Forgive me. Somehow or other, I accidentally left my fanboy hat on all week and never noticed.
Don’t feel so bad. I apparently have on a fanboy hat, bodysuit, booties, armored gauntlets, jetpack, and face-obscuring helmet.
You know, I’ve got a book of collected columns that might be right up your alley. Suppressed Transmission by Ken Hite. If you’re not familiar with him, he dissects and analyzes things for High Weirdness. Anything. The Mysterious Airships of the 1890s. Alchemy in Shakespeare. Coca Cola and Global Dominition. Sort of the text version of the postmodern riffing you do in Top Ten.
So, how do you plan all the intertextual items? My personal favorite was Charlie Brown as Doctor Doom… Is it from Moore? Do you put them in? Combined? It’s remarkably like George Perez on light acid.
As far as the pulp thing… you know, White Wolf is relaunching their Adventure! line of RPGs. Warren Ellis wrote a short story for the rulebook. I’ve got a friend who wrote part of the rules. I don’t know, but it’s one place that it might be worth exploring.
And finally, I’ve always agreed about the anthology series. There have been so many well loved or well recieved titles that died early… combine them into a single book, and you might just save them all.
Zander, I just want to say that the simple fact that you are working with Alan Moore makes you by far the coolest menber of the board.
Unfortunately I wont be able to see your work on Smax until I go to the States again (no idea when that will be) or it’s released in Brazil (probably never).
Zander, thanks for answering my questions - I appreciate it. As for your thinking regarding trade paperbacks, what I am hearin’ you say is that if you want a collected series trade, cool, but at least, if you by the serial issue, it has a bunch of other neat stuff in it.
On one hand, I hear you - maybe the trade PB and the serial will overlap for that one part of the story, but the TPB has the full story, and the serial has other titles in it. On the other hand - no: I would prefer a given story to be complete unto itself.
Sure, I mean, Dickens published many of his novels in serial form, which was critical to him developing what many consider to be the modern novel, but ultimately, novels became self-contained works unto themselves. What I really like about the comics that I like that I have read as an adult - mostly Alan Moore’s stuff - is that, when getting the TPB, they are self-contained graphic novels. Moore brings the richness of character, thoughtfulness of plot and completeness of story together - and I don’t have to wait.
As far as I am concerned - I am not interested in the serial soap-opera of a comic book. I would prefer bigger chunks of graphic novels - if they feature the same characters, fine - lord knows, that approach has worked for Star Wars and Star Trek books…but each is complex and self-contained, and doesn’t leave me hanging…
That’s what I want.
Scott
PS: I note you didn’t answer E-Sabbath’s question regarding “What’s it like to work with Alan Moore?”. I am also curious, but aware that you might be really tired of dealing with Moore-worshipers, or it may simply be inappropriate for you to provide details in a public forum. If that is the case, cool - otherwise, to the extent that you can satisfy the needs of us drooling Moore fans, that would be mighty nice…
I’m mostly interested in the strange dichotomy I see in Moore’s works… the classic Superman and Supreme issues, versus the… extremely british and bloody recent special he did that I can’t remember the name of and am exceedingly grateful was not in color. Top Ten seems a perfect synthesis of the two styles, mature themes and thoughts within controlled structures. He’s talented either way, it’s just… interesting.
That’s if you look at serialization as unnecessary. Right now, I think the comics industry regards serialization as a necessary evil. I suggest that it could become a necessary not-so-evil, but as for your hope that there would be no serialization, just the release of the book, well, I don’t think it will ever happen in a widespread way. Look at it from the creator’s and the publishers’ points of view: Either a creator has to starve for two years creating a 200-pg book, then submit it for publication, or a publisher has to pay a page rate to a creator for two years without seeing a dime back from it until it’s published. Also, sometimes I like reading things in serialized formats. You can talk with your friends about what you think is going to happen.
I like self-contained stories too, and I wish there were more comics like that.
Well, I recently did an email interview that was three questions about me and 25 questions about Alan Moore and his views on magic, fractals geometry, politics, etc. Not that I’m so important that we need to talk about me, but seriously, it is an interview with me, after all. Interview Alan if you want to talk about Alan. Sheesh.
That vented, no, I don’t mind talking about Alan at all. As far as what he’s like to work with, well, it’s not so much an overt collaboration as it is a creative assembly line. He writes a tremendously complete script, with descriptions of everyone’s facial expressions and well thought-out panel placement, and then it comes to me to interpret as I see fit. I usually put everything in as it’s requested, then add my own little ideas, then send it on. The closest it gets to collaboration is when Alan sees the final product, he will semiconsciously adapt his writing style to best suit the art style, so if I draw women really well, he’ll adapt it so there are lots of women, or if I like 9-panel grids like Watchmen, he’ll adapt to that.
