 8 nicht so schlecht gefallen. Aber jedenfalls kann man gegen die # 9 (offenbar entspricht die Zählung doch den Tatsachen) nichts mehr einwenden. Am ehesten noch wäre zu bemängeln, daß Benjamin dem Heft einen Teebeutel beigeklebt hat (Kamille der Firma Milford); das baumelnde Etikett kann man zwar als Lesezeichen benutzen, es stört aber doch meist beim Lesen. Abgesehen von zwei Rezensionsseiten und dem Inhaltsverzeichnis in der Heftmitte bietet die Ausgabe ausschließlich Comics. Die Macher sind mir fast alle unbekannt; ihre Werke sind überwiegend seltsam bis skurril. Mir scheint das Werk ein Beispiel für einen qualitativen Sprung zu sein: Die einzelnen Comics sind fast alle nicht so bedeutsam oder originell, aber alle zusammen ergeben doch ein ungewöhnliches Leseerlebnis. Vermutlich trägt dazu doch auch der Teebeutel sein Teil bei. aa


Eckart Breitschuh: Wanda Caramba # 2 (von 4). Dying for a Screw. 28 Seiten, s/w mit Grauwerten, DIN A 5, 6,80 Mark. Zwerchfell Verlag, Christian Heesch, Tonndorfer Strand 57, 22045 Hamburg.
Vier Monate nach dem ersten Teil der neuen Heftserie erscheint tatsächlich schon Teil zwei von "Wanda Caramba". Für einen so kleinen Verlag wie Zwerchfell ist das schon eine anzuerkennende Leistung. Die recht mysteriöse Geschichte von Eckart Breitschuh geht weiter, obwohl nicht halb so viel passiert wie im ersten Teil. Wanda muß sich von ihrer Schußverletzung erholen und sehnt sich nach ihrem geliebten Julio, der entführt wurde. Dieser wird mittlerweile als technisches As für kriminelle Zwecke mißbraucht. Da Wanda im Prinzip klar ist, wo die Schuldigen zu suchen sind, beschließt sie zu handeln. Fein, daß Eckart Breitschuh neben kommerziellen Arbeiten wie "Bertis Buben" auch Zeit für unkommerziellere Comics wie diesen hat. Die Qualität, die er aus Hobbygründen abliefert, ist natürlich ungleich höher als die einer Auftragsarbeit. Die Story ist abstrus, und die Pseudocolorierung in Grautönen wirkt noch besser als in Heft eins. Ich kann nur wünschen, daß "Wanda Caramba" ein Erfolg wird. Jo84


Andreas Fecke: Stones # 1 und Rübenzwei # 1. Je 20 Seiten, s/w, DIN A 5, je 2 Mark. Andreas Fecke, Garfelner Straße 41, 59558 Lippstadt.
Die Stones einmal von einer ganz anderen Seite. Sie stehen herum, schweben über dem Boden oder warten in ihrer Dose auf den nächsten Auftritt. Schweben? Dose? Naja, hier geht es nicht um Mick, Keith & Co., sondern um Spielsteine, die 180 identischen Figuren für das chinesische Spiel Go. Ähnlich wie in seinen Strips über Schach wendet Andreas Fecke hier seinen milden Insiderspott auf ein anderes Brettspiel an. Auch der Holzwurm ist wieder mit von der Partie (im wahrsten Sinne des Wortes). Deutlich eigenwilliger ist sein Humor in der Stripserie "Rübenzwei", von der wir in PLOP # 53 schon eine Kostprobe gesehen haben. Drei Vögel auf einem Ast (da es sich möglicherweise um Raben handelt, heißt die Reihe vielleicht auch "Rabenzwei"), eine Schlange im Gras und ein aus dem Gras ragender Felsen sind beinahe das gesamte Inventar für Gags zwischen Philosophieren und höherem Blödsinn, die einem Beckett oder Karl Valentin Ehre machen würden. Mir gefällt das sehr gut, aber gleich ein ganzes Heft voll davon ist mir eigentlich doch ein bißchen zu viel. aa


Martin Frei: Kurzer Prozeß # 1. 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 5,90 Mark. Amigo Comics, Holger Bommer, Starenweg 18, 73730 Esslingen.
Schon etwas länger auf dem Markt ist "Kurzer Prozeß", die neue Heftreihe von Amigo Comics, die nur Kurzgeschichten von Martin Frei präsentiert. Dieser kommt ja durchaus aus der Fanszene, veröffentlichte anfangs in PLOP und arbeitete sich über "Lippe" und andere Projekte bis zu Ehapa hoch, wo ein "Schimanski"- und zwei "Gregor Ka"-Alben erschienen. (Leider sind beide Reihen mittlerweile eingestellt.) Die neue Heftreihe mischt schon recht alte und neuere Kurzgeschichten, derer sich vier in der Debutnummer finden, die alle zeichnerisch gut bis sehr gut gelungen sind. Textlich bleibt natürlich wenig Platz, wirklich spannende Szenarien oder tiefgehende Darstellungen der Hauptpersonen zu entwickeln. Martin Frei löst das Problem aber recht gekonnt. Heft 1 ist sogar schon vergriffen, aber dieser Tage müßte auch schon Heft 2 kommen, dem ich ebenso viel Erfolg wünsche. Jo84


Geier: TS Domina Alexandra # 4. 28 Seiten, s/w mit Farbcover, Comicbookformat, 9,80 Mark. Federvieh Verlag (ab 18 Jahre).
Sado-Maso-Schweinkram erster Güte bietet Geier wie immer mit seiner Heftreihe "TS Domina Alexandra", von der jetzt der vierte Teil eines fünfteiligen Zyklus namens "Späte Rache" erschienen ist. Geier, einer der besten Zeichner Deutschlands, müßte sich eigentlich zu schade für solchen Mist sein; andererseits kann er super Kohle damit machen, und sicher macht es auch viel Spaß, sich derart unrealistische und abstruse Situationen auszudenken, deren Trash-Gehalt 100 Prozent beträgt und die einen schallend auflachen lassen. Ernst nehmen sollte man diesen "Ja, Herrin! Bestrafe mich noch härter!"-Quatsch natürlich nicht. Leider befürchte ich, viele tun das und erleben in ihren Hobby-Folterkellern und Domina-Studios eine ähnlich erbärmliche und lachhafte Realität, wie sie sie verdienen. Darauf lassen jedenfalls die lächerlichen Anzeigen schließen, die das Heft finanzieren. wie immer steuerte übrigens Haggi zwei (diesmal recht harmlose) Cartoons bei, und Andi M. colorierte das Titelbild. Jo84


P. M. Hoffmann: Kreuzfeld & Jacob # 3. Die Macht der Liebe. 36 Seiten, s/w mit Farbumschlag, DIN A 5, 5,95 Mark. Extrem Erfolgreich Enterprises.
Jacob liebt seine alte Schachtel Kreuzfeld über alles in der Welt - eine Liebe, die sie selten erwidert. Diesmal versucht sie ihn durch die Offenbarung zu vertreiben, daß sie eigentlich ein Mann ist. Doch davon läßt er sich nicht beeindrucken, denn schließlich hat er ihr auch etwas zu gestehen. Kann ihre "Liebe" den Belastungen der Vergangenheit standhalten, oder endet alles in einem großen Knall? Inspiriert vom Megaseller "Titanic" schuf P. M. Hoffmann einen witzigen Rückblick auf die Vergangenheit der Protagonisten. Der Semiprofi Hoffmann ist sicher nicht der beste Zeichner Deutschlands, kann aber den Klamauk in seinem Stil zwischen Underground und Mali und Werner gut rüberbringen. Eine unterschätzte Reihe und ein unterschätzter Zeichner, wie man auch im letzten PLOP sehen konnte. Jo84


Dirk de Lange: Acila # 3. 36 Seiten, s/w, DIN A 4, 5,90 Mark. Dirk de Lange, Bleichstraße 15, 51063 Köln.
Dirk de Lange ist ein recht begabter Pin Up-Zeichner. Diesen Eindruck kann man gewinnen, wenn man die Werbung auf der vorletzten Seite des Hefts betrachtet. Comics haben dagegen den Nachteil, daß man neben Frauen in verführerischen Posen auch alles mögliche andere zu zeichnen hat, was der Fortgang der Geschichte erfordert. Man darf in sie nicht allzu viel Energie investieren, weil das Drumherum sonst zu sehr dagegen abfällt. Daher sehen die Comicseiten letztlich so aus, wie sie aussehen: recht gekonnt, aber auch hingeschludert, und bei vielen Bildern fehlt halt die Pin Up-Vorlage. Über die beiden enthaltenen Geschichten - neben der Titelstory noch "Glory Road - möchte ich nicht viel sagen; sie ordnen sich inhaltlich der Grafik klar unter: "Acila" ist ein Fantasyabenteuer in mythischem, griechisch-antikem Rahmen, "Glory Road" eine Schicki-Micki-Travestie-Schnulze, beide mit Softporno-Anklängen. Gern würde ich ja an den Autor appellieren, sein Talent für Besseres einzusetzen, aber womöglich verkauft er "Acila" gut... aa


Michael Machner: ausLegendes Herzen # 2. 28 Seiten, s/w mit Farbcover, DIN A 5, 2,70 Mark (plus 30 Pfennig Porto). Michael Machner, Falkenweg 4, 61184 Karben.
Hier artikuliert sich ein Poet des Alltags. Er tut, was richtige Künstler zu tun pflegen: Er geht ein Risiko ein. Das Risiko nämlich, daß seine Strips manchmal banal werden können. Aber seine Miniaturen schaffen immer die Balance zwischen Tiefgründigkeit und Trivialität. Michael Machners Phantasiefiguren haben Gefühle, Herz, Flausen im Kopf - kurz: sie sind lebendig. Das mit vielen kleinen Geschichten gefüllte Heft ist teils liebevoll handcoloriert. aa


Sven Markert: Andi & Berke Comic # 2. 58 Seiten, s/w, DIN A 4 (Spiralbindung), 3,90 Mark. Sven Markert, Berliner Straße 8, 59192 Bergkamen.
Dieses Werk gnadenlos zu verreißen, wäre nicht besonders schwierig. Sven Markert erzählt mit ziemlich beschränkten grafischen Mitteln eine ziemlich infantile Geschichte. Aber mir sind beim Lesen trotzdem eine Menge positive Dinge aufgefallen. "Andi & Berke" tritt zunächst mal den Beweis an, daß die heutigen TV-Kids, die mit "Simpsons", "Akte X" und "Ninja Turtles" aufwachsen, davon ebenso wenig verblöden, wie wir Älteren mit dem Fernsehprogramm vor zehn oder 20 Jahren. Welche Einflüsse das sind, ist in diesem Comic überdeutlich zu sehen ("Werner" gehört auch dazu und vermutlich auch "Clever & Smart"). Im Stil dieser Vorbilder fabuliert Sven Markert ganz unbekümmert drauflos. Er versucht überhaupt nicht, sie zu kaschieren, sondern zitiert sie ganz ausgiebig. Und trotzdem ist die Story - wenn man auch sicher keine hohen Maßstäbe an sie anlegen kann: Andi läuft nach Verbrauch einer Milchtüte, die das Verfallsdatum überschritten hat, Amok, und Berke versucht, ihn aufzuhalten - ganz eigenständig. Bei ihm ist auch nicht, wie bei vielen Anfängern, festzustellen, daß die Geschichte holpert oder leerläuft. Nach beachtlichen 47 Seiten endet der Autor mit den Worten: "Ich schlage dieses Comic für einen Oscar vor!" Leute mit solcher Chuzpe bringen's in der Tat meistens weit. Und als ob er gerade so in Fahrt war, daß er nicht gleich zu zeichnen aufhören konnte, hängt er noch ein paar Illustrationen und Kurzcomics an. Diesem Mann kann ich wirklich nur mein ganzes Wohlwollen geben. aa


Fido el Odif / Andreas von Altarkerze / Mark Paterson: Bodenlos (November 1997). 24 Seiten, s/w, DIN A 5. Mark, Fido & Andreas, Josefstraße 102, 8005 Zürich, Schweiz.
Ein schon etwas älteres Fanzine vom Typ "Gesamtkunstwerk". Die drei versammelten Geschichten fügen sich mit der Art der Aufmachung, mit Druck und Herstellung zu einer Einheit. Mark Paterson haben wir als Künstler bereits in PLOP # 50 kennengelernt. Die Stories, die er sich von Fido el Odif und Andreas von Altarkerze schreiben ließ, sind nicht einfach, aber berückend. Die Titelgeschichte, die davon handelt, wie einem Wohnungssuchenden eine seltsame WG vorgestellt wird, befremdet. Aber sie ist eher leicht zu erfassen im Vergleich zu den beiden anderen. Was für Kafka-Fans und Freunde gediegener Underground-Comic-Kunst. aa


Uwe Reber: Heroes - Menschen und Mythen. Portfolio mit sechs signierten DIN A 4-Bögen, limitiert auf 75 Exemplare, 19,80 Mark. Crago Verlag, Postfach 32, 97991 Creglingen.
Ewig ist es schon her, daß ich das letzte Portfolio in den Händen hielt. Diese Zeichenmappen, die auf exquisit gedruckten Bögen die besten Zeichnungen eines Künstlers präsentieren, sind leider etwas aus der Mode gekommen. Dem Crago Verlag gebührt Dank für sein Engagement im Comicbereich und das damit einhergehende finanzielle Wagnis, auch wenn das Ergebnis nicht immer zufriedenstellend ausfällt. Dieses Portfolio des 1964 geborenen Uwe Reber ist jedoch eine sehr gute Veröffentlichung, die den Coverzeichner des "Comic Herold" mit sechs seiner Arbeiten präsentiert. Superman, Batman, Vampirella, Kom-missar Schimanski, Terminator sowie Bogey und Marilyn finden in dem s/w-Portfolio Platz, dessen Originale allesamt mit Buntstift beziehungsweise Bleistift entstanden. Die Arbeiten sind alle als gelungen zu bezeichnen, da die Helden sofort zu erkennen sind. Mich würde nur interessieren, wie die Bilder im farbigen Original aussehen. Bei einer Limitierung auf 75 Exemplare ist der Preis übrigens sehr günstig - Uwe Reber ist halt noch nicht sonderlich bekannt. Vielleicht ändert sich das ja in Zukunft. Jo84


Miguel E. Riveros: Dunkles Kind. 28 Seiten, s/w, Comicbookformat, 7,70 Mark. Edition 52, Underground Line.
Ein mehr als experimentelles Fanzine legt Riveros hier mit dem Comic "Dunkles Kind" vor, den Dein Comichändler über den Vertrieb "Medienservice Wuppertal" oder "PPM" beziehen kann. Befremdlich ist es schon, wenn einem ein Fanzine als Profiware feilgeboten wird, was aber nichts daran ändert, daß das Werk (am Fanzine-Standard gemessen) recht gut ist. Es geht um ein "dunkles Kind", den Vertreter einer Spezies, die in der Dunkelheit lebte, bevor Gott der Erde das warme Licht brachte. Das warme Licht offenbarte ihnen das Universum, und man zwang sie, mit dem Universum zu leben. Gefangen in jugendlichen Körpern müssen diese dunklen Kinder mit ihrem Herzen aus Wärme und Hoffnung zurechtkommen, denn würden sie sich ins Licht begeben, müßten sie sterben. Die erste Hälfte des Hefts zeigt das dunkel Kind Daniel im Zwiegespräch mit dem Engel Michaelis. Daniel hat sich verliebt, aber Michaelis mißtraut dem Wesen der dunklen Kinder und überzeugt ihn davon, von ihr zu gehen, damit die Liebe weiterleben kann. "Du wirst zurückkehren!" ist seine Prophezeiung, mit der die eigentliche Handlung beginnt. In eckigem Schwarz-weiß-Stil mit Sinn für Effekte verfaßte Miguel E. Riveros den ersten Teil seines Zyklus, der leider zu früh abbricht. Auf den zweiten Teil bin ich sehr gespannt. Jedenfalls war Heft 1 vom Seitenaufbau, zeichnerisch und textlich ziemlich außergewöhnlich. Jo84


Schwarwel: Schweinevogel # 6 bis 9. Je 36 Seiten, s/w mit Farbumschlag, Comicbookformat, 4,95 Mark. Extrem Erfolgreich Enterprises.
"Die Schweinevogel Show" hieß diese Heftreihe einmal, die nun unter dem Namen "Schweinevogel" weitergeht und deren Preis für alle bisher vorliegenden Ausgaben im nachhinein auf 4,95 Mark gesenkt wurde. Schweinevogel soll immer noch für den dreifaltigen Wächter der Zeit die Zeit-Matrix finden, denn er ist das einzige Lebewesen im Universum, das das Zeit-Matrix-Schwert der Zeitwächter berühren kann - für alle anderen ist die Berührung tödlich. Mit einer Riesenwut im Bauch (sein Hausschwein Sid wurde in der Mitte des Zyklus gefressen) geht er zum Angriff über. Im Verlauf der Handlung ergattert er die Matrix, verliert jedoch die Protektion Gottes, seinen rechten Arm und sein Leben. Im Hades trifft er dafür Sid wieder, wird aber doch ziemlich enttäuscht. Extrem Erfolgreich Enterprises, die mit dieser Funnyreihe ihrer Verlagstätigkeit begannen, entwickelten sich in letzter Zeit zu einem Verlag, der nach und nach qualitativ bessere und inhaltlich bösere Comics veröffentlichte. diesem Trend paßte Schwarwel auch seine Reihe an, deren chaotische Handlung immer derberen Humor bekam. Ein durchaus spannender, aber verwirrender Plot läßt "Schweinevogel" zu dem Underground-Tip des Jahres werden, dessen Kauf sich für Comicfans allein schon wegen der vielen Randgags lohnt. Höhepunkt wird die angekündigte Doppelnummer 10/11 sein, die die Story abschließen soll und eindeutig nur für Erwachsene sein wird. Jo84


Bernd Teuber: Julchen # 1. 64 Seiten, s/w mit Farbcover, DIN A 5, 8,50 Mark. Bernd Teuber, Winzenbergstraße 2, 31812 Bad Pyrmont.
Eine agile Schildkröte als Comicheld - diese Vorstellung mutet so absurd an wie die Geschichten, die Bernd Teuber mit seinem sehr reduzierten Zeichenstil, der aber immer so realistisch ist wie nötig, zu erzählen pflegt. Hier hat er seinen kapriolenschlagenden Tex Avery-Humor jedoch ziemlich gezügelt. Nur der Zweiseiter "Der Hai" läßt etwas davon spüren. Das Heft ist sehr schön gedruckt und sauber produziert. Sollte Bernd aber "Julchen" zur Serie ausbauen, würde ich sagen: Das kann er noch besser. aa


Der Comic Herold # 8 (September 1998). 24 Seiten, s/w, DIN A 5, 3,50 Mark. Crago-Verlag, Postfach 32, 97991 Creglingen.
Die Idee, sich für deutsche Superhelden stark zu machen, finde ich grundsätzlich ziemlich interessant. Der aktuelle Superhelden-Boom am Kiosk zeigt, daß es dafür Leser gibt. Herold-Herausgeber J. Heinrich Heikamp hat inzwischen auch mehrere Autoren und Zeichner an der Hand. Aber am Comic Herold ist vorläufig noch vieles verbesserungswürdig. Die Macher bleiben bisher die Antwort schuldig, warum es überhaupt deutsche Superhelden geben sollte. Naive Begeisterung für die US-Vorbilder reicht nicht. Wer eine Superheldin mit dem im übrigen peinlichen Namen Germania in Kölns Hoher Straße auftauchen lassen will, muß das auch ein bißchen glaubwürdig machen. Aber die Mittel der Autoren sind arg beschränkt, die der Zeichner nicht minder. Die vier hier versammelten Geschichten sind banal, die Zeichnungen häufig unausgereift. Auch Heikamps Rezensionen von Superhelden-Produkten fügen sich in dieses Bild ein: Sie sind häufig bloße Inhaltsangaben. Trotzdem scheint das Projekt einigen Schwung zu haben. Vielleicht sollte man dem Comic Herold noch ein bißchen Vertrauensvorschuß geben. aa


Tote Helden Comix # 10. 28 Seiten, s/w, DIN A 5, 2 Mark. Tote Helden Comix, Volksgartenstraße 21, 40227 Düsseldorf.
15 Seiten "Die Tochter des Biafra" und sechs Seiten "Nero's Lied" - das sind zwei Episoden aus derselben Geschichte, genauer aus demselben Setting, gezeichnet im Abstand von 15 Jahren. Bia war schon damals ein exzellenter Zeichner, der seine Lektion von Pratt, Tardi und Toth gelernt hatte. Heute zeichnet er noch reduzierter, aber nicht weniger effektiv. Die Saga vom Kampf der Anarchisten gegen die Nazis in einer öden Zukunftswelt ist für den Leser keine besondere intellektuelle Herausforderung, aber kurzweiliger Lesestoff. Es ist wohl nicht zu erwarten, daß Bia auch mal ein anderes Thema anschneiden wird. Mit Ausnahme einer Zeichnung von Jürgen Raatz sind auch diesmal keine Gastbeiträge im Heft. aa


Boiler # 2. 96 Seiten, s/w mit Farbcover, 20,5 mal 20,5 Zentimeter, 12 Mark. Wittek, Schulweg 29, 20259 Hamburg.
Loppe und Wittek, zwei der vielen Hamburger Kultzeichner, legten schon zum Comicsalon Erlangen das zweite Heft ihrer Reihe Boiler vor, das wesentlich gelungener ist als Heft eins. Im erweiterten Umfang, mit verbesserter Aufmachung (Unikatcover) präsentieren sie elf verschiedene Zeichner. Dabei ist so gut wie jeder, der in der jüngeren Hamburger Fanszene schon einen Stammplatz hat: Wittek, Loppe, Oliver Ferreira, Markus Huber, Calle Claus, Rainer Baldermann, Markus Winter, Teer, Robert Wenzl und andere tummeln sich hier vergnügt im Boiler-Universum. Dank der Zusammenfassung der ersten zwei Teile der Hauptgeschichte in Boiler (erschienen in "Heutelein" # 1 und "Boiler" # 1) verstehe ich mittlerweile sogar teilweise, um was es geht. Die Erfindung des wahnsinnigen Wissenschaftlers Dr. Queller verursacht in unserer Galaxis während eines Angriffs von außerirdischen Robotern einen Dimensionsriß, der alle Lebewesen in Maschinen verwandelt: Das Boileruniversum ist geboren! Witteks Fortsetzungsstory, grafisch der Höhepunkt des Heftes, entwickelt sich durchaus spannend weiter. Leider bricht die Handlung nach 15 Seiten ab, um in Boiler # 3 fortgesetzt zu werden. Die anderen Zeichner präsentieren eigenständige Kurzgeschichten um Boiler, sprich Maschinen aller Art. Dabei geht es oft um das Verständnis zwischen organischen Wesen und Boilern (wie zum Beispiel bei Oliver Ferreira, Robert Wenzl), die Übertragung menschlicher Verhaltensweisen ins Boileruniversum (Markus Huber) oder einfach Huldigungen an Maschinen, Schrott oder Rost. Calle Claus adaptiert Kafkas "Verwandlung" ins Boilermilieu, und Loppe versinkt gänzlich in den erotischen Wirkungen von Boilerstrukturen. Herausgekommen ist wieder einmal ein mehr als merkwürdiges Heft, das größtenteils trotzdem begeistern kann. Es gibt jedoch auch unverständliche oder einfach schlechte Beiträge von Pseudokünstlern, die einen jedoch nicht vom Kauf dieses Gesamtkunstwerks abhalten sollten. Jo84


Kreativo! # 24 und 25 (September und Dezember 1998). 28 Seiten, s/w, DIN A 5, 2.50 Mark. Kreativo!-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid.
Wir nehmen weiter Anteil an Birkes Leben, das zuletzt infolge einer nicht diagnostizierten Bauchspeicheldrüsenentzündung sogar ernstlich in Gefahr gewesen zu sein scheint. Niemand sonst hat aber auch so berührende Lebenszeichen von ganz verschiedenen Leuten im Heft. Man muß sich ein wenig hineinversenken, denn nicht alles ist ganz lesefreundlich, aber die faszinierende Wirkung ist immer wieder zuverlässig. Schön finde ich auch, daß dem Heft immer wieder Fotoabzüge (anstelle von Farbdrucken) beiliegen. Sowas gibt's nur bei liebevoll gemachten Kleinst-Fanzines. Die Ausgabe 25 markiert zugleich sechs Jahre ununterbrochenes Erscheinen, worauf Birke nicht zu Unrecht ein bißchen stolz ist. Abgesehen von einem grünen Umschlag und einem längeren Interview mit dem Lyriker Andreas Diesel bietet auch dieses Jubiläumsheft den gewohnten Stoff. aa


Frösi für die Frau # 8 (Spätsommer 1998). 40 Seiten, s/w, DIN A 5, 2 Mark. Christian Wolter, Postfach 21, 18292 Krakow am See.
Wofür "Frösi" steht, wissen PLOP-Leser bereits seit einer Weile. Roman Turowski hatte uns in # 49 darüber aufgeklärt, daß es zu DDR-Zeiten eine Zeitschrift namens "Fröhlich sein und singen", kurz "Frösi", gab, an der ihn nur der regelmäßige Comicstrip interessierte. Hier reisen nun ein paar Rostocker unter falscher Flagge. Das nicht geklammerte, aber gut gedruckte Heft enthält viele ganz überwiegend gute Tex-te über das Leben in Rostock. Überzeugend wird ein Underground-Lebensgefühl umgesetzt. Witzigerweise ist aber auch ein hingegebener Modern Talking-Fan unter den Autoren. Illustriert ist das Magazin sparsam, was Absicht sein könnte. Trotzdem sollten sich Zeichner, die nach Veröffentlichungsmöglichkeiten suchen, diese Adresse merken. aa


Wacka Wacka # 4. 60 Seiten, s/w mit rosa Umschlag, DIN A 5, 3 Mark. Guido Kawczynski, Kem-nitzer Hauptstraße 26, 14874 Nuthe-Urstromtal (Ortsteil Kemnitz).
Wacka Wacka # 3 hat in Erlangen den Preis für das beste Fanzine erhalten. Das hat damals bei manchen Gemaule hervorgerufen: Bei aller Liebe könne sich dieses Heft doch nicht mit Panel vergleichen, das ebenfalls den Preis erhielt. Hinter dieser merkwürdigen Preisvergabe stecke doch wohl ich, wurde gemutmaßt. Also dazu möchte ich sagen: Die Jury bestand aus vier Leuten, und wenn nicht wenigstens drei von ihnen Wacka Wacka auf ihrer Liste gehabt hätten, wäre der Band überhaupt nicht in die engere Auswahl gekommen. Im übrigen fühle ich mich mit der Nummer 4, die nun nicht unwesentlich mit Hilfe des ICOM-Preises zustande gekommen ist, in unserer Entscheidung voll bestätigt. Diejenigen unter den Lesern, die sich, wie ich weiß, die Rezensionen in PLOP immer mit gezücktem Bleistift durchlesen, sollten ungefähr hier mal ein dickes Kreuz hinmalen. Wacka Wacka ist allerdings nach wie vor kein reines Comicfanzine. Es gibt viel Platz für Plattenkritiken oder mehr oder weniger poetische (Selbsterfahrungs-)Texte. Guido gibt mit seinem Magazin ganz locker witzige Einblicke in seine Leipziger Studentenexistenz. aa


cARToon # 1. 40 Seiten, s/w mit gelbem Umschlag, DIN A 6, 3 Mark . Kai-Michael Möbus, Lotzestraße 4, 37083 Göttingen.
In der vergangenen Ausgabe hatte Kai um Zusendung von Cartoons gebeten. Hier ist jetzt das Magazin, das er dabei im Sinn hatte. Sieben Cartoonisten sind vertreten. In der Regel steht einem Cartoon eine Seite zur Verfügung. Damit das Werk die Seite auch trägt, hat sich Kai für ein kleineres Format entschieden. Das Besondere dieser erste Ausgabe ist für mich, daß Cartoons wieder einmal so viel Platz eingeräumt wird und sie nicht bloß wie sonst als Füller in Comicmagazinen dienen. Das Satireniveau etwa von SI-Kartoon hat cARToon - trotz Mitwirkung von SI-Kartooner Mat-thias Langer - noch nicht erreicht. Aber das Heft ist auf jeden Fall eine Bereicherung für die Fanszene. aa


Handyburger # 18. 60 Seiten, s/w mit zweifarbigem Cover, DIN A 5, 7 Mark. Forum Ljubljana, Metelkova 6/I, SI - 1000 Ljubljana.
"Stripburek" aus Ljubljana war für mich in PLOP # 53 die überraschendste Veröffentlichung im Fanzinebereich. Nachdem ich den Leuten ein Belegexemplar gesandt hatte, traf umgehend Nachschub ein. Die Kollegen in Slowenien (gehörte einst zu Jugoslawien und schließt sich direkt an Südost-Österreich an) sind also schon länger aktiv. Auch dieses Heft finde ich ganz bemerkenswert. Auf dem Titel sehen wir einen Seeräuber, dem mal offenbar im Kampf mit einem Hai oder einer Krake eine Hand abhanden gekommen ist. Der Stumpf ist jetzt mit einem piratentypischen Ha-ken verziert, aber einem ganz besonderen: Da sind nämlich auch noch eine Säge, ein Messer, ein Korkenzieher, ein Flaschenöffner und sogar ein Pinsel ausgeklappt. Der Haken wurde zweifellos in der Schweiz gefertigt. Im ganzen Heft geht es um fehlende Gliedmaßen, um Prothesen und wie man sich verstümmelt durchs Leben schlägt - das sind die Folgen des Balkankriegs. Die Zeichner können dieses traurige Thema teilweise durchaus satirisch verarbeiten, aber natürlich auch ganz ernsthaft. Da gibt es keine gefühlsselige Betroffenheit, weil sie mit den Problemen täglich konfrontiert sind. Allerdings muß wohl keiner der beteiligten Künstler mit einem aus dem Armstumpf ausklappbaren Pinsel zeichnen. Grafisch wirken fast alle Beiträge sehr professionell und überzeugend. aa


Menschenblut # 31/32. 68 Seiten, s/w mit Farbcover, Comicbookformat, 14,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg.
"Das Leben ist eine Hure" heißt der einzige, überlange Comic in der neuen Ausgabe, selbst ausgedacht und über 62 Seiten hinweg hingemalt von einem richtigen Autoschlosser, dem schamlosen Scam. Die atemberaubende Geschichte der Kopfgeldjägerin Hurlant McHoe beginnt so nervenzerfetzend, wie einstmals die Abenteuer des ritterlichen Helden Sigurd endeten - in einer ausweglosen Falle. Doch, wie's heute auch im Kino guter Brauch ist, sogleich löst sich alles in einer gewaltigen Explosion auf, und mit roten Ohren verfolgt der gebannte Leser, wie schon nach gut zehn Seiten der große Grundkonflikt dieser Story konstruiert wird: Den durchgedrehten Androiden, hinter dem die gute Hurlant her ist, will sich auch ein Konkurrent, der schmierige Chickenballs, unter den Nagel reißen. Nur ein paar Karambolagen, Detonationen und Schußwechsel später haben die beiden schon die Spur des - nicht ganz wehrlosen - Opfers aufgenommen. Zum nun wirklich unerträglich spannenden Showdown stellt sich schließlich zudem der Auftraggeber der wilden, verwegenen Jagd ein, worauf die ganze Stadt in die Luft fliegt (hier mal zur Abwechslung nicht New York, sondern ein architektonisches Gebilde, wie es Leuten wie Moebius oder Druillet in frühen "Schwermetall"-Ausgaben aus der Feder zu fließen beliebte). Zeichnerisch hat Scam übrigens noch eine ganze Reihe weiterer Vorbilder wie Liberatore, Serpieri, Manara, und in "Judge Dredd" und Walt Simonsons "Alien" hat er auch ein paarmal reingeguckt. Die genannten Künstler würden es sich freilich vermutlich verbitten, für diesen gequirlten Schwachsinn mit verantwortlich gemacht zu werden. aa


Koma Comix # 19. 36 Seiten, s/w mit Farbumschlag, 13 mal 19 Zentimeter (nicht ganz DIN A 5), 3 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn.
Das Heft hat mir gefallen (was ja nicht immer so ist), obwohl die Hauptstory irgendwie dahinplätschert und sonst nur noch zwei Füller im Heft sind. Nur diese beiden Geschichten sind wirklich gut: Die Koma-Crew als Popper und ein Blick hinter die Kulissen der Comicproduktion - mit jeweils vielen originellen kleinen Gags. Die Geschichte "Keiner mag uns" bringt dagegen auf 14 Seiten die alte Partysuche-Probleme-mit-Frauen-Spaß-mit-Alkohol-und-Drogen-Leier, aber sie liest sich trotzdem nett. Man kann sich halt vorstellen, daß das alles wirklich passiert ist, und auch die Figuren wirken richtig schön lebendig. aa


cOMIc # 34 und 35. Je 28 Seiten, s/w, DIN A 5. Im Tausch gegen Beiträge oder andere Fanzines bei Gerd Bonau, Schleswiger Straße 9, 24392 Süderbrarup.
Lange dauert's nicht mehr, dann hat Gerd Bonau PLOP überholt - allerdings nicht, was die Zahl der publizierten Seiten betrifft. Der bescheidene Umfang von cOMIc erlaubt es Gerd Bonau, die Seiten statt mit Zahlen von A bis Z durchzunumerieren. Ich müßte da schon zum chinesischen Alphabet Zuflucht nehmen. Aber dies nur nebenbei. An den neuen Ausgaben gefällt mir, daß Gerd jetzt regelmäßig Fachartikel im Heft hat, in den beiden vorliegenden ein Porträt des Marvel-Zeichners George Tuska und einen Blick auf DC-Veröffentlichungen in Dänemark. Da die Artikel (und insbesondere die hinzukommenden Checklisten) kompetent wirken, finde ich es allerdings wiederum schade, daß sie so kurz sind. Gerd scheint der irrigen Auffassung anzuhängen, daß alles an einem Fanzine klein und niedlich sein sollte. aa


Die Hirse # 20. 42 Seiten, s/w mit Farbumschlag, DIN A 5, 7,80 Mark. Laabs Kowalski, Pantaleons-mühlengasse 6, 50676 Köln.
Es ist immer wieder schön, wenn mir eine neue Hirse ins Haus flattert. Mit der Hirse, die es bereits seit Anfang der 80er Jahre gibt, begann mein Einstieg in die Comicszene. Seitdem hat die Hirse viele Wandlungen durchgemacht, aber das Konzept ist gleich geblieben: Hirse präsentiert Comic- und Wortbeiträge des untersten Niveaus, grenzdebil und liebenswert. Das ist wirklich positiv gemeint, denn heutzutage wird einem das Lachen doch oft ganz schön schwer gemacht. Da soll man aufpassen, daß die Witze politisch korrekt sind, nicht frauenfeindlich und möglichst nicht zu flach. Aber was soll das? Man sollte das alles über Bord schmeißen und mehr Hirse lesen, denn einen zum Lachen bringen, das kann sie. Gerade weil die Witze so flach sind. Dafür sorgen die Mitarbeiter Laabs Kowalski, Kim Schmidt, Rainer Baldermann und andere. Der Rake Verlag hat sich des humoristischen Genies Kowalski angenommen, so daß die letzten Nummern jetzt auch in jedem Buchladen bezogen werden können. Mit Heft 20 hat Laabs übrigens ein Konzept gefunden, das er beibehalten sollte: Viele kurze Beiträge im Comic- und Wortbereich wechseln sich ab und machen das Heft zu einem vielseitigen Lesespaß. Jo84


Napartheid. 52 Seiten, s/w mit Farbumschlag, DIN A 4, 300 Pesenten. Napartheid, Martzelo Zelaieta karrika, 75.AA1 aretoa, 31014 Irunea, Baskenland.
Ich möchte auch die Zusendung dieses Hefts vermerken, obwohl ich natürlich wieder kein Wort verstanden habe. Es scheint sich wohl das Thema Medien/Internet durchs Heft zu ziehen. Die meisten Beiträge sind, wie schon in den vorhergehenden Ausgaben, grafisch ziemlich gut. Mehr läßt sich dazu leider nicht sagen. Immerhin: In der Heftmitte entdecke ich einen Hinweis auf PLOP, was mir aber nur deshalb gelingt, weil die Basken freundlicherweise das Cover der # 52 abgebildet haben. aa


Mixer # 7. Ca. 26 Seiten, s/w, DIN A 4, 2,50 Mark. Claudia Bernhardt, Freibergerstraße 66, 59558 Lippstadt.
Unikat-Cover sind ja nichts Neues. Leute wie Jo Guhde schmücken ihre Fanzines gern mit Covern, die Exemplar für Exemplar individuell bemalt, beklebt oder bedruckt sind. Claudia Bernhardt schafft hier aber das wohl erste richtige Unikat-Fanzine. Das Prinzip ihres Mixers ist ja, daß die beteiligten Künstler ihre Arbeiten selbst vervielfältigen und Claudia nur die Beiträge zu fertigen Heften zusammentackert. Und für die neue Ausgabe haben eben einige Leute variabel gestaltete Beiträge eingesandt. Das Magazin wird statt für Comicfans zunehmend für Kunstliebhaber interessant. aa


Piccolo Magazin # 23. 42 Seiten, s/w mit einzelnen Farbseiten, Piccoloformat, 7 Mark plus 1,50 Mark Porto. Thomas Böhme, Mühlstraße 19, 65779 Kelkheim
Herr Walter Lehning-Hannover treibt, wenn auch schon lange tot, noch eine Menge Leute um. Nachforschungen nach den von ihm herausgegebenen Piccolos und Fanaktivitäten füllen inzwischen schon 23 Magazinausgaben. Das alles wird allgemeinverständlich aufbereitet und ist somit auch für den Nicht-Lehning- oder -Piccolo-Afficionado nicht uninteressant. In der neuen Ausgabe finden sich unter anderem ein Artikel über Comic-Indizierungen, den Lehning 1954 für die Fachpresse geschrieben hat, ein Artikel über Augusto Pedrazza, ein Reisebericht aus Frankreich (wo es natürlich auch Piccolos gibt) sowie Comics von Michael Götze und Heinrich Banemann. aa


Donaldist # 105. 48 Seiten, DIN A 4, 8 Mark. Johnny A. Grote, Belvederestraße 24, 50933 Köln.
Lange habe ich schon nichts mehr von der Clubzeitschrift der D.O.N.A.L.D. (Deutsche Organisation nichtkommerzieller Anhänger lauteren Donaldismus) gehört, bis mir diese Ausgabe in die Hände fiel. Zum ersten Mal erschien sie mit Variant-Cover, ein völliges Novum angesichts der ansonsten streng wissenschaftlich gehaltenen Fachbeiträge über den Entenhausener Kosmos. Das professionelle Fachmagazin vermittelt uns in dieser Ausgabe Wissen über "Sprachquellen und Quellensprachen im Donaldismus", "Festkultur in Entenhausen" oder "Ach so, Sie sind Romulaner. Das ist etwas anderes." Es ist natürlich sehr witzig, die bierernsten, mit möglichst vielen Fremdwörtern durchsetzten Artikel über solch lächerliche Themen zu konsumieren, auch wenn man kein harter Donaldist ist und deshalb vieles auch nicht versteht. Aber wer Donald und Konsorten mag, sollte ruhig einmal reinschauen. Jo84


Magazine # 2. 16 Seiten, s/w, DIN A 5, 50 Pence. Andy, P.O.Box 8892, London SW 15, England.
Andy ist ein Deutscher, der es an Exzentrik mit den Briten aufnimmt. Deshalb kann er in London ein Heft produzieren, das voll von ziemlich merkwürdigen Beiträgen ist. Das Heft hat tatsächlich nur 16 Seiten, aber es erweckt den Eindruck, als wäre es voll von höchst eigentümlichen Beiträgen. Und irgendwie stimmt es ja auch. Taktvollerweise beginnt Andy mit zwei eigenen Texten, seiner uns schon bekannten Comictheorie und Beobachtungen bei den Comicfestivals in Haarlem und Erlangen. Dann folgen ein Report über Comic-Diskussionen im Internet und ein Überblick über Comics in Museen. Ein gewisser Andy Roberts berichtet, wie er als Praktikant in einem Buchladen Comics in die Regale schmuggelte und beobachtete, wie sie sich verkaufen (insgesamt gar nicht schlecht). Schließlich gibt es noch einen Meta-Text darüber, wie man einen Text für ein Magazin wie das Magazine verfaßt. Die hinteren vier Seiten werden mit Comics aufgefüllt. Verschroben, intelligent, enthusiastisch, der Mini Cooper unter den Sekundärblättern - so läßt sich diese Publikation charakterisieren. Muß ich erwähnen, daß sie mir ausgesprochen gut gefallen hat? aa


Alfred Bekker Magazin. Diverse Ausgaben. DIN A 4. Alfred Bekker, Heiligenberg 88, 58540 Mei-nerzhagen.
Weitere Kostproben der bemerkenswerten Produktivität des westfälischen Heftroman-Autors (unter anderem "Jessica Bannister"). In dem Stapel Magazine, den er mir diesmal sandte, findet sich das Jubiläumsheft # 20 mit zwei Kurzcomics Bekkers, zwei Specials, davon eines mit Rezensionen, ein Sonderheft mit einem kompletten Kurzroman und "Killer-Stories" # 1, ein Nachdruck von Illustrierten-Kurz-krimis. Nach wie vor beeindruckt mich mehr noch als seine Geschichten selbst sein Einfallsreichtum. aa


Comic Collection # 1. 32 Seiten, DIN A 5, gratis (liegt an etwa 300 Stellen in Berlin aus).
Es gibt mal wieder ein neues Umsonstheft, das sich ausschließlich durch Werbung finanziert, und diesmal kommt es aus Berlin. Die Nummer 1 ist die Sommerausgabe (mittlerweile könnte schon eine zweite Ausgabe erschienen sein) und ist ganz ordentlich geworden. Von den fünf Zeichnern ist mir nur Alexander Hutschenreuter bekannt, der ja in letzter Zeit in mehreren Fanzines, darunter auch in PLOP, veröffentlicht. Zeichnerisch können sich aber auch die anderen sehen lassen. Textlich ist in diesem Magazin, ähnlich wie zum Beispiel in "Ilsemann", vor allem ein Problem präsent: Durch die Kürze der Beiträge kann man oft kein Gefühl für einen Comic bekommen. Besonders peinlich ist zum Beispiel ein Fortsetzungscomic, der nach sechs Bildern abbricht. Aber andere sind da wesentlich ausgereifter. Höhepunkt ist meiner Ansicht nach die Stripreihe von Alexander Scholz, die durchaus Profiqualitäten hat. Mit einer Auflage von 30 000 Stück haben die Jungs allerdings ganz schön was geleistet. Fraglich ist für mich nur, wie sie ohne Angabe einer Redaktionsadresse an neue Beiträge kommen wollen. Jo84


Schattenseiten # 8 (Mai 1998). 32 Seiten, s/w mit Farbumschlag, DIN A 4, kostenlos. Fake Press, c/o Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen.
Immer wieder begeistert bin ich von dem Magazin "Schattenseiten", das im Umkreis des Ruhrpotts kostenlos abgegeben wird. Der Fanszene bekannt ist wohl als einziger der hochkarätigen Mitarbeiter Alexander Pavlenko, wobei es alle anderen ebenso verdient hätten. Martin Jablonkas Story "Suzi" geht in die sechste Runde, in der die Titelfigur erfährt, daß sie geklont ist. Petra Pan (genialer Künstlername) erleuchtet uns, wie Don Quichotte zu seinem Esel kam, und Dave Brinks läßt seine kleine Manga-Heldin einen typischen Superheldenkampf ausfechten. Alle Mitarbeiter besitzen einen eigenen, sehr professionellen Stil, an dem es nichts zu meckern gibt. Für mich ist "Schattenseiten" die mittlerweile beste Comic-Umsonst-Zeitschrift Deutschlands. Jo84


David Boller: Kaos Moon # 2. 56 Seiten, davon 46 farbig, Comicbookformat, Hardcover, 22,80 Mark. Alpha
Schön, wieder mal etwas von dem Schweizer Zeichner David Boller zu hören, der mittlerweile in den USA lebt und arbeitet und wegen seinem Independent-Comic "Kaos Moon" dort einen gewissen Kultstatus genießt. Alpha hat diese Perle entdeckt und nach teilweisem Vorabdruck in "Schwermetall" schon den zweiten Hardcoverband publiziert, in dem die Originalhefte 3 und 4 abgedruckt werden. Als Bonus gibt's den Sechsseiter "The Goatman of Central Park" , der 1995 entstand und der erste Comic war, in dem Kaos Moon auftrat (auf deutsch in "Ink" # 6). Katja Zakov ist ein begabtes Medium, welches sich mit bestimmten Beschwörungsformeln in ihr spirituelles Selbst "Kaos Moon" verwandeln kann. Deren Aussehen ist ein bißchen von Chris Scheuers Heldin "Sheshiva" geklaut, der David auch sicher zeichnerisch stark beeinflußt hat. dieser Zweiteiler führt Kaos Moon ins alte Ägypten, denn sie sucht zwei verschollene Freunde, die mit ihrer Zeitmaschine dort gestrandet sind. Eigentlich ist "Kaos Moon" Trash erster Güte, immer schlingernd zwischen wahnsinnig bedeutungsschwanger und recht infantil. David traue ich mehr zu, da er schon vor zehn Jahren in seinem Fanzine "Schatten" bessere Arbeiten vorgelegt hat. Aber die Zeichnungen sind professionell und streckenweise sogar beeindruckend. Der im Original schwarz-weiße Comic wurde für den deutschen Markt recht einfühlsam coloriert. Jo84


Tom Breitenfeldt: Der kleine König der großen Tiere # 2. Der König lebe hoch! 48 Seiten, s/w, DIN A 4-Querformat, 14,90 Mark. Carlsen
Band 1 dieser recht neuen Reihe war schon mein Tip an Euch, und mit Band 2 ändert sich das nicht. Die halbseitigen Strips um den recht friedlichen Löwen mit Regierungsanspruch über alle Tiere ist mehr als köstlich. Dik Browne ("Hägar") sagte einmal, er ziehe das Schmunzeln dem Lachen vor, und während man diese Strips liest, gibt man ihm recht. "Sophisticated" wäre wohl das richtige Wort ohne deutsche Übersetzung für die Gags, die in der Tradition der Peanuts, Mafalda oder Hägar stehen, nur daß Tiere die Protagonisten sind. Während die anderen Strips zu Weltruhm gelangten, ist "Der kleine König der großen Tiere" jedoch hoffnungslos unterschätzt. So ist es Carlsen hoch anzurechnen, daß man das Wagnis eingeht, einen schwarz-weißen Comic in solch einem ungewöhnlichen Format zu publizieren. Entgegen der breiten Meinung halte ich den Comic übrigens nicht für einen Kindercomic, sondern ausdrücklich für vor allem für junggebliebene Erwachsene empfehlenswert. Jo84


Chauvel / Simon: Clownfish # 1. Happy. 48 Seiten, farbig, Softcoveralbum, 19,90 Mark. Carlsen
Henryetta, ein Kaff in Oklahoma in den 50er Jahren. Nach dem Tod seines Vaters macht sich Happy Wimbush auf den Weg nach Denver, Colorado, wo sein älterer Bruder Chas lebt. Doch kaum in der großen Stadt angekommen, muß Happy mit ansehen, wie Chas im Auftrag der Mafia kaltblütig einen Mord begeht. Schon bald überredet ihn sein Bruder, ins Syndikat einzusteigen. Doch schon der erste Coup läuft nicht besonders gut für das Landei. Die neue Reihe ist eine solide gezeichnete und getextete Gangstergeschichte in der Tradition von Filmen wie "Goodfellas". Der Zeichenstil ist nicht wirklich realistisch, sondern teilweise etwas karikaturhaft, was bei dem ernsten Text nicht immer paßt. Natürlich bricht die Handlung an der spannendsten Stelle ab, um im zweiten Band fortgeführt zu werden, der aber leider bis März noch nicht einmal angekündigt ist. Jo84


Derib und Job: Yakari # 1 bis 4. Je 48 Seiten, farbig, 17 x 23,5 Zentimeter, 9.90 Mark. Carlsen
Das neue Unterlabel "Carlsen Comics für Kids" wurde geschaffen, um auch wieder jüngeren Leserschichten Comics zu bieten, auf denen ihre Leidenschaft aufbauen kann. Nach den klassischen "Petzi" und "Die Schlümpfe" werden jetzt auch die Abenteuer des kleinen Indianerjungen Yakari wiederveröffentlicht. Leider konnte man den Preis von 7.90 Mark nicht halten, so daß die Eltern jetzt doch wieder einen Betrag hart an der Schmerzgrenze hinblättern müssen. Dafür sind die Abenteuer des kleinen Yakari, der mit den Tieren sprechen kann, auch so ziemlich das beste, was Kinder an Comics konsumieren können. Der niedliche und pfiffige Comic, der als Album zwischen 1970 und 1978 entstand, macht sich im kleinen Taschenformat viel besser als in DIN A 4. Nur die beiden ersten Bände sind teilweise zu dunkel coloriert, so daß wenige Details im neuen Format schlecht zu erkennen sind. Trotz dieses Makels sind die vier bisher erschienenen Alben "Yakari", "Yakari und der weiße Bison", "Yakari bei den Bibern" und "Yakari und Nanaboso" wärmstens zu empfehlen - auch für Große. Jo84


Will Eisner: Family Matter. 68 Seiten, zweifarbig, Hardcoveralbum, 24,95 Dollar. Kitchen Sink Press
Während man in Deutschland froh sein kann, wenn lange Jahre fehlende Werke wie Eisners "Moby Dick"-Adaption endlich publiziert werden, liegt in Amerika bereits der brandneue Will Eisner-Band vor. In "Family Matter" geht Eisner der Frage nach, wie das Phänomen Familie bewertet werden kann, das ja nichts weiter ist als eine Ansammlung zufällig durch Verwandtschaft in einer Beziehung stehender völlig verschiedener Menschen. In diesem Band kommt die Tochter eines alten Herrn auf die Idee, zu einem 90sten Geburtstag die ganze Familie einzuladen, um ihm eine Freude zu machen. Leider ist der Papa seit dem Tod seiner Frau und dem darauffolgenden Schlaganfall gelähmt und kann noch nicht einmal sprechen. Grund genug für die meisten seiner sechs Kinder, ihn abschieben zu wollen und schon einmal sein Erbe aufzuteilen. So währt die Freude nicht lang, als alle seine Kinder, die sich nicht riechen können und sich teilweise schon Jahre nicht mehr blicken ließen, zu der Geburtstagsparty erscheinen. Wehrlos muß der alte Mann die Horde Aasgeier ertragen, gefangen in einer Erinnerung, die alles ist, was ihm bleibt. Eine bittere Pille ist es, die uns Eisner, selbst nicht mehr der Jüngste, mit diesem Buch beschert. wie immer schafft er es, uns durch eine Alltagssituation zum Nachdenken anzuregen. Eisner ist der absolute König der Comiczeichner, und nicht einmal der unverschämte Preis des Buches kann mich davon abhalten, es euch wärmstens zu empfehlen. Jo84


Will Eisner: Grafisches Erzählen - Graphic Storytelling. 170 Seiten, Softcoveralbum, 49.80 Mark (auch als Hardcover erhältlich). Comic Press
Seit einigen Jahren liegt in Amerika Wills Sekundärwerk "Graphic Storytelling" vor. Die Fortsetzung des Bandes "Comics + Sequential Art" beschäftigt sich damit, wie man eine Geschichte in Bildern erzählt, ist also kein Zeichenkurs, sondern eher eine Art Erzählkurs. Gerd Zimmer erbarmte sich und brachte beide Bücher in seinem Comic Press Verlag heraus. Während "Mit Bildern erzählen" schon seit zwei Jahren vorliegt, gibt es den zweiten Band "Grafisches Erzählen" erst seit Juni. Der Band beweist, daß Will Eisner nicht nur einer der besten Comiczeichner ist, die jemals etwas veröffentlicht haben, sondern noch viel mehr einer der besten Comicerzähler, wenn nicht sogar der beste überhaupt. Es sei ihm gedankt, daß er sich bemüht, uns an seiner Kunst teilhaben zu lassen. Erst bei der Lektüre des Buches merkt man, wie wenig nur man eigentlich über die erzählerische Seite in Comics weiß, und wo überall sich Comiczeichner von Weltrang ihre Einflüsse herholen. Allen Comiclesern kann ich das Buch empfehlen, durch das man viel über das Medium erfährt - für alle Comiczeichner und -erzähler ist es absolute Pflichtlektüre. Die Übersetzung ist im übrigen von mir, ebenso das Lettering. Durch einen Fehler beim Scannen wurde der Großteil des Buches digital nachgelettert, obwohl Handlettering vorlag. Das ist allerdings der einzige Wermutstropfen des Werkes. Jo84


Flix: Who the §%&§ is Faust? Album. Eichborn
Hinter diesem mit Sicherheit sehr verkaufsfördenden Titel verbirgt sich eine ordentlich aber unspektakulär gezeichnete, ach-so-aktualisierte und parodistische Bearbeitung des "Faust" von Goethe. Naja, das mag nun auch nicht einfach sein, aber wem 20 Jahre nach dem "Silver Surfer"-Mephisto und der Hölle der "Floh-heimer" (Schulz/Ryba) nichts besseres einfällt, als den Teufel glatzköpfig, mit großen Ohren und Lederjacke agieren zu lassen, Gott als schnurrbärtigen Mann an einem kleinen PC darzustellen und Faust die Walpurgisnacht als Drogentraum unterzuschieben, der hat wohl etwas zu wenig Phantasie oder er hält dies für witziges Understatement. Da haben schon die italienischen Donald-Zeichner in den 70ern eine bessere Bearbeitung gewagt (mit Daisy als Gretchen und tausend Disney-Knuddelmonstern in der Walpurgisnacht - vergleiche Lustige Taschenbücher # 11 für ähnliche Monster; das "Doktor Faust"-Album von Disney ist bei uns selbstverständlich nie erschienen). Gar nicht zu reden von Tezukas verblüffend werkgetreuer Fassung (späte 40er Jahre; japanischer und kantonesischer Reprint immer noch erhältlich), in der Mephisto als Pudelchen neben einem großäugigen Teenie-Faust buchstäblich herdackelt. Gähn! Herod


Franquin: Gaston # 1, 6 und 18. Je 48 Seiten, farbig, Softcover, 14.90 Mark. Carlsen
Zum x-ten Mal beginnt auch eine neue Gaston-Edition. Diese hat nun die Originalcover. Komplett sind die Bände jedoch auch diesmal wieder nicht. Einige Halbseiter wurden wegen schlecht übersetzbarer Wortspiele oder ähnlichem ausgelassen. Für mich ist das unbegreiflich, denn die Wortspiele könnte man doch in Fußnoten erklären. Jedenfalls sehe ich nicht ein, zum fünften Mal eine unvollständige Edition zu kaufen, und dann noch nicht mal in Hardcover. Die Hardcoverreihe wurde übrigens wegen katastrophaler Verkaufszahlen mit Band 17 gestoppt, weshalb die Softcoveredition mit Band 1 und 18 gestartet wurde. Außerdem ist noch Band 6 erschienen. Wem's nur ums Lesen geht, der ist bei Gaston natürlich immer richtig. Und Carlsen bemüht sich immerhin, den Preis korrekt zu gestalten. Jo84


Jean Pierre Gibrat: Der Aufschub. 64 Seiten, farbig, Softcoveralbum, 24,80 Mark. Salleck Publications
Jean Pierre Gibrat hat an mehreren Alben als Colorist oder Zeichner gearbeitet, bevor er sich mit "Le Sursis" erstmals daran wagte, einen Comic zu texten. Der erste Teil des auf zwei Bände angelegten Comicromans bei Dupuis wurde nun auf Deutsch unter dem Titel "Der Aufschub" veröffentlicht. Eckhard Schotts Kleinverlag "Salleck Publications" nahm sich dem Werk an, dessen Auflage von 2000 Stück (plus 300 Hardcoverbände) ihn sicher nicht reich machen wird. Eckhard Schott ist ein Liebhaber, wie man immer wieder an der Auswahl der Alben und der hervorragenden Aufmachung (Papierqualität und so weiter) sieht. In Gibrats Geschichte geht es um den jungen Julien, der 1943 als Wehrpflichtiger in einem Zug nach Deutschland gebracht werden soll. Er hat jedoch keine Lust dazu und desertiert, indem er vom Zug springt. Dabei hat er noch Glück im Unglück: Seine Papiere, die ihm gestohlen wurden, werden bei einem Toten entdeckt, und er wird für tot erklärt. Trotzdem muß er sich noch verstecken, um nicht aufzufliegen. Er bezieht Stellung in dem leerstehenden Haus eines verhafteten Juden, von dem aus er das halbe Dorf Cambeyrac überblicken kann. Die Langeweile des Versteckens wird aufgelockert durch seine Jugendliebe Cécile, die er oft von seinem Platz aus gut beobachten kann. Leider kann er sich ihr nicht zeigen. So muß er hilflos mit ansehen, wie sich andere junge Männer an sie heranschmeißen... "Der Aufschub " ist ein recht einfühlsames und daher unspektakuläres Werk mit Tagebuchcharakter. Man fühlt mit dem sympathischen Hauptdarsteller; und der Krieg wird einmal nicht ganz so extrem dargestellt, wie man das gewohnt ist. Ein nettes Album, bei dem sich Text, Zeichnungen und vor allem Farben wunderbar ergänzen. Jo84


Carla und Vilhelm Hansen: Petzi # 5 bis 8. Je 32 Seiten, farbig, 17,5 mal 23,5 Zentimeter, 7,90 Mark. Carlsen
Im Zuge der neuen Verlagspolitik kommen bei Carlsen wieder vermehrt Klassiker der Kindercomics zum unüblich günstigen Preis von 7,90 Mark zum Abdruck. Petzi ist dabei wohl der älteste dieser Klassiker. Die vorhergehenden Bände "Petzi bei den Pyramiden", "Petzi auf der Schildkröteninsel", "Petzi am Nordpol" und "Petzi als Bergsteiger" entstanden 1956 und 57 direkt für den Carlsen Forlag in Kopenhagen. Seltsamerweise hat sich Carlsen dazu entschlossen, in dreimonatigem Turnus gleich jeweils vier Bücher auf einmal herauszubringen, was ich für Blödsinn halte. Ansonsten kann man zu Petzi nicht viel schreiben außer, daß er für hunderttausende von kleinen Kindern seit Jahrzehnten den Einstieg in die Welt der Comics ermöglicht, ohne von den Eltern eine negative Wertevorstellung vermittelt zu bekommen. Deshalb halte ich die Abenteuer des kleinen Bären tatsächlich für einen Klassiker, dessen Neuauflage lange fällig war und rundum gelungen ist. Jo84


Hermann: Jeremiah # 20. Söldner. 48 Seiten, farbig, Softcover, 16,90 Mark. Carlsen
Was soll man über den 20sten Band einer Reihe schreiben, die ein Comic-Urgestein wie Hermann erstellt hat? Nicht umsonst ist er schon 30 Jahre im Geschäft, und seinen Helden "Andy Morgan" kannte zu Zack-Zeiten jedes Kind. Auch seine Reihe "Jeremiah" ist fast volljährig. Sie startete 1982. Der Grundplot dürfte sich mittlerweile herumgesprochen haben. Jeremiah und sein Kumpel Kurdy leben in der Zukunft, genauer gesagt, nach dem nächsten Weltkrieg, der die Menschen in eine etwas primitivere Zivilisation zurückwarf. Im neuen Band dieser Quasi-Western-Reihe geraten die beiden auf der Suche nach Arbeit (Jeremiah) und Diebesbeute (Kurdy) zwischen zwei Fronten, die sich um eine alte Mine streiten. Zufällig erfährt Jeremiah, warum, und dieses Wissen kann ihn sein Leben kosten. Textlich setzt Hermann auf Altbewährtes. Ein bißchen Spannung, ein kleines Rätsel, eine Prise Gewalt und bekannte Protagonisten, die sogar Romea und Julius aus Band 12 wiedertreffen; das alles läßt den Band zu keinem Highlight, aber immerhin einem guten Durchschnittsband werden. Zeichnerisch hat sich in den letzten Jahren schon mehr getan. Zwischen den Alben 1 und 20 liegen Welten. Wer schon ein paar Jahre in keinen Hermann-Band geschaut hat, sollte ruhig mal einen Blick riskieren, denn er hat seine Feder eingemottet und arbeitet mittlerweile ganz ohne schwarze Umrißlinien im Direct Coloring-Verfahren. Dies fällt besonders auf, da einem Teil der Erstauflage eine Heftversion des ersten Albums als Bonus beigegeben wurde. Jo84


Lofficier, Lofficier und Taylor: Tongue und Lash # 1. Der schwarze Ring. 64 Seiten, farbig, Comic-bookformat, 19.80 Mark. Ehapa/Feest
Beim ersten Durchblättern des Bandes war ich mehr als angenehm überrascht. Schon auf der ersten Seite wird erwähnt, daß Tongue und Lash ziemlich von den Arbeiten von Moebius beeinflußt sind. Man kann über Epigonen denken, wie man will, aber dieser Band ist erstklassig abgekupfert und durchaus an den qualitativ besseren Werken des Vorbilds ausgerichtet. Dazu kommt eine hervorragende, recht grelle Colorierung, die sehr gut paßt. Nach dem Lesen des Bandes verflüchtigt sich die Begeisterung aber schnell. Es geht um die Am'qij Tongue und ihren Mitstreiter Lash, denen die Qawilobs eine neue Geschäftsmöglichkeit prophezeien. Die könnten sie gut gebrauchen, denn sie schulden den Itz P'oloms noch einige Yaxob. Tatsächlich sucht sie bald Lady Rain-Star Path auf, erste Tochter der Tzakol-Familie. Ihr Vater Lord Nail-Shield-Jaguar hat vor, sich mit Lilac, einer Chi'il aus Xaman zu vermählen. Lilac ist eine Yatan und arbeitet im K'ux Nab. Der Yahaul liebt sie wirklich, er gibt ihr sogar einen Wayak-Ring, Metazeit und seine Kaste und macht sie damit zum Ch'ul Cahal der Tzakol. Tongue bekommt einen Lak und 1000 Yaxob, um ihre Liebe zu prüfen. Tatsächlich will sie auf dem Pa' chi-Fest seine Yatan werden, doch T'boar will sie in diesem Fall der Quaholom vorwerfen. Lash trifft sich mit ihr, doch plötzlich wird er metastast, und Lilacs Leben ist keinen Yax mehr wert - ähnlich wie dieser Comic, denn wer noch alle K'wrxls im Pr'damast hat, hat eh' schon gemerkt, daß der Text dieses Comics für den Ar'sssch ist. Jo84


J. C. Mezieres / P. Christin: Valerian und Veronique # 17. Die Sternenwaise. 52 Seiten, farbig, Softcoveralbum, 19,90 Mark. Carlsen
Ebenfalls ein Klassiker, der schon mehr als 20 Jahre auf dem Buckel hat, ist die Reihe "Valerian und Veronique" von Pierre Christin und Jean-Claude Mezieres, die bereits bei Band 17 angelangt ist. Diese hat sich im Gegensatz zu "Jeremiah" (siehe unten) kaum weiterentwickelt. Sowohl textlich als auch zeichnerisch bleibt alles beim alten. Die Fortsetzung des Bandes "Im Bann von Ultralum" liest sich allenfalls ganz nett, aber kaum spektakulär. Diesmal müssen die beiden Helden ein Versteck für den Sohn des Kalifen von Iksaladam finden, den sie aus den Händen von Entführern befreit haben. Auf ihrem Weg kreuzen sie wieder viele verschiedene Welten und Lebensformen, wie man das schon kennt. Ganz witzig die Stelle, an der Veronique einen Weltraum-Filmproduzenten trifft und mit einem außerirdischen Charmeur à la Belmondo eine Liebesszene drehen soll. Ansonsten muß man sich dieses Deja-vu einer sowieso recht überbewerteten Serie nicht um jeden Preis gönnen. Jo84


Michel Plessix: Der Wind in den Weiden # 1. Der wilde Wald. 32 Seiten, farbig, Hardcoveralbum, 32 Mark. Carlsen
Viele neue Reihen starten nicht bei Carlsen, und wenn, dann sind es neue Heftserien, Kindercomics oder Megaseller. Ein wirklich schöner Kompromiß ist der erste Band der neuen Albenreihe "Der Wind in den Weiden", den Michel Plessix nach dem Roman von Kenneth Grahame schuf. Einfühlsam setzt Plessix die poetisch und sensibel stimmenden Tierfabeln in zarte Bilder um und schwelgt dabei in wunderschönen Farben. "Schön" ist jedenfalls das Wort, das einem am ehesten dazu einfällt, wenn auch der Text des Albums eher etwas für Romantiker oder größere Kinder ist. Und wirklich ist Band 1 der neuen Reihe von allem ein bißchen. Eine hohe grafische Qualität läßt sich nicht von der Hand weisen, ein Megaseller war die Buchvorlage auch, und das Zielpublikum ist schon aufgrund des Preises eher ganz oben oder ganz unten anzusiedeln. Dieser ist nämlich bei einem Seitenpreis von 1 Mark (zum Vergleich: Bei einigen Heftserien ist man mit 0,12 Mark dabei) weit über der Schmerzgrenze angesiedelt, so daß als Käuferschicht nur einige wohlhabende Schöngeister bleiben oder Eltern, die mit den preisen für gute Kinderbücher für ihren Nachwuchs schon vertraut sind und solche Preise ergo normal finden. Jo84


Ralf Schlüter: Schattengänger # 2. Labyrinth. 56 Seiten, farbig, Überformat, Softcoveralbum, 22,80 Mark. Edition Comic Speedline
Teil 1 von Ralf Schlüters Meisterwerk "Schattengänger" war im letzten Jahr das Album eines deutschen Zeichners überhaupt. Deshalb wartete ich gespannt auf den Abschlußband des Zweiteilers. Auch dieser ist farblich unübertroffen und schafft es, mit seiner Colorierung, die oft in Nuancen nur in ein bis zwei Farben gehalten ist, den Leser in die düstere Welt dieses Comicromans zwischen Horror, Endzeitcomic und Fantasy zu entführen. Textlich ist der zweite Band etwas wirrer und unlogischer geraten als Band 1. Auch mit den Fabelwesen hat der Bielefelder etwas übertrieben. Das sind aber schon die einzigen Schwachpunkte dieses Bandes. Eine Inhaltsangabe des Albums ist schier unmöglich, und was sollte sie von einem zweiten Teil auch nutzen? Insgesamt fällt die Fortsetzung der Saga spannungsmäßig etwas gegenüber dem ersten Teil ab. Ich empfehle diesen Zyklus trotzdem jedem, der ihn noch nicht kennt und mit düsteren Darstellungen des Lebens etwas anfangen kann. Denn "Schattengänger" gehört immer noch zu den besten Werken, die man von einem deutschen Zeichner erstehen kann. Jo84


Kim Schmidt: Ein Heim für Aliens # 1. 52 Seiten, Comicbookformat, 4,90 Mark. Dino
Endlich ist es soweit: Kim Schmidt und die Dinterbrüder Mathias, Stefan und Jan, PLOP-Lesern schon seit Ewigkeiten ein Begriff, haben endlich eine eigene, auflagenstarke Heftreihe. Zwar ist es schade, daß dies nur als Auftragsarbeit zur Verarbeitung einer französischen Trickfilmvorlage möglich war, aber immerhin wurden zur Realisierung der Comicbearbeitung vom "Ein Heim für Aliens" keine No-Name-zeichner, sondern bodenständige, erstklassige Künstler verpflichtet, die schon jahrelange Erfahrung mitbringen. Der überaus erfolgreiche Dino-Verlag wagt mit diesem Heft erstmals eine deutsche Eigenproduktion. Solange die gleichnamige Zeichentrickserie noch auf Pro 7 läuft (sonntags vormittags), kann das Heft durchaus ein Erfolg sein. Die Erstnummer hat allerdings auch ihre Schwächen. Sie enthält zwei Geschichten. Eine davon ist von Stefan Dinter gezeichnet, die andere von Kim Schmidt. Den Text erledigte in beiden Fällen Mathias "Emde" Dinter, die Farben Jan Dinter. Die erste Story ist eine Art Entstehungsgeschichte und ist leider, bis auf die Idee der "Men in Anthrazit", wenig lustig. Die zweite Story ist jedoch von ungleich größerem Format und enthält etliche geniale Ideen, bei denen man sich durchaus amüsieren kann. Zeichnerisch sind natürlich alle etwas unterfordert. Hintergründe sind mehr als sparsam angelegt, und manchen Seiten würde eine etwas differenziertere Colorierung gut tun. Wahrscheinlich sind diese Dinge aber vorgegeben. Nun - wünschen wir dem Heft eine lange Lebensdauer. Verdient haben es Künstler und Verlag allemal. Jo84


Jeff Smith: Bone # 10. Kleine Freunde, große Feinde. 64 Seiten, Farbumschlag, Comicbookformat, Softcover, 16,90 Mark. Carlsen
Ausgerechnet für ein Rattenmonster-Junges namens Bartleby haben der "Moby Dick"-Fan Fone Bone und der verkappte Liebeslyriker Smiley Bone die Verantwortung übernommen. Doch ihre Idee, Bartleby in seine Heimat in den Bergen zurückzubringen, stößt auf wenig Gegenliebe bei dem majestätischen Berg-löwen Rock-Ra. Da ihnen zudem ausgehungerte Rattenmonster auf den Fersen sind, geraten die drei zwischen alle Fronten. Carlsen hat es tatsächlich geschafft, schon zehn Bände dieser Serie zu veröffentlichen, die alle wichtigen Preise in der Comicwelt (acht Eisner-Awards, vier Harvey-Awards, Genie-Award, Prix Vienne, Prix Alph'Art) einheimste. So sehr gefallen mir die Kapitel 28 bis 30 eigentlich gar nicht. Sicher, der Comic ist in einem schönen Strich gehalten und textlich vielleicht ganz nett. Nicht mehr und nicht weniger. Aber das Über-den-grünen-Klee-loben bei Bone finde ich übertrieben. Aber was soll's, letztendlich ist das alles eine Frage des Geschmacks, und die Geschmäcker sind verschieden. Jo84


Frans Stummer / Georg F. W. Tempel: Die Ärzte. 48 Seiten, farbig, Comicbookformat, 14.80 Mark. Ehapa
Schon etwas länger gibt es ihn, den ersten Comic über die beste Band der Welt, die Ärzte, und das Pferd aus Berlin. Und er ist sogar von einem alten Bekannten gezeichnet. Frans Stummer entstammt der harten Fanszene aus einer Zeit, als diese noch golden war, und machte in den letzten Jahren vor allem als Erschaffer seiner Serie "Mars needs Movies" (praktisch Dauergast in "Schwermetall") von sich reden. Texter Georg Tempel schuf etliche Shortstories um die Ärzte und das Pferd aus Berlin, die Frans grafisch in kürzester Zeit umsetzen mußte. Deshalb sei ihm verziehen, daß der Band nicht schlecht ist, aber auch nicht so gut, wie er hätte werden können. Irgendwie ist der Comic wie die Band selbst auch: streckenweise genial, dann aber wieder belanglos, gehypt, insidermäßig oder schlicht albern, aber immer sympathisch. Nach dem Geschmack einiger Fans sahen zum Beispiel die Gesichter der Ärzte (und des Pferdes aus Berlin) zu karikiert aus, beziehungsweise nicht so alt, wie die Ärzte (und das Pferd aus Berlin) tatsächlich schon sind. Beliebt ist das Buch trotzdem bei ihnen, denn die erste Auflage war in kürzester Zeit vergriffen. Damit dürften die Ärzte und das Pferd aus Berlin wohl auch mit Tempels und Stummers Arbeit zufrieden sein. Was unter Rods Hose freigerubbelt werden kann, möchte ich übrigens notorischen Nichtkäufern verheimlichen. Jo84


Naoko Takeuchi: Sailor Moon # 1. Taschenbuch. Feest/Ehapa
Nach der farblich etwas schmerzhaften, aber kiosk- und leserinnengerechten Comicheftausgabe von Sailor Moon erscheint jetzt (nachdem es in Frankreich schon 17 Bände davon gibt) das Original-Manga in Übersetzung. Die Seiten sind gefloppt, also spiegelverkehrt montiert, um der westlichen Leserichtung der Bilder von links nach rechts angepaßt zu sein, was beim Stil dieser Zeichnerin jedoch weniger stört als etwa bei Dragon Ball, wo alle Figuren spiegelverkehrt-asymmetrische Frisuren hätten und die chinesischen Schriftzeichen zu unsinnigen spiegelverkehrten Zeichen würden. Der Stil ist typisch Shojo Manga (= Mädchencomic): leicht, ätherisch, traumhaft und immer etwas gewollt kitschig. Auffällig beim Sailor Moon-Manga ist, daß die Handlung etwas weniger auf Slapstick und Spaß beruht als in der zuweilen göttlich übertriebenen Zeichentrickserie (RTL 2), bei der zweifelsohne in den späteren Folgen auch koreanische Animatoren mitmischen. Man muß sich vieles an Dekor hinzudenken, aber das gelingt durch den gekonnten Lesefluß der Mangaka (= Mangazeichnerin) durchaus. Daß Sailor Moon, die geniale Kombination aus Biggi und Supergirl, nach Startschwierigkeiten schon lange ihren Siegeszug durch Platten-, Video- und Spielwarenabteilungen angetreten hat, brauche ich ja wohl kaum mehr jemandem zu erzählen, oder? Die Geschichte der Kriegerinnen des Mondes jetzt kurz wiederzugeben, dürfte auch überflüssig sein. Interessierten empfehle ich sonst die zahlreichen Sailor Moon-Artikel in "Animania". Herod


Akira Toriyama: Dragon Ball # 17. Taschenbuch. Carlsen
Auch San-Goku, der Held der Serie "Dragon Ball" (eigentlich mittlerweile schon der Zyklus "Dragon Ball Z") ist in die Jahre gekommen; er ist nicht mehr der putzige Dreikäsehoch, der den Unterschied zwischen Mädchen und Jungen nicht kannte, freche Antworten und harte Schläge austeilte. Er wurde trainiert von allen erdenklichen Martial-Arts-Könnern seiner Welt: Muten-Roshi (dem "Herrn der Schildkröte" und Chauvimeister), Meister Quitte (einer winzigen Katze, die auf einem unendlich hohen Turm lebt) und Gott (???), der bei Toriyama aussieht wie ein gealterter Marsbewohner, komplett mit grüner Haut und Antennen auf dem Kopf. Gott? Hier liegt entweder ein -Übersetzungsfehler oder eine kulturelle Interferenz vor, denn dieser "Gott" schlägt sich höchstpersönlich mit "Ober-teufel Piccolo", wendet Gewalt an und ist durchaus sterblich. Mächtiger als er scheint der Wunschdrache Shenlong zu sein, der schon diverse Tote wiedererweckt hat. Es handelt sich nach japanischem Verständnis wohl eher um einen "Meister", so wie man Tezuka auch ohne Ironie in Japan als den "God of Manga" bezeichnete. Die Franzosen sind übrigens auch auf diesen Übersetzungsengpaß hereingefallen, sogar in der TV-Trickserie! Im neuesten Band wird der Kampf gegen Piccolo in bester Kung Fu-Manier beendet und San-Gukus Herkunft erhellt. Die Kämpfe werden länger und brutaler, sind aber gut in die Kontinuität eingebunden und werden durch unerwartete Humoreinlagen abgemildert. Wer Dragon Ball nur für einen hirnlosen "Klopp-Comic" hält, hat vieles nicht begriffen. Es ist zweifelsohne die exotischste Serie auf unserem Markt momentan und somit nicht gerade die zugänglichste. Daher: Vorne anfangen oder mehrere Bände lang dranbleiben, dann erklärt sich vieles. In Frankreich ist man schon 15 Bände weiter, aber das kennen wir ja. Herod


Renè Goscinny / Albert Uderzo: Asterix Mundart # 20. Asterix balinat # 1: Die Platte Jottweedee. 48 Seiten, farbig, Hardcoveralbum, 19.80 Mark. Ehapa
"Dufte Sprüche vom Goscinny, bunte Bülda vom Uderzo" versprechen die Übersetzer Silke Knocke, Sven Kugler und Norbert Dittmar auf dem Titelbild des ersten berlinerischen Asterix-Bands, der auf Hochdeutsch einmal "Die Trabantenstadt" hieß. Tatsächlich ist dieses Album eines der besten des Duos Goscinny/Uderzo, und auch die Übertragung ausgerechnet dieses Bands ins Berlinerische gibt Sinn. Durch die jahrhundertelange Vormachtstellung Berlins als Kulturhauptstadt Deutschlands ist der Berliner Dialekt auch wesentlich leichter für Hochdeutsche zu verstehen als viele der bisher erschienenen Mundart-Bände und ergo auch einfacher - soll heißen ohne allergrößte Konzentration, wie üblich - zu lesen und zu genießen. Manchmal geht die Übersetzung ein bißchen zu weit (Norbert Blümix hieß im Original sicher niemand), ist aber auch oft witzig, zum Beispiel wenn Troubadix schmettert: "Kreuzberger Nächte sind lang!" Insjesamt jesehn nüscht dajejn - wer dit brauch... Jo84


Ron Marz / Bernie Wrightson: Batman # 7. Der Eindringling. 64 Seiten, farbig, Comicbookformat, 16,80 Mark. Ehapa
Lange ist es her, daß man Material des Altmeisterws des Horrorcomics, Bernie Wrightson, in den Händen halten durfte, das noch nicht zig Jahre alt ist. Eine einfache Batman-Story von Wrightson wäre schon ein Hammer gewesen, ein Crossover zwischen Batman und Alien vom guten alten Bernie ist jedoch schlicht eine Sensation. Ron Marz schuf die Story, die im Original "Aliens: Incubation" und "Batman vs. Alien Part 1" heißt. Diese Geschichte beginnt im Urwald irgendwo an der mexikanisch-guatemaltekischen Grenze. Hier hofft Batman, einen verschollenen Wissenschaftler zu finden, der dort für Wayne Tech unterwegs war. Er trifft auf eine Sondereinheit der amerikanischen Regierung, die sich ebenfalls durch die grüne Hölle kämpft. Sie schließen sich zusammen und finden das Wrack eines außerirdischen Raumschiffs. Dessen Besatzung ist tot, hingeschlachtet von Wesen, die wir als Aliens kennen. Kurz darauf beginnt auch schon der Überlebenskampf gegen diese Aliens. Hinter einem absolut grandiosen Cover verbirgt sich ein durchaus lesenswerter erster Teil dieser auf zwei Bände angelegten Saga. Band 2 ist schon für November angekündigt und dürfte dem ersten Band in nichts nachstehen. Sein Titel ist "Die Entscheidung". Jo84


Akte X # 4. 36 Seiten, farbig, Comicbookformat, 4,90 Mark. Carlsen
Mit Heft vier der Carlsen-Heftreihe beginnt die neue Miniserie "Umzingelt" von John Rozum (Text), Alex Saviuk (Bleistift) und Rick Magyar (Tusche). Wer sich also bisher noch nicht entscheiden konnte, die Hefte zu kaufen, kann ohne Probleme auch hier einsteigen. Der neue Zyklus beginnt vielversprechend. Religiöse Fanatiker, die die Regierung bekämpfen, verschanzen sich in einem Haus, in dem es bald zu einem seltsamen Todesfall kommt. Ein bekleideter Mann wurde säuberlich gehäutet aufgefunden. Die Fanatiker erlauben Mulder und Scully, den Fall zu untersuchen. Diese wollen vor allem das seltsame Verhalten des verrückten Wissenschaftlers Kristof ergründen, der bei den Fanatikern lebt und in einem verschlossenen raum seltsame Experimente betreibt. Die Stimmung des Comics erinnert tatsächlich an die Serie, geheimnisvoll und krude genug ist die Story auch. Die kleinen Mankos fallen nicht wirklich ins Gewicht. Gestört hat mich nur, daß Mulder in Heft vier nur einen Gesichtsausdruck kennt, und der ist nicht so lausbübisch wie bei David Duchovny geraten, sondern eher etwas griesgrämig. Jo84


Faust # 1 und 2. Je 68 Seiten, s/w mit Farbumschlag, Comicbookformat, 11,90 Mark. Extrem Erfolgreich Enterprises
Sicherlich erinnern sich viele an Bela B.'s ("Die Ärzte") Comicverlag Extrem Erfolgreich Enterprises, der mit "Schweinevogel" schon seit zwei Jahren einen Undergroundcomic erster Güte herausgibt. War Schwarwels Meisterwerk noch eher ein Funnycomic, zeigte sich schnell, für welche Art Comics Belas Herz tatsächlich schlägt: für sehr extreme. Pünktlich zum Comicsalon Erlange n veröffentlichte der Verlag den Oneshot "Gothic Nights" und den ersten Teil der Kultserie "Faust". Der schwarzweiße Splattercomic, von dem nun das zweite Heft vorliegt, wurde mit dem Aufdruck "Nur für Erwachsene" eingeschweißt verkauft und war ein wesentlich größerer Erfolg, als der Verlag selbst gehofft hatte. Allerdings dreht es sich bei der Story von David Quinn, die von Tim Vigil in Szene gesetzt wurde, nicht nur um hirnlose Abschlachterei (obwohl diese Szenen natürlich auch den Reiz der Serie ausmachen). Vielmehr schildert der Comic die Beziehung der Psychiaterin Dr. Jade Decamp zu ihrem Patienten John Jaspers, dessen aggressiver Wahnsinn sie gleichzeitig anzieht und abstößt. Mit einer Art Wolverine-Klauen pflegt Jaspers seine Opfer im Dutzendpack abzuschlachten. Die Storyline ist nicht immer leicht zu verfolgen, da die Rahmenhandlung durchbrochen wird von zahlreichen Nebenhandlungen, Rückblenden, Psychiateraufzeichnungen und Visionen, die John während seiner Bluttaten vor dem geistigen Auge schweben. Die filigranen Zeichnungen haben durchaus ihren Reiz, und die Story ist auf ihre Art textlich geschickt umgesetzt. "Faust" ist eine sehr wichtige Veröffentlichung; unabhängig davon, ob man den Comic selbst nun gut findet oder nicht. Die Bedeutung liegt in der Gewagtheit, mit der der Verlag Zensurbehörden und Moralapostel offen provozieren will. Wir alle erinnern uns an die Beschlagnahmungs-Skandale um den Alpha-Verlag vor nicht allzu langer Zeit - Extrem Erfolgreich Enterprises will und wird die unhaltbaren Zustände in diesem Land ändern. Bela B. ist allein schon finanziell kein so wehrloses Opfer wie der Alpha-Verlag. Schritt für Schritt werden EEE die BPS und Konsorten an eine härtere Gangart gewöhnen. Die zweite Hürde ist soeben genommen - Faust 2 erschien noch mit dem Aufdruck "Nur für Erwachsene", aber nicht mehr eingeschweißt. Die dritte Hürde wird Ende des Jahres genommen. Dann erscheinen die noch gewagteren Serien "Death Dealer" und "Satanika" des US-Verlages "Verotik" (Glenn Danzig) bei EEE. In diesen wird es dann auch ohne Ende übertrieben lange erigierte Geschlechtsteile zu sehen geben. Fazit: "Faust" ist der wichtige Beginn von nichts weniger als einer lang überfälligen, puren Revolution. Jo84 (Vielleicht sollte man fairerweise anmerken, daß die Bundesprüfstelle für jugendgefährdende Schriften schon länger nicht mehr der Hauptfeind der Revolution ist. aa)


Mad # 1 (Oktober 1998). 52 Seiten, farbig, Mad-Format, 5 Mark. Dino
Viele der Comiczeichner, die ich in den vergangenen Jahren für PLOP interviewt und porträtiert habe, sagen, daß sie unter anderem von Mad stark beeinflußt seien. Mad war nicht nur außerordentlich einflußreich. Es war eine Ausnahmeerscheinung auf dem deutschen Zeitschriftenmarkt - nicht weniger als in USA. Und jetzt ist Mad wieder da. Auf dem Cover grinst mir der gute alte Alfred E. Neumann entgegen und scheint mir zu sagen: Wir haben uns doch schon mal irgendwo gesehen, gell? "Der neue Kanzler" steht darunter. Nach der Lektüre des Hefts beschlich mich der Gedanke: Das neue Mad verhält sich zum alten etwa so wie Gerhard Schröder zu Willy Brandt. Mad ist eine Mogelpackung, aber es paßt wohl in die Zeit. Ich bin kein Mad-Purist, und es würde mir nicht einfallen zu fordern, das Heft hätte nur als perfekte Kopie des Klaus-Recht-Produkts erscheinen dürfen (dessen Geist und Aufmachung eng an das US-Original angelehnt waren). Jeder Verlag sollte stets die Chance nutzen, auch einem Lizenzprodukt seinen eigenen Stempel aufzudrücken. Vielleicht kommt etwas besseres heraus als das Original. Aber wie Dino-Mad vom verblichenen Vorbild abweicht, ist doch aufschlußreich - und bedauerlich. Die Anfänge von Harvey Kurtzmans Mad habe ich nicht mitbekommen, aber ich mache vermutlich keinen Fehler, wenn ich die Entstehung dieses Satiremagazins als Reaktion auf die beginnende Fernsehkultur in den 50er Jahren verstehe. Das läßt sich natürlich nicht nur an den Parodien auf Fernsehserien ablesen; zumindest in der Anfangszeit dürfte es weit mehr Kino-Parodien gegeben haben. Mad beobachtet und karikiert den American Way of Life. Dazu gehörte natürlich immer auch vieles andere, doch vor allem wurde die Nation seit den 50er Jahren vom TV und der sie begleitenden Werbung geprägt. Die Mad-Redakteure und Zeichner haben von der Fernsehkultur keine hohe Meinung - im Gegenteil, was sie vom Fernsehen halten, grenzt an Beleidigung. Deshalb ist es keine Marginalie, daß Mad jetzt ausgerechnet im Gefolge der TV-Comedy-Serie "Mad-TV" zurückkehrt. Über Mad-TV selbst kann ich nichts sagen, da ich zur Zeit keinen Fernsehapparat besitze. Ich befürchte nicht, daß Mad auf dem Bildschirm seine Bissigkeit verliert. Ist auch gar nicht nötig. Auch Veranstaltungen wie Kalkofes Mattscheibe haben schließlich nicht dazu geführt, daß Programmplaner mal in sich gegangen sind, Fernsehmoderatoren ihren Rücktritt erklärt oder Medienkonzerne auf den Start eines neuen Spartenkanals verzichtet haben. Das Fernsehen absorbiert alles und verwandelt es mühelos in TV-Müll, der dann den treuen Konsumenten von neuem ins Hirn gestopft wird. Jetzt ist also Mad "das Heft zur bekannten Fernsehserie". Das bedeutet zunächst, daß wir in der Heftmitte - präsentiert von RTL - das zwölfseitige Heft "Mad-TV" finden. Daß hier lauter Fernseh-Scherze versammelt sind, ist ein reines Mißverständnis. Denn all das gehört natürlich in Mad und nicht in "Mad-TV". Es ist für mich allerdings Indiz dafür, daß das neue Mad überhaupt Mad-TV heißen müßte, was Dino notdürftig kaschiert hat. In Mad-TV kann es neuerdings natürlich auch Werbung geben - zwei Seiten Eigenanzeigen und eine Seite Carlsen. Vielleicht schalten demnächst auch andere Firmen, die sich an ein jugendliches Zielpublikum wenden. Und letztlich sind die zwölf Seiten Mad-TV zwölf Seiten Werbung - für RTL, für Verona Feldbusch, Harald Schmidt, Ingolf Lück und die ganze übrige Privatsender-Bagage. Da wir nicht mehr im Jahr 1970 leben und inzwischen jeder einen Farbfernseher hat, ist auch das neue Mad jetzt farbig. Die Redaktion hat gerade noch davor zurückgeschreckt, die filigranen Schwarzweißzeichnungen von Angelo Torres buntzumalen, und ein paar Seiten Mad-Classics (Don Martin, Antonio Prohias) bloß ein wenig eingegilbt. Sicher wirken Dave Berg- oder Duck-Edwing-Comics auch farbig nicht schlecht; die Cartoons von Sergio Aragones sind sogar mit viel Liebe pastellig eingefärbt worden - von dem uns allen bekannten "Holger Brommer" übrigens (das "R" im Nachnamen hat sich die Redaktion offenbar bei Fred Fröhn ausgeborgt). Aber der Verzicht auf Farbe - außer auf den Umschlagseiten - war auch ein Ausdruck des Protests gegen die bonbonfarbige Werbewelt des Fernsehens. Mads monatlicher Almanach scheint zu fehlen, hat es zunächst den Anschein, ist durch ein Inhaltsverzeichnis von geringem Nutzen ersetzt (vielleicht ein Zugeständnis an Leute, die gern am Kiosk herumblättern). Ganz hinten findet er sich dann doch, aber er ist nur ein Schatten früherer Tage. Leserbriefe und Kummerkasten-Anfragen gibt es bereits wieder, werden aber ziemlich lahmarschig beantwortet. Der Almanach wie auch die respektlos und virtuos kommentierten Briefe waren früher eine Domäne des Red. Herbert Feuerstein, der Mad bekanntlich einige Jahre vor der Einstellung den Rücken gekehrt hat und bezeichnenderweise zum Fernsehen gegangen ist. Schon damals ist das Magazin ein Stückchen gestorben. Um auf den Vergleich von oben zurückzukommen: Willy Brandt war einst Widerstandskämpfer und als Politiker eine überzeugende Persönlichkeit; mit seinem Amtsantritt hat sich in Deutschland vieles verändert. Kanzler Schröder wird wohl wenig ändern und hat das auch gar nicht vor, aber er kommt im Fernsehen gut rüber. "Mad-TV" ist die erste Zeitschrift der Ära Schröder, und das ist kein Zufall. Die Wiederauferstehung von Mad fällt leider aus. aa


Happy Birthday Micky Maus 1998. Album. Eha-pa
Micky wird 70! Komisch, irgendwie hat der Mäuserich dauernd Jubiläum. Das zeigt schön, wie man älter wird. Wer außer mir erinnert sich noch an den Band "Micky - 40 Jahre jung"? Das waren noch Zeiten, Herr Maus! Das Album gefällt mir nicht übel, vor allem die erste Story mit Gamma (im Original "Eg a Beva" = Eager Beaver - get it?) von Floyd Gottfredson aus dem Jahre 1947 ist interessant. Gamma sah noch komischer aus als später in den italienischen Lustigen Taschenbüchern (zum Beispiel Band 2 und 9). Auch die Story von Paul Murry kommt gut. Erstaunlich, daß es noch unveröffentlichtes Material aus so frühen Micky-Tagen gibt. Herod


Micky Maus präsentiert # 24. 70 Jahre Micky. 98 Seiten, Comicbookformat. Ehapa
Bescheidener, aber auch interessant gibt sich dieses Sonderheft. Hier kommen neben Gottfredson auch gute Italiener wie Scarpa und Luciano Gatto zum Einsatz, die auch in den ersten 20 LTB manche Micky-Legende gebracht haben. Party on! Auf die künstliche Rahmenhandlung hätte man aber verzichten können; die reicht nicht an die alten DD-"Vorgeschichten" heran. Herod


Walt Disneys Lustiges Taschenbuch. Weihnachten in Entenhausen # 5. Ehapa
Unbesungen sind diese Weihnachts-Specials, die es nun auch schon seit fünf Jahren bei uns gibt. Die Qualität dieser italienischen Donald- und Micky-Co-mics ist erstaunlich hoch, und die märchenhaften Weihnachts-Einfälle sind sogar noch für einen Altfan wie mich lesbar, der sich doch schon so zirka 30 Jahre im Comic-Blätterwald herumtreibt. Interessant ist hier vor allem, wie menschlich Kater Karlo oft in den Weihnachtsstories rüberkommt. Nichts für Leute, die's witzig finden, wenn Lobo den Weihnachtsmann plattmacht (kein Gag, sondern angekündigtes X-Mas-Special von Dino), aber dafür für die restlichen Millionen von Comiclesern. Herod


Strapazin # 52. 100 Seiten, s/w mit Farbteil, DIN A 4. 10 Mark. Meiler Verlag, München
Strapazin # 52 ist wieder mal ein Höhepunkt der Reihe. In diesem Heft verbergen sich hinter einem Tim und Struppi-Cover von Pierre Thomé Comics und Artikel zum Thema "Comic-Reportagen" von Joe Sacco, David B., Jean-Claude Menu und Mauricé Vellekoop. Ergänzt wird das Heft durch Strips verschiedener Künstler und einem Einseiter von Katz und Goldt. Vom Umfang her ist das Heft fast ein Joe Sacco-Special geworden. 41 Seiten lang ist sein Comic "Soba", der aus Erinnerungen an seine Bosnienreise von September 1995 bis Februar 1996 entstand und den bosnischen Undergroundstar gleichen Namens als Titelheld trägt. Sacco, über die Grenzen Amerikas hinaus vor allem als Gestalter von Plattenhüllen (Miracle Workers, Speedniggs und andere) bekannt geworden, betrachtet in diesem Comic das alltägliche Leben in Sarajewo und Umgebung, wie es die Medien nie einfangen, weil es oft auch einfach nicht spektakulär genug ist. Der im Original bei "Drawn & Quarterly" erschienene Comic schafft es, ein Bild jenseits des puren Mitleids für die Menschen zu schaffen und über den Umweg Comic Leute für das Thema zu sensibilisieren, die sich sonst niemals damit befassen würden (wie zum Beispiel mich). Menus Bericht über seine Ägypten-Reise nimmt nur 15 Seiten in Anspruch, führt den Leser aber für noch längere Zeit in ein anderes Land, da es den Schwerpunkt eher auf den Text als auf das Bild legt. David B. hielt sich zum selben Zeitpunkt in einer anderen Stadt Ägyptens auf und schildert die Reportage auf ebenfalls 15 Seiten. Beide Mitglieder der Zeichnervereinigung "Association" schaffen es, ein unabhängiges Bild des heutigen Ägypten zu schaffen, in das sie im Rahmen eines kulturellen Austauschprogramms geschickt wurden, um genau dies zu tun. Das Ergebnis mußte das Außenministerium leider als "diplomatisch unkorrekt" einstufen und sich davon distanzieren, da es wohl nicht lobhudelnd genug ausfiel. Ebenfalls interessant der Dreiseiter "The Life of Heinz August Plotz 1899 - 1963", eine reine Biografie in Comicform. Im Vergleich zu den drei anderen Comics kann das Lebenswerk des Musikers natürlich nicht so fesseln. Lobend erwähnen muß man trotzdem die Wahl der Comics aus aller Welt und auch deren Bearbeitung. Wenn man zum Beispiel die Originalschrift von Menu schlecht entziffern kann, wird das natürlich übernommen. Alle Beiträge behalten ihren Originalcharakter. Lobenswert ist vor allem die Entwicklung, sich mehr und mehr von diesen Möchtegernkünstlern zu lösen, die Strapazin lange Zeit zu einem Pseudo-Kunstblatt degradierten - völlig zu Unrecht. Jo84


Batman Sonderheft # 1. Batman & Mr. Freeze: Eiszeit. 58 Seiten. Dino
Eine Adaption des neuen Batman-Zeichentrick OAV (Original Animated Video) in der gewohnt ansprechenden "Animated"-Stilrichtung, die immer ein bißchen so wirkt, als hätte man einem halbwegs routinierten belgischen Ligne-Claire-zeichner zwei Wochen Zeit und zu wenig Gage gegeben. Die Story funktioniert, ist aber auch für einen Cartoon- und Superheldenfan wie mich nichts Außergewöhnliches. Herod


JLA-Sonderband # 5. Final Night. Trade-Paper-back. Dino
In diesem Band sind nun der langatmige Auftakt (Final Night Preview), die eigentliche Final Night-Serie und der Band "Green Latern - Emerald Night" zu durchaus erschwinglichem Preis gesammelt. So ganz wächst das Ganze nicht als Erzählung zusammen, ist aber schon wegen Parallax' Rückkehr und Ende (?) interessant. Hal Jordan (die echte Silver Age-Green Latern) opfert sich nach seinem Ego-Trip in "Zero Hour" auf und erneuert die Sonne, aber der Mann hat mindestens so viele Leben wie Dr. Octopus, würde ich sagen... Verdienstvoll ist der Dokumentationsteil, in dem auch Teile der "Final Night" vorgestellt werden, die bei uns nicht erscheinen (Ausgaben von "Spectre", "Hitman", "Sovereign Seven" und andere). Die meisten anderen Verlage tun ja immer so, als ob es weitere Serien gar nicht gäbe. Herod


Lobo # 13. Dino
Lobo soll der "Rocker" unter den superstarken Figuren des DC-Universums sein. "Erfrischend" unmoralisch, brutal, gewalttätig, versoffen und ach so cool. Das Konzept funktioniert nicht immer. In einigen Geschichten wirkt er erfrischend ehrlich und auch irgendwie be-freiend, viel öfter aber wirkt die Sache ärgerlich, unnötig brutal und dämlich. So richtig was für "Werner "-Leser, finde ich. In dieser Ausgabe hat Lobo Geburtstag und bekommt von seinen außerirdischen Kumpanen in einer Geschenkschachtel die "Brüder Kalaschnikow" geschenkt. Nach kurzer Ballerei schlachtet er sie ab, während die Gäste "Happy Birthday" singen. Ist das noch Humor? Satire? Spaß? Bei mir ist's nicht als solches angekommen. Die Zweitgeschichte ist auch noch mies gezeichnet. Mein Fazit: Lobo werd' ich mir nicht mehr antun. Herod


Superman Special # 9. 100 Seiten. Dino
Erstaunlich interessant fand ich diesen Auftakt zur Crossover-Reihe "Final Night", in der etwas im DC-Universum der Sonne ihre Kraft entzieht, wobei Winter und Nacht über die Erde hereinbrechen und das Volk ganz schön durchdreht. Stimmungsvolle Bilder und die unterschiedlichen Reaktionen der Helden und Schurken knüpfen an die besten dieser Stories an, die mehrere Serien oder auch mal das ganze Heldenuniversum umspannen können. Neben Superman kommen hier auch Captain Marvel (SHAZAM!) und Supergirl zum Einsatz, die gegen Gorilla Grodd kämpft (kicher!). Herod


Wild C.A.T.S. / X-Men # 3. The Modern Age. Nicht paginiert. Splitter
Daß die X-Men ein Kult waren, weiß jeder: Bunt, knallig und für die 70er Jahre durchaus gewagt liefen sie unter Claremont und Byrne der damals müden JLA und anderen Superteams den Rang ab. Wer die X-Men-Hefte immer noch liest, würde mich interessieren. Die Stories wirken langatmig, aktionsarm, und vor allem wird in schönster Seifenoper-Manier seit bestimmt 15 Jahren nicht mehr der Versuch gemacht, etwas zu erklären, was vorher passiert ist. Das Konzept dieses Crossovers ist gut: In vier Teilen soll schlaglichtartig die "Geschichte" der beiden Teams "Wild C.A.T.S." (von Image - gähn) und der X-Men über mehr als 50 Jahre erzählt werden. Zwar wußte ich nicht, daß Wolverine so alt ist, daß er schon im Zweiten Weltkrieg herumsockte, aber daß zu einer so guten Möglichkeit, die Geschichte der Superheldencomics Revue passieren zu lassen (von den desorientierten "Mystery Men" der 40er ("Golden Age") über die Pop Art-Helden der 60er ("Silver Age") bis hin zu den bombastisch-kosmischen 70er-Knallern ("Modern Age") und das unrühmlich-düstere Nachspiel der 80er/ 90er ("Lead Age") den Autoren nichts besseres eingefallen ist als langweilige Balgereien mit "Dämoniten" (würg) und eine viel zu aufgesetzte Auseinandersetzung mit der Ethik der beiden Gruppen auf ganzen zwei (!) Seiten, ist enttäuschend. (Storm: "Töten scheint euch wirklich leicht zu fallen." - Eine der 37 Wildcats-Tanten: "Ist das für euch ein Problem?" - Storm: "Ja, und der Mann, der uns anführt (d. i. Professor Xavier), wäre entsetzt.") Gähn! Herod


Teletubbies Annual 1999. 64 Seiten, gebunden, 5,50 Pfund. World International Ltd.
Sie sind bunt, tragen Antennen auf dem Kopf, Fernsehschirme auf dem Bauch, tanzen und singen gern und haben einander mindestens so lieb wie Guildo uns alle: die rätselhaften Cyborg-Babies aus Großbritannien, Eh-oh! Der Hintergedanke bei den Tubbies ist, Kinder auf spielerische Weise an unsere mittlerweile technisierte Umwelt zu gewöhnen. So gehen die Kleinen ganz selbstverständlich mit Essensmaschinen, Holoprojektionen, Lautsprechern und "Noo-noo" um, ihrem intelligenten Staubsauger. Schwer zu beschreiben, aber die Tubbies haben ein seltsames Appeal aus Niedlichkeit und völliger Wirklichkeitsferne, das sie geradezu hypnotisch macht, etwa wie bei Barbapapa. Dies ist schon das zweite Jahrbuch des britischen Puppentrick-Hits, der mittlerweile auch in Belgien und in den Niederlanden ein riesiger Erfolg ist. Neben recht gut gemachten Foto-Stories (brillant hierbei "The Butterfly" oder "Tubby Toast") gibtg es auch Rätsel, Spiele und Ausmalseiten. "Teletubbies" ist halt was für die Kleinen und für die junggebliebenen Großen.. Extra-Tip: Den original "Tubbytronic-Drink" gibt's bei Marks & Spencer auch bei uns. Herod


The Wombles Annual 1999. 64 Seiten, gebunden, 5,50 Pfund. World International Ltd.
"Umwelt fängt an vor der eigenen Tür, / Wombles sind Wesen, die tun was dafür. / Fleißig und freundlich und sauber sind sie; / jeder muß wombeln, denn sonst klappt es nie." So ging der Titelsong der deutschen Fassung, die uns vor zirka 20 Jahren im Fernsehen erfreute. In England haben die kleinen Pelztiere ein glanzvolles Comeback, die angeblich im Wimbledonpark unter der Erde leben und all ihren Bedarf durch Recycling der Abfälle decken, die die Menschen so verstreuen. Es gibt sogar ein paar neue Figuren (Obidos? Stepney?), und der MacWomble hat nun endlich einen ordentlichen Namen: "Cairngorm Mac Womble". Das Buch ist ähnlich wie das der Tubbies mit Vorlesegeschichten, Fotos und Bildgeschichten ausgestattet. Herod


Leider keine Rezension von "Die Spinne - Das fehlende Jahr" im Vertrieb von Marvel Deutschland
Die Zeit heilt manche Wunden - aber davon später mehr. Mir war zu Ohren gekommen, daß im Herbst ein Schuber in den Handel kommen sollte, darin 14 Hefte, genau die fehlenden Hefte zwischen der Einstellung der Serie "Die Spinne" beim Hamburger Williams Verlag 1980 und der Fortsetzung von "Der berühmte Superheld Spiderman genannt Die Spinne" bei Condor in Frankfurt 1981. Ich erinnerte mich daran, daß mir der Tod von Peter Parkers Freundin Gwen Stacy damals ziemlich nahegegangen war, und freute mich also, nun ein paar Ausgaben erwerben zu können, die nur kurze Zeit nach diesem denkwürdigen Ereignis erschienen waren (aber nicht in Deutschland). In Augsburg im Hunoldsgraben 11 gibt es einen Comicladen namens "Comic Time" (dies ist keine Schleichwerbung). Eines Tages im Oktober stattete ich diesem Laden einen Besuch ab. Er war ziemlich leer. Am Tresen unterhielt sich ein Verkäufer mit einem Kunden - offenbar über ein Fantasyspiel. Ich wollte das angeregte Gespräch nicht unterbrechen und sah mich zunächst allein im Geschäft um. Dann erkundigte ich mich doch nach dem Schuber. "Die Spinne? Was soll'n das sein?" fragte der Verkäufer orientierungslos zurück. Doch beim Stichwort "Marvel Deutschland" fiel der Groschen. Noch nicht erschienen, war seine Auskunft, ich solle am besten ein paar Wochen später nochmal nachfragen. Dann wandte er sich rasch wieder dem Thema Zwerge, Magier und Drachen zu. Als ich zwei Wochen darauf dem Laden einen erneuten Besuch abstattete, wurde ich wieder um ein paar Wochen vertröstet. Mitte November kehrte ich schließlich, mit nicht allzu hochgesteckten Erwartungen, zum zweiten Mal zurück. Doch zu meiner Überraschung sagte der Fantasy-Fan diesmal: "Freitag hatten wir Die Spinne da, ich glaube, drei Exemplare. Sind aber alle schon weg." Als er mein enttäuschtes Gesicht sah, schob er die Bemerkung nach: "Hattest du denn nicht bestellt?" Tja, hätte ich ja gern gemacht. Aber nun war es zu spät. "Paß auf", sagte mir der Mann gönnerhaft, "vielleicht kriegen wir das Ding nochmal rein. Aber da mußt du schon den Chef fragen, ob wir nochmal bestellen. Der ist immer dienstags da und manchmal freitags nachmittags." Der Chef ist ein gewisser Thierry Zeller. Ich rief ihn also an. "Ja, wir bestellen nochmal", nuschelte er ins Telefon, "Gib mir deine Telefonnummer; wir sagen dir Bescheid, wenn Die Spinne wieder reinkommt." Die seither vergangenen vier Wochen habe ich dazu benutzt, mal mit mir über mein Verhältnis zu Gwen Stacy ins Reine zu kommen. Eigentlich habe ich ihren Tod inzwischen doch soweit verwunden. Die Zeit - siehe oben. Das gesparte Geld, knapp 60 Mark, habe ich in den Druck dieses PLOP-Hefts gesteckt. aa


Comics, die wir gerne sehen würden:
Schimpanski vs. Derrick von Martin Brei Sailor Moon vs. Dragon Ball Godzilla vs. Teletubbies Suske & Wiske vs. Tintin Direktor Dr. Frelinger, Band IV Reino, Band 10 (just joking) Bradi Bombax, Band 3 AC Reader # 3 (oder gibt's den?) Herod

Den AC Reader # 3 werde ich vielleicht mal produzieren, wenn ich die restlichen etwa 200 Exemplare des AC Reader # 2 verkauft habe, die sich noch in meinem Keller stapeln. aa





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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 55
Besprechungen






Andy: Mumpitz # 1. 24 Seiten, s/w, DIN A 6, 1 Euro. Andy, P.O.Box 8892, London SW 15, England.
Der umtriebige Andy Konky Kru vertreibt und zeichnet in seinem Dachshund Vertrieb deutsche und englische Undergroundcomix und -cartoons, wie langjährige PLOP-Leser bereits wissen dürften. Vorliegendes, schon etwas älteres Werk hat er mal wieder gänzlich selbst gezeichnet. Acht lustige kleine Geschichtchen ohne Worte sind's diesmal geworden, deren Pointen meistens zünden und noch dabei überraschen. Zeichnerisch ist dabei alles eher minimalistisch gehalten, aber Andy ist kein Fauler, sondern macht dafür lieber etwas mehr. "Mumpitz" trifft als Name natürlich voll ins Schwarze. Mal sehen, wie sein nächstes Werk heißt. Jo84



Rainer Baldermann: Familie Brutalinski. 12 Seiten, s/w, Piccoloformat (10 x 21 Zentimeter). Rainer Baldermann, Hasenhöhe 26, 22587 Hamburg.
PLOP-Lesern dürfte Rainer Baldermann kein Unbekannter sein. Der Humorist mit dem Hang zur Schmierfink-Zeichnung veröffentlichte bisher in diversen Fanzines und ein Buch mit dem Titel "Tu doch was, du Arsch". Jahrelang mußte man ihn beknien, seine beliebteste Story "Familie Brutalinski" in weiteren Geschichten zu verarbeiten. Nun gibt es die Eigenarten dieser Proletenfamilie à la Flodder als ersten Piccolo, der als Werbung für Herausgeber gedacht ist. Das Material wird demnächst vollständig in Sprühende Phantasie # 18 und Menschenblut zum Abdruck kommen. Jo84



Andreas Fecke: Stones # 2 und 3; Salz + Pfeffer; Querbeet. 20 bis 24 Seiten, s/w, DIN A 5. Andreas Fecke, Garfelner Straße 41, 59558 Lippstadt.
Erst mal rekapitulieren: Es gibt die Schach-Stripserie "... und matt", die Go-Serie "Stones", dann "Rübenzwei", und "Moe", Salz- und Pfefferstreuer haben auch eine eigene Serie. Aber das ist längst noch nicht alles, was Andreas Fecke so produziert. In seinem Querbeet-Heft sind neben Einzelgags auch noch Ansätze weiterer Serien zu finden: König und Hofnarr ("Ralf"), Geschützmeister und Kanonenkugel ("fiat lux"), Gummiball ("Flumi") und Engel ("Wolke 7"). Er ist gleichsam ein Ein-Mann-Bulls-Pressedienst, wenngleich er meines Wissens seine Strips noch nicht bei Zeitungen untergebracht hat. Schade, denn er hat das Zeug, Jim Davis, Dik Browne und anderen das Wasser zu reichen. Er hat vor allem die beneidenswerte Fähigkeit, wie sie aus einer begrenzten Grundsituation immer wieder neue Gags zu gewinnen. Vielleicht fehlt ihm noch das richtige massenwirksame Thema. (Anmerkung zum Preis der Hefte: "Stones" # 2 kostet 2 Mark, "Querbeet" 3 Mark; bei den übrigen Heften ist keiner angegeben.) aa



Klaus N. Frick: Enpunkt # 31 und 32. 64, bzw. 68 Seiten, s/w, DIN A 5, 3,50 Mark. Klaus N. Frick, Hirschstraße 63, 76133 Karlsruhe.
Klaus N. Frick schreibt über alles, was ihm so auffällt, und das ist wirklich eine ganze Menge. Auch ein Punkkonzert, auf dem eigentlich nicht viel Spektakuläres passiert, ist ihm einen Bericht wert, und man liest es trotzdem gespannt und amüsiert, es ist ja auch eine nicht unbedeutende Facette seiner Punk-Welt. Der Autor läßt sich sonst auch über Rauchen, Piercing, Vinyl, die Pop-Komm, Politik und den Katholikentag aus und hat keine Mühe, zu all dem eine persönliche Meinung zu äußern. Ich denke, hier möchte jemand ganz bewußt eine Gegenöffentlichkeit herstellen - gegen die professionellen Schreiber, die allzu oft nichts zu sagen haben, gegen Dummschwätzer, die vor dem Reden nicht genug nachdenken, und nicht zuletzt gegen Konservative, die einen Gutteil der öffentlichen Meinung bestimmen. aa



Matthias Kothe: Matatu # 4. Sprachstaub. 24 Seiten, DIN A 5. Matthias Kothe, Herschelstraße 2, 22147 Hamburg.
"Sprachstaub" hat, wie der Name schon vermuten läßt, nichts mit Comics zu tun. Es handelt sich um eine Art Schulheft mit literarischen Werken, teils Kurzgeschichten, teils etwas, das Lyrik nahekommt. Dazu gibt es als ergänzende Illus Wasserfarben-Spritz-Bilder (natürlich in schwarz-weiß). Seltsam, seltsam. Aber auch sowas ist mal fein. Jo84



Till Lenecke: Comiczeichner + Erzieher. 96 Sei-ten, s/w, DIN A 5. Till Lenecke, Gähler Straße 15, 22767 Hamburg.
Mittlerweile dürfte der Name Till Lenecke ein Begriff sein. Der Hamburger Comiczeichner mit dem Faible für Architektur und Schiffahrt ist beruflich ebenso wie ich eigentlich Erzieher. Irgendwann fiel ihm auf, daß er auch eigentlich fast nur noch Comiczeichner und Erzieher kennt. So erklärt sich der seltsame Name des schönen Skizzenbuchs, das vor allem die Architektur alter Häuser, Gesichter, Natur und Schiffe zum Thema hat. Angereichert ist der interessante Einblick in die Scribblewirtschaft eines Könners mit teilweise längeren Kommentaren des Autors, die jedoch nicht immer ganz leicht zu entziffern sind. Jo84



Petra: Wildwechsel / Matthias Reuter: Nix zu lachen. 36 Seiten, s/w mit Farbcover, DIN A 5, 5,90 Mark. Fake Press, Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen.
Mit den beiden Serien kann Fake Press gegen Dino oder Splitter sicher noch nicht anstinken. Aber insbesondere "Wildwechsel", der erste Teil einer Fortsetzungsgeschichte, beginnt recht vielversprechend. Ausgangspunkt ist eine ganz normale Beziehungskiste, aber offenbar von einer Frau ("Petra") aus der Sicht des männlichen Protagonisten geschildert, der leider (noch) keinen Namen bekommen hat. Der Junge hat so seine Schwierigkeiten mit dem neuen Rollenverständnis von Männern und Frauen und begegnet den Problemen sowohl in der Realität als auch in seinen Träumen. "Nix zu lachen" ist dagegen eine Sammlung von witzigen Kurzcomics. Fake Press wollen nach diesem Muster weiter Comics unbekannter Zeichner veröffentlichen, die möglichst keine großen Honorarforderungen stellen. Zusendung von Material ist erwünscht. aa






Kim Schmidt: Local Heroes # 2. 64 Seiten, teilweise farbig, DIN A 5 quer, 14,80 Mark. Flying Kiwi Verlag / Edition SH:Z (Schleswig-Holsteinischer Zeitungsverlag).
Auf dem Fanzinemarkt ist es etwas ruhiger um Tausendsassa Kim Schmidt geworden, da der Künstler mit seinen Arbeiten für den Carlsen Verlag endgültig in die Reihe der Vollprofis aufgestiegen ist. In der verbleibenden Zeit entwirft er Strips und halbseitige Einzelbildcartoons für norddeutsche Zeitungen, von denen bereits einige zum Band "Local Heroes" # 1 zusammengefaßt wurden. Nun folgt also Band 2, dessen Gags wiederum allesamt auf den norddeutschen Markt zugeschnitten sind. Kühe, Schweine, Hühner oder Bauern sind die Protagonisten des Flachlandhumors, mit dem wieder mal nicht gespart wird. Besonders schön finde ich, daß genau die Hälfte der Seiten in Farbe gehalten sind, denn Kim ist ein Meister der Colorierung mit Copic-Markern. Ich befürchte als einziges Manko, daß das Werk wegen seines obskuren Verlags nicht in vielen Fachbuchhandlungen im Süden oder in der Mitte der Republik zu bekommen sein wird. Es gibt übrigens auch ein Kartenspiel mit den Figuren der Local Heroes. Diese und auch die Herz-, Pik-, Kreuz- und Karokarten sind komplett liebevoll mit der Hand gezeichnet und liegen beim Spielen auch gut in eben jener. Sie sind für 9,50 Mark beim Flying Kiwi Verlag erhältlich. Jo84



Henning Way: Dragon + Don Peterano. Die Zeiteiche. 80 Seiten, s/w mit Farbcover, Softcoveralbum, 12 Mark. Honker Faun Edition by Henning Way und Wiesenmüller, Tieckstraße 3, 30625 Hannover.
Bei Henning Way spürt man die pure Lust am Fabulieren, die sich allein schon im Gesamtumfang der insgesamt vier Geschichten ausdrückt. Aber nicht nur darin. Henning Way phantasiert sich unbekümmert eine Urzeit mit sprechenden Dinosauriern und anderen Fabelwesen zusammen, und man merkt beim Lesen, welchen Spaß es ihm macht, diese Welt zusammen mit seinen Figuren zu durchstreifen. Er läßt sie sogar durch die Zeit reisen und in den Weltraum fliegen. Henning Way erzählt allerdings nicht zielgerichtet, sondern umherschweifend. Wie die beiden Saurier versehentlich an Bord der "WASA "-Rakete geraten, reimt er sich in vielen überraschenden Details zusammen; der Flug selbst ist dann nur noch eine verhältnismäßig kurze Episode. Ähnlich wie er erzählt, zeichnet Hening Way auch - mit viel Liebe zum Detail, ausschmückend, aber ohne klare Linie. Die Comics sind allerdings teilweise schon zehn Jahre alt - vielleicht ein Frühwerk. aa



Henning Way / Manfred Lafrentz: Eupoxes Faunenwelt. 52 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 10 Mark. Honker Faun Edition by Henning Way und Wiesenmüller, Tieckstraße 3, 30625 Hannover.
Ein Fischerjunge gerät Schritt für Schritt in eine archaische, mythische Welt und erfüllt schließlich alle Aufträge, die ihm auf seiner Reise aufgetragen worden sind. Henning Way sind die Details seiner Geschichte offenbar so wichtig, daß er die Spannung vernachlässigt. Der Leser gerät nie in Gefahr, sich mit einer der Figuren zu identifizieren oder sich gar über die Lösung der Geschichte Gedanken zu machen. Manfred Lafrentz hat das Ganze allerdings sehr ansprechend illustriert - in gleichmäßig guter Qualität und ohne alle grafische Effekthascherei. Ein Augenschmaus. aa



Wittek: Ersatzflüssigkeit # 1. 32 Seiten, s/w auf ockerfarbenem Papier, DIN A 5, 5 Mark. Wittek, Schulweg 29, 20259 Hamburg.
Der Hamburger Tausendsassa Wittek ist wohl mittlerweile einer der produktivsten und dabei trotzdem qualitativ besten Zeichner des Landes. "Ersatzflüssigkeit" war ein Witteksches Comicprojekt an der FH für Gestaltung in Hamburg. Begonnen am 10. Juni 1995, sollten genau ein Jahr lang Einseiter nach dem Stille-Post-Prinzip gemacht werden, wobei jedes Blatt bereits nach einem Panel an den nächsten Zeichner weitergereicht werden sollte. Es entstanden rund 300 Seiten Jam-Comic, die am 10. Juni 1996 in der FH ausgestellt wurden. Vorliegendes erstes Heft bringt zum Eingewöhnen jedoch erst mal eine Solostory von Wittek, bevor auf Seite 22 die Jam-Comics beginnen. Der gesamte Inhalt des witzigen Hefts ist ein ziemlich zusammenhangloser Quatsch, aber witzig. Helden der ersten Geschichte sind der Detektiv Nick Knackerton und Hannelore Kohl, der ihre Ziegelsteinklunker gestohlen werden. Die Reihe ist auf ungefähr zehn Hefte angelegt. Jo84



Battrock # 1. 28 Seiten, s/w, DIN A 5. 2 Mark plus Porto. Markus Behrendt, Holwiesenweg 2, 32547 Bad Oeynhausen
Battrock ist ein Punkzine aus Bad Oeynhausen. Wer diese Rentner- und Pflegestadt kennt, weiß, daß das allein schon ein Kuriosum ist. Jedenfalls hat Herausgeber Markus Behrendt viel Ahnung von Layout. Das Heft sieht gut und interessant aus und ist mit viel Witz geschrieben. Politisch und thematisch fällt das Heft nicht so aus dem Rahmen von Punkzines. Markus ist allerdings für alles offen und sucht auch noch Mitarbeiter, die Texte, Comics, Kochrezepte (!) oder Beiträge zu einem Tapesampler zusammenstellen. Obwohl Markus Band 1 fast im Alleingang erstellt hat, zählt Battrock jetzt schon zu den besseren Punkzines. Jo84



cARToon (April 1999). 48 Seiten, s/w, DIN A 6. Comicbüro, Postfach 2810, 37018 Göttingen.
Ich weiß nicht, die wievielte Ausgabe von cARToon dies ist, denn es ist nicht auf dem dunkelroten Umschlag vermerkt. Das bekannte Konzept, nur Cartoons abzudrucken und dadurch speziell Zeichner von Cartoons zu fördern, hat Herausgeber Kai-Michael Moebus jedenfalls beibehalten. Aber diese Ausgabe bietet mehr als nur Cartoons von 14 Zeichnern. Das Heft beginnt mit Arbeiten des bereits 1973 verstorbenen Cartoonisten Bosc, über den Viola Sporleder einen interessanten Lebenslauf verfaßt hat. Dieses Konzept sollte man beibehalten. Vielleicht sogar jedem Zeichner einen kurzen Lebenslauf widmen. Unter den Mitwirkenden findet man diesmal wieder etliche Comiczeichner wie W. P. Berres, Rainer Baldermann, Wittek, Thomas Mönnich, Willi Blöß, Bernd Teuber sowie Anja & Joy; nur wenige sind nicht so bekannt. Von den Cartoons hat mich keiner so richtig umgehauen, aber Michael kann natürlich auch nur drucken, was ihm zugeschickt wird. Das Konzept und die Aufma-chung stimmen jedenfalls - jetzt liegt's an euch, das Heft durch Mitarbeit zu gestalten. Jo84




cOMic# 36 und 37 Je 28 Seiten, s/w, DIN A 5. Im Tausch gegen Beiträge oder andere Fanzines bei Gerd Bonau, Schleswiger Straße 9, 24392 Süderbrarup.
Ich finde Omi längst nicht mehr so interessant wie in der Anfangszeit, aber da werden doch Comics liebevoll und mit Bedacht präsentiert. Gerd schöpft heute weitgehend aus dem gleichen Reservoir wie PLOP (Manfred Lafrentz, Till Lenecke, Ulrich Magin, Anja & Joy, Andreas Fecke, Bernd Teuber), und doch veröffentlicht er alles exklusiv. Seine Artikelreihe über Marvel-Zeichner setzt er mit Marie Severin und Joe Sinnott fort (man meint wiederum, er weiß mehr, als er uns mitzuteilen gewillt ist). Rezensionen sind bei Gerd immer ultrakurz, aber die pointierten Aussagen zeigen: Er schreibt absichtlich so. aa



Omi Special: Gene Colan. 8 Seiten, s/w, DIN A 6, 1.50 Mark. Gerd Bonau, Schleswiger Straße 9, 24392 Süderbrarup
Ein ganzes Heft für den aus dem Rahmen fallenden Superhelden-Zeichner Gene Colan - das ist schon was. Trotzdem haben wir wieder mal eine typische Gerd-Bonau-Kurzfassung vor uns. Zwei Drittel der Seiten nimmt die alphabetische Comicografie ein, der Rest ist ein Abriß zu Leben und Werk. Da es aber in Deutschland über Colan bisher fast gar nichts gab, leistet das Heftchen doch wertvolle Dienste. aa



Comikazin # Delta (Sommer / Herbst 1998). 72 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 12,50 Mark. Honker Faun Edition by Henning Way und Wiesenmüller, Tieckstraße 3, 30625 Hannover.
Diese Anthologie wird zu rund zwei Dritteln von Henning Way selbst bestritten. Etliche der Geschichten sehen wie Vorstudien für seine längeren Arbeiten aus. Hinzu kommen einige Kurzcomics von seinem Partner H. Wiesenmüller, und den Rest steuern Ulf Graupner, Bernd Teuber, Manfred Lafrentz, Wolfgang Höhne (offenbar ein Fragment) und Kenneth Smith sowie Olaf Bathke, Gregor Beckmann und Anja & Joy mit Illustra-tionen bei. Der Onepager von Wolfgang Pauls wirkt raubgedruckt; eine weitere Seite stammt gar von "Unbekannt". Eine kuriose Mischung, die mir allerdings noch besser gefallen hätte, wenn es eine größere Vielfalt von Beiträgen und Künstlern geben würde. aa





Epidermophytie # 5. 44 Seiten, s/w mit Farbumschlag, DIN A 4, 3 Mark. Contra Medienwerkstatt e. V., Prenzlauer Allee 86 E, 10405 Berlin.
Man darf nicht außer Acht lassen, daß dieses Magazin aus Berlin kommt. Die neue Bundeshauptstadt ist Brennpunkt vieler sozialer Probleme. Gleichzeitig muß hier Avantgarde stattfinden. In den hier versammelten - grafisch ausnahmslos sehr gekonnten - Comics zeigt sich die Welt von ihrer siffigsten Seite, und dargestellt wird sie in absolut cooler Abgeklärtheit. Max Förster, Rolf Noelte, Jakob Ände, Oliver Buschner, Markus Witzel und die anderen Mitwirkenden machen es sich damit ein bißchen leicht. Hätten sie etwas weniger gewollt, hätten sie womöglich mehr erreicht. aa



Der Comic Herold Sonderheft # 1. 8 Seiten, s/w, Comicbookformat, 2,95 Mark. Crago-Verlag, Post-fach 32, 97991 Creglingen.
Vielleicht ist es symptomatisch, daß für die Autoren dieses zum Comicheft aufgeblasenen Sechsseiters Atmosphäre alles, die Story aber nichts ist. Das kommt eben dabei heraus, wenn man den neuen Superheldencomics nacheifert, in denen es nichts mehr zu erzählen gibt - aber dies wenigstens mit extrem effekthascherischem Artwork. Damir Hamidovic ist trotz seines unzweifelhaften Fleißes immer noch kein guter Zeichner. Wie er da aber aus der Kanalisation einer diesmal namenslosen deutschen (?) Stadt einen Typen namens Axt (erinnert ein bißchen an Swamp Thing) auftauchen läßt, sieht schon ganz vielversprechend aus. Warum er aber da auftaucht, geschweige denn wie er da hingeraten ist und weshalb die Gutewichter über sein Auftauchen so beunruhigt sind, diese Fragen sollte sich der Leser lieber nicht stellen. Die Autoren haben es jedenfalls auch nicht getan. aa



Der Herold # 27 (März 1999). 24 Seiten, s/w, DIN A 5, 2.50 Mark. Crago-Verlag, Postfach 32, 97991 Creglingen.
Texte und Comics halten sich in diesem Band ziemlich genau die Waage. Aber die Zusammenstellung kommt mir sehr willkürlich vor. Im Vorwort heißt es, hier werde alles abgedruckt außer Lyrik, nur unterhaltsam müsse es sein. Zwar wird ja auch in PLOP so manches gedruckt, was andere Herausgeber niemals annehmen würden, aber das Veröffentlichungsprinzip des Herold ist für meine Begriffe eine Bankrotterklärung. Ich möchte nicht einzelne Beiträge dieser Ausgabe kritisieren, aber insgesamt ist das Heft einfach zugemüllt. Die Macher nehmen ihre Gestaltungsverantwortung nicht wahr. Und sie bleiben eine Antwort auf die Frage schuldig, warum und wozu es den Herold überhaupt gibt. aa






Kainsmal # 7. 36 Seiten, s/w mit Farbcover, DIN A 4, gratis. Andreas Eickenroth, Am Eichelbaum 39 B, 35396 Gießen.
Nachdem The Kainsmal # 5 und 6 den Versuch starteten, einen Verkaufspreis einzuführen, ist das Heft ab der vorliegenden Ausgabe wieder ein Umsonst-Maga-zin. Das ist zu begrüßen, denn für 5 Mark wäre das Heft wirklich ein bißchen flach gewesen. Denn leider können die Gießener kein wirklich hervorragendes Talent zur Mitarbeit gewinnen. Alle Mitarbeiter sind Amateure unterer bis mittlerer Qualität. Einzig Greg bietet durch die Sprayerszene beeinflußte, wirklich lebendige Zeichnungen, scheitert aber am Textaufbau in Comicform. Violas Comic "Rods Reisen" sieht zumindest ungewöhnlich aus und ist etwas Eigenes. Ansonsten gibt es sehr viele Kalauer mit teilweise recht guten Ansätzen. Ein ansprechenderes Layout wäre sicher auch überlegenswert. Aber immerhin, Kainsmal ist umsonst, und dafür ist es natürlich nicht wirklich schlecht. Jo84



Kix minni # 57 bis 61. Je 24 Seiten, s/w, ein Drit-tel DIN A 6. Kix Multimedia, Rautie, Wilhelmsbader Allee 5, 63454 Hanau.
"Seit 57 Ausgaben immer derselbe Auftritt! Und die Leser sollen es lustig finden." So läßt Raul seine Protagonisten in der Mitte von Heft 57 sagen. " 's ist nun mal so im Kix minni." So könnte Jörg Ritters Kommentar in Heft 58 dazu sein. Und tatsächlich: Die besten Zeiten für Kix sind wohl leider vorbei. Das waren noch Zeiten, als Kix-Produkte in Farbe mit Singles und absolut edel aufgemacht erschienen. Und heutzutage kommt da ne Ladung mies kopierter und zusammengetackerter Trashheftchen im Ultrafitzelformat an, bei denen man von der Numerierung her schon eher an Masse statt Klasse denkt. Was nicht heißen soll, daß mir die Hefte gar nicht mehr gefallen. Es hat sehr lange gedauert, bis ich mich überwunden habe, damit anzufangen, aber dann beim Lesen war's nicht so schlecht. Raul verfremdet seine philosophischen Strichmännchenzeichnungen jetzt bis zur Unkenntlichkeit, was eine gute Idee ist, jedoch nach ein bis zwei Heften sicher als ausgereizt betrachtet werden kann. Jörg Ritter zeichnet besser, aber der Text bietet nicht mal Kalauer. Rautie (# 61) erzählt dafür eine schöne Geschichte mit ein- bis zweimal Moral, die ich genossen habe. Kix sind mittlerweile natürlich nicht einmal mehr Underground. Durch die Veröffentlichungen blickt kein Mensch durch, und die Winzauflagen sind für Komplettsammler der wahre Horror. Aber das alles, das ganze Chaos, bis hin zur Aufmachung, ist sicher Absicht. Ich bin trotzdem der Meinung, Kix sollten weniger und übersichtlicher veröffentlichen und eine bessere Aufmachung wählen. Jo84



Knucklehead # 0. 32 Seiten, s/w, DIN A 5, 4 Mark. Sebastian Plönges, Walter-Gieseking-Straße 1, 32469 Petershagen
Knucklehead ist das erste Fanzine, das von Mitgliedern des Mindener Comicstammtischs in Eigenregie erstellt wurde. Eigentlich soll es allen Bereichen (Texte, Gedichte, Fotos) offenstehen, aber die Nullnummer enthält bislang nur Comics. Oliver Ferreira, Rainer Baldermann und Alexander Hutschenreiter konnten zur Mitarbeit überredet werden. Alle anderen Mitarbeiter haben bislang noch nichts veröffentlicht und stehen noch am Anfang ihrer Karriere. Vielverspre-chend ist vor allem Sven Lachkys erster Teil der Sage "Knights of the Rose", der drucktechnisch leider nicht so gut zur Geltung kommt. Sehr gut außerdem "Alfabeto Espanol de E.T.A." von Klaus Scherwinski, der derzeit mit Jo84 an seinem ersten Farbheft "Kopeck" arbeitet, das ab April bei Karicartoon erscheinen wird. Insgesamt ist Knucklehead eine typische Debutnummer, deren Entwicklung abzuwarten bleibt. Ich wünsche den Herausgebern hierfür einen ausreichend langen Atem. Verbesserungsvorschlag für Heft 2: Die Seiten bitte klammern. Jo84






Koma Comix # 20 und 21. Je 40 Seiten, s/w mit Farbcover, 13 mal 19 Zentimeter, bzw. Comicbookformat, erst 3, dann 5 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn.
In der Jubiläumsnummer ist einiges über den - wenn auch lokal begrenzten - Erfolg dieses Comicmagazins zu erfahren. Wie sie die Hefte an den Mann bringt, verrät die Koma-Crew zwar nicht, aber ich kann mir nur vorstellen, daß das allein im Direktvertrieb auf Feten oder in Kneipen funktioniert. Ansonsten führt man die Tatsache, daß die Auflage bei 600 (zuletzt sogar bei 1000) Exemplaren liegt und immer ordentlich Werbung im Heft ist, auf Druck, Farbcover und das Niveau der Stories zurück, das unbedeutend über Normalnull liegt - so sehen das die Jungs jedenfalls selber. Aber so ganz stimmt das nicht, denn seit Ausgabe 14, so ist hier zu lesen, setzen Levin Kurio und seine Freunde nicht mehr ihre eigenen Sauftouren eins zu eins in Comics um, sondern konstruieren fiktive Saufgeschichten. Und über die kann man doch immer wieder mal richtig lachen. Das gilt auch für die Story, in der Levin und Kumpel Hauke Hille auf die Idee kommen, ein anspruchsvolles Comicmagazin zu machen - nachdem ihnen ein Meteorit an den Kopf geknallt ist (siehe oben). Mit der Ausgabe 21 haben sich die Nordlichter einen Schritt weiter professionalisiert. Koma Comix sieht jetzt wie ein richtiges Comicheft aus - abgesehen davon, daß innen noch Farbe fehlt. Aber da läßt sich gewiß auch noch was machen. aa



XXX Comics # 1. 32 Seiten, s/w, DIN A 5, 3 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn.
Die Koma-Leute testen hier offenbar ein neues Konzept. "Mit Titten" steht auf dem Cover, und beim Titel soll man an "x-rated" denken. Allzu schlimme Sachen braucht man sich darunter allerdings nicht vorzustellen. Auf den 17 Seiten, auf denen Roman Turowski seinen "geifernden Grapsch" fortsetzt, wird einiges an schwellenden Körpern geboten. Die beiden Stories, die Levin Kurio beifügt, sind dagegen eine Parodie auf ein paar Softporno-Maschen. Bestimmte Geschmacksgrenzen wird man bei Koma schon deswegen nicht überschreiten, um die Verkäuflichkeit der Hefte nicht einzuschränken und keine Anzeigenkunden zu verschrecken. aa



Kreativo! # 26 (März 1999). 28 Seiten, s/w, DIN A 5, 2,50 Mark. Birke, Postfach 20222, 58470 Lüdenscheid.
Das "Projekt" Kreativo! von Birke hat es mittlerweile schon auf 26 Ausgaben gebracht, die vor allem durch ihren persönlichen Stil und die vielen ausgefeilten Illustrationen des Mitarbeiters Ghost bestechen. Ghost steuert wieder einmal ein Cover bei, das sich diesmal über den Zappeldepp DJ Bobo lustig macht. Auch sonst sind noch ein paar seiner menschenverachtenden Illustrationen dabei, die die Spezies Mensch oder ähnliches von ihrer häßlichsten Seite zeigen. Aber Kreativo! hat noch andere Stammgäste: Anja & Joy sind zum wiederholten Male dabei, nicht zu vergessen Birkes Bruder Cat Künsting und Bat. Angereichert wird das Material wie immer durch Leserbriefe in Originalhandschrift, Artikel, Gedichte und ähnliches. Außerdem gibt es ein Interview mit Andreas Alt und einen Zweiseiter (Nachdruck) meiner Wenigkeit. Kreativo! besticht wie immer durch seine liebevolle Unprofessionalität, die in der Zeit der Farb-Variant-Hologramm-Limited Edition-Wasnochallesfürnscheiß-Hefte wirklich gut tut. Jo84






Menschenblut # 33. 44 Seiten, s/w mit Farbcover, Comicbookformat, 6,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg.
Doktor Dipperz ist eben doch der Beste. Nachdem wir mit mäßigem Interesse verfolgt haben, wie sich ein Taucher über Unterwasser-Zombies erschreckt und wie ein verrückter Wissenschaftler seine Hirnströme mit denen von Ameisen koppelt, machen wir endlich die Bekanntschaft des Genossen Danilowitsch, der 1961 vom Weltraumflug träumt. Angeblich liegen die Russen beim Wettlauf ins All gut im Rennen; jetzt erfahren wir aber, daß sie einer bescheuerten Wahn-idee verfallen sind: Nachdem sie erfolgreich einen Hund in die Umlaufbahn geschossen haben, glauben sie ernsthaft, daß sowas überhaupt nur mit höchstens 20 Kilogramm Biomasse möglich ist. Gleichwohl - Maximilian Dipperz ist kein Astrophysiker, sondern begnadeter Amputeur, und wenn Danilowitsch bereit ist, für seine Weltraummission auf einige überflüssige Gliedmaßen zu verzichten, soll das dem Doc recht sein. Bernd Frenz (Story), Mille und Bimi (Zeichnungen) konzentrieren sich ganz auf die chirurgischen Aspekte dieser Geschichte, und das ist schon ein ordentlicher Spaß. Am Ende des Hefts darf dann noch Diana R. Sassé debütieren, für die es natürlich nur einen wahren Ort des Horrors geben kann: die Pferde-Abdeckerei. aa



Mixeracht. Ca. 20 Seiten, s/w, teils handbemalt, DIN A 4, 5 Mark. Claudia Bernhardt, Freibergerstraße 66, 59558 Lippstadt.
Collagen und Texte haben die Comics im Mixer ziemlich an den Rand gedrängt. In der neuen Ausgabe halten praktisch nur noch Karen Runge und Benjamin Brandt der erzählenden Bildsequenz die Treue. Mit den übrigen Beiträgen - weil ungewohnt - muß sich der Comicfan wohl oder übel eingehender auseinandersetzen. Und diese Arbeit kann ich Euch als Rezensent kaum abenehmen. aa



Napartheid # 24 und 25. 48, bzw. 60 Seiten, s/w mit Farbcover, DIN A 4, 300 Peseten. Napartheid (Kukuxumuxu), Marzelo Zelaieto karrika, 75.AA1 aretoa, 31.014 Irunea.
Nach nun schon etlichen Ausgaben, die mir die Kollegen aus dem Baskenland zugesandt haben, erkenne ich nun allmählich die Numerierung (glaube ich wenigstens). Da ich der Sprache nicht mächtig bin, kann ich wie immer nicht viel über die beiden Ausgaben sagen. Sie enthalten aber überwiegend gut gezeichnete Comics (meist in Underground-Tradition), und generell handelt es sich bei "Napartheid" um ein größeres Projekt (etwa à la "Panel"). aa



Paranoid # 1. 24 Seiten, s/w, DIN A 4, 3 Mark. Christopher Tauber, Ulmenstraße 20, 63371 Gelnhausen oder Steffi Dietz, Hilgeseichweg 13, 63607 Wächtersbach.
Zunächst denkt man: Naja, eine Debütnummer; was die Leute wollen und können, wird sich wohl mit der Zeit noch deutlicher herausschälen. Nach der Lektüre bin ich jedoch zu der Überzeugung gekommen: Die beiden Herausgeber wußten genau, was sie wollten, und haben es genau so umgesetzt. In den Texten geht es um allerlei Orientierungsprobleme, gemischt mit ein bißchen Kulturkritik. Und die Comics sind meistens gar keine, sondern irgendwie collagierte Einzelpanels, die den täglichen Wahnsinn des Alltags wiedergeben. Das alles soll so sein - womöglich ein Designstudenten-Projekt. Das wurde mir schließlich klar, als mir der gute Druck des Hefts (tadellose Grauwerte) auffiel. Wer die Welt ebenfalls eher paranoid wahrnimmt, den laden die Herausgeber herzlich zur Mitarbeit ein. aa





P. L. G. # 34 (Winter 1998/99). 84 Seiten DIN A 4 plus 84 Seiten Special DIN A 5, teilweise farbig, 80 Francs. Philippe Morin, 3 Rue de la Vanne, 92120 Montrouge, Frankreich.
1978 wurde dieses fanzösische Fanzine gegründet, als an PLOP lange noch niemand dachte. Herausgeber Philippe Morin, ein Mann der ersten Stunde, blickt nun mit etwas Verspätung auf 20 Jahre "Plein La Gueule" zurück. Eine dicke Beilage zeigt, daß das Magazin etwa ab 1986 seine heutige Form hatte und seit 1987 und der Ausgabe 22 nur noch jährlich erscheint. Die neue Ausgabe selbst stellt schwerpunktmäßig den Zeichner Jean-Pierre Gibrat vor. Wenn ich ein bißchen Französisch könnte, hätte ich sicher noch mehr über P.L.G. zu sagen. Geehrt fühle ich mich im-mer wegen der Kommentare zu PLOP im Rezensionsteil, die jedenfalls sehr positiv klingen ("A découvrir"). aa




The S.A.F. Reporter. 16 Seiten, farbig, DIN A 4. Strip Art Features, Krpanova 1, 3000 Celje, Slovenia.
Manchmal gibt es eben doch noch schöne Überraschungen. So fand ich zum Beispiel in meinem Postkasten erstmals das Magazin "S.A.F. Reporter", das ich noch nicht kannte. Dieses Info-Sekundärblättchen berichtet in englischer Sprache über das weltweite Geschehen auf dem Comicmarkt, was für ein Heft aus Slowenien nicht gerade gewöhnlich erscheint. Neben den reinen News druckt das Heft Seiten und Covers in der jeweiligen Originalsprache ab. Hier sind das schwerpunktmäßig drei Seiten aus den neuesten Hermann-Werken "Wild Bill is dead" und "War Moon" sowie Cover der amerikanischen Ausgaben der Bonelli-Comics "Dylan Dog", "Martin Mystery" und "Nathan Never". "S. A. F. Reporter" ist nicht dick, aber informativ und auf edlem Papier gedruckt. Unglücklicherweise weiß ich nicht, wie man das Mag beziehen kann. Vielleicht gibt es Infos unter der Faxnummer (386-63) 451-774. Jo84






Sagittarius # 30. 48 Seiten, s/w, DIN A 5, 2,50 Mark. Klaus N. Frick, Hirschstraße 63, 76133 Karlsruhe.
Zu klären wäre hier wohl zunächst mal, was dieses Magazin eigentlich ist. Eine unterschwellige Diskussion darüber durchzieht jedenfalls das Heft. Sagittarius hat offenbar in den vergangenen Jahren einige Metamorphosen durchgemacht, und es geht jetzt darum, ob das Magazin früher besser war oder jetzt endlich wieder gut ist. Für mich - ich bin in dieser Szene eigentlich nicht zuhause - ist das ein Science Fiction-Fanzine. Ich kann ganz gut nachvollziehen, daß Klaus N. Frick, der tagsüber Perry Rhodan-Manuskripte lektoriert, zum Ausgleich über Science Fiction schreiben möchte, die ihn wirklich interessiert. Und das gilt wohl auch für seine Mitautoren. Einen umfangreichen Artikel widmet zum Beispiel Ulrich Magin dem Schriftsteller Charles Fort (nach dem die "fortianischen Phänomene" benannt sind) und der Frage, wie ernst man die vielfältigen Ufo-Sichtungen nehmen sollte. Jörg Weigand setzt sich mit dem Sektengründer L. Ron Hubbard auseinander, der seine Karriere als SF-Pulp-autor begann. Für uns interessanter: Es gibt auch zwei Comics von Manfred Lafrentz und viele schöne Illustrationen von Gregor Beckmann, der auch schon mal in PLOP vertreten war. aa



Treffer # 5 (Februar / März 1999). 96 Seiten, teilweise farbig, DIN A 4, 6 Mark. Thomas Schmitt, Riehler Tal 27, 50735 Köln.
Das Comicsammler-Magazin scheint zu florieren. Die fünfte Ausgabe ist genauso ansprechend gemacht wie die Startnummer, die ich vor einiger Zeit mal hier vorgestellt habe, und um einiges dicker. Hauptanliegen des Treffer sind zwar die Sammler-Anzeigen ("keine Remi Ware - alle Comics aus meiner Sammlung"), aber der redaktionelle Teil ist interessant, kompetent und unterhaltsam geschrieben. Daher weise ich gern nochmal auf dieses Magazin hin. aa



Tremor Comics # 1 und 2. Je 36 Seiten, teilweise farbig, Comicbookformat, 4.80 Mark. Kreuz + Quer Verlag, C. Schadow, Triftstraße 5, Halle/ Saale.
Seit Oktober 1998 gibt es ein neues Magazin, das vor allem durch seinen hohen Farbanteil besticht. Die beiden mir vorliegenden Ausgaben beinhalten eindeutig Beiträge mit Fanzineniveau, wenn auch oberem. Die Macher des Hefts sollten also nicht böse sein, wenn ich Tremor tatsächlich als besseres Fanzine bezeichnen möchte, auch wenn Druck und Bearbeitung professioneller sind als bei einem durchschnittlichen Fanzine. Die meisten Mitarbeiter sammelten bereits Erfahrungen in dem Mag "Schreibtischtäter", das ein Vorläufer von Tremor war. Jede Ausgabe bietet abgeschlossene Kurzgeschichten sowie zwei Fortsetzungscomics, deren Seitenzahl jedoch ziemlich gering ist. Das hält die Hefte vielseitig, obwohl fast keine Funnies vertreten sind. Alle Mitarbeiter haben einen eigenständigen Stil, der manchmal sogar begeistern kann (Ox, J. K. Förster). Hoffen wir, daß die Mannschaft das geplante monatliche Erscheinen durchhält, beziehungsweise das Magazin überhaupt weiter erscheint. Jo84



Weltwuchs. 52 Seiten, s/w, DIN A 5, 2,50 Mark plus Porto. Heike Anacker, Rheydter Straße 100, 41065 Mönchengladbach.
"Wie sieht Deine Welt aus?" hatte Heike am Ende ihres Heftes "Bewegung 2. Juni" (siehe PLOP # 52) ganz harmlos gefragt. Erstaunlich viele Leute hat diese Frage angesprochen. Sieben bemerkenswerte Reaktionen in Comicform sind nun in diesem Band enthalten; es gab noch mehr. Cornelie Mascher greift unmittelbar Heikes Weltmodell auf, Raimo Bergt zeichnet Welten in Welten. Die übrigen Teilnehmer sind versierte Comiczeichner, denen man anmerkt, daß sie sich mit dieser Frage nicht zum ersten Mal beschäftigen. Ilse Kilic zeigt, wie ihr Leben von einer mißglückten Bandscheibenoperation entscheidend verändert wurde. Oliver Ferreira thematisiert seine irrationale Angst vor hirnlosen, prügelnden Neonazis. Olaf Bathke flüchtet vor Katastrophenmeldungen im Fernsehen zu Horoskop, Tarot und mittelalterlichen Philosophen. Werner P. Berres schwankt zwischen Überlegenheits- und Hilflosigkeitsgefühlen. Till Lenecke bleibt am distanziertesten und zeichnet die ihn umgebende Wirklichkeit einfach Bruchstück für Bruchstück ab. Der Band gibt einen recht guten Eindruck, wie Menschen in der sogenannten zivilisierten Welt kurz vorm Jahrtausendwechsel denken: Wir wissen so viel, aber doch nichts Genaues; der Sinn des Lebens bleibt uns verborgen. Die einen suchen ihn sich nach eigenem Gusto heraus, die anderen haben die Suche aufgegeben. Viele betrachten die Gegenwart und die Zukunft mit eher mulmigen Gefühlen; manche suchen Halt und Orientierung in der Esoterik, die aber auch keine gültigen Antworten liefert. Tja, wenn es anders wäre und wir nicht über die Welt in uns nachgrübeln müßten, gäbe es für die meisten wohl auch keinen Grund mehr zum Comiczeichnen. aa



Wohnzimmer 18 A oder Fröhliche Wohnachten! 40 Seiten, s/w, DIN A 5. Das fröhliche Wohnzimmer - Edition, Fuhrmannsgasse 1 A/7, A - 1080 Wien.
Zum zehnjährigen Bestehen ihres Verlags hatte Ilse Kilic eine Art Postkartenwettbewerb initiiiert. Thema war naheliegenderweise "Das fröhliche Wohnzimmer", und was 65 Leuten dazu eingefallen ist, kann man sich jetzt in dieser Sonderausgabe ansehen. Es gibt natürlich nicht nur grafische Lösungen. Das Heft insgesamt hat den Charme einer bunten Ideensammlung. aa



Zeitlupe # 28. 32 Seiten, s/w mit Farbumschlag, DIN A 5. Tim Böhm, Ludwigshafener Straße 21 D, 76187 Karlsruhe
Tja, elf Jahre gibt es dieses Magazin nun schon, und noch immer kennt es kaum einer. Dabei wurde es schon einmal mit dem ICOM-Independent-Comic-Preis des Jahres ausgezeichnet, was Tim sicherlich auch etwas motiviert hat, denn nun fand er, das Magazin wäre alt genug, den Schritt vom Copyshop in eine Druckerei zu wagen und die Auflage etwas zu steigern. Sicher ein Schritt in die richtige Richtung, denn inhaltlich war das Mag schon seit einiger Zeit bereit für den Weg in die Semiprofessionalität. Logischerweise ist die # 28 die attraktivste der bisherigen Ausgaben. Das Farbcover ziert eine wahnsinnig komische Godzilla-Parodie mit Oma Berta ("Age does matter"), und im Inneren tummeln sich Comics von Haggi, Ulrich Magin, Thomas Harske, Yasmin Abdulhack, Anja & Joy und etlichen anderen. Höhepunkte sind diesmal die Onepager von Fix-und-Foxi-Zeichner Pit Eberle, die Oma & Berta-Comics von Tim selbst und die Textbeiträge von Tims Oma Maria Böhm. Zeitlupe ist ein nettes Heftchen mit liebenswürdigem Humor und seit dieser Ausgabe sogar schön aufgemacht. Jo84





Sergio Aragones: Sergio Aragones zerstört DC. 48 Seiten, farbig, Comicbookformat, 5 Mark. Dino.
Mittlerweile dürfte auch der letzte PLOP-Leser (na na na, d. Red.) mitbekommen haben, daß auch bei den Profi-Publikationen das Heftchenformat boomt. Sieht man sich dieses Angebot aber mal genauer an, fällt auf, daß es neben "Simpsons" nicht viele Reihen gibt, in denen es nicht so bierernst zugeht. Funny-Hefte finden nur in Ausnahmen eine Käuferschicht, ansonsten ist das Heftformat fest in Superheldenhand. In Amerika sieht es im großen und ganzen ähnlich aus, weshalb Mad-Zeichner Sergio Aragones sich dachte, eine Parodie dieser ganzen Superhelden könnte Humor bringen und vielleicht trotzdem bei Fans des Superheldengenres gut ankommen. Eine Einigung mit den Großverlagen DC und Marvel war schnell gefunden, und so erschienen vor zirka zwei Jahren die beiden Hefte "Sergio Aragones destroys DC" und "Sergio Aragones massacres Marvel". Der erste Teil, der nun bei Dino erschienen ist, ist auch wirklich witzig gemacht und wurde Händlern aus der Hand gerissen. Sergio macht sich über Superman, Batman, die Legion und Wonder Woman lustig und bietet sogar eine Rahmenhandlung: Er will im Comic versuchen, mit Superheldencomics sein Brot zu verdienen. Der "neue" Zeichenstil und die "innovativen" Dialoge stoßen bei DC jedoch nicht sofort auf Gegenliebe. Jo84



