DC Comics hat den ersten Spot zu “Before Watchmen” rausgehauen. Ich weiß immer noch nicht genau, was ich vom Projekt halten soll, werde aber wohl beim Watchmen-Prequel zuschlagen müssen. Von Comics Alliance:
The ad, released today, features semi-animated artwork from the covers and promotional artwork promoting the controversial line of prequels to the 1987 Alan Moore and Dave Gibbons classic while an appropriately gravelly-voiced actor (who viewers are meant to understand is Rorschach?) asks “What made you this way?” and then answers, “You did… and do. All of you” before an announcer declares the “comic book prequels of the best-selling graphic novel of all time” that are “available at comic shops everywhere, and digitally at DCComics.com.”
Neither original Watchmen writer Alan Moore — who has explicitly rejected the prequels and spoken at length about his problems with DC Comics — nor artist Dave Gibbons are mentioned at any point in the ad.
Alan Moore im Interview bei BBC Hard Talk, der zweite Teil nach dem Klick.
Die BBC hat Alan Moore angesichts des europaweiten Protesttags gegen das internationale ACTA-Abkommen nach einem Text über seine Gedanken zu weltweiten Protesten und Anonymous gefragt. Und der hat genau den Artikel abgeliefert, den man von einem Mann wie Alan Moore erwartet. Anarchismus, Romantik und ein Schuss Wahnsinn.
It would seem that the various tectonic collapses deep in the structure of our economic and political systems have triggered waves of kinetic energy which are rolling through human populations rather than through their usual medium of seawater.
It also seems that our character’s charismatic grin has provided a ready-made identity for these highly motivated protesters, one embodying resonances of anarchy, romance, and theatre that are clearly well-suited to contemporary activism, from Madrid’s Indignados to the Occupy Wall Street movement.
Our present financial ethos no longer even resembles conventional capitalism, which at least implies a brutal Darwinian free-for-all, however one-sided and unfair. Instead, we have a situation where the banks seem to be an untouchable monarchy beyond the reach of governmental restraint, much like the profligate court of Charles I. […]
Today’s response to similar oppressions seems to be one that is intelligent, constantly evolving and considerably more humane, and yet our character’s borrowed Catholic revolutionary visage and his incongruously Puritan apparel are perhaps a reminder that unjust institutions may always be haunted by volatile 17th century spectres, even if today’s uprisings are fuelled more by social networks than by gunpowder.
Some ghosts never go away.
DC Comics haben heute in einer breit angelegten Aktion die Watchmen-Prequels angekündigt. Dazu haben sie auf mehreren Websites von Wired bis zur New York Times Cover-Artworks und Interviews mit den Autoren gestreut, am interessantesten dürften natürlich die Rorschach und Comedian-Runs von Brian „100 Bullets“ Azzarello werden, aber auch sonst haben sie sich ein paar Schwergewichte ins Boot geholt, unter anderem J. Michael Straczynski, der in jüngster Zeit Superman Grounded geschrieben hatte (fand ich toll).
Die Prequels erscheinen über mehrere Monate in wöchentlichen Ausgaben, hier im einzelnen:
● RORSCHACH (4 issues) – Writer: Brian Azzarello. Artist: Lee Bermejo
● MINUTEMEN (6 issues) – Writer/Artist: Darwyn Cooke
● COMEDIAN (6 issues) – Writer: Brian Azzarello. Artist: J.G. Jones
● DR. MANHATTAN (4 issues) – Writer: J. Michael Straczynski. Artist: Adam Hughes
● NITE OWL (4 issues) – Writer: J. Michael Straczynski. Artists: Andy and Joe Kubert
● OZYMANDIAS (6 issues) – Writer: Len Wein. Artist: Jae Lee
● SILK SPECTRE (4 issues) – Writer: Darwyn Cooke. Artist: Amanda Conner
Each week, a new issue will be released, and will feature a two-page back-up story called CURSE OF THE CRIMSON CORSAIR, written by original series editor Len Wein and with art by original series colorist John Higgins. There will also be a single issue, BEFORE WATCHMEN: EPILOGUE, featuring the work of various writers and artists, and a CRIMSON CORSAIR story by Wein and Higgins.
