Retrospective: The Incal
The Incal is regarded by many as an iconic science fiction graphic novel series, if not the best ever created. Beginning in 1980 in the French comics anthology magazine Métal hurlant and originally titled Une aventure de John Difool, this is a grand 'space opera' with a complex story and deeply philosophical themes of good versus evil, free will versus destiny and personal transformation.
Much of the material is recycled from a failed attempt at a film adaptation of the classic science fiction novel Dune by Frank Herbert. Writer Alejandro Jodorowsky used several elements from his script, showing a surreal/psychedelic style that is characteristic of his earlier films.
However, The Incal is hailed mainly for its artwork, produced by the critically acclaimed Jean Giraud, aka Mœbius (a member of the Franco-Belgian Bande dessinée tradition which also gave us Hergés Adventures of Tintin and Albert Uderzo's Astetix.) The Bande dessinée is typified by a mixture of realistic and comical styles: characters are often drawn with naturalistic details and proportions, with exceptions made for humorous or more fantastical individuals. This tradition also uses the ligne claire style: strong clear lines with no hatching and minimal shading and contrast, creating a flat, idealised look.
Mœbius is renowned for his detailed images and highly imaginative designs. Typical of his work is a blend of finely-rendered retro-futurist spacecraft and structures with mythical/mystical elements and figures, often using complex geometric shapes. At one time an enthusiastic user of hallucinogenics, his work has a distinct dream-like quality that delights many.
The Incal is an expansive tale of a very average person caught up in a vast war between cosmic forces. John Difool is a detective concerned only with getting by and seeking gratification until a chance encounter brings him into possession of a small crystal pyramid - the Incal - which changes the course of his life dramatically. Everybody wants this object of great power: the evil Technopriests, the invading alien empire of the Bergs, the ruling Aristo elite, the rebel Amoks... But the Incal is sentient and has plans of its own; plans which include Difool as a main player, despite his intense reluctance.
The supporting cast includes Difool's pet bird Deepo (a 'concrete seagull' given the power of speech by the Incal), Kill Wolfhead (a hulking mercenary with, true to his name, a wolf's head), goddess-like sisters Tanatah and Animah, the heroic Metabaron and his angelic son Solune, His Megaholiness the Emperoress (psychic conjoined twins in a floating amniotic egg)... You get the idea.
Their adventures take them to many fantastic planets and cities in an attempt to save the universe from the Great Darkness, a force of evil that manifests in the form of sun-eating Shadow Eggs composed of antimatter. Mœbius renders all this with flair: huge, sweeping grandiose vistas that convey a great sense of space, beautifully crafted cities, palaces and temples; proto-cyberpunk enhanced soldiers and cyborgs, nightmarish demonic entities; artistically novel sleek vehicles... His style adapts to the scenarios and characters depicted: mutants and mercenaries are coarse and gritty, the effete Aristos are androgynous dandies straight out of the decadent illustrations of Aubrey Beardsley.
The style here was hugely influential on subsequent science fiction media; Luc Besson's film The Fifth Element (with which Mœbius worked as concept artist) in particular.
As a sci-fi romp, it leaves few tropes unused, ticking as many boxes as it can find. The serious themes (political oppression, social apathy, faith, war, betrayal, rebellion, courage, etc.) sit comfortably alongside the many humorous elements. But it is the art that is the star of the show; Mœbius creates many feasts for the eye, fully earning his status as a groundbreaking genius illustrator. The reader is amply rewarded by a grand opus that delivers fully on every level.
Zak Webber
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