Cartoon in Argentina
Argentina is through comics one of the countries with the highest production worldwide and the most important in Latin America, experiencing its "golden age" between the 1940s and 1960s. Shortly after, in 1970, the theoretician Oscar Masotta synthesized his contributions in the development of his own models of action comics (Oesterheld, Hugo Pratt), comics (Roberto Battaglia, Divito, Quino) and folkloric (Walter Ciocca) and the presence of four great cartoonists (José Luis Salinas, Arturo del Castillo, Hugo Pratt and Alberto Breccia).
Argentine comics also have important representatives of international fame; At least throughout the 20th century, Argentine graphic humor has occupied a prominent place in the genre, thanks to artists like Quino, with his famous character from Mafalda, Guillermo Mordillo and Roberto Fontanarrosa. In the fictional comics, Héctor Germán Oesterheld and Francisco Solano López stand out with the work El eternauta. In children's cartoons, the work of Manuel García Ferré is relevant, with characters such as Hijitus and Anteojito, as well as cartoon magazines and films.
It is also worth noting the important tradition of comic book publications that have been very important in the world of comics in Spanish, as is the case of Fierro.
History
The comic begins its history in the country at the end of the 19th century, in the magazine Caras y Caretas, where the first illustrated stories appear and the inclusion of dialogue balloons in the drawing. The comic will continue to develop in the country until reaching its highest level between the 1940s and 1960s, the so-called "Golden Age". After this stage, the national comic will decline until reaching the point of not existing any publication of the genre in the 1990s (except for the authors who were self-published). Since the 2000s, an attempt has been made to revalue the genre, through compilations of old comics. A significant event has been the return to the newsstands of the mythical magazine Fierro, which has the most recognized authors in the country.
The beginnings in the satirical press
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At the end of the XIX century, a group of important European illustrators (mainly French and Spanish) who had trained in caricature and satire would begin to develop their work in the following publications in Buenos Aires:
- The Mosquito, a Sunday newspaper with "satírico-burlescas" characteristics, whose first copy came out on May 24, 1863 and the last, July 16, 1893. The graphic part, the main attraction of the newspaper, consisted of cartoons of the characters and facts of the moment. His most renowned collaborators were Meyer and Henri Stein.
- Don Quixote of the Spanish Eduardo Sojo, published between August 16, 1884 and November 1, 1905, which was dedicated to the publication of a critical and mordaz political humor with the power of the time, which brought pressures, kidnappings of copies and censorship, and even Sojo was imprisoned on some occasions. Among the magazine's feathers were Sojo himself, Manuel Mayol, already towards the end of the publication, Manuel Redondo.
- PBT published since September 24, 1904 by Eustaquio Pellicer housed in his pages the works of artists such as Manuel Mayol, José María Cao, Sanuy, Navarrete, Fortuny and writers such as Bosco, Molina, Castro Rivera, Eusebi, among others.
A new language
The magazine Caras y Caretas founded by Eustaquio Pellicer in 1898 and directed by Fray Mocho will be the first where, in addition to political satire, folksy stories begin to be seen. In 1912, the first comic strip that echoed American novelties was published, as it incorporated fixed characters, continuity and dialogue balloons: It was the strip Viruta y Chicharrón, whose author is uncertain. Some maintain that at the beginning it was made by the American author George McManus and would later be continued by Manuel Redondo, Juan Sanuy or both and others who assign its authorship to Manuel Redondo, and even another version affirms that the authors were Manuel Redondo with the collaboration of Sanuy, the characters being "the vernacular version of SpareRibs and Gravy, two characters by Geo Mac Manus". A year later, Redondo's comic strip called Sarrasqueta was published, also in Caras y Caretas, which remained until the author's death. This (the publication of the strips in Caras y Caretas) gives Argentine comics a distinctive feature: in general, the comic is born on the pages of a newspaper, while in this case it appears in a specific magazine and representative of humor, graphic and written.
Already in 1916 and in the magazine El Hogar, Las aventuras del Negro Raúl by Argentine Arturo Lanteri appeared. The character was characterized by aspiring to a life that his social condition does not allow him to achieve. This comic did not have balloons but texts, rhymed quatrains, at the bottom of the drawing.
