Bitter people/Better people Luciano Pavarotti

Bitter people/Better people Luciano Pavarotti

A cartoonist often receives requests, dedications on published volumes, original drawings with dedications, and original panels. It is not uncommon to receive such requests also from famous people. As a rule, at least in our case, it makes no difference to us. It has occurred over the years to send drawings, copies or other items to a number of comics lovers.

Almost everyone says thanks, usually via email or sometimes through a card. And from the closest people (in the sense of personal relationships), it’s through a phone call. Sometimes it’s even via a small or symbolic gift.

But this is not always a custom among the famous people. But let’s not talk about those who, after making a request, do not find the time to say thanks. Let’s leave them to their rudeness.

Let us talk about beautiful people instead.

Today we pay homage to the great Luciano Pavarotti.

A few years ago I held an interview with a brilliant American cartoonist who had a passion for opera and exalted the figure of Pavarotti. Once the volume was published we sent a copy to Big Luciano with a request for a dedication from him for his cartoonist friend. It’s not that we doubted it, but imagining the tenor’s intense life we had taken into account that the request would get lost among the thousands of others that he received every day.

But we were wrong. It so happens with good people. Not even a week passed and the postman handed us an envelope with a large photograph of Luciano with a dedication. It was shipped immediately to Connecticut.

What can I say, it’s just a cliché: the bigger, the more accessible they are.

Xtina comic strip – who me?

Centered on the life of Xtina, in her work as assistant in a Museum, Xtina’s chronicles the daily challenges of a worker. At work, we follow xtina as she copes with friends, relationships, and the day-to-day trials of a working woman living life in the 21st century.

Born today Aurelio Galep Galleppini

Born today Aurelio Galep Galleppini

Aurelio Galleppini (17 August 1917 – 10 March 1994, Italy)   

Aurelio Galleppini, who used the pseudonym of Galep, was the artists that first brought to life the well-known Italian comic character Tex Willer. Born in Casal di Pari, Galleppini was a self-taught artist who gave up his technical studies to pursue an artistic career. He published his first professional drawings in Mundos Fanciulla. He was active in comics since the mid-1930s, starting with the creation of ‘Il Segreto del Mohore’ with Lavezzolo. With Federico Pedrocchi, he made ‘Pino il Mozzo’ and ‘Le Perle del Mar d’Oman’ for the publishing house Mondadori.

Cont. lambiek.net

Born Today Paolo Piffarerio

Born Today Paolo Piffarerio

Paolo Piffarerio (27 August 1924 – 30 June 2015, Italy)  
The Milanese artist Paolo Piffarerio created his first comics for publisher Alberto Traini, such as ‘Carioca’ and ‘Capitan Falco’, while still at art school in Brera. It was followed three years later by the publication of ‘Meazza e Ridolini’ at Torelli publishers. By 1953 he focused on a career in animation, working in Gino and Roberto Gavioli’s Gamma Film studios. He created several characters for the Italian advertising show ‘Carosello’, and also participated in the animated film ‘La lunga calza verde’.


He returned to comics in 1961, when he began an association with scriptwriter Max Bunker (Lucciano Secchi) and the new publisher Editoriale Corno. They created the ‘Viva l’Italia’ series (1961), followed by ‘Atomik’ (1962), ‘Maschera Nera’ (1963-65), ‘El Gringo’ (1965-68) and ‘Milord’ (1968). In 1968 the duo was present in the publisher’s magazine Eurêka with numerous short stories and ‘Fouché, un Uomo nella Rivoluzione’, a comic about the French Revolution.
He additionally contributed to the Mondadori collections ‘La Storia d’Italia a Fumetti’, ‘La Storia de Roma’ and ‘La Storia dell’Oriente e dei Greci’, edited by Enzo Biagi. He then made several comic adaptations of novels, comic biographies and short stories for Il Giornalino. In 2007, he made ‘Un americano a Versailles’ with Davide Castellazzi on the occasion of the 40th anniversary of ‘Comandante Mark’ for IF Edizioni. Paolo Piffarerio passed away in Milan on 30 June 2015, aged 90.

Xtina volume 4

Xtina volume 4 

Centered on the life of Xtina, in her work as assistant in a Museum, Xtina’s chronicles the daily challenges of a worker. At work, we follow xtina as she copes with friends, relationships, and the day-to-day trials of a working woman living life in the 21st century.

Dante Alighieri Graphic Novelist

Dante Alighieri Graphic Novelist

Dante Alighieri (Italian: [ˈdante aliˈɡjɛːri]), probably baptized Durante di Alighiero degli Alighieri and often referred to simply as Dante (/ˈdɑːnteɪ, ˈdænteɪ, ˈdænti/, c. 1265 – 1321), was an Italian poet. His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later christened Divina by Giovanni Boccaccio, is widely considered the most important poem of the Middle Ages and the greatest literary work in the Italian language.


