Les aventures de Victor Billetdoux
Summary
At the onset of the 20th century, the journalist Victor Billetdeux, alongside his colleague, the Egyptologist Charles Hippolyte-Constant, embarks on an investigation involving multiple murders. The common thread among these incidents is their connection to ancient Egyptian mysteries. While only the initial case unfolds in Egypt, the subsequent two transpire entirely within Paris. These three escapades of the protagonist were serialized in Glénat's Circus magazine from 1976 to 1982, eventually being compiled into three albums: La pyramide oubliée (1978), Les ombres de nulle part (1979), and La nuit de l’Horus rouge (1982).
La pyramide oubliée, colored by Marie Galopin and showing some Egyptian artifacts, some of them inspired by statues in Louvre Museum (Screenshot by author)
. Egyptian decorations and inscriptions in La nuit de l'Horus rouge (Screenshot by author)
Egyptomania narratives or motifs
The comic series featuring Victor Billetdoux marks the debut of French comic artist Pierre Wininger (1950-2013) into the realm of comics. These three comics were initially serialized in Glénat's Circus magazine from 1976 to 1982 before being compiled into three separate albums. Following Wininger's passing in 2013, his original black and white comic was posthumously colored by Marie Galopin and republished as Les aventuriers de l'Étrange in 2017.
Regarding the author, French cartoonist Pierre Wininger had a relatively brief professional career, yet his works were both engaging and of high quality. Notably, he contributed to the adolescent magazine Je Bouquine by adapting significant literary works. Wininger illustrated stories by renowned authors such as Oscar Wilde, Conan Doyle, Mary Shelley, and Italo Calvino.
The first volume of Les Aventures de Victor Billetdoux is situated in early 20th-century Egypt, where an Egyptologist by the name of Alexander Appleton was discovered disoriented in the desert, discussing alleged tablets and an archaeological finding. Victor Billetdoux, a correspondent for the newspaper L'Écho de Paris, takes a keen interest in the matter and resolves to solve the mystery. He encounters a stone-carved statue of the pharaoh Neferhotep, an actual historical figure from the XIIIth dynasty. The storyline centers around the potential existence of a buried pyramid housing Neferhotep's tomb, as mentioned in alleged historical records. Following its discovery by Professor Appleton, an alleged curse is said to have been unleashed, affecting him.
The primary setting of the inaugural volume of the comic is predominantly in Egypt, with intermittent scenes occurring in Paris. The comic does not extensively delve into ancient Egyptian civilization; rather, it serves as a backdrop that propels the storyline forward. The narrative unfolds around the discovery of Neferhotep's tomb, initiating a riveting tale filled with thefts, conflicts, and homicides. Scholars have drawn parallels between this work and the adventure literature of Jules Verne and Gaston Leroux, as well as with E. P. Jacobs' Blake and Mortimer comics, which were also reviewed in Egypopcult. Additionally, both graphically and narratively, the comic bears resemblance to Jacques Tardi's Adele Blanc-Sec, with whom Victor Billetdoux is frequently compared. Notably, Billetdoux's character construction adheres to classic conventions typical of traditional comic book heroes, contrasting with the trend in the 1970s towards more emotionally complex human protagonists. Furthermore, it is noteworthy that the protagonist role is shared between Billetdoux and his loyal companion, the Egyptologist Charles-Hyppolite Constant.
In his Victor Billetdoux comic series, Wininger employs a conventional style of illustration characterized by clarity and efficiency of strokes. Additionally, he incorporates abundant onomatopoeia to enhance the excitement of the action sequences. The pacing of his comics may evoke reminiscences of adventure films.
Regarding the portrayal of the ancient Egyptian civilization in the comic, it is noteworthy that the author often emphasizes certain more fictional than historical details, such as the clichéd themes surrounding the alleged curses protecting the tombs of ancient Egypt. Furthermore, there is no archaeological evidence supporting the existence of a supposed pyramid belonging to Pharaoh Neferhotep.
