This article situates Journal de Spirou and its flagship title in the context of Belgium’s imperial history. It examines pro-empire messages in the magazine from the inaugural issue in 1938 up to the independence of the Congo in 1960. The magazine is one of Europe’s most successful, and the bellboy whose name is on the cover has evolved into a true icon of Franco – Belgian comics. Less known is the role Spirou played in promoting the colonial idea to its readers during the decades coinciding with Belgium’s overseas rule. In contrast to rival Tintin, who only went to the colony once, the Congo becomes Spirou’s most frequent itinerary. Throughout Belgium’s colonial period, Spirou makes use of dehumanising depictions of black Africans; depictions that affirm a message of white supremacy embedded in the storylines. In short, both the famous bellboy and the magazine carrying his name position themselves as significant actors in the field of bande dessinée in terms of providing justifications for colonialism.