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| Last Updated: Jul 5, 2008 - 8:12:15 PM |
L'Enfer du jour (Daily Hell)
By Hervé St-Louis
Mar 19, 2007 - 8:58:41 PM
Delcourt, 2003 (Dargaud, 1995), (Glénat, 1983)
Writer(s): Emmanuel Moynot
Penciller(s): Emmanuel Moynot
Inker(s): Emmanuel Moynot
Cover Artist(s): Emmanuel Moynot
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Twelve years ago, Olivier Bonnet could have become a young enterprising middle manager business until his girlfriend was murdered and he was framed for the deed. Free from prison, Bonnet wants but one thing, revenge for those who put him there and for avenge the death of Corrine. But people have changed and Bonnet may realize that it may not be fulfilling to get back at those who destroyed his life.
This story, set in 1995, took Moynot twelve years to complete. The middle chapter, which is a flashback relating the crime done in 1983, was published in 1983 by Glénat. The first and third chapters, set in 1995 were added as and published with the earlier chapter as one book.
This elongated story is part of the problem of the narrative. The introspective tone of the latter additions do not match the action oriented trust of the middle chapter. That chapter in particular, is all about double crossing and tell tales. One feels like Bonnet is walking straight into a trap and readers cannot feel sorry for him, because he is too stubborn. As pointed out by Corrine’s best friend, Pascale, Bonnet wants to play hero and dismiss a second time, advices he wish he had listened too earlier. The detective look as incompetent, by their willingness to believe the confession of a professional liar and criminal.
The other chapters are much more social commentary over the homeless and ex convicts. Yet, they show a man who after twelve years, still has not learned a thing about life and intends to get even no matter what the cost instead of moving on. The plot devices showing us that the people responsible for his false accusations are not worth hunting anymore are weak. More exposition would have helped.
There are two distinct art styles in this book. The 1983 drawn sequence show Moynot’s energy as he learns to master his craft. The 1995 work has more shadowing and textures. The characters’ composition is also more solid. The moddy ambiance fits Bonnet’s introspective and quiet patience.
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