Additionally, the comic also depicts the dispersion of ancient Egyptian heritage in Western museums. However, a truly critical view against this dispersion is not evident; rather, it is perceived as an advantage for studying ancient Egypt from Europe. Moreover, the trade of Egyptian antiquities by Parisian antique dealers is also portrayed in the comic.
The second installment, titled Les ombres de nulle part, is set in Paris during the 1910s. While Egypt plays a role in the storyline, its ancient civilization is portrayed as a distant, exotic, and picturesque culture that enhances the narrative with intrigue. This depiction is also evident in La nuit de l'Horus rouge, which is characterized by elements of mystery and suspense.
Regarding the author, French cartoonist Pierre Wininger had a relatively brief professional career, yet his works were both engaging and of high quality. Notably, he contributed to the adolescent magazine Je Bouquine by adapting significant literary works. Wininger illustrated stories by renowned authors such as Oscar Wilde, Conan Doyle, Mary Shelley, and Italo Calvino.
The first volume of Les Aventures de Victor Billetdoux is situated in early 20th-century Egypt, where an Egyptologist by the name of Alexander Appleton was discovered disoriented in the desert, discussing alleged tablets and an archaeological finding. Victor Billetdoux, a correspondent for the newspaper L'Écho de Paris, takes a keen interest in the matter and resolves to solve the mystery. He encounters a stone-carved statue of the pharaoh Neferhotep, an actual historical figure from the XIIIth dynasty. The storyline centers around the potential existence of a buried pyramid housing Neferhotep's tomb, as mentioned in alleged historical records. Following its discovery by Professor Appleton, an alleged curse is said to have been unleashed, affecting him.
The primary setting of the inaugural volume of the comic is predominantly in Egypt, with intermittent scenes occurring in Paris. The comic does not extensively delve into ancient Egyptian civilization; rather, it serves as a backdrop that propels the storyline forward. The narrative unfolds around the discovery of Neferhotep's tomb, initiating a riveting tale filled with thefts, conflicts, and homicides. Scholars have drawn parallels between this work and the adventure literature of Jules Verne and Gaston Leroux, as well as with E. P. Jacobs' Blake and Mortimer comics, which were also reviewed in Egypopcult. Additionally, both graphically and narratively, the comic bears resemblance to Jacques Tardi's Adele Blanc-Sec, with whom Victor Billetdoux is frequently compared. Notably, Billetdoux's character construction adheres to classic conventions typical of traditional comic book heroes, contrasting with the trend in the 1970s towards more emotionally complex human protagonists. Furthermore, it is noteworthy that the protagonist role is shared between Billetdoux and his loyal companion, the Egyptologist Charles-Hyppolite Constant.
In his Victor Billetdoux comic series, Wininger employs a conventional style of illustration characterized by clarity and efficiency of strokes. Additionally, he incorporates abundant onomatopoeia to enhance the excitement of the action sequences. The pacing of his comics may evoke reminiscences of adventure films.
Regarding the portrayal of the ancient Egyptian civilization in the comic, it is noteworthy that the author often emphasizes certain more fictional than historical details, such as the clichéd themes surrounding the alleged curses protecting the tombs of ancient Egypt. Furthermore, there is no archaeological evidence supporting the existence of a supposed pyramid belonging to Pharaoh Neferhotep.
Additionally, the comic also depicts the dispersion of ancient Egyptian heritage in Western museums. However, a truly critical view against this dispersion is not evident; rather, it is perceived as an advantage for studying ancient Egypt from Europe. Moreover, the trade of Egyptian antiquities by Parisian antique dealers is also portrayed in the comic.
The second installment, titled Les ombres de nulle part, is set in Paris during the 1910s. While Egypt plays a role in the storyline, its ancient civilization is portrayed as a distant, exotic, and picturesque culture that enhances the narrative with intrigue. This depiction is also evident in La nuit de l'Horus rouge, which is characterized by elements of mystery and suspense.
Author: Guillermo Juberías Gracia
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