![]() Bacterio's machine and get the book of the dead. Since he's a little cranky and wants to take over the world, beginning with the basement of the T.I.A headquarter, Mortadelo and Filemón have to stop him. Bacterio tests his new invention with which he can extract anything from movies and make it a real object, he doesn't bring out the famous treasure of the mummy but the mummy Impoteh himself. Hispanic Issues Online 11: 211-25.When Dr. “The Sequential Art of Memory: The Testimonial Struggle of Comics in Spain”. “The Origins of the Spanish Cartoon, 1857-1906″Arbor-Ciencia Pensamiento y Cultura 187: 15-39. His career as a cartoonist was recognized by the comprehensive exhibition Francisco Ibáñez, el Mago del Humor held in Madrid in 2014. In addition, the popularity of the comic strips series demanded translations to numerous languages in Europe, being especially embraced in Germany.įrancisco Ibañez has been awarded with numerous distinctions, such as the Golden Ring Award for most popular children’s characters (1969, 1974-6), the Grand Prize from the Barcelona International Comic Fair (1994), the Gold Medal for Merit in Fine Arts (2002) and the Oso Lifetime Achievement Award at the Madrid International Comic Fair (2002). In particular, the proliferation of nonsense and gags influenced on the predominant critical humor of the Bruguera-school, one of the three major comic currents after the Spanish civil war. Mortadelo y Filemón made a significant contribution to humor in the Spanish comic strip series. In the consolidation stages of the series, Ibañez temporarily lost the copyright of his characters against his publishing house ( Bruguera), which resulted in apocryphal publications of the series during the 80s. ![]() Furthermore, the comic strips shifted from parodying Sherlock Holmes and Doctor Watson to later reference spy stories and finally incorporating references to current affairs. In particular, the author adopted Franco-Belgian stylistic influences in his detailed portrayal of characters and scenery. The humoristic style is overloaded with slapstick, absurd gags, where characters emerge unscathed after subsequent explosions and blows.ĭespite the initial concise style of the series, Ibañez progressively increased the length of the stories as well as the amount of visual and humoristic resources, following existing European trends in comic books. At visual level, the series is defined by detailed drawing, which adds secondary incongruities to the main incongruities that articulate the plot in the foreground. In Mortadelo y Filemón, the narrative of the story is structured in three parts: presentation of a situation, emergence of a misunderstanding and a closure. Both protagonists share the scene with set characters such as their tyrannical supervisor (Super), the failed scientist (professor Bacterio) and the obese secretary (Ofelia), as well as with many villains. Filemón is presented as the bald-headed irascible boss of Mortadelo, his tall shapeshifting assistant who lacks any common sense. Set in 1969, the series portrays the (mis)adventures of Mortadelo and Filemón, two incompetent detectives who start working for the spy agency TIA (AUNT in Spanish, a parody of the CIA). ![]() Characterized by an absurdist slapstick humor, the series set the standards for comical style in Spanish comic strip series. Mortadelo y Filemón, agencia de información (English Mort and Phil) is one of the most popular Spanish comic strip series, created by Spanish cartoonist Francisco Ibañez and first published in Pulgarcito in 1958.
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