Greetings to all! In this New Year, like an alcoholic in remission, I will abstain myself from tentacles (for at least a few months) while I catch up on other things I want to talk about. The first installment of this non-Tentacle Tuesday starts with an M, so it seemed appropriate to run it on Monday.
Massimo Mattioli (1943-2019) may be the second best-known Italian cartoonist abroad, at least according to Lambiek Comiclopedia (the first being Benito Jacovitti, another post in the making). However, an anglophone audience is likely to associate him with uncomfortable levels of violence, as only his 80s-and-onward strips have been translated to English. Case in point: his most notorious creation was Squeak the Mouse, serialized in underground Italian comics magazine Frigidaire in the early 80s. When this strip was imported into the United States, the customs agents seized the lot, as the work was deemed to be obscene and pornographic.
« Laying full-on slasher horror onto wacky cartoon violence, Mattioli’s characters embark on a sadistic bloodthirsty rampage, leaving a trail of mangled corpses and pools of blood in their wake. And the comic’s gratuitous bloodshed is not to be overshadowed by its crude humor and over-the-top sexcapades. In sum, a tour de force of unrelenting transgression, rendered in clean line art and dazzling pastel colors. » [source]
But this isn’t today’s topic. For this post I’d like to go back further in time, to a gentler and arguably more inventive Mattioli, since I don’t believe that over-the-top violence necessarily requires that much imagination. We go back to 1968 and the magical (and I try not to throw this word around lightly) M le magicien. Co-admin RG and I have our separate libraries, but since our tastes overlap by a large margin, we try to keep the number of duplicates to a minimum. Suffice it to say we both have a copy of the collected M le magicien strips (published by L’Association in 2003), and neither of us is parting with ours.
In 1968, 25-year-old Mattioli had moved from his native Rome to Paris, France, and there joined the illustrious ranks of artists revelling in absurdity and tongue-in-cheek humour (for example, Nikita Mandryka and his Le concombre masqué) working for communist magazine Vaillant, which was renamed Pif Gadget a year later. Mattioli’s first long-term project, M le magicien debuted in issue no. 1227 (December 1968), and continued its run until 1973.
It’s not really clear why the series ended – the introduction to L’Association collection just mentions that Mattioli decided to return to Rome. However, it seems likely that the strip was ousted by pressure exerted by Claude Compeyron, président-directeur général (CEO) of Vaillant – obsessed by commercial success and marketing schemes, he saw no point in publishing ‘lesser’ strips that were more difficult to absorb (Hugo Pratt‘s Corto Maltese, Les pionniers de l’espérance) or not immediately appealing to children. Compeyron’s approach to selling magazines (‘a magazine is like any product you sell or buy, like a pair of shoes‘) led to rédacteur en chef (editor-in-chief) Richard Medioni resigning in 1973. Medioni’s departure marked the end of what was arguably Pif Gadget’s golden, ‘red’, period; from that point onward, the editors had to learn to kowtow to the marketing department, and commercialism reigned supreme.*
The cast of M le magicien is relatively succinct: the protagonist, your fairly standard magician, his talking magic wand, and a couple of chameleons (who periodically mlem the magician, mistaking him for an insect), two Martians bent on world destruction (or just magician’s castle destruction), a few insects of various shapes and genders, and some talking flowers and mushrooms. The characters are free to roam across pages, consume the backgrounds when they get hungry, and address the reader directly. Mattioli was not confident about his French, so he availed himself of visual humour with fairly simple (sometimes slightly unhinged) dialogues, which added to the charming atmosphere of absurdity.
While (as mentioned previously) we are the proud owners of two copies of the collected M le magicien, I had no wish to destroy either book by attempting to scan pages from it. Luckily, RG put quite a few Pif Gadget issues at my disposal, and I chose my favourites from this lot.
In the early days, Mattioli often stuck to one theme for his page, but tackled it from many angles in each self-contained strip of five panels. The following page vaguely concerns itself with the yellow chameleon’s insatiable appetite, a recurring joke:
In later issues, Mattioli went for more ambitious, visually stunning but more spare one-page stories, often paying an obvious hommage to Krazy Kat.
And there we have it, a quick gallop through but a few strips of this masterpiece of humour and poetry. I highly recommend seeking out the omnibus if you speak at least un petit peu français.
Looking up meta-humour while I was writing this post, I came across a few choice jokes that made me crack up. While they’re not wholly related to M le magicien, their lovely absurdity fits right in with its spirit.
A dyslexic man walks into a bra.
A non sequitur walks into a bar. In a strong wind, even turkeys can fly.
A guy walks into a bar and says “ouch!”
What do you get when you cross a joke with a rhetorical question?
A dangling participle walks into a bar. Enjoying a cocktail and chatting with the bartender, the evening passes pleasantly.
*Which is a (depressing) conversation for another day, but in the meantime, we highly recommend getting it from the horse’s mouth, so to speak, by reading Mon Camarade, Vaillant, Pif Gadget: l’histoire complète 1901-1994 by Richard Medioni.
Second best-known Italian cartoonist abroad?
With all due respect to Mr Mattioli, what about Hugo Pratt, Milo Manara, Paolo Serpieri, Guido Crepax, Tanino Liberatore, Dino Battaglia, Attilio Micheluzzi, Sergio toppi (who made such an impression on Bill Sienkiewicz – according to him) or one of my earliest favorites: Guido Buzzelli?
Well, we’re just quoting Lambiek, who may know what they’re talking about. When ds showed me her copy, I did ask about Hugo Pratt and Manara. But perhaps ‘abroad’ refers to a general public, not merely fanboys or Heavy Metal readers. After all, Manara, Serpieri, Liberatore and Crepax for instance, aren’t what you’d call ‘all ages’ cartoonists. And Pratt’s work may be too mature for a truly wide audience, popular as it may be with the cognoscenti. On the other hand, Jacovitti’s Cocco Bill got his own internationally-distributed tv show.
Now, what if the question was ‘who’s the most popular *Argentine* cartoonist abroad’? Despite the plethora of choices, it would have to be either Quino or Mordillo… because they reach a broad, international, all-ages public, and their work translates easily. In the end, it’s not just about the raincoat brigade.
Well, without any information on the criteria Lambiek used to measure artist notoriety and without hard data, I’m still tempted to take such a statement with a grain of salt.
I much prefer to read the part which celebrates the work of a great artist.
It’s funny, to (re) discover Mattioli’s tributes to Herriman since I didn’t know Krazy Kat until much later.
You know, that’s exactly the right mindset to use. Much as I’d like Lambiek’s claim to be the gospel truth, we both found it puzzling.
But we leave the popularity contests to others. We also *much* prefer to spotlight and celebrate artists and their art, regardless of whether the world lionises or ignores them. Art for art’s sake!
A generic group of men interested in sleaze or pornography, dirty old men.
Lambiek or lambik in Dutch (Lambic) is a spontaneous fermentation beer, produced in the Senne valley (south of Brussels) and in Pajottenland (west of Brussels).
Drink words with moderation, hips! 🥴
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