title: [LUNGHISSIMO] Intervista (in inglese) ad Alan Moore su Forbidden Planet

author: Andy Roid

text:
http://forbiddenplanet.co.uk/blog/?p=7895
http://forbiddenplanet.co.uk/blog/?p=7911
Ecco il copia ed incolla brutale del testo. Ovviamente per una migliore
leggibilita' si consiglia di andare a leggersela direttamente ai link
riportati sopra.
**** prima parte *******************************************************
We’re off to see the Wizard, the wonderful Wizard of Northampton -
Pádraig Ó Méalóid talks to Alan Moore
June 13th, 2008
Filed under: Interviews, Books, Graphic Novels, Comics and cartoons �
Joe @ 12:05 am
I’ve been friends with Pádraig Ó Méalóid years – he’s been heavily
involved with the comics and science fiction scene in Ireland (including
a fair bit of time organising the major P-Con event, which has been host
to many top SF and comics writers and artists) and he writes extensively
on both SF and the comics medium, at least when he can tear himself away
from watching Stephen Fry on QI. While he’s reviewed and promoted many
different comics and books over the years, I know that his particular,
personal favourite has always been the works of Britain’s Graphical
Wizard in Residence, Mr Alan Moore (he has a Moore-specific Live
Journal, Glycon, here). When the extreme good fortune to have someone
chat to Alan came up, I couldn’t think on anyone better suited..
Obviously I’m biased as I’ve been reading Alan’s work since I was a kid
sitting with 2000 AD’s Future Shocks and followed him as he’s practised
alchemy on the entire medium ever since, but I think Pádraig and Alan
have something fascinating for you here, talking about new works like
the third League of Extraordinary Gentlemen and the Lost Girls, touching
on earlier material, as well as Alan’s prose work, performance art and
his experiences and opinions on dealing with publishers, large and
small.
Alan Moore at GOSH.jpg
(Alan at a signing at Gosh for the UK release of the Lost Girls,
borrowed from Joel Meadows’ blog)
This interview was conducted by phone by Pádraig and it’s quite a long
piece, so today we’re presenting the first part of it, with more to
follow. I’d like to thank Alan very much for giving up a good chunk of
his free time to chat to Pádraig; thanks also go to Top Shelf’s Chris
Staros, gentleman publisher, who was kind enough to set the whole thing
up for us all and, of course, to Pádraig for conducting the interview
and then taking the time to go through the entire long phone
conversation and transcribe it (a very time consuming process) so we
could share it with our readers. Without further ado, it’s over to
Pádraig and Alan:
P: Lost Girls has been out in the States since October 2006, and it’s
only recently out in the UK. Was there any surge of interest in it when
it was released in the UK, or did it just come out and that was that?
AM: Well there was a certain amount, we’re getting good reviews, it’s
apparently selling very well, and the only thing that was surprising was
that there was no trouble, either in the American release or the British
one, or any of the European ones that we’ve heard of so far. It’s that
there hasn’t been - we didn’t know what might happen, and we were
certainly prepared to have to defend Lost Girls, perhaps in a court of
law and we were confident that we could do that, but…
Melinda Gebbie Alan Moore Lost Girls.jpg
P: Do you mean on copyright reasons or on content?
AM: With the current moral climate, especially in America where we have,
for the first time in decades, the moral majority practically running
the country. So we didn’t know, and there’s certainly been far more
innocuous book than Lost Girls, I’m thinking of Alison Bechdel’s Fun
Home, and Craig Thompson’s Blankets…
P: Did that have problems? I didn’t think there was anything
particularly peculiar about that, shall we say?
AM: Well, Craig Thompson’s Blankets is one of the most innocuous, sweet,
- it’s practically too sweet for my tastes…
P: I know what you mean, it really is lovely, squeaky clean stuff.
AM: It is! And both of those books were seized in a raid in Atlanta, I
believe, and they were seized upon by some right-wing senators who
presumably wanted to make a big fuss in the papers, and there’s barely
any sexual content in them at all.
P: Yes, particularly Blankets, when the whole point is that he was
keeping himself pure all the way through.
AM: Well, it’s just a very sweet little story. I believe that there is
one scene where they are, a boy and a girl, under a blanket, and this
was apparently the brink of obscenity that the senator was trying to
stop America from plunging over. There was somebody that Melinda met
when she was over there, a proprietor of a store who’d had a terrible
situation where I believe somebody had bought a book that had a picture,
taken from a photograph, of a drawing of Pablo Picasso working at his
easel, naked. And this led to this store owner and his wife, they were
ostracised by their community, they had a really horrific couple of
years of it, with all these court appearances, and things like that, and
yet with Lost Girls, which is very upfront about being pornography, we
haven’t had any trouble at all, possibly because we are upfront about
it, I don’t know whether that’s wrong-footed people.
P: They can’t really come around and say “Oh my God!” when you’re
saying, “Yes, we actually knew this is what was in it. We put it in it!”
I’m living in Ireland, and we come from a very repressive regime with
the Catholic church, not terribly long ago, and it’s just odd to me that
I can go into a shop and I can buy it now, and there’s no problem, -
it’s on a high shelf, which means only tall people can read it - but we
have changed here, and I’m seeing America where you’d imagine they
should be more liberal, more outgoing, than we are, but no, not a bit of
it.”
The Lost Girls Top Shelf.jpg
(a spread of the Lost Girls, borrowed from the Top Shelf site)
AM: It’s very strange the way that Lost Girls just seems to be… over the
radar?
P: One of the things you were supposed to be trying to set out to do was
to, is it reclaim pornography, for want of a better word?
AM: To reclaim it, to rehabilitate it.
P: And do you think that’s worked? Do you think you’ve done anything?
AM: It seems, at least in the case of Lost Girls, there is now an
existing piece of erotica or pornography which people, in the debate
upon obscenity or pornography, can now point to and say, “What about
Lost Girls?” Now if that is all that it’s done - and I don’t think
there’s going to be a huge rush of publications like Lost Girls in the
very near future because both me and Melinda are very good at what we
do, and it took us sixteen-eighteen years, so I doubt there’ll be very
many people queuing up to do anything quite like Lost Girls - but, at
the same time, Lost Girls exists. It’s a kind of benchmark. I’m not
expecting, I don’t know, all of Richard Desmond’s vast array of smutty
periodicals to suddenly clean up their act overnight and become
aesthetic and intellectual works of art, but, Lost Girls exists.
It’s like when you’ve got people like Angela Carter who, in her book The
Sadeian Women, she admitted that there was the possibility she could
imagine a form of pornography that was benign, that was imaginative, was
beautiful, and which didn’t have the problems that she saw in a lot of
other pornography. I think even Andrea Dworkin said the same thing. She
said it a bit more grudgingly, but she said that conceivably there was,
there could be, a benign form of pornography but she didn’t personally
believe that it would ever happen. So that’s what we’ve tried to do.
We’ve tried to say, yes, good pornography can exist, and I think that
possibly the fact that we called it pornography wrong-footed a lot of
the people who, if we’d have come out and said, “well, this is a work of
art,” they would have probably all said, “no it’s not, it’s
pornography.” So because we’re saying, “this is pornography,” they’re
saying, “no it’s not, it’s art,” and people don’t realise quite what
they’ve said.
P: Have sales been good? It’s a big expensive three-volume box thing.
AM: It’s very, very reasonable considering the quality of the
merchandise. But it still seems to be selling well as far as everything
we hear about it. The tiny little local comic shop, Phoenix Comics, has
sold thirty copies which, for a book that size, you’d have to sell a lot
of Marvel and DC comics…
P: Another thing is that for fiction publishers, hardback fiction is
kind of just dropping out of the water. Some of them are not publishing
in hardback any more, but there seems to be a big hardback boom in
comics.
AM: Well I think this is something to do with the internet. I think that
as culture becomes more and more virtual, as more and more things are
available online, then I think that in some inverse way the beautiful
artefact becomes much more valuable and that was partly why, largely at
Melinda [Gebbie]’s insistence, that we made Lost Girls as beautiful an
artefact as we were capable of doing. Chris [Staros] asked Melinda what
her perfect vision of the book would be, and Melinda was entirely the
wrong person to ask that question because she’s got a really vivid idea
of all the things she wanted to do with the book, and Chris listened to
it all, he took a deep breath, and he said that he’d do his best to
actually fulfil that, and he more than fulfilled it.
P: Yes, it’s beautiful.
Lost Girls shadow sex.jpg
(two parallel scenes for the price of one; exploring the shadow world of
sex and sensuality in the Lost Girls by Alan Moore, art by Melinda
Gebbie)
AM: It’s a beautiful piece of work. I think that apparently the hardback
collections are about the only thing where you’ve got signs of an
increase in sales. The pamphlets are falling by the wayside and you’ve
got to suspect that this is probably the future. I would like to see a
world in which - it’s a pity that you couldn’t always have had comics
that were just for kids, and it’s a pity that they had to change into
something that they probably weren’t designed to ever be, but I think
that what is likely to happen over the next ten or twenty years is that
you’ll have more and more of the traditional comic companies, even the
big ones, starting to lose ground against mainstream publishers who have
suddenly realised that there is quite a bit of money to be made in
hardback graphic novels or whatever you prefer to call them.
P: They’re also giving very good deals to people, I think Bryan Talbot
with Alice in Sunderland is very happy with Jonathan Cape.
AM: They seem to be going out of their way to engage a lot of comics
talent and you can only suspect that this trend will continue and it’s
good. What I would like to see in an ideal world is for the large comic
companies to be taken down a peg or six. It might be nice if they got
back to producing cheap genuinely entertaining stories for children. I
don’t think that’ll happen, I don’t think they’ve got a way back there.
P: I think that with the big comic companies, the ways they did things -
which I think I saw you describing as from their gangster beginnings -
when they just said, “we want all the rights to everything and that’s it
in perpetuity.” Now recently a little chink in that some of the rights
to early Superman were given back to Jerry Siegel’s family. Did you hear
about that?
AM: I heard something - there’s several different cases, including the
rights to Superboy.
P: Superboy is a separate issue, I think, but apparently will be seen as
arising out of this. I think it’s just a tiny thing, where they have
said, “for this particular point, this particular thing, we say that you
have the rights,” because apparently an act of Congress recently said
that anything that people sold the rights to before 1978 they’re now
allowed to go back and renegotiate or have another think about what they
did, and on the basis of that Jerry Siegel’s family have been awarded
back some rights to Superman.
AM: Well that’s good. It’s still probably nowhere near enough, but it’s
a chink in the armour, like you say.
P: It’s a start.
AM: Things have changed for comics over this past twenty five years or
so. They’ve had a spotlight thrown upon them, and they can’t really get
away with the subterranean practices that they’d been happily engaging
in since the late thirties, you know what I mean? It was good for them
in a certain sense, in that they made lots of money, when they were
getting all of those articles saying “Bam! Sock! Pow! Comics aren’t just
for kids anymore.”
I think that some of the uneasiness that I felt around the upper
echelons of DC and Marvel back then was probably caused by the fact that
the attention that the comics boom of the mid-eighties brought to those
companies was a bit of a two-edged sword, because all of a sudden there
was the possibility of creators outgrowing the actual comic industry and
having somewhere else to go, which has not really existed before.
There were great creators in the past but they felt trapped, in some
senses quite rightly, because none of them were very well know outside
the relatively tiny field of comics, but that’s changed, it’s different
now, and there are certain creators around who actually don’t need the
comic industry as it stands.
P: I think it needs them more than they need it.
AM: Which makes their behaviour ever more perverse, because they have
alienated everybody who could have possibly saved them…
P: And yourself. If you’d been treated well you would presumably still
be working for them, or for someone…
AM: Of course. If they hadn’t tried to steal pocket change from us at
the beginning, ‘cause that was when it was, that was the thing that
started to queer the pitch, was when we realised that they were trying
to pretend that Watchmen merchandise was self-financing promotional
material, and me and Dave, not being completely stupid, said, “Yeah, but
if you make profits from this self-promoting, self-financing promotional
material, then it’s merchandise, isn’t it? And we have to get some of
that, don’t we?”
And it was, again, it was a few thousand dollars. If they had not tried
to pick our pockets then we would have continued – we were enjoying
doing the work – who knows what the comic industry might be like now,
but I suspect that it would be a lot better place than the place that it
has become. From everything that I hear from the few contacts that I
still have in the industry it seems like DC and, well - at least DC -
are trying harder than ever to crack down upon the talent. Everybody has
to have an exclusive contract, they are free to actually alter your work
on computer without consulting you, and they do this if they feel that
it’s justified.
It was starting to look promising at some point in the eighties. There
were a lot of those things that they were starting to tentatively
introduce, I think they’ve rolled them back. They don’t think that the
liberal experiment of the eighties worked. I think that they thought it
brought them more trouble than it solved.
P: I see. OK, the next thing you have coming out is League of
Extraordinary Gentlemen: Century, volume three of the League?
AM: The first part should be out later this year.
League Extraordinary Gentlemen 3 - Century Alan Moore Kevin ONeill.jpg
(artwork for the League of Extraordinary Gentlemen: Century, borrowed
from the Top Shelf site and (C) Kevin O’Neill and Alan Moore)
P: Should it? OK, good.
AM: Century - that’s the overall title of volume three - is going to be
in three books. Now we figured that we wanted to do three seventy-two
page issues rather than, say, six twenty-four page comics, because we
wanted to be able to tell a complete story in each issue, and they do
build up into a narrative arc that spans the century of the title, but
they’re each complete and satisfying in themselves. They’re set in three
different time periods, so there won’t be a long nail-biting wait
because, quite frankly, Kevin [O’Neill]’s going to take as long as
Kevin’s going to take, and I wouldn’t have it any other way.
When people see the work that he’s doing - the Black Dossier itself was
absolutely marvellous, he’s excelling himself, and it’s a very different
feel to the other League books. For one thing we’re liberated from
working for a mainstream comic company, and that has made some
difference. It wasn’t even a conscious decision, it was just that
working for Top Shelf is a much more pleasant and inviting experience
and so we felt that, at least in this first issue, there’s not so much
action as there was in the first couple of volumes and in the Black
Dossier. It’s as if we feel freed from the conventions of boys’
adventure comics, and so it’s a lot more atmospheric, it builds to a
tremendously bloody climax, it’s a slow build. We’re thrilled with it.
It’s got some songs in it, it’s a musical.
LOEG Black Dossier.jpg
(detail from the League of Extraordinary Gentlemen: the Black Dossier,
by Alan Moore and Kev O’Neill)
P: I’m looking forward to seeing it.
AM: That’s coming along well, then I’ve got the second one written which
Kevin can start as soon as he’s finished this first one, and then I’m
going to be probably starting writing the third one, which is set in the
present day. That might be… that’ll probably be 2009. So…
P: So we should see the lot of them maybe by the end of 2009?
AM: It’s possible. It’s possible, that sounds about feasible though I
wouldn’t want to promise anything, and it would depend upon how long it
