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Éditions Dupuis S.A. (French: [dypɥi]) is a Belgian publisher of comic albums and magazines.

Key Information

Based in Marcinelle near Charleroi, Dupuis is mostly famous for its comic albums and magazines. Initially a French language publisher, it now publishes numerous editions in both the French language and Dutch. Other language editions are mostly licensed to other publishers.

History

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Early years

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Dupuis was founded in 1922 by Jean Dupuis (1875–1952).

The growth of Dupuis towards becoming the leading comic book editor of Belgium started in 1938, when Dupuis added to its portfolio a men's magazine (Le moustique [the mosquito] in French, Humoradio in Dutch), a women's magazine (Bonnes Soirées [good evenings] in French, De Haardvriend [the hearth's friend] in Dutch) and the children's comics magazine Spirou.[1] The latter was originally only in French, and contained a mixture of American comics (e.g. Superman, Brick Bradford, and Red Ryder) and new creations (Spirou et Fantasio and Tif et Tondu). A few months later, a Dutch edition called Robbedoes followed.[2]

Growth after WWII

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After some difficulties during the war (mainly because of the scarcity of paper towards the end of it, but also because American comics weren't allowed to be published anymore), Dupuis started to grow quickly. Le moustique became one of the leading magazines with information on radio and (later) television programs in Belgium, and Spirou was one of the two leading Franco-Belgian comics magazines (together with Tintin magazine).[3]

Dupuis started publishing some books as well, but had real success by republishing the comics that had appeared as serials in the magazine, collected as albums afterwards. Sometimes these were one shots, but mainly they came in series. Dupuis has some of the best-selling European comic series, including Lucky Luke, The Smurfs, Gaston Lagaffe and Largo Winch.[4] Many of these comic albums have been reprinted constantly for thirty or forty years, thereby generating constant revenue for the editor.

Stabilization and diversification

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In the early sixties, Dupuis started with other activities, including the merchandising of its comic series (puppets, posters, etc.), and the making of animated movies. Most of these weren't very successful but further raised the visibility of their comics. Still, towards the end of the 1960s, the golden age of Dupuis seemed to be over. Some of the magazines were struggling, the merchandising activities were vastly reduced, and the movie studio did not seem to be producing any successful movies. But the core business, the comics and the main magazines, continued to be hugely successful, with a comics catalogue of more than 2000 titles available in French. Many of the series were turned into animated movies in the 1990s, including Papyrus and Spirou et Fantasio, and are being sold as movies and comics throughout Europe. Dupuis has also started producing computer games.

In June 2004, Dupuis was bought by Média-Participations, which now owns almost all major European comic book publishers, including Dargaud and Le Lombard,[5] More recently, in 2015, Dupuis joined with twelve other European comics publishing actors to create Europe Comics, a digital initiative co-funded by the European Commission's Creative Europe program.[6]

In March 2013, Dupuis who owned a minority stake in Marsu Productions announced that they're buying out and taking full control of publishing house Marsu Productions along with their catalogue, thus bringing their publishing activities and the Marsupilami franchise back to their original publisher Dupuis.[7]

In January 2019, Dupuis announced that they've launched their first European webtoon production subsidiary and platform dedicated to European and African authors named Webtoon Factory.[8]

In January 2024, Dupuis announced that their manga publishing imprint Vega Dupuis had joined forces with Japanese manga publishing company Kadokawa to launch a joint venture business named Vega SAS to publish Japanese and Korean comics for the French language markets alongside Kadokawa's own titles which will be their focus with Kadokawa acquiring a 51% stake in Dupuis's imprint Vega Dupuis whilst Dupuis retaining the 49% stake in the imprint.[9][10]

Main publications

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This is a selection of magazines and comics series originally or mainly published by Dupuis. Some titles later changed to a different publisher.

Magazines

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  • Moustique (created as "Moustique" in 1924, named "Télémoustique" between the 1960s and 2011) and its Flemish counterpart HUMO (since 1936, originally called "Humoradio"). Both versions have been sold to other publishers.
  • Spirou, since 1938: between 1938 and 2005 also a Flemish version, "Robbedoes".

Comics series

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This is a selected list of comics series, ordered by year of first publication by Dupuis, with main authors given. Many series were also continued or temporarily taken over by other artists and writers. Some of the series have been taken over by other publishers.

