title: Jean Giraud

text: In late summer 1989, Giraud returned to France, definitively as it turned out, though that was initially not his intent. His family had already returned to France earlier, as his children wanted to start their college education in their native county and wife Claudine had accompanied them to set up home in Paris. However, it also turned out that his transient lifestyle had taken its toll on the marriage, causing the couple to drift apart, and it was decided upon his return to enter into a "living apart together" relationship, which allowed for an "enormous freedom and sincerity" without "demands and frustrations" for both spouses, according to the artist. Additionally, Giraud had met Isabelle Champeval during a book signing in Venice, Italy in February 1984, and entered into a relationship with her in 1987, which resulted in the birth of second son Raphaël in 1989. Giraud's marriage with Claudine was legally ended in December 1994, without much drama according to Giraud, as both spouses had realized that "each wanted something different out of life". Exemplary of the marriage ending without any ill will was, that Claudine was still emphatically acknowledged for her contributions in the 1997 artbook "Blueberry's", "and" the documentary made for the occasion of its release. Giraud and Isabelle were married on 13 May 1995, and the union resulted in their second child, daughter Nausicaa, the same year. For Giraud his second marriage was of such great personal importance, that he henceforth considered his life divided in a pre-Isabelle part and a post-Isabelle part, having coined his second wife "the key to the whole grand design". Isabelle's sister and Giraud's sister-in-law, Claire, became a regular contributor as colorist on Giraud's latter-day work.


title: Jean Giraud

text: The changes in his personal life were also accompanied with changes in his business holdings during 1988–1990. His co-founded publishing house Gentiane/Aedena went into receivership in 1988, going bankrupt a short time thereafter. The American subsidiary Starwatcher Graphics followed in its wake around the turn of the millennium, partly because it was a shared marital possession of the original Giraud couple and partly because the publication efforts of his work in the United States had run its course. In 1989 Giraud sold his shares in Les Humanoïdes Associés to Fabrice Giger, thereby formally severing his ownership ties with the publisher, which however remained the regular publisher of his Mœbius work from the "Métal hurlant" era, including "L'Incal". Together with Claudine he founded Stardom in 1990, his first true family operated business without any outside participation, according to Giraud, with the 1525-copy limited mini art portfolio "Mockba - carnet de bord" becoming the company's first recorded publication in September the same year. Apart from being a publishing house, it was concurrently an art gallery, located on 27 Rue Falguière, 75015 Paris, organizing themed exhibitions on a regular basis. In 1997, the company was renamed Moebius Production – singular, despite the occasional and erroneous use of the plural, even by the company itself. The company, in both publishing and art gallery iterations, is as of 2023 still being run by Isabelle Giraud who had taken over the function of publishing editor "and" co-ownership from Claudine (explaining the renaming of the company), after the latter's marriage with Giraud was dissolved in 1994, and her sister Claire.


title: Jean Giraud

text: The first thing Giraud did creatively upon his return was to finish up on the "Blueberry" album "Arizona Love" on his own after his longtime writing partner Jean-Michel Charlier had died on 10 July 1989. Due to his intimate twenty-five year familiarity with both the series and its writer, it was a foregone conclusion that Giraud would from then on take on the scripting of the main "Blueberry" series as well, especially since it was already agreed upon in the "contracts signed with Jean-Michel" that "the survivor would take over the series". Stunned by the sudden death of his longtime co-worker though, he could not bring himself to work on the art for "Blueberry" afterwards for nearly five years before he embarked on "Blueberry" again as artist. Giraud stated that the series had lost its "father", and that the "mother needed time to mourn". Nonetheless, he did embark on the "Marshal Blueberry" spin-off series in 1990 as writer (leaving the artwork firstly to William Vance and subsequently to ), wanting to pay homage to the legacy of his late writing partner by creating a story in his spirit, or as Giraud had put it, "{A]nd [I] said to myself: Well, I'm going to see if I'm able to write a story à la Charlier. So I wrote this scenario, not too bad, but quite traditional, quite classic." In similar vein, Giraud took up the writing for the other Charlier/Giraud western creation, "Jim Cutlass", that Charlier had actually been in the process of revitalizing in the year before his death, and for which he had already contracted for the artwork, besides having already started on the scenario. After having added six more volumes to the once one-shot series, the series – which he, as explained above, had published at publisher Casterman instead of (western) house-publisher Dargud – folded in 1999 due to the fact that it was not nearly as commercially successful as "Blueberry" had been.


title: Jean Giraud

text: Under his "Mœbius" pseudonym, Giraud concurrently continued to work on "The Aedena Cycle" and the "Madwoman of the Sacred Heart" trilogy, both of which started in the US and completed in 2001 and 1998 respectively, after which he concentrated on "Blueberry"s "OK Corral" cycle, started in 1994 upon his return to France. While Giraud was in the midst of "OK Corral" cycle, he also embarked on a new sequel cycle of his acclaimed "Incal" main series, called "Après l'Incal" ("After the Incal"). Yet, after he had penciled the first outing in the series, "Le nouveau rêve", he found himself confronted with "too many things that attract me, too many desires in all the senses", causing him to be no longer able to "devote myself to the "bande dessinée" as befitting a professional in the traditional sense". Despite repeated pleas to convince Giraud otherwise, it left writer Jodorowsky with no other recourse than to start anew with a new artist. This insight had repercussions though, as Giraud, after he had finished the "OK Corral" cycle in 2005, no longer continued to produce comics and/or art on a commercial base, but rather on a project and/or personal base, usually under the aegis of his own publishing house Mœbius Production.


title: Jean Giraud

text: As Mœbius Production, Giraud published from 2000 to 2010" Inside Mœbius" (French text despite English title), an illustrated autobiographical fantasy in six hardcover volumes totaling 700 pages. Pirandello-like, he appears in cartoon form as both creator and protagonist trapped within the story alongside his younger self and several longtime characters such as Blueberry, Arzak (the latest re-spelling of the "Arzach" character's name), Major Grubert (from "The Airtight Garage") and others.


title: Jean Giraud

text: Jean Giraud drew the first of the two-part volume of the "XIII" series titled "La Version Irlandaise" ("The Irish Version") from a script by Jean Van Hamme, to accompany the second part by the regular team Jean Van Hamme–William Vance, "Le dernier round" ("The Last Round"). Both parts were published on the same date (13 November 2007) and were the last ones written by Van Hamme before Yves Sentes took over the series. The contribution was also a professional courtesy to the series' artist, Vance, who had previously provided the artwork for the first two titles in the by Giraud written "Marshall Blueberry" spin-off series.


title: Jean Giraud

text: Late in life, Giraud also decided to revive his seminal Arzak character in an elaborate new adventure series; the first (and last in hindsight) volume of a planned trilogy, "Arzak l'arpenteur", appeared in 2010. He also added to the "Airtight Garage" series with two volumes entitled "Le chasseur déprime" (2008) and "Major" (2011), as well as the art book "La faune de Mars" (2011), the latter two initially released in a limited, 1000 copy French only, print run by Mœbius Production. By this time, Giraud created his comic art on a specialized graphic computer tablet, as its enlargement features had become an indispensable aid, because of his failing eyesight.


title: Jean Giraud

text: Creating comics became increasingly difficult for Giraud, as his eyesight started to fail him in his last years, having undergone severe surgery in 2010 to stave off blindness in his left eye, and it was mainly for this reason that Giraud increasingly concentrated on creating single-piece art, both as "Gir" and as "Mœbius", on larger canvases on either commission basis or under the aegis of Mœbius Production. Much of the latter artwork was from 2005 onward, alongside older original art Giraud still had in his possession, sold by the company for considerable prices in specialized comic auctions at such auction houses like Artcurial, Hôtel Drouot and Millon & Associés.


title: Jean Giraud

text: As already indicated above, Giraud had throughout his entire career made illustrations for books, magazines, music productions (though playing the piano and electric guitar, Giraud was, unlike his second son Raphaël, regrettably not a creative musician himself by his own admission, but did have a lifelong fascination with jazz), but also promotional art for commercial institutions such as banks and corporations. A notable early example of the latter, concerned the "Blueberry" art he created in 1978 for the Spanish jeans manufacturer Lois Jeans & Jackets; Aside from being traditionally run as an advertisement in numerous magazines, it was also blown up to gigantic, mural-like dimensions and as posters plastered on walls and billboards in several places all around Paris. As book illustrator, Giraud illustrated for example the 1987 first edition of the science fiction novel "Project Pendulum" by Robert Silverberg, and the 1994 French edition of the novel "The Alchemist" by Paulo Coelho. The subsequent year Giraud followed up in the same vein as the Coelho novel, with his cover and interior illustrations for a French 1995 reprint of "Ballades" from the French medieval poet François Villon. Much of this non-comic art, including the one for Lois has been reproduced in the artbooks that were released over the years.


title: Jean Giraud

text: Giraud was in mid-1990s approached by two video game developers to provide the box cover art for the video games that were released in 1995; the first one concerned the "Fade to Black" video game developed by the US Delphine Software International, whereas the second one concerned "Panzer Dragoon" video game developed by the Japanese Sega Corporation. And while Giraud was by now the well established Mœbius artist in both countries, he was only asked to contribute the box cover art for the two video game releases, and nothing beyond. A few years later though, he was also asked to contribute to later games as a concept artist.


title: Jean Giraud

text: In 1999, Giraud's illustrations appeared in a soft cover edition of Dante Alighieri's "La Divina Commedia," published by the Nuages Gallery in Milan. As "Mœbius" he illustrated the "Paradiso" volume, while the two others, "Inferno" and "Purgatorio", were illustrated by Lorenzo Mattotti and Milton Glaser respectively. The edition was published under the Mœbius name. Giraud's illustrations for "Paradiso" take heavy inspiration from the engravings of the "Divine Comedy" by Gustave Doré, with compositions often approaching an exact match. Giraud acknowledged this influence directly, praising Doré's work and remarking how he sometimes literally used tracing paper to sketch compositions. Though another prominent example of Giraud's non-comic book work, the influences from his science fiction and fantasy comics shine through. The illustrations, with vivid colors and space-age headresses, are distinctly rendered in the Mœbius mode.


