波兰—漫画之国
波兰在漫画道路上的旅程已经持续了近一个世纪。2019年将迎来其象征性的一百周年纪念日。虽然其具体诞生日期是被人为约定的，但人们认为这一切都始于二十世纪初的新闻界，从娱乐和教学图画故事开始。而接下来的阶段是关于不同主角冒险故事的书籍，其中包括直到今天都非常受欢迎的比利山羊马托维克，由作家科瑞·马库辛斯基（Kornel Makuszyński）和画师马利安·瓦伦缇诺维奇（Marian Walentynowicz）创作。今天被奉为经典的享内克·耶日·赫米热夫斯基（Henryk Jerzy Chmielewski，也被称为Papcio Chmiel）创作的《提图斯、罗马克和啊’托马克》，可能是波兰历史上最有名的漫画作品。现龄93岁的作者曾创作了超越政治的故事，讲的是两个童子军和一只想成为人类的黑猩猩的幽默冒险故事，这一故事至今娱乐了一代又一代波兰人。雅鲁士·克里斯塔（Janusz Christa）根据法国漫画《阿斯泰利克斯历险记》创作的幽默漫画
《卡伊科和可可西》同样非常有名。读者也很喜欢塔德乌什·巴然诺夫斯基（Tadeusz Baranowski）漫画的优秀绘画和荒谬幽默，喜欢夏洛塔·帕维（Szarlota Paweł）创造的想象和冒险世界，这能让他们从繁重的日常生活逃离。
70年代和70年代是波兰漫画的黄金时期。漫画故事的出版物甚至达到了10万份，随后漫画册和专辑销售迅速。与此同时，对国外漫画的接触受到了限制，只有少数人对同时期欧洲、美国或日本漫画发展情况有所了解。因此，波兰漫画在波兰境外默默无名，只有几位漫画家诸如格热戈日·罗欣斯基（Grzegorz Rosiński ）（《桑顿》系列、《西林格尔》和《西方》）和兹比克涅夫·卡斯佩奇克（Zbigniew „Kas” Kasprzak）（《汉斯》系列和《万圣节布鲁斯》）征服了法国漫画市场，成为欧洲明星。
80年代末90年代初波兰迎来了政治转型。在出版业以及其他领域开始由自由市场支配。然而，这一时期也出现了波兰漫画的萧条，波兰漫画几乎消失了。图书发行系统的崩溃以及出版市场缺乏稳定性，导致了漫画出版的惨败。唯一的成功是TM Semic出版社的创立，该出版社在90年代从事美国漫画小册的出版。波兰的图形艺术家将他们的工作转到书籍插图上或从事广告相关工作。
然而，漫画的创作并未停止。年轻艺术家开始寻找新的平台来展示他们的作品。 这促成了独立出版市场（粉丝杂志）的诞生，以及一系列漫画大会的产生，其中以“罗兹大聚会”为首，该大会随着时间的流逝已发展为国际漫画和游戏节 — 中欧最大的漫画盛会。2017年举办了该盛会的第28届，参会人数超过20000人。
千禧年的到来是波兰漫画繁荣的开始。年轻一代的漫画创作者为冰冷的市场带来了清新的气息。同时出现了众多新出版社—目前有十多个继续在运营。他们不仅出版波兰原创漫画专辑，还出版包括从日本到美国等世界各地的流行漫画系列。现在波兰的读者可以为拥有与法国或英国朋友同样的漫画知识而自豪。2017年波兰出现了近1200部新作品，这标志着市场的发展。年轻的艺术家们创作了影响整整一代读者的新系列 – 托马斯·勒西涅克（Tomasz Leśniak）和那法尔· 斯卡钦茨基 （Rafał Skarżycki）的《刺猬乔治》、米昊·席勒钦斯基（Michał „Śledziu” Śledziński）的《斯沃博达小区》和岷克维奇兄弟的《超级英雄威尔克》。这一时期也出现了原创漫画，表明波兰漫画已经成熟并赶上了神秘的西方。波兰儿童漫画市场也得到了重生，填补了漫画市场崩溃后留下的长期空白。
波兰艺术家们的快速发展和各取得的各种成就让他们成了国外出版商感兴趣的对象。 活跃在美国市场的包括卡塔钦娜·涅姆奇克（Katarzyna Niemczyk）、西蒙·库然斯基（Szymon Kurański）、彼得·科瓦斯基（Piotr Kowalski）和马瑞克·奥勒克斯基（Marek Oleksicki）。 漫画作品在欧洲出版社出版的漫画家包括马钦·波多勒茨（Marcin Podolec）、克里斯托夫·格弗隆克维奇（Krzysztof Gawronkiewicz）、马切伊·辛奇克（Maciej Sieńczyk）和马特乌什·斯库特尼克（Mateusz Skutnik）。波兰出版商的角色，已经从国外作品许可的买方逐渐转变成波兰原创项目的卖家，这些项目出现在法国、意大利、英国和德国的出版商的出版目录中。
这里展示的只是波兰漫画艺术所能提供的作品的其中一小部分。但显示了波兰漫画的丰富多样性，特别是仍在快速发展的当代漫画。
Poland – the Land of Comics
Polish adventure with comics continues for almost 100 years now.
