Dec 8, 2018

Swamp things

Art by Stephen R. Bissette (left) and Rick Veitch (right).
Above and below, two amazing sketches realized respectively by Stephen R. Bissette and Rick Veitch on the copy in my possession of Saga of The Swamp Thing book six. 

Published here with the artists' permission.
Art by Stephen R. Bissette.
Art by Rick Veitch.

Dec 4, 2018

The Bearded One by Armando Rossi

Art by Armando Rossi.
Italian comic book artist, illustrator and painter ARMANDO ROSSI did it... again! 
Above, a new powerful portrait of Alan Moore by Rossi (the first one is available here).
Grazie, Armando!
For more info about Armando Rossi: Website - Facebook - Instagram

Nov 27, 2018

Top 10 sketches by Gene Ha

Art by Gene Ha.
Above and below you can admire two wonderful copic marker sketch commissions of Top Ten characters (Toybox and Smax) by the incredible GENE HA done for Dutch Comic Con in Utrecht, Netherlands.
Art by Gene Ha.

Nov 25, 2018

Alan Moore by Fabio Abbreccia

Art by Fabio Abbreccia.
Above, a stunning portrait of Alan Moore by Italian artist FABIO ABBRECCIA.

More info about Abbreccia here and here. His Facebook page here.

Nov 24, 2018

Alan Moore: The Birth Caul photos

Above and below, 2 (of 4) photos from The Birth Caul (A Shamanism of Childhood), a spoken word performance which was staged at the Old County Court in Newcastle upon Tyne on 18 November 1995 with music by David J and Tim Perkins.

I found the photos on Locus+ site: you can find all of them HERE.

Nov 18, 2018

Moore 65 and... little gifts from Sardinia

Art by Manuelle Mureddu.
Best wishes to the Bearded Bard of Northampton!!! :)

And... little gifts from my Sardinian friends and talented artists: above, a iconic portrait by Manuelle Mureddu and, below, a red sketch by Nicola Testoni. Thanks to Manuelle and Nicola.

Again... TANTI AUGURI, Alan! :)
Art by Nicola Testoni.

Oct 21, 2018

Alan Moore on Twin Peaks season 3

Excerpt from an interview published in August on PaleyMatters.org, HERE.

Alan Moore: Yes, I was a huge admirer of the first two seasons of Twin Peaks. I greatly enjoyed season two’s closing episode, and subsequently arrived at an interpretation of Fire, Walk With Me that, to me, was satisfying and answered all of my really important questions about the series. At the end of last year I watched the box-set of season three, and without wishing to denigrate all of the perfectly legitimate reasons why people loved that (presumably) final season, I’d have to say that with the exception of a few arresting images and atmospheres, I kind of wish I hadn’t bothered. Elements that I either hadn’t noticed or which hadn’t especially bothered me the first time, like the fact that the titular town is presumably twinned with Midsomer in that both have tons of bizarre murders and absolutely no black people, seemed a lot more intrusive in season three.

Another thing that stood out was Lynch’s customary Bizarro-Republican stance, whereby the intrusive supernatural evil in his stories always seems to be firmly rooted in the underclass. Structurally, it also seemed that there was rather a lot of irrelevant padding, notably the slapstick “Dougie Jones” digression, which didn’t seem to have anything atmospherically or thematically to connect it to the main narrative in any meaningful way.

Overall it seemed to me, as a large amount of Lynch’s later work does, to be relying on disconnected set-pieces and ultimately not saying very much. This may, of course, be a fault with me rather than with David Lynch, but while some of the most arresting and affecting moments in Lynch’s work have seemed to be plucked straight from the director’s subconscious mind and dreamlife, the ones that have best worked for me are those moments that, while dreamlike, work within the context of the overall narrative: for me, the dead man who is still standing upright in Blue Velvet or the whole of Henry’s collapsing and hallucinating mental landscape in Eraserhead work perfectly within their contexts, while a golden Laura-Palmer-infused egg sent from another dimension to what is apparently a nuclear test-site, which then hatches into a sort of insect-frog hybrid that subsequently crawls into the mouth of a sleeping young girl who, unless I missed something, is never seen or referred to again, really doesn’t, at least for me. If everything is weird, then, relatively speaking, nothing is weird. All of this is, of course, entirely subjective, and it may well be that the season three of Twin Peaks that I watched was significantly worse than the one everybody else was witness to.


