“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)

The Myths of Cthulhu - 094
PAGE 1/15
The Myths of Cthulhu - 095
PAGE 2/15
The Myths of Cthulhu - 096
PAGE 3/15
The Myths of Cthulhu - 097
PAGE 4/15
The Myths of Cthulhu - 098
PAGE 5/15
The Myths of Cthulhu - 099
PAGE 6/15
The Myths of Cthulhu - 100
PAGE 7/15
The Myths of Cthulhu - 101
PAGE 8/15
The Myths of Cthulhu - 102
PAGE 9/15
The Myths of Cthulhu - 103
PAGE 10/15
The Myths of Cthulhu - 104
PAGE 11/15
The Myths of Cthulhu - 105
PAGE 12/15
The Myths of Cthulhu - 106
PAGE 13/15
The Myths of Cthulhu - 107
PAGE 14/15
The Myths of Cthulhu - 108
PAGE 15/15
Breccia - The Haunter in the Dark 6
PAGE 6/15 (original art)

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

PAGE 1/8
PAGE 2/8
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.
PAGE 6/8
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

“The Virtuoso” by Wilhelm Busch, DE, 1865

The Virtuoso (“Der Virtuos“) by Wilhelm Busch (DE), Germany, 1865. Via Animation Resources.

Complete sequence
Virtuoso01 - Silentium
PANEL 1/15: Silentium
Virtuoso02 - Introduzione
PANEL 2/15: Introduzione
Virtuoso03 - Scherzo
PANEL 3/15: Scherzo
Virtuoso04 - Adagio
PANEL 4/15: Adagio
Virtuoso05 - Adagio con Sentimento
PANEL 5/15: Adagio con Sentimento
Virtuoso06 - Piano
PANEL 6/15: Piano
Virtuoso07 - Smorzando
PANEL 7/15: Smorzando
Virtuoso08 - Smorzando
PANEL 8/15: Maëstoso
Virtuoso09 - Capriccioso
PANEL 9/15: Capriccioso
Virtuoso10 - Passagio Chromatico
PANEL 10/15: Passagio Cromatico
Virtuoso11 - Fuga des Diavolo
PANEL 11/15: Fuga del Diavolo
Virtuoso12 - Forte Vivace
PANEL 12/15: Forte Vivace
Virtuoso13 - Fortissimo Vivacissimo
PANEL 13/15: Fortissimo Vivacissimo
Virtuoso14 - Finale Furioso
PANEL 14/15: Finale Furioso
Virtuoso15 - Bravo Bravissimo
PANEL 15/15: Bravo Bravissiomo!

“Arzach” (2 stories) by Moebius, FR, 1975-1976

Arzach / Harzak (two short stories) by Moebius (Jean Giraud, FR) in: Métal Hurlant magazine, France, 1975-1976. Via Pasa La Vida.

Copyright ©1975 Les Humanoïdes Associés

PAGE 1/8 (story 1)
PAGE 2/8 (story 1)
PAGE 3/8 (story 1)
PAGE 4/8 (story 1)
PAGE 5/8 (story 1)
PAGE 6/8 (story 1)
PAGE 7/8 (story 1)
PAGE 8/8 (story 1)
PAGE 1/8 (story 2)
PAGE 2/8 (story 2)
PAGE 3/8 (story 2)
PAGE 4/8 (story 2)
PAGE 5/8 (story 2)
PAGE 6/8 (story 2)
PAGE 7/8 (story 2)
PAGE 8/8 (story 2)

“Batman: Once Upon a Time…” by Len Wein & Walter Simonson, USA, 1981

Batman: Once Upon a Time…, tribute to Charles M. SchulzPeanuts (adaptation of Snoopy’s novel), by Len Wein (USA) & Walter Simonson (USA) in: Detective Comics Vol. 1 #500, DC Comics, USA, March 1981.

Between “August and September of 1969, Charles M. Schulz devoted a few weeks’ worth of strips to Snoopy’s novel.” In 1981, Len Wein wrote a Batman “two-pager with art by the great Walt Simonson. The story has no dialogue. It only has captions. The captions? All lines from the aforementioned Snoopy novel!!” Brian Cronin, Comic Book Resources, 2010.

Peanuts strips: Copyright ©1969 United Feature Syndicate/Charles M. Schulz

Batman story: Copyright ©1981 DC Comics

Peanuts strips by Charles M. Schulz (1969)
PAGE 1/2
PAGE 2/2

“Big Tex” by Chris Ware, USA, 1996

Big Tex (one-pager) by Chris Ware (USA) in: Acme Novelty Library Vol VII, #7, Book of Jokes, Fantagraphics Books, Summer 1996.

Copyright ©1996 Chris Ware/Fantagraphics Books

“Like how does something happen, and … how does it reverberate through time? And that act of memory is important, and comics are great for memory. Like even when you have a short comic, like a three-panel comic, you’ve got a past, a present and a future as soon as you look at those three boxes. And that allows you to reflect and compare times.” Art Spiegelman, NPR interview, 2011

PAGE 1/1

“Looking for Nemo” by Benoît Peeters & François Schuiten, JP/BE/FR, 1991

Looking for Nemo, tribute to Winsor McCay (and Little Nemo), script by Benoît Peeters (FR) and art by François Schuiten (BE) in: Morning magazine, Japan, 1991. English edition followed by French publication, 1996 (for colour quality’s sake).

Copyright ©1991 Benoît Peeters/François Schuiten

“Architecture is the simplest means of articulating time and space, of modulating reality, of engendering dreams.” Ivan Chtcheglov, Formulary for a New Urbanism, 1953.

Nemo 1
PAGE 1/2 (English version)
Nemo 2
PAGE 2/2 (English version)
Hommage Nemo 1996
PAGE 1/2 (French version)
Hommage Nemo 1991
PAGE 2/2 (French version)