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.
Both Sorj Chalandon, in his novel “Enfant de salaud”, and Régis Jauffret in “Papa” try to grasp the enigmatic personality of their father. Sorj Chalandon’s father is said to have been a Resistance fighter and a traitor at the same time, while Régis Jauffret’s father is said to have been filmed coming out of a Gestapo interrogation session, terror on his face. Where does the truth lie? Who are these fathers really?
In a previous text, I presented the book “Enfant de salaud”. Now it’s the turn of the novel “Papa” by Régis Jauffret.
As one might expect with Régis Jauffret, the writing style differs radically. The author is the winner of the Goncourt short story prize (2018) for his novel “Microfictions 2018”. His sense of synthesis, black humour and even cynicism makes this return to the father’s past a literary as well as historical adventure. The reader quickly understands that the author takes pleasure in presenting his discoveries. He even adds a bit of fiction when necessary.
True to my habit when it comes to Régis Jauffret, I will present his book through selected quotes. Indeed, the interest of the book lies as much in the content as in the way Régis expresses himself to enlighten his subject. Here are a few quotes (translated as best as possible) that may help to grasp the tone of the book:
“I took communion.
Someone pointed out to me on the way out that I wasn’t a believer.
– That’s right, a wafer or chips.
I smiled, but after this blasphemy I was not very happy. When you have been educated religiously, you always keep the terror of God in the back of your mind”.
“He had just had a stroke which, far from handicapping him, seemed to have cheered him up”.
“She told me that the moisture had blown away the veneer [of the coffin]. All that was left was a box of blackened boards. I wasn’t in a good enough mood to call the funeral home lady to invoke the eternal guarantee that such metaphysical products undoubtedly enjoy”.
“One of those happy memories that make you feel good that you never went to a gun shop to buy something to shoot yourself in the head”.
“Alfred was instructed to clench his teeth during coitus without sighing, while she remained as stoic as when the dentist teased one of her molars with the tip of his drill without anesthesia”.
“Through the vast copper bell of a gramophone perched on a pedestal whose statue had been stolen, Édith Piaf shouted ‘J’ai dansé avec l’amour’ (I danced with love) while the cries of the martyrs rose from the basement”.
“Writing about oneself is a form of incontinence”.
“We are condescending to deaf people without status or talent, but we prefer to deal with them sparingly. When you haven’t seen them soon enough to have hidden behind a construction machine or a bulky man, you greet them from afar as you walk away”.
“If I had not seen these images, you would have remained in the sewers of my memory”.
“If I last as long as Madeleine, I will be a centenarian who will unexpectedly ruminate on his father in his dried-up brain like a currant while an orderly built like a colossus swings my emaciated body in the air to change my diaper”.
“Pitiful descendant of protozoa that have become multicellular beings with brains, humanity has no reason to show off”.
“It is heroic in times of war to assume the role of the executioner, even if it means being wrong sometimes, because in extreme situations doubt never benefits the accused”.
“He talked from morning to night. Anyone he met on the street was showered with language like a careless person on a pier on a stormy day by a surge of water. In his office, everyone was soaked. So much so that people ran away from him, but he always managed to find someone who was kind enough to let himself be flooded”.
“I never heard him talk about his day either. The weather had been fine, it had snowed, it had rained, a chamois had crossed the trail in a tail, a man hit by a storm had burst into flames, a lady had fallen into a crevasse while singing a cantata by Johann Sebastian Bach”.
“During this time, Jean-Jacques and Honoré undertook the sisters red as blue meat to find themselves in the presence of two boys whose pants in the fashion of the time moulded the genital apparatus of which they dreaded in advance the sting”.
“Enfant de salaud” means “Bastard’s child” in English. Author Sorj Chalandon is a journalist and worked for decades for the French newspapers Liberation and Canard Enchaîné. During his career, he received numerous awards: Albert-Londres (1988), Médicis (2006), Grand Prix de l’Académie française (2011), Goncourt des lycéens (2013) and most recently Goncourt 2021 des lecteurs de 20 Minutes.
