A week ago Alain Demaret passed us a black/white version of the “Le Seigneur de Gonobutz” (“The Lord of Gonobutz”) album as prepublished in Le Soir. We presume this was in 1976 as there was also a prepublication of the story in Journal Tintin of 1976. This black and white publication had quite some hick-ups. Today we’ll discuss one already, namely 2 text balloons which remained empty, until 1983.
The page we discuss is page 26 of the Bob De Moor‘s “Le Seigneur de Gonobutz”, more precisely the 3rd frame of the 3rd strip on that page where you can see a grandma shooting at militaries whilst her two grandchildren are cheering. Cheering we said? In the Le Soir version there is no text in the text balloons.
And there wasn’t one either in the Journal Tintin as far as we know (we don’t have that particular issue in our archives – if someone has that issue, don’t hesitate to let us know).
The text from these text balloons is also missing in both the Rijperman and Bédéscope versions as published in 1980 and would only pop up in 1983 in the very correctly released Barelli compendium as published by Rombaldi. The text font however was different to the one used in the rest of the story.
So for 7 years, nobody knew what those kids were exactly cheering. The missing lines are “Vas-y mémé!” and “E’core pan-pan!” which you could freely translate as “Go ahead grandma!” and “Shoot again!”. The “E’core” was used to stress that the kid is really young and doesn’t yet know how to speak well French in this case, because the correct word should be “Encore”.
Note that the BD Must version as released in 2011 includes the correct text balloons. In later posts we’ll show you that there is more to this Le Soir version which is a bit odd to say the least.
On December 31st 1954, the Flemish newspaper Het Nieuws van de Dag announced a brand new story of Bob De Moor‘s ‘De avonturen van Nonkel Zigomar, Snoe en Snolleke’: “Het Mollenrijk”. Yesterday we talked about the differences between the cover version of the albums as published by Bédéscope and Brabant Strip. Today we focus on what is quite a remarkable change that happened in the story when it was revised for publication. Unlike the other ‘Nonkel Zigomar, Snoe en Snolleke’ albums, this album would not be revised on every page for a publication in color, instead for the Bédéscope version Bob De Moor decided to alter a few things, most notably on page 23 of the album, namely the strips 86/87 and 88 but also elsewhere.
On the left you see the original strips as published in Het Nieuws van de Dag in 1955. You see a man being kicked out of a cabin. He says he is an architect who had been kicked out by the architects of the Heysel Tower. Snolleke looks at the plans and see that he wanted to build an ‘Ijzer-toren’ (literrally that reads as ‘Iron Tower’). Even for Flemish readers today the joke is not really easy to understand because many will miss a few long forgotten historical elements.
First of all, the Heysel Tower was an abandoned project from the Ghent based Professor Gustave Magnel for the Expo of 1958 to be held in Brussels, capital of Belgium. Dating from early 1955, when the decision to build the Atomium had not yet been taken, the tower of Magnel was supposed to be 500 meters high and constructed in prestressed concrete. That this tower really stood a chance to be built shows the article on the left. The artikel speaks of “a model of the tower of 500 m, which, as reported, will be built near the Heysel in Brussels.” Magnel was also the man who built the Boekentoren in Ghent. Nevertheless the idea was finally abandoned in favor of the Atomium.
The next element is the actual plan of the architect in Bob De Moor’s story. He wanted to change the top of the tower as though out by Professor Magnel into a cross holding the letter combination AVV/VVK which stands for “Alles Voor Vlaanderen, Vlaanderen Voor Kristus”, a well known slogan from the Flemish movement. Not really a good idea since the Heysel Tower was supposed to be an architectural jewel representing Belgium’s intellect and know-how.
And here we arrive at the 3rd element. Snolleke says: “Sukkelaar! Hoe kon hij zo onnozel zijn. Wou van de HEYSEL-toren een IJZER-toren maken.” Here we see a first reference to the (new spelling) IJzertoren. For this we need to go back in history and all this keeping in mind that Bob De Moor was a Flemish cartoonist first of all.
