Italian Sussidiario di Magia

Above and below, some pics I took of my Italian copy of the Bumper Book of Magic that I bought few days ago. The book has just been published by Panini Comics. 

It seems they did a good job on it. Viva la Magia!

Bits of Magic

Art by Steve Parkhouse

As you know, I am writing a series of articles about The Moon and Serpent Bumper Book of Magic. They are serialized on the Italian web-magazine (Quasi) and so far four episodes are available.

In writing the pieces I contacted some of the contributors to get, if possible, behind the scene info about the book's making-of. 

In the following you can read what I got from Steve Parkhouse, who drew the amazing In the Morning of the Mind comics, and Rick Veitch who created some great illustrations for the first part of "Things to do on a rainy day" section.

Steve Parkhouse: I'm sorry to disappoint - but I have no background stories for you concerning Morning of the Mind. Bear in mind that I drew the strip sixteen or seventeen years ago so it's not really fresh in my mind. I appreciate your kind comments, but the story contains no revelations that I could discern. Since none of us were there at the time, the events depicted were obviously speculative. All the usual problems for an artist were predictable: where to find reference for giant deer, neolithic communities, credible landscapes etc. In other words, how to make the story come to life. 

I was never entirely sure of Alan's intention for the story itself. I formed my own interpretation: that everything in the universe is a fractal of the universe, and consequently natural forms tend to echo each other. That'll have to do.

Rick Veitch: I drew my illustrations over fifteen years ago and all I got to read at the time was the chapter I was working on. So no stories about the rest of it. I really loved finally reading it though. 

Veitch also mentioned The Bumper on his True-Man The Maximortal N.1 book released in August 2024. See the picture below:

Rick Veitch on Alan's brain

Excerpts from the introduction that the great RICK VEITCH wrote for  the Italian edition of Alan Moore's Writing For Comics, published by ProGlo Edizioni (Prospettiva Globale) in 2007. 

Veitch posted the complete text in 2018, on his Facebook page (here).

The Secrets Of Alan’s Brain
by Rick Veitch

[...]

I’m convinced that, after many more creative and productive decades, when Alan finally gives up the flesh and joins the transmigration of souls into idea space, a careful study of his remains will reveal that certain areas of the Moore brain, especially those parts associated with imagination, intuition, memory and language, to be far larger than one might expect in the normal human. Perhaps scientists will discover extra arteries pumping an enhanced blood flow to those cranial regions or some enzyme that promotes rich neuron growth. It wouldn’t surprise me at all if they come upon some sort of new and bizarre mutation in the formation of the lobes.
This isn’t as flip as it sounds; at least when talking of a highly developed creative mind like Alan’s. Mozart, thought to have musical and mathematical brain functions that bordered on autism, provided the world with some of the most sublime music ever created. And, after death, Albert Einstein’s brain was doled out in slices to scientists seeking a link between those analytical and intuitive centers that gave us the theory of relativity.

I include Alan in this august group with some degree of certainty based on a couple decades worth of phone conversations.

[...]

Now I’m a writer, too, so I’m familiar with the process most creative people struggle through to get their initial inspirations to a finished state. It usually (often) takes a fair amount of drafting and editing before a good idea is crafted into a solid piece of writing.

Not with Alan. His mind is capable of plucking ideas from the imagination fully formed and realized. Countless times, while kicking around possibilities for a story, he has startled me by saying “I got it” and proceeded to unspool complete scenes, including panel descriptions and finished dialogue. He calls them his “bits” and he appears to use them as the foundation blocks for his scripts. I believe he expects them to be waiting for him, ripening on the tree of knowledge, whenever he is on the creative hunt. Like every other comic book writer in the world, I could only sigh when Alan mentioned in a recent interview that pretty much every comic book script he has written has been a first and only draft.

 

[...]

Rick Veitch
September 2007

The Autumn is Magic!

Cover art by John Coulthart

It's about time! Finally this Autumn (October 15th, to be precise!) we will learn all the secrets of Magic thanks to Messrs. Steve and Alan Moore & friends (and publishers Top Shelf & Knockabout). 

 

From the Top Shelf site:

The most acclaimed writer in comics history, Alan Moore, joins his late mentor Steve Moore (no relation) for one last graphic grimoire: a sprawling and stunning introduction to magic in all its timeless forms, brought to life by five wondrous and whimsical artists.

Splendid news for enquiring minds, and guaranteed salvation for humanity! Messrs. Steve and Alan Moore, current proprietors of the celebrated Moon & Serpent Grand Egyptian Theatre of Marvels (sorcery by appointment since circa 150 AD) are presently engaged in producing a clear and practical grimoire of the occult sciences that offers endless necromantic fun for all the family. Exquisitely illuminated by a host of adepts including Kevin O’Neill, John Coulthart, Steve Parkhouse, Rick Veitch and Ben Wickey, this marvellous and unprecedented tome promises to provide all that the reader could conceivably need in order to commence a fulfilling new career as a diabolist.

