Showing posts with label 1989. Show all posts
Showing posts with label 1989. Show all posts

Oct 27, 2025

On censorship, Rambo and the evils of the world

Below, excerpt from Comics Scene n.7, 1989. 
I think it's a really important piece that resonates even to the present day.
Alan Moore: My feelings upon censorship are that it is wrong, full stop. It is a thing which I utterly oppose. I believe that there is nothing in this world that is unsayable. It is not information which is dangerous; it is the lack of information which is dangerous.
The example that I always cite is still the one which means the most to me. When she was five, my daughter came home from school, asking for some money for a collection. I assumed it was for collie dogs for the blind or something like that, and I gave her some money and asked what it was for. She said it was for a school friend of hers who was in the hospital. I asked what was wrong with him, and apparently, his older brother had gone berserk with a bread knife and killed his mother and then turned upon him. And I stood there with my jaw hanging open down to my chest. This was a five year-old telling me this, and there is no way short of following my daughter around in an armored car or putting her in a bank vault for the remainder of her life that I can protect her from knowing about the sort of stuff that goes down in this world.
Now, the only thing that I can give my children that's going to be of any help to them in life at all is information, to tell them what exists in the world and to give them a concrete text by which they can approach and understand it.
Amber is only just starting to comfortably read, and Leah, the older child, can read almost anything. She has read Watchmen four or five times. she has read Art Spiegelman's Maus. If she comes in and happens to see an underground comic with a bright cover and asks to read it. if there is any, say, ugly or distressing sexual content in it, I'll tell her that there is, that the sex stuff in it isn't meant to be taken literally, and that she might not want to read it.
I'll tell her that if she wants to read it, she can, and that if there's anything in it that bothers or puzzles her, she should come to me and talk about it. I would like to think that l have a relationship with my children within the framework of which l can talk about anything. If that means that my children might eventually come across had pornography or bad material of another nature, then I would prefer to have built up at relationship with them so that they'll have a context in which and by which to lodge that sort of material.
I prefer doing that to getting into the dangerous territory of saying that I wish to suppress this material so that my children can't see it or so somebody else can't see it. Because when you get into that area, you're really starting to head into troubled waters.
I've heard an awful lot of feminists, for example, calling for a ban on pornography because they perceive it as being insulting and degrading in its approach to women. No doubt with a lot of child pornography, that's absolutely true. But you're taking a dangerous step if you go on from there and ban the material because then you are in effect saying that all censorship is right, and you cannot turn around if someone starts to censor you and say, “Hey, look, this isn't fair!"
You must be consistent about it. Feminists who wish to censor pornography should think what it would be like in a fundamentalist society that believed a woman's place was as according to the Bible: under man and in the kitchen.
If the feminist literature was seen to he socially corrosive, then I could imagine that there are several right-wing groups which could make just as persuasive an argument for the banning of all feminist literature as feminists can make for the banning of all pornography.
Now, unless we’re going to have total silence, the only other option is total noise. One of my responsibilities as an artist is to keep the noise level up. If I dislike the Rambo films, then I've got the option of making as much noise as I can in an effort to redress the balance. If the Rambo films are putting over one view of the world, I can use whatever means are upon to me to put forward a countering view of the world. And that is all that I have a moral right to do. I don't have the right to picket Sylvester Stallone films. I don't have the right to try and stop films like Rambo from being made, much as I despise them.
If I were to insist upon that right for my own reasons, then I couldn't expect my own right to free speech to continue being extended to me. 
That, to me, is the essential thing. If there is something you do not like, presumably you can articulate your reasons. If you really believe in what you're saying, presumably you can put as good a case against the values shown in any particular work as that work itself puts for its own values. That is the proper way to do things, not t.o try to get a government body to do your moral policing for you, not to hand responsibility for what you or other people can or cannot read to some outside party and let them make all the decisions. That is very, very dangerous. We already have certain strict information controls within our society. I don't think we realty need to add to them. 

