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1963 Interviews
1963 Interviews by Tom Field

I have seen the Sweatshop, and it stinks. No, make that reeks--offends the senses with its hot, humid air and putrid after-smell of days gone by, when today's art studio was yesterday's meat factory. But just beneath the nausea is the powerful stench of...creativity! Why, that's Affable Al's cigar you smell, Roarin' Rick's tube-steak lunch, Sturdy Steve's 'pick-me-up punch,' Kooky Kandi's perty perfume-all about you the air of Sizzlin' Sweatshop action! I was the luckiest fan alive to be in the midst of such gut-wrenching glory. And it all had begun with a phone call. "I'm a big fan," I told Kooky Kandi when I called the Sweatshop, whose unlisted phone number I had wrested from comics great Ed "The Emperor" Evans for the measly price of a bottle of fine wine. I explained to her that I had read comics since I was a young boy in the '40s and that now, even as a substitute English teacher in a midwestern school for troubled youth, I followed my favorite heroes and dreamed of one day being able to create my own four-color (1 of 3) [8/18/2006 2:05:06 PM]

Alan Moore |


adventures. "May I speak--just for a moment--with Affable Al?," I asked, but alas, he was out of the office. "No matter," I said. "Just let him know that I also edit, in my spare time, a little fanzine called Secret Identity, which I mail to comics fans all over the world, and I was just hoping to maybe get a quick interview with Affable Al and some of the Sweatshoppers..." "Did you say fanzine?," Kandi said, and I said yes. "Did you say 'all over the world?,'" she said, and I said yes. Suddenly, Affable Al walked into the office, and the next thing I knew, he was on the phone inviting me to visit the Sweatshop and interview him and Roarin' Rick and Sturdy Steve and--and all the guys (and Kandi)! In fact, he said, he even would give me a free ad for back-issues to put in Secret Identity, and he would give me free artwork for the special 'Sweatshop' issue! What a guy, Affable Al--even if he does say so himself! Enjoy with me now, please...a visit to the Swingin' '63 Sweatshop!!
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Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore (2 of 3) [8/18/2006 2:05:06 PM]

Alan Moore |

All artwork and logos (TM) and © 1998 their respective creators. All rights reserved. All orders through take place between the booth attendant and the convention visitor. cannot track orders placed by convention attendees. Please read the guide for more information. (3 of 3) [8/18/2006 2:05:06 PM]

David J. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. As I started to move. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore. he motioned to come closer. sipping from a small metal flask that he keeps atop an original art page from Horus. "Al will see you now. behind a huge oak Interview with Affable Alan Moore 1963 Interview by Tom Field It was nothing short of a dream come true. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII. but also just because of the presence of Affable Al. partially because Affable Al's office is the only air-conditioned part of the Sweatshop.HOR.Alan Moore | COMICON. " BACK TO ALAN'S MAIN PAGE Alan Moore Sorry. I meant Kandi. his first words to me were. past the production department (the former walk-in freezer) through the locked door separating the Sweatshop from hers and Affable Al's spacious executive suite.comicon. There he sat." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore.23.6." http://www. MORTIAK.htm (1 of 5) [8/18/2006 2:06:22 PM] .com/moore/1_interview_affable. Before I could speak. What energy! You could feel it in the air.POST MERIDIEM." I would meet Affable Al! Kooky Kandi led me through the art studio (what used to be the slaughter room). I had just wrapped up my tour of the Swingin' Sweatshop and was just on my way out the door when Kooky Kandi Devine stopped me and whispered softly. David J.

you recall creating USA on the back of a lunch napkin. And very. nosiree!! Why. who is. very dear. Ed "The Emperor" Evans is a very old and dear friend of mine. Fury-Man and Johnny http://www. Here Come the Heroes. I wrote him birthday cards. Sahib. should suggest that I was not solely responsible for creating these cavorting characters! Why. Ed "The Emperor" Evans says he created the character back in 1941. So let me tell you something. his rarely reliable recollections roasted by round after round of rotgut and reefer. mystical Morrie Mooreheimer. I fired away with my eager Suffice it to say that I created all of our sizzling Sixty-Three superstars singlehanded. so sad to say I seem to have scarcely scratched up a single serialized super-hero story on the supreme score card in the sky before settling in my swivel-seat here at the Sixty-Three summit of spectacle!!! That's not to say that I hadn't been earning money from writing for a long time. incidentally. Yet. concept and name. Very..comicon. VERY old." I was given my own comic company! Let's face it. travelers: all that writing eventually paid off!! After struggling with literary style in such early works as "Dear Uncle Morrie. a terribly thwarted and bitter man with a sad.htm (2 of 5) [8/18/2006 2:06:22 PM] . empty life who I feel sorry for. get well cards and long letters in which I struggled to express me awe and exaltation that such a truly divine being as himself should deign to exist in our mortal midst. It's very hurtful to me that Ed Evans. Very. Sahib. Some might even stoop to the shameful state of suggesting that he was slightly senile. Tom Field: LINKS As Kooky Kandi settled into a Kozy seat beside Al.Alan Moore | COMICON. your script-slingin' saviour was saving his senseless scripting for the staggering Sweatshop itself. I like you much better than my parents and can I have a sports car?" or the experimental minimalist piece "Morrie--Real Estate? Let's do lunch. at the age of six I was writing cure letters to my uproarious uncle. very old. and he always sent me 10 bucks by return of post. I'm a lucky guy!! [laughs] TF: Can you explain the origin of USA and the other Swingin' Sweatshop stars? In your book. though. although I myself would shrink from stirring up such saddening slanders. wayfarer. characters like Mystery Inc. What's the inside story? AM: [long pause] Well. could you explain how you broke into the comics field and came to create the super Swingin' Sweatshop character? Affable Alan Moore: If you'll suffer me to shoot straight from the shoulder. his reason raddled by resentment. save for such scarcely-significant spadework as the dreary details of design.

Kuddly Klaus is a groovy. the other one. but you two have different last names? AM: Basically. Sahib. has an impressive career as a leading Hollywood method-actress behind her. um." to which I can only say Amen. how is it that you are related to Morrie Moorenheimer. but it's just one of those things that I feel strongly about!! TF: You often write about your security guard Klaus Shreck and gal Friday Kooky Kandi Devine (who I see is quite devoted to you). I mean. Sahib? TF: Where is Ed "The Emperor" Evans today? Will he ever work for you again? AM: Look.comicon. you hear what I'm saying? Ed has a cosy little open-plan sort of accommodation over on West 24th Street. there's no need to worry.000 pages of the guy's work that we can reprint whenever we want. on the other hand. as demonstrated in the cult classic "Kandi does Kansas!" After that she endured a tragically brief marriage to none other than Roarin' Rick http://www.Alan Moore | COMICON. pilgrim. let's not dwell too much on the past here. like those armbands he had made with the two little "S" symbols on to stand for "Sweat Shop!" Kooky Kandi. uh. Al Jr. I'm sorry. although it isn't very likely.htm (3 of 5) [8/18/2006 2:06:22 PM] . and where did they come from? AM: Well. A mutual friend tripped over Ed just the other day and told me that Ed said he was "just glad to be alive. lookin' for work as a security specialist and totin' some excellent Behind are like babies to me! I know them like I know my own children. TF: Tell me. wayfarer! We've got about 8. Al something. What can I say. good-natured guy who arrived in this country just after the last war. sunny optimistic guy he always was. traveler! And let me level with you. loyal ones: Klaus puts everything he's got into his job. maybe six months tops. possible as perfectly produced prestige publications that tender a touching tribute to truly modern masterpieces of the medium that will never die!! Unlike Ed "The Emperor" Evans. Believer. amigo! As for "The Emperor" ever working for us again. Al-Boy I shortened and changed my last name because I didn't want anybody thinking I was the kind of guy who'd trade in on his uncle's success. throwing in lots of little extra touches that are all his idea. y'know. and from what I hear. who's got four. Who are they.. he's the same bright.

since I'd always been secretly angered by the way that USA was parodied as U. but what are ours? TF: What is an anti-award. "No comic book title that is a three-letter word meaning 'angry' or 'mentally ill' shall be permitted.htm (4 of 5) [8/18/2006 2:06:22 PM] . I like to think that I cleverly avoided the threat of massive outside censorship being applied to the industry by suggesting that we bring in a code of conduct so draconian that it would be impossible for anyone to censor us further!! That showed 'em! I was on the selfappointed board that drafted up this new code of conduct... Melvin in EC's Mad Comics. reveller. What role did you take to defend the comics industry? AM: Well. Sahib.S. I snuck in a clause that said. meaning that he never got home to see his adoring wife! It would have been a trying and traumatic tempest of troubles for Kooki Kandi if not for the fact that she found herself a whole new career as my personal secretary at around the same time! Say no more! TF: You were around in the '50s during the Kefauver hearings about comics. which ended when the Roarin' One had his workload unexpectedly trebled. and I made sure that all the right issues were addressed. and how does a fan earn one? AM: The answer to both of your eager inquiries is that there's really nothing to it.Alan Moore | COMICON.." Oh. Veitch.. Most commentators agree that my poignant and pathos-packed portrayal of the disabling effects of http://www. yeah. stating that my business rivals were dope addicts who abused their kids! We were always doin' things to kid each other along like John "Inker without Fear" Totleben. For example.comicon. it was a fun time! TF: Your Distilled Competition says the secret of your success is that your comics are "too simple to hate.and you can take that to the bank!! TF: Given that you employ a blind inker. I see myself as a trail-blazer when it comes to these tough and often touchy topics." How do you respond? AM: I know theirs are. would you ever consider creating a disabled super-hero? Or how about a minority hero? And what about female characters written by real females? AM: Seriously.and I sent a lot of anonymous letters to the committee.

and we'll make you an editor. fawning ones. Sahib! TF: If the comics industry closed tomorrow.htm (5 of 5) [8/18/2006 2:06:22 PM] . http://www. what would you do? AM: Why? What have you heard? INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore All artwork and logos (TM) and © 1998 their respective creators.Alan Moore | COMICON. you have to write lots of letters to our lilting letter columns telling us all kinds of trivia about our characters that we frankly can't be bothered to remember ourselves. who's going to make the take place between the booth attendant and the convention visitor. All orders through COMICON. COMICON. if females start writing comics. for Gosh sakes?? Sheesh!! TF: What advice do you give to someone who wants to work at the Swingin' Sweatshop? AM: First off.comicon. All rights reserved. Please read the COMICON. come and work for why. whereupon we'll start paying you with Mystery Incorporated T-shirts! Simple as that. and we'll pay you in comic books! Stay here long enough for everybody else to die or get fired. when you leave guide for more acne as witnessed with The Planet is a potential Pulitzer Prize puller. and with The Planet also being bright green. Then. that's about as "ethnic minority" as it gets!! As for your other cannot track orders placed by convention attendees.

That's what I used to do. That's how I started working at the Sweatshop. But a quick cup of coffee and a little "pick-me-up punch" later.comicon.POST MERIDIEM. apparently. I'm not sure which but they needed somebody to just ink the thing. That's back when we were doing books like the early incarnations of Tales of the Uncanny and Tales From http://www." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. and he was Sturdy once more--Sturdy Steve Bissette. David J. Do I have that right.HOR.Alan Moore | COMICON. I used to sweep up BACK TO ALAN'S MAIN PAGE Alan Moore Sorry.23. but he let me take a shot. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII. Al let me take a shot. David J. TF: Tell me how you got started at the swinging Sweatshop? SB: Well. that is! Tom Field: So I'm talking to Sturdy Steve. MORTIAK. and I thought I could do it. Sturdy Steve? Sturdy Steve Bissette: Yeah well that's what some people call me. He didn't pay me for that first story.htm (1 of 12) [8/18/2006 2:06:33 PM] . They had a story that was either in late or Al [Moore] had left it sitting on his bin for a really long time. and this was back in the '50s.6. That was back before the Comics Code kicked in. he started paying Interview with Steve Bissette 1963 Interview by Tom Field I caught him napping--a brief interlude. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore. between emptying the evening's waste baskets and beginning the day's work filling blank pages with dazzling depictions of N-Man and Hypernaut. He was pretty happy with the results and after inking three or four stories for no

SB: Really. This is the one that I inked when I was. I think the story was called "Desire for a Vampire. what the hell. So I really came up with the look http://www. but actually I think Al gave me copies of the comic and I couldn't even give them to my cousins' kids because they were so raunchy.. Affable Al [Moore] had kind of a crazy idea about doing this character who wore a football helmet and had like a demon tail and all this kind of stuff. TF: And you've been there ever since.well this is like I say I didn't get paid on the first one. but I was happy to have the work at the time and we went from there.Alan Moore | COMICON. but I came up with the basic look of the character. He always penalizes me when he catches me. and so on. stuff like that.. They pay better than he does. "Do a character who looks good coming through a wall. It was pretty stupid. and Al said that was an idea he'd really had all along. that's what it was. I remember inking a cover that had a severed head in a bowl with an apple in it's teeth and grapes in the eye sockets. the name The Fury suggested to me the Greek legends of the Furies. I came up with the look of On the Fury. If you look at the costume of The Fury. the design of the markings on the costume suggest both flames and teeth.htm (2 of 12) [8/18/2006 2:06:33 PM] . So I came up with the idea. what was the first story. Al knows. TF: What was your first story? SB: Oh LINKS Beyond.comicon. Let me think about it." That's what I did and he became the N-Man. but back then. so I do it always. I'm not too proud of it now. but I have done some work for some other companies. an open set of jaws with teeth. Aw. TF: Tell me about your involvement in the creation of the Sweatshop characters... That's when it was pretty gruesome stuff. Like with N-Man Al said.I mean." Yeah. SB: I don't know if I should tell you this in an interview. it was a job. I tried to come up with something that would really look pretty fearsome in the dark plunging down at you. but that was really my whole thing. It was pretty rude stuff that we were doing back then. all the characters I've worked on. I just didn't think it worked! We did some drawings but it never really jelled. The idea was the red part of his costume would be the interior of the mouth and the rest would suggest the teeth.

I suppose he's got some highfalutin' idea for it. but I kept it in because he drew it. Too bad he let Veitch mess him up. SB: Well. TF: You can't say screw around in a fanzine. Do you have a favorite inker? SB: I've had the pleasures of working with John Totleben and I was http://www. I don't know what Al was for the first time in his life I think. He actually. I pissed him off recently and so now N-Man's in the Tomorrow Syndicate so Rick draws N-Man there which sorta galls me. He's really unpleasant when you cross him. Big deal. It looks like a lunch box to me. If I get out of line.comicon. Rick can't draw N-Man to save his life. was mostly Al's. N-Man--the Hypernaut. did a sketch of the character.htm (3 of 12) [8/18/2006 2:06:33 PM] . TF: Does this mean Affable Al can draw? SB: He did a sketch of the of the characters that I worked on being The Fury. though. but what can I do? TF: How about the people you've worked with? You've worked with Veitch. you know. and you've worked with Chester Brown and some of these other people. That's the one character I want to stay with. So. he can kind of draw. But that's my favorite character. keep the lunchbox. Steve. I didn't want to screw around with the concept. but he's already let Veitch work on the character. then. We had to keep in the ideas he had like the Hypernaut has this kind of lunch box kind of thing.Alan Moore | COMICON. I love the N-Man. [laughs] Yeah. Al always threatens me with taking me off the N-Man. but it's nothing to write home about. okay? TF: Do you have a favorite character of the ones you've worked on? SB: Oh yeah. I love N-Man. so I don't know what's going to come of it. I didn't want to fuck up.

