by RM Rhodes
There is a vast gulf between the way English speaking
audiences and French speaking audiences regard the comics artist Moebius.
English speaking audiences know him primarily as “that
Heavy Metal guy” who produced a number of visionary science fiction
works and eventually drifted off to get work in Hollywood. The books that were
translated into English went out of print in the 80s and are his other works
are only now starting to show up in English. But there are an awful lot of
single images of his floating around on Tumblr.
One of the more famous illustrations by Moebius
To French audiences, Moebius was the artist on Blueberry in
the 60s who went by a different name and went on to help found one of the most
influential experimental comics companies of the 70s. He drew a phenomenal amount
of beautiful work in a variety of different genres. But his most commercial popular
work would always be the westerns that he worked on in his youth – the work that
he had spent his life rebelling against.
Details like this are important if one wants to get the most
out of the recent translation of Inside Moebius, published by Dark Horse in 2018. It’s
a beautiful hardback printing of what is essential an autobiographical comic
from one of France’s dearly departed comics heroes. Moebius died in 2012, and
these began publication in French in the early 2000s, so they are not new, just
new to an English-speaking audience.
The Foreword to the first volume of Inside Moebius is
written by Isabelle Giraud, his widow, and awkwardly describes the origins of
this book in such a way that it would be easy to miss it. The Translator’s
Notes in the back of the book provide some of the context, as well. However,
what these notes fail to mention is that Inside Moebius is, first and foremost,
a metafictional story. As with all metafictional stories, the more references the
reader can understand, the better the story becomes.
In 1999, Moebius decided to stop smoking pot after decades
of consumption. However, he was worried about a corresponding loss of
creativity so he decided to produce a drawing a day for seventy days. He chose
the desert as a repeating motif because Desert B sounds like désherber – the French
verb for “pulling weeds” or “de-weeding.” From there, the project became known
as
40 Jours Dans le Desert B or Forty
Days in the Desert B.
From 40 Jours Dans le Desert B
The illustrations that Moebius did during this period are
beautiful – among his best work. They show the clean, confident lines of a
master who is obviously enjoying himself while he works. They were published in
a limited edition collection called 40
Jours Dans le Desert B, which was the obvious title. The subtitle was la
stratégie de la démence, which translates as the strategy of dementia.
As beautiful as the books were, the print run was relatively
small. Copies of the book go for hundreds of dollars, but Moebius didn’t see
that money.
In 2001, Moebius started making diary comics. He had
experimented with the form before, in a short story called
La Deviation, when he was very clearly
enjoying psychedelic narcotics. This is his first extended return.
Moebius diary comics from the early 70s
Inside Moebius is, then, a follow-on to a basically unobtainable
product that heavily informs what the reader is holding. The introduction makes
a game attempt to provide some of the things to watch out for, but in my
opinion, it shirks some of the foundational information that gives an
English-language reader the ability to enjoy the depth of the book.
Moebius diary comics from the early 2000s
For example, the story starts with Moebius struggling with a
Blueberry script. Other characters of his – Arzach and Major Gruber – show up to
laugh at his frustration. If you knew who any of those three characters are,
congratulations for being more informed than the vast majority of Americans. A
canny reader could deduce that these are fictional characters, but may not have
enough contextual clues to pick up on the fact that these are existing properties
and not something made up for the sake of the story. Moebius expects that you
will know these things, otherwise why are you bothering to read his diary
comics?
Blueberry is a character from the western comic by the same
name that first brought him to public attention in the 60s and early 70s. Originally
written by Jean-Michel Charlier and published episodically in Pilote magazine, Blueberry is arguably
Moebius’s best known work and most commercially successful. Most of it is done under his legal name Jean Giraud.
He stopped working on Blueberry in 1974 because he wanted to explore the kind
of work that he was producing under the name Moebius. In effect, Blueberry is
the property that he desperately wants to leave behind.
Unfortunately, we are told that an elder Moebius is struggling
with the knowledge that a new Blueberry book will sell more copies than a limited
edition art book like 40 Jours Dans le
Desert B (although the specific title isn’t mentioned). This struggle becomes
the early driver of what could charitably be described as plot.
Arzach is one of the original characters Moebius
experimented with when he first started drawing comics that seemed to straddle
a line between science fiction and fantasy without really caring that such a
divide mattered or even existed.
Major Gruber is the main character from an early masterpiece
by Moebius – Le Garage Hermétique, translated into English as The Airtight
Garage. Like Inside Moebius, The Airtight Garage was composed in one to three
page segments and only had a loose thematic connection holding the episodes
together. This makes it difficult to summarize The Airtight Garage, but the art
is fantastic. Inside Moebius shows a better degree of control, but its structure
is naturally a callback to that seminal work, for those that know what to look
for.
A younger, cockier version of Moebius, from the early 80s,
shows up as well. By that point, Moebius had quit high profile jobs to go
create a publishing company with his hippy artist friends, dragged into designing
movies with (and without) Alejandro Jodorowsky, but had not yet drawn the Silver
Surfer for Marvel, which means that he had not yet tried and failed to conquer American
comics markets.
These characters mingle with the older Moebius character.
They sit and chat and eat dinner together, like something out of a Fellini film.
Perhaps not coincidentally, Fellini provided the introduction to the Moebius
special published by
Heavy Metal in
1982.
One of the most notable things about Inside Moebius is the lack of polish on the art. Moebius was well-known for working in a variety of art styles, switching back and forth between them fluently, sometimes on the same page. Fans hoping to see beautiful psychedelic illustrations are likely to be disappointed. This is Moebius enjoying the looseness of cartooning and not sweating the small stuff. In fact, if you want to learn what a master cartoonist considers to be essential lines on the page,
Inside Moebius is a great textbook.
The fact that the original
diaries date back to 2001 becomes obvious when Moebius comments on the events
of 9/11 and has an extended conversation with Osama Bin Laden (who died a year
before Moebius did). Geronimo also shows up to compare and contrast his terrorist
methodologies with Bin Laden. Another character from
The Airtight Garage makes
an appearance as well.
Even if you have more interest in geopolitics than the
antics of an old master farting around with characters you’ve never heard of
before, the book contains a very entertaining take on what were, at the time,
considered to be Very Serious subjects.
If you consider yourself to be a fan of Moebius, this book
is an essential work that your library would be incomplete without. Part two is
due out in early June. I’m very much looking forward to picking up a copy.
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Why is this here? It's a long story. Mike Rhode first introduced himself to me when I first started vending at SPX. Over the years, we've talk to each other at Comic conventions around the DC area and never quite get around to sitting down for lunch.
When I moved to Arlington two years ago, I didn't realize that Mike lived within a mile of my building. Nor did I realize that he lived next door to my girlfriend's friend from college. We also discovered, by accident that we work two buildings away from each other, because we work in adjacent organizations. The world is a very small place, sometimes.
It really feels that way when I run into Mike at the local farmer's market. Naturally, that's when I pitch him article ideas. I'm reading the entire run of Heavy Metal in public (in blog format) because I happen to own the entire run of Heavy Metal. This means that I'm engaged in an ongoing study of the magazine. In addition, I have a diverse and idiosyncratic reading list that tends towards the weird corners of comics history. Sometimes one circumstance or another results in long articles that I don't really have anyplace to put. Mike has been gracious enough to let me publish them here.
In summary: this is an article about comics from someone in the DC area.