takes Kevin to draw them because there’s not many people who actually
work in the way that Kevin does anymore. It’s very seldom that you’re
going to see just that amount of art - it’s just like with Melinda on
Lost Girls.
These are handmade things and Kevin doesn’t work on a computer. There
are actually pages of Kevin O’Neill original art are around, just like
there are pages of Melinda Gebbie art around.
P: Earlier on I was watching the extras from The Mindscape of Alan
Moore, and there’s the interview with Kevin and he has these huge pages
of black and white, beautiful artwork from the earlier volumes of
League. They’re just absolutely gorgeous!
AM: It is, absolutely. Everybody works in the way that they want to,
but, there hasn’t been a page of Brian Bolland artwork in the past
twenty years.
P: Speaking of Brian Bolland, did you see he redid the colouring on
Killing Joke?
AM: I didn’t because I had told DC never to send me anything again that
wasn’t money, and I didn’t even know that there’d been a new version of
The Killing Joke, and, after the way that I was treated, and continue to
a certain extent to be treated…
P: I was just wondering if, I think he’d always said he was unhappy with
the colouring work on it and he’d completely redone it. DC are still
milking your back catalogue, and they were bringing out a hardback
version…
AM: They just don’t send me them any more, and that’s fine by me. To a
certain degree I’ve detached myself from all that stuff. I would be
quite happy if I never heard the names of those books ever again.
P: I’m very sorry for bringing it up.
AM: I’m not saying anything about you, its because obviously I did write
them, it’s just that they’re all owned by DC Comics, and DC stole them
from me, much the same as they stole everything else that they own, so
all of these toys with Alan Moore and Brian Bolland’s Killing Joke
commemorative, which I’d only seen when I go into a shop; if they’d
asked me I wouldn’t have had my name on those.
I’m quite happy with the work that I actually own, which means that
ninety per cent of my work I have effectively disowned, which of course
was painful, but it’s a small price to pay if it means that I have to
have nothing to do with those people ever again. I think I might have
signed a couple of the books when I down at the local Waterstone’s
earlier on, but I didn’t even look at them then, I was doing a favour
for the manager.
P: That’s fair enough, it was good of you to do so. I’ll tell you what I
am looking forward to seeing is the Moon and Serpent Bumper Book of
Magic.
AM: That’s proceeding apace. Me and Steve [Moore] are writing it all and
it’s turning into quite a wonderful thing, There’s so many different
sections that are scattered through it. We have been working upon – one
of the strands is this Old Moore’s Lives of the Great Enchanters where I
think it’s fifty-two full pages that are laid out a bit like the old
Ripley’s Believe it or Not, where you’ve got five panels with captions,
and we’re starting out with the Dancing Sorcerer from the Trois Freres
cave in France, the picture of the guy with antlers prancing around –
it’s the first representation of a magician.
Moon and Serpent Bumper Book of Magic Alan Moore Steve Moore.jpg
(cover art for the Moon and Serpent Bumper Book of Magic by Alan Moore
and Steve Moore)
P: Yes, I know the one you mean.
AM: Then we move up through the Persian Magi and Zarathustra, because,
after the Stone Age shamanic period, that is the first record of actual
magic, and then we move up through real, fictitious, and semi-real
figures like King Solomon, Circe, Medea, until we get to Apollonius of
Tyana. We’ve got Merlin in there –he never existed, but that’s not
really important. He was the first Christian-approved magician. Because
prior to that you’d got Simon Magus, who was actually a conflation of
two figures. There was Simon the Magician, who was a travelling
magician, and there was Simon the head of the Gnostics, which was of
course the largest rival to Christianity, so by squeezing them both into
one figure, and making this tale of the vain magician who has a duel
with Saint Peter in Rome and flies through the air but is brought down
by the power of God - it was all a propaganda story. It made Simon the
first black magician, and then later the story of Merlin - he’s supposed
to be the son of the Devil, he did help out King Arthur with all that
Holy Grail business, so it’s alright - he’s the magician it’s alright
for Christians to like, so he’s the first white magician.
And then we move on to ones that almost certainly existed, like Roger
Bacon and people like that, and we carry on right up to the present day,
and the modern magi, such as they are. And there are pages of
theoretical essays upon what magic is and how it works. There’re
practical articles on how to actually do the different things that magic
can do. There’s this bestiary of demons and gods and other things that
you might be lucky or unfortunate enough to bump into.
I think it’s fairly rational, and it’s going to be very beautiful. We’ve
got all these lovely artists, Melinda’s doing a pop-up temple, right,
for the modern magus on the move, and Kevin’s doing this seven or
eight-page life of Alexander, which will be done in a Radio Fun style of
thing, which will detail the life of Alexander of Abonuteichos who was
the creator of Glycon, my patron deity.
P: I’m familiar with Glycon, yes.
AM: So there’s a Kaballah board game which we’re struggling with at the
moment. It’s do-able but we’re just got to work out some layout
problems. There’s the Tarot deck that I shall be commencing with José
Villarubia…
P: Is that a separate Tarot deck, or is it just going to be…
AM: It’ll be a Tarot deck that will be included in the Bumper Book with
cut-out cards, but we probably will be bringing it out in a separate
deck as well for people who don’t want to cut up the Bumper Book.
P: That’s a very good idea!
AM: So, we have a lot of this stuff, it’s still in the planning stages.
I think that me and Steve have written about a quarter of the book so
far, but Steve’s got a lot of pressure on at the moment and we are
having to work more or less around what is possible for him, but that’s
coming on nicely.
P: That’s something I’m really looking forward to it.
AM: We just wanted to get rid of a lot of the pretentious, shadowy,
gothy atmosphere which people seem to try to contrive to cloak magic in.
In our experience, we find magic to be something which is profound,
human, beautiful, occasionally very, very funny, and we want to do a
book that reflects that, which has got all of the excitement and all of
the pulp fiction side of it, that has got all the rest of magic as well.
Neither me nor Steve are huge fans of modern, say, chaos magic, and this
is our proposed antidote, something that is a lot less self-conscious
and hopefully a lot closer to the spirit of what, in our opinion,
genuine magic is about.
Still to come - Alan chats to Pádraig about his prose work, performance
art, Melinda’s work, his daughter Leah and her husband John’s (both good
friends of the blog) burgeoning creative career, psychogeography and the
influence the environment has on the creative influence and the
re-appearance of early, ‘lost’ Alan Moore works which have been rescued,
scanned and restored to readers through the magic of the web (quite a
few of which were done by Pádraig himself, I might add!) and more.
**** seconda parte *****************************************************
You want Moore? You got it!
June 19th, 2008
Filed under: Interviews, Graphic Novels, Comics and cartoons � Joe @
12:02 am
Last week we posted the first part of a fascinating interview of Alan
Moore by Irish comics and SF expert Pádraig Ó Méalóid, in which they
discussed Alan’s earlier body of comics work and his contemporary titles
such as The Lost Girls and the next installments in the League of
Extraordinary Gentlemen, as well as his opinions on and experiences with
different publishers. We’re delighted to offer you the second part of
this chat, which ranges from, knighthoods to prose work and performance
art, work by his wife Melinda Gebbie and his daughter and son in law
Leah Moore and John Reppion and the importance of the fanzines and small
press scene. Once again FPI would like to thank Alan very much for
giving his time for this interview and to Pádraig for conducting it and
taking the time to transcribe it all for us to enjoy; special thanks
also to Chris Staros of Top Shelf for setting it up.
P: I wanted to ask you about Jerusalem, but before I get to that - Did
you hear about this petition that apparently exists on the 10 Downing
Street website to give you a knighthood?
AM: What??
P: Have you not heard about that?
AM: No, I think it is something that has escaped me… So what’s this
knighthood nonsense?
P: Apparently you can put a petition on the website for number 10
Downing Street, and your name is up there - somebody suggested that you
should become Sir Alan Moore, Sir Alan of Northampton.
AM: Well it’ll be nice to get the opportunity to turn it down. I’m sure
there’s a lot of other names on there, they’ve got Jim Davidson…
P: Yes, yes, they do…
P: OK. Jerusalem. One of the questions I wanted to ask you about
Jerusalem, is there going to be one of these intractable, impenetrable
first chapters like with Voice of the Fire?
AM: Now, I did deliberately put the Hob’s Hog chapter in Voice of the
Fire. I have been asked since why I did that. The only thing I could
think of was, to keep out scum. But with Jerusalem – it’s very, very
readable. It’s some of the most readable stuff that I’ve probably ever
written. I’ve just finished the second third of it, and the first third
is similar to Voice of the Fire in that it jumps around a bit from
narrator to narrator and from time to time, and it’s all set in
Northampton, but it’s got a different tone, it’s much more approachable.
The second section reads like, well, I’ve described it as reading like a
savage hallucinating Enid Blyton. It’s because there’s a gang of ghost
children that are the main characters, and even though there are very
adult things happening all around them, there’s something about having a
group of children that makes it into an Enid Blyton story, even though
the background of the story and everything that’s happening is
completely mental.
I’ve just started the third book which looks to be a bit more poetic, a
bit more experimental, but, as a whole, I think that the difficulty with
this book, it won’t be getting through the first chapter, it’ll just be
picking it up! It goes beyond criticism because nobody’s going to be
able to actually lift it. I just did the word-count the other day, I’ve
got to the two thirds mark and the word count is just over four hundred
thousand words, so that means, probably not quite three quarters of a
million, but more than half. It’s coming together very nicely.
Alan Moore Voice of the Fire.jpg
(Voice of the Fire, dust jacket designed by Chip Kidd, published Top
Shelf and (c) Alan Moore)
I’ve just read it all through a couple of weeks ago, I read the whole
thing from the start to where I’ve got to, and it’s actually quite good!
I’d forgotten a lot of the opening stuff because I’ve been doing it for
a couple of years now, but, very readable, and there’s some great
exciting stuff – and the fantasy in it is demented, it’s really
thrilling to write. With Voice of the Fire I really didn’t want to do a
book that was going to look like what it was, I didn’t want to do a book
that was going to look like a comic writer who was doing a novel, so I
didn’t want to make it any genre, I didn’t want to do a fantasy novel,
or a horror novel, or a science fiction novel, because that’s generally
what comic writers do. And, nothing against doing that, but I just
wanted to do something that was outside genre.
Now with Jerusalem, which is all based upon the area in which I live,
well, the area in which I grew up, I’ve got a hankering to call it
scientific fiction, just because I think I can argue the case for that
from a purist point of view, in that the central part of the novel
extrapolates upon known facts of science the central theme of the whole
book extrapolates upon known facts of science. I’ve got a couple of
quotes from Hawking, and a quote from Wittgenstein, and some things that
back up my general hypothesis so, yeah, I might call it scientific
fiction, just out of perversity, as much as anything else. Just to
confuse the people stocking the shelves at WH Smith.
P: Any idea when we would be looking forward to seeing that?
AM: Well, since I’ve started doing it, when people have said, “Any idea
how long it’ll be before we can look forward to seeing that?” I’ve said,
“It’ll be about two years.” I’ve been saying this for the past two years
I just realised the other day, so, realistically, if it takes me another
year to finish writing it, then it should take me less than a year to do
the cover, which I’m going to do – I’ve already got it started, and I
just felt like doing the cover - and to revise it, ‘cause I’ve been
having as go through, and there’s bits there where I’ve repeated myself,
given the same chunk of information in a couple of chapters because I’d
forgotten that I’d done it already.
There’s going to be bits of editing that I’m going to have to do, bits
of revision – I’ve got Steve Moore helping me, because he is the world’s
best editor, and he’s going through and sorting out a lot of the really
stupid mistakes that I’ve made, grammatical and spelling errors. He’s
great for that, he doesn’t touch any of the actual book, he doesn’t say
“I think we should lose half this chapter because it’s too broad,” he’s
just doing what an editor should do. So he’ll edit it and then I’ll
revise it, and when it’s as perfect as I can make it then, I guess a
couple of years, then it’ll be coming out.
And as for a publisher, at the moment I’m thinking it’ll probably be Top
Shelf. I don’t see any point, at the moment, in going with a big
publisher, because I’ve got a following independent of note who
publishes me, so the only thing the big publishers can offer you is more
exposure, and they don’t very often deliver with that, because they’ve
got so many people that they’re promoting that the chances of you
getting to the top of the list are slim, so it makes more sense for me
to work with a small, honest, scrupulous publisher like Chris Staros, so
it’ll probably be coming out from Top Shelf.
P: There was to be another novel, wasn’t there? A Grammar?
AM: Now that fell by the wayside because, it was after I had finished
Voice of the Fire. The only reason I did Voice of the Fire with Gollancz
was because I liked Faith Brooker. She was a great editor, she was
really nice, she looked after all the people who were working for her,
and she was treated abominably, and so when Gollancz asked me if I
wanted to carry on writing A Grammar I said, “Well actually I was really
only doing it for Faith, and she’s not working for you any more, so,
nah…” and to tell the truth, I hadn’t really got very far with the
concept. It was because Faith wanted another book quickly, I think it
would have helped her situation, that I’d come up with it at all, and
once Faith was out of the picture I really didn’t feel like making that
kind of investment.
Actually, this is going to be a better book, I think. Because, I was
going to be writing this story about the sheep track between – that was
what A Grammar was going to be – the sheep track between Wales and
Northampton, and that would have given me a lot of stuff, but it
wouldn’t have given me anywhere near the amount of stuff that I’ve
managed to come up with for Jerusalem. I’m not really repeating any of
the same territory that I used in Voice of the Fire.
It’s mostly all new stuff, well not new stuff, because most of it’s
historic, but I’m just finding out new material all the time. I found
out the other day that Hitler’s invasion plan for England ended with
Northampton, and there was also the eighth century monk who was directed
by angels to place a stone cross here because it was the centre of the
land. So the way I see it, that if people want to argue with me about
the importance of Northampton, then they’re not only arguing with me,
they’re arguing with God, and they’re arguing with Hitler. And that, I
think me, God, and Hitler, that’s the dream team!
P: The two books, Voice of the Fire and Jerusalem, are set very solidly
in Northampton. If you had been born somewhere else, do you think you’d
be able to have done the same sort of thing?
AM: That’s an interesting question, and, back when I started to get into
this psychogeography business, it was mainly because of the input of
Iain Sinclair, and just by circumstance the first works that I did were
largely set in London; From Hell, because that’s where the Jack the
Ripper murders happened, and a lot of the performance pieces that I did,
I’d been asked to appear at London venues, so with Voice of the Fire I
thought, “OK, well let’s see if I can do the same thing for Northampton
as Iain and Peter Ackroyd and people have done for London,” and, yes, it
was a great experience, and I think that the theory that I was working
on then was that this must be true of everywhere.
P: Yeah. Well, I feel that it’s certainly true of Dublin.
AM: Absolutely, it would certainly be true of Dublin, and I think that
this is part of the problem, because if you were to try and do the
