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1935: Baldo comes

The story of The Laughter is made of misunderstandings , misunderstandings, continuous changes in the program. A newspaper comic book with that title, and therefore voted humor in 1934/35 should perhaps look at competitors such as Balloon-Cine Comedian SAEV home or at most a Jumbo. Instead,

the stratospheric success of contemporary The Adventurous Nerbini leads the editorial choices as drastic as crudely implemented.

The first sign of a change of course (not required, given the sales) will appear in issue 10 of 1934, the last of those now - eighty years later - "unavailable." It is a crude attempt (assigned by Alberto Salvucci to Traini ) to imitate the British comic 's published by Amalgamated Press SAEV. Definitely forget

Instead, the next number, it is an American series of excellent workmanship, and Laughter suddenly acquires a significant interest

Baldo is Donnie , fleeting series written and illustrated by Darrell McClure since 1934 in early 1937 and little known in the USA. It is important to point out that the syndicate of Donnie King Features is the omnipotent : Cino Del Duca (or his) have in reference to the usual William Emanuel, who at this time is literally besieged by the Italian publishers in search of American comics to be published on their more or less ephemeral publications. Evidently, Donnie is a remnant, a "waste" is rejected by Nerbini that Old and Mondadori. We will see soon that things will change, and the Duke will be directed to pastures still intact ...

McClure is one of the most talented cartoonists Americans. His fame is mainly linked to the series Little Annie Rooney , we published under the title Small Betta, and I mentioned in some previous posts, about Jumbo The Bold and de . To work at Donnie , McClure leaves the very Sunday of Annie, who go to Nicholas Afonsky . Donnie is a fine series, but refined with a strong dramatic tension: a magical synthesis of small town America and exotic locations, with pirates, buried treasure and lost islands.

The arrival of Baldo / Donnie on Laughter rises sharply the level of the weekly, even if the rest of the comics audience is really poor quality.

The Adventures of Baldo , as maintaining a tenuous link with humor, no longer justify the title of the week. If, of course, we want to do some 'competition in The Adventurous , why keep that head? The incredible thing is that it will remain unchanged until near the end, when the transformation will result in The Thunderbolt very late and therefore useless. It is the first of the little mysteries of Laughter: it's just carelessness, lack of general care? Not really, because the magazine, as I mentioned in my last post, it is still beautiful, rich, stimulating, with a clear commitment - including financial - of its publisher. So is a little puzzle.

The Adventures of Baldo, continuing until no 49, October 23, 1935, are then re-proposed by Editrice Modern Albi in the first two of Laughter, a number too messy and still not fully clarified as regards the order of its outputs. It was discussed Forum Vintage comics, but we will review the books in question on this blog.

The turn of the newspaper to the territories of 'adventure becomes stronger when the last page, starting with the publication of the story "Colonial" In the heart of the Black Continent . Too bad that this time it is a comic Italian director, cobbled together as unrealistic. Always Salvucci on his precious book published Stock The Comic , attributes it to an unidentified S. Papini .

not go wrong with the best science-fiction future City, starting on No. 17, nor with Squadron crowds, from No. 20:

With No 24 is experienced (!) The Tri

unknown in the world, from No. 22, with the kind of engagement photo Gianni Giramondo published The Three Little Pigs on is also very modest and probably by an Italian author:

But the big news appear in Issue 37, July 30, 1935, and will be very explosive. We will see in the next post.

Southpark Quotes Fishsticks

The Thunderbolt The Thunderbolt -1

Laughter 1934 - Part

New revelations about the mysterious author of The Laugh!

The transformation of publishing children's periodical in Italy, with the subsequent advent of the modern comic strip, is - as we have seen plenty - for by three publishers: Old (SAEV) Nerbini and Mondadori, which between 1932 and 1935, one after another, invade newsstands with revolutionary innovations.

