Bulgarian comics in the second decade of the new century

Directions in style developments, Eastern and Western influences, coming of age of a new generation of artists and audience, activising of publishing houses

by Anton Staykov

Reasons for writing this text

This article aims to summarise the events regarding Bulgarian comics phenomenon as part of both cultural and political context, an element of mass, sometimes of elitist culture between 2010-2018. The purpose is to carry on and elevate the discussion regarding events, editions, authors, and audience following the summary I made in my book published in 2013, that was also dedicated to the history of Bulgarian comic books.

In the second decade of 21st century, contrary to such expectations, the academic field failed to produce in depth analysis and texts, so the recording of the ninth-art events unfolding in front of our eyes, was confined to the prism of advertising and PR texts, editorials, and short information booklets from either editors or the authors themselves. In Bulgaria there are now several distinct hot-spots, concentrated with the strong presence of individuals that publish and communicate as propaganda the art of comics and the comics product, either by presenting or emphasizing on their own achievements as well as ones of other mini-centers and groups. To the most part, none of them are well placed in world-, European-, Balkan-, or any larger historical and relevant Bulgarian context.

Some conclusions from the book “A short history of the bulgarian comics”

“A Short History of the Bulgarian Comics”, published 2013, explores the chronological development of comic book art history in Bulgaria. It attends to the comic strips representing children fables, influenced by the European satirical press. The first spring of Bulgarian comics coincides with the Second World War years, at which time newspapers used to reprint American, Serbian, Italian, and French authors. Every day there was a different comics newspaper coming out. A few young artists were learning on-the-go and they put the basis on what was the Bulgarian style in the new art, imported from Yugoslavia and USA, that, together with cinema and popular music, took the empty niche in something that was later defined as children, young adult, and adult mass culture.  Aside from the world-famous examples, during the 1940s in Bulgaria young artists started publishing comics with Bulgarian narrative and specificity, in the editions “Chuden Svyat” (Wonder World) and “Ilyustrovano Chetivo” (Illustrated Book). Amongst them many went on to become famous illustrators and painters, such as Stoyan Venev, Lyuben Zidarov, Aleksandar Denkov, as well as the leading figure in children’s books illustrations between the two World Wars, Vadim Lazarkevich, the socially engaged Iliya Beshkov and Aleksandar Zhendov, humorists such as Rayko Aleksiev, used comics for advertising the raising industrial production.

After 1944 Bulgaria was occupied by the Soviet army and was forced to take on the path of Socialism, which turned comics into a tool for ideological education of both children and adults. Under the influence of Soviet periodicals, more rhymed instructive strips appear in the newspaper “Septemvriiche” (Child of September), as well as satirical propagandist comics in the newspaper “Starshel” (Bumblebee), often used for public humiliation of politicians, intellectuals, opposers of the regime, or people that were troublesome for the new power. In “Starshel”, the main comic strips were in verse, most commonly by Bogomil Rainov, and the artworks are made by experienced leftist artists Marko Behar, Nikola Mirchev, Tenyu Pindarev, etc. They managed to copy successful composition models from “Shturec” newspaper, and thus take the humour niche in the press, after the vicious murder of publisher Raiko Aleksiev. The famous humourist, that wrote under various pseudonyms, has ensured a large audience for such humourist strips and advertising series in verse and in artworks in his immensely popular edition. After 1945 the newspaper was branded “Forbidden” in the libraries, together with the comics editions of the 40s, only collectors manage to save the frail newspapers printed on dissolving paper, that hold the caricatures and comic strips by Rayko Aleksiev, most famous with his pseudonym, Fra Diavolo.

