Please click on the album picture to view my personal library collection on : Marsupilami
- By Franquin
|Publisher||Marsu Productions (since 1987)|
|First appearance||Spirou (31 January 1952)|
|Created by||André Franquin|
Marsupilami is a fictional comic book animal created by André Franquin, first published on 31 January 1952 in the magazine Spirou. Since then it appeared regularly in the popular Belgian comic book series Spirou et Fantasio until Franquin stopped working on the series in 1968 and the character dropped out soon afterward. In the late 1980s, the Marsupilami got its own successful spin-off series of comic albums, Marsupilami, written by Greg, Yann and Dugomier and drawn by Batem, launching the publishing house Marsu Productions. Later, two animated shows featuring this character, as well as a Sega Genesis video game and a variety of other merchandise followed. The asteroid 98494 Marsupilami is named in its honour.
Marsupilami’s adventures had been translated to several languages, like Dutch, German, Spanish, Portuguese and several Scandinavian languages. More than three million albums of the Marsupilami series are claimed to have been sold by Marsu Productions.
One album of Spirou and Fantasio featuring Marsupilami, number 15, was translated to English by Fantasy Flight Publishing in 1995, although it is currently out of print. Plans on releasing number 16 ended halfway through the translation process, due to bad sales. In 2007, Egmont’s subsidiary Euro Books translated albums number 4, 5, 7, 8, 9, 10, 11 and 14 for the Indian market.
The marsupilami is a black-spotted yellow monkey-like creature. Male marsupilamis have an incredibly long, strong, flexible and prehensile tail which can be used for almost anything. Female marsupilamis have a much shorter tail, but still long compared to real animals. Unlike the males, the females also walk on the tips of their toes. When the animal rebounds, he makes a funny noise: “Boing”. Males also have eyes that are not completely separate while females have two separate eyes. Female marsupilamis also have a totally different voice than the males. Males say “houba” most of the time, while females say “houbii”, which means the same thing as houba, but sounds more feminine.
“The Marsupilami” refers originally to the individual captured and then adopted by Spirou and Fantasio, which they never bothered to name because he was the only known specimen. The Spirou et Fantasio album Le nid des Marsupilamis is mostly concerned with a documentary-within-the-comic about the life of a family of marsupilamis still living in the wild in Palombia. The spin-off comics later drawn by Batem star those, and the title of the series now refers to the – also unnamed – father in this family, and not to Spirou’s original Marsupilami.
In these series, Marsupilami’s wife is referred to as Marsupilamie (a female version of the name) but their three young are named, respectively, Bibi, Bibu and Bobo. Mars le noir (Mars the Black) is another specimen, which first appears in the album Mars le Noir. A former captive marsupilami, he first finds it hard to live again in the forest. After failing to seduce Marsupilamie, he becomes jealous of Marsupilami and nearly gets into a fight with him. Later, he meets a black female marsupilami, named Vénus, who becomes his mate. In Baby Prinz, another specimen, an elderly male who lives in a zoo, is featured. Altogether, that comes to eight specimens in Palombia, plus Spirou and Fantasio’s pet. Marsupilamis can come in colours of yellow, yellow with black spots, dark blue, white, white with black spots, and dark blue with yellow spots. Only the yellow, yellow with black spots and dark blue marsupilami’s show up in cartoon.
Spirou and Fantasio
These albums of Spirou and Fantasio feature the Marsupilami
- 4. Spirou et les héritiers (Spirou and the Heirs, 1952). First appearance of the Marsupilami.
- 5. Les voleurs du Marsupilami (The Marsupilami Robbers, 1952, after an idea by Jo Almo). This story picks up exactly where Spirou et les héritiers ends.
- 7. Le dictateur et le champignon (The Dictator and the Mushroom, 1953)
- 8. La mauvaise tête (The Wrong Head, 1954) (Only in a short story at the end)
- 9. Le repaire de la murène (The Murena’s Hideout, 1955).
- 10. Les pirates du silence (Pirates of Silence, 1956, with Rosy (writing) and Will (backgrounds)); followed by La Quick Super (1956)
- 11. Le gorille a bonne mine (Gorilla’s in Good Shape, 1956); followed by Vacances sans histoires (Uneventful Holidays)
- 12. Le nid des Marsupilamis (The Marsupilamis’ Nest, 1957); followed by La foire aux gangsters (Gangsters at the Fair)
- 13. Le voyageur du Mésozoïque (The Traveller from the Mesozoic, 1957); followed by La peur au bout du fil (Fear at the End of the Line, 1959, with Greg (writing))
- 14. Le prisonnier du Bouddha (The prisoner of the Buddha, 1959, with Greg (writing) and Jidéhem (backgrounds))
- 15. Z comme Zorglub (Z is for Zorglub, 1960, with Greg (writing) and Jidéhem (backgrounds)). First appearance of Zorglub.