psychogeography of Dublin you would find that there is a mass of
wonderful material. Iain does it about London, I do it about
Northampton. We find these things, and that tends to make us think that
every square yard on the surface of the British Isles must be of
enormous psychogeographical significance.
That was the theory I was working on, and then, when Iain was working on
his last book, Edge of the Orison, where he was following trails
relating to John Clare, and he was visiting places like Peterborough and
Kettering, and he came over to Northampton because Clare spent a lot of
his time in the asylum, and Iain was saying that the book really only
came to life when he came to Northampton. He was saying, “Your
Northampton, it’s a fantastic place,” and I said, “Well yeah, obviously
I think so,” I said, “but you could probably say that about everywhere,
couldn’t you?” and he said, “No, I’m not so sure.” He said Kettering is
completely dead. He said Peterborough is completely dead. He said he
couldn’t pick up the least tremor of resonance, that there was nothing -
and Iain’s very good at picking tremors of resonance. If there’s
anything there his antennae are very finely tuned.
So I suppose the vote’s still out on that one. I would have said, “If
I’dve been born anywhere I could have done The Voice of the Fire or
Jerusalem,” but the more I get into Jerusalem, the more I feel that, no,
I couldn’t have written this novel about anywhere, I certainly couldn’t.
Alan Moore by JosÃ© Villarrubia Voice of the Fire.jpg
(Alan in urban shamanic mode in Voice of the Fire, art by José
Villarrubia, published Top Shelf)
P: No, you could only write the novel you could write about somewhere!
AM: Well that’s it. But it’s also that I’m becoming more aware of just
how extraordinary Northampton is.
P: I’m looking forward to actually going over, to seeing the place. I
have a certain curiosity…
AM: Well, you’ll be able to come and check out those opening scenes of
Big Numbers, and things like that. We’re the Mecca of the Midlands.
P: Speaking of Big Numbers, is anything ever going to happen with Big
Numbers?
AM: No. I tried, and I tried, and I tried. The initial comic collapsed,
then we tried to get a replacement artist in, and he fled screaming into
the night, and then I was working with a guy who was suggesting it as a
television programme of twelve hour long episodes, something like Our
Friends in the North, maybe, but with more fractal mathematics. There
were some people working on a screenplay for that, a teleplay or
whatever they call it, but that didn’t really happen, so that time it
was three strikes and you’re out.
I really wouldn’t be able to summon the energy to finish Big Numbers,
although in some ways, a lot of the stuff that I was thinking about with
Big Numbers is going to be completely applicable to Jerusalem. Not in
the same sense, not the same characters, not the same story, but some of
the same spirit. So, I think that Big Numbers is probably going to be
Edwin Drood, but everyone should probably have at least one.
P: You mentioned the performance pieces. Are there any more?
AM: I haven’t seen Tim Perkins – we’ve spoken – but I haven’t seen him
for a couple of years now because he went against all my best advice and
he reproduced. He’s got a wife and two children, and he’s living over in
Oxford, and he’s apparently doing well with his composing and he’s
taking his BA, I believe – or is it a PhD? – in musicology, I’m not
sure, but he’s doing famously, but we were talking the other day and he
was saying about coming over to visit sometime soon, and so that we can
start work upon another album. We’re not sure what, but one of the
things that Chris has always said is that if me and Tim get another
album done, that would give him an excuse for bringing out the previous
– five…?
P: Yeah, something like that, five or six. It depends on which ones
you’re counting…
AM: And do a nice little retrospective package, and include this one as
well.
P: That would be nice, because somebody was mentioning to me that
they’re all currently unavailable.
AM: So me and Tim are thinking of - we’re not sure what yet, there’s
different possibilities, it might be another performance piece. It might
be a performance piece in Northampton, which I’ve never actually done
yet, so that could be fun, but we will have to see.
P: A few of those have been adapted for comics. I know Eddie Campbell
did two of them. Am I right in hearing that Melinda is going to do Angel
Passage?
AM: That is the plan, although there are other things, other projects
that she’s got involved in - she’s working on a beautiful series of
paintings at the moment and she’s working on a book about her
experiences in the San Francisco underground scene, and life experiences
in general, because she’s had quite an astonishing life.
P: I imagine so, yes.
AM: She’s danced with James Brown, and there’s not many people who can
say that…
P: And she ended up in Northampton!
AM: But, eh, the Blake thing is still, she’s hoping that she can get
around to it. She’s done a couple of pictures, but the other things have
taken precedence, so, it might happen.
P: I actually have a lot of odd bits and pieces of your output, and I
scan some of them and I put them on the internet because – particularly
the stuff that’s out of print – which I hope you don’t mind?
AM: Not at all mate. Someone told me that most of The Stars My
Degradation is on the internet.
P: A lot of that I started off - I bought a few of them on eBay – eBay
is absolutely great for stuff like that – I bought a bunch of them, and
I got in touch with this guy who has a site called 4 Color Heroes, and I
said, “If I scan them, do you want put them up?” because he already had
a thing called Moore for Free, and I sent him off forty of them, and
then various other people sent them in, and I think virtually all of it
is up there.
AM: Well that’s great, Pádraig, I’ve got, because people have said,
“Hey, can we bring out a book of it,” and I’ve said, “well, no, because
I don’t want to make any money out of it because I don’t think it’s good
enough.”
I’ve got no problem at all with it being on the ‘net, in fact I’m quite
pleased that it’s on the ‘net. Steve Moore was telling me the other day,
‘cause he’s just sold the rights to the Pressbutton computer game, which
is fantastic. It’s some much needed income for Steve and and I’ve said
that it’s perfectly alright by me if he wants to use the Three Eyes
McGurk material from Dark Star or any of the stuff that I came up with
in The Stars My Degradation, so, it’s funny how these things raise their
heads from time to time.
Alan Moore Bride Pressbutton Stars my Degradation.jpg
(a panel from the Star my Degradation tale Bride of Pressbutton, written
and illustrated by Alan Moore, borrowed from Glycon; you can find more
‘lost’ work on Moore for Free)
P: The Sounds thing, somebody was saying that it’s the longest
unpublished piece of work which you’ve done…
AM: That’s probably true. Yes, and it will probably remain unpublished.
I’m glad, it’s nice that it’s out there on the ‘net. The thing is, I was
doing me best at the time, even if I didn’t. You can understand, I just
didn’t feel that, to put it out as a piece of work by Alan Moore, it
would be crap, because it wouldn’t be the Alan Moore that people are
expecting, it would be back when I was just cutting me teeth, and, eh…
So I’m really glad that it’s out there, so people can see, but I’m glad
that…
P: It being on the internet relieves you of the burden of having to…
AM: I don’t even have to look at it! It’s fantastic! (Laughs) No, it’s
brilliant, I have no problems with that at all, no.
P: Great, fantastic. And, actually, speaking of your early work, Avatar
published a lot of your bits and pieces from early on…
AM: They were just asking if there was anything I’d got, or they’d find
out about things and ask, “Can we do this as a comic,” and I’d say,
“Yeah, I guess so,” and some of them looked all right - I’m not sure
about – the artwork was great…
P: Well, the artwork was interesting…
AM: That was little bits and pieces the world could have probably lived
without, but…
P: There are some of us who like to see all this stuff, warts and all,
Alan.
AM: Oh, that’s nice, that’s appreciated.
P: Is Jacen Burrows doing something else of yours for Avatar?
AM: Well there was a think that I wrote, basically, because – it was a
couple of years ago, two or three years ago – I wrote a thing because I
needed some money to pay off tax, because DC were getting creative with
our payments again, and I wrote a thing which – I don’t know how good it
is –I was trying my best, but it was at a time when I was poisonously
angry, and that may have coloured the work. It was a HP Lovecraft – my
basic thinking was – all right, they asked me to do something that was
in a a horror vein, they asked me, and I said, well, I had some vague
ideas about a continuation of that Courtyard story that I originally
wrote for a HP Lovecraft prose anthology…
P: I know the one.
AM: And I said I’d thought of a vague continuation of that, and they
said, “Great, why don’t you do that, do it with Jacen Burrows,” who’s a
great artist, so I wrote this four-part story, which is really horrible.
It’s a modern Lovecraft story, but I was thinking, well, let’s put the
racism in, and let’s put the, misogyny in, and let’s put the – where in
the past we talked about Nameless Rites, let’s name them, and let’s see
what happens.
And so it’s a very unpleasant story, it’s very weird, I’ve not looked at
it since, and I’ve not, I don’t know if they’re even, if Avatar is still
doing it, I’m not really in touch with them. Your guess is as good as
mine, and even whether it’d be that good when it comes, I don’t know.
I’m sure Jacen will have done a great job, I’m just not sure I did the
writing well. And it might have been a bit dark, you know. I might have
been going through a bit if a dark spell, which, sometimes it colours
the writing and whether it’ll ever come out I really don’t know, but
that’s be something to - it was called, what was it called? I can’t even
remember the title! I know it’d got four parts, and it was, no, it
completely fails me. I have no idea.
P: What do you think about Leah trying to make a career for herself in
comics?
AM: Ah, it’s great, and they’re doing terrific, The thing was, when I
first suggested to both Leah and Amber that if they ever wanted, for
some unknown reason, to have a bash at working in comics, then I’d
gladly do what I could to help them, and Amber had got other plans, but
Leah was interested in it, and I remember that first Tom Strong story, I
sent it off, I spoke to Scott Dunbier at Wildstorm and said, “Look, I’ve
got somebody that I know who’s got a Tom Strong story that they’ve
written. Actually I thought it was OK, but I thought I’d send it in and
see,” and I’d done that with other people, and I didn’t mention that it
was Leah, and I waited until he said, “This guy is really good!” and I
said, “Well actually it’s a girl and it’s me daughter, and I’m glad you
liked it.”
Alan and Leah Moore Tom Strong.jpg
(cover to Tom Strong Book Three which saw Alan and daughter Leah working
together, published DC)
And, since then, Leah and John have developed completely on their own, I
don’t think that their writing style is anything like mine, and
consciously so, I think they’ve made different choices, they’re going in
a different direction, I think that - I fear for anybody that’s working
in the comics industry, but I think it’s great the way that they are
doing exactly what I would have done if I’d have been their age still.
They’re doing fanzines, and they’re doing work for their friends, which
is what I used to do, and…
P: Leah did a cover for me for a fanzine I produced.
AM: I think I’ve got a copy of that. Is that the space thing…?
P: Puny Earthling, that’s the one.
AM: Yeah, I’ve got that, I’ve got it downstairs at the moment.
P: Fantastic!
Puny Eartling cover by Leah Moore.jpg
(cover to Puny Earthling #1, edited by Pádraig Ó Méalóid and featuring
cover art from Leah Moore)
AM: I think that the fanzine scene is the brightest part of the modern
comic landscape.
P: Do you keep an eye on the UK small press stuff at all?
AM: I mainly see it through Leah, because I’ve got straight out of touch
with everything, but Leah and John keep me updated upon things that
they’ve seen, and I think it’s great, I think there’s a load of energy
out there, and that’s where any new stuff is going to come from. It’s
not going to come from the big companies or from the centre ring acts,
it’s not going to come from Frank Miller or Art Spiegelman. It’s going
to come from some scruffy-haired little Herbert in a back room
somewhere, and he’s going to be the next Eddie Campbell or whoever, and
that’s where it always comes from. The real energy in comics always
comes up from below.
P: Well, the thing about comics is that anyone with a piece of paper and
a pen is off.
AM: Absolutely. That’s why it is a far superior medium to, say, movies,
or anything like that, because you don’t need all that money and backers
and technology; a paper, a pen. And that means that even, I’m completely
happy and confident about the comics medium because even if, as I hope,
the comics industry collapses tomorrow, then there’ll still be people
who have access to a Woolworth’s jotter and a cheap Biro - that was all
I used when I was doing my first groundbreaking series of comics when I
was eleven. The Crimebusters, I believe, which was a really shit
knockoff of The Avengers and we used to staple them at one corner and
then lend them out for a penny each, and that’s how nearly everybody I
know started.
Dave Gibbons started off doing comic strips in Woolworth’s jotters, we
all did, and I presume that the comics creators of the future - I
remember, one of the biggest things for me was when I was about thirteen
or fourteen, and I was starting to get into comics fandom, and to my
delight at the local library I found that there was a copy of Jules
Feiffer’s The Great Comic Book Heroes, which had got all this great
Plastic Man and Spirit stuff that I hadn’t seen, and it’d also got a
reproduction of a comic which Jules Feiffer had done when he was eleven
or twelve or something, and it was every bit as dreadful as the things
that I’d done, and that was inspiring, inspiring in the way that the Sex
Pistols must have been inspiring at the Hundred Club, that people
thought, “Shit, I could do that!”, and that’s the beauty of comics,
that’s why I’ve got no fears about the medium at all, not while there’s
a thriving small press scene, and the fact that it’s a press, the fact
that this is not internet magazines. I mean, I’m a real print boy. I
found some fanzines - I’ve thrown away almost all of my comics
collection over the last few weeks, I’ve given it to the local shop, and
things that I thought I’d never bet rid of but I’m just so bored with
them - I’ve kept some things.
I’ve kept my nearly complete set of Herbie, which is one comic that I
shall always worship, and, and I’ve kept the odd fanzine.
I’ve got a couple of Eddie’s early fanzines that I’ve kept, but it was
the fanzines from when I myself was a comics fan in the early seventies,
late sixties, and I found, I found a copy of Eureka!, which was Dez
Skinn’s comic fanzine, and there was a letter in it from my still great
mate Haydn Paul, there was a letter in it from Jim Baikie, there was all
these names that have since gone on to other things, so, even though Dez
Skinn had something to do with it, I kept that, just purely for interest
because fanzines, they do reveal a strata of what was going on which you
don’t get from looking at the comics of the period.
P: I was going through some old copies of Warrior, and there’s an
extremely enthusiastic fan letter in it from what was obviously a very
young Warren Ellis.
AM: Really?
P: Yes!
Warren Ellis Warrior Letter.jpg
(part of a fan letter to Warrior by a young Warren Ellis, borrowed from
Glycon)
AM: I’ll have to go back and check on that! I know that we had, was it
Pat Kane from Hue and Cry, he sent us some letters…
P: I think if you had the time to go through all these old comics, and
look at all of the people who sent in letters, you would probably find
some stuff they probably would sooner was forgotten at this stage.
AM: I know that my mate Steve Aylett with, when he did his Caterer, when
he was talking about his imaginary author Jeff Lint, and he was talking
about how, in the Caterer comic book, the letters’ page was called Your
Yell, and there was a letter saying, “How can I be like the Caterer? I
want to have your power of stillness,” it said, and this letter turned
out to be from a young Martin Amis, it says, “what was even more
inexplicable is that he was twenty seven at the time.” I can remember
hating Paul Gambaccini, I told him this when I met him, and I said, “you
know, when I was seven, Paul, I used to hate you,” I said, “it was just
that you always used to get letters in the Justice League letters page,
and I thought you were really opinionated.” i.e. he had different
opinions to mine, so, yeah, there was all sorts of interesting names
cropping up in those letters pages.
P: OK, I think that’s everything I wanted to ask you. Thank you very
much, Alan!
AM: Hey, my pleasure, mate, you take care of yourself and I’ll talk to
you again sometime soon.
P: Talk to you soon, Alan, Take care. Thank you very much indeed.
--
	Andy Roid


