You can’t speak honesty to Moore acolytes. They don’t care about or particularly enjoy comics, they just like feeling as if they’re intellectually stimulated by what would otherwise be a failed novelist.
Most Moore comics are no better than Tom King comics, he just had better artists than King.
>y-you’re right but I won’t engage with that because it hits too close to home
I accept your concession. >inb4 you now droll on for 3 paragraphs to prove me wrong while saying nothing of substance.
7 months ago
Anonymous
You come here to shit on Moore with 0 actual arguments or points to make, you're simply one of those pathetic people who like quipping about saying his fans don't care about comics and that he's shit because he's shit, so until you show you're capable of having adult conversations, nobody's gonna engage with you an earnest outside of mocking you and/or calling you out on your bullshit.
7 months ago
Anonymous
>nobody's gonna engage with you
You sure did. Could've ignored him like everyone else but you just had to give him the attention he so desperately craves.
7 months ago
Anonymous
That's not engagement, I'm simply telling him that he's boring and should frick off. That's where my interest in him ends.
7 months ago
Anonymous
>that’s not engagement >I simply engaged with him
Typical Mooregay. A pebble sized brain and a mountain sized ego.
7 months ago
Anonymous
This is like that one shitposter that would say Moebius is bad as Liefeld just to rile people up.
No, the power gap between their respective co-creators is - Moore merely had better artists. They’re both pseuds more interested in quoting and referencing other people than they are in writing their own words, more interested in tearing down than building up. Tom Strong is the character brought up to disabuse this notion but it’s no more original than watchmen - pure derivative nonsense based on better men’s creations.
7 months ago
Anonymous
>pure derivative nonsense
Do you lot never tire of repeating the same rehashed garbage you copy+paste in every Alan Moore thread you manage to come across?
7 months ago
Anonymous
You ever get sick of inflating the worth of a mediocre, failed novelist just because you think you’re above everyone else on Cinemaphile and the medium itself despite being here?
No, the power gap between their respective co-creators is - Moore merely had better artists. They’re both pseuds more interested in quoting and referencing other people than they are in writing their own words, more interested in tearing down than building up. Tom Strong is the character brought up to disabuse this notion but it’s no more original than watchmen - pure derivative nonsense based on better men’s creations.
>that’s not engagement >I simply engaged with him
Typical Mooregay. A pebble sized brain and a mountain sized ego.
You ever get sick of inflating the worth of a mediocre, failed novelist just because you think you’re above everyone else on Cinemaphile and the medium itself despite being here?
I feel like the writers tend to get all of the credit for these comic books. Are they really that in charge of how the pages themselves come together, what's in each panel, etc.?
I feel like the writers tend to get all of the credit for these comic books. Are they really that in charge of how the pages themselves come together, what's in each panel, etc.?
Alan Moore is one of the more detailed script writers, and as a result of his influence writers have gotten more controlling in what is dictated in panels. That said, Moore's run had some amazing pencilers that really sold the work.
>I feel like the writers tend to get all of the credit for these comic books
Originally it was the artists, but when artists got famous enough they tended to leave and form their own brands. DC/Marvel intentionally moved focus to writers because they thought writers would be easier to keep chained to the company. Then the writers showed they know how to leave too.
>Are they really that in charge of how the pages themselves come together, what's in each panel, etc.?
Some are. It's highly dependent on who, what comic, where, and when, but some writers tell to the artist in great detail what to draw and how to lay out the panels, which is frankly insulting to the artist since the artist is the guy who actually knows how to make things look good.
It's a valid question
[...]
Alan Moore is one of the more detailed script writers, and as a result of his influence writers have gotten more controlling in what is dictated in panels. That said, Moore's run had some amazing pencilers that really sold the work.
>I feel like the writers tend to get all of the credit for these comic books
Moore's instructions are very meticulous and thought-through.
It differs from case to case. Alan Moore is pretty much totally in control of the end results.
Moore does give very detailed page outlines, but he also gives the artists permission to ignore his instructions if they come up with something better.
This is the ideal way to do it, and it's why Alan Moore comics always have such effective art.
They're pretty awful. Made me want a black and white edition.
I'm so torn because I enjoy it but also feel like I prefer SwampThing as a man-turned-monster in the long run. No one really captured what Moore did again. I also don't really like "The green" as part of the DCU.
>I don't care about the DCU, so I like The Green.