Also this year, in PBT magazine, Adventures of a still unbaptized marriage was published, later called Las aventuras de Don Tallarín y Doña Tortuga, a work by Oscar Soldati, with a unprecedented technical and thematic proposal in the country. In 1918 Mundo Argentino published Las aventuras de Tijerita, by Lanteri.
Founded in 1919 by Constancio Vigil, Billiken was the first children's magazine to include comics. In its pages you could see works by Gastón Leroux, Fola, Vidal Dávila and American comics, even being the first to publish Superman.
The gaucho cartoon
The gaucho and the thematic content that revolves around him have permeated and shaped Argentine popular culture; the comic has not remained alien.
At the beginning of 1914, Sinforiano Charabón, his gaucho adventures, was published in the magazine Mundo Argentino. In the strip the North American origin of the same one was perceived, by marks in the clothing, the environmental references and the animals that were presented. However, the subtitle explicitly alluded to the figure of a national symbol. The combination of these elements would be notoriously implausible.
The publication made by the Haynes publishing house, stimulated the spirit of Argentine cartoonists. There was a lot in the history of the country linked to these characters, also literary works -such as Martín Fierro and the novels of Eduardo Gutiérrez- focused on them. The time had come for the gauchesca to enter the realm of comics.
In this aspect, the following works and cartoonists stand out:
- Enrique Rapela, create for The Reason, Cyril, the Audaz in 1939. Subsequently, The Huinca (1957) and Fabian Laws They come out in the newspaper La Prensa.
- Raúl Roux author of The Llanos tiger published in the newspaper Critica, in 1929. It will later be dedicated to adventures in the desert and border areas with Lance and Fierro a fierro.
- Walter Ciocca, performs in folletin format Lindor CovasIn the last half of the 1950s for the newspaper La Razón. Between 1953-1958, published Argentine Fort in Misterix.
- Carlos Casalla and Julio Álvarez Cao, drew Corporal Savinowhich made its appearance in 1951, on the pages of The Reason.
The popularization of the comic strip
In this decade, precisely in 1920, La Nación became the first Argentine newspaper to publish comics. The chosen work was Bringing Up Father by George McManus, translated as Little delights of married life and its protagonists as Trifón and Sibebuta .
In the magazine El Hogar and published by Lanteri, the successful Aventuras de Don Pancho Talero appeared in 1922, from which two successful films based on the character later emerged.
The rise of the medium is evident considering that almost every current affairs magazine of the decade contained comics. The magazines El Suplemento should be mentioned first: Panitruco (drawings by a newcomer Dante Quinterno and script by Leroy); The Weekly Novel: Página del Dólar (1923) (sponsored by the cigarette brand Dollar) and La Familia de Don Sofanor (1925) by Arístides Rechain, Andanzas y desventuras de Don Manolo Quaranta (1926), the first character created by Dante Quinterno, La barra de Candelario by Gutiérrez and Pepinito and his girlfriend by González Fossatt; Argentine World: Anacleto (1924) by Lanteri, Firulete y Retacón (1924) by González Fossat and Quinterno's first hit, Don Fermín (later Don Fierro); Women: Pantaleon Carmona (1927) by Messa and Las hijas de Pastasciuta (1928) by Oscar Soldati.
In 1922, Páginas de Columba was born, by the Argentine cartoonist Ramón Columba, who gave rise to the development of local artists. It is in this magazine where Jimmy and his pupil (1924) by Gónzalez Fossat is published, considered the first sports comic and which was also the precursor of the classic continuará, thus marking that the story had continuity in the issue. following and it was not about isolated stories. From this publication in 1928 came the first magazine that contained only comics: El Tony.
Noticing that the publication of Bringing Up Father was successful, those responsible for the newspaper La Nación decided to include a second work of the genre in 1926: Betty by Charles Voight.
The first issue of El Tony (successor to Páginas de Columba) appeared on September 26, 1928. It is a 16-page weekly, printed in colored ink. The project was to publish adaptations of famous adventure novels: a task that falls mainly on Raúl Roux. On October 19, one of the most important characters in Argentine comics makes his appearance: the Indian Patoruzú. He does it as a secondary character in the strip The Adventures of Don Gil Contento (previously called An optimistic porteño ) published in Crítica that is published shortly after and its author, Dante Quinterno moves to the newspaper La Razón.
