#world’s greatest comic magazine

[evilhorse]

Fantastic Four #20

[vertigoartgore]

2019's Fantastic Four Vol.6 #6 (LGY : 651) cover by artist Esad Ribić.

[ungoliantschilde]

Fantastic Four: the World’s Greatest Comic Magazine, Vol. 1 # 07, by Bruce Timm and Keith Giffen.

[comicchannel]

Funko Pop Comic Covers Marvel Deadpool in Black Suit - 46

Link para compra BR: *Possível importar pelo Link abaixo

Buy here: https://amzn.to/487BZ00

[copcomco]

We’ve been spending some quality time with READING LOVE AND ROCKETS, Marc Sobel’s seventeen-years-in-the-making look under the hood of the the world’s greatest comics magazine, and it’s been a real pleasure!  Even for Mr. Know-It-Alls like us, revisiting all the ins and outs of the genesis, creation and continuity of this epochal series while simultaneously following along with the copious referential asides and topical brackets – all brimming with insights and accompanied by a profusion of illustrations, is like having a way hep hangout with a fellow fan(atic).  And for L&R newbies and others just getting under way, the material on hand in this hefty volume’s 340+ pages will open up new worlds.  So, to make a long story short, RECOMMENDED!

Available on the Copacetic site (for a reduced price) HERE.

[paladin-of-nerd-fandom65]

When he first came out in 1938, in terms of how his character was portrayed, Superman wasn’t just unique and captivating because of his amazing powers and charming personality. He was by many accounts of entertainment at that time…an exception to the norms

One of the many ways Action Comics #1 changed everything: The fictional concepts of ‘aliens among us’, ‘Being with Godly Powers’ and how they’re combined with the Pulp Hero which led to Superman.

The thing is

A lot of these stories of beings with godly powers beyond those of mortal men would often be portrayed as an antagonistic to outright villainous force meant to horrify their victims with the overarching mantra of Absolute Power Corrupts Absolutely. It’s a trend we seen play out a lot of times in our current media when beings who either gain or often times posses godlike powers are either villainous last obstacles for our hero, their greatest challenge or as like seen sometimes in shows including Star Trek, beings of thousand of years old who long detached themselves from the affairs of beings considered ‘lesser’ than them with little to no interference, meant to be observed. There’s certainly a probably chance of characters like these being the norm even for stories in pulp novels, magazines and other media back then in the 30s

More telling since they had popularity even lasting beyond Action Comics #1’s first printing, if that superpowered being has alien origins, they’re those that usually either don’t understand the concept of morality as we lowly humans do and utterly so alien and abomination in mere appearance, looking at them directly can drive some to madness a la HP Lovecraft whose works find routine publication from as early as 1908 and only ended in 1936 or in the case of say War of the Worlds who had a very notable radio adaptation in 1938 (which caused a bit of mass panic due to timing of people tuning in their radios before announcements and title introductions were made) they might understand that morality and they given to destroying our civilization anyways in conquest as an allegory for Imperialism at that time

In both of these types of stories, any being even those with a humanoid appearance are seen as others or outside forces that are threats to humanity and especially the average Joe and they were stories that came out prior to Action Comics #1. Prior also to that comic, sure they were some superheroes usually in either mythology like Hercules or pulp heroes a la the Phantom

Superman when he first came out was an exception to all of that

For a simple reason, he could’ve been on of those aliens who were detached from the reality around them by their age and wisdom, an invading ruthless conquerer like HG Wells’ Martians, a abomination who mere acts of simply existing in our realm invokes dread, despair and fear of what unknown entities he can be linked to that overpower us lowly humans a la The Colour Out of Space or even the faceless one Nylarathotep or even a man who when gaining his great power eventually descends into utter madness and villainy for their own selfish gains which ironically was what the duo of Jerry Siegel and Joe Shuster had in mind for their planning stages of this brand new creation they wanted to share.

Even for a heroic example, Clark could’ve simply been a simple man with a bright costume and a gimmick in an attempt to cash in the small notable trend the Phantom had set up into his adventures coming out a mere years before Action Comics

And yet Superman wasn’t any of that. He was simply a humanoid alien immigrant who was raised by a kindly couple and from an early age decides to use his newfound godlike powers and incredible abilities not to frighten, not to be detach, not to conquer….he just wants to help. He’s a Champion of the Oppressed, a living marvel dedicated to helping those in need.

