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Franquin’s line work in Volume 9 is exceptionally fluid. You can see the shift toward the "nervous" and detailed style that defined his later career, with incredibly expressive character movements and cluttered, lived-in backgrounds.
This volume features some of the most iconic jokes involving Gaston’s legendary musical instrument. The sheer destructive power of its sound—causing ceilings to collapse and shattering glass—becomes a recurring, hilarious nightmare for the office staff.
(Volume 9) is a peak example of André Franquin’s mastery, marking a transition where the art becomes more detailed and the humor more inventive. In this collection, Gaston’s "unemployment" of traditional office duties is fully replaced by his career as a prolific, albeit disastrous, inventor. Key Highlights
Critics and fans often cite this era (the late 1960s to early 70s) as the "Golden Age" of Gaston. On platforms like Goodreads and SensCritique, it consistently holds high ratings for its perfect balance of slapstick and satire of corporate bureaucracy.
The inventions in this book go beyond simple "explosions." They involve complex physics, animal interactions (the cat and the laughing gull), and elaborate office modifications that turn the Spirou headquarters into a surrealist playground. Critical Reception
While Fantasio still appears, Léon Prunelle takes center stage as Gaston's primary antagonist. Their dynamic—Prunelle’s high-strung stress vs. Gaston’s zen-like laziness—reaches a boiling point in these strips.
