>while comic book stores, in the short term, would be much wiser to invest in the latest movie-related spinoff, they might have cause to question how the long term effects of this policy have seen the greater part of the comic industry transformed from a genuine source of fresh ideas and energetic culture into a shrivelling appendage of Hollywood
>It is the responsibility of genuine artists to create work which is sufficient to their turbulent times, and in my opinion you cannot accomplish this by continually rebooting and recycling the pop culture of the Sixties, Seventies and Eighties. How is any new culture – music, films, comics or literature – that is adequate to our modern situation going to emerge if there are all these shiny, re-imagined nostalgia-fetishist franchises standing in the way? Are we doomed to endlessly recycle the pre-digested waste products of the culture preceding ours, passing it on to the culture following us until the end of time? Has The Human Centipede taught us nothing?
>I think my original idea was “black and white horror anthology”, with the “black-and-white” and “anthology” elements of that premise already explained. When it came to the “horror” part of the equation, I think both Kevin and I realised that it would require a little more thought. One of the things about comic book anthology horror is that with very few exceptions it seems to have relentlessly followed the (admittedly excellent) E.C. template of twist-ending stories that are made palatable by framing them within the comforting gruesome puns of a “horror host”.
>After thinking over what I personally found creepy and atmospheric, and after talking with Kevin about our very similar childhoods in the working class England of the 1950s and 1960s, the memory of the peeling and dilapidated side-street cinemas of that period seemed to stand out in particularly sharp focus.
>Surprisingly, once we’d hit upon that central concept of a creepy and liminal cinema that was for some reason showing these unnerving little B-movies, our ideas for the stories we wanted to tell and the storytelling devices we wanted to use seemed to come thick and fast. I think my own main contribution was mentioning an ingeniously-themed anthology of short stories that I’d read by the magnificent Robert Coover which in the prologue established a drunk and despairing manager of a condemned regional cinema, alone in the projection booth on the night before his venue is demolished and maniacally running several films through the projector at once, so that the celluloid scenarios literally melt into each other. The rest of the book is a cinema programme with a cartoon, a documentary short, a main feature, a continuing serial and so on, each one a strange and affecting little vignette that gets its effect from mutating our expectations of these familiar tropes and genres.
>it wasn’t really horror movies we were concerned with so much as the horror of movies: our work in Cinema Purgatorio seems to be focussing in on the uneasy aspects of the way we watch films, with our simultaneous awareness of the lives of the actors and directors and production companies that are going on behind the painted flats, and our conditioned acceptance of cinematic conventions that are in as complete a contradiction of reality as anything that H.P. Lovecraft ever attempted, simply because we’ve grown used to them and barely notice them anymore. This, to us, seems to have opened up a new and unexpected vein of horror stories which are different in their effect to anything that we or the audience have ever seen before. I suppose that if you were looking for a single tenuous precedent in the field of comic storytelling you’d have to go back to an occasional feature in the early days of Mad magazine, and say that Cinema Purgatorio is “Scenes we definitely wouldn’t like to see”.
>pleb doesn't know about Dodgem Logic
>thinks it's all about his TV-stealing idol
Anotherrr day in /co/ land, oh well
The art's gonna be shit though. Why the hell do they stick with Avatar anyway? Alternatively, why don't they force Avatar to seek out better artists? Truly a mystery for the modern times
>Why the hell do they stick with Avatar anyway?
Because the company's entire "hook" is letting people write or draw whatever the fuck they want with no interference whatsoever (provided it's not outright illegal).
>Alternatively, why don't they force Avatar to seek out better artists?
It's a third-tier company, so all that's available to them is the leftovers who can't get work at the A and B-levels.
... Did Alan Moore just say something sensible for once? It's like he stopped smoking bad pot for a second and actually made a point.
And hey, I'm all for anthology stuff, so go for it, wizard man.
The talk about launching a black and white horror anthology is interspersed with a admittedly reasonable speech about how the industry should avoid stagnation and falling victim to becoming mere fodder for movies and TV.
See, this shit is one of the reasons why Moore grates on me. He's a cranky old man who hates everything, but he has the occasional good point to make, which he ruins by rambling on about bullshit.
>It is the responsibility of genuine artists to create work which is sufficient to their turbulent times, and in my opinion you cannot accomplish this by continually rebooting and recycling the pop culture of the Sixties, Seventies and Eighties.
Right up there with you, Moore.
>writing a throwback to old movies and old horror anthology comics
Moore is really tough because I agree with pretty much everything he says about the industry being cynical and backwards looking and creatively stagnant and unwilling to push further outside of short term gains. Then I read one of his comics and it's just a piece of shit druggy fish rape Lovecraft pastiche with terrible art.
