The Long Tomorrow

The Long Tomorrow (1976)
Les Humanoïdes Associés
21 x 27cm, 16 pages

Forged from the ashes of Alejandro Jodorowsky’s unrealised dream of Dune (see Les Yeux Du Chat), was a meeting of creative minds between Jodorowsky, Moebius, Dan O’Bannon, Chris Foss and H.R. Giger that would have a far-reaching influence on the cinematic landscape of the future.

A notable example of this was a futuristic noir short story by Dune’s special effects artist Dan O’Bannon called The Long Tomorrow, who wrote and sketched it in a moment of ennui during downtime on pre-production of Dune and was then adapted into comic book form by Moebius for publication in Métal hurlant (Heavy Metal).

Set in a dystopian future The Long Tomorrow follows a day in the life of private detective Pete Club who receives a call from a dame called Dolly Vook Von Katterbar to retrieve a box containing “some personal effects” for her from a subway locker located on the disreputable 199th level. Whilst out collecting the box for Katterbar, Club soon attracts some unwanted attention and almost finds out the hard way to what lengths some would go to get the box and it’s mysterious contents but Club soon spies the perpetrator and goes on hot pursuit of his assailant. The Long Tomorrow feels like a film noir set in the future, written in the vein of a hardboiled crime fiction and would prove to be so ahead of it’s time that it is now recognised as being one of the earliest proponents of a new branch of science fiction storytelling known as cyberpunk.

Moebius 2
The Long Tomorrow

After Dune failed to materialise, Dan O’Bannon suffered a nervous breakdown and returned back to Los Angeles with no money left, leaving most of his belongings back in Paris except for a book of H.R.Giger’s work ARh+ that he had borrowed from the artist himself. After going through therapy for many years, Dan O’Bannon wanted to get his old life back and one of the ways he aimed to achieve this was by feverishly churning out script after script from atop friend Ronald Shusett’s couch (which O’Bannon was living on at this point) and one of the screenplays he wrote was for Starbeast later to become Alien (1979). When Alien got green-lit, Dan O’Bannon recommended it’s director Ridley Scott to bring onboard the creative team that he worked with on Dune.

The Long Tomorrow like Jodorowsky’s Dune would be a huge inspiration for many science fiction films to come such as George Lucas’ original Star Wars trilogy and most noticeably Ridley Scott’s next film Blade Runner (1982) which would not be possible without it. Ridley Scott even makes reference to The Long Tomorrow in the closing scenes of his later film and Alien prequel Prometheus (2012).

Dan O’Bannon reflecting upon on the enduring appeal of The Long Tomorrow:

“…Mainly that vertical design for the city, Ridley (Scott) chose to do an ‘unauthorised borrowing’ of that city for Blade Runner and he’s right, it does make a good image!”



Dan O’Bannon holding his & Moebius’ finished story The Long Tomorrow
Moebius discussing The Long Tomorrow’s influence on Blade Runner

O’Bannon also praised Moebius’ inventiveness on one particular panel from The Long Tomorrow:

Métal Hurlant N°50
Métal Hurlant N°50, p75
Dan O’Bannon’s original sketch for The Long Tomorrow
Dan O’Bannon looking at Moebius’ finished page

“This drawing here where I had the private detective discover that the beautiful woman that he’s in bed with, is really a shape-changing monster like something out of The Thing From Another World. My original sketch was roughly like this but it was Giraud (Moebius) who curled all of his toes inwards right there, I thought that was utterly perfect! Normally you might put a thought balloon showing what the guy is thinking but I think having his toes curled inwards like that does it even better.”

Goodbye to these great masters…

Daniel Thomas “Dan” O’Bannon
30th September 1946 – 17th December 2009

Hans Ruedi “H.R.” Giger
5th February 1940 – 12th May 2014

Le Major – Major Fatal: Part 4

Le Major (2011)
Moebius Productions
11 x 15.8cm, 154 pages

Le Major (The Major) is the fourth and final book of the Major Fatal saga and one of the last published works by Moebius before his sad passing a year later. It is preceded by Le Chasseur Déprime (The Hunter’s Depression), L’Homme du Ciguri (The Man from the Ciguri) and of course Le Garage Hermétique (The Airtight Garage).

Within Le Major we find a pair of desert dwellers, deep in conversation, postulating grand philosophical and theological questions to a monolithic adobe structure which curiously houses Major Grubert inside. Le Major feels at home in the surreal, infinite expanse of Desert “B” first discovered in 40 Days Dans Le Désert B (40 Days In The Desert B) and also further explored in the 6 volume, part autobiographical, part stream of consciousness series Inside Moebius.

Le Major delves further into Moebius’ artistic arsenal to focus solely on improvisation to tell the story. Consisting of work he drew in the same notebook between 1997 to 2009, Moebius masterfully transmutes fleeting glimpses in his mind’s eye into fully fleshed out illustrations on page, without prior pencils and using only ink.

Le Major

Le Chasseur Déprime – Major Fatal: Part 3

Le Chasseur Déprime (2008)
Stardom/Moebius Production


24 x 32cm, 58 pages

Le Chasseur Déprime (The Hunter’s Depression) is a continuation of Moebius’ L’Homme du Ciguri (The Man from the Ciguri), itself a followup to it’s progenitor Le Garage Hermétique (The Airtight Garage).

In Le Chasseur Déprime, we find Major Grubert walking aimlessly through the busy market stalls of Armjourth and notice that something is not quite right with the Major. It soon becomes clear from his morose disposition that the Major is suffering internally from some unseen personal crisis (his own “black dog”) and even grows tired of his creation: the Garage. Urged by a mysterious encounter, the Major finds himself traveling by gondola to the outskirts of Armjourth to find the Astroport where he meets inside Madame Van Peebles, someone he hopes to seek therapy from for his depression.

This is a more introspective and mature work than the previous Major Fatal books in the series and the style is more reminiscent to Moebius’ wordless, dreamlike masterpiece 40 Days Dans Le Désert B (40 Days In The Desert B) released in 1999. Le Chasseur Déprime, is also one of Moebius’ latter works that unfortunately is not available in English (at the time of writing but perhaps in the future…).

Le Chasseur Déprime

L’Homme du Ciguri – Major Fatal: Part 2

L’Homme du Ciguri (1995) / The Man from the Ciguri (1996)
Les Humanoïdes Associés
24 x 30.5cm, 50 pages

L’Homme du Ciguri (The Man from the Ciguri) is a direct followup to Moebius’ hugely popular Le Garage Hermétique (The Airtight Garage), released 20 years after the original, we are taken onboard the Ciguri to join the ship’s crew as they embark on locating the Major who has not been seen since the cataclysmic battle with the Bakalite.

The improvisational nature of Le Garage Hermétique is used once again to tell the story in L’Homme du Ciguri and the art direction has a looser feel to it then the original story yet loses none of the charm. Unlike the first instalment, Moebius has taken the decision from the start to accentuate his drawings with vivid colour.

As with Le Garage Hermétique if the reader looks closely at each page and panel they are sure to find references to other work by Moebius both past & present, this is especially true in L’Homme du Ciguri when we meet the character T.Archer (who bears a striking resemblance to a certain author…)

L’Homme du Ciguri & The Man from the Ciguri