Mar 30, 2012

AM Portrait: The League of Extraordinary Characters

Art by Matt Kindt
From the Alan Moore: Portrait of an Extraordinary Gentleman book (2003, Abiogenesis Press), a funny 2page strip - titled The Animated Adventure of The League of Extraordinary Characters of Alan Moore - featuring a lot of Moore's characters written and drawn by the great MATT KINDT. It was originally printed at page 294 and 295 of the original volume. Posted on this blog with the kind permission of the author. Thanks Matt!
Art by Matt Kindt
Matt Kindt is the Harvey Award winning writer and artist of the comics and graphic novels MIND MGMT, Frankenstein: Agent of S.H.A.D.E., Revolver, 3 Story, Super Spy, 2 Sisters, and Pistolwhip. He has been nominated for 4 Eisner and 3 Harvey Awards (and won once). His work has been published in French, Spanish, Italian, and German.

Mar 27, 2012

AM Portrait: Lost Girls

Art by Andrea Accardi
From Alan Moore: Portrait of an Extraordinary Gentleman tribute book (2003, Abiogenesis Press), a beautiful portrait of Lost Girls by ANDREA ACCARDI paying homage to Alan Moore and Melinda Gebbie's pornographic masterpiece. It was originally printed at page 277 of the sold-out volume.

Andrea Accardi is an Italian comics artist, especially known for his collaboration with writer Massimiliano De Giovanni on the grahic novels Barcode (2006), Matteo e Enrico (2007) and Il Viaggio di Akai (2010) published in Italy by Kappa Edizioni.
He also drew some issues of the popular John Doe series and the graphic novel Hit Moll written by Luca Enoch (2011, BD Edizioni).

Mar 9, 2012

Alan Moore and the giant hypermoment of space-time

Alan Moore by Gilbert Hernandez (from Comics Interview N. 65)
Excerpt from the New Stateman interview conducted by Helen Lewis Hasteley.
Read the complete interview here.


And you talk about "disproving the existence of death".
I thought that seemed a substantial project for my declining years. There's a lot of other stuff in the book but one of the central theses is based upon my ruminations about mortality and time.
It seemed to me that if I understood people like Stephen Hawking correctly, this meant that we are living in a universe that has at least four dimensions. I was talking to a string theorist and he reckons possibly 11.

Funnily enough, I interviewed Brian Greene recently. He says they're all curled up like a pile on a carpet.
Little crumpled-up dimensions that are hidden inside the ones that we're familiar with. I think there must be at least four and if that is correct, the fourth dimension is not some mystical plane. It is a dimension, just like the other three. It is a physical material dimension.
When Einstein talks about space-time having a curvature, then since space-time includes the three dimensions that we're familiar with, that kind of implies that it must be curved through the fourth one, so that suggests that the fourth dimension as I understand it is not time. But it is our perception [of] the passage of time -- the universe is a four-dimensional solid in which nothing is moving and nothing is changing.
The only thing that is moving through that solid along the time axis is our consciousness. The past is still there, the future has always been here and, in this gigantic solid, every moment that has ever existed or will ever exist is all existing conterminously at the same moment.
In this giant hypermoment of space-time -- and that includes all of the instants that make up our individual lives -- it seems to me that nobody is going anywhere. Think about a standard journey through the third dimension: you're in a car driving down a street, say. Now those houses behind you are vanishing; you can't see them anymore. But you don't doubt that if you could reverse the car, those houses would still be there.
The thing is, our consciousness is only moving one way through time. We can't back up. But I believe that what physics tells us is that those moments are still there and I believe that when we get to the end of our lives, the 70 or 80 years of our life is just physical dimension . . . It is how "long" we are in time and when our consciousness gets to the end of our life, there's nowhere for it to go other than back to the beginning.
That we have our lives over and over and over again an infinite number of times and, each time, we are having exactly the same thoughts, saying exactly the same things, doing exactly the same things as we were doing and saying the first time. If it's even meaningful to talk of a first time.
I thought I'd thought of this idea myself because I was a genius . . . It turns out that the Pythagoreans had some sort of version of a great recurrence. They were basing it upon the idea that when this universe ends, because time is infinite, then there are bound to be other universes and, since those universes are finite, there will eventually be another universe exactly like this one, which I don't really think holds up scientifically.
Whereas this idea of the dimensionality of our existence, it does hold up. I can't see a way around it that doesn't involve completely contradicting one of the main conceptual lynchpins of modern physics and, halfway through Jerusalem, I came across this beautiful quote from Albert Einstein that completely summed up everything that I was trying to say but very eloquently and at a lot shorter length than three quarters of a million words.
He was apparently consoling the widow of a fellow physicist -- this was only a couple of months before Einstein's own death -- and he said: "To a physicist such as myself, death isn't really a big thing," and I'm paraphrasing now. He said: "Death isn't really a big thing because I understand the persistent illusion of transience."
I thought that the "persistent illusion of transience", that says it all. The persistent illusion that things are going away. People, times, places, I don't believe they are [going away]. I think that in a certain sense, every moment is eternal. I'm not trying to make a religion out of this and you'll notice that this doesn't require a God.
So it's not really an afterlife; it's just your life. It's a nice, secular idea of continuity that I think is scientifically credible. And whether it's true or not, that wouldn't be a bad way to live.