Dupuis Edition & Audiovisuel

[edit]
Dupuis Edition & Audiovisuel
Company typeSubsidiary
IndustryAnimation
Founded1965; 60 years ago (1965)
HeadquartersBelgium
ProductsTelevision series
Feature films
ParentDupuis (1965–2022)
Ellipse Animation (2022–present)
Websitewww.dupuis.com Edit this on Wikidata

Dupuis Edition & Audiovisuel is a French/Belgian film & animation audiovisuel production division of the comic book publishing house Dupuis that is dedicated to their adaptations of Dupuis' works into animated series and feature films. It is one of the production labels that is part of Ellipse Animation.[11]

History

[edit]

In 1959, six years before Dupuis Edition & Audiovisuel was established, Dupuis had another production house when Dupuis and Charles Dupuis the son of Dupuis' founder Jean Dupuis had launched their own animation studio named TVA Dupuis which became famous for producing their first animated series in black and white based on the popular comic series The Smurfs, which was their first adaptation.

In June 2022, during the Annecy International Animation Film Festival, Dupuis Edition & Audiovisuel alongside their parent company Dupuis and its owner Media Participations brought all of their French animation production labels (which were Dupuis Edition & Audiovisuel, Dargaud Media and Ellipsanime Productions alongside their in-house Paris & Angoulême-based animation production studio division Ellipse Studio) under one umbrella group named Ellipse Animation.[12]

Filmography

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Television

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Title Years Network Notes
The Smurfs 1961–1967 RTB
Musti 1968 BRT
The Smurfs 1981–1989 RTBF/RTL-TVI
France 2/La Cinq (France)
NBC (United States)		 co-production with Hanna-Barbera Productions, SEPP International (season 1–7) and Lafig S.A. (season 8–9)
Snorks 1984–1989 TF1/La Cinq
NBC/Syndication (United States)		 co-production with Hanna-Barbera Productions and SEPP International
Billy the Cat 1996–2001 France 3
S4C (Wales)
ZDF (Germany)		 co-production with EVA Entertainment, Les Films du Triangle, La Fabrique, Network of Animation, Sofidoc, Cologne Cartoon and WIC Entertainment
Flash Gordon 1996–1997 Canal+
France 3
Syndication (United States)
Channel 4 (United Kingdom)
YTV (Canada)		 co-production with Lacewood Productions, Carrere Television, Mediatoon and Hearst Entertainment
Based on the comic strip of the same name by Alex Raymond
Vor-Tech: Undercover Conversion Squad 1996 Syndication co-production with Universal Cartoon Studios, Mediatoon and Lacewood Productions
Papyrus 1998–2000 La Deux
TF1 (France)
YTV (Canada)		 co-production with Medever
Largo Winch 2001–2002 RTL-TVI
M6 (France)
ProSieben (Germany)
Global Television Network (Canada)		 co-production with Paramount International Television, Tandem Communications, TVA International and Betafilm
Cédric[13] 2002–2007 France 3
Canal J (seasons 1–2)
RTBF		 co-production with Neptuno Films (season 1) and Araneo (season 2)
Kid Paddle[14] 2003–2006 M6 & Canal J
Teletoon (Canada)
RTBF		 co-production with Spectra Animation
Spirou & Fantasio 2006–2009 M6
RTBF (Belgium)		 co-production with Araneo and Fantasia Animation
Little Spirou[15] 2012–2015 La Trois
M6 & Teletoon+ (France)		 co-production with LuxAnimation and Araneo
Little Furry 2017–2021 La Trois & Ketnet
Piwi+ (France)		 co-production with Dargaud Media and Belvision
Roger & His Humans[16] 2020–present YouTube/Animation Digital Network
The Smurfs[17] 2021–present La Trois & Ketnet
TF1 (France)
Kika (Germany)
Nickelodeon (International)		 co-production with Peyo Productions, Peyo Company, Dargaud Media (season 1), Les Cartooneurs Associés (season 2) and Ellipsanime Productions (season 3–)
Living with Dad[18] 2022–present La Trois
M6, Canal J & Gulli (France)		 co-production with Ellipsanime Productions and Belvision
Based on the comic book series Dad by Nob
Dreamland 2026[19] Animation Digital Network co-production with La Chouette Compangie