Mark Evanier / Sergio Aragones: Sergio Aragones zerstört Marvel. 48 Seiten, farbig, Comicbookformat, 4,95 Mark. Marvel Deutschland.
Schade, daß das Strickmuster des DC-Bandes kaum abgewandelt wurde: Sergio will bei Marvel anheuern, aber alle Mitarbeiter sind gerade in der Mittagspause. Also okkupiert er kurzerhand einen verwaisten Zeichentisch und reißt die gesamte Monatsproduktion im Alleingang herunter. Wieder taucht in allen verulkten Serien ein bislang unbekannter Superbösewicht auf, der sich am Ende als Sergio Aragones selbst entpuppt. Ich weiß nicht, ob das Schema deshalb so sehr an die DC-Zerstörung erinnert, weil man über die Story nicht lange nachdenken wollte oder vielleicht weil die Parodisten hier in einem ähnlich engen Korsett aus Vereinbarungen der Verlagshäuser steckten, wie das bei den Crossovers Superman/Spiderman oder Batman/Hulk der Fall war. Natürlich treffen Aragones und Evanier die Weinerlichkeit der Marvel-Helden recht gut und spießen auch herrlich die Unübersichtlichkeit der Lebensläufe und Identitäten in den inzwischen zahlreichen Marvel-Universen auf. Aber sollte ich mal das House of Ideas in einem so günstigen Moment betreten wie die beiden, dann würde ich ihn doch zu einer originelleren Parodie zu nützen versuchen. aa






Berthet / Yann: Pin up # 4. 48 Seiten, farbig, Softcoveralbum, 24,80 Mark (Hardcover 88 Mark). Salleck
Pin up hat sich zu einer der beliebtesten Reihen des Verlags Salleck Publications entwickelt, so daß Herausgeber Eckart Schott bereits den vierten Band vorlegen konnte. Das Album, stilistisch von den Aben-teuercomics der 50er und 60er Jahre sowie von der Ligne Claire geprägt, erscheint in einer Auflage von nur 2260 Exemplaren, wovon 260 Luxuseditionen in Hardcover sind. In Band vier der Reihe wird der amerikanische Pilot Gary Powers auf einem Spionageflug über Rußland abgeschossen und gefangengenommen. Der Milliardär Howard Hughes könnte ihn vielleicht befreien. Sein Preis wäre eine Nacht mit Garys Frau Dottie, die früher unter dem namen "Poison Ivy" eine Berühmtheit war. Auch Comiczeichner Milton Caniff kannte diese Frau, wie dessen Tochter beim Herumschnüffeln erfährt. Ob Dottie auf Howard Hughes' Vorschlag eingeht, erfährt man leider erst im nächsten Band. Überhaupt passiert in dem Band nicht wirklich viel, da man noch nicht weiß, worauf die verschiedenen Handlungsstränge hinauslaufen. Die Zeichnungen sind aber schön klar, und die Farben von Topaz treffen die Stimmung. Leider hat man den Band recht schnell durchgelesen. Hoffentlich kommt bald Band fünf. Jo84






Enki Bilal: Der Schlaf des Monsters. 72 Seiten, farbig, Hardcoveralbum, Überformat, 34,80 Mark. Ehapa.
"Der Schlaf des Monsters", das erste Werk des Jugoslawen Bilal nach dem "Alexander Nikopol"-Zyklus, ist ein merkwürdiger Einzelband, der sich stilistisch noch mehr vom Comic entfernt hat als bereits erwähnter Zyklus. Der großflächige Seitenaufbau (nur selten sind mehr als vier Illustrationen zu einer Seite zusam-mengefügt) wird unterbrochen von groben Textblök-ken und wenigen Sprechblasen, in die die Kommuni-kation der Protagonisten gebettet wurde. Durch diese Textblöcke erscheint der Comic oft nur als Illustrati-onsband mit Text, und tatsächlich ist er ein Band zwischen dieser Form und klassischem Comic. Der Text wäre zu komplex gewesen, um auf Balken zu verzichten und die Sprache allein in Sprechblasen zu integrieren. Obwohl Bilal ein meisterhafter Illustrator ist, der es schafft, in seinem ureigenen Zeichenstil eine fürchterlich triste und hoffnungslose Zukunftswelt darzustellen, ist der Text diesmal das eigentlich tragende Element des Bandes. Nike Hatzfeld, geboren 1993 im Trommelfeuer von Sarajewo, ist der Erzähler der Geschichte, die 33 Jahre später spielt. Dank seiner ungewöhnlichen Gedächtnisfähigkeiten kann er sich schon an Ereignisse ab dem 18. Tag nach seiner Geburt erinnern und jeden neuen Tag sogar noch an den Tag zuvor. Er erinnert sich, mit zwei weiteren Waisen namens Amir und Leyla in einem Zimmer gelegen zu haben, die er ewig zu beschützen schwor. Nur sein Gedächtnis kann ihm helfen, diese beiden, von denen er schon bald getrennt wurde, wiederzufinden. Währenddessen spinnen politische Gruppen ihre Fäden um Nike, den sie für ihre Zwecke mißbrauchen und auch opfern wollen. Und nichts ist einfach in einer Zeit, in der es von jedem Doubles gibt, der Wille aber nicht frei ist. Bilals neuestes Werk ist wieder eine Zukunftsvision dunkelster Natur, die ihren Ursprung in den Ereignissen in seiner früheren Heimat Jugoslawien trägt. Das komplexe, verwirrende und politisch typisch fanatische Flair beschreibt nur eine mögliche Zukunft, die jetzt schon Realität ist: Kein Mensch kann die Geschehnisse erklären oder beeinflussen; es gibt immer eine höhere Macht, alles ist miteinander verwoben, und jeder kämpft ums Überleben. Das ist jetzt allerdings wahrscheinlich ein sehr subjektiver Eindruck. Objektiv gesehen ist das Werk jedoch wieder einmal ein intelligenter und spannender Comic mit vielen Anspielungen und Parabeln, den man gelesen haben sollte. Nicht umsonst gehört Enki Bilal zu der Handvoll Künstlern mit Weltruf, die sich leider nicht so gut verkaufen, wie sie es verdienten. Jo84






Caryad: Gothic Moonlight. 32 Seiten, s/w mit Farbumschlag, DIN A 4, 9,90 Mark. Ideenschmiede Paul & Paul
Ein recht merkwürdiges Werk legt die Ideenschmiede Paul und Paul mit dem vorliegenden Band der Illustratorin Caryad vor. Diese ist vornehmlich im Illustrationsbereich für Rollenspiele und Fantasyromane tätig und hat sogar schon einmal ein umstrittenes Backcover zur letzten Sprühenden Phantasie beigesteuert. Ihre wunderbar detailliert punktierten Zeichnungen, oft auch nur in Bleistift gehalten, gefallen vor allem Düsterleuten in Schwarz, die zeitweise auch schon als Gothic-Szene bezeichnet wurden. Symbole dieser Art wie Gräber, Kruzifixe, Marmorengel, Schmuck, Rosen, Leder und Totenkopf tauchen immer wieder auf und geben den Zeichnungen ihre Stimmung. Caryad ist eigentlich nur Illustratorin, aber durch einen losen Handlungsfaden wurden bis zu drei Zeichnungen auf einer Seite comicartig integriert. Diese zeigen verschiedene Situationen eines weiblichen Engels, der sich in eine sterbliche Frau verliebt. "Doch welcher Mensch kann die Liebe eines Engels ertragen, ohne zu zerbrechen?" fragt die Autorin auf der Rückseite des Hefts. Das hübsch anzusehende Werk wird ergänzt durch einige Zeilen Poesie. Ich finde es gut, daß ein namhafter Comicverlag wie IPP sich traut, ein Heft zu publizieren, das derart aus dem Rahmen der gängigen Comicveröffentlichungen fällt. Denn der Comicmarkt braucht von Zeit zu Zeit solche experimentellen Einflüsse. Jo84






François Corteggiani / Michel Blanc-Dumont: Die Jugend von Blueberry. Die Pinkerton-Lösung. 48 Seiten, farbig, DIN A 4, 16,80 Mark. Ehapa
Im zehnten Band der Jugend-Blueberry-Reihe bzw. Album 35 muß man sich wieder mal mit einem neuen Team anfreunden, das Blueberry kreiert. Allerdings sind sowohl Texter Francois Corteggiani als auch Zeichner Michel Blanc-Dumont durch diverse Arbeiten, auch im Westernbereich, ein Begriff und für ihre Qualität bekannt. Vielleicht waren sie deshalb für diese Arbeit prädestiniert, die sie auch handwerklich gut bewältigen. Langsam wird der Werdegang Blueberrys natürlich leicht undurchsichtig, obwohl Corteggiani es schafft, Bezüge zu früheren Jugendabenteuern herzustellen, die er ja bereits für Zeichner Colin Wilson textete. Leichte Ungereimtheiten fallen wohl nur harten Blueberry-Fans auf, und insgesamt ist wieder ein schönes Album entstanden. Unverständlich ist mir allerdings, warum Wilson die Reihe aufgegeben hat, denn Blanc-Dumonts Zeichenstil bringt man eben nicht gerade mit Blueberry in Verbindung. Ob man immer mehr Jugendabenteuer in die jetzt schon schwer nachvollziehbare Chronologie Blueberrys einfügen muß,. halte ich sowieso für zweifelhaft, zumal ja durchaus noch Bände von Giraud neu produziert werden. Für sich stehend bietet der Band jedoch gute Unterhaltung. Jo84






Glenn Danzig / Simon Bisley: Death Dealer # 1. 56 Seiten, Comicbookformat, 15.90 Mark. Extrem Erfolgreich Enterprises.
Endlich ist es soweit: Als erster Verlag Europas bringt Bela Bs Verlag EEE ein übersetztes Heft des amerikanischen Splatter-Comicverlags "Verotic" heraus, der von dem Musiker Glenn Danzig gegründet wurde. Wie schon bei EEEs vergangenen Projekten "Schweinevogel" und "Faust" ist die Herausgabe in Deutsch durch-aus als Sensation zu werten. Denn "Verotic" steht in Deutschland geradezu als Synonym für den bösen Comic schlechthin, der, wenn man nicht gerade in einer der drei größten Städte Deutschlands wohnt, fürchterlich schlecht zu bekommen ist, weil viele Vertriebe sich weigern, den Comic zu vertreiben. Der Verlag wird einfach als zu gefährlich bezeichnet, weil zu oft an der Grenze beschlagnahmt, deren Beschlagnahmung oft Anzeigen folgen - man kennt ja durchaus die Zensurwut religiöser und sonstiger Idioten in unserem Lande. EEE traut sich wie immer, dieses heiße Eisen unzensiert zu veröffentlichen, weshalb ihnen Respekt gebührt und sogar der hohe Preis gerechtfertigt ist. Der Comic selbst ist eigentlich nichts anderes als eine Art "Conan", allerdings viel besser gezeichnet und coloriert und wesentlich extremer in der Darstellung der Gewaltszenen. "The Death Dealer" selbst ist eine Erfindung des Altmeisters Frank Frazetta, auf dessen Gemälden dieser dunkle Charakter erstmals 1973 auftauchte. Bekanntheit erlangte die Figur durch den Zeichentrickfilm "Feuer und Eis" , auf dessen Filmplakat sie zu sehen war. Glenn Danzig adaptierte diese Figur in Absprache mit dem Held seiner Jugend für den Comic und schrieb Stories, die Simon Bisley (hierzulande unter anderem bekannt durch "Lobo") in extreme Bilder umsetzte. "Death Dealer" ist ein Splattercomic mit nicht gerade hohem Niveau, aber trotzdem ziemlich klasse. Ich empfehle den Kauf trotz des hohen Preises ausdrücklich. Unterstützt EEE in ihrem Kampf gegen die Zensurpraktiken in unserem Land! "Death Dealer" erscheint übrigens mit Variantcover, das als eins von vier Heften an die Händler ausgeliefert wird. Das Variant hat den Schriftzug in einer anderen Farbe, und das Cover ist als ganzes geprägt. Jo84






Will Eisner u. a.: Spirit Casebook Vol. II. All about P'Gell. 156 Seiten, s/w mit Farbumschlag, Softcoveralbum, 18,95 Dollar (Hardcover 24,95 Dollar). Kitchen Sink Press.
Zum Glück kommen die Comics des Altmeisters Will Eisner wieder in Mode. Nach seinem neuesten Buch "Family Matter" (siehe PLOP # 54) bringt sein amerikanischer Hausverlag Kitchen Sink Press eine zweite Kompilation der besten klassischen Spirit-Stories heraus. Diesmal geht es um Spirits bekannteste Gegenspielerin P'Gell, die in 13 Stories aus den Jahren 1946 bis 1951 näher vorgestellt wird. Ergänzt durch Vorwort und mehrere Stories aus den Jahren 1952 (nicht von Eisner selbst) und 1973 ist wieder einmal ein Prachtband daraus geworden, wie man ihn sich öfter wünschen würde. Zeitgleich findet sich übrigens in der 66. Ausgabe der amerikanischen Fachzeitschrift "Comic Book Market Place" ein großer Artikel mit dem Thema "Women of the Spirit"). Zum Glück hat auch der deutsche Verlag Comic Press zum Sommer den Start einer neuen Spirit-Edition angekündigt, die in der Hochzeit des Comics beginnen und in chronologischer Reihenfolge fortgesetzt werden soll. So lange muß man die Zeit wohl mit dem schönen amerikanischen Buch überbrücken. Jo84





Fil: Didi und Stulle. 48 Seiten, farbig, Softcoveralbum, 9.90 Mark. Reprodukt.
Ebenfalls ein echtes Original ist der gebürtige Berliner Philipp Tägert, kurz "Phil" oder "Fil" genannt. Seit Jahren erfreut sich der Comiczeichner dank seiner erfrischend verschrobenen Comics und Bühnenauftritte als einer der besten Stand up-Comedians des Landes wachsender Beliebtheit. Vor einigen Monaten widme-te das Berliner Blatt "Zitty" dem Berliner Jugendidol sogar einen großen Bericht mit Farbcover. Allerdings zeichnet Fil auch schon etliche Jahre lang für Szeneblätter wie dieses meist kurze Gags, die ihn als Zeichner Kultstatus erreichen ließen. "Didi und Stulle" ist nun sein erstes eigenes Farbalbum. Bei den Figuren, der Insiderszene schon länger bekannt, handelt es sich um zwei Proleten, die sich so durchs Leben berlinern. Die künstlich herrlich flach gehaltenen Dialoge und die abstruse Beziehung der beiden Chaoten ist nicht niveauvoll, aber sehr witzig. Und das ist doch schon mehr, als man von vielen anderen Comicalben behaupten kann. Außerdem bekommt man für den günstigen Preis unheimlich viel zu lesen, was man gerade bei Reprodukt gar nicht unbedingt erwartet hätte. Jo84



Gainax / Yoshiyuki Sadamoto: Neon Genesis Evangelion # 1 bis 3. Je 168 Seiten, s/w mit Farbumschlag, 11,5 x 17,5 Zentimeter. 12 Mark. Carl-sen
Dies ist also Carlsens zweiter Taschenmanga nach Dragonball, der helfen soll, die angeschlagene Comicschiene zu sanieren. Dank Dragonball sieht es mittlerweile wohl schon etwas besser aus. Es bleibt natürlich zu hoffen, daß Carlsen auch hiermit ein Erfolg beschieden ist, denn das Konzept des niedrigeren Preises als üblich dürfte der gesamten Comicszene zugute kommen. Neon Genesis Evangelion ist gut zwei Mark teurer als Dragonball, denn es ist deutlich auf ein etwas älteres Publikum zugeschnitten und muß so mit einer etwas geringeren Käuferzahl rechnen. Das Format ist das gleiche und bei dem Detailreichtum der Zeichnungen und Raster für meinen persönlichen Geschmack etwas zu klein gewählt. Die Story selbst ist durch eine komplexe Vorgeschichte eingeleitet, die auf zwei Farbseiten vorgestellt wird. Neo-Tokyo im Jahre 2015: Die Stadt wird von Kampfmaschinen aus dem Weltraum, "Engel" genannt, angegriffen. In die Wirren des beginnenden Krieges um die Erde gerät der 14jährige Shinji Ikaro, dessen Vater für das gehei-me Forschungslabor NERV arbeitet. Er soll die erste Waffe gegen die Engel steuern, den Kampfroboter Evangelion. Um seinen Vater wiederzusehen, der sich von seinem Sohn Jahre zuvor abgewendet hat, sagt Shinji zu, obwohl er keine Ahnung und kaum Motivation mitbringt. So ist es kein Wunder, daß er schon nach kurzer Zeit überall aneckt. Und die Gefahr für die Erde besteht weiterhin. "Neon Genesis Evangelion" ist ein Manga, wie er typischer nicht sein könnte. Die Handlung spielt in der Zukunft, Invasoren bedrohen die Erde, es wimmelt von Kampfrobotern und Technik, auf jeder zweiten Seite explodiert irgendetwas, und die Protagonisten sind jung (und oft recht sexy). Das alles ist nicht neu, aber natürlich bewährt unterhaltsam. Kann man gut mal zwischendurch konsumieren. Jo84






Hergé: Tim und Struppi. Flug 714 nach Sydney. 64 Seiten, farbig, Softcoveralbum, 16,90 Mark. Carlsen
Nun ist also die neue Tim-und-Struppi-Edition auch fast wieder komplett publiziert. Der vorliegende Band ist das vorletzte Tim-und-Struppi-Abenteuer und wurde zuerst 1966/67 in dem belgischen Magazin "Tintin" vorabgedruckt. Es ist ohne Zweifel eines der besten Abenteuer aus der Feder Hergés, das auch heute noch erfreulich modern wirkt. Daß manche Kleidungsstücke leicht 70er-Jahre-mäßig ausschauen, zeigt nur wieder, daß Georges Rémi seiner Zeit weit voraus war. In diesem Band geraten Tim, Haddock, Bienlein und natürlich Struppi wieder einmal in den Weg von Rastapopoulos, der den Millionär Carreidas entführt hat, den sie zufällig begleiten. Doch nicht ganz alltägliche Umstände helfen unseren Freunden, die Sache zu meistern. "Flug 714 nach Sydney" ist ein unerreichter Klassiker, der leichtfüßig Humor, Spannung und Fiktion miteinander verknüpft, und ist daher jedem wärmstens zu empfehlen, der ihn in den letzten 32 Jahren verschlafen hat. Jo84






Alexandro Jodorowsky / Zoran Janjetov / Fred Beltran: Die Techno-Väter # 1. Albino, der Meister der Spiele. 52 Seiten, farbig, Überformat, Hardcover, 22.90 Mark. Feest
"Die Techno-Väter" ist eigentlich die einzige neue Reihe, die überhaupt im ganzen Halbjahresprogramm von Feest/Ehapa neu startet. Fast bekommt man den Eindruck, daß als Ausgleich für das Versäumnis, mehr gute Reihen ranzuschaffen, wenigstens dieser Band das beste vom besten darstellen soll. Die Aufmachung ist optimal: bestes Papier, unübertroffene Druckqualität mit brillantesten Farben, Hardcover und ein erfreulich niedriger Preis für ein Album solcher Qualität. Und auch der Comic selbst ist nicht schlecht. Jodorowski ist ja nun schon länger vor allem als Texter von Science Fiction-Epen bekannt, und Comicfans ordnen ihn, trotz vieler eigenständiger Arbeiten, immer gern im Umfeld von Moebius ein. Das ist nicht ganz weit hergeholt, denn auch dieser Comictext hätte ohne weiteres wie für Moebius zugeschnitten sein können. Viele unbeschreibbare Kleinigkeiten in Text und Szenario erinnern an Geschichten, die dieser Künstler als erster Comiczeichner in Bilder umsetzte. Man kann sich dieser Assoziation schwerlich entziehen, obwohl Moebius mit diesem Band gar nichts zu tun hat. Denn die Zeichnungen stammen von Zoran Janjetov. Dieser ist hierzulande allerdings als Zeichner des letzten Zyklus von "John Difool" bekannt, der bekanntesten Moebius-Serie. Hier schließt sich der Kreis. Die Zeichnungen, durch diese Verbindung Moebius angepaßt, könnten von Ausdruck her tatsächlich auch von ihm selbst sein, so ähnlich sehen sie seinen. Was das Werk letztendlich zu etwas wesentlich Eigenständigerem werden läßt, ist die phantastische Computercolorierung von Fred Beltran; eine faszinierende Colorierung, wie man sie noch nie gesehen hat. Die flächigen, fast fotorealistischen und trotz alledem kalten Farben stellen eine Welt ohne natürliches Licht oder Freude dar. In diese Welt wird Albino geboren, nachdem seine Mutter von 60 Piraten des roten Oulrij vergewaltigt wurde. Von seiner Mutter nicht anerkannt und in ständigem Wettkampf mit seinen zeitgleich geborenen beiden anderen Geschwistern, hat er trotzdem ein Ziel vor Augen: Er will oberster Techno-Vater werden. Band 1 der Reihe, als Biografie des obersten Techno-Vaters angelegt, ist ein faszinierender Band und eigenständiger, als die Rezi vermuten läßt. die Einflüsse beschränken sich nicht nur auf Moebius, auch "Tron", Druillet oder andere blitzen durch. Guter Band, wirklich empfehlenswert. Jo84





Roger Leloup: Yoko Tsuno # 22. Die Himmelsdschunke. 48 Seiten, farbig, Albumformat, 14,90 Mark. Carlsen
Der Carlsen Verlag scheint dazuzulernen. Zum 1. Februar wurde der Preis für etliche Serien erhöht, dafür der Preis vieler Funnies und auch der Serie Yoko Tsuno auf 14,90 Mark gesenkt. Der deutsche Leser kommt deshalb in den Genuß, das 22. Carlsen-Album, das im Original 1988 unter dem Titel "La Jonque Céleste" bei Dupuis veröffentlicht wurde, in Erstveröffentlichung zu einem geringeren Preis als üblich erstehen zu können. Yoko Tsuno, eine der klassischen Serien, von denen nach etwa 25 Jahren Laufzeit immer noch neue Alben erscheinen, bietet seit ebenso langer Zeit Abenteuer zwischen Geschichte, Neuzeit und Science Fiction, die auch hierzulande ihre Fans gefunden haben. Im neuesten Album führen eine geheimnisvolle Elfenbeinkugel und eine uralte Puppe Yoko Tsuno auf die Spur eines Geheimnisses, das im 11. Jahrhundert verborgen liegt. Mit Hilfe des Translators, einer Zeitmaschine, und einiger Freunde macht sich Yoko auf den Weg ins 11. Jahrhundert, um das Leben eines sechsjährigen Kindes zu retten. Das haarsträubende Abenteuer bietet gute Unterhaltung der harmloseren Art, nicht mehr und nicht weniger. Jo84



David Lapham: Stray Bullets # 8. 28 Seiten, s/w mit Farbcover, Comicbookformat, 7,80 Mark. Schwarzer Turm
Das wurde aber auch Zeit! Als Feest die Reihe vor einiger Zeit mit der Nummer sieben einstellte, konnte ich es nicht fassen, und mir stand fast das Wasser in den Augen. Nun hat sich endlich jemand erbarmt, diesen Spitzencomic fortzusetzen. Hinter dem Verlag "Schwarzer Turm" verbirgt sich mehr oder weniger die Menschenblut-Crew, die den Verlagsnamen aber konzeptionell etwas von diesem Magazin abrücken wollte. Wie gewohnt geben sich die Jungs viel Mühe. So ist zum Beispiel ab der nächsten Ausgabe eine Leserbriefseite geplant, die von Lapham selbst betreut werden soll. Das Papier, auf dem das Heft erscheint, gefällt mir nicht besonders. Es ist recht gelb und stellt schon einen Bruch zum strahlenden Weiß der Feest-Ausgaben dar. Aber das ist Absicht, denn inhaltlich ist "Stray Bullets " einfach kein Hochglanzcomic. Heft acht bietet ein Wiedersehen mit Orson und Beth aus "Stray Bullets" # 5, die mittlerweile zusammenwohnen, aber sich nicht so richtig verstehen. Bei ihnen wohnt die drogensüchtige Nina, die Orson ihrerseits ganz gern hat. Bei dem Versuch, Beths Herz wiederzugewinnen, probiert Orson eine Menge aus, denn Beth ist extrem und steht auch auf Extreme... Ganz nachvollziehen kann man die Taten der Protagonisten nie, und genau hier hat Lapham die Welt genau beobachtet. Mir geht's nämlich in der Realität in Liebesdingen oft auch nicht anders. Jo84



Jeph Loeb / Tim Sale: Superman für alle Zeiten # 1 (von 4). Frühling. 48 Seiten, farbig, Comicbookformat Prestige, 9,90 Mark. Carlsen
Carlsen hat sich nach etlichen Monaten Pause nun doch dazu durchgerungen, weiterhin Material von Superman und Batman zu publizieren. Mit verbessertem Konzept (Preis gesenkt) dürften die Chancen auf dem Markt auch gar nicht so schlecht stehen. Den Anfang macht der Vierteiler "Superman für alle Zeiten", von dem jetzt Band eins vorliegt. In diesem wird die Entstehungsgeschichte Supermans noch einmal aufgerollt. Der untypisch gezeichnete Comic ist aus der Sicht Jonathan Kents, des Ziehvaters von Superman, erzählt und bietet eine Aufarbeitung der Story mit altbekannten Geschehnissen und bisher unbeleuchteten Elementen. Dem harten Fan wird der Vierteiler vermutlich zu atypisch gezeichnet sein; er bietet jedoch gute Unterhaltung, eine gut erzählte Geschichte und ein prima Preis-Leistungs-Verhältnis. Jo84






Lutz Mathesdorf / Kim Schmidt: Gib Gummi. 48 Seiten, farbig, DIN A 4-Album, 7,90 Mark. Carlsen
Nachdem das Album "Unser Schumi", in dem Deutschlands Rennfahrer Nummer eins Michael Schumacher auf die Schippe genommen wurde, der Verkaufshit des letzten Jahres war, stand fest, daß ein zweiter Band folgen mußte. Nun liegt er vor, und wie das so mit Fortsetzungen ist, erreicht das Album nicht die Qualität des ersten Teils. Kim Schmidt ist natürlich immer noch der tolle Zeichner, den man schon seit Jahren kennt. Man kann sich darauf verlassen, überall kleine versteckte Gags zu finden, die letztendlich mehr Charme haben als die Hauptgags. Denn irgend-wie konnte ich nicht so viel lachen wie bei Band eins. Möglicherweise ist alles auch nur insidermäßiger ge-worden, denn vom Rennsport habe ich keinen Schim-mer, und ich weiß gerade mal, wie Schumi aussieht. Aber vielleicht ist das Thema in einem zweiten Band auch schon ausgereizt und die Charakterisierung von Schumi bereits ein alter Hut. Für Schumi selbst ist das Album übrigens nicht gerade schmeichelhaft. Er wird hier so doof dargestellt, wie Verona Feldbusch immer tut. Eigentlich ist das ja schon irgendwie witzig. Noch witziger wäre aber wohl ein Interview mit ihm über diesen Band. Nun, ein ziemliches Reizthema dieses Bandes sind jedoch die Farben. Kim Schmidt ist eigentlich ein meisterhafter Colorist, der seinen Comics mit Markern den letzten Schliff gibt. Unglücklicherweise ist dieses Album aus Zeitgründen nicht mit Markern, sondern komplett von Lutz Mathesdorf am Computer coloriert. Dieser hat leider nicht annähernd das Farbverständnis von Kim, der normalerweise nicht so flächig coloriert und nicht so häßliche Bonbonfarben nimmt. Daher schneidet das Album farblich im Vergleich zu Band eins wesentlich schlechter ab. Kims Zeichnungen sind jedoch liebevoll, und man darf nicht vergessen, daß es sich hier um ein Massenprodukt handelt, das (auch durch den niedrigen Preis) hauptsächlich Nicht-Comicleser ansprechen soll. Jo84






Bernd Pfarr: Eines Tages war Zeus das Blitzeschleudern leid. 140 Seiten, farbig, Hardcoveralbum, 44 Mark. 2001.
Ich möchte auf keinen Fall versäumen, euch das neueste Buch von Bernd Pfarr wärmstens zu empfehlen. Wie schon sein letztes Buch "Komische Bilder" ist es leider nur über den 2001-Versand oder die 2001-Filialen (gerade mal 13 in ganz Deutschland) erhältlich. Bernd Pfarr, erst 1998 als bester Zeichner mit dem Max und Moritz-Preis ausgezeichnet, präsentiert wieder eine Kompilation seines absurden Humors, der teilweise in etlichen Zeitschriften vorveröffentlicht wurde. Der Großteil der Einseiter dieses Cartoonbandes ist wieder in naiver Ölmalerei gehalten, 20 Prozent der Werke nur in seinem alten Stil mit Feder und Aquarell. Der Humor bleibt jedoch durchweg Pfarr, und das heißt vor allem schräg. Irgendjemand prägte eigens für ihn einmal den Begriff "absonderlicher Humor", und das trifft es, denn sehr oft fragt sich der Leser: Was soll das denn nun schon wieder? Seine bekannten Figuren Dulle und Sondermann tauchen nicht auf, sondern nur Alltagsfiguren jeglicher Coleur. Trotzdem ist der Band schön, denn Pfarr ist einfach einer der eigenständigsten Humoristen im Cartoonbereich. Jo84



Ralph Ruthe: Die Frühreifen. 48 Seiten, farbig, Softcoveralbum, 19,80 Mark. Boiselle-Löhmann
"Die Frühreifen" ist bereits das dritte Farbalbum des sympathischen Bielefelder Comiczeichners und Cartoonisten im Verlag B & L. Präsentierten "Schweinskram" und "Nur die Liebe zählt" noch einseitige Cartoons im Einzelbild, so sammelt der vorliegende Band hauptsächlich Strips und Einseiten-Comics, die er früher unter anderem für das Magazin Comic Speedline schuf. Die ursprünglich schwarz-weißen Bilder wurden hierfür gekonnt am Computer coloriert, und auch das hat Ralph drauf, genau wie das Zeichnen von Funnies, die nur so vor Lebendigkeit sprühen. Textlich ist der Humor manchmal harmlos, manchmal etwas derber. Insgesamt ist das Album wie schon die Vorgänger etwas großflächiger geraten, aber sonst wirklich nicht schlecht. Jo84






Tiziano Sclavi / Angelo Stano: Dylan Dog # 1 (von 6). 96 Seiten, s/w mit Farbcover, 15 x 21 Zentimeter, 4,95 Dollar. Dark Horse.
"Dylan Dog" ist einer der meistzitierten italienischen Comics, der in etlichen Kreisen sogar Kultstatus besitzt. Viele Comiczeichner und auch Filmemacher ließen sich von der Figur des Geisterjägers und Detektivs für übernatürliche Fälle von Texter Tiziano Sclavi beeinflussen. Mein persönlicher Lieblingsfilm "Dellamorte dellamore (Cemetry Man)" entstand zum Beispiel unter deutlichen Anleihen der Figur Dylan Dog. In Amerika wird der Kultklassiker nun erstmals bei Dark Horse veröffentlicht. In der ersten Story, die von Angelo Stano umgesetzt wurde, werden Dylan Dog und sein Gehilfe Felix (der Groucho Marx wie aus dem Gesicht geschnitten ist) mit Zombies konfrontiert, die der Teufel selbst geschaffen hat, um wieder einmal die Welt zu verderben. Das Script, durchsetzt mit Zitaten aus zum Beispiel Romeros "Dawn of the Dead", ist eine Mischung aus stilgebenden Horrorgeschichten und ziemlichem Trash. Die Zeichnungen sind dabei für einen billigen Pulp-Comic nicht schlecht, wenn auch manchmal die leichten Grauschlieren in bestimmten Panels stören. Wer sich für Horrorcomics mit leichtem Trash-Einschlag interessiert, sollte ruhig einmal einen Blick in die neue Reihe werfen. Um den Verkauf etwas anzukurbeln, wurden die Covers übrigens exklusiv von Mike Mignola gestaltet. Jo84






Osamu Tezuka: Black Jack TB # 1 und 2. 182 bzw. 198 Seiten, s/w mit Farbcover, DIN A 5, Softcover. Viz Graphic Novel
Die Manga-Welle schwappt weiter über Deutschland, aber den größten Manga-Zeichner, der jemals lebte, kennt hier kaum ein Mensch. Osamu Tezuka wird in seiner Heimat ehrfurchtsvoll "God of Manga" genannt. Er soll mehr als 150 000 Comicseiten in mehr als 500 Manga-Titeln geschaffen haben, bevor er 1989 starb. Dabei, sollte man meinen, muß die Qualität zwangsläufig auf der Strecke bleiben, aber dem ist nicht so. Am berühmtesten wurden seine Arbeiten für ein jüngeres Publikum, zum Beispiel "Kimba, der weiße Löwe" oder "Astro Boy". Aber Tezuka schuf auch anspruchsvollere Serien wie "Adolf" oder eben "Black Jack - Two-fisted Surgeon". Dies ist ein spätes, gereiftes Werk, dessen letzte Kurzgeschichte sogar unvollendet blieb. Black Jack ist ein Chirurg, und zwar der beste der Welt. Dank seiner revolutionären Methoden, die grundsätzlich als undurchführbar oder krank abgetan werden, blieb ihm eine Lizenz als praktizierender Chirurg verwehrt. Das hindert ihn jedoch nicht daran, im Untergrund zu arbeiten. Zu ihm kommen meist reiche Leute, die alle anderen Chirurgen aufgegeben haben, denn seine Dienste sind nicht billig. 17 Kurzgeschichten kreierte Tezuka aus dieser unspektakulär klingenden Grundsituation, von denen eine besser ist als die andere. Der klare Strich, der einigen etwas naiv vorkommen wird, erlaubt dem Leser, sich vollends auf die Geschichten zu konzentrieren, die auf meisterhafte Art Spannung mit Komik, Psycho-logie und abstrusen Plots verbinden. Seltsame Ein-flüsse, insbesondere Black Jacks merkwürdige Beziehung zu der einjährigen Pinoco, die sich als seine Frau darstellt, erhöhen den Reiz der Bände (da kann Humbert Humbert einpacken, d. Red.). Tezuka schafft es jedenfalls, mich allein durch seine Geschichten total zu begeistern, und wer von mittelmäßigen Stories genug hat, sollte es auf alle Fälle mal mit Adolf oder Black Jack versuchen. Übrigens ist vor kurzem auch ein hervorragender Black Jack-Anime erschienen, der eine exklusive, noch ausgefeiltere Story zum Thema hat und den ich euch auch uneingeschränkt empfehlen kann - natürlich ebenfalls auf amerikanisch. Jo84



John Wagner / Carl Critchlow: Die Megastädte # 1. Mean Machine. 54 Seiten, farbig, Softcoveralbum, 19.80 Mark. Arboris.
Als "Die Megastädte" kommt ein neues Album aus dem Umfeld von "Judge Dredd" heraus, der ja in Deutschland auch schon länger kein Unbekannter mehr ist. Bastei versuchte sich schon mit wenig Erfolg vor vielen Jahren an einer ähnlichen Reihe. Ich kann nur hoffen, daß der Arboris-Reihe mehr Erfolg vergönnt ist, denn Band 1 mit dem Titel "Mean Machine" ist ein echter Hammer. Der Titelheld ist dem deutschen Publikum aus dem ersten Judge Dredd-Film mit Stallone bekannt. Mit einer Drehscheibe an seiner Stirn kann Mean Machine seinen Gemütszustand von "fies" über "gemein" und "genervt" bis "brutal" selbst wählen. Sein Charakter ähnelt dabei sehr dem von Lobo: Je verbrecherischer und böser, desto besser. Nun ist in der Lobo-Reihe nicht jedes Heft extrem genug getextet, Lobo als die Parodie zu vermitteln, die sie sein soll. Bei "Mean Machine" klappt dies sehr gut. Dieser erfährt, daß er einen Sohn hat, der leider stockbrav und über alle Maßen wohlerzogen und lieb ist. Was tun, wenn der verstockte Bengel einfach kein mieser Krimineller werden will? Mean Machine verzweifelt nach und nach an der Aufgabe, ihn umzuerziehen. Mit Gewaltdarstellungen geizt der Band natürlich nicht; kein Wunder bei einem Album mit solche einem "Helden" als Hauptfigur. Die Gewalt ist allerdings so übertrieben dargestellt, daß sie auf gar keinen Fall ernst genommen werden kann, sondern einfach laut auflachen läßt. Der Band bietet textlich reinen überzogenen Slapstick und ist zum Schreien komisch, wenn man einen etwas derberen Humor hat; Herod würde ihm also wahrscheinlich nichts abgewinnen können. Zeichnerisch ist das Album ebenfalls ein Meisterwerk. Carl Critchlow "malt" seine Comics im Direct Colour-Verfahren (wahrscheinlich in Öl oder so) und erzielt damit gute Effekte. Auf deutsch liegt bisher unter anderem Batman Band 28 der Carlsen-Reihe vor, der ebenfalls Judge Dredd in einer Nebenrolle featured. "Megastädte" sollte man sich als Reihe vormerken. Band 1 ist jedenfalls einfach klasse. Jo84






Wittek: Bizarr Bazar # 1. 40 Seiten, Dunkelblaudruck, Farbumschlag, DIN A 4, 9,90 Mark. Zwerchfell-Verlag
Ein feines Teil ist das erste komplett eigene Heft des Hamburger Underground-Künstlers Thomas "Wittek" Wittke, das am 1. April im Zwerchfell-Verlag neu erschien. Zeichnerisch gehört Wittek zu den besten Künstlern des Landes. Er beherrscht so gut wie jeden Zeichenstil, und seine Comics sind eine Achterbahnfahrt durch alle nur erdenklichen grafischen Gestaltungsmöglichkeiten. Die Grundlage seiner Gestaltung ist ein klarer Funnystrich, von dem aus er jedoch nach Belieben zum Fotorealismus, zur maßlosen Überzeichnung, zur Collagentechnik oder sogar zur Abstraktion überspringt. Je nach Stimmung des Textes vollziehen sich diese Wandlungen manchmal sogar auf einer einzigen Seite. Der Text als solcher ist zumindest halb-autobiografisch. Wittek erzählt aus seiner Vergangenheit und spinnt Situationen oft bis in reine Fiktion oder Wunschträume weiter. Oft bleibt er auch nur bei den Fakten, die er jedoch durch gekonntes Übertreiben über die Parodiegrenze hinaus zu verfremden versteht. Diese Fähigkeiten des Allround-Genies Wittek lassen "Bizarr Bazar" zu einem einzigartigen Werk werden, das man um jeden Preis in seiner Sammlung haben sollte. Wer mehr über Wittek wissen möchte, sollte auf seine zahlreichen Fanzine-Kollaborationen mit anderen Hamburger Fan-zeichnern oder ein Interview mit ihm in Sprühende Phantasie # 17 zurückgreifen. Jo84





Zep: Titeuf # 5. Zum Totlachen. 48 Seiten, farbig, Softcoveralbum, 14,90 Mark. Carlsen
Noch ist Titeuf nicht wirklich bekannt in Deutschland, obwohl es die witzigste Reihe ist, die Carlsen momentan im Programm hat, und es schon auf fünf Bände gebracht hat. Der vorlaute, dreiste und leicht frühreife Bengel von Zep bringt den Leser auch diesmal wieder auf 45 Einseitern zum Schmunzeln, Prusten und Wiehern. Unnachahmlich, wie Zep den Charakter Titeufs darstellt, ihn Streiche aushecken und dann oft selber reinfallen läßt. So ganz belanglos ist Zeps Humor dann allerdings doch nicht immer. Man kommt schon ins Nachdenken, wenn es zum Beispiel um Harim geht, der auf eine Mine trat und ein Bein verlor, oder wenn Modegags wie Piercing oder Turmschuhe verulkt werden. Das ganze ist schmissig gezeichnet und super coloriert. Außerdem wurde der Preis auf 14,90 Mark gesenkt. Also, Leute, was gibt's da noch zu überlegen? Kaufen! Jo84



Extrem Illustrated # 1. 44 Seiten, s/w mit Farbumschlag, Comicbookformat, 6,90 Mark. Extrem Erfolgreich Enterprises (ab 18)
Extrem Erfolgreich Enterprises präsentiert hier eine neue Reihe, deren Konzept Kurzgeschichten von verschiedenen Zeichnern sind. Den Anfang machen natürlich die den EEE-Lesern bereits bekannten Zeichner Schwarwel ("Schweinevogel") und Vigil ("Faust"). Schwarwel, grafisch sicher eines der größten Talente des Landes, saugte sich zusammen mit Augsburg eine Story aus den Fingern, die mich von der Art her irgendwie an Gespenster-Geschichten oder schlechtere Menschenblut-Beiträge erinnert. Die Story ist leider viel zu berechenbar, als daß sie letztlich überzeugen könnte. Die zweite Kurzgeschichte erstellte Joe Vigil nach einem Text von David Quinn. Es geht um einen Nebenstrang der Saga um Faust. Grundlage ist die Idee, daß Kino in der Zukunft im Kopf stattfindet. Der Renner in der Spätvorstellung ist "Faust". Im Sensory Entertainment Center kann jeder gegen den "singenden Killer" antreten. Der Auftakt von Extrem Illustrated ist nicht wirklich furios. Trotzdem ist die Reihe als weiteres Highlight zu werden. Für Heft zwei ist Material von Klaus Cornfield und Rainer Baldermann angekündigt, und Heft drei soll komplett in Farbe den großartigen Undergroundspaß "Shit the Dog" von Simon Bisley bringen. Hoffen wir, daß diese Pläne eingehalten werden können. Jo84






Fräuleinwunder XX # 1. 44 Seiten, s/w mit Farb-umschlag, Comicbookformat, 9,95 Mark. Jochen Enterprises.
Nicht ganz so auflagenstark, aber mindestens ebenso spektakulär ist wohl die neue Heftreihe bei Jochen Enterprises, die von Lilian Mousli und Evelin Höhne herausgegeben wird. Das besondere an "Fräuleinwunder XX" ist, daß die Heftreihe nur Arbeiten von weiblichen (Comic-)Zeichnern enthalten soll. Ein Gastzeichner männlichen Geschlechts ist dann doch dabei: Jim Avignon durfte einen Onepager gestalten, aber er reiht sich in seiner Obskurität gut in die Arbei-ten der Damen ein. Das Heft ist nämlich eine zweischneidige Sache: Wenn man es näher betrachtet, so sind unter den zehn Künstlerinnen kaum wirkliche Zeichnerinnen vertreten, die Comics im herkömmlichen Sinn (mit Sprechblasen und Bildaufteilung) präsentieren. Es scheint wirklich so, als hätten mehr als die Hälfte mit der konventionellen Comicform gebrochen, denn sie stellen Bilder ohne Worte dar, plazieren die Worte als Block unter den Bildern oder liefern ganzseitige Grafikspielereien mit Textfetzen ab. Nur Isabel Kreitz mit dem Sechsseiter "Gretchen" liefert einen wirklich waschechten (und guten) Comic ab, was man bedingt noch von Anke Hellmich und Charlotte Brinckmann (bekannt aus dem Fanzine "Unangenehm") durchgehen lassen könnte. Ohne dies jetzt als Ganzes werten zu wollen, gefällt die Erstnummer mir persönlich (als Mann?) jedenfalls nicht so besonders gut. Wenn Minou Zaribaf auf dem Backcover ein Papierauto zum Zusammenbasteln beisteuert, kann ich damit einfach nichts anfangen. Das Magazin an sich ist jedoch als erster Schritt zur Förderung von Zeichnerinnen auf alle Fälle ein Schritt in die richtige Richtung. Jo84



Reddition # 31 und 32. 72, bzw. 84 Seiten, teilweise farbig, DIN A 4, 10, bzw. 15 Mark. Edition Alfons
Aus der ehemaligen Comic Reddition ist die Reddition - Zeitschrift für graphische Literatur geworden. Geblieben sind die hervorragende Aufmachung und die unübertroffenen Inhalte, die das Blatt zu dem mit Abstand besten Sekundärmagazin des Landes machen. Das eld der Comics und angrenzenden Gebiete ist weit, und obwohl der Schwerpunkt des Magazins sicherlich bei frankobelgischen Publikationen liegt, schafft die Edition Alfons es immer wieder, auch über Randgebiete zu berichten. die es schon lange verdient haben. Während dies bisher fast immer einzelne Künstler waren, wagt sich die Reddition diesmal an einen Überblick über das reichhaltige Angebot an klassischen Kinder- und Jugendbuchillustrationen. Der gemeinsame Markt von Comics und Kinderbüchern ist interessanter, als man zunächst annehmen dürfte. Viele Comiczeichner haben in ihrer Karriere auch an Kinderbüchern gearbeitet, nur weiß es kaum ein reiner Comicfan. Franquin, Will, Roba oder Trondheim gehören zu diesen Künstlern ebenso wie Chaland, Avril, Götting oder Lorenzo Mattotti, den das Cover dieser Ausgabe ziert. Bei vielen Veröffentlichungen kann man sich sogar darüber streiten, ob es sich um Comics oder Kinderbücher handelt. Als Beispiele seien Petzi, Mecki oder die Werke von Janosch, Helme Heine oder Wilhelm Busch genannt. Über all diese Künstler, ihre Vorläufer ab 1800 und den Kinderbuch-markt generell berichtet die # 31, wie immer mit wahn-sinniger Fachkenntnis und erstklassig recherchiert und bebildert. Insgesamt wieder eine spitzenmäßige Ausgabe, die ich vollstens empfehlen kann. # 32 des erstklassigen Magazins wird seinem Konzept wieder voll gerecht und beschäftigt sich zu gleichen Teilen mit dem Werk der Zeichner Francois Schuiten und Enki Bilal. Das Thema Bilal, das bereits in der inzwischen vergriffenen # 15 aus dem Jahr 1989 aufgegriffen worden war, soll anläßlich des Erscheinens des neuen Albums "Schlaf des Monsters" ergänzt und auf einen aktuellen Stand gebracht werden. Ob dies nötig ist, bleibt fraglich, denn es wird natürlich auch auf Bilals Werk vor 1989 noch einmal eingegangen. Dies bleibt aber entschuldbar, denn die Ausgabe vor zehn Jahren hat natürlich lange nicht jeder, der sich heutzutage für Bilal interessiert, auch wenn sich die Interessengruppe selbst kaum verändert hat. Im allgemeinen gilt aber, was die Reddition publiziert, ist danach für alle anderen Fachpublikationen uninteressant, da diese höchstens einen Ausschnitt bieten können. Schon aufgrund des Umfangs (immerhin 42 Seiten pro Künstler) kann man's nicht besser machen. Man könnte zwar meckern, einige der Illustrationen seien nicht so gut eingescannt wie gewohnt, andererseits fragt man sich, woher die überhaupt ihr ausgewähltes Bildmaterial holen. Der Preis schmerzt im ersten Augenblick, ist aber für die Fülle an Informationen und die kleine Käuferschicht gerechtfertigt. Also, Reddition, auf die nächsten 15 Jahre - ihr werdet immer die Besten bleiben. Jo84







Strapazin # 53 und 54. Je 80 Seiten, teilweise farbig, Zwischenformat, 10 Mark. Meiler Verlag
Nachdem sich Strapazin in den letzten Jahren zu einem der hervorragendsten Magazine weltweit entwickelt hat, ist die Nummer 53 erstmals seit etlichen Ausgaben mal wieder so ein richtiger Scheiß. Anscheinend muß nach wie vor alle paar Monate mal eine Alibi-Krakelausgabe mit den schmierigsten Kleinkinderwerken dabei sein, damit die Möchtegern-Kunstszene ehrfürchtig aufschreien kann: "Kunst! Kunst!" Bloß leider ist eben nicht alles, was kein Mensch verstehen kann, zwingend Kunst, sondern oft auch nur wichtigtuerische Ergüsse von künstlerisch völlig unbegabten Schmierfinken, die gern mal dazugehören möchten. Ich will nicht unterstellen, daß keiner der Mitarbeiter etwas kann, denn selbst der von mir sonst hochgeschätzte Hendrik Dorgathen unterwirft sich dem Konzept dieser Ausgabe und ist auf Trips, die ich weder nachvollziehen kann noch will. Fakt ist jedenfalls, daß sich in diesem Heft keine einzige Geschichte in herkömmlichem Sinne befindet, sondern irgendwelche unzusammenhängenden "Werke" ohne tieferen Sinn. Hoffentlich ist die nächste Ausgebe wieder besser. Strapazin ist ja immer für eine Überraschung gut. Strapazin # 54 ist wieder etwas interessanter als die Vornummer und trägt den Untertitel "Bildergeschichten aus Asien". Die Ausgabe ist nicht etwa ein rein japanisches Manga-Heft, denn vertreten sind in dieser Ostasien-Nummer neben japanischen auch Comics aus der Volksrepublik China, aus Taiwan und Hong Kong. Nicht berücksichtigt werden konnte zum Bedauern der Redaktion das koreanische, vietnamesische, malaische und indische Comicschaffen. Die vorgestellten japanischen Manga stammen ausschließlich aus dem Untergrund, gehören also nicht zur Massenware, wie man es von Strapazin eben so erwartet. Überhaupt ist dies eine Ausgabe, die mehr Geschichtliches oder Allgemeinkultur vermittelt als wirkliche Comics. Die meisten Beiträge sind eher handgeschriebene Geschichten, die zwar durch Bilder ergänzt sind, aber auch durchaus ohne sie stehen könnten. Einzig Kazuichi Hanawa aus Japan bietet etwas, das dem, was wir Comic nennen, nahekommt. Ansonsten gibt es noch ein paar simpel gezeichnete Funnies, die am ehesten durch fehlende Hintergründe auffallen, und ein paar Pseudokünstler, die es wohl überall auf der Welt gibt und die unverständlichen Quatsch verzapfen, um als hip zu gelten (und sogar Erfolg damit haben, o je). Die Wortbeiträge sind jedoch in der Tat sehr interessant. Kuno Affolter berichtet über seine Erfahrungen im japanischen Comicverlag Kodansha, und Cai Zhi Zhong philosophiert über das Tao, während uns Hans Keller über die Herkunft der Manga informiert. # 54 ist also wieder mal eine zwiespältige Ausgabe, nicht im herkömmlichen Sinne wirklich gut. Aber zumindest interessant. Jo84



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 56
Besprechungen





Nichts für ungut # 11 (Juli 1999). 44 Seiten plus Mittelposter, s/w mit zweifarbigem Cover, DIN A 5, 2 Mark. Benjamin Brandt, Schubertstraße 36, 99423 Weimar
Benjamin Brandt hat die Nachrichten über sich und seine studentische Umgebung weitgehend eingestellt und beschränkt sich in der neuen Ausgabe auf seltsame Comics. Mit dem Wort "seltsam" möchte ich hier die Bandbreite von Kalauern über absurden Humor bis hin zu kryptischer Verrätselung abdecken. Es fällt mir schwer, auf einzelne Beiträge einzugehen, die wohl überwiegend von Weimarer Grafikstudenten stammen. Aber sie sprechen mich schon an, und in ruhigen Minuten nehme ich das Heft gern zur Hand. aa


Stones # 4 und spezial; ...und matt! # 1; Suckelborst # 0. 20, bzw 28 Seiten, s/w, DIN A 5. Andreas Fecke, Garfelner Straße 41, 59558 Lipp-stadt
Andreas Fecke produziert unermüdlich neue, sehr komische Gags über und mit Schach- und Go-Figu-ren. Es ist klar, daß jemand, der solche Comics zeichnet, leidenschaftlicher Brettspieler sein muß. Letzte Gewißheit bringt das Heft "Suckelborst" - voll von Schachproblemen, Go-Stellungen und der Vorstellung eines kniffligen Minimal-Spiels namens Dodgem. Die Ausgabe wird durch Comics und kleine Geschichten aufgelockert. Ich bin kein Brettspieler, aber manchmal lese ich zum Spaß ganz gern, wie Helmut Pfleger oder ähnliche Leute Schachpartien beschreiben: "Dies ist eine sehr elegante Opferwendung" oder "Für Weiß ist die Lage nach diesem Zug nach wie vor schwierig". So ist auch "Suckelborst". Trotzdem - dieses Heft ist wohl nur etwas für Spezialisten. aa


Andreas Heinze / Martin Jablonka: Suzi. 48 Seiten, s/w, DIN A 4. Fake Press, Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen.
Sicherlich erinnern sich noch viele Leser an das gut aufgemachte Umsonstmagazin "Schattenseiten", dessen letzte Nummer vor mehr als einem Jahr erschien. Durch fast alle Hefte zog sich die Fortsetzungsgeschichte "Suzi", die nicht zuletzt durch Martin Jablonkas eigenständigen Zeichenstil positiv auffiel. Da wahrscheinlich keine weiteren Ausgaben von "Schattenseiten" erscheinen werden, entschloß man sich, die bisherigen sechs Teile mit den beiden unveröffentlichten letzten Teilen zusammen in einem Heft zu veröffentlichen. Die kompletten Teile wirken, obwohl zwischen 1996 und 1998 entstanden, erstaunlich homogen und bilden ein erstes Kapitel, das möglicherweise später fortgesetzt werden wird. Leider sind Papierqualität und Druck nicht akzeptabel. "Suzi" ist ein Science Fiction-Comic, in dem Andreas Heinze die Flucht von ihr und ihrem Roboter Mignon vor Regierungstruppen schildert, die sie wegen Desertion suchen. Sie selbst ist auf der Suche nach ihrem Ursprung und ihren Eltern. Dabei stößt sie auf ein Geheimnis, das ihr gar nicht schmeckt. In Szene gesetzt wurde alles von Martin Jablonka, der vor allem Gebäude und Hintergründe superprofessionell darstellt. Leichte anatomische Mängel macht er durch seinen sehr sauberen Strich wieder wett, der eigenständig ist und einen hohen Wiedererkennungswert hat. Wer mehr über Martin Jablonka wissen will, sollte sich "Sprühende Phantasie" # 18 zulegen, in der ein Interview mit Martin geführt wurde. Jo84


Das mit der Zensur habe ich verschoben... für dich. 32 Seiten, s/w, DIN A 5, kostenlos. Michael Machner, Falken-weg 4, 61184 Karben
Komischer Titel. Wie auch immer: Solch unschuldig unanständige Sachen habe ich noch nie gesehen. Bei Michael Machner wirkt Erotik nicht provozierend und überhaupt nicht aggressiv. Das hängt aber in hohem Maße auch von den Texten ab, die seine Figuren sprechen. Seine Frauenakte sind nichts besonderes, und auch die Beiträge von Crissie, B. H. und Rocé, die das Heft vervollständigen, sind nur konventionell. Auf jeden Fall dürfte das Heft eine absolute Rarität sein, da Michael Machner es kostenlos verschickt. aa


Porn Shop Boogie. 36 Seiten, s/w, DIN A 5, 2 Mark. Daniel Niehaus, Stiekamp 3, 49509 Recke; E-mail: duniel@gmx.de
Viele Fanzines sind Oneshots, aber meistens planen die Herausgeber eigentlich eine Serie. Nicht so Daniel Niehaus: "Porn Shop Boogie erscheint nur dieses eine Mal. Das ist alles, wozu ich im Moment fähig bin." Weiter unten heißt es jedoch: "Die nächsten Comics werden besser. Echt. Will meinen: Auch kaufen." Bleiben wir beim vorliegenden Band. Drin sind fünf bis sechs Comics, alle vom Herausgeber. Das bei weitem schärfste daran ist der Titel. Weniger Sex, sondern eher eine ultracoole Attitüde (à la "Das Schweigen der Lämmer" oder "Pulp Fiction") durchzieht als roter Faden das Heft. Das ist nicht schlecht gemacht, und Daniels Zeichenstil zwischen Ralf König und Mali & Werner ist auch ganz ansprechend. Aber Daniel sollte vielleicht doch beim nächsten mal etwas ganz anderes versuchen. aa


Wolfgang Mürmann / Diana R. Sassé: Doudou, der Poilu # 4. Die Deutschin. 52 Seiten, s/w mit Farbumschlag, Comicbookformat, 9 Mark. Edition Rhein-Trio, Drahtzugstraße 10, CH-4057 Basel
Ganz knapp vor Druckbe-ginn schickte mir Diana ihr fertiges Album - leider ohne Begleitbrief. Ich weiß daher nicht, ob ich aus dem Band weitere Folgen der Story nachdrucken dürfte oder ob es ihr nur um eine Rezension geht. Ich beschränke mich mal lieber auf eine Besprechung. Wie Ihr in PLOP gelesen habt, führt Titelheld Doudou eine Reisegruppe durch ein Paralleluniversum-Frankreich, das von verschiedenen Fabelwesen bewohnt ist. Eine Bande von Desperados macht Jagd auf Pferdedeutsche. Dou-dou entdeckt die Spuren eines Massakers, worauf die Wilderer ihn und seine Begleiterin (die "Deut-schin") ebenfalls abschlachten wollen. Doudou entkommt mit knapper Mühe. Eine Abteilung Poilus kommt ihm zu Hilfe. Die Deutschin hat er zuvor weggescheucht. Zu seiner Überraschung wird er aber von einem Kameraden der Fahnenflucht bezichtigt. Doudou warnt vor den Wilderern, aber er erhält zunächst keine Gelegenheit, seine Unschuld zu beweisen. Er soll vor Gericht gestellt werden. Damit endet die Episode. Lesen Sie auch den nächsten Band "Schlafende Flügel". Das Album hat zweifellos seine ganz besonderen Qualitäten: Dianas ausgefeilten Zeichenstil kennt Ihr ja, und die Story ist sorgfältig erzählt und ziemlich spannend. Es ist aber ein ganz traditioneller Abenteuerstoff, und die Klemme, in die Doudou am Ende gerät, erinnert heftig an Leutnant Blueberry. Etwas ähnliches wie der "Chihuahua Pearl"-Zyklus schwebt Diana und ihrem Szenaristen (den sie in PLOP schamhaft verschwiegen hatte) wohl auch vor. Gediegene Unterhaltung also, die auf ein breites Publikum zugeschnitten ist, leider ohne persönliche Note, ohne ein erzählerisches oder künstlerisches Risiko einzugehen. Ganz "außerhalb der Fanszene" steht sie aber wohl noch nicht. Und ich möchte auch ihren Fans das Lesevergnügen nicht verderben. Für mich war's ja auch kurzweiliger Lesestoff. aa




Frank Schmolke: Black Box. 48 Seiten, s/w mit zweifarbigem Cover, DIN A 5 quer, 14,90 Mark. Edition Spaceboy, Frank Schmolke, Adelgundenstraße 19, 80538 München
"Wir versuchen, Dinge zu vergessen, an die wir uns nicht gerne erinnern, sie aus unserem Gedächtnis zu streichen, so, als wären sie nie passiert. Aber das Vergangene kommt immer wieder an die Oberfläche. Unsere Black Box ist zuverlässig und vergißt nichts... alles, was uns ausmacht - Ängste, Wünsche und Hoffnungen - wird durch das, was schon gewesen ist, beeinflußt, und unsere Black Box schreibt unaufhörlich weiter an unserer Biografie. Solange, bis unsere Zeit abgelaufen ist. Und selbst dann bewahren andere, die uns kannten, unser vergangenes Leben, schreiben an unserer Geschichte weiter, dichten etwas hinzu oder lassen etwas weg. Die Black Box aber, der Kern, das, was uns ausmacht, bleibt für immer Geheimnis." Frank Schmolkes Vorwort erklärt sehr gut den Titel seines Werkes und den Zusammenhang mit den drei "Kurzgeschichten", die er hier, in Schabkarton gekratzt, präsentiert. "Gedankengänge" wäre vielleicht die noch bessere Bezeichnung für die Themen, die Schmolke grafisch, von Thomas Ott stark beeinflußt, in Szene setzt. Da ist der Mann, dessen Erinnerungen langsam verblassen wie sein altes Polaroid oder der Mensch selbst. Auch Gefühle machen die Black Box aus wie jene der Frau, die sich in ihnen verliert, ohne daß ihr Mann etwas davon merkt. Zu guter Letzt macht Frank Schmolke klar, wie wenig der Rest der Menschheit von einem Menschen wissen kann - nahezu nichts. Frank Schmolkes "Black Box" ist schnell durchgelesen, bleibt aber im Gedächtnis. Man legt es trotzdem nicht so schnell aus der Hand, weil die aus Schabkarton gekratzten Bilder wirklich schön sind. Und letztendlich denkt man nach über Vorwort und Thematik. "Black Box" schreit geradezu nach Fortsetzungsbänden, da es noch unzählige ähnlicher Gedankengänge geben kann und muß. Für den Anfang empfehle ich Euch Buch 1 - falls ihr es noch bekommt, denn ungerechtfertigterweise ist das Werk auf nur 500 Exemplare limitiert. Jo84



Roswitha und Bernd Stein: Steinzeit Adventures # 1. 32 Seiten, s/w, Comicbookformat, 6,90 Mark. Zwerchfell Verlag
Der ,Zwerchfell-Verlag glänzt immer mehr durch die Herausgabe schöner Hefte, die thematisch und zeichnerisch durch jedes Raster fallen. So auch die neuesten Kurzgeschichten von Bernd Steins Helden Sven und Ollie, die bereits durch das Comicalbum "Hamburg City Blues" und ihr regelmäßiges Erscheinen im Hamburger Obdachlosenblatt "Hinz & Kunzt" einen größeren Bekanntheitsgrad erreicht haben. In den zwei Kurzgeschichten liegen, wie oft bei den Geschichten um Sven und Ollie, Humor und Kritik eng beieinander. Umweltschutz wird in beiden Geschichten großgeschrieben und praktisch als Moral angesehen, obwohl die Stories selber ein bißchen an den Haaren herbeigezogen sind. Die Grauabstufungen im Heft haben eine schöne Wirkung. Dabei mag ich Grautöne in Schwarzweiß-Comics sonst eigentlich gar nicht so. Insgesamt legen Dr. Stein und Rost hier ein recht nettes Heft vor. Jo84

Marc Stiegele: Die drei Kopfen. Spannende Geschichten in 15 Bildern. 40 Sei-ten, s/w, DIN A 5, 2 Mark plus Porto. Marc Stiegele, Riedstraße 10, 73579 Scheidingen
Merkwürdige Hefte gibt es, und "Die drei Kopfen" (gemeint sind Köpfe) gehören eindeutig dazu. Bei den Titelhelden handelt es sich um drei Kopffüßler, die mei-stens nichts tun und sich nur unterhalten. Das kann in konfusen Gags enden, in Blödeleien oder auch in purem, ödem Quatsch. Die Zeichnungen unter dem Ma-schinenlettering sind ziemlich eingeschränkt, der Pa-nelaufbau steril. Marc Stiegele wird sicher nie ein Zeichnerstar werden. Ursprünglich waren die einzel-nen Gags als kopierter Rundbrief an Freunde und nicht zur Veröffentlichung gedacht. Das Ganze erinnert irgendwie an die schlechteren der Kix-Comics. Jo84




cOMIc # 38. 28 Seiten, s/w, DIN A 5. Im Tausch gegen Beiträge oder andere Fanzines bei Gerd Bonau, Schleswiger Straße 9, 24392 Süderbrarup
Schwerpunkt diesmal ist ein düsterer Comic von Man-fred Lafrentz. Außer Ulrich Magin und Henning Way sind alle übrigen Künstler mit One-Pagern vertreten. Die beiden redaktionellen Beiträge über dänische Marvels und das neue Zack sind so kurz, daß man sie hier komplett zitieren könnte. Aber das Heft gefällt mir: Viele Kostproben von unterschiedlichen, aber allesamt guten Leuten. aa


Der Comic Herold # 9. 32 Seiten, s/w, DIN A 5, 3,50 Mark. Crago-Verlag, Post-straße 7, 97993 Creglingen
Kurz vor dem Ende steht das "Magazin für Action-Co-mics" mit der Ausgabe 9, denn die Nummer 10 wird die letzte Ausgabe sein. Der Crago-Verlag konnte ein-fach nicht genug Leser an das Blatt binden, um überleben zu können. Die Gründe dafür erschließen sich mir beim Lesen sofort. "Action Comics made in Ger-many" könnten schon gefragt sein - wenn sie denn besser wären. Was mit den ersten Ausgaben vielversprechend begann, flachte - vor allem textlich - von Nummer zu Nummer ab. Heft 9 zeigt dies besonders deutlich: "Windkönig" erlebt zwei grauenerregend pathetische Abenteuer, und "Germania" wird auf ihren Brustumfang reduziert. Zeichnerisch ging es etwas aufwärts. Leider verläßt Lutz Buchholz, der einzig wirklich gute Zeichner im Heft, das Germania-Comic-Team. Die Windkönig-Stories aus dem Jahr 1997 zeigen leider nicht Damir Hamidovics jetziges zeichnerisches Können, das sicher mittlerweile gestiegen ist. Trotzdem sucht der Crago-Verlag Zeichner, Autoren, Letterer, Tuscher und Coloristen. Mehr darüber erfahrt ihr im Internet unter www.windkönig.de. Jo84




Koma Comix # 22. 36 Seiten, s/w mit Farbcover, Comic-bookformat, 5 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
Quevis und Knülle verdingen sich als Roadies einer Girlband; die Gang verbringt einen Abend vor der Glotze; Knülle wird unter dem Einfluß seiner neuen Freundin bürgerlich; das sind so die Themen diesmal. Außerdem startet eine Superheldenparodie, die aber noch nicht mehr als die Entstehungsgeschichte bietet. Ungewöhnlich für Weißblech: Ein Gastzeichner namens Pit Hammann steuert eine Seite bei. Insgesamt eine recht unterhaltsame Ausgabe. aa
XXX Comics # 2. 40 Seiten, s/w, 13 mal 18,5 Zentimeter, 4 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
Hier steuert wieder Roman Turowski einige Seiten bei. Der Schwerpunkt liegt auf Parodien, und die Gang kommt bloß am Rande vor. Trotzdem: Wer Koma Comix mag, wird XXX Comics lieben. aa



Kreativo! # 27 (Juni 1999) und 28 (September 1999). Je 28 Seiten, s/w, DIN A 5, 2,50 Mark. Birke, Postfach 20222, 58470 Lüdenscheid
Über dieses Fanzine ist ja inzwischen an dieser Stelle einiges geschrieben worden. Aber sein Reiz läßt sich sehr schwer in Worte kleiden. Teil der Faszination ist für mich jedenfalls das Zusammentreffen sehr unterschiedlicher Beiträge - vom Schriftsteller Wolfgang Fienhold bis zum genialen Comic-Dilettanten Olaf Bathke. Viel vertreten in den neuen Ausgaben sind auch Oliver Ferreira, Anja & Joy, Ghost und Cat. Die Leserbriefe werden faksimiliert und offenbaren die ganz unterschiedlichen Temperamente der Mitwirkenden. aa






Menschenblut # 34. 36 Seiten, s/w mit Farbcover, Comicbookformat, 6,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg
Das melancholische Cover täuscht darüber hinweg - die neue Ausgabe soll eher lustig sein. Natürlich gibt's in "Menschenblut" nur höchst makabren Humor. Die Zahl der Toten im Heft übersteigt die Seitenzahl bei weitem, und die Leute werden aus nichtigem Anlaß oder lächerlichen Motiven umgebracht. Geier stellt das in Holger Bommers Story "Captain Bunny" folgerichtig mit Funnyfiguren dar, und Andreas Lehmeyer zeichnet seine "Dirty Deeds" im Undergrund-Stil. Aber auch die Beiträge von Mille und Petra, Alexander Pavlenko und von Toni Greis sind eigentlich schwarze Funnies. Dieser Dreh ins Groteske hat "Menschenblut" in seinen besten Momenten immer wohltuend von anderen Magazinen abgehoben, die sich auf Sex und Gewalt kapriziert haben. Über alles kann ich in der neuen Ausgabe nicht lachen. Zu viele Scherze gehen auf Kosten von Frauen. Aber ansonsten stimmt die Richtung. aa



Mixer # 9. Ca. 32 Seiten, s/w mit zweifarbigem handbedrucktem Cover, DIN A 4, 5 Mark. Claudia Bernhardt, Freibergerstraße 66, 59558 Lippstadt
Tja, jetzt habe ich wieder das gleiche Problem wie bei Ausgabe acht. Getreu dem Konzept, daß Claudia Bernhardt nur zusammenheftet, was die Mitarbeiter einsenden, enthält auch das neueste Heft wieder viel Collagiertes, Hingeworfenes, Assoziatives - viel Disparates nebeneinander. Es sind diesmal auch einige Texte dabei, die über hingekritzelte Notizen hinausgehen (die es auch gibt), und sogar ein paar Comics. Damit nicht wieder jemand vermutet, mir hätte der Mixer nicht gefallen, möchte ich das Heft diesmal ausdrücklich empfehlen - wäre wohl auch reizvoll, mal dabei mitzumachen. aa


Napartheid # 26. 52 Seiten, s/w mit Farbcover, DIN A 4, 300 Peseten. Napartheid/Fanxinoteka, 127 PK Trintxerpe-Pasaia, 20110 Gipuzkoa, Basque Country
Wieder eine dicke Ausgabe mit vielen überwiegend gekonnten Undergroundcomics. Wer das Magazin trotz der baskischen Sprache mal antesten möchte - was ich vom grafischen Gesichtspunkt aus absolut empfehlen kann -, sollte nicht die Adresse aus dem letzten PLOP verwenden. Die ist offensichtlich nicht richtig. aa


Paranoid # 2. 36 Seiten, s/w mit Farbcover, DIN A 4. Christopher Tauber, Ulmenstraße 20, 63371 Gelnhausen oder Steffi Dietz, Hilgeseichweg 13, 63607 Wächtersbach.
"Nur zur Info", schrieb mir Christopher Tauber, "Kunststudenten sind wir nicht (siehe Deine Kritik in PLOP). Trotzdem haben wir uns (irgendwie) über die Kritik gefreut und haben darüber neue Kontakte geknüpft." Und ein neues Heft haben die Hessen auch herausgebracht. Das ist größer, bunter, schöner geworden als die Debütausgabe. Der Hefttitel gibt zwar nach wie vor die thematische Richtung der enthaltenen Comics und Texte an, aber die Verstörung vom letzten Mal weicht tendenziell einer kichernden Gaga-Stimmung. Die Paranoia wird ein wenig zur Masche. "Paranoid" ist aber immer noch ein ziemlich ungewöhnliches Fanzine und eine kurzweilige Lektüre. aa


Rockstar 2000. Der Comic zum Punk Rock Wagen, Berlin. 16 Seiten, s/w, DIN A 5, gratis
Wie ich zu diesem Heft gekommen bin, weiß ich leider nicht mehr. Es ist jedenfalls zum Berliner Karneval der Kulturen erschienen, und ich meine mich zu erinnern, daß es mal irgendetwas beilag. Vertreten sind hier viele Berliner Szenegrößen wie Phil, Atak, Andreas Michalke oder Oliver Naatz, und es handelt sich in der Regel um launige Bekenntnisse zum Punk oder zumindest zur Punk-Vergangenheit. Sehr schönes Heftchen. aa


Sinnlos Comix # 2. 32 Seiten plus Mittelseitenposter, s/w, DIN A 5, 2 Mark. Sinnlos Comix, M. Schenk, Urannusstraße 33, 04205 Leipzig
Dieses Magazin, von dem vor der # 1 auch eine Nullnummer erschienen ist, hat seine Metamorphose von einer Schülerzeitung zu einem Fanzine noch nicht ganz abgeschlossen. Die Macher sind um die 16 Jahre alt. Das bedeutet natürlich mildernde Umstände. Und deshalb werden hier zwar einerseits männliche Sexprobleme thematisiert, andererseits versteht man Mädchen noch nicht so richtig. Ja ja. Ich fand "Sinnlos Comix" unter den gegebenen Umständen recht sympathisch. Die Freude am Fanzine-Machen teilt sich ei-nem auf fast jeder Seite mit. Möglicherweise aber sieht das Heft bald schon ganz anders aus. Die Macher baten mich mitzuteilen: Die nächste Ausgabe wird mit Farbcover sein, mit "Schlimm und schlimmer" von Matthias Schenk, Schwarwel, Cosmo, "Zauberlehrling", Ralph Meise, Marcus Kaliske, "Traurig aber wahr" (Comic zum Hiphop-Track von "Too Strong") von André Schirmer, "Assi" von Ulli Letzien, Poster von PM Hoffmann und einem Ralf Paul-Interview. Mehr darüber vielleicht demnächst an dieser Stelle. aa



Stripburger # 21. 92 Seiten, s/w, DIN A 4, 500 Sit. Strip Core Forum Ljubljana, Metelkova 6/I, 1000 Ljubljana, Slovenien
Quantitativ und qualitativ wieder sehr beeindruckend, was mir da auf den Schreibtisch flatterte. Obwohl diese Ausgabe sehr international ist (Beiträge unter anderem aus den Niederlanden, Belgien, England, Norwegen und USA), ist leider nicht alles in englischer Sprache. Die Artikel und Rezensionen sind allesamt (vermutlich) slowenisch abgefaßt. Auch wenn man also nicht alles wirklich lesen kann, läßt einen das Heft gewiß nicht kalt. Hier drückt sich immer wieder die Misere des Ostens aus, speziell des ehemaligen Jugoslawiens - die Armut, die Perspektivlosigkeit, die Psychopathen, die der Sozialismus hervorbringt -, und man verfolgt das schon mit einem unguten Gefühl, wenn man selbst mit warmem Hintern im reichen Westen sitzt. Eines der besten Underground-Magazine, die ich kenne. aa




Sunburn # 11 (Sommer 1999). 56 Seiten plus achtseitiges Magazin, s/w, DIN A 4, 5 Can. Dollar. sunburn, P.O. Box 2061, Winnipeg, MB, Canada
"Category: Comic Anthology; Published: Three Times a Year; Issue Date: Summer 1999; Editor: Karl Thomsen; Print Run: 250 Copies; Printing Method: Xerox." So kurz und bündig informiert der Herausgeber auf einem Infoblatt zu seinem bemerkenswerten Fanzine, das mir aus heiterem Himmel zuging. Mein erster Kontakt zur kanadischen Comicszene. Für Andy noch die Information: "Email Address: mosfog@escape.ca; Web Page: www.escape.ca/~mosfog/". Sunburn weist eine sehr angenehme Besonderheit auf: Alle Beiträge sind "beyond words ", also ohne Worte und universal verständlich. Der schön aufgemachte und gedruckte Band bringt durchgehend Beiträge auf gehobenem Underground-Niveau. Häufig geht es in den Comics um Entwicklungen. Ein zähneputzender Mann wird durch den Wasserhahn in eine Wasserwelt gezogen und taucht schließlich aus seinem Klosett wieder auf. Ein Mann beobachtet eine unheimliche Gestalt mit einer Schubkarre, die so lange Passanten folgt, bis denen ein Unglück widerfährt, und dann die Leichen wegkarrt. Schließlich ist die Gestalt hinter ihm her. Ein Mann begräbt einen toten Vogel unter einem Baum bei seinem Haus. Am nächsten Tag sitzt der Vogel riesenhaft vergrößert auf dem Baum und frißt ihn auf. Der Band wimmelt von solchen mysteriösen Geschichten, die in einer soliden angelsächsischen Tradition stehen. In der Heftmitte ist der "zinehead" beigeheftet, ein Rezensionsmagazin internationaler Comic-Fanzines. Karl Thomsen kennt auch etliche Publikationen aus Europa, neben solchen aus Frankreich, Belgien und den Niederlanden aber nur noch finnische, griechische sowie den slowenischen "Stripburger" und das baskische "Napartheid". Demnächst kann er auch PLOP vorstellen, und ich hoffe, daß ich Euch bald mehr über kanadische Comics erzählen kann. aa

Treffer # 8 (Juli / August 1999). 92 Seiten, teilweise farbig, DIN A 4, 6 Mark. Thomas Schmitt, Riehler Tal 27, 50735 Köln
Themen dieser Ausgabe sind unter anderem der hessische Chatten-Piccolo-Vertrieb, der 40. Geburtstag der Schlümpfe oder Sammelbilder-Alben. Aufschlußreich war für mich vor allem der Brief eines Sammlers, der sich nach eigener Aussage auf Ladenhüter spezialisiert hat wie zum Beispiel "Pepito, PLOP, Kobra oder Bastei-Serien wie Dennis, Heidi oder Biene Maja". Womöglich meint er damit die alte Pabel-Serie. aa


Tremor Comics # 3 bis 7. 36, bzw. 44 Seiten, teil-weise farbig (ab # 4 nur noch das Cover), Comic-bookformat, 4.80 Mark. Kreuz + Quer Verlag, C. Schadow, Triftstraße 5, 06114 Halle/ Saale
Dieser Packen von etwa 200 Seiten Comics nötigt einem zunächst mal schon Respekt ab: Beachtlich, was die Kollegen in Halle/Saale (für Ost-Ignoranten: liegt in der Nähe von Leipzig) da auf die Beine stellen - auf bestem Papier und in hervorragendem Druck. Sie haben eine ganze Reihe bemerkenswerter Zeichentalen-te an der Hand. Nur gelegentlich kommt mir mal je-mand bekannt vor (zum Beispiel Diana R. Sassé oder Frank Schmolke mit einer Story von Mille). Die übri-gen Leute scheinen alle original sachsen-anhaltini-sche Talente zu sein, und ich wüßte gern mehr darüber, wie diese Comic-szene aussieht. Die neueste Ausgabe wird von Modern Graphics und Manfred Ilse-manns Karicartoon Verlag mitvertrieben. Die Auflage scheint also auch nicht mehr ganz niedrig zu sein. Was Jo84 schon an den ersten beiden Ausgaben gestört hat, finde ich leider immer noch bestätigt: Inhaltlich sind die Beiträge manchmal recht flach, bemüht witzig oder nicht ganz geschmackssicher. Hätte Christian Schadow einen oder zwei gute Szenaristen an der Hand, könnte Tremor Comics ein wirklich gutes Magazin sein. aa


Glenn Danzig / Duke Mighten / Simon Bisley: Satanika # 1 und 2. Je 36 Seiten, farbig, Comic-bookformat, 7,90 Mark. Extrem Erfolgreich Enterprises
Nach "Death Dealer" ist "Satanika" die zweite Reihe aus Glenn Danzigs US-Verlag "Verotik", die EEE auf deutsch bringt. Wie gewohnt liegt der Schwerpunkt der "Handlung" auf Metzelszenen, nackter Haut und explizit dargestellten Sex-Szenen. Wer nun meint, die Reihe könnte mich nicht gerade begeistern, der irrt. Denn "Satanika" setzt in Zeichenstil und vor allem Farbgebung neue, kaum zu überbietende Maßstäbe. Glenn Danzigs Story muß einfach zur Belanglosigkeit degradiert erscheinen angesichts des meisterhaft aus-geführten Artworks von Duke Mighten. Satanika, eine Dämonin mit Hufen, Flügeln und "höllisch" gutem Körperbau taucht aus dem Nichts auf. Erinnerungsfetzen aus ihrer Vergangenheit lassen erkennen, daß sie eine Gejagte ist, denn der Dämonenlord Dalkiel will sie tot sehen. Nach wie vor finde ich es gut, auch solche Comics unzensiert dem Markt zugänglich zumachen. Im Kampf gegen die Zensur wurde lange genug gekuscht. Logisch, daß das Heft eingeschweißt und ab 18 ist. Das Variant-Cover ist 1:4 und komplett geprägt. Jo84




Frida Bünzli: Ritterhaus Bubikon. 48 Seiten, farbig, Überformat, Hardcoveralbunm, 29,80 Mark. Edition Moderne
Der vorliegende Comicband behandelt Geschichten, die sich zwischen dem 12. und 18. Jahrhundert so oder ähnlich im Ritterhaus Bubikon abgespielt haben, das im Jahre 1192 zur Zeit der Kreuzzüge von Diethelm von Toggenburg gestiftet wurde. Jede der Geschichten dieses Hauses, das jetzt das Johannitermuseum Bubikon im Zürcher Oberland beherbergt, wurde vom Historiker Markus Brühlmeier genau recherchiert. Da Historiker für gewöhnlich versuchen, möglichst genau die Vergangenheit zu rekonstruieren, Comiczeichner jedoch den Spaß den Tatsachen vorziehen, ist das Ergebnis natürlich eher ein spekulatives Werk, dem zwar historische Tatsachen zugrunde liegen, das aber den Schwerpunkt auf das Amusement des Lesers legt. Schmunzeln muß man schon, wenn man sich die Anekdoten über Tragiken, Sitten und Begebenheiten der Geschichte so vor Augen führen läßt. Frida Bünzli liefert handwerklich gute Arbeit ab. Die eher dezente Colorierung lenkt nicht vom Text ab, und man bekommt etliches Geschichtswissen mit aus dem Werk. Der Leser wird mit dem Band zufrieden sein, und die Ritterhausgesellschaft Bubikon ist's sicher auch. Jo84

Glenn M. Bülow: Kowalski, die alte Sau. 64 Seiten, farbig, Hardcoveralbum, 24.80 Mark. Eichborn
"Ein starkes Stück Deutschland! Die erste Comicserie übers Ruhrgebiet" lautet Eichborns Werbespruch über "Kowalski". Und Werbung hat das Album auch bitter nötig, denn es wirkt auf den ersten Blick nicht gerade ansprechend. Hauptperson des Machwerks ist Horst Kowalski, Mitte 40, arbeitsloser Fliesenleger, der nach seiner Scheidung wieder bei seinen Eltern Fritz und Renate wohnt und Hansapils und Nachmittagsspiel-shows zu Lebensmittelpunkten erklärt hat. So weit, so gut. Leider kann Glenn Bülows Humor nicht mit dem seines Namensvetters Vicco von mithalten. Die Gags sind einfach unwitzig. Die Zeichnungen selbst sind höchstens Mittelmaß und dazu noch fürchterlich schlecht getuscht. Auch die Colorierung ist dilettantisch - zwar ist das Farbgefühl Bülows nicht schlecht, aber überall sind Markerspuren zu sehen, was wirklich einen schlechten Eindruck macht. Am abstoßendsten ist aber das unsägliche "Lettering", welches streckenweise sieben Millimeter groß und insgesamt fürchterlich schief ist. Demzufolge sind manche Sprechblasen mit nur 20 Wörtern größer als die Bilder, die vom Text erdrückt wirken. Insgesamt ist einfach alles falsch gemacht worden, was man überhaupt falsch machen kann, und es ist ein Armutszeugnis für Eichborn, so einen Scheiß zu veröffentlichen, obwohl es tausende von besseren Comiczeichnern in Deutschland gibt. Jo84



Philippe Coudray: Barnabas der Bär # 1. Bärenstark. # 2. Große Klasse. Alben. Carlsen
Einer der sympathischsten Neuzugänge ist zweifelsohne diese Bärenserie mit sinnigen Onepagern. Man muß schon ein paar Seiten lesen, bevor man in Bar-nabas' parabelhafte Logik einsteigt. Auch die naiven, meist im Profil gezeichneten Tiergesichter sind gewöhnungsbedürftig. Wäre schön, wenn es trotzdem ein paar Leute kaufen. Literarisch und trotzdem jugendfrei - das ist selten. Herod



Paul Grist: Kane - Leben in Eden. 120 Seiten, s/w, Taschenbuch (17 mal 22,5 Zentimeter), 29,90 Mark. Carlsen
Carlsens Gedanken gehen merkwürdige Wege. Anscheinend in Ermangelung qualitativ guter Mangas und um auch die Publikation unbekannterer amerikanischer, frankobelgischer oder deutscher Zeichner im Pseudomangastil anleiern zu können, wurde nun eine Art neue Reihe geschaffen, in der bereits etliche Bände angekündigt sind. Diese Reihe trägt keinen Namen, die Titel verschiedenster Autoren sind jedoch optisch aufeinander abgestimmt, haben alle das merkwürdige Format, typisches Mangapapier und das S/w-Konzept gemeinsam. Den Anfang macht der erste Band von Paul Grists "Kane", dessen Zeichenstil mich nicht begeistern kann. Nichts gegen Schwarz-weiß, im Gegenteil - Frank Millers "Sin City" oder Werke von Didier Comés gehören zu meinen Lieblingscomics. Beschränkt man sich aber auf Schwarz-weiß, muß man eben ganz schön was können. Grists Stil ist eher simpel, und die agierenden Personen, irgendwo zwischen halbrealistisch und stümperhaft gezeichnet, sind für einen "Comic noir", der dieser Comic sein will, unpassend. Das ist schade, denn die Stimmung kommt schon rüber, wenn er Hausfassaden, Treppen-stufen oder Gebäude von innen zeichnet. Textlich hat mir der Band leider nichts geboten. Offen gestanden hat mich das Lesen gelangweilt. Der Preis ist dann noch der Hammer - so unverschämt überzogen war er bei Carlsen schon ewig nicht mehr. Naja, wartet etwas ab. Die Reihe wird in spätestens zwei Jahren sowieso verramscht. Jo84



Andreas Dierßen: Kunz. 104 Seiten, s/w, Taschenbuch (17 mal 22,5 Zentimeter), 29,90 Mark. Carlsen
Band 2 der merkwürdigen "Reihe" zeigt, daß es auch besser geht. Andreas Dierßen, bekannt durch seine äußerst gelungenen Alben innerhalb der Ehapa Comic-Collection-Reihe präsentiert hier eine Figur, dessen Abenteuer für das japanische Magazin "Morning" des Kodansha-Verlags entwickelt wurde. Wenn Europäer Mangas zeichnen, fällt das ja manchmal etwas merkwürdig aus, denn der Markt dort folgt eigenen Gesetzen, die man beachten muß. Dierßen schafft dies, ohne sich zu verbiegen. die drei Kurzgeschichten dieses Buchs um den Privatschnüffler mit Polizeivergangenheit Kunz ähneln konzeptionell den Kurzgeschichten aus seinen Alben, nur eben, daß sie den Schwerpunkt aufs Bild und nicht auf den Text legen. Man sieht, daß Dierßen für diese Arbeit, die 1995 entstand, viele Mangas konsumiert hat. Das Ergebnis dürfte sowohl für Japaner wie auch für Deutsche als gelungen bezeichnet werden. Höchstens die zugematschten Grautöne geben Anlaß zur Kritik - hier wären Rasterfolien angebrachter gewesen. Natürlich hat man den Band in zehn bis 15 Minuten durch, und der Preis bleibt eine Frechheit, aber ansonsten gefallen mir Text und Umsetzung gut. Jo84

Hergé: Tim und Struppi # 23. Tim und der Haifischsee. 48 Seiten, farbig, Softcoveralbum, 16,90 Mark. Carlsen
Der Carlsen Verlag feiert dieses Jahr "70 Jahre Tim und Struppi". Pünktlich zu diesem Anlaß liegt nun der letzte Band in neuer Bearbeitung und somit die komplette Reihe in chronologischer Folge vor. "Tim und der Haifischsee", in der alten Edition schon länger nicht mehr lieferbar, ist, wie Fans wissen, kein von Hergé wirklich gezeichneter Comic, sondern von dem gleichnamigen Zeichentrickfilm abfotografiert und als Album aufbereitet. Grafisch ist der Band natürlich ein absoluter Höhepunkt. Die plastischen Hintergründe lassen das Album sehr lebendig erscheinen. Textlich ist es jedoch nicht wirklich gut ausgearbeitet. Viele der Szenen des Films fallen weg, um mit 48 Seiten in der Adaption auszukommen. Außerdem ist der Film auf visuelle Gags und Bewegungsabläufe aufgebaut, die im Comic natürlich nicht wirken können. Einige Hand-lungsstränge werden in Textkästen zusammengefaßt, was recht ungewohnt ist. "Tim und der Haifischsee" ist eigentlich kein wirklich gutes Album, sondern vor al-lem für Hergé-Fans interessant. Die werden es Carl-sen allerdings danken, das Album von 1972 noch ein-mal aufzulegen. Jo84




Hergé: Werkausgabe # 1 und 2. 184, bzw. 156 Seiten, teilweise farbig, Hardcoveralben, 64 Mark (Einzelband), bzw. je 48 Mark (Abo). Carlsen
superlanger Ausschnitt aus dem ersten Tim Album
Da ist sie also nun, die schon länger angekündigte und verschobene Werkedition von Hergé, die sein Lebenswerk mehr oder weniger komplett vorstellen und mit Artikeln über ihn abrunden soll. Der erste Eindruck ist sehr gut, die Aufmachung exquisit und der Preis zumindest für Abonnenten gerechtfertigt. Bei näherem Betrachten gibt es jedoch auch Kritikpunkte, die Zweifel aufkommen lassen, ob sich der Kauf dieser kom-pletten Edition lohnt. Band 1 publiziert Hergés erste beiden Comics, "Totor" (der als direkter Vorläufer von "Tim und Struppi" gewertet werden kann) und "Tim im Lande der Sowjets". Die Einführung fällt mit einer Seite plus vier farbigen Bildern Hergés recht dünn aus, zumal ein Werdegang Hergés oder Dokumente/Fotos aus Kinder- und Jugendzeit komplett fehlen. "Totor" selbst, immerhin von 1926, ist natürlich so grottenschlecht (betrifft Inhalte wie auch Druckvorlagen), daß sowas nicht mal ein mittelmäßiges Fanzine heutzutage drucken würde. Die Einführung zu "Tim im Lande der Sowjets" ist schon gründlicher, wenngleich ich mir noch mehr seltene Illustrationen oder Dokumente gewünscht hätte, und der Comic selbst für Komplettisten hochinteressant. So erfährt man zum Beispiel, daß Hergé auch drei Monate lang die Serie "Les Aventures de Flup, Nenesse, Polisette et Cochonnet" illustrierte. Es gibt jedoch nicht mal eine einzige Abbildung, geschweige denn ganze Seiten. Band 2 enthält die kompletten acht Einseiter "Der brave Herr Mops" sowie die Bände "Tim im Kongo" und "Tim in Ameri-ka". "Herr Mops" ist einfach wunderbar, und da er für Hergés Gesamtwerk unbedeutend ist, ist auch seine schnelle Abhandlung verständlich. Unverständlich, um nicht zu sagen grenzenlos dämlich war allerdings die Entscheidung, jeweils die neuesten Versionen der "Tim und Struppi"-Arbeiten in die Werkedition mit aufzunehmen. Schließlich wurden in den letzten Monaten erst alle "Tim und Struppi"-Bände neu aufgelegt, die der Fan sich natürlich schon alle zugelegt hat und jetzt noch einmal kaufen soll. Und wo liegt der Sinn in einer kleinauflagigen Luxusversion, die sich vor allem an Sammler richtet, die eben das eher seltene Werk von Hergé interessiert? Wie schön wäre es gewesen, die ursprünglichen Versionen abzudrucken, die größtenteils nicht mehr lieferbar sind und völlig überteuert feilgeboten werden, oder die zweiten Versionen (von den meisten "Tim und Struppi"-Alben gibt es drei Versionen). Auch hier wurde mit Illus gegeizt. So werden zum Beispiel nur zwei der vier existenten Farbzeichnungen zu frühen Albenausgaben abgedruckt, und der verbleibende Platz mit einer unnötigen Bildvergrößerung aus dem folgenden Album gefüllt. Wieder gibt es keine Angaben zu Hergés Leben jenseits des Comicschaffens, und Kritik zur Person Hergés verbietet der Lizenzgeber sowieso. So sind die Werkeditionen zwar insgesamt ganz gut, aber aufgrund der beschriebenen Mängel lange noch nicht das Nonplusultra. Jo84

Albert Algoud: Hunderttausend Höllenhunde - Haddocks Einmaleins des Fluchens. 94 Seiten, farbig, DIN A 5 quer, 22 Mark. Carlsen
Wer hat sich beim Lesen von "Tim und Struppi" noch nicht über den Ideenreichtum gewundert, den Captain Haddock an den Tag legt, wenn es darum geht, seine Wut verbal zu entladen? Wer schon immer mal wissen wollte, was eigentlich hinter Haddocks Fluchkultur steckt und was Worte wie "Ikonoklaste ", "Troglodyten" oder "Antipoden" wirklich bedeuten, hat hier die Möglichkeit, in diesem Fluchlexikon nachzuschlagen. Ein erheiterndes und äußerst lehrreiches Buch und eine wirklich gute Idee für den 70. Geburtstag von Tim und Struppi. Jo84


Jean-Michel Charlier / Victor Hubinon: Buck Danny # 34. Ghost Queen. 48 Seiten, farbig, Softcoveralbum, 19,90 Mark. Carlsen
Juhuu, es ist vollbracht! Mit Band 34 legt Carlsen endlich den letzten noch fehlenden Buck Danny-Band vor, so daß die Serie jetzt erstmals komplett auf deutsch vorliegt. Texter Charlier und Zeichner Hubinon schufen den Klassiker 1977 - Fans durften also satte 22 Jahre auf die Veröffentlichung warten. Für Fans, die schon seit der alten Bastei-Reihe "Rex Danny" dabei waren, war die Wartezeit besonders übel. "Ghost Queen" ist nämlich der Abschlußband eines Dreiteilers, dessen erster Teil 1974 noch als Heft 30 der Reihe publiziert wurde, bevor sie den Bach runterging. Auch nach 25 Jahren Wartezeit wirkt der Comic erfrischend modern und neben allen militär- und vaterlandsverherrlichenden Platitüden zumindest recht spannend. Trotz aus heutiger Sicht ideologisch bedenklich wirkender Heroisierung und kritikloser Schwarzweißmalerei fasziniert mich die Reihe mehr denn je, die - mit dem nötigen Abstand betrachtet - auf alle Fälle hervorragend unterhalten kann. Jo84


Amanda Davidson / Heidi Bruhn: Teddys erster Weihnachtsabend. Carlsen
Auch diesen Band schickte mir der Carlsen-Verlag zu, und wie die Petzi-Hardcovers ist auch hier ein Bilderbuch-Stil gewählt, der Comicfans gefällt: prägnant, de-tailliert, nicht zu experimentell und hier stellenweise in noch mehr Bewegungsphasen als im Comic. Das Buch hat mir auch außerhalb der Weihnachtssaison gut gefallen. Let's heal the world! Zurück zum Bilderbuch! Herod


David Gilbert: Beule # 1. Wir wollen nur dein Bestes. 48 Seiten, s/w mit Farb-umschlag, über DIN A 5 Querformat, Softcover, 14,90 Mark. Carlsen
Im Fahrwasser von "Der kleine König der großen Tiere" plant Carlsen wohl nun mehrere Strip-Reihen. Dabei darf's wohl auch eine Nummer größer sein, denn David Gilbert versucht, auf Teufel-komm-raus Bill Wattersons ("Calvin & Hobbes") Zeichnstil zu kopieren. Bei Thematik und Humor orientiert er sich ebenso schamlos bei "Garfield". Eine Mischung aus beidem klingt zunächst gar nicht so schlecht, wirkt aber beim Lesen derart flach abgekupfert, daß es einem fast hochkommt. Ein bißchen eigenständiger muß es schon sein, denn eine derart dreiste Kopie auf niedrigerer Stufe braucht wirklich niemand. Jo84


Mark O'Hare: Citizen Dog # 1. Das Geheimnis wahrer Freundschaft. 48 Seiten, s/w mit Farb-umschlag, über DIN A 5 Querformat, Softcover, 14,90 Mark. Carlsen
Carlsens zweite neue Strip-Reihe "Citizen Dog" präsentiert sich wesentlich eigenständiger als "Beule". Zwar ist das Grundthema das gleiche (kluger Hund lebt praktisch auf einer Stufe mit seinem Besitzer), die Gags sind jedoch besser, und alles ist sehr lebendig in Szene gesetzt. Hund Fergus und Herrchen Mel essen am selben Tisch, schlafen in einem Bett - und wenn es Probleme in der Freundschaft gibt, suchen sie gemeinsam den Psychiater auf... Insgesamt ist der Band wirklich nicht schlecht. Jo84


Pat Lee / Adrian Tsang: Darkminds # 1. 48 Seiten, farbig, Comicbookformat, 4,95 Mark. Generation
Generation Comics ist ein Unterlabel von Marvel Deutschland, das hier eigentlich verlagsfremde Comics (in diesem Fall Image) auf deutsch präsentiert. Nach der Reihe "Darkchylde" legen Generation jetzt "Darkminds" vor, ein Comic, der so ziemlich das beste ist, was man sich auf dem Heftchenmarkt zulegen kann. Die Handlung spielt auf der Erde im Jahr 2032, die finster und trostlos dargestellt wird. Einsam und anonym leben die meisten Menschen in riesigen Metropolen. Ein weltweites Computernetzwerk bildet das Rückgrat der Gesellschaft, die seit einigen Jahren durchmischt ist von Androiden und gefühllosen Robotern. Die Welt wird von riesigen Konzernen beherrscht, gegen die selbst Regierungen machtlos sind. Die Verbrechensrate ist hoch. In einer der großen Städte gibt es einen Serienkiller, der seine Opfer mit unheimlichen und unerklärlichen Methoden ermordet. Der Agent Nagawa übernimmt die Ermittlungen. Zusammen mit einem Cyborg soll er den Mörder finden - und zwar schnell. Die Schöpfer Pat Lee und Adrian Tsang schufen mit "Darkminds" einen düsteren Science Fiction-Thriller, der zu gleichen Teilen durch amerikanische Superheldencomics und Animes wie "Ghost in the Shell" beeinflußt wurde. Die Synthese aus diesen beiden Genres besticht vor allem durch die hervorragend düstere Colorierung, die meist in nur wenigen Farben gehalten ist, und die Computerbearbeitung verstärkt die visuellen Stärken des Comics. Die deutsche Bearbeitung ist erstklassig, das Papier viel besser als das der Originalausgaben. Natürlich erschien von dem ersten Heft auch ein Variantcover (Auslieferung 1 : 1), auch bei Folgeausgaben ist dies wahrscheinlich. "Darkminds" ist jedenfalls ein ganz heißes Heft, das man unbedingt haben sollte. Jo84




Bernd Pfarr: Alex der Rabe. 44 Seiten, farbig, Überformat-Hardcoveralbum, 29.80 Mark. Edition Moderne
Der Max- und Moritz-Preisträger von 1998 Bernd Pfarr hat endlich mal wieder in Buch auf den Markt gebracht, das zu hundert Prozent ein Comic ist und nicht ganz so schräg wie seine ganzseitigen Illustrationen und Gags in Öl. Es fällt auf, daß über 80 Prozent von Pfarrs Büchern mittlerweile restlos ausverkauft sind - zu Recht! Alex der Rabe ist eine Figur, die konzeptionell an ältere Figuren wie Dulle oder Sondermann erinnert. Wieder ist alles besonders krumm und schief gezeichnet, wobei der Humor der zart kolorierten Einseiter erstaunlich bodenständig ist. Er erinnert mich an die besten Einseiter von Donald Duck, in denen die Schrulligkeit der Protagonisten zur Freude des Lesers Höhenflüge vollführt. Dieser hervorragende Band beweist, daß auch Pfarr in seinem Leben eine Menge Dr. Erika Fuchs studiert hat. Jo84

Lutz Mathesdorf / Kim Schmidt: Gib Gummi. Softcoveralbum. Carlsen
In angenehm preiswerter Softcovergestaltung bemüht sich Carlsen weiter um preiswert-ordentliche Kiosk-Unterhaltung. Nett gemacht, nicht mehr. Wann kommen Comics über Moshammer oder Thomas Gottschalk? Herod




Walter Moers: Feuchte Träume. 68 Seiten, farbig, Hardcoveralbum, 24,80 Mark. Eichborn
Der Vergleich von "Kowalski" mit dem neuesten Comicbuch von Walter Moers zeigt, warum der gute Wal-ter Kultstatus genießt und einer der wenigen Zeichner Deutschlands ist, die trotz Genialität auch kommerziell erfolgreich sind. Der Humor Walters ist ja eher geschmacklos, allerdings so geschmacklos, daß es schon wieder herrlich provokant und erfrischend ehrlich wirkt - und vor allem neu. Denn wo hat man schon Onomatopöien wie "In-den-Hals-piss" oder "Zusammen-abspritz" gelesen. Allerdings beschränkt sich Walter nicht auf Fäkalhumor. Gnadenlos sind seine durchaus selbstkritischen Analysen von "feuchten Träumen" oder Themen, über die sich noch nie jemand Gedanken gemacht hat (kotzende Vögel, Dandys im Jahr 2000, besser Schnorren mit Shakespeare). Absolutes Highlight ist übrigens seine Superheldenparodie "Klettmann", die zum Totlachen ist und nebenbei noch aufzeigt, wie bescheuert die Superheldencomics eigentlich sind. Das Ende des Bandes stellt ein dreiseitiger Schwarzweiß-Traum von Moers ohne Text dar, den man selbst texten und an den Verlag schicken kann. Es ist allerdings nicht ganz einfach, Moers' Wortwitz zu übertreffen - trotzdem viel Glück! Jo84

Morvan / Buchet: Sillage # 1. Feuer und Asche. 48 Seiten, farbig, Softcoveralbum, 19.90 Mark. Carlsen
Als einzige Überlebende eines Raumschiffabsturzes lebt die junge Nävis auf einem paradiesischen Dschungelplaneten. Doch ihre idyllischen Tage sind gezählt, denn im selben Universum suchen die Hottarden nach neuem Lebensraum. Sie gehören zu dem gigantischen Weltraumkonvoi Sillage, dessen zahllose Lebensformen in Raumfähren wie eine Sternenspur durch das All ziehen. Als ihr Planet entdeckt wird, beginnt für Nävis und ihre Welt der Überlebenskampf. Carlsens neueste Science Fiction- und Fantasy-Reihe beginnt mit einem furios gezeichneten ersten Band mit vorläufig offenem Ende. Die Colorierung ist hervorragend, genau die richtige Mischung aus grell und dezent, und dank der Computereffekte wirkt alles sehr plastisch. Die Story selbst ist nicht gerade ein Hammer. Die Verknüpfung der Genres Science Fiction mit seltsamen Außerirdischen jeglicher Art und Fantasy mit seiner halbnackten Heldin, merkwürdigen Tieren, Dschungel und Zauberkräften ist jedoch geschickt und verdoppelt das potentielle Publikum. Insgesamt kein schlechter Band, jedenfalls besser als so einiges, was sonst so auf den Markt kommt. Jo84


Christian Moser: Goethe - die ganze Wahrheit. Ca. 100 Seiten, farbig, Taschenbuch, 10 Mark. Knaur
So ist es recht - als Gegenpol zu den ganzen bierernsten Veröffentlichungen zum Goethe-Jahr bringt der Knaur-Verlag nun eine nicht ganz ernst gemeinte Biografie heraus, die amüsiert und trotzdem in etwas über Goethes Lebensweg informiert. Mit Christian Moser hat der Verlag hierfür einen echten Glücksgriff getan. Der aus dem Umsonst-Heft "Comicstrich" bekannte Münchner gehört schon seit langem zu den qualitativ besten Comickünstlern Deutschlands. An diesem Buch gibt es jedenfalls weder textlich, zeichnerisch noch farblich etwas zu meckern. Jo84


Francine Oomen: Hör mal, Brummel. 10 Seiten, Hardcover-Bilderbuch.
Ein sehr poppiges Bilderbuch für die ganz Kleinen. Brummel (eigentlich Bollie) ist in vielen leicht verständlichen Aktionen zu sehen, in denen er Geräusche macht. Sozusagen das erste Briefing für Soundwords im Comic. Die neue Lesergeneration muß früh geschult werden. Herod




Lewis Trondheim: Approximate Continuum Comics. 160 Seiten, s/w, Softcoveralbum, 39,90 Mark. Reprodukt
Fans des Comic-Humoristen Lewis Trondheim mußten lange auf seine neueste Veröffentlichung warten., Das vorliegende Buch entstand bereits 1993/94 für den französischen Verlag "Editions Cornélius" und war hierzulande bereits seit Monaten angekündigt. Etwas über die Person Lewis Trondheim zu erfahren, ist gar nicht so einfach, denn der Name ist ein Pseudonym. "Approximate Continuum Comics" ist wohl die beste Möglichkeit, etwas über Trondheim zu erfahren. Denn das Buch ist eine Art autobiografische Umsetzung seiner Person und Gedankenwelt. Daß seine Selbstkritik teilweise harscher nicht ausfallen kann, ist natürlich für den Leser um so amüsanter. Lewis Trondheims bisherige Werke zeigten schon, daß dieser sowohl ein Meister der subtilen Komik als auch des zu Papier gebrachten Slapstick-Humors ist. Bisher ist nur ein winziger Bruchteil seines immensen Schaffens überhaupt auf deutsch verfügbar. Autobiografisch geht "Approximate" natürlich auch auf Teile seines Werks ein, sofern sie bis 1994 schon vorlagen. Witziger ist aber, wie Trondheim immer wieder in Tagträume abgleitet, um dann desillusioniert wieder in die Realität zu finden. Aber es finden sich natürlich auch Erinnerungen an schöne Momente, wahre Begebenheiten und essentielle Lebensweisheiten. Ein hervorragender Band, an dem man auch lange liest - was man bei dem Preis jedoch auch erwarten kann. Jo84



Lewis Trondheim: Herrn Hases haarsträubende Abenteuer # 3. 48 Seiten, farbig, Softcoveralbum, 19,90 Mark. Carlsen
"Haarsträubend" ist eigentlich hier nicht die richtige Bezeichnung für Herrn Hase und seine Freunde, die sich diesmal im Skiurlaub befinden. Anders als zum Beispiel in Band 1 spielt die Begebenheit in der Jetztzeit und schildert eher einen Zeitabschnitt mit alltäglichen Situationen. Die vier Freunde verbringen einen alltäglichen Skiurlaub mit Höhen und Tiefen, der auch geprägt ist von den Lebensweisheiten, mit denen alle um sich werfen. "Herrn Hase" ist ein Funnycomic, und das Album ist auch recht witzig gemacht, obwohl oder gerade weil das Szenario so belanglos und real ist. Auf Slapstickeinlagen verzichtete Lewis Trondheim diesmal weitgehend. Dabei schafft er es leichtfüßig, aus bestimmten Situationen Lebensweisheiten auf den Punkt zu benennen, über deren Inhalte man so nebenbei tatsächlich mal nachdenkt. Insgesamt also ein empfehlenswertes Album, das auf mehreren Ebenen zufriedenstellt. Jo84


Lewis Trondheim: Die Fliege. 112 Seiten, s/w, Softcoveralbum, 19,90 Mark. Reprodukt
Schon etwas länger gibt es den Band "Die Fliege". Dieser Funny-Manga ohne Worte entstand ursprünglich für den japanischen Markt und wurde dort ein recht ansehnlicher Erfolg. Trondheim entschloß sich, noch eine europäische Version zu zeichnen, die hier vorliegt. Die Geschichte um die Fliege ist ziemlich seltsam. Die Hälfte des Bandes zeigt das Leben einer Fliege, wie es sie tatsächlich geben könnte, der Rest des Bandes behandelt die wilde Spekulation, was passieren könnte, wenn diese Fliege immer weiter wachsen würde. Da das Buch keinen Text hat, ist man schnell fertig damit, fühlt sich aber auf sympathische Weise unterhalten. Jo84

David Quinn / Hannibal King: Blythe. Night Vision # 1 (von 3). 64 Seiten, s/w mit Farbumschlag, Comicbookformat, 11.90 Mark. Extrem Erfolgreich Enterprises
Zeitgleich mit "Gunfighters" startete "Nightvision", die Geschichte in drei Heften um eine Art Vampirmäd-chen namens Blythe. Texter David Quinn lieferte schon in "Faust" eine gute Arbeit ab, in "Nightvision" steigert er sich noch und liefert in sich schlüssige, mitunter etwas pathetische Kurzstories, von denen jeweils drei eine Ausgabe füllen. Zeichner Hannibal King ("Magic: The Gathering") liefert ebenfalls eine professionelle Arbeit ab, und Tuscher Jeff Austin steigert sich ab der zweiten Story zu einer klareren Linie als am Beginn. David erzählt uns hier die Geschichte einer Frau, die zu einem sogenannten Tracer wurde. Sie ist das letzte überlebende Ergebnis eines bizarren genetischen Experiments aus dem ausgehenden 18. Jahrhundert. Wir begleiten sie auf der Suche nach dem Sinn ihrer Existenz. Blythe bekam durch das Experiment vampir-ähnliche Fähigkeiten, altert zum Beispiel nicht, ist aber trotzdem kein edles Geschöpf der Nacht. Wenn überhaupt, ist sie eine Vampirin des Aids-Zeitalters, des ausweglosen desillusionierenden Milleniums. Mir hat das Lesen der Erstausgabe Spaß gemacht, auch wenn die zweite und dritte Story etwas wirr sind und die gesamte Konzentration erfordern. Es existiert ein Variant-Cover (1:4), das ebenso wie das reguläre Cover von Hannibal King exklusiv für EEE erstellt wurde. Jo84


Joe Vigil / David Barbour: Gunfighters in Hell # 1 (von 5). 36 Seiten, s/w mit Farbcover, Comicbook-format, 6,90 Mark. Extrem Erfolgreich Enterprises
EEE präsentieren ihre neue Reihe, die natürlich eben-so wie die letzten dem Splatter-Genre zuzuordnen ist. Joe ist der kleine Bruder von Tim Vigil, der mit "Faust" einen der erfolgreichsten EEE-Titel schuf. Leider ist Joe zeichnerisch nicht ganz so gut wie sein Bruder, steht ihm jedoch an Gewaltdarstellungen und Aus-drucksstärke in nichts nach. Der Text von David Bar-bour beginnt seltsamerweise im Jahr 1993, zoomt dann auf Adolf Hitler, der in der Hölle versucht, bessere Bilder zu malen als auf der Erde, um dann den Gunfighter bei der Haupthandlung zu begleiten. Der mit viel Splatter angereicherte Trash wird von fünf verschiedenen Leuten mal besser und mal schlechter getuscht. Zwar kann man noch nicht so recht sehen, ob sich textlich in den nächsten vier Heften noch viel tut. Ich glaube aber, einem Vergleich mit "Faust" oder beispielsweise "Dead Hunter" kann die Serie qualitativ nicht standhalten. Heft 2 war für Juli 1999 angekündigt und ist bis Ende August noch nicht erschienen. Jo84




Bo-doi # 20 (Juni 1999). 100 Seiten, farbig, Softcoveralbum. 35 Francs. LZ Publications
Jeder weiß, daß die Comicszene von Frankreich und Belgien der deutschen haushoch überlegen ist. Deshalb gibt es für erwachsene Magazinfreunde hierzulande nur ein bis zwei selten erscheinende "Titten-und-Arsch "-Magazine, und in Frankreich gibt's "Bo-doi". "Bo-doi" präsentiert die jeweils aktuellsten Geschichten der Creme der frankobelgischen Künstler plus Artikel, News, seltene Illustrationen und Berichte. Highlights der Ausgabe 20 sind zum Beispiel der lange Bericht über das Werk von Moebius (der auch das Cover beisteuert), der dritte Teil des neuen Hermann-Comics "Wild Bill", neue Comics von Max Cabanes, Yann und vielen anderen Leuten, die hier kein Mensch kennt. Besonders gefiel mir hier Stéphane Levallois, der einen schönen und eigenständigen Stil hat. "Bo-doi" ist jedenfalls ein sehr gutes Magazin, und wer des Französischen mächtig ist, sollte es ruhig mal antesten. Einzelne Ausgaben oder Abos kann man über den Hummel-Versand beziehen. Jo84

Dritte Welt Information: Der tägliche Wahn. 16 Seiten, s/w mit zwei Zusatzfarben, DIN A 4, 2,90 Mark. Gemeinschaftswerk der Evangelischen Publizistik, Postfach 500 550, 60394 Frankfurt/Main. Der gelbe Kuß. 28 Seiten, s/w mit Farbcover, 21 mal 25 Zentimeter. Banafair e. V., Langgasse 41, 63571 Gelnhausen.
Es gibt zwar in Deutschland nur wenige Veröffentlichungsmöglichkeiten für professionelle Comiczeichner - aber es gibt sie. Gerhard ("Gischbl") Mauch hat mir jetzt einen Stapel seiner Veröffentlichungen zugesandt, die sich überwiegend im Bereich Eine-Welt-Engagement bewegen. Da kommt es zwar auf Überzeugung und Idealismus an, aber ein paar Mark wird der freie Grafiker Mauch schon damit verdienen. Vor allem ist er aber wirklich Profi. Sein Zeichenstil ist aufwendig und ausgefeilt, und er kann Politiker oder Showstars zielsicher karikieren. Die Inhalte werden ihm von der jeweiligen Redaktion vorgegeben. Sehen wir uns die beiden wichtigsten seiner Publikationen aus dem Paket etwas näher an: "Der tägliche Wahn" ist ein Arbeitsheft für den Unterricht, konzipiert von der Dritte-Welt-Abteilung des Evangelischen Pressedienstes. Konsumgewohnheiten von Jugendlichen werden hier kritisch hinterfragt. Bei "Der gelbe Kuß" geht es gezielt um die globale Bananenvermarktung und wie damit die Produzenten in den sogenannten Entwicklungsländern unterdrückt und ausgebeutet werden. Die "faire" Vertriebsorganisation Banafair benutzt das Heft für ihre Öffentlichkeitsarbeit. Interessanterweise stellt der Bananenhändler sein Thema ausführlicher und differenzierter dar als der Evangelische Pressedienst. "Der tägliche Wahn" ist eine Aneinanderreihung von schrillen Szenen. Es wird mehr Wert darauf gelegt, Tonfall und Perspektive von Jugendlichen zu treffen, als Zusammenhänge und Hintergründe darzustellen. Zum Beispiel: Dumpfe Konsumtrottel kaufen im Supermarkt ein; zwei Journalisten machen sie per Umfrage darauf aufmerksam, daß bei der Produktion vieler Waren Kinderarbeit im Spiel ist; eine Frau stapelt alle ihre Einkäufe vor die Kasse und geht. Es ist schon richtig, daß sich ungerechte Wirtschaftsstrukturen wahrscheinlich nur durch ein verändertes Konsumentenverhalten ändern lassen. Aber sollte man Schüler auf so plumpe Weise indoktrinieren? Die Bananen-Story ist zwar ähnlich plakativ, betrachtet ihr Thema aber von verschiedenen Seiten: Man erfährt etwas über die Zustände auf Bananenplantagen, und die Vermarktungsstrategien von Bananen werden untersucht. Mittels eines Amuletts, das ein Bananenarbeiter in Costa Rica verliert und das eine Bananenkäuferin in Deutschland findet, sollen wohl Handlungsstränge miteinander verbunden werden, was aber am Ende offenbar einfach vergessen wird. Für solche inhaltlichen Mängel ist Zeichner Gerhard Mauch allerdings wohl kaum verantwortlich zu machen. Er macht seine Sache sehr gut. Im Bananen-Band sieht man auch noch einige Strips seiner Werbefigur "Globi", einer anthropomorphen Weltkugel - ebenfalls professionell und witzig gemacht. Nach Werken von Gischbl sollte man künftig öfters mal Ausschau halten. aa




ICOM-Handbuch 1999 erschienen
Es schien eine unendliche Geschichte zu werden. Ich weiß nicht mehr, wie oft ich Burkhard Ihme schon auf Comicmessen und Conventions mit seinem Apple-Computer und der Demoversion seiner ICOM-CD-Rom und in einer halb optimistischen, halb depressiven Stimmung angetroffen habe. Die Fertigstellung der CD-Rom stand immer kurz bevor, bloß fehlten noch die Beiträge von soundso vielen ICOM-Mitgliedern, und besser solle man schon jetzt die folgende Jahreszahl in den Titel nehmen. Im ICOM intern # 74 vom August 1995 ist das Projekt nach meinen Recherchen erstmals angekündigt worden; Vorsitzender war damals noch Niels Kolditz. Und jetzt ist die CD-Rom samt neuem ICOM-Handbuch also endlich erschienen - ein so überwältigendes Ereignis, daß es Burkhard im neuen ICOM intern (der # 96) nur noch ganz beiläufig erwähnen kann: "Nix neues! Außer daß das ICOM-Handbuch endlich erschienen ist." Ja Wahnsinn. Schön isses geworden, das neue Handbuch, und die CD-Rom ist ein hübsches Spielzeug, finde ich. Für Windows-Nutzer hat die Silberscheibe bloß den Nachteil, daß man sie nur über den Explorer starten kann. Aber sonst bietet sie schon eine Menge, vor allem etliche Zusatzinformationen zu den Mitgliedern und einen insgesamt sehr umfangreichen Art Part. Der Informationsreichtum variiert allerdings von Mitglied zu Mitglied erheblich: Die einen erzählen gleich ihre ganze Lebensgeschichte und/oder präsentieren eine ganze Galerie ihrer gesammelten Werke; bei anderen ist da Fehlanzeige. Ich bin übrigens wohl der einzige, der neben eigenen auch fremde Illustrationen auf der CD-Rom zeigt - von Oliver Ferreira und Mille Möller (die selbst nicht ICOM-Mitglieder sind). Ich stelle mich nämlich nicht als Comiczeichner, sondern als PLOP-Herausgeber vor. Außerdem gibt's auf der CD-Rom Stichwortverzeichnisse zu Fachmagazinen, das Angebot des ICOM Independent Comic Shop, Informationen zur Herstellung von Zeichentrickfilmen und Burkhard Ihme-Comics. Das Handbuch selbst ist auch eine ordentliche Schwarte. Obwohl die Mitgliederzahl im Vergleich zum ersten Handbuch etwas gesunken sein dürfte (vor allem wegen der Bereinigung von Karteileichen und notorischen Nicht-Zahlern - nachgezählt habe ich aber nicht), ist das Handbuch noch dicker als damals. Das liegt vermutlich am deutlich ausgeweiteten Serviceteil. Dort werden reichlich Adressen von Comic-Verlagen und -Redak-tionen, Agenturen, Händlern, Verbänden, Messen und neuerdings auch Museen mit Bezug zu Comics/ Illu-stration/Trickfilm aufgelistet. In Auswahl wird das Ganze auch noch durch internationale Adressen ergänzt. Von meiner PLOP-Reise weiß ich noch, daß die Händlerliste des alten Handbuchs nicht ganz zuverlässig war; aber in dieser Branche wird öfters mal ein Laden zu- oder neu aufgemacht. Wenn man zudem bedenkt, daß der ICOM für den Einzelhandel wie auch für die Verlagssparte kein Pflichtverband ist und sich seine Informationen somit mühsam selbst zusammensuchen muß, ist der Serviceteil doch eine außerordentliche Leistung, die im deutschsprachigen Raum und vermutlich noch darüber hinaus einzig dasteht. Wer auch nur halbprofessionelle Kontakte zur Comic-szene pflegt oder sucht, kommt um dieses Standard-werk nicht herum. Natürlich ist das Handbuch auch eine exzellente Werbung für den ICOM, dessen Vorsitzender Burkhard Ihme hier eine Herkulesaufgabe gestemmt hat. aa

Fright X # 11. 84 Seiten, farbig, 20 mal 25,5 Zentimeter, 2,95 Dollar. Fright X inc.
Ich möchte nicht versäumen, Euch auf das amerikanische Undergroundmagazin "Fright X" aufmerksam zu machen, das sich mit Berichten über Comics, Musik, Film und Medien allgemein beschäftigt. Thematisch werden meist eher abgedrehte Undergroundprojekte abgehandelt, dazwischen manchmal etwas professionellere Sachen wie zum Beispiel in der Nummer 11 ein Interview mit Todd McFarlane. Dieser krude Mix wird visuell hervorragend aufbereitete, die Typografie und das Layout wirken modern, aber trotzdem nicht schwer lesbar. Den größten Teil des Farbhefts machen Rezensionen von Produkten aus aller Welt aus, die meist hierzulande recht unbekannt sind. Aufgelockert wird alles mit Artikeln, Fotos, Interviews und ähnlichem. Highlight ist zum Beispiel ein Bericht über John Muellers Comicserie "Oink". Fright X erscheint dreimonatlich und wirkt auf mich wie das coolste aller Hochglanzmagazine, das sich aber thematisch auf Comic, Musik und Film beschränkt und bedingungslos zu empfehlen ist. Euer Comichändler kann Euch das Magazin über den Previews, Sparte "Magazines" besorgen, und das Preisleistungsverhältnis ist darüber hinaus einfach unschlagbar. Jo84


Mad # 9. Dino
Es gibt wieder Mad! Nach mehreren Mad-losen Jahren ist das Satire-Blödel-Mag in Farbe vom Dino-Verlag aufgenommen worden. Vorteil: Momentan kann die Red. Material aussuchen, zum Beispiel ist die neu-este Ausgabe eine Comic-Parodie-Nummer (in der ein Colorist herrlich beweist, daß er weder Blue Devil noch E-Man, ja noch nicht einmal Green Lantern richtig anmalen kann. Es gibt auch exklusiv deutsches Material, zum Beispiel die etwas ermüdenden Verona-Feldbusch-Klamotten (ganz im Stil einer ähnlichen Mad-TV-Rubrik im US-Mad, die eine nette "Spawn"-Parodie zusammenbringen (endlich jemand, der diesen Kappes auch nicht lesen mag!) sowie auch Lobo verdientermaßen, aber relativ platt verulken. Gefährlicher für den Verlag ist da schon die dämliche Asterix-Filmparodie "Arschterix und Popelix" von "Alcolix"-Altmeister Jeddeloh, der wissen sollte, daß man sich mit der Rechtsabteilung des Flügelhelms besser nicht anlegt, sowie (genauso halsbrecherisch, aber immerhin liebevoll mit vielen Barks-Anspielungen angereichert die Disney-Barks-Parodie "Supermensch", die aufzeigt, was passiert wäre, wenn Kal-El als Baby im Barks-Universum gelandet wäre. Supie als braver Neffe von "Onkel Adalbert" ist schon witzig. Allerdings zeigt die Anspielung auf den Namen "Ronald Dunk", daß die Macher auch von jener Barks-"Hommage" im gefloppten "Rammbock"-Magazin (ca. 1988) wissen, das durch Plagiat-/Parodie-Prozesse sein finanzielles Standbein einbüßte. Geht der Dino aufs Eis tanzen? Dafür hätten sie besser die Superman-Story (in "Action-Comics") nehmen können, in der er auf Asterix trifft und die bedeutend witziger ist. Lobenswert ist diesmal auch die Übersetzung. Herrn "nervender" Naatz sind nette Anspielungen und Filmtitel gelungen (mein Favorit: "Mer lasse der Doom in Kölle" mit Dr. Doom), nachdem ich ihn in der Star Trek-Ausgabe noch für einen prätentiösen Deppen gehalten hatte. Das Cover ist eine nette Persiflage auf "Asterix und der Seher". Hochwillkommen, diese Parodie, aber hoch gepokert, der Verlag. Herod


Petzi. Petzis Geburtstag; Petzis kleiner Bruder. Mini-Hardcovers.
Die Popularität der Petzi-TV-Reihe (in der "Sendung mit der Maus", teilweise auch in Techno-Lädchen als Kaufcassette zu haben) hat zu neuen Petzi-Produkten geführt, obwohl Carla und Vilhelm Hansen die Serie offenbar beendet hatten. Die Zeichnungen sind niedlich, und Petzi ist immer noch der Held der Zwei- bis Fünfjährigen. Fragt meinen Neffen, der möchte auch im Bötchen um die Welt und den Mount Everest besteigen, genau wie Petzi. Herod


Rugrats # 1. 32 Seiten, farbig, Comicbookformat, 4,90 Mark. Carlsen.
Hier versucht man, stilistisch an den "Simpsons"-Er-folg anzuknüpfen, was schon mit "Ein Heim für Aliens" trotz des bundesdeutschen Zeichner-Staraufgebots nicht geklappt hat. Die Rugrats haben ihre Fans, und das Mag ist für TV-Bearbeitungen recht ordentlich gemacht. We'll see... Herod


Spiderman Jahrgang 1962/63 und Jahrgang 1964. 9 bzw. 13 Hefte im Schuber, farbig mit Glanzumschlag, Comicbookformat. 39,95 Mark bzw. 59,95 Mark. Marvel Deutschland
Kaufen wollte ich die beiden Schuber auf jeden Fall, denn ich bin in der Williams-Zeit erst mit Ausgabe 17 (so etwa 1975; das Heft mit "Memrod" dem Jäger) ein-gestiegen. Aber darüber schreiben? Das hatte ich eigentlich nicht vor, denn ich war davon überzeugt, daß diese ganz frühen Spiderman-Ausgaben für mich nur noch Nostalgiewert haben können. Über die alten Lehning-Fans habe ich immer den Kopf geschüttelt, die Stein und Bein schwören, daß Hansrudi Wäscher einer der besten Comiczeichner der Welt ist und die "Sigurd "- oder "Nick"-Stories mit ungeheurem Raffinement und Tiefgang erzählt sind. Jeder weiß, daß diese Leute so von goldenen Jugenderinnerungen überwältigt sind, daß sie nicht mehr richtig gucken können. Einen solchen Ausrutscher woll-te ich mir nicht erlauben. Doch kaum lagen die beiden Schuber auf meinem Nachttisch, habe ich gebannt verfolgt, wie Steve Ditko in nur wenigen Ausgaben seine außerordentliche Zeichenkunst entfaltet und wie wit-zig Stan Lee die Stories textet. Okay, vielleicht bin ich jetzt doch in die gleiche Peter-Pan-Falle getappt wie die Lehning-Jünger. Aber ich will versuchen zu beschreiben, was mich an diesen alten Spiderman-Heften nun wieder ganz neu fasziniert hat. Klar ist: Diese Comics sind für Jugendliche gedacht, nicht für Leute Mitte 30 (wie mich). Aber es sind keine Kindercomics. Ich bin damals als etwa Zehnjähriger von "Bessy" zu den Marvels gekommen, und an "Die Spinne" habe ich mich lange Zeit gar nicht herangetraut, weil ich nach der Werbung des BSV-Verlags einen Gruselcomic befürchtete. Ich begann also mit "Thor", einem strahlenden, absolut positiven Helden, und den "Rächern", weil da Thor mitmachte. Ich las aber auch schon recht früh "Hulk" (zum Beispiel Band 3, wo das Monster in einen unterirdischen Atombunker einge-sperrt werden muß), was keineswegs zu nächtlichen Alpträumen geführt hat. "Die Spinne" hat mich aber so richtig erst mit etwa 14 Jahren gepackt. Ab etwa Num-mer 70, als die Mafia-Saga mit Silbermähne lief, habe ich mir dann endgültig jedes Heft besorgt. "Die Spinne" war kein Gruselcomic und keine Belastung fürs kindliche Gemüt. Aber man mußte sich mit den vielfältigen Beziehungen von Peter Parker beschäftigen - zu seiner Tante, zu seinen Freundinnen Betty, Liz, Gwen oder Mary-Jane, zu seinem Chemieprofessor und dem cholerischen Zeitungsverleger J. Jonah Jameson. Die Action trat dahinter häufig zurück. Bevor ich 14 war, las ich lieber vom Kampf der Rächer gegen die Spinne, wo es nur darum ging, wie die Protagonisten technisch ihre Superfähigkeiten einsetzen. Da paßte die Story auch meistens in ein Heft - wham bang thank you Stan! "Spiderman" war dagegen von Anfang an eine echte Soup-Opera, was eben auch bedeutet: Wer ein paar Hefte verpaßt hat, ist nicht mehr auf dem laufenden. Bei "Die Spinne" # 17 konnte ich damals, 1975, so manche Feinheit überhaupt nicht verstehen - etwa wieso er zwischen Betty und Liz steht oder warum er dem Daily Bugle immer Fotos von sich als Spiderman liefert. Trotzdem hat mich das Heft gepackt, und das beginnt bei der Grafik. Für mich als Jungen war sicherlich die Dynamik der Zeichnungen ausschlaggebend - darüber ist kein weiteres Wort zu verlieren; schlagt im Standardwerk "How to Draw Comics the Marvel Way" nach. Höchstens, daß Ditko das Kunststück hinbekommt, seine Figuren schlank und elegant und trotzdem muskulös und immer in äußerster Anspannung zu zeichnen. Das ist natürlich nicht naturalistisch, dafür aber etwas schematisch, und deshalb gilt Steve Ditko heute nicht als guter Zeichner. Was er aber beherrscht und was mir bei ihm erst heute so richtig auffällt, sind ein guter Gesichtsausdruck und sprechende Hände, und er hat einen leichten Hang zur Karikatur. Da ist er heutigen Starzeichnern wie Jim Lee oder Todd McFarlane, die dazu noch auf seinen Schultern stehen, weit überlegen. Ditko hat damals eine ganze Ikonografie eines Su-perhelden innerhalb von wenigen Ausgaben entwickelt und perfektioniert (Herod möge mich korrigieren, falls es bei DC Vorbilder gegeben haben sollte). Was aber fesselt nun am Inhalt? Nehmen wir den erwähnten Band 17 als Beispiel - sicher nur eine mittelmäßige Ausgabe innerhalb der Ditko-Ära. Aber die Story ist klar aufgebaut, obwohl immer wieder zwischen dem Zweikampf von Spiderman und dem Alltagskampf seines Alter Ego Peter Parker hin und her geblendet wird. Und sie hat Charme. Von der Action-Seite her betrachtet erinnert sie an die Gesetze eines Boxkampfs. Die Kontrahenten werden aufgebaut, bevor sie in den Ring steigen. Natürlich hatten Lee/Ditko damals einen Vorteil, weil sich der Bösewicht zum ersten Mal präsentiert und nicht zum x-ten Mal aus der Versenkung auftaucht. Aber mit dem Großwildjäger ("Die gefährlichste Jagdbeute ist der Mensch. Und ich werde den gefährlichsten aller Menschen jagen, der sich die Spinne nennt.") hat Lee einen sehr originellen Einfall realisiert. Mir imponiert die Verwundbarkeit des Helden und wie sie ganz unspektakulär gezeigt wird. Beim ersten Duell schlägt Memrod den armen Spiderman so hart auf die Schulter, daß sie danach tagelang taub ist und Parker in der Schule verzweifelt das Zittern seines Arms verbergen muß. Bei der zweiten Begegnung sitzt die Spinne sozusagen selbst schon auf dem Jägerstand, als Memrod die Jagd eröffnen will. Ein unkonventioneller Showdown. Trotzdem wäre die Story etwas dünn, wenn sie nur diesen physischen Konflikt zu bieten hätte. Aber Peter Parkers Seelenleben ist mindestens ebenso konfliktträchtig. Am schwersten wiegt der selbst auferlegte Zwang, sich wegen der Geheimidentität vor seiner Tante May und allen seinen Freunden ständig verstellen zu müssen. Und daß das glaubwürdig rüberkommt, dafür sind die Marvels ja berühmt geworden ("neurotische Helden"). Zudem ist Peter in dieser Ausgabe der Eifersucht von Betty Brandt ausgesetzt, weil seine Schulkameradin Liz Allen, von der er wirklich nichts will, so nett zu ihm ist. Und dann bahnt sich erstmals die Romanze mit Mary-Jane Watson, seiner späteren Gattin, an, mit der ihn hier fürs erste seine Tante verkuppeln möchte. Peter Parker, den sympathischen Verlierer, kann erst ein pubertierender Teenager richtig verstehen und sich mit ihm identifizieren. Die Handlungsstränge sind in allen diesen frühen Ausgaben kunstvoll miteinander verflochten, und es wird mit einem Augenzwinkern erzählt. Die Geschichte richtet sich an deutlich jüngere Leser als mich, aber ich kann sie mit eben solchem Gewinn lesen, wie ich heute zum Beispiel "Emil und die Detektive" lesen würde. aa


Brad-Saint-Clairs: Susanne in Ketten # 1. 46 Seiten, s/w mit Farbumschlag, DIN A 5, 19,80 Mark. CC-Comix / Kastley-Verlag
Hinter dem seltsamen Pseudonym Brad-Saint-Clairs verbirgt sich niemand anders als Szene-Darling Stefan Dinter, der hier die deutsche Version seiner Pornocomic-Reihe "Submissive Suzanne" präsentiert. Handwerklich sind die Illustrationen und Kurzgeschichten im Bondage-Milieu natürlich erste Sahne, auch wenn die erste und die letzte Geschichte nicht mal getuscht wurden. Textlich wird sie vor allem arme Säue mit Sklavenkomplex ansprechen oder eben den normalen Sexshop-Besucher, wo man die Hefte eher bekommen wird als im Comicladen. Wenn ich mich nicht irre, sind alle Seiten sogar in den US-Heften bisher unveröffentlicht. Wer also seine Ketten losbekommt, sollte das Heft mal durchblättern. Jo84







Zack # 1 bis 4. Je 84 Seiten, teilweise farbig, DIN A 4, 8,90 Mark. MOSAIK Steinchen für Steinchen Verlag.
Als Zack vor rund 20 Jahren eingestellt wurde, hinterließ das eine Lücke, die seither nicht geschlossen worden ist. Nur einmal startete der Carlsen Verlag mit "Moxxito" den Versuch, ein anspruchsvolles Comicmagazin zu etablieren. Wenn da Andreas C. Knigge auch gewiß Zack im Hinterkopf hatte, stieg er doch gleich ein paar Etagen höher ein, mußte aber nach wenigen Ausgaben wieder aufgeben. Ein Comicmagazin, das sich an jüngere - aber nicht mehr ganz junge - Comicleser wendet, hat es nach Zack nicht mehr gegeben. Und jetzt ist Zack wieder da, wenn auch nur das Titellogo und die beiden Serien Michel Vaillant und Cubitus aus der alten Reihe stammen. Ist das überhaupt Zack, fragen da gleich alte Fans alarmiert. Ja, warum denn nicht? Die alten Zack-Serien sind in-zwischen fast ausnahmslos als Alben komplett veröffentlicht und kommen für das Magazin nicht mehr in Frage. Das Konzept, Comicserien für etwa 12- bis 18-jährige Comicleser zu bringen, entspricht aber ganz dem alten Zack. Also, ich bin gespannt, ob es solche noch gibt. Wofür der Name "Zack" steht, muß sowieso neu geklärt werden. Vorsichtshalber wird mit einer deutlich geringeren Auflage als damals gestartet, gibt Chefredakteur Martin Jurgeit zu. Aber das muß ja nicht so bleiben. Ob sich heute überhaupt noch breitere Schichten für ein Comicmagazin begeistern können, wie das vor Jahrzehnten gewesen ist, wage ich nicht zu beurteilen. Es wäre wirklich schön, wenn es so wäre. Womit versucht man denn nun, die neue Comic-Generation zu erreichen? Zunächst mal mit erstaunlich vielen deutschen Zeichnern. Die Abrafaxe sind drin, weil sie drin sein müssen, und halten interessanterweise am entschiedensten die frankobelgische Tradition hoch. Walter Moers war leider nur in der ersten Ausgabe vertreten. Martin Frei liefert mit "Gregor Ka" zweifellos die ambitionierteste deutsche Serie, die aber den Leserbriefen zufolge nicht allen gefällt. Frei bewegt sich offenbar für den Kiosk zu nahe am Underground. In den ersten drei Ausgaben halten konnte sich Überlebenskünstler Robert Cerny alias Rocé. Und dann werden sehr verschiedenartige Dinge ausprobiert: Ein Comic von Till Lenecke, der bisher nur in Fanzines vertreten war; ein Splattercomic, der kurz darauf in "Menschenblut" erschien; Frans Stummer und Georg F. W. Tempel geben einmal ein Gastspiel mit ihrem "Derrick"; dann tauchen die überdrehten Funnies von Peter Puck auf; und in Ausgabe 4 startet wieder eine professionelle französische Serie, "Soda" von Tome und Gazotti, die schon bei Salleck läuft, und eine weitere deutsche Serie, "Gabriel" von Michael Vogt. Mir persönlich gefällt dieses offene Konzept. Ich fürchte nur, daß die Masse der Leser Zack nicht kaufen wird, wenn sie nicht wissen, wofür das Magazin eigentlich steht. Man merkt daran auch, daß es zwar etliche gute Comiczeichner in Deutschland gibt, aber nicht genug, um mit ihnen ein stabiles, marktgängiges Comicmagazin auf die Beine zu stellen. Dies dürfte keine geschäftsschädigende Feststellung sein, denn Leute wie die PLOP-Leser sind es nicht, die Zack überzeugen muß, damit das Magazin überleben kann. aa



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 57
Besprechungen





Fanzines von einzelnen Autoren


Anja & Joy - Der Sprung ins 21. Jahrhundert. 44 Seiten, s/w, DIN A 5, 3 Mark + 1,50 Mark Porto.
Anja und Thorsten Schmidt, Osterfeldstrasse 3 A, 32457 Porta Westfalica
Dank Anja & Joy wissen wir, wie Comiczeichner vorher über das mysteriöse Jahr 2000 gedacht haben. Elf Leute haben sich an dieser Anthologie beteiligt. Die Grundstimmung schwankt zwischen Sarkasmus ("In der Zukunft wird alles so wie heute sein, nur anders") und Beklommenheit ("Ehrlich gesagt, ich hoffe, es ändert sich nicht allzu viel"). Noch nichts gesehen hatte ich bisher von dem Berliner "Whitemask" Wollerstein, der mit seinen Illustrationen eine technokratische Zukunft entwirft. Diana R. Sassé lässt dagegen das vergangene Jahrhundert noch einmal Revue passieren, um damit dann die Rechnung aufzumachen, ob das neue Jahrtausend nun tatsächlich am 1. 1. 2000 beginnt oder erst am 1. 1. 2001. Thorsten ("Joy") Schmidt dagegen überblickt statt dem vergangenen Jahrhundert die Jahrzehnte seines eigenen Lebens, das er in grosser Offenheit in 63 Bildern nacherzählt. Für mich der beste Beitrag dieses wieder einmal sehr ungewöhnlichen, gehaltvollen Anja & Joy-Magazins. aa



Claudia Bernhardt - Traummixer. Ca. 40 Seiten, s/w mit blauem Cover, 14,5 mal 10,5 Zentimeter.
Claudia Bernhardt, Freibergerstrasse 66, 59558 Lippstadt
Claudia Bernhardt befindet sich zur Zeit offenbar in Afrika, um da ihr Illustrations-Diplom zu machen, wie dem Vorwort zu entnehmen ist. Dieser zehnte Mixer, diesmal im handlichen Postkartenformat, soll fürs erste der letzte sein, aber nicht deshalb, sondern weil es die Herausgeberin immer noch wurmt, dass es in Österreich bereits ein Magazin namens "Mixer" gibt. Dabei ist "Mixer" wirklich der ideale Titel für Claudias Projekt. Das Thema "Traum" war die Vorgabe für die Mitwirkenden und vermutlich auch das Format, und die Ergebnisse wurden zu einem hübschen Heftchen verrührt. Wie die Teilnehmer ihre Träume ins Bild gesetzt oder - zu einem geringeren Teil - in Texte umgesetzt haben, lässt sich meist ganz gut nachvollziehen, und daher kann ich mit diesem Mixer auch mehr anfangen als mit den Vorgängerausgaben. Aber ein paar Rätselaufgaben sind schon auch wieder dabei. Ich bedaure, dass dieses Projekt nun erstmal unterbrochen ist. Hoffentlich macht Claudia weiter, wenn sie aus Afrika zurück ist. Vielleicht schreibt sie ja dann "Mixer" in Kisuaheli aufs Cover. aa



Benjamin Brandt - Samstag. 16 Seiten, s/w, DIN A 7.
Benjamin Brandt, Schubertstrasse 36, 99423 Weimar
Diese Besprechung wäre schon in der vorigen Ausgabe fällig gewesen, aber dieses winzige Heft ist irgendwie durch die Ritze gefallen. Schade drum, denn die kleine Geschichte vom Sportschau-Zuschauer, der sich für den dazwischengeblendeten Krieg im TV nicht interessiert und den Krieg vor der Haustür nicht wahrnimmt, ist ganz pfiffig. Der Band ist also nicht nur für Sammler ausgefallener Formate interessant. Leider kann Benjamin Brandt zur Zeit keine Bestellungen entgegennehmen (siehe oben). aa




Andreas Eickenroth - Chez Kiosk # 1 . 36 Seiten, s/w mit Farbcover, Din A 5, 5,90 Mark. Kainsmal Verlag,
Andreas Eickenroth, Am Eichelbaum 39, 35396 Giessen
Die Giessener, die ihr Kostenlos-Magazin Kainsmal schon mehrfach umgestaltet haben, experimentieren fleissig weiter. Jetzt bringen sie ein Heft unter der Dachmarke Kainsmal heraus, das allein von einem Mitarbeiter gestaltet ist und einer Stripserie entspricht. "Chez Kiosk" trifft ein notorischer Säufer auf den Kioskbetreiber, und dann werden aus dem Bestellen, aus dem Austrinken, aus dem Delirieren immer wieder Gags destilliert (das Wort passt hier). Das Heft ist wie eine Comedy im Privatfernsehen: Manche Gags sind echt witzig, andere aber auch ziemliche Rohrkrepierer. Kostprobe: "Moin, ich hätt' gern n Bier. - Noch eins! - Un' noch eins! - Hähä, nur noch vier Stück, und's Pfand reicht für noch eins." aa





Andreas Fecke - Moe # 1. 32 Seiten, s/w, DIN A 5, 3 Mark. Stones # 5. 20 Seiten, s/w, DIN A 5, 2 Mark.
Andreas Fecke, Garfelner Strasse 41, 59558 Lippstadt
Zum neuen Stones-Band muss nicht mehr viel gesagt werden - wie immer ziemlich lustige Strips mit Spielfiguren als Hauptdarstellern. Moe ist anders. Hier pflegt Andreas Fecke einen sprachlosen Humor, der dann auch ganz anders funktioniert. Dabei werden die physikalischen Gesetze ausser Kraft gesetzt: Fische schwimmen durch die Luft, ein Wasserfall wird durch Fingerzeig umgeleitet, erhitzte Steine fliegen, eignen sich aber immer noch, um darauf zu gehen und so fort. Kostproben der Moe-Welt sind im vergangenen und in diesem PLOP zu sehen. Die kurzen Comics im vorliegenden Band sind allerdings pointierter und damit witziger als die lange Geschichte, die weiter hinten in diesem PLOP zu finden ist. aa



Andreas Fecke -Flusen! 12 Seiten, s/w mit Farbcover, DIN A 6.
Andreas Fecke, Garfelner Strasse 41, 59558 Lipp-stadt
Vermutlich erwacht alles, was Andreas Fecke in seiner Umgebung so sieht, unter seinem Spezialblick zum Leben, und zwar zu einem lustigen Leben. Neulich schien womöglich einmal die Sonne in sein Fenster, und in den Lichtstrahlen tanzten plötzlich viele kleine Staubpartikel durch die Luft. Diese Mikro-Welt ist wie geschaffen für eine Stripserie, därfte Andreas sich gesagt haben. Er hat sie jedenfalls gezeichnet. Diese Flusen reiten auf Sonnenstrahlen, unterhalten sich über das Leben nach dem Tod, treffen sich mit Katzenhaaren und Staubkörnern und nehmen sich vor Handfegern und Staubsaugern in acht. Hinreissend. aa



Klaus N. Frick - Sabberheinz # 2. 8 Seiten, s/w, DIN A 5.
Klaus N. Frick, Hirschstraße 63, 76133 Karlsruhe.
Einerseits weiß man, daß die Fanzines von Klaus N. Frick ziemlich selten erscheinen. Andererseits gibt er eine ganze Menge von ihnen heraus. Der Sabberheinz ist das jüngste von ihnen, und möglicherweise ist dieses Magazin gerade deshalb gegründet worden, weil Klaus etwas gegen die langen Pausen zwischen zwei Ausgaben Enpunkt oder Sagittarius tun wollte. Sabberheinz ist ein absoluter Schnellschuß - bloß acht Seiten Text, einfach zusammengefaltet. Drin finden sich eine Menge Nachrichten und Meinungen aus dem SF-Fandom, und weil in der neuen Ausgabe ein Hinweis auf PLOP drin war, möchte ich hiermit auch auf den Sabberheinz hinweisen. aa



Max Jähling - Reception Man # 0. 28 Seiten, s/w, DIN A 5, 3 Mark.
Max Jähling, Bremerhavener Straße 65, 28217 Bremen
Jahrelang hat Max Vähling an seinem Superheldenkonzept herumgebastelt und gefeilt; das ging vermutlich schon vor dem Heftchenboom los. Jetzt beginnt er, die obligatorische Origin-Story zu veröffentlichen: Broder Bartz arbeitet am Empfang eines Radiosenders. Als er auf dem Funkturm herumklettert, bekommt er einen elektrischen Schlag und wird zum Reception Man. Der Name läßt sich sowohl auf den Ziviljob als auch auf die Super-Existenz beziehen. In dem Comic stecken eine Menge Ideen; die ganze Ent-stehungsgeschichte wird flott und elliptisch erzählt - vermutlich verbergen sich dahinter etliche frühere Ver-sionen, die schließlich im Papierkorb landeten. Vage bleibt, welche besonderen Kräfte Reception Man überhaupt hat, abgesehen davon, daß er ein wandelndes Radio ist. Aber wie kann man mit dieser Gabe wohl das Böse bekämpfen? Vielleicht interessiert das den Künstler gar nicht so sehr, denn er erzählt mit einiger ironischer Distanz. Das ganze Marvel- und DC-Universum nimmt er aufs Korn. Überraschend, daß man keine direkten Vorbilder erkennen kann. Die Erzählweise ist sehr unamerikanisch und Vählings Zeichenstil eigenständig. Sein Hang zum Stricheln erinnert vielleicht am ehesten an Gene Colan, aber an den Dracula-Colan. Auf den ersten Blick wirkt die Gra-fik überhaupt etwas unausgereift. Aber bei genauerem Hinsehen sieht man überall durchdachte Perspektiven, raffinierte Licht-Schatten-Wirkungen und ausdrucksvolle Gesichter. Nur etwas unsauber ist sein Stil halt. aa



Hanne Leese - Auch Leichen haben Feierabend. 40 Seiten, s/w mit Farbcover, DIN A 5, 5,90 Mark. Fake Press, Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen
Zwei Frauen stellen einen Sittenstrolch, der sie schon länger mit anonymen Anrufen und Briefen belästigt hat. Dabei kommt der unglücklich zu Tode. Die Leiche wird notdürftig versteckt, kommt aber wenig später unter ungeklärten Umständen abhanden und taucht bei Marco wieder auf, der den Toten gekannt hat: es war sein Mathelehrer. Inzwischen ist auch die Polizei, die offenbar über hellseherische Fähigkeiten verfügt, dem Toten auf der Spur. Ein Kommissar findet am Ende die Leiche, aber die Umstände des Todes haben sich inzwischen in den chaotischen Windungen der Story verloren. Tatsächlich ist diese Geschichte verworrener als jeder Agatha Christie-Krimi, aber ich habe sie trotzdem gern gelesen, weil die Autorin und Zeichnerin nicht Altbekanntes zum hundertsten Mal variiert, sondern mit individuellen Charakteren die Geschichte zu erzählen versucht, die in dieser Konstellation drinsteckt. Vielleicht wäre sie etwas plausibler geraten, wenn sie auf Albumlänge ausgedehnt worden wäre (der Comic allein umfaßt 33 Seiten). Aber so ein Album muß ja auch erst mal gezeichnet werden. Die Zeichnungen, die an den italienischen "Diabolik" erinnern, sind trotz gelegentlicher Schwächen ausdrucksvoll und von konstanter Qualität. Von Hanne Leeses nächstem Comic verspreche ich mir einiges. aa



Michael Machner - Tränen & Tropfen. 20 Seiten, s/w, DIN A 5, 3 Mark.
Michael Machner, Falkenweg 4, Karben
Es geht ums Weinen und um Traurigsein und Fröhlichsein, die Gefühlsregungen, die von Tränen symbolisiert werden. Aber wohl nur Michael Machner kann aus diesem Thema Erkenntnisse wie diese herausholen: "Eine Trauerfeier, die nicht traurig ist, ist traurig." oder: "Möchtest du ein Lächeln zurückbekommen, nimm ein Bumeranglächeln." Er hat wieder einen Blumenstrauß von Strips zu einem wunderbaren kleinen Heft zusammengefaßt. Nur wenige Cartoonisten erreichen einen so individuellen Ausdruck; Michaels Strips würde ich überall erkennen. aa



Alexander Pavlenko - Die finsteren Seiten. 40 Seiten, s/w mit Farbcover, DIN A 5, 5,90 Mark. Fake Press,
Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen
Wer schon ein paar Ausgaben von PLOP gelesen hat, dem ist Alexander Pavlenko kein Unbekannter. Die Leser waren stets von seiner Grafik beeindruckt; über den Inhalt seiner Stories waren die Meinungen geteilt. Bei diesem Band, der drei Comics vereint, komme ich zum gleichen Befund. Alexander zeichnet souverän und ausgesprochen ausdrucksvoll; jede Seite ist eine Augenweide. Was ich von den Geschichten halten soll, weiß ich nicht so recht. Die mittlere Story, "Der Ausweg", ist ganz raffiniert: es ist der eigentlich bekannte SF-Topos von der hermetischen Stadt und einer Heldin, welche sich nach der freien Natur in der Außenwelt sehnt. Ein Scout zeigt ihr den Weg nach draußen - dort findet sie nur Unwirtlichkeit und verbrauchtes Land. Das ist aber das Bild, das sie zu sehen bekommen soll. Der Eröffner, "Duck! You Sucker. The Night Walk" ist eine üble Gewaltorgie, die auch für Alexander nur eine Fingerübung gewesen sein dürfte. Und die dritte Geschichte, "Kriminal-Tango", habe ich auch nach mehrmaligem Lesen nicht kapiert. aa



