Tag Archives: comic

The Alan Moore Jerusalem interview tapes, #3: “Stop pushing the wheelbarrows”

26 Sep
tommorow-special-1-p1

Jack B. Quick, by Alan Moore and Kevin Nowlan; from the anthology Tomorrow Stories, published by America’s best Comics

Following my feature on Alan Moore’s Jerusalem, I’ve been posting edited highlights from the 30,000-word interview transcript. Over the last two days, Moore has solved the little problem of our broken democracy, and made an argument for (quietly) toppling governments.

Now, following on from our discussion about learning from Athenian democracy, I have just pointed out that his communities based on niche A.I.s will, just as in Athens, effectively be a privileged elite built on slave labour – the slaves being these A.I.s. This prompted the following rather brilliant parable taken from one of Moore’s own comics. See if you get it…

Alan Moore: “The A.I.s, I suppose they will be the slaves. Yeah… eventually we will get into philosophical-moral discussions about robot rights. That will happen, but I hope that animal rights get discussed first. They are already talking about classing the higher primates as ‘persons’, distinct from humans, but ‘persons’ nonetheless. If the higher primates were included, then so would be dolphins, crows, and all of the things we know can recognise themselves in the mirror, can make tools, and can make other tools to modify those tools.

“But yeah, if we ever believe that A.I.s have truly become sentient, we would have to discuss that. Although it would be difficult, because we can’t prove that other humans are sentient. It’s kind of what the Turing Test was saying. Alan Turing was saying that it was the best test for artificial intelligence, but also that it was completely useless.

“If the human examiner can’t tell the difference, then you would have to agree that at least the machine was doing as good a job as appearing to be conscious as the human was. Effectively that’s not really a very good test, and I suspect Turing knew that.

“In my comic, Jack B. Quick, the human examiner is the Mayor’s wife, who is not very bright. Behind the screens, you’ve got the alcoholic town dentist, who is in some sort of alcohol-induced fugue-state, but he’s still a human. Then you’ve got Jack B. Quick’s Robert, which is a wheelbarrow that contains a scarecrow, a tape recorder and some junk, and he’s just playing random phrases from the tape recorder.

“But because the woman doing the test is not very intelligent, and because the dentist is drunk and is just shouting incomprehensible sludge, and the random series of tape recordings happens to get lucky, thus, this scarecrow and junk in a wheelbarrow passes the Turing test and is manufactured all over the world, and then starts to take over.

“Because… people think ‘we kind of think they want to take over, so we dressed them up in uniforms and pushed them out and we formed a checkpoint. I suppose we shouldn’t have done that, but we didn’t want to get on the wrong side of them.’

“Eventually Jack realises, when the whole world is enslaved by these scarecrows-and-junk in a wheelbarrow, that if we just stopped pushing the wheelbarrows… they’ll be helpless!

“And I think I said something profound there.

“If we just stop pushing the wheelbarrows, they’ll be helpless.”

Jerusalem is out now in hardback from Knockabout in the UK and Liveright in the US. For the full interview feature, click here. Don’t miss part four’s amazing “Mandrillifesto”, in which Alan Moore addresses the world in the guise of a totalitarian baboon. 

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Future Shock! The Story of 2000AD, at the BFI tonight

28 Oct
2000AD characters

A rogue’s gallery of 2000AD heroes, anti-heroes and villains. If you can name most of them, you’re a true “Squaxx Dek Thargo”.

2000AD is the Galaxy’s Greatest Comic. It says so on the masthead. Tonight, as part of the BFI’s Days of Fear and Wonder sci-fi season, a new documentary goes a long way to proving that’s no idle boast.

Future Shock! The Story of 2000AD gathers an impressive array of interviewees from the comic’s history: founder Pat Mills, editor David Bishop, a wide array of artists and writers (Alan Moore, predictably, is the only no-show), plus fans such as Anthrax’s Scott Ian, who wrote a song about Judge Dredd; Portishead’s Geoff Barrow; and screenwriter Alex Garland, who penned the Karl Urban Judge Dredd movie. The documentary is a master-class in editing: though it’s pretty much all talking heads, apart from some semi-animated stills from the comic (“Gaze into the fist of Dredd!”), the interviewees speak with such passion and eloquence that it’s never dull.