Films

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Title Release date Distributor Notes
The Smurfs and the Magic Flute December 24, 1975 Mercury Films co-production with Belvision, Lafig S.A and IMPS
Zombillenium[20] October 18, 2017 Gebaka Films co-production with Belvision, Maybe Movies and 2 Minutes
Yakari, A Spectacular Journey[21] August 12, 2020 BAC Films (France)
Leonine Distribution (Germany)		 co-production with Dargaud Media, Belvision, Le Lombard, BAC Films Production, Leonine Production, WunderWerk, Gao Shang Pictures, WDR and France 3 Cinema

References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Dupuis

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from Grokipedia
Éditions Dupuis S.A. is a prominent Belgian house specializing in comic books, albums, and magazines, particularly within the Franco-Belgian comics tradition. Founded in 1922 by Jean Dupuis as a publishing venture—building on his earlier printing business established in 1898 in Marcinelle, near —it has grown into one of Europe's leading comics publishers, now operating as a of the French Média-Participations Group. The company is best known for launching the influential weekly magazine Spirou on April 21, 1938, created by Jean Dupuis and his sons and Paul, which targeted young readers and introduced the bellboy mascot designed by artist Rob-Vel. Over its history, Spirou has serialized groundbreaking series that defined the "Marcinelle School" of dynamic, humorous illustration, including Spirou et Fantasio by , Gaston by Franquin, Johan and Pirlouit (later featuring ) by , Buck Danny by Jean-Michel Charlier and Victor Hubinon, and many others. This magazine, the oldest continuously published French-language periodical, propelled Dupuis to prominence in the post-World War II era, rivaling publishers like Le Lombard and establishing a legacy of adventure and gag . In addition to Spirou, Dupuis has produced thousands of comic albums featuring diverse genres, from adventure () to fantasy (Les Sœurs Grémillet) and children's stories (Petit Poilu), often in collaboration with renowned artists and writers. The publisher marked its centenary in with exhibitions and special editions, highlighting its enduring impact on global culture, including international licensing and recent joint ventures, such as a 2024 partnership with Japan's Kadokawa for distribution in French markets. Today, Éditions Dupuis continues to innovate, blending traditional with modern storytelling while maintaining its headquarters in Marcinelle.

History

Founding and early development (1922–1940)

Jean Dupuis, born in 1875, established the foundations of what would become Éditions Dupuis as a Catholic-oriented printing firm in Marcinelle, near , , initially setting up operations in 1898 with a single press in his family home's kitchen. By 1922, the company transitioned into publishing with the launch of Les Bonnes Soirées, an illustrated magazine targeted at a female audience, emphasizing wholesome, family-oriented content reflective of its conservative ethos. In 1924, Dupuis expanded its periodical offerings with Le Moustique, a weekly magazine focused on and cultural that quickly became a household staple in , alongside its Dutch-language counterpart Humoradio (launched in 1936), which served as a supplement-like edition for Flemish readers. These early ventures solidified the company's reputation for accessible, morally upright publications amid the interwar period's economic uncertainties. However, the brought significant challenges, including paper shortages and disrupted postal services, which strained operations and limited distribution in the industrial Walloon region. The company's entry into comics occurred in 1938 with the debut of Le Journal de Spirou on April 21, a children's supplement to Le Moustique designed to compete with foreign imports by promoting Belgian talent and family-friendly adventures. The inaugural issue featured serials such as Tarawa et Gordola by Jijé, alongside the mascot character Spirou, marking Dupuis's initial foray into serialized illustration while upholding its commitment to wholesome narratives. These developments occurred against a backdrop of ongoing interwar economic pressures, setting the stage for post-war growth.