- 16. L’ombre du Z (The Shadow of Z, 1960, with Greg (writing) and Jidéhem (backgrounds)). Concludes a diptych.
- 17. Spirou et les hommes-bulles (Spirou and the Bubble Men, 1959); followed by Les petits formats (The Small Formats, 1960); both with Roba (art). These stories, along with Tembo Tabou, first appeared in a newspaper, Le Parisien Libéré.
- 18. QRN sur Bretzelburg (Q.R.N. over Bretzelburg, 1963, with Greg (writing) and Jidéhem (backgrounds)). A longer version was published in 1987 in a limited printing.
- 19. Panade à Champignac (Babysitting in Champignac, 1968; with Peyo and Gos (writing)); followed by Bravo les Brothers (Hurray for the Brothers, 1967; with Jidéhem (backgrounds))
- 20. Le faiseur d’or (The gold maker, 1970)
- 24. Tembo Tabou, (1958, with Roba (art)); followed by short stories
As well as the Marsupilami who lived with Spirou and Fantasio in many of the strips drawn by Franquin, there was another who still inhabited the wild Palombian jungle along with a mate and children. The family first featured in 1957 in the Spirou adventure Le nid des Marsupilamis (French for “The Nest of the Marsupilamis”), in which Seccotine, a journalist and rival to Fantasio, made a documentary about the life of the marsupilamis in the wild: courting, starting a family and feeding and protecting the youngsters from predators.
By the late 1960s, Franquin decided to pass the Spirou et Fantasio strip on to a new artist Jean-Claude Fournier. Franquin held the rights to the Marsupilami and would not agree to let the creature appear in any more of the Spirou et Fantasio stories. Fournier came up with a story called Le faiseur d’or (“The Gold Maker”) in which the Marsupilami played an important part. Franquin agreed to this last appearance, provided that he draw the pictures of the creature himself. Since then, however, the Marsupilami has never re-appeared in his strip of origin (though he can be seen as a stuffed toy in the Spirou adventure Virus, published in 1982).
In 1987, Franquin launched the Marsupilami series with the new publishing house, Marsu Productions, with Greg and Batem. This series featured the Marsupilami family which had appeared living in the wild in Le nid des Marsupilamis. Later, Greg abandoned the series, and other collaborators were chosen by Franquin, such as Yann, Fauche and Adam. The first published album of the series is La Queue du Marsupilami. In 2002, an album #0 was published, consisting of short stories featuring the Marsupilami, drawn by Franquin before 1987.
- 0. Capturez un Marsupilami (Capture a Marsupilami, 6/2002) (Short-Story collection). Art and story by Franquin.
- 1. La Queue du Marsupilami (The tail of Marsupilami, 10/1987). Art by Batem and Franquin, story by Greg.
- 2. Le Bébé du bout du monde (The baby of the end of the world, 6/1988). Art by Batem and Franquin, story by Greg.
- 3. Mars le Noir (Mars the Black, 3/1989). Art by Batem and Franquin, story by Yann.
- 4. Le Pollen du Monte Urticando (The pollen of Mount Urticando, 11/1989). Art by Batem, story by Yann.
- 5. Baby Prinz (10/1990). Art by Batem, story by Yann.
- 6. Fordlandia (11/1991). Art by Batem, story by Yann.
- 7. L’Or de Boavista (The Gold of Boavista, 10/1992). Art by Batem, story by Yann.
- 8. Le Temple de Boavista (The temple of Boavista, 10/1993). Art by Batem, story by Yann.
- 9. Le Papillon des cimes (The butterfly of the summit, 10/1994). Art by Batem, story by Yann.
- 10. Rififi en Palombie (4/1996). Art by Batem, story by Xavier Fauche and Eric Adam.
- 11. Houba Banana (7/1997). Art by Batem, story by Xavier Fauche and Eric Adam.
- 12. Trafic à Jollywood (7/1998). Art and story by Batem.
- 13. Le Défilé du jaguar (The fashion show of the jaguar, 9/1999). Art by Batem, story by Kaminka and Marais.
- 14. Un fils en or (A golden child, 6/2000). Art by Batem, story by Bourcquardez and Saive.
- 15. C’est quoi ce cirque !? (What’s this circus!?, 9/2001). Art by Batem, story by Dugomier.
- 16. Tous en Piste (Everyone to the ring, 6/2003). Art by Batem, story by Dugomier.