I mean outside of Moore's Swamp thing, too. I don't like Swamp Thing being a spiritual being, the mysticism takes away from the body horror
I'm so torn because I enjoy it but also feel like I prefer SwampThing as a man-turned-monster in the long run. No one really captured what Moore did again. I also don't really like "The green" as part of the DCU.
I think Wein-Thing is better for Swampy as a character in the greater DC universe, but Moore-Thing is better as a character in a story that’s not meant to go on forever.
I'm making my own top 100 best standalone issues from 1979 to 2005 like Wizard did back in 2006 (yesterday's storytime is still up
[...]
), and looking to include some Swamp Thing.
I recently reread "My Blue Heaven" (#56) and it's going on my list. Besides this and "The Anatomy Lesson" (#21), do you guys recall any other great issues?
Love and Death is probably the most disturbing comic I’ve ever read, and Loving the Alien is close. Both deserve credit for being impossible to forget.
Moore lucked out that Bissette was on art.
Comic would have still pretty pretty good but it wouldn't have gotten all of its reprints that it has gotten.
The interesting thing about the writing is that it's actually very different from the style Moore became known for later. He turned hard against narrative captions and purple prose a few years later, but I kind of miss that side of him, like a more sophisticated Chris Claremont.
The trademarks of his writing style are still there, but he really had the freedom to experiment with each new volume as he changed up topics, while Swamp Thing faced new horrors and it shows. That's one of the best things about his Swamp Thing run, he really made the most out of the opportunity granted to him and had a great time with the character. That much is evident!
Pretty much all of Moore's work seems to get overshadowed by Watchmen. It kind of goes >Watchmen >V for Vendetta >maybe LoEG or From Hell, or even For the Man Who Has Everything >everything else he's done is only known by comic nerds
A Small Killing is one of my favorite Moore works, yet sadly usually goes unmentioned. It's also funny how his comics overshadow his works of prose or his epic poem.
>It's also funny how his comics overshadow his works of prose or his epic poem.
I liked his recent short story collection, Illuminations. In another life, Moore could've been a great British sci-fi/fantasy author.
In fairness, he only started properly writing prose recently and also I doubt many comic readers would want to read a proper book as chunky as Jerusalem
>recently
Voice of the Fire was written back in 1999. Illuminations was great, What We Can Know About Thunderman was a really insightful read and a very interesting one.
>Voice of the Fire
Somehow never heard of that, thanks for putting it on my radar.
I'll say "relatively recently," then. The majority of Moore's career has still been in comics, and it'll always be what he's most known for.
7 months ago
Anonymous
>Somehow never heard of that, thanks for putting it on my radar.
It serves as an introductory chapter to Jerusalem and a great novel overall. It's from a time when Moore truly decided to pursue his "Northampton is the center of everything" idea and it shows because from how much history of his hometown he is pulling in that work specifically, but even more so in Jerusalem. It was a true test to see whether he can mingle with the "adults" when it comes to prose, and safe to say he not only passed the test, but has made himself one of the better contemporary authors in the English language as far as 21st century goes. Jerusalem really does feel like the next Ulysses and I'm sure academics are gonna take to that idea in a few decades or so.
7 months ago
Anonymous
Jerusalem has been on my list for a while, but I've been so busy with uni reading over the past couple years (including Ulysses) that I'm hesitant to pick up such a massive book for my personal side reading. So it's nice to know that there's a shorter first Moore novel out there. >one of the better contemporary authors in the English language as far as 21st century goes. Jerusalem really does feel like the next Ulysses and I'm sure academics are gonna take to that idea in a few decades or so.
That's very high praise
As much as I appreciate Moore's comic book work and how much good stuff he's done, I'd also love to live in a world where he became a novelist first, instead of starting out in comics
7 months ago
Anonymous
>I'd also love to live in a world where he became a novelist first, instead of starting out in comics
I wouldn't, I'm really thankful for the contribution he made to the comicbooks as a medium. Besides, he's a novelist now and has announced a fantasy trilogy that's coming shortly. It's a great time to be an Alan Moore fan. If anything, I lament the fact that he doesn't want to give video games a try.
7 months ago
Anonymous
>I wouldn't, I'm really thankful for the contribution he made to the comicbooks as a medium.
I just think it's an interesting 'what-if'. I'm happy with the Moore we got, too. He's certainly made more of a mark by working in comics, but at the same time I think he was also consistently somewhat held back by the shitty realities of the industry >announced a fantasy trilogy that's coming shortly
Oh nice, hadn't heard about that either. Good to know he's still happily writing.
