A is for Alan: Alan Moore at the movies

By Chris Hallam

First published: 2017

Alan Moore is the undisputed bearded Northampton-based God of the British comics realm. Yet he has been notoriously prickly on the subject of adaptations of his own work. He has declined to even watch any of the four major films directly based on his comics and in recent years has in recent years refused any payment. But is he right to do so? Is The Watchmen really in the same League as the Extraordinary Gentlemen? Is the film of V From Vendetta really From Hell? Chris Hallam checks it out…

In 1977, Alan Moore, then a twenty-four-year old employee of the Northampton gas board decided to quit his job and try to pursue a career as a comic writer instead. The timing, to some, might have seemed odd. Moore was not rich and was married with a baby on the way. But for Moore it was a “now or never” moment: “I knew that if I didn’t give up the job” (which he hated) “and make some sort of stab at an artistic career before the baby was born that…I knew I wouldn’t have been up for it once I had those big imploring eyes staring up at me,” he said later. “So, I quit.”

The gamble paid off. First, it was just a few cartoons in heavy metal magazines and the odd Tharg’s Futureshock for the new science fiction comic 2000AD. But then the trickle turned into a flood. Soon came V For Vendetta in Warrior, The Ballad of Halo Jones and then, amongst many other things, Watchmen, perhaps the most acclaimed graphic novel ever made. Alan Moore was perhaps the biggest name in British comics to emerge in the Eighties.

Soon inevitably people began to talk of filming his works and Moore was initially keen enough. A film, Return of the Swamp Thing (1989), based on a DC strip by Moore was filmed. But early plans for a V For Vendetta TV series and a film of Watchmen faltered. The timing was not yet right.

But by the start of the 21st century, following the success of Blade and The X-Men, filmmakers began filming every comic they could get their hands on: Road To Perdition, Ghost World, A History of Violence and TV’s The Walking Dead have all been consequences of this trend.

But the four attempts to film Alan Moore’s works in the first decade of the millennium had somewhat mixed results. And they would not make their creator happy at all.

“The idea that there is something prestigious about having your work made into a film, that is something which infuriates me because it seems to be something that everybody else in the industry absolutely believes.” Alan Moore.

A Ripping Yarn?

The comic: From Hell (1989-1996) produced with illustrator Eddie Campbell.

The film: From Hell (2001) directed by the Hughes Brothers and starring Jonny Depp, Heather Graham, Jason Flemying, Ian Holm, Robbie Coltrane, Sir Ian Richardson.

In print:

Moore’s take on the notorious Jack the Ripper case is probably one of Moore’s less accessible stories. At one point, for example, it draws a rather strange connection between the 1888 Whitechapel murders and the conception of Adolf Hitler in Austria-Hungary, two events which admittedly must have occurred at about the same time. From Hell thus seemed rather an odd choice for the big screen treatment.

On screen:

The Hughes’ Brothers broke with the original story early on choosing to make the story a whodunnit (something Moore had gone out of his way to avoid doing) and by viewing it from the perspective of Inspector Abberline (Johnny Depp’s performance virtually identical to his turn as Ichabod Crane in Tim Burton’s Sleepy Hollow in 1999), rather than from the viewpoint of the Ripper himself, who in the graphic novel is identified early on as Sir William Gull (Ian Holm).

Moore’s view:

As Moore’s biographer Lance Parkin has written, Moore’s approach to his films was more one of indifference than outright hostility at this stage. He accepted payment for the film and was apparently pleased by the casting of actress Heather Graham as she had had a small part in one of his favourite TV series, Twin Peaks. But having recognized it was not going to be very similar to the original story early on, Moore distanced himself from the film and has never bothered to watch it.

Verdict:

“I’d be quite happy if they made Carry On Ripping. It’s not my book, it’s their film.” Moore’s verdict is correct. From Hell is a silly over the top film full of clichés and bad acting.

A League Of Their Own?

“Mr. Alan Moore, author and former circus exhibit (as ‘The What-Is-It from Borneo’), is chiefly famed for his chapbooks produced with the younger reader in mind. He astounded the Penny Dreadful world with such noted pamphlets as ‘A Child’s Garden of Venereal Horrors’ (1864), and ‘Cocaine and Rowing: The Sure way to Health’ (1872) before inheriting a Cumbrian jute mill and, in 1904, expiring of Scorn.” Author description of The League of Extraordinary Gentlemen (illustrated by Kevin O’Neill, 1999-2007).