The complete interview is available HERE.

Oct 10, 2018

Alan Moore by J.D. Thompson

Art by J.D. Thompson.
Above, a strong pencil drawing portrait of Alan Moore by artist J.D. Thompson.
More details HERE.

Sep 22, 2018

Master of Reality by Nicola Testoni

Master of Reality, exclusive print by Nicola Testoni. Info: contact the artist.
Painter and sculptor NICOLA TESTONI, who illustrated the Italian edition of The Mindscape of Alan Moore, has created an extra portrait of Alan Moore (above): titled Master of Reality, it's available as a limited edition print directly from the artist
You can contact him HERE: he will add a touch of colour and sign it.

Sep 12, 2018

Alan Moore on The Prisoner

The Prisoner
Excerpt from Part one of the interview published on Paley Matters in August: Moore talks about The Prisoner and its huge impact on him and his work.
The complete interview is available here. Part 2, here

Alan Moore: [...] one of the things I learned was that one should preferably craft narratives that move towards a satisfying and meaningful conclusion. Another thing I learned was that it was possible to write stories that affected the audience on other levels than just the simple resolution of their plot elements; that there were levels of symbolism and association and self-reflexivity which could be built into a narrative that would enable the viewer or reader to enjoy the experience in a more intense and multileveled way. Perhaps most importantly, it taught me that a creator should never be afraid to pitch their work high, without worrying about it going over the heads of the audience: in my experience, work that the audience already understands and is comfortable with will not teach them anything, and thus deprives them of that thrill-of-the-new that is, for me, the central pleasure and purpose of all art. I believe that art only happens at the interface of the artist and the audience, which is to say the work itself, and I further believe that if they don’t have to do any of that work, if they don’t have to stretch themselves a little in order to metabolise what they’re reading or watching, then the audience will not find the work as enjoyable as they might have done. So, The Prisoner taught me not to condescend to my audience or assume that they were any less intelligent than I was. It taught me to dare to be difficult, and eventually led me to a position where I feel that the most precious thing about art is its difficulty, and that difficulty’s overcoming.

[...] While all my work probably has the influence of The Prisoner in it somewhere, this would be entirely in how the story is told, rather than in its content or thematic elements. Practically every intelligent or informed person during that decade would have been expressing opinions about technology and nursing nuclear anxieties that were identical to McGoohan’s, and given that the 1980s were an even more perilous stretch of the Cold War than the 1960s had been, then it seemed an appropriate issue to make a part of Watchmen. I can’t think of any direct or indirect influence beyond that."

The complete Part 1 is available here. Part 2, here.

Sep 11, 2018

Halo Jones in colour

Halo Jones: Alan Moore (writer), Ian Gibson (artist), Barbara Nosenzo (colorist).
Excerpt from an article published in 2000 AD site, here.

2018 sees a 2000 AD classic remastered and in colour for the very first time.

[...] Originally published in black and white, the re-releases will feature extensively remastered artwork and, for the very first time, will be published in colour. Italian newcomer Barbara Nosenzo is responsible for bringing colour to the world of Halo Jones. [...] 

Barbara Nosenzo: Halo is a perfect example of black & white balance, and I constantly felt the responsibility of adding colours where there was no need for them!
[...] While reading the books for the first time, I started imagining atmospheres and details, and tried to put those on paper. I used some covers as reference, and then I worked on my own palette to bring Halo's world to life. I focused on creating colors for atmosphere, and I decided with my editor (Matt Smith) to choose different background tones for each book, to help define the three different stages of Halo's life (the Hoop, the Clara Pandy and the War).

Book one has a green, dirty background color to give you a feeling of uselessness and deterioration, that perfectly matches life on Hoop. Book two has a pale yellow tone, because its Clara Pandy time, apparently an age of luxury surrounding Halo. And finally, red tones for book three because it's all about the war. To obtain these effects, I used background layers, with a wrinkled paper texture turned in three different colours, each one for the specific book I was working on.

I think that colour is like soundtrack in a movie: it should enhance the feelings and underline particular moments. That's how I tried to use my palette, often using weird colours to define feelings (blue for sadness, green or purple for fear.)

The complete article is available here.

Sep 10, 2018

Dark King Moore by Paolo Massagli

Art by Paolo Massagli.
Above, a powerful, dark Alan Moore portrait - with a bit of HPL in - by Italian artist PAOLO MASSAGLI
Paolo Massagli is known for his indie works which combines horror with sensuality; his most recent comics have been published by Hollow Press (here).

