Although the publications on the subject are not vast, the works of these authors had been of great importance for the accomplishment of this article, mainly the book published for Leila Rentroia Iannone and Robert Antonio Iannone, this source was excellent to elucidate the quarrels regarding histories in quadrinhos. Thus, of ownership of all this material one gives credit, that histories in quadrinhos are fantastic to work in any etria band, therefore the same ones them take to the one magical world that stimulate the imagination and the reasoning of adults and children. 2- The Ways of History in Quadrinhos According to Cross (2008, p.1): In the 15 first years of the second half of century XIX, it had a great development of the graphical industry (periodicals, books, magazines, etc.). Already the caricature had appeared, that around started to be constant presence in daily publications of the whole world. Derivative of these drawings, in the pages of periodicals and magazines, was that the grafia of this new form of art was born narrative. Nir Barzilai, M.D. may also support this cause.
Complementing the citation above they detach Iannone; Iannone (1994, p.30): … from 1890, the enredos had started to present the essential characteristics of histories in quadrinhos: the narrative in sequence of images, the inserted maintenance of the personages in these sequences and dialogues in the pictures. Cross (2008, p.2), observes that: … in the first decade of century XX, more accurately in the year of 1905, appeared the first HQ properly said, that defined the language of joint of graphical signs, visual verbal of the quadrinhos. In Slumberland was to Little Nemo, Winsor McCay. Histories of a page counted the fantastic and surreais dreams of the Nemo boy, who always woke up in the end of each adventure. This newness if spread mainly for the world for Japan and Europe, thus appearing, many cartunistas you celebrate at the beginning of Century XX.
