Alan Moore (born November 18, 1953) is an English writer known primarily for his work in comic books including Watchmen , V for Vendetta , The Ballad of Halo Jones and From Hell . Often described as the best graphic novelist in history, he has been widely known by his colleagues and by critics. He sometimes uses pseudonyms such as Curt Vile , Jill de Ray , and Translucia Baboon ; also, reprints of some of his works have been credited to the Original Author when Moore requested that his name be removed.
Moore started writing for underground and alternative English fanzines in the late 1970s before achieving the successful publishing of comic strips in magazines such as 2000 AD and Warrior . He was later picked up by DC Comics America, and as "the first comic writer to live in the United Kingdom to do leading work in America", he worked on main characters such as Batman (Batman: The Killing Joke) and Superman ( What Happens to the Man of Tomorrow? ), substantially developing Swamp Thing characters, and writing original titles such as Watchmen . Over the decade, Moore helped bring greater social respect for comics in the United States and Britain. He prefers the term "comic" to "graphic novel". In the late 1980s and early 1990s he left the mainstream of the comic industry and became independent for a while, working on experimental work such as From Hell epics and my prose Voice of the Fire. He then returned to the mainstream later in the 1990s, working for Comic Drawings, before developing the Best American Comics, a trail through which he published works such as the League of Exceptional and Occult-based Teens Promethea .
Moore is an occult, ceremonial, and anarchist magician, and has featured such themes in works including Promethea , From Hell , and V for Vendetta
Regardless of his own personal objections, his works have become the basis for a number of Hollywood movies, 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 recognized as an influence on various literary and television figures including Neil Gaiman, Joss Whedon, and Damon Lindelof. He has lived most of his life in Northampton, England, and he has said in interviews that his story is very interesting from his experience living there.
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Moore was born on November 18, 1953, at St Edmond's Hospital in Northampton to a working-class family that he believes has lived in the city for generations. He grew up in a part of Northampton known as The Boroughs, a poor area with a lack of facilities and a high literacy rate, but he still "loves it.I love people.I love the community and... I..." do not know that there is something else. "She lives in her home with her parents, brewer Ernest Moore, and printer Sylvia Doreen, with her younger brother Mike and her maternal grandmother," read omnivorously "from the age of five, gets books from a local library, and then attended Spring Lane Elementary School.At the same time, he started reading strip comics, originally English strips, such as Topper and The Beezer , but eventually also American imports like > The Flash , Detective Comics , Fantastic Four , and Blackhawk .He then passed the 11-plus exam, and therefore fulfilled requirement to go to Northampton Grammar School, where he first made contact with middle-class and better-educated people, and he was surprised to see how he changed from being one of the top students in elementary school to one of the lowest in middle class.After that, due to dislike school and "no t interested in academic studies ", he believes that there is a" secret curriculum "being taught that is designed to indoctrinate children with" punctuality, adherence and monotonous acceptance ".
In the late 1960s Moore began publishing his own poems and essays in fanzines, eventually setting up his own fanzine, Embryo . Through Embryo , Moore became involved in a group known as the Northampton Arts Lab. The Arts Lab then makes a significant contribution to the magazine. He began dealing with hallucinogenic LSD at school, which was issued to do so in 1970 - he later described himself as "one of the least competent LSD dealers in the world". The headmaster of the school was then "in touch with the other academic institutions I had applied to and told them not to accept me because I was a danger to the moral welfare of the rest of the students there, which may be true."
While continuing to live in his parents' home for several years, he moved through various jobs, including cleaning the toilets and working on tannery. In late 1973, he met and started a relationship with Northampton-born Phyllis Dixon, with whom he moved to "a small flat in the Barrack Road area of ​​Northampton". Immediately married, they moved to a new council building in the eastern district of the city while he worked in an office for a local gas council sub-contractor. Moore felt that he was not fulfilled by this job, and decided to try to earn a living by doing something more artistic.
Maps Alan Moore
Careers
Initial career: 1978-1980
By leaving his office job, he decides to take both papers and illustrate his own comics. He has produced several strips for some alternative fanzine and magazines, such as Anon E. Mouse for local newspapers Anon , and St. Pancras Panda , a parody of Paddington Bear, for Oxford-based Back Street Bugle . His first payday job was for a few pictures printed on NME , and shortly after he managed to get the series on a private detective known as Roscoe Moscow published under the pseudonym Curt Vile ( name puncher composer Kurt Weill) in the weekly music magazine Sounds , earning $ 35 per week. Along with this, he and Phyllis, with their newborn daughter, Leah, begin claiming unemployment benefits to supplement this income. Not long after this, in 1979 he also began publishing a new comic strip known as the Maxwell the Magic Cat in Northants Post under the pseudonym Jill de Ray (pun) on the murderer of a medieval son, Gilles de Rais, something he found as a "cynical joke"). With an income of more than 10 pounds per week than this, he decided to sign social security, and will continue writing Maxwell the Magic Cat until 1986. Moore has stated that he will be happy to continue Maxwell's almost limitless adventure , but ends the strip after the newspaper runs a negative editorial in a homosexual place in the community. Meanwhile, Moore decided to focus more on writing comics than writing and drawing them, stating that "After I've done it for several years, I realized that I would never be able to draw pretty well and/or fast enough to really make a decent living as an artist. "