During the 60s, 70s, and 80s around the publishing house “Balgarski Hudozhnik” (Bulgarian Artist” and the cult magazines “Kosmos” (Cosmos), “Daga” (Rainbow), and “Chuden Svyat” (Wonder World), a great atmosphere for liberated plastic explorations emerged, which would stimulate the development of the genre. The circle around Boris Angelushev, who shares his commissions with younger people, students from the Fine Arts Academy, or newly graduated artists, shares its experience gained at proletarian magazines in Germany and Switzerland during the 1930s and 1940s. At “Kosmos”, Stoyan Shindarov published short sci-fi comics series (in the column “Pictures and text”). The comics made by Ivan Gongalov and Lilyana Angelova were adapted from Soviet sci-fi novellas, that contain technological innovations, leaving the boundaries of the known world during the Cold War, also rebellion against injustice, even if it was abstractedly alien. Aside from series in periodical issues, that were dedicated to Georgi Dimitrov’s youth, or series about partisan children, as well as historical tales, that imbue some extra strength into the Socialist hero narrative, which positions them as continuations of Bulgarian rulers and vojvodi (military commanders), in the 1960s and 1970s the so-called novels in pictures, first appeared. A few sci-fi and patriotic comics were published as separate albums – the artists Hristo Braykov, Ivan Gongalov, Gencho Denchev, even Atanas Pacev, who was a famous painter with avantgarde ideas, all prove the power of the genre, which is also valued as potential to be used for propaganda of the socialist ideas.

With a similar idea in the famous “most party-friendly” publishing house “Septemvri” (September), a magazine called “Daga” (Rainbow) was founded. In it, the propaganda appeared only as part of its first editions, and ten years after, it was mostly an exception. The historical, adventurous, and sci-fi comics soon turned the magazine into greatly anticipated and beloved one for young people from different generations. It was acclaimed as the most successful comics media in the whole of Bulgarian comics history. It coined the masters of painted stories Stoyan Shindarov, Hristo Kardhzilov, Petar Stanimirov, Evgenii Yordanov, Vladimir Konovalov, Nikolay Dodov, Dimitar Stoyanov-Dimo, Sotir Gelev, Rumen Chaushev, and many more, who based their comics on contemporary Bulgarian authors such as Doncho Tzonchev, Stefan Dichev, Lyuben Dilov, as well as exclusively written scenarios by Asen Kojuharov, Lyubomir Manolov, and more.

Rumen Chaushev

Mitashki and the gadget from the skies. The seventh relic. Page 13., 2016.



  • Material: pencil, digital art

  • Property of: Румен Чаушев
  • Description: A page from comic album "Over the rainbow 2"
  • Copyright: Rumen Chaushev

“Daga” magazine was a home for many humouristic stories by authors that were connected to the critic-named “phenomenal” Bulgarian animation from the 70s – Todor Dinov, Donyu Donev, Rumen Petkov, and others, who published stories of several panels for other magazines as well, worked with absurdist techniques, an unexpected event, a gag that ridicules and amuses. Rumen Petkov, who drew the absurdist adventures of Choko and Boko left for USA in the 90s and made a great career in the animated industry.

The transition after 1990 brought an upspring of hope for scriptwriters and artists, who wanted to publish comics without ideological restrain. Still, the economic and social situation changed and “Daga” magazine, which used to amount to 300 000 in circulation, ended its journey in 1992 as a private periodical with the modest circulation of 40 000, before it came to an end with its edition no. 42. In the 90s several attempts were made to publish comics magazines in the form of omnibus, collected short comics of different genre and style, without a unifying stylistic or thematic concept. Most of them end with their first and only edition. The attempt to publish a comics newspaper “Razkazi v kartini” (Tales in pictures), later known by the name “Pulsar”, was successful but the translation issues, the economic crisis, immigration, and the chaos around the Transition period put an end to this second golden age of comics in Bulgaria.

Twenty-first century started with a nostalgic attempt to resurrect “Daga” – a new magazine with the same name came out rhythmically in thirteen consecutive editions but the difficulties of distribution brought the publishers to bankruptcy. In the meanwhile, Bulgarian comics artists reach the biggest worldwide publishers – Aleksander Maleev worked for “Marvel” and “DC” in New York (“Batman”, “Daredevil”), Viktor Kalvachev – in Los Angeles (“Pherone”, “Blue Estate”), Penko Gelev received a commission for 22 comics based on classic novels by the British publishing house “Salariya Book Company”. The dynamic development of the graphic novel genre, alternative comics, provocative web and underground forms in the beginning of the new millennium gave hope for a successful future for the ninth art, as well as new challenges for the Bulgarian public.