Wait. sorta like pencils in Braille. Dave Gibbons is great. and John can ink it. TF: Do you have to physically help him? SB: No. sorry--I mean. and as long as you make sure that he's got the brush in his hand bristles-end happy with what John did. TF: Well there are some standards in the Sweatshop. http://www. though. the inker without fear. TF: You kept your old job as well as drawing? SB: Again. if I don't have the baskets emptied. An artist has got to know his place. it's alright. though. He drinks the ink water by accident.. I just make sure his dog's fed and it works out alright. I wish he'd stop with the Cary Grant imitation.comicon. SB: Yeah exactly. TF: It's part of the family atmosphere then that everybody chips in. I draw with an HB pencil. He's a good guy though. Dapper fellow. but Chester comes in with some pretty odd ideas. It's standard that I empty the baskets every night. TF: The inker without fear.and Affable Al just went through the roof. I may not get to do NMan in following issue. Chester Brown is kind of an odd guy. TF: Not Kennedy? SB: .htm (4 of 12) [8/18/2006 2:06:33 PM] . Krebs. He wanted to do this story that Affable Al wouldn't let him do that involved an unmentionable part of the human anatomy actually being the President of the United States. I didn't say but you know he's a heck of an inker.. SB: Yeah we have a lot of standards in the Sweatshop. and he wanted to do. The ladies love it. sometimes.Alan Moore | COMICON.. really. Weird haircut. SB: Al doesn't chip in. really dig into the paper. I don't know if you've ever seen that show Dobie Gillis? He's kind of like Maynard G. I think the British accent is a put-on.

comicon. but if Al catches us not inking there's heck to pay.htm (5 of 12) [8/18/2006 2:06:33 PM] . Now and again one of us will talk about the wife at home or something. I'll be honest with you. I can't go into it. It takes time to empty those baskets. you know. It's when he first brought his. TF: What are the other Sweatshoppers like? SB: Well we don't know each other too well because we just have to just sit there and draw all day. does it? SB: This is when Kandi first joined the Sweatshop. Do you take time off or are deadlines a problem for you? SB: I'm just TF: No. but that's when Rick first got to start drawing N-Man because Al checks the dumpsters before he goes home. we'll strike that.Alan Moore | COMICON. I don't like doing it. I have snuck some of my pages out. I had to I'll tell you that. SB: I guess. TF: So what's Al like? SB: He's a sweetheart... Maybe he'll tell the story in one of his pages. and we had to take him to the hospital that night to get the cellophane off his head. TF: There are a lot of them? SB: Well they're all full of our artwork. I mean it's kind of a painful I can't. [laughs] TF: Do you have a favorite Affable Al story that will help illustrate what kind of character he is? SB: I can't repeat it. really. And Rick's kinda touchy about the wife thing. There have been some times I've noticed like on Johnny Beyond and the Hypernaut that you haven't been there consistently every issue. TF: [laughs] This doesn't involve Kandi Devine. though. I had to clean up after. TF: He's got to say goodnight to Ed the Emperor. but I doubt it. It's awful. Like I said. It's a pretty embarrassing story.

htm (6 of 12) [8/18/2006 2:06:33 PM] . TF: Those are real names. That must indicate something. None of it. but none of that happened. I don't like to think about it. SB: Maybe. What's it really like at the Sweatshop? I mean can people go there and see you working? Can people visit? SB: Sure. Suffice to say that for a few months. SB: You think so? TF: Sure.. We'll give you artwork... I knew. but when nobody's up there. Come on up. Some day this industry will change but I don't know when. TF: It's in print. It has to be true.Alan Moore | COMICON. but by now you know. TF: What are your plans for the future? Any secret story ideas that you can give away? http://www. I knew some things.. None of that's real. that's all made up. we'll see. I don't know what it's all about. I'll tell you.. SB: They're real clean up after. TF: Well everybody's noticing what you're doing. come on up. SB: Like who? TF: You read the names yourself in Affable Al's column. SB: I don't read that claptrap. I wasn't threatened with losing N-Man. I wish people would come up because Al acts decent to us when people are up TF: What do you see happening in the industry? SB: Al wants to put this pop art thing on the book. TF: . It's better than throwing it in the day all the stories will come out.

They don't even name the monster the same way twice. I got the jobs because of the stories that I was doing for Tales From Beyond back before we brought in all the super-hero claptrap. especially since Kandi's been up at the office.. and then lo and behold two months later. They couldn't even get it right there. I had this idea of doing this whole series of issues where he gets pinned under the Statue of Liberty. I'll be honest with you. We'll see.. but I don't want to give them away because Al will use them. They showed me the movie. I think it'd make a good story. I did one where it was this monster. It's such a bad movie it's already on television. We all know the routine. and he got the licensing to a couple of low budget movies. The movie is called From Hell It Came. It's the way it is. he'll start using more of the stuff that we come up with. There's a publisher down there that's got some kind of distribution racket going up in New England. it's this tree monster and they keep calling him a different name in the movie.well they didn't show me the movie.. and it was called From Heck It Came.I mean I got to do these http://www. but we couldn't do that in comics. Al's one of those guys where you come up with a story idea and he completely shoots it I did these giant monster books. It's this tree.. But anyway I did an issue of that. see. one night. None of us take it personally. But that's just how it is and we make an okay living at of the books we have this monster Tabonga or Kabonga or something like that. I did a whole. In fact. it's his idea and you use it. The first issue came out great. TF: Do you think you'll ever write stories? SB: I have been.. we'll see. The Black Lizard and a couple fill-ins on odd titles.. and he's trying to lift it off of himself but Al didn't think that that would sustain. We'll wait until he runs out of ideas of his own. so we did a series because it sold pretty well. Massachusetts. I did a pretty good job on those and I ended up doing a whole series of them. I caught it on the late show. They used to print a lot of comics in Holyoke. you know. I got some gig from a little outfit in Massachusetts.htm (7 of 12) [8/18/2006 2:06:33 PM] . so it's From Heck It Came. He humiliates you in front of everybody if it's during a story conference. but you won't see my name on it.comicon. [laughs] I had some ideas with The Fury. So I drew a few of those books. but I'd have to pencil and ink a whole book like in a night. I got to see the movie. TF: What did you do for the other companies? SB: I did some super-hero stuff SB: I got some ideas for N-Man.Alan Moore | COMICON. I've been thinking about it.

we don't make a lot of money. but I have fun with it. You can go http://www. and I got to be ready the next day to keep drawing for Al. Bissette. so Rick would go down to the corner and get those hot dogs they sell and I tell you. another one of these schlocky monsters. Al just sticks that to us. You guys don't know what all this stuff is.." TF: "Sturdy" is not your first name? SB: No. he was Ripshit Rick-TF: [laughing] Apparently it's not just a Sweatshop. SB: No. especially the hot days in the city. right up to his stump and the whole issue has these characters tapping him for maple syrup and stuff. it's fun. That's how it is with all of us. it was Rippin' Rick because. TF: What advice do you give to someone that wants to get into the business? SB: Don't work for Al! That would be one piece of advice. So I did one whole issue where Tabonga is just buried in a sand dune. but it came out okay. it's foul some of the stuff I've got take out of there. And I'm telling you. but it's an honorable business. What advise do I give to someone wanting to get into this business? Well. but I've made a pretty good living drawing these characters and I have fun with it.. Actually the original moniker I had around the shop I can't even repeat to Moore | COMICON. Actually the winters are worse because you can't open the windows.htm (8 of 12) [8/18/2006 2:06:33 PM] . so it was Rippin' Rick and then when he started this thing in the comics it became Roarin' Rick. For awhile while the thing with his wife was happening. I just use "S. Like it wasn't originally Roarin' Rick. Some day I'll do my own stuff. You know. gas. I mean nothing happens really in that whole issue. do you use the same name? SB: I can't use the Sturdy.comicon. I can't even repeat what mine was. I've been at this now since the early-'50s. I don't own a damn thing. you got to learn how to draw everything. Living in New York is good because the New York Public Library is right here. I did another book for them. the after-effects were issues over night. TF: Now when you do the work for the other company. cleaning those baskets.

Not too often. but you got to learn how to draw everything. Forget it. You got to clean your brush.Alan Moore | COMICON. if you even get that. I used to draw some war stories in the old days. kids! Pick out the books you're going to I can kill a dog with this brush. and these kids are licking this stuff right down there and find reference for anything. Don't ever clean your brush. They would just take the paper towels off the roll and just prop up the roll and that would be the scope. and it's pretty hard when you get a script and you got to draw a scope for a sniper fighting in the World War I trenches and you've got to get the right scope for the German soldier and for the American soldier. Just send it to Al. I probably shouldn't tell you this. There's a lot of these guys out there that have this namby-pamby attitude that they got to clean their brush. Ever. Well you get this what's this thing he calls-the Anti Award. he'll take 'em. But it's a great brush. sometimes. There's a couple nights where he made Rick and I write http://www. Just write 'em to Al. I can do pretty good ink lines with it and you just look at the inks that I'm doing on Jim Valentino's stuff for Johnny Beyond. y'know? TF: So what if somebody has some ideas for some of the Sweatshop characters? What should they do? SB: Send them in.htm (9 of 12) [8/18/2006 2:06:33 PM] . draw everybody. but he makes up some of the letters. Draw everything around you. because I've given Al a few and I kind of regret it now. It doesn't matter because if he doesn't get enough letters on one issue. You got to do your homework. I think they play it up like it is something. but I would actually go to the library and figure it all out. TF: He makes up the letters too? SB: Some of them. The other piece of advise I would give is don't ever clean your brush. I'll tell you. and that's a brush that I haven't washed once in eight years. just make sure it's something you don't have any plans for later in your life. He'll use 'em. You'll get one of those in the mail. So that's my first bit of advice--draw everything. So if you got any ideas. but that's just how it goes. I got this brush. I cared about that stuff. but he makes up most of them letters anyway. draw everything that's out there because you're going to have to draw it some time or another while you're doing the comics anyway. and it's just an empty envelope. I tell you. Most of the guys didn't. you won't get nothing for it. just send them to Al. he just steals them from another book. Why clean rat hair.

He wrote in a letter about Roarin' Rick's interview. The kid wrote in about Rick did this interview with this little rag. you know. but they don't. SB: No." I think. named "Hutty.htm (10 of 12) [8/18/2006 2:06:33 PM] . How could they? Al has them believing we're some kind of big. and this kid wrote in asking about it. but I only get about fifteen bucks a page for Tabonga. Kandi does all the typing. what would you be doing? SB: I'd be drawing Tabonga on a more regular basis probably.. The only way he'll find out is if that kid that keeps writing in. if you weren't working for Affable Al. TF: Are you going to still be working when this interview comes out? SB: I don't know. TF: You mean The Fury and the N-Man together. I don't want to go into it. There's this kid who writes in a bunch of letters. happy family or something. You'd think these kids would learn. writes into him about this interview. Al will just sit there on his. Rick tips the bottle sometimes. He talked about the contracts and Al dismissed it by calling them the "wacky gag contracts" and all that. I got to draw NMan again for a while. they just do these things on mimeo. but I probably shouldn't be telling you this stuff. they don't know. I got to do a lot http://www.Alan Moore | COMICON. no. no. He didn't make any money for awhile. He can't even read. Rick was in hot water for five weeks because of that letter. Al kind of docked his pay. I mean. and Kandi types it all up.comicon. TF: Which kid is that? SB: I don't remember.he doesn't even have a chair. and he was a little snockered when he did this interview. Al can't read. He just recites all this stuff to us. He's got a piano stool and he just puts his feet up on this shoe box that he's got. I ain't too worried about He ain't going to read this interview. Ha! TF: Hey. The only way I'll get in trouble if this interview comes out is if that little son-of-a-bitch that wrote that letter that got Veitch into trouble writes into Al again. He can't read. I make about twenty a page doing this stuff with The Fury and N-Man and stuff. Twenty bucks a page on each one. but Rick was in pretty deep trouble there for about five weeks. and he just rattles that stuff out. That's pretty good. That's how he'll find out..

I don't think they'd want to be right here.Alan Moore | COMICON. but I probably shouldn't talk too much about that. SB: Rick doesn't care. TF: You better hope the kid doesn't write a letter to Roarin' Rick. INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore http://www. I've got to finish these pin-up pages tonight before cleaning the floors. SB: Cut it there? Is that a joke? TF: [laughing] Anything else you can add to this? SB: No. God. where he got the name. the air gets ripe up here. Rick knows all this stuff. Rick and I talk about stuff you wouldn't believe because we got to.htm (11 of 12) [8/18/2006 2:06:33 PM] . [laughs] SB: It's a good thing that Kandi doesn't have a sense of smell or anything. He thinks it's funny. Al doesn't seem to care. Roarin' Rick lets one roar and Al thinks it more than just draw. SB: They probably wouldn't if they knew what Roarin' Rick's reputation really rested on. I'll tell you. TF: Well just remember a lot of people would like to be where you I think we got enough. all we've got is each other some days! TF: I think we'll cut it there.comicon. TF: You better hope that kid doesn't write to Rick.

com guide for more information.Alan Moore | COMICON. (12 of 12) [8/18/2006 2:06:33 PM] .com All artwork and logos (TM) and © 1998 their respective creators. Please read the cannot track orders placed by convention attendees. All rights reserved. http://www. All orders through take place between the booth attendant and the convention visitor.

The radiators are going in the middle of July. He's Roarin' Rick Veitch! Tom Field: Gee. all of the windows are nailed shut.Alan Moore | COMICON.POST MERIDIEM.htm (1 of 16) [8/18/2006 2:07:10 PM] . He's down at the Bookies with Kandi Devine and some of the boys I bet. There are fans that are moving dead air around. David MORTIAK. breathes Horus. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore. home is where you hang your pork-pie Interview with Rick Veitch 1963 Interview by Tom Field He eats Mystery Inc.. people are yelling down the halls. Roarin' Rick Veitch: It's homey. I mean there's steam pipes. this Sweatshop is quite a place. sleeps USA and has been known. I don't think they're doing windows.comicon. just give him his space (a three-by-three area in the rear of the Sweatshop) and pass him an occasional hot dog. http://www." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore. David J. but like I say. RV: Don't worry. in his spare time. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. toilet pipes hanging all over everywhere. to fill in for Sturdy Steve on N-Man. He's the 24-hour-a-day deadline man who needs no introduction.. running in and out. He promised me a script three days ago. It's about 95 degrees in here. you can hear trucks loading in the back.HOR.23. TF: You better watch those guys on the fire BACK TO ALAN'S MAIN PAGE Alan Moore Sorry. Affable Al is nowhere in sight.

. TF: You started there in the '50s? RV: No. you got the job. I couldn't really talk too much and my eyes wouldn't focus correctly. RV: He never wins. that sounds about right Rick. so I had them prop a pencil up into my cast and I would draw. if you can do it. So basically I just work straight with the brush. I've been in this game since probably 1946. and the next thing I know I wake up and the pretty nurses are taking care me and all this kind of stuff. I had just gotten out of the army. and then comic books were big and Morrie paid somebody off to get some paper.comicon. He'll come rolling in this afternoon desperate for money and try to whip out a script. which was run by Al's Uncle Moorie at that point." TF: Rick how did you get started at the Sweatshop? RV: It's over 20 years now.. They were just coming off doing the Pulp magazines and that was going down the toilet. I had gotten. LINKS TF: And he's not winning.I guess they call it 'shell shock. which actually I'll have to do for him and he'll say. no. By God.Alan Moore | COMICON. no. It's all kind of imaginary don't you know. "Yeah. I got a discharge in '45. and I'm up there in my sixth floor http://www. This was after the war you understand and paper was kind of hard to get. if I didn't have it ready for him about three o'clock the next day! TF: Pencilled and inked? RV: Yeah. TF: How did you stay up all night? RV: I got I did a bunch of samples and when I got out I took them around looking for work and brought them up the '63 Sweatshop. but they had a lot of comic books there and I spent months readin' nothin' but comics. "Tell you what? I got a 64 page book that's got to be done by tomorrow.' I had gotten mixed up in firefight and some of those grenades had gone off.htm (2 of 16) [8/18/2006 2:07:10 PM] . to make a long story short I went up and showed Uncle Moorie the samples and he thought I'd do alright. He said." So I went home and fired up the old coffee pot and went to work. Before the war I'd painted posters for the Carny. You don't pencil very much when you're inking them yourself. and I got my radio.

com/moore/3_interview_roarin.. And the '60s.htm (3 of 16) [8/18/2006 2:07:10 PM] . I was still. Sturdy Steve didn't get paid for his first few stories. what more could a man ask for? TF: That's incredible. It was a little later he became Affable Al. It didn't matter if you got paid.I mean I was supposed to get three bucks a walkup. He's usually only six or eight months behind on vouchers. but I didn't get paid a hell of a lot. It was the first appearance of the Silver Scarecrow. I guess they did pretty well by it. Not that I get any reprint rates for it. We got some other names for him which I probably shouldn't go into.comicon. TF: You got paid though. and he's running around causing a lot of problems at this point. TF: Hey. Morrie said he'd make it up to me. TF: Were you married at the time? Did you have a family? RV: Well you see that was before my first marriage.. TF: So that first story... I mean anything seemed better than the beaches at Normandy. which of course was the number one book there from the Sweatshop for a couple of years. http://www. I think rates were three bucks a page in the '40s. Did that first story see print? RV: At least 10 times now.. and the '50s.Alan Moore | COMICON. RV: Or slept. TF: Is that the first time as well that you worked for Affable Al? RV: Well see Affable Al was just a little fat squirt during this time. but there was always a cash flow problem. as he called himself. I guess it sold pretty well. in those days steady work was steady work. RV: Oh well. Moorie was happy with it? RV: Well he was very happy to get it. He was about 12 or 14 years old and his Uncle Moorie gives him the run of the place and he acts like a fat little dictator..