In 1929, Crítica also published a serious comic strip: El Tigre de los Llanos, a work by Raúl Ramauge in which the life of Facundo Quiroga was narrated using large text boxes, but without using speech bubbles. The series of Argentine stories by this author are completed: La estancia del ombú, Marta Riquelme, Martín Fierro and Life of Manuelita Rosas.
Already in the 1930s, the newspaper La Opinión published Ramona, a strip signed by Lino Palacio (who in 1934 published Don Fulgencio in La Prensa) and Caras y Masks presents The misadventures of Maneco by Linage, a character of some popularity at the time.
El Diario Crítica became the first to publish a color comics supplement in 1931 and at that time was the Spanish-language newspaper with the largest circulation with 352,432 copies. During that year the newspaper suffered a closure that would be up later. The same year the strip Don Julián de Montepío, by Quinterno, is renowned due to the popularity of a secondary character: Patoruzú, who becomes the star of the publication that takes his name in August.
In 1935, Quinterno changed his characters again, this time to the newspaper El Mundo and at the same time founded the first union of cartoonists in the country: the Dante Quinterno Union.
A year later, Quinterno released a magazine that he named after his most famous character, the first issue of which sold out the same day it appeared. At the beginning it includes compilations of the strips that appeared in El Mundo and then new ones begin to be produced, while the magazine is completed by other creations: Hernán, el Corsario by José Luis Salinas, Ventajita by Blotta y Juliá, María Luz de Battaglia, as well as various characters created by Eduardo Ferro (Bólido, Pandora, Tara Service, among others). Patoruzú also had articles that completed the publication.
The year 1937 saw the birth of a new humorous series in the magazine Aquí está!: Conventillo, the work of Héctor Torino. This strip changed its name several times during the forty years of its existence and included the appearance of a popularly recognized character: Don Nicola. That same year, a new magazine came to light: Pif Paf, which broke with the comic strip model with extensive literary descriptions of the action (present in El Tony) with a new format and page layout. of the series.
The golden age (1943-1960)
For the theorist Oscar Masotta:
In the mid-1940s the publication of three magazines begins a new era, a age of gold which will not last far beyond the entrance of the sixties: Rico Type (1944), Patoruzito (1945) and Intervalo (Editorial Columba, 1945). Upload the sales figures immediately. An Argentine trade union, Surameris, which is associated with the Editorial Abril, will be commissioned in the early 1950s to bring the country to the Italian group of Pratt and Ongaro.
Oscar de Majo adds:
But, fundamentally, the beginning of the Golden Age it marks the appearance and consolidation of the comic "seria", "adulta", that will be worth the mote of "literatura drawn", and that it rests on the foundation, in 1945, of the magazine Intervalo, also of Editorial Columba, that comes to fill the "bache" and completes the specter that is given with Billiken, for the boys; Patoruzito, for the young, and Intervalo, for the adults.
One of the turning points in the way of making comics that characterized this period was a consequence of the urgency to speed up editorial production, standardizing the series. This fact was the emergence of a new role: scriptwriter, a task that fell into the hands of writers, journalists and advertising editors, who lacked a comics technique: Vicente Barbieri, Isaac Aisenberg, Conrado Nalé Roxlo and Manuel Peyrou. There was still no awareness of how a relationship between scriptwriter and cartoonist could be structured. In part, this could be seen in the excessive size of the text blocks that sometimes pushed the drawing into the background. Leonardo Wadel is, on the contrary, one of the first screenwriters to break away from this conception of the comic as a subsidiary language of other genres. In 1936 he began to publish the series Kharú, the mysterious man with drawings by Carlos Clemen in Mustafá magazine.
In November 1944, one of the magazines that had the most repercussions in the graphic medium began to be published: Rico Tipo. Its creator, Guillermo Divito, had until then been part of the Dante Quinterno publishing house and decided to summon Oski, Ianiro and Liotta for this undertaking. The characters in the magazine, all created by Divito, were faithful reflections of the society of the time: Doctor Merengue, the girls, Fúlmine, Bombolo and Falluteli, among others.
At this time, adventure stories with more realistic graphics also began to be published. This is the case of the series Kid, from Río Grande (1942) by Alberto Breccia and Miguel Strogoff and The Ivory Coast (adaptations of the work of Jules Verne and Emilio Salgari, respectively), by José Luis Salinas.
