The fumetto nero

The 1960s were a particularly interesting and fruitful period for European comics. It was during this decade that the comic book became a widespread phenomenon. In Italy, events seemed to be conspiring to push comic books into the public and critical spotlight. It was in 1962 that readers were introduced to Diabolik, a character and antihero par excellence partly inspired by the fictional hero Fantômas.

A thief of exceptional abilities, a master of disguise, and a ruthless assassin, depending on what the situation called for, the character in black tights created by the Giussani sisters was something completely different from any other hero that had ever stepped out of the pages of adventure comics. On the cover of the first issue of Diabolik (Il re del terrore, or “The King of Terror”) was the mention, romanzo completo (“complete novel”), and for good reason. It did indeed look like a novel. The Topolino (Mickey Mouse) pocket book format, published by Arnoldo Mondadori Editore starting in 1949, had set the precedent for novel-sized comic books. Over time, this format would become a point of reference for many notable imitations, such as Braccio di Ferro (Popeye), Tiramolla (Roll-Spring) and Geppo, often created by the same authors working on Disney characters elsewhere. However, in most cases, these were anthologies. The stories of Diabolik were mostly resolved in single issues: narratives of a certain length that could stand alone, even if they could technically be considered serials, with some recurring characters and situations.

If Fantômas became a favorite of the surrealists because the stories of his cruelty, lust and anarchism were never wrapped up in a happy ending, Diabolik was the bugbear of conformists and educators who couldn’t put up with his lack of principles.

Diabolik shocked the paternalistic, moralistic and prudish publishing industry of the time and in so doing launched the so-called fumetto nero phenomenon (literally “black comic”). The success of the fumetti neri, which often had the letter ‘K’ somewhere in the title—e.g., Kriminal, Satanik, Zakimort, etc.—managed to scandalize representatives of the Catholic Church and political organizations across the board. Even the Italian parliament spoke out against the comic.