We're living in a world where we have a capacity to annihilate the entire population, something we pay our tax dollars and pounds to support. Our own government and those of other countries carry out this lethal, hideous, grotesque ballet, often in secret, to support their interests, involving the deaths of thousands of people and the erasing of square mile upon square mile of property. These things can happen, and somehow, we don't seem to get too excited about the fact that they happen and continue to happen. We don't put a strong effort into actually eradicating some of the looming social evils that are actually destroying people's lives. But censorship... Let somebody show a nipple in the wrong place, let somebody use language that offends good Christian, Presbyterian values, let somebody refer to a sexual act which, though millions of people worldwide might carry it out regularly in the privacy of their own homes, is still not fit to be mentioned, and people will suddenly find the energy to rise up in arms and take up moral cudgels against this atrocity. I find it very suspect that people can get so excited about things so relatively unimportant when they can only respond with apathy to the genuine evils of the world.

Jan 25, 2025

Superheroes, Herb Trimpe, Don Heck and celebrity

Art by Don Heck
Excerpts from an interview featured in Off Centre n.1, October 1989, a British fanzine edited by Gary Pearce. 
AN INTERVIEW WITH
THE EXCELLENT WRITER ALAN MOORE 
WITH QUESTIONS BY STEPHEN POULACHERIS
[...] Are you still as disillusioned with the "super-hero" as you have previously stated, and does this mean, if so, that we should expect from you in the future less stories of an overtly "heroic" or "adventurous" nature. Aren't elements of adventure, such as moments of extremity and a sense of the exotic, major forces in all narrative art-forms, and isn't the larger-than-life "heroic" figure ideal as a means by which to convey these-dating back, as it does, to the Greek gods, and so on?
[...] No, there won't be any super-heroes or adventure-hero stories in the foreseeable future, I'm not just tired of heroes... I'm feeling limited by the whole adventure format.
Real life just isn't structured like an adventure story..or like a comedy, a pornography, a horror story or any other genre for that matter. Genres are reductionist things that force the creator and reader to trim down their perception of the world until it fits the traditional confines of one specific genre. In horror stories,everything has to be creepy. In comedies, everything must be funny. I don't know about you, but my life is exciting, boring, creepy, funny, sad, sexy, prosaic and mysterious, and if I want to talk about my life or your life then I want to talk about all those things.
That's not to say that I don t enjoy doing the Bojeffries, which is mostly funny, or that I might not decide to work in any of the above genres in future. I might, if I feel the urge. What I'm saying is that at the moment, I feel a need to do work that gets to grips with the wider world that exists beyond the ghettoes of genre.
Hopefully, this is reflected by what I'm doing in "From Hell","Big Numbers" and "A Small Killing" ,as well as the work I did in "AARGH" and "Brought To Light".
To answer your question, yes, the adventure tradition may stretch back unbroken to Gilgamesh and beyond, tut that doesn't mean it's the only tradition worth considering, or even the best. It can express part of human experience, but by virtue of being a genre it cannot express it all, which is what I'm aiming for.

Who's the greatest: Herb Trimpe or Don Heck? (Don't answer if you can't decide!)
Without wishing to adopt a lecturing tone, you really shouldn't take the piss out of people just for the sake of a very old comic fan gag that should have been put out to grass long ago.
One of the important dividing lines between fans and pros is a certain openness and humility that comes from realizing just how much fucking hard work goes into a Don Heck or a Herb Trimpe page or just how many pages those gentlemen have turned out in the course of their not inconsiderable careers.
For the record, both ere extremely competent visual storytellers and precise draftsmen. Herb Trimpe, after Alex Toth and George Evans, is one of one of the best aviation story artists ever to grace the comic book medium. Don Heck, during the 1950s and early sixties was one of the most accomplished stylists working within the mainstream field. For my part, I'd trade a dozen of the John Byrne copyists that have erupted over the past five years for either one of the above-mentioned pair.
If I'm honest, in terms of the originality of the work stylistically speaking, I'd probably also trade Mr. Byrne himself. Hey, c'mon you guys. Let's have some respect where respect's due, eh?

