Because it’s never too late to alienate another comics professional…
In his recent interview with Pádraig Ó Méalóid, Alan Moore admirably defends his choice to use the Gollywog in his recent work, and convincingly explains away any rumours that he’s got a “thing for rape scenes” in his writing. He also claims this is his last interview on the subject of comics and the industry. Towards the end, Mr. Moore wrote a one-act play about his relationship with Grant Morrison.
As one of Alan Moore’s oldest and dearest friends, and a frequent collaborator throughout our careers, I presume he wouldn’t mind that I adapted it for comics form. Cam Stewart only WISHES he could do this…
And that’s the final word on the subject, apparently. Ain’t love grand?
Ty the Guy OUT!
For those who don’t know, Alan Moore first ENTERED the comics scene (just as he’s leaving it) as a magic cat. Doing clever bookends like this is what makes you a British writer…
Yup, this is real.
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For last week’s equally disrespectful look at people more famous than I am, click here…
For the Bun Toon archive (filled with disrespect) click here.
Ty Templeton's ART LAND!! 
May I say what an excellent work Maxwell the Magic Cat is. Also, a lot less rapacious than his later works.
Thank you!
Is there any chance if getting this as a print?
I suppose I could email you the file and you could print it yourself?
That’d be great. Can you find an addres attached to this, or how should I get it to you?
It’s already sent. Look for it in your email inbox.
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haha! That about sums it!
Hi Ty, I have a Facebook page called AlanMooreBR and I’d like to post this strip of yours translated into Portuguese. Would you grant me your permission? I promise it will be a faithful translation. Best regards, Flavio
“faithful”? Can translations take into account my intentional misspellings?
I give my permission as long as you provide a link back to the Toon on my site, thanks.
Very well played. At this point, Moore has become a kind of literary Willy Wonka; a genius who has grown more than a little wary of the spoiled, willfully ill-informed, ignorant children of our time, and is all to happy to let them mash themselves in the gears of his machinery. I mean, I could be wrong, I was not present for the events mentioned, but that’s the picture that seems to be painting itself before my eyes.
Yeah…well…I kinda love and hate Moore. Hate/dislike him a bit more now, than I have disliked him.
This is brilliant.
But who is Offissa Pup in this situation? I demand a sequel.
It would have to be Pádraig Ó Méalóid, but I didn’t see how he played into the narrative, so I left the police out of it.
My feelings on Moore did a complete 180 degrees, from love to hate, when I, after a few chapters (I’m not that smart) realized that Lost Girls was supposed to be about Wendy, Dorothy and Alice. That’s very hard to forgive.
OK, he’s been using other’s characters for a long time (through pastiche such as Supreme, Greyshirt, 1963, or public domain, such as Nemo or the Albion characters, or via work for hire, such as Barbara Gordon or Swamp Thing) and they generally have gotten pretty scuffed up in the process. It may seem contradictory and almost Disney-esquely hypocritical, given his strong feelings when his own characters suffer the same fate at the hands of others, but I could reconcile it as a statement about free artistic expression vs corporate exploitation.
But once you fuck with Wendy, it’s goodbye. I’m not the biggest fan of copyright, and I don’t think that what he did should be illegal. I’m just saying that, as a fan of Barrie’s work, I got rid of my Moore books and all association with him. He seems to have no problem “blacklisting” other comics creators such as Morrison or Bissette. I can’t do it just as easily but I’m trying my hardest to distance myself from Alan Moore.
Wow, sorry for the weird and negative tangent about someone who a lot of people still love, and about an aspect of his work that’s separate from this discussion which is about his reply to A) Golliwog, B) Sexual violence as compared to non-sexual but lethal violence, and C) Grant Morrison.
I don’t have much to say about A, I don’t find feel qualified to talk about either Black Dossier’s or the original texts impact on racial politics or on the PoC experience in either the UK or the US. It’s so different from where I’ve been the last few years.
As for B, one of the things he said specifically was that it was absurd to posit that rape was worse than murder, and stated that strongly, and drew a lot of conclusions as if they followed from that statement. Well, here I’ve got more to say. We’re not talking about the act in real life. We’re talking about the depiction of the crimes in comics and literature. One of them is gendered (at least in Moore’s depictions), intimate, revealing and scarring. The prevalence of it in society also leaves a mark on the relationship between men and women in general. Walking down the street at night? Seeing a woman is less scary than seeing a man. That’s how culture shapes our fears and our reactions to each other. Furthermore, I guess a lot of rapes are done by those who don’t consider what they did rape, unlike murder which is rarer for that reason. It’s harder to justify. Moore’s muddied water with Sally’s later emotional attachment to Eddie, or the weirdly “goofy” scenes with the invisible man in the first volume of League of Extraordinary Gentlemen, or Barbara Gordon’s turn from hero to shock prop, deserves to be called out and discussed without the critic having to defend the number of homocides in popular entertainment. The two issues are separate, somewhat related but have different causes and different effects.
In a culture where traditional male-on-female rape stories are constantly reiterated, it pretty much sucks to be a woman and I would wager that it would suck to be a man, too. Being afraid sucks and being feared sucks. Be that as it may. I guess this topic is a mire and I can’t comprehend or answer it fully because I am, as I’ve said, not that smart.
Now, C, Grant Morrison. He presented some counter-facts to Moore’s claims here:
http://comicsbeat.com/the-strange-case-of-grant-morrison-and-alan-moore-as-told-by-grant-morrison/
and I have no reason to join the fray between these two magician writers.
I see Morrison as an innovative writer who’s constantly reinventing things and telling new stories but I often have a hard time understanding his comics. If Moore’s writing is too on-the-nose, Morrison’s is the opposite, with so much between the lines that it usually seems to me that there are “panels missing”, figuratively speaking.
I do want to comment on one specific thing Moore said, that Morrison was a “rebel without a scratch” because he was still loyal to the corporate masters. I don’t know if that’s true or not but Morrison has, if I understand it correctly, distanced himself from Marvel over how they handled Magneto after his departure. If he has, I’d say that’s a “scratch” in some sense.
Thanks.
Very funny, thank you !
Best summary of the interview i’ve seen! Bravo!!
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