10/4/2019 Fantasio Spirou Pdf
Spirou and Fantasio (French: Spirou et Fantasio) is one of the most popular classic Franco-Belgian comics. The series, which has been running since 1938, shares many characteristics with other European humorous adventure comics like The Adventures of Tintin and Asterix. It has been written and drawn by a succession of artists.
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Spirou and Fantasio are the series' main characters, two adventurous journalists who run into fantastic adventures, aided by Spirou's pet squirrelSpip and their inventor friend the Count of Champignac.
History[edit]Origins of Spirou[edit]
Spirou et Fantasio - Tome 1 - 4 AVENTURES DE SPIROU ET FANTASIO (French Edition) - Kindle edition by Franquin. Download it once and read it on your Kindle device, PC, phones or tablets.
Rob-Vel's Spirou
The comic strip was originally created by Rob-Vel for the launch of Le Journal de Spirou (Spirou magazine) on April 21, 1938, published by Éditions Dupuis.[1] The main character was originally an elevator (lift) operator (in French: un groom) for the Moustique Hotel (in reference to the publisher's chief magazine, Le Moustique), and remained dressed in his red bellhop uniform for a long time after the occupation was dropped. Spirou (the name means 'squirrel' (lit.) and 'mischievous' (fig.) in Walloon) has a pet squirrel called Spip, the series' first supporting character, who was introduced on June 8, 1939 in the story arc titled L'Héritage de Bill Money and liberated in the following week's issue, remaining a presence in all Spirou stories since.[2][3]
Spip's liberation, June 15, 1939
Adding to the difficulties of magazine publication that came with the outbreak of World War II, Velter joined the army effort, and his wife Blanche Dumoulin, using the pen name Davine, continued the work on the Spirou strip, with the aid of the young Belgian artist Luc Lafnet.[4][5] Spirou became the property of the publisher Dupuis (atypical in France and Belgium where most comics characters are owned by their creator(s)), who bought the character from Rob-Vel in 1943, and since then the series has belonged to no specific author.[6] The title has therefore subsequently been passed on to several different artists and writers.
The first succession came in 1943 when Joseph Gillain, known by the pen name Jijé, was given charge of the character. In 1944 Jijé introduced a new character, Fantasio, who would become Spirou's best friend and co-adventurer.[1] Holding many artistic commitments at Spirou magazine, Jijé sought to delegate much of his work, and in 1946 he handed the series to his understudy, the young André Franquin, in the middle of the production of the story Spirou et la maison préfabriquée.[7]
Franquin's Spirou[edit]
Franquin developed the strip from single gags and short serials into long adventures with complex plots, and is usually considered as the definitive author of the strip. He introduced a large gallery of recurring characters, notably the Count de Champignac, elderly scientist and inventor; the buffoonish mad scientistZorglub; Fantasio's cousin and aspiring dictator Zantafio; and the journalist Seccotine, a rare instance of a major female character in Franco-Belgian comics of this period.
Spirou et les héritiers, 1952, by Franquin
One Franquin creation that went on to develop a life of its own was the Marsupilami, a fictional monkey-like creature with a tremendously long prehensile tail. The Marsupilami appears in the majority of the Franquin stories, starting in 1952 with Spirou et les héritiers. In the series, it is adopted by the duo and follows them everywhere they go. Marsupilamis in the wild take centre stage briefly in Le nid des Marsupilamis (1957) which presents Seccotine's documentary featuring a family in their natural habitat, the jungles of the fictitious South American state Palombia.
Starting with Le prisonnier du Bouddha (1959), Franquin began to work with Greg (writing) and Jidéhem (backgrounds). As in some of his later series (Bruno Brazil, Bernard Prince), Greg staged his stories in a realistic geopolitical context. Le prisonnier du Bouddha is set in mainland China, with veiled references made to the Cold War. As for QRN sur Bretzelburg, it takes place in two imaginary European countries which bring to mind pre-reunificationGermany. Lastly, it is with Greg that Franquin created famed villain Zorglub in the diptych of Z comme Zorglub and L'ombre du Z.
