Alan Moore Archives - Robot 6 @ Comic Book Resources
After eight years, Alan Moore has completed the epic first draft of his long-discussed novel Jerusalem, which clocks in at more than 1 million words.
“Has finished the first draft of his second novel, Jerusalem,” the writer’s daughter Leah Moore announced Tuesday on Facebook. “Now there’s just the small matter of copy editing a more-than-a-million word document, and its all done.”
The Verge offers a bit of context for that staggering figure, noting that it’s the equivalent of more than two Lord of the Rings novels, or the first three installments of the Song of Ice and Fire series. The Guardian adds that it’s 200,000 words more than the Bible.
Retailing | Books-A-Million had a good second quarter, and CEO Terry Finley gives at least part of the credit to graphic novels: “We also saw strong growth in the graphic novel category, with continued success with titles related to AMC’s The Walking Dead series and a renewed interest in several manga series [that] drove sales increases.” And to boost that, the retail chain, which operates more than 250 stores nationwide, is planning Marvel promotions throughout September. [ICv2]
Conventions | Salt Lake Comic Con co-founder Dan Farr is trying to measure how much money attendees are spending. In terms of hotel beds, at least, the convention seems to be dwarfed by trade shows, but with people coming to Salt Lake City from 48 states for the recent spinoff event FanXperience, that may be changing. Still, even in San Diego, attendees spend only about $600 per person; if Salt Lake attendees are similarly thrifty, the convention may not be a significant player in the Salt Lake City convention scene. [The Salt Lake Tribune]
Like most people, I prefer not to dwell too much on Fox’s League of Extraordinary Gentlemen, the 2003 film adaptation that could only have been assembled through a game of telephone, with each person involved passing along a whispered description of the acclaimed Alan Moore/Kevin O’Neill comic until it finally reached the director.
However, Florian Liedtke appears to have given the movie a good deal of thought, or at least enough to create a video he dubs “The REAL League of Extraordinary Gentlemen.” Produced for a university project, it’s a dreamlike title sequence, using O’Neill’s art. Essentially, it’s a stylish a motion comic, set to “The Other Side” by Woodkid (with some creative, and occasionally inspired, recasting).
“Unfortunately, the curators of the exhibition ‘Comics Unmasked’ at the British Library have been overwhelmed by the Gothic vision, at the expense of every other contribution to the medium. And as creative as [Alan] Moore’s gothic is, it is still a lot less interesting than the material that has been left out of the exhibition. It is an aesthetic for adolescent boys who think that unhappy and twisted stuff is correspondingly profound, while comedy is trivial and facile. The truth is often the other way round, where horror and gore are really just sentimentality, prurient and moralistic at the same time, while comedy allows marvellous slippages of meaning that are much more intelligent [...]
The gothic does encourage some flashes of imagination, but it is quite taxing to see yet another raddled prostitute eviscerated – in spattered ink, of course – for the entertainment of troubled adolescents. How much wittier to peer through the Desperate Dan-shaped hole that Desperate Dan leaves in a brick wall – right down to the buttons on his shirt. Where are those truly subversive characters, the Bash Street Kids? They’ve been elbowed aside by the showroom dummies (an unintended self-satire) in the Guy Fawkes masks that loiter in the shadows of the exhibition, threatening nothing.”
Although not a name most would associate with the digital age, Alan Moore is nevertheless spearheading the development of an open-source app that will enable anyone to produce digital comics.
Called Electricomics, the app is described as both a comic and a free, “easy-to-use open source toolkit,” published by Moore and longtime collaborator Mitch Jenkins’ Orphans of the Storm, and funded by the Digital R&D Fund for the Arts, which supports “projects that use digital technology to enhance audience reach and/or develop new business models for the arts sector.”
Veteran British writer Steve Moore, one of the original contributors to The Fortean Times who’s also credited with teaching a young Alan Moore how to write comics scripts, passed away over the weekend at age 64.
The news was first reported this morning by Strange Attractor, a journal for which Moore regularly wrote. “Steve was a warm, wise and gentle man, with a surreal sense of humour and an astoundingly deep knowledge that covered history, the I Ching, forteana, magic, oriental mysticism, martial arts cinema, science fiction, underground comics and worlds more,” the remembrance states.