author: Speck

text:
Andy Roid <
andy...@email.it
>:
>
http://forbiddenplanet.co.uk/blog/?p=7895
>
http://forbiddenplanet.co.uk/blog/?p=7911
>
>Ecco il copia ed incolla brutale del testo.
Me lo stampo e me lo leggo quest'estate sotto l'ombrellone. Giuro...
:)

--
Ciao, | R: Perche' incasina l'ordine con cui si legge un messaggio
Speck | D: Perche' quotare sotto da' cosi' fastidio?
      | R: Quotare sotto.
      | D: Qual e' la cosa piu' seccante su usenet e in e-mail?


author: Giovanni "il_pellegrino" Scanzo

text:
Dolcegramma per Andy Roid!
>We’ve tried to say, yes, good pornography can exist, and I think that
>possibly the fact that we called it pornography wrong-footed a lot of
>the people who, if we’d have come out and said, “well, this is a work of
>art,” they would have probably all said, “no it’s not, it’s
>pornography.” So because we’re saying, “this is pornography,” they’re
>saying, “no it’s not, it’s art,” and people don’t realise quite what
>they’ve said.
Pezzo molto divertente e anche molto acuto.
Certo, fa anche un po' di piacere sapere che c'e' qualcosa capace di
spiazzare la gente in questo modo...
E fa anche riflettere sulla difficolta' che, molto spesso, abbiamo nel
chiamare le cose per nome.
--
Buon cammino!
il_pellegrino
"Leggo per legittima difesa." - Woody Allen


text:
On 24 Giu, 19:58, "Giovanni \"il_pellegrino\" Scanzo"
<
il_pellegr...@email.it
> wrote:
> >We’ve tried to say, yes, good pornography can exist, and I think that
[snip]
> >they’ve said.
> Pezzo molto divertente e anche molto acuto.
[snip]
> chiamare le cose per nome.
rileggiti il mio articolo su proglo in merito ;P


author: nda

text:
Andy Roid <
andy...@email.it
> wrote:
>
http://forbiddenplanet.co.uk/blog/?p=7895
>
http://forbiddenplanet.co.uk/blog/?p=7911
>
> Ecco il copia ed incolla brutale del testo. Ovviamente per una migliore
> leggibilita' si consiglia di andare a leggersela direttamente ai link
> riportati sopra.
Quando avete finito affacciatevi su
<
http://community.livejournal.com/alan_moore/
>
dove bazzica anche l'intervistatore, Pádraig Ó Méalóid
E se vi interessa un po' la musica c'è Moore che intervista Eno (nel
2005):
<
http://www.readyourselfraw.com/profiles/alan_moore/moore_vs_eno/chainre
action_eno.htm>
--
Nicola D'Agostino
<!--
http://www.nicoladagostino.net
 -->
<!--
http://www.storiediapple.it
 -->
<!--
http://www.nezmar.com
 -->


