Mitchum. by Blutch. English translation by Matt Madden. Published by New York Review Comics, New York, 2020, 232 pages. $24.95.
I adhere to the strict view that the truest, most robust, and most legitimate forms of comics are created by the cartoonist auteur. You can’t just shrug and say, “Comics are comics!” Nope, that is way too broad and just plain nonsense. If we’re talking about comics as a true art form, then there is only one answer. And, keep in mind, comics are not just art but words too. So, the auteur is a very special creator, the artist-writer. I’ll even go one better and declare that the best living cartoonist auteur is Blutch. Yes, it’s that simple when you take into account such a versatile style and broad range of subject matter. Now, consider one of his best graphic novels, Mitchum, which has recently been re-issued by New York Review Comics with a new English translation by Matt Madden. I applaud New York Review Comics, part of the vision of New York Review Books, for bringing Blutch another step closer to a wider audience. Imagine a dazzling light, a smooth caress, a melodious song, a deliciously bitter coffee, or a wondrously smokey scent. All of this is Blutch!
A cartoonist as artist and an artist as cartoonist or magician.
Blutch is the sort of artist that I relate to the best. He is an artist as well as a magician–or even a wizard. Perhaps you must be working at the same craft, aspiring to that same level, to truly appreciate what I’m saying but I think, in fact, I know that I can explain it. It’s sort of one of those cases of it takes one to know one. I can engage in similar loose drawing and disjointed narrative and know what I know and, in that way, I share my insight. Christian Hincker, otherwise known as Blutch, has enjoyed an ongoing career as a cartoonist since graduating with a degree in illustration from the Decorative Arts College in his hometown of Strasbourg, France. It’s been a bit of a charmed life. At 53, Blutch could be looked upon as the grand old lion of comics. However, as some seasoned cartoonists, like Daniel Clowes, point out, serious cartoonists are only coming into their own after age 40. Whatever the case, Blutch seems to be in that heroic tradition of the wild bohemian artist, following some deep sensual instinct. Often, you see his characters either naked and about to erupt or well into some sexual act. On the cover of Mitchum, we kick off with a provocative image: a dog licks the slick and smooth bare foot of a beautiful young woman while a naked man lounges with a paper bag over his head. It’s totally a loaded image however you care to look at it. Pure Blutch.
Beautiful, raw and unbridled Blutch!
The sexiest part of the human body is the brain, of course. The brain controls our emotions, whatever they might be. Any good artist appreciates that and Blutch understands this better than most. So, it’s not just sex that he’s after but all sorts of goodies, naughty, sensual, primal and nearly unspeakable. If that sounds good to you, then you’re really gonna love Blutch. Dreams. Rants. Jazz. Not necessarily in that order. And a good healthy does of Robert Mitchum just for the hell of it! Out of a dream! But it’s not a rattled mess. Just think of it as that sketchbook come to life that I mentioned in a previous review. This is like the best jazz, highly structured while highly improvised, or at least appearing that way. The trick, if there is a trick, is that Blutch loves to draw and he does a hell of a lot of it. Back at the start of this new century of ours, when the indie comics boom was in full gear, it was Blutch who so many young cartoonists were emulating, even if they didn’t know it because they were so enthralled with emulating Craig Thompson, who was Blutch’s biggest fan. Thompson tried to tap deep into Blutch’s relentless passion but he was only going to be able to take what he needed. Fair is fair among artists. Thompson has a tidy version of Blutch’s style so, in that sense, he spun off his own style. As for Blutch, he keeps being Blutch because that’s the best way to be and he’s in it for the long haul, even if he may say he’s ready to hang it all up. In the end, Blutch maintains his position as an artist: unorthodox, unruly and mischievous.
A comic entitled, MITCHUM, only obliquely having to do with Robert Mitchum.
Anyhow, you can’t really fully copy the way someone of any caliber creates art just as you can’t fully copy the way someone else chooses to spend their day. It goes that deep! No one reviews comics the way I do, nor should they try. You might hurt yourself. Nor does anyone draw exactly like I do, and that has to do with my drawing long enough to develop a style. Not all artists are patient enough to develop their own style or anything coming close to it. By that, I mean many artists are more than content to follow a particular trend, school of thought, house style. That brings me back to all the disciples of Blutch. I won’t hesitate to say that there’s a ton to learn from Blutch and, if one is patient, one can avoid looking too closely at the sun and power through to an individual vision. In other words, I advise that any aspiring cartoonist would do well to study the hell out of Blutch but keep some energy for yourself and be willing to look away at some point and craft your own personal way of drawing.
I suppose if there are some more secrets to success to dispense with, I’d throw in the need to pace yourself. Rome was not built in a day, right? Well, this graphic novel sure wasn’t. It’s actually a collection of single issues of Mitchum comics. A very arthouse thing this all is since Robert Mitchum doesn’t even appear in the first couple of issues. And, when he does appear, well, many people won’t even know unless you’re of a certain age or a big fan of film. With that said, Blutch is a huge fan of many things, including cinema, pop culture and high culture. Alright then. Now, how about a few words on the English translation by notable cartoonist Matt Madden. Mr. Madden is notable for many reasons, as a man of good taste and the author of one of my favorite books related to comics theory, 99 Ways to Tell a Story: Exercises in Style. Madden also happens to know French very well and lived in France for a good long while with his wife, fellow cartoonist Jessica Abel. By far, Madden has just the right sophisticated palate to capture the essence of Blutch’s words. Both Jessica Abel and Matt Madden have made some amazing contributions to the comics medium and, at the end of the day, that’s priceless. When you consider the work of Blutch, you can understand how art can be, when it’s all said and done, the most lasting gift.