But there are only them. Some small publishers are trying to gather the crumbs of the flourishing market that has risen from nothing, it clumsily imitating the style of American comics . Others, however, with adequate facilities and funds, ignore the comics overseas and seek to impose, starting virtually from scratch, an Italian comic that is not derivative from that ruling.

The publisher who is leading the way for this alternative way of looking at comic books and periodicals is The Universe Editorial that the May 11, 1933 The Brat launches and two years later, February 23, 1935, The Intrepid . Of the two weekly "all Italians" and the birth of the " popular comic strip," I hope to have the opportunity to speak in the near future. For now, we are located in "American."

The Universe and its publisher, major lithography-type plants, are owned by the family Del Duca, that the three brothers Cino, Domenico and Alcaeus , alternating, among other things, the direction of the week. Sino is responsible for monitoring, starting from 20 November 1934, much less a weekly, The Laughter , which comes under the symbol Modern Publishing House.

The magazine in question is less well experimental, because it is printed with brand new facilities

gravure still primitive and perhaps inappropriate (as we shall see) to the faithful rendering comics. The first issue came out in the final end of 1934, are a jumble of tables humorous origins of prevailing spagnola , come gli stessi lettori di questo blog ( Fortunato , Armando ) hanno scoperto grazie ad un'accurata indagine in rete. Il giornalino, di otto canoniche pagine parzialmente bicolori, vende pochissimo, tanto che ottant’anni dopo è – almeno nella sua parte iniziale – straordinariamente raro .

LA RISATA-settimanale .- A. 1.n.1 (20 nov. 1934) - a. 4, n. 28 (9 lug. 1937). - Milano - Casa Editrice Moderna, [19341937]. -139 n.: fumetti b/n e color. ; 38x27 cm. - Settimanale. - Il titolo cambia dalla. 4, n. 5 (29 gen. 1937) in: LA FOLGORE.

Riporto, in questo primo post e in the next, the contents of first issue (which I have access to the collection is almost unique, for completeness, in Italy) and some examples of those immediately following, until No. 10, for the sake of documentation. The newspaper, in 1934, and in fact goes unnoticed and is irrelevant for the evolution of comics in Italy.

Here are the remaining pages of the number debut :

are premises that do not leave the slightest glimpse of the future of this troubled head. The fact is that, for a variety of complicated reasons that gradually we will explain, Laughter host, between 1935 and 1937, many very valuable American comics, most of the Almighty KFS different agencies, sometimes even rare in their country of origin and in some cases very innovative. Some will deeply affect the world famous Italian authors intended, first of all Hugo Pratt.

La Risata-La Folgore lascerà, negli appassionati italiani, un ricordo leggendario. Mai ristampata “anastaticamente”, è ottant’anni dopo un giacimento quasi inesplorato di autentiche perle fumettistiche, destinate a disperdersi, ancor prima della sua chiusura, tra le testate rivali. La Risata-La Folgore , quasi ignorata dai collezionisti e dagli studiosi del 2010 (che d’altra parte si scontrano con la sua inaccessibilità), è insomma un settimanale di enorme importanza storica, di cui praticamente nessuno ha parlato.

Vediamo, nei prossimi post, di farlo noi.

Who are the authors of these naive, but sometimes, valuable tables humorous? As I said before, with the help of readers of this blog ( Fortunato, Armando ), we can identify at least three, all Spaniards Vinaixa , a cartoonist Catalan ( examples here, here and here ) Niubó Melchior (who signed Niel ), author of Pulgarcito for the publishing house "El Gato Negro" by Juan Bruguera (today's "Editorial Bruguera ") and Manuel Marín Urda , working among other things, the supplement for children KI-KI-RI-KI of the periodical "El hogar y la moda". All these authors are reported by the blog Viñetas of Navarro Badia, where, for example, there this eloquent table of Niubò / Niel.

no guidebook, not even Bono , brings these authors, preferring to "index" from the head No 11, which as we shall see very soon, marks the arrival of American comics.

