Apr 21, 2021
Apr 20, 2021
|Cover art by Laurent Lefeuvre|
The book will be published by Komics Initiative and crowdfunded via Ulule (I am sure it will be a success!).
|Preliminary sketch by Laurent Lefeuvre|
Apr 15, 2021
Apr 13, 2021
Entertainment Weekly: San Diego Comic-Con is approaching. Have you ever attended it?
Alan Moore: No…well, I mean, I stopped going in the late ’80s. I just thought, I don’t really want to do this anymore, and I don’t really see why I am doing it. I did find it a bit overwhelming and creepy.
EW: Well, you’re a god there.
AM: And this is the last way that I want to be treated. The reason that I live in Northampton is because everyone here is kind of used to me. I mean, yeah, I do get a gratifying smattering of people coming up to me in the street and thanking me for me work, and shaking me hand and just wanting to wish me well.
EW: Although if you shaved your beard and cut your hair — no one would recognize you!
AM: No one would recognize me.
EW: Would you ever do that?
AM: No, just the laziness that has enabled my beard to get to this length is not a habit that I’m going to shake now.
EW: But it would be your greatest act of magic: ”Where did Alan Moore go!?”
AM: Well, I saw the possibility, of course. I’ve always got this option. So should I need to disappear, then, if you see a sort of bald guy with a really bad shaving rash going around somewhere, then that will probably be me, yeah.
Apr 10, 2021
|Art by Jacen Burrows|
Above an amazing and hieratic portrait of Alan Moore by JACEN BURROWS, the great artist behind The Courtyard, Neonomicon and Providence books.
I am really pleased by this piece! Grazie, Jacen!
Apr 9, 2021
Not Even Legend is included in Uncertainties volume V published by Swan River Press in March. More info HERE.
Uncertainties is an anthology series — featuring authors from Canada, America, the United Kingdom, and the island of Ireland — each exploring the concept of increasingly fragmented senses of reality. These types of short stories were termed “strange tales” by Robert Aickman, called “tales of the unexpected” by Roald Dahl, and known to Shakespeare’s ill-fated Prince Mamillius as “winter’s tales”. But these are no mere ghost stories. These tales of the uncanny grapple with existential epiphanies of the modern day, when otherwise familiar landscapes become sinister and something decidedly less than certain . . .
Visit the publisher's site to order a copy: HERE.
Apr 1, 2021
Mar 28, 2021
|Asmodeus as in Collin de Plancy's Dictionnaire Infernal. Art by Louis Le Breton. |
Alan Moore: [...] I also had an experience with a demonic creature that told me that its name was Asmoday. Which is Asmodeus. And when I actually was allowed to see what the creature looked like, or what it was prepared to show me, it was this latticework…if you imagine a spider, and then imagine multiple images of that spider, that are kind of linked together–multiple images at different scales, that are all linked together–it’s as if this thing is moving through a different sort of time. You know Marcel Duchamp’s “Nude Descending a Staircase”? Where you can see all the different stages of the movement at once. So if you imagine that you’ve got this spider, that it was moving around, but it was coming from background to foreground, what you’d get is sort of several spiders, if you like, showing the different stages of its movement.
Now if you imagine all of those arranged into a kind of shimmering lattice that was turning itself inside out as I spoke to it, and I was talking to my partner at the time and sort of saying, This thing’s showing us it’s got an extra dimension I haven’t got, and it’s trying to tell me that it’s good at mathematics. [laughter] It’s vain. There’s something fourth-dimensional about this. This is all stuff I was actually saying at the time, while I was having the experience, which was pretty extreme.