So here we go. During the first World War the Flemish Movement became more and more organized and started to demand more Flemish rights. Good to know, back in those days the official language in Belgian politics but more important in the Belgian army was French and most officers were monolingual French-speaking. After the war, in 1930, the first IJzertoren was build in Kaaskerke, near Diksmuide. It was built by an organisation of former Flemish soldiers. The tower was just like on the plan of the architect decorated with the abbreviations AVV-VVK. Years passed and but up till World War II, the main language in Belgian politics and the army remained French. In short, the Flemish movement hadn’t been able to change a lot.
After World War II, many Flemish were accused of German collaboration. Either by the state (242 people were convicted and executed), or by former members of the resistance (which happened uncontrolled). Other results of the repression included the demolition of monuments, and that also happened to the IJzertoren. On the night of 15 and 16 March 1946, the first IJzertoren was blown up. The perpetrators were never caught, but there are theories of the Belgian state approving the demolition, or even helping the saboteurs.
When Bob De Moor saw his “Het Mollenrijk” published in the Flemish newspaper Het Nieuws van de Dag in 1955, the Flemish movement was busy assembling money to build a new and larger tower on the same site. And it’s in that context that you have to see Bob De Moor‘s original strips. Bob De Moor was not the only Flemish cartoonist to include this in his work (see also our future article on the 1950 Tijl Uilenspiegel story “Het vals gebit”). Also Willy Vandersteen and Marc Sleen would have the topic incorporated in their work. Willy Vandersteen would insert 2 specific frames in the final strip of the De Standaard newspaper publication Spike and Suzy‘s “Prinses Zagemeel” (1948). There you see Spike saying “No Wiske but he is still down” to which Ambrose aka Lambik says “What are you talking about Spike?”. Spike replies -while flying over the rumble of the monument: “The Ijzertoren Ambrose!” Marc Sleen from his side lets Nero give a cheque of 100.000 Belgian francs (2500 Euro) to the IJzerbedevaartcomité (the committee that organized the yearly pelgrimages to the Ijzertoren) in the album “De Hoorn des Overvloeds” and this in order to help reconstruct the tower. As you can see there were a lot of Flemish sensitivities that played back then, even with Flemish cartoonists.
But back to our Bob De Moor story. When Bédéscope asked Bob De Moor to review “Het Mollenrijk”, it was a very logical decision to change those specific drawings. Almost no reader would still remember what that aborted Heysel Tower project was. But for many French speaking readers (especially those in France) the political sensitivities would be very difficult to understand. And even if they would have understood it, it could only have caused problems because many French reading Belgians probably would not have found it funny – political sensitivities you see. The mid-way solution Bob De Moor came up with was quite a good one. He changed the head of the architect by his and now he is a comic author who gets kicked out of the cabin because the architects of the Atomium don’t like his decoration ideas which is to add the faces of Georges Barelli, Sophia Barelli, Cori, Balthazar, Oncle Zigomar and Monsieur Tric on 7 of the Atomium globes. Also funny is the line where you see Snolleke saying “The poor sod! He did look like a talented guy…”.
Two consistency corrections were also made on page 21 and 22 of the album where the plate saying “Hier komt de HEYSEL-TOREN verboden op de werken te komen” was replaced by “Ici sera érigé l’ATOMIUM interdit de courir sous peine de poursuites!” As a final note, today, the Ijzertoren is still a symbol of Flemish nationalism, but also a symbol to remember the cruelties that happen during wars, thus a symbol of peace.
An old newsreel on the destruction of the Ijzertoren can be viewed below.
On December 31st 1954, the Flemish newspaper Het Nieuws van de Dag (not to be confounded with the Dutch newspaper De Courant/Nieuws van de Dag) announced a brand new story of Bob De Moor‘s ‘De avonturen van Nonkel Zigomar, Snoe en Snolleke’: “Het Mollenrijk”. It would take 26 years before it would be released in an album format – in french via Bédéscope on 2000 copies – under the title “L’empire des Taupes”, and 48 (!!) years before it would finally see a publication in its original Flemish form, on 775 copies; and this thanks to the work of the people behind Brabant Strip who dug the material up from their archives.
There are quite some differences between both versions which you don’t see on first sight, but they do jump forward when you look closely. Today we’ll handle the cover artwork and tomorrow we’ll take a closer look at the content.