I limit myself to set up a kind of bulletin signatures, as a "Chi l'ha visto?", hoping that some other specialist in the field do you live on this blog:

The first signature is perhaps an Italian-that unidentified Papini mentioned by Giorgio Salvucci its cards on the weekly Italian comics of the thirties, published in the seventies / eighties about of The Comics' ANAF today ANAFI . The third last signature is probably an Italian, the ' of Alberto Traini spoken briefly in the post after this.

Wedding Spanish Wording

The Laugh-Il Giornale di Cino e Franco - 2

1935 - continuation and end

Throughout the first part of the weekly, leaves unchanged the Nerbini formula de The Journal of Cino e Franco , which is - as I said in my last post - a little more than a container for the bestseller Lyman Young and collaborators ( Tim Tyler's Luck ). Among the stories of filler, deserves
exploit the unique surreal (even with shades Zavattini) of Jupiter Toppi, I want and the kind of Ceccotondo Fairy Tilliri :

The rhyming is unnecessary octosyllabic: Toppi, although among the older Italian cartoonist (deans are Guido Moroni Celsi and Yambo), master very well the graphic language of comics.

I bothered Cesare Zavattini, probably exaggerating, but there is certainly something Toppi the "neo-realist surrealism " soul - and will do much more to come - the Italian comics of the thirties.

Ceccotondo first resumes and update the iteration of the characters in Corriere dei Piccoli, the other a prelude to even Mandrago of Jacovitti . And, on the other hand, the young Termoli, in 1935, is an enthusiastic reader of the Florentine period.

The most remarkable thing, in this period, however, is the reduction in comics, made by the same author, the novel Ciuffettino of Enrico Novelli, aka Yambo :

Ciuffettino is still a best seller of Fiction for Children, a century after its debut!

Yambo, as we have seen talking about Mickey and de The Three Little Pigs, in this period is very active in both the stables of the main Italian comics. This Ciuffettino comic is very interesting, if less visionary and amazing than robot and green men.

Ciuffettino We will see later, at home Mondadori.

Other Italian comics worthy of note, in this early period are The Gringo of George Scudellari , almost perfectly camouflaged in his "American" style, and the continuation of the adventures of "table" Gian Marco of Carlo Cossio :

But all these things are interesting, perhaps, in the eyes of collectors and scholars of the twenty-first century. Instead today, in 1935, The Journal of Cino e Franco is bought only for the two eponymous heroes. Who, after the adventure with the gorilla, face each other a para-medieval-based rivals love and battles:

I think readers respond well. A few seem to care that the story In the fabled kingdom of the past is essentially a rimasticatura the eternal Flame of Queen Loana , appeared just a year before Mickey Mouse on . It is the first sign of an event that Mario Nerbini certainly can not predict: Although all the years Thirty drawings Nat Edson (thanks, Beka) almost always remain on a high level, are the texts of the stories to move from higher voltage-mythical adventure Under the banner of the King of the Jungle Patrol de and ivory to vicenduole of little thickness, sometimes limping in the plots, which approximate translations nerbiniane certainly do not help. We will reach the point where the head designed by Jupiter Toppi, will offer more thrills comic itself!

Carlo Della Corte, in the preface The sense of great adventure volume Cino e Franco published in 1967 by Fratelli Spada , writes: A writer whom I respect I said a few years a lot fa: «Fu leggendo “Cino e Franco” che percepii per la prima volta il senso della grande avventura: dell’avventura all’aria aperta, nell’Africa selvaggia. E pensare che conoscevo già Hemingway!»

È proprio questo, oggi , nel ’34-’35, il destino comune a una generazione di lettori. Il coup de foudre per Cino e Franco è la scintilla che dà vita, in Italia, al poderoso incendio della passione per il Fumetto. Ma è anche un primo amore destinato a spengersi quasi subito. Di tale delusione, come vedremo presto, testimoniano perfino alcune lettere in redazione.

