Allusion to Alan Moore’s prickly relationship with the company— Moore is “unavailable” for comment at time of press and/or declines to comment. Maybe, maybe he says something pithy like “All of those characters are already dead to me. I’m busy writing a 10,000 page poem about a molehill’s evolution over 20,000 years. But why doesn’t anyone working in comics have their own ideas, I wonder?” (Jason Aaron tells him to fuck himself again 4 months later, then goes back to architect-ing X-Men vs. The Hulk crossovers).
[moore] Alan Moore’s alternative Thought for the Day … Broadcast yesterday on Radio 4’s Today Programme … ‘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 gak in the gox. And you know, it doesn’t matter if they don’t want to go gak in the gox, they have to go gak in the gox.’
[comics] Full and Uncut Interview with Alan Moore … the full text to a abridged interview in the Independent published online … ‘Comics is great if you’re working with an artist that you’ve got respect for and you’re working in a situation where there aren’t the arbitrary demands, just the general bullshit of the comics industry to deal with. I think that me and most of the artists that I respect, we’re too old for all that. We’re old, we’re tired [laughs], I just simply cannot be putting up with the petty interference that is part and parcel of the entertainment industry.’
…More than 100,000 of the £4-£7 masks sell every year, according to the manufacturers, with a cut always going to Time Warner. Does that irk Moore?
“I find it comical, watching Time Warner try to walk this precarious tightrope.” Through contacts in the comics industry, he explains, he has heard that boosted sales of the masks have become a troubling issue for the company. “It’s a bit embarrassing to be a corporation that seems to be profiting from an anti-corporate protest. It’s not really anything that they want to be associated with. And yet they really don’t like turning down money – it goes against all of their instincts.” Moore chuckles. “I find it more funny than irksome.”
[comics] ‘Superheroes are our dreams of ourselves’ … Alan Moore interviewed by the Independent … ‘He stepped away from mainstream publishing and film royalties: an act of artistic integrity that has seen him branded as everything from eccentric to bitter. Eccentric perhaps, in the way that writers often are, but bitter? Certainly not. The man that greets me is warm and affable, and delighted to be asked to talk about one of his favourite works, The League of Extraordinary Gentlemen. It’s a series he says is dear to his heart, particularly those more recent episodes published by the independent Knockabout Comics.’
[comics] V for Vendetta masks: Who’s behind them? … ‘Anybody watching coverage of the demonstrations may have been struck by a repeated motif – a strangely stylised mask of Guy Fawkes with a moustache and pointy beard. Wikileaks founder Julian Assange arrived at the Occupy London Stock Exchange protest to make a speech wearing one of these masks. He took it off, reportedly at the insistence of the police.’
Kevin O’Neill: It’s a pity we couldn’t have used Marvelman, ‘cause I always liked him when I was a kid, I thought he was a fantastic character, but it’s… it’s one of those characters that is now almost toxic, anyone who touches Marvelman, it’s like a curse, you know, you just want to pass it straight on, which is a terrible state of affairs for the character to end up in.
Pádraig: As I said, I’ve researched the thing in enormous detail for the past several years. The book was going to be called Poisoned Chalice, because both Alan and Neil refer to it as a poisoned chalice in different interviews I saw, and now I find that my own curse of Marvelman…
[Earlier I had mentioned to Kevin that the book I’ve written on Marvelman is now without a publisher, as MonkeyBrain Books, who had contracted to publish it, were taking a break from publishing, at least for the time being, leaving it without a home for the moment.]
[comics] Masked Anonymous Protesters Aid Time Warner’s Profits … ‘The mask resonates with the hackers because it was worn by a rogue anarchist challenging an authoritarian government in “V for Vendetta,” the movie produced in 2006 by Warner Brothers. What few people seem to know, though, is that Time Warner, one of the largest media companies in the world and parent of Warner Brothers, owns the rights to the image and is paid a licensing fee with the sale of each mask.’
