On more than 450 pages, The bomb traces the main episodes of childbirth, in the midst of the World War, of the most terrible weapon that humanity has ever conceived.
The atomic bomb is first of all a scientific adventure. Léo Szilard, Enrico Fermi, Robert Oppenheimer, Werner Karl Heisenberg were geniuses bent over their calculations and carried by a formidable intuition: a chain reaction at the heart of the infinitely small can trigger a monstrous explosion of energy.
We knew we had an epic, great saga subject, but do we still know behind the scenes, the men who participated in this incredible story? So, without moral judgment at first, we simply wanted to document ourselves to put the tragedy in perspective.
After the trial and error of the 1930s, the bomb, between 1942 and 1945, became too serious a business, too expensive and too important to be left in the hands of researchers alone. Political and military leaders enter the scene. Whatever questions some will eventually ask, the infernal machine can no longer be stopped.
From the moment this pharaonic project is launched, we build factories the size of entire cities, we invest billions of dollars, with thousands of people and some of the most important companies in the United States, without forgetting the question: does this have a chance of ending the world war? How can you imagine that all this is done so that nothing happens.
In a flash, on August 6 and August 9, 1945, in Hiroshima and Nagasaki, nearly 200,000 people disappeared. Tens of thousands more will die from their injuries and the radiation. Screenwriter Didier Alcante has been carrying this story since a young Japanese, a classmate in Belgium, became his friend. Canadian Denis Rodier offers him a rigorous and sober design: black like the past tragedy and the threat that the nuclear arsenal still represents, white like the blinding cloud of the blast. Black and white, the colors of mourning in Japan. Tale as terrifying as terrifying, precisely documented and skillfully staged,
The bomb, published by Glénat.
Every two weeks, Jean-Christophe Ogier welcomes here the column “Info manga” by Lætitia de Germon from the editorial staff of franceinfo.fr. To guide you through the many publications, Lætitia gives you its selection and its favorites.
In Bad grass, Keigo Shinzo addresses violence against women. Already covered in his previous titles, such as Holiday Junction or Tokyo alien Bros, he makes it the engine of its history here.
As usual, the mangaka stages a duet. Here, it is a young adolescent girl prostituting herself to escape her mother and her violence, and a policeman to whom she reminds her own daughter who died very young. Through this drama tackling many contemporary issues (prostitution, domestic violence), Keigo Shinzô explores the dark and sordid face of contemporary Japanese society.
Both the features and the words are harsh and touching at the same time. The author avoids showing certain types of violence, but this unspoken is nonetheless speaking. The fine drawing is as close as possible to the characters and their emotions. Little by little, a link emerges between the teenager and the police, a ray of hope in a sometimes cruel world.