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By Franquin


Marsupilami 1.jpg
Publication information
Publisher Marsu Productions (since 1987)
First appearance Spirou (31 January 1952)
Created by André Franquin

Marsupilami is a fictional comic book animal created by André Franquin, first published on 31 January 1952 in the magazine Spirou.[1] Since then it appeared regularly in the popular Belgian comic book series Spirou et Fantasio until Franquin stopped working on the series in 1968 and the character dropped out soon afterward. In the late 1980s, the Marsupilami got its own successful spin-off series of comic albums, Marsupilami, written by Greg, Yann and Dugomier and drawn by Batem, launching the publishing house Marsu Productions. Later, two animated shows featuring this character, as well as a Sega Genesis video game and a variety of other merchandise followed. The asteroid 98494 Marsupilami is named in its honour.

The name is a portmanteau of the words marsupial, Pilou-Pilou (the French name for Eugene the Jeep, a character Franquin loved as a kid) and ami, French for friend.

Marsupilami’s adventures had been translated to several languages, like Dutch, German, Spanish, Portuguese and several Scandinavian languages. More than three million albums of the Marsupilami series are claimed to have been sold by Marsu Productions.[2]

One album of Spirou and Fantasio featuring Marsupilami, number 15, was translated to English by Fantasy Flight Publishing in 1995, although it is currently out of print. Plans on releasing number 16 ended halfway through the translation process, due to bad sales. In 2007, Egmont’s subsidiary Euro Books translated albums number 4, 5, 7, 8, 9, 10, 11 and 14 for the Indian market.



The marsupilami is a black-spotted yellow monkey-like creature.[3] Male marsupilamis have an incredibly long, strong, flexible and prehensile tail which can be used for almost anything. Female marsupilamis have a much shorter tail, but still long compared to real animals. Unlike the males, the females also walk on the tips of their toes. When the animal rebounds, he makes a funny noise: “Boing”. Males also have eyes that are not completely separate while females have two separate eyes. Female marsupilamis also have a totally different voice than the males. Males say “houba” most of the time, while females say “houbii”, which means the same thing as houba, but sounds more feminine.


“The Marsupilami” refers originally to the individual captured and then adopted by Spirou and Fantasio, which they never bothered to name because he was the only known specimen. The Spirou et Fantasio album Le nid des Marsupilamis is mostly concerned with a documentary-within-the-comic about the life of a family of marsupilamis still living in the wild in Palombia. The spin-off comics later drawn by Batem star those, and the title of the series now refers to the – also unnamed – father in this family, and not to Spirou’s original Marsupilami.

In these series, Marsupilami’s wife is referred to as Marsupilamie (a female version of the name) but their three young are named, respectively, Bibi, Bibu and Bobo. Mars le noir (Mars the Black) is another specimen, which first appears in the album Mars le Noir. A former captive marsupilami, he first finds it hard to live again in the forest. After failing to seduce Marsupilamie, he becomes jealous of Marsupilami and nearly gets into a fight with him. Later, he meets a black female marsupilami, named Vénus, who becomes his mate. In Baby Prinz, another specimen, an elderly male who lives in a zoo, is featured. Altogether, that comes to eight specimens in Palombia, plus Spirou and Fantasio’s pet. Marsupilamis can come in colours of yellow, yellow with black spots, dark blue, white, white with black spots, and dark blue with yellow spots.[citation needed] Only the yellow, yellow with black spots and dark blue marsupilami’s show up in cartoon.


Spirou and Fantasio

Spirou et les hommes-bulles, 1959, by Franquin

These albums of Spirou and Fantasio feature the Marsupilami

  • 4. Spirou et les héritiers (Spirou and the Heirs, 1952). First appearance of the Marsupilami.
  • 5. Les voleurs du Marsupilami (The Marsupilami Robbers, 1952, after an idea by Jo Almo). This story picks up exactly where Spirou et les héritiers ends.
  • 7. Le dictateur et le champignon (The Dictator and the Mushroom, 1953)
  • 8. La mauvaise tête (The Wrong Head, 1954) (Only in a short story at the end)
  • 9. Le repaire de la murène (The Murena’s Hideout, 1955).
  • 10. Les pirates du silence (Pirates of Silence, 1956, with Rosy (writing) and Will (backgrounds)); followed by La Quick Super (1956)
  • 11. Le gorille a bonne mine (Gorilla’s in Good Shape, 1956); followed by Vacances sans histoires (Uneventful Holidays)
  • 12. Le nid des Marsupilamis (The Marsupilamis’ Nest, 1957); followed by La foire aux gangsters (Gangsters at the Fair)
  • 13. Le voyageur du Mésozoïque (The Traveller from the Mesozoic, 1957); followed by La peur au bout du fil (Fear at the End of the Line, 1959, with Greg (writing))
  • 14. Le prisonnier du Bouddha (The prisoner of the Buddha, 1959, with Greg (writing) and Jidéhem (backgrounds))
  • 15. Z comme Zorglub (Z is for Zorglub, 1960, with Greg (writing) and Jidéhem (backgrounds)). First appearance of Zorglub.
  • 16. L’ombre du Z (The Shadow of Z, 1960, with Greg (writing) and Jidéhem (backgrounds)). Concludes a diptych.
  • 17. Spirou et les hommes-bulles (Spirou and the Bubble Men, 1959); followed by Les petits formats (The Small Formats, 1960); both with Roba (art). These stories, along with Tembo Tabou, first appeared in a newspaper, Le Parisien Libéré.
  • 18. QRN sur Bretzelburg (Q.R.N. over Bretzelburg, 1963, with Greg (writing) and Jidéhem (backgrounds)). A longer version was published in 1987 in a limited printing.
  • 19. Panade à Champignac (Babysitting in Champignac, 1968; with Peyo and Gos (writing)); followed by Bravo les Brothers (Hurray for the Brothers, 1967; with Jidéhem (backgrounds))
  • 20. Le faiseur d’or (The gold maker, 1970)
  • 24. Tembo Tabou, (1958, with Roba (art)); followed by short stories