- 17. L’orchidée des Chahutas (The orchid of the Chahutas, 6/2004). Art by Batem, story by Dugomier.
- 18. Robinson Academy (6/2005). Art by Batem, story by Dugomier.
- 19. Magie Blanche (White magic, 11/2006). Art by Batem, story by Colman.
- 20. Viva Palombia (6/2007). Art by Batem, story by Colman.
- 21. Red monster (4/2008). Art by Batem, story by Colman.
- 22. Chiquito Paradiso (4/2009). Art by Batem, story by Colman.
- L’Encyclopédie du Marsupilami, published in 1991 is an “Encyclopedia” about how the Marsupilami works, not a comic book. Text is by Cambier and Verhoest, art by Batem and Franquin.
- Gaston et le Marsupilami was published by Dupuis in 1978. This album groups all the short stories featuring both Gaston Lagaffe and Marsupilami, previously published in Spirou. All these strips were then published in the album Capturez un Marsupilami.
- In December 2006, an illustrated book series featuring the marsupilami as the main character was created in the Bibliothèque Rose Collection, published by Hachette. Scenarios are taken from the animated series Mon ami Marsupilami.
- As an extremely popular character, there has been several Marsupilami cameos and tributes in Franco-Belgian comics; among the earliest in Jijé‘s series Blondin et Cirage, in the volume Les soucoupes volantes (1956), where the characters Blondin and Cirage find the creature Marsupilami Africanis, a slightly different species than the South American Marsupilamus Fantasii.
Opening title card for Marsupilami
|Written by||John Behnke
|Directed by||Bob Hathcock
|Voices of||Steve Mackall
Samuel E. Wright
|Theme music composer||Roy Braverman|
|Composer(s)||Stephen James Taylor
|Country of origin||United States|
|No. of seasons||2 (Season 1 was from Raw Toonage)|
|No. of episodes||29 (List of episodes)|
|Running time||20-22 minutes|
|Production company(s)||The Walt Disney Company
Marsu Productions (characters)
|Original channel||CBS, The Disney Channel, Toon Disney,|
|Original run||September 18, 1993 – December 3, 1994|
Disney‘s version of the Marsupilami first appeared on television in Raw Toonage in 1992, and was then spun off into his own eponymous show on the CBS network. Marsupilami’s supporting characters included Maurice the gorilla, Stewart the elephant, Eduardo the jaguar, Leonardo the lion, Norman the poacher, and other characters. The original Marsupilami stories by Franquin never encountered a gorilla or elephant, since these species are native to Africa, while the marsupilami in the comic was said to come from South America (However, in the album “Le dictateur et le champignon”, the Marsupilami escapes from his cell on a boat with a gorilla). Another change is Marsupilami can speak in difference to his comic counterpart that can only mimic sound like a parrot. In this version, Marsupilami is voiced by Steve Mackall.
A secondary segment featured Sebastian the Crab from The Little Mermaid.
A second series, this time produced in France, premiered in March 2000 and ran for 52 episodes in France’s Canal J. Produced by Cactus Animation, Marathon Production & Marsu Productions, this series more closely followed the character in the original comic.
In the first season, Marsupilami lived adventures alone, or with his family (his wife Marsupilamie and their three young, Bibi, Bibu and Bobo). For example, in one episode he saved a group of circus animals, got them back to the city and saved the circus from closing. In another, he had to go to the city again to save one of his young, captured by their constant enemy, the hunter Bring M. Backalive.
In the second season, called Mon ami Marsupilami (translated as My friend Marsupilami in the Disney Channel version), Marsupilami and his family become best friends with a human family, the Du Jardin, that comes to live near them. Amanda is a Marsupilami researcher, while her husband Jean-Pierre is a computer technician that works from home and they have two children, Teo (Leo in the Disney Channel version) and toddler Zoe. Leo and Marsupilami become best friends and they have lots of adventures, with both new friends and old enemies, like Backalive. Since then a new series called houba houba hop was made. It is the third series of marsupilami so far. In that series marsupilami finds hector and is completely different from season 1 and 2 that were made a few years. before these new seasons. This series was made with completely different style of animation then the lou dega series. Nevertheless it is called seasons 3 and 4 despite it being a completely different series. this sereis is in gergman, English and French. so far these are the three languages that its broadcasted in. this is subject to change.
