Reddition n. 83 celebrates Watchmen 40th anniversary with a collection of essays and an exclusive interview with Dave Gibbons. Published by Edition Alfons. German language.
https://www.reddition.de/reddition-magazin/reddition83
Jun 14, 2026
Jun 5, 2026
On creating, Long London tv series & Dennis' fate
The complete interview is available HERE.
Alan Moore: [...] I experience my own creative processes as being something like a particle collider, where thousands of half-baked, half-finished or entirely forgotten concepts whiz around invisibly at unsafe speeds until, inevitably, one unworkable idea will smash into another, quite by chance, and in the often-beautiful ensuing mess of particle decay trajectories is sometimes to be found a stage performance, poem, film, or series of peculiar urban fantasies. [...]
By the 1950s and I Hear a New World, we can see London, and to a degree the world, attempting to update itself by dressing up in noisy, flashy, hard-edged Brutalist modernity, with genuine innovators like Joe Meek attempting to invoke the new world by imagining its music and, in doing so, making the technical advances which that new world would depend on. [...]
Over this last couple of decades, the emergence of the long form, high quality television series has made lots of things seem suddenly more possible, and when asked if I might consider making the Long London books available as possible film properties, my answer was a cautious yes. [...] To this end, when I was approached by Playground, the production company behind the marvelous adaptation of Hilary Mantel’s Wolf Hall, I gladly acquiesced. I know enough about the world of television and its uncertainties to manage my expectations, but I’m optimistic and, whatever its eventual fate, confident that my work is in the very best of hands. So, fingers crossed. [...]
I can promise readers that my reluctant protagonist [Dennis Knuckleyard], despite his clear lack of enthusiasm for my plotting abilities, will be allowed a happy ending. He probably doesn’t deserve it, given his rather lackluster and timorous performance, but he’ll get it because that’s the kind of generous-spirited author and employer of imaginary people that I am.
Read the whole interview HERE!
May 16, 2026
The Cloak is back!
More details & info here, at DownTheTubes site.
Furthermore, directly from Comicoz site, April's entry:
[...] I have spent the past two days trying to find a UK printer for my most recent publication, The Collected Cloak by Mike Higgs. The files are ready to print, even though we have had other difficulties in the process over the past few months. It's been a dog's breakfast trying to get someone from Rebellion -- who say they own the copyright to the property -- to contact me about the works. So much so, I am giving up on them! (Until they get back in touch with me at least..!) Mike has drawn a brand-new pin-up page for the volume, and we are overjoyed with Alan Moore's Introduction. Initially we said we would be happy with a 25-word introduction: but we were give many wonderful pages! (And that is all I am going to say for now!) We're presently looking to lock in a printer (which we hope to do in the next few days) and -- all being well -- we are also hoping to have Diamond UK distribute the book. There's a few ducks to line up first, but (as always) I am ever hopeful that it won't be long before all is ready...! Ryan McDonald-Smith has done an absolutely outstanding job with the design of the book and it would be remiss of me not to mention his contribution here because he just as much a part of this team! [….]
May 3, 2026
Long London, Magic, comics and dystopias
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| Art by Carlos Dearmas |
You can read the complete piece HERE.
What is the idea behind Long London?
Alan Moore: I had an urge to investigate shadowy London, the horse tipsters, gangsters, record producers and other lowlife characters. I’ve created a narrative that could include them, which collides happily with the idea of another London hidden behind our own. There’s a wonderful short story called N by Arthur Machen that suggested our London was a flimsy curtain hung before a blazing, eternal paradisal London.
A sort of Platonic shadow of London?
Exactly. It starts in 1949, when London had been physically and psychologically reduced to rubble. I was born in 1953, and it took me decades to realise that the adults I was growing up among were suffering from PTSD. [...]
You are ‘divorced’ from your earlier works like Watchmen and V for Vendetta, but they are powerfully predictive, rather than histories.
They were never meant to be predictive. Friends want me to write something nice. Why do I have to keep doing these terrible dystopian stories that then actually happen? [...]
You have become a magician, and not the rabbit-out-of-a-hat kind. Do some ideas have magical properties?When I became a magician at the age of 40, I took it very seriously, and it has transformed my life. There’s no difference between magic and creativity. One part of magic is changing the consciousness of other people. Writing has always been the best way of doing that. [...] I think a lot of us have forgotten what art is for. It’s an engine of human progress. Art and culture stay with us. It’s the wars we’re ashamed of.
The complete interview is available HERE.
May 1, 2026
Un Nuovo Mondo (bis)
The Italian edition had previously been announced for March, as a sort of... world premiere!
Non ci si può più fidare. You can't trust anyone any more (maybe March/May... that was a typo! Maybe...)
But that's not all.
