Spoiler Review

Taiyou Matsumoto's artistic craft crystallizes in high definition the expansive world of paintings mirroring a child's limitless imagination with consistency in quality, witnessed most evident during the stretch towards the end of the final volume. Cats of the Louvre's art style mixes the sharpness of felines with the texture and feel of the lines; the grip of a child's developing hands seen in the depiction of statures in every page and the wiggliness of the edges of the panel; all embraced by the care of visual arts. Although this is my first Matsumoto manga to date, I find his way with the pen quite charming already.

Cats of the Louvre travels the experiences around the path of escapism in a world where there are children sensitive enough to acquire sufficient awareness to feel the sense of the looming birdcage outcasting them from the rest of their fellowmen. Amidst the cold, smelly world, the endless array of picturesque universes meandering about inside the most prominent museum on Earth provides deep solace to these children. These youth, gifted with the ability to "hear the voice of the paintings", could literally go inside the pieces. With the presence of Arrieta and Snowbebe, the idea of art itself possessing life is established and eventually explored with utmost priority.

Snowbebe lives with the cats of the Louvre's attic. Despite already being 6-7 years old (which was implied to be rather old), Snowbebe still bears a child-like appearance. He is treated like an outcast by the rest of the creatures in the attic. However, Snowbebe finds a friend in the spider by the hole in the wall. With it Snowbebe receives a rather philosophical energy as the spider talks about the passing of life through the seasons and through death. Eventually it dies, and Snowbebe eats it.

Arrieta resembles Snowbebe (or the other way around). An outcast the same, a resident of the painting the same, a never-growing-older-still-staying-young creature the same. Her brother, an employee of the Louvre's night watch named Marcel, was practically her only confidant. When they were children, they travel around the museum every night, and through those evening adventures, Arrieta's desire to live with the paintings accumulated until she practically lived within one, in "The Funeral Procession of Love." We find out that she has stayed there for roughly 50 years already, and she never went back to the real world.

These key figures represent the desire to escape the world with the concept of art playing a pivotal role in watering such desire. So although art is not the reason per se, it is the switch which changes the direction of the railroad track which runs through a whole 'nother domain. It speaks to the cosmic impact art holds, as it secures the right to manipulate the concepts of time, behavior, relationship, and life itself, all floating above art's divine palm.

As Arrieta and Snowbebe shares a month inside the painting living a child's paradise of unlimited sweetness and fun (well everyone wants this too ig), soaring through the air on a flying chariot manned by what looks like the deity of the painting, eating scrumptious food, and reconnecting with the dead (Sawtooth and the spider). And time never ticked. It stood frozen, like the appearance of the children. The sky could change between day and night; night debuted upon Snowbebe's residence, which is an important note to remember. The funeral procession of love was just an endless role play where everyone is a paid actor. Nothing ends, nothing progresses.

And all stood still.

That stood true until Snowbebe's courageous decision to go back to the cold, smelly world which subjects all to infinite ups and downs in favor of staying in this eternity of peace and stagnancy. The first entrance of the night in the world of the painting signifies Snowbebe's connection with the "reality": he still yearns for it and decides to live in it in the end. The real world is night and day; the painting only being the latter speaks volumes on the mindset of Arrieta. The manifestations of Sawtooth and the spider meant that Snowbebe still thinks of beyond the painting, as opposed to Arrieta which based her whole life inside it, to which she never left. In here, the difference struck clear.

Snowbebe experienced more than life--he experienced the death of beloveds.

Sawtooth represented the grueling, living as a street cat before presiding within the comfort of the Louvre.

Spiders are arachnid architects capable of weaving intricate designs of webs. Life and death lie in bed side by side on spiderwebs as the natural relationship of predator and prey interweave. And Snowbebe witnessed it as his friend crunched on a captured butterfly. The fact that the spiderweb sticks between the inside of the attic and the outside environment where one can only get a glimpse of (where Snowbebe usually ponders with the spider) speaks of the boundary present in natural maturation which is fueled by experiences upon experiences within the world we all live in.

Compare the hole on the wall to the roof of the Louvre. Snowbebe looks at the world through the former's lens, while the rest of the cats frequent the roof and even go outside the museum area in nights when the moon is full. This shows the differences between Snowbebe and the other cats: it is their mode of experiencing the worldwide scale of life. And it was only after the spider's death (a symbol of life and art, as predator and architect, as creator and destroyer of life) where Snowbebe is seen to be sitting on the roof.

The spider's last words reassure how happiness is always there and it is what makes the world turning, how even after death, everyone is with us in the form of the stars shining in the sky. Despite this, Snowbebe's racking mixture of guilt and loneliness tormented him so that he just wanted to die and be killed by Sawtooth on the roof. He surrendered to life and wished to be one with the stars. Arrieta, too, surrendered life and wished to be one with the paintings.

To escape the pain and embrace endless grace art holds in its womb. To remain a child and to never escape the mother's embrace and milk. This is what connects Snowbebe and Arrieta despite their dimensional distance. Yet, it was art which became a medium to link the two. And although they are two different creatures, in the hands of art, both are capable of communicating.

This is where I speak of the use of anthropomorphism. It is basically giving human characteristics to what is otherwise non-human. The fact that the cats were anthropomorphized in the second chapter shocked me in its suddenness and depiction. And yet, that they are given forms for us to clearly understand their intents and actions, and that they are still similar to us humans despite our lack of communication, is in correspondence to the transcendental reach of art. Matsumoto also makes use of color and precise layoutting to give the reader an idea of this perspective in the very first pages of chapter one, albeit this is between human Cecile and Snowbebe in cat form.

See how it was only the artistically inclined Arrieta who was able to properly converse with a cat? Gifted with the ability to hear the voice of the paintings, they are able to see the power art holds, which I elaborated on earlier. In the eyes of Cecile and the others, the cats are merely cats. Yet in the eyes of Arrieta, Snowbebe is one and the same with her. Art creates a sense of oneness. This adds to its captivating, almost seductive nature, which tickled the sense of escapism of these two children who just refuse to grow up.

But once again, after everything, Snowbebe left the painting and time started ticking again. He grew up, contemplated about life on the roof of the Louvre, and basked in this world's sunlight.

Is this to say, however, that art is bad? Truly, art is a means for escapism and melancholy for a lot of people. That is something we cannot deny. However, art is all the same a vehicle for positive change and a guiding hand for one's growth. Both held true to me, personally, yet it was also art which led me to choose escape from the escapism, to choose real over fantasy, yet still seeing fantasy as something special to me as it distracted my unprepared mind from the horrors of the real world. In the end, it is something we all need to confront. And art is always there to open our eyes to the necessary truths of the universe.

To me, personally, the story points out the urgency to act. Snowbebe was rather old, yet he still made the conscious decision to remain a child and to act like a child. In my perspective as a person in his early 20s, the world to me is not too forgiving so as to think that growing up is too late. And I point that dagger to myself: I need to change my ways more and more in a regulated, healthy manner. There will be a point to my sufferings, and a sprint to my lag.

Cats of the Louvre, in 18 meager chapters with average page lengths without a dense overflow of lines, expressed so much more thought through a creative play of imagery, concept, and theme. Candy for the eye, food for the thought.