Tim Posern - Rosa Elefanten und weiße Mäuse # 4. Gesichter des Todes. 56 Seiten, s/w mit Farbcover, DIN A 4, 8 Mark.
Tim Posern, Torstraße 25, 10119 Berlin
Ein leicht angepunktes Magazin, das aber vor allem einen Haufen Cartoons und Comics ausschließlich von Tim Posern bringt. Der ist ein ganz eleganter und auch vielseitiger Zeichner. Die Grafik gefällt mir ehrlich gesagt besser als das allgemeine Witzniveau. Der Titel "Gesichter des Todes" weist zwar auf einige schwarzhumorige Stücke hin, aber ein roter Faden fehlt in dem Band. Ich weiß nicht, ob man bei einem solchen Werk überhaupt eine durchgehende Linie verlangen sollte, aber jedenfalls gibt es hier ein Sammelsurium von teilweise im weiteren Sinne politischen Karikaturen, an aktuellen Ereignissen wie dem Bahn-unglück von Eschede aufgehängten Cartoons, Comic-parodien, rein optischer Gags und Scherzen, die sich nicht so recht zuordnen lassen. Nicht völlig überzeugend, aber immerhin eine reichhaltige Fundgrube. aa



Ulf Salzmann - Nichts für ungut. Sonderausgabe: Tausend Jahre Goethe. 48 Seiten, s/w, DIN A 5.
Ulf Salzmann, Torweg 3, 99423 Weimar      email
Eine geballte Ladung höheren Blödsinns, zusammengetragen von einer kleinen Gruppe von Studenten, die einander offenbar gut kennen und daher Comics produzieren, die sehr gut zueinander passen, ohne daß die Sache eintönig wird. Absurde Gags, wie in diesem Heft gepflegt, lassen sich nicht gut referieren. Deshalb muß der Hinweis genügen, daß sich die Mitarbeiter nicht einen Moment lang auf Kalauerebene herabbegeben. aa



Matthias Schenk - Sinnlos Comix # 3 (Juni 1999). 60 Seiten, s/w mit Farbcover, DIN A 5, 3 Mark.
Sinnlos Comix, Matthias Schenk, Uranusstraße 33, 04205 Leipzig      email
Das Heft startet gleich kühn mit einer düsteren Zukunftsvision, in der ein Verlag namens "Sehr extrem erfolgreiche Produkte" alle übrigen einschließlich Time-Warner und Bertelsmann aufgekauft hat und die Comiclandschaft sehr öde geworden ist. Glücklicherweise kann aber Sinnlos Comix wieder herausgebracht werden, und das Magazin nimmt die Rolle des unbeugsamen gallischen Dorfs ein. Die Sinnlos-Leute haben sich ihre Frische und Begeisterung bewahrt, und zudem haben sie jetzt auch noch Schwarwel, P.M. Hoffmann und Ralf Paul (via Interview) im Heft. Wenn auch noch lange nicht alles perfekt ist, haben die Leipziger doch noch immer die richtige Einstellung. aa



Wittek / Oliver Ferreira - Comiczeichner sind # 2. 52 Seiten, s/w mit Farbcover, DIN A 5, 6 Mark
Wittek, Schulweg 29, 20259 Hamburg
Comiczeichner sind schon ein seltsames Völkchen. Ihre auffälligsten Eigenheiten hat Wittek bereits in seinem Heft "Comiczeichner sind" # 1 gezeigt. Teile davon wurden übrigens auch im Magazin "Rraah!" abgedruckt. Heft 1 hat Wittek noch allein fertiggestellt, die Hälfte der Num-mer 2 bestritten diesmal Oliver Ferreira und weitere Gastzeichner. Wittek schildert die Produktionsweise im Vorwort folgendermaßen: "Olli hat die Eigenschaften für mich, ich für ihn festgelegt, und wir haben dann unsere eigene Sicht der je-weiligen Eigenschaft gezeichnet." Es war eine fruchtbare Zusammenarbeit; Band 2 gefällt mir noch besser als die Nummer 1. Vermehrt werden mehrseitige Geschichten mit dem Thema in Zusammenhang gebracht und nicht nur Strips oder Einzelbilder. Zeichnerisch ist alles recht minimalistisch gehalten. Aber das ist trotzdem um Klassen besser als das meiste, was sonst so in Fanzines geboten wird. Hier sind einfach zwei Genies am Werk, deren Veröffentlichungen zum Pflichtprogramm jedes Comicfans gehören. Jo84





Fanzine Anthologien






cOMIc # 39 und 40. Je 28 Seiten, s/w mit grünem/rotem Umschlag, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines.
Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
In letzter Zeit überrascht mich Gerd immer mit seinen sehr knappen, aber informativen Artikeln, meist aus dem Bereich der amerikanischen Superheldencomics des Silver Age. Eine in meinen Augen besonders kuriose Geschichte hat er in seiner Jubiläumsausgabe 40 ausgegraben: Er stellt den Comiczeichner Kenneth Landau vor, der in den 50er Jahren an einer Grusel-serie namens "Out of the Night" mitwirkte. Der gute Mann nannte sich später Martin Landau, ging zum Film und dann zum Fernsehen und ist den meisten von uns vermutlich bekannt als Commander Koenig aus "Mondbasis Alpha 1". Der Clou an der Sache ist, daß Landau damit selbst zur Comicfigur wurde, denn von "Mondbasis" gab es natürlich eine Comicversion (hierzulande in Zack abgedruckt). Hiermit habe ich allerdings praktisch den gesamten Inhalt des Artikels referiert, und ich weiß wieder mal nicht, ob Gerd nicht mehr Informationen hatte oder ob er einfach einen längeren Artikel in seinem Magazin unschicklich gefunden hätte. Mit der Jubiläumsnummer 40 besteht cOMIc zugleich zehn Jahre - herzlichen Glückwunsch! Man sieht, daß Gerd es geschafft hat, regelmäßig vier Ausgaben pro Jahr herauszubringen. Bei PLOP liegt der Durchschnitt dagegen schon ein wenig unter drei Ausgaben jährlich. Also wegen mir mag Gerd mich ruhig bald überholen. Ich habe zwar in den vergangenen Jahren eher an cOMIc rumgenörgelt, weil sich nach der anfänglichen Faszination eben ein Gewöhnungseffekt eingestellt hat, aber grundsätzlich muß schon mal festgehalten werden, daß cOMIc ein sehr sorgfältig gemachtes Fanzine ist mit vielen guten Mitarbeitern (zum Beispiel Manfred Lafrentz, Oliver Ferreira, Olaf Bathke, Bernd Teuber und vielen Leuten, die wir auch durch PLOP kennen) und - ja, ohne cOMIc würde uns was fehlen in unserer Fanzinelandschaft. aa






Epidermophytie # 6. 44 Seiten, s/w mit Farbcover, DIN A 4.
Epidermophytie in wort und bild, Prenzlauer Allee 86 E, 10405 Berlin.      email
Superhelden sind zum Lachen: grotesk gekleidet, spießig und dumm-pathetisch, vielleicht sogar verlogen (würde jemand, der mehr kann als wir Normalos, seine Fähigkeiten wirklich zu unser aller Nutz und Frommen einsetzen?). Kein Wunder also, daß diese Ausgabe, die ganz dem Thema Superhelden gewidmet ist, die bisher lustigste geworden ist. Allzu lange gelacht habe ich allerdings nicht, wenn ich da mitverfolgte, wie Superhelden in Polizeikontrollen geraten oder gar vor Gericht stehen, weil ihnen beim Weltrettungseinsatz ein Unfall passiert ist, oder wenn ein deprimierter Superman mit Kryptonit Selbstmord begeht oder gar ein brillentragender Computerfreak virtuell Superheld spielt. Da werden eben nur die Klischees bedient, und wenn es keine andere Möglichkeit gäbe, sich über Superhelden lustig zu machen, würde ich eher dafür plädieren, es bleiben zu lassen. Superheldenparodien werden vermutlich besser, wenn sie eigentlich durch Sympathie für dieses Genre motiviert sind. Am besten im vorliegenden Band hat mir jedenfalls die ziemlich durchgeknallte Story "Heroes of the Western World" von Marco Funke gefallen, in der es - tja, um Western geht. Ganz nett ist auch noch "Super Hasi" von Mawil, wo ein wirklich komisches Personal aufgefahren wird. Natürlich ist wieder alles zeimlich gut gezeichnet, und der Band es schon wert, in die Fanzinesammlung eingereiht zu werden. aa





Kainsmal # 8. 36 Seiten, s/w mit Farbumschlag, gratis.
Kainsmal, c/o Andreas Eickenroth, Am Eichelbaum 39, 35390 Gießen
Das neue Kainsmal macht einen verdammt guten Eindruck und ist dabei sogar noch umsonst. Besonders angetan hat es mir Rossi mit seinen Gary Larson-mäßigen Cartoons. Aber auch Gastzeichner Rafa bringt seine Gesellschaftskritik auf den Punkt. Insgesamt gibt es viele relativ kleine Beiträge, die uns auf ein bis zwei Seiten jeweils mit gewagten Thesen ("Wie die Alpen entstanden") oder lustigen Cartoons erheitern. Noch positiver fiel mir auf, daß im Vergleich zu anderen Umsonstheften nur wenig Werbung vorhanden ist. Wie machen die das? Egal, Hauptsache, sie machen weiter. Jo84





Koma Comix # 23. 40 Seiten, s/w mit Farbcover, Comic-bookformat, 5 Mark.
Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
Wie gewohnt erzählt Levin Kurio aus dem Leben seines Alter Ego Quevis. Wie immer geht's dabei um Saufen, Weiber flachlegen und alles andere, was den typischen Grenzdebilen und vorpubertären Comicleser interessiert. Und wie immer macht es Spaß, sich diesen hanebüchenen Trash reinzuziehen. Höhepunkt ist Levin Kurios erste autobiografische Geschichte (er zeichnet sich etwas anders als Quevis), in der man erfährt, daß seine erste Freundin "voll nymphomanisch war, und auch sonst tickte sie nicht ganz richtig"... Ansonsten beschreibt Quevis, wie er heutzutage versucht, Frauen flachzulegen, was er von Kürbissuppe hält, wie er Sonntage verbringt und so weiter. Dope-o-tector, der Beschützer des Weltdopes, wird vorgestellt, und es gibt eine Haschplantage zum Selberbasteln. Alles in allem ist die Ausgabe wieder ein absolutes Muß. Jo84



Kreativo # 29 (Dezember 1999). 28 Seiten, s/w, DIN A 5, 1 Mark + 1,50 Mark Porto.
Kreativo-Pro-jekt, Birke, Postfach 2022, 58470 Lüdenscheid
Schade, daß Birke nicht mehr so viel von sich erzählt, denn so wird Kreativo zu einem Sammelsurium von Illustrationen, Gedichten und Rezensionen ohne roten Faden. Die Beiträge - unter anderem vertreten: Oliver Ferreira, Gregor Beckmann, Jo84 und Birkes Bruder Cat - verstreut sie allerdings immer noch reizvoll locker im Heft. Einziger Comic ist diesmal ein Onepager von Joy, ein Weihnachtsalptraum des Nikolaus. Schön fand ich die Illustrationen von Michaela K. Interessant zudem der Fragebogen von Gerd Bonau ("cOMIc") - selten hat man so viele zusammenhängende Sätze von ihm gelesen. aa


Napartheid # 27. 52 Seiten, s/w mit Farbcover, DIN A 4 (mit Fanxinoteka katalogoa, 92 Seiten, Farbcover, 29 mal 16 Zentimeter), 300 Peseten.
Napartheid, Martzelo Zelaieta karrika, 75.AA1 aretoa, 31.014 Irunea
Gleich bei unserem ersten Kontakt vor inzwischen auch schon ein paar Jahren haben mir die Basken etwas von ihrer großen Fanxinoteka erzählt. Ich wußte nie so genau: Gibt's die schon? Ist die erst geplant? Was ist das eigentlich? Vielleicht nur ein billiger Vorwand, um gratis meine PLOPs abzugreifen? Aber die neueste Ausgabe kommt zusammen mit einem dicken Katalog, der alle Erwerbungen der Fanzinothek der Jahre 1994 bis 99 zeigt, immer 20 Fanzines pro Seite, 72 Seiten lang. Das sind knapp 1500 Magazine (das heißt: Titel; von jedem Titel dürften schätzungsweise durchschnittlich zwei bis drei verschiedene Aus-gaben vorrätig sein) aus 52 Ländern in 25 Sprachen - hier bediene ich mich der Statistik aus dem Katalog -, und nur zum Teil handelt es sich um Comicfanzines. Eine faszinierende Sammlung, welche die Fanzino-thekare selbst im Vorwort so charakterisieren: "There are people in this world who have the same anxieties, friends with some uneasiness, some in anger and others in colours. Communicate. It's easy." Das finde ich schön gesagt. Im neuen Napartheid finden sich im übrigen wieder viele interessante Underground-Co-mics, darunter aber leider keiner auf Englisch. aa



Sprühende Phantasie # 18. 48 Seiten, s/w, DIN A 4 plus Farbcover, 6 Mark.
Jo Guhde, Goebenstraße 37, 32423 Minden
Sicher würde Jo84 sein außerordentliches Fanzine öfter herausbringen, wenn Zeit und Finanzen ihm dies gestatten würden. Doch ähnlich wie bei "Zebra" gehört es zum legendären Ruf des Magazins und fördert ihn zugleich, daß es bestenfalls im Abstand eines Jahres mal wieder eine neue Ausgabe gibt. Dahinter spürt man eine Haltung des Herausgebers, der jener mancher berühmter Filmregisseure wie Stanley Kubrick entspricht: Mein Werk kommt erst dann in die Öffentlichkeit, wenn es ganz exakt meinen Vorstellungen entspricht. Zu diesem Aspekt gehören unter anderem das konsequente Handlettering quer durch die gesamte Ausgabe, auch der billige Kopierdruck, denn mit viel Geld wäre es ja einfach, seine Vorstellungen umzusetzen, wobei das Heft aber durch ein sehr sorgfältig gestaltetes Farbcover aufgewertet wird, dazu gehört die gleichförmige inhaltliche Gestaltung: Jo beginnt immer mit einem ellenlangen - natürlich handgeletterten - Vorwort (den Text schreibt er übrigens um die zuvor ausgewählten Illustrationen herum), dann gibt's ein Interview mit einem von Jo zu diesem Zeitpunkt besonders geschätzten Zeichner (es wird immer in Briefform geführt und ist stets um die Fragen: Stell Dich den Lesern vor! - Was hast Du so alles veröffentlicht? - Was hast Du für Zukunftspläne? - Was möchtest Du den Lesern noch mitteilen? herum konstruiert), und schließlich folgen einige Leserbriefe. Dieser redaktionelle Teil kommt mir manchmal ein bißchen betulich vor, ist natürlich trotzdem sehr interessant. Dazwischen aber bringt Jo etliche Comics, die ausnahmslos zum Besten zählen, was die Fanszene zu bieten hat. Er läßt sich da strikt von seinem eigenen Geschmack leiten; man hat nie den Eindruck, daß ein Beitrag als Füller oder aufgrund irgendeiner Konzessionsentscheidung ins Heft gerutscht ist. Hier ist ein richtiger Kleinverleger am Werk, der nur das publiziert, was ihm persönlich Spaß macht. In der vorliegenden Ausgabe sind das unter anderem Comics von Martin Jablonka (plus Interview), Till Lenecke (plus Cover), Oliver Ferreira, Rainer Baldermann, Wittek und Lotte. aa



Trash-o-Rama # 1. 8 Seiten, s/w, DIN A 5, Foliencover. [fünf]
Ateliergemeinschaft, Hamburger Straße 178, 22083 Hamburg
Trash-o-Rama soll ein neues, sporadisch erscheinendes Fanzine werden, dessen Nummer 1 praktisch so etwas wie eine Nullnummer darstellt. Die Kurzstory um eine Band in einem zwielichtigen Schuppen wurde von Matthias Preuß und Rainer "Rakete" Penck gezeichnet. Zusammen sind die beiden noch besser, als sie zu Zeiten des Magazins "Unangenehm" waren. Ein weiterer Comic von Rakete ist bereits angekündigt. Ich bin sehr gespannt auf weitere Ausgaben. Jo84



tremor comics # 8. 44 Seiten, s/w mit Farbcover, Comicbookformat, 4,80 Mark.
Kreuz und Quer Verlag, C. Schadow, Triftstraße 5, 06114 Halle/Saale      tremorcomic@yahoo.de
Ist das nur für Erwachsene, wenn der gute alte Erich Honecker als grimmer Schnitter bei gequälten ehemaligen DDR-Bürgern anklopft und sie erbarmungslos verfolgt? Eine solche Story ist jedenfalls wohl nur in einem Magazin aus dem Osten zu finden, und - ja, für mich war's die lustigste in diesem Heft. PR Hartung beeindruckt bei "Life is a Lemon and I want my Money back" mit dem ausgefeiltesten Artwork. CS Linientreu stellt nach dem Mad-Prinzip tödliche Urlaubsszenen vor. Noch einen Comic, der eine Talkshow parodiert wie der von U. Satzmann, brauchen wir nicht unbedingt. Und ein paar kürzere Comics muß ich nicht mehr eigens erwähnen. Das Heft ist wieder so schön gedruckt, daß man sich wundert, daß doch ein paar Beiträge drin sind, die nicht ganz überzeugen. aa



Unicorns / Teddy-Splitheft. 48 Seiten, s/w mit Grautönen und Farbumschlag, 26 mal 18 Zentimeter, 2 Euro.
Genuine Comics, Postbus 2296, 6040 Roermond, Niederlande
Die Niederländer zeigen uns mal wieder, wie ein Fanzine eigentlich aussehen müßte: Seltsames Format, aber bestes Papier und erstklassiger Druck für Comics in Profiqualität. Auch hier haben Andreas Heinze und Martin Jablonka ihre Finger im Spiel. Andreas zeichnet den Neunseiter "Teddy" nach einem Text von Dave Brink und Joan Lavell, und Martin steuert einen 14seitigen Beitrag zur Story "Unicorns" nach Dave Brink und Bram Elfers bei. Diese Story ist zeichnerisch der absolute Wahnsinn und auch das Cover von Martin kann mich begeistern. Möglicherweise ist dieses Heft sogar über Fake Press zu beziehen. We4r mehr über Jablonka und Fake Press erfahren will, sollte sich das Interview in Sprühende Phantasie # 18 zu Gemüte führen. Jo84





Wacka Wacka # 5. 52 Seiten, s/w mit ockerfarbenem Umschlag, DIN A 5, 3 Mark.
Guido Kawczyn-ski, Körnerstraße 39, 04107 Leipzig
Hier wird einem mal wieder einiges an Beziehungsdramen und unerwiederter Liebe zugemutet. Der Ton-fall ist aber immer noch locker, so daß ich von solchen Texten noch nicht genug habe. Zumal sich eine Liebeserklärung immerhin auf die Leipziger Straßenbahn bezieht. Comics finden in dieser Ausgabe eher als Marginalien statt. Etliche Seiten hat aber unsere alte Bekannte Yasmin Abdulhack beigesteuert, was das Lesevergnügen noch steigert. Und Levin Kurio erzählt uns in seinem Comic etwas über halluzinogene Döner Kebabs. Wacka Wacka ist nach wie vor eines der witzigsten Fanzines, die ich kenne. aa






Hansrudi Wäscher Fanclub Bayern # 6. 68 Sei-ten, s/w mit Farbcover und Farbanteil, DIN A 4, 18,60 Mark.
Manfred Tritschler, Albertus-Magnus-Straße 11, 90547 Stein
Man kann ja nur staunen, was für schöne Magazine man hinbekommen kann, wenn man nur genügend Herzblut und Geld hineinsteckt. Auf diesem Gebiet sind die Wäscherfans ja eindeutig Spitze, auch wenn man ihre Leidenschaft nicht immer ganz nachvollziehen kann. Hinter einem Titelbild von Gabriel Nemeth schwelgen ältere Männer in Erinnerungen und huldigen Altmeister Hansrudi in jeder nur erdenklichen Art und Weise. Zitat: "Der Höhepunkt darf wohl in diesem Jahr die Ehrenmitgliedschaft unseres Idols Hansrudi Wäscher sein, der am 10. Juli 1999 in Nürnberg aus unseren Händen die Ehrenmitgliedsurkunde erhielt." Dies alles wurde natürlich in zahlreichen Fotos auf bestem Glanzpapier exquisit gedruckt. Ich kann mich wirklich nicht entscheiden, ob ich das alles bewundernswert oder peinlich finden soll, wenn Harold Foster neben Hansrudi Wäscher als schlechterer Erzähler dargestellt wird oder ähnlich haarsträubende Schoten. Für den 50er Jahre-Fan finden sich aber sicher ein paar brauchbare Artikel. Ein etwas jüngerer Mitarbeiter findet sich dann doch: Till Lenecke illustrierte Motive von Erwin Mosers (jawohl, der Kinderbuchautor/-zeichner) Roman "Jenseits der großen Sümpfe". Leider ist Teil zwei der interessanten Biografie nur ganze drei Seiten lang. Schade, es ist mit Abstand der beste Beitrag. Jo84





Profi Comics von Einzelnen Autoren



John Byrne: Batman & Superman: Generations # 1 (1939 - 1949), # 2 (1959 - 1969) und # 3 (1979 - 1989). Je 56 Seiten, farbig, Prestigeformat, 9,95 Mark. Carlsen
Superman und Batman existieren schon so lange, daß die Legionen von Textern und Zeichnern im Laufe ihres Daseins oft widersprüchlichste Fakten und Aussagen festgelegt haben. Erst langsam festigten sich Charakter und Aussehen zu dem, was wir heute unter den Figuren verstehen, wobei sie sich auch in Zukunft in andere Richtungen entwickeln werden. Dazu kommt, daß beide in den letzten 60 Jahren kaum gealtert sind. John Byrne wollte nun ein Werk schaffen, das die Helden einmal wie in Echtzeit altern läßt und nebenbei das Markante des jeweiligen Zeitraums für die Figuren mit einbezieht. Er beginnt 1939; Batman und Superman sind beide knapp über 20, einsame Vigilanten, und scheuen auch nicht davor zurück, Verbrecher umzubringen, die ihnen lästig sind - denn solche Charaktere waren Batman und Superman in den 30ern. In Zehn-Jahres-Schritten stellt Byrne dann weiterhin Einzelabenteuer vor, die in die Continuety passen (sich also nicht widersprechen und mit irgendeinem Paralleluniversum herausreden) würden. Design und Anzüge ändern sich hierbei, der Bezug zur Vergangenheit bleibt jedoch gewahrt. 1949 treffen die beiden auf Lex Luthor und den Joker, 1959 auf Mxyzptlk und die Bat-Laus, 1969 spielen fast schon mehr ihre Kinder die Hauptrolle. Das seltsame Experiment wirkt mehr als zwiespältig auf mich. die erste Folge gibt mir gar nichts, denn die Charaktere sind einfach nicht Batman und Superman (so ist es von John Byrne auch intendiert). Episode 2 ist ein eher normales Abenteuer, Teil 3 ein Kuriosum, das den 60ern zur Ehre gereicht. Teil 4 ist unheimlich interessant und spannend, denn es passiert wirklich viel, das sich der normale Fan kaum träumen läßt. Band 3 mit den Episoden 5 und 6 ist noch faszinierender. Batman und Superman, beide schon uralt, müssen zusehen, wie sie ihre Fähigkeiten verlieren, wie ihre Familien ausgelöscht werden und Superman sogar zum Mörder wird. Nachdem mich die Reihe zuerst gar nicht interessiert hat, bin ich überrascht, wie hervorragend der Zyklus tatsächlich ist. Ich bin supergespannt auf den Abschlußband, der von 1999 den Bogen zurück nach 1929 spannen wird. Jo84






David B.: Der Tengu. 144 Seiten, s/w mit Zweifarbumschlag, Comicbookformat. 29,80 Mark. Edition Moderne
Der 40jährige David B. gehört zu den aktivsten Mitgliedern der französischen Comiczeichnergruppe "L'Association". Seine phantastischen Geschichten erscheinen regelmäßig im Association-Magazin "Lapin" und in Sammelbänden. "Der Tengu" ist David B.s erste deutsche Buchveröffentlichung, und wenn alle seine Stories derart merkwürdig sind, ist dies auch kein Wunder. Der Band verwebt östliche Sagen und Fabelwesen mit westlicher Art des Geschichtenerzählens. Die Handlung spielt in Japan. Der Tengu ist ein Berggeist, der von seinem Meister verstoßen wurde. Weitere Hauptpersonen sind die Füchsin und der sprechende Pilz, die eine Räuberbande anführen. Parashurama, den Samuraimörder, der fast alle Meister der Kampfkünste im Umkreis umgebracht hat, wird vom Samuraischüler Yashu gejagt, der sich dem Tengu anschließt. Es ergibt sich eine komplizierte Handlung, in deren Verlauf sich die Hauptpersonen immer wieder über den Weg laufen. Dazu kommt, daß Füchsin, Pilz und Yashu öfter mal ihr Gesicht wechseln. Insgesamt ist alles sehr verworren, aber wenn man sich erst einmal an die seltsam bedeutungsschwangeren Personen gewöhnt hat, kann die Geschichte schon fesseln. Strapazin-Fans werden das Buch lieben. Jo84







Will Eisner: The Princess and the Frog. 32 Seiten, farbig, Hardcoveralbum, 15,95 Dollar. NBM Publishing
Neben zahlreichen wirklich guten eigenen Graphic Novels versuchte sich Altmeister Will Eisner auch oft an Texten und Geschichten anderer Künstler. Dieses Buch, geschaffen 1997, ist eine Interpretation des "Froschkönig "-Märchens der Gebrüder Grimm. Das Märchen läßt nicht viel Spielraum, und so ist die Geschichte also nichts Besonderes. Die Zeichnungen sind natürlich Eisner pur und präsentieren seit sehr langer Zeit mal wieder einen Farbcomic des Meisters, der wie immer wunderschön anzusehen ist. Trotzdem ist das überteuerte Buch nur etwas für absolute Fans. In derselben Reihe sind übrigens die Bücher "Moby Dick" (gibt's ja schon bei Ehapa auf Deutsch) und "Don Quixote" angekündigt. Jo84






Anke Feuchtenberger: Die Biographie der Frau Trockenthal. 40 Seiten, farbig, 20,5 mal 20,5 Zentimeter, Hardcover, 19,90 Mark. Jochen Enterprises
Daß "La Feuchtenbergerowa" eine bessere Illustratorin und Plakatgestalterin als Comiczeichnerin ist, ist wohl kein Geheimnis. So war es schon lange Zeit für ein Buch, das diese Arbeiten sauber editiert und reproduziert. Die Aufmachung ist sehr gelungen, wenn der Band auch mit 40 Seiten etwas dünn ausfällt. Als Comiczeichnerin ist Feuchtenberger immer seltsam, immer so auf elitäre Künstlerin, unheimlich bedeutungsschwanger und natürlich totaaal hip. Dieses Werk, das herrliche Plakatarbeiten von 1990 bis 1997 sammeltbegnügt sich leider ebenfalls nicht mit dem, was es ist, sondern versucht, durch absolut unverständliche Sätze einen Sinnzusammenhang zu erstellen, wo es keinen gibt, und schon habe ich das Gefühl, als Leser wieder verarscht werden zu sollen.So macht man aus einem eigentlich empfehlenswerten Band ein Machwerk, das mir echt zu blöd ist. Jo84





Fil: Didi + Stulle # 2. Höllenglocken. 48 Seiten, farbig, Album, 9,90 Mark. Reprodukt
Comedygenie Phil Tägert hat wieder zugeschlagen! Band 1 der Sammlung um die Berliner Proleten Didi und Stulle, vorveröffentlicht im Stadtblatt Zitty, war letztes Jahr das Lieblingsalbum so einiger Leute meines Umfelds. Und Band 2 ist keinen Deut schlechter. Wer Didi und Stulle kennt, kauft sich den Band sowieso so schnell wie möglich. Wer nicht, dem sei gesagt: Wer Ditte nich' kennt, hat keene Ahnung, wa? Ebenfalls empfehlen möchte ich die erste CD "Drum & Bass" des Comiczeichners, eine Art "Best of" seines Stand up Comedian-Programms. Jo84






Roland Hüve / Reinhard Kleist: Fuck 2000 # 1. Nullrunde. 36 Seiten, s/w mit Farbumschlag, 16,5 mal 23,5 Zentimeter, 7,80 Mark. Jochen Enterprises
Günther, genannt Gun, lebt mit seiner kleinen Schwester Cream und Internet-Junkie Hackman in einer Wohnung. Sein Traum ist die heiße Nachbarin, die unerreichbar scheint. "Sie ist ne Schwanzfalle auf zwei Beinen, und alle latschen in sie rein" ist der Kommentar seiner Schwester dazu. Die ist klein und rundlich und dem Discobeat und Drogen verfallen. Gun ist nicht wirklich mit seinem Leben zufrieden. Da lernt er einen Punkerverschnitt kennen, der wesentlich zufriedener ist. Er lebt von Raub und Diebstahl und nimmt sich so die Freiheit, nur zu machen, was ihm gefällt. Texter Roland Hüve legte "Fuck 2000" auf mehrere Bände an, die streckenweise recht innovativ getextet sind. Am eindrucksvollsten sind die ersten Seiten, auf denen Cream im Drogenrausch der Musik verfällt. Seine Darstellung der Figuren ist, wie bei Fremden in der Wirklichkeit, nicht immer hundertprozentig nachvollziehbar und deshalb sehr realistisch. Zeichnerisch liegt Reinhard Kleist irgendwo zwischen Gorny und David Laphams "Stray Bullets". Das ist sicherlich kein Zufall und auch kein schlechtes Vorbild. Heft 1 ist nicht in sich abgeschlossen. Es bleibt also abzuwarten, ob sich die Reihe konzeptionell weiter in Richtung "Stray Bullets" entwickelt. Es ist auf alle Fälle näher am Leben deutscher Jugendlicher in einer Großstadt. Hat mir gut gefallen, fast sogar besser als David Lapham. Jo84






David Mack: Kabuki # 1. 48 Seiten, farbig, Comicbookformat. Kioskversion: 4,90 Mark; Prestigeversion: 9,90 Mark; limitierte Ausgabe (500 Exemplare DIN A 2-Einzelblätter in Leinencassette): 198 Mark. Kabuki Black Art # 1: Fear the Reaper. 48 Seiten, s/w mit Farbumschlag, Comicbookformat, 4,90 Mark.
Der Verlag Infinity schaffte sich in den letzten Jahren ein Riesenpublikum, das ihn vor allem mit seinem "Spawn"-Reihen und einigen anderen grafisch gut gemachten Superheldenserien identifiziert. Der Inhalt bestand überwiegend aus anspruchslosen Superheldenkloppereien und Ballerorgien. Mit Kabuki geht Infinity deshalb ein großes Wagnis ein, dessen anspruchsvollerer Text natürlich längst nicht so massentauglich wie die anderen Serien ist. Zudem erschien Kabuki jahrelang in schwer verkäuflichem Schwarzweiß. Trotzdem sollen auch diese Hefte unter dem Namen "Kabuki Black Art" an Kioske ausgeliefert werden - ein völliges Novum. Vorerst sind zehn Schwarzweiß-Hefte geplant, die abwechselnd mit David Macks neueren Farbsachen erscheinen sollen. Auch diese Arbeiten fallen aus jedem Rahmen. David Mack kombiniert alle nur erdenklichen Zeichen- und Maltechniken und würfelt sie auf den Kabuki-Seiten bunt durcheinander. Das ergibt Gesamtkunstwerke, bei denen dem Betrachter der Mund vor Staunen offen steht. Bei Liebhabern herkömmlicher Superheldencomics stößt Infinity damit auf Unverständnis - wie erwartet, liegen die Verkaufszahlen (bei mir) weit hinter denen anderer Infinity-Serien. Dafür schafft sich der Verlag die Möglichkeit, völlig neue Käuferschichten zu erschließen, denn Kunstliebhaber können mit den Seiten sicher mehr anfangen als ordinäre Comicleser. Für mich jedenfalls ist die Herausgabe von Kabuki auf deutsch die Sensation des Jahres; vor allem die Farbserie ist viel neuer und frischer als das meiste, was es so auf dem Comicmarkt gibt. Die Story muß natürlich in einer bestimmten Reihenfolge gelesen werden. Das Farbheft Kabuki # 1 hat zum Beispiel für sich stehend absolut keine Handlung und präsentiert einen eigentlich unverständlichen Ausschnitt. In der Presseausgabe wird jedoch die Handlung des vorangehenden Zyklus "Circle of Blood" (wird als Kabuki Black Art 1 bis 7 erscheinen) zusammengefaßt, so daß der Leser einen Eindruck bekommt. In der Prestigeversion findet sich dieser Handlungsabriß übrigens nicht; eine unverzeihliche Dummheit, die den Verlag einige Leser kosten wird. Ich hoffe trotzdem, daß die Reihe ein Erfolg wird. Gerade Fanzinelesern kann man ja auch ruhig eine Schwarzweiß-Reihe ans Herz legen, von der bekannt ist, daß sie sich noch entwickeln wird. In dem Magazin "Hit Comics" # 11 findet sich übrigens ein sehr aufschlußreiches Interview mit David Mack, das ich auf der Comic Action Essen im Oktober 1999 führte. Jo84





Martin Frei: Superbabe. 48 Seiten, farbig, Comicbookformat Prestige, 9,90 Mark. Carlsen
Obwohl Martin Frei bisher fast nur realistische Comics veröffentlicht hat, beherrscht er auch einen karikieren-den Zeichenstil perfekt. In diesem Werk huldigt er dem Superheldengenre schlechthin und nimmt es dabei ganz schön auf die Schippe. Die blonde Friseuse Susi Bär ist die Geheimidentität von Superbabe, Kämpferin gegen alles Kriminelle. Leider achten die Leute mehr auf ihre Rundungen als auf ihr Engagement gegen das Verbrechen, und die Kurzgeschichten enden oft in eindeutigen Posen. Martins erstes umfangreiches Funnyprojekt ist ein Meisterwerk, bei dem jeder Strich sitzt, der Humor nicht zu kurz kommt und die Anspielungen auch Nicht-Superheldenfans noch verstehen können. Ein bißchen sexistisch ist das Ganze schon, aber nicht bösartig, so daß das alles unheimlich sympathisch rüberkommt. Jo84






Lynn Varley / Frank Miller: 300. 94 Seiten, farbig, Hardcoveralbum, DIN A 4-Über-Querformat, 39,80 Mark. Schreiber & Leser
Die Erde bebt; das persische Heer marschiert auf Griechenland zu, die einsame Insel der Vernunft und Freiheit im Meer von Barbarei und Tyrannei. Eine Gruppe von 300 Soldaten stellt sich der tödlichen Bedrohung entgegen. Es sind keine gewöhnlichen Männer, sondern Spartaner unter Führung ihres Königs Leonidas. Für den amerikanischen Verlag Dark Horse schufen Lynn Varley und Frank Miller ihre fünfteilige Miniserie über die Lebensphilosophie der Spartaner, für die vor allem Begriffe wie Stärke, Ehre und Kampf im Vordergrund standen. Miller schuf die Zeichnungen zu Varleys Epos in imposanten Doppelseiten, die ihre Wirkung nicht verfehlen. Die düstere Colorierung Lynns übertrifft den positiven Gesamteindruck noch bei weitem. Die europaweit gleich gestaltete Buch-ausgabe der Heftreihe bietet noch weitere Vorteile. So entfällt die störende Knicklinie in der Mitte der Bilder, und die Wahl des Hardcovers war ein Muß. Es bleibt ein hervorragendes Werk, das zu Recht in Amerika den Harvey Award für die beste Miniserie und Colorierung und den Eisner Award 1999 (beste Miniserie, bester Zeichner/Texter, Colorierung) verliehen bekam. Jo84



Walter Moers: Käpt'n Blaubär. Der Film. 128 Seiten, über DIN A 5 Hardcover, 16,80 Mark. Eichborn
Walter Moers hat im Moment wohl keinen Bock auf Comics, sondern widmet sich wieder seinen Ursprüngen, Kinderlektüre zu schreiben. Nach dem Wälzer "Die 13 1/2 Leben des Käpt'n Blaubär" ist schon wieder ein Buch angekündigt, das ebenfalls in der Phantasiewelt "Zamonien" spielt, und zum ersten Zeichen-trickfilm vom Blaubären liegt jetzt auch ein dickes Buch vor. Dieses enthält so etwas wie das Originaldrehbuch und ganzseitige sowie doppelseitige Szenenfotos. Diese wirken im Buch nicht so schön, wie ich es vom Film erwarte. Ich habe das Buch absichtlich noch nicht gelesen, da ich mir lieber den Film ansehen möchte. Es ist aber zumindest gut aufgemacht. Jo84






Mühlsteffen, Peter, Walz (Autoren) / Schwebel, Jung (Zeichner): Geht doch rüber! Fünf Jahrzehnte deutscher Geschichte. 56 Seiten, farbig, Hardcoveralbum, 19,80 Mark. Ehapa
Das gleiche Team hat schon die deutsche Revolution von 1848 vercomixt - was ich allerdings noch nicht gelesen habe. Den vorliegenden Band habe ich mir gekauft, weil er aus dem Angebot an Knollennasen, japanischen Großaugen und bunten Latexanzügen in der Bahnhofsbuchhandlung irgendwie herausstach. Das hat mich doch interessiert, wie die viel unspektakulärere historische Wirklichkeit grafisch verarbeitet werden kann. Vorweg: Das Album ist solide gemacht, ordentlich gezeichnet (in frankobelgischer Tradition) und natürlich inhaltlich ambitioniert: Da sollen die Zeitläufte von der Nachkriegszeit ab 1955 bis zum Regierungswechsel Ende 1998 nachgezeichnet werden. Anschaulich soll das Ganze werden, indem man das Schicksal einer Familie vor dem Hintergrund der "großen Ereignisse" schildert. Die Autoren haben erfreulicherweise nicht versucht, eine typische deutsche Familiengeschichte zu konstruieren, aber sie wird doch so zusammengebastelt, daß sie mit den jeweils wichtigen Themen der Zeit in Berührung kommt - Mauerbau, Entspannungspolitik, RAF-Terrorismus, NATO-Nachrüstung, Glasnost. Das alles verfolgen die Familienmitglieder zwar bloß am Fernsehschirm, aber sie kommentieren die Ereignisse aus unterschiedlichen Blickwinkeln, da ein Teil von ihnen in der Bundesrepublik und ein anderer in der DDR lebt. Die plumpe didaktische Absicht dieser Konstruktion verstimmt den Leser. Zu allem Überfluß reden die Akteure ständig wie wandelnde Geschichtsbücher: "Erst ging es nur um die Preiserhöhungen und die Arbeitsnormen, aber dann sind Tausende losmarschiert" oder "Aber der Terroranschlag auf das Olympische Dorf hat ja gezeigt, daß man heute Sport und Politik nicht mehr trennen kann ". Würde ich auch so sehen. Hübsch auch: "Kanzler Schmidt hat wieder einmal gezeigt, was für ein guter Krisenmanager er ist." Mit diesen Worten stellt die Mutter die Suppenterrine auf den Tisch. Unvermeidlich: "Kohl ist der Kanzler der Einheit" (immerhin tritt Birne zumindest optisch nicht in Erscheinung). Diese Dialoge wären selbst dann blutleer, wenn sie Historiker im Telekolleg sprechen würden. Und so bleibt der ganze Comic papieren und leblos. Ein Autor müßte sich vielleicht die Mühe machen, seine Figuren näher zu beschreiben, selbst wenn sich dann das eine oder andere historische Datum nicht in der Story unterbringen ließe. Oder man erzählt die Geschichte lieber gleich etwas umfangreicher wie etwa Art Spiegleman die Judenvernichtung in "Maus". Im Vergleich dazu ist "Geht doch rüber!" doch ein arg bescheidenes Projekt geblieben. aa



Wendi und Richard Pini: Elfquest - Zeit der Träume # 1. 48 Seiten, farbig, Comicbookformat Prestige, 9,90 Mark. Carlsen
Im Mai 2000 wird mit Band 20 der Albenreihe "Abenteuer in der Elfenwelt" der komplette Zyklus "Könige des zerbrochenen Rades" vorliegen. Danach erschienen in dem amerikanischen Elfquest-Magazin ab 1996 zwölf Kapitel des Zyklus "Dreamtime", das die verschiedenen Handlungsstränge der bisherigen Hefte aufnahm und weiterführte. Carlsen bringt die ersten drei Kapitel in einem Prestigeband heraus, dem drei weitere folgen werden. Die Elfquest-Hefte, die im Original in schwarz-weiß mit unterlegtem Grauton erschienen, sind für die deutschen Ausgaben exklusiv von Timothy Georgi coloriert worden. Es ist somit die weltweit erste Farbveröffentlichung dieser Kapitel. Dank der Grauschatten des Originals sieht die Colorierung nicht besonders aus. Da war aber wohl nichts Besseres machbar. Dank des im Vergleich zu den Originalen günstigen Preises (und der guten Aufmachung) werden die Ausgaben aber trotzdem ihre Käufer finden. Jo84


Pascal Roman / Félix Meynet: M & M # 1. Der Schatz der Chartarer. 48 Seiten, farbig, Hardcoveralbum, 24,80 Mark (mit Druck, signiert, 49,80 Mark). Salleck Publications
Dieses bereits 1991/92 entstandene Album ist das erste der bisher fünf bei Dargaud vorliegenden Alben der Reihe "Double M", von denen in den nächsten zwei Jahren alle noch ausstehenden Alben bei Eckart Schotts Verlag Salleck Publications erscheinen sollen. Wie immer ist die Reihe den klassischen frankobelgischen Abenteuercomics zuzuordnen, die Spannung bieten, aber auch den Humor nicht aussparen. In diesem Album lernen sich die Hauptpersonen Mirabelle und Melchior, zwei recht verschiedene Menschen, kennen. Sie arbeitet in Paris bei einem Verlag, er als Skilehrer und Bergführer im französischen Jura. Spontan können sich die beiden nicht ausstehen. Die Ereignisse schweißen sie jedoch zusammen, und sie überstehen gemeinsam das Abenteuer, das seinen Ursprung bereits im Zweiten Weltkrieg hat und in dem es um einen Schatz geht, der der Legende nach von einem riesigen Wolf bewacht wird. Szenarist Roman erneuert auf hervorragende Art das Klischee zweier zickiger Einzelgänger, die sich trotz aller Gegensätze mögen lernen, Meynets Zeichnungen sind "nur" netter Durchschnitt, aber man darf auch nicht vergessen, daß es sich bei diesem Album um ein Frühwerk handelt, sozusagen ein "Classic"-Band. Jo84






Klaus Scherwinski: Kopeck # 1 (von 3; November 1999). 32 Seiten, farbig, Comicbookformat, 5,90 Mark. Karicartoon Verlag Schön, daß kleinere Verlage jetzt immer wieder mal den Traum einheimischer Zeichner verwirklichen können, mit ihrer eigenen Serie am Kiosk vertreten zu sein. Bei Kopeck sieht man recht schnell, daß der Zeichner noch nicht ganz ausgereift ist und nur die Computerfarben das Heft eben noch professionell erscheinen lassen. Aber was soll's: Die Jugend wird dieses Heft ebenso kaufen wie X-Men, Spawn oder Sailor Moon. Und dann sieht man auch bei Klaus Scherwinski nicht nur die grafischen Mängel, sondern auch Talent fürs Inszenieren von Actionbildern und fürs optische Erzählen generell. Vielleicht wird also schon bald Routine zu einem Qualitätssprung führen. Geinkt hat übrigens unser PLOP-Rezensent Jo84. Worum geht's in Kopeck? Die gleichnamige Titelfigur ist ein russischer Elitekämpfer schwarzeneggerscher Statur. Er sucht seinen Bruder, der den Auftrag hatte, Exilkommunisten in Los Angeles umzubringen. Im ersten Heft werden ansonsten nur mit viel Geballer einige Nebenfiguren eingeführt, dann muß man auf den zweiten Band warten. Ob Kopeck etwas zum kulturellen Diskurs in Deutschland beizutragen hat, kann getrost bezweifelt werden. Aber das Heft könnte sich durchaus über die zunächst vorgesehene Miniserie hinaus am Kiosk halten. Und dann gibt's vielleicht schon bald eine eigene deutsche Profi-Comicszene. Und das fände ich gut. aa








Joann Sfar / José Luis Munuera: Merlin # 1. Schinken und Schnittchen. 48 Seiten, Farbalbum, Softcover, 14,90 Mark. Carlsen
Jeder kennt die Sage um König Artus und Zauberer Merlin zumindest ansatzweise. Aber wie war Merlin als Kind, als er noch nicht der mächtige Zauberer war? Dieser Frage gehen Sfar und Munuera im ersten Merlin-Album nach. Die im Semi-Funny-Stil gehaltenen Seiten geben natürlich schnell eine Antwort: Er war ein naseweiser Schelm, der vor nichts Angst hatte und ständig Blödsinn im Kopf hatte. Vergleiche mit Pippi Langstrumpf brauchen nicht gescheut zu werden, nur daß Merlin noch jünger ist und seine Gedankengänge und Reden noch witziger sind. Das fand jedenfalls die Jury des Comicsalons in Sierre (Schweiz), die das Debutalbum von Merlin zum "besten Jugend-Album 1999" wählten. Das schränkt die Sache etwas zu sehr ein, denn Merlin ist eine Serie, an der Kinder, Jugendliche und Erwachsene gleichermaßen ihre Freude haben dürften. Mir hat das Album jedenfalls auch gefallen. Jo84







Tom: Ohne Gummi n Fuffi extra. 60 Seiten, Farbalbum, 19,90 Mark. Jochen Enterprises
Nach diversen Heften und zwei backsteingroßen Sammlungen seiner "Touché"-Strips meldet sich der Berliner Cartoonist Tom mit dieser neuen Gagsammlung zurück, die optimal von Ulf Johnigk coloriert wurde. Der Band, Toms erste vollfarbige Veröffentlichung, bietet zur Hälfte (halb- bis ganzseitige) Einzelcartoons und ist aufgefüllt mit neueren Touché-Strips. Wie immer zündet nicht jeder Gag, aber auch sehr gute sind darunter. Tom wird eher wegen seiner Gags geliebt als wegen seiner Zeichnungen, die oft flüchtig oder unsauber wirken. Die Colorierung holt hier jedoch einiges an Wirkung heraus. Dies kann allerdings nicht darüber hinwegtäuschen, daß die Einzelgags doch recht großflächig angelegt sind und dem Vorwurf von Seitenschinderei nichts entgegenzusetzen hätten. Trotzdem ist der Band recht nett und bietet zumindest gute Unterhaltung. Jo84





Lewis Trondheim: Herrn Hases haarsträubende Abenteuer # 4. Black Town. 48 Seiten, farbig, Softcoveralbum, 19,90 Mark. Carlsen
Ein neuer "Herr Hase"-Band ist immer ein Ereignis und diesmal ein besonderes. Hase befindet sich im Westen, und weil er ein Fremder ist, soll er auch gleich gelyncht werden. Wieder einmal ist die Handlung mehr als abstrus und die Zeichnungen eigentlich ziemlich simpel. Seine wahren Stärken liegen aber in der einfühlsamen Colorierung und in dem unglaublichen Wortwitz, den Trondheim aus den simpelsten Situationen herauskitzelt. Es beginnt mit Zockern, die beim Spielen ihre Philosophiestunde abhalten, und zieht sich durchs ganze Album mit abgehobenen Ideen. Ich glaube, Band 4 ist der beste Hase-Band bisher. Er ist einfach zum Brüllen komisch und uneingeschränkt zu empfehlen. Jo84






Joe Vigil / David Barbour: Gunfighters in Hell # 2. 44 Seiten, s/w mit Farbcover, Comicbookformat, 6,90 Mark. Extrem Erfolgreich Enterprises (ab 18) Der Gunfighter, der mit seinem dunklen Herrn gebrochen hat und auf der Suche nach dem Licht ist, zieht noch immer auf seinem geflügelten Höllenroß durch die Unterwelt voller gräßlicher Dämonen und zerstückelter Sünder. Wieder wurde auf möglichst grausame Darstellungen gequälter Opfer geachtet. An Härte ist der Comic kaum zu überbieten, jedoch stumpft der Leser schnell ab, da er zu keiner Figur eine Beziehung aufbauen kann. Splatterfans kommen aber voll auf ihre Kosten. Auch in Heft 2 wurden Joe Vigils Vorzeichnungen von sechs verschiedenen Leuten getuscht. Wie immer bei EEE wird jedes vierte Heft als Variantcover ausgeliefert. Dieses ist in Farbe und ziemlich gelungen. Jo84





Profi Anthologien




100 Jahre Comics. Die größten Superhelden. 84 Seiten, farbig, Softcoveralbum, 9,80 Mark. High-bury House Communications / Starlog Group
Was ist denn das? Eine glitzernde Illustrierte zum Jubiläum der Comics, das inzwischen schon fünf Jahre zurückliegt? Nur ein Band einer Serie, da im Untertitel von "größten Superhelden" die Rede ist? Enthalten sind dann aber doch auch Artikel über Comics wie "Blondie", "Garfield" oder "Mad". Jedenfalls sind europäische Comics völlig unterrepräsentiert - mehr als "Asterix" und "Tintin" ist da nicht zu entdecken. Andererseits ist auch das gesamte Disney-Imperium bloß mit einer Dell-Ausgabe vertreten, für die Carl Barks in den 40er Jahren zeichnete. Im übrigen sind die Artikel bunt durcheinandergewürfelt; es gibt nicht nur keine Chronologie, sondern es ist auch kein anderes Ordnungsprinzip zu erkennen. Ein grotesker Witz ist schließlich der Vermerk "limitierte Auflage" auf einem Heft, mit dem alle Kioske überschwemmt werden. Es diskreditiert sich selbst vom ersten Moment an als absolut unseriös. Letztlich hat mir der Band aber wider Erwarten doch ganz gut gefallen. Er ist halt doch ein hübsches Bilderbuch, in dem viele prächtige alte Comictitel abgebildet sind. Und die Texte sind erstaunlich informativ - wenn man sich schwerpunktmäßig für die Häuser Marvel und DC und ihre Vorläufer interessiert. Die Artikel bieten aber neben fundierten Informationen auch ein ganz anderes, unfreiwilliges Vergnügen. Sie stammen nämlich aus der Feder eines Übersetzers, dessen Muttersprache ganz sicher nicht Deutsch ist. Man kriegt schon mit, was der Autor sagen will, und für einen Anglisten wäre es wohl eine sportliche Herausforderung zu erraten, wie der Originaltext wohl gelautet hat. Kostprobe: "In den späten 60er Jahren änderte DC aufgrund der sinkenden Verkaufszahlen den Titel auf Green Latern/Green Arrow; während einer gefeierten, aber kurzen Dauer versuchten die beiden grünen Helden, dank des Autors Denny O'Neil und des Künstlers Neal Adams, in Amerika nach Wahrheit und sozialer Relevanz zu suchen." aa



Extrem Illustrated # 3. 48 Seiten, farbig, Comic-bookformat, 7,90 Mark. Extrem Erfolgreich Enterprises (ab 18)
Die dritte Ausgabe des Horrorkurzgeschichtenmagazins ist erstmals durchgehend farbig. Vier abgeschlossene Shortstories plus vier Seiten Strips mit "Shit the Dog" enthält diese hervorragend gelungene Nummer. Schwarwel und Texter Bela führen einen eingebildeten Surflehrer seiner gerechten Strafe zu. Ralph Niese präsentiert eine kongeniale Werwolfstory, die er wegen seines jugendlichen Alters selbst nicht einmal lesen dürfte, und Psycho Hoffmann beleuchtet eine Arzt-Patienten-Beziehung, die nicht besonders innig ist. Absoluter grafischer Höhepunkt ist jedoch der Jamcomic "River X", den zehn verschiedene Zeichner gestaltet haben. Alle in Schwarz-weiß erstellten Seiten wurden von Murat coloriert, der seinen Job wirklich gut beherrscht. Einige von den Zeichnern gleich in Farbe erstellte Seiten des Jamcomics hauen einen aber noch mehr um. Fazit: Diese Ausgabe von Extrem Illustrated ist ein Spitzenheft, das man nicht verpassen sollte. Jedes vierte Heft wird übrigens als Variantcover mit einem "Shit the Dog"-Motiv ausgeliefert. Jo84






Graphic Attack # 1 (November/Dezember 1999). 132 Seiten, farbig, DIN A 4, 2 Mark. Modern Gra-phics Distribution GmbH, Lochfeldstraße 30, 76437 Rastatt. E-Mail: info@modern-graphics. com Comicfans über anstehende Neuerscheinungen zu informieren, scheint in den vergangenen Jahren zu einer immer wichtigeren Aufgabe geworden zu sein. Auf diesem Weg hat sich der Markt der Sekundärzeitschriften wieder etwas belebt; jetzt gibt es sogar ein Magazin, das ganz der Annoncierung neuer Comics gewidmet ist. Das heißt: Ganz neu ist es nicht, aber bisher wurde es in der Regel nur von Fachhändlern gelesen. Ich hatte beim Durchblättern kein sehr gutes Gefühl: Anzeigen sind vom redaktionellen Teil kaum zu unterscheiden. Über die Neuerscheinungen erfährt man nicht mehr als eine knappe Inhaltsangabe auf meist weniger als zehn Zeilen. Und zu allem Überfluß beschleicht einen das Gefühl, daß man von den allermeisten Comicserien gar nicht mehr wissen muß. Das alles ist aber natürlich bloß fruchtloser Kulturpessimismus. Man kann diesen Katalog natürlich als eine Falle für Konsumtrottel sehen, aber er ist schon auch ein Beleg dafür, daß die Comicszene in Deutschland sich entwickelt hat und Comics überhaupt wieder wirtschaftlich eine Rolle spielen. Das beinhaltet schließlich auch die Chance, Comics lesen zu können, die sonst nie und nimmer publiziert würden. aa



Schwarzer Krimi
Der Kriminalroman ist als typische Literaturform eines wissenschaftlichen Zeitalters bezeichnet worden. Und wirklich stößt der Ermittler ja durch den Gebrauch sei-ner Vernunft von empirischen Beweisen zur eindeuti-gen logischen Wahrheit vor. Manfred Wieninger aus St. Pölten (Österreich) hat seinen ersten Roman ver-öffentlicht. "Der dreizehnte Mann" (Europa Verlag, Hamburg, Wien, 1999, ISBN: 3-203-84013-8). Es handelt sich um einen Kriminalroman, der nicht nur voller Spannung (wie es sich für einen Krimi gehört), sondern auch von erstklassiger literarischer Qualität ist und zudem noch gesellschaftskritische und politi-sche Momente und auch humoristische Einlagen enthält. Der Held, Privatdetektiv Marek Miert, stolpert von einer grotesken Situation in eine andere, und es ist nicht klarer Detektivverstand und Kombinationsga-be, die schließlich zur Lösung des Falles führt, son-dern die Verbindung von alten Seilschaften, irrsinni-gen Fehlschlägen und aberwitzigen Reaktionen. Wahrheit und Gerechtigkeit fallen in seiner Welt nicht mehr zu-sammen, denn die Apparate, die sich die mo-derne Sozialtechnik im Gefolge des Rationalismus ge-schaf-fen hat, können Verbrechen zwar aufklären, aber ob sie damit zur Schaffung von Gerechtigkeit beitra-gen können, hängt von den Interessen derer ab, die ihnen übergeordnet sind. Die Type Miert, comichaft skiz-ziert, hat wenig von irgendeinem Charakter. Man könnte sogar sagen, er ist charakterlos, eine verkom-mene und verlorene Existenz. In Summe betrachtet, handelt es sich bei diesem Roman (?) um eine Anein-anderreihung grotesker Meldungen. Es handelt sich hier um das Drehbuch für einen Cartoon. Die winzigen Kapitel lesen sich quasi von selbst. Ohne zu viel ver-raten zu wollen, sei gesagt, daß Wieninger eine bri-sante und politisch hochaktuelle Frage behandelt, die man in einem Krimi dieser Art womöglich gar nicht vermutet hätte. Der Autor, Jahrgang 1963, studierte Philosophie und Pädagogik an der Universität Wien und arbeitete unter anderem als Reiseleiter, Sport-journalist und parlamentarischer Mitarbeiter. - Das bis-her Gesagte sage strenggenommen nicht ich, son-dern entnehme ich diversen Presserezensionen, die mir Autor Wieninger in fürsorglicher Weise zukommen ließ. Und da konnte ich der Versuchung nicht wider-stehen, aus den Waschzetteln ausgiebig zu zitieren, wie das eigentlich jeder anständige Journalist heute bedenkenlos tut. Stehe ich da aber auch dahinter? Naja, nicht so ganz. Also, das Buch ist schon flott und unterhaltsam geschrieben, dazu mit überdurchschnittlichem Stilbewußtsein. Aber entweder ist es eine Stilübung, und dann müßten wir noch darauf warten, was der Autor eigentlich zu sagen hat; oder es ist eine Hommage, und so was bräuchte ich nur, wenn ich es sehr bedauern würde, daß Chandler, Hammett, Goodis oder Spillane keinen ihrer Romane in Wien spielen ließen. Immerhin konnte der Bucheinband mit Bildern aus einem Film nach einem Drehbuch von Graham Greene geschmückt werden. aa



Karl Kesel / Dave Taylor / Robert Campanella: World's Finest # 1. 48 Seiten, farbig, Comic-bookformat Prestige, 9,90 Mark. Carlsen "World's Finest" ist ein Batman & Superman-Aben-teuer, das eines der ersten Zusammentreffen der beiden Superhelden in die Neuzeit verlagert. "Das erste Jahr", wie der vorliegende Startband untertitelt wurde, zeigt die beiden Vigilanten in einer Zeit, in der sie noch nicht optimal zusammenarbeiten. Zu gegensätzlich werden die Charaktere in der Öffentlichkeit wahrgenommen, denn obwohl beide dasselbe wollen, steht Batman fast schon verbrecherähnlich für die dunkle Seite, während Superman als alles überstrahlende Sonne dasteht. Sicherlich ist dies etwas ähnliches wie die x-te Entstehungsgeschichte, und nicht jeder Leser wird sie unbedingt brauchen. Sicher wird jedem auch etwas bestimmtes besonders gefallen oder mißfallen (für meinen Geschmack ist Superman zum Beispiel zu jung dargestellt). Der Band hat aber eindeutig seine Stärken, wenn er beispielsweise auf den ersten Seiten die Helden direkt im Einsatz vergleicht oder wenn sich der meistgesuchte Verbrecher des Landes ebenso wie Superman und Batman als Vigilant entpuppt, der im Kampf gegen Unrecht nur das Gesetz beiseiteläßt. Karl Kesels Text ist jedenfalls interessant, und die Zeichnungen von Dave Taylor (Bleistift) und Robert Campanella (Tusche) sind eigenwillig, aber nicht schlecht. Jo84








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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 58
Besprechungen





Fanzines von einzelnen Autoren



Rainer Baldermann - Da ist alles drin. 32 Seiten, s/w, DIN A 4, 5 Mark. Mampi Verlag,
Rainer Baldermann, Grindelallee 24, 20246 Hamburg In Ermangelung vernünftiger Veröffentlichungsmöglichkeiten sammelt Rainer in letzter Zeit öfter mal selber seine Cartoons zu einem Bändchen, das Baldermann-Cartoons am Stück bietet. 22 davon enthält dieses Heft, einige gut, andere waren schon mal besser. Das A 4-Format hätte nicht unbedingt sein müssen, denn Rainers grobe Grafik wirkt verkleinert am besten. Auf Erstkontaktler wirkt das Heft wie in fünf Minuten gezeichnet und in zwei Minuten durchgelesen. Ich empfehle Rainer, mehr Material zu sammeln und dieses dann gebündelter zu präsentieren, denn "Da ist alles drin" ist für seinen Preis einfach zu dünn. Jo84



Maikel Das - Systemabsturz. 26 Seiten, s/w mit Farbcover, DIN A 4.
Maikel Das, Amandastraße 83 B, 20357 Hamburg Maikel Das nutzte die Gunst der Stunde (beziehungs-weise der Hamburger Underground-Messe "Heftich" im April), mehrere seiner größtenteils unveröffentlichten Kurzgeschichten zu einem Heft zusammenzufassen. Der SF-Spezialist zeigt mit "Systemabsturz" schon, in welche Richtung das Heft zielt: Der kritische Blick auf bestimmte Bereiche des Lebens könnte ihm auch als negative Weltsicht ausgelegt werden. Mich jedenfalls haben die einzelnen Kurzgeschichten recht nachdenklich gemacht. Ich finde das Heft durchweg gelungen und empfehlenswert. Leider sind die einzelnen Heftseiten nur Computerausdrucke, die beim Lesen doch ziemlich auf die Augen gehen. Guter Kopierdruck soll-te es bei einem Werk mit textlich nicht gerade geringem Niveau schon sein. Jo84



Steffi Dietz - Paranoid # 3. 48 Seiten, s/w mit Farbcover, 19 mal 28 Zentimeter.
Steffi Dietz, Vorbergstraße 1, 10823 Berlin oder Christopher Tauber, Ulmenstraße 20, 63571 Gelnhausen
Das Paranoid-Duo hat sich gespalten; Steffi Dietz praktiziert nun in Berlin (wenn ich das richtig mitgekriegt habe). Trotzdem wird das Projekt weitergeführt. Neben eigenen Comics und Fotocollagen veröffentlichen die beiden Herausgeber in der aktuellen Ausgabe auch etliche im Mittelteil "Phosphat" zusammengefaßte Texte, teils von Gastautoren (den Beitrag von Jens Röschlein konnte ich nicht entdecken, aber vielleicht bin ich auch schon ein bißchen paranoid). Insgesamt hat mir die Ausgabe wieder besser gefallen als Band 2. Zum Internet-Auftritt merkte Christopher Tauber in einem Brief Anfang Mai im übrigen an: "Allerdings wird es noch ein bißchen dauern, bis die Seite so gestaltet ist, wie wir es gedacht haben. Also immer mal wieder reinschnuppern." Viel war kurz vor Redaktionsschluß noch nicht zu sehen, aber es gibt immerhin auch eine e-Mail-Adresse:      webmaster@paranoid-comics.de . aa



Mawil - Super Lumpi # 2. 32 Seiten, s/w, DIN A 5, 5 Mark.
Markus Witzel, Torstraße 190, 10115 Berlin
Super Lumpi # 1 war vor ein paar Jahren eins meiner Lieblingsfanzines, das die Realität von Mawils alter ego so darstellt, wie sie ist: normal. Auch hier kommt Super Lumpi bei den Problemen auf den Punkt: "Bin ich vielleicht nur ein normaler unselbständiger Jugendlicher, der zuhause rumsitzt und sich ab und zu erwerbslos meldet, damit seine Eltern wenigstens noch Kindergeld für ihn kriegen?" Die normale Realität, gesehen mit viel Humor, das ist Super Lumpi, und das ist empfehlenswert. Jo84



Ulf Salzmann - El Egoiste 1995 bis 1999. 16 bis 32 Seiten, s/w, DIN A 5.
Ulf Salzmann, Torweg 2, 99423 Weimar
Die fünf Bände sind unterschiedlich umfangreich, aber immer gleich ausgestattet. Die Titelfigur, ein kleiner glatzköpfiger Mann mit offenbar beschränktem Erfolg bei Frauen und recht sarkastischer Lebenseinstellung (bedingt das eine das andere?), ist in einer Reihe von Onepagern zu sehen, die dem Inhalt nach tiefgründig bis banal sind. (Kostprobe: "El Egoiste erklärt was Kolitik und Punst ist:" Da steht er mit erhobenem Zeigefinger und sagt: "Spannend!") Gezeichnet sind sie in einem ordentlichen Karikaturstil. Insgesamt ist das eine lange durchgehaltene Serie, wobei nicht sicher ist, ob die Sammlung wirklich innerhalb von fünf Jahren zustandegekommen ist. Veröffentlicht wurden die ersten drei Bände erst 1998. Ulf Salzmann ist im übrigen Mitarbeiter bei dem hier schon mehrfach gewürdigten Magazin "Nichts für ungut" von Benjamin Brandt. aa



Ulf Salzmann - Die Sache mit den roten Schuhen. 16 Seiten, farbig, DIN A 5,
Ulf Salzmann, Torweg 2, 99423 Weimar
Hier hat sich Ulf Salzmann an einer durchgehenden Geschichte versucht, bei der er allerdings auch mit einem Bild pro Seite auskommt. In der reichlich verschlüsselten Story geht es um einen jungen Mann, dem der innere Schweinehund zum Hosenbein herausschaut. Auch er macht schlechte Erfahrungen mit einer Frau, worauf er noch ein bißchen seltsamer wird. Vom Ende her gesehen ist das alles aber wohl nicht so wichtig gewesen. Ihr merkt, ich kann mich in dieser Anekdote nicht unbedingt wiederfinden. Ausdrücklich bemängeln möchte ich an dem Heft aber nur, daß beidseitiger Computer-Farbdruck den Nachteil hat, daß er sich auf der Rückseite jeweils durchdrückt. aa



Sebastian Stehr - Die Natur und ihre heiligen Kreise (Februar 2000). 36 Seiten, s/w mit Farbcover, DIN A 4.
RAS Karton-Geschichten, Postfach 170454, 60078 Frankfurt/Main
Der Titel legt gleich den Verdacht nahe: Hier werden die großen Weltprobleme verhandelt - Krieg, soziale Ungerechtigkeit, Umweltzerstörung, die Schlechtigkeit des Menschen, der Sinn des Ganzen. Das ist eine Anspruchsebene, an die sich nur die besten Köpfe heranwagen können und doch am Ende über die sokratische Einsicht nicht hinauskommen: "Ich weiß, daß ich nichts weiß." Sebastian Stehr hat aber zumindest insoweit meinen Respekt, als er sich weitgehend auf seine Gefühle, seine Sichtweise zu beschränken versucht. Als Perspektive bietet er vage pantheistische Vorstellungen an: "Allmächtige Kraft - ist sie da / allmächtige Kraft, offensichtlich sie ist wahr." An diesem Zitat bemerkt man zugleich eine Besonderheit dieses Werks: Stehr hat seinen Rundumschlag gänzlich in eine munter rappende Reimform gegossen, wo-rin er selbst seine Stärke sieht: "Reimen scheint mir gar gelegen / denn ich muß nicht zu stark streben / um sie zu finden und zu entzücken /aufzustellen und rauszudrücken..." Nun ja, ich würde sagen, etwas Streben würde schon nicht schaden. Mir gefällt seine Grafik besser, offenbar eine Mischtechnik aus Tusche und Bleistift, in der er recht ansprechende Illustrationen zustandebringt. Es gelingt ihm vor allem häufig, seine schwierige Thematik in treffende Bilder umzusetzen. Stehr sucht jetzt nach einem professionellen Verleger für den Band. Ich würde ihm eher empfehlen, weiterzuzeichnen und sich vielleicht einem einfacheren Sujet zuzuwenden. aa



Levin Kurio / Roman Turowski - Kampf der Titanen. 30 Seiten, s/w mit Farbumschlag, Comic-bookformat, 5 Mark.
Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
Die Koma Comix gehören zu den erfolgreichsten Fanzines des Landes und sollten mittlerweile jedem PLOP-Leser ein Begriff sein. Schon seit einiger Zeit arbeitet Herausgeber Levin Kurio immer mal wieder mit dem Berliner Underground-Zeichner Roman Turowski zusammen. Auch diese auf drei Teile angelegte Heftserie wurde von Levin Kurio vorgezeichnet und von Roman Turowski getuscht. Die Idee der Reihe ist, klassische Weißblech-Comics-Helden aufeinandertreffen zu lassen. So geht es in Heft 1 um das Zusammentreffen von Sönke Penner alias der Geifernde Grapsch (erster Auftritt immerhin schon 1995 in "Sex and Crime" # 1) und Alky Halky, der "Eisenleber von Alcoholic" (erster Auftritt in Koma Comix # 2, 1993). Die Nacherzählung der Story spare ich mir hier. Sie ist natürlich purer Trash, denn Levin Kurios Comics wollen keinerlei künstlerischen oder sonst irgendwelchen Ansprüchen genügen, sondern werden aus purer Freude an Action, Klischees und martialischem Gewäsch erschaffen. Und das bringt dem Leser eine Menge Spaß. Jo84



Henning Way - Fauntain. 56 Seiten, s/w mit violettem Cover, DIN A 4, 3 Mark.
Henning Way & Wiesenmüller,
In diesen Band hat Henning Way alles hineingelegt, was ihm lieb und teuer ist. Es ist ein Vermächtnis, denn er will künftig "der Kunst entsagen". Er raunt dunkel von "Untiefen der Comickatakomben", aber was ihn an der Entwicklung der Comicszene (welcher?) enttäuscht, teilt er nicht mit, auch nicht, ob diese Enttäuschung für seinen Rückzug verantwortlich ist oder etwas anderes. Jedenfalls wird in dieser Ausgabe ganz deutlich, was ihm wichtig ist: Esoterik ist eine Geheimlehre, die außerhalb der wissenschaftlichen Nachprüfbarkeit steht oder sie übersteigt. Ob es Faune oder Centauren gibt oder gegeben hat, darüber läßt sich genauso angeregt spekulieren wie zum Beispiel über Ufos. Bei jemandem, der ernsthaft an so was glaubt, wäre ich vorsichtig, denn wenn man einwendet, daß es für solche Phänomene keine Belege gibt, dann kann der Faun-Fan nur noch auf abenteuerliche Verschwörungstheorien ausweichen oder behaupten, daß sich eine solche Welt eben nur besonders begabten Menschen erschließt. Vielleicht frönt Henning Way nur einem fröhlichen Eskapismus, und unter diesem Vorzeichen lese ich die versammelten Beiträge auch recht gern. Aber der Autor will wohl schon mehr. aa






Wittek - Bizarr Bazar # 2. Inferno Karneval (Teil 1 von 2). 28 Seiten, Comicbookformat, 7,80 Mark. Zwerchfell Verlag.
Genau ein Jahr nach der Debutnummer legt der Ham-burger Zeichner Wittek Ausgabe zwei seiner Reihe "Bizarr Bazar" im Zwerchfell Verlag vor. Heft zwei unterscheidet sich in Format, Aufmachung und Inhalt be-trächtlich von Nummer 1. Enthielt diese im DIN A 4-Format mehrere völlig unterschiedlich gezeichnete Kurzgeschichten, so erzählt Band zwei nur eine einzige Geschichte, die sogar noch in Heft drei (erscheint im Juli) fortgesetzt werden soll. Wittek schildert hier im Funnystil ein Erlebnis mit seinen Freunden Frank und Rainer, das sich im Juli 1991 angeblich genau so zugetragen hat. Die drei fahren nach Düsseldorf, um hier Karneval nachzufeiern, der aus Wettergründen in diesem Jahr entfiel. Natürlich sind die drei schon hacke, bevor es überhaupt richtig losgeht. Handlung und Zeichnungen des Heftes sind "klein, aber fein" und nicht so spektakulär wie von Wittek gewohnt. Auffällig aber sein Mut zur Häßlichkeit. Jede seiner Figuren ist mit Pickeln übersät. Genauso unkommerziell wie die Darstellung der Charaktere ist die Colorierung, die in der Schwarz-weiß-Publikation jeden nur erdenklichen Grauton integriert. Textlich zelebriert "BizBaz" # 2 reinen Underground, wie ihn sonst nur Crumb oder Koma Comix zustande bringen. Jo84



Wittek - Inc. presents: The Return of Heftich! Three Days of Peace and Comic-heftchen. 24 Seiten, DIN A 5, gegen Porto.
Wittek, Schulweg 29, 20259 Hamburg
Vom 7. bis 9. April fand die Comic-Un-derground-Messe "Heftich!" zum zweiten Mal in Hamburg statt, diesmal in den zugigen Räumen der Admiralitätsstraße 74 (Westwerk). Es war eine schöne Messe, schlecht besucht, aber Herausgeber waren so gut wie alle da, die Rang und Namen haben. Diese Pressemitteilung, die es in drei verschiedenen Umschlagfarben gibt, wurde vor der Messe quasi als Werbung verteilt. Ich weiß nicht, ob es noch welche gibt, aber ich könnte mir vorstellen, daß die Inc. noch welche als Referenzmaterial hat. Das Heftchen enthält schöne Scribbles und Zeichnungen von Mitgliedern der Inc., darunter Leute wie Isabel Kreitz, Oliver Ferreira, Wittek, Eckart Breitschuh, Markus Huber, Sperzel, Teer, Bernd Stein und andere. Schönes Heftle! Jo84




Fanzine Antologien


cOMIc # 41 und 42. Je 28 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines.
Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
In # 42 präsentiert Gerd Bonau wieder mal einige neue Leute, nämlich Jan P. Werner, R. Castenholz und Moritz Stetter, der bei mir leider erst jetzt zum Zuge kommen kann. Letzterer erweist sich als Funny-Talent, von den beiden Erstgenannten bekommt der Leser nur je eine Seite zu sehen. Gerd unternimmt den Versuch, dem Ink-Rückgrat in früher Marvel-Zeit, Chic Stone, mit einem kleinen Artikel gerecht zu werden, informiert ein bißchen über den dänischen Comicmarkt und opfert eine Seite für einen halbherzigen Kurzartikel, der weder über die ZACK-Serie "Tunga" noch über das neue ZACK Nennenswertes aussagt. aa



Kreativo # 30 (März 2000). 32 Seiten, s/w, DIN A 5, 3 Mark.
Kreativo Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
Das Jubiläum liegt zwar schon etwas zurück, aber Andreas Fecke hat so schön zu 30 Ausgaben Kreativo gratuliert, daß ich doch noch drauf zurückkommen will. Sein Held Moe legt einen Sta-pel Blätter auf einen Stein, beschwert ihn mit einem zweiten Stein, klampft in lauschiger Nacht ein wehmütiges Liebeslied (vermute ich jedenfalls mal, hören kann man in einem Comic ja nichts), und dabei wird aus dem Stapel ein Kreativo. So ähnlich muß es wohl zugehen, wenn Birke eine neue Ausgabe zusammenstellt. In den neuen Ausgaben sind plötzlich unverhält-nismäßig viele Gedichte drin, was einfach damit zusammenhängt, daß Birke mit dem Lyrik-Fanzine "Ma-skenball" Kontakt aufgenommen hat (siehe auch weiter unten). Das Konzept von Kreativo verträgt das aber locker. Hervorzuheben in # 30 wären der Fragebogen an Anja & Joy, zwei bedeutende Außenseiter der Szene, der durch eine Comicografie vervollständigt wird, in # 31 die umfangreichen Beiträge von Cat, beziehungsweise Bat - ziemlich eigenständig, ziemlich komisch. Zum Stammpersonal zählen die auch aus PLOP bekannten Olaf Bathke, Oliver Ferreira, Jo84 und eben Anja & Joy. aa



Maskenball # 10 (Februar 2000). 56 Seiten, s/w, DIN A 5, 6,50 Mark.
Martina Faber und Jens Neuling, Postfach 1261, 63514 Rodenbach.      maskenball@freenet.de
Jetzt hat mich der Maskenball, das umtriebige hessische Lyrik-Fanzine, also auch erreicht. Ein ansprechendes Heft, in dem sich neben Gedichten auch einige Prosatexte finden. Die Herausgeber bemühen sich, jeden Autor ein bißchen vorzustellen, aber jeder ist zumindest mit Name und Adresse über seinem Werk verzeichnet. Auf eine inhaltliche Bewertung möchte ich mich nicht einlassen, denn ich bin kein Lyrikkenner. Aber ich habe den Eindruck, daß hier ein PLOP ähnliches Prinzip verfolgt wird: Jeder Einsender wird veröffentlicht, auch wenn das Niveau der Beiträge damit etwas uneben wird. Aber so entsteht kein elitärer Zirkel, sondern das Magazin funktioniert als Forum und Kontaktbörse. Letzteres ist an den Kleinanzeigen abzulesen, wo sich etwa folgende Notizen finden: "Wir befreien die Sprache vom Packeis der Bedeutung. Berauschen Sie sich an Anagrammen, Dickhäutern, Präsidentenreden, Weltherrschaftsplänen, Seegurken, dem schiefen Wurm von Pisa und vielen Einzig-Arten." Oder "Literaturarchiv im Aufbau" oder "Ich zolle Dir meinen Respekt für Deinen Mut, daß Du dieses Buch geschrieben hast." aa






Menschenblut # 35. 40 Seiten (inclusive Magazin), s/w mit Farbcover, Comicbookformat, 6,80 Mark.
Eisenfresser Comix, Postfach 1141, 36094 Petersberg
In ihren besten Momenten gehen die Menschenblut-Macher lakonisch bis selbstironisch mit dem Schrecken um, den sie verbreiten. Ist der Horror ernst gemeint, dann ist die Grenze zu unfreiwilliger Komik schnell überschritten. Aber es gibt doch auch eine tra-gische Ader in Deutschlands einzigem Gruselmagazin, das seinen Namen verdient. Ist ja klar: Wer würde sich schon immer wieder mit Bosheit, Rachsucht und Sadismus auseinandersetzen, der nicht irgendwie an der Schlechtigkeit der Welt zumindest ein bißchen leiden würde. Diese tragische Ader tritt in dieser Ausgabe deutlich hervor, sowohl in der kurzen Story "Klassenbeste" von Robi und Stefan Atzenhofer, die schon mal in "Strapazin" abgedruckt war, als auch in dem längeren Epos "Der Ring des Meisters" von Geier. Beiden Beiträgen ist gemeinsam, daß es reichlich ungerecht zugeht und kein Weg aus der Tragödie herausführt. Robi und Atze erzählen von einem Lehrer, der sich leichtsinnig auf eine nymphenhafte Schülerin einläßt. Und es ist nicht mal Liebe, sondern sie will ihn mit ihrem sex appeal unter ihre Kontrolle bringen. Sie besteht die Reifeprüfung freilich nicht und sinkt erblassend ins Gras, aber er kommt mit seinem verzweifelten Mord auch nicht davon. "Der Ring des Meisters" handelt von der Jugend des Menschenblut-Le-sern wohlbekannten Doktor Dipperz. Der kam uns bis-her eher als verschrobene bis verkrachte Existenz vor, fast eine Juxfigur. Aber Geier zeigt hier, daß schreckliche Kindheitserlebnisse den guten Doktor zu dem gemacht haben, was in früheren Ausgaben schon zu sehen war. In der Lehre bei einem paläo-medizinischen Quacksalber, muß er erleben, daß der seinen leiblichen Sohn ihm vorzieht. Eine zutiefst traurige Lehrzeit, die nur mit Mord aus Eifersucht enden kann. Vorzüglich gezeichnet sind die beiden Werke allemal, aber sie balancieren auch meist erfolgreich am hohlen Pathos entlang, so daß die weitgehende Abwesenheit von Ironie hier ausnahmsweise akzeptiert werden kann. aa



Napartheid # 28. 48 Seiten, s/w mit Farbumschlag, DIN A 4, 300 Peseten.
Martzelo Zelaieta karrika, 75, AA1 aretoa, 31.014 Irunea, Spain
Nach wie vor sehr schönes Magazin, leider auf Baskisch. "Baskenland" darf bei der Adresse offenbar nicht angegeben werden. aa





P.L.G. # 35 (Herbst 1999). 84 Seiten, teilweise farbig, DIN A 4.
Philippe Morin, BP 94, 92123 Montrouge Cedex, France
Die neueste Ausgabe dieses höchst professionellen Fanzines beschäftigt sich schwerpunktmäßig mit dem Zeichner Martin Veyron, noch ein Franzose, der mächtig erotische Frauen zeichnen kann. In einem zweiten Artikel wird der Karikaturist Blutch vorgestellt. Ansonsten gibt es wieder eine Menge Rezensionen, auch aus den europäischen Nachbarländern, und etliche Comics mit Profistandard. Den von Sandrine Lemoult kann ich als nicht frankophoner Leser sogar verstehen, da er fast ohne Worte auskommt: Eine Frau tollt übermütig auf einer Wiese umher und spielt mit einem winzigen Mann, der das sichtlich weniger genießt als sie. Beim Lesen kommt einem ein Verdacht, und schließlich bestätigt er sich auch: Es ist eigentlich das verfremdete Spiel einer Katze mit einer Maus. Beachtliches Kabinettstückchen. aa



Sagittarius # 31. 60 Seiten, s/w, DIN A 5, 3 Mark.
Klaus N. Frick, Hirschstraße 29, 76133 Karlsruhe
Hier gibt's wieder eine Menge (nicht nur für Szene-Mitglieder) interessante Informationen aus dem Bereich der Science Fiction. Zum Beispiel: Wie sich der Gedanke einer hohlen Welt (die dann meist eine ganz andere Welt birgt) in der Literatur verbreitet hat; welchen Erfolg die Science Fiction mit Zukunftsprognosen hat; wie die DDR-Fanszene ausgesehen hat; wie und unter welchen Bedingungen ein Übersetzer in Deutschland arbeitet. Die Autoren blicken auch in unangenehme Ecken der Szene: Neonazis, die sich unter Ufo-Gläubigen tummeln; Sekten, die sich Versatzstücken einer germanischen oder keltischen Kultur bedienen. Im Gegensatz zu Allgemein-Journalisten wissen die Sagittarius-Mitarbeiter in der Regel genau, wovon sie reden. Vervollständigt wird der Band durch Rezensionen, Leserbriefe, Kurzgeschichten und einen Comic von Manfred Lafrentz. Nicht nur für Science Fiction-Fans empfehlenswert. aa






Strange Tales of the Unusual # 1 und 2 (März 1999, März 2000). 48, bzw. 40 Seiten, s/w mit Farbcover, DIN A 5, 2 Can. Dollar.
Joe Gravel, 11 Melody Road, North York, ON M9M 1C8, Canada
Ein recht ansehnliches Fanzine-Projekt aus Ontario in Kanada. Herausgeber Joe Gravel hat vorher schon ein Fanzine namens NOOSH ("National Organization of Super Heroes") herausgegeben und macht jetzt mit der Serie "Ankhst" weiter. Der erste Band wird mit ver-schiedenen kürzeren Episoden und "Pin-ups" (können auch etwas anderes als nackte Frauen zeigen) von Jay Silver, Anthony Gray, Paul Young, Jean Guy Brin, Adam Owen, Terry Flippo und Jeff Oleson aufgefüllt. Der zweite Band enthält stattdessen eine Folge der schon mal im eigenen Magazin abgedruckten Serie "Raven" ("The World's Wickedest Woman") von L. P. Guidry. Fast alle Comics sind in einem eleganten, nahezu professionellen Stil gezeichnet. Gemeinsam ist allen Beiträgen auch, daß man mühelos die Vorbilder erkennen kann, denen die Leute nacheifern (Superhelden, Mangas, Comics aus dem Golden Age). Auch inhaltlich bewegen sie sich nahe am jeweiligen Vorbild und versuchen nur durch Persiflage, ein wenig Distanz zu schaffen. Man merkt, daß die US-Comics einen beherrschenden Einfluß ausüben und einen Nachwuchszeichner wenig dazu anregen, seinen eigenen Ausdruck zu finden. aa






Sunburn # 12 (Herbst 1999). 40 Seiten, s/w, 21,5 mal 28 Zentimeter, 3 Can. Dollar.
Karl Thomsen, P. O. Box 2061, Winnipeg, Manitoba, R3C 3R4, Canada
Sunburn scheint mir das kanadische Strapazin zu sein. Hier wird man beim Lesen nicht permanent an kommerzielle Comics erinnert. Aber es wird doch stets - und meist humorvoll - etwas erzählt; die Grafik ist sauber und gefällig. "Häßliche" Kunst hat es in der angelsächsischen Kultur schwer. Diese Ausgabe versammelt 23 kurze Beiträge. Die 16 Mitwirkenden kommen überwiegend aus Kanada und USA, aber auch aus Australien, Belgien, den Niede rlanden, Jugoslawien und Mazedonien. Herausgeber Karl Thomsen tritt selbst nicht in Erscheinung, hat aber das stilistisch und inhaltlich recht unterschiedliche Material kunstvoll zu einer stimmigen Anthologie komponiert. Ein großes Lesevergnügen. Beigelegt ist wieder der Zinehead mit vielen internationalen Fanzinebesprechungen. Sunburn hat wie PLOP nur 150 Exemplare Auflage, erscheint ebenfalls dreimal jährlich und kann für zehn Dollar abonniert werden. aa






tremor comics # 9, 10 und 11 (Januar, März und Mai 2000). Je 44 Seiten, s/w mit Farbcover, Comicbookformat, 4,80 Mark.
tremor comics, C. Schadow, Triftstraße 5, 06114 Halle/Saale
Der Kreuz und Quer Verlag war im vergangenen halben Jahr ganz schön aktiv. Jetzt soll eine Pause bis August eingelegt werden. In der neuesten Ausgabe wurden wenigstens mal ein paar Leserbriefe gedruckt, ansonsten erfährt man über das Projekt nach wie vor nicht viel. Leserbriefe gehen offenbar kaum ein, aber die Redaktion hält sich ebenfalls mit Selbstauskünften zurück. Da kann man nur die Feststellung wiederholen, daß die abgedruckten Comics von überwiegend hohem grafischem Niveau, aber inhaltlich oft eher unzugänglich oder belanglos sind. Die Redaktion sieht das wohl selbst ähnlich und bemüht sich nach eigenen Angaben zur Zeit um "einige richtig gute Szenaristen". In der Jubiläumsnummer 10 behalf man sich mit der Umsetzung von Songtexten zum Beispiel von Boxhamsters, Fünf Sterne, Das Auge Gottes oder But Alive. Abgesehen davon werden die Hefte nach wie vor höchst aufwendig gedruckt, professionell über Mo-dern Graphics und Karicartoon vertrieben, sind also in der Regel in Comicläden zu finden, und die Macher können offenbar auch noch einige Zeit so weitermachen. Man muß die Sache weiterverfolgen. aa




Profi Comics von einzelnen Autoren






Baru: Autoroute du Soleil. 430 Seiten, s/w mit Graustufen und Zweifarbumschlag, Comicbook-format, 49.80 Mark. Edition Moderne
Dieses Buch zeichnete Baru ursprünglich für den japanischen Markt. Ich habe mich schon länger darauf gefreut, denn die Werke von Baru sind immer spitze. Gemäß den Gesetzen des japanischen Marktes liegt allerdings diesmal der Schwerpunkt auf den Zeichnungen, und nur wenig geschriebener Text kommt vor. Edition Moderne veröffentlicht diesen Band innerhalb ihrer künstlich geschaffenen Reihe "Europäische Mangas", die allerdings weder Namen noch Numerierung aufweist, sondern nur durch Aufmachung und Layout als lose Reihe ersichtlich ist. "Manga" ist dabei vielleicht fast die falsche Assoziation, denn Druck und Papierqualität sind 1 A und haben nichts mit dem Klopapierverschnitt gemein, auf dem viele Mangareihen gedruckt sind. Textlich bleibt bei Baru alles beim alten Spezialgebiet, über das er schon mehrere Alben veröffentlicht hat. In diesem Buch müssen Karim Kemal, ein Franzose nordafrikanischer Abstammung, und der Italofranzose Alexandre Barbiéri vor Typen fliehen, die ihnen ans Leder wollen. Aus diesem Roadmovie, der zwischen Nancy und Marseille spielt, macht Baru eine Reise tief ins Herz des heutigen Frankreich: Rassismus, Drogenhändler, explosive Vorstädte, verbitterte Alt-68er... Das Schweizer Magazin "Facts" kürte das Werk zum besten Comic der 90er Jahre. Das ist vielleicht übertrieben, aber sehr gut ist das Werk schon. Und sehr teuer, aber sein Geld eindeutig wert. Jo84






Daniel Bosshart: Geteilter Traum. 70 Seiten, farbig, Hardcoveralbum, DIN A 4-Überformat, 35 Mark. Edition Moderne
"Ich mißtraue der Kunst der Worte, die den Menschen verführt zu reden, wenn er nichts denkt." Dieses Zitat von Thomas Hobbes aus dem Jahre 1650 ist dem Comic vorangestellt, denn Daniel Bosshart hat sich entschieden, einen Comic ohne Worte vorzulegen. Er schildert, wie zwei Jungen von einem Mann großgezogen werden. Wie mögen die beiden Jungen heißen? Ist der Mann, der zwischen ihnen auf der Bank sitzt, Vater, Onkel, Vormund oder gar ein viel älterer Bruder? Sind die Knaben überhaupt Brüder? Freunde? Oder unter die gleiche Obhut geratene Waisen? Hier bleibt alles offen, alles der Phantasie der Leser überlassen. Das stark Dokumentarische läßt wie selbstverständlich auf Autobiografisches schließen, aber der Architekt Bosshart ist Einzelkind, hat keinen Bruder. Trotzdem ist dieses Buch seinen Eltern gewidmet. Daniel Bosshart, 1971 in Zürich geboren, will hier eine Geschichte schaffen, deren Erzählfluß nicht durch Worte unterbrochen oder verfälscht wird. Auf 70 Seiten das heranwachsen zweier Jungen ohne Worte zu beobachten, ist andererseits zumindest für mich ziemlich anstrengend. Zu viele Szenen versteht man nicht oder kann ihre Bedeutung nicht einordnen, was den Leser dann eher nervt. Vielleicht erschließt sich dem Leser ein größerer Teil des Buchs, wenn er sich intensiver damit beschäftigt. Die Frage ist, ob man dazu Lust hat. Das Buch ist zwar in schönen Farben gehalten, und die Hintergründe sind gelungen, die Menschen wirken jedoch eher steif. Die beiden Jungen sehen sich zum verwechseln ähnlich, was Lesefluß und Verständnis der Story eher erschwert. Ich fürchte, das Stilmittel Sprachlosigkeit muß eher als ungeschickt bewertet werden. Jo84





Dufaux / Marini: Strapaces # 1. 56 Seiten, farbig, Hardcoveralbum, über DIN A 4-Format, 26,80 Mark. Splitter
Die New Yorker Polizei steht vor einem Rätsel: Bereits drei Leichen hinterließ der Serienmörder blut-entleert. Gemeinsam hatten sie alle eine merkwürdige Zyste hinter dem Ohr, die mit einer Nadel zerstochen wurde. Die Kommissarin Lenore merkt schnell, daß es sich nicht nur um einen Serienkiller handelt, sondern um eine große Sache, bei der unter anderem Vorgesetzte von ihr die Finger im Spiel haben. Ein geheimnisvolles Geschwisterpaar tötet scheinbar wahllos Menschen mit der Prophezeiung: "Eure Herrschaft geht zuende!" Was hat es mit diesen Toten auf sich, und wird Lenore den Geschwistern auf die Spur kommen? Band 1 der Serie gibt wenig Antworten, sondern wirft, ein sehr geschickter Schachzug, erst einmal eine Menge Fragen auf, die den Leser auf Band 2 gespannt machen. Zufrieden ist man trotzdem, denn die Story ist abgedreht, spannend und kompliziert. "Gipsy "-Zeichner Marini hat sich seit seinen letzten Alben ("Stein der Wüste") noch enorm gesteigert. Bildaufteilung und Bildwinkel der einzelnen Panels sind perfekt, und die Colorierung von Marini direkt auf den Originalen gehalten, ist ein Überhammer. Die meisten Seiten sind auf zwei bis drei Farbtöne reduziert, und trotzdem ist das Album eine einzige Farbexplosion. Ein perfektes Album. Wer hätte das bei Splitter erwartet? Jo84






Claudius Gentinetta: Hysteria. 48 Seiten, s/w, Hardcoveralbum, DIN A 4-Überformat, 22 Mark. Edition Moderne
Auch Claudius Gentinettas neuestes Werk ist wie alle seine vorigen ohne Sprache gehalten. Ihm zu folgen, ist noch schwerer, denn er spielt mit der Verzerrung von Perspektiven, Größenverhältnissen und Charakteren. Er schabt seine Arbeiten aus schwarzem Karton, ähnlich wie Thomas Ott, aber wesentlich verzerr-ter. Seine Seiten strahlen eine seltsame Faszination aus, obwohl die Verzerrungen sich einem nicht immer ganz erschließen. Manche Seiten wirken perfekt, andere eher lächerlich oder dilettantisch. Zu den drei Kurzgeschichten schreibt Claudius im Nachwort: "Das Artest Stipendium gab mir die Gelegenheit, 13 Monate in Krakau, Polen, zu verbringen. Mitten in einem grünen Hinterhof stand das kleine Haus, wo ich arbeitete und wohnte. Meine Alltagseindrücke waren geprägt durch die Sicht aus dem Fenster in den Hof und auf eine uralte, hohe Klostermauer. Im Sommer bot der Hinterhof eine Oase für Kinder, Autoreparateure und deren Feste. Im Winter war hier ein dunkles, eiskaltes Hundeklo... Meine Zeichnungen zeigen die Menschen, Orte und Geschehnisse, ohne daß Worte eine einschränkende Erklärung liefern würden. So wird (...) der Betrachter eingeladen, selbst sprach-los an den Geschichten teilzunehmen und sie durch eigene Interpretationen immer wieder neu zu erzählen." Jo84






Haggi: Der Hartmut weis Bescheit. 32 Seiten, s/w mit Zweifarbumschlag, Comicbookformat, 7.90 Mark. Carlsen
Die Figur des kleinen Hartmut ist dank seiner Veröffentlichung in diversen Comicmagazinen, Stadtblättern und einem Heft beim Heinzelmännchen-Verlag recht bekannt. Der freche Strichmännchenbengel aus der Feder des Comicgenies und Carlsen-Redakteurs Haggi, der ohne jede Regel redet, wie ihm der Schnabel gewachsen ist, überzeugt mit seinem Humor sowohl Comicfreunde wie auch Leute, die mit der grafischen Literatur sonst nichts am Hut haben. Gut gezeichnet ist "Der Hartmut" nicht gerade, Haggi wollte wohl eher beweisen, daß er einen Comic auf noch weniger Grafik als Walter Moers reduzieren kann. Aber er ist treffend reduziert gezeichnet, und das muß man erst einmal können (und Haggi kann's, er könnte viel besser zeichnen). Was treibt Carlsen, bei so einem Comic groß einzusteigen? Es ist wohl der überaus gelungene Humor, mit dem Haggi die kleinen Wahrheiten der Kinderwelt auf die Erwachsenenwelt überträgt und sie dabei ertappt, Wahrheiten wohl gerne zu verdrängen. Wie Hartmut sagen würde: "Echd fihlosohfisch, kaufd dass, dass isd schpidse." Jo84






Raymond Chandler / Michael Lark: Philip Marlowe. Die kleine Schwester. 132 Seiten, s/w mit Zweifarbcover, 17 mal 23 Zentimeter, 29,90 Mark. Carlsen
Der Name Raymond Chandler dürfte wohl hinreichend bekannt sein. Selbst 40 Jahre nach dem Tod des erfolgreichsten Krimiautors fühlen Leute wie Michael Lark sich motiviert, seinen Roman "The little Sister" von 1949 als Comic zu adaptieren. Das Ergebnis kann weder als schlecht noch als richtig gelungen bezeichnet werden. Der harte Schwarz-weiß-Kontrast der Zeichnungen mit großen Schwarzflächen paßt eigentlich ganz gut zur Kaltschnäuzigkeit des Erzählstils. Leider fehlen Details in dem recht minimierten Zeichenstil fast völlig, so daß das Artwork die abgewrackte und dreckige Stimmung nicht wirklich erfassen kann. Störend finde ich auch, daß ganze Text-passagen des Romans als Balkentexte einfach abgedruckt wurden. Sätze wie "Ich gab ihm eine von meinen Karten und sagte ihm, ich suche nach Orrin P. Quest. Er fragte, warum, aber ich gab ihm keine Antwort." hätte man auch comictauglicher verarbeiten können. Dafür ist die Geschichte wirklich recht spannend, und man hat lange an dem Büchlein zu lesen. Eine zwiespältige Sache also, wie auch alle anderen Werke aus dieser Reihe. Jo84






Katsuhiro Otomo: Akira # 1. Ca. 360 Seiten, s/w mit Farbcover, 17 mal 26 Zentimeter, 29.90 Mark. Carlsen
Der Klassiker "Akira" veränderte in Amerika und ganz Europa das Ansehen und den Stellenwert japanischer Comics. Mit ihm begann die Manga-Welle, die immer noch alles überrollt und mit einer nicht enden wollenden Vielzahl meist gleichförmig aussehender Titel den Markt überschwemmt. Längst nicht alles hat hier Qualität oder wäre gar eigenständig. Katsuhiro Otomos Standardwerk schon. Der Comic, der als längste Einzelgeschichte im Comicbereich gilt, ist, vor allem am Stück gelesen, ein faszinierendes Werk mit einer wahnsinnig komplexen Handlung, von der selbst die Zeichentrick-Adaption nur etwa zehn Prozent erfassen konnte. Bisher lag das Werk nur in der von Amerikanern colorierten Fassung vor, mit der Otomo gar nichts zu tun hatte, und die auf 20 Bände angelegt war. Nachteil dieser Fassung war vor allem ihr Preis: Fast 600 Mark mußte der Komplettsammler berappen. Die neue Schwarzweiß-Version ist auf nur sechs Bän-de angelegt und von Aufmachung und Papierqualität enger am Original angelegt. Zum Glück hat man sich die Unart gespart, die Seiten nicht umzuscannen, um sie von hinten nach vorne zu lesen. Aber da haben wir einfach Glück, daß Carlsen seinem französischen Partner alles nachmacht. Ob die Welt eine drucktechnisch minderwertigere Schwarzweiß-Auflage braucht, sei dahingestellt. Wer jedenfalls die Farbversion noch nicht hat (die übrigens laut Verlag nur noch teilweise lieferbar ist und definitiv nicht verramscht wird), hat hier noch einmal eine Chance, das Komplettwerk für etwa 180 Mark zu erstehen. Jo84






Pearce / Léturgie: Cotton Kid # 1. Im Namen von Pinkerton. 48 Seiten, farbig, Softcoveralbum, 14.90 Mark. Carlsen
Kid ist ein ganz normaler Junge, der eine langweilige Kindheit auf einer Farm im Wilden Westen verlebt. Sein Bruder Trevor, der als Detektiv für die berühmte Agentur Pinkerton arbeitet, schildert ihm bei seinen Besuchen, wie aufregend sein Alltag angeblich ist. Kein Wunder, daß der Kleine eines Tages das Weite sucht, um selbst Abenteuer auf Verbrecherjagd zu erleben. Pearce und Léturgie sind seit einiger zeit Texter für Lucky Luke, und das merkt man auf den ersten Blick. .Auch den Zeichenstil imitieren sie bis aufs i-Tüpfelchen, so daß es eigentlich eine Dreistigkeit sondergleichen ist. Man muß allerdings zugeben, daß die Qualität trotzdem stimmt. Sogar running gags, die sich auf Lucky Luke beziehen, kommen vor. Die Charaktere sind sympathisch, und die Story hat natürlich ein happy end. Abgesehen davon, daß "Cotton Kid" eine 1 A-Kopie von Lucky Luke ist, ist das Album empfehlenswert. Jo84






Tezuka - Astro Boy # 1 bis 4. Je ca. 200 Seiten, s/w mit Farbumschlag (Band 1 mit sechs Tattoos), 11,5 mal 17,5 Zentimeter, 9,95 Mark. Carlsen
Dies ist nun also der "japanische Klassiker" (entstanden zwischen 1952 und 1989) vom "Walt Disney Japans", international berühmt - außer in Deutschland. Es sind die Abenteuer eines kleinen Cyborg, "der sich das unschuldige Gemüt eines Kindes bewahrt hat", und die Zeichnungen sind in ihrer Klarheit "gut mit Hergé vergleichbar". So schrieb Jo, und ich konnte mir darunter nichts Rechtes vorstellen. Also habe ich mir den ersten Band besorgt und möchte eine eigene Kritik versuchen. Ich denke, an Astro Boy, zumal den frühen Werken, sieht man besser als an heutigen Mangas, wie japanische Zeichner von der westlichen Kultur beeinflußt sind und inwieweit japanische Comics sich davon unterscheiden. Band 1 enthält eine nachträgliche Origin-Story von 1975 und das 170-Seiten-Abenteuer "Das Hot-Dog-Korps" von 1961. Lassen wir "Astro Boys Geburt" beiseite, ein Beitrag, der auch zu der langen Geschichte hinleiten soll. "Das Hot-Dog-Korps" hat mich in vielem an klassische europäische Alben der 50er und 60er Jahre etwa von Franquin oder Hergé oder Vandersteen erinnert. Es wird ganz geradlinig erzählt; der Held löst auf gewitzte Weise ein Problem. Tezukas Science Fiction-Plot vom Diamantenabbau auf dem Mond spiegelt auch den Optimismus der Zeit wieder. Aber es ist auch ein Unbehagen an Auswüchsen der Wissenschaft zu spüren, das in europäischen Comics dieser Jahre sicher nicht zu finden ist, ein Bewußtsein, daß bestimmte Grenzen besser nicht überschritten werden sollten (dem bösen Roboter Nr. 44 ist ein Hundehirn implantiert worden - er erscheint auch eher als Opfer der Technik). Auch daß Astro Boy meist spielerisch kämpft und nie etwas Schlimmes passiert, scheint mir Ausdruck der spezifisch japanischen Kultur zu sein. Tezukas Zeichnungen haben mit der frankobelgischen Ligne Claire einiges gemeinsam, aber es sind auch Unterschiede zu erkennen: Es gibt einen größeren Kontrast als in europäischen Alben zwischen kleinen Panels, die erzählen und die Handlung vorantreiben, und großen Panoramabildern, in denen eine Szene prächtig ausgeschmückt wird. Diese ornamentiven Bilder scheinen mir in den Mangas später immer mehr in den Vordergrund getreten zu sein. Damit haben japanische Zeichner ihre ganz eigene Identität gewonnen. Aber Astro Boy, jedenfalls der von 1961, hat noch nichts von diesem Manierismus und liest sich ganz so wie ein "Spirou"-Album. Müßte ich wählen, dann würde ich allerdings "Spirou" doch vorziehen. Möglicherweise ist die andere Mentalität daran schuld - ich empfinde die Charaktere und ihre Konflikte in Astro Boy doch als recht konstruiert und künstlich. Sie haben kein Herz, wenn sich Tezuko auch redlich darum bemüht. Kein Wunder eigentlich, wenn alle Haupt-figuren Maschinenwesen sind. aa






Lewis Trondheim: Monströse Geschichten. 32 Seiten, farbig, Hardcoveralbum, 24,90 Mark. Carlsen
Lewis Trondheim geht noch einen Schritt weiter als Yoann und Omond, denn sein Buch, das sich an Kinder und Erwachsene richtet, ist sogar von Kindern und Erwachsenen gezeichnet. Trondheims Sprößlinge zeichnen nämlich sehr gerne Monster und geben diesen Namen. so entschied er sich, die lustigen Bilder in eine Rahmenhandlung einzubetten, die er sich mit seinen Kindern zusammen ausdachte. Herausgekom-men ist ein Buch, das nicht superwitzig ist, aber durchaus nett und für Kinder wesentlich geeigneter als sein sonst recht schwarzer Humor. Wieder beweist sich Lewis Trondheim als Zeichner mit einem simplen, aber effektiven Strich und köstlicher Mimik. Der Shooting Star des letzten Jahres gehört verdientermaßen zu den beliebtesten Newcomern der letzten Zeit und ist dabei einer der produktivsten und vielseitigsten Zeichner der Branche. Jo84






Yoann / Eric Omond: Toto, das Schnabeltier # 1. Der magische Baum. 32 Seiten, farbig, Hardcoveralbum, 24,90 Mark. Carlsen
In letzter Zeit kommen Comicbücher in Mode, die sich eng an Kinderbücher anlehnen und fast als Kinderbücher in Comicform durchgehen. "Toto" ist so ein Buch, das Erwachsene ansprechen soll, die das Kind dann zusammen mit ihren Kindern lesen sollen. Es ist ein schickes, herrlich farbiges Buch, das die jüngere Generation gleichermaßen anspricht wie erwachsene "Kunstliebhaber". Nicht wenige Erwachsene geben ja mittlerweile zu, daß es auch Bilderbücher ihnen angetan haben. Aber vor allem die Kleineren werden sich mit Toto, dem Schnabeltier identifizieren können, das sich auf den Weg durch den Dschungel macht, um zum oberen Flußlauf zu gelangen. Andere Tiere schließen sich ihm an, immer auf der Hut vor einer geheimnisvollen Bestie, die Tiere frißt. Eine für Kinder spannende handlung, aufgelockert durch Witz und skurrile Figuren. Gelungen. Jo84




Profi Anthologien



Dragonball Magazin # 1 - 3. Je 48 Seiten, farbig, Comicbookformat, 4.90 Mark. Carlsen
Nach dem Megaerfolg der auf 42 Bände angelegten Taschenbuchausgabe schreit der Markt geradezu nach mehr und immer mehr Dragonball. Welch Glück, daß in Japan einige Videofilme entstanden sind, die als Ergänzung der Fernsehserie gedacht waren. Hier ist nun die abfotografierte Comicversion dieser Abenteuer, die nicht in der Serie oder in den Taschenbüchern enthalten sind. Man muß sich das so ähnlich vorstellen wie neue Abenteuer in einem Paralleluniversum, auf ein jüngeres Publikum zugeschnitten. Bei aller Liebe, das ist der letzte Dreck! Als Zeichentrickfilm mag das gar nicht so schlecht sein. Die Farben sind schön und die Bastelbeilagen/Poster für jüngere Leser sicher nett. Die viel zu großen Sprechblasen dagegen wirken fürchterlich, die Bildaufteilung ist viel zu statisch (oder nicht statisch genug?), und die Geschichten - naja... Muß wohl nur Herod haben. Jo84





Kopeck # 2. 32 Seiten, farbig, Comicbookformat, 5,90 Mark.
Karicartoon Verlag, Limmer Straße 3 - 5, 30451 Hannover
An den Bahnhofskiosken von Augsburg und Kempten ist seit Monaten von Kopeck nichts zu sehen. In Fulda stecken da seit Monaten vier Exemplare von Band 2. Band 3 war für April angekündigt. Das muß nicht gegen Kopeck sprechen; vielleicht ist seine Qualität bei den Lesern noch unentdeckt geblieben. Möglicherweise ist die Serie einfach im Nachteil gegenüber Protagonisten, die schon von Funk und Fernsehen her bekannt sind. Aber ich denke schon, es liegt auch an dem Material selbst, daß die Leser Zurückhaltung üben. Es ist nicht leicht, eine Geschichte zu erzählen - vor allem: eine Geschichte zu eröffnen. Autor und Zeichner Klaus Scherwinski wollte gewiß nichts falsch machen und begann im ersten Heft ganz einfach und übersichtlich. Dann sollte aber die Story wohl nicht zu vorhersehbar werden, und deshalb schlägt die Handlung jetzt chaotische Haken. Kopeck stellt einen Casino-Betreiber, mit dem er aus längst vergangenen Zei-ten noch eine Rechnung offen hat. Derweil wird er von einem LA-Polizisten und seiner Begleiterin verfolgt, die sich später beide in Superhelden verwandeln. Außerdem ist noch eine Sondereinheit in einem Sonderhubschrauber hinter Kopeck her. Alle treffen schließlich unter viel Maschinengewehrgeballer und Granatendetonationen aufeinander, und natürlich wird der Hubschrauber vom Himmel geholt. Von Motiven und Hintergründen erfährt man allerdings nichts mehr, und das, was man aus Band 1 vielleicht noch im Gedächtnis hat, verflüchtigt sich spätestens auf Seite fünf. Viele Leser sind wahrscheinlich schon nach Band 1 ausgestiegen, weil ihnen die Story zu durchschaubar war; andere springen jetzt ab, weil sie nicht darauf zählen, daß sich das nun entstandene Tohuwabohu im dritten Heft ein wenig aufklärt. Schade um ein ambitioniertes Projekt, das in einzelnen Abschnitten durchaus überzeugt hat. Aber entweder stand das Storyboard noch nicht, als Klaus Scherwinski mit dem Zeichnen begann - und sowas ist absolut tödlich. Oder die Story wird ungeschickt präsentiert, denn das Wichtigste ist nicht, möglichst viele Actionsequenzen auf möglichst wenige Seiten zu komprimieren, sondern einen Spannungsbogen aufzubauen, der die ganze Serie über trägt. aa



MAD # 14. Dino
Nachdem ich wirklich erfreut war, daß MAD wieder seinen Weg nach Deutschland gefunden hatte, sind einige der neuen deutschen Eigenbeiträge eine herbe Enttäuschung. Die Teletubby-Parodie "Quäletubbies" unterbietet die amerikanischen Beiträge an Niveau deutlich. Das alte MAD hatte immer einen sicheren kritischen Anspruch, den diese Parodie in einem Wust aus Geschmacklosigkeiten, ungerechtfertigten Anschuldigungen und Dämlichkeiten untergehen läßt: Die Tubbies werden hier als grausam, brutal und pervers dargestellt, was keinerlei Anknüpfungspunkt im Original hat, ein sehr grobschlächtiger Ansatz, ein "Haha-Humor", über den MAD sonst erhaben war. Ihnen wird Drogenmißbrauch und Kannibalismus unterstellt, auch hierfür finden sich keine Andeutungen, die man in legitim satirischer Übertreibung hätte ausbauen können. Was mich zudem sehr stört und was für mich ein sicheres Zeichen absolut unreflektierter Effekthascherei ist, sind die vielen antienglischen, also ausländerfeindlichen Anspielungen: die Tubbies werden als militante britische Kolonialisten bzw. später als Hooligans dargestellt, die einen blauen "Eurotubbie" über den Haufen schießen und unter Absingen von "Tiperay" auffressen. Vieles aus der Originalserie hätte man hochnehmen können, aber keiner hat sich zum Beispiel mit den Charakteren auseinandergesetzt. Schlimm genug, daß Stefan Raab in "tv total" dauernd die Tubbies verwechselt. Über Tinkys Vorliebe für Ballettröckchen wäre eventuell etwas zu sagen gewesen oder über Dipsys Narzissmus und Laalaas schreckliche Klischeemädchenrolle (Kichern und Singen als Lebensinhalt?), während die MAD-Autoren bei Po (der hyperaktiven Miniaktionistin) offensichtlich noch nicht mal in Erfahrung bringen konnten, ob sie ein Junge oder ein Mädchen ist. Auch die rätselhafte Elternlosigkeit der Tubbies scheint sie nicht zu wundern. Warum werden sie von Robotern erzogen? Sind sie radioaktiv? Riesig? Die letzten einer aussterbenden Cyborg-Zivilisation? Was ist aus Noo-Noo in dieser Parodie geworden? Den haben sie vergessen. Shame, shame! Herod








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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 60
Besprechungen








Andy: Comic Strips. 20 Seiten, s/w, 3 mal 42 Zentimeter. Dachshund Books, P. O. Box 8892, London SW 15, Great Britain. bugpowder.com/andy
Ist das ein Fall für Piccolo-Fans? Es gibt ja Leser, die die Rezensionen nur nach den Formaten absuchen. Wie auch immer, auf jeden Fall wollte Andy mit dem Format seines neuen Hefts den Vogel abschießen, und natürlich ist ihm das gelungen. Mein Exemplar ist allerdings schon nach ein paar Wochen ziemlich zerknickt und zerknittert, weil man ein Heft in diesem Format einfach nicht vernünftig aufbewahren kann. War's das wert, sich dafür stundenlang hinzusetzen, DIN A 3-Kopien zu zerschneiden und die Streifen zusammenzutackern? Nun nach zehn Zeilen Vorbemerkungen zum Inhalt. Andy hat hier 20 seiner Konky-Abenteuer versammelt, die ja auch schon in PLOP zu sehen waren, alle ziemlich komisch, alle ohne Worte und alle auch ein bißchen extraordinary. Das zu betonen, wäre aber das extreme Format eigentlich nicht notwendig gewesen. aa



Christian Dülpers: Dülp's derbes Dasein # 1. Endstation Trunksucht. 48 Seiten, s/w, DIN A 4, 4 Mark. Assfred Comics. Luxemburger Straße 3250674 Köln. www.assfredcomics.de
Diesen auf den ersten Blick etwas anfängerhaften Comic mit Panels bis an den Seitenrand (weil man sich ein paar Linealstriche sparen will), mit Grautönen durch grobmotorisches Buntstift-Schraffieren, mit einem recht ungelenken Zeichenstil - den unterschätzt man sehr leicht. Aber nicht mehr, wenn man zu lesen begonnen hat. Denn unversehens wird man in die 44seitige Geschichte hineingezogen, die sich plötzlich entfaltet und am Ende eine Fortsetzung verspricht. Der Protagonist, dessen Name dem des Zeichners verdächtig ähnelt, liegt mit zwei gebrochenen Armen im Krankenhaus und erzählt zwei Freunden, wie das passiert ist. Und nach dieser kleinen, nicht ungeschickten Rahmenerzählung sehen wir ihn im Rückblick, wie er die attraktive Zwillingsschwester seines Freundes kennenlernt. Die hat eben ihr Jurastudium geschmissen und mußte deshalb zuhause ausziehen. Dülp reagiert instinktiv, schmeißt einen "Parasiten" aus seiner WG raus und bietet Alex, der Traumfrau, das frei gewordene Zimmer an. Mit seinen WG-Genossen vereinbart er, daß er sie zuerst anmachen darf, weil er sie "entdeckt" hat, aber dann bringt er nur eine dumme Kumpelbeziehung zustande. Schließlich will er sie in seiner Not zu einer Studentenfete mitschleppen, sie und sich betrunken machen, um endlich an sie ranzukommen, aber sie kommt nicht mit. Sie taucht erst auf der Party auf, als er schon ziemlich breit ist - und dann muß man schon des zweiten Teils harren. Diese Story ist durchaus alltäglich, offensichtlich autobiografisch gefärbt, aber flüssig erzählt, mit vielen witzigen Details und lebendigen Charakteren. Und spätestens an dieser Stelle muß erklärt werden, daß auch die Zeichnungen nicht wirklich dilettantisch sind, sondern auf genauen Beobachtungen beruhen und die Figuren mühelos plastisch machen. Was aus Dülp und Alex geworden und wie er letztlich im Krankenhaus gelandet ist, das kann man nur im zweiten Teil nachlesen. aa



Andreas Fecke: Go. Eine Einführung (Oktober 2000). 16 Seiten, s/w, DIN A 6. Andreas Fecke, Garfelner Straße 41, 59558 Lippstadt
Schachfiguren bringen sich gegenseitig das alte chinesische Brettspiel Go bei. Wer nur die lustigen Strips von Andreas Fecke mag, ist mit diesem Heftchen nicht gut bedient. Denn hier steht der Comic klar im Dienst der Vermittlung der Spielregeln. Ich habe aber noch nie eine so leicht verständliche und gleichzeitig unterhaltsame Spielanleitung gelesen, obwohl bei Go nur das Prinzip simpel, die Spielwertung dagegen ganz schön kompliziert ist. aa



Paul Hoppe / Boris Kahl: Muster. Alexander Pavlenko: Vampire in der Stadt. Je 36 Seiten, s/w mit Farbcover, DIN A 5, 5,90 Mark. Fake Press, Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen
Vor etwa 30 Jahren waren Comix über Drogentrips ziemlich en vogue. Das waren manchmal Traumgeschichten, die dann die Frage nach der Realität aufwarfen, und das war dann immer auch ein bißchen unheimlich. Die Zeiten der Alternativkultur sind vorbei, aber in diesem Comic, der auch mit einem Drogentraum beginnt, kehrt die Frage nach der Realität in modernem Gewand zurück. Die Heldin schluckt auf einer Party eine Pille - und findet sich wieder festgelötet auf einem Computerchip. Sie erfährt: Sie befindet sich in einer Welt, in der sich die Menschen von Computern freiwillig in eine virtuelle Realität schicken ließen - nur zum Spaß, als Entertainment. Die Computer ließen sie aber nicht mehr zurückkehren und übernahmen die Macht. Jetzt kämpfen die Menschen um ihre Freiheit. Ist das ein Traum oder Realität? Das haben Hoppe und Kahl recht ansprechend und ziemlich spannend in Szene gesetzt. Endlich mal ein Comic, der richtig ins bei Fake Press vorgegebene 32-Seiten-Format paßt. Bei Alexander Pavlenko geht es um einen Alptraum, allerdings ohne unterschiedliche Wirklichkeits-ebenen. Er wärmt vielmehr den Vampir-Mythos auf und gibt ihm einen starken erotischen Anstrich. Für Filmtheoretiker ist das freilich nichts Neues: Wie ein Vampir Frauen anfällt und sie in den Hals beißt - das ist zweifellos ein Bild sexueller Verführung und der Aggressivität in der Sexualität. Hier bleibt die Sache zunächst nur deshalb im Dunkeln, weil sich die Gegner auch mit normalen Schußwaffen gegenseitig wegpusten. Am Ende helfen aber nur Kreuz und Pfähle, und da wird die Geschichte dann enttäuschend konventionell. Alexander Pavlenko entschädigt aber zumindest mit sehr ungewöhnlicher, expressionistischer Grafik. aa



Levin Kurio / Roman Turowski: Kampf der Tita-nen # 2 (von 3). Je 28 Seiten, s/w mit Farbcover, Comicbookformat, 5 Mark. Weissblech Comics, An der Landstraße 5, 23758 Kükelühn. www.weissblech.com
Diese Comicserie ist genauso anspruchslos, wie von ihren Machern im Vorwort annonciert. Aber daß sich die beiden bisher erschienenen Hefte flüssig weglesen und daß man nicht penetrant das Gefühl hat, sich unter Niveau zu amüsieren, ist schon mal ein gutes Zeichen. Weißblech-Chef Levin Kurio hat hier einfach zwei Figuren aus früheren Produktionen in einer deftigen Fantasy-Kulisse aufeinander gehetzt: Alky Halky und den geifernden Grapsch. Im zweiten Heft kommt Bella Star, die Sternenhure, hinzu. In der abschließenden dritten Ausgabe ist ein neues Monster namens Megatonn angekündigt. Sicher geht es letztlich nur um zünftige Prügeleien, aber das Ganze ist doch in eine halbwegs sinnvolle und sogar spannende Dramaturgie eingebunden. Roman Turowski hat Kurios Bleistiftzeichnungen atmosphärisch dicht geinkt, so daß auch das optische Vergnügen nicht zu kurz kommt. Das Urteil der Comicbewertungskommission: Warum nicht? aa



Kyobi: Fritzi der kleine Werwolf. 16 Seiten, s/w mit handcoloriertem Cover, 21 mal 21 Zentimeter. Hal, the Crocodile # 1. 20 Seiten, s/w mit handcoloriertem Cover, Piccoloformat. Beide Kyobi-Productions, Jürgen Reuss, Erich-Ollenhauer-Straße 168, 65199 Wiesbaden.
Hoffentlich ist Kyobi nicht ein Pseudonym von Jürgen Reuss, denn den kenne ich persönlich und habe ihn auch vor nicht allzu langer Zeit noch auf der Frankfurter Buchmesse gesehen. Nach diesen beiden Heften habe ich ihn allerdings zu fragen versäumt, und jetzt tappe ich hinsichtlich ihrer Vorgeschichte im Dunkeln. Kyobi hat jedenfalls einen eigenwilligen, nicht ganz perfekten, aber ausdrucksstarken Schraffur-Stil. Die ziemlich skurrile Geschichte des Werwolfs Fritzi wird in ihrem Heft großzügig dargeboten. Der Comic ist nämlich eigentlich nur sieben Seiten lang. Krokodil Hal redet englisch, liegt meistens auf der Lauer nach Beute, spielt aber auch Gitarre und wird sogar mal zu einer Kroko-Handtasche verarbeitet. Die beiden Hefte sind zumindest die Visitenkarte eines Talents, das man nicht allzu sehr verkramen sollte. aa



Martin Muck: Musenmalheur. 20 Seiten, s/w mit Farbumschlag, Comicbookformat. Auenland-Verlag, Holger Much, Konradin-Kreutzer-Straße 32, 72458 Albstadt
Martin Mucks "Musenmalheur" erschien als Beitrag zum Kunstwettbewerb "Die Stadt und ich" anläßlich des Jubiläums "25 Jahre Albstadt". Das dünne Heftchen wurde zumindest teilweise durch Werbung finanziert, die den zwölfseitigen Comic umrahmt. Was sich die Herren Much und Muck bei der Herausgabe dieses Werks gedacht haben, weiß ich jedoch nicht. Die Zeichnungen sind zwar nicht schlecht, der Text jedoch ein bißchen dürftig. Martin Muck erfährt von dem Wettbewerb zum Stadtgeburtstag und sucht nach einer guten Idee. Seine Muse will ihn nicht küssen, weil sie ins Nagelstudio will. Das war's. Auf dem Cover ist als Verlagsangabe noch "Edition Naja" genannt - nomen est omen. Dafür wurde das Heft aber wahrscheinlich umsonst verteilt. Mehr unter kleinmuck@yahoo.de. Jo84



Rost und Dr. Stein: Steinzeit-Adventures # 2, 6.80 Mark. Zwerchfell
Der PLOP-Lesern noch als Bernd Gronenberg durch den mäuseohrigen Bluesbär bekannte Dr. Stein hat seine eigene Heftreihe bei Zwerchfell. Im Farbcover mit einem unglücklicherweise bei "Superman Adventures" geklauten Schriftzug (ich sage "geklaut", weil das Heft nun überhaupt keinen Bezug zu Superman oder TV-Cartoons hat) präsentieren sich unterschiedlich gelungene abgeschlossene Geschichten. Stein erfüllt sich den Traum fast jeden Funnyzeichners von einer marsupilamihaften Fantasieschöpfung in den saurierrattenhaften "Schietbüdeln", die mir allerdings schon im zweiten Heft langweilig werden, auch die Heldin Clara, die wohl Ähnlichkeit mit Lara Croft aufweist, aber auch wieder keine richtige Parodie ist, überzeugt mich nicht. Hübsch abgedreht sind die "Wunderwelt des Kosmos"-Stories, auch "Wahnsinnig & Erfolgreich" ist als Idee nett, obwohl ich mir nach der Vorankündigung in # 1 mehr davon versprochen hätte, Insgesamt finde ich Steins Zeichenstil etwas zu grobschlächtig für Funnies. Die ständig in rechtwinkliger Armhaltung herumhektenden Figuren wirken ein bißchen wie die Donald-Duck-Nebenfiguren bei Volker Reiche: kaum eine Figur ist wirklich niedlich, und das paßt zu seinen eigentlich ziemlich harmlosen Stories wenig. Insgesamt aber gut lesbar, nur zu teuer! Herod



Robert Wenzl: Galipoli. 80 Seiten, s/w, DIN A 4-Querformat. Robert Wenzl, Rottendorfer Straße 6, 97072 Würzburg
Lange ist es ruhig gewesen um Robert Wenzl, der in dem nicht mehr existierenden Verlag Emu Graphics seine philosophischen und stimmungsvollen Kurzgeschichten veröffentlichte. Er war schon immer ein Mei-ster des klaren, reduzierten Strichs gewesen, den er in seinem neuen Werk auf die Spitze treibt. Die Geschichte des Büroboten Robert, der beschließt, als Meraklit auf dem direkten Weg zu der kleinen Mittelmeerinsel Galipoli zu wandern, ist nicht einmal getuscht. In Galipoli herrscht keinerlei Logik, und auch Meraklit verdrängt alles, was er über die Gesellschaft weiß, und geht konsequent über Zäune und Autobahnen geradeaus. U-Haft und geschlossene Abteilungen können ihn nicht aufhalten. Aber wird er tatsächlich ankommen? Liegt sein Galipoli überhaupt tatsächlich in Italien? Ausgehend von dem Vorsatz, einmal alle Bedenken und alles Wissen auszuschalten und einfach zu tun, was man gern tun würde, zeichnet Wenzl seine augenzwinkernde Bilderzählung ziemlich simpel herunter. Da er jedoch ein Meister der Stimmungen ist, kann sich der Leser leicht in Meraklit hineinversetzen, obwohl er jedem einfach nur schwachsinnig vorkommen muß. Ich bin mir nicht sicher, ob dieses Werk überhaupt für die Allgemeinheit und nicht für Robert Wenzl allein bestimmt ist, denn meine Version des nachdenklich stimmenden und traumanregenden Werks ist anscheinend auf 15 Exemplare limitiert. Jo84



Alfred Bekker Magazin # 36. MS-DOS formatted, 1,44 MB, 3,5''-Diskette, gratis. Alfred Bekker, Hei-lgenberg 88, 58540 Meinerzhagen-Windebruch
Alfred Bekker ist ein sehr routinierter, findiger und pro-duktiver Romanschreiber. Unter Pseudonymen wie Neal Chadwick, Leslie Garber, Robert Gruber, Jack Raymond und sogar Janet Farell schreibt er regelmäßig für Bastei oder Kelter. Schon früher hat er mir gelegentlich sein Fanzine zugesandt, in dem er offenbar Reste und Abfälle seiner Schriftsteller-Werkstatt verwertet. Da Romanautoren anscheinend seit einiger Zeit mit Disketten arbeiten, hat es sich für ihn sicher angeboten, auch sein Magazin gleich auf Diskette zu versenden. Ich war überrascht, wie viel auf eine solche 3,5''-Diskette draufpaßt. Alfred Bekker wies mich extra darauf hin, daß auf der Diskette auch einige Comics gespeichert sind (da pflegt er insbesondere das Stilmittel der Collage). Und solche JPEG- oder TIF-Dateien kosten schon Platz. In die verbleibenden Lücken passen aber noch ein Bericht über den Comic Salon, ein ausführliches Interview mit Superman-Zeichner Joe Rubinstein, einige Kurzgeschichten und ein Romanauszug sowie Verlagsnachrichten. Ausgedruckt wären das wohl um die 30 Seiten. Vielleicht ist also die Diskettenform eine Alternative auch für andere Fanzineherausgeber. aa



cOMIc # 43 bis 45. Je 28 Seiten, s/w, DIN A 5, im Tausch gegen andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
Eines der langlebigsten und konstantesten deutschen Fanzines ist mit Ausgabe 45 eingestellt worden. Über die Gründe teilt Gerd Bonau nichts mit. Die Art, wie er hinter sein Fanzine zurückgetreten ist, wird am Ende sozusagen auf die Spitze getrieben. Denn wenn man zehn Jahre lang oder so ein Magazin herausgebracht hat, könnte man doch mindestens einen Satz dazu verlieren, warum man das künftig nicht mehr tun will. Vielleicht hat die Einstellung von "cOMIc" in der Szene auch deshalb einen solchen Schock ausgelöst, weil die Leser alle möglichen Tragödien in die Einstellung hineinphantasieren. Ich für meinen Teil bin schon auch traurig, daß es "cOMIc" nicht mehr gibt. Mit Gastartikeln und Gastrezensionen war am Ende eine eigentlich hoffnungsvolle Entwicklung abzusehen, was den doch dürftigen redaktionellen Teil betrifft. Da hat sich Gerd, wenn man ihn darauf ansprach, jedenfalls immer mit dem Hinweis verteidigt, Schreiben liege ihm nicht so, und wenn er längere Artikel verfassen müßte, würde er mit der neuen Ausgabe nie fertig. Das klingt plausibel und muß man akzeptieren. Wenn ich auf die lange Geschichte dieses Fanzines zurückblicke, die ich fast von Anfang an mitbekommen habe, muß ich gestehen, daß mir "cOMIc" nach einiger Zeit etwas langweilig geworden ist. Das liegt aber nur daran, daß ich die hier veröffentlichten Comics anfangs aber wirklich total abgefahren fand. Die Fallhöhe war beträchtlich. "cOMIc" hatte aber immer gute Mitarbeiter, und ich gestehe ohne weiteres zu, daß die Qualität der Beiträge durchgehend okay und oft besser als in PLOP war. Von Gerd Bonau weiß ich noch, daß er das Fanzine herausgab, weil er sich für einen nicht so guten Zeichner hielt. Wer sich den alten Gerd-Bonau-Comic in PLOP # 58 angesehen hat, merkt daran auch, daß er schon ganz schön hohe Ansprüche hatte. Ich hoffe, Gerd Bonau wird der Comicszene in irgendeiner Form weiter erhalten bleiben. Er dürfte ja jetzt genug Hefte zum Tauschen haben. aa



Comicaze Sonderheft: Was ist so schlecht an Negativ? 52 Seiten, s/w mit Farbumschlag, DIN A 4. Comicaze e. V., Dachauer Straße 300, 80993 München
Anscheinend von 1998 ist diese Super-Compilation der Comicarbeiten von 13 verschiedenen Künstlern, die alle ein beachtliches Maß an Können und Eigenständigkeit mitbringen. Die Künstler, die alle mit einem Negativbild kurz vorgestellt werden, bearbeiten (mehr oder weniger) das vorgegebenen Thema nur in einem Bild (Gerhard Schlegel und Elke Reinhardt), einem Einseiter oder mehreren Seiten. Neben bekannteren Namen wie Gabriel Nemeth oder Frank Schmolke finden sich vor allem noch recht unbekannte Newcomer. Das Heft kommt ohne Werbung aus und ist stilmäßig gut gemischt. Schade, daß das Heft nur ein Oneshot ist und keine öfter erscheinende Reihe. Aber ich sollte wirklich nicht alles so negativ sehen. Jo84



Das Dosierte Leben # 18 (Herbst 2000). 60 Seiten, s/w, DIN A 4, 6,12 Mark (inklusive Versand). Jochen König, Obere Riedstraße 57, 68309 Mannheim
Dieses Literatur-Fanzine pflegt nach eigener Darstellung den Dadaismus. Das bedeutet nicht, daß den Texten aller Sinn brutal ausgetrieben wird. Vielmehr verschieben die Autoren in der Regel die Bedeutung in ihren liebevollen, kleinen Geschichten nur ein kleines Stück, wodurch meist eine leise Komik entsteht. Das wirkt fast beiläufig, obwohl ein eleganter Stil bewußt angestrebt wird. Dada ist heute Hochkultur und wird hier auch bewußt so - ein wenig elitär - gepflegt. Das Impressum auf der vorletzten Seite ist beinahe ein Nachwort. Eine Einführung gibt's auch, aber keine Leserbriefe, so daß die Szene um das Magazin her nicht recht sichtbar wird. aa



Der ganz alltägliche Wahnsinn. 48 Seiten, s/w, DIN A 5, 3,50 Mark. Anja & Thorsten Schmidt, Osterfeldstraße 3 A, 32457 Porta Westfalica
Um den alltäglichen Wahnsinn nicht nur erkennen, sondern auch beschreiben zu können, ist einige Lebenserfahrung nötig. Erfahrung, die Jo84 inzwischen in seinem Mindener Comicladen ausgiebig gesammelt hat. Er verfügt auch noch über genug Selbstironie, um seinen täglichen Medienkonsum (der wohlgemerkt schwerpunktmäßig Comickonsum ist) in diese Kategorie einzureihen. Viele andere Mitwirkende an Anja & Joys neuester Anthologie scheitern dagegen an dem einladenden Thema. Routiniers wie Ralph Görtler, Lutz Mathesdorf, Kim Schmidt oder Karsten Schley liefern eher durchschnittliche Kalauer ab. Auch Nachwuchsleute wie Aaron Jordan und Moritz Stetter haben wohl den richtig wahnsinnigen Alltag noch nicht kennengelernt. Aber das Heft ist umfangreich genug, um doch ein paar Beiträge zu bieten, die okay sind und im Gedächtnis bleiben: Andreas Fecke, Andreas Eickenroth, Rudolph Perez oder Bernd Teuber drehen leicht ins Absurde, Roman Turowski (allerdings mit einer nochmal aufgewärmten Geschichte) und Gerd Bonau ins Unheimliche. Anja & Joy selbst steuern eine längere Geschichte bei über Nina, die sich selbst "zu normal" vorkommt. Sie legt den Akzent eher auf "Alltag", ebenso wie die eigentümliche Coming out-Story von Christiane Schlicht. Insgesamt kein völlig gelungenes Magazin mit einer aber allemal interessanten Mischung von Beiträgen. aa



ineinander # 1. 36 Seiten, s/w mit Farbcover, Comicbookformat, 5,90 Mark. der-eigen-verlag, Mainzer Straße 18, 12053 Berlin. ISBN 3-934948-13-8. www.eigen-heim.com
Hinter diesem Projekt steht Herausgeber Dirk Schwie-ger, der vermutlich auch die beiden langen Comics in dem Band gezeichnet hat. Ein Strandspaziergang, ei-ne Wohnungsbesichtigung, banale Erlebnisse, die durch eigenwillige Dialoge und die sehr atmosphärische Grafik in Comic-Kunst verwandelt werden. 13 Bände will Schwieger insgesamt herausgeben, und in jedem Band will er auch andere Künstler präsentieren, diesmal sind es Patrick Wichtler mit "Ein Probelauf" und Silke Schmidt (Zeichnungen) und Tilman Ramm-stedt (Text) mit "Alte Hasen", "die im Stil so Richtung Feuchtenberger/tom Dieck gehen, auch wenn beide das nicht wirklich gerne hören" (schreibt Schwieger). "In Zeiten von Dino muß man halt zusammenhalten", schreibt er auch noch. aa



Kreativo # 32 und 33 (September und Dezember 2000). Je 32 Seiten, s/w, DIN A 5, 3 Mark. Kreativo Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
Noch keine Ermüdungserscheinungen sind bei Birkes höchst sympathischem Sammelsurium-Fanzine zu erkennen. Daß seit kurzem neben Comics, Illustrationen, Cartoons, Rezensionen und sonstigen Texten immer mehr Gedichte in "Kreativo" auftauchen, auch welche von der Sorte: "Du bist so schön wie eine Rose, / Die in meinem Garten blüht, / Der sanfte Frühlingswind, der dich umweht, / Mein Herz, das glüht." (soll offenbar keine Parodie sein), daran kann ich mich nur schwer gewöhnen. Dazu werden die Gedichte auch noch unvorteilhaft präsentiert, indem Birke möglichst viele davon auf eine Seite quetscht. Nachdem ich ihr das auch mal geschrieben habe, habe ich sogar einen Antwortbrief erhalten (sonst antwortet sie nur im Magazin): "Wenn es nach meinem Geschmack ginge, bestünde "K!" nur aus zwei bis drei Gedichten, fast ausschließlich Ghost-Illustrationen und hier und da n Comic. Irgendwie muß ich da aber den goldenen Mittelweg finden, da doch viele Lyrikbegeisterte "K!" lesen und abonnieren. Ich hoffe, Du hast Verständnis dafür?!" Das klang nun schon fast panisch, aber da ich in PLOP schon sehr verschiedene Beiträge zulasse, braucht Birke gewiß nicht zu befürchten, daß ich ihr ein bestimmtes Fanzine-Konzept aufzwingen möchte. Mag sie also ruhig weiter den goldenen Mittelweg suchen. Ich habe noch immer an jedem neuen "Kreativo" meinen Spaß. aa



Lightshade Comix # 1. Der Fluch der Unmenschlichkeit. 52 Seiten, farbig, Comicbookformat, 6,95 Mark. Vertrieb Karicartoon Verlag
Die Macher Maxim Sacharow, Florian Elsebach und Swen Schmidt, alle zwischen 1979 und 1981 geboren, haben sich bei diesen Projekt sicher in ziemliche Unkosten gestürzt. Teures Papier, teurer Druck und vor allem hohe Herstellungskosten der Seiten. Leider entspricht das fertige Produkt in keinster Weise den hochgesteckten Zielen, die sich das Lightshade-Team gesetzt hat. Das Projekt soll die Vision etwas Eigenständigen, nie Dagewesenen verwirklichen, nämlich der Verbindung der verschiedenen Kunstrichtungen Fotografie, Malerei und Computer-Grafikdesign, als Comic auf Papier. In einer Auflage von 1000 Stück wurde also dieser Prolog zu einer längeren Geschichte gedruckt. Viele der Seiten sehen leider ziemlich fürchterlich aus. Grottenschlechte Zeichnungen wurden über unscharfe Fotos geklatscht, dazu sterile Sprechblasen und Fettdruck-Computerlettering. die Fotos und Zeichnungen wurden dann so verändert und eingefärbt, daß man fast gar nichts mehr erkennt. Nichts gegen psychedelische Farbgebung, aber auch die macht aus Scheiße kein Gold. Der Erzähler schwelgt in pathetischen Worthülsen, und textlich werden nur drei Personen vorgestellt, die wohl in Teil zwei zusammentreffen sollen. Schade, daß ein so ambitioniertes Projekt so mangelhaft umgesetzt wurde. Gute Ansätze sind nur wenige zu erkennen, und die meist auf ganzseitigen Illustrationen außerhalb der Hauptstory. Bleibt zu hoffen, daß Teil zwei, sofern er je erscheint, besser aussieht. Jo84



Maskenball # 15 (Juli 2000). 56 Seiten, s/w, DIN A 5, 6,50 Mark. Martina Faber und Jens Neuling, Postfach 1261, 63514 Rodenbach. e-Mail: maskenball@freenet.de oder maskenball1@aol.com. Homepage: www.der-maskenball.de
Was Comic-Fanzines meist verwehrt ist, scheint dieses Literatur-Fanzine zu schaffen: Mitarbeiter haben es zu weiteren Veröffentlichungen gebracht, und es klingt so, als seien das zumindest teilweise Schritte in die Professionalität. Herausgeber Jens Neuling kündigt auch an, er wolle seinen Mitarbeitern künftig Honorare zahlen. Dafür müßten zwar einige Hefte mehr verkauft werden, aber auch das will man tatkräftig in Angriff nehmen. Die Kehrseite von Geld und Geschäft tritt dagegen schon jetzt im Vorwort zu Tage: "Bitte, dieses gegenseitige Zerfleischen, Beleidigen, Aburteilen usw. ist nicht sehr förderlich! Vor allem in eurem eigenen Interesse, und daran scheint ihr ja ausschließlich interessiert zu sein. Das Einzige, was ihr damit erreicht, ist die Isolation für eure Institution oder euer Medium." "Maskenball" ist allerdings kein Skandal-Magazin, sondern ein sehr gut zusammengestelltes, anspruchsvolles Magazin für Lyrik und Kurzprosa. aa



Mischer # 00. 60 Seiten, s/w, DIN A 6. Claudia Bernhardt (im Atelier V51), Vereinsstraße 51, 20357 Hamburg
Claudia Bernhardt ist wieder da und mixt erfreulicherweise fleißig weiter. Weil es schon ein Magazin namens "Mixer" gibt, hat sie ihr Heft, auf das der Name hervorragend paßte, nach zehn Ausgaben ein wenig umbenannt. Die Mitwirkenden müssen ihre Beiträge nun auch nicht mehr wie früher in 100facher Ausfertigung einreichen; Claudia übernimmt den Druck jetzt selbst. Am Konzept hat sich aber sonst nichts geändert. Wie vor ihrer Afrika-Reise ist das Heft eine bunte Zusammenstellung aus Beiträgen grafischer oder textlicher Natur, darunter nur wenige echte Comics. Viele Beiträge lassen sich nur mit Mühe enträtseln, aber insgesamt hat man eine faszinierende Fülle von künstlerischen Ausdrucksmöglichkeiten vor sich, die zur Auseinandersetzung einladen. aa



Napartheid # 29. 56 Seiten, s/w mit Farbcover, DIN A 4, 300 Peseten. Napartheid, Martzelo Zelaieta karrika, 75.AA1 aretoa, 31.014 Irunea. www.napartheid.org
Wie gewohnt, muß ich es auch diesmal mit einem allgemeinen Hinweis auf dieses gut gemachte, anspruchsvolle, wohl auch politisch ambitionierte Comicmagazin aus dem Baskenland belassen, weil ich die Sprache nicht verstehe. Nach dem optischen Eindruck gibt es diesmal das Rahmenthema "Kunst " oder "Der Künstler und sein Werk". Im Internet ist immerhin eine Selbstdarstellung der Gruppe, die das Magazin macht, auf Englisch zu entdecken - und die "Fanxi-noteka", eine wirklich beeindruckende Sammlung von Fanzines aus aller Welt (PLOP eingeschlossen). aa



Natsu-Yasumi # 2. 24 Seiten, s/w mit Farbcover, DIN A 4, 5 Mark
Der Chat im "Comicforum" hat mich endlich auf die Spur der Manga-Fanszene gebracht. Obwohl es tausende von Manga-Fans gibt, habe ich bisher noch kein Fanzine gesehen. Dies ist das erste; sein Titel bedeutet "Sommerferien" und deutet auf die Gründungszeit hin, wie mir die Herausgeberin mitteilte. Sie beherrscht übrigens 80 Buchstaben des japanischen Alphabets, hat aber mit der Grammatik noch Probleme. Das Heft ist digital kopiert, damit die Abbildungen besser rauskommen. Mein Eindruck: Der Manga-Fan scheint Orientierung im unübersichtlichen Angebot zu brauchen. Hier wird vor allem auf Neuveröffentlichungen hingewiesen, überwiegend ausländische, und dabei werden in der Regel ausführlich die beteiligten Charaktere vorgestellt (samt Hinweis der jeweiligen Autorin, welcher von ihnen besonders "goldig" ist, oder unmißverständlich: "Er ist mir!!!"). Hinzu kommen diverse Nachrichten und nur vier Seiten Comics und Illustrationen - es sind angeblich trotzdem mehr als in der Debütnummer. Vielleicht gibt's deswegen so wenige Manga-Fanzines, weil deren Leser lieber konsumieren als sich selbst künstlerisch zu betätigen. Die Herausgeberin erläutert mir übrigens in einem Begleitbrief die Manga-Genres: "Shojo" (da gehört eigentlich noch ein Dach aufs "o") sind Mädchen-Mangas, in denen es schwerpunktmäßig um die Liebe geht. "Shonen" sind für Jungs gedacht und bieten Action und Science Fiction. "Hentai" heißen die Adult-Mangas. Dazu schreibt sie: "Mangas für ältere Herren, also eine Art Pornohefte." - Hochinteressant. "Shonen-ai" schließlich thematisieren "Beziehungen zwischen zwei Männern", und darauf hat sich auch "Natsu-Yasumi" spezialisiert. "Dieses Genre ist ganz normal in Japan", erläutert dazu die Herausgeberin, "und in Deutschland wird es auch immer populärer und ist nicht als pervers anzusehen." Zu Befehl. Vielleicht kann sie mal jemand auf Ralf König hinweisen... aa



Paranoid # 4. 48 Seiten, s/w mit Farbcover, 27,5 mal 19 Zentimeter. Christopher Tauber, Ulmenstraße 20, 63571 Gelnhausen oder Steffi Dietz, Vorbergstraße 1, 10823 Berlin
Neulich fühlte ich mich in die berühmte Szene in "Rebel without a cause" versetzt, in der sich James Dean einen Rat von seinem Vater erhofft und der ihm sagt: "Warte einfach zehn Jahre, dann sieht die Welt schon ganz anders aus." Kurioserweise befand ich mich in der Rolle des Vaters. Ich hatte mich mit Christopher Tauber über seinen Stand im Comic-Zentrum der Frankfurter Buchmesse unterhalten, und er schrieb mir etwas später: "Sicher würde ich in zwanzig Jahren immer noch Comics machen, sicher auch für nur 50 oder 100 Leute. Aber warum soll ich mich damit gleich zu Beginn zufrieden geben? Wo liegt da der Sinn und der Idealismus? Außerdem: 150 Stück... Andreas!!! Das ist dreimal soviel, wie wir verkaufen. Also, mal im Ernst, bei allem Idealismus der Welt, würdest du da nicht auch alles versuchen, um ein paar mehr Hefte loszuwerden?" Christopher Tauber will hoch hinaus, und er versucht alles. Nein, nicht alles. In der vierten Ausgabe seines Fanzines sind noch mehr seltsame Beziehungsgeschichten in Comic- und Textform enthalten, dazu ein witziges Interview mit dem Entertainer Götz Alsmann und eine verhinderte Plattenecke. Also fürs breite Publikum ist das alles nichts, da nützt auch ein Einsatz auf der Buchmesse nichts. Aber einen prominenten Platz in der Fanzine-Szene haben die "Paranoid"-Macher mit ihrem konsequenten Heft durchaus verdient. aa



The SAF Reporter (Oktober 2000). 16 Seiten, farbig, DIN A 4. SAF Strip Art Features, Krpanova 1, 3000 Celje, Slovenia. www.safcomics.com
Jo hat dieses Magazin schon mal vorgestellt. Ich möchte es noch einmal tun, weil das Projekt der "Stripburger"-Macher recht bemerkenswert ist. Für die Informationen über interessante Neuerscheinungen würde eigentlich ein vierseitiges Faltblatt genügen. SAF begnügen sich mit einer relativ kleinen Auswahl von Neuerscheinungen. Die restlichen Seiten nutzen die Slowenen, um jeweils eine Seite, in einem Fall zwei, aus den besprochenen Bänden als Leseprobe zu drucken. Und damit machen sie wirklich so richtig Appetit auf die vorgestellten Comics. aa



Sprühende Phantasie # 19 (Juli 2000). 52 Seiten, s/w mit Farbcover, DIN A 4, 6 Mark. Sprühende Phantasie, Goebenstraße 37, 32423 Minden
Vier Seiten Leserbriefe! Mit Jos Projekt geht's ja offenbar doch bergauf. Etwas frustrierend - am meisten wohl für Jo selbst - war früher, daß es kaum Reaktionen auf SP gab. Es schien, als wüßte niemand so recht die besonderen Qualitäten dieses Magazins zu würdigen. Das war mir deshalb unerklärlich, weil Jo es immerhin Ausgabe für Ausgabe schaffte, einige der besten Amateurzeichner der Szene, oft noch wenig bekannt, im Heft zu versammeln. Jo hatte immer schon einen Blick für solche Leute. Wenn ein Heft in der Szene verwurzelt war, dann war das also SP. Jetzt merkt man's endlich auch an den Leserbriefreaktionen. Auch in der neuen Ausgabe sind einige der besten Leute vertreten, die zur Zeit aktiv sind. Aber es sind zunehmend diejenigen, die auch in PLOP schon mal vorkommen oder die ich vielleicht in PLOP gern hätte, zum Beispiel Niels Kolditz, Eckart Breitschuh, Stefan Dinter, Levin Kurio, Oliver Ferreira oder Horst Jäger. Mit anderen Worten: SP wird populärer. Die Handschrift des Herausgebers bleibt - im wahrsten Sinne des Wortes - jedoch unverwechselbar (nach wie vor werden alle Texte handgelettert), und Jos Auswahl ist nach wie vor dem Heft anzumerken. Interviewt hat Jo im neuen Heft den Münchner Comiczeichner Frank Schmolke. Es ist erstmals eine Mischung aus Brief- und Telefoninterview und wirkt damit erstmals wie ein richtiges Gespräch. Schön, daß sich auch bei einem Magazin wie diesem, das schon lange einen sehr hohen Qualitätsstandard hatte, noch einige Dinge verbessern lassen. Bleibt zu hoffen, daß sich das auch in den Verkaufszahlen niederschlägt. aa



Sunburn # 14 (Sommer 2000). 36 Seiten, s/w, DIN A 4 (angelsächsisches Format), 3 Dollar. Karl Thomsen, P.O. Box 2061, Winnipeg, MB R3C 3R4, Kanada. www.escape.ca/~mosfog/
"Underground Comic Chaos" heißt dieses Magazin im Untertitel. Die beteiligten Zeichner orientieren sich tatsächlich überwiegend an amerikanischen Underground-Traditionen. Herausgeber Karl Thomsen hat allerdings ein sehr geordnetes Chaos angerichtet. 15 Zeichner hat er in dieser Ausgabe hübsch ordentlich versammelt, die meisten aus Kanada, aber auch einige aus USA, Australien, Finnland und sogar Slowenien. Viele von ihnen begnügen sich mit Onepagern, so daß man ein breites Spektrum von Zeichenstilen und Ausdrucksformen kennenlernen kann. Planmäßig müßte inzwischen schon die Herbstausgabe erschienen sein. Mehr über das empfehlenswerte Projekt "Sunburn" vielleicht im nächsten PLOP. aa



