extremely demanding and isn’t very profitable. No one chooses to will- ingly draw the same characters and spaces over and over, page after page. To draw cars, forests, seas, all kinds of animals, machines and cities. To draw everything. This initial inter- est needs to be really strong, to out- weigh other, more profitable jobs that a talented cartoonist can do. Some- one can only do this if they have a really strong love for the form. On the other hand, the satisfaction of creating a comic strip and observ-
ing a story that gain its own physi- cal form is immeasurable. I still don’t think that everyone must read comics, but 2020 has been proclaimed the year of the comic, so perhaps it’s not be a bad time to re- consider such views. In France a cam- paign of the ministry of culture is un- derway, inspired by the comics festival in Angoulême, which is one of the world’s most significant events of its kind. e aim is to establish comics as institutionally valuable art, equal to other fields, in order to provide it
with a greater academic reputation. at’s why it would be sad for those from the beginning of the article, who “don’t like comics”, to miss out on all the beauty and diversity that can be seen in Angoulême; such a wealth of styles, absolutely wonderful works by Yoshiharu Zuga (his Man without Tal- ent was recently also published in our country)... I like to think that the per- fect comic exists for everyone, regard- less of how specific their taste might be. ey just need to meet – the read- er and the comic.
Culture » Kultura | 47
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