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The Collected Fantasies of Jean Giraud #3
Герметический гараж
В созвездии Льва, в галактике NGC 3185 вращается астероид "Герметический гараж" - персональная вселенная элегантного Майора Груберта и по совместительству место действия одного из самых грандиозных графических романов ХХ века, созданных великим Мёбиусом.
Француз Жан "Мёбиус" Жиро - признанный гений комикса и книжной иллюстрации, сценарист, демиург бессчётного количества необыкновенных визуальных миров. Он в своей внутренней алхимической лаборатории смешал рисованные истории и фэнтези-литературу и создал настоящий философский камень "девятого искусства" - научно-фантастический графический роман "Герметический гараж", одну из бесспорных вершин жанра.
Это не простая книга. Она полна потаённых смыслов, игры слов и хитроумно запрятанных в самих изображениях ребусов. Подобно настоящему герметическому трактату, "Гараж" откроет свои тайны лишь избранным посвящённым адептам. Запутанность и хитросплетения сюжетных линий могут легко поставить в тупик, а многослойность повествования вкупе с обилием персонажей потребует неоднократного прочтения, осмысления и перелистывания этого неординарного произведения.
А пока по бескрайним просторам тундры в сторону города Армджутра мчится шестиколёсная "Свиоккла 2000" - передвижной командный пункт некоего Джерри Корнелиуса, загадочной личности, кинувшей вызов самому Майору Груберту - хозяину и одновременно слуге замкнутого и таинственного астероидного мирка...
"Герметический гараж" - первая книга Мёбиуса на русском языке - будет выходить в двух версиях: классической чёрно-белой и авторской цветной.
Француз Жан "Мёбиус" Жиро - признанный гений комикса и книжной иллюстрации, сценарист, демиург бессчётного количества необыкновенных визуальных миров. Он в своей внутренней алхимической лаборатории смешал рисованные истории и фэнтези-литературу и создал настоящий философский камень "девятого искусства" - научно-фантастический графический роман "Герметический гараж", одну из бесспорных вершин жанра.
Это не простая книга. Она полна потаённых смыслов, игры слов и хитроумно запрятанных в самих изображениях ребусов. Подобно настоящему герметическому трактату, "Гараж" откроет свои тайны лишь избранным посвящённым адептам. Запутанность и хитросплетения сюжетных линий могут легко поставить в тупик, а многослойность повествования вкупе с обилием персонажей потребует неоднократного прочтения, осмысления и перелистывания этого неординарного произведения.
А пока по бескрайним просторам тундры в сторону города Армджутра мчится шестиколёсная "Свиоккла 2000" - передвижной командный пункт некоего Джерри Корнелиуса, загадочной личности, кинувшей вызов самому Майору Груберту - хозяину и одновременно слуге замкнутого и таинственного астероидного мирка...
"Герметический гараж" - первая книга Мёбиуса на русском языке - будет выходить в двух версиях: классической чёрно-белой и авторской цветной.
120 pages, Hardcover
First published January 1, 1979
35 people are currently reading
1381 people want to read
About the author
Mœbius
540 books929 followersJean Henri Gaston Giraud (pen-name: Mœbius) was a French artist, cartoonist, and writer, who worked in the Franco-Belgian bandes dessinées tradition.
Also published as Jean Giraud.
Also published as Jean Giraud.
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Displaying 1 - 30 of 110 reviews
March 7, 2013
"Grubert is a quasi-legendary being! He's the Creator of this world... he has allied himself with the twenty-three generating divinities who are the sacred pillars of the Tar'hai Mythology... with the help of thirteen expansion generators using The Grubert Effect (the patents of which he had just filed the previous day), he could transform any insignificant asteroid from somewhere within the belt, into a vast and complex world, with several levels if need be..."Jean Giraud, aka Moebius, aka Gir (for the Blueberry series), is also a quasi-legendary being: born in France in 1938, died just last year, co-founder of the magazine Metal Hurlant (known to english-speaking audiences as Heavy Metal), one of the most influential of comic artists, drug lover, New Age philosopher, deadpan humorist, devious postmodernist, genius.
it is probably pretty pointless to give a synopsis to this collection of tales but i'll give it a try. so Major Grubert crosses time and space and travels throughout various dimensions. he and his lover Malvina have unimaginable powers although we get to witness very few of them. he has a rival who appears to be Michael Moorcock's character Jerry Cornelius. he has created a world - his own "Garage Hermetic". that world wants to grow on its own and no longer be Grubert's private fantasyland. revolution! but a very odd, minor note one. various personages (Engineer Barnier! The Archer! Samuel Mohad and his giant robot 'The Star Billiard'!) assemble and travel throughout this world's three levels, and to other places as well (poor Lark! stuck in the Old West!). they have various agendas and have various adventures. Major Grubert and Malvina also get involved, with varying degrees of effectiveness. and then... Not the End! adventures in the Garage Hermetic rarely end. characters die but hey they may be robotic avatars so no big deal. the whole world is a moebius strip so the last page is never the last page.
here's poor, smitten Lark after finding that a kiss from Malvina will send you... elsewhere:
this is one of my 5-star books that i find hard to recommend to most people. the narrative manages to be quaintly charming, nearly impenetrable, and to feel rather similar to that of a classic children's fantasy novel like one of the Oz books. it can be interpreted as a parody of colonial attitudes. it can be viewed as a wink in the direction of Moorcock's Multiverse. you can enjoy it as a series of rather adult Boy's Adventures. any specific "meaning" to be found is probably ephemeral at best and that meaning will most likely change by the next page. transformation, irony, pastiche, stylishness, psychedelia, non-linear, and whimsy are all words that can be seen as hallmarks of the various Airtight Garage tales. there are countless references, most of which i can barely understand. the art is by turns delicate, eerie, hallucinatory, and just plain lovely. very Yellow Submarine. very Fifth Element. very Art Deco. very original. very Moebius! his very name evokes the image of a particular kind of style, a particular sort of sensibility.
in one of the interesting pieces included in this collection, Moebius explains his modus operandi:
"Every month, I would try very hard to recreate a coherent story from the existing elements. Then, I would break them apart again in order to create again a feeling of insecurity, so that, the next month, I would again have to pick up the pieces and do it again, and so on until the end of the story."
when i think of Moebius, i think of something that is both surreal and playful. the fizzy champagne version of postmodernism. Moebius juggles styles and ideas and homage and makes it all look so easy and fun. don't expect to find resolution or to even have an Aha, now I finally get it! type moment. but do expect to find things that you won't expect.
