Johan et Pirlouit, by Peyo
Johan et Pirlouit - 'Les Sept Fontaines' (1959).

Peyo was a Belgian comic artist with worldwide fame as the creator of the Smurfs. These funny blue dwarfs, known in French 'Les Schtroumpfs', first appeared in 1958 as secondary characters in Peyo's medieval adventure comic 'Johan et Pirlouit' ('Johan and Peewit, 1946-2001). During the 1950s and 1960s, this comic had made Peyo a staple in Spirou and an influential members of that magazine's "School of Marcinelle" drawing style. Its publication rhythm, however, quickly slowed down due to the increasing popularity of the Smurfs' solo career. The comic spawned colossal amounts of merchandising, spearheaded by animated cartoons, feature films, helium-voiced children's songs and several theme parks. Together with Hergé's 'Tintin' and Morris' 'Lucky Luke', 'The Smurfs' remain the best-selling Belgian comic series in the world. More and more entangled in the business aspects of his creations, Peyo surrounded himself by assistants and pupils to help with the artwork. Many members of this Peyo school have become successful comic artists in their own right. Besides 'Johan et Pirlouit' and the 'Smurfs', Peyo and his team tackled several other creations, the most notable being the unlucky black cat 'Poussy' (1949-1973) and the superstrong boy 'Benoît Brisefer' ('Steven Strong', or ‘Benny Breakiron’, 1960-2011). Peyo was noted as a gifted storyteller, who provided fun and commercially successful children's comics, layered with surreal magic and social satire.

Early years
He was born in 1928 as Pierre Culliford in Brussels' Schaerbeek district. His family had British origins. The young "Pierrot" developed his interest in comics through the work of Hergé and the American comics that appeared in the magazines Mickey, Robinson and Hurrah!. When he was seven years old, father Culliford died unexpectedly of myopathy. This put the family in major financial difficulties, that only doubled when World War II broke out. At the age of 15, Culliford was forced to cancel his studies and work for his money. He worked as assistant projectionist in a Brussels cinema for the remainder of the war.

Pied Tendre by Peyo
'Pied-Tendre', 1946.

In the summer of 1945, he found employment as a replacement for Jacques Eggermont at the C.B.A. animation studios. There, he retouched finished drawings in gouache, while working alongside fellow artists like André Franquin, Morris and Eddy Paape. Crushed by the competition of American cartoon studios, C.B.A. folded, prompting Franquin, Morris and Paape to seek employment in the magazines published by Éditions Dupuis. Peyo, the youngest of the team, on the other hand enrolled in the Brussels Academy of Fine Arts. He left after only three months, and turned to commercial art. Between 1946 and 1951, he was a full-time advertising artist through agencies like Colin, Publicontrol and Vertil. He illustrated campaigns for the printing company Les Presses Tilbury, the powders of Dr Mann, Wavi washing powder, the Antwerp Credit Bank and Jacques chocolate. He continued to do sporadic advertising work during 1950s and 1960s, including illustrations for six calendars of the Federation of Belgian Catholic Scouts F.S.C. (1959-1965) some of them with backgrounds by Jidéhem. Other later ad work by Peyo was for textile manufacturer Fabelta.

Poussy, by Peyo (Le Soir, 9 March 1949)
'Poussy' (Le Soir, 9 March 1949).

Early comics
In his spare time, he made his first comic strips in addition to his commercial work. He adopted the pseudonym Peyo, based on his first name "Pierrot", and saw his first comic strip published in April 1946 in Riquet, the supplement of the daily L'Occident. This comic about a Native American called 'Pied-Tendre' was followed by the scout 'Puce', who reappeared in Mowgli magazine in 1948. Peyo remained active for Mowgli's successor, Seeonee, creating the character 'Petit François' in the 1950s. Peyo's first serialized story, 'Une Enquête de l'Inspecteur Pik', was published in Le Petit Monde, the children's paper of the Brussels department store Le Bon Marché. His career as a comic artist really took off when his association with the newspaper La Dernière Heure began.

Johan, by Peyo (Le Soir, 1952)
'Johan' (Le Soir, 1952).