To learn more about how to write successful comic scripts, he asks for advice from his friend, comic book writer Steve Moore, whom he has known since he was fourteen. Interested in writing for 2000AD , one of Britain's most famous comic magazines, Alan Moore then submitted a script for their long-running and successful series of Judge Dredd. Although it does not require another author on Judith Dredd, written by John Wagner, the editor of 2000AD Alan Grant saw a promise in Moore's work - later commenting that "this guy really very good writer "- and instead asked him to write a few short stories for the publication series of Future Shocks . While the first few were rejected, Grant suggested Moore on repair, and eventually received the first of many. Meanwhile, Moore also started writing small stories for Doctor Who Weekly, and later commented that "I really want a regular strip." I do not want to do short stories... But it's not "What's being offered. I was offered a four or five page short story where everything had to be done in five pages. And, looking back, it was the best education I could have in how to build a story. "
Marvel UK, 2000AD , and Warrior : 1980-1984
From 1980 to 1984, Moore retained his status as a freelance writer, and was offered a spate of jobs by British comic book companies, Marvel UK, and publishers 2000AD and Warrior . He then commented that "I remember that what generally happens is that everyone wants to give me a job, for fear that I will only be given another job by their rivals, so everyone offers me many things." It was an era when comic books grew popular in the UK, and according to Lance Parkin, "the comic scene of the UK never existed before, and it is clear that the audience stick to the title as they are big.COMIC is no longer just for boys which is very small: teenagers - even A-levels and students - are reading it now. "
During this three-year period, 2000AD will receive and publish more than fifty of Moore's stories for their Future Shocks and The rest of Twisters science fiction series. The editors in the magazine were impressed by Moore's work and decided to offer a more permanent strip, starting with the story that they wanted to be vaguely based on the hit movie E.T. Extra-Terrestrial . The result, Skizz , illustrated by Jim Baikie, tells the story of a titular alien who crashed into Earth and was cared for by a teenager named Roxy, and Moore later noted that according to him, this work "owes too much to Alan Bleasdale." The other series he generated for 2000AD is D.R. and Quinch , illustrated by Alan Davis. The story that Moore describes as "continues Dennis the Menace's tradition, but gives it a thermonuclear capacity", revolves around two rogue aliens, and is a science fiction that takes on the character of OC and Stiggs' National Lampoon . This work is widely regarded as the pinnacle of his 2000AD career, and he himself described as "the most successful for me" is The Ballad of Halo Jones . Co-created with artist Ian Gibson, the series was set in the 50th century. The series was stopped after three books due to a dispute between Moore and Fleetway, magazine publishers, over the intellectual property rights of the characters that Moore and Gibson created.
Another comic company that employs Moore is Marvel UK, who previously bought several one-off stories for Doctor Who Weekly and Star Wars Weekly . Aiming to get an older audience than 2000AD , their main rival, they hired Moore to write the regular strip of Captain Britain , "in the middle of the story that he was not unveiled nor understood. "He succeeds former writer Dave Thorpe, but retains his original artist Alan Davis, whom Moore describes as" an artist whose love for the media and a very happy one when he finds himself working well in it shines from every line, every new costume design , every nuance of expression. "
The third comic company working in Moore in this period is a new monthly magazine known as Warrior, founded by Dez Skinn, former editor of both IPCs (publishers of 2000 AD ) and Marvel UK, designed to offer writers a greater degree of freedom for their artistic creations than permitted by pre-existing companies, and in Warrior that Moore "will begin to reach its potential." Moore was originally given two ongoing strips in Warrior Marvelman and V for Vendetta, both debuting at in Warrior : Marvelman and V for Vendetta > Warrior ' First edition in March 1982. V for Vendetta is a dystopian thriller arranged in the future of 1997 in which the fascist government controls the UK, which is opposed only by a single anarchist who wore Guy Fawkes costume that turned into terrorism. to overthrow the government. Illustrated by David Lloyd, Moore is influenced by his pessimistic feelings about the Thatcherite Conservative government, which is projected forward as a fascist country in which all ethnic and sexual minorities have been eliminated. It has been regarded as "among Moore's best works" and has maintained the following sects throughout the next decade.
Marvelman (then titled Miracleman for legal reasons) is a series originally published in England from 1954 to 1963, based largely on the American comic Captain Marvel After resurrecting Marvelman , Moore "took the character of kitsch boys and placed them in the real world in 1982". The work was taken mainly by Garry Leach and Alan Davis. The third series produced by Moore for Warrior is The Bojeffries Saga , a comedy about the working-class family of vampires and werewolves, drawn by Steve Parkhouse. Soldiers closed before the story was finished, but under new publisher Miracleman and V for Vendetta followed by Moore, who completed second story in 1989 Moore's biographer Lance Parkin says that "reading it together creates some interesting contrasts - in one hero against a London-based fascist dictatorship, on the other hand an Aryan superman imposes one."
Although Moore's works are numbered among the most popular strips to appear in 2000 AD , Moore himself is becoming increasingly concerned with the lack of rights of creators in the British comics. In 1985, he spoke with fanzine Arkensword, noting that he had stopped working for all British publishers, IPC, "solely for the reason that the IPC so far avoided lies, cheated me, or treated me common, like garbage. "He joined other creators by condemning the release of the rights as a whole, and in 1986 ceased writing for 2000 AD , leaving the future volume of the story Halo Jones that has not started yet. Moore's outspoken opinions and principles, especially about the rights and ownership of the creators, will make him burn bridges with a number of other publishers during his career.
Meanwhile, during the same period, he - using the pseudonym Translucia Baboon - became involved in the music world, founded his own band, The Sinister Ducks, with David J (gauh band Bauhaus) and Alex Green, and in 1983 released the single, < i> March of the Sinister Ducks , with art arms by illustrator Kevin O'Neill. In 1984, Moore and David J released a 7-inch single featuring a recording of "This Vicious Cabaret", a song featured on the V for Vendetta released on the Glass Records label. Moore will be writing the song "Leopardman at C & amp; A" for David J, and it will be set for music by Mick Collins for the We Have You Surrounded album by Collins The Dirtbombs group.
