Showing posts with label articles. Show all posts
Showing posts with label articles. Show all posts

Nov 28, 2025

Don’t be silly

Cover art by Philip Bond
Excerpt from a fundamental text written by Moore in the 80s. 
You can read it in full at Paul Gravett site, here
 
The following editorial was written by Alan Moore and appeared in Escape Magazine #15 (edited by Paul Gravett and Peter Stanbury) in 1988.
At that time Alan Moore had just set up a publishing company, Mad Love (together with Phyllis Moore and Debbie Delano), and was working on its first release, a 72-page benefit comics-anthology of work donated by the world’s top comic creators entitled AARGH: Artists Against Rampant Government Homophobia.
All the profits from AARGH were donated to the Organisation For Lesbian And Gay Action to safeguard the legal rights of Gay people persecuted by Section 28 of the Local Government Act. This was a piece of legislation enacted in 1988 by the Thatcher Government which stated that a local government authority"shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship." 
Firstly, forget God. If God exists, it’s unlikely that SpaceTime’s creator worries about our love-lives. A God who’d forego super novas to catch Sol III’s microbes having oral sex is just plain creepy, and has no place in this discussion. Neither do our Jimmy Swaggarts, claiming to represent the deity between visits to the knocking shop. While discussing human desire, let’s ignore superhumans and subhumans.

Secondly, forget ‘unnatural’ sex. Most natural creatures, excluding a few Presbyterian termites, will hump anything within reach if inclined, ignoring gender, species and family relationship. Lacking a hunky tom within pheromone-range, Tabby will back onto your winklepickers without embarrassment. Besides, since when does humanity do things naturally? Camels don’t wear polyester slacks. Amoebas know nothing of Shake’n'Vac. Every other human enterprise flaunts nature, so why is sex special?

Because it’s powerful. Along with death, it’s life’s propelling force. Control sex and death, and controlling populations becomes simple. Death’s easily subjugated: William Burroughs observed that anyone who can lift a frying pan owns death. Similarly, those owning most the pans, troops, tanks or warheads own most the death, and can regulate the supply accordingly. Death’s a pushover, but how do you control desire?
 
[...]

Sex exceeds politics, right or left (assuming you still differentiate). Mary Whitehouse or Andrea Dworkin may outlaw pornography, but can’t stop people wanting it, regardless of legality. Similarly, Section 28 cannot remove the desire for homosexuality. Consenting sex cannot be prevented. There’s regrettably little evidence that even un-consenting sex can be curtailed by legislation alone. Perhaps desire is better comprehended than contained? Perhaps sexual openness would mean less morbid longings, festering alone in darkness?

Despite a panic-stricken ‘moral’ backlash, we progress slowly towards tolerance, understanding. Our sexual turbulence and shattered preconceptions may resolve themselves into a new approach to sex, more various and humane, accepting different loves and lusts without reshaping them into Meccano for our social scaffolding. Sexual awareness rides an upward exponential curve, uncheckable by politicians, popes, police-chiefs. But what of plague?

Is AIDS sufficient to keep the erotic genie in the bottle? Televised health warnings seem increasingly less anti-disease than anti-sex. A youth writhes, unnerved by the ominous soundtrack, while his fishnetted date lounges invitingly. Rather than donning a condom and squelching deliriously till dawn, it’s implied that he should go home to sleep with hands above blankets

Novelists, who should know better, bemoan the inevitability of less sex in fiction. Surely AIDS isn’t transmitted by smut? The only virus afflicting literature are viral ideas of censorship, spreading through parliament, press, publishers and public, leading art towards the terminal ward. Obviously this over-reaction doesn’t make AIDS less terrifying. Quite simply, it will decimate us. While experts demand less discrimination to facilitate monitoring the virus, our government responds with Section 28. Remember that Britain is relatively enlightened concerning AIDS, and shudder.

So, no more sex? On screen, between soft covers or especially in reality? I don’t believe it. Sex survived horrific syphilis epidemics, aroused blood rushing from the brain, ensuring sex continues whatever the dangers. We’ll die of sex or live with it, but never stop it. Even preventing all physical contact wouldn’t prevent sex, which occurs more in minds than mucous membranes. We think about sex approximately every twenty minutes. Lacking physical contact, we’d just think harder. Thermonuclear war would barely slow sex down. Within billennia, cockroaches would rewrite the Kama Sutra.

AIDS may even hasten sexual enlightenment, this sexual crisis mirroring similar crisis in our environment and economies, all forcing a simple, brutal decision: change or die. Change our environmental policies or starve. Change our sexual furtiveness or die, as they say, of ignorance. Up in arms or down in flames, the choice is still ours. Our bodies are ours. No more sex?

Don’t be silly.
Bonus text, excerpt from a 2006 interview by (again) focused on Lost Girls.
Back in 1988, in Escape Magazine, you wrote an editorial piece for me entitled No More Sex in which you said, "Consenting sex cannot be prevented and there’s regrettably little evidence that even Un-consenting sex can be curtailed by legislation alone. Perhaps desire is better comprehended than contained? Perhaps sexual openness would mean less morbid longings festering alone in the darkness?"
Alan Moore: 
That is exactly how I feel today. In the context of that Escape editorial, where we were talking about AIDS, I also probably said that AIDS would probably decimate us before it was done. And the figures suggest that it is well on the way to doing that. One thing that might conceivably be "helpful" in an AIDS epidemic, or pandemic, would be presumably a higher standard of pornography with human values. You cannot get much safer sex than pornography. 

Mar 25, 2018

Fulgur Limited to publish Fossil Angels

Alan Moore's Fossil Angels.
Later this year, Fulgur Limited will finally print Alan Moore's Fossil Angels with illustrations by John Coulthart. Check here.

Fossil Angels - a piece about Magic - was written by Alan Moore in December 2002, and was planned to be included in issue n.15 of KAOS magazine which never actually appeared. 
In 2010, the text was presented for the first time online on Glycon site: it is available here (Part 1) and here (Part 2).

Mar 11, 2015

Millar and... The Alan

Mark Millar's permission via Twitter, 11th of March 2015.
From the sold-out Alan Moore: Portrait of an Extraordinary Gentleman book (2003, Abiogenesis Press, page 79), below you can read the contribution written by the acclaimed writer MARK MILLAR to celebrate Alan Moore's 50th birthday.
Posted on this blog with the author's permission. Many thanks to Mr. Millar for that.

How I Learned To Love The Alan
© Mark Millar

Okay, I’ve got two Alan Moore stories and neither of them is particularly good, but they’re mine and I love them and I’ll share them with you right now if you have a minute to spare.

The first is probably the most embarrassing and features me, aged thirteen, showing- up at my first, very modest comic convention in the futuristic city of Glasgow back in 1983. I’d never heard of Alan Moore at that point, but my Dad had read in a newspaper that some Marvel Comics writers and artists were going to be appearing locally and eager young fans were invited to approach for autographs and sketches. Now bear in mind that I was thirteen years old (and a slightly stupid thirteen at that), but I showed up with a sketch pad and asked this preposterously tall man with a beard, Jesus hair and a fine 40s-style hat where I could find Stan Lee. He looked politely awkward and said that Stan wasn’t here, but the Marvel UK boys were. He introduced me to such fledging superstars as Alan Davis, Gary Leach, Brian Bolland, Dave Gibbons and a fairly large number of people I’d never actually heard of before. It was one of those slightly surreal scenes where a weighty group of comic book pros were actually lining up to sketch and sign for a single, semi-detached young fan who was a little disappointed this line-up wasn’t quite what he expected. Deep down, they knew that I wanted to save those blank A4 pages for slightly more important pros, preferably with American accents.

