It used to be a subculture, but now it makes spectacular train jumps. He gives old stories a second youth and tells them in a fascinating way with sketches. Is the graphic novel here to stay?

Lefteris Stavrianos, publisher of Jemma Press, is one of those who do not forget the marginal origins of the new medium. “Basically, this is what we always called comics,” he tells us. The same is supported by Thanasis Karapalios, illustrator and creator of the “1800” series, which Gemma successfully published and is based on the stories of charioteers and pirates in pre-revolutionary Greece. “Anything that has to do with history and Greek themes is popular with the public – and in the case of 1800 there really was a deep historical study,” the publisher emphasizes, adding that the recent The Loneliness of the Abyss by Dimitris Vanellis and Nikos Kurtis on the topic the legends of Alexander the Great and the Mermaid also proved themselves very well. In the genre of folklore, a number of other titles that have left their mark on the field come to mind, such as “Erotokritos” (published by Ikaros, 2016), created by the skillful pen of Giorgos Gusis.

Speaking to the publisher of Ikaros, Nikos Argyris, we recall that “the first graphic novels appeared on the Greek market around 2006 with translations of successful foreign works such as Persepolis by Marjan Satrapi or Maus by Art Spiegelman.” 2008 has come from Ikaros to the global publishing event “Logicomix”. The iconic work of Apostolos Doxiadis made a deep cut showing how this medium also works great as an educational tool. This successful marriage of comics and lore has continued with Aristotle (2002), as well as Icarus, also marvelously designed (like Logicomics) by Alekos Papadatos.

The graphic novel is also a great introduction to the world of literature. Minoas Editions recently published Francis Scott Fitzgerald’s The Great Gatsby, and Patakis published Georges Sarri’s classic The Treasure of Vagia. “This is the best gift from new authors to old ones,” notes Giorgos Patmios, PR manager for Pataki, while Thodoris Tsolis, on behalf of Metaichmios, informs us that the graphic novel re-release of Alkis Zey’s classics was warmly received by the public without undermining this demand for original books. “These iconic pieces of children’s literature are as relevant to an audience that knows the originals and seeks deluxe editions of graphic novels as it is to a younger audience that is discovering them in this way.” He adds that Metaichmyo intends to publish two or three graphic novels a year.

No limits

“This is the best gift the new creators have for the old,” notes Giorgos Patmios of the relationship between comics and classical literature.

In addition, it is a very flexible environment. Soloup (Anthonis Nikolopoulos), one of the most important creators in the field, notes that the graphic novel form “has no limits in terms of audience and content” and emphasizes that “the transmission of literary classics, ancient dramas or titles with historical themes is an opportunity for young people to get in touch with narratives and ideas that would otherwise be difficult to recognize, especially in today’s era of speed and online communication. In addition, it is a form that can be easily transformed into an ideal environment for parents to communicate with their children.”

In a conversation with Filimonas Patsakis, Editorial Design Manager at Dioptra, we learn of their ambitious goal of bringing the work of Nikos Kazantzakis into a comic book series. “Kazantsakis’ world doesn’t like constants, so it’s constantly reinventing itself,” he says emphatically. “We will start with Soloup’s The Life and Fortune of Alexis Zorbas and Pan-Pan’s Captain Michalis with the help of Giorgos Gusis. Both will be released in 2023,” he told us.

Nostalgia and covers

Similar considerations are made by Thodoris Prasidis, a screenwriter who has also made a career abroad: “There has been a discussion about whether the demand for Greek graphic novels is determined by nostalgia for great works, since most of the production is adaptations of famous literary books. On the one hand, this may indicate a fixation on the “glorious past” (which the Greeks already have), on the other hand, it is interesting to observe the interaction of new creators with these texts and their translation into the visual language of comics. . . Belonging to this new “army” of Greek creators in an area that impresses with its talents, he emphasizes that “the increase in the domestic production of graphic novels would not have happened without the presence of a dynamic group of artists pursuing a form with excellent storytelling and speculative results.”

Speaking with Leokratis Anemodura, editor of the Mikros Iros historical house, we hear from another young man who is helping this space flourish. He tells us about the newly founded Greek Comics Academy, an organization that is “trying to help the space become more extroverted.” In the list of his recent publications, we see another work by the cartoonist Thanasis Karambalios, written by Giorgos Vlachos. It is an adaptation of Jules Verne’s classic Aegean on Fire, set during the Greek Revolution.

Vern with Karaballios feathers, Kazantzakis with Solup and Pan Pan inks, The Treasure of Vagia framed by Kanellos Koba: the wonderful new world of the Greek graphic novel is here. The sequel is exciting, as it has always been in the world of comics. A world that seems to have too much charm to forever remain in the shadows.