“What happened is, Alan had gotten the flu or something like it, and he was too sick to write the whole script or to figure out the plot of that issue,” Ha noted. The incredible thing about this issue is it at least in part only happened because Alan Moore got sick shortly before pages were due to the artists. If there’s one issue that Top 10 is famous for, it’s #8. “The trick is that he would sometimes just give a theme for characters in the story or in a scene, but then he wouldn’t list any examples.” “I’d say that two thirds of the background characters in the first issue were in Alan’s script, and by the end, one third were,” Ha said. In this case it was…I wouldn’t say new to comics, but the idea was that we were specifically trying to emulate something that is done in film and doing it in comics.” “And he was attempting something that was so complex. He obviously has that vision in his head of the camera as a character moving in and out of conversations,” Cannon said. “If you had to course correct a little bit to fix a problem or whatever, it was no big deal. It was just a fire hose of junk out on the page,” Cannon added. “The nice thing about (Top 10) was it wasn’t this spare, tense drama.
“Zander was able to figure out the storytelling build of Alan Moore, and then figure out a Zander Cannon way of telling the story more efficiently sometimes.” “And for consistency of style, anatomy, perspective, backgrounds, and stuff like that, I can do things that Zander can’t do.” “By the end of the first issue and a little after the beginning of the second, it became totally clear to us that Zander’s insanely good and fast at layouts, storytelling, reading the script, interpreting it, and figuring out nuances I wouldn’t see,” Ha shared. I sat down with both Ha and Cannon to discuss the story behind Top 10 from their perspective, and how the two worked with Moore to craft this remarkable series.
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