Christian Hincker, better known as Blutch, was born on 27th December 1967 in Strasbourg, where he would go on to graduate with a degree in Illustration from the city's College of Decorative Arts. As testimony to his achievement, his drawings have since adorned the pages of such well-known titles as Libération, the New Yorker and Les Inrockuptibles, though he has always thought of himself more as a graphic commentator on everyday life and its depravity. It is as though his sketches capture snapshots of life, his tragically comic characters losing themselves in fantastic and dreamlike reveries. Blutch took his first steps into the world of comics at Fluide Glacial in the early 1990s, and this early work was later published in the graphic novel "Waldo's Bar" (Audie, 1992), which was soon followed by "Mademoiselle Sunnymoon" and "Blotch". While continuing to regularly enrich the pages of the prestigious Fluide Glacial, famous for its own particular brand of humour (or "umour"), he started to arouse the interest of the many small, independent publishing houses which were making a name for themselves at the time: Lapin printed a collection of his stories which would be published in novel form as "Sunnymoon, tu es malade" (L'Association, 1994), while Cornélius brought out "La Lettre américaine" (1995), and later the five-volume "Mitchum". It was when Blutch teamed up with (À Suivre) in 1996 that his unique style, defined by its vigorous use of black and white, began to be recognised. While there, he produced a significant chunk of "Peplum", a homosexual tragedy inspired by Petronius' Satyricon, the completed version of which was published by Cornélius in 1997. Since then, Blutch has never shied away from discomfiting themes. In 1998 he collaborated with Capron to produce "Rancho Bravo" for Audie. At Seuil he provided the illustrations for texts by Hortense Dufour ("Charivari", "Melle Noémie"), H. M. Enzensberger ("Les Sept voyages de Pierre") and Fabio Viscogliosi ("Le Pacha"). He has also had work published by Alain Beaulet ("Le Cavalier blanc", no.2), Autrement ("La Présidente", with J. C. Menu, in the collaborative work Noire est la Terre) and Brüsel ("Piccoli"). After systematically working his way through all of black and white's artistic possibilities, Blutch began to adapt his illustrations to allow him to partner up with the colourist Ruby in "Vitesse moderne" (Dupuis, Aire Libre, 2002). In this urban fantasy, the streets of Paris are haunted by creatures on the prowl and shadowy figures you might swear were real if you didn't know any better. In 2011, Dargaud published Blutch's "Pour en finir avec le cinéma" (recently translated as "So Long, Silver Screen"), a graphic essay on cinema in which the artist once again tried to push the boundaries of what he, and his art, could do. We are left with an essay which is at once poetic, enlightening and ambitious. Then came "Lune l'envers", a return to fiction also published by Dargaud. Set in the not too distant future, this dramatic, disturbing and rib-tickling comedy sees its characters develop as they experience the pressure and responsibilities of the world of work, love and the passing of time. In this, as in all his work, Blutch bares his soul without concession to any other principle than the desire to provide a unique reading experience.