Sep 7, 2018

Melinda Gebbie's memoirs

From left to right: Lucia Joyce, Melinda Gebbie and Alan Moore. Art by Melinda Gebbie.
The complete article is available here.

Melinda Gebbie: "I started writing a diary in my twenties. I thought if I write about my life it will get more interesting. And it did. [...]

This has been a very long project. I transcribed everything by hand then realised that was stupid but I always had something against typing so I couldn’t make myself type. I had four different typists. It’s been edited by a really hot pro, Donna Bond, she did a spiffing job. [...]

There was 1300 pages of pure transcription, I whacked off (edited away) 800 of them. The format I think is going to be two books of about 300 pages each. The first one will be about my life in San Francisco until I left it in 1984 and the next will be about the weird land of England up until Alan and I met and started working together.

[...] The book is the main thing. If you live with a champion swimmer and every day you go out to the paddling pool and try to get a little better at frog kicking… I can only get with my own language if I am isolated from the undertow of a certain culturally-valuable husband. It’s not his fault but still…"

The complete article is available here
Melinda Gebbie's site, HERE.

Sep 3, 2018

The Mindscape of Alan Moore: Italian book edition

Nella mente di Alan Moore (Oblò APS) - Art by Nicola Testoni.
Coming out at the end of September, Oblò APS (an Italian association aiming at promoting Comic Art), will publish an Italian book transcribing Alan Moore's narration from The Mindscape of Alan Moore documentary, written and directed by DeZ Vylenz.

The book, translated and edited by smoky man, includes 14 brand new illustrations by Italian painter and sculptor NICOLA TESTONI who also painted an amazing oil portrait of Moore used as cover. Testoni's art combines realism with a touch of surrealism providing an intriguing visual comment and counterpoint to Moore's words.

For more info and requests:
Oblò site (HERE) - Oblò Facebook page (HERE)
Nicola Testoni's site
Mental Magic Marble Moore. Art by Nicola Testoni. Oil on canvas.
Nella mente di Alan Moore, page 28 and 29. Words: Moore; illustration: Nicola Testoni.
Book backcover.

Aug 23, 2018

Alan Moore Pandemonium by Benjamin Vareille

Art by Benjamin Vareille.
Above, Alan Moore Pandemonium by French artist Benjamin Vareille.
In 2016 the illustration has been used as cover for issue n.18 of Gonzaï magazine.

Silkscreen poster available to purchase HERE.

Aug 5, 2018

Moore Against da System by Officina Infernale

Art by Officina Infernale (a.k.a. Andrea Mozzato)
Above a very intense, punk version of Alan Moore drawn by Italian über artist OFFICINA INFERNALE (a.k.a. Andrea Mozzato).

"Without any planning, he turned out the Moore version who's fucking angry at the comics majors... And obviously Moore is 100% right in his attitude!", Officina Infernale said.

More info regarding Officina Infernal: Tumblr page - Big Cartel.

Aug 2, 2018

Writing Watchmen in 1985!

Excerpt from comic book store zine Telegraph Wire which included a long interview from SDCC 1985 with... Alan Moore! The complete interview is available HERE.

Alan Moore: [...] WATCHMEN is my first project to actually use what I’ve learned. WATCHMEN is very, very structured. It’s twelve issues long.

I know exactly what the image in the last panel is going to be. I can see it as a whole from beginning to end. I’m really pleased with the way it’s working.

I’ve been working closely with Dave Gibbons on the project. Dave’s putting so much into it. It’s not just the writing; we’re coming together on a level of pure story-telling. I mean, the way Dave’s drawing things affects the way I’m writing it. The way he’s laying out pages is affecting the way I’m writing it.

It’s a really amazing experience. I’m enjoying it immensely.
[...]

We’re trying to step back from the superhero a little bit; we want to take a fresh look at the idea of being a superhero. Joe Schuster and Jerry Siegel brought out SUPERMAN in 1939. There were no other superheroes and I think that for us today, it’s very difficult to imagine what the impact of that character was; since Superman in comics, the sky is full of flying men. It’s not quite the same. The whole superhero idea has grown up with cliches around it and that has smothered it in a way. You can no longer see the woods for the trees.