Mainstream America and DC Comics: 1983-1988
Moore's work at 2000 AD brought him to the attention of DC Comics editor Len Wein, who hired him in 1983 to write The Saga of the Swamp Thing, then formula and poor -Selling comic monster. Moore, with artists Stephen R. Bissette, Rick Veitch, and John Totleben, deconstructed and rearranged characters, wrote a series of formal experimental stories addressing environmental and social issues along with horror and fantasy, supported by research into the culture of Louisiana, where the series set. For Swamp Thing he revived many abandoned magical and supernatural characters, including Specters, Demons, Phantom Stranger, Deadman, and others, and introduced John Constantine, a working-class English-based wizard. on British musician Sting; Constantine later became the protagonist of the series Hellblazer , which became the longest series of Vertigo on 300 problems. Moore will continue to write Swamp Thing for nearly four years, from the No. 2 edition. 20 (January 1984) to issue no. 64 (September 1987) with the exception of No issue. 59 and 62 Moore's escape at Swamp Thing successfully worked critically and commercially, and inspired DC to recruit European and especially British writers such as Grant Morrison, Jamie Delano, Peter Milligan, and Neil Gaiman to write comic-like venues , often involving radical changes in character that are not clear. These titles lay the foundation of what became a Vertigo line.
Moore began producing further stories for DC Comics, including a two-part story for Vigilante, which deals with domestic abuse. He was finally given the opportunity to write a story for one of DC's superheroes Superman, entitled "For The Man Who Has Everything", illustrated by Dave Gibbons and published in 1985. In this story, Wonder Woman, Batman, and Robin visit Superman on his birthday, only to discover that he had been overcome by a foreign organism and hallucinated about his heart's desire. He follows this with another Superman story, "What Happens to the Future Man?", Published in 1986. Illustrated by Curt Swan, it was designed as the last Superman story in a pre-Crisis on Infinite Earth > DC Universe.
The limited series of Watchmen , started in 1986 and collected as a trading paperback in 1987, confirmed Moore's reputation. Imagining how the world would look if the costumed hero actually existed since the 1940s, Moore and artist Dave Gibbons created a Cold War mystery in which the shadow of nuclear war threatens the world. Heroes caught up in this escalating crisis either work for the US government or are banned, and are motivated for heroism by their psychological difficulties. Watchmen are nonlinear and are told from different points of view, and include highly sophisticated self-references, irony, and formal experiments such as symmetric design problem 5, "frightening Symmetry", where the last page is the first close second mirror image, the second one, and so on, and in this way is an early example of Moore's interest in the human perception of time and its implications for free will. This is the only comic to win the Hugo Award, in the one-time category ("Best Other Form"). It is widely seen as Moore's best work, and has been regularly described as the greatest comic book ever written. Along with contemporary works such as Frank Miller Batman: The Dark Knight Returns, Art Spiegelman Maus , and Jaime and Gilbert Hernandez Love and Rockets , Watchmen are part of the late 1980s trend in American comics toward more mature sensitivities. The comic historian Les Daniels notes that Watchmen "questions the basic assumption in which the superhero's genre is formulated". DC Comics writer and executive Paul Levitz observed in 2010 that "Like The Dark Knight Returns , Watchmen started a chain reaction to rethink the super hero and heroic nature itself, and encourage the genre which is darker for more than a decade.The series won praise... and will continue to be regarded as one of the most important literary works ever produced in the field. "Moore briefly became a media celebrity, and the resulting attention caused him to withdraw from the fandom and no longer attending a comic convention (at one UKCAC in London he is said to have been followed to the toilet by a passionate hunter signature).
He and Gibbons have previously created the Mogo character as part of the Green Lantern Corps DC and a short story by Moore and artist Kevin O'Neill published in Green Lantern Corps Annual. 2 (1986) is one of the inspirations for the "Black Night" storyline in 2009-2010.
In 1987 Moore submitted a proposal for a miniseries called Twilight of the Superheroes, the twist title of the opera Richard Wagner GÃÆ'¶tterdÃÆ'¤mmerung (meaning "Twilight of the Gods"). The series is set in the future of the DC Universe, where the world is ruled by a superhero dynasty, including the House of Steel (led by Superman and Wonder Woman) and the House of Thunder (led by Captain Marvel's family). These two homes will unite through dynamic marriage, their combined power potentially threatening freedom, and some characters, including John Constantine, seek to stop him and free humanity from superhero powers. The series will also restore some of the DC Universe earth, which has been omitted in the sustained 1985 limited series-the Crisis on Infinite Earths revision . The series was never commissioned, but copies of Moore's detailed records have appeared on the Internet and in print despite DC's efforts, which consider their property proposals. Similar elements, such as the concept of hypertension, have appeared in DC comics. The 1996 miniseries Kingdom Come by Mark Waid and Alex Ross, are also set in the midst of future superhero conflicts of the DC Universe. Waid and Ross have stated that they have read the Twilight proposal before starting work on their series, but that each equation is small and unintentional.
Moore wrote the main story in Batman Annual . 11 (1987) drawn by George Freeman. The following year saw the publication of The Killing Joke , written by Moore and illustrated by Brian Bolland. It revolves around The Joker, who has escaped from Arkham Asylum and goes on a murder, and Batman attempts to stop him. Although it is a major work in helping redefine Batman as a character, along with Frank Miller's The Dark Knight Returns and Batman: Year One, Lance Parkin believes that "the theme is" Self-evolved "and" that's a rare example of Moore's story where art is better than writing, "something that Moore himself acknowledged.