Anyway. Over the next couple of weeks I started researching Asmodeus and found out that actually, yeah, he’s the demon of mathematics. [chuckles] Also there is a thing which apparently, traditionally he is able to offer one, and this is called the Asmodeus flight. This is where the demon will pick you up, carry you into the air, into the sky, and you can look down and you can see all of the houses as if their roofs had been removed, so you can see what’s going on inside them. Now that is not a description of being carried through the air. That’s not being moved into a higher physical space. That’s what things would look like if you’d been moved into a higher mathematical space. If you were actually in the fourth dimension, or if your perceptions were in the fourth dimension, looking down at the third dimension, you wouldn’t see places as if the roofs of the houses had been removed, you’d see around the roofs of the houses. [chuckles] In the same way that if you imagine a race of completely two-dimensional creatures living on a sheet of paper, if you draw a square and then put one of those two-dimensional creatures inside it, they are COMPLETELY enclosed, because every direction in their two dimensions is shut off to them. If you then as a three dimension creature were to reach down and pick up this two-dimensional speck because you can see through the roof, which is a dimension that he hasn’t got. So, if you’re a fourth dimensional creature looking at the third dimension, you would be able to see around the walls of a sealed room. This was interesting, because it kind of confirms the fourth dimensional aspect of Asmodeus.
I did a picture, as best I could, of what I’d seen. I did that about a month after I’d had this experience. Dave Gibbons, who’s a very down-to-earth, practical man, had come up to visit me. He’d seen the Asmodeus picture that I’ve got up on an altar kind of shrine type thing, and he phoned me up a couple of weeks later, saying that he’d just got this book called Four-Space which is a book about the fourth dimension in mathematics. This is not a mystical or occult book, this is hard maths. Very hard maths a lot of it, certainly beyond me. But at the end of the book, the guy who’s put it together gets a little bit playful and just decides to have a little bit of fun with speculation, because whereas all of the book has been hard mathematical facts, in the last chapter he lets himself be a little bit speculative and he sorta says, “Alright, if there was such a thing as fourth-dimensional life, how would this appear to us? Well my best guess is that it would appear as a kind of multiple images of itself at different scales arranged in a shimmering latticework.” And Dave said that he felt the hairs on the back of his neck stand on end, because he’d seen the Asmodeus picture, which is pretty much exactly that! [...]
Mar 22, 2021
|Art by John Coulthart|
For more info about the artist, visit his blog HERE where you can also find several entries related to Moore.
Posted on this blog with the author's permission. Grazie, John!
|Art by John Coulthart|
Mar 19, 2021
Mar 18, 2021
[James] Wills recently signed the bearded comics legend Alan Moore, writer of Watchmen, V for Vendetta and From Hell, among other landmark works. Moore has never had an agent, and given his famous public disagreements with filmmakers on how they have adapted his stories, perhaps he should have. At any rate, Moore has written some prose works—a collection of short stories and Long London, a series of speculative novels—which at this writing Wills is auctioning in the UK.
Wills says: “You might think I’m paying homage or cosplaying Alan with this [motioning to his hair and beard]. I’ve represented his daughter Leah Moore for many years and I’ve never done the hard sell with Alan, because I knew that he was going to do what he wanted to do—and he said he didn’t believe in agents. Which is a shame, because maybe some things would have been different, but I’m glad to represent him now. But with these stories and series of novels, he just knew that he had something special.”
More info HERE.
Mar 16, 2021
|Art by Danijel Žeželj |
The original is "A4 format, black ink, white and blue acrylic on paper."
Grazie, Danijel, for such an amazing illustration!
Mar 14, 2021
|Art by Rick Veitch|
Some time ago, I wrote about a lost Moore and Veitch's project...
In the past days more details and character sketches have been revealed by Veitch himself on his Facebook page: they clarify a bit the situation but, at the same time, "invalidate" part of the previous info I had. In any case, it's something that will remain unrealized. But... who knows?
Rick Veitch: "[...] It was a giant project called "Superverse" that included knock-offs of every superhero ever made. Sort of like "League of Extraordinary Gentlemen" but with long underwear guys.[It was] probably 8 or 9 years ago. [...] post ABC and integrated with THE SHOW, the film Alan and Mitch Jenkins were trying to finance. Alan's idea was to create products that would be in the movie but also exist in the real world.[...] There was no written outline. Everything done over the phone so I've forgotten many of the story details. There were a bunch of character sketches though.
[...] It was a many worlds story. With a very young brother and sister split up and living in different universes as Thunderman and Thundergirl each unaware of the other until...
Mar 11, 2021
|Art by John Coulthart.|
Alan Moore's first prose novel, Voice of the Fire, is getting a 25th anniversary edition. It will be out in May, co-published by Top Shelf Productions in the United States and Knockabout in Britain, with a stunning new cover by John Coulthart (see above and below).