What me and Dave have tried to do with WATCHMEN is to somehow get back to that point where we stepped away from the conventional idea of superheroes. I wanted to do something that used the superhero in a very, very different way to the way it’s been used before: psychologically.

One of the main things is to see what effect a superhero would have upon the world. In the DC and Marvel universes, they don’t have any effect. They’re all extraordinary beings, but the world they live in is very much the same as ours.

In WATCHMEN, we try to think it through politically and socially. We’ve got a character called Mr. Manhattan who is the only actual superhero in the book.

He’s the only actual one with powers. He emerges about 1965 and from that point on, the world is different forever. Since he’s strongly aligned to the American military, obviously, he’s like a step beyond the neutron bomb. Instantly, the balance of world power changes.

I think if the American government had found a superhero, they would have been a little bit more adventuresome in their foreign policy whereas the Russians would most certainly have been a little more timid.

In the world we’re dealing with, America won the Vietnamese war. The Russians have not invaded Afghanistan. Basically, they’re in the Kremlin under the table with their fingers in their ears. They’re terrified and the only option that they have left is mutually assured destruction. Their backs are against the wall.

You’ve reached a point where the doomsday clock is seconds away from midnight. It’s closer to disaster than our own world is. That is one of the main themes of the book: it’s this paranoid, frightening world that’s just getting closer and closer to Armageddon.

And it’s all because of this one superhero.

There are other costumed heroes in the book, but most of them are retired because I don’t think that the American legal system, or any legal system, would support superheroes. It would just cause so many problems. If you allow one guy in a mask to go around beating people up, anyone in a mask can beat people up. It just wouldn’t work. So most of the superheroes have been forced into retirement – apart from those who are valuable to the military, which includes Dr. Manhattan. That is where it all begins.

There’s a lot of different threads in it. One of the things that ties the entire story together is a murder mystery that runs all the way through the plot.

I can’t tell you an awful lot without giving away the plot.

We’ve got some interesting characters. There’s Rorschach who’s a really psychotic vigilante. Whereas in most comic books the psychopath will get angry, a real psychopath doesn’t get angry. A psychopath will break your arm and smile… or never react at all.
[...]

Jul 14, 2018

Extraordinary Gentlemen by David Hitchcock

Art by David Hitchcock.
Above, a stunning commission piece by great British comic book artist and illustrator DAVID HITCHCOCK portraying The League of Extraordinary Gentlemen.
(Grazie David for sending me the picture!)

For more info about David Hitchcock: Blog - Twitter page

Jul 1, 2018

Alan Moore by Marcello Albano

Art by Marcello Albano.
Above, a portrait of Alan Moore by Italian comic book writer and artist Marcello Albano.
Marcello was a friend of mine, a gentleman, a great soul, a musician and a real comics lover and expert. He suddenly passed away in 2017 and... I miss him a lot.

In the past days I found two CDs and letters he sent me in 2001 full of his works and drawings. One of the CD cover is the Alan Moore portrait you can see above. It is dedicated to my old comics site Ultrazine.

Marcello was an admirer of Moore's works with a huge interest for esotericism. He also contributed with a short text to the Alan Moore: Portrait book (read here) I co-edited in 2003.

Jun 25, 2018

Trio of traitors and tricksters

Art by Oliver Pulumbarit.
Above, a "trio of traitors and tricksters" co-created by Alan Moore drawn by Oliver Pulumbarit, a Philippine newspaper writer-editor and occasional comic book-maker.
 
From left to right: Ultima from Top Ten, Ozymandias from Watchmen and TAO from WildCATs. The original drawing is available on Pulumbarit's Deviantart page, here.

Jun 21, 2018

John Constantine and Sting

Alan Moore: But I can state categorically that the character only existed because Steve [Bissette] and John [Totleben] wanted to do a character that looked like Sting. Having been given that challenge, how could I fit Sting into Swamp Thing? I have an idea that most of the mystics in comics are generally older people, very austere, very proper, very middle class in a lot of ways. They are not at all functional on the street. It struck me that it might be interesting for once to do an almost blue-collar warlock. Somebody who was streetwise, working class, and from a different background than the standard run of comic book mystics. Constantine started to grow out of that.
 
2018: Sting will pen the foreword to the Constantine, Hellblazer: 30th Anniversary Celebration commemorative collection to be published this October. More HERE.
John Constantine aka Sting.

