Alix, tome 17 : L'empereur de Chine by Jacques Martin

By Jacques Martin

Alix et Enak accompagnent leur ami grec Mardokios auprès de l'Empereur de Chine. Durant le voyage ils se lient d'amitié avec le prince Wou Tchi. Arrivés à los angeles résidence d'été de l'Empereur, nos amis se rendent compte du climat tendu qui règne à l. a. cour, intrigues, trahisons, tentatives de coups d'état vont bon teach. Nos héros deviennent les amis du prince héritier qui dépérit suite à un empoisonnement et qui finit par mourir. A sa mort, Enak est enfermé vivant dans l. a. tombe princière. Alix parviendra t'il à le sauver et à regagner Rome ?

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Extra resources for Alix, tome 17 : L'empereur de Chine

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1, p. 6. Dave Stewart, color; Pat Brosseau, letters. Dark Horse Comics, 2001. Much of this is typical of Mignola’s art: the enveloping blackness, the reduction of visual detail, the emphasis on mass, the flatness of the color, the surprising quietude. So what world does it create for the reader? The first page is undeniably arty, highlighting the text of Poe’s Ligeia more than any other element. The blackness, as something of a Mignola hallmark, establishes generic expectations for the knowing reader.

Friends and I swapped some (and furtively bought, swiped, and hid others), and then—somewhat less so now—the wait between installments could seem excruciatingly long (a month was longer for me back then; now I barely note their thuddingly regular passage). Finally, new issues would appear on whatever Wednesday it was, and I would rush home to become “wholly given up to the soft drift” of my comics. The comics themselves certainly didn’t constitute a “soft drift,” filled as they were with battles, cosmic odysseys, neurotic self-questioning, masks, capes, superpowers, secret identities, and secret weaknesses.

Ballard’s “Concentration City” (1957); the buildings that structure Thomas Disch’s 334 (1972) or Robert Silverberg’s The World Inside (1971). Indeed, the concept of world-building is most frequently used with regard to such “completely formed alternatives” of imaginary realms, worlds, universes, or even multiverses. Tolkien’s richly peopled Middle Earth, to take one of the best-known examples (although “peopled” is surely the wrong word here), contains hobbits, orcs, Elvish cities, a rich linguistic tradition, and a long, imagined history, all of which inform the shape of a narrative traced across four volumes.

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