I have to say that the idea I'm quite taken with is the infinite multiverse, where everything happens somewhere. Every action you make.
I find that a horrible idea, because doesn't that kind of [imply that], everything that you do, there's another you that's done it better.

Yeah, but there's another me that's done it worse.
That's true, so at the end of the day, it sort of reletavises all morality or action out of existence..
I remember reading a story by Larry Niven, who's an author that I don't really like, but he's talking about a private eye who's investigating a wave of suicides and he eventually connects all this up to an announcement in the press that parallel worlds are definitely real, that there is an infinite array of parallel worlds in which an infinite number of versions of you exist. And he's sort of thinking about that and thinking maybe that's what's caused the suicides.
[There is] a kind of existential despair at the thought that however well you do, there's a million other yous that are suffering in horrifying circumstances and a billion other yous who did much better. He's thinking about this and he takes out his gun from the desk and he puts it against his temple and he holds it there for a second, and then he thinks: no, no, nobody kills themselves for an obscure philosophical point.
And he puts the gun away in the drawer again. And he pulls the trigger but the gun doesn't fire. And he pulls the trigger but the bullet shoots up and ricochets against the ceiling. And he pulls the trigger and blows the top of his head off. And there's just this array of different outcomes at the end of the story, all of which are happening in one parallel world or another.
A lot of people have found the idea of living your life over and over again absolutely terrifying; there's some people that find it very comforting. There are others that are appalled by it.

I don't mind it as long as you don't know.
This is the beauty of it. Another aspect of this belief is that there is no free will. Which is something that I've noticed cropping up a lot in the New Scientist recently. The idea that we live in a deterministic universe.
I've got a scene in my book where one of these symbolic, pool-playing, working-class, angel-type figures is talking to one of the more human figures and the human is asking the -- we can't call them "angels", they're not like angels on Christmas cards, they're a bit more substantial -- but a human is talking to one of these celestial builders and says: "Look, did we ever, any of us, really have free will?" And the angel shakes his head and says: "No . . . Did you miss it?" Then they both laugh.
As far as I can see, it's not important that we have free will, just as long as we have the illusion of free will to stop us going mad. We do have the illusion of free will. It feels like we are having each moment for the first time, that we could've done anything, that we could've said anything, but that isn't the way that science seems to be heading.
My favourite scientist, largely based on the fact that he's got an incredibly cool name, is a guy called Gerard 't Hooft. He's working upon a theory that he says we cannot test yet because we do not have tunnelling microscopes to test it, but what he proposes is that there is a layer more fundamental than the quantum layer, that all of the features of the quantum uncertainty that are so strange and peculiar are all resolved as if they'd never been there, which would completely match up the classical model [of physics] and the quantum model. The only problem with this is that if there is no quantum uncertainty then there is no free will.
So, there seem to be a few vectors that are heading that way and they've been debating [over whether] if we found out that there was no free will, wouldn't that mean that we'd all just go on a rampage? The simple fact is, most people would be predetermined not to believe [that].