However, as Franquin grew tired of Spirou, his other major character Gaston began to take precedence in his work, and following the controversial Panade à Champignac, the series passed on to a then unknown young cartoonist, Jean-Claude Fournier, in 1969. One side effect of this is that the Marsupilami would only appear in one last story, Le faiseur d'or. This is because Franquin decided to retain the rights to that character; all the other characters remained the property of the publisher. Starting with Du glucose pour Noémie, there would be no more appearances of the Marsupilami in Spirou et Fantasio, with the exception of a few discreet references. Only in the 1980s did the Marsupilami reappear in its own series, and later television cartoon and videogame.
A long transition[edit]
Fournier authored nine books in the series, which saw Spirou evolve into a more modern character. Where Franquin's stories tended to be politically neutral (in his later works, notably Idées noires, he would champion pacifist and environmental views), Fournier's stint on Spirou addressed such hot topics (for the 1970s) as nuclear energy (L'Ankou), drug-funded dictatorships (Kodo le tyran) and Duvalier-style repression (Tora Torapa).
Fournier introduced some new characters such as Ororéa, a beautiful girl reporter with whom Fantasio was madly in love (in contrast with his dislike of Seccotine); Itoh Kata, a Japanese magician; and an occult SPECTRE-like criminal organisation known as The Triangle. None of these were reused by later artists until some thirty years later when Itoh Kata appeared in Morvan and Munuera's Spirou et Fantasio à Tokyo.
However, at the end of the 1970s Fournier's pace began to slow down and the publisher, Dupuis, sought new authors to replace him. For a time, three separate teams worked on concurrent stories. Nic Broca (art) and Raoul Cauvin (writing) took on Fournier's lead without adding much to the characters. Their primary addition to the Spirou universe, namely the 'Black box', a device which annihilates sound, is in fact an acknowledged rehash from an early Sophie story by Jidéhem (La bulle du silence). Strangely, the authors were not allowed by the publisher to use any of the side characters and because of this, the duo's three stories read somewhat like a parenthesis in the series.
Yves Chaland's case[edit]
Yves Chaland proposed a far more radical make-over. His (very short) stint on Spirou is an ironic re-staging of the strip as it was in the 40s. This homage to Jijé and early Franquin was seen at the time as too sophisticated for the mainstream readership. It was prepublished in 1982 in Spirou magazine, n°2297 to n°2318, printed in two-colour, but was interrupted before it was completed. This unfinished story was first collected in an unofficial album in 1984, À la recherche de Bocongo, and then, legally, under the name of Cœurs d'acier (Champaka editor, 1990). This last edition includes the original strips, and a text by Yann Le Pennetier, illustrated by Chaland, that finishes the interrupted story.[8]
Tome & Janry - The Dynamic Duo[edit]
Vito la Déveine, 1991, by Tome & Janry
It was the team of Tome (writing) and Janry (art) which was to find lasting success with Spirou, both in terms of sales and critical appeal. Graphically, the authors' work was seen as a modern homage to Franquin's classic work, while their plots involved such modern topics as biotech (Virus), robotics (Qui arrêtera Cyanure?) and even time travel (the diptych of L'horloger de la comète and Le réveil du Z, featuring future descendants of the Count and Zorglub). Their position as the official Spirou authors made them the flagship team to a whole new school of young, likeminded artists, such as Didier Conrad, Bernard Hislaire or Frank Le Gall, who had illustrious careers of their own. For a time, Spirou also acted as a side character in Frank Pé's short-lived absurd humor strip L'Élan (originally published in the weekly Spirou magazine).
