Alain Mauricet

Alain Mauricet is a Belgian comic book artist who has spent more than three decades bridging the gap between European bandes dessinées and American superhero comics — and making it look effortless. Born in Brussels in 1967, Mauricet discovered his passion for comics through his parents and honed his craft at the Academy of Fine Arts in 1980, studying under the legendary Eddy Paape, whose influence on Mauricet’s dynamic page composition and expressive character work remains evident to this day. Perfect for fans of artists who blend European sensibility with American superhero energy, like Pasqual Ferry or Chris Samnee.

Mauricet launched his professional career at age 20 with Le Journal de Spirou, where he spent nine years creating illustrations and developing original series. It was during this formative period that he co-created Cosmic Patrouille with writer Janssens — a gleeful superhero parody that poked fun at X-Men, Spider-Man, and Batman while showcasing Mauricet’s knack for both comedy and action. He also collaborated with writer Virginie Vanholme on Mort de Trouille, a young adult horror series published by Casterman that ran from 2000 to 2005, proving his range across genres and audiences.

The American comics market came calling in the early 2000s, and Mauricet answered with characteristic versatility. He contributed Batman illustrations to DC Licensing in the animated style, drew pages for Adventures of Superman, and illustrated a Tales of Tellos issue for Image Comics. His most ambitious early American project was The Crossovers, a 132-page mini-series for CrossGen Comics that showcased his ability to handle long-form narrative with cinematic pacing. These experiences laid the groundwork for what would become a prolific relationship with DC Comics, where he would draw Harley Quinn Holiday Special, Harley’s Little Black Book #2, Robin War #1, and the six-issue mini-series Harley Quinn and Her Gang of Harleys — work that earned him recognition as one of the most reliable and distinctive artists in DC’s roster. His Old Lady Harley variant covers further cemented his reputation for injecting personality and humor into even the most established characters.

Simultaneously, Mauricet built an impressive body of work in the Franco-Belgian market with Bamboo Edition, where he illustrated seven albums of Basket Dunk (with Christophe Cazenove and Plumeri), new volumes of Cosmic Patrouille, episodes of Les Profs, and five albums of Boulard. He also authored Une bien belle nuance de rouge (Garance) for Bamboo’s adult imprint Grand Angle — a more realistic, personal project that revealed a quieter, more introspective side of his artistry.

The past several years have been defined by Mauricet’s prolific collaboration with writer Alisa Kwitney at AHOY Comics, a partnership that has produced some of the most inventive genre work in recent memory. Their time-travel romantic comedy G.I.L.T. (2022), collected with an introduction by Karen Berger, demonstrated their ability to weave humor, tenderness, and science fiction into a seamless whole. Their follow-up, HOWL (2025) — a five-issue series set in 1957 Greenwich Village that blends beatnik culture with alien invasion horror — represents their most ambitious work to date. As Mauricet told Daily Dead, “This series sums up without a doubt for me the beauty and magic of what a real collaboration should be. Alisa and I — we ‘click!’ It all seems like a dance where each of the dancers knows the steps the other one is going to take.” He has also contributed to AHOY’s Edgar Allan Poe’s Snifter of Terror and Project: Cryptid anthologies.

Beyond AHOY, Mauricet contributed artwork to the acclaimed anthology All We Ever Wanted: Stories of a Better World (A Wave Blue World, 2018), a collection of 24 hopeful sci-fi stories that earned a 2019 Ringo Awards nomination for Best Anthology. He also drew for IDW’s Star Wars Adventures and contributed to Creepshow, further demonstrating his genre fluency.

What makes Mauricet’s work distinctive is his commitment to what he calls “acting” — the ability to convey authentic human emotion through facial expressions, body language, and visual storytelling. He moves fluidly between humor and horror, comedy and tenderness, never sacrificing character depth for spectacle. His period work, particularly on HOWL, showcases meticulous research and an ability to evoke specific eras without descending into cliché. As The Comics Beat noted, his collaboration with Kwitney produces work where “the art is magnetic, alluring and vivid.”

Follow Mauricet’s work at mauricet.be, find him on Twitter, Facebook, and Pinterest, and check out his latest projects with AHOY Comics.