John Coulthart: [...] I liked the original cover but felt it made the novel seem too much like something by Henry Treece or Alan Garner, with no indication of more recent history. A stained-glass window seemed like a good solution to the problem of how to bring together so many disparate elements into a single design. Stained-glass windows are often things from the distant past still visible in the present day, and they have the additional convenience of being a single container for many small pictorial details.
My design doesn’t attempt to illustrate all the characters or events from the novel but shows the more salient moments together with smaller details, some of which (the noose, for example) appear in multiple chapters. [Read more here.]
More info HERE too.
|Art by John Couthart.|
Mar 9, 2021
|The Ballad of Halo Jones audio adaptation.|
"Featuring Sheila Atim as Halo Jones, alongside Ellie Kendrick, Kemah Bob, Michael Fenton Stevens and Yaz Zadeh, with an exciting accomplished cast, existing fans of Halo and newcomers alike will be transported to The Hoop and beyond in an immersive listening experience like no other."
More info about the character HERE.
Mar 4, 2021
Mar 3, 2021
Mar 1, 2021
Feb 23, 2021
a video chat that Moore did in 2012 with the contributors of Harvey Pekar statue. The video is available HERE.
"[What's] on my left hand?" [...] the one on my left hand is my, my lovely wedding ring, that I designed myself on the back of a receipt. I'd originally asked for one big vulgar opal that I could show off to everybody but they could only get me two tear-shaped ones and then they couldn't figure out how to work them into a coherent design so I did the... the caduceus there.
"What's my current favourite word?" Sesquipedalian, because it's one of those few words which refers to itself. What it actually means is having a fondness for obscure and difficult words. So, sesquipedalian, that's my, my word for today.
[...] "You said that the work of Harvey Pekar was very important for you, but it looks very different from your work, so he talks about his life while your stories are about heroes, magic, historical characters. What is the link between you and Pekar's work?"Well there's a few incredibly strong links. Um... for one thing, Harvey Pekar is one of the very very few blue collar talents in the comic book field. Um, this is not to say that, er, people from the middle classes don't do wonderful comics, of course they do; but my own personal background is very much rooted in the English working classes, and something about Harvey's perspective always rang so true to me; er, that the sincerity, the honesty of it, the, the crystalline honesty of it that was as clear as water - that, these were all things that impressed me immensely, that he was able to talk about working class life with such a lucid voice. And, the other thing, um, would be Harvey's attachment to the location in which he lived; his love of Cleveland, for the ground upon which he was standing, which could be anywhere. It could be Northampton, it could be the places that, that you all live. We should value the, the humble streets and boulevards an' houses that surround us. They won't be there forever, and they have incredible histories tied into them. Um, we should value them, we should protect them, and we should celebrate them in the way that, that Harvey did - just the ordinary human lives that are going on in these places. I think that, for my part I want to celebrate the same things as Harvey, but Harvey's voice was not mine. Um, we've got distinctive voices, and for my part I would rather do something like Jerusalem, where there is an incredible amount of autobiographical stuff in it; although I'm dressed up so that nobody re-recognises me. This is an old trick of mine as anybody who read Big Numbers would be painfully aware. You know, I like to appear in drag, um, so as not to disrupt the narrative, but, yeah, so there's, there's autobiographical stuff about me, about my family, and about the - more importantly about the history of the neighbourhood in which I grew up. Um, it's expressed in terms of fiction. It's got all of the, the usual extravagant fictional devices that people might have come to expect of me so it's got a few monsters 'n' things like that in - no superheroes or at least not yet. I'm a few chapters away from the end so I suppose anything could happen, but, yeah, it's, it's that level that I connected with Harvey upon the most, that his... love and tender observations of ordinary human life, as it is lived for by far the, the largest section of the population, and for the, the town, the environment around him. That is the level on which Harvey's work probably spoke to me most profoundly.
