Diacritik Constellation Fall (2): Comic strip Receive mail alerts Legal notices navigation of articles

Still comics?Isn't this story over?We want to believe that there was, recently-finally, about half a century ago-a salutary explosion, followed by some attempts, of restoration first, then above all recovery, which will in turn haveprovoked a few crises where one, two, and even three generations of authors and authors that one would have believed at first sight without ties, even if, for a significant part of them andBetween them, more than respectful of the great figures of the history of the genre, or let's say of the field (of ruins) where some stones are still proudly standing with the effigy of indestructible heroes, barely eroded by the often bad wind of theair of time.

And today ... Does it continue?With the same force?We can wonder, but don't wait for an answer.The comic strip, in its most untimely, marginal, individual or collective, most lively, contradictory, childish, most lucid, exploratory, inexhaustively melancholic manifestations, will have contributed to the gaze and thought as literature and the artsplastics, relying, sometimes ingenuously, the dice of what we hear by “creation».Why would we have finished it?Admittedly, the present time often seems without momentum;and the estate - between no man’s land and pre -square - seems less haunted.And even if it tramples a little;Even if there are many barely launched projects breaking on the walls of thicker and building chilly publishers;Even if many do the foreground, in the hope of maintaining their presence in the bins;There will always be a few dazzling, some lights of lightning on the reserve, some site recovery, some unpublished prospecting bringing us in the end enough works for the file to be far from being closed.This is why the chronicle resumes its course: So May We Start?

1.

Noise in the sky is a “graphic novel» by David Prudhomme published by Futuropolis.Presented as positioning itself “on the margins of autobiography and social narrative» - a way of integrating it into a current which, lately, has taken up a certain magnitude -, it speaks of memory (and) of forgetting - d'Anamnesis -, while operating a sort of report to the present, where the appetite of narrative does not alter the pleasure of the drawing that we feel concretely on each page, even if, that and there, the line and theCutting in boxes and sequences can suffer from the narrative emergency, thus frustrating the too dreamer reader who would like to touch the earth, the air, with the eyes: to plunge into the image as in a fertile country where thought would succeed inOur senses without going through words.Two things hit me at first reading: 1.The boxes are separated by a fairly wide “white», which allows us more easily to detach them, isolate them, look at them for themselves.2.The “sense of contours», with very few unclosed lines, which means that the game with the gray (and sometimes with the colors) is quite particular, as proceeding from a dialectic between filling on one side andAnother side of graphic autonomy research.Which makes the box quite singular, p.82, where the young prudhomme erases one of his drawings, the surface of white produced by the passage of the gum being one of the only ones of the album to present no outline: pure reserve in the defined surface defined.Or the fact that all the day, by day, are flattened of yellow, most often without clouds (with any exceptions - nothing is systematic in David Prudhomme and we thank it), which makesas much more interesting the rare night scenes, in particular the six or seven silent boxes that we discover there, in which there is a great pleasure in diving.We are told that "Prudhomme had this book in him for a long time" and that "more than the story of a transmission or inheritance, it is that of a moult and an artistic personality which turns out", which sounds fairly fair.The place of childhood revisited - where "the author of the idle grove or rebetiko [has grown and] built to become one of the most charming and essential artists of contemporary comics" - is locatedSeven minutes by car from the city of Châteauroux, very close to the military base which housed the US Army.A place like without contours, if not that of the surrounding fields: this limited platitude here and there by peopling curtains which allow future owners to define plots, transforming them into building land.But if, in this French western with horses and various domestic animals, man is gaining ground with the expense of nature, wild or cultivated, what strikes, what "changes the horizon" is this famous“Noise in the sky» which strongly testifies to the persistence of war on the other side of the world: this distant nearby which breaks as noisily as punctually the apparent tranquility of the “here».It is a great merit of having resumed this unrepresentable title, yet at the heart of the subject.This comic strip, much strange than it looks, should haunt its readers permanently - at least those who will distance himself from what would be told to us in the tone of a “little naturalist music» to follow theTransfer paths of the line that require mentally scratching to the cutter of too wise contours in order to bring up the power of the image: to release this unrelated substance which irrigates the secret life of memories.

