Aug 3, 2021
Aug 2, 2021
Much as he tried to ignore it, Hollywood kept plucking at Moore's coat sleeves. When DC sold the film rights to Watchmen, Terry Gilliam was hired to direct - until, after a meeting with Moore, he rightly concluded that it couldn't be done. Not quite getting the message, when DC sold the rights to
Batman they came to Moore for advice on that, too.
"I was introduced to Tim Burton," recalls Moore. "He bought me one of those big two-pint schooners of lager. I liked it because of the size, it gave me a kind of Norse god sensation. He asked me how I would handle the filming of Batman. I told him the most important thing to get right was the city, to make it a strange collage of different architectural styles. He listened very attentively; he went away and made Batman and I got my two pints of lager."
Extra source: here.
Aug 1, 2021
Jul 31, 2021
[...] Moore is also looking ahead to reuniting with Dave Gibbons, his partner on the landmark Watchmen project, for a proposed CD-ROM project based on all-new material.
"The CD-ROMs out there now are impressive in their own sort of way," says Moore. "Myst [for example] is good, but the imagery has a kind of airbrushed blandness to it. The Residents' CD-ROM is brilliant--they strike me as artists who are heading in the right direction.
"But what impresses me more is the stuff that's not being done. There's not been any real attempt to make use of the hallucinatory possibilities of computer art. You think: 'What would Magritte have done, or Escher have done--what would an artist have done rather than designers or illustrators? What would people with some real soul and passion have done?'
"To me, the CD-ROM, or 'virtual reality,' is just a gross physical representation of something we've had all along. A book is virtual reality, music is virtual reality. It's just that with electronic virtual reality you're more immediately wrapped up in it--you don't have to use your imagination so much.
"It strikes me that the only thing you can't do to someone who is in your virtual reality is to touch them. So therefore, most people have the illusion that they are completely safe in a virtual reality-- without stopping to think that most of the things that affect us most in life are not physical events. Most of them are events that occur within our heads, because of our experiences. Therefore, I think that with the right way of thinking about these things you could make a CD-ROM experience that could be quite genuinely moving, genuinely powerful, genuinely affecting.
"We want to do something as far above most CD-ROM experiences as Watchmen was above most superhero comics. Whether we'll achieve that, I don't know, but that's what we're aiming for."
And then, in a mock-spooky voice, Moore confides, "And I wouldn't be surprised if what we do is very spooky."
Jul 30, 2021
Jul 29, 2021
Newsarama: Our next “bonus round” question comes from Joe Hill, author of Heart-Shaped Box and the comic series Locke & Key.
Alan Moore: Another very, very good author. I read Heart-Shaped Box and thought it was a splendid book. I was very impressed with it.
NRAMA: Joe writes, “In a recent interview on the subject of episodic television, you said writers working on a continuing series ought to have an ending in mind, that they should know what they're building towards.
“With LoEG - or with any of your stories - do you work backward from a known ending then, or do the characters lead you naturally towards a conclusion you didn't expect? To put the question another way: you've sometimes discussed fiction as a form of magic. With that in mind, do you always get the demon you planned to summon, or are there sometimes surprise visitors?”
AM: Well, I think all of that is true. It’s like, yes, I do generally at least have a vague plan before I commence a narrative. Back in the day, when I was starting out, I used to have everything planned out and nailed down. With Swamp Thing, before I started writing every issue, I had an idea of what was going to go on every page and how it would all tie up.
As I did it issue-by-issue, I had an idea of where the overall narrative would be going. I can’t claim to have had the entire Swamp Thing story worked out from issue #1, but I had an interesting idea about redefining the character that I thought could take in into some interesting territory, so I left that fairly loose.
The other books up through Watchmen, From Hell and Lost Girls…I had everything in place, but that still leaves an awful lot that is open to change. Just because you’ve got a rough idea of where the plot’s going, that doesn’t tell you how you’re going to express those ideas, or what you’re going to make of them.
And so, with Lost Girls, I knew from my first conversations with Melinda that it was going to take place in a series of 38-page episodes, and that the plot outline would be building up to these three climaxes at the end of the three books that would end up with the First World War.