Ten Eyes Archiv # 1 - 3 (Juni 2000). Je 28 Seiten, s/w mit Farbumschlag, DIN A 4, 7,50 Mark. Norbert Zlöbl, Bauerngasse 93, 90443 Nürnberg
Ein neues Magazin erblickte das Licht der Öffentlichkeit, und das Konzept ist gut. Unter dem Titel "Ten Eyes Archiv" erscheinen Hefte, die jeweils immer nur einem Nachwuchskünstler gewidmet sind. Weder von Fufu Frauenwahl noch von Norbert Zlöbl oder André Breinbauer habe ich bisher irgendeine Veröffentlichung im Gedächtnis (*), aber gut sind sie alle. Natürlich ist die Qualität ihrer Zeichnungen eher mit Fanzines zu vergleichen als mit Profipublikationen. In dieser Kategorie braucht vor allem Fufu Frauenwahl den Vergleich mit anderen nicht zu scheuen. Sein holzschnittartig angelegter psychologischer Comic "Sightseeing" ist leider als Fortsetzung angelegt. Als Bonus gibt es noch einen Fünfseiter mit anderem Thema. Genauso ist es auch bei Ausgabe # 2 namens "Phötus" von Norbert. Hier beschließen drei ausgediente Vibratoren, unter dem Namen "The amazing Joysticks" Rockstars zu werden. Als Bonus gibt es einen Zweiseiter. André Breinbauer ist mit "Horst Kreiner" der Dritte im Bunde. Dieser parapsychologische Weltenbummler mit dem guten Aussehen von Stephan Derrick und dem Know-how von John Sinclair versucht, die Welt des Unerklärlichen zu beleuchten. Alle drei Hefte haben wunderschön gemalte Cover, abgedrehte Stories und feine Zeichnungen, leider auch eine Halbwertzeit von cirka fünf Minuten gemeinsam. Man sollte dem Label aber auf alle Fälle eine Chance geben, denn gut sind die Zeichner schon. Jo84 (*) Mein Gedächtnis gibt in diesem Fall etwas mehr her: siehe Rezension von "Sendeschluß" in PLOP # 53, August 1998. aa



tremor comics # 12 (Oktober 2000) und 13 (Dezember 2000). Je 44 Seiten, s/w mit Farbcover, Comicbookformat, 4,80 Mark. C. Schadow, Triftstraße 05, 06114 Halle/Saale, e-Mail: tremorcomic@yahoo.de
Scherz, Satire und Parodie haben in den letzten beiden Ausgaben des Magazins aus Halle ein größeres Gewicht gewonnen. Es ist der Witz, der auch in den meisten Kostenlos-Magazinen vorherrscht. Nur, daß von Ausgabe zu Ausgabe die Beteiligung von Szenaristen für bessere Stories versprochen wird, entwickelt sich zum running gag besonderer Art. Weil die meisten vertretenen Zeichner - darunter jetzt auch der auch aus PLOP bekannte Bernd Teuber - überdurchschnittlich gut sind, sollte man "tremor comics" weiter im Auge behalten. aa



Wacka Wacka # 6. 52 Seiten, s/w, DIN A 5, 3 Mark. Wacka Wacka, Postfach 101419, 04014 Leipzig. www.wackawacka.de
Nachdem er seine Diplomarbeit abgeschlossen hat, konnte sich Guido Kawczynski wieder einer neuen Ausgabe zuwenden. Sie ist ziemlich textlastig geworden, zumal sieben Seiten einer Kurzfassung eben dieser Diplomarbeit gewidmet sind. Guido hatte das Glück, über Comicfanzines in Deutschland zu schreiben, aber das Thema war doch ein wenig bizarr: Er hatte zu untersuchen, ob sich Fanzines zum Einstellen in öffentliche Bibliotheken eignen. Immerhin hat er zunächst mal die Szene ausführlich aufgerollt, und das ist es auch, was wir in der Kurzfassung lesen. Und nachdem die Comic-Fanzines in den inzwischen zwei Anthologien wissenschaftlicher Betrachtungen namens "Fanzines" von Jens Neumann jeweils nur am Rande vorkamen, ist es wohltuend, sie hier einmal ganz im Mittelpunkt des Interesses zu sehen. Beinahe möchte ich das Heft medienkritisch nennen. Ziemlich schwärmerisch ist der Artikel von Robert Glaser über Robert Zemeckis Kinoserie "Back to the Future" geraten. Und dann werden uns auch noch Comicklassiker nahegebracht: "Stray Bullets", "Ghost World" und "Maus". Die Comics, um das nicht zu verschweigen, stammen von Oliver Ferreira, Watzek, Oliver Gfeller, Aaron Jordan und Anja & Joy - nicht zu vergessen eine Episode "Walter Weltraum" vom Herausgeber himself. aa



Zebra # 15 (Juli 2000). 40 Seiten, s/w, DIN A 4, 4,80 Mark. Zebra, c/o Georg K. Berres, Giselherstraße 19, 50739 Köln
Grüne Männchen? Dinosaurier in einem vergessenen Tal? Ratten in den Wänden? Das anspruchsvolle Comicmagazin Zebra? Gibt's doch alles nicht! Doch da - kurz vor dem Comic Salon lag eine Zebra-Ausgabe in meinem Briefkasten. Ich hatte das Magazin schon ins Reich der Fabel verbannt. Doch die beiden Akte X-Agenten, die mich auf dem Cover so unverwandt anblicken, haben schließlich doch die große Kölner Verschwörung aufgedeckt. Innen gibt's auch noch die schönste Akte X-Parodie in beinahe MAD-Tradition. Haggi ist mit einer blutgefrierenden Autopanne-im-dunklen-Wald-Story dabei. Und Volker Reiche schließt das Heft mit der mysteriösen Story "Snirks Café" ab, die schon ein wenig vorausweist in die Ewigkeit. Das übrige sind Zebra-Eigenproduktionen, wie man sie von früher her noch gewohnt ist. Zebra ist nach wie vor das wohl eleganteste Comic-Fanzine im deutschsprachigen Raum. Zu schade, daß das Heft so selten erscheint. aa



Kurt Busiek: Astro City # 1 - 7, Bookshelfformat. Verlag Thomas Tilsner
An "Astro City" bin ich (zu) lange vorbeigelaufen. Die düsteren Zeichnungen, unbekannten Helden und scheinbare Aktionsarmut der Stories hat mich nicht sofort überzeugen können. Dabei ist die Sache ziemlich genial. Erzählt werden Geschichten aus einer Stadt, die seit mehr als 60 Jahren Superhelden und Superschurken hat. Da das "Homage"-Label ein DC-Ableger ist, wundert es wenig, daß man in "Samaritan" Superman erkennt, in "Winged Liberty" Wonder Woman, in "Confessor" eine Art religiösen Batman (komplett mit Roben im Meßdienergewand), aber in "Crackerjack" auch eine Art Spiderman und in der "Furst Family" eine erweiterte Version der Fantastic Four. Anstatt aber nur zu imitieren oder uns die Konstruktion eines neuen Superheldenuniversums vorzu-führen, gelingt es Busiek, alltägliche Geschichten in nicht alltäglicher Umgebung zu erzählen: Ein Mädchen aus einem Viertel, in dem man nur Vampire und okkulte Helden gewohnt ist, zieht in die Großstadt und muß sich behaupten. Ein Journalist beobachtet einen gewaltigen Superheldenkampf, kann ihn aber nicht verifizieren und so nur einen kleinen Bruchteil davon veröffentlichen. Ein Junge kommt in die Stadt, um als Super-Sidekick Karriere zu machen. Samaritan und Winged Liberty versuchen, einen ruhigen Abend zu verbringen. Eine normale Familie erlebt zum ersten Mal den Angriff eines kosmischen Riesen auf ihr Viertel und erfährt vor allem ein gewaltiges Zusammengehörigkeitsgefühl der Nachbarn. Ein gealterter Superschurke versucht, einmal etwas Gutes zu tun. Der kleine Mann von nebenan ist Korrespondent einer Alien-Invasion. Schwer beschreiblich und sehr amerikanisch schafft Busiek hier echte Short Stories, die ein wenig an Eisner erinnern, den Superheldenkosmos aber nicht vernachlässigen. Sie geben dem Leser das "Groundfloor-Feeling", das alle aus der Zeit kennen, als ihnen noch nicht alle Zusammenhänge in den Geschichten klar waren und noch Neues zu entdecken war. Empfehlenswert. Zum Einstieg empfohlen: Band 3. Jeder Band enthält zwei US-Ausgaben. Herod



Frank Cho: University Freaks # 1, 9,80 Mark. Gringo Comics
Es gab früher intelligente amerikanische Zeitungscomics, die man gerne las. Nein, ich rede nicht von "Garfield" und "Calvin & Hobbes", die ich eigentlich schon für späte, infantilisierte Vertreter dieses Genres halte. Es waren Serien wie "Peanuts", "B. C." ("Neander aus dem Tal") oder "Wizard of Id" ("Magnus der Magier"), die einen immer wieder durch ihren Einfallsreichtum verblüfften. Frank Chos Serie "University”", die zunächst in einer Campuszeitung veröffentlicht worden war, geht in eine vergleichbare Richtung. In University Freaks gelangen drei verlorengegangene Versuchstiere an eine Uni und schreiben sich auch problemlos ein. Was folgt, ist eine breitgefächerte Satire der an US-Unis üblichen Party- und Dating-Gewohnheiten, denn vor allem die Ente schwärmt ein menschliches Mädchen an. Noch etwas arg auf Saufwitze beschränkt, aber wir wissen ja, wie weit Werner damit gekommen ist. Herod



Frank Cho: Liberty Meadows # 1, 6,90 Mark. Salleck Publications
Dies ist der professionelle Nachfolger der Uniserie! Diesmal geht's um eine Tierklinik, in der sich reichlich bescheuerte Tierchen um die hübsche Brandy und den schüchternen Frank scharen. Noch witziger und intelligenter als University Freaks. Etwas peinlich ist nur das Figurenrecycling, das Cho hier betreibt. Aus der sprechenden Bohne ist ein Frosch geworden, und der verliebte Enterich erscheint nun menschlich, aber sonst kennen wir fast alle Hauptdarsteller in der gleichen Charakterisierung schon aus "University Freaks". Herod



Kazushi Hagiwara: Bastard!! Der Gott der Zerstörung # 2. Der Gegenangriff. Carlsen
Das ist so richtiger netter Manga-Blödsinn, wie ihn sich der kontinentale Leser wünscht, dem der behäbige französische und übermäßig verworrene US-Su-perhelden-Comic langweilig geworden sind. Eine bodenlos unwichtige Fantasy-Serie um Magier und hübsche Prinzessinnen, deren Schurke "Dark Schneider" heißt (kennt man Helge Schneider jetzt schon in Japan, oder hat mal wieder einer im deutschen Branchenbuch geblättert?). Blühender, aber nett gezeichneter, leicht verdaulicher, weitgehend sympathischer Unfug. Herod



Yukito Kishiro: Battle Angel Alita # 1. Cirka 220 Seiten, s/w mit Farbcover, 9,95 Mark. Carlsen
Nachdem den großformatigen Mangas wie "Battle Angel Alita" oder "Sarah" aufgrund des hohen preises der ganz große Erflog versagt blieb, versucht sich Carlsen jetzt an einem Nachdruck des selben Stoffs im beliebten "Dragon Ball"-Format mit umgekehrter Leserichtung. Der Manga selbst gehört weltweit zu den erfolgreichsten seiner Art. Mechaniker Ido findet auf dem Schrottplatz den Kopf eines weiblichen Cyborgs, dessen Gehirn noch intakt ist. Er baut ihr einen schönen mechanischen Körper und nennt sie Alita. Während sie als Kopfgeldjägerin ihr Geld verdient, versucht sie verbissen, etwas über ihre Vergangenheit als Mensch zu erfahren. Jo84



Isabel Kreitz / Stefan Dinter: Halloweens (16sei-tiges Comic-Insert der Springer-Jugendzeitschrift "Yam!" # 40, September 2000)
Beim Blättern im Supermarkt fällt mir auf, daß Yam! auf dem Titel eine Comicbeilage verspricht. "Na, das wird wieder n schöner Quark sein", denke ich und entschließe mich, zum Lästern einen Blick darauf zu werfen. "Was'n das? Irgendso'n DC-Lizenzzeug?" So sieht's aus, professionell gezeichnete und colorierte, aber auch etwas oberflächliche Funnies a la Munsters oder "Addams Family". Erst das Auftauchen der Teletubbies in dieser Gruselparodie bewegt mich zum Kauf des Heftes. Umso erstaunter bin ich, als ich erkenne, daß Isabel Kreitz und Stefan Dinter für diesen Comic verantwortlich sind. Das ist, nachdem ich mit der Currywurst und Dr. Mabuse überhaupt nichts anfangen konnte (vom Zeichenstil her) bisher das sympathischste Comicerzeugnis von Isabel, das ich zu Gesicht bekomme. Weiter so! Nebenbei: Die Teletubbies haben nicht alle die gleichen Antennen (sind ja alle Tinky-Winkys, bis auf die Pseudo-Laalaa, die ein Fantasiegäbelchen trägt), und sie haben alle große Ohren. Aber ich fand's prima, daß sie die Tubbies gegen den Werwolf gewinnen lassen! Tubbies triumphant!!! Wann treten die Tubbies in die Föderation ein? Lieutenant Tinky, beam us up! Herod



Jim Krueger (Story) und Dougie Baithwaite (Pencils): Universe X # 0, Comicbookformat. Marvel US
Das ist die Nachfolgeserie von "Erde X", die das im Vorgänger eher spielerisch geschaffene Zukunftsuniversum genauer ausleuchtet. Die Zeichnungen sind weniger holzschnittartig und erinnern eher an die 70er oder 80er Jahre. Da hier alle Handlungsfäden (inklusive der des wiedergeborenen Mar-Vell) weitergeführt werden, wird es noch eine Weile dauern, bis man sagen kann, ob sich die Sache lohnt. Herod



John-Paul Leon und Jim Krueger: Erde X. Marvel Millennium # 0 - 7. Bookshelfformat. Panini
Dies ist die Serie, auf die alle Altfans gewartet haben! Als wir anfingen, Superheldencomics zu lesen, waren die Helden selbstverständlich älter als wir. Als wir heranwuchsen, näherten wir uns immer mehr an, waren vielleicht früher mit der Uni fertig als Peter Parker, früher verheiratet als Superman oder ähnliches. Plötzlich schienen wir sie altersmäßig zu überholen - bis jetzt! Wer einen 40- bis 50jährigen dicken, desillusionierten Peter Parker mit Tochter erleben möchte, Ben Grimm als Familienvater mit zwei Söhnen (den Brüdern Grimm, klare Sache), Captain America als haarlosen Opi und Tony Stark als ergrauten Genius, der seine Roboterschöpfung nur noch aus einer Schaltzentrale lenkt, der ist hier richtig. Obwohl das ganze durchaus Humor hat, ist es keine Parodie, sondern ein spannendes Epos, in dem die ganze Erde mutiert ist und die Superhelden auf den Plan gerufen sind, um den jugendlichen Nachfolger von Red Skull von der Weltherrschaft abzuhalten. Eine zeitgemäße, spannende Story, die endlich mal wieder den gesamten Mythos Marvel nutzt. Ach ja: Norman Osborne (der Grüne Kobold) ist amerikanischer Präsident. Nuff said! Herod



Winsor McCay: Little Nemo 1905 - 1914. 432 Seiten, farbig, Überformat, Hardcover, 49 Mark. Evergreen / Benedikt Taschen Verlag
Der Taschen Verlag, bekannt durch ein hervorragendes Preis-Leistungs-Verhältnis im Bereich der Kunstbücher, hatte sich nach einer Pleite mit französischen Comicalben Anfang der 80er Jahre auf seine Stärfke besonnen und zugunsten von Büchern die Finger von Comics gelassen. Manche Comczeichner waren jedoch auch in der Kunstszene berühmt wie zum Beispiel um die Jahrhundertwende Lionel Feininger. Nach jahrelanger Ignoranz dieser hervorragenden Arbeiten seitens der Kunstliebhaber erfreuen sich auch in letzter Zeit diese Arbeiten außerhalb des Kunstmarkts bei Vielen wachsender Beliebtheit. Ähnlich war es mit den Arbeiten seiner Mitstreiter, allen voran Winsor Mc Cay. Von 1905 bis 1926 erschienen mit Unterbrechungen seine Comics von "Little Nemo" in vielen verschiedenen Zeitungen in der Sonntagsbeilage. Ähnlich wie Feininger waren die detailliert ausgearbeiteten, romantischen und skurrilen Abenteuer von McCay seiner zeit weit voraus und nicht sonderlich beliebt. Es dauerte Jahrzehnte, bis die Abenteuer Nemos im Traumland als verkannte Klassiker gewürdigt wurden. Nach etlichen Verlagen, unter anderem Carlsen, wagt sich Taschen endlich an eine Gesamtausgabe in zwei Bänden. Ergänzt um ein kurzes Vorwort enthält es alle Nemo-Seiten, die McCay von 1905 bis 1914 für verschiedene Zeitungen zu Papier brachte. Druck, Aufmachung und Preis-Leistungs-Verhältnis sind allererste Sahne. Es lohnt sich, nach dem Buch Ausschau zu halten. Jo84



Duke Mighten: Objects of Desire - The Art of Duke Mighten. 64 Seiten, s/w mit Farbcover, Comicbookformat, Prestige, 24,80 Mark. Extrem Erfolgreich Enterprises
Duke Mighten kennt in Deutschland keine Sau, da fast nichts von ihm auf deutsch vorliegt. Für Satanika 1 - 3 zeichnete er verantwortlich, und auf amerikanisch dürfte höchstens sein Werk "Batman - Book of Shadows" größere Bekanntheit erlangt haben. Dabei ist der Mann ein Genie, finde ich und finden auch EEE. Ein richtiger Comic von ihm wäre mir lieber gewesen, aber dieses Skizzenbuch (50 Prozent Bleistift, der Rest ausgetuscht) zeigt auch, was er drauf hat und was nicht. So ist er zum Beispiel ein Künstler, der es liebt, Anatomie und Kleidung geradezu zu designen. Sein Faible für spinnenartig verzogene Körper kann sicher nicht jeder nachvollziehen. Aber auch realistisch gezeichnete Körper und Gesichter (vor allem seine Frauen) haben eine außergewöhnliche, ganz spezielle Wirkung, und er ist einer der ästhetischsten Vorzeichner der Welt. Als Tuscher ist er leider etwas oberflächlicher, bei Endprodukten sieht aber immer noch alles gut aus. Ergänzt wird das Buch durch ein Vorwort des britischen 2000 A.D.-Autors Pat Mills und eine Eigenbiografie. Dabei erfährt man, daß der gedrungene Schwarze schon kurz davor war, alle Comicarbeiten einzustellen. Das wäre ein Riesenverlust. "Objects of Desire" ist eine hervorragende Neuerscheinung, nicht perfekt, aber ehrlich in seiner Darstellung von Mightens Arbeit. Ein Muß für jeden, der sich mit der Herstellung von Comics und dem Einfluß düsterer Visionen beschäftigt. Der Preis ist nicht günstig, aber gerechtfertigt. Heißer Tip! Jo84



Uli Oesterle: Fraß. 52 Seiten, farbig, 25 mal 19 Zentimeter, 29,80 Mark. Edition 52
Uli Oesterle dürfte so langsam kein Unbekannter mehr sein. Der Veteran des Münchner Comicmagazins "Comicstrich" hat sich aus seinem Umfeld gelöst und hat mittlerweile in vielen verschiedenen Produktionen und Verlagen die Hände im Spiel. "Fraß" ist nach vielen gelungenen und teilweise auch prämierten Comics sein erstes Farbalbum, und es ist absolut super gelungen. Das Album, das Ulis verstorbenem Freund Alexander Jessen gewidmet ist, erzählt die Geschichte des Feinschmeckers Serafin Brute II. Der schwerreiche Gourmet kann es sich leisten, seinem Freßtrieb auch zu horrenden Preisen zu frönen. Nichts ist ihm gut und teuer genug. Doch plötzlich verliert Brute seinen Geschmackssinn und damit jeden Lebenswillen. Was könnte ihm beides zurückbringen? Oesterles Darstellung des verzweifelten Gourmets ist einfach phänomenal. Das Album ist zudem auch noch sehr gut coloriert. Man hat es zwar recht schnell durchgelesen, sollte den Preis aber trotzdem investieren, weil es rundum gelungen ist. Jo84



Minami Ozaki: Zetsuai: 1989 # 1. 192 Seiten, s/w mit Farbcover, 12 Mark. Carlsen
Wieder ein neuer Manga bei Carlsen, diesmal von einer Frau (Jahrgang 1968). Man mag kaum glauben, daß "Zetsuai" in Leserumfragen der Animania auf Platz eins der Wunschliste von Neuerscheinungen war, denn die wirr in Comicform übertragene Geschichte ist zudem im Vergleich zu anderen Mangas mehr als dürftig gezeichnet. Auf Hintergründe hat Ozaki schon mal gar keinen Bock, und die anatomisch durchweg viel zu länglich geratenen Akteure erinnern zeichnerisch mehr an irgendwelche Modeskizzen, ohne deren Leichtigkeit einfangen zu können. Textlich finde ich den Band ebenfalls mehr als uninteressant. Der extrovertierte Popsänger Kojinanjo verliebt sich in den gleichaltrigen Fußballer Takuto Izumi, der ihn wegen seiner femininen Gesichtszüge an einen Schwarm seiner Jugend erinnert. Als Koji erfährt, daß Takuto ein Mann ist, geraten seine Gefühle zunächst völlig durcheinander. Erst nach und nach gelingt es ihm, sich auf seine Liebe einzulassen. Leider ist diese gleichgeschlechtliche Liebe nicht einfühlsam, sondern einfach nur doof geschildert. Ein weiterer Grund für meine Abneigung dem Werk gegenüber ist die Darstellung der Autorin: Ein Luxusweibchen mit Hang zum Pathetischen ("Sie hegt außerdem eine Vorliebe für ... die Farbe von getrocknetem Blut") und verachtenswerten Idealen (Diamanten, Designerkleidung und die Marken Rolex, Dunhill, Armani und Chanel). Aber der Erfolg gibt ihr zumindest in ihrer Heimat recht - unverständlich. Jo84



Claudio Piersanti / Lorenzo Mattotti: Stigmata. Ca. 190 Seiten, s/w mit Zweifarbcover, 16,5 mal 23 Zentimeter, 29,80 Mark. Edition Kunst der Comics
An Lorenzo Mattottis Comics scheiden sich die Geister. Dies gilt für seine Schwarz-weiß-Werke noch mehr als für Farbarbeiten, denen unvoreingenommenes Publikum wenigstens eine faszinierende Farbigkeit attestiert, wenn es auch diese Comics nie kauft oder liest. "Der Mann am Fenster", Mattottis Schwarz-weiß-Debüt, war nun auch ein wirklich kryptisches Werk, das wohl kaum einer so wirklich verstanden hat. Bei der Story von Claudio Piersanti liegt der Fall zum Glück anders. Zwar gibt es vereinzelt wieder Seiten, auf denen sich die Künstler im Symbolischen verlieren, der Großteil des Buches jedoch erzählt recht geradlinig die Geschichte eines Mannes, der mit Stigmata erwacht und von dem sich deshalb der Rest der Menschheit abwendet. Zuflucht und sogar eine Gefährtin findet er bei einem Wanderzirkus, bis sich die Geschehnisse zuspitzen und eskalieren. Zeichnerisch ist das Werk harter Tobak. Verzerrte Anatomien, wilde Schraffuren und kreisförmige Krakeleien tauchen auf jeder Seite auf. Die aggressiv und expressiv gestalteten Seiten transportieren aber gut den über lange Strecken ausweglosen Schicksalsweg des innerlich zerrissenen Hauptdarstellers. Mattotti und Piersanti befinden sich mit diesem faszinierenden Comic in der genauen Mitte zwischen Anspruch und Verständlichkeit, ohne in Möchtegern-Kunst abzudriften. Ein Tip für alle, die's nicht zu flach mögen. Jo84



Miguelanxo Prado: Fantasmagorie. 94 Seiten, farbig, 23 mal 23 Zentimeter. Mosquito
Um Miguelanxo Prado ist es in Deutschland ruhig ge-worden. Im Ausland erfreut sich der Comiczeichner und Illustrator immer noch wachsender Beliebtheit, wie der vorliegende Prachtband mit Einzelillustratio-nen für verschiedene Magazine, Postkarten und so weiter zeigt. Die französische Produktion, untertitelt in Französisch und Spanisch, beweist, was für ein außergewöhnlicher und vielseitiger Illustrator Prado ist. Farbverständnis und Gebrauch verschiedenster Materialien sind einfach einzigartig. Ein klasse Bildband, bei uns zu beziehen über den Verlag Salleck Publications, Carlsberger Straße 19, 67319 Wattenheim. Jo84



Erich Rauschenbach: Vater werden ist nicht schwer, Tochter sein dagegen sehr. 48 Seiten, farbig, Hardcoveralbum, 24,80 Mark. Eichborn
Erich Rauschenbach, geboren 1944, gehört zu den erfolgreichsten Cartoonisten Deutschlands. Seit 1973 ist er freiberuflicher Zeichner für verschiedene Zeitungen, Zeitschriften und Sachbücher, vor allem Autor zahlreicher eigener Cartoonbände. In seinem neuen Band thematisiert er die Beziehung zwischen alleinerziehendem Vater und seiner Tochter. Das Ergebnis fällt so handwerklich routiniert wie schon seit mehr als 25 Jahren aus. Die Form der Onepager wird nicht angegriffen, drei bis vier Panels pro Seite zeichnet Rauschenbach, die er schnell mit Wasserfarben oder Aquarell coloriert, dazu ein Humor, der bloß nirgends anecken darf. Ein bißchen süß oder seicht darf' s dazu schon sein. Seit dutzenden von Alben macht Rauschenbach mit Erfolg immer wieder dasselbe. Ich find's mittlerweile langsam etwas nichtssagend. Jo84



Joachim Schulz, Mathias R. Schmidt (Text), Tim Schuster (Zeichnungen): Hatto & Co # 1. Das Geheimnis von Eihloha. 48 Seiten, farbig, Albumformat. Verlag Parzeller, Fulda, Telefon 0661/280374, Fax 0661/280285.
"Abenteuer im Mittelalter" heißt der Untertitel dieses Comics um den Mönch Hatto und seine Weggefährten im Jahre 742. Vorbild für diesen Comic war natürlich, ersichtlich an Aufbau und Textzitaten, Asterix, dessen Flair man in ein späteres Zeitalter versetzen wollte. So ganz hat das nicht geklappt, dafür sind die Mängel doch noch zu groß, aber die grobe Richtung stimmt schon mal. Die Hauptpersonen sind auf der Einführungsseite recht gut vorgestellt. Es sind auch alles recht lustige Charaktere. Leider sehen sie sich ein bißchen ähnlich, was im Text manchmal zu Verwechslungen führt. Der Text vermittelt ein gutes geschichtliches Wissen, auch der Anhang läßt die Vermutung zu, daß die Texter mehr Wert auf historische Recherche und Genauigkeit denn auf flotte Unterhaltung legen. Denn leider ist die Geschichte in diesem ersten Band ziemlich langweilig. Man spürt auch, daß die Macher, auch der Zeichner, noch nie vorher einen Comic gemacht haben. sie beherrschen den Storyaufbau unter Berücksichtigung der Bildersprache leider nicht besonders. Hintergründe fehlen fast gänzlich, und die Vorzeichnungen sind nur mäßig getuscht. Schade, denn ein Comic über Mönche in dieser Zeit der Missionierung hätte sicher interessanter und vor allem spannender gestaltet werden können. Jo84



Jerry Scott/ Jim Borgman: Zits. 128 Seiten s/w, Softcover, 21,5 x 21,5 cm, DM 19,80. Achterbahn
20 Mark bezahlt und nichts bereut! So könnte ich's kurz formulieren. Zits sind Comicstrips, meist drei pro Seite, mal 128 Seiten ist 'ne ganze Menge. Die Hauptfigur der Serie ist Jeremy. Er ist fünfzehn, lebt in den USA, bei seinen Eltern. Sein Vater ist Zahntechniker und somit der Schrecken der Zahnspangen tragenden Teenies, seine Mutter ist Kinderpsychologin, sein Bruder ist ein Streber an der Uni. Das ist hart. Die Strips geben Einblick in das Leben von Jeremy und seines Freundes Roberto. 15 sein heißt, sich gegen die Alten abgrenzen durch möglichst schlabberige Klamotten, eigene Sprache und Musik. Das heißt, nach Mädels sabbern, ohne den Mut zu haben, sie anzusprechen. (Man behilft sich mit Psycho-Liebescassetten, um die Angebetete zu erobern). Das heißt vor allem, Streß in der Schule und zu Hause, weil sich die Teeny- und die Erwachsenenwelt eben manchmal überschneiden. Angenehm lockerer Strich, gut lesbares Computerlettering und vor allem die schöne Ausarbeitung der Charaktere gefallen mir. So muß nicht jeder Strip in einen Gag münden, weil einfach schon die Art, wie Jeremy bestimmte Dinge tut, sagt, sich bewegt, sauwitzig ist. Erst recht die tief philosophischen Gespräche mit Roberto und der verzweifelte Versuch seiner Eltern, ihn zu verstehen. Und reichlich krause Ideen. Cool auch sein Daddy. Als Jeremy sich ein Tattoo zulegen will: "Dann lasse ich mich piercen!" Ungut fand ich die Eindeutschung durch den ungenannten Übersetzter. Da wird irgendwo Helmut Kohl in einen Satz eingebaut, Roberto gibt keine Nachhilfe in Spanisch, sondern in Deutsch, und Jeremy bettelt um ein Auto zum 18. Geburtstag, wiewohl er ja erst 15 ist. Das wirkt um so peinlicher, als ständig amerikanische Lebensart und Eigenarten daran erinnern, daß die Serie in Amerika spielt. Abgesehen davon eine tolle Serie. Ich kaufe ja selten Comics, aber diesen sollte man echt haben, wenn man Strips mag! rs



Jürgen Seebeck: Bloody Circus. 100 Seiten, farbig, 18 mal 13 Zentimeter, 12 Mark. Carlsen
Jürgen Seebeck und seine Freundin Junko Iwamoto sind in Deutschland schon lange als Übersetzer von Mangas und Japan-Spezialisten bekannt. Zu ihren erfolgreichsten Übersetzungen gehören "Dragon Ball", "Akira", "Battle Angel Alita" und "Astro Boy". Tief von dem Phänomen Manga beeindruckt, schuf der Autodidakt Seebeck ab 1992 eigene Comics, die in Japan im Magazin "Morning" des Verlagsriesen Kodansha erschienen. Bis auf eine Ausnahme hat er in Deutschland noch nichts veröffentlicht. Sein Debutwerk enthält drei Kurzgeschichten, in denen er Figuren aus der japanischen und europäischen Kulturgeschichte in neue Kontexte setzt und mit der Mythologie anderer Länder verknüpft. Zudem spielen seine Geschichten in der Zukunft. Aus Melvilles Klassiker "Moby Dick" wird so zum Beispiel "Moha-Dick, der rote Wal", den der weibliche Cyborg Ahab besiegen will. In der zweiten Geschichte muß ein frisch vermähltes Paar gegeneinander kämpfen. Sie als Torera, er als Stier verkleidet. Die Ehre gebietet es ihnen, sich trotz ihrer Liebe gegenseitig abzuschlachten. Japaner empfinden dieses künstlich erzeugte Drama möglicherweise als tragisch oder romantisch. Ich kann diesem Schwachsinnstext einfach nichts abgewinnen. Und die dritte Story ist für Europäer völlig unverständlich. Ein Riesendämon tötet Wächter aus Holz, um seine Frau aus Gild zurückzuholen. Hier wäre ein bißchen mehr Hintergrundinformation über die Originalsage vonnöten gewesen. Auf den ersten Blick macht "Bloody Circus" einen sehr guten Eindruck. Das Papier ist fest, die Farben sind einfühlsam. Bei näherem Hinsehen bemerkt der Leser aber, daß Seebeck zum Beispiel keine Menschen zeichnen kann. Qualitativ bewegt er sich hier eher auf Fanzine-Niveau. Die merkwürdigen Geschichten tun dabei ihriges. "Bloody Circus" # 2 ist bereits angekündigt. Es bleibt abzuwarten, wie sich die Reihe entwickelt. Jo84



Sente und Juillard: Blake und Mortimer. Die Voronov-Intrige


Lucky Luke. Der Prophet


Don Rosa: Onkel Dagobert # 11
Früher gab es manchmal in MAD oder ähnlichen Hef-ten Imitationen beziehungsweise Parodien von Co-micserien, manchmal gab es auch schlechte Merchandisingprodukte, bei denen jemand die Figuren übernommen hatte. Es war immer seltsam, die Figu-ren von anderen zeichnern gestaltet zu sehen. Kinder, die das Konzept der Parodie noch nicht kennen, empfinden dies oft als "nachgemacht" und "doof". Momentan erleben wir in vielen Comicserien eine Wachablösung unter Zeichnern und Autoren, was in mir manchmal dieses Gefühl wachruft. So wirkt das neue Blake und Mortimer recht nachgeahmt, auch Lucky Luke erscheint seit langem wie ein seltsamer Wiedergänger seiner selbst, obwohl der neueste Band ("Der Prophet") recht witzig ist. Don Rosas inhaltlich hochgelobt Donald Duck/Uncle Scrooge-Serien haben das gleiche Problem. Obwohl ihm durch die Dagobert-Biografie das Verdienst zukommt, alle Zweifler widerlegt zu haben, die in den Donald-Geschichten keine Entwicklung der Charaktere erkennen konnten. Witzig ist Rosas Schraffurtechnik, die das ganze immer wie eine Underground-Parodie wirken läßt. Manchmal wagt er sich auch an Perspektiven der Entenköpfe, die kein früherer Disneyzeichner gezeigt hätte. Oft wirkt aber speziell Donald wie eine leicht verdrehte Spielzeugfigur. Barks bleibt meines Erachtens unangefochten. (Gibt es jetzt an den Zeitschriftenständen im Himmel neue Donald-Hefte? God must have needed ducks in heaven.) Herod



Jacques Tardi / Daniel Pennac: Abwärts. 76 Seiten, farbig, Überformat, Hardcover, 34,80 Mark. Edition Moderne
Tardi, in seiner Heimat ein Superstar, konnte sich in Deutschland leider nie so richtig durchsetzen. Zwar ist der größte Teil seiner Bücher auf deutsch erschienen, die Verkaufszahlen jedoch bleiben erbärmlich. Daran wird wohl auch "Abwärts" nichts ändern, ein Krimi, der im Zoo von Paris spielt. Daniel Pennac ist ein Roman-autor, der auf deutsch bei Kiepenheuer & Witsch veröffentlichte. Tardi arbeitet zum ersten Mal nach seinen Texten, und die radikale Boshaftigkeit, die Tardi selbst als Texter zu eigen ist, tritt hier in den Hintergrund. Es handelt sich um einen handwerklich gut gemachten Krimi, den ich aber nicht als überdurchschnittlich bezeichnen würde: In einem Zookäfig stellt sich ein Arbeitsloser selbst aus, was eine Menge Publicity bringt. Kurze Zeit später findet man ihn erhängt. Die Obduktion ergibt, daß es Mord war. Aber wer hätte Interesse, einen armen Arbeitslosen umzubringen? Oder liegt der Fall etwa ganz anders? Ungewöhnlich bei diesem Band ist vor allem, daß Tardi ihn in Farbe vorlegt. Es bleibt Geschmackssache, dies als positiv oder negativ zu bewerten. Jo84



Ozamu Tezuka: Astro Boy # 2 - 8. Carlsen
Spät kommt er, doch er kommt: eine repräsentative Auswahl der "Tetsuwan Atomu"/"Mighty Atom"/"Astro le Petit Robot"-Serie. Tezukas Urahn aller japanischen Roboterhelden. Als Einstieg hat man sich glücklicherweise nicht an die Chronologie (und auch nicht an die französische Buchausgabe) gehalten, da die Stories der 50er doch relativ öde gezeichnet sind. Daß die Figuren kein Herz haben, wie Andreas Alt formuliert hat, kann ich nicht unterstreichen, wohl aber, daß Astro Boy für unsere Erwartungen für einen Helden ungeheuer viel leiden muß. Im Grunde ist er in vielen Geschichten eine Art elektronischer Pinocchio: er wird verkauft, muß in Vietnam (!) erkennen, daß er den Krieg nicht beenden kann, ja sogar bei einer Heldentat wird er Jahrzehnte in die Zukunft geschleudert, wo er sich über mehrere Bücher hinweg ohne seine El-tern und Mentoren in ärmlichen Verhältnissen zurecht-finden muß. Der Trend zu rührseligen Stoffen ist im Zusammenhang mit der japanischen Nachkriegszeit sicher nachvollziehbar. Ein großer Renner dürfte Astro hier nicht werden, da die Geschichten erst beim Lesen und nicht schon beim Durchblättern im Laden funktionieren. Herod



Lewis Trondheim: Mehltau. 134 Seiten, s/w mit Farbumschlag, DIN A 5, 19,90 Mark. Reprodukt
Lewis Trondheim ist sicher einer der produktivsten Comiczeichner bei gleichbleibender Qualität. "Mehltau" ist nur eine von vielen neuen Veröffentlichungen auf deutsch. Dabei liegt der Großteil seiner Werke immer noch nur im französischen Original vor. In diesem Buch geht es um den mittelalterlichen Diktator Mehltau, der seinen Herrschaftsanspruch auf Teufel komm raus mit Blut unterstreichen und deshalb Trondheims Figur "Herr Hase" unbedingt erschlagen will. Dieser hat ihm gar nichts getan und will gar nicht mit ihm kämpfen. Aber Mehltau ist keinerlei Beteuerungen oder Argumenten zugänglich. Es ist schon witzig mitanzusehen, mit welcher Starrköpfigkeit Menschen manchmal völlig sinnlose Ziele verfolgen. Auf all diesen Seiten passiert eigentlich nichts, außer daß Herr Hase von einer ausweglosen Situation in die nächste getrieben wird, zu dämlich gutmütig reagiert, wenn er mal die Oberhand gewinnen könnte, und völlig naive Zitate von sich gibt. Trotzdem ist das Buch total witzig und ein echter Trondheim. Kaufempfehlung! Jo84



Willy Vandersteen (i. e. Paul Geerts): Suske & Wiske # 265. Papa Razzi. Standaard Uitgeverij, Antwerpen, Belgien.
Nach mehreren eher öden Abenteuerstories und einem höchst unambitionierten Millenniumband ("Het enge Eiland") nun wieder ein erstaunlich witziges Suske & Wiske, in dem Tante Sidonie Supermodel wird und "Claudia Slipper" vertreten soll. sie lernt natürlich sämtliche Slapstick-Schattenseiten dieses Jobs kennen und wird von Paparazzis verfolgt. Aus neid verschlägt es Lambik seit langem wieder mal auf die gegnerische Seite. Witzig (und im konservativen Flandern auch mutig) vor allem, daß sich die Vandersteen-Studios zum ersten Mal trauen, eine homosexuelle Figur auftreten zu lassen, den Modelmanager Yves Yvette, der Gefallen an Lambik zu finden scheint. Herod



Uwe de Witt: Blasted! 36 Seiten, farbig, Comicbookformat, 9,90 Mark. Extrem Erfolgreich Enterprises
Es ist schon schön zu sehen, daß EEE nach Erfahrungen im Lizenzbereich nun auch konsequenterweise Eigenproduktionen von einheimischen Zeichnern veröffentlichen möchte, sofern sie ins Verlagsprogramm passen. Bei der Vielzahl der Bewerbungen war natürlich klar, daß das erste komplett eigenständige Heft ein echter Überhammer sein muß. Graisch trifft diese Bezeichnung auf das Werk auch vollends zu. Der in Hannover lebende Grafiker Uwe de Witt arbeitete fast zwei Jahre an seiner Science Fiction-Ballerorgie, für deren grelle Direct-Colors-Panels Bisley, Sienkiewicz und neuere 2000 A.D.-Comics Pate standen. die Story ist laut Selbstauskunft des Künstlers nicht weiter wichtig. Zwei Kleinkriminelle klauen einen Spezialblaster aus einem dubiosen Waffengeschäft. Leider ist diese Waffe etwas eigen und verbindet sich mit einem der Gauner, der zur schießwütigen Bestie mutiert. Die Story ist kurz, oberflächlich und dümmlich, die Grafik schwindelerregend gut. Da der Verkauf des Heftes bisher unter aller Sau war, wird man sich wohl überlegen, weitere Eigenproduktionen zu starten. Selbst Bela B's Lieblingsprojekt "Sisters of no Mercy" ist schon so gut wie gestorben. Fest steht, daß Uwe de Witt keine Hefte mehr für EEE zeichnen wird (zu arbeitsintensiv bei zu schlechter Bezahlung). Mir gefällt "Blasted" trotz mieser Story ganz gut. Jo84



Yslaire: Der XX. Himmel. 60 Seiten, farbig, Überformat, Hardcover, 36 Mark. Carlsen
Auch ein blindes Huhn findet mal ein Korn, könnte man gehässig über die Albensituation bei Carlsen sagen, denn im Vergleich zu früher läuft dort mittlerweile außer ein paar Funnies nicht mehr viel. Das vorliegende Werk von Yslaire, der uns bei Carlsen früher die Reihe "Sambre" bescherte, zeigt, warum Alben eine zeitlang in Deutschland sehr erfolgreich waren. Der fette Hardcoverband liegt griffig in der Hand, präsentiert ein ausgefeiltes Layout und eine anscheinend ab-geschlossene, recht kryptische Geschichte. Yslaire hat sich seit 1997 sehr intensiv mit dem Internet beschäftigt und nahm es als Grundlage für vorliegenden "Cyber-Roman" (Originalton Carlsen). Es geht um die 98jährige Eva Stern, eine Psychoanalytikerin, die trotz ihres hohen Alters immer auf der Höhe der Zeit geblieben ist und viel am Computer arbeitet. Wenn man fähig ist, diesen recht unglaubwürdigen Plot zu akzep-tieren, erwartet einen eine sehr interessante Story, der man nicht immer ganz folgen kann. Eva bekommt im monatlichen Abstand e-Mails eines gewissen @nonymous, die aus ungeordneten Fotos aus diesem Jahrhundert bestehen. Haben diese etwas mit Evas Bruder Frank zu tun, der 1916 in jungem Alter im Ersten Weltkrieg fiel? Schon den Vorabdruck des Albums im französischen Magazin "Bodoi" verschlang ich fasziniert. Leider ist die Albumausgabe gegenüber dieser Version zu ihren Ungunsten "bearbeitet" und "ergänzt" worden. Das ursprünglich fast rein handwerklich gestaltete Seitenlayout wich leider einem teilweise kalten, technischen Design mit Zahlenspielereien, ekligen Rändern und verwirrenden Beschriftungen. Auch die Original-Bildaufteilung wurde komplett verändert, fast jede Seite sieht völlig anders aus. Ob Carlsen oder Yslaire selbst das Album bearbeitet hat, ist mir unbekannt. Man hat dem Werk jedenfalls keinen Gefallen damit getan. Schade, es hätte das Album des Jahres für mich sein können. Aber ich will nicht übertreiben, das Album ist immer noch sehr gut. Jo84



Dr. Slump # 1 - 6. Carlsen
Carlsen hat ihn endlich: den witzigsten Manga der 80er! Das achtjährige Robotermädchen Arale-Chan ist hier, stärker und frecher als Pippi Langstrumpf, unzensiert und unverfälscht entnervt sie nicht nur ihren Erfinderpapa Dr. Slump, sondern auch Außerirdische, Gangster, Polizisten und Parodieversionen von Superman (der kleine, dicke, unfaire "Suppamann", der bäuchlings auf einem Skateboard daherrollt), Tarzan, Mr. Spock und andere. Das ganze ist auf einer Insel mit sprechenden Tieren angesiedelt und eben kein Endlosklopp-Drama wie Dragon Ball, sondern eine Sammlung unerschöpflicher, vergnüglicher Shortstories. Einiges mutet uns seltsam an wie zum Beispiel Arales Interesse an Kackhäufchen ("Hier, Onkel! Frisch vom Land!"), sollte aber in Tradition amüsant-unartiger Kinderbuchheldinnen gesehen werden und wird so herrlich amüsant und ordentlich gezeichnet präsentiert, daß mir eigentlich nur jeder leid tun kann, der nicht mal einen Band probiert! (Mein Tip: Band 4.) N'cha! Eine der zehn besten Comicserien, die ich kenne! Herod



Extrem special # 1. Torturer: Eine Burg in Canada. 36 Seiten, farbig, Comicbookformat, 12,80 Mark. Extrem Erfolgreich Enterprises
"Extrem illustrated" ist zu dünn, um auch lange Stories düsterer Natur zu bringen. Deshalb erscheint in der neuen Reihe "Extrem special" der Comic "Torturer" von Pat Mills (Judge Dredd, Lobo) und John Hicklenton (Zombie World, Tree of Death) weltweit exklusiv bei EEE und zuerst auf deutsch. Story: Früher war Pete ein Folterknecht, der alle Tricks kannte, den Willen eines jeden Menschen zu brechen. Doch Dämonen brachten ihn als Menschen verkleidet in unsere Zeit, wo er sein Geld mit dem Erfinden von Horrorspielen verdient. In einer Kneipe lernt er die Barfrau Flora kennen, mit der er gemeinsam französische Schloßruinen besucht. Erst hier merken die beiden, daß sie sich aus einem früheren Leben allzu gut kennen. Pat Mills hat sich bei der wirr zu lesenden Story nicht gerade mit Ruhm bekleckert. Ihr Sinn ist unmöglich beim ersten Lesen zu verstehen. Auch die Zeichnungen haben irgendetwas Merkwürdiges an sich. Wohl die schlechteste EEE-Publikation im letzten Vierteljahr. Jo84



Fix und Foxi # 1 - 3. Ehapa
FF sollten zurückkehren. Ehrlich gesagt, genau wie bei Zack hatte ich mich darauf gefreut, Onkel Rolfs Schöpfungen wiederzusehen. Das Heft bestand aus offenbar noch vorrätigen alten Geschichten, ungelenk gezeichneten neuen Stories und der herzlich überflüssigen neuen Familie Pepperkorn, die wohl dynamischer und vor allem textärmer geplant war, aber nie so recht funktioniert hat, allein schon wegen der blöden rosa Trikots, die sie statt normaler Kleidung trugen. Schön wär's gewesen, wenn sich FF wie in alten Zeiten in spaßiger Ironie mit modernen Themen wie Handys, Pokemon, Talkshows etcetera auseinandergesetzt hätten. So weit ist's nicht gekommen, und dem Heft ging nach nur drei Ausgaben die Luft aus. Nun ist Kauka zudem gestorben. Erst Barks, dann Kauka. Ist im Himmel Comic-Convention? Herod



Frank Frazetta Fantasy Illustrated. 92 Seiten, farbig, Softcover, DIN A 4, 19,80 Mark. Alpha
Es gibt in Deutschland kaum eine traurigere Geschichte als die des Alpha Verlags, der aufgrund eines mangelhaften Rechtssystems und eines meiner Meinung nach geisteskranken Bibelfanatikers so gut wie in den Ruin getrieben wurde. Die Flaggschiffe des Erwachsenencomics, "Schwermetall" und "U-Comix", mußten eingestellt werden. An einem Comeback arbeitet man seit Jahren, und dieses neue Magazin soll der erste Schritt dazu sein. FFFI biete auf teurem Papier mit erstklassigem Druck Kurzgeschichten der Creme des Fantasy-Comics. Veteran Richard Corben ist in diesem "Schwermetall special" ebenso vertreten wie Shootingstar David Mack (Kabuki), Covermaler Joe Jusko, "Elfenwelt "-Zeichnerin Wendy Pini und "Dawn"-Zeichner Joseph Michael Linsner sowie andere Talente. Das ganze hat mit Namensgeber Frazetta natürlich gar nichts zu tun. Es ist eher ein gut gemischter Querschnitt meist jüngerer Zeichner (quasi die Generation nach Frazetta), die sich mit einer Kurz-geschichte oder einem ersten Kapitel einer Fortset-zungsgeschichte präsentieren dürfen. Die Sachen sind alle nicht schlecht. Ich wünsche Alpha, daß das Magazin ein Erfolg wird, bezweifle es aber. Denn schon vom amerikanischen Namensgeber ist seit vielen Monaten keine Ausgabe mehr erschienen, wobei Ausgabe 1 im Juni vorlag. Bislang ist Ausgabe 2 weder erschienen noch angekündigt. Sieht also leider nach einer Totgeburt aus. Jo84



Horst # 1 und 2. Je 28 Seiten, s/w mit Farbcover, Comicbookformat, 7,80 Mark. Schwarzer Turm
Was tun gegen den Druck? Das ist das große und offenbar einzige Problem des Hasen Horst, der ja nicht umsonst biologisch korrekt als Rammler bezeichnet wird. Die von Geier weit überdurchschnittlich semi-realistisch gezeichneten Abenteuer heben sich auch inhaltlich von berüchtigter Zotenware ab. Autor Robi (Hahn), bekannt als "Menschenblut"-Hausautor, dürfte jedoch zu schaffen machen, daß die Variationsmöglichkeiten bei diesem Sujet ziemlich begrenzt sind, auch wenn man sich seine Kicks heutzutage außer im Freudenhaus auch in "Swingerclubs" und selbst im Internet holen kann (beste Story meiner Meinung nach: "Drin!"). Die drei Horst-Stories in Band zwei sind schon weit weniger originell als Horsts virtueller Lust-Trip mit Hindernissen. aa



Kopeck # 3. 32 Seiten, farbig, Comicbookformat, 5,90 Mark. Karicartoon Verlag
Vielleicht wäre zunächst ein bißchen Anerkennung nicht schlecht, daß die Trilogie tatsächlich fertig geworden ist. Ich will keineswegs nur kritisieren. Schön, daß Manfred Ilsemann einem deutschen Newcomer eine Chance gegeben hat. Und ich bewundere auch Klaus Scherwinski für seine von Inker Jo Guhde und diversen Coloristen unterstützte Leistung, kann mir allerdings vorstellen, daß er sich in künftigen Comics zeichnerisch noch erheblich steigern wird. Das Projekt "Kopeck" wurde nur mit Mühe und Not ins Ziel gerettet und offenbart, insbesondere wenn man Profi-Maßstäbe anlegt, doch erhebliche - vor allem auch inhaltliche - Schwächen. Teil drei konzentriert sich auf reine Action ohne erzählerische Schnörkel. Wer da nun gegen wen kämpft und warum, ist schon sehr nebensächlich geworden. Es zischt und knallt und raucht jedenfalls sehr schön. Ich habe den Eindruck, am Ende ist der Titelheld auf der Suche nach seinem vermißten Bruder (so fing's ja mal an) keinen Schritt weitergekommen, wenn auch etliche Leichen seinen Weg gepflastert haben. Naja, die Suche soll ja weitergehen, könnte man einwenden. Aber Herausgeber Ilsemann gibt der Serie im Vorwort wegen des Massenangebots an Superheldencomics keine große Chance. Und "Kopeck" müßte doch schon einiges mehr bieten, damit ich darüber richtig traurig wäre. aa



Maddrax - die dunkle Zukunft der Erde # 8. Der schlafende König. 2,50 Mark. Bastei
Ein seltsames Vergnügen ist dieses neue Romanheft, eine Endzeit-Science Fiction-Klamotte. Besonders # 8 ist amüsant, in dem es den Held, Commander Drax, in Begleitung der für gewöhnlich nackten Barbarenkriegerin Aruula, in die Schweiz verschlägt, wo er immerhin den Agenten Sepp Nüssli trifft, vor dem alle "das Hütli lüpfen", weil er der härteste Spion der "Grauen Eminenzen" ist (er ist aber auch der einzige). Ein verblüffend witziger Roman voll bewußtem Spiel mit Klischees. Könnte man sich prima als ironischen Anime vorstellen! Auf der Leserbriefseite berufen sich die Autoren auf Kaukas SF-/Fantasy-Serie "Andrax" (siehe Primo und Kauka-Action Alben), und der Roman enthält sogar Anspielungen auf "Asterix bei den Schweizern"! Wenn man von den Passagen absieht, in denen mit überflüssigen Adjektiven Platz geschunden wird, ein erstaunliches Vergnügen. Herod



Marvel Knights: Dr. Strange - Flüchtige Gaben (Oneshot), 9,95 Mark. Panini
Ein hübscher dicker Sonderband, der alle vier Ausgaben der neuesten Miniserie des Magier-Superhelden unter einem der momentan üblichen blödsinnig rutschigen Glanzcover vereint. Seit Strange erstaunlicherweise den Ruf Agamottos zu einem 10 000 Jahre währenden magischen Krieg an einer anderen Ecke des Kosmos ablehnte, ist er auch schwächer geworden. (gibt's nicht endlich mal eine Figur, die stärker und weniger &%$§realistisch wird? Wie wär's mit einem unverwundbaren Roben oder einem lichtschnellen Spiderman???) Er wirkt älter, matter und leider auch weniger wortgewaltig als in den 60er bis 80er Jahren, sogar Dormammu wirkt weniger ehrfurchtgebietend, mehr wie eine überdimensionale Vogelscheuche. Insgesamt aber spannend und gut lesbar. Herod



Viz. Old Gold Rope: The very Best of Student Grant. 1,85 Pfund (not for sale to children). Im deutschen Bahnhofsbuchhandel ca. 11 Mark.
Das britische Viz ist ein zweischneidiges Vergnügen. Es begann 1980 als Fanzine mit unverschämten und unflätigen Parodien auf die konservativ-festgefahre-nen Kindercomics wie "Beano", "Dandy" oder "Victor". Gerade am Anfang war viel berechtigte Kritik dabei, zum Beispiel säte man Zweifel am stets guten Aus-gang von Abenteuern, an einer stets triumphierenden Gerechtigkeit oder an dem verharmlosenden Prügel-humor vieler Schulcartoons. Auf die Dauer wurden derbe Sprache und Anspielungen unter der Gürtellinie immer mehr zum Selbstzweck, so daß die Parodie zu einer Art kommerziellem U-Comix mutierte, nach wie vor im Format der britischen Comichefte (Magazin-format, 32 bis 48 Seiten, Innenteil größtenteils nur zweifarbig). Was man aber zugunsten des neuen Viz sagen muß, ist, daß sie verwöhnten Snobs und dem britischen Machogehabe oft den Spiegel vorhalten können und immer noch teilweise geniale soziale Kri-tik unterbringen, wenn sie nicht gerade auf der "South Park"/"Al Bundy"-Schiene herumalbern. Besonders gelungen scheint hier "Student Grant", die Serie um einen faulen, dösigen Jedermann-Studenten, der trotz großer Klappe und coolem Gehabe noch völlig von seinen Eltern abhängig ist, bei seinen Kollegen aber großartig ankommt. Die britische Studentenszene wird hier in vielen kleinen Details (Namen von Bars, Ta-gesgestaltung, Partyrituale, politisches und pseudointellektuelles Gelaber bin hin zum Pflichtvegetariertum) liebenswert reflektiert und gleichzeitig respektlos entlarvt. Da ich mal eine Weile an einer englischen Uni zugebracht habe, wage ich zu sagen, daß mehr als ein Körnchen Wahrheit drinsteckt. Ein besonderer Genuß für Medienfreaks sind die vielen Anspielungen auf Gerry Anderson, dessen Science Fiction-Marionetten-Serien ("Thunderbirds", "Stingray", "Terrahawks", "Captain Scarlet" oder ähnliche) seit mehr als 20 Jahren Kult sind bei englischen Studenten. Herod



Zack # 1 - 15. Mosaik Steinchen für Steinchen Verlag
Irgendwie ist das Jahr 2000 das Jahr der Nostalgie: Zack ist wieder da, MAD und Fix und Foxi sind zurück, obwohl wohl nicht mit anhaltendem Erfolg, fehlen nur noch Primo und Pepito, und der Blätterwald der 70er wäre fast vollständig wiedererstanden. (Allerdings ist Yps eingestellt worden - &%$§@#!) Ist schon ein nettes Gefühl, auf der Heimfahrt in der S-Bahn wieder Zack lesen zu können, auch wenn es ein wenig zu teuer ist, zu viele amateurhafte Serien (Gregor Ka, Solon - würg!) bringt und speziell anfänglich zu viel Fandomballast enthielt. Ich frage mich immer, für welches Publikum ein solches immerhin im Bahnhofsbuchhandel vertriebenes Heft produziert wird. Ich glaube, die Kids erreichen wir mit Ken Duper, Michael Weichgang, Luchs Flohrient, Bruno Brezel (danke für den Gag, Jo) oder Cutibus nicht mehr, mit den Brabrabraxen noch weniger. Die Fanartikel (speziell die ellenlangen, für nicht Beteiligte wohl kaum erhellenden Erlangen-Berichte) sind für den Gelegenheitsleser auch wenig geeignet. Im Heft wäre eine Straffung und Beschränkung auf wirklich profihaftes Material wünschenswert (nicht unbedingt pro Heft ein Nachwuchszeichner, dessen Sachen schon durch die Farbgebung rausfallen) und weniger Independent-/Fandom-Hype. Verdienstvoll sind definitiv die Comicografien sowie überhaupt die Tatsache, daß die Zackleute neue, in der Bundesrepublik noch unveröffentlichte Episoden diverser klassischer Serien wie "Franka" oder "Luc Orient" ausfindig gemacht und veröffentlicht haben. Erfolgreicher könnte das Produkt sein, wenn es etwas billiger und noch zugänglicher wäre. Herod



ICOM setzt das Comic-Jahrbuch fort
Man hatte schon fast vergessen, daß der ICOM mal sein eigenes Fachmagazin hatte. "ICOM Info" hieß es ursprünglich und war dem Titel entsprechend eher eine Mitglieder-Information. Am Ende, als es schließlich "COMIC!" hieß, war es eine sehr respektable, gut gemachte Zeitschrift, die mit "Speedline" oder "Rrahh!" ohne weiteres mithalten konnte. Aus finanziellen Gründen mußte das Magazin aber schließlich 1996 eingestellt werden. Der ICOM hätte andernfalls den jährlichen Mitgliedsbeitrag deutlich anheben müssen. Das Geld scheint aber erfreulicherweise immerhin für ein Jahrbuch zu reichen, das im vergangenen Jahr erstmals erschienen ist (Burkhard Ihme (Hrsg.): COMIC! Jahrbuch 2000, 19,80 Mark - ohne ISBN-Nummer; erhältlich unter anderem beim ImMEDIA-tely Medienversand, Wer-ther, der den ICOM Independent Comic Shop betreut). Der ICOM möchte auf diese Weise die Lücke füllen, die Gerd Zimmers ComicPress Verlag 1993 hinterlassen hatte, als er das von Andreas C. Knigge und am Ende von Joachim Kaps herausgegebene Comic-Jahrbuch versenkte. Keine schlechte Idee, dieses ursprünglich in der Ullstein-Reihe "Populäre Medien" erschienene Jahrbuch wieder aufleben zu lassen. Burkhard Ihme hat jetzt die Akzente anders gesetzt, was sich aus dem Charakter des ICOM erklärt. In Knigges Zeiten war der Comicmarkt in Deutschland analysiert worden. Das war der Blickwinkel des Comic-Her-ausgebers, beziehungsweise Lektors. Ihme als ICOM-Vorsitzender beleuchtet jetzt die deutsche Comicszene. Damit geht es nicht mehr schwerpunktmäßig um Neuerscheinungen, um Verlagspolitik, um Preise und Kunden - unter anderem einfach wegen der mangelnden Marktpräsenz deutscher oder deutsch-sprachiger Produkte -, sondern es geht jetzt um Personen, nicht zuletzt um die, die im ICOM Mitglied sind. Zuerst werden zwei Erfolgreiche vorgestellt: Ully Arndt mit seinen "Ottifanten" und Peter Butschkow. Und dann werden nacheinander alle ICOM Independent Comic-Preisträger des Jahres 1999 porträtiert, vermutlich damit sich der ICOM lange Debatten darüber erspart, wer würdig ist, im Jahrbuch vorzukommen, und wer nicht. Man erfährt auf diese Weise eine Menge über eine ganze Reihe von deutschen Comiczeichnern und bekommt einiges von ihren Werken zu sehen. Die Marktbeobachtung fehlt nicht völlig - dafür gibt's ein Interview mit Joachim Kaps von Carlsen. Und auch fachlicher Anspruch fehlt nicht. Da tut sich besonders Fachjournalist Martin Frenzel hervor, der mit seinem fast 40 Seiten langen Aufsatz "Protestantische Comic-Wüste Germanien? " Max Weber Konkurrenz zu machen versucht. ICOM-typisch sind zudem die Beiträge aus den Bereichen Zeichentrickfilm und Werbegrafik, denn diese Themenfelder deckt der Verband mit ab. Fazit? Möchte ich eigentlich bei der ersten Ausgabe dieses neuen Jahrbuchs noch keines abgeben. Den neuen Themenschwerpunkt will ich nicht mißbilligen - schließlich versuche ich ja in PLOP, in weitaus bescheidenerem Rahmen freilich, dasselbe. Burkhard Ihme hat meiner Ansicht nach auch die Gefahr vermieden, daß das Jahrbuch nur als rein vereinsinterne Angelegenheit erscheint. Wer mehr über den Markt wissen möchte, wer Rezensionen und Vorschauen auf wichtige Neuerscheinungen lesen will, kann sich ja an die oben erwähnten Fachmagazine oder auch andere halten. Das Jahrbuch ist gut lesbar und verschwenderisch illustriert - und dabei konkurrenzlos günstig (das Projekt wird laut Independent Shop mit einer fünfstelligen Summe bezuschußt). Das Werk erscheint mir infolge der vielen Zeichnerporträts schon ein wenig ungleichgewichtig. Aber das kann sich mit den kommenden Ausgaben ja einpendeln. aa




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 62
Besprechungen



Armin Parr: Ups # 4 (November 2000). 20 Seiten, s/w mit blauem Cover, DIN A 5. Armin Parr, Sternbergstraße 56, 72116 Mössingen
 
Dieses Fanzine habe ich mir in der Erwachsenen-Abteilung eines Frankfurter Comicladens gekauft. Dummerweise kann ich den Preis nicht mehr rekonstruieren, weil ich einen ganzen Stapel Comics mitgenommen habe. Und er steht leider nicht auf dem Cover. Der Laden war jedenfalls übervorsichtig. Oder der Inhaber hat sich von Armin Parr erzählen lassen: Da drin geht’s um harten Sex – und hat sich das Heft gar nicht angesehen. Eigentlich geht’s hier um eine lost generation, übers Jugendalter schon etwas hinaus, Leute, die gern breit sind, mit ihren sexuellen Regungen immer noch nicht so ganz klar kommen, sich aber miteinander in diesem unbestimmten, melancholischen Lebensgefühl, das sie kultivieren, ganz gut eingerichtet haben. Nur die neue Spaß-Generation betrachten sie ziemlich irritiert. Das ist so ein bißchen „Koma Comix“ mit Anspruch. Parr scheint grafisch ziemlich von den amerikanischen Alternativ-Comics der 70er Jahre beeinflußt zu sein, und dieser Stil paßt auch gut zum Inhalt. Hofentlich finden einige Leute, die sich genauso fühlen wie Parrs Protagonisten, die-ses schöne Heft. aa
 
Weißblechs weltbeste Comics # 3. Zombie Terror. 32 Seiten, s/w mit Farbcover, Comicbookformat, 6 Mark (ab 18 Jahre). Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
 
Dies sind Geschichten von unschuldigen Mädchen oder nichts ahnenden Zivildienstleistenden, die sich vor der hereinbrechenden Dunkelheit in düstere Häuser mitten im Wald flüchten. Seit etlichen Kinostreifen von George Romero, Sam Raimi oder Tobe Hooper wissen wir, was solchen Leuten dann nicht selten widerfährt – im Titel wird es auch angedeutet. „Trash“, könnte man sagen und das Heft schnell abhaken. Aber es gibt natürlich guten und schlechten Trash, und vielleicht haben wir es hier mit dem guten zu tun. Die fünf bis sieben Seiten langen Stories sind jedenfalls absolutes Splatter-Konzentrat. Auf Seite 1 sehen wir zum Beispiel die beiden knackigen Mountainbikerinnen ratlos in die Landkarte vertieft. Bis Seite 4 hören sie die grausige Mär vom Fluch der einsamen Berghütte. Dann können sie es sich auf Seite 5 noch eben nackt vor dem Kaminfeuer gemütlich machen, bevor sie auf Seite 6 ihr schreckliches Schicksal ereilt. Levin Kurio (Story, teilweise Pencils) und Roman Turowski (Grafik) machen keine Umstände. Noch weniger Wittek, der in der Heftmitte „Nazizombies“ gegen „Mangagirlies“ antreten läßt. Durch die extreme Kürze bleiben die eigentlich ausgelutschten Horror-Klischees noch eben lebendig. aa
Alternativkritik: Levin Kurios Koma Comics lieben wir wegen seinem hohen Wahrheitsgehalt in seiner versteckten Gesellschaftsanalyse, seine Sonderhefte wegen seinem hohen Billigtrashgehalt. So auch in dieser Ausgabe. Leider hat Levin nur für eine der vier Kurzgeschichten Text und Vorzeichnungen beigesteuert, die Tuschearbeit steuerte Roman Turowski bei, der auch zwei der anderen Geschichten komplett erstellte. Turowskis Stories sind leider immer sehr merkwürdig, und seine Zeichnungen nur dann gut, wenn er sich wirklich Mühe damit gibt und sich Zeit dafür nimmt. Das scheint mir bei vorliegendem Werk nicht der Fall gewesen zu sein, die Sachen kommen mir irgendwie hingeschludert vor, sind zu großflächig und weisen kaum Hintergründe auf. Höhepunkt ist Witteks Story Nazizombies gegen Mangagirlies, in denen er detailreich mit gängigen Klischees dieser Schlagwörter spielt. Als Gesamtheit ist das Heft diesmal eher Mittelmaß, aber für 6 Mark kann man es schon mal mitnehmen. jo84
 
Koma Comix # 26. 36 Seiten, s/w mit Farbcover, Comicbookformat, 6 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
 
Einige Zeit hatte ich jetzt Koma-Abstinenz, weil Levin Kurio nach meinem letzten Umzug meine Spur verloren hatte und keine Hefte mehr schickte. Schön, daß ich jetzt wieder mal eine neue Ausgabe im Briefkasten hatte. Die Saufabenteuer von Quevis wirken jetzt wieder schön frisch und richtig komisch. Eigentlich ist er ja eine Art Münchhausen. Und so sehen wir Levin Kurios etwas verfremdetes Alter Ego in „Der Heldensang“ in trauter Freundesrunde, der seine Kumpels bei dem Versuch, die unglaublichste Saufgeschichte zu erzählen, locker auskontert. Alle Stories haben aber wohl einen wahren Kern, auch die von der Partymieze, die er aus seinem Bett vertreibt, ohne ihr an die Wäsche zu gehen, oder vom Kampf mit der Werbepost oder von der rätselhaften Herpes-Infektion. Aber darüber kann man nur spekulieren. Gastkünstler in dieser Ausgabe ist Aha von „Epidermophytie“, der uns passenderweise den Heimweg von einer krassen Saufparty schildert. aa
 
Von mir! # 1 (April 2000). 44 Seiten, s/w mit Farbumschlag, Comicbookformat, 9 Mark. Gerhard Förster, Winckelmannstraße 2/8,
A – 1150 Wien
 
Groß war meine Freude, als ich in einem Frankfurter Comicladen auf Band 1 von Gerhard Försters geschätzter Serie stieß (siehe Rezension in PLOP # 61). Ich mußte allerdings feststellen, daß das gar nicht Band 1 war, sondern ein Nachdruck von Band 1. Das Original hat der Künstler fotokopiert versandt. Entweder hat er die richtig guten Comics beim Nachdruck weggelassen (das Vorwort liefert dafür ein Indiz), oder er war bei Nummer 1 einfach noch nicht recht in Form. Wobei ich mich nun nicht direkt gelangweilt habe. „Die 13 Stufen zum Schaffott“ ist noch der beste Beitrag, der von Försters langwierigen Bemühungen um Kontakte zum anderen Geschlecht handelt. Er kommt aber eher larmoyant als ironisch rüber. Sein Porträt der seltsamen Familie Novak verstehe ich als Außenstehender nicht. Bei seinen Erlebnissen mit Scientology läuft er erst in Band 2 so richtig zu Hochform auf. Und die Superheldenparodie (?) „Superslime“ finden möglicherweise nur Österreicher lustig. Am Ende denkt sich Förster bei der Lektüre seines eigenen „Heftels“: „Entsetzlich... sämtliche Frauen sind Fuchtln, und die depperten Männer lassen sich von ihnen unterdrücken.“ Wenn’s nur so wäre. Dann wäre das Heft vermutlich etwas unterhaltsamer geworden. aa
Nachtrag: Gerade noch habe ich durch den ICOM erfahren, daß „Von mir“ nach Ausgabe 4 eingestellt wird. Der Verkauf im Comichandel sei schleppend gelaufen, wenn auch viele Abonnenten gewonnen worden seien. Aber für Gerhard Förster, der von seinem Heft leben wollte, habe es nicht gereicht. Förster suche sich jetzt wieder einen Brotjob – hoffentlich nicht bei Scientology, möchte man wünschen. aa
 
Sprühende Phantasie # 20. 52 Seiten, s/w mit Farbumschlag, DIN A 4, 6 Mark. Joachim Guhde, Goebenstraße 37, 32423 Minden
 
Ralph Görtler, der in dieser Ausgabe interviewt wird, ist ein 56jähriger Cartoonist und Comiczeichner, der nicht so bekannt geworden ist wie Uli Stein oder Peter Butschkow, aber offenbar von der Zeichnerei leben kann und sein Leben als freier Grafiker um nichts in der Welt eintauschen möchte. Seine Schnecken-Comics „Schneckliche Zeiten“ hat wohl jeder schon mal irgendwo gesehen. Hier hat Jo Guhde mal einen wirklich bemerkenswerten Künstler aufgetan, der auch ganz offen über seine Ansichten plaudert, dabei aber zugleich gebührende Distanz hält. Bisher blieben die Interviews, die es ja in jeder Ausgabe gibt, oft etwas hölzern und schematisch wegen der von Jo bevorzugten Briefform des Gesprächs. Was in dieser Ausgabe fehlt, sind grafisch aufwendige Comics. „Trish“, sein ehrgeiziges Projekt mit Bernd Struckmeyer, wird hier nach drei Seiten abgewürgt – Jo sucht jetzt nach einem neuen Mitarbeiter. Fast alle übrigen Comics – schwerpunktmäßig übrigens aus der Feder von Oliver Ferreira und Wittek – haben Jam-Charakter oder sind locker erzählte Satiren. Manche Gags sind eher was für Insider. Mit Comics vertreten sind in der neuen Ausgabe außerdem Tim Posern, Horst Jäger, Andy Konky Kru, Anja & Joy, Andreas Fecke, Holger Bommer und der Mitgründer der „Sprühenden Phantasie“ Leviathan in Love. Ob die Ausgabe einen Kurswechsel einleitet oder ob sich der Inhalt einfach nach dem Jo vorliegenden Material richtet, bleibt abzuwarten. Im Stil von Ausgabe 20 könnte SP vielleicht die Lücke von „SI-Kartuun“ ausfüllen. aa
 
Eckart Breitschuh / Martin Schlierkamp: Grimm # 3.  Fitchers Vogel, 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 7,80 Mark. Zwerchfell
 
Eine der besser verkäuflichen Reihen des Zwerchfell Verlages ist die Reihe Grimm, die als Konzept hat, originalgetreu Grimms Märchen in Comicform umzusetzen. Läßt man seine Phantasie etwas spielen, fällt einem auf, daß man die Märchen auch durchaus etwas anders interpretieren kann als bisher üblich. Genau das tut Eckart Breitschuh, und er stellt dar, daß Grimms Märchen mitnichten liebe Geschichten für Kinder sind, sondern im Gegenteil ausdrücklich nur für Erwachsene produziert wurden. Auch in einer ihrer unbekannteren Geschichten namens „Fitchers Vogel“ spritzt das Blut kübelweise, und die Damen geizen nicht mit nacktem Fleisch. Es geht um einen Hexenmeister, der hübsche Mädchen entführt, um sie zu ehelichen. Sind sie jedoch ungehorsam, so werden sie zerstückelt. Aber diesmal findet der grausame Tyrann seine Meisterin. Drei Seiten wurden von Breitschuh erstellt, der Rest vom Newcomer Schlierkamp. Sein merkwürdiger Bleistiftstil kann mich überzeugen, und anatomisch gibt‘s auch nichts zu meckern. Eindeutig ein Profiprodukt, das nur aus Kostengründen nicht in Farbe erscheinen kann. jo84
 
Dirk Schwieger: Ineinander # 2 (April 2001). 36 Seiten, s/w mit zweifarbigem Cover, Comicbookformat, 5,90 Mark. der.eigen.verlag, Mainzer Straße 18, 12053 Berlin
 
Der Aufbau der ersten Ausgabe wird hier exakt wiederholt. Zuerst zwei Comics von Herausgeber Dirk Schwieger, über die nicht einfach zu erzählen ist, obwohl es um Alltagsdinge geht, die aber durch extreme Empfindsamkeit – oder vielleicht auch künstlerische Chuzpe – verrätselt werden. Am Ende folgen noch ein paar Seiten aggressiver Nonsens von dem Münchner Comiczeichner Thomas Gilke, der zuvor auf einer redaktionellen Seite vorgestellt wird. Schwieger will in jeder Ausgabe einen anderen Gastzeichner vorstellen. Ein schönes, sehr stilbewußtes Heft. Hinter das Konzept von „Ineinander“ bin ich aber noch nicht so recht dahintergestiegen. aa
 
Klaus Cornfield: Kranke Comics # 8, 36 Seiten, schwarz-weiß mit Farbumschlag, Comicbookformat, ab 18 Jahre. Schwarzer Turm
 
Klausi macht in Ausgabe 8 dem Namen der Heftreihe wieder alle Ehre. Dieses Heft ist mal wieder für halbwegs intakte Gemüter völlig unzumutbar. Seine Komik bezieht es, wie schon in den letzten Heften durch mehr als bedenkliche Phantasien. Diese sind so extrem pervers und krank, daß man vor Lachen einfach nur losprusten muß. In diesem Heft fühlt sich Pornoproduzent Vee-Jay Slam von seiner Konkurrenz kopiert und beschließt, sich zu rächen. Nach einer echt perversen Fickorgie reißt er ihnen die Sacknähte auf. Belohnt wird seine Boshaftigkeit mit einem herrlichen Geschenk, der Fleischrutsche aus willigen Mädchen. Wieder einmal siegt das mieseste aller Schweine auf ganzer Linie, Realismus und Gesellschaftskritik pur. Trotz aller Krassheiten ist Kranke Comics die lustigste Undergroundreihe der Welt, ohne Übertreibung. jo84
 
Melone # 3. 40 Seiten, DIN A 5, 3 Mark. Arne Auinger, Viktoriastraße 56, 32423 Minden
 
Diesmal hat Arne schon doppelt so viele Künstler im Heft wie in Ausgabe zwei, sicherlich ein Anzeichen dafür, daß die Qualität nicht sinken wird in diesem Fanzine. Schwerpunkte des Heftes sind zum ersten ein unveröffentlichter autobiografischer Sieben-Seiten Comic von Till Lenecke, den dieser komplett mit Kugelschreiber gezeichnet hat, "um lockerer zu werden". Der Comic gehört auch textlich zu Tills bisher besten Arbeiten. Zweiter Schwerpunkt ist ein großes Interview mit Jo84, der sich hier nicht nur über comicspezifische Themen auslassen darf. Ergänzt werden die beiden Schwerpunkte durch Einseiter und Cartoons namhafter Zeichner wie Oliver Ferreira (grandioses Backcover!), Tim Posern, Levin Kurio, Oliver Gfeller und anderen. Das Ganze steckt hinter einem köstlichen Baldermann-Titelbild. Leider gibt es auch einen bis zwei Wermutstropfen. Zum einen ist das Lettering nicht immer gelungen (Rechtschreibung und Erscheinungsbild könnten teilweise besser sein), zum zweiten ist der Kopierdruck viel zu satt, so daß Details wegfallen, ein Umstand, unter dem vor allem Tills Comic zu leiden hat. Arne hat bereits Besserung gelobt. jo84
 
tremor comics # 17 (September 2001). 44 Seiten, s/w mit Farbcover, Comicbookformat, 4,80 Mark. tremor comics, c/o C. Schadow, Triftstraße 05, 06114 Halle/Saale
 
„Wir haben Wort gehalten!“ Die Schreibtischtäter melden sich zurück, als ob jeder vermutet hätte, die Sachsen-Anhaltiner würden nach nun knapp drei Jahren langsam das Zeitliche segnen. Nach einer kleinen Sommerpause kehrt ihr Magazin in gewohntem Umfang und mit gewohntem Inhalt zurück. Also kein Grund zur Panik. Neu im Heft ist Till Lenecke (gelegentlich auch schon mal in PLOP zu sehen), der ein bewegendes Drama von Ausgrenzung unter Schülern beisteuert. Die Neuzugänge der letzten Zeit, Karsten Schreurs, Bernd Teuber und Ulrich Magin, sind auch wieder mit von der Partie. Karsten Schwenzfeier schließt seinen mit interessanten Computereffekten aufgepeppten Comic „Narziss und Echo“ ab. Bemerkenswert ist auch der sehr eigenständig gezeichnete Beitrag „Deur“ von C. P. Muenchgesang. „tremor comics“ist nach wie vor ein sehr empfehlenswertes Magazin, das mit ziemlich viel Energie und Spaß weitergeführt wird. aa
 
Lampe # 1 bis 6. Je 44 Seiten, DIN A 7. Lampe, Steinbergstraße 42, 31139 Hildesheim
 
Schon etwas länger erhältlich sind die ersten sechs Ausgaben des Comicmagazins im Fitzelformat, das mich recht ratlos zurückläßt. Ideen hat das Zeichnerkollektiv aus Hildesheim allemal, keine Frage. Jedes Heft hat ein Oberthema, in das sich die zugegebenermaßen vielseitig gehaltenen Comics anscheinend einfügen lassen sollen (was nicht immer gelungen erscheint). Die Themenhefte Stadt, Biene, Gott, Brot, Aaargh und Familie können mir irgendwie trotzdem nichts geben. Krakelkunst trifft auf Lustiges, Pseudokunst auf Möchtegernintellekt, nur die Themen selber beachtet kaum jemand. Immerhin nimmt sich „Lampe“ nicht ernst, und Mediengeilheit ist sicher nicht ihre Schwäche. Ich kann bei aller Anstrengung nicht einmal herausfinden, von wem welcher Beitrag ist. „Kleinkunstprojekt“ ist wohl die treffendste Umschreibung, und dafür muß man ein Faible haben, oder auch eben nicht. jo84
 
King King Kong King Robo Comix. 16 Seiten, s/w mit Farbcover, 7 mal 15 Zentimeter. Pottzblitz Entertainment Groupè, c/o Patrick Schmitz, Hein-richstraße 37, 38106 Braunschweig
 
„Ich habe erfahren, daß PLOP ein Comic-Magazin ist,. Und ich habe gehört, daß Ihr auch andere Comix besprecht. Also schick ich Euch mein Comic in der Hoffnung, daß Ihr das auch besprecht... aber bitte nur, wenn Ihr es gut findet... haha, nee, war nur ein Scherz. Wenn Ihr es mies findet, verreißt es von mir aus.“ So komme ich mitunter an Fanzines. Der vorliegende Mini-Piccolo von Patrick Schmitz beinhaltet zwei skurrile Roboter-Abenteuer. Zunächst wird der Elvis-Hit „In the Ghetto“ in einer Robot-Welt nachgestellt. Bemerkenswerterweise bekommen hier auch Roboter-Mütter Kinder. Und auch ein Robot kann durch eine Polizeikugel sterben. Noch seltsamer wird’s in der zweiten Story, die einen rumänisch sprechenden Robot-Vampir in einer fremden Welt vorstellt. Wiederum liegt ein Song zugrunde, aus „The tragic Life of the infamous Lost Forever“. Schließlich ist in dem Band noch ein Artikel zu finden, in dem die Auswahl eines passenden Weihnachtsgeschenks erörtert wird. Also dieser Band ist entschieden zu abgedreht für einen Verriß. Mal sehen, was vielleicht noch aus Braunschweig kommt. aa
 
Suckelborst - Gelassene Comics # 1. 24 Seiten, s/w, DIN A 7, Auflage:100, 2 Mark. Andreas Fecke, Garfelner Straße 41, 59558 Lippstadt
 
Ein neues Magazin hat das Licht der Welt erblickt, und es macht einen guten Eindruck. Verantwortlicher Herausgeber ist Andreas Fecke, der durch zahlreiche Comics mit und ohne Worte auch PLOP-Lesern kein Unbekannter ist. Bisher veröffentlichte er vor allem Egozines mit Strips um Go-Steine, Raben oder Salzstreuer. Suckelborst soll nun ein Magazin werden, zu dem auch andere Zeichner Zugang haben sollen. Jedoch sollen ausschließlich Funny-Comics und Textbeiträge veröffentlicht werden. Einen ersten Mitarbeiter hat Andreas in Moritz Stetter gefunden, der bereits drei witzige Seiten um einen fleischfressenden und einen pflanzenfressenden Dinosaurier beisteuert. Den Rest der Erstausgabe bestreitet Fecke selbst in gewohnt guter Qualität. Ungewöhnlich an dem neuen Magazin ist vor allem das Format DIN A 7, das beibehalten werden soll. Die Seitenzahl dagegen soll in den Folgeausgaben noch erheblich steigen. jo84
 
Kreativo # 36 (September 2001). 36 Seiten, s/w, DIN A5, 3 Mark. Kreativo!-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
 
Ungeachtet einer sechsjährigen Krankheitsgeschichte und drei Wochen Klinikaufenthalt bringt Birke weiterhin regelmäßig ihr ungewöhnliches Magazin heraus. Woran sie genau leidet, schreibt sie in der aktuellen Ausgabe nicht – ich müßte vielleicht mal in älteren Heften nachschlagen. Es hat jedenfalls mit Eisenmangel und niedrigem Blutdruck zu tun. Birke schreibt mit erstaunlichem Gleichmut über seltsame und gruselige Krankenhauserlebnisse, und in ähnlicher Stimmung scheint sie auch „Kreativo“ zusammenzustellen. Illustrationen, Kurzcomics, Gedichte, Texte folgen da ohne erkennbare Ordnung und Zusammenhang aufeinander. Aus dem Comicbereich sind diesmal Ghost, Roger, Oliver Ferreira, Henning Way, Cat, Jo84, Bernd Teuber, Moritz Stetter, Olaf Bathke und Anja & Joy vertreten. Birke bittet freilich die Tuschepinsel-Fraktion dringend um Nachschub. Ich will mich dem Aufruf, mehr Comics an Birke zu senden, gern anschließen. Sonst lesen wir in „Kreativo“ bald nur noch Meisterwerke der Lyrik wie dieses: „Der Winter naht, die Seele schmerzt. / Der Wind, der Blätter hoch zum Himmel hetzt. / Vorbei ist jetzt die Freude. Alles ist vorbei. / Verstummt und ganz vergessen ist der fröhliche Sommerschrei, bye, bye.“ (Seite 27) aa
 
Gambuzine # 9. 32 Seiten, s/w, DIN A 4. Gambuzine, Apartado 3578, 4306-901 Porto/Portugal
 
Ein portugiesisches Fanzine mit deutschem Schwerpunkt – und mit was für einem. Herausgeberin Teresa Camara Pestana hat dafür Beiträge der Creme der deutschen Comickunst, von Anke Feuchtenberger und Katrin de Vries und von Markus Huber gewonnen. Es sei im Fall der Feuchtenberger nicht sehr schwierig gewesen, sagte sie mir. Schwieriger ist es offenbar, an ein Tauschexemplar von „Panel“ heranzukommen (die Bremer, die vermutlich auch mal gern einen Beitrag von Anke Feuchtenberger publizieren würden). Außerdem gibt’s aus Deutschland noch einen längeren Comic von Till Lenecke und einen Onepager von Rautie aus Hanau. Komplettiert wird das Heft durch einen Beitrag von Clayton + Stefan (Herkunft unsicher – vielleicht USA) und einen der Herausgeberin selbst. Trotz des starken deutschen Einschlags kann ich die Beiträge im einzelnen nicht bewerten, weil sie alle ins Portugiesische übertragen sind, dessen ich nicht mächtig bin. Aber es ist schon zu sehen, daß das ein sehr ambitioniertes Magazin ist. Pestana spricht nach einem längeren Deutschland-Aufenthalt sehr gut deutsch. Mal sehen, was aus ihren Kontakten nach Deutschland noch wird. aa
 
A Mosca # 4. 48 Seiten, s/w mit zweifarbigem Cover, DIN A 4. A Mosca, Apartado 132, 3810 Aveiro/Portugal
 
Noch ein portugiesisches Magazin, diesmal mit Schwerpunkt Brasilien (das einzige Land in Südamerika, in dem die Amtssprache nicht Spanisch, sondern Portugiesisch ist). Viel kann ich zu dem Heft nicht sagen. Die Grafik der Beiträge sieht überwiegend ziemlich gekonnt aus und bewegt sich zwischen den Hernandez-Brothers und Munoz. Sicher nur etwas für Spezialisten oder Exotik-Fans. aa
 
Zwei Gratis-Ma-gazine, in letzter Minute geliefert vom ICOM:
 

Comicaze # 10. 20 Seiten, teilweise farbig, DIN A 4, kostenlos. Co-micaze e. V., Volkartstraße 4 A, 80634 München

 
Comics & mehr # 36. 32 Seiten, teilweise farbig, DIN A 4, kostenlos. MSW Medien Service, Linde 72 – 74, 42287 Wuppertal
 
Comicaze liegt in München aus (am 8. Dezember soll dort im „Pathos“ das fünfjährige Bestehen des Vereins gefeiert werden), Comics & mehr, ein Anzeigenblatt mit vielen interessanten Comic-News, gibt es in vielen Comicläden in ganz Deutschland. aa
 

Nachtrag PLG

In der vergangenen Ausgabe wurde bei der Rezension der neuen Ausgabe des französischen Fanzines PLG versehentlich die Bezugsadresse weggelassen. Dies ist sie: Philippe Morin, BP 94, 92123 Montrouge Cedex, France
 
Osamu Tezuka: Kimba, der weiße Löwe # 1 bis 3, je ca. 200 Seiten, Mangaformat, DM 9,95, ¤ 5,-. Carlsen
 
Genau wie Menschen jeden anderen Alters ist auch der Mittdreißiger nicht gegen Nostalgiegefühle gefeit, nur heißen unsere Kultfiguren nicht Falk oder Sigurd, sondern zum Beispiel Kimba. Die gleichnamige Zeichentrickserie gehörte Anfang der 70er Jahre zum Besten, was es so für Kinder gab. Keiner wußte natürlich, daß der „Gott der Mangas" Osamu Tezuka die Figur erfunden hatte und sie auf einem Comic basierte, der nun zirka ein halbes Jahrhundert nach sei-nem Entstehen endlich in drei Bänden auf Deutsch veröffentlicht wurde. Den Nostalgiker kann die Comicfassung jedoch überraschenderweise nur enttäuschen, was ungwöhnlich ist bei einem Tezuka-Comic. Noch deutlicher als bei Astro-Boy sieht man den Seiten an ,daß sie vor langer langer Zeit entworfen wurden. Das ist ja an sich nichts schlimmes. Aber die Abenteuer von Kimba, die recht vielversprechend starten, werden spätestens in Band 2 immer hektischer und undurchsichtiger, und die fitzeligen Zeichnungen mit Grauwerten sind manchmal anstrengend zu deuten. Die Zielgruppe bleibt unklar. Für Kinder sind die Texte teilweise zu kritisch und vor allem am Ende zu schockierend, für Erwachsene über weite Strecken zu banal und unwitzig. Auch Nostalgikern bietet er nichts, da der Comic völlig andere Figuren als die Fernsehserie hat, und vor allem uninteressantere.Selbst der Charakter der Hauptfigur bleibt unausgegoren. Schade, ich hatte mich sehr auf die Serie gefreut. jo84
 
Planet der Affen: 112 Seiten, farbig, Comicbookformat, 12,95 Mark, Generation Comics
 
Über den neuen Film und sein Verhältnis zu der Kinoreihe von 1967 bis 1973 ist schon viel geschrieben worden. Insbesondere den Hinweis, daß die politische Dimension der alten Affenreihe (die Anspielungen auf Rassismus, Totalitarismus, das Fanal des Krieges) durch die Perspektive individueller Einzelschicksale ersetzt wird, kann man nicht von der Hand weisen. Regisseur Tim Burton ist diese Entpolitisierung wohl weniger anzulasten, weil er erst spät ins Team kam, aber er ist sicher nicht der Typ, politisches Kino zu machen. Ich finde es reizvoll, stattdessen einmal die alten Comics mit den neuen zu vergleichen. Zunächst: Es gibt eine überraschende Parallele. In den Williams-Heften (im Original Marvel) wie auch im vorliegenden Band (im Original Dark Horse) gibt es eine Film-Nacherzählung und eine freie neue Affen-Story. Und damals wie heute ist die Nacherzählung grafisch schwächer. Davide Fabbri heißt der Zeichner, der den Burton-Film adaptiert hat. Er zeichnet viel aufwendiger und detaillierter als der Marvel-Routinier George Tuska, der 1968 am Werk war. Aber auch besser? Fabbri scheint eingeengt durch die vorgegebene Bilderwelt des Films. Alles wirkt hölzern, ein wenig beliebig, ohne Höhepunkte. Tuska konnte mit seinen sehr begrenzten grafischen Möglichkeiten seinem Taylor kaum Ähnlichkeit mit Charlton Heston verleihen, aber in seinen Bildern steckt immer die Spannung und Dramatik der Situation: die Menschenjagd, der Mensch im Tierkäfig, das groteske Affen-Tribunal. Von Tuska zu Mike Ploog – von Fabbri zu einem Zeichner-Team: Paco Medina und Adrian Sibar. Ploog war ein Könner auf dem Niveau der Warren-Horrorcomics, Medina und Sibar sind mit ihrem effektvollen, kantigen Stil Epigonen von Walter Simonson, der wiederum auf den Schultern von Jack Kirby steht. Der Zeichenstil wechselt bei Medina und Sibar allerdings auf 65 Seiten wenigstens zweimal. Wer für welche Seiten verantwortlich ist, bleibt ungeklärt. Gelungen sind den beiden auf jeden Fall ausdrucksvolle Affen- und manchmal auch Menschengesichter, die sich ziemlich der Karikatur annähern. Erzählt wird mit großem Pomp eine dann doch eher schlichte Story zwei Generationen nach Burton. Die Herrscher der Affenstadt kämpfen gegen Affen-Partisanen, die von einem Menschen angeführt werden. Enthüllt wird dabei die Identität der „Gesandten“ Shiva, eines höchst unsympathischen weiblichen „Falken“ auf Seiten der Affenstadt. Sie ist nämlich großmütterlicherseits ein Mischling aus Gorilla und Schimpanse (man meint zudem auch menschliche Züge an ihr zu entdecken), was ihre ethnischen Säuberungen nicht glaubwürdiger macht. Und am Ende stoßen die Truppen der Affenstadt auf ein menschliches Raumschiff, eben jenes, mit dem die Menschen einst auf den Planeten der Affen gekommen sind. „Und was jetzt“, fragt einer der Affen. „Nichts. Wir waren nicht hier. Dieser Ort existiert nicht“, entgegnet der Affengeneral. Warum eigentlich? Weil die Gesandte hier umgekommen ist? Weil die Affen die menschliche Technik nicht bedienen können? Oder gar, weil den in den Sonnenuntergang reitenden Affen irgendein Dialog zwischen die spitzen Eckzähne geschoben werden mußte? Dürftige Stories, grafisch exzellent umgesetzt – der Band ist nicht dazu angetan, meine Vorurteile gegen neue Superheldencomics zu zerstreuen. Im Gegensatz zur Williams-Serie fehlt hier übrigens jegliche Numerierung. Einem zweiten Band hat man wohl bei Generation keine Verkaufschancen eingeräumt. aa
 
„Maddrax“-Rollenspiel
Der Bastei-Verlag bietet im Internet ein Rollenspiel zu seiner erfolgreich gestarteten Fantasy-Serie „Maddrax“ an (siehe auch unsere Rezension in PLOP # 58). Es läßt sich per Acrobat Reader kostenlos unter folgender Adresse herunterladen: www.bastei.de/mx-rpg.zip. Dort stößt man auf die komprimierte Fassung des 242-seitigen Rollenspiel-Handbuchs. Verfaßt hat es der Profi-Rollenspieler Uwe Simon. Die Illustrationen – deshalb könnte die Sache für den einen oder anderen PLOP-Leser von besonderem Interesse sein – stammen von dem „Menschenblut“-Hauszeichner Jürgen „Geier“ Speh. aa
 



\ No newline at end of file diff --git a/httpdocs/plop/plop_63.html b/httpdocs/plop/plop_63.html new file mode 100644 index 0000000..53b98a2 --- /dev/null +++ b/httpdocs/plop/plop_63.html @@ -0,0 +1 @@ +Plop Comics (Plop Online Comics, hier klicken)  
Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 63
Besprechungen




A Mosca # 4. 48 Seiten, s/w mit zweifarbigem Cover, DIN A 4. A Mosca, Apartado 132, 3810 Aveiro/Portugal
Noch ein portugiesisches Magazin, diesmal mit Schwerpunkt Brasilien (das einzige Land in Südamerika, in dem die Amtssprache nicht Spanisch, sondern Portugiesisch ist). Viel kann ich zu dem Heft nicht sagen. Die Grafik der Beiträge sieht überwiegend ziemlich gekonnt aus und bewegt sich zwischen den Hernandez-Brothers und Munoz. Sicher nur etwas für Spezialisten oder Exotik-Fans. aa



Gambuzine # 9. 32 Seiten, s/w, DIN A 4. Gambuzine, Apartado 3578, 4306-901 Porto/Portugal
Ein portugiesisches Fanzine mit deutschem Schwerpunkt - und mit was für einem. Herausgeberin Teresa Camara Pestana hat dafür Beiträge der Creme der deutschen Comickunst, von Anke Feuchtenberger und Katrin de Vries und von Markus Huber gewonnen. Es sei im Fall der Feuchtenberger nicht sehr schwierig gewesen, sagte sie mir. Schwieriger ist es offenbar, an ein Tauschexemplar von "Panel" heranzukommen (die Bremer, die vermutlich auch mal gern einen Beitrag von Anke Feuchtenberger publizieren würden). Außerdem gibt's aus Deutschland noch einen längeren Comic von Till Lenecke und einen Onepager von Rautie aus Hanau. Komplettiert wird das Heft durch einen Beitrag von Clayton + Stefan (Herkunft unsicher - vielleicht USA) und einen der Herausgeberin selbst. Trotz des starken deutschen Einschlags kann ich die Beiträge im einzelnen nicht bewerten, weil sie alle ins Portugiesische übertragen sind, dessen ich nicht mächtig bin. Aber es ist schon zu sehen, daß das ein sehr ambitioniertes Magazin ist. Pestana spricht nach einem längeren Deutschland-Aufenthalt sehr gut deutsch. Mal sehen, was aus ihren Kontakten nach Deutschland noch wird. aa



Koma Comix # 26. 36 Seiten, s/w mit Farbcover, Comicbookformat, 6 Mark. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
Einige Zeit hatte ich jetzt Koma-Abstinenz, weil Levin Kurio nach meinem letzten Umzug meine Spur verloren hatte und keine Hefte mehr schickte. Schön, daß ich jetzt wieder mal eine neue Ausgabe im Briefkasten hatte. Die Saufabenteuer von Quevis wirken jetzt wieder schön frisch und richtig komisch. Eigentlich ist er ja eine Art Münchhausen. Und so sehen wir Levin Kurios etwas verfremdetes Alter Ego in "Der Heldensang" in trauter Freundesrunde, der seine Kumpels bei dem Versuch, die unglaublichste Saufgeschichte zu erzählen, locker auskontert. Alle Stories haben aber wohl einen wahren Kern, auch die von der Partymieze, die er aus seinem Bett vertreibt, ohne ihr an die Wäsche zu gehen, oder vom Kampf mit der Werbepost oder von der rätselhaften Herpes-Infektion. Aber darüber kann man nur spekulieren. Gastkünstler in dieser Ausgabe ist Aha von "Epidermophytie", der uns passenderweise den Heimweg von einer krassen Saufparty schildert. aa



King King Kong King Robo Comix. 16 Seiten, s/w mit Farbcover, 7 mal 15 Zentimeter. Pottzblitz Entertainment GroupÈ, c/o Patrick Schmitz, Heinrichstraße 37, 38106 Braunschweig, e-Mail: pottzblitz@gmx.de
"Ich habe erfahren, daß PLOP ein Comic-Magazin ist,. Und ich habe gehört, daß Ihr auch andere Comix besprecht. Also schick ich Euch mein Comic in der Hoffnung, daß Ihr das auch besprecht... aber bitte nur, wenn Ihr es gut findet... haha, nee, war nur ein Scherz. Wenn Ihr es mies findet, verreißt es von mir aus." So komme ich mitunter an Fanzines. Der vorliegende Mini-Piccolo von Patrick Schmitz beinhaltet zwei skurrile Roboter-Abenteuer. Zunächst wird der Elvis-Hit "In the Ghetto" in einer Robot-Welt nachgestellt. Bemerkenswerterweise bekommen hier auch Roboter-Mütter Kinder. Und auch ein Robot kann durch eine Polizeikugel sterben. Noch seltsamer wird's in der zweiten Story, die einen rumänisch sprechenden Robot-Vampir in einer fremden Welt vorstellt. Wiederum liegt ein Song zugrunde, aus "The tragic Life of the infamous Lost Forever". Schließlich ist in dem Band noch ein Artikel zu finden, in dem die Auswahl eines passenden Weihnachtsgeschenks erörtert wird. Also dieser Band ist entschieden zu abgedreht für einen Verriß. Mal sehen, was vielleicht noch aus Braunschweig kommt. aa



Kreativo # 36 (September 2001). 36 Seiten, s/w, DIN A5, 3 Mark. Kreativo!-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
Ungeachtet einer sechsjährigen Krankheitsgeschichte und drei Wochen Klinikaufenthalt bringt Birke weiterhin regelmäßig ihr ungewöhnliches Magazin heraus. Woran sie genau leidet, schreibt sie in der aktuellen Ausgabe nicht - ich müßte vielleicht mal in älteren Heften nachschlagen. Es hat jedenfalls mit Eisenmangel und niedrigem Blutdruck zu tun. Birke schreibt mit erstaunlichem Gleichmut über seltsame und gruselige Krankenhauserlebnisse, und in ähnlicher Stimmung scheint sie auch "Kreativo" zusammenzustellen. Illustrationen, Kurzcomics, Gedichte, Texte folgen da ohne erkennbare Ordnung und Zusammenhang aufeinander. Aus dem Comicbereich sind diesmal Ghost, Roger, Oliver Ferreira, Henning Way, Cat, Jo84, Bernd Teuber, Moritz Stetter, Olaf Bathke und Anja & Joy vertreten. Birke bittet freilich die Tuschepinsel-Fraktion dringend um Nachschub. Ich will mich dem Aufruf, mehr Comics an Birke zu senden, gern anschließen. Sonst lesen wir in "Kreativo" bald nur noch Meisterwerke der Lyrik wie dieses: "Der Winter naht, die Seele schmerzt. / Der Wind, der Blätter hoch zum Himmel hetzt. / Vorbei ist jetzt die Freude. Alles ist vorbei. / Verstummt und ganz vergessen ist der fröhliche Sommerschrei, bye, bye." (Seite 27) aa



Lampe # 1 bis 6. Je 44 Seiten, DIN A 7. Lampe, Steinbergstraße 42, 31139 Hildesheim, e-Mail: mail-to-lampe@gmx.de
Schon etwas länger erhältlich sind die ersten sechs Ausgaben des Comicmagazins im Fitzelformat, das mich recht ratlos zurückläßt. Ideen hat das Zeichnerkollektiv aus Hildesheim allemal, keine Frage. Jedes Heft hat ein Oberthema, in das sich die zugegebenermaßen vielseitig gehaltenen Comics anscheinend einfügen lassen sollen (was nicht immer gelungen erscheint). Die Themenhefte Stadt, Biene, Gott, Brot, Aaargh und Familie können mir irgendwie trotzdem nichts geben. Krakelkunst trifft auf Lustiges, Pseudokunst auf Möchtegernintellekt, nur die Themen selber beachtet kaum jemand. Immerhin nimmt sich "Lampe" nicht ernst, und Mediengeilheit ist sicher nicht ihre Schwäche. Ich kann bei aller Anstrengung nicht einmal herausfinden, von wem welcher Beitrag ist. "Kleinkunstprojekt" ist wohl die treffendste Umschreibung, und dafür muß man ein Faible haben, oder auch eben nicht. jo84



Melone # 3. 40 Seiten, DIN A 5, 3 Mark. Arne Auinger, Viktoriastraße 56, 32423 Minden
Diesmal hat Arne schon doppelt so viele Künstler im Heft wie in Ausgabe zwei, sicherlich ein Anzeichen dafür, daß die Qualität nicht sinken wird in diesem Fanzine. Schwerpunkte des Heftes sind zum ersten ein unveröffentlichter autobiografischer Sieben-Seiten Comic von Till Lenecke, den dieser komplett mit Kugelschreiber gezeichnet hat, "um lockerer zu werden". Der Comic gehört auch textlich zu Tills bisher besten Arbeiten. Zweiter Schwerpunkt ist ein großes Interview mit Jo84, der sich hier nicht nur über comicspezifische Themen auslassen darf. Ergänzt werden die beiden Schwerpunkte durch Einseiter und Cartoons namhafter Zeichner wie Oliver Ferreira (grandioses Backcover!), Tim Posern, Levin Kurio, Oliver Gfeller und anderen. Das Ganze steckt hinter einem köstlichen Baldermann-Titelbild. Leider gibt es auch einen bis zwei Wermutstropfen. Zum einen ist das Lettering nicht immer gelungen (Rechtschreibung und Erscheinungsbild könnten teilweise besser sein), zum zweiten ist der Kopierdruck viel zu satt, so daß Details wegfallen, ein Umstand, unter dem vor allem Tills Comic zu leiden hat. Arne hat bereits Besserung gelobt. jo84



Sprühende Phantasie # 20. 52 Seiten, s/w mit Farbumschlag, DIN A 4, 6 Mark. Joachim Guhde, Goebenstraße 37, 32423 Minden, e-Mail: phantasie@teleos-web.de
Ralph Görtler, der in dieser Ausgabe interviewt wird, ist ein 56jähriger Cartoonist und Comiczeichner, der nicht so bekannt geworden ist wie Uli Stein oder Peter Butschkow, aber offenbar von der Zeichnerei leben kann und sein Leben als freier Grafiker um nichts in der Welt eintauschen möchte. Seine Schnecken-Comics "Schneckliche Zeiten" hat wohl jeder schon mal irgendwo gesehen. Hier hat Jo Guhde mal einen wirklich bemerkenswerten Künstler aufgetan, der auch ganz offen über seine Ansichten plaudert, dabei aber zugleich gebührende Distanz hält. Bisher blieben die Interviews, die es ja in jeder Ausgabe gibt, oft etwas hölzern und schematisch wegen der von Jo bevorzugten Briefform des Gesprächs. Was in dieser Ausgabe fehlt, sind grafisch aufwendige Comics. "Trish", sein ehrgeiziges Projekt mit Bernd Struckmeyer, wird hier nach drei Seiten abgewürgt - Jo sucht jetzt nach einem neuen Mitarbeiter. Fast alle übrigen Comics - schwerpunktmäßig übrigens aus der Feder von Oliver Ferreira und Wittek - haben Jam-Charakter oder sind locker erzählte Satiren. Manche Gags sind eher was für Insider. Mit Comics vertreten sind in der neuen Ausgabe außerdem Tim Posern, Horst Jäger, Andy Konky Kru, Anja & Joy, Andreas Fecke, Holger Bommer und der Mitgründer der "Sprühenden Phantasie" Leviathan in Love. Ob die Ausgabe einen Kurswechsel einleitet oder ob sich der Inhalt einfach nach dem Jo vorliegenden Material richtet, bleibt abzuwarten. Im Stil von Ausgabe 20 könnte SP vielleicht die Lücke von "SI-Kartuun" ausfüllen. aa



Suckelborst - Gelassene Comics # 1. 24 Seiten, s/w, DIN A 7, Auflage:100, 2 Mark. Andreas Fecke, Garfelner Straße 41, 59558 Lippstadt
Ein neues Magazin hat das Licht der Welt erblickt, und es macht einen guten Eindruck. Verantwortlicher Herausgeber ist Andreas Fecke, der durch zahlreiche Comics mit und ohne Worte auch PLOP-Lesern kein Unbekannter ist. Bisher veröffentlichte er vor allem Egozines mit Strips um Go-Steine, Raben oder Salzstreuer. Suckelborst soll nun ein Magazin werden, zu dem auch andere Zeichner Zugang haben sollen. Jedoch sollen ausschließlich Funny-Comics und Textbeiträge veröffentlicht werden. Einen ersten Mitarbeiter hat Andreas in Moritz Stetter gefunden, der bereits drei witzige Seiten um einen fleischfressenden und einen pflanzenfressenden Dinosaurier beisteuert. Den Rest der Erstausgabe bestreitet Fecke selbst in gewohnt guter Qualität. Ungewöhnlich an dem neuen Magazin ist vor allem das Format DIN A 7, das beibehalten werden soll. Die Seitenzahl dagegen soll in den Folgeausgaben noch erheblich steigen. jo84



tremor comics # 17 (September 2001). 44 Seiten, s/w mit Farbcover, Comicbookformat, 4,80 Mark. tremor comics, c/o C. Schadow, Triftstraße 05, 06114 Halle/Saale
"Wir haben Wort gehalten!" Die Schreibtischtäter melden sich zurück, als ob jeder vermutet hätte, die Sachsen-Anhaltiner würden nach nun knapp drei Jahren langsam das Zeitliche segnen. Nach einer kleinen Sommerpause kehrt ihr Magazin in gewohntem Umfang und mit gewohntem Inhalt zurück. Also kein Grund zur Panik. Neu im Heft ist Till Lenecke (gelegentlich auch schon mal in PLOP zu sehen), der ein bewegendes Drama von Ausgrenzung unter Schülern beisteuert. Die Neuzugänge der letzten Zeit, Karsten Schreurs, Bernd Teuber und Ulrich Magin, sind auch wieder mit von der Partie. Karsten Schwenzfeier schließt seinen mit interessanten Computereffekten aufgepeppten Comic "Narziss und Echo" ab. Bemerkenswert ist auch der sehr eigenständig gezeichnete Beitrag "Deur" von C. P. Muenchgesang. "tremor comics"ist nach wie vor ein sehr empfehlenswertes Magazin, das mit ziemlich viel Energie und Spaß weitergeführt wird. aa



Weißblechs weltbeste Comics # 3. Zombie Terror. 32 Seiten, s/w mit Farbcover, Comicbookformat, 6 Mark (ab 18 Jahre). Weißblech Comics, An der Landstraße 5, 23758 Kükelühn
Dies sind Geschichten von unschuldigen Mädchen oder nichts ahnenden Zivildienstleistenden, die sich vor der hereinbrechenden Dunkelheit in düstere Häuser mitten im Wald flüchten. Seit etlichen Kinostreifen von George Romero, Sam Raimi oder Tobe Hooper wissen wir, was solchen Leuten dann nicht selten widerfährt - im Titel wird es auch angedeutet. "Trash", könnte man sagen und das Heft schnell abhaken. Aber es gibt natürlich guten und schlechten Trash, und vielleicht haben wir es hier mit dem guten zu tun. Die fünf bis sieben Seiten langen Stories sind jedenfalls absolutes Splatter-Konzentrat. Auf Seite 1 sehen wir zum Beispiel die beiden knackigen Mountainbikerinnen ratlos in die Landkarte vertieft. Bis Seite 4 hören sie die grausige Mär vom Fluch der einsamen Berghütte. Dann können sie es sich auf Seite 5 noch eben nackt vor dem Kaminfeuer gemütlich machen, bevor sie auf Seite 6 ihr schreckliches Schicksal ereilt. Levin Kurio (Story, teilweise Pencils) und Roman Turowski (Grafik) machen keine Umstände. Noch weniger Wittek, der in der Heftmitte "Nazizombies" gegen "Mangagirlies" antreten läßt. Durch die extreme Kürze bleiben die eigentlich ausgelutschten Horror-Klischees noch eben lebendig. aa Alternativkritik: Levin Kurios Koma Comics lieben wir wegen seinem hohen Wahrheitsgehalt in seiner versteckten Gesellschaftsanalyse, seine Sonderhefte wegen seinem hohen Billigtrashgehalt. So auch in dieser Ausgabe. Leider hat Levin nur für eine der vier Kurzgeschichten Text und Vorzeichnungen beigesteuert, die Tuschearbeit steuerte Roman Turowski bei, der auch zwei der anderen Geschichten komplett erstellte. Turowskis Stories sind leider immer sehr merkwürdig, und seine Zeichnungen nur dann gut, wenn er sich wirklich Mühe damit gibt und sich Zeit dafür nimmt. Das scheint mir bei vorliegendem Werk nicht der Fall gewesen zu sein, die Sachen kommen mir irgendwie hingeschludert vor, sind zu großflächig und weisen kaum Hintergründe auf. Höhepunkt ist Witteks Story Nazizombies gegen Mangagirlies, in denen er detailreich mit gängigen Klischees dieser Schlagwörter spielt. Als Gesamtheit ist das Heft diesmal eher Mittelmaß, aber für 6 Mark kann man es schon mal mitnehmen. jo84



Osamu Tezuka: Kimba, der weiße Löwe # 1 bis 3, je ca. 200 Seiten, Mangaformat, DM 9,95, ? 5,-. Carlsen
Genau wie Menschen jeden anderen Alters ist auch der Mittdreißiger nicht gegen Nostalgiegefühle gefeit, nur heißen unsere Kultfiguren nicht Falk oder Sigurd, sondern zum Beispiel Kimba. Die gleichnamige Zeichentrickserie gehörte Anfang der 70er Jahre zum Besten, was es so für Kinder gab. Keiner wußte natürlich, daß der "Gott der Mangas" Osamu Tezuka die Figur erfunden hatte und sie auf einem Comic basierte, der nun zirka ein halbes Jahrhundert nach seinem Entstehen endlich in drei Bänden auf Deutsch veröffentlicht wurde. Den Nostalgiker kann die Comicfassung jedoch überraschenderweise nur enttäuschen, was ungewöhnlich ist bei einem Tezuka-Comic. Noch deutlicher als bei Astro-Boy sieht man den Seiten an ,daß sie vor langer, langer Zeit entworfen wurden. Das ist ja an sich nichts schlimmes. Aber die Abenteuer von Kimba, die recht vielversprechend starten, werden spätestens in Band 2 immer hektischer und undurchsichtiger, und die fitzeligen Zeichnungen mit Grauwerten sind manchmal anstrengend zu deuten. Die Zielgruppe bleibt unklar. Für Kinder sind die Texte teilweise zu kritisch und vor allem am Ende zu schockierend, für Erwachsene über weite Strecken zu banal und unwitzig. Auch Nostalgikern bietet er nichts, da der Comic völlig andere Figuren als die Fernsehserie hat, und vor allem uninteressantere.Selbst der Charakter der Hauptfigur bleibt unausgegoren. Schade, ich hatte mich sehr auf die Serie gefreut. jo84



Planet der Affen: 112 Seiten, farbig, Comicbook-format, 12,95 Mark, Generation Comics
über den neuen Film und sein Verhältnis zu der Kinoreihe von 1967 bis 1973 ist schon viel geschrieben worden. Insbesondere den Hinweis, daß die politische Dimension der alten Affenreihe (die Anspielungen auf Rassismus, Totalitarismus, das Fanal des Krieges) durch die Perspektive individueller Einzelschicksale ersetzt wird, kann man nicht von der Hand weisen. Regisseur Tim Burton ist diese Entpolitisierung wohl weniger anzulasten, weil er erst spät ins Team kam, aber er ist sicher nicht der Typ, politisches Kino zu machen. Ich finde es reizvoll, stattdessen einmal die alten Comics mit den neuen zu vergleichen. Zunächst: Es gibt eine überraschende Parallele. In den Williams-Heften (im Original Marvel) wie auch im vorliegenden Band (im Original Dark Horse) gibt es eine Film-Nacherzählung und eine freie neue Affen-Story. Und damals wie heute ist die Nacherzählung grafisch schwächer. Davide Fabbri heißt der Zeichner, der den Burton-Film adaptiert hat. Er zeichnet viel aufwendiger und detaillierter als der Marvel-Routinier George Tuska, der 1968 am Werk war. Aber auch besser? Fabbri scheint eingeengt durch die vorgegebene Bilderwelt des Films. Alles wirkt hölzern, ein wenig beliebig, ohne Höhepunkte. Tuska konnte mit seinen sehr begrenzten grafischen Möglichkeiten seinem Taylor kaum ähnlichkeit mit Charlton Heston verleihen, aber in seinen Bildern steckt immer die Spannung und Dramatik der Situation: die Menschenjagd, der Mensch im Tierkäfig, das groteske Affen-Tribunal. Von Tuska zu Mike Ploog - von Fabbri zu einem Zeichner-Team: Paco Medina und Adrian Sibar. Ploog war ein Könner auf dem Niveau der Warren-Horrorcomics, Medina und Sibar sind mit ihrem effektvollen, kantigen Stil Epigonen von Walter Simonson, der wiederum auf den Schultern von Jack Kirby steht. Der Zeichenstil wechselt bei Medina und Sibar allerdings auf 65 Seiten wenigstens zweimal. Wer für welche Seiten verantwortlich ist, bleibt ungeklärt. Gelungen sind den beiden auf jeden Fall ausdrucksvolle Affen- und manchmal auch Menschengesichter, die sich ziemlich der Karikatur annähern. Erzählt wird mit großem Pomp eine dann doch eher schlichte Story zwei Generationen nach Burton. Die Herrscher der Affenstadt kämpfen gegen Affen-Partisanen, die von einem Menschen angeführt werden. Enthüllt wird dabei die Identität der "Gesandten" Shiva, eines höchst unsympathischen weiblichen "Falken" auf Seiten der Affenstadt. Sie ist nämlich großmütterlicherseits ein Mischling aus Gorilla und Schimpanse (man meint zudem auch menschliche Züge an ihr zu entdecken), was ihre ethnischen Säuberungen nicht glaubwürdiger macht. Und am Ende stoßen die Truppen der Affenstadt auf ein menschliches Raumschiff, eben jenes, mit dem die Menschen einst auf den Planeten der Affen gekommen sind. "Und was jetzt", fragt einer der Affen. "Nichts. Wir waren nicht hier. Dieser Ort existiert nicht", entgegnet der Affengeneral. Warum eigentlich? Weil die Gesandte hier umgekommen ist? Weil die Affen die menschliche Technik nicht bedienen können? Oder gar, weil den in den Sonnenuntergang reitenden Affen irgendein Dialog zwischen die spitzen Eckzähne geschoben werden mußte? Dürftige Stories, grafisch exzellent umgesetzt - der Band ist nicht dazu angetan, meine Vorurteile gegen neue Superheldencomics zu zerstreuen. Im Gegensatz zur Williams-Serie fehlt hier übrigens jegliche Numerierung. Einem zweiten Band hat man wohl bei Generation keine Verkaufschancen eingeräumt. aa





Bizarr Bazar # 3, 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 4 Euro. Zwerchfell Verlag
Mit BizBaz 3 legt das House of Zwerch den lang angekündigten 2. Teil des halb-autobiographischen Wittek-Comics "Operation Dedorf" vor, für den sich der Meister eine Menge Unterstützung geholt hat.Ein dutzend Gastzeichner durften nach seinem Text jeweils eine Seite vorzeichnen oder tuschen. Dieses Konzept ermöglicht größtmögliche Abwechslung innerhalb eines homogenen Erscheinungsbildes. Die meisten der Seiten wurden danach am Computer noch mit grauen Zwischen-tönen versehen. Das Ergebnis kann sich sehen lassen. Die Auswahl der Gastzeichner ist mit Oliver Ferreira, Fil, Klaus Cornfield, Rainer Baldermann, Calle Claus, Levin Kurio, Till Lenecke, Jo 84, Loppe, Rene Roggmann und Heiner Fischer natürlich auch exquisit. Textlich hat natürlich Wittek die Zügel in der Hand behalten. Chaos ist also angesagt. Ergänzt werden die hervorragenden Comicseiten durch ebenso brilliante redaktionelle Ergänzungen sowie 2 Cartoons. Uneingeschränkt Empfehlenswert! Jo84



Catálogo de Fanzines. 32 Seiten, s/w, DIN A 5, kostenlos. Gambuzine, Teresa Camara Pestana, Apartado 43, 3200 Lousa, Portugal, gambuzine@hotmail.com
Teresa hat sich derselben Fleißaufgabe wie die Basken von "Napartheid" unterzogen. Teresa gibt ihrer Fanzinothek mit durchgängigem Handlettering, einigen Comicbeispielen und Anmerkungen zu allen aufgelisteten Fanzines eine persönliche Note. Dafür wirkt der Index nicht so vollständig wie der von "Napartheid". Sicher trägt er dazu bei, daß die internationale Fanzineszene ein bißchen näher zusammenwächst - was die Post durch ihre exorbitanten Portogebühren aber wirksam zu hintertreiben versteht. aa



Chnusper Comics # 2. Weihnachtsausgabe. 16 Seiten, s/w, DIN A 5. Oliver Gfeller, Bohrerhofstraße 10, CH - 4123 Allschwil. oli-gfeller@gmx.de
Ich muß schon sagen, viel Angriffsfläche bietet Oliver Gfeller dem Rezensenten mit diesem Magazin noch nicht. Außer der unvermeidlichen Teresa Camara Pestana finden sich nur noch zwei Comics und ein paar Besprechungen vom Herausgeber höchstpersönlich. Oliver pflegt einen aggressiven Witz, der sich gegen in der Schweiz offenbar besonders virulente Spießermoral und Konsumwahnsinn richtet. Sicher würde "Chnusper Comix" von größerer Vielfalt durch mehr Gastbeiträge profitieren. Mal sehen, wie es bei der für Februar angekündigten Superhelden-Ausgabe aussieht. aa



Enpunkt # 36. 64 Seiten, s/w mit gelbem Umschlag, DIN A 5, 3,50 Mark. Klaus N. Frick, Postfach 24 68, 76012 Karlsruhe
Klaus N. Frick trifft sich mit Freunden, liest Bücher, hört Platten, geht auf Konzerte, überprüft die Punk-Geschichte, regt sich über Neonazi-Aktivitäten auf, reist nach Südostasien (das tun viele andere auch) und schreibt anschließend darüber (das tun nur wenige). Andere Leute kommen in diesem Magazin nicht zu Wort. So entsteht ein Ego-Zine, in diesem Fall ein ziemlich gutes, weil sich Klaus ziemlich viel Mühe gibt, seine Sicht der Dinge rüberzubringen. Comics gibt's in Enpunkt leider keine - Klaus ist zwar sporadischer Leser, aber kein Zeichner. Trotzdem möchte ich auf sein Magazin noch einmal aufmerksam machen, weil es einige gute Eigenschaften eines Fanzines aufweist: Unkommerzialität, Unabhängigkeit, Originalität, Authentizität, Gegenöffentlichkeit. Wobei sich der Einfluß dieses Magazins - wenn auch mit 500 Exemplaren Auflage wesentlich größer als PLOP - doch sehr in Grenzen hält. Wie er was verändern könnte, weiß Klaus folgerichtig auch nicht so recht, wie er im Vorwort gesteht. Aber man sollte vielleicht auch nicht allzu paranoid sein. Ein Staat, in dem ein Magazin wie Enpunkt erscheint, kann nicht so schlecht sein. aa



Gambuzine # 10 (November 2001). 32 Seiten, s/w, DIN A 4. Gambuzine, Teresa Camara Pestana, Apartado 43, 3200 Lousa, Portugal. gambuzine@hotmail.com
Wieder Comics von Markus Huber und Till Lenecke und statt Feuchtenberger diesmal Hendrik Dorgathen im Heft, und ich glaube beinahe, daß Teresa gar nicht weiß, wen sie da eigentlich an Land gezogen hat. Aber vielleicht sieht Dorgathen ja einen besonderen Reiz darin, mal in einem portugiesischen Magazin veröffentlicht zu werden. Teresa hat wieder ein vorzügliches Magazin zusammengestellt (vorbehaltlich des Inhalts, der mir mangels Portugiesisch-Kenntnissen leider wieder entgeht). Wäre al interessant zu erfahren, wie die portugiesischen Leser auf die deutsche Kunst reagieren. aa



King King Kong King Comix # 1. 28 Seiten, s/w mit Farbcover, DIN A5, 6 Mark. Pottzblitz Entertainment Group, Patrick Schmitz, Heinrichstraße 37, 38106 Braunschweig
Patrick Schmitz kreiert in seinen Comics seine eigene, nicht ganz leicht zu durchschauende, aber konsistente Welt. Alle Figuren haben einen kreisrunden Pacman-Kopf. Roboter, Werwölfe und böse Geister sind darunter. Teilweise geben sie Texte obskurer Rocksongs von sich. Die Comics sind skurril, aber durchaus nicht lustig. Und wäre das alles nicht schon merkwürdig genug, fällt auch noch auf, daß der erste Comic aus dem Jahr 1983 stammt, der Rest dann aus 2000. Auf jeden Fall ist Patrick ein origineller Künstler, der vielleicht noch auf dem Weg zum gültigen Ausdruck ist. aa



Kreativo! # 37 (Dezember 2001). 36 Seiten, s/w, DIN A 5, 3 Mark. Birke, Postfach 2022, 58470 Lüdenscheid.
In der neuen Ausgabe läßt sich Andreas Schmitt zu einer Haßtirade gegen einen russischen Schriftsteller hinreißen, der offenbar in München eine Lesung veranstaltet hat. "Mir wurde das ganze schon langweilig, bevor dieser Sorokin überhaupt angefangen hatte", schreibt er. Und ich hatte schon vor Ende des Artikels den Verdacht, daß hier ein gewisser Anteil Mißgunst im Spiel sein dürfte. Auch Ghost, der in Birkes Magazin schon durch viele großartige Zeichnungen aufgefallen ist, nimmt kein Blatt vor den Mund und beantwortet den Fragebogen ironisch, aber ziemlich offenherzig. "Wir beide, Birke, Du und ich in unserer privaten Inszenierung von ,Ein unmoralisches Angebot'", beschreibt er seinen größten Traum. Sowas würde ich als Herausgeber nicht veröffentlichen, sondern entweder unters Kissen legen oder durchs Klo spülen. Aber Birke pflegt nun einmal eine ziemlich unkonventionelle Veröffentlichungspraxis. In "Kreativo" finden sich daher auch manche ziemlich mißglückte Beiträge neben flüchtig hingeworfenen kleinen Juwelen. Aber dafür mag ich dieses Magazin. Schön zu hören übrigens, daß Birke ihren Krankenhausaufenthalt trotz einiger bizarrer Erlebnisse gut überstanden hat. Näheres im neuen Heft. aa



Magazine # 4. 16 Seiten, s/w, Comicbookformat, 1,50 Pfund. Andy/Dachshund, P.O.Box 8892, London SW 15, England. andy_konkykru@yahoo.com
Wenn diese PLOP-Ausgabe erscheint, dürfte Andy wieder in London sein, nachdem er einige Monate in Frankfurt gelebt und einige Comic-Veranstaltungen in Deutschland besucht hat. Dieses Heft, das er zum Verteilen in England gedruckt hat, enthält hauptsächlich Skizzen, die er beim Comicfestival im Sep-tember in Berlin und im Oktober auf der Frankfurter Buchmesse angefertigt hat. Auf der Buchmesse gab es zum zweiten Mal einen Comicschwerpunkt mit einer noch unbefriedigenden Zahl von Ausstellern, aber enorm hohem Publikums- und Presseinteresse. In einer Art Vorwort berichtet Andy auf drei Seiten von den beiden Festivals. Der Aufbau des Hefts gleicht genau der vorherigen Ausgabe, die, wie sich manche von Euch erinnern mögen, PLOP # 60 beilag. Man ist an eine Illustrierte erinnert, aber dort kommt die lange Bilderstrecke immer vor dem Text. aa



Melone # 4. 56 Seiten, DIN A 5, 2 Euro. Arne Auinger, Viktoriastr. 56, 32423 Minden
Arne bewegt sich mit Riesenschritten in die Professionalität. Wenn er nicht so wenig Kohle hätte, wäre das Heft schon vor Wochen erschienen. Trotzdem hat das neue Heft immerhin 56 Seiten zu bieten, und der Num-mer 5 soll sogar eine CD mit Musik-, Wort- und Bildbeiträgen beiliegen. Auch die Comicbeiträge werden immer besser. Hinter einem Jamcover verbergen sich Beiträge von Aaron Jordan, Anja & Joy, Rip Gallistl, Rainer Baldermann, Gunnar Saecker, Wittek, Tim Posern, Oliver Ferreira, Thomas Glatz, Bernd Struckmeyer/Jo 84, Leviathan in Love, Olaf Bathke, Calle Claus, Haina Fischer und Arne, dessen Zeichnungen ebenfalls immer besser werden. Ich möchte nichts davon besonders hervorheben, denn die Mischung macht`s. Das Heft wird durch ein schönes Till Lenecke-Interview abgerundet. Jo84



Menschenblut # 37. 36 Seiten, s/w mit Farbcover, Comicbookformat, 6,80 Mark. Eisenfresser Comix, Postfach 1141, 36094 Petersberg
In dieser Ausgabe darf der Nachwuchs ran. Die beiden Beiträge "Kopfschmerzen" und "Transsylvania Air-lines" zeichnen sich durch ein gerüttelt Maß an unmotiviertem Splatter aus. Die von Rochus Hahn geschriebene Kidnapping-Story "Einen heben geh'n" hat zwar einigermaßen Hand und Fuß, verzichtet dafür aber fast gänzlich auf Horrorelemente. Die Zeichner Walter Fröhlich, Alex Knüttel und Ralph Niese können dagegen alle was. Bi-Mi läßt nach wie vor keine flaue Grafik ins Heft. Da läßt sich auch auf wieder bessere Stories hoffen. aa



Moga Mobo # 86. 100 Meisterwerke der Weltliteratur. 132 Seiten, s/w mit Farbeinband, Paperbackformat, gratis in Stuttgart und Berlin. Moga Mobo, Christburger Straße 17, 10405 Berlin
Eine reizvolle Aufgabe: Setze einen bekannten Roman in einen Comic mit acht gleichgroßen Panels um. Dem unterziehen sich hier 100 überwiegend deutschsprachige Comiczeichner. Natürlich ist die Aufgabe schier unlösbar. Es gibt mehrere Möglichkeiten, das Problem zu umgehen - vielleicht indem man sich auf eine Kern-szene des Buchs beschränkt oder das Thema in ein paar Symbole verwandelt oder sich mit einem Scherz aus der Affäre zieht. überraschenderweise versuchen in Moga Mobo trotzdem die meisten Beteiligten, einen Roman in acht Bildern nachzuerzählen. Man versteht dann den Comic oft gar nicht, wenn man die Vorlage nicht kennt. Timo Wuerz beläßt es bei "Generation X" von Douglas Coupland bei einem Bild, womit er der Aufgabe nicht ganz gerecht wird. Legrons Beitrag hat mir gefallen, weil er sich in "Don Quijote" darauf konzentriert, den Traum, ein stolzer Ritter zu sein, zu verdeutlichen. Schön auch Saschka Unselds Version von "Jugend ohne Gott", in der in einer langen Reihe aufgestellte jugendliche einer nach dem anderen fallen und sich in die Kette eines Panzers verwandeln. Die humoristische Variante hat zum Beispiel Mahler gewählt, der sich bei "Emanuelle" überwiegend auf eine nicht lesbare Schrift beschränkt. Weil man bei Wolfs Fassung des Pornoklassikers "Josefine Mutzenbacher" andeutungsweise Kindersex sieht, ist das Buch übrigens häufig verstümmelt in den Handel gekommen. Man hätte sich insgesamt mehr Comic-Meisterwerke gewünscht. aa



Nichts für ungut 2001 (Januar 2001). Sammlung diverser Zettel, s/w, unterschiedliche Formate. Benjamin Brandt, Schubertstr. 36, 99423 Weimar, benjamin.brandt@gestaltung.uni-weimar.de
Dieses... äh, Magazin ist schon etwas älter. Man könnte meinen, ich hätte damit nichts anzufangen gewußt und es achselzuckend in der Schublade verschwinden lassen. Tatsächlich habe ich es nur an meiner Zweitadresse in Petersberg liegen gelassen und dann versehentlich aus den Augen verloren. Erst als ich neulich nach einer Druckvorlage von Andy Konky Kru suchte, fiel mir das Werk wieder in die Hände. Tja, ich muß schon sagen, Benjamin (in PLOP kein Unbekannter) läßt hier ziemlich den Kunststudenten raushängen. Ein Heft herauszubringen, das sich einfach der Form eines Heftes verweigert und stattdessen Einzelblätter und Heftstücke höchst unterschiedlicher Form auf einen großen Haufen wirft, mag ungewöhnlich und aufmerksamkeitheischend (um nicht zu sagen effekthascherisch) sein, es verhöhnt aber irgendwie auch den Leser. Ich hatte jedenfalls keine Lust, den Stapel zu lesen, entschuldige mich aber in aller Form für die verspätete Rezension und bin durchaus wieder gespannt auf "Nichts für ungut 2002" - vielleicht diesmal als Konfettisäckchen? aa



Nozomi # 5 (September 2001). 84 Seiten, s/w mit Farbcover, DIN A 5, 10 Francs (plus 8 Francs Porto). Bruno Pham, 6 Impasse de Lisbonne, F - 49460 Montreuil JuignÉ, http://fly.to/nozomi
Charakteristisch für Manga-Fanzines scheint zu sein, daß sie mit massenhaft Informationen über zahllose Mangaserien vollgestopft sind. So ist es auch bei diesem französischen Magazin. Neben dem redaktionellen Teil gibt es hier einen fünfseitigen Comic und drei ganzseitige Illustrationen. Das Heft sollte ich denen mal zeigen, die sich über zu wenig Comics in PLOP beschweren! Lesen kann ich das französische Magazin leider nicht. Ich habe es durch den e-Mail-Kontakt zu einem Mitarbeiter, Francois Verry, bekommen, der gerade Deutsch lernt und schon ziemlich gut beherrscht. Manga-Fans, die französisch können, kann man "Nozomi" sicher mal empfehlen. aa



QI # 51 bis 53. 16 bis 24 Seiten, s/w mit Packpapiereinband (# 51), DIN A 5, 1 Real. Edgard Guimaräes, Rua Capitäo Gomes, 168 BrasÓpolis MG 37530-000, Brasilien
Natürlich bin ich auch an dieses Magazin über Teresa herangekommen. Brasilien ist das einzige südamerikanische Land, in dem Portugiesisch Amtssprache ist. Deshalb gibt es offenbar enge Verbindungen zwischen Portugal und Brasilien. QI enthält im wesentlichen einen längeren Comic ("Mundo Feliz"), der ein bißchen an "Love and Rockets" erinnert - in # 52 ist es eine offenbar etwas krude Gefängnisgeschichte namens "Calvo. Invasäo dos lagartos terriveis" -, und einen umfangreichen redaktionellen Teil, vermutlich Rezensionen (vielleicht sind's auch Leserbriefe). Offenbar schreibt und zeichnet Herausgeber Edgard Guimaräes alles selbst. Und das Magazin erscheint, wie's aussieht, in beinahe beängstigend rascher Folge. aa



Sagittarius # 32 (August 2001). 48 Seiten, s/w, DIN A5, 3 Mark. Klaus N. Frick, Postfach 24 68, 76012 Karlsruhe
Klaus N. Frick leuchtet in seinem Science Fiction-Fan-zine wieder entlegenere Ecken des Genres aus. Michael Nagula steuert einen Gastbeitrag über irische Literatur bei. Kurzgeschichten verschiedener Autoren und ein ziemlich gruseliger Comic von Manfred Lafrentz runden den Band ab. aa



Sol # 24. 80 Seiten, s/w mit Farbcover, DIN A 4. Perry Rhodan Fanzentrale e.V., Postfach 2352, 76413 Rastatt
Das gewohnt hochklassige Hochglanzmagazin der Perry Rhodan Fanzentrale wartet unter anderem mit einem Interview mit dem Autor und übersetzer Michael Nagula, einer übersicht über die Fantasy-Comic-serie "Troy" bei Carlsen - und mit Comics von Perry Rhodan-Redakteur Ulrich Magin auf. Zumindest für jeden Science Fiction-Fan zu empfehlen. aa



Strichnin # 1 und 2. 36 bzw 52 Seiten, s/w, DIN A 5.
Ein neues Comiczine hat das Licht der Welt erblickt, und es macht einen merkwürdigen Eindruck. Aus Hamburg kommt es, irgendwie Hochschul- oder Uni-Umfeld, und bietet Kurzcomics, die mich recht ratlos zurücklassen. Krakelkunst meets Möchtegern-Intellektuelle, ist meine erste vorsichtige Einschätzung. In Heft 1, Auflage 500 Stück, ringen sich sechs Leute sieben Beiträge ab. Die Geschichte von Timo um einen Selbstmörder, der mit viel Glück seine Wiedergeburt erwirken kann, ist noch ganz nett. Auch Ole bietet mit einem kotzenden Karussellfahrer wenigstens noch so etwas wie eine stringente Geschichte. Die anderen verlieren sich in "Jeder-ist-seine-eigene-Insel"- Betrachtungen, unzusammenhängend, oder zu-mindest unverständlich. Mit Judith darf natürlich auch eine Feuchtenberger für Arme nicht fehlen. Heft 2 fällt deutlich dicker und besser aus, dafür beträgt die Auflage nur noch 250 Stück. Patrick aus Kiel und Malin aus Hamburg bringen sogar zwei Beiträge, die mir gut gefallen. Auch der Rest liegt deutlich über dem Durchschnitt von Heft 1. Was nicht heißt, daß ich ihn gut finde. Leider steht keine Bezugsadresse im Heft. Aber die meisten Mitarbeiter sind über E-Mail erreichbar. Jo84



Suckelborst. Gelassene Comics # 2, 40 Seiten, s/w, DIN A 6, 2 Euro. Andreas Fecke, Garfelner Straße 41, 59558 Lippstadt
Mit seinen 40 Seiten hat die zweite Ausgabe von Suckelborst den vom Herausgeber gewünschten Umfang. Einige Leute stellten Beiträge zur Verfügung, und auch die Textmenge ist gewachsen. Somit scheint das seltsame Mag auf dem richtigen Weg. Nach wie vor sind alle Beiträge okay, bei Mitarbeitern wie Moritz Stetter, Oliver Ferreira, Tim Posern und Gerd Bonau kein Wunder. Sehr schön die Textergänzungen, die sich auf die Comics beziehen oder neue Aspekte bringen. Schnell durch hat man das Heft trotzdem. Insgesamt gesehen Klein, aber fein. Jo84



Unspannend. 16 Seiten, s/w, DIN A 6. Andy Konky Kru, P.O. Box 8892, London SW 15, Great Britain
Trotz des spektakulären Umschlags von Wittek sind doch Andys Comics im Inneren das Spannendste an diesem Band. Er versucht hier nämlich, nicht ohne Erfolg, Geschichten zu erzählen, denen auf überraschende Weise die Pointe fehlt. Zum Beispiel webt eine Spinne zwölf Panels lang ihr Netz. Eine sich nähernde Fliege hat schon im siebten Panel, Böses ahnend, abgedreht. Oder ein Typ wandert herum, blickt skeptisch auf seine Uhr, hört sie ticken und geht beruhigt weiter. Eine eigenartige Form melancholischer Komik entsteht in solchen Geschichten, jedenfalls wenn man sie so zeichnet, wie Andy das tut. Manchmal hält er allerdings sein Prinzip nicht durch. Ein Mann gießt eine kleine Blume so lange, bis sie bis zu seiner Nase emporgewachsen ist und er an ihr riechen kann, ohne sich bücken zu müssen. Oder eine zwischen zwei Bäumen aufgespannte Hängematte rutscht auf der einen Seite ab; der Schläfer bekommt aber davon nichts mit. Vom Slapstick wohlbekannt ist schließlich die Geschichte vom Gärtner, dessen Wasserschlauch versiegt und dem das Wasser ins Gesicht spritzt, als er in die Schlauchöffnung späht. Es ist eben gar nicht so leicht, Comics ohne Pointe zu fabrizieren. Andy ist es aber wenigstens teilweise gelungen. Und vielleicht wäre es reizvoll, sich weitere "unspannende" Comics auszudenken. aa



Ups # 5 und 6 (Mai und November 2001). Je 20 Seiten, s/w, DIN A 5. Armin Parr, Sternbergstraße 56, 72116 Mössingen.
über Armin Parrs Arbeiten habe ich schon im letzten PLOP geschrieben, daß sie das Lebensgefühl von Spätpunks behandeln, einer lost generation, die die neue Spaßgesellschaft etwas irritiert beobachtet. Zusammen mit diesen neueren Ausgaben, die wiederum fast ausschließlich Comics vom Herausgeber beinhalten, hat Armin mir einige Comics zum Nachdrucken geschickt, und ich mache davon gerne Gebrauch. Beim Lesen von "one night standing" könnt Ihr Euch also selbst einen Eindruck von seiner Kunst verschaffen, die auf mich etwas verstörend, aber auch faszinierend wirkt. aa



Von mir # 3. 40 Seiten, s/w mit Farbcover, Comicbookformat, 9 Mark. Schwarzer Turm, St.-Vitus-Straße 10, 36088 Hünfeld
Schade, wenn ein Leser mit der besten Folge einer Serie beginnt und die weiteren dann dagegen abfallen. Gerhard Försters "Von mir" ist ein vorzüglicher Comic, aber mit dieser Serie ist es mir so gegangen. Das Meisterwerk ist ganz offenbar Band 2. Wie der nachgemach-te Band 1 kann auch Ausgabe 3 das Niveau nicht ganz halten. Was natürlich keineswegs bedeutet, daß sie schlecht wäre. Gerhards Abenteuer mit der X-large-Frau strotzt nur so vor komischer Dramatik, läuft nur leider mit einem offenen Ende aus, weil die Sache Gerhard dann doch zu autobiografisch wurde. Da hätte er sich doch einen witzigen Schluß ausdenken können. Seine weiteren Erlebnisse bei Scientology sind aufschlußreich, aber nicht unbedingt witzig. Auch das Wiener Original Kurt Novak bekommt es diesmal mit einer Sekte und ihrer bemerkenswerten Hohlwelt-Theorie zu tun. In einer früheren Version dieses Comics hat Förster noch sich selbst an die Stelle Novaks gesetzt. Vervollständigt wird das Heft durch diverse Kurzcomics, von denen die Serie "Klinik bizarr" ziemlich schwach abschneidet. Fans können jetzt ihre Hoffnung noch auf den abschließenden Band 4 setzen, der zum Comic-Salon im Juni unter anderem mit einem Geheim-Dossier aufwarten soll. aa Gerd Bonau war so nett, mir den ursprünglichen ersten Band von Gerhard Försters "selbstgebasteltem Comicheftl" zu überlassen: Zwölf Seiten ohne richtiges Cover mit einer ziemlich authentisch wirkenden Story über die Sonnenfinsternis 1999. Gerhard besteigt mit drei Freundinnen einen Berg der österreichischen Alpen, um das Naturschauspiel besser verfolgen zu können. Der Einleitung ist zu entnehmen, daß sich der Autor hier erstmals an einem autobiografischen Comic versucht. Offenkundig übt er noch: der Geschichte fehlen so recht Struktur und Ziel. Für "Von mir"-Fans ist das Heftchen allerdings sehr aufschlußreich (leider vergriffen). aa



wacka wacka # 7. 52 Seiten. s/w, DIN A 5, 3 Mark / 1,50 Euro. wacka wacka, Postfach 101419, 04014 Leipzig, www.wackawacka.de
Guido Kawczynski hat nach einer Besprechung seines Magazins in der Popmusik-Postille "Visions" einen Mit-streiter gefunden, der im neuen Heft als Mit-Heraus-geber auftritt: Nico Roicko - ein großer "wacka wacka"-Fan und einer, der in ähnlichem Stil wie Guido schreiben kann. Ein seltener Glücksfall also. Es dominieren tagebuchartige Betrachtungen von Guido und Nico, sehr innerliche Texte. Außer den beiden und ihren Beziehungen zu anderen Menschen gibt es hier fast nichts mehr auf der Welt. Selbst das Interview mit Ex-"Flower Pornoes"-Sänger Tom Liwa ist so. Guido und Nico schaffen es, den Leser an ihren Erlebnissen und Empfindungen teilnehmen zu lassen und trotzdem fast poetisch zu sein. Auch Till Leneckes Comic "Sand zwischen den Zähnen" hat diese Qualität, obwohl eine ganz einfache Geschichte von einem Ausflug dreier Jungs erzählt wird, deren Freundschaft sich dabei festigt. Aus der Reihe fällt der hochdramatische und depressive Comic von Piwi über einen, der seine Freundin verläßt und es dann bereut. Dazu kommen ein Comic von Wittek, Fanzine- und Plattenbesprechungen. aa



Weißblechs weltbeste Comics # 4 (Oktober 2001). Unglaubliche Sexficition. 32 Seiten, s/w mit Farbcover, Comicbookformat, 3,05 Euro (6 Mark). Weißblech Comics, An der Landstraße 5, 23758 Kükelühn, kurio@weissblech.com
Dieses Magazin verkauft sich allein über seinen Titel. Da greifen sicher auch Nicht-Comicfans gern zu. Vom guten alten Weißblech-Humor ist nur ein Zweiseiter geblieben, in dem der Verleger von seiner Rührlöffel-bewehrten Gattin an einem natürlich rein geschäftlichen Termin mit seiner Protagonistin Bella Star gehindert wird. Die übrigen Geschichten sind gängige Science Fiction- und Abenteuer-Ware, an der zum Teil wieder Zeichner Roman Turowski mitgewirkt hat - Geschichten, die die Erwartungen, die der Titel weckt, so einigermaßen erfüllen, aber sonst nicht viel zu bieten haben. Hoffentlich vernachlässigt Levin Kurio über diesen Sonderheften die ursprünglichen "Koma-Comics" nicht allzu sehr. aa



Weißblechs weltbeste Comics # 5. Drogengeile Teenie Schlampen. 36 Seiten, s/w mit Farbcover, Comicbookformat, 3 Euro. Weißblech Comics, An der Landstraße 5, 23758 Kükelühn, kurio@weissblech.com
Das meiste, was ich über den Vorgängerband geschrieben habe, gilt auch hier. Levin Kurio bewegt sich mit seiner Story über die Erlebnisse zweier Mädels auf Mallorca weitgehend im "Eis am Stiel"-Universum. Eine nette Erinnerung an die 80er-Jahre ist auch das "Teeny-Party"-MAD-lookalike-Suchbild. Die beiden Beiträge von Roman Turowski sind ein bißchen düsterer und weitgehend ironiefrei. Die Grafik beider Künstler hat mir gut gefallen - nicht frei von Schludrigkeiten, aber doch ziemlich detailreich und ausgefeilt. aa



Xoomic # 0 (November 2001). 36 Seiten, s/w mit Farbumschlag, Frank Kemter-Verlag/Fürth
Fast aus dem Nichts taucht dieses Sekundärmagazin auf, das im Layout und Konzept stark an das bestehende Magazin REDDITION erinnert. Anscheinend existiert das Team dahinter im Internet unter www.xoomic.de allerdings schon länger. Qualität und Themenauswahl können mit genanntem Vorbild noch nicht konkurrieren, allerdings gibt man sich Mühe, und schließlich ist dies ja erst eine Nullnummer. Anscheinend richtet sich das Mag an intellektuell angehaucht Comicleser. Ob sich viele Interessenten für Themen wie "Der Popstar als Ikone- Zeit und Politik in Bryan Talbots ,The Adventures of Luther Arkwright'" finden, wage ich jedoch zu bezweifeln. Die anderen Themen, Jean-Claude Fournier, Roger Leloup sowie Rezensions- und Newsseiten, sind sauber recherchiert und geschrieben, nur die Comicstripreihe "Kasimir" von Florian Weiland ist völlig fehl am Platze innerhalb dieses Konzepts. Jo84



Andy: Konky Kru # 1. 28 Seiten, s/w, DIN A 5, 1,95 Euro. andy_konkykru@yahoo.com
Weitgehend bekannte Konky Kru-Abenteuer kommen hier noch einmal in einem neuen Format, dem bequemen üblichen Fanzine-Format. Neu ist das Nachwort, in dem Andy unter anderem schlüssig darlegt, warum das Schlagwort "Weniger ist mehr" falsch ist und schon gar nicht auf "Konky Kru" zutrifft. Das Heft soll wieder mal als "Visitenkarte" für Begegnungen auf Comicfestivals und ähnlichen Veranstaltungen dienen. Wenn ihr Glück habt, drückt Euch Andy dort ein Exemplar in die Hand. Zum Preis von 3 Euro bietet Andy im übrigen auch dieses Magazin im Comicbookformat an - da aber leider ohne sein launiges Nachwort. aa



FuFu Frauenwahl: Ten Eyes Archiv # 4: Ray Murphy - Detektiv der Träume, Heft 1. 28 Seiten, s/w mit Farbcover, 20 mal 22 Zentimeter, 5 Euro.
Nach langer Pause meldet sich die Zeichnervereinigung Ten Eyes Archiv zurück im neuen Format. Die Arbeiten von FuFu Frauenwahl gefielen mir aus den drei ersten Heften am besten. So ist es nur erfreulich, daß es mit seinen Sachen weitergeht. Die Geschichte aus der letzten Veröffentlichung blieb unvollendet, merkwürdig und auch irgendwie schade. Aber die drei vorliegenden, diesmal abgeschlossenen Kurzgeschichten entschädigen vollends. Leider bin ich nicht imstande zu sagen, warum Ray Murphy "Detektiv der Träume" genannt wird - angeblich weiß er es selber nicht. Der Zeichenstil ist realistisch, mitunter dreckig kantig, wobei es FuFu gelingt, ihn in jeder Geschichte etwas zu variieren. Anatomische Mängel gibt's nicht, FuFu steht zwar zeichnerisch den Fanzines nahe, seine Stile sind jedoch eigenständig und ausgereift. Die Stories sind zumindest als merkwürdig zu bezeichnen und beinhalten allesamt ein offenes Ende. Besonders interessant finde ich das Fotocover: Zeigt es den Künstler, oder jemanden, der den Charakter Ray Murphy darstellt, oder gar beides? Und warum dieses Faible für Insektenköpfe? Ich weiß es nicht. Sollte man sich das Heft zulegen? 5 Euro sind echt unverschämt, aber das Heft ist dafür wirklich gut. Jo84



Rafael Gouveia: Carneiro mal morto (Barely dead lamb). 28 Seiten, s/w, DIN A 5. Rafael Gouveia, Rua Cidade de CÁdiz No 25, 3. Esq. ,1500-156 Lisboa (Lissabon), Portugal
Durch meine neue Portugal-Connection bin ich plötzlich gut mit portugiesischen Comicmagazinen eingedeckt, bei denen es sich überwiegend um Fanzines handeln dürfte. Ich hatte zuerst vor, darüber zumindest einen übersichts-Artikel zu schreiben, aber meine fehlenden Sprachkenntnisse haben mich schließlich bewogen, die Titel einfach im folgenden nur aufzulisten. Man kann daraus schon ein bißchen was entnehmen, und viel mehr könnte ich auch nicht mitteilen. Man sieht immerhin: In Portugal gibt es eine vielfältige Fanzine-Landschaft. Eine Ausnahme will ich bei dem obengenannten Magazin machen. Das ist nämlich in Englisch geschrieben. Es enthält vier ausnahmslos von Rafael Gouveia gezeichnete Comics. Gemeinsam ist ihnen, daß ein monologisierender Text und die Zeichnungen mehr oder weniger parallel nebeneinander herlaufen. Die erste Geschichte heißt auch treffend "The Monologue Series, Part one" und ist in strengem Schwarzweißstil gezeichnet, während er bei den übrigen mit Grauschraffuren arbeitet. Mir gefallen diese Comics mit Anspruch, die zugleich nicht unzugänglich sind, sehr gut. Ich hoffe, daß ich von dem Zeichner bald auch mal was in PLOP präsentieren kann. aa



Max Jähling: Starreporterin Olga Stark. 28 Seiten, s/w, DIN A 5. Max Jähling, jaehling@gmx.de
Max Jähling hat ein interessantes, aber sicher auch nervenaufreibendes Experiment angestellt: in 24 Stunden einen kompletten heftfüllenden, realistischen Comic zu zeichnen, von der ersten Idee bis zur abschließenden Hintergrundschraffur. Das ist eine Empfehlung von Comictheoretiker Scott McCloud (www.scottmccloud.com/inventions/24hr/dare/da-re.html). Max Jählings Comic umfaßt 24 Seiten. Im Vorwort schreibt er, er habe insofern ein bißchen geschummelt, als er mit einer Nebenfigur seiner Superheldenserie "Reception Man" arbeitete, der Starreporterin Lois... äh, Olga Stark. Die mußte er sich also nicht erst ausdenken (siehe auch Comic in dieser Aus-gabe). Ansonsten arbeitet Max Jähling mit einer weitgehend logisch aufgebauten, wenn auch etwas sprunghaften Story, in der Olga in "Akte X"-Manier rätselhafte Besuche von Außerirdischen recherchiert und dabei - natürlich - von ihnen gekidnappt wird. Die Zeichnungen sind notgedrungen ziemlich flüchtig, aber doch noch vorzeigbar. Max beschreibt auch den Verlauf des Experiments: Er begann am 30. August 2001 um 13 Uhr. Gegen 18 Uhr fing er an, aufs Tempo zu drücken. Morgens um 5 Uhr hörte er auf, immer wieder zur Uhr zu schauen. Als stressig erwiesen sich für ihn nicht so sehr aufwendige Actionsequenzen, sondern längere Dialogphasen, in denen nichts passiert. Am folgenden Abend gegen 21 Uhr - ohne Schlaf - muß der Comic fertig gewesen sein. aa



