The European comic published in Heavy Metal (1977–1990) and the “mascots” of heavy music
A proposal for an intermedial iconographic Atlas
Bibliographic Data
| ID | 19485038 |
|---|---|
| Authors | David Fuentefría Rodríguez (0000-0003-1012-1378, Universidad de La Laguna), Lucas Morales Domínguez (Universidad de La Laguna), L Rodriguez Morales (0000-0001-8094-5706), Milena Trenta (0000-0002-2987-2051, Universidad de La Laguna, corresponding author) |
| Year | 2026 |
| Pages | 1-18 |
| Publication date | 2026-04-16 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Graphic Novels & Comics (JOURNAL) |
| Journal identifiers | ISSN: 2150-4857 • E-ISSN: 2150-4865 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/21504857.2026.2657974 |
| OpenAlex | W7154603373 |
| Language | EN |
| References cited | 16 |
This study unpacks the potential transfer of visual codes and narrative motifs from major European comics published in the 129 issues of Heavy Metal between 1977 and 1990 to the illustrated covers of 43 studio albums by three emblematic heavy metal bands: Iron Maiden, Megadeth, and Motörhead. Although some of the illustrators responsible for these covers – unified by the presence of an iconic character or ‘mascot’ as a common denominator – cite diverse influences, Heavy Metal magazine functioned as a generational visual repository that significantly contributed to shaping a distinctive graphic and thematic language within 1980s metal culture. Employing a mixed-methods approach, the study applies iconographic and iconological analysis (Panofsky, Warburg) to the comics of four key authors – Moebius, Corben, Druillet, and Bilal – extracting systematic and classifiable visual codes. These are then compared with the cover corpus through comparative analysis and quantification of recurring elements. The conclusions, presented in a Mnemosyne Atlas composed of 242 images, provide concrete evidence of aesthetic convergences – such as solitary heroes, dystopian visions, and psychedelic worlds – that helped shape a shared imaginary. This phenomenon is interpreted as both intermedial and proto-transmedial in nature, revolving around the motifs employed. Furthermore, the study proposes an interdisciplinary reading and the development of a collaborative visual archive – envisioned as the basis for a potential exhibition – demonstrating how the graphic culture of comics contributed to the visual identity of heavy metal music
Comics · Painting · Performance art · Comics and Graphic Narratives · Humor Studies and Applications · Music History and Culture
| Highly cited | No |
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