To my great disappointment, the Italian edition won't feature Nico Delort's stunning cover illustration (which was in their March announcement), but a "variation", certainly a bland one, imho (to use a mild adjective), attributed (I quote the internal credits) to "© Darren Hendley - stock.adobe.com (elaborazione)".
I suspect it's a matter of economic optimization dynamics. Nuff said!
I suspect it's a matter of economic optimization dynamics. Nuff said!
Male molto male.
You can find all the info: here.
Apr 16, 2026
NPR N.6: Alan Moore is IN!
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| Portrait art by Tom Harding |
Northampton Poetry Review ISSUE 6: Rejuvenation includes a great interview with Moore (pp. 85-93) mostly focused on his poetry interests, writing and... more!!!
You can find all the info HERE. Pdf of the whole issue is available HERE for downloading.
Northampton Poetry Review returns with the theme of Rejuvenation. We’re rekindling old energies, awakening deep roots, and sustaining ourselves through strange and wearing times—with hope for renewal.Below, some selected excerpts from the interview! Highly recommended!
We offer poetry from voices both near and far. And we are honoured to present a deep and wide-ranging conversation with Northampton’s own Alan Moore—a giant, a guru, and a guiding light in these dark and mysterious times.
Q&A with Alan Moore
The following is an interview with Alan Moore— Northampton notary, master, magician, guru and guide; a leading luminary and multimedia Renaissance man of our times. Alan generously gave us this interview back in 2022. Due to the buffeting winds of independent publishing, it finds its way to you only now.
He shares his thoughts on a wide array of cultural, political, and creative concerns—and we are truly honoured he took the time.
Alan Moore is a legendary comic book writer, novelist, filmmaker, and boundary-defying artist. Known for seminal works such as Watchmen, V for Vendetta, From Hell, and The League of Extraordinary Gentlemen, his work has shaped the landscape of modern storytelling and continues to be an uncompromising artistic force across a variety of mediums.
Alan Moore: [...] I'm continually drawn back to Blake, Clare, and, with his very recent death, to Brian Catling’s magnificent The Stumbling Block. Also, if I ever again locate my copy, I want very much to re-immerse myself in Mervyn Peake’s The Rhyme of the Flying Bomb, which I remember as having Stanley Holloway rhythms and a marvellous idiosyncratic grandeur. Oh, and Chris Torrance’s The Magic Door always rewards a reopening. [...]
[...] if it’s an idea, it will most probably emerge at some point as part of a story, whereas if it’s a tenuous soap-bubble impression, and if I can get a few words down before it pops from memory, it will more likely end up as a poem. [...]
[...] Trying to define one’s own thought processes is always slippery, but it might be as if each project is a separate Memory Theatre in some by-now sprawling and overgrown multiplex.
Many of those theatres I need never visit again, although they still remain standing, obsolete warehouses rusting in some bleak, industrial-estate outpost of my awareness. There are a few abandoned palaces amongst them – works that for various reasons remain uncompleted or will never see daylight, like my John Dee opera or the detailed five season outline for The Show television series – that I find slightly haunting and will more often return to in idle moments. You shouldn’t, however, be misled by this talk of Memory Theatres into thinking my mental processes are anything like neat or orderly. In practice, it feels like some sort of cloud-chamber, and I have no real idea how it works. [...]
[...] A key difference between prose and poetry lies in the ways that they engagé with time. [...] Poetry can dispense with time altogether, and allow us to see what is left when time is gone. As for the importance of time in my own work, I feel that along with space and consciousness, time is one of the three fundamental elements that a writer has to work with, so I like to get as much fun and meaning out of it as possible. [...]
[...] I’m sure I’ve been a multiplicity of people in my time, but from my own perspective it feels very much like an unbroken continuity of self. The biggest shift of personality came, probably, with my decision to engagé with magic, back in 1993, but this seemed more like an expanded comprehension and intensification of ideas and processes that were already there than it did a huge psychological change. When I think back to previous incarnations of myself, I find that they’re all still me, only stupider, better looking, and with more intimidating physical energy. [...]
[...] tend to enjoy works that are a few paces beyond my personal boundaries, that will entail a little bit of personal effort, which will therefore expand those boundaries. I believe that the most affecting kind of art is one where the audience does part of the work, making the experience almost a collaboration between reader and writer. To that end, I try to make my work as understandable as I can, while also subscribing to the idea of literary difficulty, whereby you are prepared to potentially alienate part of your readership in the knowledge that those who remain will have been made to engage with the work on a deeper and hopefully more rewarding level. I always try to pitch my work at a level that won’t be beyond the reach of an averagely intelligent person. [...]
More info HERE. Pdf of the whole issue available HERE.
Apr 11, 2026
Joe Quesada and Watchmen
You can read the whole thing HERE.
I highly recommend reading Quesada's Substack!
[...] Nothing Changed. Everything Did.