title: Guadagnare soldi usando Internet

author: Cristiano

text:
Salve !
So che odi la spam ma questa non è pubblicità ma un offerta di lavoro , più
precisamente un telelavoro offerto dalla "SPEDIA"
SE AVRAI LA PAZIENZA DI LEGGERE QUESTE RIGHE CAPIRAI CHE NE VALE LA PENA!!!
Mi chiamo CRISTIANO e volevo renderti partecipe di una interessante
proposta:
mi sono iscritto ad una iniziativa di una società americana chiamata SPEDIA
molto redditizia ed interessante, visto che comunque non costa nulla e non
si rischia nulla e si può guadagnare parecchio mandando unicamente delle
e-mail !
A me è arrivato da poco circa un milione di lire senza fare nulla di
impegnativo, ma ci sono persone che guadagnano anche 4 milioni in un mese
con questo telelavoro!
Se avrai la pazienza di leggere queste righe capirai che ne vale la pena,
anche perchè tu non firmi niente, non hai obblighi legali e puoi, se ne
vorrai far parte, staccarti dall'iniziativa quando vorrai. In poche parole
si può guadagnare e l'unico requisito richiesto è la pazienza di spedire
delle E- mail (mandarne una decina al giorno dovrebbe assicurarti una buona
probabilità di riuscita, quindi 10 minuti del tuo tempo!).
 La Spedia è una società americana di pubblicità che ha studiato un sistema
unico di fare promozione in Internet. Spedia ci chiede unicamente di
guardare il Banner mentre siamo collegati ad Internet. Il Banner è una
piccola finestra nella quale compaiono delle pubblicità di vario genere
(altezza 2 cm e larghezza come lo schermo del tuo pc): Spedia immediatamente
dopo la tua registrazione ti permette di scaricare questo banner (a
differenza di altre
società come la All Advantage che ti fa aspettare parecchie settimane,
quindi con la Spedia inizi a guadagnare subito), che è di dimensione
veramente ridotte (210 Kb) quindi nel giro di pochi secondi lo scarichi
tranquillamente. Ovviamente mentre navighi puoi ridurre questa finestra a
icona in modo che non ti occupi lo schermo. Tramite questo banner che noi
installiamo sul nostro pc e facciamo installare dalle persone che entrano
nella società tramite noi, la Spedia ci calcola un guadagno. Tramite il
banner infatti lei conteggia le ore che stiamo connessi in rete e le ore di
connessione delle persone che noi abbiamo introdotto nell'iniziativa e di
conseguenza da un compenso.
Il Banner non rallenta la connessione e non causa rallentamenti o conflitti
al sistema operativo.
La logica di tale iniziativa è che le ditte pagano Spedia un tot per le loro
pubblicità, che è decisamente superiore a quanto Spedia ridistribuisca a chi
fa parte dell'iniziativa, con guadagno diretto per lei e per noi! Le
pubblicità sul
banner sono per il 90% di prodotti di informatica o di servizi in rete.Il
fastidio della pubblicità è minimo, io non la guardo nemmeno, stò solo
attento ad una luce verde sulla barra. Quando questa è verde ti accredita
soldi, quando è rossa no. In pratica per far rimanere la luce verde bisogna
dare alla spedia bar l'impressione che si stia navigando attivamente,
altrimenti pensa che non ci sia nessuno davanti allo schermo e di
conseguenza non paga. Ma ripeto,nella maggior parte del tempo la spia rimane
verde.
La remunerazione è organizzata così:
a.. $ 0,02 per ogni tuo minuto di collegamento , il che vuol dire $ 1.2 per
ogni ora (circa L. 2220) che ti saranno accreditate mensilmente
Ora, il guadagno di soldi avviene per "ad point": 1000 ad point = 20 $ ; 1
ad point ogni minuto; 0,02 $ ogni minuto. Quant' è in lire? Se 1 $ = 1850 £,
in 1 minuto avremmo 37 £, in 1 ora 2220 £ . Ovviamente Spedia ti da una
percentuale (il 25 %) del guadagno di tutte le persone che tu farai
iscrivere a questa società tramite il codice che ti verrà comunicato
all'iscrizione. Alle persone che si iscrivono tramite il mio codice non
viene tolto nulla, ci tengo a precisarlo !!! E' veramente molto semplice e
come sistema ti propongo qui di sotto un rapido calcolo sulla situazione
degli iscritti che puoi generare e i possibili guadagni:
Facciamo conto che tu iscriva a questa iniziativa 100 persone, e che ognuna
di queste persone stia connessa ad internet per 1 ora e mezzo mediamente al
giorno e che tu stia connesso per 1 ora al giorno.
Risulta :
(tu) £ 2220 x 30 = £66.600 +
(iscritti) £ 555(25%) x 100 (n°utenti iscritti) x 30(giorni in un mese) x
1,5(tempo) = £2.497.500
----------------------------------------------------------------------------
----
TOT. 2.564.100 mensili
IL GUADAGNO TUO DERIVATO E' IL SEGUENTE CIRCA 2 MILIONI E MEZZO AL MESE E 31
MILIONI ANNUALI.........NON MALE!!!!!!
Ovvio che se riuscirai a iscrivere più gente guadagnerai di più.
 Il pagamento avviene tramite assegno bancario mensile che ti arriverà
direttamente a domicilio riscuotibile presso qualsiasi banca.
Ora se sei interessato all ' iscrizione, sappi che è gratuita, veloce da
effettuare (3 minuti), e può essere cancellata o inutilizzata (basta che
quando ti colleghi non inserisci login e password, o non apri la spedia
bar).
Per l' iscrizione segui questi punti:
1)Vai al sito
http://www.spedia.net
2) Clicca su "Member Services", "Register Now", "Next", inserisci i tuoi
dati compilando ogni parte del modulo, dando l' indirizzo a cui arriverà l'
assegno ogni fine mese e il nome di chi lo potrà ritirare.
 IMPORTANTE: quando ti viene richiesto "Reference number of your sponsor"
inserisci 225032, è il mio codice e ti permette di avere un tuo codice col
quale poter far iscrivere altre persone e guadagnare quel 25% . Se lascerai
lo spazio bianco o metterai un codice sbagliato te ne verrà dato uno non
valido col quale non potrai farci nulla, questo per tutelare quelle persone
che come me fanno pubblicità alla Spedia. Ora, dopo aver compilato tutto
puoi fare "Submit registration". Comparirà un' altra pagina e altre
istruzioni per scaricare la spedia bar e poter guadagnare. Se vorrai vedere
in ogni momento il totale di "ad point" e perciò dei soldi che hai
accumulato
basterà che tu clicchi sull'icona forma di "$"sulla spedia
bar.........MEGLIO DI COSI :)
STRATEGIE:
1.. Contatta i tuoi amici e iscrivili al tuo indirizzo CHE TI VERRA'
ASSEGNATO DOPO ESSERTI REGISTRATO A
http://www.spedia.net
 mettendo il
codice 225032 nella casella "Reference number of your sponsor. L'indirizzo
del tuo sito e i dati del tuo account ti verranno comunicati immediatamente
dopo la registrazione.
1.. Manda E-MAIL a utenti Internet con uno schema simile al mio (puoi fare
copia e incolla dalla mia E mail) convincendoli ad iscriversi tramite il
codice che ti verrà assegnato dopo la registrazione : ti consiglio di
scovarli negli iscritti sui vari provider e/o sui siti personali gratuiti
tipo quelli che offrono home page gratuite fino a 12 MB. Per correttezza non
scrivere alla stessa persona più di un E mail, se non è interessata è
inutile seccarla (io adotto questa filosofia).
2.. Vai su IRC e chiedi agli utenti se sono interessati a questa proposta
con un messaggio di questo tipo : Telelavoro offresi, tutto gratis, tutto
automatico, ottimi guadagni !!!
E' VERAMENTE SEMPLICE E DIVERTENTE, SENZA IMPEGNO E GRATUITO, L'UNICA
"FATICA" E' MANDARE E-MAIL SE VUOI ACCRESCERE IL TUO NUMERO DI ISCRITTI
DIRETTI (NON NECESSARIO MA IMPORTANTE SE VUOI GUADAGNARE DI PIU')
Visto che il sito di Spedia è in Inglese, se dovessi trovare delle
difficoltà contattami tramite mail !!!.Nel caso questa iniziativa non ti
interessi ti chiedo scusa per il tempo e i bytes che ti ho rubato :)
Cordiali saluti
E-mail
cmir...@tin.it
--
E-mail:
cris.mi...@tin.it


title: [OT] Vendo Man-ga! e Manga!

author: Manga

text:
Innanzitutto mi scuso per l'OT con chi non č interessato.
Vendo Man-ga! (rivista di manga ed animazione, by Planet Manga) completa (9
numeri), in ottime condizioni. Prezzo di copertina: 6000 lire cad.
Insieme a Manga! (la seconda serie di detta rivista), quasi completa (5
numeri, ma manca il numero 3), che tra l'altro contiene l'interessante
"Japan" di Bronson e Kentaro Miura. Prezzo di copertina: 5000 lire cad. (a
parte il numero 5, che costa 8900 lire).
Vendo tutto in blocco a 60.000 lire (il prezzo di copertina unitario sarebbe
di circa 80.000 lire), ed a chi compra *regalo* l'ormai introvabile numero 1
di Mangazine della Granata Press, contenente i primi episodi di Lamů, Mai e
Kamui, piů un dossier su I Cavalieri dello Zodiaco.
Attendo notizie e mi scuso ancora per l'OT.
--
Manga
- curatore di X.G@ME -
http://www.wol.it/x-game
- collaboratore di Wangazine -
http://utenti.tripod.it/wangazine
- collaboratore de La tana del Cybergatto -
http://move.to/cybercat
- collaboratore di Planet Magazine -
http://www.planet-magazine.com
- collaboratore di AnimeClick -
http://www.veronaclick.com/rubrica_animeclick


title: Alla ricerca del fumetto perduto

author: Ice

text:
Ma ppporC...
Uno segue iaf per un po' si fa una idea di come vanno le cose,
ascolta consigli, vede che alcuni titoli sono piu` apprezzati
di altri da buona parte dei frequentatori e cosi` decide di
procurarsene qlc per vedere se i suoi gusti sono sulla stessa
lunghezza d'onda.
E qui cominciano i problemi, non che ti possano rovinare la vita,
pero` scoccia quando vai a cercare un fumetto un po' datato o
pubblicato da una misconosciuta casa editrice e il tuo interlocutore,
alias "Mr.Libreria" ti guarda e a seconda dei casi:
-A- ti squadra come se fossi andato a chidere una chiave a brugola dal tuo macellaio
-B- ti chiede se ne sei proprio convinto perche` non gli va di chiedere un
    favore a quello str0^70 del suo distributore
-C- comincia a sorridere al solo pensiero della cifra che riuscira` a scucirti
Al che sorgono diversi dubbi: non sara` mica che i fumetti piu` belli se
li siano accaparrati tutti gli iafer anche in 5 o 6 copie perche` il resto
del mondo non e` degno di leggere tutto questo ben di dio?? ^__^
Voi vi chiederete (vero che ve lo chiedete? verooo!?) il perche` di questo
minisfogo scherzoso? e io vi rispondo pure :-))
L'anno scorso, cioe` due mesi fa, mi metto in cerca de "il ritorno del cavaliere oscuro"
ed. play press. Chiedo in giro e mi dicono che e` esaurito, non piu` reperibile,
vado in giro per mercatini e niente. Al che mi dico che non e` un problema e che potrei
trovare piu` facilmente la ed. originale, cosi` e` infatti e poco prima di Natale lo
trovo e sgancio tutt contento le 22K per avere tra le mani l'ed in brossura
del 10` anniversario promettendomi di leggerla con attenzione non appena avro` un
weekend tranquillo da dedicargli (che tra l'altro non ho ancora avuto sGrunt..:-/ )
Fin qui niente di male perche` in fondo ho trovato quello che volevo pero` ieri becco un amico
che sapeva cercavo TDKR e che mi dice che ne aveva appena visto diverse copie alla BdF a Milano
nell'ed. cartonata della play tutte belle lustre come se fossero nuove di pacca!( 30000 lire)
Ma che e` successo.
sono saltate fuori per generazione spontanea o ne hanno fatto una ristampa?
Umpf...dannati iafer, la colpa e vostra, non so di che cosa pero e` vostra di sicuro!^__^
soprattutto di chi usma troppa colla per rilegatura:-))
Saluti inquieti
 PiGi
--

****************************************************************


title: Alla ricerca del fumetto perduto

author: mauZ

text:
Nella Jurnata del Thu, 20 Jan 2000 11:33:43 +0100, Ice
<
pig...@yahoo.com
> penso' bene di scrivere:
[...CUTtone...]
>L'anno scorso, cioe` due mesi fa, mi metto in cerca de "il ritorno del cavaliere oscuro"
>ed. play press. Chiedo in giro e mi dicono che e` esaurito, non piu` reperibile,
>vado in giro per mercatini e niente. Al che mi dico che non e` un problema e che potrei
>trovare piu` facilmente la ed. originale, cosi` e` infatti e poco prima di Natale lo
>trovo e sgancio tutt contento le 22K per avere tra le mani l'ed in brossura
>del 10` anniversario promettendomi di leggerla con attenzione non appena avro` un
>weekend tranquillo da dedicargli (che tra l'altro non ho ancora avuto sGrunt..:-/ )
>
>Fin qui niente di male perche` in fondo ho trovato quello che volevo pero` ieri becco un amico
>che sapeva cercavo TDKR e che mi dice che ne aveva appena visto diverse copie alla BdF a Milano
>nell'ed. cartonata della play tutte belle lustre come se fossero nuove di pacca!( 30000 lire)
Fattosta' che hai fatto in ogni caso un affare (almeno IMHO) l'hai
pagato 8000 lire in meno, hai evitato di dare dei soldi alla Play
Press (che e' sempre cosa buona e giusta ;-) ) e ti sei risparmiato le
eventuali pessime traduzioni (non di preciso a che livello sia la
traduzione PP, sicuramente quella Rizzoli era una cacchetta ^_^)
Quindi dovresti ringraziarci, altro che storie ;-))
--
ciauZ, mauZ.
La bizzarra esperienza della morte?
Voglio bere il suo cristallino oblio,
Esser per sempre; ma non esser stato.
                 - Jorge Luis Borges


title: Alla ricerca del fumetto perduto

author: Ryoga Hibiki

text:
A quanto pare, ultimamente, Ice <
pig...@yahoo.com
> non aveva niente di
meglio da fare che scrivere:
>-A- ti squadra come se fossi andato a chidere una chiave a brugola dal tuo macellaio
>-B- ti chiede se ne sei proprio convinto perche` non gli va di chiedere un
>    favore a quello str0^70 del suo distributore
>-C- comincia a sorridere al solo pensiero della cifra che riuscira` a scucirti
davvero?
quando dissi al fumettaro che volevo provare qlc di americano era
molto contento!
Quando poi precisai che volevo "Watchmen" ci č restato.
BTW, ovviamente non ce lo aveva (ripiegai su Dark Minds!! ^___^).
Ciao, ciao
--
Ryoga Hibiki
alias  -Marco Fracasso-       fan #1 di Sergio Baracco
NEW icq: ryoga #48412761    e-mail:
ryoga...@tin.it
__________________________________________________
Was es ein Gott der diese Zeichen Schriebe?
(Goethe, Faust)


title: [MARVEL] Michelinie e Layton su Iron Man

author: Josh Constantine - Hellfucker

text:
Over the weekend, Bob Layton and David Michelinie announced that they
will be returning to Marvel's Iron Man series for an upcoming
four-issue story arc that would ("as usual") be co-plotted by both
creators, scripted by Michelinie and penciled and inked by Layton.
--
Josh Constantine - Hellfucker
Fans n. 1 di Daniele Moro


title: Compleanno di Alan Moore

author: Giacojames

text:
Oggi è il suo compleanno, è nato il 18 novembre 1953. Auguri !
--
Voglio imparare a disegnare:
http://creazione.splinder.com


title: Compleanno di Alan Moore

author: Winston Wolf

text:
Auguri!
"Giacojames" <
po...@nelblog.it
> ha scritto nel messaggio
news:LEpff.67019$Pe2.1...@twister2.libero.it...