Georgi Gospodinov and Nikola Toromanov-Ficho formed the first of its kind comics duo – an acclaimed writer and a well-known scenographer. Gospodinov is both entertaining and inventive in his underscoring summaries of the history of twentieth century, while Toromanov was a full-right ally in the faceted story about a fly, that buzzes over the political, social, and “insectual” history of the world. After the continuous publication in the magazines “Edno” (One) and “Abitare” (in Bulgaria and Italy), the graphic novel was published as a 76 pages deluxe edition by “Zhanet-45” publishing house.

After a long dead-quiet period, the exhibition “Povtorno Nachalo” (Second Beginning), dedicated to the acclaimed master of the genre, Stoyan Shindarov, awoke the interest towards comics in Bulgaria, which contributed to more exposure. The purposeful endeavours of several artists, scriptwriters, and theoreticians activated all the components that build the ninth art’s communication chain – authors, publishers, audience. A specially organised discussion between critics, writers, scriptwriters, and artists, that was published in an exclusive edition of “Literaturen vestnik” (Literary Journal), explored the problems of the genre, of the interaction between scriptwriters and artists, and the ways of storytelling in a new field of analysis, that helps in provoking new stories.

The team behind “Proektat Daga” (The Rainbow Project) sets its long-term aims, to popularise Bulgarian comics within the market conditions in the beginning of 21st century, while taking in account the undergoing processes, the specificity of the audience, and the problems that the creators face, as well as the necessity to push editors and authors in creating new Bulgarian comics.

The new century. Authors, publishers, audience.

The audience continues to look for a Bulgarian answer to phenomena across the Ocean or the Far East. Part of these expectations can be traced in blogs, dedicated to superheroes, comics-based films, manga productions in Japan and worldwide, as well as in the comments and priceless internet archives of several in-depth comics buffs such as Rosen Tsolov, Grigor Petrov, Dragomir Simeonov and others.

There are several comics publishers in Bulgaria. The main contender is “Artline”, continuing its line for publishing most of the comics on the market, mostly in American format, but it also attempts to establish the world-famous French hit – the series of the courageous Gaul Asterix, as well as other famous authors such as Guarnido. It seems that the Bulgarian audience remains more loyal to the American line of comics – criminal themed, humourous in the tradition of the Great Depression novels, horror comics, superhero comics etc. Publisher Hristo Kotsev is a recruiter for Bulgarian authors and strikes a big success with the publication of a comics by Konstantin Vitkov – Titis, “Jack Eridon”, as well as the participation of Aleks Maleev in various Bulgarian comics events, in relation to Bulgarian editions of comic books which have already commissioned him covers or series of comics.

Some of the events, provoked by “Proektat Daga” that bear particular significance in the period between 2013-2018:

  • November 2011, Discussion: “Is the Bulgarian comics alive?”. Amongst the participants are Georgi Gospodinov, Sotir Gelev, Evgenii Yordanov, Nikolay Chernokozhev, and others. Moderated by Anton Staykov. The Discussion is printed with some edits in “Literaturen Vestnik” (ed. 38/2011)
  • A “Comics” section was inaugurated at the Union of Bulgarian Artists. They accepted new members and attracted artists from other sections that have relevant comics experience: caricaturists, illustrators, painters, and others.
  •  “First Bulgarian comics national exhibition” was organized and a catalogue was published later on. More than 600 tableaux made by more than 100 authors took part in the exhibition.
  • A come-back album named “Nad dagata” (Over the Rainbow) was published. An exhibition in “Altronix” gallery opened, a known-place for the comics scene, as it hosted other events before it was moved to a different location. The album soon became a bibliographic rarity and the authors gave the readers an electronic “author-approved pirate copy”, which ironically points out the downgraded role of authors in relation to artistic content.
  • Publication of “A Short History of the Bulgarian Comics”, 2013 (Author Anton Staykov was awarded the “Hristo G. Danov” prize. Two years later, the book is sold out of circulation and thus turned into a bibliographic rare find.
  • In 2014, The Union of Bulgarian Artists and “Proektat Daga” organized “Sofia Comics Expo” – an international comics exhibition (accompanied by a bilingual catalogue), which, as well as the previous one, was marked as a huge audience and media success. In 2017 the next edition was also enriched with workshops and lectures.