title: Jean Giraud

text: An out-of-the-ordinary latter-day contribution as such, constituted his illustrations as "Mœbius" for the Thursday 6 March 2008 issue of the Belgian newspaper "Le Soir". His illustrations accompanied news articles throughout the newspaper, providing a "Mœbiusienne" look on events. In return, the newspaper, for the occasion entitled "Le Soir par (by) Mœbius", featured two half-page editorials on the artist (pp. 20 & 37).


title: Jean Giraud

text: Under the names Giraud, Gir and Mœbius, he also wrote several comics for other comic artists as listed below, and the early ones included Jacques Tardi and Claude Auclair. Aside from writing for other comic artists, he also wrote story outlines for the movies "Les Maîtres du temps", "Internal Transfer", "Little Nemo: Adventures in Slumberland" and " Thru the Moebius Strip" as outlined further down the line.


title: Jean Giraud

text: As author on personal title, Giraud has – apart from his own "bande dessinée" scripts – written philosophical poetry that accompanied his art in his Mœbius artbooks of the 1980s and 1990s. He also wrote the "Story Notes" editorials for the American Epic publications, providing background information on his work contained therein. In 1998, he took time off to write his autobiography, "Moebius-Giraud: Histoire de mon double".


title: Jean Giraud

text: Giraud's friend Jean-Claude Mézières has divulged in the 1970s that their very first outing into the world of cinema concerned a 1957 animated Western, unsurprisingly considering their shared passion for the genre, "Giraud, with his newfound prestige because of his trip to Mexico [note: Mézières had wanted to accompany his friend to Mexico, but was not able to raise the money], started a pro career at "Cœurs Valiants", but together with two other friends we tackled a very ambitious project first: a cartoon western for which Giraud drew the sets and the main characters. Alas, rather disappointingly, we had to stop after only 45 seconds!" Any further movie aspirations Giraud, who himself had considered the effort "too laborious", might have had entertained had to wait until he received the 1974 invitation of Alejandro Jodorowsky to work on his planned adaptation of Frank Herbert's "Dune", which was however abandoned in pre-production. "Jodorowsky's Dune", a 2013 American-French documentary directed by Frank Pavich, explores Jodorowsky's unsuccessful attempt. Giraud, a non-English speaker at the time, later admitted that the prospect of moving over to Los Angeles filled him with trepidation, initially causing him to procrastinate. It was friend Philippe Druillet (with whom he would co-found Les Humanoïdes Associés later that year) who pushed him to up and go, which he did by going AWOL again from his job at "Pilote". Giraud was grateful for Druillet pushing him as he found that he reveled in his first Hollywood experience. In the end the project took nine months before it fell apart, but Giraud's presence was not always required, giving him ample time to return to France on several occasions, to pursue his other work, such as his work for "L'Écho des savanes" and, most importantly, to firstly finish up on "Blueberry"s "Angel Face", which he ultimately did in record time, this time formally quitting "Pilote" afterwards.


title: Jean Giraud

text: Despite Jodowowsky's project falling through, it had attracted the attention of other movie makers. One of them was Ridley Scott who managed to reassemble a large part of Jodorowsky's original creative team, including Giraud, for his 1979 science fiction thriller "Alien". Hired as a concept artist, Giraud's stay on the movie lasted only a few days, as he had obligations elsewhere. Nonetheless, his designs for the Nostromo crew attire, and their spacesuits in particular, were almost one-on-one adopted by Scott and appearing onscreen as designed, resulting in what Giraud had coined "two weeks of work and ten years of fallout in media and advertising". Scott did explicitly acknowledge "Mœbius" for his contributions in the special features for the movie in the "Alien Quadrilogy" home media collection. Scott was taken with Giraud's art, having cited "The Long Tomorrow" as an influence on his second major movie "Blade Runner" of 1982 (see "below"), and invited him again for both this, and his subsequent third major movie "Legend" of 1985, which Giraud had to decline in both cases for, again, obligations elsewhere. He especially regretted not having been able to work on the latter movie, having deemed it "very good", and it was still on his mind as late as 2010, as he directly referred to the movie when he made his "unicorn" statement regarding his legacy, quoted below.


title: Jean Giraud

text: 1981 saw the release of the animated film "Heavy Metal", produced by Ivan Reitman. The heavily "Arzach"-inspired last, "Taarna", section of the movie, has led to the persistent misconception, especially held in the United States, that Giraud had provided characters and situations for the segment, albeit uncredited. Giraud however, had already emphatically squashed "that" particular misconception himself on an early occasion, "I had absolutely nothing to do with it," stated the artist in 1982, "Sure, the people who made the movie were inspired by quite a few things from "Arzach"," further explaining that, while the American producers "had" indeed intended to use the artist's material from the eponymous magazine, there were legalities involved between the American and French mother magazines, because the latter had financial interests in Laloux's below mentioned "Les Maîtres du temps" that was concurrently in development, and in which Giraud "was" very much involved with. The American producers went ahead regardless of the agreements made between them and "Métal hurlant". While not particularly pleased with the fact, Giraud was amused when third parties wanted to sue the Americans on his behalf. Giraud however, managed to convince his editor-in-chief Jean-Pierre Dionnet (one of his co-founding friends of "Métal hurlant") to let the issue slide, as he found "all that fuss with lawyers" not worth his while, aside from the incongruous circumstance that the French magazine was running advertisements for the American movie.


title: Jean Giraud

text: Still, "Alien" led to two other movie assignments in 1982, this time as both concept and storyboard artist. The first one concerned the Disney science fiction movie "Tron", whose director Steven Lisberger specifically requested Giraud, after he had discovered his work in "Heavy Metal" magazine. The second assignment concerned Giraud's collaboration with director René Laloux to create the science fiction feature-length animated movie "Les Maîtres du temps" (released in English as "Time Masters") based on a novel by Stefan Wul. He and director Rene Laloux shared the award for Best Children's Film at the Fantafestival that year. For the latter, Giraud was also responsible for the poster art and the comic adaption of the same title, with some of his concept and storyboard art featured in a "making-of" book to boot. Excepting "Les Maîtres du temps", Giraud's movie work had him travel to Los Angeles for longer periods of time.


title: Jean Giraud

text: Outside his actual involvement with motion pictures, Giraud was in this period of time also occasionally commissioned to create poster art for, predominantly European, movies. Movies for which Giraud, also as "Mœbius", created poster art included, "Touche pas à la femme blanche !" (1974 as Gir, three 120x160 cm versions), "S*P*Y*S" (1974, unsigned, American movie but poster art for release in France), ' (1975, unsigned), "Les Chiens" (1979 as Mœbius, rejected, used as cover for "Taboo 4"), "Tusk" (1980 as Giraud, a Jodorowsky film), and ' (1983 as Mœbius).


title: Jean Giraud

text: As his two 1982 movies coincided with the end of his "Métal hurlant" days and his departure for Tahiti shortly thereafter, this era can be seen as Giraud's "first Hollywood period", especially since the next project he embarked on entailed a movie in which he was very much invested as initiator, writer and producer as well, contrary to the movies he hitherto had worked upon as a gun-for-hire.


title: Jean Giraud

text: While Giraud was residing in Appel-Guéry's commune, he, together with Appel-Guéry and another member of the commune, Paula Salomon, came up with a story premise for a major animated science fiction movie called "Internal Transfer", which was endowed with the English title "Starwatcher" – after which Giraud's American publishing house was named. Slated for the production was Arnie Wong, whom Giraud had met during the production of "Tron" (and, incidentally, one of the animators of the vaunted "Taarna" segment of the "Heavy Metal" movie), and it was actually Disney whom Giraud offered the production first. Disney, at the time not believing in the viability of such a production in animation, declined. Another member of the commune fronted some of the money for the project to proceed, and the production was moved to Wong's animation studio in Los Angeles. It was this circumstance that provided Giraud with his alibi to leave Appel-Guéry's commune and settle in California – and the reason why he had to decline Ridley Scott for his "Legend" movie. Much to Giraud's disappointment and frustration though, the project eventually fell apart for several extraneous reasons, most notably for lack of funding, as related above by the artist. Still, the concept art he provided for the project served as the basis for his first collaboration with Geof Darrow, whom he had also met previously on the production of "Tron", on their 1985 "City of Fire" art portfolio. Some of the concept art was reprinted in the art book "Made in L.A.".


title: Jean Giraud

text: Yet, despite this failure to launch, it did lead to his, what can be considered, "second Hollywood period" in his "American period". Concurrent with his career as a comic artist in the United States, invitations followed to participate as concept artist on "Masters of the Universe" (1987), "Willow" (1988), "The Abyss" (1989), and finally Yutaka Fujioka's Japanese animated feature film "" (1989), for which he was not only the conceptual designer, but also the story writer. It was for this movie that Giraud resided in Japan for an extended period of time. Giraud followed up on his involvement with "Little Nemo" by writing the first two outings of the 1994-2000 French graphic novel series of the same name, drawn by .


title: Jean Giraud

text: His definitive return to France in 1989 marked the beginning of Giraud's third and last movie period. In January 1992, the French newspaper Le Monde reported on a computer animated movie that was under development at the company Vidéosystem. It actually concerned a second attempt to get "Starwatcher" on the silver screen, but just like its 1984 predecessor, it eventually failed to come to fruition. Afterwards, Giraud made original character designs and did visual development for Warner Bros.' partly animated 1996 movie "Space Jam". 1997 saw his participation as concept artist on Luc Besson's science fiction epic "The Fifth Element", which was of great personal importance for Giraud as it meant working together with his lifelong friend Jean-Claude Mézières, coming full circle after their very first aborted 1957 attempt at creating a motion picture. The 2005 documentary made for this occasion was testament to the great friendship both men had for each other. Concurrently, Giraud's oldest child, daughter Hélène, was employed on the movie in a similar function, albeit uncredited, though Giraud had stated with fatherly pride, "Yes, she had cooperated in a truly engaged manner. She started at the crack of dawn, and only went home in the evening, after the whole team had stopped working." Giraud's experience on the movie was however somewhat marred by the 2004 lawsuit publisher Les Humanoïdes Associés (ostensibly on his behalf like the earlier 1981 intent which Giraud had then successfully prevented) and Alejandro Jodorowsky leveled against Besson for alleged plagiarism of "L'Incal", a lawsuit they lost.


