Sep 16, 2014

Moore's Crossed +100

The 15th of September Bleeding Cool announced a new miniseries written by Moore to be published by Avatar Press. The first issue will be on the shelves in Dicember.
Moore will play in the horrorific universe of Crossed, created by Garth Ennis, with art provided by Brazilian artist Gabriel Andrade

"[...] Moore has created an entirely new world and a hundred years of “missing” history to explore the future of the Crossed outbreak, what will happen to the Crossed themselves over such a long period of time, and what fate awaits humanity after losing the basic elements of modern civilization. 

[...] Crossed: +100 features characters in a specific enclave of survivors, many of whom have never actually seen an infected Crossed individual and are seeking to build a future for themselves upon the ruins of the past. The natural world has returned to human cities in force, and humans are resorting to reclaiming basic technological advancements. Central to the narrative is Future Taylor, a female archivist intrigued by science fiction of the 20th and 21st centuries, and her struggling team of reclamation workers. When they encounter a small group of Crossed, they are troubled by the implications of proliferation from the violent and infected beings, and set out to uncover the mystery of why Crossed seem to be increasing and behaving unusually in the region. Is there really any hope for rebuilding human culture, or will the Crossed epidemic finally stamp out human evolution through the last of the straggling survivors?
Alan Moore explains the appeal of the series to him as a writer:
What kind of human future would there be at all? Would humans all be gone? Once I started thinking about this, and I checked all this with Garth, and he thought that it was logical, it seems pretty sound. So, that’s been part of the thrill of it. I think people think of Crossed as a horror story, and I can see why. It is extremely horrible. But actually I’ve always had my problems with genre, and I am coming to the conclusion that genre has really only ever been a convenience.
Now, looking at Crossed, I was actually thinking that this, for my purposes, is a horror story, but it’s also a science fiction story. I was thinking that Crossed is actually a science fiction story that has got a really, really high horror quotient. So that was the way that I started approaching it. I was treated Crossed as a “What if?” story, which is the premise of most science fiction.
Not only has Alan Moore full-scripted this contained arc of Crossed, but he has also designed every single cover of the series personally, in multiple formats. [...]

[...] more information on a special “sampler” publication that will precede the series’ arrival in shops and include exclusive artwork, notes from Alan Moore, and a first look at the series."

The complete article can be read on BleedingCool site, here.

Sep 13, 2014

Jerusalem is... finished!

From the official Facebook page for Alan Moore (here), administrated by Moore's daughter Leah Moore. The annoucement is dated the 9th of September.

The book will be published by Knockabout who co-publish all of The League Of Extraordinary Gentlemen books;  Knockabout is also managing the foreign publishing rights.

Sep 11, 2014

Alan Moore portrait by Francesco Frongia

Art by Francesco Frongia.
Above, an intense portrait of Alan Moore (with a bit of V embedded in) drawn by Italian comics artist Francesco Frongia (founder of the comics collective Mammaiuto) for my collection. 

For more information about Francesco Frongia visit his blog (here).

Sep 8, 2014

Lovecraft's entities and... psychogeography

The new annotated H.P. Lovecraft. Introduction by Alan Moore.
Excerpt from All About Alienation: Alan Moore On Lovecraft And Providence, an interview by Nick Talbot published in August on The Quietus website

"He was doing his writing where he loved the New England landscape around him, he loved its history, he loved the way it looked, he loved everything about it. In that sense he was a very provincial person. He found his stay in New York unendurably horrific. But at the same time he was keeping up with the science of the day. And he understood the implications of that science; he understood the implications of relativity; he understood the implications of the quantum physicists; perhaps only dimly, but he understood how this decentralised our view of ourselves; it was no longer a view of the universe where we had some kind of special importance. It was this vast, unimaginably vast expanse of randomly scattered stars, in which we are the tiniest speck, in a remote corner of a relatively unimportant galaxy; one amongst hundreds of thousands, and it was that alienation that he was trying to embody in his Nyarlathoteps and his Yog-Sothoths. 

