The Dargaud publishing house has come up with the excellent idea of choosing some of Georges Simenon’s novels (excluding those in which Inspector Maigret takes centre stage), and converting them into comic books. They intend to use two scriptwriters in turn, as well as different illustrators, for each of the eight publications planned over the next few years.
The first of these publications is entitled “Le passager du Polarlys”. I wasn’t sure when I saw this new title in bookstores, but the name of Georges Simenon on the album convinced me to give it a try. And what a great reading experience it was. Everything is there: an interesting plot, very well-executed drawings, endearing characters and, above all, the sea with all its challenges, especially at the time when the novel was written.
We sail along the Norwegian coast, with its small villages and perilous access in heavy weather for a summarily equipped ship. The colours chosen also lend themselves well to the drama unfolding on the boat. In short, you finish reading and immediately want to pick up the story again. You won’t be disappointed.
The graphic novel “Une saison à l’ONU” (A season at the UN) makes it easy to understand the various challenges facing the UN, this necessary organization, but one that is largely hampered in its interventions.
International crises and the complexity of day-to-day political maneuvering are not lost on the author, who nevertheless chooses to adopt a light-hearted tone to keep the reader’s interest throughout the book. Funny stories, humor and confidences alternate to bring the story to life.
We all know how difficult it is for the UN to pass resolutions. There is pressure from all sides and the use of veto powers. As a North American, I hear more about the use of the veto by Russia or China than by the United States. The author puts a figure on the use of veto by all the major powers and the result is surprising.
The reader gains a better understanding of the grammatical mastery and compromises required to ensure that a note from the UN receives international approval. You have to know how to dilute and spare sensitivities if you want to be able to publish without generating too much opposition.
In short, “Une saison à l’ONU” is a graphic novel full of interesting and relevant real-life stories. The book demystifies some of the UN’s activities in New York as well as abroad.
To pay off her student debts quickly, Kate Beaton, a young Nova Scotia resident, decided in 2005 to go and work in northern Alberta for oil companies exploiting the tar sands. At the time, this trip west was popular with Canadians looking for a lucrative job. So she left the paradisiacal landscapes of Cape Breton to plunge into the world of Syncrude and Shell in Fort McMurray.
It was then that she realized what life was like on construction sites occupied mostly by men far from their families, many of whom had behavioral problems. Wherever she found herself, she suffered harassment in the form of derogatory remarks, insults, and eventually sexual assaults.
For these workers, loneliness and survival take on a completely different meaning than for the rest of the male employees in these isolated posts.
A multi-talented storyteller and cartoonist, Kate Beaton published a graphic novel in 2023 describing her experiences. She denounces “a harsh and complex system, which exploits natural resources as coldly as it does human beings”.
“Toxic Environment” is less about the destruction of habitat caused by tar sands mining than about the toxic working environment endured by the few women working on these sites.
Time Magazine, The Guardian and The New Yorker hailed this graphic novel, which also happened to be the winner of the Canada Reads 2023 contest. It was published in English under the title “Ducks“, probably to remember all those ducks caught in the oil that made headlines at the time.
Painting of Blake and Mortimer : la vallée des immortels.
This is step 2 of the enlargement work I started from the Blake and Mortimer comic book: The Valley of the Immortals. The original album is at the bottom of the image above to give an idea of the original scale.
I want to use the entire 24 × 36 canvas space starting from a standard size comic book. I must modify the scale by adding an extra 10% to the height. However, when comes the time to draw the perfect circle located at the top left of the album, a standard 1:1 scale must be used so as not to transform the faces of the two heroes who are looking at us from the front. A painting made with two different scales does not produce a true copy, but it is still acceptable and realistic.
Trying to match an album’s original colour often requires mixing four different colours or more. Experience has shown that any newly created colour should be allowed to dry for several minutes on another canvas to ensure that it does not deviate too much from the desired colour, because it darkens when it dries. Mistakes are inevitable, however…
It looks as I will complete the canvas within the next few months, providing I work a few hours each day.
A third and final article will be published when the painting is completed.
Blake and Mortimer: Huit heures à Berlin (Eight Hours in Berlin).
This new album of Blake and Mortimer adventures has received excellent comments from the faithful readers. It is the first time that José-Louis Bocquet, Jean-Luc Fromental and Antoine Aubin work together and they make a great team.
For several years, the combinations of authors and artists have followed one another to ensure a constant rhythm of publication, that is to say, one comic book of Blake and Mortimer per year.
