Jasonâ€™s second story is a about Sven, an artist who spends his days sketching the architecture of Montpellier or playing chess and talking about the best ways the best ways to appreciate women. Â His nights are usually spent with Audrey, his next door neighbor and best friend. Â Sheâ€™s always trying to set him up with her friends, throwing parties just so he can meet girls. Heâ€™s also quite in love with her but can never get the courage to say anything about it.
Those two stories are the two halves of Werewolves of Montpellier as Jason tells a subtle, heart-breaking story that has its own share of adventure. Â Or is he telling an adventure story that has some romance in it? Â Iâ€™m never quite sure with his books. Â Itâ€™s hard to classify what kind of story this book is because he tries to balance out the different aspects of the book. Â The balancing act here doesnâ€™t work as well as it has in the past, most recently with I Killed Adolph Hitler or even in The Last Musketeer. Â In those stories, thereâ€™s almost a perfect equilibrium between the different parts of the story, between the love stories and the adventures. Â With Werewolves of Montpellier, the werewolf story often disappears into the background. Â He still has that balance but itâ€™s not as strong and equal as it has been in his other stories.
Jason never lets you get close to his characters. Â In this book, like in most his other books, he never easily lets you into the story. Â He draws every panel from practically the same viewpoint. Â Once he establishes a scene, he rarely shifts to give you another view of the room characters are in or follows a character as they walk out of a panel. Â Â He never moves any closer or farther away from his characters. Â Sven and all of the other characters remain visually constant to us, never changing. Â Â They never get closer or move away. Â Jason keeps his images very 2-dimensional and has no use for any kind of dramatic depth to his drawings. Â Add in the fact that all of Jasonâ€™s characters are animal-like men and women- cats, dogs and birds- and it almost feels like Jason does everything he can visually to hold his readers at a distance and to never let them fully into his story.
Just as he physically never lets you get close to his characters, he sets up emotional barriers as well. Â His animal-like creatures are almost all the same, from book to book. Â Compare Sven in this book to almost any of his leading characters and physically theyâ€™re the same, almost right down to the deadpan expressions. Â Jason lets his characters actions and words speak for them more than their appearance. Â The ways that Audrey softly supports Svenâ€™s nocturnal actions or shares an umbrella with him on a rainy day defines who she is so much more than her physical appearance. Â Jason wants us to work to get to know these characters. Â He doesnâ€™t make it easy and over exaggerate anything. Â Heâ€™s a stingy storyteller on the face of the page but he conveys so much about his characters in every panel if youâ€™re willing to look for it.
Even Jasonâ€™s stories feel like a contradiction as the cartoonist never wants to tell the reader what the story really is. Â Werewolves of Montpellier is one third To Catch a Thief, one third The Wolfman and a final third Breakfast at Tiffanyâ€™s, complete with its own Audrey Hepburn stand-in. Â There are elements of all of these movies in Jasonâ€™s story, as Svenâ€™s story crosses over into many different roles but Jason here is going for a fusion to create something new, something subtly wild and vibrant.
â€œVibrantâ€ is an odd word to use with Jasonâ€™s storytelling. Â Thereâ€™s certainly not too much bombastic or energetic in Jasonâ€™s storytelling. Â Actually his pacing has a measured quietness to it as he presents the various parts of his story in a very matter-of-fact manner. Â Thereâ€™s no different in the reality of Svenâ€™s relationship with Audrey (it doesnâ€™t exist the way Sven wants it to) and the reality of werewolves running around a French town (they do exist much to Svenâ€™s surprise.) Â Jason approaches each aspect of his story with the same calm voice, trying to make each part of the story as real as any other. Â The werewolves are just as real as Audrey and Sven.