December 30, 2020
Le garage hermétique de Jerry Cornelius (1977, aka Major Fatal 1) est une œuvre antérieure à la monumentale série des Aventures de John Difool (aka L’Incal). Elle est aussi, sans aucun doute, moins célèbre et beaucoup plus décousue que cette dernière. Pourtant, c’est à mon avis le chef d’œuvre de Moebius — avec, peut-être, Le Monde d’Edena.
Le garage est une BD fantastique, protéiforme, en un sens décidément « hermétique », dont il est difficile de déterminer où elle commence et où elle s’achève, tant Moebius s’ingénie à entremêler, rendre poreuses, ouvrir, ses différentes créations les unes aux autres. L’un des personnage principaux, le Major Gruber fait, à ma connaissance, sa première apparition dans « La chasse au Français en vacances » (une petite BD burlesque de jeunesse, incluse dans Les vacances du Major). On le retrouvera beaucoup plus tard dans la série tardive et surréaliste Inside Moebius. Toujours avec son air de Clint Eastwood, toujours déambulant avec son casque colonial et sa mallette médicale, il est ici une sorte de demi-dieu gnostique, maître absolu d’un univers de poche multi-niveaux, contenant entre autres, le désert Tar’Haï, une ville en terre crue baptisée Armjourth, un paradis artificiel appelé Fleur.
D’autres personnages hauts en couleurs — l’androgyne ingénieur Barnier, le mystérieux Jerry Cornelius, le double de Samuel Mohad, le beau Larc Dalxtré, l’archer Yetchem, la plantureuse Lady Malvina (aka Dame Kowalsky), le perfide Sper Gossi (aka Ardant Echoy), le sorcier Bakalite, le cosmique Nagual — se partagent une intrigue complètement étourdissante.
C’est que cet album fût, à l’origine, publié par épisodes dans la revue Métal Hurlant et, à l’évidence, composé librement, au fil de l’encre et de la plume. A peu près tout dans cette BD semble être le fruit à la fois d’une parfaite maîtrise et d’une complète spontanéité. Le dessin est tantôt vif et presque brouillon, tantôt léché et archi-détaillé. L’univers et l’intrigue sont complètement improvisés, avec la plus grande légèreté et agilité imaginable, presque sur le mode de l’écriture automatique, envoyant des clins d’œil de potache dans tous les sens et toujours en équilibre précaire. Et tout en même temps Moebius parvient à rendre dans cette histoire la puissance évocatrice, la cohérence étrange, l’expansion, l’envol d’un rêve éveillé. Si bien qu’on finit cet album totalement stupéfait par sa virtuosité, sa fraîcheur et, bien que la fin soit l’une des choses les mieux réussies, on brûle d’en connaître la suite. Et suite il y aura, bien des années plus tard, peut-être un peu moins heureuse d’ailleurs, avec L’homme du Ciguri, puis Le Chasseur Déprime.
Quoi qu’il en soit, comme dit le Major, « Stoë Orkéo » !
Le garage est une BD fantastique, protéiforme, en un sens décidément « hermétique », dont il est difficile de déterminer où elle commence et où elle s’achève, tant Moebius s’ingénie à entremêler, rendre poreuses, ouvrir, ses différentes créations les unes aux autres. L’un des personnage principaux, le Major Gruber fait, à ma connaissance, sa première apparition dans « La chasse au Français en vacances » (une petite BD burlesque de jeunesse, incluse dans Les vacances du Major). On le retrouvera beaucoup plus tard dans la série tardive et surréaliste Inside Moebius. Toujours avec son air de Clint Eastwood, toujours déambulant avec son casque colonial et sa mallette médicale, il est ici une sorte de demi-dieu gnostique, maître absolu d’un univers de poche multi-niveaux, contenant entre autres, le désert Tar’Haï, une ville en terre crue baptisée Armjourth, un paradis artificiel appelé Fleur.
D’autres personnages hauts en couleurs — l’androgyne ingénieur Barnier, le mystérieux Jerry Cornelius, le double de Samuel Mohad, le beau Larc Dalxtré, l’archer Yetchem, la plantureuse Lady Malvina (aka Dame Kowalsky), le perfide Sper Gossi (aka Ardant Echoy), le sorcier Bakalite, le cosmique Nagual — se partagent une intrigue complètement étourdissante.
C’est que cet album fût, à l’origine, publié par épisodes dans la revue Métal Hurlant et, à l’évidence, composé librement, au fil de l’encre et de la plume. A peu près tout dans cette BD semble être le fruit à la fois d’une parfaite maîtrise et d’une complète spontanéité. Le dessin est tantôt vif et presque brouillon, tantôt léché et archi-détaillé. L’univers et l’intrigue sont complètement improvisés, avec la plus grande légèreté et agilité imaginable, presque sur le mode de l’écriture automatique, envoyant des clins d’œil de potache dans tous les sens et toujours en équilibre précaire. Et tout en même temps Moebius parvient à rendre dans cette histoire la puissance évocatrice, la cohérence étrange, l’expansion, l’envol d’un rêve éveillé. Si bien qu’on finit cet album totalement stupéfait par sa virtuosité, sa fraîcheur et, bien que la fin soit l’une des choses les mieux réussies, on brûle d’en connaître la suite. Et suite il y aura, bien des années plus tard, peut-être un peu moins heureuse d’ailleurs, avec L’homme du Ciguri, puis Le Chasseur Déprime.
Quoi qu’il en soit, comme dit le Major, « Stoë Orkéo » !
March 30, 2024
If “The Airtight Garage” seems incoherent at times, that's at least partly by design. Moebius did the first two pages as a parody of a serial, setting things up so that it couldn't possibly go anywhere, or so he thought. The editor of Metal Hurlant found the pages in the artist’s studio, and asked him to draw an ending to the story so that he could publish it. One month later, Moebius was reminded of the promised ending, and he did two more pages to buy himself some time. And what began as a parody of a serial became an actual serial. Moebius intentionally set up a situation where his challenge every month was to solve the continuity problems that he had introduced in previous months.
Needless to say, I won't attempt to summarize the plot. It defies easy summary. For an artist with a lesser imagination than Moebius, such an approach would result in an incoherent mess. That “The Airtight Garage” barely avoids this is a tribute to his genius.
As originally published, the name of the character, Lewis Carnelian, was “Jerry Cornelius.” Cornelius was a character from the New Wave school of science fiction. The idea was that he would appear in works by multiple authors, partly as an inside joke, and partly as a sort of “open source” creation. The most famous appearances of the character were probably the novels by Michael Moorcock, and it may have been the fame of Moorcock’s books that led Moebius to rename the character for reprintings of the story.
