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Supa Strikas Comic Pdf 92


Serbian comics are comics produced in Serbia. Comics are called stripovi in Serbian (singular strip) and come in all shapes and sizes, merging influences from American comics to bandes dessinées.




Supa Strikas Comic Pdf 92



Comics started developing in Serbia in the late 19th century, mostly in humor and children's magazines. From the 1920s to the end of the 1980s, Serbian comics were part of the larger Yugoslav comics scene; a large number of titles was published from 1932 to 1991, mainly in Serbo-Croatian language. After the breakup of Yugoslavia and the crisis in the 1990s, Serbian comics have experienced a revival.


In 1932 Veseli četvrtak (Merry Thursday), an illustrated magazine for children, appeared in Belgrade; an unusually large amount of space was allotted to cartoons. The magazine featured foreign works such as The Katzenjammer Kids and Felix the Cat, but also Doživljaji Mike Miša (The Adventures of Mika the Mouse), a Mickey Mouse pastiche by Serbian authors. Other weeklies and dailies such as Vreme and Pravda followed suit.[1] In 1934, one whole page of Politika newspaper was devoted to Secret Agent X-9. In addition to adventure comics, Walt Disney's cartoon animals were also popular at the time, especially Mickey Mouse, whose name would be used in the titles of a number of Yugoslav comic publications: Mika Miš, Mikijeve novine (Mickey's Newspapers), Mikijevo carstvo (Mickey's Realm). An editor named Dušan Timotijević named the new art form "strip", after English "comic strip".


In 1934, the first two specialized comic magazines appeared - Strip and Crtani film (Cartoon). Their appearance and content were influenced by the Italian magazines Topolino, L'Audace and L'Avventuroso, as well as French magazines Le Journal de Mickey and Hop-là!. Russian immigrant Nikola Navojev debuted in the pages of Strip with his works. Although he died at the age of 27,[2] Navojev was a prolific author who created a number of characters for Strip, of which jungle girl Tarcaneta (Tarzanette) is best-known today.[3] In 1935, inspired by the adventures of Alex Raymond's X-9, Vlastimir Belkić created the first original character in Serbian comics named Hari Vils.[4] Similarly, other two Russian immigrants, artist Đorđe Lobačev and writer Vadim Kurganski, began working on their first comic, called Krvavo nasledstvo (Bloody Heritage), serialized in the illustrated periodical Panorama.[5] Not only was it the first successful modern comic produced in Serbia, but also the first title set in Yugoslavia.[6]


Most of the Golden Age artists were Russian immigrants, collectively known as the Belgrade Circle and gathered at first around the Mika Miš magazine. Soon enough it was transformed into a real comic magazine, reprinting foreign classics like Prince Valiant, Phantom and Flash Gordon, but also publishing comics by the local authors. Mika Miš lasted from 1936 to 1941, when it ended with issue 505.[7] Its domination would not be questioned until 1939 and the emergence of Mikijevo carstvo and Politikin Zabavnik. The key figures behind all three publications were editors Aleksandar J. Ivković and Milutin Ignjačević.[1] From 1935 to 1941 about twenty comic magazines were launched in Serbia, published weekly and bi-weekly, mostly in black-and-white. They were sold throughout Yugoslavia. In order to boost sales in the western parts of Yugoslavia (today's Croatia and Slovenia), some publications were printed not only in the Serbian Cyrillic but also Latin alphabet. Comics were distributed through convenience stores, newsstands and newsboys, with an average print run of 10,000 - 30,000 copies.[8]


The notable works were inspired by cultural classics and Serbian folklore. The shortlist includes Ivan Šenšin's Hrabri vojnik Švejk (an adaptation of Jaroslav Hašek's novel The Good Soldier Švejk) and Zvonar Bogorodičine crkve (an adaptation of Victor Hugo's novel The Hunchback of Notre-Dame), Sergej Solovjev's Carev štitonoša (Emperor's Squire), Robin Hud (Robin Hood) and Ajvanho (an adaptation of Walter Scott's Ivanhoe), Lobačev's Master Death, Baron Minhauzen (an adaptation of Rudolf Erich Raspe's The Surprising Adventures of Baron Munchausen) and Biberče (Pepper-Boy, based on the Serbian folk fairytale of the same name), Konstantin Kuznjecov's Grofica Margo (Countess Margo) and Bajka o caru Saltanu (an adaptation of Alexander Pushkin's poem The Tale of Tsar Saltan). Unlike most of his contemporaries, Sebastijan Lechner also wrote his own scripts, such as Džarto.[9] Similarly, Navojev teamed up with comics writer Branko Vidić to create Zigomar. Some of the titles were reprinted in French and Turkish magazines,[10] while Zigomar was also published in Bulgaria, Italy, Brazil, Argentina and more recently in Australia.[11]


