Jonathan Cape (UK) Dark Horse (N America)
To say I’ve been looking forward to this book for some time is an understatement – Bryan was kind enough to show me a few pages on his iPad when he was at the Edinburgh Book Fest last year, knowing how much I’ve enjoyed the preceding volumes (they’ve all made my annual Best of the Year lists). But I’ve also been a little reticent as well because, well, it’s the final Grandville album – as Bryan points out himself in an afterword, the art style here is very labour intensive, taking three to four days of ten working hours each to complete (not counting the original idea and scripting). And he’s given us five of these volumes now, a huge investment in time and effort and love. And my god, all of that effort, that meticulous, perfectionist attention to details, it’s all up there in the art and the storytelling and the characters, each volume building, each volume better, a trend which continues right through to this, the grand finale, and what a finish it is…
We start with high society, a very posh seafood restaurant, elegant rich diners, the snooty-looking waiters (in a nice touch most are piscine characters dining on the seafood, with the exception of a table full of cats clearly relishing a little fishy in their little dishy). The society fine dining is suddenly shattered by the steampunk version of a drive-by; this seafood restaurant is part of a ganglord’s legitimate front, the Crays (a double pun). A crime family LeBrock has a very personal grudge against, a factor which should mean this case is off limits to the redoubtable detective, and yet he has been assigned the investigation, a strange bending of the usual rules. Then there’s the fact that the regular beat coppers were all called away from the area on a command from Scotland Yard moments before the attack. It’s all rather fishy (sorry, another pun), and indicative of a more deep-seated problem than a turf war between the gangs of London.
This is the beginning of a major power play by the “Napoleon of Crime”, Parisian gang lord Tiberius Koenig (another cunning pun on his appearance – he’s a rather unique specimen in this world of anthropomorphised animals), and in his deviously thought-out plan to expand into London now he has conquered the Parisian underworld, and of course there’s the matter of revenge on LeBrock from an earlier encounter. And Koenig isn’t the kind to just bump off an enemy, oh no, he’s vicious and fiercely intelligent, and strong-willed, a seriously dangerous combination, as much Keyser Soze as he is Professor Moriarty. It’s the start of a cascading series of events aimed at giving Koening more power while utterly destroying LeBrock. Not just LeBrock’s life, but his reputation, his friends, his family, and ideally make sure he remains alive just long enough to see it all collapse before his eyes, a final twist of the knife. It will take in Paris and London underground criminal empires, political games in Scotland Yard, and a new badger, a huge Italian sailor called Tasso, but is he there to aid or thwart LeBrock?
And I really don’t want to get any further into the plot here, because this is a doozy, this is something that has been building to a head over the previous volumes, and I don’t want to ruin it. The complex plot aside, there is a huge amount more to enjoy here, to relish, not least that astonishing visual feast of the art. Not just from the large-scale, set-pieces, but in smaller scenes – something as simple as a spy making a call from a street phone is rendered beautifully, the colouring and focus from foreground to background giving a real three-dimensional sense of depth. This is one of our best comics veterans at the absolute top of his game, those long, laborious, painstakingly rendered pages that take days bearing rich fruit for the reader to delight in, the sort of art that you stop frequently, mid-narrative, to luxuriate in it, and like previous volumes it demands revisits (in fact after reading it I had to go back and re-read it more slowly before writing this).
And we’re in the hands of a master of the medium here, this is glorious, rich art but not merely for adornment or show, this is all in the service of the story and the characters. And like the sense of the world of Grandville, and the narrative thread connecting the volumes, the characters too have developed and grown through the series. The romance between LeBrock and Billie is touching, but never saccharine, while Billie herself, caught up this web, is no shrinking violet, no helpless lady waiting to be rescued by her knight errant, she’s a strong, capable and brave woman who isn’t going to just be a plot device.
We learn more about LeBrock’s origins, from a moving flashback of him as a child with hid dad, fishing in the Lake District (a moment of peace in a relentlessly building story) to his early days as a copper, his desire to become a detective (even though that branch is almost exclusively reserved for the public school types who obtain it by connections, not merit) and being trained by the great Hawksmoor, a homage to the great consulting detective, Sherlock Holmes and his methods – our badger may use his impressive strength and courage, but he combines this with keen observation, deduction and intelligence, qualities he shares with another character Bryan has drawn, the Batman. Koenig, the “Napoleon of Crime” of Grandville may be more dangerous an adversary than even LeBrock has faced before, but the flipside of that is that Koenig, who normally knows nout but triump in his schemes, has never come up against a foe a intelligent, powerful and determined and LeBrock. Fur will fly, and with this being the final volume it’s all up in the air as to who will come out on top, and what sacrifices they may endure in this struggle.
Glorious visuals, a compelling story building beautifully on what’s gone before to reach a hugely satisfying climax, characters you really care about, plus action, daring-do, romance and humour, not to mention many references layered into the story, from nods to Dr Seuss to a tribute to Leo Baxendale, what more can you ask for in a book? This is simply British comics at their very finest.
You can read an interview with Bryan here. This review was originally penned for the Forbidden Planet Blog.