Needless to say, I won't attempt to summarize the plot. It defies easy summary. For an artist with a lesser imagination than Moebius, such an approach would result in an incoherent mess. That “The Airtight Garage” barely avoids this is a tribute to his genius.
As originally published, the name of the character, Lewis Carnelian, was “Jerry Cornelius.” Cornelius was a character from the New Wave school of science fiction. The idea was that he would appear in works by multiple authors, partly as an inside joke, and partly as a sort of “open source” creation. The most famous appearances of the character were probably the novels by Michael Moorcock, and it may have been the fame of Moorcock’s books that led Moebius to rename the character for reprintings of the story.
December 23, 2021
The Airtight Garage is an asteroid that contains a pocket dimension of three levels. Major Grubert, the creator, is being pursued by Lewis Carnelion for reasons unknown. But what does that have to do with Engineer Barnier wrecking a cablebox and the very fabric of the Airtight Garage threatening to unravel?
Fuck if I know.
I'm a big Moebius fan and The Airtight Garage is touted as his quintessential work. The art is nothing short of spectacular, drawn in Moebius' intricate clean line style. The story was originally told in 4-6 page installments in Metal Hurlant. Moebius decided to clean up any continuity errors that cropped up in future installments, giving the book a disjointed, almost dreamlike feel.
At a high level, the story isn't that complex. Barnier is running away from the consequences of destroying the cablebox. Lewis Carnelian is pursing the Major, and I'm not exactly sure what the Major is trying to accomplish. Anyway, it becomes a grand, sweeping adventure with monsters, aliens, and robots. In the end, the Airtight Garage is saved. Poor Lark is stuck in the old west but eggs and omelets.
There is no hand holding in the narrative. Very little is explained outside of the dialogue between the characters. I'm tempted to read this again immediately and see if I get more out of it. It's still a satisfying read, as semi-coherent as it can be at times.
The Airtight Garage is a beautiful, fever dream of a graphic novel. 4.5 out of 5 stars.
Fuck if I know.
I'm a big Moebius fan and The Airtight Garage is touted as his quintessential work. The art is nothing short of spectacular, drawn in Moebius' intricate clean line style. The story was originally told in 4-6 page installments in Metal Hurlant. Moebius decided to clean up any continuity errors that cropped up in future installments, giving the book a disjointed, almost dreamlike feel.
At a high level, the story isn't that complex. Barnier is running away from the consequences of destroying the cablebox. Lewis Carnelian is pursing the Major, and I'm not exactly sure what the Major is trying to accomplish. Anyway, it becomes a grand, sweeping adventure with monsters, aliens, and robots. In the end, the Airtight Garage is saved. Poor Lark is stuck in the old west but eggs and omelets.
There is no hand holding in the narrative. Very little is explained outside of the dialogue between the characters. I'm tempted to read this again immediately and see if I get more out of it. It's still a satisfying read, as semi-coherent as it can be at times.
The Airtight Garage is a beautiful, fever dream of a graphic novel. 4.5 out of 5 stars.
September 14, 2022
I read the 4 issue reprint edition by DC. Each issue had a page prose recap of the plot...
I have no idea what just happened in this comic.
The story is serialized, so every few pages the page reprints the title. This causes the story to lose its smoothness of narration. Which isn't a particular problem here because the story seems nonsensical. (I think the author was making this up as he went along). The art is typical beautiful Moebius. Unfortunately that is the only redeeming feature of this comic. I wish Moebius worked with writers more often because I find his solo work to lack a certain narrative cohesiveness.
I have no idea what just happened in this comic.
The story is serialized, so every few pages the page reprints the title. This causes the story to lose its smoothness of narration. Which isn't a particular problem here because the story seems nonsensical. (I think the author was making this up as he went along). The art is typical beautiful Moebius. Unfortunately that is the only redeeming feature of this comic. I wish Moebius worked with writers more often because I find his solo work to lack a certain narrative cohesiveness.
August 23, 2025
"The Hermetic Garage" is the 2nd volume in the "Major Grubert" series, which is among Moebius' most famous output but also in my book one of the most inaccessible for a casual reader. One reason is that every volume of "Major Grubert" throws the reader headfirst into a weird and complicated universe with minimal exposition, with this volume having a complex plot moving at a fast pace with new twists popping up every chapter. Then we have the fact that Moebius expects the audience to be familiar with an extensive list of literature that most readers under a certain age and outside certain countries are unlikely to even have heard of in the first place.
One example: Until when I re-read "The Airtight Garage" in 2018, I did not know that this story is technically part of the British fantasy author Michael Moorcock's Eternal Champion cycle. This mythology follows the many different incarnations of a cosmic champion fighting for chaos and freedom against the forces of order and tyranny, through a multitude of parallel universes. One of the Eternal Champion's many incarnations appears as a main character here, Jerry Cornelius: A "No Celebrities Were Harmed" version of David Bowie who moonlights as a time-travelling secret agent. The forces of order are represented by Major Grubert, a mysterious figure introduced in the previous volume "The Horny Goof" who appears as a stereotypical 19th century colonialist complete with pith helmet.
What made "The Airtight Garage" click for me was realising how Moebius has basically written a Gnostic Christian allegory here: Grubert is depicted as a Demiurge figure, that is a malevolent creator of the physical world masquerading as the true god, whom a mystic with the initials "JC" is sent to expose as a deceiver. (it should be pointed out that the first Gnostics were Jewish not Christian and would hence not have any use for such an interpretation - something that often gets lost in translation by pop culture depictions of Gnosticism) The religious themes in "The Airtight Garage" are again full of references to media properties that were popular in the 1970's but have since been forgotten: Moebius uses the plot to illustrate the ideas of Carlos Castañeda, a Peruvian-American anthropologist of the era who claimed to have been initiated into the shamanic traditions of the Yaqui Indians but whose books were later revealed to be fiction. Anyway, the mysterious supernatural powers that Jerry Cornelius displays here, and the liberatory forces he channels, are exactly those (e. g. the Nagual) whom Castañeda claimed to have learned from the probably-fictional Yaqui sorcerer Don Juan Matus.
The blend of Castañeda-inspired mysticism with nuts-and-bolts space opera, as well as the Gnostic themes involving artificially constructed universes, nonetheless allows Moebius to pull out all stops when depicting strange and inventive settings that seamlessly blend elements from epic fantasy, "used future" science fiction, even superhero comics and spy thrillers. The landscapes and cities draw upon his experience from mainstream Western comics, but are a level more creative because he no longer has to stick to real-life societies and cultures. If you want to dig deeper, you will find quite a bit of anti-imperialist political subtext: Parts of the artificial planet Grubert rules over resembling a futuristic version of North Africa under French colonial rule, Grubert himself dressing like an old fashioned colonialist etc. This aspect becomes clearer if you notice the playful treatment of spy novel clichés that appear in the story, with quite a few scenes feeling straight out of what "The Secret Agent" would have been like had Joseph Conrad written it while high on mescaline.