Johan (and Peewit)
In this paper, Peyo introduced the knight's page 'Johan'. First, in 1946, in a couple of pantomime gags, and then, in 1947, in a longer serial. From 1950 on, the comic strip also appeared in Le Soir, for which Peyo had begun his gag strip about the cat 'Poussy' in the year before. Two years later, 'Johan' moved over to the Belgian comic weekly Spirou, with the long story 'Le Châtiment de Basenhau' ("Basenhau's Punishment", 1952). Originally, publisher Dupuis deemed Peyo's drawing style below their graphic standards, but with recommendations and graphic aid from André Franquin, he was accepted as part of the crew.

Johan, by Peyo
Johan - 'Le Châtiment de Basenhau' (Spirou, 1952).

One of the best things about the transition to Spirou was that the heroic 'Johan' could now appear in color, provided by Peyo's wife Nine. The character's blond hair changed into black and in the third story, 'Le Lutin aux Bois aux Roches' (1956), Johan discovers a wild dwarf in the woods: Pirlouit (Peewit in English). Pirlouit and his trusty black goat Bicet move into Johan's castle, where the energetic little man becomes the official court jester. Quickly, his bad jokes and appalling songs annoy everyone, most of all the king. Luckily for his court audience, Pirlouit is a loyal companion to Johan on all his adventures. Together, they save the kingdom from invading armies, black magic and dragons, aided by the good wizzard Homnibus. Pirlouit proved so popular that the series was retitled to 'Johan et Pirlouit'. One of the most popular comics in Spirou, thirteen books were published by Dupuis between 1954 and 1970. 'Johan et Pirlouit' was the only series written and drawn by Peyo almost single-handedly. Only the delayed thirteenth album, 'Le Sortilège de Maltrochu' ("Maltrochu's Spell", 1967-1969), had art contributions by his assistants Gos and Walthéry.

Johan et Pirlouit - La Source des dieux (1956)
Johan et Pirlouit - 'La Source des Dieux' (1956).

The Smurfs
To blame for the increasingly long interludes between 'Johan & Pirlouit' stories were the series stand-out secondary characters: the Smurfs. Johan and Pirlouit first encountered these strange blue gnomes of three apples high in the 1958 episode 'La Flûte à Six Trous' ("The Flute with Six Holes"). Making their print debut on 23 October 1958, 'Les Schtroumpfs' quickly surpassed Johan and Pirlouit in terms of popularity. Their name, Schtroumpf, orginated from an inside joke between Peyo and Franquin. While having dinner in a restaurant, Peyo asked his friend for the salt, but was unable to come up with the name. Instead of "Passez-moi le sel" ("Give me the salt") he blurted out: "Passez-moi le schtroumpf" ("Give me the smurf"). For the rest of the evening, the two friends used this made-up word as a replacement for other noun and verbs. When looking for a name for his new little creatures, Peyo didn't have to think long. The funny wordplay of their night out also formed the basis for the iconic Smurf language. At his wife's suggestion, the gnomes received blue skin with white pants and caps. Nine Culliford felt green would make them dissolve in the forest colors, red being "too fierce" and pink "too human". Their leader, Le Grand Schtroumpf (Papa Smurf), had a red outfit and a beard. Right from the start, the Smurfs received their characteristic village with mushroom houses.

The Dutch name "Smurf" was also used in English and other translations. For decades, it was believed that this name was conceived by either editor/translator Armand van Raalte, or editor-in-chief Peter Middeldorp, who was in charge of Spirou's Dutch-language edition Robbedoes since 1957. It wasn't until a 2019 interview with StripNieuws magazine that Middeldorp remembered in fact Humo editor (and future Robbedoes editor-in-chief) Karel Cavens had suggested the iconic name.

Johan et Pirlouit, by Peyo
'Le Pays Maudit' (1961).

Spirou's editor-in-chief Yvan Delporte saw the possibilities of the 'Smurfs' and persuaded Peyo to create a spin-off. Between 2 July 1959 and 1962, the first solo appearances of 'Les Schtroumpfs' took place in Spirou's fold-in mini-booklets section, known as "mini-récits". By 1963, the Smurfs found their way to Spirou's regular pages and the original mini-stories were redrawn for book publications. Peyo added new characters to the cast, most notably their main nemeses: the evil sorcerer Gargamel and his red cat Azrael. The duo made its debut in 'Le Voleur de Schtroumpfs', the mini-book supplemented to Spirou on 10 December 1959 (issue #1130). Their names were thought up by Delporte. He took the name "Gargamel" from the character Gargamelle in François Rabelais' classic novel 'Gargantua and Pantagruel' and "Azrael" from the name of the Angel of Death in the Hebrew Bible. The latter might have been suggested by Delporte's Jewish wife. 