title: Jean Giraud

text: 2005 saw the release of the Chinese movie "Thru the Moebius Strip", based on a story by Giraud who also served as the production designer and the co-producer, and which reunited him with Arnie Wong, whereas his stint as concept designer on the 2012 animated science fiction movie "Strange Frame", has become Giraud's final recorded motion picture contribution.


title: Jean Giraud

text: In 1991 his graphic novel short, "Cauchemar Blanc", was cinematized by Mathieu Kassovitz, winning Kassovitz (but not Giraud) two film awards. With "", Giraud saw his ambitions as a full-fledged animation movie maker at least in part fulfilled. A 2002 series for French television broadcaster France 2, it consisted of fourteen four minute long animated vignettes, based on Giraud's seminal character, for which he did the writing, drawings and co-production. Young daughter Nausicaa had voice-over appearances in three of the episodes together with her father.


title: Jean Giraud

text: "The Lost Dutchman's Mine" story cycle of the "Blueberry" series was adapted for the screen in 2004, by Jan Kounen, as "Blueberry: L'expérience secrète". Three prior attempts to bring "Blueberry" to the silver screen had fallen through two decades earlier; in 1986 Charlier disclosed how American actor Martin Kove had actually already been signed to play the titular role – with whom Kove shared a remarkable resemblance at the time – for the first two early-1980s attempts, which were both based on the "Confederate Gold" cycle. It was Kove who introduced the two Blueberry creators to would-be American film producers on both occasions. The first attempt failed because American producers intended a complete script rewrite turning Blueberry into a completely unrecognizable standard western. The second attempt suffered even worse as its American producer, "inspired" by the success of the 1981 movie "Raiders of the Lost Ark", wanted to turn the project into a "Raiders" 2.0, set in the Yucatán peninsula, complete with Aztec warriors and pyramids and featuring a daring escape in a zeppelin-type airship. Helped by his background in law, an aghast Charlier instructed Giraud to sabotage the project as much as possible and the " Blueberry" creators eventually managed to buy back the rights for US$30.000. Already mentioned by Charlier in his 1986 interview, Kove had even traveled to Europe to shoot some test-footage scenes from the comic series in this role in order to entice potential investors, and that some of it was still in his possession as it turned out decades later. Convinced that the project was a viable one, Kove has also revealed in 2014 that he, together with the two "Blueberry" creators, tried to save it by putting up his own money as well when the project was falling apart due to arguments about funding among European/American would-be producers – to no avail however, which was a slightly different version of events as had been related by Charlier. The third (and last) attempt concerned a European only endeavor, which had at one point actually involved Sergio Leone, according to Charlier, and was actually conceived as a television movie series and slated to be produced by the Swiss/French/Belgian production/distribution company Technisonor, more faithfully adhering – than the later 2004 film adaptation – to the main comic series and intended to span the "Iron Horse" through the "Rehabilitation" story cycles. That 1983 attempt petered out without so much as a whimper, most likely due to lack of interest on the part of European investors.


title: Jean Giraud

text: 2010 saw the adaptation of "La planète encore" ("The Still Planet"), a short story from the "Le Monde d'Edena" universe – and which had won him his 1991 Eisner Award – into an animated short. Moebius Production served as a production company, with Isabelle Giraud serving as one of its producers. Giraud himself was one of the two directors of the short and it premiered at the «Mœbius transe forme» exposition at the Fondation Cartier pour l'art contemporain in Paris.


title: Jean Giraud

text: In November 2021 it was announced Oscar winner Taika Waititi would direct the screen adaptation of Jodorowsky/Moebius's graphic novel The Incal and co-write the script with frequent collaborators Jemaine Clement and Peter Warren.


title: Jean Giraud

text: Two years after he had provided box cover art for two video games, Giraud was approached for more substantial video game contributions when developer Arxel Tribe asked Giraud to become a concept designer for their 1997 "" game they had in development. It actually reunited Giraud with Paulo Coelho on whose 1987 work "The Pilgrimage" the game was based and who also responsible for its adaptation, and for whom Giraud had illustrated his "Alchemist" French-edition novel three years earlier. As Mœbius, Giraud designed among others the costumes for the game.


title: Jean Giraud

text: Seven years later the Japanese 2004 video game "Seven Samurai 20XX" was released for which Giraud was asked to provide the character concept designs. This was his last known video game contribution.


title: Jean Giraud

text: Essentially, the work he had been asked to perform for these two video games, did not differ that much from the movie work Giraud had done since the 1979 movie "Alien" in a near-similar function.


title: Jean Giraud

text: Part of the "many desires" that increasingly attracted Giraud later in life, steering him away from creating traditional "bandes dessinées", was his personal fascination and involvement with the many exhibitions dedicated to his work, that started to proliferate from the mid-1990s onward not only in native France, but internationally as well, causing him to frequently travel abroad, among others to Japan, for extended periods of time, with the 2010 «Mœbius transe forme» exposition in Paris becoming the apotheosis.


title: Jean Giraud

text: In 1988 Giraud was chosen, among 11 other winners of the prestigious Grand Prix of the Angoulême Festival, to illustrate a postage stamp set issued on the theme of communication.


title: Jean Giraud

text: Giraud's working methods were various and adaptable ranging from etchings, white and black illustrations, to work in colour of the ligne claire genre and water colours. Giraud's solo "Blueberry" works were sometimes criticized by fans of the series because the artist dramatically changed the tone of the series as well as the graphic style. However, "Blueberry" early success was also due to Giraud's innovations, as he did not content himself with following earlier styles, an important aspect of his development as an artist.


title: Jean Giraud

text: To distinguish between work by Giraud and Moebius, Giraud used a brush for his own work and a pen when he signed his work as Moebius. Giraud was known for being an astonishingly fast draftsman.


title: Jean Giraud

text: His style has been compared to the "Nouveaux réalistes", exemplified in his turn from the bowdlerized realism of Hergé's Tintin towards a grittier style depicting sex, violence and moral bankruptcy.


title: Jean Giraud

text: Aided with the use of mind-expanding substances in the first part of his career, Giraud had cultivated various New Age type philosophies throughout his career, such as Guy-Claude Burger's instinctotherapy, which influenced his creation of the comic book series "Le Monde d'Edena". However, he dispensed with the use of drugs for the time being himself – though not condemning them, quite the contrary, as Giraud considered them a gateway to a hidden dreamworld ever since he was introduced in 1974 to the writings of Carlos Castaneda, and having started again with the use of marijuana in the last decade of his life, after a long abstinence – and outside teachers, or "gurus" as he himself had coined them, after his stay on Tahiti, instead continuing to seek deeper truths within himself on his own accord. However, it also negatively influenced his relationship with Philippe Charlier, heir and steward of his father's "Blueberry" co-creation and legacy, who had no patience whatsoever with Giraud's New Age predilections, particularly for his admitted fondness for mind-expanding substances. As 50% brand co-owner, Charlier jr. has vetoed several later "Blueberry" project proposals by Giraud, the aforementioned "Blueberry 1900" project in particular, precisely for these reasons, as they were to prominently feature, Castaneda inspired, substance-induced scenes, going even as far as to (successfully) threaten Giraud with a lawsuit to thwart his intentions.


title: Jean Giraud

text: Vision and style: In the documentary MetaMoebius (2010) he claims his different styles may stem from his short-sightedness. When drawing without glasses he is more attuned to fine details but disconnected from the external world, but when drawing with glasses on he does not get into details but is more aware of the big picture. He often starts with glasses on to have a global perspective then later continues without glasses.


title: Jean Giraud

text: Giraud died in Montrouge, on 10 March 2012, aged 73, after a long battle with cancer. The immediate cause of death was pulmonary embolism caused by a lymphoma. Fellow comic artist François Boucq (incidentally, the artist pegged by Giraud in person for the artwork of the canceled "Blueberry 1900" project) stated that Mœbius was a "master of realist drawing with a real talent for humour, which he was still demonstrating with the nurses when I saw him in his hospital bed a fortnight ago". Giraud was buried on 15 March, in the Montparnasse Cemetery, after the funeral services, held in the Saint Clotilde Basilica. Many friends and representatives from the Franco-Belgian comic world and beyond attended the services, mirroring Giraud's entire career in the industry. The French government was represented by its Minister of Culture, Frédéric Mitterrand, nephew of the former President of France François Mitterrand, who had personally awarded Giraud with his first civilian knighthood twenty-seven years earlier. Giraud left his estate to his second wife Isabelle and his four children.


title: Jean Giraud

text: Throughout his entire career, Jean Giraud gave numerous interviews both in Europe as well as in the United States, but it is the series of interview sessions conducted by comics journalist Numa Sadoul that warrants special attention. Sadoul took a particular interest in the artist and followed the career of Giraud closely from the mid-1970s onward until the latter's death in 2012, conducting extensive in-depth interviews with the artist throughout this period of time with approximate two-decade intervals, which resulted in three consecutive, chronologically organized interview books, "Mister Mœbius et Docteur Gir" (1976), "Mœbius: Entretiens avec Numa Sadoul" (1991), and "Docteur Mœbius et Mister Gir: Entertiens avec Jean Giraud" (2015, see "below" for bibliographical details on all editions), the latter two being each an edited, updated and expanded version of the previous one – and each title incidentally, featuring an entirely different selection of art. Excepting parts of the first book in "SCHTROUMPF: Les cahiers de la BD" (issue 25, July 1974), none of the later interviews had seen prior magazine publication, be it in part or in whole. The "SCHTROUMPF" interview excerpt, was by Giraud poured into a humorous eight-page autobiographical black & white comic (pp. 8–16). The comic, entitled "Entretien avec Jean Giraud", or "Mœbius Circa '74" as it is known in English, was however only reprinted in the 2015 edition of Sadoul's book as a preface, and in hindsight a precursor to Giraud's autobiographical "Inside Mœbius" comic books. The similarity had not been lost on the artist himself, after he had embarked on the "Inside Mœbius" series and realized, ""Merde", that is exactly like the comic I have done with Numa!"