Jun 18, 2018

Alan Moore by Gianmaria Caschetto

Art by Gianmaria Caschetto.
Every now and then I received unexpected emails including an Alan Moore portrait.
Above you can see one of them, a nice sketch illustration by comics blogger Gianmaria Caschetto.
"[Alan Moore is] my favourite wizard", Caschetto wrote.

Jun 14, 2018

From Hell and... beyond

Excerpt from an interview published on EW.com on May 31, 2018.

ENTERTAINMENT WEEKLY: Have you been in contact with Alan Moore at all about this?
Eddie Campbell: I’ve told Alan I’m doing it. I was like “Alan, if there’s anything you want to fix, you’ve gotta fix it now, this is your chance.” He hasn’t said anything so far. I might jog his memory by getting the stuff to him in the next week or two. If there’s any dialogue that’s wrong, now’s his time to fix it. He’s always talked about adding another appendix. When I spoke to him last month, he said “Eddie, maybe it’s time we do that other appendix, this is the only time we’ll be able to do it.” That’ll be a whole other dozen pages of illustration, but he wants to bring it up to date because in the last 30 years there’s been a lot of developments in Ripper-ology. Even though this was a crime that happened in 1888, every second year there’s a new book about it, where somebody’s found a new culprit. Five, six years ago, Patricia Cornwell went to huge expense buying Walter Sickert’s paintings to get DNA evidence from the paintings and compare it with DNA evidence from the murder site just to prove it was Walter Sickert. But since then somebody’s come out with another suspect. Everybody thinks they’ve got the last word on it. We did this 24-page appendix to the original From Hell called Dance of the Gull-Catchers, in which we ridiculed all the theories, including our own. It’s a grand piece of postmodernism, where you finish the book of “this is our theory, here’s why it’s right” by going “well no it isn’t, nobody’s right, it’s all baloney.” That was great fun doing that, we had a riot doing that in an almost comedic style. Alan wants to do another one where he brings it up to date. I’m not promising that, because we’ll probably have to beat him up to get it out. We’ll have to tie him to the computer and make him type it out. But we’ll see, it’s a possibility.

Jun 6, 2018

Cthulu rules

Art by Kevin O'Neill.
Above, an Alan Moore "Cthulu" sketch portrait by Kevin O'Neill. From Central Comics Paris' Instagram page.

Jun 1, 2018

Gene Ha on Alan Moore

Excerpt from an interview I did, via email, in November 2004. 
Translated and printed in Italy on Vertigo Presenta n. 45 magazine (Magic Press).

Alan Moore, Gene Ha and Zander Cannon collaborated on books such as Top 10 and Top 10: The Forty-Niners.

How is not only working with but co-creating with a comics living legend such as writer Alan Moore?
Gene Ha: Intimidating. He's a bit like Gandalf, but he talks like a British plumber instead of a British professor. He's perfectly at ease with himself, and he makes you feel comfortable too.
He's full of wonderful stories, and he loves to hear a good stories. You really can't help but notice how good he is at understanding how to tell stories. He's always aware how any plotline will affect the story for 10 or 20 issues ahead. And something new always pops up on every page.
I'll feed him ideas, and I'm always surprised by which ones he'll use and how he'll change them. I had an idea for Superman as an alcoholic, with super-vomit. Alan took that idea, but applied it to a Japanese movie monster instead. That's how we ended up with Gograh [see picture above].
I'd love to meet him someday, but so far I've only exchanged letters and talked to him on the phone.

May 29, 2018

Book Shambles Live at the Royal Albert Hall

Book Shambles live
Alan Moore will join Book Shambles live on Monday June 4th at the Royal Albert Hall, London.

It is a special live version of the popular Book Shambles podcast conducted by award-winning comedians and bibliophiles Robin Ince and Josie Long.

More info HERE and HERE.

May 21, 2018

Colourized From Hell

Below you can read an exclusive report by writer and comics journalist Koom Kankesan about his meeting with From Hell's artist and co-creator Eddie Campbell during the latest TCAF.
They talked about... the upcoming colourized From Hell edition!
Grazie, Koom!