For Dargaud-Lombard, this is a significant source of revenue, as the series has had a worldwide following for several decades.
“Eight Hours in Berlin” plunges us into the Cold War, at the time the Berlin Wall was just built. Older readers will be familiar with the events surrounding the construction of the wall, but for younger readers it will generally be a first but accessible approach to this period.
Everything is well thought through in this album: there are notions of history and politics, period reconstructions of the exterior architecture, beautifully designed furniture, superb vehicles and the colors are judiciously chosen by Laurence Croix.
The scenario brings us between Germany and the former communist bloc countries. As we progress in the story, we walk through a tunnel created at the time by the West to listen to the conversations taking place in East Berlin, we enter an old asylum supposedly abandoned long ago, etc. Moreover, as always in this comic book, the mixture between reality and science fiction adds to the interest.
The authors try to rejuvenate the old Mortimer a little without losing the fans along the way. The women get a positive or a negative role but they are no longer handbags holding potiches. It’s hard to imagine that we would have ever seen a nude on a garage calendar in an album of this series. What a scandal! It wouldn’t have been accepted at the time Edgar P. Jacobs wrote his first album, after having worked with Hergé for the Tintin albums…
In short, this twenty-ninth album of the series is a great success. It is obvious that this trio of creators will be entrusted with other albums.
Enlarging the Blake and Mortimer album: La vallée des immortels tome 1
In February 2023, I began transferring the cover of the Blake and Mortimer album “The Valley of the Immortals – Part 1” to a 24 x 36 inch canvas.
The photo above shows the original album sitting on top of the canvas and the work in progress. There is still a lot of work to do before the drawing and lettering are finished.
Then comes the coloring stage, to get the tones as close as possible to the original album. The cover has a lot of colors, which is not the case with many other Blake and Mortimer albums.
This particular album resonates with me for several reasons. First of all, the authors use in the scenario a Cessna C-170B type plane, which brings back memories of flying. Indeed, by a happy coincidence, in 1981 I flew across Canada in this small aircraft dating from 1952. The plane was not equipped with any air navigation instruments, except for an old compass. We were not yet in the GPS era! I published the story of this flight from St-Jean to Edmonton on my blog.
Another reason that increases my interest in the album is also related to a memory. On the cover, Mortimer is in Wan Chai District, a district I visited in 1990 during a trip to Hong Kong and the New Territories. At that time, the Cathay Pacific Boeing B-747 used the legendary Kai Tak airport and flew the approach over a huge demonstration of more than 100,000 people commemorating the anniversary of the Tiananmen Square massacre.
I will be posting more photos of “The valley of the immortals” painting over the next few months, numbering the title of each article so that those interested in the subject can find their way around.
Acrylic painting in progression of Tintin and the Black Island.
Welcome to the second and last part of Tintin and the Black Island. The photo above shows the clouds almost completed. The yellow sky was a problem, because once on the canvas, the color became too dark as it dried. I had to find a recipe for a lighter yellow than the one on the original cover so that as it dried the color would get darker and match the color of the album.
Details of the castle of Tintin and the black island.
The photo above shows the progression of the castle and the island, but this time with the birds as a bonus. Hergé drew a lot of black birds around the castle, which adds to the sinister look of the place. But he also thought of drawing two larger birds in the foreground, of which one seems to be heading towards Tintin.
Painting in progress of Tintin and the Black Island.
The painting is progressing rapidly. I have already worked on it for about a hundred hours to get to this point. The sea has received all its touches of black paint to form the appearance of waves.
Scale copy of Tintin and the Black Island.
The picture above gives an idea of the size of the painting. The painting must often be placed on a table to paint the elements that require great precision.
In the background of the photo, a journalist from the Canadian news channel RDI is seen on television. He is commenting on the street blockage situation in Ottawa by truckers during the Covid-19 pandemic. The protesters fight for their rights, but do not respect the rights of the citizens of Ottawa who, for weeks, are trapped in their neighborhoods. The Canadian government finally put an end to the situation by invoking the Emergency Measures Act with the added bonus of a $306 million lawsuit brought by residents against the protesters.
24×36 picture of Tintin and the Black Island completed.
Above is the completed painting. You will notice that the white tones of the boat differ on the back and side. There is white combined with black and a touch of yellow for the side of the boat, rather than the pure white required for the back. It took some experimenting with colors to finally realize the need for yellow.