Johan et Pirlouit - Le Serment des Vikings (1955)
Johan et Pirlouit - 'Le Serment des Vikings' (1955).

New Smurf characters gave the village variety. 'Les Schtroumpfs Noirs' (1959) introduced the arrogant and toady Schtroumpf à Lunettes (Brainy Smurf), the clumsy Schtroumpf Bêta (Clumsy Smurf) and Schtroumpf Farceur (Jokey Smurf) and his exploding presents. 'Le Schtroumpfissime' (1964) marked the introduction of the narcistic Schtroumpf Coquet (Vanity Smurf), who always watches his own reflection in the mirror, the super strong Schtroumpf Costaud  (Hefty Smurf), cake-eating Schtroumpf Gourmand (Greedy Smurf ), the sleepy Schtroumpf Paresseux (Sleepy Smurf), the awful musician Schtroumpf Musicien (Harmony Smurf) and the nihilistic Schtroumpf Grognon (Grouchy Smurf), who never misses a chance to say how much he hates everything. The final major characters appeared in 'La Schtroumpfette' (1966), where both Schtroumpf Poète (Poetry Smurf) and La Schtroumpfette (Smurfette) first arrived on the scene. 

Le Schtroumpfissime by Peyo
'Le Schtroumpfissime' (1964)

Adult double layers
Generally, 'Les Schtroumpfs' is mainly seen as a pure children's series because of its commercial exploitation in later years. In the early years, however, Peyo and Yvan Delporte crafted great social parodies, with the Smurf village acting as an allegory for human behavior. In, 'Le Schtroumpfissime' (1964), the Smurfs vote for a temporary leader during Papa Smurfs' absence. By rigging the votes, one of them becomes king and establishes a tyranny. This causes the other Smurfs to organize an underground resistance movement, leading to an outright war. 'Schtroumpf vert et vert Schtroumpf' (1972) has the village divided over the essential question whether a bottle opener should be called a "smurf opener" or a "bottle smurfer". The discussion escalates, motivating the villagers to divide their town into a northern and southern part, who each claim their pronunciation is the correct one. The absurd story was a thinly veiled satire on the Belgian linguistic troubles between Flemings and Walloons.

Le Centieme Schtroumpf by Peyo
'Le Centième Schtroumpf'.

Other stories bordered to the surreal. In the short story 'Le Centième Schtroumpf' (1962), a Smurf is mirrored by lightning and confuse everybody with his contrary movements and reverse speech. Also surprising to those who perceive Peyo as a mere provider of innocent children's entertainment, is that his comics were sometimes victim of censorship. In his very first 'Johan' story for Spirou, a troubadour is waterboarded in a medieval cellar. This scene was completely cut under pressure of French censors. Still, the scenes after the torture were kept, leaving readers to wonder why on earth the man's tummy was swollen all of a sudden. When 'The Black Smurfs' was published in the United States, the black color of the "evil" infected Smurfs had to be changed into purple to avoid accusations of racism.

La Schtroumpfette by Peyo
Gargamel's famous Smurfette recipe ('La Schtroumpfette', 1966). According to legend, Peyo's wife was not amused.

Poussy 
On top of his two related success series, Peyo continued to work on other series. The oldest of them was a gag strip about a cute black-and-white cat, whose curiosity often got him in trouble. In 1947, Peyo published his first, short-lived series of 'Poussy' gags in newspaper Le Soir. These gag strips of three to four panels were an early showcase of Peyo's talent for making accessible stories for a young audience. 'Poussy' returned in 1955, when Le Soir launched its weekly supplement Le Soir Jeunesse. By 1961, Peyo quit the series, only to have him return in Spirou in 1965. After an initial series of reprints, Peyo and his co-workers came up with new gags between 1969 and 1977. 

