Bonhomme
Bonhomme
MATTHIEU BONHOMME
LUCKY LUKE (AS SEEN BY...)
Lucky Luke’s Long March,
Lucky Comics 2026
Original artwork no. 4.
Signed. India ink on paper
35 × 50.1 cm (13.78 × 19.72 in.)
Yet another demonstration of Matthieu Bonhomme’s remarkable talent as a storyteller. This fast-paced action scene features multiple viewpoints and a large number of panels. There are eleven panels, each placing us in a different vantage point. In the first panel, Lucky Luke rides toward Johnson. In the second, he catches up to him. In the third, the sound of gunfire cleverly serves as a transition between shot and reverse shot. Finally, when Johnson, defeated, tries to flee, we can catch our breath and step back a bit. The fusion of cinematic and comic book conventions is perfectly executed.
“This is the first action scene in the album where we see Lucky Luke physically move. He pulls Jolly Jumper’s reins to the left, but rides off to the right. We’re right in his cleats, at ground level, which heightens the intensity of the action. Then the shot-reverse shot illustrates the simultaneity of the gunfire.” M.B.
Bonhomme
MATTHIEU BONHOMME
LUCKY LUKE (AS SEEN BY...)
Lucky Luke’s Long March,
Lucky Comics 2026
Original artwork no. 4.
Signed. India ink on paper
35 × 50.1 cm (13.78 × 19.72 in.)
Yet another demonstration of Matthieu Bonhomme’s remarkable talent as a storyteller. This fast-paced action scene features multiple viewpoints and a large number of panels. There are eleven panels, each placing us in a different vantage point. In the first panel, Lucky Luke rides toward Johnson. In the second, he catches up to him. In the third, the sound of gunfire cleverly serves as a transition between shot and reverse shot. Finally, when Johnson, defeated, tries to flee, we can catch our breath and step back a bit. The fusion of cinematic and comic book conventions is perfectly executed.
“This is the first action scene in the album where we see Lucky Luke physically move. He pulls Jolly Jumper’s reins to the left, but rides off to the right. We’re right in his cleats, at ground level, which heightens the intensity of the action. Then the shot-reverse shot illustrates the simultaneity of the gunfire.” M.B.