This series has been broadcast in 36 countries, among them Germany (Super RTL), Belgium (RTL TVI), Canada (Télé-Quebec), Estonia (ETV), Spain (Antena 3, Disney Channel, Toon Disney and TV3), Finland (MTV3), Cyprus (CyBC), Greece (Alter Channel), Ireland (RTÉ), Italy (Italia Uno), Portugal (Prisvideo), Switzerland (TSR), Russia (THT Network), Hungary (Minimax), Slovenia (RTV), Morocco (2M Soreheads), Turkey (Yumurcak TV), Mexico (TV Azteca), Brazil (Rede Globo), Venezuela (RCTV), Indonesia (RCTI), Malaysia (TV3 and TV9), the Africa Pansat (CFI [disambiguation needed]), and Latin America (MVS), the Near East and Middle East (TV5), (E-Junior), Vietnam (HTV7), Thailand (United Broadcasting Corporation), South Korea (EBS) Iceland (Uppeldi EHF), and South Africa (SABC).
- A wax statute of a marsupilami was manufactured and exhibited at the Grévin Museum, a museum displaying realistic statues of famous personalities, along with two other famous Franco-Belgian comics characters, Tintin and Asterix.
- Many commercial products have been created by several companies: clothes (Avance Diffusion), shoes (Léomil), clocks, watches, decoration, dishes (Tropico), figurines (Pixi and Plastoy), cuddly toys (Nounours), socks (Agofroy), schoolbags (Hasbro), school products (Oberthur), linen (MCT), puzzles (Jumbo), underwear (United Labels).
- Marsupilami appears on a stamp created by the French Poste in 2003 (n° 3569).
- The official website http://www.marsupilami.com claims to have more than 25,000 subscribers.
- The Marsupilami is a fairground attraction in Asterix and the Big Fight.
- ^ franquin.com. “Franquin-Une vie-1952″. http://www.franquin.com/bio/1952.php. (French)
- ^ http://www.marsuproductions.com/pers.php?name=marsupilami
- ^ Franquin, André (w, p, i). Spirou et les héritiers: 61/1 (January 1, 1952), Éditions Dupuis, ISBN 2800100060(French)
- ^ Franquin’s official site (in French)
- Marsupilami official site
- Dossiers pdf on Marsuproductions.com (French)
- Marsumania.com (French)
- Marsupilami on Franquin.com (French)
- Save Palombia site (French)
- Marsupilami at the Internet Movie Database
- Marsupilami at TV.com
- Marsupilami publications in Le journal de Spirou BDoubliées (French)
|Born||3 January 1924(1924-01-03)
|Died||5 January 1997(1997-01-05) (aged 73)
|Notable works||Spirou et Fantasio
André Franquin (3 January 1924 – 5 January 1997) was an influential Belgian comics artist, whose best known comic strip creations are Gaston and Marsupilami, created while he worked on the Spirou et Fantasio comic strip from 1947 to 1969, during a period seen by many as the series’ golden age.
Franquin was born in Etterbeek in 1924. Although he started drawing at an early age, Franquin got his first actual drawing lessons at École Saint-Luc in 1943. A year later however, the school was forced to close down because of the war and Franquin was then hired by CBA, a short-lived animation studio in Brussels. It is there he met some of his future colleagues: Maurice de Bevere (Morris, creator of Lucky Luke), Pierre Culliford (Peyo, creator of the Smurfs), and Eddy Paape. Three of them (minus Peyo) were hired by Dupuis in 1945, following CBA’s demise. Peyo, still too young, would only follow them seven years later. Franquin started drawing covers and cartoons for Le Moustique, a weekly magazine about radio and culture. He also worked for Plein Jeu, a monthly scouting magazine.
During this time, Morris and Franquin were coached by Joseph Gillain (Jijé), who had transformed a section of his house into a work space for the two young cartoonists and Will. Jijé was then producing many of the comics that were published in the comics magazine Le Journal de Spirou, including its flagship series Spirou et Fantasio. The team he had assembled at the end of the war is often referred to as La bande des quatre (lit. “The Gang of Four”), and the graphical style they would develop together was later called the Marcinelle school, Marcinelle being an outskirt of the industrial city of Charleroi south of Brussels where Spirou’s publisher Dupuis was then situated.
Jijé passed the Spirou et Fantasio strip to Franquin, five boards into the making of Spirou et la maison préfabriquée, and from Spirou issue #427 released 20 June 1946, the young Franquin held creative responsibility of the series. For the next twenty years, Franquin largely reinvented the strip, creating longer, more elaborate storylines and a large gallery of burlesque characters.
Most notable among these is the Marsupilami, a fictional monkey-like creature. The inspiration for the Marsupilami’s extremely long, prehensile tail came by imagining an appendage for the busy tramway conductors the Marcinelle cartoonists often encountered on their way to work. This animal has become part of Belgian and French popular culture, and has spawned cartoons, merchandise, and since 1989 a comic book series of its own. The cartoons have broadened its appeal to English-speaking countries.
