| Séries principales | de | à | Rôle |
|---|
 (Recueil) Tintin (Sélection) | 1970 | 1973 |
| André Lefort | 1978 |
| Barbe-Rouge | 1967 | 1972 |
| C'est fou le foot sans les règles | 1998 | |
| Carol Détective | 1991 | 2001 |
| Chirac dans tous ses états | 1997 |
| Contes de Noël du journal Spirou | 2020 | |
| Flash Back | 1995 |
| Hebdomadaire des grands récits (L') | 1948 | 1949 |
| Histoires vraies de l'Oncle Paul (Les) | 1953 | 1954 |
| Jardins de la peur (Les) | 1988 | 1991 |
| Johnny Congo | 1992 | 1993 |
| Luc Orient | 1969 | 1994 | |
| Marc Dacier (1re série) | 1960 | 1978 |
| Meilleurs récits de... (Les) | 2002 | 2005 |
| Misérables (Les) (Paape) | 1995 |
| Pathos de Sétungac | 2006 | 2007 |
| Plein d'suie | 1959 | |
| Porte-bonheur (Le) | 2002 |
| Tommy Banco | 1973 | 1979 |
| Udolfo | 1980 |
| Val | 2006 | |
| Valhardi | 1947 | 1956 |
| Vie prodigieuse de Winston Churchill (La) | 1978 |
| Yorik | 1975 | 1980 |
 Albi ardimento | 1969 |
 Barbarroja (Barbe-Rouge en espagnol) | 2015 |
 Luc Orient (en portugais) | 1974 | 2009 |
He spent eight years at the Institut Saint Luc: decorative studies, painting and advertising. From 1940 to 1943: he made cartoons in Liège, at the Belgian company CDA. This caught fire following an accident, he was injured there and married his nurse in 1945. The cartoon house emigrated to Brussels. He teamed up with a draftsman named Eggermont and, to the small team, came to join Franquin, Peyo and Morris. When the house had to cease its activities, he was forced to return to painting which was his strongest part after the cartoon. In the meantime, Franquin and Morris had entered the Dupuis editions, and as painting did not nourish her man, they came to offer him a place at Dupuis as well. He began with illustrations for the novels of the magazine Bonnes Soirées and then helped Gillain (Jijé) for his "Emmanuel". Then Jijé decided to leave for Mexico and therefore intended to separate from its various characters. He entrusted Spirou to Franquin, who continued the series with the brilliance that we know. After much insistence, he agreed to take over Valhardi, without having ever done a comic strip. That's how he started in Spirou. But taking over a character created by someone else is very difficult because it is always judged by the previous designer. Franquin had done very well. Eddy Paape judged that he had completely transformed Valhardi and since the publisher kept praising the merits of Jijé, he preferred to give him back his character. In the meantime, still for Spirou, he had done many "Uncle Paul" including the very first on a screenplay by Jean-Michel Charlier. He also carried out the police investigations of "Jean Blanc" in the newspaper Risque-Tout and created, still with Charlier, "André Lefort" (detective of a certain age), a series which remained unfinished following the disappearance of the newspaper. At the time of the disappearance of Risk-All lying in the drawers of the drafting of Spirou a manuscript, always of Charlier, in which they changed the name of the character and created "Marc Dacier" (1955). But at the time there was some disagreement with the publisher and Eddy Paape stopped the series after 13 episodes (6 of which appeared in albums) despite the fact that this series was doing very well. He decided to leave the Dupuis house. A few months later, he joined Tintin (at Greg's insistence) for which he had already created a few stories under the pseudonym of Forget so as not to get into too much trouble with Dupuis. He and Greg decided to create a story together and immediately agreed on science fiction. It was Greg who found the name of the character and that is how "Luc Orient" (1967) was born. Two years later, he illustrated the "Jeux de Toah" on a text by Jean-Paul Duchâteau, "Tommy Blanco" in 1970 with Greg, "Yorik des Tempêtes" in 1971 with Duchâteau and "Udolfo" in 1978 in collaboration with Andréas and Duchateau. At the same time, Paape also collaborated for other newspapers: he helped Hubinon to make a few pages of "Barbe-Rouge" at PILOTE and also produced many games (he worked under the pseudonym of Jo Legay and sometimes Péli). For RECORD, he drew "Pathos de Sétunga" on a humorous scenario by Hubinon and also worked for La Libre Belgique, with series of four images, under the name of Mill-Patt. In 1978, he participated in the SPATIAL magazine published by Deligne. From 1988, alongside Jean Dufaux and Sohier, he undertook "Les Jardins de la Peur", a fantastic series published directly in the form of an album by Dragaud, then at the Humanoids Associates. In 1991, based on a script by Duchâteau, he launched "Carol détective" published by Lombard. A year later, again on a text by Greg, he produced "Johnny Congo" for Lefrancq editions.
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