Feb 27, 2012

Supreme is back!

Supreme N. 63. Cover by Erik Larsen.
Supreme is back! The character, relaunched in the '90ies in an acclaimed run by Alan Moore, will be back this April with issue N. 63.  
Erik Larsen will draw (with assistance by Cory Hamscher) the last unpublished script written by Moore and then the series will continue with Larsen providing both scripts and layouts, with final art by Hamscher.

In the following an excerpt from a CBR interview with Erik Larsen (dated 30th of January 2012).

At least the first issue is being drawn from an Alan Moore script that was still on file. Is there more than just the one? How will the story proceed past that point?
There was one script and it was left on a complete cliffhanger. Alan had intended this to be his last issue and for it to feed into the next guy's run. My impression was that he was going to either plot it or guide it after this issue but he really left it on an edge-of-your-seat cliffhanger so the next guy had a guaranteed audience. There's no closure here -- you can't walk away after reading Alan's last issue and feel it's a good place to stop.

The script obviously wasn't written for you and Moore's known to have incredibly complex panel descriptions, so what was it like drawing his scripts? It must have been challenging considering it was written for another artist and he tends to be incredibly descriptive in his panel descriptions.
[It was] absolute hell. He does not write to my strengths and there were all kinds of things he asked for which were a pain in the ass to draw -- there were panels with multiple things going on in the foreground and background and I spent a lot of time combing over other issues looking for reference. It was easily the most difficult script I've worked from. It was torture.

I had the option of not using it, actually. Alan had written scripts for a few Extreme books including "Youngblood" and "Glory," which weren't being used, and it was thought that it would be better to start fresh -- but I really wanted what I did to spin out of what Alan did. What better way than to draw his final script? On both "Youngblood" and "Glory" Alan had barely gotten started but he'd had a rather lengthy run on "Supreme," so it made more sense to use his script and jump off from that. I'm glad I did it and I'm glad it's behind me. My hat's off to anybody who's been able to work with Alan over the years. I have nothing but respect for those people.
Larsen's sketches

Feb 9, 2012

Watchmen 2: they did it!

from nerdreamer
The 1st of February, DC Comics officially announced (after several unofficial rumours) the Before Watchmen project to be published during this summer. It will be composed by 35 issues focused on events happened before the original Watchmen. More details about BW can be read here.

As reported online by the NYT, Alan Moore's reaction has been very direct and clear, as expected. “I don’t want money,” he said. “What I want is for this not to happen.”

On the contrary, Dave Gibbons was more "diplomatic". He said in a statement: “The original series of Watchmen is the complete story that Alan Moore and I wanted to tell. However, I appreciate DC’s reasons for this initiative and the wish of the artists and writers involved to pay tribute to our work. May these new additions have the success they desire."

The only member from the original Watchmen creative team involved in BW will be colorist John Higgins who will draw some issues. Furthermore, original Watchmen editor Len Wein will contribute as writer.

Jan 31, 2012

League: Century N.3 - 2009


In CHAPTER THREE, the narrative draws to its cataclysmic close in London 2009. The magical child whose ominous coming has been foretold for the past hundred years has now been born and has grown up to claim his dreadful heritage. More here.