As well as the Marsupilami who lived with Spirou and Fantasio in many of the strips drawn by Franquin, there was another who still inhabited the wild Palombian jungle along with a mate and children. The family first featured in 1957 in the Spirou adventure Le nid des Marsupilamis (French for “The Nest of the Marsupilamis”), in which Seccotine, a journalist and rival to Fantasio, made a documentary about the life of the marsupilamis in the wild: courting, starting a family and feeding and protecting the youngsters from predators.

By the late 1960s, Franquin decided to pass the Spirou et Fantasio strip on to a new artist Jean-Claude Fournier. Franquin held the rights to the Marsupilami and would not agree to let the creature appear in any more of the Spirou et Fantasio stories. Fournier came up with a story called Le faiseur d’or (“The Gold Maker”) in which the Marsupilami played an important part. Franquin agreed to this last appearance, provided that he draw the pictures of the creature himself.[4] Since then, however, the Marsupilami has never re-appeared in his strip of origin (though he can be seen as a stuffed toy in the Spirou adventure Virus, published in 1982).

In 1987, Franquin launched the Marsupilami series with the new publishing house, Marsu Productions, with Greg and Batem. This series featured the Marsupilami family which had appeared living in the wild in Le nid des Marsupilamis. Later, Greg abandoned the series, and other collaborators were chosen by Franquin, such as Yann, Fauche and Adam. The first published album of the series is La Queue du Marsupilami. In 2002, an album #0 was published, consisting of short stories featuring the Marsupilami, drawn by Franquin before 1987.

Robinson Academy (2005). Art by Batem, story by Dugomier

  • 0. Capturez un Marsupilami (Capture a Marsupilami, 6/2002) (Short-Story collection). Art and story by Franquin.
  • 1. La Queue du Marsupilami (The tail of Marsupilami, 10/1987). Art by Batem and Franquin, story by Greg.
  • 2. Le Bébé du bout du monde (The baby of the end of the world, 6/1988). Art by Batem and Franquin, story by Greg.
  • 3. Mars le Noir (Mars the Black, 3/1989). Art by Batem and Franquin, story by Yann.
  • 4. Le Pollen du Monte Urticando (The pollen of Mount Urticando, 11/1989). Art by Batem, story by Yann.
  • 5. Baby Prinz (10/1990). Art by Batem, story by Yann.
  • 6. Fordlandia (11/1991). Art by Batem, story by Yann.
  • 7. L’Or de Boavista (The Gold of Boavista, 10/1992). Art by Batem, story by Yann.
  • 8. Le Temple de Boavista (The temple of Boavista, 10/1993). Art by Batem, story by Yann.
  • 9. Le Papillon des cimes (The butterfly of the summit, 10/1994). Art by Batem, story by Yann.
  • 10. Rififi en Palombie (4/1996). Art by Batem, story by Xavier Fauche and Eric Adam.
  • 11. Houba Banana (7/1997). Art by Batem, story by Xavier Fauche and Eric Adam.
  • 12. Trafic à Jollywood (7/1998). Art and story by Batem.
  • 13. Le Défilé du jaguar (The fashion show of the jaguar, 9/1999). Art by Batem, story by Kaminka and Marais.
  • 14. Un fils en or (A golden child, 6/2000). Art by Batem, story by Bourcquardez and Saive.
  • 15. C’est quoi ce cirque !? (What’s this circus!?, 9/2001). Art by Batem, story by Dugomier.
  • 16. Tous en Piste (Everyone to the ring, 6/2003). Art by Batem, story by Dugomier.
  • 17. L’orchidée des Chahutas (The orchid of the Chahutas, 6/2004). Art by Batem, story by Dugomier.
  • 18. Robinson Academy (6/2005). Art by Batem, story by Dugomier.
  • 19. Magie Blanche (White magic, 11/2006). Art by Batem, story by Colman.
  • 20. Viva Palombia (6/2007). Art by Batem, story by Colman.
  • 21. Red monster (4/2008). Art by Batem, story by Colman.
  • 22. Chiquito Paradiso (4/2009). Art by Batem, story by Colman.