Tim Posern: Rosa Elefanten und weiße Mäuse # 5. Sonnige Aussichten. 48 Seiten, DIN A 5 Querformat, numeriert und limitiert. Tim Posern, bei Dohrenkamp, Mannhardtweg 1, 14089 Berlin
Tim Posern ist einer der besten Cartoonisten und Comiczeichner des Landes, der mir irgendwie erst in letzter Zeit so richtig aufgefallen ist. Seine Reihe "Rosa Elefanten" ist ein Egozine, das in wechselnden Formaten seine Arbeiten, meist witzige Cartoons, sammelt. Diese sind manchmal schon in verschiedenen Fanzines zu finden gewesen, wie in diesem Fall Teile in "Sprühende Phantasie" und "Melone" zu lesen waren. Ein paar neue Sachen sind aber auch dabei. Die Qualität ist durch die Bank weg hervorragend. Ich wette auch, Tim wird noch bekannter werden. Jo84



Comic! Jahrbuch 2001, 240 Seiten, DIN A 4, 15,25 Euro
Das zweite vom ICOM herausgegebene Jahrbuch ist wie der Vorgänger ein gerade so geglückter Kraftakt geworden. Der ICOM ist zwar begütert genug, ein solch ziemlich umfangreiches Projekt zu stemmen, aber natürlich reicht das Geld nicht für ein richtiges Redaktionsteam, und die Honorare für freie Mitarbeiter sind, wie ICOM-Vorsitzender Burkhard Ihme im Vorwort einräumt, auch nicht üppig. Um so bewundernswerter, was da quasi ehrenamtlich auf die Beine gestellt wurde. Neben vielen Interviews wie im ersten Band (unter anderem mit Haggi, Chris Heesch, Rochus Hahn, Eckard Breitschuh und dem Neue-Frankfurter-Schule-Veteran F. W. Bernstein) gibt es diesmal auch einen umfangreichen überblick über den Comicmarkt, eine Bilanz des nun beendeten Meiniger Comic-Zensur-Prozesses und zwei kleine Themenschwerpunkte über Comiczeichner-Ausbildung und über Cyber-Comics. aa



Diabolik # 1 und 2. Noch 60 Sekunden zu leben, Eva Kant! 104 Seiten, s/w, 20,7 mal 16,3 Zentimeter, 2,99 Euro. Ehapa
Ich wußte nie so recht, woran ich mit ihm war. Diabolik wirkte wie ein Bösewicht in seinem dunklen Latexdress. Andererseits gibt es ja auch Helden, die so aussehen, zum Beispiel Phantom. Außerdem war Diabolik immer von schönen Frauen umgeben. Was mich zudem verwirrte, war Kommissar Ginko, der Diabolik ziemlich ähnlich sah - eine andere Identität des Protagonisten? Worum geht es überhaupt? Eine große Rache? Die Herrschaft der Welt? Frauen? Meine Fragen blieben knapp 20 Jahre lang ungeklärt, denn meine Italienisch-Kenntnisse reichten nie, die beiden Diabolik-Ausgaben, die ich mir in Rom gekauft hatte, zu lesen. Jetzt sind die Abenteuer dieser schillernden Comicfigur auch auf deutsch erschienen. Klar ist damit, daß Diabolik und Ginko keineswegs identisch, sondern die beiden großen Gegenspieler der Serie sind. Es führt auch kein Weg an der Erkenntnis vorbei, daß Diabolik auf der falschen Seite des Gesetzes steht, aber er ist zweifellos ein negativer Held. Ein Frauenheld ist er dagegen nicht, sondern fest mit einer hübschen Blondine namens Eva Kant zusammen. Die meisten Fragen bleiben jedoch vorerst ungeklärt. Ehapa verzichtet auf eine Origin-Story. So erfahren wir leider nicht, ob Diabolik ein Außerirdischer ist wie sein offensichtliches Vorbild Fantomas, ob er über übermenschliche Kräfte verfügt und welche Motive ihn antreiben. In den ersten beiden deutschen Bänden erweist er sich als recht unspektakulärer Juwelendieb. Es geht nicht etwa um die Welteroberung, sondern bloß um einen Big Caper. Interessant wird die zweiteilige Geschichte dadurch, daß Diabolik im virtuellen Raum auf Beute auszieht. Er kämpft hier gegen Jimmy Doors, den "König der Computerspiele", der im Gegensatz zum gut-bösen Diabolik ein völlig amoralischer, gefühlloser Charakter ist. Die konventionelle Story enttäuscht ein wenig, aber den Erwartungen, die sich 20 Jahre lang aufgebaut haben, war wohl kaum gerecht zu werden. Gut gefallen mir die schwarz-weißen, nur gelegentlich durch grüne Flächen akzentuierten Zeichnungen von Sergio und Paolo Zaniboni. Die beiden waren wohl auch schon 1983 am Werk, als die Comics noch jeweils 20 Seiten umfangreicher waren, wenngleich sie in den italienischen Bänden nicht genannt werden. Die Grafik der alten Ausgaben ist etwas aufwendiger und detaillierter. Damals wurden noch häufig Rasterflächen eingesetzt, um eine möglichst dichte Atmosphäre zu erreichen. Auch in den Ehapa-Ausgaben sind die Zanibonis noch immer gute Zeichner. Trotzdem würde ich mir wünschen, daß Ehapa auch mal auf älteres Material zurückgreift. aa



Horst # 7. 28 Seiten, s/w mit Farbcover, Comic-bookformat, 4 Euro (7,90 Mark). Schwarzer Turm, St.-Vitus-Straße 10, 36088 Hünfeld, schwarzerturm@gmx.de
Ich hatte dieser Serie geringe Variationsmöglichkeiten bei den Erlebnissen eines notorischen Rammlers bescheinigt. Einige Ausgaben lang habe ich nun Horsts Abenteuer nicht mehr verfolgt. Im vorliegenden Band findet Autor Rochus Hahn einen Ausweg vor der Gefahr des Immergleichen. Er versetzt den Hasen in seine Jugendzeit, als er keineswegs eine nach der anderen vernaschte, sondern Frauen noch schier unerreichbar schienen. Die Bemühungen des Jung-Langohrs, verkompliziert durch nicht unbeträchtliche Skrupel und ängste und auch durch unerwartete praktische Hindernisse, werden durchaus amüsant geschildert - und wie immer perfekt von Geier grafisch umgesetzt. Die Füller aus der Reihe "Die kleine Seifenoper" von Alex Macartney überzeugen dagegen nicht so richtig. aa



Letter to a dead friend. 48 Seiten, zweifarbig, DIN A 5, 18 Mark. Edition Colomba Urbana, Auslieferung über Reprodukt
Ein sehr merkwürdiges, aber recht interessantes Heft ist es mal wieder, was sich hinter einem grün-weiß-schwarzen Cover verbirgt. Mit dem toten Freund im Titel ist Comiczeichner Alberto Breccia gemeint, der sich Zeit seines Lebens für unkonventionelle Undergroundcomics interessiert hat, wie uns das Vorwort von Christian Gasser erläutert. Dieses Vorwort ist also der Brief, und die Comics dahinter die Anlage, an der Breccia seine Freude gehabt hätte, hätte er sie vor seinem Tod noch zu Gesicht bekommen. Vier Zeichner werden ihm hier ans Herz gelegt, zum ersten Katja Tuiainen aus Finnland, dann Tobi Gaberthuel aus der Schweiz, Markus Huber aus Hamburg und Lily Lau Lee Lee aus Hong Kong. Unkonventionalität ist dann wohl auch der größte gemeinsame Nenner der Vier, die ohne weiteres auch alle im "Strapazin" erscheinen könnten. Die Skurrilität der Beiträge wird durch den Zweifarbdruck in lila und Orange unterstrichen, das gesamte Heft ist außerdem in Englisch gehalten, da es die ganze Welt anhand der Zeichner exemplarisch vereint und auch die ganze Welt erreichen soll. Markus Huber ist noch der straighteste des Quartetts, sein Zwölf-Seiter beschäftigt sich mit den Erinnerungen eines Jungen an einen vergangenen Menschen. Die anderen sind mir wieder alle zu sehr auf Künstler getrimmt: Katjas Comic sieht so aus, als hätte man Anke Feuchtenberger nur noch zwei Buntstifte in ihrer Zelle gelassen, Tobi Gaberthuel hat mit Comics eigentlich gar nichts am Hut und präsentiert sieben Einseiter, beeinflußt durch Holzschnitt und Scherencollage. Lilys Comic finde ich unverständlich, er sieht halt so aus, wie jeder Comic eines hochgejubelten Amateurs, der gerade das nächste große Ding wird, nur weil er Grafik studieren darf und den Exotenbonus einheimsen kann ("Oh! Aus Hong Kong! Und eine Frau ist sie auch!") Ich finde es mit der Zeit schon ärgerlich, was graphisch so als Talent bezeichnet wird. Das Heft ist natürlich schon außergewöhnlich, allein des Druckes wegen. Schade, daß der Beitrag von Markus Huber nicht durch bessere Sachen ergänzt wird. Jo84



MangasZene # 6. 84 Seiten, farbig, DIN A 4, 5 Euro. MangasZene, Postfach1429, 57622 Hachenburg. www.mangaszene.com
An dieses Manga-Fachmagazin bin ich durch Olaf Bathke gekommen, der daran mitarbeitet (zwei Kurzcomics auf der letzten Innenseite). wie nicht anders zu erwarten, bietet das Heft sehr viel Information über viele verschiedene Mangaserien, Interviews, daneben Berichte über Conventions, Rezensionen, Internet-Tips und sogar ein japanisches Kochrezept. Das alles läuft auf einem seriösen, ziemlich hohen Niveau ab. Leider habe ich mich nicht dazu durchringen können, das Heft oder Teile mal genauer zu lesen, aber wenn ich das getan hätte, hätte ich bestimmt einiges über Mangas gelernt. MangasZene gibt's in vielen Comicläden. aa



Kia Asamiya: Batman - Child of Dreams # 1. Ca 200 Seiten, davon 6 Seiten farbig, über Comic-bookformat, mit Schutzumschlag, 12,76 Euro. Panini
Der klassische Batman-Fan hat es schwer in letzter Zeit. Die normalen US-Hefte dümpeln schon seit zwei Jahren in einem unsäglichen Zeichenstil vor sich her, der sich nicht entscheiden kann, ob er von der Animated Series oder vom Ur-Batman beeinflußt ist. Und wenn dann mal etwas besser gezeichnet ist, ist das dann meistens ein Elseworlds-Band, in dem mit der Geschichte Batmans Schindluder getrieben wird. Deshalb habe ich seit No Mans Land auch kein Batman-Abenteuer mehr gelesen, das mich begeistert hätte. Und jetzt müssen die Fans der klassischen Figur auch noch ertragen, daß Batman als Manga verwurstet wird. Den meisten Mangas stehe ich ja eher skeptisch gegenüber. Natürlich gibt es gute darunter, aber die Schwemme von Billigepigonen mit immer denselben langweiligen Themen muß man sicher nicht komplett kaufen, da gilt es, die Spreu vom Weizen zu trennen. Kia Asamiya ist zumindest einer der bekannteren Zeichner, aber ist der Manga deshalb gut? Der Ansatz Asamiyas ist, den Charakter Batman (japanischen) Lesern zu vermitteln, die ihn noch nicht kennen. Dabei orientiert er sich an den Höhepunkten der Charakterzeichnung Batmans. Der Erfolg gab ja vor allem immer den Szenaristen Recht, die ihn als gebrochene, geheimnisvolle und sehr düstere Gestalt interpretiert haben. Asamiyas Batman ist düster. Der Einsatz der Schatten, aus denen er auftaucht, und auch der Gebrauch der Rasterfolien ist unübertroffen. Kia hat auch an der Geschichte Batmans nichts verändert. Er kommt nicht plötzlich aus Tokio, wohnt auf dem Mond oder ähnlicher Schwachsinn, der bei japanischen Adaptionen leider Gang und Gäbe ist. Okay, er hat eine etwas längere Nase als gewohnt, aber ansonsten ist es genau der Batman, den die Fans so lieben. Alles andere zu sagen wäre ein unbegründetes Vorurteil. Bei aller Skepsis muß man zugeben, daß die graphische übertragung äußerst gelungen ist, und die Story ist originell, geheimnisvoll und spannend. Im Nachwort werden alle vorkommenden Personen des Batman-Universums vorgestellt, somit ist dieser Band tatsächlich ideal für Einsteiger. Und für alle Fans des dunklen Ritters ist es der beste Band seit langem. Jo84



Fil: Larry Potter - Zaubern ist nicht alles. 36 Seiten, s/w mit Farbumschlag, 14 mal 15 Zentimeter, 2 Euro. LeichenpflasternseinenWegVerlag
Wahrscheinlich steckt Fil selbst hinter diesem obskuren Verlag, der sich nach dem 70er-Jahre-Brutalowestern mit Klaus Kinski in der Hauptrolle benannte. Und noch ein Film wird hier auf die Schippe genommen, aber welcher, das verrate ich nicht. Jedenfalls geht es um den Jungen Larry, der in seiner Klasse und auch generell so nicht sonderlich beliebt ist, der aber ganz toll zaubern kann. Aber auch das nützt ihm nicht viel, am Ende bleibt er der Gearschte. Fil will natürlich nicht wirklich den Film oder die Bücher des Namensvetters seiner Hauptfigur, Harry, parodieren. Wahrscheinlicher ist, daß er die Bücher noch nicht mal gelesen hat (der Film war eh noch nicht draußen). Vielmehr zeigt er, was er denn viel Sinnvolleres zaubern würde als das Sauberidol der Kinder. Und er zeigt, daß manche Menschen eben prädestiniert dazu sind, trotzdem Loser zu bleiben. Der Band ist jedenfalls erwartungsgemäß sehr witzig. Jo84



Haggis Monsterspahs unt Spihl mit dem Hartmut. Faltblatt, zweifarbig, Comicbookformat, 2,50 Euro. Carlsen
Die Comicfigur Hartmut soll wohl in die Fußstapfen von Käptn Blaubär, kleinem Arschloch oder vielleicht auch Diddl treten. So ganz geschafft hat das der Carlsen Verlag noch nicht, aber es wäre Haggi ganz bestimmt zu wünschen, daß er bald von seinen Tantiemen leben und dann zum Beispiel in Ruhe mit seiner Comicversion der Bibel weitermachen kann. Wird eine Figur zum Markenartikel, dann braucht man neben den Comics viele andere Konsumgegenstände. Diese Spielesammlung ist immerhin um einiges origineller als bedruckte Tassen oder T-Shirts. Labyrinth, Suchbild, Karten- und Würfelspiel oder Kreuzworträtsel gibt es zwar in unendlichen Varianten, aber mit seinem Hartmut-Design macht Haggi doch etwas Besonderes daraus. aa



Ole Könnecke: Doktor Dodo schreibt ein Buch. 36 Seiten, farbig, Hardcoveralbum, 14 Euro. Carlsen
Ole Könnecke, 1961 geboren, verbrachte seine Kindheit in Schweden. Nach dem Abitur studierte er Germanistik und begann während dieser Zeit mit dem Zeichnen. Heute ist er "einer der beliebtesten Kinderbuchillustratoren und -autoren Deutschlands" (Verlagsangabe). Das vorliegende Werk ist Oles erster Comic, für den er eine seiner älteren Figuren wieder zum Leben erweckt hat. Und hier ist er wieder, der von mir ab jetzt so genannte "Nadolny-Effekt". Sowohl Verlag als auch Kritiker scheinen der Meinung zu sein, daß ein guter Illustrator auch gleichzeitig ein guter Comicautor sein muß. Dazu will ich mich schon im generellen nicht unbedingt auslassen, in diesem speziellen Falle schafft es der Autor jedenfalls nicht, witzig, spannend oder in sonst irgendeiner Form auf mich ansprechend zu wirken. Selbst wenn das Buch für Kinder geschaffen worden ist ; es kann halt nicht jeder so talentiert sein wie Lewis Trondheim. Dazu kommt das absolut mangelhafte Preis- Leistungsverhältnis. 30 Seiten Comics für 14 Euro. Auf gut der Hälfte aller Panels ist zudem der Hintergrund einfach nur schwarz. Die Figur Dodo ist zwar ganz süß, aber ein bißchen mehr braucht es schon, um eine rentable Leserschaft anzuziehen. Ich kann mich immer wieder nur fragen, warum Carlsen sich auf unausgegorene Experimente mit Spartenfremden Kreativen einläßt, wo es Hunderte von guten, wirklichen Comiczeichnern in diesem Lande gibt. Jo84



Laura Bartels / Isabel Kreitz: Die Leidenschaft des Herrn Lührs. 32 plus 8 Seiten, farbig, DIN A 4, 10 Euro. Carlsen
Im Mai 2000 reisten Laura Bartels und Isabel Kreitz im Auftrag der Deutschen Welthungerhilfe nach Bolivien, um einen Comic zu erstellen, der die Arbeit der Entwicklungshilfe in der Region Chayanta illustriert und einem jugendlichen Publikum nahebringt. So entstand das vorliegende Album, dessen Protagonist, Chefkoch Herr Lührs, im Auftrag seines Chefs ebenfalls nach Bolivien reist; angeblich, um neue Kartoffelsorten für feinere Gaumen für den deutschen Markt zu entdecken. In Wahrheit plant Lührs Chef jedoch, ihm vor Ort präparierte Kartoffeln als Schmuggelware unterschieben zu lassen. Lührs, durchaus ein bißchen dümmlich, und von seiner Leidenschaft - Kartoffeln und alles, was damit zusammenhängt - geblendet, merkt tatsächlich nichts. Aber heißt das automatisch, daß sein Chef mit seinen Schandtaten durchkommt? Die Auftragsarbeit sieht man dem Comic deutlich an. Die Zeichnungen sind recht großflächig und "effektiv", auf das Tuschen wurde gleich ganz verzichtet. Trotzdem ist der Comic nicht schlecht. Im Verlauf der Geschichte erfährt man tatsächlich so einiges über Sitten und Leben der bolivianischen Bevölkerung. Die achtseitige Dokumentation, die die Reise in Worten und Bildern beschreibt, ist jedoch noch interessanter. Jo84



Sten Nadolny / Loomit: Amnea oder: Die fliegende Teekanne. 72 Seiten, farbig, Hardcoveralbum, 26 Euro
Was passiert, wenn ein angesehener Literat irgendwo in München auf die Grafitti eines jungen Sprayers stößt? Er denkt sich erstmals in seinem Leben kein neues Buch, sondern einen Comic aus, in dem die Figuren des Sprayers Abenteuer in einer bizarr phantastischen Welt erleben. Und obwohl keiner der beiden je etwas mit Comics zu tun hatte und beide keinen Schimmer davon haben, wie man einen Comic aufbaut, kloppen sich die Großverlage darum, den Schrott auf alle Fälle veröffentlichen zu dürfen, denn "das ist gut fürs Prestige" und "obendrein noch Kunst". Und wieder wird der Verlag, der das wirklich total scheußliche Ergebnis veröffentlicht, Riesenverluste einfahren, wie immer, wenn er etwas "mit Anspruch" druckt, obwohl der Senf sauteuer ist, aber dann dürfen sie wenigstens wieder jammern: "Gemein, der Albummarkt ist tot!" Am Material wird's ja bestimmt nicht liegen, denn der Nadolny ist doch ein toller Schriftsteller! Nur leider kein guter Comicautor. Und Loomit ist ja so ein toller Sprayer! Schon möglich, aber seine Comicseiten sehen einfach nur scheiße aus. Wenn's um Projekte mit Anspruch geht, scheint in Deutschland irgendwas schief zu laufen. Dabei haben wir Dutzende wirklich guter Comiczeichner. Jo84



Stan Sakai: Usagi Yojimbo # 8 (Oktober 2001). Blutige Schwingen. 98 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 23,80 Mark. Schwarzer Turm, St.-Vitus-Straße 10, 36088 Hünfeld, schwarzerturm@gmx.de
Dieser Comic hat viel mit Japan zu tun. Es geht um einen Samurai ("Ronin"), Ninjas, Drachen aus Bambusholz und Teezeremonien. Ein Manga? Nein, der Künstler zeichnet für ein deutlich westliches Publikum in elegantem, klarem Schwarzweiß-Stil und mit anthropomorphen Tierfiguren. "Usagi Yojimbo", der Name des Protagonisten, nämlich "Leibwächter Hase", ist wohl irgendwie mit dem Manga-Boom hochgekommen. Stan Sakai macht aber etwas wohltuend Anderes. Er vermittelt japanische Tradition und Kultur an westliches Publikum. Die Form ist abendländisch, der Inhalt aber eher fernöstlich. Obwohl sich hier Hasen, Hunde, Katzen, Tiger, Affen und sogar Fledermäuse tummeln, erzählt Sakai doch keine komischen, sondern höchst moralische Geschichten. Und diese Moral wirkt sehr fremdartig. Der Samurai zieht umher und hilft heldenmütig jedem, dem er begegnet. Das gemeine Volk, mit dem er zu tun bekommt, ist manchmal elend und verzweifelt, oft aber geldgierig und verschlagen. Nur Adelige wie Usagi können einen absolut lauteren Charakter haben, wird hier dem Leser suggeriert. Eine eigentümliche Perspektive. Aber die drei Stories in dem Band sind ansonsten packend und sehr kunstvoll erzählt - ein Geheimtip für Leute, die meinen, sie hätten schon alle Arten von Comics gelesen. aa



Kim Schmidt: Local Heroes # 5. Zeichensprache. 68 Seiten, teilweise farbig, DIN A 5 Querformat, 14,80 Mark (7,60 Euro). Flying Kiwi Media GmbH, Holm 64, 24937 Flensburg. flyingkiwi@foni.net
"Local Heroes" ist eine Serie von Zeitungscartoons, die Kim Schmidt seit 1997 für das Flensburger Tageblatt zeichnet. Kim hat dafür den Flecken Güllerup (zwei Bauernhöfe, eine Mühle, ein Leuchtturm) und seine menschlichen und tierischen Bewohner erfunden, die in jedem Bild vorkommen. Ganz traditionsbewußt geht es in Güllerup zu - ohne daß man sich dem Fortschritt oder den Touristen verschließt. Kim hat einen ganz trockenen Humor, läßt teilweise aber auch die Bilder durch raffinierte Details wirken (zum Beispiel das höchst aufschlußreiche Dokument eines ersten Schultags bei Schweinen). Vermutlich wissen die Flensburger gar nicht, daß sie an Kim Schmidt viel mehr als einen üblichen Zeitungszeichner haben. aa



LeÓ Malet/Jacques Tardi: Nestor Burma - Wie steht mir Tod? 64 Seiten, s/w, Hardcoveralbum, 32 Mark. Edition Moderne
"Wie steht mir Tod" ist bereits der sechste Nestor Burma-Band, den Tardi nach Romanen von LÉo Malet in Szene gesetzt hat, und somit dürfte ein gewisser Bekanntheitsgrad vorauszusetzen sein. In dem neuesten Werk um den französischen Privatdetektiv, der im Jahr 2000 bei Casterman erstveröffentlicht wurde, dreht sich alles um Künstler. Die Handlung ist im Jahr 1956 angesiedelt. Auguste Colin, ein abgehalfterter Schauspieler, sucht Nestors Assistentin HÉlÉne Chatelain auf, um sich von ihr Geld zu pumpen, erscheint allerdings nicht zur Aushändigung desselben. Kurze Zeit später wird Nestor engagiert, das merkwürdige Verhalten des erfolgreichen Sängers Gil Andrea zu erforschen. Nach einiger Zeit stellt sich heraus, daß die Fälle zusammenhängen... Der leicht unglaubwürdige Krimi ist spannend und geschickt in Szene gesetzt und ist nicht leicht nachzuvollziehen. Das Lesen hat mir aber trotzdem Vergnügen bereitet. Das liegt nicht zuletzt an Tardis Zeichnungen, die selten besser waren. Die Stadtszenen sind eigentlich simpel gezeichnet, scheinen aber vor Details zu strotzen; wie macht er das bloß ? Die "Colorierung" in zwei verschiedenen Graustufen tut ihr übriges. Eigentlich mag ich Graucolorierungen nicht so gern, aber hier ist sie gut. Tardi hat mittlerweile auch grafische Kinderkrankheiten wie zu großflächige Panels oder fehlende Tiefenwirkung abgelegt. Jo84



Lewis Trondheim/Thierry Robin: Happy Halloween, Kleiner Weihnachtsmann. 48 Seiten, farbig, DIN A 4, 8 Euro. Carlsen
Pünktlich zum Weihnachtsfest lag der zweite Band der Abenteuer des kleinen Weihnachtsmanns vor. Eigentlich mag ich Comics ohne Worte nicht besonders, schon gar nicht über 48 Seiten, aber die Alben aus der Vorstellung des "Texters" Lewis Trondheim sind natürlich eine Ausnahme. Zeichner Thierry Robin setzt die niedlichen Ideen liebevoll eckig um, die Farben von Isabelle Busschaert fügen sich optimal ein. Natürlich muß man dabei im Kopf haben, daß das Album wohl für ein jüngeres Publikum erstellt wurde, denn es schließt perfekt die Lücke zwischen Bilderbuch- und Comiclesern. Jo84




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 64
Besprechungen



M.I.R. Pocket # 5/6. 56 Seiten, teilweise farbig, DIN A 6, 5,50 Euro. Michael Klamp, Mosaik-Initiative Rostock, Klopstockstraße 2, 18057 Rostock
 
Die lange und fortdauernde Tradition des Comicmagazins „Mosaik“ wird im Westen noch immer zu wenig beachtet. Das wird klar, wenn man sich dieses Fanzine der Mosaik-Initiative Rostock ansieht (daher auch der Name MIR). Das Heft ist nicht nur äußerst liebevoll hergestellt - mit eingeklebten Mini-Farbfotos, regionalen Sonderseiten und beigefügter Einladung zu einer großen „Mosaik“-Feier im Filmpark Babelsberg. Man sieht es auch an den Besprechungen von neun weiteren Fanzines aus dem „Mosaik“-Dunstkreis. Die Szene ist also immer noch sehr aktiv, wenngleich sie sich offenbar nur sehr langsam in die alten Länder ausbreitet. MIK ist ein sehr textlastiges Magazin, allerdings mit einem schönen, zumindest halbprofessionell gestalteten Comic in der Heftmitte (und farbkopiertem Panorama-Panel), der ein Detail eines Abrafaxe-Abenteuers von 1978 fortspinnt. Auch ansonsten stößt man im Heft immer wieder auf Abrafaxe-, beziehungsweise Digedags-Nostalgie. So geht es etwa um die Entstehung der Namen der Digedags oder um „Mosaik“-Merchandising zu DDR-Zeiten. Aber die Gegenwart spielt eine mindestens ebenso große Rolle, zum Beispiel im Interview mit Zeichner Hubertus Rufledt oder in den Berichten über diverse Fanaktivitäten. MIR macht Lust darauf, sich näher mit den Abrafaxen zu beschäftigen. aa
 
Chnusper Comics # 3. 32 Seiten, s/w, DIN A 5, 1,50 Euro. Edition Pesky, Oliver Gfeller, Bohrerhofstraße 10, CH – 4123 Allschwil
 
Abgesehen von einem ausführlichen, sechsseitigen Porträt der Rockband „The Residents“ und ein paar Bestenlisten von 2001 dreht sich in diesem Heft alles um Superhelden. Neben Olivers eigenem Beitrag „Bebbi Man“ sind Calle Claus und Wittek sowie Max Jähling mit Superhelden-Comics vertreten. Teresa Camara Pestana macht kurzen Prozess mit einem launigen Einseiter. Man kann nicht behaupten, daß hier jemand sein Thema sonderlich ernst nimmt. Männer (und Frauen) in Latexstrumpfhosen für die Spaßgeneration. aa
 
Die Melone # 4. 56 Seiten, s/w, DIN A 5, 2 Euro. Arne Auinger, Viktoriastraße 56, 32423 Minden
 
Comic-Infusionen aus Hamburg von Wittek, Till Lenecke, Calle Claus und sogar Oliver Ferreira (von dem sonst in der Fanszene leider nur noch wenig zu sehen ist) verdankt diese Ausgabe einige bemerkenswerte Highlights. Interessant auch die Bernd Struckmeyer/Jo Guhde-Coproduktion „Das sind sie also“, die fast parallel auch in „Kreativo“ erschien (siehe unten). Herausgeber Arne Auinger ist selbst auch ein begabter Zeichner, konzentriert sich aber aufs Herausgeben, was ich für die richtige Entscheidung halte. Sehr angenehm, daß Arne in einem Vorwort etwas über seine Arbeit berichtet, daß es Leserbriefe und ein paar Rezensionen gibt. Zudem gibt Till Lenecke in einem Interview über seine künstlerische Entwicklung Auskunft. Der redaktionelle Teil macht unzweifelhaft Arbeit, zumal sämtlicher Text nach dem Vorbild der „Sprühenden Phantasie“ handgelettert wird. Er verleiht dem Magazin jedoch eine schöne persönliche Note. Die „Melone“ könnte auf dem Weg zu einem wichtigen Organ der Fanszene sein. aa
 
APO Comics # 2. Denkmuskel. 52 Seiten, s/w mit Farbumschlag, DIN A 5-Broschüre. Stadt Neuss, Kulturforum Alte Post. ISBN 3-932933-13-3.
 
Comic-Anthologien mit bunt zusammengewürfelten Beiträgen sind meist ziemlich reizvoll. Da stehen Arbeiten sehr unterschiedlicher Qualität nebeneinander. Man kann Entdeckungen machen und sich mit verschiedenen Gedankenwelten auseinandersetzen. Dieser Sampler bringt Comics von zwölf Leuten, darunter vier Frauen. Der jüngste Mitwirkende ist 14, der älteste 70 Jahre alt. Nur einer bezeichnet sich explizit als Künstler. Heike Anacker, die verehrte PLOP-Gründungsherausgeberin, ist als Grafik-Designerin der einzige Profi bei dem Projekt. (Ihren Comic „Elementarveilchen“ kennen wir schon aus PLOP # 63.) Die Teilnehmermischung verspricht eine bunte Vielfalt von Ideen, Zeichenstilen und Ausdrucksweisen. Doch tatsächlich ist die Vielfalt gar nicht so groß. In sechs Comics, also jedem zweiten, geht es ausschließlich um Gewalt, mehrmals unverkennbar von Computerspielen inspiriert. Der Themenschwerpunkt ist allgemein nicht so überraschend, weil Geschichten nun einmal häufig von gewalttätigen Konflikten leben. Allerdings ist keiner der Comics länger als vier Seiten, und in nahezu keinem Fall gelingt es, die dargestellte Gewalt irgendwie inhaltlich zu motivieren - der Denkmuskel blieb schlaff. Und das finde ich schon ziemlich bedenklich. aa
 
Kreativo! # 38 (März 2002) und 39 (Juni 2002). 36, bzw. 32 Seiten, s/w, DIN A 5, 1,50 Euro. Kreativo!-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid.
 
Während sich Birke in Band 38 auf die Ankündigung des bevorstehenden Jubiläums ihres Fanzines im Vorwort beschränkt (im November besteht „Kreativo“ zehn Jahre), ist in der neuesten Ausgabe wieder einiges mehr von ihr zu lesen. Unter anderem berichtet sie über die Mindener Comic-Party, auf der sie unter anderem mich vermißt hat (schluck!). Aber eine begabte Fotografin ist sie – die Fotos von der Fete kommen selbst im Kopierdruck noch ziemlich gut. Neben den unvermeidlichen Gedichten, die mich nach wie vor nicht überzeugen (vielleicht halten die Poeten ihre besseren Werke für richtig gediegene Lyrik-Anthologien zurück) sind in beiden Ausgaben einige schöne Kurzcomics vertreten, etwa von Roger Clinart, Arne Auinger, Olaf Bathke, Anja & Joy, Bernd Teuber, Moritz Stetter und anderen. Übrigens: Birke sucht noch immer nach veröffentlichungsfähigem Comicmaterial. aa
 
Die Perry Rhodan-Fanzentrale präsentiert: Die Comic-Welten des Ulrich Magin. 84 Seiten, s/w mit Farbcover, DIN A 5. Spaceshop der Perry Rhodan-Fanzentrale e. V., Harlingen 119, 29456 Hitzacker
 
Um das mal festzuhalten: Ulrich Magins Comicfigur, die die meisten aus PLOP kennen durften und die am ehesten wie ein Ameisenbär aussieht, heißt Pmurk („warum, das habe ich längst vergessen“, fügt Ulrich im Vorwort seiner Werkausgabe kokett hinzu). Im Vorwort finden sich ein paar weitere aufschlußreiche Geständnisse, zum Beispiel, daß Ulrich nie Science Fiction gelesen hat (als Perry Rhodan-Redakteur habe ich ihn damit in der letzten Ausgabe denkbar falsch verortet) und daß seine Comics einer Kooperation mit Klaus Bollhöfener entspringen (der hier gelegentlich als „Sol“- und „Phantastisch“-Herausgeber in Erscheinung tritt). In der „Zeit“ ist Ulrich mal als „Esoterik-Experte“ bezeichnet worden, aber dazu läßt er sich hier nicht näher aus. Also, Ulrich lektoriert Sachbücher in der Pabel-Moewig-Verlagsunion. Die Perry Rhodan-Redaktion befindet sich in unmittelbarer Nähe seines Büros. Und Ulrich beobachtet. Diese Beobachtungen fließen seit 1996 in seine überwiegend ein- bis zweiseitigen Comics ein, die in der Regel in „Sol“ veröffentlicht werden, und es heißt, daß er das Treiben nebenan und die Marotten der Fans ziemlich treffend karikiert. Dazu hat er als Außenstehender auch die nötige Distanz. Über Ulrichs Methode, Komik aus milde-absurden Wendungen des Geschehens zu erzeugen, muß wohl an dieser Stelle nichts Grundlegendes mehr mitgeteilt werden. Immerhin: Nur wenige Gags entziehen sich dem allgemeinen Verständnis, wenn man kein PR-Stammleser und Fan ist. So absurd sind diese Comics also wohl gar nicht. aa
 
Filmriss # 1 und 2/2002. Comics, Cartoons, Zeitungsstrips. 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 3,50 Euro. ICOM, Danneckerstraße 12, 70182 Stuttgart und Gringo Comics, Holger Bommer, Rossbergstraße 3, 73734 Esslingen
 
Jetzt ist es also realisiert - das ICOM-Comicmagazin. Künftig soll alle zwei bis drei Monate ein Heft ausschließlich mit Beiträgen von ICOM-Mitgliedern erscheinen, um der Welt zu demonstrieren, daß es in Deutschland viel mehr Zeichnertalente gibt, als man meint. Layout und Druck sind hervorragend, und mit etwas mehr Farbe wäre das Magazin absolut kiosktauglich. Vielleicht kommt „Filmriss“ da noch hin, denn der ICOM hat die finanziellen Mittel, das Projekt weiter voranzutreiben. Das würde mittelfristig sicher auch Zeichnern nützen, die nicht ICOM-Mitglieder sind. Daß sich in seinen Reihen wirklich schlummernde Talente befinden, bleibt nachzuweisen allerdings ebenfalls späteren Ausgaben vorbehalten. Die Cartoonisten Peter Butschkow und Ralph Görtler, Hansi Kiefersauer, Rudolph Perez („Zebra“) und auch ICOM-Vorsitzender Burkhard Ihme müssen niemandem mehr etwas beweisen. Auch „Kix“-Mann Rautie, Burkhard Fritsche und Glenn M. Bülow, die in der Startnummer vertreten sind, waren für mich alte Bekannte. Allein André Rösler mit seinem Comic „Schmutziges Taschengeld“, der in die Grolik-/Huber-Richtung geht, kannte ich bisher noch nicht. Aber vielleicht haben ja bloß nicht genug unbekannte Leute Beiträge eingereicht. Dem „Filmriss“-Projekt ist jedenfalls ein langes Leben zu wünschen. aa
 
 
Weissblechs weltbeste Comics # 6: Amazonen. 32 Seiten, s/w mit Farbumschlag, Comicbookformat, 3 Euro. Weissblech Comics, An der Landstraße 5, 23758 Kükelühn
 
Ein - allerdings schon etwas älteres - Werk von Eckart Breitschuh steht im Mittelpunkt dieses Bandes. „Morag“ ist ist eine ziemlich ironische Barbarinnen-Posse. Diesen makabren Tonfall kennt man sonst aus den Weissblech-Produkten nicht. Herausgeber Levin Kurio und Stammzeichner Roman Turowski versuchen mit ihren flankierenden Beiträgen wacker mitzuhalten. Aber Kurios Amazonen-Geschichte erinnert am ehesten an ein Barbaren-Abenteuer von Robert E. Howard, und Turowskis „Der Schatz der Amazonen“ lebt ganz von seiner Pointe. Trotzdem gehört die Ausgabe zu den besseren aus der schleswig-holsteinischen Trash-Produktion. aa
 
Bizarr Bazar # 4 Historische Histerie!
 
Eigentlich hatte überhaupt niemand so schnell mit einer neuen Ausgabe von Witteks „Bizarr Bazar“ gerechnet, und nun kommt sie trotzdem. Möglich ist das vor allem deswegen, weil der Großteil des Heftes kein brandneues Material beinhaltet, sondern Seiten, die schon so alt sind, daß man sie klassisch und manche von ihnen sogar schon historisch nennen darf. Stören wird das freilich niemanden, denn die meisten Seiten dürften nur absoluten Szenespezialisten bekannt sein, und die Qualität Wittekscher Comics, hier vielseitger als in BizBaz 2 und 3, war auch schon vor einem halben Dutzend Jahren Spitzenklasse. Außerdem erhielt er tatkräftige Unterstützung anderer Besessener. So ist z.B. „Kampf der Kromosomen" mit Calle Claus entstanden, indem dieser eine eigene Geschichte aus Originalsätzen von Stan Lees Superheldencomics zusammenstoppelte und sie mit eigenen Ideen kombinierte. Weitere Meisterwerke sind die Mangaparodie „Nazizombies gegen Mangagirlies" sowie die autobiographischen Geschichten „On se kompjuter", „Gammelsträng" und „Emotionale Scheissäh". Garniert wird das Ganze mit liebevoll gestalteten redaktionellen Seiten und Kurzbeiträgen, so daß das erste Heft der geplanten dreiteiligen Reihe keinerlei Wünsche offen läßt. Jo84
 
Comictanke, 24 S. 14 x 15 cm, Farbcover, ¤ 3,- Zwerchfell Verlag/ Gringo Comics
 
Comictanke ist ein Sonderheft, das zur Kulturveranstaltung „Lange Nacht der Museen" im März 2002 in Stuttgart erscheint. Innerhalb einer Tankstelle, in der alles Mögliche verkauft wird, lassen Martin Frei, Naomi Fearn, Stefan Dinter, Holger Bommer und Geier ihre Helden in einer Art Jamcomic auflaufen. Obwohl die Comicdosis was für den hohlen Zahn ist und der Preis an Unverschämtheit kaum zu toppen ist,l ist ein Comic, in dem Gregor Ka, Horst, Die kleinen Mutterficker, Kurt und die Mädels aus Zuckerfisch erscheinen, schon eine kleine Sensation. Das Heft ist maschinell nummeriert. Jo84
 
Kim Schmidt: Happy Birhday, Öde, 48 S. s/w mit Farbumschlag, DinA 5 quer, Euro 6,90 Flying Kiwi Media GmbH
 
Faul, gefräßig, fernsehsüchtig, der Gang schlaksig und vorneüber, Bierhülse auf der Faust und Kippe im Gesicht, dazu kein Job, keine Kohle und ein gesunder Hang zum Fatalismus – so kennen und lieben wir ihn: Öde, die norddeutsche Erfolgsfigur, die Kim Schmidt vor mittlerweile 18 Jahren mit reichlich autobiografischen Zügen versehen, für das Flensburger Wochenblatt „Moin Moin“ erschuf. Dieses ist gerade 25 Jahre geworden, Öde selbst volljährig, und das ist doch ein guter Grund, von den bisher über 600 vorliegenden Strips ein paar der neueren im Buchformat nachzudrucken. Mittlerweile gibt es kaum einen Strip, in dem nicht Ödes Oma die Hauptrolle spielt, aber der Humor ist noch genauso anarchistisch und schwarz geblieben wie in der Anfangszeit. Man weiß schon gar nicht mehr, Kims wievieltes Büchlein das eigentlich ist, aber verdient hat ers. (siehe auch „News & Service“) Jo84
 
Collections Figaro: Anneliese und Detlev # 1. 32 Seiten, s/w, DIN A 6, 1 Euro. Edition Pesky, Oliver Gfeller, Bohrerhofstraße 10, CH – 4123 Allschwil
 
Anneliese und Detlev wirken wie ein altes Ehepaar, deren Beziehung völlig in Ritualen erstarrt ist. Er klagt ihr ausführlich sein Leid, worauf sie stereotyp mit der Bemerkung „Ja, Schätzeli“ antwortet. In seinem absichtsvoll hingeschluderten Magazin versammelt Oliver Gfeller immerhin 14 „Anneliese & Detlev“-Comics, alle Textvariationen derselben Comicseite, aber fast alle durchaus komisch. Aufgefüllt wird das kleine Heft von der anderen Seite her durch ein ironisches Lob des Geldes. aa
 
Magazine # 5. 20 Seiten, s/w, DIN A 5. Dachshund, P.O.Box 8892, London SW 15, Great Britain
 
Beim vermutlich weltweit bedeutendsten Comicfestival in Angouleme hat Andy wieder mal viel gezeichnet. Die Ergebnisse reichten für ein 20-seitiges Heft, das mehr als bisher einem Reisebericht entspricht. Ein Frankfurter Comichändler hat Andy nämlich den exzellenten Rat gegeben, die Texte zu den Zeichnungen zu rücken. Andy hat den Rat wohl etwas widerstrebend befolgt und Erläuterungen direkt in die Skizzen geschrieben. Das hat den großen Vorteil, daß er nun stärker Geschichten zu seinen Bildern erzählt. Er weist nicht nur darauf hin, was da alles zu sehen ist, sondern berichtet auch einiges zu den Umständen ihrer Entstehung. Zum Beispiel erfährt der Leser so, wie es zu dem spöttischen Kommentar „Will Eisner - I think“ des amerikanischen Altmeisters auf der Skizze kam, die ihn zeigt. Vielleicht fühlte sich Eisner auf der Skizze zu sehr in den Hintergrund gerückt, aber Andy saß einige Meter von ihm entfernt im Zuschauerraum, und er zeichnet immer akkurat genau sein Blickfeld ab. Wir lernen seine Reisebegleiter Marschall und Yogi kennen, sehen etwas von Paris und Angouleme und bekommen einige Einblicke in die Ausstellungsräume des Festivals. Auf der Textseite des Magazins ist diesmal Platz für ein paar internationale Fanzine-Rezensionen. aa
 
Thomas Ott: t.o.t.t. 128 Seiten, s/w, 27 mal 36,5 Zentimeter, Hardcover, 47,50 Euro. Edition Moderne
 
Hui, also das hier ist mindestens das Buch des Quartals, wenn nicht das Buch des Jahres. Thomas Ott ist als Comiczeichner und Illustrator nicht erst seit seinem Max- und Moritz-Preis 1996 in aller Munde, schon vorher begeisterten die ausdrucksstarken, in schwarzen Karton geschabten Geschichten ohne Text oder Happy End ein vor allem junges Publikum. Selten wurde im Comicbereich überhaupt etwas besseres verlegt als seine Bücher in der Edition Moderne, und die Fans schrien nach mehr. Nun kann selbst ein Thomas Ott nicht allein von Comics leben, er ist auf gut bezahlte Illustrationsjobs angewiesen. Und davon hatte er eine ganze Menge. Dieses Buch sammelt alles, was er neben den Comics in den Jahren 1985 bis 2001 erstellt hat. Dies sind Illustrationen für Zeitschriften und Bücher, Singlecovers, Skizzen, Comicmagazine, Werbeplakate, Logos, T-Shirts, Visitenkarten und was es noch so alles gibt. Auch losgelöst von Geschichten wirken Otts Arbeiten wie ein düsterer Sog, der einen in die Tiefe reißt. Fast das komplette Buch präsentiert Otts Schabarbeiten auf dickem schwarzen Glanzpapier, nur wenige Seiten auf weißem Grund enthalten ein hochinteressantes Interview, das mit Tuscheskizzen ergänzt wurde. Der Preis ist ein Hammer, aber man sollte sich das Buch, wenn möglich, trotzdem zulegen. Jo84
 
Sunburn # 17 (Winter 2002). 36 Seiten, s/w, 21,5 mal 28 Zentimeter, 3 Can. Dollar. Karl Thomsen, P.O. Box 2061, Winnipeg, MB, R3C 3R4, Canada
 
Karl Thomsen will sein Magazin nach dieser Ausgabe einstellen. Sinnigerweise dreht es sich in den Beiträgen diesmal daher um das Thema „Tod“. Sehr unterschiedliche Beiträge aus Kanada, den USA und Europa sind zusammengekommen, aber meist wird der Tod eher ziemlich locker genommen. Einige Comics sind sehr seltsam, wie der von Glenn Smith über archaische Wesen und ihre winzigen Steuerleute, die in einer Höhle in der Stirn sitzen. Der Herausgeber legt wie immer einen „Zinehead“ bei, eine Beilage mit Besprechungen von internationalen Fanzines. Dieses Rezensionsmagazin möchte Thomsen eventuell weiter herausgeben. aa
 
Gambuzine # 11 (Februar 2002). 32 Seiten, s/w auf gelbem Papier, DIN A 4. Gambuzine, Teresa Camara Pestana, Apartado 43, 3200 Lousa, Portugal.
 
Teresa Camara Pestana setzt weiter auf das deutsch-portugiesische Crossover. Die meisten Seiten in der neuesten Ausgabe ihres Magazins kommen diesmal von Till Lenecke und Wittek (beide Hamburg). Neben Remo Keller, über den ich nichts Näheres weiß, ist daneben die Herausgeberin selbst mit etlichen Comicseiten vertreten. „Gambuzine“ ist ein wirklich schönes Comicmagazin, das allerdings leider portugiesische Sprachkenntnisse voraussetzt. Vielleicht versucht es Teresa ja mal mit Comics ohne Worte.
 
Und im Anschluß hier nochmal zwei Fanzines aus Portugal, die mir Teresa freundlicherweise zugesandt hat – eher etwas für Leute, die selber Kontakte nach Portugal suchen, oder für Komplettsammler:
 
Besta Quadrada # 1. 44 Seiten, s/w  mit Zusatzfarbe Rot auf dem Cover, DIN A 4. Minigráfica, Coop. de Artes Gráficas, R. de Alegria, 30, 1200 Lisboa, Portugal
 
Pax-Fanzine 3000 (Juni 1998). 32 Seiten, s/w, DIN A 4. Cämara Municipal de Beja, Portugal
 
QI # 54 und 55. 20, bzw. 24 Seiten, s/w, DIN A 5, 1 Real. Edgard Guimaräes, Rua Capitäo Gomes, 168 Brasópolis MG 37530-000, Brasilien
 
Zu diesem Magazin kann ich im Prinzip ebensowenig sagen wie zu den portugiesischen zuvor. Aber mit Stolz möchte ich doch darauf hinweisen, daß die jüngste Ausgabe von PLOP als, soweit ich gesehen habe, einziges deutschen Fanzine Eingang in den Rezensionsteil von QI # 55 gefunden hat. Naja, Edgard Guimaräes beschränkt sich auch darauf, die dürren Daten zu nennen – einige der Zeichner aus PLOP zählt er auf. In Brasilien gibt’s übrigens, nach QI zu urteilen, eine äußerst vielfältige Fanzine-Landschaft. aa
 
Xoomic # 1 und 2 (März 2002). 60 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5 Euro. Frank-Kemter-Verlag, Nürnberger Straße 111 a, 90762 Fürth
 
Bei der neuen Comic-Fachzeitschrift mit dem etwas skurrilen Namen scheint alles wie geplant zu laufen. Nach der Nullnummer, von der schon in der vergangenen Ausgabe berichtet wurde, sind jetzt jeweils zum angekündigten Termin zwei reguläre Ausgaben erschienen, die beide einen durchweg guten Eindruck machen. „Xoomic“ hat durchaus das Zeug dazu, an Magazine wie „Comixene“, „Comic Forum“ oder „Rraah!“ anzuknüpfen. Herausgeber Frank Kemter hat zwar von vorneherein einen Bonus, weil es an solchen Magazinen derzeit schmerzlich mangelt. Aber es ist zu erkennen, dass er nicht bloß irgendeine Sekundärzeitschrift produzieren will, sondern ein qualitativ hochwertiges Heft. Den größten Raum nehmen in beiden Ausgaben Zeichnerporträts und Interviews ein. Die Porträts beispielsweise von Yann („Spoon and White“), Osamu Tezuka („Astroboy“) oder Frank Cho („University Freaks“) sind kenntnisreich und verständlich geschrieben und bringen dem Leser das jeweilige künstlerische Werk näher. Die Interviews beschränken sich bisher – vermutlich aus praktisch-organisatorischen Gründen – auf deutsche Künstler, zum esipeil Dirk Schulz, Brösel oder Laska. Sie lesen sich lebendig und fördern überwiegend wirklich interessante Neuigkeiten über die Arbeit der Interviewten zutage. „Xoomic“ hat daneben einen Nachrichtenteil, der ebenfalls nicht zu beanstanden ist. Er gliedert sich in US-News, den frankobelgischen und den Mangamarkt und einen Blick ins World Wide Web. In den Deutschland-Meldungen geht es neben den Marktführern in erfreulichem Umfang auch um vielversprechende Kleinverlage. „Xoomic“ soll also umfassend über das Medium Comic informieren. Vorurteile gegen die eine oder andere Comickultur sollen keine Rolle spielen. Ungewöhnlich ist, dass die Redaktion einen News-Teil ans Ende des Heftes rückt. Will sie damit Lesern entgegenkommen, die von hinten nach vorne lesen? Oder findet sie Nachrichten über Verlage und Neuveröffentlichungen nicht so wichtig? Jedenfalls fällt auch bei den längeren Artikeln auf, dass der nachrichtliche Wert keine Rolle spielt oder jedenfalls nicht im Vordergrund steht. Oft fehlt ein handfester Anlaß oder aktueller Bezug für die Berichte. ´Nicht selten beginnen sie mit Geburtsort und Geburtsdatum des Porträtierten. Aber das war in den verblichenen Comic-Fachzeitschriften in der Regel genauso. Daß ein im Dreimonatsabstand erscheinendes Magazin nicht besonders aktuell sein kann, ligt auf der Hand. Das wirkt sich aber beim News-Teil gar nicht negativ aus. Umgekehrt würden längere Artikel dadurch gewinnen, wenn die Verfasser darstellen würden, warum sie sich einen bestimmten Künstler, ein Werk oder einen Verlag eigentlich vorgeknöpft haben. Damit könnten eine Verlagspolitik oder die künstlerische Entwicklung eines Künstlers aufscheinen. Aktuelle Informationen bietet „Xoomic“ auf jeden Fall auf seinen Internetseiten (www.xoomic.de), die bereits vor dem gedruckten Magazin eingerichtet worden waren. Print und Web sollen sich gegenseitig stützen. Auf dem gesamten Zeitschriftenmarkt gibt es aber noch wenige Erkenntnisse darüber, ob und wie genau das funktioniert. Die Printausgabe, die außer im Abonnement bisher nur in Comicläden zu beziehen ist, braucht jedenfalls noch beträchtliche zusätzliche Anzeigeneinnahmen, um dauerhaft bestehen zu können. Darauf zielt Frank Kemter ab, wie er mir sagte. Mehr Anzeigen wird es aber erst bei einer höheren Auflage geben. Das könne sich als Teufelskreis erweisen, aus em die Redaktion irgendwie ausbrechen muß. Wie sie das schaffen kann, weiß der Herausgeber möglicherweise selbst noch nicht. aa
 
Sol # 25. 68 Seiten, s/w mit Farbcover, Din A 4. Perry Rhodan-Fanzentrale e. V. Postfach 2352, 76413 Rastatt
 
Das kleine Jubiläum wird nur mit einem behutsam modernisierten Layout gefeiert. Ansonsten gibt es wie gewohnt viele Informationen aus dem wundersamen Perry-Rhodan-Universum. Unter anderem werden die Autoren H. G. Ewers und Susan Schwartz interviewt und vorgestellt. Ernst Vleck, der für Pabel auch etliche Horrorgeschichten geschrieben hat, berichtet selbst über seine Beiträge zur PR-Saga. Ein ausführlicher Artikel beschäftigt sich mit der Rolle von Robotern in der Endlos-Serie. Wie immer karikiert Ulrich Magin mit einem zweiseitigen Comic liebevoll-ironisch das Leben in der Redaktion. aa
 
phantastisch! Neues aus anderen Welten # 5 (1:2002). 64 Seiten, s/w mit Farbcover, DIN A 4, 4,55 Euro. Verlag Achim Havemann, Harlingen 119, 29456 Hitzacker
 
Dem langjährigen Lektor des Heyne Verlags, Wolfgang Jeschke, der dort zusammen mit Herbert W. Franke die renommierte Science Fiction-Bibliothek aufbaute, ist ein Schwerpunkt in dieser Ausgabe des Fachmagazins für phantastische Literatur gewidmet. Nach meinem Geschmack wird Jeschke, über den zugegebenermaßen schon viel geschrieben wurde, zu sehr aus der Fanperspektive beleuchtet. Wie sich Science Fiction im Buchgeschäft entwickelt hat – freilich kein sehr angenehmes Thema, weil Heyne wie die meisten Verlage heute nicht mehr bereit ist, Literatur außerhalb des Mainstream zu fördern und zu finanzieren -, das erfährt man hier nur am Rande. Sehr fundiert ist dagegen ein Beitrag über phantastische Elemente im Werk des Dichters Georg Heym geschrieben. „Phantastisch“ berücksichtigt auch in dieser Ausgabe Phantastik in den Comics. Harald Havas schreibt über den anhaltenden Manga-Boom. Zudem wird die Serie „Thorgal“ von van Hamme und Rosinski vorgestellt. aa
 
Neuere Kostenlos-Magazine:
 
Comic Collection # 7. 44 Seiten, s(w mit Farbcover, DIN A 5. Mondwinkel Pictures, Postfach 66 01 15, 10267 Berlin
 
Comics & mehr # 37 und 38 (Winter 2001 / Frühjahr 2002). Je 32 Seiten, teilweise farbig, DIN A 4. MSW Medien Service Wuppertal, Linde 72 – 74, 42287 Wuppertal
 
Will Eisner: The Name of the Game. 172 Seiten, braun/weiß, Comicbookformat, HC mit Schutzumschlag, 29,95 Dollar. The Will Eisner Library/DC Amerika
 
Nachdem seine letzten beiden Bücher selbst für harte Fans höchstens durchschnittlich waren, legt Will Eisner mit „The Name of the Game“ wieder ein hervorragendes Werk vor, in dem er thematisch das tut, was er am besten kann. Das vorliegende Buch zeigt den Aufstieg und Fall der jüdischen Einwandererfamilie Arnheim von 1890 bis etwa 1960. Der Titel spielt auf die Absicht an, den Namen seiner Familie durch geschickte Heirat sozial zu verbessern, ihm einen höheren Standard und besseres Ansehen zu verschaffen. Hierbei zählt der einzelne Mensch nichts, es sind Ansehen, Tradition, soziale Vorteile, das Wahres des Scheins und natürlich Geld die Dinge, die wirklich zählen. Eisner war von jeher ein guter Beobachter, und ich vermag nicht zu sagen, ob er sich für dieses Buch an einer real existierenden Familie orientiert hat, oder ob es einfach nur so gut ausgedacht ist, daß es trotz Fiktion beim Leser ein beklemmendes Gefühl und Mitleid für alle beteiligten Protagonisten auslöst. Eisner wertet diese Tradition auch nicht. Alle, die versuchen, aus ihr auszubrechen, scheitern genauso wie diejenigen, die an ihr festhalten. Dieses Buch strotzt vor Tragik, Gefühlen und Schicksalen, die den Leser tief berühren. Und darüber hinaus gibt es, wie in jedem besseren Eisner-Buch, etwas zu lernen, geschichtlich wie auch menschlich. „The Name of the Game“ zählt daher für mich zu Eisners besten drei Büchern, neben „South Bronx Dropsie Avenue“ und „A Family Matter“. Jo84
 
Frank / Bonifay: Zoo # 1 und 2, 70 bzw 62 Seiten, farbig, über DIN A 4, Hardcover, je 16 Euro. Carlsen
 
Kurz vor Beginn des Ersten Weltkrieges tötet eine aufgebrachte russische Dorfgemeinde Annas Mann und ihren zahmen Bären. Anna selbst verliert dabei ihre Nase. Nun ist sie verdammt zur Seelenlosigkeit, denn laut einer alten russischen Sage ist die Nase kein Organ wie jedes andere, sondern beherbergt die Seele eines Menschen. In einem armlichen Privatzoo in der Normandie findet Anna ein neues Zuhause. Aber dem Zoo geht es finanziell nicht gut, er ist ständig in seiner Existenz bedroht. Und schon wirft der Erste Weltkrieg seine häßlichen Schatten über die Bewohner des kleinen Zoos... Der erste Band dieser Reihe erschien schon einmal bei Splitter und wurde 1996 bereits als beste deutsche Comic-Publikation mit dem Max-und-Moritz-Preis ausgezeichnet. Diese Entscheidung kann ich durchaus nachvollziehen. Zeichner und vor allem Colorist schaffen es über viele Seiten, den Leser völlig ohne Text in eine Stimmung zu versetzen, die einen in den Bann schlägt. Die Farbgebung, über große Teile nur in Braun- und Grautönen gehalten, ist einfach meisterhaft. Aber auch die Geschichte ist lesenswert und, von wenigen Klischees einmal abgesehen, jenseits der erfolgreicheren Schemata. Einziges Manko an der Reihe ist, daß man kein Wort über die Macher des Werkes erfährt. Jo84
 
Kramsky/ Mattotti: Doktor Jekyll und Mister Hyde. 64 Seiten, über DinA 4, Hardcover, 20 Euro. Carlsen
 
Die bekannte Erzählung von Robert Louis Stevenson wurde bereits unzählige Male als Comic adaptiert oder verfilmt. Die vorliegende freie Umsetzung ist für mich jedoch die bei weitem kraftstrotzendste, schockierendste und beklemmendste Version, die mir bekannt ist. Autor Kramsky, mit dem Mattotti bereits mehrere Bücher schuf (erschienen in der Edition Kunst der Comics), setzte die Zerrissenheit des gespaltenen Erzählers kongenial in Comicform um, und Lorenzo Mattotti liefert meiner Meinung nach seine beste Arbeit ab. Angesiedelt ist die Erzählung zwei bis drei Jahrzehnte nach der Jahrhundertwende, und zum Glück konnten die Autoren sich verkneifen, die Erzählung in die Neuzeit zu übertragen. Im Gegenteil schwelgt Mattotti geradezu in der Ästethik der 20er Jahre, überall im Hintergrund scheint man Bilder von Otto Dix oder George Grosz zu erkennen, auch Einflüsse der großen deutschen Filme dieser Zeit wie „Nosferatu“ oder „Das Cabinett des Dr. Caligari“ ziehen sich durch die Umsetzung. Das alles ist in grellsten Kreidefarben gehalten, und obwohl man meinen könnte, eine düstere Farbgebung könnte der gruseligen und tragischen Geschichte eher gerecht werden, so passen die Farbexplosionen doch zumindest zu der aggressiven, vor unterschiedlichen extremen Gefühlen strotzenden Handlung. Soll ich am Ende noch etwas über den hohen Preis jammern? Nein, denn er ist gerechtfertigt für dieses absolute Meisterwerk. Jo84
 
Brösel/Jörg Reymann: Werner. Volle Latte! 128 Seiten, farbig, Din A 5-Taschenbuch, 10 Euro. Achterbahn
 
Alle Jahre ist es mal wieder soweit, der neue Werner- Band ist da, und man freut sich schon darauf, das Niveau mal wieder gesunken zu sehen, um sich aufregen zu können, mit was für einem Scheiß Brösel Kohle ohne Ende einfährt. So gesehen war ich sogar ein bißchen enttäuscht, denn der Band gefällt mir besser als die letzten zwei oder drei, wobei er natürlich auch nicht so richtig gut ist. Der Band zerfällt diesmal strikt in drei Teile, es gibt keine weiteren Cartoons, Einzelbilder oder Kurzgeschichten, schade. Aber für deren Liebhaber gibt`s ja in ein paar Monaten den neuen Kalender. Am Anfang wartet der Band mit ein paar richtig netten Ideen auf. Werner will `ne Freundin, und zwar `ne richtige Granate. Kaum hat er sie, bereut er‘s aber auch schon wieder. Zur Erholung fährt er in den Urlaub zum Campen, und ab hier wird der Band öde. Werner wirft einen Fußball in die Menge, eine Idee, die Brösel schon in einem anderen Band und in einem Film zur Genüge ausgewalzt hat. Zwar ist das 15 Jahre her, die Variation des alten Gags auf zirka drei Dutzend Seiten zu strecken, ist jedoch mehr als unverschämt. Die letzte Geschichte bietet noch einmal etwas Werner-Feeling: Werner verträgt kein Bier und kein Motorradfahren mehr. Seine Freunde sind schockiert! Was kann man da machen? Unnütz zu sagen, das alles wieder ins Lot kommt. Zeichnerisch macht Jörg Reymann, in Insiderkreisen bekannt durch seinen Comic „Dex und Dogfort“ (denen Brösel sogar einen kurzen Gastauftritt erlaubt) seine Sache sehr gut. Auch die Farben (inklusive einiger erstmals computercolorierter Seiten) und Hintergrunddetails sind stimmig. Nur schade, daß Ihr alle noch nicht genug Werners gekauft habt. Der liebe Onkel Brösel hatte leider kein Geld mehr übrig, seinem Zeichner einen Radiergummi für die Vorzeichnungen zu kaufen. Und weil ihr so böse wart, hat Jörg sie einfach stehen lassen, bätsch! Selbst Schuld! Jo84
 
Baru: Die Sputnik-Jahre # 1: Der Elfmeter. 48 Seiten, farbig, Hardcoveralbum, 14 Euro. Carlsen
 
Das Dörfchen Sainte Claire ist in zwei Hälften geteilt, oberhalb und unterhalb des Hügels. Der Erzähler der Geschichte Igor ist zu diesem Zeitpunkt, 1957, zehn Jahre alt und „von oben". Schon seit Jahren bekriegen sich die Dorfkinder beider Parteien, und nicht einmal die Erwachsenen können unparteiisch bleiben. Da kommt jemand auf die Idee, ein Fußballspiel könne auf friedliche Weise bestimmen, welche Seite die Überlegenere sei. Beide Seiten sind bereit für das Spiel ihres Lebens, das eine so wichtige Entscheidung bringen wird. Der neue Baru kommt ungewohnt naiv und unpolitisch daher und ist irgendwie so ganz anders als all seine bisherigen Werke. Erst bei näherer Betrachtung merkt man, das er seine Grundthemen Verständigungsschwierigkeiten in der Gesellschaft, Vorurteil und Ausgrenzung in ein kindliches (autobiographisches?) Umfeld verlagert hat. Frei von jeder Kritik setzt er auf genaue Beobachtung, ohne Sachverhalte zu begründen. So kommt der Band ziemlich realistisch daher, läßt einen aber genauso unbefriedigt zurück wie die Realität es manchmal kann. Allerdings wagt sich Baru hier erstmals an eine Albenreihe, deren zweiter Band schon in Vorbereitung ist. Jo84
 
Banzai präsentiert: Manga-Talente 2002. Zirka 100 Seiten, teilweise farbig, Comicbookformat, Softcover, bislang gratis. Carlsen
 
Als die Veranstalter der Leipziger Buchmesse und das Team von Carlsen Comics sich vergangenen Sommer zum ersten Mal trafen, um zu überlegen, welche Aktivitäten man im Rahmen der Buchmesse 2002 gemeinsam umsetzen könnte, war die Idee für einen Manga-Zeichenwettbewerb rasch geboren. 1400 Antworten erreichten die Veranstalter vor Beginn der Messe, aus denen am 23. März auf der Messe insgesamt 16 Preisträger bekannt gegeben wurden. Die Qualität der Arbeiten ist tatsächlich mitunter am Alter der Teilnehmer gemessen enorm, so daß sich die Veranstalter entschieden, noch diesen Sonderband mit den besten Einsendungen in kleiner Auflage vorzulegen, den Besucher der Messe gratis mitnehmen durften. Es fällt auf, daß vier Fünftel aller Einsender weiblichen Geschlechts waren – ist Manga tatsächlich vorrangig etwas für Mädchen? Carlsen überlegt bereits, eine kostenpflichtige Neuauflage des Buches nachzudrucken. Momentan werden die Comichändler per Fragebogen gebeten, über einen vertretbaren Preis abzustimmen. Jo84
 
J. Michael Straczynski / Gary Frank: Midnight Nation # 1. 48 Seiten, farbig, Comicbook-Format, 6,95 Euro. Infinity
 
Straczinski, Schreiber der Fernsehserie „Babylon 5“, ist in der Szene für die Qualität seiner Stories bekannt. Sein größter Erfolg in diesem Metier war bisher „Rising Stars“, aber sein absolutes Meisterwerk ist für mich „Midnight Nation“, dessen erster von sechs Teilen jetzt auf Deutsch vorliegt und das ich jedem dringend ans Herz legen kann. Polizist David Grey wird bei einem Polizeieinsatz schwer verletzt und erwacht in einer mysteriösen Zwischenwelt. Seine Seele ist gestohlen, erfährt er, und es bleibt ihm weniger als ein Jahr Zeit, sie zurückzuerobern, oder er stirbt oder mutiert zu einem zombieartigen Wesen ohne eigenen Willen. Eine geheimnisvolle Frau namens Laurel versucht, David bei seiner Suche zu helfen, obwohl sie weiß, daß sie im Laufe dieser Suche ihr Leben verlieren wird... Auch Zeichner Gary Frank und Tuscher Jason Gorder machen ihre Sache sehr gut. „Midnight Nation“ ist ein einfallsreicher Trip in die Dunkelheit, der seine Spannung bis zur letzten Seite bewahrt. Ein paar gute amerikanische Comics gibt es immer noch, und das hier ist auf alle Fälle einer von ihnen. Jo84
 
Neues bei www.kim-schmidt.de
 
Öde speaking! Eigentlich wollte ich Euch ja erst wieder gegen Ende April in der Mittagsruhe stören, aber die Meldung hier ist einfach mui importante und muß um-geh-hend unter die Leute gejubelt werden! Es handelt sich um die neueste Neuerung im Comic-Zeichenkurs auf Kims Homepage, und jetzt kommts: Die Rubrik „Fragen an Kim“ funktioniert! Da kann man jetzt die voll wichtigen Fragen in Sachen Zeichnen und so fragen und - Achtung, festhalten – kriegt auch noch eine Antwort vom Meister persönlich serviert! Heftig, oder?! Lob und unermeßlicher Dank dafür gebührt unserem Programmierkönig Jan P. aus W.! Dange, ey!
So, nu wisst Ihr Bescheid. Tschüss, Euer Öde


Das war die Mindener Comicparty
 
Wie bereits angekündigt, fand am 13. und 14. April die erste private Comicparty seit fast zehn Jahren in der Tradition der alten PLOP-Partys bei Jo Guhde und Gesine statt. Fast zwei Drittel aller geladenen Gäste folgten der Einladung, so daß sich mehr Comicprominenz in der Wohnung stapelte als auf einer durchschnittlichen Comicbörse. Anwesend waren Arne Auinger, Holger Bommer, Gesine Cronjaeger, Jan Dinter, Stefan Dinter, Andreas Fecke, Bernd Frenz, Chris Heesch, Martin Jurgeit, Jo 84, Haggi Klotzbücher, Birke Künsting, Till Lenecke, Jens Natter, Tom Plate, Ralph Ruthe, Dirk Schulz, Tilman Stieve und Wittek. Trotz leichter Einschränkungen seitens der Hausverwaltung war es doch ein gelungenes Ereignis, an das sich auch in ein paar Jahren noch gern jeder zurückerinnern wird. Wer jedenfalls aus irgendwelchen obskuren Gründen der Einladung nicht folgen wollte, hat definitiv etwas verpaßt.
Die Fete hatte keinerlei Vorgaben. Wir haben zusammengesessen, geredet, gegessen, getrunken. Es entstand ein Jamcomic, der wahrscheinlich in der „Melone“ erscheinen wird, dann wurde das letzte unvollendete Beefy Bill-Piccolo fertiggestellt, und Holger Bommer und ich haben die ersten Seiten des nächsten Kurt Adventures getextet, die nach langer Pause in ferner Zukunft als Zeitungsstrip geplant sind. Natürlich wurden auch gedruckte Comics ausgetauscht, und unveröffentlichte Originalseiten vorgestellt. Im Großen und Ganzen war es aber ein Kennlern- (denn nicht jeder kannte jeden) und Austausch-Treffen, nicht nur auf Comics bezogen. Jo84



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 65
Besprechungen






Babyblues II für Milena. 28 Seiten, s/w mit Farbumschlag, DIN A5. Anja & Joy, Alte Poststraße 15 B, 32457 Porta Westfalica

Anja und Joy begrüßen nun auch ihre zweite Tochter Milena durch eine Comicanthologie mit Beiträgen vieler bekannter und ein paar unbekannter Leute. Die größer werdende Familie hat das Projekt allerdings verzögert: Milena war beim Erscheinen schon beinahe ein Jahr alt. Die meist ein- bis zweiseitigen Beiträge beschäftigen sich, dem Anlaß angemessen, fast alle mit den Themen Geburt und Babys. Die Einstellungen und Blickwinkel von Leuten wie Lutz Mathesdorf, Rudolph Perez ("Zebra"), Aaron Jordan oder Gerd Bonau sind naturgemäß sehr unterschiedlich, was ja auch den Reiz dieses Comics ausmacht. Das Cover kommt von Milenas großer Schwester Lara, die das Zeichentalent ihrer Eltern ererbt zu haben scheint. aa





cOMIc # 46. 20 Seiten, s/w, DIN A 5. Nur im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel

Wir haben es alle gehofft, daß Gerd Bonau sich nach der Einstellung seines Mini-Fanzines mit der Ausgabe 45 im Jahre 2000 noch einmal eines besseren besinnt. Und wir haben Glück gehabt, denn hier ist es wieder. Da niemand wußte, daß es mit dem Heft weitergeht, hat ihm auch kaum jemand Comicmaterial zugeschickt, so daß er das Heft diesmal so gut wie komplett selbst füllt. Dies tut er auf seine unnachahmliche Art mit einer netten Comicographie nebst kleinem Artikel über den ehemaligen "Zack"-Zeichner Edouard Aidans. Wenige Zeichnungen, vor allem ein schönes Backcover von Wittek, runden das hilfreiche Heftchen ab. Jo84





Chnusper Comics # 4. 36 Seiten, s/w, DIN A 5, 1,70 Euro. Edition Pesky, Oliver Gfeller, Bohrerhofstraße 10, CH - 4123 Allschwil. oli-gfeller@gmx.ch

Oliver Gfeller gehört zu der offenbar nicht kleinen Gruppe in der Fanszene, die zugleich ein Faible für alternative Popmusik hat. In seiner neuen Ausgabe spielen die Comics und Illustrationen (von Max Jähling, Teresa Camara Pestana, Zlatko Krstevski und ihm selbst) nur eine Nebenrolle. Stattdessen stellt der Herausgeber ausführlich die deutsche Band "Der Plan" vor, die zu den Pionieren der Neuen Deutschen Welle zählte, bespricht Tonträger und Konzerte und beklagt den Niedergang von DRS 3 zu einem Dudelsender. Das nächste Themenheft soll die Nummer 6 werden. aa





Filmriss # 3/2002. Comics, Cartoons, Zeitungsstrips. 36 Seiten plus 8-seitige Beilage, s/w mit Farbumschlag, Comicbookformat, 3,50 Euro. ICOM, Danneckerstraße 12, 70182 Stuttgart und Gringo Comics, Holger Bommer, Rossbergstraße 3, 73734 Esslingen. www.comic-i.com und www.gringo-comics.de

Diese Ausgabe war wohl ein arger Schnellschuss (sollte unbedingt noch vor Erlangen erscheinen). Das Zeichnerverzeichnis stimmt nur so etwa mit den tatsächlich im Heft vertretenen Zeichnern überein. Auf Seite 2 wird das Covermotiv in Pastelltönen nochmal abgedruckt, weil da offenbar kurzfristig eine Anzeige ausgefallen ist. Außerdem ist der achtseitige Comic "Der Trompeter" von Bernd Mazanec und Roland Strittmatter beigelegt, von dem die Fortsetzung im Heft abgedruckt ist. Die Mischung der Comics ist aber insgesamt nicht schlecht, und es machen sich hier auch nicht nur die üblichen Verdächtigen breit. Grundsätzlich sind dem ICOM-Magazin im Interesse der deutschen Zeichnerszene ein langes Leben zu wünschen – und Fortschritte im Vertrieb. aa





Gambuzine # 12 und13. Je 32 Seiten, s/w auf gelbem Papier, DIN A 4.Gambuzine, Teresa Camara Pestana, Apartado 43, 3200 Lousa, Portugal.

Die Herausgeberin hat der Einfachheit halber zwei Ausgaben zusammen drucken lassen. Vielleicht hätte sie auch eine dicke Dopelausgabe daraus machen können, dafür hätte sie aber natürlich den doppelten Verkaufspreis verlangen müssen. Die beiden Hefte weisen jedenfalls große Strukturähnlichkeiten auf. Nach wie vor überträgt Teresa Camara Pestana, die einige Jahre in Hannover lebte, eifrig deutsche Comics ins Portugiesische: Wittek, Armin Parr, Till Lenecke. In beiden Bänden sind daneben der Italiener Claudio Parentelo, der Slovene Ivan Mitrevski sowie sie selbst vertreten. Heft 12 wird schließlich mit drei Onepagern von mir unbekannten Leuten (Dgeorgiz, Stefan & Clayton, Remo Keller) aufgefüllt. Wie immer sprechen die Comics (von überwiegend düsterer Atmosphäre) ganz für sich selbst. Redaktionelle Texte, welcher Art auch immer, spart sich Teresa. Da stellt sie lieber per Brief oder e-Mail Verbindungen zwischen europäischen Comiczeichnern her. aa





GENiale Welt # 1, 28 Seiten, s/w mit Farbumschlag, Ami-Format, 3,50 Euro. Moritz Stetter, Mönchfeldstr. 44, 70378 Stuttgart oder MoComix@gmx.de

Nach diversen Veröffentlichungen in mehreren Fanzines hat Moritz Stetter nun auch ein eigenes Heft am Start, welches er so gut wie alleine gestaltet hat. Zwar steuern Kim Schmidt, Haimo Kinzler, Andreas Fecke sowie Armin Parr je einen Cartoon bei, der Großteil des Heftes, der nur eine Geschichte beinhaltet, ist jedoch von Moritz allein getextet und gezeichnet. In dieser, angelegt als Fortsetzungsgeschichte, geht es, inspiriert durch die Zukunftsversionen von Aldous Huxley, um eine komplett genmanipulierte Welt, in der Individualität völlig unterdrückt wird. Da Moritz Funnyzeichner ist, könnt Ihr darauf wetten, daß er dieser grauenvollen Vision einige köstliche Gags abringt. Mit Spaß zum Nachdenken anregen, das ist eine feine Sache. Moritz trifft den Nagel auf den Kopf, und wäre der Preis nicht weit über der Schmerzgrenze, so könnte ich das Heft uneingeschränkt empfehlen. Jo84



Kingkingkongkingrobocomix # 2. 32 Seiten, s/w mit rotfarbigem Umschlag, Piccoloformat. Pottzblitz Entertainment Groupé, c/o Patrick Schmitz, Helmstedter Straße 142, 38102 Braunschweig. Pottzblitz@gmx.de

Auch der Roboter-Spezialist Patrick Schmitz kreuzt immer deutlicher in den Bereich der Independent Music hinüber. Er setzt nicht nur Popsongs in Robotercomics um (in diesem Fall von Kraftwerk und Queen). In diesem Piccolo tauchen zudem einige von ihm in Strapazin-Manier selbst gestaltete Platten- und Plattenläden-Anzeigen auf. Vielleicht kommen als nächstes Plattenlisten - als ein witziges Mailorder-Heft könnte man sich seine Publikation künftig vorstellen. Aber bis jetzt ist es eindeutig ein Comicmagazin, und nicht das schlechteste. aa





Kreativo! # 40. 32 Seiten, s(w, DIN A5, 1,50 Euro. Kreativo!-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid

Birke trommelt schon mal heftig für ihr kommendes Jubiläum: Seit zehn Jahren gibt sie ihr Magazin heraus. Damit macht sie diesen Job länger als ich, denn ich habe PLOP erst Ende 1993 übernommen. Glückwunsch-Beiträge sollen in der nächsten Ausgabe veröffentlicht werden. Vielleicht liest das ja jemand noch rechtzeitig, der sich angesprochen fühlt. Einsendeschluß für DIN A5-Arbeiten ist der 15. November. Hoffentlich läuft mit "Kreativo" weiterhin alles glatt, denn Birke hält sich neuerdings übewiegend in Siegen auf – Umschulung zur Logopädin. Der herzerweichende Report ihrer ersten Eindrücke der Peter-Paul-Rubens-Stadt ist in diesem Heft. Außerdem Comics von Manfred Lafrentz, Ghost, Roger Clinard, Moritz Stetter und anderen, Gedichte, Texte und Kurz-Rezensionen. aa





Milk and Wodka # 3. Continental Comic Book. 144 Seiten, s/w mit zweifarbigem Umschlag, DIN A5. Nicole Scherrer und Remo Keller, Riehenring 185, CH – 4058 Basel. Milkandwodka@gmx.net

Eine Schweizer Publikation müßte ich nicht unbedingt unter ausländischen Fanzines einordnen, aber dieses Magazin paßt zu "Stripburek". Es ist eine etwas gröbere Version der slowenischen Anthologie. 36 internationale Zeichner sind hier versammelt. Nur 15 von ihnen sind Schweizer. Oliver Gfeller ist darunter, der mir die Broschüre freundlicherweise zugesandt hat, und Mark Paterson, der vor längerer Zeit schon mal in PLOP aufgetaucht ist und einen schottischen Paß besitzt, wie ich jetzt hier lese. Auch etliche Deutsche tauchen auf, von denen mir nur Teer bekannt ist. Die übrigen Beiträge kommen aus Portugal, Italien, Dänemark und Osteuropa. Trotz der vielfältigen Nationalitäten sind alle Comics entweder deutsch oder englisch. Hier sind zahlreiche interessante Entdeckungen zu machen. aa





Das Nürnberger Comic-Blatt # 2. 20 Seiten, s/w mit Farbbeilage, DIN A4, 1,20 Euro. Daniel Kiendl, Humboldtstraße 133, 90459 Nürnberg

Dieses Sekundärmagazin ist noch weit davon entfernt, professionell zu sein. Aber es liegt bereits in Nürnberger Comicläden aus. Die ziemlich jungen Herausgeber haben also die Basis, um besser werden zu können. Vorgestellt werden hier Serien aus dem Superhelden- und Manga-Bereich und Spielfiguren. Hinzu kommen ein Kurzinterview mit dem Nürnberger Cartoonisten Gerd Bauer und eine Besprechung des Coen-Films "The Big Lebowski". Anton Buller, der einen zweiseitigen Comic beisteuert, sollte auch noch ein bißchen an seinem Stil arbeiten. Vier Kleinanzeigen dokumentieren, daß das Magazin durchaus gelesen wird. Mal sehen, was aus dem Projekt noch wird. aa





Ox-Fanzine # 47 (Juni bis August 2002). 146 Seiten, s/w mit Farbumschlag mit beiliegender CD, DIN A4, 4 Euro. Ox-Fanzine, Joachim Hiller, P.O.Box 10 22 25, 42766 Haan. www.ox-fanzine.de

Obwohl ich dieses Magazin für Alternativkultur eine Weile recht gern gelesen habe (besonderer Anreiz war schon damals die beigelegte Single, später CD bei insgesamt sehr günstigem Heftpreis), hatte ich es eine Zeit lang ganz aus den Augen verloren. Es hat sich in der Zwischenzeit offenbar verändert - oder bin ich's, der sich verändert hat? Es gibt zwar immer noch Bandporträts (in diesem Heft etwa von der einstigen Grunge-Band "Girls vs. Boys"), Interviews und Konzertberichte. Kundige Seitenblicke werden auch auf andere Bereiche der Populärkultur wie Literatur und Film geworfen. Ich kann mich aber nicht erinnern, daß vor ein paar Jahren schon so viele Plattenkritiken im Heft waren: auf mehr als 30 Seiten in Leselupen-Schrift, einfach alphabetisch nach Bandnamen geordnet, denn die Stilzugehörigkeit kann ja Ansichts- oder Geschmackssache sein. Gesondert werden lediglich Singles und 10-Inches, Sampler und Re-Releases betrachtet. Bei dem Umfang kommt, glaube ich, kein anderes Musikmagazin mit, das ich kenne. Überraschend ist das vor allem angesichts des Geredes vom Niedergang der Popkultur, zum Beispiel auf der jüngsten Popkomm, das ja etwas für sich zu haben schien. In den Alternativ-Ecken jenseits von Time-Warner oder Sony Columbia regt sich aber noch jede Menge Leben. Und dabei haben die Autoren und Rezensenten in diesem Magazin nichts vom abgehobenen Esoterik-Duktus des Pop-Leitmediums "Spex", den man erst nach längerer Lektüre so halbwegs versteht. Sie kennen sich aus und wissen, was gut ist, und sie schreiben es geradeheraus. Erwähnen sollte ich noch, daß Ox sogar über eine Comic-Corner verfügt, bei der der Blick wie in der Musik auf die Kleinverlage und die Alternativszene gerichtet ist. Traditionell ist Peter Puck mit einer "Rudi"-Seite vertreten. aa





Paranoid # 6. 48 Seiten, s/w mit Farbumschlag, Comicbookformat. Dietz / Tauber, Wagenburgstraße 123, 70186 Stuttgart

Christopher Tauber verfolgt das Konzept seines Magazins unbeirrt weiter. Auch die neue Ausgabe ist voll von Geschichten über Beziehungskrisen, Frust und Einsamkeit. Im Fall von "Jeder ist ein Peter" hat sich die Perspektive jedoch ins Satirische und Parodistische verschoben. Zwei Comic steuert die Seelenverwandte Steffi Dietz bei. Im Mittelteil interviewt Christopher zusammen mit Helge Arnold Mitglieder der Bands "They might be Giants" und "Eels". Die Interviews sind zwar nicht abgehoben, es fehlen aber allgemeine Informationen zu den Bands, so daß die Gespräche für Nicht-Insider doch ein wenig in der Luft hängen. Insgesamt ein sauber gedrucktes, inhaltlich konsequentes, durchaus lesenswertes Fanzine. Ob Christopher aber damit seine weitaus höher gesteckten Ambitionen erfüllen kann, halte ich für sehr fraglich. aa





Schwarz weiss Comickult # 1. 80 Seiten, s/w, DIN A4, 3,50 Euro. Weissblech Comics, An der Landstraße 5, 23758 Kükelühn. www.weissblech.com

Früher, als alles besser war, gab es Comicbände wie "Fix und Foxi Super Sommer Spaß" oder so ähnlich. Das war dasselbe Material wie in den regulären Heften, aber mit viel mehr Seiten und trotzdem nicht unerschwinglich. Levin Kurio, der wie der Chefredakteur eines Münchner Nachrichtenmagazins immer an die Leser - oder jedenfalls deren Geldbeutel - denkt, hat dieses Konzept aufgegriffen. Um viele Seiten zum niedrigen Preis bieten zu können, mußte er allerdings zusätzlich auf Farbe fürs Cover verzichten, das nach seinen Angaben bei den üblichen Verlagserzeugnissen rund die Hälfte der Kosten verschlingt. Dagegen hat er, wie er im Vorwort sagt, an der Qualität der Comics von Leuten wie Wittek, Oliver Ferreira, Tom Plate, Eckart Breitschuh oder Calle Claus keine Abstriche gemacht. Das stimmt, freilich handelt es sich fast ausnahmslos um derbe Satiren oder Trash, wie man das von Weissblech gewohnt ist. Ob die Leser trotz fehlendem Farbcover zugreifen, muß man sehen. Levin Kurio ist sich da offenbar auch nicht ganz sicher. Ließe sich der Comickult etablieren, wäre das zweifellos ein Gewinn für die Comicszene. aa





Shtumm # 1. 32 Seiten, s/w, DIN A5, 1,20 Pfund. Andy Konky Kru, P.O. Box 8892, London SW 15, Great Britain

Andy greift wieder verstärkt seine Bemühungen auf, sich mit Comics ohne Worte international verständlich zu machen. In diesem Heft versammelt er gleich eine ganze Reihe von Künstlern, die wie er bei Comics auf Text verzichten. Viele der Beiträge sind Jam-Comics, die Andy offenbar vor allem in England kreisen ließ. Eigene Arbeiten steuern unter anderem Wittek, Rainer Baldermann und sogar Ulf K. bei. Eine kleine Sensation ist für mich die Seite von Franz von Stuck, einem bayerischen Malerfürsten und Mitbegründer der "Münchner Secession", der in der Art früher Comicmeister wie Winsor McCay in vier Panels einen Galeriebesuch schildert. Im Malerei-Lexikon ist zwar von "universalem Schaffen" Stucks die Rede. Daß dazu auch Comics gehörten, ist mir freilich neu. aa





Stripburek. Comics from the other Europe. 220 Seiten, s/w mit Farbumschlag, Paperback im Comicbookformat, 2000 SIT. Forum Ljubljana, Metelkova 6, 1000 Ljubljana, Slowenien. www.ljudmila.org/stripcore/com.htm

Freundlicherweise hat mir Andy den im Herbst 2001 erschienenen Band zur Verfügung gestellt, so daß ich noch einmal auf diese ungewöhnliche Publikation hinweisen kann. Das im Untertitel so bezeichnete "andere Europa" ist Osteuropa, eine Gegend, über die wir - wenn nicht gerade dort Krieg herrscht - nicht viel mehr erfahren als über Afrika. Dabei sind Slowenien oder Ungarn nicht weit weg, Tschechien und Polen grenzen sogar an Deutschland an, in Berlin leben inzwischen jede Menge Russen. Diese unbekannte Welt des Ostens öffnet sich mit einem Mal, wenn man dieses Buch aufschlägt. Die vorliegende Ausgabe versammelt Künstler aus 15 Ländern hinter dem einstigen Eisernen Vorhang, also der ehemaligen Sowjetunion, des ehemaligen Jugoslawien und des ehemaligen Warschauer Pakts. Das beste daran: Alle Comics sind, soweit sie getextet sind, in englischer Sprache. Ich verstehe sie nicht alle - manche sind so versponnen oder spielen auf mir unbekannte Gegebenheiten an, so daß ich außen vor bleibe. Die, die ich verstehe, hinterlassen dafür einen umso tieferen Eindruck. Man bekommt eine gelinde Vorstellung davon, wie es ist, in Ländern zu leben, in denen im günstigen Fall Armut herrscht und im ungünstigeren Bomben fallen - auf dem Balkan war in den 90er Jahren Krieg der Normalzustand. Das Buch legt aber zugleich auch Zeugnis ab von vielen interessanten, oft sehr guten Comiczeichnern im Osten. Eine echte Fundgrube. aa





Ten Eyes Anthologie: Babylon Express, 92 Seiten, s/w mit Farbumschlag, 19 mal 20,5 Zentimeter, 8 Euro. Babylon Graffiti (Skizzenbuch), 92 Seiten, s/w, 20,5 mal 9,5 Zentimeter, 1 Euro. Ten Eyes Archiv, Postfach 1418, 90004
Nürnberg
Ten Eyes mal wieder: Die Nürnberger Underground- Künstlergruppe scheint Zuwachs bekommen zu haben, denn statt ehemals drei bis vier Namen sind jetzt schon sieben vertreten. Das ist aber auch schon alles, was man über das Projekt erfährt; Ten Eyes geben sich geheimnisvoll und merkwürdig wie immer. Zugeben muß man, daß ein bestimmter Standard nicht unterschritten wird, denn diese Gefahr gibt es bei Anthologien ja immer. Beide Bücher aneinandergelegt ergeben ein DIN A 4-Format, so daß der Verdacht naheliegt, daß sie zusammen gedruckt und danach auseinander geschnippelt worden sind. Eine gute Idee, denn das Skizzenbuch für nur 1 Euro ist eine Wucht und zeugt von geballter Kreativität. Aber auch das Hauptbuch ist klasse: Acht Geschichten in völlig verschiedenen Zeichenstilen präsentiert es, alles auf seine Art und Weise gut. Höhepunkte sind die Geschichte "Dogma" von Andre Breinbauer, in dem er den Wandel eines Super-Christen zum Jedi-Anhänger zeigt, und FuFu Frauenwahl mit seinem bereits bekannten Ray Murphy, Detektiv der Träume, diesmal im besten Charles Burns-Stil. Positiv fiel mir auf, daß das Preis-Leistungsverhältnis zum ersten mal bei Ten Eyes akzeptabel ist. Dies liegt sicher auch an den Fördergeldern des Kulturamtes der Stadt Erlangen und des Kulturreferates der Stadt Nürnberg. Jo84





Von mir! # 4. Gerhard Försters Comicheftl. 40 Seiten, s/w mit Farbumschlag, Comicbookformat, 4,60 Euro. Verlag Schwarzer Turm, St.-Vitus-Straße 10, 36088 Hünfeld. www.schwarzerTurm.de

Im letzten Band seiner autobiografischen Serie läuft Gerhard Förster noch einmal zu Hochform auf, damit wir, die wir sie zu wenig gekauft haben, auch wirklich bedauern, daß es sie künftig nicht mehr gibt. Ehrensache! Hier schildert er nun noch einmal ergreifende Beispiele für seinen Ärger mit den Frauen, er erzählt die Geschichte seiner seltsamen "Scientology"-Karriere zuende, gibt weitere Proben seiner Comicsammel-Leidenschaft, und zum Schluß geht es passenderweise um den Tod. Also, ich muß sagen, diesmal ist kein Ausfall im Heft, anders als in den Bänden 1 und 3. Sogar die eingeschobenen Strips über den Rollstuhlfahrer Franz-Josef, die er mal für ein Behindertenmagazin gezeichnet hat, fügen sich harmonisch ins Ganze ein. Auf der Leserbriefseite deutet Gerhard noch an, welche Schwänke aus seinem Leben nun wohl für immer unerzählt bleiben werden. Da hilft wohl nur, seine Zuflucht bei dem alten James Bond-Motto zu nehmen: "Never say never again". aa





Von mir! Geheimdossier. 32 Seiten, s/w mit verstärktem rosa Umschlag, DIN A5, 2,50 Euro. Gerhard Förster, Winckelmannstraße 2/8, A - 1150 Wien, gerhardfoerster@gmx.at

So sehr die letzte reguläre Ausgabe "Von mir" überzeugt, so sehr enttäuscht das sogenannte "Geheim-Dossier", das mir freundlicherweise wieder Gerd Bonau zum Rezensieren zur Verfügung gestellt hat. Statt der angekündigten "Dinge, die nie hätten ans Licht der Öffentlichkeit kommen sollen", bietet Gerhard Förster hier nur zweitrangige, später überarbeitete oder sehr abseitige Arbeiten an. Sie sind auch nicht so schlecht, daß sie als "Pleiten, Pech und Pannen" amüsieren könnten. Am besten hat mir noch seine Hommage an die Schauspielerin Marie Versini ("Winnetou") gefallen, die ursprünglich für die "Sprechblase" entstanden ist. Dafür wäre aber die Geheimnistuerei gewiß nicht nötig gewesen. aa





Weissblechs weltbeste Comics # 7: Horror aus der Pornogruft. 32 Seiten, s/w mit Farbumschlag, Comicbookformat, 3 Euro. Bella Star, die Sternenhure # 1. 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 3 Euro. Weissblech Comics, An der Landstraße 5, 23758 Kükelühn. www.weissblech.com

So wie man bei jeder AC/DC-Platte immer schon vorher weiß, wie sie klingt, kann man auch bei Weissblech-Comics immer ziemlich sicher sein, hinter dem reißerischen Cover gewohntes Material vorzufinden. Bei den beiden neuesten Erzeugnissen aus Kükelühn handelt es sich einmal um eine Anthologie in der guten alten EC-Tradition und einmal um den Beginn einer auf drei Bände angelegten Saga. Aus der Pornogruft berichten Eckart Breitschuh, Aha (mit einer für eine Horrorstory allerdings etwas zu seltsamen Geschichte) und Meister Kurio himself. Sogar eine kleine Rahmenhandlung gibt es wie in den 50er Jahren, als der Crypt-Keeper und seine Kollegen die Leser in die düsteren Gefilde einführten. Bei "Bella Star" arbeitet Levin Kurio wieder mit Roman Turowski zusammen, und sie tauchen wieder in ihre bekannte Science-Fantasy-Welt ein, in der zum Beispiel der geifernde Grapsch sein Unwesen treibt. Dabei wird immer deutlicher, daß sich die beiden nicht nur bei "Star Wars", sondern auch reichlich bei klassischen Marvel-Motiven bedienen. Jetzt recyclen sie sogar ganz ungeniert den Sammler, mit dem sich einst die Fantastischen Vier herumschlagen mußten. Aber die Story hat ja keine tiefere Bedeutung, und auch mit solchen Fremdanleihen liest sie sich sehr flüssig und unterhaltsam. aa





Xoomic # 3 (September 2002). 60 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5 Euro. Frank-Kemter-Verlag, Nürnberger Straße 111 a, 90762 Fürth. www.xoomic.de

News und Rezensionen müssen in diesem Heft nach wie vor hinten Platz nehmen, beanspruchen allerdings jetzt schon insgesamt mehr als die Hälfte des Platzes im Heft. Wichtiger sind der Redaktion offenbar das ausführliche Porträt des Filmregisseurs und Comic-Autors Alexandro Jodorowsky ("Der Inkal"), ein langes Interview mit dem Künstler und Comiczeichner Atak, in dem viel von seiner Grenzgängerei zwischen Grafik, bildender Kunst und Comics deutlich wird, ein weiteres Interview mit Frank Giroud, der in Erlangen 2002 den Max-und-Moritz-Preis als bester Szenarist gewann, und eine in der vergangenen Ausgabe ausgelöste Debatte über den Rang des Donald-Duck-Zeichners Carl Barks. Ganz zu Beginn steht ein mit zwei Seiten recht knapper Erlangen-Report, der vielleicht eher in den News-Bereich gepaßt hätte. Abgesehen von der Frage der Gewichtung der einzelnen Heftteile ist die neue Ausgabe durchweg interessant und lesenswert. Im Dezember soll die nächste Ausgabe erscheinen; dann ist Xoomic ein Jahr alt. aa





Zinehead (September 2002). 8 Seiten, s/w, 17,5 mal 21,8 Zentimeter, 1 Can.-Dollar. Karl Thomsen, P. O. Box 2061, Winnipeg, Manitoba R3C 3R4, Canada. www.escape.ca/~mosfog

Karl Thomsen hat nach der Einstellung seines Magazins "Sunburn" Wort gehalten und veröffentlicht die einstige Info-Beilage weiter. Im "Zinehead" werden ohne viele Umstände Fanzines aufgelistet. Akribisch sind bei fast jedem Herausgeber, Format, Adresse, Preis und Erscheinungsweise genannt. Optional wird eine kurze Einschätzung der Publikation hinzugefügt. Wir bewegen uns hier natürlich im anglo-ameri-kanischen Sprach- und Kulturraum: Der Großteil der aufgezählten Magazine stammt aus USA, Kanada, England und Australien. aa





Benedikt Beck: Fredo Crayszowski. 32 Seiten, s/w mit Farbumschlag, DIN A5, 3 Euro. Fake Press, Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen

Zwei Freunde sprengen mit einem Sylvesterkracher einen Teil ihrer Schule in die Luft und werden vom Direktor zur Strafe in ein "militärisches Züchtigungslager" geschickt, wo sie allerdings die Disziplin untergraben und ein Chaos anrichten. Dies ist natürlich ein Funny, und sein Autor ist mit einem recht trockenen Humor ausgerüstet. Zeichnerisch verspricht das Cover - nicht nur durch die professionelle Colorierung, sondern auch durch souveräne Strichführung - mehr, als der Comic im Inneren hält. Benedikt Beck bevorzugt kleine Panels, und in denen verkrakelt er mitunter seinen eigenständigen Strich. aa





Jähling: Terrain Vague. 52 Seiten, s/w, DIN A4, 2,50 Euro. Dreadful Gate Productions, www.dreadful-gate.de

Nach seinem 24-Stunden-Comic hat Jähling gleich das nächste Experiment gestartet: Er versuchte, fast ein Jahr lang jeden Tag einen Comicstrip zu zeichnen. Den Vorsatz konnte er nicht ganz einhalten - manchmal hielten ihn andere Verpflichtungen vom Zeichnen ab, und dann reichte es nur für zwei bis drei Strips pro Woche. Aber insgesamt ist ein ordentlicher, spannender Comic mit 170 Strips dabei herausgekommen. Also: Experiment geglückt. Jähling hatte zu Beginn bereits eine Story im Hinterkopf. Trotzdem bot der Strip mannigfaltige Möglichkeiten, Figuren zu entwickeln oder Nebenhandlungen einzufügen. "Terrain vague" ist der französische Ausdruck für "Brachland". Für den Autor sind das die wenigen Bereiche in der Stadt, die noch nicht videoüberwacht sind. Genau da halten sich in dieser Story Monster und Freaks auf, die man normalerweise nicht zu Gesicht bekommt. Die Heldin, Bianca, fällt in ihre Hände und lernt ihre Welt kennen. Fluchtversuche mißlingen, obwohl die Monster eigentlich ganz nett zu ihr sind. Aber die Polizei hat Verdacht geschöpft, als Bianca plötzlich von ihren Überwachungsbildschirmen verschwand. So werden die normalen Verhältnisse am Ende wiederhergestellt. Jähling hat jeden neuen Strip aktuell ins Internet gestellt, um den täglichen Abdruck in der Zeitung nachzuahmen. Wenn man das komplette Album vor sich hat, ist schwer nachzuvollziehen, ob einen diese Geschichte in "Akte X"- oder "Men in Black"-Manier wirklich jeden Tag gefesselt hätte. Das nötige Durchhaltevermögen zu einem großen Wurf hat Jähling aber auf jeden Fall. aa





Hanne Leese: Unter Axtmördern. 32 Seiten, s/w mit Farbumschlag, DIN A5, 3 Euro. Fake Press, Andreas Heinze, Schultheißstraße 13, 46047 Oberhausen

Nachdem sich Hanne Leese an einem heftlangen Krimi versucht hat ("Auch Leichen haben Feierabend"), legt sie nun im gleichen Verlag ein Heft mit drei Kurzgeschichten vor. Hatte der Krimi ein wenig unter der etwas unwahrscheinlichen Story von einer verschwindenden und immer wieder unerwartet auftauchenden Leiche gelitten, so erzählt sie jetzt mit ein wenig übernatürlichem Einschlag (über Pillen, die ein überempfindliches Gehör schenken, unheimliche Schlingpflanzen und angreifende Halloween-Kürbisse), und das macht sich eindeutig besser. Die drei Stories werden durch zwei Hauptpersonen verklammert, die in den ersten beiden Geschichten einzeln und in der dritten gemeinsam auftreten. Das hat aber keine inhaltliche Bedeutung, sondern soll nur Kontinuität signalisieren, die Leese auch durch ihren soliden, durchgängig guten und gefälligen Zeichenstil herstellt. aa





Till Lenecke: Sand zwischen den Zähnen. 16 Seiten, s/w mit Farbcover, DIN A4, 2,50 Euro. Weissblech Comics, An der Landstraße 5, 23758 Kükelühn. www.weissblech.com

Zugegeben: Dies ist eine viel epischere Geschichte, als ihre sieben Seiten vermuten lassen. Till Lenecke trifft den beinahe schon literarischen Ton wehmütiger Erinnerungen an eine längst vergangene Zeit der Kindheitsabenteuer genau. Vier Freunde machen sich auf zu einer Insel in der Elbe, fühlen sich unabhängig und frei, aber ihre Freundschaft überdauert die kommenden Jahre und Jahrzehnte nicht. Die Geschichte brauchte auch keine einzige Seite länger zu sein, um ihre Botschaft zu vermitteln. Trotzdem wirkt es schon ein bißchen eigenartig, diese Geschichte als eigenes Heft präsentiert zu bekommen. Nur mühsam und mit ein paar leeren Blättern läßt sie sich dazu aufblasen. Da wäre mir eine Anthologie mit zwei bis drei weiteren Stories ähnlichen Kalibers doch weitaus lieber gewesen - zumal Till Lenecke ja dazu neigt, mit vielen Geschichten immer wieder eine Geschichte zu erzählen. Ein Sammelband würde sich damit anbieten. aa





Mawil: Strandsafari. 80 Seiten, s/w mit Farbumschlag, DIN A5-Broschüre, 10 Euro. Verlag Schwarzer Turm, St.-Vitus-Straße 10, 36088 Hünfeld. www.schwarzerTurm.de oder www.mawilcomix.de

Am Anfang können sie sich stets nicht ausstehen - der Held und das Mädchen in alten Hollywoodfilmen. Und dann verfolgt man mit wachsendem Vergnügen, wie sie sich doch unweigerlich näher kommen. Auch wenn solche Liebesgeschichten oft traurig enden. Das ist der Stoff, in den man sich immer wieder hineinträumen möchte. Die Geschichte von Mawil ähnelt in mancher Beziehung diesen alten Hollywoodfilmen - nur, daß der Held bei ihm kein Held ist, sondern - naja, ein Hase. Mawil gibt sich alle Mühe, seine unförmige Funnyfigur mit Brille und schütteren Schlappohren zu einem ernsthaften Helden zu machen. Seitenlang schildert er den Schiffbruch des Hasen, seine mühsame Nahrungssuche am Strand, seine nächtlichen Schrecken, bis er sicher sein kann, daß wir Leser den Hasen als Held akzeptieren. Bei den drei Mädchen, die an dem einsamen Strand Badeferien machen, staubt er schließlich ein Käsebrötchen ab. Und so geht dann nach etwa der Hälfte des Buchs endlich die eigentliche Geschichte los. Zuerst ist es beinahe nur eine eine Eincreme- und Badespaßbekanntschaft. Der Hase kann sprechen, aber er versteht die Menschen nicht so richtig - Mädchen noch viel weniger. "Wollen wir n'bißchen rumknutschen", fragt sie ihn nach einiger Zeit und fügt schnell hinzu: "Das war ein Sche-herz!" Dann kommt der Moment, in dem die beiden anderen Mädchen fragen: "Jetzt mal ehrlich: Was läuft da zwischen euch?" Aber da ist es schon beinahe vorbei. Der Hase hat das Foto von dem Jungen gesehen, und er könnte sich vorstellen, daß sie vielleicht wegen ihm weint. Und dann kann jedes Wort, das er sagt, nur falsch sein. Sie scheucht ihn weg, und dann sucht sie ihn. Auch diese Liebesgeschichte muß traurig enden. Aber es ist erstaunlich genug, daß Mawil mit diesem Nicht-Helden überhaupt eine Liebesgeschichte zustandebringt. Er erzählt sie mit großer Ruhe und völlig souverän und erzeugt genau jene bittersüße Stimmung, die man von einer guten Liebesgeschichte erwartet. Ein Meisterwerk, wie man ihm nur selten begegnet - nicht nur in den Comics. aa





Diana R. Sassé: Antique White House # 1. Saturnalia und andere Haremsgeschichten. 80 Seiten, s/w mit Farbumschlag, 8,50 Euro. Edition Rhein-Trio, Birsigstraße 115, CH - 4054 Basel. www.antique-white-house.de

Schon in ihrer vorhergehenden Serie "Doudou" hatte Diana R. Sassé munter Zeiten, Orte, Figuren und Mythen zu einer ganz eigenen Melange verquirlt. In ihrer neuen Albenreihe treibt sie's noch bunter. Wir befinden uns in einer Parallelwelt, in der sich US-Präsident John F. Kennedy, Fidel Castro, der deutsche Kaiser Wilhelm II. und der russische Zar Nikolaus zu einer Landpartie treffen. Zudem spielt ein Amazonenstamm eine Rolle, und "Mondlicht", ein Elfenwesen aus "Doudou", mischt mit. Generell ist die Welt, die sich die Autorin ausgedacht hat, am 19. Jahrhundert orientiert – mit Pferdekutschen und ohne unromantische Technik. Ob man so eine Fantasywelt faszinierend oder eher bescheuert findet, ist natürlich reine Geschmacksfrage. Was sie mit ihrem Personal in diesen Kulissen anstellt, würde ich dagegen eindeutig in die Rubrik Kitsch einordnen. Kennedy ist mit vier Frauen (darunter neben Jackie auch eine gewisse Norma) und zwei Männern verheiratet (noch so ein verrückter Einfall), und Diana dekliniert die einzelnen Beziehungen in Courths-Mahler-Manier lustvoll durch. Berückend wie immer sind allerdings ihre Zeichnungen. Diana hat ja ihren Schwarzweiß-Stil schon seit längerem perfektioniert, und auch in diesem Werk habe ich mich mit Vergnügen in die Grafik versenkt. aa





Elke Steiner: Rendsburg Prinzessinstraße. Die Geschichte einer jüdischen Kleinstadtgemeinde. 60 Seiten, s/w mit Farbumschlag und Bastelbogen, Softcover, Comicbookformat, 6,50 Euro. Edition Panel, Postfach 10 26 65,
28026 Bremen

Die Geschichte der Juden von Rendsburg in einem Comic zu verarbeiten, ist ein Respekt abforderndes Unterfangen. Elke Steiner hat dazu sogar ein Stipendium vom Jüdischen Museum in Rendsburg erhalten. Ich habe mir diesen Band mit hohen Erwartungen vorgenommen. Leider werden sie nicht ganz erfüllt. Rund 250 Jahre von Ende des 17. Jahrhunderts, als sich offenbar die ersten Juden in der damals dänischen Stadt ansiedelten, bis zur Nazi-Zeit zugleich zu verdichten und anschaulich zu machen, ist keine leichte Aufgabe. Ein Comic mit seinen speziellen Möglichkeiten würde sich dafür aber geradezu anbieten. Elke Steiner schafft es allerdings nicht, Identifikationsfiguren zu schaffen und die Entwicklung dieser jüdischen Gemeinde anhand von typischen Ereignissen deutlich zu machen. Sie ist keine schlechte Zeichnerin, aber nicht eigentlich eine Comiczeichnerin. Mit ihrem an Druckgrafik erinnernden Stil fällt es ihr leichter, zeittypische Trachten darzustellen als wiedererkennbare Gesichter. Sie weiß offenbar sehr viel über jüdische Bräuche und die Besonderheiten des jüdischen Lebens, aber sie versteht es nicht, einen Leser, der sich damit nicht auskennt, in diese jüdische Welt hineinzuziehen. Das Glossar am Ende des Bandes ist da keine wirkliche Hilfe. Kein schlechter Band und sicher vor allem für Spezialisten gewinnbringend, aber für den Durchschnittsleser zu sperrig und schwierig. aa





INKplosion Print-Special # 2. Michael Vogt / Danyael / Mel: Los 7 Mariachis. 32 Seiten, farbig, Comicbookformat, 3 Euro (Deutschland), 3,20 Euro (Österreich). INKplosion Maathuis Reimer Vogt GbR. www.inkplosion.de

Ein perfektes Unterhaltungsprodukt, eng an die Kinowelt des Tarantino-Freunds Robert Rodriguez angelehnt. Es gibt sogar eine Mariachi-Band zum Comic, das heißt zumindest eine Plattenfirma, die das hübsche knallbunte Heft mit einer halbseitigen Anzeige unterstützt. Sieben Mariachis reisen durchs Land, verfolgt von einem aggressiven HipHop-Typen, der sich unentwegt an den schwarzgekleideten Musikern rächen möchte, aber getreu einem alten Sprichwort in die ausgehobenen Gruben stets selbst hineinfällt. Laut Zeichner Michael Vogt sind dem Team die vier Storys eingefallen, während man auf der Autobahn Leipzig - Berlin im Stau stand. Vielleicht soll damit nur entschuldigt werden, daß die Storys in diesem Heft nicht allzu viel Substanz haben. Aber lustig sind sie allemal, dazu sauber gezeichnet und coloriert. Wäre schön, wenn solche Hefte von Kleinverlagen auch mal in der Rubrik "Außerhalb der Fanszene" besprochen werden könnten. aa





Patrick Wirbeleit: Das Baumhaus. 68 Seiten, s/w, Piccoloformat. Patrick Wirbeleit, Telefon und Fax: 0431 / 3050479

Vier Szenen, die mit der Wirklichkeit nicht viel zu tun haben, laufen in diesem Band ab. Ein Insektenschwarm frißt einen Baum auf, bis davon nur noch ein hausförmiger Stumpf übrig ist. Ein knuffiger Bär mutiert zum Monster. Ein netter alter Mann mit Zwirbelschnurrbart brüht einen Tee auf und trinkt ihn mit dem Bär. Man sieht, es geht hier nicht um Inhalte. Das Buch erzeugt dennoch einen gewissen Sog, weil die Transformationen wie in einem versponnenen Zeichentrickfilm abzulaufen scheinen. Patrick Wirbeleit erhielt für diesen Band in diesem Jahr den ICOM Independent Comic Sonderpreis. aa





Conan # 1. 72 Seiten, s/w mit Farbcover, Softcoveralbum, 7,50 Euro. Generation Comics/Panini

Über Conan-Comics sind die Meinungen seit jeher geteilt. Die Condor-Veröffentlichungen, vor allem die Taschenbücher, erfreuen sich trotz indiskutabler Übersetzung, Einfärbung und Seitenverkleinerung eines Kultstatus, während die Alben kaum gefragt sind. Die mit Spannung erwartete letzte Reihe bei Panini konnte Fans nicht wirklich überzeugen, denn das neue Material ist einfach zu unspektakulär und gleichförmig, um zu begeistern. Deshalb hat Panini sich entschlossen, nun lieber das richtig gute Material aus den 70er Jahren zu veröffentlichen, von dem bisher trotz 1 A-Qualität nur Bruchteile in Büchern aus dem Hethke-Verlag vorliegen oder vor Urzeiten als Fortsetzungen in der "Sprechblase" liefen. Dieses Material ist in schwarz/ weiß, was natürlich mit "schlecht verkäuflich" gleichzusetzen ist. Andererseits sind das Material so gut und der Schraffurstil und die Stories so eindrucksvoll, daß man nicht zu früh unken sollte. Panini gebührt schon Respekt für dieses Wagnis, und die fabelhafte Aufma-chung der neuen Albenreihe trägt hoffentlich zum Erfolg bei. Mit der Saga um den Elefantenturm enthält Band 1 auch gleich "die" Conan-Story schlechthin. Texter Roy Thomas, Zeichner John Buscema und vor allem Tuscher Alfredo Alcala ziehen alle Register ihres Könnens. Auch die zweite Story, getuscht von Pablo Marcos, weiß zu begeistern. Nur die dritte Geschichte ist ein dürftiges Füllsel, in dem nicht mal Conan vorkommt. Mit solchen Späßen schafft man sich natürlich keine Freunde. Trotzdem - die Gesamtwertung ist sehr gut. Hoffen wir auf viele weitere Ausgaben. Jo84





Der erstaunliche Spider-Man # 21. 11. September. 52 Seiten, farbig, Comicbookformat, 3,55 Euro. Panini

Ein Jahr nach den Terroranschlägen auf das World Trade Center in New York und das Pentagon in Washington bringt Marvel Deutschland die Spider-Man-Ausgabe vom Dezember vergangenen Jahres, in der das Geschehen reflektiert wird. Cover und erste Seite sind schwarz - Autor J. Michael Straczynski und Zeichner John Romita jr. haben wohl gespürt, daß eine Reaktion auf das Geschehen im Rahmen eines Comicbooks schwierig ist. Aber dann wird aufgeblendet: Spider-Man trifft am Ort des Geschehens ein, nachdem die beiden Hochhaustürme eingestürzt sind. Flüchtende Passanten stellen ihm die berechtigte Frage: "Wo wart ihr? Wie konntet ihr das zulassen?" Innerhalb der Logik der Marvel-Superhelden verwundert tatsächlich, daß kein Spinnensinn klingelte, kein Beobachter alles vorhersah, kein Mr. Fantastic die Technologie zur Hand hatte, um die gekidnappten Flugzeuge unschädlich zu machen, bevor sie in die Türme rasten. Auch einem Thor, Silver Surfer oder gar Hulk hätte es ein Leichtes sein müssen einzugreifen. Stattdessen sehen wir jetzt die Helden konsterniert, aber auch heldenhaft entschlossen beim Schutträumen und beim Bergen von Verletzten und Toten. Und sogar ein Dr. Doom zerdrückt eine Träne der Trauer - obwohl er ja gar kein Amerikaner ist! Wir befinden uns an einem Bruch im Marvel-Universum. Natürlich wäre es jedem amerikanischen Leser wie Hohn erschienen, wenn die Superhelden, die auf Pulp-Papier schon so manche intergalaktische Bedrohung New Yorks abgewendet haben, in diesem Fall die Geschichte umgeschrieben hätten. Aber Marvel erhebt ja im Gegensatz zum Konkurrenten DC den Anspruch, daß sich seine Storys in der realen Welt zutragen. Jetzt hat die reale Welt zurückgeschlagen und die Superhelden desavouiert. Das schöne Spiel war immer schon eine Illusion. Bei einer echten Katastrophe taugen die vermeintlichen Retter höchstens zum Mitleiden und zeigen damit: Superhelden braucht eigentlich niemand. aa





Flesh Angels. 32 Seiten, farbig, Comicbookformat, 4 Euro. VonPhantasi Studios, James Wood-ward, Hainstraße 1, 61476 Kronberg/Taunus. www.vonphantasi.com

Am Anfang steht ein kurzer e-Mail-Austausch zwischen "Mel" und "Jojo". Mel wirft Jojo vor, geschnitten zu werden. Jojo streitet das ab und entschuldigt sich mit viel Arbeit. Das macht neugierig darauf, was hinter dieser Verstimmung steckt. Aber gleich auf der nächsten Seite dreht der Comic in den Wahnsinn ab: Augen starren in dumpfer Verzweiflung und quellen aus dem Kopf, die Kopfhaut wird abgezogen, Finger krümmen sich, Zähne werden gefletscht, Totenschädel grinsen. Hinzu kommt ein Weltschmerz-Text, der unangenehm an Lyrik aus "Kreativo" erinnert. Der Zeichner mit Künstlernamen VonPhantasi stammt laut Internet-Information aus der Nähe von Boston, zeichnete schon in früher Jugend talentiert Superheldencomics (was man ihm sofort abnimmt) und ist heute Computerdesigner in der Nähe von Frankfurt. Stolz präsentiert er ein Foto, das ihn gemeinsam mit dem "Alien"-Designer H. R. Giger zeigt. Am ehesten erinnert sein Stil an Bill Sienciewicz zu seinen guten Zeiten. Inhaltlich ist sein Comic allerdings seltsam bis belanglos. aa





Maddrax. Die dunkle Zukunft der Erde # 1. 52 Seiten, farbig, Bastei

"Maddrax" ist eine neuere Heftromanserie, die Herod hier schon mal in PLOP # 60 vorgestellt hat. Chefautor Jo Zybell hat den Anfang der Serie nun zusammen mit Zeichner Bernhard Kolle und Colorist Jürgen "Geier" Speh in einen Comic verwandelt. Das Resultat ist durchaus ansprechend: ein albumlanges, sehr solide gezeichnetes Abenteuer. Es ist ein seit H. G. Wells ' "Zeitmaschine" oft benutzter Plot von der Reise in eine barbarische Zukunft - man kann auch an den "Planet der Affen" denken oder im Comicbereich an Bernets "Andrax" (an den sich möglicherweise auch der Name des Titelhelden anlehnt) oder an "Storm" von Don Lawrence. In einer solchen Zukunftswelt kann wirklich alles passieren, für den Autor ist es also ein denkbar offenes Konzept. Bei "Maddrax" werden im wesentlichen aber nur Kämpfe mit unterschiedlichen Mutantenmonstern aneinandergereiht. Zybell spielt also fast ausschließlich die Action-Karte. Im übrigen scheint er die Heftromane relativ originalgetreu nachzuerzählen. Will man da Synergieeffekte nutzen - Comicfans für die Heftromane gewinnen oder die Romanleser dazu bringen, sich das Epos in anderer Form ein zweites Mal zuzulegen? Obwohl der Comic seine Qualitäten hat, überzeugt er daher nicht völlig. aa





Usagi Yojimbo # 9. 84 Seiten, s/w mit Farbumschlag, Softcover, Comicbookformat, 12 Euro. Verlag Schwarzer Turm

Der "Leibwächter Hase" - so die Übersetzung des Titels - ist eine Schöpfung eines japanstämmigen Amerikaners, und so fließen in diesem Comic japanische Inhalte und amerikanische Comiczeichenkunst zusammen. Drei jeweils rund 20 Seiten lange Geschichten sind in dem Band versammelt. Zweimal geht es um Duelle von Usagi mit anderen Samurais. Die Folie dafür liefert jeweils der eigentümliche Ehrenkodex der Samurais. Die dritte Geschichte erschien mir interessanter: Usagi kommt in ein Dorf, das von einem Brückengeist tyrannisiert wird. Bei einem Angriff wehrte sich Usagi, indem er ihm eine Hand abschlug. Als der Geist sich nun seine Hand gewaltsam zurückholen will, stellt sich ihm der Samurai-Hase auf der Brücke, in seinem Machtbereich. Einer der Dorfbewohner nimmt sich ein Beispiel an Usagis Mut, und durch sein beherztes Eingreifen kann der Geist schließlich besiegt werden. Sakai erzählt hier ebenso klar und geradlinig, wie er zeichnet. Die einst von Carlsen begonnene Serie wird fortgesetzt. Gehobene Unterhaltung ist in jedem Fall garantiert. aa





Holger Aue: Motomania # 6. 48 Seiten, farbig, Hardcoveralbum, 12,95 Euro. Eichborn

"Ist es zu laut, bist Du zu alt" ist der Titel des 6. Bandes der für Motorradfahrer zum Kult avancierten Comicserie von Holger Aue.Bekannt durch die Zeitschrift Motorrad richtet sich die Serie, ähnlich wie etwa Joe Bar Team und im weitesten Sinne auch Werner, vor allem an Leute, die eigentlich keine Comics lesen, sondern Motorrad-Freaks sind. Die können richtig darüber lachen, wenn Hinnerk Wippermann, der Meister des geöffneten Gasgriffs, Bernd Breidscheid und seine Eigenbau-Kawasaki sowie Duc Döttinger auf Harry Quiddelbacher und Holli Hatzbach treffen, in deren Adern reinstes Super-Plus fließt. Für reine Comicfans ist die Serie eher belanglos, bietet sie doch von Franquin beeinflußte Durchschnittszeichnungen mit motorradspezifischen und eher harmlosen Gags. Jo84





Gerald Chmielewski: Hein de Kaptain - Störtebeckers Schatz. 48 Seiten, durchgehend farbig, 17 cm x 23,5 cm, 1999, brosch., 5 Euro, ISBN 3-89598-603-8, Isensee Verlag, Oldenburg.

Hein de Kaptain ist ein verwegener Seemann, der in bester James-Bond-Manier zwei Ganoven den Schatz von Klaus Störtebeker abjagt. Ist auch das Titelbild zu diesem Comic gut gezeichnet, so legt sich beim Blick auf die inneren Seiten die Stirn in Falten, denn da sehen die Panels recht schülerhaft aus. Ist das ein Jugendwerk des Zeichners, der anderswo Besseres abliefert? Die Sprechblasen sind laienhaft, das Lettering grauslich, Punkte am Satzende fehlen. Die Zeichnungen selbst sind mit Filzstiften koloriert und schon sorgfältig ausgearbeitet, aber es mangelt an Professionalität. Trotzdem habe ich den Comicband in einem Zug ausgelesen und war, als ich mich erst einmal an die Zeichenweise gewöhnt hatte, sehr gut unterhalten. Der Pluspunkt liegt eindeutig bei Handlung und Text. 11 bis 14jährige werden ihren Spaß daran haben und lernen nebenbei friesische Heimatkunde und schnodderige Aussprüche. Als Beispiel der Dialog zweier Ga-noven (jede Zeile ein Bild): A: Willst du mir die Ohren strubbelig labern? B: Seh zu, daß du deinen Kadaver raufkriegst, aber zackig. A: Aber Chef, du stehst auf meiner Flosse! B: Fische haben Flossen. Du, mein Freund, hast Geschwüre am Torso! So geht das am laufenden Band, und die Gesichter der schlitzäugigen Containerschiff-Mannschaft, die auf der Brücke Mikado spielt, sind zum Schießen. Kein Wunder, daß der Comicband in Läden zwischen Emden und Cuxhaven reißenden Absatz findet, vor allem bei Touristen - als ideale Strandlektüre für die Kids. kb





Volker Seifen: Seifenblasen - Das erste Buch. 48 Seiten, durchgehend farbig, 17,5 mal 22,5 Zentimeter, gebunden, 9,80 Euro, 2002, ISBN 3-89598-849-9, Isensee Verlag, Oldenburg.

Das erste Buch, in dem Volker Seifen 2002 seine Comics präsentiert, heißt folgerichtig "Seifenblasen". Die Sprechblasen bringt der Oldenburger denn auch sehr gut. Die Witze und Cartoons stammen aus verschiedenen Serien, zum Beispiel "Sprechende Schweine", "Piraten im Glas" oder "Katakombe + Co", eine Katergeschichte. Der Humor ist gewöhnungsbedürftig und nicht umwerfend. Außer, daß alle Strips an der See spielen, besteht kein Zusammenhang. Die Pointe der ausnahmslos gut gezeichneten "Piraten im Glas" besteht darin, daß sie in einem Buddelschiff sitzen, von dem aus sie die Welt betrachten. Das Comicbuch ist gut und schlecht zugleich. Volker Seifen hat seinen eigenen Stil, der sehr locker ist, wenn auch etwas aufgeblasen. Vier Bilder, wo eines genügte. So etwas paßt in Zeitungen und Zeitschriften, nicht unbedingt in ein Buch, das stolz wie ein Geschenkband daherkommt. Nun, wo fehlt's? An der Substanz. Zum Beispiel sagt in "Unsa Dieta" eine dicke Frau: 'Als Kind konnte ich gut Arschbomben vom Dreier'. Das möchte man nicht nur als Text, sondern als Denkblase des danebensitzenden kleinen Jungen mitgeliefert bekom-men. Zeichnen kann Volker Seifen, warum tut er's hier nicht? Für PLOP-Leser ist das Buch auf jeden Fall interessant, als Beispiel für das gebundene Erstlingswerk eines Comiczeichners. Gut ausgestattet mit schönem Karton und weißem Papier ist es ein erfreuliches Produkt auf dem Comicmarkt, das zeigt, daß der Isensee Verlag, von Haus aus der maritimen Literatur verschrieben, auch ein Herz für Comiczeichner hat. kb





Jacques Tardi:Grabenkämpfe. 128 Seiten, dreifarbig, Hardcoveralbum, 19,80 Euro. Edition Moderne

Wie lange mußte ich auf diesen Band warten! Endlich veröffentlicht Edition Moderne Tardis bestes, im Original bereits 1993 erschienenes Album als bereits 26. lieferbares Buch in ihrem Verlag. In etlichen Ausstellungen war mir bereits das Artwork dieses Werkes aufgefallen, das wegen seiner düsteren Stimmung und rigorosem Gebrauch dunkler Rasterfolien sogar aus Tardis Lebenswerk positiv heraussticht. Es geht um Einzelschicksale von Grabenkämpfern des ersten Weltkrieges. Egal, auf welcher Seite sie standen, sie alle wurden um ihr Leben betrogen. 10 Millionen Soldaten starben in diesem Krieg, und diejenigen , die ihn überlebten, waren fürs Leben gezeichnet. Tardi erfasst diese Einzelschicksale anhand von 30 bis 40 Beispielen, stellvertretend für alle anderen. Manche nur auf 2 bis 3 Seiten, andere Geschichten sind länger. Ergänzt werden die gezeichneten Seiten durch Textpassagen. Tardi hat es sich mit diesem Band nicht leicht gemacht, sicher war es sein aufwendigster. Er hat Zeitzeugen interviewt, 3 Dutzend Filme und noch mehr Bücher genauestens studiert, um das Elend des Krieges historisch korrekt und vor allem ungeschont realistisch darstellen zu können. Was bleibt ist ein Werk, das schockiert und deprimiert, anklagt und bemitleidet, mahnt und in Frage stellt. Nützen wird es nichts, der nächste Krieg kommt so sicher wie das Amen in der Kirche, aber zumindest die Leser dieses Albums werden nicht sagen können, sie hätten nicht gewußt, was sie erwartet. Jo84



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 66
Besprechungen



Dipperz # 1. 32 Seiten, s/w mit Zusatzfarbe braun, Comicbookformat, 5 Euro. Verlag Schwarzer Turm, St.-Vitus-Straße 10, 36088 Hünfeld. www.schwarzerturm.de
 
Doktor Dipperz ist eine legendäre Figur aus dem Underground-Horrormagazin „Menschenblut“, ein durch-geknallter Chirurg mit allerdings begnadeten medizinischen Fähigkeiten - Spezialität: Amputationen. Schon zu Menschenblut-Zeiten hat der Doc mit seinen makabren Abenteuern schon zweimal ein ganzes Heft belegt. Jetzt soll er vollends zur Serienfigur veredelt werden. Autor Rochus Hahn hat zu diesem Zweck kräftig am Konzept gefeilt, aber die Entwicklung geht meiner Meinung nach in die falsche Richtung. Dipperz, der den Namen eines hessischen Rhöndorfs trägt, soll ernsthafter werden. Im Ersten Weltkrieg wirkt er als junger Sanitäter an der Westfront. Hahn und Zeichnerin Diana R. Sassé versuchen, den damals aufkommenden Stellungskrieg und die verheerende Wirkung moderner Waffen wie Maschinengewehre und Granaten möglichst realistisch zu schildern. Dipperz hat schließlich den fanatischen deutschen Befehlshaber unter dem Messer und überlegt, daß es für alle Beteiligten besser wäre, wenn er ihn durch einen gezielten Kunstfehler ins Jenseits befördern würde. Damit ist Dipperz nur noch ein Schatten seiner selbst. Die Geschichte ist nun plötzlich peinlich ernst gemeint, hat sogar sentimentale Beiklänge à la Dr. Stefan Frank. Dazu paßt der Zeichenstil von Diana. Bekanntlich beherrscht sie Uniformen und Pferde aus dem Effeff („Doudou der Poilu“). Für selbstironische Comics, zu denen „Dipperz“ bisher gehörte, würde sich ihr klarer, nur wenig düsterer Stil allerdings kaum eignen. In weiteren Ausgaben sollen andere Zeichner zum Zug kommen. Vorläufig wäre Dipperz-Fans aber eher zu empfehlen, gegebenenfalls ihre Menschenblut-Sammlung zu komplettieren. -aa
 
cOMIc # 47. 20 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
Bei Omi normalisiert sich die Lage nach der zwangsweisen Unterbrechung wieder. In der Ausgabe 47 hat es zwar nur zu 13 Seiten Illustrationen und Comics gereicht. Aber darunter ist immerhin ein Cartoon von Rudolph Perez („Zebra“). Ferner gibt es Beiträge von Bernd Teuber, Aaron Jordan, Ulrich Magin und Anja & Joy. Bei aller Kürze sehr informativ geraten ist Gerds Bericht von einem mir bislang unbekannten Comicfestival im belgischen Andenne. Man vermißt also nichts in diesem Heft. Band 48 hat dann wieder den gewohnten Umfang mit zwei bis drei weiteren Zeichnern. Vorgestellt wird hier in einem Artikel der wenig bekannte belgische Zeichner Georges van Linthout, von dem in Deutschland bisher nur wenig erschienen ist. Es läuft also wieder rund bei Gerds Fanzineproduktion, und man kann sich wohl schon ein bißchen auf die Nummer 50 freuen. -aa
 
Team Gudmundson: Animal Electrix. 20 Seiten, s/w mit blau weißem Umschlag, DIN A 5, 1 Euro.  Oliver Ferreira, Blonweg 21, 22111 Hamburg
 
Hinter dem Team Gudmundson ver-bergen sich René Roggmann und Oliver Ferreira, die hier Comics und Cartoons von und mit Tieren publizieren. Die Zeichenstile der beiden sehen sich teilweise zum Verwechseln ähnlich, deshalb ist es schwer zu sagen, wer was gezeichnet hat. Auch vom Humor her ist es ähnlich. Wer Oliver Ferreiras zahlreiche Fanzinearbeiten kennt, weiß, daß er auf seine Kosten kommen wird, auch wenn die Zeich-nungen absichtlich recht simpel gehalten sind. Jo84
 
Jungs lesen Milbrandt. 36 Seiten, s/w mit handcoloriertem Cover, DIN A 5, 2 Euro. Oliver Ferreira, Blonweg 21, 22111 Hamburg)
 
Auch hinter diesem Bändchen um den netten Öko-Kiffer Milbrandt stecken Olli Ferreira und René Roggmann. Dieser stellt fest, daß ischi ein ganz schöner Penner geworden ist. Aber Stefan ist noch schlimmer. Echt runtergekommen, wie Milbrandt so sein Loch heizt. Dafür ist ihm Musik wichtig. Die teilweise seperat, teilweise zusammen erstellten Comics beziehen ihre Komik aus den Assoziationen, die die Leser so haben, denn irgendwie kennt jeder Typen wie Milbrandt. Jo84
 
Filmriß # 4 (Oktober 2002). 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 3,50 Euro. ICOM, Danneckerstraße 12, 70182 Stuttgart und Gringo Comics, c/o Holger Bommer, Roßbergstraße 3,  73734 Esslingen
 
Wie es mit dem ICOM-Magazin weitergeht, bleibt unsicher. Gerüchteweise ist zu hören, die Macher zögen bereits eine Einstellung in Betracht. Jedenfalls ist wohl die optimale Veröffentlichungsform noch nicht gefunden. „Filmriß“, einst ein Fanzine des Esslingers Holger Bommer, soll nun Können und Vielfalt der rund 300 ICOM-Mitglieder präsentieren und für sie werben. Das Heft erscheint allerdings selten, hat einen begrenzten Umfang und entfaltet damit keine zu-friedenstellende Außenwirkung. Die Verbreitung in Comicläden läßt zu wünschen übrig. Die Produktion mit Farbcover und gutem Papier scheint aber recht teuer zu sein. Was den Inhalt betrifft, gibt es mitunter Klagen über zu wenige Zusendungen. Es werden Überlegungen angestellt, Themenhefte zu organisieren, aber nur ein kleiner Teil der Zeichner produziert eigens für dieses Magazin. Andere klagen, daß sie nicht einmal benachrichtigt werden, was aus ihren Einsendungen geworden ist. Abgesehen von diesen Grundsatzproblemen ist die vorliegende Ausgabe ganz ordentlich geworden. Martin Freis „Superbabe“ hat zweifellos Zugpferd-Qualitäten. Ein guter Gagschreiber würde allerdings nicht schaden. Letzteres gilt auch für Boris Schimanskis Stripreihe „Fogwood“. Peter Butschkow als recht populäres ICOM-Mitglied liefert wieder einen Cartoon ab. Außerdem vertreten sind Rautie, Bernd Mazanec und Roland Strittmatter, Maikel Das, Ari Plikat, L. Ghepetto sowie Holger Bommer und Burkhard Ihme. -aa
 
Kreativo # 41 (Dezember 2002). 72 Seiten, s/w mit Farbumschlag, DIN A 5, 1,50 Euro. Kreativo-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
 
Mit Farbcover und Katalogumfang feiert Birke das zehnjährige Bestehen ihres eigenwilligen Fanzines. Am Beginn, Ende 1992, standen drei Freundinnen. Die Idee entstand, wie so oft, in einer Kneipe auf einem Bierdeckel. Von den drei Frauen verlegte sich die eine bald aufs Basteln, und die zweite gründete eine Familie, während Birke trotz immer wiederkehrender gesundheitlicher und beruflicher Probleme das Projekt seitdem mit bewundernswerter Konsequenz durchzieht. Ohne Ausfälle oder Durchhänger hat sie jedes Jahr vier Ausgaben auf die Beine gestellt. Antrieb war ursprünglich, wie sie in einem Rückblick gesteht, daß in der Heimatzeitung Artikel von ihr bis zur Unkenntlichkeit entstellt wurden. In ihrem eigenen Magazin konnte ihr in ihre Texte niemand hineinredigieren. Kreativo! war aber nie eine Plattform zur Selbstdarstellung der Herausgeberin. Ähnlich wie Heike Anacker wurde sie vielmehr zur großen Anregerin einer vielköpfigen Mitarbeiterschar. Aus dem eingesandten Material scheint sie zwar durchaus nach eigenen Vorlieben auszuwählen, aber was dann im Heft präsentiert wird, folgt keinem erkennbaren Konzept. Dieses Nicht-Konzept wird in der Jubiläums-Ausgabe auf die Spitze getrieben. Die Mehrzahl der Beiträge sind Nachdrucke aus Kreativo! # 1 bis 40, die aber nicht als solche gekennzeichnet sind. Stattdessen hat Birke, leicht zu übersehen, das Wörtchen „neu“ an den Rand der noch unveröffentlichten Comics, Texte oder Gedichte gekrakelt. Die Jubiläumsausgabe ist damit ein noch unübersichtlicheres Sammelsurium als die regulären Hefte, was die Fans freilich nicht daran hindert, sie zu genießen. Alles Gute für die nächsten 40 Ausgaben. -aa
 
Weissblechs weltbeste Comics # 8. Affengeile Dschungel-Luder. 32 Seiten, s/w mit Farbumschlag, Comicbookformat, 3 Euro. Weissblech Comics, An der Landstraße 5, 23758 Kükelühn
 
Auch Weißblech Comics gibt es jetzt seit zehn Jahren. Wenn man sich das aktuelle Heft, das 70ste, mit viel nacktem Busen, kruder Gewalt und allerhand Trash ansieht, würde man meinen, in den zehn Jahren Verlagsgeschichte habe sich nicht viel geändert, abgesehen davon daß sich in letzter Zeit öfter mal Könner wie Wittek, Eckart Breitschuh oder Rolf Nölte in den Heften die Ehre geben. Hier inkt zum Beispiel Wittek eine Geschichte von der Barbarin Kala und ihrem Reit-Dino Tyr. Aber weit gefehlt. In seinem Rückblick auf das vergangene Jahrzehnt berichtet Heraus-geber Levin Kurio von einem dramatischen Geschäftseinbruch in den Jahren 1999 und 2000. Angefangen hat alles mit einer alten Druckmaschine in einem Kuhstall und dem Verkauf von Saufcomics („Koma-Comics“) auf Partys. Bei der äußeren Form orientierte sich Levin an den alten US-Horrorcomics von EC. Ab 1996 gab’s Farbcover, und die selbst erlebten Storys wurden zum Selbstschutz zunehmend verfremdet. Zahlen nennt Levin nicht, aber die Verkäufe wurden mit der Zeit wohl sehr ansehnlich. 1999 meldete er ein Gewerbe an, wollte also von seinen Produkten leben, gleichzeitig verkauften sich die „Koma-Comics“ aber immer schlechter. Die genauen Gründe kennt Levin nicht. Die 90er Jahre waren vorbei, seine Comics nicht mehr „in“, die Kiffer vielleicht geiziger geworden, schreibt er. Der Verlag legte eine mehrmonatige Pause ein und verlegte sich dann auf Sonderhefte mit geringeren Auflagen. Mit den „Drogengeilen Teenieschlampen“ kam der Erfolg zurück. Inzwischen kann sich Weißblech sogar Nebenprojekte wie eine Miniserie mit der Weltraumheldin Bella Star und das Magazin „Schwarzweiß Comickult“ leisten. -aa
 
Sandy Fischer: Welti – die Wende und die Entdeckung des freien Lebens. 36 Seiten, s/w, Hardcoveralbum, 9,99 Euro. Sandy Fischer, Kurt -Schuhmacher-Straße 21, 04105 Leipzig
 
Wieder gibt es einen neuen Selbstverlag, der mit einer neuen Figur versucht, ambitionierte Texte in Comicform zu vermitteln. Welti heißt der kleine Kerl, der, mit menschlichem Körper und einer Weltkugel als Kopf, für Frieden, Freiheit und Brüderlichkeit stehen soll. Dagegen ist ja erst einmal nichts zu sagen. Nur wird Welti leider den hochgesteckten Zielen seiner Erfinderin Sandy Fischer zumindest in diesem Band in keinster Weise gerecht. Auf der Rückseite des Bandes heißt es: „Die Geschichte des Comicbandes erzählt auf satirische Weise Welti`s Traum über den Untergang der illusionären Staatsform in Deutschland. Dabei erfährt Welti, wie während des Umwandlungsprozesses bewährte Dinge über Nacht verschwinden und von der unterlaufenen Anarchie in seiner Heimat." Leider konnte ich beim Lesen des Bandes diese Thematik nicht entdecken. Welti verliert zwar seine Arbeitsstelle und läuft durch die Gegend, die platten Texte haben mit der ambitionierten Thematik aber wenig zu tun. Das ist um so bedauerlicher, weil der Band eigentlich nicht an zeichnerischen Mängeln krankt, sondern eher am Layout. Der Band hat einen festen Einband und gute Bindung, aber schon auf dem Cover springen einem fürchterliche Farben entgegen. Die einzelnen Panels scheinen in völlig verschiedenen Formaten gezeichnet und dann dilettantisch in verschiedenen Stufen verkleinert zu sein, damit sie irgendwie auf eine Seite passen. Manche Bilder sehen deshalb ganz gut aus, andere direkt daneben sind viel zu großflächig. Satte Schwarztöne wechseln sich ab mit schlecht gescannten, grau wirkenden Bildern. In alle Seiten wurde ein grauenerregendes, 4 mm hohes Maschinenlettering geklatscht. Die geballten Texte erinnern deshalb auch mehr an ein Schwarzweiß-Bilderbuch für Kinder. Am Ende wacht Welti auf und hat alles nur geträumt. Schade, kann man da nur sagen. Die Produktion des Bandes hat Sandy sicher eine ganze Menge Geld gekostet. Aber wie ich‘s auch drehe und wende, ich kann den Band nicht zum Kauf empfehlen. Jo84
 
Chnusper Comics # 5. 52 Seiten, s/w, DIN A 5, 2,10 Euro. Oliver Gfeller, Bohrerhofstraße 10, CH – 4123 Allschwil. oli-gfeller@gmx.ch
 
An dem Radiosender DRS 3 mußte sich Oliver Gfeller unbedingt nochmal abreagieren - explizit in einem Artikel über die Reform des Formats und dann noch einmal hintergründig in der getürkten Lebensbeichte eines Schweizer Rockstars. Aber da das Heft insgesamt deutlich an Umfang zugelegt hat, fällt das nicht negativ auf. Um den ziemlich musiklastigen Text-Mit-telteil gruppieren sich Comics von Teresa Camara Pestana, Claudio Parentela, Wittek (Vorsicht - ein dänischer Comic!), Horst Jäger und dem Herausgeber. Eine Information für Preisausschreiben-Fans: Oliver sucht beste und schlechteste Comics, Platten, Filme, Konzerte und so weiter - jeder Einsender erhält eine colorierte Originalzeichnung. Und eine für potentielle Mitarbeiter: Die nächste Ausgabe soll ausschließlich Comics ohne Worte bringen (ob dann die Artikel und Rezensionen wohl auch ohne Worte sein werden?). Oliver hat mir übrigens zwei Ausgaben eines Giveaways namens "Nachtplan" aus Basel mitgeschickt, in denen sich neben einem Veranstaltungskalender, Redaktionellem und Reklame ziemlich viele Illustrationen und Comics finden. -aa
 
Geschrammel. 24 Seiten, s/w mit Farbumschlag, DIN A 5, 1,50 Euro. Jens Natter, Godfried-Bueren-Straße 95, 26723 Emden
 
Aus Beiträgen für verschiedene Punk-Fanzines hat Jens Natter dieses Heft zusammengestellt. Alle Cartoons und Kurzcomics nehmen die Rock- und Popmusikszene aufs Korn. Meist geht es um den Widerspruch zwischen Image und wirklichem Denken, Verhalten oder auch nur Aussehen der Stars. Auf bestimmte Persönlichkeiten wird aber nicht angespielt. Jens will diese Thematik in einem zweiten Band fortsetzen und würde darin auch passende Arbeiten anderer Zeichner aufnehmen. -aa
 
Magazine # 6. 16 Seiten, s/w, DIN A 5, 1,50 Euro. Andy Konky Kru, P.O. Box 8892, London SW 15, Great Britain
 
Im vorliegenden Heft geht es um Andys Eindrücke vom „Heftich“-Festival in Hamburg und von der Frankfurter Buchmesse. Wie beim letzten Mal (siehe Beilage zu PLOP # 64) hat er seine äußerst aufwendigen Skizzen mit handschriftlichen Anmerkungen versehen, die über die Momentaufnahme hinaus etwas von seinen Erlebnissen während der Veranstaltungen erzählen. Diesmal allerdings auf Englisch, weil sich Andy im Moment wieder in England aufhält. –aa
 
Shtumm # 2. 32 Seiten, s/w, DIN A 5. Andy Konky Kru, P.O. Box 8892, London SW 15, Great Britain
 
Andy hat wieder eine Menge skurriler Ohne-Worte-Comics zusammengetragen - eine liebenswerte Sammlung wunderlicher Ideen und skurriler Abläufe. Der alte Bücherstöberer und Kulturforscher hat auch wieder zwei Comic-Dinosaurier ausgegraben. Thomas Theodor Heine war Anfang des 20. Jahrhunderts „Simplicissimus“-Mitarbeiter. A. B. Frost dürfte aus der gleichen Zeit stammen, ist mir aber nicht näher bekannt. Ansonsten sind in dem Heft außer dem Herausgeber unter anderem Peter Lubach, Rainer Baldermann, Thomas Ott, Wittek und Joel Naber vertreten. Und Lewis Trondheim präsentiert einen Onepager mit 60 Panels. -aa
 
Gunnar Saeckler: Das Ende der Unschuld (September 2002). 16 Seiten, s/w mit rotem Umschlag, 1,50 Euro. Edition Décapsuleur, Gunnar Saeckler, Birkenweg 60, 23611 Bad Schwartau
 
Die Story ist eigentlich nicht so spektakulär: Der Protagonist prallt mit einem Flüchtenden zusammen, nimmt das runtergefallene Messer an sich, wird von da an von der Polizei als Mörder gejagt und am Ende erschossen. Interessant wird sie durch die Kulissen. Gunnar Saeckler läßt sie vor einer aufwendig ausgearbeiteten Stadtlandschaft spielen, die ihr eine zusätzliche dramatische Dimension verleiht. Es ist eine sehr expressionistische Stadt mit wuchtigen Baukörpern und tiefschwarzen Fensterfluchten. Fast erinnert sie an das Lübeck in F. W. Murnaus Stummfilmklassiker „Nosferatu“. Das Heft ist nicht besonders gut kopiert: Schwarz ist zu Dunkelgrau, Weiß zu Hellgrau geworden. Aber auch das paßt zur Stimmung des Comics. In diesem Rahmen kann die Geschichte ja nur schlecht ausgehen. -aa
 
Classics # 3 (September 2002). 12 Seiten, s/w mit grünem Umschlag, DIN A 5. Heina Salamanda Fischer, Barmbekerstraße 74 (Souterrain), 22303 Hamburg
 
Trotz des schmalen Umfangs ist „Classics“ ein Comicmagazin. Der Herausgeber bestreitet zwar den Inhalt mit seinem Held „Alien Massaker Man“ (der Name ist Programm) fast allein, aber fremde Beiträge sind durchaus willkommen. Als Lückenfüller dienen vorerst drei Cartoons eines gewissen FF - möglicherweise noch ein Fischer, denn die Zeichenstile (beide nicht unbegabt) ähneln einander ziemlich. Dem Projekt würde ein wenig Austausch mit der Szene bestimmt guttun. -aa
 
Absolut negativ # 1. 28 Seiten, s/w mit rotem Umschlag, 10,5 mal 10 Zentimeter. Pottzblitz Entertainment Groupè, Patrick Schmitz, Helmstedter Straße 142, 38102 Braunschweig. pottzblitz@gmx.de
 
Dieses Heft, das ich erstmal als eine Art Demoversion erhalten habe und für dessen Druck Patrick Schmitz noch Geld braucht, bringt eine Variante der Geschichte, mit der dieses PLOP-Heft eingeleitet wurde. Patrick läßt hier einen Mann sich beim Wachsen in seiner Box allmählich kringeln. Das Ende ist das gleiche. Pro Seite gibt es ein Bild. Künftig sollen auch Gastzeichner Comics in diesem Format beisteuern können – unter vier Bedingungen: Kein Happy End, keine Funnies, gleiches Format und zirka 24 Seiten/Bilder oder weniger. Wie er die Hefte verbreiten will, hat Patrick nicht mitgeteilt. Interessenten sollten am besten bei ihm nachfragen. -aa
 
QI # 58 (September/Oktober 2002). 24 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes 168, Brasopolis MG 37530-000, Brasilien
 
Diesmal leider keine Zusendungen aus Portugal. Nur dieses brasilianische Magazin erreicht mich regelmäßig und zuverlässig, obwohl ich nicht im selben Turnus ein PLOP zurücksende. In diesem Heft wird auch wieder das Cover meiner vorigen Ausgabe abgebildet. Allerdings hat sich noch kein Brasilianer zu einer Bestellung hinreißen lassen. Umgekehrt kann ich das natürlich auch nicht empfehlen. Denn der Durchschnittsleser kann in QI weder den Comic im vorderen Teil noch die Rezensionen hinten verstehen. Aber der Comic wirkt interessant und ist in einem guten Independent-Stil gezeichnet, und die Besprechungen sind reichhaltig, und wo kann man schon sonst etwas über brasilianische Comicfanzines erfahren? -aa
 
Xoomic # 4. 84 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5 Euro. Frank Kemter-Verlag, Nürnberger Straße 111 A, 90762 Fürth, www.xoomic.de
 
Endlich hat das Sekundärmagazin einen angemessenen Umfang erhalten. Das Verhältnis von Rezensionen zum übrigen Heft erscheint nicht mehr ungleichgewichtig. Der Leser bekommt jetzt eine geballte Menge an Informationen, wenn er zu Xoomic greift. Herausgeber Frank Kemter berichtet im Vorwort, die Verkäufe bewegten sich im Plan. Erschreckend ist, dass nur die drei Umschlagseiten neben dem Cover als Anzeigen verkauft werden konnten. Bekanntlich musste kürzlich HIT-Comics wegen Anzeigenmangels die Segel streichen. Frank Kemter deutet an, dass sich sein Magazin nicht mehr ganz trägt, scheint aber dennoch durchhalten zu wollen. Inhaltlich hat die aktuelle Ausgabe einiges zu bieten: Art Spiegelman erläutert im Interview, warum er nach dem 11. September 2001 wieder zum Comiczeichnen zurückgekehrt ist. Carlsen-Comic-Chef Joachim Kaps erklärt, wie sich aus seiner Sicht der Comicmarkt entwickelt. In Porträts werden die Zeichner Horus („Schattenreich“), Hannes Binder („Die schwarzen Brüder“) und Hayao Miyazaki („Nausicaä“) vorgestellt. Sehr kompetent ist der Schwerpunkt über Comic-Kleinverlage geschrieben. Im Blickpunkt steht hier die aus Fanzinesicht mittlere Ebene mit Verlagen wie Salleck oder Hethke, aber auch die Freibeuter-Kooperative (Zwerchfell, Schwarzer Turm, Weissblech) ist berücksichtigt. Tendenzen und Zusammenhänge werden hier schlüssig aufbereitet. Dagegen fällt auf, daß der Newsteil Deutschland, geschrieben von Gerhard Schlegel, nur eine beliebige Aneinanderreihung von Kurzmeldungen von Barks bis Ruthe ist. Besser sieht das bei den Neuigkeiten aus USA und Frankreich/ Belgien aus. Ein Lob haben auch die Rezensionen verdient, denen anzumerken ist, daß sich die Verfasser mit den besprochenen Bänden intensiv auseinandergesetzt haben. –aa
 
Jamiri: Hypercyber. 48 Seiten, farbig, Softcoveralbum, 10 Euro. B & L bei Carlsen
 
Die „Berliner Morgenpost“ ist der Meinung, dass Jamiri „ein hell leuchtender Stern am Comic-Himmel" sei. „Vielleicht ist er zur Zeit sogar der Mond. Größer und heller als alle anderen", ergänzt die Osnabrücker Illustrierte. Dies ist wohl ein bißchen übertrieben, aber schlecht ist Jamiri beileibe nicht. Der besonders im Studentenmillieu beliebte Zeichner legt hier sein bereits fünftes Farbalbum vor, das, genau wie die Alben zuvor, strikt in Einseitengags gehalten ist. In diesen geht es ebenso konsequent fast ausschließlich um autobiographische Erlebnisse oder zumindest autobiographisch erlebte Denkanstöße, zu einem Gag vervollständigt. Beziehungen nehmen einen großen Raum ein, wobei Jamiri fest liiert ist, ebenso das Abhängen vor Computern oder in Bars. Hierbei legt Jamiri, der sich selbst als Kneipenwirt durchschlägt, deutlich von Fotovorlagen beeinflußtes Artwork vor, das je nach Zeitaufwand hyperrealistisch (als Beispiel seien hier die Cover genannt) oder ein bißchen schludrig wirkt. Oft werden auch per Rechner Zeichnungen vor einen Fotohintergrund kopiert, was wohl effektiv ist und nett aussieht, für einen Comiczeichner jedoch ein Fauxpas sein sollte. Jo84
 
Ralph Ruthe: Noch mehr Schweinskram. 48 Seiten, farbig, Softcoveralbum. 10 Euro. B & L bei Carlsen
 
Ralph Ruthe ist unbestritten einer der erfolgreichsten Zeichner der letzten Jahre, der schon im Alter von zwölf Jahren Comics zeichnete und so in relativ geringem Alter schon eine ungeheure Professionalität und Vielzahl an Veröffentlichungen vorweisen kann. Sein erstes eigenes Album „Schweinskram“ ist bereits fünf Jahre alt und war einer seiner größten Erfolge, an die er mit diesem Album anknüpfen will. Sicherlich wird ihm dies gelingen, obwohl Ralphi trotz aller vorhandener Qualität auch ein Blender ist, ein Seitenschinder, der sich zeichnerisch nur aufs wesentliche beschränkt und so imstande ist, eine Seite in allerkürzester Zeit runterzureißen und ein Album in Rekordzeit fertig zu haben. Leider hat man diese Alben dann auch in Rekordzeit durchgelesen, denn Ralph baut zwar manchmal kleine Gags in den Hintergrund ein, hält sich aber ansonsten weder großartig mit Hintergrundzeichnungen oder längeren Textpassagen auf. Das ist schade, denn oft wünscht sich das Auge, auch einmal auf einem schönen Hintergrund verweilen zu können, oder man vermißt eventuell eingestreute etwas anspruchsvollere oder nachdenklich machende Gags. Mit solchen Intentionen ist man hier an der falschen Adresse: Ruthe ist ein Meister des schnellen Humors, der manchmal schwarz angehaucht ist, im großen und ganzen aber eher belanglos und keinem weh tut. Hier bleibt er qualitativ unerreicht. Jo84
 
Disneys W.I.T.C.H. # 1 bis 3. Je 128 Seiten, durchgehend farbig, 14,6 cm x 20,7 cm, Softcover, 6,50 Euro. Egmont Ehapa
 
Dialog Vater – Tochter vor dem überschwemmten Badezimmer: "Wenn du davon wenigstens schrumpelige Haut bekommen würdest. Aber nein, die Dame kann den ganzen Nachmittag im Wasser weichen, als wenn nichts wäre. Irma, das Bad ist ein einziger See." - "Ich spreche nur in Anwesenheit meines Anwalts." - Türknallen - "Pffff! Das Leben mit 13 ist die Härte!" Mäkelnde Eltern, schicke Klamotten und coole Jungs sind nur ein Teil der The-men, mit denen sich die Freundinnen W. I. T. C. und H. in diesem Comic herumschlagen müssen. Allein das ist schon witzig umgesetzt, aber da kommt noch die böse Welt dazu, die von galaktischen Typen bevölkert wird, die durch gewisse Tore in unsere Welt eindringen können. Unsere Welt, das ist das Städtchen Heatherfield irgendwo in Ameuropa, man fühlt sich gleich zu Hause. Dritter Handlungsort ist ein Jen-seits, in dem kahlköpfige Mönche einfach so in der Luft sitzen und sich mit Katzenwesen darüber unterhalten, wie man denn jetzt die Tore bewachen könnte. Die fünf Mädchen sind dazu auserwählt worden und mit verschiedenen Fähigkeiten ausgestattet, die sie erst allmählich zu nutzen lernen. Die Powerkräfte betreffen Erde, Wasser, Luft, Feuer und Magie. Man hätte sich gewünscht, daß sie zu den Typen der Mädchen passen, also, daß die bodenständige Irma die Erde, die nixenhafte Cornelia das Wasser beherrscht, dem ist nicht so, Chance verpaßt. Einsteiger in die Serie müssen wissen, daß der Comic W.I.T.C.H. im Juni 2001 als Heftchenserie startete, zunächst monatlich mit einer Episode, dazu textliches Beiwerk für die Teens. Diese Hefte sind mit 17 x 26 cm deutlich größer als die hier besprochenen Sammelbände. Allerdings verschwinden die Einzelhefte Monat für Monat vom Markt, und der Neueinsteiger hat das Bedürfnis, auch den Anfang kennenzulernen. So entstanden aus den Heftchen-Episoden 1 bis 4 der Band 1 "Halloween", aus 5 bis 8 "Die andere Dimension" und aus 9 bis 12 Band 3 "Elyons Geheimnis". Die Bände sind im Format wie PLOP - mit demselben Nachteil der kleinen Schrift in manchen Sprechblasen. Auch die schö-nen Bilder auf stabilem Hochglanzpapier leiden unter der Verkleinerung. Aber das ist wohl eine Frage des Preises. An der Bindung wurde auch gespart: Klappt man das Buch weit auf, dann knackt es in der Mitte verdächtig, als würde gleich alles aus dem Leim gehen. Der Comic stammt aus der Feder von zwei Italienern und wurde von Disney Enterprises produziert. Sabine Schirmer übersetzte genial ins Deutsche. Die fünf Mädchen verkörpern verschiedene Herkunftsgebiete, man stelle sich eine Südeuropäerin, Mitteleuropäerin, Skandinavierin, Chinesin und Südamerikanerin vor. Obwohl die fünf Gören ein Team sind, kriegen sie sich öfters in die Haare, was sehr echt klingt. Gut gezeichnet sind auch die Eltern, denen man sofort ansieht, zu welchem Kind sie gehören. Die zahnlose chinesische Großmutter gleicht in den Gesichtszügen einer Löwin. Bemerkenswert auch eine dickliche Mathelehrerin, die sich in ein geschupptes Reptil verwandelt, dem man den ehemaligen Frauenkörper noch in Details ansieht – wunderbar gemacht. Wenn sich die 13jährigen Mädchen in geflügelte Elfenwesen verwandeln, nunmehr nur noch knapp bekleidet in Bustiers und Leggins, dann ploppt schon mal der Busen auf und die Girls sehen drei Jahre älter aus. Graphisch gekonnt gezeichnet sind auch die Hintergründe, schöne Blickwinkel von oben gibt es, auch flattert Laub durchs Bild, Häuser, Burgen und Landschaften sind mit Liebe zum Detail gezeichnet, und die knospende Erotik der Jungdamen sowieso. Man kann ja mal am Kiosk ein Heft erwerben. Allerdings wechseln sich in der aktuellen Produktion die Zeichner ab, so daß nicht jede Ausgabe die gleiche Qualität aufweist. -kb
 
Helge Arnold / Christopher Tauber: Interview. Popcomics. 132 Seiten, teilweise farbig, Comicbookformat, broschiert, 12,90 Euro. Ventil Verlag
 
Manchmal fällt die zugegeben etwas größenwahnsinnige Einteilung der Besprechungen in „innerhalb“ oder „außerhalb“ der Fanszene etwas schwer. Auch bei dem vorliegenden Band hatte ich Mühe. Co-Autor Christopher Tauber ist Herausgeber des hier schon mehrfach besprochenen Fanzines „Paranoid“. Der Ventil-Verlag ist aus einem Fanzine-Mailorder hervorgegangen, inzwischen hauptsächlich auf Bücher über Popmusik und Popkultur spezialisiert. Als ich kürzlich in Berlin war und das Interview-Buch in fast jeder Buchhandlung fand, war klar, daß die Rezension doch eher hierher gehört. Die Autoren beschäftigen sich mit 21 Bands wie zum Beispiel Stereo Total, The White Stripes oder Ash, die ich dem Independent-Bereich zuordnen würde, wenn diese Klassifizierung nicht ihre Berechtigung verloren hätte. Nicht immer handelt es sich wirklich um Interviews. Teilweise wird die Bandgeschichte erzählt, manchmal werden Liedtexte illustriert. Bei einigen Bands wird die schwierige Kontaktaufnahme thematisiert. Bei Lisa Germano blieb es gar bei einem e-Mail-Kontakt, bei dem sie aber letztlich nur die Erlaubnis erteilte, einen Songtext von ihr zu illustrieren. In sechs Fällen kam überhaupt kein Interview zustande. Allen Beiträgen ist die Sympathie für die jeweilige Band deutlich anzumerken, wobei die beiden Autoren trotzdem meist ironische, mitunter sogar selbstironische Distanz wahren. Wer sich in der Musikszene jenseits von Madonna oder Eminem nicht so gut auskennt, dem wird jeweils mit einer Discographie und einigen Bandangaben auf die Sprünge geholfen. –aa
 
Alltagsspionage. Comicreportagen aus Berlin. 132 Seiten, s/w mit Zusatzfarbe Rot auf dem Umschlag, Comicbookformat, broschiert. Monogatari, Danzigerstraße 19, 10435 Berlin
 
Weniger verbreitet als das Comic-Interview ist die Comic-Reportage. Deswegen möchte ich mich mit diesem Band einmal etwas näher auseinandersetzen, obwohl ich ihn antiquarisch in Berlin gekauft habe. Ulli Lust gibt mit seiner Schilderung eines Berliner Einkaufszentrums gleich zu Beginn ein gutes Beispiel für eine gelungene Reportage. Er beobachtet genau in der Konsummaschine, stößt dabei auf das Offensichtliche (Werbung, Einkäufer in unterschiedlichen Situationen), beobachtet aber auch Dinge, auf die man sonst kaum achtet, zum Beispiel einsame Gäste in den Kneipen des Einkaufszentrums. Mawil am Ende des Bandes, der von den Tücken der Wohnungssuche in Berlin berichtet, verarbeitet seine Erlebnisse dagegen satirisch und nimmt sich als Stammgast im Hotel Mama kräftig selbst auf die Schippe. Es wird klar: Die Comic-Reportage fehlt als Genre deshalb, weil Comics häufig ohnehin Reportagen sind. Immer wenn Comiczeichner die Welt, wie sie ist oder wie sie sie sehen, in ihre Werke einfließen lassen, könnte man sie auch als Reportagen klassifizieren. Wobei der Comicreportage vielfältige Stilmittel zur Verfügung stehen. Kai Pfeiffer zeigt Berliner Gegenden überwiegend durch Bilder. Tim Dinter beschreibt eine Nacht in verschiedenen Discos und Kneipen, Jens Harder in einem Restaurant. Beide setzten dabei, ähnlich wie Ulli Lust, ihr Bild aus vielen kleinen genauen Beobachtungen und charakteristischen Szenen zusammen. Kathi Käppel bringt die Tretmühle Neue Medien vor allem durch ihre technokratischen Zeichnungen zum Ausdruck. Statt unter dem Label "Comicreportagen" zu laufen, könnte die Anthologie auch einfach ein Themen-Band (Thema Berlin) sein. Sollte der Begriff "Comicreportagen" dabei helfen, daß Comics allgemein mehr ernst genommen würden, hätte ich aber dagegen nichts einzuwenden. -aa
 
Comic Jahrbuch 2003. 144 Seiten, teilweise farbig, DIN A 4, broschiert, 15,25 Euro. ICOM, im Vertrieb des imMEDIAtely Medienversand, Werther
 
Das dritte vom ICOM verantwortete Jahrbuch ist endlich in dem Jahr angekommen, in dem es hauptsächlich verkauft wird. Man hat deshalb das Jahr 2002 ausgelassen, obwohl das Werk seit 2000/2001 jetzt durchgängig beim ICOM erscheint. Hoffentlich bleibt diese Publikation noch lange bei diesem Verband, denn in diesem Jahr läßt sich an dem Band so richtig schön ablesen, was ein Comicverband mit ungefähr 300 Mitgliedern, davon etlichen, die von Comics doch einiges verstehen, damit stemmen kann. Ich kann hier nur ein paar Highlights herausgreifen. Zum Beispiel beleuchtet Martin Frenzel den Erlanger Comicsalon außerordentlich gründlich. Er interviewt dazu unter anderem Erlangens Oberbürgermeister, seinen Kulturreferenten und Kulturamtsleiter und den designierten Nachfolger von Festivalchef Karl Manfred Fischer. Heiner Lünstedt führt ein instruktives Gespräch mit dem Münchner Chef des Comicart-Magazins „Strapazin“, Herbert Meiler. Achim Schnurrer berichtet zwar ebenso parteiisch vom Ende des Alpha Verlags wie Ralf Palandt vom Projekt „Comicstadt München e. V.“, aber interessant sind diese Beiträge allemal. Auch ziemlich theoretische Texte über die spezifischen Ausdrucksmittel einer Zeichnung oder gar über „Stein und Fleisch“ im Comic haben in einem dicken Band wie diesem ihre Berechtigung – zur Not kann man sie ja überblättern. Es gibt auch richtige Durchhänger wie Burkhard Ihmes „Interview“ mit zwölf Comiczeichnerinnen – in Wirklichkeit hat er den Frauen parallel teilweise hirnrissige Fragen wie „Welche Rolle spielt das Geschlecht des Protagonisten für die Rezeption eines Comics?“ vorgelegt, und die sind darauf natürlich nicht immer eingestiegen. Gut und solide sind wie immer die Marktberichte, unter denen allerdings aus unerfindlichen Gründen ein Übersichtsartikel über Deutschland fehlt (stattdessen ein Interview mit Georg F. W. Tempel und eine Betrachtung über den Comicvertrieb). Die ausführlichen Interviews mit allen Gewinnern des ICOM Independent Comic Preises (34 Seiten) finde ich zwar nach wie vor gewöhnungsbedürftig, doch andererseits ist das nur ein unzureichender Ausgleich für die ärgerlich geringe Beachtung, die dieser Preisverleihung beim Comicsalon geschenkt wird. Ohne hier auf alle Beiträge eingegangen zu sein, möchte ich festhalten: Diesen Band sollte jeder Comicfan gelesen haben. –aa
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 67
Besprechungen



Frank Cho: University Freaks # 3. 32 Seiten, s/w, DIN A 4, 5 Euro. Amigo Grafik, Wilhelmstraße 9, 71679 Asperg, Fax: 07141/640034
 
Die Fans haben lange warten müssen. Nun liefert Gringo endlich die restlichen Abenteuer des Erpels Frank und seiner menschlichen Freundin Brandy. Herausgeber Andreas Mergenthaler zögerte deshalb, weil sich die ersten beiden Bände dieser hinreißenden Comicstrip-Serie offenbar schlechter verkauft haben als erhofft. (Die kann man also bei Gringo problemlos auch noch bekommen.) Infolgedessen kommt Band 3 jetzt auch nur als „Copyshop-Edition“ heraus, also quasi als echtes Fanzine. Wobei es Mergenthaler in erster Linie darum geht, risikolos mit kleiner Auflage starten zu können – bei Bedarf kann er dann immer noch nachdrucken. In diesem Heft erleben wir mit, wie Frank und Brandy zusammenziehen, alsbald nervös auf das Ergebnis eines Schwangerschaftstests warten und wie Frank ihr schließlich einen Heiratsantrag macht. Zudem spricht Schildkröte Sheldon ein klärendes Wort darüber, warum Zeichner Frank Cho immer so großbusige Frauen zeichnet: „Weil er es kann.“ Dem ist nichts hinzuzufügen. Leider hat Cho die Serie eingestellt und für den entschärften Nachfolger „Liberty Meadows“ (auf Deutsch bei Salleck) ausgeschlachtet. Weiteres „University Freaks“-Material gibt’s also leider nicht mehr.
 