All of those other examples of what people had for character prior to Action Comics #1 are what they are….

Superman Can. And he can do that, cause he was and still is the exception

[nevenkebla]

Portada de Fantastic Four: World's Greatest Comics Magazine (2001) #9 por Erik Larsen y Bruce Timm.

[moonspirit]

Armin likes Annie’s legs

Armin has a weakness for Annie's legs, you got that right.

Annie's legs are her pride and greatest strength. Those legs, strong and shapely have obliterated countless enemies. Those legs have kicked, killed, outrun and saved lives. They are every bit dangerous as they are full of painful lessons. Those muscles, skin and flesh will never forget the memories of her past. But to Armin, they are lovely.

He makes sure to let her know as much. Her legs are limbs that he holds and loves with all of his heart and soul.

He loves her legs when he wakes up and they're tangled between his own legs - in lazy and relaxed sleep. He stays in bed an extra five minutes just patting her bare knee and watching her sleeping face, soft sunshine pouring into their room.

He loves her legs when they go on a walk together; her quick, light, graceful footsteps are as quiet and surefooted as a cat. So different from his own very ordinary human gait. So he makes sure to tease her out of her step every now and then with a playful bump into her shoulder. The resulting scowl he receives is one of his many precious rewards.

He loves her legs after lunch, in the hour of quietness they share in the living room, where he reads boring books and she flips through comics and magazines. More than the joy inked words bring him, it is the sensation of her legs draped across his lap, feet propped on the armrest, limp and warm to his absent-minded hand around her calves, that makes his heart feel quiet and happy.

He loves her legs on a soft, quiet night when they're still awake under the silent moonlight. They jostle and curl and bend and turn when he's cracking all the terrible jokes he's come up with and she's laughing and trying to kick him away.

He loves her legs when, right after, in a moment of pause, those very same legs slowly climb up the side of his body, inviting him into the space between.

He loves her legs when the strength in them melts into a quivering mess. Still, they are firm and tight when they hold him close and don't get him go as he moves inside her--slow and sweet, then hard and quick--and the way her toes curl and her feet flex and her thighs begin to shake with too much pleasure has him wanting to hold and hold and hold them until she can no more see anything but stars.

He loves her legs when they share a drink of hot chocolate after sex, and he sits on the bed next to her feet that are half tucked under the blankets. Annie is beautiful, glowing from the warmth and heat of their passion, and he cannot help but lean down and kiss her ankles, with admiration, love and respect.

He loves her legs on cold, rainy mornings when he can grab them in sleepy insistence to keep her close and warm to his body for just five more minutes.

He loves her legs during important meetings when she's become bolder, braver and absolutely up to no good when she silently slides her feet up his calves and over his thighs, effectively short circuiting his brain. He loves them afterwards too, when he finds an empty room with a desk and a lock on the door where he can give her everything she's torturing him for.

He loves her legs in the summers when she's dressed lightly, in the fall when they're playing around in the fallen leaves, in the winters when she's warm and dressed in the clothes much too large for her, and in the spring, when somehow, she's convinced that skirts and dresses don't look so bad on her.

He loves her legs in every way, for every reason and none at all, for the tiptoe kisses she still has to give him years later, for the control and strength and elegance, and for everything in the world.

[ducktoonsfanart]

Mickey Mouse and Oswald the Lucky Rabbit as Romulus and Remus, as the founders of Rome - Toon History - History in Duckverse and Mouseverse - Happy Birthday to the Best City!

Yes, it's time to change my plans now with my new project called Toon Historia, also History in Duckverse and Mouseverse in which our famous cartoon and comic characters play famous historical figures and will play in important historical events . And first I drew Oswald the Lucky Rabbit and Mickey Mouse as the founders of Rome, as Romulus and Remus. Romulus and Remus, according to Roman mythology and Roman tradition, were the sons of Rhea Sylvia and the god Mars and grandsons of King Numitor. Numitor's brother Amulius overthrew his brother and ordered the execution of his children, including the sons of Sylvia who were thrown into the Tiber River. However, according to legend, a she-wolf found them and raised them until the shepherd Faustulus came along and adopted them. Afterwards they grew up and when they heard the truth, they went to overthrow Amulius and succeeded and restored their grandfather Numitor to be king of the city of Alba. Afterwards, Romulus and Remus went to seven hills in the valley of the Tiber River and there on April 21, 753 BC they founded the eternal city, which will be called Rome. Yes, there was a conflict between the two in which Romulus killed his brother (a tragic event) and thus took the title of the first king of Rome.

