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Ridiculous Empire

Satire and European Colonialism in the Comics of Olivier Schrauwen

Robert Aman

IMPERIALISTS. All honest, polite, peaceable, charming people. —Gustave Flaubert, Dictionary of Accepted Ideas The reader who opens the first page of Olivier Schrauwen's three-instalment comic Arsène Schrauwen – published as a full

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The Medium Is the Message

Olivier Schrauwen’s Arsène Schrauwen beyond Expectations of Autobiography, Colonial History and the Graphic Novel

Benoît Crucifix and Gert Meesters

Olivier Schrauwen and make it clear that a story about the Belgian Congo in his hands might result in something very different from the usual well-documented colonial story. In 2014, at Fantagraphics, Olivier Schrauwen published Arsène Schrauwen , in

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Introduction

The Editors

journey that is undoubtedly extraordinary, Arsène Schrauwen’s voyage to the Congo, as recounted by his grandson, Olivier Schrauwen. The unreliable narrator declines to conform to a recent ‘graphic novel’ variant of the journey theme that takes the form of

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Introduction

Counter-Narratives, Retellings and Redrawings

psychological and philosophical indeterminacy of the duelling snails. Robert Aman's article examines the work of Olivier Schrauwen, and particularly Arsène Schrauwen , his absurdist ‘memoir’ of his grandfather's exploits in the Belgian Congo, as a satire on

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(Mis)Leading the Reader

Decolonising Adventure Comics in Baruti and Cassiau-Haurie's Le Singe jaune

Alicia Lambert

similar approach can be found in the works of Flemish artists such as Olivier Schrauwen's Arsène Schrauwen (2014), 11 a parodic alleged biography of his grandfather's journey in the Belgian Congo, and Thibau Vande Voorde's De Kever en De Koning (2020