  • L’Encyclopédie du Marsupilami, published in 1991 is an “Encyclopedia” about how the Marsupilami works, not a comic book. Text is by Cambier and Verhoest, art by Batem and Franquin.
  • Gaston et le Marsupilami was published by Dupuis in 1978. This album groups all the short stories featuring both Gaston Lagaffe and Marsupilami, previously published in Spirou. All these strips were then published in the album Capturez un Marsupilami.
  • In December 2006, an illustrated book series featuring the marsupilami as the main character was created in the Bibliothèque Rose Collection, published by Hachette. Scenarios are taken from the animated series Mon ami Marsupilami.
  • As an extremely popular character, there has been several Marsupilami cameos and tributes in Franco-Belgian comics; among the earliest in Jijé‘s series Blondin et Cirage, in the volume Les soucoupes volantes (1956), where the characters Blondin and Cirage find the creature Marsupilami Africanis, a slightly different species than the South American Marsupilamus Fantasii.


Disney animation

Marsupilami title.jpg
Opening title card for Marsupilami
Genre Comedy
Format Animated series
Written by John Behnke
Rob Humphrey
Jim Peterson
Directed by Bob Hathcock
Ed Wexler
Voices of Steve Mackall
Dan Castellaneta
Samuel E. Wright
Jim Cummings
Brad Garrett
Frank Welker
Charlie Adler
Jason Marsden
Rene Auberjonois
Jeff Bennett
April Winchell
Theme music composer Roy Braverman
Opening theme “Marsupilami”
Composer(s) Stephen James Taylor
Mark Watters
Jean-Michel Bernard
Roy Braverman
Country of origin  United States
Language(s) English
No. of seasons 2 (Season 1 was from Raw Toonage)
No. of episodes 29 (List of episodes)
Producer(s) Andre Franquin
Running time 20-22 minutes
Production company(s) The Walt Disney Company
Marsu Productions (characters)
Original channel CBS, The Disney Channel, Toon Disney,
Original run September 18, 1993 – December 3, 1994

Marsupilami: “Where is Maurice? That big gorilla is supposed to drop in….

Disney‘s version of the Marsupilami first appeared on television in Raw Toonage in 1992, and was then spun off into his own eponymous show on the CBS network. Marsupilami’s supporting characters included Maurice the gorilla, Stewart the elephant, Eduardo the jaguar, Leonardo the lion, Norman the poacher, and other characters. The original Marsupilami stories by Franquin never encountered a gorilla or elephant, since these species are native to Africa, while the marsupilami in the comic was said to come from South America (However, in the album “Le dictateur et le champignon”, the Marsupilami escapes from his cell on a boat with a gorilla). Another change is Marsupilami can speak in difference to his comic counterpart that can only mimic sound like a parrot. In this version, Marsupilami is voiced by Steve Mackall.

A secondary segment featured Sebastian the Crab from The Little Mermaid.

There were twenty-three episodes in the series, and the series lasted one season. Reruns of the show were aired on both Disney Channel and Toon Disney.

Marathon animation

Marsupilami and Leo from the opening sequence of Mon Ami Marsupilami

A second series, this time produced in France, premiered in March 2000 and ran for 52 episodes in France’s Canal J. Produced by Cactus Animation, Marathon Production & Marsu Productions, this series more closely followed the character in the original comic.

In the first season, Marsupilami lived adventures alone, or with his family (his wife Marsupilamie and their three young, Bibi, Bibu and Bobo). For example, in one episode he saved a group of circus animals, got them back to the city and saved the circus from closing. In another, he had to go to the city again to save one of his young, captured by their constant enemy, the hunter Bring M. Backalive.

In the second season, called Mon ami Marsupilami (translated as My friend Marsupilami in the Disney Channel version), Marsupilami and his family become best friends with a human family, the Du Jardin, that comes to live near them. Amanda is a Marsupilami researcher, while her husband Jean-Pierre is a computer technician that works from home and they have two children, Teo (Leo in the Disney Channel version) and toddler Zoe. Leo and Marsupilami become best friends and they have lots of adventures, with both new friends and old enemies, like Backalive. Since then a new series called houba houba hop was made. It is the third series of marsupilami so far. In that series marsupilami finds hector and is completely different from season 1 and 2 that were made a few years. before these new seasons. This series was made with completely different style of animation then the lou dega series. Nevertheless it is called seasons 3 and 4 despite it being a completely different series. this sereis is in gergman, English and French. so far these are the three languages that its broadcasted in. this is subject to change.

