Deep inside the Palombian jungle, a rickety old boat sails up a sluggish river. On board is one of the world’s most famous hunters, and he’s vowed to be the first to capture a Marsupilami. But that’s no easy prey. The long-tailed creature is smart – much smarter than any human believes. And an alliance with the local natives isn’t going to be much help: they hate the Marsupilami who keeps outwitting them, and they’re desperate to find out what he tastes like...
Readers of Spirou already know the Marsupilami - that lovable creature with the nature-defying tail. Here, in his own series, we follow the Marsupilami's life in his natural habitat. And his adventures are as funny as ever!
Readers of Spirou already know the Marsupilami - that lovable creature with the nature-defying tail. Here, in his own series, we follow the Marsupilami's life in his natural habitat. And his adventures are as funny as ever!
In the rain forest of South America lives a legendary creature: friendly, playful, intelligent ... and with a simply extraordinary tail. The 5th adventure of the Marsupilami, one of the most endearing creations of a comics genius ...
Spirou and Fantasio’s friend, the Count of Champignac, asks them to join him in Australia, where he has heard that an ancient monolith is still standing. When they arrive, Champignac’s colleague Walker Donahue informs them that Champignac has been abducted by local gangster Sam. The monolith they’re after stands in the vicinity of an aboriginal mining village, which is constantly prey to white prospectors trying to steal indigenous resources. Spirou and Fantasio must save Champignac from Sam’s clutches and help him find the legendary monolith while standing by the aboriginal people.
This is a collection of darkly comic standalone strips by a cartoonist Herge (Tintin) idolized. Die Laughing, which is executed in stark black and white, takes aim at everyone and everything in its scathing critique of modern life, but is particularly ruthless toward animal abusers, the military industrial complex, and death penalty enthusiasts. Franquin’s loose but meticulous line work features expressionistic shadows and silhouettes that infuse his depressed, repressed, and oppressed characters with a disturbing manic energy. Die Laughing is filled with visual gags and gag-inducing visuals that will haunt you.
Readers of Spirou already know the Marsupilami - that lovable creature with the nature-defying tail. Here, in his own series, we follow the Marsupilami's life in his natural habitat. And his adventures are as funny as ever!
Belgium, 1955. A mysterious animal is caught in the jungles of South America and transported to Europe on a cargo ship, where it ends up starving and half-dead on the outskirts of Brussels. François, a young boy with a fondness for taking in strays, finds it and brings it home to his mother and his menagerie—his best and only friends. As the son of a departed German soldier, François is the favorite target of every bully in school. Nobody can identify the strange creature with the voracious appetite and the stupendously long tail, and François figures his new pet is perfect for show-and-tell... But with a wild beast and a small classroom, things quickly get out of hand. Will this spell the end for François's new animal friend? The real story of the legendary Marsupilami!
This anthology explores tensions between the individualistic artistic ideals and the collective industrial realities of contemporary cultural production with eighteen all-new chapters presenting pioneering empirical research on the complexities and controversies of comics work. Art Spiegelman. Alan Moore. Osamu Tezuka. Neil Gaiman. Names such as these have become synonymous with the medium of comics. Meanwhile, the large numbers of people without whose collective action no comic book would ever exist in the first place are routinely overlooked. Cultures of Comics Work unveils this hidden, global industrial labor of writers, illustrators, graphic designers, letterers, editors, printers, typesetters, publicists, publishers, distributors, translators, retailers, and countless others both directly and indirectly involved in the creative production of what is commonly thought of as the comic book. Drawing upon diverse theoretical and methodological perspectives, an international and interdisciplinary cohort of cutting-edge researchers and practitioners intervenes in debates about cultural work and paves innovative directions for comics scholarship.
