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.
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.
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.
These machines, which were not designed to operate from an aircraft carrier, would not be able to reach their targets and return safely to port for lack of sufficient fuel. All the pilots were well aware of this, and volunteered.
The fleet of sixteen aircraft, commanded by Jimmy Doolittle, successfully achieved its objective of confusing the enemy and showing that Japan remained vulnerable to surprise attacks. The Japanese wondered how it was possible that American bombers could have reached and hit their country. Where did they take off from? They know that the B-25 Mitchells were not designed to take off from an aircraft carrier, and that they were incapable of landing on one.
The genius of the operation laid in the combination of a number of highly risky decisions which, taken together, took the enemy by surprise. Firstly, as it was impossible to land the planes on the Hornet, they were installed with a crane, knowing full well that they would never return to the ship.
In addition, the captains were trained to take off over distances unthinkable for them, using a technique pushed to the extreme. The ship sailed at high speed into the wind, improving the headwind component so essential for such perilous maneuvers.
The pilots had to be extremely skilful to keep to the departure trajectory on a platform that moved from left to right in the middle of a storm. Buildings on the Hornet’s side had to be avoided at all costs, and the available gap between the wing tip and the ship’s tower was no more than two meters. Despite all the obstacles, all the B-25s managed to take off. It was to be a one-way mission to Japan.
Doolittle piloted the first B-25 to take off from the carrier. He had only a very small portion of the deck to work with, as there were still fifteen other bombers waiting their turn to take off. The second pilot to leave the deck narrowly avoided a water landing, as the aircraft sank slightly and a landing gear wheel touched the water. But the plane gained just enough speed to stay airborne.
Bombers and crews suffered different fates once the bombing raids on Japanese targets had been completed. The authors conclude: “The raid destroyed 112 buildings and killed 87 people, in about 6 minutes. […] The destruction of 15 of the 16 B-25s, unable to reach Chinese airfields for landing, was nevertheless to be deplored, the 16th B-25 having landed safely in the USSR. Also to be deplored was the accidental death of three airmen (planes 3 and 6) and the capture of 8 others (planes 6 and 16) by the Japanese, 4 of whom never returned home, 3 having been executed as “war criminals” and the 4th having died in captivity. Worse still, the Japanese took revenge on the Chinese, who had helped all the surviving airmen, by organizing the massacre of some 250,000 civilians in the Zhejiang and Jiangxi provinces then under their control. This was to leave its mark…”.
Landing and takeoff tests on an aircraft carrier, the Forrestal, were also made decades later for a C-130 Hercules. I tried to repeat the experience in flight simulation. The flight can be found in the “challenging virtual flights” section of my blog. As the Forrestal is not available in virtual mode, I used the aircraft carrier USS Enterprise.
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.
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.
