Grant Morrison interview on Wired
Most of it’s about Superman and I didn’t find that stuff interesting. This I did find interesting:
Final Crisis was much heavier, much harder to write than The Filth, which at least came with massive doses of surreal black humor to sweeten the bitter pill of the subject matter. On Final Crisis, I spent months immersing myself in the thought processes of an evil, dying God who longed for nothing less than the degradation, destruction and enslavement of all of DC’s superheroes, along with every other living thing in the universe and beyond!
To get into his head, I had to consider people like him in the real world and there were no shortage of candidates. The emissaries of Darkseid seemed to be everywhere, intent on crushing hope, or shattering human self-esteem. I began to hear his voice in every magazine headline accusing some poor young girl of being too fat or too thin. Darkseid was there in the newscasters screaming financial disaster and planet-doom. It was that sick old bastard’s voice terrifying children with his hopeless message of a canceled future, demanding old ladies turn off their electric blankets to help “save the planet,” while turning a blind eye to corporate ecocide.
Full Story: Wired
He also talks a bit about upcoming Vertigo projects at the end.
You read Watchmen, what comics should you read next?
This is a pretty good list:
The Dark Knight Returns
DC: The New Frontier
Full Story: io9
Off the top of my head, I’d add Stray Bullets.
What would you add?
(via The Agitator)
Interviews with Alan Moore, Dave Gibbons, and Zack Snyder
So, those were the agendas that we were following then. We thought it would be a great idea if comics could be recognized as the wonderful medium that we secretly knew them to be. And when I say “we,” I’m talking about the 50 actual people who turned up at those early conventions, which was pretty much the sum total of everybody in this country who’d ever heard of American comics. But back then our agenda was this progressive notion that, wouldn’t it be terrific if people were to get involved with comics who could make them more adult, more grown up, to show the kind of themes they were capable of handling? So this was the agenda that, 20 years later, I was still following toward the end of my first DC run. [...]
When I was working upon the ABC books, I wanted to show different ways that mainstream comics could viably have gone, that they didn’t have to follow Watchmen and the other 1980s books down this relentlessly dark route. It was never my intention to start a trend for darkness. I’m not a particularly dark individual. I have my moments, it’s true, but I do have a sense of humor. With the ABC books I was trying to do comics that would have perhaps appealed to an intelligent 13-year-old, such as I’d been, and would still satisfy the contemporary readership of 40-year-old men who probably should know better. But I wanted to sort of do comics that would be accessible to a much wider range of people, and would still be intelligent even if they were primarily children’s adventure stories, such as the Tom Strong books.
Full Story: Wired
Wired interview with Dave Gibbons
Wired interview with Zack Snyder
Disinfo podcast interview with Alan Moore
Dave Gibbons interview plus new Dave Gibbons art
We would talk at great length every time Alan started to script an issue, he’d run by how he thought it might be broken down, then I’d give him my suggestions on that, and then based on the various thing we were talking about – we would both go off into reminiscences, and speculations about how we came through music to comics to childhood experiences to vague feelings about things – somehow we’d come back to the topic of Watchmen again, and this stuff, largely contextual and largely sort of, er, mood as much as anything, would find its way into the finished comic book. We just talked and talked a lot, and then Alan typed and typed a lot and I drew and drew a lot. And then John Higgins – I shouldn’t leave him out – he coloured and coloured a lot, and I very much would talk things through with him, and then just leave him to his own devices. I think good collaborations are like that; you have to trust what the other guy’s going to do, have him put into it, stir the pot, throw in what you’ve got and leave it alone.
Full Story: The Quietus
Plus: New Dave Gibbons art on Ain’t It Cool
Ten Lessons Spider-Man Can Teach Our First Nerd President
“President Barack Obama is a nerd. A geek. A dork.
Last March, he said:
I grew up on Star Trek. I believe in the final frontier.
Obama fulfilled the fanboy fantasy of flashing Leonard Nimoy the Vulcan salute, and on his now defunct official Senate web page, he posted an image of himself posing with the statue of Superman in Metropolis, Illinois. As a kid, he copied pictures of Spider-Man and Batman out of a friend’s comic books and he even uses geek speak while decked out in formalwear. Obama’s such a Spider-Man fandork that Marvel Comics made him a character this month in Amazing Spider-Man # 583. Marvel’s Editor-in-Chief Joe Quesada said: “A Spider-Man fan moving into the Oval Office is an event that must be commemorated in the pages of Amazing Spider-Man.”
So, at the dawn of his presidency, SG would like to offer Mr. Obama a few important political lessons that can be learned from the adventures of everyone’s favorite wall-crawler.”
(via Suicide Girls)
Grant Morrison’s Seaguy returns in April
It feels weird to be blogging about silly comics today, but, well, this is neat.
In Seaguy’s cartoon future world, everyone is a Super Hero and no one dies. It’s absolutely perfect…Or is it?
In this follow-up to the cult 2004 miniseries, Seaguy resurfaces with a sinister new partner, a hatred of the sea and a rebel restlessness he can’t explain. Why are Doc Hero and his ex-archenemy Silvan Niltoid, the Alien from Planet Earth, whispering strange equations? Why is Death so useless? And can that really be the ghost of Chubby Da Choona mumbling uncanny warnings and dire prophecies of ultimate catastrophe?
When the grotesque powers lurking behind the corporation known as Mickey Eye and the Happy Group attempt to erase Seaguy’s entire existence, can he possibly get it together in time to save a world so far gone it can’t even imagine the horror lying in wait? Find out here in Morrison’s own personal reframing of the Super Hero concept for the 21st century.
Comic books versus graphic novels
“The difference between a graphic novel and a comic is that the bus takes four panels to arrive in a graphic novel. ”
(via Robot Wisdom)