The long-anticipated album “Nad Dagata 2” (Under the Rainbow 2), unlike its predecessor which carries a remembrance character and contains remastered old comics, is almost entirely full of new stories without sequels. The quality scripts and the traditionally high value of graphic interpretation both guarantee the album’s success. The collective behind “Proektat Daga” proceeds with a new comics surprise – a story, written by Sotir Gelev and painted in different styles by the artists who can see the final result in the collected editions “Arakel” and “Arakel. Blow-up”. They are ranked amongst the best comics albums of the time.

Dimitar Stoyanov - Dimo

Arakel 26 pg., 2017.



  • Material: ink on paper
  • Width: 250.00 mm    Height: 342.00 mm    Depth: mm   

  • Property of: Dimitar Stoyanov - Dimo
  • Copyright: Dimitar Stoyanov - Dimo

Two albums by Penko Gelev based on script by Sotir Gelev were also published, recording the world they envisioned, of a child and its imaginary friend. “Iliycho and Avgust” and “Iliycho, Avgust and the Seven Dwarves” were followed by an illustrated book of stories about the same characters. This comics by the Gelev brothers uses archetypal models and contemporary mass culture clichés. The young protagonist, who conjures his own magical space, gives the audience the richness of peaking into two different fields – of the interior and the exterior, the father’s house and the mother’s house. The invisible character is, on the one hand, the child’s imaginary friend, and on the other, the father, of whom it is spoken in the third person. Falling asleep, dreaming, and imagining, are juxtaposed to the present and this fuels the interesting steak of the stories, not only entertaining but also educational and ethical.  In these two comics stories within stories are intertwined, metaphorical dialogues are ironic and non-intrusive, while neologisms and unexpected plot twists guarantee the reader will take part in these adventures. These albums are one of the peaks of children’s literature in the last decade, “Iliycho and Avgust” won the “Peroto” prize for children’s literature.

Penko Gelev

Illiicho and August, 2019.



The comics made by Konstantin Vitkov -Titis takes a completely different direction. “Jack Eridon” is stylistically homogenous and follows the standards set by the industry giants across the Ocean. American-style format, high-quality print, a complete story in 90 pages, plus bonus interpretations of the character by colleagues of Titis. The genre is a mixture of noir-style crime story with elements of manga, mythological references, and cyber-punk stylistics. The main character has the features of a detective, superhero powers, side-kicks (a talking monkey) and magical means to fight its adversaries. The second part of the series is scripted by Konstantin Vitkov but the black and white version is drawn by the talented Todor Hristov.  

Petar Stanimirov, a Bulgarian comics veteran, shows substantial vigor and purpose in his strive for a rebirth of the Bulgarian comics. He illustrated the book on “Ring of the Nibelungs”, which involved four years of consecutive work on a text by Elena Pavlova, so they could realise an adaptation for Wagner’s opera libretto suited for the contemporary reader. The edition is made for people who don’t know the opera itself. After the tetralogy’s success, the artist drew on his own script, under the editorial of Pavlova, for another year, to produce a comic book of 92 pages - one of the first of its kind in Bulgarian publishing. The murky Medieval German epic was refracted by Stanimirov’s video game projecting and book illustrating experience, to produce distinct stylistics; paralleling the fantasy element in the narrative and the comics tradition in superhero stories are in favour for the drawings and the story style, successful and suitable for the genre. The artist calls Siegfried “the first superhero”, who alters his ordinary being through acquiring an extraordinary power, also by insisting on his free will. The edition has educational value since it serves as a reader’s guide to mythology and classic European literature, it also possesses an entertaining quality – with its adventurousness and dynamic action, emphasised by fragmented panels, moving frames, sound effects across scenes, and other comics elements.