Feb 21, 2021
|Frames from Curtis' Can’t Get You Out of My Head|
Curtis is friends with Alan Moore, the former comic-book writer, who lives in Northampton, in the East Midlands. (Moore, who describes himself as an anarchist, wrote “V for Vendetta,” “From Hell,” and “Watchmen,” but he has since disassociated himself from the industry.) During Britain’s first coronavirus lockdown, Curtis sent Moore and his wife, Melinda Gebbie, a thumb drive loaded with all his films. Watching Curtis’s back catalogue put Moore into a state that he likened to a lucid dream. “We tend as individuals to acquire a massive image bank, a massive archive of experiences and things that we’ve seen, and so the archives that Adam has access to, that’s almost like our collective cultural memory,” he said. “And, by juxtaposing those images, one with another, he makes these startling convergences of meaning, exactly like a dream does—where you perhaps don’t understand it all on first experience but where it is haunting.” Moore told me that he felt “quite neurologically fizzy” after each film. At the end of the binge-watch, he sent Curtis a postcard, comparing his work to “the kind of dream where we become aware that we are dreaming and can thus attain agency over the torrent of nonsense.”
Feb 20, 2021
|Art by DAVID ROACH.|
Roach writes: "Another Alan Moore portrait (what a popular fellow he is) allowing me to indulge in some scratchy fun! I should add that it's based on a photo taken by my talented friend José Villarrubia."
Feb 19, 2021
|The Comics Journal n.93|
Burbey: I had wondered if the title of Swamp Thing #23, "Another Green World," had been inspired by the Eno album of the same name. I think you've brought Swamp Thing down to a more human level, where the reader can more readily identify with what's happening to the characters. Despite its fantastic nature, it seems less like a "comic book" than most comics. The people and their feelings and reactions seem very important, more so than the so-called obligatory action sequences. What is your approach and attitude about writing Swamp Thing, and comics writing in general?
Moore: I suppose that overall my feeling about comic writing is that it should be a lot more effective and visceral than it is. I find myself reading humor books that don't make me laugh, adventure books that don't excite me, and horror books that don't scare me in the slightest.
I think that what's gradually happened over the last 30 or 40 years is that each of these genres have gradually built up an arsenal of cliches that have totally overwhelmed and smothered the original concepts. In humor books, for example, if you look back to Kurtzman's Mad you have something that was genuinely funny and that would actually make people laugh. Since then, however, it's as if the producers of subsequent humor mags have only had to conjure a little of Mad's style in order to evoke the appropriate response. They cram a panel with largely mundane sight gags, they assume that it is sufficient to change a couple of letters in the name of whatever they're satirizing, the pacing is always on a breathless Laugh-In level...the assumption is that if you throw in enough items that are recognizable as something approaching funny comics, then the end product will somehow be funny. It's a bit like the approach that the Cargo Cultists had to practical electronics: if you get a wooden box and stick knobs on the front then it's a radio, and who cares if it makes any noise or not.
The same thing applies to horror. It's been reduced to a form of shorthand: "If a werewolf jumps out from behind a tree and growls at the girl then this will be frightening." But of course, it isn't...the shock or horror and the similar shock of humor are to some degree based on the sudden recognition of something totally unfamiliar. A werewolf jumping out from behind a tree is such a stock image that there isn't the merest frisson of terror in it for the majority of the audience.
So, basically, what I try to do when approaching any genre is to try and sort out the original idea from the accumulated silt of tradition. It's what I tried to do when approaching the super-hero strip by way of Marvelman, and it's what I'm trying to do with the horror strip by way of Swamp Thing.
Specifically, when approaching Swamp Thing, I could see a number of problems. The first was that Len and Berni's original conception of the character, while it had worked perfectly back in the early '70s, couldn't really cut it for an '80s audience. The audience has changed, their environment has changed, and their notion of horror has changed. It's like something that I believe Stephen King said in Danse Macabre while comparing Val Lewton's Cat People to the version by Paul Schrader: he said that the reality set had changed, and that scenes that would have gripped and convinced an audience 20 years ago would be laughed out of the cinema today.
For one thing, a large percentage of our audience now has some sort of access to video equipment. If they wish, they can watch glowingly explicit films showing a woman having her nipples torn off with a pair of pliers. On a more acceptable level, they can watch John Carpenter's The Thing and see vivid, godawful weirdness far more real and far more imaginative than anything ever experienced in comics...despite the notion that comics have an "unlimited special-effects budget." You see, the problem is that while we might be able to approximate an unlimited special effects budget with our lines on paper, people like Spielberg and Lucas actually have an unlimited special effects budget.
