(with their site down I am unable to see a cover for the new issue, but here is a previous religious-themed cover from when Hebdo was taken to court over reprinting the Danish cartoons)

It seems pretty unlikely, however, that the mag didn’t expect some sort of virulent response to this issue, especially given the past controversy stirred up when they republished some of the now infamous Danish cartoons of the Prophet which sparked off worldwide trouble. I suspect they perhaps expected more condemnation from certain religious groups or another legal challenge, as happened previously with the Muhammad Danish cartoons and didn’t anticipate an arson attack on the magazine itself, which apparently has decimated their headquaters, with the editor commenting “We no longer have a newspaper. All our equipment has been destroyed.” Thankfully there are no reports of injuries.

Despite claims they weren’t planning to court controversy once more I find it hard to believe that anyone following the infamous Danish cartoons incidents would be publishing something like this without being fully aware of the sort of response it is likely to provoke in certain quarters. That said France has a free press and freedom of speech is paramount, as in all other western democracies, and as such attempting to silence a voice by violent means simply cannot be tolerated under any circumstances, regardless of how angry or justified the perpetrators may feel they are and trying to bully publishers and cartoonists into self-censoring what they think they can comment on through violence is unforgivable – the same laws that provide for freedom of expression are part of the rules which also provide for freedom of religion and both should be respected.

The Hebdo website was also reportedly attacked, with messages in English and Turkish left on it, but as of this morning I couldn’t access the site at all. Charlie Hebdo is no stranger to controversy, be it religious or otherwise, but it is unclear where the magazine now stands having lost so much of its infrastructure – will it continue in some form and if so how and when? While their new issue may have been a little ill-advised given the nature of religious extremists and their likely responses when someone uses freedom of speech to say something they don’t approve of, I’m still shocked at this attack on a well-known magazine, not to mention worried that again it may provoke other publications into being increasingly timid in reporting on certain stories for fear of reprisal (effectively more self censoring through fear) and of course it hands the right wing anti-immigrant lot a new example to wave around to back up their bigoted arguments about other cultures mixing into our own. Personally I’m hoping the Charlie Hebdo crew can hold things together and get back on their feet; regardless of the widsom (or lack thereof) of this new issue we simply cannot tolerate our free press being violently attacked and forced into silence.

(outside the rather splendid Clapton Park United Reform Church, venue for the Dodgem Logic celebration)

It’s a nice, sunny, and not too warm evening in east London, Hackney, a borough of renown and distinction, and snaking out from a church, The Clapton Park United Reformed Church, a Grade II listed building, a long queue has formed and coiled out of the grounds of the church and around the corner. Alan Moore commands serious respect, appreciation and even adoration from comic book readers, but this was a celebration of Dodgem Logic, the underground magazine that he funded and brought attention to, that attempted and succeeded  ‘in colliding unlikely things to see what happens’.

(lining up on a nice, spring evening for the Dodgem Logic celebration, pics all by and (c) James Bacon)

The Round Chapel, with its high ceiling and balcony wrapping around all facing a stage set in front of the pulpit and organ, felt airy friendly and welcoming.

The venue filled up, as did the balcony, and to one side, Close Encounters and Dodgem Logic were selling a variety of wares. A nicely paced queue was working its way up to Alan Moore, who was happy to sign everything put in front of him—gentlemanly and engaging, pausing briefly for photos where he always strikes a nice smile and pose, while always having a kind word to say.

The evening began soon enough, once drinks were also purchased, with our Master of Ceremonies – Alan himself on stage, and he has a powerful presence. He is a real entertainer, and is self-deprecating in a way to get laughs, and knows how to keep a crowd’s attention. He is cheerful, excited and smiling, joking and upbeat, yet there is occasionally cynicism and wryness that this mature audience enjoys.

Is this the Moore that you read or think you know of? And here a caveat to all – I cannot ever convey in written words how pleasant and nice this fellow is. I have seen him live at four events now and he has a consummate stage presence, with a real sense of decorum and style, and most importantly a wonderfully dry wit and sharp minded humour , which audiences love and laugh at, as he pauses with perfect timing, a smile or twinkle in his eye. So be aware – this was fun and joyous – if anything seems lacking or grumpy it is my failure as a reporter to take you there – if something seems serious – it may have been but you need to hear the tone on his voice, the look in his eyes and the smile to understand truly his meaning.

Moore started off by explaining that the evening was to celebrate or eulogise Dodgem Logic, the underground magazine that he had a fair hand in bringing to fruition. He spoke of ‘how he used to like em -and had been  waiting 26 years for someone to do one – eventually dawned that everyone was waiting for me.’ He spoke of how the magazine was a fusion a clash of people and ideas, from the world famous to those publishing for the first time. Unfortunately, although he was funding it himself, and many people were obviously working on it very hard, it was making a consistent loss, and so now was time for a break ,a rethink – but Dodgem Logic was far from gone, and he hoped for a relaunch in the future. Then he said; ‘Those of you who read Dodgem Logic – know it! Those who didn’t… You killed my baby.’ And as the hall burst out into open laughter to this awesome humour, he shrugged and with a smile said, ‘Not bearing grudges.’

