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Laughter-The Lightning - 6

1935 - end

I spoke of a "catastrophe", referring to the sharp decline of print Laughter , at the end of 1935. I think the reason is the impossibility of making legible the stretch of the original designs, with new

gravure machines: most likely, the problem is circumvented by a brutal "polishing" (a tracing) which involves, unfortunately, especially Terry and Pirates of Milton Caniff.

The dramatic decline in the quality of reproduction is still more evident by comparing a direct page of The Laughter table with the corresponding image Terry And The Pirates (the edition is NBM eighties):

Go just a little 'better Jim Red (Red Barry of Will Gould), published last page. It is clear that the problem afflicts mostly comics Printed in two colors:

Just the better the performance of comics published on inside pages, as midtones tend to mix cartoons, and pages showing rather bleak. Here Trottolino / The Gumps of Sidney Smith and a pair of Italian history of art and very modest level compared to American models derivative (this is clumsy clones raymondiani ) :

Ma, da un esame più attento dei numeri de La Risata , appare evidente che il termine "catastrofe" è quanto meno eccessivo: la qualità tipografica, infatti, risale quasi subito di livello, e dal numero 55 (poche settimane dopo il tracollo), cessa - o comunque si riduce - anche la "lucidatura" delle patinate originali:

Col numero 57 del 13 dicembre, appare una nuova serie americana, decisamente molto rara. Si tratta di Gianni the brave, or Little Joe of Ed Leffingwell, the ' assistant (and it shows!) By Harold Gray, the author of Little Orphan Annie . Of course, the series is © Chicago Tribune, and one wonders why this comic is published less and ignored the Queen of American orphans, which will remain unpublished in Italy until the Seventies.

But the news at the end of 1935, do not stop here. On December 20 the number 58 comes an even more rare American series, The G-man of George Clark and Lou Hanlon , version tables in the Sunday (the day we will see later on The Three Little Pigs). To make room for the new series, frankly modest level, the masterpiece Red Barry is relegated to inside pages, along with the last, sad episode of Frank Merriwell . Decision is puzzling: in addition, they are two stories (violent) of gangster, equally unpopular with the regime.

There is also a "picture story" Laughter on , or something that looks like it is a page directly produced by Metro Goldwyn Mayer to publicize the movie In the world of Wonders with Laurel and Hardy. The film is also known in Italy under the title The enchanted village and even has two names in the United States: Babes in Toyland and The March Of The Wooden Soldiers (1934).

We have seen that Stan and Ollie - as they are called, in Italy, in 1935 - are extremely popular, and Laughter editorial and public reportage on the activities of the Italian section of the Club Laurel-Hardy .

News are also Italian. On number 49, October 22 is the debut Corrado (Kurt) Caesar, the author knew very well that we on The Victorious . Tamburini of Africa is an attempt to curry favor with the regime, with the celebration of its imperialist enterprises. With an eye to Cino e Franco, history - even in its harshness, especially for texts - has a certain originality:

Caratteristica de La Risata (in comune anche ai periodici SAEV) è la presenza di "regali", quasi ogni settimana, pubblicizzati in prima pagina: l'abbiamo visto molte volte. Ebbene, si tratta quasi sempre di semplici fogli, comunque pieni di fascino. La collezione a cui ho accesso ne comprende diversi (non certo tutti!) e ne propongo due. Il primo celebra le feste natalizie , e mi sembra adatto al clima...

Il secondo è fascinosissimo, quasi futurista:

Cosa sarebbe successo, se Terry And The Pirates fosse appeared in Italy in a more worthy, a newspaper printed more widespread and better? Perhaps the history of comics in Italy might have been different. In fact, Milton Caniff and his followers will change after the war, the same aesthetics of graphic fiction. For now, however, command Gordon and Mandrake, which soon will add a new, explosive character. And just The Adventurous return, with the next post, to inaugurate the new year , ie 1936. Greetings to everyone, of course, even for a New Year's distant future, or 2011 ! ;-)

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MERRY CHRISTMAS!

you who like ...

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long time ago ...


I was born and my father took my brother to see the Star Wars movies ...

Unfortunately, Lucas has deprived me of a possible revenge frustrating my every cinematic vision of Star Wars by filling it with crap.

But the same honor the best film trilogy.

And the rest ... May the Force be with us all.

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Christmas is coming.

And I return to post on the blog.

Sorry for the absence, but riding the operation had not really want to update, and absolutely nothing to do.

A little 'time to start again. Sorry for the wait.

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Laughter Laughter

1935: Terry and the Pirates come!

On the number 50 from The Laughter of October 29, 1935, Terry and the pirates appear or Terry And The Pirates of Milton Caniff .

This would be a memorable date for the comics in Italy. It's no fact here which refer to the enormous historical importance, artistic, sociological, even in this comic series. Take a ride on the magnificent site of Francesco Spreafico . Caniff, with Terry, made his first adult comic with realistic issues that also affect the sexual sphere, and at the same time creates (actually borrowing them the styles by Noel Sickles ) school "realistic" of American comics, in a few years will change the cards on the table and raise an army of students and imitators worldwide.

on these boards is formed Hugo Pratt, who will quote Terry it The scorpions of the desert (granted, it is true, but repetita Juvante ):

And that, after over forty years, will sign as trustee, together Rinaldo Traini, the series of reprints of Terry and the Pirates Comic Art

But because I said that October 29, 1935 would be a historic day?

