A floating coffin marked in blood with the word ‘Psalms’ is dragged from the River Seine. Inside lies the perfectly-preserved body of a beautiful young woman. It is Lia de Beaumont, beloved older sister of the young chevalier d’Eon de Beaumont, one of King Louis XV’s secret police. Stricken with grief, D’Eon vows vengeance on those who murdered his sister. This vow will drag him deep into a sinister conspiracy that threatens the throne and the very future of France. Taking us from the glittering chandeliers of the Palace of Versailles to the shadowy crypts of Notre Dame, ‘Le Chevalier d’Eon’ promises much: swashbuckling duels; supernatural horror; mysterious codes and cyphers, and the whisper of revolution.

D’Eon, who has been working for the secret police, reporting directly to King Louis XV, finds himself on the run, falsely accused of murder. He suspects the Duke of Orleans of plotting against the king. The Count of Saint Germain, an alchemist, is also implicated. D’Eon has made powerful enemies but he also finds new allies too. The second episode ‘Les Quatre Mousquetaires’ evokes memories of a bond between four legendary swordsmen fighting for France. D’Eon’s fellow ‘musketeers’ are a more ill-assorted collection: Robin, the Queen’s precocious page boy; Teillagory, the ageing soldier who taught d’Eon and Lia how to fence, and Durand, a swordsman, who has been placing white lilies on Lia’s coffin. Together they face the terrible ‘Gargoyles’, zombie-like attackers whom the ‘Poets’ control by the use of ‘Psalms’.
In these attacks, Lia’s restless soul, hungry for revenge, possesses her younger brother’s body, lending him her superior skills with a sword, as his blade lights up with fiery, blood-red letters. “The reason why Lia’s soul wanders your body in fury,” Queen Marie tells the bewildered D’Eon, “is so you will listen to what she has to say.”

There is a Russian connection too – and when d’Eon learns that Lia was working as a secret agent of the King’s in Russia, he becomes a member of Le Secret du Roi, ‘the King’s vessel for dealing secretly within the world.’ But who can D’Eon trust in this web of spies, black magic, and espionage? Can he outwit the Poets and their magical arts and defend France against the machinations of Orleans and Saint Germain? And who is Vorontsov?

The historical Chevalier d’Eon worked as a spy for Louis XV in Russia and England and lived for many years disguised as a woman. Tow Ubukata’s take on this is to combine Lia’s spirit with D’Eon’s body. So we see D’Eon, his long hair falling loose about his shoulders, whenever Lia’s spirit takes control.

In spite of the copious historical notes provided and the portraits (with dates) of the historical characters shown in the closing sequence of every episode, this is Alternate History in capital letters. Don’t look for historical accuracy! It’s best to put away the history books and just enjoy the ride.

The symphonic score is one of the high points of ‘Le Chevalier d’Eon’; composer Michiru Oshima is best known for her music for ‘Fullmetal Alchemist’ and again provides atmospheric and subtly-coloured musical background to enhance the action. Another high point is the work lavished by the team on the sword fights, which are thrillingly and realistically animated.

However, however… in spite of all the hype, I can’t give this first volume ten out of ten. I was really keen to see this series, as I adore anything with a historical background. But I came away from the first four episodes with mixed feelings.
There’s much to admire in it. There are also some genuinely awkward moments.

So, what’s not to like?

The much-vaunted sumptuous CGI backgrounds of Versailles and Notre Dame, although gorgeous and in vibrant colour, sit oddly - for this viewer, at least – alongside the conventionally drawn characters. I much prefer the Paris backdrops and street scenes which are impressionistically painted; the characters blend in much more successfully.

The US dub grates on my ears, mostly because of the actors’ weird pronunciation of the French names. I’m not usually a purist in these matters – but my advice, this time, is to stick to the subbed version if you find such infelicities distracting.

The special features include two commentaries with the ADR Director and English voice actors and historical notes, as well as the usual clean opening and closing sequences. I particularly like the illustrated booklet which contains essential information: character information and relationships, key words for understanding the world of ‘Chevalier’ and a long interview with Chief Writer Yasuyuki Muto.

In Summary

A promising beginning to a dark and fascinating journey into an alternate eighteenth century France, with hints of revolution and betrayal to come.