TF: That first story lead into you doing your first regular series? RV: Well I turned it in and he liked it so much he gave me the next issue to do except the script wasn't written so he said. Well definitely more regular series. If you count Rosita.comicon. no sweat. TF: That's why they call it the Sweatshop. this is about three weeks later. three. let's see. 64 pages in a night if you're just pencilling.htm (4 of 16) [8/18/2006 2:07:10 PM] . they gave me two nights on this one so I was able to go home and have a bite to eat before I plowed into it. You just make up whatever comes into your head and I'll have my boys write around Moore | COMICON. I've been married five times. TF: Which have you had more of? Marriages or regular series? RV: [laughs] That's hard to say. two. Got it done on time so I got the next one too. the book was doing so well they decided they could afford a real inker. I've probably drawn every damn feature that there ever was that came through Moorie's shop. By the fourth issue. At that point that's when I became TF: Before your first marriage? You've had a second one then? RV: Well there's been. and I'm http://www. you got to make a little money on the side so you're ghosting for other people. Then hey.." they were already calling me 'Roarin.' he said.. "Roarin' Rick. RV: [laughs] I never thought of it like that. Of course. TF: In another night? RV: No. TF: What have you worked on over the years? RV: You name it... "don't worry about the script." It was another 64-pager.

" TF: Which you've been on since the beginning. but it's also one we probably shouldn't tell to the little kids out there. I just can't see a deadline blown. The ones I got now are "Mystery Incorporated. I just sit down and do it. So he gives the Sweatshop over to Affable Al.comicon. The strips you're working on now. He's off somewhere doing God knows what.. I mean. you're doing The this must be 1959. He's about 150 lbs. He doesn't know his asshole from his affable elbow. TF: Tell me how these characters are created. It was more like the adult kind of stuff. TF: Do you have favorite characters that you've worked on? RV: Yeah except they weren't for Uncle Moorie. I don't know why. It was my concept I guess. RV: You see Affable Al was into Uncle Morrie for a bundle from losin' at the ponies. but hey. If that stuff's due and there's nobody there to do it. That's a long story. Affable Al's like 18 or 19 years old. It's fine if we're all hanging around. he gives you a couple of these things and boy you can do two 80-page giants overnight.. and he's got that working next to Sturdy Steve in the Sweatshop. I sort of came up with the characters. I did a few jobs for a little publisher out of 42nd Street. you know. is it? RV: No. over weight. TF: Of course. so the doctor puts him on these goddamn little pink pills.htm (5 of 16) [8/18/2006 2:07:10 PM] . Moorie's gone on. He's got a paper mill.this is years later. But those are the kind of strips really get a rise out of! TF: That isn't where you got the name Roarin' Rick. a bunch of guys at the bar. let's face it. comics are for children. http://www. 1960 and Affable Al has taken over for Moorie. RV: Yeah..Alan Moore | COMICON. The pounds are just melting off of him and comes time for deadlines. and half the time he doesn't show up. the kind men like? We probably shouldn't discuss it in a magazine like this I wouldn't think.. RV: No that goes to Sturdy Steve about half the time. He's got this going. and he's got a funeral parlor. diet pills.

came up with Mystery Incorporated. "What the hell. Horus. Morrie worked some magic with the printer's bill and by God if they didn't hit the stands and start making money and the whole damn thing picked up.Affable Al had tried to do all these crazy monster comics." So I did. They were just about ready to close up shop and I went in and Uncle Moorie was there and he had some of his boys twisting Affable Al's arm to get him to pay off his outstanding loans and all this kind of stuff. http://www. " You're ready and roaring for more the next day. I brought them in and Moorie decided to take the chance. They were just filling up shelf space. and N-Man. He got Sturdy Steve to come up with The Fury. I don't know if you know Moorie. the furniture's being moved out.. I went home... and the Tomorrow Syndicate. DC was beating the pants off them.Alan Moore | COMICON. I'll be in here tomorrow morning with three brand new features. He was sort of strange there for a couple of weeks. He's a young guy at this point and he was always pulling some kind of bullshit on somebody.htm (6 of 16) [8/18/2006 2:07:10 PM] . [laughs] He was putting the pounds back on and he created a lot of personal problems. RV: And he said. TF: That you did in the '50s? RV: Yeah. face it. Moorie you know me. and you put these things out and these are going to make money. I went in. and we reworked some of Ed the Emperor's stuff like USA and Hypernaut. But anyway. they weren't going anywhere. to make a long story short. TF: Again in one night? RV: Yeah. It was kind of ugly..comicon. TF: How many of those little pills did you have? RV: Well that was one of the reasons why the Sweatshop had sort of collapsed at that point. Y'see Affable Al had lost his prescription for the pills. I guarantee it. TF: I don't think I've seen him behind the cloud. I got nothing to Anyway. go ahead. He liked what he saw. but he's always got a cigar in his mouth." He looked at me and he puffed on his cigar. and I said. and here we are today. and you know I always come through.

I guess in terms of human beings. TF: Do you have a favorite inker you work with? RV: Dashin' Dave Gibbons has got a nice flair.htm (7 of 16) [8/18/2006 2:07:10 PM] . and we're off on a train to Niagara Falls and the train stops at a station and someone jumps on with a telegram and it's from Affable Al and he's got to have a 29-page book by the next day. but he's always hanging out with that Hefner guy over at the Playboy mansion so it isn't like you can actually work with TF: So Mystery Incorporated was the first one you came out with? RV: Yeah. even if his seeing eye dog does shit all over the Sweatshop. You'd done 64 the night before... And he can just about keep up with me too which is saying was a good issue. it was all kind of new to us. RV: Yeah. RV: Well not after Affable Al's got the http://www. well. TF: Which lasted longer--the book on the stands or your marriage? RV: The book on the stands. So. TF: That's amazing and you don't have to physically stand over him. It was a good issue but it didn't do much for my married no question about it. RV: Oh yeah. it's got to be Jaunty John Totleben. There's a guy who's fun to work with. TF: There's a story behind Mystery Incorporated #4. I can say that. The wife and I.Alan Moore | COMICON. [laughs] TF: Piece of cake. My honeymoon. the inker without fear. that's my first marriage.

he exists in another time continuum. I saved his ass so many times. RV: Well. I'm ghosting the stuff already! I don't mind helping the guy out. RV: Hey. Sturdy Steve and I go way back. it's kind of frustrating. I got to tell you. TF: What's it like working with Sturdy Steve? RV: handcuffs on the drawingboard. since he's not around a lot. I'm the guy who gave him the name Sturdy. and I probably subscribe to that theory myself. TF: His definition of deadline is not the same as yours. TF: Of course you were in the war together. and he's always making some sort of joke about Sturdy Steve living in another time continuum. that's what Affable Al says. Sturdy Steve was telling me that if he's late on a deadline that Affable Al will threaten to take one of the characters and give them to you.Alan Moore | COMICON. TF: He seems to have these incentives. might as well. TF: Just to guide him. http://www. but this is for kids and we can't talk about that kind of thing in a family publication. TF: What's the story behind that? RV: Well this is a family book. I could probably tell you on background.comicon. RV: Well. RV: Usually what he does is he puts them around the bottom of the drawingboard and then puts it on the guy's leg or in Jaunty John's case he just takes away the cane and the seeing eye dog so John can't do anything else but sit there and ink.htm (8 of 16) [8/18/2006 2:07:10 PM] . TF: You've known each other for a long time? RV: Well hey.

"Hey this is for real. deadline. That's how we planned it. RV: Well hey.Alan Moore | COMICON. TF: Do you ever consider writing your own? RV: Naah. " deadline. TF: What's a day like for you? How much time do you spend on this? http://www. On the margins around the panels. RV: Or I do it for him. he gets it done. Does Al give you a full script? RV: Well.comicon. this is comics. what are we going to do in the latest issue?" And he'll say something like. Apocalypse.htm (9 of 16) [8/18/2006 2:07:10 PM] . I'm a TF: But when it's really time to get it done. I'm going to do that. change a word here and there and then the letterer does the final rewrite. I can do anybody. I'll pencil in what I think they're saying. that's how it was supposed to be. RV: I'm lucky to get work. you got to write these scripts. everything is deadline. He said. TF: Tell me how the stories are created. Usually what happens is either I grab Affable Al when he's heading for the can. this is it Moorie. TF: That's true. the characters. or I go down to the bar on the first floor of the '63 Sweatshop building. They said. I'll write the Goddamn scripts. TF: You're pretty adept at ghosting his style. "Hey." But you know comics. RV: Well yeah. Affable Al promised. I'm going to this. and I'll say something like. there's never enough time. I've been ghosting Nancy for years." I'll go and I'll plot the story from that. No more horsing around with the Bookies" and all this kind of thing. Then the thing took off we had a big meeting with Moorie and he had some of his boys there and they leaned on Affable Al. TF: You almost think you'd get a story credit for something like that. "I don't know--let's bring back Dr. Then usually he'll go through it and jazz it a little bit.

Folks would come in in the morning to start work and he'd sit on top of the file cabinet and make everyone bow to him. http://www." TF: So what's it like working with Affable Al? RV: He's grown a lot in the job I'll say that for him. Couple of pages an hour. It's a good life. He used to play some crazy games. Maybe one. chuga. whatever. He's always had something for this Egyptian crap. TF: Not really bow? RV: Yeah and he'd say some crazy king stuff about being the king. I'm not so sure you have one. I tried but you know me. I've probably fallen asleep right there.htm (10 of 16) [8/18/2006 2:07:10 PM] ..chuga. I don't know. By evening I might be ready to have somebody bring me in a sandwich or something. three o'clock in the morning I might doze RV: All of it. or the emperor. chuga. lean my head against the board a little bit.. Comics.. TF: Because he ran out of diet pills? RV: That could be it. RV: Well. TF: Entire day? RV: Yes. two. and I'll start guzzling the coffee and having cigarettes and before you know it I'm cooking. It's funny the first time. TF: I was going to ask you about your personal life. chuga.chuga. or the Pharaoh. pencil still in my hand. I got the but after years of it people tend to resent that kind of behavior. When he was a kid he was a real wise-ass. I got the coffee. chuga..Alan Moore | COMICON. TF: And you get up early? RV: I usually wake up with my my head against the drawingboard. chuga. "Mr. I got the little can there. You know I just sort of wake up and if I have to take a whiz.

he's got the checkbook. publisher. But anyway. I brought her around the Sweatshop and before you know it I had more work than I'd ever seen before. marry the work--the women come and go. TF: Is it hard to work around your ex-wife? RV: Well. RV: Yeah well I'm married to the muse I guess. You know how these things go. she and Affable Al ended up hanging around together and then he linked her up with Moorie's men's magazines. It's water over the dam. I guess that's the last word on everything. if I had really known her I guess it might have been hard. RV: Yeah. What does she do? RV: Well that was my third wife.comicon. TF: And you saw less of Affable Al. TF: You were married to Kooky Kandi Devine? RV: Yeah. and she gets regular modeling work over there. There's a lot of business that gets done over TF: Is Affable Al in charge of day-to-day decision making? RV: Well he doesn't spend as much time in the Sweatshop as he used We never really got to know each other what with only being married a couple of days that way. It's pretty hard to keep a relationship together when you're trying to carry that kind of load and it was probably a mistake. Al uses her in the office. I met Kandi at the 42nd St. TF: He was saying he oversaw everything. Things were slow so I started goin' out. TF: Well. TF: What about Kooky Kandi Devine. No hard feelings. It was like an 80-page giant every night.Alan Moore | COMICON.htm (11 of 16) [8/18/2006 2:07:10 PM] . too. TF: What's it like at the Sweatshop? http://www. RV: Affable Al just had me going.

TF: Who else works in the Sweatshop full-time? http://www.. RV: Well not really. RV: Probably the thing most people come away talking about. TF: That's not a professional office building. you think RV: It's kind of dingy. deadline. of Affable Al that hangs in the cramped little entry way. TF: Well you can use those things in the production office. TF: That must be an inspiration. We wouldn't have to go for lunch. TF: Not that you could afford to go out to lunch anyway. RV: It is. which probably would have been okay if they had cleaned it up a bit and gotten rid of some of the meathooks and stuff left lying around.htm (12 of 16) [8/18/2006 2:07:10 PM] . but maybe that was his idea. we'd just find things layin' in the corner. smoking a cigar. I kind of wish that he hadn't had himself painted looking at his watch..Alan Moore | COMICON. TF: But do you think of anything else? RV: [laugh] Well there's really not much time to think of anything else. besides the smell. because all you think of as soon as you walk in the door.comicon. is the double-life size portrait. You come through and there he is in all his glory with the big grin. deadline. TF: Sturdy Steve blames this on you and the hot dogs. It used to be this meat packing plant. RV: [laughs] Well it was a meat packing plant. It was pretty good there for the first six months. Affable Al threatens to but there's a certain smell to the place that people remark on as soon as they come in which got noticeably stranger after Affable Al had the windows nailed shut. can't you? RV: Well.

comicon. Hey this is for kids. TF: I never heard Affable Al put down his foot. TF: Just for old times sake. He'll come over to the place. but apparently he did. TF: What's this about a Cary Grant imitation he does? RV: Yeah. Too good for the likes of us. I'll chain him up to the board and we'll do a couple of 64-page giants. you probably ought to cut that from the tape since this is for kids. RV: Oh yeah and the man who would not stop. he's a few bricks short of a load!! TF: I hope to meet him some time soon. He's from Pittsburgh but every once in awhile he'll take the train up.htm (13 of 16) [8/18/2006 2:07:10 PM] .. and this Yummy Fur thing was probably better off over at 42nd Street with my buddy who does the Tijuana Bible stuff. Dandy Don actually inks USA for me. http://www. RV: Yeah well don't bother interviewing him. RV: Was that Yummy Fur? TF: Yes. He's a pretty suave character. Dashin' Dave is. that guy.Alan Moore | COMICON. He wouldn't go into detail except he said something about the President of the United States. He thinks he's something. that guy in England who was into Kabal. just like old times. I hear he used to hang around with Alister Crowley. RV: Well you've got to remember Affable Al was one of the instigators of the Comics Code. come on up and we'll have a few laughs. Jaunty John Totleben's always around. TF: Sturdy Steve was telling me that there's a feature that Chester developed that Affable Al just wouldn't touch. Chirpin' Chester Brown is a lot of fun to be around. Magic. I'll tell RV: Well we got Musty Marvin Kilroy. that stuff? Anyway.. He's over in Chicago. I mean the guy's got these whacked out ideas. He likes to hang around with Hef. There's Dandy Don and his brother Darlin' Dwayne who letters the books. We never see Dashin' Dave.

comicon. You have to strip down to your skivvy's sometimes. He's been hanging around a lot RV: Yeah. TF: What if someone came up there to visit the Sweatshop.. For your family. I guess when he gets old Hiram Glick coming around with the vouchers and Klaus Shreck on the drums. I guess that's everybody.. RV: Well.. Something to look back on. TF: And Sturdy Steve is in and out of there. I just wish they could shut the furnace off so that the radiators. Could they get some of the original artwork? We've always just.. it is a Sweatshop. I tend to think that that's part of its charm. and then with the rattle of the chains and everything it's very conducive to getting work done..he's got some shredder or something and they use it for packing I think. TF: Well it gets you in a pretty good rhythm I would think. RV: Yeah well he's got his own schedule. RV: Nah. TF: What about your artwork? Do you save much of your artwork? RV: Why? TF: For your does get kind of warm in there. RV: It does. RV: Why would they want it? TF: You haven't saved anything? You get the material back.. there's also Rollickin' Roxanne who letters some of the books..Alan Moore | COMICON.. RV: No.see Klaus has this big drum that he kind of beats real slow. and Jazzy John Workman. We're like one big happy family. TF: Well. Oh yeah. Should we? TF: Some people think so.htm (14 of 16) [8/18/2006 2:07:10 PM] . You get the art back.