Zebra # 16. 40 Seiten, s/w, DIN A 4, 3 Euro. Zebra, c/o Georg K. Berres, Giselherstr. 19, 50739 Köln, e-Mail: GoGer@web.de
 
Vielleicht war es den „Zebra“-Machern peinlich, daß sie in 20 Jahren nur ganze 16 Hefte zuwege gebracht haben (im letzten PLOP war irrtümlich von 17 Ausgaben die Rede). In diesem Jubiläumsheft kommt jedenfalls das Jubiläum nur ganz am Rande vor. Es würde auch kaum zur nonchalanten Art dieses Fanzines passen. Die Brüder Werner P. und Georg K. Berres, die – inclusive diverser Pseudonyme wie Bill Goger, Rudolph Perez und Ludwig Kreuzner – hinter dem Magazin stecken, verraten rückblickend lediglich, daß sie bereits 20 Jahre vorher für „Zebra“ geübt hätten. Tatsächlich stehen beide schon solide im sechsten Lebensjahrzehnt. Jubiläum hin oder her – wie in der Redaktionskonferenz geschildert, ist man ja schon froh, überhaupt wieder mal ein neues Heft in den Händen zu halten. Peter Schaaff, der dem Magazin zur Feier des Tages ein Relaunch mit „noch mehr Frauen in knappen Kostümen“ verpassen will, wird hochkant rausgeworfen. Die anderen Gastzeichner verhalten sich weniger unbotmäßig und erzählen nonchalant von einer Alien-Fahndung (Martin Frei), einer langweiligen Party (Oliver Ferreira) oder einem sensationellen Geburtstagsgeschenk (Volker Reiche). Außerdem vertreten: Hannes Neubauer und Nero Chim. Der Rest des Materials stammt von der bewährten „Zebra“-Stammcrew. Und dass die auf fremden Planeten eine ebenso gute Figur machen wie in der Reha-Klinik, überrascht ja wohl wirklich niemanden mehr.
 
Oliver Ferreira: Horni # 1 und 2. Je 92 Seiten, s/w auf farbigem Papier, DIN A 5, 8 Mark. Verlag Bete und Arbeite
 
Ich habe Oliver Ferreira als Zeichner von komplizierten Fantasyepen kennengelernt, die meist in detailliert gezeichneten gotischen Kathedralen spielten. Zwar wusste ich, dass es daneben auch schnell und flüchtig hingeworfene Comics von ihm gibt, die auch immer wieder mal in diversen Fanzines auftauchen. Mit den fast 200 Seiten „Horni“ wird aber erst deutlich, dass diese vemeintlichen Nebenarbeiten tatsächlich das Hauptwerk dieses eigenwilligen Künstlers darstellen. Die Onepager und kurzen Comics, die überwiegend Alltagserlebnisse verarbeiten und sich meist durch einen feinen Sarkasmus auszeichnen, stammen aus den Jahren 1994 bis 2001. In letzterem Jahr sind die beiden Bände auch bereits erschienen, daher noch mit einem DM-Preis ausgezeichnet. Informationen zu der Veröffentlichung gibt der Verlag leider nicht, so dass offen bleibt, ob hier sämtliche Werke – mit Ausnahme der Kathedralen-Epen – oder eine Auswahl veröffentlicht sind. Ich habe die beiden Bände von Wittek im Austausch gegen ein PLOP-Paket erhalten (siehe Leserbriefe). In der Sendung von Wittek waren noch etliche weitere interessante Fanzines aus der Hamburger Szene enthalten, von denen aber Jo84 bereits den Großteil besprochen haben dürfte. Ich werde das bis zur nächsten Ausgabe genauer nachprüfen und dann gegebenenfalls weitere hier noch nicht vorgestellte Bände rezensieren.
 
cOMIc # 49 und 50. 28, beziehungsweise 32  Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
51 Köpfe, gezeichnet von Wittek, zieren das Cover des 50. Hefts, wie um auszudrücken, dass es Gerd Bonau mit dem Jubiläum nicht so genau nimmt. Es ist jedenfalls davon nicht viel zu sehen. Der Herausgeber, der beinahe kurz vor der Nummer 50 schlapp gemacht hätte, lässt zur Feier des Tages lediglich vier Sonderseiten springen. Ansonsten unterscheidet sich das Heft nicht substantiell von der vorherigen Ausgabe. In dem einen Heft wird die italienische Fassung der Superheldenserie „Fantastic Four“ vorgestellt, in der anderen die italienischen „Defenders“ („I Difensori“).  Es sollte vielleicht erwähnt werden, dass Gerd sämtliche erschienenen Ausgaben aufzulisten pflegt – woher er die Daten hat, ist mir ein Rätsel. Die Comicbeiträge kommen teils von den „üblichen Verdächtigen“, Bernd Teuber, Ulrich Magin, Anja & Joy, Aaron Jordan, Moritz Stetter, Oliver Gfeller, neuerdings auch Armin Parr und Rudolph Perez. Aber in beiden Heften finden sich auch Überraschungsgäste, zum Beispiel der Südafrikaner Jesse Breytenbach oder Jan Prose. Ich schließe mich jedenfalls dem großfüßigen Vogel Noi gern an: „Auf die nächsten 50!“
 
Suckelborst. Gelassene Comics # 3. 28 Seiten, s/w mit gelbem Umschlag, DIN A 6, 1 Euro. Andreas Fecke, Garfelner Straße 41, 59558 Lippstadt
 
Ich habe mich bei Andreas Fecke sicherheitshalber nochmal erkundigt, aber es ist tatsächlich so, wie er es im Impressum angegeben hat. Den Onepager über eine Vogelmutter, die ihre Brut beherzt aus dem Nest kickt, damit das Kleine fliegen lernt, hat er aus einem alten PLOP-Heft nachgezeichnet. Das Orginal stammt von Jürgen Scheftlein, der vor etwa fünf Jahren ein paarmal in PLOP auftauchte. Das ist eine Technik, die ich so in Fanzines noch nicht gesehen habe (Jo84 hat öfters mit Bravour Proficomics nachgezeichnet). Könnte aber vielversprechend sein. Man stelle sich vor, Kim Schmidt würde Comics von Oliver Ferreira oder Rainer Baldermann Sachen von Andreas Fecke nachzeichnen. Die Genannten sind übrigens sämtlich in diesem Minicomic vertreten, freilich allesamt nicht nachgezeichnet. Ein schönes, kleines, liebevoll gemachtes Heftchen.
 
Kreativo # 42 (März 2003). 32 Seiten, s/w, DIN A 5, 1,50 Euro. Kreativo-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
 
Die Ausgabe hält manche Überraschung bereit, zum Beispiel eine wilde Fernseh-Parodie mit Comicfiguren von Jo Guhde und Leviathan in Love, wohl ein Frühwerk, aber schon mit gewohnter Akkuratesse gestaltet. Auch die Tennis-Parodie „Die Nase“ von Manfred Lafrentz scheint mir ein Frühwerk zu sein. Ungewöhnlich auch Hansi Heinrichs Foto-Comic, eine allgemein selten verwendete Spielart. Begabt die Zeichnerin Gabi Schwarz, die wie Sonja Roll erotische Frauen zeichnen kann. Von Herausgeberin Birke ist im Vorwort nur zu hören, daß sie von ihrer Umschulung zur Logopädin stark in Anspruch genommen ist. Dabei wollte sie uns doch noch weitere Eindrücke aus Siegen mitteilen. Immerhin – das nächste „Kreativo!“ kommt bestimmt (auch wieder pünktlich).
 
Chnusper Comics # 6. 32 Seiten, s/w, DIN A 5, 1,50 Euro. Oliver Gfeller, Bohrerhofstraße 10, CH – 4123 Allschwil. oli-gfeller@gmx.ch
 
Die bereits angekündigte Ausgabe „stummer“ Comics, wie sie Andy zu nennen pflegt. Vielleicht ähnelt ihr Status dem stummer Filme. Sie wirken „künstlerischer“, man beschäftigt sich gern mit ihnen, auch wenn man vielleicht Mühe hat, ihre Botschaft zu entschlüsseln, aber sie werden neben den „normalen“ Sprechblasencomics wohl immer eine Randexistenz führen. Dabei sind sie ein gutes Mittel zur internationalen Verständigung. Auch Oliver hat neben Wittek, Aaron Jordan und Moritz Stetter vor allem Ausländer im Heft: Teresa Camara Pestana und Aranha aus Portugal, Claudio Parentela aus Italien und Jesse Breytenbach aus Südafrika. Nur Andy, der sich um die stummen Comics besonders verdient gemacht hat, ist nicht vertreten.
 
10 ans – 10 comics. – Manchmal gleicht meine Rezensentenarbeit einer Rätselaufgabe, insbesondere wenn ich es mit ausländischen Comics zu tun habe. Was aber nicht ohne Reiz ist. Mitunter, wie zum Beispiel bei einem brasilianischen Lyrikband, den ich weiter unten vorstelle, sind meine Chancen minimal. Bei den französischen Undergroundcomix, um die es hier geht, sieht es zumindest geringfügig besser aus. Da ich so gut wie kein Französisch beherrsche, kann ich den Inhalt dieser Hefte auch nur sehr oberflächlich wiedergeben. Aber ein bißchen was konnte ich den Publikationen vom Verlag „Rock Hardi“ aus Clermont-Ferrand doch entnehmen. Zehn Hefte wurden mir zugesandt, alle in Ausstattung und Aufmachung völlig gleich: Alle 16 Seiten stark, mit Farbumschlag und innen schwarz/weiß. Jedes Heft stammt von einem anderen Künstler. In der Regel wird darin jeweils eine, meist recht skurrile Geschichte erzählt. „Rock Hardi“ selbst scheint ein Musik-Fanzine zu sein, aber neben der eigenwilligen kleinen Comic-Heftserie wird auch noch ein weiteres Comicmagazin namens „Le Martien“ angeboten, das auf jeweils 50 bis 80 Seiten den Schwarzweiß-Comic pflegt. Wer mehr wissen will, kann sich auch die Internetseite www.rockhardi.com ansehen.
 
P.L.G. # 37 (Winter 2002/03). 84 Seiten, teilweise farbig, DIN A 4, broschiert, 10 Euro. P.L.G., BP 94, 92123 Montrouge Cedex, France. www.ifrance.com/plg
 
PLG, ein mit großem Aufwand und professionellem Anspruch hergestelltes französisches Fanzine, erscheint mittlerweile nur noch jährlich. Schwerpunkte in diesem Heft sind Interviews mit den Zeichnern Daniel Clowes und Moebius. Im Fall des Amerikaners Clowes wird das Originalinterview auf Englisch mitdokumentiert, was mir als Französisch-Ignorant sehr entgegenkommt. Beim Moebius-Interview wirkt der Zeichner Daniel Goosens (in Deutschland fleißig in U-Comix abgedruckt) mit. Zudem sind im Heft etliche hochrangige Underground-Comics zu finden. Im Rezensionsteil findet sich übrigens auch PLOP erwähnt. Andy hat mir die Besprechung übersetzt: „In der Nummer 60, die sich aus gewohntem Material zusammensetzt (Amateurcomics, Besprechungen von Fanzines und Neuerscheinungen) ist ein kleines Extraheft namens 'Magazin' von Andy (man erinnert sich seiner früheren Fanzines) mit einer Reportage über die Comicfestivals in Haarlem und Erlangen, illustriert durch vor Ort gezeichnete Skizzen. Originell und gelungen.“ Ich denke mal, daß sich das Urteil am Ende doch auf das gesamte Heft bezieht und gebe das Kompliment gern zurück.
 
Lingua. Bulletin d’information de fanzines et revus indépendantes # 1. 8 Seiten, s/w, DIN A 5, 1 Euro. Lingua, 14, place Thérèse Léon Blum, 11100 Narbonne, France. Bocaprod@caramail.com
 
Ein neuer Versuch, aktuell erschienene internationale Fanzines aufzulisten, wobei die Redaktion mit acht Seiten natürlich nicht weit kommt. Immerhin ist das Magazin erfreulich wenig frankozentrisch: Eine Seite Frankreich, dann werden Belgien, Kroatien, Slowenien, Deutschland (mit zwei Ausgaben „Sinnlos-Co-mics“), Portugal, Spanien, sowie Kanada und Brasilien abgegrast. Jedes Fanzine wird mit Titelbild und ein paar Basisinformationen vorgestellt. Diese Form gefällt mir sehr gut. Am Ende wird auch noch auf weitere internationale Fanzinotheken verwiesen (wir kennen schon die aus Portugal und dem Baskenland).
 
Gambuzine # 14, 15 und 0. Je 32 Seiten, s/w auf gelbem Papier; DIN A 4. Gambuzine, Apartado 37, 7320-999 Castilo de Vide, Portugal
 
Daß Teresa gern mehrere Ausgaben ihres Fanzines auf einmal raushaut, hat Kostengründe, wie sie mir einmal geschrieben hat. Wahrscheinlich sinken aufgrund der höheren Auflage die Druckkosten, oder sie spart sich zumindest sonstige Mehrfachkosten. Warum sie aber nach der Nummer 15 nun eine Nullnummer herausbringt, ist mir nicht ganz klar. Das Magazin trägt nun den Untertitel „International Experience“ und der Text ist durchgängig englisch, aber am Konzept hat sich, soweit ich das erkennen kann, nichts geändert. Teresa macht sich weiter sehr um die internationale Vernetzung der Fanszene verdient. Die beiden regulären Ausgaben bringen viel Material von Wittek und Armin Parr, in dem neuen Heft sind unter anderem die Neuseeländer Steffan und Clayton, der Italiener Claudio Parentela sowie Matjaz Bertonceli aus Slowenien vertreten. Daß sie die Portugiesen mit anspruchsvollen Comics aus anderen Teilen der Welt vertraut machen möchte, wird ihr allerdings momentan überhaupt nicht gedankt. Mehr dazu unter „News & Service“.
 
Fake Zine # 1. 24 Seiten, s/w mit rosa Umschlag, DIN A 5. Teresa Camara Pestana, Apartado 37, 7320-999 Castilo de Vide, Portugal
 
Ein „Gambuzine“ im Kleinen, das Teresa zusammengestellt hat, allerdings offenbar in fremdem Auftrag – ich werde aus dem Impressum nicht ganz schlau. Neben vielen alten Bekannten (Horst Jäger, Matjaz Bertonceli, Jesse Breytenbach und natürlich Teresa) begegnet man hier Arbeiten des Finnen oder der Finnin Esa Holopainen. Bei jedem Werk ist am Rand eine Kontakt-adresse oder e-Mail-Adresse angegeben.
Erro (Februar 2003). 24 Seiten, s/w, DIN A 5. Rafael Adorjan, Caixa Postal 10990, Rio de Janeiro – RJ 22020-970, Brasilien
 
Brasilien ist diesmal hier recht ausgiebig vertreten. Während ich mich bei den unten folgenden Publikationen auf grundsätzlichere Ausführungen beschränken muß, weil ich der Sprache nicht mächtig bin, hat Rafael Adorjan vorsorglich eine englische Übersetzung seines gesamten Fanzines auf zwei dicht beschriebenen Seiten beigelegt. Ganz zugänglich ist mir das Magazin damit allerdings trotzdem nicht geworden, weil der Künstler eine sehr assoziative Collagetechnik verwendet. Nur die beiden Mittelseiten des Hefts hat er in konventioneller Weise gezeichnet. Die übrigen hat er überwiegend mit Zeitschriftenausschnitten, Tapetenmustern, Banknoten und fotokopierten Notizzetteln beklebt. Will er damit sagen, daß es im falschen Leben der Hochglanzillustrierten kein echtes gibt? Der Titel des Fanzines soll jedenfalls – nach seiner eigenen Aussage – an das englische Wort „Error“, also „Irrtum“, erinnern.
 
QI # 59 bis 61 (November 2002 bis März 2003). Je 20 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes 168, Brasopolis MG 37530-000, Brasilien
 
Bei QI gibt’s nicht viel Neues, außer daß das Heft weiter sehr periodisch (zweimonatlich) erscheint und Edgard Guimaraes mir auch immer noch jede neue Ausgabe zusendet. Wer die Hinweise in den vorangegangenen Ausgaben nicht gelesen hat, für den sei hier noch einmal vermerkt, daß QI zu etwa gleichen Teilen aus einem Fortsetzungscomic und einem ausführlichen Fanzineindex besteht.
 
Ivonete do Amaral Alves e Silva: Stella. Poesias – Fábulas. 44 Seiten, s/w, DIN A 5. Editora OPCAO, R. Espirito Santo 232/02, Porto Alegre (RS) 90010-370, Brasilien
 
Die Herausgeberin und alleinige Autorin dieses netten Magazins aus Porto Alegre hat mir gleich noch einen ausführlichen Brief beigelegt – allerdings auf Brasilianisch/Portugie-sisch. Ich habe ihr daraufhin auf Englisch geantwortet und ihr auch ein PLOP mitgeschickt, das sie natürlich garantiert ebensowenig lesen kann wie ich ihren Lyrikband. Seither ist Funkstille. Vielleicht braucht die Post über den großen Teich etwas länger, vielleicht liegt hier aber auch ein Fall tragischer Kommunikationsunfähigkeit vor, sollte die Dame Englisch nicht beherrschen. Auf dem Titelbild ihres Magazins ist sie vermutlich abgebildet, am linken Rand eines Stilleben-Ölschinkens mit viel Obst und einem großen Blumenbukett. Sie deutet mit einer eleganten Handbewegung auf das Bild und lächelt dazu etwas verlegen. Mal sehen, ob ich von ihr nochmal etwas höre.
 
Ox Fanzine # 50. 164 Seiten, s/w, DIN A 4, 4 Euro. Joachim Hiller, P.O. Box 102225, 42766 Haan
 
Noch ein Jubiläum. “Ox”, eigentlich ein Punk-Fanzine, das vor 15 Jahren gegründet wurde, ist ein Beispiel für ein Magazin, das über die Jahre hinweg beinahe den selbstgesteckten Rahmen verlassen hat. Allein die Tatsache, daß es nur vierteljährlich erscheint, weil die Stoffülle nicht anders zu bewältigen ist, macht deutlich, daß hier kein professionelles Team am Werk ist. Jedem Heft liegt eine Compilation-Platte, respektive CD bei. Die Auflage liegt laut Impressum bei 12 500. Das zeigt, daß das Musikbusiness doch ganz andere Möglichkeiten bietet als der Comicbereich. Man muß bei dieser beeindruckenden Auflage bedenken, daß wir uns mit Punk und Independent Rock in einer vergleichsweise kleinen Nische befinden. Der Fanzine-Status hilft den Leuten um Herausgeber Joachim Hiller, unbeeinflußt von Verkaufszwängen so über Musik zu schreiben, wie sie das für richtig halten. Das Magazin ist aber auch für uns, speziell für diejenigen unter uns, die keine Punk-Fans sind, interessant, weil hier unter anderem auch Comics besprochen werden und Peter Puck in jeder Ausgabe eine “Rudi”-Folge veröffentlicht.
 
Neue Kostenlos-Magazine (zur Verfügung gestellt vom ICOM):
 
Cosmix # 5. 24 Seiten, s/w, DIN A 4. Cosmix, c/o Frank Plein, Subbelrather Straße 253, 50823 Köln. www.cosmixkoeln.de
 
Comics & mehr # 41 (Frühjahr 2003). 32 Seiten, teilweise farbig, DIN A 4. MSW Medien Service, Linde 72 – 74, 42287 Wuppertal.
 
Comixene # 58 bis 60. Je 64 Seiten, teilweise farbig, DIN A 4, 5 Euro. Verlag Jurgeit, Krismann & Nobst
 
Martin Jurgeit scheint eine Vorliebe für das Recycling alter Titel zu haben. „Hit-Comics“ war einst in den 60er Jahren die Dachmarke, unter der der Aachener Bildschriftenverlag Marvel-Comics veröffentlichte. Bei ihm wurde daraus nun ein Superhelden-Sekundär-magazin. Jurgeits „Zack“ brachte das Koralle-Maga-zin mit nur geringfügigen konzeptionellen Veränderungen erneut an den Kiosk. Und jetzt die „Comixene“. Ich halte mich zwar mit 38 Jahren schon für ziemlich alt, aber im Gegensatz zum alten „Zack“ habe ich dieses Magazin nur noch am Rande wahrgenommen. Die erste Ausgabe, die ich mir bestellt habe, war die # 42 und damit die letzte. Danach habe ich dann erst mal eine Weile Hethkes „Sprechblase“ gelesen, bis ich dann schließlich auf das „Comic Forum“ aufmerksam wurde. 1994 bis 1996 hat Joachim Kaps schon einmal einen halbherzigen Versuch gestartet, die „Comixene“ wiederzubeleben, aber das nur nebenbei. Jurgeit geht da viel zielstrebiger vor und hat seit Februar bereits vier Hefte pünktlich im Monatsabstand herausgebracht. Sicher, die „Comixene“ hat einen legendären Ruf. Dennoch wundert es mich, daß man bewußt eng an das alte Konzept anschließt mit Original-Schriftzug, Original-Rubriken (teilweise) und den original gelben Rezensions- und Magazin-Seiten. Denn die alte „Comixene“ dürften heute doch nur noch wenige kennen. Sicher, die Macher mögen sich gedacht haben: Warum etwas ändern, das sich bewährt hat? Der Geist von Knigge und Becker läßt sich aber nicht imitieren, und die Zeiten haben sich auch sehr geändert. Die alte „Comixene“ konnte für ein unterschätztes und verkanntes Medium kämpfen. Heute sind Comics etabliert, aber in einer Nische, aus der sie wohl so schnell nicht herauskommen werden. Trotzdem begann die neue „Comixene“ vielversprechend. Im ersten Heft wurde gleich auf den ersten Seiten die gerade gelaufene Übernahme des Dino-Verlags durch Panini thematisiert. Chefredakteur Martin Jurgeit, der sich in dem Bereich sehr gut auskennt, kommentierte bei dieser Gelegenheit gleich weitere Verlagsübernahmen und den Weggang von Walter Moers von Eichborn. Daran schloß sich ein Überblick über die Neuerscheinungen des beginnenden Jahres an, der zwar auf fünf Seiten etwas ermüdend war, aber an Information nichts zu wünschen übrig und Linien der Verlagspolitik der einzelnen Häuser erkennen ließ. Ähnlich Analytisches folgte in den weiteren Ausgaben aber nicht mehr. In der zweiten Ausgabe, der # 59, leistete man sich stattdessen gleich einen Ausrutscher mit Peter Osterieds hochgejubelter „Daredevil“-Filmbesprechung. Die klingt wie aus dem Presseheft abgeschrieben – den Film konnte sich Osteried offenbar gar nicht ansehen. Titelthemen der beiden folgenden Hefte waren dann unveröffentlichte Spirou-Seiten und ein Überblick über Samurai-Comics. Um nicht falsch verstanden zu werden: Die Comixene ist kein schlechtes Sekundärmagazin, aber sie verfolgt nicht Marktentwicklungen. Die Mitarbeiter nehmen sich vielmehr nach Lust und Laune Themen vor oder schreiben gleich schwerpunktmäßig über ihre Lieblingscomics. Ein Interview mit Lewis Trondheim oder ein Porträt von Gerhard Seyfried lese ich schon ganz gern. Wird das aktuelle Geschehen aber nicht verfolgt, dann ist das Magazin nur ein Liebhaberprojekt. aa
 
Xoomic # 5. 52 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5 Euro. Frank Kemter-Verlag, Nürnberger Straße 111 A, 90762 Fürth, www.xoomic.de
 
Xoomic ist mit der aktuellen Ausgabe zwar wieder auf Normalmaß geschrumpft, aber es ist eine sehr ansprechende Ausgabe geworden. Die Interviews mit Baru („L’Autoroute du Soleil“) und Boris Kiselicki („The Cool Bros“) sind aufschlußreich und lassen die unterschiedlichen Persönlichkeiten der Zeichner durchscheinen. Daneben wird auf den 15jährigen Nachwuchszeichner Ferdinand Lutz hingewiesen, der seine Cartoons und Funnies ins Internet gestellt hat: www.flutz.de.vu Außerdem gibt es einen Angouleme-Bericht samt Schuiten-Kurzinterview und einen Beitrag zur Serie „Gesamtkunstwerk Comic“. Bei letzterem wird darüber nachgedacht, welche Konsequenzen es hat, daß Comics stärker als Bücher auf gute Druckqualität und das richtige Format angewiesen sind. News und Rezensionen sind so informativ und kritisch, wie man es sich von einem guten Sekundärmagazin wünscht. Alles in allem hält Xoomic einen sehr erfreulichen Qualitätsstandard. Nun ist dem Magazin der entsprechende wirtschaftliche Erfolg zu wünschen. aa
 
Alex MaCartney: Herr Hummel. 64 Seiten, farbig, DIN A 5 Querformat, Hardcover, 12 Euro. Edition Moderne
 
Alex MaCartney, 1963 geboren in Südengland und mittlerweile wohnhaft in Zürich, zeichnet seit 1986 Comics. Seine „Herr Hummel“-Strips erscheinen seit 1992 wöchentlich in der Tageszeitung „Zürich Express“. Nach Büchern in den Verlagen Zytglogge und Cartoon Pool ist vorliegender Debütband bei der Edition Moderne MaCartneys sechste Buchveröffentlichung. Herr Hummel bietet Humor des Alltags, der ein bißchen an die Strips von ©Tom erinnert. Streng in drei Bilder aufgeteilt, beziehen die Farbstrips ihre Komik vor allem durch die Macken der Hauptprotagonisten, die sich auf ein halbes Dutzend beschränken. Hierbei spielt Herr Hummels extravagantes Haustier, ein Gürteltier, eine größere Rolle. Aber köstlich ist auch Hummels Kumpel Poltermann, ein Grobian, der meint, mit Kraftmeierei jedes Problem lösen zu können, oder Hummels unfreundliche und zynische Arbeitskollegin. Alex‘ Humor tut niemandem weh und ist mitunter recht anbiedernd. Ich habe den Band trotzdem gerne gelesen, und so wird es allen anderen Käufern wohl auch gehen. Jo84
 
Mawil: Wir können ja Freunde bleiben. 68 Seiten, s/w mit Farbumschlag, 25,3 mal 19,3 Zentimeter, 12 Euro. Reprodukt
 
Mawil ist sicher die momentan auffälligste Erscheinung in der deutschen Comicszene. Nach der vorzüglichen „Strandsafari“ (siehe Besprechung in der vorigen Ausgabe) erzählt er in dem vorliegenden Band nun offenbar autobiografisch angehaucht von Kindheits- und Jugenderfahrungen mit Frauen. Die Geschichte ist Mawils Diplomarbeit an der Hochschule für Gestaltung, Berlin-Weißensee. Wie sie benotet worden ist, verrät er uns nicht, aber für ein so grafisch geschlossenes, inhaltlich aussagekräftiges Werk kann es eigentlich keine schlechte Zensur gegeben haben. Und dennoch hält der Band mit der „Strandsafari“ nicht ganz mit. Drei Episoden mit einer Rahmenhandlung: Mawil führt uns zurück in seine Kindheit, seine Teenagerzeit und die jüngere Vergangenheit während des Kunststudiums. Da erlebt er jeweils eine große Liebe. Sein Problem ist, daß er ein großer Schwärmer ist. Er beläßt es meist dabei, seiner Flamme hinterherzuträumen. Kommt es tatsächlich mal zur Begegnung, dann versteht er diese Chance nicht zu nutzen: „Wir haben dann echt noch versucht, Freunde zu werden. Wir war’n mal im Kino oder inna Kneipe. Aber worüber soll man sich groß unterhalten... man hat vielleicht garnich die selben Interessen... ein bisschen Smalltalk und so...“ Er hat Angst, den Zauber zu zerstören. Oder die Dame kann ihn sich zwar als Freund, aber durchaus nicht als Geliebten vorstellen. Man sollte diesem Mädchen vielleicht dankbar sein, denn wie könnte die Wirklichkeit je an die Träume vom vollkommenen Glück heranreichen? In der Rahmenhandlung wird Mawil von Kumpels in der Kneipe wieder aufgeheitert. Die hat er vermutlich als Sentimentalitätsbremse eingebaut. Das Buch rührt an, aber die Geschichten bleiben seltsam vage. Seine ersten beiden Freundinnen lernt man kaum kennen. Die Spanierin, in die er sich während eines Kunstprojekts in einem leerstehenden Plattenbau-Hochhaus am Rand Berlins verliebt, versucht er zu beschreiben. Aber ob sie tatsächlich eine andere Romanze laufen hat, während sie mit ihm Deutsch lernt, bleibt letztlich offen. Schön, die Episoden leben natürlich gerade davon, daß die Mädels für den Erzähler unerreichbar fern sind. Aber von einem Mann dieser Klasse hätte ich zumindest erwartet, daß er seinen autobiografischen Hintergrund etwas aufhellt, das eigenartige katholische Milieu oder das Leben im Ostberlin der Nachwendezeit. Die Geschichten spielen möglicherweise anfangs noch zu DDR-Zeiten, aber das kann man nur vermuten. Der Blick ist ganz auf den Protagonisten, seine Cliquen und die ersehnten Freundinnen verengt. Aber das sind Einwände gegen einen dennoch sehr guten Comic. Mawil und ich werden, sozusagen, trotzdem Freunde bleiben. -aa



\ No newline at end of file diff --git a/httpdocs/plop/plop_68.html b/httpdocs/plop/plop_68.html new file mode 100644 index 0000000..445d6e1 --- /dev/null +++ b/httpdocs/plop/plop_68.html @@ -0,0 +1 @@ +Plop Comics (Plop Online Comics, hier klicken)  
Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 68
Besprechungen



Envelope: Self. 40 Seiten, s/w mit Farbcover, über DIN A 5 quer, c/o Ulrich Wirtz, Bergheimer Str. 10, 50181 Bedburg
 
Nach fünf Jahren nahm sich Envelope bzw Ulrich Wirtz (siehe PLOP 67) die Zeit, einen Traum wahrzumachen und eine eigene, komplett selbst gezeichnete Comicgeschichte zu verlegen. In diesem Comic, von dem mir die Version 1.0 vom Frühjahr 2003 vorliegt, geht es um einen persönlichen Erneuerungsprozeß. Die Hauptfigur erlebt einen Tagtraum, in dem sie sich Schicht für Schicht von ihrer Persönlichkeit löst, begleitet von der Erscheinung archetypischer Zeichen. Am Ende steht eine völlig andere Sichtweise auf das Leben, weshalb die bisherigen Prioritäten über Bord geworfen werden. Ulrich hofft, daß er dem Leser, der sich die Mühe macht, den Comic etwas längere Zeit anzusehen, etwas Positives vermitteln kann. Sicherlich ist die Message, Leuten Mut zur Bewußtseinserweiterung zu machen, löblich. Leider setzt Ulrich Erklärungen oder Begründungen sehr sparsam ein. Die bildgewaltigen Visionen, von denen sich Ulrich reichlich an Op-Art-Effekten bediente, überkommen den Protagonisten nicht etwa nach Konsum von LSD (was ähnliche Wirkungen oder auch im Nachhinein veränderte Sichtweisen erklären würde), sondern "einfach so", und das ist, selbst wenn man sich den Comic gerne zu Herzen nehmen möchte, natürlich nicht leicht nachzumachen. Die wunderschön gezeichnete Schlüsselsequenz würde sicherlich jeden, der sie "live" erlebt, verändern. Leider stellt Envelope aber keine Alternativen zum bisherigen Leben vor, so daß nach der Verwandlung für Protagonist und Leser nur die Frage bleibt "Und was nun?“ Als Denkanstoß ist "Self" aber durchaus brauchbar. Jo84
 
Aaron Jordan: Noi. Abenteuer auf großem Fuß. 24 Seiten, s/w, DIN A 5, 1 Euro. Hörnderl Verlag, Aaron Jordan, Klauprechtstraße 35, 76137 Karlsruhe
 
Bescheiden, aber beharrlich tritt der seltsame Vogel Noi, eine Schöpfung des Karlsruhers Aaron Jordan, schon seit geraumer Zeit mit Onepagern in PLOP auf. Nun wurde der Pietmatz mit den furchterregend großen Füßen erstmals in ein größeres Abenteuer geschickt. Naja, die Dimensionen einer Heldensaga hat es noch nicht. Auf 20 Seiten reist Noi aber immerhin „quer durch die Rühreigalaxie“ zum Planeten Ovarium, um da eine ganz spezielle Mission zu erfüllen. Wie der eine oder andere schon ahnen dürfte, geht es um das Ausbrüten eines Eis, wozu Noi von einer außerirdischen Rasse gummiartiger Wesen genötigt wird. Bloß hat Noi als Vogelmann für diese Aufgabe denkbar schlechte Voraussetzungen... Aaron Jordan schafft es, auch im größeren Format den liebenswert-naiven Grundton seiner Noi-Comics exakt zu bewahren. Er ist ein völlig eigenständiger Künstler, der in seinem Phantasie-Universum ganz zuhause und in der Lage ist, alles zeichnerisch umzusetzen, was er sich nur vorstellen kann. Manchen mag die drollige Geschichte vielleicht ein bißchen zu niedlich sein, aber für Noi-Fans, von denen es unter den PLOP-Lesern ja nicht wenige gibt, ist das Heft ein Muß. -aa
 
Moritz Stetter: Grauzone # 1. 40 Seiten, s/w, DIN A 5, 1,50 Euro. Geniale Welt # 2. 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 2,90 Euro. Moritz Stetter, Stirnenweg 16, 70378 Stuttgart
 
Moritz Stetter ist gerade sehr produktiv. Die beiden Hefte erschienen in relativ kurzem Abstand, jeweils mit ausschließlich eigenem Material angefüllt. Es scheint, als ob er nun genau wüßte, was er sagen möchte. Sein Zeichenstil wirkt nun auch flüssig und ausgereift. Für mich paßt trotzdem beides nicht recht zusammen. Moritz versucht, mit Funnyfiguren moralische Probleme zu erörtern, und das kommt mir ein wenig vor wie Rehbraten mit Ketchup. Nun ist es natürlich jedem unbenommen, welche Botschaft er unters Volk bringen möchte, und – sofern es sich um einen Comic handelt – wie er den gestaltet. Aber wenn ich an das naheliegendste Beispiel eines Funnycomics denke, der ein ernstes Thema behandelt, nämlich „Maus“ von Art Spiegelman, so muß ich doch feststellen, daß seine Mäuse, Katzen und Schweine nichts mit Disneyfiguren zu tun haben. Es wäre unangemessen und würde die Aussagekraft seines Werks mindern. Bei Moritz geht es oft darum, wie die Jugend 1000 Jahre nach 1968 noch glaubhaft neue Wege gehen kann, ohne Rattenfängern oder der allgegenwärtigen Werbung auf den Leim zu kriechen. Er scheint den Verdacht zu hegen, daß das kaum noch möglich ist, und vielleicht ist das Auseinanderfallen seines grafischen und seines inhaltlichen Ausdrucks genau dafür ein Ausdruck. -aa
 
Baustrip # 1-8. Je 24 Seiten, s/w, 7,5 mal 21 Zentimeter (Piccolo). Edition Rostfraß, c/o Wittek, Schulweg 29, 20259 Hamburg
 
Die Hamburger Kreativclique um Wittek, Till Lenecke und Oliver Ferreira hat wieder zugeschlagen. Bereits seit Jahren läßt sich eine Ansammlung von Comiczeichnern bemerken, die sich um diese treibenden Kräfte schart und ständig wächst. Berüchtigt bei Hamburger Comiczeichnern sind die sogenannten „Baui-Feten“, benannt nach dem Kinderabenteuerspielplatz, auf dem Erzieher Till Lenecke arbeitet, und den er auch privat nutzen darf. Neben der Draußen-Atmosphäre bietet dieser auch ein Gebäude, das ideal als Kreativtreff ist. Eine Idee war schnell geboren: Ein komplettes Wochenende in netter Runde so konzentriert an einem Comic arbeiten, daß er fertig wird. Spaß gemacht hat es sicher, und auch wenn die Vorgabe nicht immer ganz so penibel eingehalten wurde und manche ein bißchen geschummelt haben, ist auch was dabei rumgekommen. Acht fertige Piccolos sind‘s geworden, von unterschiedlichen Autoren und natürlich unterschiedlicher Qualität. Wittek bietet mit Knattertonk eine äußerst spaßige Nick-Knatter-ton-Hommage (Heft 1), Haina suhlt sich im Schmerz der enttäuschten Liebe (2), Maikel Das seziert die Regeln eines 08/15-Science Fiction-Plots (3), Till Lenecke autobiographt sein Silvester 2002 in gewohnt guter Qualität (4), Rene Roggmann und Olli Ferreira schildern denselben Abend eher fiktional (5), Calle Claus/Wittek/Haina spinnen eine Story um einen Mann mit Blumentopf (6) und Fabian Stoltz schildert das unterschiedliche Silvester zweier Freundinnen (7). Etwas aus dem Rahmen fällt Roland Trosts Silvesterbeschreibung, da er sich gerade in Brüssel aufhielt und seine Beobachtungen in französischer Originalsprache festhielt, um so den Leser, egal ob mit Sprachkentnissen oder nicht, ebenfalls zum Beobachter zu machen. Ein interessantes Experiment war die Aktion allemal, und unter den geschaffenen Werken befindet sich auch kein Durchhänger. Jo84
 
cOMIc # 51. 28 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
Im neuen Heft wechseln sich Comics und Skizzenmaterial, letzteres überwiegend von der Hamburg-Connection um Wittek, offensichtlich auf irgendeinem Comicfestival entstanden, munter ab. Moritz Stetter wendet seinen seltsam moralischen Humor diesmal in zwei Comics auf den Zweiten Weltkrieg an. Vielleicht ist es auch eher so, daß er Funnyfiguren in tragischen Situationen einsetzt. Geistreich sind die Onepager von Jesse Breytenbach zu Beginn und von Ulrich Magin zum Schluß. Da Herausgeber Gerd Bonau sich diesmal mit zwei Seiten Rezensionen abarbeiten mußte, hat er seinen Artikel über „Spiderman“-Veröffentlichungen in Italien auf ein paar Zeilen beschränkt. Die Comicographie dürfte aber wie immer vollständig sein... -aa
 
Ein paar Anmerkungen zu Comics von Frank Günther, Aßmannshauser Straße 38, 28199 Bremen
 
Eine Kostprobe von Frank Günthers Comics findet Ihr in diesem Heft. Als er kürzlich per Internet auf PLOP aufmerksam wurde, hatte er, wie er schreibt, selbst schon nahezu 150 eigene Comichefte herausgegeben. Die Geschichte dazu hat er mir auch erzählt, und die ist ebenfalls bemerkenswert: Seine Hefte haben meist acht bis zwölf Seiten im Format DIN A 6. Auf die Titelseite pflegt er ein Farbfoto zu kleben. Das Ganze wird dann für einen Euro an einem Bremer Kiosk verkauft, „dessen Verkäufer (mein Kumpel) oft der Held der Geschichten war“, berichtet Frank. Der Großteil der Hefte trägt den Titel „CKV“, was „Cooler Kioskverkäufer“ bedeutet. Ein umfangreicheres Heft namens „Killing Joe“, das er mir mitgeschickt hat, beinhaltet eine Gangstergeschichte mit stoppelbärtigen Mäusen. Interessant sind die Titelfotos, vielleicht interessanter als die Comics selbst: Auf denen arrangiert Frank nämlich Szenen mit Knetfiguren. Die sind im Stil von Nick Parks Animationsfilmen („Wallace und Gromit“; „Chicken Run“) gestaltet und stehen ihnen jedenfalls nicht viel nach. Manchmal zeichnet Frank solche Fotos nach. Er scheint auch viel mit Farbcomics zu experimentieren. Den 20seitigen Band „Dynamite Duo: Krieg dem Terror“ hat er mir in Form eines Fotoalbums zugesandt. Die Farbseiten hat er einzeln abfotografiert und in ein passendes Fotoalbum gesteckt. Laut Cover wird auch dieser Comic verkauft (8 Euro), den teuren Farbdruck scheint Frank auf diesem Weg zu umgehen. -aa
 
Jens Natter: Comics – pädagogisch betrachtet. Ein Sachcomic. 68 Seiten, s/w mit rotem Cover, DIN A 5, 5 Euro. Jens Natter, 5, Rue de General de Gaulle, 68300 St. Louis, France
 
Eine wissenschaftliche Arbeit in Comicform – ist das nun ein Zeichen für verbohrte Vorurteile gegen Comics, die noch immer überwunden werden müssen, oder eher eben dafür, daß sie eben nicht mehr existieren? Jens Natter will jedenfalls untersuchen, ob Comics sich als pädagogisches Hilfsmittel eignen, und hat seine Arbeit in Panels und Sprechblasen verpackt, um dem Vorwurf des „Bildidiotismus“ zu begegnen. Dazu läßt er, ganz reizvoll, die vermenschlichte Sprechblase „Schnacki“ reden. Richtig in ihrem Element ist Schnacki erst im letzten Teil dieses Hefts, wenn sie über konkrete Möglichkeiten und Projekte berichtet, Comics im Unterricht oder in der Sozialarbeit einzusetzen. Jens scheint ein Praktiker zu sein. Den Definitionsteil hat er dagegen so knapp wie möglich gehalten. Kritikpunkte und Vorzüge an Comics diskutiert er eher holzschnittartig. Die zu Rate gezogene Literatur ist ziemlich schmal. Ohne viele Umschweife rät er „in Einzelfällen“ zu Comic-Zensur, da Altersbeschränkungen unwirksam seien (da spricht der Sozialpädagoge offenbar aus Erfahrung). Wer in welchen Fällen was zensieren darf, und wer das bestimmen soll, ist nicht mehr sein Thema. Außerdem findet Jens Vorwürfe zumindest teilweise berechtigt, daß Comics Gewalt vermitteln. Jedenfalls gilt das seiner Ansicht nach für minderwertige Comichefte. Auch in diesem Punkt hätte ich mir eine vertiefte Betrachtung gewünscht. Unzweifelhaft schätzt der Autor das Selbermachen, das kreative Lernen mit Comics mehr als den bloßen Konsum, was bei seiner Absicht, das Bildermedium zum pädagogischen Einsatz zu empfehlen, nicht verwundert. Hätte er aber dafür die Trivialkultur in Bausch und Bogen verteufeln müssen? Sicher hat er recht, daß schnell produzierte Comichefte nach TV-Zeichentrickserien meistens Müll sind, aber damit hat er das weite Feld des Trivialen noch längst nicht abgesteckt. Am Ende berichtet er selbst, daß er mit einer Gruppe vaterlos aufgewachsener Jugendlicher einen Stapel Superheldencomics durchgeschmökert, über Handlungsmuster gesprochen hat und dadurch über ihre persönliche Situation ins Gespräch gekommen ist. Dazu kann also selbst trivialer Schund taugen. Als wissenschaftliches Werk hat der Comic seine Mängel, als Essay würde ich ihn aber durchgehen lassen. Und den Aufruf, sich mit dem Medium Comic ernsthaft auseinanderzusetzen, statt es billig abzutun, kann ich natürlich nur unterstützen. Jens Natters Arbeit ist sicher nicht die erste wissenschaftliche Arbeit in Comicform, aber die erste, die mir untergekommen ist, in der der Leser permanent keß geduzt wird. -aa
 
Geschrammel # 2. 24 Seiten, s/w mit Farbcover, DIN A 5, 2 Euro. Jens Natter, 5, Rue de General de Gaulle, 68300 St. Louis, France
 
Ein Comicfanzine, das praktisch nur Beiträge abdruckt, die mit Musik zu tun haben – eigentlich keine schlechte Idee, aber schon sehr speziell. Die Schnittmenge zwischen Comics und Musik existiert zwar, aber ob sich viele Zeichner finden, denen zu Bands etwas einfällt, ist hier die Frage. Denn schließlich geht es nicht um Britney Spears, die jeder kennt, sondern um White Stripes, Mars Volta oder höchstens mal Radiohead. Und die, kann ich mir vorstellen, kennt halt nicht jeder. So kommt „Geschrammel“ daher wie beispielsweise Omi: lauter kurze Beiträge, die man sehr schnell durchgeblättert hat. Nett für zwei bis drei Minuten, länger hält es leider nicht vor. Diesen Umstand hat Jens wohl auch bemerkt, bedauert er im Vorwort doch das Fehlen einer längeren Geschichte. Aber dies ist ja sicher nicht die letzte Ausgabe. Jo84
 
Ups # 8. 20 Seiten, s/w, DIN A 5. Armin Parr, Sternbergstraße 56, 72116 Mössingen
 
Im August habe ich Armin Parr persönlich kennengelernt. Ich habe mich mit ihm und Moritz Stetter in Heinzelmännchens Comicladen getroffen, und wir sind dann zusammen zum Stuttgarter Comicstammtisch gegangen. Armin wirkt wesentlich normaler als seine ziemlich abgedrehten Comics. Aber wer trägt schon sein Innenleben ins Gesicht geschrieben. Beim Interpretieren seiner Comics war er mir keine große Hilfe. Meine in einem Mail an ihn geäußerte Vermutung, daß er manchmal einfach Metaphern wörtlich nimmt (wie zum Beispiel: „Er versank in ihren Augen“), hatte er noch im Kopf. Aber er grinste mich nur an, als wollte er sagen: Netter Versuch! Also, in diesem Heft wimmelt es von diesen verkörperlichten Metaphern, die er in einem schönen, Crumb-ähnlichen Undergroundstil zeichnet: Ein athletischer Mann wird von Ratten zerfressen, eine Frau brät sich aus dem Kopf eines abgelegten Verehrers ein Spiegelei, Töne entweichen aus einer Büchse der Pandora und verfolgen den, der sie herausgelassen hat, und so weiter. Armin findet es in einem kurzen Nachwort „nicht so wichtig“, sollte man mit seinen Geschichten nichts anfangen können. Nein, nein, mich faszinieren sie sehr. Aber mit ihrer Deutung bin ich wohl noch nicht soweit. Macht nichts. -aa
 
Kreativo! # 43 (Juni 2003). 32 Seiten, s/w, DIN A 5, 1,50 Euro. Kreativo-Projekt, Birke, Postfach 2022, 58470 Lüdenscheid
 
Mehr als zehn Jahre lang hat das Fanzine „Kreativo!“ das Leben ihrer Herausgeberin Birgit Künsting begleitet und immer wieder stückweise zum Ausdruck gebracht. Der Leser konnte ihren beruflichen Werdegang verfolgen und stieß regelmäßig auch auf persönliche Erlebnisse von „Birke“, wie sich die Herausgeberin nennt. Da ist es bezeichnend, daß nun besondere Lebensumstände diesem Magazin ein Ende setzen. Die Umschulung in Siegen läßt Birke, wie sie im Vorwort dieser Ausgabe schreibt, nicht mehr genug Zeit, es weiterzuführen. Außerdem deutet sie an, daß die Verkäufe für sie unbefriedigend geworden seien. Es dürfte allerdings typisch für ein Projekt dieser Art sein, daß es mehr Mitarbeiter (denen man kostenlose Belege zur Verfügung stellen muß) als Leser gibt. Sie habe jedenfalls zehn Jahre durchhalten wollen, was in der Tat eine bemerkenswerte Leistung ist, und Birke stellt mit aller Vorsicht eine mögliche Rückkehr von „Kreativo!“ in Aussicht. Na, das wäre doch was – irgendwann endet doch jede Umschulung mal. Inhaltlich unterscheidet sich diese Abschiedsnummer nicht von anderen Ausgaben: Es ist der typische bunte Mix von Comics und Lyrik. Klaus Scherwinski und Jo Guhde haben das Cover beigesteuert. Ansonsten sind unter anderem Ghost, Aaron Jordan, Moritz Stetter, Manfred Lafrentz, Olaf Bathke, Arne Auinger, Bernd Teuber und Jan Prose vertreten. Birke bricht sozusagen mitten in der Arbeit ab. -aa
 
Weißblechs weltbeste Comics # 10. Notgeile Töchter des Atoms. 32 Seiten, s/w mit Farbumschlag, Comicbookformat, 3,90 Euro. Weißblech Comics, Am Hang 9, 24223 Raisdorf
 
Weißblech-Herausgeber Levin Kurio ist offensichtlich nach Raisdorf, den Einkaufspark mit angeschlossener Wohnsiedlung bei Kiel, umgezogen. Sonst hat sich bei ihm aber nicht viel verändert. Das vorliegende Heft wird zwar als erstes mit durchgehender langer Story angepriesen (24 Seiten netto), aber das ist nur für Arbeitsfreude und Disziplin von Bedeutung, die er und sein Co-Zeichner Roman Turowski an den Tag legen mußten. Was uns hier aufgetischt wird, ist eine in Maßen selbstironische Kolportage von der „Day after Doomsday“-Sorte mit nicht allzu viel Gewalt und nur ein bißchen Sex (die meisten Käufer mögen das nämlich nur in gewissen Grenzen, und Kurio will zudem nicht auf den Minderjährigen-Markt verzichten). Das Ganze wird freilich wie immer mit unglaublichen Werbesprüchen angepriesen (siehe Titel), was zeigt, daß die meisten Konsumenten einfach betrogen werden wollen. Wer sich dagegen auf anspruchslose, aber solide Unterhaltung einstellt, routiniert in durchgehend ordentlicher grafischer Qualität gezeichnet, ist mit Weißblech gut bedient. Wir freuen uns schon auf den nächsten Band: „Geile Geister aus der Gruselgruft“. -aa
 
Peinliche Frühwerke. 84 Seiten, s/w mit Farbcover, DIN A 5, 6 Mark. Initiative Comickunst (INC) e. V. und Edition Rostfraß, c/o Wittek, Schulweg 29, 20259 Hamburg
 
Peinlich, daß diesen Band seit der Währungsumstellung anscheinend noch niemand besprochen hat. Aber war es den Rezensenten wirklich peinlich, darauf einzugehen? Ich behaupte, eine solche Veröffentlichung von Comics aus der Kindheit heute bekannter Zeichner aus dem Fandom wie Wittek, Calle Claus, Eckart Breitschuh oder Tom Plate war schon lange fällig. Manche halten ihre Frühwerke sorgfältig unter Verschluß oder vernichten sie diskret. Aber man trifft auch immer wieder mal Leute, die sich einen Spaß daraus machen, Freunde und Bekannte mit ihren ersten Comic-Gehversuchen zu amüsieren. Spott ist da nicht angebracht. Der Reiz der Frühwerke liegt auch weniger in der Offenlegung unvermeidlicher zeichnerischer Mängel als von Einflüssen und Vorbildern. Kaum einer beginnt mit eigenen Geschichten, sondern zeichnet mühevoll das nach, was ihn bei der Lektüre am meisten gefesselt hat. Und so begegnen wir hier Disneyfiguren, Marvel-Superhelden, dem Raumschiff Enterprise oder Spirou und Fantasio, mehr oder weniger vereinfachten Handlungsmechanismen und nur halb verstandenen Storystrukturen. Etwas unpassend fand ich die Beiträge von Nils Fliegner (MAD), Till Lenecke und Tom Plate, die erst im Alter von 15 oder 16 Jahren entstanden. Das sind keine Frühwerke mehr. Oliver Gfeller dagegen hatte offenbar schon mit sechs Jahren seine heute noch verwendeten Ausdrucksmittel gefunden. -aa
 
Rainer Baldermann: Für mich ein Schnitzel.... 56 Seiten, s/w mit Farbcover, DIN A 5
 
Rainer Baldermann zeichnet seine Comics und Cartoons mit gehörigem Risiko. Denn bei seinem lakonischen, oft auch derben Humor ist der Grat schmal zwischen Genialität und Albernheit. Der Künstler selbst hat entweder keinen Blick dafür, daß ihm der eine oder andere Cartoon lediglich vulgär gerät, oder es ist ihm egal. Wenn seine Arbeiten nicht sehr sorgfältig zusammengestellt werden, braucht er eine Menge Platz, damit seine guten Cartoons die weniger gelungenen aufwiegen. Das ist bei dem vorligenen Band zweifellos der Fall. -aa
 
Zinehead. (Juli 2003). 8 Seiten, s/w, 17,7 mal 21,5 Zentimeter. Karl Thomsen, P.O.Box 2061, Winnipeg, MB, R3C 3R4, Kanada
 
Nach der Einstellung seines Comicfanzines „Sunburn“ gibt Karl nun auch seinen Newsletter „Zinehead“ auf. Hier hat er noch einmal zahlreiche Publikationen aus der internationalen Szene aufgelistet, sortiert nach Rezensionsmagazinen, Internetprojekten und Independent Comics. Verzeichnet sind bei den Printprodukten jeweils aktuelle Ausgabe, Bezugsadresse und inhaltliche Schwerpunkte. Im Vorwort heißt es, „Zinehead“ sei der Startpunkt in eine turbulente und unvorhersehbare Welt. Karl möchte seine Leser nun offenbar in diese Welt entlassen. Schade. -aa
 
QI # 62 (Mai/Juni 2003). 24 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes 168, Brasopolis MG 37530-000, Brasilien
 
Bei diesem brasilianischen Magazin finden wir wieder eine Fortsetzung des Comics „Mundo Feliz“ und das „Forum“ in der eine Menge brasilianischer und internationaler Fanzines aufgelistet und abgebildet werden. Zudem hat der Herausgeber in diesem Heft zwei längere Artikel untergebracht, in denen offenbar besondere Publikationen ausführlicher vorgestellt werden. Wer Genaueres wissen will, sollte Portugiesisch beherrschen. -aa
 
Caricaturistas por Timor. 180 Seiten, teilweise farbig, 24 mal 17 Zentimeter Querformat, Paperback. Grafica de Coimbra (Portugal)
 
Timor ist eine Sunda-Insel und war einst teilweise portugiesische Kolonie. Nur wer die Auslandsnachrichten sehr aufmerksam verfolgt, hört gelegentlich von christlich-moslemischen Auseinandersetzungen, Terror und Gewalt auf Timor. Es ist keine Weltgegend, die besonders im Mittelpunkt des Interesses steht. Die in diesem Band versammelten – vermutlich hauptsächlich portugiesischen - Karikaturen thematisieren genau das. Nicht viel Abwechslung in der Aussage, aber viele verschiedene Zeichenstile. Deswegen war das Buch, das mir Teresa Camara Pestana zusandte, für mich durchaus sehr interessant. Es wird Euch wohl kaum in die Hände fallen, aber vielleicht ist diese Besprechung ein Anstoß, Euch öfters mal mit Karikaturenbänden zu beschäftigen. Es lohnt sich häufig. -aa
 
Comicaze # 13 (Juli 2003). 20 Seiten, teilweise farbig, DIN A 4, gratis in München. Rainer Schneider, Volkartstraße 4 A, 80634 München
 
Vom ICOM kamen diesmal keine neuen Kostenlos-Magazine (ein Beitritt ist für Comicinteressierte und besonders Comicschaffende trotzdem nach wie vor sehr empfehlenswert). Das gibt mir Gelegenheit, über das einzige bei mir eingetrudelte Heft ein paar Worte mehr zu verlieren. „Comicaze“ erscheint mit zwei längeren Unterbrechungen nun schon im siebten Jahr. Macher Rainer Schneider hat das Heft ausschließlich aus höchstens zweiseitigen mehr oder weniger lustigen Comics zusammengestellt, was angesichts der gemischten Leserschaft (Kostenlos-Magazine liegen gewöhnlich in Kneipen aus) die richtige Strategie ist. Die Werbung, von der dieses Magazin lebt, fügt sich comicgerecht ins Gesamtbild ein – einmal geht sogar ein Comic von Peter Sim raffiniert in eine Kneipenanzeige über. Trotz beschränktem Platz wird eine Seite Comicbesprechungen spendiert. Natürlich geht es nur um Werke, mit denen fast jeder etwas anfangen kann (Hulk, Werner, Moebius). Aber die Münchner machen fast alles richtig. Hoffentlich dauert’s eine Weile bis zur nächsten Zwangspause. -aa
 
Kim Schmidt: Comic Zeichenkurs. 127 Seiten, durchgehend farbig, 14,5 cm x 21 cm, Softcover, 10 Euro. Carlsen, ISBN 3-551-76825-0
 
Äußerst witzig kommt dieser Comic-Zeichenkurs von Kim Schmidt daher. Der Künstler ist den PLOP-Lesern bereits bekannt durch seine Strips mit Mönch und Glockenseil. Inzwischen hat Kim sich zeichnerisch weiterentwickelt und läßt uns mit diesem Ratgeber teilhaben am Know How des Comic-Profis. Das Buch ist intelligent gemacht. Erst theoretischer Text, schön mit Bildchen illustriert, dann – lechz – ein zum Thema passender mehrseitiger Comic. Solchen Lehrstoff zieht man sich gerne rein. Gag am Rande: Die Figur, die einem das Leben des Zeichners vorführt, sieht haargenau so aus wie Kim Schmidt himself. Zum Inhalt: Traumberuf Comiczeichner (Umpf!) – Handwerkszeug Stifte, Pinsel, Leuchttisch – Zeichnen einer Figur (Boah eyh!) – Mimik, Köpfe, Hände – Hintergründe, Szenerie, Perspektive - Sprechblasen aufblasen (Pffft!) – Action und Speedlines (Boing, Zisch!) – Comic-Drehbuch (Tippe-di-tipp!) – Anbieten bei Verlagen (Puh!) – Die Rechte des Comiczeichners (gemeint ist nicht die Hand) – Vom Rohentwurf zur Endfassung (Wow!) – Zwölf Interviews mit Comiczeichnern, unter anderem Hartmut „Haggi“ Klotzbücher (You remember?). Ein Anhang mit Buchtiteln, Adressen und Schlagwortregister rundet das Buch ab. Kim Schmidt, Jahrgang 1965, präsentiert seine Erfahrungen locker und amüsant. Der Leser erfährt einiges, was ihm als bloßem Konsument von Comics verborgen blieb. Beispiel: Ein „Blaustift“ erzeugt Striche, die vom Fotokopierer nicht gesehen werden, das heißt, man erspart sich nach der Reinzeichung das Radieren, clever, was? So erhält man allerhand Informationen über das Drumherum. Was man mit dem Buch nicht lernt, ist das Zeichnen selbst. Da nützen auch die zahlreichen Beispiele nichts, wie man eine Hand zeichnet. Der Ungeübte wird diese Skizzen nicht einmal befriedigend abzeichnen können. Also, Zeichnen können sollte man schon, um aus dem Buch einen Gewinn ziehen zu können. Ideale Lektüre also für die Leser von PLOP. Und wenn man außerhalb von PLOP einen Bekannten hat, der gerade erste Versuche mit dem Comic-Zeichnen startet, kann man ihm mit diesem Buch eine Freude machen. Wenn der Beschenkte nach dem Lesen auch noch kein Kim ist, so hat er sich doch beim Blättern durch die 127 Seiten prima unterhalten. -kb
 
Thor # 1 – 3. 48 Seiten, farbig, Comicbookformat, 4 Euro. Panini
 
Geht man in den Bahnhofsbuchhandel in diesen Wochen, fühlt man sich gleich um 25 Jahre jünger, denn das Zeitschriftenangebot ähnelt dem der 70er verblüffend, solange man nicht so genau hinsieht: Es gibt wieder Sigurd-Hefte, „Zack“ ist wieder erstanden (siehe unten), die „Comixene“, „Thor“, die „Fantastischen Vier“, die Rächer, Batman und Superman lachen einem entgegen. Grrroßartig! Seit Panini „gesiegt“ hat, sind Marvel und DC hier in einer Hand, und die Hefte sind knatschteuer. Deshalb haben sich wohl auch die dicken Thor- und FV-Viererbände nicht bewährt, so interessant Zweitserien wie „Godstorm“ auch waren. Fast 8 Euro wollte wohl doch nicht jeder für die Helden zahlen. Daher der soundsovielte Neustart mit einer (gäähn!) Nummer 1 (wer fällt noch drauf rein?). Immerhin tut sich inhaltlich ein bißchen was: Odin ist tot. Ja, echt. Damit ist Thor Thronfolger und läßt sich einen Bart wachsen. Eine interessante Idee, den Donnergott in völlig neue Verantwortlichkeitskonflikte zu bringen, zumal eine düstere Prophezeiung vorausgeht. Ein Bild, auf dem ein wütender bärtiger Donnergott seinen Freund Baldur umgebracht hat, verfolgt ihn. Altlesern ist klar, daß Odin (Marvels Antwort auf den Weihnachtsmann) irgendwann zurückkommt, aber wie immer zählt bei Superhelden ja eher das „Wie“ als das „Was“. Herod
 
Zack # 45. 48 Seiten, farbig, 29,5 mal 21 Zentimeter, 4,55 Euro. Mosaik Steinchen für Steinchen Verlag
 
Zack ist dünner geworden, liegt fast wieder in der Hand wie das alte. Echt ein Nostalgiegefühl, zumal eine wenig bekannte „Lucky Luke“-Kurzgeschichte drin ist (aus „Eppo“, daher wohl auch die lustigen niederländischen Soundwords), sowie eine bisher nicht oder nur in Taschenbüchern teilweise veröffentlichte Western-Story von „Hondo“ (von William Vance). Die Story ist so arbeitssparend angelegt, daß sie schon wieder Spaß macht: Außer angedeutetem Schneegestöber sieht man die meiste Zeit nur die Protagonisten von vorne. Das ist Hackwork vom Besten, das ist Vance, der für eine Taschenbuchstory keine Energie verschwenden wollte. Voll witzig, voll „Francobelgium goes Wäscher“! Besonders wenn man die Seiten mit den herrlichen Hintergrundansichten von Wohnräumen vergleicht, wie er es in Bruno Brazil präsentierte. Aber nein, das ist natürlich absichtliches Understatement, Italo-Western, filmisch und so... wer’s glaubt. Man sieht daran aber die achtbare Bemühung, ohne schlichte Nachdrucke das alte Zack-Feeling für die Leser zu erhalten, und das heißt nun einmal: 70er-Feeling, nicht einfach irgendetwas Neues aus Frankobelgien. Herod
 
H. G. Wells: Krieg der Welten. Ufos über der Emscher. Friedrich Schiller: Wilhelm Tell. Schützenfest wie im Revier. Mundartbände. Kartonierte Alben nach Vorlage der „Illustrierten Klassiker“. Je 24,80 DM, Verlag Henselowsky Boschmann, Bottrop (!)
 
Mundartbände sind „in“. Asterix gibt’s mittlerweile wohl so ziemlich in jeder denkbaren deutschen Dialektfärbung, sogar Onkel Dagobert schwätzt schwäbisch. Lange vor diesen gab es Mundartübertragungen von Bibeltexten oder von Max und Moritz. Das mag nun regional ja ganz nett sein, so was für die Lokalecke der Buchhandlung und zum Verschenken an Gäste, aber was soll’s? Den „Übersetzern“ Werner Boschmann, Dr. Stajkowski und Jott (sic) Wolf ist hier aber etwas Besonderes gelungen: Die alten, bieder gezeichneten Bände der „Illustrierten Klassiker“ wirken heute ohne weiteres unfreiwillig komisch, und genau das hat man genutzt, um unter Beibehaltung der ganzen Chronologie der Geschichte durch Übertragung in Ruhrpottplatt eine ironisierte, launige quasi Halb-Parodie zu schaffen. Der „Krieg der Welten“ von H. G. Wells scheint wie geschaffen dafür: man mußte nur den Angriffspunkt der Außerirdischen von Südengland ins Ruhrgebiet verpflanzen. Wilhelm Tell verbleibt zwar in der Schweiz, wird aber dauernd für den Ruhri-Leser kommentiert. Schon gelungen, echt „toffte“, könnte man sagen. Herod
 
Di Felice: Drachen. 48 Seiten, farbig, Softcoveralbum, 10 Euro. Carlsen
 
Mit seiner Fantasy-Offensive ist der Carlsen Verlag nicht gerade gut gefahren, wie die Einstellung des Fantasy-Comicmagazins „Magic Attack“ Anfang des Jahres beweist. In einem der Hefte wurde auch schon die Kurzgeschichte "Der letzte Drache" des Spaniers De Felice vorabgedruckt, und seitdem wartet der Fantasyfan auf das damals schon angekündigte Album. Die plastisch wirkenden Zeichnungen sind eine Augenweide, und die Titelheldinnen des Albums geizen nicht mit erotischen Attributen. In acht Kurzgeschichten um Drachenhöhlen, einen Riesenberg, eine verfluchte Schöne, einen Tempeljünger, einen Zaubertrank, ein magisches Schachspiel, eine verführerische Frau und den Tod erkundet De Felice fast sämtliche Klischees der Fantasywelt. De Felice ist ein überragender Zeichner (eigentlich mehr Maler), aber leider nur ein mieser Autor. Zugegebenermaßen ist es schwierig, auf durchschnittlich sechs Seiten eine Kurzgeschichte so aufzubauen, daß sie den Leser fesselt und überrascht. In diesem Album ist ihm das jedenfalls gründlich mißlungen. Jede der Geschichten ist vorhersehbar und vermag es nicht, den Leser zu fesseln. Was bleibt, sind wunderschöne Zeichnungen in einem Band, den man irgendwie enttäuscht zur Seite legt. Jo84
 
Utopian Artists: Without Identity #1. 208 Seiten, s/w mit wenigen Farbseiten, ca. 12x17cm, 6,50 Euro. Ehapa Manga & Anime
 
Schon lange angekündigt, ist jetzt der erste Manga der Utopian Artists erschienen. Ich war sehr gespannt auf den nächsten Manga von deutschen Zeichnern. Zur Geschichte: Autmn, eine junge Frau und Junkie, setzt sich den goldenen Schuß. Doch ihre Seele wird von Engeln gerettet, damit sie im Kampf gegen das Böse mithilft. Und schon bald kämpft Autmn mit ihrer neuen Partnerin Dandelion gegen Dämonen und Monster. Für diese Geschichte kann sich sicher der eine oder andere begeistern, was mir allerdings nicht gelingt. Denn den Kampf zwischen Gut und Böse – auch auf himmlischer Ebene – haben andere Autoren wesentlich ansprechender erzählt. Auch die Zeichnungen sind streckenweise gut, aber oft mangelt es an Hintergrundzeichnungen, so daß ganze Seiten geradezu kahl wirken. Andere Seiten dagegen sind von Rasterfolien und Artefakten so zugekleistert, daß man kaum noch die Konturen der Figuren bzw. der Räumlichkeiten erkennen kann. Was aber diesen Manga zum Ärgernis werden läßt, sind schlechtes Lettering, Orthographiefehler und verpixelter Druck. Der Reihe nach: Das ursprüngliche Lettering, welches man in der Leseprobe in Kinshan #4 noch bewundern durfte, wurde durch eine deutlich kleinere Schriftart ersetzt. Das allerdings so schlampig, daß sich das alte Lettering noch auf zahlreichen Seiten des Mangas wiederfindet, bezeichnenderweise beginnend auf der ersten Seite. Sogar schon im Prolog offenbart sich dem Leser die Rechtschreibschwäche, die sich durch den ganzen Comic zieht und dabei seltsame Wörter kreiert („fuerte“). Hat da überhaupt jemand korrekturgelesen ? Der Druck schließlich ist wunderbar verpixelt. Wenn man die Zeichnungen genauer betrachtet, kann man erkennen, daß kaum eine Linie durchgängig ist, sondern eine Abfolge einzelner Punkte, was so manche Zeichnung zusätzlich blaß aussehen läßt. Ganz deutlich wird die Verpixelung am Bild auf der Seite 41 sichtbar. Ich bin sehr enttäuscht, daß ein Comic in dieser Form publiziert wird, und kann von diesem schlampig produzierten Manga nur abraten. -dg
 
Robert Crumb: Schmutzige Wäsche Comics. 202 Seiten, s/w mit Farbumschlag, Hardcoveralbum, 17,90 Euro. Zweitausendeins
 
Mit dem Vorspann dieser Rezension mache ich gleich einen Fehler, denn dieser Band stammt von „Aline Kominsky-Crumb, R. Crumb und Sophie Crumb (manchmal, wenn sie Lust hatte)“. Ja, aber wenn Robert Crumb diesen Gemeinschaftscomic nicht künstlerisch zusammenhalten würde, hätte ich ihn gewiß nicht gekauft und dann wäre er wohl auch ziemlich schwer lesbar. Denn klar ist, auch wenn in dieser Ehe Aline den Ton angeben dürfte, kommt das nur zur Geltung, weil der Underground-Altstar seine Reaktionen auf ihre Eskapaden und Launen in immer neuen Variationen und immer wieder umwerfend witzig aufs Papier bringt. Die Crumbs haben hier die PLOP-Jamcomic-Interviews um Jahrzehnte vorweggenommen, wobei sie sich, jeder sich selbst, üblicherweise jeweils in ein und demselben Panel zeichnen. Der „Rollentausch“ – er zeichnet sie und sie ihn – wird als Besonderheit inszeniert, wie wenn Laurel Hardy und Hardy Laurel spielt; nur in einem Beitrag und beim Covermotiv führt allein Robert die Feder. Seit fast 30 Jahren sind die beiden ein Paar – inwieweit sie aber in den Comics ihren wirklichen Alltag abbilden, bleibt offen, und mit dieser drängenden Frage der Fans treiben sie amüsiert ihren Spott. Ich muß zugeben, daß ich kürzlich lautstark eine Falschinformation verbreitet habe: Die hier versammelten Werke schließen zeitlich nicht an den letzten Crumb-Band „Ein Heldenleben“ an, sondern sind parallel zu ihm und den Vorgängern „Endzeit Comics“ und „Die 17 Gesichter des Robert Crumb“ entstanden. Wäre wohl auch sehr anstrengend gewesen, immer nur Gemeinschaftscomics mit Frau Kominsky zu zeichnen. R. Crumb allein ist zweifellos witziger, aber die Comics in Gemeinschaftsproduktion mit Aline helfen ihm, nicht immer nur vergrübelt um sich selbst zu kreisen. Nun ist die Beziehung Gegenstand endloser Betrachtungen, was aber nicht dasselbe ist. Für Crumb sind das auf jeden Fall neue Themen, neue Erkenntnisse, neue künstlerische Perspektiven. Ursprünglich hat es sich um mindestens vier Comichefte (deren Cover in dem Buch mit abgebildet sind) und wohl etwas verstreutes Zusatzmaterial gehandelt. Man erlebt zumindest in groben Zügen, wie die Crumbs 1992 nach Frankreich ziehen und sich dort einzuleben versuchen. Man bekommt Alines Fitnesswahn, Roberts Schwäche für alte Schallplatten und stämmige Frauen und Sophies Gier nach Computergames mit, und man kann gut nachvollziehen, wie im Verlauf der Arbeiten rund 25 Jahre vergehen. Die Künstler blicken zwar so gut wie nie zurück, aber sie setzen sich, je weiter man liest, immer eindringlicher mit dem Altwerden auseinander. Auch wenn ihr Leben in Vielem ganz anders aussehen sollte, als es ihre Gemeinschaftscomics vermitteln, bekommt man durch sie einen intimeren Einblick, als einem lieb ist. Crumb ist nach wie vor einer der wenigen ganz großen Autoren-Comiczeichner – die meisten von ihnen sind im Underground beheimatet -, aber wer ihn bisher noch nicht kennt, sollte vielleicht nicht als erstes zu diesem Band greifen. –aa
 
Xoomic # 6 und 7. Je 52 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5 Euro. Frank-Kemter-Verlag, Nürnberger Straße 111 A, 90762 Fürth
Comixene # 62/63, 64 und 65. Üblicherweise 64 Seiten (Doppelnummer 96 Seiten), teilweise farbig, DIN A 4, 5 Euro. Comixene, Im Sonnengrund 10, 31275 Lehrte
 
Der neuen „Comixene“ hatte ich im letzten Heft vorgeworfen, daß sie kein richtiges Nachrichtenmagazin ist, obwohl sie mit einer Betrachtung der Verlagslandschaft so gestartet war. Der Vorwurf wäre natürlich „Xoomic“ ebenso zu machen. Dort wird Aktuelles sogar im hinteren Teil des Heftes versteckt. Auch wenn der Comicfan über jedes Fachmagazin, das ihn über sein Steckenpferd informiert, nur froh sein kann, konnte der Eindruck entstehen, als ob ich „Xoomic“ gegenüber der „Comixene“ vorziehen würde. Tatsächlich zieht „Xoomic“ eher die Sympathie des Lesers auf sich. Es wirkt eleganter, geschmackssicherer, „intellektueller“ und zugleich gefährdeter. Dabei sind die beiden Magazine nur jeweils auf unterschiedliche Märkte ausgerichtet: „Xoomic“ ist für den Comicladen gedacht, während sich die „Comixene“ am Kiosk behaupten soll. Daher muß die Truppe um Martin Jurgeit und Jörg Krismann in der „Comixene“ auf populäre und plakative Themen wie den Hulk-Film oder die neue „Blueberry“-Ausgabe setzen, während sich Frank Kemter in „Xoomic“ 14 Seiten lang mit dem sperrigen Lorenzo Mattotti auseinandersetzen kann, bis sein Werk in allen Facetten gebührend gewürdigt ist. Man sollte die beiden Magazine also nicht gegeneinander ausspielen und vielleicht nicht einmal miteinander vergleichen – die Szene kann beide gebrauchen. Nur meinen Vorwurf, daß sich beide zu wenig mit Nachrichten vom Comicmarkt beschäftigen, muß ich aufrechterhalten. „Xoomic“ verbannt die News in den hinteren Heftteil. Aber auch die „Comixene“ bietet kaum wirklich substantielle Nachrichten. Keinesfalls ist es damit getan zu vermelden, welcher Verlag welche Neuerscheinungen plant. -aa
 
DER ISARBULLE
 
Ein simpler Mord: Ein Fernsehregisseur wird nach Drehschluß auf dem Set erschossen. Der Verdacht fällt auf den Hauptdarsteller der Krimiserie „Der Isarbulle“, mit dem das Opfer wegen Änderungen im Serienkonzept Streit hatte. Aber auch andere Mitglieder der Filmcrew hätten Gründe gehabt, mit dem Regisseur abzurechnen. Harry Luck, im Hauptberuf Agenturjournalist und ein Kollege von mir, hat den Krimi „Der Isarbulle“ (Emons Verlag, Köln, ISBN 389705291-1, 9 Euro) geschrieben, und auf den zweiten Blick ist das Werk gar nicht so einfach gebaut, wie es den Anschein hat. Das Thema Mord im Filmmilieu wird nämlich mehrfach gespiegelt. Das Serial, das hier produziert wird, hat große Ähnlichkeit mit deutschen Fernsehkrimis wie „Derrick“ oder „Der Alte“. Aber auch die Ermittlungen der echten Kripobeamten ähneln denen der TV-Kommissare verblüffend. Geduldig besuchen sie einen Verdächtigen nach dem anderen und führen mit ihnen scheinbar belanglose Gespräche, bis sie schließlich dem Mörder die Maske vom Kopf reißen können. Dabei mokieren sie sich des öfteren über die doch so unrealistische Welt der Fernsehkrimis. Harry Luck ist bekennender Fan der erfolgreichen ZDF-Krimiserien. Die Hommage, die sein Roman darstellt, ist allerdings ironisch gefärbt, denn je beharrlicher hier der Eindruck erweckt wird, daß Polizeiarbeit wirklich so funktioniert, wie Herbert Reinecker sich das auszudenken pflegt, desto irrealer wird diese gediegene, gewaltarme Münchner Krimiwelt. Als „München Krimi“ wird das Buch vom Verlag angepriesen. Die regionale Verortung wird im Krimigenre schon lange als Verkaufsargument gegen die Konkurrenz von Agatha Christie oder Raymond Chandler benutzt. Ob der Roman das Versprechen dieses Etiketts einlöst, ist gar nicht so leicht zu sagen. Einerseits bildet die Isarmetropole nur eine relativ neutrale Kulisse – die Kommissare sind im Verlauf ihrer Ermittlungen hauptsächlich auf diversen Münchner Straßen unterwegs. Andererseits ist München für diesen Krimi geradezu essentiell, denn wo anders als in München – speziell im Nobelviertel Grünwald – könnte jemand wie Stephan Derrick seine Fälle lösen? Am realistischsten ist in dem Roman – wen wundert’s? – der Boulevard- und Polizei-Reporter Frank Litzka gezeichnet. Er weiß infolge eigener Recherchen über den Stand der Ermittlungen mehr, als die Öffentlichkeit erfahren darf, schreibt darüber ohne Rücksicht auf den Ruf irgendwelcher Personen und setzt die Polizei damit unter Erfolgsdruck (so sind natürlich nicht alle Journalisten, aber es gibt solche). Dem Autor dient Litzka freilich vor allem dazu, falsche Spuren zu unschuldig Verdächtigen zu legen. Harry Luck arbeitet bereits eifrig am nächsten „München Krimi“, dem vierten Band einer Serie, die immerhin einst mit „Killing Giesing“ und „Abknallen“ von dem bekannten Münchner Schriftsteller Friedrich Ani eingeleitet worden war. -aa



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 69
Besprechungen


Hüftschwung. Die Bewegung # 1. 64 Seiten, s/w mit Farbumschlag, DIN A 5, 5 Euro. Marion Müller, Kempener Straße 31, 50733 Köln, moriak@gmx.de
 
Es gibt kaum Fanzines von Frauen (PLOP war mal eins), aber wenn man eines in der Hand hat, braucht man sich nicht darüber zu wundern, daß es ein wenig anders sein kann. Da geht es um solche Dinge wie den Terror der Magersucht oder, wie man „kniefrei hübsch sitzt“. Marion Müller, die den Großteil ihres Magazins mit eigenen Beiträgen bestreitet, beschreibt elliptisch, aber ziemlich konkret Situationen ihres Lebens und ihre Gefühle. In der wohl typischsten Geschichte reflektiert sie die Leichtigkeit einer Liebe im Sommer und die Ernüchterung und Trauer, wenn der Sommer vorbei ist. Zwischendurch kommen auch andere Zeichner zum Zug, der bekannteste von ihnen Klaus Cornfield mit einer „Fou-Fou und HaHa“-Episode, zudem Petrik Niswand, Jule Kruschke, Britta Gorski und Rainer Knepperges. Und wie ihre Kollegin Birke vom leider eingestellten „Kreativo!“ nimmt Marion Müller auch gern Gedichte und literarische Texte in ihr Heft auf. Vielleicht kommt im übrigen nur eine Frau darauf, die ersten und letzten beiden Innenseiten des Heftes quasi wie bei einem Buch leer zu lassen. -aa
 
Ashcan # 1. 24 Seiten, s(w mit Farbumschlag, DIN A 5, 2 Euro. Fastfood Fiction c/o Fritz Saalfeld, Schäferstraße 22, 20357 Hamburg, www.fastfoodfiction.de
 
Natürlich ist es nicht verboten, sich das Cover seines Fanzines vom aktuellen Marvel-„New Mutants“-Zeich-ner malen zu lassen, weitere begabte Amis ins Heft zu holen und nicht einmal, sich ein Pin-up des bekannten Mangazeichners Robert Labs zu besorgen und dann mit ihm kräftig Werbung zu machen. Wenn das Fanzine damit zu einem einmaligen Verkaufserfolg wird – warum nicht? Aber ich bin nicht ganz sicher – es sieht halt trotzdem noch wie ein Fanzine aus. Und es wirkt schon etwas eigenartig, daß gerade mal 13 Seiten in dem Heft von der Stammcrew kommen. Jonas Alsleben und die Brüder Saalfeld, die auch teilweise zusammenarbeiten, liefern ganz passable Arbeiten ab. Die Stefani-Comics erinnern an Haggis kleinen Hartmut. Aber ich weiß jetzt nicht, ob ich lieber ein richtiges Fanzine von den Vieren sehen würde, in dem sie vielleicht auch noch sagen, was sie sich mit ihrer Veröffentlichung gedacht haben, oder ob sie sich lieber auf die Publikation von Amis in Deutschland spezialisieren sollten. Das gibt es nämlich sonst kaum, und zum Beispiel mit „House of Java“ von Mark Murphy scheinen sie einen echten Geheimtip aufgetan zu haben. -aa
 
Gunnar Saeckler: Das Bilderbuch der traurigen Lieder. 28 Seiten, s/w, DIN A 5, 1,50 Euro. Edition Décapsuleur Dauphin, Gunnar Saeckler, Wolfshagen 5, 20535 Hamburg
 
Schon mit seinem Fanzine „Das Ende der Unschuld“ (siehe PLOP # 66) hat Gunnar Saeckler stark auf poetische Wirkung abgezielt. Jetzt geht er einen Schritt weiter und illustriert Gedichte – aber nicht irgendwelche. Vor Namen wie William Blake, Friedrich Nietzsche, Theodor Storm oder August von Platen hat er keine Berührungsängste. Die meisten der ausgewählten Werke zeichnet eine düstere Romantik aus. Leider tut Gunnar häufig nicht mehr, als die von den Dichtern gewählten Bilder eins zu eins in Illustrationen umzusetzen, oder er verbildlicht einen inneren Monolog durch Gesichter mit schreckgeweiteten Augen oder gramzerfurchten Stirnen. Er fügt den Gedichten meist nichts wesentliches mehr hinzu. Man kann dem Heft also bestenfalls entnehmen, wie sich der Autor durch Lyrik ansprechen läßt. Die Lesefreude wird zudem durch das nicht sehr professionelle Lettering gemindert. Da wünscht man sich, das eine oder andere Gedicht in schöner Schrift auf einer Buchseite mit viel weißem Raum drumherum lesen zu können, wie das ja ursprünglich gedacht war. -aa
 
(Diese drei Fanzines wurden mir von Gerd Bonau zur Verfügung gestellt – vielen Dank.)
 
Stephan Hagenow: Rattenmeute. 108 Seiten, s/w mit Farbcover, DIN A 5-Albumm, Gringo
 
Wow, schon vorbei, fragt man sich, wenn man die knapp 100 Comicseiten gelesen hat. Die rasante Actiongeschichte schnurrt bei der Lektüre nur so vorüber. Allerdings fragt man sich hinterher auch: Worum ging’s jetzt eigentlich noch mal? Irgendwie um eine Alptraumwelt, in der sich ein paar aufrechte Kämpfer gegen mutierte Riesenratten und einen ständig Predigtsprüche absondernden Irren namens „Erleuchter“ zur Wehr setzen müssen. Mittendrin erfährt man mal, dass Hauptheld Mac Trap, ein harter Typ mit weichem Kern, der Alpha-Ratte schon mal bei einem bizarren Gladiatorenkampf begegnet ist. Ansonsten kommt man sich aber so vor, als sei man sehr spät in eine Fortsetzungsgeschichte eingestiegen, in der man viele Zusammenhänge einfach nicht mehr mitbekommt. Auch am Ende, nachdem wahre Rattenlegionen abgemetzelt oder in die Luft gejagt worden sind, könnte man sich gut den Hinweis „Fortsetzung folgt“ vorstellen, denn da bleibt vieles offen. Wer allerdings in Stephan Ha-genows postapokalyptischer Welt nach einem Sinn sucht, ist ohnehin fehl am Platz. Hagenow zeichnet in einem ziemlich ökonomischen Stil mit kantigen Körpern und stilisierten Faltenwürfen und Schatten, aber durchaus bildmächtig und packend. Wer den puren Actionstoff ohne störendes Drumherum schätzt, ist mit „Rattenmeute“ auf jeden Fall gut bedient. -aa
 
Stephan Lomp: Terrorjesus # 1, 28 Seiten, s/w mit Farbumschlag, DIN A 5. Stephan Lomp, Pionierstraße 15, 40215 Düsseldorf, lomp@lomp.de)
 
Stephan Lomp ist Mitglied der Gruppe Herrensahne, einer rührigen Zeichnergemeinschaft aus Nordrhein-Westfalen, zu der etwa zehn Comiczeichner gehören. Eine interaktive Version des Comics entstand für das amerikanische Online-Literatur-magazin "bornmagazine.org", die auch auf www.terrorjesus.de zu bewundern ist. Die gedruckte Version des Debütheftes der geplanten Reihe um den ganz normalen Teenager Terrorjesus wurde dann auch auf der Independentveranstaltung „Heftich 5“ gleich zum besten Heft des Festivals gekürt. Ich muß zugeben, daß das Heft einen guten Eindruck macht. Wahrscheinlich ist es normal gezeichnet und dann am Computer mit vielen Rasterfolien versehen worden, was nicht schlecht aussieht. Warum die Hauptperson Terrorjesus genannt wird, weiß wohl nur der Herausgeber selbst, möglicherweise wegen seiner Frisur. Fakt ist, daß er sich anders fühlt, als der Rest der Teens und Twens seiner Umgebung und keinen Anschluß findet, vor allem nicht an Frauen. Daß seine Herzdame eine gute Freundin von ihm, zu einer Beziehung jedoch nicht bereit ist, macht für ihn alles nur noch schlimmer. So suhlt er sich im Haß und Selbstmitleid und philosophiert über das Leben, nicht ganz ohne Selbstironie oder Humor. Sicherlich trägt Terrorjesus autobiografische Züge von Stephan oder einem seiner Bekannten, denn der Text kommt aus der Tiefe eines enttäuschten Herzens und ist wohl schwerlich nur einfach ausgedacht. Das Heft bietet eigentlich eine einzige Story, die jedoch in mehreren verschiedenen Zeichenstilen gehalten und von den Darstellungen bestimmter Stimmungen unterbrochen ist. Insgesamt finde ich das Heft ebenfalls sehr gelungen. Mehr Infos unter www.lomp.de und www.herrensahne.de. Jo84
 
Andreas Eikenroth: Soviel „Warum“. 36 Seiten, s/w mit Farbumschlag, DIN A 5, 3 Euro. Andreas Eikenroth, Am Eichelbaum 39, 35396 Gießen, www.parole-ae.de
 
Nach „Chez Kiosk“ bringt Andreas Eikenroth, ehemals Mitarbeiter des nicht mehr existierenden Giessener Kostenlos-Magazins „Kainsmal“, sein zweites, ausschließlich von ihm selbst gestaltetes Comicmagazin heraus. Komik ist hier nicht mehr intellektuell-künstlerisch verbrämt, sondern an Phil-artigem, leicht zynischem Nonsense orientiert. Wenn auch Phil natürlich kaum zu übertreffen ist, zünden die Gags von Andreas durchaus. Das Heft ist sorgfältig und auf gutem Papier gedruckt, was zu dem gewollt billigen Witz, der hier gepflegt wird, nicht so recht passt. Aber alles in allem würde ich davon gern mehr sehen. -aa
 
Léger Légende: Frauen & Frösche. 24 Seiten, s/w, DIN A 5, 1 Euro. Léger Légende, Falkenweg 4, 61184 Karben
 
Der Künstler, der nur noch unter seinem Pseudonym genannt werden möchte, hat einen sehr zarten und fließenden Strich, der seinen Cartoons – richtige Comics sind es meistens nicht – eine schöne Leichtigkeit verleiht, die dann auch ins Inhaltliche übergeht. Der Gag mit dem neugierigen Jungen zum Beispiel, der einem Mädchen in den Ausschnitt spähen will, stürzt und mit seiner Nase ihr Bustier herunterreißt, würde in einem anderen Zeichenstil vermutlich zotig oder läppisch wirken. Hier hat er eine gewisse Grazie und Poesie. -aa
 
Armin Parr: Das gehört so. 12 Seiten, s/w, DIN A 5. Armin Parr, Sternbergstraße 56, 72116 Mössingen, arminparr@web.de
 
Nun macht also auch Armin Parr Comics ohne Worte – der große Trend der letzten Zeit. Meistens geht es bei ihm hier um Körperteile, die verschwinden oder sich verselbständigen. Das ist am Anfang ziemlich lustig, zum Ende des Hefts hin wird es experimenteller. Auf der letzten Innenseite hat er dann in die Panels Kurzrezensionen diverser Fanzines hineingeschrieben. In einem kleinen Nachwort schreibt er, das kleine Heft sei ein Ersatz für ein reguläres „Ups“-Heft, das Fanzine, das er sonst herausbringt. Er nennt es „auf den letzten Drücker zusammengekritzelt“, so als sei er gezwungen gewesen, etwas Neues zu veröffentlichen. Auf jeden Fall hat „Das gehört so“ den Charme des Improvisierten. -aa
 
cOMIc # 52 und 53. Je 28 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
Bei diesen beiden Ausgaben hatte ich das unbestimmte Gefühl, daß sie deutlich bessere Comics bieten als früher. Auffällig geändert hat sich eigentlich nichts. Bernd Teuber ist nach wie vor der Einzige, der mit mehrseitigen Comics vertreten ist. Die Onepager, Cartoons und Illustrationen stammen überwiegend von alten Bekannten wie Anja & Joy, Ulrich Magin, Wittek oder Oliver Gfeller. Die meisten Arbeiten haben mir sehr gut gefallen. Entweder strengen sich also die Mitwirkenden mehr an, weil sie sich sagen: Man muß ja froh sein, daß es cOMIc überhaupt wieder gibt, oder mir kommt es subjektiv so vor – aus demselben Grund. Einer, der sich nachweislich mehr anstrengt, ist Herausgeber Gerd Bonau selbst. In der # 52 bringt er neben den obligatorischen Rezensionen und dem üblichen superkurzen Artikel über irgendwelche Marvel-Ausgaben in Italien einen relativ ausführlichen Bericht über ein Comicfestival in Andenne/Belgien. In der # 53 ufern dann die Rezensionen auf nicht weniger als vier Seiten aus. -aa
 
Jähling: Reception Man. Rückkehr des schlaf-losen Retters. 40 Seiten, s/w mit Farbumschlag, 19,8 mal 28 Zentimeter, 4,20 Euro. Dreadful Gate Productions, www.dreadful-gate.de
 
Held dieser Geschichten ist Broder Bartz. In seiner geheimen Identität kann er körperlich Radiowellen empfangen, wodurch er schneller als jeder andere von Verbrechen erfährt (aber auch – siehe Titel – öfters Einschlafschwierigkeiten hat). Er ist im übrigen mehr von Zweifeln an seinem Heldenstatus angefressen als jeder Marvel-Superheld. Der Autor hat zudem ein Talent, Nebensächlichkeiten so geschickt in die Handlung einzuflechten, dass man die Taten dieses Schreckens der Unterwelt beim besten Willen nicht mehr ernst nehmen kann. Dafür, daßJähling so bewußt ironische Distanz zu all dem Superhelden-Kram hält, beschäftigt er sich allerdings doch sehr intensiv mit seinem Reception Man. Dies ist zwar das erste eigene Heft, aber in anderen Fanzines sind schon etliche seiner Abenteuer erschienen. Irgend-was hat der Reception Man, sonst hätte sich Jähling längst von ihm abgewandt. Nein, im Gegenteil: In der Episode „Die Fanatischen Vier“ wird sogar ein neues Superheldenquartett eingeführt – mit heftigen Beziehungsproblemen selbstverständlich. Jähling möchte sich zwar auf keinen Zeitplan einlassen, aber es sollen durchaus noch mehr Reception-Man-Bände erscheinen, und auf die kann man sich durchaus freuen. -aa
terrain vague. Lolli rennt. 20 Seiten, s/w mit Farbumschlag, Piccoloformat. Dreadful Gate Productions, www.vague.dreadful-gate.de
 
“Terrain vague” ist ein Serienkonzept, das auf den Gedanken aufbaut, daß in einer Stadt dort, wo keine Überwachungskamera hinsieht, Monster und Freaks hausen. In den Geschichten kommen dann jeweils Menschen, die verloren gehen oder auf sonstige Weise versehentlich dorthin gelangen, mit diesem Dunkelfeld in Berührung. Im vorliegenden Band ist es ein kleines Mädchen, dem ein vorwitziger Kobold seinen Lutscher stibitzt hat. Die kleine Geschichte ist recht reizvoll und von Jähling atmosphärisch dicht gezeichnet. In weiteren Folgen müsste er aber wohl diese unerkannten Monsterwinkel etwas stärker ausleuchten, statt ihre Existenz nur mal aufblitzen zu lassen. -aa
 
Geschrammel. Rock’n Comix # 2. 24 Seiten, s/w mit Farbcover, 2 Euro. Jens Natter, 5 Rue General de Gaulle, 68300 Saint-Louis, France, jensnatter@gmx.de
 
Der Aufruf zur Mitarbeit hatte Erfolg: Vier Zeichner haben Jens Natter Material für seine zweite Ausgabe geschickt. Moritz Stetter nimmt den Anspruch, Comics über Rockmusik und Jugendkultur zu machen, als einziger ziemlich ernst. Oliver Gfeller begnügt sich dagegen wie auch der Herausgeber selbst mit Kalauern à la Marilyn Manson sitzt vor Angst bibbernd im Zahnarztstuhl. Marco Lensch schildert das Verletzungsrisiko beim Stagediving. Die beiden Beiträge von Aaron Jordan scheinen dagegen mit dem Thema Rockmusik gar nichts zu tun zu haben. Naja, „Geschrammel“ muß sich noch entwickeln. Aber auch als Magazin, das sich bloß über die Rockkultur lustig macht, könnte es einen interessanten Gegenpol zu den Publikationen von Tauber/Dietz/Kawczynski (siehe weiter unten) bilden. -aa
 
Chnusper Comics # 7. 32 Seiten, s/w, DIN A 5. Oliver Gfeller, Bohrerhofstraße 10, 4123 Allschwil, Schweiz
 
Nach der vorigen Ausgabe mit Comics ohne Worte hat Oliver Gfeller sein Fanzine nun ganz auf Comics zugeschnitten und Musik-beiträge rausgeworfen. Vermutlich steht ihm nun einfach genug Comic-material zur Verfügung. Teresa Camara Pestana, Matjaz Bertoncelj (aus Slowenien) und Moritz Stetter haben jeweils mehrseitigeBeiträge beigesteuert – der von Moritz war allerdings in seiner eigenen „Genialen Welt“ schon zu bewundern. Der Rest stammt von Aaron Jordan, Jens Natter, Jan Prose, Claudio Parentela, Jesse Breytenbach, Herrn Suppe und dem Herausgeber selbst. Am witzigsten fand ich Olivers Rezensionshilfe. Man kann seine Zeichnungen damit nach Wahl als „Melange aus Jack Kirby, Thomas Ott und Moebius“ loben oder das Heft auch mit den Worten: „Wieso meint jeder dahergelaufene Depp, er könne Fanzines herausgeben oder gar Comics zeichnen“ in die Tonne treten. Meine Besprechung habe ich allerdings doch lieber selbst formuliert. -aa
 
Mischer # 2. Ca. 50 Seiten, farbig, 14 mal 5 Zentimeter Piccoloformat. www.cdot.de/mischer
 
Piccoloseiten, von einem Metallring zusammengehalten. 23 Leute haben an dieser Ausgabe mitgewirkt und jeweils einen Beitrag zum Thema „zwei“ beigesteuert: comicartige Bildfolgen, Illustrationen, Fotos, Collagen. Der Mischer steht für ein offenes Konzept. Trotz des vorgegebenen Themas und Formats ist hier Raum für viele verschiedene Ausdrucksweisen. Herausgeberin Claudia Bernhardt schreibt zur Erläuterung: Der Mischer „ist unabhängig, trägt sich selbst, ist digital gedruckt, die Erstauflage beträgt 40 Stück. Der Mischer dient als Forum, um sich einem Thema aus neuen/alten Perspektiven mithilfe von gewohnten/ungewohnten Mitteln zu nähern. Es findet keine Auswahl statt. Die Rechte bleiben bei den 22 + 1 Mitgemischten.“ -aa
 
Die Abferkelbucht, Ausgabe Rot (Januar 2003). 68 Seiten, s/w mit rotem Umschlag, DIIN A 5, 1,50 Euro. Ein Pro-jekt von Studenten der Bauhaus Universität Weimar. www.abferkelbucht.de.vu
 
Ein Fall für den Tierschutzbund? In diesem Heft werden auffällig viele Schweine, aber auch Igel und Fliegen und sogar der Weihnachtsmann getötet. Aber wahrscheinlich kriegt das wieder mal kein Schwein mit. Die „Abferkelbucht“ ist schließlich ein reines studentisches Kunstprojekt. Beteiligt ist unter anderem Claudia Bernhardt (siehe auch „Mischer“). Den meisten der Mitwirkenden ist das Medium Comic nicht unbekannt. -aa
 
Enpunkt # 40. 52 Seiten, s/w, DIN A 5, 1 Euro plus Porto. Klaus N. Frick, Postfach 24 68, 76012 Karlsruhe
 
Während Klaus sein Science-Fiction-Fanzine „Sagittarius“ aus Zeitgründen eingestellt hat, will er sein Egozine „Enpunkt“ wohl noch eine Weile herausgeben. Wie immer bietet es Konzert- und Plattenkritiken, Reiseberichte und sonstige Betrachtungen - alles ausschließlich aus der Perspektive des alleinigen Autors. Nur das Cover hat er sich von Frans Stummer malen lassen. Ich bin nicht sicher, ob Klaus sein Fanzine auch schon früher so oft als „Schmierheft“ bezeichnet hat, aber mir fiel das auf, weil mir diesmal eine ganze Reihe seiner Texte tatsächlich ziemlich belanglos erscheinen. So verdächtigt er einen Mann, den er im Supermarkt beobachtet, seine asiatische Frau „gekauft“ zu haben, berichtet, wie er in einer hessischen Kneipe nicht gegrüßt wurde oder wie ein Mann in einerGasthaustoilette nicht mehr pinkeln konnte, als er neben ihm auftauchte, und beschreibt eine ältere Frau, die ein „Punk“-T-Shirt trug. Alles Ereignisse, die Klaus etliche Zeilen wert sind, für mich aber eher in die Rubrik „So what“ gehören. Natürlich gibt es auch etliche Artikel, die das Lesen lohnen, aber der Anteil des Unerheblichen sollte möglichst nicht mehr steigen. -aa
 
Sol # 32. 68 Seiten, s/w mit Farbumschlag, DIN A 4. Perry-Rhodan-Fanzentrale, Postfach 2352, 76413 Rastatt. Phantastisch! # 11. 68 Seiten, s/w mit Farbumschlag, DIN A 4, 4,90 Euro. Verlag Achim Havemann, Harlingen 119, 29456 Hitzacker
 
Zwei ähnliche Magazine mit identischem Chefredakteur (Klaus Bollhöfener), wenn auch „Sol“ eigentlich nur für Mitglieder der offiziellen Perry-Rhodan-Fanclubs erhältlich ist und „Phantastisch!“ im Gegensatz dazu über Perry Rhodan kein Wort verliert. Daß es für die nach mehr als 40 Jahren immer noch zahlreichen Perry-Rhodan-Fans ein Sekundärblatt gibt, das auf Hochglanzpapier über Autoren, Themen und die Fans und ihre Aktivitäten selbst berichtet, leuchtet unmittelbar ein. In der vorliegenden Ausgabe geht es etwa um den früh gestorbenen Peter Terrid, um eine interdisziplinäre wissenschaftliche Tagung über die Endlos-Serie oder die Arbeit der Exposé-Redaktion. Zudem ist immer Moewig-Lektor Ulrich magin mit einem Comic vertreten. Interessanter und verdienstvoller erscheint es mir jedoch, daß Leute aus dem Perry-Rhodan-Umfeld auch über den Tellerrand hinausblicken und in gleicher Aufmachung wie bei „Sol“ über die internationale SF-Szene berichten. Da finden sich in der aktuellen Ausgabe zum Beispiel Interviews mit Alan Dean Foster und Tad Williams, ein Bericht über die deutsche SF-TV-Serie „Post Impact“ (RTL) und ein Essay über die erfundene Religion in Robert A. Heinleins Roman „Stranger in a strange land“. Am Rande werden auch SF-Comics wahrgenommen, hier geht es um Alexandro Jodorowskis Zyklus „Die Techno-Väter“. Daß das alles sehr fundiert und lesenswert ist, versteht sich von selbst. -aa
 
QI # 63 und 64. 20, bzw. 24 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes 168, Brasopolis MG 37530-000, Brasilien
 
Von diesem Fanzine habe ich nun schon etliche Ausgaben gesehen. Der Aufbau schien im wesentlichen immer gleich zu sein. Bei Ausgabe # 63 ist es etwas anders. Neben der neuesten Folge von Edgards Comic „“Mundo Feliz“ gibt es statt der üblichen ausführlichen Fanzinelisten andere redaktionelle Beiträge – Leserbriefe, Berichte über ein Festival oder eine Preisverleihung und anderes (wegen meinen fehlenden Portugiesisch-Kenntnissen leider nicht alles zweifelsfrei identifizierbar). Die Ausgabe # 64, die ich kurz vor Redaktionsschluß noch erhielt, hat wieder die gewohnte internationale Fanzineübersicht, darunter auch ein Hinweis auf PLOP. –aa
 
Neuere Kostenlos-Magazine:
 
Wieselflink # 2/2003. 32 Seiten, farbig, DIN A 5. Wieselflink, Brokhauser Weg 32 c, 26160 Bad Zwischenahn. www.wieselflink.de
 
Comicaze # 15 (Weihnachten 2003). 20 Seiten, teilweise farbig, DIN A 4. Rainer Schneider, Volkartstraße 4 a, 80634 München
 
Jason Lutes: Berlin Steinerne Stadt. 220 Seiten, s/w mit Farbcover, DIN A 5-Paperback, 14 Euro. Carlsen
 
Diesen Comicroman habe ich während einer Bahnfahrt von Berlin nach Fulda gelesen. Die Zeit reichte gerade, um den Schmöker zu bewältigen. Der Eindruck, den er hinterläßt, ist zwiespältig. Ein großes Panorama der Stadt Berlin breitet sich hier aus, und zwar in den Jahren ab 1928, die dem Nationalsozialismus unmittelbar vorausgehen. Man sieht, offenbar ziemlich dokumentarisch, Straßen und Häuser der Stadt, von denen viele später im Zweiten Weltkrieg untergegangen sein dürften. Man begegnet Menschen, Gezeichneten vom Weltkrieg 1914 – 1918, Künstlern der wilden Zwanziger, politisch Aktiven des linken und des rechten Spektrums, mitunter auch bekannten Persönlichkeiten wie dem Publizisten Carl von Ossietzky („Weltbühne“) oder dem Dichter Joachim Ringelnatz. Ich bin sofort bereit zu glauben, dass Jason Lutes für dieses Werk, von dem wir mit dem Band erst ein Drittel vor uns haben, ungeheure Recherchen betrieben haben muß. Die Lektüre war aber insgesamt kein Zuckerschlek-ken, weil der Autor auf eine richtige Handlung verzichtet. Sicher, wir begegnen Menschen immer wieder, insbesondere dem Journalisten Kurt Severing und der Kunststudentin Marthe Müller. Aber bei vielen Figuren, die in den willkürlich aufeinander folgenden Episoden auftauchen und auch wieder verschwinden, fragte ich mich: Ist die jetzt wichtig? Ist sie womöglich früher schon mal aufgetaucht? In welcher Beziehung steht die nun zu den anderen? Erschwerend kommt hinzu, dass Lutes zwar ein sehr fleißiger und detailgenauer Zeichner, aber nur ein mittelmäßiger Porträtist ist. Der 36-jährige Amerikaner, der neben Scott McCloud den Vater der Ligne Claire, Hergé, zu seinen Vorbildern zählt, macht es seinen Lesern nicht leicht. Beim zweiten Lesen kam ich mit „Berlin Steinerne Stadt“ etwas besser klar. Aber man unternimmt nun mal eine ziellose Reise durch die Stadt, schnappt überall etwas auf von den wirtschaftlichen und gesellschaftlichen Zuständen, von den Milieus und vom Lebensgefühl, sieht immer wieder mal den heraufdämmernden Nazi-Wahnsinn und muß am Ende mit den durcheinanderpurzelnden Eindrücken selbst klarkommen. Ein ungewöhnlicher Band, der jede Sammlung zieren dürfte, aber gewiß keiner von der Sorte „Lieblingscomic“.
 
Jackpot Baby! # 1/2003. 132 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 4 Euro. Jackpot Baby! Postfach 10 14 19, 04014 Leipzig, www.jackpotbaby.de
 
„Jackpot Baby!“ ist aus den Fanzines „Paranoid“ von Christopher Tauber und Steffi Dietz und „WackaWacka“ von Guido Kawczynski hervorgegangen. Durch die Fusion, an der auch der einstige „WackaWacka“-Mitarbeiter Nico Roicke beteiligt ist, hat sich das Projekt eindeutig einen Schritt weiterentwickelt. Es soll nun kein Fanzine mehr sein, sondern – ich würde es mal als Szeneprodukt bezeichnen. Der Inhalt setzt sich wie früher aus Comics, Bandinterviews, persönlichen Betrachtungen und zu einem kleinen Teil aus Rezensionen zusammen. Die Interviews, die Nico mit en Cardigans, der deutschen Band Readymade, Wir sind Helden und mit Bernd Begemann geführt hat und die den eindeutigen Schwerpunkt bilden, machen den Band für Fans alternativer Rockmusik interessant, und sie werden nicht mehr vom bescheidenen Äußeren eines Fanzines davon abgehalten zuzugreifen. „Jackpot Baby!“ ist aber kein typisches Musikmagazin. Persönliche Betrachtungen, auch wenn sie häufig lifestyle-orientiert sind, sind für Leser außerhalb des Fanzine-Universums sicher sehr gewöhnungsbedürftig. Das geht bis hin zu stilisierten Tagebuchaufzeichnungen von Christopher Tauber. Die Comics sind zwar in diesem Band ziemlich zurückgedrängt, auch wenn sich „You’re so... Mummy Honey“ von Christopher dank des großen Gesamtumfangs auf 27 Seiten ausbreiten kann, aber für manchen Leser vielleicht auch ein Störelement. Ob es für eine solche Publikation einen Markt gibt, muß sich erst noch herausstellen. Jedenfalls haben die vier Herausgeber wohl genau die Publikation gemacht, die sie machen wollten, und das mit professionellem Anspruch. Sollte „Jackpot Baby!“ nicht genug Leser finden, dann wäre das nicht so tragisch, wie wenn die Macher von vorneherein schon Kompromisse hinsichtlich des vermeintlichen Lesergeschmacks gemacht hätten. Das Magazin soll künftig zweimal jährlich erscheinen.
 
Stan Sakai: Usagi Yojimbo # 13. 106 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 12 Euro. Schwarzer Turm
 
Vielleicht kommt es nur mir so vor, aber zum Ende scheinen die Geschichten um den „Leibwächter Hase“, so die Übersetzung von „Usagi Yojimbo“, immer düsterer zu werden. Dabei sind die Protagonisten dieser Comics bei oberflächlicher Betrachtung anthropomorphe Tiere und damit Funnyfiguren. Vielleicht lag es daran, dass ich wusste, dass dies der letzte Band ist, aber ich hätte mich nicht gewundert, wenn der wackere Hase am Ende sein Leben ausgehaucht hätte. So zynisch wie Robert Crumb, der seinem „Fritz the Cat“ einen schmählichen Tod bereitete, um die verhasste Figur loszuwerden, ist Stan Sakai sicher nicht. Aber die hier versammelten vier Episoden sind so voller bitterer Rache, böser Vorzeichen und drohendem Tod, dass man davon nicht unberührt bleiben kann. Wie in den vorausgegangenen Ausgaben ist Sakai wieder ein Meister seiner Form. Seine ebenso strenge wie detailreiche Schwarz-weiß-Grafik ist makellos, und jede seiner Geschichten rundet sich perfekt in dem vorgegebenen Rahmen von 20 Seiten ohne irgendwelche Längen oder gezwungenen Raffungen. Usagi ist hier mit seinem Freund, dem mürrischen Nashorn Gen unterwegs – ein klassisches amerikanisches Buddy-Gespann. Seine Stoffe bezieht Sakai aber immer aus der japanischen Kultur. Immer sind hohe Werte im Spiel wie die Familienehre, Freundschaft und deren Verrat. Wie Sakai seine Konflikte mit leichter Hand aufbaut und stets originell auflöst, muß man gelesen haben. Schön, dass Mille Möller und Rochus Hahn vom „Schwarzen Turm“ nun die zunächst bei Carlsen erschienenen ersten Bände überarbeiten und nachdrucken wollen.
 
Panik Elektro # 1. 156 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 15 Euro. Schwarzer Turm
 
Levin Kurio hat sich mit seinem Wälzer „Schwarzweiß Comickult“ bereits Verdienste um die Veröffentlichung von Undergroundcomics in großem Stil erworben. Das Projekt wird allerdings von dem vorliegenden Band locker getoppt. Hier werden nicht nur rund 150 Seiten Comics geboten, sondern das Ganze auch noch mit einer thematischen Klammer zusammengehalten: „Autobiographischer Horror“ war das Thema, an das sich alle Mitwirkenden mehr oder weniger gehalten haben - Horror im Alltag kann ja das Spektrum von unangenehmen Körpergerüchen bis zu Massenvergewaltigungen abdecken. Zudem könnte „Autobiographischer Horror“ wohl als Motto über den meisten Comics stehen, die im Fan- und Alternativbereich veröffentlicht werden. Einen Großteil der Beiträge, die hier im Umfang von etwa drei herkömmlichen Fanzines von Herausgeber Wittek präsentiert werden, habe ich durchaus mit Gewinn gelesen. Sie stammen schwerpunktmäßig von der von Wittek so bezeichneten „Hamburg Connection“, also Calle Claus, Tom Plate, Eckart Breitschuh, Loppe, Haina Fischer, Oliver Ferreira, Till Lenecke und Rainer Baldermann. Auch Witteks Bruder Peter Wittke, den er in seinem PLOP-Jamcomic-Interview erwähnt hatte, ist auf einer Seite zu entdecken. Hinzu kommen klangvolle Namen wie Andreas Michalke, Mawil, Klaus Cornfield, Aha, Teer, Dice, Levin Kurio und Jo84 (der zudem mit seinem Fanzine „Sprühende Phantasie“ in einem informativen Artikel von Tilman Stieve vorgestellt wird). Als Alibifrau muß die rührige Teresa Camara Pestana aus Portugal herhalten. Neben ein paar mir unbekannten Leuten sind mindestens drei weitere Ausländer vertreten: Mike Diana, offenbar Amerikaner, Marcel Rujters, möglicherweise Holländer, und Chris Knox, eigentlich ein britischer Rockmusiker. Daß man dann insgesamt doch den Überblick verliert, liegt vor allem daran, daß die Mitwirkenden überhaupt nicht vorgestellt werden. Etwas irritiert auch, daß bei der Seitenzählung mittendrin einmal fünf Seiten komplett ausfallen und sechs Rezensionsseiten ziemlich willkürlich eine Buchstabennumerierung erhalten haben. Da hätte der Verlag eingreifen und ein wenig Ordnung schaffen müssen.
 
Jason: Psssst! 130 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 15 Euro. Hey, warte mal! 72 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 12 Euro. Schwarzer Turm
 
Mit Jason ist dem Schwarzen Turm, dem kleinen Verlag aus der Nähe von Fulda, eine Entdeckung
 
gelungen. Der norwegische Comickünstler rührt den Leser mit lakonischen, melancholischen Geschichten an. Lakonisch ist ebenso sein Zeichenstil wie seine Erzählweise. Jede Seite ist gleichförmig in sechs quadratische Panels eingeteilt, und darin agieren in der Regel Hunde- oder Vogelfiguren im Semifunnystil. Oft kommt Jason ohne Dialoge aus. Zuerst kam der Band „Hey, warte mal...“ heraus. Hier gelingt es ihm, die Geschichten aus der Perspektive seines Protagonisten zu erzählen, der zunächst ein Jugendlichen an der Schwelle zur Pubertät ist. „Hey, warte mal...“ – das sind die letzten Worte des Jungen, bevor sein bester Freund beim Spielen tödlich verunglückt. Das Erlebnis, seinen Freund in den Tod springen zu sehen, verändert sein Leben grundlegend. Er wird ernsthafter, er beginnt, nach dem Grund für den Verlust seines Freundes zu fragen. Er, der auch zuvor schon ein Träumer war, merkt, daß er in die oberflächliche, auf reibungsloses Funktionieren angelegte Welt der Erwachsenen nicht hineinpaßt. „Pssst“ bietet zehn Geschichten unterschiedlicher Länge, die nun konsequent auf Dialoge verzichten. Obwohl die Hauptfigur immer dieselbe ist, scheint Jason hier verschiedene Erzählweisen ausprobieren zu wollen. Die Geschichte vom verlassenen Liebhaber, der sich immer neue Varianten ausdenkt, wie er auf die Kränkung reagieren könnte, ist eher spröde. Surrealistisch dagegen ist zum Beispiel die von dem Mann, der plötzlich auf Schritt und Tritt von einem Skelett verfolgt wird. Doch wie Jason seine Comics auch anlegt, ihrem Zauber kann man sich kaum entziehen.
 
Horst # 11. 28 Seiten, farbig, Comicbookformat, 4 Euro. Schwarzer Turm
 
Die Abenteuer von Horst, dem sexwütigen Hasen, verkaufen sich beim Schwarzen Turm zwar nicht so rasant wie die richtigen Pornos, aber doch so gut, dass sie jetzt ohne Aufpreis rundum in Farbe präsentiert werden können. Ausgangspunkt waren Verhandlungen mit dem Carlsen Verlag, die Veröffentlichung zu übernehmen, die aber aus nicht näher erläuterten Gründen gescheitert sind. Wie auch immer: Die Serie hat sich offenbar eine ansehnliche Fangemeine erobert. Dabei ist sie nicht einmal richtig lustig. Das Besondere ist, dass das, was Horst bei seinen – oft vergeblichen – amourösen Beutezügen passiert, so aus dem Leben gegriffen wirkt, dass sich die Leser mit ihm identifizieren können. Das wird auch auf der Leserbriefseite explizit diskutiert: Horsts Erlebnisse bei der indischen Bhagwan-Sekte im vergangenen Heft könne man sich wohl schlecht aus den Fingern gesaugt haben, heißt es da. Wobei sich seine Erfahrungen meist auf alltäglichere Dinge wie Kreditkarten, Autos, Fitnessclubs und Bordelle beziehen. Und wenn Horst mal wieder zu spät merkt, dass er nicht genug Geld für eine Nutte hat, lacht man doch, weil es einem selbst passiert sein könnte. Autor Robi gehen die Ideen noch lange nicht aus, und Zeichner Jürgen „Geier“ Speh setzt sie in seinem soliden Semifunny-Stil recht ansehnlich um. Gute Voraussetzungen dafür, dass sich ein Comicheft auch abseits von Mainstream-Stoffen und Kiosktauglichkeit behaupten könnte.
 
Comixene # 66 bis 68/69 (Oktober 2003 bis Dezember/Januar 2004). 64 bzw. 96 Seiten, teilweise farbig, DIN A 4, 5 bzw. 8 euro. Verlag Jurgeit, Krismann & Nobst
Xoomic # 8 (Dezember 2003). 60 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5 Euro. Frank-Kemter-Verlag, Nürnberger Straße 111 A, 90762 Fürth, www.xoomic.de
 
Die Comixene hält ihre Erscheinungsweise weiter stbil und erfreut fast jeden Monat mit einem neuen bunten Heft. Nun will die Redaktion sogar das 30jährige Bestehen des Magazins feiern und sieht über die Tatsache, dass es zwischendurch von 1981 bis 1994 mal kurz nicht erschienen ist, großzügig hinweg. Aber natürlich ist „Comixene“ in der Comicszene ein wertvoller Markenname, der entsprechend gepflegt gehört. In den vorliegenden Ausgaben geht es unter anderem um Art Spiegelman, den neuen „Lucky Luke“-Zeichner Achdé, den Norweger Jason (siehe oben) und die Faszination von Hansrudi Wäscher. „Xoomic“ widmet sich in der neuen Ausgabe stark deutschen Zeichnern, nämlich Uli Oesterle, Willi Blöß und Kim Schmidt, vergleicht zudem die historischen Comics „Berlin Steinerne Stadt“von Lutes und „1928“ von Mainka, interviewt aber auch einen der derzeit populärsten französischen Zeichner, Zep („Titeuf“). Herausgeber Frank Kemter will nun bis Mai eine Kunstpause einlegen, um sein Magazin gründlich zu überarbeiten. Es ist von mehr Farbseiten und Comics die Rede.
 
Comic! Jahrbuch 2004. 260 Seiten, s/w mit Farbumschlag, DIN A 4-Album, 15,25 Euro. Interessenverband Comic e.V. ICOM, Danneckerstraße 12, 70182 Stuttgart, www.comic-i.com
 
Das Problem, daß das Jahrbuch der Zeit hinterherhinkte, ist ja nun seit der vergangenen Ausgabe beseitigt. Die neue Ausgabe war sogar pünktlich zur Frankfurter Buchmesse im Oktober fertig - was für Herausgeber Burkhard Ihme angesichts des beachtlichen Umfang des Werks ein Kraftakt gewesen sein dürfte. Er bedient sich zwar wieder geschickt des im ICOM vertretenen geballten Sachverstands, aber die Fäden liefen allein bei ihm zusammen. Die große Stärke des Bandes ist erneut die Vorstellung sehr unterschiedlicher Comicschaffender, meist im Interview. Das sind die ehemaligen Underground-Zeichner Mali Beinhorn und Werner Büsch, die seit inzwischen 25 Jahren ein Comicheft für die Genossenschaftsbanken produzieren, der Werbecomic-Profi Frank Ihler, der noch immer zu wenig bekannte Kim Schmidt und Nachwuchs-Star Sascha Thau. Unverdrossen werden auch wieder sämtliche Gewinner des ICOM-Independent-Comic-Preises interviewt. Schließlich wird auch der deutsche Comicmarkt vor allem in Form von Interviews untersucht. Hier kommen Georg F. W. Tempel und Kai-Steffen Schwarz von den Marktführeren Ehapa und Carlsen, die neuen Magazin-Herausgeber Martin Jurgeit und Frank Kemper und der Comicagent Hartmut Becker zu Wort. Interviews ersparen die Mühe, selbst einen einordnenden Artikel schreiben zu müssen. Mit diesem Schwerpunkt wird das Jahrbuch aber andererseits zu einem Forum, auf dem die unterschiedlichsten Akteuere der Comicszene zu Wort kommen. Das hat unbestreitber Charme. Wenn ein Interview nicht ausreicht, dann bemüßigt sich Burkhard einer Umfrage. Das hat diesmal, beim Thema Lettering, eindeutig besser funktioniert als beim vorangegangenen Jahrbuch mit den Zeichnerinnen. Und sonst: Neben den vielen Wortmeldungen blieb immer noch Platz für Marktberichte aus USA, Dänemark und den Niederlanden (da fehlen wieder wichtige Märkte), eine Betrachtung zu 50 Jahren „jugendgefährdende Schriften“, zur Zukunft des Comic Salons Erlangen und seiner möglichen Konkurrenzveranstaltung in Hildesheim und für zwei Artikel von Fachjournalist Martin Frenzel zu Faschismus in Comics (die wären wohl früher unter der Rubrik „Dossier“ gelaufen). Schließlich wird auch noch ein Seitenblick auf den Bereich Trickfilm geworfen, für den der ICOM ja auch zuständig ist. Die lange Aufzählung zeigt: Ohne das Jahrbuch würde in der Comicpublizistik Wichtiges fehlen. Es ist zweifellos auch beim ICOM in den richtigen Händen - wobei weitere helfende Hände sicher nicht schaden würden.
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 70
Besprechungen



Der längste Comicstrip der Welt. Ein Rekordversuch auf der Frankfurter Buchmesse 2003 für das Guinness World Records Buch. 82 Seiten, s/w mit zweifarbigem Umschlag, Albumformat, Frankfurter Buchmesse Ausstellungs- und–Messe GmbH. Für 6,50 Euro erhältlich bei ComicLaden, Berliner Straße 20, 60311 Frankfurt
 
Das Experiment ist geglückt. Hauptsächlich ging es wohl darum, den Comicschwerpunkt auf der Buchmesse durch einen Event aufzuwerten. Aber nebenbei entstand damit auch der offiziell längste Comicstrip, bestehend aus 593 Einzelbildern, die während drei Messetagen von den Besuchern gezeichnet wurden. Jedem Teilnehmer war der Inhalt seines Panels vom Dialog bis zu den handelnden Personen und der Kulisse genau vorgegeben. Die Geschichte, die sich um die Suche der Guinness-Redaktion nach dem bedeutendsten Weltrekord dreht, hatte sich zuvor „Mosaik“-Autor Hubertus Rufledt ausgedacht. Das Projekt ist in meinen Augen ein Fanprojekt im besten Sinne, denn jeder durfte mitmachen, der einen Stift halten konnte, und so ist ein an Zeichenstilen, grafischem Können und Bildideen sehr vielfältiges Werk herausgekommen, das allerdings aus diesem Grund nicht ganz einfach zu lesen ist. Dafür kann man stundenlang und mit wachsender Begeisterung nach Bekannten unter den Zeichnern suchen und findet zum Beispiel Naomi Fearn, Mawil, Moritz von Wolzogen, Stefan Dinter, Christopher Tauber und – US-Under-groundstar Gilbert Shelton, der eigentlich nur zum Signieren da war.
 
COMIc # 54 (Ostern 2004). 20 Seiten, s/w mit gelbem Umschlag, DIN A 5, im Tausch gegen Beiträge und Porto oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
Keine Rezensionen und Artikel diesmal, und Gerd Bonau hat die Seitenzahl seines Magazins deutlich reduziert. Der Siebenseiter „Non Suavis Genese“ von Wittek aus „Unangenehm“ und der Vierseiter „Die Invasion“ von Bernd Teuber beherrschen das abgespeckte Heft. Daneben finden sich Kurzcomics, Cartoons und Illustrationen von Gunnar Saeckler, Aaron Jordan, Teresa Camara Pestana und anderen. Nehmen wir mal an, daß dies nicht der künftige Veröffentlichungsstandard, sondern sozusagen eine Notausgabe ist.
 
Flicker Mouse # 1. 24 Seiten, s/w, DIN A 6. Andy Konky Kru, andy_konkykru@yahoo.com
 
Andy ist zu dem Entschluss gekommen, daß er keine Comics mehr herausgeben möchte. Das vorliegene Heftchen verteilt er eigentlich nur, um das mitzuteilen. Im Vorwort weist er vor allem auf seine sehr ansehnliche Website hin (http://bugpowder.com/andy), auf die er seine Aktivitäten schon großenteils verlagert hat. Aber gescheitert ist er vor allem an der Produktion und mehr noch am Vertrieb von Printprodukten. Er hat keinen Weg gefunden, seine Comics sowohl zu vertretbaren Kosten zu drucken als auch möglichst weit zu verbreiten und dabei rote Zahlen zu vermeiden. Dieses Geschäft soll nun ein anderer für ihn übernehmen. In dem Mini-Magazin sind folgerichtig abgesehen von einem Zweiseiter keine eigenen Comics von Andy enthalten, sondern Kostproben von internationalen Künstlern, mit denen Andy in Kontakt steht. Vertreten sind auch die Deutschen Ulf K. und Rainer Baldermann sowie Julie Doucet. Überwiegend handelt es sich um witzige kleine Kabinettstückchen, wie sie auch Andy selbst mit seiner „Konky Kru“ bevorzugt. Bleibt zu wünschen, daß er den Verleger findet, der ihn groß herausbringt.
 
Weissblechs weltbeste Comics # 12. Schlüpferlüpfende Manga Schlampen. 32 Seiten, s/w mit Farbumschlag, Comic-bookformat, 3,90 Euro. Weissblech Comics, Am Hang 9, 24223 Raisdorf, www.weissblechcomics.com
 
Für den Manga-Boom ist Levin Kurio eigentlich auch schon ein paar Jahre zu alt. Trotzdem war es für Weissblech sicher naheliegend, sich im Rahmen der Parodien auch mal den fernöstlichen Kulturkreis vorzunehmen. Herausgekommen ist eine typische Weissblech-Produktion mit einer hanebüchenen Story und allenfalls ordentlicher Grafik. Zielsicher wurden als oberflächliche Effekte einige gut wiedererkennbare Manga-Versatzstücke eingebaut, ansonsten scherte man sich nicht viel um das zu parodierende Material – was dem Erfolg des Hefts freilich keinen Abbruch tun dürfte. Spannender nimmt sich die beigelegte DIN A 6-Leseprobe des kommenden neuen Magazins „Horror-Schocker“ aus. Die gut 10 Seiten über das düstere Treiben eines mittelalterlichen Hexenjägers, gezeichnet offenbar von Roman Turowski, enden mit einem schönen Cliffhanger und machen wirklich Lust auf mehr.
 
Nerds (Oktober 2003). 40 Seiten, s/w, DIN A 6 quer. Blind Pigture Industry
 
Hinter „Blind Pigture Industry“ (das schreibt sich wirklich so; im Verlagssignet grüßt winkend und mit verbundenen Augen ein Schwein) verbergen sich „drei junge, ambitionierte Comickünstler vom Niederrhein“, so die Selbstauskunft im Vorwort. Sie praktizieren die klassische amerikanische Arbeitsteilung von Texten, Zeichnen und Inken. Das vorliegende Heft fällt zunächst durch sein ungewöhnliches Format auf: DIN A 6, quergeheftet. Ein Piccolo soll es offenbar nicht sein. Strenggenommen handelt es sich auch nicht um einen Comic, sondern um eine Cartoonserie im Stil von Witteks „Comiczeichner sind...“ Hier werden wir also über den Charakter von Nerds aufgeklärt. Soll man dem Band glauben, so dreht sich ihr Leben bevorzugt um PCs, „Star Wars“-Filme und DC-Superhelden. Womöglich haben sich die drei BPI-Künstler hier selbst porträtiert. Das Heft ist ganz unterhaltsam. Trotzdem würde ich gern mal einen richtigen Comic von den Dreien sehen.
 
Quadrinhos Independentes (QI) # 65 und 66. 20 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes 168, Brasopolis MG 37530-000, Brasilien
 
Zwei weitere Ausgaben des beständigen brasilianischen Comicfanzines, dessen Titel in Ausgabe 65 endlich einmal ausgeschrieben war. „Quadrinhos“ könnte auf vierteljährliche Erscheinungsweise hindeuten. Die Nummer 66 fällt wieder etwas aus dem Rahmen, weil anstelle des Fortsetzungscomics Artikel und vermutlich Leserbriefe aufgenommen wurden.
 
Panel # 23. 76 Seiten, s/w mit Farbumschlag, Comicbookformat, 3 Euro. Panel – ambixious Comix, Postfach 102665, 28026 Bremen, www.edition-panel.de
 
Panel war Anfang der 90er Jahre eines der ersten Fanzines, dessen Macher höher hinauswollten und konsequent Comics mit künstlerischem Anspruch zu präsentieren versuchten. Für dieses Projekt gab’s dann auch Fördermittel von der Hansestadt Bremen. Die strenge Auswahl, die zu treffen war, bedingte oft größere zeitliche Abstände zwischen zwei Ausgaben. Sie hielten dann aber auch ein beachtliches Niveau – zumindest in grafischer Hinsicht. Auch der vorliegende Band ist eine sorgfältige, sehr ansprechende Kompilation von stummen Comics. Die Beteiligten verstehen es, Geschichten ohne Worte zu erzählen. Dafür stehen teilweise schon die prominenten Namen: Ulf K., Markus Grolik (der aber wohl auch aus Promotionzwecken für sein neues Buch „On the Run“ aufgenommen worden ist), Hannes Neubauer, Haimo Kinzler, Wittek oder Rautie. Künstlerisches Neuland sind die Comics ohne Worte zwar schon lange nicht mehr, aber eine überzeugende Sammlung ist den Bremern zweifellos gelungen.
 
Markus Grolik: On the Run. 52 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 8,50 Euro. Panel – ambixious Comix, Postfach 102665, 28026 Bremen, www.edition-panel.de
 
Münchens Kostenlos-Comicmagazin „Comicstrich“ erscheint schon seit längerem nicht mehr, und auch von seinem Mitarbeiter Markus Grolik hat man seit einiger Zeit nichts mehr gehört. Jetzt meldet er sich mit einem Marathonlauf durch die Phantasie zurück. 42 Comicseiten lang kämpfen sich skurrile wanzen-ähnliche Wesen stumm durch jeweils zwölf Panels. Für diese Parasiten geht es um den möglichst reibungslosen Wirtswechsel. Denn jedesmal, wenn sie sich aufatmend im Haar, auf dem Hut oder in der Kleidung eines Zeitgenossen niedergelassen haben, müssen sie alsbald wieder flüchten und nach dem nächsten Domizil Ausschau halten. Dabei stürzen sie in die Tiefe, durchschwimmen die Kanalisation, landen mehrfach im Kochtopf oder auf Nahrungsmitteln und zum Schluß gar in einer mythischen Phantasiewelt, was Markus Grolik jeweils mit einem souveränen Groteskstil in Szene setzt. Eine fortlaufende, sinnvolle Handlung ergibt sich daraus nicht, ist vom Künstler aber auch an keiner Stelle beabsichtigt. Vielmehr wirkt das Album wie eine endlose Folge von Cliffhangern. Man bleibt von Seite zu Seite gespannt, wohin sich die Tiere beim nächsten Mal wohl in Sicherheit bringen werden.
 
Monochrom. Sammelband # 15 – 23. Ca. 500 Seiten, s/w mit rotem Umschlag, DIN A 4, 15 Euro. Monochrom, Grenzfurthner + Fürlinger, Schönbrunner Straße 32, A- 1050 Wien, www.monochrom.at
 
In diesem österreichischen Underground-Magazin, das man in dem vorliegenden dicken Sammelband in aller Ausführlichkeit kennenlernen kann, geht es hin und wieder auch um Comics. Vereinzelt werden Comics abgedruckt. Ich kannte das Magazin bisher noch nicht und konnte auch nicht ermitteln, wer konkret es mir aus welchem Grund zugesandt hat (Gerd Bonau scheidet in diesem Fall wohl aus). Die Haupt-zielrichtung von „Monochrom“ ist im übrigen nicht so einfach zu ermitteln. Man liegt aber vermutlich nicht völlig falsch, wenn man annimmt, daß es hier vorrangig um höheren Nonsense geht.
 
Underdog # 7. Autonomes Zentralorgan Willdeshausen. 72 Seiten, s/w, DIN A 5, 2,50 Euro. Fred Spenner, Narzissenweg 21, 27793 Wildeshausen, www.underdogfanzine.de
 
In Wildeshausen – das liegt in Niedersachsen, südlich von Bremen – ist Punk noch nicht tot. Im Gegenteil, hier gibt es sogar einen Punkkönig, nämlich „Richie den Dritten“. Der Hauptgrund, warum ich auf diesen Ort komme, ist, dass hier ein Punk-Fanzine herausgegeben und ein Cassettenlabel („60 Minuten Kulturschock“) betrieben wird, beides unter dem Namen Underdog. Im Magazin finden sich hauptsächlich Bandinterviews (mit Muff Potter, Dead Boys, End of April), Plattenkritiken, politische Kommentare sowie zur Auflockerung zwei Comics von Moritz Stetter und Oliver Gfeller. Comicinteresse beweist auch das Interview mit Gerhard Seyfried. Underdog-Herausgeber Fred Spenner, der ansonsten auch der einzige Autor zu sein scheint, möchte aber künftig mehr Grafisches ins Heft nehmen. Vielleicht bekommt der eine oder andere demnächst Post von ihm.
 
Neuere Kostenlos-Magazine:
 
Blümchens Schacht # 1 (Frühjahr 2004). 36 Seiten, s/w mit Farbumschlag, DIN A 4, kostenlos. Ans de Bruin, Stephanstraße 53, 35390 Gießen. www.bluemchens-schacht.de.vu
 
In der hessischen Universitätsstadt Gießen gibt es wieder ein Kostenlos-Comicmagazin. Pionierarbeit hatte hier das Magazin „Kainsmal“ geleistet, von dessen Redaktionsteam noch Andreas Eickenrodt an Bord ist. Das Kommando des Schiffs hat aber offenbar Ans de Bruin, eine aus Franken zugewanderte Grafikerin. Die Debütnummer macht einen guten Eindruck. Bei dem relativ großzügigen Umfang von 36 Seiten (bei rund sechs Seiten Anzeigen) können die meisten Mitwirkenden mehrseitige Comics beisteuern. Ob das Nicht-Comicfans, die sich das Heft ja auch mitnehmen sollen, auch mögen, muß sich allerdings erst herausstellen. Stories und Zeichenstile sind jedenfalls so unterschiedlich, daß keine Langeweile aufkommt. Sogar ein Fotocomic ist dabei, der – auch ohne daß man die Beteiligten kennt – ziemlich komisch ist. Ach ja, vielleicht sollte der Sinn des Titels noch geklärt werden: Ein zweifelhaftes Wahrzeichen Gießens ist das sogenannte Elefantenklo, eine Fußgängerbrücke am Anfang der Haupteinkaufszone Seltersweg. Dieses Bauwerk ist nicht nur ausnehmend häßlich, sondern auch mit einem kreisrunden Loch ausgestattet, dem es seinen respektlosen Namen verdankt. Und „Blümchen“ soll offenbar an ein Kindern wohlbekanntes Rüsseltier erinnern. Im Juli/August soll die Dickhäuter-Sitzung fortgesetzt werden.
 
Stan Sakai: Usagi Yojimbo # 1. Die Kopfgeldjäger. 84 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 12 Euro. Schwarzer Turm
 
So fing also alles an mit dem „Leibwächter Hase“, dem Samurai im Funnylook. Der Carlsen Verlag hatte schon einmal mit der Veröffentlichung der japanisch-amerikanischen Serie begonnen, sie aber nach acht Ausgaben vorzeitig eingestellt. Der Schwarze Turm hatte die Reihe bis zum letzten, dem dreizehnten Band, weitergeführt und hat jetzt auch den Ehrgeiz, die ersten Ausgaben in neuer Ausstattung erneut aufzulegen. Nun sollen im Gegensatz zu den Carlsen-Bänden auch alle Usagi-Episoden enthalten sein. Eine richtige Origin-Geschichte ist im ersten Band nicht zu finden. Der Hase erzählt lediglich im Rückblick, daß sein Herr in der Schlacht starb und er seitdem ziellos umherstreift. Usagi verdingt sich bei jedem, der dafür bezahlen kann. Häufiger noch, wie man noch sehen wird, mischt er sich ungefragt in Streitigkeiten ein, wenn er das Gefühl hat, daß jemandem Unrecht geschieht. Von den Tierköpfen sollte man sich nicht irritieren lassen: Hier geht es todernst und mitunter ziemlich blutig zu. Zuletzt erzählte Autor und Zeichner Stan Sakai ungeheuer kunstvolle und elegante 20-Seiten-Geschichten. Am Anfang sind sie noch etwas einfacher gestrickt: ein Konflikt wird aufgebaut, und dann mäht der wehrhafte Hase seine Gegner reihenweise nieder. Teils muß sich Sakai auch mit zehn Seiten begnügen, wenn er in fremden Magazinen veröffentlicht. Es wird interessant sein, die Entwicklung dieser ungewöhnlichen Serie weiterzuverfolgen.
 
