Justice as a Superheroine
Illustrator Walter Guissard on Cécile La Shérif, our first graphic novel.
If 2025 was a year of transition for me, 2026 marks the start of a new career. Last year, by launching my newsletter and defining its editorial line, I rediscovered a way of practicing journalism that truly resonates with me. Through How to Get Lost, I built a readership with whom I share interests in travel, contemporary creation, and storytelling. Today, I’m excited to finally take on projects that align with these passions. I hope this continues.
This year, I’m releasing two projects in quick succession both deeply personal, yet distinct from my previous work. The first, Cécile, La Shérif, comes out on March 4th in France and Belgium. I’ve spent over three years on this graphic novel (published by Casterman, edited by Angèle Pacary, and illustrated by the brilliant Walter Guissard, whom I interview here). Inspired by my mother’s life as a criminal defense lawyer, the story turns those who fight for justice into modern-day heroes. The second project, a first-person narrative called L’Art du Détour (The Art of the Detour), will be published by Arthaud in mid-May. The book celebrates the value of stepping off the beaten path, rejecting optimization and performance. I’ll have a chance to talk more about it later
But back to Cécile, La Shérif. This burlesque western follows Cécile, the daughter of Orléans’ prosecutor. It’s 1851, and women are forbidden from practicing law. Frustrated, Cécile gets drunk, meets the pianist Louis-Moreau Gottschalk, and heads to New Orleans to forge a new life. Along the way, she tests her ideals of justice, sometimes with a Colt in hand. At each step, she argues, rules, and learns often the hard way to uphold legal principles where none exist. When fate finally smiles on her and pins a sheriff’s star to her coat, she realizes that practicing law can shake consciences, starting with her own.
Our character Louis Moreau Gottschalk is inspired by the real-life composer ; a Creole-American piano virtuoso and pioneer of ragtime and jazz. His music is the soundtrack to Cécile, La Shérif.
I originally wrote this story to make kids laugh in a workshop I led with my friend Pooya Abbasian in a middle school near Paris. I drew from my mother’s life (her name is Cécile) to entertain them, it works. The idea took root, I wrote the script in a year, and then I needed an illustrator. By chance, I met Walter in Brussels. On a family vacation, I stopped by a comic shop in Saint-Gilles and picked up a few albums. At the counter, I noticed a graduation project (a comic about a Belgian superhero who gains weight from boredom). The cashier didn’t know what it was, so I bought it, loved it, reached out to Walter on social media, and the project began…
Putting out work this personal is always nerve-wracking it exposes so much. You’re never fully at ease when releasing a book. I hope these projects find their audience and resonate with you.
Hey Walter, Cécile la Shérif is your first graphic novel published by a major publisher. Can you tell us a bit about your background and your influences?
I was born and raised in Brussels. That’s where I studied comics and graphic novel: a bachelor’s at ESA St-Luc and a master’s at LUCA School of Arts. When I was a kid, I read tons of manga. I was obsessed with the dynamism, the speed of the action. As I grew up and traveled a bit, I fell in love with Hip Hop and American culture, stuff I wasn’t really finding in manga anymore. So I turned to Label 619 and some American graphic novels. Eventually, I discovered the huge world of Franco-Belgian graphic novels in university. Ever since, I’ve been trying to mix all three to find what works best for me.
Justice is the central theme of this album, which I like to call a “burlesque western.” How did you approach the illustrations for this project ?
The goal was to find a way to depict the law without making it feel rigid or stuffy, while still honoring the classic codes of the western genre. To avoid any sense of stagnation, I built the drawings mainly with blocks of color, then added precise lines to highlight the action and key focal points. I didn’t start with outlines; I laid down the colors first, then carved and refined them to create rhythm and clarity without weighing down the art. For the colors, I wanted something bold and surprising, so I deliberately avoided blue skies to push myself into more unexpected, sometimes weird or intriguing combinations. The album also stands out for its big, expressive sound effects. If I had to name specific influences, I’d say Brüno and Taiyo Matsumoto’s layouts inspired my page compositions, while Oda’s work influenced the character designs—each one more over-the-top than the last.
After drawing her so much, you must have a special relationship with Cécile. Where do you two stand, and what do you think of her? That’s an interesting question, especially since I know you wrote the character with your mom in mind. For me, her design is directly inspired by someone very close to me, so deep down, I think we’ll both always love this character. My relationship with Cécile is solid, and it’s always a blast to draw her!
During the creative process, we talked a lot about pacing—I was worried about being too serious. How would you like readers to experience your illustration work on this project?
I played a lot with variation: movement, but also silences, empty spaces, glances. The idea was for the art to breathe and match the story’s rhythm. I think the rounded lines and loose colors really complement the humor in your script and help break up any potential monotony, while still amplifying the more intense moments.
The million-dollar question: if you had to pick just one page from the album, which would it be?
Tough call, but I’d go with this one because it best captures the album’s tone—both its offbeat visual identity and what it’s saying. It’s also got a playful side, since you have to interact with the book, turn it around, to fully get each panel.
From what I hear, you’re already working on a new album. Care to share a few words?
Hell yeah! It’s a project written by Mathieu Mariolle, and we share a big passion: American football. Trust me, if you thought Cécile’s art was fast and powerful, this one’s gonna blow your mind!