Tag Archives: Alan Moore

Alan Moore, George A. Romero Win Horror Writers Association Lifetime Achievement Awards

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Alan Moore and George A. Romero are the Horror Writers Association 2016 Lifetime Achievement Award winners. The awards will be presented at the inaugural StokerCon in Las Vegas on May 14.

HWA gives Lifetime Achievement awards to individuals whose work has substantially influenced the horror genre. While the awards are often presented to a writer, they may also be given for influential accomplishments in other creative fields.

Patrick Freivald, chair of the Lifetime Achievement Award Committee, explained this year’s selections:

“Alan Moore is a giant of speculative literature who has irrevocably transformed public perception of what a comic or graphic novel can be, whether Batman: The Killing Joke or fully imagined original worlds such as Watchman and From Hell. From dark heroes to darker villains, Moore’s unflinching boldness makes him one of today’s greatest and most influential horror writers.

“George A. Romero’s career has had an incalculable impact on horror and dark fiction. Few writers can claim to have launched a cultural phenomenon, and fewer still have transformed the modern perceptions of what an iconic monster is and should be. From movies to TV to video games, one might be hard-pressed to find a horror writer who has not benefited from and has been influenced by his body of work.”

Alan Moore – Last Interview?

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Padraig O’Mealoid’s interview of Alan Moore addresses some serious issues — sexual violence against women, the Golliwogg/Galley-Wag. There’s also a discussion of personal matters including friction with critics and other creators.

PÓM: How do you respond to the contention that it is not the place of two white men to try to ‘reclaim’ a character like the golliwogg?

AM: The idea that it is not the place of two white men to ‘reclaim’ (although I’m not certain that’s exactly what we were doing) or otherwise utilise a contentious black character, unless I am to understand that this principle only applies to white men using black characters, would appear to be predicated upon an assumption that no author or artist should presume to use characters who are of a different race to themselves. Since I can think of no obvious reason why this principle should only relate to the issue of race – and specifically to black people and white people – then I assume it must be extended to characters of different ethnicities, genders, sexualities, religions, political persuasions and, possibly most uncomfortably of all for many people considering these issues, social classes. I cannot assume, of course, that my perception of such a prohibition as self-evidently ridiculous and unworkable is one that will be shared unanimously, and indeed this would appear not to be the case.

[Thanks to James Bacon for the story.]

Before Watchmen – A Dissenting Voice

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In the graphic novel, society wonders who watches the Watchmen.

We know who won’t be watching their adventures in Before Watchmen — Pádraig Ó Méalóid, eminent scholar of the works of Alan Moore.

James Bacon captured Ó Méalóid’s heated opinions in an interview posted at Comic Buzz:

Pádraig Ó Méalóid: I think all the writers and artists on these new stories – and particularly the writers, for some reason – should be thoroughly ashamed of themselves. Alan Moore is regularly cited as the best comics writer of our time, and possibly ever, and certainly those writers and artists – in this instance I find it hard to refer to them as ‘creators’ – all get a much better deal because of how hard he fought for creator’s rights, and probably all call him an inspiration, but they know he’s against this, and they still go ahead anyway. In other words, they’re quite happy to piss all over him and his principles for money. Will I mention again how this is an excellent analogy for what’s wrong with the world?

Actually, it’s entirely possible I’m more angry about this than Alan himself is.

And when slagged in a comment about the interview, Ó Méalóid jumped in to deliver this roundhouse punch:

I’m still standing by my assertion that Watchmen is the most important work to come out of the comics field. I mean, you can disagree with me, but it’s just *rude* to suggest that I’m delusional, and certainly does *you* no honour.

James Bacon Reviews Halo Jones

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James Bacon’s latest post on the Forbidden Planet blog is a review of a stage production of Halo Jones, adapted from the comic written by Alan Moore and illustrated by Ian Gibson. The verdict? Thumbs up:

I had to smile, not just with pleasure, but in the realisation of how well Alan Moore’s words can translate onto the stage. I couldn’t remember what parts of the story were left out; there was no shame, just contentment that the stage writers, Ross Kelly and Ian Winterton, had skilfully given me more than enough to feel that this was indeed Halo Jones. It felt right.

I enjoyed James’ ability to make me feel like I was at the play in a seat beside him while he interpreted the performance – no small feat since I came to his review never having heard of the comic the play is based on.

Indeed, I had to look up what the title of James’ piece refers to. Forbidden Planet explains here:

Halo Jones is an ordinary, idealistic young woman living on The Hoop, a poverty-stricken housing project tethered off the point of Manhattan. Desperate for a better life, she escapes – and finds an extraordinary universe waiting for her as she goes from star-cruiser stewardess to frontline soldier… This was one of the most unusual of the earlier 2000AD series, focussing on the ‘increased leisure citizen’ (that’s unemployed to you and me) it remains a strip beloved by readers – if you have never read it I heartily recommend it; it is odd, quirky and brilliant.

Thanks to James for capturing in words an experience most fans would otherwise have missed.

Barefoot Godzilla

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Dr. Hermes has posted a retrospective look at comic artists who’ve drawn Godzilla, complete with scans. Alan Moore was not the Doctor’s favorite:

Alan Moore’s page seems at first too gimmicky to have any resonance. The woman’s rapidly turning head drawn as three exposures and the depiction of the superheated breath head-on) irritated me at first glance. But a second look reveals several amusing details (the bottom of the big guy’s foot, for example) and the perspective of a difficult angle is handled well.   

Yes, drill down to the largest scan of Godzilla wreaking havoc on a crowded city and in Moore’s intricately-detailed composition you will even see the surprised expressions of people squashed to the bottom of Big G’s foot.

(Not Bambi, though. I checked.)

[Thanks to David Klaus for the link.]