[...] the anthropocentric view of the world – he saw that that was all gone. And I think tellingly he said that his entities should not be seen as evil. He said things like 'good' 'evil' 'love' 'hate' – these are all human concepts that mean nothing to the vast infinities. But as a person he loved the world around him. And he found great meaning in it and great warmth. As an intellect he understood that that area around him was just part of a gigantic chaotic meaningless random universe. And I think that in his stories of transcoding horrors manifesting in New England settings he was trying to bridge the gap between the personal, intimate human world as we know it and the vast, inhuman cosmos as we know it. Yet that's not psychogeography but its not a million miles away from it." [Alan Moore]

Aug 29, 2014

Moore's characters by Kresimir Biuk

Art by Kresimir Biuk.
Above, an illustration by Croatian artist Kresimir Biuk published in Alan Moore: Ritratto di uno Straordinario Gentleman (2003, Black Velvet Editrice, page 56), the Italian edition of the Alan Moore: Portrait of an Extraordinary Gentleman book.

The image is contained only in the Italian edition.

Aug 27, 2014

Neil Gaiman and Alan Moore: The Scorpio Boys

Neil Gaiman and Alan Moore at Moore's weeding. Photo by José Villarrubia.
Hereunder you can read the poetry written by worldwide acclaimed writer NEIL GAIMAN as contribution to Alan Moore: Portrait of an Extraordinary Gentleman, a book published in 2003 to celebrate Moore's 50th birthday.

Posted on this blog with the author's permission. 

for Alan Moore

© Neil Gaiman

The Scorpio Boys in the city of Lux sing their strange songs
and smear the windows of your car with cheap rags,piss on your doorstep.
It's lucky to see them. If you see them you won't die today.

There's an old man. He's all that stands between us and the End of the World.
The End of the World knocks on his door once or twice a week,
they have cake and tea and a chat, and crumpets in the winter, and a battle of wits.
So far the old man is winning, the world only ends every now and again.
We don't remember it ending. We're from this go around.

Oh, they stare, the Scorpio Boys, it's an act of magic of course
if you believe in them at all. If you see them you'll be lucky. So damn lucky.

Beaten up and left for dead by the Piltdown Men
singing *we are we are the Piltdown men we are we are*
they stumble down the roads of the cities of twilight
breaking bottles and puking in gutters,
someone finds you and picks you up and carries you home.
Maybe it was us. You never know.

A cigarette traces a shape in the air,
Something made out of light and smoke, so you know it's magical
someone says it's lucky and who knows what will happen?
Stranger things happen in cities. Even small cities.

Take Lux, for example: a city that isn't even there,
Like all cities it is a magical description,
a way of making impossible things happen at a distance,

like a poem or a whisper or a saucer filled with ink --
you can stare into it, or dip your pen.
Either way it will take you to invisible places,
open a door in your hearts to us,
sharp-nosed and shabby genteel, with ink-spots and cinder-burns on our clothes.

When there are enough of us, we will become a city.

Doing it because we believe in it. Because the stories need to be described.
And come to us for their faces.

© Neil Gaiman

Aug 21, 2014

Alan Moore and the gods

Glycon depicted on ancient Roman coin.

Alan Moore: In my own experience – and this is where we get into the complete madness here – I have only met about four gods, a couple of other classes of entity as well. I’m quite prepared to admit this might have been a hallucination. On most of the instances I was on hallucinogenic drugs. That’s the logical explanation – that it was purely an hallucinatory experience. I can only talk about my subjective experience however, and the fact that having had some experience of hallucinations over the last twenty-five years or so, I’d have to say that it seemed to me to be a different class of hallucination. It seemed to me to be outside of me. It seemed to be real. It is a terrifying experience, and a wonderful one, all at once – it is everything you’d imagine it to be. As a result of this, there is one particular entity that I feel a particular affinity with. There is late Roman snake god, called Glycon, he was an invention of the False Prophet Alexander. Which is a lousy name to go into business under. He had an image problem. He could have done with a spin doctor there.