Comixene # 70 – 72 (Februar bis April 2004). Je 64 Seiten, teilweise farbig, DIN A 4, 5 Euro. Verlag Jurgeit, Krisman & Nobst
 
Die Comixene hat längst wieder einen Routinestatus erreicht, der regelmäßige Rezensionen eigentlich unnötig erscheinen läßt. Ungewöhnlich und interessant erscheint mir allerdings, daß sich die neuen Comixene-Macher neuerdings um die Wurzeln dieser legendären Zeitschrift kümmern. Äußerer Anlaß dafür ist das bevorstehende 30jährige Jubiläum der Comixene (wobei man aber die vielen Jahre, in denen das Magazin überhaupt nicht erschien, schon mitzählen muß. Die Anfänge, die auch die Älteren von uns kaum mehr mitbekommen haben dürften, werden hier aus erster Hand geschildert, nämlich in Interviews mit den damaligen Machern. In der März-Ausgabe ging es los mit einem Interview mit Thilo Rex, der 1974 ein Fanzine namens „Comics Maker“ aus der Taufe hob. Rex holte dann den allseits bekannten Andreas C. Knigge ins Boot, bevor er selbst das Interesse an dieser Art Magazin verlor und ausstieg. Im April schildert dann Knigge seine in entscheidenden Punkten abweichende Sicht der Dinge.
 
Schwarzgeld
Harry Luck hat seinem ersten Krimi „Der Isarbulle“ (siehe PLOP # 68) nach weniger als einem Jahr einen zweiten folgen lassen: „Schwarzgeld“ (ca. 200 Seiten, KBV Verlags- und Mediengesellschaft mbH, Hillesheim, ISBN 3 – 937001 – 16 – 6, 8,90 Euro). Die Hauptpersonen des „Isarbullen“ sind erneut im Einsatz, und der Autor ist auch weitgehend seinem Stil treu geblieben. Allerdings fehlt diesmal die Ironie der Anspielungen auf Fernsehkrimis á la „Derrick“. Stattdessen reichert er seine Story um Elemente eines Politthrillers an. Ein einflußreicher oberbayerischer CSU-Po-litiker wird erschossen und der Ministerpräsident Kurt-Anton Stadlbauer (den ich mir eher als eine Art Max Streibl als wie Edmund Stoiber vorstelle) bei einem Attentat lebensgefährlich verletzt. Statt geduldig einen Verdächtigen nach dem anderen zu befragen, müssen die Ermittler diesmal in Dokumen-tenmappen der bayerischen Staatskanzlei herumschnüffeln und die größenwahnsinnigen Pläne eines Starnberger Industriellen belauschen. Die Stärke des Romans liegt in der einfühlsamen und genauen Beschreibung der Arbeitsweise von Kripobeamten und Journalisten (der vorwitzige Polizeireporter Frank Litzka ist auch wieder dabei). Harry Luck kennt sich nicht nur in seinem eigenen Metier (er ist Agenturjournalist in München), sondern auch dem der Polizei gut aus und hat Sinn für Details (etwa wenn er eine etwas unbeholfene Vernehmung eines Leitenden Oberstaatsanwalts schildert, der so weit aufgestiegen ist, daß er mit solcher Routinearbeit kaum noch zu tun hat). Er hat da, wie das Nachwort verrät, in der realen Welt recherchiert. Die Räuberpistole von der Korruption in der bayerischen Staatsregierung, die er auftischt, wirkt dagegen eher unglaubwürdig. Zwar verzichtet er auf eine große Verschwörungstheorie. Aber die meisten Figuren sind zu naiv angelegt, als daß man ihnen ihre Rolle in diesem Skandalfall abnehmen würde. Die Pressesprecherin der Staatskanzlei schmeißtr aus Empörung darüber, daß ihr ein Maulkorb verordnet wird, ihren Job hin. Kriminalhauptkommissar Sonne, der sich darüber aufregt, daß ihm sein Fall aus Staatsraison entzogen wird, muß sich ein paar Seiten weiter erstmal darüber aufklären lassen, welcher Mißbrauch mit Parteispenden getrieben werden kann. Zu welchen Zwecken der Industrielle sich nun tatsächlich die Staatsregierung „gekauft“ hat, bleibt verschwommen. Reporter Litzka erwacht, nachdem er dem großen Dunkelmann in die Falle gegangen ist, gerade so lange aus seiner Ohnmacht, um mitzuhören, auf welchem Weg er beseitigt werden soll – das ist ein Klischee, das inzwischen wohl nicht einmal mehr bei „Jerry Cotton“ benutzt wird.  aa
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 71
Besprechungen




Spong: Die zu Berge stehen. 36 Seiten, s/w mit Farbumschlag, DIN A 4. Burrito Press
 
Es war wie immer nach dem Comic Sa-lon: Man kommt mit einem Haufen Comics nach Hause und beginnt nun, sich mit den erworbenen Schätzen näher zu beschäftigen. Der eine oder andere Band, hinter dem man schon Jahre lang ver-bissen her war, entpuppt sich nun als gelinde Enttäuschung. Dafür schlägt man achtlos mitgenommene Gelegenheitskäufe auf, die sich als kleine Sensation herausstellen. Zu letzterer Kategorie rechne ich diesen Band von Spong. Spong saß am Rand des Fanzinestands. Ich habe ihn eigentlich kaum beachtet, wollte dann zumindest mal „Guten Tag“ sagen und habe mehr aus Höflichkeit sein Werk mitgenommen. Spong führt den Leser hier auf knappem Raum durch sein bisheriges comic-zeichnerisches Oeuvre mit Beispielcomics und Erläuterungen dazwischen, die seine Suche nach seinem persönlichen Stil dokumentieren. Das klingt alles sehr überzeugend, und Spong ist zudem ein sehr talentierter Funnyzeichner. Nach einer eigenen Darstellung hat er im wesentlichen drei Phasen hinter sich. In der mittleren hat er versucht, so wie Ralf König zu zeichnen, was ganz gut funktioniert hat. Leider hat Spong damals auch die Gags von Ralf König großflächig kopiert. Auf jeden Fall kann er aber die Befindlichkeiten von jungen Leuten in der Großstadt ziemlich treffend und sympathisch darstellen. Wirklich nervig ist er nur, wenn er als 30-Jähriger mit dem Älterwerden hadert, was er in immerhin zwei Comics ausführlich ausbreitet. -aa
 
Weißblechs Weltbeste Comics # 13. Die Roten Rächer (Juni 2004). 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 3,90 Euro. Weißblech Comics, Am Hang 9, 24223 Raisdorf
 
Wenn es die West-Coast-Rächer gibt (allerdings nur als “West Coast Avengers” in USA), warum sollte es dann nicht auch die Roten Rächer geben? Die Idee springt sofort ins Auge: Das Konzept des Superheldenteams als Verteidiger von Freiheit und Kapitalismus umdrehen und die Combo den Kommunismus retten lassen. Dazu ist das Cover noch ganz eindeutig von Altmeister Jack Kirby inspiriert. Wer die Anspielung versteht, ist da sofort versucht, bei diesem Heft, der mei-nes Wissens ersten Übernahme von ausländischem Material bei Weißblech, zu-zugreifen. Ursprünglich erschien der Comic in Schottland, gezeichnet von „Barr und Regan“. Nun weist der Band, der eigentlich nur eine Parodie sein kann, einige Besonderheiten auf, die ihn ziemlich merkwürdig erscheinen lassen. Zunächst ist das Werk, anders als das Cover vermuten läßt, nicht unbedingt im typischen amerikanischen Superheldenstil gezeichnet. Die Grafik erinnert – bis auf ein paar eingestreute Kirby-Zitate – eher an das britische, aus „Kobra“ bekannte Artwork, was man aber als Verfremdungseffekt auffassen könnte. Die Story wartet zwar mit ein paar witzigen Ideen auf: Fidel Castro hat einen bemerkenswerten Kurzauftritt, und Statuen von George Washington und Abraham Lincoln entpuppen sich als Tarnung für US-Raketen-silos. Aber insgesamt handelt es sich hier doch nur um den altbekannten Kampf Gut gegen Böse. Der amerikanische Oberkapitalist ist eben unerträglich angeberisch und unsympathisch, während die sowjetischen Superhelden idealistisch und vaterlandsliebend bis zum Umfallen sind. Was sie an ihrem Land und System lieben, läßt sich aber verständlicherweise nur schwer darstellen. Außerdem gebärden sie sich nicht unbedingt kommunistisch, sondern bloß superheldenmäßig. Ein überzeugender sowjetischer Held ist eben doch eher zum Beispiel der unprätentiöse Polizist aus „Gorki Park“, während man sich einen Superpatrioten wie Captain America letztlich nur als Amerikaner vorstellen kann. Trotzdem ein interessanter Band, der jedenfalls, wie fast immer bei Weißblech, kurzweilige Unterhaltung bietet. -aa
 
Hammerharte Horrorschocker # 1 und 2 (Juni/Juli und August/September 2004). Je 32 Seiten, farbig, Comicbookformat, 3,90 Euro. Weißblech Comics, Am Hang 9, 24223 Raisdorf. www.weissblechcomics.com
 
Im Vergleich zu Hefttiteln wie „Notgeile Töchter des Atoms“ nimmt sich dieser nachgerade sachlich aus. Er trifft allerdings nur zu, wenn man den Inhalt mit dem der zahmen Bastei-„Gespenstergeschichten“ vergleicht. Richtige Horrorschocker wie etwa vom großen Vorbild des Verlegers, EC, oder auch den osthessischen Eisenfresser Comix sehen dann doch noch mal etwas anders aus. Beide Reihen haben allerdings den Nachteil, daß sie schon seit geraumer Zeit nicht mehr auf dem Markt sind. Levin Kurios Horrorschocker sind dagegen sogar mitunter am Kiosk zu finden, und ganz schlecht ist das Material dann doch nicht. Levin und seine Mitstreiter Rainer F. Engel und Roman Turowski haben grafisch die Schwächen der Fanzine-Phase endgültig überwunden. Insbesondere die Colorierung ist sauber und gekonnt. Die Zeichnungen wirken aber andererseits auch nicht so glatt, daß sie nicht mehr zu den Horror-Sujets pas-sen würden. Bei den Stories bemühen sich die Macher um angemessene Morbidität. So originell und überraschend wie die großen Vorbilder sind sie meistens nicht, aber vielleicht wäre das auch wirklich zuviel verlangt. -aa
 
Moerser Attack Collection # 3. 40 Seiten, s/w mit Farbcover, DIN A 5, 2,50 Euro.
 
Das Fanzine-Po-dium beim Erlanger Comicsalon wurde freundlich aufgenommen. Aus den Reihen des Publikums wurde sogar – angesichts der durchgehend schon etwas gesetzteren Herren, die die Fanzine-Szene vertraten – die Frage aufgeworfen, ob es denn heute immer noch neue Fanzines gebe. Ich für meine Person bin davon überzeugt, daß die Fanzineproduktion in gleichem Umfang weitergeht, und das vorliegende Magazin kann als kleiner Beleg dafür dienen. Heutige Fanzines zirkulieren freilich in ihren eigenen Szenen, so daß wir Älteren von ihnen nicht immer etwas mitbekommen. Die Macher von „Moerser Attack“ habe ich beim Salon kennengelernt – sie saßen mit am Fanzinestand. Allerdings habe ich, bedingt durch den Altersunterschied, nicht viel mit ihnen gesprochen, abgesehen von der Zusage, daß ich ihr Heft in PLOP rezensieren werde. Ganz neu ist es nicht mehr. 2001 formierte sich eine Gruppe von Comicbegeisterten in Moers, darunter Robert und Patrick Rennwanz und Jen Satora. Seit 2002 haben sie mindestens drei Ausgaben ihres Fanzines herausgebracht. Die Mitwirkenden sind so etwa um 1980 geboren, und ihr Magazin hat zunächst einige Ähnlichkeit mit Fanzines früherer Generationen. Die zeichnerischen Einflüsse sind naturgemäß andere, nämlich die Superheldencomics der neueren Generation und Mangas. Die Stories sind ausnahmslos kurz und sollen eher grafisch überwältigen als inhaltlich überraschen. Dazu paßt, daß es viele Splashpanels, Coverentwürfe und eine umfangreiche Sketch-Gallery gibt. So etwas wäre früher weder angeboten noch von Fanzine-Herausgebern in solcher Breite ab-gedruckt worden. Fürs Cover haben sich die Moerser schließlich einen richtigen Könner geholt – Karsten Schreurs. Insgesamt bleibe ich bei meinem Urteil: Fanzines gibt es heute ebenso wie früher, und sie haben sich in den letzten 20 Jahren nicht unbedingt sehr verändert. -aa
 
Bernd Teuber: Terror im 5. Bezirk. 56 Seiten, s/w mit Farbumschlag, DIN A 5-Album, 8,70 Euro. UOE Comics
Terror im 5. Bezirk? Klingt ein bißchen wie ein französisches Departement oder Arrondissement. Aber wo diese Geschichte spielt, ist eigentlich völlig unwichtig. Was eigentlich auch für fast alle übrigen Bestand-teile dieser Story gilt. Bernd schustert eine relativ anspruchslose Mystery-Story um einen befreiten bösen Dämon zusammen, der mit knapper Mühe durch ein spezielles Amulett gestoppt werden kann. Für das Album sprechen der humoristische Einschlag der Story und das gewohnt saubere, ansprechende Artwork in Bernds typischem Schwarzweiß-Stil. Das eigentlich Interessante an dem Buch ist aber der Verlag. Der bittet um Einsendung von Comics und garantiert den Vertrieb seiner Bücher in Buchhandlungen und Comicläden. Auf jeden Fall kann man sie per ISBN-Nummer bestellen. Im Internet ist der Verlag unter www.UOEcomics.de zu finden. Leider erfährt man dort über ihn nicht viel Weiteres. Wer Material für ein Comicalbum in seiner Schublade hat, sollte aber vielleicht mal Kontakt aufnehmen. -aa
 
Bildstörung # 9. Zeitschrift für frische Worte und Bilder. 48 Seiten, s/w, DIN A 5, 3,50 Euro. Roman Castenhzolz, Triftstraße 47, 53919 Weilerswist
 
Roman Castenholz gewährt mir hier einmal Einblick in sein eigenes, eigenwilliges Projekt. In seinem Magazin mischt er reflexive Texte, Rezensionen, Lyrik, Comics und Illustrationen. Das hat alles Kunstanspruch, fordert jedenfalls zur Auseinandersetzung heraus. Roman hat eine ganze Menge Mitarbeiter. Wir kennen auf jeden Fall die Comiczeichner Lukas Mannhart, Gunnar Saeckler, Wittek und Teresa Camara Pestana. Es paßt aber alles sehr gut zusammen. Dieses Heft kann ein Gegenmittel sein gegen zu viel Fastfood-TV oder Yellow-Press-Zeitschriften. -aa
 
Panel # 24. 76 Seiten, s/w mit Farbumschlag, Comicbookformat, 3 Euro. Panel – ambixious comix, Postfach 102665, 28026 Bremen.
 
Zunächst eine wichtige Korrektur: Bert Dahlmann legt Wert auf die Feststellung, daß es für Panel niemals Fördermittel der Hansestadt Bremen gab (wie ich letztes Mal fälschlich behauptet habe). Dagegen bleibt es dabei, daß „Panel“ ein beachtliches Niveau hält. Eine absolute Entdeckung ist für mich Comic-zeichner Nic Klein, der offenbar in der Liga von Bill Sienkiewicz oder Dave McKean spielen möchte und sich nicht verstecken muß. Ansonsten überwiegen diesmal lustige Comics, etwa von Peter Puck, Haimo Kinzler, Hannes Neubauer, Jan-Peter Meier, Rautie, Tim Dinter und Christian Moser. Auch die zurückgenommene Komik von Ulf K. paßt da sehr gut dazu. Alles sehr empfehlenswert. -aa
 
Moritz Stetter: Grauzone # 2. 36 Seiten, s/w, DIN A 5, 1,50 Euro. Moritz Stetter, bei Rohwedder, Wehlbrook 3, 22143 Hamburg. www.mocomix.de
 
Die Fortschritte von Moritz Stetter sind vielleicht am ehesten daran abzulesen, daß die verschiedenen Ge-schichten in diesem Band als Einheit erscheinen. Es sind auf jeden Fall mehrere Geschichten, wenn auch Moritz häufig auf Titel verzichtet. Aber alles spielt in seiner persönlichen Welt und geht bruchlos ineinander über, selbst wenn Moritz zwei Seiten mit seinen eigenwilligen Charakterstudien einflechtet. Worum es geht, ist für jemanden, der sich mit seinem Werk schon mal beschäftigt hat, nicht schwer zu ermitteln: Der Held ist nach wie vor für die eher oberflächliche Welt zu empfindsam, stößt sich noch immer an unsinnigen Jugendkultur- und Zeitgeisterscheinungen und sucht nach seinem Platz, seinem Sinn in dem ganzen Schlamassel. Wenn man sich mit diesen Arbeiten ausführlicher beschäftigt, wird man ihrer allerdings nicht überdrüssig, sondern sieht den Künstler dahinter immer deutlicher hervorscheinen. Was ein Indiz für wahre Kunst sein könnte. Ob es für Comics von Moritz Stetter allerdings ein größeres Publikum gibt, ist eine ganz andere Frage. –aa
 
Baustrips. Acht Piccolos, 20,5 mal 7,5 Zentimeter, s/w mit gelbem Umschlag, 6 Euro. Edition Rostfraß, c/o Wittek, Schulweg 29, 20259 Hamburg
 
Diese Publikation, die mir Wittek beim Comic Salon in die Hand drückte, ist zwar schon etwas älter. Da ihre Entstehung im Wittek-Jamcomic-Interview (PLOP # 66) erwähnt wurde, soll sie jetzt auch durch eine Besprechung gewürdigt werden. Wittek berichtete da-mals: „Am letzten Wochenende, vom 7. bis 8. Dezember (2002), haben Maikel Das, Haina Fischer, Calle Claus, Fabian Stoltz, Olli Ferreira & René Rogg-mann und ich uns mit Till Lenecke auf dessen Arbeits- und Bauspielplatz zum Arbeiten getroffen. Im „Psst-Hausaufgabenzimmer“ wollten wir innerhalb von 48 Stunden jeder ein Strip- bzw. Piccoloheft zum Thema Silvester mit insgesamt 24 Seiten machen. Dort habe ich die Konstellation Nick Knatterton – Hannelore Kohl – Der Unbeknackte wieder aufgegriffen, und wieder war es ein großer Spaß, relativ unbewußt (und diesmal unter Zeitdruck!) eine Geschichte zu erzählen.“ Wittek gab auch noch gleich zu, daß nur er und Haina in den 48 Stunden wirklich fertig geworden sind. Trotzdem ist den meisten Piccolos das Experimentelle deutlich anzumerken. Schwierig dagegen zu erkennen, inwieweit sich die neun Zeichner (René Roggmann und Oliver Ferreira arbeiteten bei ihrem Piccolo zusammen; hinzu kam noch Roland Trost, der eigenartigerweise seinen Piccolo französisch textete) gegenseitig beeinflußt oder ob sie eher nebeneinanderher gearbeitet haben (Calle Claus ließ sich jedenfalls von Wittek und Haina assistieren). Den geschlossensten Eindruck macht der Comic „Julie Judy & Sylvester“ von Fabian Stoltz. Am besten gefallen hat mir „Hide from inside“ von Haina, weil er es schafft, in offensichtlich ehrlicher Weise von sich zu erzählen und dabei auch den improvisierten Charakter seines Comics deutlich zu machen. Enttäuschend ist aber keiner der acht Comics. -aa
 
Basel brennt. Basler Comicgeschichten. 40 Seiten, s/w mit Farbcover, DIN A 5. Jens Natter, 46 Rue de Huningue, 68300 Saint-Louis, Frank-reich
 
Einige der Mitwirkenden kenne ich, aber was sie mit Basel verbindet, weiß ich nicht in jedem Fall. Katrin Baumgärtner studiert in Wien, Aaron Jordan lebt in Karlsruhe, Jens Natter hält sich im Moment in Frankreich auf. Die harte Basel-Fraktion scheint mir aus „König Lü-Q.“ und Oliver Gfeller aus dem Vorort Allschwil zu bestehen. Laut Vorwort haben sich aber alle Mitwirkenden an einer Kunstausstellung in Basel beteiligt und dabei die Idee eines gemeinsamen Fanzines entwickelt. Die versammelten Geschichten haben teilweise offensichtlich mit Basel zu tun, teilweise ist auch da der Bezug nur schwer herzustellen. „Basel brennt“ weist also spärliche Charakteristika eines Stadtmagazins auf – auch zwei regionale Anzeigenseiten konn-ten organisiert werden. Ansonsten wirkt das Heft aber doch wie ein allgemeines Fanzine mit ansprechenden, gut gestalteten Beiträgen. Warten wir die zweite Ausgabe ab, die bringt vielleicht mehr Klarheit. -aa
 
Geschrammel. Mini-Rock’n Comix # 3 und 4. Je 16 Seiten, s/w, DIN A 6, kostenlos. Jens Natter, 46 Rue de Huningue, 68300 Saint-Louis, Frankreich
 
Jens Natter hat sein Magazin für Rock- und Pop-Co-mics wegen des Projekts „Basel brennt“ auf Sparflamme geschaltet. Das ist schade, denn er hat inzwischen gutes Material, das bei dem kleinen Format aber nicht recht zur Geltung kommt. Das gilt insbesondere für Katrin Baumgärtners „Süßer Klang“, aber auch für die Beiträge von Moritz Stetter, Aaron Jordan, Olaf Bathke, Oliver Gfeller und Jens’ eigene neue Serie „Die Deibels“. Inhaltlich sind die Onepager von Jens noch etwas schwankend zwischen Satire und Zustandsbeschreibung der Vorgänge im Probe-raum einer Nachwuchsband. Aber die Serie kann durchaus noch Kontur gewinnen. -aa
 
Häschen torkelt. 28 Seiten, s/w mit Farbumschlag, DIN A 5. Radek Matuszak, Langenfelder Damm 18, 20257 Hamburg
 
Dies ist, soweit ich sehe, das erste Fanzine von Radek Matuszak. Seine hintersinnige Komik ist aus PLOP schon bekannt. Wenn man sich seine Cartoons und Comics in dieser massierten Form ansieht, wird deutlich, daß es bei ihm meist um stilvolles Sich-gehenlassen geht. Klar, zum Kern jedes Scherzes gehört Normabweichung, aber bei Radek wird sie besonders elegant begründet. Auch auf die Tatsache, daß er letztlich nur das halbe Heft mit seinem Material gefüllt hat, weist er äußerst geschickt hin: „Gleich jedoch wird das Häschen die Platte umdrehen, das Heft enden und weiterlesen...“ Wer das tut, stößt auf einige Werke eines gewissen Ken. Ein nicht näher vorgestellter, mir bisher unbekannter Zeichner mit einem etwas seltsamen, aber durchaus ansprechenden ornamentalen Zeichenstil. Mit seinem Comic „Schrecken des Alltags“ erweist er sich als Geistesverwandter von Radek. -aa
 
cOMIc # 55 und 56. 20 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
Die # 56 ist mal wieder eine sehr gute Ausgabe geworden, beginnend beim ironischen Cover. „Unheimlich dünne Omi“ konstatiert Jan Prose und präsentiert ein entsprechendes Knochengestell. Gerd scheint jedenfalls nicht zu altem – auch nicht üppigem – Heft-umfang zurückkehren zu wollen. Innen bietet er dies-mal vor allem einen phantastischen Comic eines ersten Schultags von Max Jähling und einen Beitrag von Fanzine-Shootingstar Frunk. Hinzu kommen Minirezensionen und kürzere Arbeiten von Ulrich Magin, Bernd Teuber, Aaron Jordan und anderen. Im vorhergehenden Heft werden wieder mal vor allem Werke des unerschöpflichen Wittek zweitverwertet. -aa
 
QI # 67 und 68. Je 16 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes, 168, Brasopolis MG 37530-000, Brasilien
 
Das Cover der neuesten Ausgabe hat Herausgeber Edgard schon 1991 gezeichnet, die Szene eines vom Tatort fliehenden Mörders, der umgekehrte Fußabdrücke hinterläßt. Daß hier ein Fanzine-Veteran am Werk ist, kann man natürlich schon an der Heftnumerierung ablesen, wobei QI allerdings einen rascheren Veröffentlichungsrhythmus hat als PLOP. Nachdem in letzter Zeit einige Ausgaben vom üblichen Muster abwichen, haben wir bei diesen beiden Heften wieder die vertrauten Inhalte: Vorne Artikel oder Leserbriefe, hinten ein umfänglicher Fanzineindex. -aa
 
Blue Evolution Vol. 2 # 1. 36 Seiten, farbig, 17 mal 26 Zentimeter, 4 Euro. The Next Art. www.thenextart.de
 
Ich habe auch Band 1 dieses Werks gesehen. Er besteht aus einem Stapel Farbkopien in einem Ringbuch. Ein Freund des Künstlers Marian Kretschmer zeigte es mir auf dem Comic Salon und merkte an, er habe es nicht gut genug zum Drucken gefunden. Marian ist ein bemerkenswert guter Zeichner. Zwar kann er Einflüsse der neuen Superheldenzeichner, die ihrerseits alle von Berni Wrightson gelernt haben, und aus dem Mangabereich nicht verleugnen. Aber er beherrscht diesen Stil souverän und coloriert ihn mithilfe von S. Haack in atemberaubender Weise. So sahen ohne Abstriche auch die Blätter des unveröffentlichten ersten Bandes aus. Vielleicht lag ja der Schwachpunkt eher auf seiten der Story. Marian will zwar auf jeden Fall linear erzählen, ordnet die Handlung aber immer der Grafik unter. Die erste Hälfte des Hefts ist ein wilder Traum mit zahlreichen bildwirksamen Ungeheuern. Eben aufgewacht, entscheidet sich der Protagonist, statt zur Schule zu gehen, lieber seiner Freundin Sahra nach Köln hinterherzufahren. Auf den letzten Seiten kommt es zu einem schweren Lastwagenunfall, in den er und Sahra verwickelt sind, der aber vor allem ekligen Parallelwelt-Wesen ermöglichen soll, in unsere Wirklichkeit einzudringen. Das alles wäre wohl nur leidlich spannend, wenn es nicht so spektakulär in Szene gesetzt wäre. Zusammen mit einem guten Autor wäre Marian zu wirklich mitreißenden Fantasy-Epen fähig. -aa
 
Das Nürnberger Comicblatt # 3. 16 Seiten, s/w, DIN A 4, 1,50 Euro. Daniel Kiendl, Humboldtstraße 133, 90459 Nürnberg
 
Langzeitleser mögen sich erinnern (oder können zurückblättern), daß ich Band 2 dieses Magazins nach dem Comic Salon 2002 besprochen habe. Die Macher Daniel Kiendl und Anton Buller haben sich zwischen den Comic Salons tatsächlich etwas gehen lassen und jetzt erst wieder zu einer neuen Ausgabe aufgerafft. Ein geplantes Farbcover ist dann am Drucker gescheitert. Innen finden sich vor allem Besprechungen von Comics und verwandten Populärkulturbereichen. Das Layout ist deutlich sauberer und besser geworden. Das Heft soll wieder vor allem in dendrei Nürnberger Comicläden ausgelegt werden. Wünschen wir den immer noch jungen Machern Erfolg und für die Zukunft etwas mehr Tatendrang. -aa
 
Xoomic # 9. 64 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5,90 Euro. Frank-Kemter-Verlag, Nürnberger Straße 111 A, 90762 Fürth. www.xoomic.de
 
Die einzige ins Auge fallende Veränderung nach Kreativpause und Relaunch des Fachmagazins ist die verstärkte Aufnahme von Comics. Mich überrascht, wie weit Herausgeber Frank Kemter diese Schleuse geöffnet hat. Die Heftmitte dominiert ein zwölfseitiges Opus von Laska-Comics, „Der Golem“. Hinzu kommen Zweiseiter von Jean-Claude Fournier („Die Kannibalen“) und von Michael Schulz. Das ist zusammen genau ein Viertel des gesamten Heftumfangs und mir auf jeden Fall zuviel. Laut Vorwort fiel eine Vorschau kommender Neuerscheinungen dem Platzmangel zum Opfer. Das schmerzt mich weniger, als wenn es einen Artikel getroffen hätte, aber ein passionierter Sammler wird das vielleicht anders sehen. Prüft man das Inhaltsverzeichnis, so scheint es, als ob die internationalen News ursprünglich ausführlicher sein sollten. Tatsächlich nehmen sie vier Seiten ein. Platz ist immer noch für einen ausführlichen und sehr interessanten Beitrag über autobiografische Comics, ein Porträt von Franziska Becker und ein Interview mit Moebius. Es bleibt abzuwarten, wie sich die Ausweitung der Comicsektion mittelfristig auswirken wird. -aa
 
P.L.G. # 38. 100 Seiten, s/w mit Farbumschlag, DIN A 4, 10 Euro. P.L.G., BP 94, 92123 Montrouge Cedex, Frankreich. www.ifrance.com/plg
 
Die neue Jahresausgabe dieses französischen Edel-Fanzines beschäftigt sich schwerpunktmäßig mit den Zeichnern Bilal und dem hierzulande weniger bekannten Jean-Marc Rochette. Unter den Fanzine-Rezensionen finden sich wieder lobende Worte für PLOP („leider auf Deutsch“). Mir geht’s ja mit P.L.G. umgekehrt genauso. Vor allem bedaure ich, daß ich die vielen gut gemachten Comics in diesem Heft nicht lesen kann, die zeigen, daß das Fandom in Frankreich qualitativ nahe am Profigeschäft angesiedelt ist. -aa
 
Enpunkt # 41 (Juli 2004). 64 Seiten, s/w mit ockerfarbenem Umschlag, DIN A 5. Klaus N. Frick, Postfach 24 68, 76012 Karlsruhe
Im Zentrum dieser Ausgabe steht der Bericht über einen Überfall, dessen Opfer Klaus in Johannesburg wurde. In zwei Texten weist Klaus zuvor schon auf den ominösen Zwischenfall während seines letzten Südafrika-Urlaubs hin, bevor er ihn dann in der Heftmitte ausführlich beschreibt. Ein Raubüberall, vor allem auf einen Weißen, ist in Johannesburg etwas Alltägliches. Bemerkenswert ist eher, daß Klaus nicht verletzt wurde, obwohl die Räuber Messer hatten. Zudem nahmen sie ihm nur seinen Rucksack und die Dinge ab, die offen in seinen Taschen steckten, nicht aber Geld und Papiere, die er unter seiner Kleidung trug. Klaus beschreibt auch ausführlich, wie er hinterher den Vorfall bei Polizei und Wachleuten in der Nähe anzuzeigen versuchte, aber nur Schulterzucken erntete.„Ihnen ist doch nichts passiert“, was die wiederholte Reaktion. Kein „unerhörtes“ Ereignis, aber doch eine für einen Mitteleuropäer fremde Welt. Die Artikel, die ich im letzten Heft redundant fand, werden übrigens in einem Leserbrief besonders gelobt. In der vorliegenden Ausgabe fand ich solche Texte allerdings nicht. Standard in „Enpunkt“ sind zahlreiche Konzertberichte und Plattenkritiken mit Schwerpunkt Punk. -aa
 
Underdog # 8 und 9. Mit beigelegter Cassette bzw. CD. Je 72 Seiten, s/w, DIN A 5, 2,50 Euro. Fred Spenner, Narzissenweg 21, 27793 Wildeshausen. www.underdogfanzine.de
 
Zwischen diesen beiden Ausgaben wurde bei dem niedersächsischen Punkfanzine die Technologie gewechselt. Statt Cassette ist jetzt eine CD beigelegt. Der Datenträger hat ein Image. Und bisher hatte nur die Cassette einen wirklichen Underground-Touch. Nachdem nun aber jeder mit seinem Computer auch CDs brennen kann, sind auch sie jetzt offenbar akzeptabel geworden. Zudem fahren immer mehr Leute mit CD-Playern statt Cassettenrecordern im Auto herum. Im Magazin ist alles beim alten geblieben. Eingestreute Comics haben in beiden Ausgaben ihren Platz. Offenbar soll in jedem Heft eine bekannte Band vorgestellt werden. In der # 8 ist das Hüsker Dü, in # 9 geht es um Johnny Thunders (New York Dolls, Heartbreakers). -aa
 
Exodus # 14 und 15. Je 52 Seiten, s/w, DIN A 4, 3,50 Euro. René Moreau, Schillingsstraße 259, 52355 Düren. www.sfflohmarkt.de
 
Dieses Science-Fiction- und Phantastik-Fanzine ist ursprünglich in den Jahren 1975 bis 1980 erschienen und vom damaligen Herausgeber jetzt wiederbelebt worden. Wie das kam, dazu schrieb er mir: „Nun, warum EX damals eingestellt wurde, und warum ich es nun wieder aufgreife, das wäre eine wirklich lange Geschichte, die ich Dir da erzählen müßte. Vielleicht einfach nur soviel: Mit 25 habe ich wohl irgendwann (aufgrund der vielen Arbeit, die ich letztlich alleine bewältigen mußte) die Lust verloren. Bedenke: es gab noch keinen Computer, alles mußte per Schreibmaschine und von Hand gemacht werden. Das ist nun anders. Habe einfach wieder meine Freude daran gefunden, ein grafisch anspruchsvolles Heft mit ansprechenden Texten zu fertigen.“ Wir haben es hier mit einem in den 50er Jahren geborenen SF-Fan zu tun, der im übrigen von einem SF-Antiquariat in Düren im Rheinland lebt. In den beiden neuen Ausgaben bilden reine SF-Stories die Minderheit. Das dürfte 1980 noch anders gewesen sein. Auffällig ist zudem, daß sich auch etablierte Autoren zum Fandom bekennen. In # 14 ist unter anderem Ronald M. Hahn vertreten, Mitautor des Heyne-SF-Lexikons und selbst Herausgeber von Anthologien bei Heyne. Für die # 15 hat Thomas Ziegler („Zeit der Stasis“) zumindest eine ältere Story spendiert. Das ist gleichbedeutend, wie wenn Matthias Schultheiß oder Dieter Kalenbach auch mal Comics in PLOP veröffentlichen würden. In # 15 sind auch wieder Leserbriefe abgedruckt. Redaktionelle Beiträge sollen in „Exodus“ allerdings nicht erscheinen. Science-Fiction-Illus oder Comics sind dagegen stets willkommen. –aa
 
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Comicaze # 16 (Sommer 2004). 20 Seiten, teilweise farbig, DIN A 4. Comicaze e. V., Evi Poxleitner, Altmannstraße 11, 80686 München
 
Cosmix # 7. 20 Seiten, s/w mit Farbumschlag, DIN A 4. Cosmix Köln, c/o Frank Plein, Subbelrather Straße 253, 50825 Köln. www.cosmixkoeln.de
 
Wieselflink # 02/2004. 32 Seiten, farbig, DIN A 5. Wieselflink, Brokhauser Weg 32 c, 26160 Bad Zwischenahn. www.wieselflink.de
 
Moga Mobo # 100. 116 Seiten, s/w, DIN A 5-Paperback. Moga Mobo, Christburger Straße 17, 10405 Berlin. www.mogamobo.com
 
Patrick Wirbeleit (Text) / Kim (Zeichnungen): Störtebeker # 1. Freunde und Feinde. 100 Seiten, farbig, 14,5 mal 19,5 Zentimeter, Softcover, 6 Euro. Carlsen
 
Ein Schädel, mit einem langen Nagel an einem Pfahl befestigt  – das sollen die zur Abschreckung ausgestellten Überreste des Piraten Klaus Störtebeker sein, der 1401 für seine Untaten in Hamburg hingerichtet wurde. Bastei hat die in Norddeutschland ungeheuer populäre Gestalt schon in den 70er Jahren in seinen „Berühmten Geschichten“ vercomixt. Der bis auf die Schiffsdarstellungen mäßig gezeichnete Studiocomic hat sich mir dennoch tief eingeprägt wegen dem todesverachtenden Draufgängertum, mit dem sich Störtebeker da auf eigenen und fremden Schiffen herumschwingt, wenn auch in den Kämpfen der Vitalienbrüder mit den Dänen aus Gründen des Jugendschutzes kein Blut floß. Autor Patrick Wirbeleit, von dem wir bisher das ziemlich lyrische „Baumhaus“ (siehe PLOP # 65) kennen, bietet einen anderen, noch jugendgerechteren Helden an. Der Pirat ist hier sozusagen noch Azubi, als Kleinkrimineller in Wismar zwar schon mit allen Wassern gewaschen, aber mit den Planken eines Schiffes vorerst noch unvertraut. Das aufgeweckte Bürschchen erinnert eher an Wickie als an einen künftigen Schrecken der sieben Meere. Um die Identifikationsmöglichkeiten noch zu vergrößern, wird der junge Klaus von der sprechenden Möwe Waddemunkel, einem typischen komischen Sidekick, begleitet. Aber bitte – das Minialbum soll vermutlich nicht in erster Linie Leser meiner Altersgruppe ansprechen. Wenn man sich an ein junges Zielpublikum wendet, bedeutet das allerdings nicht, daß man bei der Story schludern darf. Störtebeker stolpert sozusagen in sein erstes Abenteuer, indem er sich auf ein Piratenschiff schummelt, auf dem es nicht mit rechten Dingen zuzugehen scheint. Es hat nämlich zwar viele Vorräte, aber kaum Waffen an Bord. Hier beginnen die wundersamen Wendungen der Geschichte: Angeblich soll das Schiff das mit den norddeutschen Städten verbündete Stockholm versorgen, aber Störtebeker glaubt das nicht, zettelt einen Aufstand gegen den Kapitän an und verhilft seinem Kumpan Gödecke Michels zum Kommando. Der beschließt darauf, nach Stockholm zu segeln und die Stadt zu berauben – mit vielen Vorräten und kaum Waffen an Bord? In Stockholm geraten die Helden in eine Falle, begegnen der dänischen KöniginMargarethe, die dort anscheinend – aber nicht wirklich – im Gefängnis schmachtet, und werden von ihr, ehe sie sie erkennen, noch einmal aufs Kreuz gelegt. Eine Königin, die sich inkognito in Kellern einer feindlichen Stadt herum-treibt? Mithilfe der Stadt-wachen von Stockholm gelingt schließlich Störtebeker und seinen Man-nen mit knapper Mühe die Flucht. Patrick Wirbeleit versteht sich auf die Inszenierung von Schlüsselszenen: die Meuterei auf dem Schiff, die verhinderte Teenager-Romanze zwischen Störtebeker und Margarethe, die zugleich den Keim für den späteren Konflikt legt, und ein paar weitere schöne Epi-soden. Die scheint er aber ohne Rücksicht auf den Handlungsfaden zusammengezwungen zu haben. Insgesamt ergibt die Story nicht allzu viel Sinn. Eine Geschichte à la „Die Jugend von...“ bietet sich eben nur an, wenn es ein gesichertes Erwachsenenleben gibt, das auch allgemein bekannt ist. Im Fall von Störtebeker weist die Quellenlage aber viele Lücken auf, und Legenden, die so sehr Allgemeingut geworden sind wie etwa bei Robin Hood, sind auch rar. Da hätte es sich eher angeboten, beherzt neue Abenteuer zu erfinden. Gewohnt gut ist die Grafik von Kim, kein anderer als der auch PLOP-Lesern bekannte Kim Schmidt, dessen Comiczeichenschule zuletzt auf diesen Seiten vorgestellt wurde. Kim hält seine Zeichnungen so einfach wie möglich, kann aber Panoramapanels jederzeit mit beliebig vielen offenbar auch historisch stimmigen Details anreichern. Hinzu kommt eine einfühlsame Colorierung. Eine effektvolle, sehr abgeklärte Arbeit. Schon deshalb freue ich mich auf einen zweiten Band mit einem hoffentlich konzentrierteren und stimmigeren Storytelling. -aa
Charles M. Schulz: The Complete Peanuts Vol.1,1950-1952. 348 Seiten, DIN A 5 Querformat, s/w und zweifarbig, Hardcover mit Schutzumschlag, 28,95 Dollar. Fantagraphics Books
 
Selbst in Deutschland boomt der Comicmarkt bis zur totalen Unübersichtlichkeit, wie man auf dem Comic Salon Erlangen wieder gut sehen konnte. Aber irgendwie geht es mir mit den Comics wie mit den Fernsehprogrammen: Je mehr es davon gibt, desto mehr fragt man sich, wieviel Prozent davon man eigentlich wirklich als Fan im Hause haben muß. Und ob trotz der Fülle dieser Veröffentlichungen im eigenen Lande die wahren Perlen nicht trotzdem im Ausland zu finden sind. Ein exquisiter Prachtband, bei dem sich diese Frage erst gar nicht stellt, ist dieser erste Band der Komplettedition der Peanuts-Strips. Die ersten drei Jahre, 1950 bis 1952, dieses Klassikers sind hier enthalten, dazu eine dreiseitige Einführung, ein dreizehn-seitiger Abriß über Schulz‘ Leben sowie 34 Seiten Interview aus dem Jahre 1987. Die ersten Jahre des Strips sind meiner Meinung auch besonders interessant, da sie in Deutschland praktisch komplett unveröffentlicht sind und es natürlich spannend ist zu sehen, wie sich die Charaktere, die Anfangs völlig anders waren als heutzutage, langsam auf ihr bekanntes Erscheinungsbild hin entwickeln. Snoopy ging noch auf allen Vieren und konnte nur bellen, Charlie hatte nur wenig mit seinem heutigen Image zu tun und Hauptfiguren wie Patty oder der andere namenlose Junge sind sogar ganz verschwunden. Als nächstes kam Schroeder dazu, schon relativ ähnlich zu heute, dann eine erstaunlich freundliche Lucy. Aber auch der Zeichenstil hat sich erst langsam entwickelt. Anfangs war doch noch alles sehr sauber und kommerziell ausgeführt. Das Interview und auch die Biographie über Charles M. Schulz sind vorbildlich informativ, und auch die Aufmachung ist sehr gelungen. Nicht mal der Preis wäre ein Problem, 28,95 Dollar sind bei dem momentanen Dollarkurs für diesen Band keineswegs zu teuer. Da Schulz 18 170 Strips gezeichnet hat, müßte die Komplettedition etwa 17 Bände umfassen. Diesen ersten Band könnt ihr über jeden Comichändler beziehen, der amerikanische Ware vertreibt. Die Previews-Bestellnummer ist jan 04 2427. Jo84
 
Yves Swolfs: Legende # 1; Das Wolfskind, 48 Seiten, farbig, Softcover-Album, 10 Euro. Carlsen

Yves Swolfs gehört seit der Erschaffung der Westernserie „Durango“ vor mehr als 20 Jahren zur Creme der frankobelgischen Zeichner und Autoren und ist vielbeschäftigt. Mal ist er nur Zeichner, manchmal auch nur Texter (zum Beispiel „James Healer“ im Verlag Alles Gute). Seine neue Reihe „Legende" ist wieder einmal komplett von ihm und spielt im dunklen Mittelalter. Swolfs meisterhafte Zeichnungen, coloriert von Sophie Swolfs, erzählen eine Story, die er leider nur aus allen möglichen Geschichten und Klischees zusammengestoppelt hat. Erzählt wird die Legende des Tristan von Halsburg, genannt der ruhelose Reiter. Geboren als Thronfolger wird ihm schon als Säugling nach dem Leben getrachtet und, im Wald allein gelassen, wird er aufgezogen von einem Mann, der unter Wölfen lebt. Doch seiner Bestimmung, sich unter Menschen seinen Platz zu erkämpfen, kann er nicht entkommen. Swolfs‘ Zeichenstil ist prädestiniert für die Darstellung dieser düsteren Zeit mit ihren dunklen Wäldern, hohen Burgen,edlen Pferden und dreckigen Rittern. Die Story selbst ist nicht sonderlich originell; sie klaut ein bißchen was aus Robin Hood, Dschungelbuch, der Bibel und etlichen bereits vorhandenen Mittelaltercomics und kann dabei kaum etwas falsch machen. Dieser Eintopf mundet daher sicher nicht jedem, schmeckt aber auch nicht gänzlich unangenehm. Jo84
 
Yumi Hotta/Takeshi Obata: Hikaru No Go # 1, 192 Seiten, s/w, Manga-Taschenbuch, 5 Euro. Carlsen
 
Beim Stöbern auf Großvaters Dachboden entdeckt Hikaru ein uraltes Go-Brett, das es in sich hat: Es wird vom Geist eines Go-Meistres bewohnt, dessen Liebe zum Spiel ihn unsterblich machte. Um endlich wieder Go spielen zu können, nistet er sich in Hikarus Bewußtsein ein. Dieser ist zunächst wenig begeistert über seinen neuen „Mitbewohner" und dessen scheinbar stinklangweilige Passion. Doch mit der Zeit merkt Hikaru, daß mehr hinter dem „Alte-Leute-Spiel" steckt als zunächst angenommen... Die Autorin der Story, die seit November 2003 in Banzai vorveröffentlicht wird, heimste in Japan schon mehrere Preise für ihre Serie ein. Für deutsche Verhältnisse ist die Thematik gewöhnungsbedürftig, da das Brettspiel Go hierzulande noch ziemlich unbekannt ist. Aber die Story bietet ein bißchen Spannung, ein wenig Mystery und ein paar ganz gute Gags, zeichnerisch routiniert in Szene gesetzt , nicht mehr und nicht weniger. Kann man mal reinschauen. Jo84
 
Neues in der Comicwissenschaft – Andys „Evolutionstheorie“
 
Andy hat seine Comictheorie, die er schon vor einigen Jahren entwickelt hatte, gründlich überarbeitet und in die Kunstgeschichte eingepaßt. Das gelingt ihm dank einer wirklich neuen und konzisen Definition der Comics: Demnach besteht ein Comic aus mehreren Bildern, bei denen beim Betrachten immer eins vom nächsten abgelöst wird. Andy beschreibt dies mit dem etwas saloppen, aber einprägsamen Begriff „Wegschubseffekt“. Anders als in der bildenden Kunst – jedenfalls ab der Renaissance – hat das einzelne Bild somit keinen absoluten Wert. Es wird vom jeweils nächsten verdrängt. Der Sinn des Gesamtwerks erschließt sich nur aus der Abfolge der Bilder. Daraus schließt Andy, daß die Hochphasen der Malerei, vom Barock bis kurz vorm Beginn der Moderne, keinen Nährboden für die Entwicklung von Comics boten. Sie blühen im Holland und England des 18. Jahrhunderts auf. Hollands Hochzeit der Kunst war vorbei, England hatte gar keine. Beispiele der in seinen Augen ersten Comics liefert Andy in reichem Ma-ße auf seiner Homepage http://bugpowder.com/andy. Der Text ist für Andy sekundär, wenngleich er natürlich hinzutreten kann. Klar – er hat ja selbst ausgiebige Erfahrungen mit stummen Comics gesammelt. In seinem Heftchen hat Andy seine Theorie zwar umfassend und verständlich dargelegt. Aber sie würde ohne weiteres den Rahmen eines Buchs verdienen. Da könnten dann auch die teilweise von Andy entdeckten alten Comicbeispiele gezeigt und besprochen werden. Aber ob sich dafür ein Verleger findet? Andy scheint es leider auch am Talent der Selbstvermarktung zu mangeln. Als Giveaways hat Andy übrigens auch etliche seiner Konky-Kru-Strips und eine neue Ausgabe seines Magazins „Flicker Mouse“ herausgebracht. Gleiches Format, nur ein etwas größerer Umfang von 20 und 24 Seiten. –aa




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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 72
Besprechungen



Moritz von Wolzogen: Selbstunfall. 32 Seiten, s/w, DIN A 4, 3 Euro. Amigo Press, Moritz von Wolzogen, Im Kirschenwäldchen 2 A, 60437 Frankfurt/Main
 
Schon ein erhebendes Gefühl, wenn man einen Comic fertig gezeichnet hat. Und ich kenne auch den Wunsch, wenn es vielleicht fünf oder sechs fertige Comics sind, die zusammen zu veröffentlichen. Viele machen das dann auch. Das Heft, das dabei entsteht, hat meist etwas von einer Präsentationsmappe: Hier die maßgeblichen Teile meines bisherigen Werks! So ist das auch mit „Selbstunfall“ (der Titel bleibt mir rätselhaft): Ein repräsentativer Querschnitt durch Moritz von Wolzogens veröffentlichte und unveröffentlichte Arbeiten, acht Comics und eine Reihe von Einzelgrafiken. Eines interessieren ihn augenscheinlich besonders: der Einbruch des Phantastischen in den Alltag. Und er liebt Literatur und Kunst (gut zu sehen an seiner Story „Bookfair Zero Four“ über die Frankfurter Buchmesse). Vielleicht liegt ihm das im Blut, denn er ist ein Nachfahr der Henriette von Wolzogen, die einst dem angehenden Dichterfürsten Friedrich Schiller auf seiner Flucht aus dem Fürstentum Württemberg Unterschlupf gewährte (wegen Einzelheiten müßte er allerdings seinen Vater fragen, sagt er auf Nachfrage). Zeichnerisch sind die versammelten Beiträge sehr unterschiedlich, wenngleich – wie auch schon in PLOP zu sehen – Moritz auf jeden Fall ein großes Talent ist. Comics wie „Der Blitz“ oder „The Tram“ sind aufwendig gestaltet, andere eher flüchtig hingeworfen – sogar unter Verzicht auf Inking, woraus der Autor noch einen kleinen Gag bastelt. Tendenziell zeichnet Moritz gern filigrane Figuren und Hintergründe in große Panels. Er verwendet zum Teil Funnyfiguren, nähert sich aber auch realistischen Menschentypen an, die allerdings meist superschlaksig verschlankt sind. Einige Male ist Moritz ja auch schon in PLOP aufgetaucht. Man muß nun abwarten, ob aus diesem Magazin noch etwas wird. Der Herausgeber selbst hat sich dazu noch nicht geäußert. Wird es eine zweite Ausgabe geben? Dann auch mit Gastbeiträgen? Oder soll es bei einer Präsentationsmappe bleiben? Abwarten.
 
König Lü. Q.: Dieser König braucht ein Land (Januar 2005). 32 Seiten, s/w, DIN A 5. Lukas Mannhart, Dornacher Straße 151, 4053 Basel
 
Lukas Mannhart alias König Lü. Q. bewahrt seine selbst gestalteten Comics und Cartoons offenbar nicht allzu sorgfältig auf. Bei einer „Putzaktion“ in seinem Zimmer stieß er auf rund 25 Blätter, die nach seiner Erinnerung in den vergangenen eineinhalb jahren entstanden sind und die er nun zu einem Heft zusammenfaßte. Da der Schweizer auch öfter in PLOP vertreten ist – vielleicht erinnert Ihr Euch noch an „Gemüse, das es so nicht gibt“ oder das denkwürdige Match FC Porto gegen FC Bordeaux, dessen Darstellung auf große Resonanz gestoßen ist – brauche ich hier nicht ins Detail zu gehen. Lukas pflegt in allen seinen Arbeiten den für ihn typischen absurden Humor.
 
Zomi Parade # 57. 32 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
Auf diese Sonderausgabe von cOMIc hat „Zack“ bereits hingewiesen. Kein Wunder, denn hier sind 14 einseitige Hommagen an klassische Zack-Helden versammelt. Schön, auch ein gewaltiger Hulk hat sich daruntergeschummelt, der es meines Wissens nie ins Zack geschafft hat. Ansonsten haben wir es mit Tunga (gleich zweimal), Andy Morgan, Dan Cooper, Bruno Brazil, Luc Orient und ähnlichen Charakteren zu tun. Alle wurden liebevoll ein wenig verfremdet und parodiert. Als in den 70er Jahren nur sporadischer Zack-Leser habe ich mit der Zuordnung einzelner Serientitel wie „Jan Svenssen“ und „Lecka“ meine Schwierigkeiten, was aber dem Lesevergnügen keinen Abbruch getan hat. Die Onepager stammen von Gerd Bonau selbst, Oliver Gfeller, Bernd Teuber, Rudolph Perez und einem gewissen Urquhart. Schöner wäre die Ausgabe gewiß geworden, wenn Gerd nicht Beiträge dazwischengestreut hätte, die in jede andere cOMIc-Ausgabe passen. Sogar seine typischen Kürzestrezensionen sind auf zwei Seiten vertreten. Stattdessen ein paar Artikel über Zack oder über die Entstehungsgeschichte der Hommage, und das Heft wäre in meinen Augen perfekt gewesen.
 
cOMIc # 58. 20 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel
 
Hier nun wieder ein cOMIc, wie wir’s gewohnt sind. Beiträge, die überwiegend von skurrilem Humor geprägt sind, kommen von Bernd Teuber, Oliver Gfeller, Jan Prose, Teresa Camara Pestana und anderen.
 
Bat: Raven. 52 Seiten, s/w, DIN A 5. Olaf Bathke, Paul-Dölz-Straße 18, 25832 Tönning
 
Olaf Bathke haut solche Comics wohl in Menge raus. Ich habe keinen genauen Überblick über sein Schaffenspensum – auch wenn er ihn mir in Abständen immer wieder mal zu vermitteln versucht -, aber er zeichnet wohl wirklich sehr viel. Sein einfacher, ziemlich schematischer Zeichenstil kommt ihm dabei durchaus entgegen, aber er hat jedenfalls eine Menge zu erzählen. Auch inhaltlich gibt es einen Bat-Stil. In seinen Comics geht es immer wieder um Freundschaften und Vertrauen. Einerseits ist er bei der Schilderung von Gefühlen sehr genau, fast realistisch. Andererseits wirken seine Geschichten dann doch immer reichlich unwirklich, weil bei ihm Fremde immer sehr schnell zu Freunden werden und dann wie Pech und Schwefel zusammenhalten. Im vorliegenden Heft geht es um eine junge Herumtreiberin namens Raven, die bettelarm ist, sich aus Mülltonnen ernährt und aus Not auch schon mal ihren Körper verkauft. Raven rempelt auf der Straße die offenbar deutlich ältere Quinie an, und fortan sind die beiden unzertrennlich. Quinie bietet Raven ein Zuhause und mütterliche Hilfe. Am Ende ist Raven wieder in die Gesellschaft integriert, wenn auch immer noch etwas unkonventionell. Sexuelle Details kommen bei Bat mit der größten Selbstverständlichkeit vor, wobei das nie pornographisch wirkt. Die Comics von Bat haben fast nie einen Spannungsbogen oder eine Message. Aber die liebevolle Schilderung seiner Figuren spricht mich doch immer wieder an.
 
Bildstörung # 10. Zeitschrift für frische Worte und Bilder. 48 Seiten, s/w, DIN A 5, 3,50 Euro. Roman Castenholz, Triftstraße 47, 53919 Weilerswist
 
Das Interessanteste an diesem Magazin ist eigentlich die Wahrnehmungsweise und das Kulturverständnis seines Herausgebers. Letzteres ist insgesamt elitär, aber Teil der Pflege des Gehobenen (Gedichte, abstrakte Grafiken) ist hier, daß auch Comics dazugehören. Die sind dann eben auch Hochkultur. Auch die Schlagersängerin Alexandra wird in einem Aufsatz zu den Weihen des Feuilletons erhoben, eine Carl-Spitzweg- und eine Robert-Crumb-Ausstellung in einem Überblicksartikel beleuchtet. Der Schriftsteller Kurt Vonnegut jr. bediente sich bei einigen seiner Romane des Kunstgriffs, den Text durch Science-Fiction-Elemente anzureichern. Dies sollte die schweren Themen, die er behandelte, leichter machen. Ich muß an Vonnegut denken, wenn ich „Bildstörung“ durchblättere, aber in diesem Fall soll im Gegenteil alles bedeutungsvoller und ernster gemacht werden. „Bildstörung“ ist auf jeden Fall eine Publikation, die aus dem Rahmen fällt, eine anregende Lektüre.
 
Hammerharte Horrorschocker # 3 (Oktober/November 2004) und 4 (Winter 2004/05). 32 Seiten, farbig, Comicbookformat, 3,90 Euro. Weißblech Comics, Am Hang 9, 24223 Raisdorf. www.weissblechcomics.com
 
Die neuesten Ausgaben von Levin Kurios Kiosk-Magazin. Ich muß gestehen, ich habe noch immer ein etwas komisches Gefühl, wenn ich die Hefte zwischen dem Material von Panini, Bastei oder den Mosaik-Heften auftauchen sehe. Aber der Durchschnittskunde weiß natürlich nicht, daß die Horror-Schocker aus Fanzines hervorgegangen sind. Jedenfalls sind die Verkaufszahlen offensichtlich nicht so schlecht, daß die Hefte wieder ausgelistet werden müßten. An die alten Zeiten erinnert den Insider, daß der „Verleger“, als den sich Levin ja so gern stilisiert, noch immer kräftig mitzeichnet, was er zweifellos auch ganz gut kann. Aber seine kaufmännischen Aufgaben dürfen darunter nicht leiden. Man tut aber auch etwas dafür, den kreativen Part den richtigen Leuten zu übertragen. Neben Roman Turowski und Rainer F. Engel, die Levin schon seit langem unterstützen, ist in # 3 auch Klaus Scherwinski an Bord, der vor einigen Jahren mit der Miniserie „Kopeck“ schon Profiambitionen erkennen ließ. In # 4 ist sogar ein Ami vertreten: Jon Proctor kannte ich zwar bisher nicht, aber man nimmt ihm sofort ab, daß er sonst für DC arbeitet. Und auch Till Lenecke (PLOP-Lesern nicht unbekannt) steuert einen profimäßigen Beitrag bei. Wenn das so weitergeht, kann aus dem Magazin noch ein wirklicher „Schocker“ werden. -aa
 
Weißblechs weltbeste Comics # 14. Dämonika. Die Braut des Bösen (Oktober 2004). 28 Seiten, s/w mit Farbumschlag, Comicbookformat, 3,90 Euro. Weißblech Comics, Am Hang 9, 24223 Raisdorf
 
Weißblech versucht sich nun auch an heftlangen Geschichten, aus denen vielleicht sogar Heftserien werden könnten. Vampirin Dämonika, eine Schöpfung des in PLOP wohlbekannten Peter Schaaff („Heribert“, „Neuland“), kann ihr Vorbild Vampirella nicht verleugnen. Ganz so lasziv wie die einstige Warren-Heldin kriegt Peter sie zwar nicht hin, aber er versetzt sie dafür in eine muntere Action-Handlung, die er trotz seines rationellen Zeichenstils grafisch angemessen umsetzt. Mehrmals muß Dämonika ihre zarte Haut vor Rattenwesen, Wolfsmenschen und reitenden Leichen in Sicherheit bringen. Man spürt die Einflüsse der tausenden Computer- und Rollenspiele, die Peter hinter sich haben dürfte. Für eine angehende Serie ist die Story ziemlich abgeschlossen. Hier wird auf keine Fortsetzung neugierig gemacht. Aber eine Fortsetzung und vor allem Fortentwicklung dieses Heroic-Fantasy-Epos wäre ich schon neugierig. Mal sehen, was die Verkaufszahlen sagen. -aa
 
XXX Comics # 2 und 3 (März / Dezember 2004). 40, bzw. 36 Seiten, s/w mit Farbumschlag, DIN A 4, 6,80 Euro. Weißblech Comics, Am Hang 9, 24223 Raisdorf
 
Schon in den alten Koma Comix sind Levin Kurio und seine Mitstreiter manchmal nur knapp am handfesten Porno vorbeigesegelt. Aus Angst vor drohendem Ärger haben sie aber letztlich doch die Finger davon gelassen. Inzwischen weiß Levin offenbar, wie man Trouble vermeidet. In den XXX Comics (diesmal erstaunlicherweise nicht mit „x“, dafür mit dem Hinweis „Nur für Erwachsene“) darf nun der Wikinger Harald Hoden so richtig die Sau rauslassen und Sternenhure Bella Star mit Hingabe ihrer schweißtreibenden Beschäftigung nachgehen. Die grafische Qualität wird bei den Produkten von Levin Kurio ja generell immer besser. Das gilt auch für XXX, wo neben dem Verleger unter anderem Roman Turowski, Rainer F. Engel, Peter Schaaff und Rastaman Mo Rita T (siehe PLOP # 65) den Zeichenkarton bearbeiten. Mit dem großen Format knüpft Weißblech an den wohl leider nicht so erfolgreichen „Schwarz-Weiß Comickult“ an. Im übrigen handelt es sich um dieselbe Art Weißblech-Trash wie eh und je. Was im Porno-Metier kein Fehler ist. Denn durch die dick aufgetragene Groteske und den monströsen Humor werden die unvermeidlichen Stereotype des Genres erträglicher, teilweise richtig unterhaltsam („Wie, da war eine hübsche Saurierdame? Oh, ihr Männer seid doch alle gleich!“). -aa
 
Gunnar Saeckler: Schottenwitze für Jung und Alt (September 2004). 24 Seiten, s/w, DIN A 5. Münzzeit Verlag, Gunnar Saeckler, Wolfshagen 5, 20535 Hamburg
 
Im Vorwort erläutert der Autor erschöpfend, wie dieser Band zustande gekommen ist: Also, Gunnar Saeckler mag keine Schottenwitze (zum Beispiel: „Wenn Sie in Ihrer Zeitung weiter Schottenwitze abdrucken, dann ist es die längste Zeit gewesen, daß ich mir Ihre Zeitung ausleihe!“). Aber er scheint doch nicht umhin zu kommen, sich mit dieser Witzgattung auseinanderzusetzen. Um sie etwas erträglicher zu gestalten, hat er lauter verrückte Szenen mit Phantasiewesen und psychedelischen Interieurs gezeichnet und die Schottenwitz-Dialoge dort hineinmontiert. Tja, also eher ein Fanzine für die Freunde des Besonderen. Seine Suspense-Story „Das Ende der Unschuld“ von 2002 (siehe PLOP # 66) hat mir ehrlich gesagt besser gefallen.
 
Hüftschwung. Ein Magazin für Geschichten # 2. 64 Seiten, s/w mit Farbumschlag, DIN A 5, 5 Euro. Marion Müller, Kempener Straße 31, 50733 Köln
 
Geblieben sind die Leerseiten zu Beginn und am Ende des Hefts, die es ein wenig wie ein richtiges Buch erscheinen lassen. Wiederum ist es auch eine Mischung aus eigenen Comics von Marion Müller und Gastbeiträgen, ein paar mehr als in der ersten Ausgabe. Auch wenn sich der Stil der Comics der Kölnerin eigentlich nicht geändert hat, würde ich ihn diesmal anders charakterisieren. In PLOP # 69 behauptete ich, die Geschichten beschrieben „elliptisch, aber ziemlich konkret Situationen ihres Lebens und ihre Gefühle“. Inzwischen bin ich nicht mehr so sicher, ob Marion Müller da ihr Leben beschreibt, denn da gibt es einen deutlichen Hang, diese Situationen poetisch zu verdichten, zu verfremden, zu überhöhen. Das ist schon etwas merkwürdig und gewöhnungsbedürftig, aber ich habe mich dann doch in diese Comicwelt hineinziehen lassen. Die Comics von Britta Gorski, Jule Kruschke und auch Klaus Cornfield (hier mal nicht schweinisch) passen gut dazu. Die verstreuten Onepager von Petrik Niswand sind dagegen schon ziemlich eigen. Der Rest sind Texte von Anne Otto, Piet Fuchs, Julia Willmann und Edwin N. Kubetat, die sich in einer Storyanthologie nicht verstecken müßten. Gedichte diesmal Fehlanzeige, aber ich denke, das läßt sich verkraften.
 
Chnusper Comics # 8. 28 Seiten, s/w, DIN A 5, 2 Euro. Oliver Gfeller, Bohrerhofstraße 10, CH-4123 Allschwil. oli-gfeller@gmx.ch
 
Herausgeber Oliver Gfeller versammelt in seiner aktuellen Ausgabe teils hochkarätige Beiträge, für die Namen wie Moritz Stetter, Jan Prose, Teresa Camara Pestana oder Wittek (allerdings wieder mal mit einem schon x-mal abgedruckten Comic) bürgen. Mir bisher unbekannt – oder noch nicht aufgefallen – waren bisher Nara Pfister und Serge, was sich nun aber unbedingt ändern muß. Auch die Illustration von Cirk sieht ganz vielversprechend aus. Oliver hat auch Rezensionen und Leserbriefe im Heft, mit dem man jetzt zunehmend rechnen muß.
 
Der Frosch / Gib mir Wasser. 32 Seiten, s/w mit Farbdruck auf dem Cover, DIN A 5, 3 Euro. Radek Matuszak, Langenfelder Damm 18, 20257 Hamburg
 
Könnt Ihr Euch an die Besprechung von „Häschen torkelt“ im letzten Heft erinnern? Nach demselben Muster haben Radek und sein Freund Kenichi Kusano (genannt Ken) ein zweites Heft zusammengestellt. Wieder ist der Teil Radeks eine Sammlung von kürzeren Comics und Einzelgags, während Ken in „Gib mir Wasser“, einem 14seitigen Comic, eine phantastische Wüsten- und Unterwasserszenerie gestaltet. Erneut kann man das Heft von beiden Seiten her zu lesen beginnen. Zu einer echten Zusammenarbeit haben sich Radek und Ken noch nicht entschließen können. Dafür ist ihr Zeichenstil wohl auch zu unterschiedlich.
 
Johandson: Chemical Comix # 1. 16 Seiten, s/w, DIN A 6. Johandson, Rua 13, No 67, CEP: 21750-000, Rio de Janeiro _ RJ, Brasilien
 
Endlich mal ein brasilianisches Fanzine, das ich lesen kann. Denn Johandson erzählt seine Geschichte erfreulicherweise auf Englisch. Das kleine Heftchen enthält nur einen, mit 14 Seiten recht umfangreichen Comic. In „Chasing Love“ wird im Undergroundstil die turbulente Suche zweier Freaks nach wahrer Liebe geschildert, die noch durch die versprochene Belohnung von 10 000 Dollar angeheizt wird. Die Story ist durchgängig schön komponiert und wirklich witzig. Selbst einen passenden Schluß hat der Zeichner zustande bekommen. „Chasing Love“ ist zwar kein herausragendes Meisterwerk, aber doch ein sehr viel besserer Comic, als man in einer so unscheinbaren Publikation erwarten würde. Der Sinn des Hefttitels hat sich mir nicht erschlossen. Da Johandson Popfan ist, wollte er möglicherweise auf die „Chemical Brothers“ anspielen. Aber ich kann mich auch irren.
 
QI # 69, 70 und 71. 24, bzw. 20 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes, 168, Brasopolis MG 37530-000, Brasilien
 
Drei weitere Ausgaben des langlebigen brasilianischen Fanzines, in dem vor allem Fanzines aus aller Welt zusammengetragen werden. In der Ausgabe 69 wird zudem unter anderem ein Künstler namens Gustave Verbeek vorgestellt. In der Ausgabe 70 sind ebenfalls längere Textpassagen enthalten. Edgards Fortsetzungscomic taucht daher nicht auf. Vielleicht ist er auch inzwischen abgeschlossen – ohne Sprachkenntnisse ist das nicht so einfach nachzuvollziehen. In Ausgabe 71 wird offenbar zur Teilnahme an einem Comic-Publikumspreis aufgerufen. Aufgefallen sind mir noch Vignetten, die seltsame deutsche Sinnsprüche enthalten („Glücklich allein die Seele, die liebt“). Zu einem deutschsprachigen Comicfan in Brasilien habe ich allerdings bisher noch keinen Kontakt bekommen. -aa
 
Underdog # 10. Mit beigelegter CD. 72 Seiten, s/w, DIN A 5, 2,50 Euro. Fred Spenner, Narzissenweg 21, 27793 Wildeshausen. www.underdogfanzine.de
 
Die CD bietet wieder einmal gute Rockmusik aus dem Punk-Bereich und -umfeld, wenn auch von – diesmal acht – eher unbekannten Bands aus dem deutschsprachigen Raum. An einem Musikfanzine ist eigentlich die mitgelieferte Musik das Wichtigste. Da wir uns aber mit PLOP nicht im Musikbereich bewegen, will ich trotzdem nun nicht die CD besprechen, sondern lieber noch ein wenig auf das Magazin eingehen. Es ist ein Punk-Fanzine, was natürlich eine Menge Plattenkritiken, Bandinterviews und Konzertberichte aus dieser speziellen Ecke bedeutet. Aber die Macher beschränken sich nicht darauf, sondern kümmern sich auch eingehend um politische Themen: Hartz IV, Rechtsradikalismus, Medien, ein Rückblick auf die Geschichte der Rote-Armee-Fraktion (RAF). Daß dieser Themenschwerpunkt auffällt, ist auch wieder ein Zeichen dafür, wie unpolitisch wir geworden sind. Aber natürlich ist Punk nicht nur eine Musiksparte, sondern beinhaltet eine politische Aussage (wie aktuell die noch ist, steht auf einem anderen Blatt – für die „Underdog“-Leute ist sie allemal noch aktuell. Was das Magazin ansonsten für uns interessant macht, sind die Comicbeiträge von Katrin Baumgärtner, Moritz Stetter und Frans Stummer. Und auch bei den Fanzine-Reviews wird die Comicszene ebenfalls mitbeleuchtet.
 
Exodus # 16. 64 Seiten, s/w, DIN A 4, 5 Euro. René Moreau, Schillingsstraße 259, 52355 Düren. www.sfflohmarkt.de
 
In der dritten Ausgabe nach einer Pause von mehr als 20 Jahren (siehe PLOP # 71) kommt in dieses Science-Fiction-Fanzine wieder richtig Leben. Man sieht die Szene, die in den 70er Jahren unter anderem dieses Magazin hervorgebracht hatte, hinter den Storys, Leserbriefen und redaktionellen Beiträgen immer deutlich durchscheinen. Dazu gehört auch der Bericht von Kurt S. Denkena („Fandom Observer“) von einer Episode um 1968, in der ein Jugendlicher ein „Atlan“-Heft am Kiosk klaut und dabei vor Aufregung das „Perry Rhodan“-Heft verliert, das er regulär gekauft hat. Und auch wenn es etwas makaber erscheint, gehören auch die ausführlichen Reaktionen auf den Tod des Autors Rainer Zubeil dazu, der in der SF unter dem Namen Thomas Ziegler bekannt war. Wer sich in der SF ein wenig auskennt, wird wissen, daß Ziegler ein erfolgreicher Buchautor und zeitweilig auch einer der „Perry Rhodan“-Schreiber war. Wer in der deutschen SF aber den Durchbruch zu den etablierten Verlagen geschafft hatte, konnte trotzdem weiter im Fandom aktiv sein. Im vorliegenden Heft tauchen unter anderem „Perry Rhodan“-Chefredakteur Klaus N. Frick und der bekannte Autor und Übersetzer Uwe Anton auf. Manche können vielleicht auch mit dem Namen des Illustrators Pierangelo Boog etwas anfangen, der ebenfalls an dieser Ausgabe mitwirkt. Für SF-Fans ist „Exodus“ eine äußerst interessante Publikation.
 
Neue Kostenlos-Magazine:
 
Wieselflink # 03/2004. 32 Seiten, farbig, DIN A 5. Wieselflink, Brokhauser Weg 32 c, 26160 Bad Zwischenahn. www.wieselflink.de
 
Comics & mehr # 46 (Herbst 2004). 32 Seiten, teilweise farbig, DIN A 4. MSW Medien Service, Linde 72, 42287 Wuppertal
 
Clamp: Lawful Drug # 1. Aus dem Japanischen von Claudia Peter, 12 mal 18 Zentimeter, ca 200 Seiten, 8 Euro. Carlsen
 
Manchmal könnte man meinen, das vierköpfige Zeichnerinnenteam Clamp zeichnet jeden zweiten Manga, der überhaupt veröffentlicht wird, denn immerhin ist "Lawful Drug" die bereits 15. Serie, die ins Deutsche übersetzt wurde, und mindestens zwei weitere Serien, dazu Artbooks und eine Magazinreihe sind im nächsten halben Jahr angekündigt. Der Erfolg ist erstaunlich, denn nüchtern betrachtet sind Clamp sicherlich keine überdurchschnittlich guten Zeichnerinnen. Tsubaki Nekoi, die diesen Band wohl gezeichnet hat (im Manga Preview 2004 wird sie Nekoi Mikku genannt), hat zumindest von Anatomie keinen Schimmer, und auch Hintergründe sucht man meist vergeblich. Wahrscheinlich ist das Arbeitspensum kaum anders zu bewältigen; aber es ist schon hanebüchen, daß Mangas, in denen die Köpfe viel zu klein sind, jeder ein dreieckiges Kinn hat und die Körper aussehen, als bestünden sie aus zusammengetackerten Besenstielen, zur Creme der Mangas gehören. Die Story von Ageha Ohkawa dümpelt anfangs vor sich hin, und man muß sich wirklich überwinden weiterzulesen. Nach einem Drittel aber kommen dann die ersten interessanten Ideen, und der Rest der Story ist wirklich packend. Es geht um einen gewissen Kazahaya Kudo, der Visionen hat, wenn er Personen oder Gegenstände berührt. Der 17-Jährige findet eine Wohnung und Arbeit bei dem mysteriösen Apotheker Kakai, der von Kazahayas Gabe weiß. Er hält ihn finanziell kurz, damit er merkwürdige „Extraaufgaben" erledigt. Bei diesen wird er stets von seinem Arbeitskollegen und Mitbewohner Rikuo begleitet, der ebenfalls über ungewöhnliche Kräfte verfügt. Leider können sich die beiden nicht ausstehen... Jo84
 
Stan Sakai: Usagi Yojimbo # 2. Ein stilles Mahl. 84 Seiten, s/w mit Farbumschlag, Comicbook-format, Softcover, 12 Euro. Schwarzer Turm
 
Zunächst eine Klarstellung: Daß der Verlag Schwarzer Turm nach Band 13 wieder mit der Veröffentlichung von Band 1 begonnen hat, bedeutet nicht, daß es kein neues Sakai-Material mehr gibt. Im Gegenteil – Verleger Mille versicherte mir, daß die Usagi-Serie erst zu einem kleinen Teil auf Deutsch veröffentlicht ist. Jedenfalls soll jetzt erstmal das Frühwerk – im Gegensatz zu Carlsen komplett – wieder zugänglich gemacht werden. „Usagi Yojimbo“, der Leibwächter Hase, erlebte seine damals überwiegend nur zehn Seiten langen Abenteuer noch als Gaststar im Magazin „Critters“. Hier wird man noch nicht gerade von der Originalität der Storys umgehauen – oft geht es Sakai nur um die möglichst effektvolle Inszenierung eines Showdowns, was ihm freilich mit großer Meisterschaft gelingt. Und man lernt einige wohl später wiederkehrende Charaktere kennen wie den blinden Schwertkämpfer Zato und Usagis Jugendliebe Marika. -aa
 
Robi / Toni Greis: Alraune # 1 bis 8. Je 28 bis 32 Seiten, s/w mit Farbumschlag, Comicbookformat, 6,50 Euro. Schwarzer Turm
 
Nur für Erwachsene! Solche Comics mit „explizitem Material“ müssen an sich nicht besprochen werden, denn sie haben ihr festes Publikum – ungeachtet, ob sie Qualitäten über das Explizite hinaus besitzen oder nicht. Der Autor dieser Miniserie ist ein ausgewiesener Könner. Robi (das ist Rochus Hahn) hat zuletzt zusammen mit Sönke Wortmann das Drehbuch zu dem Kinofilm „Das Wunder von Bern“ geschrieben. Deshalb war ich neugierig, was für eine Geschichte er hier zusammen mit Zeichner Toni Greis („Menschenblut“) realisiert hat. Erste Beobachtung: Der Porno verbirgt sich hinter einer klassischen Horrorstory. Das Mädchen Dinah fängt sich auf einem Jahrmarkt aus Unachtsamkeit einen Fluch ein. Eine kleine Wunde in der Handfläche wirkt sich in unersättlicher Sexgier aus. Sie läuft aus ihrem Elternhaus weg und versucht, den Fluch abzuschütteln – was ihr, wie man sich denken kann, nicht so rasch gelingen will. Als sie verzweifelt ihrem Leben ein Ende setzen möchte, wird sie von einer geheimnisvollen Frau namens Magdalena gerettet. Magdalena kennt sich mit dem Okkulten aus und rät ihr, ihre Sexualität so intensiv wie möglich auszuleben, um den Fluch zu besiegen. In den Folgen 4 bis 6 sammelt Dinah Erfahrungen mit Tabledance, wirkt an einem Pornofilm mit und besucht ihren verhaßten Mathelehrer. Die Story dreht sich hier im Leerlauf, wobei Robi die Sache mit vielen stimmigen Details plastisch macht. Aber man hätte beliebig viele weitere Episoden anhängen können. Dann aber taucht der rote Faden wieder auf. Aus dem Riß in der Hand ist jetzt eine düstere Blüte geworden, die Alraune. Magdalena erkennt, daß ihr Rat falsch war. Glücklicherweise fällt ihr ein Zauber ein, der auch wirklich funktioniert. Happy End? Robi und Toni wenden sich jetzt noch dem Geheimnis von Magdalena zu. Sie hat, wie sich herausstellt, dem Teufel vor 700 Jahren ihre Seele verkauft und dafür ein langes Leben erhalten. Aber ihre Gefangenschaft ist ihr längst unerträglich geworden. Dinah stattet kurzentschlossen dem Teufel einen Besuch ab und entreißt ihm Magdalenas Seele („Männer sind so einfach“). In der Nacherzählung wirkt die Story fast komisch, das liegt aber nur daran, daß sie streng kalkuliert ist. Sie ist letztlich nur Vorwand. Deshalb ist es unwichtig, daß die Horrorelemente ziemlich konventionell sind. Das Problem ist vielmehr, daß die Story nicht über die insgesamt rund 240 Seiten trägt. Jenseits der expliziten Szenen – die Toni Greis zugegebenermaßen eindrucksvoll visualisiert – ist sie bald ziemlich langweilig. Aber (siehe oben) das dürfte das „Alraune“-Publikum kaum stören. -aa
 
Horst # 13. 32 Seiten, farbig, Comicbookformat, 5 Euro. Schwarzer Turm
 
Die Abenteuer des dauergeilen Hasen habe ich eine Zeitlang nicht mehr verfolgt. Die Hefte sind schon seit einer Weile durchgehend farbig. Nun sollen sie laut Ankündigung von Verleger Mille Möller bald auch an den Kiosk kommen. Dafür muß Horst dann wahrscheinlich seine ausgeprägte Promiskuität doch ein wenig zurückschrauben – aber mal sehen. „Horst“ muß bisher im Gegensatz zu „Alraune“ nicht altersbeschränkt vertrieben werden. Aber sicher darf der Comichändler die Hefte nicht neben der Micky Maus einsortieren, mit der sie auf den ersten Blick ja eine gewisse Ähnlichkeit haben. Vom Aufbau her bietet „Horst“ jetzt eine 16seitige Hauptstory und ein Sequel, das mit jeweils sieben Seiten über vier Ausgaben läuft. Aufgefüllt wird das Heft mit lustigen Onepagern von Alex McCartney, Leserbriefen und einem redaktionellen Teil. Den Leserbriefen ist übrigens zu entnehmen, daß daß Horst als typischer Single-Großstädter mit häufig wechselnden Bekanntschaften, aber doch irgendwie auf der Suche nach der „Richtigen“ den Nerv der Zeit zu treffen scheint. Die Leser erkennen sich und ihre Umwelt wieder, was sowohl Autor Robi als auch der detailreichen.Grafik von Geier zu verdanken ist. -aa
 
Jackpot Baby! # 2. 114 Seiten, s/w mit Farbumschlag, Comicbookformat, Softcover, 4 Euro. Jackpot Baby!, Postfach 101419, 04014 Leipzig
 
Die ehemaligen „Paranoid“- und „WackaWacka“-herausgeber verfolgen ihr Konzept zwischen Fanzine und Nischen-Kulturzeitschrift konsequent fort. Was sich geändert hat: Die Texte sind generell etwas kürzer. Die Bandinterviews (diesmal mit Superpunk, Stereophonics, Tele, Elbow und Malmzeit) sind etwas zurückgedreht worden oder zumindest großzügiger über den Band hinweg verteilt. Comics – außer von den Machern von Moritz Stetter, Sascha Thau, Fil und Stefan Dinter – wirken etwas dominierender. Plattenrezensionen fehlen diesmal, vielleicht auch weil das Label „Lado“ den Machern vorgeworfen hat, sie wollten doch nur kostenlose Platten und Konzertkarten abgreifen – was der Ernsthaftigkeit des Projekts keinesfalls gerecht wird. Es werden bloß Dinge „empfohlen“ – darunter auch Platten. Die persönliche Note an dem Magazin verleihen die Beiträge, die ich letztes Mal unter dem Stichwort „Lifestyle“ verschubladet habe. Also zum Beispiel: Guido Kawczynski erzählt, wie es Anfang der 90er war, einen Trabbi zu fahren. Christopher Tauber untersucht, wie Comiczeichner im Film dargestellt werden und vergleicht sich selbst mit ihnen. Sandra Stern schwärmt von der britischen Soap „Eastenders“. Und so weiter. Würde mal gern wissen, wie gut sich Jackpot Baby! verkauft. Die erste Ausgabe lag ja auch in zahlreichen Berliner Buchhandlungen herum (vermutlich bekommt Christopher Hilfe von seinem Cousin Jens Neumann, einem Mainzer Verleger). Aber ob ein solches Crossover funktioniert, ist wohl noch eine ungeklärte Frage. -aa
 
Xoomic # 10 (Dezember 2004). 64 Seiten, teilweise farbig, 20 mal 27 Zentimeter, 5,80 Euro. Frank Kemter Verlag, Nürnberger Straße 111 A, 90762 Fürth. www.xoomic.de
 
Ein Mitarbeiter warnt Herausgeber Frank Kemter in dieser Ausgabe, daß sein Magazin Xoomic die Unabhängigkeit verlieren könnte, nachdem er jetzt auch mit der Veröffentlichung von Comicalben begonnen hat. Bedenklicher erscheint mir, daß der in der vorherigen Ausgabe begonnene Comicteil noch ausgedehnt wurde. Nichts gegen Laska Comics, aber 18 Seiten „Der Golem“ (zuzüglich zwei Comicseiten von Michael Schulz) haben in einem Sekundärmagazin nichts zu suchen. In der Folge sind die internationalen und nationalen News auf zusammen drei Seiten zusammengeschrumpft. Auch zwei Seiten für den Marvel-Zeichner Gene Colan sind mir eindeutig zu wenig. Ausführliche Berichte sind zu finden über „Spirou“ nach der Ära Franquin, über die Melzer-Neuausgabe von „Prinz Eisenherz“ und über den Schweizer Zeichner Massimo Milano („Vallat“). Die Werkschau ist dem Kanadier Seth gewidmet. Xoomic sollte den Kurs wieder in Richtung mehr Informationen und mehr Text korrigieren. -aa
 
Comic! Jahrbuch 2005. 228 Seiten, s/w mit Farbumschlag und farbigem Anzeigenteil, Albumformat, 15,25 Euro. Interessenverband Comic e.V. (ICOM), Danneckerstraße 12, 70182 Stuttgart. www.comic-i.com
 
Es gibt zur Zeit im deutschsprachigen Raum kein vergleichbares Sekundärwerk über die internationale Comicszene (sowie über die Bereiche Cartoon, Illustration und Trickfilm). Möge ICOM-Vorsitzender Burkhard Ihme die Mühe, einen solchen Band zusammenstellen, noch lange auf sich nehmen. Beim aktuellen Band hat die Druckerei versehentlich zu dünnes Papier verwendet. Ich habe Burkhard zunächst gesagt: Ein Laie merkt das doch überhaupt nicht! Aber als ich jetzt gerade im Stapel nach dem Jahrbuch suchte, um es zu besprechen, habe ich es nicht gleichgefunden, denn der Band hätte nach meiner Erwartung deutlich dicker sein müssen... Weniger Umfang bedeutet jedoch in diesem Fall nicht weniger Seiten. Im Gegenteil handelt es sich um eine geballte Ladung Information. Die Artikel sind diesmal nicht zu einem Dossier gebündelt, sondern nach den Rubriken „Form und Inhalt“, „Comicszene“, „Atelierbesuch“ (unter anderem bei Volker Sponholz und im Berliner Studio „Tooncafé“) und „Sekundärliteratur“ sortiert. Unter „Comicszene“ werden auch die vergangenen 20 Jahre Comicsalon Erlangen (erstmals veranstaltet 1984) resümiert. Hinzu kommen natürlich aktuelle Marktberichte aus USA, dem frankobelgischen Raum, den Niederlanden, Dänemark und Spanien (wie beim letzten Mal nicht aus Deutschland). Sehr breiten Raum nehmen traditionell Interviews mit und Porträts von den Gewinnern der ICOM Independent Comic Preise ein. Darunter waren im vergangenen Jahr Uli Oesterle und Mawil sowie das Internetmagazin „Inkplosion“ und die Internet-Plattform „Comicforum“. Am Ende gibt es noch einen kleinen Trickfilm-Teil. Wenn man das alles gelesen hat, dann hat man einige tiefe Einblicke in die internationale Comicszene gewonnen, wie sie so nirgendwo sonst geboten werden. Vielleicht fehlt ein Beitrag über die wichtigsten Comic-Publikationen des Jahres (so etwas könnte nach meiner Einschätzung zum Beispiel Gerhard Förster schreiben). Ansonsten bleiben keine Wünsche offen. -aa
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 73
Besprechungen



Jens Natter: Die Deibelz. 66 Seiten, s/w mit rotem Cover, Albumformat, 11,90 Euro. Erlenbach Verlag, Dortmund
 
Aus der Geschichte einer Amateur-Rockband hat Jens Natter - abgesehen von seiner Pädagogik-Diplomarbeit - sein erstes größeres Comicprojekt gemacht. 48 Netto-Comicseiten geben ihm genug Raum, diese Band ausgiebig zu porträtieren. Obwohl jede Seite für sich eine Einheit bildet, ergeben sie zusammen eine durchgängige Bandstory vom Zusammenfinden der vier „Deibelz“-Mitglieder bis zu ihrer Trennung. Es dürfte sich um eine imaginäre Band handeln, wenn ich auch annehme, daß Jens etliche eigene Musikerfahrungen hat einfließen lassen. Insgesamt werden aber eifrig die Klischees bedient: Der Bandleader sieht ein bißchen aus wie Lou Reed, der Leadgitarrist ist aufbrausend, der Bassist schweigsam und nicht so helle. Die ersten größeren Konflike sind vorprogrammiert, als eine Frau hinter dem Schlagzeug Platz nimmt. Dann kommen Probleme mit den regelmäßigen Probeterminen, die Jagd auf die ersten Gigs und der Neid auf andere, erfolgreichere Bands. Jens beleuchtet auch den Verkauf der selbstgebrannten CDs nach den Konzerten, die Suche nach einem geeigneten Tourbus, vermasselte Auftritte und die Bemühungen, sich verschiedenen Subszenen anzupassen. Jens hat sich mit der Charakterisierung der vier Bandmitglieder durchaus Mühe gegeben, aber letztlich wirken sie wie Repräsentanten der idealtypischen deutschen Nachwuchs-Rockband. Vielleicht bedient er deshalb so eifrig die Klischees, weil seine Onepager lustig rüberkommen sollen. Aber die Klischees machen die meisten Gags vorhersehbar oder nehmen ihnen die satirische Spitze. Aber jedenfalls hat Jens einen in sich stimmigen Comickosmos erschaffen, aus dem sich sicher noch mehr machen ließe. Jetzt könnte er seine „Deibelz“ ja mal auf den Spuren von „Wir sind Helden“ wandeln lassen und berichten, wie eine Band mit Ruhm und Geld klarkommt. Oder - vielleicht noch reizvoller - er schildert den Weg einer Band, die auch nach Jahren nicht den Durchbruch schafft. Da wäre dann jedenfalls genug Raum auch für überraschendere Erkenntnisse.
 
cOMIc # 59 und 60. 20 Seiten, s/w, DIN A 5, im Tausch gegen Beiträge oder andere Fanzines. Gerd Bonau, Gabelsberger Straße 14, 24148 Kiel. gerdbonau@yahoo.de
 
Die individuell gestalteten Covers - das war immer eine Spezialität von Jo Guhdes „Sprühender Phantasie“. Gerd Bonau geht nun mit cOMIc # 59 ein bißchen in diese Richtung: Auf dem meerblauen Titel ist ein „Barracuda“-Taucher zu sehen, und ein gelber Klebepunkt steht für die Taschenlampe, mit der er in die Dunkelheit leuchtet. Schöner Effekt. Ansonsten sind Bernd Teuber und Frunk mit mehrseitigen Comics, Max Jähling, König Lü. Q. und Nils Fuhrmann-Wiese mit Onepagern sowie Oliver Ferreira, Aaron Jordan und Jan Proese mit Kurzcomics und Illustrationen vertreten. Ach ja, und zwei Sätze erübrigt Gerd Bonau für zwei Rezensionen Schweizer Magazine.
COMIc # 60 ist mal wieder eine ziemlich minimalistische Ausgabe geworden. Bernd Teuber huldigt mit zwei „Hübner“-Comics dem klassischen Zeichentrickfilm à la Tom und Jerry. Mit kleineren und kleinen Beiträgen sind Oliver Gfeller, Marco Lensch, Manfred Wladik und Aaron Jordan dabei. Illustrationen kommen von Thomas Glatz, Roman Castenholz und dem recht begabten Vincent Burmeister. Trotz des spärlichen Inhalts ist es eine wichtige Ausgabe, denn in der Mitte weist Gerd Bonau auf das interessante neue Comic-Studio-Projekt „Alligatorfarm“ von Karl Nagel („Fantastrips“) und Wittek hin, ein ernsthafter Versuch der Professionalisierung. Wer mitmachen möchte, sollte sich dieses Heft besorgen oder unter www.alligatorfarm.de nachschauen.
 
 
Basel brennt # 2. 40 Seiten, s/w mit orangem Umschlag, DIN A 5. Lukas Mannhart, Dornacherstraße 151, CH - 4053 Basel. koeniglueq@gmx.net
 
Druck und Heftung sind sauberer und sorgfältiger als bei der Nummer 1, was den einen oder anderen Basler eher mal zum Zugreifen verleiten könnte. Inhaltlich sind Lukas Mannhart und sein Co-Herausgeber Jens Natter aus dem nahen St. Louis in Frankreich ihrem Konzept treu geblieben: Fast alle Beiträge haben etwas mit Basel zu tun oder stammen von (auch ehemaligen) Baslern. Der unvoreingenommene Leser bekommt den Eindruck einer bunten, ziemlich abwechslungsreichen und meist unterhaltsamen Mischung. Etliche der Mitwirkenden haben auch schon in PLOP ihre Visitenkarte hinterlassen: neben den Herausgebern sind das Oli Gfeller, Aaron Jordan und Katrin Baumgärtner (die sich hier leider schon länger nicht mehr hat blicken lassen und deren Comic über eine Basler Kindsmöderin für mich die anspruchsvollste Arbeit im Heft ist). Aufgefallen sind mir daneben Lukas Liederer mit „Strapazin“-Potential und Lorenz Ritzmann, der wohl haarscharf an einem Disney-Plagiat vorbeischrammt.
 
Netzhaut # 101. 16 Seiten, s/w mit Farbcover, DIN A 5, 1 Euro. Frank Günther, Bremen
 
Dies ist eines jener Hefte, die Frunk schwerpunktmäßig an einem Bremer Kiosk vertickt, den ein Freund von ihm schmeißt. Bevor er PLOP entdeckte, hat Frunk diese Hefte fast ausschließlich mit eigenem Material bestritten. Jetzt hat er auch Comics und Zeichnungen von Bernd Teuber, Ulrich Magin, Radek Matuszak und Sascha Weitzel zur Verfügung. Nach den Erfordernissen des Kiosks, wo das Heft mit Publikationen wie „Focus“, „Bun-te“ oder „Matador“ um Aufmerksamkeit konkurriert, hat er ein farbkopiertes Cover vorne draufgepappt. Für den durchschnittlichen Kioskkunden - sollte sein Blick auf „Netzhaut“ fallen und ihn irgendwas zum Kauf verleiten - dürfte der Inhalt trotzdem etwas gewöhnungsbedürftig sein, denn da wird doch ein ziemlich skurriler Humor gepflegt, der aber natürlich gut zu Frunks eigenem Stil paßt. Wäre mal interessant zu erfahren, wie viele Hefte er in Bremen unters Volk bringt.
 
Geschichten aus den Neunzigern # 3. An solchen Tagen. 44 Seiten, s/w mit zweifarbigem Umschlag, Comicbookformat, 5 Euro. Verlag Schwarzer Turm
 
In der ganzen Straße, in ganz Hamburg, auf der ganzen Welt lebt mit Ausnahme des Ich-Erzählers kein Mensch mehr. Kein Autoverkehr, kein Fernsehprogramm, kein Telefonhörer wird mehr abgenommen - so beginnt die Hauptgeschichte in diesem Band. Kontrastiert wird diese Vision der Menschenleere mit der Geschichte einiger Studenten, die ins Visier sensationsgeiler Medien geraten, weil ein Freund von ihnen bei einer Mittelmeerkreuzfahrt vom Schiff verschwunden ist. Um die besser zu verstehen, müßte man nach Aussage des Autors und Zeichners FabBand 1 seiner Reihe „Ok Griechenland“ kennen, was für mich leider nicht gilt. So teilt sich mir zumindest mit, daß Fab ökonomisch erzählt und in einem wirkungsvollen Schwarzweiß-Stil nach Fotovorlagen zeichnet. Ein wenig kann man bei der Grafik auch an Hugo Pratt denken, was „Schwarzer Turm“-Herausgeber Mille Möller bewogen haben könnte, diesen Comic in sein Programm aufzunehmen. Es gibt noch eine siebenseitige Füllstory von Fab, in der sich zwei Typen die Geschichte der Rote-Armee-Fraktion auf einer Schallplatte anhören, was der Zeichner mit teils bekannten Pressefotos nachempfundenen Bildern illustriert. Hierzu erfahren wir, daß wir den beiden Protagonisten schon einmal im zweiten Band „Punkrock!“ (bei „Heftich“ 2002 ausgezeichnet) hätten begegnen können, was aber in diesem Fall auf die Verständlichkeit keinen Einfluß hat. Der Comic ist insgesamt das Werk eines eigenständigen, interessanten Talents. Wer sich mit ihm eingehender auseinandersetzen möchte, wird aber wohl um die Beschaffung der anderen beiden Bände nicht herumkommen (Näheres dazu auf www.dassortiment.de).
 
Kaufzwang # 1 mit Chnusper Comics. Abschiedsausgabe. 28 Seiten, DIN A 5 und 36 Seiten, DIN A 6, jeweils s/w, 250 Euro. Oliver Gfeller, Bohrerhofstraße 10, CH - 4123 Allschwil
 
Aufhören, wenn’s am schönsten ist - das ist wohl Oli Gefellers Motto. Denn die letzte Ausgabe von Chnusper Comics, die # 8, hatte mir ziemlich gut gefallen. Jetzt präsentiert er die Abschiedsausgabe mit einer Auswahl der seiner Ansicht nach besten Beiträge der vergangen Jahre samt Nachfolger. Vermißt habe ich im Chnusper-Resümee Olis publizistischen Feldzug gegen die Verflachung des DRS-Radioprogramms. Der wird im neuen Fanzine zumindest vom Tonfall her wieder aufgenommen in Ruedi Nötzlis Kolumne zur wiedereingeführten Basler Polizeistunde (22.00 Uhr). Ansonsten unterscheidet das neue Fanzine eigentlich nicht allzu viel vom alten. Die Comicbeiträge, diesmal unter anderem von Colin Würgler, Moritz Stetter, Aaron Jordan und Oli himself, sind überwiegend interessant und von guter Qualität. Teresa Camara Pestana, Jan Prose und Claudio Parentela steuern zudem noch einige Onepager und Illustrationen bei. Und warum nun der Wechsel? Dazu sagt Oli im Vorwort nur: „Genausogut könnte man fragen, warum ein Mensch gerne ein blaues T-Shirt trägt oder warum diese Person Bircher Müsli so lecker findet.“ Wollen wir jedenfalls mal hoffen, daß Oli das Mitmischen in der Fanzine-Szene weiterhin „lecker“ findet.
 
Bildstörung # 11. 48 Seiten, s/w, DIN A 5, 3,50 Euro. ISSN: 1618-1721. Roman Castenholz, Triftstraße 47, 53919 Weilerswist
 
Neu scheint zu sein, daß es in Romans Kunstmagazin ein Rahmenthema gibt. Vielleicht ist es mir bisher nicht aufgefallen, oder ich habe es wieder vergessen, aber er weist wohl auch zum ersten Mal darauf hin, daß Leute, die ihm Beiträge schicken wollen, sich erst nach dem Rahmenthema der nächsten Ausgabe erkundigen sollen. Diesmal hieß das: Staub. Es scheint sich um eine ganz aktuelle Reaktion auf die kürzlich aufgeflammte Feinstaub-Diskussion zu handeln, aber natürlich sehen die Autoren und Zeichner, die hier versammelt sind, den Staub auch in noch ganz anderen Zusammenhängen. Vom Comicstandpunkt aus hat die neue Ausgabe allerdings wenig zu bieten - eigentlich nichts, sieht man von den Illustrationen ab, die allerdings überwiegend eher künstlerisch kühn collagiert und nicht so sehr grafisch gestaltet sind (unter anderem vom Herausgeber selbst). Bleiben noch die Rezensiuonen zu erwähnen. Auch hier dreht sich’s um Lyrik und Prosa und offenbar eine CD-Reihe vom Label Dronerecords.
 
QI # 73. 24 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes, 168 - Brasópolis - MG - 37530-000, Brasilien
 
Wenn ich auch dieses brasilianische Magazin nach wie vor nicht lesen kann, so kann ich doch spekulieren und zu erraten versuchen, mit welchen Inhalten ich es da zu tun habe. Einen Comic gibt es in dieser Ausgabe jedenfalls nur auf dem Backcover. Zunächst werden einige Fanzines ausführlicher vorgestellt, dan folgt ein Leserforum („Fórum“ betitelt), das es mit dem in PLOP locker aufnehmen kann. Daran schließt sich die in QI übliche Auflistung neuerschienener Fanzines an, wobei stets deren Cover gezeigt und wichtigsten Erscheinungsdaten genannt werden. PLOP scheint diesmal das einzige zu sein, das nicht aus dem brasilianisch/portugiesisch/spanischen Sprachraum stammt.
 
Pecado (Januar 2005). 20 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes, 168 - Brasópolis - MG - 37530-000, Brasilien
 
Neben seinem hier schon wohlbekannten eher indexorientierten Magazin QI gibt Edgard Guimaraes auch dieses Heft heraus, das viel eher dem Charakter eines Comicmagazins entspricht. Hier gibt’s also keine Auflistung internationaler Fanzines, sondern überwiegend Comics von rund zehn Künstlern oder Teams. In den knappen Seitenumfang wurde also ganz schön viel Material hineingepackt. Die Beiträge sind deutlich am amerikanischen Underground orientiert und sehen meist grafisch gar nicht schlecht aus. Der Inhalt wirkt ziemlich sozialkritisch, soweit ich das beurteilen kann. Dazu passen allerdings nicht zwei Textbeiträge im Heft. In einem geht es um die X-Men, in den anderen um Cpatain Marvel (den DC-Charakter Shazam). Die beiden großen US-Verlage sind jedenfalls demnach in Südamerika nicht unbekannt.
 
Neuere Kostenlos-Magazine:
 
Comicaze # 18. 28 Seiten, farbig, DIN A 5. Comicaze e. V., Volkartstraße 32, 80634 München
 
Üblicherweise liste ich neue Kostenlos-Comicmagazine an dieser Stelle nur auf, ohne sie näher zu besprechen. Die dahinterstehende Überlegung ist, daß diese Magazine meist in so schnellem Rhythmus erscheinen, daß ich mit dem Besprechen ohnehin nicht nachkommen würde. Allerdings kann es bei ihnen immer wieder mal Produktionsprobleme geben, Kostenlos-Magazine gehen ein oder werden neu gegründet (siehe „Kainsmal“, „Blümchens Schacht“), so daß sich dieses Prinzip wohl nicht durchhalten läßt. Hier ein paar Bemerkungen zum neuen „Comicaze“, das in letzter Zeit schon nahe am Eingehen war und jetzt mit neuer Aufmachung und in neuem Format erscheint. Kostenlos-Magazine leben nicht nur davon, daß genug Anzeigen eingetrieben werden, sondern auch davon, daß sie dort, wo sie ausgelegt sind, nicht liegenbleiben, denn die Anzeigenkunden werden auf Dauer nur inserieren, wenn sie davon ausgehen können, daß ihre Werbung auch den Adressaten erreicht. Der Comicaze e.V. ist jetzt offenbar zu dem Schluß gekommen, daß ein Heft eher mitgenommen wird, wenn es handlich ist. In München sind Kneipenbesucher ja regelmäßig mit Bergen von Kostenlos-Material und Prospekten konfrontiert. Bisher hatte man eher gedacht: Das Heft soll wertig wirken, daher Albumformat. Bei diesem Gedanken ist man insofern geblieben, als Comicaze durchgehend farbig auf Glanzpapier gedruckt ist (Auflage: 10 000). Beim Cover haben sich die Münchner freilich mit der einen Farbe Rot beschieden - vielleicht um sich wiederum von der knallbunten Kostenlos-Flut abzuheben. Als durchgehendes Rahmenthema wurde „Fetisch“ gewählt, wobei das Cover allerdings nur Erotik im Ungefähren signalisiert. Die Zeichner, unter anderem Jan Reiser, Jan Hoffmann und die Zwei von Laska-Comix, haben durchweg grafisch Hochwertigtes abgeliefert. Hoffen wir mal, daß die Münchner mit der neuen Ausgabe die richtigen Signale gesetzt haben.
 
Berliner Comicgarten
 
Zufällig war ich in Berlin, genau als der Comicgarten stattfand. Mit Comics allgemein und im besonderen habe ich mich in Berlin gar nicht soo viel beschäftigt, außer bei der Suche nach Material für das immer bekannter werdende „Andy's Early Comics Archive“ (wie immer fündig geworden) und außer den drei, vier hektischen Comicgartentagen. Danach hatte ich natürlich die Faxen dicke, aber ein Bericht muß doch irgendwie sein. Wir können die PLOP-Köppe doch nicht in comicfestivalmäßiger Unwissenheit belassen.
Bißchen schade war, daß Wittek und Calle nicht kamen. Wittek ringt gerade mit dem letzten Schliff für das dritte Panik Elektro, wo ich hochpeinlicherweise nicht drin bin, obwohl ich eine gute Storyidee hatte und der anvisierte Zeichenstil auch genehm gewesen wäre. Bin echt eine Nulpe, denn das ist ein tolles Publikationsphänomen. Bekommt bestimmt diesen Extrapreis in Erlangen.
Also, Berlin. Stattgefunden hat es schon wieder woanders, nicht Pfefferberg oder Kulturbrauerei, sondern im Haus Schwarzenberg, wo außen „Waschfabrik“ in alten Lettern dransteht, was ich einen putzigeren Namen fände. Es liegt superzentral, ein Nachbarhaus von den Hackeschen Höfen, aber allzuviele Turis trauen sich möglicherweise nicht rein. Vielleicht sollte man mit dem Berliner Tourismuszentrum einen Deal aushandeln, wo man so'n paar Turitrupps kurz mal zu Comicveranstaltungen rein-lotst. Vielleicht bleibt was hängen und bißchen Pinke Pinke bei den Comicern.
Die „Waschfabrik“ ist das einzige Haus in dieser zentralen Lage, das noch äußerlich ganz unrenoviert bleibt und zeitreisewirkend aussieht wie alles im Osten nach der Wende. Total romantisch. Im Hinterhof, zweiter Stock ist einer der besten Comicläden für Alternativzeug, das „Neurotitan“. Gleich dahinter die Neurotitan-Galerie (man muß also immer durch den Laden gehen), zwei hallenartige Räume (wo wohl früher mal Wäsche produziert wurde). Dort war Donnerstag Abend Vernissage einer Ausstellung namens „Mit Superman fing allen an“. Es ging aber nicht um Superhelden, sondern den Beitrag, welchen jüdische Zeichner und Autoren in der Comicgeschichte hatten. Trotzdem war der Eindruck leider mehr wie von jenen mit „Peng, Paff, Pow“ übertitelten Zeitungsartikeln, wo „mal was über Comics“ geschrieben wird. Kommt natürlich darauf an, wie man „alles“ definiert, aber zutreffender wär‘ zu behaupten „Mit Superman hörte alles auf“, nämlich der entscheidende amerikanische Innovationsschub, der den Comic oder die Bildergeschichte gegen 1900 aus dem Dornröschenschlaf der altmodischen, sprechblasenlosen, mini-episodenhaften Bildsequenz in eine supermoderne Literaturform verwandelte. In den dreißiger Jahren hupfte die Comicmuse wieder zurück zur Bildliteraturwiege Europa, wo Hergé die endgültige Erscheinungsweise des Mediums etablierte, das hochkantige, umfangreiche Album. Daran ändert auch nichts, daß es heute vermehrt kleine fette, manga-inspirierte Publikationen gibt, die Schwarzweiß-Alben von Tintin waren auch schon fett. Entscheidend ist der Anspruch, ein Buch zu sein.
In den 50er und 60er Jahren wurden auch Frankreich und Italien immer wichtiger. Zum Beispiel waren die besten Disney-Arbeiten die vom gerade verstorbenen Hypergenie Romano Scarpa. Viele der Geschichten habt ihr vielleicht sogar gelesen, in den Lustigen Taschenbüchern. Scarpa geht etwas unter, wegen der eher langweiligen Massenware darin, aber seine Klassiker sind zeichnerisch und erzählerisch so unglaublich gut, daß ich es jedesmal beim Aufblättern nicht fassen kann, wie der das gemacht hat. Ich werde euch mal für's nächste PLOP einen Index seiner deutschen Veröffentlichungen zusammenstellen, damit das alle kapieren, wie toll der war, und als angebrachte Würdigung.
Zurück zu Berlin: Stargast war der New Yorker Ben Katchor, neben Spiegelman und Eisner (der, wenn's nach mir gegangen wäre, bis 100 gelebt hätte) der bekannteste „typisch jüdische“ Comiczeichner, obwohl genauer wäre „typisch New Yorker Comiczeichner“. Der war auch überhaupt nicht davon angetan, in was für eine Ausstellung er reingerutscht war. Seine Rede am Freitag begann er damit klarzustellen, daß Bildergeschichten schon lange existierten, als Superman auftauchte. Außerdem hielte er das Hervorheben des jüdischen Einflusses auf Superman für übertrieben. Das waren einfach junge Einwanderer. Gruppenausstellungen mißfielen ihm sowieso (außer ganz große), aber vor allem hielt er nichts davon, mit anderen ausgestellt zu werden, nur weil die auch jüdisch seien, und nicht weil es einfach gute Comiczeichner sind.
Die Verbindung Superhelden/Juden kam ins Gespräch aufgrund des fiktiven Romans von Michael Chabin, in dem zwei junge jüdische Zeichner einen Superhelden erfinden, also verschlüsselt Siegel und Schuster. Katchor mag Chabin und auch das Buch, aber hält es nicht für sein bestes. Es sei jedenfalls pure Erfindung. Die Leute entdeckten darin einen besonderen jüdischen Subtext, und er sei nicht sicher, ob der existiere. Es gebe natürlich jüdische Comics, aber das seien nicht Superhelden, sondern Strips in jüdischen Zeitungen der 20er, 30er Jahre, die Alltagsgeschichten erzählten. (Diese auszustellen, wär‘ hochinteressant, aber das erfordert natürlich richtig Arbeit und Fachwissen.) Das Entscheidende sei nicht, ob der Autor nun zufällig jüdisch sei, sondern ob es in der Geschichte um jüdische Themen gehe. Er war also nicht ausnahmslos begeistert davon, nach Berlin zu kommen, aber dann doch, weil ihm Berlin gefalle (er war schon mal vor zwei Jahren hier), und seine Diavorträge machten ihm sichtlich auch großen Spaß. Er sieht sich hier in der Tradition der Bänkelsänger, die zu Bildertafeln auf Jahrmärkten tragische Geschichten vortrugen. Auch Comics allgemein sieht er weniger verwandt mit Literatur oder Malerei als Theater. Ich glaube, es ist noch komplizierter, aber wenn man überhaupt Vergleiche zieht, ist dieser am funktionierendsten.
Katchor hatte das Comicsvorlesen gut drauf, mit einer leicht schnodderigen, entspannten, aber trotzdem quicklebendigen, ansprechenden Vortragsweise. Ich war erstmal skeptisch ob das geht, es ging aber. Von der Comicseite (aus einer Serie für ein großformatiges Architekturmagazin) wurden Einzelbilder, teilweise bunt, an eine Leinwand geworfen. Der Erzähltext nicht, der wurde nur vorgelesen, den Sprechblasentext aber konnte man lesen und hören. Hört sich überflüssig an, gab aber durchaus eine zusätzliche Comicleseerfahrungskomponente. Weiß nicht, ob das andere Zeichner probieren sollten. Der Katchor war mit seinem näselnden, understated-tem New Yorker Singsang voll in den Geschichten und seinem Element. Dazu meinte er später, „I think this is kind of like an animated movie.“ („Ich glaube, das ist so ein bißchen wie ein Zeichentrickfilm.“) Er findet das eine gute Präsentationsform seiner Comics. Auch die Bilder wirkten schöner so groß und bunt, sogar besser als die Originalzeichnungen. Es sei ihm aber wichtig, daß es direkt vorgetragen wird, nicht abgefilmt. Ich fände es trotzdem gut, seine Vorträge zumindest für die Nachwelt zu dokumentieren. Dieses Vortragen ist eher eine Mischform, kein reiner Comic. Beim Comiclesen ist entscheidend, daß der Betrachter nach eigener Geschwindigkeit mit Lesen und Betrachten fortschreitet. Bei einem öffentlichen Vortrag ist es ein bißchen gemischt, denn der Vorleser richtet sich mit der Geschwindigkeit nach den Reaktionen des Publikums. Als Film wäre das Ganze eher nervig, außer halt ein Livemitschnitt als Dokumentation. Der Unterschied zwischen den Kunstformen Comic und Kino, auf den Punkt gebracht, ist folgender: Eine Bildergeschichte als Diashow, wo der Betrachter selber aufs Knöpfchen drückt, ist ein Comic. Wenn wer anders draufdrückt, wird es zum Kino.
Am Samstag war eine Podiumsdiskussion mit zwei Israelis, einer davon der populäre Schriftsteller und Drehbuchschreiber Etgar Keret. Ich kannte ihn von einem Buch der Gruppe Actus Tragicus, „Jetlag“, wo er die Texte lieferte. Die waren mit dem Buch vor ein paar Jahren in Erlangen zu Gast, mit Tisch und Ausstellung (oben, gleich wenn man die Treppe hochkam). Keret und ein eher mainstreamiger, aber nicht uninteressanter Zeichner, Asaf Hanuka, erzählten einiges über Israel, zum Beispiel wie amerikanische Superheldenheftchen exotisch und obszön wirkten, weil es keine Tradition von heldenhaften Halbgöttern gebe. Selbst das christliche Abendland habe jede Menge heldenhafter Ritter und Abenteurer. Israelische Helden seien Propheten, die den Arsch nicht hochkriegen und Sachen verkünden. (Es gibt, glaube ich, aber doch einige ziemlich blut- und tatendurstige Kerle im Alten Testament.) Interessanter finde ich die Frage, inwieweit die Bildfeindlichkeit der jüdischen Religion der auch in Israel existierenden Comicfeindlichkeit eine besondere Note verleiht, oder ob es einfach ein Erbe des mitteleuropäischen bildungsbürgerlichen Schubladendenkens ist. Keret meinte dazu, Israel sei mehr von Osteuropa, besonders Rußland, beeinflußt.
Ich bin nach wie vor der Meinung, das Medium Bildergeschichte konnte nur entstehen, weil jüdische Bilderfeindlichkeit auf die religiöse, aber zweitklassige Bildtradition der Römer stieß (die griechischen Kunstgenies hätten sich nicht so leicht reinfunken lassen). Bisher bin ich (glaube ich) der einzige, der diese Theorie vertritt, aber Ihr sollt mal sehen, wenn sich das durchsetzt, gibt es andere, die das schon immer wußten.
Auch auf dem Podium war Elke Steiner, deren Zeichnungen erstmals ein israelisches Comicszenario (von Keret) illustrierten, was eine spannende Entwicklung sein könnte. Vielleicht nicht immer nur Holocaustkram, denn das Spannungsverhältnis zwischen Deutschland und Israel könnte zu ungewöhnlicher Zusammenarbeit ganz allgemein führen. Allerdings sind Israelis auch ganz normale, amerikanisierte Bürger der westlichen Welt, halt mit der etwas nerviges Situation, daß die mittelalterlichen Nachbarländer sie ausrotten wollen. Eine Zusammenarbeit wäre also vielleicht nicht viel anders als die zwischen Europäern und Amis.
Noch was zu der Ausstellung. Aus Kostengründen waren es keine Originale, sondern Farbkopien. Das war für Zeichner natürlich weniger interessant, denn wir wollen ja wissen, wie das gemacht wurde. Wenn schon, dann sollten Fotokopieausstellungen mit obergigantischen oder zumindest sehr großen Formaten arbeiten, damit man richtig was zu gucken hat. Ansonsten kann man die Seiten doch viel besser als Buch betrachten. Ein paar Arbeiten von Krigstein waren etwas größer, und das sah auch gleich viel besser aus, besonders weil sie nicht an der Wand, sondern an Fäden im Raum hingen. Diese dreidimensionale Komponente, in Verbindung zur zweiten und vierten Dimension der Comics, macht sich nicht schlecht.
Am Sonntag hielt Lutz Göllner einen Vortrag zu Superhelden. Der war wohl glücklich, mal so richtig über Hauptstromcomics zu berichten, und das im Rahmen einer Alternativveranstaltung, sozusagen den Gegner unterminieren. Der Vortrag war etwas holperig, gut wurde Göllner, als er sich danach den Fragen stellte, also umgekehrt, wie man glauben könnte. Ein etwas trotzphasiger Jugendlicher nörgelte wiederholt an Göllners Behauptung rum, der Comichasser Wertheim sei zum Buhmann gemacht worden und hätte aus gutem Gewissen gehandelt. Entschieden bedenklicher fand ich die Aussage, ohne Wertheim hätten die Comics heute den Stellenwert von Literatur und Kino. Aber wie gesagt, ich meine schließlich, mit Superman hörte alles auf.
Comicgarten: Die Verkaufsstände draußen waren Samstag und Sonntag abzuklappern. Nicht sehr viele, halt die Berliner, Weißblech, ein Gemeinschaftsstand aus Hamburg, Köln und anderem und paar weitere, wie eine sympathische Anthologie aus der Weimarer Kunstakademie namens „Eins Null Eins“. Das sind jährliche, aufwendig selbstproduzierte Bücher mit Themen. Nr. 1 waren Comics zu Texten aus einem alten Knigge (dieses Benimmbuch), von dem ich das letzte Exemplar erwischte, in Nr. 2 geht es um „Kindheitstraumata“, mit einem schönen Titelbild sowie Anfangsstory von Nadja Rümelin (mehr dazu: www.1null1.com).
Der Comicgarten war also diesmal eine eher sehr kleine Angelegenheit. Der Ort und Namenswechsel (manchmal Comicfest Berlin) hilft auch nicht, die Sache als Alternativ-Erlangen zu etablieren. So eine Stadt wie Berlin macht es überhaupt schwierig, mit anderen Veranstaltungen zu konkurrieren. Andererseits gibt es hier auch mehr Publikum, muß man nur finden und dann auch was Tolles anbieten. Solange wir nicht wesentlich mehr richtige Bücher rausbringen, also imposante Projekte, wird das alles nüscht. PLOP ist was anderes, da ist einfach die regelmäßige Langlebigkeit schon sehr imposant. Nur mit dem Inhalt kann man sich leider doch immer wieder schön rumärgern (siehe „Lesergesabbel“).
Andy Bleck
 
Internet-Comics
 
Um diesen Bereich will sich künftig schwerpunktmäßig Max Jähling kümmern. Keine schlechte Sache, zumal Max selbst im Internet ziemlich aktiv ist (siehe www.dreadful-gate.de). Am Anfang wird’s freilich für ihn ein bißchen schwierig sein. Wäre schön, wenn Ihr ihn mit Hinweisen auf interessante Websites unterstützen könntet (auch Eure eigenen – warum nicht). Max ist unter jaehling@gmx.de oder Bremerhavener Straße 65, 28217 Bremen zu erreichen (falls Ihr ihm Papier-Fanzines schicken wollt).
Beginnen wir mit zwei Websites, auf die ich in letzter Zeit gestoßen bin, Kim Schmidts „Comiczeichenforum“ und Andreas Döllings „Fanzine-Index“.
Kim Schmidt hat vor einigen Jahren bei Carlsen einen Ratgeber, eben den „Comiczeichenkurs“ herausgebracht. Parallel bot er damals auf seiner Website einen Zeichenworkshop an. Den baute er dann zusammen mit dem Programmierer Jan Paepke zu dem heutigen Diskussionsforum aus. „Ich wollte eben eine Möglichkeit für Anfänger und Nachwuchszeichner schaffen, wo sie mal relativ schnell und einfach ihre Werke posten können“, sagt Kim dazu. Heute kann man sich hier sowohl über Themen rund ums Comiczeichnen austauschen als auch seine Werke online präsentieren und gegenseitig bewerten. Neben Kim geben auch andere hochkarätige Zeichner Tips, wie zum Beispiel kürzlich Flix.
Über den Fanzine-Index weiß ich selbst noch nicht allzu viel. Auf die Seite gestoßen bin ich kürzlich, als ich nur zum Spaß herausfinden wollte, ob es das Stichwort „Fanzine“ im Internetlexikon „Wikipedia“ gibt. Gibt es, und zudem wird auf eben jene Website verwiesen. Macher Andreas Dölling gibt selbst das Fanzine „Blut im Stuhl“ heraus (dazu mehr in der nächsten Ausgabe). Fanzinemacher können hier ihre eigene Publikation vorstellen. Dazu gibt es eine vorgefertigte Maske, man kann aber Teile davon auch frei gestalten. Andreas Dölling läßt sich im Normalfall ein Exemplar des vorgestellten Fanzines zusenden, bevor er die Informationen freischaltet, damit er nicht Opfer eines üblen Scherzes wird. Vorgestellt werden hier Fanzines aller Art, nicht nur über Comics, sondern auch aus den Bereichen Politik, Literatur, Sport, Musik, Szene, Rollenspiele und „Sonstiges“ (man kann ja nie wissen). In einigen der Themenfelder sind schon mehr als 30, bei Musik sogar mehr als 50 Fanzines beisammen, trotzdem ist die Seite ersichtlich noch im Aufbau. Offenbar sucht sich Andreas Dölling die Fanzines nicht selbst zusammen, sondern wartet, bis sich die Fanzinemacher selbst bei ihm melden. Trotzdem ist die Website nicht uninteressant, und es könnte noch ein wertvolles digitales Nachschlagewerk daraus werden.
 



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Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 74
Besprechungen




Heike Anacker: Songbook. 36 Seiten, s/w mit gelbem Umschlag, DIN A 6. Heike Anacker, Rheydter Straße 100, 41065 Mönchengladbach
 
Seit sie sich von PLOP zurückgezogen hat, hat Heike Anacker immer wieder Fanzines herausgegeben, alle im Postkartenformat, als ob sie signalisieren wollte, daß ihr die Sache jetzt wirklich nicht mehr so wichtig sei. Aber immerhin hat sie, wenn die beigefügte Backlist vollständig ist, seit 1987 immerhin acht Magazine herausgebracht. „Ein- oder zweimal im Jahr“, gesteht sie selbst, „packt mich der Schaffensdrang, und ich bringe einige wenige Dinge zu Papier. Mit Besessenheit und Herzblut.“ Das „Songbook“ hat allerdings mit PLOP nur noch sehr wenig zu tun. Auch in ihren anderen Fanzines ist sie darauf verfallen, nur noch eigenes Material zu veröffentlichen. Aber hier handelt es sich nicht mehr um Comics. Es sind Gedichte, die wie Songtexte wirken. Die beigefügten Illustrationen, die von Plattencovern unter anderem von Ani DiFranco, Patti Smith, Yo La Tengo, den Go-Betweens oder Chumbawamba stammen, sollen wohl suggerieren, hier seien nur die Texte von Songs dieser Künstler und Bands zusammengetragen worden. Bei genauerem Lesen merkt man dann, daß Heike ihre eigene Autorenschaft ein wenig zu maskieren versucht. Im Kern geht es um eine Ex-Freundin, die zu einem Mann übergelaufen ist, was Heike nur schwer verarbeiten kann. Das hat offenbar einen kreativen Schub bei ihr ausgelöst, wobei sie viele Aspekte ihres Lebens und ihrer Beziehungen zu anderen einer kritischen Prüfung unterzieht. Ich bin kein guter Lyrik-Interpret, würde aber mal sagen, daß die Texte allesamt kraftvoll sind und sich auf hohem poetischem Niveau bewegen. Im Gegensatz zu Joni Mitchell in ihrem Album „Blue“ gibt Heike nicht zu viel von sich selbst preis. Das Heft hat aber auf jeden Fall einen starken Eindruck hinterlassen. -aa
 
Don Quijote trifft - . 20 Seiten, s/w mit gelbem Umschlag, DIN A 6. Heike Anacker, Rheydter Straße 100, 41065 Mönchengladbach
 
Diesen Comic hat mir Heike beim Comic Salon 2004 bereits gezeigt. Ich weiß nicht mehr, was ich damals zu dem Werk gesagt habe und setze deshalb hier nochmal neu an. Don Quijote, der „Ritter von der traurigen Gestalt“, trifft eine vorlaute Göre und diskutiert mit ihr über den Sinn des Lebens. Gelingt es nur, wenn man – im Gegensatz zu dem Ritter – möglichst viel richtig macht, oder soll man einfach jeden einzelnen Augenblick leben? Der Comic ist Teil eines deutsch-russischen Kunstprojekts, bei dem sich 2004 in Neuss 23 Zeichner über Don Quijote Gedanken machten. Leider hat man hier nur den Beitrag von Heike vor sich und entbehrt der Vielfalt der grafischen Lösungen der anderen Teilnehmer. Außerdem bin ich nicht sicher, ob nicht Heike die Aussage des Cervantes-Romans mißverstanden hat, der sich doch nur über alle Ideale, insbesondere die unzeitgemäß gewordenen Ideale des Ritterstandes seiner Zeit, lustig machen wollte. Trotz des eher verbissen-philosophischen Disputs ist ihr aber insgesamt doch ein lustig-lockerer Comic gelungen, der an die Zeiten erinnert, als es bei ihr noch nicht schwerpunktmäßig um sexuelle Orientierungen ging. Die Göre, die den Ritter kurzerhand für verrückt erklärt, und Don Quijote, der darauf besteht, so akzeptiert zu werden, wie er ist, kommen dabei beide zu ihrem Recht.
 
Hammerharte Horror Schocker # 5 und 6 (Frühjahr/Sommer 2005). Je 32 Seiten, farbig, Comicbookformat, 3,90 Euro. Weißblech Comics, Levin Kurio, Am Hang 9, 24223 Raisdorf. www.weissblechcomics.com
 
Leser Hagen ist zuzustimmen: „Die Teile werden immer besser.“ Die „Horror Schocker“ müssen sich inzwischen am Kiosk vor keiner anderen Publikation verstecken, schon gar nicht vor dem direkten Konkurrenten „Gespenster-Geschichten“. Der durchschnittliche Kioskkunde dürfte zwar eher nicht bemerken, daß Levin Kurio fast ausschließlich deutsche Zeichner am Start hat, und zwar richtig gute wie in diesen beiden Ausgaben Carsten Dörr und Eckart Breitschuh. Aber in den Beiträgen ist nirgendwo mehr etwas vom ungut Amateurhaften zu bemerken (zur Erinnerung: Die Ursprünge von Levin Kurio liegen in Underground-Heftchen, die man wohl am besten mit dem Begriff „Bierzeitung“ charakterisiert). Um nicht mißverstanden zu werden: Die hatten auch ihren Charme und sind hier reichlich besprochen worden. Aber Weißblech ist jetzt eben einen wichtigen Schritt weiter. Wo das Artwork nicht überragend ist, und das gilt hauptsächlich für Levins eigene Beiträge, wenngleich er sich erkennbar Mühe gibt, da reißt die Sache doch zumindest die Colorierung heraus. Die ist hervorragend und stammt offenbar überwiegend ebenfalls von Levin Kurio. Die Stories – und die sind vor allem für jüngere Leser immer noch das Entscheidende – reichen bisher noch selten an das Raffinement der EC-Klassiker oder von Warren („Eerie“, „Creepy“) oder DC („The House of Mystery“) heran. Die aktuelle Alternative im Regal „Gespenster-Geschichten“ toppen sie aber allemal. Meist folgt die Handlungsstruktur dem bekannten Muster „Wer andern eine Grube gräbt, fällt selbst hinein“; meist wird damit Geldgier oder besondere Rücksichtslosigkeit bestraft. Aber die beängstigende Atmosphäre stimmt dann in der Regel doch, etwa wenn wir einen Seemann beim Ertrinken beobachten („Der Kuß der Meerjungfrau“) oder ein Landsknecht seine dunklen Pläne schmiedet, wie er einem Bauern dessen Vermögen und Vieh abnehmen kann („Fressen und gefressen werden“). Um noch einmal Leser Hagen zuzustimmen: „Bin schon gespannt auf die nächste Nummer.“
 
Bella Star # 3. Tod in der Arena. 36 Seiten, s/w mit Farbumschlag, Comicbook-format, 3,90 Euro. Weißblech Comics, Levin Kurio, Am Hang 9, 24223 Raisdorf
 
Dies ist der Abschluß einer dreibändigen Miniserie, die es insgesamt auf immerhin rund 80 Seiten gebracht hat. Wir haben es hier mit einer Science Fiction-/Fantasy-Mixtur nach Art von „Star Wars“ zu tun. Beim Titel „Tod in der Arena“ denkt man jedoch zuerst an die „Fantastic Four“ und ihre seltsamen Erlebnisse in einer Chicago-Gangster-Parallelwelt (um Band 80). Hinzu kommt, daß Inker Roman Turowski die Zeichnungen von Levin Kurio wie direkt aus dem Studio von Greg Irons aussehen läßt. Ich rede hier vor allem von der Grafik und weniger von der Story, die bei dieser verrückten Mixtur doch nicht ganz mithalten kann. Immerhin handelt es sich um ein solides intergalaktisches Abenteuer, bei dem die barbusige Titelheldin immer wieder in unangenehme Situationen und zwischen feindliche Fronten gerät. Am Ende kommen sie und ihre Begleiter zwar aus dem ganzen Schlamassel mit heiler Haut heraus, können sich aber in keiner zivilisierten Gegend des Alls mehr blicken lassen. Nachdem die Leser laut Vorwort nur allmählich auf den Geschmack gekommen sind, sind jetzt weitere Bella-Stories in Vorbereitung.
 
Weißblechs weltbeste Comics # 15 (Juli 2005). Kala, Königin der Steinzeit. 32 Seiten, farbig, Comicbookformat, 3,90 Euro. Weißblech Comics, Levin Kurio, Am Hang 9, 24223 Raisdorf.
 
Kala, die Amazone, die auf einem offenbar zahmen fleischfressenden Dinosaurier reitet, hat nun nicht nur ein eigenes Heft bekommen, sondern darf ihre Abenteuer auch erstmals in Farbe erleben. Dazwischen hat auch noch eine siebenseitige „Dämonika“-Story von Peter Schaaff Platz, die Nico Simon coloriert hat. Außerdem wirkte bei einer Story Wittek als Inker mit. Wenn ich an frühere Auftritte von Kala denke, wirken ihre Abenteuer hier deutlich weniger hanebüchen, und die Pointen sind beinahe geistreich. Der Herausgeber reagiert gar am Ende auf einen Lesereinwand, Menschen und Dinosaurier hätten gar nicht zur selben Zeit gelebt, mit dem Hinweis, nach der Bibel sei das sehr wohl möglich gewesen. Das muß man erst mal wissen. Aber natürlich dominiert auch in diesem Heft der Weißblech-Trash-Charme.
 
Underdog # 11 und 12 (Frühjahr/Sommer 2005). Je 72 Seiten, s/w mit gelbem Umschlag, DIN A 5, 2,50 Euro. Mit beigelegter „Kulturschock“-CD. Fred Spenner, Narzissenweg 21, 27793 Wildeshausen. www.underdogfanzine.de
 
Schon mehrfach vorgestellt, halten auch die beiden neuesten Ausgaben des „autonomen Zentralorgans Wildeshausen“ das bisher hohe Niveau. Neben der regelmäßig beigelegten CD mit „60 Minuten Kulturschock“ – nämlich Punkrock – überzeugt an diesem Fanzine seine breite Vielfalt. Natürlich dominieren Bandinterviews und Plattenbesprechungen. Aber daneben reicht die Palette von der hochpolitischen Betrachtung rechter Burschenschaften und dem deutschen Terrorismus des Jahres 1977 bis hin zu Gags wie einem Mensch-ärgere-dich-nicht-Spiel für Arbeitslose und einem Psychotest für Behinderte. Und, sicher gefördert durch den Kontakt zu PLOP, immer mehr Comics kommen ins Heft, unter anderem von Moritz Stetter, Frunk, Max Jähling oder Frans Stummer. Letzterer nimmt im Interview in # 11, obwohl die „Underdog“-Leute an ihm vor allem seine Punkband „Perish“ interessieren dürfte, auch ausführlich zu seinen Comic-Aktivitäten Stellung. Ein erhebliches Plus jeder Ausgabe ist die beigelegte CD, auf der jeweils deutschsprachige Rockbands ordentlich losrumpeln.
 
Blut im Stuhl # 26 und 27. Je 36 Seiten, s/w, DIN A 5, kostenlos. Andreas Dölling, Olpe 10, 44135 Dortmund. www.bis-magazin.de
 
Das Bemerkenswerteste an diesem textorientierten Fanzine ist, daß es gratis verschickt wird. Das Konzept hat nichts mit den üblichen Kostenlos-Magazinen zu tun, die sich durch Werbung finanzieren. Im Vorwort von # 27 heißt es vielmehr, das Heft funktioniere zwar nicht ohne kommerzielle Zwänge, werde aber nicht von ihnen bestimmt. „Ein Irrsinn für Leute wie Henkel, Clement, Ackermann, Koch , Rogowski und wie alle diese Untoten aus der ,echten Wirklichkeit‘ auch heißen mögen. Kein Profit – und doch Profit: die Freude am Schaffen, andere Menschen kennenlernen, das Gefühl der Unabhängigkeit, Selbstbestimmung, das Fehlen von Filtern und Zensur.“ Wie auch die Textbeiträge sind die enthaltenen Comics sehr unterschiedlich. Das Niveau-Spektrum reicht von Frans Stummer (einst in „Menschenblut“ aufgetaucht) bis zu ganz unbeholfenen unsignierten Kinderzeichnungen. Zwei Bekannte sind mir aufgefallen: Yvonne Silo war kürzlich auch mal in PLOP, und Laabs Kowalski ist ein ehemaliger Kumpel von Jo84, der ihn einst zum Fanzinemachen brachte.
 
Exodus # 17. 64 Seiten, s/w, DIN A 4, 5 Euro. René Moreau, Schillingstraße 259, 52355 Düren. www.sfflohmarkt.de
 
Auch mit dieser Ausgabe wird das Science Fiction-Fanzine, das rund 20 Jahre lang nicht erschien, wieder ein Stück lebendiger. Das dürfte daran liegen, daß es all die Jahre zwar kein „Exodus“ gab, aber eine rührige Fanszene, die nur auf die Rückkehr dieses Forums gewartet hat. Die Leserbriefe breiten sich nun schon auf neun Seiten aus. Mehrere Illustratoren, diesmal allerdings überwiegend ohne Comic-Affinität, bereichern das Heft optisch. Von ihnen wird Michael Hutter, ein „phantastisch-erotischer“ Zeichner, den Lesern näher vorgestellt. Unter den Autoren der Kurzgeschichten finden sich diesmal keine absolut bekannten Namen, sieht man von „Perry Rhodan“-Chefredakteur Klaus N. Frick und „Perry Rhodan“-Autor Horst Hoffmann ab. Arnold Spree, Pseudonym des Autors des „Gedd-Zyklus“, hat eine ziemlich witzige Derrick-Satire geschrieben, in der der Oberinspektor im Zuge seiner –Ermittlungen in eine Zeitmaschine gerät. Die nächste „Exodus“-Ausgabe soll zu Weihnachten erscheinen.
 
Das Schubfach. Comics über alles (Juli 2005). 12 Seiten, s/w, DIN A 4. Luciano Freiberger, Rua Porto Seguro, No 345, Porto Alegre/RS-CEP 91380-220, Brasilien
 
Schon interessant, wozu der Kontakt nach Brasilien, der einst über Teresa Camara Pestana aus Portugal zustande gekommen ist, so nach und nach geführt hat. Hier haben wir ein durchgängig deutschsprachiges Fanzine aus Süd-Brasilien. Wie das möglich ist, erklärt der Herausgeber in seinem Leserbrief in dieser Ausgabe selbst. Realisiert werden konnte das Fanzine freilich wohl erst durch den Kontakt zu PLOP, denn wir finden hier Beiträge von Frunk, Max Jähling, Wittek, Gunnar Saeckler und Oliver Gfeller (auf dem Cover prangt eine Illustration von mir). Ich weiß nicht, ob eine Methode dahintersteckt, aber in den Comics geht es mehrmals um deutsches Spießerleben – was für einen deutschstämmigen Brasilianer, der möglicherweise sonst keinerlei Kontakt zu seinem Herkunftsland mehr hat,wesentlich interessanter sein könnte als für deutsche Leser. Mal sehen, was aus der Brasilien-Connection noch wird. -aa
 
Fanzineiros # 1. 14 Seiten, s/w, DIN A 4. Luciano Freiberger, Rua Porto Seguro, No 345, Porto Alegre/RS-CEP 91380-220, Brasilien
 
Hier noch ein brasilianisches Fanzine vom selben Herausgeber, zu dem ich naturgemäß nicht allzu viel sagen kann. Aaron Jordan hat hier zwei Seiten ohne Text beigesteuert. Der Zeichner Alexandre Rabelo ist erkennbar am Zeichenstil von Milo Manara orientiert (es ist allerdings eine Indianergeschichte, leider fast ohne Manaras ätherisch schöne Frauen). -aa
 
QI # 74. 20 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes 168, Brasópolis - MG - 37530-000, Brasilien
 
Wieder ein sehr schönes Cover vom Herausgeber, und wieder ein ausführlicher Fanzineindex, diesmal ganz auf Brasilien konzentriert. Wie gehabt wird das Heft durch Artikel und Leserbriefe aufgefüllt. -aa
 
Amizade. Producoes Independentes # 28 (März 2005). 28 Seiten, s/w, DIN A 5. Laercon J. Santos, R. Maciel Aranha 238, Sao Paolo/SP cep 08340-290, Brasilien
 
Das ist fürs erste das letzte brasilianische Fanzine, das in letzter Zeit bei mir aufgeschlagen ist. Hier haben wir es mal wieder mit einem neuen Mann zu tun, mit dem ich bisher noch keinen Kontakt hatte. Obwohl in diesem Magazin, ebenso wie in den meisten bisher vorgestellten, mehr Textbeiträge enthalten sind als hierzulande üblich (unter anderem über die 60er-Jahre-Rockband MC 5 und über den „Daredevil“-Film), steht eher die Vielfalt von Comics im Vordergrund, die alle Onepager oder noch kürzer sind. Überwiegend gute Sachen in schöner Underground-Anmutung. Mir ist daneben noch der Kopierdruck aufgefallen. Die Qualität ist annehmbar, aber die meisten brasilianischen Fanzines, die mir bisher in die Hände gefallen sind, sind deutlich aufwendiger gedruckt.
 
Henrique Magalhaes: O Rebulico Apaixonante dos Fanzines. 112 Seiten, Farbumschlag, Paperback im Comicbookformat.
 
Dies ist kein Fanzine, sondern ein Buch über Fanzines, nämlich brasilianische. Obwohl ich dieses Buch natürlich auch nicht lesen kann, ist abzulesen, daß die Fanzine-Geschichte des südamerikanischen Landes bis in die 60er Jahre zurückreicht. Zahlreiche Fanzinecover sind abgebildet, so daß die brasilianische Szene auch beim Durchblättern lebendig wird. Die Popkultur ist offensichtlich ein globales Phänomen. -aa
 
John Stanley / Irving Tripp: Little Lulu # 2. Little Lulu goes Shopping. 9,95 Dollar. Dark Horse, ISBN 1-59307-270-8
 
Das Beste, was mir dieses Jahr comicmäßig in die Hände kam, waren die Reihe der Nachdrucke des Klassikers „Little Lulu“. Hat mir so gefallen, daß ich eine zehnseitige Geschichte einscannte und online steckte, damit möglichst viele sich den Comic kaufen und dadurch möglichst viele der alten Hefte nachgedruckt werden. Hier, bitte schön: http://bugpowder.com/-andy/stanley.little.lulu.html. Der Zeichner ist Irving Tripp, und Erfinderin der Figuren ist eine Frau namens Marge. Aber die Hauptleistung hat John Stanley gebracht, der Szenarist. Ziemlich ungewöhnlich, daß ein „Drehbuch“ so ausschlaggebend ist. Es sind Geschichten von der kleinen Lulu und ihren Freunden, ein Kid Comic, wie es viele andere zu der Zeit gab, aber sehr modern im Äußeren, ähnlich den kurz darauf auftauchenden Peanuts. Lulu ist eine kleine Nervensäge, aber auch freundlich und vor allem schlau und nicht auf den Mund gefallen. Was die Comics besonders auch für Erwachsene interessant macht, ist die genaue und daher witzige Beobachtung der Charaktere und deren Zusammenspiel. Ich kann jedenfalls nicht genug davon kriegen. Der Verlag vereint immer sechs alte Hefte in kleinen, dicken, preiswerten Bänden, und das hoffentlich noch lange. Andy
 
Bob Byrne: Mbleah # 1-3. Zusammen 10 Euro incl. Porto. bb2clam@yahoo.com
 
Diese Heftchenreihe im Comicbookformat erreichte mich soeben aus Irland. Zwar selbstverlegt, aber schick auf gutem Papier mit Farbcover und so. Die Sachen kann man teilweise auch in Farbe online inspizieren: www.clamnuts.com. Auf den meisten Seiten sind kleine Panels, so daß er in die drei Heftchen eine Fülle von Material gequetscht hat, alle möglichen grotesken Figuren und Erzählstile. Wirklich sehr schrill, aber immer interessant und witzig oder spannend. Kaum zu glauben, daß das alles aus einer Zeichenfeder stammt. Byrne sitzt gerade an einem Mammutwerk, ein Ohne-Worte-Bildroman, auf einer Kurzgeschichte in „Mbleah“ basierend, da bin ich sehr gespannt drauf. Wenn Ihr die drei Dinger bestellt, fragt noch nach einem Gratis-Miniheftchen „The Shiznit“, auch meist von ihm. Klein (DIN A 6), aber oho und durchgehend in Farbe. Das liegt in Dubliner Pubs aus. Andy
 
Stan Sakai: Usagi Yojimbo # 14. Ein bißchen Grün. 118 Seiten, s/w mit Farbumschlag, Album im Comicbookformat, 12 Euro. Schwarzer Turm
 
Nachdem der Verlag sich jetzt eine Weile dem Nachdruck von Usagi-Bänden gewidmet hatte, die schon mal bei Carlsen erschienen waren, kommt nun nach etwa eineinhalb Jahren die nächste neue Ausgabe (zur Erinnerung: Bei # 8 war der Schwarze Turm eingestiegen). Das Material ist in USA ursprünglich 1992/93 erschienen. Ich habe für diese Besprechung nochmal nachgesehen, was ich bisher über die bemerkenswerte Comicserie mit anthropomorphen Tieren im Gewand traditioneller japanischer Gesellschaftsgruppen geschrieben habe. Zunächst habe ich mich sehr am Gegensatz zwischen dem edlen Samurai (Ritter) und dem schäbigen, verschlagenen japanischen Pöbel hochgezogen. Das war zweifellos eine Überinterpretation. Der „Leibwächter Hase“ – das ist die Übersetzung von „Usagi Yojimbo“ – ist halt der Gute und bekommt es häufig mit Übeltätern zu tun, damit die Story in Gang kommt. Dann fiel mir auf, daß die Geschichten ziemlich düster und todessehnsüchtig wurden. Das ist aber wahrscheinlich wiederum eine Überinterpretation, da ich fälschlich annahm, die Serie ende mit Band 13. Jedenfalls hat sich dann endlich bei mir die Erkenntnis durchgesetzt, daß Stan Sakai sowohl meisterhaft mit einfachem Strich zeichnen kann als auch Geschichten erzählt, die auf knappem Raum (normalerweise 20 Seiten) erstaunlich komplex werden, sich aber gleichzeitig immer perfekt runden. Im vorliegenden Band, in dem er sich zweifellos auf der Höhe seiner Kunst befindet, arbeitet er in sehr unterschiedlichen Storyformaten. „Jizo“ entfaltet auf nur acht Seiten eine Straßenszene mit einem Götzenbild, vor dem sich eher zufällig ein
Hurengeschichten

 Schwertkampf Usagis mit eben der Bande Wegelagerer abspielt, wegen deren Treiben der Götze aufgestellt worden war. Kurios ist die dreiteilige Serie „Ein bißchen Grün“, in der Sakai als Gaststars die Ninja Turtles auftreten läßt, die Usagi am Ende auffordern, doch auch mal bei ihnen ein Gastspiel zu geben. Am Ende lesen wir den ersten Teil der Geschichte „Shi“ über einen korrupten Beamten, der möglichst unauffällig an eine Goldmine herankommen möchte. Wie es weitergeht, werden wir dann in Band 15 erfahren, den wir uns aber vermutlich auch ohne den Cliffhanger besorgen würden. -aa
 
Hurengeschichten. Protokolle aus dem Milieu # 1. 44 Seiten, farbig, Comicbookformat, 7,50 Euro. Schwarzer Turm
 
Nach „Horst“ und diversen Pornoserien beim Schwarzen Turm nahm ich diesen Band mit der falschen Erwartung in die Hand, auch hier werde mehr oder weniger elegant Pornografie betrieben. Aber nein, hier geht es um möglichst realistische Schilderungen realer Erlebnisse von Prostituierten. Es geht um ihren Blick auf die Freier, und da dominieren unappetitliche Dinge wie ungepflegte Füße oder exzentrische Vorlieben für benutzte Kondome. Sex ist hier langweilig und unbefriedigend, was ja in der realen Welt durchaus so sein mag. Autor Rochus Hahn fordert folgerichtig Huren und ihre Kunden auf, ihm für künftige Ausgaben ihre Erlebnisse zu erzählen. Der Verein Hydra darf sich im Vorwort verbreiten und auf einer weiteren Seite selbst vorstellen. Ich will nicht versäumen zu erwähnen, daß die Hurengeschichten in ihrer Art gut erzählt und meist exzellent gezeichnet sind (von Andreas Drude, Regina Hapel, Christian Partl, Clemens Kugler und Tobias Dahmen). Ich frage mich nur: Gibt es jemanden (außer Betroffenen und ihren Interessenverbänden), der sich für die tatsächlichen Verhältnisse im Rotlichtmilieu interessiert? Prostitution, verarbeitet in Filmen, Fotos, Zeitschriften, Büchern und Comics, ist ein Massenmarkt mit schier unglaublichen Umsatzzahlen. Aber sie funktioniert nur auf der Basis der Mythen, die sich um sie ranken („das ewige Faszinosum der menschlichen Neugierde und ihrer sexuellen Schaulust“, definierte Arthur Maria Rabenalt). Okay, ich unke vielleicht mal wieder zu früh. Aber wenn „Hurengeschichten“ # 10 eine Auflage von 10 000 Stück verkauft, werde ich meine Bedenken gern zurücknehmen. -aa
 
Wiesn-Feuer“ – schon
wieder Verbrecherjagd
in München
 
Mein crime-begeisterter ddp-Kollege hat wieder zugeschlagen: Im dritten Jahr hintereinander legt Harry Luck einen neuen München-Krimi vor (216 Seiten, KBV Verlags- und Mediengesellschaft mbH, Hillesheim, ISBN 393700152-2, 8,90 Euro). Siehe auch PLOP # 68 und 70. Die begonnene Serie setzt er konsequent fort. Sein bekanntes Personal, Kriminalhauptkommissar Jürgen Sonne, Polizeireporter Frank „Flitzer“ Litzka und seine attraktive Kollegin Tanja Kollaritsch, muß wieder ran, und das eigentümliche Münchner Milieu, jedenfalls das, das man aus den Derrick-Filmen kennt, wird erneut lebendig. Der polizeiliche und journalistische Hintergrund sind wieder ziemlich originalgetreu eingefangen (den Journalismus kennt Luck selber, Details über den Verlauf polizeilicher Fahndungen und ähnliche Fachfragen hat er von einem echten Kriminaloberrat überprüfen lassen). Und doch war ich diesmal beim Lesen eine ganze Weile unschlüssig, ob ich es wirklich mit einem echten Krimi zu tun habe. Luck verzichtet auf einen Mord, der die Handlung in Gang bringt. Die ganze erste Hälfte des Romans dreht sich vielmehr lediglich um die Drohung eines Terroranschlags aufs Münchner Oktoberfest, von der aber gar nicht klar ist, ob sie ernst gemeint ist. Zentrale Rollen spielen dabei eine Neonazi-Gruppe und ein Brauereibesitzer aus dem Münchner Umland, der um eine Ausschanklizenz auf der „Wies’n“ kämpft. In der zweiten Romanhälfte, nachdem tatsächlich ein Wies’n-Zelt in Flammen aufgegangen ist, nimmt die Handlung dann mehrere überraschende Wendungen. Nun müssen auch einige Nebenfiguren ihr Leben lassen, bevor die Protagonisten die Rätsel mit zunehmendem Tempo entwirren. Trotzdem bleibt der Roman eher krimi-untypisch. Was soll man davon hal-ten, wenn ein gesuchter Mörder kurz, bevor er gestellt werden kann, Selbstmord begeht? Der Hauptverdächtige, Wortführer der Neonazi-Gang (Achtung – Spoiler-Gefahr!), setzt sich indes Pfahls-mäßig ins Ausland ab. Ob er nun ein V-Mann des Verfassungsschutzes war oder gar wegen Verwicklungen in das historische Wies’n-Attentat von 1980 aus der Schußlinie genommen wurde, läßt Luck offen. Für einen „Whodunit“-orientierten Leser ist das alles natürlich ein wenig enttäuschend – darf ein Kriminalschriftsteller überhaupt Rätsel offenlassen? Es gibt natürlich auch Krimis, etwa die von Leo Malet, in denen der Mörder in der Regel entkommt und die Gerechtigkeit nicht siegt. Von deren pessimistischem, morbidem Grundton ist Luck allerdings weit entfernt. Bei ihm hat man beinahe den Eindruck, daß er eigentlich einen romantischen Liebesroman schreiben wollte – auch wenn er bei der Geschichte von Frank und Tanja kurz vor dem entscheidenden Moment abbricht. Das Buch ist nicht so schlecht, wie es jetzt vielleicht klingt. Immerhin hat Luck seinen Stil in allen drei Romanen konsequent durchgehalten. Handwerkliche Fehler sind mir nicht aufgefallen. Um es mal so zu sagen: Es ist durchaus möglich, von Harry Luck nicht gefesselt zu sein. Das große Vorbild scheinen nach wie vor die führenden deutschen TV-Krimiserien („Der Kommissar“, „Derrick“, „Der Alte“) mit ihrer leicht betulichen Grundstimmung zu sein. Die erzielen aber bekanntlich nicht nur hierzulande beachtliche Einschaltquoten, sondern kommen auch im Ausland hervorragend an. -aa
 
Internet-Comics
 
Max Jähling surft und redet dabei
 
Ein paar Worte vorweg: es gibt so viele Maßstäbe für Webseiten wie es Webseiten gibt. Einige Seiten leben von der Grafik, andere haben reichlich Material, das aber schwer zu finden ist, wieder andere eine tolle Navigation und nichts dahinter. Nach welchen Kriterien soll ich also gehen? Hier sind meine - sehr persönlichen - Kategorien:
·       Aufenthaltsqualität: Damit ich mich länger auf einer Seite herumtreibe, muß ich schon was zu tun haben. Gut also, wenn es ordentlich was zu lesen gibt oder zu gucken, je nachdem. (Hinweis: Es soll ja um Comicseiten gehen. Was zu lesen ist also immer das Beste. Eine Comicseite ohne Comics ist wie ein Actionfilm ohne Action – dürftig.)
·       Übersichtlichkeit: Erreicht man am besten, indem man keinerlei Inhalt auf die Seite packt. Ideal ist es aber eher, wenn es viel zu gucken gibt und das dann noch leicht zu finden ist.
·       Niederschwelligkeit: Bis vor kurzem hatte ich ein 56k-Modem und merkte es immer sofort, wenn eine Seite einfach nicht funzte. Das wäre ein Ausschlußkriterium, wenn ich's jetzt, mit DSL, noch merken würde. Jetzt übersehe ich leichter mal zu große Bilddateien und einfach-nicht-laden-wollende Flashintros, aber wenn ich's immer noch bemerke, ist es definitiv einen Punktabzug wert.
·       Mehrwertiges: Was hat die Seite, das mich über die Präsentation von Material hinaus fesselt? Werde ich wiederkommen oder habe ich das Gefühl, schon alles gesehen zu haben?
Zum Einstieg habe ich einfach mal ein paar Seiten von alten Bekannten aus dem PLOP gestöbert:
 
http://www.momixcomix.de/
Moritz Stetter hat seine Webseite überarbeitet, leider noch nicht vollständig. Einige der Links im News-Bereich funktionieren noch nicht (wieder?), aber das sind Kleinigkeiten. Die Seite ist neu und zur Zeit noch sehr übersichtlich; zum Verweilen laden vor allem das wunderschön gestaltete und sehr abwechslungsreiche Skizzenbuch und die Auswahl von Egon-Strips im Comicbereich ein. Ansonsten sind von den Comics eher Ausschnitte und Einzelbilder zu sehen, was Moritz' Erzähltalent leider völlig unter den Scheffel stellt.
http://www.aaron-jordan.de
Aaron Jordan verwirrt zunächst mit einem Flash-"Intro", das nirgends hinführt. Glücklicherweise kann man nochmal zurück zur Startseite und von da direkt zum Inhalt. Hier stellt sich Erwin vor, eine Figur, die durch die Seite führen soll, aber dann nie wieder auftaucht. Von solchen Täuschungsmanövern mal abgesehen, ist die Seite übersichtlich und browserfreundlich. Wir lernen Aarons Serien kennen, erfahren nebenher einiges über die Fanzine-Szene usw. Nur Online-Comics gibt es keine: Aaron scheint der Browser-Darstellung seiner Comics zu mißtrauen und bietet Beispielcomics lieber als hochauflösende Downloads an. Auch eine Möglichkeit.
http://bugpowder.com/andy/
Andy Bleck bietet schon fast keine Webseite mehr, sondern ein reichhaltiges Archiv mit Zeichnungen, Fotos, Informationen (das berühmt-berüchtigte „Early Comics Archive“!) und eben auch Comics. Letztere muß man in diesem Überschuß an Material schon ein bißchen suchen (bei „My Works“ ganz unten), wird dann aber reich belohnt. Die Bilder sind teils so hoch aufgelöst, daß sie in einem durchschnittlichen Browserfenster kaum zu erfassen sind, aber bei Andys detailfreudigen Zeichnungen sei das mal verziehen.
 