By 1951, Franquin had found his style. His strip, which appeared every week on the first page of Spirou, was a hit. Following Jijé’s lead in the 1940s, Franquin coached a younger generation of cartoonists in the 1950s, notably Jean Roba, Jidéhem and Greg, who all worked with him on Spirou et Fantasio.
In 1955, following a contractual dispute with his publisher Dupuis, Franquin went for a short stint at Tintin, the rival magazine. This led to the creation of Modeste et Pompon, a gag series which included contributions from René Goscinny (of Astérix fame) and Peyo. Franquin later returned to Spirou, but his contractual commitment to Tintin meant that he had to contribute to both magazines, an unusual arrangement in the comic industry. The series was later passed on to authors such as Dino Attanasio and Mittéï.
In 1957, Spirou chief editor Yvan Delporte gave Franquin the idea for a new figure, Gaston Lagaffe (from the French gaffe, meaning “blunder”). Initially a joke designed to fill up blank space in the magazine, the weekly strip, detailing the mishaps and madcap ideas and inventions of a terminally idle office boy working at the Spirou offices, took off and became one of Franquin’s best-known creations. The character Gaston Lagaffe is often hailed as the first anti-hero (in the sense of a protagonist lacking all heroic qualities, not a villain) in the comic’s history.
However, Franquin soon suffered a period of depression, which forced him to stop drawing Spirou for a time. This happened between 1961 and 1963, in the middle of QRN sur Bretzelburg. During this time, he continued to draw Gaston despite ill health, most likely because of the lighter nature of the series. (In one story, Bravo Les Brothers, Gaston’s antics drive his boss Fantasio to yet another nervous breakdown. In desperation he takes some anti-depressants which “Franquin left behind”.)
In 1967, Franquin passed Spirou et Fantasio on to a young cartoonist, Jean-Claude Fournier, and began to work full-time on his own creations.
He was part of the team that developed the concept of Isabelle, the adventures of a little girl in a world of witches and monsters. The character was named after Franquin’s daughter.
Franquin’s later period
The 1960s saw a clear evolution in Franquin’s style, which grew more loose and intricate. This graphical evolution would continue throughout the next decade. Soon, Franquin was considered an undisputed master of the art form, on par with the likes of Hergé (who on interview said he thought Franquin an artist while he was just a cartoonist), and his influence can be seen in the work of nearly every cartoonist hired by Spirou up until the end of the 1990s. Early comic fanzines from around 1970 featured Franquin’s Monsters, individual drawings of imaginary beasts highlighting his graphical craftmanship.
The last, and most radical, shift in Franquin’s production happened in 1977, when he went through another nervous breakdown and began his Idées Noires strip (lit. “Dark Thoughts”), first for the Spirou supplement, Le Trombone Illustré (with other cartoonists like René Follet) and later for Fluide Glacial. With Idées Noires, Franquin showed the darker, pessimistic side of his nature. In one strip, a pair of flies are seen wandering through a strange landscape, discussing the mistakes of their predecessors. In the final panel, we see the landscape is a city made from human skulls, and one fly responds: “Don’t be too hard on them, they did leave us such splendid cities”. Drawn entirely in black and white, Idées Noires is much more adult-oriented than Franquin’s other works, focusing on themes such as death, war, pollution and capital punishment with a devastatingly sarcastic sense of humour.
Proof of his popular and critical appeal, Franquin was awarded the very first Grand Prix de la ville d’Angoulême in 1974. Many books by Franquin have been published, many of which are considered classics of the genre. They have been translated in many languages. Several books have been written about Franquin, such as Numa Sadoul‘s Et Franquin créa la gaffe, an exhaustive interview with the artist covering his entire career.
Franquin’s death in 1997 in Saint-Laurent-du-Var didn’t quite elicit the kind of worldwide posthumous homage Hergé received. However, 2004 saw the first major museum retrospective of his work, an exhibit called “Le monde de Franquin”‘, in Paris‘ Cité des Sciences et de l’Industrie this exhibition was continued in 2006 in the city where he was born, Brussels, the latter was fully bilingual (French/Dutch). In 2005, a Walloon survey elected him as the “16th greatest Belgian ever”.
Franquin is, along with Hergé, one of the basic pillars of Franco-Belgian comics. Their styles, however, rest in opposite corners of the aesthetic spectrum: If the pictures of Tintin’s creator were characterized by the use of ligne claire, flat colors and a certain staticism, Franquin’s graphic approach progressively evolved towards a multi-color aesthetics, chiaroscuro and a vigorous sense of movement. Hergé expressed in several occasions his admiration for Franquin’s work: “Compared to him, I’m but a poor draftsman”.