In 2019 it will celebrate its symbolic 100th anniversary. Though a precise date of comic’s birth in Poland remains uncertain, it is commonly accepted to assume that it all began in early 20th century with entertainment and educational press publications. What came after were books with illustrated adventures of different comic heroes, including – popular to this day – Koziołek Matołek, created by writer Kornel Makuszyński and illustrator Marian Walentynowicz.
The most reknown Polish comic
in history and current cult classic was created by Henryk Jerzy Chmielewski – or Papcio Chmiel, as he calls himself – Tytus, Romek and A’Tomek. Its creator, now 95-years-old, managed to overcome the political subtext of his comic by developing the story of two boy scouts raising a chimpanzee into an adventurous, comedic series that is continued to be read and loved by next generations of young Poles. Another popular comic of that time was also humorous Kajko and Kokosz by Janusz Christa, inspired by the French Asterix series. Readers loved the excellent drawings and absurd humour of Tadeusz Baranowski’s comics, as well as Szarlota Pawel’s worlds of imagination and adventure, allowing to escape from the heavy daily life of that time.
The 70s and 80s were the golden age of Polish comics. Publications with sequential stories had been released in over 100 000 issues each and had been almost immediately sold out. During that time there was scarcely any access to foreign comics – only very few had knowledge about what was going on in the Francophone, American or Japanese comics. Other countries did not know Polish comics as well. Only very few artists, like Grzegorz Rosiński (Thorgal series, Chninkel and Western) and Zbigniew “Kas” Kasprzak (Hans and Halloween Blues series), made it to the francophone market, thus becoming one
of the stars of European comics.
At the turn of the 80s and 90s Poland went through political transformation. Publishing and other business began to be ruled over by the free market. However, during this period, Polish comics went into depression and Polish cartoons almost disappeared. The collapse of the book distribution system and the lack of stability
in the publishing market led to the fiasco of many comic book publishing initiatives. The only successful one was the emerging of TM Semic, which published American superhero issues in the 90s. Polish graphic artists transferred their work to book illustrations or to advertising agencies.
Fortunately it did not stop them from drawing comics. Young artists began looking for new platforms to show their work. This led to the birth of the independent publishing market (fan magazins) and the organization of a series comics conventions, including the one in Łódź. This event later transformed into the International Festival of Comics and Games – the biggest comics event in Middle Europe. The 28th edition of Łódź Comics Festival was held in 2017, with more than 20,000 participants.
The arrival of the new millennium was the beginning of the prosperity of Polish comics. The younger generation of comic creators brought a fresh atmosphere into a dead market. At the same time, many new publishers have emerged – there are currently more than a dozen continuing operations. They not only publish Polish original comic albums, but also popular comic series from all over the world, from Japan to the United States. Now Polish readers can be proud of having the same comics as French or British friends. In 2017, nearly 1,200 new works appeared in Poland, marking the scale
of the development of the market. Young artists have created new series that affected a whole generation of readers – Tomasz Leśniak and Rafał Skarżycki’s Hedgehog George, Swoboda Community by Michał „Śledziu” Śledziński and Wilq the Superhero by the Minkiewicz brothers. Original comics appeared during this period, indicating that Polish comics have matured and caught up with the mythical West. The Polish children’s comics market has also been reborn, filling the long-term gap left after the collapse of the comic market.
The rapid development of Polish artists and the achievements they have made make them an object of interest to foreign publishers. Active in the US market are Katarzyna Niemczyk, Szymon Kudrański, Piotr Kowalski and Marek Oleksicki. Cartoons published in Europe publishers include those by Marcin Podolec, Krzysztof Gawronkiewicz, Maciej Sieńczyk or Mateusz Skutnik. The role of the Polish publisher has gradually changed from a buyer of foreign works licenses to a seller of original Polish projects, which appear in the publications of publishers in France, Italy, the UK and Germany.
Shown here is just a small part of the work that Polish comic art can offer. But it shows the rich diversity of Polish comics, especially the contemporary comics that are still developing rapidly.
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