Métal hurlant #57. The only collaboration between Moebius and Phillipe Druillet.
Comic books are perhaps the most popular sources of inspiration for moviemakers in this decade. Just think of all the movies of a highly variable quality that have been released since the Marvel Cinematic Universe has started on its glorious assault on our pockets more than a decade ago. And it’s not only movies either. From broadcast channels to the most popular and accessible streaming services online are filled with content inspired by graphic novels and comic books – some of them are better (like Amazon’s acclaimed “The Boys” series), others, not so much.
France too is famous for its wines, cheese, and landmarks – and also, in some circles, for its comics. One of its most widely-known titles is “The Adventures of Asterix”, a series of bandes desinnées created by René Goscinny and Albert Uderzo in 1959. The stories revolve around Astérix, a mighty Gaul (and his oversized sidekick Obélix) and their adventures in defeating the Roman conquerors trying to overrun their village. This proves harder than it seems thanks to Getafix, the village druid, and his magic potion that gives the villagers superhuman strength. The two were the protagonists of countless comics, ten animated features, four live-action movies, not to mention the theme parks, the board games, and the first French satellite named after the mighty Gaul warrior.
There’s more to Francophonic comics than Asterix (and the Smurfs that were born in Belgium), more than the lighthearted fantasy stories above. The hallmark of the French comics’ golden age was a magazine called “Métal hurlant” (Howling Metal) created in December 1974.
Les Humanoïdes Associés
The United Humanoids (Les Humanoïdes Associés) consisted of comic artist Mœbius (Jean Giraud), Philippe Druillet, Jean-Pierre Dionnet, and Bernard Farkas, who acted as the financial director of the publication.
Les Humanoïdes Associés
Giraud was already an acclaimed cartoonist and writer at the time, having released several Western and science fiction and fantasy comics in the previous decades, Druillet won the European SF award for Comics in 1972 for his comic series Lone Sloane at the first Eurocon, and Dionnet was a long-time collaborator of the two, writing scripts for them at the comic magazine Pilote.
At first, the magazine was released quarterly – it had 68 pages (18 of them in color), and the first editions consisted entirely of works by the founders, Mœbius and Druillet. These early editions contained several Lone Sloane comics, and experimented with new formats and storytelling methods – they were, among others, home to Arzach, a silent warrior riding a pterodactyl-like creature through a desolate arid landscape. The “Arzach” comics have no dialogue, telling the stories through visuals alone. Later, many other artists published their works in the magazine, like Chilean-French artist and filmmaker Alejandro Jodorowsky, Enki Bilal, Francis Masse, Milo Manara, and many others.
Arzach by Mœbius
The content of the magazine was later expanded to include not only comics but articles about science fiction books and movies, later music and video game reviews. It remained true to its origins, though – it is considered one of the first examples of comic books for mature audiences, focusing on surreal, complex visuals, often cinematic graphics, and complex, experimental storytelling.
Métal hurlant has published 133 issues between 1974 and 1987, then for another brief run between 2002 and 2004, with 14 more.
Heavy Metal was the American version of the original French magazine – at first, it was the licensed translation of the original, later evolving into a publication featuring the works of North American artists like Stephen R. Bissette (Swamp Thing), Alex Ebel (Friday the 13th), Gray Morrow (Man-Thing, El Diablo), and Bernie Wrightson, the co-creator of Swamp Thing. The magazine published a blend of science fiction, dark fantasy, steampunk, and erotica, often explicit and ultra-violent, intended for a mature readership.
RanXerox by Tanino Liberatore
The magazine is still published today, albeit the ownership has changed – it is currently owned by David Boxenbaum, and Jeff Krelitz, with Teenage Mutant Ninja Turtles co-creator Kevin Eastman serving as a publisher.
Heavy metal on the screen
Heavy Metal was adapted to the silver screen before it was cool thanks to director Gerald Potterton and producers Ivan Reitman and Leonard Mogel (who was also the publisher of the magazine at the time). The animated anthology contained several stories taken from the magazine as well as original stories in the same spirit – and it is as adult-oriented as its printed original. The overarching story revolves around the “Loc-Nar”, a sentient orb that describes itself as “the sum of all evil” traveling across the galaxy, causing harm wherever it can.
The stories in the magazine were also adapted to the small screen in a series called “Métal Hurlant Chronicles” but the English-language Franco-Belgian series, written and directed by Guillaume Lubrano, failed to live up to its name.
What Mickey Mouse is to Americans, Asterix is to the French. The news of Papercutz Publishing bringing out new English translations of every volume of Asterix has been stirring excitement since late last year. The wait is just about over. On May 19, 2020, Papercutz launchs the new Asterix editions with two omnibus volumes of three stories each, starting at the beginning of the series, plus a stand-alone edition of the newest book, #38: THE CHIEFTAIN’S DAUGHTER, which was released internationally in October 2019 and promptly sold 5 million copies worldwide. And, by the way, Asterix is not only in good company with Mickey Mouse. Also making the case for Asterix in America is the massive success of Jeff Smith’s Bone series, another quirky comics series that is an all-ages favorite.
Papercutz Brings Asterix to America
Since Asterix first appeared as a French comic in 1959, the ancient Gaul warrior has been featured in 38 books which have sold close to 380 million copies worldwide. It’s the best-selling comic of all time. The series, written by René Goscinny and illustrated by Albert Uderzo, has been translated into 111 languages and dialects, adapted into ten animated and four (soon-to-be five) live-action films, and even inspired a full theme park outside of Paris. While the international phenomenon has yet to take hold on this side of the Atlantic, the future looks bright for Asterix at Papercutz.