Fantasio Spirou Pdf Gratis
With La jeunesse de Spirou (1987), Tome and Janry set out to imagine Spirou's youth. This idea was later developed into a spin-off series, Le Petit Spirou ('Young Spirou'), which details the antics of the character as an elementary school boy. A lot of the gags center around the character's interest in the opposite sex. It is generally acknowledged, however, that the Petit Spirou doesn't have very much in common, psychologically speaking, with the adult character.
A new villain, the unlucky Mafia boss Vito 'Lucky' Cortizone, based on the character Vito Corleone from The Godfather movies, was introduced in Spirou à New-York, while Spirou à Moscou (1990) sees Spirou and Fantasio pay their first visit to the USSR, just as it was about to collapse (the country was dissolved in 1991).
In Machine qui rêve (1998), Tome and Janry tried to once again renew the series with a more mature storyline (wounded hero, love relationships, etc.), coupled with a more realistic graphic style. This sudden shift into a darker tone shocked many readers, although its seeds were apparent in previous Spirou albums and in other series by the same authors (Soda, Berceuse assassine). While many considered the change in tone to be courageous and laudable, there was some concern that Spirou lost much of its point when presented as a 'realistic' character. At any rate, the controversy caused Tome & Janry to concentrate on Le Petit Spirou, and stop making albums in the main series.
Spirou in the 21st century[edit]
Spirou mural in Brussels.
Morvan & Munuera[edit]
Then, after a 6 years break, which only saw the publication of L'accélérateur atomique, a Spirou spoof by Lewis Trondheim not included in the official series (but which received Dupuis' approval), the series went back to a more classical storytelling mode with seasoned cartoonists Jean-David Morvan (writing) and José-Luis Munuera (art). The latter kept close to the spirit of Franquin's graphical style, while bringing its own touch of manga-inspired modernism. Morvan and Munuera's Spirou is partly remarkable in that it uses background elements and secondary characters from the whole history of the title, and not just from Franquin's period.
The duo's third album, Spirou et Fantasio à Tokyo was released 20 September 2006. Spirou and Fantasio uncover the story of two children with telekinetic powers (similarly to the manga Akira) that are forced to construct an edo and meiji period theme park. Dupuis has also released as Spirou et Fantasio 49Z a manga story by Hiroyuki Oshima after an idea by Morvan. This story tells Spirou's adolescence as a groom in a 5 star Tokyo hotel.[9]
Due to a significant decline in sales, Dupuis decided to cease Morvan and Munuera work in Spirou in January 2007.[10] However, they were allowed to complete one last album, Aux sources du Z, which was released 5 November 2008, with the help of scenarist Yann.[11]
Yoann & Vehlmann[edit]
In January 2009, it was announced in Spirou magazine #3694 that Morvan and Munuera would be succeeded by Fabien Vehlmann and Yoann, who had together created the first volume of Une aventure de Spirou et Fantasio par... Their first album in the regular series was announced for October 2009,[12] but was later pushed back to September 3, 2010 and is named Alerte aux zorkons.[13]
Le Spirou de..[edit]
In 2006, Dupuis launched a second series of one-off volumes by various authors, under the name Une aventure de Spirou et Fantasio par.. ('A Spirou and Fantasio adventure by..'). It has subsequently been renamed 'Le Spirou de..' ('The Spirou story by..')
The first volume, Les géants pétrifiés by Fabien Vehlmann and Yoann, had a modern storyline and art, not dissimilar in spirit to Morvan and Munuera's work.[14] The second volume, Les marais du temps, by Frank Le Gall, is drawn in a more classic style not dissimilar to The Adventures of Tintin and Théodore Poussin, Le Gall's own comic series. The third, Le tombeau des Champignac, by Yann and Fabrice Tarrin, is a slightly modernized homage to Franquin's classic period. The fourth, Journal d'un ingénu, by Emile Bravo, is a novelistic homage to the original Rob-Vel and Jijé's universes and stories, and was released to critical acclaim, being awarded at the Angoulême festival. The fifth, Le groom vert-de-gris by Yann and Olivier Schwartz, is based on one of Yann's old scripts from the 80's originally intended to have been drawn by Chaland, while the editor rejected it. Yann picked up the artist Schwartz, working in a similar style, to complete the story. The story takes place among the resistance movement in the Nazi-occupied Belgium. Unlike traditional Spirou stories, but similar to other works by Yann, the story features rather much dark humour and political satire. It was released once again to some acclaim but also attracted controversy for its cavalier approach to sensitive issues. The sixth album, Panique en Atlantique, authored by Lewis Trondheim and Fabrice Parme, was released on April 16, 2010.
