What did Moore

Capefag here. That's not a capefag opinion. Capefags know it was meant to be out of canon. It's a Moorefag "all of Moore's works are the be all and end all" opinion. Hence
>DC, cowards that they are, decided to not abruptly end one of their biggest, longest running titles for the sake of an artistic whim

He only cares about V for Vendetta because he's a crazy anarchist hippie

>user thinks I'm a Moorefag
>am actually a huuuuuuge Morrisonfag
How do you fuck up this badly

Here's how Moore actually feels about it:
>I have never really liked it much as a work – although I of course remember Brian Bolland’s art as being absolutely beautiful – simply because I thought it was far too violent and sexualised a treatment for a simplistic comic book character like Batman and a regrettable misstep on my part. So, Pradeep, I have no interest in Batman, and thus any influence I may have had upon current portrayals of the character is pretty much lost on me. And David, for the record, my intention at the end of that book was to have the two characters simply experiencing a brief moment of lucidity in their ongoing very weird and probably fatal relationship with each other, reaching a moment where they both perceive the hell that they are in, and can only laugh at their preposterous situation. A similar chuckle is shared by the doomed couple at the end of the remarkable Jim Thompson’s original novel, The Getaway.

>I’ve never really liked my story in The Killing Joke. I think it put far too much melodramatic weight upon a character that was never designed to carry it. It was too nasty, it was too physically violent. There were some good things about it, but in terms of my writing, it’s not one of me favorite pieces. If, as I said, god forbid, I was ever writing a character like Batman again, I’d probably be setting it squarely in the kind of “smiley uncle period where Dick Sprang was drawing it, and where you had Ace the Bat-Hound and Bat-Mite, and the zebra Batman—when it was sillier. Because then, it was brimming with imagination and playful ideas. I don’t think that the world needs that many brooding psychopathic avengers. I don’t know that we need any. It was a disappointment to me, how Watchmen was absorbed into the mainstream. It had originally been meant as an indication of what people could do that was new. I’d originally thought that with works like Watchmen and Marvelman, I’d be able to say, “Look, this is what you can do with these stale old concepts. You can turn them on their heads. You can really wake them up. Don’t be so limited in your thinking. Use your imagination.” And, I was naively hoping that there’d be a rush of fresh and original work by people coming up with their own. But, as I said, it was meant to be something that would liberate comics. Instead, it became this massive stumbling block that comics can’t even really seem to get around to this day. They’ve lost a lot of their original innocence, and they can’t get that back. And, they’re stuck, it seems, in this kind of depressive ghetto of grimness and psychosis. I’m not too proud of being the author of that regrettable trend.

By assuming. Whoops

He doesn't think well of Killing Joke at all.

Watchmen I think he would look more fondly at if it weren't for all the problems that came up between him and DC over the decades.

So basically the Joker wins, am I reading that right?
Comics are a juvenile hell and Batman is a juvenile fantasy, we live in a Society, laugh with it like the Jokester.

>I asked DC if they had any problem with me crippling Barbara Gordon—who was Batgirl at the time—and if I remember, I spoke to Len Wein, who was our editor on the project, and he said, “Hold onto the phone, I’m just going to walk down the hall and I’m going to ask [former DC Editor-in-Chief] Dick Giordano if it’s alright,” and there was a brief period where I was put on hold and then, as I remember it, Len got back onto the phone and said, “Yeah, okay, cripple the bitch.” It was probably one of the areas where they should’ve reined me in, but they didn’t.

eponis.tumblr.com/post/158524029800/alan-moore-on-the-killing-joke

There is no false rumor you dumb fuck

Ah, good old Life of Brian syndrome.
Shut the fuck up old man, you made a mess and everyone else is cleaning it up.

