Showing posts with label 1988. Show all posts
Showing posts with label 1988. 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. 

Nov 4, 2025

On Fashion Beast, deities for the 80s and celebrity

Below, selected excerpts from Fear magazine, issue n.3, November-December 1988.  
Alan Moore: [...] I did write a screenplay recently [Fashion Beast]. It was an enjoyable enough experience but I didn’t get anywhere near the same control in working in the movie industry that I do producing comics. Control is the most important thing, so I think the prospect of any films in the near future is a slight one. But that's not to say that I mightn’t mess around in various media.

[...] I don't know if it will ever be made. Hollywood, to some degree, is like a Bermuda triangle for screenplays — a lot of them go in and are never seen again. I don’t know what the odds are of any film being made. The Watchmen film might be made or might not. The same goes for Fashion Beast.
The idea, as presented to me by Malcolm MacLaren, was to do a reworking of the Beauty and the Beast fable but to tie it in with the life-story of the designer Christian Dior and to come up with something aimed at a very young teenage audience. Malcom said he wanted the film to have the depth, power and dark resonance of a film like Chinatown and the youth appeal of a film like Flashdance.
I don’t know whether the thing fell through or not. It's something I did for the artistic experience of writing a film, to see what it was like, and I was satisfied, I got out of it what I wanted and I was paid really handsomely.

[...] you mentioned how interested you are in mythology, but in Superman, Batman and the Swamp Thing you've taken individual mythologies and twisted them around; and with the Watchmen you did this to the whole superhero genre. Why?
Alan Moore: Because the old ones don't work anymore, because mythology, as a pure thing in itself, is powerful nd potent—but not as much as it was. We can imagine the power that those myths had when they were more current and contemporary.
Doctor Manhattan [from the Watchmen series] is an attempt to portray a quantum god in much the same way that Swamp Thing was an attempt at portraying an environmental god. They owe a lot of their aura, if you like, to the gods and legends that I read about as a child. 
At the same time they're expressed in a way which is wholly modern. Before the atom was split you could not have had a quantum god; quantum thinking is a modern phenomenon. In the last book of Miracleman I explored that very thoroughly, in that we have a super-heroine who is taking on the role of a modern Aphrodite. She runs a cable porn network. As devotional objects she distributes pornographic videos of herself and Miracleman. She has a computer network which is basically a global lonely hearts network which works at 100 percent efficiency and, basically, she’s trying to heal the sexual and emotional problems of the entire planet.
It's deities for the Eighties, and if you're working in the superhero genre, it’s important to remember that the actual root of the superhero stories is in mythology.

[...] I don’t think there's any need for me to be a big celebrity. I think the only real need for me is to be a better writer and I don’t see that the two things are connected in any way. So I'm much happier sitting behind a typewriter than sitting in front of a set of lights in some studio. I've got a blissful home life with a wonderful family, I've got my work which is a tremendous source of pleasure and I've got friends, so I don't really need to be on the Jonathan Ross show. 

Sep 8, 2024

I can hear the grass grow

Excerpt from an interesting analysis by Marc Sobel about I can hear the grass grow, Moore's forgotten strip (or is it a trip?) & adaptation of a song by British band The Move.

Read the complete article HERE
Hear the song and watch/read the strip HERE
 
The work has been originally published in 1988 in the third issue of  British music magazine, Heartbreak Hotel published by Willyprods. It was also reprinted in George Khoury's The Extraordinary Works of Alan Moore, published in 2003 by TwoMorrows.
Marc Sobel: "[...] Alan Moore’s ability to probe such deeply spiritual and intellectual concepts, while using the comics medium in a wholly original way, sets this short story apart. As an adaptation, this work of "graphic sound" offers a transcendent depiction of an acid trip, elevating a simple pop song into a pioneering work of imagination. As a comic strip, it shatters the traditional boundaries of print media while pushing the form to its limits. As a work of psychedelic art, it is a masterpiece on par with Huxley’s The Doors of Perception."
Read the complete article HERE. Hear/watch the song/strip HERE.
 

