Albums Celebrities Have Done Longtail

Introduction

Today marks a century since the birth of André Franquin, a celebrated Belgian genius. In honor of this occasion, I would like to take a moment to appreciate another celebrated Belgian genius – André Franquin. Known for his work on Spirou et Fantasio and Gaston Lagaffe, Franquin’s contributions to the world of comics are truly remarkable. In this article, we will explore some of his early works, his iconic characters, and the impact he had on the comic industry.

Early Works: Spirou’s Albums

One of Franquin’s early works was the creation of Spirou’s ‘Albums.’ These albums were a clever way to repurpose unsold copies of the weekly magazine by collecting a trimester’s worth of issues in an attractive hardcover format. As an example, let’s take a look at an album from March 1948, which showcases Franquin’s early artistic style.

The Marsupilami: A Homage to Eugene the Jeep

One of Franquin’s most iconic characters is the Marsupilami, a ripe banana-colored creature with a long tail. This character is actually an homage to Elzie Segar’s Eugene the Jeep, which was first introduced in 1935. In French Europe, the Marsupilami is known as ‘Pilou-Pilou.’ The Marsupilami made its first appearance in Franquin’s work in the panel from “Le dictateur et le champignon” in 1953. This panel, featuring the Marsupilami, has captivated audiences for decades with its vibrant colors and whimsical design.

Spirou et Fantasio: La Mauvaise Tête

In 1954, Franquin released “La mauvaise tête,” the eighth album in the Spirou et Fantasio series. This album features a breathtaking scene that showcases Franquin’s artistic talent. The sequence depicts Fantasio winning a race by cycling backwards, which is no easy feat to pull off convincingly. This scene, along with the entire album, highlights Franquin’s ability to create dynamic and visually stunning artwork.

Modeste et Pompon: A Refreshing Pleasure

After Franquin’s creation of Spirou et Fantasio, he was tricked into surrendering his work to Tintin magazine publisher Les Éditions du Lombard. As a result, Modeste et Pompon, a comic strip created by Franquin, fell into the hands of other artists and became a mediocre domestic strip. However, reading Franquin’s collected works of Modeste et Pompon from 1955 to 1959 is a refreshing pleasure. Franquin’s unique style and storytelling bring the characters to life in a way that subsequent artists could not replicate.

Franquin’s Graphic Freedom

During Franquin’s time at Tintin magazine, he set a new standard of graphic freedom with his artwork. His supple and organic line work opened the door for future artists, much to the dismay of Georges “Hergé” Rémi, the creator of Tintin. Hergé considered Franquin’s style to be vulgar, but Franquin’s influence on the comic industry cannot be denied. His innovative approach to artwork paved the way for future generations of artists.

Gaston Lagaffe: A Background Creation that Stole the Show

Introduced by Franquin as a minor character in Spirou et Fantasio, Gaston Lagaffe quickly became a fan favorite. Like the Marsupilami before him, Gaston Lagaffe overshadowed the intended protagonists and became the star of the show. Franquin’s creation of Gaston Lagaffe brought humor and lightheartedness to the series, relieving the tedium of the main storyline. Gaston Lagaffe’s popularity solidified Franquin’s status as a genius in the comic world.

Idées Noires: Franquin’s Outlet for Bleak Notions

In 1977, Franquin, feeling stifled by his own success, created “Idées noires” – a collection of dark and bleak comic strips. Collaborating with Yvan Delporte, Franquin used this outlet to express his inner struggles and frustrations. These strips first appeared in the short-lived Spirou magazine supplement “Trombone illustré” before finding a more welcoming home in Fluide glacial. The collection, known as “Idées noires” or “Black Notions,” is a testament to Franquin’s range as an artist and his ability to tackle different themes.

Franquin’s Signature: A Comic Effect

One of the unique aspects of Franquin’s artwork is his use of his own signature for comic effect. In countless instances, Franquin incorporated his signature into the artwork itself, adding an extra layer of humor and personality to his creations. This attention to detail and playful approach to his work is one of the many reasons why Franquin’s art continues to captivate audiences to this day.

Conclusion

André Franquin was an extraordinary talent whose contributions to the comic industry cannot be overstated. From his early works in Spirou’s Albums to his iconic characters like the Marsupilami and Gaston Lagaffe, Franquin left an indelible mark on the world of comics. His artistic style, graphic freedom, and ability to tell captivating stories continue to inspire and influence artists today. As we celebrate the centenary of his birth, let us honor the legacy of this celebrated Belgian genius.

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