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In 2007, illustrator Penelope Bagieu created a comic weblog dedicated to the prosaic reality of her daily routine. Three years later, Bagieu, a graduate of the National School of Decorative Arts (Paris) and of the Central Saint Martins College of Art and Design (London), published her first graphic novel, Cadavre exquis, with Gallimard publishers. This article takes a four-pronged approach in its attempt to answer the question of how the transfer of a “wild” production to one of the most prestigious publishing houses took place. In the preamble, a brief presentation of the concepts associated with blogs and blogospheres and of their intrinsically elusive and wild nature culminates with an appreciation of the particular case of Pénélope Bagieu―and of her blog Ma vie est tout à fait fascinante. The blog is then examined as a place of self-affirmation for the author, including a confounding move to mix with a particular genre, namely chick lit. In light of its notable success, the blog was then reformatted into a book-object with several subsequent publications (from the Gawsewitch publishing house right up to the Gallimard catalogue). The reconfiguration inevitably provoked a change in the online platform but also in the attitude of the author who has tried her best to renounce the “girly” side attributed to her. Nonetheless, Bagieu suffered several missteps in the paper format when those versions were incompatible with online production. Her experience is, moreover, evidence of the need to link the two media: the pages she currently publishes every Monday on a blog hosted by Le Monde are destined to become the subject of a publication by Gallimard. Is it now, therefore, truly possible for artists accustomed to the Internet to liberate themselves and become renowned writers of comic books?
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In this article, we are interested in the contemporary practice of the strip in Quebec through the approaches of three currently active comic artists: Daniel Shelton, Pascal Girard, and Boum. Their production over the last thirty years serves as a corpus of research. We have identified three strip practices: formalist, occasional, and digital to argue that this narrative form is beginning to establish itself sustainably in the landscape of Quebecois comics, both through the work of comic artists, as well as through that of other cultural actors (editors, teachers), but mainly through the evolution of the three main media of dissemination of the strip: the newspaper, the album, and the screen.
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