Jan 25, 2012

20th Anniversary Watchmen tribute: Adrian Veidt

Art by Luca Enoch
In 2006 I edited "Watchmen 20 anni dopo", an Italian Watchmen tribute book which was basically a collection of 12 brand new essays by well known comics experts analyzing Moore & Gibbons masterpiece in the occasion of its 20th anniversary. The volume was published by Lavieri with all net profits donated to AIMA, the Italian Alzheimer organization. 
The book also contained a 24 illustration gallery: above you can admire a very intense portrait of Adrian Veidt, the man behind Ozymandias, drawn by the amazing Italian author LUCA ENOCH.
So enjoy and...  many thanks to Mr.Enoch for his permission to post his illustration here!

Luca Enoch is one of the most well-known and popular Italian comics artists and writers. Some info, in English, about Enoch can be found in Lambiek Comiclopedia. He is currently working on his sci-fi series Lilith for SBE and on several other projects and stories.
More news and info about Luca Enoch at his Italian blog: here.

Jan 12, 2012

AM Portrait: Master of Reality

Master of Reality by T. Faraci (story) and P. Frisenda (art)

As I previously wrote, the Alan Moore: Portrait of an Extraordinary Gentleman tribute book also contained some comics short stories. 
Some contributors played with Moore-related characters and concepts but others had Moore himself as "special guest" of their story. The last one is the case of Master of reality (with an obvious reference to the Black Sabbath's album too), the 2page story shown here, created by acclaimed Italian artists Tito Faraci (writer) and Pasquale Frisenda (art).

It's a silent story full of "Easter eggs" in each panel. For example in the opening one you can see a lot of characters from the ABC line such as Promethea and some LXG members (on the left), Tom Strong (on the center) and Top 10's Toybox and Smax. Have fun trying to find them all! :)

The story can be read at page 100 of the sold-out volume and it appears here on AMW with the artists' permission. Again, many thanks to Mr. Faraci & Frisenda for their great contribution to the Alan Moore: Portrait.
Master of Reality by T. Faraci (story) and P. Frisenda (art)
Tito Faraci is one of the most appreciated, popular and prolific Italian comics writer. He worked for Disney Itay and penned stories for best selling series such as Diabolik, Dylan Dog and Tex (Sergio Bonelli Editore). He also wrote a bunch of Marvel superheroes stories and his Daredevil/Capitan America one, titled Dead On Arrival, was also published in the USA market. Recently his horror novel, Oltre la soglia, has been published in Italy by Piemme. 

Pasquale Frisenda started his career in the 90ies. Then he became part of the art team at work on Sergio Bonelli Editore series such as Magico Vento (he also provided covers for the series) and Tex, drawing in 2009 the acclaimed annual Patagonia.

Jan 1, 2012

Alan & Glycon wish you a Happy 2012

Art by  Frank Quitely (via Bleeding Cool)
From BBC Radio 4's Thought For The Day slot (Dec 31, 2011).
I discovered the transcript at Forbidden Planet blog.
You can hear it, directly from the voice of the Bearded One, here. :)

And, of course... HAPPY NEW YEAR!

Hello everybody, my name’s Alan Moore, and I earn a living by making up stories about things that have never actually happened.
When it comes to my spiritual beliefs that’s perhaps why I worship a second century human headed snake god called Glycon, who was exposed as a ventriloquist’s dummy nearly 2000 years ago. Famed throughout the Roman Empire, Glycon was the creation of an entrepreneur known as Alexander the false prophet, which is a terrible name to go into business under.
A live, tame boa constrictor provided the puppet’s body, while its artificial head had heavy-lidded eyes and long blond hair. In many ways Glycon looked a bit like Paris Hilton, but perhaps more likeable and more biologically credible.
Looks aside, I’m interested in the snake god purely as a symbol, indeed one of humanity’s oldest symbols, which can stand for wisdom, for healing, or, according to etho-botanist Jeremy Narby, for our spiralling and snake-like DNA itself.
But I’m also interested in having a god who is demonstrably a ventriloquist’s dummy. After all, isn’t this the way we use most of our deities. We can look through our various sacred books and by choosing one ambiguous passage or one interpretation over another we can pretty much get our gods to justify our own current agendas. We can make them say what we want them to say.
The big advantage of worshipping an actual glove puppet of course is that if things start to get unruly or out of hand you can always put them back in the box. And you know, it doesn’t matter if they don’t want to go back in the box, they have to go back in the box.
Anyway, thank you very much for listening and from both me and Glycon, a very happy new year to you all.