If comics are so shit then either (A) stop writing comics or (B) write comics that aren't shit like you used to. Be the change you want to see Alan. He shits on Morrison for being a sellout company boy but Multiversity is creatively miles ahead and a million times more innovative than anything Moore is doing right now.
> If the ‘war for the new’ has indeed been lost then there is now, officially, no point to the continued existence of our culture or, conceivably, of our species. If the massive asteroid were to hit us now, it wouldn’t be any great loss. Luckily, I don’t think that the situation is anywhere near as bad as that. I mean, what you’re describing wasn’t really a war, was it? It was more the mass capitulation of a generation or so of creators – or ‘content providers’, to use the current terminology – to the fact that, for the most part, they and their culture no longer possessed the capacity to generate new ideas or to bring those ideas to competent fruition. That’s not a war. Having been born in the aftermath of quite a serious war, I can assure you that there’d be a lot more bombsites, ration books and fondly mentioned relatives you never got to meet. No, a closer analogy to what’s happened to culture is more like if we neglected or worked everybody who actually understood, say, farming to death, replaced them with people who had enjoyed farm produce at one point in their lives and who had thought “Well, how hard could that be?”, and had subsequently seen our entire bio-diverse cultural landscape turn into a barren wilderness that yielded only one increasingly nourishment-free variety of potato. A lot of this might well be related to the ease of modern production methods engendering a certain laziness throughout culture, as mentioned above, but it still isn’t a war if we do not have an enemy except our own complacency and inertia.
So what Alan is saying is, this isn't a culture war, it's a culture famine waiting to happen since comic companies keeps farming the same crops of potatoes over and over again?
>Alan Moore Rebukes Backers, Refuses to Accept Kickstarter Money
>Earlier this month, Avatar Press launched a Kickstarter to fund Alan Moore and Kevin O'Neill's Cinema Purgatorio,
>But as the funding blew past the original $9100 goal, racking up over $57,000 with 12 days left to go, it seems that Moore has begun to have second thoughts about the commercialization of his latest venture.
>"The rapacious jackals who have sullied the integrity of this once dignified venture must be shown the error of their ways," said Moore in an update to the Kickstarter page. "Henceforth, this project shall be referred to as 'The Original Writer and Kevin O'Neill's Cinema Purgatorio,' as I won't allow my good name to be dredged through the mud by the materialistic designs of these so-called 'crowdfunders.'"
>But with Moore's sudden change of heart, it's unknown how the project can possibly continue. Officials from Avatar Press reportedly tried to calm Moore down, but the Watchmen scribe threatened to shave his head and beard if they pressed him any further to continue with a project he felt was "creatively and morally compromised."
>"Let this be a lesson to those who would place avarice before art by pledging funds to a project for which I asked them to pledge funds," Moore said in his Kickstarter update. "I cannot be bought. Begone."
>No, a closer analogy to what’s happened to culture is more like if we neglected or worked everybody who actually understood, say, farming to death, replaced them with people who had enjoyed farm produce at one point in their lives and who had thought “Well, how hard could that be?”, and had subsequently seen our entire bio-diverse cultural landscape turn into a barren wilderness that yielded only one increasingly nourishment-free variety of potato
He seems pretty sensible here, better than the usual rant about hating superheroes and claiming to not have read one since the 80's which is a lie since has said he enjoyed Hellboy , Madman, and The Maxx
>which is a lie since has said he enjoyed Hellboy , Madman, and The Maxx
I think he is saying that he doesn't like and hasn't read mainstream (big two) superhero comics, not that he stopped reading all action comics that use some of the trappings associated with capes
I want to read the Moore O'Neill but not anything else in this it all looks terrible.
Goddamn it, also Avatar Press doing a Kickstarter for an Alan Moore comic is a pretty fucked up thing.
He's actually one of the few Lovecraft pastiche/homage writers I've read who have actually nailed what Lovecraft was about. Namely in his short piece "recognition". His intro to the new annotated Lovecraft book is also bretty gud.
Neonomicon was an odd beast and it seems Moore regrets it somewhat.
It's actually bringing it back to it's roots.
Using the sexual imagery he failed to use in any way usefully in Neonomicon to actually tense effect while also looking for real world context.
It's a good melange.
>Kieron Gillen and Ignacio Calero on Modded - a dystopian future where enhanced monsters and daemons are pitted against each other, with a goal of catching them all!
>Garth Ennis and Raulo Caceres continue Code Pru - the two issue series leads directly into the ongoing tale of the night shift FDNY paramedic Pru as she learns about the beastly NY City underworld... and how to offer them medical assistance!
>Christos Gage and Gabriel Andrade bring a new kind of giant monster story to life with The Vast! A war that humanity is losing seems never ending. Until one woman discovers a monster that will fight to protect her!
