[NSFW] Griffes D’Ange

Griffes D’Ange (1994) / Angel Claws (2013)
Les Humanoïdes Associés/Humanoids
30 x 40cm, 72 pages

Moebius not only pushed the gamuts of bandes dessinées in his prodigious creative tenure but also explored dreams and erotic expression as early as La Bandard Fou in 1974 and later for a new monthly comics magazine (A Suivre) (meaning To Be Continued). For the (A Suivre) special Hors Série (Out of Series) themed issue: Silence, On Rêve (Silence, We Dream) released in 1991, Moebius produced a short 8 page comic on the subject of dreams called Marie Dakar told through the dreams of a couple in bed. Panels from Marie Dakar would later resurface a year later in Virtual Meltdown, for example if you look at page 6 of Marie Dakar, the bottom panels grace the front and back covers of Virtual Meltdown. On page 7 of Marie Dakar you can see a clear influence in style to Moebius’ later work in 40 Days Dans Le Désert “B”.

(A Suivre) Hors Série – Silence, on Rêve front
(A Suivre) Hors Série – Silence, on Rêve back
(A Suivre) Hors Série – Silence, on Rêve inside
Silence, on Rêve – Marie Dakar, p.1
Silence, on Rêve – Marie Dakar, p.6-7

Further into Silence, On Rêve there is a 5 page section called “Rêves par la Bande” (Dreams by the Gang) featuring some of Moebius’ more wetter dreams on the erotic spectrum.

Silence, on Rêve – Rêves par la Bande, p.1
Silence, on Rêve – Rêves par la Bande, p.2-3
Silence, on Rêve – Rêves par la Bande, p.4-5

In 1992 Moebius released an erotic portfolio called Histoire d’X (History of X) of a signed & numbered limited edition of 500 that further delved into erotic themes and would later with recurring collaborator Alejandro Jodorowsky be repurposed and extended further to spawn the erotic tale Griffes D’Ange (Angel Claws). Griffes D’Ange is an erotically charged story of a young woman exploring her sexuality told through the explicit imagery of Moebius and mature language of Jodorowsky.

Angel Claws book, back
Angel Claws book, inside
Angel Claws, p.2-3
Angel Claws, p.4-5
Angel Claws, p.20-21
Angel Claws, p.30-31
Angel Claws, p.32-33
Angel Claws, p.34-35
Angel Claws, p.40-41
Angel Claws, p.54-55, p.55 has an influence on Madwoman of the Sacred Heart
Angel Claws, p.58-59
Angel Claws, p.64-65

The cover for the Griffes D’Ange limited numbered edition of 800 book features a drawing by Moebius of a lady with their semi-nude back to the viewer that upon closer inspection one will notice that the lady’s back is slightly bloodied. This cover image was inspired by an iconic fashion photograph called Mainbocher Corset captured by German photographer Horst P. Horst in Paris, 1939.

The Story of The Fifth Element

The Story of The Fifth Element (1997)
Titan Books
27 x 27cm, 244 pages

Following the home video release of Luc Besson’s science fiction movie The Fifth Element (1997), a special collectors edition box set was announced, containing within a widescreen VHS copy of the film and also accompanied by a large making of book titled The Story of The Fifth Element. Each box set is individually numbered and inspired by the look of the elemental stones found in the film.

The Fifth Element box set, front
The Fifth Element box set, back
The Fifth Element box set, inside
The Story of The Fifth Element, book
The Story of The Fifth Element
The Story of The Fifth Element
The Story of The Fifth Element
The Story of The Fifth Element, Moebius interview

Found on pages 160-161 of The Story of The Fifth Element is an interview with Moebius recalling his time working on the designs of The Fifth Element:

“In 1982 I was really affected by the release of a film called The Last Battle. It was an emotional encounter. Subsequently, I learned about the pre-carious conditions under which the film had been made. In order to make up for the lack of funds, the project seemed based primarily on the resourcefulness, creativity and especially the determination of its very young director.

For a long time it was a cult film, and I was delighted to belong to that group of lone individuals who had been struck by this remarkable talent.

My intuition was soon confirmed: Luc Besson went from one success to another. But I didn’t want to share my special discovery, since the more popular he became, the more my secret cult would vanish…

Ten years went by. Luc Besson was preparing himself for a new battle and asked me if I wanted to take part. It was magic to be face to face with the person who unknowingly has touched you with his imagination. This type of encounter is always moving… Later, I found out that the feeling was mutual. Luc was an avid reader of comic strips. To cut a long story short, brief though our meeting was, it was heartening to know that we both shared the same feelings.

Luc preferred to tell me the story of The Fifth Element rather than giving me the script to read.

It was a colossal adventure, and he described it to me with an enthusiasm and innocence that made me feel like following him – I felt the power of a fearless and boundless imagination.