Lokua Kanza In Atlanta

Carlo Bisi in Reggio Emilia

Free Mini Rail Blueprints

Il Giornale di Cino e Franco - The Bold

August 11, 1935 - The No 1

Mario Nerbini We left in your pocket with a substantial allowance Mondadori for the sale of the exclusive Disney, including Mickey Mouse head . It has been written countless times that he believes the deal to have done the Florentine publisher, convinced that the magazine is selling not so much for comics Gottfredson and collaborators, as well as for Cino e Franco ( Tim Tyler's Luck ) of Lyman Young. Nerbini is still delighted by the incredible success of The Adventurous that overshadows everything else. We also said that today, in 1935, Mario Nerbini analysis is formally correct, though - with hindsight - fundamentally wrong.

On July 26, 1935, exactly one week after the release of the last point in the story of the Cino e Franco Nerbini Mickey Mouse, a new magazine appears on newsstands, preceded, as always, a free trial (I quote The Adventurous No. 42) and a significant advertising campaign all periods of the team:

The Journal of Cino e Franco almost a prelude to the formula of 'albogiornale ": three of its eight pages or the first and twice the central sheet, is in fact devoted to the exploits of two young adventurers. The rest, as we shall see, is little more than filler. There Pisellino of Angel Puppet , there are Just For Kids of Carter, in practice, the new journal is a "Mickey Mouse" Mickey Mouse without A perfect test to see if the idea of \u200b\u200bNerbini (or, again, that Disney does not sell that great) is right or wrong.
Here is the first page and a summary of the week:

CINO AND THE JOURNAL OF FRANCO. - A. 1 No 1 (August 11, 1935) - a. 4, No 126 (January 2, 1938). - Florence: Casa Editrice G. Nerbini, [1935-1938]. - No 126 Comics b / w and color. , 35x26 cm. - Weekly. - Continue with: Jungle! - The size of the ego. 3, No 93 (May 16, 1937): 33x25 cm; ego. 3, No 111 (19 September 1937): 37x26 cm.

Well, pare proprio che, alla sua prima apparizione nelle edicole, Il giornale di Cino e Franco venda quanto Topolino . Non disponiamo di alcun dato ufficiale di diffusione dei periodici italiani degli anni Trenta, per cui dobbiamo fidarci delle testimonianze indirette dei primi storici del settore, da Trinchero a Salvucci e a Ferraro. Ma se è così, allora Mario Nerbini non può che rafforzare le proprie convinzioni ed agire di conseguenza: ritiene inutile spendere energie redazionali per dare un carattere peculiare al settimanale, e lo usa come mero contenitore delle strisce di Lyman Young e collaboratori.
Questo è il restante contenuto del primo numero:

 

Tom il fantino è opera di Gaetano Vitelli , che abbiamo già visto attivo su L’Avventuroso . Prolificissimo, dotato di un peculiare tratto na ï f, riempie le pagine dei settimanali nerbiniani fino alle soglie della guerra.

Gianmarco e i contrabbandieri è opera di Carlo Cossio . La storia è più o meno contemporanea al suo esordio ( La valigia dei diamanti ) su L’Avventuroso , e già lo stile grafico has become more mature and effective, halfway between the realistic and caricature. The graphic language of comics is well controlled. Carlo Cossio is poised to become an amazing machine to draw, "which imperverserà in the second half of the thirties and until the early fifties.

fans Cino e Franco have something to satiate, with the magazine dedicated to them. To stretch a bit 'stock, as the original strips out at a rate of six per week, while the Italian weekly it is home to many more, for now we are content enter here and there, the useless scrolls ...

Notice Nerbini reported corrected, the attribution to the American For Carter strips of Just Kids , renamed (we saw them on Mickey Mouse), the Lupini sea.

Closes Burik ( Angel Puppet ), the last legacy of proto-comic book, complete with rhyming captions. It is clear that this table Pisellino is simply made by Mickey newspaper and recycled here. Burik will update its unique vegetable humanized, here recently.