Franquin was a prominent member of the first generation of the “Marcinelle School” (École de Marcinelle), also formed by Morris and Will, who would be joined during the 50s by the second generation including, among others, Peyo, Tillieux, Uderzo, and two subsequent generations joining during the 60s and 70-80s. Within this group, Franquin’s influence was uncontested, especially among the authors that continued the series Spirou et Fantasio after he left. Jean-Claude Fournier, Nic Broca and especially Janry (Jean-Richard Geurts) showed in this series graphic styles that tried to mimic with varying degrees of success the features of Franquin’s style.
Other Franco-Belgian authors that show Franquin’s influence were Dino Attanasio and Mittéï (Jean Mariette), both responsible for the series Modeste et Pompon after he left, Jidéhem (Jean De Mesmaeker), a usual collaborator of Franquin for Spirou et Fantasio and Gaston Lagaffe, Batem (Luc Collin), artist of the Marsupilami series, or Pierre Seron, who cloned Franquin’s style in his series Les Petites Hommes.
A most remarkable case is Franquin’s influence in Francisco Ibáñez, possibly the most widely published Spanish author since the 1950s. Starting in the 1970s, Ibáñez made an extensive use of ideas and designs from Franquin’s works, adapting them to his own universe, but also importing many graphic and narrative solutions. Even one of his characters, “El Botones Sacarino”, can be easily identified as a hybrid of Spirou (he is a bellboy) and Gaston Lagaffe (he works in a publishing company and is the source of never ending disasters), whom he resembles physically. Franquin’s shadow is even more obvious in the work of Ramón María Casanyes, a disciple and ghost collaborator of Ibáñez, especially in some of his solo Works such as the short-lived “Tito, Homo Sapiens 2000”, where the Franco-Belgian descent is unquestionable.
An essential author to understand the evolution of Franco-Belgian comics, Franquin is still a source of inspiration for contemporary artists such as Fabrice Tarrin, Yoann, or even outside the realm of comics in such iconoclastic cases as architect and cartoonist Klaus.
|Spirou et Fantasio||1946 – 19680||20||Dupuis0||with Jijé, Henri Gillain, Maurice Rosy, Will, Greg, Jidéhem, Jean Roba0|
|Modeste et Pompon0||1955–1959||3[a]||Lombard||with René Goscinny and Greg|
|Gaston Lagaffe||1957–1996||19[b]||Dupuis and Marsu Productions||with Yvan Delporte and Jidéhem|
|Le Petit Noël||1957–1959||1||Dupuis||4 volumes half-format editions|
|Idées noires||1977–1983||2||Fluide Glacial0||with Yvan Delporte and Jean Roba|
|Isabelle||1978–1986||5||Dupuis||scenarios with Delporte and Macherot, art by Will|
|Marsupilami||1987–1989||3[c]||Marsu Productions0||with Batem, Greg and Yann|
- a. ^ The original collection. Some collections consist of four albums. The content is largely the same, however, where the gags have been spread out on thinner albums.
- b. ^ The Special Edition series, published in chronological order by Dupuis and Marsu Productions in connection with the series’ 40 year anniversary.
- c. ^ Except for the first three main albums in the series, Franquin was also the creator of No. 0 Capturez un Marsupilami, a collection of earlier short stories with the character.
- For Spirou et Fantasio, Modeste et Pompon, Isabelle and Marsupilami, several new albums were published by other artists after Franquin left the series.