Oswald and Mickey who were created by Ub Iwerks and Walt Disney in 1927 and 1928 also became the first Disney icons, however the conflict between Iwerks and Disney resulted in Oswald being part of Universal, until in 2006 Disney bought the rights to Oswald. Yes, that's why I drew Mickey and Oswald as Romulus and Remus, because of that parallel, but don't worry, Mickey won't kill his brother, even though mice and rabbits are not the same species, they are still considered brothers because of Epic Mickey. As Romulus and Remus were the founders of Rome, so Oswald and Mickey were the founders of the new world.

I drew this last year, but I waited for this moment to publish now and I drew it as a redraw from an illustration by Tancredi Scarpelli (1866–1937) for Storia d'Italia by Paolo Giudici (Nerbini, 1929). I drew Mickey in my own style, while I left the old look for Oswald, because I still like him better with dot eyes. And yes, I drew this on the occasion of the 100th anniversary of the creation of Disney as well as the 75th anniversary of Topolino magazine, which is published in Italy, and the capital of Italy is definitely Rome. Yes, Rome, the eternal city and capital of one of the greatest empires and greatest civilizations of all time. As well as related to the birthday of the City of Rome, which is celebrated on April 21 every year. Happy Rome Day! Roma Aeterna!

I hope you like this drawing and this idea and if you want to support feel free to like and reblog this! I just ask that you don't copy my same ideas without mentioning me and without my permission. Thank you! Happy Rome Day, my favorite city in the world!

[tony-stark-ing]

That's one way to get a guy's attention.

Fantastic Four: World's Greatest Comics Magazine issue #8

[evilhorse]

Flame on, baby.

(Fantastic Four #20)

[rhapsodynew]

#Everything will be the blues📌

WHO IS THE "HOOCHIE COOCHIE MAN"

The mysterious expression "Hoochie Coochie Man" is known to everyone who loves the blues at least a little, because that's the name of a song considered a classic of the genre. 

"Hoochie coochie" was the name of a sexy female dance that captivated the public during the Chicago World's Fair in 1893. It is believed that it was brought to the United States by Eastern European Gypsies. The same term was used to designate establishments where such performances were held. The conclusion is that the "hoochie coochie man" is a regular of such establishments, a lover of raunchy shows and affordable women.

But researchers claim that the expression "hoochie coochie man" came into use only after 1954, when Muddy Waters recorded a song by Willie Dixon (the author of the composition then played bass guitar). By that time, everyone had forgotten about the once popular dance. Therefore, it is hardly worth associating the term directly with the visitors of depraved performances.

In addition, some lines from the lyrics of the song "Hoochie Coochie Man" suggest certain reflections. For example, there is mention of the bone of a black cat, which was an amulet for African Americans, and the plant "Johnny Conckeroo" (apparently distorted "conqueror" - "conqueror"), allegedly possessing magical properties, which is why it was worn in a bag around the neck.

So what did Dixon mean? His interview, which he gave in 1988, clarified the situation a little. Willie said:

People believe in mysticism. How people believe in astrology today. This has been the case for many generations, starting from biblical times. People all over the world believe in this. Even before Jesus was born, according to the Bible. The sages saw the stars in the east and were able to foresee what would happen. All this is mysticism. People say, "Hoochy-hoochy people predict the future." You know, like those Eastern sages. They call them voodoo or hoochy-heaps. They are also called sorcerers (English "hoodoo") or two-headed. They have different names for everything.

As you can see, Dixon put a few different words into the meaning of this phase, clearly associating it with mysticism, but not without sexual overtones, as follows from the words of the song "Hoochie Coochie Man". According to Dave Van Ronk's memoirs, Willie became convinced that the song should have a comic effect. The exact date of the composition of "Hoochie Coochie Man" is unknown. It is said that before the song was performed by Muddy Waters, Dixon managed to polish it at the Zanzibar club in Chicago. After recording, it also became a hit and rose to number eight on the Billboard Black Singles chart.

