Comic report about the inner workings of the EU: The little mouse at the European keyhole

The French comic author Kokopello stands nearby and records the conversation – like many other scenes behind the doors of the European Union. Compared to a comic artist, politicians are more open to taking him with them to places where journalists are no longer allowed, says Kokopello, whose real name is Antoine Angé.

And that paid off for his comic “Europe, the EU and Me”: He sold around 20,000 books, an average of 4,000 in France. Readers accompany him through his meetings with politicians. He visited the European Parliament, Kiev and a refugee camp on the Greek island of Kos.

Expressive images characterize the comic

Many impressions were only possible because, as a comic artist, he had the sympathy of many politicians on his side – and was also able to listen to more private conversations. In addition, French politicians in particular loved to be drawn. Even if they may look a little different in the comics than in real life. Because: “Comics are about expression.”

A tall person suddenly appears two or three meters tall in the drawings; A firm handshake is presented in such a way that the other person’s hand appears small. Readers should feel what he felt at that moment, says Angé.

His interest in accompanying Macron and commissioners through the European Union developed with the start of the war in Ukraine in spring 2022. As a teenager, like many others, he had little interest in Europe.

That changed with the Russian attack: Angé was working with other comic authors on a book about the French election campaign – which then changed massively, with Macron’s candidacy announcement being delayed. At demonstrations, Angé often saw European flags and asked herself: What is Europe?

Prejudices about the EU annoy the artist

“I have often heard that the EU is so far away, so complex,” says Kokopello about his research. “That annoyed me because I think the EU simply has advantages.” Many things that are only possible through them do not reach the population. “In Paris it is often said: Europe is to blame for this.” However, in Brussels he learned that no decision is possible without the participation of the member states.

Many countries gave themselves credit for good decisions. When it comes to unpopular measures, the finger is quickly pointed at Brussels.

The reason: “The EU communicates very poorly,” says the illustrator. Much remains in the political bubble, a closed circle of journalists, commissioners and other politicians – similar to what is the case at the federal level in Berlin or in the French capital.

More fire for the European idea

“They all know each other,” he says. “It’s really such a microcosm.” He himself began to use other media and became interested in European agriculture and European sovereignty.

He would also like to see this passion in the population. This requires more opportunities to tell stories about the EU, emphasizes Angé. Regardless of whether it is through pictures, books or plays – “what is crucial is that it not only appeals to this group of experts, these specialists, but really to the general public.” His role is and remains “the little mouse that looks in from the keyhole”.