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Alan Moore

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INTRODUCTION

UNSEEN SUPREME
  • NEW JACK CITY PGS 1-8
    By Alan Moore and Rick Veitch

    SELECTED WRITINGS
  • "HOLY SMOKE"
  • "MAII.23.HOR.6.POST MERIDIEM. MORTIAK."


    SCRIPTS
  • "THE MIRROR OF LOVE"


    1963
  • WHAT HAPPENED TO THE ANNUAL?
  • INTERVIEW WITH AFFABLE AL


    PERFORMANCE ART
  • THE BIRTH CAUL
    By Alan Moore, David J, Tim Perkins
  • THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS
    By Alan Moore, David J, Tim Perkins
  • BROUGHT TO LIGHT
    By Alan Moore and Gary Lloyd



  •     ALAN MOORE

    loading... Over its last two explosive decades , comics has spawned any number of brilliant and celebrated writers. Yet, without a doubt, the name that would reside at the top many readers' and professionals' short list of THE BEST WRITERS IN COMICS, would be that of ALAN MOORE. Quite simply, Alan was the first modern writer to approach the medium of comics with the same intent and thoughtfulness that is expected of any successful novel, screenplay or theatrical production. By adding his own highly tuned sense of playfulness to the endeavor, he created an intoxicating mix of high and low; a nexus where readers could embrace some of the deepest aspirations of humankind while wallowing in the muckiest of trash culture. Within a few short years in the early-to-late 1980's, he cut an elegant and erudite swath through American comics; revolutionized the art of script writing, revitalized character development, and gave a mighty heave-ho push to the creative envelope (not only farther than anyone else had, but farther than anyone else could imagine!). In the process he became an authentic catalyst for the sudden resurgence of the Superhero and Horror genres in American culture (MIRACLEMAN, V FOR VENDETTA, SWAMP THING, WATCHMEN,) and found himself unintentionally occupying a major role in the growth and direction of some of the largest publishing houses in the comics industry. And that was only the beginning.

    By the 1990's he'd wriggled out of the commercial straitjacket forming around him, launched his own publishing imprint, MAD LOVE, and embarked upon a number of ambitious projects (FROM HELL, BIG NUMBERS, LOST GIRLS) designed to carry his considerable audience from the Superhero and Horror days into new and uncharted continents of the comics form. He branched out into music (THE SINISTER DUCKS, THE EMPERORS OF ICE CREAM), began seriously studying the occult, and wrote a novel (VOICE OF THE FIRE). He created and recorded some of the most haunting performance art ever put to compact disc (THE BIRTH CAUL, BROUGHT TO LIGHT, THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS). Along the way he wandered back into Superhero comics, crafting exquisite examples of what came to be known as the RETRO style (1963, SUPREME). Currently, Alan is creating his own mini-line (ABC COMICS) at WILDSTORM for which he'll be writing four titles (TOM STRONG, TOMORROW COMICS, PROMETHIA and TOP TEN) for release in early 1999.

    Future projects include "DANCE OF THE GULL CATCHERS" with Eddie Campbell due out from Kitchen Sink in August. Alan and Eddie are also in the early stages of planning for a biography of the legendary sorcerer/artist, Austin Osmand Spare. There are two new cd's with Tim Perkins on the horizon, "THE HIGHBURRY WORKING" which is in post production for release in 1999, and "THE DISQO QUABALAH" currently being composed and recorded.

    Alan is actually more of a guest here at COMICON.com than an exhibitor. You won't find an e-mail link at his booth to get in touch with him personally (he doesn't have an e-mail address). He's not really flogging any products (although you will find links from his booth to Amazon.com and Graphicnovels.com to fill any holes you might have in your library). He's not even writing these glowing words of praise for himself (The staff of COMICON.com is up to that job, thanks!). What he will be doing is providing us with some interesting examples of his creative work that most of his readers might be totally unaware of. These include samples of his comic book scripts, some completely finished but never published comic book stories, sound clips from his performances, rare writings, interviews and more. Right now we have more items on hand than we can cram into this initial booth, so if you are interested in Alan's work, be sure to stop back from time to time to see what new stuff he's pulled out of the moldering files for us to add.

    Please note: All contents of the Alan Moore booth are copyright Alan Moore and his respective collaborators. The items displayed here are provided for your personal pleasure only and no unauthorized publication or use on another web site or anywhere else is allowed.





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