The trippy art might be the main attraction for some readers of "The Airtight Garage". However if you are more familiar with all the literary, political and religious allusions that Moebius drew on while reading it, you might get even more out of the story. The result is one of those few creative works where I discover something new about them every time I read them.
One example: Until when I re-read "The Airtight Garage" in 2018, I did not know that this story is technically part of the British fantasy author Michael Moorcock's Eternal Champion cycle. This mythology follows the many different incarnations of a cosmic champion fighting for chaos and freedom against the forces of order and tyranny, through a multitude of parallel universes. One of the Eternal Champion's many incarnations appears as a main character here, Jerry Cornelius: A "No Celebrities Were Harmed" version of David Bowie who moonlights as a time-travelling secret agent. The forces of order are represented by Major Grubert, a mysterious figure introduced in the previous volume "The Horny Goof" who appears as a stereotypical 19th century colonialist complete with pith helmet.
What made "The Airtight Garage" click for me was realising how Moebius has basically written a Gnostic Christian allegory here: Grubert is depicted as a Demiurge figure, that is a malevolent creator of the physical world masquerading as the true god, whom a mystic with the initials "JC" is sent to expose as a deceiver. (it should be pointed out that the first Gnostics were Jewish not Christian and would hence not have any use for such an interpretation - something that often gets lost in translation by pop culture depictions of Gnosticism) The religious themes in "The Airtight Garage" are again full of references to media properties that were popular in the 1970's but have since been forgotten: Moebius uses the plot to illustrate the ideas of Carlos Castañeda, a Peruvian-American anthropologist of the era who claimed to have been initiated into the shamanic traditions of the Yaqui Indians but whose books were later revealed to be fiction. Anyway, the mysterious supernatural powers that Jerry Cornelius displays here, and the liberatory forces he channels, are exactly those (e. g. the Nagual) whom Castañeda claimed to have learned from the probably-fictional Yaqui sorcerer Don Juan Matus.
The blend of Castañeda-inspired mysticism with nuts-and-bolts space opera, as well as the Gnostic themes involving artificially constructed universes, nonetheless allows Moebius to pull out all stops when depicting strange and inventive settings that seamlessly blend elements from epic fantasy, "used future" science fiction, even superhero comics and spy thrillers. The landscapes and cities draw upon his experience from mainstream Western comics, but are a level more creative because he no longer has to stick to real-life societies and cultures. If you want to dig deeper, you will find quite a bit of anti-imperialist political subtext: Parts of the artificial planet Grubert rules over resembling a futuristic version of North Africa under French colonial rule, Grubert himself dressing like an old fashioned colonialist etc. This aspect becomes clearer if you notice the playful treatment of spy novel clichés that appear in the story, with quite a few scenes feeling straight out of what "The Secret Agent" would have been like had Joseph Conrad written it while high on mescaline.
The trippy art might be the main attraction for some readers of "The Airtight Garage". However if you are more familiar with all the literary, political and religious allusions that Moebius drew on while reading it, you might get even more out of the story. The result is one of those few creative works where I discover something new about them every time I read them.
June 21, 2009
A hard to find and utterly weird, dreamlike comic. The more I think about it the less it approaches sense(not really its intent), but still the images are wonderful. Reminds me of the animated film The Fantastic Planet.
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October 17, 2023Не знаю як оцінити цей текст. З одного боку, ти взагалі не розумієш, що відбувається: рівні герметичного гаражу як центрального ядра всесвіту, дивні персонажі, не менш дивні локації, постійне перемикання наративу. Тотальний постмодернізм із заграванням до читача, потоку свідомості, вигаданою мовою, цитатами й інтертекстом - ось ще чекає читача з перших сторінок. З іншого боку, раптом все це затягує, зачаровує своїм дивним шармом. Тобі починає здаватись, що ти розумієш цей дивний світ і навіть його причинно-наслідкові зв'язки (насправді ні), відчуваєш причетним себе до якоїсь таємниці. Водночас вловлюєш цю гру, починаєш сам слідувати за героями бозна-куди й бозна-чому (подібне може траплятись, коли читаєш "Улісс" Джеймса Джойса). Загадки, які не розгадаєш. Фінал, який так і не відбудеться. Справді, увесь текст пронизаний іронією, що й робить його, напевно, дещо милим і цікавим. Тобто у якийсь момент я справді вимкнув логіку й сказав: ну гаразд, побачимо що ж буде далі.
Жан Жиро/Мьобіус публікував цей комікс (гаразд, графічний роман, але де ж тут сюжет, задум, історія формування характерів?) у французькому журналі Métal Hurlant, який потім почав виходити в США вже з назвою Metal, часто видаючи усілякий психодел та сайфай. Тому не дивно, що глави це фактично короткі стріпи, що публікувались у журналі. Рівно через три роки Жан Жиро видасть усі ці нариси в окремому збірнику, проте навіть в сукупному вигляді це читається важко або як мінімум загадково. До того ж, оригінальна версія була чорно-білою, тому це ще додавало антуражу (частково читав і цю версію, тому варто додати, що відчуття зовсім інші, аніж від пофарбованої версії).
Дивний, незрозумілий і сюрреалістичний світ Мьобіуса зачарував своєю красою, а вже потім умовною історією. Окремі панелі просто неймовірно деталізовані, а ландшафти та істоти є прикладом невгамовної фантазії відомого француза. Умовність реальності підсилювалась модними на той час течіями, як-от кіберпанк, який теж пронизаний плюралізмом, психоделікою та технологіями. Сьогодні це справді культовий комікс, але мені однаково не хочеться й не можеться його оцінити. Нехай собі блукає у космосі цей астероїд, цей герметичний гараж, притягуючи та збиваючи з пантелику читачів, як збив щойно мене.
Жан Жиро/Мьобіус публікував цей комікс (гаразд, графічний роман, але де ж тут сюжет, задум, історія формування характерів?) у французькому журналі Métal Hurlant, який потім почав виходити в США вже з назвою Metal, часто видаючи усілякий психодел та сайфай. Тому не дивно, що глави це фактично короткі стріпи, що публікувались у журналі. Рівно через три роки Жан Жиро видасть усі ці нариси в окремому збірнику, проте навіть в сукупному вигляді це читається важко або як мінімум загадково. До того ж, оригінальна версія була чорно-білою, тому це ще додавало антуражу (частково читав і цю версію, тому варто додати, що відчуття зовсім інші, аніж від пофарбованої версії).