Poussy by Peyo

Benoît Brisefer ('Steven Strong')
In 1960, Peyo created another classic adventure series: 'Benoît Brisefer' about a small boy with superhuman strength, who nevertheless loses his powers whenever he gets a cold. Benoît appears to be an orphan, since he lives alone in a house in his hometown Vivejoie-La-Grande. Luckily, he has company of the cab driver Monsieur Dussiflard and Madame Adolphine, a friendly old lady whose likeness is used to create an evil doppelgänger robot. Written in cooperation with Yvan Delporte or Gos, Peyo drew the first two serials in cooperation with his friend Will. The art duties were then handed out his Peyo's assistant François Walthéry, who drew the core of the initial run. 'Benoît Brisefer' went on hiatus in 1978. In 2014, the 'Benoît Brisefer' story was adapted into a live-action film adaptation, 'Benoît Brisefer - Les Taxis Rouges' (2014).

Jacky et Célestin
A year after 'Benôt Brisefer', Peyo and Will launched another adventure comic series, this time for the weekly Le Soir Illustré. About ten stories of 'Jacky et Célestin' were created between 1961 and 1968. Peyo's involvement was mainly limited to the scripts, as he outsourced the artwork subsequently to Will, Jo-El Azara, François Walthéry and Francis, who in turn was assited by Roger Leloup. Despite being created by some of the top authors of European comics, the series' outset is rather one-dimensional: the smart guy Jacky and his more reckless friend Célestin regularly just end up in dangerous situations. Leloup's unused plot for the final story formed the basis for his own signature series starring electrical engineer 'Yoko Tsuno' in 1970.

Pierrot et la Lampe by Peyo
'Pierrot et la lampe' (1965).

Pierrot et la Lampe
A more personal creation for Peyo was of 'Pierrot et la Lampe', a character he named after himself. Three short stories appeared in 1960 in Benoît Gillain's advertising comic Bonux-Boy. The series stars a young boy who finds a magic lamp containing a goofing genie. In 1965 and 1966, the stories were reworked to a regular page format of Spirou magazine. The characters didn't return until their relaunch in Schtroumpf magazine between 1990 and 1992.

Assistants
The expansion of activities and the increasing popularity of the 'Smurfs' meant that Peyo had to call in help to keep up with the workload. His first apprentice was Gérard Deuquet, who later became an art painter. Deuquet inked the mini-story 'L'Oeuf et les Schtroumpfs' in 1960. Will was brought in to draw 'Jacky et Célestin' and the backgrounds of 'Benoît Brisefer'. Throughout the years, several young artists came to work at to what was to become known as Studio Peyo. François Walthéry and Gos were Peyo's longtime assistants during the 1960s, but also Derib, Lucien De Gieter, André Benn, Roger Leloup, Francis, Marc Wasterlain, Albert Blesteau and especially Daniel Desorgher have worked in Peyo's atelier at the Avenue de Boetendael in Uccle. Yvan Delporte remained a loyal writing partner.

Benoît Brisefer, by Peyo
Benoît Brisefer - 'Madame Adolphine' (1962).

Global success
Still, the neverending demand for new Smurfs artwork made new episodes of Peyo's other series more and more scarce. In the 1970s, 'Johan et Pirlouit' only appeared in two short stories, and the interludes between new 'Benoît Brisefer' and even 'Smurfs' stories became longer and longer. Peyo, the master storyteller, became so involved in the business exploitation of his blue dwarfs, that he couldn't find the time or the concentration to focus on new epic comic serials. The Smurfs stories that did appear were shorter than before, and lacked the social parody of the early episodes.