Some of the ins and outs, and the admirable frankness with which the loss of direction in the ‘90s is addressed, may appeal more to the 2000AD devotee (or “Squaxx Dek Thargo”, as we are known). But the key points will be of interest to anyone who loves comics:

1. 2000AD was born in 1977 out of punk and a feeling of revolution. It was Pat Mills’s follow-up to Action, the comic that was too violent to live. It used science-fiction not as escapism, but as a device for satirising the present without getting sued or banned (though they came close sometimes, which is why “Burger Wars” is never reprinted). It had four or five different strips in each issue, allowing room for experimentation and the nurturing of new writers and artists, but its one constant was Judge Dredd – a futuristic reboot of Dirty Harry whose brand of legally sanctioned vigilante justice made him popular with lefties who could see the satire, as well as, uncomfortably, others who couldn’t.

2. 2000AD changed the face of American comics. With the honourable exceptions of Warrior (home of V for Vendetta), Deadline (home of Tank Girl) and the odd Marvel UK or Doctor Who comic, 2000AD was pretty much the only game in town. If you were a Brit, and you wanted to work in comics, this is where you did it. The talent pool, therefore, was incredible. America’s DC Comics, under the editorship of Karen Berger, set up the Vertigo imprint specifically to tap into that pool. Alan Moore, Brian Bolland, Kevin O’Neill, Grant Morrison, Garth Ennis, Neil Gaiman, Brendan McCarthy, Pete Milligan – Brits such as these brought a humour, an anarchy, a rule-breaking, risk-taking mentality that shook up American comics and created a new golden age.

3. 2000AD had, and is continuing to have, a big impact on Hollywood. The only two official 2000AD movies so far are both of Judge Dredd, and neither set the box office alight. But the comic’s influence is far-reaching. The sci-fi film Hardware was based on a 2000AD Future Shock (it wasn’t credited at first, until I put two and two together in Time Out magazine and the producers had to settle out of court, full story here). RoboCop was a rip-off of Judge Dredd – the early version of his helmet, shown in the documentary, was an exact copy. The Book of Eli is, to all intents and purposes, set in the Cursed Earth. And it’s wormed its way into the DNA: a whole generation of Hollywood film-makers grew up reading 2000AD, and have absorbed its world-view.

I could go on – but why not see for yourself? There are still a few tickets available now for tonight’s screening, which includes a Q&A with 2000AD founder Pat Mills, artist Kevin O’Neill, and the documentary’s director Paul Goodwin and producers Helen Mullane and Sean Hogan.

Before Gotham: interview with original TV Batman Adam West

6 May

Fox announced yesterday that it had commissioned Gotham (click on the image above to watch the trailer), a TV series which will tell the childhood origins of Batman, along with The Riddler, Catwoman and The Penguin. Alfred will be played by Sean Pertwee, son of Jon Pertwee, who played Doctor Who in the early ‘70s, which makes Gotham feel like some Hadron Collidor of primal geek forces. It will air next year, nearly half a century after the TV series played with the new spread of colour TV sets to produce a hallucinatorily vivid show inspired by pop art.

It’s also more than a quarter of a century since I interviewed its star, the original TV Batman, Adam West. Having been obsessed with the show as a small kid growing up in Canada, it was unbelievably weird to hear him drawling my name, “Dahminic”. Let alone to hear him say ‘f**k’.

There’s a whole generation out there who know the 85-year-old actor only as the voice of Mayor Adam West in Family Guy. So for those newbies, and the old guard like me who watched it (nearly) first time around, I’ve rescued my 1988 interview with Adam West from the vaults. It appeared as a two-page feature in Time Out magazine, where I had recently started work as a sub-editor:

Having devoted half his life to walking up horizontal walls in leathers and skin-tight nylon and foiling fiendish death traps, Adam West is feeling the pressure. He speaks slowly and softly, his voice just occasionally tinged with that famous steel, lying flat out on his bed in the Mayfair Hilton. Even now the phone never stops ringing. In the few days he has spent in London, his first visit in seven years, he has been besieged with requests for exclusive interviews and had to turn them all down, save television appearances and this one. He is tickled when I tell him I am interviewing him for Time Out. ‘You mean you’re elevating me to the status of The Arts?’