Дивний, незрозумілий і сюрреалістичний світ Мьобіуса зачарував своєю красою, а вже потім умовною історією. Окремі панелі просто неймовірно деталізовані, а ландшафти та істоти є прикладом невгамовної фантазії відомого француза. Умовність реальності підсилювалась модними на той час течіями, як-от кіберпанк, який теж пронизаний плюралізмом, психоделікою та технологіями. Сьогодні це справді культовий комікс, але мені однаково не хочеться й не можеться його оцінити. Нехай собі блукає у космосі цей астероїд, цей герметичний гараж, притягуючи та збиваючи з пантелику читачів, як збив щойно мене.
October 5, 2016
A really whacked out trippy sci-fi narrative meandering thru multiple dimensions/created worlds. So for me the story and narrative were so-so, but the art is just phenomenal. Def worth reading just to experience the art of Moebius.
Kind of reminds me of Winsor McCay's Little Nemo, both the dreamlike quality and the art style. Speaking of which, I'd be curious if Moebius ever cited McCay's work as an influence, will have to look into that.
Kind of reminds me of Winsor McCay's Little Nemo, both the dreamlike quality and the art style. Speaking of which, I'd be curious if Moebius ever cited McCay's work as an influence, will have to look into that.
January 1, 2018
El primer día del año, desde hace ya muchos, demasiados, leo El garaje hermético de Jerry Cornelius del inmenso Moebius.
No hace falta decir nada sobre esta obra genial.
Feliz año a todos.
No hace falta decir nada sobre esta obra genial.
Feliz año a todos.
June 13, 2023
"Resumen de los capítulos precedentes: Todo puede ocurrir aún en el garaje hermético"
Jean Giraud, también conocido como Moebius tras "aquel" viaje a México, que llegaría a ser tan influyente en la imaginería futurosurrealista, ya era un dibujante conocido y acomodado por El teniente Blueberry cuando decidió dar rienda suelta a su delirante, libérrima imaginación y delinear las aventuras del Mayor Fatal en los mundos superpuestos y siempre comunicados entre sí en los momentos más inesperados. La bamboleante trama, como huyendo de una lluvia de asteroides con alevosa puntería, me había resultado desquiciante en su gozosa perplejidad cuando fue publicado por entregas en aquel Tótem que me prestaba mi (entonces futuro) cuñado; ahora reposa mejor, como un buen vino, aún rebosante de aromas.
Con un dibujo particularísimo, henchido de riqueza de enfoques, perspectivas y arquitecturas que te impactan cual Chirico; con una armada de personajes merecedores todos de un par de metauniversos para cada uno; con una sucesión vertiginosa de aconteceres desternillantes, sorpresivos, arrolladores aún en sus más ¿plácidos? momentos, esta obra de arte se mantiene fresca y fecunda, fabulosa y feroz, un clásico al que siempre quieres volver.
"en el desarrollo de toda narración, imperceptiblemente, la comedia se desliza hacia el drama e incluso la tragedia. Eso es lo que tenía que ocurrir con El garaje hermético. Me gusta la farsa, pero también el melodrama profético, cósmico. Todos tenemos nuestras propias perversiones, y no hay que asfixiarlas, sino trabajar para convertirlas en provechosas."
"... cualquier resultado, cualquier reacción, cualquier acontecimiento, cualquier circunstancia, incluso la buena y la mala fortuna, el respeto y el insulto, el renombre y el vituperio, la victoria y la derrota, los acontecimientos gratos y los penosos, no solo no logran abatirme, sino que además me resbalan y me dejan libre en mis emociones, mis reacciones nerviosas y mis concepciones mentales."
Jean Giraud, también conocido como Moebius tras "aquel" viaje a México, que llegaría a ser tan influyente en la imaginería futurosurrealista, ya era un dibujante conocido y acomodado por El teniente Blueberry cuando decidió dar rienda suelta a su delirante, libérrima imaginación y delinear las aventuras del Mayor Fatal en los mundos superpuestos y siempre comunicados entre sí en los momentos más inesperados. La bamboleante trama, como huyendo de una lluvia de asteroides con alevosa puntería, me había resultado desquiciante en su gozosa perplejidad cuando fue publicado por entregas en aquel Tótem que me prestaba mi (entonces futuro) cuñado; ahora reposa mejor, como un buen vino, aún rebosante de aromas.
Con un dibujo particularísimo, henchido de riqueza de enfoques, perspectivas y arquitecturas que te impactan cual Chirico; con una armada de personajes merecedores todos de un par de metauniversos para cada uno; con una sucesión vertiginosa de aconteceres desternillantes, sorpresivos, arrolladores aún en sus más ¿plácidos? momentos, esta obra de arte se mantiene fresca y fecunda, fabulosa y feroz, un clásico al que siempre quieres volver.
"en el desarrollo de toda narración, imperceptiblemente, la comedia se desliza hacia el drama e incluso la tragedia. Eso es lo que tenía que ocurrir con El garaje hermético. Me gusta la farsa, pero también el melodrama profético, cósmico. Todos tenemos nuestras propias perversiones, y no hay que asfixiarlas, sino trabajar para convertirlas en provechosas."
"... cualquier resultado, cualquier reacción, cualquier acontecimiento, cualquier circunstancia, incluso la buena y la mala fortuna, el respeto y el insulto, el renombre y el vituperio, la victoria y la derrota, los acontecimientos gratos y los penosos, no solo no logran abatirme, sino que además me resbalan y me dejan libre en mis emociones, mis reacciones nerviosas y mis concepciones mentales."
July 4, 2008
For me this is the best comic novel ever, although not everybody's cup of tea due to its chaotic story structure and high level of complexity. I've read it over 20 times and with each read I still discover things I hadn't thought of before. Graphically Moebius has performed better than this (although the result he delivers here is still very impressive), but story wise it is so amazingly creative and refreshing it leaves all other comic books behind by far. As always with Moebius, you have to accept that you'll probably be more puzzled when reaching the end of the book than you were when starting it, given his love for stopping a comic seemingly in the middle of the storyline, but the effort of going through is very rewarding and you keep falling form one wonder into another. A classic in every way!
