Sep. 23rd, 2018

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[personal profile] lordultimus

Alan Moore: "It seems to me the only thing that was ever really interesting about comics when I was a kid was the sense of wonder involved in it. The genuine imagination that had gone into them. You got people like Mort Weisinger, who takes a lot of stick and probably a lot of it is deserved. I'm sure he probably wasn't the nicest person to work with, but that world that he and the people under him created with the Superman of the '60s, it was a very personal one for him. Rick Veitch was telling me about a recent biography that he's read, or a book on the comic industry, that says that most of the stuff, the Bottle City of Kandor, the Phantom Zone, all of these classic '60s elements have got a lot to do with the elements that play a large part in Mort Weisinger's mental breakdown. That's how much of his imagination he was investing into it, and that was what fueled the magic of those comics for me when I was a kid."

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[personal profile] shakalooloo
Aaron Stack vs. Arno Stark. Is the similarity in names a coincidence? There's no answer here, but it's always bothered me. Anyway, on with the story!

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More-n seven, fewer'n eight pages of twenty-three. Tom DeFalco's script, Herb Trimpe's breakdowns and Barry Windsor-Smith's finishes & colours.
lordultimus: (Default)
[personal profile] lordultimus

Alan Moore: "I was talking, while doing Supreme, to Extreme Editor Eric Stephenson about how, as it turned out, while telling the back history of Supreme, I was also filling in a lot of back areas of Extreme continuity. I was making them up as I was going along but filling them in, nonetheless. I suggested to Eric that, if Rob Liefeld wanted, I could pretty well overhaul the entire Extreme universe as I was going along.

Rob thought I should condense my ideas into a three-issue mini-series. The mini-series would help create a new Extreme universe by filling in previously unmentioned bits of its history. Rob was stuck on the title Judgment Day, but I wasn’t so sure, because it sounded like another apocalyptic story—and, in comic books these days, the apocalypse has become a trifle dull. The end of the world happens every couple of issues in one comic book or another. We decided to see if there were any other connotations we could investigate in terms of a Judgment Day story.

I thought that maybe a court trial might work, as it’s a tried and tested vehicle for a story. I thought I could use that device as a framework and that I could come up with a murder case that allowed for evidence to be called for which would fill in, in flashbacks, this panoramic story of the Extreme universe stretching back to the formation of the Earth. And that is basically what we’ve done. I’ve finished the story, and we’ve got it to all fit into the three issues, and we managed to compress this staggering sweep of history into about 96 pages."

Warning for Liefeld art.

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laughing_tree: (Seaworth)
[personal profile] laughing_tree

An anthology, to let its authors exercise the discipline and the invention that only short stories can provide – and out of which the vast majority of today’s memorable franchises were created – and black and white in order to impose that selfsame discipline upon its artists by removing the alluring camouflage of colour and requiring the same values that the classic comic illustrators made their byword. Why shouldn’t the 21st century enjoy the craft and quality that the E.C. and Warren luminaries managed, but with an originality and freshness born entirely of our anxious present and uncertain future? -- Alan Moore

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