In both cases the cover of the album was a cover Bob De Moor had drawn in 1979/1980, with minor differences. First of all, the cover of Brabant Strip seems to hold the complete ‘borders’ too, which were hidden on the Bédéscope version. As a result you see some extra details on the left and right, and on the top and the bottom. But don’t mistake, some corrections were made too, for instance the Bédéscope version has stalagmites on the right which were cut off in the Brabant Strip version to put the title. The Brabant Strip version also has 2 extra stalactites added in the upper right corner (probably drawn by Johan De Moor – we’ll confirm this). You will also see in the Brabant Strip version that the stalactites in the upper left corner have been corrected, for example where originally Oncle Zigomar‘s head was. Again, we think that these corrections were made by Johan De Moor.
Something that also is quite remarkable is the coloring used for both covers. Whereas Brabant Strip decided to go for a more natural coloring of the characters and environment, Bédéscope went Hawaiian style rendering the whole venomously greenish. Up to you the reader to decide which one you prefer the most, but we’ll stick to the Brabant Strip version.
The biggest difference between both versions however can be found inside the album. But that’s for tomorrow’s news when we dive into some local politics that influenced not just Bob De Moor but many others like Marc Sleen, Willy Vandersteen and so on. Especially for this article we did some traveling and you’ll also learn a bit how Flemish cartoonist incorporated politics into their work.
A week ago or so, I stumbled on a small website for local sales and much to my surprise I saw someone offering a selfmade scrapbook of Bob De Moor‘s “Barelli à Nusa-Penida” (volume & & 2) newspaper clippings in black and white (without the heading unfortunately). The price was so low (8 euro to be exact) I couldn’t believe what I saw. I quickly decided to get hold of it and after a 2 weeks wait the packet arrived this morning.
Sadly enough the seller couldn’t provide more info on when or in what title it had been published (although it’s probably from Le Soir), plus there is no trace this Barelli story was ever announced with a separate drawing. The only thing that is sure is that it is from a french written newspaper and that each issue of the newspaper had 1 page of the Barelli double story (if anyone out there knows more, please let us know). Each story counts 30 pages, which corresponds with the Bédéscope / BD Must version, and not the extended version which Bob De Moor made in the eighties (1982-1983) for Le Lombard to fit the 44 page format Le Lombard requested. Due to the ’80s extension the original end of part 1 of the “Nusa Penida” story was replaced by ending the first volume on page 14 of the 2nd volume. It also doesn’t correspond with the slightly longer Tintin Journal or Rombaldi version (both counting 62 pages).
The “Nusa Penida” story has undergone quite a lot of re-cuttings from the original as Bernard De Gioanni already showed in his defunct Bob De Moor blog. The page as shown on the left was omitted from the versions as we know them. Note that only the last strip was witheld for publication, hence why the drawing is cut off. However, that page does appear in the pre-publication in the Tintin journal and in the Rombaldi album of Barelli (“Collection des meilleures histoires de Tintin” 1983) which you can actually still buy on Amazon. Be fast though, I guess that after reading this article several will want to get hold of it. You can find back a trace of this ‘découpage’ in this newly found version (and in the BD Must and Bédéscope version), namely on the 7th page of volume 2. There you can see that it’s numbered with a 39, whereas it should be 37 if it had followed the re-cut numbering.
To make it even more complicated, this black and white version shows at least one difference with the BD Must version too, and that is the case legend which is on page 1 of volume 2 of “Nusa Penida”. The version in the black and white version is longer and explains how both have been on the ocean for weeks – and not days like in the version from BD Must and Bédéscope.
So in total that results in:
The Tintin Journal: 62 pages with 3 special frontcover artworks for announcing the story
The Bédéscope version: 60 pages with different covers to the ones used in Tintin (you’ll notice for instance that the one with the sailing boat for Tintin was slightly re-designed from the original with inspector Moreau now watching towards the reader and not towards the boat, plus Barelli’s haircut was ‘upgraded’)
The Le Lombard version: 88 pages with new pages, other cover artwork for both volumes and original pages that are not included.
The Rombaldi version: 62 pages with 1 cover, namely the Le Lombard one with Barelli doing a Tarzan (yes, it does get complicated)
The BD Must version: 60 pages with 2 ex-Libris included and same covers as the Bédéscope ones
This black and white version: 60 pages with a different text case on page 1 of the second volume compared to the BD Must version.