Dozens of cover versions of "Hoochie Coochie Man" were subsequently recorded. Among the noted performers were Jimi Hendrix, Chuck Berry, Buddy Guy, Eric Burdon, BB King, Eric Clapton and many others. The song "Hoochie Coochie Man" is included in the Blues Hall of Fame, the Grammy Hall of Fame and the Rock and Roll Hall of Fame. It is ranked 226th on Rolling Stone magazine's list of the 500 Greatest Songs of All time.

[astroboyart]

Tezucomi magazine receives a 2 volume release in North America in 2024; will only include manga from European artists

Sources: Amazon (Volume 1, Volume 2), Kickstarter

Tezucomi manga magazine will receive a 2 volume North American release through Magnetic Press; it will only include the European manga that were included in the original release from Japan.

Tezucomi Volume 1 is set to release on February 13, 2024, while Volume 2 will release on March 12, 2024.

These releases came about from a successful Kickstarter from Neurobellum Productions!

Tezucomi was an Osamu Tezuka anthology magazine containing manga drawn from comic/manga artists around the world. It began in 2018 and ran for 18 volumes.

A summary of both volumes as posted on Amazon's website:

Volume 1:

An anthology of short stories based on some of the many popular creations of legendary Japanese mangaka Osamu Tezuka, as illustrated by a collection of some of the greatest comic creators in Europe. This larger 300-page hardcover edition is presented in traditional manga reading order, right to left. This first volume includes "The Mouse" by Sourya, based on AYAKO; "The Moon Rabbit" by Brice Cossu and Valerie Mangin, based on BUDDHA; "A Taste for Blood" by Philippe Cardona and Florence Torta, based on DORORO; "The Cursed" by Mathieu Bablet, based on METROPOLIS; "The Eyes of Pandora" by Victor Santos, based on MW; "Love at First Sight" by JD Moravn and ScieTronc, based on MIDNIGHT; "Doppelganger" by Belen Ortega and Victor Santos, based on BARBARA; "The Parchment of the Cat" by Kenny Ruiz, based on MY SONGOKU; and "Catalante" by Mig, based on UNICO.

Volume 2:

An anthology of short stories based on some of the many popular creations of legendary Japanese mangaka Osamu Tezuka, as illustrated by a collection of some of the greatest comic creators in Europe. This larger 300-page hardcover edition is presented in traditional manga reading order, right to left. This second volume includes "Big X" by David Lafuente, based on BIG X; "The Creator and the Destroyer" by Philippe Cardona and Florence Torta, based on ASTRO BOY; "The Last Recital" by Bertrand Gatignol, based on BLACK JACK; "The 3 Richards" by Juan Diaz Canales, based on MESSAGE TO ADOLF; "The Guardian of Mount Moon" by Reno Lemaire, based on KIMBA THE WHITE LION; "Mina's Song" by Luis NCT, based on APOLLO'S SONG; "Heartless" by Joe Kelly and Ken Niimura, based on BLACK JACK; "Princess Knight" by Elsa Brants, based on PRINCESS KNIGHT; and "Team Phoenix" by Kenny Ruiz with Studio Kosen, based on several works of Osamu Tezuka.

[aghostrandom]

W.I.T.C.H., interview with the creators

Some time ago, I made a post about "the original Elyon being a guardian," and since everyone was confused, I thought I'd translate the interview from which I read this information.

I don't know if someone else has already done it, but since I didn't find anything online, I decided to do it myself. I will translate the entire interview with the help of an online translator and a friend of mine.

Just remember that this interview was published in April 2021, marking 20 years since the release of the first volume.

Enjoy!

Here the original link in italian: https://heroica.it/w-i-t-c-h-20-anni-barbucci-canepa-intervista/

It is April 3, 2001 when Italian newsstands are hit by a small earthquake, which will soon transform into a hurricane...

The first issue of W.I.T.C.H. is released, a comic magazine that will shatter every sales record in a matter of months, embarking on a quest to conquer the world.

It all begins in Milan, at the headquarters of Walt Disney Company Italy, with an intuition of the then-director of the company's women's periodicals, Elisabetta Gnone, and the talent of two young artists, Alessandro Barbucci and Barbara Canepa, whom I have interviewed for you.

