Show Notes
Writer/Artist Jim Rugg (Street Angel, Hulk: Grand Design) joins us this week to discuss Brought to Light/Shadowplay, Alan Moore and Bill Sienkiewicz’s secret history of corruption and cover-ups within the CIA. We discuss the use of nonfiction and documentary stories in comics, break down Moore’s extensive research on the work and awe at the unforgettable artwork of Bill Sienkiewicz. Theme music by Michael Pflug
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More from The Alan Moore Cast
Writer Marc Sobel (Reading Love & Rockets) joins us this week to discuss Brighter Thank You Think, his 2016 collection of Alan Moore stories. We break down each of the ten stories included, reflect on the different stages of Moore’s career and marvel at the versatility the writer displays across multiple styles and genres. Theme music by Michael Pflug
Writer/artist Tom Scioli (Godzilla Monsterpiece Theatre, Fantastic Four: Grand Design) joins us to discuss Twilight of the Superheroes, Alan Moore’s unmade DC Comics crossover proposal from the 1980’s. We dig into the various ways Moore designed this to be the perfect crossover, discuss the story’s role as the “ultimate end” to the DC Universe and reminisce on a time when Alan Moore seemed genuinely excited to work with DC Comics. And to check out Tom’s animated version of the pitch, click here! Theme music by Michael Pflug
West Coast Davengers joins us this week to break down one of Alan Moore’s most controversial works: Batman: The Killing Joke, with artist Brian Bolland. We get into the story’s lasting impact on the Batman mythos, discuss the controversial fate of Barbara Gordon and ask the question… does Batman really kill the Joker in the end? Theme music by Michael Pflug
Writer/artist Michel Fiffe (Copra) joins us this week to break down one of the big ones: Miracleman #15, by Alan Moore and John Totleben. We get into the apocalyptic fight between Miracleman and Kid Miracleman, marvel over artist John Totleben’s mastery of superhero carnage and quiet moments alike and reflect upon the overall influence of the story on every superhero comic that followed thereafter. Theme music by Michael Pflug
This week on The Alan Moore Cast, we’re taking a look at Alan Moore’s work for Marvel Comics… or, more specifically, the lack thereof. Some of Moore’s earliest professional work was for the Marvel UK imprint, but after the early 1980’s, the writer’s work for the House of Ideas was few and far between. What happened between Moore and Marvel that ultimately caused Moore to swear off working for the publisher? How close did Moore come to writing for Marvel again in the early 2000’s? And which Marvel hero was Alan Moore most interested in tackling?