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Alan Moore

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Title: Alan Moore  
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Subject: 2000 AD (comics), 1986 in comics, 1985 in comics, Watchmen, The League of Extraordinary Gentlemen (film)
Collection: 1953 Births, 20Th-Century British Novelists, 20Th-Century English Novelists, Alan Moore, Alternate History Writers, Anarchist Writers, British Comic Strip Cartoonists, Cthulhu Mythos Writers, Eisner Award Winners for Best Writer, Eisner Award Winners for Best Writer/Artist, English Anarchists, English Cartoonists, English Comics Writers, English Neopagans, English Novelists, English Occult Writers, English Science Fiction Writers, Glycon Cult, Harvey Award Winners for Best Writer, Hugo Award Winning Writers, Living People, People Educated at Northampton School for Boys, People from Northampton, Postmodern Writers, Prometheus Award Winners, V for Vendetta, Writers of Books About Writing Fiction
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Alan Moore

Alan Moore
Born (1953-11-18) 18 November 1953
Northampton, England
Pen name Curt Vile, Jill de Ray, Translucia Baboon, The Original Writer
Occupation Comics writer, novelist, short story writer, screenwriter, musician, cartoonist, magician
Nationality English
Genre Science fiction, fiction, non-fiction, superhero, horror
Notable works Batman: The Killing Joke
From Hell
The League of Extraordinary Gentlemen
Lost Girls
Swamp Thing
V for Vendetta
Voice of the Fire
Superman: Whatever Happened to the Man of Tomorrow?
For the Man Who Has Everything

Alan Moore (born 18 November 1953) is an English writer primarily known for his work in comic books including [2][3] he has been called "one of the most important British writers of the last fifty years".[4] He has occasionally used such pseudonyms as Curt Vile, Jill de Ray, Translucia Baboon and The Original Writer.

Moore started writing for British underground and alternative fanzines in the late 1970s before achieving success publishing comic strips in such magazines as 2000 AD and Warrior. He was subsequently picked up by the American DC Comics, and as "the first comics writer living in Britain to do prominent work in America",[3](p7) he worked on major characters such as Batman (Batman: The Killing Joke) and Superman ("Whatever Happened to the Man of Tomorrow?"), substantially developed the character Swamp Thing, and penned original titles such as Watchmen. During that decade, Moore helped to bring about greater social respectability for comics in the United States and United Kingdom.[3](p11) He prefers the term "comic" to "graphic novel."[5] In the late 1980s and early 1990s he left the comic industry mainstream and went independent for a while, working on experimental work such as the epic From Hell, the pornographic Lost Girls, and the prose novel Voice of the Fire. He subsequently returned to the mainstream later in the 1990s, working for Image Comics, before developing America's Best Comics, an imprint through which he published works such as The League of Extraordinary Gentlemen and the occult-based Promethea.

Moore is an occultist, ceremonial magician,[6] and anarchist,[7] and has featured such themes in works including Promethea, From Hell, and V for Vendetta, as well as performing avant-garde spoken word occult "workings" with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.

Despite his own personal objections, his books have provided the basis for a number of Hollywood films, including From Hell (2001), The League of Extraordinary Gentlemen (2003), V for Vendetta (2005), and Watchmen (2009). Moore has also been referenced in popular culture, and has been recognised as an influence on a variety of literary and television figures including Neil Gaiman,[8] Joss Whedon, and Damon Lindelof.[9][10]


  • Early life 1
  • Career 2
    • Early career: 1978–1980 2.1
    • Marvel UK, 2000AD, and Warrior: 1980–1984 2.2
    • The American mainstream and DC Comics: 1983–1988 2.3
    • Independent period and Mad Love: 1988–1993 2.4
    • Return to the mainstream and Image Comics: 1993–1998 2.5
    • America's Best Comics: 1999–2008 2.6
    • Return to independence: 2009–present 2.7
  • Work 3
    • Themes 3.1
    • Recognition and awards 3.2
  • Film adaptations 4
  • Personal life 5
    • Religion and magic 5.1
    • Political views 5.2
    • On conspiracy theories 5.3
  • Selected bibliography 6
  • See also 7
  • Notes 8
    • References 8.1
  • External links 9

Early life

Moore was born on 18 November 1953,[11] at St. Edmond's Hospital in [2](pp17–18)

"LSD was an incredible experience. Not that I'm recommending it for anybody else; but for me it kind of – it hammered home to me that reality was not a fixed thing. That the reality that we saw about us every day was one reality, and a valid one – but that there were others, different perspectives where different things have meaning that were just as valid. That had a profound effect on me."

Alan Moore (2003)[2](pp19–20)

In the late 1960s Moore began publishing his own poetry and essays in [2](p18)

Whilst continuing to live in his parents' home for a few more years, he moved through various jobs, including cleaning toilets and working in a tannery. Around 1971, he met and began a relationship with a Northampton-born girl named Phyllis, with whom he moved into "a little one-room flat in the Barrack Road area in Northampton". Soon marrying, they moved into a new [2](pp34–35)


Early career: 1978–1980

Abandoning his office job, he decided to instead take up both writing and illustrating his own comics. He had already produced a couple of strips for several alternative fanzines and magazines, such as Anon E. Mouse for the local paper Anon, and St. Pancras Panda, a parody of [2](pp36–37) Moore has stated that he would have been happy to continue Maxwell's adventures almost indefinitely, but ended the strip after the newspaper ran a negative editorial on the place of homosexuals in the community.[14] Meanwhile, Moore decided to focus more fully on writing comics rather than both writing and drawing them,[15] stating that "After I'd been doing [it] for a couple of years, I realised that I would never be able to draw well enough and/or quickly enough to actually make any kind of decent living as an artist."[16](p15)

To learn more about how to write a successful comic-book script, he asked advice from his friend, comic-book writer Steve Moore, whom he had known since he was fourteen.[16](p20) Interested in writing for 2000AD, one of Britain's most prominent comic magazines, Alan Moore then submitted a script for their long running and successful series Judge Dredd. Whilst having no need for another writer on Judge Dredd, which was already being written by John Wagner, 2000AD's editor Alan Grant saw promise in Moore's work – later remarking that "this guy's a really fucking good writer"[17] – and instead asked him to write some short stories for the publication's Future Shocks series. While the first few were rejected, Grant advised Moore on improvements, and eventually accepted the first of many. Meanwhile, Moore had also begun writing minor stories for Doctor Who Weekly, and later commented that "I really, really wanted a regular strip. I didn't want to do short stories ... But that wasn't what was being offered. I was being offered short four or five-page stories where everything had to be done in those five pages. And, looking back, it was the best possible education that I could have had in how to construct a story."[16](pp21–22)

Marvel UK, 2000AD, and Warrior: 1980–1984

From 1980 through to 1984, Moore maintained his status as a freelance writer, and was offered a spate of work by a variety of comic book companies in Britain, namely [2](p57) It was an era when comic books were increasing in popularity in Britain, and according to Lance Parkin, "the British comics scene was cohering as never before, and it was clear that the audience was sticking with the title as they grew up. Comics were no longer just for very small boys: teenagers – even A-level and university students – were reading them now."[3](p20)

During this three-year period, 2000AD would accept and publish over fifty of Moore's one-off stories for their [2](p58) was The Ballad of Halo Jones.[18](pp99–102) Co-created with artist Ian Gibson, the series was set in the 50th century. It finished before all the episodes were written.