We have to accept that this sort of stuff is what we're competing against for the attentions and money of the audience, and we have to work out what can be done about it. Now, obviously, we couldn't compete in the gore stakes even if we had any inclinations toward this area. Similarly, we can't rely upon our sense of wonder to pull us through, not when we're up against something like Poltergeist, or Alien.
For me, the only areas in which we can successfully compete are in the novel things that we can do with our storytelling that cannot be successfully duplicated by other media, and in the weight, depth, and moment of our actual stories.
This last point is probably the most important angle from my point of view...much of the culture that I find surrounding me seems to be composed mostly of flash and surface. There very seldom seems to be any sort of depth of meaning or importance to the films that I see, irrespective of how good the special effects are. This is a weakness that I think the comic industry would do well to exploit: people cannot maintain infinite enthusiasm and affection for a bunch of explosions. Sooner or later, to paraphrase a remark I believe was originally uttered by the estimable Jeff Jones, they're going to ask for a donut to go with the hole.
With Swamp Thing, we're trying the best we can to construct stories that have some sort of real human resonance and some moments of genuine unease. From my end, this comes down to what I do with the characters and how I set up the story. I find that my general line of approach is to build up the characters, often in woefully slow and monotonous sequences, so that when the action does finally arrive, the readers will have some sort of real sense of what is at stake both physically and emotionally. This isn't a perfect approach, in that sometimes I seem to end up with a story in which practically nothing happens and I plunge into a morass of guilt over not having given Steve and John anything interesting to draw. On the whole, though, I think we're on the right tack. The alternative is to cram a book with action, which, due to the fact that the characters and events that make up the action have not been properly explored, comes over as empty and lifeless.
I've no idea whether all this pretentious pondering will actually amount to anything, but it is at least an attitude. Having somewhere solid to stand is very important in the 1980s.
Feb 14, 2021
Feb 12, 2021
Feb 11, 2021
Escape n. 6, 1985.
31st August, Friday
In the morning I meet Frank Miller and we call up at the Marvel offices, a curious place. The people seem friendly enough, but the atmosphere is very different to the informal cheeriness of DC. The centre of the floor is given over to drawing boards and labouring artisans, while the offices leading off from the main area are apparently the kind that you knock and wait at the door of, before entering. This is probably simple company bias on my part, but with Marvel I did get the impression of a company who make the trains run on time. I don't seem to have an awful lot to say to Marvel and they don't seem to have much to say to me.
Afterwards, me and Frank call in at a bar and down some sandwiches and beer. Talking to him, I feel a strong affinity of approach; he tells me about his forthcoming Batman series for DC, his face contorting into the different emotions of his characters as he describes them. This is something I do myself, and it comes from a near-unbalanced degree of involvement. Frank tells me that Howard Chaykin's approach is totally different. Howard is very cool and calculating in his construction, or at least that's how it looks to me. Frank, on the other hand, has a more personal and idiosyncratic touch. Out in the street, I notice a smouldering manhole cover reminiscent of those which populate the New York of Miller's Daredevil. I point it out to Frank and tell him I thought he'd made them up. We say goodbye and I head back to the hotel to meet Karen and the Limo to take me back to Kennedy airport. We stand outside for half an hour but it doesn't arrive. Eventually, Karen has to flag down one of the killer yellow cabs. The driver is a young Hispanic guy with dripping black ringlets in the style of Michael Jackson. He says 'I'll have him at the airport twenty five minutes guaranteed, I like to move, I don't wanna wait around, you know what I mean?' SLAM! The cab takes off on two wheels and I'm splattered against its rear upholstery by the sudden G-force. Outside, the New York landscape flashes by at an oddly tilted angle. Twenty-five minutes later we screech to a halt outside the British Airways terminal. 'Course my best time is twenty minutes!'
