Charlier, having been of a previous generation, conservative in nature and wary of science fiction in general, had never understood what his younger colleague tried to achieve as "Mœbius". Nonetheless, he never tried to hinder Giraud in the least, as he understood that an artist of Giraud's caliber needed a "mental shower" from time to time. Furthermore, Charlier was very appreciative of the graphic innovations Giraud ported over from his work as "Mœbius" into the mainstream Blueberry series, most specifically "Nez Cassé", making him "one of the all-time greatest artists in the comic medium", as Charlier himself worded it in 1982.de Bree, 1982, pp. 23, 41-43 Artist , who was taken on by Giraud in 1980 for the inks of "La longue marche" ("The Long March") painted a slightly different picture though. Already recognizing that the two men were living in different worlds, he noted that Charlier was not pleased with Giraud taking on an assistant, afraid that it might have been a prelude to him leaving the series in order to pursue his "experimentations" as Mœbius further.Svane, 2003, p. 69 Even Giraud was in later life led to believe that Charlier apparently "detested" his other work, looking upon it as something akin to "treason", though his personal experiences with the author was that he had kept an "open mind" in this regard, at least in his case.Sadoul, 2015, pp. 220-226 While Charlier was willing to overlook Giraud's wanderings in his case only, he was otherwise of the firm conviction that artists, especially his own, should totally and wholeheartedly devote themselves to their craft – as Charlier always had considered the comic medium – but which was somewhat incongruous on his part as he himself was habitually engaged in several divergent projects at any given time. This has caused many of his artists problems on a frequent basis, as he was consistently and notoriously late with his piecemeal provided script pages, including Giraud at the start of his Blueberry career. However, as he recognized quite early on that Blueberry occupied a special place in his body of work, he later made sure that (only) his Blueberry artists were provided with scripts in a timely fashion. Charlier's method of working came at a cost, as his scripts frequently contained continuity errors on the detail level, and which included those of Blueberry, such as in his above cited instance of his hero's first name.Sadoul, 1991, p. 32; Svane, 2003, p. 46; Ratier, 2013, p. 225 Charlier has cited the Blueberry titles "La mine de l'allemand perdu" ("The Lost Dutchman's Mine") through "L'homme qui valait 500 000 $" ("The Half-a-Million Dollar Man") as his favorites for their "potency", both story and artwise, the latter making him the co-winner of his 1973 American comic award.Berner, 2003, p. 25