But in writing the book, so much rich material starts to emerge, so that as long as you’ve left yourself room to tie it back in, it will probably fit with your original conception of the book. I don’t think I’ve ever done anything where I came up with an ending that I completely hadn’t expected, but there have been plenty of times where I was pleasantly surprised by something that had been there potentially in my approach to the story all along.
There were very, very nice bits in the bit I’m working on now, Jerusalem. There were elements I threw together into the original mix. But the original mix was basically 35 story titles! I’ve got a vague idea of what’s in each chapter, and a vague idea of the order the chapters would be appearing in, and therefore roughly what this vast novel would be about. But it’s only with this current chapter, 25, that I’ve comprehended the entire shape of this enormous thing, I’ve realized the scope of what I’m doing.
That, in itself, has changed the shape of these final 10 chapters. I didn’t know when I started out that I’d be writing a chapter in an approximation of James Joyce’s language, because it’s a story about his daughter. It wasn’t until I was halfway through this chapter that I realized the next chapter would be about the development of economic policy, since Isaac Newton was put in charge of the mint.
I think that the important thing is, in my experience as a writer, I’ve come to recognize a workable skeleton, just by sight. I can see that yeah, this story, it’s got four legs, it can stand up, it can move, it’s articulated in the right way. What the flesh will be like, and the eventual meaning of that flesh will be, that’s a surprise that I probably won’t know until the end. I won’t know what Jerusalem is exactly until I’ve finished the last page and the last revisions.
But it’s a mixture of those things. I do like to have enough of the story worked out so I can trust my abilities as a writer to finish the story in a way that is satisfying to me and the reader. But I do like to leave room open for serendipity, because it happens a lot, and it can be so wonderful. Leave yourself the space for that, but do it within a predetermined structure. It’s the best of both worlds, really. Leave room for nice surprised, but try to get rid of any nasty surprises before you commence the narrative.
Jul 26, 2021
|Art by Alex Maclean|
“Everybody talks about storytelling these days. Brands have stories and people need to know them, but to what end? Too often the audience is expected to be passive recipients of your latest viral. I’m interested in the lightbulb moment, when something in that narrative clicks. When the audience is inspired or empowered with knowledge or motivation to do something worthwhile. Stories can change behaviour as well as entertain. Alan Moore has been a favourite of mine since I was a teenager, captivated by his visual storytelling.” - Alex Maclean
Jul 25, 2021
Here's a sampling of what other creators say about Watchmen 10 years later.Neil Gaiman: "I was astonished by its sheer technical bravura as well as Alan Moore and Dave Gibbons' willingness not to make a big deal out of how impressive it was. If Watchmen has a problem, it's that they didn't realize how big it was going to be. Their rigid and brilliant structure didn't give them enough room to change, and the story outgrew its structure. They started off telling the ultimate superhero story, but it got bigger than that. As a result, it's ultimately less satisfying than it could have been."
Alex Ross: "It showed that something really epic and pure could be created in a multi-character, multi-part storyline. But its importance is not so much in its scale but in its execution and the intelligence with how it was created. It inspired a lot of my thinking today on superheroes. In fact, I went to some Halloween parties dressed as Rorschach."
Mark Waid: "Watchmen was a masterpiece of plot structure. Everything meant something, and everything advanced the story. It's lean and cuts right to the bone, which should be the ultimate goal of any story."
Kurt Busiek: "It raised the level of discourse because it was so well-made. It was thought through on a level that comics hadn't reached before. And we can't hold Alan and Dave responsible for their cheesy imitators. They did something new, interesting and clever, and writers who were inspired by that should have done something else that was new, interesting and clever."
Ron Marz: "Combined with Dark Knight, it reignited my interest in comics, because it showed the possibilities inherent the medium. There are a lot of children of Watchmen out there."
Chuck Dixon: "It was part of an era in which comics were raised to a new level of maturity, and I don't mean just nudity and graphic violence. There was a lot of subtext and deft characterization. We need another Watchmen, something to cut through the clutter." CS
Jul 24, 2021
Jul 22, 2021
|Mercury on a bronze coin|
[...] So, what do you practice?Alan Moore: Qabalah is one. It's part of the Western occult tradition. It includes all of the religious systems: Greek, Egyptian, Norse, Christian, it's all there. It's seen as a map of the universe on one level, but it's also seen as a map of you, the individual. I might do a ritual that involves the god Mercury. You can have a dialogue with that energy, that cluster of ideas we label with the name Mercury.
