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| Lanciostory | |
|---|---|
| Title | Lanciostory |
| Category | Comics magazine |
| Frequency | Weekly |
| Publisher | Editrice Lancio |
| Firstdate | 1975 |
| Country | Italy |
| Language | Italian |
Lanciostory
Lanciostory is an Italian weekly comics magazine founded in 1975 and published by Editrice Lancio, known for serializing adventure, crime, science fiction, and fantasy comics by an international roster of creators. It has featured work by Italian, Argentine, French, Spanish, and American authors, appearing alongside newsstand titles such as Topolino, Tex (comics), Dylan Dog, Martin Mystère, and Zagor (comics). The magazine has served as a platform connecting creators associated with publishers like Editoriale Corno, Eura Editoriale, Bonelli Editore, and Glénat.
Lanciostory was launched by Editrice Lancio during a period of expansion for Italian periodicals that included Il Giornalino, Linus (magazine), Fumo di China, Corriere dei Piccoli, and Mondo Naif. Early issues balanced reprints and original series linked to creators from studios associated with Joaquín Lavado (Quino), Héctor Germán Oesterheld, Carlos Trillo, Horacio Altuna, and José Muñoz. Throughout the late 1970s and 1980s it ran alongside competitors such as Il Corriere dei Ragazzi, Skorpio, Orient Express (magazine), and Pilot (magazine), and reflected broader currents involving editors like Franco Fossati, Gianni Bono, and Sergio Gianni. The magazine adapted to shifts in Italian media influenced by events like the Years of Lead (Italy), the rise of Berlinguerism, and the transformations of the Italian publishing industry tied to conglomerates such as RCS MediaGroup.
The magazine adopted a pocket-size, digest-oriented format similar to Métal Hurlant, Heavy Metal (magazine), A Suivre, and Corto Maltese (magazine) serials, presenting serialized narratives, standalone episodes, and graphic reportage by artists from the circles of Hugo Pratt, Enzo Biagi, Andrea Pazienza, and Dino Battaglia. Genres included detective stories influenced by Ed McBain, Raymond Chandler, and Dashiell Hammett; science fiction echoing Isaac Asimov, Arthur C. Clarke, and Philip K. Dick; and fantasy with resonances of J.R.R. Tolkien, Robert E. Howard, and Michael Moorcock. Layouts and lettering sometimes referenced typographical practices from Will Eisner, Walt Simonson, and Moebius; editorial choices reflected debates present in publications like The Comics Journal, Stripschrift, and Journal de Tintin. The magazine also published photojournalistic essays and interviews in the tradition of L'Espresso, La Stampa, and Il Manifesto.
Contributors included creators from Argentina such as Héctor Germán Oesterheld, Carlos Trillo, Horacio Altuna, and Jorge Zentner, European authors like Enki Bilal, Moebius, Hugo Pratt, Manara, Tardi, and Jacques Tardi, Spanish talents associated with Bruguera (publisher), and North American writers with ties to Marvel Comics, DC Comics, and Dark Horse Comics. Italian contributors featured names linked to Corrado Roi, Magnus, Giancarlo Alessandrini, Vittorio Giardino, Sergio Toppi, and Germano Bonazzi. Editors and translators collaborated with institutions such as Sergio Bonelli Editore and festivals like Lucca Comics & Games, Angoulême International Comics Festival, Salon du livre de Paris, and Comicon (Naples). The magazine showcased scripts and art from creators associated with series like Corto Maltese, Dylan Dog, Martin Mystère, Zagor, and Nick Raider.
Reception in Italy placed Lanciostory within critical conversations alongside Linus (magazine), Il Male, Il Manifesto, and Il Corriere della Sera cultural pages, prompting commentary from critics such as Franco Maria Ricci, Luigi Bernardi, and Gianni Rodari-era commentators. Scholars drawing on frameworks from Umberto Eco, Tiziano Scarpa, and Alberto Abruzzese examined its role in serial narrative and mass culture, while journalists from La Repubblica, Corriere della Sera, Il Messaggero, and Il Giornale covered its editorial shifts. It influenced audiovisual adaptations and cross-media exchanges involving producers connected to RAI, Mediaset, and independent studios that developed projects for Sky Italia and Netflix (service). The magazine's position in readership surveys related to institutions like ISTAT and archives held at libraries such as Biblioteca Nazionale Centrale di Roma framed its significance.
Published weekly by Editrice Lancio, the magazine used distribution networks encompassing Italian newsstands, subscriptions, and international syndication with partners including Editorial Columba, Editorial Bruguera, Vertigo (DC Comics), and Fantagraphics Books. Availability extended to markets like France, Spain, Argentina, Brazil, and Portugal with reprint relationships comparable to those between Glénat, Casterman, and Planeta DeAgostini. Production involved printers and binders engaged with trade bodies such as Associazione Italiana Editori and retail outlets like Feltrinelli, Mondadori, and regional kiosk chains. Changes in distribution tracked shifts in periodical retail affected by digital platforms such as Amazon (company), digital comics initiatives like ComiXology, and subscription models pioneered by Zinio.
Lanciostory contributed to the careers of creators who later worked with major labels including Sergio Bonelli Editore, Marvel Comics, DC Comics, Image Comics, and Dark Horse Comics and influenced anthologies and magazines such as Skorpio, Orient Express (magazine), Heavy Metal (magazine), and Il Mago. Its serialization model echoed in later projects at festivals like Lucca Comics & Games and in academic curricula at institutions such as Accademia di Belle Arti di Brera, Scuola Romana del Fumetto, and Istituto Europeo di Design. Collectors and historians cite it alongside landmark works and creators like Hugo Pratt, Moebius, Enki Bilal, Andrea Pazienza, and Sergio Toppi when tracing European and Latin American exchanges in graphic storytelling.
Category:Italian comics magazines Category:Weekly magazines published in Italy Category:Magazines established in 1975