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Back in the present after their adventures through time, Spirou and Fantasio try to pick up their life where they left it. But the magazine refuses to publish Fantasio’s account of their extraordinary journey, and he falls into depression. Until, that is, the bizarre and annoying Snuffeller reappears, bearing a call for help from Aurélien de Champignac, ‘their’ count’s descendant. A trip to the future appears in order – but what terrible discoveries await our intrepid reporters?
Arriving back at Champignac after their resounding victory over Zorglub and his Zorglmen – poor souls enslaved by a terrible will-negating wave – Spirou, Fantasio and the count discover the entire village paralysed! Another potential use of the zorglwave, and a sign that Zorglub’s remorse and his promise to free all of his men may not have been entirely sincere. Discovering the truth will take time, though, and send our friends on a trip far from home...
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.
Spirou and Fantasio are hired by a doctor to escort some of his patients. Their ailment? An apparently incurable case of the hiccups. His solution: Send them on the most insane adventure ever and scare the hiccups out of them! Since he offers to pay for their expedition, the two fearless reporters agree to take the patients with them as they attempt to locate two explorers lost in 1938 near the Nepalese border... in the middle of a war!
A collection of comics featuring the adventures of reporter Spirou, his friend Fantasio, and his pet squirrel Spip, who return from a trip to Bangkok only to be sent to Australia in search of a fabulous treasure.
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.
Through the combination of text and images, comic books offer a unique opportunity to explore deep questions about aesthetics, ethics, and epistemology in nontraditional ways. The essays in this collection focus on a wide variety of genres, from mainstream superhero comics, to graphic novels of social realism, to European adventure classics. Included among the contributions are essays on existentialism in Daniel Clowes's graphic novel "Ghost World," ecocriticism in Paul Chadwick's long-running "Concrete" series, and political philosophies in Herge's perennially popular "The Adventures of Tintin." Modern political concerns inform Terry Kading's discussion of how superhero comics have responded to 9/11 and how the genre reflects the anxieties of the contemporary world. Essayists also explore the issues surrounding the development and appreciation of comics. Amy Kiste Nyberg examines the rise of the Comics Code, using it as a springboard for discussing the ethics of censorship and child protection in America. Stanford W. Carpenter uses interviews to analyze how a team of Marvel artists and writers reimagined the origin of one of Marvel's most iconic superheroes, Captain America. Throughout, essayists in Comics as Philosophy show how well the form can be used by its artists and its interpreters as a means of philosophical inquiry. Jeff McLaughlin is assistant professor of philosophy at Thompson Rivers University in Kamloops, British Columbia."
By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.
The debut volume in an ongoing series of historical adventures focusing on the various branches of the fictional Crogan Family Tree. In CROGAN'S VENGEANCE, "Catfoot" Crogan is an able-bodied mariner plying his trade for a dastardly "legitimate" captain with a grudge against Crogan for a slight committed well before he was born. But when his ship is taken by pirates, will Crogan stay loyal to his law-abiding, if despicable, captain or will he find a new life on the high seas living by the "Pirate's Code"?
In English-speaking countries, Francophone comic strips like Hergés's Les Aventures de Tin Tin and Goscinny and Uderzo's Les Aventures d'Asterix are viewed—and marketed—as children's literature. But in Belgium and France, their respective countries of origin, such strips—known as bandes dessinées—are considered a genuine art form, or, more specifically, "the ninth art." But what accounts for the drastic difference in the way such comics are received? In Masters of the Ninth Art, Matthew Screech explores that difference in the reception and reputation of bandes dessinées. Along with in-depth looks at Tin Tin and Asterix, Screech considers other major comics artists such as Jacque Tardi, Jean Giraud, and Moebius, assessing in the process their role in Francophone literary and artistic culture. Illustrated with images from the artists discussed, Masters of the Ninth Art will appeal to students of European popular culture, literature, and graphic art.