One not published album deserves our special attention. Penko Gelev created the comics “The Three Brothers and the Golden Apple” based on the script by Sotir Gelev in “steam punk” style, but the endeavor proved to be too difficult and couldn’t take the time and effort needed to finish, after he judged that the level of difficulty of the stylistic frame and standard of drawing would take him one year of dedicated work. After 34 pages, completed with drawing and colour, he generously shared all of them on social media, without any further negotiations, so the story could reach all of his readers and fans. The response was exuberant, and his gesture is a reminder of “author pirate copy” of “Nad Dagata”, as a signpost to the fact that the artist’s labour is not paid according to his great effort and talent. Sotir Gelev’s script follows the familiar story of the three brothers and the golden apple, in which the brothers – saviours of the world will descent into lower and even lower Earth, in order to find the fruit which will stop a world catastrophe. The irreplaceable and special natural substance needs to be preserved since the laboratory-made replacements are still not perfect enough, and they wouldn’t be of help, even if used. These are the main motifs in this unfinished story, which follows the plastic and humanistic searches of the Gelev brothers, also explored in their feature-length animation “Zoetrope”.

Penko Gelev

Three Brothers and the Golden Apple, 2019.



The death of Stan Lee in 2018 maked the end of an era of world comics history. His life saw all of the major periods: the golden, the silver, and the bronze epoch of the US comics, as well as the downfalls, rebirths, new market concepts, the heroes and their connection to cinema. Publishers all over the world orient themselves to bigger and bulkier editions. Also, Bulgarian bookstores are now stored with many comics editions, still their price range remains too high for EU’s poorest country.

Some of the publishers make sporadic attempts to print quality European editions, for example, “Zhanet 45” publishing house with “Zatopek” by Jan Novak and Yaromir 99 and “The Land of the Sons” by Gipi, “Top New Books” risked with the quality novella “The Boxer” by Reinhard Kleist, and others.

Amongst the younger authors, one should mention Diana Naneva with her characteristic dark style, affecting deformed stylistics, and zoomorphic creatures. Publishing house “Grozen Entertainment” as part of its educational and publishing activity in the comics realm, published “Stopanite na slanceto I zemyata” (The keepers of the sun and the land) by the progessing Rafaila Raykova. One of the most unusual comics authors, Boris Pramatarov, won an award with his comics story at the prestigious “Fumeto” festival in Lucerne.

 “Balkonat” (The Balcony) is an unusual edition in the silent book genre (illustrations with no text) by Kalina Muhova, based on the poem by Bulgarian modernist poet Atanas Dalchev. Muhova has won comics awars in Italy and she built her own style which encapsulates a horror vacui, filling the space with objects and figures of various textures, which build a surreal feeling of emotionally tense area. “Tochitsa” (The Dot) published “Orelat, Vrabetsat I kapchukat” (The Eagle, The Sparrow, and the Rain Drops) was scripted by Zornitsa Hristova and drawn by Anna Tsocheva-Rikae. It contains a charming mixture of manga elements and classical European comics, to tell a moral tale, from which children can learn more about poetry, literary tropes and figures, the history of Sofia city, its architecture and other secrets.

The nationalistic mood in the countries of the ex-Socialist block did not bypass Bulgaria. The foundation called “Vazdigane” (Uprising) finances a series of comics, that were dedicated to famous and less famous rulers and khans. The people who created them were Aleksander Vachkov, an artist and a military costume specialist, together with the effective team of experienced scriptwriter Miroslav Petrov and one of the best comics artists in the historical genre – Veselin Chakarov.

In Ruse, the comics is also closely connected to the heart-felt love for historical events from the Revival times and further back in time. Several attempts to publish comics magazines were combined with activities aimed at children of different age in order to expose and increase the comics popularity. In Plovdiv, internet sites contain database of Bulgarian comics history, to maintain a long-lived tradition in this path, held by Georgi Chepilev, an author of religious-themed comics himself.

