The horse has inspired many art comics authors, who depict it as a mount, especially in westerns, horse racing or stories of chivalry. Some, however, use them in their stories as main characters, supporting characters, companions or simply to make a point.
The horse and the western
Of all the bands in which the horse is used solely as a mount, the Western takes the lion’s share.
In France, Jonathan Cartland (1974) by Michel Blanc-Dumont and Laurence Harlé debuted in 1974 in the monthly “Lucky Luke”, then moved to “Pilote” in 1977. A horse lover, Blanc-Dumont skilfully portrayed horse and rider in sumptuous settings, with superb coloring by his wife Claudine.
Other fine French westerns include Lieutenant Blueberry by Jean Giraud and Jean-Michel Charlier, created in 1963 in “Pilote” and featuring a cavalry lieutenant in revolt, near to the Mexican border; Alexis Mac Coy by Antonio Hernande Palacios and Jean-Pierre Gourmelin appeared in “Lucky Luke” (1974), then in “Tintin”, “Charlie Mensuel” and “Pilote”; Amargo by Victor de la Fuente, published directly in albums by Hachette in 1975 and 1976.
Earlier, in 1931, Marijac signed Jim Boum, the first great western in French comics, which appeared in the weekly “Cœurs Vaillants”, while the former dragon de Saumur and distinguished rider, Le Rallie, gave free rein to his exceptional graphic virtuosity in the splendid “Cavalière du Texas” published in “Ololé” in 1941. After the war, the same team published Poncho Libertas in “Coq Hardi” from 1944 to 1948, preceding the talented René Giffey who captivated readers with Tarzan, then with Buffalo Bill from 1946 to 1960.
In Belgium, the western is represented by Jifé’s dynamic Jerry Spring, from 1954 in “Spirou”: an intelligent, peaceful U.S. Marshall who protects the Indians roams the American West on his horse Ruby, and by Hermann and Greg’s Comanche, whose flamboyant images will appear in the weekly “Tmtin” from 1982. Lastly, still in Belgium, Yves Swolfs’ Durango (1981) is a violent western reminiscent of Sergio Leone’s films, in which a disillusioned pistolero sows’ terror among the outlaws.
In Switzerland, Derib, a great fan of the equine race (he even published a portfolio entitled “Les Chevaux” in 1983), drew the adventures of Yakari, a Sioux child riding his faithful Petit Tonnerre in the Swiss weekly “Le Crapaud à Lunettes”, from 1970 onwards.
While in Spain, the genre is best represented by Antonio Hernande Palacios’ Manos Kelly in the weekly Trinca from 1971, Italy is not to be outdone by Lorenzo de Vita and Guido Martina’s Pecos Bill, who from 1949 offers us a vigilante roaming the American West on his horse Turbine, and Rino Albertarelli, who in 1937 creates Kit Carson, an old track racer with a big white moustache, as well as Aurelio Galleppini and Luigi.
Bonelli, authors from 1948 of the famous Tex Wilier, an unusual western the fantastic, which had a large audience in France in the small formats “Texas Boy”, “Rodéo” and “Spécial Rodéo”. Finally, let’s not forget Miki the Ranger from Italian studio Esse G. Esse, published in “Rodeo” (1952) and “Nevada” (1958-1983), and Serpieri’s Western stories from 1975 onwards, translated in France (L’Indienne blanche, Dargaud 1985 – Femmes de l’Ouest, Bagheera, 1991).
In the U.S., where the Western is king, Fred Harmann created Bronc Peeler in 1934: a young, ambitious, redheaded cowboy who would become a favorite of the weekly magazine “Aventures en France” from 1938 onwards. That same year, he signed Red Ryder, in which another redheaded cowboy runs a ranch in the company of a mischievous young Indian named Little Beaver. This series was an enormous success in “Junior”, under the name Cavalier Rouge, then in “TAventureux” under the title Le roi du Far West. Also in the USA, The Lone Ranger (1939) by Ed Kressy, then Charles Flanders, features a masked vigilante who rides Silver and haunts the plains of the West. Dan Spiegle’s Hopalong Cassidy hunts down horse thieves from 1942 onwards, while José-Luis Salinas’ Cisco Kid (1951) roams the wilds of New Mexico around 1890.