At 58, he now tries to roll with the punches, but there was a time when he tried hard to shake off the role which keeps coming back to haunt him. ‘I made the mistake of allowing myself to be rushed into several movies very quickly when Batman folded (after three seasons), because I knew I’d have the typecasting problem, with Batman like an albatross round my neck. There was The Girl Who Knew Too Much, which was really awful, then another one, and I said “That’s it, f**k it, I’ve had it.”

‘So I just sat on the beach and licked my wounds for a year; carousing, boozing, anything just to get away. And then I began to realise I’ve given a lot of my life to this, this is what I want to do, I love the process of performing and acting. So I started doing anything I could. I did circuses, dinner theatre, avant-garde theatre … My God, I did The Happy Hooker Goes to Hollywood!’

Modest though he is, he can’t feign surprise at the virulent outbreak of Batmania when the series was revived, first on Night Network and then TV-am — causing ratings to leap by 25 per cent. He knows better than anyone the secret of its success: playing the straight-man with deadly seriousness week after week to anchor a sit-com whose wacky guest stars ranged from Eartha Kitt and Joan Collins to Vincent Price and Liberace. When the first series was broadcast in 1966, he was mobbed by admirers even in small mountain towns; and fame came with a high price-tag. “People would get a little ugly and say “Hey, you’re not so tough, I can take Batman.” I usually try to be reasonable, then turn round and run.’

Adam West and Frank Miller's Dark Knight comic -- how the interview first appeared in Time Out

Adam West and Frank Miller’s Dark Knight comic — how the interview appeared in Time Out

The current passion for all things ’60s is no hindrance to the new burst of popularity — ‘An Italian paper said, “in the ’60s, it’s the three Bs: Batman, Bond and the Beatles”.’ But the groundwork had already been laid by a peculiarly ’80s phenomenon: the huge sales and hype surrounding Frank Miller’s audacious adult comic book, Return of the Dark Knight. In it, Batman emerges from retirement grey-haired, embittered, determined to wage war against the increasingly mindless violence on the streets with equal brutality, his youthful sidekick no longer Robin the Boy Wonder, but a feisty feminist.

‘Isn’t that something,’ says Adam West of the book. And indeed he bears some similarity to the Dark Knight: still in good shape, his famous paunch if anything less noticeable, but the years showing in his greying locks, thick glasses, and the trenches in his cheeks. ‘I enjoyed it, its inventiveness, its artistry, a bit nihilistic and violent. If I were to do a Batman movie, I would like to have aspects of that.’

Ah, the Batman movie. Ever since Dark Knight appeared in 1986, rumours have been rife of a hard-hitting film that would forever banish the memory of the Camp Crusader. Last spring Dick Giordano, Vice-President of comics publishing giant DC which owns the rights to Batman, confided it had been scripted, would shortly enter production, and that — snigger — Adam West had applied for the part: anathema to the new, more serious breed of comics fan, particularly when rivals for the role include Mel Gibson.

But, after talking with him, the idea of West updating his role is by no means absurd. It would be entirely in keeping with the idea of Return of the Dark Knight, and he displays an intelligent, even poetic approach to film-making. When I show him a proof copy of The Killing Joke, Batman’s latest foray into the ’80s, he is enrapt by the brooding artwork, evidently visualising it as a storyboard. But when his eye alights on a page featuring a graphic shooting, he is suddenly angered.

‘On film this would be Peckinpah, slo-mo Wild Bunch. You don’t need to do this — blow people away with huge holes, blood splattering all over the place. But you can (and here his tone becomes conspiratorial) lop off a villain’s head with thin Batwire (chuckles) that snakes out of your utility belt — wssst! — and the head lops off and rolls across a full moon, bloodless.