Koom Kankesan: "I was really thrilled to meet Eddie Campbell. He’s a unique and interesting talent. I don’t know that there’s anybody else that can quite do what he does with his Alec material. And of course… From Hell has remained my favourite graphic novel for a long time now – it is a remarkable achievement. In person, Eddie is charming and lively. He has a beautiful Steranko-like shock of white hair and is even more dapper than his semi-autobiographical renderings, if you can believe it. He’s a bit of a joker and I’ve told him a few times how much I love From Hell. So, when he replied that he’s in the process of colouring it, I wanted to do one of those cartoon things where the character is floored and his feet angle up into the air beside an exhaust of air.

I’ve always thought of the black and white renderings as unique to From Hell. I had assumed that the fine line work and the moody atmosphere evoking London Victoriana were rendered that way on purpose, as if in imitation of engravings or illustrations in Victorian tabloid newspapers. Eddie found this observation interesting but I don’t think he agreed. I objected that colouring it would ruin the feel of the work and I think I might have been so passionate in my initial views that it perhaps even made him wince. Lovable and charming as Eddie is, the last thing you want to do is make him wince. He showed me some of the coloured pages on his laptop and the colours were lovely – he’s always had a great facility for paint and colour – but it did change the mood and atmosphere of some of the scenes. I said it’s like colourizing black and white films and asked him which he preferred – the black and white version of ‘It’s A Wonderful Life’ or the colourized version. He said that he hadn’t seen the colourized version of that film but he had seen the colourized version of ‘Key Largo’ and quite enjoyed it. I mentioned Apocalypse Now and Apocalypse Now Redux. Those were the kinds of reservations I had.

Eddie also said he wanted to fix the continuity. I was trying to figure out what that meant because I couldn’t really remember any continuity problems in the plot or writing. He grabbed my collected edition of From Hell and flipped to the early, quite remarkable chapter where Netley and Gull are driving around London and Gull discourses on all the historical resonance. He pointed out that the chapter takes place in August and therefore it made no sense for Netley to wear a scarf. He also pointed out that they were atop a very elaborate coach, one that was more like a limousine, and would thus draw a lot of attention. Later on in the book, I think they’re on a hansom cab instead. He also pointed out a panel with a church where the perspective of the foreground and background don’t match. These were the things he wanted to address: more of an issue of accuracy and fidelity rather than continuity. Please see the following photos:
 
 
From Hell, selected pages. Art by Eddie Campbell.
The first volume of the colourized version is planned for September [by Top Shelf] and Eddie and I talked about possibly doing a phone interview then to discuss it in detail once it's out."

Apr 26, 2018

Rorschach by Dan Hipp

Art by Dan Hipp.
Above a gorgeous Rorschach by Dan Hipp.
"Hurm. 4x4 pen/ink, Prismacolor marker, colored pencil, acrylic, and a touch of photoshop for the screentone effect."

Apr 10, 2018

Alan Moore by Nicola Testoni

Art by Nicola Testoni.
Above, a fascinating and hieratic pencil portrait drawing of Alan Moore by Italian painter and illustrator NICOLA TESTONI.
More info about Testoni at his website (here) and Twitter page (here).

Mar 25, 2018

Fulgur Limited to publish Fossil Angels

Alan Moore's Fossil Angels.
Later this year, Fulgur Limited will finally print Alan Moore's Fossil Angels with illustrations by John Coulthart. Check here.

Fossil Angels - a piece about Magic - was written by Alan Moore in December 2002, and was planned to be included in issue n.15 of KAOS magazine which never actually appeared. 
In 2010, the text was presented for the first time online on Glycon site: it is available here (Part 1) and here (Part 2).

Mar 12, 2018

Moore question by AUSONIA

Art by AUSONIA.

Above a mesmerising Alan Moore portrait drawn by Italian acclaimed comic book artist, painter and illustrator AUSONIA (nom de plume of Francesco Ciampi).

Ausonia created several graphic novels (including a stunning reimagining of Pinocchio's classic tale), collaborates with Sergio Bonelli Editore and is currently at work on both a Dylan Dog story and his new graphic novel.

In Ausonia's illustration Moore asks the audience and himself: "What if it's just a sort of neurosis?"

For more about Ausonia: Facebook page - Instagram - Art Station

Feb 28, 2018

Veitch on The One, Marvelman, Greyshirt & Moore

Page from The One by Rick Veitch.
Excerpt from an interview with the great Rick Veitch posted on Vulture the 28th of February 2018. Veitch talks about the new edition of his amazing The One series published for the first time in colour by IDW.

