Argentine comics
| Argentine comics | |
|---|---|
| Earliest publications | Late 19th century |
| Publishers | Ediciones Frontera Ediciones de la Urraca Ediciones Record |
| Publications |
Patoruzú Rico Tipo El Eternauta Mort Cinder Fierro |
| Creators |
Adolfo Mazzone Quino Héctor Germán Oesterheld Alberto Breccia Roberto Fontanarrosa |
| Series | "Patoruzú" "Mafalda" "Inodoro Pereyra" "Gaturro" "Cybersix" |
| Languages | Spanish |
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Argentine comics (Spanish: historietas) are one of the most important comic traditions internationally, and the most important within Latin America, living its "Golden Age" between the 1940s and the 1960s. Soon after, in 1970, the theorist Oscar Masotta synthesized its contributions in the development of their own models of action comics (Oesterheld, Hugo Pratt), humor comics (Divito, Quino) and folkloric comics (Walter Ciocca) and the presence of four great artists (José Luis Salinas, Arturo Pérez del Castillo, Hugo Pratt and Alberto Breccia).
The first cartoons to appear in Argentina were editorial cartoons in political satire magazines at the end of the 19th century. These cartoons, originally single panels, quickly evolved to multiple panel constructions with sequential action. Many used methods such as text indicating dialogue emanating from the speaker's mouth, or text below the drawings for dialogue and explanation.
In the 1900s, comics continued to be largely political satire and commentary, but strips about normal life, called cuentos vivos (lively tales) began to appear. Text still frequently appeared below each drawing with dialogue or explanation. Comics continued to be published exclusively in magazines. Also during this time, translations of comics from the United States, such as Cocoliche (Happy Hooligan) by Frederick Burr Opper, showed up in Argentina.
During the 1910s, the amount of comics made in Argentina grew by leaps and bounds. In 1912, the first Argentine comic strip proper, with speech balloons and recurring characters, Las aventuras de Viruta y Chicharrón, by Manuel Redondo, began being published in Caras y Caretas. Later comics, such as Aventuras de un matrimonio aun sin bautizar (later known as Aventuras de Don Tallarín y Doña), followed, and by 1917, Las diabluras de Tijereta was one of the lone strips that still put text at the bottom of each picture. Billiken, a children's magazine started in 1919, already included some cartoons.
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