So viel für heute. Wenn Du willst, daß Deine Seite in PLOP vorgestellt wird, schick' mir einfach eine Mail mit Adresse (und, wenn Du willst, Hintergrundinfos) an: jaehling@gmx.de
 
Das sagte Nuff!
 
Der Lehning-isierung meiner Comicleser-Generation dürfte jetzt nichts mehr im Wege stehen. Im September erscheint ein neues Fanzine, das sich speziell an Leute zwischen 35 und 50 Jahren wendet, die mit den Marvel-Superheldencomics aus dem Williams Verlag aufgewachsen sind. Einen deutschen Kultzeichner wie Hansrudi Wäscher gibt’s für sie zwar leider nicht, aber vielleicht können Redakteure wie Reinhard Mordek (der legendäre „Remo“), Kirsten Vogel (damals Kirsten Isele und angeblich unsterblich in den Donnergott Thor verliebt) oder Hartmut Huff in diese Rolle hineinwachsen. Den Titel des Fanzines versteht nur, wer die Marvels gelesen hat, und vielleicht auch dann nur teilweise. Fanzine-Herausgeber Daniel Wamsler erläuterte in einem Interview mit dem „Szene-WHatcher“, daß im Bildschriften Verlag (BSV), der dem Williams Verlag vorausging, die berühmte Grußformel von Marvel-Redakteur Stan Lee „‘nuff said“ in Unkenntnis des amerikanischen Slangs hilflos in „Das sagte Nuff“ übersetzt wurde. Die erste Ausgabe wird sich vor allem mit dem Jahr 1974 beschäftigen, als die deutsche Marvel-Produktion von BSV zu Williams überging, und mit den Hintergründen des Neustarts, bei dem klassische Superheldenserien wie „Spider-Man“, „Fantastic Four“, „Avengers“, „Thor“, „Hulk“ und „Silver Surfer“ ab ihrer Erstausgabe neu veröffentlicht wurden. Für die folgenden Ausgaben wird bereits ein Interview mit dem inzwischen fast 80jährigen Marvel-Zeichner Gene Colan angekündigt. Die Erstausgabe von „Das sagte Nuff!“ soll 48 Seiten mit Farbcover umfassen und 7 Euro kosten. Man muss die Hefte bei Daniel Wamsler unter der e-Mail-Adresse WamslerDanu@gmx.de bestellen. Nähere Infos auf der empfehlenswerten Internetseite www.wmca.de (Williams Marvels Comic Archiv). –aa
 



\ No newline at end of file diff --git a/httpdocs/plop/plop_75.html b/httpdocs/plop/plop_75.html new file mode 100644 index 0000000..ed8b167 --- /dev/null +++ b/httpdocs/plop/plop_75.html @@ -0,0 +1 @@ +Plop Comics (Plop Online Comics, hier klicken)  
Anmerkung: Das da unten sind alte Comic-Besprechungen die im Comic Fanzine 'Plop' erschienen. Die meisten sind von Andreas Alt ('aa') verfasst. Natürlich sind die Angaben nicht mehr gütig, Hefte vergriffen, Zeichner umgezogen, Währung geändert etc. Aber für den einen oder anderen vielleicht ganz interessant hier zu schmökern...

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Plop 75
Besprechungen




Sprühende Phantasie # 21. 48 Seiten, s/w mit Farbumschlag, DIN A 4, mit beigefügtem Piccolo, 5 Euro. Jo Guhde, Königstraße 33, 32423 Minden. Sp-jo84@t-online.de
 
In dieser Ausgabe sticht der Comic „Tunnelkrieg“ von Maikel Das hervor. Diese „Weird War Story“ aus Vietnam ist der einzige ernste Comicbeitrag im Heft. Vor allem aber ist ihm eigentlich das Erscheinen der Ausgabe überhaupt zu verdanken, denn der Autor hat durch eine Spende den (Kopier-)Druck mitfinanziert. Jo Guhde hatte nach eigener Aussage die Druckvorlagen mehr als drei Jahre lang fertig in der Schublade, konnte aber den Druck nicht bezahlen. Das wirft ein grelles Schlaglicht auf die Situation der Fanzineherausgeber. Ein Draufzahlgeschäft ist es fast immer. Den Machern ist es das normalerweise wert, und sie können es sich normalerweise eben auch leisten. Ein weiterer Schwerpunkt im Heft ist ein Interview mit dem Neuseeländer Chris Knox, der nicht nur als Comiczeichner, sondern auch als Rockmusiker („Tall Dwarves“), Schriftsteller und Maler aktiv ist. Jo hat Arbeiten von ihm schon vor einigen Jahren in seinem Magazin veröffentlicht. Der Rest des Materials stammt überwiegend aus Jos Freundeskreis, von Wittek, Oliver Ferreira, Till Lenecke, Rainer Baldermann, Holger Bommer, den Dinters und den Nachwuchskräften Radek Matuszak, Moritz Stetter und Arne Auinger. Darunter sind drei auf Comicfestivals entstandene Jam-Comics, die diesen Freundeskreis-Charakter besonders betonen. Zugleich deutet das darauf hin, daß Jo möglicherweise die Suche nach neuen und übersehenen Talenten weitgehend eingestellt haben dürfte. Trotzdem wird man sich auch über die nächste Ausgabe sehr freuen, denn deren Erscheinen wird wiederum ziemlich fraglich sein.
 
Das sagte Nuff! # 1 bis 3. Je 48 Seiten, s/w mit Farbumschlag, Comicbookformat, 7 Euro plus Porto. Daniel Wamsler, Pfarrer-Vogt-Straße 18, 73529 Schwäbisch Gmünd. Jakubkurtzberg@web.de
 
Die Ära der Williams-Superheldencomics habe ich wohl in genau dem richtigen Alter mitbekommen. Als Klaus Recht und seine Redaktion 1974 mit der chronologisch richtigen Veröffentlichung der Marvel-Comics begannen, war ich neun Jahre alt, und als „Die Spinne“ als letzter Titel dieser Reihe 1979 eingestellt und durch die poppigen Condor-Ausgaben ersetzt wurde, war ich 14. Damit bin ich wohl ein idealer Zielgruppen-Vertreter des Fanzines „Das sagte Nuff!“, auf das ich im letzten Heft schon mal kurz hingewiesen habe. Bisher gab es über den Williams Verlag nur wenige Infos. (Ein bißchen was findet man im Internet.) „Nuff!“ bringt auf jeden Fall das bisher umfangreichste Material. Herausgeber Daniel Wamsler schafft es, Kindheitserinnerungen zu wecken, aber er läßt dennoch bisher viele Wünsche offen. Ich glaube, die meisten Leser lieben die Williams-Comics vor allem deshalb, weil die Redaktion sie nach US-amerikanischem Vorbild direkt ansprach, einbezog und eine Pseudo-Nähe herstellte. Das gab es damals in der deutschen Comic-Landschaft kaum. Deshalb würde der Leser natürlich das gern nachholen, was er in den 70er Jahren nicht konnte: mal wirklich hinter die Kulissen dieses Verlags schauen. Das ist aber nicht so einfach. Die einstige Chefredakteurin Kirsten Vogel (Isele) will sich zum Beispiel wohl nicht mehr befragen lassen, Redak-teur und Übersetzer Hartmut Huff ist verschwunden. Aus dem, was machbar ist, macht Daniel Wamsler aber eindeutig zu wenig. In Nuff # 1 und 2 interviewt er Wolfgang J. Fuchs, der in der Frühphase Marvels übersetzt hat. Aber Fuchs weiß über Interna der Redaktion nur sehr wenig. Nach dem, was Fuchs zu Williams sagen könnte, also zu den Übersetzungsaufträgen und -bedingungen, fragt er aber nicht präzise genug. In Nuff # 3 folgt ein Interview mit Gene Colan, einem amerikanischen Zeichner, der in den frühen 60er Jahren zu Marvel stieß. Colan ist eine Schlüsselfigur und könnte über die Frühzeit des New Yorker Verlags eine Menge erzählen. Etwa: Wie seine Zusammenarbeit mit Redakteur Stan Lee funk-tionierte, wie die Arbeitsbedingungen Mitte der 60er Jahre aussahen, wie er seinen markanten Zeichenstil entwickelt hat. Daniel Wamsler begnügt sich aber mit einem kurzen, sehr oberflächlichen Gespräch. Da ist für ein angekündigtes Interview mit Wolfgang M. Biehler, Redakteur beim Bildschriftenverlag, aus dem Williams hervorging, und späterem Condor-Chefredakteur nicht viel Gutes zu erwarten. Bevorzugt geht es in den Nuff-Beiträgen um Veröffentlichungsmodalitäten einzelner Comicserien von Williams und seinem Umfeld. Solche Dinge interessieren möglicherweise Sammler, aber einen einstigen Fan wie mich erst in zwei-ter oder dritter Linie. Es bleibt dennoch ein gro-ßes Verdienst, daß Daniel Wamsler beinahe im Alleingang die mühsame Aufarbeitung der Williams-Geschichte angeht. Er ist zudem ein sehr verläßlicher Herausgeber, der Ausgaben dann herausbringt, wann er sie angekündigt hat. Aus „Nuff“ wäre mehr zu machen, und ich wünsche dem Projekt, daß das wirklich geschieht.
 
Panel # 25. 84 Seiten, s/w mit Farbumschlag, Comicbookformat, 3 Euro. Panel e. V., Postfach 102665, 28026 Bremen. Panel@web.de
 
An diesem Heft gibt es nicht viel auszusetzen. Wer rund 80 Seiten qualitativ hochwertige Independentcomics (unter anderem von Ulf K., Hannes Neubauer, Rautie, Markus Grolik und dem mir bislang nicht bekannten Michael Meier) für 3 Euro bietet, hat schon mal fast alles richtig gemacht. Zwei Dinge hätte ich trotzdem zu bekritteln: Die vorhergehende Ausgabe hatte ich schon in PLOP # 71 im Herbst 2004 besprochen. Sofern die Gründe für die lange Pause nicht im persönlichen Bereich von Redaktionsleiter Bert Dahlmann liegen, kann eine so sporadische Erscheinungsweise dem Magazin nur abträglich sein. Daneben stört mich, dass abgesehen von einigen Rezensionen und einem routinierten Vorwort redaktionelle Beiträge fehlen, die gerade einer Jubiläumsausgabe nicht schlecht angestanden wären. (Ziemlich wolkig wird ab der nächsten Ausgabe ein neues Konzept angekündigt.) Dennoch: ein großes Lesevergnügen für wenig Geld – hoffen wir, daß das nächste Heft wieder mehr bietet als einen Haufen Comics.
 
Panik Elektro # 3. Lovestories. 292 Seiten, teilweise farbig, Comicbookformat, 18 Euro. Schwarzer Turm. www.schwarzerturm.de
 
Vieles über diese Ausgabe ist im vorigen PLOP schon gesagt worden. Eine detaillierte Rezension dieses Backsteins ist nahezu unmöglich – man kann kaum auf einzelne Comics eingehen, die vielleicht besonders aufgefallen sind. 63 Comics sind insgesamt enthalten. Herausheben möchte ich aber auf jeden Fall, wieviel Arbeit sich Wittek wiederum als Herausgeber gemacht hat. Immerhin hat er trotz des Mammutumfangs dieses Bandes eine strenge Auswahl getroffen. Außerdem verdient Mille Möllers und Robi Hahns Verlag jeden Respekt, denn hier wird Nachwuchsförderung wie in den Fanzines betrieben, nur mit erheblich höherem Finanzaufwand – man kann durchaus von finanziellem Risiko sprechen. Deshalb sind Panik Elektro vor allem die richtigen Leser zu wünschen, also Leute, die die vertretenen Künstler entdecken und weiterbringen können. Inzwischen ist übrigens bereits Panik Elektro # 4 fast fertig. Thema: „Mein größter Fehler“. In Planung ist auch schon der Folgeband. Als Thema ist im Comicforum „Familienalbum“ vorgeschlagen.
 
Konrad von Wittich: Tom Taucher. Im Auftrag seiner Jugendschizophrenie. 60 Seiten, s/w, DIN A 4. Umsonstlesemuster. Konrad von Wittich, Kottbusser Damm 31, 10967 Berlin. Kordhot@yahoo.de
 
Hier taucht ein neuer Zeichner auf, der gleich einen umfangreichen Comicband vorlegt. In einem Begleitbrief gibt er umfangreiche Hilfestellung zur Interpretation der ziemlich verwickelten Story: Der Titelheld verdiene sein Geld damit, „berühmte Persönlichkeiten an ihren stillsten und geheimsten Örtchen auszuspionieren“. Er versichert: „Keine Angst, diese Story gerät garantiert in Konflikt mit der Realität und endet im totalen Chaos“. Zu seiner Person schreibt er: „Hat sein Abitur versaut, weil er zu blöd dafür war. Danach erstmal Arbeit als Koch, Schlosser, Zivi, Kurierfahrer und zuletzt als Steinmetz, wo er einen Kran gegen den Schädel bekam und deswegen jetzt eine Umschu-lung zum Kameraassistenten machen darf“. Man kann also annehmen, daß Konrad von Wittich schon einiges erlebt hat und vielleicht auf seine Weise gegen eine repressive Gesellschaft zurückschlägt. Die Ausgangsidee seiner Satire-Tour-de-Force war möglicherweise die durch einen Sat1-Bericht ausgelöst Kokainaffäre des Bundestags – oder Robert Crumbs „Pete der Klempner“. Was der Autor nicht verrät – aber interessant wäre –, sind seine weiteren Pläne mit seinem Opus. In seiner Lesemuster-Form kann er von dem Heft in Berlin sicher ein paar 100 Exemplare absetzen. Daß etwa die „Zitty“ oder Reprodukt darauf einsteigt und ein Album daraus macht, kann ich mir eigentlich weniger vorstellen.
 
Hammerharte Horror Schocker # 8 (Winter 2005/06). 36 Seiten, farbig, Comicbookformat, 3,90 Euro. Weißblech Comics, Levin Kurio, Am Hang 9, 24223 Raisdorf. www.weissblechcomics.com
 
Mit den Horrorschockern ist Levin Kurio so richtig in seinem Element. Drei von vier Stories im aktuellen Heft stammen allein aus seiner Feder, und er erreicht mit ihnen ungeahnte Qualitätsniveaus. „Tief in der See“ ist zwar ein ziemlich einfallsloser Titel, aber die Geschichte dahinter über eine Riesenkrake, die ein Schiff verschlingt, ist bemerkenswert souverän und gelassen erzählt. Ohne jegliche grellen Effekte steuert sie auf einen atemberaubenden Schluß zu. Die beiden kürzeren Levin-Beiträge „Begraben“ und „Die Quellen des Styx“ bieten immerhin originelle Ideen und Perspektiven. Am Ende sorgen Peter Liehr und Peter Schaaff mit „Zweifuffzich“ noch für etwas Horror-Krawall, was man sich als Ausklang gern gefallen läßt. Bekanntlich wird „Hammerharte Horrorschocker“ auch über die Kioske vertrieben. Da wäre zu wünschen, daß die Grosso-Kunden die Qualität dieses Comicmagazins erkennen und honorieren. Vergleichbares war schon seit Jahren nicht mehr im Angebot.
 
XXX Comics # 4. 36 Seiten, farbig, Comicbookformat, 6,80 Euro. Weißblech Comics, Levin Kurio, Am Hang 9, 24223 Raisdorf.
 
Okay, Levin Kurios Weißblech-Comics stehen eigentlich für ungenierten Trash, und der scheint sich nun in den Erwachsenencomics zu konzentrieren. Vielleicht ist es einfach vergebene Liebesmüh‘, intelligente Sexcomics machen zu wollen, aber Levin und der wiederum vertretene Peter Schaaff haben da auch gar keine unnötigen Ambitionen.
 
cOMIc # 61 bis 63. 20 bzw. 32 Seiten, s/w, DIN A 5, im Tausch gegen andere Fanzines oder Beiträge. Gerd Bonau, Berliner Straße 9, 24768 Rendsburg
 
Gerd Bonau hat wieder zu einem schwunghaften Publikationsturnus gefunden. Und er wird wieder gut mit Comicmaterial eingedeckt, darunter auch von Oliver Ferreira oder Rudolph Perez sowie alten Bekannten wie Benjamin Brandt und Marco Lensch. Optisch sticht die Ausgabe 61 hervor, deren Cover den alten BSV-Superheldencomics nachempfunden ist (und auf dem Innencover taucht sogar eine der damals üblichen Briefmarken-Anzeigen auf). Inhaltlich ist vor allem Ausgabe 62 interessant, weil Gerd hier den üblichen Umfang deutlich aufgestockt hat.und daher einige Mehrseiter untergebracht hat, unter anderem von Frunk. In # 63 stellt er den mir bisher unbekannten Marvel-Zeichner Scott Kolins vor.
 
Frunk: Netzhaut # 102 und 104. Je 24 Seiten, s/w, DIN A 5, 1 Euro. Frank Günther, Oderstraße 4, 28199 Bremen
 
Mutmaßlich sind die Heftnummern kein Fake. Auf diese Weise vertreibt Frunk schon lange seine Comics über einen Bremer Kiosk, der von einem Bekannten betrieben wird. Die beiden vorliegenden Ausgaben (bisher die einzigen, die ich kenne) sind von schwankender Qualität. Sie sind von vorn bis hinten mit Frunk-Comics vollgestopft. Es gibt nicht mal ein Impressum. Ansonsten unterscheiden sie sich kaum von herkömmlichen Fanzines. Mich würde interessieren, wer in Bremen sowas kauft – und warum.
 
Hund, Katze, Wurst. Sauglatte Comics von vielen verschiedenen Zeichnern. 44 Seiten, s/w, DIN A 5. Lukas Mannhart, Dornacherstraße 151, 4053 Basel, Schweiz
 
Nach „Basel brennt“ bringt Lukas Mannhart ein zweites Fanzine-Projekt an den Start. Die Basel-Connection ist wiederum beteiligt. Der Titel erweckt aber den Eindruck, daß es hier nicht um Basel gehen muß. Aus dem Kunstbereich kommen Bettina Braegger und Roman Mäder. Katharina Greve kann Veröffentlichungen in „Titanic“ vorweisen.
 
Geschrammel. Rock’n’Comix # 5. 20 Seiten, s/w, DIN A 5, Tausch gegen andere Magazine möglich. Jens Natter, 46 Rue de Hunigue, 68300 Saint Louis, France. Jensnatter@gmx.de
 
Obwohl er offenbar nicht allzu viel Comicmaterial zum Thema Rockmusik zusammenbekommt, verfolgt Jens Natter sein Konzept beharrlich weiter. Möglich sind immerhin Hefte im „cOMIc“-Format – mit vielen Kurzcomics und Cartoons sowie Kurz-Rezensionen. Jens selbst versucht sich an einer Art Essay in Comicform zur Frage ob die Band Mia rechtsextrem ist, wobei er völlig übersieht, daß die Rechten deren Bekenntnisse zu Deutschland freudig mißbrauchen, um weiter in die musikalische Mitte vorzustoßen. Dennoch: Mit Beiträgen wie diesem (mit künftig hoffentlich etwas mehr Substanz) bietet „Geschrammel“ auch wirklich etwas Neues.
 
Bildstörung. Zeitschrift für frische Worte und Bilder # 12. 28 Seiten, s/w, DIN A 5. Roman Castenholz, Triftstraße 47, 53919 Weilerswist
 
Es war eine Revolution, als in der Malerei ausgangs des Mittelalters die Landschaft entdeckt wurde. Schließlich wurde der Maler, der mit seiner Staffelei in die Natur hinauszieht und eine Gebirgsszenerie oder einen Meeresstrand auf Leinwand überträgt, zum Klischee. Optisch bringt auch die neue „Bildstörung“ mit dem Leitthema Landschaften nichts Neues mehr. Vielleicht sind deshalb in diesem Band recht viele Gedichte und Prosatexte enthalten. Zudem bespricht Herausgeber Roman Castenholz drei Ausgaben des Musikmagazins „Drone“. Im nächsten Heft will er Arbeiten zum Thema „Miniaturwestern“ veröffentlichen.
 
That’s allright Mama. The King of Rock’n’Roll. 16 Seiten, s/w, DIN A 5, 2 Euro. Ich verstehe nur Bahnhof. 28 Seiten, s/w, DIN A 5. Edition Chnusperfraß, Oliver Gfeller, Bohrerhofstraße 10, 4123 Allschwil, Schweiz. Oli-gfeller@gmx.ch
 
Was soll man davon halten? Von außen sieht Oliver Gfellers kleine Elvis-Hommage sehr gefällig aus. Fast könnte ich mir vorstellen, daß er damit bei Elvis-Fans gut ankommen und vielleicht ziemlich hohe Stückzahlen losschlagen könnte. Stattdessen druckt er 50 Stück davon und verziert jedes Exemplar mit einer individuellen Zeichnung auf dem Cover. Innen bietet das Heftchen fast nichts. In einer Mischung aus Cartoons und Illustrationen bebildert Oliver eine Menge Elvis-Songs. Meist ist nur ein Elvis-Kopf zu sehen, wie er „I can’t stop loving you“ oder „King of the whole wide world“ trällert. In seinem „Bahnhofs“-Fanzine versammelt er dagegen eigene meist ganz witzige Arbeiten aus den Jahren 2002 bis 2005. Das würde ich als Talentprobe gelten lassen: Nicht alles geglückt, aber Potential, vor allem zum Cartoonisten, ist zu erkennen.
 
Ulrich Wirtz: Envelope. Malevich remixed und zwei weitere Kurzgeschichten. 20 Seiten, s/w, DIN A 5. www.envelope-comix.de
 
Nach seinem bisherigen Hauptwerk „Self“ (siehe PLOP # 68) versammelt Ulrich Wirtz hier drei kürzere Comics, elliptisch erzählt wie klassische Kurzgeschichten. Zwei von ihnen waren bereits in PLOP # 66 und 67 zu sehen. Ulrich Wirtz ist sowohl von seinem zum Abstrakten neigenden Zeichenstil als auch von der prägnanten, sehr ernstfhaften Erzählweise her schwer einzuordnen – ein eigenständiges Talent in der Fanszene, aber für einen größeren Publikumserfolg wohl nicht gefällig genug.
 
Gate Crash # 0. 36 Seiten, s/w mit Farbumschlag, DIN A 5, 2,50 Euro. Dreadful Gate Productions, Chr. Vähling, Bremerhavener Straße 65, 28217 Bremen. Kontakt@dreadful-gate.de
 
Max Jähling hat hier ein Konzept verwirklicht, mit dem er Comics veröffentlichen kann, ohne mit laufenden größeren Projekten fertig zu sein. Es sind kleiner Arbeiten, meist schon veröffentlicht, aber fast nur in kleinen Magazinen. Er nutzt die Möglichkeiten des Fanzines, nämlich relativ spontan veröffentlichen zu können, ohne großen Aufwand. Er will allerdings (im Nachwort) schon wissen, wie es die Leser gern hätten: „Unter welchen Umständen würdet Ihr ein Heft kaufen, in dem ein Groß-
teil der Geschichten bereits bekannt sind? Auf jeden Fall? Wenn noch ein Rest nichterzählten Materials dabei ist? In Farbe? Mit Bastelbogen? Besonders billig? Gedruckt?“ Mit seinen Bedenken gegen Wiederveröffentlichungen übersieht er wieder mal, daß kaum jemand alle Fanzines lesen dürfte.
 
Andy: Zeichnungen. Berlin, Juni 2005. 16 Seiten, s/w, DIN A 4, 2 Euro. Dachshund Verlag, PO-Box 8892, London SW 15, England. www.andybleck.com
 
Eigentlich ist uns das alles ja schon bekannt. Seine sehr dokumentarischen Skizzen, immer Übersichten, nie nur ein Detail, hat Andy ja schon in seinem „Magazine“ vorgeführt, das PLOP mehrfach beilag. Über seinen Berlin- und Comicgarten-Besuch hat er in PLOP # 73 berichtet. Etwas ist mir doch noch aufgefallen: Menschen kommen auf diesen Bildern wenig vor, und Andy setzt sich nie in Beziehung zu ihnen – er porträtiert nicht. Manchmal hinterlassen Leute, die ihm hin und wieder unvermeidlich ins Blickfeld laufen, flüchtige Spuren, das heißt, er skizziert sie so lange, bis sie wieder verschwunden sind, und läßt die Skizze dann unfertig stehen. An anderer Stelle habe ich schon mal geschrieben, daß er dadurch innovativ das Element der Zeit in seine Zeichnungen hineinbringt (ich habe so etwas jedenfalls noch nirgendwo sonst gesehen). Aber das zeugt auch von geringem Interesse an Menschen. Manchmal wirken seine Landschafts- und Straßenansichten auch so, als wäre gerade eine Neutronenbombe explodiert. Vielleicht kann ich den Befund beim nächsten Mal auch freundlicher ausdrücken.
 
Dirk Schwieger: People not seen. 20 Sei-ten, s/w, DIN A 5, verstärkter Umschlag, 1 Euro. Der eigen verlag, Postfach 17 05 43, 60079 Frankfurt/Main. www.eigen-heim.com
 
Dirk Schwieger, der Macher des Fanzines „Ineinander“, war auf Island und hat dort mit Staunen die Präsenz von Elfen im Bewußtsein der Menschen wahrgenommen. Sie erscheinen wie Außerirdische, die immer wieder mal quasi aus einer anderen Dimension in den isländischen Alltag eingreifen. Das vorliegende Bändchen soll auf eine Heftserie aufmerksam machen, die zu diesem Thema geplant ist. In zwei Episoden berichtet Dirk Schwieger reportageartig von seinen Erlebnissen, eine dritte gibt eine Elfensage wieder, wie man sie sich auf Island erzählt. Er zeichnet in einem sehr ansprechenden, klaren Schwarzweiß-Stil. Der wie auch das kuriose Thema läßt von der Serie einiges erwarten.
 
Wir sind ein Verein. 10 Jahre IG Comic Schweiz. 52 Seiten, s/w, Comicbookformat. IG Comic Schweiz, Quellenstraße 7, 9240 Uzwil, Schweiz. www.ig-comic.ch
 
1995 wurde die „Interessengruppe Comic Schweiz“ gegründet. Zum zehnjährigen Bestehen stellen sich neun Zeichner der IG mit Comicbeiträgen selbst vor, darunter auch unser alter Bekannter Oliver Gfeller. Das Heft ist schön gestaltet und auf Kunstdruckpapier gedruckt. Man erfährt nebenbei auch etwas über die Schweizer Comicszene.
 
Xego. Das Trash-Comix-Egozine für die Ego-Shooter-Generation # 1 bis 4. 44 bis 64 Seiten, s/w mit Farbumschlag, DIN A 5, 3 Euro 3 Euro. Studio Marin (Balabanov) c/o Mailbox, Taborstraße 22 c/174, 1020 Wien, Österreich. www.marincomics.com
 
Egozines sind gar nicht so selten, aber dieses ist doch etwas Besonderes. Bei Marin Balabanov hat sich eine Menge Material angesammelt, bevor er mit der Veröffentlichung begonnen hat. Das kommt freilich bei anderen Leuten auch schon mal vor. Was wirklich verblüfft, ist die Geschlossenheit dieses Materials. Die mir vorliegenden Ausgaben sind absolut gleich aufgebaut: Zuerst kommt der Comic „Dani E.“, die erotischen Abenteuer einer „Weltraum-Diva“, gestaltet in einem airbrush-artigen Stil, dann folgt der Comic „Travellic, der Weltraum-Tschusch“ in Superheldenmanier und schließlich ein Prosatext, in den Ausgaben 2 bis 4 drei Teile der längeren Geschichte „Etwas Rosa in der Nacht“. Da ist keine Entwicklung zu sehen, wird nichts ausprobiert oder verworfen. Der Autor weiß genau, was er tut, und liefert Werke eines gleichbleibenden Qualitätsstandards ab (nicht perfekt, aber beide Comicserien sind durchaus gut gemacht). Während „Dani“ und die schriftstellerischen Versuche mit ihrer kruden Sex-und-Gewalt-Mischung allerdings recht merkwürdig wirken, haben mir die abgedrehten Science-Fiction-Ideen in „Travellic“ gut gefallen. Die Frage, was nun das „X-Ego“ in diesen Erzeugnissen ist, läßt sich nur schwer beantworten. Dafür wird letztlich zu wenig Variation geboten.
 
L’Inedit. Les dessins que vous n’auriez sans doute jamais vus # 20 (Juli 2005). 72 Seiten, s/w mit Farbumschlag, DIN A 4. La Grande Ourse, Association Sans But Lucratif, Rue Salm 187 B, 5300 Landenne-sur-Meuse, Belgien. http://users.swing.be/la_grande_ourse
 
Wenn ich mich recht erinnere, war dieses Magazin wieder mal eine freundliche Gabe von Gerd Bonau. Auch wenn ich so gut wie kein Französisch beherrsche, ist doch mitzukriegen, daß Comiczeichner hier in erster Linie das präsentieren, was sie nicht veröffentlichen. Hauptsächlich geht es um Yves Swolfs („Durango“), dessen Gesamtwerk in einem ausführlichen Artikel vorgestellt wird. Dann folgen mir weniger bekannte, nichtsdestoweniger bemerkenswerte Künstler: Bengrrr, Walter Bruneel, Pedro Colombo, Virgile Bage, Sébastien Didot und der Amerikaner Mike Wieringo. Fanzinemachen in Frankreich bedeutet also auch, die Skizzenbücher der etablierten Stars auszuwerten. Ein sehr schönes, auch aufwendig gedrucktes Magazin.
 
Jack Kirby Hommages # 3. 24 Seiten, s/w, DIN A 5. Daniel Tesmoingt, Rue du By 9, 6211 Mellet, Belgien
 
Bei der frankobelgischen Szene kann man sich irgendwie nicht so richtig vorstellen, daß es dort Fans von US-Superheldencomics geben könnte. Aber dieses kleine Fanzine legt Zeugnis davon ab. Allerdings scheint es nicht viele Franzosen oder Belgier zu geben, die wie Jack Kirby zeichnen. Es ist auch nicht so, daß sie wie Moebius beim Silver Surfer dem amerikanischen Vorbild einen „Metal Hurlant“-Look verpassen (das macht stattdessen der Amerikaner José Ladronn). Ich finde es sympathisch, daß hier auch Künstler vertreten sind, die an den Marvel-Altmeister nicht herankommen und mit ihren Illustrationen trotzdem ihre Verehrung ausdrücken. Neal Adams und Steve Rude sind mit Zeichnungen dabei und außerdem viele Kanadier.
 
Xoomic # 11 (September 2005). 48 Seiten, teilweise farbig, 5,80 Euro. Frank-Kemter-Verlag, Nürnberger Straße 111 A, 90762 Fürth. www.xoomic.de
 
Diese Ausgabe dürfte noch immer die aktuelle sein, was bedeutet, daß Frank Kemter sein Projekt immer noch nicht stabilisiert hat. Vor allem deshalb bespreche ich „Xoomic“ noch immer, also um zu verfolgen, was daraus – hoffentlich – noch wird. Bei der „Comixene“, die auch den Veröffentlichungsterminen hinterherhinkt, aber doch einigermaßen regelmäßig erscheint, halte ich das im Moment für nicht nötig – und käme auch mit meinen drei Ausgaben jährlich kaum hinterher. Frank Kemter bleibt bei „Xoomic“ jedenfalls dabei, rund ein Drittel des Umfangs mit Comics statt mit Informationen zu bestreiten. Das betrifft vor allem das Laska-Album „Der Golem“, das in drei Folgen vorabgedruckt wurde. Ansonsten geht es um den kanadischen Comiczeichner Seth, um Flix, Erbse („Klettercomics“), den verstorbenen Will Eisner, um Sex im Comic und um Comics im Museum. Der News- und Rezensionsteil ist ziemlich zusammengeschrumpft. „Xoomic“ ist immer noch ein empfehlenswertes Sekundärmagazin, aber man muß die Entwicklung weiterverfolgen.
 
Underdog # 13 und 14 (Herbst/Winter 2005/06). Je 72 Seiten, s/w, DIN A 5, 2,50 Euro. Mit beigelegter „Kulturschock“-CD. Fred Spenner, Narzissenweg 21, 27793 Wildeshausen. www.underdogfanzine.de
 
Dieses Punk-Fanzine ist vor allem wegen der stets beigelegten „Kulturschock“-CD empfehlenswert. Vielleicht um den Eindruck zu vermeiden, das Magazin eigne sich bloß zum Einwickeln der CD, produziert das Redaktionsteam aus dem Raum Oldenburg jeweils einen 72-Seiten-Wälzer mit vielfältigen Informationen über Musik, die Fanzine-Szene und auch deutlichen politischen Statements. Der Crossover in die Comicszene klappt auch ganz gut. In den vorliegenden beiden Ausgaben sind Bäsh, Frunk und max Jähling (alle auch aus PLOP bekannt) vertreten.
 
 
Exodus # 18. 64 Seiten, s/w, DIN A 4, 5 Euro. René Moreau, Schillingstraße 259, 52355 Düren. www.sfflohmarkt.de
 
René Moreau, nach mehr als 20 Jahren wieder aktiv gewordener Herausgeber dieses Fanzines, hat sein Konzept präzisiert. „Exodus“ ist nun ein Magazin für „Science Fiction Stories und phantastische Grafik“. Derzeit überlegt er, ob er künftig auch Rezensionen über Publikationen von Kleinverlagen ins Heft aufnehmen soll. Der Umfang von 64 Seiten ist allerdings schon jetzt knapp: Sieben Seiten nehmen die überwiegend detaillierten Leserbriefe ein, wobei auch Besprechungen von „Exodus“ in anderen Publikationen hinzugenommen werden. Auf drei Seiten werden die Mitarbeiter der aktuellen Ausgabe vorgestellt. Für den Schwerpunkt der „phantastischen Grafik“ sorgt diesmal Pierangelo Boog, der in den 80er Jahren häufiger in Magazinen wie „Fantastrips“ und „Blender“ auftauchte und nach einer längeren Pause nun wieder zur SF-Illustration zurückgekehrt ist. Somit bleibt Platz für elf überwiegend gut erzählte, mit überraschenden Ideen aufwartende Kurzgeschichten, die von Nicole Erxleben, Thomas Franke, Tho-mas Hofmann, Manfred Lafrentz (siehe „Update“) und meiner Wenigkeit illustriert sind. Auf Seite 4 schließlich ist sogar beinahe ein richtiger Comic zu finden; Perry-Rhodan-Autor Horst Hoffmann nimmt sich da den Kampf des Vatikan gegen phantastische Literatur vor.
 
Intern # 250 (3/2005). 52 Seiten, s/w mit Farbumschlag, DIN A 5, 5 Euro. Gerhard Börnsen, Steinruther Straße 13, 58093 Hagen. 5 Euro. www.projekt-nebelwelten.de
 
250 Ausgaben, und das auch noch in nur knapp 20 Jahren – da kommt dieses Fanzine bei weitem nicht mit. Die meiste Zeit war „Intern“ allerdings ein ein- bis vierseitiger Newsletter. Heute ist es ein inhaltlich sehr breit angelegtes Nachrichtenmagazin. Die Themen reichen von Star Trek über Marion Zimmer Bradley bis zur Science Fiction-Fanszene. Auch ein wissenschaftlicher und ein esoterischer Beitrag sind dabei. Berührungspunkte zur Comicszene ergeben sich durch eine Besprechung des Films „Sin City“ und durch Illustrationen unter anderem von Irene Salzmann und Manfred Lafrentz.
 
Blut im Stuhl # 28. 40 Seiten, s/w, DIN A 5, kostenlos. Andreas Dölling, Olpe 10, 44135 Dortmund. www.bis-magazin.de
 
Über das Konzept dieses Fanzines, das eine Mischung aus aus Texten und Comics bietet und konsequent kostenlos verteilt wird, habe ich in der vorigen Ausgabe schon geschrieben. Die jüngste Ausgabe setzt es nahtlos fort.
 
Das Schubfach # 2 und 3 (September 2005). 20 bzw. 32 Seiten, s/w, DIN A 4. Fanzineiros # 2. 16 Seiten, s/w, DIN A 4. Beide: Luciano Freiberger, Rua Porto Seguro, No 345, Porto Alegre/RS-CEP 91380-220, Brasilien
 
Luciano Freiberger aus Brasiliens Süden fährt weiter zweigleisig: „Fanzineiros“ ist ein Fanzine in der Landessprache, „Schubfach“ ist auf deutsch für die deutschstämmige Minderheit in dem Land, die die Sprache noch beherrscht oder vielleicht wieder erlernt. Bei seiner deutschen Ausgabe muß er allerdings Anleihen im Stammland machen, das heißt, viele auch aus PLOP bekannte deutsche Zeichner tauchen als Gastarbeiter auf. Verblüffend: „Von Arno Willig war ich insofern überrascht, als er einige soziale Probleme Brasiliens sehr genau zu kennen scheint. ‚Die Straßen von Rio‘ sind eine hervorragende Darstellung und gibt die Verhältnisse und Gewalt in den Straßen von Rio de Janeiro mit erstaunlicher Genauigkeit wieder. Das brasilianische Fernsehen versucht stets, das Problem Gewalt und Drogengesellschaft herunterzubagatellisieren. Nicht zu reden von der enor-men Korruption innerhalb der brasilianischen Politik. Die Gewalt auf den Straßen von Rio de Janeiro hat sehr viel zugenommen und trägt wesentlich dazu bei, wenn gleichzeitig der internationale Tourismus im Land abnimmt“, schrieb mir Luciano. Vielleicht hat Arno gut recherchiert. Sein vorrangiges Ziel dürfte allerdings gewesen sein, der Kunst von Hermann nahezukommen.
 
QI # 75 bis 78. Je 16 bis 20 Seiten, s/w, DIN A 5. Edgard Guimaraes, Rua Capitao Gomes 168, Brasópolis - MG - 37530-000, Brasilien
 
Dieses brasilianische Fanzine hat PLOP inzwischen locker überholt, allerdings mit deutlich geringerer Seitenzahl. Kernstück der Ausgaben ist jeweils ein ausführlicher Fanzine-Index, wo-bei auch das Ausland und selbst Europa berücksichtigt werden. Dazwischen finden sich
immer wieder mal auch interessante Comicbeiträge – leider alles auf Brasilianisch.
 
Mural # 2. 8 Seiten, s/w, DIN A 5. Fernando Syl, Av. Alcantara Machado 833/508 – cep. 03101001-SP, Brasilien
 
Ein sehr dünnes Heftchen, das sich allerdings in dieser Form bequem mit der Post versenden läßt. Der Inhalt besteht im wesentlichen aus einem zweiseitigen Comic und einem zweiseitigen Prosatext.
 
O mundo nao me entende Zine # 11 (Oktober 2005). 24 Seiten, s/w, DIN A 5. Jeferson Adriano, Rua Pindorama No. 505, Bairro Iguacu, Ipatinga-MG, Cep.: 35162-109, Brasilien
 
Die alltägliche Gewalt in Brasilien, die Luciano Freiberger oben ansprach, kommt in diesem Fanzine in der Story „Sinfonia da Morte“ zum Ausdruck. Jeferson Adriano besteitet das Magazin nahezu allein. Er ist auch mit Strips in einer brasilianischen Zeitung vertreten.
 
Asr@ma Rio de Janeiro # 1 und 2. Je 28 Seiten, zweifarbig, DIN A 6. Asr@ma, Rua Paranhos, 419 – Apto. 102, Olaria, Cep.: 21073-460 Rio de Janeiro, Brasilien
 
Optisch interessant (roter oder violetter Druck auf farbigem Papier), aber inhaltlich unausgewogen präsentiert sich dieses Mini-Fanzine. Im ersten Heft gibt’s zum Einstieg gleich eine „Tank-Girl“-Episode (vermutlich raubgedruckt). Proficomics stehen hier neben ziemlich dilettantischen Versuchen. Vielleicht geht das inhaltlich zusammen – was ich leider nicht beurteilen kann.
 
Neuere Kostenlos-Magazine:
 
Comicaze # 19. 32 Seiten, farbig, DIN A 5. Comicaze e. V. , Volkartstraße 32, 80634 München. Comicaze@gmx.de
 
Miguel Fernandez: Felsfest Open Air. 52 Seiten, farbig, Comicalbum, 10 Euro. Schwarzer Turm
 
Miguel Fernandez hat für sein Debüt schon einiges an Vorschußlorbeeren geerntet, nicht zu Unrecht. Der 31-jährige Diplom-Designer (ein Spätstarter) ist eine Doppelbegabung: Er kann spannend erzählen und gut zeichnen. Wenn ich nun erläutere, warum mir der Band nicht 100prozentig gefallen hat, wäre gedanklich immer hinzuzufügen, daß 90 Prozent auf jeden Fall erreicht sind. Beginnen wir mit der Geschichte: Die Aufmachung des Albums mit dominierendem Schwarz sendet ein wenig ein falsches Signal aus. Die Story hat nämlich eine ziemlich romantisch-naive Grundtönung. Held Frederik lebt erkennbar noch im sorglosen Wunderreich der Jugend. Beim titelgebenden Open-Air-Konzert helfen ihm ein paar schon lebenserfahrenere Freunde, seine ganz unschuldig verehrte Freundin Clair von dem ziem-lich unleidlichen Rockmusiker Jochen zurückzuerobern. Hauptsächlich geht es darum, daß sie zu der Erkenntnis kommt, daß er mehr will als eine Sandkastenbeziehung. Das liest sich wirklich nett, aber solche Probleme dürften für die meisten Leser schon weit weg sein. Kleine Abstriche möchte ich auch bei den Zeichnungen machen: Miguel Fernandez ist schon fast perfekt, aber noch nicht genug profiliert. Ich merke das daran, daß seine Hintergründe manchmal schon atemberaubend gut aussehen, die Figuren im Vordergrund aber wie bei vielen Nachwuchszeichnern in Richtung Uderzo gehen, doch lange nicht so elegant gelingen. Wohlgemerkt: Ich rede von 90 Prozent. Die Veröffentlichung des Werks als Farbalbum ist gerechtfertigt, bei Carlsen oder Ehapa wäre es allerdings vermutlich – vorerst – nicht erschienen. Mal sehen, was wir von dem jungen Künstler noch zu sehen bekommen. -aa
 
Will Eisner: Das Komplott. Die wahre Geschichte der Protokolle der Weisen von Zion.152 Seiten, s/w mit Farbcover, Hardcover-Al-bum, 19,90 Euro. Deutsche Verlags-Anstalt München.
 
Das Jahr 2005 begann für Comicfans schon mehr als denkbar schlecht: Bereits am 3. Januar verstarb der Übervater des anspruchsvollen Comics, Will Eisner, im Alter von 87 Jahren. Eisner, der seine erste Zeichnung 1933 veröffentlichte und von da an einen Großteil seines Lebens den Comics widmete, recherchierte für diesen Band, der seine letzte große Comicerzählung werden sollte, mehrere Jahre lang. Vielen Fans war die meiste Zeit unbekannt, daß Eisner Nachkomme jüdisch-amerikanischer Einwanderer war und Jude blieb, da er es nie erwähnte oder besonders betonte. Gegen Ende seines Lebens schien dieser Umstand für ihn aber an Bedeutung zuzunehmen und gipfelte in der Re-cherche für dieses Buch. In „The Plot", wie das Buch im Original heißt, wirft Eisner die Frage auf, wo die Wurzeln liegen für den weltweiten Hass, der den Juden global seit Jahrhunderten entgegenschlägt und der seinen Höhepunkt in der Judenvernichtung des dritten Reiches erreichte. Ein Teil dieses Hasses resultierte aus den „Protokollen der Weisen von Zion", einer erfundenen Schrift, die belegen soll, daß die Juden zu jedem Preis die Weltherrschaft anstreben und dabei vor keiner feigen Hinterlist zurückschrecken. Angeblich von den Oberhäuptern der Juden verfasst, wurde diese Hetzschrift unzählige Male in allen erdenklichen Sprachen publiziert und trug zum großen Teil zum gängigen Bild des Juden in den Augen der restlichen Welt bei. In diesem Buch klärt Einer, woher dieses Pamphlet wirklich stammt, weshalb es verfaßt wurde und warum es trotz erwiesener Unwahrheit noch immer die Massen beeinflußt. Zwar hätte der letztgenann-te Punkt noch ein bißchen deutlicher ausfallen können, aber sicher ist, daß Eisner mit diesem Band weiter ging als bei all seinen anderen Graphic Novels. Nicht umsonst ist die eigentliche Graphic Novel um 18 Seiten „Buchtext" ergänzt. Sicherlich ein wichtiges Werk und, um aus dem Nachwort zu zitieren: „seine letzte Arbeit ist ein angemessenes Vermächtnis." Jo84
1999 hatte Eisner erfahren, daß die „Protokolle“ endgültig als Fälschung entlarvt worden sind. Er sieht nun in den Comics ein so mächtiges Medium, daß sie diese Botschaft nach seiner Überzeugung wirkungsvoll verbreiten können. Und genau das tut er in diesem Band: Er schildert in Comicform, wie und warum es zu dieser Fälschung gekommen ist (konservative Kräfte ma-nipulierten Ende des 19. Jahrhunderts damit den russischen Zaren in ihrem Sinne), und verfolgt dann durch die Geschichte, wie Antisemiten dieses Buch immer wieder mißbrauchten, obwohl es an Stimmen nie mangelte, die es für gefälscht hielten. In Deutschland ist es übrigens ebenso verboten wie Hitlers „Mein Kampf“. Das böse Vorurteil, an den Protokollen müsse etwas dran sein, bestätigt sich immer wieder an Vorurteilen über die Juden allgemein. Die FAZ hat dem Band in einer halbseitigen Besprechung vor häufiger Kritik in Schutz genommen: er habe nur pädagogischen Gebrauchswert und sei grafisch und erzählerisch höchstens routiniert. Der Vorwurf trifft sicherlich nicht, denn Eisner war das Buch ja sehr wichtig. Was aber tatsächlich fehlt, ist das, was seine Comics immer herausgehoben hat: Charaktere. Es kann sie nicht geben, weil 100 Jahre Geschichte schlaglichtartig Revue passieren. Die FAZ erkannte Charaktere in den Haltungen, Mienen und Gesten der gezeigten Menschen, aber da bieten Eisners beste „Spirit“-Folgen, seine Mietshaus- und New-York-Storys doch einiges mehr. Auf den letzten Seiten des Bandes tritt Eisner selbst als Rechercheur auf – das ist zwangsläufig die einzige Figur mit einer gewissen Kontinuität. Er beschreibt sich als Menschen, der trotz seiner Mission zurückhaltend bleibt. Er verrät nichts von seiner Überzeugung, die Protokolle durch seinen Comic erledigen zu können, wirkt aber letztlich doch ein wenig kauzig. Eisner läßt diesen Eindruck bewußt zu und verstärkt ihn am Ende noch: Auf eine Synagoge wird ein Anschlag verübt, mit den Trümmern sinken Flugblätter mit den Daten weiterer antisemitischer Aktionen zu Boden. In der Mitte heißt es: „2004. Die Protokolle der Weisen von Zion werden noch immer in Buchhandlungen überall auf der Welt verkauft.“ -aa
 
Rainer und Birgit Stock: Der Biercomic. Josef Nullinger vazäit de Gschicht vom Hofbräuhaus. 52 Seiten, farbig, Comicalbum, 9,90 Euro. Birgit Stock Verlag, Postfach 162, 83697 Rottach-Egern. www.biercomic.de
 
Wieder muß der Vergleich mit Asterix her, aber anders als im Fall von Miguel Fernandez oben gehört das hier zum Kalkül. Dieser Comic zielt hauptsächlich auf Nicht- oder Gelegenheitsle-ser ab. Aus deren Sicht kann man feststellen: Ein Comic zählt offenbar dann nicht mehr zum Schund, wenn er wie Asterix daherkommt. Hier ist nicht nur der Zeichenstil dem Vorbild so gut es geht nachempfunden, sondern auch die Erzählweise und in gewisser Weise der Storyaufbau. Der Biercomic, der zwar nicht in der Römerzeit, aber im ebenfalls weit entfernten Jahr 1589 spielt, lebt in hohem Maß von Anspielungen auf die Gegenwart. Der bayerische Herzog heißt Edmund, sein Schneider Moshammer, und eine Kräuterhexe sieht aus wie Antje Kathrin Kühnemann. Zum Schluß schreit Christian Ude: „Ozapft is!“ Es geht um den Bau des Münchner Hofbräuhauses, aber weil das für Touristen ohnehin dasselbe ist, machen die Autoren daraus die Geschichte, wie das Bierbrauen nach München kam, das bis dahin ausschließlich aus Einbeck importiert worden sei, soll uns weisgemacht werden. Ein dünner Kasper und ein dicker Mönch werden ausgesandt, einen Braumeister zu finden, und sie suchen in Bad Tölz, am Tegernsee und schließlich im Kloster Geisenfeld in der Hallertau, von wo einst tatsächlich Braumeister Heimeran Pongraz nach München geholt worden war. Vom Raffinement der Erzählkunst selbst eines Uder-zo sind Birgit und Rainer Stock allerdings weit entfernt. Was den Band rausreißt, sind die bayerischen Dialoge, mit denen ihn der „Antenne Bayern“-Comedian Mike Hager in einen Mundartcomic verwandelt. Das ist zwar ein Klischeebayerisch, das den Gralshütern der Landeskultur gar nicht gefallen dürfte, aber es liest sich doch locker und witzig. Und das dürfte auch für die Zielgruppe das Wichtigste sein. -aa
 
Uderzo: Asterix # 33. Gallien in Gefahr. 52 Seiten, farbig, DIN A 4. 10 Euro. Ehapa
 
Daß Asterix nicht mehr das ist, was er mal war, ist ja schon seit Jahrzehnten allgemein bekannt. Je älter Uderzo wurde, um so schlimmer wurden (bis auf wenige Ausnahmen) die neuen Alben. Angekündigt war auch schon länger, daß dieser Band der letzte Asterix sein wird, weil Uderzo langsam alt wird und die Lust verliert. Schon bei den letzten Bänden hat er nur noch die Hauptfiguren vorgezeichnet; Hintergründe, Tusche und Farben ließ er von seinem Studio besorgen. Deshalb war die Erwartungshaltung nicht mehr besonders hoch. Leider schaffte Uderzo es spielend, diese noch zu unterbieten. So ist Band 33 der erste Asterix, der nicht nur relativ schlecht ist, sondern richtig schlecht. Den ganzen Band, der im Original mit „Der Himmel fällt ihnen auf den Kopf" wenigstens eine originelle Grundidee bietet (was hätte man daraus alles machen können), kann man beileibe nicht anders als „Totalausfall" bezeichnen. Mit dieser Grundidee allein könnte ich selbst in zwei Stunden einen besseren Asterix schreiben. Uderzo allerdings begeht tatsächlich den Fauxpas, zwei Außerirdische Rassen auftauchen zu lassen, die sich um den Zaubertrank des Miraculix streiten. Das ist nicht Ihr Ernst, Herr Uderzo! Der arme Monsieur Goscinny rotiert bestimmt in seinem Grab mit Schallgeschwindigkeit. Für diesen dämlichen Plot muß auf viele typische Asterix-Zutaten verzichtet werden. Denn für Römer ist diesmal wenig Platz, für Cäsar gar keiner; das Karikieren bekannter Personen beschränkt sich auf einen schlecht getroffenen Arnold Schwarzenegger, der als Mischung zwischen Superman und Green Lantern umherfliegt, und die allseits beliebten Piraten werden krampfhaft in einem Panel abgespeist. Die Figuren agieren zudem oftmals übertrieben oder unmotiviert. So hat Asterix zum Beispiel etliche agressive Momente, die gar nicht zu dem kleinen Gallier passen. Ganz so, als hätte nicht einmal Uderzo selbst den Charakter seiner Hauptfigur verstanden. Die wenigen Chancen, die sich aus einem so miesen Plot ergeben, verschenkt Uderzo aber auch noch. Daß der Außerirdische Tuun aussieht wie ein Teletubby, kann man dabei fast noch als mißratenen Parodieversuch durchgehen lassen, sein Auftreten auf fast jeder Seite des Bandes verdirbt leider jeden
Ansatz eines nostalgischen oder warmen Gefühls für diesen Band. Das Erscheinen einer Roboterarmee spielt wohl auf die Mangainvasion an, die Europa im Moment durchlebt. Da wird klar, daß Uderzo selber daran glaubt, sich dem Massengeschmack anbiedern zu müssen. Wäre er doch bloß bei seinen bisherigen Stärken geblieben! Ein Asterix mit Außerirdischen funktioniert jedenfalls gar nicht.           Jo84
 
Internet-Comics
 
Max Jähling surft und redet dabei
 
Offenbar mußte ich erstmal ein paar Rezensionen vorlegen, damit das Ding hier ins Rollen kommt. Naja, das war ja auch Sinn der Sache. Ich habe die Besprechungen diesmal in "Künstlerseiten", "Onlinecomics" und Plattformen" unterteilt. Alle Seiten hier enthalten Comics, aber die Betonung liegt jeweils woanders.
 
Künstlerseiten:
 
www.schaaf.de
Peter Schaaf konzentriert sich auf die Basics: einfaches html, Comics, Cartoons. Der weiße Seitenhintergrund paßt zu dem Blick-aufs-Wesentliche-Ansatz und erfreut auch den Blick durchs kleinere Browserfenster, paßt aber nicht immer zu den eher düsteren Comics. Diese entpuppen sich erst beim Anklicken teils als kurze Previews, eine Unterteilung in Previews und ganze Comics würde den Spaß erhöhen.
 
www.wittek0815comix.de
Auch Wittek bietet auf seiner Seite eher Arbeitsproben als Arbeiten, wobei hier die ganzen Comics sich als Abwechslung anfühlen in einer Präsentation, die "Arbeitsproben!" sagt (Überplop etwa ist so eine Überraschung.). Schönes Design, viel zu gucken, schade nur, daß die Comics viel zu klein gerechnet sind, als daß ich sie mit meinem Monitor lesen könnte. Das macht genau den Unterschied zwischen einer Comic- und einer Künstlerseite aus. Sehr schön allerdings die APPD-Werbeclips.
 
www.nattercomix.de
Weniger umfangreich ist die Seite von Jens Natter. Mit den Leseproben ist man schnell durch, und auch der neue Online-Comic "rocoko-refrain" hat bisher nur fünf Seiten. Was es gibt, ist aber durchaus ansprechend und läßt auf häufige Updates hoffen. Die Navigation ist von oben nach unten sehr bedienerfreundlich, aber zurück geht's fast immer nur über den Zurückknopf des Browsers.
 
http://www.piwimonium.de
Piwimonium ist nach Witteks Seite bereits der zweite Webauftritt, der im Unaufgeräumter-Schreibtisch-Design herkommt, und macht gleich einen schlechten Eindruck, weil die Flashseite in meinem Browser (Firefox) zwar lädt, aber dann nichts macht. Opera geht besser, aber nicht viel, also muß der olle Internet Explorer her. Piwis Comics (aus Jackpot Baby und so) sind nicht schlecht, aber da habe ich nach all dem Ärger schon gar keine Lust mehr drauf.
(Übrigens, das gleiche Browserproblem hat in der letzten Ausgabe zu der Angabe geführt, von Aaron Jordans Flashintro ginge es nicht weiter. Geht schon, aber nicht für alle.)
 
Onlinecomics:
 
http://eikaundhannibal.de
Tom Sausen veröffentlicht seit 2004 relativ regelmäßig Strips um "Eika & Hannibal", einen Hund und eine Katze. Der Comc erscheint
nebenher übrigens in einem Mac-Magazin, und wer beim Lesen voll auf seine Kosten kommen will, sollte Toms Mac-Leidenschaft teilen, dann lohnt sich auch das neue Weblog eher. Aber auch so haben die Vektorgrafiken ihren Charme, und die Seite erscheint erfrischend übersichtlich.
 
http://www.airpatrolonline.net
Alexandros Stavridis' "Air patrol" kommt völlig trashig daher: veraltetes, einfaches html-Layout, das an Achtziger-Jahre-Air-Force-Serien denken läßt. Interessanterweise paßt das genau zum Comic, auch wenn der nur auf den ersten Blick (im Einleitungskapitel) von einem Supersoldaten-Projekt der Armee handelt. Eigentlich ist "Air Patrol" eine zeichnerisch manchmal etwas ungelenke, aber charmante Sci-Fi-Polizeiserie. Nur gelegentlich wird zu wenig Handlung und zu viel "Backstory" geliefert.
 
Plattformen:
 
www.dapainta.com/comiquarium
Comiquarium ist eine liebevoll gestaltete Seite, auf der sich ZeichnerInnen mit eigenen Bildern präsentieren können. Neben Größen wie Kim Schmidt und Timo Würz finden sich hier vor allem unbekanntere ZeichnerInnen, von denen einige wohl über Kims Forum gekommen sind. Comics habe ich keine gefunden, aber Cartoons, Fische, ein Forum und nette Extras. Durchaus eine Seite mit Bleibwert.
 
www.comicgate.de
Eine besonders reichhaltige Resource ist das Comicgate, das neben News, Artikeln und Interviews gleich sieben laufende Webcartoons anbietet. (Naja, als ich guckte, fünf Webcartoons und zwei Ankündigungen.) Deren Präsentation ist etwas umständlich (erst Folge anklicken, dann nochmal die Thumbnail-Darstellung anklicken, erst dann sieht man in einem Popup-Fenster den Cartoon). Damit all das nicht unübersichtlich wird, läßt sich die Seite neuerdings auch als rss-Feed abonnieren. Nachteil: Die alten Inhalte verschwinden dahinter. Vorteil: Sie sind noch da und lassen sich mit etwas Geduld auch herbeiklicken. Also noch mehr Beiträge und Comics.
 
http://www.comicwerk.de
LOA ist unter den hier präsentierten Plattformen die einzige, die sich auf Comics konzentriert. Alle zwei Monate (wenn alles gut geht) erscheint eine neue Ausgabe. In vergangenen Ausgaben waren bereits Bekannte wie Katrin Baumgärtner, Diana R. Sassé und (hüstel) Jähling zu sehen (einmal sogar Alan Moore und Bryan Talbot). In der jetzt (März) erschienenen Ausgabe 16 finden wir Mangas von unter anderem Marika Herzog und Jessica Latsch sowie Funnies von Jens Kirsch und Sascha Jaeck. Außerdem gibt es reichlich Info-Material von den LOA-Machern, das aber leider zur Zeit nicht sehr aktuell zu sein scheint. Ist aber auch wiederlesenswert.
 
http://www.edition-panel.com
Ohne Wertung, weil unter anderem von mir, ist die neue Webpräsenz des Bremer Fanzines „Panel“. Noch ist nicht viel drauf, aber Panel Online bietet News, Features, Interviews und einen Online-Strip zum mitmachen; "Neues aus der Entenstraße".
 
Comic!-Jahrbuch 2006
 
Pünktlich zur Frankfurter Buchmesse lag vergangenen Herbst das neue, wieder vom ICOM-Vorsitzenden Burkhard Ihme produzierte Jahrbuch vor (228 Seiten, Farbumschlag und farbiger Anzeigenteil, DIN A 4, 15,25 Euro). Nach wie vor ist es das maßgebliche Kompendium der deutschen Comicszene. Inhalt und Erscheinungsbild des Bandes nötigen angesichts der ehrenamtlichen Umstände seines Zustandekommens höchsten Respekt ab. Und möglicherweise ist das Jahrbuch auch der Bereich des ICOM, der am besten funktioniert. Denn obwohl Vorsitzender Burkhard Ihme den Großteil der Arbeit schultert, die ein solches Mammutwerk macht, lebt es auch von den sachkundigen Beiträgen vieler ICOM-Mitglieder, die sich hier einbringen (wie gut die Jobbörsen des Verbands, das Zeichnerarchiv und die Rundmails mit den neuesten Angeboten, laufen, kann ich nicht beurteilen). Zum Inhalt: Das 25-jährige Bestehen des ICOM und auch die 30-jährige Geschichte der einstigen Ost-Helden Abrafaxe werden zwar an prominenter Stelle, aber doch eher nebenbei abgehandelt. Einen richtigen Themenschwerpunkt des Bandes gibt es aber nicht. Burkhard Ihme gliedert vielmehr das Material in den Themenblöcken „Form und Inhalt“, „Comic-Szene“, „Atelierbesuch“, „(Internationaler) Markt“, „Die Preisträger des ICOM Independent Comic Preises“ und „Film“. Zu Andreas-C.-Knigge- und Ullsteinzeiten gab es immer ein Dossier. Das Jahrbuch nimmt im Vergleich dazu zunehmend den Charakter eines bunten Magazins an. Dabei dominiert die Darstellungsform des Interviews, wieder werden vor allem alle Independent-Comic-Preisträger ausführlich interviewt. Ein Schwerpunkt, der etwas kurios anmutet, denn das Jahrbuch ist insgesamt keine Hauspostille, der aber wohl unvermeidlich ist, weil dem Preis in der Comicszene und erst recht in der Öffentlichkeit viel zu wenig Beachtung geschenkt wird. -aa
 
Comic Action 06
 
Schon vor längerem flatterte mir eine Einladung zur nächsten Comic Action auf den Tisch, auch wenn die erst vom 19. bis 22. Oktober stattfinden wird. Um diese Zeit sollte eigentlich auch PLOP # 76 erschienen sein, allerdings muß man einen Stand bis zum 15. Mai anmelden. Die Anmeldung geht an den Friedhelm Merz Verlag, Postfach 210250, 53157 Bonn. Über das Programm, anwesende Künstler oder Ausstellungen wurde verständlicherweise noch nichts mitgeteilt. Wie in den Vorjahren wird die Comic Action aber ein Teil der großen Messe „Spiel“ sein. -aa
 
Comic Salon Erlangen
 
Ob das PLOP-Jubiläum Thema beim Comic Salon (15. bis 18. Juni) sein wird, stand bei Redaktionsschluß noch nicht fest. Das Erlanger Kulturamt zeigte auf meinen Hinweis hin jedenfalls unverbindlich Interesse. Bezeichnend fand ich meine Erlebnisse bei der Unterkunftssuche: 2004 war ja das Städtische Übernachtungsheim, seit mindestens zehn Jahren traditionelles Quartier vieler Comiczeichner aus der Fanszene, durch eine Gruppe belegt, so daß zumindest ich dort nicht mehr unterkam. Ich fand darauf eine nette und auch recht preisgünstige Pension in Herzogenaurach, wo man sich auch nicht daran störte, daß ich erst spätnachts nach Hause kam. Daher gab ich das Übernachtungsheim dran und fragte wieder in der Pension nach. Als ich sagte, ich bräuchte ein Zimmer im Juni, hieß es jedoch: „Um Himmels willen! Im Juni sind wir verreist!“ Also rief ich nun doch wieder die gute Frau Ruff vom Übernachtungsheim an, und immerhin – diesmal ist kein Orchester angemeldet (oder was für eine Gruppe war’s nochmal?). WM-Touristen scheinen aber das Heim – glücklicherweise – noch nicht als Geheimtip entdeckt zu haben. -aa
 



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Plop 40

Rattelschneck (und Andreas Alt)













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Plop 41

Bernd Teuber














































Hubert Wenig




























Lorenz Migsch



































































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Plop 42

Holger Bommer





































Ente














































Ulrich Magin










Rainer Thomas






















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Plop 43

Andreas Alt

Rainer Baldermann






















1










2a










2b










3a










3b










4a










4b










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Plop 44

Ursula Wedde





































Alex Pawlenko














































Michaela Ilian






















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Plop 45

Frank Schmolke





































Benjamin Brandt



















Bernd Teuber





















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Plop 46

Manfred Lafrentz































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Plop 47

Rainer Baldermann





































Benjamin Brandt























































Oliver Ferreira














































Haggi


















































































Ilse Kilic














































Ulrich Magin




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Plop 48

Ulrich Magin










Levin Kurio (Werbung)




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Plop 49

Andy










Holger Bommer / Jo 84



















Jürgen Scheftlein










Kim Schmidt



















Gregor Beckmann




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Plop 50




















































































































































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Plop 51






























































































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Plop 52
















































































































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Plop 53















































































































































































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Plop 54
Ulrich Magin































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Plop 45

Malte Knaack




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Plop 56


















































































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Plop 57



















Rüdiger Störy































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Plop 58








































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Plop 59






























































































(Diese Ausgabe war ohne Text weil Andreas einen PC und keinen Mac benutzt, was natürlich bedeutet dass das Ding dauernt kaputt geht, und diesmal eben richtig.)
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Plop 60












































































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Plop 63

























































































































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Plop 64

























































































































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Plop 68












































































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Plop 69





























































































































































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Plop 69


























































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Plop 71
































































































































































































































































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Plop (Oktober 1995)



Bernd Teuber






















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Plop (Juni 1996)

Ulrich Magin




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Über - Plop






































































































































































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+ Shortcuts
+ + + +
+ + + + + +
+ + + + +Finder Shortcuts:
+ +Command +
+Option +
+Control +
+Shift +
+Tab + +                +		 + +
+Shift Command +
+Option Command +
+Control Command +
+Control Option Command + +
+Selecting Files in a Folder + + +        +		 +
+Function Keys +
+ + +                +                +                +                +		 +TextEdit Shortcuts:
+ +Open, Save, Find +
+Fonts +
+ + +Cursor Movement +
+Selection +
+Spelling +
+ + +                +                +                +		 +Other Shortcuts:
+ +Preview +
+Safari + + + + +
+
+ + + + + +
+
+ Magic Mouse & Trackpad +
+
+ + + + +
+ +For many mousing tasks I prefer the Trackpad or a cheap, two-button mouse. +
+However, the magic mouse really is 'insanely great' for one thing: scrolling. +
+ Placed between keyboard and trackpad, it becomes an extension of the Trackpad: + +
+ +
+ + + +That way, you can swap between the two without moving your arm. Leave some space on the table for your arm/wrist to rest on. +
+ +
+ +
+
+
+ +If your fingers are greasy from munching potato chips or a buttered muffin, you can still scroll using your (hopefully clean) little pinky: +
+ +
+ + +
+
+
+
+ +The best way to use the Magic Mouse: + take it off the table and hold it in either hand, like a TV remote. +
+ You can use just one hand and 'move the screen' with your thumb. + +
+ +
+ +Or hold it with one hand and scroll with the other. + +
+ +
+ +
+ +
+
+Or hold it with both hands, using both thumbs.
+
+ +
  • Find out how many 'screens' you can make a Safari window 'shoot up' with one swipe! With some practice a long webpage whizzes up dozens of screen-lengths. + +(Count how many by going back with Fn Arrow_up or Shift Space. (or the 'page up' key on a large keyboard). + +
    + +
    + + +You can even put your feet up and the mouse on your tummy, stroking it like a pet hamster (or mouse). + + +
    +
    +
    +What I use the Magic Mouse for: +
    + + +
  • Scrolling (one finger swipe in any direction)
    +
  • Going back and forth between webpages (one finger swipe sideways)
    +
  • Zooming (double tap) (for pictures or PDFs. For webpages, it can be better to type command = +
    +    + The double-tap can be added for even more zoom.)
    + +
  • Clicking on small things like small icons or at precise points in a text. +
  • Click-selecting several individual files that are not next to each other. (If they are next to each other the keyboard or the trackpad are quicker). +
    +
    +If there's a lot of clicking required, or image-processing (etc) to be done, I use a cheap, wired, two-button mouse (always connected) in combination with the Magic Mouse. +Yes, using two mouses side-by-side looks silly, but the scrolling really is that much better on the Magic Mouse. (And yes, the plural of mouse is mice, but mouses is also correct.) + + +
    +
    +
    + +What I use the Trackpad for: +
    +
  • moving the cursor (1 finger) (change the settings to fast or the trackpad will seem too small.)
    • +
  • clicking (1 finger tap) (very light tap, but for repeated clicking any mouse is better.)
    +
  • right-clicking (2 finger tap meaning one tap with two fingers).
    +
  • zooming (2 finger spread/pinch or: 2 finger double tap)
    + +
  • looking up words (3 finger tap on the word. No slang, no foreign words, fiddly to scroll, but useful.)
    + +
  • clear (reveal) desktop with a four finger spread (this is probably faster with the keyboard). +
  • Exposé - four finger swipe up - Surprisingly intuitive. Just plonk your hand on the pad.
    +
  • Switching between 'Spaces' - four finger swipe sideways +The keyboard shortcuts (control 1, control 2 etc) can be faster. +When your hand is on the mouse, you could use that (two finger swipe sideways). + +
    +
  • Short scrolls (two fingers) are at least as good as on the Magic Mouse, long or repeat scrolls not so much. Can be mistaken for a 2 finger tap, resulting in pop up menus.
    +
  • App Exposé four fingers swipe down same as Control arrow_down (see 'Switching between windows') + +
    + +
  • Cut & Paste: 3 finger drag and drop   -   moves item(s) from one folder to another within the same drive
    +    3 finger drag - press command - drop   -   moves item(s) from one folder to another on a different drive (the green 'plus' near the cursor disappears when you press command)
    + + +
    + +
  • Selecting text: +
    + + +1st method     +Move the cursor with one finger to the start of your selection, place three fingers on the corner of the trackpad and move to the end of your selection. +You can start with three fingers and finish using only one finger. +
    +
    + +2nd method     +Move cursor to beginning of selection, do a one and a half tap on the corner (that means, tap twice, but leave finger on the trackpad after the second tap) Move that finger to select. + +If you reach the edge of the trackpad, but want to select more, do a little 'finger moonwalk' - while the first finger remains on the edge of the trackpad, place another further away from the edge, lift the first, and continue. This has to be done quickly. +If that's too much hassle, use the Shift key: if your selection isn't complete, lift finger from trackpad, press Shift, move cursor to where you wanted the selection to end, and tap once. +
    +
    + +3rd method     +Tap at beginning of selection (on a webpage double-tap one word), press Shift and select the text with Arrow_down (for the lines) and Arrow_left (for words/letters). This is also handy if you missed just a few words or letters with methods 1 or 2.
    + +
    + +4th method     +Use trackpad and Magic Mouse simultaneously. Good for large selections. Start selecting with three fingers, then use your thumb on the mouse to move the text up or down. + Or take the mouse off the table and scroll with your left hand while selecting with your right. +
    + + +
    + +
    +
    +
    + + + + + + + + + + +Before using mouse or trackpad, get them to work properly. This means changing the settings. +

    +The Mouse/Trackpad settings are in three places inside the System Preferences.
    + +Here's how to do this with shortcuts: +
    +
    +1. Option F2 or Option F12 (depending on which hand you use) opens System Preferences
    +2. Command L ('Show All') (or type 'mo', arrow_down, Return - in which case you can skip step 3)
    +3. Click on the Mouse Icon
    +4. Set 'Tracking' to Fast (all the way to the right).
    + +5. Click on (enable) all little boxes (6 of them). Some just replicate trackpad gestures, but don't do any harm. +
    + +6. Again, Command L (or type 'Command A', 'tr', arrow_down and Return)
    +7. Click on the Trackpad Icon
    +8. Set 'Tracking Speed' to Fast
    +9. Tick all 15 boxes, especially: tap to click (This does not disable clicking with the trackpad.)
    + +10. Command L (or type 'Command A', 'ac', arrow_down, Return)
    +11. Click on the Accessibility Icon
    +12. Set 'Double Click Speed' to one or two notches below fast. (Tapping is faster than clicking a mouse.)
    +13. Click on Trackpad Options.
    +14. Set Scrolling Speed to 'Fast'
    +15. Click on (enable) Scrolling with inertia (I think that's default anyway)
    +16. Click on (enable) Dragging 'without Drag Lock' (It slows the responsiveness of the trackpad)
    +17. Type Return (or click 'Done')
    +18. Click on Mouse Options.
    +19. Set Scrolling Speed to 'Fast'
    +20. Click (enable) Scrolling with inertia
    +21. Type Return (or click 'Done') + + +
    +
    + +If you would like to use even more Gestures, try the free app 'BetterTouchTool' . + + + +
    		•
    + + + + + + + + + +
    +
    +
    +
    + + + + + + +
    +
    + FINDER +
    + + +
    + + + + + + + + + + + + +
    + + + +
    Switching between Applications
     +
    + + +command tab   -   switches to the next open application
    + + +If that application has several windows open, command tab displays the frontmost window. If that application has no windows open, all you see is the application's name in the menu (next to the apple menu).
    +(repeating tab: cycles through all open applications)
    + + + +shift command tab   -   (the same in reverse) (use this when you cycle round the open apps and 'miss' the one you want.)
    + +Make your favourite applications open automatically on startup:   +right-click application-icon in Dock / choose Options / tick Open at Login   +That way, when you want to create a new document, you can command tab until your application comes up, and type 'command N'. +
    +
    +command tab, hold command   -   displays the 'application picker' (or 'application switcher'). Use arrow_left, arrow_right to move around. +
    +command tab, hold command, Q   -   quits the application that's highlighted in the application picker
    +
    +
    + + +
    Switching between Windows
     +
    + + +command `   -   moves to next open window of the same application. This includes Finder folders, it moves from folder to folder. +The ` key is the one that also has ˜ (Tilde) on it. +
    +
    + +As above, if you miss the window you wanted by typing too quickly, use shift command ` to go back. +
    +
    + +
    +On the German Keyboard, which hasn't got a Tilde key, it's the key in the same position, the one next to the left shift key. If you still use a really old OS on a German computer, you would have to assign this shortcut: + +(Apple menu / System Prefs / Keyboard / Shortcuts / Keyboard . Look for 'Move focus to next window', click on the shortcut (command `) and replace it with another. + +

    + + There's another shortcut in that section called 'Move focus to active or next window'. +You might as well enable that, it means you can do this:
    +Fn Control F4   -   move focus to next window (Any window of any application.)
    +Fn Shift Control F4   -   move focus to previous window (the same in reverse). +
    +
    +Command ` doesn't work in full screen mode. Try to avoid full screen mode. +See +Control Option Command section + for a shortcut to enlarge windows (a shortcut for the green button). +
    + + +
    +
    +
    Switching between Windows with Application Exposé
    +
    +When you have a great many windows or folders open, and finding the right one would need a lot of command ` switching, you could use App Exposé instead. + +App Exposé displays all open windows of one application (like all Safari windows, or all folders etc, including those sitting in other 'Spaces').
    +
    + +1. Control arrow_down, (or, if you prefer to use the trackpad: four fingers swipe down) +
    + +2. type first letter(s) of the folder/window you want, +
    +3. Return + +
    +
    +
    +(Switch between windows via the menu:) +
    +1. Fn Control F2 (moves focus on Apple menu) (this shortcut needs to be enabled in System prefs)
    +2. W (moves focus on Windows menu)
    +3. Space (folds down Windows menu)
    +4. Type first letter of the window you want
    +5. Type Space or Return + +     +

    + + +
    +
    + + + +     + + + +
    + + + +
    + Shortcut Dictionary for Finder +
    + + +
    COMMAND
    + +
    +command A   -   select all (items in the front window) (option command A   -   deselect all)
    +command C   -   copy to clipboard
    +command D   -   duplicate (makes a copy of selected item(s) and puts it next to it)
    +command E   -   eject (hard-drive, flash memory, dvd etc)
    + +command F   -   find (searches the whole Mac or the frontmost folder . +If you want to search the folder, type command F. Up comes this: 'Search: This Mac (on grey oval field) and next to it the folder name. +Click on that (the grey oval field moves from 'This Mac' to the folder name). + +
    +command H   -   Hide Finder
    + +command i   -   get info (dialog box with various information about selected item)
    +command J   -   show View Options Box (icon size, date, kind, tags etc. You can also enlarge the type size of the file names, very useful on a large or retina monitor) + + +
    +command K   -   connect to server
    +command L   -   make alias
    + +         +Better: press option-command and drag item(s) into where you want the alias of them to be.
    +command M   -   Minimise (same as the yellow button) (I never use this) + +     + +
    + + +
    +
    + +
    + + + +command N   -   New window - this always opens the same folder (of your choice). +
    + +Suggestion: create a new folder and fill it with circa 50 Aliases of of your most important folders and documents. +You can make command N open this folder: +
    +Finder menu / preferences / General / click underneath New Finder windows show: / click on other / choose your new Alias folder.
    +Now you can access everything important on your Mac super-fast: command N, first letter of whatever you want, command O. + +     + +
    +
    +
    + + +
    + + +command O   -   open (document/folder/application)
    +command P   -   print
    +command Q   -   quit (the frontmost application)
    +command R   -   show original (of Alias) (this used to work in iTunes too, now it's: shift command R)
    +command T   -   create a new tab (it used to be: add to sidebar, which now is: control command T)
    +command V   -   paste
    + +command W   -   close (folder, document - not the application, with some exceptions, like Dictionary) +
    +       option command W   -   close all folders (or all windows of the same application)
    +command X   -   cut (in Finder this only works for file names/text in dialog boxes)
    +     + +
    + + +
    +
    + +
    + + + Cut & Paste
    1. command C   -   copy
    +2. shift command V   -   paste into new location & delete item in original location (if you're interrupted before the 'paste', nothing gets deleted)
    + +     + +
    +
    +
    + + +
    + +(command Y   -   opens file in Quick Look - but you can just type space instead)
    +command Z   -   undo
    +
    + +command 1   -   view folder as icons (good for picture files. Notice the little slide, to enlarge the icons. - +Type 'Command J' and tick 'Show item info' to always see the pixel size of each image) + + + +
    +command 2   -   view folder as list (Very efficient way to display a lot of files)
    +command 3   -   view folder as columns
    +command 4   -   view folder as cover flow
    +command ]   -   move back to previous window
    +command [   -   move forth to previous window
    + + + +command ,   -   open application prefs (of any current app including Finder) +
    +       (Option F2   -   open System prefs) +
    +command .   -   cancel
    +command F3   -   exposes/covers desktop or: F11 (Fn F11) or: Shift Command D to see it as a folder
    +command F5   -   Turn VoiceOver on/off
    +command space - open spotlight search (can be used as an app launcher by typing first letter(s) of app)
    +command delete   -   move to trash (without asking you for permission)
    + +command delete when item in trash is selected   -   return to original location (or: command Z)
    + + + +
    + +command arrow_up   -   open enclosing folder (navigate to parent folder) (with the folder you started from highlighted   -   so you can then go back with:
    +command arrow-down   -   open (same as command O)
    + (opening a folder inside a toolbar-free folder will open it as a new window   -   to close the toolbar-free folder (at the same time), use option command arrow_up) +
    +
    + +command arrow_right   -   expand folder in list view (Hierarchical view of selected folders)
    +command option arrow_right   -   expands folder and also its subfolders
    + +command arrow-left   -   collapse folder(s)     in list view (handy for closing all of them together)
    + + +command drag item to other volume   -   move & remove it
    +command drag item into sidebar   -   puts it there (shortcut: control command T) (dragging items out of sidebar: just drag them out, no need to press command)
    + + + +command at start up   -   disable virtual memory
    +command drag inactive window (=window in background) title bar   -   moves inactive window (without bringing it to the front)
    +command click Dock item   -   open the folder it's in (command click Dock application icon will open the Application folder with that application highlighted.)
    + +command click (or right-click) on file name (at the top)   -   shows folder structure, in which you can click to open the folder with the file highlighted
    +     + +

    + + + + + + + + + + + +     + + + +
    + + + + OPTION
    +
    + +option F10 (or F11, or F12)   -   opens sound preferences
    +option F2 (or F3)   -   opens display preferences
    +option F3   -   opens misson control preferences
    +option click zoom button   -   cascade all finder windows
    + +option drag file to another folder   -   copies file to new location
    +option drag folder A into folder B which already contains folder A   -   displays dialog box offering to 'merge' them: creating one folder A containing the contents of both
    +
    +option eject   -   eject secondary media drive
    + + + +option drag window side   -   expands/reduces window on both sides, when one side hits edge of screen lets you go on with the other
    +option drag window corner   -   expands/reduces window in all directions (compare: shift drag)
    +option click menu   -   on many menus this makes additional options appear
    +option spacebar   -   opens file in QuickLook in full screen mode.     +     + +

    + + + + + + + + + + +     + + + +
    + + + + + CONTROL

    + + +For these function key shortcuts to work on the small wireless keyboard, you press Fn.
    +You could change this: Apple menu/System prefs/Keyboard/'use all F keys as standard function keys'. But then you would have to press Fn whenever you use 'volume' and 'lightness' (which I use constantly). +Fn and Control are next to each other - try pressing them together with your thumb, and use your middle finger to reach the various Fn keys. +
    +
    +control F2 (Fn control F2)   -   move focus to menu bar
    +control F3 (Fn control F3)   -   move focus to Dock
    +
    + +control F4 (Fn control F4)   -   cycle between open windows in all applications
    +shift control F4 (shift Fn control F4)   -   cycle between open windows in all applications (reverse) +
    +(however, you don't get an application picker for this, so it's not terribly useful) +
    +
    +control F5 (Fn control F5)   -   move focus to the window toolbar
    +control F6 (Fn control F6)   -   move focus to the floating window
    +control F7 (Fn control F7)   -   change the way tab moves focus (see Tab section)
    +control F8 (Fn control F8)   -   move focus to status menus
    + +
    +control arrow_up   -   opens/closes mission control / exposé (same as F3)
    +control arrow_down   -   opens/closes Application Exposé (display of open windows of the same program)
    +control option delete   -   force quit
    + +
    +These need to be enabled in System prefs - first you need to actually create the Spaces (F3, click the plus at top left / top right). Then tick the newly created little boxes in System prefs.
    + +control 1   -   switch to Desktop 1 (Space 1)
    +control 2   -   switch to Desktop 2 (Space 2)
    +control 3   -   switch to Desktop 3 (Space 3)
    +control 4   -   switch to Desktop 4 (Space 4)    etc.
    + + +
    + + +control combined with mouse scroll   -   zoom in / out (Similar to Trackpad pinching)
    +
    + +control eject   -   show shutdown dialog
    + +     +

    + + +     + + + +
    + + + + + + + + SHIFT
    +
    +shift F11 / shift F12   -   changes volume without sound effect (for instance, when listening to something really nice, or when watching a movie) Use right thumb on right shift key
    +shift option F11 / shift option F12   -   changes volume by smaller increments. From 16 (little boxes) to 64 increments, four per box.
    + +shift control eject   -   puts display to sleep (not the computer) for example, when just listening to music
    +
    + + +shift while launching application   -   prevents earlier windows from re-opening
    +shift while choosing minimise, exposé, launchpad etc.   -   slows down animations
    +shift (at startup)   -   extensions off
    + +
    + +shift drag window side   -   expands/reduces window in all directions, keeps width and height in proportion, until one edge reaches edge of screen (compare option drag)
    +shift drag corner   -   expands/reduces window into chosen corner, keeps width and height in proportion, until one edge reaches edge of screen (compare option drag)
    + +shift drag Dock   -   move Dock to left, bottom or right (grab it on the Dock devider)
    +
    +You can move a Finder window by dragging its edge: just don't start in the exact direction of the little arrow (or it'll expand). After that, drag in any direction you want
    +     +

    + + + +     + + +
    + + + + TAB
    +
    +You can use tab to move through windows and dialog boxes. + +There are two ways to do this. +
    + +There's 'Text boxes and lists only'. And there's 'All controls' (select which you prefer: System Prefs / Keyboard / Shortcuts) +
    +Both have distinct advantages. Shortcut to toggle between the two settings: control F7 ( Fn control F7). +

    + +Example A (setting on 'All Controls')
    +Create a low resolution detail from a photo for your blog
    +Select the photo
    +command O (it opens in Preview)
    +Use mouse or trackpad to make a selection (drag a rectangle)
    +command C (copies selection to clipboard)
    +command N (your selection opens as a new Preview window)
    +command S (opens Save dialog box)
    +The focus will be on the name box, with the default name'untitled.png' selected.
    +Type a new name (or just type '1' (2, 3 etc), if there are more to come - you can rename them later with Automator).
    +Don't change the .png in the name box. Instead type 'tab' four times, which puts the focus on 'Format'.
    +Then press 'Arrow_up' until the focus lands on 'JPEG'.
    +Return.
    +tab again. The focus lands on the 'Quality' slide.
    +Press 'Arrow_left' to move the slide to a lower quality setting. You can see a tiny 'File size' indicator further down which tells you how large/small the file will be.
    +When you're happy with the new KB size, type Return (saved).
    +
    +
    +Example B (setting on 'Text boxes and lists only')
    +Use 'Automator' to change the names of your photos
    +Open Automator (command space - type 'au' - Return)
    +The focus is on 'Workflow', type Return
    +Type 'RENA' (the choice 'Rename Finder Items: Replace Text' remains)
    +Type Return twice.
    +Choose Add or Don't Add.
    +Click on 'Add Date or Time'
    +4 x Arrow Down
    +Type Return (to choose 'Replace Text')
    +Click in the 'Find' box, write the first letters of your photo names (DSCO or whatever)
    +Tab
    +write the date (year, month, day: 141105 or 1411.05_ ) and maybe some description ( picknick.rain_ )
    +Drag the photos you want to change above the Rename box (a new box opens for them)
    +Command R
    + +     + +

    + + + +     + + +
    + + + + + + + + SHIFT COMMAND
    +
    + +shift command A   -   opens Applications Folder
    +shift command B   -   Send to bluetooth device
    +shift command C   -   opens Computer Folder
    + + +shift command E   -   eject (USB stick, external drive, Dvd, CD ...)     +
    + +         Example for using those two shortcuts: ejecting an external drive
    + +         shift command C / arrow_down (or first letter of external drive name) / command E
    + +shift command D   -   opens Desktop Folder - advantage: can be displayed in list view (command 2) and can be accessed with the window switching shortcut or Application Exposè)
    +shift command F   -   opens All my files-Folder
    +shift command G   -   opens dialogue box 'go to Folder:' (try command space (spotlight) as an alternative)
    +shift command H   -   opens Home Folder
    +shift command K   -   opens Network Folder
    +shift command N   -   new (empty) Folder
    +shift command O   -   opens Documents Folder
    +shift command Q   -   Log Out (dialog box: 'Are you sure you want to quit all applications and log out now?')
    +shift command option Q   -   Log Out immediately
    + +shift command R   -   opens Airdrop Folder
    + +shift command T   -   hide/show tab bar
    +shift command U   -   opens Utilities Folder
    +shift command W   -   Close a file and its associated windows
    +shift command Z   -   redo (the reverse of: command Z - undo)
    + + +shift command `   -   switches between windows of same app, the reverse of command `
    +shift command ?   -   Help (online)
    +shift command /   -   Help (online)
    + +shift command delete   -   empty trash (with dialogue box: are you sure ...?)
    +shift command option delete   -   empty trash without asking (not sure about this: any shortcut you learn, can be used inadvertently...)
    +
    +Screenshots +
    +shift command 3   -   screenshot
    +shift command control 3   -   take screenshot into clipboard (then switch to Preview and type 'command N')
    + +shift command 4   -   display cursor for 'selection screenshot'     (shoot by dragging and letting go)
    +shift control command 4   -   display cursor for 'selection screenshot' into clipboard     (shoot by dragging and letting go - then switch to Preview and type 'command N')
    + +shift command 4, type space   -   selects window around cursor, you can move cursor to different window (even use 'command tab'), click selected window to shoot
    +shift command 4, hold option   -   increases selection in all directions around cursor, let go of mouse to shoot
    +
    +The 'screenshot cursor' also demonstrates how many pixels your screen has: note the two numbers which tell you how far away the point is from the top and left edge of the screen. +     + +

    + + + + + + + + + + + + + + + + + +     + + +
    + + + OPTION COMMAND +

    + +option command A   -   deselect all (after you 'selected all' in a folder)
    +option command D   -   hide/show Dock (or right-click the Dock divider, to change the settings)
    +option command H   -   hide other applications (so they don't distract you)
    + + + +option command L   -   downloads
    +option command N   -   new Smart Folder
    +option command O   -   open (selected item) & close enclosing folder (closes the Finder window which contains the opened item (document, app, window..)
    + +option command P   -   hide/show Path Bar     (better: right-click the name at the top of any window or folder, then use Arrow_down, Return to open the enclosing folder.)
    + + +option command Q   -   quit application & close all its windows permanently Since Lion, the Mac remembers your open windows, and reopens them the next time you open an application.
    + + + +option command S   -   hide/show Sidebar
    +option command T   -   hide/show Toolbar & Sidebar (for that streamlined look. Also, using 'command O' on a folder inside a toolbar-free folder, opens it as a new window.) + +
    + +option command V   -   paste & delete from original folder (in combination with Command C)
    + + + +option command W   -   close all windows of an application without quitting it.
    +
    +option command 1   -   clean up by name (compare with control command 1, control command 2, etc)
    +option command 2   -   clean up by kind
    +option command 5   -   clean up by Date modified
    +option command 6   -   clean up by size
    +option command 7   -   clean up by tags
    +option command 8   -   zoom into space around mouse cursor / zoom out again
    +option command =   -   zoom (step by step) (this pixilates the text, try command = instead.)
    +option command -   -   zoom out (step by step)
    + +
    +option command fn f5   -   Show 'Accessibility Options' (part of the Accessibility System prefs)
    + + +
    +option command eject   -   sleep
    +(right-hand thumb on both Command & Option and right-hand middle finger on eject) + +
    +
    + + +option command on/off button   -   force quit
    +option command escape   -   force quit
    +shift option command escape (for 4 seconds)   -   force quit front-most application (without asking)
    + +option command power key   -   force sleep
    + + +option command control eject   -   shut down
    +option command shift power key   -   force shutdown
    +option command shift, delete at start up   -   forces start up
    +
    +option command click Dock icon   -   switch to that application & hide all others
    +option command at startup   -   rebuilds the desktop
    + +option command tab as inserting disk   -   initialise disk
    + +option command drag   -   create alias (where mouse is released)
    +option command drag file on Dock icon - force that application to open it
    + +option space (when typing)   -   non breaking words
    +     +

    + + + +     + + +
    + + + + + + + + CONTROL COMMAND
    +
    +control command 0   -   arrange by none
    +control command 1   -   arrange by Name       Suppose you change a narrow folder from list view to icon view (command 1). Now the folder window seems a bit small, so you enlarge it (drag right sidebar), but the icons remain on the left side. 'control command 1' will spread them out. + +
    +control command 2   -   arrange by Kind
    +control command 3   -   arrange by Date last opened
    +control command 4   -   arrange by Date added
    +control command 5   -   arrange by modified
    +control command 6   -   arrange by size
    +control command 7   -   arrange by tags (that's those colour dots which can be used to sort photos etc. Suppose you want to duplicate a group of files and then do something with those duplicates. You select the files, duplicate them (command D) which puts each duplicate underneath/next to its original. The originals are no longer selected, the duplicates are. If you tag the duplicates with a colour (carefully right-click/two finger tap one and choose the colour for all) you can then have these duplicates arranged together at the top of the folder with control command 7. Or, you could add 'Tags' to the columns in List view (Command J to 'Show View Options', tick the Tags box, maybe even make that default). Then click the top of the Tags column. +
    + +
    +(control command D   -   same as spacebar and command Y - opens item in Quicklook)
    +control command O   -   open folder as a new window (in a folder without a toolbar you can just use command O)
    +control command T   -   Add selected folder/document to sidebar
    +control command eject   -   Restart
    +control command startup key   -   Soft Restart + + +     + +

    + + + + +     + + +
    + +CONTROL OPTION COMMAND
    + + +
    +(the next three need to be enabled in the System prefs, they are already listed there, just click the boxes: System Prefs/Keyboard/Shortcuts/Accessibility/ click boxes) +

    + +control option command .   -   increase contrast (I think this helps some people with bad eyesight)
    +control option command ,   -   decrease contrast

    + +control option command 8   -   invert colours + +- for when you read a website with white letters on black background and would prefer it the other way round. +
    +Or if your eyes get tired from the white screen and you would prefer to look at text as white on black + +(first try adjusting the screen brightness: F1, F2) + + + +
    +Or on a smartphone in the dark, if you don't want it to be a torchlight on your face.
    + +(You can also invert colours by ticking the box in System Pref / Accessibility / Display / Invert Colours)
    + + +
    +control option command eject   -   shuts computer down
    + +
    +Shortcut for the green zoom button
    + + +control option command Z   -   zoom window (for all applications) +
    + + You need to create this shortcut yourself:
    + +Open System Prefs (option F2, command L)
    +click 'Keyboard'
    +click 'Shortcuts'
    +select 'App Shortcuts' (last line in the left box)
    +click the little + (up comes a pop up window)
    +Next to 'Application:' select 'All Applications'
    +in the 'Menu Title' box type the word: Zoom
    +in the Keyboard Shortcut box use the new shortcut: hold down control option command and type z
    +click Add
    +
    +Try performing the shortcut with your left hand : ring finger on both Control & Option (or little finger and ring finger on Control and Option respectively), index finger on command and middle finger on Z + +     + +

    + + + + + +     + + +
    + + + + + + + + +SELECTING FILES IN A FOLDER +

    + + + +option arrow_up   -   selects first file in folder
    +option arrow_down   -   selects last file in folder
    +arrow_down / arrow_up   -   move 1 file down or up
    + +tab   -   move to next file in folder (alphabetically) (ie in folder arranged by date this will make the cursor hop about)
    +shift tab   -   move to file above (alphabetically)
    + + +shift arrow_down   -   selects current file(s) and the next one (if you selected too many, keep holding shift and use arrow_up)
    + +shift arrow_up   -   selects current file(s) and the one above
    + +shift option arrow_down   -   selects current file(s) and all below
    +shift option arrow_up   -   selects current file(s) and all above     + +

    + + +

    + + +
    + +The cursor can be moved with mouse keys (for people who can't hold a mouse). 'Mouse keys' needs to be turned on in Accessibility prefs. The shortcuts are: 8 - up, 2 - down, 4 left, 6 right, 1 - diagonally bottom left, 3 diagonally bottom right, 7 diagonally top left, 9 diagonally top right, 5 mouse button, 0 hold mouse, period on number pad - release hold Mouse Button. (with the small keyboard you also need to press Fn, or switch function key function in keyboard prefs) + + + + +

    + +



    + + + + + + + + + + + + + + + + + + +     + + + +
    +
    + Function Keys +
    +
    + + +
    + + + + + +F1, F2   -   brightness of monitor You may want to turn it down when the room is dark, and up again in the morning.
    +Shift control F1, shift control F2   -   brightness controls with 64 increments (as opposed to 16)
    + +
    +F3   -   Mission Control displays all open windows of current desktop, in stacks or each one complete. +
    + +To see each one complete: Apple menu / System prefs / Mission control / un-tick the box 'Group Windows by Application'
    +Example: Moving a TextEdit page from Space 1 to Space 5
    + +Type Command A to highlight the page / +type F3 / +drag the highlighted little page to Space 5 / +Click on it to open it (in Space 5) / click again to remove the highlighting +
    +
    + + +F4   -   Launchpad     (press Arrow_left to move the focus to the app you want, or start typing the name until it comes up. Then hit Return.) + + +
    +F5   -   free for you to assign something yourself
    +F6   -   free for you to assign something yourself
    +F7, F8, F9   -   Dvd/iTunes
    +F10, F11, F12   -   Volume
    +Shift F11, Shift F12   -   change volume without the blobby sound
    +Press F10 during startup   -   avoids big startup tune
    + +Shift control F11, shift control F12   -   Volume controls with 64 increments (as opposed to 16)
    + +Fn F12   -   show Dashboard (same as control arrow_left, or four finger swipe on trackpad) +
    + + +
    + + +Show Desktop +
    +
    +Fn F11   -   show/hide Desktop
    +F11   -   show/hide Desktop (with the setting 'standard function keys', see below)
    +command F3   -   show/hide Desktop
    +four finger spread (on trackpad)   -   show Desktop (In OS 10.9 you can do that slowly)
    +four finger pinch (on trackpad)   -   hide Desktop (In OS 10.9 you can do that slowly)
    + +hot corner - show/hide Desktop (one of ten hot corner settings. My favourite is - (ie nothing happens, hot corners drives me mad) (System prefs/Desktop & Screensaver/click 'Hot Corners')
    + + +shift command D (only works in Finder)   -   Show Desktop Folder, which by the way doesn't display drive icons (external drives, flash usb sticks. To see those use 'shift command C')
    +
    +If you open up your desktop a lot, go to System Prefs/Keyboard/Mission Control, then change the 'Show Desktop' shortcut to F6 (type that key, don't type F and 6)
    + +     + + +
    +Focus +
    +Move the focus with the Function keys combined with Fn and Control key (who are next to each other, so easy to press at the same time) +
    +These shortcuts need to be enabled: Tick the little boxes, in System Prefs/Keyboard/Shortcuts/Keyboard +

    +Fn Control F1   -   turn keyboard access on/off

    + +Fn Control F2   -   move focus to the menu (use return/space to 'fold down' menu, left/right arrows or tab/shift tab or first letter of particular menu name to move along menu - type first letter of menu item you want, then return/space to open or activate it

    + + +Fn Control F3   -   move focus to Dock - use all arrow keys to move along the Dock and to expand the little menus. +You can open the trash folder like this: Fn control F3, TR, return)
    +
    + +Fn Control F4   -   move focus to next window (any window, any app)
    +Shift Fn Control F4   -   move focus to previous window (any window, any app)
    +
    +Fn Control F5   -   move focus to the window toolbar (then use left/right arrows or Tab/shift Tab - type return or Space to 'click')
    +Fn Control F6   -   move focus to the floating window
    +Fn Control F7   -   Change the way Tab moves focus (I need this a lot, to use Tab in dialog boxes etc)
    +Fn Control F8   -   move focus to status menus
    + + +
    + + +Fn delete   -   delete the letter in front
    +Alternatively, delete text in front this way: select it with shift arrow_right (single letters) or shift option arrow_right (words), then hit Delete + + + +     + +

    +




    + + + + + + + + + + + + + + + +     + + +
    +
    + TextEdit +
    +
    + + +
    + +Open + +
    +
  • command space (which opens spotlight) type T, return (this works for all sorts of applications, just type the first letter(s) of the name and Return)
    + +
  • F4 (Launchpad) type Te (just T isn't enough) return + +
    +
  • F4 (Launchpad), press arrow_left until TextEdit is selected return (make sure applications that you use a lot are placed at the beginning, top left) + +
    +
  • Make TextEdit (and other apps) open automatically at startup (right-click TextEdit in Dock, choose Options, click 'Open at Login') and switch to it with command tab + +
    + +
    +
    +Version 1.9 (310) of Textedit doesn't stay open when you close its windows. Solution: create an empty window ('Untitled'), click the yellow button ('minimise'), so it sits in the dock, keeping the program open (so you can always get to it via 'command tab'). +on't +
    +
    +Save +
    + +You don't need to save all the time, it's done automatically. That means if you make additional changes, then change your mind, you can't just close the document without saving - you need to 'undo' whatever you did. If you leave a document open, then inadvertently type in it and don't know where or what, you can't just close it to get back to the original. + +

    +You still need to save every document once, to give it a name: +
    +command S   -   save
    +
    + +If you don't want to keep a new TextEdit page, type command W, which brings up a Save dialog box: +
    +command Delete   -   Don't Save (in a Save dialog box) (since OS X Lion)
    +command D   -   Don't Save (in a Save dialog box) (for older programmes) + + +

    +shift command S   -   creates a copy (similar to Duplicate - command D) . You need to save this new copy (with 'return') - (this shortcut used to mean 'save as') + +
    +shift option command S   -   'save as' +
    +
    +Method to preserve a TextEdit document: + +shift command S (makes a duplicate), +command W (brings up dialog box), +click next to File Format - choose 'Web Page (.html)' (or Webarchive), +Return - +(This creates a webpage of your document. 'Command O' will open it in Safari.) +
    +
    +
    + +Find +
    +command F   -   Find
    + +option command F   -   Find & Replace +(focus will be on Replace, after you have typed that, +move up to Find with: shift tab).
    + + + +
    +Click the 'All' button at the top right, to replace all found 'occurrences'. +
    +
    + +command G   -   find next occurrence (of the thing you're searching for)
    + +shift command G   -   reverse +
    +
    + +Before using command G, you could type tab (or click in text) which moves the focus on the text, and removes the grey; it also changes the way 'command G' displays the findings, the yellow highlight will dissolve after a second, leaving a less garish blue. +
    +
    + +return   -   find next occurrence (only works on the greyed out text) + +
    +
    + +option command G   -   replace the first found with your replacement, and move on to the next. (bit complicated)
    +shift option command G   -   reverse
    + +
    +Escape (or click on 'done')   -   removes 'Find' or 'Find/Replace' fields
    +
    + Finding the cursor:
    +command J   -   center selected text or the cursor in window (moves text up or down so the selection or cursor will be in the middle)
    +
    +If you type within a large text, want to look up something elsewhere on the page, and then try to find the spot where you've been typing last:
    +undo (command Z) followed by redo (shift command Z) will take you back (Maybe don't do this if the last thing you wrote is some brilliant idea or formula you can't quite remember). +
    +
    + +When you read a long text, and need to look at something at the beginning or end, and then want to go back where you were, first copy a word/phrase (preferably a slightly rarified word, like rarified or slightly or preferably) from where you stopped reading, and then search for it (command F) to get back. + +
    +
    + + + + + + +
    +Fonts +
    +option shift command V   -   Apply the style of the surrounding text to the inserted object (Paste and Match Style)
    +
    + + +command T   -   open/close Fonts box (to change the font, size, typeface (bold, italic..) or the background colour
    + +Enlarge font: select text, type a number into the Size field, Return.
    +
    +Enlarging fonts in proportion: Select all of the text (command A) but instead of just typing a number (which would destroy the size differences), type *2 . This will double the size of each individual letter. You can choose any multiplicator, *2.5 or *4 etc or /2 for halving the size. +

    + +Easier way to enlarge in proportion: command A and Command = (a few times). +
    +
    + +If you want to change the text to a particular font, you can type its name in the search field underneath the fonts column. Much quicker than scrolling the long list. +
    +
    + + + +Colour the background of TextEdit page: command T, click on the little white box on the top right, click on colour wheel (maybe near the middle, to get a pastel colour, or it'll be too dark to read on, unless you turn the letters a lighter colour). +
    +
    + + +shift command C   -   open/close Colour box (or palette)   Select some text, click on the colour wheel (or the 'crayon' selection). Get darker tones with the slide on the right. To get the same colour as a previous word, click on that previous word and the colour box will adopt it.
    +The 'crayon' selection is easier for always finding the same colour. You can add to the crayon palette in the little boxes below: Click the magnifying glass, click any bit of colour on your screen (on a photo for instance) and that colour will appear in the colour field at the top. Drag the colour from the colour field to a little box below.
    + +Trackpad clicking: using 'Tap for click' on the trackpad is usually faster. But when selecting a bit of text and then tapping the Trackpad to choose a colour, it sometimes is a bit slow to react. I prefer selecting the text bits with the Trackpad, so can't use the two-button mouse for colour-clicking. Instead I often double tap the colour palette (two quick taps with one finger). + +
    +
    + + + +shift command T - Plain Text changes a 'Rich Text' document into a 'simple' text document. (and vice versa, except when you change it back, the formatting will be in your default font/size, and the pictures will be gone) If you made a mistake and want the formatting back, use 'command z'.
    +
    + +Example: copy a link from a webpage into a 'rich text' TextEdit page.
    +(If you just paste it in, it doesn't spell out the link address, it creates another clickable link. ) + +
    +1. two-finger tap (= right click) on webpage link
    +2. type C (to select 'Copy Link' from the pop-up menu)
    +3. Return
    +4. command tab (to switch to TextEdit)
    +5. command N (new TextEdit page)
    +6. shift command T (makes it plain text)
    +7. command V
    +8. command A
    +9. command C
    +10. command ` (to switch to your 'rich' TextEdit page)
    +11. command V
    +
    +
    + +If you prefer to use plain text documents all the time: open TextEdit prefs (command , ) and tick the 'plain text' button. +
    +
    + +Size of new Window: this too can be specified in the TextEdit prefs: how many characters wide, how many lines high. The default setting is too small for a large screen. + +
    +
    + + + + Font Formatting
    + +command =   -   makes selected text larger
    +command -       -   makes selected text smaller
    +command B       -   makes text bold / makes bold text normal
    +command U       -   underlines text / removes underlines
    +command I       -   italicises text / de-italicises
    +     +
    +On a large iMac the cursor on Text pages is a bit small. You can enlarge it: System prefs (control F2, command L) / Accessibility / Display / Cursor Size. +
    +
    + +command P   -   print
    +shift command P   -   Display a dialog for specifying printing parameters (Page Setup)
    + +control command space - displays palette for special characters (smileys, buttons, animals, signs ..)
    + +drag selected text from webpage on TextEdit Dock icon   -   creates new TextEdit page with that text +
    + +
    + + + +command Z   -   undo
    +shift command Z   -   redo
    +
    + + + +You can copy an image into a TextEdit page and open this image in Preview by double-clicking on it. + + +
    +
    + + + +option shift 1 (repeatedly)   -   (you get roughly this: /////////, but closer together, to create a big fat line) + +     +
    		•

    + + + + + + + + + + + + +     + + +
    + + + + + CURSOR MOVEMENT
    +
    + +Moving the cursor to the end of the text: arrow_down. That's it. You just hold down this one key and the cursor moves down and then to the right. +
    +
    +
    + +Try using the following instead of Home and End. (It's quicker, because these arrow shortcuts all 'belong together'. You'll be using them them without thinking.) +
    + + +arrow_right   -   moves cursor one letter forward
    +arrow_left   -   moves cursor one letter back
    + +
    +option arrow_right   -   moves one word forward/ to end of current word
    +option arrow_left   -   moves one word back/ to beginning of current word
    +
    + + +command arrow_right   -   end of line
    +command arrow_left   -   beginning of line
    +
    + + +option arrow_down   -   end of paragraph
    +option arrow_up   -   beginning of paragraph
    +
    + +command arrow_down   -   end of text
    +command arrow_up   -   beginning of text
    +
    + + + +fn arrow_down   -   leaves cursor where it is, scrolls the text down 'one screen' (same as in a browser)
    +fn arrow_up   -   leaves cursor where it is, scrolls the text up 'one screen'
    +     +     + +

    + + + + + + + + + +     + + + +
    + + + SELECTION
    +
    +shift arrow_left   -   selects previous letter
    +shift arrow_right   -   selects next letter
    + +
    + +shift option arrow_right   -   selects next word
    +shift option arrow_left   -   selects previous word
    +
    + +shift command arrow_right   -   selects the line right of cursor     (shift control arrow_right   -   does the same)
    + + +shift command arrow_left   -   selects the line left of cursor (shift control arrow_left   -   does the same)
    +
    + +shift arrow_up   -   selects line above ('to the nearest character boundary at the same horizontal location') +(also very useful in file names, where it selects all preceding letters)
    + + +shift arrow_down   -   selects next line (this is the fastest way to select short sections of text!) +(in file names it selects following letters, but may cut extensions - better use shift arrow_right)
    + +
    +shift option arrow_down   -   select following paragraph (type arrow_down again for next paragraph)
    +shift option arrow_up   -   select preceding paragraph
    +
    + +shift command arrow_down   -   selects all of the following text
    +shift command arrow_up   -   selects all preceding text
    + +
    +command A -   -   selects all (I think there's no deselect all - just type arrow up or down) +
    + + +
    +shift fn arrow_up  -   selects 'one screen' of text above cursor
    +shift fn arrow_down   -   selects 'one screen' of text below cursor
    + +
    +discontinuous (or noncontinuous) text selection:
    +option command drag   -   select separate bits of text (you need to keep option command pressed until all is selected)

    + +rectangular text selection:
    +option drag a rectangular shape of the text - selects that bit of text (for instance, the first word in each line, to turn them all red or something) + +Especially good for tab-separated files. You can drag-select more 'rectangular' bits of text by holding: option command (as often as you like). + You could maybe use this to 'paint' a monospaced block of text in different colours. +
    +
    + +Selecting longer Text: +
    + +1. click at beginning 2. hold shift 3. click further up/down   -   selects text between the two points
    +(Variation of that for webpages: )
    +1. select the first word, or just the first letters of the first word   2. scroll down (avoid clicking the page) 3. hold shift and click after the end of text. + +
    +
    + + + +delete   -   deletes character to the left (keep pressed to repeat)
    +fn delete   -   deletes character to the right (keep pressed to repeat)
    +option delete   -   deletes word to the left (it can be quicker to re-type a word than to correct mistakes in it)
    + +command delete   -   deletes line to the left (including spaces or punctuation)
    + +
    +shift option command V   -   paste & match (as command V, but the inserted text will adopt the style (font, size) of what it is copied into)
    + + +
    +Secondary clipboard- if you have already copied something into the clipboard you'll be needing in a moment, but want to cut and paste something else: +
    + +control K (with text selected)   -   cut and paste to secondary clipboard
    +control Y (with text selected)   -   paste from secondary clipboard
    +
    +TextEdit doesn't display line numbers . But you can jump to a particular line: +command L, type number in the popup box, and hit return.
    +(doesn't work if you have a 'search' of the page open, type 'escape' to close it, or click 'done') + +
    + + + + + + + + + +There's also this bunch of control shortcuts: +
    + + + + +control A   -   move to beginning of paragraph (remember: A - beginning of alphabet)
    + +control B   -   move one character backward (remember: B - back)
    + +control D   -   delete character in front of cursor (remember: D - delete)
    + +control E   -   move to end of line/paragraph (remember: E - end)
    + +control F   -   move one character forward (remember: F - Forward)
    +control H   -   delete character behind cursor
    +control K   -   delete from in front of cursor till the end of line/paragraph (remember: K - kills rest of line)
    + +control L   -   (same as command J) center selected text (or the cursor) in the window (moves text up or down)
    + +control N   -   move down one line (remember: N - next) (same as arrow_down)
    +control O   -   insert new line (like 'Return') but after the cursor. (For breaking a paragraph into 2)
    +control P   -   move up one line (remember: P - previous) (same a arrow_up)
    +control T   -   move cursor together with the letter on its left one letter to the right
    +control T   -   Character swap (turn 'waetr' into 'water' by placing cursor between e and t) +(this moves the cursor and the letter that's on its left both one character to the right) (remember: T - transpose letter)
    + +control V   -   move cursor down one page
    + +     +

    + + + + + + + + + + + + + + + + +     + + + +
    + + SPELLING
    +
    + +shift command ;   -   displays (and removes) Spelling Box (which guides you through your document) +
    +
    + +control command D (while a word is selected (in Safari), or the cursor hovers over the word (in Textedit)   -   displays definition & thesaurus of that word
    +(This shortcut is useful if you don't use the trackpad. In Safari the word has to be selected, Safari can't detect +(Magic Mouse: in TextEdit mouse over the word, in Safari the word needs to be selected)
    + +Trackpad: +mouse over works both in TextEdit and Safari: Tap once with three fingers +
    +
    + +Escape  -   removes dictionary explanation +
    + +
    +There are settings in the menu (Edit / Spelling and Grammar) for 'Check Spelling While Typing', 'Check Grammar with Spelling' and 'Correct Spelling Automatically'. +
    +
    + + + +Escape (or F5) after typing a few letters   -   displays popup list of possible words (to scroll down and select)
    + +
    +Foreign characters +
    + +a   c   e   i   l   n   o   s   u   y   z +
    +Hold down any of these letters   -   displays popup menu with variations (french letters etc) to click on. (This can be disabled to get the old repeeeeeeat function back)
    +
    +or: +
    +add French, German etc keyboards in system prefs. +By the way, I use the Dvorak keyboard. This isn't for people from Dvorakistan, but an English variation of the Qwerty layout, only much more ergonomic. Try it: system prefs - keyboard - input sources - click 'plus' at bottom left - scroll down list on the right - click Dvorak - Click blue Add button. You should now have a tiny flag in the menu bar. That's the keyboard menu. Click that, click Dvorak. Click keyboard menu again, click 'Show Keyboard Viewer'. Up pops a tiny keyboard picture which shows you what the hell has happened to your letter keys! Leave it onscreen if you like. (close it with red close button). The Dvorak keyboard is not only more soothing to your joints, it also forces you to learn to touch type! + +
    +
    + +or:
    +type a French, German etc word with English letters. Bring up Dictionary (Mouse over, control command D) (or right-click, select 'look up') and you'll get the French (etc) dictionary (your Mac will detect a foreign word!). Select and copy the word you want. (If the word is the same in English, you'll get the English dictionary. So, if you can't remember if it's 'la police' or 'le police', you're out of luck. + + +A similar multi-dictionary approach does not work with the escape trick. When you type: franca and press escape, it doesn't proffer français. (not yet). Actually that wouldn't work anyway, you would have to press some command key for searching in a particular language.
    +
    + + +or:
    +press option, type e, release option, type e   -   é
    +press option, type e, release option, type a   -   á
    +press option, type `, release option, type e   -   è
    +press option, type `, release option, type a   -   à
    +press option, type u, release option, type u   -   ü
    +press option, type u, release option, type i   -   ï
    +press option, type u, release option, type o   -   ö
    +press option, type u, release option, type e   -   ë
    +press option, type i, release option, type i   -   î
    +press option, type i, release option, type e   -   ê
    +press option, type i, release option, type u   -   û
    +press option, type i, release option, type o   -   ô
    +press option, type n, release option, type n   -   ñ
    +press option, type c, release option, type c   -   ç
    +
    +With practice these weird combinations are quicker than selecting the pop-up variations, especially if you touch type. To quickly see where the five 'enabling' keys are, open the Keyboard Viewer (as explained above: keyboard menu (top right) - 'Show Keyboard Viewer'. Hold option and the five 'enabling' keys turn orange. + + +     +

    +




    + + + + + + +     + + + +
    +
    + Preview +
    +
    + + + + +
    + + + +Before you can look at any pictures in Preview, you need to select them. +
    +When a folder only contains a few dozen picures and no other type of files, use command A (select all) command O (opens any picture in Preview by default). + +
    +
    +You can view pictures one by one with QuickLook. +
    +First change the folder view to List view (command 2). (Using Quicklook in Icon view is a nuisance). +
    +Select a picture: type the first letter(s) of its name. +
    +Type Space. The picture opens in QuickLook.
    +To see the next picture, use Arrow_down. +
    +And so on. Quit QuickLook by typing Space again. +
    +
    +Preview and QuickLook can seem slow when browsing large photos (4 MB). Try the free picture viewer Xee to look at your photos more quickly. With Xee you select only one picture and view the next picture by typing Command or with a clickety scrollwheel mouse. One 'notch' of the scrollwheel shows the next image. Using the Magic Mouse goes through the pictures too quickly.
    +To open the first picture with Xee: right-click (two finger tap) the file and choose 'open with'. (You can use the keyboard for the choosing, but not the right-clicking, afaik) + +
    +
    +If you look at pictures/photos/comics a lot, maybe try a few other viewing apps (for instance: 'Sequential'). + +
    +
    +
    + +Preview works well with the Magic Mouse. One flick on the mouse will show the next image (not half a dozen as with Xee), you can then zoom/enlarge it by double-tapping the mouse, and then you can poke around the details of this large picture by smoothly scrolling it in any direction . (With Xee you can either scroll from one picture to the next or scroll within one picture, not both.) +
    +
    +Preview also is an very useful basic picture editor. Check the + +Tab Section for a detailed example. + +
    + + + +arrow_down   -   show next image
    +arrow_right   -   show next image
    + +swipe up Magic Mouse (1 finger)   -   show next image
    +
    + + +arrow_up   -   show previous image
    +arrow_left   -   show previous image
    +swipe down Magic Mouse (1 finger)   -   show previous image
    +     +(Using both arrow_down and arrow_right to show the next image seems superfluous. However, if you miss-type the arrow_down/arrow_up keys in (for example) Microsoft Photo Viewer, it messes up the viewing flow. So, this redundancy can be helpful.) + +
    +
    +control command F   -   enter full screen
    +In full screen you can make the thumbs list pop out by moving the mouse to the left. +
    + +
    +shift command F   -   slideshow This advances the (pre-selected) pictures automatically, but can also be another way to enter full screen. You can stop the 'show' (type space) and advance with arrow_right (go back with arrow_left). The difference: Slideshow automatically zooms all images to fit the screen (which you can't stop). To make (small) images fit the screen in normal (non-slideshow) full screen mode, you first need to type option command 9. Another difference: when you stop Slideshow, you have to use arrow_right to advance, you can't swipe the Magic Mouse. + +
    + +
    + +shift command A   -   show/hide 'edit toolbar'
    +shift command S   -   duplicate
    +shift command B   -   show image background
    +shift command W   -   close selected image
    +
    +shift command \   -   show/hide toolbar ( \ is the key with | and \ on it)
    + +command i   -   display information about image (useful in full screen mode or slideshow, if you look at paintings and want to look up the artist)
    +command F   -   find (example: you have opened 50 reproductions of impressionist paintings. Searching for 'Monet' will only show the Monets) (click 'done' to finish)
    + + + +command L   -   rotate Left
    + +command R   -   rotate Right
     + +command T   -   show Fonts
    +command W   -   close window (all the open pictures in that window)
    +command 0   -   actual size (pixel for pixel)
    +command 9   -   zoom to fit (blows up/reduces image to size of window/screen)   +(I couldn't find a command for zooming pictures to double their size: very small pictures are getting enlarged too much on a large screen, but are too small for actual size) +
    +command =   -   zoom in
    +command -   -   zoom out
    +command *   -   zoom to selection (you drag a rectangle, type command * and your selection fills the screen) (zoom out again with command -)
    +command delete   -   move foremost image to trash
    +
    +option command C   -   adjust colour (popup slide menu)
    +option command 0   -   actual size of all +
    +option command 1   -   content only (no side preview)
    +option command 2   -   thumbnails (you can no longer vary their size)
    +option command 3   -   table of contents (names of files, similar to list view folder)
    +option command 4   -   highlights and notes
    +option command 5   -   Bookmarks
    +option command 6   -   contact sheet Displays all pictures (like an icon folder). Enlarge these icons with 'command ='. Open selected icon with return
    +option command 9   -   zoom all to fit crucial for large screens and not easy to find: only shows in View menu while Option is pressed
    + +option command -   -   zoom all out
    +` - show magnifier (circular around cursor)
    +
    + +control command F   -   Enter Full Screen
    +(careful, don't mess up your pictures by playing with these, make copies first)
    +control command H - Highlight Text
    +control command l - Line
    +control command N - Note
    +control command O - Oval
    +control command U - Underline Text
    +control command R - Rectangle
    +control command S - Strike Through Text
    +control command T - Text
    + +
    + +option command Y   -   start slideshow
    +option command W   -   close all (?)
    +option command arrow_left - collapse all
    +option command arrow_right - expand all
    + +
    + PDF
    +command 1 - continuous scroll
    +command 2 - single page
    +command 3 - two pages
    +option command G - Go to page
    + + + +     + + +

    +




    + + +     + + + +
    +
    + Safari +
    +
    + + + +
    + + + +command =   -   zoom in (enlarges text and pictures and rearranges them on top of each other to fit the screen) (aka 'text reflow')
    +command -   -   zoom out (the key next to the '=' key)
    +command 0   -   zoom to default size
    +     + +control combined with mouse scroll   -   zoom in / out (Similar to Trackpad pinching)
    +View menu/ Zoom Text Only (no shortcut) to restrict zooming to the text. (Click again to re-enable zooming text and pictures)
    + + + +
    + +option tab   -   moves focus to next link (keep both keys pressed to zip through all the links) (the 'focused' link has a little frame around it ) +
    +return (with the focus on one of the links, ie frame around it)   -   opens that link
    +command return (with the focus on one of the links, ie frame around it)   -   opens that link as a new tab
    + +
    + +Save image from webpage: +Two finger tap on image (up comes a dialogue box) +type S (selects 'Save Image As...') +Return +
    +
    + +
    +'Back' +
    +
    +(Correction: the following Terminal command seems to no longer work with OS 10.9.3) +
    +
    + + +delete   -   used to 'move to previous page'. In fact, it was the standard key for 'back' since 1995. +Apple removed it in 2012 because people kept typing it by mistake while editing text online, sometimes loosing what they had written. Also, Apple prefers you to use the Magic Mouse/Trackpad. The swipe gestures for 'back' are good, but the page sometimes loads a bit slower.
    +You can re-enable the delete key to open the previous page with Terminal:
    +     Command Space (opens Spotlight)
    +     type T (or Terminal) (until it's selected)
    +     Return (opens the Terminal window)
    +     Paste this piece of code into the Terminal window:
    +defaults write com.apple.Safari com.apple.Safari.ContentPageGroupIdentifier.WebKit2BackspaceKeyNavigationEnabled -bool YES
    +     Command Q (quit Terminal)
    +     quit and re-open Safari
    + +This will also re-enable: +
    + +shift delete   -   move (back) to next page + +
    +(If you find you don't like it after all, paste the same code, but replace YES with NO.)
    +(Thank you, Macrumors) +
    +
    + + +Alternatively use these:
    + + +command [ - move to previous page
    +command ]     - move (back) to next page
    + + +command arrow_left     - move to previous page
    +command arrow_right     - move (back) to next page
    + +One finger swipe sideways right/left on Magic Mouse     - move to previous/next page
    +Two finger swipe sideways right/left on Trackpad     - move to previous/next page
    +     + +Most people click the 'back' button, which obviously takes the longest of all. That's most people for you. +
    +
    + +
    + +command A   -   select all
    + + +command D   -   add bookmark +
    + +Find:
    +command E (when a word on the page is selected)   -   search for that word on the same page (other occurrences)
    +command F   -   open search box (top right of Safari window) to find text on that page
    + +option command F   -   search the web
    +return   -   find the next occurrence of the word(s) you're searching for (navigate found items)
    +shift return   -   find the previous occurrence of the word(s) you're searching for (navigate found items backwards)
    + +command G   -   find the next occurrence of the word(s) you're searching for. Using 'Return' is easier
    + +
    + +When you read a long page, and need to look at something at the beginning or end, or loose your spot by brushing against the Magic Mouse, or use command arrow_down instead of Fn arrow_down by mistake, try to remember a word or phrase you just read and search for it (command F). When the word appears more than once, keep hitting Return. You can also use this to 'bookmark' a spot where you stopped reading: copy the last paragraph to a TextEdit page. + + + +
    + +
    + + + +command H   -   hide Safari +
    + +Toolbar/ address field
    + I prefer large windows and so hide everything that's not actual window content/viewing area.
    + +You can hide the toolbar/address field: +
    +go to View menu and click hide toolbar +
    +reopen them this way:
    + +command L   -   opens toolbar and moves focus from browser window to address field (so you can type a new address or google something)
    +tab (when a normally hidden toolbar is open)   -   closes toolbar again + +
    + +command N   -   open home page as a new window
    +shift command H   -   open home page, changes whatever page is open into your homepage
    + +command R   -   reload page + +
    + +Tabs +
    +command T   -   add new Tab (this used to be 'hide/show Toolbar')
    +command click on link   -   opens link in a new tab, but keeps showing original page
    +shift command click on link   -   opens link in a new tab, showing the new page
    + +control tab   -   switch to next tab
    +shift control tab   -   switch to previous tab
    + +
    +I prefer opening new windows, because the tab-bar makes the viewing area smaller. Switch between new windows with command ` or use App exposé : control arrow_down
    +
    + +command Q   -   quit Safari
    +command W   -   close window / tab

    +
    + + +command ,   -   open Safari Preferences
    + +control command D   -   pops up dictionary definition of the word your cursor is on (better: three finger tap on trackpad) (Escape: removes dictionary) +
    + + +control command F   -   enter/exit full frame (full frame used to be: command escape)
    + +(I don't use full frame because Safari in full frame can't hide the toolbar. Make windows large by dragging the sides: New windows will open in the same large size.) +
    + +
    + + + +
    +Scrolling: +
    +
    + + +Option arrow_down   -   scroll down one screen-length, minus a small overlap
    +Option arrow_up   -   scroll up one screen-length, minus a small overlap
    + + +Command arrow_down   -   scroll to end of page
    +Command arrow_up   -   scroll to beginning of page
    +
    + +On a small keyboard, with the Fn key in the left corner, it's easier to do this:
    + +Fn arrow_down   -   scroll down one screen-length, minus a small overlap
    +Fn arrow_up   -   scroll up one screen-length, minus a small overlap
    +Fn arrow_left   -   scroll to beginning of page
    +Fn arrow-right   -   scroll to end of page
     +
    +Or, if you prefer, the spacebar:
    + +Space   -   scroll down one screen-length, minus a small overlap
    +shift Space   -   scroll up one screen-length, minus a small overlap

    + +On a large keyboard: page up / page down keys
    +
    +Side Scrolling:
    + + + +Option arrow_left   -   scroll one screen-length to the left (if the website is arranged sideways or too large for the screen)
    +Option arrow_right   -   scroll one screen-length to the right +
    +
    +option drag scrollbar   -   'smooth scrolling' (slows down scrollbar-scrolling)
    +
    + + + +
    + + + +Make your viewing area larger by hiding all this stuff: +
    +command /   -   show/hide Status bar (that's the strip at the bottom of the window)
    +shift command B   -   show/hide Favourites bar
    +shift command L   -   show/hide Side bar
    +shift command T   -   show/hide Tab bar
    +control command 1   -   show/hide Bookmarks sidebar
    +control command 2   -   show/hide Reading List sidebar
    +
    + + + + +
    +Selecting:
    + + +shift arrow_down (when you have already selected a word/line)   -   extends selection down one line
    +shift arrow_up (when you have already selected a word/line)   -   extends selection up one line
    +(in fact, use the same arrow selection shortcuts as in TextEdit - see above)
    + +
    + + +
    +Source Code
    +
    +'Show Page Source' is listed in the (hidden) Developer Menu:
    +Go to Safari preferences (command , ) / click on 'Advanced' / tick 'Show develop menu in menu bar'. +
    +Now you can use this shortcut: +
    +option command U   -   show page source +
    +
    +Alternative:
    +Save the webpage to your computer.
    +Right-click the icon of the webpage.
    +Choose 'Open with' and 'TextEdit' .
    +You can use TextEdit to change the Source code. Maybe make another copy first. + +     + +

    +




    + + + +
    +
    + Typing +
    +
    + + + + +
    + + +All this shortcutting makes a lot more sense if you can type reasonably fast. +That means typing without looking at the keyboard. +The problem is that watching a really fast typist makes you want to give up right away. But that sort of speed is not necessary at all. +You don't need to do a class or anything. Just learn the basic hand position: +
    +
    + +Left hand:
    +little finger - resting on A
    +Ring finger - resting on S
    +Middle finger - resting on D
    +Index finger - resting on F
    +
    +Right hand;
    +Index finger - resting on J
    +Middle finger - resting on K
    +Ring finger - resting on L
    +little finger - resting on ;
    +
    +That's it. Just put you hands in that positition (notice the two little thingies on keys F and J - they are there to guide you). Try to reach the other letters from that basic position, and try not to look at the keyboard so much. Don't worry about speed. + +     + +
    + +
    +
    + + +
    + + +This is (mostly) a list of shortcuts I made for myself, because I keep forgetting stuff. +Hopefully some of it is of some use to others.
    + +If you have any questions, please go to a computer discussion forum. + +     + +
    + +
    +
    +
    + +
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    +Home +           +Andy's Early Comics Archive +
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    +
    + +'Better Than an Alrarum' +
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    + + + + + + +


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    +Home +           +Andy's Early Comics Archive + + + \ No newline at end of file diff --git a/httpdocs/vorbereitung.4C2600-b.html b/httpdocs/vorbereitung.4C2600-b.html new file mode 100644 index 0000000..f114401 --- /dev/null +++ b/httpdocs/vorbereitung.4C2600-b.html @@ -0,0 +1,90 @@ + + Andy's Early Comics Archive - Johann Bahr + +
    +Home +           +Andy's Early Comics Archive +
    +
    + +Johann Bahr + +
    +
    + + + + + +

    +
    + +           +1860 - 1900
    +
    +
    +
    +
    +           + 1730 - 1860
    +
    +
    + +
    +
    +
    +           +1900 - 1930
    +
    +
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    +
    +
    +
    + + + + + + + +'Better Than an Alrarum' +
    +
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    + +
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    + + +


    + + + +

    +

    +

    +

    + + + + +

    + +
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    +Home +           +Andy's Early Comics Archive +
    + + \ No newline at end of file diff --git a/httpdocs/vorbereitung.Busch.etc.html b/httpdocs/vorbereitung.Busch.etc.html new file mode 100644 index 0000000..db44f1b --- /dev/null +++ b/httpdocs/vorbereitung.Busch.etc.html @@ -0,0 +1,56 @@ +Vorbereitung Wilhem Busch + +
    +Home +           +Andy's Early Comics Archive +
    +
    + +Wilhelm Busch + + +
    +



    + + +           + +           + +           + +           + +           + +           +



    + + +



    + + + + +     + +     + +     + +     + +     + +     +



    + + +
    +Home +           +Andy's Early Comics Archive +
    + + \ No newline at end of file diff --git a/httpdocs/vorbereitung.branston.html b/httpdocs/vorbereitung.branston.html new file mode 100644 index 0000000..7c90cb6 --- /dev/null +++ b/httpdocs/vorbereitung.branston.html @@ -0,0 +1,162 @@ +The Comic Adventures of Old Dame Trot and her Cat + +
    +Home +           +Andy's Early Comics Archive +
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    +Robert Branston +
    +Old Dame Trot and her Cat +
    +(1818) + + + +
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    +
    +
    +
    +
    +
    + Old Mother Mitten and Her Funny Kitten
    +(circa 1825)
     +
    + +Huestis & Cozans, 104 Nassau Street, New York +
    + +
    + +





    + + + +
    +Old Mother Mitten
    +And her pretty Kitten,
    +Took supper, one night rather late; +





    + + + (The original order of the panels seems to have gone astray in this version) +
    +
    + +
    +
    +
    + + + +
    +But they sat down to tea,
    +And the dog came to see
    +Pussy cut the meat up on her plate. +





    + + +
    +The dog and the cat
    +Were having a chat,
    +When Pussy cried out with a mew; +





    + + +
    +Dear old mother Mitten,
    +Just look at your kitten,
    +She's gonig to drink mead with you. +





    + + +
    +When the supper was over,
    +The kitten moreover,
    +Did stand on the top of her head. +





    + + +
    +So the dog he declares,
    +They must sleep in their chairs,
    +And none of them get into bed. +





    + + +
    +So when they awoke,
    +Miss Pussy first spoke,
    +And to the old Lady said she; +





    + + +
    +My dear if you please,
    +Take this bread and cheese,
    +And I'll give you a hot cup of tea. +





    + + +
    +At the table they sat,
    +The dog and the cat,
    +With cards they were trying to play; +





    + + +
    +But the dog's beard is long,
    +Which the cat thinks is wrong,
    +And here she is shaving poor Tray. +





    + + +
    +Having shaved Mr. Tray,
    +She hastens away,
    +And dresses herself for a walk; +





    + + +
    +And when she came in,
    +Told where she had been,
    +To have with the neighbours a talk. +





    + + +
    +Says granny indeed,
    +I believe you're agreed,
    +To marry miss Puss, Mr. Tray; +





    + + +
    +The dog made a bow,
    +The cat she said mow,
    +And I think they got married that day. +





    + + + + + + + + + + + + \ No newline at end of file diff --git a/httpdocs/vorbereitung.e.caldecott.milkmaid.html b/httpdocs/vorbereitung.e.caldecott.milkmaid.html new file mode 100644 index 0000000..4a18d61 --- /dev/null +++ b/httpdocs/vorbereitung.e.caldecott.milkmaid.html @@ -0,0 +1,39 @@ + Randolph Caldecott + + +
    + + +Randolph Caldecott + +
    +
    + + + + + + +
    + + + + + + + +
    + + + + + + +

    + + + + +


    + + \ No newline at end of file diff --git a/httpdocs/vorbereitung.us.chapbooks.html b/httpdocs/vorbereitung.us.chapbooks.html new file mode 100644 index 0000000..e38223f --- /dev/null +++ b/httpdocs/vorbereitung.us.chapbooks.html @@ -0,0 +1,547 @@ + +Grandmamma Easy's Old Dame Hicket and Her Wonderful Cricket + +
    +Home +           +Andy's Early Comics Archive +
    +
    + + Grandmamma Easy's Old Dame Hicket +
    +and Her Wonderful Cricket
    +(circa 1840)
    +
    +Boston: Brown, Bazin & Co. Nashua, N.H.: N.P Greene & Co. +
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    + + +
    + +



    +
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    +There was one old Dame Hicket,
    +Had a wonderful Cricket,
    +That dwelt in a hole by the fender,
    +And when he came out
    +He would walk all about,
    +On his hind legs so tall and slender.
    +This so pleased the old Dame
    +That she gave him a name,
    +'Little Peter', it was, you must know;
    +And she fed him with crumbs
    +'Twixt her fingers and thumbs,
    +Before into his hole he did go. +
    +
    +
    +
    + + +
    + +
    +When the everings were long
    +He would sing a gay song,
    +And loudly out he would bellow
    +Or as merry as a grig
    +Dance a lively jig;
    +Now was n't he a comical fellow?
    +Sometimes, too, 't is said,
    +He would stand on his head,
    +And swing his legs up in the air;
    +Then down he would pop,
    +And chirp, run and hop,
    +Just as if he was mad, I declare. +
    +
    +
    +
    +
    + +
    +He's sit on a stool
    +Like a child at school,
    +Whilst the Dame she would read him a book;
    +And nod with his head
    +At each word she said,
    +As now he is doing, just look.
    +When the Dame took her snuff,
    +Which was often enough,
    +Politely she'd hand him the box;
    +But the first thing he did,
    +Was to shut down the lid,
    +And then give it two or three knocks. +
    +
    +
    +
    +
    + +
    +When the Dame took her tea,
    +There on one side was he,
    +Seated up in a large arm-chair;
    +And he wrinkled with his eyes
    +So knowing and wise,
    +As if he had been the Lord Mayor.
    +Sometimes from her cup
    +He would just take a sup,
    +Or of tea-cake a very thin slice;
    +And the Dame all the while,
    +As she on him did smile,
    +Would ask if he thought it was nice. + +
    +
    +
    +
    +
    + +
    +But the Dame, one night,
    +Had a terrible fright,
    +For the Cricket he hopped on her nose.
    +She cried, 'What's there?'
    +When down went her chair,
    +And up in the air went her toes.
    +The Cricket did run,
    +When he saw this fun,
    +And quickly got right out of sight;
    +Whilst the Dame, with much pain,
    +Scrambled up once again,
    +And vowed she would kill him outright. +
    +
    +
    +
    +
    + +
    +Now with this fall, alack!
    +The poor Dame hurt her back,
    +And that was a sad disaster,
    +For the Doctor he came
    +And to cure the poor Dame,
    +He brought her a very large plaster.
    +She went straight to bed,
    +Not to sleep though, 't is said,
    +For the pain in her back it was cruel;
    +So a neighbor's kind daughter
    +Put her feet in warm water,
    +And made her a basin of gruel. +
    +
    +
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    +
    + +
    +Now all the same day
    +She was in the sameway,
    +And scarcely could hobble at all ;
    +Whilst the Cricket, to tease,
    +Danced about at his ease,
    +And once again near made her fall.
    +This the Dame so much vexed,
    +And sorely perplexed,
    +She'd have done with the Cricket forever,
    +So, as well as she could,
    +With a nail and some wood,
    +She stopped up the hole quite clever. +
    + + + + +
    +
    + +Home +       +       +Andy's Early Comics Archive +

    + The Story of Little Sarah an Her Johnny-Cake
    +(circa 1830)
    +
    +Boston: W.J.Reynolds & Co. +
    +
    +
    +     + +
    + + +
    + +



    + + +
    +Little Sarah she stood by her grandmother's bed,
    +'And what shall I get for your breakfast?' she said;
    +'You shall get me a Johnny-cake: quickly go make it, +In one minute mix, and in two minute bake it.'
    +
    +So Sarah she went to the closet to see
    +If yet any meal in the barrel might be.
    +The barrel had long time been empty as wind;
    +Not a speck of the bright yellow meal could she find. +



    + + +
    +But grandmother's Johnny-cake - still she must make it,
    +In one minute mix, and in two minutes bake it.
    +
    +She ran to the shop; but the shopkeeper said,
    +'I have none - you must go to the mille, fair maid;
    +'For he has a mill, and he'll put the corn to it,
    +And grind you some nice yellow meal in a minute; +



    + + +
    +But run, or the Johnny-cake, how will you make it,
    +In one minute mix, and in two minutes bake it?'
    +
    +Then Sarah she ran every step of the way;
    +But the miller said, 'No, I have no meal today;
    +Run, quick, to the cornfield, just over the hill,
    +And if any be there, you may fetch it to mill. +



    + + +
    +Run, run, or the Johnny-cake, how will you make it,
    +In one minute mix, and in two minutes bake it?'
    +
    +She ran to the cornfield - the corn had not grown,
    +Though the sun in the blue sky all pleasantly shone.
    +'Pretty sun', cried the maiden, 'please make the corn grow.'
    +'Pretty maid', the sun answered, 'I cannot do so.' +



    + + +
    +'Then grandmother's Johnny-cake - how shall I make it,
    +In one minute mix, and in two minutes bake it?'
    +
    +Then Sarah looked round, and she saw what was wanted;
    +The corn could not grow, for no corn had been planted. +



    + + +
    +Shee asked of the farmer to sow her some grain,
    +But the farmer he laughed till his sides ached again.
    +'Ho! ho! for the Johnny-cake - how can you make it,
    +In one minute mix, and in two minutes bake it?'
    +
    +The farmer he laughed, and he laughed out aloud, -
    +'And how can I plant till the earth has been ploughed? +



    + + +
    +Run, run to the ploughman, and bring him with speed;
    +He'll plough up the ground, and I'll fill it with seed.'
    +
    +Away, then, ran Sarah, still hoping to make it,
    +In one minute mix, and in two minutes bake it. +



    + + + +
    +The ploughman he ploughed, and the grain it was sown,
    +And the sun shed his rays till the corn was all grown;
    +It was ground at the mill, and again in her bed
    +These words to poor Sarah the grandmother said:
    +'You shall get me a Johnny-cake - quickly go make it,
    +In one minute mix, andin two minutes bake it.' +



    + + + + + +
    +
    +Home +           +Andy's Early Comics Archive +
    +
    + + The Children in the Wood
    +(circa 1825)
    +
    +published by Dunigan, New York +
    +
    +     + +
    + +
    + + +
    +Shrubland Hall.

    + +Deep seated in a flowery vale,
    +Beside a woody dell,
    +Stood Shrubland Hall, where, says the tale,
    +A worthy pair did dwell. +
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    + + + +
    + +
    +The Children with their Parents
    +
    +Two beauteous babes this happy pair,
    +To crown their loves had got:
    +The proudest monarch on his throne,
    +Might envy them their lot. +
    +
    +
    +
    + +
    + +
    +The Uncle Taking the Children.
    +
    +But death, in midst of all their joys,
    +Did seize this loving pair,
    +Who, dying, left their girl and boy,
    +Unto an Uncle's care. +
    +
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    +
    + +
    + +
    +The Uncle Bribing the Ruffians
    +
    +But to their fortunes he aspired,
    +And to secure his prey,
    +How two unfeeling Ruffians hired
    +To take their lives away. + +
    +
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    + +
    + +
    +The Ruffians with the Children.
    +
    +These wretches, cruel, fierce and bold,
    +Conveyed them to a wood,
    +There, for the sake of filthy gold,
    +To shed their infant blood. +
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    + +
    + +
    +The Ruffians Fighting.
    +
    +But one his purpose did repent,
    +Before the deed was done,
    +And slew the other Ruffian there,
    +Then left the babes alone. +
    +
    +
    +
    + +
    + +
    +The Children in the Wood.
    +
    +Their little hearts with terror sank,
    +With hunger, too, they cried,
    +At length upon a flowery bank
    +They laid them down, and died. +
    +
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    + + +
    + +
    +The Children's Death.
    +
    +The Redbreasts, in their clustering bowers,
    +Sung mournful on each spray,
    +And there with leaves and fragrant flowers,
    +O'erspread them as they lay. +



    + +
    +Home +           +Andy's Early Comics Archive + + + + + +
    +
    +
    +Home +       +       +Andy's Early Comics Archive +

    + + + Adventures of Little Red Riding Hood
    +(circa 1820)
    +
    +Mark's Edition - Published by Fisk & Little, 82 State-Street, Albany, New York +
    +
    +
    +     + +
    + + + +
    +In a Little Thatched Cot, by the side of a Wood,
    +Lived an innocent lass, Little Red Riding Hood;
    +You would scarce find her equal, the neighbours all say,
    +So kind and obedieant, so cheerful and gay. +



    + + + +
    +One day this young lass, To Grandma was sent,
    +A nice pot of Butter, To her to present;
    +Besides a Cheesecake, And a new loaf of Bread,
    +For Grandma was ill, And confined to her Bed. +



    + + +
    +But her Mother before She set out on her way,
    +Charged her not on her journey To loiter or play;
    +This charge she neglected, And rambled for hours,;
    +To gather Primroses, And other wild flowers. +



    + + + +
    +So she wandered about Till the close of the day,
    +When the wicked old Wolf, He came prowling that way,
    +He enquired her errand, She soon let him know
    +Ah! silly young creature, Why did she do so? +



    + + + +
    +Away ran the Wolf, While his heart did rejoice,
    +And he knocked at the door, And spoke in a feign'd voice;
    +The Old Dame who for Her Grand-daughter did watch
    +Cried pull up the bobbin, Twill open the latch. +



    + + + +
    +So he open'd the door, And run up stairs with speed,
    +Poor Grandmamma was Very much frightened indeed;
    +But he tore to pieces, Oh merciless beast,
    +To make of a poor Harmless Lady a Feast. +



    + + + +
    +Then he put the poor Lady's Nightcap on his head,
    +And cunningly slipped himself Into the bed;
    +And when Riding Hood knocked As she'd oft done before,
    +Says the Wolf, pull the Bobbin 'Twill open the door. +



    + + + +
    +Then up stairs she went, And was struck with surprise,
    +When she saw his sharp teeth, And his great goggle eyes;
    +She would have cried out, Bit at her he flew,
    +And tore her to pieces, And ate her up too. +



    + + + + + + +
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    + + + + + + + + \ No newline at end of file diff --git a/httpdocs/vorbereitung_e.tenniel.piper.html b/httpdocs/vorbereitung_e.tenniel.piper.html new file mode 100644 index 0000000..65e94a3 --- /dev/null +++ b/httpdocs/vorbereitung_e.tenniel.piper.html @@ -0,0 +1 @@ +John Tenniel - Mr. Piper
    Home           Andy's Early Comics Archive

    John Tenniel (1853)


    How Mr. Peter Piper Enjoyed a Day's 'Pig-sticking'
    Near Burhampoor, Bengal


    Mr. Peter Piper rides to cover, and comes to the conclusion, that a camels back bears little or no resemblance to an arm-chair.







    Having arrived at the 'Hunting Ground', Mr. Peter Piper tries to take a 'first spear' and fails.







    Mr. Peter Piper begins to think 'pig-sticking' a sport only fit for maniacs. He anathematizes all foreign countries -







    - and Bengal in particular, and fervently wishes himself in the bosom of his family.







    After a tremendous run for his life, Mr. Peter Piper meets a trusty syce, who, to the intense delight of Mr. Piper has brought his horse.







    On his way through the jungle, Mr. Peter Piper encounters a 'sounder' and dispatches three 'hogs' in gallant style.







    He persues his way in a triumphant manner -







    - and ultimately rejoins his friends at 'tiffin', where he affirms that a day's 'pig-sticking' is the height of all human enjoyment and Bengal rather a jolly place than otherwise.































    How Mr. Peter Piper Tried his Hand at Buffalo-shooting
    Near Burhampoor, Bengal


    Mr. Peter Piper is morally certain that he can't possibly fire without upsetting the canoe.







    Moment of intense anxiety - Mr. Peter Piper fires and his prediction is fulfilled.







    The shot, however, takes effect - the buffolo becomes a corpse, but Mr. Peter Piper thinks it hardly worthwhile securing the body.







    Mr. Peter Piper has no faith whatever in 'those gimcrack canoes' and begins to think buffalo-shooting 'very poor fun' as compared with 'pig-sticking'. He takes a little refreshment.







    Terrific descent of a heard of buffalos. Mr. Peter Piper is seized with a panic -







    - and with considerable difficulty climbs into a tree for safety. Peculiarly perplexing position of Mr. Peter Piper.







    But a well-directed second barrel settles the matter satisfactorily, and Mr. Peter Piper 'knocks over' the 'monster' in gallant style.







    Having secured the skin and horns as trophies of his prowess, Mr. Peter Piper returns to Burhampoor in a triumphant manner.



















    How Mr. Peter Piper Was Induced to Join in a Bear-hunt
    Near Burhampoor, Bengal


    Mr. Peter Piper takes up what he considers to be a 'first-rate' position'. The firework is about to be thrown into the den of the bear - moment of intense exitement.







    Sudden and unexpected appearance of a bear in the wrong direction. Mr. Peter Piper begins to think his position rather inferior than otherwise.







    But - nothing daunted - he grapples manfully with his ferocious antagonist, and a terrific struggle ensues.







    In due course of time Mr. Peter Piper and the ferocious antagonist arrive at the bottom of the ravine, in a very dilapidated and exhausted condition.







    Having collected his scattered senses, Mr. Peter Piper is determined to subdue the monster or 'perish in the attempt'. He prepares to renew the conflict.







    A desperate struggle ensues and Mr. Peter Piper is on the point of 'perishing in the attempt', when a timely shot from his trusty syce alters the position of affairs.








    Mr. Peter Piper returns to Burhampoor in a triumphant manner, and begins to look upon himself in the light of a hero.












    How Mr. Peter Piper Accepted an Invitation
    From the Rajah of Rhubburddubdub to Hunt a 'Royal Bengal Tiger'


    Elated by his recent triumphs, Mr. Peter Piper is determined to perform prodigies of valour, but is somewhat disconcerted on trying to mout his elephant in an active manner.







    On entering the jungle an appaling growl is distinctly audible; the elephant is seized with a panic and gets rid of Mr. Peter Piper by a summary process.







    Bewildered condition of Mr. Peter Piper on reaching the ground. (Another growl). Wherever he turns his frenzied gaze he 'makes sure' he sees the tiger. He begins to feel no longer valiant -







    - and is on the point of 'lifting up his voice' for help, when the Mahout reappears with the elephant, which performs a timely service by lifting up his body. Mr. Peter Piper is rescued from the horrors of his position.







    Once more securely seated on the back of the elephant, Mr. Peter Piper persues the chase with renewed energy. Terrific appearance of the 'Royal Bengal Tiger'.







    Ungovernable rage of the infuriated elephant. The 'Royal Bengal Tiger ' falls to rise no more. In the intensity of the excitement Mr. Peter Piper looses his equilibrium.







    On regaining his perpendicular Mr. Peter Piper perceives the dangerous condition of the 'feline monster' , and determines to 'polish him off at once' . He does so in gallant style.







    Mr. Peter Piper receives the congratulations of his friends for the 'indomitable courage' and 'reckless daring' he has manifested throughout the perils of the day's adventure.









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