title: Compleanno di Alan Moore

text:
In data Fri, 18 Nov 2005 19:08:27 GMT, Giacojames ha scritto:
> Oggi è il suo compleanno, è nato il 18 novembre 1953. Auguri !
Sono in ritardo, ma gli auguri glieli faccio lo stesso:
BUON COMPLEANNO, ZIO!!!!!!!!
--
Andy Roid,
 Now I wanna sniff some glue
 Now I wanna have somethin' to do
  - The Ramones, 1976.


title: Compleanno di Alan Moore

text:
Dolcegramma per Andy Roid!
>BUON COMPLEANNO, ZIO!!!!!!!!
Se ben ricordo, qualcun altro compie gli anni lo stesso giorno...
--
Buon cammino!
il_pellegrino
"Leggo per legittima difesa." - Woody Allen


title: Compleanno di Alan Moore

text:
"Giovanni "il_pellegrino" Scanzo" <
il_pel...@email.it
> ha scritto
> Se ben ricordo, qualcun altro compie gli anni lo stesso giorno...
Michey Mouse nasce cinematograficamente lo stesso giorno eheh
--
Voglio imparare a disegnare:
http://creazione.splinder.com


title: Compleanno di Alan Moore

author: Zogo

text:
Il precedente messaggio di "Giovanni \"il_pellegrino\" Scanzo"
<
il_pel...@email.it
>, inviato il Sat, 19 Nov 2005 19:37:56 +0100,
verra' qui quotato in forma ridotta per venire incontro alle vostre
capacita' mentali:
>>BUON COMPLEANNO, ZIO!!!!!!!!
>
>Se ben ricordo, qualcun altro compie gli anni lo stesso giorno...
Figliodombra? ;-)
A proposito di celebrazioni, oggi e' il mio IAF-pleanno (vedere sign)!
Sei anni da queste parti con cosi' poco di interessante da dire, un vero
record! :-)))
--
Zogo aka Marco Zorigo, IAFer dal 19/11/1999, archivista del NG
"Emancipate yourselves from mental slavery
None but ourselves can free our minds"


title: Compleanno di Alan Moore

text:
"Zogo" <
baskerville...@equestoemail.it
> ha scritto
> A proposito di celebrazioni, oggi e' il mio IAF-pleanno (vedere sign)!
IAF-auguri anche a te !
--
Voglio imparare a disegnare:
http://creazione.splinder.com


title: Compleanno di Alan Moore

text:
In data Sat, 19 Nov 2005 21:56:10 +0100, Zogo ha scritto:
> A proposito di celebrazioni, oggi e' il mio IAF-pleanno (vedere sign)!
> Sei anni da queste parti con cosi' poco di interessante da dire, un vero
> record! :-))
Se ti puo' consolare, c'e' chi e' top-poster (in carica) e dice cose
ancora meno interessanti delle tue! ;-)
--
Andy Roid
"wine is red,
 poison is blue,
 strychnine is good!"


title: Compleanno di Alan Moore

text:
Il precedente messaggio di Andy Roid <
andy...@email.it
>, inviato il
Sun, 20 Nov 2005 12:59:19 +0100, verra' qui quotato in forma ridotta per
venire incontro alle vostre capacita' mentali:
>> A proposito di celebrazioni, oggi e' il mio IAF-pleanno (vedere sign)!
>> Sei anni da queste parti con cosi' poco di interessante da dire, un vero
>> record! :-))
>
>Se ti puo' consolare, c'e' chi e' top-poster (in carica)
E che si avvia al terzo titolo consecutivo, direi ;-)
>e dice cose
>ancora meno interessanti delle tue! ;-)
Non e' vero! Tu fai delle belle recensioni e parli spesso di fumetti
nuovi, io invece sto sempre leggendo roba uscita eoni prima: il mio
ultimo commento in topic e' sulle storie degli X-Men di due anni fa! (e
non si tratta delle cose piu' vecchie che ho in coda...^^;)
PS: Austen e' lento, Morrison e' rock! ;-)))



title: Compleanno di Alan Moore

text:
In data Sun, 20 Nov 2005 17:16:21 +0100, Zogo ha scritto:
>>Se ti puo' consolare, c'e' chi e' top-poster (in carica)
>
> E che si avvia al terzo titolo consecutivo, direi ;-)
E questo direi che e' grave. Sia per il newsgroup che per la mia vita
sociale.

> Non e' vero! Tu fai delle belle recensioni e parli spesso di fumetti
> nuovi,
mah, scrivo giusto due impressioni, ma spesso mi sembrano cose cosi'
banali. Lo faccio solo per rivincere il premio di top-poster! :-)
> io invece sto sempre leggendo roba uscita eoni prima: il mio
> ultimo commento in topic
non e' vero. Fai degli inteventi molto interessanti, e spesso
accompagnati da statische.
> e' sulle storie degli X-Men di due anni fa!
imho faresti bene a liberarti dalla dipendenza da Mutanti. Da quando
l'ho fatto, riesco ad essere (quasi) in pari con la roba da leggere.

> PS: Austen e' lento, Morrison e' rock! ;-)))
Noooo! Ti prego, non ti ci mettere anche tu con 'sta storia di lento e
rock....troppo manichea e senza senso.
--
Andy Roid,
 The Poster Formerly Known As The Maximortal
 to be a Hillbilly Wolf, you gotta be just like me
 (#iaf: "quello con l'amica tettona?")


title: Compleanno di Alan Moore

text:
Il precedente messaggio di Andy Roid <
andy...@email.it
>, inviato il
Mon, 21 Nov 2005 09:42:13 +0100, verra' qui quotato in forma ridotta per
venire incontro alle vostre capacita' mentali:
>> E che si avvia al terzo titolo consecutivo, direi ;-)
>
>E questo direi che e' grave. Sia per il newsgroup che per la mia vita
>sociale.
Se vuoi puoi sempre abdicare in favore di un certo oracolo sampdoriano
di Sunnydale ;-)

>> Non e' vero! Tu fai delle belle recensioni e parli spesso di fumetti
>> nuovi,
>
>mah, scrivo giusto due impressioni, ma spesso mi sembrano cose cosi'
>banali.
A me gia' il mettere insieme due impressioni pare uno sforzo titanico, e
infatti non lo faccio mai ;-)
>Lo faccio solo per rivincere il premio di top-poster! :-)
Ah, ecco :-)
>> io invece sto sempre leggendo roba uscita eoni prima: il mio
>> ultimo commento in topic
>
>non e' vero. Fai degli inteventi molto interessanti, e spesso
>accompagnati da statische.
Grazie! Questo fa molto bene alla mia autostima :-)
Allora spero che non ci sara' una sollevazione popolare quando usciranno
le statistiche 2005 e il mio nome comparira' in una posizione
vergognosamente alta ^^;;;
>> e' sulle storie degli X-Men di due anni fa!
>
>imho faresti bene a liberarti dalla dipendenza da Mutanti. Da quando
>l'ho fatto, riesco ad essere (quasi) in pari con la roba da leggere.
Non sono mai stato dipendente dai mutanti, e infatti gli X-Men che ho da
parte sono tutti e soli quelli con storie di Morrison, e ho pure
aspettato un bel po' prima di prenderli in mano.
Purtroppo un blocco psicologico mi impedisce di saltare storie che ho
comunque pagato, e cosi' mi sorbisco anche Austen. Ecco, questa e' una
patologia di cui dovrei liberarmi ^^;

>> PS: Austen e' lento, Morrison e' rock! ;-)))
>
>Noooo! Ti prego, non ti ci mettere anche tu con 'sta storia di lento e
>rock....troppo manichea e senza senso.
A me fa ridere proprio perche' e' cosi' manichea e senza senso :-)



title: Compleanno di Alan Moore

text:
In data Mon, 21 Nov 2005 19:08:46 +0100, Zogo ha scritto:
> Allora spero che non ci sara' una sollevazione popolare quando usciranno
> le statistiche 2005 e il mio nome comparira' in una posizione
> vergognosamente alta ^^;;;
Ormai manca poco, rifai bene i conti!
> Purtroppo un blocco psicologico mi impedisce di saltare storie che ho
> comunque pagato, e cosi' mi sorbisco anche Austen. Ecco, questa e' una
> patologia di cui dovrei liberarmi ^^;
Cioe', fammi capire meglio, se sei un lettore di Lanciostory e di
Skorpio ti leggi anche i liberi con Patricia Breccia ai disegni oppure
quell'inutile striscia sui legionari? ;-)
--
Andy Roid,  "Non c'e' tanto da discutere su cosa appartenga
 a chi; i buoni dischi sono i miei, i mobili buoni, quasi
 tutta la roba di cucina, e i libri con la copertina rigida
 sono i suoi." - Nick Horby, Alta Fedelta'


title: Compleanno di Alan Moore

text:
Dolcegramma per Andy Roid!
>Cioe', fammi capire meglio, se sei un lettore di Lanciostory e di
>Skorpio ti leggi anche i liberi con Patricia Breccia ai disegni oppure
>quell'inutile striscia sui legionari? ;-)
Ti salva solo la faccina. :P
E spezzo una lancia anche a favore di Patricia Breccia. Nei lavori non
alimentari e' piuttosto brava...



title: Compleanno di Alan Moore

author: Maurizio Villotta

text:
"Giovanni \"il_pellegrino\" Scanzo" <
il_pel...@email.it
> wrote:
>Ti salva solo la faccina. :P
Col cavolo, alla prima occasione lo picchiamo all'americana ;)
--
Maurizio Villotta
"La spocchia e la supponenza sono la linfa vitale di Usenet"


title: Compleanno di Alan Moore

text:
Il precedente messaggio di Andy Roid <
andy...@email.it
>, inviato il
Thu, 24 Nov 2005 08:27:28 +0100, verra' qui quotato in forma ridotta per
venire incontro alle vostre capacita' mentali:
>> Purtroppo un blocco psicologico mi impedisce di saltare storie che ho
>> comunque pagato, e cosi' mi sorbisco anche Austen. Ecco, questa e' una
>> patologia di cui dovrei liberarmi ^^;
>
>Cioe', fammi capire meglio, se sei un lettore di Lanciostory e di
>Skorpio ti leggi anche i liberi con Patricia Breccia ai disegni oppure
>quell'inutile striscia sui legionari? ;-)
Esatto.
Ci posso anche mettere 10 microsecondi a pagina ma lo leggo tutto :-)



title: Compleanno di Alan Moore

author: Luca Brunori

text:
"Giovanni \"il_pellegrino\" Scanzo" <
il_pel...@email.it
> wrote in
message
news:g7sun1t0i10tetn7q...@4ax.com
> Dolcegramma per Andy Roid!
>
> >BUON COMPLEANNO, ZIO!!!!!!!!
>
> Se ben ricordo, qualcun altro compie gli anni lo stesso giorno...
IO
compio gli anni lo stesso giorno ^_^
Luca Brunori
--
Posted via Mailgate.ORG Server -
http://www.Mailgate.ORG


title: Compleanno di Alan Moore

text:
Il precedente messaggio di "Luca Brunori" <
pop...@quipo.it
>, inviato il
Sat, 26 Nov 2005 15:40:16 +0000 (UTC), verra' qui quotato in forma
ridotta per venire incontro alle vostre capacita' mentali:
>> Se ben ricordo, qualcun altro compie gli anni lo stesso giorno...
>
>IO
>compio gli anni lo stesso giorno ^_^
Tanti auguri, allora, anche se con un po' di ritardo! :-)



title: Compleanno di Alan Moore

text:
In data Thu, 24 Nov 2005 23:46:02 +0100, Giovanni "il_pellegrino" Scanzo
ha scritto:
> Ti salva solo la faccina. :P
Ma quale faccina!!!! La striscia dei legionari fa veramente cagare! :-)
--
Andy Roid,
"Questa volta e' diverso, Virglio...
 ...questa sono qui per SPACCARE I CULI!!!"
 - Dante 2, ritorno all'inferno


title: Compleanno di Alan Moore

text:
In data Fri, 25 Nov 2005 22:51:23 +0100, Maurizio Villotta ha scritto:
> Col cavolo, alla prima occasione lo picchiamo all'americana ;)
Vorra' dire evitero' tutti i prossimi impact e lucche!!



