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La Porte de Brazenac
L'histoire de La Porte de Brazenac se déroule pendant l'hiver 1771. André de Beltoise, précepteur du jeune prince de Condé, est pris dans une violente tempête. Il trouve refuge dans un château habité par un homme malade, un certain baron de Brazenac, qui se révèle très cultivé. Beltoise repart le lendemain avant que son hôte ne puisse lui faire part d'un phénomène bien étrange... Son cheval a disparu sous ses yeux, comme s'il avait peu à peu franchi une frontière invisible. Intrigué et curieux, le baron a alors lui-même tenté cette expérience fantastique pour découvrir, de l'autre côté de cette « porte », un monde inconnu... Cette porte serait-elle l'entrée vers l'Enfer ou, tout simplement, une porte temporelle ?
- GenresGraphic Novels
72 pages, Paperback
First published February 7, 2014
About the author
Luiz Eduardo de Oliveira (Leo)
145 books175 followersLuiz Eduardo de Oliveira (born on December 13, 1944 in Brazil),[1] more famous under his artist name LEO is a Brazilian comics creator.
After having graduated as an engineer in mechanics, Oliveira left Brazil because of the military dictatorship that was in power at the time. He went first to Chile, but the following year saw the Chilean coup of 1973. This led Oliveira to leave, moving to Argentina, from where he finally returned to Brazil in 1974.
He found work as an illustrator in the advertising industry of São Paulo, before once more leaving Brazil, in 1981, this time moving to France, hoping to illustrate comics. However as the Franco-Belgian comics industry was in recession at the time, he was forced to work in advertising once again, although he managed to get the occasional piece published in L'Écho des savanes and Pilote.
In 1986, with the assistance of Jean-Claude Forest, Oliveira began contributing to the youth dedicated magazines of Bayard Presse. He illustrated true stories for Okapi magazine. He then recounted Mahatma Gandhi's life in the album Gandhi, le pèlerin de la paix, for Astrapi.
In 1988, the comics writer Rodolphe asked him to provide the artwork for his stories. Their collaboration proved fruitful, producing 8 albums of material for their Trent series and 5 for their Kenya one.
In 1993, Oleveira finally achieved an old dream when Dargaud agreed to publish his first solo series: Aldébaran. In 2000, after 5 volumes of Aldébaran, he launched Bételgeuse, which was nominated for the Prize for a Series at the Angoulême International Comics Festival in 2004.
After having graduated as an engineer in mechanics, Oliveira left Brazil because of the military dictatorship that was in power at the time. He went first to Chile, but the following year saw the Chilean coup of 1973. This led Oliveira to leave, moving to Argentina, from where he finally returned to Brazil in 1974.
He found work as an illustrator in the advertising industry of São Paulo, before once more leaving Brazil, in 1981, this time moving to France, hoping to illustrate comics. However as the Franco-Belgian comics industry was in recession at the time, he was forced to work in advertising once again, although he managed to get the occasional piece published in L'Écho des savanes and Pilote.
In 1986, with the assistance of Jean-Claude Forest, Oliveira began contributing to the youth dedicated magazines of Bayard Presse. He illustrated true stories for Okapi magazine. He then recounted Mahatma Gandhi's life in the album Gandhi, le pèlerin de la paix, for Astrapi.
In 1988, the comics writer Rodolphe asked him to provide the artwork for his stories. Their collaboration proved fruitful, producing 8 albums of material for their Trent series and 5 for their Kenya one.
In 1993, Oleveira finally achieved an old dream when Dargaud agreed to publish his first solo series: Aldébaran. In 2000, after 5 volumes of Aldébaran, he launched Bételgeuse, which was nominated for the Prize for a Series at the Angoulême International Comics Festival in 2004.
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Displaying 1 - 3 of 3 reviews
August 1, 2023
Un dibujo excepcional. La historia es algo raruna en cuanto al planteamiento pero está muy bien llevado con emoción y un bonito final
February 14, 2017
An unpretentious - and maybe slightly unambitious - comic which harks back to the days when science fiction was 'scientific romance' and the stories it told were broadly optimistic ones. The atmosphere of La Porte De Brazenac is ominous thanks to brooding colour palettes and art that reminds me of that British master of rustic horror John Higgins, but this is misleading. Patrick Pion's story of an ailing French landowner and the rum goings-on in and around his chateau repeatedly overturns expectations of doom to have friendship, good sense and reason win the day. This does not make for an exciting book, perhaps, but it was nevertheless a charming one.
This entire review has been hidden because of spoilers.
September 17, 2023
La prima cosa da dire è che parliamo d'un fumetto francese, quindi il disegno e la colorazione le mettiamo subito in banca, goduriosa.
La storia è leggera, mai pesante, mescola la Francia del 1600 con la fantascienza e una sottospecie di viaggio nel tempo.
Niente da segnalare oltre i disegni, rimane nella mediocrità.
La storia è leggera, mai pesante, mescola la Francia del 1600 con la fantascienza e una sottospecie di viaggio nel tempo.
Niente da segnalare oltre i disegni, rimane nella mediocrità.
Displaying 1 - 3 of 3 reviews