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Alan Moore Archives - Comics Should Be Good! @ Comic Book Resources

Committed: 8 of my favorite surrealist authors

Recently I’ve been revisiting the surrealist comic book authors who have successfully conveyed the kind of disruption of reality which I experience in dreams. I want to pinpoint the ways in which they have been able to successfully communicate and provoke a kind of emotional dissonance with their work.

051414_sandmanNeil Gaiman (and by extension, artist Dave McKean) immediately comes to mind, specifically on his long-running and groundbreaking series; The Sandman, but also in works like Black Orchid and The Books of Magic. In many ways this is the most linear representation of  truly surreal environments that I can think of. He provides us with entire universes of insane, nonsensical, mythical imagery and logic, but he presents each story in a very direct, linear manner. His way of telling a story in this context is very much like a fairytale, with one event leading inevitably to the next, it is deceptively comfortable, almost hiding the craziness inside. When he does move the storyline towards something more evocative of chaos (i.e. towards the end of the books) he still lays all of the elements out carefully so that by the end the reader can happily piece together a logical continuity (that is to say it is logical within the context of the universe he has created). Continue Reading »

Trade paperbacks, older editions, and miscellaneous for February 2014

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“In war we’re tough and able / Quite indefatigable / Between our quests we sequin vests and impersonate Clark Gable”
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Year of the Artist, Day 52: J. H. Williams III, Part 3 – Promethea #30

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Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is J. H. Williams III, and the issue is Promethea #30, which was published by DC/Wildstorm/America’s Best Comics and is cover dated July 2004. These scans are from Promethea Book Five, which came out in 2005. Enjoy!
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Year of the Artist, Day 29: Alan Davis, Part 4 – 2000AD #358

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Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Alan Davis, and the story is Part 4 of “D. R. & Quinch Get Drafted” from 2000AD #358, which was published by Fleetway and is cover dated 3 March 1984. This scan is from The Complete D. R. & Quinch trade paperback, which was published by Rebellion in 2010. Enjoy!
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Year of the Artist, Day 27: Alan Davis, Part 2 – Warrior #6

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Every day this year, I will be examining the artwork on a single comic book story. Today’s artist is Alan Davis, and the story is “Fallen Angels, Forgotten Thunder” from Warrior #6, which was published by Quality Communications and is cover dated October 1982. This scan is from Miracleman Book One: A Dream of Flying, which was published by Eclipse in 1988. Enjoy!
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Sunday brunch: Links for the week of 23-29 June 2013

Let’s see what’s on the agenda this week, shall we?
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Trade paperbacks, older editions, and miscellaneous for February AND March 2013

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Last month, I didn’t get a chance to finish all of these before I went to the convention in Seattle, and then I was busy when I got back. So this month, we get a double dose of trades and books I’ve read and such. That means this is really long, and I apologize for that!
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Comic Book Legends Revealed #409

Welcome to the four hundred and ninth in a series of examinations of comic book legends and whether they are true or false. Click here for an archive of the previous four hundred and eight. This week, who is Scott Seva and how close did he come to portraying Spider-Man on film? Did Jerry Siegel almost write “Whatever Happened to the Man of Tomorrow?” Finally, what behind the scenes reason led to the whole “Ms. Marvel gives birth to her own boyfriend” plot in Avengers #200?

Let’s begin!

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Frantic as a cardiograph scratching out the lines, Day 352: 2000AD #317: “D.R. and Quinch Have Fun on Earth!”

Every day this year, I will be examining the first pages of random comics. As it’s now December, I will be examining the LAST pages of random comics, so watch out for SPOILERS! Today’s page is from 2000AD #317: “D.R. and Quinch Have Fun on Earth!, which was published by Fleetway and is cover dated 21 May 1983. This scan is from The Complete D.R. and Quinch, which was published by Rebellion in June 2010. Enjoy!
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Committed: Hellblazer – DC Shoot Themselves in the Foot (again)

Today I found out that Hellblazer is cancelled, and John Constantine is moving into the main, general DC universe (see the CBR piece for more about the mechanics on that.)

Unable to come up with any decent new ideas, DC has gone from fiddling with one 30 year old Alan Moore creation – Watchmen – to messing up another: Hellblazer. Of course DC has forced itself to continue this practice of pillaging it’s own powerful history of creations because it has hobbled the creation of new ideas. A champion against creators rights, and infamously instituting a policy of marketing-driven, decision-making-by-committee, the comic book publisher has become a bastion of tired ideas and restrictively tedious comic books. In this brave new world, there is obviously no space for a renegade division like Vertigo, and the gradual dismantling continues apace, as they hand the reigns of Constantine over to an American writer and place John Constantine (a characters who’s very raison d’etre is the juxtaposition of his own very British strangeness within the mundane “real” world) in the DC universe

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Committed: Halloween Interview with Steve Niles, Horror Writer

In case you hadn’t noticed, today is Halloween. It can be hard for me to understand how I can love some horror comic books, yet hold such an aversion to horror movies, so I asked acclaimed horror comic book writer – Steve Niles – if he would to talk about what it is that makes horror comic books so appealing, how he writes, and what we can look forward to from him in the future.

Sonia Harris: It is ironic that horror is probably my most hated genre, yet in comics it is often one I gravitate towards. Perhaps it is because elsewhere there is such a lack of grit.
Steve Niles: There really aren’t many other genres besides superhero in comics. Horror is a great genre. You’re automatically on edge simply because it called horror. The anticipation of being scared is a huge factor.

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Frantic as a cardiograph scratching out the lines, Day 296: The Saga of the Swamp Thing #29

Every day this year, I will be examining the first pages of random comics. This month I will be showing pages that are either scary or are part of “scary” issues (as scary as a comic can be, of course), because it’s October! Today’s page is from The Saga of the Swamp Thing #29, which was published by DC and is cover dated October 1984. This scan is from Swamp Thing: Love and Death, the trade paperback that was published in 1990. This was suggested by our pal Third Man, but I figured it fit nicely in with Scary Comic Month, so I kept it in reserve! Enjoy!
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Frantic as a cardiograph scratching out the lines, Day 275: The Saga of the Swamp Thing #21

Every day this year, I will be examining the first pages of random comics. This month (for a while) I will be showing pages chosen by you, the readers. Today’s page is from The Saga of the Swamp Thing #21, a page you may have read before, which was published by DC and is cover dated February 1984. This scan is from Saga of the Swamp Thing, the trade that was published in 1987 (yes, I own the original trade and have never upgraded). This page was suggested by noted commenter Third Man, the world’s biggest Joseph Cotten fan! Enjoy!
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Frantic as a cardiograph scratching out the lines, Day 251: 2000AD #278: “Hot Item”

Every day this year, I will be examining the first pages of random comics. Today’s page is from 2000AD #278: “Hot Item”, which was published by Fleetway and is cover dated 21 August 1982. This scan is from The Complete Alan Moore Future Shocks, which was published in 2006. Enjoy!
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PunisherMAX: Better in Black & White

Some books simply demand the stark simplicity of no color, the absence of any warmth or hope. Steve Dillon’s stunningly beautiful artwork shines in black and white. Simultaneously, Jason Aaron creates an all-encompassing bleak world view for the inhabitants of the Punisher’s world. The PunisherMAX has little use for color.

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