Moore's relationship with DC Comics has gradually deteriorated over rights issues and merchandising. Moore and Gibbons are not being paid royalties for the set of spin-off Watchmen , because DC defines them as "promotional items", and according to specific reports, he and Gibbons earn only 2% of DC's gain for < i> Watchmen . Meanwhile, a group of creators including Moore, Frank Miller, Marv Wolfman, and Howard Chaykin, fell with DC over the proposed age appraisal system similar to that used for the film. After completing the V for Vendetta published by DC, allowing him to finish the last few episodes, in 1989, Moore stopped working for DC.
Independent period and Mad Love: 1988-1993
Ignoring DC Comics and the mainstream, Moore, with his wife, Phyllis and their lover, Deborah Delano, founded their own comic publishing company, which they named Mad Love. The works they publish in Mad Love turn from the science fiction and superhero genre that Moore uses to write, instead of focusing on realism, ordinary people, and political causes. The first publication of Mad Love, AARGH , is an anthology of several authors (including Moore) who challenged the Thatcher government recently introduced Clause 28, a law designed to prevent councils and schools "promote homosexuality ". The sale of the book goes to the Lesbian and Gay Action Organization, and Moore is "very happy with" it, stating that "we do not prevent this bill from becoming law, but we have joined in a general uproar against it, which prevents it from becoming very effective as its designers hope. "Moore follows this with his second political work,
After being asked by cartoonist and self-publishing supporters, Dave Sim, Moore later used Mad Love to publish his next project, Big Numbers, a proposed 12-issue series set in "an almost disguised version of the population native Moore.Northampton "is known as Hampton, and deals with great business effects on ordinary people and with chaos theory ideas. This comic illustration was started by Bill Sienkiewicz, who left the series after only two problems in 1990, and despite the plan that his assistant, Al Columbia, will succeed him, it never happened and the series remains unfinished. After this, in 1991 the company Victor Gollancz Ltd. published Moore A Small Killing, a full-length story illustrated by Oscar ZÃÆ'¡rate, about a highly idealistic advertising executive who is haunted by his own childhood. According to Lance Parkin, A Small Killing is "most likely the work Moore underscored the most". Soon after this, Mad Love was dissolved when Phyllis and Deborah ended their relationship with Moore, taking much of the money she earned from her work in the 1980s.
Meanwhile, Moore began producing works for Taboo, a small independent comic anthology edited by former collaborator Stephen R. Bissette. The first is From Hell , a fictional account of Jack the Ripper's murder in the 1880s. Inspired by Douglas Adams's novel Dirk Gently's Holistic Detective Agency, Moore argued that to solve a holistic crime, one must solve the whole society that takes place within it, and describe murder as a consequence of politics. and the economy of that time. Almost every well-known figure from this period is connected with events in several ways, including Joseph Merrick's "Elephant Men" Oscar Wilde, American original writer Black Elk, William Morris, artist Walter Sickert, and Aleister Crowley, who made a brief appearance as a child young. Illustrated in Eddie Campbell's harsh pen-and-ink style, From Hell took nearly ten years to complete, finished Taboo and passed two more publishers before being collected as a paperback trade by Eddie Campbell Comics. It's widely praised, with comic writer Warren Ellis calling it "my favorite graphic novel of all time".
Another series started by Moore for Taboo is Lost Girls , which he describes as a clever "pornography" work. Illustrated by Melinda Gebbie, with whom Moore later established a relationship, it was arranged in 1913, where Alice of Alice in Wonderland Dorothy of The Wizard of Oz and Wendy of < i> Peter Pan - each from different ages and classes - all meet in a European hotel and entertain each other with stories about their sexual relationships. With the job, Moore wants to try something innovative in comics, and believes that creating pornographic comics is a way to achieve this. He says that "I have a lot of different ideas about how it is possible to do sexual comics in advance and do it in a way that will wipe out a lot of what I see is a problem with pornography in general.It's mostly ugly, mostly boring, not inventive - have a standard. "Like From Hell , Lost Girls last longer Taboo , and some subsequent installments are published irregularly until the job is done and the full edition published in 2006.
Meanwhile, Moore began writing a novel prose, which eventually produced the Voice of the Fire, to be published in 1996. Unconventional tone, the novel is a collection of short stories about related events in the city the origin of Northampton for centuries, from the Bronze Age to the present day, combined to tell a larger story.
Back to mainstream and Comics Image: 1993-1998
In 1993, Moore declared himself as a magician of ceremonies. The same year marks Moore's move back to the mainstream comic industry and re-writes superhero comics. He did so through the Comic Drawings, which was widely known at the time because of his striking artistic style, graphic violence, and large skimpy women, something that frightened many of his fans. His first work, published by Image, an edition of the Spawn series, was soon followed by the creation of his own mini-series, 1963 , which was "old Jack" Kirby story taken for Marvel in the sixties, with their somewhat exaggerated style, colorful characters and cosmic style. "According to Moore," after I did the 1963 stuff, I became aware of how much the comic audience has changed when i went [since 1988]. All of a sudden it seems that most of the audience really wants things that barely have stories, just a lot of big, full-page pin-up sort of artwork. And I'm really interested to see if I can write a decent story for that market.. "
He then wrote about what he saw as "a better-than-average story for ages 13 to 15," including three mini-series based on the Spawn series: Offenders , Violator/Badrock , and Spawn: Blood Feud . In 1995, he was also given control of a regular monthly comic, Jim Lee WildC.A.T.S. , beginning with No edition. 21, which he will continue to write for fourteen problems. The series follows two superhero groups, one of which is on the spacecraft that returns to its original planet, and one of them remains on Earth. Moore's biographer, Lance Parkin, was critical of the escape, feeling that it was one of the worst of Moore's, and that "You feel Moore should be better than this. Moore himself, who says that he took the series - his only monthly comic series ever since Swamp Thing - mostly because he likes Jim Lee, admits he is not entirely happy with the job, believing he has served too many concepts about what fans want rather than being innovative.
