an editorial desert

With the exception of some niches, including the fanzine circuit, which has always been limited, the panorama of the comic book press in Portugal is that of an inhospitable desert. There is nothing for the general public, which also says a lot about who we are.

And if the editorial activity of the present has a lot to say, good and bad, namely the absence of an effective policy to create reading habits, in comics, what you see is a public with no offer at this level. , unless what comes from outside, because there is an audience that could pass this taste on to their children and grandchildren, as was the case with previous generations, that of Cavaleiro Andante or Tintin.

It’s not enough to put albums on the market, hoping that one or the other will fall into goto; a real editor is not only that, but rather a banal product manager. See what happened recently with Disney material, saturating an avid market, with no other editorial attitude than that of making money.

The last editor with a perception of the role he should have as a reader builder was Telmo Protásio, from Meribérica, especially with Jorge Magalhães, in the magnificent monthly Seleções BD. Serious magazines are needed, therefore, combining classic and contemporary, the outside and the inside, now that Portuguese comics are like never before.

These bitter remarks come from a subsidiary offer of Disney fumetti bought at a kiosk in Milan: number 5 of Il Club del Supereroi. Not only is everything there, except the fleeting Vespa Vermelha, but old and new authors are dosed, from the North Americans Paul Murry, Carl Barks and Don Rosa, among others, to the Italians Ezio Sisto, Silvia Ziche and Marco Gervasio, as well as the Brazilians Ivan Seidenberg, Carlos Edgard Herrero and Paulo Borges, the Spaniard Jordi Alfonso, the Dutchman Bas Schuddeboom or the Japanese Shiro Shirai, with a manga, reading from right to left, at the end of the magazine, all with explanatory texts and dates of original publication.

We found a classic Super Goofy again, a regular Red Bat (two characters to be explored soon) and an unusual Super Duck designed in the Netherlands, as well as an interesting experience that combines an original by Carl Barks from 1949 – Super Snooper – with a remake of his spiritual disciple, Don Rosa, and another, Japanese, the manga by Shirai.

Donald finds his nephews reading Super Snoopper superhero magazines (in the manga, it’s already a movie), and is critical of Huguinho, Zezinho and Luisinho wasting time on cheap literature, realizing, however, from their reaction, that he himself is far from being a model. Everything changes when, by mistake, he ingests a chemical solution that will give him superpowers. Seeing the different solutions from the matrix narrative in the two versions of the 1990s is one of the attractions of this little magazine, which, not being from another world, does not compare with our desert.



C, by Colonel Clifton (Raymond Macherot, 1959). Harold Wilberforce Clifton, retired MI5 officer, amateur detective, graduate scout, with a phlegmatic imperial moustache, impeccable attire, thoughtful housekeeper and an enviable MG-Type Midget, ideal for commuting between London and the fictional town of Puddington, where lives, is one of the great creations of Macherot, one of the great Belgians of BD.


Les Portugueses. by Olivier Afonso and Aurélien Ottenwalter. Mário is 18 years old and flees Portugal in the trunk of a car. On the Franco-Spanish border he meets a patrician, Nel, and they both head to Paris. The son of Portuguese immigrants in France, Olivier Afonso (b. 1975), with a recognized career in the characterization and creation of special effects in French cinema, goes in search of his roots, daily life and stereotypes associated with those who fled from the most back in Western Europe, they worked in construction and lived in the biddonvilles on the outskirts of Paris. A harsh and unpleasant reality, whose descendants like Afonso, now French citizens, want to understand. (Les Arenes edition).

Source: Jornal i by

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