For a variety of reasons (I hope) we will see in the near future, Terry and the Pirates fails to take root in Italy. The first ground of less than lukewarm reaction from the readers is the very seat of its publication. The public Laughter Terry, as we see from these pictures, so basically correct, although in a melancholy duotone. But, as we shall see very soon, after a few weeks, the newspaper is hit by a catastrophe that penalizes especially the printing of comics Caniff. Moreover, despite the news that offers remarkable frequency, the magazine never fails to take off.

Laughter newspaper - as I said - loved by generations of "experts", rather than by amateurs and by the same collector, has another major flaw: publish comic books of great value, but then stops, so sometimes inexplicable. The arrival of Terry , for example, makes us abandon Baldo, to which we had just loyal, we should have the exact figures of production of the Ephemera series, to determine whether or not The Laughter has published all the original drawings but I doubt it. The following is the latest: note the signing of Darrell McClure , perhaps deliberately left by the editors.

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-5 -4

1935 - Comic books of the Chicago Tribune on Laughter

With an original panel The Gumps compared to its Italian translation!

Jim Rosso (Red Barry of Will Gould) is not the only new American comic to appear on the fateful number 37. Another is Jack's cheerful, the literal translation of Smilin 'Jack of Zack Mosley. This time
Cino Del Duca, or someone he does not choose the group of comics distributed by the KFS, which so far have caught the "three big "comic book publishing. Smilin 'Jack pertains to the stable of Captain Joseph Medill Patterson or to Chicago Tribune Syndicate. We shall see very soon what other gems keep that chest ...

Meanwhile, the subtitle La Laughter becomes Weekly comic stories and adventurous. "

Smilin 'Jack is a comic strip written and illustrated with an original style, almost mockingly, with some characterizations that - probably no coincidence - remember the characters 'extreme' of Dick Tracy Chester Gould of : second set strongly supported by Patterson, a brilliant talent scout .

must recognize Cino Del Duca (or whoever decides the choices of the week: perhaps the other two brothers, who have significant contacts abroad?) To break away from the merits " monopoly "of King Features Syndicate of William R. Hearst , represented in Italy, as we have often said, by William Emanuel . In the future we will see how even the editorial choices of the weekly Italian comics may involve, in the thirties, financial and even political interests of all respect.

But the absolute rarity that appears in Issue 37 La Laughter is Trottolino , or tables of Sunday The Gumps of Sidney Smith still © Chicago Tribune.

This is actually a typical case of spin-off : Trottolino is the son of Andy Gump, owner of the series, whose actions appear on the home daily strips, published in Italy. In the mid-thirties, the boy lives several fabulous adventures like this, set in various exotic locations.

The historical importance of this series is remarkable. It is in fact (even if these boards are late, belonging to the production of 1935) of one of the first American comic book "adventure", or more correctly at the turn of "puppets" and play in the round.

Grazie a Fortunato Latella , autore dell'interessantissimo blog La testa nelle nuvolette , possiamo confrontare la tavola precedente con quella originale , tratta dai supplementi domenicali americani:

Notiamo alcune cose. Intanto, a parte l'assenza della quadricromia, la tavola originale è proposta in forma sostanzialmente integrale . Manca il logo The Gumps , sostituito da Trottolino , e il titolo della singola tavola domenicale, un uso tipicamente statunitense (anche ogni daily strip , per molti anni, ha avuto un titolo separato, diverso da quello "complessivo" dell'episodio). Sono stati cancellati anche la firma di Sidney Smith e l'indicazione del copyright .

La traduzione è corretta e - cosa niente affatto comune, negli anni Trenta - scritta in un ottimo italiano. E' un po' abbreviata: sia forse con l'intento di facilitare la lettura, sia perché l'inglese, rispetto al nostro idioma, occupa meno spazio all'interno dei balloons . Il traduttore, come mi ha fatto notare Fortunato, nella vignetta-titolo si è lasciato sfuggire il nome originale del protagonista, ovvero Chester .

Manca, infine, qualsiasi tentativo di rendere, come nell'originale, le frasi "urlate" con un corpo più grande rispetto a quello normale.

Casi analoghi sono quelli del Wash Tubbs di Roy Crane e di Phil Hardy di George Storm .

Nessuno, in Italia, ha mai più visto Trottolino / The Gumps , not even in version to "register". And to my knowledge, has never been attempted, even in the U.S., the revival of a significant corpus boards Sunday "adventurous". This part of

Laughter is so very precious, which is almost unique documentation of some of the lesser known of the series today American comic art.

does not stop there. Pending the explosive news that appears on the number 50, the late summer of 1935 subject to readers of other surprises.

Another series that we have already seen elsewhere (on Mouse Supplement of 1934) is of Frank Merriwell Jack Wilhelm and William Ritt , this songwriter of the much more famous Brick Bradford . Here the character is called Franco and production presented belongs to the boards Sunday . This de Laughter is the only Italian appearance of sundays : still an absolute rarity.

Laughter, as I said earlier, is the first weekly comic Italian printed in gravure . Unfortunately, if the printing technique, compared to traditional systems, allows you to make halftone with many more shades, the time is not ripe for optimum quality. From number 48, there is an obvious typographical change:

At first sight is an improvement. But in a few weeks, new printing techniques will Laughter for a fall, at least temporarily, and this at the very moment when, with such good irons in the fire, the newspaper could finally take off. Unfortunately, as we shall see in the next post, the collapse of printing is almost at the same time the arrival of a giant immortal of American comics, which concludes in a sensational 1935.