Taking into account the fact that Alan Moore was the person who actually taught Neil Gaiman how to format a comics-script, and that reading Moore's Swamp Thing (1983–1987) notoriously rekindled Gaiman's interest in comics in his adulthood, this article studies and
surveys the connections between Moore's fiction and Gaiman's. At first, it particularly focuses on their shared interest in the kind of integrative fiction pioneered in the 1970s by Philip Jose Farmer through his 'Wold Newton Universe' (initiated in the novel Tarzan Alive in 1972),
and which is a narrative practice at the core of Gaiman's Sandman (1988–1996), 'A Study in Emerald' (2003) and others, and of Moore's Lost Girls (1991– 2006) and The League of Extraordinary Gentlemen (started in 1999). It also tries to appraise the place of
Gaiman's work on Miracleman (1990–1992) following up Moore's seminal run (1982–1989), in the rich history of Gaiman's love affair with mythology. And it ends up exploring the direct intertextual links between Gaiman's Black Orchid (1988–1989) and Moore's Swamp
Thing, and between Gaiman's Whatever Happened to the Caped Crusader? (2009) and Moore's Whatever Happened to the Man ofTomorrow? (1986).
Studies in Comics aims to describe the nature of comics, to identify the medium as a distinct art form, and to address the medium's formal properties. The emerging field of comics studies is a model for interdisciplinary research and in this spirit this journal welcomes all approaches. This journal is international in scope and provides an inclusive space in which researchers from all backgrounds can present new thinking on comics to a global audience. The journal will promote the close analysis of the comics page/text using a variety of methodologies. Its specific goal, however, is to expand the relationship between comics and theory and to articulate a "theory of comics". The journal also includes reviews of new comics, criticism, and exhibitions, and a dedicated online space for cutting-edge and emergent creative work.