Ach, echt?: Cartoons by Ingmar Decker

By Ingmar Decker

„Ach, echt?“ Diese Frage bewegt die Menschheit seit langer Zeit.

Die Cartoons in diesem Buch bewegen sich um diese Frage herum und zeigen sie in ihrem großen Facettenreichtum – mal gepaart mit Erstaunen, Neugier oder Freude, mal gepaart mit Desinteresse, Lustlosigkeit oder Ignoranz.

Dabei wird die Frage nicht immer beantwortet. Ja, oft wird sie nicht einmal gestellt! Und dennoch schwingt sie immer mit zwischen den Zeilen und Pinselstrichen dieser illustren Auswahl an Cartoons und comedian Strips aus den vergangenen Schaffensjahren des Zeichners.

Mit 114 Zeichnungen – davon sixteen in Farbe. Mit Seitenzahlen. Ohne sonstigen Schnickschnack.

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Example text

5. 9 The term emerged—admittedly, without the precise signification that I attribute to it from this point on—from a comparison between two sequences in Hergé’s book, King Ottokar’s Sceptre (situated on pages 15 and 16 and on page 45 of the current edition, to which I invite the reader to refer), two sequences that obey the “same narrative schema . . ” Jean-Claude Raillon provides the following commentary: The observation, from the point of view of the topical parameter, of the panels in question shows .

However, comics rarely mobilize truly specific processes and techniques. On the other hand, all comics, even those that provide the simplest appearance, are particular avatars of a system in which the components, and their interactions, draw a complex and unpublished totality. It is this system that we are now going to dissect. I would like, at the moment of closing this introduction, to express my debt to Benoît Peeters and Thierry Smolderen, who have contributed in a decisive fashion to the maturation of certain ideas formulated here.

I suspect that these examples are far from exhausting the connections or the oppositions of all sorts that, in a comic, can be prepared between the “belle page” (on the right hand side) and the “fausse page” (on the left). Thus, in some books, such as Le Bandard fou by Moebius (1974) or The Rail by Claude Renard and François Schuiten (1982), the actual comics pages occupy only the right hand pages, those of the left hand side are invested with “illustrated” pages where the succession creates a kind of sequential counterpoint.

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