(Alan on stage, preparing for his new hobby of bingo caller)

Then the first item for this packed evening was a panel, with MC Moore talking to Melinda Gebbe, Steve Aylett ( described as being both baffling and upsetting), Kevin O’Neil and Savage Pencil. This forthright and enlightening discussion was full of comedic value and seemed very honest. Savage Pencil is a buddy of Moore’s from Sounds magazine, truly eccentric in a wonderful way. It was interesting to hear O’Neil talking about how he felt his work for Dodgem Logic had no manacles, as he had been given a brief to ‘do what he wanted’ which he found daunting, and was a bit revealing. ‘Very revealing,’ injected Moore, and with that laughter, O’Neil retorted with a deadpan, ‘I regretted it ever since. ‘ He said he found the lack of a regime enormously liberating. How the one-pages he did for Dodgem Logic made his regular gig on League of Extraordinary Gentlemen better. How he loved it.

Savage Pencil, Melinda Gebbe, and Steve all spoke very well, and it was interesting especially from Savage and Melinda to see how important the underground comic actually was, and how it gave them both massive opportunities. More than a magazine, an outlet for the unusual or unrealised.

Moore was topically asked from the audience what he thought of AV and responded ‘Wouldn’t be my first choice…’
This was followed by a trio of comedians inlcuding Steve Aylett who claimed he wasn’t really a comedian, but still with a small amount of slapstick and incredible social observation had the audience guffawing with his hilarious takes on social behaviour. Robin Ince was very sharp, very confident on the stage and was obviously appreciated, and then Stuart Lee, who was extremely topical and had the audience staggered, flabbergasted and laughing in quick succession. Then Alan was on stage again, and this time, as he said, ‘Here to ramble on.’ He says this, but he doesn’t ramble, when he speaks his flow of thought is so coherent and precise and his direction and ability to deal with something means those listening would be forgiven for thinking he has a planned response.

Mr. Moore spoke of how he came to work with young offenders in Spring Boroughs Northampton, and how he gave a talk and then wrote a strip for OVR2U, a zine they were doing. He spoke of his experience, and spoke of the problems, not just the underage drinking and knife crime, which they did indeed address, but the poor social circumstances and while not removing people’s responsibility, how there just seems to be people worse off, which is generally not good and how this, and behaviours of authority, should be challenged. Although such a challenge led to Dodgem Logic. Which he felt was an ‘incoherent but strangely beautiful underground magazine’, mixing great artists and writers, from Iain Sinclair to Michael Moorcock and recipes, art, comics,  DIY gardening and politics. He reckoned it was ‘Not like old underground magazines but the way I remembered the underground zines.’

He spoke of future plans, and also and his novel Jerusalem, for which he said Dodgem Logic was an elaborate avoidance mechanism, but which he has written four chapters of since Christmas. He was rightly proud of the good things that have come from Dodgem Logic and he spoke of Mitch Jenkins, who was the photographer of the second issue cover—a burlesque –and how he went on himself to write a ten-minute screen play, which he laughingly said was ‘ completely out of control – no idea where it’s heading but it’s peculiar.’ You could see he was pleased at this and spoke of an August shooting.

(one of our very finest comics artists, Mr Kev O’Neill)

Then he was asked if he would do a game…

He spoke of how he writes a comic that is meant to be a comic, and how a bunch of comic industry pros – ‘take my comic and make it into it…’ and everyone knew. ‘I hate films,’ he said sardonically, what with his previous news in everyone’s mind.

He continued and said that it was funny as if he had an idea that was brilliant – but all these other ideas embedded in it – thinking about – expand into multiple platforms. ‘What if I embraced that?’ A ‘concept that I can spin out into lots of things – but the way I want, diabolical’ a ‘coherent mega project.’ There’ll be ‘surprising stuff in the next 12 months.’

Had Alan Moore just said that maybe it was time to embrace a multi-platform project that he could control and make the way he wants… as he said himself previously, instead of just ranting about what people do to his comics which were written to be just comics!

The venue was electrified. Everyone was excited.

This was followed by some more talk about the Big Bumper Book of Magic which is now half finished with Steve Moore, and he talked about Faust and Simon Magus and after quite a while, the audience enraptured, he said ‘And that’s one page!’ There was mention of the regional inserts idea, which for logistic reasons never happened. Not that it’s impossible, but it needs a solution. Moore also spent some time talking about his take on the world.

Following Moore there was a band, the Retro Spankies. These guys were excellent, playing a real mix – kicking off with old school Casio keyboard sounds followed by some heavy rock that then brought in a very indie anthem tune. They were really very good. It was now eleven, and so before I got to see the main man take to the stage in a stunning coat and strut his stuff, I had to dash off for a tube westward.