The film: Directed by Stephen Norrington (2003) this starred Sir Sean Connery, Shane West, Jason Flemyng, Peta Wilson and Stuart Townsend.

In print: Not to be confused with the 1960 classic British movie crime caper starring Jack Hawkins or the early 21st century Royston Vasey-based dark BBC comedy series (both actually just called The League of Gentlemen), this witty Victorian pastiche was reportedly optioned before artist Kevin O’Neill had even finished drawing the first issue. Bringing together the cream of Victorian fiction – Captain Nemo, the Invisible Man, Allan Quatermain and Jekyll and Hyde amongst others – into a formidable superhero-style team, this should have been perfect for the big screen. In theory…

On screen: A commercial success, LXG (as some promotions referred to it) was an unruly disaster and probably the worst Moore adaptation yet made. Minor changes were made such as the introduction of characters Tom Sawyer and Dorian Gray to the line-up (there were also issues affecting the copyright of the Invisible Man’s character: in the end “an” rather than “the” invisible man appeared). But these seemed unimportant next to the fact the film as a whole, was a complete travesty of the original. It was also a notoriously bad shoot with Sir Sean Connery (playing King Solomon’s Mines star Quatermain) falling out with director Stephen “Blade” Norrington. According to some reports, the two men came to blows. Connery, a screen legend then in his seventies, vowed never to be in a film again. He never has. Norrington has never directed any films since either.

Moore’s view: Worse was to come as a lawsuit was brought against the film alleging it had plagiarized another script called Cast Of Characters. Moore, who had never wanted the film anyway was cross questioned for hours based on the suggestion that he had only written the comic as a front to disguise the film’s supposed unoriginality. The case was settled out of court but in the meantime Moore was understandably very annoyed indeed.

Verdict: A film already apparently guilty of the crime of ending Sean Connery’s long film career, The League of Extraordinary Gentlemen also turned Alan Moore off film versions of his comics forever. Not that he was ever exactly super keen anyway…

Remember, Remember

The comic: V For Vendetta (1982-1989), art by David Lloyd (and Tony Weare).

The film: 2006 film directed by James McTeigue, written by the Wachowskis and starring Natalie Portman, Hugo Weaving, Stephen Fry and the late John Hurt amongst others.

In print:

A chilling portrait of a futuristic Britain that has succumbed to fascism after a limited nuclear war has destroyed much of the rest of the world, the “hero” (if hero, he be) is V, a mysterious masked Jacobin vigilante prone to speaking in strange verse, nasty practical jokes and setting up impressive and time-consuming domino displays for his own amusement. But who exactly is he? And can he save young Evey Hammond from the dark forces which threaten to engulf her?

On screen:

One big problem with filming V For Vendetta was the story’s obsession with the concept of November 5th. Virtually everyone outside the UK is unfamiliar with Guy Fawkes and the Gunpowder Plot and so a short sequence explaining the idea was added for the benefit of our American cousins. The nuclear war of the original is replaced by a backstory involving a devastating epidemic but generally the film is surprisingly faithful to the original. This is, after all, a film in which the hero is a terrorist who blows up underground trains which was released only a few months after the July 2005 bombings. In short, some bits don’t work that well – V’s strange rhetoric doesn’t always work on screen and the Benny Hill like sequences in the TV show seem a bit odd. Other elements such as Stephen Rea’s performance as an investigating officer and the near perfect recreation of the powerful ‘Valerie’ sequence from the comic, work brilliantly.

Moore’s view: Although artist David Lloyd enthusiastically endorsed the film, Moore disassociated himself entirely even went going so far as getting his own name removed from the credits. He also expressed anger (apparently still without having seen it) that the Wachowskis had used his story to (he argued) satirize Bush era America, rather than maintaining the Thatcher-era anti-fascist perspective of the original.

Verdict: Although not a complete triumph by any means, V For Vendetta was reasonably well received by most audiences and critics. It’s certainly interesting enough that you can’t help wishing Moore would lift-up his own self-imposed mask for a moment and take a sneaky peak at it.

Manhattan Transfer

The comic: Moore’s masterpiece completed with artist Dave Gibbons between 1986 and 1987.

The film was directed by Zach Snyder in 2009 starred Billy Crudup, Patrick Wilson, Matthew Goode and Jeffery Dean Morgan.

Summary: A brilliant and complex saga which transformed the world of comics forever, The Watchman incorporates superheroes, pirates, nuclear apocalypse and an all-powerful blue man who likes sitting around in space.

