“Three women were living in a village. The first was nasty. The second one was a liar. The third was selfish. Their village was a nice name garden, Giverny, france”, are the words that open Nympheas noirs .

In the green and charming village of Giverny, where the painter Claude Monet lived the last forty years of his life, a murder, comes to disturb the serenity. Three women will become the object of attention of the investigator commissioned on the spot to solve the case. A girl passionate about painting, a seductive teacher as well as an old widow, cloistered in her home, passing his time to spy on the neighbors.

The polar who has devoted Michel Bussi has been magnified by the stroke of paintings of Didier Cassegrain, and the subtle adaptation of Fred Duval. There is a comic panting and glittering: “The comic book was the perfect media to adapt this novel very visual, designed as a “scenario”, believes Michel Bussi. Satisfied with the result, the novelist salutes the graphical version remaining faithful to his work while providing a different work.

“The authors have managed to combine mystery and poetic dimension. Nympheas noirs is a thriller that happens to Giverny, related to the universe of the painting. A polar impressionist where people paint, walk in nature, visit museums, look at the sky. A narrative that is contemplative, with the addition of a love story,” says the novelist.

The bet was tough, but well earned. If side scenario, the album keeps in suspense the reader until the last page, graphically, it is a feast for the eyes. Didier Cassegrain has worked each checkbox as an array, directly to the acrylic paint, offering a whirl of color and a sumptuous work on the light.

The box BD: decryption by Didier Cassegrain

This box that shows for the first time the house of Claude Monet, focuses on a fairy-like decor. Aire Libre/ Didier Cassegrain/ Fred Duval/ Michel Bussi

“This case marks the first appearance of the home of Claude Monet, with one of the three protagonists, Stephanie, sitting on the stairs. This is a board that is contemplative with a focus on the decor. I drew the house from a low angle to give it the importance as well as heroin, which overlooks the inspector who arrives in the shadow: the reader must, like him, are the eyes in front of this facade full of light and color. The challenge was to build an actual set. It has a few constraints. He had to stay true to the house of Claude Monet, keeping a minimum of realism.

The composition of the box should be as simple as possible, so as not to distance the reader from the essential: here the heroine is the one that must be at the centre of all attentions. All the rest must remain in the shadows. It should be clear and net. Only the ground lights up little by little to mark the passage of the shadow to clarity. This light is accentuated by the flowers located in the foreground. They emphasize as well the depth and the contrast between what is close to the drive that will be illuminated in the distance.

It is impossible for me to attack the colors without thinking upstream to the light, once I know where it is, I think spots of warm colors like the yellow or the red of the house. Then, I come back to a painting which further seeks to exalt the subjects, such as flowers, wall, gravel on the ground… once the paint is laid I the accentuates the black line to clearly delineate the identified own to the comic.”