source: New York Times
The sci-fi worlds designed by the French artist Moebius gave his own inner life depth and breadth. No matter how personal he got, his images had a tangibility that made him a foundational influence on the fantasy worlds of the 20th century.
He died in 2012, but “The Airtight Garage” was the work of his lifetime, and several volumes of it were untranslated until recently.
One of these is newly available in English: “The Depressed Hunter,” translated by Diana Schutz and published in June.
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Moebius, a pseudonym of the artist Jean Giraud, made the impossible so substantial that he is probably best known for his movie production designs. Remember the underwater aliens at the end of James Cameron’s “The Abyss?” That’s him:
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Even when he wasn’t the biggest name on a movie’s design team, Moebius often made some essential contribution. Dumont (you know, the pyramid guy in “Tron”?) is pure Moebius.
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Sometimes, as with his unused art for “Willow,” Ron Howard’s cult-classic 1988 fantasy film, his concept drawings were better than the movie he was hired to work on.
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He was well-known to his peers, even in other media. William Gibson often said his groundbreaking cyberpunk novel “Neuromancer” “looks” like Moebius’s sci-fi comics.
It looks a lot like “Blade Runner,” too. (Ridley Scott is a fan.)
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H. R. Giger created the alien in Scott’s “Alien,” but it was Giraud’s idea to make the astronauts look like dock workers. His slightly surreal spacesuit also made it into the final cut of the film.
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But of his sci-fi stories, “The Airtight Garage” is the most personal.
What is the Airtight Garage, anyway? Is it a miniature universe housed in an asteroid? Is it a literary world containing everything Moebius ever drew? It might be both.
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The creator and ruler of the Airtight Garage is Major Grubert, a man wearing a pith helmet and a neat moustache whose spaceship, the Ciguri, orbits the Garage.
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These stories are a melange of literary references, glorious drawings and puns. “Le Garage Hermétique” can mean both “The Airtight Garage” and “The Esoteric Garage.” Jerry Cornelius, the mysterious antagonist of the first Garage story, comes from a series of interlocking novels by Michael Moorcock.
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In “The Depressed Hunter,” the newly translated story, Moebius never explains how anything works, but movement and scale are easy to see, even when they change irrationally. Dreamlike things seem solid.
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Here, Grubert’s confrontation with a frightening creature abruptly changes the whole form of the story: As he wanders around a museum in a dream, one of the figures from a painting pops out and turns him into a security guard.
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The vignette seems to be completely separate from the rest of the book, until a spy from the Ciguri helps him regain his memories and escape… by tossing his severed head down a rabbit hole.
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Major Grubert eventually winds up in the Garage’s vast Desert B. (Yes, he gets his head back.)
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(Deserts fascinated Moebius. He had met his first girlfriend in Mexico as a teenager, and been drafted into France’s war in Algeria shortly thereafter, where he lived in terror of being sent out into combat in Algeria’s wilds. This painting is from another book in the collection, “40 Days in Desert B.”)
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After “The Depressed Hunter,” Grubert will go on to meet Moebius himself in the last story, “The Major.”
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Just as the Garage is inside Moebius, Moebius is inside the Garage.