You've had a conversation with the god Mercury.Maybe. During the experience, you believe you are actually talking to a god. Who's to say if you are, or if you're not? I've tried to keep an open mind about it. I tell myself, "On one level, this is a hallucination. This is an element of my own personality, some subconscious element of myself." On the other hand, I also have to allow that this might be something completely beyond my personality, a higher entity. I mean, if it barks like a go and smells like a god, it's probably a god. [Laughs][Laughs] At least you have a sense of humor about it.You have to. Most of this is a lot less dramatic than you'd suppose. It's reading a bunch f books, and every three months or so, doing a working. We'll do a proper ritual working, something peculiar will happen, and then we'll get our strength back in a few months and do it again.
That dispels the image some readers have of you--- that you're some kind of unapproachable "goth genius." I bet they get it from that black-and-white photo of you. You look dangerous.[Chuckles] Ah, the photo. That's all [photographer] Mitch Jenkins. He always goes for the dark, scary look. I don't know. To me, my life is completely normal. I have no desire to have a dark allure. I have my hair like this because, frankly, I think it looks gorgeous. [Laughs] Those rolling, natural highlights, you know.But I'm sure that looks dangerous to some people. And from experience, I know if they met me in some foggy circumstance, they'd find me a bit alarming.
You have a great "Alan Moore looks like the bogey-man" story, don't you?[Laughs] I remember walking through a park here in Northampton --- a park notorious for its muggins and the like --- during a foggy night. I heard some guys coming, probably from the pub or something, and I knew our paths would intersect. They were loud and boisterous. We finally crossed paths in this fog, and they stopped dead in their tracks. I kept walking. Finally one of them gave this nervous laugh.
Did he say anything?Yeah. He said, [in a fearful voice] "I didn't know what it was."
Jul 21, 2021
Jul 18, 2021
|Art by Carlos Dearmas|
Jul 13, 2021
|Art by Brad Tuttle|
Jul 12, 2021
Alan Moore: "[...] On one level Big Numbers is trying to make comics' fans realise that they don't have to be bitten by a radioactive spider or born with a mutant X gene to be interesting, that everybody around them is much more interesting than any superhuman.
Superheroes are very flat characters who demand simple motivations, driven psychotic vigilantes can only have two dimensions, they are not as interesting as the person you'd meet at the bus stop. I've always been against the idea of escapism even when I was doing things like Swamp Thing.Now I'm asking - why have the superhero in the first place? Why not just talk directly? And that's where I am now. I've gone completely off fantasy and science fiction. I've got to the stage where the real world seems so fabulous and fascinating and intricate and marvellous, that it almost seems an insult to reality to invent anything."
Jul 10, 2021
Jul 8, 2021
|Art by Luca Rossi|
Jun 30, 2021
The book, compiled by writer and producer Paul Goodenough, will include more than 120 stories on environmentalism from celebrities, scientists, comedians, charities, activists, and artists.
Goodenough said: "We are uniting the most important environmental voices on the planet: from indigenous people to activists, from storytellers to celebrities, and helping them collaborate to craft moving comic stories."
Besides Moore, confirmed contributors include Ricky Gervais, Cara Delevingne, Taika Waititi, Patrick Stewart, Jane Goodall, Lenny Henry, Yoko Ono and Peter Gabriel among others.
"The publication of The Most Important Comic Book on Earth is a significant part of a broader, cross-charity campaign called Rewriting Extinction, founded by Goodenough,” DK explained. “Working with charities including World Land Trust, The Wildlife Trusts, Reserva YLT, Born Free, Rewilding Europe and Re:wild, the project aims to raise awareness and fundraise for conservation projects around the world.”
The Most Important Comic Book on Earth will be published on 28th October in the UK and the 2nd November 2021 in the US and Australia.