Alice Guy est la nouvelle bande dessinée de Catel (pour le dessin) & José-Louis Bocquet (pour l’écriture : scénario, dialogues, ainsi qu’un important dossier documentaire – 70 pages environ – en fin de volume), la quatrième chez Casterman dans la collection “Les clandestines de l’histoire».Having recently revised, thanks to Jérôme Prieur, the fascinating file of "cinema before cinema" (magic lantern), this biography drawn from one of the pioneers of the cinematograph falls time. Née en 1873, Alice Guy a22 ans au moment de la première projection publique des frères Lumière, le28 décembre 1995.Strved the previous year as a shorthand by Léon Gaumont, she made, in September 1896, thanks to the latter, her first steps as a director, "outside of her office hours".If she recognizes that the Lumière brothers preceded her (by little) with the sprinkler sprinkled, Alice Guy knows he is the first fictional filmmaker in history: the first director of "animated skits".This is precisely what this comic strip is attached to: animating, according to its own rules, from box to box, from episode to episode, a life still too little known.Because, although having been a real pioneer, his work, both modest and considerable, almost disappeared, or-which is perhaps worse-being attributed to others.We will come across famous characters in the time of the mute, many readers of which will even have the main names on the lips before starting the reading..For my part, even if the shadow of Méliès cannot leave me indifferent, it is the link between Alice Guy and Louis Feuillade which intrigued me the most.Both were born the same year and it was once past thirty that they came into contact in 1905.Feuillade, committed as a screenwriter, keeps her promises and Alice Guy will stage more than one of his scenarios before encouraging him to go to the realization.When, after having initiated a form of speaking cinema, or singing, after having put in a box around fifty phonoscnes ", she will marry, leaving France to settle in the United States, she will offer leafy to Gaumont as" replacement».We know the rest.It is interesting to note that it was during his research for the writing of a leaf biography that Francis Lacassin met Alice Guy in 1963 when she reached 90 years.Collecting her word, he is amazed by what she accomplished which was then forgotten.José-Louis Bocquet writes that he will immediately make him "the heroine of her life", having constantly restoring her right place in the history of the cinematograph, establishing his filmography, and publishing his "pioneer memories".His famous against history of cinema published by 10/18 opens with a chapter entitled "Alice Guy, the first woman director of the world".Bocquet entrusts us at the end of the course that it was Francis Lacassin who passed the torch, entrusting him with his archives so that he "continues his fight of rehabilitation" - not by doing a work of historian, but by practicing his professionFrom stories to comic book stories -, which he took care of with this thick volume of “illegal storms in history» built in great connivance with the designer, Catel.Among the many books that claim today to transmit to us fluidity a little of knowledge, Alice Guy has the merit of bringing something much rarer than seriousness, namely fantasy - the trait of the designer agreeing betterto gaiety, to what energizes life, including in difficult moments, only in melancholy (even if this story is basically terribly melancholy, but it is another case).

Des Vivants est une bande dessinée écrite par Raphaël Meltz et Louise Moaty, dessinée et mise en couleurs par Simon Roussin et publiée aux éditions2024. Encore un ouvrage “hors normes» : de grand format sur260 pages, dont21 de notes très serrées sur trois colonnes, somptueusement relié, cartonné, toilé, ce qui fait honneur aux éditions strasbourgeoises qui sont loin d’en être à leur premier essai.Before talking about what is obvious, let's say a few words about the project.Let's start with its subject: “1940-1942, the network of the Museum of Man is one of the very first networks of resistance to the Nazi occupier."History is more or less known;We meet some famous personalities like Paul Rivet, Boris Vildé, Jean Cassou, Claude Aveline, Germaine Tillion;Yet "After war, Boris Vildé and his comrades did not receive the recognition they deserved, and the entire group of the Museum of Man is sometimes forgotten in the stories of the Resistance."If some of them are dead, shot or deported, before the Liberation, they will always remain living - hence the title of this album which makes the ethnologist Boris Vildé a" sort of Jean Moulin with two years of'advance »and is strong, from the first page, to announce the color:“ The events reported in this book approach as close as possible to historical reality.All the characters really existed.All the words they say are theirs: words found in their letters, newspapers, testimonies, interviews, memories.Traces, fragments of their memories, mounted and adapted to compose a story.»And, just after the last image:“ We repeated what we heard.The story is over.»What the publishers are particularly proud of: this parentheses of fiction in favor of reality - unmanned!-, which may seem a shame "for a publishing house that has so far been built in the refusal of the comic strip of reality [...] a major turn!"Yes, but…