Asterix Comes to America
Fun facts and the whole story about Asterix follows:
This is one of the most inspired scenarios for a comic that I’ve seen in a while. What if all the great mystery writers of the 193os formed a club–and had amazing adventures? That is exactly what is happening in this totally cool new graphic novel series, The Detection Club, script and art by Jean Harambat, published by Europe Comics. We’re talking about the golden age for mystery writers including G. K. Chesterton, Agatha Christie, John Dickson Carr, and Dorothy L. Sayers. This is from the same brilliant talent who created the spy thriller series graphic novels, Operation Copperhead. If you like crisp and witty humor, then this is for you. And, yes, this book is in English. That’s an essential component of Europe Comics, your home for comics from Europe, translated into English.
The Detection Club page excerpt
First off, you need to know that there really was a Detection Club and it must have been something! Just imagine all of these world-class writers meeting on a regular basis, helping each other out with their craft, and even writing books together under the name of the club itself! I don’t think I was aware of this and, if I was, I’d forgotten. So many years and beers ago, you know. But now I’m fully aware of this fact thanks to this wonderful graphic novel series. So, that is the basis in reality for this series but Harambat takes it much further and places a select bunch of our writer heroes in quite a madcap adventure involving a crime-solving robot who may or may not have just committed murder! So, lots of fun for all ages, even for much older kids at heart such as myself.
Panel excerpt: Our main characters all in row.
I really like to showcase panel art. There are so many reasons to do this. The main reason is to simply get a closer look! This makes sense, just as you would focus on a particular passage in any novel. It gives us a moment to savor the process. What is key about Harambat is that he loves to draw. This is quite evident in the above example. Too many young aspiring cartoonists believe that any scrawl that they produce is priceless. That wrongheaded thinking is much too ingrained in the indie comics community. Yes, there is a place for spontaneity and a loose and sketchy style can be quite legitimate. But look at the dazzling results you get from rigorous care in the pursuit of refined essentials. Everything reads as very crisp and clear! You want that kind of clarity!
The Detection Club page excerpt
Harambat is an auteur cartoonist who truly loves to write and draw economically. It is a very functional approach that makes it easier to tackle such an ambitious project that involves characters with formidable back-stories. We’re talking about some of the greatest popular writers of all time–either intimately known by readers or at least recognized to some degree. There are expectations already in place. Many readers coming to this graphic novel already have some notion as to who Agatha Christie was and expect someone unusual and clever–and will expect the same from her contemporaries. Any reader attracted to this book is already curious about the world of mystery and crime fiction and related matters. Harambat is there to deliver on all counts: he fills in the blanks, connects the dots, and thoroughly entertains. All the characters are drawn in a direct and clear way, easy to keep track of, easy to relate with. Then you bring in the villain, an eccentric billionaire living on some secluded tropical island with a huge robot at the center of a murder mystery. Bingo! What a premise to kick off this series!
The Detection Club: Part 1 is an 86-page book, available in digital format on various platforms. For more details, visit Europe Comics, your home for all European comics, all digital, all in English.
ANGOULÊME FESTIVAL – The 47th annual Angoulême International Comics Festival took place January 30 thru February 2, 2020. Arguably, it is the most artful and significant of all comics festivals. It is, without a doubt, on many a serious cartoonist’s bucket list simply to attend. The Grand Prize of the Angoulême International Comic Book Festival (Fibd), which rewards an author each year for all of his work, was awarded to Frenchman Emmanuel Guibert. Other awards presented this year demonstrate the scope and breadth of comics of the highest quality. The Grand Prize of the City of Angoulême, awarded on the eve of the comics festival, is one of the highest distinctions for a comic book author. This prize is awarded following a vote by the community of professional comics authors published in French, regardless of their nationality. Emmanuel Guibert, screenwriter of Ariol and author of Space sardine, succeeds Japanese winner Rumiko Takahashi last year. The Angoulême International Comics Festival is the second largest comics festival in Europe after the Lucca Comics & Games in Italy, and the third biggest in the world after Lucca Comics & Games and the Comiket of Japan. It has occurred every year since 1974 in Angoulême, France, in January.
Emmanuel Guibert wins Grand Prix 2020
The following is a beautiful description from the Angoulême festival site of the career of Emmanuel Guibert, the winner of the Grand Prix for 2020:
After the American Richard Corben in 2018 and the mangaka Rumiko Takahashi last year, the Frenchman Emmanuel Guibert is elected Grand Prix of the 47th International Comic Book Festival of Angoulême, after a vote which brought together 1852 authors and comic book authors.With Emmanuel Guibert, it is a masterful author with an exemplary career who is today rewarded.Born in 1964 in Paris, Emmanuel Guibert began his career in comics with Brune , a work on the rise of Nazism in a hyper-realistic style which he quickly abandoned.The album, which it took seven years to produce, appeared in 1992. Frequenting the authors of the very young publishing house L’Association, he began to publish stories in the review Lapin , and joined the atelier des Vosges alongside notably Emile Bravo, Christophe Blain and Joann Sfar.On a script by the latter, he drew The teacher’s daughter , Alph’art coup de coeur and Prix René Goscinny at the Angoulême Festival in 1998. Emmanuel Guibert implemented a sepia drawing, sensitive and flexible, in a graphic style that he continues to shape in The Scarlet Captain with David B. in script (2000).Always with Joann Sfar, he began in 2000 the children’s series Sardine from space, of which he first wrote the screenplay before also ensuring the drawing.He gives free rein to his imagination and develops his formidable talent as a storyteller.From 2001 he drew the series Black Olives (3 volumes) on a little Jewish boy in Judea 2000 years ago, again with Joann Sfar in the script.