- Cauchemarrant (1979, published by Bédérama)
- Les robinsons du rail (1981, art by Franquin, text by Yvan Delporte; published by L’Atelier)
- Les démêlés d’Arnest Ringard et d’Augraphie (1981, art by Frédéric Jannin, text by Franquin and Yvan Delporte)
- L’Encyclopédie du Marsupilami (1991, illustrated faux encyclopedia about Marsupilami)
- Arnest Ringard et Augraphie (2006, art by Frédéric Jannin, text by Franquin and Yvan Delporte; redrawn and extended version of the above)
- Slowburn (1982, art by Franquin, text by Gotlib; published by Collectoropolis)
- Les Tifous (1990, published by Dessis)
- Le trombone illustré (2005, published by Marsu Productions)
- Un monstre par semaine (2005, published by Marsu Productions)
- Les noëls de Franquin (2006, art by Franquin, text by Yvan Delporte; published by Marsu Productions)
(published by Marsu Productions)
- Les doodles de Franquin
- Le bestiaire de Franquin
- Le bestiaire de Franquin tome 2
- Les monstres de Franquin
- Les monstres de Franquin tome 2
- Tronches à gogo
- Les signatures de Franquin
Books about Franquin
- Jacky Goupil, Livre d’or Franquin: Gaston, Spirou et les autres…
- Numa Sadoul, Et Franquin créa la gaffe
- Philippe Vandooren, Franquin/Jijé
- Les cahiers de la BD #47-48
- Le monde de Franquin (exhibition catalog)
- Kris de Saeger, Dossier Franquin
- Achim Schnurrer and Jef Meert, Archief Franquin
- José-Louis Bocquet and Eric Verhoest, Franquin – Chronologie d’un œuvre
- Xavier Chimits and Pedro Inigo Yanez, Le garage de Franquin
- 1974: First Grand Prix de la ville d’Angoulême, France
- 1980: Adamson Award, Sweden
- 1985: Best Long Comic Strip at the Haxtur Awards, Spain, for QRN sur Bretzelburg
- 1987: Grand Prix for the Graphic Arts at the Angoulême International Comics Festival
- 1996: Special Prize for outstanding life’s work at the Max & Moritz Prizes in Erlangen, Germany
- Franquin publications in Spirou BDoubliées (French)
- Franquin official site (French)
- Gaston Lagaffe official site (French)
- Biography on Dupuis.com
- Franquin biography on Lambiek Comiclopedia
- SSZ: The World Around Franquin comics creators discuss Franquin (French) (Dutch)
- Le Monde de Franquin Expo, Franquin dossier pdf downloads (French)
5 May 1931(1931-05-05)
|Died||29 October 1999(1999-10-29) (aged 68)
|Notable works||Achille Talon
Zig et Puce
Regnier was born in Ixelles, Belgium in 1931. His first series, Les Aventures de Nestor et Boniface, appeared in the Belgian magazine Vers l’Avenir when he was sixteen. He moved to the comic magazine Héroic Albums, going on to work for the comics magazine Spirou in 1954. In 1955 he launched his own magazine, Paddy, but eventually discontinued it.
The series for which Greg is best known, Achille Talon, began in 1963 in the magazine Pilote, also the source of comics such as Asterix. This series, which he both wrote and illustrated, presents the comic misadventures of the eponymous mild-mannered polysyllabic bourgeois. In all 42 albums appeared, the first years with short gags, later with full-length (i.e. 44 pages) stories. The series was continued by Widenlocher after the death of Greg. An English translation titled Walter Melon was unsuccessful. In 1996, an animated series of 52 episodes of 26 minutes each was produced. This series was also shown in English as Walter Melon. Other series Greg provided artwork for in the early 60s were the boxing series Rock Derby and the revival of Alain Saint-Ogan‘s classic series Zig et Puce.
Regnier became editor-in-chief of Tintin magazine in 1966 and remained so until 1974. In this period, he moved the magazine away from the classic Ligne claire of Hergé and Edgar Pierre Jacobs, because the main authors published new stories less frequently, and because the magazine suffered from the success of new French magazines like Pilote. Greg introduced a more adult genre, with less perfect heroes and more violence. He created some of his most famous series like Bruno Brazil and Bernard Prince in this period, and introduced artists like Hermann to the magazine.
In 1975 he became literary director for the French publisher Dargaud and launched Achille Talon magazine. Having moved to Paris, he became a French citizen, and officially took a new name, Michel Greg. In the late 1970s he moved to the U.S. as a representative for Dargaud, working on several television projects and promoting European comics. He returned to France in the mid-1980s where he continued scripting comics and also wrote novels for the Hardy et Lesage collection of Fleuve Noir.
As “Greg”, Regnier was one of the most prolific creators of Franco-Belgian comics, working in all genres and collaborating with many other European artists and scriptwriters. Well known for working with artist Hermann, Greg also worked with André Franquin, Eddy Paape (Luc Orient), Dany, Albert Uderzo and René Goscinny, and many others. It is estimated that he contributed as a writer and an artist to some 250 comic albums.
Hergé asked him to remake two of The Adventures of Tintin — The Seven Crystal Balls and Prisoners of the Sun — into a script for one long animated movie, Tintin and the Temple of the Sun. He also wrote the script for Tintin and the Lake of Sharks. Greg was asked to write two stories for the Tintin comics as well, including Le Thermozéro, but in the end Hergé, wanting to keep all creative control, did not use them.