An interesting episode of transnational creative collabortation is provided by the publication of a Serbian comics, part of the series “Vekovnitsi” (Centuries), scripted by Marko Stoyanovic and drawn by Bulgarian artists. Examples of such collaboration are scarce, yet the publication of a “Bulgarian edition” of the Czech magazine AARGH! The edition contains also comics by Penko Gelev and by veteran Vladimir Konovalov.

A group of young authors maintain the series “Komikser” alive for more than 10 years now. The comics features are improvisational by character, every edition themed under a different motto. For her work in “Komikser” no. 7, Iva Grueva received the award for classical comics at the International Festival in Belgrade, in 2018.

Iva Grueva

The Formula of Success, 2018.



Media and individuals are responsible for the shape of the public image of comics in different ways. The Facebook group “Spisanie Daga” (Rainbow Magazine) celebrated its 5th anniversary with more than 33 000 friends, most of them active readers of Rosen Tsolov’s weekly analytic comments, as he was a consultant in the writing of “A Short History of Bulgarian comics”.

The e-comics based on quotidian topics have a faithful and growing audience, marking a boom in the demand for this type of comics. “Prosto Spas” (Just Spas) by Sten Damyanov has already a few reprints. The comics version of “Bulgar” is being published in big circulation numbers and continues to win over new fans. Bulgarians like self-irony and every character that seems like one out from Aleko’s stories, causes some laughs, but also a certain admiration.

The art of comics has its own award by the name of Aleksander Denkov. Lyuben Zidarov, Petar Stanimirov, Anton Staykov, Marko Stoyanovic, Maria Nikolova ad Evgenii Yordanov are the people who have been awarded so far. In 2018 the award was given to the Czech Center, together with the portrait-plastic of Denkov, a special Czech prize was added – a ticket for a comics event in Czech Republic.

In order to popularise comics as part of the mass culture, including costume competitions, workshops, old editions sales, and collectors’ items, “Aniventure Comic Con” has proved to be one of the most attractive comics events for the younger audience. Most of the visitors are manga or American comics lovers. Daniel Atanasov-Satanasov, author of the series “Dragon Last” has aimed for this specific audience, which remains faithful more than a decade now.

In this attempt to summarise the elements in communicating the comics in the decade after 2010, even the most superficial impression can tell that the Bulgarian comics scene differentiates enormously from that in the end of the 80s. The immigration of more than a million Bulgarians, most of them young, has deprived the comics scene at home from a big part of its traditional audience from the end of the last century. The circulation of hundreds of thousands of comics magazines have collapsed since the 90s and 30 years later, barely reach a few hundred. The audience seems more picky, fragmented, and divided between the new media – interactive, video games, e-comics, genre diversions, free versions, pirated ones, professional and amateur. Amateur e-comics have taken a big chuck of the professional paper comics, which remain at a higher price because of their genre specificity. The Bulgarian scene remains non-homogenous and unpredictable. In comparison, the comics in Czech Republic is experiencing its new bloom, and has twice as much popularity as Bulgarian comics in 2018. The Czech audience is educated in a rich tradition of many translated comics, the presence of Czech authors of European significance is also important, as well as its realization on big comics markets. The governmental support also plays a key role in both funding the academic research regarding Czech comics, as well as the publication of comics that are dedicated to historically important individuals and socially significant topics. Such a support is absent in Bulgaria, at least in the timeline of this research. In the meanwhile, the last couple of years show a positive tendency in the publishing of many new albums in different stylistic frames, different topics, amongst which some socially important contemporary events. This is one reason to be optimistic about the future development of comics in the third decade of the 21st century, which awaits its new authors and new audiences.  