title: Jean Giraud

text: Noteworthy were the testimonials Sadoul collected from seminal persons in Giraud's life and career which included among others his mother, first wife Claudine (of these two the only known published ones), his mentor Jijé and many others, as well as the fact that Giraud spoke more freely about the aspects of his life and career (including the more contentious ones, such as his mind-expanding substance use and his extremely strained relationship with the aforementioned Philippe Charlier, which had over time deteriorated into open hatred) than was commonplace in his more generic interviews, or even in his own, hereafter mentioned, autobiography. For editorial reasons, Sadoul omitted some of the outside testimonials from the second edition for his third.


title: Jean Giraud

text: Posthumously published, the 2015 title was fully sanctioned and endorsed by Giraud's widow Isabelle (who provided a foreword – praising Sadoul for his friendship and tenacity – family pictures, privately created art and additional details on her husband's last two years of his life) and has therefore become the closest approximation of an "official biography" of the artist when discounting his own "Inside Moebius" autobiographical comic "and" his precursory text autobiography "Histoire de mon double". The latter, published as an unillustrated paperback in 1999 was the "biography written by Giraud on Mœbius & vice versa", but constituted what Sadoul in his 2015 edition has coined a "snapshot in time", aside from the obvious fact that the last phase of the artist's career was not covered. Giraud himself considered his "enhanced" autobiography on which he had worked for a year, a "funny" piece of work, conceding that accuracy was left to be desired as he could not be bothered to correct mistakes made therein, finding "flavor" in the small inaccuracies, and also admitting that he gave his work only a cursory glance afterwards.


title: Jean Giraud

text: Author Sadoul accounted for his work in the introduction of the 2015 edition where he summarized that the interviews for the first edition took three days in March 1974 and in August and September 1975 – and thus shortly "before" Giraud achieved fame in his second "Mœbius" career – at the artist's home in Fontenay-sous-Bois. Having kept more detailed records, the second edition took in total 19 hours and 45 minutes of interviews conducted between 18 and 21 October 1988 at the Sadoul's home in Cagnes-sur-Mer (for which Giraud and his future wife Isabelle especially traveled from Paris), augmented with an additional two hours at Giraud's home in Paris on 17 August 1989. The third edition accounted for a further 10 hours and 48 minutes worth of interviews, conducted between 15 September 2000 and 28 December 2011, either at Giraud's home in Paris or over the telephone. Sadoul acknowledged that the three series of interview sessions were snapshots in time of Giraud's life and career, causing the artist to occasionally contradict himself in later life – something Giraud himself actually addressed in a humorous fashion in his "Inside Moebius" comics by regularly confronting his older self with his younger versions – , but chose not to redact or edit such earlier made statements (at most adding short, clarifying editorial annotations), instead transcribing these exactly as made at the time. Sadoul's reasoning was that by doing so, it reflected truthfully the spiritual development the artist had undergone throughout his career.


title: Jean Giraud

text: Long before his death Giraud had already been coined "the most influential "bandes dessinées" artist after Hergé" by several academic comic scholars, and many artists from around the world have cited him as a major influence on their work. Testament to this was the publication of two special homage issues of the French comic journals ' (Hors Série 3) and ' (Hors Série 09) a month after Giraud's death. The original "Chihuaha Pearl" album-cover-endowed 84-page "Casemate" issue featured, aside from an elaborate in-memoriam overview of Giraud's life and career, testimonials from 89 predominantly European comic artists, who often had their testimonials accompanied with their own Giraud/Mœbius-themed art made for the occasion. For the 96-page "dBD" issue, which came in two cover variants, "Giraud, mort d'un géant" ("Giraud, death of a giant") and "Mœbius, Adieu à l'immortel" ("Mœbius: Farewell to an immortal"), over 100 comic artists, this time added with international overseas artists, contributed art as tribute to the deceased artist. In January 2013, a similarly executed 64-page homage reverse double cover journal, became the first issue of the newly launched "Tonnerre De Bulles!" comics journal as issue Hors Série 1, which was followed by a similar 76-page Gir/Mœbius-themed double cover issue (Hors Série 5) in October 2015. Both issues were limited to 650 copies. The testimonials quoted below, gathered from other sources, are but a far from complete random selection of all the accolades given to the artist.


title: Jean Giraud

text: Through "Arzach", which dates from 1975, I believe. I only read it in 1980, and it was a big shock. Not only for me. All manga authors were shaken by this work. Unfortunately, when I discovered it, I already had a consolidated style so I couldn't use its influence to enrich my drawing. Even today, I think it has an awesome sense of space. I directed "Nausicaä" under Mœbius's influence.


title: Jean Giraud

text: I fell out of love with American comics, lost interest in the super-hero subject matter, was more interested in the fantasy I saw in the European art.


title: Jean Giraud

text: So it's entirely fair to say, and I've said it before, that the way Neuromancer-the-novel "looks" was influenced in large part by some of the artwork I saw in "Heavy Metal". I assume that this must also be true of John Carpenter's "Escape from New York", Ridley Scott's "Blade Runner", and all other artefacts of the style sometimes dubbed 'cyberpunk'. Those French guys, they got their end in early.


title: Jean Giraud

text: When I first saw the work of 'Mœbius' – a.k.a. 'Gir', both noms de plume of Jean Giraud – his fresh science-fiction and fantasy comic art forever altered my perception of the comic medium.


title: Jean Giraud

text: In all his drawings, Mœbius demonstrates a command of many disciplines in art. He is a master draftsman, a superb artist, and more: his vision is original and strong. Since first seeing the Mœbius illustrations in "Heavy Metal" years ago, I have been impressed and affected by his keen and unusual sense of design, and the distinctive way in which he depicts the fantastic. perhaps what strikes me most of all his work is its sheer beauty–a beauty that has always given me great pleasure.


title: Jean Giraud

text: I read ["Métal Hurlant"] over and over and envied the French because they had everything I dreamed of in comics – beautifully drawn, visionary and literate comics, for adults. I wanted to make comics like that when I grew up.


title: Jean Giraud

text: He's a unique talent endowed with an extraordinary visionary imagination that's constantly renewed and never vulgar. Moebius disturbs and consoles. He has the ability to transport us into unknown worlds where we encounter unsettling characters. My admiration for him is total. I consider him a great artist, as great as Picasso and Matisse.


title: Jean Giraud

text: The great Moebius died today, but the great Mœbius is still alive. Your body died today, your work is more alive than ever.


title: Jean Giraud

text: France has lost one of its best known artists in the world. In Japan, Italy, in the United States he is an incredible star who influenced world comics. Mœbius will remain part of the history of drawing, in the same right as Dürer or Ingres. He was an incredible producer, he said he wanted to show what eyes do not always see.


title: Jean Giraud

text: With the below referenced posthumous publishing efforts of Dark Horse Books that started in 2016, Giraud has become, along with fellow artist Enki Bilal from his "Métal hurlant" days, one of the relatively few European graphic novel artists to have the bulk of their body of work translated in the English language.


title: Jean Giraud

text: The English-language versions of many of Mœbius' comics have been collected into various editions, beginning with a small series of US graphic novel sized trade paperbacks from HM Communications, Inc., collecting work originally published in its "Heavy Metal" magazine (the US version of the French , co-founded by Giraud), and in which Moebius' work was introduced to American readership in the 1970s. It has been noted by Taboo Editor-in-Chief Stephen R. Bissette that the quality of the translations of HM Communications had been very poor.


title: Jean Giraud

text: A far more comprehensive effort was undertaken at Marvel Comics under its Epic imprint in the late 1980s and early 1990s, initiated, translated and introduced by Jean-Marc and Randy Lofficier. The intent was to collect "all" comics Giraud had hitherto published in Europe as Mœbius into one single format collection, and in this Epic largely succeeded, when the eventual two – three when counting "Blueberry" as well – collections had run their courses around 1992. When initiated, the collections were otherwise unaltered published in Great Britain as well, with a lag ranging from a few months to a year, by Titan Books in a smaller print run of 6.000 copies per title – like the previous HM Communications book releases had been – as opposed to the initial 20.000 copies per title release by Epic "with" a continuous reprint option for those volumes selling out while the Epic publication effort was underway, a relative novelty in the US comic world at the time. However, of the eventual eleven titles in the "Fantasies" softcover collection, only six ("Mœbius 1" - "Mœbius 6") were ultimately released by Titan Books. With the exception of Mœbius 9 – "Stel" (itself a very late addition to the "Fantasies" collection, being a near simultaneous international 1994 release), Giraud created new cover art for the Marvel/Epic releases, including the "Incal" (and "Blueberry") series. Save for Mœbius and aside from the covers, it was for the "Fantasies" collection that stories originally done in black & white in the French source publications, received first time coloring, most notably "The Airtight Garage", but excepting the seminal short story "The Detour". Remarkably, Epic was aided by outsiders Dark Horse Comics and Graphitti Designs, who each added a volume to the "Fantasies" collection, adhering to the style and format as set by Epic, in which work was published Marvel/Epic itself apparently deemed too controversial to publish themselves, particularly the 0-volume for its heavy, albeit humorous, phallic theme.


title: Jean Giraud

text: Though some purist fans have frowned upon the coloring of the originally black & white stories, the Marvel/Epic "Fantasies" collection has nevertheless served as the template for similar collections subsequently released in not only native France, but in other countries as well.


title: Jean Giraud

text: Mœbius' magnum opus as such, "The Incal", was separately released both in the US and Great Britain in its own mini series, each title collecting two of the original French source publications:


title: Jean Giraud

text: The Marvel/Epic graphic novel releases earned Giraud his three Harvey Awards in the category "Best American Edition of Foreign Material" in 1988 (for the "Fantasies" collection), in 1989 (for "The Incal" collection) and in 1991 (for the "Blueberry" collection).


title: Jean Giraud

text: This miniseries won Giraud his Eisner Award for best finite/limited series in 1989, each comic book issue enjoying a print run of 200,000 copies.


title: Jean Giraud

text: In between, Epic Comics did release four stand-alone art book titles, with "Chaos" and "Metallic Memories" reproducing most of the 1980 original:


title: Jean Giraud

text: While Giraud (with Lofficier) was only the co-writer of this US standard comic book mini series, which took place in "The Airtight Garage" universe, there was additional art from him featured in short accompanying editorials, as well as one to two page short stories.