Subsequently he took over Rob Liefeld's Supreme , about characters with much in common with Superman DC Comics. Instead of emphasizing an increase in realism as he did with the previous superhero comics he had taken over, Moore did the opposite, and began basing a series on the Silver Age Superman comic of the 1960s, introducing Suprema female superhero, Radar super dog, and a a Kryptonite-like material known as Supremium, by doing that back to the original "mythical" figure of the American super hero. Under Moore, Supreme will prove to be critically and commercially successful, announcing that it is returning to mainstream after several years of exile.
When Rob Liefeld, one of the founders of Figures, broke away from the publisher and formed his own company, Awesome Entertainment, he hired Moore to create a new universe for the characters he carried from Fig. "Moore's solution is enchanting and arrogant - he creates a long and distinguished history for these new characters, combining the age of fake silver and gold for them." Moore started writing comics for many of these characters, such as Glory and Youngblood , as well as a three-part mini-series known as Judgment Day to provide the basis for The Amazing Universe. Moore was dissatisfied with Liefeld, saying "I just got fed up with the unreliable information I got from him, that I did not trust him." I do not think he respects the job and I find it hard to Honor him and at that moment I may felt that with the exception of Jim Lee, Jim Valentino - such people - that some of the Pictures partners appear, in my eyes, less than respectable men, not necessarily the people I want to deal with. "
Best American Comics: 1999-2008
Jim Lee's drawing partner offers to provide Moore with his own footsteps, which will be under Lee's company, WildStorm Productions. Moore named it America's Best Comics, queuing up a number of artists and writers to help him in this endeavor. Lee immediately sold WildStorm - including Best American Comics - to DC Comics, and "Moore found himself back with a company he vowed to never cooperate again". Lee and editor Scott Dunbier flew to England in person to reassure Moore that he would not be affected by the sale, and did not have to deal with DC directly. Moore decided that there were too many people involved to withdraw from the project, and therefore the ABC was launched in early 1999.
The first series published by ABC is the The League of Extraordinary Gentlemen , featuring various characters from Victorian adventure novels, such as H. Rider Haggard Allan Quatermain, HG Wells' Invisible Man, Jules Verne's Captain Nemo, Robert Louis Dr. Stevenson. Jekyll and Mr. Hyde, and Wilhelmina Murray of Bram Stoker Dracula . Illustrated by Kevin O'Neill, the first volume of this series pitted the League against Professor Moriarty from the Sherlock Holmes books; the second, against the Martians of The War of the Worlds. The third volume titled The Black Dossier was set in the 1950s. The series was well received, and Moore was delighted that American audiences enjoyed something he considered "odd English", and it inspired some readers to be interested in Victorian literature.
One of ABC Moore's other works is Tom Strong, the post-modern superhero series, featuring a hero inspired by Superman pre-dating figures such as Doc Savage and Tarzan. The drug-induced long-duration drug allows Moore to include flashbacks to the Strong adventure throughout the 20th century, written and drawn in period style, as a commentary on comic history and pulp fiction. The main artist is Chris Sprouse. Tom Strong has much in common with previous Moore work on Supreme , but according to Lance Parkin, "smoother", and "comic ABC is easiest".
Moore's Top 10 , the procedural drama of a deadpan policeman in a town called Neopolis where everyone, including police, criminals, and civilians has super powers, costumes and secret identities, drawn by Gene Ha and Zander Cannon. The series ends after twelve problems, but has spawned four spin-offs: a Smax miniseries, set in a fantasy world and drawn by Cannon; Big 10: Forty-Niners , a prequel for the major series of Big Ten pulled by Ha; and two sequel miniseries, Top 10: Beyond the Precarest Precinct , written by Paul Di Filippo and drawn by Jerry Ordway, and Top 10: Season Two , written by Cannon and drawn by Ha.
The Moore series Promethea, telling the story of a teenage girl, Sophie Bangs, possessed by an ancient pagan goddess, Promethea titular, explores many occult themes, especially the Qabalah and the concept of magic, with Moore stating that "I want can perform magical comics that do not portray the occult as dark, frightening, because that is not my experience of it... [ Promethea is] more psychedelicà ¢... more sophisticated, more experimental, more joyful and excited. "Taken by JH Williams III, it has been described as a" personal statement "of Moore, becoming one of his most personal works, and it includes" belief systems, personal cosmology ".
ABC Comics is also used to publish anthology series,
Although there is a guarantee that DC Comics will not bother Moore and his work, they then do it, angering him. Specifically, in the League of Exceptional Gurus . 5, an authentic vintage ad for "Marvel" -brand douche led DC DC executive Paul Levitz to order all prints that were destroyed and reprinted with ads converted into "Amaze", to avoid friction with Marvel Comics DC competitors. A Cobweb story Moore writes for Tomorrow Stories . 8 featured references to L. Ron Hubbard, American occultologist Jack Parsons, and "Babalon Working", blocked by DC Comics because of the subject matter. DC has published a version of the same event in their Paradox Press volume The Big Book of Conspiracies .