Comics editions:

  1. Arakel. Sotir Gelev – script. Evgenii Yordanov, Petar Stanimirov, Penko Gelev, Sotir Gelev, Rumen Chaushev, Dimitar Stoyanov-Dimo – artists. Group “Proektat Daga”, 2018
  2. Arakel. Blow-up. Sotir Gelev – script. Evgenii Yordanov, Petar Stanimirov, Penko Gelev, Sotir Gelev, Rumen Chaushev, Dimitar Stoyanov-Dimo – artists. Group “Proektat Daga”, 2018
  3. Balkonat. Kalina Muhova. Tochitsa, 2018
  4. Zatopek. Jan Novak – script. Yaromir 99 – artist. Zhanet 45, 2018
  5. Iliycho I Avgust. Sotir Gelev – script. Penko Gelev – artist. Enthusiast, 2014
  6. Iliycho, Avgust, I sedemte dzhudzheta. Sorit Gelev – script. Penko Gelev – artist. Enthusiast, 2016
  7. Khan Omurtag. Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017.
  8. Khan Tervel. Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017.
  9. Khan Kotrag. Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017.
  10. Khan Krum. Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017.
  11. Khan Kubrat. Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017.
  12. KIK. Publishing group NOS, Ruse, 2017
  13. Nashentsi. Stoyan Komitski – script. Nikolay Bebenov -artist.
  14. Nad Dagata 2. Sotir Gelev, Penko Gelev, Petar Stanimirov, Dimitar Stoyanov-Dimo, Rumen Chaushev, Evgenii Yordanov. Group “Proektat Daga”, 2015
  15. Orelat, Vrabetsat I Kapchukat. Zornitsa Hristova – script. Anna Tsocheva – artist, Tochitsa, 2018
  16. Prastenat na nibelunga (Ring of the Nibelungs), Script and art – Petar Stanimirov,Kibea, 2018
  17. Prosto Spas. Script and illustrations by Sten Damyanov, Ciela, 2018
  18. Spartak. Buntat na robite (Spartacus. The Slave’s Rebellion), Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017
  19. Spartak – zashtitnikat na Trakia (Spartacus – the defender of Trace), Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017
  20. Trimata bratya I zlatnata yabalka (The Three Brothers and the Golden Apple). Penko Gelev, 2018. Unrealized, 32 pages
  21. Chetvart Bezkraynost (A Quarter of Infinity). Asen Kojuharov – script, Veselin Chakarov – artist.
  22. Tsar Rez, Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017
  23. Tsar Teres, Miroslav Petrov – script. Veselin Chakarov – artist. Foundation Vazdigane, 2017
  24. Jack Eridon. The memory thief. Konstantin Vitkov-Titis, Artline, 2018
  25. Jack Eridon. Song of Siegfired. Konstantin Vitkov-Titis, Todor Hristov – artist. Artline, 2018. The edition is an American-sized collector’s one)

Index of names:

Aleksander Vachkov, Aleksander Maleev, Aleksander Denkov, Aleksander Zhendov, Anna Tsocheva-Rikae, Anton Staykov, Asen Kojuharov, Atanas Patsev, Bob Klisurski, Boris Pramatarov, Veselin Chakarov, Viktor Kalvachev, Vladimir Konovalov, Gencho Denchev, Georgi Chepilev, Grigor Petrov, Daniel Atanasov-Satanasov, Dimitar Stoyanov-Dimo, Donyu Donev, Dragomir Simeonov, Evgenii Yordanov, Iva Grueva, Ivan Gongalov, Ivan Koritarev, Ivan Berov, Iliya Beshkov, Konstantin Vitkov-Titis, Lilyana Angelova, Luyben Zidarov, Lyubomir Manolov, Nik Bebenov, Marko Behar, Maya Bocheva, Marko Stoyanovic, Nenko Genov, Nikola Mirchev, Nikolay Dodov, Penko Gelev, Petar Stanimirov, Rayko Aleksiev, Rafaila Raykova, Rosen Tsolov, Rumen Petkov, Rumen Chaushev, Sibila Koritareva, Sotir Gelev, Stoyan Venev, Stoyan Shindarov, Tenyu Pindarev, Todor Dinov, Chavdar Nikolov, Hristo Braykov, Hristo Komarnitski, Hristo Kotsev, Hristo Kardzhilov, Zornitsa, Hristova