In the competitive landscape of French graphic novels, a new project is attempting to shift the scale of how “engaged” art is distributed. Quentin Guibereau and Floriane Candelon, both former employees of the Humanoïdes Associés group, are transitioning their digital project, Courts Bouillon, from a bimonthly newsletter into a quarterly print publication. This move from a newsletter to a BD review represents a strategic effort to create a physical sanctuary for “imaginaries in struggle,” offering a counter-narrative to the increasing corporate concentration within the 9th art sector.
The transition arrives six months after the digital launch of the newsletter in October 2025. To fund the leap into print, the duo launched a crowdfunding campaign on Ulule, which has already secured more than 7,000 euros. The inaugural issue, titled La lutte des cases, is scheduled for release this September, coinciding with the first anniversary of the digital platform.
For Guibereau and Candelon, the shift is not merely about medium, but about space. Having worked at established houses like Glénat, La Boîte à Bulles, and Métal Hurlant, the pair recognized a gap in the market for a publication that prioritizes experimentation and political commitment over commercial viability. The newsletter served as a proof of concept, but the founders felt the digital format was too restrictive for the depth of dialogue they intended to foster.
Expanding the Canvas for Political Art
The core philosophy of Courts Bouillon is rooted in the idea of the comic strip as a tool for emancipation. Guibereau describes the new review as an “outil de réflexion et d’émancipation pour opposer de nouveaux récits à la montée des idées réactionnaires.” By moving to a quarterly print format, the publication can dedicate significantly more room to long-form interviews and complex creative works that often struggle to find a home in mainstream catalogs.
The editorial structure of the review is designed to be art-forward: approximately three-quarters of each issue will be composed of original plates by authors, and illustrators. The remaining space will be reserved for analytical articles and interviews with activists, creators, and industry specialists, blending the lines between a traditional art magazine and a political manifesto.
This commitment to “imaginaries in struggle” is reflected in the diverse roster of contributors slated for the first issue. The publication will feature the function of Lisa Blumen, winner of the Prix BD SF for Astra Nova, and Anne Simon, known for her biographical works on Freud, Marx, and Einstein published by Dargaud. Other contributors include Martin Py, Émilie Gleason—who received the Prix Révélation at the 2018 Angoulême International Comics Festival—and Aniss El Hamouri.
Bridging Journalism and Independent Publishing
Beyond the art, Courts Bouillon intends to act as a critical observer of the industry it inhabits. The first issue will include contributions from journalist Lucie Servin, who notably conducted an investigation for L’Humanité into the alleged drifts and mismanagement of the Angoulême International Comics Festival. By pairing high-level industry critique with avant-garde art, the review positions itself at the intersection of independent press and micro-edition.
The project also embraces a tactile, collective spirit. Along with the magazine, the first issue will include a card game titled Camarades contre capitalistes. This addition underscores the founders’ desire to move away from passive consumption toward a more interactive, community-driven experience. The use of crowdfunding is a deliberate choice to keep the project independent and rooted in a “collective” model, which Guibereau notes is a recurring necessity in a field where many creators struggle to sustain their passion.
The Strategic Roadmap for Distribution
While the project began as a digital-first endeavor, the long-term goal is a sustainable presence in physical bookstores. The founders have already developed “packs” with discounted rates to encourage independent bookshops to carry the review. This hybrid strategy—maintaining the bimonthly newsletter for rapid updates and recommendations while using the quarterly review for deep-dives—allows them to maintain a constant presence in the cultural conversation.
| Phase | Format | Frequency | Primary Goal |
|---|---|---|---|
| Digital Launch | Newsletter | Bimonthly | Community building & curation |
| Expansion | Print Review | Quarterly | Deep-form creation & analysis |
| Distribution | Bookstores | Ongoing | Physical accessibility & independence |
To further increase visibility, the duo plans to promote the review at major literary events during the autumn season, including Formula Bula. This approach leverages their existing professional networks from their time at Humanoïdes Associés and other major publishers to bridge the gap between artisanal fanzines and professional publishing.
A Model for the “Struggling” Creative
The emergence of Courts Bouillon reflects a broader trend in the European comics scene: a retreat from large-scale corporate publishing toward “micro-edition” and collective dynamics. Guibereau observes that the comics world is often populated by people who “galèrent pour faire ce qu’ils aiment,” suggesting that the support for such independent initiatives stems from a shared desire for solidarity over profit.
By integrating journalistic inquiry, political activism, and visual art, the review seeks to challenge the current concentration of power in the publishing world. It’s an attempt to prove that a publication can be both intellectually rigorous and financially viable through a combination of community funding and strategic independent retail partnerships.
The next major milestone for the project is the official release of La lutte des cases in September, which will mark the transition from a digital experiment to a tangible literary object. Following the launch, the success of the Ulule campaign will determine the scale and frequency of subsequent issues.
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