A contributor to 2000AD, Warrior and Doctor Who Magazine, Moore’s list of accomplishments includes pioneering the Future Shocks story format and co-creating “Red Fang,” “Valkyries” and Axel Pressbutton. A longtime friend of Alan Moore (no relation), he wrote “Young Tom Strong” and “Jonni Future” in Tom Strong’s Terrific Tales, as well as a novelization of the film V For Vendetta.
Retailing | Hastings Entertainment, which operates a chain of 149 stores that sells books, comics, video games and more, has announced a $21.4 million agreement to merge with two companies owned by Joel Weinshanker, president and sole shareholder of Wizkids parent National Entertainment Collectibles Association; Weinshanker already holds 12 percent of Hastings’ outstanding shares.
“NECA is a significant supplier of movie, book and video game merchandise and collectibles to the Hastings superstores, and we’ve had a close and growing business relationship with Mr. Weinshanker over the last decade,” John H. Marmaduke, Hastings’ chairman and CEO, said in a statement. “Mr. Weinshanker, through his affiliation with the estates of Marilyn Monroe, Elvis Presley and Muhammad Ali, and his company’s management of Graceland, is one of the leading drivers of the lifestyle industry, and we believe Hastings’ business will continue to benefit from our relationship with him and NECA.” Marmaduke will retire with a $1.5 million cash payout once the merger is approved. The announcement was followed by press releases from two New York City law firms that say they’re investigating the plan on behalf of Hastings shareholders. [press release]
Adele Dazeem’s Idina Menzel’s performance of “Let It Go” from Frozen is inescapable (and downright catchy), I’d somehow missed widespread speculation that the big scene from Disney’s latest animated blockbuster is an elaborate homage to the Mars sequence from Watchmen by Alan Moore and Dave Gibbons.
It’s already inspired some mashups, but now Slate’s Forrest Wickman draws our attention to one that may just erase any doubts, ending the debate once and for all (or, y’know, not): Alex Wolinetz‘s combination of the song’s lyrics with Gibbons’ panels depicting a self-exiled Doctor Manhattan. (You can see the rest of the mashup at Slate.com.)
Welcome to Best of 7, where we talk about, as it says above, “The best in comics from the last seven days” — which could be anything from an exciting piece of news to a cool publisher’s announcement to an awesome comic that came out. So without further ado, let’s get to it …
Events | The British Library is staging a “long overdue” exhibit on comics, called “Comics Unmasked: Art and Anarchy in the U.K.,” which will feature comics in a variety of genres from the 19th century to the present. Featured items include The Trials of Nasty Tales, which chronicles the 1972 obscenity trial of the editorial staff of Nasty Tales. “I went to a very traditional school where they would raid desks and take comics off to the orchard to burn them,” said Dave Gibbons, one of the contributors to The Trials of Nasty Tales. “Fast forward 40 years and they now invite me to the school to lecture on graphic novels.” The exhibition runs May 2-Aug. 14. [The Guardian]
“I announce From Hell and in short order he ‘has the idea’ for a comic strip account of a historical serial murderer. I announce Lost Girls, a lengthy erotic work involving characters from fiction, and within a few months he has somehow managed to conceptualise a Vertigo mini-series along exactly those lines. What I at first believed to be the actions of an ordinary comic-business career plagiarist came to take on worrying aspects of cargo cultism, as if this funny little man believed that by simply duplicating all of my actions, whether he understood them or not, he could somehow become me and duplicate my success. It would appear that at one stage, as an example, he had concluded that the secret to being a big-time acclaimed comic-writer was to be found in having a memorable hairstyle. Perhaps unsurprisingly, the possession of talent, hard-earned craft or even his own ideas would seem never to have occurred to him.”
– Alan Moore, delving deep into his history with Grant Morrison (such that it is), whom he refers to as “some feverishly fixated non-entity” and “my own personal 18th century medicinal leech,” who “through the early years of this present century [...] somehow managed to perpetuate his career seemingly without the accomplishment of any major or memorable works.”