Only those series for which albums have appeared are mentioned here. Furthermore, Greg has made many series in the 1950s, especially in La Libre Belgique, of which no albums have appeared. Titles are ordered by the first year in which an album appeared, not the first year the comic appeared in a magazine or newspaper.
|Chick Bill||1957–1968||19||Tibet||Le Lombard and Dargaud||Most of his work on this series is uncredited|
|Modeste et Pompon||1958–1973||3||André Franquin||Le Lombard and Dargaud||Other gags written by René Goscinny and Franquin etc.|
|Spirou et Fantasio||1960–1974||6||André Franquin||Dupuis||Additional stories by Jidéhem and Jean Roba|
|Corentin||1963||1||Paul Cuvelier||Le Lombard and Dargaud|
|Flamme d’argent||1965–1968||2||Paul Cuvelier||Le Lombard and Dargaud|
|Zig et Puce||1965–1995||6||Greg||Le Lombard, Dargaud, and Glénat||Reprise of the classic series by Alain Saint-Ogan|
|Line||1966–1979||4||Paul Cuvelier||Le Lombard, Dargaud, and Bédéscope|
|Bernard Prince||1969–1992||17||Hermann, Dany, and Edouard Aidans||Le Lombard, Dargaud, and Blanco|
|Luc Orient||1969–1994||18||Eddy Paape||Le Lombard and Dargaud|
|Bruno Brazil||1969–1995||11||William Vance||Le Lombard and Dargaud|
|Clifton||1969–1971||3||Jo-El Azara and Turk||Le Lombard and Dargaud||Additional storywriting by Bob de Groot|
|Olivier Rameau||1970–1987||11||Dany||Le Lombard and Dargaud|
|Comanche||1972–1998||15||Hermann and Rouge||Le Lombard, Dargaud, and Strip Art|
|Alice au pays des merveilles||1973||1||Dupa, Dany, Turk and De Groot||Le Lombard and Dargaud||Adaptation of Alice in Wonderland|
|Tintin||1973||1||Animation stills||Casterman||An adaptation of a script for an animated movie, written by Greg|
|Chlorophylle||1973–1974||2||Dupa||Le Lombard and Dargaud|
|Constant Souci et le mystère de l’homme aux trèfles||1974||1||Greg||Glénat|
|Tommy Banco||1974||1||Eddy Paape||Le Lombard and Dargaud|
|Les Panthères||1974–1975||3||Edouard Aidans||Le Lombard and Dargaud|
|Rock Derby||1974–1980||7||Greg||Le Lombard, Dargaud and Magic-Strip|
|Les naufragés d’Arroyoka||1975||1||Claude Auclair||Le Lombard and Dargaud|
|Jo Nuage et Kay McCloud||1976||1||Dany||Dargaud|
|Cobalt||1976–1981||2||Fahrer||Le Lombard and Dargaud|
|Frère Boudin||1977–1978||2||Claude Marin||Dargaud|
|Les As||1978–1986||16||Studio Greg||Dargaud||The only series officially credited to Studio Greg|
|Domino||1979||1||Chéret||Le Lombard and Dargaud|
|Les Bolides d’argent||1981||1||Mitteï||Bédésup|
|Mouminet et Alphonse||1984||1||Tibet||Magic-Strip|
|Babiole et Zou||1985||1||Greg||Le Lombard||Created in 1962|
|Le club des Peur-de-Rien||1985–1986||2||Tibet||Le Lombard and Dargaud|
|Papa Talon||1988||1||Hachel||MC Productions||A spin-off from Achille Talon|
|Johnny Congo||1992–1993||2||Eddy Paape||Claude Lefrancq|
- ^ De Weyer, Geert (2008) (in Dutch). 100 stripklassiekers die niet in je boekenkast mogen ontbreken. Amsterdam / Antwerp: Atlas. p. 215. ISBN 9789045009964.
- ^ a b c d De Weyer, Geert (2005). “Greg”. In België gestript, pp. 117-119. Tielt: Lannoo.
- ^ Lambiek Comiclopedia. “Greg”. http://www.lambiek.net/artists/g/greg.htm.
- ^ Dupuis.com. “Greg”. http://www.dupuis.com/servlet/jpecat?pgm=VIEW_AUTHOR&lang=UK&AUTEUR_ID=168.
Batem at the International Comic Festival
of Sollies Ville, France
6 April 1960 (1960-04-06) (age 51)
Kamina, former Belgian Congo
Collin started his career in the studio of colorist Vittorio Leonardo, and at S.E.P.P. (Société d’Edition, de Presse et de Publicité), a subsidiary company of Dupuis that specialised on audiovisual adaptations of the characters that are the property of Spirou. Collin worked on several merchandising projects involving Shoe, the Snorky and the Marsupilami.
In 1987 Franquin asked him to do the artwork of Marsupilami. He has illustrated stories of the series since, starting with La Queue du Marsupilami (1987), initially working with Franquin himself and several writers, such as Greg, Yann, Fauche, Éric Adam and Dugomier. The most recent album, Red monster was published in 2008.