Alan Moore's Another Suburban Romance Review

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Alan Moore's Another Suburban Romance ReviewAlan Moore's Another Suburban Romance is an attempt to make a buck off Moore's name. Avatar Press actually calls it a "graphic novel," but it isn't. This book is based on Moore's performance works. In other words, someone has taken Moore's words, drew illustrations (black and white) for them, and placed them in some kind of sequential order (no, Moore isn't the one who did it).
The truth is, ASR consists of three illustrated "poems," only one of which (the title piece) is any good.
Save your money; if you are interested, pick it up off the shelf at your local comic book store, and start reading it. (You can read the whole thing in less than 10 minutes.) After reading some of it, my guess is that you'll place it back on the shelf.
If you are interested in Moore, read Watchmen, Promethea, Swamp Thing, or just about anything else, and forget ASR.Alan Moore's Another Suburban Romance OverviewAn all-new graphic novel from the writer who defined modern comics, Alan Moore. For the first time ever, Alan Moore's performance works making up the play Another Suburban Romance are put in print and lavishly illustrated as full sequential stories. Comprised of three major pieces, adapted from Moore's original presentations by frequent collaborator Antony Johnston (The Courtyard), this original graphic novel is completely illustrated by the Spanish sensation Juan Jose Ryp. Running from the 1920's Chicago style killings in Old Gangsters Never Die, to the ruminations of modern life in the namesake piece Another Suburban Romance, this powerful work is one that no Alan Moore fan will want to miss!

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Alan Moore's Writing For Comics Volume 1 Review

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Alan Moore's Writing For Comics Volume 1 ReviewThis is a collection of essays Alan Moore wrote in 1985 about writing comic books (with a follow-up essay from 2003 at the end). Actually, it's more about being a creative storyteller, not so much about comics. As you read the text, you realize that the nuts and bolts of panels, pages, and word balloons mean very little in comparison to honesty, inventiveness, intent, and understanding of your own talent. Alan Moore makes this clear as he writes, advising the aspiring writer to consider what he's doing long before he gets to the point of wondering how he can stack ten panels into a page.
Moore uses his own experience as a guide. Although he had not yet written (or completed) some of his greatest comics, by 1985 he had been working in British comics for years. He was also working on Swamp Thing and Miracle Man at the time. He uses Swamp Thing examples more than any other, which is good. That was the first great period of Moore's work, when he turned comic book writers into superstars along with illustrators. He describes one of his more daring stories of the 1980s --- a Swamp Thing issue in which menstruation is tied to a werewolf story --- from the ground up. First he had the social idea, then he came up with a framework for it, then he wrote the pages and panels.
Reading this short volume is a real inspiration for anyone who wants to tell stories. The advice here can liberate a writer from distractions and lead him (or her) toward the creative decisions that matter most. The final chapter adds a wonderful twist. Moore recommends that you avoid a personal style and focus instead of personal growth as an artist. Success should lead to experimenting, not a rut in which you tell the same lucrative story over and over. Alan Moore lives his life this way, so his advice has some well-earned authority behind it.Alan Moore's Writing For Comics Volume 1 OverviewThe master of comic book writing shares his thoughts on how to deliver a top-notch script! The main essay was originally written in 1985 and appeared in an obscure British fanzine, right as Moore was reshaping the landscape of modern comics, and has been tragically lost ever since. Now Avatar brings it back in print, collected for the first time as one graphic novel, and heavily illustrated by Jacen Burrows. Moore also provides a brand new essay on how his thoughts on writing have changed in the two decades since he first wrote it.

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