Before the reveal, the audience is assembling pieces.
After the reveal, everything organizes.
Cause and effect become clear.
And the audience feels the shift immediately.
Watchmen might be the clearest example of this in comics.
Throughout the story, every piece is already in place.
Ozymandias’ intelligence.
His resources.
His obsession with saving the world.
The missing scientists.
It’s all there.
You just haven’t connected it yet.
Then Ozymandias begins to fill in the gaps.
You’re still processing what he’s saying.
Trying to understand the scope.
Still catching up.
Then comes the line that changes everything.
“I did it thirty-five minutes ago.”
No buildup.
No countdown.
No chance to stop it.
The event is already over.And suddenly it’s undeniable.
The plan. The scale.
Then the inevitability.
You weren’t waiting for it to happen.
You were already too late. [...]
Read the complete piece HERE.
Apr 6, 2026
Magic, Comics and... Long London upcoming books
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| Art by Nicola Testoni |
Alan Moore: [...] My understanding of magic has evolved massively over the thirty-three years since I commenced my study and practice. For one thing, I have come to understand that magic and the arts, particularly writing, are to all intents and purposes synonymous. Thus, while magic is the way in which I see the world and therefore affects every area of my life, nowhere is this more true than in my writing. Indeed, these days, writing is pretty much my only form of magical expression. My guess is that this, writing being the most powerful instrument of magic, has been true for most self-identified magicians – and what other kind is there? – since the dawn of human consciousness. [...]
Nothing against middle-class people, of course. It’s simply that the comic strip form was originally conceived as by, for and about the working classes, who were its audience and, for my money, its very best creators. That is the comics field I’d like to see, brimming with new ideas and available to everyone, but, realistically, I don’t imagine that is ever going to happen, so I’ve chosen to put my remaining energies elsewhere. [...]
If you like, I see myself as a piece of language that is somehow generating other pieces of language. [...]
To be honest, I’ve never really thought about the audience’s reaction too much, as it’s something I have no say in or control over. The only audience I’ve ever been attempting to please is, perhaps selfishly, myself. [...]
I’m currently nearing the end of the third book in my Long London quintet, this being titled Blow Away, Dandelion and set in the late 1960s, whereas the next book, In England’s Dreaming, will set in the late 1970s. The final book, And No River of Fire, will be set in 1999, on the eve of the current millennium. I have genuinely no idea what I’ll be doing after that point, so we’ll all just have to wait and see.
Read the complete interview HERE!
Apr 4, 2026
The Mandrill is here!
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| Art by Bobby Campbell. |
Above, Moore in the guise of his character from Mandrillifesto.
Art by Bobby Campbell.
Thanks Bob for sharing it!
Mar 28, 2026
Ai Weiwei by Alan Moore!
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| Art by Alan Moore |
Recently one of them has been offered and immediately sold on eBay... featuring the acclaimed Chinese artist Ai Weiwei (see below), dated 2015. It's simply... fantastic! 'Nuff said!
ALAN MOORE drawn Christmas card, printed on A4-sized card, folded in half. Front reads AI WEIWEI, IN A MANGER and has ALAN MOORE '15 in the lower right-hand corner.
Inside reads 'To Padraig + Diedre, have a great Christmas, with loads of love from Alan + Mel XX' written in black ballpoint pen in Alan Moore's distinctive handwriting. Received by me in December 2015, but has been living in a box for a decade now.
The card depicts Chinese contemporary artist Ai Weiwei sitting in a straw-filled manger, with a golden halo around his head.
More details HERE.
Mar 19, 2026
2000AD & the comic career of Alan Moore
Read the complete piece HERE.
[...] In the nerve centre of modern storytellers, few figures loom as large as Alan Moore. With his long beard, occult rings and voice that sounds as though it has been steeped in pipe smoke and centuries of folklore, Moore has cultivated an image somewhere between a Victorian mystic and a punk-era radical. But the mythology around him risks obscuring something simpler and more astonishing: Alan Moore is arguably the most influential writer comics have ever produced. That’s why ComicScene readers voted him the Best Comic Writer ever in the ComicScene Awards 2026, alongside Jack Kirby as your favourite artist of all time. [...]
Alan Moore’s legacy is both immense and deeply paradoxical. On one hand, he elevated comics into a form capable of literary complexity and cultural critique. Without Moore, the modern graphic novel might look very different. On the other hand, he remains one of the most vocal critics of the industry that celebrates him.
He has denounced the corporate exploitation of characters, distanced himself from adaptations of his work and eventually announced his retirement from mainstream comics altogether. [...]
Nearly forty years after Watchmen, the comics industry is still grappling with the implications of that insight. And somewhere in Northampton, the bearded magician who started the argument continues to loom over the medium he transformed as a reluctant comic legend.
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