This series has been broadcast in 36 countries, among them Germany (Super RTL), Belgium (RTL TVI), Canada (Télé-Quebec), Estonia (ETV), Spain (Antena 3, Disney Channel, Toon Disney and TV3), Finland (MTV3), Cyprus (CyBC), Greece (Alter Channel), Ireland (RTÉ), Italy (Italia Uno), Portugal (Prisvideo), Switzerland (TSR), Russia (THT Network), Hungary (Minimax), Slovenia (RTV), Morocco (2M Soreheads), Turkey (Yumurcak TV), Mexico (TV Azteca), Brazil (Rede Globo), Venezuela (RCTV), Indonesia (RCTI), Malaysia (TV3 and TV9), the Africa Pansat (CFI [disambiguation needed]), and Latin America (MVS), the Near East and Middle East (TV5), (E-Junior), Vietnam (HTV7), Thailand (United Broadcasting Corporation), South Korea (EBS) Iceland (Uppeldi EHF), and South Africa (SABC).


  • A wax statute of a marsupilami was manufactured and exhibited at the Grévin Museum, a museum displaying realistic statues of famous personalities, along with two other famous Franco-Belgian comics characters, Tintin and Asterix.
  • Many commercial products have been created by several companies: clothes (Avance Diffusion), shoes (Léomil), clocks, watches, decoration, dishes (Tropico), figurines (Pixi and Plastoy), cuddly toys (Nounours), socks (Agofroy), schoolbags (Hasbro), school products (Oberthur), linen (MCT), puzzles (Jumbo), underwear (United Labels).
  • Marsupilami appears on a stamp created by the French Poste in 2003 (n° 3569).
  • The official website claims to have more than 25,000 subscribers.
  • The Marsupilami is a fairground attraction in Asterix and the Big Fight.


  1. ^ “Franquin-Une vie-1952”. (French)
  2. ^
  3. ^ Franquin, André (w, p, i). Spirou et les héritiers: 61/1 (January 1, 1952), Éditions Dupuis, ISBN 2800100060(French)
  4. ^ Franquin’s official site (in French)

External links

v · d · eAndré Franquin
Spirou and Fantasio albums
Gaston Lagaffe albums
Marsupilami albums
Other albums
Delporte • Jidéhem • Greg • Goscinny • Roba
Publishing houses


André Franquin

André Franquin
Born 3 January 1924(1924-01-03)
Etterbeek, Belgium
Died 5 January 1997(1997-01-05) (aged 73)
Saint-Laurent-du-Var, France
Nationality Belgian
Area(s) Writer, Artist
Notable works Spirou et Fantasio
Gaston Lagaffe
Idées noires
Awards full list
Franquin's signature

André Franquin (3 January 1924 – 5 January 1997) was an influential Belgian comics artist, whose best known comic strip creations are Gaston and Marsupilami, created while he worked on the Spirou et Fantasio comic strip from 1947 to 1969, during a period seen by many as the series’ golden age.


Franquin’s beginnings

Franquin was born in Etterbeek in 1924.[1] Although he started drawing at an early age, Franquin got his first actual drawing lessons at École Saint-Luc in 1943. A year later however, the school was forced to close down because of the war and Franquin was then hired by CBA, a short-lived animation studio in Brussels. It is there he met some of his future colleagues: Maurice de Bevere (Morris, creator of Lucky Luke), Pierre Culliford (Peyo, creator of the Smurfs), and Eddy Paape. Three of them (minus Peyo) were hired by Dupuis in 1945, following CBA’s demise. Peyo, still too young, would only follow them seven years later. Franquin started drawing covers and cartoons for Le Moustique, a weekly magazine about radio and culture.[1] He also worked for Plein Jeu, a monthly scouting magazine.

During this time, Morris and Franquin were coached by Joseph Gillain (Jijé), who had transformed a section of his house into a work space for the two young cartoonists and Will. Jijé was then producing many of the comics that were published in the comics magazine Le Journal de Spirou, including its flagship series Spirou et Fantasio. The team he had assembled at the end of the war is often referred to as La bande des quatre (lit. “The Gang of Four”), and the graphical style they would develop together was later called the Marcinelle school, Marcinelle being an outskirt of the industrial city of Charleroi south of Brussels where Spirou’s publisher Dupuis was then situated.

Jijé passed the Spirou et Fantasio strip to Franquin, five boards into the making of Spirou et la maison préfabriquée, and from Spirou issue #427 released 20 June 1946, the young Franquin held creative responsibility of the series.[2] For the next twenty years, Franquin largely reinvented the strip, creating longer, more elaborate storylines and a large gallery of burlesque characters.