Two things: 1.The assembly is the essential.Raise, arrange, make tights, even virtual, is to really create, while offering the luxury of fading: to disappear with class.And that is perhaps what makes the price of this flattening of this "part of history": of its transformation, very relevant, in comics.2.Suddenly the drawing takes on considerable importance;He is never subject, even if he respects his subject, never distorting him.He resists in his own way. Il se permet tout, que ce soit du côté du trait ou de la couleur ; il est plus que jamais signé par son auteur, Simon Roussin – Des Vivants trouvant naturellement sa place à côté de ses précédents livres, et particulièrement ceux publiés chez2024 : Lemon Jefferson, Heartbreak Valley, Prisonnier des glaces et Xibalpa.There is something at the same time radical and light in this work which can sometimes seem carefree, while showing a number of graphic requirements, finding great proposals in response to what he will have questioned.For example: "The drawing accompanies these voices [of those who are called here: living people], brings them back to the time of the book, but must not interpret.That was really the main issue - Simon Roussin) ".Do not worry, this story will not be summed up in three sentences;If you are intigored by what has just been said, you will have to get the book. Et si le silence vous attire, vous pourrez aussi apprécier les dessins, illustrations, affiches et planches de Roussin accrochés sur les murs de la galerie Arts Factory,27 rue de Charonne à Paris (du 5 octobre au20 novembre).

2.

The sociological, historical approach, etc..-The real that bursts into the field where, from Little Nemo to Krazy Kat, from Fatal Major to Masked Cucumber, mountain pastures in Mont-truth, have continued to arise in inventors of worlds, space-time buildersnarrative and graphics - sometimes we have more than she.We then ask to be silent to listen to the rustles, the murmurs - but also the deafening crash - which give certain boards yet treated on the surface a very curious relief.It is always a pleasure to discover silent comics which it is problematic to account, because how to respond to silence other than by silence, if not by digging the exegesis of the drawing as far as possible, focusing at most tiny detail.The drawing ?What cannot be summed up, in the way some do (wrongly) a story.

Salt and sky is a small book by Marc-Antoine Mathieu printed in two tones, black and pantone gray-his first book to the association which is not in the collection "Flie de Mouche".Made of a series of 36 drawings of the same format (Italian, one per page), preceded by a short introductory text, cut into three parts - “it will once will be a dry sea… /… which will only remainSalt… / A salt that will have burned all eyes… »-this story was thought of“ as part of a carte blanche given to the author to create a stroll through the Park Fosse-aux-Ours of Lyon."All the projects of Marc-Antoine Mathieu have the power to deploy both in the space of the book as in immense volumes, hangars, exhibition halls, open or closed.To give an idea of this bookish adaptation of a stroll, let us note a taste of the purity which does not prohibit the designer from giving in to the temptation of the searched drawing on which we can stop at length, even if the representation of the movementremains privileged.And that the sand - from a desert from the end of the world as always - this time covers the wreckage of a huge ship.Some humans schematized to the extreme, the look turned on (as burned?), Deseased this wreckage which, once the work is completed, rises, taking the path of heaven, while those who do this work cover, under theEffect of amazement, sight - but to see what, if not a disappearance?We are told that this is "a dreamlike fable on the human condition".Why not ?But personally, I prefer to know nothing about it - and even understand nothing about it.No desire to be taken by the hand.What a pleasure not to read the same story twice: not to swim twice in the same river.So the reader closes salt and the sky-a book which requires having an ear-without a noise.