Characters[edit]
Main and recurring Spirou et Fantasio characters:
Enemies[edit]
Albums[edit]
This list includes French titles, their English translation, and the first year of publication
Jijé[edit]
André Franquin[edit]
Jean-Claude Fournier[edit]
Nic & Cauvin[edit]
Tome & Janry[edit]
Morvan & Munuera[edit]
Yoann & Vehlmann[edit]
Special issues ('hors-séries')[edit]
One-shots: Une aventure de Spirou et Fantasio par..[edit]
Translations[edit]
The strip has been translated to several languages, among them Spanish, Portuguese, English, Japanese[citation needed], German, Bahasa Indonesia, Vietnamese, Turkish, Italian, Dutch, Finnish, Scandinavian languages, Serbo-Croatian, Catalan[16] and Icelandic.
One book, number 15, was translated into English, by Fantasy Flight Publishing in 1995. This edition is out of print. Book 16 was partially translated but never published.[17]
In 1960, Le nid des Marsupilamis was printed in the weekly British boys' magazine Knockout, under the title Dickie and Birdbath Watch the Woggle. In that early localization, Spirou was called 'Dickie,' Fantasio was 'Birdbath,' Seccotine was 'Cousin Constance,' the Marsupilami was 'the Woggle,' and the female Marsupilami was 'the Wiggle.'[18]
Egmont has printed and released English translations of Spirou in 2007 in India through its Indian subsidiary (Euro Books). So far, albums no 1-11 and 14 have been translated.[19][20]
Cinebook has started publishing the series in October 2009.[21] Books released so far:
34. Spirou & Fantasio: Adventure Down Under (Aventure en Australie), 2009, ISBN978-1-84918-011-5
39. Spirou & Fantasio in New York, 2010, ISBN978-1-84918-054-2 40. Spirou & Fantasio: Running Scared, 2012, ISBN978-1-84918-116-7 41. Spirou & Fantasio: Valley of the Exiles, 2013, ISBN978-1-84918-157-0 05. The Marsupilami Thieves, 2013, ISBN978-1-84918-167-9 42. Spirou & Fantasio in Moscow, 2014, ISBN978-1-84918-193-8 06. The Rhinoceros' Horn, 2014, ISBN978-1-84918-224-9 43. Tough Luck Vito, 2015, ISBN978-1-84918-248-5 07. The Dictator and the Mushroom, 2015, ISBN978-1-84918-267-6 33. Virus, 2016, ISBN978-1-84918-297-3 08. The Wrong Head, 2016, ISBN978-1-849183-130 35. Who Will Stop Cyanide?, 2017, ISBN978-1-84918-355-0 15. Z is for Zorglub, 2017 36. The Clockmaker and the Comet, 2018 In other media[edit]
The popularity of the series has led to an adaptation of the characters into different media. On February 25, 1961 and October 16, 1963 two radio audio play adaptations were broadcast on the RTBF radio channel. The stories were based on Le Dictateur de Champignon and Les Robinsons du Rail, with participation of Yvan Delporte and André Franquin. Two TV cartoon series has been produced, the first, Spirou, consisting of 52 episodes originally aired between 1993 and 1994, and the second, Les Nouvelles Aventures de Spirou et Fantasio consisting of 39 episodes originally aired between 2006 and 2009. Two video games have also been produced, the first, Spirou, was released in 1995 by Infogrames, and the second, Spirou: The Robot Invasion, was released in 2000 by Ubisoft. In Sierra's Playtoons series, Spirou and Fantasio appeared in the stories 'The Case of the Counterfeit Collaborator' and 'The Mandarin Prince'. A live-action movie adaptation directed by Alexandre Coffre was released in 2018 [22], starring Thomas Solivérès as Spirou, Alex Lutz as Fantasio, Christian Clavier as Count of Champignac, Géraldine Nakache as Seccotine and Ramzy Bédia as Zorglub.
