This is one of Druillet's artistic masterpieces (‘La Nuit’) in its first English translation; a must-see. It's fairly typical for Titan's reissues, comparable to their work on the Lone Sloane series. It's not a total embarrassment, but the overall production values are lackluster.The reproduction is good, not great. Where once this work was presented as line art (in black ink) with halftone color added, now the art is entirely halftoned, reproduced secondhand. Despite this, the increased page size and good sourcing leads to very good, even excellent clarity in the linework. Where it suffers is in vibrancy and overall impact, which is dimmed considerably. This is a tremendous, exciting work by an artist at his absolute peak, but it doesn't read that way in this edition. While there are subtle color shifts—a lack of blue here, a lack of red there, possibly caused by oversaturation of yellow—the bigger issue seems to be an overall compressed dynamic range, affecting both color and contrast, which makes reading this edition a hazed-over, nonsensual experience; the visual equivalent of a head cold. Despite its grim subject, the original was absolutely joyous in its use of color and bursting with detail. Here, the line art doesn't pop, nor do the colors. Both seemed to have drifted towards a midpoint, making the rich details harder to penetrate and enjoy. The original edition had fairly generous margins; this version often tries to minimize them, which seems misguided. There's also a loss of artwork in the gutters of double-page spreads, which are a big feature as the story progresses.Another concern is the translation. Edward Gauvin is an excellent translator, but some of his choices seemed overthought; others, possibly undermined by Titan's production staff. Key words that tripped me up included ‘skagg’, ‘kopfs’, and ‘palefaces’—none of which seemed like a direct translation. Respectively, I'd have advocated for ‘shoot’ (for ‘shoote’, a drug slang), ‘skulls’ (for ‘cranes’), and ‘blades’ (for ‘pales’). Where this matters is in both the poetry and the meaning of the story. The conflicts are clear visually, but the whys and wherefores are much harder to understand. How did the world get this way? Why are the police (kopfs or skulls) so out of control and who are they even serving? Are the tribes truly ‘morts vivants’ as they call themselves? What role does the dawn play? Were the ‘pales’ (or blades) a part of dawn, or a separate entity? Are they an abstract representation of the cancer that took Druillet's wife, or the misguided efforts of medicine that he rails against in his introduction? This edition didn't bring me any closer to a deeper understanding of the material, despite it being in a language I can read.There were other mistakes peppered throughout the book, affecting tone and characterization, but I won't bore readers with every detail. (And in truth, I'm no expert; there's some advanced syntactical interpretation being attempted by the translator to which I'm wholly unqualified to speak, and yet it seems as if he makes the characters more illiterate, more caveman-like than they were intended. And Druillet's introduction? His wife passed in 1975, dubbed International Women's Year by the United Nations. This version reads as if he's holding a grudge against a particular female doctor, a gross misrepresentation of his sentiment.) As in ‘Yragaël/Urm the Mad’, there were instances of dialog assigned to the wrong character, production errors never properly proofed. My feeling with the Druillet Library as a whole is that it's needed a strong editor's hand, a collaborative approach and some guiding oversight, but I don't believe it's had that.