The interview, conducted via email by Padraig O’Mealoid, is a fascinating and contentious read, with Moore also taking aim at journalist Laura Sneddon and The Independent. But he devotes a lot of space to Morrison.
Conventions | Complaints about comics conventions are apparently the same the world over, as a writer who attended the third annual Mumbai Film and Comic Convention (simply Mumbai Comic Con in its first year) this weekend notes, “Not to seem hypocritical, since we all tend to buy curios and the occasional t-shirt at Comicon every year, but when merchandising stalls (read: t-shirt shops) start outnumbering those which have an actual reason for being at a convention in the first place, we’ve got a problem.” According to DNA India, this year’s event saw the debut of the convention’s mascot, Wonder Bai (at right). [Think Digit]
Digital comics | Microsoft and the Indian publisher Amar Chitra Katha launched a comics app for Windows 8 at Mumbai Film and Comic Convention. “Children these days are drifting away from their Indian mythologies and stories, so this was our attempt to bring these value building stories on a platform familiar to them,” said Vineet Durani of Microsoft’s Windows Phone Business Group. [DNA India]
Marvel on Tuesday released the first preview of its remastered Miracleman #1, dividing fans with its modern coloring. Some of the comments come from newer comics readers still wondering what the big deal is about this series; surely, the “mehs” are already being prepared for the issue’s Jan. 15. debut.
Despite the updated coloring, it probably isn’t fair or even realistic to hold the series up against contemporary comics, despite Miracleman‘s significant influence on a good deal of them. Instead, it’s best to view these stories in the context of the times, which makes it easier to see why Miracleman (or Marvelman, if you prefer) is the natural stepping stone to Watchmen, and established many of the themes Alan Moore and many creators that followed him would explore in subsequent works up through the present day.
Among the relatively few fans who have read these stories, Miracleman is often held in the same regard as seminal works like Watchmen and The Dark Knight Returns. Both of those revered miniseries debuted in 1986 and caused a seismic shift in how superhero comics, and mainstream comics in general, were created and received. It’s worth noting then that a good amount of what Watchmen and The Dark Knight Returns later touched upon and accomplished had been done four years earlier with Marvelman. If it weren’t for the legendary rights quagmire that prevented those stories from being reprinted, Miracleman would almost surely be just as celebrated and commercially successful as its successors.
Following the release this morning of the preview of Marvel’s remastered Miracleman #1, CBR News Editor Kiel Phegley dug into his archives for the original 1982 color issue, by Alan Moore and Garry Leach, so we can compare and contrast (the story first appeared in black and white in 1982′s Warrior #1).
While some traditionalists may argue for the original, we can probably all agree that Miracleman’s recolored, non-purple face on the right is a great improvement. You can compare the other preview pages below.
The remastered Miracleman #1, featuring a new cover by Joe Quesada, goes on sale Jan. 15.
As if recent renewed debate about its ending weren’t enough to demonstrate that, after 25 years, Batman: The Killing Joke can still spur discussion, now new original artwork has surfaced indicating the scene depicting the torture of Barbara Gordon was initially far more graphic and sexualized.
A photo of the inked page (below, definitely NSFW) was tweeted Sunday by Bill Hynes, a former employee of Gosh! Comics in London, revealing a naked and bleeding Barbara among the montage of images shown to her father James Gordon. In the published comic, by Alan Moore and Brian Bolland, that shot is replaced by a close-up of Barbara’s face.
Bolland confirmed the artwork’s authenticity, writing on his blog, “Here’s a page I drew for Killing Joke. I drew what was in the script. That’s my job. I was asked to tone it down a bit. I don’t know how the person who posted it got this image.”
Sue of DC Women Kicking Ass notes, “This isn’t some thumbnail sketch. This is a final inked page. At least someone at DC had some sense to kill it. Because really, how can you claim a book doesn’t sexualize violence when you have stuff like that in print?”
Indeed, whether the Joker raped Barbara Gordon has been long debated, with some readers insisting the violence was physical and not necessarily sexual. This page now may cast the scene, and the already-controversial comic, in a slightly different light.