Most notable among these is the Marsupilami, a fictional monkey-like creature. The inspiration for the Marsupilami’s extremely long, prehensile tail came by imagining an appendage for the busy tramway conductors the Marcinelle cartoonists often encountered on their way to work. This animal has become part of Belgian and French popular culture, and has spawned cartoons, merchandise, and since 1989 a comic book series of its own. The cartoons have broadened its appeal to English-speaking countries.

Mid period

By 1951, Franquin had found his style. His strip, which appeared every week on the first page of Spirou, was a hit. Following Jijé’s lead in the 1940s, Franquin coached a younger generation of cartoonists in the 1950s, notably Jean Roba, Jidéhem and Greg, who all worked with him on Spirou et Fantasio.

In 1955, following a contractual dispute with his publisher Dupuis, Franquin went for a short stint at Tintin, the rival magazine. This led to the creation of Modeste et Pompon, a gag series which included contributions from René Goscinny (of Astérix fame) and Peyo. Franquin later returned to Spirou, but his contractual commitment to Tintin meant that he had to contribute to both magazines, an unusual arrangement in the comic industry. The series was later passed on to authors such as Dino Attanasio and Mittéï.

In 1957, Spirou chief editor Yvan Delporte gave Franquin the idea for a new figure, Gaston Lagaffe (from the French gaffe, meaning “blunder”). Initially a joke designed to fill up blank space in the magazine, the weekly strip, detailing the mishaps and madcap ideas and inventions of a terminally idle office boy working at the Spirou offices, took off and became one of Franquin’s best-known creations. The character Gaston Lagaffe is often hailed as the first anti-hero (in the sense of a protagonist lacking all heroic qualities, not a villain) in the comic’s history.[1]

However, Franquin soon suffered a period of depression, which forced him to stop drawing Spirou for a time. This happened between 1961 and 1963, in the middle of QRN sur Bretzelburg. During this time, he continued to draw Gaston despite ill health, most likely because of the lighter nature of the series. (In one story, Bravo Les Brothers, Gaston’s antics drive his boss Fantasio to yet another nervous breakdown. In desperation he takes some anti-depressants which “Franquin left behind”.)

In 1967, Franquin passed Spirou et Fantasio on to a young cartoonist, Jean-Claude Fournier, and began to work full-time on his own creations.

He was part of the team that developed the concept of Isabelle, the adventures of a little girl in a world of witches and monsters. The character was named after Franquin’s daughter.

Gaston gradually evolved from pure slapstick humor to feature themes important to Franquin, such as pacifism and environmentalism. Franquin worked on the strip on and off until his death.

Franquin’s later period

The 1960s saw a clear evolution in Franquin’s style, which grew more loose and intricate. This graphical evolution would continue throughout the next decade. Soon, Franquin was considered an undisputed master of the art form, on par with the likes of Hergé (who on interview said he thought Franquin an artist while he was just a cartoonist)[3], and his influence can be seen in the work of nearly every cartoonist hired by Spirou up until the end of the 1990s. Early comic fanzines from around 1970 featured Franquin’s Monsters, individual drawings of imaginary beasts highlighting his graphical craftmanship.

The last, and most radical, shift in Franquin’s production happened in 1977, when he went through another nervous breakdown and began his Idées Noires strip (lit. “Dark Thoughts”), first for the Spirou supplement, Le Trombone Illustré (with other cartoonists like René Follet) and later for Fluide Glacial.[1] With Idées Noires, Franquin showed the darker, pessimistic side of his nature. In one strip, a pair of flies are seen wandering through a strange landscape, discussing the mistakes of their predecessors. In the final panel, we see the landscape is a city made from human skulls, and one fly responds: “Don’t be too hard on them, they did leave us such splendid cities”. Drawn entirely in black and white, Idées Noires is much more adult-oriented than Franquin’s other works, focusing on themes such as death, war, pollution and capital punishment with a devastatingly sarcastic sense of humour.

Proof of his popular and critical appeal, Franquin was awarded the very first Grand Prix de la ville d’Angoulême in 1974. Many books by Franquin have been published, many of which are considered classics of the genre. They have been translated in many languages. Several books have been written about Franquin, such as Numa Sadoul‘s Et Franquin créa la gaffe, an exhaustive interview with the artist covering his entire career.

Franquin’s death in 1997 in Saint-Laurent-du-Var didn’t quite elicit the kind of worldwide posthumous homage Hergé received. However, 2004 saw the first major museum retrospective of his work, an exhibit called “Le monde de Franquin”‘, in Paris‘ Cité des Sciences et de l’Industrie this exhibition was continued in 2006 in the city where he was born, Brussels, the latter was fully bilingual (French/Dutch). In 2005, a Walloon survey elected him as the “16th greatest Belgian ever”.