Post-World War II expansion (1945–1970s)

During World War II, the Dupuis publishing house faced significant disruptions due to the German occupation of Belgium, including the exile of founder Jean Dupuis to London in 1940 and the cessation of Spirou magazine's publication in summer 1943 amid paper shortages and censorship. Operations were maintained on a limited basis by Jean's sons, Paul and Charles Dupuis, but full resumption occurred in June 1945 following Jean's return from exile, with Charles playing a pivotal role in revitalizing the company under the post-war economic recovery. The relaunch of Spirou magazine marked a turning point, with regular weekly issues resuming in October 1944 shortly after liberation, though the full post-war evolution solidified in 1946–1947 as it transitioned into a dedicated comics periodical featuring serialized adventures and full-color covers to attract a broader youth audience. Under Charles Dupuis's leadership, the magazine emphasized innovative storytelling and visual appeal, fostering a golden age of Franco-Belgian comics that distinguished it from pre-war formats. In 1955, Charles Dupuis appointed Yvan Delporte as editor-in-chief of Spirou, a move that injected fresh energy into the publication by introducing the short "gag" format—humorous one- or two-page strips—and promoting the Marcinelle school of lively, expressive drawing styles rooted in Walloon caricature traditions. Delporte's tenure until 1968 nurtured talents like and encouraged a playful, irreverent tone that contrasted with more realistic styles elsewhere, solidifying Spirou's identity as a hub for humoristic . The period saw substantial catalog expansion through iconic series debuts in Spirou, including Gaston Lagaffe in 1957 by , a bumbling office clerk embodying chaotic humor; the initial run of by Morris starting in 1946, depicting a quick-draw cowboy in satirical Western tales before the series shifted publishers; and by in 1958, tiny blue creatures whose whimsical village life quickly became a phenomenon. These additions diversified the magazine's offerings, blending adventure, satire, and fantasy to captivate readers across generations. By the , Dupuis aggressively pursued international growth, translating Spirou content into multiple languages and exporting albums to France—its largest market—along with , , the , and , leveraging bilingual editions to penetrate European borders. This expansion capitalized on the post-war boom in , with Spirou's weekly circulation for French and Belgian editions peaking at over 200,000 copies by the early , underscoring Dupuis's emergence as a dominant force in continental .

Diversification and modern era (1980s–present)

In the early 2000s, Dupuis underwent a major corporate transformation through its acquisition by Média-Participations in June 2004, integrating it into a leading European publishing group that already controlled key comic publishers such as Dargaud and Le Lombard. This move consolidated resources for distribution, international expansion, and cross-promotional opportunities, positioning Dupuis as part of a diversified portfolio focused on , , and content. To address the shift toward amid evolving consumer habits, Dupuis co-launched the Izneo platform in alongside publishers like Dargaud, Glénat, and Soleil, providing a subscription-based service for with a catalog exceeding 14,000 titles by the mid-. This initiative marked Dupuis's entry into e-publishing, enabling broader access to its library including classics like Spirou and , and adapting to declining physical sales through online revenue streams. By the , Dupuis enhanced its with interactive online features for Spirou magazine via spirou.com, allowing users to read previews and engage with content digitally. The company's centennial in 2022 highlighted its enduring legacy, featuring a 100-page special double-issue of Spirou magazine with contributions from 49 artists reimagining iconic series, alongside new album releases such as the return of Gaston and an exhibition at the Musée des Beaux-Arts in Charleroi titled "Dupuis: 100 Years of Comics." These events underscored Dupuis's cultural impact and commitment to innovation, drawing visitors to explore its creative process through special editions and public programming. As of 2025, Dupuis continues to diversify through global partnerships, including a 2024 joint venture with Japan's to publish and Korean webtoons in French-language markets, expanding its offerings beyond traditional Franco-Belgian albums. Licensing deals for properties like have grown internationally, with Dupuis Audiovisuel co-producing CGI series and supporting merchandise expansions, such as new apparel and theme park integrations, contributing to diversified revenue amid digital and global trends. The publisher maintains active solicitations for new titles, releasing dozens of albums annually to sustain its market presence.