20 km/h is a work in Woshibai, 32 -year -old author living in Shanghai, published by the Ego employee.It makes in the 320 pages at the rate of one or (most often) two drawings per page, in black and white, with the exception of a brief sequence showing a rainbow in quadrichromy.Silent comic strip, again, was a number of ideograms at the opening of sequences - their title, probably.20 KM/H est une bande dessinée relativement expérimentale, je veux dire qui ne ressemble à rien de convenu, même si procédant souvent par paraboles, usant d’un langage graphique plutôt épuré, flirtant comme Le Sel et le ciel avec l’onirisme et bruissant de mille sons.Continuation of puzzles - to be resolved or not - rather than looking for abstraction. Le titre de cet ouvrage reprend celui d’une séquence où l’on voit une carriole tirée, non par des chevaux, mais par des papillons traverser un paysage plutôt vide ; sensation étonnante de vitesse – mais peut-on lire cette histoire avec un regard à20 KM/H ? Singulière découverte que ce dessinateur de la Chine d’aujourd’hui, porteur d’un humour plutôt décapant, comme dans cette séquence intitulée Fiction où un “écrivain» frappe à la machine un texte illisible sur un ruban sans fin, aussitôt retaillé en fines bandelettes de papier : où le plaisir graphique, le goût de la ligne, de la composition, semble primer sur le récit qui pourtant circule, se déploie en surface en tous sens.

Totale Résistance est un livre d’Helge Reumann publié par Atrabile qui a déjà à son catalogue plusieurs ouvrages du même auteur, dont l’incontournable Black Medicine Book en2017, et SUV en2019. Composé d’une suite de short stories, muettes comme il se doit, publiées entre2000 et2021 dans divers supports dont Strapazin et Drozophile, Totale Résistance remet en jeu certaines caractéristiques du travail de Reumann, reconnaissable au premier regard et en perpétuelle métamorphose : d’une totale autonomie, d’une inactualité souveraine (d’où sa force de résistance), d’une rigueur implacable.The boards - in black and white as in color - are printed, according to the notebooks, on various colored bottoms.Total resistance, which is constantly bathed in this strange clarity which illuminates the scene of our dreams, is one of the most beautiful books of this return.And as always, the absence of words leads us, not to accelerate the reading tempo, but on the contrary to slow it down in order to take the time to linger on the smallest detail - the slightest graphic idea.The power of these brief stories of Helge Reumann, as from his general work, comes from the great coherence of who is obsessively declined from box to box, image in image;And also because this singular universe, "not interchangeable", imposes no directive as to its interpretation.We win on all fronts, especially those - intimately in solidarity - of the search for authenticity and the quest for freedom.If the reader can be captive, it is only because he will have desired it.But what is granted to him in return as a currency is one of the most precious goods that is: time physically, emotionally, found.

3.

It is still too early to talk about Charles Burns maze whose second episode has just been published by Cornélius. S’il convient de se précipiter les yeux fermés en librairie, d’autant plus que ça fait bien deux ans que nous l’attendons – le premier épisode étant sorti à l’automne2019 ; et nul ne sait quand paraîtra le troisième (et probablement dernier, vu que Burns apprécie les constructions en trilogie) –, nous ne sommes pas encore prêts à le commenter, ce suspense nous rendant quasiment aphasique, étant simultanément comblés et travaillés par une nouvelle attente, celle d’une suite dont nous ne savons rien, même si certains seront persuadés de pouvoir en pressentir l’essentiel (étrange leurre).Of course, just to break the silence, it is possible to try a brief exegesis of the slow metamorphosis of its line, carved with frankness, not devoid of delicacy, typical of a certain American comic strip which apparently challenges schools'Art, while borrowing them from passing certain ways of doing, sometimes academic, of which it is certain that they seduce a fairly large audience respectful of the codes of comics;A paradoxically inventive line in the refusal to venture into pure graphics, touching by its distrust of sensuality, and very curiously flexible via the less frozen use than it seems of a certain stiffness - the essentialBeing how fiction, well served by the black and white of the drawing, and the coloring, walks.The title is not maze (in the singular), but rather maze (in the plural).We will come back to this when the final point is affixed.

