Viewing posts tagged chapter five
This is the tenth and final part of Chapter Five of The Last War in Albion, covering Alan Moore's work on Future Shocks for 2000 AD from 1980 to 1983. An ebook omnibus of all ten parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. If you enjoy the project, please consider buying a copy of the omnibus to help ensure its continuation.Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
Previously in The Last War in Albion: Alan Moore's late Time Twisters short stories for IPC served as the occasion for some of his most interesting storytelling for that company.
Don't move. For almost sixty years, don't move. Stand still and turn to urban furniture, to your own monument, to landscape. - Alan Moore, Unearthing
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Figure 255: The big clock from whence all time is
mined. (From "The Big Clock," written by Alan
Moore, art by Eric Bradbury, in 2000 AD #315, 1983) |
But the uptick in the quality of Moore’s stories cannot be attributed entirely to his serious stories. DR & Quinch, after ...
This is the ninth of ten parts of Chapter Five of The Last War in Albion, covering Alan Moore's work on Future Shocks for 2000 AD from 1980 to 1983. An ebook omnibus of all ten parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. If you enjoy the project, please consider buying a copy of the omnibus to help ensure its continuation.Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
Previously in The Last War in Albion: Alan Moore's flagging middle period of short stories for IPC came to a fortuitous end with the introduction of the Time Twisters line of stories, which provided his work with a renewed energy.
The flood of animal emotions surging in the street. Present desires precipitated. Curdled to a sea foam. - Alan Moore, The Highbury Working
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Figure 247: The narrator of "The Reversible Man" sees his wife for the last
time. (From "The Reversible Man," written by Alan Moore, art by Mike
White, in 2000 AD #308, 1983) |
Moore has commented that "The Reversible Man" was “pathetically easy to write ...
This is the eighth of ten parts of Chapter Five of The Last War in Albion, covering Alan Moore's work on Future Shocks for 2000 AD from 1980 to 1983. An ebook omnibus of all ten parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. If you enjoy the project, please consider buying a copy of the omnibus to help ensure its continuation.Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
Previously in The Last War in Albion: After an initial period of promise and originality, Moore's future shocks began to fade into repetitiveness as the limits of the format became increasingly and painfully clear...
"We have camera eyes that speed up, slow down, and even reverse the flow of time, allowing us to see what no one prior to the twentieth century had ever seen — the thermodynamic miracle of broken shards and a puddle gathering themselves up from the floor to assemble a half-full wineglass." -Grant Morrison
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Figure 242: "The Wages of Sin" even recycles the final
joke of "They Sweep the Spaceways," with the major
difference being ... |
This is the seventh of ten parts of Chapter Five of The Last War in Albion, covering Alan Moore's work on Future Shocks for 2000 AD from 1980 to 1983. An ebook omnibus of all ten parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. If you enjoy the project, please consider buying a copy of the omnibus to help ensure its continuation
Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
Previously in The Last War in Albion: (Alan Moore's accidental plagiarism of Norman Spinrad was one of two lifts he's discussed from his 2000 AD days, the other being the second Abelard Snazz story, Snazz being a genius whose plans inevitably turn out terribly...
"I had actually had plans. We had just sort of opened up very, very preliminary negotiations to find out if Gorey would be interested in illustrating it. And the day I finished it, he died. I mean literally. I finished it and the news was that Edward Gorey died." -Neil Gaiman, on Coraline
Snazz exists to satirize over-elaborate top-down thinking, but it’s ...
This is the fifth of ten parts of Chapter Five of The Last War in Albion, covering Alan Moore's work on Future Shocks for 2000 AD from 1980 to 1983. An ebook omnibus of all ten parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. If you enjoy the project, please consider buying a copy of the omnibus to help ensure its continuation
Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
PREVIOUSLY IN THE LAST WAR IN ALBION: Alan Moore's work for 2000 AD quickly led to a spate of extremely good stories, including "The Last Rumble of the Platinum Horde" (a title Moore inadvertently nicked from Norman Spinrad
"Robots couldn’t really give a fuck if you live or die. Seriously. I mean, what are you thinking? 'Ooh, I must protect the bag of meat at all costs because I couldn’t possibly plug in the charger all on my own.' Shut the fuck up." - Warren Ellis
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Figure 225: The Golden Horde, also known as the Ulus of
Jochi, spanned a large portion of both Europe and Asia ... |
This is the fifth of ten parts of Chapter Five of The Last War in Albion, covering Alan Moore's work on Future Shocks for 2000 AD from 1980 to 1983. An ebook omnibus of all ten parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. If you enjoy the project, please consider buying a copy of the omnibus to help ensure its continuation
Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
You're saying the Sentinels lied about all them space wars? Well what have they been doin' all these years? - Alan Moore, Top Ten #12
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Figure 218: Dave Gibbons manages to work the
Saturnian Singing Orchids into the page with
entertaining frequency. ("The Dating Game,"
written by Alan Moore, art by Dave Gibbons,
2000 AD #176, 1980. Click to enlarge.) |
These strips culminate in “The Wild Frontier,” a story that demonstrates straightforwardly how Gibbons ...
This is the fourth of ten parts of Chapter Five of The Last War in Albion, covering Alan Moore's work on Future Shocks for 2000 AD from 1980 to 1983. An ebook omnibus of all ten parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. If you enjoy the project, please consider buying a copy of the omnibus to help ensure its continuation
Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
PREVIOUSLY IN THE LAST WAR IN ALBION: 2000 AD built its reputation on the back of popular series like Judge Dredd, Ro-Busters, Rogue Trooper, and ABC Warriors. In his time working on the magazine, Alan Moore wrote for these properties only occasionally...
"Jeez, y'know, that felt good. There don't seem to be so many laughs around these days."
"Well, what do you expect? The Comedian is dead." - Alan Moore, Watchmen #1
Moore’s
Rogue Trooper work is altogether more somber affair. The first, “Pray for War,” tells of Gunnar having to kill another soldier who calls himself “Pray for War” because, as he says,“war is ...
Most of the comics discussed in this chapter are collected in The Complete Alan Moore Future Shocks.
PREVIOUSLY IN THE LAST WAR IN ALBION: After successfully launching Battle Picture Weekly and the controversial Action for IPC, Pat Mills and John Wagner were given the task of launching a sci-fi comic, which they called 2000 AD. The comic's flagship was the iconic Judge Dredd, featuring hard-edged futuristic cop Judge Dredd patrolling the mad streets of Mega City One.
"The Tek-Judges of Anubis have eaten a poison-weed and they shall die soon." - Grant Morrison and Mark Millar, Judge Dredd: Book of the Dead
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Figure 200: Judge Dredd is largely unreceptive
to requests for leniency or mercy. (Written by
Malcolm Shaw, art by Mike McMahon, 2000
AD ... |