On April 13, 1945, the first issue of a new magazine from Editorial Columba appeared: Intervalo, in which comic strips based on literary models (mainly the serial) were published, lacking a script, being a mere textual reproduction or a abstract embellished with illustrations; the text repeated what the images already showed, even without using the balloon of the comics, using only epigraphs or long runs of bullets occupied only with words. These comics, however, were such a success that in 1951, together with Intervalo, Intervalo Extra began to appear, dedicated exclusively to adaptations of universal literature.
In October, Dante Quinterno brings to light a new comic weekly: Patoruzito (it included in its central pages the children's version of Patoruzú, created by Tulio Lovatto and Mirco Repetto), all made by cartoonists from the country and with two themes main: action and adventures. Shrimp by Eduardo Ferro, Rinkel by Lovatto, Implacable Wrath by Raúl Roux, the Paprika Gnome by Oscar Blotta, among others, were the humorous stories that made up the publication. Within the serious comics, Vito Nervio stood out, initially made by Augusto Cortinas (scripts) and Mirco Repetto (drawings) and after 1946 by Leonardo Wadel and Alberto Breccia.
Cesare Civita, for his part, installed Editorial Abril in the country and launched the Salgari magazine in 1947, where the character Misterix (of the Ongaro-Campani duo) became so popular that in 1948 he decided to publish his own magazine, al Initially containing material of Italian origin to gradually add works by national authors.
1950s
In July 1950, Abril also launched the Cinemisterio magazine, while Columba published the first issue of Fantasia, the small magazine of great comics whose subtitle refers to the size of the magazine, known like pocket.
In 1951, precisely in the Cinemisterio magazine, the man who would become one of the most important screenwriters in the country published his first work: Héctor Germán Oesterheld. At the same time, another editorial was added to the publication of comics with a monthly magazine: Pimpinela (most of the magazines were weekly). In it, Duval and Gordon from Wadel and Vieytes stands out. The following year, what would be Oesterheld's first success was published: Bull Rocket, with drawings by Paul Campani in Misterix magazine. In 1953 another of the screenwriter's best-known works began to be published in the same magazine: Sergeant Kirk, together with the Italian cartoonist Hugo Pratt. In 1954, a new Códex magazine burst onto the scene: Kittens, dedicated to children and with the collaboration of Oesterheld. That same year, within Pimpinela a supplement appeared, Sabú, drawn by Carlos Roume and scripted by the prolific screenwriter Leonardo Wadel.
In 1955, Oesterheld created Editorial Frontera together with his brother Jorge. They publish fictionalized versions of Bull Rocket and Sergeant Kirk. Two years later, the editorial's first magazines came out: Frontera and Hora Cero, which were published monthly and had the characteristic of containing self-contained stories. Most of the scripts are done by Oesterheld and he has numerous cartoonists. On September 4, Hora Cero, Suplemento Semanal dedicated to continued stories appears (Since 2005, Comic Book Day has been celebrated on September 4 in honor of the publication). It is in this magazine that it begins to be published El Eternauta, a classic of Argentine comics, with a script by Oesterheld and drawings by Francisco Solano López.
That same year Columba released a new magazine: D'Artagnan and Landrú launched his own magazine that would bear the name of one of his characters: Tía Vicenta, dedicated to humour.
The end of the decade brings with it the closure of some publishers and a change of conception regarding the importation of foreign material, which is no longer so required by the comic book reading public. From that moment on, the production becomes local and related to the tastes of a new generation of readers. Innovations are then produced that constitute novelties in the articulation (or opposition) between drawing and text, or between story and graphic sequence.
The Slow Decline (1961-1983)
In the 1960s, the Argentine comic is marked by two contrary factors: on the one hand, this period marks the beginning of a decrease in the production of material and a weakening of the industry. Oesterheld's editorial adventure (Editorial Frontera) ended in 1963 with the number 77 of Hora Cero "Extra" and the rights of his characters pass to Editorial Ramírez. Large publishers such as those published by Misterix and Rico Tipo also suffered an impact. Among others, the factors of decline were:
- The massive entry into the country of Mexican magazines (mainly Editorial Novaro) at a much lower price and better quality.
- The invention of television (this factor is given worldwide), which became the fashion and it was free.
- The departure to Europe of the best drawers (where they have greater opportunities and better pay) has an impact on a decline in artistic quality.
