Andres Loco is wrong about Kronblum – Action

to reply. In one episode of Kronblom from 2013 I think, the main character was forced to go to the city on a mission.

To illustrate how strange life in the big city was, compared to Kronblum’s safe, rural home, cartoonist Gunnar Persson drew an old man with no pants in a box with a huge fish under his arm.

It’s one of the funniest things I’ve ever seen in a Swedish series.

Kronblom has been around as a chain for over 100 years. Egmont Comics recently released the compilation album I am Kronblum With a series from the 1950s until 2017. The book was reviewed here at Arbetet by Andres Lokko.

An inspired choice of writer given his baggage in Killinggang. It is difficult to imagine a greater opposite relationship than the one between them and Kronblum.

Both Stromberg and Loco are wrong

In his review, Andres questions whether the publication should be considered “surfing the nationalist zeitgeist.”

Moreover, it is clear that Kronblum is somewhat similar to Björn Söder.

It’s a simple point. But if so, as author Frederic Stromberg does in his introduction I,croplumdescribing the cartoon character as “the most Swedish thing we have,” they painted a target as large as a long-distance bus in a luminous color for a reasonably quick-thinking writer to aim for.

Both Fredrik Stromberg and Andres Loco are wrong.

It is Kronblum’s non-Swedishness that made the character popular.

At the beginning of the series, Kronblum is mostly a slacker and (yes actually) a bit of a dandy. A humble rebel trying to live life on his own terms with sublime calm. When son Gunnar Persson takes over the series from father Eloff, Kronblum turns into an eternally smiling chaos-monger.

It’s one of the oldest gimmicks in this comic book. Unleash a crazy skull that does whatever it pleases in a familiar and consistent environment. It is, without putting any values ​​into the word, un-Swedish behaviour.

So one of the most enjoyable things we Swedes can imagine.

Stick a straight line to Sugar Coney

In other words, there’s a straight line from Kronblum to Soccer Kuni, Kristmarodoren, Arne Anka, Eddie Meduza, Svolo, and Rudolf in Sony films.

Lokko, on the other hand, puts his finger on something fundamental about animation when he pits ’90s episodes of Kronblom against The Simpsons and Beavis & Butthead.

Yes, it’s ridiculous that the former exists as anything other than a museum piece in a contemporary era that laughs too hard at the latter.

It is an accurate depiction of the conditions of cartoon series, for better or worse.

Serials are their own island next to the central central groove. Every long-distance runner, it doesn’t matter if we’re talking about Kronblum or Rocky, has an agreement with his readers about what “fun” is within a clearly defined context.

Abroad, the jokes fall flat or at worst are completely incomprehensible. Then one might wonder what is the justification for the existence of sitcoms.

Because fun is fun, right? or?

This is how subcultures work

It’s not that simple. Because that’s exactly how subcultures work. You are drawn to something that the general masses do not understand. Comics are today a subculture. This is my subculture.

Or to speak in Andres Loco’s language:

I understand Kronblum.

I don’t hear a difference between Saint-Etienne and Ace of Peace.