March 19, 2022
The Airtight Garage was originally serialized 2–6 pages at a time in seminal French sci-fi anthology Métal Hurlant, and by Mœbius's own account, he made the whole thing up as he was going along. This total lack of prior planning or coherent vision is very apparent in the final product – in its tonal inconsistency, in its chameleonic art, and above all in its plot, which twists and turns so much that it often feels completely random. In many ways the plot and the overall reading experience are similar to The Incal: they're both wacky, lightning-paced, circuitous rollercoaster rides, crammed full of characters, with tangles of obscure machinations, conspiracies, double-crossings and ambiguous/shifting allegiances. The Airtight Garage takes the obscurity to a new level though, leaving some narrative threads hanging in mid-air, and bringing others to abrupt, unsatisfying conclusions. In short, this comic doesn't have a story that can be enjoyed in a traditional sense, though it's certainly fun to marvel at the way Mœbius attempts to mash its myriad elements into a semi-cohesive whole.
The Airtight Garage isn't quite as zany as The Incal; it's less humour-driven and there are fewer outright gags, especially in the second half. That said, the tone is still far from serious, thanks to the sheer absurdity and convolution of the story, as well as levity maintained through jokey narration boxes. Nonetheless, the slightly more restrained wackiness compared to The Incal is a definite positive in my eyes, allowing me to become more absorbed in the world. What's more, by making the plot so unapologetically incoherent, Mœbius basically absolves himself from considerations like the quality of the dialogue, the believability of the characters, or the subtlety of the storytelling – all of which are weak points in The Incal.
This being a Mœbius comic, the art is indisputably awesome. The style varies considerably, from exaggerated cartooning to photo-referenced realism. I personally prefer Mœbius's less cartoony work, so overall I prefer the art here to that in The Incal, which is very cartoony throughout, though this isn't quite as visually breathtaking as Arzach. The version I've read is in black-and-white (as it was in its original publication), and it's great to see Mœbius's line work this way, especially in panels with lots of background detail and those where he makes exquisite use of tiny dots and subtle lines to create a sense of depth. I especially appreciate the artwork on my second read-through, when I was less preoccupied with trying to make sense of the story.
At the end of the day, Mœbius was an artist, not a writer, and his writing honestly doesn’t hold up to much scrutiny. However, The Airtight Garage is a work that embraces this reality: its story is a chaotic mess that ultimately just boils down to nonsense, but this is a feature more than a fault. I can’t rightly say that this comic is a masterpiece, but it’s an engrossing experience – it’s a fascinating and visually sumptuous world that I’m glad to have visited.
The Airtight Garage isn't quite as zany as The Incal; it's less humour-driven and there are fewer outright gags, especially in the second half. That said, the tone is still far from serious, thanks to the sheer absurdity and convolution of the story, as well as levity maintained through jokey narration boxes. Nonetheless, the slightly more restrained wackiness compared to The Incal is a definite positive in my eyes, allowing me to become more absorbed in the world. What's more, by making the plot so unapologetically incoherent, Mœbius basically absolves himself from considerations like the quality of the dialogue, the believability of the characters, or the subtlety of the storytelling – all of which are weak points in The Incal.
This being a Mœbius comic, the art is indisputably awesome. The style varies considerably, from exaggerated cartooning to photo-referenced realism. I personally prefer Mœbius's less cartoony work, so overall I prefer the art here to that in The Incal, which is very cartoony throughout, though this isn't quite as visually breathtaking as Arzach. The version I've read is in black-and-white (as it was in its original publication), and it's great to see Mœbius's line work this way, especially in panels with lots of background detail and those where he makes exquisite use of tiny dots and subtle lines to create a sense of depth. I especially appreciate the artwork on my second read-through, when I was less preoccupied with trying to make sense of the story.
At the end of the day, Mœbius was an artist, not a writer, and his writing honestly doesn’t hold up to much scrutiny. However, The Airtight Garage is a work that embraces this reality: its story is a chaotic mess that ultimately just boils down to nonsense, but this is a feature more than a fault. I can’t rightly say that this comic is a masterpiece, but it’s an engrossing experience – it’s a fascinating and visually sumptuous world that I’m glad to have visited.
August 16, 2024
Tra i punti se non il punto massimo del fumetto internazionale, di vero spirito dadaista: Il garage ermetico è all’insegna della libertà, sperimentale e casuale sia nel testo sia nel disegno estremamente pulito e dettagliato ma anche nelle vignette. Moebius è capace di portare il lettore in mondi magici e unici, fatti di deserti, tipici delle ambientazioni western, sui quali il giovane fumettista si è formato e scorci fantascientifici, che hanno anticipato Dune, Star Wars e chissà quando altri! Un vero maestro.
June 12, 2016
Boris Groys señala que en la actualidad la estrategia de autodenuncia es una de las exitosas para producir un efecto de sinceridad en el campo del arte. No fue el caso de Moebius, quien en las entrevistas no tenía problemas en comportarse como un maestro, es decir, como alguien consciente de su avance por un camino árduo. Corría riesgos con eso. De ridículo y de cosas peores. No sucumbió a ninguno de ellos, porque su obra se expresa con sinceridad por sí misma, y confirma que no había pretensión alguna.
Hace falta algo más que paciencia y dedicación para lograr que cada cara en una multitud tenga no solo identidad, sino una dignidad propia. Desde la mirada de Moebius cada detalle tiene una existencia plena. En el Garaje Hermético el comic deja de ser un soporte narrativo para convertirse en la invitación a un ejercicio de contemplación.
Hace falta algo más que paciencia y dedicación para lograr que cada cara en una multitud tenga no solo identidad, sino una dignidad propia. Desde la mirada de Moebius cada detalle tiene una existencia plena. En el Garaje Hermético el comic deja de ser un soporte narrativo para convertirse en la invitación a un ejercicio de contemplación.
December 8, 2011
3.5 stars. Psychedelic sci-fi adventure story dealing with multiple levels of reality. The storyline unfurls in short chapters that are designed to be alternately improvised and heavily-plotted. The overall vibe falls somewhere between, say, the films "The Holy Mountain" and "Fantastic Planet" without being as coherent or successful as either, though Moebius's imagery is often breathtaking.
May 24, 2025
Caótico, genial, inspirador — um livro de aventuras e, ao mesmo tempo, uma viagem (não linear) pelas possibilidades narrativas da banda desenhada. Moebius leva tudo ao limite: improvisa, mistura géneros e cria um universo único, cheio de humor, surrealismo e um traço elegante.
Existe um antes e um depois deste livro no mundo da BD franco-belga. O Incal nasceu aqui.
Leitura obrigatória para quem ama a nona arte.
Existe um antes e um depois deste livro no mundo da BD franco-belga. O Incal nasceu aqui.
Leitura obrigatória para quem ama a nona arte.