[...] If I recall correctly, you had already read some of Alan Moore’s Marvelman at that point, right? It deals with similar concepts.
Rick Veitch: Right. Marvelman had appeared and had been like a lightning bolt to all of us who were in comics, working in superheroes at the time. [Moore] really was sort of like the Big Bang of the modern superhero — and I should include his artist with him, Garry Leach. They succeeded in — just like the Rolling Stones succeeded in taking old blues music and repackaging it for an American audience, Alan and Garry and the other artists on Marvelman succeeded in doing that. A lot of people recognized it, but didn’t quite know how to make that work. I was probably one of the first, I think, to try to take that inspiration into my own work, and again, try to push the superhero thing in a whole new direction. When I was a kid in art school, at the Kubert School in the ’70s, we would sit around, and we would go, “These superheroes, they’re so infantile. If someone just approached them with the depth of a modern science-fiction novel, like Isaac Asimov or Stanislaw Lem, one of those guys, it could be really amazing.” I think Alan and his partners were the ones that first pulled it off, with Marvelman.

[...] Have you stayed in touch with Alan Moore at all?
Rick Veitch: Oh yeah, yeah. We talk all the time. It’s been fantastic working with him. It’s been sad seeing some of the shit he’s had to deal with, because of his stardom. He’s a lovely guy. He’s always amazing. I’m quite fortunate to have worked with him.

DC just introduced two America’s Best Comics characters into their mainstream universe: Tom Strong and Promethea. Will yours and Alan’s character, Greyshirt, do that anytime soon? Or is he safe from the corporate clutches?
Rick Veitch: I don’t think it’s safe. I think all of them might get inhaled, but I have to go back and revisit the contracts and talk to DC’s legal about what it all means. I’m not sure yet. I haven’t really dug into it. I doubt Greyshirt is one of the first ones they want to get in there, because I think Tom Strong and Promethea were the star characters. I hope they don’t, I really do. I think it’s not good, how they have treated Alan and his creations. I wish, especially … Actually, I probably shouldn’t say anything. Other than to say, I wish they’d leave Alan alone and let him be creative.

[The complete interview is available here.]

Feb 9, 2018

Alan Moore by Robert Hack

Art by Robert Hack.
Above a shamanic portrait of Alan Moore by comic book artist and illustrator Robert Hack.

More info about Hack at his website (here) and Twitter page (here).

Feb 2, 2018

Moore on artists, books, music, movies and TV shows

Excerpt from an interview published on Inside The Rift the 8th of January 2018. 
Full interview available HERE.

Prox: Are there any artists, books, movies/TV shows or music you’d like to recommend to the readers?
Alan Moore: I hardly ever watch movies or television, but I very much enjoy the work of Andrew Kötting (Swandown, By Ourselves), Ben Wheatley (Free Fire, High-Rise, A Field in England), and the increasingly rare outings of Chris Petit (Radio On, The Falconer). On TV I really liked the two seasons of Utopia, am always delighted when Stewart Lee gets a new series of his Comedy Vehicle, and continue to be very impressed by the writing of Vince Gilligan on Better Call Saul. The contemporary art world I know almost nothing of, but Jimmy Cauty’s dioramas of urban collapse and a coup d’état Police force are sobering and wonderful in equal measure. Books make up the greater part of my relatively few leisure activities: I would heartily recommend Iain Sinclair’s The Last London, and I’m eagerly anticipating both the follow-up to Michael Moorcock’s Whispering Swarm – one of the best things he’s ever done – and the final volume of Brian Catling’s hallucinatory Vorrh trilogy. I’ve also recently enjoyed a beautiful and compelling account of rearing a goshawk, Helen Macdonald’s H is for Hawk, which turned up in the mail from an unknown benefactor, and am currently engrossed in Jane Jacobs’ masterful contrarian view of urban planning, The Death and Life of Great American Cities. Oh, and anybody out there who has not yet absorbed Jarett Kobek’s i hate the internet should do so immediately if they hope to ever understand our current ridiculous historical predicament.
Musically, I remain an ardent admirer of Brian Eno – his version of the Velvet Underground’s I’m Set Free on The Ship is tremendous – although I’ve also rather taken to the Sleaford Mods. And you should watch out for a young rapper/performance poet operating under the handle of Testament. I had the good fortune to be sharing a bill with him some months ago, and his reinterpretation of William Blake’s poem London was nothing short of transporting.

[Full interview available HERE.]