Brüsel will delight fans of well-crafted comics. There’s everything in this book: top-quality graphics, attention to detail, an overflowing imagination on the part of the authors, a little humor and sensuality, a touch of cynicism.
We find ourselves with familiar themes, but developed backwards from common sense to pique the reader’s curiosity. Society will be saved by the advent of plastics, a veritable revolution. And we’ll finally be able to get rid of the plants we have to look after, which wither away and constantly need a little water.
The authors also take an original approach to the deterioration of hospital care. The script shows us a patient who is always promised incredible treatments by a doctor whose reputation is beyond reproach. However, no intelligent action is taken, and the patient gradually recovers from the lack of treatment.
The hero of the story and an employee he meets by chance form an unconventional duo and take us into the twists and turns of a city in the making that a megalomaniac is designing without consulting the citizens.
The few people appointed to obey the wishes of a single man walk around with scaled-down buildings under their arms and place here and there the skyscrapers of the future city. It’s all decided behind closed doors and in the interests of a few, as sometimes happens in city planning.
In short, if you’re looking for a story and graphics out of the ordinary to escape from déjà vu, this is the comic for you.
Frédéric Pierucci is a senior executive at Alstom, a gigantic French energy company. Thanks to a US extraterritorial law (FCPA Foreign Corrupt Practices Act) which allows the US government to prosecute any foreign firm targeted for corruption, he was arbitrarily arrested in 2013 as he got off the plane in New York.
Pierucci had not received any money from these operations, but he was aware that Alstom was targeted for embezzlement and that the company used “intermediaries” to secure contracts. He was incarcerated for months, and Alstom finally abandoned him, believing that the Americans would be satisfied with the imprisonment of this high-ranking executive. Pierucci must now try to extricate himself from the quagmire into which he has been plunged.
A page of the graphic novel “Le piège américain”.
Even if he is not directly implicated in the bribes, the American justice system wants to pressure Pierucci into revealing details that would incriminate Alstom’s management, including CEO Patrick Kron. Pierucci’s harsh judicial treatment is also intended to intimidate the firm’s other top executives, showing them what awaits them if they do not cooperate in rectifying past mistakes.
The primary aim seemed to correct unfair schemes that were damaging American companies and, by the same token, to obtain very substantial monetary compensation. The operation was a success: the effects of Pierucci’s arbitrary arrest paved the way within a few years for the sale of a strategic Alstom subsidiary to General Electric, its main competitor.
Back cover of the graphic novel “Le piège américain”.
The maneuvers also allow to obtain information that would otherwise remain confidential. This U.S. extraterritorial law works well and is used to attack numerous corporations around the world, including the German international group Siemens. Each time, the offender is obliged to pay substantial fines and must submit internal documents considered confidential or even secret to the prosecutor.
It’s hard to know who exactly will have access to these documents. Is it possible that agents (we won’t call them “spies” for the sake of politeness) are passing on trade-secret information to people working outside the U.S. Justice Department? Such actions would enable American companies to improve their competitiveness at little cost. But these are questions that the executives of the targeted companies are asking themselves.
Be that as it may, not everything in this story is squeaky clean. Author Matthieu Aron writes: “In autumn 2018, after Frédéric [Pierucci] was finally released, we finished our book. But again, it was not without difficulty. The day after we sent our manuscript to our publisher, my home was ‘visited’ and my computer disappeared. Simple burglars, spooks, or action by a foreign service? We’ll probably never know.”
The graphic novel “Le piège américain”, prix littéraire nouveaux droits de l’homme 2019.
My view on the subject.
China is watching and learning.
The effectiveness of this American extraterritorial law has not escaped the attention of China, which is planning to devise a similar law that would allow it to lay its hands on otherwise inaccessible information and archives.
Faced with these two behemoths, the United States and China, Europe has fallen behind, and it too will have to create its own law enabling it to extend its judicial power outside the continent. For no one is fooled: bribes to obtain contracts involve multiple countries. Prosecutions under extraterritorial legislation give access not only to large sums of money, but also to documents containing important data and possibly industrial secrets.
Another book on the graphic novel “Le piège américain”.