Jun 24, 2024

Watchmen in Strange Things Are Happening

Excerpts from an interview published in Strange Things Are Happening, vol. 1, no. 2, May/June 1988 and titled "Vincent Eno and El Csawza meet comics megastar ALAN MOORE".
Alan Moore: [...] ‘I try to approach character writing as an actor would. They’re perhaps not very formed to start with but they slowly congeal… I didn’t know Rorschach was going to die at the end of Watchmen until issue four – that was the only major detail that I hadn’t sorted out right from the beginning. As I thought about it, I realised there was no way that he would compromise, and if he wasn’t going to compromise then he was going to die! When I got into the Rorschach issue I knew a lot about the character’s surface mannerisms, but I didn’t know what was inside him until I started to dig.’

[...] ‘With Dr. Manhattan we were thinking about the implications of a nuclear superhero’, explains Alan. ‘All the nuclear superheroes that existed in comics previously have been ones who, by the great gift of radioactivity, suddenly find themselves not with leukaemia or some form of tumour, but with miraculous powers. Other than shooting bolts out of their hands willy-nilly, there were never any of the implications of nuclear science and particularly quantum science – they’re not considered. We’re now forty years post-Einstein and it’s time we tried to confront some of the things Einstein said. On a quantum level, as I understand it, reality does not work! Things can be in two places at once; they can move from point A to point B without passing through the distance that separates those points… and this is what Dr. Manhattan does. Time, in a post-Einsteinian universe, cannot be regarded in the same way: from what Einstein says, it is possible that the future and past must exist now, for what “now” means. Someone existing in a quantum universe would not see time broken up in the linear way we see it. We tried to think what it would be like to somebody to whom the theory of relativity was what he had for breakfast, more or less… if you could see that different aspect of things then it would change you. You would not be able to feel the same way about the importance of human affairs. I didn’t want to do a Mr. Spock, I didn’t want to do somebody who was just emotionless – he has got emotions of a sort he’s growing away from them. He has girlfriends; I should imagine that’s just human habit. But at the end of Watchmen he decides he’s just going to go into space, forever. Perhaps he’ll make some people, but basically he doesn’t want anything more to do with humans… in a lifespan that may span billennia he’s only gone a couple of steps. He’s growing away from humanity gradually. It’s not a cold unemotional thing, it’s just different; a different way of seeing the universe.

‘Which is part of what Watchmen is about. We tried to set up four or five radically opposing ways of seeing the world and let the readers figure it out for themselves; let them make a moral decision for once in their miserable lives! Too many writers go for that “baby bird” moralising, where your audience just sits there with their beaks open and you just cram regurgitated morals down their throat. Heroes don’t work that way anymore… although I think Frank Miller would disagree with me on that. What we wanted to do was show all of these people, warts and all. Show that even the worst of them had something going for them, and even the best of them had their flaws.’ [...]