At the turn of the 2000s, Emmanuel Guibert began publishing an ambitious and long-term project, a series of albums inspired by the memories of his American friend Alan Ingram Cope, La Guerre d’Alan (three volumes from 2000 to 2008 ), Alan’s childhood (2012), Martha and Alan (2016).With his elegant and restrained line, of great technique, Emmanuel Guibert excels at staging Alan’s life, exposing the intimate with subtle modesty.This magnificent work of memory smuggler continues in The Photographer (three volumes from 2003 to 2006), inspired by memories and photos brought back from trips to Afghanistan with Doctors without Borders by photojournalist Didier Lefèvre.Here, photos and drawings complement and merge, to better fix time and memories.The Photographer will be rewarded around the world with the Prix Essentiel d’Angoulême in 2007, the Eisner Award for the best American edition of an international work and the Micheluzzi Prize for the best foreign series in 2010.
In Alan as in The Photographer , Emmanuel Guibert, by his virtuoso gesture and his technique, sublimates the intimate and the everyday, magnifies the innocent and the passing of time, and above all, unconditionally places the human at the heart of his stories.An interest in the other that can be found both in Alain’s news , a book on Roma communities in Europe produced with Alain Keler, and in the irresistible series for young people Ariol which he created in 2000 with Marc Boutavant at the drawing.There, under the cover of telling the adventures of a small anthropomorphic donkey, he explores modern life and everyday life as a child, appealing to his own memories.Emmanuel Guibert received the René Goscinny Prize in 2017 for all of his work.
The Grand Prix crowns a complete author, innovative designer and unparalleled narrator, whose work for adults and children is imbued with the greatest humanity.
Angouleme Palmares 2020
There is an essential list of eleven awards at Angouleme that provide a window into the wide and wondrous world of alternative comics. After all these years, many a talking head is still chattering away about the boom in arthouse comics and, sure, that is all well in good insomuch as it helps spread the word. After all these years, the playing field on the pop culture landscape is pretty far flung and spread out. We now have wave after wave of specialized “comics journalists” out there taking the pulse of the comics scene, many of who have never attempted to write or draw a comic of their own, have limited knowledge, and who are more ready than anything to espouse a hasty theory or proclamation about the comics medium. Well, that brings us back to the reality of a platform such as Angouleme where work has gone through a fairly rigorous vetting process. Hey, the process is subjective on many levels but quality work usually manages to rise to the top that is worth discussing and has a chance of holding up to the test of time. That is why a list of Angouleme award winners rates taking notice. Here is my own enhanced presentation that I cobbled together by making liberal use of the live Twitter feed by 20 Minutes:
Fauve d’Or for the best album: “Révolution” tome 1, by Florent Grouazel and Younn Locard
(Prize which rewards the best album of the year, regardless of genre, style or geographic origin)
(Live Tweet) Ceremony of the Fauves – The Fauve d’or for the best album is awarded to Florent Grouazel and Younn Locard for “Revolution – Tome 1 Liberté” by Actes Sud / L’An 2 # FIBD2020 # BD2020 #BD #Angouleme # FIBD @ActesSud pic.twitter.com/NiJSS37IVX
– Festival d’Angoulême (@bdangouleme) February 1, 2020 The first part of this choral story focuses on the year 1789 and blows the wind of the Revolution in the street.This titanic project, expertly documented, was carried out by four hands by two young authors who retrace the revolutionary period in a resplendent graphic bubbling, inspired by the imagery of the time.
20 Minutes’ opinion: Telling the French Revolution of 1789 in just over 1000 pages is a very ambitious project, especially on the part of such young authors (the Breton Florent Grouazel is 32 years old and the Norman Younn Locard is 35 ).The value does not wait for the number of years, the first volume of “Revolution” is a total success, with dynamic and captivating narration (and choir, since we witness events through the eyes of three characters) and striking graphics of realism.Hyper-documented, demanding, their work has made, since its release, a critical and public unanimity.At 20 Minutes, we appreciated it so much that we rarely consider Fauve d’Or for the best album to have been so indisputable.
Révolution tome 1, by F. Grouazel & Y. Locard – Actes Sud / L’An 2 editions – 26 euros
Fauve Special Jury Prize: “Clyde Fans”, by Seth
(Prize given to a work which particularly marked the jury by its narration, its aesthetics and / or the themes addressed)
(Live Tweet) Ceremony of the Fauves – The special Fauve of the jury is awarded to “Clyde Fans” of Seth, published by @DelcourtBD # FIBD2020 # BD2020 #BD #Angouleme #FIBD pic.twitter.com/6FajrXrFUV
– Festival d’Angoulême (@bdangouleme) February 1, 2020Fruit of a work started twenty years ago, “Clyde Fans” tells the story of two brothers who inherited their father’s business after he abandoned them.The Canadian Seth, whose elegant graphics are imbued with a touch of nostalgia, is second to none to tell intimate stories that touch on the universal of the human condition.