Hier das Statement von Alan Moore in der New York Times (wo es noch dazu ein Interview mit Brian Azzarello gibt):
Mr. Moore, who has disassociated himself from DC Comics and the industry at large, called the new venture “completely shameless.”
Speaking by telephone from his home in Northampton, England, Mr. Moore said, “I tend to take this latest development as a kind of eager confirmation that they are still apparently dependent on ideas that I had 25 years ago.”
Comicbook Resources: EXCLUSIVE: JMS TALKS “BEFORE WATCHMEN: DR. MANHATTAN” (Interview with writer J. Michael Straczynski)
Wired: Ozymandias Cover for Dreaded Watchmen Prequel (Interview with writer Len Wein)
Hollywood Reporter: DC Entertainment Returning to ‘Watchmen’ with 7-Book Prequel Series (Interview with writer J. Michael Straczynski)
Entertainment Weekly: DC Comics to publish controversial ‘Watchmen’ prequels (Interview with writer Darwyn Cooke)
LA Times: ‘Watchmen’ prequels: DC dares to expand on classic (Interview with writer/artist Darwyn Cooke)
USA Today: DC gives Watchmen a graphic past (Interview with writer Brian Azzarello)
Associated Press: Watchmen The Prequels: DC Comics Eyes Will Launch 7 Miniseries To Preface 1986 Series (Interview with writer Len Wein and artist John Higgins)
Channel 4 ist mit Alan Moore zu den Protestern von Occupy London gelatscht, die „seine“ V-Maske tragen.
Channel 4 News decided to bring Alan Moore from his Northampton home, face-to-face with the Occupy protesters who wear his creation. The glances he attracts from passers by on the streets of London are not usually because of his fame; instead they’re attributable to the strange, occult-like and sepulchral, figure he cuts.
He famously objects to his major works (From Hell, V for Vendetta, the League of Extraordinary Gentlemen, Watchmen) being turned into films; but even if he were an enthusiast, this is not a man, you feel, who would happily grace a Hollywood wrap party. But once in the Occupy camp, he fits right in. He’s greeted with warmth, and as much adulation as this odd but compelling experiment in collectivist anarchism can muster. Another sign, if it was needed, that comics remains an art form of the marginal.
Occupy Comics hat gestern einen extrem grandioses Coup gelandet. Die haben in den letzten Tagen nicht nur Amanda fucking Palmer, Dean Haspiel (American Splendor) und David Lloyd (V For Vendetta, Designer der Anonymous-Maske) an Bord geholt, sondern auch den großen Weirdo der Comics überhaupt: Alan Moore macht mit. Von Wired:
Nearly 30 years after publishing V for Vendetta, writer Alan Moore and artist David Lloyd are throwing their support behind the global Occupy movement that’s drawn inspiration from their comic’s anti-totalitarian philosophy and iconography.
Moore will contribute a long-form prose piece, possibly with illustrations, to the Occupy Comics project. His writing work will explore the Occupy movement’s principles, corporate control of the comics industry and the superhero paradigm itself.
Lloyd signed onto the growing Occupy Comics project last week, as did Madman’s Mike Allred and American Splendor’s Dean Haspiel. Occupy Comics will eventually sell single-issue comic books and a hardcover compilation, but an innovative arrangement with Kickstarter means that funds raised through pledges of support can be channeled directly to Occupy Wall Street’s populist ranks now.
“It’s fair to say that Alan Moore and David Lloyd are unofficial godfathers of the current protest movement,” said Halo-8 founder and Occupy Comics organizer Matt Pizzolo in an e-mail to Wired.com. “It’s really amazing to see two creatives whose work was inspiring to street protesters join a creative project that is inspired by the street protesters. It’s a pretty virtuous cycle.”