In 2003, a documentary about him was made by Shadowsnake Films, titled The Mindscape of Alan Moore , which was later released on DVD.
Return to independence: 2009-present
With many of the stories he planned for America's Best Comics to end, and with his growing dissatisfaction with how DC Comics interfered with his work, he decided to once again withdraw from the mainstream of comics. In 2005, he said that "I love the comic media, I hate the comics industry, and in 15 months I might withdraw from the main commercial comics." The only ABC title followed by Moore is The League of Extraordinary Gentlemen ; after disconnecting with DC he launched the new League Saga, Volume III: Century , in a partnership partnership between Top Shelf Productions and Knockabout Comics, the first part of which was released in 2009, which the second in 2011 and the third released in 2012.
In 2006, the full edition of Lost Girls was published, as a collection of three hardcover volumes. In the same year Moore published an eight-page article tracing the history of pornography in which he argued that the public's passion and success were tied to its sexual permissiveness. Refusing that the consumption of contemporary pornography everywhere is still considered very embarrassing, it calls for new and more artistic pornography that can be discussed openly and will have a beneficial impact on society. He expanded this to a long 2009 book essay entitled <25,000 years of Erotic Freedom , described by reviewers as "a very intelligent historical lecture - a kind of Horrible Histories for adults. "
In 2007, Moore appeared in the form of animation in an episode of The Simpsons - a show that he was a fan - titled "Husband and Knife", which aired on his fiftieth anniversary.
Since 2009 Moore has been a panelist on BBC Radio 4's The Infinite Monkey Cage program, hosted by physicist Brian Cox and comedian Robin Ince.
In 2010 Moore started what he described as "the 21st century underground magazine". Entitled Dodgem Logic , the bi-monthly publication consists of works by a number of writers and artists based in Northampton, as well as the original contributions of Moore.
In January 2011, the fourth and final edition of Moore's Neonomicon was released by Avatar Press. This mini horror series is arranged in the nature of H. P. Lovecraft, and like The Courtyard , illustrated by Jacen Burrows.
Moore has performed live on music shows in collaboration with a number of different musicians, including a 2011 performance with Stephen O'Malley at the All Tomorrow's Parties' I'll Be Your Mirror music festival in London.
A future project planned is an occult textbook known as the The Moon and Serpent Bumper Book of Magic , written with Steve Moore. It will be published by Top Shelf in "future". In September 2016, he published a novel called Jerusalem, which is also set in Northampton.
Alan Moore has joined the Occupy Comics Kickstarter project. Moore contributed an essay on comics as counter-culture.
He continues to work with Kevin O'Neill at the League of Extraordinary Gentlemen spin-off, Nemo . Avatar Press announced a twelve-part series with Jacen Burrows called Providence on H. P. Lovecraft and Cthulhu Mythos sources for 2015.
In 2014, Moore announced that he was leading a research and development project to "create applications that enable digital comics created by anyone". Electricomics aired in 2015. It's an open source app to read and create interactive comics. Moore wrote the story of Big Nemo, a dystopian sequel to Little Nemo's Winsor McCay. It was illustrated by Colleen Doran and animated by Ocasta Studios in color by Jose Villarubia. The Guardian chose it as one of the best iPhone/iPad applications 2015. Pipedream Comics named it the Digital Comics App of the Year.
In 2016, Moore confirmed that after writing the last book of the Extraordinary League, he planned to retire from writing comic books on a regular basis.
In April 2016, Moore has compiled a series of comic anthologies titled Cinema Purgatorio published by Avatar Press, each issue issue with stories written by Moore and illustrated by Kevin O'Neill. The book also features writings and artist team Garth Ennis & amp; Raulo CÃÆ'¨ceres ( Pru Code ), Max Brooks & amp; Michael DiPascale ( A More Perfect Union ), Kieron Gillen & amp; Ignacio Calero ( Modded ), and Christos Gage & amp; Gabriel Andrade ( The Vast ). The anthology series has been described as "The fictional classical fictional porridge, either turned on their heads, given a new filter or explored in stupid detail, by some of the best comic makers we have today."
Work
Themes
In a number of his comics, where he took over from previous writers, including Marvelman, Swamp Thing, and Supreme, he used the "familiar tactics to remove what has happened before, gives the hero of amnesia and reveals that everything we learned until then was a lie. "In this way he can largely restart with their characters and series and is not limited by the previous canon. Commenting on the artistic restrictions of the comic series, artist Joe Rubinstein gave the example that a comic creator would be limited in what he could do with Spider-Man, and added, "unless you're Alan Moore, who might kill him and bring him back as a real spider or something ".
As a comic writer, Moore applies a literary sensitivity to mainstream media and also includes challenging subjects and adult themes. He brought various influences to his work, such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson, and Iain Sinclair, science fiction writer New Wave like Michael Moorcock, and horror writers like Clive Barker. Influences in comics include Will Eisner, Steve Ditko, Harvey Kurtzman, Jack Kirby, and Bryan Talbot.