Flash-forward one year and Alan Moore is back in Glasgow again at one of those ill-attended Scottish Cons. He’s instantly recognisable, of course, and knowing absolutely no-one else at the show I approach him as he thumbs through a bargain bin and ask him for his autograph. I’ve still never read any of his work at this point, but a friend had asked me to get some Warriors signed for him and it wasn’t really much of an inconvenience. Mistaking me for someone who’d actually been reading this stuff, he asked me what I thought and, as bone-crushingly cringing as it is to admit now, I just pretended I was quite a fan and let Moore detail at length his upcoming plans for perhaps the two finest comic-strips of that very illustrious decade. But a strange thing happened as I tuned into his hypnotic, Northampton accent. I don’t know if it was the Rasputin beard, the Svengali eyes or the fact that he was just invading my personal space to the point where I agreed with almost everything he suggested, but I became a convert. This slightly frightening-looking black and white stuff was a million miles from the four-colour shite I’d been eating up every month from Marvel and DC, but he made a fascinating case for it and, on the train home, I read every single word and hungered for more.

Next day, I begged my parents for cash and took off into town again on a mission to catch up on this guy’s stuff. His fifth or six Swamp Thing was out so I had a few of them to catch up on, Warrior was at number twenty-one or so which meant I had a couple of blissful years of Marvelman, V For Vendetta, Bojeffries and various shorts to masticate over. As the weeks passed, I even started tracking down the smallest two and three page 2000AD stories this rising star had churned out on his way to the top and, best of all, I picked up every single issue of Bernie Jay’s Daredevils; a monthly, black and white reprint magazine that not only featured all these Krigstein-like strips from some guy called Frank Miller, but page after page of a young Alan Moore who was writing everything he could get his hands on. Captain Britain, comic-book articles, cartoon strips and interviews; Daredevils gave Moore a forum to not only dazzle us with the stories, but also convert us to his rapidly growing cult by indoctrinating us with his opinions. Here was a grown-up talking about comics like they actually meant something and, when you’re fourteen years old and living in the arse-end of nowhere, that’s really quite alluring, you know.
Moore's essay on Stan Lee.
My most poignant memory of Moore’s articles (and I’m too lazy to dig it out to give you specific reference) was a piece where he wrote about his appreciation of 60s Marvel and his (really quite manly) love of Mister Stan Lee. His ode to Stan ended with an appreciation of his efforts that not only gave him years of pleasure as a child, but also built a foundation that meant that he and his peers could actually earn a comfortable living on the basis of Stan’s hard graft. I remember being impressed with that at the time and feel the same way now as my rolling, easily-distracted eyes drift across my bookshelves and see a body of work from Moore which, more than anyone else of his period, promoted his craft and the medium he obviously has such a scary-looking erection for. My own snotty generation of British writers owe Moore for not only proving that it was possible to work for an American company while living on this miserable, rain-soaked rock, but we owe him a debt for inspiring us to write something better than that formulaic super-shite we’d probably be writing without him. Together with guys like Miller and Chaykin, he redefined the medium forever and, based on that bedrock, the biggest industry spike we’ve ever seen took place in the early nineteen nineties. But I think Moore deserves the credit for that foundation more than anyone else and I’ll say that to their faces, dear reader. Moore was really our Stan Lee and he’s pretty much the reason most of us are in a job.

By the way, before I go, I should probably point out that I never actually got that Alan Moore autograph for the pal in my old hometown. I was genuinely so mesmerized by Moore’s loose chatter about an upcoming Superman annual and his eerily accurate vision of a totalitarian Britain that I completely forgot and only remembered once I’d opened my front door again. Like the bastard I am, instead of just admitting my mistake, I took the easy way out and clumsily forged his signature across a copy of Warrior issue one. To this day, that autographed cover hangs on his wall and I must admit that even I can feel some tiny twinge of guilt whenever I look at it. If you’re reading this, mate, I’m so incredibly sorry, but I suppose it isn’t every day that a writer gets to sign a book that good.

Cheers, Alan. Have a good one and may whatever dark forces you’re channelling these days let you live forever at the expense of others.
 

Mark Millar,
Glasgow
25th March 2003

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.

Jul 2, 2014

Why I hate Alan Moore by Steve Niles

The Saga of Swamp Thing N. 37 featuring the first appearance of John Constantine.
From the sold-out Alan Moore: Portrait of an Extraordinary Gentleman book, page 73. 

In the following you can read the contribution written by acclaimed horror writer STEVE NILES.
Posted on this blog with the author's permission. 

Why I hate Alan Moore
© Steve Niles

There are signposts in life, crossroads, and for me Alan  Moore is one of those markers.

I’d never heard of Alan  Moore when I first read comics. I was strictly a Marvel kid with the occasional defection to Creepy, Swamp Thing and Batman. By the time I was 14, I’d given up on them. I sold my collection and used the money to buy stereo equipment and some other teen supplies, and I thought comic books were behind me for good. I stopped thinking about them. No more Spiderman, no more Fantastic Four. After a short lifetime of reading and collecting, I was done.

A few years went by. I was in Washington D.C. visiting my dad on one of those terminally awkward, post-divorce weekend visits. There was a comic store in Georgetown. Completely unaware I’d abandoned funny books my Dad slapped me with some cash and sent me into the store.

I was stunned. Comics had changed since I fled the scene. There seemed to be some excitement brewing in the musty little shop. Something sinister and fun. There was a guy behind the counter. His name was Don and he demanded I buy a title. He said if I liked horror (and I did) I had to buy The Swamp Thing by Alan  Moore. He shoved a copy in my face and added the bait.

“It’s the first comic from one of the big boys WITHOUT the comic’s code.”

Really? Sounds like trouble. I was sold. Wrap it up!

I read Alan Moore’s Swamp Thing and was hit by the narrative like a locomotive. I was shocked, and happily appalled. Here was a comic that hit me on a gut level, spoke to me like I was a...a...well, a reader. There wasn’t any of the guarded storytelling I’d grown used to and out of.

That’s really the thrust of this little ditty... Alan  Moore dragged me back into comic. I was out and I had no intention of looking back because comics had become a thing of my childhood, colorful little stories which had no place in my blooming adult life... until Moore came along with his scary and sophisticated, cutting and gripping tale of a swamp creature lost in an impossible nightmare.

I never left comics again and I blame Alan  Moore. Every time I pick up a title I hope it will have the impact of that first issue of Swamp Thing, the first appearance of Constantine, or the first time Abby and Alec kissed.

And now, All these years later, I’m still in and into comics, I still read everything Moore writes. That guy Don from the comic store? He grew up to be Don Murphy, the producer of Moore inspired films From Hell and League of Extraordinary Gentlemen.