The waves flattened by the boat are now just rounded bubbles behind the boat. However, on the sides, the appearance differs because the movement of the boat breaks the waves: Hergé therefore ensures a different treatment of the foam. He thought of everything, as usual!
It is now time to move on to another project. I am not sure yet, but I am thinking of “Blake and Mortimer” these heroes of Edgar P. Jacobs, a great master of the clear line style who initially worked with Hergé.
Glénat just published a book titled “Edgar P. Jacobs le rêveur d’apocalypses”, if you want to learn more on the subject…
In the photo above, you may have recognized Tintin dressed as a Scotsman as he faces the evil Dr. Müller. These two characters are from the comic book Tintin and the Black Island. A majority of French speakers probably read this album in their youth. And, even as adults, some of us (myself included) have revisited this work by Hergé to get a fresher look at the album.
The restrictions and confinement of the Covid-19 pandemic allowed me to devote more time to drawing and painting. I decided to copy the cover of the Tintin album “The Black Island” using acrylic.
The scale drawing of a Tintin album is close to a 2:3 ratio and so the 24″ by 36″ format was almost a perfect fit. Below, you can compare the difference in scale between the original book and the drawing in the making.
Pencil and scale drawing of Tintin.
A 2H graphite pencil for drawing on canvas will require less dedication when it comes to erasing the most obvious strokes and laying down the paint. The one I used (HB) was too dark and required more work than expected.
Reproducing a Tintin album leads us to progressively notice the genius of Hergé, this Belgian creator. We linger on his editorial choices, the composition, the angles. Drawing the rocks of the Black Island and their shadows is, in this respect, very revealing.
24×36 drawing of Tintin and the black island
In the photo above, Tintin is heading towards the Black Island. We can feel him anxious, hence his slightly forward-leaning posture. He scans the island straight ahead. Hergé could have drawn him straight on his boat, confident. He chose to position him as an observer of a problematic situation. Similarly, Snowy looks at us with a worried expression and we have to repeat his expression exactly so as not to change the atmosphere of the scene.
Still missing are the black birds around the island, one of which seems to be heading straight for Tintin. You will see them in the next article: they are numerous, black and do not seem very friendly.
The sky, meanwhile, is not covered with pretty cumulus clouds but rather with streaky, tapered clouds invading the horizon, many of them dagger-like. Placed obliquely across the cover for added dynamism, Hergé also gave them a slightly circular shape.
The sky is painted first on Tintin’s picture.
When painting the letters, one realizes the editorial choices of Hergé. Several of these features require attention, including the letter “O” which is not round but oval and leaning to the side. Also, Hergé aligns the two words of the title to the right and this has an impact when calculating the spaces between the letters.
In trying to reproduce a color exactly, one must make several attempts to discover the recipe. Often, three or four colors are combined to achieve a satisfactory result. And when we are satisfied with the tone, a surprise awaits us: once placed on the canvas, the acrylic paint changes color and becomes much darker as it dries. Trying to predict the result after drying is therefore a must.
Non fiction comic book “Mégantic – Un train dans la nuit”.
We have all heard of the tragedyexperienced by the inhabitants of Lac-Mégantic in 2013, when a driverless oil train from the CP railway company pulling hundreds of cars of explosive petroleum derails in the middle of the night, explodes and kills 47 inhabitants of the city.
The comic book (or graphic novelaccording to some) “Mégantic – Un train dans la nuit ” adds to the information that we already knew about this tragedy. It also exposes several key pieces of information overlooked by the media.
Author Anne-Marie Saint-Cerny worked for years on the file and, in order to convey the content and the emotions in images, enlisted the help of Christian Quesnel. The result is extremely interesting. The formula works: the drawings are very precise, the layout leaves room for the reader to reflect on the events, the colours are appropriate.
In the train explosion in Lac-Mégantic, there are multiple factors to consider, among others:
1) Executives of the CP company making catastrophic choices.
2) As always, a desire to meet the demands of shareholders. There is a reduction in staff and the company self-assesses when it comes to safety.
3) One driver only is allowed for a train carrying hundreds of tanks of explosives.
4) Politicians agree to the new cuts proposed by the company.
5) There is some magical thinking involved: if something goes wrong with the driver, the train stops on its own thanks to a mechanism which, however, is always likely to fail eventually.
6) Dated rails.
7) The transport of dangerous goods is granted to the MMA, a company with a dubious reputation .