In popular culture[edit]Stamps[edit]
On October 3, 1988, the Belgian Post issued a stamp featuring Spirou, drawn by Tome & Janry, in the series of comic stamps for youth philately. This was the fourth Belgian stamp showing a comic hero.[23]
On February 26, 2006 the French Post issued a set of 3 Spirou et Fantasio stamps, featuring art by José-Luis Munuera. To commemorate the occasion, the Musée de la Poste de Paris (Paris Mail Museum) organized an exposition from February 27 to October 7, 2006 with two halls, one showing original plates and the other more recreational, with television, games, etc.[24]
Statues[edit]
In 1991 a statue of Spirou and Spip posing for a photograph by Fantasio was erected in the Avenue du Général Michel in Charleroi.[25] Another statue of Spirou and Spip, designed by Monique Mol in 2003, can be seen in the Prosper Pouletstraat at the Zeedijk in Middelkerke.[26] On 1–2 September 2016 Manneken Pis was dressed in Spirou's uniform.[27]
Murals[edit]
Spirou, Fantasio and Spip are portrayed on a mural in the Rue Notre Dame des Grâces/ Onze-Lieve-Vrouw van Gratiestraat in Brussels as part of the Brussels' Comic Book Route. The mural was based on a design by Yoann and created in 2014 by graffiti artist Urbana (Nicolas Morreel).[28][29][30] A second mural was created in the Elsenesteenweg 227A in Elsene, based on a drawing by Schwartz and Yann from the Spirou story Spirou and the leopard woman.[31]
In september 2016 a mural was made in Middelkerke, based on a design by Hanco Kolk and created by Art Mural vzw.[32]
Scientific instrument[edit]
SPIRou (SpectroPolarimètre Infra-Rouge) is a near-infraredspectropolarimeter and high-precision velocimeter designed and constructed by an international consortium for observing exoplanets and the forming of Sun-like stars and their planets.[33] Silhouettes of Spirou and Spip are featured in its logo.
References[edit]
Sources[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Spirou_et_Fantasio&oldid=917937082'
Spirou magazine (French: Le Journal de Spirou) is a weekly Franco-Belgian comics magazine[a] published by the Dupuis company. First published 21 April 1938, it was an eight-page weekly comics magazine composed a mixture of short stories and gags, serial comics, and a handful of American comics,[1] of which the most popular series would be collected as albums by Dupuis afterwards.
History[edit]Creation[edit]
With the success of the weekly magazine Le Journal de Mickey in France, and the popularity of the weekly Adventures of Tintin in Le Petit Vingtième, many new comic magazines or youth magazines with comics appeared in France and Belgium in the second half of the 1930s.[2][3] In 1936, the experienced publisher Jean Dupuis put his sons Paul and the 19-year-old Charles in charge of a new magazine aimed at the juvenile market.[1][4]
First appearing in April 1938, it was a large format magazine, available only in French and only in Wallonia. It introduced two new comics, the eponymous Spirou drawn by the young Frenchman Rob-Vel, and Les Aventures de Tif (later to become Tif et Tondu) written and drawn by Fernand Dineur, and printed American comics such as Superman, Red Ryder and Brick Bradford.[1] On 27 October 1938 the Dutch edition named Robbedoes appeared as well.[5]
Spirou Fantasio Se Marie PdfSecond World War[edit]
Spirou and Robbedoes soon became very popular and the magazine doubled its pages from 8 to 16. After the invasion of the Germans, the magazine gradually had to stop publishing American comics. They were at first continued by local artists and later replaced with new series. When Rob-Vel no longer had the possibility to send his pages from France to Belgium on a regular basis either, his series was continued by Joseph Gillain, a young artist who had previously worked for Petits Belges and used the pen name Jijé. Together with Dineur and Sirius (pen name of Max Mayeu), they filled the magazine with a number of new series and increased the popularity of it even further.
