Famed French comics artist Moebius (Jean Giraud), who elevated comics to a high art, wrote Arzach in 1975. It tells the story of a lone silent man flying around a post-something world of ancient technology atop a pterodactyl. I have not read Arzach, but I saw many images from it at a Moebius exhibit in the Kyoto Manga Museum. Ever since then, I have discovered multiple connections (intentional or not) to Moebius’ empty post-something landscape.
First of all, a real connection exists between Arzach and Hayao Miyazaki‘s manga (and later movie) Nausicäa of the Valley of Wind. The manga version of Nausicäa highly resembles French comics far more than conventional Japanese manga. It has similar motifs of post-disaster decay, a future world, emptiness, and flying, along with the “ancient technology” feel. Miyazaki has even cited Moebius as an influence on this work.
And lastly, the arbitrary connection – Yes’s album Fragile. The cover and interior artwork by Roger Dean evokes a similar feeling, and even features an “ancient technology” flying machine.
The music itself as well contributes to the feeling of an empty landscape. “Roundabout,” while its lyrics are hard to decipher, seems to tell of love in hardship, and “South Side of the Sky” features wind sound effects and mentions snowstorms and other natural hazards. The harmonies and vocals in many of the songs also hint at something ancient. Furthermore, the electronic elements and beats resemble Nausicäa‘s soundtrack.
Nausicäa: Ohmu to Boso
Fragile: Heart of the Sunrise
Fragile: Cans and Brahms
Nausicäa: Kaze no Tani no Nausicaa
I highly recommend listening to Fragile in its entirety; it’s a superb album by one of the founding bands of British progressive rock and features some killer bass work and Rick Wakeman’s fantastic synthesizer riffs.
The airships on the back cover of Fragile even bring to mind the airships in Nausicäa.
Unfortunately, this connection fails to indicate the direct influence of Moebius, as the album was completed 4 years before Arzach. I suppose, though, that one can cite 1970s fantasy and sci-fi artwork (think Heavy Metal magazine, etc.) as the common influence on both works, though. And as for the Nausicäa connection… who knows what Joe Hisaishi was listening to when he composed the film’s soundtrack?