The wonderful part 1. Les mains d’Orsay, est une bande dessinée de Ruppert & Mulot publiée chez Dargaud.We do not know how many volumes are (or not) planned, but this time we will not expect to quickly free up some impressions at first. Souvenons-nous : Florent Ruppert et Jérôme Mulot en ont impressionné plus d’un au moment de la publication de leur premier livre, Safari Monseigneur à L’Association en2005.Not far from around twenty opus followed, various both in form and by the content - falsely classic duplus (playing with the clichés of the genre) to the most radically open (to other areas, from dance to theInstallation) - confirming a presence: that of a duo which we will never know exactly who has done what, but whatever, because, on arrival, the work is singular;A duo that sometimes works in collaboration, going from two to three times two hands, and even punctually to a whole band (the brothel). Leur ouvrage publié chez un éditeur mainstream le plus convaincant jusqu’à aujourd’hui était le jouissif Portrait d’un buveur, écrit et dessiné en collaboration avec Olivier Schrauwen (Aire Libre Dupuis,2019).The wonderful part, of which we are revealed the first 150 pages, is, if not the same tobacco, let's say a successful compromise which should harvest, at least we hope, a certain success.

Let us start from the title which will evoke for some two or three others presenting the same beginning: the part of the fire / the cursed part.Then from the subtitle of the first volume, the hands of Orsay, which refers to another just as famous, that of the fantastic story of Maurice Renard, the hands of Orlac (1920), several times adapted to the cinema, in particular by KarlFreund in 1935 with Peter Lorre. Orsay nous fait aussi songer au musée du même nom situé dans l’ancienne gare qui menait à Orsay où le XIX^e siècle, celui du merveilleux contre le mystère (André Breton), est à l’honneur.But perhaps they are false tracks, even if they judiciously evoke a still close past, as well as certain forms of popular literature.The wonderful part is not exactly, as we are suggested, an "unexpected excursion" of our duo in science fiction (or the fantastic, like less circumscribed).It is the pursuit of a work where it is primarily a question of dealing with bodies, their changes: recurring reason for contemporary art - all forms and techniques combined. S’ils s’engagent dans un récit où s’opèrent des rencontres entre humains et une forme d’altérité radicale, Ruppert & Mulot conduisent leur affaire de manière, comme toujours, assez “tordue», traitant par surprise de la beauté ou de la douceur – sujets difficiles en bande dessinée, si l’on désire échapper au sentimentalisme, ou dépasser les limites de l’humanisme standard.What is remarkable in this story that seems to revisit our daily life in a dreamed way is the invention of all: these famous others who are not like anything we know - nor aliens of more or less humanoid appearance,Nei specters -, which arise from the force of the image and about which we must go through our own imagination to imagine them sensually: touch them, feel them, bring them some contours, thoughts and feelings, both indefinable anddeeply concrete.

Psychoanalysis enthusiasts - Lacanians first - will be delighted with the choice of this name, and will have fun.“All», Florent Ruppert tells us, "are sweet, calm, peaceful beings, they are very beautiful, and we cannot really do much with.All of them are beings that we must represent, they have a presence, but they are also containers.When a character touches a whole, he is projected in a parallel universe, it is as if he entered the soul of the whole […] they do not work with the same energy as us, they have no mouth, they can touch the ground, but also float.Suddenly, we can go towards a kind of abstraction.In fact, what interests us with these all is to create something that is [...] of the order of beauty.»And Jérôme Mulot:“ The fantastic is the metaphor of the sensory.All this slightly distorted, plastic part is only a graphic extension of things rooted in the unconscious, the emotions, the interiority of the characters that the comic allows to transcribe visually."Once again, we will not tell the story, we will be content to note a permanent gap between the various levels of interpretation of the story which prevents him from becoming heavily demonstrative, or naively edifying;We must take what happens as we do in our dreams which sometimes enchant us and sometimes terrify us.It’s a very soft nightmare;Or, on the contrary, a journey that is both wonderful and dangerous in the most violent of the human business where bodies are fighting to remain, not only alive, but reborn to the envy - the problem not being to refuse allform of mutation, but to guide the power of metamorphosis which is attributed to us in the sense of obtaining an additional life of life, manifesting a relationship just to the concept of survival.To continue is also to explore lost continents - beauty is one - and thus maintain, even raise the level of desire to the highest.In short: Leave the valves of imagination wide open, and do not curb the hand that draws.And above all be careful not to deliver any message whatsoever.We are delighted in advance to discover what will happen in the next volume (s) of which we are lucky, much rarer than you think, to get to know anything.

