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Ten years separate the original publication of The Attack (2006), the novel by Yasmina Khadra, from its adaptation to the graphic novel, carried out by Löic Dauvillier and Glen Chapron (2015). History transports us to Tel Aviv (Israel), at the rush hour in which an attack leaves numerous victims in a restaurant. Amin Jaafari, a Palestinian doctor, discovers that his wife has, in all probability, been the suicide bomber who has killed himself. The language is direct, so the feeling is of raw reality, indigestible at times. The first person brings the reader closer to events, and it is the repetition of certain phrases or formulas that manages to convey the horror of a massacre that is not alien to us. In the comic, that simplicity in language is solidified with almost linear images, devoid of color, which emphasize the drama of the events (Gasca and Gubern, 1991). “They can take everything from you, your assets, your best years, all your merits and joys, down to the last shirt; but you will always have dreams to reinvent the world that has been confiscated from you ”(Khadra, 2007, p. 270). However, the dream has turned into a nightmare.

El mundo confiscado por la pesadilla: comparativa entre la novela El atentado y su versión en cómic