7 months ago
Anonymous
The issue is that the comics medium needs him. The medium of novels/prose doesn't because it has a rich history.
7 months ago
Anonymous
>comics medium needs him
1 person can not keep an entire medium on his shoulders. It's insane to even consider that.
7 months ago
Anonymous
He sure elevated it, and that's enough.
7 months ago
Anonymous
>He sure elevated it,
He wrote a lot of great stuff but " elevated" it? Are you sure? I know that Watchmen is recognized among "intellectual" circles that don't engage witch comics that much, but who cares about them. Even outside of Moore there have been exceptional writers in both American and British comics.
7 months ago
Anonymous
NTA, and nobody's denying comicbooks don't have other great authors that have written and created great comicbooks in their own right, but it's clear Alan Moore was a very influential figure in the context of American comics in the 80s.
7 months ago
Anonymous
>exceptional writers
Not a whole lot.
7 months ago
Anonymous
Not true for Asian comics, also questionable when you're talking European comics.
7 months ago
Anonymous
Japan, sure. But american and european... not a lot, anon. Not a lot.
7 months ago
Anonymous
Holy frick the way you write is painfully pretentious.
7 months ago
Anonymous
You sound sad. And gay. And dumb.
7 months ago
Anonymous
America certainly, but Europe I tend to not agree with you.
You ever get sick of inflating the worth of a mediocre, failed novelist just because you think you’re above everyone else on Cinemaphile and the medium itself despite being here?
Do you even know what the term "failed novelist" implies? You don't get published if you're one, and Moore has published two novels, one epic poem and a short story collection.
7 months ago
Anonymous
Give me names then.
7 months ago
Anonymous
Hugo Pratt, Marjane Satrapi, Enki Bilal, Héctor Germán Oesterheld, Georges Bess, Christophe Chaboute, Thierry Martin, Jean Van Hamme, Martin Lodewijk, André Franquin etc.
7 months ago
Anonymous
Are these supposed to be examples of good or bad writers?
7 months ago
Anonymous
Is this an actual question or a snide reply?
7 months ago
Anonymous
Actual question. That is a very mixed batch.
7 months ago
Anonymous
It's a list of competent artists. You may not find some of them on Moore's level, but they've made their dent in European comics.
7 months ago
Anonymous
From what I've tried these are not exceptional writers.
7 months ago
Anonymous
>André Franquin
He is the Marsupilami guy, right? Also are their works translated?
7 months ago
Anonymous
Yup, they are.
7 months ago
Anonymous
Japan is among the weakest, writing wise.
7 months ago
Anonymous
That anon was exaggerating but so are you. The best of the best comic in writers in japan, europe, america are roughly equal and that's to be expected.
7 months ago
Anonymous
Who are the best writers in manga?
7 months ago
Anonymous
I haven't read enough of the awarded and well recognized ones. From what I've read, men: Matsumoto Taiyou, FKM, Adachi Mitsuru, Abe George, women: Tamura Yumi, Higashimura Akiko, Mori Kaoru. Also think that Miyazaki and Satoshi both wrote very interesting stuff in spite of manga not being their medium
7 months ago
Anonymous
>exceptional writers
Not a whole lot.
That's why they are exceptional because there are very few of them. If there were more, they would no longer be the exception.
NTA, and nobody's denying comicbooks don't have other great authors that have written and created great comicbooks in their own right, but it's clear Alan Moore was a very influential figure in the context of American comics in the 80s.
>but it's clear Alan Moore was a very influential figure in the context of American comics in the 80s.
Yes but would you say that those Al inspired writers were the best of the best regarding comics?
7 months ago
Anonymous
No it most certainly does not “need” him. And it never did. I’m starting to believe the anon who said Moore’s fans don’t actually care about the medium.
7 months ago
Anonymous
>Oh nice, hadn't heard about that either. Good to know he's still happily writing.
He only got started, he even got involved in film as a medium.
The issue is that the comics medium needs him. The medium of novels/prose doesn't because it has a rich history.
>The medium of novels/prose doesn't because it has a rich history
Art always needs new perspectives.
>Voice of the Fire
Somehow never heard of that, thanks for putting it on my radar.
I'll say "relatively recently," then. The majority of Moore's career has still been in comics, and it'll always be what he's most known for.
