Posts tagged: alan moore
Alan Moore tells Northampton News:
“Apparently there had been a certain amount of comment on the internet suggesting probably some connection. No it’s not me.
“I am getting kind of used to this. After having a comic strip I wrote 30 years ago spewing masked anarchists across the global political stage for the past couple of years. Things that I write do have a tendency to spill into reality. Since that was one of the principles behind Jimmy’s End [an episode in The Show] – to blur the boundaries between one and the other – I suppose that getting clowns manifesting in my neighbourhood is only to be expected.
“We had only just done that thing on Kickstarter with His Heavy Heart which starts shooting in a few weeks. I had said it was about Strippers and Clowns. The suggestion is that there is some kind of dream time existing under Northampton and that occasionally things will break through from one realm to the other. It is just a demonstration that Jimmy’s End is a kind of a documentary. It’s reportage. We are not just making this shit up.”
(via John Reppion)
Rich Johnson just posted a letter from Steve Bissette calling on fans to post his pages from 1963, a comic written by Alan Moore and illustrated by Bissette and others in the early 90s, online for free since it’s unlikley it will ever be reprinted. He also mentioned that he’s working on a book about Moore:
FYI, This emerges from my work on my own forthcoming Alan Moore book; since I own my pencils, and articles on any of our work is fair game for any party out there, I’m running a few articles (by others) in my book, and illustrating them with my sketches and pencils, which is fair enough under the terms of our agreements, I reckon. If not, I’ll hear about it soon enough.
Clearly I’m missing something — why won’t 1963 ever be reprinted?
Too Much To Dream author Peter Bebergal interviews Alan Moore for The Believer:
BLVR: So in writing, whether you’re trying to inhabit a metaphysical being or trying to inhabit someone living in a poor neighborhood, unless you can inhabit them with compassion, and inhabit them with understanding, they’ll never be a believable character otherwise.
AM: Right, the character will be limited, and so will you. When I was doing V for Vendetta years ago, and I started to introduce the Nazi heads of this totalitarian state in the far-flung future of 1997, I’d been marching against the National Front and taking part in the Rock Against Racism marches, and I realized that I can’t just portray Nazis as bad guys, because everybody knows that, and you’re not saying anything. You’re contributing to the myth that they were somehow separate from the rest of humanity, which they weren’t. The Nazis were just ordinary human beings who got caught up in something very bad and, at the time, rather unprecedented. This is not to excuse their behavior, obviously, it’s simply to point out that it doesn’t do you any service to demonize any group of people. It’s much better to try and understand from the inside.
There was a scene in Promethea where the character is confronted by a horde of demons, and the way that she decides to deal with them is by owning them, by identifying each demon’s qualities and saying, “Yes, I’ve done that; yes, I accept responsibility for that,” at which point she actually physically eats the demon that she’s referring to. What a lot of magic is about is coming to your own individual terms with the universe, which is to say yourself, given that the entirety of the universe that is observable to you or me is that which actually exists inside our heads. And coming to an understanding of those things made me a little bit bigger because I had a part of my mind that could look with compassion at a class of people that I had never been able to do that with before. Not to like them any more, but to understand them.
Full Story: The Believer: Alan Moore
For someone who has supposedly turned his back on the comics industry, Alan Moore sure is doing a lot of comics work. He’s currently doing the League of Extraordinary Gentlemen spin-off Nemo, the next LoEG book and a follow-up to his Neonomicon series called Providence. From an interview for The Beat:
At the moment I am swamped in Lovecraft books about – I’ve got nearly every book of criticism that’s been written, that I’ve accumulated over these last six months, so I’m living and breathing Lovecraft. […]
It’s obviously a completely different animal to anything like Watchmen, but there is that point of similarity. It’s starting from – if Lovecraft’s characters, if Lovecraft’s monsters, if Lovecraft’s locales actually existed in A Real World, then what would they really be like, and what would the world be like? So it’s the same premise, but it’s taken me into some very interesting new directions. […]
Having run on at the mouth relatively recently about the appalling standards of research that exist throughout the rest of the comic book industry… I’ve said some very scornful things about some of the other writers in the industry and how – in my opinion – they are completely lazy, that they obviously do not have the respect for their own work that would lead them to actually put a bit of effort into it, and research some things, you know. Don’t just copy everything from an episode of Deadwood that you’ve seen, actually research the American West, find out how people talked. So, having been incredibly nasty and high-handed about many of the other professionals in the industry, I have kind of left myself wide open. If I don’t get every detail of this completely right, then I deserve to get a taste of my own medicine. But I don’t think that’s going to happen. We have been devilishly thorough in researching this. In the first issue there’s a brief glimpse of a gramophone record, and we’ve got the actual label to paste in, with the record’s serial number on it. I think we briefly see somebody reading a New York Times in the first issue, and it actually is the New York Times for June the 19th, 1919. I’m even – I’ve not actually done this yet, but I’m even trying to check out what the weather was like, which is difficult to establish other than in broad generalities, but I can at least sort out what the sky looked like, and what the phases of the moon were – which is something that Lovecraft used to take pains to do, so I feel that I should as well.
