THE FALL (LA CHUTE)

Have you noticed the surge in cultural productions dedicated to post-apocalyptic societies in recent years? These worlds depict humanity grappling with chaos, learning to reorganize amidst turmoil. There's a profusion of them, perhaps even an excess, making it hard to distinguish the substantial from the mediocre, as they often blend together by adopting similar narrative frameworks.

Consider, for instance, Jaret Muralt's "La Chute," whose third installment hit bookshelves in late spring. The original work resonated deeply, depicting Liam's efforts to save his family in a collapsing world due to a deadly virus, a haunting echo of reality during the early days of the "covidian" pandemic.

However, the second volume unfortunately veered away from the pandemic, focusing instead on a small group's struggles to rebuild a semblance of social structure, almost clan-like and more human. Amidst chaos, relying on blood, heart, or kindred spirits, a natural or reconstituted family where each member safeguards the clan's well-being, proves more essential than relying on others.

This third episode continues the path paved by the second. In this new installment, Sophia sets out with select group members in search of her father, Liam. He seems imprisoned by the Seerlanders in an Oberland city. Regrettably, Sophia narrowly misses him. He, along with other prisoners, was forcibly taken by the Seerlanders, who subsequently abandoned the city after a surprise attack by the Oberlanders.

Allow me to clarify my affinity for these end-of-the-world narratives. Since my teenage years, I've been drawn to tales like Robert Merle's "Malevil." Over time, I've delved into post-apocalyptic novels, comics, and films, immersing myself to the point of predicting their outcomes. Few creators manage to catch me off guard, given my seasoned sensibilities. Unfortunately, this third installment of "La Chute" suffers slightly due to my overexposure to the genre. Not all authors, like Hermann (at least in his first 10 Jeremiah volumes) or even Robert Kirkman, though "Walking Dead" may have meandered toward its conclusion, can surprise me anymore.

It's not that Muralt's comic isn't intriguing. Far from it—it's an enjoyable read. Though, admittedly, the plot could be more tightly woven, and occasionally, the paneling disrupts the narrative's flow. Still, there's a slightly irksome déjà vu element. As if I'm traversing familiar territory, void of surprises.

Yet, I was looking forward to this installment, much like its predecessor. Upon the first page, my adolescent enthusiasm resurfaced, intrigued by these post-apocalyptic societies. Yet, after a few pages, a sense of redundancy emerged. I was retreading a story I knew by heart, offering no uncharted or destabilizing paths. Almost as if the comic's creator sought to shield me from challenging my readerly habits.

Let's be clear: "La Chute" is a solid, well-crafted comic. Still, I had hoped for more. What a pity.

Jared Muralt, "La Chute" Episode 3, Futuropolis.