An excellent evening, and without doubt it brought home the wonderful project that Dodgem Logic was and is and hopes to be, but also, it reminded everyone that here, the greatest living comic book story teller, is an altruistic and generous man who made time, put in effort, and spent energy helping a bunch of young offenders, amongst others, bring something quite wonderful to fruition. A real celebration.

Many thanks to James for his report; you can check out the official Dodgem Logic site here and of course issues can be found in our branches and via our webstore here.

(art by and (c) Chris Ware, published the New Yorker)

Knockabout Comics’ Tony Bennet kindly updates us on the second issue of the new journal from Alan Moore and friends, Dodgem Logic. From the description: “We’ve got beautiful girls and strange old men ranting from soapboxes. We’ve got a freak show of Northampton curiosities. We’ve got FeeJee mermaids and the end of civilisation. Right behind these lurid painted curtains, decorated by the best damn deadbeat paraffin-swigging Carny embellishers in the business. We’ve even got a free dirty comic book that we will be handing out behind the main tent after the performance.”

Contributors include Josie Long, Dave Hamilton, Steve Moore and more, taking in subjects as diverse as gardening and anarchy, plus comic strips from Steve Aylett, Savage Pencil, Kevin O’Neill and an 8-page A5 comic book by our favourite bearded wizard of comics, Mr Alan Moore, esquire, with the wonderful title of “Weird Penises”. Oh yes, its true, boys and girls. Dodgem Logic #2 – which has three variant covers by Mitch Jenkins and Burlesque, pictured here – should be hitting shelves in mid February and is also available to order from our webstore. Being seen reading Dodgem Logic in public can increase your coolness rating by at least 300 megafonzies, according to Professor Farnsworth.

Edited by Virginie Sélavy with assistance by Alex Fitch, Sarah Cronin and Toby Weidmann.

The latest print edition of Electric Sheep magazine was released in December 2009. But it’s not just the latest , it’s also the last. Financial realities have forced Electric Sheep out of the print game. It’s continuing online, but to me, it’s just not the same – I like the feel of print in my hands.

And the loss of Electric Sheep in print is a real shame as it’s is full of well written, thoughtful and insightful articles on a huge variety of cult / lesser known film making subjects. Or, as Electric Sheep puts it so well – “the film magazine that explores the darkest corners of the cinematic basement“.

This issue, like the previous ones, sports a wide variety of articles, reviews and features. All lovingly and effectively designed – stylish yet readable – exactly as it should be:

(A simple way to give you a view of both the variety of material in Electric Sheep and the solid design sense through the magazine – the contents page.)

This issue puts the spotlight on the cinematic outlaw in all it’s forms; bikers, gangsters, vigilantes, terrorists, femme-fatales, thieves, and renegade film-makers are amongst the subjects covered. The most important  thing, whether or not you’re familiar with the films, is that each piece is informative and eminently readable.

In addition to the “I Fought The Law” theme there’s an interview with John Hillcoat about his adaptation of Cormac McCarthy’s The Road, Alex Fitch sits down with Who script editor Andrew Cartmel to talk about The Prisoner and there’s even room for a quick article on the art of Polish film posters. Varied indeed.

As you would expect there are reviews and articles on a host of new releases, most of which I’d never heard of, many of which I’ll now be looking out for – that’s always a good sign.

There’s also a big link to comic art in the choice of artists to illustrate several of the articles; with work from  Daniel Locke, James Stringer, Matt Sheret and Julia Scheele. But best of all, there are two comic strip reviews by Hannah Berry (Britten and Brulightly) and Mark Stafford (Cherubs).

(Hannah Berry’s review strip of Preminger’s “Where the sidewalk ends“.)

(Left; Mark Stafford’s review strip of Preminger’s Whirlpool, right; Julia Scheele illustration for an article on Day Night Day Night.)

(Left; Daniel Locke illustrates the Edgar Wallace films article. Right; James Stringer illustrates the Biker Flicks)

A magazine like Electric Sheep may be something that has a minority appeal but it, and many others like it, are welcome additions to bookshelves around the country. With the loss of Electric Sheep, our choices narrow that little bit more. The reasons are multitudinous I’m sure, but sometimes the balance sheet wins out over the heart and all the best will in the world.

The good news is that Electric Sheep is still available in it’s online form. Bookmark it, add it to that feed reader. It’s not for everyone. Indeed, there’s not even the faintest possibility that you’ll find everything in it’s pages to your taste. But that’s the whole point with something like this, covering a wide range of things very well; alternative things, weird things, wonderful things. You might not like everything here, but there may be something you’ll absolutely love.

Long may Electric Sheep continue, in whatever form it takes in the future. And maybe, who knows, one day we’ll see it return to print. Fingers crossed. But in the meantime, enjoy this last issue.

It’s just £3.75 in shops and available online at wallflowerpress.co.uk. The magazine continues online.

Richard Bruton.