Recognition and awards
Moore's work in comic book media has been widely known by his colleagues and by critics. Comic historian George Khoury asserts that "to call this free spirit, the best writer in comic book history is a statement" while interviewer Steve Rose calls it "the Orson Welles of the comics" which is "the undisputed high priest of the media." , which every word was captured like a message of ether "by comic book fans.Harlas Wolk observes:" Moore has indisputably made it into the Hall of Fame: he is one of the pillars of English comics, with Jack Kirby and Will Eisner and Harvey Kurtzman and not much else. He is also a huge exception in the hall, because the other pillars are artists - and more often than not, writers/artists. Moore is an almost exclusive writer, although his very detailed scripts always play with the power of the artists working with him. It makes it a major monkey head in comic writers The main reason that almost no one would say that a cartoonist is definitely superior to the writer/artist team is that such a rule would apply in the Moore's bibliography. In fact, the few cartoonists who almost always write the stories they have drawn have made exceptions to Moore - Jaime Hernandez, Mark Beyer and the most remembered Eddie Campbell. "
Moore has won many Jack Kirby Awards during his career, including Best Single Issue for Swamp Thing Annual No. 2 in 1985 with John Totleben and Steve Bissette, for Best Continuing Series for Swamp Thing in 1985, 1986 and 1987 with Totleben and Bissette, Best Writers for Swamp Thing in 1985 and 1986 and for Watchmen in 1987, and with Dave Gibbons for Best Until Series and Best Writer/Artist (Single or Team) for Watchmen in 1987.
He received the Inkpot Award at San Diego Comic-Con International in 1985.
Moore has won several Eagle Awards, including almost "wiped out" in 1986 for his work on Watchmen and Swamp Thing. Moore not only won "favorite authors in both US and UK categories", but has his work winning for favorite comic books, supporting characters, and new titles in the US; and characters, continuing the story and "character deserves its own title" in England (where the last category of his works holds all three top spots).
Moore has been nominated for the Comic Buyers Guides Fan Awards multiple times, winning for Favorite Writers in 1985, 1986, 1987, 1999, and 2000. He won the CBG Fan Award for Favorite Comic Book Stories ( Watchmen ) in 1987 and Favorite Original Graphic Novel or Album ( Batman: The Killing Joke with Brian Bolland) in 1988.
He received the Harvey Award for the Best Writer for 1988 (for Watchmen ), for 1995 and 1996 (for From Hell ), for 1999 (for his body of work, > From Hell and Supreme ), for the year 2000 (for The League of Extraordinary Gentlemen), and for 2001 and 2003 (for Promethea < i> i>).
He has earned Eisner Award for Best Writer nine times since 1988, and among his many international prizes is Max & amp; Moritz Prize for outstanding oeuvre (2008) and the National Comic Award for Best Comic Writer Ever (in 2001 and 2002). He also won French awards such as the Angoulez International Comics Festival Prize for Best Album for Watchmen in 1989 and V for Vendetta in 1990, and the Prix criticism de la for From Hell in 2001, Swedish Urhunden Prize in 1992 for Watchmen and some Spanish Haxtur Awards, in 1988 for Watchmen and 1989 for Swamp Thing No. 5 (both for Best Writers).
Moore was also praised outside the comic world. In 1988, Moore and artist Dave Gibbons won the Hugo Award in the category of Other Forms for Watchmen . This category was created for that year only, through a rarely used provision allowing the Worldcon Committee to create a temporary Supplemental Category that is considered appropriate (no subsequent committees are repeating this category).
In 1988 he received a Fantasy World Award for Best Novella for A Hypothetical Lizard, published by Avatar Press in 2004 as a comic adaptation by Antony Johnston. Moore also won two International Horror Guild Awards in the category Graphic Stories/Picture Narrative (in 1995 with Eddie Campbell for Hell) and in 2003 with Kevin O'Neill for the 'Outer League' Moore received the Bram Stoker Award in the category of Best Illustrated Narrative for The League of Extraordinary Gentlemen in 2000, then again in 2012 for Neolicon as Graphic Novel Best.
In 2005, Watchmen was the only graphic novel that made it The Time of the Present "The 100 Best Novels from 1923 to the Present".
Movie adaptation
Due to the comic success, a number of filmmakers have expressed a desire to make film adaptations for years. Moore himself has consistently opposed such endeavors, stating that "I want to give comic a special place when I'm writing things like Watchmen." I want to show off just what the comic book's media possibilities are, and movies completely different. "Expressing similar sentiments, he also commented that" If we only see comics in relation to movies then the best they will ever be is a motionless movie.I found it, in the mid-80s, better concentrate on things that only comics can achieve.The way in which large amounts of information can be inserted visually in each panel, the juxtapositions between what the character says, and what images the reader will see.So in a sense... most of my work from years 80s and beyond are designed not to be filmed. "
The first film based on Moore's work was From Hell in 2001, directed by Hughes Brothers. The film made a number of radical differences from the original comics, changing the main character of the older conservative detective into a young character played by Johnny Depp. This was followed in 2003 with the League of Extraordinary Gentlemen, a film that departs radically from the books, turning the end of the mafia wars above the London sky into the infiltration of a secret base in Tibet. For both of these works, Moore is content to let the filmmakers do whatever they want and get rid of the process completely. "As long as I can keep my distance by not seeing them," he said, he could profit from the films while leaving the original comics untouched, "assuring no one will confuse the two.
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 plagiarized the unproduced script they had written entitled Cast of Characters . According to Moore, "They seem to believe that the 20th Century Fox chief called me and persuaded me to steal this scenario, turning it into a comic book that can then be adapted back into the movie, to disguise a small shot." Moore testified at a deposition, a process he found so unpleasant that he guessed he would be treated better if he "molested and killed a bus full of backward kids after giving them heroin". The settlement of Fox's case insulted Moore, who interpreted it as a guilty plea. In 2012, Moore claims that he has sold the rights to these two works for the sake of money; he did not expect the films to be made. He just "earned money for the old rope". Moore said in an interview in 2012 that he did not see the movie.