Near the end of the war, due to paper shortages, publication had to be stopped anyway, with only a few irregular almanacs to keep the bond with the readers intact and to provide work for the personnel to prevent them being deported to Germany.
The golden years[edit]
The period 1945–1960 has been described by critics as the golden age of Spirou magazine and of Belgian comics in general, partly incited by the 1946 appearance of the successful competitor Tintin magazine. Spirou resumed publication only weeks after Belgium was liberated, but now on a much smaller format. Jijé was the main author, providing pages from multiple series each week. Some American comics reappeared as well. Jijé started out a studio, where he schooled three talented apprentices, Will, André Franquin and Morris; known as the 'Bande à quatre', 'Gang of four', they began laying the foundation for the Marcinelle school that marked the magazine for decades.
In 1946 and 1947, the team was joined by some of the main contributors to Spirou for the next decades, including Victor Hubinon, Jean-Michel Charlier and Eddy Paape. After a few years, these artists started their now classic series like Buck Danny by Hubinon and Charlier and Lucky Luke by Morris, while Franquin took over Spirou from Jijé. Gradually, the American comics and reprints were replaced by new, European productions, and by the 50s, nearly all the content was made especially for the magazine. Charles Dupuis remained editor-in-chief of the magazine until 1955 when he appointed Yvan Delporte to that position, so he could himself focus on his increasing interest in the publication of the magazine's series' albums.[2]
The golden ages culminated in the 1950s with the introduction of more authors and series like Peyo (Johan and Peewit in 1952, The Smurfs in 1958), René Follet, Marcel Remacle, Jean Roba (with Boule et Bill), Maurice Tillieux (with Gil Jourdan) and Mitacq. In 1954, Jijé created the realistic western comic Jerry Spring, and in 1957 Franquin introduced the anti-hero Gaston Lagaffe. The authors of the magazine, many of them pupils of Jijé, were grouped stylistically in the Marcinelle school, the counterpart of ligne claire exhibited by the artists grouped around Hergé in Tintin magazine (the main competitor for Spirou).
By 1960, the magazine had achieved a fixed structure and had grown to 52 pages, mainly filled with new, European (mainly Belgian) comics, coupled with some text pages (interaction with the readers) and adverts. Most of the comics were long-running series which were regularly published as albums of 44 or 64 pages, generating a constant source of revenue for the artists and the publisher. In the next decades, the sales of albums would become the main focus, reducing the importance of the magazine which became more of a breeding ground for new talent and series.
Rejuvenation in the 1960s and 1970s[edit]
In the early 1960s, the main changes were the strong editorial work of Delporte, who kept the magazine vibrant despite the more or less fixed series, with numerous supplements, games, and experimental layouts. The magazine demonstrated the pleasure that had gone in creating it, and maintained a strong reader base despite the growing competition from more adolescent and adult French magazines like Pilote. Some of the main authors (Jijé, Franquin, Will, and Hubinon) temporarily started working for other magazines, with Morris the only major name who definitely left the magazine. Their replacements, like Berck, had trouble filling the void.
Around 1959–1960, the first mini-récits (lit. mini-stories) appeared. This was an experiment in which the middle pages of the magazines could be removed, which the reader (armed with a pair of scissors, a stapler and some patience) could fold into a small comics magazine of its own. Several artists were allowed to hone their skills inside these mini-récits before moving on to larger pages, and until the 1970s, more than 500 mini-récits were produced, series that debuted in this format include The Smurfs by Peyo, Bobo by Rosy and Deliège, Flagada by Degotte among many others.