The Alstom experience will at least have had the effect of better preparing France for the moment when, a little later, the giant Airbus was targeted for malfeasance by the same American law. Airbus manufactures not only airplanes, but also many strategic military products protected by secrecy. This time, the widespread collection of the company’s confidential information was refused, without a French citizen being named as intermediary and the documents handed over to the Americans being reviewed to ensure that they did not contain military secrets or other information not directly related to the corruption charges.
Today, Airbus is a great success, selling more aircraft each month than Boeing, which is experiencing difficulties with the way it builds its aircraft. And we have every right to believe that senior management at Airbus has improved its business practices.
The comics ” 13h17 dans la vie de Jonathan Lassiter”.
“When you’ve got nothing left to lose, you can take all the risks…”. This is the sentence [translated] on the back of the comic strip “13 h 17 dans la vie de Jonathan Lassiter” (13:17 in the life of Jonathan Lassiter), which best sums up this French-language work published in 2023.
Jonathan Lassiter works as an insurance agent in Keanway, a small, remote town in Nebraska. Overnight, his wife leaves him, he loses his job and his wallet is stolen. In short, his life suddenly takes an unexpected turn. He has two choices: either he feels sorry for himself, or he changes. His chance encounter with Edward, a “distinguished, cultured and cynical” man, forces him to take a stand.
It was the quality of the graphics that caught my eye. This isn’t one of those publications where you wonder whether the design can be done in a month, and which pretends to be original through the absence of detail, and therefore of work. A great deal of effort went into this album, and it shows at first glance.
Back cover of the comic strip “13h17 dans la vie de Jonathan Lassiter”.
It’s got it all: the judicious choice of angles, the refined, masterful drawing, the skilful maintenance of atmosphere through well-dosed, under-saturated colors, the well-crafted script. This comic strip keeps the reader’s interest from start to finish, with no downtime.
The main character reminded me of the famous actor Vincent Price.
The graphic novel “Un tournage en enfer – Au coeur d’Apocalypse Now”.
The graphic novel “Un tournage en enfer: au cœur d’Apocalypse Now” takes us right to the heart of the creation of Francis Ford Coppola‘s famous film, brought to the screen in 1979. As the director points out, [my translation] “[…] we were in the jungle. There were too many of us. We had access to too much money and too much material, and little by little, we all went crazy…”.
It didn’t start well. Right from the start, the director was unable to convince well-known actors to get involved in his film. In turn, actors such as Jack Nicholson, Al Pacino, Robert Redford and James Caan refused to join the adventure. Coppola continues his research and interviews.
As readers, we go behind the scenes of the production and hear from those close to the filmmaker. Filming begins in the jungle of the Philippines, even though Coppola has no idea on how the film will end. This would haunt him throughout the production, causing him sleepless nights when he was already quite exhausted.
A page from the graphic novel “Tournage en enfer – Apocalypse Now”.
Cost overruns followed, and the pressure on the director from financial backers increased. He was asked to complete his film as quickly as possible, which he proved unable to do. Coppola came to guarantee the required funds by pledging to pay off the debt himself if box-office receipts failed to reach $40 million.
In addition, it was taken for granted that the U.S. government would provide the helicopter gunships required for the film’s action. But in the aftermath of the Vietnam War, the interest of American politicians in such requests waned. The director had to turn to the then President of the Philippines, Ferdinand Marcos, to obtain helicopters and personnel, in return for certain fees and compensation. But these aircraft sometimes left the scene on Marcos’s orders to go hunting for the regime’s enemies. Coppola was falling behind again…
A page from the graphic novel “Tournage en enfer – Apocalypse Now”.
They thought that Harvey Keitel would be the ideal actor to play Robert Duvall. Many sequences later, the obvious becomes clear: the man just didn’t cut it for a number of reasons. On the verge of disaster, they urgently contacted Martin Sheen and beg him to replace Keitel. Multiple scenes had to be reshot with the new actor, and the delays and associated costs continued to mount.
All sorts of other pitfalls awaited the director and his crew throughout the shoot, including the language barrier with the Filipinos and a storm that destroyed the set. The widespread use of drugs and alcohol by staff and helicopter pilots didn’t help matters either.