Columba is the only publishing house that survives this crisis by maintaining its traditional publications, but sacrificing the quality of the edition and spacing out the periodicity of its publications: the weekly ones became biweekly or monthly. He also replaced continuing comics with stand-alone stories.
However, not everyone agrees with this vision. This is the case of Argentine comic strip legend José Massaroli, author of the gaucho comic strip Juan Moreira (1983) and cartoonist in environments as diverse as Disney, Marvel, Editorial Columbia, Ediciones Récord, Producciones García Ferré, Historietas Sex, Satiricón, Caras y Caretas and La Voz newspaper. In the opinion of José Massaroli, the '70s were the golden age of Argentine comics, since there was a very high artistic level and the demands of the editorial managers made it necessary to always offer the public a product of the highest quality.
On the other hand, and since the last years of the previous decade, the Argentine comic strip had begun a process of reformulation, of formal innovations, which gradually provided it with features that gave it its own individuality, different from other traditions. Led by cartoonists such as Alberto Breccia, Francisco Solano López, Hugo Pratt, Daniel Haupt and Gustavo Trigo, an expressionism is introduced that manifests itself, among other features, in the syncopated cultivation of contrasts of tone; in the bare line; in the definition of extreme facial and body types; in the permanent installation of details that refer to the terrible or the grotesque. But these traits do not make up a style, a novelty (expressionism had been present in world comics for a long time: Krazy Kat, The Spirit, Dick Tracy). The Argentine innovation consisted in the articulation of this style of drawing with novelistic narratives, adventures that involved complex psychological motivations. The main scriptwriter at this time and who laid the foundations for the new way of narrating was Héctor Germán Oesterheld. Between 1962 and 1964, Oesterheld, together with Alberto Breccia, formed a pair of innovators to create one of the most recognized characters in Argentine comics: Mort Cinder (published in Misterix), a subject who constantly dies and is resurrected.
It is also in this decade that another of the Argentine cartoon icons will emerge: Mafalda, by Quino. This strip, which was designed to advertise a line of household appliances, makes its debut on the pages of Primera Plana on September 29, 1964. In 1965, due to differences with the editors, Quino transferred his strip to the newspaper El Mundo, with a large circulation nationwide. A year later Mafalda multiplied in newspapers throughout the country and also in Uruguay and towards the end of the year the first compilation book was published, sold out in two days. In 1968, after the closure of El Mundo, reappears in Siete Días and is also published in Italy. By 1971 the strip was already translated into several languages: Portuguese, English, German, Danish, Swedish and Flemish. Two years later, on July 25, the last strip was published, by irrevocable decision of its own author. After this only occasional drawings will appear (for example, the ones Quino did for the Declaration of the Rights of the Child campaign organized by UNICEF in 1977)
In 1966 a cartoonist made his debut, although Paraguayan, with a long career in Argentina: Robin Wood. He does it in the D & # 39; Artagnan magazine together with the cartoonist Lucho Olivera with a cartoon called Here the withdrawal . A year later, the same duo publishes the first episode of their successful play, Nippur de Lagash.
In that same year, the government closed the magazine Tía Vicenta, after jokes appeared with the physical appearance of then-president Juan Carlos Onganía.
In October 1968, in line with the new global awareness of the medium, the Di Tella Institute of Buenos Aires organized the First World Comic Book Biennial, with representation from the countries with the highest cartoon tradition worldwide: Argentina, the United States, Brazil, Japan, Italy, France, England and Spain. The exhibition put Argentine artists on the international scene and made them known in circles outside of comics. In addition, the magazine LD (Drawn Literature), founded by Oscar Masotta, appeared. Although short-lived (3 issues between November 1968 and January 1969), it represented the first magazine to publish essays, comments, and criticism on comic strips.
Also that year, Oesterheld and Alberto Breccia collaborate again, this time adding the latter's son: Enrique. Together they create Che, the life of Che Guevara, for the editorial Jorge Álvarez. However, the government censors the work and suspends its circulation, seizing the originals.
In 1969, in the magazine Gente Héctor Oesterheld and Alberto Breccia made a second version of El Eternauta. However, the editors of the weekly are not very satisfied with the comic and decide to stop publishing it, thus forcing Oesterheld to summarize the argument to end it.
