Hara‑Kiri No.153 (Juin 1974), from the fiercely irreverent French satirical monthly journal bête et méchant, known for attacking nostalgia, nationalism and historical myth‑making through shocking visual irony. This issue is one of Hara‑Kiri’s most notorious historical parodies, using dark humour to expose the absurdity of romanticising traumatic eras.

The cover references June 1940, the month France fell to Nazi occupation. Instead of treating the moment solemnly, the magazine deliberately uses grotesque visual satire to ridicule people who later described the era as “the good old days.” The composition includes:

• A staged scene with an actor dressed in a German WWII uniform, portrayed in a ridiculous, over‑friendly, almost cartoonish way — mocking propaganda imagery and nostalgia.

• A chaotic champagne‑pouring tableau involving a woman, similarly exaggerated for theatrical effect, meant to lampoon celebratory revisionism rather than depict anything sensual.

The headline reads: JUIN 40C’ÉTAIT LE BON TEMPS !(“June ’40 — those were the good times!”)A brutal, sarcastic attack on people who whitewash or trivialise the historical suffering of that period.

Cover details:

• HARA‑KIRI masthead in gothic black

• No.153 – Juin 74 – 5 F

• Tagline: journal bête et méchant

• Yellow ribbon upper right: numéro souvenir (“souvenir issue”), itself a parody

• Mascot logo bottom left

• Bright red background intensifying the propaganda‑poster parody aesthetic

Collectors value this issue because:

• it is among the most politically charged mid‑70s covers

• WWII parody covers remain highly collectible due to their historical significance

• it represents Hara‑Kiri’s peak era of anti‑nostalgia, anti‑revisionism satire

• bold colour contrasts and strong graphic composition

Condition (from the photo):

• Light corner wear (upper right)

• Sleeve reflections on the lower half

• Colours strong and punchy — especially reds

• No major tears or creases visible

• Spine appears intact with expected vintage signs

A classic example of Hara‑Kiri weaponising satire against historical complacency and myth‑making.