I don't want to be thrown out on the street like Ed the Emperor or anything. well if not for the shells. You could have thanked the war and the Nazis for your career. RV: Why not? TF: Well if you do. http://www. RV: Yeah well. TF: Well there's always 42nd Moore | COMICON. TF: What do you see as the future in comics? RV: Nothing. your pencil's gone. TF: What would have happened if that grenade hadn't gone off? RV: I guess I just lead a charmed existence.. TF: And you're doing all of it. RV: Yeah. I mean there are people out there that.comicon. TF: What if someone wants to go to work there. hey you're only going to live as long as you live I guess. [laughs] RV: I hate to see it passed around to too many people. There's guys like us who've worked 25 years doing this thing. forever's going to come to an end some day. TF: Any plans for yourself if they do? RV: Probably blow my brains out I guess.. I guess I'm just the luckiest guy in the world. where would you be today? RV: Oh boy. When your pencil's gone. Do you know what I'm saying? TF: What do you think the future is? I mean you're not going to do comic books forever. like yourself. TF: Do you ever think of what you might have done if you hadn't.htm (15 of 16) [8/18/2006 2:07:10 PM] .com RV: If someone came into the Sweatshop and asked for original artwork they'd probably put them in a straight jacket or something and take them off to the rubber room. RV: Well there's only enough work to go around right now. They never come back. I wouldn't. TF: Do you get visitors at the Sweatshop? RV: Never more than once. TF: If not for the Nazis and Affable Al. They're probably going to die off in a couple of years. I hate to even think about it. RV: Yeah I wouldn't mind that. want to work in comics and have ideas.

com guide for more INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore All artwork and logos (TM) and © 1998 their respective creators. All rights reserved.htm (16 of 16) [8/18/2006 2:07:10 PM] . Please read the COMICON.comicon. All orders through cannot track orders placed by convention attendees. http://www.Alan Moore | take place between the booth attendant and the convention visitor. COMICON.

Things were very bad in those days. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII.Alan Moore | COMICON. met a gentlemen by the name of Allister Crowley. I studied at the Sorbonne France. David J.htm (1 of 6) [8/18/2006 2:07:19 PM] . Now how did you happen to come to the U. and work for the Sweatshop? MK: Well I'd lost my citizenship at this point and I was penniless. probably was not the smartest thing I ever did but I came away with a kind of arcane knowledge that some people kill for. that I could work off my debt. MORTIAK. trying to understand them. spent six years studying under him. yes that's right. Over the years I got some of it paid off but the Pulps started to go http://www. David J. trying to integrate them into my own daily existence. at the time he was publishing Pulp TF: That's a classical background. I was there with Picasso and all those deconstructionists--they were idiots. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore. It was owned by Moorie Moorenheimer and he said that if I worked for Interview with Marvin Kilroy 1963 Interview by Tom Field Tom Field: I understand that you've got quite a classical background.POST MERIDIEM. I ended up in BACK TO ALAN'S MAIN PAGE Alan Moore Sorry. how color defines its spiritual essence of human kind. I kicked around Europe playing with these theories. but I was able to get smuggled into the country on a freighter. Babbitt whose principles of light and color became extremely important to me--theories of how light works on the optic nerve. Musty Marvin Kilroy: Yes. While I was there I studied under the Kabalist painter Edwin D.HOR.

It's a complex. the blues. the yellows. I'm working on young minds. Man is surrounded by a super-sensible universe of which he knows nothing because the centers of sense perception within himself have not been developed sufficiently to respond to the subtle levels of vibration of which the universe is composed. There are a number of colors which can not be seen. sounds which can not be heard. You see there are numerous arbitrary arrangements that set forth mutual relationships of the planets in the colors like musical notes.htm (2 of 6) [8/18/2006 2:07:19 PM] . Do you understand what I'm saying? TF: I'm following you. What I'm doing is I'm working abstract Kabalist patterns into the color. Do you follow? TF: I'm following you. Kids out there. He smells funny. substances which can not be felt. and there's also unknown forms of light which no optical equipment will ever register. which are colored in this simpleton method. TF: What's it like working with Affable Al? MK: He's an insufferable twerp. certain octaves. They read one of these comics. I can't stand him. See that's what you got to understand. This is going to change things in them. Kabalist synthesis. http://www. flavors which will not be tasted. Do you understand? These are designed to vibrate against the optic nerve in certain patterns.Alan Moore | COMICON. Do you follow me? TF: Umm. MK: See there's a great deal more to light than anyone has ever seen. So all this goes into Mystery Incorporated? MK: All my LINKS down hill and Morrie changed to comics. reading these things. So how do you approach the '63 Sweatshop books? MK: It doesn't matter what books they are. odors which you will never think they're reading mindless juvenile fantasy--Hah!. understand what I'm saying? Fundamental notes of the musical scale vibrating inside the optic nerve. I look at these colors and I see the way they mix.comicon. I recognized the most satisfactory system is based upon the law of colors. they're never the same again. certain resonances. the red in percentages. It's the color.

to affirm http://www. Do you work differently with say a Roarin' Rick Veitch or with a Sturdy Steve. Color is like an effluence of form commensurate with sight. You understand what I'm driving at? How important this is? How deep it goes? TF: It's amazing that all this goes into coloring a comic book page.Alan Moore | COMICON.comicon. it's color. every other color arises out of the eye meeting the appropriate motion. The thing about the comics is millions of these little grubby kids out there are reading them. I wouldn't stick around it's just what I'm doing with the color. He's got all these people under his thumb. Do you understand how important this is? It's peculiar to each percipient. TF: Do you have favorite characters you like working on? MK: [sighs] The characters are nothing. Are you certain that colors appear to an animal. MK: You see Affable Al is like Crowley. that nothing is self-existent.htm (3 of 6) [8/18/2006 2:07:19 PM] . It's light! It's the basic physical manifestation of life bathing all creation in its radiance! It's highly important to realize in part at least the subtle nature of this divine substance. That which is called light is actually a rate of vibration causing certain reactions upon the optic nerve. See it's the color. They're all psychological slaves to the guy. Do you understand what I'm saying? And that we term the substance of each color is neither the active nor the passive element but something which passes between them.. black. Then we shall see that every color--white. Do you understand what I'm saying here? TF: Are there other art forms you'd like to work with outside of comics? MK: No. but no one would see it. I just want to carry out the principle. Color! Color! Color!! TF: What do you think you'd do if you weren't doing comics? MK: I'd be painting. You don't work with these people. as they appear to you? No. say to a dog. It's color.. MK: Well let me tell you there aren't many other people who are working this end of the street. they're like animals. You've got to TF: Tell me what it's like working with the artists that you work with.

Do you understand? The body is symbolically divided vertically into halves--the right half being considered as light. TF: That's amazing. To those unacquainted with the true meaning of light and darkness. I see these as equal to the panels in comics. darkness/subjectivity. The realization of this analogy between sound and form leads me to declare that color is crystallized music. coincided with the greek mysteries.htm (4 of 6) [8/18/2006 2:07:19 PM] . the blue. the right half denominates spiritual and the left half material. It is therefore posterior to life. They consist of implications and intonements for which purpose special chambers were constructed in the ancient times. It all works into the comics. That which is anterior to light is darkness. Do you understand? Man does not secure nourishment from dead animal or plant organism. is that the simple color coding used in comics. in fact that's the reason I insist that all panels in these comics work to the six panel grid. the red. form and color. the left half as darkness. It's universal energy. but the transcriber's not going to. Light is the symbol of objectivity. Do you understand the importance of this? Do you understand what's going to happen in say 30 years? I mean this thing ain't going to go away friend. Light is a manifestation of life. (NO SHIT. but when he incorporates their structures into his own body he gains control over himself or his etheric double. MK: I'm imprinting Kabalic symbolism onto their retinas. The elements of architecture for example were considered as comparable to musical modes and notes for having musical counterparts. Do you understand what I'm saying? A considerable part of these mysteries have TF: They very much enjoy your work. What my discovery was. When you combine these elements. TF: I don't think there's anything else I can add to that! [laughing] What's it like to work at the Sweatshop? MK: Life is symbolism. Do you understand what I'm saying? TF: I do. I've spoken with Marie Severin and she's never http://www. I THINK THIS GUY'S TRIPPING!!!) MK: You see there's a magnificent concept called the greek mysteries that defines the relationship between music. the percentages of the Moore | COMICON. it's likened to a musical chord which is harmonic only when it has fully satisfied the mathematical requirements of harmonic intervals.

What advice would you give to someone who would want to enter the field of color? MK: Study the secret teachings.htm (5 of 6) [8/18/2006 2:07:19 PM] . The myth of Ishtar symbolizes the descent of the human spirit through the seven worlds or spheres of the sacred planets until finally. You told me you'd be serious about this. you know? None of them are classically trained liked myself. deprived of its spiritual adornment. Don't believe what they tell you in school.[laughs] MK: You're making fun of me now.comicon. MK: Well I've tried to explain these theories to my fellow colorists but they just haven't got the heads for told me any of this. You're not referring to Kooky Kandi are you? MK: I suspect she might be the reincarnation of Isis. Don't believe science. You young people today just have no understanding of the secret life that's going on all around you. but. You're walled in by your senses. This http://www. these diseases of ignorance.Alan Moore | COMICON. The true meaning in life can be found in masonic and Rosicrucian rituals. TF: Merry Marvin you're definitely in a class by the secret doctrine... TF: I always thought Isis was a Horus. MK: You should be reading Horus a little closer my friend. TF: Sounds like a new series. I'm telling you the truth. You see? TF: You mention that divine source. TF: Any last words of advice? MK: I'd just like to say that one of the most profound doctrines of the pagan philosophers concern the universal savior god who lifted the souls of regenerated men to heaven through his own nature. And the spirit ascending again to the divine source regains its god given adornments as it passes upward through the rings of the planets! Each planet is a color. it incarnates in the physical body where the mistress of that body heaps every form of sorrow and misery upon the imprisoned consciousness-the waters of life.

" In an effort to make a single person out of Jesus.Alan Moore | COMICON. Christian writers have patched together a doctrine which must be resolved back to its original constituents if the true meaning of Christianity is to be discovered.. the truth. "I am the way. TF: Oh dear. INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore All artwork and logos (TM) and © 1998 their respective creators. Please read the COMICON. one might ascend to the heaven-sphere and be reunited with the eternal cannot track orders placed by convention attendees. the life. All rights reserved.comicon. What I'm saying is that by living the various stages of the world mystery symbolized by the 33 colors. I've run out of tape.. http://www. All orders through No man cometh onto the Father but by me. MK: What I'm describing never take place between the booth attendant and the convention concept was unquestionably the inspiration for the words attributed to guide for more information.. COMICON. I guess we'll have to end it right here..htm (6 of 6) [8/18/2006 2:07:19 PM] .

com/moore/5_interview_emperor. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII. David J. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore..Alan Moore | COMICON. What about 'em? TF: Tell me how you created USA? http://www. This is where I live. David J. EE: Comics? comics? TF: Comic books? EE: Oh--yup.. I'm here every day. See? There's muh frigadare box.this is my place.HOR. TF: I'd like to hear about your days in comics. Which reminds me. You want to come talk to Ed.htm (1 of 6) [8/18/2006 2:07:26 PM] .. Everybody around here knows Ed the Interview with Ed Evans 1963 Interview by Tom Field Tom Field: I've gone to some great pains to track you BACK TO ALAN'S MAIN PAGE Alan Moore Sorry.why don't you open that Ripple there and give me a little slug and we'll have a little talk. I'm here for you. MORTIAK.POST MERIDIEM.. TF: Where you been all these years? EE: Right here. Ed "The Emperor" Evans: Hey. but you know.comicon. bring a couple bottles.6. They come and they dump it out every couple of days. there's muh dumpster over here. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. Here I am. You want me.23.

comicon. snot-nosed nephew..Affable Al that slimy little punk. What does he do? Gives the whole goddamn place to his fucking shit-ass. No respect. I'm going to take care of you Ed. EE: Aaahhh. http://www. TF: You didn't work for him for very long.. To go through the door. no respect. Uncle Moorie used to say. the red. I don't know. I'll tell you..Ulysses Armstrong.. EE: Well. [slurp] TF: Would you like open another bottle? That one's getting kind of low..Alan Moore | COMICON. You got to put up with this kind of horseshit. yeah. I swear to fucking god.listen let me tell you.. sitting on the filing cabinet thinking he's the Pharaoh. white and LINKS EE: Which one was he? TF: The character. see I was having health problems.needed a new character so we reworked him into USA. TF: Which would be Affable Al. Gangbuster... EE: You'd go in the morning." Worked my heart out for the guy.. The flag guy. yeah. Ahh. how'd I do it? I don't know. "Ed. Understand what I'm saying? No respect. yeah..htm (2 of 6) [8/18/2006 2:07:26 PM] . That would do it.fucking shithole of a kid. He was some crimebuster in the Pulps. you got to bow. EE: Oh yeah. Why'd you retire? EE: Yeah. TF: You did comics for years. EE: Affable Shithole Al. yeah. You're talking about Affable Al? EE: swear. TF: I'm sorry. TF: So you didn't work for Affable Al for very long. you'd go in in the morning just wantin' to do your job.. The kid's got no respect.. Give me another swig of that. Uncle Moorie I love. Worked my goddamn heart out for the guy.