Interview with Alessandro Barbucci and Barbara Canepa

Let's start from the origins: How was W.I.T.C.H. born?

Alessandro Barbucci: It was 1997, Sailor Moon was still fresh in everyone's memory [the last series had been broadcast in Italy between March and May of that year, editor's note]. And then there were the Spice Girls...

"Sailor Moon was ironic, arrived at the right moment; the Spice Girls were five purely pop characters, worthy of a cartoon - during that period, we were big fans, we even went to see the movie in the cinema!" Alessandro revealed to me.

Elisabetta Gnone, who was then in charge of the women's periodicals at Walt Disney Company Italy, had a great intuition: she realized that there was a missing product for teenage girls, an audience segment that had never been considered by the major company before. When thinking about teenagers, one couldn't ignore what was happening in pop culture at that moment...

Barbara Canepa: During that period, a passionate fanbase for manga was beginning to take shape. it was clear how this new language was able to respond to the tastes and needs of teenagers - not just boys, but girls as well!

In fact, up until that moment, it was believed that girls didn't read comics. It was precisely with shoujo manga (like Sailor Moon, but not only) that this belief began to falter.

Canepa: Exactly. I had already been an avid manga reader since the days of Candy Candy: we're talking about 1986 when Mondadori released the first monthly editions at newsstands. I started reading my first manga at the age of 12, and at 16, I saw Akira (1988) for the first time in theaters. In fact, I was the one who got Alessandro passionate about this style, even though he already had some knowledge of it. We felt that the language of manga was the best way to visually "tell" this story.

Barbucci: Initially, I proposed girls in a steampunk, military style. I was a big fan of Tank Girl by Hewlett and Martin.

In my mind, Hay Lin had already existed for a long time: I had been drawing her since high school, but she was a punk with military boots," Alessandro revealed to me.

Elisabetta Gnone told me that the concept was considered too "masculine," so she proposed the idea of the five witches, which directly connected us to manga. Some people at Disney Italy were afraid that, given the theme, it would veer into Satanism, but their greatest fear was the manga-style big eyes!

Canepa: For them, it was inconceivable to publish a comic even vaguely inspired by manga, which at that time were their direct competitors in the market.

Barbucci: At one point, they considered investing in the relaunch of Daisy Duck by introducing our five characters as anthropomorphic animals. It was an attempt to somehow connect with the Disney universe.

Canepa: Yes, exactly. The project was called Daisy D. and it was intended for the monthly magazine Minnie Mag. The story featured Daisy Duck as a private investigator, accompanied by our W.I.T.C.H. characters, who in this version would have had snouts and gloves, just like Minnie and Mickey! I still have the first page done in watercolors, as we wanted to make it like the pages of Paperinik's Trip...

The scriptwriter, Ilaria Isaia, revealed to me that the inspiration for Daisy D. came from the success of "Minnie and the Magnificent Five," a story published in Minnie & Company in 1993. It featured Minnie in the role of an investigator, solving a mystery connected to five girls. Daisy D. wouldn't have been very different: "It revolved around Daisy Duck as an investigator, called by her friend to investigate mysterious events happening in a college attended by five students with magical powers," explains Ilaria.

Barbucci: Fortunately, nothing came of it.

Canepa: We were well aware that a story starring Daisy Duck wouldn't resonate with teenagers. We needed five normal girls that the readers could identify with...

Barbucci: So, the W.I.T.C.H. characters returned to being human.

For Will's design, Alessandro Barbucci Alessandro Barbucci was also inspired by "Alita" (1990) by Yukito Kishiro.

The graphic style of W.I.T.C.H., while drawing inspiration from manga, remains a hybrid of the West and the East. It doesn't stray too far from certain Disney characters, starting with Ariel from "The Little Mermaid" (1989).

Barbucci: I can tell a funny anecdote about this! As we mentioned, Disney Italy opposed W.I.T.C.H. in every way possible: they particularly disliked those manga-style big eyes. Together with Elisabetta Gnone, we came up with a game, a kind of bet with the top executives of Disney Italy. I drew a series of eyes, including manga characters, Disney characters, and our W.I.T.C.H. characters. Only the eyes were visible, nothing else. "Since you have so much to say about these manga eyes, guess which ones belong to the W.I.T.C.H. characters!" That was the bet: they could no longer complain. Well, they were wrong: they chose the eyes of Ariel from "The Little Mermaid" (1989), the protagonist of the Italian magazine of the same name, directed by Elisabetta herself, and successfully published by them for years. They didn't take it well...

