In the second volume, Grandville Mon Amour, published on 2 December 2010, LeBrock attempts to track down an escaped serial killer that he previously brought to justice.

Well-known anthropomorphic animal characters make cameo appearances and some of the panels are humorous nods to well-known 19th century paintings, such as The Absinthe Drinker by Edgar Degas,[5] Paris Street; Rainy Day by Gustave Caillebotte, The Treachery of Images by Rene Magritte,[6] Work by Ford Madox Brown[7] and The Awakening Conscience by William Holman Hunt.

[8] Grandville is set in a steampunk world, featuring steam-powered road vehicles, air transport, robots (known as "automatons"), telephones (known as "voicepipes") and televisions.

Although the setting strongly resembles the Belle Époque era at the end of the 19th century, the period is approximately the present day, 200 years after the Napoleonic Wars.

The main character in the series is Detective Inspector Archibald "Archie" LeBrock, a large, heavily built badger.

[16] Following the murder of British diplomat Raymond Leigh-Otter, LeBrock and Ratzi travel to Paris in order to find the killer.

Three weeks after the events of Grandville, LeBrock learns that old adversary, serial killer Edward "Mad Dog" Mastock (previously a hero of the British Revolution), has escaped from the Tower of London moments before his execution for murdering several prostitutes.

Ten weeks prior to the story, France experienced a revolution following the death of Emperor Napoleon XII and is now ruled by a Revolutionary Council.

A cabal of industrialists and fat cats, led by the toad Baron Krapaud, secretly plot a violent counter-revolution using horribly beweaponed, automaton soldiers.

Meanwhile, LeBrock and Ratzi are asked by a friend in the French police to come to Paris to help investigate the murder of a Parisian artist, mysteriously stabbed to death in his locked and guarded studio.

Ryan Agee from The Skinny gave the first volume, Grandville, four out of five stars, writing: "Corny puns abound, but this is a stunningly well drawn book with a compelling mystery, and a great detective team at it's [sic] heart.

"[17] Neel Mukherjee in The Times was also positive saying: "It's a playful, allusive book in which there's a witty touch or deliciously knowing in-joke on almost every page: the French press whipping up Anglophobia; LeBrock's Holmes-like unpacking of apparently innocent signs, which yield vital information, when he makes his first appearance; the drug-addled Milou/Snowy, dreaming of plotlines of Tintin books in his opium-induced stupors.

The numerous fight sequences are simply cracking, especially the beautifully rendered sprays of blood and, throughout, the glossy gorgeousness fills your eyes.

"[19] Joe McCulloch from The Savage Critics was less positive however, writing: "This doesn't automatically lend itself to a tremendous amount of depth, frankly, and the somewhat stale, vengeful nature of Talbot's plot leaves it teetering on the edge of embarrassing-silly instead of fun-silly.

"[20] Grandville Mon Amour was reviewed by Michael Moorcock for The Guardian, who said "[a]lthough Talbot's narratives lack the complexity or originality of Alan Moore's, he brings a rare subtlety, even beauty, to his medium.