[2] However, several comics of Québécois origin have found success overseas, like Michel Rabagliati's Paul series and Maryse Dubuc's Les Nombrils (The Bellybuttons), some of these cartoonists have had success with English translations, as when Montreal-based English publisher Drawn & Quarterly picked up Julie Doucet's Dirty Plotte, which won acclaim and awards in the English-speaking comics world.

[4] In 1900, Morissette published Petit chien sauvage et savant,[5] and in 1901 Raoul Barré put out En roulant ma boule.

[4] Barré created a strip called Noah's Ark in 1912 for the New York-based McClure Syndicate, which he brought to La Patrie the next year in French.

[4] The popular press began to flourish at the turn of the century, and, as photographic reproduction was still in its infancy, the papers hired cartoonists and illustrators to liven up their pages, with the Montreal Star employing up to eight artists.

La Patrie had convinced Albéric Bourgeois to give up his job at the Boston Globe and create comic strips for them back in Quebec.

Charlebois's Père Ladébauche had begun, and after 43 instalments was taken over by Bourgeois, who continued to create other strips as well for La Presse, to which he soon moved and stayed with until his 1955 retirement.

Native strips didn't disappear entirely, but those that remained lost the distinct flavour of contemporary life in Quebec, and began to imitate the silent films and vaudeville that were inundating popular culture in the province.

The native Quebec presence on those pages would become more dominant after 1940, however, with the introduction of the War Exchange Conservation Act, which restricted the import of foreign strips.

[5] Comic strips disappeared more-or-less from the dailies during World War I, and didn't really return until Arthur Lemay revived Timothée for a number of years starting in 1920.

After the end of World War II, however, Éditions Vincent found themselves unable to compete with the flood of American comics that returned after trade restrictions were loosened.

[7] Paulin Lessard, at the age of sixteen, had his Les Deux Petits Nains published in Le Progrès du Saguenay in 1947 and 1948.

This was the first science fiction BDQ, about two brothers who were only a few centimetres tall, but were endowed with enormous strength, and met with people of other minuscule races.

[7] The end of World War II brought with it a loosening in trade restrictions with the US, and American comics came flooding into the province.

At the height of the "Great Darkness", a time of conservative government policies mixed with close government ties with the Catholic Church, the violence in many American comics at the time led to a belief that they promoted juvenile delinquency, and as it had in English Canada and the US, the belief prompted the authorities and concerned parents to crack down on comics.

Gérard Tessier, with the support of Cardinal Paul-Émile Léger, published Face à l'imprimé obscène in 1955, in the vein of Fredric Wertham's Seduction of the Innocent.

The Centrale de la Jeunesse étudiante catholique ("The Centre for Young Catholic Students") put out the biweekly François beginning in 1943, printing mostly humorous strips.

[5] The first modern Quebec comic book is said to be Oror 70 (Celle qui en a marre tire) by André Philibert, which dealt with countercultural topics like what were being seen in the underground comix of Robert Crumb and Gilbert Shelton.

Albums, on the other hand, had become incredibly popular, and large European publishers began to open Quebec divisions to deal with the demand for titles like The Adventures of Tintin, Asterix and Blueberry.

[note 2][10] In 1979, with the help of an $80,000 grant from the ministère des Affaires culturelles du Québec ("Quebec Ministry of Cultural Affairs"[12]),[13] Jacques Hurtubise, Pierre Huet and Hélène Fleury would establish the long-lived, satirical Croc ("Fang" in French[2]), which published many leading talents of the era, many of whom were able to launch their careers through the magazine's help.

bis, and the fanzine Iceberg appearing in the early 1980s, giving an outlet to young cartoonists like Henriette Valium and Julie Doucet.

[5] Julie Doucet, Henriette Valium, Luc Giard, Éric Thériault, Gavin McInnes and Siris were among the names that were discovered in the small press publications.

In the 21st century, some Québécois cartoonists who have seen success in Canada and abroad are Michel Rabagliati and his semi-autobiographical Paul series, Maryse Dubuc and Delaf's Les Nombrils (The Bellybuttons), aimed at teenaged girls, and Guy Delisle with various travelogue comics.