Indeed, Ariel broke the Disney graphic conventions with the proportions of her face.

Barbucci: It was a "graphic shock," something that had never been seen in Disney until that moment. It was certainly a step towards manga aesthetics, with these very large eyes that we later found in the design of many subsequent characters, from Belle and Jasmine to Anna and Elsa.

We remember that you and Barbara worked on the magazine "The Little Mermaid" in the 1990s, just before W.I.T.C.H. started. In the covers drawn and colored by Barbara, I can already perceive some hints of manga style. Was it intentional?

Canepa: Absolutely yes! At that time, I bought Japanese magazines like Newtype and Animage to get inspiration. In one of the illustrations I made, there's Ariel with a straw hat: I think I took inspiration from an image of Nadia from "The Secret of Blue Water" (1990-91), or maybe from some other cover. The close-up of the face, as well as the fluttering leaves [like flowers in shoujo manga, editor's note], the pose of a model on the cover of a fashion magazine... it was all too innovative and "manga" for Disney Italy at that time, which often had something to say about my work! Even before W.I.T.C.H...

The scan on the left is taken from the website www.onlyshojo.com.

Walt Disney Company Italy didn't want anything to do with W.I.T.C.H., as we mentioned. What made them change their minds?

Barbucci: We worked on it secretly for at least a year, even at night. Then, finally, a ray of light... At the time, the main headquarters of Disney would send representatives around to other offices to find out what was being done in the rest of the world. Elisabetta was lucky to come across an American manager who was a big fan of Wicca. [Secretly from the top management, editor's note], she presented W.I.T.C.H. to him: he fell in love with it and financed the project, ordering Walt Disney Company Italy to proceed with its production.

Concept art created by Barbucci and Canepa between 1998 and 1999. Notice the homage to Minnie in the first illustration!

Images provided by W.I.T.C.H. Italia.

The project then gets underway. How did you divide the work?

Canepa: It's hard to say. Officially, Elisabetta wrote the plot, Alessandro created the character design, and I took care of the color and atmosphere. In reality, the three of us worked together on the concept, characters, and the world they would inhabit. We drew inspiration from our personal lives when creating these five girls. The city of the W.I.T.C.H., Heatherfield, is a mix between our hometown of Genoa and San Francisco, which we had visited together. Will shares my birthdate, while Elyon shares Alessandro's. At the time, I was a big fan of frogs, just like Will! Cornelia's cat is named Napoleon, just like mine - I also gave the same name to Elisabeth's cat, the protagonist of the first volume of END, the comic I created with Anna Merli. For Hay Lin's restaurant, we were inspired by a small Chinese "hole in the wall" where we often ate near our apartment in Milan... In short, W.I.T.C.H. was built and conceived based on our personal experiences: friends, memories from adolescence, and more.

Based on these characterizations, I created the character profiles that you can find in the first five issues of the magazine, as well as some internal editorials.

The character of Irma is inspired by Barbara Canepa in terms of design and personality, while Will is inspired by Elisabetta Gnone: with her, she shares an introverted personality and the detail of touching his hair when she is embarrassed.

Scans by poochieandotherfriends.it

Elisabetta chose the ethnicities and names of the girls, coming up with the acronym W.I.T.C.H., while Alessandro created the symbols of the Guardians. To draw the Heart of Kandrakar, Alessandro was inspired by a pendant, a unique piece that I was very attached to and still possess to this day!

Scans by poochieandotherfriends.it

Lastly, I'll reveal something you may not know: I was the one who designed the Witch's transformed costumes! I remember when Elisabetta jokingly scolded Alessandro, telling him to draw them less provocatively... (laughs). As for their everyday costumes, Alessandro created them, often drawing inspiration from his and our friends.

Scans by poochieandotherfriends.it

Another significant responsibility of ours was to form a team of artists who would work on W.I.T.C.H. alongside us. In fact, Alessandro and I couldn't have done it all by ourselves: W.I.T.C.H. was becoming a massive and important project, especially since it would be released on a monthly basis! Therefore, we conducted courses at the Disney Academy: Alessandro taught how to draw the Witch, while I taught manga techniques, coloring, and graphic design.