Jun 29, 2021
Jun 23, 2021
|Art by Wagner Willian|
|Art by Wagner Willian|
Jun 22, 2021
Jun 20, 2021
Jun 17, 2021
Alan Moore: [...] I did have a vague idea that at one point, I remember talking to Rick Veitch: "Wouldn't it be cool if we maybe did a run of SUPREME where Supreme decides to journey to the absolute limits of reality?" Not just to the end of the universe but the limits of reality to try and find out about the nature of this strange form of reality that his universe existed with these constant revisions and the existence of Supremacy and things like that. And I got some mad idea--I don't know how I would have tied it in--that wouldn't it be cool if Supreme reached some place at the end of the universe and went into this room and there was Miracleman and maybe Rick Veitch's Maximortal and two or three other kinda clones of existing super-heroes, all trying to find the answer to the same problem, "Where are we? What are we?" That was the last time that I actually thought maybe it would be fun to have Miracleman turn up in a story. But that's never going to happen.
Jun 16, 2021
[...] The histories that we were taught in school were gold and ermine histories, the self-penned chronicles of church and state, of kings and generals, of misjudged wars, successful persecutions, hamstrung dynasties, that all too often seemed like a list of mankind's stumbling blocks more than a proud recounting of its progress. When we look back at our culture's high points, at its noblest achievements, we do not in general count coronations, bloody feuds or holy wars amongst that company. The things we generally cherish as a species, unsurprisingly, seem not to be the grand and glorious campaigns that waste us in our thousands, in our millions, but instead the things that make the often-gruelling human trail sweeter: music and art and writing, medicine and learning, and those fruits of science that are not poisonous and do not too severely disadvantage us. [...] When we search for names to make us proud of our humanity and of our heritage, the likelihood is that the name we seize upon will be a person born to modest circumstance.
The poor, we're told, are always with us, although one would never think so from the reconstructed dramas we call history. History turns the poor into a nameless herd of unpaid and uncredited film-extras with no speaking part, to cannon fodder or to scabby Bastille mobs, to people whose lives came and went and never merited a cameo from Winslett or DiCaprio. To people like our parents or our grandparents or great-grandparents or however far one has to scramble arse-first down the family tree before one reaches hard black dirt. Didn't their lives, their stories, count for anything? Are they to be excluded from the homo sapiens account simply because they were not born into a noble lineage most likely founded upon murder, incest, treachery, decapitation? [...]
Instead, perhaps we should attempt a different history, a different narrative where even those not blessed by ruthlessly acquisitive blood-genealogies may be included. We should count small human victories as dearly as we count the sinking of armadas, and elect our own dishevelled heroes and aristocrats, our monarchies without a pot to piss in, our own vagrant kings.
In this astonishing and heartfelt graphic novel, James Vance and Dan Burr have rescued a lost butt-end of discarded history, an edited-out sequence from the Souza pageant of the great American success tale. [...]
In America, the moment that has come to be iconic as an image of rock-bottom destitution is the Great Depression of the 1930s: sepia lives, dust-saturated, frozen into sepia pictures, newsreel breadlines, but of course that's only half the story. [...] During the Depression, quite a lot of it was going to the entertainment industry, especially those sections of the entertainment industry that dealt in fantasy. [...]
Kings in Disguise closes the circle, the direct descendant of an industry whose boom years were those times that people were most desperate to escape from into dreams of romance and empowerment, using comic strips to tell a story that portrays the grim realities that underlay the times when comic strips were born.
James Vance writes with a naturalism, with an honest voice that doesn't wear its research on its sleeve, and with a finely tuned eye for the human nuances on which his story rests. [...] Dan Burr's compelling art, as masterful and unassuming as the best of, for example, Harvey Pekar's worthiest collaborators, is the writing's perfect complement. It has an earthy strength and functionality, just as the writing has, that doesn't leave room for the least manipulative smear of sentiment, but which leaves all the open space for poetry that anyone could wish. [...]This is simply one of the most moving and compelling human stories to emerge out of the graphic story medium thus far. [...]
Jun 10, 2021
|Art by Gianluca Costantini|
The black and white illustration has been included in the Italian edition of Alan Moore: Portrait, published by Black Velvet in 2003. A color version is available here.
