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Bigger than Pinocchio - Trends-Tendances sur PC

Bigger than Pinocchio – Trends-Tendances sur PC

The Argentinian Lucas Varela makes Pinocchio his own puppet in a demonic fresco both baroque and clear line!

Once upon a time there was Eden, literally built on chaos, that a dragon disguised as a snake will try to unleash. Here he is blowing on the embers of the fish, eternally submerged and jealous of the birds. The revolt is brewing and the wrath of God will be terrible! What relationship with Pinocchio? Much later, in the Venice of the Renaissance, the character is no more than an exc…

Once upon a time there was Eden, literally built on chaos, that a dragon disguised as a snake will try to unleash. Here he is blowing on the embers of the fish, eternally submerged and jealous of the birds. The revolt is brewing and the wrath of God will be terrible! What relationship with Pinocchio? Much later, in Renaissance Venice, the character is nothing more than an excellent thief who, without knowing it, seizes both a magic diamond and the “seal of the muses”, hidden under his wooden nose. A seal, both “key to all creation” and gateway to a universe even more original than Dantesque, loosely mixing Circle of Hell, biblical stories, creatures of Jérôme Bosch, Divine Comedy, Greek tragedy, commedia dell art and even contemporary nightmare! A veritable baroque cosmogony which plays with eras, temporalities and references, and which one could therefore fear would be crazy if it were not written and drawn by Lucas Varela, master of a new, very contemporary clear line and who loves to make of Pinocchio his own puppet. The first time was in 2007, in an Argentinian collection of short stories Estupefacto, then in 2011, in Paolo Pinocchio, published in French by the small publisher Tanibis, which made him one of its faithful followers. Ten years later, Varela thus entrusts them with what furiously resembles his “great work”, despite a new dimension acquired elsewhere with, among others, Le jour le plus long du futur (Delcourt) or Le Labo on a script by Hervé Bourhis (Dargaud ). He proves with this last twirling, ferocious and erudite comedy that he is now one of the great contemporary authors, carried both by a graphic design at the height of his grammar and his readability, an almost miraculous sense of narration as the occasions were beautiful to get lost in, and an imagination as fertile as it is original.

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