[comics] Alan Moore Takes League of Extraordinary Gentlemen To The ’60s … yet another wide-ranging interview with Alan Moore … ‘My position on punk was that I loved the music and I wanted to be involved in it. But unlike some of my associates, I wasn’t going to go out and get my haircut or spiked up. This was their generation, they were all much younger than me, and they deserved to explore it in their own way. Of course, I found out later that John Lydon was about, what, eight months younger than me! [Laughs]’
[comics] Grant Morrison: My Supergods From The Age Of The Superhero … Grant Morrison Chooses His Favourite Superhero Moments … On Marvelman: ‘There are beautiful sequences where the superheroes are escorting Thatcher out of No 10 and she’s sobbing helplessly: suddenly there’s this new power that bombs can’t stop, weapons can’t stop. The whole last issue is this fabulous liberal fantasy of what the good guys would do if they got in charge and got rid of all the bastards! I like it much more than Watchmen; it was a real triumph for lefties everywhere!’
[comics] “When I first heard about virtual reality I thought: is there any other kind?” … Alan Moore interview from the New Statesman … Moore on Books: ‘I accept that things change and that the future of reading might be in the form of a Kindle or an iPad, but somehow I tend to think that the book is perfectly adapted. It’s like a shark; sharks haven’t evolved in millions of years because they don’t need to. They’re really really good at being sharks I think the same is true of a book.’
[comics] Boy From The Boroughs … Alan Moore interviewed by Pádraig Ó Méalóid … ‘I would have been basically going through all the decades of her life, with her getting older in each one, because I liked the idea, at the time, of having a strip in 2000AD with a seventy or eighty year old woman as the title character.’ (Moore on the uncompleted books of Halo Jones)
[comics] Bill Sienkiewicz speaks about Big Numbers #3 … ‘But with Big Numbers one of the demands – prerequisites – I’d placed upon myself was to work almost exclusively from the model as possible. I was going for as great a degree of illustrative photographic verisimilitude as I could muster. Dammit, I was going to adhere to the accurate reference no matter what. It was, in retrospect, a vain attempt to control everything – everything – completely, as things swirled and collided in midair all around. This was my Stanley Kubrick period. Of course, the more I tried to control everything, the more Real Life kicked my ass. Up and down the Route 95 corridor.’ [thanks @slovobooks]
[comics] Seasonal Gift From A Famous Resident … ‘Alan Moore, who is well known for his work in graphic novels, including Watchmen, V for Vendetta and The League of Extraordinary Gentlemen, is donating 300 Christmas hampers to residents in sheltered housing in Spring Boroughs, which is the area he grew up in, and to the homeless drop-in centre at the Salvation Army.’ [via @joekeatinge]
[comics] Tom Spurgeon On Alan Moore’s Interview About Watchmen And DC … ‘If Alan Moore thinks every single writer in comics today sucks balls, if he thinks the worst of the best, if his reputation is slightly diminished today in part because of an unsuccessful movie adaptation with which he wanted nothing to do, and even if he lends himself to wisecracks about his hair and his religious practices and his apparent drug use, none of that changes for one second his lamentable experiences with one of its major publishers. Alan Moore has earned his frustration, his suspicions and his occasional flashes of anger. He should be listened to and learned from, not dismissed and certainly never mocked.’
[comics] Alan Moore Gets Psychogeographical With Unearthing … Wired Interviews Alan Moore … ‘If you are brought up in a neighborhood that resembles a rat trap, pretty soon you are going to come to the conclusion that you are probably a rat. If on the other hand you have got to the tool of psychogeography — or poetry, to give it a less trendy and more accessible name — then you can look at the ordinary world around you with the eye of a poet. Finding events which rhyme with other events, what little coincidences or connections can be drawn to these places and people. You can put them into an arrangement that says something new about them.’
[comics] The Complete D.R. & Quinch … a review of one of Alan Moore’s early works from 2000AD … ‘It’d be hard today to convey the level and nature of the excitement readers felt in 1984 when a fresh new talent — an author — blew into the company town, overhauling a run-of-the-mill commercial comic, revitalizing it completely and, in the process, making it utterly his own. Who was this guy? Where had he learned to write like that?’
In the past I’ve tried to say, ‘Look, we are all crappy superheroes,’ because personal computers and mobile phone devices are things that only Bat Man and Mr Fantastic would have owned back in the sixties. We’ve all got this immense power and we’re still sat at home watching pornography and buying scratch cards. We’re rubbish, even though we are as gods.
[comics] The Unpublished Moore … a comprehensive list of the the Alan Moore’s whims, unfinished scripts and lost work … ‘Cerebus #301 Status: Unpublished. I believe a full script exists for this one (which involved Cerebus being summoned during a seance in the modern day), but it was intended to be a Moore/Bisette/Veitch project, and is unlikely to appear now due to ill-will among the creators.’