For more info about Gianluca Costantini, visit his Official page
Jun 9, 2021
Jun 7, 2021
Alan Moore: [...] I’d really like to write an enormous poem. Something with clout. On the scale of TS Eliot’s Waste Land, only probably nowhere near as good. I’d like to give it a try.
And I might even play around with film. On an amateurish level and it wouldn’t see the light of day, and it wouldn’t be treated as a commercial project. It would just be me having fun, playing in a new playpen, with a camera and some friends. Most of my favourite films look like they cost ten quid to make.
Alan Moore’s movies… now that would be something.
Alan Moore: I believe there’s a straightforward inverse equation that applies not just to films but lots of areas, and that is the inverse relationship of money and imagination. If you haven’t got any money then you’re going to have to use an incredible amount of imagination. Whereas if you’ve got tons of money, you’re not going to have to use any....
Jun 6, 2021
|Art by Jesse Lonergan.|
Jun 1, 2021
[...] Gore: In Watchmen you make references to media and its power in today's society. Do you feel one must become media-literate to survive in the eighties?
Moore: Certainly. I'd go further than that... I think there's a need for people to understand that the media is reality in the twentieth century. Everything we do or think or feel is in response to our media, so that in effect we have become a function on the media. The vocabulary of attitudes we use when fucking are largely derived from porno. Our moral and social attitudes come from bad films and crappy comic books. If you watch a brutally insensitive T.V. news interview with a woman who's just lost three children in a bus crash, you'll find it difficult to avoid the awful conclusion that the tearful woman's emotional responses are not totally derived from soap operas. The media is the world. I wish more artists understood this, the sheer scale of what they're fucking with. I wish they treated it with more respect... not in the arse-kissing fashion, but in the way the lifeboatmen respect the sea. The media is bigger than the sea, having no shoreline. It can take you to fabulous places or kill you without noticing, and we should at least bear that in mind.
Gore: There are also elements of self-reflexivity, the pirate story within the story seems to be a direct address to the reader- WAKE UP THIS IS A COMIC BOOK!!! Comments?
Moore: With Watchmen being the most controlled project I'd ever attempted, I wanted to exploit the virtue of comic books I noted earlier... namely, that one can create material that is as (if not more) dense and intricate as a fairly complex novel, while retaining the visual appeal and flow of a film. Since the reader is in control of the "playline time", they are able to take in levels of complexity that other media would have difficulty in matching. The pirate story grew out of this... a device which reflected the main story obliquely while adding a whole new level of depth and interplay to the narrative. In a different setting it could easily have been, say, a T.V. show, so really I wouldn't say it was attempting to be self-referential. If it did constantly remind viewers they were reading a comic, then I made a serious cock-up and I apologise.
[...] Gore: Do you want to write film scripts?
Moore: No. I wrote "FASHION BEAST" for Malcolm McLaren, just to see what it was like, but I personally feel that comics are a much more exciting and vital as a medium. As I said earlier, unless you really want to do it all yourself, like Clive Barker's doing with "HELLRAISER", then the film industry is so incredibly compromised that, to me at least, it seems to have little future.
[...] Gore: Watchmen reads like a good film, many cinematic devices are used: cross-cutting, flashbacks, even devices involving sound. Do you have an interest in films that goes beyond a mere novice viewer?
Moore: Not really. The relationship between comics and cinema is fairly obvious, and over the years it's been seen as the height of comic storytelling to be "cinematic". This strikes me as a dated attitude that can at best produce films that don't move and are harmed by the comparison. I'm much more interested in exploiting the differences between comics and cinema, in locating those effects that are unique to the medium and thus helping to stake out the artistic territory that belongs to comics alone.
[...] Gore: What do you think of current cinema?
Moore: I don't see very much. Most of what I see doesn't interest me.
Gore: Any favorite films?
Moore: If you mean recently, I enjoyed Repo Man, Brazil, Insignificance, and a couple of others. Jim Jarmusch looks interesting, but I imagine that most of the really interesting stuff passes me by completely. Oh... I'm looking forward to Brian Eno's video accompanying the ambient piece "Thursday Afternoon"... it sounds like a moving painting that shifts very slowly and very subtly. Obviously, this has a completely different function to most cinema, or indeed most music videos, but I'm fascinated by the thinking behind it. As far as older films go, any list would be fairly random... O Lucky Man, Spider Baby, It's a Wonderful Life, Eraserhead, old Fleischer and Iwerks cartoons, The Phibes movies, Scorpio Rising, 5000 Fingers of Dr. T., King Kong, The Tingler, Dr. Caligari, Dead of Night, The Tenant, Night of the Hunter, Daniel and the Devil, Videodrome.