On screen: After a fan-pleasing, superbly made title sequence in which we get to see such sights as Dr. Manhattan meeting President Kennedy (before The Comedian, played by Jeffery Dean Morgan helps assassinate him), this does a largely faithful job of translating Moore’s vision to the big screen. It’s not perfect: Matthew Goode’s Ozymandias is a bit too obviously villainous from the outset and many other scenes seem unnecessarily violent. But some sequences– the creation of Dr. Manhattan, for example – are, like the Valerie sequence in V For Vendetta – transferred perfectly from the comic. Dean Morgan is especially well cast as the ultra-conservative Comedian, a man who despite no obvious super powers, successfully wins the Vietnam War for the US, kills JFK, and prevents the Watergate Scandal from happening. The three-and-a-half-hour DVD extended version even incorporates animated Tales of the Black Freighter sequences into the film, pirate stories which even somewhat overwhelmed the narrative in the original comic.

Some viewers might be left wondering: would deliberately unleashing a sudden massive unexplained explosion really would be the best way to defuse a Cold War superpower stand-off. They might also ask: Did Richard Nixon really look like that? Or if Dr. Manhattan is genuinely quite annoying. But hey! These are mostly failings of the comic, not the film.

Moore’s view: Terry Gilliam had originally planned to direct The Watchmen in the Eighties with Arnold Schwarzenegger tipped to play Dr. Manhattan, Robin Williams, the sinister Rorschach, Jamie Lee Curtis the Silk Specter and Richard Gere, Nite Owl. Gilliam was ultimately unhappy with Sam Hamm’s script which saw Ozymandias travelling back in time to prevent Dr. Manhattan’s creation, thus changing the course of the Cold War and ultimately saving the world. The project fell apart. Twenty years later, it was resurrected, by which time Moore was dead against it.

Verdict: Probably the best film adapted from Moore’s works. A shame he hasn’t seen it really. He’s not alone though: although not an outright flop, The Watchman disappointed at the box office.

Faith No Moore

The Watchmen did not mark the end of TV and movie versions of Alan Moore’s comic stories. We haven’t even mentioned Constantine (2005) starring Keanu Reeves and future Oscar winners Rachel Weitz and Tilda Swinton which was based on a character Moore had created for DC. The reasonably well-received film spawned a short-lived TV series starring Matt Ryan and will soon appear in animated TV form. There is talk of rebooting The League of Extraordinary Gentlemen and a TV series of The Watchmen is in development.

Perhaps most significantly The Killing Joke, an animated film version of Moore’s celebrated Batman story produced with Brian Boland in 1988 was released in 2016. Reviews were bad.

Whatever, we may think of the movie and TV versions of the works of Alan Moore, however, one thing is clear: forty years after he started to build a career in comics, he is powerless to stop other people making films of his work.

CHRIS HALLAM

2000AD timeline 6: 1982

1982 (Progs: 245-296):

January (Prog 245): The year begins in style with the launch of a new Judge Dredd mega-epic, The Apocalypse War. Half of Mega City One and several other of the 22nd century world’s mega cities are wiped out. This is also the first Dredd story illustrated by Dredd co-creator Carlos Ezquerra to be published in the weekly comic. (Written: Wagner/Grant).

(Prog 246): Nemesis the Warlock Book Two (Mills/Redondo) begins.

April (Prog 259): Sam Slade moves to Brit Cit.

(Prog 260): Fifth birthday issue. The comic is dominated by Dredd, Nemesis, Robo-Hunter, Rogue Trooper, The Mean Arena (which ends in September) and Ace Trucking Co. This is a golden age for 2000AD and after three major new stories in 1981, there are no significant new arrivals.

June (Prog 270): The Apocalypse War ends. The real life Falklands War also ends at about this time. There are to be no more Dredd mega-epics for five years and only one more in the entire decade (Oz in 1987-88).

July (Prog 271): The cover price rises from 16p to 18p.

September (Prog 280): Otto Sump returns to Dredd.

October (Prog 287): Harry Twenty on the High Rock begins (Finley-Day/Alan Davis).

Elsewhere:

The Warlock of Firetop Mountain by Ian Livingstone is published. It is the first in the Fighting Fantasy series of role-playing adventure game books.

January: Peter Davison makes his debut as the Fifth Doctor in Doctor Who. The series which is nineteen years old now, undergoes a general controversial revamp.

Japanese sci-fi puppet series, Star Fleet arrives in the UK.

