No, he isnt roght. He has his points, but most stuff he says is based on his ideology or is his wizardry induced rambling.
Pic for example. Superman is the center of the husiness and gave cape comics their face and advertisment. But there are alot of other identity giving IPs like Zorro, The Phantom or Flash Gordon.
If you think Zorro or The Phantom are comparable to Superman you have no grasp of pop culture history. Zorro was a mildly popular pulp that helped Douglas Fairbank's career, Action Comics #1 is literally a before/after for the very concept of comic books. The face of the entire American comics industry (and a good chunk of the European and Japanese) was molded by the aftershock that comic book caused.
Any person that looks at how things worked out in the 30s but tries to downplay Superman's importance is being a contrarian, pure and simple.
not really, the person Alan More certainly owes more than half his 'talent' to Karen Berger, the manager of Vertigo, without her direct instruction and mentorship he wouldn't be remarkable in the least, a verbose guy with weird fetishistic ideas (probably similar to Mark Millar), but two things happened: he was taught how to write for comics by talented people he worked with, and he got into classical occultism.
You don't have to be a nutcase or believer to study the occult, but Moore and some of his contemporaries really got into it for some reason (it was the 60s-70s in those circles he was part of) and this informs a lot of his 'good' to excellent work.
Comic books (american especially) is low effort trash almost by definition. Moore and some other nuts (Morrison, or people on the rare prestige formats like Vertigo, or indie comics) stood WAY WAY out due purely to the fact they gave HALF a shit to the meaning behind storytelling.
That's all it is.
If we are talking AMERICAN comics, ironically Alan More or Mignola are the 'objective' best ones there are. OGNs are another story, often NYT bestsellers that don't have anything to do with Diamond shit show distribution. MAUS and all the other 'critically acclaimed' illustrated novels are not comparable to the rest of American capesludge.
Sadly, Moore, being British, is somewhere in the bottom middle of British, French, and Belgian comicbook writers. He's a big fish in a very small pond, if he went back to England and competed with Euro comics at the time he wouldn't be remarkable or interesting.
Comparing him to manga it would depend. He makes "Seinen" like Berserk or whatever, I guess outside of ESL translation problems, he's pretty good. But he sucks at other genres (not that he tries them much).
Even when acknowledging that Moore's work is good, people will find a way to take all credit away from him. Kind of hilarious, kind of sad. >somewhere in the bottom middle of British, French, and Belgian comicbook writers >if he went back to England and competed with Euro comics at the time he wouldn't be remarkable or interesting
I can't think of a better comics writer from Britain or Europe.
>Sadly, Moore, being British, is somewhere in the bottom middle of British, French, and Belgian comicbook writers
Absolute bull. As much as I like BD it's not even comparable to Moore's best.
>not really, the person Alan More certainly owes more than half his 'talent' to Karen Berger, the manager of Vertigo, without her direct instruction and mentorship he wouldn't be remarkable in the least
Wait... He'd written about half to 2/3rds of Miracleman, about 2/3rds of V for Vendetta and she didn't take over as editor on Swamp Thing until Alan Moore was 5 issues in, AFTER he'd pulled an Alan Moore and had reinvented the character in issue #21: The Anatomy Lesson, his 2nd issue.
not really, the person Alan More certainly owes more than half his 'talent' to Karen Berger, the manager of Vertigo, without her direct instruction and mentorship he wouldn't be remarkable in the least, a verbose guy with weird fetishistic ideas (probably similar to Mark Millar), but two things happened: he was taught how to write for comics by talented people he worked with, and he got into classical occultism.
You don't have to be a nutcase or believer to study the occult, but Moore and some of his contemporaries really got into it for some reason (it was the 60s-70s in those circles he was part of) and this informs a lot of his 'good' to excellent work.
Comic books (american especially) is low effort trash almost by definition. Moore and some other nuts (Morrison, or people on the rare prestige formats like Vertigo, or indie comics) stood WAY WAY out due purely to the fact they gave HALF a shit to the meaning behind storytelling.
That's all it is.
If we are talking AMERICAN comics, ironically Alan More or Mignola are the 'objective' best ones there are. OGNs are another story, often NYT bestsellers that don't have anything to do with Diamond shit show distribution. MAUS and all the other 'critically acclaimed' illustrated novels are not comparable to the rest of American capesludge.
Sadly, Moore, being British, is somewhere in the bottom middle of British, French, and Belgian comicbook writers. He's a big fish in a very small pond, if he went back to England and competed with Euro comics at the time he wouldn't be remarkable or interesting.
Comparing him to manga it would depend. He makes "Seinen" like Berserk or whatever, I guess outside of ESL translation problems, he's pretty good. But he sucks at other genres (not that he tries them much).
What do you mean? Moore has famously turned down all money from adaptations of his work. He could have been a millionaire if he wanted to but it would go against his principles so he didn't. It's not surprising you don't understand what integrity is.
Loeg was good but jumped the shark with the golliwog. And it would’ve been so easy to fix. Just have him be a toy from toyland that never quite fit in and don’t make him a sex machine with a huge schlong. The way Moore did the Golliwog was just… uncomfortable.
yes and hes a lying butthole who treats his coworkers like shit
Filtered NPC
>hurr give my money to confirmed griefers when I die
Moore is more of a npc than anyone here
If I shaved that off would he die?
It would be extremely painful.
it's a big beard.
why did you post a photo of a homeless man on Cinemaphile?
He was right, and he's arguably the greatest comic book writer of all time.
No, he isnt roght. He has his points, but most stuff he says is based on his ideology or is his wizardry induced rambling.