Clyde Fans, de Seth – Delcourt editions – 49.90 euros
Fawn Revelation: “Skylight”, by Joe Kessler
(Prize awarded to the album of an author or an author at the start of their career who has professionally published a maximum of three books)
(Live Tweet) Ceremony of the Fauves – The Fauve Révélation is awarded to “Lucarne” by Joe Kessler, at @lassociation
– Festival d’Angoulême (@bdangouleme) February 1, 2020These five short stories impregnated with strong colors translate the most intimate sensations of the characters.A singular graphic and narrative experience, signed by the artistic director of the English publisher Breakdown Press, to express fear, pleasure or smells, supported by a hypnotic narration and an original vision of the world.
Fawn from the series: “In the Abyss of Time”, by Gou Tanabe
(Prize which honors a work in four or more volumes, regardless of the number of volumes in total)
(Live Tweet) Ceremony of the Fauves – The Fauve of the series is awarded to “Dans l’Abîme du temps” by Gou Tanabe and HP Lovecraft at @ki_oon_Editions # FIBD2020 # BD2020 #BD #Angouleme #FIBD #Fauve pic.twitter.com / dXJgZDsjF7
– Festival d’Angoulême (@bdangouleme) February 1, 2020After The Hallucinated Mountains, Gou Tanabe continues his adaptation of the novels of the master of horror, HP Lovecraft.Leaving Antarctica for the Australian desert, with a black line of oppressive realism, the mangaka draws the inexpressible and gives body to this nightmarish SF masterpiece that combines a journey through time and a terrifying transfer of personality.
In the Abyss of Time, by Gou Tanabe (after HP Lovecraft) – Ki-Oon editions – 17 euros
Act of God
Fawn of Audacity: “Act of God”, by Giacomo Nanni
(Prize which rewards experimentation and formal innovation through an album with an inventive and innovative graphic style, using all the possibilities of comics to better push its boundaries)
(Live Tweet) Ceremony of the Beasts – The Beast of Boldness is awarded to Giacomo Nanni for “Act of God” by Here Same editions
– Festival d’Angoulême (@bdangouleme) February 1, 2020On August 24, 2016, in Italy, an earthquake killed 298 people and left nearly 400 injured.Giacomo Nanni traps the moment in a choral tale that makes the mountains speak, lingers on a stray deer in front of a supermarket and tracks the unicorn in the viewfinder of two hunters.His pantheistic ode confronts man with nature and creation with chaos, in a pointillist and dazzling graphic magma.
Act of God, by G. Nanni – editions Ici même – 19.50 euros
The Green Hand and Other Stories
Fauve Patrimoine: “The green hand and other stories”, by Nicole Claveloux and Édith Zha
(Prize rewarding a work which is part of the world history of the 9th art and whose edition, re-edition or the integral offers a particularly neat editorial work)
Live Tweet) Ceremony of the Fauves – The Fauve du Patrimoine is awarded to “La Main Verte et autres récits” by Nicole Claveloux and Edith Zha at @ed_cornelius # FIBD2020 # BD2020 #BD #Angouleme #FIBD pic.twitter.com/hVFmYwIy6d
– Festival d’Angoulême (@bdangouleme) February 1, 2020First volume of an anthology dedicated to Nicole Claveloux, painter, youth illustrator and cartoonist, passed by the magazines Métal Hurlant and Ah!Nana .Collection of poetic stories enhanced with flamboyant colors, “The Green Hand” describes an absurd and funny world in which reality plays hide and seek with reason.
Note that Nicole Claveloux received a Fauve d’honneur during the official Fauves award ceremony, Saturday, February 1, 2020.
Standing ovation for Nicole Claveloux who receives a Fauve d’honneur at @bdangouleme #Fauves # FIBD2020 # BD2020 pic.twitter.com/E4HhBMGfJy
– see read (@ see read) February 1, 2020The Green Hand and other stories, byN. Claveloux & E. Zha–Corneliuseditions –23.50euros
La Saison des Roses
Fauve Audience Award France TV: “Saison des roses”, by Chloé Wary
(Prize awarded by a jury of nine spectators from France Télévision)
(Live Tweet) Ceremony of the Fauves – The Fauve Audience Award France Télévisions is awarded to Chloé Wary for “La Saison des roses” at @editionsFLBLB @Francetele # FIBD2020 # BD2020 #BD #Angouleme #FIBD pic.twitter.com/PYdKw1x8Px
– Festival d’Angoulême (@bdangouleme) February 1, 2020Barbara passes the bac.She lives with her mother in the ordinary suburb of Rosigny-sous-Bois and lives only for her football club.But this year, the leaders decided to favor the men’s team, preventing the players from registering for the championship.With her markers, Chloé Wary puts her bright colors at the service of the story, to salute the team’s commitment to the collective field of football and the feminist struggle.
Saison des roses, byChloé Wary–Flblbeditions– 23euros
Fauve Polar SNCF: “No Direction”, by Emmanuel Moynot
(Prize awarded by a jury of personalities)
(Live Tweet) The Fauve Polar #SNCF is awarded to “No Direction” by Emmanuel Moynot at Sarbacane editions @ SNCF # FIBD2020 # BD2020 #BD #Angouleme #FIBD @ESarbacane pic.twitter.com/QrpG938GRx
– Festival d’Angoulême (@bdangouleme) February 1, 2020In this paper road movie in the form of a choral narrative, Moynot follows two serial killers in their mad race across America, like a filmmaker filming on the shoulder.Bloody and hopeless epic, doomed to failure and violence, “No Direction” is a human comedy in twenty chapters that strike the reader in the stomach like so many punches.