Another comic company to employ Moore was Marvel UK, who had formerly purchased a few of his one-off stories for Doctor Who Weekly and Star Wars Weekly. Aiming to get an older audience than 2000AD, their main rival, they employed Moore to write for the regular strip Captain Britain, "halfway through a storyline that he's neither inaugurated nor completely understood."[19] He replaced the former writer Dave Thorpe, but maintained the original artist, Alan Davis, whom Moore described as "an artist whose love for the medium and whose sheer exultation upon finding himself gainfully employed within it shine from every line, every new costume design, each nuance of expression."[19]

The third comic company that Moore worked for in this period was a new monthly magazine known as Warrior, founded by Dez Skinn, a former editor of both IPC (publishers of 2000 AD) and Marvel UK, that was designed to offer writers a greater degree of freedom over their artistic creations than was allowed by pre-existing companies, and it was at Warrior that Moore "would start to reach his potential".[3](p21) Moore was initially given two ongoing strips in Warrior: Marvelman and V for Vendetta, both of which debuted in Warrior's first issue in March 1982. V for Vendetta was a dystopian thriller set in a future 1997 where a fascist government controlled Britain, opposed only by a lone anarchist dressed in a Guy Fawkes costume who turns to terrorism to topple the government. Illustrated by David Lloyd, Moore was influenced by his pessimistic feelings about the Thatcherite Conservative government, which he projected forward as a fascist state in which all ethnic and sexual minorities had been eliminated. It has been regarded as "among Moore's best work" and has maintained a cult following throughout subsequent decades.[3](p22)

Marvelman (later retitled Miracleman for legal reasons) was a series that originally had been published in Britain from 1954 through to 1963, based largely upon the American comic Captain Marvel. Upon resurrecting Marvelman, Moore "took a kitsch children's character and placed him within the real world of 1982".[3](p23) The work was drawn primarily by Garry Leach and Alan Davis.[20] The third series that Moore produced for Warrior was The Bojeffries Saga, a comedy about a working-class English family of vampires and werewolves, drawn by Steve Parkhouse. Warrior closed before these stories were completed,[21][22][23] but under new publishers both Miracleman and V for Vendetta were resumed by Moore, who finished both stories by 1989. Moore's biographer Lance Parkin remarked that "reading them through together throws up some interesting contrasts – in one the hero fights a fascist dictatorship based in London, in the other an Aryan superman imposes one."[3](p26)

Although Moore's work numbered amongst the most popular strips to appear in 2000 AD, Moore himself became increasingly concerned at the lack of creator's rights in British comics.[18](pp105–106) In 1985, he talked to fanzine Arkensword, noting that he had stopped working for all British publishers bar IPC, "purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like shit."[7][24] He did join other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for 2000 AD, leaving mooted future volumes of the Halo Jones story unstarted.[18](pp110–111) Moore's outspoken opinions and principles, particularly on the subject of creator's rights and ownership, would see him burn bridges with a number of other publishers over the course of his career.[7][24]

Meanwhile, during this same period, he – using the pseudonym of Translucia Baboon – became involved in the music scene, founding his own band, The Sinister Ducks, with David J (of goth band Bauhaus) and Alex Green, and in 1983 released a single, March of the Sinister Ducks, with sleeve art by illustrator Kevin O'Neill. In 1984, Moore and David J released a 12-inch single featuring a recording of "This Vicious Cabaret", a song featured in V for Vendetta, which was released on the Glass Records label.[3](p95) Moore would write the song "Leopardman at C&A" for David J, and it would be set to music by Mick Collins for the album We Have You Surrounded by Collins' group The Dirtbombs.[25]

The American mainstream and DC Comics: 1983–1988

Moore's work in 2000 AD brought him to the attention of DC Comics editor Len Wein,[26] who hired him in 1983 to write The Saga of the Swamp Thing, then a formulaic and poor-selling monster comic. Moore, along with artists Stephen R. Bissette, Rick Veitch, and John Totleben,[27] deconstructed and reimagined the character, writing a series of formally experimental stories that addressed environmental and social issues alongside the horror and fantasy, bolstered by research into the culture of Louisiana, where the series was set.[21][22] For Swamp Thing he revived many of DC's neglected magical and supernatural characters, including the Spectre, the Demon, the Phantom Stranger, Deadman, and others, and introduced John Constantine,[28] an English working-class magician based visually on the British musician Sting, which later became the protagonist of the series Hellblazer, which became Vertigo's longest running series at 300 issues. Moore would continue writing Swamp Thing for about three years, from issue No. 20 (January 1984) through to issue No. 64 (September 1987) with the exception of issues No. 59 and 62.[3](p82) Moore's run on Swamp Thing was successful both critically and commercially, and inspired DC to recruit European and particularly British writers such as Grant Morrison, Jamie Delano, Peter Milligan, and Neil Gaiman to write comics in a similar vein, often involving radical revamps of obscure characters.[21][22] These titles laid the foundation of what became the Vertigo line.

Moore began producing further stories for DC Comics, including a two-part story for [2](p149)[41] Moore followed this with a second political work, Shadowplay: The Secret Team, a comic illustrated by Bill Sienkiewicz for Eclipse Comics and commissioned by the Christic Institute, which was included as a part of the anthology Brought to Light, a description of the CIA's covert drug smuggling and arms dealing.[3](p47)

After prompting by cartoonist and self-publishing advocate Dave Sim,[12] Moore then used Mad Love to publish his next project, Big Numbers, a proposed 12-issue series set in "a hardly-disguised version of Moore's native Northampton" known as Hampton, and deals with the effects of big business on ordinary people and with ideas of chaos theory.[3](p48) Illustration of the comic was begun by Bill Sienkiewicz, who left the series after only two issues in 1990, and despite plans that his assistant, Al Columbia, would replace him, it never occurred and the series remained unfinished.[3](pp48–49)[42] Following this, in 1991 the company Victor Gollancz Ltd published Moore's A Small Killing, a full length story illustrated by Oscar Zarate, about a once idealistic advertising executive haunted by his boyhood self. According to Lance Parkin, A Small Killing is "quite possibly Moore's most underrated work."[3](p49) Soon after this, Mad Love itself was disbanded as Phyllis and Deborah ended their relationship with Moore, taking with them much of the money that he had earned from his work in the 1980s.[3](p25)