Publications

Magazines

Dupuis has been a pioneering publisher of periodicals in the Franco-Belgian comics landscape, with its magazines serving as key platforms for serialized storytelling and talent discovery since the early 20th century. The company's flagship title, Spirou, launched as a weekly on April 21, 1938, by Jean Dupuis in Marcinelle, , quickly established itself as a cornerstone of the tradition, emphasizing humor, adventure, and innovative visual narratives. This publication not only serialized emerging series but also fostered a vibrant ecosystem for artists, becoming instrumental in launching careers and defining stylistic schools within European comics. Beyond Spirou, Dupuis diversified its periodical offerings with titles like Le Moustique, a weekly entertainment magazine founded in 1925 that initially covered and cultural news before evolving into a listings in the postwar era; it was discontinued in the early amid shifting patterns. These magazines adopted an editorial style rooted in accessibility and family-oriented content, blending with informational features to appeal to broad audiences in French-speaking regions. Spirou, in particular, promoted the Marcinelle school of illustration—characterized by its dynamic, expressive, and humorous linework—contrasting with the more realistic school associated with rival publications, and spotlighted artists like Jijé, Franquin, and who shaped this approach. Editorial innovations at Dupuis magazines, especially under editor Yvan Delporte from the 1950s onward, included thematic issues dedicated to specific genres or holidays, artist spotlights that provided in-depth profiles and unpublished sketches, and experimental formats like "mini-récits"—foldable mini-comics inserted within issues to offer standalone adventures. These features not only enhanced reader engagement but also served as incubators for new talent, allowing creators to test ideas in serialized form before album publication. Spirou's role in nurturing the Marcinelle style extended to collaborative showcases, where artists from the Brussels region contributed, bridging stylistic divides and enriching the magazine's adventurous and comedic output. Circulation for Spirou peaked in the 1970s and 1980s, driven by popular serials and cultural resonance in . However, print sales declined in the late due to competition from and graphic novels, prompting a shift toward digital formats in the 2010s; by 2025, Spirou operates as a print/digital hybrid, with weekly issues available via subscriptions that include online access, apps, and interactive content to sustain a global readership amid broader digitization trends. Dupuis magazines have long featured special editions to mark milestones and seasons, including annual almanacs in the early years that compiled yearly highlights, gags, and calendars tied to flagship series like Spirou et Fantasio. Holiday specials, such as or summer double-issues with extended stories and festive themes, became staples from the , while more recent commemorative releases—like the 100-page double-issue for Dupuis's 100th in 2022—highlight ongoing traditions of expanded, collectible formats. In recent years, Dupuis has expanded its publications with digital albums and international collaborations.

Comic books and albums

Dupuis has established itself as a cornerstone of Franco-Belgian comics through its comic books and albums, which compile serialized stories from its magazines into standalone volumes. The publisher's flagship series, such as Spirou et Fantasio, exemplify this model, beginning with initial appearances in 1938 by creator Rob-Vel as an adventurous and journalist duo, later revitalized by from 1946 to 1969 with dynamic action and inventive humor. Over 65 albums have been released in the series as of 2025, with annual publications maintaining its ongoing narrative. Another iconic title, Les Schtroumpfs (), debuted in 1958 under Peyo's pen name within the Johan et Pirlouit series before spinning off into its own adventures featuring the diminutive blue creatures in a fantastical village. More than 40 albums have been produced, showcasing Peyo's whimsical world-building and moral tales, with continued contributions from his studio after his 1992 passing. The series has achieved massive commercial success, with over 50 million albums sold globally and translations into more than 25 languages. André Franquin also created Gaston Lagaffe in 1957, introducing the lazy office intern known for chaotic inventions and mishaps, serialized initially as a gag strip before compiling into albums that highlight Franquin's expressive character designs. With 21 original albums by Franquin and recent revivals, the series has sold over 32 million copies worldwide, translated into 27 languages, and spawned extensive merchandise by the . Jean Roba's Boule et Bill, launched in 1959, follows the everyday antics of a young boy and his mischievous dog, blending family humor with gentle satire in over 40 albums. The series has sold more than 25 million albums, reflecting its enduring appeal in capturing childhood innocence. Dupuis's approach typically involves serializing stories in weekly magazines before releasing them as hardcover albums of 44 to 48 pages, allowing for self-contained adventures with high production values, often issued annually per series to sustain reader engagement. This model has supported the publisher's emphasis on the Marcinelle school of artistic style, originating from its base, which features expressive, realistic illustrations infused with humor and dynamic poses—contrasting with the cleaner tradition. Commercial milestones include widespread international distribution in over 20 languages across these series, fueling merchandise lines like toys and apparel that expanded significantly by the 2020s, particularly for Les Schtroumpfs.