Small, weird, weird world.

So why do I hate Alan  Moore? There are two reasons really. The first for dragging me back into comics. What would my life had been like if I hadn’t read that issue of Swamp Thing? I’ll never know. I’m knee-deep in the shit now, anxiously awaiting the next issue of LoEG.

The second reason I hate Alan  Moore, and this is the big one, is because the man is as close to the perfect comic writer as we may ever see. He manipulates the medium to its fullest potential, juggling words and pictures effortlessly, and always managing to amaze.

I guess both reasons are sort of the saying the same thing; I hate Alan Moore because he makes comics worthwhile. The bastard.


Steve Niles
Los Angeles
March 30 2003

Apr 11, 2014

Victorian pornography vs. contemporary pornography

Excerpt from Moore's Murder & Prostitution in 19th Century London contained in A Steampunk’s Guide to Sex published by Combustion Books in 2012. 

Another thing that I enjoy about Victorian pornography is that it is very different from contemporary pornography. In contemporary pornography, all of the women are conveniently bisexual and all of the men are relentlessly heterosexual. Because that’s the way that modern men like it. That wasn’t true in Victorian pornography. All of the characters seem to be sexually ambivalent. There was not a male heterosexual template that was being used in the same way that there is today. It was a lot more fluid. Considering what a hidebound society Victorian society actually was, in its dream life, it was a lot more of a fluid proposition. Sexual identities could flow and change. [Alan Moore]

by Professor Calamity, Alan Moore, Luna Celeste, & others (2012, Combustion Books)
contains three articles by Moore:
Gay New York (pp. 19-21)
Lost Girls & Pornography (pp. 37-42)
Murder & Prostitution in 19th Century London (pp. 63-68)

Mar 25, 2014

Woodrow Phoenix and... Moore's wonderful wardrobe

Art by Woodrow Phoenix.
From the sold-out Alan Moore: Portrait of an Extraordinary Gentleman book, pp. 174-177

In the following you can read an imaginary tale - The wonderful wardrobe of Alan Moore -   featuring... "stylist" Alan Moore, written and illustrated by acclaimed British artist and writer WOODROW PHOENIX. In my humble opinion, the piece is - without any doubt - one of the gems contained in the tribute book.

Posted on this blog with the author's permission. 

The wonderful wardrobe of Alan Moore
© Woodrow Phoenix

When Alan arrived in Mainstream City, he seemed to be the same as everyone else. He blended right in with all the residents with their hats and overcoats, though you might have noticed the fancier stitching and the rather higher than average quality material of his overcoat if you paid attention to such things.

He soon found himself a place to live and a job, made friends and went to church just like everybody else, but there was something about him that made him stand out. Eventually people figured out what it was. It was the way he dressed. Even though he wore the same things as everyone else, he wore them differently. It was all in the details. Hand finishing. Linings in unusual fabrics. Bias cutting. Seams that were stitched rather than fused or glued.

According to Alan there was nothing especially noteworthy about any of this. He came from a tradition of hard work and attention to detail, he said, and that was all there was to it.
However, while he had begun by branching out, by subtly altering the details of traditional tailoring, he began feel the restrictions of this approach. He decided to go further. He went off in entirely new directions with radical styles and some rather challenging choices of colour and fabric. People noticed. People talked. He became the focus of quite a lot of attention and speculation about what he might make next.

It was remarked upon that he never seemed to wear the same piece of clothing twice. He said it was true: there were so many styles in the world, why confine yourself to the same items over and over?
Not long after that, Alan saw that his discarded clothes earmarked for recycling were vanishing from his rubbish bins only to turn up on the backs of other young men around town. They were obviously not quite as well fitting as when Alan wore them but they looked good enough to gain some attention of their own. Those who knew something about fashion recognised the source. They went to Alan to tell him about it and ask him to make clothes for them and finally he agreed.

He began to build quite a following for his unique tailoring style that took standard detailing and made it into something unexpected and new. There was quite a demand. He won prizes and appeared in magazine articles. Models competed to wear his styles in fashion spreads.

But then of course the knockoffs were thriving too. Alan could never hope to satisfy the hunger for his clothes by himself and it was unthinkable to hire assistants just to keep up with the orders. So the waiting list grew and sometimes people just couldn’t wait any longer. Gradually, a whole industry grew up with no other purpose, it seemed, than to watch what Alan made and then replicate it more cheaply. He didn’t take any of them seriously - they didn’t have the patience or the imagination to copy more than the surface details. But it was tiring, all the same. The feeling of being on a treadmill was stronger every day until he knew he had to do something before his desire to create vanished for good.

Then he announced to all his clients that from now on he would he putting all his resources into something new.  He called it... the potatosack.

It didn’t catch on right away. It was rough and scratchy, provided no pockets for credit cards or cellphones, came in only one colour and one size and was no good in the rain. It certainly didn’t keep the cold out, either. But nobody wanted to be the one who didn’t ‘get it’, so eventually everyone who was anyone was wearing the potatosack.
The fashion magazines wrote about it endlessly. It spread inexorably to the cheaper stores who also sold cutdown versions for children. And just when it looked like there could hardly be anyone left in the entire city who didn’t own a potatosack, Alan was interviewed on TV. He was wearing one of his old suits. Why wasn’t he in a potatosack?

—Because it’s a joke, he said.
—You’re all wearing sacks made for potatoes, he said.
—Look at you. They’re impractical, ugly and itchy. They’re not clothes. They’re rough pieces of burlap. They’re only fit for carrying potatoes. Why would anyone with any sense voluntarily wear one of those ridiculous things when they could be warm and dry and comfortable in actual garments?

Imagine it. Every line to the station’s switchboards was instantly jammed and there were crazy scenes in the studio as the entire audience rose up as one and rushed the stage, knocking lights, cameras, cameramen aside in their frenzy. At some point order was restored and that was when they realised that Alan had vanished. A vengeful crowd searched for him while potato sacks burned in the streets, but his apartment was empty, his bank accounts closed and his office bare.

Six months later, halfway around the world in Technical Town, several people began to notice an unusual kind of software in use at a few terminals around downtown cafés... but that’s another story.


The wonderful wardrobe of Alan Moore  
written and illustrated by Woodrow Phoenix

Mar 9, 2014

Young Alan Moore by Darren Shan

Alan Moore (on the right) and his brother Mike, 1963 or 1964.
Picture from The extraordinary works of Alan Moore.

In the following you can read a fictional tale of young Alan Moore written by well-known Irish writer Darren Shan. The piece - one of my favorite contributions to the book - is full of references to Moore's works and characters. If you can't catch them all, you can read some useful notes here.

Posted on this blog with the author's permission. 