title: Jean Giraud

text: By Giraud co-written sequel to "The Elsewhere Prince", and like that series, also featuring additional art from his hand. While Giraud was very pleased with Shanower's art for "The Elsewhere Prince" for its "naive qualities" he found very fitting for the story-arc, he was deeply disappointed with Bingham's art for "Onyx Overlord", considering the work of the "old comics veteran" uninspired and "truly undignified", suspecting Bingham did not like the work. Because of this, Giraud decided not to dispatch the already completed scenarios for Logs 5 and 6. Disappointing sales of the European editions left the cycle uncompleted indefinitely.


title: Jean Giraud

text: Standard US comic book reissue of the 1987 graphic novel, with some additional art in the editorials.


title: Jean Giraud

text: Comprising four chapters, Giraud provided the 16-page art for chapter 4, "Second Sunrise over New Mombasa". In the editorial of the novel (p. 99), Giraud explained that son Raphaël's enjoyment of the game series ultimately compelled him to accept an invitation to contribute his art; before penciling the story, he had never played the video games.


title: Jean Giraud

text: Excepting "The Art of Mœbius", "Mœbius 9", "Fusion" (being Johnny-come-lately's, the latter two were released too late for inclusion, whereas the first one, having been a co-publication, could not for copyright reasons), "The Silver Surfer" and "The Elsewhere Prince"/"Onyx Overlord", all these volumes were "very" shortly thereafter reissued by Graphitti Designs – having themselves added a volume to the "Collected Fantasies" series – as part of their signed and numbered, "Limited Hardcover Edition" 1500 copy each collection (in dust jacket), combining these with the similar "Blueberry" releases by Epic and Catalan Communications, in a single "Mœbius" ten-volume complete works anthology release. Excepting the last volume, the Mœbius collection was executed in the standard European graphic novel size. The "Young Blueberry" and "Virtual Meltdown" anthology titles differed from the others in that they were not printed on high gloss paper, but on matte paper as in the original ComCat/Epic publications, and was in itself a stark indication – aside from the very quick release after the original Marvel/Epic/ComCat individual publications – that the Graphitti Designs release had always been foreseen, resulting in that the original print run of the interior pages for the individual volumes had already accounted for inclusion in the anthology collection as well.


title: Jean Giraud

text: This mini comic book series, is the comic adaptation of the eponymous movie. The eight-page editorials in each are dedicated to the production design art Giraud had provided for the movie.


title: Jean Giraud

text: This special in the "Concrete" comic book series, featured the first time, full color publication of the 23-page short story "The Still Planet", set in the Edena universe. Accounting for half the contents of the comic book, the story was instrumental in making Mœbius co-winner of the 1991 Eisner Award in the category "Best Single Issue".


title: Jean Giraud

text: The fourth Mœbius outing of Dark Horse concerned a reissue of the art portfolio "La Cité Feu" – a collaborative art project of Giraud with Geoff Darrow – Starwatcher Graphics had released as an English language (for the introduction folio) "Limited American lux edition" version of 100 signed and numbered copies in January 1985 under its original title, alongside the French 950 copy original by Aedena. Some of the art is reproduced in the aforementioned "Fusion" art book by Epic.


title: Jean Giraud

text: Having added the 0-volume to the "Collected Fantasies" series in 1990, Dark Horse Comics too decided to release a Mœbius specific – meaning without his Western work – collection themselves, this time executed in the standard US comic book-sized format and soliciting the editorial input from Jean-Marc Lofficier who had already done so for the previous efforts. Though much of the contents was essentially a recapitulation of the Marvel/Epic publications, Lofficier made use of the opportunity to add work Mœbius had created after the Marvel/Epic publications had run its course, such as the story "The Man from the Ciguri" (a sequel to "The Airtight Garage") and the first two outings of the "Madwomen of the sacred Heart" series.


title: Jean Giraud

text: Twenty years later, in April 2016, Dark Horse announced an ambitious project called the "Mœbius Library" to be released by its book division in American graphic novel hardcover format. The stated intent was to predominantly publish latter day work by Mœbius in conjunction with, and originally published under the auspices of, his own publishing house "Mœbius Production", headed after his death in 2012 by second wife Isabelle. The first title was released in October 2016, which promptly won an Eisner Award.


title: Jean Giraud

text: Kitchen Sink Press was a publisher of underground comics, explaining the "French Ticklers" series, and had connotations with HM Communications, adopting some of its artist after the latter had become defunct. Concurrently they had merged with Tundra Publishing in 1993, explaining the "Visions of Arzach" anthology art book.<br>


title: Jean Giraud

text: A short-lived comic book series, collecting work from French underground comic artists, including Giraud. Giraud's contributions concerned some of his early "Mœbius" work he had produced for "Hara-Kiri" in 1963–1964. Graphitti Designs subsequently collected all early Mœbius work in their 1992 "Collected Fantasies" contribution as "Mœbius ½". All three black & white issues featured a (color) cover by Mœbius.


title: Jean Giraud

text: This original American publication consists of six, 9.2"x12.2" sized, art portfolios, each of them containing an introduction plate, a by Giraud illustrated booklet featuring a short story by R.J.M. Lofficier, set in the Arzach universe, and eight art prints by American comic artists, paying homage to Mœbius' seminal character, 48 in total. Lofficier later expanded upon his short stories in his 2000 book title by iBOOKS, mentioned below.


title: Jean Giraud

text: Original American art book publication with a new cover by Mœbius, collecting the art prints by American artists from "Legends of Arzach" with a few additions.


title: Jean Giraud

text: iBOOKS Inc. was a publishing imprint of Byron Preiss, who had previously been the editor-in-chief and co-publisher of the 1989 "The Art of Mœbius" book by Epic. Preiss incidentally, was also the editor-in-chief for the hereafter mentioned by Mœbius illustrated 1987 "Project Pendulum" science fiction novel.


title: Jean Giraud

text: After the initial cooperation with DC Comics in the mid-2000s, publisher Humanoids, Inc. (until 2013 the US subsidiary of the French publisher co-founded by Moebius in 1974) has from 2010 onward begun to reissue new editions of Mœbius works on its own, starting with two of Mœbius's past collaborations with Alejandro Jodorowsky: "The Incal" and "Madwoman of the Sacred Heart". Humanoids releases these latter-day hardcover editions, usually without dust jacket, in variant size formats, US graphic novel format (trade editions), oversized format (which is essentially the larger, standard European graphic novel A4 format), and the even larger coffee table format, the latter typically in a limited print run. Aside from the English language publications, Humanoids occasionally imports French deluxe, limited edition specialty Moebius editions, such as "Le Garage hermétique" () and "Arzach" (), from the parent publisher especially on behalf of its American readership. The post-2010 Humanoids editions are also intended for, and disseminated to, the British-Canadian and UK markets, with the exception of two 2011 "Incal" editions, which were licensed and featured variant cover art.


title: Jean Giraud

text: Giraud had created one 8-page short story "Au coeur de l'inviolable meta bunker" in 1989, focusing on one of the major secondary characters from the "Incal" saga, The Metabaron, whose ancestry later received its own "The Metabarons" spin-off series. Though that story was redrawn by the series' artist Juan Giménez for later book publications, Giraud's original was published in black & white in the below-mentioned 1990 British publication, and subsequently included in an outing of Humanoids' "Prestige Format Comic Book" collection as "Metabaron 1: The Lost Pages", which introduced Valérie Beltran's new coloring for Giraud's "Incal" series.


title: Jean Giraud

text: Excepting the early 2005 co-productions with DC Comics, all subsequent editions feature the original coloring. The two co-editions with DC featured an entirely new coloring by Valérie Beltran as well as some censorship in regard to nudity, neither of which sitting well with writer Jodorowsky, who interpreted the changes as a cheap ploy to entice a younger readership. Customer reviews for both titles on Amazon.com, showed that fans were largely in concordance with Jodorowsky's assessment. Considered a commercial failure, Beltran's coloring has never been used again after the initial (international) releases, be it in the United States or elsewhere in the world.


title: Jean Giraud

text: With the translation of volume 3 of the series, "The Sorbonne's Madman", these anthology collections complete the series.


title: Jean Giraud

text: Essentially a reissue of the 1997 Eurotica title, but on this occasion issued without a dust jacket, using the plural for the title, and featuring a deviant cover.


title: Jean Giraud

text: Though this three-volume series (originally called "Après l'Incal" – "After the Incal") was ultimately realized with art from José Ladrönn, Giraud had actually already penciled the first outing in the series, "Le nouveau rêve", but which was replaced by a re-scripted and by Ladronn redrawn variant for reprint runs. The anthology editions below however, feature the Moebius 56-page original as well as a bonus. Actually, the series was from the start intended to be a purely Jodorowsky/Moebius follow-up to their acclaimed main series, but as stated above, it was Giraud who declined to continue afterwards.


title: Jean Giraud

text: An illustrated reference book dealing with the "Incal" universe. Faithful reproduction of the 2016 second, updated and expanded edition of the 1989 French "Les Mystères de l'Incal" original, but without the "Au coeur de l'inviolable meta bunker" short story in its original coloring, which was however published by the publisher in July 2020 as a digital release () under its English title "In the Heart of the Impregnable Metabunker" ("aka" "Solune's Origin" as the story was coined by the publisher in its 2005 co-publication with DC).


title: Jean Giraud

text: Earliest known English book publication with art by Giraud, faithful reproduction of the French original.


title: Jean Giraud

text: An illustrated hardback science fiction novel with dust jacket written by Robert Silverberg and therefore a USA original. The by Mœbius illustrated book has as such seen reciprocally a translation in native French as a mass paperback release in 's SF pocketbook collection (#3059, ) in 1991, with a reprint in 1994.


title: Jean Giraud

text: For unknown reasons, this 54-page work had been left out of the Marvel/Epic collection of the 1980s–1990s, despite the fact that the work was hailed by comic critics as a graphic masterpiece. Still, the story "did" see a contemporary first-time English-language publication, with elaborate annotations from its authors, in this graphic novel anthology. The black & white Mœbius story was as only one printed on yellow paper, like it was in the original French source publication. The anthology featured the rejected "Les Chiens" 1979 movie poster by Mœbius as cover. In the 2010s reissued several times by Humanoides Publishing as specified above.