[comics] Kevin O’Neill Interview [Part One | Part Two | Part Three | Part Four | Part Five] … huge interview covering O’Neill’s 40 year career in comics … ‘What Robocop did by beating Judge Dredd to the screen was it stole the best of Judge Dredd, and when they made the Dredd movie, they were then worried about being compared with Robocop! So they took out all the black humor and all the satire, and their emasculated movie was almost a Judge Dredd movie, but not quite. Robocop was a more energetic movie. We did hear there were piles of 2000 ADs in the production offices. That does kind of show, doesn’t it?’ [via Metafilter]
[moore] A YouTuber Sums Up Alan Moore: ‘Sheesh. I keep trying to read his stuff, but I swear Moore is like the messiah of all who would get beat up in middle school. Thus he is against confident sexy women who flirt, confident athletic men who are badass and don’t need permission to kiss a woman, anyone who can fight or kill, anyone who knows they look good…. He is for anyone who can play the tuba, is gay, has bad hair, has a bad complexion, has frizzy hair, is socialist… it gets old.’
[moore] Comics Won’t Save You, but Dodgem Logic Might … an Alan Moore interview in Wired … ‘I think the comics medium could play a big part in addressing our problems. It’s such a wonderful medium. You can talk about anything, and talk about it in a very powerful and informative way. I’d like to see comics become a medium in which new ideas could be expressed in new, compelling forms, but I don’t really see that coming from the industry’
[comics] A Review Of Big Numbers #3 by Alan Moore & Bill Sienkiewicz … ‘The opening chapters of his From Hell and Watchmen are compelling, but no one could guess those works’ ultimate richness from those chapters alone. The same would have been all but undoubtedly true of Big Numbers. The third chapter brings a fuller understanding of what was lost by the failure to complete more than a quarter of the book. The failure is beyond a disappointment; it’s about as close to an artistic tragedy as one can imagine.’
[comics] Alan Moore’s Youngblood Proposal … more notes from Moore on how to revamp some of Rob Liefeld’s Awesome characters … ‘Before I get onto the details of the first issue, however, I’d better run through some of my thinking on the restructuring of both the book and the Youngblood team into something at once new and at the same time “classic,” whatever that means in a field that produced Brother Power, the Geek…’
[books] Michael Moorcock, Alan Moore, Iain Sinclair … notes from a talk the three writers gave in London last night … ‘Alan Moore discusses deadlines, and the frenetic life-style involved in popular writing. To be a periodical writer becomes your life. [..] Alan Moore says “Stuff leaks in from the future.” Alan Moore talks about sleep deprivation. Alan Moore says that craft becomes less conscious.’ [via Moleitau]
[comics] Steve Bissette on the Creation of Swamp Thing #20 … Part 1, Part 2, Part 3, Part 4, Part 5, Part 6 … a long multipart post (including many pages from the script!) on the first issue of Alan Moore’s run Swamp Thing. It’s an interesting issue – it was produced under considerable deadline pressure and has never been reprinted much because it’s a transitional issue as Moore deals with the plot the previous writer had left him with and sets up stage for the next issue – The Anatomy Lesson. [via Metafilter]
[comics] Jess Nevins annotations for League of Extraordinary Gentlemen – Century 1910 … ‘Panel 6. “Misplaced memorials.” I trust one of my British readers can fill me in on what Moore is referring to. Is there a misplaced memorial at King’s Cross? There are memorials to veterans of World Wars One and Two–anything else? “Forgotten fires.” I’m assuming this is a reference to the King’s Cross fire on 18 November 1987, which killed 31 people in the King’s Cross St. Pancras station. I’m not particularly sure why this counts as “forgotten”–even I, American that I am, knew about it. (Is the King’s Cross fire memorial plaque in the station misplaced somehow?)’
[comics] Alan Moore’s Glory Notes … a proposal from Moore on how to revamp one of Rob Liefeld’s Awesome characters … ‘I suppose this as good a time as any to discuss my ideas about how the sexuality in Glory should be handled. As with my notes on Youngblood, my central idea is to prime the story with plenty of open spaces for the readers’ filthy, disgusting thirteen year old minds to inhabit… which is only natural… without doing anything that is anything other than entirely innocent and in keeping with classic comic tradition. I think the word for our best approach is “disingenuous”.’