“Enfant de salaud” is the true story of the author who tries to shed light on his father’s extremely nebulous past during World War II, in the German-occupied France.
Having had access to official archives, he gradually discovers that his father went through the war by enlisting in five armies, which he all deserted. He served the enemy in every way, but always made sure that the few things he was doing for Francewere listed somewhere in case of an investigation after the war.
The head of the Sûreté nationale de Lille who questioned the father after the war said of him: “This individual is a liar endowed with an astonishing imagination. He must be considered very dangerous and treated as such.”
Between the reflections and the discoveries of the son on the past and the psychology of the father, the reader participates in parallel to the trial of Klaus Barbie , psychopath and great war criminal, who died in prison in France in 1991. Passages of the book are blood curdling, although we know what to expect when it comes to Nazis, SS and members of the Gestapo.
When the survivor Isaac Lathermann takes the stand during the Barbie trial, he announces: “[in the concentration camps], at breast height, there was no more bark on the trees, everything had been eaten. No more grass either. Eaten too.” (p. 238)
The reader discovers the resistant Lise Lesèvre who, even tortured by Klaus Barbie for days, doesn’t give up a single name: a phenomenal example of courage and patriotism.
“Enfant de salaud” is the author’s decades-long inner journey. The fact that he relates a real-life story further reinforces the intensity of the narrative.
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.”
While searching high and low in various bookstores in Quebec, I often make very interesting discoveries. I recently found a book by Robert Seethaler, originally published in German under the title of ,, Ein ganzes Leben ” and which in English is translated by “A whole life“.
It is a small book of only 145 pages, but the concise writing has the power to immediately propel the reader into the early 1900s, in the middle of the Austrian mountains. It was the period when the construction of the first cable cars began, a period that would change the whole dynamic of the society by gradually allowing more and more tourists to occupy a territory that was once sparsely inhabited.
The author tells the story of Andreas Egger, a simple and endearing man whose strength of character allows him to stand up to any ordeal. He is not distinguished by his intelligence, which is quite ordinary, but rather by his ability to survive and his desire to always move forward. He is a human being that we love and wish only good for.
Here is what the publisher said about Robert Seethaler: “A whole life, elected book of the year (2014) by bookstores across the Rhine, thus confirms the depth of his talent as a writer, capable of leading with great simplicity his reader as close as possible to his emotions”.
Even though World War II is over and the armistice was signed in 1945, four Japanese soldiers continue to hide on Lubang Island in the Philippines, awaiting official orders from their superior to surrender. They have been forgotten there in the jungle and continue to survive as best they can, dodging the patrols that have gone looking for them to tell them the war is over. They continue to accumulate information on the island for the intelligence services, hoping to be useful when a possible Japanese landing takes place that will drive the Americans out of the island. Years pass and there will be only one Japanese soldier left, Hiro Onada, who will finally surrender in 1974, thirty years later!
The bookis a lesson in survival in a hostile environment. The discipline and resourcefulness that are required to survive and ensure their safety is extremely impressive. Onada, even as he gradually sank into an alternate reality, shows a remarkable tenacity.
Here is a passage that shows the reality of the jungle. I translated it as best as I could: “[…] There are also a lot of bees on the island. Huge swarms fly in the bushy areas at the foot of the mountains. I saw some that were thirty meters wide and a hundred long, flying here and there with unpredictable changes of direction. If we encountered one of these swarms, the only thing to do was to go back to the woods or, if we did not have time, to cover our heads with the canvas of our tent or our clothes and lie down on the ground. If we made the slightest move, they would attack. We had to breathe as gently as possible, until the swarm had passed. “(P.216)
In 1957, bombardments in the neighborhood reassured them that the war continued. But these were military exercises by the Philippine Air Force, not an American attack.
