In this first volume, The Wolf and the Child, Lylian and Raka have fun mixing fantasy with Celtic tales. La Moïra is a vast project at Glénat to adapt the novels of Henri Loevenbruck. Get out your best medieval outfit to accompany Aléa and Imala
From a bestseller to a comic book
This volume is the first step in the adaptation of Henri Lœvenbruck's La Moïra trilogy: La Louve et l'enfant, La Guerre des loups and La Nuit de la louve. This origin of a novel is felt by the very strong presence of a voice-over with pieces of the original text and, conversely, the dialogues very few. Raka's drawing takes up the imagery of Irish manuscripts and the drawing spills over into arabesque on the gutter. But the reader also often thinks of cartoons and merges the Franco-Belgian layout and the precision of the scenery with faces close to manga. An old man arrives in front of a fortress and, after abandoning his swords, he enters very vast underground galleries. He is actually Alderon the magician and comes to confront Maolmòrdha but the fight is too uneven. Indeed, with his ally, the prince of the herilims, this dark mage is looking for the samildanach to recover his power. Meanwhile, the young orphan Aléa having been chased out of the city finds a magic ring while Imala, the white wolf hunted by her pack, must survive alone in the forest.
A fantastic tale for the youngest
The Moïra blends into the codes of heroic fantasy, like a Lord of the Rings in Celtic lands. The main character finds a magic ring. We meet dwarves and elves in the forest. Like Gandalf, Alderon is reputed to be the last great druid and fights spells. The arrival of another druid changes the life of the main character. The sets and dialogues are reminiscent of the Middle Ages. The inhabitants of Gaelia Island are divided between the religious power of the Druids and the politics of the High King. 
However, La Moïra brings variations to the codes of fantasy through an anti-Catholic discourse. A bard is criticized for refusing to change Christ and an army of the kingdom of Harcourt destroys villages that do not welcome the bishop. This context is reminiscent of the pre-Christian Celtic world even if the costume much later. In addition, La Moïra is more feminist. Aléa is the female version of Bilbo. This daughter of the earth is hated by everyone. We can also think of Oliver Twist. Luck smiled on him or rather the Moïra. In Middle-earth, it was an underground world. Here it is fortune in the Greek sense. Unpredictable, it brings success but can disappear very quickly. Aléa finds comfort with an innkeeper and his wife who hosts him. But the girl keeps a spirit of adventure and wants to find her former best friend Amine. She leaves and meets a dwarf and a druid who decide to accompany her. In parallel, we follow a white she-wolf Imala. She is also rejected because she has white hair and mated without the permission of the alpha male. Aléa becomes a woman and integrates while Ilana, also an adult, is rejected. Both have a spirit of independence. For the she-wolf, it is a curse and a happiness for the human. However, both are found at the end of the volume. With this first volume of Moïra connoisseurs of this saga will have the pleasure of seeing a faithful universe while neophytes will find a gateway into this Celtic saga of fantasy. The reading is very dense with many adventures even if for the moment the story has just formed. If this universe of heroic fantasy has conquered you, you can find chronicles on A nice wild orc and Ralph Azham.
