Review by Ian Keogh
Redbeard is a historical adventure series created by French comics legend Jean-Michel Charlier that’s run since 1961. Perhaps mindful that English language readers don’t have the appetite for historical dramas found on the continent, Cinebook’s English editions pick up with the appointment of a new creative team in 2020.
Jean-Charles Kraehn and Stefano Carloni begin with the 18th century pirate about to be hung, yet he fears no heavenly retribution claiming to be as god made him. It’s an unexpected fate since as the series progressed Redbeard’s trade remained much the same, but instead of enriching himself and his crew he undertakes sanctioned missions for the French king. Kraehn’s step forward is to place Redbeard amid the contemporary political priorities. To some of the French establishment Redbeard is an embarrassing relic of a byegone era, but he can be of use in dealing with other French embarrassments. In 1738 there’s a French pirate calling himself the Spectre plundering freely along the then British coastline of North America, and as France is now at peace with their traditional enemy he has to be stopped.
Kraehn is either a historical enthusiast or has researched well as the dialogue and preparations are detailed and convincing, and notes at the back explain some situations and phrases. There’s also a considerable density to the plot, requiring Carloni to squeeze multiple panels onto a page, which is achieved with no short cuts. The sample art shows that even when providing a linking panel Carloni ensures the fittings of the ship look authentic, and beyond that he illustrates a suitable scurvy cast and provides the dingy night atmosphere of a culture dependent on candles.
A controversial aspect is the way Redbeard’s Black friend Baba is referred to and treated by others, but however distressing it may be, it’s true to the times, and to pretend otherwise would undermine the overall veracity. It’s intended as unsettling and it is, even with the true language of the times toned down.
By the time the main action kicks off Kraehn has fully introduced Redbeard and his crew, sown suspicions about which of them might not be allies, and laid out an audacious plan. There’s a counter plan running in the background and more than one surprise is sprung, but Kraehn drops a major clanger right at the end with one of comics’ oldest clichés. It’s a jaw-dropping lapse in what’s otherwise a formidable pirate adventure. There’s no predicting where it’s heading, and with so much going on perhaps the most predictable element is that packed as this volume is, the conclusion awaits in The Sea Wolves.