In Argentina, Arturo del Castillo, and Hector Oesterheld’s Randall the Killer (1957), with its dramatic scenarios, depicts a solitary, dark rider that French readers will appreciate in “Rin Tin Tin”.
Jockeys and racecourses
P’tit Joc (1954) by André Joy and Jean Ollivier, published in the newspaper “Vaillant” from 1952, tells the story of a young orphan raised on stud farms who goes on to become a famous jockey. Graine de Jockey (1973) by Franz and Duval; Captain Tom (1984) and Pur-Sang de Franz are also set on racecourses. In addition, Michel Faure, and Robert Génin’s L’Étalon Noir (The Black Stallion) presents the adventures of a fierce thoroughbred named “Black” in the “Journal de Mickey” – from 1982 onwards. Finally, in the United States, Frank Godwin’s Rusty Riley (1948) features an incorruptible jockey who takes on dishonest punters in rigged races.
Chivalry and cavalcades
Among the best-known knights in realistic comics, we have: Fred Funcken’s Chevalier Ardent in “Tintin” in 1952; Le Chevalier Inconnu (1971) in “Record”; the crusader Thierry de Royaumont in “Bayard” from 1953. More poetic, we find: Le Chevalier Printemps (1948) by Jean Trubert in “Pierrot” and, downright humorous: Korrigan (1980) by Franz and Vicq, teeming with riders and horses in the most extravagant positions. Finally, in Les Compagnons du Crépuscule, Bougeon ends one of these episodes with a detailed depiction of the medieval equipment of the “great horse”.
The horse as comic strip hero
The horse appears in parody strips. In “Lucky Luke” (since 1946) – in which the Western is mocked – the horse Jolly Jumper is not only a mount, but also a secondary character whose facial expressions are increasingly critical of his master, and highly contemptuous of the dog Ran Tan Plan. In Chacal Bill (1975), another western parody published in “Pif Gadget” by Maverick (Luc Mazel) and Alpha, the horse comments on the action and advises his rider. Godaille et Godasse (1978) by Jacques Sandron and Raoul Cauvin is a pastiche of the Napoleonic wars, in which a young hussar named Godaille, and his mare Godasse have some funny adventures. Another mare, Câline, in Câline et Calebasse (1969) by Luc Mazel and Raoul Cauvin, takes part in a delightful parody of Alexandre Dumas’ Les Trois Mousquetaires. In Caramba (1955), Jean Marcellin’s Jimmy Jim recounts the adventures of a young boy with blond hair who rides into the Wild West on his horse Biberon. Horace, cheval de l’Ouest by Jean-Claude Poirier appeared in “Pif Gadget” (1970-1978).
In Great Britain, from 1930 to 1949, Roland Davies’ Come on Steve featured a sturdy workhorse who made one blunder after another, much to the delight of readers. At the same time in Great Britain, George the Jolly Geegee by Roy Wilson (1938) was the hero of a series of crazy gags. Finally, in 1970, Norman Thelwell’s Penelope was the hero of a little girl’s Sunday Express.
In Canada, Aren Saba’s Neil the Horse (1975) features a horse with big black eyes, full of vitality but a little silly. In the U.S., Walt Disney Studios’ Horace Horsecollar is a no-nonsense animal engaged to Clarabella Cow (Belle Corne). In France, he entertained young readers of “Le Journal de Mickey” from 1934 onwards, first as Chrysostome Canasson, then as Horace Dussabot. Also in the U.S., in Hanna and Barbera Studios’ Grangallo and Petitro (1962), we have Grangallo as a white horse wearing a sheriff’s star, with Petrito the mouse as his deputy, while Reg Bollen’s mare Gloria in Animal Crackers (1968) discusses philosophy with an old lion.
In Italy, in Walter Faccini’s Panteleo and Coriolan (1939), the horse Coriolan has as his master the monkey Panteleo, a great lover of fights. Finally, let’s conclude this brief overview of horses in comics by mentioning Trottalemme, the faithful steed of Cocco Bill (1957), who plays a not inconsiderable role in Benito Jacovitti’s wild western.
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