In a stunning move, Belgian publisher Dupuis has withdrawn 30,000 copies of the comic book “Spirou and the Blue Gorgon” from shops after a viral social media backlash over its portrayal of Black characters and women. The decision, described as a first for Belgium’s celebrated comic book industry, came after the publisher issued a public apology for the “shocking and hurtful” content.
The controversy erupted last month when a TikTok video denouncing the book’s racist and sexist depictions went viral, sparking widespread criticism. Social media users pointed out that while white characters were drawn as human beings, Black characters were depicted as monkeys. Women were also “hyper-sexualized,” typically shown with exaggerated cleavage and unrealistic body proportions.
Publisher Acknowledges “Error of Judgment”
In a statement, Dupuis took full responsibility for the offensive content, calling it an “error of judgment” that failed to uphold the publisher’s “moral duty.” The company expressed profound regret for any pain caused by the book’s caricatured style of representation, which it admitted was from “another era.”
“We are more aware than ever of our moral duty and the importance of comics,” the statement read. “We take full responsibility today for this error of judgment.”
– Dupuis publishing house
Artist Offers Partial Apology
The book’s artist, Daniel Henrotin, who goes by the pen name Dany, said he had been emulating the style of celebrated Belgian cartoonist André Franquin from the 1950s. While acknowledging he had “made a mistake” and was “truly sorry” for any hurt caused, the 81-year-old defended his artistic approach to some degree.
“I heard it said that we cannot draw like that today,” Dany remarked. “I respond that humour and caricature are in the DNA of the Belgian school of bande dessinée.”
– Daniel Henrotin, artist
Reigniting Debate Over Acceptable Caricature
The incident has reignited debate within the comic book world over the line between artistic caricature and harmful stereotyping. Some prominent figures pushed back against the notion that certain styles of caricature were no longer acceptable.
“Comics are automatically caricatures,” argued Isabelle Debekker, director of the Brussels Comic Strip Centre. She suggested that rather than completely avoiding certain depictions, artists should aim to be “a little more intelligent” in their humor and representations.
– Isabelle Debekker, Brussels Comic Strip Centre
However, Debekker also expressed disappointment that some still fail to recognize problematic elements, stating: “I find it a shame that there are still people who do not understand what is problematic.”
Broader Reckoning for Beloved Medium?
The controversy surrounding “Spirou and the Blue Gorgon” is the latest in a series of reexaminations of racism and sexism in the comic book medium, both in Belgium and internationally. In 2011, an attempt to ban the 1930 comic “Tintin in the Congo” over its portrayal of Africans ultimately failed in Belgian courts.
As public outcry leads to tangible consequences, as seen with Dupuis’ decision to withdraw the offending comic, some are wondering if a broader reckoning is in store for the beloved “ninth art.” Will publishers and artists be pushed to evolve with changing social mores, or will they dig in to defend the traditions of caricature that have long defined the medium?
Only time will tell, but one thing is certain: the conversation around racism and representation in comic books is far from over. As the industry grapples with its past and present, readers, critics, and creators alike will be watching closely to see what shape its future takes.