March: High quality monthly Warrior is launched featuring Laser Eraser and Pressbutton and the Alan Moore-scripted V For Vendetta and Marvelman (later Miracleman).

April: A new version of The Eagle is launched featuring another new Dan Dare, Doomlord, The Collector and Sgt. Streetwise.

July: Star Trek: The Wrath of Khan is released and unlike most non-E.T science fiction films released this year, is a box office success. Originally to be called Vengeance of Khan it had its name changed to avoid confusion with the forthcoming third (or sixth) Star Wars film, Revenge of the Jedi. This itself has its name changed and is released as Return of the Jedi in 1983. Khan is now widely regarded as the best of the original Star Trek films.

August: John Carpenter’s The Thing comes out in the UK. Regarded as a classic now, it is critically panned on release. Sword and sorcery epic, Conan The Barbarian is also released.

Life, The Universe and Everything (the third Douglas Adams’ Hitchhiker’s Guide book) is published.

September: Blade Runner is released in the UK. Author Philip K. Dick, who wrote the original novella, Do Androids Dream of Electric Sheep, died in March, aged 53.

October: Tron is released, famously flopping at the box office.

December: Steven Spielberg’s E.T: The Extra Terrestrial is released in the UK. As of June 2021, it is the fourth biggest box office hit of all time when inflation is taken into account (just) behind The Sound of Music, the 1977 Star Wars and Gone With The Wind.

The first ever Doctor Who spin-off, K9 and Company arrives in the form of a pilot/Christmas special.

Chris Hallam is a freelance writer. Originally from Peterborough, he now lives in Exeter with his wife. He writes for a number of magazines and websites including The Companion, Yours Retro, Best of British and Comic Scene – in which he wrote about Judge Death, The Ballad of Halo Jones, Dan Dare, The Eagle, Metalzoic and Alan Moore’s Watchmen. In the past, he wrote for Metro.co.uk, Radio Times, DVD Monthly and Geeky Monkey. He co-wrote the book, Secret Exeter (with Tim Isaac) and wrote A-Z of Exeter – People, Places, History. He also provided all the written content for the 2014 annuals for The Smurfs, Furbys and Star Wars Clone Wars as well as for sections of the 2014 South Park annual and all the 2015 Transformers annual.

History of British comics timeline: The 1980s

1980

The Beano celebrates its 2,000th issue.

Nutty is launched. It’s most memorable story, Bananaman quickly moves to the front page.

The first Judge Dredd annual is published. In 2000AD, Judge Death and Judge Anderson both appear as characters in the Dredd strip.

Speed comes and goes, merging into Tiger.

Mergers: Misty merges into Tammy. The Crunch merges into Hotspur. Penny merges into Jinty. Cheeky merges into Whoopee!

Doctor Who Weekly goes monthly

Buddy begins.

Smudge debuts in The Beano.

1981

A new version of Girl is launched.

The TV-themed Tops begins.

Mergers: Scoop merges into Victor. Jinty merges into Tammy. Hotspur merges into Victor.

The Nemesis the Warlock saga begins properly in 2000AD. The war also begins for Rogue Trooper while Judge Dredd battles an outbreak of Blockmania.

1982

High quality monthly Warrior begins. It is not especially war-like and features V For Vendetta, Marvelman (later Miracleman) and Laser Eraser and Pressbutton.

A new version of The Eagle begins. Dan Dare (or rather his great-great-grandson) appears as do the photo stories Doomlord and Joe Soap.

Judge Dredd fights the Apocalypse War.

Wow! begins.

Jackpot merges into Buster. Milly O’Naire and Penny Less merge with Buster’s Ivor Lott and Tony Broke strip (as the duo’s girlfriends) disappearing from the story in the late 1980s.

Cheeky merges into Whoopee!

The first Beano comic libraries (smaller, monthly comics, featuring one extended story) appear. Other comics follow suit.

1983

Nutty’s Bananaman gets his own TV series.

School Fun begins lessons (briefly).

Spike kicks off.

Mergers: Buddy merges into Spike. Wow! merges into Whoopee! (becoming Whoopee! and Wow!). Debbie (est: 1973) merges into Mandy.

Slaine goes into battle in 2000AD. Extra-terrestrial Skizz also debuts.

What will happen next? Cliff Hanger begins in Buster.

1984

High profile horror comic Scream! begins and ends. It merges into Eagle. The Thirteenth Floor is amongst the stories to move across.

Champ begins.