Onada et Qanon
As the years pass, there will be countless opportunities for those soldiers to realize that the war is over. They even had access, for a while, to a radio. It did not matter: whatever was read, heard or discovered by chance was, according to them, only the fruit of disinformation from the enemy.
On reading this real life story, it is possible to make a connection between Onada’s testimony and a follower of Qanon: both cannot accept defeat and believe in an almost divine mission. As Onada himself put it so well: “At that time, Kozuka and I had developed so many fixed ideas that we were unable to understand everything that differed from them. If something did not fit our vision, we interpreted it to give it the meaning we wanted “(p.192).
When a person is gradually made to believe in an alternate reality and decides to cling to it for their mental or physical health, or both, the same conclusion remains: regardless of the evidence, the rhetoric or the new realities that will be presented, that person will continue to persist with his line of thinking. It will take some dramatic event in his life for him to decide to change course and come back to a more objective reality.
Have a good read!
Click on the link for more books on war in my blog.
The book “J’étais le pilote de Hitler” tells a true story that was originally published in 1957. The 2020 French edition, presented and annotated by Claude Quétel, improves our understanding of Hans Baur, one of the founders of Lufthansa in 1926, Hitler‘s personal pilot, but also a high-ranking Nazi SS officer and a close friend of the Führer.
The information offered by Hans Baur is of great interest. Early in Hans Baur’s career, the pilots doing what he did were called aviation pioneers. At the time, planes contained virtually no air navigation instruments that could assist a pilot flying in difficult weather conditions. The Alps are tricky to fly through in good weather, so it gets a lot more challenging in bad weather and in a poorly equipped plane. If we add the freezing conditions, engine failures, cabins that are not heated and that are not equipped with devices providing supplemental oxygen to pilots, then there are flightsthat would be considered something like an “exploit”. This aspect of the book is therefore very interesting.
I also liked all of Hans Baur’s anecdotes about Hitler’s demands on him. Being a pilot for the Führer was no small task. Hitler had very high expectations regarding the performance and the punctuality of his personal pilot, and the latter certainly demonstrated extraordinary abilities to satisfy his superior.
Where we have to be wary is that we are still dealing with an SS pilot, who was a member of the Nazi organization before Hitler took power. We have to question his personal values and what he voluntarily neglected in his book. The regular massacres carried out during Barbarossa Operation in Russia, or the elimination of six million Jews, are not discussed, as the SS pilot maintains he was never involved in politics. He carried passengers without asking questions, but he had chosen Nazism as a political movement. When you are invited to Hitler’s table on a daily basis and are therefore part of his inner circle, it is clear that the Nazi represented by Hans Baur is speaking about more than piloting.
The experience in Russian prisons is described as inhuman by Hans Baur, who has been there ten years. He talks about the transport of German prisoners in cattle cars, very bad food, etc. But I couldn’t help but wonder what planet he lived on to denounce his condition as a prisoner while ignoring the treatment the Germans imposed on the Russians and all the people who were deported and massacred. The Einsatzgruppen were not altar boys. Moreover, Claude Quétel also questioned this remark from Hans Baur, adding that “although very harsh, the living and working conditions in the Soviet camps have nothing to do – as we sometimes read – with those of the German concentration camps.”(p.381).
There are also some inaccuracies and sometimes falsehoods that Claude Quétel does not hesitate to point out. Sometimes these are trivial errors resulting from poor memory. However, other important facts are downright inaccurate. As in this passage where Baur says that Hitler decided to attack Russia four weeks before the start of the war, which is not true. The conquest of the East and of more living space is specifically enunciated in Mein Kampfand is spoken of in a book written while Hitler was in prison in 1923 following a failed coup.
Conclusion
The book « J’étais le pilote de Hitler » is a very interesting book, one more about Nazi Germany. The history of Germany is fascinating and complex, from the time of the Holy Roman Empire to the present day. But it seems that it will always be the twelve years of the Nazi period that will achieve more success in bookstores.
Have a good read!
Click on the link for other books on war in my blog.
