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Glacial Period (Louvre) [Paperback]

Nicolas De Crecy

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Product details

  • Paperback: 80 pages
  • Publisher: NBM Publishing Company; Original edition (30 Mar 2007)
  • Language: English
  • ISBN-10: 1561634832
  • ISBN-13: 978-1561634835
  • Product Dimensions: 0.9 x 15.2 x 22.9 cm
  • Amazon Bestsellers Rank: 905,046 in Books (See Top 100 in Books)

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Product Description


During a glacial period set thousands of years from now, a small group of archeologists fall upon the Louvre, buried in snow, and do not understand all of the artifacts that they encounter.

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Most Helpful Customer Reviews on (beta) 3.7 out of 5 stars  9 reviews
4 of 4 people found the following review helpful
3.0 out of 5 stars Starts off promisingly but turns into nonsense 20 Nov 2007
By eldil - Published on
De Crecy's art is great, the dialog and the premise are good - 1,000 years from now the earth is in a high ice age, and a band of explorers is on an expedition to find out what they can about their ancestors. The hero is a sentient, genetically-engineered dog, and there are species-relations tensions, a great setup. But when they discover the Louvre, the story falls apart - the art comes alive and the story becomes weightless fantasy. Probably the short length and having to advertise the Louvre killed this.
2 of 2 people found the following review helpful
4.0 out of 5 stars Fan of De Crecy 16 Mar 2013
By Jen - Published on
The first time I saw Nicolas De Crecy's work was when one of my best friends came back from a European trip in the early 90's with sketch books he had purchased of a new young French cartoonist. Flipping through them I was mesmerized by such a strong vision. De Crecy's characters were both realistic and stylized in the same line. This was an artist that was closer to Egon Schiele than his contemporary brethren. The way he drew figures really showed you a glimpse of who they were. Most artists search years to find what De Crecy had found in his early twenties.

It was shortly after that an issue of Heavy Metal (March 1992) translated "Foligatto". I was finally able to read a Nicolas De Crecy story. His art translated amazingly well into the sequential form. His colors were beautiful. They created the mood of the story and dragged you into it. He put as much detail into the backgrounds as he did his people. He gave you a sense of the world around them. In turn it drew you deeper into his art. It's no wonder that years later his work would inspire the wonderfully unique animated film Triplets of Belleville.

When I found out that the Parisian museum The Louvre picked four cartoonists to create comics based on the museum and its work I was impressed. I thought it was nice to see such an esteemed establishment recognize comics as an art form that could elevate awareness of the museum itself. I was elated to read that Nicolas De Crecy was one of those artists chosen.

Glacial Period takes place thousands of years into the future. The earth is covered in snow and ice. This is a future where dogs have been bio-engineered to have thoughts and emotions that parallel humans. A group of archeologists are trying to uncover any thing that can give them some insight into the past. Even here on a barren earth we still find the males in the expedition arguing over whose name will go first in what ever discoveries they may find.

When a shift in the ice uncovers the hidden Louvre we get to see the expedition turn from an expedition into the past to a psychological journey. As they look at the centuries old paintings it's comical to watch them try to decipher what is depicted on the canvas. Most of them are nudes and the men in the group automatically think that the women of the past must have had loose morals to constantly be without clothes. They conclude that humanity must not have had a written language since all they find are paintings. In another part of the museum the statues come to life to tell the story of what happened to our civilization.

Glacial Period is at times satire, and other times a biting commentary of our world. Nicolas De Crecy has crafted a story worthy of the respect of The Louvre, as well as any lover of the sequential form. This painted story creates a world that stays with you long after you put the book down. I applaud NBM for translating this work. I hope it won't be another decade before we can read more work by Nicolas De Crecy. I highly recommend this book.
1 of 1 people found the following review helpful
4.0 out of 5 stars Gorgeous stuff. 19 Aug 2014
By monica - Published on
4 1/2 stars. I've been googling reviews, as I usually do upon finishing a book, and have been surprised to find that relatively few reviewers have the almost unreserved admiration that I do for Glacial Period. Given that much of the criticism has been for what the book lacks--identifiable genre, unconventional use of panels, a light-hearted approach to works of art, a petrol-station, and so on--it's probably best read without expectations (and without delving deeply into those reviews because too much is given away in some of them).

The story is imaginative and fascinating, with some unexpected turns. And given the length of the book it's surprising that Crecy was able to move from adventure to satire to touching moments to humour to history to protest and it's admirable that he could do so smoothly. The main characters are distinct and the protagonist himself is quite endearing.