title: Jean Giraud

text: By Lofficier coined section name (1 illustrated page) for the three Moebius contributions to this British graphic novel anthology, which consisted of "In the heart of the impregnable meta-bunker" (8 pages, first time English language publication), "Carnet 3: The Mœbius Sketchbook" (8 pages), and "Mœbius Circa '74" (8 pages). Giraud provided the promotional poster art for this outing, but not the cover.


title: Jean Giraud

text: A to 2500 copies limited exposition catalog for the similarly named exhibition at the Cartoon Art Museum, listed above.


title: Jean Giraud

text: A publication by Giraud's own American publisher, and therefore not only an American original, but also a typical company release, to wit a limited, collector's edition intended for sale at comic conventions. The mini-series collected hitherto unpublished art and shorts, and were edited by the company's co-shareholder J.M. Lofficier after the artist's return to native France.


title: Jean Giraud

text: Interior art executed in black & white, the series features a reprint of "The Man from the Ciguri", but also new, and previously unseen Mœbius comics and art. Noteworthy are his storyboards for the abandoned "Internal Transfer" movie. Also featured in the series is a black & white version of the short story "The Still Planet", previously published in "Concrete Celebrates Earth Day 1990", but this version sporting a different last page. J.M. Lofficier reprised his role as series editor for these comic book outings.


title: Jean Giraud

text: Due to the graphic, erotic nature of the book, this work of Moebius has not been published in the US in the 1990s by the "usual suspects", but rather by outlier NBM Publishing under its "Eurotica" imprint, as a European A4 format padded hardcover in dust jacket book. In the 2010s reissued several times by Humanoides Publishing as specified above.


title: Jean Giraud

text: A ten-page promotional brochure, featuring an eight-page comic by Giraud as Mœbius, detailing the history and aims of the International Red Cross and Red Crescent Movement. Especially created for the organization, the full color, standard European comic album sized, brochure was widely disseminated by the organization in French, English, Mandarin, Arabic and Spanish. The English language edition enjoyed a first print run of 48,000 copies, augmented with a 40,000 copy reprint run in May 2009.


title: The Durrells

text: The Durrells (known in North America as The Durrells in Corfu) is a British comedy-drama television series loosely based on Gerald Durrell's three autobiographical books about his family's four years (1935–1939) on the Greek island of Corfu. It aired on ITV from 3 April 2016 to 12 May 2019. The series is written by Simon Nye, directed by Steve Barron and Roger Goldby, and produced by Christopher Hall. Lee Durrell, Gerald Durrell's widow and director of the Durrell Wildlife Conservation Trust, acted as consultant. The series was partly filmed on location in Corfu, as well as at Ealing Studios and Twickenham Studios in London.


title: The Durrells

text: The series begins in 1935, when Louisa Durrell suddenly announces that she and her four children will move from Bournemouth to the Greek island of Corfu. Her husband died some years earlier and the family is experiencing financial problems. A struggle ensues as the family adapts to life on the island and a shortage of money. Despite a lack of electricity and of modern sewage systems, Corfu proves to be a cheap and earthly paradise.


title: The Durrells

text: A third series was confirmed to be in production by writer Simon Nye at the BFI and Radio Times Television Festival on 8 April 2017. He described the third series as having "some exotic new animals", and that production would begin in three weeks' time, upon Keeley Hawes's arrival in Corfu for filming. It is set in 1937.


title: The Durrells

text: Reception to the first episode was positive, with Gerard O'Donovan ("The Telegraph") calling it "a series that's not only sun-drenched and liberating, but also catches its source material's high good humour without labouring it and weaves an authentic sense of the innocent exoticism of the original," before awarding it four stars.


title: The Durrells

text: The opening episode averaged just under 6.4 million people and was watched by 29% of the audience over the hour, including those watching on British television network ITV's +1 channel, and was the biggest drama launch of any channel so far in 2016 and the most-watched show of the day (including +1). Following a seven-day catch-up period, the figure aggregated to just under 8.2 million people. Citing the show as its "best rating new drama of the year and its highest rating new show since September 2014", ITV recommissioned the show for a second series on 15 April 2016. Over the course of the first series, ratings averaged out at 6.9 million viewers.


title: The Durrells

text: Internationally, the series was acquired in Australia by the Seven Network and premiered on 24 August 2016. In the United States, PBS began airing the show, retitled as "The Durrells in Corfu", on 16 October 2016 at 8 pm. "The Durrells" started screening in New Zealand on 26 October 2016 on Prime TV. In Canada, the Canadian Broadcasting Corporation began airing Series 1 on 13 September 2017. In Spain, the series has been acquired by the streaming platform .


title: The Durrells

text: The third series of "The Durrells" was announced by writer Simon Nye at the BFI and Radio Times Television Festival on 8 April 2017. It began filming in May 2017 and aired on ITV in the Northern Hemisphere in the spring of 2018.


title: The Durrells

text: A fourth series was announced by ITV on 22 June 2018, with filming scheduled for later in the year. It was transmitted between 8 April and 12 May 2019. This has been confirmed as the final series.


title: Paradigm

text: In science and philosophy, a paradigm () is a distinct set of concepts or thought patterns, including theories, research methods, postulates, and standards for what constitute legitimate contributions to a field.


title: Paradigm

text: "Paradigm" comes from Greek παράδειγμα ("paradeigma"), "pattern, example, sample" from the verb παραδείκνυμι ("paradeiknumi"), "exhibit, represent, expose" and that from παρά ("para"), "beside, beyond" and δείκνυμι ("deiknumi"), "to show, to point out".


title: Paradigm

text: In classical (Greek-based) rhetoric, a paradeigma aims to provide an audience with an illustration of a similar occurrence. This illustration is not meant to take the audience to a conclusion, however it is used to help guide them there.


title: Paradigm

text: One way of how a "paradeigma" is meant to guide an audience would be exemplified by the role of a personal accountant. It is not the job of a personal accountant to tell a client exactly what (and what not) to spend money on, but to aid in guiding a client as to how money should be spent based on client financial goals. Anaximenes defined "paradeigma" as "actions that have occurred previously and are similar to, or the opposite of, those which we are now discussing."


title: Paradigm

text: The original Greek term "παράδειγμα" ("paradeigma") was used by scribes in Greek texts (such as Plato's dialogues "Timaeus" ( 360 BCE) and "Parmenides") as one possibility for the model or the pattern that the demiurge supposedly used to create the cosmos.


title: Paradigm

text: The English-language term "paradigm" has technical meanings in the fields of grammar (as applied, for example, to declension and conjugation - the 1900 "Merriam-Webster" dictionary defines the technical use of "paradigm" only in the context of grammar) and of rhetoric (as a term for an illustrative parable or fable). In linguistics, Ferdinand de Saussure (1857-1913) used "paradigm" to refer to a class of elements with similarities (as opposed to "syntagma" - a class of elements expressing relationship.).


title: Paradigm

text: The Merriam-Webster Online dictionary defines one usage of "paradigm" as "a philosophical and theoretical framework of a scientific school or discipline within which theories, laws, and generalizations and the experiments performed in support of them are formulated; "broadly: a philosophical or theoretical framework of any kind"."


title: Paradigm

text: "The Oxford Dictionary of Philosophy" (2008) attributes the following description of the term in the history and philosophy of science to Thomas Kuhn's 1962 work "The Structure of Scientific Revolutions":


title: Paradigm

text: Kuhn suggests that certain scientific works, such as Newton's Principia or John Dalton's New System of Chemical Philosophy (1808), provide an open-ended resource: a framework of concepts, results, and procedures within which subsequent work is structured. Normal science proceeds within such a framework or paradigm. A paradigm does not impose a rigid or mechanical approach, but can be taken more or less creatively and flexibly.


title: Paradigm

text: The "Oxford English Dictionary" defines a "paradigm" as "a pattern or model, an exemplar; a typical instance of something, an example". The historian of science Thomas Kuhn gave it its contemporary meaning when he adopted the word to refer to the set of concepts and practices that define a scientific discipline at any particular period of time. In his book, "The Structure of Scientific Revolutions" (first published in 1962), Kuhn defines a scientific paradigm as: "universally recognized scientific achievements that, for a time, provide model problems and solutions to a community of practitioners, i.e.,


title: Paradigm

text: In "The Structure of Scientific Revolutions", Kuhn saw the sciences as going through alternating periods of "normal science", when an existing model of reality dominates a protracted period of puzzle-solving, and "revolution", when the model of reality itself undergoes sudden drastic change. Paradigms have two aspects. Firstly, within normal science, the term refers to the set of exemplary experiments that are likely to be copied or emulated. Secondly, underpinning this set of exemplars are shared preconceptions, made prior to – and conditioning – the collection of evidence. These preconceptions embody both hidden assumptions and elements that he describes as quasi-metaphysical; the interpretations of the paradigm may vary among individual scientists.


title: Paradigm

text: Kuhn was at pains to point out that the rationale for the choice of exemplars is a specific way of viewing reality: that view and the status of "exemplar" are mutually reinforcing. For well-integrated members of a particular discipline, its paradigm is so convincing that it normally renders even the possibility of alternatives unconvincing and counter-intuitive. Such a paradigm is "opaque", appearing to be a direct view of the bedrock of reality itself, and obscuring the possibility that there might be other, alternative imageries hidden behind it. The conviction that the current paradigm "is" reality tends to disqualify evidence that might undermine the paradigm itself; this in turn leads to a build-up of unreconciled anomalies. It is the latter that is responsible for the eventual revolutionary overthrow of the incumbent paradigm, and its replacement by a new one. Kuhn used the expression "paradigm shift" (see below) for this process, and likened it to the perceptual change that occurs when our interpretation of an ambiguous image "flips over" from one state to another. (The rabbit-duck illusion is an example: it is not possible to see both the rabbit and the duck simultaneously.) This is significant in relation to the issue of "incommensurability" (see below).