January 6, 2019
Os desenhos sao primorosos.
O argumento ininteligível.
O argumento ininteligível.
January 3, 2014
I order things I can't find through the local interlibrary loan system, and quite often I don't have much expectations towards actually acquiring a copy of an object of desire. Especially one as elusive as The Airtight Garage. Well, I was surprised.
The only reason I wanted to read this is the Jerry Cornelius fiasco. Moorcock coined the character with the intent of allowing other authors to toy with him as they wished, and this was collected in The Nature of the Catastrophe. Well, apparently Moebius went ahead and made his own version of Jerry Cornelius.
This caused a tiff between the two creators. Moorcock wasn't happy Moebius did this and Moebius wasn't happy that Moorcock wasn't happy. All in all, this resulted in Moebius's Cornelius being renamed Lewis Carnelian. Now the two creators are claiming that their disagreement was overblown in context, and that there wasn't really any animosity in the first place.
I call bullshit on that—they're probably doing this because with the advent of technology and ease of shared content, their fanbases have grown larger and mingled. Now at risk of offending respective parties, they've pretended to make peace.
Soem might say Moebius' Carnelian isn't a Cornelius knockoff in anything but name; this is definitely not true. Moebius' weird world borrows elements from Moorcock's Eternal Champion Multiverse, including, especially, the Second Ether.
If you were ignorant of the controversy behind, and hadn't read Moorcock, you'd still enjoy this book, because Moebius is a genius in his field. His pages are gorgeous and despite the episodic nature of the narrative, you enjoy indulging in the title blocks and abosrbing the weirdness of the storytelling.
The only reason I wanted to read this is the Jerry Cornelius fiasco. Moorcock coined the character with the intent of allowing other authors to toy with him as they wished, and this was collected in The Nature of the Catastrophe. Well, apparently Moebius went ahead and made his own version of Jerry Cornelius.
This caused a tiff between the two creators. Moorcock wasn't happy Moebius did this and Moebius wasn't happy that Moorcock wasn't happy. All in all, this resulted in Moebius's Cornelius being renamed Lewis Carnelian. Now the two creators are claiming that their disagreement was overblown in context, and that there wasn't really any animosity in the first place.
I call bullshit on that—they're probably doing this because with the advent of technology and ease of shared content, their fanbases have grown larger and mingled. Now at risk of offending respective parties, they've pretended to make peace.
Soem might say Moebius' Carnelian isn't a Cornelius knockoff in anything but name; this is definitely not true. Moebius' weird world borrows elements from Moorcock's Eternal Champion Multiverse, including, especially, the Second Ether.
If you were ignorant of the controversy behind, and hadn't read Moorcock, you'd still enjoy this book, because Moebius is a genius in his field. His pages are gorgeous and despite the episodic nature of the narrative, you enjoy indulging in the title blocks and abosrbing the weirdness of the storytelling.
November 24, 2008
Not everything is as it seems. I wasn't too impressed with the art work or the trying too hard dialog. Then I read more. And read even further. My dreams were changed and interrupted with the stories of Jerry Cornelius (or Lewis Carnelian). Intense. Hopefully we will see an open-ended video game based on this world. Read it if you can find a copy.
July 18, 2014
I just... what? What did I just read? Who knows. Moebius' art was crazy fun, but I have no idea about anything else. This book is probably a lot more enjoyable if you happen to be in an altered state of consciousness. Other than that it's just really fucking bizarre.
April 7, 2013
What in the Lord.
IDEA: Wouldn't it have been awesome if Moebius had drawn a graphic novel based on Bradbury's The Martian Chronicles? Yeah.
IDEA: Wouldn't it have been awesome if Moebius had drawn a graphic novel based on Bradbury's The Martian Chronicles? Yeah.
September 4, 2020
I talked about this one here :
https://youtu.be/i0cU6QLYV8o
https://youtu.be/i0cU6QLYV8o
May 27, 2017
Completamente aleatório e insano, A Garagem Hermética de Moebius é um álbum de ficção científica pura e dura, cheia de termos técnicos e futurismos alucinantes, com traços de guerra, de faroeste, de super-heróis e de misticismos. O autor foi escrevendo a história de forma fortuita, sem um enredo com pés e cabeça ou uma linha a seguir. O resultado foi uma história que achei confusa e de difícil interpretação, mas cheia de um significado secreto que me satisfez. Logo de caras, sorri ao perceber que os nomes dos personagens inaugurais da trama eram os das colunas que sustentavam as portas do Templo de Salomão.
Grubert é a chave do livro. Ele é o criador dos mundos e governa-os com menos controlo do que um empresário gere uma organização. As ideias sucedem-se e são sempre surpreendentes e cheias de potencial, acabando por não ser exploradas. Moebius fez as regras do jogo e brincou a seu bel-prazer, deixando para trás as tramas que menos lhe interessavam e criando novos focos e diretivas.
A narrativa é erudita e cheia de significados, ainda que a falta deles também imponha um mistério vazio que não me desiludiu. Se Moebius parece um autor louco e deixa os leitores completamente “What the fuck!” com as histórias apresentadas, é acima de tudo um artista brilhante, que soube casar o desenho à história de forma igualmente desconcertante e fluída. A própria imagem de Grubert sofre várias mudanças ao longo da obra.
Por fim, um destaque para a escrita bem-humorada do autor. Moebius apresenta uma história sem pés nem cabeça, mas cheia de sumo e de coerências. Aqui e ali, as tramas cruzam-se e o insondável ganha sentido. Foi acima de tudo o humor e a irreverência do autor que me cativaram, mais do que uma história que nem tão bem compreendi e que mesmo assim recomendo.
http://noticiasdezallar.wordpress.com
Grubert é a chave do livro. Ele é o criador dos mundos e governa-os com menos controlo do que um empresário gere uma organização. As ideias sucedem-se e são sempre surpreendentes e cheias de potencial, acabando por não ser exploradas. Moebius fez as regras do jogo e brincou a seu bel-prazer, deixando para trás as tramas que menos lhe interessavam e criando novos focos e diretivas.
A narrativa é erudita e cheia de significados, ainda que a falta deles também imponha um mistério vazio que não me desiludiu. Se Moebius parece um autor louco e deixa os leitores completamente “What the fuck!” com as histórias apresentadas, é acima de tudo um artista brilhante, que soube casar o desenho à história de forma igualmente desconcertante e fluída. A própria imagem de Grubert sofre várias mudanças ao longo da obra.