The Smurfs had gradually conquered the world, thanks to translated comic books, collectible merchandise and a feature film. Over the years, 'Smurfs' comics were translated in more than 41 languages, including Dutch ('De Smurfen'), English ('The Smurfs'), German ('Die Schlümpfe'), Spanish ('Los Pitufos'), Portuguese ('Os Estrumpfes', in Brazilian 'Os Smurfs'), Italian ('Puffi'), Icelandic ('Strumparnir'), Danish ('Smølferne'), Norwegian ('Smurfene') Swedish ('Smurfarna'), Finnish ('Smurffit'), Latvian ('Smurfi'), Slovenian ('Smrkci'), Polish ('Smerfy'), Hungarian, Serbian-Croatian ('Štrumpfovi'), Romanian ('Ștrumfii'), Turkish ('Şirinler'), Arab, Kurdian ('Şînok'), Bengali, Chinese, Japanese ('Samaafu'), Korean ('Seumeopeu'), Vietnamese ('Xì Trum') and Indonesian! As early as 1959, Dupuis released the first 'Smurfs' figurines. Later, the German firm Schleich  acquired a license to produce new collectable figurines. Since 1965, the company has released new sets every year. In 1966, smaller Smurf figures came as promotional mascots for Kellogg's cereal. Many of these releases are collector's items. Over the decades, the Smurfs appeared in video games, toys, figurines and other merchandising products. The characters appear on packages of Haribo and Ferrero candy, and in advertisements for supermarket chains.

Animated films and TV series
In 1961, TVA Dupuis produced a first series of five black-and-white animated cartoons were created with the Smurfs. They premiered on the Walloon public TV channel RTB (nowadays RTBF). Part of the animation team were Francis Bertrand, Raoul Cauvin, Charles Degotte, Jean Delire, Vivian Miessen and Eddy Ryssack. Four years later, these five shorts were joined in an anthology TV film. A decade later, Belvision created more ambitious animated feature film in color: 'La Flute à Six Schtroumpfs' ('The Smurfs and the Magic Flute', 1976), which Peyo personally supervised. It received good reviews.

Smurf songs
In 1977 Dutch singer Vader Abraham recorded a novelty song about the characters, 'Het Smurfenlied', which became a number one hit in both the Netherlands and Flanders. The singer personally released translations in English, French, German, Spanish, Swedish, Icelandic and even Chinese, which all ranked high in the charts and expanded the Smurfs' notability even further across the globe. In the 1990s, children's CD's with Smurf-style covers of popular hits sang in squeaky helium voices became unbelievable bestsellers. 

Hanna-Barbera TV cartoon series
The Smurfs' true international breakthrough was the Hanna-Barbera TV cartoon series in 1981. Peyo, accompanied by Yvan Delporte, spent most of his time overseeing the scripts, provided by the overseas studio. The plot lines of the comics were simplified to appeal to young viewers. Gargamel no longer wanted to turn the Smurfs into gold, but merely eat them. The Smurfette, with only one appearance in the comics so far, became a major character. And to avoid on-screen violence, Brainy Smurf was no longer hit over the head with a hammer, but simply kicked out of the village. He was only shown flying through the sky from a distance, then landing on his head on the foreground. 'The Smurfs' (1981-1989) was an unexpected ratings hit in the United States. The show ran for nine seasons and effectively became Hanna-Barbera's biggest success of the decade. Broadcast all over the planet, 'The Smurfs' became a global cultural phenomenon, turning their creator into a millionaire. To enjoy financial benefits, Peyo even moved to Lausanne, Switzerland, in 1985. Nevertheless, Peyo didn't always agree with Hanna-Barbera's suggestions. He succesfully managed to avoid his characters being Americanized, but couldn't prevent the introduction of new characters he strongly disliked, such as the puppy dog of the Smurf children. When Hanna-Barbera wanted to use the Smurfs in the anti-drugs TV special 'Cartoon All-Stars To The Rescue' (1990), Peyo opposed the idea. Eventually, the characters were used without his permission, making Peyo so angry that he refused any further collaboration with Hanna-Barbera. The studio then threatened to sue. By intervention of Delporte, Peyo eventually decided to take his loss.

Pièges à Schtroumpfs by Peyo
'Pièges à Schtroumpfs' (1968).