Meanwhile, Moore began producing work for Taboo, a small independent comic anthology edited by his former collaborator Stephen R. Bissette. The first of these was From Hell, a fictionalised account of the Jack the Ripper murders of the 1880s. Inspired by Douglas Adams' novel Dirk Gently's Holistic Detective Agency,[43] Moore reasoned that to solve a crime holistically, one would need to solve the entire society it occurred in, and depicts the murders as a consequence of the politics and economics of the time. Just about every notable figure of the period is connected with the events in some way, including "Elephant Man" Joseph Merrick, Oscar Wilde, Native American writer Black Elk, William Morris, artist Walter Sickert, and Aleister Crowley, who makes a brief appearance as a young boy. Illustrated in a sooty pen and ink style by Eddie Campbell, From Hell took nearly ten years to complete, outlasting Taboo and going through two more publishers before being collected as a trade paperback by Eddie Campbell Comics. It was widely praised, with comics author Warren Ellis calling it "my all-time favourite graphic novel".[44]

The other series that Moore began for Taboo was [2](pp154–155) Like From Hell, Lost Girls outlasted Taboo, and a few subsequent instalments were published erratically until the work was finished and a complete edition published in 2006.

Meanwhile, Moore set about writing a prose novel, eventually producing Voice of the Fire, which would be published in 1996. Unconventional in tone, the novel was a set of short stories about linked events in his hometown of Northampton through the centuries, from the Bronze Age to the present day, which combined to tell a larger story.[3](p92)

Return to the mainstream and Image Comics: 1993–1998

In 1993 Moore declared himself to be a [2](p173)

He subsequently set about writing what he saw as "better than average stories for 13- to 15-year olds", including three mini-series based upon the Spawn series: [2](p174)

Next he took over Rob Liefeld's Supreme, about a character with many similarities with DC Comics' Superman. Instead of emphasising increased realism as he had done with earlier superhero comics he had taken over, Moore did the opposite, and began basing the series on the Silver Age Superman comics of the 1960s, introducing a female superhero Suprema, a super-dog Radar, and a Kryptonite-like material known as Supremium, in doing so harking back to the original "mythic" figure of the American superhero. Under Moore, Supreme would prove to be a critical and commercial success, announcing that he was back in the mainstream after several years of self-imposed exile.[3](pp59–60)

When Rob Liefeld, one of Image's co-founders, split from the publisher and formed his own company Awesome Entertainment, he hired Moore to create a new universe for the characters he had brought with him from Image. Moore's "solution was breathtaking and cocky – he created a long and distinguished history for these new characters, retro-fitting a fake silver and gold age for them." Moore began writing comics for many of these characters, such as [2](p175)

America's Best Comics: 1999–2008

Image partner Jim Lee offered to provide Moore with his own imprint, which would be under Lee's company WildStorm Productions. Moore named this imprint America's Best Comics, lining up a series of artists and writers to assist him in this venture. Lee soon sold WildStorm – including America's Best Comics – to DC Comics, and "Moore found himself back with a company he'd vowed to never work with again". Lee and editor Scott Dunbier flew to England personally to reassure Moore that he would not be affected by the sale, and would not have to deal with DC directly.[46] Moore decided that there were too many people involved to back out from the project, and so ABC was launched in early 1999.[3](p62)

The first series published by ABC was [2](p183)

Another of Moore's ABC works was Tom Strong, a post-modern superhero series, featured a hero inspired by characters pre-dating Superman, such as Doc Savage and Tarzan. The character's drug-induced longevity allowed Moore to include flashbacks to Strong's adventures throughout the 20th century, written and drawn in period styles, as a comment on the history of comics and pulp fiction. The primary artist was Chris Sprouse. Tom Strong bore many similarities to Moore's earlier work on Supreme, but according to Lance Parkin, was "more subtle", and was "ABC's most accessible comic."[3](pp64–65)

Moore's Top 10, a deadpan police procedural drama set in a city called Neopolis where everyone, including the police, criminals, and civilians has super-powers, costumes, and secret identities, was drawn by Gene Ha and Zander Cannon.[3](pp65–66,71) The series ended after twelve issues, but has spawned four spin-offs: a miniseries Smax, which was set in a fantasy realm and drawn by Cannon; Top 10: The Forty-Niners, a prequel to the main Top Ten series drawn by Ha;[3](p68)[48] and two sequel miniseries, Top 10: Beyond the Farthest Precinct, which was written by Paul Di Filippo and drawn by Jerry Ordway, and Top 10: Season Two, written by Cannon and drawn by Ha.

Moore's series [2](p188) Drawn by J. H. Williams III, it has been described as "a personal statement" from Moore, being one of his most personal works, and that it encompasses "a belief system, a personal cosmology".[3](p68)

ABC Comics was also used to publish an anthology series, Tomorrow Stories, which featured a regular cast of characters such as Cobweb, First American, Greyshirt, Jack B. Quick, and Splash Brannigan. Tomorrow Stories was notable for being an anthology series, a medium that had largely died out in American comics at the time.[3](p66)

Despite the assurances that DC Comics would not interfere with Moore and his work, they subsequently did so, angering him. Specifically, in League of Extraordinary Gentlemen No. 5, an authentic vintage advertisement for a "Marvel"-brand douche caused DC executive Paul Levitz to order the entire print run destroyed and reprinted with the advertisement amended to "Amaze", to avoid friction with DC's competitor Marvel Comics.[49] A Cobweb story Moore wrote for Tomorrow Stories No. 8 featuring references to L. Ron Hubbard, American occultist Jack Parsons, and the "Babalon Working", was blocked by DC Comics due to the subject matter. DC had already published a version of the same event in their Paradox Press volume The Big Book of Conspiracies.[50]

In 2003, a documentary about him was made by Shadowsnake Films, titled The Mindscape of Alan Moore, which was later released on DVD.[51]

Return to independence: 2009–present

Alan Moore at the Institute of Contemporary Arts in 2009

With many of the stories he had planned for America's Best Comics brought to an end, and with his increasing dissatisfaction with how DC Comics were interfering with his work, he decided to once more pull out of the comics mainstream. In 2005, he remarked that "I love the comics medium. I pretty much detest the comics industry. Give it another 15 months, I'll probably be pulling out of mainstream, commercial comics."[16](p65) The only ABC title continued by Moore was The League of Extraordinary Gentlemen; after cutting ties with DC he launched the new League saga, Volume III: Century, in a co-publishing partnership of Top Shelf Productions and Knockabout Comics, the first part released in 2009, the second in 2011 and the third released in 2012.