But you know insurance. TF: That looks fairly new. my drawing table's gone. and to smell the guy. Anyway. I need some health insurance. I got my refrigerator box here. People give you nickels and dimes. EE: Yeah. Well. "Ed. Sturdy Steve Bissette-ha! Eat those guys for breakfast! Telling you. health insurance you know? You got to go to the doctor sometimes. you know he'll look at you Jes' like a little weasel. I'm Ed the Emperor. Need some money. I got a problem. Take care of me. he's got these tiny little eyes set together. marriage. You work for somebody you get health insurance. yeah. Would you like another? It's the last one I have though. anything you want Ed. crack that sucker. yeah.comicon.htm (3 of 6) [8/18/2006 2:07:26 PM] . the weasely sonof-a-bitch.. Moorie always said he'd take care of me.. His tongue sort of darts out like tsh. TF: Was that when. you know every time it rains I go around back to the appliance store and they guy takes pity on me and gives me a new box. Moorie told me to take care of you. Once in awhile I'll say. EE: I'm not complainin'! Jesus.." Affable Al. you know I like a little snort now and then. You've moved in recently? EE: Well. TF: You kind of got out of everything then.Alan Moore | COMICON. TF: So you've totally eliminated the stress from your life? EE: Yeah. I http://www.." I come in the next morning. Anything you want. "I've been working for this fucking shithole for 35 TF: Had nothing to do with the drinking? It was all the work? EE: Yeah. My tabouret cleaned out. They gave all my books to this young snot-nosed kid Roarin' Rick Veitch--ha! The only reason they keep him around is he does a 64-page story overnight. "Hey. TF: You're working your way through that bottle.tsh. So I go in and I say. go out on the street. he says.did you get out of comics then entirely? EE: Well I got out of comics and I got out of my apartment.

comicon. the guys who run this business.. anyone you'd like me to say hello to? EE: Yeah. Honest job. Get a real job. TF: This is the last one I have.Alan Moore | COMICON." I did this. Hey. TF: Who's this guy next to you? He hasn't said a word since we sat http://www. huh? Come back. give a fist full of knuckles to Affable Al for me! TF: I'm sure he'll appreciate that.. I created the Hypernaut. Ed it's wonderful catching up with you. sit down. Come here. we didn't finish this bottle. TF: I think I'd better be going. Don't do it. Aaahhh. What we come home to. They don't believe you. no. Ha! Fucking wimp. You'll end up like me living in a dumpster out back.htm (4 of 6) [8/18/2006 2:07:26 PM] . pansy son-of-abitch. we're going to be pals here. They're created USA. I swear. fought my way all the way from Anzio to Berlin. let me get my arm around you. Kicked his ass in the big war. I'm going to go back to the Sweatshop. They think all that horseshit Affable Al puts in there is how it really happened. it's got to last.] TF: Go slow. EE: [Slurp. I come back and what happens? They give my series to Roarin' Rick. TF: What kind of advice do you have for somebody who wants to get into comics? EE: Don't do I did that. TF: Klaus Shreck? EE: Fucking Nazi I'll tell you. but watch out for that Shreck guy. Give me another hit on that wine. huh? Tell me that. They're vipers. EE: And give old Kandi Devine a little pinch too. EE: No. You and me.

I have to go back for more. I got to have this stuff. My back hurts. come on. You're not going to leave a guy high and dry now are you? TF: [laughing] Not the guy who created USA.comicon. I got to say that for Affable Al. Maybe he'll send something down to you. EE: Come on. You read those down. Empty your pockets. EE: That's right. They still send the bondles around. Think about what I did for you. Right Jazzy? John Workman: Right. Come on.htm (5 of 6) [8/18/2006 2:07:26 PM] . come on. TF: Let me talk to Affable Al. come on. EE: You got any money? TF: No.Alan Moore | COMICON. EE: You don't know him? TF: Do you know him? EE: Jazzy John Workman. Let's see what you got. Come on. You got something on you. Jazzy John here he takes care of me. EE: Hey. I mean it'd be pretty cold out here without something to put in the old trash can and set fire to. TF: Is there anything else you can add to this? EE: You got another bottle there? TF: You cleaned me now come on. Give me a buck. EE: Yeah. He brings down the comics. http://www. TF: John Workman! the letterer.

com take place between the booth attendant and the convention visitor. Please read the COMICON.. Please! TF: You've always been a hero of cannot track orders placed by convention guide for more information. EE: Hey. COMICON. EE: Come on.. All rights reserved. come back.Alan Moore | COMICON. come TF: Ed it was a pleasure to talk with you. INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore All artwork and logos (TM) and © 1998 their respective creators..comicon.. http://www. you're not going to leave me. I've got to tell you that. It's great to finally get a chance to talk to you. TF: Best of luck Ed in your retirement.htm (6 of 6) [8/18/2006 2:07:26 PM] .com/moore/5_interview_emperor. All orders through COMICON.

but what is this with him and women's sweaters? Tom Field: Tell me.Alan Moore | COMICON. Interview with John Workman 1963 Interview by Tom Field He's the unsung hero of the Sweatshop: the letterer who can letter a fully-scripted page with nary a paragraph of description to go by. and I got interested in the character of Amanda. but I always read it. and all the other guys always read it because Amanda had these rather large breasts. Being teenage boys... Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. David J. he became a taxi drive in Chicago. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII. He's Jazzy John Workman.POST MERIDIEM. So. Growing up in West Virginia had an affect on me too because my parents knew the governor and later on. the artist who hides his pens behind his cab medallion. we sort of picked up on it. and they always drew her in an interesting way with tight sweaters. how long have you been in the business? How did you get started? Jazzy John Workman: Well. David J. and when I was real young there I got interested in two things: one was comic books.htm (1 of 11) [8/18/2006 2:07:33 PM] . I got to the point where I got interested in drawing comics from Amanda. It's kind of a girls' comic book.6. I grew up in West Virginia. I was torn between http://www.HOR." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore. I would draw all these pictures of Amanda. it's kind of interesting. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore.comicon. mostly because of the old comic that Al and the crew did years ago called Meeting BACK TO ALAN'S MAIN PAGE Alan Moore Sorry.23. after he wasn't governor anymore.

Alan Moore |


two possibilities with my life: I wanted to either draw the adventures of Amanda for Affable Al or be a taxi drive. I didn't want to do it in Chicago, though, if I was going to be a taxi drive! I wanted to do it in New York, in the big time. So, in the mid-'50s I came up to New York and tried to get work as a taxi driver. I never got up the courage to go and talk to Al and the crew, though, because I didn't really think that my Amanda was quite up to what they were doing. The comics' code authority had come in by then, and Amanda just wasn't the same. They changed her quite a bit. I did do other things. I did some acting. TF: In New York? JW: Oh, yeah. I was an extra on Will Success Spoil Rock Hunter? with Jayne Mansfield. I kind of liked Jayne for the same reasons I liked Amanda. TF: A lot of similarities. A couple of them that I can think of. JW: Oh, yeah. There were two wonderful things I always remembered about both of them. TF: Of course, Jayne has a hard time keeping her head about her. JW: Yeah that's kind of sad. Poor old Jayne. TF: So, how did you come to work in the Sweatshop? And how did you make the transition from drawing to lettering? JW: Well, I finally did get a job as a taxi driver, and it was wonderful. I was going around, and I thought just to entertain the people who got into my cab I would put up some of the drawings I'd done. I had all kinds of different drawings of Amanda there, even though I'd never had the courage to go up to Al and the crew and show them any of my drawings. I thought, 'well, I can just entertain people in my cab with drawings.' One day this fellow got in and kind of looked at the drawings, but then he didn't say anything. He had a big portfolio with him and he was working away in the back of the cab while I was furiously running through the streets there trying to get him to wherever it was that he was going. I didn't know it, but it was the offices of Al and the guys. I wasn't quite used to the brake system on the cab. I had this (2 of 11) [8/18/2006 2:07:33 PM]

Alan Moore |

old '49 Hudson when I was in West Virginia, and the brakes aren't very good on it, so I had gotten used to the Hudson, though when you put the brakes on in the cab it really ground to a halt. This dog ran across the street, somewhere near Central Park, I think it was, and I put the brakes on, and this guy splashed ink all over the drawings that he had. I turned around, and I was kind of helping him to get cleaned up, and he was not very happy. He said he'd just destroyed several days worth of work because of me. I told him I wanted to help him in some way. We got to talking, and he turned out to be one of the artists who worked regularly on Amanda. I showed him my drawings, and he had already seen some of them there in the cab, so I started helping him, and it wound up after a few days of helping him I got to be really good at ruling panel borders. So, for a long time I was doing that, and I went up to deliver some stuff for him one day, and that's how I met Al and all the guys. TF: Of course, you got paid for the work you were doing? JW: Well, I felt so bad about splashing ink all over the guy's work and ruining several days worth of work that I did that for free. I mean, I was getting my pay for being a taxi drive! TF: Because the tip was definitely in danger on that one ride. JW: Oh, yes, that's true. TF: Tell me about your first impressions of the Sweatshop, meeting Affable Al, and I assume Sturdy Steve and Roarin' Rick were there. JW: Well, they were all there and kind of running in and out and doing all kinds of things. The thing I remember most about it was Al laughing at my shirt. TF: Laughing at your shirt? JW: Yeah, I still don't know why. It was a nice plaid shirt--two shades of green with some white in it. Anyway, he thought my shirt was hilarious. I never asked him about that, really, but he just thought it was really funny. TF: So, how did you get your first work with him? (3 of 11) [8/18/2006 2:07:33 PM]

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JW: I kept delivering packages and ruling panel boarders, and one day I tripped and spilled white-out all over one of the pages. It was kind of the opposite of the ink thing in the taxi cab. No one had seen me do this, and I felt kind of like a fool because I put my shoes on wrong that morning. I was up late, double shifts on the taxi cab, and that was the reason that I tripped and the white-out went all over this page, and I didn't have to do too much redrawing, but I thought I would fix it up. I kind of re-inked parts of it, but the lettering was really gone. I had splashed it a lot on the balloons, so I relettered them. I found out that I was half way decent at it. Just as I was finishing up, I heard this noise in the corner and it was Sturdy Steve; he kind of passed out from the night before I think. He'd been up real late and all... TF: Working hard. JW: Yeah. He looked over, and he'd seen me doing all of this. It was kind of like the scene with Clark Gable in Gone With the Wind where Scarlet and her friend are having this big fight, and he's off to the side watching it all. Anyway, he said. "You ought to not only rule panel boarders, but you should also do some lettering, too!" Thanks to him, I got started on it. TF: That's amazing. So you started working on the books right away, the Hypernaut, Mystery Incorporated, all the titles? JW: Well, that was a few years before them. They're actually relatively new. TF: That was before they came out back when they were still doing the monster books? JW: This was just after the Comics Code Authority came in. TF: Which, of course, Affable Al had a lot to do with. JW: Well, yeah, was almost sad to see--especially Amanda. I liked her a lot better before the Comics Code. They had the monster books by then, and I was always trying to do some drawings for those, too, but all the monsters kind of looked like they'd look real good if they were wearing tight sweaters. Anyway, I never really drew any of those, except sometimes I would help people when they were late on a deadline, and maybe I'd do a little inking. (4 of 11) [8/18/2006 2:07:33 PM]

We thought about Fabian and a few other guys. She really filled out the sweaters by then. but at the last minute we almost worked out a deal with Fabian.htm (5 of 11) [8/18/2006 2:07:33 PM] . It was kind of interesting. TF: All things being equal. TF: You were there when the whole super-hero line sort of sprung up.comicon. He didn't feel that monsters were current things. and the big boss of the place would come in occasionally and tell us that we should get in on current things. too. He and his two brothers were on the way to meet http://www. it was happening all around TF: Or do a little sweater. I think the reason it happened was everyone was kind of bored. He tried to talk us into doing a Pat Boone comic book. JW: It's possible. JW: Oh. one day she may be back. and nothing was going on. I hated to because it's kind of fun running into different people. JW: Yeah. I hadn't even thought of that. if they needed to draw sweaters. He was doing some things that we thought were kind of on the juvenile delinquent side so we dropped that idea. you know.Alan Moore | COMICON. That would have been a connection to Annette Funicello and those sweaters. especially. JW: Yeah. TF: Of course. you could afford to give up the taxi job then. TF: It's a shame you couldn't have gotten Frankie Avalon. yes. You were part of that. but you're right. JW: Yeah. I ran into this young guy from Massachusetts one day. That would have been great. JW: Well. yeah. TF: So you were there as the whole super-hero line sprung up. I would have liked to have met her. but DC already had the rights to TF: At this point you were doing lettering constantly? JW: Oh.

Alan Moore |

their dad at the Plaza, so I took them there. They talked kind of funny, and I didn't realize that one day the older of the three would be president. So, I can say I've carted presidents around in my cab. TF: That's amazing. Didn't have any company with them, did they? JW: No, just those three. Like I said, they were on their way to the Plaza. Marilyn Monroe was staying at the Plaza, now that I think about it. TF: I was thinking at least two out of those three brothers share a certain interest with you. JW: I've got to admit I always liked Marilyn. She looked great in sweaters, not as good as Jayne Mansfield, but she was right up there. One of these days...well it's a little late now. I was sad about Marilyn going last year, but at least Jayne Mansfield is still around. TF: So, talk about your work. How do you approach the work that you do? You do a tremendous amount of pages. JW: I do about 20 hours a day, which leaves me about four hours to take care of my sleeping and my personal business and all. TF: That definitely rules out the taxi business. JW: Yeah. Like I said, I hated to see it go, but it's sort of fun to sit around here for 20 hours a day and listen to the radio. It keeps me up on all the current music. I keep hearing about these guys from England, but I don't know about them. TF: They'll never replace the Beach Boys. JW: Probably not. TF: Tell me how you work. You must get full scripts from Affable Al. JW: Oh no, no. We work in different ways than most other people. I did one job for DC years ago, and I didn't quite understand their method of working. They give you a full, complete script just like a play or a movie script. I'd never really read it like that before, and I handed it in and they got real mad because I didn't understand that you're only (6 of 11) [8/18/2006 2:07:33 PM]

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supposed to put in a dialogue. Where it said, like, "Superman leaps across the building," I would letter in at the top, "Superman leaps across the building." Anyway, I lettered everything that they gave you. It took forever, and I really had to squeeze it. I thought I did a pretty good job, but they were very mad, so that's the only job I did for them. But Affable Al gives me the pages, and they show up, and there's some rough notes about who's doing what just so I can figure stuff out, and then I just sort of make it up as I go along. TF: He doesn't give you the actual dialogue and the captions, then? JW: No, well, sometimes he'll have something like someone says, "Ow" or something like that. I decide, 'should I say, "Ow," or should I say, "Avast ye varlets this hurts," or something like that. TF: There's a lot of flexibility for you then. JW: Yeah, it's kind of fun. Every now and then my next door neighbor, Charlotte's her name, she comes in and she helps me out on some of the stuff. She looks good in sweaters, too. TF: Let me understand this...when you get a script from Affable Al, it's not a script, it doesn't have all the dialogue, doesn't have all the captions, it has notes for you to go by. JW: That's right. TF: And you sort of fill it in from there. JW: Yeah Al's real good about that. TF: That's almost like writing the stories. JW: Sort of, yeah. I guess I hadn't really thought much about it before. I mean, Al's got everything down. He types up sort of a resume--I think it's maybe a couple of sentences--and then it goes off to Steve or Rick, and they do the story, and they put in their notes too, and then it comes to me, and I whip it on out there. Sometimes I do a couple of books a day if there's a real crunch, if they've fallen behind for one reason or another. TF: Do you ever consider writing stories of your own? (7 of 11) [8/18/2006 2:07:33 PM]

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JW: I don't know. I don't really...everything that I write about tends to get around to sweaters sooner or later and I think that would be dull for most people after awhile. TF: Would you ever consider proposing to Affable Al that you bring back Amanda and maybe do it a little differently? JW: Well, I kind of wonder about how the Comics Code Authority would react to Amanda. I took pride at one time...I was in the offices, and everyday at the end of the day they gather all the work that they've done and make copies of it and they have silverprints, they're called, made downstairs at this print shop, and they send them over to the Comics Code Authority where the people there spend all day, hours every day, looking over comic books and trying to find perversions and such, and I thought, well, maybe I should send them something just to see what the reaction would be to Amanda. I took some of my drawings, and I made a little story out of it. It was about Amanda and how she'd met her friend Betty and they went out to buy some sweaters. You should have seen the reaction. I couldn't quite understand it, but the code authority people sent police over the next day. Affable Al had to send them away and tell them that it was all a joke. TF: He's not usually understanding about those things. JW: Well, he kind of kept the pages for himself. I never did get them back. That always bothered me, but he was nice enough about it. TF: What's it like working in the Sweatshop? What's it like working with the guys? JW: Oh, it's kind of strange. Like I said, I don't usually get in there. I just go in after working for maybe two or three days and getting the stuff all done, and I'd go in and I'd drop it off and then they'd hand me other thing. I don't really see a lot of them. Every now and then I'll bring my lunch in with me, and we'll sit and talk while they work, and sometimes I'll rule some creepy panel borders for them. TF: Still making up for those spillages? JW: Yeah, yeah. I still feel a little bad about that. Al, the other Al, the (8 of 11) [8/18/2006 2:07:33 PM]

