PIB COPENHAGEN · 100 - PIB Copenhagen A/S

søn. Da Gantriis døde i 1989, åbnede Lemvigs
museum en mindestue for ham.
NÆSTE GENERATION RYKKER IND
PIBs kunder er avisredaktører, snarere end avislæsere.
Det er derfor naturligt nok, at ingen rigtigt havde
bemærket, at der var sket et afgørende skred i unge
danskeres holdning til serier.
En ny generation var vokset op med tegneserier som
en naturlig del af hverdagen. Selv om Skipper Skrækbladet
var startet allerede i 1938, var det med Anders
And & Co. fra 1949, at tegneserier for alvor blev
tilgængelige for børnene.
Amerikanske superhelteserier og engelske kærlighedsserier
blev et meget kærkomment alternativ for
børn og unge til den enlige folkeopdragende statslige
TV-kanal. De fransk-belgiske albumserier fra Illustrationsforlaget
og Egmont øgede samtidigt interessen
for mediet i takt med at efterkrigsgenerationen
voksede op.
Da Egmont i 1966 begyndte at udsende det
ugentlige Fart og Tempo-blad med den formidable
Per Då som redaktør, fik serieinteresserede unge
adgang til et stort udbud af europæiske serier.
I begyndelsen af 70’erne var de billige serieblade
det helt store. Gysere og superhelte var sagen,
ansvarlige voksne var ved at kvæles af bekymring for
de unges udvikling, og et selvmorderisk slagsmål
brød ud mellem det danske forlag Interpresse og det
internationale forlag Williams Forlag. Kampen blev
ført ved at begge parter udsendte en usandsynlig
mængde af titler i håbet om at vinde markedsandele.
Kioskerne druknede i serieblade og enden på det
hele blev, at et næsten udslettet Williams blev opkøbt
af den svenske Bonnier-koncern, som samtidigt
købte sig ind i et hårdt presset Interpresse og slog de
to forlag sammen.
PIB COPENHAGEN · 100
53
caustic son. When Gantriis died in 1989, the town’s
museum opened a memorial room for him.
THE NEXT GENERATION MOVES IN
PIB’s clients are newspaper editors rather than
newspaper readers. It’s therefore understandable
enough that no one had really noticed that there had
been a decisive step taken in young Danes’
relationship to comic strips.
A new generation had grown up with comics as an
everyday part of their lives. Even though the Skipper
Skræk [Popeye] comic book was launched already
back in 1938, it was first with Anders And & Co.
[Donald Duck & Co.] from 1949 that comics became
widely available to children.
American superhero comics and English love comics
became a much appreciated-by-children alternative to
the single, citizen-educating state-owned TV channel.
At the same time, the French-Belgian comic albums
from Illustrationsforlaget and Egmont increased
interest in the medium in pace with the maturing of
the post-war generation.
When in 1966, Egmont started to publish the weekly
Fart og Tempo [Speed and Tempo] comic book, with
the formidable Per Då as editor, comics-interested
“youth” got access to a large selection of European
comics.
At the start of the 1970s, cheap comic books were the
craze. Horror and superheroes were in, responsible
adults were close to fainting from worry over the
development of the young, and a suicidal war broke
out between the Danish publisher Interpresse and the
international publisher Williams. The battles were
waged by both parties publishing an impossible
number of titles in the hope of winning increased
market share. The kiosks were drowning in comic
books, and the final outcome was that the almost-