No Direction, byEmmanuel Moynot–Sarbacaneeditions– 24euros
Fawnof alternative comics: “Komikaze“(collective – Croatia)
(Prize rewards the best non-professional publication, chosen from around thirty non-professional productions and coming from any geographic origin)
(Live Tweet) The price for alternative comics is given to Komikaze # 18 # FIBD2020 # BD2020 #BD #Angouleme #FIBD pic.twitter.com/ncmmty1HHw
Once Upon a Time in France, written by Fabien Nury and illustrated by Sylvain Vallée
Once Upon a Time in France is such a gorgeous book. One of the best ways that I can demonstrate to you the beauty and artistry that you will find in this graphic novel is to show you a sample page, in black & white, next to the same page in color. Once Upon a Time in France, written by Fabien Nury and illustrated by Sylvain Vallée, is published by Dead Reckoning and makes for a most riveting and immersive story like you probably have not read in quite some time. This is the story of Joseph Joanovici, a Romanian Jew who immigrated to France in the 1920s and became one of the richest men in Europe as a scrap-metal magnate. For some, he was a Nazi collaborator villain. For others, he was a French resistance hero. He undoubtedly played both ends against the middle! It makes for a fascinating story. The graphic novel series was an international bestseller with over 1 million copies sold. Thankfully, Dead Reckoning has collected the entire French series in this new English translation omnibus edition.
Sample one in b&w
I just completed some traveling in Europe and so I’m still processing all of that. Of course, World War II looms large, bursting at the seams of history, as you make your way through such places as Paris and London. It can be no other way. The past pulls you in and makes itself present. The past is always present. It seeps its way into the culture and the daily lives of the natives. History is more respected and acknowledged in Europe than it is in the United States. And that’s not so much a criticism as a simple observation. There is a special connection to the past in Europe that encourages readers and thinkers in all strata of society. It is a culture that celebrates books and has a unique love for comics and graphic novels. That’s certainly not to say that thoughtful expansive works in comics are not appreciated in the U.S. but it is to say that an even keener appreciation by large numbers of readers will be found in Europe, without a doubt. That said, I highly recommend to my American friends that they check out a book such as Once Upon a Time in France in order to get a better sense of the appeal of serious works in comics outside of the United States.
Sample two in color
This omnibus edition collects six books of comics. As I’ve mentioned before, I prefer the typical European format of a hardcover book of comics spanning less than 1oo pages. So, this collection is a total of 360 pages, comprising six books of about 60 pages each. And that is a perfect setup. Tell a riveting and expansive tale within the covers of six manageable books! The European culture accepts that format and treats a series of books such as this in the way that Americans treat following a television series. Of course, you see similar efforts in the U.S. with much of it taken up by the big two superhero publishers followed by various other publishers and rounded out by an assortment of micro, indie and self-publishing cartoonists. Speaking of history, we’re right in the thick of a significant time in comics history as the comics medium continues to redefine itself and position itself within the book market in general. And, again, I say that everyone would do well to seek out this wartime thriller as a brilliant example of what is possible within comics!
A thrilling story that won’t quit.
You will be utterly pleased by reading this impressive omnibus edition. It satisfies on many levels: as a brilliant example of the comics medium; as a wonderful taste of European culture; and as a rollicking good thriller! In fact, I can easily see this book adapted into an amazing series at such venues as Hulu, Amazon or Netflix.
An elegant wartime thriller.
Once Upon a Time in France is a 360-page trade paperback, published by Dead Reckoning.
No one does the dance with death, and life, on the page as well as French cartoonist Blutch. He has influenced a generation of cartoonists, including such big names as Paul Pope and Craig Thompson. You can see it in how they create in ink, how they attack the page. But neither Pope nor Thompson can really match the master. The way Blutch brings his pages to life is more mysterious, even dangerous, truly like a tightrope walker without a net. It’s not only ink, for Blutch. It’s one’s own life’s blood. Blutch is well known in France in sort of similar fashion to, say, Robert Crumb is known in the United States. By that, I mean that Blutch has a reputation for artful and provocative work. When the reissue of Peplum first came out a while ago, I was deep in the process of a lot of things, including a big move and so I do a revisit of this book now, Blutch’s first book translated into English. It began as a serialized comic in the magazine, A Suivre, and established Blutch as a serious artist back in 1996, at the age of 28. And it is the book that New York Review Books chose as part of their entry into publishing reprints of classic work in graphic novels.
Give me a reason to create art!
This is really the sort of work in comics that appeals to me the most: work created by someone who is masterfully pushing the limits of the art form. Peplum is ambitious in scope and highly inventive and original in execution. Having become bored with conventional comics tropes, Blutch needed to pursue comics more as would a painter, filmmaker or novelist. He chose the ancient Roman fable, The Satyricon, as his jumping off point. As this is a satire of Nero’s court, Blutch essentially wished to associate himself with satire on a grand scale. He marries that refined ambition with a low brow reference. Peplum refers to the peplum film genre, the sword-and-sandal Italian B-movie epics of the ’50s and ’60s. With all that in place, Blutch can work as a painter, having created the wash upon which he can structure his canvas.
PEPLUM by Blutch
A good deal of this comic is wordless, so much the better to study Blutch’s work. Often, what you find is a hungry artist feasting upon creating work. He’s set himself up a glorious excuse to paint, as many a painter will tell you. Blutch proves with this early work that he is fully capable of evoking the mystery and energy found in the best work of comics or any other art form. Our story is set shortly after the assassination of Julius Caesar and the focus ends up on the sole survivor of an expedition en route back to Rome. He is a slave who takes on the identity of a nobleman, Publius Cimber. During their ill-fated journey, Cimber’s group had discovered a beautiful regal-like woman encased in a block of ice. What this supernatural entity might mean or be is beyond anyone’s wildest guess. Cimber only knows he must return to Rome with her–and he might be in love with her. Ah, this is a story only Blutch could tell!