>Max Brooks (World War Z) and Michael DiPascale bring Max's heavily-researched and period-authentic story of the Civil War to life in A More Perfect Union. But this time, the South has been invaded by Giant Insects! Written as only Max Brooks can, taking no detail for granted and treating everything realistically.
>This ongoing monthly series will feature Alan Moore and Kevin O'Neill in every issue and is their first major new project together since League of Extraordinary Gentlemen! They take a trip through the dark recesses of cinema, the people behind it, the damage it has done, and the story of one woman forced to bare her soul, one short film at a time. Every issue and every story is radically different yet all weaved into one tapestry of breathtaking complexity as only Alan Moore could do.
>Avatar does Pokemon
>Avatar does Godzilla
sign me up
>Civil War with bugs
>Moore doing film commentary
All trash 0/10 Avatar artists.
Welp there goes that idea. Moore forgot the thing that made anthologies work: Bernie Wrightson, Richard Corben, Steve Ditko, Joe Orlando, Wally Wood, Frank Frazetta, Moebius, etc. etc.
Now Morrison is gonna smack him up and embarrass the hell out of him with the caliber of artists he brings to heavy Metal.
No you are mistaken those other titles are the stuff with the Moore and O'Neill thing as part of an anthology being kickstarted.
Yeah but a 50 year old guy after a 30+ year stint at DC doesn't seem like the kind of person you want running Heavy Metal
>Yeah but a 50 year old guy after a 30+ year stint at DC doesn't seem like the kind of person you want running Heavy Metal
Why? He's been exclusive at DC for less than a decade and continued doing creator owned stuff on the side the whole time he was doing mainstream capes.
Why is it no one gives folks shit for redoing stuff like Hercules, Romeo and Juliet, Dracula, Sherlock Holmes or King Arthur for literally thousands of years? But do superheroes for a few decades and it's bullshit.
Kevin O'Neill is my favorite comic artist
It's the prequel/sequel to Neonomicon.
Pretty much your basic Lovecraft formula.
An everyman goes on a journey of discovery and ends up tangled into the dangerous and deadly world of the occult.
Everything he encounters is the basis for a famous Lovecraft story.
It is what Moore has always done so well just applied to the Lovecraft body of work.
He tells a story that you want to follow and doesn't bog down the story but you know reading it that there is so much crammed down on top of what you are reading that is waiting for you to unpack. It is also legitimately creepy.
Burrows is also the perfect artist for that kind of Horror because his style is so plain that when an angle doesn't look right or someone gives a not right expression it just sings.
Reminds me a lot of League which has had Lovecraftian elements but this amount of focus really shows. The book also shows why he can just write circles around most people writing comics.
I'm a huge Lovecraft fan and I actually though Courtyard / Neonomicon was pretty ok even with the fish raping but by far his worst comic I've read. I really wish he'd move on and get back to something in the Top Ten / Tom Strong vein.
>Funnily enough, that is one of the most unpleasant things I have ever written. It was just at the time when I finally parted company with DC Comics over something dreadful that happened around the Watchmen film. Kevin [O’Neill] and I found that we were having some hiccups in our payments, after storming out of DC. I had a tax bill coming up, and I needed some money quickly. So I happened to be talking to William [Christensen] from Avatar, and he suggested that he could provide some if I was up for doing a four-part series, so I did.
I actually think that Providence has more shades of a reconstructive bent.
Lovecraft media has become too focused on the spectacle.
Providence brings the horror back to the context and the locations.
Providence makes those two look like complete crap
Look at that, Moore still riding on more successful writers' works to make his dime. What a surprise. I hope he packages it with another totally oblivious rant about how modern writers (other than him of course) are totally intellectually bankrupt.
I mean everyone wants to get to Cthulhu, but no one wants to put the work in to make that a worthy pay off anymore.
One of Providence's best sequences was the reading of the Necronomicon, and that is just pure OG H.P.
>and in my opinion you cannot accomplish this by continually rebooting and recycling the pop culture of the Sixties, Seventies and Eighties.
That's funny coming from him. But I agree. Unfortunately people always seem to be interested in rehashing the culture of the last two to three decades, that wasn't different in the 60s or 70s
> Has The Human Centipede taught us nothing?
Now this is surprising. He has watched it. I thought he isn't much into modern culture.
focussing in on the uneasy aspects of the way we watch films, with our simultaneous awareness of the lives of the actors and directors and production companies that are going on behind the painted flats, and our conditioned acceptance of cinematic conventions that are in as complete a contradiction of reality as anything that H.P. Lovecraft ever attempted
I seriously hope this isn't going to be just "Cinema figures come to live". We already had that with Clive Barker as a horror story.