Sometimes the tips were real good. Every time I show samples to anyone. You should maybe be able to spend 15 or so. TF: Well I'm sure Affable Al appreciates your work.comicon. You'd think they'd be worth a little more. You don't just letter. they always tell me that I should work more and that I'm really great on panel boarders.Alan Moore | COMICON. He kind TF: You would think that Al of course would pay you more because you embellish the letters. JW: I hope so. too. they're up to fifty cents a page now for lettering. they really love sweater stories.. before he passed out in the corner there he told me that he was going to get it up to fifty-five cents. http://www. JW: Oh. I know. JW: I never did quite as well as I was doing when I was driving that taxi cab. He keeps promising that there's going to be a raise. I'm sure you've done very well over the years. but I don't know. and he tried to talk me into getting into another line of work. I always thought that with comics you shouldn't be able to sit down and read it for five minutes. TF: This must be a very lucrative business for you. he doesn't work there anymore. JW: Well. and I think the inking rate if four dollars. There are a lot of people like in the Army or the Navy that read them. I try to bring a lot of words to it so that people think they're really getting their ten cents fellow who used to draw Amanda.he got real religious one time. and at the last Christmas party. I was thinking about maybe getting into inking. I do bring it up to the point where there's a lot to read. TF: But the page rates are very good.. I think what we do is interesting to a whole lot of people--kids. too. It isn't only kids that read our stuff. JW: Well. I don't see it that way.htm (9 of 11) [8/18/2006 2:07:33 PM] . and he decided that what he was doing was the work of the devil. TF: I bet they'd appreciate Amanda. you embellish what he gives you.

what I've done of course is concentrated mostly on lettering and ruling panel boarders and I think that's the best way to go-specialization.comicon. and he's real visionary. Kubert comes over and asks me if I want to teach at this school that he's thinking of opening. I. I don't know that he will ever really get it off the ground. They even had a correspondence course that they used to sell through the comics where you could learn to draw. but I could see myself as a really good teacher.. it could be dangerous too. You should learn to do one thing and do it real well. What Joe sees is maybe a school for individual people. So that's a possibility. He's always looking for what's going to happen next. or 10 years? JW: Well. He told me that he likes to get in mentions of current things because that it'll make the books more really with it. if you walked up to Al and spilled something on He wondered if I might want to do something about teaching people how to rule panel TF: Wow. He and Norman Maurer had been talking about it for years. TF: What's it like working with Affable Al? JW: He's just a great guy. TF: What advice would you have for someone that wanted to get into comics. every now and then when I'm at some sort of little party or something like that where there are a lot of people who work in the industry. TF: Would you advise anyone to attempt to spill ink or white-out on someone's pages as an approach? JW: Well. TF: What sort of plans do you have for your future? What do you see yourself doing five years from now. teach different things.. that wanted to say work at the Sweatshop like you? JW: Well. http://www.htm (10 of 11) [8/18/2006 2:07:33 PM] . I mean.Alan Moore | COMICON. and sometimes when you try to do something and make it look accidental it looks real hokey and all and people know what you're trying to do. That's a heck of a leap! JW: Yeah. Every now and then I'd toss in something about the big guys like the Beach Boys or Merv Griffen or Perry Como or somebody like that.those were just pure accidents.

com cannot track orders placed by convention attendees. All orders through COMICON. COMICON.Alan Moore | COMICON. every now and then I drive by Macy's and I look in the window and I get to thinking that there must be some sort of advertising that they take place between the booth attendant and the convention visitor. http://www. or maybe I could draw some sweaters for them. JW: Well. INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore All artwork and logos (TM) and © 1998 their respective creators. All rights reserved. we'll have to guide for more information.comicon.htm (11 of 11) [8/18/2006 2:07:33 PM] . Please read the TF: Because if the panel boarders didn't work out there'd always be the sweaters. But.

Tom Field: Dashin' Dave. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII.except the Sweatshop is the last place you'll ever find him.. for instance--but he's nowhere to be We caught up with the Dashing one in Las Vegas.Alan Moore | COMICON. where he as enjoying one of his regular rejuvenating junkets. Dashin' Dave Gibbons. we're talking about--illustrious inker extraordinaire of the Sweatshop. Dashin' Dave Gibbons: Sure.POST MERIDIEM.HOR. David J. trying to give the fans a feel of what you people do there. TF: I'm catching up with the different people that work in the Sweatshop.. better I don't tell you the whole story of how I came to work for Al." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore. Good morning to you. MORTIAK.23. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. and on the Fury. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore. Let's just say we go back a long way. David BACK TO ALAN'S MAIN PAGE Alan Moore Sorry.htm (1 of 16) [8/18/2006 2:07:37 PM] . Can you tell me how you got started in comics and how you came to work for Affable Al? DG: Interview with Dave Gibbons 1963 Interview by Tom Field His influence is everywhere--in Mystery Inc.6. TF: You worked back in the '40s? http://www.

No problem. it was before the war. In fact you're the first person I've ever met who does read them.comicon. it was work. We used to sit there. I don't read them. It was a bit like a clothing factory. He'd just put these pages in front of me and I'd ink http://www. DG: How it got started? Well..htm (2 of 16) [8/18/2006 2:07:37 PM] . TF: So you've always been interested in comics? DG: I've been interested in making money from comics. TF: You didn't see much of his work or what he was doing? DG: Might have. the creator of The Spirit? DG: The creator of The Spirit? He created that.well let's see.. There were lots of guys I'd meet from the neighborhoods in New York who were looking for something better to do than work on the dock or work in the garment factory. DG: Oh! Well.. Eisner/Iger yeah that was his partner.Alan Moore | COMICON. But it was okay. He was a hard man to work for. but he used to pay on time. and I used to sit. So. I don't care too much for the people in the field. I don't know what they do now. it was back in about 19. I used to work in Eisner's studio.. you know these desks and. we were just kids at the time.I seem to remember it was the third seat from the back in the fourth row across. TF: This is the Eisner/Iger studio? DG: Yeah. but it's okay. yes. That's about as much as I can tell you about Will Eisner. did he? TF: Oh yes. tell me how you got LINKS DG: Yeah I was there in the '40s. I've been inking comics since I was 14 years old. where they were going to be printed. and we'd just get these pages pencilled for the books. and we'd just ink them in. if they were going to be printed. Guys like Will Eisner and Bob Kane.. you know. It's a thing I got on to fairly early. TF: There are a lot of people out there. and it's a nice way to make money. We didn't know what they were. and he was just this guy in front bent over a drawingboard. TF: What was it like working with Will Eisner. you know he used to sit in the front.

They're a big publisher of this I asked to be moved because this stuff had me sneezing all the time and cleaning that stuff off your drawing is just extra work you don't get paid for. The short one. Well.. DG: Tall guy.. All I knew is I had to go around this stuff and ink it and that was all I cared about. DG: Short guy. TF: Nope the other one. Oh yeah I know DC. TF: So. Fine. I may have. the guy who smoked those disgusting cigars. See. big tall guy. it could have been anybody's work. Could've been pencilled by anyone. You know--it just came in one side and went out the other. we got an understanding.. I don't think Al would want me to speak about that. Kirby. TF: Created Captain America and the Young Allies and worked on The Sandman for DC.htm (3 of 16) [8/18/2006 2:07:38 PM] . aren't they? Yeah. but like I say. what do you want to know this stuff for anyway? http://www. DG: Yeah..he could have been that short guy.DC. TF: How did you happen to come to work for Affable Al? DG: Well.. them.Alan Moore | COMICON.. but the cigars--I couldn't stand them. I mean.. TF: I bet that's the one. DG: The Sandman. Cole? DG: Kirby. I mean he may have been okay as a guy.. TF: Did you know Kirby. you didn't see much of their work? DG: Well. Kirby? TF: Jack Kirby. In fact.comicon. some of the other people that worked there.

Teachers and. and are some of them kind of in the legal profession do you suspect? You know. twenty-five. Comics aren't just for kids anymore. then. that he owes me some. you know? TF: You knew him. DG: Well. but adults as well. There are people who want to do comics like you. D. Yeah you could say I knew Moorie pretty well. Your readers are interested in finding out more about you. They want to know more about it. the reasons I'm working for Al don't have much to do with comics. and I feel.comicon.Alan Moore | COMICON.A. and I don't know that he'd want me talking about this. jobs for Moorie. http://www. Say. thirty. We've had various dealings and well. TF: Well. There are people who take a very scholarly approach to this work. DG: Men and women? TF: More men than women.. all I'm prepared to say is that I work for Al. thirty-five. He sort of feels. DG: Who are they for? TF: There are adults out there.htm (4 of 16) [8/18/2006 2:07:38 PM] . Well. DG: Like how old? TF: Twenty. Well. yes. and he pays me well 'cos I do good work and the rest is between me and Al. isn't it? This interview? TF: Oh. DG: Right. Let's just say Al's got some expensive tastes. we go back a few years. you know. I've done Al a few favors over the years. They want to know more about how you came to work and what sort of things inspire you. there are a lot of fans out there.. DG: More men than women. not just kids. judges? TF: I think you'll find them in all professions. Like I said. er. cops. when he was working for his uncle Moorie? DG: Oh.'s. I used to do a few. this is just for young kids who like comics.

. What did you go on to do? DG: Tell the truth.. I can't remember what I was inking last week. TF: Yes very elemental. TF: You've worked on that issue of The Human Torch. though.htm (5 of 16) [8/18/2006 2:07:38 PM] . I know this is hard to believe but. Talk about some of the work that you've done then. DG: It is? Well. but I remember these guys had to get this comic book out over a weekend. DG: The Submariner? Yeah. is it? TF: It's very well known among fans. water fights fire... they had to get this book out real quick. this is the thing you have to understand about And there was another character. I don't want to kind of spoil anything for you or people out there like you.. there was this book that had to be got out 'cos somebody thought that it would be a good idea if fire could fight water. TF: That would be the Submariner. I mean. it's a famous issue. We didn't believe that ink could dry that fast! So it's famous. of course. DG: TF: I see. yeah. But let me see..I don't think it was Eisner and Iger. some guys like that. I remember there was. TF: Oh the Human Torch? DG: Oh Human Torch. I didn't realize you worked on http://www. it was famous for us because we did it so quick. There was this character.Alan Moore | COMICON. that's the way it usually happens. This stuff isn't thought about. We were in some guy's apartment and we just sat there until we got the damn thing done. huh? Anyway. This stuff happens overnight. but this stuff happens really quick. yeah. I guess. You worked for Eisner and Iger during the war. TF: That would be for Timely with Bill Everett and Carl Burgos. We did this one weekend. DG: Well. that's right--he'd be wet wouldn't he? One guy was on fire and the other was wet. he had wings on his feet. he was kind of on fire.

and in the Timely books. That was the problem. did he? TF: The wet one. I remember Everett.comicon. DG: The wet one. How does that feel? DG: You trying to make me feel older than I am. of course. or a detective/romance comic. well.. They used to. Nowadays. you know. I seem to remember he used to put lots of lines in. TF: You were part of history. I mean. They couldn't do just one thing. I remember it because I couldn't believe you could write stories http://www. I remember Cowgirl Love was one that I worked's awhile ago and lots of things have happened along the way. If you can draw a face in six lines. no disrespect intended. What did you go on to do then? DG: Well you know. kid? TF: No. and that's the way to draw. TF: After the war.well they couldn't just have a romance comic or a cowboy So you worked with Bill Everett. It's just one that sticks in my mind because of those really stupid characters.. Most pencil guys. he created the wet guy. but I remember there was a big thing for romance comics.. Eisner and Iger split up. you can be drawing the next face by the time you're adding all the whiskers and all the little bits of shadow and stuff that nobody looks at anyway. I'd just ignore most of ' that. DG: Well I did. they probably use six lines to draw a face.. I don't know. fire and water's how you make coffee. they weren't publishing as many. not comic books. What was Bill Everett like? DG: Bill Everett? TF: He's the one who created the Submariner. Maybe they didn't. I do remember him because he cost me money inking all those lines. I don't know how people used to make sense of it. they used to have a romance/cowboy comic all mixed together. that Bill. DG: Oh.Alan Moore | COMICON.htm (6 of 16) [8/18/2006 2:07:38 PM] .ahem.

DG: Yeah. It was raccoons with beams coming from their eyes. so the only thing that tipped you off that it was the wild west was the title. so just change the hats and draw some cattle instead of phone boxes. It was about these animals that had been mutated by radiation.. There were people that really have followed your work over the years. I think I was on about page 15 of this book and I suddenly thought "hey. you left quite an impression.Alan Moore | COMICON. Give them cowboy hats on overlay. but it was the same stuff. and wolverines with wings on their backs. These were kind of like comical backwoodsmen. don't draw all this crap about cowgirls in love. Well. TF: You went on from the '50s to come to work for Affable Al. or if they were in love with the cowboys. We used to do a lot of this stuff with big monsters and alien invasions and stuff like that. It was strange stuff they used to do in those days. One day the monsters just stopped coming. only just enough to know what I was supposed to be drawing and did just draw it. DG: Yeah? TF: This is true. But the guy who used to pencil this stuff for me. DG: Well all I know is suddenly the kind of pages I got changed." Frontier Funnies was another one. I guess you got to have a hobby. If you spend your life thinking about stuff like that you could go crazy. TF: Well. "Just draw the faces on the page and do the costumes and backgrounds on a see-thru overlay. he couldn't draw horses. Of course everybody was scared of the A-bomb back in the '50s.htm (7 of 16) [8/18/2006 2:07:38 PM] . I said to them. or if they were in love with the horses. There was another one called Baffling Romance and this was about detectives in love.. But you know I didn't read this stuff. I remember there was another one I worked on called Atomic Antics. It's the same story every time. It was a strange kind of thing because I could never work out whether it was the cowgirls in love with each other. I haven't http://www. It was weird stuff. and you were there when all these great characters were Was I? TF: You were there when Mystery Incorporated was born. DG: Well.

com/moore/7_interview_dashing. I've been on that from the beginning. But with this guy once you done that. TF: You work right there in the Sweatshop? http://www. so I started to have smoke coming out of them and then you wouldn't have to see so many craters. Yeah. I can remember there was. have I? TF: I don't think you've missed an issue. Al's always been one to save a buck. you still got to draw all these craters.. and I thought. line for the mouth. yeah. dot for the eyes. Most characters you can get away you know dot. DG: Oh. they seem to like that character. the four characters. I don't think you've missed an issue. slash for the nose.htm (8 of 16) [8/18/2006 2:07:38 PM] .Alan Moore | COMICON. and he was kind of you know running it again.. TF: Were you a part of the whole creation of the characters? You've worked on Mystery Incorporated since the beginning. I know the guy. You weren't part of the creation? DG: Well. they thought this was some kind of creative breakthrough. I worked on that for awhile. I don't get paid to be creative. the guys seemed to like that. It's like drawing another three or four sets of features on his head. it's all the same stuff to me. That comic book revolutionized comic books. But. no. TF: Big guy with a world for a head. I get paid to ink this stuff. It started the whole Sweatshop explosion. well. you know.cause that Planet character. But that's why I did it. I thought maybe he found some stuff from the '40s that had never been inked seen any monsters today. As long as there aren't too many lines in it I'll ink anything.comicon.. DG: The Planet. or maybe he got somebody to trace off some of the old stuff.. Then I figured." I suddenly realized that I'd been inking all these characters with kind of skin-tight costumes just like in the '40s. To save time. You know he's a pain to draw. this was new stuff-big Al reckoned this was the thing of the future. DG: Which one's that? TF: Mystery Incorporated with the Planet. Makes no difference-you want monsters or super-heroes. Well. I guess I inked it in. if you see one crater you've seen them all.

