German Comics…I could always feel a nagging thought in the back of my head. But until now, I never had enough to push me to do a post on it. That’s despite all of the post-apocalypse stuff and kid adventures brought over to stateside. One, Europe Comics beat me to it, two I don’t know how long that page will be up, and three I just fell into it.
German Comics: Step 1: The Origins
Pretty much the same origins as most comics. It started in newspaper satire, one story in particular Max and Moritz was so popular in inspired one of the first copyright battled series the Katzenjammer Kids. Because you ought to fight for something that reminds you of home.
What made these so special? Well, Max and Moritz captures an authentic childhood mischief in rhyming verses with equally fun illustrations. They help make reading fun for kids.
Step 2: The Censors
Then dictators showed up causing most non-propaganda series to go under. This time you can call them Nazis.
After WWII, money was short and the Germans couldn’t afford to make comics. This time it didn’t even look like licensed translations could help. Because publishers just didn’t know how to market comics. …And then Disney came in to help make up for it.
As for the local talent search, one publisher got lucky to find someone skilled in the Fumetti field. But not lucky enough to deal with Seduction of the Innocent influenced parents. Yes, even in Germany comics had to deal with that.
Step 3: The Loopholes
So with that, vanilla series like Fix & Foxi came in along with bande dessinee licenses to appease the masses. Not that it could appeal for the creative’s pay wages. No matter how many funnies or westerns, artists would have to be work horses to make a living.
Even worse, East Germany’s socialistic side saw comics and the like as imperialistic. Ironic considering one comic strip creator worked for a democratic socialist newspaper for his stories. Way to learn from your past guys. Oh wait, you guys aren’t peddling propaganda this time? Okay, Mosaik’s Diegdags are a little progress.
At least until the maker had better opportunities since East Germany kept bleeding borrowed money. Publishers kept trying to make their own time-traveling trios like the Abrafaxe (probably known to English speakers through the movie: The Pirates of Tortuga: Under The Black Flag), a real sub-genre in the making.
By the 70s, creative working conditions were still a problem, even as comics came to be seen as an art form. Unless it was made in a more cartoony style as the turn of the century shows. It’s just easier to sell comics when it looks like it can appeal to all-ages. Plus the faster and easier drawing can work wonders. Only problem is the usual perception is that it’s only for kids.
German Comics: Step 4: Changing The Rules
Luckily there are hubs like the Comicforum to help out… And that’s pretty much it. Aside from a few titles published by different parties including a few licenses overseas. The most that I can find are Ablaze with Gung-Ho from some small German comics publisher.
But the major stuff that’s still in Germany include a place called Weissblech Comics featuring the superhero Captain Berlin and the barbarian Luba Wolfschwanz (I think that means Wolftail). I have seen webcomics like My Berlin on Webtoons. As well as a few others that are practically scattered throughout the wind.
I’m pretty sure I’m missing some stuff so feel free to leave some stuff in the comments.
Germany might not be what everyone thinks of when it comes to comics, but every creative has their own story. The country now understand the medium better than ever and the locals are trying to share their ideas. They get help from licenses but some fans also use them to help learn the German language. So things are looking pretty good.
Thanks for coming to the end, and as always remember to look between the panels.