Cartoon Creation
The international success of the 'Smurfs' and the acquisition of the publishing house Dupuis by a Brussels banking group, led to a reorganization of Peyo's activities in the 1980. The 'Smurf' stories in Spirou during the 1980s and late 1990s were often derived from the cartoons series and starred new characters like the Baby Smurf and the Little Smurfs. Always a perfectionist, Peyo remained involved, but as a slow worker himself, he left most of the production of new stories to Daniel Desorgher. Former studio workers like Walthéry and Wasterlain filled in to reach in the deadlines. By the 1980s, the business aspects were handled by Peyo's children Thierry and Veronique. The new Cartoon Creation studio and publishing imprint was set up by Thierry Culliford elsewhere in Brussels. Among the artists affiliated with Cartoon Creation were Daniel Desorgher, Bernard Swysen, Philippe Delzenne, Alain Maury, Pascal Garray, Eric Closter, José Grandmont and Luc Parthoens. The new team got their playing ground in a Schtroumpf monthly magazine, published by Cartoon Creation between 1990 and 1992. Besides short stories and gags with the Smurfs, the magazine featured new gags and stories with 'Poussy' and 'Pierrot et la Lampe'. The latter were written by editor-in-chief Jean-Claude de la Royère and drawn by Philippe Delzenne and Éric Closter. In the actual comic production, Peyo stayed on the background, but he remained involved in training new artists and writers and approving and editing scripts. 

Le Schtroumpf Financier by Peyo
'Le Schtroumpf Financier'.

Graphic contributions
Peyo was one of many Belgian comics artists to make a graphic contribution to the book 'Il était une fois... les Belges'/'Er waren eens Belgen' (1980), a collection of columns and one-page comics, published at the occasion of the 150th anniversary of Belgium. In 1987-1988 the publishing company Brain Factory International released a four-volume comic book series where Franco-Belgian comics authors visualized songs by singer Jacques Brel in comic strip form. The second volume, 'Les Prénoms' (1987) had a contribution by Peyo.

Recognition
In 1973, Peyo received the Prix Saint-Michel for Best Humorous story for his comic book 'Schtroumpf Vert et Vert Schtroumpf'. In 1984, Peyo also won the Prix Jeunesse, or "Alfred", at the Festival of Angoulême for 'Les Schtroumpfs Olympiques'. For his work on the 'Smurfs' TV series, Peyo received the 1982 Emmy Award for "Outstanding Achievement in Children's Entertainment". Since 1989, Peyo is one of the Belgian comic pioneers who is part of the permanent exhibition in the Belgian Comic Strip Center in Brussels. An asteroid discovered in 1935 was named after Peyo half a century later. Posthumously, Peyo ended at the 33rd place during the Walloon version of "The Greatest Belgian" election in 2005. 

Final years and death
A lifelong smoker, Peyo suffered from a heart attack in 1969. In the 1980s, he became a diabetic due to a hepatitis infection. The stress of all the business deals and media attention didn't do him much good either. By 1992, Peyo's creations were transfered to Le Lombard. The deal struck with the publishing house included new 'Schtroumpfs' albums, but also new releases of 'Benoît Brisefer' and Peyo's personal favorite 'Johan et Pirlouit'. Since most of the business aspects were now out of his hands, Peyo began working on a new long Smurfs epic with the help of his son Thierry and the artists Alain Maury and Luc Parthoens. The result, 'Le Schtroumpf Financier' (1992), marked a return to the social parody of early episodes. Peyo lived to see its publication, but died from a heart attack on Christmas Eve 1992, at the age of 64. Production of the new 'Johan et Pirlouit' album, the final with Peyo's involvement, took off in January 1993. 

Peyo photograph

Comics legacy
Peyo lives on in his immortal creations. New comics are still written and drawn by Thierry Culliford, Alain Jost, Luc Parthoens, Pascal Garray, Ludo Borecki, Jeroen De Coninck and Miguel Díaz Vizoso. In terms of comics, he inspired a next generation of artists, that formed the core of Spirou magazine in the 1970s and 1980s. His former co-workers all branched out and created successful series of their own. Peyo's clean, accessible graphical style can be traced back in the work of several other former co-workers, including Francis Bertrand, Lucien De Gieter and Albert Blesteau. François Walthéry's air hostess 'Natacha' is perhaps the most famous. The episodes 'La Ceinture de Cherchemidi' (1992) and 'La Mer de Rochers' (2004) were even based on Peyo plots. The Galaxien society in the sci-fi series 'La Scrameustache' by Gos and his son Walt bares strong resemblances to the Smurfs village. Together with the contemporaries Franquin,Will, Morris, Tillieux and Jijé, Peyo goes down in history as one of the founding fathers of the "School of Marchinelle", the typically round and comical drawing style associated with Spirou magazine.