Gore: What films have influenced your work?
Moore: All of them, including the bad and dull ones. Bad art, really bad useless shit art, is important as a negative influence, and as such is probably more important as an influence than good art, which can only lead to emulation. Bad art shows you what not to do. And that's absolutely vital.
Gore: What films do you make reference to in Watchmen?
Moore: Not many, and they aren't of much importance-
This Island Earth, Things to Come, Day the Earth Stood Still, and an old Outer Limits episode, "Architects of Fear" with Robert Culp. If there's more, I've forgotten them.
[...] Gore: What is your involvement with the Watchmen film, currently in progress?
Moore: They asked me to write it, but I was too busy with comic work and had to say no. Also, since in my limited experience it's practically impossible to ensure creative control over the work unless you have the energy and the inclination to direct the thing yourself, which I don't, then I wasn't very keen to work in the film industry anyway. In comics, I write a script, it goes to the artist, the letterer and so son, but what comes out the other end is what the artist and I wanted to see there. In films this doesn't seem possible. A script will go through numerous rewrites by different people, will be furthered altered by the director or the cast, and what finally appears on the screen will only have accidental similarity to what was originally written. Thus, it doesn't really matter who writes the thing- the end result will be a committee decision, and I don't do art on that basis. Watchmen, if it gets made, may be a wonderful film or a complete fuck-up. The outcome seems fairly random to me, and if it's the latter result, I'd rather it was somebody else who fucked it up and not me. [...]
May 26, 2021
|Marvelman by Barry Windsor-Smith|
The intelligence and perspicacity of Alan Moore's MARVELMAN was responsible for bringing me back into the field of comics. For that, I'm torn between loving and hating him. I've admired all of Alan's work from the 1970s to the present, with the ABC line.
May 23, 2021
May 22, 2021
There's a writer that I'm quite keen on - Alan Moore. And an artist I'm partial to - Steve Parkhouse. Together they make a combination never bettered. I loved the series back when it first came out in Warrior. This collected and added-to edition only arrived in the post today and so far I'm loving it just as much. I've never met Steve. If I ever did I'd tell him what a big fan I am of his superlative art. Littered, as it is, with a fine drizzle of ironies, scattered circumstances and serious events. If, like me, you're sick to the back teeth of men in spandex and long for stories about accountancy and rent collecting - then this comes highly recommended for you.
May 21, 2021
|Vanilla Comics Magazine|
Vanilla is available as both an 80 page Physical Magazine and a Digital pdf.The Magazine costs £6.99 with £5.50 postage (UK Post Office International Standard - received within 3 - 5 working days). The Digital pdf costs £5 (file size: 17.9MB).
The Alan Moore Interview consists of 13 pages, including illustrations, and focuses on Moore's experiences with both Magic and Music.
VANILLA: What would be your earliest musical memory?
ALAN MOORE: It would probably be that strange morass of novelty songs by which children's radio in the 1950s was largely possessed. So, my earliest memories would be things like Nellie the Elephant and also much, much stranger things which nobody I've spoken to can remember; which leads me to suspect that I may have dreamed them. Those odd little songs that you sometimes remember from back then and they seem so strange by today's standards and tastes that they almost seem from a different universe.
I remember one, I Wuv You I Wuv You Said the Little Blue Man [The Little Blue Man by Betty Johnson]. It was about a woman who was plagued by some kind of hallucinatory Smurf, who apparently loved her, and it ended up with her throwing him off a building.
[...] It wasn't until the beat explosion of the early '60s that I really started taking notice, when I was about seven or eight. That was when the Beatles and The Rolling Stones and all other fantastic artists of the period were starting to emerge.
