The French artist Chloé Cruchaudet know that the reality often holds the most odd, aparta and startling details. Since his debut with ”Groenland Manhattan” (2008), she has built a bibliography on the fiktionalisering of historical material, and individual human destinies, mostly around the decades before and after 1900. For their comic books, which has given life to, among others, female adventurer, the american archbishop of canterbury and French deserters, have Cruchaudet been rewarded with some of the european serievärldens finest rates.
When she now introduced in Swedish by the publisher Epix, it is undoubtedly a cultural deed, which also mitigates the void left by the defunct Colic publishers responsible for some of the most interesting translations of foreign kvalitetsserier the last few years.
sex,” from 2013, free after fackboken ”La Garçonne et l’Assassin”, calls Cruchaudet until an equally captivating as the impossible love story between the seamstress Louise and the bekymmerslöse Paul in a poor, but thriving, in Paris during the 1910s.
the Album’s stylized grayscale is initially equally sweeping and soft at the edges as the couple’s love, but after the påvra marriage, which is to be accelerated because Paul will appear at the front, makes the darkness and the violence on the entrance.
The white background, which provided both space and vitality to the frames, turned into klaustrofobiskt pitch-black in order to emphasise the existential pitch darkness of the first world war opens in the past so skojfriske charmer.
Cruchaudets dirty traumatic slide show on anning narrated from the trenches constitutes a small part of the book, but still manages to establish the war as the album’s third character. It is a grotesque and disgusting, but also psychologically necessary close study of the desperation that will haunt Paul, and by extension, Louise, for their joint lives. When he deserterar is the conventional tvåsamheten, Louise longs for, is no longer possible. In order to survive, reinvents the couple a rollek, or a borrowed gender if one so wish, where Paul dress up as his wife’s amazing friend Suzanne to be able to walk along the Paris streets without being arrested.
he is a new kind of freedom and eventually a new identity, which Cruchaudet stresses by allowing the red signalfärgen, which is mainly accentuated Louise’s dresses, float over to suzanne’s lanky figure. In Cruchaudets imagery, the red color is a symbol for the desire, but also for power, threats of violence and violence as such. Her fascination for the twist, closest to the burlesque and to a certain extent, is also absurd comic helps to balance the story which is basically, as well as in reality, is strikingly brutal.
It is sublime, never subtle, and worth reading straight through.
