“These made me take a serious look at the material I had,” he says.Ĭomics and Sequential Art, which studied comics and their roles seriously, contributed to Prasad’s changed outlook on comics as artefacts. He says, “If we consider comics as sequential art, as Eisner suggests, then we have a history dating back 10,000 years in the rock drawings of Bhimbetka caves.
You look at one picture, you’d have no idea what it means unless you see them in a sequence - like you would a comic book. The murals of Ajanta caves depict the life of Buddha and If there is narrative with illustrations placed sequentially then it is a comic.” It shows a well-defined story of human beings and their cultural evolution.
#FORIEGN COMIC COLLECTOR SERIES#
For instance, shortly after the satirical British weekly Patachitra (West Bengal and Odisha) and leather puppetry as other traditional forms of sequential art.Īs he shows the history of comic books through a series of slides one comprehends what he means when he refers to them as socio-cultural material. Punch began publication in the 1840s, India had its Parsi, Awadh and Bengali versions - all satirical, which continued to be printed till the 1930s. Abid Surti, creator ofĭesi super heroes, caught up with him at a comic con event asking if Prasad had come across his earlier works (cartoons) for the Gujarati magazine One gets the sense that regional languages had a strong culture of comic books well into the 1960s-70s. Prasad’s collection is the result of painstaking work done over two decades and multiple sources.
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