The mosquitoes, the heat and Coppola’s constant demands took their toll on the actors. Martin Sheen fell seriously ill, and his brother had to be used for some of the secondary scenes. Rather than use only actors to simulate deaths, a staff member went to the morgue and returned with a corpse. This prompted the arrival of the police force, and the problem was solved with generous sums of money.
There were many other factors that delayed the end of the shoot and increased costs. Marlon Brando’s demands were a case in point. They managed to get him back on set for an extra day, provided that he received $70,000 more than planned.
Shooting finally ended in 1977. The team chartered a private plane to fly 381 kilometers of original film to the United States. Editing the film proved to be an ordeal. There was too much material to analyze. In 2001, Coppola presented a modified version of his original 1979 production. In 2019, he finally delivered a final 182-minute version, Apocalype Now “Final cut” , more than forty years after the initial release.
Earnings met the director’s expectations, and he ultimately won his bet. In all, the film generated $140 million from a total budget of $30 million.
Through drawings and superb photographs, this graphic novel recounts the events that contributed to the creation of Magnum, the famous international photography agency.
Before Magnum, there were only photographers trying to make a name for themselves and earn a meagre living in the face of media giants like Time. These big companies reframed original images, did not recognize copyright and made gigantic profits on the backs of photographers like Robert Capa, David “Chim” Seymour, Gerda Taro, Henri Cartier-Bresson and George Rodger. It was in reaction to this abuse that these photographers created the new agency.
The book makes us aware of the enormous risks involved in bringing back images of the world’s various conflicts. Robert Capa and Gerda Taro lost their lives in the heat of the action.
A page from the graphic novel “Magnum Generations”.
Magnum’s evolution, its internationalization and the change in its primary vocation are brought to life. From an initial focus on war coverage, photographers gradually turned to diversifying their activities, to accommodate the specific needs of both the media and film productions.
The agency now protects them from abuse. However, photographers remain mindful of the need of support from contractors to survive financially. Still, they reserve some leeway for pure creativity, depending on each photographer’s personality and the mood of the day.
Keeping this agency alive, made up of professionals with different ambitions, is no small task. There are crises, schisms and reinventions, all essential to the evolution of this internationally renowned institution.
For those who know nothing about Magnum, this graphic novel offers a very accessible first approach.
Cover page of the manga “Les montagnes hallucinées”, by Gou Tanabe.
Gou Tanabe presents H.P. Lovecraft’s masterpiece “Les montagnes hallucinées” (the French version of “At the Mountains of Madness”) as a two-volume manga. Leafing through Lovecraft is in itself a journey into the strange, but to do so by starting at the end of a book and reading from right to left adds to the weirdness of the experience.
This transposition of Lovecraft into manga is a success. And the statistics prove it. The 382 reviews left on Amazon show clear customer satisfaction, with a total of 4.9/5 stars at the time of writing.
I normally prefer color comics and graphic novels, but the black-and-white interpretation of Lovecraft’s work is a perfect match for the fantasy world into which Tanabe plunges us.
A page from the manga “Les montagnes hallucinées” from Lovecraft, by Gou Tanabe.
Lovecraft makes a phantasmagorical work credible by integrating a well-balanced mix of real and fictional elements into the plot. Unless you’re an archaeologist and paleontologist yourself, it’s hard to tell which data really belong to science. This helps to frame the reader. You recognize moments of pure imagination, but you’re still hooked.
I put myself in the shoes of someone who lived in Lovecraft’s time, when Antarctica was still a mysterious continent, unexplored in its entirety. A story filled with elements of fiction would gain in credibility, while no one could really confirm or deny some of the author’s statements.
A page from the graphic novel “Les montagnes hallucinées”.
In “Les montagnes hallucinées”, we read about sailing, aviation, extreme weather and survival in icy, isolated spaces. Readers witness the problems experienced by the various crews exploring Antarctica. The scientists’ increasingly startling discoveries force them to make risky decisions that plunge them into an unknown world. In short, themes that still appeal to most people today.
The two volumes total around 650 pages, which can be flipped through with interest in a single day, since many plates include no text at all.