title: Paradigm

text: An example of a currently accepted paradigm would be the standard model of physics. The scientific method allows for orthodox scientific investigations into phenomena that might contradict or disprove the standard model; however grant funding would be proportionately more difficult to obtain for such experiments, depending on the degree of deviation from the accepted standard model theory the experiment would test for. To illustrate the point, an experiment to test for the mass of neutrinos or the decay of protons (small departures from the model) is more likely to receive money than experiments that look for the violation of the conservation of momentum, or ways to engineer reverse time travel.


title: Paradigm

text: Mechanisms similar to the original Kuhnian paradigm have been invoked in various disciplines other than the philosophy of science. These include: the idea of major cultural themes, worldviews (and see below), ideologies, and mindsets. They have somewhat similar meanings that apply to smaller and larger scale examples of disciplined thought. In addition, Michel Foucault used the terms episteme and discourse, mathesis, and taxinomia, for aspects of a "paradigm" in Kuhn's original sense.


title: Paradigm

text: In "The Structure of Scientific Revolutions", Kuhn wrote that "the successive transition from one paradigm to another via revolution is the usual developmental pattern of mature science" (p. 12).


title: Paradigm

text: Paradigm shifts tend to appear in response to the accumulation of critical anomalies as well as the proposal of a new theory with the power to encompass both older relevant data and explain relevant anomalies. New paradigms tend to be most dramatic in sciences that appear to be stable and mature, as in physics at the end of the 19th century. At that time, a statement generally attributed to physicist Lord Kelvin famously claimed, "There is nothing new to be discovered in physics now. All that remains is more and more precise measurement." Five years later, Albert Einstein published his paper on special relativity, which challenged the set of rules laid down by Newtonian mechanics, which had been used to describe force and motion for over two hundred years. In this case, the new paradigm reduces the old to a special case in the sense that Newtonian mechanics is still a good model for approximation for speeds that are slow compared to the speed of light. Many philosophers and historians of science, including Kuhn himself, ultimately accepted a modified version of Kuhn's model, which synthesizes his original view with the gradualist model that preceded it. Kuhn's original model is now generally seen as too limited .


title: Paradigm

text: Kuhn's idea was, itself, revolutionary in its time. It caused a major change in the way that academics talk about science; and, so, it may be that it caused (or was part of) a "paradigm shift" in the history and sociology of science. However, Kuhn would not recognize such a paradigm shift. Being in the social sciences, people can still use earlier ideas to discuss the history of science.


title: Paradigm

text: Perhaps the greatest barrier to a paradigm shift, in some cases, is the reality of paradigm paralysis: the inability or refusal to see beyond the current models of thinking. This is similar to what psychologists term confirmation bias and the Semmelweis reflex. Examples include rejection of Aristarchus of Samos', Copernicus', and Galileo's theory of a heliocentric solar system, the discovery of electrostatic photography, xerography and the quartz clock.


title: Paradigm

text: Kuhn pointed out that it could be difficult to assess whether a particular paradigm shift had actually led to progress, in the sense of explaining more facts, explaining more important facts, or providing better explanations, because the understanding of "more important", "better", etc. changed with the paradigm. The two versions of reality are thus "incommensurable". Kuhn's version of incommensurability has an important psychological dimension; this is apparent from his analogy between a paradigm shift and the flip-over involved in some optical illusions. However, he subsequently diluted his commitment to incommensurability considerably, partly in the light of other studies of scientific development that did not involve revolutionary change. One of the examples of incommensurability that Kuhn used was the change in the style of chemical investigations that followed the work of Lavoisier on atomic theory in the late 18th Century. In this change, the focus had shifted from the bulk properties of matter (such as hardness, colour, reactivity, etc.) to studies of atomic weights and quantitative studies of reactions. He suggested that it was impossible to make the comparison needed to judge which body of knowledge was better or more advanced. However, this change in research style (and paradigm) eventually (after more than a century) led to a theory of atomic structure that accounts well for the bulk properties of matter; see, for example, Brady's "General Chemistry". According to P J Smith, this ability of science to back off, move sideways, and then advance is characteristic of the natural sciences, but contrasts with the position in some social sciences, notably economics.


title: Paradigm

text: This apparent ability does not guarantee that the account is veridical at any one time, of course, and most modern philosophers of science are fallibilists. However, members of other disciplines do see the issue of incommensurability as a much greater obstacle to evaluations of "progress"; see, for example, Martin Slattery's "Key Ideas in Sociology".


title: Paradigm

text: Opaque Kuhnian paradigms and paradigm shifts do exist. A few years after the discovery of the mirror-neurons that provide a hard-wired basis for the human capacity for empathy, the scientists involved were unable to identify the incidents that had directed their attention to the issue. Over the course of the investigation, their language and metaphors had changed so that they themselves could no longer interpret all of their own earlier laboratory notes and records.


title: Paradigm

text: However, many instances exist in which change in a discipline's core model of reality has happened in a more evolutionary manner, with individual scientists exploring the usefulness of alternatives in a way that would not be possible if they were constrained by a paradigm. Imre Lakatos suggested (as an alternative to Kuhn's formulation) that scientists actually work within research programmes. In Lakatos' sense, a research programme is a sequence of problems, placed in order of priority. This set of priorities, and the associated set of preferred techniques, is the positive heuristic of a programme. Each programme also has a negative heuristic; this consists of a set of fundamental assumptions that – temporarily, at least – takes priority over observational evidence when the two appear to conflict.


title: Paradigm

text: This latter aspect of research programmes is inherited from Kuhn's work on paradigms, and represents an important departure from the elementary account of how science works. According to this, science proceeds through repeated cycles of observation, induction, hypothesis-testing, etc., with the test of consistency with empirical evidence being imposed at each stage. Paradigms and research programmes allow anomalies to be set aside, where there is reason to believe that they arise from incomplete knowledge (about either the substantive topic, or some aspect of the theories implicitly used in making observations.


title: Paradigm

text: Larry Laudan has also made two important contributions to the debate. Laudan believed that something akin to paradigms exist in the social sciences (Kuhn had contested this, see below); he referred to these as research traditions. Laudan noted that some anomalies become "dormant", if they survive a long period during which no competing alternative has shown itself capable of resolving the anomaly. He also presented cases in which a dominant paradigm had withered away because its lost credibility when viewed against changes in the wider intellectual milieu.


title: Paradigm

text: Kuhn himself did not consider the concept of paradigm as appropriate for the social sciences. He explains in his preface to "The Structure of Scientific Revolutions" that he developed the concept of paradigm precisely to distinguish the social from the natural sciences. While visiting the Center for Advanced Study in the Behavioral Sciences in 1958 and 1959, surrounded by social scientists, he observed that they were never in agreement about the nature of legitimate scientific problems and methods. He explains that he wrote this book precisely to show that there can never be any paradigms in the social sciences. Mattei Dogan, a French sociologist, in his article "Paradigms in the Social Sciences," develops Kuhn's original thesis that there are no paradigms at all in the social sciences since the concepts are polysemic, involving the deliberate mutual ignorance between scholars and the proliferation of schools in these disciplines. Dogan provides many examples of the non-existence of paradigms in the social sciences in his essay, particularly in sociology, political science and political anthropology.


title: Paradigm

text: However, both Kuhn's original work and Dogan's commentary are directed at disciplines that are defined by conventional labels (such as "sociology"). While it is true that such broad groupings in the social sciences are usually not based on a Kuhnian paradigm, each of the competing sub-disciplines may still be underpinned by a paradigm, research programme, research tradition, and/ or professional imagery. These structures will be motivating research, providing it with an agenda, defining what is and is not anomalous evidence, and inhibiting debate with other groups that fall under the same broad disciplinary label. (A good example is provided by the contrast between Skinnerian radical behaviourism and personal construct theory (PCT) within psychology. The most significant of the many ways these two sub-disciplines of psychology differ concerns meanings and intentions. In PCT, they are seen as the central concern of psychology; in radical behaviourism, they are not scientific evidence at all, as they cannot be directly observed.)


title: Paradigm

text: Such considerations explain the conflict between the Kuhn/ Dogan view, and the views of others (including Larry Laudan, see above), who do apply these concepts to social sciences.


title: Paradigm

text: Handa, M.L. (1986) introduced the idea of "social paradigm" in the context of social sciences. He identified the basic components of a social paradigm. Like Kuhn, Handa addressed the issue of changing paradigm; the process popularly known as "paradigm shift". In this respect, he focused on social circumstances that precipitate such a shift and the effects of the shift on social institutions, including the institution of education. This broad shift in the social arena, in turn, changes the way the individual perceives reality.


title: Paradigm

text: Another use of the word "paradigm" is in the sense of "worldview". For example, in social science, the term is used to describe the set of experiences, beliefs and values that affect the way an individual perceives reality and responds to that perception. Social scientists have adopted the Kuhnian phrase "paradigm shift" to denote a change in how a given society goes about organizing and understanding reality. A "dominant paradigm" refers to the values, or system of thought, in a society that are most standard and widely held at a given time. Dominant paradigms are shaped both by the community's cultural background and by the context of the historical moment. Hutchin outlines some conditions that facilitate a system of thought to become an accepted dominant paradigm:


title: Paradigm

text: The word "paradigm" is also still used to indicate a pattern or model or an outstandingly clear or typical example or archetype. The term is frequently used in this sense in the design professions. Design Paradigms or archetypes comprise functional precedents for design solutions. The best known references on design paradigms are "Design Paradigms: A Sourcebook for Creative Visualization", by Wake, and "Design Paradigms" by Petroski.


title: Paradigm

text: This term is also used in cybernetics. Here it means (in a very wide sense) a (conceptual) protoprogram for reducing the chaotic mass to some form of order. Note the similarities to the concept of entropy in chemistry and physics. A paradigm there would be a sort of prohibition to proceed with any action that would increase the total entropy of the system. To create a paradigm requires a closed system that accepts changes. Thus a paradigm can only apply to a system that is not in its final stage.


