The Sinister Ducks

The Sinister Ducks.

Track A: March Of The Sinister Ducks.

Track B: Old Gangsters Never Die.

Format: 7". Situation Two, UK. August 1983.

More details HERE.

Dispelling Northampton's veil of anonymity

The Show is... coming soon! Photo by Mitch Jenkins.

Excerpt from an article published today on BBC.com, here.

Alan Moore: [...] Everything in the film is a product of Northampton and my imaginations from living there for 65 years. I wanted to capture the oddness of the town and its importance. The film presents an alternative Northampton. 

My hope is that the film will dispel... [Northampton's] veil of anonymity.

Alan Moore in New Scientist

Moore portrait by Mitch Jenkins.

New Scientist issue 3207 (cover date 8 December 2018) includes a two-page article by Rowan Hooper under the headline “Magic and science fuel Middle England cult hero”.

Below some selected excerpts. 

Alan Moore: [...] Magic, in a certain sense, is the palaeontology of science. It’s where science comes from. [...]

Science is the most beautiful and elegant tool that humanity has yet developed with which to actually investigate the physical universe, to measure it, to test it. Science evolved out of magic. [...]

[Talking about Eternalism] If you think that every second is eternal, don’t do anything that you can’t live with forever. [...]

The Show... coming soon!

Posted the 11th of December on Facebook Alan Moore Official Page:

Although this is my first attempt at working seriously in cinema, the audience may want to know how it connects with my just-recently-concluded comic book career. The answer, as I see it, is “not very much at all”: this is completely fresh, with staggering new possibilities for mesmerism and immersive storytelling.
Then again, those seeking bleak dystopias in my narratives will be relieved to learn that this, occurring in the recently collapsed town of Northampton, is a fine example, with as many otherworldly characters as one might reasonably expect.
And yes, there is a superhero, but not like you think.

This hasn’t been adapted from work that was never meant for cinema; this is me and the talented, fantastic people that I’m working with, attempting to make the most stunning piece of British film that anyone has seen in years.

This is The Show, and we’re doing it right here.

 
Alan Moore

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.

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

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.

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.

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.

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.

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.