The Ballad of Halo Jones begins in 2000AD (it ends in 1986). Female-led strips are still a rarity in the Galaxy’s Greatest Comic. Nemesis is joined by the ABC Warriors in The Gothic Empire.

Mergers: TV Comic (est: 1951) switches itself off. Tops merges into Suzy. Tammy (est: 1971) merges into Girl. Spike merges into Champ. School Fun merges into Buster. School Belle is amongst those joining Buster.

Dennis’s pet pig, Rasher gets his own strip in The Beano (until 1988).

1985

Adult comic Viz featuring Roger Mellie the Man on The Telly, Billy The Fish and Sid the Sexist goes nationwide.

Whoopee! (est: 1974) merges into Whizzer and Chips. Warrior gives up the fight. Tiger (est: 1954) merges into The Eagle. Some strips move into Roy of the Rovers. Champ merges into Victor.

Judge Anderson gets a story of her own in 2000AD.

Nutty merges into The Dandy. Bananaman continues on TV until 1986 and continues to thrive in The Dandy. Bananaman appears in several of his own annuals in this decade too.

Ivy the Terrible debuts in The Beano.

Computer Warrior goes into battle in The Eagle.

Captain Britain Monthly, Hoot and Nikki all debut.

Beeb begins (and ends).

1986

The anarchic Oink! launches. ‘Edited’ by Uncle Pigg, stars include Pete and his Pimple, Burp The Smelly Alien From Outer Space and Hector Vector and his Talking T-Shirt.

Diceman, an RPG version of 2000AD runs out of luck quickly and ends.

Hoot merges into The Dandy. Cuddles and Dimples unite in one strip.

Captain Britain Monthly ends.

Calamity James begins in The Beano. Gnasher briefly goes missing in a high profile Dennis the Menace storyline. He soon returns with a litter of puppies including Gnipper. Gnasher and Gnipper now replaces Gnasher’s Tale as a story.

1987

Nipper begins then merges into Buster.

Zenith begins in 2000AD. Now ten years’ old, the comic adopts a more ‘mature’ approach.

The Dandy’s 50th birthday.

1988

Crisis, a more political and grown-up sister title to 2000AD begins featuring Third World War and The New Statesmen.

Deadline comic/magazine starring Tank Girl begins.

The Beano’s 50th birthday.

Mergers: Battle (est: 1974) merges into Eagle. Oink! merges into Buster.

1989

Nikki merges into Bunty. It’s Wicked! begins and ends.

The ‘original’ Dan Dare returns to The Eagle.

Fast Forward, a much-publicised TV-themed comic/magazine launches.

Whizzer and Chips (now struggling) celebrates its 20th birthday.

Chris Hallam is a freelance writer. Originally from Peterborough, he now lives in Exeter with his wife. He writes for a number of magazines including Yours Retro, Best of British and Comic Scene – in which he wrote about Judge Death, The Ballad of Halo Jones, Dan Dare, The Eagle and Alan Moore’s Watchmen (amongst other things). He co-wrote the book, Secret Exeter (with Tim Isaac) and wrote A-Z of Exeter – People, Places, History. He was also wrote the 2014 annuals for The Smurfs, Furbys and Star Wars Clone Wars annuals as well as the 2015 Transformers annual.

Book review: Magic Words: The Extraordinary Life of Alan Moore

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In 1978, Alan Moore decided to quit the job at the Northampton gas board and dedicate himself full time to breaking into the comics industry as a writer. It was a high risk strategy. He was twenty-four years old and his young wife was pregnant. But Moore saw it as his last chance to exchange the job he hated for the career he loved.

Success came slowly with occasional one-off stories (Tharg’s Futureshocks) in the new science fiction comic, 2000AD. Later, came Skizz, D.R. and Quinch and my own personal favourite, The Ballad of Halo Jones. More success came through the short-lived and inappropriately titled Warrior comic (it was not war-related at all). Moore provided the backbone to the comic between 1982 and 1985, most famously with V For Vendetta, set in a late 1990s futuristic fascist dystopia. He also wrote Marvelman, now known as Miracleman, a promising superhero strip derailed by a legal dispute with Marvel Comics. This proved an forerunner to his greatest success, Watchmen for DC.

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Today, Alan Moore is still in Northampton, in his sixties and is renowned as one of the most successful comic writers ever albeit one with a bit of reputation for disputes with his employers or prospective filmmakers attempting to adapt his works (Moore has famously never seen any of the four films directly based on his own comics).

His fascinating story is detailed thoroughly by the always excellent Lance Parkin in this comprehensive biography.