1970s
In 1972, a publication dedicated to humor appeared in the city of Córdoba: Hortensia. With a local start, the magazine would have a national impact. The same year, on November 1, Satiricón began to be published, also dedicated to humor.
In 1973, the Clarín newspaper decided to renew its back cover, hiring young authors such as Caloi, Crist, Sendra. That same year, on June 25, one of the most recognized Argentine strips in the world, Mafalda, came to an end.
A year later, a new magazine dedicated entirely to the genre appeared, Skorpio, owned by Ediciones Récord, directed by Alfredo Scutti. The magazine had as collaborators a large part of the most recognized artists in the country. In this same magazine, but in 1975 (precisely in number 15), the section "The comic strip club", whose managers were the scriptwriters Carlos Trillo and Guillermo Saccomanno, began to be published. This section published essays and comments, giving rise to critical production. The same authors will also carry out the section called "History of the Argentine comic strip", which was published in the form of chapters in the Tit-Bits magazine and later gathered in a book.
In October, the government of María Estela Martínez de Perón closed the magazine Satiricón. The editors resort to the courts and meanwhile launch a new magazine, more moderate in tone than its predecessor: Chaupinela.
In July 1975, the first strip of El loco Chávez, scripted by Carlos Trillo and drawings by Horacio Altuna, was published in the Clarín newspaper. It quickly becomes popular.
Between October and December 1976, already under the orbit of the self-styled National Reorganization Process, eleven installments were published, containing the 350 installments of El Eternauta, in its original 1957 version, which in turn works as a prologue to the serialization of its second part, whose scripts are written by Oesterheld and drawn by Francisco Solano López. Oesterheld at that time was already participating in the Montoneros guerrilla organization, which is reflected in the pamphleteering character of the comic, unlike the original work. Even more, he finished writing the script in hiding.
During those years, the brothers Ricardo, Enrique and Carlos Villagrán together with the writer Robin Wood founded the Nippur IV studio that would become authors and producers of a large number of comic book characters, including chapters of Nippur de Lagash, Kayan, Mark, Or-Grund and The Adventurers among others. Within the Los aventureros strip, the female character Storm was born, later evolved into the homonymous Star who would become chronologically one of the first weighty heroines in Argentine comics. A large number of national artists would pass through the Nippur IV studio (later called "Estudio Villagrán" after the departure of Robin Wood, who would bequeath several of his series to the screenwriter Armando Fernández). and international.
On April 27, 1977, Héctor Germán Oesterheld was kidnapped by dictatorship forces. It is presumed that a year later he was assassinated. On April 30 of that same year, the last issue of Patoruzú magazine came out.
In June 1978, a new magazine, Humor, went on sale that pretended to be a different voice of opinion within a panorama of censorship by the country's government. At the head of the undertaking was Andrés Cascioli with Ediciones de la Urraca.
A year later Las puertitas del Sr. López began to be published in El Péndulo, a series that later fell to Humor. Editorial Columba launches a new publication Nippur Magnum, the new home of the popular Nippur of Lagash and other characters such as Dennis Martin, the magazine maintained the format of the other magazines of the editorial.
In 1980, Clarín became the first newspaper to publish only national production by replacing the American strip Mutt y Jeff with Teodoro y Cía.
The Surviving Cartoon (1984-present)
September 1984 saw the birth of a new magazine entirely dedicated to comics that would revolutionize the market: Fierro, published by Ediciones de la Urraca.
In 1986 the magazine TRIX hemocomics would appear in San Miguel de Tucumán, a reflection of Tucuman's passion for comics.
In October 1989 Comic Magazine began to be published, the first professional magazine specialized in comics. It had an irregular appearance and was never installed, but it filled a vacant place that would later be filled by other publications, coverage of the comic strip as a genre and topics related to it, such as film and television.
With the cheap dollar, foreign comics become accessible. American superheroes and later manga flood the market. The imported editions are more luxurious than the national ones, and in relation cheaper. It is increasingly difficult for the Argentine comic to survive in the market.
In December 1992, two events occurred, both in Ediciones de la Urraca, which marked the decline of interest in native comics. After 100 issues, Fierro magazine ceases to be published. At the same time, Cazador is launched, in its own magazine in comic-book format. Anthology magazines give rise to comic-books, a predominant format from the North American industry, in which almost everything that is done in Argentina would be published.
