124
L. Le Dû-Blayo
Fig. 8.1 Poster of the 9th
comic book festival of
Perros-Guirec (Author Olivier
Boiscommun). Here is one of
the many examples of the
universe of the comic book
placed in direct relationship
with the universe of the
underwater world. This poster
illustrates certain features of
underwater landscapes: a sea
floor where the relief is a
dominant feature, a variety of
fauna, the effects of light
presenting the surface as the
landscape horizon. The
presence of the two characters
is highly significant of the
omnipresent ambivalence in
underwater landscapes
between animal and human,
real and imaginary, breathing
on the surface and breathing
under the water
• 2001: Abracada bulles, Comic book Festival of Olonne sur Mer
• 2002: 9th comic book festival of Perros-Guirec
• 2002: Tonnerre de Bulles, Comic book Festival of Brest
• 2006: Festival Quai des Bulles at St Malo
• 2007: 6th Comic book Festival of Roquebrunes/Argens
• 2007: Des calanques et des bulles, 9th Comic book Festival of Marseilles
8.5 Underwater Landscapes and the Comic Book
The ambition here is not to cover the whole question, but simply to make some
observations and open up some lines of thought. The corpus studied consists of
approximately 3000 books by all types of authors published since the 1930s and
which cover all the styles to be found in Europe (comic books for children and
adults, humour, science fiction, novels . . .), other than American comic books and
Japanese manga.
On initial examination, it is striking to see how often the underwater environment
appears in comic book scenarios. Naturally, for an author eager for his hero to live
L. Le Dû-Blayo
Fig. 8.1 Poster of the 9th
comic book festival of
Perros-Guirec (Author Olivier
Boiscommun). Here is one of
the many examples of the
universe of the comic book
placed in direct relationship
with the universe of the
underwater world. This poster
illustrates certain features of
underwater landscapes: a sea
floor where the relief is a
dominant feature, a variety of
fauna, the effects of light
presenting the surface as the
landscape horizon. The
presence of the two characters
is highly significant of the
omnipresent ambivalence in
underwater landscapes
between animal and human,
real and imaginary, breathing
on the surface and breathing
under the water
• 2001: Abracada bulles, Comic book Festival of Olonne sur Mer
• 2002: 9th comic book festival of Perros-Guirec
• 2002: Tonnerre de Bulles, Comic book Festival of Brest
• 2006: Festival Quai des Bulles at St Malo
• 2007: 6th Comic book Festival of Roquebrunes/Argens
• 2007: Des calanques et des bulles, 9th Comic book Festival of Marseilles
8.5 Underwater Landscapes and the Comic Book
The ambition here is not to cover the whole question, but simply to make some
observations and open up some lines of thought. The corpus studied consists of
approximately 3000 books by all types of authors published since the 1930s and
which cover all the styles to be found in Europe (comic books for children and
adults, humour, science fiction, novels . . .), other than American comic books and
Japanese manga.
On initial examination, it is striking to see how often the underwater environment
appears in comic book scenarios. Naturally, for an author eager for his hero to live