Audiovisual Division

Establishment and evolution

The audiovisual division of Dupuis emerged as a strategic extension of its publishing operations to capitalize on from popular comics, beginning with the establishment of TVA Dupuis in 1959 by Charles Dupuis, which focused on early animations like black-and-white episodes of (The Smurfs) and (Billy and Buddy). This initiative laid the groundwork for Dupuis Edition & Audiovisuel, formally created in 1965 to produce content such as , marking the integration of print narratives into animated formats for broader audience reach. By the , following the closure of TVA Dupuis in 1979, the division evolved to emphasize exploitation of Dupuis's comic catalog, transitioning from in-house production to collaborative models that preserved the whimsical, essence of series like Spirou and . Key milestones in the 1980s included the launch of major productions through partnerships, such as the collaboration with in 1981 via SEPP International (a Dupuis subsidiary) for international series adaptations, and co-productions with French broadcaster for Spirou in 1992 and À tout Spip! in 1995. These efforts expanded in the late 1990s with the reestablishment of an in-house department to develop large-scale series based on Dupuis . Partnerships with Belgian public broadcaster became pivotal, supporting projects like Kid Paddle (co-produced with M6, Spectra, Teletoon, and in 2003) and later family-oriented series such as Louca (with , TFOU Max, and RTS in 2025). Following Dupuis's acquisition by Média-Participations in 2004, the division underwent significant expansion, integrating distribution and production capabilities to scale up output across . Organizational changes accelerated in the with a shift toward co-productions to mitigate costs and leverage international expertise, including mergers with group units like Dargaud Media and , culminating in the 2022 integration into the Ellipse Animation brand under Média-Participations. This restructuring emphasized collaborative financing, as seen in multi-territory projects securing aid from French, Belgian, and funds. Budget and scale evolved from modest TV specials in the early decades—often under €1 million—to multi-million-euro endeavors by the , such as a 2009 series budgeted at several million euros for 26 episodes, enabling high-quality 3D animations and global distribution while maintaining a focus on family-oriented content derived from Dupuis's comic heritage. Internally, the division operates with dedicated creative directors overseeing development, such as Caroline Audebert as Managing Director since her appointment, who coordinates with VP roles in international financing and creative development to align projects with group strategy. Strong ties to Dupuis's comic artists persist, with figures like Maurice Rosy—co-founder of the original audiovisual efforts—having influenced storyboarding and adaptation processes, ensuring visual fidelity to original panels in animations like . This artist-publisher synergy, housed in studios in and , facilitates seamless transitions from print to screen, prioritizing narrative continuity and stylistic elements from the Marcinelle school.

Television productions

Dupuis's audiovisual division has produced and co-produced several animated television series adapted from its flagship comic properties, emphasizing adventures that translate the whimsical style of Franco-Belgian bandes dessinées to episodic formats. These productions began with traditional cel in the mid-20th century and evolved toward (CGI) by the 2010s, often involving international partnerships for financing and distribution to broaden appeal beyond . The most prominent example is the 1981–1989 animated series The Smurfs, adapted from 's comic originally published by Dupuis. Co-produced by Productions under license from Peyo and Éditions Dupuis, the series comprised 256 half-hour episodes containing 418 individual story segments, airing primarily on in the United States. It utilized traditional 2D hand-drawn , capturing the Smurfs' forest escapades against the villainous wizard , with scripts drawing directly from the source material's humor and moral lessons. The show expanded the franchise globally through syndication, dubbed into over 40 languages, and initially focused on European broadcasts before achieving widespread North American success. Critically acclaimed, it won for Outstanding Children's Entertainment Series in 1982 and 1983, and its debut season captured a 42% audience share, revitalizing Saturday morning programming with estimated weekly viewership in the tens of millions during peak years. Other notable adaptations include the 1993–1995 Spirou, based on the long-running Spirou et Fantasio comic by various Dupuis artists. This 52-episode production, developed by Ellipse Animation in collaboration with Dupuis's audiovisual arm, employed 2D animation to depict the journalist duo's globe-trotting adventures alongside Spirou's squirrel companion Spip. Aired initially in and on channels like Canal Famille, it featured international co-financing and dubs in French, English, and other languages, though it remained more regionally focused than series. In the 2000s, Dupuis supported the Boule et Bill (2004–2005), adapting Jean Roba's comic about a boy and his mischievous dog into 104 short episodes using 2D techniques. Produced in with Dupuis oversight, it broadcast on networks like Unis TV and in Europe, emphasizing everyday humor and expanding to international syndication with multilingual versions. More recently, Dupuis has embraced CGI in productions like Les Schtroumpfs (2021–present), a revival of franchise co-developed with IMPS and Productions. Announced in 2017 and utilizing 3D animation for enhanced visual dynamics, the series features 11-minute episodes streamed on platforms including and , with global distribution and dubs in multiple languages. This shift to CGI reflects Dupuis's evolution toward modern production pipelines, supported by European and international co-financing, while maintaining the core charm of the original comics. The series has sustained the franchise's legacy, reaching new audiences through digital broadcasting.