title: Paradigm

text: Beyond its use in the physical and social sciences, Kuhn's paradigm concept has been analysed in relation to its applicability in identifying 'paradigms' with respect to worldviews at specific points in history. One example is Matthew Edward Harris' book "The Notion of Papal Monarchy in the Thirteenth Century: The Idea of Paradigm in Church History". Harris stresses the primarily sociological importance of paradigms, pointing towards Kuhn's second edition of "The Structure of Scientific Revolutions". Although obedience to popes such as Innocent III and Boniface VIII was widespread, even written testimony from the time showing loyalty to the pope does not demonstrate that the writer had the same worldview as the Church, and therefore pope, at the centre. The difference between paradigms in the physical sciences and in historical organisations such as the Church is that the former, unlike the latter, requires technical expertise rather than repeating statements. In other words, after scientific training through what Kuhn calls 'exemplars', one could not genuinely believe that, to take a trivial example, the earth is flat, whereas thinkers such as Giles of Rome in the thirteenth century wrote in favour of the pope, then could easily write similarly glowing things about the king. A writer such as Giles would have wanted a good job from the pope; he was a papal publicist. However, Harris writes that 'scientific group membership is not concerned with desire, emotions, gain, loss and any idealistic notions concerning the nature and destiny of humankind...but simply to do with aptitude, explanation, [and] cold description of the facts of the world and the universe from within a paradigm'.


title: Singleton pattern

text: In software engineering, the singleton pattern is a software design pattern that restricts the instantiation of a class to a singular instance. One of the well-known "Gang of Four" design patterns, which describe how to solve recurring problems in object-oriented software, the pattern is useful when exactly one object is needed to coordinate actions across a system.


title: Singleton pattern

text: Singletons are often preferred to global variables because they do not pollute the global namespace (or their containing namespace). Additionally, they permit lazy allocation and initialization, whereas global variables in many languages will always consume resources.


title: Singleton pattern

text: The singleton pattern can also be used as a basis for other design patterns, such as the abstract factory, factory method, builder, and prototype patterns. Facade objects are also often singletons, because only one facade object is required.


title: Singleton pattern

text: Logging is a common real-world use-case for singletons, because all objects which wish to log messages require a uniform point of access and conceptually write to a single source.


title: Singleton pattern

text: Implementations of the singleton pattern ensure that only one instance of the singleton class ever exists, and typically provide global access to that instance.


title: Singleton pattern

text: The instance is usually stored as a private static variable; the instance is created when the variable is initialized, at some point before the static method is first called.


title: Singleton pattern

text: A singleton implementation may use lazy initialization, where the instance is created when the static method is first invoked. In multi-threaded programs, this can cause race conditions that result in the creation of multiple instances. The following is a thread-safe implementation, using lazy initialization with double-checked locking, written in Java.


title: Singleton pattern

text: Critics consider the singleton to be an anti-pattern that introduces global state into an application, often unnecessarily. This introduces a potential dependency on the singleton in all code it is visible to, requiring analysis of implementation details to determine if a dependency actually exists. This increased coupling can introduce difficulties with unit testing. In turn, this places restrictions on any abstraction that uses the singleton, such as preventing concurrent use of multiple instances.


title: Singleton pattern

text: Singletons also violate the single-responsibility principle, because they are responsible for enforcing their own uniqueness, alongside their normal functionality.


title: Dominion of Newfoundland

text: Newfoundland was a British dominion in eastern North America, today the modern Canadian province of Newfoundland and Labrador. It was established on 26 September 1907, and confirmed by the Balfour Declaration of 1926 and the Statute of Westminster of 1931. It included the island of Newfoundland, and Labrador on the continental mainland. Newfoundland was one of the original dominions within the meaning of the Balfour Declaration and accordingly enjoyed a constitutional status equivalent to the other dominions of the time.


title: Dominion of Newfoundland

text: In 1934, Newfoundland became the only dominion to give up its self-governing status, which ended 79 years of self-government. The abolition of self-government came about because of a crisis in Newfoundland's public finances in 1932. Newfoundland had accumulated a significant amount of debt by building a railway across the island, which was completed in the 1890s, and by raising its own regiment during World War I. In November 1932, the government warned that Newfoundland would default on payments on the public debt. The British government quickly established the Newfoundland Royal Commission to inquire into and report on the position. The commission's report, published in October 1933, recommended that Newfoundland give up self-government temporarily and allow the United Kingdom to administer it by an appointed commission.


title: Dominion of Newfoundland

text: The Newfoundland parliament accepted the recommendations and presented a petition to the King to ask for the suspension of the constitution and the appointment of commissioners to administer the government until the country became self-supporting again. To enable compliance with the request, the British Parliament passed the Newfoundland Act 1933, and on 16 February 1934, the British government appointed six commissioners, three from Newfoundland and three from the United Kingdom, with the Governor as chairman. The system of a six-member Commission of Government continued to govern Newfoundland until Newfoundland joined Canada in 1949 to become Canada's tenth province.


title: Dominion of Newfoundland

text: The official name of the dominion was "Newfoundland" and not, as was sometimes reported, "Dominion of Newfoundland". The distinction is apparent in many statutes, most notably the Statute of Westminster that listed the full name of each realm, including the "Dominion of New Zealand", the "Dominion of Canada", and "Newfoundland".


title: Dominion of Newfoundland

text: The Newfoundland Blue Ensign was used as the colonial flag from 1870 to 1904. The was used as the 'de facto' national flag of the dominion until the legislature adopted the Union Flag on 15 May 1931.


title: Dominion of Newfoundland

text: The anthem of the Dominion was the "Ode to Newfoundland", written by British colonial governor Sir Cavendish Boyle in 1902 during his administration of Newfoundland (1901 to 1904). It was adopted as the dominion's anthem on 20 May 1904, until confederation with Canada in 1949. In 1980, the province of Newfoundland re-adopted the song as a provincial anthem, making Newfoundland and Labrador the only province in Canada to adopt a provincial anthem. The "Ode to Newfoundland" continues to be heard at public events in the province; however, only the first and last verses are traditionally sung.


title: Dominion of Newfoundland

text: In 1854 the British government established Newfoundland's responsible government. In 1855, Philip Francis Little, a native of Prince Edward Island, won a parliamentary majority over Sir Hugh Hoyles and the Conservatives. Little formed the first administration from 1855 to 1858. Newfoundland rejected confederation with Canada in the 1869 general election. Sir John Thompson, Prime Minister of Canada, came very close to negotiating Newfoundland's entry into Confederation in 1892.


title: Dominion of Newfoundland

text: It remained a colony until the 1907 Imperial Conference resolved to confer dominion status on all self-governing colonies in attendance. The annual holiday of Dominion Day was celebrated each 26 September to commemorate the occasion.


title: Dominion of Newfoundland

text: Newfoundland's own regiment, the 1st Newfoundland Regiment, fought in the First World War. On 1 July 1916, the German Army wiped out most of that regiment at Beaumont Hamel on the first day on the Somme, inflicting 90 percent casualties. Yet the regiment went on to serve with distinction in several subsequent battles, earning the prefix "Royal". Despite people's pride in the accomplishments of the regiment, Newfoundland's war debt and pension responsibility for the regiment and the cost of maintaining a trans-island railway led to increased and ultimately unsustainable government debt in the post-war era.


title: Dominion of Newfoundland

text: After the war, Newfoundland along with the other dominions sent a separate delegation to the Paris Peace Conference but, unlike the other dominions, Newfoundland neither signed the Treaty of Versailles in her own right nor sought separate membership in the League of Nations.


title: Dominion of Newfoundland

text: In the 1920s, political scandals wracked the dominion. In 1923, the attorney general arrested Newfoundland's prime minister, Sir Richard Squires, on charges of corruption. Despite his release soon after on bail, a commission of enquiry, headed by Thomas Hollis-Walker, KC, reviewed the scandal. Soon after, the Squires government fell. Squires returned to power in 1928 because of the unpopularity of his successors, the pro-business Walter Stanley Monroe and (briefly) Frederick C. Alderdice (Monroe's cousin), but found himself governing a country suffering from the Great Depression.


title: Dominion of Newfoundland

text: The Judicial Committee of the Privy Council (JCPC) resolved Newfoundland's long-standing Labrador boundary dispute with Canada to the satisfaction of Newfoundland and against Canada (and, in particular, contrary to the wishes of Quebec, the province that bordered Labrador) with a ruling on 1 April 1927. Prior to 1867, the Quebec North Shore portion of the "Labrador coast" had shuttled back and forth between the colonies of Lower Canada and Newfoundland. Maps up to 1927 showed the coastal region as part of Newfoundland, with an undefined boundary. The Privy Council ruling established a boundary along the drainage divide separating waters that flowed through the territory to the Labrador coast, although following two straight lines from the Romaine River along the 52nd parallel, then south near 57 degrees west longitude to the Gulf of Saint Lawrence. Quebec has long rejected the outcome, and Quebec's provincially issued maps do not mark the boundary in the same way as boundaries with Ontario and New Brunswick.


title: Dominion of Newfoundland

text: Newfoundland only gradually implemented its status as a self-governing Dominion. In 1921, it officially established the position of High Commissioner to the United Kingdom (for which Sir Edgar Rennie Bowring had already assumed the role in 1918), and it adopted a national flag and established an external affairs department in 1931, after it had given its assent for the passage of the Statute of Westminster 1931.


title: Dominion of Newfoundland

text: As a small country which relied primarily upon the export of fish, paper, and minerals, Newfoundland was hit very hard by the Great Depression. Economic frustration combined with anger over government corruption led to a general dissatisfaction with democratic government. On 5 April 1932, a crowd of 10,000 people marched on the Colonial Building (seat of the House of Assembly) and forced Prime Minister Squires to flee. Squires lost an election held later in 1932. The next government, led once more by Alderdice, called upon the British government to take direct control until Newfoundland could become self-sustaining. The United Kingdom, concerned over Newfoundland's likelihood of defaulting on its war-debt payments, established the Newfoundland Royal Commission, headed by a Scottish peer, The 1st Baron Amulree. Its report, released in 1933, assessed Newfoundland's political culture as intrinsically corrupt and its economic prospects as bleak, and advocated the abolition of responsible government and its replacement by a Commission of the British Government. Acting on the report's recommendations, Alderdice's government voted itself out of existence in December 1933.


title: Dominion of Newfoundland

text: In 1934, the Dominion suspended Newfoundland's self-governing status and the Commission of Government took control. Newfoundland remained a dominion in name only. Newfoundland was ruled by a governor who reported to the Colonial Secretary in London. The legislature was suspended.