Guess I missed this:
The “From Hell Companion” is “an astonishing selection of Alan Moore’s original scripts and sketches for the landmark graphic novel, with copious annotations, commentary, and illustrations by Eddie Campbell. Here for the first time are a set of pages, including some of Moore’s greatest writing, which have never been seen by anyone except his collaborator. Joining them are Campbell’s first-hand accounts of the project’s decade-long development, complete with photos, anecdotes, disagreements, and wry confessions. Arranged in narrative order, these perspectives form a fascinating mosaic, an opportunity to read ‘From Hell’ with fresh eyes, and a tour inside the minds of two giants of their field.”
You can buy it on Amazon.
Black Mask Studios, the recently formed transmedia publishing company — founded by comic book writer Steve Niles, entrepreneur and transmedia production shingle Halo-8′s Matt Pizzolo, and Bad Religion guitarist Brett Gurewitz — has recruited some of comics’ biggest guns to help create their first wave of comic book titles.
Among the luminaries participating are Watchmen co-creator Alan Moore, V for Vendetta artist David Lloyd, Pulitzer Prize-winning Maus creator Art Spiegelman, The Walking Dead artist Charlie Adlard, Mike Allred (Madman), Ben Templesmith (30 Days of Night), J.M. DeMatteis (Justice League, Spider-Man), Molly Crabapple (Shell Game), as well as Wu-Tang Clan’s RZA and Ghostface Killah.
And there’s not a superhero in sight.
(via Hal Phillips)
The Beat is pleased to serialize this of work of comics history by Pádraig Ó Méalóid, a known expert on things Alan Moore, British comics, and SF. In Poisoned Chalice he wades in to one of the strangest and thorniest knots of all of comics: the history of Marvel/Miracleman and still unsolved question of who owns this character. It’s a story that touches on many of the most remarkable personalities in the comics industry—Alan Moore, Neil Gaiman, Todd McFarlene, Joe Quesada and more—and one of the most fascinating. It’s a sad fact about the comics medium that only in the last few decades have its most talented and passionate creators been able to present their work with a guarantee of equity and ownership; I feel that it is no coincidence that since this began, the medium has risen in popular and critical regard. The story of Marvelman touches on the darker places of comics history, springing from the prehistory where greed ruled the day; it’s a tangled tale that I have occasionally attempted to untie myself, but Pádraig is far better equipped to do so, as I think the following will show, bringing the research and attention to detail the story requires. It’s a piece of scholarship that I am proud to present.
It’s my intention to serialize Poisoned Chalice over the next few months; but I would hope to see it published in a more complete form at some time. So with no further ado, let’s begin the story of Marvelman.
Wired published Alan Moore’s contribution to Occupy Comics, an essay of the history of comics as subversion:
In the derivation of the word cartoon itself we see the art-form’s insurrectionary origins: during the tumults and upheavals of a volatile seventeenth century Italy, it became both expedient and popular to scrawl satirical depictions of political opponents on the sides of cardboard packages, otherwise known as cartons. Soon, these drawings were referred to by the same name as the boxes upon which they’d been emblazoned. As a method of communicating revolutionary ideas in a few crude lampooning strokes, often to an intended audience whose reading skills were limited, the power and effectiveness of the new medium was made immediately apparent.
This may also be the starting point for the receding but still-current attitude that comics and cartoons are best regarded as a province of the lower-class illiterate. However, following the realisation of the form’s immense political utility, it’s only with increasing difficulty that we can find a political event of any scale that has not been commemorated (and, often, most memorably commemorated) by the means of a cartoon.
The eighteenth century, with its more readily available print media, saw the promotion of the scathing cartoon image from its lowly cardboard-box beginnings to the cheap pulp paper mass-production of the broadsheets and the illustrated chapbooks. Consequently this same period would witness the emergence of the form’s first masters, artists who could see the thrilling possibilities in this unruly and untamed new mode of cultural expression. We can see this evidenced in James Gilray’s often-scatological and lacerating barbed caricatures of the dementia-prone King George the Fourth, in William Hogarth’s stark depictions of society’s deprived and shameful lower reaches and even in the sublime illuminated texts of William Blake, in which the visionary’s radical opinions… He’d stood with the firebrands of the Gordon Riots, in a red cap denoting solidarity with the French revolutionaries across the channel, watching Newgate Prison burn…were of necessity concealed beneath a cryptic code of fierce spiritual essences; invented demi-gods with grandiose and punning names that can be viewed as having much in common with the later output of the superhero industry’s presiding genius, the genuinely great Jack Kirby.
Above: The trailer for Jimmy’s End, a forthcoming 30 minute film written by Alan Moore and directed by Mitch Jenkins. According to Lex Records, it is the second part of a series of short films collectively called “The Show.” The first, titled Act of Faith, is a prequel to Jimmy’s End and will be released on jimmysend.com on November 19. Jimmy’s End itself will be released on November 25.
Moore has also recorded a single titled “The Decline of English Murder” for Occupation Records. You can find out more, and listen to the song, at The Guardian. You can download it from the Occupation Records shop for £1.00.
Moore had previously recorded “March of the Sinister Ducks” and other works with David J of Bauhaus and Love and Rockets (the band, not the comic). Speaking of whom, Moore once wrote a letter to Fortean Times about one of his performances with J, which has been reproduced online.