Only in the early 1970s a number of new success series and authors appeared . The main contributor for the next decades was Raoul Cauvin, a lithographer who worked as a cameraman for the Dupuis animation studios and wrote stories for series like Musti. He became the main story writer for Dupuis, with major series like Sammy with Berck, Les Tuniques Bleues with Lambil, and later Cédric with Laudec and Agent 212 with Daniel Kox, among many others. Other important new authors were François Walthery with Natacha and Roger Leloup with Yoko Tsuno, together with Isabelle by Will evidence of the new wave of adventurous female-oriented comics of the decade.
A commercial failure but artistic success came along in 1977, when Delporte created the more adult supplement Le Trombone Illustré, which appeared inside Spirou for thirty weeks, and showcased new artists like Didier Comès, Enki Bilal, Claire Bretécher, F'murr, Grzegorz Rosinski, and Frédéric Jannin, next to more established authors like René Hausman, Peyo, Roba, Marcel Gotlieb, and Franquin, who started his third major series, Idées Noires.
Since 1980[edit]
The early 1980s had Spirou and Robbedoes searching for a new, appealing identity, with new formulas, more adult comics like XIII by William Vance and Jean Van Hamme or Jeremiah by Hermann. Most artists of the first generation were no longer active, and the productivity of many artists of the second generation slowed down as well. New talents were Tome and Janry, the new team for the Spirou et Fantasio comic, Bruno Gazzotti (Soda), François Gilson (Mélusine), Bercovici, Zidrou, André Geerts, Bernard Hislaire, Midam (Kid Paddle), Frank Pé, Marc Hardy and Luc Cromheecke.
Robbedoes had a severe reduction in the number of readers, and was first reduced to 32 pages (with Spirou growing to 68), before it finally disappeared in 2005.
Collections[edit]
From the very start, Spirou and Robbedoes published collections of 10 to 13 consecutive magazines in hardcover format - originally quarterly, but more frequently with the increased page number of the magazine. This series still continues for Spirou with 355 volumes as of May 2019.
Spirou and Tintin rivalry[edit]
Since the 1940s, Spirou was in constant competition with Tintin magazine . If one artist was published by one of the magazines, he would not be published by the other one. This was a gentleman's agreement between the two publishers, Raymond Leblanc of Le Lombard and Charles Dupuis of Dupuis. One notable exception was André Franquin, who in 1955, after a dispute with its editor, moved from the more popular Spirou to Tintin.[6] The dispute was quickly settled, but Franquin had signed an agreement with Tintin for five years. He created Modeste et Pompon for Tintin while pursuing work for Spirou. He quit Tintin at the end of his contract. Some artists moved from Spirou to Tintin like Eddy Paape and Liliane & Fred Funcken, while some went from Tintin to Spirou like Raymond Macherot and Berck.
Main authors and series[edit]
Format[edit]
The target audience is between 9 and 16 years, although the magazine appeals to many adults as well. Over the years, Spirou has undergone a few format changes and gradually became thicker, eventually averaging 68 pages. It was distributed in most French and Dutch speaking countries, and for some years, editions in other languages appeared as well (notably in Spain and Portugal).
A few pages, apart from the comics and the advertising, are always put aside for text contents and interaction with the readers (games, letters, jokes, etc.). Often a general theme is used to give the magazine some unity instead of being just a collection of unrelated comics, and this also gets reflected in the layout.
Along with Tintin magazine (founded in 1946), it was considered the home of the Franco-Belgian comics school until the seventies, when its importance declined. Still in publication, Spirou sells some 100,000 copies every week (as of 2009).[7]Robbedoes was eventually shelved in September 2005, after more than 3500 weekly publications.
Title[edit]Spirou And Fantasio
Spirou Et FantasioNotes[edit]
Fantasio Spirou Pdf DeNotes[edit]
Sources[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Spirou_(magazine)&oldid=917937078'
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