8) The DOT-111 tanks are too fragile for hazardous materials and targeted in more than 25 surveys.
9) There is an agreement to tamper with the oil bill of lading. Instead of indicating the code PG1 (the most dangerous, the most explosive) as it should be, it is instead PG111 (not dangerous) that is written.
10) The lead locomotive is terribly worn.
11) The driver reports a problem with his old locomotive. He is ordered to continue on his way.
12) In Lac-Mégantic, the train is heating up. The driver is ordered to apply the brakes and let the engine run. The driver is then allowed to leave the premises and go to bed. This is one of the repercussions of allowing a single driver on a train.
13) During the night, a fire starts on the lead locomotive, the one that had problems. The firefighters shut down the engine. “By turning off the engine, the air pressure in the air brakes is released. Eventually, the train will start to move on its own and descend the slope towards Lac-Mégantic.”
With just one driver gone to sleep somewhere, there are now 5,000,000 litres of explosivesstarting to move on the rails and no one will stop them.
“Firefighters believe they are fighting low flammable oil. They are unaware that the CP and World Fuel have falsified the papers, camouflaging their oil classified as the most explosive and dangerous.” There are 47 dead, including several suicides.
Now that there has been a disaster, those involved directly or indirectly are passing the buck, as is the custom in tragedies. The graphic novel mentions, at the political level, the names of Denis Lebel, Lisa Raitt, John Baird and later Marc Garneau. At CP, the author mentions Hunter Harrison. The MMA’s CEO Edward Burkhardt is also mentioned.
Changes happen, but not the ones you would think…
Naomi Klein analyzes the “shock strategy” devised by Milton Friedman. In step 1, “we take advantage of what the population while it is still dazed: they will not be able to oppose what we want to impose on them.” The zoning is being quickly changed to include the expropriation of houses that are totally outside the disaster-affected area. There are some people who are interested in these properties…
In step 2 of the “shock strategy”, we “use the excuse of mandatory decontamination to wipe out the Old World. Excluding the population from the scene of the tragedy, so that they cannot cling to it, so that there is no going back. “
Finally, step 3: “Faced with a population whose shock has been exacerbated by the destruction of its landmarks and habits, we can launch a reconstruction or reinvention which will be received with resigned acceptance“. We have the case of people living in Fatima, a remote area spared by the disaster: owners must quickly sign their expropriation or they shall lose everything. When the former owners are finally gone, a Jean Coutu pharmacy comes to settle on the vacated land.
On the legal side, the small players are targeted and the investigation is limited as much as possible. Takeovers are carried out and returns to shareholders multiplied.
The book flaunts some of the political and entrepreneurial maneuvers aimed at protecting the railway companies. Even at the dawn of 2022, eight years later, the rails still pass through downtown Lac-Mégantic.
“MMA-Canada, essentially bankrupt, has paid nothing and has not been sued.“
“Nothing has changed in rail laws in Canada since the tragedy: companies self-regulate, self-monitor and, in the event of an accident, self-investigate. Thus, it was the CP itself that investigated the deaths of three of its employees in an accident in February 2019 in British Columbia. The CP investigator, prevented from investigating, denounced his employer and called for an independent investigation by the Royal Canadian Mounted Police (RCMP) and the Transport Safety Board (TSB), an investigation immediately accepted by the chief investigator responsible for the case at the TSB. That same day, this TSB investigator was dismissed from his post. The CP investigator concluded on a CP no-fault.”
Guy Delisle took fifteen years to write this graphic novel. He tells the story of the kidnapping for ransom (K&R) in 1997 of a French citizen, Christophe André, while he was working for a medical NGO in the Caucasus region.
Faithful to his habits, this author born in Quebec City offers us a fascinating and humane narrative. A work that looks at a real life story often adds tension, when properly put together. This is what happens with the work of Guy Delisle. Hostage is a 428-page graphic novel that can be read in one sitting. As it often happens in dramatic events, humans discover an unsuspected character and strengths that enable them to cope with abuse, loneliness and stress.
Hostage by Guy Delisle interior page
The pace and the quality of the drawings and the script make it easy for the reader to dive into the story and imagine themselves in the place of the captive. Would the decisions made by the hostage also have been made by the reader? Would he have used other means to deal with his captivity?
I discourage the reader from trying to discover the conclusion of this story before starting to read the book. Resist this temptation, the read is worth the effort!
