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It was a very exciting time of my life!
Alan Moore has been my favorite comics writer since I was a teen.
His work didn't just entertain me.
It taught me what I know about modern philosophy and deeply shaped my political views.
sm: How is not only to work with but to co-create with a comics living legend such as writer Alan Moore?
GH: Intimidating. He's a bit like Gandalf, but he talks like a British plumber instead of a British professor. He's perfectly at ease with himself, and he makes you feel comfortable too.
He's full of wonderful stories, and he loves to hear a good stories. You really can't help but notice how good he is at understanding how to tell stories. He's always aware how any plotline will affect the story for 10 or 20 issues ahead.
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And something new always pops up on every page.
I'll feed him ideas, and I'm always surprised by which ones he'll use and how he'll change them. I had an idea for Superman as an alcoholic, with super-vomit. Alan took that idea, but applied it to a Japanese movie monster instead. That's how we ended up with Gograh.
I'd love to meet him someday, but so far I've only exchanged letters and talked to him on the phone.
sm: It was the same for me. Last year I was at the Bristol Con to premiere the Alan Moore tribute book that I, Gary Millidge and Omar Martini put together. Some weeks before Omar talked with Alan and he agreed to visit him in Northampton. But at the last minute he had some problem and we couldn't meet him.
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I also never talked at the phone with him. I tried twice to call him but without success.
Oh, I sent him some letters and... a Sardinian Carnival mask ;)
Hope to meet him sooner or later...
Back to your
Top Ten
work.
I'd like to know more details about the way you and Zanner Cannon worked together. If I remember well in the first issues Zander was only inking, then he started to do the layouts and you worked on the detailed pencils and the final art, right?
GH: Zander began on page 13 of issue 1. He began doing layouts. He read the script and created the compositions. These were very rough. He'd draw ovals for heads and tubes and rectangles for limbs. Just enough detail so I could recognize the different characters.
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