“Double Escape” by Moebius, FR, 1980

Double Escape (“Double évasion”) by Moebius (FR), in: Métal Hurlant magazine #50, France, April 1980.

Copyright ©1980 Les Humanoïdes Associés/Moebius Production

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Moebius’ Double Escape final panels displays interesting similarities – as a visual oxymoron (simultaneously falling and raising) – with the last page of Will Eisner‘s The Spirit: The Story of Gerhard Schnobble, USA, September 5, 1948. Copyright ©2005 Will Eisner Studios, Inc.

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“The White Nightmare” by Moebius, FR, 1974

The White Nightmare (“Cauchemar blanc”) – not a science-fiction tale but a ‘down-to-earth dream’ related to a racist incident – by Moebius (FR), in: L’Écho des Savanes magazine #8, France, 1974. Via Glad You Asked.

Adapted into a short film (in French language) by French director Mathieu Kassovitz in 1991.

Copyright ©1974 L’Écho des Savanes/Moebius Productions

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“Cthulhu Mythos: The Haunter of the Dark” by Alberto Breccia & Norberto Buscaglia, AR, 1975

Cthulhu Mythos: The Haunter of the Dark (“Los mitos de Cthulhu: El morador de la tinieblas”), script by Norberto Buscaglia (AG) and art by Alberto Breccia (AG), based on the short story The Haunter of the Dark by H.P. Lovecraft, in: Los mitos de Cthulhu,
Ediciones Periferia, Argentina, December 1975. With original art (page 6) below.

Copyright ©1975 Alberto Breccia Estate

(English scanlation & lettering by Vampire State Building)

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Breccia - The Haunter in the Dark 6
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Innovative/Notable Webcomics (II): Sound of Silence

FRAGILE by Fouad Mezher

With Fragile (link), Lebanese cartoonist and illustrator Fouad Mezher signs a stunning wordless graphic narrative about envy, need for recognition and the frailty of human nature & existence. Courtesy of Risha Project which aims to connect and mutually inspire cultural realities of north-African, Middle-Eastern and European graphic artists. Published on September 10, 2014.

SUPER PIXEL QUEST by Emmanuel Espinasse

With Super Pixel Quest (link), French cartoonist and designer Emmanuel Espinasse proposes an innovative and highly enjoyable webcomics where the reader discovers, along with the main character, the various creepy corners and hidden doors of a ‘house of horrors’. The pixelated design, reminiscent of early action-platformer video games such as the 1987 NES Castelvania, is such a thrill! Clever use of animation and of the infinite canvas! [Note: The character moves either forward or backwards into new panels that appear in the browser as you click on either arrow]. Published in July 2014.


If light were a liquid (in January in a temperate country, though)… Heavy Lights of January (link) is a beautiful take on Magic Realism by merging comics panels and GIFs by French cartoonist Boulet.

« This fabulous adventure was the result of a frivolous remark I made while taking part in a seminar on the poetry of household objects. Toto asked me why the light went on with just a touch of a switch, and I did not have the courage to think about it twice. “Light is like water,” I answered. “You turn the tap and out it comes.” » in: Gabriel García Márquez’ short story “Light is Like Water”, 1978.

Innovative/Notable Webcomics (I): Memory Lane


In The Bloody Footprint (link) published by The New York Times on February 5, 2015, American multidisciplinary artist, illustrator and cartoonist Lilli Carré explores a personal memory yet later reclaimed by one of her childhood friends. Who experienced the event and who made its recollection her own? An intimate and effective take on the blurred contours of memory through a clever blend of prose, comics and GIF animation.

MIRROR by Chris Ware & John Kuramoto

More animated film than webcomics (yet using comics features), Mirror (link) is the result of a collaboration between The New Yorker and the radio program This American Life.  Through a cover for The New Yorker and its expansion as a short animated feature, extraordinary American cartoonist Chris Ware – with the assistance of John Kuramoto -revisits a radio interview (and an interesting reflection) of writer Hanna Rosin and her daugther about parenting, makeup and teenage self-awareness. Published by The New Yorker on November 30, 2015.

ME AND THE UNIVERSE by Anders Nilsen

In Me and the Universe (link), American cartoonist Anders Nilsen cleverly combines diagrammatic storytelling and the infinite canvas feature to explore his place in the Universe, from ancestral past to more-or-less present and distant future. Published by the New York Times on September 24, 2014.


Echoing Anders Nilsen‘s Me and the Universe, Chris Ware‘s Why I Love Comics (link) also depicts an artist’s lifetime on Earth. Playing with iconic solidarity and text spatialisation, the first word of each rounded panel spells out an acrostic hidden message. Published by The New York Times on October 16, 2015. Note also the epigraph:

“Cartooning is the art of turning time back into space.” Art Spiegelman.  

“In the Search for the Ninth Art” by Fabrice Neaud, FR, 2008

In the Search for the Ninth Art (“A la recherche du 9e Art”) by Fabrice Neaud (FR) in: Qu’est‐ce que la Bande Dessinée aujourd’hui (“What is Comics Art Today?”), Beaux Arts éditions, France, 2008.
Copyright ©2008 Fabrice Neaud/Beaux Arts/TTM éditions

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PAGE 3/8. “Histoire de M. Jabot” by Rodolphe Töpffer (CH), 1830/1831.
PAGE 4/8. Up: “Histoire d’Albert” by Rodophe Töpffer (CH), 1845. Bottom “Impressions de voyages aériennes et maritimes de Mr. A.A.N. Trouillard épicier de la veille” by Cham (FR), unpublished and unfinished story, France, 1847-1848 but may be earlier than 1840.
PAGE 5/8. “Puis”; then. “Quand soudain”; when all od sudden. Bottom left; “Der Virtuos” by Wilhelm Busch (DE), 1865.
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PAGE 7/8. “Ainsi”; thus.
PAGE 8/8: “Enfin”; finally.

BRAIDING: “The way panels (that is the images in the panels) can be linked in series (continuous or discontinuous) through non-narrative correspondences, be it iconic (repetition of certain symbols or elements) or other means. In a way this is a kind of rhyming for comics.” Derik Badman commenting the term introduced by Thierry Groensteen in: Système de la bande dessinée, Presses Universitaires de France, 1999.

On “braiding”, from the first Graphic Writing lesson, CommArts, Chula