Por fim, um destaque para a escrita bem-humorada do autor. Moebius apresenta uma história sem pés nem cabeça, mas cheia de sumo e de coerências. Aqui e ali, as tramas cruzam-se e o insondável ganha sentido. Foi acima de tudo o humor e a irreverência do autor que me cativaram, mais do que uma história que nem tão bem compreendi e que mesmo assim recomendo.
http://noticiasdezallar.wordpress.com
June 9, 2022
Obra profundamente surrealista e improvisada de Moebius, de gran belleza artística pero a la vez incoherente y deshilvanada. Ya os aviso de que no es una lectura para todo el mundo, pero es indudable su valor histórico, artístico e influyente.
Read
May 23, 2022it is all a Bakalite trick...
June 18, 2025
think i need a re-read to really get it
Read
December 27, 2025Ïnoui.
April 18, 2022
Understood nothing, liked a lot!
July 8, 2016
L'intera storia è una presa in giro: il lettore tenta disperatamente di riconoscere un intreccio, un senso, un rapporto tra le varie parti, ma non ci riesce. Ogni qual volta sembra emergere un minimo barlume di trama, nella scena successiva le informazioni acquisite perdono di senso.
La lettura è molto complessa, dove viene frustrata la mente umana che cerca sempre di ricostruire rapporti di causa ed effetto all'interno di una storia.
Il mondo di cui si parla è un mondo fantascientifico di cui il lettore non sa praticamente nulla: ci sono numerosi rimandi a persone, cose, sistemi fisici che appartengono a un universo che è troppo diverso dal nostro. Questo crea un forte effetto di straniamento: essere immersi nel futuro significa non capirlo, mentre la fantascienza ci ha abituato a nuovi mondi sempre molto riconoscibili per un uomo del 'passato'. Ma credo che l'effetto di spaesamento messo in piedi da Moebius sia molto più realistico.
Come molte delle storie di Moebius, qui si gira molto: i personaggi vagano, rincorrendo non si sa cosa e sfuggendo da non si sa cosa. L'atto del movimento, puro e semplice, permette a un disegnatore di rappresentare interi mondi: questo è l'obiettivo di Moebius, cioè mettere in piedi un universo grafico di straordinaria potenza e fantasia. L'estetica, il tratto, l'immaginazione di Moebius sono l'unica cosa che riesce a creare un mondo, poiché le parole e i dialoghi non sono più capaci di produrre senso. In Moebius, come in pochissimi altri autori, è il disegno a fare la storia e non la sceneggiatura.
Una piccola parvenza di storia, però, c'è: ci troviamo su di un mondo diviso in tre livelli, mondo creato dal Maggiore Grubert (un po' il protagonista della storia). All'improvviso, alcune forze e personaggi cercano di spodestare il creatore, affinché questo mondo possa essere indipendente (o, più semplicemente, per rubare il potere al creatore). Uno di questi personaggi è Jerry Cornelius, il quale dà il via a una serie di azioni atti a voler spodestare il Maggiore. In questa lotta subentrano molti altri scagnozzi.
A questi due personaggi, infine, si aggiunge una terza fazione: quella dei Bakalit, i quali cercano di sfruttare un errore commesso da un ingegnere, ad apertura del fumetto. Questo errore (non si sa bene quali siano stati gli effetti fisici, ma solo che è stato causato dalla rottura di uno speciale macchinario) ha permesso ai Bakalit di combattere contro queste due forze per rendere tale mondo indipendente dal suo creatore. L'ingegnere all'inizio della storia è uno dei tanti personaggi che fugge, anche se non si sa bene da cosa.
Termina? Sì, ma solo perché ogni opera umana ha una fine. Le tavole finiscono e, per forza di cose, anche la storia.
Un fumetto per chi vuole fare un'esperienza di senso assurda e bearsi di un immaginario estetico davvero grandioso, in cui elementi a noi noti si fondono con altri totalmente assurdi, contribuendo a creare quest'atmosfera dove si alterna riconoscibile e strano.
La lettura è molto complessa, dove viene frustrata la mente umana che cerca sempre di ricostruire rapporti di causa ed effetto all'interno di una storia.
Il mondo di cui si parla è un mondo fantascientifico di cui il lettore non sa praticamente nulla: ci sono numerosi rimandi a persone, cose, sistemi fisici che appartengono a un universo che è troppo diverso dal nostro. Questo crea un forte effetto di straniamento: essere immersi nel futuro significa non capirlo, mentre la fantascienza ci ha abituato a nuovi mondi sempre molto riconoscibili per un uomo del 'passato'. Ma credo che l'effetto di spaesamento messo in piedi da Moebius sia molto più realistico.
Come molte delle storie di Moebius, qui si gira molto: i personaggi vagano, rincorrendo non si sa cosa e sfuggendo da non si sa cosa. L'atto del movimento, puro e semplice, permette a un disegnatore di rappresentare interi mondi: questo è l'obiettivo di Moebius, cioè mettere in piedi un universo grafico di straordinaria potenza e fantasia. L'estetica, il tratto, l'immaginazione di Moebius sono l'unica cosa che riesce a creare un mondo, poiché le parole e i dialoghi non sono più capaci di produrre senso. In Moebius, come in pochissimi altri autori, è il disegno a fare la storia e non la sceneggiatura.
Una piccola parvenza di storia, però, c'è: ci troviamo su di un mondo diviso in tre livelli, mondo creato dal Maggiore Grubert (un po' il protagonista della storia). All'improvviso, alcune forze e personaggi cercano di spodestare il creatore, affinché questo mondo possa essere indipendente (o, più semplicemente, per rubare il potere al creatore). Uno di questi personaggi è Jerry Cornelius, il quale dà il via a una serie di azioni atti a voler spodestare il Maggiore. In questa lotta subentrano molti altri scagnozzi.
A questi due personaggi, infine, si aggiunge una terza fazione: quella dei Bakalit, i quali cercano di sfruttare un errore commesso da un ingegnere, ad apertura del fumetto. Questo errore (non si sa bene quali siano stati gli effetti fisici, ma solo che è stato causato dalla rottura di uno speciale macchinario) ha permesso ai Bakalit di combattere contro queste due forze per rendere tale mondo indipendente dal suo creatore. L'ingegnere all'inizio della storia è uno dei tanti personaggi che fugge, anche se non si sa bene da cosa.
Termina? Sì, ma solo perché ogni opera umana ha una fine. Le tavole finiscono e, per forza di cose, anche la storia.
Un fumetto per chi vuole fare un'esperienza di senso assurda e bearsi di un immaginario estetico davvero grandioso, in cui elementi a noi noti si fondono con altri totalmente assurdi, contribuendo a creare quest'atmosfera dove si alterna riconoscibile e strano.
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