Dec 15, 2011

AM Portrait: SandokAlan

SandokAlan by D. Barzi (story) and Oskar (art)
The Alan Moore: Portrait of an Extraordinary Gentleman tribute book I co-edited in 2003 with Gary Spencer Millidge contained a wide variety of material - such as essays, appreciation texts, memories, homage illustrations, interviews, and so on - to celebrate the 50th birthday of Alan Moore.

There were also some comics short stories included in. Some contributors were thrilled by the idea to play with Moore-related characters, so the book was enriched by a bunch of comics that paid homage to characters created by Moore, moments from Moore's stories or had Moore himself as the main character.
Italian artists Davide Barzi (story) and Oskar (art) created a very funny 2page story (titled SandokAlan) which did homage to The League of Extraordinary Gentlemen series featuring Moore himself. It's was a "strange" Moore because he has been mashed-up with Sandokan, a classic hero created by Italian writer Emilio Salgari.

The story can be read at page 38 of the sold-out volume and it appears here on AMW with the artists' permission. Again, many thanks to Mr. Barzi and Oskar for their great contribution to the Alan Moore: Portrait.
SandokAlan by D. Barzi (story) and Oskar (art)
Davide Barzi is a well-known Italian comics writer, journalist and critic. He worked for several Italian comics publishing houses and he is a regular collaborator of Sergio Bonelli Editore.

Oskar started his career as penciler and inker in the 90ies and worked on the popular Italian series Alan Ford. He collaborated with Barzi on several projects; currently he is a member of the art team at work on SBE's science fiction series Nathan Never.

Dec 6, 2011

The Honest Moore: OWS, Frank Miller & Politics

An amazing Alan Moore portrait by Diego Maia
Read The Honest Alan Moore interview: Part 1 - Part 2 - Part 3

With the Occupy movement, it seems you and Frank Miller have conflicting views. Would you say that he’s against it and you’re for it?
Well, Frank Miller is someone whose work I’ve barely looked at for the past twenty years. I thought the Sin City stuff was unreconstructed misogyny, 300 appeared to be wildly ahistoric, homophobic and just completely misguided. I think that there has probably been a rather unpleasant sensibility apparent in Frank Miller’s work for quite a long time. [...] 
It’s always seemed to me that the majority of the comics field, if you had to place them politically, you’d have to say centre-right. That would be as far towards the liberal end of the spectrum as they would go. I’ve never been in any way, I don’t even know if I’m centre-left. I’ve been outspoken about that since the beginning of my career. So yes I think it would be fair to say that me and Frank Miller have diametrically opposing views upon all sorts of things, but certainly upon the Occupy movement.

As far as I can see, the Occupy movement is just ordinary people reclaiming rights which should always have been theirs. [...] I think that the Occupy movement is, in one sense, the public saying that they should be the ones to decide who’s too big to fail. It’s a completely justified howl of moral outrage and it seems to be handled in a very intelligent, non-violent way, which is probably another reason why Frank Miller would be less than pleased with it. I’m sure if it had been a bunch of young, sociopathic vigilantes with Batman make-up on their faces, he’d be more in favour of it. We would definitely have to agree to differ on that one.

What do you think needs to change in our political system?
Everything. I believe that what’s needed is a radical solution, by which I mean from the roots upwards. Our entire political thinking seems to me to be based upon medieval precepts. These things, they didn’t work particularly well five or six hundred years ago. Their slightly modified forms are not adequate at all for the rapidly changing territory of the 21st Century. [...]