You always need a really good MacGuffin.
Is the lady in ice that Cimber covets nothing more than a MacGuffin, an elaborate plot device? Sure, the reader senses that this is probably the case early on but no matter. It’s the journey that counts for everything. Poor Cimber is well over his head. He isn’t even really Cimber! He has pledged his heart over to the enigmatic frozen maiden but, aside from that, he’s a bit of a loose cannon and a tortured Hamlet. Cimber is a bit of all of us, climbing and grasping for something, not always sure of what he wants. Cimber makes for a perfectly fine present day hero even if his life and struggles take place in ancient Rome. What we find in Peplum are the first significant signs of what was ahead for Blutch as an artist. That same wry energy is found in other work such as the celebrated Mitchum, also from around 1996, and So Long, Silver Screen, from 2011. In Mitchum, among the players is none other than Hollywood legend Robert Mitchum who is there to stand on a young woman’s hair during a pivotal scene. Yet another perfectly surreal Blutch moment! And speaking of Mitchum, New York Review Books will be releasing an English translation of this most dazzling book, set to be released April 7, 2020. It will have an English translation by none other than cartoonist and comics scholar Matt Madden. Below, I present to you the cover to the original French version, published by Cornélius.
Here is a graphic novel that many of you, especially in the States, will be intrigued by–or it might make you scratch your head: Les bijoux de la Kardashian, (loose translation, Kardashian’s Jewels) published by Glénat. Of course, this is a book focusing on the ordeal that Kim Kardashian went through in Paris back in 2016. This is a French graphic novel that just screams out for an English translation. Given that Glénat and American comics publisher, IDW, work closely together, it would be easy to see this happen. That said, just enjoying the lively artwork alone is well worth it. Would a U.S. audience not be receptive to an English translation version of this?
Talk about how anything can become content for a graphic novel! The Kim Kardashian hotel heist is actually a complicated story and comics, in fact, prove an ideal tool to sort through the details. Written by journalists François Vignolle and Julien Dumond, this graphic novel is decidedly fact-driven. The artwork is by cartoonist Gregory Mardon who does a marvelous job of bringing what amounts to a classic crime story to life. Mardon’s style is very crisp and clean, as if he were drawing wonderfully concise sketchbook drawings. It is a particular look, very French, exemplified by such legendary French cartoonists like Etienne Davodeau, Jacques de Loustal, and Blutch. So, Mardon’s artwork will evoke for the reader a reporter’s notebook come to life.
The Hôtel de Pourtalès, where Kim Kardashian West was robbed. Celebrities seeking privacy often stay there. From Vanity Fair.
It is quite an undertaking to bring this whole story together. You have two dramatically different worlds colliding: all the aspects of the crime, including the criminals and the police; and all the aspects of the glitzy lifestyle of a true American reality TV icon. The story is based upon police records and investigations into the high-profile crime that took place in an apartment in Paris’ upmarket 8th arrondissement on Oct 3, 2016. François Vignolle, one of the French journalists who co-authored the graphic novel, states: “We explored the routes the thieves and Kardashian took, we went to the places where they were, spoke to sources and took photos of the spots so that the story would be as real as possible.” And it was as if all other news took second place at the time of the media circus. “We no longer were talking about the terrorist attacks in France or Donald Trump in the United States. Everyone wanted to know about the Kim Kardashian theft.” So, all in all, a full portrait of the event and its aftermath.
An unlikely high-profile criminal.
Ultimately, a fabulous story emerges involving a most unlikely band of thieves. The time is right to take a closer look, with the initial story processed in our minds, a story that gratefully did not turn more violent than it might have. And that’s not to diminish at all the very real trauma of being robbed at gunpoint. Only after the passage of time, in hindsight, do we get a full story. The thieves were all past the age of 50, some even past 70. They had no idea who Kim Kardashian was. They initially were just after a ring but managed to stumble upon a collection of jewels worth some $10 million. And their getaway was on bicycles which they had a very hard time with. The whole thing, with respectful hindsight, brings to mind some Pink Panther caper. So, it is no surprise to find a bit of humor. There is no malice here, no ridicule. But you do get a lot of scenes of the queen of reality TV posting on social media.
Kim Kardashian back in her element.
That all brings us back to whether or not it makes sense to have an English version to this graphic novel devoted to the Kim Kardashian jewel heist caper. Is it just too much for audiences outside of France to comprehend? Time will tell. The thieves go on trial in 2020 and there’s talk of a sequel graphic novel. Perhaps the biggest barrier is not language to this story. Perhaps something culturally would get lost in translation. And that’s a shame.
Les bijoux de la Kardashian, (loose translation, Kardashian’s Jewels) is published by Glénat.
Writer Wilfrid Lupano and artist Paul Cauuet offer up the intricately plotted Old Geezers graphic novel series. You can easily jump into the latest Book 3, “The One Who Got Away,” and enjoy a tale involving family, mystery, and more than a touch of whimsy. It is also a grand ole tale of comeuppance. Could that be for the Old Geezers themselves? Ah, time will tell since this is very much a story about how time can heal some wounds while allowing others to fester.
Antoine and Milsey trying to get along.