Franquin is, along with Hergé, one of the basic pillars of Franco-Belgian comics.[citation needed] Their styles, however, rest in opposite corners of the aesthetic spectrum: If the pictures of Tintin’s creator were characterized by the use of ligne claire, flat colors and a certain staticism, Franquin’s graphic approach progressively evolved towards a multi-color aesthetics, chiaroscuro and a vigorous sense of movement. Hergé expressed in several occasions his admiration for Franquin’s work: “Compared to him, I’m but a poor draftsman”.

Franquin was a prominent member of the first generation of the “Marcinelle School” (École de Marcinelle), also formed by Morris and Will, who would be joined during the 50s by the second generation including, among others, Peyo, Tillieux, Uderzo, and two subsequent generations joining during the 60s and 70-80s. Within this group, Franquin’s influence was uncontested, especially among the authors that continued the series Spirou et Fantasio after he left. Jean-Claude Fournier, Nic Broca and especially Janry (Jean-Richard Geurts) showed in this series graphic styles that tried to mimic with varying degrees of success the features of Franquin’s style.

Other Franco-Belgian authors that show Franquin’s influence were Dino Attanasio and Mittéï (Jean Mariette), both responsible for the series Modeste et Pompon after he left, Jidéhem (Jean De Mesmaeker), a usual collaborator of Franquin for Spirou et Fantasio and Gaston Lagaffe, Batem (Luc Collin), artist of the Marsupilami series, or Pierre Seron, who cloned Franquin’s style in his series Les Petites Hommes.

A most remarkable case is Franquin’s influence in Francisco Ibáñez, possibly the most widely published Spanish author since the 1950s. Starting in the 1970s, Ibáñez made an extensive use of ideas and designs from Franquin’s works, adapting them to his own universe, but also importing many graphic and narrative solutions. Even one of his characters, “El Botones Sacarino”, can be easily identified as a hybrid of Spirou (he is a bellboy) and Gaston Lagaffe (he works in a publishing company and is the source of never ending disasters), whom he resembles physically. Franquin’s shadow is even more obvious in the work of Ramón María Casanyes, a disciple and ghost collaborator of Ibáñez, especially in some of his solo Works such as the short-lived “Tito, Homo Sapiens 2000”, where the Franco-Belgian descent is unquestionable.

An essential author to understand the evolution of Franco-Belgian comics, Franquin is still a source of inspiration for contemporary artists such as Fabrice Tarrin, Yoann, or even outside the realm of comics in such iconoclastic cases as architect and cartoonist Klaus.



Series Years Albums Editor Remarks
Spirou et Fantasio 1946 – 19680 20 Dupuis0 with Jijé, Henri Gillain, Maurice Rosy, Will, Greg, Jidéhem, Jean Roba0
Modeste et Pompon0 1955–1959 3[a] Lombard with René Goscinny and Greg
Gaston Lagaffe 1957–1996 19[b] Dupuis and Marsu Productions with Yvan Delporte and Jidéhem
Le Petit Noël 1957–1959 1 Dupuis 4 volumes half-format editions
Idées noires 1977–1983 2 Fluide Glacial0 with Yvan Delporte and Jean Roba
Isabelle 1978–1986 5 Dupuis scenarios with Delporte and Macherot, art by Will
Marsupilami 1987–1989 3[c] Marsu Productions0 with Batem, Greg and Yann
  • a.   ^ The original collection. Some collections consist of four albums. The content is largely the same, however, where the gags have been spread out on thinner albums.
  • b.   ^ The Special Edition series, published in chronological order by Dupuis and Marsu Productions in connection with the series’ 40 year anniversary.
  • c.   ^ Except for the first three main albums in the series, Franquin was also the creator of No. 0 Capturez un Marsupilami, a collection of earlier short stories with the character.
  • For Spirou et Fantasio, Modeste et Pompon, Isabelle and Marsupilami, several new albums were published by other artists after Franquin left the series.


  • Cauchemarrant (1979, published by Bédérama)
  • Les robinsons du rail (1981, art by Franquin, text by Yvan Delporte; published by L’Atelier)
  • Les démêlés d’Arnest Ringard et d’Augraphie (1981, art by Frédéric Jannin, text by Franquin and Yvan Delporte)
  • L’Encyclopédie du Marsupilami (1991, illustrated faux encyclopedia about Marsupilami)
  • Arnest Ringard et Augraphie (2006, art by Frédéric Jannin, text by Franquin and Yvan Delporte; redrawn and extended version of the above)
  • Slowburn (1982, art by Franquin, text by Gotlib; published by Collectoropolis)
  • Les Tifous (1990, published by Dessis)
  • Le trombone illustré (2005, published by Marsu Productions)
  • Un monstre par semaine (2005, published by Marsu Productions)
  • Les noëls de Franquin (2006, art by Franquin, text by Yvan Delporte; published by Marsu Productions)


(published by Marsu Productions)

