Viewing posts tagged chapter fifteen

Hey, Did You Hear The One About The Nuns? (The Last War in Albion Book Two Part Twenty-Seven: Nemesis)

Figure 938: Miracleman throws a car full of people at Kid Miracleman. (Written by Alan Moore, art by John Totleben, from Miracleman #15, 1988)

Previously in The Last War in AlbionComing to the end of his run on Miracleman, Moore decided to grapple with as brutally realistic a portrayal of a superhero fight as he could imagine - to actually show what such a battle would mean for the world in which it took place.

Moore had grappled with some of this in the first Miracleman/Kid Miracleman fight when, for instance, Kid Miracleman hurls a baby through the air in the middle of the fight, distracting Miracleman by throwing a baby at a nearby building, which Miracleman of course saves, but with the note that he’s broken a couple of the baby’s ribs because of the speed he was traveling, a grimly funny note of realism in a standard superhero trope. There’s a not entirely dissimilar moment in Miracleman #15 when Miracleman, in another fairly standard superhero punch-up moment, picks up a car and throws it at Kid Miracleman. “My apologists have claimed the car that I first hurled at Bates was empty, those who’d ...

I Asked Him What Record It Was, But He Didn't Know (The Last War in Albion Book Two Part Twenty-Six: Olympus)

Figure 930: Winter is worth it. (Written by Alan Moore, art by Rick Veitch and Rick Bryant, from Miracleman #9, 1986)

Previously in The Last War in Albion: After a convoluted series of events, Alan Moore's Marvelman, now renamed Miracleman, was published in the US by Eclipse, and Moore was writing new material for it, starting with a controversial issue including detailed images of Liz Moran giving birth.

As the sequence reaches its most famous page, it switches structure, the sepia-toned panels becoming insets on the full-color ones instead of the other way around as the baby’s head emerges. “Did it feel like this, when you took the first cell scrapings,” Miracleman asks the absent Gargunza. “Did it feel like this as you watched it divide and replicate; as you hauled me dripping from the tank? The head emerges; a face drawn on a fist. My eyes cannot grasp the fact of it: a head protruding from inside her. It looks so hideous, beautiful, absurd, awesome. But of course. Of course.” And finally, as Miracleman grasps his daughter’s head to finish delivering her, he asks, “was it worth it? Worth the risk of loosing gods and monsters ...

Neat Little Analogy, Huh? (The Last War in Albion Book Two Part Twenty-Five: Scenes from The Nativity)

Figure 923: The signatures upon the contract that led Dez Skinn to go to a seedy bar to pick up a couple thousand dollars in cash.

This installment of The Last War in Albion contains graphic images of childbirth below the cut

Previously in The Last War in Albion: In a comedy of errors, Alan Moore's Marvelman series, originally published in Warrior, was republished under the title Miracleman by Eclipse Comics in the US. But with the reprints running out, Eclipse had to clear the way to commission new material from Moore, which required appeasing Dez Skinn.

Eclipse’s solution, ratified in a new contract dated February 1986 (the same month that Miracleman #6 is dated), was to buy the right to produce new Miracleman material from Skinn for a further $8000, payable in three installments, one of which Skinn recounts was given to him at a meeting “with Jan Mullaney - Dean’s brother - in New York, in some really seedy bar. He turned up looking like a real hippie with a couple thousand dollars in cash in a brown envelope. And I’m sitting there, this sort of funny Englishman in this really scary place and he comes ...

While The Past and Future Exist Simultaneously (The Last War in Albion Book Two Part Twenty-Four: Miracleman at Eclipse)

{Impressively, Alan Moore’s second publisher for Marvelman/Miracleman was an even bigger trainwreck than his first. It is perhaps unsurprising, given this, to find out that Dez Skinn negotiated the bulk of the deal. The financial plan for Warrior had always involved selling the strips to foreign markets, and Skinn was determined to sell them as a package, reasoning that “strips like Spiral Path - which I put into an anthology alongside Shandor and Bojeffries Saga - were not the stars of the show,” but that Warrior would never have happened without them and that they deserved the same shot at foreign publication as the heavy-hitters like V for Vendetta and Laser Eraser and Pressbutton. But ironically, it wasn’t the lesser Warrior material that made selling the strips abroad a challenge, but the nominal crown jewel, Marvelman, as neither of the two biggest comics publishers would touch it. DC was the obvious first choice, since they were already having considerable success publishing Alan Moore in the US market, and were indeed interested, but Dick Giordano pointed out that there was simply no way that they could publish a comic called Marvelman, citing the number of problems they were already having ...

Marcos Told Me to Think of Time as a Record Player, with the Stylus Tracing the Present (The Last War in Albion Book Two Part Twenty-Three: Alan Moore)

Previously in The Last War in Albion: Yeah, you should probably just go read that one again if you don't remember.

It is October 1987. Moore is sitting down to dinner after a Glasgow signing to promote Watchmen. At the table is Grant Morrison, a neophyte comics writer. It is the only meeting between them that Moore recalls, although he had given Morrison advice at a 1983 Glasgow comic mart when Morrison was on the cusp of transitioning from a failed rock star to a successful comics writer. Moore will eventually, to Morrison’s chagrin, describe him as an “aspiring” comics writer at the time of this meeting, one of many swipes he will take at Morrison over the years. They talk about vegetarianism. (“Sometimes you can’t live with the contradictions, Grant,” Morrison recalls him saying.)

It’s Christmas 2013. Alan Moore, in the course of an interview, offers the stunning transition, “this, I think, leaves us only with the herpes-like persistence of Grant Morrison” before launching into a four-thousand word account of his history with Morrison and concluding that he would prefer if “admirers of Grant Morrison’s work would please stop reading mine, as I don ...

I Can't Fight, For God's Sake. I Can't Fight Anymore (The Last War in Albion Book Two Part Twenty-Two: Alan Moore)

Previously in The Last War in Albion: Having decided to leave DC over their (ultimately failed) attempt to impose a ratings system on their comics, Moore found himself with an unparalleled level of financial security and creative freedom.

It is January, 1988. Alan Moore is thirty-three, and writing the introduction to the collected edition of Watchmen. His relationship with the publisher is in tatters, a fact he alludes to only vaguely when he notes that it is “the very last work that I expect to be doing upon Watchmen for the foreseeable future.” He looks back to 1984, when the idea originated, and the giddy enthusiasm of it all. And yet there is something he cannot quite locate in this. He notes that at the start “we wanted to do a novel and unusual super-hero comic that allowed us the opportunity to try out a few new storytelling ideas along the way. What we ended up with was substantially more than that.” But he cannot pin down the transition. Instead he describes a growing realization of the story’s complexity and scale, but without a sense that the realization had an end point. Instead, “there was the mounting suspicion (at ...

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