In 2006, the complete edition of Lost Girls was published, as a slipcased set of three hardcover volumes. The same year Moore published an eight-page article tracing out the history of pornography in which he argued that a society's vibrancy and success are related to its permissiveness in sexual matters. Decrying that the consumption of contemporary ubiquitous pornography was still widely considered shameful, he called for a new and more artistic pornography that could be openly discussed and would have a beneficial impact on society.[52][53] He expanded on this for a 2009 book-length essay entitled 25,000 years of Erotic Freedom, which was described by a reviewer as "a tremendously witty history lecture – a sort of Horrible Histories for grownups."[54]

In 2007 Moore appeared in animated form in an episode of The Simpsons – a show he is a fan of[55] – entitled "Husbands and Knives", which aired on his fifty-fourth birthday.

Since 2009 Moore has been a panellist on the BBC Radio 4 programme The Infinite Monkey Cage, which is hosted by physicist Brian Cox and comedian Robin Ince.[56][57]

In 2010 Moore began what he described as "the 21st century's first underground magazine". Titled Dodgem Logic, the bi-monthly publication consists of work by a number of Northampton-based authors and artists, as well as original contributions from Moore.[58][59]

In January 2011, the fourth and final issue of Moore's Neonomicon was released by Avatar Press.[60] This horror mini-series is set in the H. P. Lovecraft universe, and like The Courtyard, is illustrated by Jacen Burrows.

Moore has appeared live at music events collaborating with a number of different musicians, with a forthcoming appearance with Stephen O'Malley confirmed for the ATP 'I'll Be Your Mirror' music festival in London.

A planned future project is an occult textbook known as The Moon and Serpent Bumper Book of Magic, written with Steve Moore. It will be published by Top Shelf in "the future".[61] He is also currently working on a second novel, Jerusalem, which will again be set in Northampton.[62][63]

Alan Moore has joined the Occupy Comics Kickstarter project. Moore contributed an essay on comics as counter-culture.[64]

He continues to work with Kevin O'Neill on their League of Extraordinary Gentlemen spin-off, Nemo. Avatar Press announced a twelve-part series with Jacen Burrows called Providence on Howard Phillip Lovecraft and the sources of the Cthulhu Mythos for 2015.

In 2014 Moore announced that he was leading a research and development project to "create an app enabling digital comics to be made by anyone".[65]



In a number of his comics, where he was taking over from earlier writers, including Marvelman, Swamp Thing, and Supreme, he used the "familiar tactic of wiping out what had gone before, giving the hero amnesia and revealing that everything we'd learned to that point was a lie."[3](p58) In this manner he was largely able to start afresh with the character and their series and was not constrained by earlier canon. While commenting on the artistic restrictiveness of serialised comic books, artist Joe Rubinstein gave the example that a comics creator would be limited in what he could do with Spider-Man, and added, "unless you're Alan Moore, who would probably kill him and bring him back as a real spider or something".[66]

As a comics writer, Moore applies literary sensibilities to the mainstream of the medium as well as including challenging subject matter and adult themes. He brings a wide range of influences to his work, such as William S. Burroughs,[67] Thomas Pynchon, Robert Anton Wilson and Iain Sinclair,[68] New Wave science fiction writers including Michael Moorcock and horror writers such as Clive Barker.[69] Influences within comics include Will Eisner, Harvey Kurtzman,[70] Jack Kirby,[71] and Bryan Talbot.[72][73][74]

Recognition and awards

Moore's work in the comic book medium has been widely recognised by his peers and by critics. Comics historian [2](p10) whilst interviewer Steve Rose referred to him as "the Orson Welles of comics" who is "the undisputed high priest of the medium, whose every word is seized upon like a message from the ether" by comic book fans.[75] Douglas Wolk observed: "Moore has undisputably made it into the Hall of Fame: he's one of the pillars of English language comics, alongside Jack Kirby and Will Eisner and Harvey Kurtzman and not many others. He's also the grand exception in that hall, since the other pillars are artists – and more often than not, writer/artists. Moore is a writer almost exclusively, though his hyper detailed scripts always play to the strengths of the artists he works with. That makes him the chief monkey wrench in comics author theory. The main reason that almost nobody's willing to say that a single cartoonist is categorically superior to a writer/artist team is that such a rule would run smack into Moore's bibliography. In fact, a handful of cartoonists who almost always write the stories they draw have made exceptions for Moore – Jaime Hernandez, Mark Beyer and most memorably Eddie Campbell."[76](p229)

Moore signing an autograph, 2006.

Moore has won numerous Jack Kirby Awards during his career, including for Best Single Issue for Swamp Thing Annual No. 2 in 1985 with John Totleben and Steve Bissette,[77] for Best Continuing Series for Swamp Thing in 1985,[77] 1986[78] and 1987[79] with Totleben and Bissette, Best Writer for Swamp Thing in 1985[77] and 1986[78] and for Watchmen in 1987,[79] and with Dave Gibbons for Best Finite Series and Best Writer/Artist (Single or Team) for Watchmen in 1987.[79]

Moore has won multiple Eagle Awards, including virtually a "clean sweep" in 1986 for his work on Watchmen and Swamp Thing. Moore not only won "favourite writer in both the US and UK categories", but had his work win for favourite comic book, supporting character, and new title in the US; and character, continuing story and "character worthy of own title" in the UK (in which last category his works held all top three spots).[80]

Moore has been nominated for the Comics Buyer's Guide Fan Awards several times, winning for Favorite Writer in 1985, 1986, 1987, 1999, and 2000. He won the CBG Fan Award for Favorite Comic Book Story (Watchmen) in 1987 and Favorite Original Graphic Novel or Album (Batman: The Killing Joke with Brian Bolland) in 1988.[81]

He received the Harvey Award for Best Writer for 1988 (for Watchmen),[82] for 1995 and 1996 (for From Hell),[83][84] for 1999 (for his body of work, including From Hell and Supreme),[85] for 2000 (for The League of Extraordinary Gentlemen),[86] and for 2001 and 2003 (for Promethea).[87][88]

He has received the Eisner Award for Best Writer nine times since 1988, and among his numerous international prizes are the German Max & Moritz Prize for an exceptional oeuvre (2008) and the British National Comics Award for Best Comics Writer Ever (in 2001 and 2002). He also won French awards like the Angoulême International Comics Festival Prize for Best Album for Watchmen in 1989 and V for Vendetta in 1990, and the Prix de la critique for From Hell in 2001, the Swedish Urhunden Prize in 1992 for Watchmen and several Spanish Haxtur Awards, in 1988 for Watchmen and 1989 for Swamp Thing No. 5 (both for Best Writer).