Ah, but the pictures. I passed some several hours with this book simply because I spent so much time revelling in Crecy's artwork. He uses a subtle and superbly-chosen palette, his treatment of light is equally subtle and equally superb, and that boy is a dab hand with a wash. And imagine skittish but controlled pen and ink cloisonne lines against watercolour in quiet hues--leagues from anything that comes to mind upon hearing the words 'comic book'. (The 'Look Inside' sample shows only rough approximations: The lines, colours, lighting are stark rather than nuanced in it.) I've catalogued my books on another site where for convenience I've tagged them; to the 'comics' tag for this I've added the 'art' tag (just as I've done for Stray Toasters and Color Engineering). The image and the text are inextricably and wonderfully entwined: The pigdog's enquiring nature is suggested in the tilt of his head and the viewpoint from which that enquiring posture is shown somehow reinforces the character's charm.

Perhaps I'm a bit carried away because I've only just finished reading Glacial Period, and won't be so enthusiastic when I look at it again, or because I've read too many dystopian novels set in petrol stations in which Cycladic artifacts are used as comic relief and have got blase about them. For the moment at least, I wholeheartedly recomment this.
1 of 1 people found the following review helpful
5.0 out of 5 stars Glacial Period 13 April 2014
By William C Pfaff - Published on
Format:Paperback|Verified Purchase
A dog with a touch of pig DNA wandering through a post-glacial Louvre making comments that alternate between witty, snarky, deep philosophies, and madness? Yes....please. The art and tone of this book are nothing short of flawless. If I could have given it six stars I would have.
3.0 out of 5 stars Interesting But.... 6 Nov 2013
By Talvi - Published on
This is the second book I've Read in the Louvre Series (published by the museum featuring graphic novel artists inspired by art inside). As with the other book (An Enchantment) I can't help but feel there is a good story here that somehow either gets sidetracked or bogged down by being 'inspired' by the Louvre.

In Glacial Period, an exploration expedition is crossing a European landscape blighted by a global climate shift a thousand years previous. Across the snowy landscape, they come across a building suddenly appearing up from the ground - and explore it, trying to decipher the culture that built it and created the works inside. Meanwhile, one of the characters, a dog-pig genetic hybrid with a nose that can decipher history, goes on a whimsical adventure when the museum pieces come to life.

Anyone who has read the seminal "Motel of Mysteries' graphic novel will know what to expect here: amusing interpretations of the culture (without knowing it is a collection of many) based upon the artifacts and paintings inside. E.g., Naked Greek goddesses and Titian paintings tend to indicate the society was lewd and women were repressed and a painting of a monkey painted indicated the culture wasn't literate and painted to communicate. I know the far flung conclusions were meant to be amusing - really, this is a riff on the ancient egypt archeology of the Victorian period. But as with the Enchantment, the musing on the artwork and their meanings just tended to drag the story. I think I would have liked this much better if they could have found a gas station or a department store instead - far more fun to be had figuring out the 'ancient ritual' of a 'for sale' sign than a Titian.

Also odd and a big jarring is that the museum exhibits come to life or exit paintings. In one case, a cow carcass painting comes to life and eats a character. Others, like ancient statues or ornamental pieces, talk a bit about their history and being stuck underground in the snow for so long. There is even a frozen corpse of a guard staring at a painting of a woman. Therein lies the problem for me - is this a horror? a fantasy? a riff on history? Glimpse of the future of humanity (simple people who quarrel a lot)? An exploration of a museum and culture? It seems like a melange of various themes cobbled together to form a half realized story. If anything, I would have suggested it needed an editor before undertaking.

Other issues, such as the museum supposedly being on a huge faultline causing it to randomly and ludicrously rise out of the snow right in front of the group as they are traveling as well as start to fall apart (yet without damaging any of the exhibits, which are intact and neat), further confuses. Add in the characters riding a giant dog full of the exhibits to 'save' them and you kind of get the idea that this is one strange story.

That said, the characters of the pig-dogs are well drawn and fascinating. In fact, they are far more interesting than the humans, who are rather petty and lifeless. I wish the book had been from the perspective of the pig-dog only since he was such a fully realized character.

So while I didn't dislike this graphic novel, I didn't really get into it, either. Extract the Louvre elements and I think there could have really been an interesting dystopian here.
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