Category Archives: alan moore

Comics are Magic 5: Some final thoughts on the Conscious Multiverse

Hello bright and shining stars (albeit encased within sticky, sweaty meat-sacks). Today’s Comics are Magic is a not particularly coherent and potentially unsatisfying round-up of some final thoughts about comic book continuity. For those just tuning in the following post builds on some of the concepts outlined in part 3 and part 4 (if you’re feeling particularly studious the archives are here).

We begin at the end with a consideration of the concept of the Global Brain. Here’s the simple version, bought to us by our dark overlords at Wikipedia:

The Global Brain is a metaphor for the worldwide intelligent network formed by people together with the information and communication technologies that connect them into an “organic” whole. As the Internet becomes faster, more intelligent, more ubiquitous and more encompassing, it increasingly ties us together in a single information processing system, that functions like a “brain” for the planet Earth. Continue reading

Advertisements

Anarchy and Posthumanism Part 3: Anarchist Superhumans

In my thesis I have made a distinction between the types of posthuman body found in comic books and how these relate to various other versions of posthumanity in philosophy and transhumanist texts. Of particular interest in terms of posthumanism and anarchy is what I call the posthuman Cosmic Body (more detail can be found by clicking on the link). This final post on Anarchy and Posthumanism (part 1 is here and part 2 is here) will consider how anarchism has been presented within superhero comics and note how these representations usually chime with this vision of the ‘Cosmic Posthuman’. Continue reading


Comics are Magic 4-The Conscious Multiverse: Idea-space and entities

Asmodeus by Alan Moore

In part 3 we delved into the mechanics of comic book continuity and touched upon some of the philosophical implications of such fictional universes  as well as drawing attention to some analogous theories  from modern physics relating to the idea of the multiverse. Come on, you remember. It was fun wasn’t it? In this part I want to explore further the notion that fictions have some sort of autonomy. We begin first by considering Alan Moore’s concept of “idea-space”. In an interview with Arthur magazine Moore explained that the impetus for his concept of ‘idea-space’ stemmed from trying to understand the nature of consciousness and where our ideas come from:

the best model that I can come up with for consciousness is consciousness as a form of space…Most of us never come out of our living room. We’ve got our individual little private space in our head–just like we’ve got a house as a private physical space. But most of us never go outdoors. We stay within our own identity. However: people who are creative, or people who are questing spirits of some sort or other, have to go deeper. I mean, most people don’t really need new ideas as part of their daily round, depending upon what their job is or what kind of people they are. The same ideas that they had yesterday will probably do just as well today. If you’re a creator, or scientist, or any sort of creator, then you have to look deeper. You have to travel further, to find ideas that no one’s come across before. Rarer ideas.

Moore naturally wonders if such a space would be inhabited; would it contain its own unique ‘flora and fauna’? In Comics are Magic Part 2 it was seen that Moore makes no distinction between art and magic. Both involve accessing, exploring and navigating this ‘idea-space’. As such the demons , angels and other entities encountered by the artist-magician can be understood as living ideas. Or as Moore said in an interview  for Blather in 2000: “entities are a kind of compound idea, at least as far as I see them”.   Continue reading


Comics are Magic 3: The Conscious Multiverse

For the next two posts I will be considering how the ideas of Alan Moore and Grant Morrison can be used in conjunction with the concept of comic book continuity to reach some strange, exciting conclusions about the nature of the printed comic book universe and our own, more fictional, reality.  These are big, unwieldy concepts so it’s split into two posts. First of all it’s worth clarifying our terms. What do we mean by continuity?

Each single issue of Spider-man or Superman is but a small element in one of two gigantic narratives known as the Marvel and DC Universes. Ros Kaveney suggests that these two seventy year old continuities are, “the largest narrative constructions in human culture…and that learning to navigate them was a skill-set all of its own” (2008:25). Jason Todd Craft calls such constructions ‘large scale fiction networks’ and notes that these universe are ‘emergent structures’ (as does Kaveney) : “the initial parameters…-parallel and ongoing serial adventures, produced by a variety of writers and artists for hire-resulted, over time, in unpredicted behaviours, specifically intertextual connectivity and a slowly encroaching sense of narrative history” (2004:105). Each ‘universe’ must be understood as a, “retroactive story structure, which imposes a continuity upon all the episodic comic books published before as well as after the universe’s advent” (ibid: 105-106).As Richard Reynolds describes it, while narrative continuity may seem a familiar idea to anyone who has ever watched a soap opera, continuity as practiced by Marvel and DC, “is of an order of complexity beyond anything to which the television audience has become accustomed” (1992:3).

Continuity is a product of ‘crossover’. The first use of crossover took place two years after Superman debuted; All-Star Comics#3 introduced the Justice Society of America, demonstrating that superheroes with their own serials could exist together. Continue reading


Comics are Magic part 2: Using Superheroes for Divination and Manifestation

In Comics are Magic Part 1 we discussed some strange coincidences and comic book predictions. In this part I want to discuss the use of comics to deliberately manifest such coincidences and changes in reality. First of all it might help to consider the intuitive capabilities of comics creators, starting with Jack Kirby. Kirby is arguably the most influential comics artist of all time, especially in terms of superhero comics. Chris Knowles, author of the excellent Our Gods Wear Spandex, has written frequently about Kirby over at his blog Secret Sun. Knowles says,  “Kirby was a man who one co-worker described as being “hermetically sealed in his own imagination.” I’d counter that only by saying that I believe that Kirby instead was in deep communion with the Collective Unconscious. Kirby even claimed that his characters existed inside his head and he merely projected their stories onto paper.” Knowles suggests that

Continue reading


Spawn 20 Years Later

Apparently there is a gigantic 984 page long Spawn Compendium Volume 1 out to celebrate Todd McFarlane’s wildly popular creation. I was there at the time of course and remember buying Spawn issue 1 (and W.I.L.D.Cats,#1 and Savage Dragon#1) but I gave up on it pretty quickly. It looked great (at the time?) but like McFarlane’s work on Spider-man (which I also bought, because I’m, you know, in my 30s) it seemed terribly written to me even then. Impenetrable almost.

