"If only a few of our modern writers were as brilliant as Philip José Farmer, then I think the world of culture would be a much better place." - Alan Moore
“One of the finest and most original talents ever to emerge from the comic industry.” – Alan Moore, from his introduction.
Silent Pictures by Kevin O’Neill is the capstone to an extraordinary career in comics – two ferocious new books that flicker through the very dreams of art and imagination. Without words, O’Neill conjures an astonishing pair of feverish stories, brimming with detail on every page, packed with some of the most exciting, twisted artwork ever put to paper. Gorgeously painted in luminous colour, no fan of his work can afford to miss out.
In Feartreland we tag along as the son of Dick Whittington flits through a series of pantomime tableaus, splash pages and tortuous punning images. Crocodiles gambol with giant apes, and genies promise adventures on the high seas. An explosive entertainment, bright and bold as the stage that it draws its inspiration from. Meanwhile, The Balaclava Kid invites us into the dreams of the artist’s youth, as his imagination gives him escape from the bullies of a bombed-out London into a dreamscape built of Wild West iconography and Tex Avery action. Demonic cowboys and infernal machines populate shimmering mesas and haunted mines. An adventure like no other!
Presented as a slipcased set of two luxurious hardback volumes, each with a new introduction by frequent collaborator and friend Alan Moore, a total of 800 copies of this stunning duo of books are available from both Knockabout’s retail website, and Gosh! Comics of London, online and in store, kicking off a year of celebrations for the shop’s 40th anniversary.
With King Sorrow, Joe Hill gloriously resurrects the doorstop horror blockbuster for a startling new century - ALAN MOORE, author and creator of WATCHMEN
Project Alan Moore 70: update 15 DONATION DONE
Dear friend and contributor,
We are pleased to announce that we recently donated €1,000 to the Italian branch of Doctors Without Borders/Médecins Sans Frontières. This is the result of the sale of roughly 300 copies of our Moore book - each copy generated approximately €3 in royalties. The donation was rounded up, excluding some additional expenses we incurred.
You may see the attachments for details. In Italian, sorry. [Attachments not included in this post, sm]
We are aware that this result is far from what we expected, but it must be acknowledged that our book was a self-published initiative to which, for various and, I believe, easily understandable reasons, we were able to devote limited marketing and promotional efforts. Despite everything, we believe and hope that this small donation, like all donations, large or small, will be useful to the cause.
For this reason, we thank you again for your generous contribution. Grazie mille.
Over the next few weeks, the book will be removed from the store and will no longer be available.
We take this opportunity to wish you Happy Holidays.
We remain at your disposal.
Angelo & smoky man
The sequel to The Great When, a dark and haunting journey through the streets of London – real or imagined – from a legend of modern fantasy.It seems the Italian book will be available before the original English language version scheduled for... May 2026!
 |
| Art by Bill Sienkiewicz |
Alan Moore: "What I want to do now is - well, it’s a trend you can see in V and in Watchmen and in Swamp Thing and in Miracleman, you can see it in all of them, there’s a trend towards a gradual fascination with people on street corners. It’s very often the ordinary people who come to fascinate me more than the people in the costumes, which must be very obvious to people. It might be seen as an annoying indulgence ore terribly boring, but it’s what I’m fascinated by, and that is the way my work will probably take me in the future. Not in a Harvey Pekar, Eddie Campbell sense - much as I love those people’s work I don’t think I could do that, I don’t think my life is interesting enough to do that with."[...] "I feel I need a louder and clearer voice, and I think that one thing which would make it clearer is to tear away from the tissues of fantasy and mystery and imagination that I tend to plant my work in. I don’t want to do dull comics, I want to show how fabulous and weird and exciting the real world is without distortion, without giving anyone psionic powers and mutant abilities." [...]
Bill Sienkiewicz: "I suppose in some ways, it’s much more classic in its approach. Alan and I were just talking about the fact that it’s much more reminiscent of something like Gasoline Alley or Krazy Kat than anything in the superhero genre at all. In that respect, I suppose it’s going back to the basics of the medium, with the new math of the future, and coupled with things that have been done recently in terms of things like Watchmen and Elektra and other books like that. It’s more subversive, I suppose, it’s destroying from within, you know, by wearing a suit and tie, destroying the establishment from within. But that’s not really our intention, our intention is to do something that’s really accessible to everyone.
Alan was telling me that he was showing it to his mother and some of her friends, and people who are not familiar with the vernacular or the mechanics of reading current comics, and they found that they really enjoyed it, and Alan said they laughed in all the right places, and had the response to warrant it feeling like it’s something that is not going to be just simply a book for the comic readers, the people who know the language and the vocabulary, but for a bigger, wider audience, not specifically for comics, but for comics as a valid medium, separate and apart from what we in the field, readers and professionals, know it as." [...]
Alan Moore is 72 years old now. Since the 1980s, he’s been celebrated as the greatest writer in comics history. But he’s done with all that. Full-time novelist now. Finally. Spends his days at home just writing, reading, and smoking “frightening,” “staggering,” “saturating” amounts of weed.
“I use it to work,” as he told Alex Musson. “Always have done.”
Except these days he does it without the weekly deadlines, the phone always ringing, questions and chitchat with illustrators, coauthors, publishers, press — none of it.
Life of a novelist now. Solitude. [...]
I became aware of you from your Avatar Press work. Did you do any comics work before Avatar?
Jacen Burrows: [...] There was also a brief stint where I worked for Scott Clark as his background assists guy when he was doing Wildstorm work in the 90’s. He just so happened to move into a house a few doors down from me. I drew a big crowd scene in an issue of Wildcats and some random backgrounds in a Spawn/Wildcats crossover. Pretty minimal but I still count it because the script was by Alan Moore!
I’ve read there is an Alan Moore Lovecraft book unreleased by Avatar. Do you have any other unreleased work?
JB: No, nothing but the aforementioned amateur work. I’m not even aware of the unpublished Moore work at Avatar but that doesn’t mean it doesn’t exist. I just know they were hungry to put out anything they could from him. [...]
 |
| Art by Mike Allred |