Young Alan Moore  in “Saga of The Vile Thing”

November 18th, 1963. In America, president John F Kennedy is four days away from a decisively deadly date with destiny. In Britain, a young band of mop-tops from Liverpool are about to release their second album (it will hit stores in Britain on the same day that a “rubber bullet” hits president Kennedy) and will soon go on to conquer pop charts across the globe. The world stands on the brink of great social, cultural and technological changes. By the end of the decade everything will have altered, faster than previously imagined possible. It is a time of upheaval and revision. We could throw our gauntlet down in any corner of this brave new world and find individuals of wondrous imagination and courage, heralds of the age of evolution. We could alight in Moscow, New York, Berlin, London. But the metropolises of the world have been exhaustively documented. Let us instead set our sights on a grey, cold town in middle England, and one of its younger, more anarchic inhabitants. The town is Northampton, scene of two apparently unconnected, but preternaturally linked, petty crimes. And our focal spirit is ten year old Alan Moore, perpetrator of the humbly heinous acts. Let us observe …
*
“Who the hell would steal Santa’s beard?” constable Constantine asked rhetorically.
    “I dunno,” the unfortunately named Curt Vile muttered. “The bleeder hit me over the back of me head while I wasn’t looking. Mugging a poor old guy like me in a Santa suit — he must be the spawn of Satan!”
    Curt was lying across the pavement, redolent in a baggy red costume. He had black boots, the crimson suit, a white fur rimmed hat. All he lacked was the beard to complete the perfect yuletide picture.
    “What you doing in that get-up anyway?” constable Constantine asked. “Christmas is miles off.”
    “Thought I’d get in early on the act this year,” Curt said. “Another couple of weeks and you won’t be able to move for street Santas. Figured I’d beat them to the punch and make a bit of cash before the rush starts.”
    “Begging, eh?” constable Constantine exclaimed, ever quick to pounce on the subtlest of clues. “You’re nicked, mate!”
Curt rubbed his bare chin and grimaced. “So much for the spirit of Christmas!”
*
Meanwhile, several streets away, Roscoe Moscow (as he was known to the local kids) was carrying out an emergency stock inventory. Roscoe sold and repaired bicycles from a small side-street shop. The shop had been burgled many times since opening day. He’d learnt a long time ago not to leave any money in the till, and to only keep tired old bikes in the shop (the good ones he kept in the spare rooms of his home). Thieves still pestered him, making off with equipment and the battered old bikes, or smashing up the contents of the shop for pure, bitter fun. But this was the strangest break-in yet.
    “I don’t get it,” Roscoe sighed, inventory completed. “Who’d go to all the trouble of breaking in just to take a single can of black spray paint?”
*
“Yo-ho-Huxley,” Alan Moore grunted, studying his reflection in a broken shard of mirror. He was wearing the long, shaggy Santa Claus beard, sprayed a delicious shade of midnight black. The paint can rested on the waste ground behind him. His fingers were smudged from the paint, but he’d been careful not to get it on his clothes — his mother would have his guts for garters if she found out about this!
    “Not bad,” Alan said, admiring his reflection. Even at that tender age there was something supernaturally piercing in his gaze. His grandmother said he had the eyes of an old man who’d seen much of the world, and worlds beyond. (“Aye,” his Dad had deadpanned. “And I bet the old fart was glad to get rid of ’em.”)
    “That’s decided then,” Alan said, removing the beard and laying it down next to the paint can. “I’ll grow me own as soon as I can.” The beard suited him. He should have been born with one. Thinking about it, he wondered if he had — maybe his grandmother had shaved it off. He smiled at the image of a baby with a beard. He imagined his mother’s reaction: “Ernest! Help! Me fanny’s coming away on the baby’s head!” Maybe he’d write a story about it … But no. He doubted his parents would see the funny side of that. Genitalia were unacceptable in his work at this moment in time. A few months ago he’d written a story about a lizard with both a penis and vagina (he’d called it “A hypersexual lizard”) — when his father stumbled across it, it had been like a replay of the wrath God visited upon Sodom and Gomorrah.
    Alan turned his back on the painted beard (“One day …”) and went exploring the warren of the Northampton back streets. Today was his tenth birthday, a special time in a boy’s life, the start of his ascent towards adulthood. Alan knew he had a lot of growing yet to do, but he had moved beyond the boundaries of basic childhood, and from today there could be no going back. He’d reached double fig-ures — he was into big numbers now.
    He should have been in school, but how could he waste a magical day like this on lessons? If he was to have children, and they were to ask him how he’d celebrated his tenth birthday, how was he to respond? “Oh, I went to school like normal and got caned for knowing more than the teachers.” No. Better to be able to say he’d marked the occasion with a statement of his individuality and freedom of spirit. Some would have called his avoidance of school truancy — but Alan regarded it as valid, liberating, soul-enhancing rebellion.
     Trudging around Northampton, careful not to be seen by anybody who might know him, keeping to the shadows, elusive, hidden. Many children would have felt lonely, bored, scared in his position. But not Alan. With his imagination for company, he was never alone. He sought amusement in it while he walked, the hours passing swiftly, far swifter than they ever did in school.
    He was a super-hero, Batman, fighting the Joker. No, better than that, he was his own super-hero, a character of his own invention. He was Jimmy Muscles … No, something even sturdier … Tommy Strong! Born in the tropics, possessor of incredible strength (not too sure how he came by his powers, but that wasn’t important), married to a beautiful, resourceful woman, guardian of mankind.
    In his head he fought a dozen battles, in the present, the future and the past. All zones were accessible to Tommy Strong. He could follow his enemies to the ends of the earth and through the torrid, twisted, tunnels of time itself.
    But even super heroes have to stop for lunch. Alan made a seat of a wooden crate next to a deserted factory and made quick work of his sandwich and apple. He was thirsty. A bottle of coke would have been perfect, but he lacked the funds, so he settled for some cool clear water from a rain barrel. A bunch of teddy boys passed as he was drinking from his cupped hands. They laughed at him and threatened to dunk him in the barrel. Alan said nothing while they passed – he’d been dunked before, so he didn’t doubt the seriousness of the threat – but once they were out of earshot he cursed them vilely, ending with a thumping snort of “Fashion beasts!”
    As he was leaving, in the opposite direction to the teddy boys, he noticed a watchman inside the factory, standing by one of the windows, bored out of his brain, idly watching the skyline. Alan studied the watchman for a while. The glass of the window was badly stained, and if Alan shifted slightly from foot to foot, the stains appeared to spread across the watchman’s face, altering his appearance. Alan wondered if anyone else was watching the watchman — glancing around at the grey neighbouring buildings, he didn’t think so.
    Eventually the watchman retreated, perhaps to view the town from a different window. Alan moved on, becoming Tommy Strong again. He fought space monsters, Nazis, and giant spiders. He had the idea for a creature half human and half spider — “Cobweb,” he called it. Cobweb was a man to begin with, but then Alan imagined it as a woman, alluring and sensual, destroying and devouring those she loved.
    In his mind, Cobweb proved too much of a threat for Tommy Strong — he was rendered helpless by his love for her. But not to fear — Alan simply invented a team of friends for Tommy, super heroes of all sorts, with a variety of powers. Jack Quickly, the Number One American, Greycoat — courageous, capable, loyal allies, one and all. But he needed a name for the team, something catchy. How about the Association of Extraordinary Gentlemen? Hmm … He liked it, but he sensed he could do better. He’d have to sleep on this one …
    After a series of taxing, life-threatening adventures, Alan wound up by the gates of his school, ten minutes before classes finished for the day. This way he could take the ordinary route home and not raise any suspicions if he was spotted by his neighbours.
