Barbra Dillon, Fanbase Press Editor-in-Chief: Congratulations on the upcoming release of your sci-fi/fantasy comic book series, Bronze Age Boogie, through AHOY Comics! For those who may be unfamiliar, what can you tell us about the series’ premise, and what inspired you to tell this story?
Stuart Moore: Thank you! I’m a fan of 1970s comics and grindhouse-movie genres like Kung Fu, street crime, and cosmic adventure. I wanted to throw all that in a blender and see if I could write a modern comic that brought back some of the ideas and character types from that period.
I’ve also lived in New York City all my adult life, and I’m fascinated by what it was like before my time. In the ‘70s, the city was unquestionably troubled, crime-ridden, and sometimes dangerous. But it was also very alive, very fierce. There’s a whole genre of music from that period that I call “F— you, I love New York”...songs like “Native New Yorker” and Billy Joel’s “New York State of Mind.” They were written by people who lived here at a time when getting by was a real struggle—but they just loved it SO MUCH, it was all worth it. We’re trying to bring some of that feeling to a comic…with Martians and talking apes, of course.
BD: Bronze Age Boogie follows on the heels of your series, Captain Ginger, also released through AHOY Comics. What makes the publisher such a great home for your work?
SM: I’m involved with AHOY behind the scenes, and I’m editing my titles myself. The company has given me every tool I need to make these books work. Sales have been rising, and we’ll have some more very interesting announcements soon.
BD: What can you tell us about your shared creative process in working with artist Alberto Ponticelli and colorist Giulia Brusco?
SM: It’s a very different process than I’m used to. I’m writing this book plot-first, which seemed appropriate for a book inspired by many of the Marvel titles of the ‘70s. Also, Alberto knows martial arts and I do not, so this gives him more freedom to choreograph the fight scenes, which he’s doing beautifully.
Alberto’s art is very very kinetic and also evocative…he can throw you into ancient barbarian times or 1975 Times Square and really make you feel like you’re there. When I write dialogue over his inks, it opens up new circuits in my brain. I think the result is a little bouncier, a little funkier than most of my work. I hope so, anyway.
I can’t say enough good things about Giulia. She’s one of the best colorists in the business. She creates wonderful, unique moods for each scene, and she’s incredibly meticulous. She and Alberto have worked together enough that they have a great rhythm going, too.
BD: The series mashes up so many fantastical and funky genres into a story that is not to be missed. What was your experience in weaving together so many unique aspects of the sword-and-sorcery tale?
SM: Mixing the genres was a real challenge. Above all, I wanted this to read like a good comic book. We dip into some devices you may not have seen for a while, like illustrated-prose pages within the comic, and a few different kinds of narration. But that’s all icing. The story is the cake.
As for the plot—it gets pretty involved. I made a lot of notes. A LOT of notes.
BD: Are there any other upcoming projects on which you are working that you are able to share with our readers?
SM: Let’s see: I have a novel, X-MEN: THE DARK PHOENIX SAGA, coming from Titan Books in May. Then, in August, there’s BATMAN: NIGHTWALKER, a graphic novel from DC’s new Ink line, adapting the prose novel by Marie Lu with art by Chris Wildgoose.
From AHOY, I have a story in STEEL CAGE, our one-shot competition anthology, coming in June. We’ll be talking more about that soon, but readers will get to vote on which story gets to continue. Artist Peter Gross and I are looking forward to MOPPING THE FLOOR with Tom Peyer and Mark Waid!
BD: Lastly, what would you like to tell fans who want to learn more about (and pre-order) Bronze Age Boogie?
SM: Just remember: It’s gonna be a stone gas, baby. Can you dig it?