‘I think in the final scenes of something, if it’s bizarre and mysterious, you can still have Alfred the butler driving the old Batmobile to the rescue. In the picture we’d have been using all hi-tech, wonderful slick new stuff, so you haven’t seen it before, and at the critical moment, there’s Alfred, driving the old Batmobile. People would stand up and cheer, it’s like the cavalry.’

But unlike the Dark Knight, Adam West is powerless to effect his own return, and frustrated at his new enemy: he can hardly sock the face of the corporate power which prevents him from using the character he has made his own. ‘Yes, I care about the character. It’s 20 years of my life, my career. I’ve seen so many people, signed autographs, shaken hands, done television — South America, the Amazon even; anything I can do to keep this thing fresh and alive. I don’t mean to sit here and weep about sacrifice in roles or other directions my career might have taken; I just put a hell of a lot of work into this thing and dammit, I know, better than anyone else, the best opportunities to do a smashing Batman movie. I hate to see the character denigrated, experimented with. Ruined.

‘Integrity,’ he continues, hammering out each syllable with very Batman-like force, ‘is vital, organic to the project! Sometimes I just don’t know. I mean we sit here and talk, and you’ve caught me at a moment when I’m very relaxed… Sometimes I think, I really don’t give a damn. Now, am I tired? Am I losing a little energy, am I getting older? No, I just think I really don’t give a damn because I already did it!’

But West isn’t resting on his laurels. No less than three features are in the can, to be released, in America at least, sometime this year: Doing Time On Planet Earth, an off-the-wall comedy; Mad About You, a romantic comedy; and Return Fire, an action pic.

As for the spirit of ’66, that will be recreated in April in a two-week stage show for charity at the Bloomsbury Theatre, called Batman and Robin: The Last Re-run (the show was produced and directed by John Gore, now a major producer and CEO of Key Brand Entertainment). West won’t be appearing, but preliminary glimpses of the script suggest it will be hysterically funny, with the shadow of Dark Knight nowhere evident, and walk-on parts suggesting other TV shows of the era like Star Trek and Man From UNCLE. Huge, colourful cardboard cut-outs will supply the full array of Batgadgets, as well as the BIFFs, KA-POWs and ZZWAPs.

And what of Burt Ward, aka Robin? How has he weathered the Dark Knight era? During the ’60s he had problems coping with his overnight success, going on about his ‘million-dollar face’. Now, says West, ‘Burt’s a kind of super-businessman. Robin the mogul!’

 

The Hartlepool Monkey: how we made comic-book history

21 Sep

ImageSummer’s always full of comics turned into films. We’ve had Superman, Iron Man 3, Wolverine, 2 Guns, Red II and Kick Ass II, with R.I.P.D. still to come. But comics aren’t all about superheroes – in fact this year’s Cannes Palme D’Or winner, Blue Is The Warmest Colour (opening Nov 15 in the UK), was based on a graphic novel.

The world of comics is much more diverse than some people realise, as demonstrated by The Hartlepool Monkey, a French graphic novel which I co-translated with the multi-award-winning Frank Wynne, published in the UK in early October. It’s based on the true story (the details of which are shrouded in legend) of a monkey who was washed ashore from a wrecked Napoleonic vessel, and hanged by the Hartlepool locals who mistook the small, hairy brute for a Frenchman.

To this day, the Hartlepool football team has a monkey as its mascot. In a bizarre twist of fate, the man in the monkey suit ran for mayor in 2002 on a platform of free bananas for school children… and won. He was even reelected in 2005 and 2009.

The graphic novel is terrific, so much so that it recently won the prestigious “Rendez-vous de l’histoire” prize, awarded by a distinguished panel of historians. Sadly, my excitement at opening an advance copy was somewhat diminished by discovering that the English-language edition had one salient omission: our translators’ credits were mistakenly left off! Ah well. Virtue is its own reward. (And the fee, of course.)

You can find advance previews here: Propermag, The Times (paywalled), Hartlepool Mail, Forbidden Planet, and The Crack magazine. To pre-order from Amazon, click here.

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