    On the stroke of three o’clock, the pupils came streaming out, chattering, yelling, laughing, excited by their freedom. Alan kept to the shadows of the houses opposite the school gates, waiting for the crowd to pass, so he could follow just behind them. As he waited he spotted Hilary Jones, a girl from his class. She wasn’t the prettiest girl in school, but Alan had a warm spot for her. She had a lovely smile which gave him butterflies in his stomach every time he saw it. In his mind’s eye Hilary was no mere human girl — she was an angel, with a hidden glowing halo, sent to brighten up the lives of mere mortal men. He was not worthy of her, and would never be her boyfriend or husband, but perhaps he could write a poem in honour of her one day — or a ballad.
    When most of the children had passed – and all the teachers – Alan slipped out of hiding, fell in behind the stragglers, and made his way home, adopting the most innocent expression his mischievous little gargoylian face could manage.
*
Alan spent much of the afternoon ensconced in his bedroom, reading. On his bed lay a thick edition of Frankenstein: Or the Modern Prometheus (Alan had underlined the word “Prometheus” on the inside cover — he quite liked the sound of it), which Alan was enjoying immensely. There were also several Jack the Ripper tomes stacked in one corner of the room, which he dipped into at frequent intervals. Alan was intrigued by the Ripper, and thought he knew who the killer might have been, but he wasn’t prepared to make a claim just yet, not until he’d done a bit more research.
Most of the time, though, he read comics. Comics were his first and abiding love. He boasted a collection of ageing, tattered, dog-eared, but golden treasures. Batman, Superman, Captain Britain, Marvelman — fantastic stuff! He liked to draw his own comics – he’d have a go at a Tommy Strong story soon – but he feared his lack of artistic ability might work against him in the long run. Perhaps he’d just write stories when he grew up, and get other people to draw them. Not as much fun as drawing them himself, but better than not working in the medium at all.
    When he wasn’t reading, Alan was scribbling in either his ABC or Top Ten notebooks. Alan loved to make lists and play with words. In the Top Ten pad he’d compose lists of his favourite comics, songs, TV shows, movies, as well as his top ten diseases, scourges, implements of torture, and so on. In the ABC book, Alan would jot down all the letters of the alphabet, meditate a while to blank his mind, then gaze at the letters and write down whatever words occurred to him, starting at A and rapidly working his way through to Z. He had hundreds of ABC lists, compiled in several bulging paper folders which his mother – a printer – had been able to procure for him.
    Alan was nearing the end of his latest list – “R for rorschach, S for supreme, T for time travel, U for UFO, V for vendetta” – when his mother called him down for supper. He quickly complete the list – “W for watchmen, X for x-ray (again!), Y for young blood, Z for zzzzzzz” – then raced for the kitchen.
*
His mother had offered to throw a party for him, but Alan didn’t believe in making a big deal out of birthdays, even one as important as his tenth. So apart from a small cake and a slightly nicer dinner than normal, it was a typical meal. Alan had opened his presents that morning – books and comics for the most part, as well as some clothes – but his mother had held a few surprises back for him, which provided some excitement after dinner. The presents were nothing extra special – another book, a game of Snakes and Ladders, a small magician’s set of tricks (he’d received the same set the year before, and had mastered the tricks within a couple of days, but Alan was a diplomatic boy and said nothing of this minor faux pas).
    He played a few games of Snakes and Ladders with his parents, then spent some time playing with the cat on the kitchen floor. The cat’s name was Maxwell. An elderly, straggly mongrel, missing half an ear, nicked and scratched in many places — a real cat. Alan liked Maxwell — he felt they were kindred spirits. He told the cat of his day and how he’d celebrated his birthday, safe in the knowledge that the cat wouldn’t betray his confidence. He started to tell Maxwell a story about a modern day kidnapper-cum-ripper who abducted young ladies – “Lost Girls” became the title, once Alan had worked out where the story was heading – but then a neighbour arrived and Maxwell bolted — the cat wasn’t fond of company.
    Alan strolled through to the living room to see which of the neighbours had come a-calling. He discovered one of the Bojeffries clan, sitting chatting with his mother. The Bojeffries woman – there were so many of them, Alan never bothered to remember their names – had a baby with her, and was showing what looked like some kind of parchment to Alan’s mother.
    “A birth caul,” she said. “Covered her head like a wee cap. We thought Glory – that’s what we’s called her – we thought she was deformed to begin with, but it was only the caul.”
    Alan was interested in the birth caul – he hadn’t seen one before – but his mother shooed him away before he could examine it properly. She didn’t like him poking his nose into “women’s stuff”. Her son was a bit too curious for her liking. There were certain things which men – and boys, certainly! – had no business knowing about.
    Muttering blackly to himself, Alan went to sit beside the fire. (He had no interest in television, though a new programme, due to start five days later, sounded like it might be worth his while — according to the grapevine, it was all about a time-travelling doctor.) He stared into the flames for a while, then cocked his head sideways. His grandmother had told him you could hear people talking if you listened closely to the flames. She hadn’t said whether the speakers were spirits, or if the flames served as some sort of telephonic system for the living. Alan listened intently for a long time, but there was no voice in this fire, and eventually he abandoned his post and returned to his room, to read and scribble some more.
*
Later that night, tiring of his notebooks and well-thumbed comics, Alan turned his hand towards writing some stories of his own. He wasn’t sure how writers wrote comic stories – did they draw a rough version of each page and write in the dialogue, or did they just describe the contents of the page? – so he’d experimented with several methods. Tonight he wrote a Tommy Strong story as straightforward prose, figuring he could adapt it at a later stage if he liked the feel of it.
    Alan had a good feeling about Tommy Strong. He was on to a winner with this one. It might take him a while to truly capture the character, develop his world and bring him to light, but he was sure, when he did, that the Tommy Strong comic would sell like hot cakes — he’d make a small killing!
    After the Tommy Strong adventure, he tried to think of some new characters, to use in other stories. He jotted down a series of names, but none really grabbed him. He took a break about nine o’clock and returned to the kitchen. His throat was exceedingly dry and he needed something to quench the thirst. As he stood in the kitchen, gulping down water, he played around with the word “quench”. A nice word, possibly one he could adapt for a character …
    Back in his room, he wrote the word down, replaced the “e” with an “i” (for no good reason other than it pleased him), then tried to find another name to go with it — “Quinch” sounded to him like one half of a partnership. Perhaps a doctor. Dr so-and-so and Quinch. Not bad, except he couldn’t find the right name for the doctor, no matter how hard he tried. In the end he left it as “Dr and Quinch” and resolved to work on it again in the morning.
    Some more doodling, a bit more reading, then Alan was ready for bed. He undressed, checked his underpants for skizz marks (his grandmother’s phrase), visited the bathroom, said goodnight to his parents, then tucked himself in.
    “So,” he thought in the darkness, staring at the cloudy night sky through a crack in the curtains. “Ten years old. Not a bad day. A bit on the quiet side, but what can you expect in Northampton! I’m sure, when I’m bigger, I’ll live somewhere big and fabulous. That’ll be much more exciting. Who knows — for my fiftieth, maybe I’ll be celebrating my birthday on the moon!”
    As Alan lay in bed, slowly drifting into the realm of slumber, he ran a few more story lines through his head. He often thought of good ideas late at night, on the verge of sleep, and sometimes he wouldn’t nod off until one or two in the morning. But not tonight. Ideas weren’t coming to him easily, and he didn’t want to work too hard on his birthday. He could chase ideas the next day. “Tomorrow,” he muttered, making a comfortable space for his head in the exact middle of the pillow. “Lots of time for stories tomorrow … write all the stories I want … tomorrow … stories …”
    And with that, young Alan Moore twitched, scratched his chin, then surrendered to the forces of Lord Morpheus, to dream of beards … and wonders.