Pic for example. Superman is the center of the husiness and gave cape comics their face and advertisment. But there are alot of other identity giving IPs like Zorro, The Phantom or Flash Gordon.
Well, he is right about Superman not being a God like many writers want to portray him
Thats why i said he has his points!
If you think Zorro or The Phantom are comparable to Superman you have no grasp of pop culture history. Zorro was a mildly popular pulp that helped Douglas Fairbank's career, Action Comics #1 is literally a before/after for the very concept of comic books. The face of the entire American comics industry (and a good chunk of the European and Japanese) was molded by the aftershock that comic book caused.
Any person that looks at how things worked out in the 30s but tries to downplay Superman's importance is being a contrarian, pure and simple.
he good
>is he the biggest hack in the comic book industry
Go to bed, Grant.
You mean the biggest butthole
Easily one of the least hacky writers. I understand people really don't like him, but come on.
yeah, along with neil gaiman and that other scottish wienersucker
Keep it up anon, another few hundred threads on Cinemaphile and Alan Moore's legacy will be ruined for ever. You almost have him!! Ganbatte
that's not bendis
There are a ton of bigger hacks including Bendis, but OP has tunnel vision for Moore's bearded penis and can't see anything else.
>it's a santa claus, rasputin penis
i can't stop laughing
not really, the person Alan More certainly owes more than half his 'talent' to Karen Berger, the manager of Vertigo, without her direct instruction and mentorship he wouldn't be remarkable in the least, a verbose guy with weird fetishistic ideas (probably similar to Mark Millar), but two things happened: he was taught how to write for comics by talented people he worked with, and he got into classical occultism.
You don't have to be a nutcase or believer to study the occult, but Moore and some of his contemporaries really got into it for some reason (it was the 60s-70s in those circles he was part of) and this informs a lot of his 'good' to excellent work.
Comic books (american especially) is low effort trash almost by definition. Moore and some other nuts (Morrison, or people on the rare prestige formats like Vertigo, or indie comics) stood WAY WAY out due purely to the fact they gave HALF a shit to the meaning behind storytelling.
That's all it is.
If we are talking AMERICAN comics, ironically Alan More or Mignola are the 'objective' best ones there are. OGNs are another story, often NYT bestsellers that don't have anything to do with Diamond shit show distribution. MAUS and all the other 'critically acclaimed' illustrated novels are not comparable to the rest of American capesludge.
Sadly, Moore, being British, is somewhere in the bottom middle of British, French, and Belgian comicbook writers. He's a big fish in a very small pond, if he went back to England and competed with Euro comics at the time he wouldn't be remarkable or interesting.
Comparing him to manga it would depend. He makes "Seinen" like Berserk or whatever, I guess outside of ESL translation problems, he's pretty good. But he sucks at other genres (not that he tries them much).
Even when acknowledging that Moore's work is good, people will find a way to take all credit away from him. Kind of hilarious, kind of sad.
>somewhere in the bottom middle of British, French, and Belgian comicbook writers
>if he went back to England and competed with Euro comics at the time he wouldn't be remarkable or interesting
I can't think of a better comics writer from Britain or Europe.
Moore has said himself Berger was a key part in why Swamp Thing turned out so well
>Sadly, Moore, being British, is somewhere in the bottom middle of British, French, and Belgian comicbook writers
Absolute bull. As much as I like BD it's not even comparable to Moore's best.
>not really, the person Alan More certainly owes more than half his 'talent' to Karen Berger, the manager of Vertigo, without her direct instruction and mentorship he wouldn't be remarkable in the least
Wait... He'd written about half to 2/3rds of Miracleman, about 2/3rds of V for Vendetta and she didn't take over as editor on Swamp Thing until Alan Moore was 5 issues in, AFTER he'd pulled an Alan Moore and had reinvented the character in issue #21: The Anatomy Lesson, his 2nd issue.
I think you might be talking out your ass anon.
Also, Captain Britain, which started iffy and was good by the end.
The fact that you think Morrison is a good storyteller or that Mignola can draw only proves that you don't know what you're talking about.
Also, you think Maus is good. You're an idiot.
>t. comicgayte gay
Man, how does someone like this moron even read comic books? Pretty picture = good story?
No.
Good thread, everybody, see you in the next one.
ENTER
He's overrated, but still pretty good.
Watchmen is good, even if a bunch of hacks saw it and thought "if I put rape in my comic, people will think I'm mature and intellectual".
The problem isn't rapes in comics, the problem is no one can write a rape quite like Alan Moore.
But he's not in the comic industry anymore.
No. But he has a special spot in human conditions dictionary.
no, i am
He's a good writer, but his talents are undermined by his tendency towards juvenile edginess.
No. He’s the biggest whiner. Williangham put his Money where his mouth was
what exactly could Moore do on the level of Willingham's frick you? It's not like he owns Watchmen or most of his other big comics.
>Williangham put his Money where his mouth was
What do you mean? Moore has famously turned down all money from adaptations of his work. He could have been a millionaire if he wanted to but it would go against his principles so he didn't. It's not surprising you don't understand what integrity is.
yea kinda, he blasted all his load in the 80s and hasnt come up with anything good in the past 30 years
>Supreme
>Tom Strong
>Top 10
>LOEG
>Promethea
>Providence
>good
correct
Loeg was good but jumped the shark with the golliwog. And it would’ve been so easy to fix. Just have him be a toy from toyland that never quite fit in and don’t make him a sex machine with a huge schlong. The way Moore did the Golliwog was just… uncomfortable.