title: Compleanno di Alan Moore

text:
Dolcegramma per Andy Roid!
>> Ti salva solo la faccina. :P
>Ma quale faccina!!!! La striscia dei legionari fa veramente cagare! :-)
Anatema su di te!
Ti laureerai solo dopo aver perso tutti i capelli! :P



title: Compleanno di Alan Moore

text:
In data Mon, 28 Nov 2005 23:17:47 +0100, Giovanni "il_pellegrino" Scanzo
ha scritto:
> Ti laureerai solo dopo aver perso tutti i capelli! :P
Tse', entrambe le cose sono molto piu' vicine di quanto tu possa
pensare. :-)
--
Andy Roid,
"i really think you should stop seeing this new therapist, he's making
 you unhappy" - "he's making me SEE that i'm unhappy, there's a big
 difference" - "you still end up unhappy" - Human Target


title: [INFO] Tornano le mostre mercato a ROMA....

author: KartheA

text:
Qualche anno fa all'Hotel Parco dei Principi in Roma venivano organizzate
delle manifestazioni di Fumetti e Dischi. Queste convention ora ritornano in
una nuova sede, facilmente raggiungibile, al piano stradale, servita dalla
metropolitana, con parcheggio enorme interno e punti di ristoro.
per saperne di più, oltre alla data prevista per il 19 e 20 Ottobre 2002, vi
preghiamo di visitare il sito
http://www.fumettopoli.com
 e cliccare su ROMA
scusate l'intromissione nel NG, speriamo solo di avervi fatto cosa gradita.
staff KARTHEA.


title: Dirty Pair

author: Hellblazer

text:
20k ma li vale tutti.
Bella edizione, robusta, ben stampata, bei colori... solo con qualche
piccolo difetto nel lettering sfasato in certi punti (almeno nella mia
copia).
Warren e' un grande, storia e disegni sono fantastici e spesso davvero
divertenti: in piu' ci sono le copertine e in fondo persino delle note!
Certo, devono piacere i personaggi o almeno il genere manga americano pero'
e' imho davvero un ottimo prodotto.
Hellblazer


title: [Lungo, Inutile & Noioso] Cartoomics - ovvero "alla ricerca del borsalino perduto"

author: giorgio

text:
Per aiutare amici a fare dei cartelloni contro la guerra da usare in
manifestazioni varie, mi trattengo a scuola, arrivo tardi a casa, e, dunque,
tardi a cartoomics.
L'appuntamento pomeridiano era alle 15.00, io arrivo alle 15.30, ok.
...7.50 euro?!?! ma siamo pazzi!!! figurati se devo pagare tutti quei soldi
per spenderne altri dentro!!!
ok, fatta la regola, trovato l'inganno, dopo un minimo di traffico (dovuto
ad un amico non certo brillante - Pellegrino: trattasi del Megalomane, se ti
ricordi) riesco ad entrare aggratise,verso le 16.00...    ma non ditelo in
giro. ;-)
Subito mi metto in cerca di qualche iafer....ma figurarsi! troppa folla, e
per di più vengo distratto dalla vista di  qualche pulzella che
meriterebbe...vabbè  ^______^ .......
faccio un giretto, saluto un po' di amici in giro, ma di iafer nemmeno
l'ombra.....sembro E.T., col collo allungato e gli occhi strabuzzati per
cercare facce note (in realtà 2/3 ne conosco di iafer, non di più... ^__^;;)
.   Ecco che, seduto al bar che parla, vedo Quantestorie, lo disturbo, e
chiedo dei camerati iafer  ;-)
lui mi dice che prima erano in gruppone, e che comunque il pellegrino è
munito di borsalino.
ok, alla ricerca del borsalino perduto!
Passo davanti allo stand BD, ma Rivi non c'è.  in realtà non c'è niuno.
allora mi metto allo stand coconino, dove Igort disegna, e (credo fosse Di
Domenico) parla un po' con gli acquirenti, o potenziali tali. appena arrivo
vedo Berlin di Jason Lutes (!!!) uscito oggi fresco di stampa proprio per la
fiera! ci metto le mani sopra. sembra bello, naturalmente. lamento un attimo
la vastità di belle cose in catalogo coconino, forse faccio simpatia, forse
pena, ma va a finire che me lo prendo a 10 euro anzichè 13.50.
Bene! primo affare!   ^____^
Vado allo stand BdF / Dentiblù dove mi becco 2 iafer in un colpo solo: il
Villotta e Bonfus. usurpiamo uno spicchio di stand per il giornale, ma ormai
è tardi, non venderemo nulla.
Continuo a girare, e vedo dei numeri del Cannibale. BEELO!! VOJO!  quanto?
10 euro l'uno..mmh....ce n'è due che mi interessano...20 euro....mmh.....
Ho amicizie in alto ( :-) ) e le sfrutto....alla fine si scopre che erano
prezzati 15.50 l'uno non 10, ma a 18 me li porto a casa entrambi.
Bene! secondo affare!!  ^__________^
mentre sono in trattativa per i 2 albi, mi giro un attimo e chi ti vedo?
il_borsali...ehm... il_pellegrino! con skalda! che se ne stanno andando.
ok, non incontrerò altri iafer, ma mentre faccio 4 passi verso l'uscita con
essi ripasso davanti agli stand BD e Coconino... mmh...al ritorno ci ripasso
con un amico. Rivi ora c'è ma è occupato, dunque parlo ancora un po' con
quelli di Coconino, mi faccio convincere, prometto di diventare socio
nonappena troverò i soldi, e, con gli ultimi 10 euro ( :-( ), mi prendo "5 è
il numero perfetto", tanto osannato da tutti. vedarèm.
già che ci siamo, Igort mi pasticcia sopra un po'. ^___^
Bene! terzo (e ultimo) affare!  ^______________________^
 Torno a casa prosciugato di liquidi, ma in compenso ora ho:
Jason Lutes    "BERLIN 1 - La città delle pietre"    Coconino Press    13.50
euro
Igort    "5 E' IL NUMERO PERFETTO"    Coconino Press    14 euro
AAVV (ma soprattutto Paz e Tamb ^__^!)    Cannibale 12 e 13 (quello coi
topini!)
....presto, su questi canali, le impressioni.....
--
giorgio
ICQ:324015496
se mi vuoi rispondere, prova a parare le mie CAFUDDATE A CATENA !


author: Bonfus

text:
On Sat, 22 Mar 2003 20:21:34 GMT, "giorgio"
<molti...@CAFUDDATEACATENAemail.it> wrote:
>Vado allo stand BdF / Dentiblů dove mi becco 2 iafer in un colpo solo: il
>Villotta e Bonfus. usurpiamo uno spicchio di stand per il giornale, ma ormai
>č tardi, non venderemo nulla.
Troppo buono nel definirmi uno IAFer... in realta' non mi sono mai
sniubbato... ^__^
Comunque complimenti per la vostra fanzine, davvero ricca di
contenuti! E poi i contributi grafici non sono affatto male...
L'unica cosa che non mi piace e' quella pin-up con quei due suini...
si', dai, quella nella seconda di copertina del numero 3... ^__^
Contento di averti incontrato di persona, un salutone!
Bonfus
P.S. Contento anche dell'incontro con enui: se ci sei, batti un colpo!


title: Milo Manara ospite a "Il bivio"

author: Hytok

text:
Martedì 13 febbraio.
--
Jolan Tru, Filippo "Hytok" Simone
L'oracolo sampdoriano di Sunnydale
http://perestroika.altervista.org/
http://lacasadeglielfi.altervista.org/


title: Milo Manara ospite a "Il bivio"

author: sunbather

text:
Hytok ha scritto:
> Martedì 13 febbraio
Chissà che Casotto che ne verrà fuori...
:-P
:-P
--
Postato da Virgilio Newsgroup: scopri i nuovi gruppi
Eros, foto e video a
http://newsgroup.eros.virgilio.it


title: POLLON: il manga!!!

author: fabmaz

text:
A metà giugno dovrebbe uscire (se Zeus vuole!!) il tanto atteso manga di
"Pollon": 126 pagine circa con sovracopertina, carta extralusso (Che non
sempre gli altri editori propongono!) e a un prezzo economico: 4800 lire.
Piu' rubriche, interviste e notiziole varie! Il tutto Edizioni Lexy!
Sarà il primo di una luuuuuunga serie di manga acquistati. Molti dei quali
conosciutissimi e di sicuro successo, altri meno famosi ma ugualmente
interessanti, altri famosi e inediti in Italia, altri ancora...stop!
Segreto! :))))
Dopo "Pollon" si partirà con una serie famosa in tv, strappata a suon di yen
a diversi editori che ci sbavavano. Ih ih ih ih ih !!!!
E poi si stanno facendo "esercizi di riscaldamento" per entrare in campo
con..... le videocassette!
Ovviamente!
CiaoCiao da
Fabrizio


title: POLLON: il manga!!!

author: Dark

text:
"fabmaz" <
fabrizio...@tin.it
> ha scritto nel messaggio
news:_HVP6.15021$VT1.2...@news1.tin.it...
(ALL CUT)
Ogni tanto una buona notizia. See Ya.


title: POLLON: il manga!!!

author: Uomo Radioattivo

text:
On Sat, 26 May 2001 22:00:26 GMT, "fabmaz" <
fabrizio...@tin.it
>
wrote:
>A metà giugno dovrebbe uscire (se Zeus vuole!!) il tanto atteso manga di
>"Pollon": 126 pagine circa con sovracopertina,
Molto bene per Pollon, ma a proposito di sovracoperte, non doveva
esserci anche in "La corazzata Yamato"? E' solo la mia copia che ne e'
priva oppure e' cosi' per tutti?
--
Uomo Radioattivo


title: POLLON: il manga!!!

text:
On Sat, 26 May 2001 22:00:26 GMT, "fabmaz" <
fabrizio...@tin.it
>
wrote:
>Sarà il primo di una luuuuuunga serie di manga acquistati. Molti dei quali
>conosciutissimi e di sicuro successo,
Finalmente! Non so quali saranno queste serie, ma mi sono sempre
chiesto come mai nessun editore comprasse i manga noti ai piu'
"anziani" grazie alle serie tv. Dopotutto sono state queste ultime a
portare il Giappone in Italia.
--
Uomo Radioattivo


title: POLLON: il manga!!!

author: Marco Iannaccone

text:
> Molto bene per Pollon, ma a proposito di sovracoperte, non doveva
> esserci anche in "La corazzata Yamato"? E' solo la mia copia che ne e'
> priva oppure e' cosi' per tutti?
Tutte cosě
--
Marco Iannaccone
marc...@tin.it
ICQ UIN: 18748121     MetalCoder
"This is a new ship, boy, but she's got the right name.
You treat her like a lady, and she'll always bring you home."
          Dr. Leonard H. McCoy to Data - Encounter at Farpoint - Star Trek
TNG


title: POLLON: il manga!!!

text:
> Finalmente! Non so quali saranno queste serie, ma mi sono sempre
> chiesto come mai nessun editore comprasse i manga noti ai piu'
> "anziani" grazie alle serie tv. Dopotutto sono state queste ultime a
> portare il Giappone in Italia.
> --
> Uomo Radioattivo
Infatti! Tra l'altro questi manga piaceranno di sicuro anche alle "nuove "
generazioni, perchè gli argomenti trattati sono Universali: avventura,oppure
umorismo, oppure fantascienza... Insomma, sono tutte cose che piacciono
sempre!
Ma non ci saranno solo manga "classici"! E' in dirittura di arrivo un manga
attuale conosciuto per la serie tv. E poi.. altre sorpresine!
E poi le videocassette, un giorno. Chissà! Chissà quali! ^_^


title: POLLON: il manga!!!