I catch my plane. Later I look out of the window, down upon New York and it looks like either a gigantic bird-eating spider fashioned in fairy lights or a luminous man with antlers. Dinner is served. I drink a Scotch and half a bottle of wine and then fall asleep. I awake hours later, just as we approach Heathrow. We land and I make my way through customs and find Jamie Delano waiting to take me home. He asks what America was like and all I can think to tell him about is a bumper sticker that Steve Bissette saw bearing the legend 'I swerve for hallucinations'. I am utterly blank. I've left my heart in San Francisco, my tie pin in the hotel and my brains all over the back seat of a yellow cab at Kennedy airport. As of this writing, my heart has turned up in the mail and I think I can buy a tie pin just like the old one. Why are there no major comic companies in Bali?
Feb 10, 2021
|Art by Sam Kieth|
Jan 28, 2021
By comic book artist ZANDER CANNON.
From www.zandercannon.com (the site in not online anymore, sm)
What's it like working with Alan Moore?
Zander Cannon: The thing about Alan Moore's work that people usually notice is that it's easy to read. Alan has mentioned to me that he likes his scripts to be "artist-proof", a survival technique from his days at 2000 AD, when he would have no idea who would be drawing the next story that he wrote. For that reason, the scripts oftentimes seem as if Alan is hedging his bets (mentioning characters by name more often, describing an object that everyone is already looking at, commenting on the current plot development an extra couple times, etc). There are also unbelievably long descriptions for every panel on every page. He will almost always say where in the panel everything is located, including placing the characters in the same order as their word balloons. The bottom line is: Alan Moore has covered his bottom line. The story is readable almost no matter what. The real advantage to that is that as an artist getting this script, you are free (insofar as Alan Moore cares) to do whatever you want. As long as you get the basic gist of what's described in the panel, the word balloons will pick up the slack. I try very hard in my comics to make them as readable as possible and not rely on these devices, but sometimes when five things need to be happening at once, I'm awfully glad they're there. As far as what Alan is like as a person, he's awfully friendly to talk with (on the phone; I've never met him face to face), and he's enthusiastic as heck about telling stories (sometimes a smidge irritated about comics in general). He's told me some terrific anecdotes; I highly recommend working with him if you ever get the chance.
Jan 24, 2021
|Art by Daniele Caluri|
Above, cover for In principio - Storie crudeli della Bibbia, art by Italian comic book artist Daniele Caluri. The Italian 128-page volume, to be published by Kleiner Flug/Double Shot in May, contains Outrageous Tales From the Old Testament and Seven Deadly Sins both originally published by Knockabout respectively in 1987 and 1989.
The book includes stories by Alan Moore, Neil Gaiman (both writers are featured in the cover), Bryan Talbot, Dave McKean and others.
Moore's stories are Leviticus with art by Hunt Emerson and Lust illustrated by Mike Matthews.
Jan 23, 2021
Well Brian K Vaughan, co-creator of Y The Last Man and Saga, was victorious at a bid of $3433 for the faxed pages. And now he has decided to share it!
Anyway, rather than hoarding this lost treasure in my BKVault, I thought I would share it with those of you who are kind enough to donate ANY AMOUNT to Bob Wiacek's GoFundMe page (link in bio!). Please just forward your donation receipt to this email: ThanksForHelpingBobW at gmail dot com, and my correspondence wiener dog Hamburger K. Vaughan will eventually send you back a private link to a scan of the script for your personal reading pleasure. Thanks so much for whatever you can do to help, and I hope everyone is staying safe and sane out there.
More info: HERE
Jan 18, 2021
|Cover for the Italian edition.|
Alan Moore: [...] it struck me that simple capitalism and communism were not the two poles around which the whole of political thinking revolved. It struck me that two much more representative extremes were to be found in fascism and anarchy.
Fascism is a complete abdication of personal responsibility. You are surrendering all responsibility for your own actions to the state on the belief that in unity there is strength, which was the definition of fascism represented by the original roman symbol of the bundle of bound twigs. Yes, it is a very persuasive argument: “In unity there is strength.” But inevitably people tend to come to a conclusion that the bundle of bound twigs will be much stronger if all the twigs are of a uniform size and shape, that there aren’t any oddly shaped or bent twigs that are disturbing the bundle. So it goes from “in unity there is strength” to “in uniformity there is strength” and from there it proceeds to the excesses of fascism as we’ve seen them exercised throughout the 20th century and into the 21st.