Dante is known for establishing the use of the vernacular in literature at a time when most poetry was written in Latin, making it accessible only to the most educated readers. His De vulgari eloquentia (On Eloquence in the Vernacular) was one of the first scholarly defenses of the vernacular. His use of the Tuscan dialect for works such as The New Life (1295) and Divine Comedy helped establish the modern-day standardized Italian language, and set a precedent that important later Italian writers such as Petrarch and Boccaccio would follow


Dante was instrumental in establishing the literature of Italy, and his depictions of Hell, Purgatory and Heaven provided inspiration for the larger body of Western art. He is cited as an influence on Geoffrey Chaucer, John Milton and Alfred Tennyson, among many others. In addition, the first use of the interlocking three-line rhyme scheme, or the terza rima, is attributed to him. He is described as the “father” of the Italian language,[9] and in Italy he is often referred to as il Sommo Poeta (“the Supreme Poet”). Dante, Petrarch, and Boccaccio are also called the tre corone (“three crowns”) of Italian literature.

Xtina sophisticated comic strip?

sophisticated comic strip

The qualifying word “possibly”, above, is important because defining the qualifications for being considered a “surrealist strip” is difficult. The epithet “surrealist” can have different meanings. It has been a label applied to strips of vastly different kinds – particularly examples about dreaming, or featuring unexpected juxtapositions, but also strips about psychedelic or hyperreal consciousnesses. In terms of more scholarly taxonomies and typologies, definitions have tended to emphasise formalist qualities, such as an aesthetic that is “anti-narrative”. Also, the notion of a “first” is controversial, and dependent on context and definitions (added to which, there may have been other examples of surrealist comic strips that this writer is not aware of).

The picture is complicated by the fact that certain fine artists working in a surrealist tradition have produced sequential narratives that might be considered “comics”. Max Ernst, for example, produced his A Week of Kindnessin 1934: a “visual novel” in five booklets done in the form of a collage. It may count as the first surrealist comic, depending on definitions, though it was not “anti-narrative” and many surrealists would have derided its novelistic aspirations on the basis that the notion of the novel was bourgeois and redundant.

These caveats aside, this essay will concentrate on the intentions behind Wokker, which means looking in detail at the biographies of its creators. This approach itself is questionable, and acknowledgement is duly made to the warnings of Roland Barthes and his followers about “the death of the author” (Barthes, 1977, p.142-148). Rather, what is at stake here is a verifiable connection between Wokker and what was going on in Paris in the 1920s, and the way in which its mode of expression can be traced to the tenets of the original French surrealists.

Wokker typically appeared in stories told in four or five panels, and was designed as an open-ended series. Wokker trundles round his environment on wheels, but is no kid’s toy. Sometimes he takes on the personality of a mischief-maker, sometimes an ingénue, and sometimes a cynical observer. His frustration level is low, and he is apt to exclaim “Wokkit!” when things don’t go his way. His adventures follow a logic of their own – which sometimes means no logic at all. Created in 1966, Wokker’s publication history is complex. After its high point as a weekly strip in the Times Educational Supplement (hereafterTES), it appeared in three less well known magazine publications – Knuckleduster Funnies (1985-86), The Truth (1987-89) and The Whistler(1995-99).

Giuseppe Pignata abbiamo dimenticato Luigi Bernardi?

Giuseppe Pignatta abbiamo dimenticato Luigi Bernardi?

Nel volume 20 de “il Grande Magnus” tra i vari Pippi Baudi citati ci si è dimenticati di Luigi Bernardi. Pagina 105. Ma tantè come dicono i concorrenti dei giochini televisivi: Non ero ancora nato, ero piccolo.

Luigi Bernardi (Ozzano dell’Emilia, 11 gennaio 1953 – Bologna, 16 ottobre 2013) è stato uno scrittore, saggista, sceneggiatore e critico fumettistico italiano.

Ha vissuto a Bologna. Ha creato alcune case editrici di fumetti (L’Isola Trovata, Glénat Italia, Granata Press) e diretto riviste di settore (Orient Express, Lupo Alberto, Mangazine, Nova Express). Nel 1986 è direttore responsabile della collana “i quaderni del fumetto italiano” opera creata insieme a Paolo Ferriani ed edita dalla “Paolo Ferriani editore”, collana che svilupperà la storia dei più importanti personaggi del fumetto italiano e che si confermerà come una tra le più importanti di tutto il settore editoriale fumettistico italiano contemporaneo.

All’inizio degli anni novanta, ha iniziato a esplorare il noir italiano e internazionale. Ha proposto (ma non ha fatto in tempo a valorizzare) autori destinati a grande successo in Italia come all’estero (fra gli altri, Cesare Battisti, Giuseppe Ferrandino, Marcello Fois, Carlo Lucarelli, Stefano Massaron, Nicoletta Vallorani) nonché fatto tradurre romanzi di Didier Daeninckx, Paco Ignacio Taibo I, Paco Ignacio Taibo II, Léo Malet, Jean-Patrick Manchette, Patrick Raynal, Andreu Martin, Alda Teodorani[1]. Il suo lavoro di editor di fumetti e narrativa è riassunto in Granata Press, sulle tracce di una casa editrice, a cura di Lucia Babina (Mobydick, 2000).

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