Feature films and other media

Dupuis's audiovisual division entered feature film production in the mid-20th century through its in-house animation studio, Belvision Studios, focusing on adaptations of its popular properties. The division's early cinematic efforts emphasized hand-drawn animation, with a shift toward co-productions and licensed adaptations in later decades. By the , Dupuis expanded into live-action/CGI hybrids and digital formats, leveraging partnerships with major studios to bring its characters to theatrical and streaming audiences. A landmark project was the 1976 animated feature and (La Flûte à six Schtroumpfs), co-produced by Belvision Studios and Éditions Dupuis in collaboration with Productions. This film, the first theatrical adaptation of , follows the characters' quest to recover a magical flute stolen by an evil wizard, blending and humor from the original . It marked Dupuis's breakthrough in international , achieving commercial success with a worldwide gross of approximately $19 million and establishing as a viable cinematic franchise. The production utilized traditional 2D techniques, reflecting Belvision's expertise developed through prior comic adaptations. In the Western genre, Dupuis supported animated features based on Lucky Luke, another cornerstone of its catalog. Belvision produced Daisy Town (1971), an original story depicting the cowboy hero founding a frontier town amid chaos from the Dalton brothers, and La Ballade des Dalton (1978), which adapts a comic album focusing on the outlaws' prison escape and Lucky Luke's pursuit. These films, directed by René Goscinny and featuring voice talents like Marcel Bozzuffi, emphasized satirical Western tropes and grossed modestly in European markets, contributing to the character's enduring audiovisual legacy through direct-to-video re-releases in the 1970s and 2000s. Dupuis's role extended to licensing, enabling further animated shorts and specials distributed on home video. The division's modern output includes hybrid live-action/CGI features tied to its properties. For the Marsupilami franchise, created by , Dupuis held adaptation rights leading to the 2012 film Houba! On the Trail of the Marsupilami (Sur la piste du Marsupilami), a co-production with and Chez Wam. Directed by , the movie combines practical effects with CGI to depict a journalist's jungle expedition encountering the elusive marsupial, grossing over €20 million in alone. Following Dupuis's 2013 acquisition of Marsu Productions, the company solidified control over ancillary media, including video game tie-ins with audiovisual elements like interactive animations. Regarding co-productions with international studios, Dupuis licensed properties for high-profile releases such as the Smurfs live-action/CGI trilogy (2011–2017) in partnership with Sony Pictures Animation. The 2011 film The Smurfs, directed by Raja Gosnell, integrated 3D CGI with live-action and earned $563 million worldwide, while the franchise collectively surpassed $1 billion in global box office. These projects highlighted Dupuis's strategic pivot from in-house animation to rights management, though primary production remained with Sony. Nominations for related works, including Smurfs adaptations, appeared at the Annecy International Animation Film Festival, recognizing animation quality in shorts and previews. Production techniques evolved significantly by the 2020s, with Dupuis investing in in-house CGI capabilities via its DreamWall studio in , . This facility enabled full 3D pipelines for emerging formats, reducing reliance on external partners like . Recent streaming originals include shorts and episodes on Prime Video, a 2022 3D-animated series co-produced with Belvision Studios featuring 52 seven-minute installments of jungle escapades. These non-episodic digital releases, accessible via platforms like , emphasize short-form storytelling and have garnered over 300,000 streams in initial months, showcasing Dupuis's adaptation to on-demand viewing. Ancillary audiovisual media, such as licensed apps with embedded animations from film tie-ins, further extends character engagement without venturing into full video games.