The Fifth Element: purely playful and entertaining science fiction. Take as a starting point the idea that the universe is as wonderful and terrible as the reality in which we live today. Discover another planet and invent a story of the future based on the basic values of today.

I followed the story with wonder. I was beyond emotion – the images were already in my mind. I felt that he would never make an artificial film, but develop instead a set of themes. I could imagine these as having a slightly esoteric flavour, like his previous films, especially The Big Blue. Luc makes very spectacular, popular films that are imbued with a kind of inner clarity that is neither theoretical nor organic, not even social. It leads the audience to places that dazzle the mind. Does he do this consciously or spontaneously? I’d rather think that he works by instinct…

Drawing is a solitary activity and for someone who is a pathological artist like myself, it was a great pleasure to leave Blueberry to work on a film. In conjunction with the graphic novel I was preparing, I was trying to connect temporarily with the permanent team of The Fifth Element. I was a bit like a repairman who comes in specifically when the idea mechanism has stopped. Luc or Dan Weil called me to inject some fresh air, to bring new energy to the team. This wasn’t easy, as Luc was very sure about certain things and had requirements stipulated for certain key areas, but apart from that, he plunged ahead in complete insecurity. For this film, he had to clear and explore his own unconscious. And as for us, we were as lost as he was – feeling our way around, guessing – we were delving into the process bringing him back “nuggets” of information or nothing at all. And then, as the drawings and designs began to accumulate, the visual universe became clearer.

Collaborating on a project with a team is a shared effort and a constant stimulation. There is a “reassuring” side to working for someone; I find it less stressful. Basically, you’re not alone. Luc was the one who used to say: “Stop, that’s good – don’t touch it anymore!” He was the judge, not me. It’s so hard to do a drawing properly. I had the tendency to search for perfection constantly. Fortunately or unfortunately, schedules stand in the way of the designer’s limitless ambition. He may want to unhook the stars, but he ends up only getting street lamps. So, the lack of time occasionally forces me to let unacceptable details go by, so that I view each graphic novel reprint with dissatisfaction.

In my opinion, the character portrayed by Bruce Willis is a compromise between Blueberry and John Difool. It’s touching, and yet typical at the same time. We all communicate together; you’re part of a cultural interconnection. There’s a little bit of telepathy here; you create comics like others make books or films. It’s a constant exchange – like sharing a mantle of energy.

In working with Luc I discovered a characteristic that I’d already observed in other artists. Here is someone who remains faithful to the dreams of his adolescence – his books, thoughts, tastes and the worlds he was fond of when he was fifteen or sixteen. He has retained an imagination overflowing with the idea that “anything is possible”. He lacks the distant and disdainful view of the confidence of youth, as opposed to many adults who deliberately break contact with their adolescence so that they no longer have to face or endure painful memories. But this decision also means cutting yourself off from all the joy and wonderment of childhood. For me, Luc has the appearance of an adult with all the trappings of authority, responsibility and experience. But he also has learned how to keep the ability to play with reality. I find that his childlike side, which seems misplaced in so many adults, forms the basis of many great artists’ personalities.

Time passes very quickly behind the drawing board. You live, you get on with you life. You dismantle your life and remake it. Then suddenly you look up and realise that time has made a fool of you.

For Luc, The Fifth Element represents years of investment and energy. For me, it remains a lovely memory of an all too short journey that allowed me to travel to another place and time and to meet new and exciting people.

Five years have passed since that time. And I’m happy to look this film with a fresh eye and with the same eagerness and anticipation as the public.”

The Story of The Fifth Element, Army Cruiser
The Story of The Fifth Element, The Diva
The Story of The Fifth Element, Korben Dallas’s apartment
The Story of The Fifth Element, Korben Dallas’s apartment


Madwoman of the Sacred Heart

La Folle Du Sacré-Cœur (1992-1998) / Madwoman of the Sacred Heart (2012)
Les Humanoïdes Associés/Humanoids

19.7 x 26.7cm, 192 pages

Madwoman of the Sacred Heart follows the life of Alan Mangel, an highly esteemed professor of philosophy at the prestigious La Sorbonne university, who has all the trappings of success: money, a marriage, academic merit. However on Alan’s 60th birthday his world is turned upside down, as something challenges his long held preconceptions and inhibitions.

Madwoman of the Sacred Heart, book
Madwoman of the Sacred Heart

Although Moebius is indeed credited as the illustrator for Madwoman of the Sacred Heart alongside longterm creative partner Alejandro Jodorowsky on regular writing duties, the traditional look of some of the illustrations feel more in keeping with Jean Giraud’s earlier “Gir” incarnation (better known for Blueberry).

