German born and influenced artists Rudolph Dirks and Lyonel Feininger brought the innovations to American Sunday papers.
For most of the post-World War II 20th century, the German-speaking comic market was dominated by translated importations like The Adventures of Tintin (German: Tim und Struppi), Asterix, and Micky Maus.
Notable German comic translators are Erika Fuchs (Micky Maus), Gudrun Penndorf [de] (Asterix) and Herbert Feuerstein (Mad).
Towards the end of the century, superheroes, manga, and Calvin and Hobbes began to have a large presence in the translated comic market.
Between 1934 and 1937, the comic strip Vater und Sohn ("Father and Son") appeared in the weekly illustrated magazine Berliner Illustrirte Zeitung.
He invented a colorful character that boasts a striking appearance, a strong body, and a red swim suit.
'— from the SS magazine Das Schwarze Korps (April 25, 1940)[2][3]In post-war (the 1950s and 1960s) West Germany, comic books and strips were largely inspired by American models.
Bessy was a Belgian production for the German market, Wendy [de] was produced in Britain, and Gespenster Geschichten was drawn by Spanish artists.
Germany has also popular advertising comic books like Lurchi, Max und Luzie, Mike der Taschengeldexperte, and Knax.
This development was led by figures such as Gerhard Seyfried, Brösel, whose character Werner captured the zeitgeist of young people in West Germany during the 1980s, Ralf König (Der bewegte Mann), Walter Moers (Kleines Arschloch); and Matthias Schultheiss, who gained international acclaim, largely by working for French publications.