Scans by poochieandotherfriends.it

Did you encounter any other issues with Disney Italy during the production?

Canepa: There were some controversies, but at that point, the project was already underway. There were several delays, actually: the first issue was supposed to be released on Halloween in 2000. I remember that they criticized the covers: they didn't like the white background, and in the first cover, they didn't like the difference in proportions between Will and the others, which is another typical graphic characteristic of manga.

Barbucci and Canepa created the first five covers of W.I.T.C.H. and the corresponding chapter opening pin-ups.

You create the comic of the first issue: On the third page, there's a very intense panel with Will partially nude (without nipples); she appears like that later during the Sailor Moon-style transformation as well. These are not erotic images, but they certainly deviate from the Disney style. Did you face any issues regarding this?

Barbucci: Strangely, no. Maybe they had already given up at that point...

Scans by poochieandotherfriends.it

You left the project after the sixth issue. What happened?

Barbucci: The back and forth with Disney to bring W.I.T.C.H. to newsstands was incredibly exhausting. By the year 2000, we were drained from the continuous meetings, discussions, and delays... Moreover, both Elisabetta and we had realized our potential as authors. She was the first to leave: she left the world of magazines to fulfill her dream of becoming a novelist. And she succeeded greatly, as a few years later, she created the Fairy Oak series of novels, which sold millions of copies worldwide! Barbara and I were already in contact with various French and American publishers. In France, they allowed us to express ourselves artistically in a completely free way. It felt like a dream! There were so many things we wanted to talk about, things that weren't even proposable in Disney: sex, religion, politics... Sky Doll was born during this period. Furthermore, there were legal disagreements with Disney regarding the moral rights of the Witch characters. In short, after a few years with the multinational company, it was time for us to move on to other things. We needed a change of scenery!

The story you had in mind for W.I.T.C.H. was different from what we later read in the issues after your departure?

Canepa: Yes, it was darker, introspective, and more complex. It was a glimpse into teenage life presented through five very different girls. The plot had different layers of interpretation, including ecological aspects. It was certainly closer to manga in terms of themes: there was more focus on the girls' personal lives, their adolescent struggles. There wasn't a clear division between good and evil: the girls would be drawn to the Metaworld and tempted to join, crossing over to the other side of the barricade. Elyon would be the first to succumb, but they would all do so to some extent, even fighting against themselves.

Moreover, the Metaworld was a fascinating place, a natural paradise that was quite different from the medieval setting that Disney eventually created. At the heart of it all was the concept of growth and transformation, which is so dear to adolescence: the girls would have had the ability to transform into fantastic animals! Like teenagers who find themselves caught between childhood and adulthood, the W.i.t.c.h. would have been caught between two worlds, remaining trapped in one or the other, by choice or against their will. It wasn't always clear...

The W.I.T.C.H. transform into adult versions of themselves, adhering to the main theme of many majokko ("magical girl") anime.

Even Elyon, who in the version you have read is the princess of Meridian, was a very different character in our story. She was the Guardian of the Metaworld and had powers related to time, wild nature, and death. She would have tried to bring the other girls to the dark side and then redeem herself: in the last issue, she would have sacrificed herself to save the lives of her friends.

In W.I.T.C.H. #2, you can perceive some traces of the original Elyon, who at a certain point addresses the girls repeating, "Come to me, come to me..." as if trying to lead them to the dark side.

I transferred her main power, the ability to "bestow" death, to the protagonist of END, Elizabeth: with this character, I have done and will do everything that I couldn't do with Elyon, who was initially supposed to have white hair like her.

Barbucci: What was actually realized was a harmless mythology, closer to fairy tales and therefore to the Disney style. There is no mention of witches anymore... We would have focused on a more New Age aesthetic, with references to Wicca, which was very popular in those years.

After leaving W.I.T.C.H., you left Italy for France, from where you embarked on various successful projects, with Sky Doll first. It can be said that you found your dimension and creative freedom. Now that 20 years have passed, what is your relationship with W.I.T.C.H.?