And yeah, What We Can Know About Thunderman was definitely interesting. I'd love to know how many of the crazy stories are true (or at least true rumours) and how many are just Moore's wild imagination
Pretty much all of Moore's work seems to get overshadowed by Watchmen. It kind of goes >Watchmen >V for Vendetta >maybe LoEG or From Hell, or even For the Man Who Has Everything >everything else he's done is only known by comic nerds
Maybe I've just mot been tuned into modern comic fandoms, but when got into it as a preteen in the 2000's, Watchmen, Swamp Thing, and Miracle Man were the Moore starter pack. I'd even say V for Vendetta was relatively obscure before the movie. Not very obscure, I remember a website with annotations, but Swamp thing was definitely talked about alot
They don't make 'em like that anymore... though to be fair, they never did.
>though to be fair, they never did.
Correct.
That issue sucks though.
It's great.
You can’t speak honesty to Moore acolytes. They don’t care about or particularly enjoy comics, they just like feeling as if they’re intellectually stimulated by what would otherwise be a failed novelist.
Most Moore comics are no better than Tom King comics, he just had better artists than King.
>they just like feeling as if they’re intellectually stimulated by what would otherwise be a failed novelist.
Lame ad hominem.
>y-you’re right but I won’t engage with that because it hits too close to home
I accept your concession.
>inb4 you now droll on for 3 paragraphs to prove me wrong while saying nothing of substance.
You come here to shit on Moore with 0 actual arguments or points to make, you're simply one of those pathetic people who like quipping about saying his fans don't care about comics and that he's shit because he's shit, so until you show you're capable of having adult conversations, nobody's gonna engage with you an earnest outside of mocking you and/or calling you out on your bullshit.
>nobody's gonna engage with you
You sure did. Could've ignored him like everyone else but you just had to give him the attention he so desperately craves.
That's not engagement, I'm simply telling him that he's boring and should frick off. That's where my interest in him ends.
>that’s not engagement
>I simply engaged with him
Typical Mooregay. A pebble sized brain and a mountain sized ego.
This is like that one shitposter that would say Moebius is bad as Liefeld just to rile people up.
The power gap between Moore and King is pretty fricking wide.
No, the power gap between their respective co-creators is - Moore merely had better artists. They’re both pseuds more interested in quoting and referencing other people than they are in writing their own words, more interested in tearing down than building up. Tom Strong is the character brought up to disabuse this notion but it’s no more original than watchmen - pure derivative nonsense based on better men’s creations.
>pure derivative nonsense
Do you lot never tire of repeating the same rehashed garbage you copy+paste in every Alan Moore thread you manage to come across?
You ever get sick of inflating the worth of a mediocre, failed novelist just because you think you’re above everyone else on Cinemaphile and the medium itself despite being here?
Peak pseud
>You can’t speak honesty to Moore acolytes.
>proceeds with extremely dishonest bait
Nice job.
I feel like the writers tend to get all of the credit for these comic books. Are they really that in charge of how the pages themselves come together, what's in each panel, etc.?
Are you stupid? How are you on Cinemaphile?
It's a valid question
Alan Moore is one of the more detailed script writers, and as a result of his influence writers have gotten more controlling in what is dictated in panels. That said, Moore's run had some amazing pencilers that really sold the work.
>I feel like the writers tend to get all of the credit for these comic books
Originally it was the artists, but when artists got famous enough they tended to leave and form their own brands. DC/Marvel intentionally moved focus to writers because they thought writers would be easier to keep chained to the company. Then the writers showed they know how to leave too.
>Are they really that in charge of how the pages themselves come together, what's in each panel, etc.?
Some are. It's highly dependent on who, what comic, where, and when, but some writers tell to the artist in great detail what to draw and how to lay out the panels, which is frankly insulting to the artist since the artist is the guy who actually knows how to make things look good.
"Frankly insulting"? How is a writer supposed to show his character's personality through what items are in his room according to you?
Bissette/Totleben/Veitch/Wood had a 50/50 credit how the issues were visually told
>I feel like the writers tend to get all of the credit for these comic books
Moore's instructions are very meticulous and thought-through.
It differs from case to case. Alan Moore is pretty much totally in control of the end results.
Moore does give very detailed page outlines, but he also gives the artists permission to ignore his instructions if they come up with something better.
This is the ideal way to do it, and it's why Alan Moore comics always have such effective art.