Its contents include profusely illustrated instructional essays upon this ancient sect’s theories of magic, notably the key dissertation “Adventures in Thinking,” which gives reliable advice as to how entry into the world of magic may be readily achieved. Further to this, a number of “Rainy Day” activity pages present lively and entertaining things-to-do once the magical state has been attained, including such popular pastimes as divination, etheric travel and the conjuring of a colourful multitude of sprits, deities, dead people and infernal entities from the pit, all of whom are sure to become your new best friends.

Also contained within this extravagant compendium of thaumaturgic lore is a history of magic from the last ice age to the present day, told in a series of easy-to-absorb pictorial biographies of fifty great enchanters and complemented by a variety of picture stories depicting events ranging from the Palaeolithic origins of art, magic, language and consciousness to the rib-tickling comedy exploits of Moon & Serpent founder Alexander the False Prophet (“He’s fun, he’s fake, he’s got a talking snake!”).

Art by Kevin O'Neill

In addition to these manifold delights, the adventurous reader will also discover a series of helpful travel guides to mind-wrenching alien dimensions that are within comfortable walking distance, as well as profiles of the many quaint local inhabitants that one might bump into at these exotic resorts. A full range of entertainments will be provided, encompassing such diverse novelties and pursuits as a lavishly decorated decadent pulp tale of occult adventure recounted in the serial form. Completing this almost-unimaginable treasure trove is a lengthy thesis revealing the ultimate meaning of both the Moon and the Serpent in a manner that makes transparent the much-obscured secret of magic, happiness, sex, creativity and the known Universe, while at the same time explaining why these lunar and ophidian symbols feature so prominently in the order’s peculiar name. (Manufacturer’s disclaimer: this edition does not, however, reveal why the titular cabal of magicians consider themselves to be either grand or Egyptian. Let the buyer beware.)

Art by Rick Veitch

A colossal and audacious publishing triumph of three hundred and fifty-two pages, beautifully produced in the finest tradition of educational literature for young people, The Moon and Serpent Bumper Book of Magic will transform your lives, your reality, and any spare lead that you happen to have lying around into the purest and most radiant gold. -- a 9" x 12" hardcover

Book design by John Coulthart. Co-published by Top Shelf Productions & Knockabout LTD (UK).

COMING OCTOBER 15TH, 2024!

From John Coulthart site: 

[...] A couple of things are worth noting now that the book is about to enter the world. The first is that the contents are a little different to the press release from 2007 which announced a book of 320 pages, with 78 of those pages being brand new Tarot card designs. The authors subsequently realised that creating an entirely new Tarot deck is a huge task in itself, especially if, as was the intention, you wanted it to be as wide-ranging and authoritative as the Crowley/Harris Thoth deck. [...]

Art by Ben Wickey

The other thing to note is that this book is as much Steve Moore’s as Alan Moore’s, something which I’m sure Alan will want to emphasise but which news reports and reviews are inevitably going to overlook. [...]

The Bumper Book may superficially resemble a children’s annual but this isn’t a book for children. The essays include discussion of the use of drugs and sex in magic, and there’s a lot of nudity (also a fair amount of sex) in the illustrations. The book is a serious study, but not, I hope, a boring one. [...]

I could say more about the contents but I’m not going to spoil things. I’ve been immensely grateful to Alan, Tony and Chris at Top Shelf for not pressuring me to get this one finished. I’m often complaining that publishers don’t give you enough time to work on things but that wasn’t the case with this book. I just wish Steve Moore was still here to see it (and Kevin O’Neill, an artist whose work I always admired but I never got to meet). October this year is going to be lunar and serpentine. We’ll see you in the Theatre of Marvels.

Read the complete post HERE.

Art by John Coulthart

Swamp Thing by Rick Veitch

Art by Rick Veitch

Above and below, amazing Swamp Thing commissions - featuring John Constantine and Abigail too - by the great Rick Veitch. The first one (above) has been created for a Heroes Initiative Benefict Auction, the other one (below) is a variation on it.

 

Stunning Things!

Art by Rick Veitch

Supreme Self-gift!

Art by Rick Veitch. Lettering by Todd Klein.

Sometimes you know yourself better than... any other person. At least this is 100% true for me when you are talking about... comics! 

So, after some years and several attempts, I finally bought a page of SUPREME art directly from... supreme Master RICK VEITCH. Needless to say, it's a masterpiece and a real supreme treasure in my small collection! Grazie, Rick, for such a gem!

