Comic Radio Show

Wer sich immer noch fragt, was er für Comics lesen soll und keinen gerissenen Comicdealer hat, der ihn "beraten" kann, der sollte jetzt ganz genau aufpassen. Hier findet Ihr die absolute und finale Bestenliste der 100 Top-Comics des amerikanischen Marktes. Da es Comics seit über 100 Jahren gibt,sind, gibt es hier auch einige Serien, die nicht jeder kennt. Aber lesenswert sind sie trotzdem.

Ich hoffe Ihr könnt damit was anfangen. Die Seite ist auch gut als Einkaufsliste zu verwenden - oder als Leseliste für den Abschluß Doktor h. c. (Comic-Abschluß erhältlich an der CRS-Universität München bei Professor Gruber. Vorlesungen 24h im Internet.)

Übrigens: Wenn Ihr Eure Top 100 US-Comicserie hier nicht wiederfindet, dann teilt uns das doch mit (natürlich mit einer kleinen Begründung).

Übrigens II: Die Liste ist nicht von uns, sondern stammt aus den USA und ist also in englisch. Keiner von uns hatte Zeit, sie zu übersetzen.

100. Fabulous Furry Freak Brothers by Gilbert Shelton
flagship creation of the underground by one of the medium's founders.

99. Understanding Comics by Scott McCloud
a vivid demonstration of the medium's capacity for serious, non-narrative discourse.

98. Usagi Yojimbo by Stan Sakai
a superior example of non-superhero comics storytelling in both picture and words.

97. Zippy by Bill Griffith
an underground creation that crossed-over successfully to syndication, proving that unconventional cartooning can survive in the mainstream.

96. Betsy and Me by Jack Cole
an innovative comic strip in both graphic style and narrative technique, the third of Cole's masterful achievements in the medium.

95. Greeting cards by Sandra Boyton
a blend of words and pictures in a wholly novel (and highly comical) manner.

94. Suburban Heights (et al) by Gluyas Williams
a sustained example of Williams' pristine black-and-white style.

93. David Levine's caricatures in New York Review of Books
revived the art of pure caricature in this country.

92. Katzenjammer Kids by Rudolph Dirks
set the pace for the medium in the closing years of the 19th century by deploying both words (in balloons) and pictures to tell its stories.

91. Mort Drucker's caricatures in Mad parodies
a stunningly accurate "portrait" painter.

90. Mutt and Jeff by Bud Fisher (1907-1930)
the first daily "strip" established the form by running across the page instead of in a box somewhere on the page.

89. Felix the Cat by Otto Messmer
a visually inventive creation, Felix was the first super star of animation.

88. Bootsie by Ollie Harrington
a social protest series of panel cartoons by a passionate master.

87. Brenda Starr by Dale Messick
a role model in the funnies by a role model at the drawingboard, the first nationally recognized syndicated female cartoonist (although not "the first syndicated female cartoonist").

86. The Lonely Ones by William Steig
shows how cartooning can step beyond laughter into philosophical satire.

85. Gasoline Alley by Frank King (1918-1946)
the characters aged, year by year, and also set the pace for homespun narrative in small town American when small town America was vanishing apace.

84. Barney Google (July 17, 1922 until DeBeck's death in 1942)
one of the first comic strips to extend itself beyond the funnies pages into popular culture at large, inspiring a popular song ("Barney Google with his goo-goo googly eyes") and coining a host of expressions ("sweet mama," "balls afire," "time's a-wastin'," etc.--mostly from the hillbillies).

83. Little Annie Fanny by Harvey Kurtzman & Will Elder
the most luxurious full-color comic strip in print for the first 10-15 years of its run in Playboy.

82. Dark Knight Returns by Frank Miller
revitalized superheroicism in comic books by treating the superhero "realistically" as a flawed human being rather than an icon.

81. Maus by Art Spiegelman
the first serious narrative in the medium to earn public recognition via a Pulitzer Prize.