comicon. I think Veitch. believe me. They love their work. Al's kind of tight on things and he finds it very difficult to get professional artists to work for him. I don't like to tell tales out of school but they're kind of beatnik types. Sometimes the pencil has gone through to the other side of the paper.htm (9 of 16) [8/18/2006 2:07:38 PM] . TF: Well. TF: Well what's it like working with them? I mean. to draw this stuff you've got to have sharp pencils and knives and razor blades to sharpen them with lying around. But like I say. You know. I guess there just must be lots of people out there who got the same kinds of brains as Bissette and Veitch. But with these guys. Again. All I know is Al sends this stuff to me to get it to a printable standard.Alan Moore | COMICON. I'd want danger money to work in there.well let's put it like this if I was sitting in the Sweatshop I wouldn't want Veitch to be sitting in back of me. they're very well received by comics fans. and I think Al gave them some of his old clothes to start with. I don' no. I mean. but really their stuff needs lots of work. and they really didn't want any money as such. TF: Roarin' Rick and Sturdy Steve. I guess I shouldn't tell tales. DG: Really? Is that their names? Well.. you get to work over their drawings. DG: I guess that says more about comics fans' brains than it does about Veitch and Bissette. I think these guys hold it in their fists like a dagger. Veitch and Bissette are kind of strange people. and you know how Al is with money. You know these guys who work there. I think they just wanted food.. and they're the mainstays. I think at least Al should show them how to do that. I don't work in the Sweatshop. I don't want to take the credit for this stuff. the books were going nowhere. DG: Oh yeah? You ask me they're real lucky to be working anywhere. And see. this Veitch and this Bissette guy you know. I don't think they even know how to hold a pencil.. the artistic foundation of the whole company. I mean. personal problems. you're supposed to hold it between your fingers. DG: Hell. He's a very unpredictable kind of guy you know. See I've been doing this stuff for years and sometimes I don't even really have to look at what they pencil. This stuff is all they know how to do.

comicon. Although to start Moore | COMICON. So long as I fill the pages up and there are a few recognizable faces. DG: The Fury. he seems quite happy. it's not so much a challenge. It's quicker. But at least it's quick. The first thing I have to do with a page of their work is to use an eraser and try to get some of the lines down to a medium gray rather than a jet black. you've worked on a number of different ones. just to bring this stuff up to a professional standard. what's he called? The Fury? Is it the Fury? TF: The Fury. DG: Well there's this character called. TF: What would you say your favorite characters are to work on? DG: Favorite characters? TF: Yes.htm (10 of 16) [8/18/2006 2:07:38 PM] . some thick and thin lines and some areas of black. TF: So the Fury story's your favorite ones to read as well? I mean that's the book that brought in the whole personal trauma and the http://www. It's more like doing kind of carpentry or masonry work or some other kind of hard labor. That's the thing you can do with their work. TF: So. I mean. But really it's so bad. I just draw what I think should be there and I don't think that Al cares that much. I just get the little dropper on the bottle of ink and just drop the ink in the lines and it'll just flow along and ink itself. I'll just do the thing solid black because by the time it's printed it may as well be solid black. you have to white it out. So really this is what Al pays me for. there are times these guys lean on the pencils so hard. Of course. Well his costume's good because it's nearly solid black. it had a lot of cross-hatching in it and stuff but who wants to do all that? Who looks at that? So I started to black it in and leave a few little highlights and then make the highlights smaller and next issue there's going to be no highlights at You can't erase stuff that heavy. this is a real challenge for you? DG: Well. I mean what Al pays to get this stuff printed who's going to see all that hatching anyway? May as well just black it in. sometimes it's hard to tell the pages from what they come wrapped in.

I don't see the books at all. hit the casinos.htm (11 of 16) [8/18/2006 2:07:38 PM] . go out to dinner. TF: But Al must send them to you? DG: Send me comic books? Well.Alan Moore | COMICON.comicon. spend the night with some girl. They'll think I'm some kind of mental defective or you know. TF: So you don't see the books until they really come out then? That's when you get a chance to read the dilemma between the Fury and his secret identity and his past life. TF: Where's your home studio? DG: What? TF: Do you have a studio. DG: See the books when they come out? TF: When they're published. Although when I get the pages I like doing the real easy ones first because I like to get the brush warmed up. I just ink four. and there's lots of cute chicks and. and there's lots of my friends here in Las Vegas. I have to pass the time somehow! Sometimes when I get tired of Vegas I go to Atlantic City for a few months. Al would have to pay the postage. hey. this is the way I live. DG: I think I must have missed that issue. a place where you work regularly? http://www. maybe six pages in the morning. I mean I'm not going to walk into a store and buy this stuff. DG: No. and second Al knows what I would do with comic books. TF: You don't work in the Sweatshop. So I just shuffle the pages around and I never look at them in order. first. go out and play some golf. or I may be living with some broad somewhere. you're on vacation now is that it? DG: Vacation? No. He'd be better just to send me toilet paper. and I've caught up with you in Las Vegas here in a hotel. five. come back do another four or five pages. Las Vegas is a great place.

TF: This is very interesting. http://www. I don't drink. Like you. it's a living. Those are my interests. TF: Do you have any interests outside of your art that you pursue? DG: Hey. We're documenting history here. art's not an interest. play some golf. no. DG: Wouldn't you rather document the women instead? Know what I mean? TF: We can get to the women later. A gross of nibs. TF: So you just travel around? DG: Yeah sure. I like to hang out with the guys. that's all you need. like any other normal guy. play some blackjack. You don't need a studio. a gallon of white-out. and drink. DG: Say do you want me to call down for a couple of girls? I mean we could have more fun than this. DG: You don't drink? TF: No. spend some time with the ladies.Alan Moore | COMICON. TF: I'm sorry.comicon. My interests are what I just told you. DG: And do you drink when you read these comic books? TF: Oh no. DG: You mean you're sober at this moment? TF: At this moment yes. There are a lot of people out there who are very interested in what you've done in your life.htm (12 of 16) [8/18/2006 2:07:38 PM] . no. shoot some pool. You can ink this stuff resting on the back of the room service menu you DG: I work anywhere I am. a dozen #8 a quart of ink. And my equipment fits in hand luggage. Coffee or Coke.

htm (13 of 16) [8/18/2006 2:07:38 PM] . like a printer prints newspapers. yeah. Hef told me he had always admired my work. They set me up in a studio at the Playboy mansion. you know Hef's place. I mean the people whose work you there are people whose bankroll I'd enjoy.comicon. TF: No. They said they needed some good quality stuff done quick on this Fannie Annie stuff and they called me in. is now doing some work for this new magazine Playboy. He does Fannie Annie.Alan Moore | COMICON. But can we make it sooner rather than later? Heh. but he doesn't read all his newspapers. it doesn't mean I read them. DG: Oh Playboy! Kurtzman. I've got my own suite there. he's the guy yeah. He publishes these Playboy magazines. TF: Who do you admire in the comic book field? DG: Who do I admire in the comic book business? The rich DG: Okay. I've done some of that stuff you know. TF: Annie Fannie. DG: Well. TF: Let's talk some more about your work and about the people that you've known in the business. Oh sure. TF: At the Playboy mansion? You've been there? DG: Yeah. You know Hef's a cartoonist in his heart. This is what I do for a living. DG: Yeah Fannie Annie that's right. Let's just get this straight. but he loves cartoons. TF: Do you know Harvey Kurtzman? DG: Kurtzman? TF: He did Mad. I draw these things. This was kind of news to me but I http://www. DG: Okay. You know.

So. and they're very serious about them. sell and trade comic books and they meet some of the creators. And slow--it all has to be just so. you wasn't going to argue with him. DG: I guess they are. It'd be like going to like a pig farmer's convention or a automobile's spares convention or something like that. TF: They take your work very seriously. But. Isn't it kind of distracting? DG: Sure. You must brush elbows with some great people there-Kurtzman. DG: Well it's not elbows I brush when I'm at the Playboy mansion.. TF: Wow. If it was in Las Vegas. TF: It must be a tough place to get work done. These guys are sick. I don't think I'd like that. No I wouldn't go there. I'm up there four.Alan Moore | COMICON. but not me. DG: No. You know.htm (14 of 16) [8/18/2006 2:07:38 PM] . I guess all these guys like you go. http://www. I might look what am I supposed to do? I'm a red-blooded guy you know? Who's wants to sit in a room with comic books? Well. I've never been to one of those. or if they were going to pay for a room or something like that I guess I could. TF: You've never gone to any comic book conventions then? DG: Conventions? TF: Where fans get together and they buy.comicon.. Then I get called in to get it done on time. Hef can't complain. Elder. if he gives me a studio there.. do they? TF: Well yes there are a lot of people that collect the comic books. five times a year for a week or two.. I don't know. hey. You know Hef goes into a huddle with me and these cartoon guys. I'm finding out that there are people who would do that. I can take about 15 minutes of it and then I have to go and do something else.

Well I guess I'll have to talk to Al about this. Umm. What happens after that.htm (15 of 16) [8/18/2006 2:07:38 PM] . get off on it or what? Sounds kinda abnormal. Of course I understand that Roarin' Rick and Sturdy Steve have had some trouble getting their artwork back from Affable Al. That's the immediate future. I'm going to pick up that phone and have some friends of mine go see DG: Sell it? You mean people save their artwork? TF: Certainly. INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore http://www. DG: Collect the original artwork? They pay money for it? TF: DG: Listen I take my work seriously. You know. this is what I have to do to live. That's taking it serious. DG: Yeah.Alan Moore | COMICON. TF: What kind of advice would you have for someone that would like to follow in your footsteps? DG: Don't trust that bastard Al. Maybe there'll be a new editor up there. they collect the comics and sometimes they even collect the original artwork. Now. would you get the hell out of here.. TF: Oh. but you and Al go back so far. certainly. TF: What do you see yourself doing in the future? Are you going to stay with comic books? Would you like to create your own characters or write your own stories? DG: Right after you've left.comicon.. I'm sure you save yours and sell it. I don't know. What do these guys do? Do they y'know. Real soon.

Please read the COMICON.htm (16 of 16) [8/18/2006 2:07:38 PM] .com guide for more All artwork and logos (TM) and © 1998 their respective cannot track orders placed by convention attendees. All rights reserved. All orders through COMICON.Alan Moore | take place between the booth attendant and the convention visitor. COMICON.comicon.

HOR. They were kind of novelty sketches. because I didn't have http://www. I thought that was pretty good money. but it's like I was pretty lucky. TF: I've seen a lot of people down there on 42nd Street selling pencils as well.6. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q "MAII.POST MERIDIEM.' and people would pay two bucks a piece for these sketches. I guess. Tom Field: Jaunty John tell me how you came to work for the Sweatshop.htm (1 of 9) [8/18/2006 2:07:48 PM] .comicon. David J. Jaunty John Totleben: Before I had come to work for the BACK TO ALAN'S MAIN PAGE Alan Moore Sorry. And what is that uncanny sixth sense of his? Call him the Inker Without Fear." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore.Alan Moore | COMICON. these kind we used to call 'radar sight sketches. JT: Interview with John Totleben 1963 Interview by Tom Field Call him the Hero of the Handicapped. David J. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. John Totleben is legally blind--has never seen a comic book page or read the back of a pay check he's Yet. MORTIAK. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore. I used to do like these sketches on 42nd Street. he's one of the Sweatshop's ace inkers and a crackerjack pencil salesman to boot.

and it's just kind of like going along http://www. and along comes Affable Al. 'well.htm (2 of 9) [8/18/2006 2:07:48 PM] . TF: You don't have a traditional sight. I don't have any influences." I thought. that sounds interesting. Really. and he kind of actually digs ruts right into the paper when he pencils. see. I can pay you twice as much if you come and work in the Sweatshop just inking some of my pencillers. JT: I don't even understand it. TF: It's almost like a sixth sense. TF: So you've never seen comic books? JT: Yeah. Got to meet all the guys and hang out. all you got to do is stick the pen in the rut. then? You've got more of a radar sense? JT: Something like that.comicon.Alan Moore | COMICON. because I guess I never really saw anything to be influenced by. that was pretty easy because everybody seems to know that Steve has a pretty heavy hand. not really. Actually. or maybe more of a mystical thing even like a Zen or cosmic awareness. "Hey. it was shortly after that I ended up working in the Sweatshop. and it was a pretty good time. I guess you could LINKS to do that since I had this weird ability to sort of draw things without actually seeing them. but I don't really remember. you know? I was sitting there doing these sketches one I just kind of did it by intuition. TF: What's the first strip you worked on in the Sweatshop? JT: The first strip I worked on was Unbelievable N-Man with Sturdy Steve. TF: What kind of background do you have in art? Are comics something that you've enjoyed? JT: Actually.' Basically. At least since I was an infant I've always been like this. and he just kind of took a look at some of the drawings that I was doing and said. TF: It's something you were born with? JT: Could have been.

so that you can't even feel the crease of the pencil on the and that kind of solved the problem. Spot. TF: They tell me that you have something of an unusual assistant. TF: That must be hard. but that's something that's kind of a little thing that we play around with really--special http://www. I don't automatically. he spots black pretty good. TF: What's it like working with Roarin' Rick? JT: Rick's a great guy. JT: There's paw-spotting techniques that he uses. but he used to be called Shaky Steve. Instead of raised letters you have the pressed grooves. TF: That would be a good name for him. JT: You rely more on that cosmic awareness. that's why they call him Sturdy Steve now. TF: It's almost like inverse braille. you know. He pencils very lightly. but the quality of the pencil seems a little more definite in places. JT: You can half feel it and just half go on automatic pilot with Steve. TF: So.Alan Moore | COMICON. so he just tied a brick to the back of his hand. The whole thing with Rick's style is that he's a lot less spastic than Steve is. the dog. Yeah. yeah. Rick is actually quite opposite of Steve. TF: The dog. I've never actually got the full story.htm (3 of 9) [8/18/2006 2:07:48 PM] . The funny thing is that I guess he developed his heavy hand and style-this is maybe a rumor or something. JT: Oh. JT: We don't really have a name for the dog. He could never keep his hand still to actually get a good feed on the paper and pencil something that looked coherent. so it's a little easier sometimes to ink that.

com/moore/8_interview_jaunty. but I don't know if there's really a good choice of words in the English language to pick from because there's so many different smells that they kind of all come together and it's really kind of overpowering at times. whether you're pleased with it? JT: Well. I don't know what it looks like.htm (4 of 9) [8/18/2006 2:07:48 PM] . JT: It's a little overpowering when your sense of smell is a little heightened. TF: Since you can't see in the traditional effects like little paws in the background for the outer space skies and things like that. how are you able to tell whether you've done a good job. TF: So. I mean. JT: Well. it's a little beyond description. TF: What's it like in there? JT: Well. I do some at home and some at the Sweatshop. not to mention the smell of the inks and various other things that are laying around--the coffee. You tend to block it out after awhile. I could probably describe it in terms of smells. That's the best way of judging. it is the Sweatshop. TF: Of course. too. They seem to like it. you know. the beer and whatever else these guys might be into. JT: Yeah. Affable Al pays him.comicon.Alan Moore | COMICON. TF: Do you have favorite characters to work with? Favorite strips? JT: Usually I'm not too particular about the characters because I can't really see them all that well in terms of what their costumes are like. It's http://www. TF: Do you work right in the Sweatshop? JT: The dog? TF: Both of you. just the feedback that I get from everybody else. He keeps a supply of Milkbones on hand. not in hard cash. You've got these guys actually sweating.

" So.comicon. "Well. TF: Sounds like quite a place. so he comes up with this stuff like nothing. Al's a great guy. a pretty fun place to work." It doesn't have enough drama to it or something. For awhile there. is something that might happen in the future. they started calling me 'the inker with faith. but it has more punch to it. He says. JT: Oh. "That just doesn't sound right. you know. We really owe a great deal to Al. http://www. "Maybe it would sound better if we just said 'the inker without fear.Alan Moore | COMICON. I'm sure all of the guys realize that. We owe him a great deal there.'" It means the same thing pretty much. but right now I'm not too worried about it. He's really responsible for keeping all of us in line and making sure that we keep doing work and are productive people and all kind of an abstract thing you know. TF: He's quite a guy. the guys were asking. he let you know that. you know 'the inker without fear' tagline Al came up with that as well. you know. The Sweatshop is. TF: Do you ever think that you might want to one day start doing some pencilling of your own as well? JT: That's a possibility. but as I mentioned before it was Al that finally got me off the streets and into the Sweatshop. I guess they kind of do you TF: That's out of respect. it's just kind of like going by faith. Actually. TF: What's it like working with Affable Al? JT: Well. 'how is it that you can actually do this stuff without seeing it?' I would just say. Is it true that the people bow down to him when they come in in the morning? JT: Yeah. even the tagline. That. of course. Al's really poetic like that. in spite of the odorous atmosphere. What kind of plans do you have for the future? Do you want to stay in comics? JT: Probably as long as I can keep doing it comfortably.' It was Al that said.htm (5 of 9) [8/18/2006 2:07:48 PM] .