The recolors are overhated. They never got pirated so most of the haters have never even seen them.
They're pretty awful. Made me want a black and white edition.
I don't care about the DCU, so I like The Green.
>I don't care about the DCU, so I like The Green.
I mean outside of Moore's Swamp thing, too. I don't like Swamp Thing being a spiritual being, the mysticism takes away from the body horror
I don't care much about Swamp Thing either, outside of this run.
I'm so torn because I enjoy it but also feel like I prefer SwampThing as a man-turned-monster in the long run. No one really captured what Moore did again. I also don't really like "The green" as part of the DCU.
I think Wein-Thing is better for Swampy as a character in the greater DC universe, but Moore-Thing is better as a character in a story that’s not meant to go on forever.
I'm making my own top 100 best standalone issues from 1979 to 2005 like Wizard did back in 2006 (yesterday's storytime is still up
), and looking to include some Swamp Thing.
I recently reread "My Blue Heaven" (#56) and it's going on my list. Besides this and "The Anatomy Lesson" (#21), do you guys recall any other great issues?
Pog, homie. Perhaps Loving The Alien too or The Curse.
Thanks.
Love and Death is probably the most disturbing comic I’ve ever read, and Loving the Alien is close. Both deserve credit for being impossible to forget.
Moore lucked out that Bissette was on art.
Comic would have still pretty pretty good but it wouldn't have gotten all of its reprints that it has gotten.
The interesting thing about the writing is that it's actually very different from the style Moore became known for later. He turned hard against narrative captions and purple prose a few years later, but I kind of miss that side of him, like a more sophisticated Chris Claremont.
The trademarks of his writing style are still there, but he really had the freedom to experiment with each new volume as he changed up topics, while Swamp Thing faced new horrors and it shows. That's one of the best things about his Swamp Thing run, he really made the most out of the opportunity granted to him and had a great time with the character. That much is evident!
I wish it got a third of attention that Watchmen gets. Hell his fricking Twilight pitch seems to get more chatter than his Swamp Thing.
Pretty much all of Moore's work seems to get overshadowed by Watchmen. It kind of goes
>Watchmen
>V for Vendetta
>maybe LoEG or From Hell, or even For the Man Who Has Everything
>everything else he's done is only known by comic nerds
No it's
>Watchmen
>The Killing Joke
then everything else.
Huh, don't know how I managed to forget about TKJ. Yeah, that's definitely the second most famous Moore comic
A Small Killing is one of my favorite Moore works, yet sadly usually goes unmentioned. It's also funny how his comics overshadow his works of prose or his epic poem.
>It's also funny how his comics overshadow his works of prose or his epic poem.
I liked his recent short story collection, Illuminations. In another life, Moore could've been a great British sci-fi/fantasy author.
In fairness, he only started properly writing prose recently and also I doubt many comic readers would want to read a proper book as chunky as Jerusalem
>recently
Voice of the Fire was written back in 1999. Illuminations was great, What We Can Know About Thunderman was a really insightful read and a very interesting one.
>Voice of the Fire
Somehow never heard of that, thanks for putting it on my radar.
I'll say "relatively recently," then. The majority of Moore's career has still been in comics, and it'll always be what he's most known for.
>Somehow never heard of that, thanks for putting it on my radar.
It serves as an introductory chapter to Jerusalem and a great novel overall. It's from a time when Moore truly decided to pursue his "Northampton is the center of everything" idea and it shows because from how much history of his hometown he is pulling in that work specifically, but even more so in Jerusalem. It was a true test to see whether he can mingle with the "adults" when it comes to prose, and safe to say he not only passed the test, but has made himself one of the better contemporary authors in the English language as far as 21st century goes. Jerusalem really does feel like the next Ulysses and I'm sure academics are gonna take to that idea in a few decades or so.
Jerusalem has been on my list for a while, but I've been so busy with uni reading over the past couple years (including Ulysses) that I'm hesitant to pick up such a massive book for my personal side reading. So it's nice to know that there's a shorter first Moore novel out there.
>one of the better contemporary authors in the English language as far as 21st century goes. Jerusalem really does feel like the next Ulysses and I'm sure academics are gonna take to that idea in a few decades or so.