 

Well, it's a gorgeous page from Supreme with Professor Night (and Twilight the Girl Marvel) 8-page short story, titled "The secret origin of The Professor Night/Supreme Team!" published in Supreme Vol.3, issue n. 52B (Awesome Entertainment), in 1997. 

Lettering by the legendary... Todd Klein, of course!

Art by Rick Veitch. Lettering by Todd Klein.

Isn't it gorgeous? And could you feel those EC vibes?

Awesome Supreme page! Art by Rick Veitch. Lettering by Todd Klein.

Below you can see the printed page (with colours by Donald Skinner).

 

I hope you love it as much as I love it! :)

Moore and Veitch's lost SUPERVERSE project

Art by Rick Veitch

Some time ago, I wrote about a lost Moore and Veitch's project... 

In the past days more details and character sketches have been revealed by Veitch himself on his Facebook page: they clarify a bit the situation but, at the same time, "invalidate" part of the previous info I had. In any case, it's something that will remain unrealized. But... who knows?

Rick Veitch: "[...] It was a giant project called "Superverse" that included knock-offs of every superhero ever made. Sort of like "League of Extraordinary Gentlemen" but with long underwear guys.  

[It was] probably 8 or 9 years ago. [...] post ABC and integrated with THE SHOW, the film Alan and Mitch Jenkins were trying to finance. Alan's idea was to create products that would be in the movie but also exist in the real world.

[...] There was no written outline. Everything done over the phone so I've forgotten many of the story details. There were a bunch of character sketches though.
[...] It was a many worlds story. With a very young brother and sister split up and living in different universes as Thunderman and Thundergirl each unaware of the other until...

Art by Rick Veitch. First shown in 2017.

Art by Rick Veitch

Rick Veitch on Moore and Swamp Thing

Stunning art by Rick Veitch.

Below, excerpts from an interview with Rick Veitch conducted in the 80ies by Mark Belkin.
The complete interview is available HERE.
I personally consider Veitch one of the greatest comic book authors of all times! Visit his site here.

DC in the 80s: Rick spoke with DC in the 80s during an appearance at Baltimore Comic Con. The first half an hour we discussed Carl Jung. This is a transcript of the second half, discussing the Joe Kubert school, his days at Epic, Swamp Thing, and what happened at the end.

Rick Veitch: [...] Both Steve and I ended up back in Vermont, so, I would help him out, just as we’d always done. Fortunes of the book were not looking good, sales kept going down and down, and it looked like Swamp Thing was going to get canceled. As a last ditch effort, DC decided the hire this unknown British writer, Alan Moore. Now that’s the kind of luck Steve is famous for. He came over to my place with the first script he did from Alan, "The Anatomy Lesson", and I got to read it. It was a revelation. Alan had created a new way to work with an artist. His scripts were insanely detailed, but so beautifully realized it didn’t matter. He wrote them like love letters to the artist, he knew everything you’ve ever done and analyzed it brilliantly. He would make light of his own obsession with detail and then toss off something like "don’t worry about all this, you don’t have to do this, do what you think is best". And you’d end up busting your ass to give him exactly what he wants because he’s so clear in how he writes his panel descriptions.
So, based on Alan’s scripts, I became more interested in Swamp Thing and regular comic books as well. There was a great potential future for the art form in Alan’s breakthrough and I wanted to learn as much as I could from it. Steve started to draw Anatomy Lesson, but was running up against the deadline and I helped him out with that first issue. I did about a third of the Anatomy Lesson. [...]
I really wanted to learn more about this... magic... Alan was conjuring. In the process I got to know the editor, Karen Berger, so it seemed natural that when Steve and John left, that I would become the regular penciller on the book.
[...] Alan also decided to take Swamp Thing in a different direction and it became more sci-fi. We started mining the golden age and silver age DC characters. [...]

Bringing them into Swamp Thing was a lot of fun and really formed the beginning of our extensive retro collaborations over the decades.

The complete interview is available HERE.

DAILY MOORE [13]

Art by Rick Veitch.
From: "Storybook Smith, the Literary Lawman"
First edition: in Judgment Day n.3 (1997, Awesome Comics).

Moore & Veitch's lost Kirbyesque project

Art by and Rick Veitch.

In past years (the second half of the Nineties?), Alan Moore and Rick Veitch discussed the possibility to create together a comic project with a... Kirbyesque flavour. In the end, it was not realized and became... a lost project.

In March 2017, Veitch posted a drawing (above) on his Facebook page. 

He wrote: "Character design for an Alan Moore project we never got around to doing. It was conceived about ten years ago. Mostly as a vehicle to develop ideas Alan was interested in concerning time, space and higher dimensions in a Kirby flavored retro style. I don't think we ever had a title."