Moore was also lauded outside the world of comics. In 1988, Moore and artist Dave Gibbons won a Hugo Award in the category Other Forms for Watchmen. The category was created for that year only, via a rarely used provision that allows the Committee of the Worldcon to create any temporary Additional Category it feels appropriate (no subsequent committee has repeated this category).[89]

In 1988 he received a World Fantasy Award for Best Novella for A Hypothetical Lizard, which Avatar Press published in 2004 as a comics adaption by Antony Johnston. Moore also won two International Horror Guild Awards in the category Graphic Story/Illustrated Narrative (in 1995 with Eddie Campbell for From Hell and in 2003 with Kevin O'Neill for The League of Extraordinary Gentlemen)[90] and in 2000 The League of Extraordinary Gentlemen landed a Bram Stoker Award in the category Best Illustrated Narrative.

In 2005, Watchmen was the only graphic novel to make it onto Time's "All-Time 100 Novels" list.[91]

Film adaptations

Due to the success of his comics, a number of filmmakers have expressed a desire to make film adaptations over the years. Moore himself has consistently opposed such ventures, stating that "I wanted to give comics a special place when I was writing things like Watchmen. I wanted to show off just what the possibilities of the comic book medium were, and films are completely different."[92] Expressing similar sentiments, he also remarked that "If we only see comics in relation to movies then the best that they will ever be is films that do not move. I found it, in the mid 80s, preferable to concentrate on those things that only comics could achieve. The way in which a tremendous amount of information could be included visually in every panel, the juxtapositions between what a character was saying, and what the image that the reader was looking at would be. So in a sense ... most of my work from the 80s onwards was designed to be un-filmable."[51]

The first film to be based upon Moore's work was From Hell in 2001, which was directed by the Hughes Brothers. The film made a number of radical differences from the original comic, altering the main character from an older, conservative detective to a young character played by Johnny Depp. This was followed in 2003 with The League of Extraordinary Gentlemen, a film that departed radically from the books, changing the ending from a mob war over the skies of London to the infiltration of a secret base in Tibet. For these two works, Moore was content to allow the filmmakers to do whatever they wished and removed himself from the process entirely. "As long as I could distance myself by not seeing them," he said, he could profit from the films while leaving the original comics untouched, "assured no one would confuse the two. This was probably naïve on my part."[93] His attitude changed after producer Martin Poll and screenwriter Larry Cohen filed a lawsuit against 20th Century Fox, alleging that the film The League of Extraordinary Gentlemen plagiarised an unproduced script they had written entitled Cast of Characters. Although the two scripts bear many similarities, most of them are elements that were added for the film and do not originate in Moore's comics. According to Moore, "They seemed to believe that the head of 20th Century Fox called me up and persuaded me to steal this screenplay, turning it into a comic book they could then adapt back into a movie, to camouflage petty larceny." Moore testified in a deposition, a process he found so unpleasant that he surmised he would have been better treated had he "molested and murdered a busload of retarded children after giving them heroin". Fox's settlement of the case insulted Moore, who interpreted it as an admission of guilt.[93] In 2012, Moore claimed that he had sold the rights to these two works simply for the money; he did not expect the films ever to be made. He was simply "getting money for old rope". To date, Moore has seen neither film.[94]

In 2005, a film adaptation of Moore's V for Vendetta was released, produced by Bush-era parable by people too timid to set a political satire in their own country."[96] This conflict between Moore and DC Comics was the subject of an article in The New York Times[39] on 12 March 2006, five days before the US release. In the New York Times article, Silver stated that about 20 years prior to the film's release, he met with Moore and Dave Gibbons when Silver acquired the film rights to V For Vendetta and Watchmen. Silver stated, "Alan was odd, but he was enthusiastic and encouraging us to do this. I had foolishly thought that he would continue feeling that way today, not realising that he wouldn't." Moore did not deny this meeting or Silver's characterisation of Moore at that meeting, nor did Moore state that he advised Silver of his change of opinion in those approximately 20 years. The New York Times article also interviewed David Lloyd about Moore's reaction to the film's production, stating, "Mr. Lloyd, the illustrator of V for Vendetta, also found it difficult to sympathise with Mr. Moore's protests. When he and Mr. Moore sold their film rights to the comic book, Mr. Lloyd said: "We didn't do it innocently. Neither myself nor Alan thought we were signing it over to a board of trustees who would look after it like it was the Dead Sea Scrolls."[39]

Moore has subsequently stated that he wishes his name to be removed from all comic work that he does not own, including Watchmen and V for Vendetta, much as unhappy film directors often choose to have their names removed and be credited as "Alan Smithee". He also announced that he would not allow his name to be used in any future film adaptations of works he does not own, nor would he accept any money from such adaptations.[97] This request was respected by the producers of the subsequent adaptations of his work Constantine (2005) (based on a character created by Moore) and Watchmen (2009), and his name was removed from the V for Vendetta credits.[98]

In a 2012, interview with LeftLion magazine, Alan Moore was asked to put a figure on how much money he had turned down by refusing to be associated with these film adaptations. He estimated it to be 'at least a few million dollars' and said: "You can't buy that kind of empowerment. To just know that as far as you are aware, you have not got a price; that there is not an amount of money large enough to make you compromise even a tiny bit of principle that, as it turned out, would make no practical difference anyway. I'd advise everyone to do it, otherwise you're going to end up mastered by money and that's not a thing you want ruling your life."[99]

Personal life

Since his teenage years Moore has had long hair, and since early adulthood has also worn a beard. He has taken to wearing a number of large rings on his hands, leading him to be described as a "cross between Hagrid and Danny from Withnail And I" who could be easily mistaken for "the village eccentric".[75] Born and raised in Northampton, he continues to live in the town, and used its history as a basis for his novel Voice of the Fire. His "unassuming terraced" Northampton home was described by an interviewer in 2001 as "something like an occult bookshop under permanent renovation, with records, videos, magical artefacts and comic-book figurines strewn among shelves of mystical tomes and piles of paper. The bathroom, with blue-and-gold décor and a generous sunken tub, is palatial; the rest of the house has possibly never seen a vacuum cleaner. This is clearly a man who spends little time on the material plane."[75] He likes to live in his hometown, feeling that it affords him a level of obscurity that he enjoys, remarking that "I never signed up to be a celebrity."[51] He is also a vegetarian.[100]

With his first wife Phyllis, whom he married in the early 1970s, he has two daughters, [2](pp158–159)[101] On 12 May 2007, he married Melinda Gebbie, with whom he has worked on several comics, most notably Lost Girls.[102]