He’s a very friendly guy to talk with, though I’ve only spoken to him on the phone, and he will go on at length about the things that interest him. And his voice is about six octaves lower than anyone else’s I’ve ever met.
They are in the script a fair amount, though I’d say it’s maybe 50/50. If it’s a speaking character, it’s Alan, and if it’s in the foreground, it could be either one of us, and if it’s in the background, it’s usually me. As far as coming up with them, a lot of is has to do (for me anyway) with free associating with whatever I’m drawing and then looking it up on Google Image Search.
Zander
Zander - Thanks for your answers - I appreciate them.
Your logic regarding serialization makes sense, in terms of the underlying business aspects of the relationship between publishers and creatives…
Your sharing regarding your collaboration was very cool. I can’t relate to your very minor vent regarding interviewers and Alan Moore - I have not had the opportunity to collaborate with a heavy hitter in things I do - but I sure can understand where you are coming from. Thanks for being patient with us fanboys.
Since this thread has de-volved into a loose interview, I will lay out one more question that you are more than welcome to ignore and go about your business as an ordinary Doper - when you are interviewed by the press or fans, are there questions you think they should ask, but they don’t, either because they are caught up with Mr. Moore, or they simply don’t understand your profession?
I swear that is the last one - thanks again for your patience.
Zander - Thanks for your answers - I appreciate them.
Your logic regarding serialization makes sense, in terms of the underlying business aspects of the relationship between publishers and creatives…
Your sharing regarding your collaboration was very cool. I can’t relate to your very minor vent regarding interviewers and Alan Moore - I have not had the opportunity to collaborate with a heavy hitter in things I do - but I sure can understand where you are coming from. Thanks for being patient with us fanboys.
Since this thread has de-volved into a loose interview, I will lay out one more question that you are more than welcome to ignore and go about your business as an ordinary Doper - when you are interviewed by the press or fans, are there questions you think they should ask, but they don’t, either because they are caught up with Mr. Moore, or they simply don’t understand your profession?
I swear that is the last one - thanks again for your patience.
My only real criticism of the art is Smax himself. He’s lost his imposing presence, and by God he’s the wrong shade of blue. He used to be this incredibly dark blue - now he looks like a suntanned Smurf!
**
I don’t think there are any real groaners, but I do have my favourites. In the original series, it has to be finding SG-1 in the Transworld Transport Terminus. In Smax #1, it’s D.R. and Quinch. Anyone who does not yet own The Complete D.R. and Quinch, mend your ways ASAP (and buy Skizz and The Ballad of Halo Jones while you’re at it).
The real reason this thread devolved into an interview, I think, is mostly because it’s just issue 1. I want to talk about the story, but I don’t have enough to say yet.
Still, to slide sideways on the hijack, the anthology format was very successful in Europe in the 70s and 80s, and there’s the japanese versions like Shonen Jump and so on. Why couldn’t it make a run in the US?
I thought “Jeff Smax” was just an Anglicisation of his real name, Jaafs Macks?
I think you’re confusing storyline with actual origin in concept, Evil.
Friend of mine looks forward to the Replacement God continuation, by the way. He’s been a big fan for years, if I recall the first time I saw it mentioned in his reviews.
Here’s something right off the Smax issue, though. What’s it like to work with a penciller? I think it’s pretty apparent that the change in penciller can change the art, but different ones have different levels of specificity, from nigh-Perez to nigh-stick figures. Anything make it easier or harder, one way or another?
Exactly right. Jeff’s origin was concocted later, when the mini-series idea came into play.
It’s been on my mind for quite some time. I will be returning to it once Smax is finished, though not full time.
I’m not sure I know what you mean. I’m the penciller on Smax. I inked the first issue and all of the covers as well, and Andrew Currie will be inking the second through fifth issues. I’ve never inked anyone else’s work, actually. I did layouts and storytelling on Top Ten and Gene did the detail work and inking.
I should clarify-- I don’t at all mind answering questions about Alan Moore, nor are there questions that I think people should ask of me; my only complaint about the aforementioned interview was that I was being asked about Alan’s beliefs about magic, which I knew less about than the interviewer.
Zander
Oops. Yep, I had it backwards, I thought you were the inker.
Read Smax #2 yesterday. I’m still trying to figure out if it’s contrived or simply hilarious, though since this is Alan Moore I favour the latter.
There is one question I’ve been meaning to ask and keep forgetting; what are Toybox’s powers? It was her father who built her robots, and I don’t recall reading that she could make more or even repair them.
I got the impression (how’s this for a definitive answer?) that she was the only one that could control them, and I would guess that she’d be able to make more as well (though not in the low-tech backworld that Smax is from).