The End.

© Darren Shan

Feb 7, 2014

Blue Man Blues by John Higgins

The little things: illustration by John Higgins.
From Alan Moore: Portrait of an Extraordinary Gentleman, the sold-out tribute book published by Abiogenesis Press in 2003.

In the following you can read the poignant and funny contribution written by British artist John Higgins, who did an amazing work colouring both Watchmen and The Killing Joke. The piece was originally printed at page 297 of the book. 
Higgins also contributed with the illustration you can see above (page 296).

Posted on this blog with Higgins' permission.
More info and news about Higgins on his website: here.

Blue Man Blues

Alan Moore a comic Genius.

Not impressed.

Alan Moore changed the face of modern comics.

Still not impressed.

Alan Moore at a comic convention in London in the mid-1980’s at the start of the WATCHMEN phenomenon, dressed (in his usual understated style) in a candy-striped suit. He is the star attraction of the convention, and the centre of attention for hundreds of comics fans and fellow professionals a like.

Everyone wants a bit of his time, but Alan had decided the most important person there was a bored six-year-old girl at her first comics convention. She doesn¹t know or care who the hell this hirsute and interestingly garbed giant is, but is enthralled as he proceeds to entertain her with stories, conversation and magic tricks and made her the centre of all his attention.

Now I’m impressed!

I can think of very few other people who would have or even could have done the same thing in his position.

To work with Alan has been a creative joy, and to read Alan¹s work has given me many hours of entertainment. If that was all to say about him, that would still be more than enough to sing his praises here. But that six year-old girl was, and is one of the most important people in my life--my daughter, Jenna. And for me, that long ago incident underlines what it is that makes Alan Moore special and why he is such a creative powerhouse. He really does care about the little things!

I was one small part of the WATCHMEN team, and right from the beginning Alan (and Dave) made me feel fully part of that team, how ever minor my input was. Though there is one totally and original first I can claim in relationship to the WATCHMEN.

I told the very first WATCHMEN joke.

One of the earliest WATCHMEN plotting sessions between Alan and Dave took place in a London pub beer garden. It was early March, and it was too damned chilly to be sitting outside drinking cold beer. They were postulating theories on how Dr Manhattan could materialise, "Would there be an electrical charge before he arrived or after he left?" "Would the displacement of oxygen atoms be violent enough to make a noise?" "Would he create a vacuum when he left an environment?" This was their job, my job was the colour, and all I knew about Dr Manhattan was, he was blue. "Dave, Alan, I feel a little bit like Dr Manhattan just now!" They both gave me a look of polite interest. "I think my dick has turned blue in the cold."

OK it might not have been a very funny WATCHMEN joke, but it was definitely the first!

What can one say about Alan Moore that has not been said before? I have no idea!

Just believe it all and know he is a one off.

February 2003

Jan 10, 2014

The Tipping Point by James A. Owen

Promethea illustration by James A. Owen.
From Alan Moore: Portrait of an Extraordinary Gentleman (starting at page 193) - the sold-out tribute-book published by Abiogenesis Press in 2003) -  in the following you can read the contribution written for the occasion by comic book illustrator, publisher and writer James A. Owen
Special thanks to James A. Owen for the permission to post both the article and the Promethea illustration on this blog. 

You can visit James A. Owen official website here.

The Tipping Point
Or
Notes from the Periphery of the Magus
As far as professional affiliations go, I think my tenure as an Alan Moore collaborator was of shorter duration than that of anyone else in this book (with the possible exception of Brad Meltzer, whom, as far as I know, has not actually collaborated with Alan, but which, I hasten to point out for fear of jeopardizing my future collaborations - The Incunabula Promethea and The Legion of Super Heroes Graphic Novel, respectively - is no reflection on the talent of either of these gentlemen). Still, given the influence Alan had on the beginnings of my career (and has on it still), I was very pleased for the opportunity to express my admiration for the creator of a body of work without which my own career and work on Starchild would have been greatly diminished, if indeed, they would have happened at all. I say this, because outside of a general influence, outside of a brief acquaintenceship and collaboration, outside of his influence on the many mutual friends working in the medium, I can specifically thank Alan for the Tipping Point which was the catalyst for Starchild and all of my career which has followed.

*****
Let me start at the beginning. In decades past, DC Comics had a remarkable program of publishing material in digest form, material both reprinted and new. It was sort of a pilot run for what is now known as the trade paperback industry, except the books were released at a quarter of the size and a tenth of the price. At some point in the early 1990's, they decided to discontinue this program (thereby relinquishing the small-format racks of grocery stores everywhere to Archie) but during the 1980's, one tradition which was trailblazing (for the time) was a yearly Blue-Ribbon Digest called The Year's Best. Granted, it meant the year's best DC comics, but considering (at the time) there was little else to choose from except for the ubiquious Marvel line, and the trailblazers Cerebus and Elfquest, it was a pretty high-quality package.
     
The 1985 edition is the issue that changed a few things, for me. It had the usual suspects (Wolfman, Levitz, Perez, Garcia Lopez) and a short Green Lantern story which, along with an earlier Detective Comics two-pager, convinced me that Len Wein is one of the great short-story writers of the last few generations. It also reprinted Alan Moore's first Swamp Thing story, "The Anatomy Lesson", from the 21st issue of the series. It was my first exposure to Alan Moore, as well as his talented collaborators Stephen Bissette (who has since become a friend and fellow traveller) and John Totleben (more about whom later).

Not quite the tipping point, but the beginning of a significant shifting nonetheless.

*****
Then came Watchmen. Not much to say here. When I bought issue one on the first day of a family vacation, it had the same effect as if my mother had casually revealed that the family Ford Pinto could drive up the sides of buildings. Sort of a 'What the hell is going on here?' kind of response. When I bought issue twelve, on my way to the San Diego Comicon (where I met Alan's collaborator Dave Gibbons), the ending shook me enough I made my friend's dad stop the car in the middle of the desert so I could run around whooping and hollering at the top of my lungs.

Still not the tipping point, but I was beginning to pick up momentum.