The Golden Age of Serbian comics ended with the Nazi invasion of Yugoslavia in 1941. After World War II some authors were executed as collaborators by the new communist regime or forced to emigrate because of their work in collaborationist newspapers or on propaganda posters.[13][14][5][15][16] The 2018 documentary film The Final Adventure of Kaktus Kid explores one such fate, the one of the less known artist Veljko Kockar.[17]


After World War II, the communist government considered comics a decadent product of the West, therefore worthless and even harmful for children. In 1946 state-owned daily newspaper Borba criticized comics as "black market ersatz goods".[18] For years to come, comics would be discouraged or outright banned. New magazines like Tri ugursuza (Three Rowdies, the Yugoslav title of Les Pieds Nickelés) and Vrabac (The Sparrow) were short-lived, although comic strips and cartoons survived in the humor magazines Jež (Hedgehog)[19] and Mali Jež (Little Hedgehog), where Milorad Dobrić and Dejan Nastić published in the 1960s.[20]


The outlook changed after the Tito-Stalin Split in 1948. In 1951 Walt Disney's comics returned to Serbia's newspapers. In 1952 Politikin Zabavnik was revived, boasting a circulation of 450,000 in the 1970s.[21] (The magazine is still published, having reached its 3000th issue in 2009.)[22] Lobačev was welcomed back to the pages of Zabavnik in 1965. However, it would publish few local comics until Lazo Sredanović's Dikan in 1969.[23]


Nevertheless, back in the 1950s comic magazines like Robinzon (Robinson) and Veseli zabavnik were still censored, but even the Yugoslav People's Army started publishing some.[24] Although Zdravko Sulić began his career in such a publication, most of his works would be published in the magazine Kekec.[25] It was launched by Borba in 1957, featuring French comics such as Lucky Luke, Smurfs and Chlorophylle, but also domestic titles, including the works of "the second generation" of creators, like Aleksandar Hecl of Vinetu (Winnetou) fame.[26] The first four-color Kekec publication reached the print run of 300,000 copies.[24] Kekec lasted for 1532 issues and ended in 1990.


1957 also saw teachers from the small town of Gornji Milanovac launch student newspaper Dečje novine, which grew into a major publisher. Their most successful characters were Mirko and Slavko, heroes of the eponymous comic book. In the 1960s the adventures of the two Partisans peaked at 200,000 copies per issue. To date, it is the only Yugoslav comic adapted into a live action movie.[27] The title was serialized in the Nikad robom comic book series, which also printed works by Petar Radičević (Mystery Knight), Radivoj Bogičević (Akant), Božidar Veselinović (Dabiša) and Živorad Atanacković (Hajduk Veljko), all inspired by the history of the South Slavs. The same publisher launched a number of other magazines, including Zenit and Biblioteka Lale (which first reprinted Marvel comics in Yugoslavia) and Eks almanah (which introduced DC superheroes, among others).


Starting as an Eks spin-off in 1977, the YU strip magazine turned to be the seminal publication for Serbian authors. Teamed up with writer Svetozar Obradović, Branislav Kerac had already debuted with Lieutenant Tara in the Zlatni kliker magazine.[28] The duo went on to create Kobra, the most popular Yugoslav comic of the 1980s. Kerac's super-heroine Cat Claw reached even greater success abroad.[29] A number of local creators (Zoran Janjetov, R.M. Guera, Darko Perović, Zoran Tucić, Vujadin Radovanović, Željko Pahek, Dejan Nenadov, Vladimir Krstić and many others) published their early stories in YU strip before they went on to work for foreign publishers. The magazine lasted for 85 issues and ended in 1987.


By the late 1970s, the scene rebounded after the blow it had suffered from the 1972 tax law[30] which targeted not only the yellow press but also comics. From 1971 to 1981, 11,611 issues of comics and pulp novels were printed in Yugoslavia, a total of 717 million copies in the country of 22 million people.[31]


Meanwhile, the student press welcomed comics studies[32] and alternative comics of "the third generation",[33] inspired by Métal hurlant. The Pegaz magazine was another publication that nurtured comics theory; it was also where the award-winning Svemironi strip by Lazar Stanojević premiered in 1975.[34]


In addition, comic groups like Belgrade Circle 2 and Bauhaus 7 appeared, comic album was introduced as a new format, and the first animated short based on a comic was filmed.[35] The mass media embraced comics insomuch that the national television produced an educational series on the medium.[36]


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