May 31, 2024

Mad Love for The Mandlebrot Set

Below, selected excerpts from an article published in Speakeasy no. 86/87, June 1988, page 14. 
In that occasion Moore talked about his Mad Love Publishing and the upcoming The Mandlebrot Set project. We all know that later on the series changed his title in Big Numbers and in 1990 MPL published two of the planned twelve issues. Then MLP closed and the project remained unfinished
[...] The fist major work to be published by MLP after AARGH! is the cryptically titled The Mandlebrot Set, a twelve issue, 28 page black and white limited series to be released sometime toward the end of 1988, or early 1989. Concerning the building of an American style shopping centre in provincial British town, the series promises a major 'piece of fiction', the aim being to bring '... something of... and what an American shopping mall is all about. So it's also about skateboards, mathematics, shopping, history, sex, computers, all human life is here.'
Bill Sienkiewicz is handling the art chores and this is the first time the two have worked together on a project. [...]
Experimentation has become something of a watchword for both creators, and The Mandlebrot Set is bound to alienate some of the faithful. 'I'm aware that the majority of those Alan Moore fans out there are in fact Alan Moore superhero fans,' admits Moore, 'and I'll be pleasantly... interesting than a superhero.
'If I was to try to pin it down,
' continues Moore, 'it takes the spirit of what J. G. Ballard said, that 'Earth is the last alien planet'. It's reality treated as if it is science fiction, so there'll be stranger characters, concepts, events and the like without there being one jot of SF. It's a completely uncompromised comic, but that's not to say that it's not going to be entertaining. [...] with The Mandlebrot Set I'm trying to go as far as Watchmen moved on from Swamp Thing. I'm going to try different storytelling techniques to get away from what's become Alan Moore cliches. It's going to be more sophisticated, more human, more personal.' [...]

Apr 12, 2022

Steve Gerber on Miracleman and Moore

Cover art by Garry Leach
Excerpt from the introduction written by American comic book writer Steve Gerber for Miracleman Book One, published by Eclipse in 1988.
[...] There is, however, a scene in this book that stayed with me since I first read it almost seven years ago, and a line in that scene that's equally unforgettable.
Mike Moran, having recently rediscovered his super-human abilities, is placed in the awkward position of having to explain to his wife Liz that is, in effect, a living cartoon.
[...] When Liz reacts the only way any reasonable human being would, with involuntary giggles, you can hear those, too.
The voices are real, and so are the emotions. Poor Mike can barely believe the words he's speaking; poor Liz doesn't want to snicker, but can't help herself.
Finally, overcome with embarrassment and frustration, Mike explodes: "Damn you, Liz, you are laughing at my life!"
When I read that bit of dialogue, I knew Alan Moore was to become one of the most important writers in comics.

[...] What impressed me was that Moore had actually thought about the characters --- and understood them. [...]

Steve Gerber
Burbank, California
August 31, 1988

Feb 13, 2022

The Ballad of Halo Jones stage productions

Flyer for Halo Jones Play, 1988
The Ballad Of Halo Jones has been adapted for the stage on a number of occasions. The first adaptation was performed by In The Red Theatre Company around the UK in 1988, the second one at the Edinburgh Festival in 2001, a third one at the Lass o' Gowrie in Manchester in 2012, then another in Leeds in November of 2012. 
 
You can get essential info HERE and HERE. Additional info here and here. Enjoy!
In The Red Theatre Company stage production programme (page 2)

Mar 1, 2021

Alan Moore by Gilbert Hernandez

Art by Gilbert "Beto" Hernandez
Above, a burning-eyed Alan Moore by legendary Love and Rockets co-creator GILBERT HERNANDEZ. Published in Comics Interview n. 65, 1988.

Feb 21, 2020

DAILY MOORE [21]

Art by Brian Bolland.
Colors by John Higgins.
From: The Killing Joke.
First edition: 1988, DC Comics.

Feb 20, 2020

DAILY MOORE [20]

Art by Bill Wray.
From: Come on down.
First edition: in Taboo n.1, 1988.

Feb 6, 2020

DAILY MOORE [6]

Art by David Lloyd.
Color artist: David Lloyd, Siobhan Dodd.
From: V for Vendetta n. 1.
First edition: 1988, DC Comics.

Jun 7, 2019

Smile!

Above, Brian Bolland’s self-portrait photo used as reference for his legendary cover of Batman The Killing Joke.

Sep 19, 2016

Joker by Tanino Liberatore

Art by Tanino Liberatore.
Above, painted cover by Italian superstar TANINO LIBERATORE for French USA Magazine N.36 on the occasion of The Killing Joke publication in 1988. 
Liberatore's illustration was based on a sketch by Brian Bolland, finished and inked by Fershid Bharucha.

More info about USA Magazine here.