Blake and Mortimer “La vallée des immortels tome 1” final version of my 24×36 acrylic painting.
I finally completed the final stage of the 24″ x 36″ canvas of Blake and Mortimer , “The Valley of the Immortals, Volume 1”. I had hoped to finish the whole thing before the summer, but other more pressing obligations disrupted the planned schedule.
The whole project will have taken around 200 hours and required the creation of some 130 colors in an attempt to imitate the album, at least in part.
I deliberately lightened the original work, especially the left-hand side, as I hang the painting on a wall and found the scene far too dark. My version respects the idea of chiaroscuro while adding a little light. Painting the canvas yourself also lets you play with the different shades of the bricks on the left-hand wall.
Painting of Blake and Mortimer : la vallée des immortels.
For the progression of the various stages over the past year, click on the link to the graphic novels and comics on my blog. There are several publications in that section, but you’ll get there gradually.
The graphic novel “Super canon” from Philippe Girard.
With “Super canon— Le marchand d’armes qui visait les étoiles”, writer Philippe Girard offers us a high quality graphic novel, as much for the scenario as for the drawings and colour choices. For this work, he benefited from an author residency in Liège. He certainly enjoyed his experience in Belgium much more than his writer’s residency in Poland, where he had to fend for himself because the hosts hadn’t respected the scheduled introductions and appointments. At the time, he used his misfortune to produce a very interesting graphic novel entitled “Le Starzec — un mois à Cracovie”.
Graphic novel “Le Starzec – Un mois à Cracovie” by Philippe Girard.
“Super Canon” is based on a true story, that of Canadian engineer Gerald Vincent Bull. Of course, it’s impossible to retrace this man’s life step by step, so the author has created a character named Doctor Gerry.
On reading the book, we realize the incredible talent of Gerald Bull, the scientist who revolutionized ballistics. We bear witness to his chequered destiny, tormented as he was between his youthful dreams and his boundless ambitions.
To balance his research budgets and keep his company afloat, he gradually transformed himself into an arms dealer. He offers his service to multiple states, including Canada, the United States, Israel, Iraq, Iran, China. In the process, he becomes the object of constant surveillance by many agencies and accumulates enemies.
A page from the graphic novel “Super Canon” by Philippe Girard.
We’re dealing with a genius who has purposely blocked any critical thinking about his weapons of destruction. He dreams of a powerful cannon to send satellites into space, but the intelligence agencies of other countries hold very different plans for his invention.
He naively believes that he will be able to serve several masters with divergent interests, without this causing him the slightest problem. It borders on childish reasoning, on wilful blindness in the pursuit of the high life.
My only reservation regarding the content concerns the first page of the story. I find an ambiguity about Iraq and weapons of mass destruction (box 5, page 3). This was indeed the initial fear raised by the United States, but repeated follow-ups by UN inspectors had shown that Saddam Hussein had no such weapons. The invasion of Iraq couldn’t be justified on such a basis. The invasion went ahead anyway, and none of these supposed armaments were found in Iraq. I would have liked the UN’s conclusions to have been mentioned. This would have allowed to establish the book’s scenario on a basis that left no room for doubt.
A page from the graphic novel “Super canon”.
Otherwise, one thing’s for sure: you’ll enjoy this extremely well-crafted graphic novel.
The graphic novel “La disparition de Josef Mengele” is a wonderful surprise for me, both in terms of the scenario and the graphics. Anyone interested in true stories will devour this book as it represents a goldmine of astonishing information on the life, or rather the survival, of the Nazi criminal in Latin America.
Who provides him with the money he needs? How does he protect himself? Does he lead the existence of a pasha? How does he behave abroad? Does his thinking on race show any sign of evolution, or is it still sclerotic? Why does Argentina encourage the arrival of these fugitive assassins?
For the general public, there are two categories of National Socialist criminals: the first concerns the names that received most media coverage at the Nuremberg Tribunal. The second involves Nazi criminals who fled abroad, thanks to political or family support. Josef Mengele belongs to both groups. He is holed up in Latin America and knows that several organizations are seriously looking for him, including Mossad.