That's very high praise
As much as I appreciate Moore's comic book work and how much good stuff he's done, I'd also love to live in a world where he became a novelist first, instead of starting out in comics
>I'd also love to live in a world where he became a novelist first, instead of starting out in comics
I wouldn't, I'm really thankful for the contribution he made to the comicbooks as a medium. Besides, he's a novelist now and has announced a fantasy trilogy that's coming shortly. It's a great time to be an Alan Moore fan. If anything, I lament the fact that he doesn't want to give video games a try.
>I wouldn't, I'm really thankful for the contribution he made to the comicbooks as a medium.
I just think it's an interesting 'what-if'. I'm happy with the Moore we got, too. He's certainly made more of a mark by working in comics, but at the same time I think he was also consistently somewhat held back by the shitty realities of the industry
>announced a fantasy trilogy that's coming shortly
Oh nice, hadn't heard about that either. Good to know he's still happily writing.
The issue is that the comics medium needs him. The medium of novels/prose doesn't because it has a rich history.
>comics medium needs him
1 person can not keep an entire medium on his shoulders. It's insane to even consider that.
He sure elevated it, and that's enough.
>He sure elevated it,
He wrote a lot of great stuff but " elevated" it? Are you sure? I know that Watchmen is recognized among "intellectual" circles that don't engage witch comics that much, but who cares about them. Even outside of Moore there have been exceptional writers in both American and British comics.
NTA, and nobody's denying comicbooks don't have other great authors that have written and created great comicbooks in their own right, but it's clear Alan Moore was a very influential figure in the context of American comics in the 80s.
>exceptional writers
Not a whole lot.
Not true for Asian comics, also questionable when you're talking European comics.
Japan, sure. But american and european... not a lot, anon. Not a lot.
Holy frick the way you write is painfully pretentious.
You sound sad. And gay. And dumb.
America certainly, but Europe I tend to not agree with you.
Do you even know what the term "failed novelist" implies? You don't get published if you're one, and Moore has published two novels, one epic poem and a short story collection.
Give me names then.
Hugo Pratt, Marjane Satrapi, Enki Bilal, Héctor Germán Oesterheld, Georges Bess, Christophe Chaboute, Thierry Martin, Jean Van Hamme, Martin Lodewijk, André Franquin etc.
Are these supposed to be examples of good or bad writers?
Is this an actual question or a snide reply?
Actual question. That is a very mixed batch.
It's a list of competent artists. You may not find some of them on Moore's level, but they've made their dent in European comics.
From what I've tried these are not exceptional writers.
>André Franquin
He is the Marsupilami guy, right? Also are their works translated?
Yup, they are.
Japan is among the weakest, writing wise.
That anon was exaggerating but so are you. The best of the best comic in writers in japan, europe, america are roughly equal and that's to be expected.
Who are the best writers in manga?
I haven't read enough of the awarded and well recognized ones. From what I've read, men: Matsumoto Taiyou, FKM, Adachi Mitsuru, Abe George, women: Tamura Yumi, Higashimura Akiko, Mori Kaoru. Also think that Miyazaki and Satoshi both wrote very interesting stuff in spite of manga not being their medium
That's why they are exceptional because there are very few of them. If there were more, they would no longer be the exception.
>but it's clear Alan Moore was a very influential figure in the context of American comics in the 80s.
Yes but would you say that those Al inspired writers were the best of the best regarding comics?
No it most certainly does not “need” him. And it never did. I’m starting to believe the anon who said Moore’s fans don’t actually care about the medium.
>Oh nice, hadn't heard about that either. Good to know he's still happily writing.
He only got started, he even got involved in film as a medium.
>The medium of novels/prose doesn't because it has a rich history
Art always needs new perspectives.
And yeah, What We Can Know About Thunderman was definitely interesting. I'd love to know how many of the crazy stories are true (or at least true rumours) and how many are just Moore's wild imagination
His poetry's fricking awful, but I do have a nice book of Juan Jose Ryp illustrating it.
Maybe I've just mot been tuned into modern comic fandoms, but when got into it as a preteen in the 2000's, Watchmen, Swamp Thing, and Miracle Man were the Moore starter pack. I'd even say V for Vendetta was relatively obscure before the movie. Not very obscure, I remember a website with annotations, but Swamp thing was definitely talked about alot
Does it have the disgusting kissing scene. Yuck.
This isn’t sequential. This is a glorified picture book. Like KSD’s historia
It does look really good but I would say it's still behind in composition, scale and detail compared to the greats of Moebius.
It is great.
I miss Moore.