Pekka Puupää is a Finnish text comic and film character, created by Ola "Fogeli" Fogelberg. The character appeared 1925–1975 in the popular comic Pekka Puupää and 1952–1960 in thirteen films (Pekka ja Pätkä) produced by Suomen Filmiteollisuus. Pekka Puupää is one of the most well-known and beloved characters in the Finnish popular culture. Esa Pakarinen (1911–1989) was best known for his role as Pekka Puupää. Other Pekka Puupää actors were Mauri Kuosmanen (1945–2008) and Esko Roine (born 1944). Characters Pekka Puupää is a kind but simple and somewhat foolish man. Other characters are his battleaxe wife Justiina and his subtle friend Pätkä (lit. Stub), which Fogeli had picked from his earlier comic, Herra Pätkä. Minor characters include Pätkä's wife Mrs. Pätkä, Pekka's adopted son Otto ( Ottopoika = Finnish : adopted son ), and sometimes a baby called Pulu. His last name "Puupää" is a common insult denoting low intelligence, literally meaning wood-head and roughly equivalent to the expression "block head". Themes Conventional plot subjects are Pekka's failed attempts in various professions and housework, his eccentric solutions to problems he faces in the normal life and other mishaps he encounters due to his foolishness and benevolence. Another constant subject are Pekka's and Pätkä's attempts to run away from their wives to play at cards and have fun. History The first appearance of Pekka Puupää was in the Elanto cooperative's magazine Kuluttaja in 1925, when it started to publish a comic of the same name. The series was drawn by graphic designer Ola Fogelberg, who signed his comics using the pseudonym Fogeli. During its first years Pekka Puupää was mainly humorously depicted propaganda for the Elanto cooperative: Pekka was beaten up by Justiina, because he wouldn't go to the cooperative store during rain but visited a private store instead. Later Fogeli quit advertising, though, and changed Pekka Puupää into a conventional joke series, at the same time moving the scene from Helsinki to a small rural locality Savikylä. This let the comic develop into a more diverse one. The weekly comic was composed of six-panel strips. It didn't have any speech balloons, but instead the texts were under the panels, making it a text comic this was common practice in European comics even after World War II. Apparently Fogelberg drew some strips with balloons as an experiment, but these remained single cases. The drawing style was at the same time caricaturing