If you enjoy quirky humor, especially the sort led by a group of offbeat seniors, then this is the book for you. The Old Geezers are: Antoine, a buttoned-down patrician; Milsey, a old seaman who misses the sea; and Pierrot, a boisterous activist who is lively beyond his years. These guys have chosen different paths but, in the end, each seeks out the other. The one person who helps keep them on track is Sophie, Antoine’s granddaughter. Sophie must look after these guys and, in no small way, look after her little hamlet of Dourdouille. After all, there are sinister forces at play lurking in the shadows.
Pierrot, Fifi, and Baba take a stand!
The most sinister villain in this tale is Garan-Servier Pharmaceuticals. It holds sway over the growth or decline of Dourdouille. And, as Pierrot has found out, Garan-Servier is lobbying the European Union countries to ease up on restrictions on its pesticides. This, in turn, kills millions of bees, wreaking havoc on biodiversity and the environment. The relationship between the pesticide lobby and the EU is an inconvenient truth that, in reality, is all too real. It’s great to see this issue in a graphic novel that both entertains and informs. Readers won’t forget ole Pierrot, in his bee costume, speaking truth to power.
The weight of the world on Sophie’s shoulders.
Paul Cauuet’s light and warm style makes all the characters all the more accessible and compliments Wilfred Lupano’s script. This is a very character-driven tale that is masterfully crafted by this remarkable team. The color by Cauuet and GOM has a uplifting quality to it that rounds out and adds to the story’s pacing. There are a number of twists and turns here and Lupano and Cauuet give themselves the time to explore and to develop. Like a favorite TV show, you can delight in this episodic storytelling. You will want to go back to the previous books as well as await more to come.
“The Old Geezers: Book 3: The One Who Got Away,” is presented by Europe Comics and is available in English thru izneo digital comics right here.
Blutch is one of the greatest cartoonists working today. You may not be familiar with him but, once you see his work, you can’t help but fall in love with his fluid line and worldly narrative. This guy is simply brilliant. At 49, he is relatively young. All of us cartoonists seem to age well. Part of it has to do with a bit of arrested development. Just a touch of Peter Pan can go a long way in a youth-oriented industry. If only all could be counted on to go well, then a true artist-cartoonist could enjoy a most meaningful, productive, and youthful life. But things rarely go according to plan. That is part of what the great Blutch confronts in his new graphic novel, “Dark Side of the Moon,” available in French and English at izneo.
All in a day’s work.
Now, one more thing, keep in mind that American cartoonist greats like Paul Pope and Craig Thompson turn to France and worship at the altar of Blutch. This is the time for all the great work in French by Blutch to be translated into English. And, believe me, that is currently happening. Take a look at a recent English version of “Peplum,” published by The New York Review of Books. This is also time for the master to reach ever new heights with ambitious and complex bildungsromans and roman-a-clefs. He does just that sort of thing with this new book which has a cartoonist satirizing his lot in life in a similar vein as Fellini satirizing his. We begin with a dream, an ideal, and how it fares when it dukes it out with cold harsh reality.
Much has been said about Blutch’s expressive line. It seems as if he conjures up the most lively and vivid figures from head to toe. Well, that ability does not come from being showered with likes on Facebook over knocking off a quickie sketch. In Blutch’s youth, and in mine, to be liked was a hard won endeavor that really meant something between two human beings, if it happened at all. And for someone to like your work, well, that meant you must have torn your heart out with elbow grease. Oh, the nostalgia can weigh so heavy as to floor me. In the case of this book, we go back and forth between Lantz, the cartoonist in the bloom of youth and in the pit of middle age. Lantz is on a journey where memory and desire conflate the truth.
Liebling at her easel.
Perhaps sweet and dewy Liebling holds the key to happiness, to perpetual youth. It is this lovely young woman who begins our tale. From her, we find all the energy and promise of youth fully intact. But, alas, Liebling has certainly come of age to go out and get a job and so off she goes to give up her soul to the nearest employment agency. Blutch mercifully sweetens things by setting it all in a fanciful world of the not too distant future. All Liebling seems to have to do at her new job is stick both of her hands in a big blob. Yes, a blob, not a blog. It is a goopy half-sentient network that keeps things running smoothly at Mediamondia, the mega-publisher-content-provider. Okay, you can see the easy segue to Lantz, a master content provider, er, cartoonist.
Pips tells it like it is.
Imagine your favorite pop culture franchise. Okay, that’s what our hero, Lantz, has a pivotal role in. Lantz is responsible for churning out the next installment of The Brand New Testament. The only problem is that Lantz is losing his mind. The passing of time is making Lantz sad again. It’s a whole new world. It’s not like the old days and it’s hardly like it was in the heyday of Pips.
No one appreciates all the toil involved with creating a work of such epic proportions…and all done by hand. Hint: Blutch speaks of his own work and the relative indifference he must confront. There are people who want what he can make but do they really know him or love him?
You will bow down to Cuckoo Puff!
Blutch triples down by giving himself three alter egos. There is a young Lantz and an oldish Lantz. Plus, there is a shrewd youngish character named Blutch, a corporate jester who knows how to play the game. It is this character who needles Lantz and convinces him that, if he refuses to go on with The Brand New Testament, then he damn well better be content to churn out the very next installment of the popular, but decidedly subpar, Cuckoo Puff series.
Nothing goes according to plan.
Lantz will either avoid reaching a breaking point or Blutch will happily dance on his grave. And then there’s the ethereal Liebling. Surely, she must hold a key. This is an utterly mesmerizing work. If you are new to Blutch, consider this an excellent introduction.
DARK SIDE OF THE MOON is a 56-page full color graphic novel and available in a digital format at izneo.