Commercial legacy
Since 1984, the licensing and artistic activities of Peyo's creations have been implemented in IMPS, a studio in the Walloon Brabant town of Genval, managed by Véronique Culliford. The company continues to oversee new merchandising projects and adaptations. In 2011 and 2013, global interest in the franchise was revived through through live-action Hollywood films, 'The Smurfs' (2011) and 'The Smurfs 2' (2013), directed by Raja Gosnell. The Smurf appeared as CGI-animation among real-life actors. To subsequently promote and license the characters in North-America and Canada, the company LAFIG was founded in 2011. The renewed popularity resulted in a new animated TV series and a fully CGI-animated feature film, 'Smurfs: The Lost Village' (2017), directed by Kelly Asbury. In 2005, a controversial TV advertisement for UNICEF showed the Smurfs' village being bombed by warplanes, ending on a shot of a crying Baby Smurf along several dead Smurfs, with the message: "Don't let war destroy the world of childhood."

Monuments
In Belgium, the Smurfs are an important part of local tourism. Already in 1980, they were the official mascots of the Belgian team during the Olympic Games in Moscow. Between 1991 and 2003, there was a Smurfs theme park in Walibi, Wavre. In later years, the characters additionally became the subject of theme parks in Dubai, Malaysia (both 2016), the USA, Russia (both 2017) and Shanghai (2020). In 2003, Monique Mol sculpted statues of the Hefty Smurf and Smurfette, located at the sea dyke in Middelkerke. Since 25 June 2012, a Smurf sculpture created by Maryline Garbe can be seen inside Brussels Central Station, next to a store specializing in Smurf merchandising. At the same station, a ceiling fresco depicting the Smurfs was inaugurated on 19 June 2018. Unfortunately, a water leak caused the fresco to collapse on 2 September 2020. Another comic mural, depicting Benoît Brisefer, was revealed on 19 June 2015 in the Rue Haute/ Hoogstraat 119. All are nowadays part of the Brussels' Comic Book Route. The same year, on 25 June 2015, another Smurf statue was erected in the Rue Rosières in the Belgian town Genval, in Walloon Brabant. In 2011, there is also a remarkable tourist attraction in the Spanish town Júzcar. Inspired by the 2011 Hollywood movie, the villagers painted all their buildings blue to make a real-life Smurf village.

Influence on language
The term "Smurf" has become an international neologism. In Belgium, it is used as a derogatory nickname for "policemen". In the USA, italso leant its name to a computer term ("Smurf attack" is used to describe denial-of-service attacks against hosts) and a criminal activity ("Smurfing", a synonym for illegal financial transactions in a shattered pattern to avoid being noticed by the law). In 1991, Katha Pollitt named her theory about having one female character among a host of male characters in fiction "The Smurfette Principle".

Parody and plagiarism
Italian novelist Umberto Eco wrote a humorous essay, 'Schtroumpf und Drang' (1979), about the semantics of the Smurf language, and Marc Schmidt wrote an equally tongue-in-cheek article in 1998 comparing the Smurf village with a Communist commune. Unavoidably, the Smurfs have appeared in pornographic parodies, such as Paul Schuurmans' 'Sex in Smurfenland' (1978), which was later reprinted in French by Jan Bucquoy as 'La Vie Sexuelle des Schtroumpfs'. Other Smurf parodies can be found in Alain Voss' 'Parodies de Al Voss'. The gnomes are also used ironically as background characters in adult cartoons by artists like GummbahKim Duchateau and Mark Retera. Parodies of the animated 'Smurfs' series are also a popular staple of Trey Parker and Matt Stone's 'South Park', Seth MacFarlane's 'Family Guy' and Seth Green's 'Robot Chicken'. Closer to plagiarism was the Turkish comic book based on Abdullah Turhan's hero 'Alptekin' (1968-1969), which had crudely redrawn 'Poussy' episodes as back-up feature.

Books about Peyo
For those interested in Peyo's life and career, Hugues Dayez' biography, 'Peyo l'enchanteur' (Niffle, 2003) is highly recommended.

Johan by Peyo
Johan - 'Le Maître de Roucybeuf' (1953).

The Smurfs official website

Series and books by Peyo in stock in the Lambiek Webshop:

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