In 1993, the first issue of El Lápiz Japonés appeared, an independent publication by Diego Bianki and Sergio Langer; the team would be completed with Sergio Kern, Ral Veroni and Elenio Pico.
In May 1994, the first issue of Comiqueando, a magazine specialized in the medium, appeared.
Between 1995 to 1999 the independent annual publication ¡Suelteme! Founded by Martín Pérez and Liniers, Diego Parés, Podetti, Pablo Fayó, Pablo Sapia and Max Cachimba would soon join the team responsible for this project.
The last issue of Skorpio came out in January 1996. Columba's magazines survived for some time, increasingly recycling already published material. Between November 7 and 10, Fantabaires was held, the first Convention of Comics, Graphic Humor, Science Fiction and Terror.
In 2000, the newspaper Clarín included El Eternauta in its collection La Biblioteca Argentina / Serie Clásicos. He was number 24 along with works such as Martín Fierro and authors such as Borges, Sábato or Cortázar. In this way, the work of Oesterheld and Solano López in particular and the comic strip in general receive important recognition by being placed together with the most important of Argentine literature. The same year Editorial Ivrea publishes the Ultra magazine in which 3 comic series were serialized; however, the magazine stops being published after 4 issues, leaving all the stories unfinished.
A year later Columba closes. In the middle of the previous year she had canceled all the titles he had published for decades. Trying to adapt to the new trends, he launched a series of comic-books with some of his best-known characters, however, the low sales force the publications to be lifted and the last issues come out in May. Thus, he closes the publishing house that published comics in the country for the longest time.
In 2003, Sergio Langer and Rubén Mira published "La Nelly" in the Clarín newspaper, a satire on the middle class that revolves around a single, retired woman with a strong and pragmatic character. The publication of this strip would last fourteen years.
In 2006, the Museo de Bellas Artes de Chile paid homage to the Argentine comic strip, which influenced and was a pioneer in all of Latin America, holding three exhibitions of it in Santiago, Chile. The Museum of Drawing and Illustration of Buenos Aires sends important material for the exhibitions, which had a great impact on the public and on the press and cultural media in general.
In 2007, José Muñoz, a cartoonist who began making the backgrounds for El Eternauta, won the Grand Prix of the city of Angouléme, France. This award gave him the right to preside over the 2008 Festival and in it he organized a sample of homage to the Argentine Cartoon. Said sample was curated by the editor Giustiniano Zuccato and was exhibited at the Musee de la Band Desinee between the months of January and August 2008. This sample counted on the contribution of the Museum of Drawing and Illustration of Buenos Aires, which sent 80 originals of the most important artists of Argentina.
Featured Writers
- Armando Fernández
- Carlos Casalla
- Carlos Sampayo
- Carlos Trillo
- Copi
- Dante Quinterno
- Eduardo Mazzitelli
- Emilio Balcarce
- Guillermo Sacomanno
- Héctor Germán Oesterheld
- Horacio Altuna
- José Luis Salinas
- Juan Sasturain
- Leonardo Wadel
- Néstor Barrón
- Ray Collins
- Ricardo Barreiro
- Robin Wood (birth umbrella, became a recognized artist in Argentina)
Featured cartoonists
- Alberto Breccia (born in Uruguay but grew professionally in Argentina)
- Alberto Salinas
- Alfredo Falugi
- Angel Borisoff
- Ariel Olivetti
- Ayar Blasco
- Carlos Roume
- Carlos Villagrán
- Copi
- Dante Quinterno
- Divito
- Mandrafin Sunday
- Eduardo Risso
- Enrique Alcatena
- Enrique Breccia
- Enrique Villagrán
- Esteban Podetti
- Fernando Sendra
- Francisco Solano López
- Gustavo Sala
- Horacio Altuna
- Horacio Lalia
- José Antonio Muñoz
- José Luis Salinas
- José Massaroli
- Juan Giménez López
- Ricardo Siri Liniers
- Lino Palacio
- Lito Fernández
- Lucho Olivera
- Maitena
- Manuel García Ferré
- Marcelo Sosa
- Max Cachimba
- Oscar Blotta
- Oscar Chichoni
- Oscar Conti
- Quino
- Ramón Gil
- Ricardo Villagrán
- Roberto Fontanarrosa
- Sergio Langer
- Sergio Mulko
- Siulnas
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Data: Q2882212