Anyway, the False Prophet Alexander is a Moon and Serpent hero, a saint if you like. He was running what seemed to be a travelling Selene medicine show, he would do a performance of the mysteries of the goddess Soi. The only reference to him is in the works of Lucien, who calls him a complete charlatan and fraud. At some point, Alexander the False Prophet said he was going to preside over the second coming of the god Asclepius, the serpent god of medicine. He said this is going to happen at noon tomorrow, in the marketplace. So everyone said ‘sounds good’ and they all went down there. After a little while, they said “come on, False Prophet Alexander, where is the second coming of Asclepius?” At which point, The False Prophet Alexander bent down, reached into a puddle at his feet, pulled up an egg, split it with his thumbnail, and there was a tiny snake inside, and said “Behold, the new Asclepius”, took it home with him, where over a week it apparently grew to a prodigious size until it was taller than a man, and had the head and features of a man. It had long blonde hair, ears, eyelids, a nose. At this point he started to exhibit it in his temple, providing religious meeting with this incarnate god. At which point Lucian said, it was obvious, I could have done that. Lucian is another James Randi, you know, I could have done that, he got the snake’s head under his arm, speaking tube over his shoulder, child’s play. And he’s probably right, that’s probably how he did it. If I’m going to adopt a god, I’d rather know starting out that it was a glove puppet. To me it’s a real god, there’s nothing that precludes a glove puppet from being a real god. How else would you explain the cult of Sooty? But a god is the idea of a god. The idea of a god is a god. The idea of Glycon is Glycon, if I can enhance that idea with an anaconda and a speaking tube, fair enough. I am unlikely to start believing that this glove puppet created the universe. It’s a fiction, all gods are fiction. It’s just that I happen to think that fiction’s real. Or that it has its own reality, that is just as valid as ours. I happen to believe that most of the important things in the material world start out as fiction. That everything around us was once fiction – before there was the table there was the idea of a table, and the idea of a table before tables was fiction. This is the most important world, the world of fictional things. That’s the world where all this starts. So I had an experience which seems to be an experience of this made-up, Basil-Brush type entity. It was devastating.

Aug 16, 2014

Rob Williams and... The Fury

The Daredevils N. 11
From the sold-out Alan Moore: Portrait of an Extraordinary Gentleman book (2003, Abiogenesis Press), page 151. 

In the following you can read the contribution written by British comic book writer ROB WILLIAMS.

For more info about him and his works, visit his site: here.

Allow me to introduce you to The Fury

1983. I was 12-years-old. I liked comics. I liked bright, fun comics about super heroes who hit each other a lot. Justice League, Avengers, that type of thing. I liked Roy Of The Rovers, Whizzer And Chips and the Victor Book For Boys. I LIKED comics. Understand?

And then I got hold of a copy of Daredevils #1, and suddenly I loved comics.

Daredevils was a British black and white comic which, as well as reprinting classic Spider Man stories, also contained Frank Miller’s Daredevil and Alan Moore and Alan Davis’ Captain Britain.

Now, I wasn’t sophisticated enough at the time to work out why these stories were better than anything else I had read up to that point – I just knew that they were. In the same way that I vaguely knew at the time that I had funny feelings about Erin Grey and her tight jump suits in Buck Rogers in the 25th Century.

I knew that I liked Alan Davis’ artwork a lot. I also knew then that the Fury scared the life out of me. It still does.

Back to the future - 2003, where I’m 31, and women do not, sadly, all wear Erin Gray jump suits. Now I write comics, where I just used to just read them.

As a writer you’re always looking for a character’s high concept – to clarify for the readers what their motivations are. 20 years on, you can’t get much more high concept than The Fury.

It kills super-heroes.

It is immensely strong, utterly ruthless, with the “logic of a computer. Intuition of a dog.” It never stops. It keeps coming. “It runs like a retarded child” (Moore made us imagine how horribly it moves – how many comic writers do that?). It has a purity to it. It cares about nothing. Is distracted by nothing. It murders. It is the stuff of nightmares.

Reading the trade paperback of Captain Britain now The Fury still makes me feel like wetting myself with fear as poor Linda McQuillan did back then. It kills super-heroes? Yes. But it also made super-heroes better than they’ve ever been.