Now a curious story: the one that led me to offer me one of the most beautiful city portraits ever drawn: Brussels, Ever Meulen, published by Louis Vuitton as part of his “Travel Books».If I admit to the shell of what the luxury merchants do, in the context or not of cultural patronage, I must admit that, when a great artist responds to their order, the result is sumptuous and, moreover, sold toAn acceptable prize (that of a lambda art book, an exhibition catalog for example).

Brussels, released shortly before summer, quickly became not found.Having long been on the lookout for what Ever Meulen can produce, I had heard of it.I hardly expect in principle to acquire a new work by the author of Green Luch, Verve, or Automotiv.So I went to several very good bookstores, but I heard myself say each time that this “Travel Book» was out of stock.I had ended up mourning it, waiting for a hypothetical opportunity on ebay or elsewhere.And then, one beautiful day of this early fall, I remembered that there was a Vuitton shop where "La Hune" was once, on the side of Saint-Germain-des-Prés.So I went there, to try a last chance.Nothing less natural for me than penetrating this kind of store where you are very well received, but where you immediately feel like a wild animal landed on a distant planet where everything is incomprehensible.In these luxury stores, overpriced objects seem untouchable, not because it would be forbidden to touch them, but because the very idea of touching them with the eyes would never come to our mind.Once the threshold has crossed, a kind saleswoman asks me what she can do for me.I answer him that “I am looking for a“ Travel Book »named Brussels.»

This title does not tell her anything, but she thinks that he could be in the reservations in the basement.She asks me to wait, time to undertake some research. Je ne sais comment tuer cette attente (“je ne peux plus tuer personne en prison, sauf le temps» dit Henry McHenry à sa fille Annette, à la toute fin du film de Carax), tentant de dissimuler mon malaise en faisant semblant de chercher à comprendre le lien secret entre ces fameux produits de luxe, sacs et autres, qui m’ont toujours étonné par leur banalité triomphante (pour reprendre une expression d’Igor Stravinsky) et ce livre d’une classe folle.The minutes pass;Hope falls asleep.I am on the verge of taking off when the young saleswoman returns triumphant with the book, which I finally discover: even more beautiful than hope.I propose to pay the bill as soon as possible;But she confides to me that it is offered to all buyer a particular setting to protect it: a very solid cardboard box, and besides quite pretty, the Louis Vuitton brand being quite beally typographed. Elle me reprend des mains l’ouvrage, me demande encore un peu de patience, avant d’entrer dans un nouvel espace interdit aux visiteurs, pour se mettre en quête une nouvelle fois de “l’objet idéal», celui pour lequel le “client roi» est prêt à tout.The night is not far from falling.

Another a few minutes that last leads and, the book twice packed in hand, I finally find the open air.Bringing me into the metro, I dare not get him out of his precious box, totally disconcerted by having a Vuitton product.But, it was worth it.As I said: Brussels borders on perfection.Try me, try your luck.There may still be a few copies in one of these stores that you and I would never have imagined one day penetrate.Or one night-because what I just told may have happened in a dream.

4.

Des deux livres que Nadja vient de publier chez Actes Sud BD, Le Fil d’Ariane et Le Jardin d’Ariane, c’est au second – celui qui s’adresse aux enfants – que va ma préférence, peut-être pour des raisons de forme, le texte étant inscrit en caractères d’imprimerie, noirs ou blancs, sur les doubles-pleines-pages peintes, plutôt que dans des bulles, comme c’est le cas pour le premier – celui qui s’adresse aux “grands» (dont en principe je fais partie), mais dont le dispositif formel ne me parle guère, m’empêchant d’apprécier le lien organique établi par l’autrice entre image et récit. Ariane est un “sujet» magnifique, un thème susceptible de provoquer d’innombrables variations.Barely the Ariane thread opened, we discover some verses of the famous lamento of Monteverdi. Ayant sous la main plusieurs enregistrements de cet air si puissamment mélancolique, je le réécoute pour la n^ième fois.But by rereading the garden of Ariane rather - this small theater painted on paper where inanimate figurines and dolls start to live, once the child is sleepy.Here, fable not being parable, the meaning is more open: of a disconcerting simplicity which, paradoxically, brings him a certain force.As we know, children love that we are rereading their favorite stories infinitely.When they have not yet learned to read, they listen carefully to the reading that is given to them, freely letting their gaze wander on the images.And it is then that various dialogues intertwine.The book is a place of discussion where nothing is closed - where everything that has been (and sometimes too much) settled can be, if not disregarded, say: changed, improved subjectively;Where not to understand everything is a chance and not a problem.