[...] Do you still welcome the new acceptance of comics,or do you secretly wish that your favourite ones could be hoarded away from the sullying hands of the masses?
I want comics to be for everybody, not just for en elite, so no, that aspect doesn't bother me.The only thing that does bother me about the sudden mass acceptance of comics is the way in which all the signs point to us becoming a more literary version of the pop music industry, with all the shit, image and
hype that entails. Although I must take some of the blame for instigating this situation, I personally want no more to do with that phoney,redundant pop star element of things. Hence I don't do interviews in the fan press as such. Hence I swear never to appear on "The Tube" or "Get Fresh again in my life. All I want to do is work on stuff that feels good. I don't want to be a celebrity. For one thing, celebrities spend far too much time answering interviews when they should be showering and cleaning their teeth and wondering which of their many beautiful and exotic pairs of shoes and socks they should wear this evening.
Art by Herb Trimpe

Jan 11, 2025

Taboo 2: From Hell and Major Arcana

Art by Alan Moore
Above, Major Arcana: The Lovers and the Star, a great illustration by Alan Moore published on the inside back cover of Taboo n.2 (Spiderbaby Grafix, 1989).

Below, selected excerpts from From Hell - being a melodrama in sixteen parts intro written by Moore, also published in Taboo n.2, page 121-122.
[...] “From Hell” is a post-mortem of an historical occurrence, using fiction as a scalpel. All the characters who populate the story once existed. The motivations I have attributed to them and the words I have placed in their mouths are based whenever possible upon exacting historical research. I have also relied upon guesswork and conjecture which, if not accurate. is at least informed. So far as I know, none of the facts stated in the story contradict those previously reported, and no pertinent fact has been ignored. Theoretically, the events detailed in “From Hell” could have unfolded just the way we describe
them.

But it isn't history. It's fiction. [...]

Indeed, it's worth remembering that all history is to some degree fiction; that truth can no longer properly be spoken of once the bodies have grown cold. The side that wins the battle decides who were the heroes and who the villains; and since history is written by those who survive it, their biases often survive with them.
This is not to diminish the importance of traditional history: it is vital to the continued
well-being of both ourselves and our culture that we understand the events that have
shaped the world that in turn shapes us. [...]

There is no hanging at the climax of “From Hell.“ The verdict remains open, the history books silent, the noose empty. All we have been able to deduce is recorded in these sixteen installments. It is a fiction, a mosaic of tracings and jottings, an enciphered communication from another age. It is a scarcely-legible note of terrible significance.

From hell.
Alan Moore

Jan 24, 2021

In principio... Moore in Italian!

Art by Daniele Caluri
Above, cover for In principio - Storie crudeli della Bibbia, art by Italian comic book artist Daniele Caluri. The Italian 128-page volume, to be published by Kleiner Flug/Double Shot in May, contains Outrageous Tales From the Old Testament and Seven Deadly Sins both originally published by Knockabout respectively in 1987 and 1989. 
 
The book includes stories by Alan Moore, Neil Gaiman (both writers are featured in the cover), Bryan Talbot, Dave McKean and others.
 
Moore's stories are Leviticus with art by Hunt Emerson and Lust illustrated by Mike Matthews.

Oct 9, 2019

Moore's advice... from 1989!

Late 80's, Moore and Gibbons signing Watchmen at Forbiden Planet store.
Blast form the past! Excerpt from an interview published on Off Centre n.1, October 1989.

What advice would you give to young (or old) people starting out in the "comics biz" – lunge at the majors, or stick with independent bastions of integrity?
Alan Moore: I can't really give much specific advice, because I believe that everybody must find their own path based upon what he or she wants out of the medium. 

If you want to create your own work without compromising anything at all, then you should probably stick to the hard and narrow path of self-publishing, or independent publishing, even on a small-time basis. If on the other hand you want to make money and gain a certain degree of influence within the industry, you're more likely to do this by pitching yourself at Marvel, D.C. or Fleetway. Both have their advantages and drawbacks, and in the end it's down to the individual person.
 
What I would advise is that you consider all the other places that might be willing to run comic strips; places that fall into neither of the above categories. I spent two years learning the rudiment of storytelling by doing strips for music weeklies and regional newspapers. Hunt Emerson works for Fiesta. Brian Bolland started out doing work for the underground magazine OZ. Dave Gibbons for the underground weekly I.T. Crumb did greeting cards and Robert Williams worked for a hot rod magazine. 

What I’m saying basically is that you're on your own in terms of what choice you eventually make, but at least be sure that you've considered the whole range of choices actually open to you. (Another good thing about doing comic work off the beaten track is that the competition is often less intense. And yet another is that if your early work turns out to be crap, very few comic fans will have seen it and your reputation will thus be reasonably intact.)