Why The Russos Are The Best Thing to Happen to the MCU Since Joss Whedon
You would be forgiven if you thought of French author, artist and animator Anouk Ricard primarily as someone who makes comics for kids. Before the North American release this month of Benson’s Cuckoos, from Drawn and Quarterly, her only other books to make it into English on this side of the Atlantic were a pair of collections of her charming children’s strip, Anna & Froga (2013’s I Don’t Know, What Do You Want to Do? and this year’s Thrills, Spills and Gooseberries).
And while Benson’s Cuckoos does look at first glance (and even after a fairly thorough flip-through) like a kids comic, given the adorable, big-headed, Richard Scarry-esque characters, it’s decidedly adult in nature. That the characters are all cute little anthropomorphic animals accentuates the humor of the many awkward moments of their social interactions, and diffuses the darker aspects of the story, keeping them from being read as anything other than comedy.
Originally released in 2011 as Coucous Bouzon (and earning a Special Jury Prize at the 2012 Angouleme International Comics Festival), the book seems to owe a significant debt to Ricky Gervais and Stephen Merchant’s The Office, and/or its U.S. adaptation. If, in fact, Ricard has never seen the show, which is certainly quite possible, then the boss at the office in which her book is set is quite coincidentally remarkably like Gervais’ David Brent and Steve Carell’s Michael Scott.
Benson, a particularly fluffy white poodle who owns and operates the cuckoo clock company from which the book takes its title, shares with The Office bosses an inherent belief in his own hipness, completely convinced that, unlike other bosses, he’s cool and sympathetic. He tells a lot of jokes, feels closer to his employees than they feel to him, wears funny hats, tries new and creative and dumb ideas, and generally makes everyone uncomfortable.