Religion and magic

In 1993, on his fortieth birthday, Moore openly declared his dedication to being a ceremonial magician, something he saw as "a logical end step to my career as a writer".[51] According to a 2001 interview, his inspiration for doing this came when he was writing From Hell in the early 1990s, a book containing much Freemasonic and occult symbolism: "One word balloon in From Hell completely hijacked my life ... A character says something like, 'The one place gods inarguably exist is in the human mind'. After I wrote that, I realised I'd accidentally made a true statement, and now I'd have to rearrange my entire life around it. The only thing that seemed to really be appropriate was to become a magician."[75] Moore associates magic very much with writing; "I believe that magic is art, and that art, whether that be music, writing, sculpture, or any other form, is literally magic. Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness ... Indeed to cast a spell is simply to spell, to manipulate words, to change people's consciousness, and this is why I believe that an artist or writer is the closest thing in the contemporary world to a shaman."[51]

"Monotheism is, to me, a great simplification. I mean the Qabalah has a great multiplicity of gods, but at the very top of the Qabalic Tree of Life, you have this one sphere that is absolute God, the Monad, something which is indivisible. All of the other gods, and indeed everything else in the universe, is a kind of emanation of that God. Now, that's fine, but it's when you suggest that there is only that one God, at this kind of unreachable height above humanity, and there is nothing in between, you're limiting and simplifying the thing. I tend to think of paganism as a kind of alphabet, as a language, it's like all of the gods are letters in that language. They express nuances, shades of meaning or certain subtleties of ideas, whereas monotheism tends to just be one vowel and it's just something like 'oooooooo'. It's a monkey sound."

Alan Moore[51]

Connecting his esoteric beliefs with his career in writing, he conceptualised a hypothetical area known as the "Idea Space", describing it as "... a space in which mental events can be said to occur, an idea space which is perhaps universal. Our individual consciousnesses have access to this vast universal space, just as we have individual houses, but the street outside the front door belongs to everybody. It's almost as if ideas are pre-existing forms within this space ... The landmasses that might exist in this mind space would be composed entirely of ideas, of concepts, that instead of continents and islands you might have large belief systems, philosophies, Marxism might be one, Judeo-Christian religions might make up another." He subsequently believed that to navigate this space, magical systems like the tarot and the Qabalah would have to be used.[51]

Taking up the study of the Qabalah and the writings of the notorious early 20th-century occultist Aleister Crowley, Moore accepted ideas from Crowley's religion, Thelema, about True Will being connected to the will of the pantheistic universe.[51] In some of his earlier magical rituals, he used mind-altering psychedelic drugs but later gave this up, believing that they were unnecessary, and stated, "It's frightening. You call out the names in this strange incomprehensible language, and you're looking into the glass and there appears to be this little man talking to you. It just works."[75]

Moore took as his primary deity the ancient Roman snake god Glycon, who was the centre of a cult founded by a prophet known as Alexander of Abonoteichus, and according to Alexander's critic Lucian, the god itself was merely a puppet, something Moore accepts, considering him to be a "complete hoax",[6][103] but dismisses as irrelevant. According to Pagan Studies scholar Ethan Doyle-White, "The very fact that Glycon was probably one big hoax was enough to convince Moore to devote himself to the scaly lord, for, as Moore maintains, the imagination is just as real as reality."[4]

Political views

Moore politically identifies as an anarchist,[7] and outlined his interpretation of anarchist philosophy, and its application to fiction writing in an interview with Margaret Killjoy, collected in the 2009 book, Mythmakers and Lawbreakers:

I believe that all other political states are in fact variations or outgrowths of a basic state of anarchy; after all, when you mention the idea of anarchy to most people they will tell you what a bad idea it is because the biggest gang would just take over. Which is pretty much how I see contemporary society. We live in a badly developed anarchist situation in which the biggest gang has taken over and have declared that it is not an anarchist situation – that it is a capitalist or a communist situation. But I tend to think that anarchy is the most natural form of politics for a human being to actually practice.[104]

In December 2011, Moore responded to Frank Miller's attack on the Occupy movement, calling his more recent work misogynistic, homophobic and misguided.[105] Worldwide, Occupy protesters have adopted the Guy Fawkes mask from V for Vendetta.[106][107] The mask has also been adopted by Anonymous, WikiLeaks, Egyptian revolutionaries,[108] and anti-globalization demonstrators.[109] Moore described Occupy as "ordinary people reclaiming rights which should always have been theirs"[110] and added:

I can't think of any reason why as a population we should be expected to stand by and see a gross reduction in the living standards of ourselves and our kids, possibly for generations, when the people who have got us into this have been rewarded for it – they've certainly not been punished in any way because they're too big to fail. I think that the Occupy movement is, in one sense, the public saying that they should be the ones to decide who's too big to fail. As an anarchist, I believe that power should be given to the people whose lives this is actually affecting.[110]

Moore is a member of The Arts Emergency Service, a British charity working with 16- to 19-year-olds in further education from diverse backgrounds.[111]

On conspiracy theories

Doing research into conspiracy theories for his work on Brought to Light, Moore came to develop his own opinions on the subject of a global conspiracy, stating that "Yes, there is a conspiracy, indeed there are a great number of conspiracies, all tripping each other up ... the main thing that I learned about conspiracy theories is that conspiracy theorists actually believe in the conspiracy because that is more comforting. The truth of the world is that it is chaotic. The truth is, that it is not the Jewish banking conspiracy, or the grey aliens, or the twelve-foot reptiloids from another dimension that are in control, the truth is far more frightening; no-one is in control, the world is rudderless."[51]