I wouldn't say that I had the best of tastes. I would buy Fabulous every week. This later become Fabulous 208; I don't know what the 208 was for. This mainly produced big colour pictures of all the top artistes of the day. So, at the age of seven or eight, I had one wall of my bedroom covered in cut-out figures of superheroes from the covers of comics and the other wall was plastered with pictures of The Swinging Blue Jeans, Manfred Mann, and some other bands which are probably forgotten. I remember Herman's Hermits being there. Cilla Black, at one point, back when she still seemed credible. I know that's a long time ago! [...]
May 16, 2021
May 6, 2021
|Art by Laurent Lefeuvre|
|Ginda Bojeffries by Laurent Lefeuvre|
|Art by Laurent Lefeuvre|
May 4, 2021
|Detail from a portrait by Farel Dalrymple|
Alan Moore [...] has signed a six-figure deal for a “groundbreaking” five-volume fantasy series as well as a “momentous” collection of short stories.
Bloomsbury, home to the Harry Potter novels, acquired what it described as two “major” projects from the 67-year-old. The first, Illuminations, is a short story collection which will be published in autumn 2022 and which moves from the four horsemen of the apocalypse to the “Boltzmann brains” fashioning the universe. Bloomsbury said it was “dazzlingly original and brimming with energy”, promising a series of “beguiling and elegantly crafted tales that reveal the full power of imagination and magic”.
The second acquisition is a fantasy quintet titled Long London, which will launch in 2024. The series will move from the “shell-shocked and unravelled” London of 1949 to “a version of London just beyond our knowledge”, encompassing murder, magic and madness. Bloomsbury said it “promises to be epic and unforgettable, a tour-de-force of magic and history”.
[...] Speaking about his book deal, Moore said that he was at a moment in his career when he was “bursting with fiction, bursting with prose”.
“I couldn’t be happier with the new home that I’ve found at Bloomsbury: a near-legendary independent publisher with a spectacular list and a fierce commitment to expanding the empire of the word,” said Moore. “I have a feeling this will be a very productive partnership.”
Apr 27, 2021
The first-ever short story collection from the beloved creator of Watchmen and numerous other classics, a beguiling series of tales on the revealing power of magic and imagination.Illuminations is an astonishing, rich and broad collection of short stories, each featuring some kind of illumination or realization. From ghosts and otherworldly creatures to the four horsemen of the apocalypse to the Boltzmann brains fashioning the universe at the big bang, Alan Moore's Illuminations is a series of beguiling and elegantly crafted tales that reveal the full power of imagination and magic.Bloomsbury Publishing - Publication date: 6 September 2022
From the beloved creator of Watchmen and numerous other classics, the Long London series is a tour-de-force that tells the story of the timeless shadow city full of magic and memory somewhere beyond the "real London."
Long London is a series about "a sometimes-accessible shadow city that is beyond time." This is a hugely inventive, atmospheric, mythical world of murder, magic and madness. It is a quintet of novels that sweeps across the 20th century, starting in the shell-shocked and unravelled London of 1949, and following the populations of writers, criminals, artists, and magicians through that familiar city and a version of London just beyond our knowledge.Bloomsbury Publishing - Publication date: 2 April 2024
Apr 25, 2021
[..] That's scripts, plural, because I also kept a copy of “Convention Tension” in the same envelope. The latter is a plot synopsis by The Author originally intended to have been illustrated by Gary Kwapisz but had been pitched to me for a later issue of Anything Goes. “Convention Tension” obviously was never realized, although I still have the plot and the envelope. But not the script to “In Pictopia.”
Brief side note: “Convention Tension” involved an apocalyptic comic book convention that, if anything, would have formed a counterpart to “In Pictopia.” If “In Pictopia” concerned an allegorical city of comic strip and comic book characters, “Convention Tension" was a bleak comedy about the current industry of characters driven by ruthless ambition, petty grievances, and life-long grudges. One of the main characters is named Byron Starkwinter, a writer who achieves fame with his creation “Mookie the Worm,” but because of incessant fan adulation and no small amount of psychoactive chemicals, eventually becomes unhinged and unable to separate fantasy from reality. [..]
Apr 21, 2021
Apr 20, 2021
|Cover art by Laurent Lefeuvre|
|Preliminary sketch by Laurent Lefeuvre|