  • Les doodles de Franquin
  • Le bestiaire de Franquin
  • Le bestiaire de Franquin tome 2
  • Les monstres de Franquin
  • Les monstres de Franquin tome 2
  • Tronches à gogo
  • Les signatures de Franquin

Books about Franquin

  • Jacky Goupil, Livre d’or Franquin: Gaston, Spirou et les autres…
  • Numa Sadoul, Et Franquin créa la gaffe
  • Philippe Vandooren, Franquin/Jijé
  • Les cahiers de la BD #47-48
  • Le monde de Franquin (exhibition catalog)
  • Kris de Saeger, Dossier Franquin
  • Achim Schnurrer and Jef Meert, Archief Franquin
  • José-Louis Bocquet and Eric Verhoest, Franquin – Chronologie d’un œuvre
  • Xavier Chimits and Pedro Inigo Yanez, Le garage de Franquin



  1. ^ a b c d De Weyer, Geert (2005). “André Franquin”. In België gestript, pp. 113-115. Tielt: Lannoo.
  2. ^ “Une vie – 1946” (in French).
  3. ^ Le Lombard. “Franquin” (in French).

External links


Born Michel Regnier
5 May 1931(1931-05-05)
Ixelles, Belgium
Died 29 October 1999(1999-10-29) (aged 68)
Neuilly-sur-Seine, France
Nationality Belgian, French
Area(s) artist, writer
Pseudonym(s) Louis Albert
Notable works Achille Talon
Rock Derby
Zig et Puce
Bruno Brazil
Bernard Prince
Awards full list

Michel Regnier (5 May 1931 – 29 October 1999) was a Belgian and later French comics writer and artist, best-known by his pseudonym, Greg.


Regnier was born in Ixelles, Belgium in 1931.[1] His first series, Les Aventures de Nestor et Boniface, appeared in the Belgian magazine Vers l’Avenir when he was sixteen. He moved to the comic magazine Héroic Albums, going on to work for the comics magazine Spirou in 1954. In 1955 he launched his own magazine, Paddy, but eventually discontinued it.

The series for which Greg is best known, Achille Talon, began in 1963 in the magazine Pilote, also the source of comics such as Asterix.[2] This series, which he both wrote and illustrated, presents the comic misadventures of the eponymous mild-mannered polysyllabic bourgeois. In all 42 albums appeared, the first years with short gags, later with full-length (i.e. 44 pages) stories. The series was continued by Widenlocher after the death of Greg. An English translation titled Walter Melon was unsuccessful. In 1996, an animated series of 52 episodes of 26 minutes each was produced. This series was also shown in English as Walter Melon. Other series Greg provided artwork for in the early 60s were the boxing series Rock Derby and the revival of Alain Saint-Ogan‘s classic series Zig et Puce.[3]

Regnier became editor-in-chief of Tintin magazine in 1966 and remained so until 1974.[2] In this period, he moved the magazine away from the classic Ligne claire of Hergé and Edgar Pierre Jacobs, because the main authors published new stories less frequently, and because the magazine suffered from the success of new French magazines like Pilote. Greg introduced a more adult genre, with less perfect heroes and more violence. He created some of his most famous series like Bruno Brazil and Bernard Prince in this period, and introduced artists like Hermann to the magazine.

In 1975 he became literary director for the French publisher Dargaud and launched Achille Talon magazine. Having moved to Paris, he became a French citizen, and officially took a new name, Michel Greg.[4] In the late 1970s he moved to the U.S. as a representative for Dargaud, working on several television projects and promoting European comics.[2] He returned to France in the mid-1980s where he continued scripting comics and also wrote novels for the Hardy et Lesage collection of Fleuve Noir.

As “Greg”, Regnier was one of the most prolific creators of Franco-Belgian comics, working in all genres and collaborating with many other European artists and scriptwriters. Well known for working with artist Hermann, Greg also worked with André Franquin, Eddy Paape (Luc Orient), Dany, Albert Uderzo and René Goscinny, and many others. It is estimated that he contributed as a writer and an artist to some 250 comic albums.

Hergé asked him to remake two of The Adventures of TintinThe Seven Crystal Balls and Prisoners of the Sun — into a script for one long animated movie, Tintin and the Temple of the Sun. He also wrote the script for Tintin and the Lake of Sharks. Greg was asked to write two stories for the Tintin comics as well, including Le Thermozéro, but in the end Hergé, wanting to keep all creative control, did not use them.[2]

Michel Regnier died in 1999 in Neuilly-sur-Seine, France.


Only those series for which albums have appeared are mentioned here. Furthermore, Greg has made many series in the 1950s, especially in La Libre Belgique, of which no albums have appeared. Titles are ordered by the first year in which an album appeared, not the first year the comic appeared in a magazine or newspaper.