Canepa: It's needless to say that the bond has always been very strong and still is today. It was our own creation for a long time: seeing it succeed worldwide brought joy, but also suffering because we felt disconnected from it.

Barbucci: It was a love-hate relationship, but I must say that it gave me the greatest satisfaction of my life: seeing dolls of the characters I drew being sold in supermarkets!

Some sketches made by Alessandro Barbucci at the beginning of 2021, to celebrate the twentieth anniversary of W.I.T.C.H.

Canepa: After twenty years, perhaps it can be said that we have made "peace" with what happened. The hardships we endured have now drifted away with the wind, and that's how it should be. Today, I can talk about W.I.T.C.H. with more tranquility, almost with tenderness. For many years, I didn't even want to face it. Initially, leaving Italy helped, but then W.I.T.C.H. reached France and the rest of the world. Over time, this forced me to look at it with more "serene" eyes, so to speak. If I hadn't left W.I.T.C.H., I would never have created Sky Doll and END, and perhaps I would have never become the director of a French series that, today, celebrates nearly 100 books 12 years after its creation. Destiny, then? I believe so. Fate wanted to take something away from me to give me something else. In hindsight, I truly believe there was a magical thread in all of this... or rather, a true witch's touch! There is a happy ending to it all: today, history reminds us that we are the true creators of W.I.T.C.H. The readers know it, and so do industry professionals. Even Disney, in the end, acknowledged us. Every now and then, Elisabetta, Alessandro, and I talk and, laughing, we say, "What if we got back together and remade W.I.T.C.H. in our own way?" In any case, this remains and will always be the most important project of my life. And to have touched so many hearts around the world... well, there's nothing more beautiful and satisfying. So, thank you all. I was happy to give you these five girls.

For Women's Day 2021, Barbucci drew again the famous pinup from the first issue, Halloween.

Current and Future Projects

Alessandro Barbucci His most recent work is "Le Sorelle Grémillet" where he returns to portraying teenage girls ("it's a bit like how I would have liked to create W.I.T.C.H. back then, but it wasn't possible"). Additionally, Alessandro continues to work on "EKHÖ" and other projects. Follow his Instagram and Facebook to stay updated!

Barbara Canepa For over 12 years, Barbara Canepa has been the editorial director of the Metamorphose series for the French publisher Group Delcourt, with over 100 published books. She has several projects in the works, including "MINA's Diary," where she will serve as the writer, while Isabella Mazzanti will handle the artwork and coloring. The work is a free interpretation of Stoker's Dracula, introducing a new way of conceiving vampires. For the past two years, she has been finishing the writing of 12 volumes of a new jeunesse series, "GREENWOOD," aimed at rediscovering and respecting nature to the fullest. Stay updated on her activities by following her on Instagram and Facebook!

[savage-kult-of-gorthaur]

"HEAVY METAL'S" LEGENDARY CHARACTER FINALLY GETS HER OWN ONGOING SERIES..."

PIC(S) INFO: Spotlight on published & textless cover art to "TAARNA" Vol. 1 #1 (of 4). January, 2018. Published by "Heavy Metal" magazine. Artwork by Alex Ross.

Resolution at 954x1467 & 790x1200.

MINI-OVERVIEW: ""Heavy Metal's" legendary character finally gets her own ongoing series courtesy of writer, Alex de Campi ("No Mercy," "Sem-iauto Magic") and artist Esau Escorza ("The Door") delivering another tale of the immortal warrior's quest to avenge injustice. Alex Ross provides two beautiful cover selections, launching this character into her greatest adventure -- Comics!"

-- HEAVY METAL magazine (official site)

Sources: https://shop.heavymetal.com/products/tarana-issue-1-cover-b & Previews World.

[nevenkebla]

El espíritu humano

Fantastic Four: World's Greatest Comics Magazine (2001) #9 Erik Larsen, Eric Stephenson, Tom DeFalco (Escritores), Ron Frenz, Frank Fosco, Bill Wray, Paul Ryan (Dibujantes)

— Reed Richards: Nos has subestimado gravemente, Annihilus! Nuestros cuerpos mortales te pueden parecer frágiles, comparados con el tuyo… ¡Pero el espíritu humano nunca podrá ser conquistado! — Ben Grimm: ¡Yujuuu! ¡Así se canta, Elvis! ¡Aquí vienen los coros!