This is the fifth of seven parts of Chapter Four of The Last War in Albion, covering Alan Moore’s work onDoctor Who and Star Wars from 1980-81. An ebook omnibus of all seven parts, sans images, is available in ebook form from Amazon, Amazon UK, and Smashwords for $2.99. The ebook contains a coupon code you can use to get my recent book A Golden Thread: An Unofficial Critical History of Wonder Woman for $3 off on Smashwords (the code’s at the end of the introduction). It’s a deal so good you make a penny off of it. If you enjoy the project, please consider buying a copy of the omnibus to help support it.
“So this Zealot comes to my door, all glazed eyes and clean reproductive organs, asking me if I ever think about God. So I tell him I killed God. I tracked God down like a rabid dog, hacked off his legs with a hedge trimmer, raped him with a corncob, and boiled off his corpse in an acid bath. So he pulls an alternating-current taser on me and tells me that only the Official Serbian Church of Tesla can save my polyphase intrinsic electric field, known to non-engineers as “the soul.” So I hit him. What would you do?” – Warren Ellis, Transmetropolitan
PREVIOUSLY IN THE LAST WAR IN ALBION:
Alan Moore wrote some clever comics about Doctor Who
, including the beginning of an abandoned epic involving a war unfolding non-chronologically such that the first attack precedes the incident that sparked the war…
|Figure 163: Alan Moore’s reputation for fights is often a part of more|
caricatured depictions of him.
Moore was, apparently, intending to further flesh out his idea of a non-chronological war further, but circumstances intervened. Instead left the title along with Steve Moore, who had worked extensively on a plot outline for a third Abslom Daak story only to discover that the editor, Alan McKenzie, had already begun writing a story with the characters. Angered by this, Steve Moore abruptly quit the main title and was replaced by Steve Parkhouse, and Alan Moore followed suit in what Steve Moore has referred to as “a wonderful gesture of support that was remarkable for someone at that early a stage in their career.” While it’s true that Moore, who had not come close to establishing himself as a writer, took a genuine professional risk in quitting, the fact that he did so early in his career is the only remarkable thing here. It is, in fact, the first of many such gestures in his career. Moore has, within comics, become almost as famous for his tendency to get into professional feuds as he has for his comics work. Indeed, Moore’s capacity for umbrage is ultimately one of the primary casus belli of the War.
It is worth, then, looking at this first dispute in order to better understand the nature of Moore’s umbrage. First of all, this dispute is interesting in that there is no way to frame it as being over a slight to Moore himself.