Series Years Volumes Artwork Editor Remarks
Chick Bill 1957–1968 19 Tibet Le Lombard and Dargaud Most of his work on this series is uncredited
Modeste et Pompon 1958–1973 3 André Franquin Le Lombard and Dargaud Other gags written by René Goscinny and Franquin etc.
Spirou et Fantasio 1960–1974 6 André Franquin Dupuis Additional stories by Jidéhem and Jean Roba
Corentin 1963 1 Paul Cuvelier Le Lombard and Dargaud  
Flamme d’argent 1965–1968 2 Paul Cuvelier Le Lombard and Dargaud  
Zig et Puce 1965–1995 6 Greg Le Lombard, Dargaud, and Glénat Reprise of the classic series by Alain Saint-Ogan
Line 1966–1979 4 Paul Cuvelier Le Lombard, Dargaud, and Bédéscope  
Achille Talon 1966–1996 42 Greg Dargaud  
Bernard Prince 1969–1992 17 Hermann, Dany, and Edouard Aidans Le Lombard, Dargaud, and Blanco  
Luc Orient 1969–1994 18 Eddy Paape Le Lombard and Dargaud  
Bruno Brazil 1969–1995 11 William Vance Le Lombard and Dargaud  
Clifton 1969–1971 3 Jo-El Azara and Turk Le Lombard and Dargaud Additional storywriting by Bob de Groot
Olivier Rameau 1970–1987 11 Dany Le Lombard and Dargaud  
Comanche 1972–1998 15 Hermann and Rouge Le Lombard, Dargaud, and Strip Art  
Alice au pays des merveilles 1973 1 Dupa, Dany, Turk and De Groot Le Lombard and Dargaud Adaptation of Alice in Wonderland
Tintin 1973 1 Animation stills Casterman An adaptation of a script for an animated movie, written by Greg
Chlorophylle 1973–1974 2 Dupa Le Lombard and Dargaud  
Constant Souci et le mystère de l’homme aux trèfles 1974 1 Greg Glénat  
Tommy Banco 1974 1 Eddy Paape Le Lombard and Dargaud  
Les Panthères 1974–1975 3 Edouard Aidans Le Lombard and Dargaud  
Rock Derby 1974–1980 7 Greg Le Lombard, Dargaud and Magic-Strip  
Les naufragés d’Arroyoka 1975 1 Claude Auclair Le Lombard and Dargaud  
Jo Nuage et Kay McCloud 1976 1 Dany Dargaud  
Cobalt 1976–1981 2 Fahrer Le Lombard and Dargaud  
Frère Boudin 1977–1978 2 Claude Marin Dargaud  
Les As 1978–1986 16 Studio Greg Dargaud The only series officially credited to Studio Greg
Go West 1979 1 Derib Dargaud  
Domino 1979 1 Chéret Le Lombard and Dargaud  
Les Bolides d’argent 1981 1 Mitteï Bédésup  
Spaghetti 1982 1 Dino Attanasio Dargaud  
Mouminet et Alphonse 1984 1 Tibet Magic-Strip  
Babiole et Zou 1985 1 Greg Le Lombard Created in 1962
Le club des Peur-de-Rien 1985–1986 2 Tibet Le Lombard and Dargaud  
Papa Talon 1988 1 Hachel MC Productions A spin-off from Achille Talon
Colby 1991–1997 3 Michel Blanc-Dumont Dargaud  
Johnny Congo 1992–1993 2 Eddy Paape Claude Lefrancq  



  1. ^ De Weyer, Geert (2008) (in Dutch). 100 stripklassiekers die niet in je boekenkast mogen ontbreken. Amsterdam / Antwerp: Atlas. p. 215. ISBN 9789045009964
  2. ^ a b c d De Weyer, Geert (2005). “Greg”. In België gestript, pp. 117-119. Tielt: Lannoo.
  3. ^ Lambiek Comiclopedia. “Greg”.
  4. ^ “Greg”.

External links



Batem at the International Comic Festival
of Sollies Ville, France
Born Luc Collin
6 April 1960 (1960-04-06) (age 51)
Kamina, former Belgian Congo
Nationality Belgian
Area(s) Artist
Notable works Marsupilami

Luc Collin, best known by the pen name Batem (born April 6, 1960 in Kamina, Belgian Congo) is a Belgian comics artist best known as the artist successor of André Franquin of the series Marsupilami.


Collin started his career in the studio of colorist Vittorio Leonardo, and at S.E.P.P. (Société d’Edition, de Presse et de Publicité), a subsidiary company of Dupuis that specialised on audiovisual adaptations of the characters that are the property of Spirou. Collin worked on several merchandising projects involving Shoe, the Snorky and the Marsupilami.[1]

In 1987 Franquin asked him to do the artwork of Marsupilami.[1] He has illustrated stories of the series since, starting with La Queue du Marsupilami (1987), initially working with Franquin himself and several writers, such as Greg, Yann, Fauche, Éric Adam and Dugomier. The most recent album, Red monster was published in 2008.




External links