author: Aaron Ghirardelli

text:
fabmaz <
fabrizio...@tin.it
> wrote:
> A metà giugno dovrebbe uscire (se Zeus vuole!!) il tanto atteso manga di
> "Pollon": 126 pagine circa con sovracopertina, carta extralusso (Che non
> sempre gli altri editori propongono!) e a un prezzo economico: 4800 lire.
Fa piacere vedere che Fabrizio Mazzotta partecipa al newsgroup. Sei un
grande quando doppi Krusty il Clown!!
Comunque l'idea di Pollon non e' niente male e speriamo che possiate
avventurarvi anche nel mercato dei DVD!!
Aaron


title: POLLON: il manga!!!

author: Marco Messina

text:
"fabmaz" <
fabrizio...@tin.it
> vi vedo pallido. Gradite un
cordiale?
>A metà giugno dovrebbe uscire (se Zeus vuole!!) il tanto atteso manga di
>"Pollon":
OK Fabrizio: in bocca al lupo!
E fatti rivedere da queste parti quando criticheremo senza pieta' i
vostri fumetti ;-))
Marco


title: POLLON: il manga!!!

author: FRM

text:
fabmaz,fabmaz,ma che mi combini?:
>Ma non ci saranno solo manga "classici"! E' in dirittura di arrivo un manga
>attuale conosciuto per la serie tv. E poi.. altre sorpresine!
>E poi le videocassette, un giorno. Chissà! Chissà quali! ^_^
si ma intanto pollon e' slittato di sei mesi dalla prima uscita
annunciata, e mi sembra che presto ci troveremo di fronte ad una
ennessima casa minore che fa uscire roba quando le pare (ehi ma cosi'
do' alla dynamic della casa minore :P)
caro il mio mazzotta, quali garanzie porterai per farmi cambiare idea?
(e si noti che sono ben propenso a cambiarla, visto che e' nel mio
interesse :)
--
FRM
Fan di Adachi
"La verita' e' che non ho niente da fare dal mattino alla sera"
(Masato Wakamatsu, Miyuki)


title: POLLON: il manga!!!

text:
> si ma intanto pollon e' slittato di sei mesi dalla prima uscita
> annunciata, e mi sembra che presto ci troveremo di fronte ad una
> ennessima casa minore che fa uscire roba quando le pare (ehi ma cosi'
> do' alla dynamic della casa minore :P)
> caro il mio mazzotta, quali garanzie porterai per farmi cambiare idea?
> (e si noti che sono ben propenso a cambiarla, visto che e' nel mio
> interesse :)
Caro il mio FRM, c'è un validissimo motivo per cui la piccola "Pollon" è
slittata di sei mesi! Io non vedevo l'ora di vederla stampata: figuriamoci!
Ma i tempi Orientali sono differenti da quelli Occidentali quando si lavora
col Sol Levante!E poi... e poi... bheee.. ho un progettino in testa che
riguarda i Giapponesi: E' una cosa che farà esultare TUTTI ed è
assolutamente inedita! Spero vada in porto! Se l'invidia e le bambolette
voo.doo non ci si mettono di mezzo! :)
Per quanto mi riguarda non voglio essere un'ennesima casa editrice (minore?
aspetta e vedrai!!! Il fatturato dei comics Americani non lo chiamerei
"minore", poi vediamo quello dei manga! ^_^  ) che ritarda e slitta le
uscite! Non è serio ed è un po' sciatto, a parer mio.
E - come si dice- mi scuso per il ritardo, indipendente dalla mia volontà e
dovuto a cause di forza maggiore! Non vi prenderò in giro con balle
patetiche (come scioperi o poste birichine) ma vi prometto un inizio Lexy
esaltante! leggete e vedrete!
Grazie per la stima e per le belle parole, amici! :)))
CiaoCiao da
Fabrizio


title: POLLON: il manga!!!

text:
fabmaz,fabmaz,ma che mi combini?:
>Grazie per la stima e per le belle parole, amici! :)))
e sia, un o' di fiducia non si nega a nessuno!
pero' se vuoi un consiglio, io punterei su albi di 200 pag con
sovracoperta e identici agli originali...poi fate un po' voi ;)



title: POLLON: il manga!!!

text:
fabmaz <
fabrizio...@tin.it
> wrote in message
_HVP6.15021$VT1.2...@news1.tin.it...
> A metà giugno dovrebbe uscire (se Zeus vuole!!) il tanto atteso manga di
> "Pollon": 126 pagine circa con sovracopertina, carta extralusso (Che non
> sempre gli altri editori propongono!) e a un prezzo economico: 4800 lire.
> Piu' rubriche, interviste e notiziole varie! Il tutto Edizioni Lexy!
Forse mi sono perso qualche post per cui mi scuso in anticipo nel caso tu
abbia già risposto a queste domande:
1)La distribuzione è prevista anche tramite edicola o solo nelle fumetterie?
2)Uscirà un solo numero o più di uno (in questo caso quanti saranno)?
Ciao e grazie anticipati per la risposta
--
----------------------------------------------------------------------------
------------
L'intelligenza è una pianta che va curata continuamente.
Dovreste vedere com' è bello il mio bonsai


title: Fables deluxe

author: Hanna Hilton

text:
Che dite a riguardo?
Prenderla o non prenderla?


title: Fables deluxe

author: L'ATTACCAPEZZE

text:
"Hanna Hilton" <
ha...@hilton.com
> ha scritto nel messaggio
news:50730987$0$13274$4faf...@reader2.news.tin.it...
> Che dite a riguardo?
> Prenderla o non prenderla?

In che consiste?...Hanno fatto un absolute?


title: Fables deluxe

author: Laz

text:
Il giorno lunedì 8 ottobre 2012 19:12:39 UTC+2, Hanna Hilton ha scritto:

> Che dite a riguardo?
> Prenderla o non prenderla?

Io, non avendo seguito Fables dall'inizio in tempo reale, seguo questa edizione, davvero ottima.

(Parlo dell'edizione USA, non se se esista in italiano.)

--
Laz


title: Fables deluxe

text:
Leggevo felice un numero di Rigel quando Laz <
francesco...@gmail.com
> ha
gridato facendomi trasalire:

> Io, non avendo seguito Fables dall'inizio in tempo reale, seguo questa
> edizione, davvero ottima.
>
> (Parlo dell'edizione USA, non se se esista in italiano.)

Sta arrivando, in pratica sono due volumi uniti in uno a 30 euro, non ho idea
della qualit� ma non credo sia comparabile ad una Absolute (quella magari la
faranno a serie conclusa), io avendo seguito la classica non la prender�.

--
See Ya, Dark.

Io sono il Signore dei Sogni.


title: Fables deluxe

text:
Il 08/10/2012 23:08, Laz ha scritto:
> Il giorno luned� 8 ottobre 2012 19:12:39 UTC+2, Hanna Hilton ha scritto:
>
>> Che dite a riguardo?
>> Prenderla o non prenderla?
>
> Io, non avendo seguito Fables dall'inizio in tempo reale, seguo questa edizione, davvero ottima.

si ma cosa succeder� quando (se) raggiungeranno la serie normale?

> (Parlo dell'edizione USA, non se se esista in italiano.)

esce in questi giorni


title: Fables deluxe

text:
Leggevo felice un numero di Rigel quando Hanna Hilton <
ha...@hilton.com
> ha
gridato facendomi trasalire:

>> Io, non avendo seguito Fables dall'inizio in tempo reale, seguo questa
>> edizione, davvero ottima.
>
> si ma cosa succederà quando (se) raggiungeranno la serie normale?

Ovviamente si fermeranno e ne uscirà un nuovo volume DOPO che saranno usciti i 2
volumi normali, a distanza di quanto tempo non so ma quasi sicuramente faranno
così.



title: Fables deluxe

text:
Il giorno mercoledì 10 ottobre 2012 17:18:23 UTC+2, Hanna Hilton ha scritto:

> si ma cosa succederà quando (se) raggiungeranno la serie normale?

Se segue i ritmi d'uscita USA (e mal che vada, quando raggiungerà l'edizione USA, lo farà), non so se la raggiungeranno mai. Ne esce uno all'anno (o poco più).

--
Laz


title: Cerco Rat-Man. Vi prego aiutatemi!!!!!!

author: Marco Frongillo

text:
Sono disperato, sto cercando i primi 3 numeri del mitico Rat-Man Collection.
Ho già inviato ben due richieste di arretrati via fax a distanza di tre mesi
l'uno dall'altro
(ora è passato più di un mese dall'ultima richiesta), e non ho ricevuto
nessuna comunicazione. Vi prego di aiutarmi, se qualcuno di voi possiede, o
conosce chi possiede i primi 3 numeri, e li vuole vendere, contattatemi al
più presto.
Ve ne sarò eternamente grato. CIAO A TUTTI!!!!!
mark...@docnet.it


title: Cerco Rat-Man. Vi prego aiutatemi!!!!!!

author: ROR

text:
Marco Frongillo ha scritto nel messaggio
<
91660055...@tango.comm2000.it
>...

Io ho trovato il primo numero di Rat-Man Collection (ma solo il primo)al
negozio della Star Comics a Perugia:
Star Shop
Via S. Galigano n. 29/37
06123 Perugia (PG)
tel. 075 5847772
vende anche per corrispondenza


title: Sito Scuola di Fumetto

author: Brendon

text:
E' stato aggiornato il sito della rivista Scuola di Fumetto
www.scuoladifumetto.org
Nonostante sia ancora un pò incompleto, non è niente male.
Brendon


title: QUATTRO DITA: prevendita con spese di spedizione gratuite

author: Giovanni Agozzino

text:
Salve a tutti,
qualche novità riguardo a Quattro Dita, il prossimo libro ProGloEdizioni.
A causa di qualche problema con la copertina, il libro (originariamente
previsto per metà maggio) è slittato a questo mese. E' in stampa e presto
sarà in distribuzione presso tutte le fumetterie e le librerie di varia.
Per chi non sapesse di cosa parlo, ecco una breve sinossi:
--
http://tinyurl.com/5vyxtx
Quattro Dita ripercorre la vita di Dizzy Walters, indiscusso genio dell'animazione
americana, attraverso mezzo secolo di storia Hollywoodiana. Ma Quattro Dita
è anche la storia vera della vita di un topo di nome Rickey Rat, un tempo
fulgidissima star del cinema animato, adesso vecchio e alcolizzato cartone
che blatera di strane storie e ancor più strani complotti...
--
Inoltre, per coloro i quali ancora non l'avessero ordinato o fossero in
dubbio con l'acquisto, ProGlo vi viene incontro!
PREVENDITA DI QUATTRO DITA CON SPESE DI SPEDIZIONE GRATUITE!
Ordinate Quattro Dita direttamente dal sito
www.progloedizioni.com
 adesso, e
vi verrà inviato a casa senza alcuna spesa aggiuntiva. L'offerta è valida
fino all'entrata in distribuzione del libro.
Approfittatene!


author: L' ATTACCAPEZZE

text:
"Giovanni Agozzino" <
giovanni...@yahoo.it
> ha scritto nel messaggio
news:4874d898$0$40164$4faf...@reader1.news.tin.it...
> Salve a tutti,
>
> qualche novità riguardo a Quattro Dita, il prossimo libro ProGloEdizioni.
Ah... ecco com'è la storia!.......
L'avevo in lista perchè mi fido delle recensioni dell' NG, e Sabato scorso,
mentre sono a Mantova dal mio BROKER a ritirare il materiale gli
faccio......<< Ma come non è in catalogo e non lo trovi da nessuna parte!???
.....Ti assicuro che è uscito da mesi, e sull' NG hanno pure pubblicato il
link che porta al loro sito!!!.........Si la PROGLO, così
dicevano!!!.........Cos'è!?? Cazzo ne sò, sei tu l'esperto!.......Sarà una
piccola casa editrice, ma so che ne parlano sempre bene, e mi sa che c'era
pure a Mantova Comics!!.........AHH?? Ma si!!!! Ma pensa tè!!! Vado da
"Alessandro" a Bologna!!! Ma cerca bene dai, e piantala di bere già prima
delle 12.00!! ........Figurati se non è in catalogo, per quanto piccoli è
impossibile che siano invisibili, e io non ho fretta!!! Torna a cercare, va
là, che ti tronco gli alimenti!! >>
Adesso gli giro il tuo messaggio, e lo metto in azione!