How does he remain roaming for so long? It soon becomes clear that the Mossad is not only concentrating on Nazi criminals on the run. The book introduces us to some other priorities for the agency, one of which is very urgent: the elimination of former German scientists working in Egypt to create radioactive waste weapons designed to destroy Israel. The secret services must choose between Mengele, a past threat, or a more immediate danger. With limited resources, they have to adjust and deal with the most pressing situation.
Nazis were integrated into the new German government.
There is, however, a third category that the public has heard very little about, and which is also discussed in the graphic novel: these are Nazis who rejoined the new German government a few years after the end of the Second World War.
Indeed, the Allied powers of the time – the USA, Great Britain, France and the Soviet Union – administered the occupation zones of the German territory after the Second World War. But tensions between East and West grew rapidly. Each side accused the other of imperialist or communist expansionism.
To offer a better-organized resistance to the Soviet Union, Germany’s autonomy had to be quickly restored. The former Nazis had experience of governance that was immediately available.
If the Allies adopted the clear-cut position of preventing the Nazis from attaining essential functions in the public apparatus of the future Bonn Republic, then people with little or no knowledge had to be trained to carry out the more complex tasks. Time was short, as was the will to bring all possible war criminals to justice.
So, many Nazis found work in government agencies. One thing led to another, and some of these former Nazis recycled as government agents became part of the inner circle protecting the most prominent war criminals who had fled abroad. Josef Mengele benefited from this high-level support.
But several additional Germans, also in high places, acted in the opposite direction, striving to flush out the biggest criminals, at the risk of their own health and safety. One such person is introduced in the book: Fritz Bauer. This man contacted Mossad with information that eventually help to capture Adolf Eichmann. The latter went on trial in Israel and sentenced to hanging.
Eichmann and Mengele meet each other.
Mengele reads the newspapers and suspects that his end will resemble that of Eichmann. The graphic novel shows him as a hunted animal, talking to himself. His racist, backward-looking words drive away the individuals who could support him most in the last years of his life. He withered slowly and died on a beach in Brazil. But it was not officially known until 1985.
The book covers a period of several decades. It features a brief summary of Mengele’s actions as a doctor at Auschwitz. He is not alone, even if he remains very high-profile to the general public. A large number of scientific assistants carried out experiments on humans, including one who became rector of the University of Münster after the end of the Second World War.
The authors mention in passing the idea of a Fourth Reich pursued by Mengele and his ilk. In short, readers won’t get bored with this skilfully constructed graphic novel.
When they hear the name Mohammed Ben Salmane (MBS), most people don’t react, as they can’t associate him with anything. If they are told that it was he who had a journalist cut up into small pieces and stuffed into garbage bags in the Saudi Arabian embassy in Turkey, it resonates more.
The graphic novel “MBS— L’enfant terrible d’Arabie Saoudite” introduces us to the life of this implacable ruler who tries to forge links with the great powers. By negotiating his support with the United States, Russia, China, India, or France, he seeks to position his country as a major player on the world stage.
The book is also a very interesting first approach to the history of Saudi Arabia, especially with regards to the Saud family and its reign. We realize the importance of alliances and radical decisions by MBS if he wishes to attain supreme power and hold to it.
Back cover of the graphic novel: MBS L’enfant terrible d’Arabie Saoudite
Domestic and regional stability remains a top priority for MBS. Even if he wants to modernize society and appeal to young individuals, he must at the same time avoid upsetting the Wahhabi clerics too much. The latter enjoy ancestral prestige and have a marked influence on the way people behave and think.
When it comes to imposing his ideas, MBS hasn’t invented a thing. Like most rulers of the world’s major countries, he has learned to use the media and spares no expense to achieve the desired results.
Top managers of intelligence and news organizations know very well the limits within which they can operate. You won’t see any photos of MBS spouses, or articles that would enlighten the public about the nightlife of the leader and his friends.
This graphic novel maintains interest by interspersing surprising anecdotes with pertinent information accessible to all. As the back cover of the book states, “This ambitious prince happens to be our ally in the Middle East : oil, the fight against terrorism, Arab-Israeli peace, arms sales … we need him. But what price will we pay?”