Anyway, the point is that there’s an interesting little piece over at Comics Alliance called, Spawn 20 Years Later: Looking Back at the Quintessential ’90s, that talks about what seems a rather unexplored but interesting nexus point in the history of comics, issues 8-11 of Spawn, for which McFarlane handed over the writing to Alan Moore, Neil Gaiman, Dave Sim and Frank Miller respectively.

The Comics Alliance article goes into a touch more detail about these comics and the wierd blurring of the boundaries between independent or creator driven on the one hand and mainstream, corporate comics on the other. Take the founding of Image for example. A bunch of  ‘auteur’ creators-artists dammit!- feeling stiffed by their corporate paymasters  decide to form their own company, where they own the rights to their work and are free to express their own artistic sensibilities. A noble endeavour, no? But these creators don’t start creating introspective autobiographical work or other such arty-farty nonsense that the freedom of their new company would grant them. No. They create work almost exactly like the superhero work they were doing before. Only bloodier and with bigger tits.

Never the less, Image still stood for something and so Gaiman, Moore, Miller and Sim, four of the most prominent and important comics creators of the last three decades, were all willing to write Spawn.  The results were varied in terms of both narrative and production, e.g. Moore’s temporary return to superhero comics, the long-running legal battle between Gaiman and McFarlane around the ownership of characters. That last one might be one of the clearest examples of how every revolution gives birth to its own fascism as you’re likely to get.

Anyway, seems like a topic worth returning to in more detail at some point. Looking at the bookshelf I can see a copy of  the 1997 Titan books collection Spawn: Evolution, which has the Moore, Gaiman and Miller stories but not the Sim (nor, indeed, the Grant Morrison issues, which I’ve also never read).

So in lieu of any fully formed critical opinion as yet it is only possible to conclude with my thoughts upon first reading the comics produced when mighty comic auteurs Alan Moore, Neil Gaiman and Frank Miller (who collectively have given us Watchmen, The Sandman, Dark Knight Returns, Sin City, V for Vendetta and Violent Cases, to name just a few) deigned to write scripts for Todd McFarlane’s Spawn:  “you can’t polish a turd.”

Of course, I retain the right to take that back should further investigation and consideration or threats from rabid McFarlane fans change my mind.

And once again, the Comics Alliance article is here.



Keeping the Cosmic Trigger Happy Part 3: RAW and the comix underground

Page from John Thompson's Book of Raziel (1969)

Portrait of RAW from Cosmic Trigger Artist: John Thompson

As I wrote in part 2 (part 1 here) Robert Anton Wilson’s brand of ‘scientific-shamanism’ is linked to a vision of the posthuman I call the Cosmic Body, a postuman form not uncommon in superhero comics. One of the questions I was asked when I delivered my paper on this (available here) was how much the depictions of cosmic superheroes  in the 60s/70s  constituted a way of ‘piggy-backing’ on the subversive cachet of the comix underground, which of course prided itself on its open depictions of drug use, sex and violence in a way that the Comics Code would never allow for superhero comics.

Having briefly considered what seems to be a largely implicit influence of RAW on the work of Moore and Morrison, it occurred to me that Wilson’s cultural milieu might align him with the comix underground in some way. As I said in Part 2 underground comix are not my speciality but curiosity led me to investigate te idea a bit further. So what follows is a brief investigation into the topic by someone who is not an expert. Still, I think I’ve unearthed some interesting tit-bits and hope that if anyone has any further information they get in touch. Continue reading


Keeping the Cosmic Trigger Happy Part 2: Ontological Anarchy

So now then, after the last post became a general hurrah for Robert Anton Wilson (no bad thing necessarily) I’ve finally got round to writing about his links with comic books. Only that hasn’t been as simple as it seemed either. Fortunately it seems to have resulted in an interesting little bit of cultural archaeology.

Some context: I’ve written briefly about Wilson and his cohorts as ‘scientist-shamans’ and how that ties into a vision of the posthuman I call the Cosmic Body, and how we can also discern the Cosmic Body in superhero comics. One of the questions I was asked when I delivered my paper on this (available here) was how much the depictions of cosmic superheroes like Dr Strange and Adam Warlock in early seventies Marvel comics constituted a way of ‘piggy-backing’ on the subversive cachet of the comix underground, which of course prided itself on its open depictions of drug use, sex and violence in a way that the Comics Code would never allow for superhero comics.

Underground comix are not my specialty by any means. Other than the usual suspects like Crumb and Spiegelman and British variants like Viz, and a broad-strokes idea of the movement and its relationship with mainstream comics, its not a history that I’m wholly familiar with.

What does this have to do with Wilson? In thinking and reading and googling this post I was surprised to find very little interest in RAW”s work and comics. Moore and Morrison have certainly both name-dropped him (and Moore delivered a poetic eulogy for him at an event in 2007-video included at the end of this post), but I couldn’t turn up anything specific in terms of direct referencing. (For instance, I wonder if Alan Moore enjoyed the idea that ‘V’ was also the Roman numeral for 5, a number to which a great deal of significance is attached in RAW’s work and Discordianism, of which RAW was a pope of course. Continue reading