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Antonio Solinas is member of the editorial staff of "Rorschach", an authoritative Italian comics web magazine.
Writing about Alan Moore is probably the most difficult thing a comic book fan can think of. Too much charisma, too many writing skills: it's impossible not to feel overwhelmed by a subtle anguish that doesn't fade away, not even after a couple of (ridiculous) sentences...
In a sense, Moore is like Doctor Manatthan: a real "Ÿbermensch" in the world of comic writers, so far away, so inaccessible, so "beyond" (to be honest, sometimes one is tempted to think that Moore is beyond the limit of mental sanity too).
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The technique of the Master is so perfect that sometimes it even kills passion (and this is the only -small- defect that I could think of, probably. For example, I could easily spot fifty defects in Garth Ennis, I reckon) and his fussiness legendary. For example, in a famous interview published by the Comics Journal, Gibbons revealed that, when reading the script of Watchmen, he had to buy a marker in order to highlight the things it was REALLY possible to fit
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in the panels: can anyone imagine how rich and detailed the description of the facts and characters was?
All these thoughts, obviously, don't help me feeling comfortable at all, but since I am part of the bullpen of an e-zine that is named after one of the most brilliant characters of the man from Northampton, Rorschach (but how can a character not be brilliant, in Moore's hands? He succeeded in making credible Rob Liefeld's second-hand superheroes...), I'll try my best, sure to embarrass myself in the worst way.
There is a moment I still remember with pleasure, after many years. It is a conversation about Moore I had with Peppe Ferrandino. In particular, we talked about Watchmen.
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