franco belgian comics

You know, it’s weird realizing that an American equivalent to Asterix and Obelix would be about a Native nation in the American west resisting colonization.

And now I kinda want to see this exist, tho I’m too damn white to write it. Any native cartoonists who want to yoink the idea feel free tho, especially those from the Southwest…

I read my first Valerian and Laureline comic :D It liked it very very much! I’ll have to get the others that have been translated recently! (for some reason, same as Spirou, only 10 are available in english it seems)

I read ‘Empire of a Thousand Planets’ which is the second story from 1969/1971. I didn’t want to start with number 1 because the second story is a space adventure while the first book as a dystopian future story of a 1980s New York. But I’ll think about getting the first book now!

I like the art for Laureline a lot. it’s VERY French.

And the blurb at the back says the parts that I probably was unsure about will only get better as it sites the second book as having “all the promise and clumsiness of beginners starting out.” So that’s great! It means the albums will only get better!

Anyway I liked it a lot. When I one day have money again I will buy the others.

Also omg Star Wars took so much from this album alone X’D I heard it was an inspiration for Star Wars but DAMN.

korrasforevergirl  asked:

Would it be okay to ask how comics are actually made? Like are the panels drawn out first and the story put in them or does the story have to be planned and drawn before the panels go down? I would use bing but I don't know how to word the question right to where I don't get everything but I was looking for so I can make panels the right way. There was something that lets you make it on tablet, but I have no tablet

Sure! This might get long, so hold onto yer butts.

Creator-Owned IPs vs Licensed IPs
We’re gonna start off with a broader understanding of the different directions comic creation start from. Creator-owned books (we call them ‘books,’ though we mean comics, and this umbrella includes both single issue series and GNs) are exactly what they sound like: IPs that are owned by the creator(s), series like Saga and most Image titles; original graphic novels; and designated creator-owned series from publishers who handle both licensed and creator-owned works. Contracts differ for exactly how much a creator-owned IP is owned by either publisher or creator, and this is why people like the Image comics model, because creators own all of it. This sounds like the best case scenario, of course, but it’s a tough road, because you need to have a pitch ready, your pay is almost always back-end (meaning you get the profits after you sell; advances are either small or rare), and it helps to have notoriety to get the right eyes and ears on your work. Licensed IPs on the other hand are works that already exist, and then are licensed out into comic form. Think of video game comics, or comics series like Adventure Time and Legend of Korra. Licensed work also tends to have lots of chefs in the kitchen, which is its own kind of hell, since things need to stay on-brand or follow age conventions for narrative/visuals.

DC and Marvel also fall under this label. More generally, we call it ‘work-for-hire,’ and it means you own none of the art, property, etc. But it also usually means you’re paid for the work before sales, and, depending on the publisher, it can mean more money upfront. In general, comics pays absolute shit unless you’re working for the Big Two (Marvel/DC) or have a successful creator-owned title at Image or elsewhere. 

Writer/Artist/Editor Relationships
Creator-owned work processes vary greatly, since their circumstances are all different (story & concepts could’ve been done together, or a writer may have found an artist to work on her idea, etc). I’m going to mostly talk about the work-for-hire process, since it’s a little more consistent across the board. The publisher will hire a writer, who will in turn write a script, and the script will be sent to the artist to draw. For Mike, Bryan, Nickelodeon, and me, we communicate through our editor Dave, and his assistant Rachel (a saint, truly). If I’m being honest, it was a little overwhelming for me in the beginning to receive so much feedback from many many people, which I was not used to from previous comics experience. But we’re all growing to understand each other, we all respect each other deeply, and our editor does an amazing job making sure communications between all of us remain clear and effective. I’m leveling up like crazy from the constructive commentary I receive on every page!! I can’t wait to come out of this project a total badass, haha.

I also can’t forget to mention the colorist, who is a very crucial part of the process. As it is, the industry severely undervalues colorists, and moreso, the flatters that sometimes help them (they basically do simple color fills so the colorist can get right to rendering, etc). After I’ve uploaded my linework, the pages go to Jane for colors. After another round of edits and approvals, they will go to the letterer, which I also find to be an underappreciated craft.

Process
1/ Mike writes the script
2/ Editor reviews. After edits & approval, it is sent to me
3/ I send back thumbnails of what all the pages in the GN will look like
4/ Edit/approval review, edits are made, and then I start on pages
5/ I don’t have a pencils step; I blow up my sketches onto my pages at low opacity and ink right over them
6/ Uploaded for review. If it requires edits, I fix and send it back
7/ Colorist receives pages and does her thang,
8/ and after reviews/edits, it is sent to the letterer.