Vorher auf Nerdcore:
Occupy Comics: Art and Stories inspired by Occupy Wall Street
Honest Publishing hat ein superinteressantes, zweiteiliges Interview mit Alan Moore über Publishung, Occupy Wallstreet und Frank Miller und auch wenn ich eBook-Gutfinder und Kindle-Besitzer bin, finde ich folgende Sätze ziemlich großartig:
I’m not against electronic books per se. I don’t think they’re the downfall of civilisation or the end of literacy. I just tend to have quite a lot of faith in the book itself as the publishing world equivalent of a shark. Sharks have not evolved in millions and millions of years simply because they haven’t had to. They were pretty much perfect to start with. And I feel the same way about books.
Hier die Stelle über Occupy Wallstreet und Frank Miller:
As far as I can see, the Occupy movement is just ordinary people reclaiming rights which should always have been theirs. I can’t think of any reason why as a population we should be expected to stand by and see a gross reduction in the living standards of ourselves and our kids, possibly for generations, when the people who have got us into this have been rewarded for it; they’ve certainly not been punished in any way because they’re too big to fail. 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.
Soweit ich weiß, hat sich Alan Moore noch nie zu Anonymous und deren Verwendung seines V als Symbol der Bewegung geäußert. Das hat er hetzt in einem Interview mit dem Guardian getan und findet’s super. Ich hätte jetzt auch nix anderes erwartet, der Mann ist schließlich nicht so ‘ne Pissnelke wie Frank Miller.
“I suppose when I was writing V for Vendetta I would in my secret heart of hearts have thought: wouldn’t it be great if these ideas actually made an impact? So when you start to see that idle fantasy intrude on the regular world… It’s peculiar. It feels like a character I created 30 years ago has somehow escaped the realm of fiction.” […]
“That smile is so haunting,” says Moore. “I tried to use the cryptic nature of it to dramatic effect. We could show a picture of the character just standing there, silently, with an expression that could have been pleasant, breezy or more sinister.” As well as the mask, Occupy protesters have taken up as a marrying slogan “We are the 99%”; a reference, originally, to American dissatisfaction with the richest 1% of the US population having such vast control over the country. “And when you’ve got a sea of V masks, I suppose it makes the protesters appear to be almost a single organism – this “99%” we hear so much about. That in itself is formidable. I can see why the protesters have taken to it.” […]
“It turns protests into performances. The mask is very operatic; it creates a sense of romance and drama. I mean, protesting, protest marches, they can be very demanding, very gruelling. They can be quite dismal. They’re things that have to be done, but that doesn’t necessarily mean that they’re tremendously enjoyable – whereas actually, they should be.”
At one point in V for Vendetta, V lectures Evey about the importance of melodrama in a resistance effort. Says Moore: “I think it’s appropriate that this generation of protesters have made their rebellion into something the public at large can engage with more readily than with half-hearted chants, with that traditional, downtrodden sort of British protest. These people look like they’re having a good time. And that sends out a tremendous message.”
Harvey Pekars Frau finanziert grade eine Statue als Memorial für ihren viel zu früh gestorbenen Mann, der nach Robert Crumb wohl der wichtigste Underground-Comickünstler war. Im Video oben erzählt Alan Moore ein bisschen von seinem Kumpel und motiviert nochmal, an der Kickstarter-Runde teilzunehmen, auch wenn die Summe fast schon beisammen ist. Und ich liebe Alan Moore Slang.
A way to celebrate comics as art and literature at a Cleveland Heights public library. A literary landmark, a desk that’s always filled with paper and pencils for people to sit and write or draw comics at the same place where Harvey Pekar liked to work.
Mounted on the desk, a sculpted bronze comic book “page.” Stepping out from a panel, Harvey– using his semi celebrity to focus on the creative possibilities of the art form he opened up to so many people. On the reverse, gridded into bronze ruled “panels,” a giant slate storyboard that looks very much the way Harvey always started his own scripts. (He wrote and drew stick figures, just like Paul Giamatti in that movie.)
Vorher auf Nerdcore:
Harvey Pekar Interview
Harvey Pekar meets The Thing
Harvey Pekars unfinished Works
Harvey Pekar R.I.P.
Harvey Pekar reviewt Robert Crumbs Genesis – als Comic!