Selected bibliography

See also


  1. ^ "Alan Moore Bibliography". Archived from the original on 17 January 2010. Retrieved 13 June 2006. 
  2. ^ a b c d e f g h i j k l m n o p q r s t u v w x y  (p10)
  3. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak  (p7)
  4. ^ a b Doyle-White, Ethan (Summer 2009). "Occultic World of Alan Moore".  
  5. ^ Kavanagh, Barry (17 October 2000). "The Alan Moore Interview". Archived from the original on 26 February 2014. Retrieved 1 January 2013.  On the term "graphic novel": "It's a marketing term. I mean, it was one that I never had any sympathy with. The term "comic" does just as well for me. The term "graphic novel" was something that was thought up in the '80s by marketing people ..."
  6. ^ a b Babcock, Jay (May 2003). "Magic is Afoot: A Conversation with Alan Moore about the Arts and the Occult".  
  7. ^ a b c d  
  8. ^ Olson, Stephen P. (2005). Neil Gaiman. New York: Rosen Publishing Group. pp. 16–18.  
  9. ^ Jensen, Jeff (21 October 2005). "Watchmen: An Oral History".  
  10. ^ Jensen, Jeff (21 October 2005). "Watchmen: An Oral History". Entertainment Weekly. Archived from the original on 21 October 2013. 
  11. ^ Miller, John Jackson (10 June 2005). "Comics Industry Birthdays".  
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  13. ^ Rigby, Nic (21 March 2008). "Comic legend keeps true to roots".  
  14. ^ Moore, Alan. Maxwell the Magic Cat (Northants Post, 1979–1986) TPB. Acme Press. 1986–1987. Vol. 1: ISBN 978-1-870084-00-0. Vol. 2: ISBN 978-1-870084-05-5. Vol. 3: ISBN 978-1-870084-10-9. Vol. 4: ISBN 978-1-870084-20-8
  15. ^ "Alan Moore".  
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  20. ^ Khoury, George (1 September 2001). Kimota!: The Miracleman Companion. TwoMorrows Publishing.  
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  22. ^ a b c Bongco, Mila (17 May 2000). Reading Comics: Language, Culture, and the Concept of the Superhero in Comic Books.  
  23. ^ a b Khoury, George (July 2004). True Brit. TwoMorrows Publishing. pp. 23–25.  
  24. ^ a b MacDonald, Heidi (1 November 2005). "A for Alan, Pt. 2: The further adventures of Alan Moore". The Beat. Mile High Comics/ Archived from the original on 19 April 2006. Retrieved 26 September 2008. 
  25. ^ Graham, Ben. "Dirtbombs drop shell on America, explode rep as one-trick pony".  
  26. ^ Ho, Richard (November 2004). "Who's Your Daddy??".  
  27. ^ Manning, Matthew K.; Dolan, Hannah, ed. (2010). "1980s". DC Comics Year By Year A Visual Chronicle.  
  28. ^ Manning "1980s" in Dolan, p. 213: "John Constantine, the master magician and future star of Vertigo's John Constantine: Hellblazer, was introduced in a Swamp Thing story from writer Alan Moore, with art by Rick Veitch and John Totleben."
  29. ^ Manning "1980s" in Dolan, p. 214: "The legendary writer Alan Moore and artist Dave Gibbons teamed up once again with the just-as-legendary Man of Tomorrow for a special that saw Superman ... held in the sway of the Black Mercy."
  30. ^ Manning "1980s" in Dolan, p. 220: "In 'Whatever Happened to the Man of Tomorrow?', a two-part story written by Alan Moore and illustrated by Curt Swan, the adventures of the Silver Age Superman came to a dramatic close."
  31. ^ Mohan, Aidan M. (February 2013). "Whatever Happened to the Man of Tomorrow? An Imaginary Story".  
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  34. ^ "The Hugo Awards: Ask a Question". 23 February 2008. Archived from the original on 28 February 2009. Retrieved 22 March 2009. 
  35. ^ Manning "1980s" in Dolan, p. 220: "The story itself was a masterful example of comic book storytelling at its finest ... Filled with symbolism, foreshadowing, and ahead-of-its-time characterization thanks to adult themes and sophisticated plotting, Watchmen elevated the super hero comic book into the realms of true modern literature."
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  38. ^ Campbell, Eddie (w, a). Alec: How to be an Artist: 108/9 (1 August 2001), Top Shelf Productions, ISBN 978-0-9577896-3-0 "The last straw may well go down as apocryphal."
  39. ^ a b c Itzkoff, Dave (12 March 2006). "V for Vendetta"The Vendetta Behind . The New York Times. Archived from the original on 3 April 2014. 
  40. ^ Manning "1980s" in Dolan, p. 234: "A fable of revolution and a cautionary tale of lost freedoms, V For Vendetta was a triumph for Moore, this time aided by the shadowy pencils of David Lloyd."
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  48. ^ Cowsill "2000s" in Dolan, p. 320: "A graphic novel prequel to the award-winning Top 10 series, The Forty-Niners proved to be one of the best books of the year."
  49. ^ "League of Extraordinary Gentlemen No. 5 Recalled". Recalled Archived from the original on 31 October 2013. Retrieved 26 January 2011. 
  50. ^ Cronin, Brian (2009). Was Superman a Spy?: And Other Comic Book Legends Revealed.  
  51. ^ a b c d e f g h i DeZ Vylenz (Director) (30 September 2008). The Mindscape of Alan Moore (Documentary). Shadowsnake Films. 
  52. ^ "Bog Venus Versus Nazi Cock-Ring: Some Thoughts Concerning Pornography (Arthur Magazine #25 PDF file – Part 1)".  
  53. ^ "Bog Venus Versus Nazi Cock-Ring: Some Thoughts Concerning Pornography (Arthur Magazine #25 PDF file – Part 2)".  
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  55. ^ Scoles, Steve (8 November 2006). show"Simpsons"Writer drawn into .  
  56. ^ Johnston, Rich (28 June 2010). "Alan Moore And Jonathan Ross Talk Monkey Science". Bleeding Cool. Archived from the original on 3 December 2013. 
  57. ^ Series 4 Episode 4 of 6: Is Cosmology Really a Science?"The Infinite Monkey Cage".  
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  59. ^ Musson, Alex. "Dodgem Logic"Alan Moore talks . Mustard. Archived from the original on 26 October 2009. 
  60. ^ Johnston, Rich (23 March 2011). Prelude And 1"Hellraiser 4 and Neonomicon"Wednesday Comics Review: . Bleeding Cool. Archived from the original on 24 March 2011. 
  61. ^ Moore, Alan;  
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  64. ^ Till, Scott (5 December 2011). Alan Moore, David Lloyd Join Occupy Comics"V for Vendetta's". Wired. Archived from the original on 3 April 2014. Retrieved 12 December 2011. 
  65. ^ "Alan Moore Launches Electricomics Digital Comics App". Comic Book Resources. 28 May 2014. Archived from the original on 6 October 2014. 
  66. ^ Henderson, Chris (July 1986). "Joe Rubinstein".  
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  71. ^ Writer: Alan Moore, Interviewed by George Khoury"Supreme"The . The Jack Kirby Collector. TwoMorrows Publishing. November 2000. Archived from the original on 17 January 2010. Retrieved 13 June 2006. 
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  92. ^ Dent, Nick (March 2009). "Watchmen"Alan Moore – Writer of .  
  93. ^ a b Johnston, Rich (23 May 2005). "Lying in the Gutters".  
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  103. ^  
  104. ^ Killjoy, Margaret (1 October 2009). Mythmakers and Lawbreakers. Robinson, Kim Stanley (Introduction).  
  105. ^ "The Honest Alan Moore Interview – Part 2: The Occupy Movement, Frank Miller, and Politics". 2 December 2011. Archived from the original on 6 November 2013. Retrieved 26 April 2013. Well, Frank Miller is someone whose work I've barely looked at for the past twenty years. I thought the Sin City stuff was unreconstructed misogyny, 300 appeared to be wildly ahistoric, homophobic and just completely misguided ... [The Occupy movement] is a completely justified howl of moral outrage and it seems to be handled in a very intelligent, non-violent way, which is probably another reason why Frank Miller would be less than pleased with it. I'm sure if it had been a bunch of young, sociopathic vigilantes with Batman make-up on their faces, he'd be more in favour of it. 
  106. ^ Caron, Christina (4 November 2011). "V for Vendetta"Occupy Protesters Embrace .  
  107. ^ Olson, Geoff (November 2011). masks in Occupy Everywhere"V for Vendetta"Demonstrators don .  
  108. ^ Herrera, Linda (30 May 2011). : The Other Face of Egypt's Youth Movement"V for Vendetta". Archived from the original on 7 November 2013. 
  109. ^ Lamont, Tom (26 November 2011). "Alan Moore – meet the man behind the protest mask". The Observer. UK. Archived from the original on 5 December 2013. Retrieved 12 December 2011. 
  110. ^ a b Flood, Alison (7 December 2011). "Alan Moore attacks Frank Miller in comic book war of words". The Guardian. UK. Archived from the original on 8 November 2013. Retrieved 12 December 2011. 
  111. ^ "What's the point of arts and humanities?". n.d. Archived from the original on 4 April 2014. 


