Copenhague

Tired of living alone with her teenage daughter, Nana Miller suddenly takes off on a mini-break to Copenhagen, the fairytale city. Her arrival there coincides with an almost surreal incident: the discovery, right in the city center, of the body of a mermaid. The country is in turmoil, and a national day of mourning is declared. The airport is closed, the streets are deserted, and people shut themselves indoors. Nana is cut off, far from her daughter, without knowing how long for. Confined to an almost deserted hotel, she meets Thyge Thygesen and, like amateur detectives, they investigate the cause of the crisis. Spotting a rather shady character hanging around the site where the mermaid was unearthed, they follow him… only to find themselves caught up in a story too big for either of them to handle.

From the pen of Jean Van Hamme, this fourteenth volume features several short stories drawn by an outstanding panel of artists. For this opus, Jean Van Hamme is accompanied by Philippe Xavier, Iouri Jigounov, Joël Callède, Gontran Toussaint, Mikaël and Alain Henriet.

Unlike its thirteen predecessors, this volume doesn’t focus on a single character, but sweeps up a much wider horizon of the XIII saga…

Nature opens a door into an invisible world—sometimes magical, often symbolic, combining the foundations of science with primitive beliefs that inspire both hope and fear. An understanding of Nature is the essence of human thought, and our complex relationship with Nature is at the root of all sacred rites, myths, and religious doctrines.

Third and final volume in the adventures of our teenage heroes, lost on the edge of the universe. Created by talented scriptwriter Richard Marazano ( Le Monde de Milo, S.A.M., Le complexe du chimpanzé…) and drawn by Ingo Römling, the illustrator of the Star Wars Rebels series.

Cave paintings have always fascinated us. Who created them, long before the invention of writing? How did those people live? Why did they create these images? And how did they acquire their skills, their ability to evoke powerful emotions through their paintings, which have lost none of their freshness and intensity over the millennia?

“Painting with Lions” tells the story of Elle, from her birth to her death, and the tribe of hunter-gatherers in which she became one of those who depicted the souls of animals on the walls of caves.

Although Fabien Grolleau has clearly referred to the latest scientific research, he has also created a prehistoric adventure story, delicately and poetically illustrated by Anna Conzati in her first graphic novel for Dargaud, and with an introduction by renowned historian Marylène Patou-Mathis, author of “L’homme préhistorique est aussi une femme” (Prehistoric Men Were Women Too).

Flora Del Sol is a young architect. Recently graduated, she has joined a major studio, where her boss is the famous El Rodrigo—brilliant, capricious, and flamboyant. As she learns the ropes, Flora experiences all the humiliations and disappointments, but also all the thrills and joys, of being an architect today. Soon she takes on a project of her own, working independently and growing in confidence. In the beginning she was awkward and diffident, but she has now taken wing, reaching the heights of eco-design and sustainable construction with her bold originality.

The world is now divided by invisible walls that disrupt the time continuum… The conclusion of this fascinating diptych!

Since her death in 2009, Vivian Maier has been recognized as one of the world’s greatest photographers. But who was this enigmatic and unconventional nurse? The authors explore Maier’s life with humility and sensitivity, discovering a woman for whom there were no taboos, and who never ceased to observe the world around her with a uniquely personal gaze.

Back in Scotland, Kathy discovers that the house left to her by an aunt has been burnt down. She tries to understand the cause of the fire and gradually realizes that this event is linked to other strange events happening in the area, some of which may have an extraterrestrial origin. Alerted, MI6 asks her to investigate the presence of Russian spies in this lost territory… At the same time, Kathy is confronted with personal memories of the lost land where she used to live.

“Nature abhors a void,” his therapist reminds him. “So you create images to replace lost memories.” Reflecting on this observation, Joann realizes that images are indeed very important to him, and he recalls a similar conversation he had as a child with a rabbi. Can an image take the place of a memory of someone who has died, of one’s own mother? And if you rely on an image instead of something real, is that not a kind of idolatry? Does the image prevent you from interacting with or confronting reality? Or are drawing and writing (the essence of the graphic novel) not rather a way of freeing yourself from reality, of opening yourself up to and understanding the world around you? Are they not in fact a kind of therapy?