Happy Birthday Harvey Pekar: 70+ Illus von Pekars seltsamen Kopf
Die IT-Crowd vom Mustard-Mag hatte ich hier mal vor Ewigkeiten, seit dem haben sie ein paar weitere gebastelt, unter anderem Comic-Wizard Alan Moore inklusive Schlangenkopf-Gehstock und rot-glühenden Augen. PDF-Downloads aller Papercrafts gibt’s hier. (via Dangerous Minds)
Alan Moore hat bei The Quietus – und eigentlich hatte ich dort überlegt, den Aufruf zur Unterstützung der Indie-Labels weiterzugeben, deren Lager gestern in London abgefackelt wurden und von denen ich nicht wenige Platten besitze, aber ich bin in dem Thema nicht genug drin, hab’ mich nicht wirklich damit beschäftigt und lass es einfach, hier der Link Tanith) – jedenfalls habe ich dort ein Interview mit Alan Moore gefunden: Think Locally: Fuck “Globally” – Alan Moore On Dodgem Logic.
Darin geht es vor allem um sein Indie-Mag Dodgem Logic, das ich seit der ersten Ausgabe lese, und was es mit Hipstern und die wiederum tatsächlich mit Bildung zu tun haben. Letztlich ist das ein großartiges Statement für DIY-Kultur, Autodidakten und – ja! – Hipster. Auch wenn ich über die Shirts mit V-Ausschnitt und die albernen Mützen immer lachen muss.
How much does Dodgem Logic owe to the fact that you’re a child of the counter-culture and reached young adulthood when outsider magazines were thriving?
AM: With Dodgem Logic we are committed to re-establishing – as much as we are capable of – an open psychedelic culture like the one that was around in the 60s. Not in a retroactive sense. We’re not trying to recreate the 60s. We’re just trying to recreate some of the possiblilities that existed then. We had a psychedelic summer issue with John Coulthard doing a beautiful cover and an article about psych culture. And we’re continually trying to reintroduce the idea of hipsterism which was an elitist thing but also useful. If you were a school boy and you went to a party and someone said, ‘Have you read Sartre?’ And you said ‘Huh, of course!’ then you’d run home and you’d read up on Jean Paul Sartre and perhaps read one of his books and then the next time you were at a party you could say ‘Of course Nausea is my favourite!’ Yes, alright, it was introducing a kind of social pressure and it was elitist but it gave you an education.
It’s seen as a purely disparaging, pejorative term now, based solely on the style of one’s glasses, the width of one’s trousers and whether one chooses to wear a V-neck or not.
AM: Yeah. Yeah, that’s probably true. It used to be a fashion statement but it was information as a fashion statement which is probably going to do you more good than the clothing you wear. I got an incredible education from when I was thrown out of school. Starting at that point. Now I could say that I probably hold my own intellectually with most people who have had university or college educations. And indeed some of them will have done courses on my books. So despite the fact my ‘education’ ended at 16, I had hipsterism – wanting to be hip – which led me to read this incredibly diverse array of books on science, mysticism, science fiction, literature, art… And it’s given me a pretty comprehensive education. And now I am an autodidact, which is a great word… I learned it myself. But I think it’s the best way to be and I do think we can educate ourselves if we’ve got the material there, if we’ve got a library card or these days if we’ve got an internet connection. But it’s important to have the impetus to educate ourselves, which for me came from the type of society we were part of in the 1960s. That was the case in those days and I’m not sure if that still applies.
Wired hat ein schönes Interview mit Comic-Gott Alan Moore inklusive Preview seines nächste Woche erscheinenden neuen Bandes aus der League of Extraordinary Gentlemen-Reihe, der im Jahr 1969 spielt, selbstverständlich alles inklusive Psychedelica, Acid-Trips und Hippies. Für mich ein Pflichtkauf, Review folgt.
Wired.com: O’Neill’s art really is stunning, especially in that acid-trip showdown in the astral plane during the Stones’ post-Jones concert in Hyde Park. That was something else.
Moore: As background for that scene, it should be remembered that this writer had actually experienced psychedelic derangement at the Hyde Park festivals, although not the Stones concert. I was actually at the Canned Heat concert, which followed after the Stones a couple weeks later. But Kevin, on the other hand and to the best of my knowledge, has never imbibed any form of drug in his entire life. Which makes one sort of worry when you see what he’s actually done in 1969.