*****
There are books which have inspired me in my work, and I've written of them often: The original run of Elfquest; Nexus; Frank Miller's Ronin; Paul Chadwick's Concrete. All have been an influence, and all inspired my earlier attempts at creating comics material. But the one singular influence-my personal Tipping Point-the book which forced me to push my own boundaries past emulation and into the desire to create something on as pure a level, was Book Three of Miracleman, "Olympus", by Alan Moore and John Totleben.
Anyone familiar with my inking style will see Totleben's obvious influence (amidst the Windsor-Smith grass and leaves), but until Miracleman, I'd never gone at it in earnest to see if I had boundaries. I found them more quickly than I expected to. Ever since, I have been trying to break them, and a number of new influences have taken hold. But, if nothing else inspires, a glance at any of the "Olympus" issues clears the road ahead and lets me get back to work.

A few years later, having established my chops as a professional in the comics' field, I decided that I never wanted to meet Alan Moore or John Totleben. I'd become prominent enough that many of the people I'd admired were now my personal friends, and the batting average was about a third of what I'd hoped for. For all of the Rick Veitchs and Wendy Pinis and Bernie Wrightsons (who are all decent human beings) there were a score more who either hated their work or hated others' hero worship of said work or both, but were loathe to give up either, and in the process had skipped over mere feet of clay-ness straight into an existence that was hell to witness and even worse to interact with.
On the opposite end were people with whom I'd grown closest, and who broght with them all of the challenges of a personal relationship. The difference was, when I had a let's-change-the-world discussion with an old pal from high school, a transcript of said discussion wasn't likely to appear in the next issue of Cerebus, wrapped in a cover spoofing one of my own characters from Starchild (among issues, I should point out, which also contained long transcriptions of a discussion with Alan Moore, whom I intended to never meet or speak with).

I'd decided it might be better not to know who your heroes were.

*****
It's the latter end of 1994 and I'm talking on the phone with Alan Moore.
Joe Pruett, the editor of the anthology Negative Burn, had asked if I'd be interested in participating in a project called The Alan Moore Songbook. Since it gave me a legitimate reason to call Alan (Rick Veitch had given me his number-and Totleben's-a couple of years earlier) I trashed my earlier convictions and accepted. I scrolled through the twenty or so songs, skipping the ones obviously better suited to another artist (Art Adams for "Trampling Tokyo") and ended up with one that I thought had some nice, romantic overtures to it. There were a few cloudy parts (bad fax), but I glossed over them, giddy with the idea that I was going to be working with Alan Moore. Made some notes. Called him up. Did the usual chitchat, then went white when his first reaction to my choosing "Rose Madder" was to say that he was glad that one would be done by an artist able to do detail work, what with all of the sexual imagery and whatnot.

(The irony is only apparent when you know that I was raised in a community where, despite the evidence to the contrary at the high school, asexual reproduction was preached as the reality and nudity only existed in Italian painting and MTV).

I've never been so grateful for the concept of Metaphor in my life. We talked a few times, Alan liked my ideas, I illustrated the song, and, as I heard sometime later, Alan and Melinda liked it very much.

*****
In Oakland at Wondercon several years ago, just after Alan's decision to enter seriously into the study of Magic (or Magick, as it were), Rick Veitch and I happened to have adjacent hotel rooms. We tended to be dinner companions when in the same city, and so we ended up turning in at about the same time each night. The first night, I awoke in the middle of a very lucid dream-thinking this would be good fodder for Rick's dream comic, Rare Bit Fiends-to see a veiled Alan sitting in the corner chair, talking. It became apparent after a moment or two that he wasn't talking to me, but to Rick. I spoke, and pointed this out to him. He replied that it didn't matter which room he was in-Rick would be able to hear him anyway-and continued his discourse. I went back to sleep.

The next morning, I asked Rick if he'd had any interesting dreams. He replied that he'd had all the usual menagerie-but also that he dreamed of the disembodied voice of Alan Moore, dropping some words of counsel or whatnot from afar.

"Not so far," I said. "He was in my room."

Rick then told me about Alan's new interest in Ideaspace, and Magick, and we talked about dreams and dreams of dreams, and I've never asked Alan exactly what he may have been doing that night, because I'm not sure I wanted to know. It was brief, and was directed at Rick, and I was more than happy to be on the periphery.

*****
We're now at nearly the twenty year mark since I first heard of Alan Moore. I continue to hover at the periphery. Alan has been a part of my own stories, based on experiences both real and imagined; his collaborations seem to occur with artists who are my friends (my long friendship with Mick Gray being the inspiration for my Promethea illustration printed herein, the original of which will have been delivered by now, as a birthday gift for Alan); and his work continues to be an influence. At some point, I now expect we will become better acquainted personally-but considering he was comfortable dropping in on my hotel room and I was comfortable with him being there, I don't think it's going to be a problem.

I still haven't called John Totleben yet, though.


Taylor, Arizona
March, 2003

Dec 17, 2013

Moore’s Eclectic Emporium by Leah & Amber Moore

Photograph by David Ma, from The Quietus interview.
From pp. 261-263 of Alan Moore: Portrait of an Extraordinary Gentleman, the sold-out tribute-book published by Abiogenesis Press in 2003. 
In the following you can read the amusing and brilliant contribution written for the occasion by Alan Moore's daughters Leah & Amber. 
 
Special thanks to Leah and Amber Moore for the permission to post the piece on this blog. 
 