Le Club des amis de Sophie Guerrive est une très belle série d’albums destinés à la jeunesse publiée aux éditions2024, dans leur collection “4048».A second volume has just been published and it is an enchantment. On y découvre que “tous les oiseaux apprennent la magie dès qu’ils savent voler», ce qui leur apporte, entre autres choses, “un regard mystérieux».What happens to this band of friends (bear, snake, bird ...) follows its own logic which is the one where the game with words, with ideas, materials, seasons, etc.., must agree at every moment in the drawing, unless it is the opposite.The invention seems so free, so spontaneous, so fresh - and yet very classic, nourished by old readings and memories of time after birth.“Where are we going now?I do not know.We follow the current.» L’adulte qui tombe sur cette histoire est lui aussi touché, non parce qu’il serait resté un enfant, mais parce qu’au fond, c’est sa manière d’être : non de suivre le courant (au sens d’être à la page), mais de se laisser emporter par ce qui vient, pour le plaisir de s’égarer, de se désorienter, avant de retrouver son chemin en retissant des liens avec ce qui l’environne, en toute amitié, non seulement avec ses semblables, mais aussi avec les autres : le monde extérieur, la nature ici principalement.And for that, we no longer count the passing time: infinite, like the sea or the reading.

Signalons pour terminer la réédition bienvenue chez Dargaud de deux albums de F’Murrr datant du début des années 1990 : Le Pauvre chevalier et Les Aveugles qui retrouvent enfin leur format d’origine (17 x27).Pre -published first in (to follow), then in album at Casterman, these two stories are today increased by a hearty file made up of studies, sketches, work notes, showing how much F'Murrrwas perfectionist and always in research.With this diptych, which remained without follow -up, the author of the genius of the mountain pastures and Tim Gallee marvelously regulated his accounts with medieval literature, thus registering in a certain tradition by offering his own version, as erudite as free.But, more than in hypothetical opening, the poor knight as the blind must be rather considered as a way of completing the loop, offering an astonishing completion of a work that will have imposed its author among the biggest comic book cartoators of his time.After 1992, F’Murrr will mainly return to the mountain pastures, distilling the dropper for a few additional variations.He will also continue to draw in notebooks: two thousand girls or we do not know what impromptu pencil.There is still reissue work to accomplish, for example, new volumes of the Integral of the Ansbuilders.Case (to follow).

David Prudhomme, Du Bruit dans le ciel, Futuropolis, août2021,208 p.,25 €Catel & Bocquet, Alice Guy, Casterman, septembre2021, 400 p.,24 € 95Raphaël Meltz, Louise Moaty, Simon Roussin, Des Vivants, Éditions2024, octobre2021,260 p.,29 €Marc-Antoine Mathieu, Le Sel et le ciel, L’Association, septembre2021, 48 p.,25 €Woshibai,20 KM/H, L’Employé du moi, octobre2021, 320 p.,25 €Helge Reumann, Totale Résistance, Atrabile, septembre2021, 128 p., 30 €Ruppert & Mulot, The wonderful part 1. Les mains d’Orsay, Dargaud, septembre2021, 156 p.,22 € 50Ever Meulen, Brussels, Louis Vuitton Travel Book, mai2021, non paginé, 45 €Nadja, Le Fil d’Ariane et Le Jardin d’Ariane, Actes Sud BD, septembre2021,224 et 32 p.,26 et 15 €Sophie Guerrive, Le Club des amis2, Éditions2024, collection “4048», septembre2020, 56 p., 14 €F’Murrr, Le Pauvre chevalier et Les Aveugles, Dargaud, mai2021, 96 et 128 p.,22 € 50 et25 €

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