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PPS eg Ste) written by r ALAN MOORE illustration JACEN BURROWS cover JUAN JOSE RYP tones & cover color NIMBUS “~ Y*e0 it’s a funny old world. Last year Mad Dog referred to me as the Che Guevara of the comic industry. Last week, Dave Gibbons informed me that I was now its Terry Wogan. Although I have no idea how this startling metamorphosis came about, I must reluctantly accept it as the unadomed truth and wait in terror for the final, inevitable transformation into Pete Murray. Even with that said, however, I’m afraid I find my tendencies towards self-publicity almost impossible to restrain, so stand prepared as the most overexposed man in funnybooks whips it out once again. The biggest difficulty in writing about any creative activity, from writing itself to automobile- devouring, is that in most cases the articles or interviews that result seem to be unable to rise above plain technical information and lists of preferred tools. I don’t want to fall into the same rut here by telling you which LN typewriter I use or what sort of carbon paper I think is best, since this information will not make the slightest difference to how well you write. Similarly, I don’t think that a precise breakdown of my work process would be of much use, since I find it tends to vary wildly from story to story and that all writers tend to develop their own approach in response to their own circumstances. Above all, I don’t want to produce anything that smacks even remotely | of “How to Write Comics the Alan. Moore Way.” Teaching a generation of emergent artists or writers how to copy the generation that came before was a stupid idea when Marvel introduced their “How to Draw...” book and it would be equally irresponsible of me to instruct up-and- coming writers on how to write sickly extravagant captions like “Dawn transformed the sky into an abattoir” or whatever. John Buscema is a fine artist, but the industry doesn’t need 50