All right, yeah, I was kind of providing suggestions for the melted-looking layout and echoing speech bubbles. But when I saw what Kevin had done with it, that wonderful double-page spread with the statue of Hyde, and reality forming into a tunnel around the edge of the pages, it was just fantastic.
Amazon-Partnerlink: League of Extraordinary Gentlemen: 1969
Malte, Teilzeit-Comicverkäufer und Vollzeit-Pseudointellektueller an einer deutschen Universität, vergnügt sich täglich mit populärkulturellen Krimskram in Form von sequentieller Kunst, analogen Tonträgern sowie Telespiele um sie auf Nerdcore in anderer Gestalt zu präsentieren. Malte zwitschert jetzt.
Comic-Ikone Alan Moore verteilt 300 Geschenkkörbe an soziale Einrichtungen seiner Heimatstadt Northampton. Enthalten sind in den Körben lecker Sachen wie Minzpastete, Kaffee, Zucker, Weihnachtspudding und Konservendosen. Moore dazu:
“This particular issue is dear to my heart as it’s the area I grew up in and it is one of the most deprived areas in the whole country […] Those people who are living in sheltered housing and those going to the Salvation Army, who often don’t have homes, are living in very difficult circumstances and I think that any sign that they have been remembered and not forgotten is going to mean something to them. […] It’s not a lot that we are giving and it won’t sort out their lives, but at this time of year a lot of people get blue and I think this might be a little boost for them.”
Moore finanziert die Aktion mit einem Teil des Profits seines underclassy underground magazin dodgem logic (sehr lesenswert!!!). Vermisst wird nur das passende Kostüm zum Bart.
Malte, Teilzeit-Comicverkäufer und Vollzeit-Pseudointellektueller an einer deutschen Universität, verschlingt täglich Massen an populärkulturellen Krimskram in Form von sequentieller Kunst, analogen Tonträgern sowie Telespiele um sie auf Nerdcore in anderer Gestalt wieder zu erbrechen. Malte mag traurige Lieder und glaubt sein Lieblingsessen sei Okonomiyaki.
The Stool Pigeon hat ein superspannendes Interview mit Alan Moore… wobei man ja sagen muss, dass alle Interviews mit dem Comic-Voodooschamanen Alan Moore immer ausnahmslos superspannend sind.
The Stool Pigeon: It’s almost a luxury to be able to smoke indoors these days.
Alan Moore: It’s very civilised. I’m not keen on having to go to places where you have to stand outside to have a smoke. People complain about passive smoking but they don’t realise that my passive smoke has a measurable retail value. I’m thinking about charging people to stand next to me. I smoke indoors. Although since I got married to Melinda [Gebbie, co-creator of Lost Girls], and she’s moved in with me, I have relented and will open a window now. […]
SP: Does this ‘traditionalism’ tie in with your mistrust of the internet? I find it slightly odd that someone who is renowned for working in speculative fiction and near-future writing isn’t interested in a tool with such potential.
AM: I’m practically Amish when it comes down to it. I practically mistrust any technology that came after the buggy. What I tend to think is that the internet is fine for everyone else in the world. I can see that it may have some disadvantages. In fact, I can see a few problems arising from it, but, by and large… everybody in the entire world apart from me uses the internet and seems to get on quite well with it. For my part, I don’t want to be connected to that all-pervasive kind of cyber culture any more than I want to be connected to the physical world that is around me, more than I can help it [laughs]. I’m largely a solitary creature, just by nature and by my work. That said, I venture out into town, but I very seldom leave Northampton.
Vorher auf Nerdcore:
The Infinite Monkey Cage feat. Brian Cox und Alan Moore
Alan Moores Old Gangsters Never Die
Prisoners of Gravity: Watchmen (1991)
Alan Moore Fools
Alan Moore-Interview zu Dodgem Lodgic, seinem neuen Underground-Mag
Obama Biografie von Alan Moore
Dodgem Logic: Alan Moores neues Underground-Mag
Alan Moore über Comics, Brecht und Jack The Ripper plus Moore-Doku: „The Mindscape of Alan Moore“