  • Bensam, Richard (2010). Minutes to Midnight: Twelve Essays on Watchmen. Sequart Research & Literacy Organization. 
  • Effron, Samuel (1996). "Watchmen"Invocation and Formal Presentation of the Superhero Comic in Moore and Gibbons' . Taking Off the Mask – Watchmen Deconstructed. Retrieved 29 June 2005. 
  • Groth, Gary (1990–1991). "Big Words". The Comics Journal ( 
  • Moore, Alan (March 1995). From Hell: the Compleat Scripts Book One. Borderlands Press/SpiderBaby Graphics.  
  • Moore, Alan (1999). "Appendix I: Annotations to the Chapters". From Hell. Eddie Campbell Comics.  
  • Whitson, Roger (Winter 2007). "Panelling Parallax: The Fearful Symmetry of William Blake and Alan Moore". ImageTexT 3 (2). 
  • Young, Robert (2004). "Zero Sum Masterpiece: The Division of Big Numbers".   (The definitive behind-the-scenes story of the demise of Moore's magnum opus.)

External links

  • Official website
  • Alan Moore at the Internet Movie Database
  • Alan Moore at DMOZ
  • Alan Moore at the Internet Book List
  • Alan Moore at the Internet Speculative Fiction Database
  • Alan Moore interview with LeftLion magazine
  • Bernard, Mark; Carter, James Bucky (Fall 2004). "Alan Moore and the Graphic Novel: Confronting the Fourth Dimension". ImageTexT 1 (2). Archived from the original on 17 January 2010. Retrieved 13 June 2006. 
Abandoning DC Comics and the mainstream, Moore, along with his wife Phyllis and their mutual lover Deborah Delano, set up their own comics publishing company, which they named Mad Love. The works that they published in Mad Love turned away from the science fiction and superhero genres that Moore was used to writing, instead focusing on realism, ordinary people, and political causes. Mad Love's first publication,

Independent period and Mad Love: 1988–1993

Moore's relationship with DC Comics had gradually deteriorated over the issues of creator's rights and merchandising. Moore and Gibbons were not paid any royalties for a Watchmen spin-off badge set, as DC defined them as a "promotional item",[39] and according to certain reports, he and Gibbons gained only 2% of the profits earned by DC for Watchmen.[3](p44) Meanwhile, a group of creators including Moore, Frank Miller, Marv Wolfman, and Howard Chaykin, fell out with DC over a proposed age-rating system similar to those used for films.[3](pp44–45) After completing V for Vendetta, which DC had already begun publishing, thus enabling him to finish the final few episodes, in 1989,[40] Moore stopped working for DC.

In 1987 Moore submitted a proposal for a miniseries called Twilight of the Superheroes, the title a twist on Richard Wagner's opera Götterdämmerung (meaning "Twilight of the Gods"). The series was set in the future of the DC Universe, where the world is ruled by superheroic dynasties, including the House of Steel (presided over by Superman and Wonder Woman) and the House of Thunder (led by the Captain Marvel family). These two houses are about to unite through a dynastic marriage, their combined power potentially threatening freedom, and several characters, including John Constantine, attempt to stop it and free humanity from the power of superheroes. The series would also have restored the DC Universe's multiple earths, which had been eliminated in the continuity-revising 1985 limited series Crisis on Infinite Earths. The series was never commissioned, but copies of Moore's detailed notes have appeared on the Internet and in print despite the efforts of DC, who consider the proposal their property.[3](pp43–44) Similar elements, such as the concept of hypertime, have since appeared in DC comics. The 1996 miniseries Kingdom Come by Mark Waid and Alex Ross, was also set amid a superheroic conflict in the future of the DC Universe. Waid and Ross have stated that they had read the Twilight proposal before starting work on their series, but that any similarities are both minor and unintended.[23]

The limited series Watchmen, begun in 1986 and collected as a trade paperback in 1987, cemented Moore's reputation. Imagining what the world would be like if costumed heroes had really existed since the 1940s, Moore and artist Dave Gibbons created a Cold War mystery in which the shadow of nuclear war threatens the world. The heroes who are caught up in this escalating crisis either work for the US government or are outlawed, and are motivated to heroism by their various psychological hang-ups. Watchmen is non-linear and told from multiple points of view, and includes formal experiments such as the symmetrical design of issue 5, "Fearful Symmetry", where the last page is a near mirror-image of the first, the second-last of the second, and so on, and in this manner is an early example of Moore's interest in the human perception of time and its implications for free will. It is the only comic to win the Hugo Award, in a one-time category ("Best Other Form").[34] It is widely seen as Moore's best work, and has been regularly described as the greatest comic book ever written.[3](pp39–40) Alongside roughly contemporary works such as Frank Miller's Batman: The Dark Knight Returns, Art Spiegelman's Maus, and Jaime and Gilbert Hernandez's Love and Rockets, Watchmen was part of a late 1980s trend in American comics towards more adult sensibilities.[35] Comics historian Les Daniels noted that Watchmen "called into question the basic assumptions on which the super hero genre is formulated".[36] DC Comics writer and executive Paul Levitz observed in 2010 that "As with The Dark Knight Returns, Watchmen set off a chain reaction of rethinking the nature of super heroes and heroism itself, and pushed the genre darker for more than a decade. The series won acclaim ... and would continue to be regarded as one of the most important literary works the field ever produced."[37] Moore briefly became a media celebrity, and the resulting attention led to him withdrawing from fandom and no longer attending comics conventions (at one UKCAC in London he is said to have been followed into the toilet by eager autograph hunters).[38]

1988 saw the publication of a Batman story written by Moore and illustrated by [2](p121)

[31][30].DC Universe Crisis on Infinite Earths, it was designed as the last Superman story in the pre-Curt Swan", which was published in 1986. Illustrated by Whatever Happened to the Man of Tomorrow? He followed this with another Superman story, "(p37)[3]

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