In 2006, the film adaptation of Moore V for Vendetta was released, produced by The Wachowskis and directed by James McTeigue. Producer Joel Silver told a press conference for Warner Bros. V for Vendetta whose fellow producer Lana Wachowski had spoken with Moore, and that "[Moore] is very excited about what [Lana] is saying." Moore denied this, reporting that he told Wachowski "I do not want anything to do with the movie... I'm not interested in Hollywood," and demanded that DC Comics force Warner Bros. to issue a public retraction and an apology for Silver's "flashy lie". Although Silver had called Moore directly to apologize, no public retractions have surfaced. Moore was quoted as saying that comic books have "specifically about things like fascism and anarchy.The words, 'fascism' and 'anarchy,' occur everywhere in the film.This has been transformed into a Bush-era parable by people too shy to organize the political satire in their own country. "
Moore also publicly criticized the details of the manuscript before the release of the film, indicating laziness in writing. "They do not know what the English people have for breakfast, they can not be bothered [to find out]. 'Eggy in a basket' apparently.Now the US has an 'egg in a basket,' which is a fried toast with fried egg in the hole in the middle I think they think we should eat it too, and think 'eggy in a basket' is an old-fashioned version and Olde Worlde, "he said.
The conflict between Moore and DC Comics is the subject of an article in The New York Times on March 12, 2006, five days before the US release. In the New York Times article Silver said that about 20 years before the film's release, he met Moore and Dave Gibbons when Silver acquired the film rights for V For Vendetta i> and Carers . Silver stated, "Alan is weird, but he is enthusiastic and encourages us to do this, I foolishly think that he will continue to feel that way today, without realizing that he will not do it." Moore did not deny this meeting or Silver Moore's characterization at the meeting, nor did Moore state that he suggested Silver's change of opinion in about 20 years. The New York Times also interviewed David Lloyd about Moore's reactions to film production, stating, "Mr. Lloyd, illustrator of V for Vendetta, also found the difficulty to sympathize with Mr. Moore's protest When he and Mr. Moore sold their film rights to comic books, Mr. Lloyd said: "We did not do it innocently. Neither I nor Alan did not think we signed it to the supervisory board that would guard it like the Dead Sea Scrolls. "
Moore later stated that he wanted his name removed from all comic works he did not own, including Watchmen and V for Vendetta, just like a movie director who did not happy to often choose to have their names removed and credited as "Alan Smithee". He also announced that he would not allow his name to be used in future film adaptations of works he did not own, nor would he receive any money from the adaptation. This request was respected by the producers of the subsequent adaptation of his work Constantine (2005) (based on the character created by Moore) and Watchmen (2009).
In a 2012 interview with LeftLion magazine, Alan Moore was asked to give an idea of ​​how much money he has rejected by refusing to be associated with the film's adaptation. He estimates it to be 'at least a few million dollars' and says: "You can not afford that kind of empowerment, just to know that as far as you know, you have not got the price, that there is not enough money to make you compromise even a little even from a principle that, it turns out, will not make any practical difference.I would advise everyone to do it, otherwise you will end up overrun by money and that's not the thing you want to rule your life. "
List of feature film adaptations
Personal life
Since his teenage years Moore has long hair, and since early adulthood also has a beard. He has used a number of large rings in his hand, directing them to be described as "a cross between Hagrid and Danny from Withnail And I " which can easily be mistaken for "eccentric villages". Born and raised in Northampton, he continues to live in the city, and uses his history as the basis for his novel Voice of the Fire and Jerusalem. The "modestly storied Northampton" home was described by an interviewer in 2001 as "something like an occult bookshop under permanent renovation, with recordings, videos, magical artifacts and comic book sculptures littered among mystical bookshelves and piles The bathroom, with its blue-and-gold dà ©  © cor and generous sunken tub, is magnificent; the rest of the house may have seen a vacuum cleaner.It is clearly someone who spends a little time on a material plane. "He likes to live in his hometown , feeling that it gave him the level of obscurity he enjoyed, remarking that "I never signed up to become a celebrity." He has spoken in praise of former Radical lawmaker Charles Bradlaugh at the annual anniversary. He is also a vegetarian.
With his first wife, Phyllis, whom he married in the early 1970s, he had two daughters, Leah and Amber. The couple also had the same lover, Deborah, although the relationship between the three ended in the early 1990s when Phyllis and Deborah left Moore, bringing their daughters with them. On May 12, 2007, he married Melinda Gebbie, with whom he worked on several comics, most notably Lost Girls.
Religion and magic
In 1993, on his fortieth birthday, Moore publicly declared his dedication to becoming a ceremonial magician, something he saw as "a logical final step for my career as a writer". According to a 2001 interview, his inspiration to do this came while he was writing From Hell in the early 1990s, a book that contains a lot of Freemasonic and occult symbolism: "One word balloon in From Hell really plowing my life... A character says something like, 'God is a place that can not be spelled out in the human mind.' After I wrote it, I realized I was inadvertently making the right statement, and now I '"I have to rearrange my whole life around it. The only thing that seems really right is to be a magician. "Moore attributes magic by writing;" I believe that magic is an art, and that art, whether it is music, writing, sculpture, or any other form, is literally magic. Art is, like magic, the science of manipulating symbols, words or images, to achieve change in consciousness... Indeed to read spells is just spelling, 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. "
Linking his esoteric beliefs to his career in writing, he conceptualizes the hypothetical field known as the "Idea Space", describing it as "... a space where mental events can be said to occur, perhaps universal space of ideas." Our individual consciousness has access to universal This is as if the idea is a pre-existing form in this space... The land that may exist in this mind space will be composed entirely of ideas -ide, the concept, that instead of the continent and the island you may have a great belief system, philosophy, Marxism may be one, Judeo-Christianity may make another. "He then believed that to navigate this space
Source of the article : Wikipedia
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