Organization and Impact

Corporate structure and ownership

Founded in 1922 by Jean Dupuis as a family-owned and in Marcinelle, , Éditions Dupuis remained under family control for over eight decades, passing through multiple generations of leadership. Following Jean Dupuis's death in 1952, his sons Charles and Paul, along with son-in-law Marcel, assumed key roles, with Charles Dupuis serving as a prominent executive in the post-World War II era, guiding the company's expansion into and magazines. In June 2004, Éditions Dupuis was acquired by the French-Belgian conglomerate Média-Participations for an undisclosed sum, marking the end of direct family ownership. Média-Participations, established in by Rémy Montagne and now led by his son Vincent Montagne as chairman, operates as a family-controlled entity with a focus on , audiovisual production, and entertainment. The group encompasses over 40 publishing houses across Europe, the , and , generating approximately €700 million in annual revenue as of 2024 and employing more than 2,300 people globally. In 2024, Média-Participations formed a with Japan's Kadokawa through Dupuis for distribution in French markets. Under Média-Participations, Dupuis maintains its headquarters at 52 Rue Destrée in Marcinelle, near , , serving as the core operational hub. The structure includes specialized departments for , audiovisual production via subsidiary , and licensing activities, alongside international distribution efforts to support exports. is overseen by Média-Participations' board, which includes family members such as Vincent Montagne and executives like CEO Julien Papelier, with policies emphasizing ethical standards. Financially, Dupuis contributes significantly to the group's portfolio, with its own revenue reaching €40.8 million in 2023, primarily derived from and magazine , supplemented by adaptations and merchandise licensing. The company employs approximately 80 staff as of 2024, focusing on integrated operations within the larger conglomerate.

Notable contributors and cultural influence

Dupuis has been instrumental in nurturing prominent comic artists and writers, many of whom shaped the Franco-Belgian comics landscape. André Franquin, a leading contributor to the publisher's flagship Spirou magazine, revitalized the Spirou et Fantasio series in the 1950s while creating enduring characters like the bumbling office worker Gaston Lagaffe in 1957 and the mischievous Marsupilami in 1952. Peyo (Pierre Culliford), whose The Smurfs debuted as a side story in Spirou in 1958, introduced the iconic blue creatures that became a global phenomenon under Dupuis's publication. Morris (Maurice de Bevere) launched his Western parody Lucky Luke in Spirou in 1946, establishing early ties with Dupuis before the series moved elsewhere. In more recent decades, the duo of writer Tome (Philippe Tomson) and artist Janry (Jean Rys) took over Spirou et Fantasio from 1984 to 1998, infusing it with dynamic humor, and created the spin-off Le Petit Spirou in 1987, both published by Dupuis. The publisher's Spirou magazine played a pivotal role in talent development, acting as an incubator for the Marcinelle school of through apprenticeships and guidance. Pioneered by artists like Jijé, who mentored a group known as the "Bande à quatre" including Franquin, Morris, and Will, the magazine provided a platform for emerging creators in the Walloon town of Marcinelle, fostering a distinctive style characterized by expressive, dynamic linework that contrasted with the more static clear line tradition. This supportive environment enabled apprentices to refine their skills on serialized strips, launching careers that defined post-war European . Dupuis's cultural legacy extends across the European comics industry, promoting the Marcinelle school's influence alongside the broader clear line aesthetic to international audiences through translations and adaptations. , in particular, evolved into global icons, driving merchandise and toy sales that generate over €1 billion annually in licensed products and underscoring the publisher's role in exporting Belgian creativity worldwide. Series from Dupuis have garnered multiple honors, including awards such as the 2022 Fauve de la série for Émile Bravo's Spirou: Hope Against All Odds and for translated Franco-Belgian works, reflecting their artistic impact. The publisher marked its 2022 centennial with tributes highlighting its foundational contributions to comics history. On a societal level, Dupuis's content often emphasizes family-oriented themes, community harmony, and gentle humor, as seen in ' cooperative village life, which has been cited as a model for positive social structures. These narratives bolster , with recognized as enduring symbols of national heritage and ingenuity. Adaptations of Dupuis properties, especially ' , have further embedded them in global pop culture, influencing animation styles and promoting cross-cultural storytelling.

References

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