Madwoman of the Sacred Heart
Madwoman of the Sacred Heart
Madwoman of the Sacred Heart

This comic book is mature both in it’s erotic art style and also in it’s storytelling as we explore a protagonist in the latter Autumn season of their life where most of their beliefs have already been well rooted, only for (as the reader shall see) the proverbial rug to be pulled from under their feet.

Madwoman of the Sacred Heart


Moebius: Fusion (1995)
Marvel/Epic Comics

24 x 29.7cm, 128 pages

Moebius: Fusion collects work made by Moebius between 1985 to 1995 for print, Film/TV and more.

Fusion, book

Fusion is divided into five sections:


Fusion, alternate cover art
Fusion, cover for Ark No.22 (right)

The Diffusion section showcases poster illustrations of comic book superheroes including Marvel’s Elektra, The Thing, Iron Man, Daredevil, Wolverine, Spider-Man, The Silver Surfer, The Punisher and also DC’s Batman and Sandman’s Death. Also inside are production designs made for movies such as Little Nemo in Slumberland (1989) and Willow (1988).

Fusion, Diffusion, Marvel’s Elektra, The Thing, Iron Man
Fusion, Diffusion, Marvel’s Daredevil, Wolverine
Fusion, Diffusion, Marvel’s Spider-Man
Fusion, Diffusion
Fusion, Diffusion, DC’s Death (Sandman)
Fusion, Diffusion, homage to Marvel’s Silver Surfer

Perfusion contains illustrations and poster work for French publication and another for a comics festival. Of particular note in Perfusion is a short 15 page comic entitled Oracle told in mostly 2-panel structure about the story of Zon who is on a path of self-discovery and who meets the eponymous Oracle.

Fusion, Perfusion
Fusion, Perfusion
Fusion, Perfusion, Oracle
Fusion, Perfusion

Confusion features illustrations for various French publications, some watercolour pieces that Moebius had completed whilst in Los Angeles and a handful of immersive double-page spreads. Inside are also a series of portraits by Moebius of friends and loved ones including of longterm creative collaborator Alejandro Jodorowsky.

Fusion, Confusion
Fusion, Confusion
Fusion, Confusion
Fusion, Confusion
Fusion, Confusion, Alejandro Jodorowsky portrait (left)

Effusion includes a Moebius homage to Katsuhiro Otomo’s manga masterpiece Akira, production designs for the movie The Abyss (1989) and various poster and t-shirt designs.

Fusion, Effusion, homage to Otomo’s Akira (left), The Abyss (right)
Fusion, Effusion, The Abyss
Fusion, Effusion

Transfusion consists of a series of abstract pieces with accompanying poetry by Moebius.

Fusion, Transfusion
Fusion, Transfusion
Fusion, Transfusion
Fusion, Transfusion

Jean Giraud concludes Fusion with a dedication to his mother, Pauline Vinchon.

Fusion, “This book is dedicated to my mother, Pauline Vinchon.”

Moebius 3

Moebius 3 (1988)
Graphitti Designs

22 x 28.5cm, 315 pages

Moebius 3 is the third volume of a limited edition of 1500, signed & numbered hardback collection of beautiful, bound, books published by Graphitti Designs that collects and reprints the acclaimed trade paperbacks that were originally published by Marvel/Epic Comics.

The book jacket of Moebius 3 features a blown up panel of Class “R” Detective John Difool (the protagonist of Alejandro Jodorowsky and Moebius’ epic story The Incal) as he is about to be thrown over the edge by masked men, centred and framed on a forest green. Once the book jacket is taken off, it reveals underneath a leafy green faux leather hardcover with embossed gold foil stamped “The Incal” title in serif type and in the bottom-right hand a unique embossed Starwatcher hand drawn styled circular icon.

Moebius 3, jacket
Moebius 3, book
Moebius 3, signed & numbered page

This volume collects Marvel/Epic Comics’ The Incal 1, The Incal 2 and The Incal 3 paperbacks which contains all 6 books of The Incal which are:

The Black Incal,
The Luminous Incal,
What Lies Beneath,
What Is Above,
The Fifth Essence – Part One: The Dreaming Galaxy,
The Fifth Essence – Part Two: Planet Difool.

Moebius 3, The Black Incal
Moebius 3, The Luminous Incal
Moebius 3, What Lies Beneath
Moebius 3, What Is Above
Moebius 3, The Fifth Essence – Part One: The Dreaming Galaxy
Moebius 3, The Fifth Essence – Part Two: Planet Difool

Both the Marvel/Epic Comics paperbacks and the Graphitti Designs hardback books are sadly now long out of print, rare editions that are much sought after today. Amazingly, Graphitti Designs still has copies in stock of Moebius 4-9 (at the time of writing) and is available online through their website here.