TF: If they don't have it. but you know he can see a lot better than I can..htm (6 of 9) [8/18/2006 2:07:48 PM] . JT: Yeah. of course if they could see that would help a lot better because not everybody's going to have these strange abilities..comicon.they'll just have to figure out for themselves what they got to do or what they can or can't do. There's really no way to give advice to the people if they haven't got that special ability to begin with. He tells me he spends a lot of his time travelling around. some people. It's the same old advice--just practice and keep at it until you get to where you're good enough to do it's sort of. of course. What's Dashin' Dave like? JT: TF: What kind of advise would you have for fans that would want to do what you're doing? JT: Well. a lot of time between Vegas and Atlantic City. TF: And there's always the pencils. TF: Well John you're quite a daredevil.. I don't see a lot of anybody. JT: Well. and he's just kind of in and out. TF: You don't see a lot of Dashin' Dave though. http://www. TF: Good point.I have heard some people writing in and other people saying that they actually prefer Dashin' Dave's inks over mine because. Let me ask you about some of the other people. JT: I've only actually met Dave once or twice in passing.Alan Moore | COMICON. TF: What kind of advise would you have for people like yourself who are handicapped? JT: Just do what you think you got to do. he's a little tighter and maybe a little more detailed than I am. but I get a whiff of that cologne that he wears. 42nd Street's a good place to start? JT: Yeah..

but never really met in person. friendly sort of TF: He fancies himself a bit of a ladies man. but again I wouldn't want to repeat them.Alan Moore | COMICON. Probably knows more than I JT: Yeah Roarin' Rick has had more contact with him than I have. Rick and Steve were telling me that with all the good work that Chester has done if there was a proposal he brought to Affable Al that Affable Al would have nothing to do with. TF: Do you ever get a chance to meet some of your fans? Do they http://www. TF: How about Chester Brown? Now. but I try not to make comments about people's personal lives like that. He does a lot of lettering. TF: How about John Workman? I guess you haven't seen much of his work either. really quiet. TF: Stories about the sweaters? JT: [laughs] Something along those lines. TF: Sort of a scholarly type. TF: How about Merry Marvin Kilroy? JT: I've never really met him either. Anything I can say would just be hearsay.htm (7 of 9) [8/18/2006 2:07:48 PM] . JT: I've only maybe had to talk to him once or twice on the phone to track down pages or whatever. He seems like a pretty nice guy. but the thing is he's kind of one of these guys that I've never really even thought about.comicon. I've heard some strange stories about him. JT: I'm sure there have been several proposals that Chester could have brought to Affable Al that would probably not meet with Al's standards of decency maybe. Well I don't actually see him. JT: So I hear. yeah. He's one of these guys that you hear about him but you never really actually see him.

I forget the details of it. but it's for our own good. TF: That's smart. we all feel good about that. Like.Al actually has been a bit of a pioneer in the area of returning original artwork because in the old days.htm (8 of 9) [8/18/2006 2:07:48 PM] . so we want to definitely make sure that that stamp is on the back of the check. We rib him about that once in awhile. He's a pretty good guy. Apparently that protects our rights as creators. well. that must protect you to get your original artwork back as well. you're supposed to sign somewhere underneath it. After it became apparent http://www. TF: You do get your original artwork back? JT: The artwork is. and I'm always ribbing him about the funny smell of that ink that's on that little stamp on the back of the checks. JT: Yeah. TF: So. Al does view us as his family sort of. That sort of thing. TF: Would it make a difference if Al wasn't sitting in the room right now? JT: Not really. he takes care of you then. Just the ever come up to the Sweatshop? JT: Some of the old hangers on from 42nd Street tend to come up once in awhile to see what's happening. especially with his little gag contracts. TF: That's good. They're a bit of a distraction. We get a kick out his little jokes sometimes. Al explained it one day. the stamp isn't where you endorse the check? JT: Yeah.comicon. Al doesn't like them hanging around.Alan Moore | COMICON.. original art that was just doormat material after it was printed. Not really the type of people you'd want your kids hanging around. They don't really contribute to the type of atmosphere that he likes to have in the Sweatshop. JT: Right. I could never really see it. but there's a stamp on the back of your paycheck that kind of smells kind of fishy. the city guys. Of course.. He's assured us of that. but that really doesn't mean anything.

Who knows what the stuff might be worth in historical terms? INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore All artwork and logos (TM) and © 1998 their respective creators. which I can see. All orders through COMICON. So.comicon.htm (9 of 9) [8/18/2006 2:07:48 PM] . He's a lot more far-sighted than any of the rest of us would cannot track orders placed by convention guide for more information. TF: That's really something. the original page is sort of a mystique that fans have with that fans wanted to own a piece of the artwork. Al has been dutifully returning at least 1/3 to 1/2 of the original art to us. you know the original art that their favorite characters were printed from and their favorite artist had actually drawn and touched.Alan Moore | COMICON. Please read the COMICON. JT: The rest he keeps for historical purposes. We'd just sell the stuff or give it away even. which might not be a wise thing in terms of 30 years from now. COMICON. All rights reserved. take place between the booth attendant and the convention

I saw Al's first name." SCRIPTS q "THE MIRROR OF LOVE" 1963 q WHAT HAPPENED TO THE ANNUAL? q INTERVIEW WITH AFFABLE AL PERFORMANCE ART q THE BIRTH CAUL By Alan Moore. There.m. will you. but if Al could be ready to talk on the phone anytime. Tim Perkins q BROUGHT TO LIGHT By Alan Moore and Gary Lloyd BOOKSTORE ALAN MOORE BOOKS AVAILABLE FROM GraphicNovels. is this you? I told you not to keep calling me!! She isn't here.23.POST MERIDIEM. I began to nod off and my head rested on the bar. number. MORTIAK. it had left me with some unanswered questions.. I had been doing a poor job of interviewing. and the word "anytime. Tim Perkins q THE MOON AND SERPENT GRAND EGYPTIAN THEATRE OF MARVELS By Alan Moore. there is no E-mail for Alan Moore INTRODUCTION UNSEEN SUPREME q NEW JACK CITY PGS 1-8 By Alan Moore and Rick Veitch SELECTED WRITINGS q "HOLY SMOKE" q " Interview with Alan Moore 1963 Interview by Tom Field I sat in the bar and grill located across the street from the 1963 Sweatshop.comicon.HOR. Tom Field: Uh. carved with a BACK TO ALAN'S MAIN PAGE Alan Moore Sorry. Some of the opinions stated by Al's artists actually made it sound as if their boss was not such a great guy to work for! Clearly. strangely confused. then I should do the same! Affable Alan Moore: Huh? Goddamit.Alan Moore | COMICON. [long silence] http://www.. okay? I didn't even see her at the office today!! Now. Mr. As I pondered my dilemma.htm (1 of 7) [8/18/2006 2:08:08 PM] Moore? AA: What? Wilma? TF: Is that Affable Al Moore? This is Comic Talk magazine. David J. David J. who the **** is this? Wilma." It was 1 a. As phenomenal an experience as my exploration of the 1963 was for me.

what did they say? What lies did they tell you? You have to understand. so. I wondered if you had any response to the comments from your co-workers that appeared in the copy of the interviews that we sent you? Woman's voice in background: Al? Who is it. Uh.. traveller... like I say.. no.. AA: Good! Well. what's your name. no.comicon.Alan Moore | COMICON.. hand over receiver] Shut up you dumb (inaudible) and put some clothes on. kid. Totleben.. you have to understand that Sturdy Steve and Roarin' Rick.uh.. we interviewed Sturdy Steve and Roarin' Rick.. if I'm calling at a bad time. Do you mind? TF: Uh. we wondered if you wanted to respond to the comments that your co-workers made in our interviews with them? AA: Wait a minute. Tom... AA: [muffled. Do you mind if I call you "Tough-Talkin' Tom"? It's just this thing I have.what co-workers is this? Who did you interview? I thought you just interviewed me and look. incidentally. uh. AA: Uh. but. son? TF: Uh.. Tough-Talkin' Tom. but they're http://www.. AA: [shouts] You did what?? Oh my LINKS AA: Comic Talk magazine? TF: That's right. God bless 'em. honey? Is it HER? I'm getting lonely here all by myself. this is good for me.htm (2 of 7) [8/18/2006 2:08:08 PM] . what can I do for you? TF: Well. I remember I was there when you interviewed him. It's those geeky kids from the (inaudible) magazine! TF: Uh. no. I guess not. TF: Well. AA: Tom.well. anyway. well. the blind guy who does the inking. it makes me feel more comfortable around people is all.

See. Well.. I'd pretend to accidentally drop the packet on the floor and then they'd have to get down on their knees and grovel for it. TF: Okay. Rick said that in the early days you used to sit on a filing cabinet and have people bow to you as they came in to work. Isn't that the one when the hero doesn't appear throughout the whole book? TF: The hero? AA: Yeah. no. it's just that Steve Bissette said he proposed a comic book to And what I used to do. anyway? TF: Well..he's the skinny Canadian guy with the funny very sick men. In fact. it was only on their way out or work on Friday night that I'd sit on the filing cabinet. Steve Bissette said something about you turning down a book that Cheerful Chester Brown proposed to you. And I mean that in a nice way. I remember this. but give him more powers. when he showed it to me. right? You interviewed him? TF: No. called Yummy Fur. like. believe me! What did they say. and we'd all laugh. we sent you that copy of the interview. wayfarer.. Just give me edited highlights of what they said is all I'm asking.. http://www... and you turned it down because. Brown. I don't read any of that crap that turns up at the office. or anyway. I would. AA: Look. AA: Brown.... what it was. I was only 14 at the time and I had to sit there so I could see eye to eye with the guys when I was handing out their pay-packets. as a kind of a little joke. It was just one of the wacky gags I pulled to maintain a sort of laugh-along working atmosphere! Veitch just misinterpreted a boyish prank is all. look.Alan Moore | COMICON.comicon. Either Kandi deals with it or it goes in the shredder with the used artwork. this "Fur" thing! I remember I had trouble following it. AA: Wait a minute. I read it all through and Yummy Fur never shows up.htm (3 of 7) [8/18/2006 2:08:08 PM] . I remember that I told him he should make ClownMan into the main character. was when they reached out for their wages. this "Yummy Fur" guy.. AA: That just isn't true... TF: Well.

but.. http://www. that's okay. I told him that the book lacked conflict! Just like all the great works of literature through the ages. Anyway. the Unstoppable Man is the villain." AA: Sure. like War & Peace. Clown powers. Workman doesn't complain much. they won't listen. Clown Man. So like my idea is. uh. whatever he said. AA: Hmmm. it needed conflict and a good super-villain! I suggested he use The Unstoppable Man. Anyway. Hamlet or Mystery Incorporated #4. well. if he'd come up with something like that then maybe I'd have been interested! It's the same thing I told those two Mexican guys who did that Loverocket TF: You mean Ed the Happy Clown? AA: Sure... you're talking about "The Man Who Couldn't Stop. but you know how it is with these kids...htm (4 of 7) [8/18/2006 2:08:08 PM] . and. okay? Was he talking about his color theory and all about the devil-worship and like that? The stuff with the orgies and the infant sacrifice? TF: Uh. my point is that if whatzisname. TF: Oh.. I don't know.. Anyway. all he said was. Who else? TF: We talked to Marvin Kilroy.Alan Moore | COMICON. who else did you talk to? TF: That's the sort of detail that you can leave to the penciller. the Canadian guy. TF: This is one of Chester's characters? I don't remember.. AA: Sure! You remember! He's the guy whose origin is that he's sitting on the can one day.. Well. TF: And what would they be? AA: Look. like Clown-Man stops him with his.. there was Jovial John Workman. We just give him some of that sweater stuff to draw and he's happy. AA: Kilroy? Christ! Listen.comicon. don't print any of that stuff..

okay? I mean.. no.. believe me.. Goddammit! What I wanna know is what he said!! What did he say? Tell me!! TF: Uh. AA: [impatiently] Uh-huh.. the Playboy mansion and stuff like that.. there's the piece we did with Ed "The Emperor" Evans.comicon...htm (5 of 7) [8/18/2006 2:08:08 PM] . you don't want to print any stuff that Kilroy said! The cops are already suspicious. AA: [screams] I know who Gibbons is. there's gotta be some other stuff you can run instead! TF: Well.. no. all that leaves is the talk we had with Dashin' Dave Gibbons. AA: No! No. we had a nice talk about his lifestyle. they found all those bottles of Dr. Evans and Kilroy. Both the AA: I don't wanna hear it! He doesn't even really work for us. okay? He just inked up some samples and that was that! TF: Well.. AA: Look... well. [long silence] AA: [weakly] Gibbons? TF: Dave Gibbons.. http://www.Alan Moore | COMICON. Don't you have any other interviews you could maybe expand a little to fill the space? TF: Well. and if they read him talking about. he's a colorist and his work has appeared in quite a few of your titles. AA: Uh-huh. Martins inks at the site of those cattle mutilations. he said you and he went back a long He's the inker on.. uh-huh.. TF: . Just dump 'em. What did he say about me? TF: Well. no! I am not hearing this! Evans? You interviewed Evans? I knew it!! I knew I should have had that dumpster towed further away from the office!! Listen.. Just don't print it. actually. dump 'em both.and he told us about his work and how he sees it.

Alan Moore | COMICON.. you half-baked little tart. okay? Haven't you done enough damage? TF: Uh. are you still there? AA: I'm dead. Good.htm (6 of 7) [8/18/2006 2:08:08 PM] . you stupid bitch! We have to get out of here right now! No! No. and he just couldn't believe it when we told him that there were people who were prepared to spend a lot of money on original artwork. lemme tell ya! Y'know. or. he doesn't usually have much to do with the comic book scene... We didn't mean to. Woman's voice in background: Honey? There's somebody at the door. Shall I get it? AA: [shrieks in panic] No!! No.. TF: Excuse me? AA: Load everything into the car. What else? TF: Well. why don't you just leave me alone. are you talking to me. AA: [relieved] Whew! Thank God! Good old Dave..comicon.I'm sorry? What do you. I'm sorry. not a lot. He seemed surprised that we were interested in his work.. Best buddy a guy could AA: Uh-huh. [long silence] TF: Hello? Hello. He seemed very cautious in his comments about you. don't go near the windows! Get down on the floor like me and crawl! TF: Uh. That's good....? AA: Of course I'm talking to you! Who else would I be talking to? Who else has ruined my life by telling that son of a bitch Gibbons about the original artwork deal? TF: Gee. get away from http://www.? AA: I wasn't talking to you! Look. that's TF: No.

. [Muffled noises in background.Alan Moore | COMICON.] INTERVIEWS: q q q q q q q q q Affable Alan Moore Sturdy Steve Bissette Roarin' Rick Veitch Musty Marvin Kilroy Ed "The Emperor" Evans Jazzy John Workman Dashin' Dave Gibbons Jaunty John Totleben Affable Alan Moore All artwork and logos (TM) and © 1998 their respective creators. All rights reserved. (7 of 7) [8/18/2006 2:08:08 PM] .com there!! Don't open that Goddamn. Sound of receiver being placed back in guide for more information. Long cannot track orders placed by convention attendees. Please read the COMICON.. All orders through take place between the booth attendant and the convention visitor.comicon. COMICON.

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