Historietas are arguably Argentina’s most influential means of expression. That means quite a lot when it comes to the country’s political corruption. Mafalda, for example serves as a symbol of Argentinian progressive youth and identity. But what does that mean for Argentina and Historietas today now that the dictators are gone? Let’s find out by examining the history.
The Classic Historietas
Like most comics, Historietas begin as political satire in press papers. Even at these stages censorship becomes a problem just for the caricature artists. Apparently Eduardo Sojo’s depiction of Don Quixote are considered too critical of politics; he was even imprisoned for this. Due to this state, creators use American influences like magazines as a platform to get around the censors. This new format allows for the development of the recognizable speech bubbles and sequences. Along with these come the freedoms and hopes coinciding with the Radical Civic Movement. One series of the magazine El Hogar even features the desire to rise about one’s social status.
With magazines being so widespread, comic artists churn out by the dozen. One creator comes into providence at this time, Dante Quinterno. Quinterno creates many series in his time including the newspaper comic The Adventures of Don Gil Contento. But his most famous creation appears in the form of Patoruzú, a charitable Native Argentine with superhuman strength. Patoruzú’s kind nature was a contrast to what was in the real world; especially when the people who try to take advantage of his naïveté get a taste of karma. In the real world meanwhile, Quinterno had to fight for a Disney style union to prevent his characters from being taken. To which he succeeded, allowing an example for others to follow.
The War Times
Afterwards, a number of creatives develop magazines to reflect society at their time. Being the Infamous Decade, there are many disputes especially with WWII. For comics however, a number of artists arrive at this time. Many for the purpose of fleeing the Axis Power’s fascism; as is the case of Italian artist Hugo Pratt, creator of Corto Maltese (no relation to Batman or DC). Pratt even helps develop Héctor Germán Oesterheld, one of Argentina’s most prolific writers.
Oesterheld becomes a local celebrity with Pratt starting with Sergeant Kirk. This series serves as the basis for Oesterheld’s future work. Not to glorify military accomplishments but seeing how conflicts affect both sides. Nowhere is that better seen than in his most famous work that hit so close to home. El Eternauta (The Eternaut) was about a few science hobbyists in a world reflecting Cold War paranoia. Things start out pulpy until the reader sees just how helpless the characters are. The story even starts when one of the characters Juan Salvo traveled back in time to tell a comic scriptwriter about what transpired; almost like a warning to Oesterheld about a coming tragedy.
Unfortunately, the writer didn’t receive the warning with enough faith. A dictatorship arose in Argentina with the military Junta taking power. Oesterheld’s works like The Eternaut were considered socialist and leftist messages due to how similar the fascist’s tactics were to the aliens.
Fleeing vs Thriving
The state of censorship during the “Dirty War” practically reflects the acts of state terrorism. With detention camps around to enforce Junta rule, it’s safe to compare them to Nazis. Yet that wasn’t the only reason Historietas start to falter in Argentina. Throughout the 60s comes a familiar formula. The introduction of cheaper imports from Mexico as well as TV leave local comics in a bad place. It’s really no wonder that Quino along with other creators flee the country. Fortunately both the political and creative sides receive help from Europe.
Others like José Massaroli decide to stay in Argentina and use what they learn from outside to fill the void. Among the new techniques include expressionism in his depiction of Juan Moreira. This figure of political defiance certainly appears during a time of political strife after the Junta.
Renaissance
By the early 80s, the techniques and publishing methods of the Europeans influence a new cultural wave of historietas. Zines allowed for self-publishing to rise in the 90s, including more adult oriented comics including El Cazador de Adventuras. Like Juan Morereira it uses expressionism to satirize the political tensions of the time; this time as a full comic book instead of a strip. Not to mention it parodies the loud and obnoxious American 90s comics. Series like Cybersix came home from Italy and found an audience in a generation who enjoyed the greatly executed uniqueness. It even serves as a reminder of how some of Argentina’s greatest feats come in reaction to its past; the title character is a Nazi experiment after all.
An Uncertain Future For Historietas
Nowadays, Argentina’s comic industry has slowed to a crawl due to imports taking priority; some of the longest comic publishers like Columba close in reaction. Much like with Massaroli, creative young bloods have to go all out in order to thrive. People like José Muñoz for example find success by bringing The Eternaut to a modern audience. Winning the Angouleme Comic Grand Prix allows historietas some international recognition. But how long can The Eternaut be the only series that defines Argentina?
Argentina’s comic industry has a tough road ahead, but its creators refuse to back down. Throughout the 21st century, creators/publishers do everything they can like how Editorial Ivrea republishes older Historietas in collected editions. By the 2010s, a new publisher Totem Comics begins publishing series to acclaim. One of their series Sereno has recently managed to come to the states. Possibilities were high until its website went under and Comixology’s buyout by Amazon. But Totem Comics is still operating on Facebook… with only one title.
Why Limit To Just Argentina
Fortunately, one publisher helps drive the quota by more than a little. UMC Comics started off with series that on the surface are rip-offs of popular American series: Superman, Batman, and He-Man. But over time, these titles develop into something unique complete with the more original Cronologia Xero. Their efforts seemed to have paid off with about ten years of business. I don’t even mean just breaking into international markets like Global Comix, but they promote other Latin American comics. Mexico, Brazil, Peru, Venezuela, it’s like a greater network of people helping each other out.
But the ink’s not dry yet. Thanks for coming and as always, remember to look between the panels.