And that is all the process I am closely tied into, but beyond that (the publishing and marketing deets, etc), I am not.

Artistry, Paneling, Tools
As for the actual technical part of comic making, it’s harder to get into the specifics only because it’s super different for each artist, and our education comes from different sources. Growing up in Japan, I read a lot of manga and Franco-Belgian comics, so my layouts and style will more closely resemble that stuff. Many people still work on special comics paper or just 11x17 bristol board, but I work exclusively in Photoshop on my Cintiq, on special Dark Horse formatted comic page files. If you want to read more about how comics are made and the concepts behind good composition, paneling, etc, I’d pick up Scott McCloud’s UNDERSTANDING COMICS. It’s a good primer, and fun to read, since it’s just one giant comic!

Industry Thoughts
I think I need to add this here, because understanding the general atmosphere of the industry informs why creators are/act/work a certain way, or have a specific kind of online presence, etc. The industry is still very much a white boy’s club, and it is a constant battle for the marginalized to work in an industry that seems to hate us with every microaggression (and just outright bigotry) at every corner. Additionally, as mentioned above, comics pay is super garbage; some of us are full-time freelance and some of us still have day jobs; we get no benefits, etc; and, as in most entertainment industries, it’s just as much about who you know versus how good you are. Networking is key, and you’re much more likely to get hired for being a polite person who gets their work in on time over being an amazing talent who is always behind and a jerk. Unless you are certain dudes are certain big publishing companies. *side-eye*

Being a comics creator is grueling, and you definitely put in more than you get back. We also feel a need to maintain some amount of online presence, and I take the effort to curate my social media feeds, both what I consume and what I put out. Me being me, I wear my heart on my sleeve, my loud mouth says whatever the fuck it wants, and sometimes I’m super crude; but I am trying to not be so curt with the over familiar or well-meaning folks who appreciate my work, and maybe just overstep some bounds. (The creepers can fuck right off, though.)

ANYWAY. Hope that’s all helpful to know and gives y’all some perspective! :)

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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. The comic strip was originally created by Rob-Vel. 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.

anonymous asked:

Hello, what are your favourite Spirou albums? I can only assume that you are a fan of Franco-Belgian comics judging by some of your artwork.

Hahaha! Yes, I do like Spirou a lot! :D unfortunately, I am reliant on english translations because I can’t speak French u.u So I can only read fan translations or what has been officially published which doesn’t give me a lot to work with:

I could probably read the Dutch version, but I can’t technically speak Dutch. Dutch it just incredibly close to my home language. But this also means it can be difficult to understand because Dutch is so “pure”. Also, because I don’t technically speak the language, puns and idioms would completely go over my head and I wouldn’t understand the jokes. So I’m left with english being the best to read.

So of the small selection, my favourite right now is ‘Tough Luck Vito’.

I only got into Spirou very recently though. But I did grow up with other Franco-Belgian comics and I think they influenced me more than Spirou has simply because they’re such a big part of my childhood and growing up.

Specifically Tintin, obviously. My favourite Tintin album is ‘Tintin in Tibet’


And just as importantly and probably a series I read even more than Tintin, Asterix. It’s difficult to choose a favourite Asterix album. But I really like ‘The Secret Weapon’ although ‘Asterix and Son’ probably influenced me more because I read that one a lot more as a child. As well as ‘The Magic Carpet’ although now that I’m older it’s not one of my favourites any more.

I also grew up with ‘Asterix Vs Caesar’ which I had on VHS, having taped it off of TV when it was on the one day. I watched that a lot.

I just bought my very first Valerian and Laureline book yesterday! :D I hope I will enjoy it!

The bookstore has so many Franco-Belgia comics but I don’t really know where to begin. I’m not overly interested in Lucky Luke or Iznogoud. But I don’t know which ones that look good are something I’d like.

medacris  asked:

Thank you so much for including manga in your cover scans. I feel like a lot of comic websites leave out non-superhero western comics, webcomics, Franco-Belgian comics, and manga in their coverage, and it's a damn shame, because it's all comics to me, and there's great art and storytelling in every culture, if you're willing to look.

We’re glad to hear that!

To be honest, for me i’m not really a big anime guy and i’m more likely a comic book guy, but i kind of tired of post just Marvel & DC comics every day like the most others does this nowadays, so i’m try to do something different that no one have done this before (which i’m pretty sure the others had done it before us) and i want to post these covers that no one ever heard of it, we definitely would love to queue any different graphics whatever its comic books, manga, a books, webcomics, anything! After all, this is an art of the cover, not just an art of the comic book. If you got a request, let us know!

~ Max