Now anarchy, on the other hand, is almost starting from the principle that “in diversity, there is strength,” which makes much more sense from the point of view of looking at the natural world. Nature, and the forces of evolution—if you happen to be living in a country where they still believe in the forces of evolution, of course —did not really see fit to follow that “in unity and in uniformity there is strength” idea. If you want to talk about successful species, then you’re talking about bats and beetles; there are thousands of different varieties of different bat and beetle. Certain sorts of tree and bush have diversified so splendidly that there are now thousands of different examples of this basic species. Now you contrast that to something like horses or humans, where there’s one basic type of human, and two maybe three basic types of horses. In terms of the evolutionary tree, we are very bare, denuded branches. The whole program of evolution seems to be to diversify, because in diversity there is strength.
And if you apply that on a social level, then you get something like anarchy. Everybody is recognized as having their own abilities, their own particular agendas, and everybody has their own need to work cooperatively with other people. So it’s conceivable that the same kind of circumstances that obtain in a small human grouping, like a family or like a collection of friends, could be made to obtain in a wider human grouping like a civilization.
So I suppose those are pretty much my thoughts at the moment upon anarchy. Although of course with anarchy, it’s a fairly shifting commodity, so if you ask me tomorrow I might have a different idea.
Jan 17, 2021
Published in Escape n.5 in 1984.
Eddie Campbell: How do you feel about being considered a celebrity?
Alan Moore: I know it's a bit wingey and whiny but sometimes I wish I didn't get quite the scrutiny that I do. When I started out writing, nobody expected me to be any good, so any good stories I did were seen as being really miraculous. But now if I do a story that's average or dull, then I'm sure most people see it as the beginning of the end. In that respect the relationship between the reader and the artist gets a bit twisted. It's no longer straight communication. It's probably something you've got to put up with.
E: But would you have been happier to remain in anonymity as Curt Vile?
A: Probably not and that just exposes my basic dishonesty! I may bitch about all this, but there is something wrong with the medium at the moment. If there were more good strip creators around, there wouldn't be so much unhealthy importance attached to personalities like Frank Miller or on one level me and on another you. There wouldn't be that Messianic glee and fervour and people would be able to look at the work more honestly and judge it independently of the hype surrounding it.
E: I think that's unavoidable, that's human nature.
A: But it's not the same in literature.
E: But it's not so exciting is it?
A: No. It's the youth of the audience that makes what we're doing closer to pop music. Popular culture.
E: Then you have to accept that this is the way it's got to go.
A: Yes, we can be teen idols!
More about Escape, HERE.
Jan 13, 2021
|Art by Adam Hughes|
At the time, needless to say, we were thrilled to receive such a great contribution, AH!
Jan 12, 2021
|Art by David Hitchcock|
Above, a gorgeous portrait of Alan Moore together with some of the iconic characters he wrote or co-created, drawn by British artist DAVID HITCHCOCK.
You can identify references to: Joker, Dr. Manhattan, Rorschach, V, Sir Gull and Swampy. Well done, David! Well done!
|Making-of. Art by David Hitchcock|
Jan 10, 2021
|Jeff Lemire's shelves.|
Jan 9, 2021
|Art by André Carrilho.|
Jan 3, 2021
This April, Fantagraphics will reprint In Pictopia (without the exclamation mark), a fundamental short story written by Moore and originally published in 1986 on Anything Goes! n.2. Per Moore request his name will not be mentioned in the book.
In Pictopia is the legendary comic created in 1986, written by the era’s most adventurous mainstream comics writer and drawn by a bevy of indie cartoonists—helmed by Don Simpson, with Mike Kazaleh, Pete Poplaski, and Eric Vincent. Presented here for the first time, scanned from the original line art and full-color painted boards, in an appropriately oversized format. Pictopia is the allegorical city inhabited by old, forgotten, but once famous and iconic comics characters, now considered pitiable has-beens by the popular new comics characters who are cheerfully and inevitably taking their places in the pop culture pantheon of celebrity. It is both a paean to timeless, beloved comics characters and a scathing critique of the then-contemporary comics sub-culture.