Magic Words: The Extraordinary Life of Alan Moore by Lance Parkin, published by Aurum Press (2013)

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Thirty years of The Ballad of Halo Jones

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If you were reading the Galaxy’s Greatest Comic, 20000AD, thirty years ago this month, you would doubtless have noticed a new character.

The Ballad of Halo Jones written by Alan Moore and illustrated by Ian Gibson first appeared in July 1984. 2000AD, which had started in 1977, already featured many of its best known science fiction and fantasy strips notably Judge Dredd, Rogue Trooper, Strontium Dog, Nemesis the Warlock and Slaine. Ian Gibson had, in fact, drawn many Dredd episodes as well as the more humorous Sam Slade: Robohunter.

Alan Moore is a legend in the world of comics today. This was less true in 1984, but he was hardly unknown then either, having already penned both the futuristic drama V For Vendetta and Marvelman (later known as Miracleman) for Warrior, a title Moore had largely dominated but which was on its way out by 1984. He was also doing Swamp Thing for DC and had produced the extraterrestrial fantasy Skizz and D.R. and Quinch for 2000AD.  He had also written many Tharg’s Futureshocks; the Twilight Zone-style one off stories which many 2000AD staff first get established on. Moore had worked once with Gibson on one of these, “Grawks Bearing Gifts”.

But the first Halo Jones story wasn’t a hit. Lance Parkin in his biography Magic Words: The Extraordinary Life of Alan Moore writes: “Now, Halo Jones is regularly cited as a high point of the magazine’s long history. Then, it was a different story. Every week, the magazine polled its readers on their favourite strips, and Halo Jones was notably unpopular during its first run (#376-385, July-September 1984)”. What was the problem?

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Was it because most of the characters were girls? Halo is introduced as a teenager, one of a group of female friends (plus Toby, a robot dog) who live on the Hoop, a large crime-infested artificial population centre constructed off Manhattan Island. It was fairly unusual for 2000AD to have a female lead character at this time but it is probable a few factors conspired against the strip. Readers complained of a lack of “action”. Moore assumed they meant a lack of “violence”. Cynical but perhaps accurate, there is little of either in Volume One (at least, not until the end). The story also features a fair amount of futuristic slang which may have alienated some readers. Although to be fair, the slang “Squeeze! Squeeze with a bare arm!” isn’t that unusual bearing in mind the strip is set in 4949, nearly 3,000 years in the future. Another possible point against it is that there is also little interesting to mark out Halo at this point. She is just another one of the girls.

Volume Two which appeared in 1985, however, was much better.

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For one thing, the intriguing prologue features a lecture, set even further in the future which not only updates us but hints for the first time that Halo might be destined to become a figure of genuine historical import. Halo also develops more as a character, working as a stewardess on a space cruise liner the Clara Pandy during a year long voyage and leaving her less ambitious or unlucky friends back on the Hoop.

The ship turns out to be a perfect vehicle for all sorts of great stories, many working as stand alone strips. Toby, Halo’s companion reveals a ferocious dark side while a particularly strong story concerns The Glyph, a soulless sad character rendered invisible after countless sex changes have robbed him of his true identity.

Volume Three, is by Alan Moore’s own admission, the best of all.

Although it appeared only a year later, in 1986, ten long years have passed for Halo and she has become a more cynical, harder and more interesting figure. Washed up, she bumps into her old friend Toy Molto (a giantess) and the two decide to join the Army.

Predictably, this ends badly with the two becoming involved in the encroaching war in the Tarantula Nebula, a Vietnam-style conflict, periodically alluded to in the strip since Book One. Funny, ingenious and at times, moving, (one episode sees Halo talking for some time to a wounded colleague before realising with total horror that they have been dead for some time), Halo experiences the full indignity of combat. The war on the planet Moab, particularly leads to a memorable battle in which the strong gravity of the large planet leads time to be distorted leading the conflict to literally be appearing to pass either in slow motion or sometimes even accelerated speed. Halo also becomes embroiled in an unwise love affair with the monstrous General Luiz Cannibal and loses her innocence in more ways than one.

Adverts for the Titan anthologies of the story at the time hinted at ten volumes of Halo even suggesting she became a pirate queen. But, in fact, Volume Three would be the end. Moore fell out with 2000AD and went onto The Watchmen and phenomenal comic success. Only Neil Gaiman has come close to his status amongst contemporary British comic writers.

The Ballad of Halo Jones remains his overlooked masterpiece. I urge you to seek it out.

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