Tag Archives: Alan Moore

The Comics Arts Conference and Public Humanities by Kathleen McClancy

Comics studies has come a long way in the past few years. Scholarship centered on sequential art is no longer considered beyond the pale of the academy; academic conferences and journals focusing on comics studies are multiplying; more and more books are being published that take a scholarly approach to the medium. The Comics Arts Conference, one of the first academic conferences dedicated to the study of sequential art, has been instrumental in encouraging this recognition within the academy. By providing a home for comics scholarship, the CAC not only created a forum where individuals scholars could connect to become a larger field, it also helped to grow the profile of comics studies on the academic stage. Today, being a self-described Batman scholar is no longer cause for derision. Or at least, not from fellow academics.

Unfortunately, the legitimacy comics studies has gained inside academia does not seem to be replicated outside it. An obvious recent case-in-point would be Alan Moore’s treatment of Will Brooker in what may or may not be his last interview. Not only does Moore not name the mysterious “Batman scholar” who has questioned the representations of race and gender in his comics, he dismisses those concerns as essentially the whining of an emotionally stunted idiot who can’t understand anything without a caption box. He goes on to imply that comics scholarship as a whole displays a lack of rigor at best and is a waste of time at worst. Of course, Moore’s public persona is famously a curmudgeonly old fart, and Moore could certainly be exaggerating for emphasis here, but I don’t want to dismiss his reaction as extraordinary; instead, it seems to me that Moore’s belittlement of the highly regarded Brooker is emblematic of a larger trend in the public at large to consider scholarship on sequential art dubious and even ridiculous.

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Posted by on 2014/02/22 in Guest Writers


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Vertigo’s Archival Impulse as Memorious Discourse by Christophe Dony

Vertigo, DC’s adult-oriented imprint, has been repeatedly praised for having ‘fully joined the fight for adult readers’ in the early 1990s (Weiner 2010: 10). It has been noted that this “fight” coincided with the imprint’s ‘adoption of the graphic novel format’ as well as ‘a new self-awareness and literary style’ which ‘brought the scope and structure of the Vertigo comics closer to the notion of literary text’ (Round 2010: 22). However, little attention has been devoted to the very cultural identity of the imprint, even if Vertigo has since its early days engaged in an intro- and retrospective discourse on the American comics form, its history, and the power relations inherent to its industry. This short essay intends to start filling that gap by investigating Vertigo’s archival impulse. It argues that in deploying various rewriting strategies which engage with specific past (comics) traditions, the label has activated a unique memorious discourse that provides a self-reflexive and critical commentary on the structuring forces of the American comics field, its politics of domination and exclusion, and hence its canons.

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Posted by on 2013/10/18 in Guest Writers


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Airing Alan Moore’s Shorts by Maggie Gray

I would like to thank all the contributors to this series considering Alan Moore’s short form works, and thank Ian Hague and Comics Forum for having us. I hope readers have found the articles interesting, enjoyable and thought-provoking. To me, they have certainly demonstrated that many of the acclaimed qualities of Moore’s larger projects are equally present in these more academically disregarded works.

Recurrent themes identified across the contributions include an exploration of the potency of language, as Jose Alaniz puts it, ‘the perception-shaping power of words’. Alan Moore draws attention to the ideological operations of language, the way it serves to demarcate borders of inclusion and exclusion. However, he also insists on the utopian potential of words, and their ability to remake the world. As Daniel Werneck points out in relation to Moore’s treatment of Aklo as a ‘language virus’, this focus on the ‘role of words in modifying a human’s perception of reality’, is closely connected to his interest in the occult, and conception of magic as convergent with the liberatory capacity of creative practice.

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Moore vs. Albarn: ‘Between the Angels and the Apes’ by K. A. Laity

For fans of the esoteric the news was wonderful: Alan Moore writing an opera on mystical adviser to Queen Elizabeth, John Dee, with Gorillaz. It sounded like a match made somewhere in an alchemical lab with every potential of turning into gold. There was just one problem: Gorillaz couldn’t be bothered to come up with some artwork for Moore’s magazine Dodgem Logic, despite having the issue held for them several times. As Moore told it:

And then we just got through to the point where I just met them, I said, yeah, I can get the other two-thirds of the opera written by the end of February, middle of March at the latest. It will mean working flat out, but I can do it. You still alright for that deadline for issue three? And they said yep, and it turned out they wouldn’t be able to make that issue three deadline even though we extended it for them for a little bit because they had too many commitments, so at that point I decided I had too many commitments as well.

(Johnston, 2011)

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The Shadow Over Northampton: The Transmogrification Of The Lovecraft Mythos By Alan Moore by Daniel L. Werneck

‘The Courtyard’ is a short story, written by Alan Moore and first published in 1994, as part of an anthology named The Starry Wisdom: A Tribute To H. P. Lovecraft. The prose was later adapted into comics form by Anthony Johnston, with artwork by Jacen Burrows, and published by Avatar Press in early 2003. The same publisher re-released this title in four different editions between 2003 and 2009. This success led Avatar to offer Moore the opportunity to continue the story, and Neonomicon was published in four issues from July 2010 to February 2011. It is a direct continuation of ‘The Courtyard’, to the extent of making the two stories indissociable.

One of the most typical aspects of the “Lovecraft mythos” is how the author designed his fictional world to be an open literary game that could be played by other writers. Lovecraft was joined in this game by some of his contemporaries, and even replied to them by reusing their characters or fake myths in his own stories, thus creating a rhizome of citations that grew without control, like memes, incorporating elements conceived by various authors into a masterful puzzle of fake occultism and make-believe mythology.

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