Moore’s Eclectic Emporium 
"Purveyors of quality merchandise, novelties, home furnishings and occult paraphernalia" 
2003-2063
© Leah & Amber Moore
The young reporter’s palms are slick as he knocks on the door. The glass pane is milky with cobwebs, revealing nothing of what lurks beyond. Thuds, clatters and a rasping cough filter from inside, wheezing and muffled swearing grow louder as someone, or something approaches…
“Hang on, hang on, I’m coming…. bloody reporters. Thought they knew we don’t open ‘til noon.  Yeah come on, pull up a…heap. You want a drink? Lemmesee…we got Mango and Lychee… urggh, I think that’s off. We got bio-yogurts, tea, peppermint cordial… or Absinthe. No? Suit yourself. I was just sayin’, we don’t usually open this early… company policy. No it’s no problem, just keep it quick. No he’s not here, his Royal Grand Egyptian wossname is at home, or in town or something. Probably anointing his sacred orbs.
    Yeah, we pretty much have the place to ourselves these days, keep it ticking over.  We are ‘purveyors of quality merchandise, novelties, home furnishings and occult paraphernalia’. Humph. Not that there’s much call for it. I said to him when he retired he might need something to fall back on in his old age… didn’t bank on this though. First we were just sellin’ the stuff he couldn’t shift through normal distributors… CDs, t-shirts, action figures. We had all his spare copies of stuff he did years back. He thought it’d be great, just sign a few dusty copies of Superlative #6 and we’d be sorted. Amazing how people don’t want to buy stuff if it’s covered in tea rings and fag burns isn’t it? The action figures sold at first, but when they did that ‘Imaginary ideas from outside inner Idea Space’ range, we couldn’t give ‘em away. How collectable can abstract concepts be anyway? Even if they do have twenty-seven points of articulation, and detachable accessories…people didn’t really see the point.  Then there was the fiasco about the novel… re-issued it with pictures… lovely pictures mind… but then the publishers decided to drop the text, and just put out the drawings. They’re still selling… colouring books, stuffed toys, the whole lot. Hear there’s a cartoon series planned. We don’t mention it to him of course… not to his good ear.
    The Magick line seemed like a safe bet, you know… flog a few incense sticks to the arty student types, few tie-dye throws… but no. His Holiness the Archduke of Spook said that that wasn’t good enough; he wanted us to sell the real thing. So a couple of phone calls later and we were the only retailer stocking the patented ‘Magick Al’s Occult Odds and Ends’ series. Need a thurible in a hurry? Chalk circles keep smudging? You get the idea. Needless to say, the denizens of Towcester aren’t really big on wands, so we’re still tripping over it all. Ever stubbed your toe on a grimoire? No? Didn’t think so.
    Yep, times are tough that’s for sure. But it’s not like we’re complaining… we have a pretty good life, the two of us. Bloody pair of spinsters. All we need is matching rocking chairs. What?  Boyfriends? Pah! Not for sixty years now. Not since we opened this place. Any potential husbands were either scared off by the Grand Vizier of Grump, or just couldn’t handle the idea of running this place for eternity. Bitter? No we’re not bitter. And anyway, there’s always pay-per-view. No, we got it pretty good here, there’s three rooms upstairs, although one of them is also the storeroom, so it’s pretty cozy bedding down between the boxes. We’ve got his old bath here as well. The bathroom was too small to put any other fittings in, but if you’re used to it, the bath can pretty much be used for everything. Well, nearly everything.
We did have a little shed out back, but he wanted that turned into a grannexe for his beloved life partner when he’s gone. So we’ll have to run this place and bed bath the queen of perv in-between times. “Could you sharpen my pencil dear? Not that one, the Jonquil one…NO! THAT’S CHARTREUSE!” I can see it now. We sell some of her stuff in here too, you know. Yeah, it’s the only thing that’s still selling. What does she call ‘em? ‘Tijuana Bibles’ I think. ‘Sjust a silly name for filth as far as I can see. We sell 'em under the counter, mind. Don’t want that stuff in the window; it'd get us raided for sure. We’re apparently under surveillance by no less than six major government organizations, and that’s not including the American ones. F.B.I., C.I.A., S.W.A.L.E.C., it’s like bloody scrabble! He says they’ve been after him for years… like he’s public enemy number one. He reckons they’ve been hiding over the road from him since that thing he did for the Christic Institute. Yeah right… and who says herbal tobacco doesn’t make you paranoid? Anyway, he’s got his place covered in so many protective spells and charms and amulets, it’s amazing that the gasman can even get in. We don’t have to worry here though, anyone tries to get in and we’ll beat them to death with enochian tea strainers. What’s that? You’ve got enough now? Are you sure? We’ve got plenty of stories yet…like the one about that time when he set fire to his hair on the gas ring, or when he bounced my head off the porch roof when I was a baby…no? Well at least take this as a gift… it’s a cold cast porcelain statuette of the ninth dimension… it’d look lovely on the mantelpiece. Maybe one of our...  Hey! Come back! You forgot your coat!”
The cobwebs flap and writhe around him as he claws his way out into the afternoon drizzle, gasping in deep lungfuls of blessedly pure air. His heart races, pumping blood to his trembling limbs, feeding them the adrenaline he needs to escape. As he races away from the leering shop front, he can almost hear voices, cracked and bubbling from behind the cobwebbed door.
    A hunched figure watches him run, barely human beneath it’s mop of multicolored tangles. Wheezing in between puffs on a foul brown roll-up, it totters over to a low chair and sweeps it free of papers and dust with one flail of its palsied arm. There is a creaking and snapping as it lowers itself into the grimy chair. From up the twisting vertiginous stair comes a rumbling. Dust is shaken from the ceiling and overburdened shelves and forms another layer on the tiny gnarled figure perched beneath. The syrupy light, which falls sluggishly from the landing above, is suddenly blotted out by the shadow of someone descending the stairs. Eventually, a towering figure emerges, its knee length black hair grayed with layers of dust and spiders nests. The eyes which glint from beneath this veil of filth are red rimmed, and dreadful in their purpose. The ragged breathing which accompanies its descent causes great clouds of dust to swirl and eddy in its wake. The hunched gnome looks up at this terrifying form, its eyes like glittering currants in a gray ball of dough. “Amber! We nearly had one! A real live man!”
“Forgeddit sis, they never stay long… you know the only eligible guy that hangs around here is Azmodeus; nice enough, but I wish he’d clean up his webs when he leaves. Yes, ever since we ran out of those Watchmen re-runs we haven’t had a hope of getting out of here. Might as well accept our lot and try that two for one promotion on Kabalistic fridge magnets. Never thought the Idea Space boom would crash like it did, perhaps the whole thing of everywhere being as close as the inside of your head got a little old when peoples’ mother-in-laws kept popping in from across the ether. We could have lived without the ‘Instant Space-Time’ memos direct from dad, and that was when we still had ‘personal’ lives! All that enochian chanting in-between gave me migraines.
      I remember the days, the shop was new and it’s not like we had a choice about working here… all those cherubim fluttering round the office, gnawing through the fax lines; no wonder I got fired really. I did think he went a little far with that ‘Glyco-Gram’ to your studio. Giant snakes nesting would be enough to give anyone writers block. Always gets his way.
Not that it was all bad, it was fun for a while; combing the goat hair on the book spines, air dusting the jars of teeth. It used to have such a mysterious air to it, I thought we’d end up with some of those tall dark and handsome Men In Black guys… never the way though. Here we are, older than should be allowed and sharing a storeroom with more entities than you can shake a wand at. Remember? We tried...
Maybe he’d let us retire if we could convince those creatures he summons to do a little work before they scuttle off? Of course that would be self-serving and an abuse of power… he didn’t think that when he started balding though; he was off chanting at anyone who’d listen before the first tuft hit the floor.
I thought the move from comics to magic would do him good at first… you know? He’d worked so hard building up his own little comics empire from nothing; I thought it was time for him to rest on his laurels and reap the rewards. Never thought he’d have the idea that material gain from non-magical work would pollute his ‘Ain Soph’ whatsit, if only we could've had him sectioned before he transferred the royalties to the retirement fund for archaic deities. Damn those ungrateful entities… sitting around drinking the amber nectar while I make myself Amber-knackered selling signed coffee mugs with their tentacles all over! You’d think they’d have at least let us off with middle-aged spread or something, some perk in exchange for giving up our inheritance.”
In the corner of the room, between stacks of faded boxes, a pinprick of light appears. Glimmering and growing into a cloud of sparkles. The papers that litter every surface flap and flutter in a chill wind which gusts from the glittering portal.  A shape is forming in the centre of the swirling vortex, the muscular coils of a serpent. Atop these coils sits a hirsute head. Its heavy lidded eyes peer from between the silvery fronds of hair, which drips like Spanish moss on either side. The skin sparkles with jeweled scales, carven into deep furrows by the passage of time. A forked tongue flickers from beneath a long moustache, and the beard which sprouts from its slender serpentine chin reaches nearly to the floor. It makes a noise, what could be a greeting, were it not so drenched in sibilants. And turns to bathe the wretched pair of hags in its bloodshot and baleful glare. “Oh hullo dad…”
“I’ll put the kettle on then…”

Leah & Amber Moore 2003