After a long search, few days ago I've finally discovered more details thanks to my Brazilian long-time friend, Alan Moore's scholar & collector, the amazing Flavio Pessanha who bought the sketches from Veitch.
You can admire them in this post for the very first time. Grazie, Flavio!

Flavio also said to me: "Moore and Veitch talked about it on the phone. While talking Veitch made those sketches. AFAIK there are no scripts for it. And yes, it was supposed to be an Image comic."

smoky 1000 grazie, amico! I am a bit jealous of your collection, I admit. ;)

 

 

Art by and Rick Veitch.

Swamp things

Art by Stephen R. Bissette (left) and Rick Veitch (right).

Above and below, two amazing sketches realized respectively by Stephen R. Bissette and Rick Veitch on the copy in my possession of Saga of The Swamp Thing book six. 

Published here with the artists' permission.

Art by Stephen R. Bissette.

Art by Rick Veitch.

Veitch on The One, Marvelman, Greyshirt & Moore

Page from The One by Rick Veitch.

Excerpt from an interview with the great Rick Veitch posted on Vulture the 28th of February 2018. Veitch talks about the new edition of his amazing The One series published for the first time in colour by IDW.

The complete interview is available here.

[...] If I recall correctly, you had already read some of Alan Moore’s Marvelman at that point, right? It deals with similar concepts.
Rick Veitch: Right. Marvelman had appeared and had been like a lightning bolt to all of us who were in comics, working in superheroes at the time. [Moore] really was sort of like the Big Bang of the modern superhero — and I should include his artist with him, Garry Leach. They succeeded in — just like the Rolling Stones succeeded in taking old blues music and repackaging it for an American audience, Alan and Garry and the other artists on Marvelman succeeded in doing that. A lot of people recognized it, but didn’t quite know how to make that work. I was probably one of the first, I think, to try to take that inspiration into my own work, and again, try to push the superhero thing in a whole new direction. When I was a kid in art school, at the Kubert School in the ’70s, we would sit around, and we would go, “These superheroes, they’re so infantile. If someone just approached them with the depth of a modern science-fiction novel, like Isaac Asimov or Stanislaw Lem, one of those guys, it could be really amazing.” I think Alan and his partners were the ones that first pulled it off, with Marvelman.

[...] Have you stayed in touch with Alan Moore at all?
Rick Veitch: Oh yeah, yeah. We talk all the time. It’s been fantastic working with him. It’s been sad seeing some of the shit he’s had to deal with, because of his stardom. He’s a lovely guy. He’s always amazing. I’m quite fortunate to have worked with him.

DC just introduced two America’s Best Comics characters into their mainstream universe: Tom Strong and Promethea. Will yours and Alan’s character, Greyshirt, do that anytime soon? Or is he safe from the corporate clutches?
Rick Veitch: I don’t think it’s safe. I think all of them might get inhaled, but I have to go back and revisit the contracts and talk to DC’s legal about what it all means. I’m not sure yet. I haven’t really dug into it. I doubt Greyshirt is one of the first ones they want to get in there, because I think Tom Strong and Promethea were the star characters. I hope they don’t, I really do. I think it’s not good, how they have treated Alan and his creations. I wish, especially … Actually, I probably shouldn’t say anything. Other than to say, I wish they’d leave Alan alone and let him be creative.

[The complete interview is available here.]

90s lost project with Rick Veitch

Art by Rick Veitch.

Some months ago Rick Veitch posted on his Facebook page the above picture: "Character design for an Alan Moore project we never got around to doing."

Veitch added: "It was conceived about ten years ago. Mostly as a vehicle to develop ideas Alan was interested in concerning time, space and higher dimensions in a Kirby flavored retro style. I don't think we ever had a title."

1963 ashcans

Above and below, covers of the limited edition 1963 Alan Moore/Stephen R. Bissette IMAGE COMICS ASHCAN PREVIEW: THE FEARLESS FURY and IMAGE COMICS ASHCAN PREVIEW: THE UNBELIEVABLE N-MAN!
 

These ‘ashcan’ previews of then-forthcoming Image Comics series 1963 by Alan Moore, Rick Veitch, Stephen R. Bissette and friends were printed in limited quantities of 2500 copies each; produced and published by Moondog Comics. They're each 26 pages, feature bonus character design artwork and notes on the Fury and N-Man's creation.

Miracleman by Rick Veitch

Art by Rick Veitch.

The great Rick Veitch is drawing new covers for Marvel Comics' reprint of Miracleman. Above you can admire the pencils for upcoming issue N.10.

For more info about Miracleman art by Veitch visit his site: here.