Czech comics have a history similar to Serbia’s. Your basic setups inspired by other countries. Sometimes they get successful to have a legacy like Rapid Arrows or Pérák. Either by joining some regimes or keeping their heads down. Hey you gotta time yourself for the best time to express yourself around the huffies. That’s when artists see the real potential of comics when a lot of other people don’t.
Origins Czech (Comics) List
According to a Daniela Podařilová, Czech comics start with the standard set up. You know newspapers, political commentary, and caricatures, combining into comic strips. The first was in 1922 with Šprýmovné kousky Frantíka Vovíska a kozla Bobeše or The Funny Pranks of Frantík Vojísek and Kozel Bobeš in the Czechoslovakia periodicals. Among several others in the Sprýmovné komiksy: Obrazkové serialy by Josef Lada full of funny animals.
But it was in 1926 with the children’s magazine Koule that comics take a familiar form with Ladislav Vlodek’s Adolf. It was basically the Czech’s Yellow Kid with the first use of speech bubbles. The speech form got into newspaper strips like the above Joke Comics and Ferda Mravenec by Ondřej Sekora.
Surviving Heroes: Czech!
As for the most popular strip, that went to the 1938 Rychlé šípy (Rapid Arrows) in the Mladý hlasatel magazine. It was an educational series about a club of five boys starring in a book trilogy and short interval comics that went on for over 50 years. The boys were aspirational figures for helping the weak, speaking out against injustice, and their thrilling adventures. Even if they did go into minor propaganda like endorsing state-approved healthy lifestyles and to respect and trust authorities. Yeah-yeah, that latter part got worse when the Nazis and Soviets took over. They forced the series to take breaks between their regimes.
But quick philosophical question, would it have been better to retire after the war? That’s what the urban legend Pérák did after his animated film and newspaper comics fighting against the SS. Rather than continue propaganda, he retired to become a chimney sweep.
Communist Sanitation
Probably for the best because the communist regime wasn’t friendly to comics. Like in most times, they were seen as bourgeois (capitalist) propaganda. It wasn’t until the 60s that the communists relaxed their attitudes. After a few persecuted creatives got people to dispute with a commie newspaper anyway. Even then, the only thing of note is 1969’s Čtyřlístek. For over 50 years, it was celebrated as the most popular children’s Czech comic. To oversimplify, it’s basically funny animal slice-of-life.
As for the adult side, Kaja Saudek filled things out with Pepík-Hipík. And it only took until the 80s while settling with a younger audience because the Soviets censored adult content.
Besides the 70s were preoccupied with with what little they could express in magazines like ABC. Usually science-fiction because creatives could technobabble around the censors. While making them exciting by following John Carter of Mars’ attitude. Stuff like Pod paprsky Zářícího (Under the Rays of the Glowing) which came out of the idea for a John Carter sequel. Or Vzpoura mozků (Revolt of the Brains) which takes the robot uprising concept to interstellar levels. No seriously, Terminator 3’s Czech name is practically the same as this.
Velveting The Art
Which can’t be said for all of the magazines. In 1989’s Velvet Revolution, there were a lot of changes making it hard for the magazines to support themselves. Unless you have IPs like the Arrows keeping interest. Because let’s be clear, a non-violent protest against the Soviets is just a little more important than anything without nostalgia. But at least one survivor got to publish Saudek’s magnum opus, Muriel a andělé. This trippy tribute to film editing made constant memorable moments.
It was pure artistic expression that is celebrated as the best of Czech comics. Hence why its sequel quickly became a best-seller decades later… along with its artful satire of the communist regime. Which is why some background characters look like Archie and Batman. No better way to celebrate the Czech Republic’s 20 year anniversary than inviting characters banned by censorship.
The Gate’s Erosion
So influential, creatives tried to follow Saudek’s example. But comics weren’t for everybody, usually it was the passionate artists with their fanzines that kept going. As it goes, one of the only magazines that keep on are translations of other countries’ material. You know, stuff like DC, Marvel, manga, and European content. But it’s a blessing in disguise!
In 2000, interest in comics begins again with an entirely new generation of artists. Some of them joined a still running publisher called Mot Komiks with comic series albums becoming the norm. Better yet, there are festivals and civic associations to support Czech comics. Thanks to these and various publishing houses, there are a few creators joining in every year.
Not Enough Czech Comics
The only problem Czech comics face now isn’t (just) the usual. It’s a lack of a central identity. You’ve got plenty of creatives making experimental storytelling methods even going into serious topics like adolescent anxiety disorders. But there aren’t many common themes or topics. Except for maybe Pérák who has become a regular character in the ABC magazine. As well as a number of biographical comics to try and reach a bigger audience.
Now Czechs just have make use of online marketing to its fullest. Unless I’m missing something.
Thanks for coming to the end, and as always remember to look between the panels.