>I’d originally thought that with works like Watchmen and Marvelman, I’d be able to say, “Look, this is what you can do with these stale old concepts. You can turn them on their heads. You can really wake them up. Don’t be so limited in your thinking. Use your imagination.” And, I was naively hoping that there’d be a rush of fresh and original work by people coming up with their own. But, as I said, it was meant to be something that would liberate comics. Instead, it became this massive stumbling block that comics can’t even really seem to get around to this day. They’ve lost a lot of their original innocence, and they can’t get that back. And, they’re stuck, it seems, in this kind of depressive ghetto of grimness and psychosis. I’m not too proud of being the author of that regrettable trend.
What the fuck did he think he was achieving? His own works were dark reinventions or genre takes, not something *new* as such.
And for the record, I'm sure there are good, grittier reinventions by other writers, but far be it from Moore to acknowledge it. Miller DD's a big one, tho that also had humour and fun stuff in it.
I agree with his point about some capeshit losing its charm in that period, but the worst reinventions were pretty much the same as his methods but without the execution. I also wouldn't call him the *creator* of that trend, since 70s Batman had already started going that way to a lesser extent. He more just popularised it to a much larger extent imo

Joker is a coward who hides his helplessness under the facade of laughter. In the end, Batman just agrees with him on that one particular situation being utterly absurd, but it doesn't mean he's agreeing with Joker's lifestyle

Moore is obviously saying that he wanted everyone to reinvent the genre in their own directions and not do dark stories like him.
And of course more often he just straight up says cape comics are for children and should stay that way.

I came here to post this.

Also BATMAN DID NOT KILL THE JOKER.

The initial impetus for a Batman one-shot with Moore was Bolland's, which probably means that he had an idea of where he wanted to story to go before Moore was even involved. The fact that both Moore and Bolland are not happy with it is because they probably had to accommodate each other to some degree. The result is that TKJ ended up being nobody's baby, and both authors are not truly happy with it.

Who is Moore agreeing with?
If he has Batman agree with the Joker that comic life is hell and all they can do is laugh then the Joker wins in-universe. Moore is defaulting on the symbol of order because he doesn't believe the comics reality has any and that the conflict of chaos versus order has no place in comics because chaos wins.

But he wasn't leading by example. He just did multiple
>What if capes but dark
Comics, partly influenced by older things, then says he wanted people to make the genre more mature, then backtracks and says
>I actually meant they shouldn't do that
Parsing Moore's intent is a pointless exercise, but it's not helped by him contradicting himself depending on how he feels it should be by each decade. It should also be noted he hasn't read any of the genre since he wrote Watchmen so he has no real clue how the genre's been targeted to different demographics since. There were always things for kids, he just looked for what he could claim credit for, bad or good.

I can't believe Batman killed the Joker.

He just wanted to show that deconstruction was possible, he didn't expect everyone to deconstruct it the same way he did.

No one, he's le ebin woke centrist. But in seriousness, as Youdkowski once said, great conflicts in fiction are conflicts between good and good. Joker's methods are monstrous, of course, but they are no less a reflection of culture than Batman's ones. Batman stands for acknowledging the problems of the world, forming a strong moral code and actively working to fix them, while Joker stands for running away from the problems into the fantasy where he has moral high ground and can mock anyone who ever tries doing anything. Both of these sound appealing, right? But Batman will never fix every problem with his self-righteousness and Joker will never really prove anything with his infantilism. Yet of course, they will keep on believing what they believe, even if it just ends up making things worse for both of them. That's the absurdity of the situation.

Everything Moore touches is gold, glad to see Moore embracing his voyage towards godhood.

>It should also be noted he hasn't read any of the genre since he wrote Watchmen

No, he's read stuff since then. He liked Planetary and New Frontier. I think after he severed ties with DC completely he hasn't read anything from them since, as far as we know.

Zoomer here
Killing Joke was tame and boring

>The lights slowly going out is symbolic for the Joker's life and Batman's career both ending.
umm actually the ending panning over to raindrops on puddles is a callback to the beginning, you know like bookends, showing that the end is just like the beginning, nothing really changed, etc.

Of course it was for an edgelord like you, it's not about cheap shock value.

>Planetary
>capeshit
Planetary's capeshit bad, old, hard-to-market pulp good. Fair on New Frontier, didn't know that.

>Planetary's capeshit bad, old, hard-to-market pulp good
user are you ok

Possibly not. I may have confused it with Global Frequency

Ellis considers it a superhero book.

>I want to change things
>wait go back
The communist mantra.

He's not fond of Killing Joke even though he considers it better than most postmodern Batman stories.
Watchmen he said was bare minimum for a quality comicbook, but in later interviews he consider that nothing in capeshit ever came close to it.

Fuck off reddit. Stop spreading this rumour.

Neither Miller nor O'Neil's Batman was deconstruction, you stupid fuck.

Because he hasn't probably read Rebirth or Johns' JSA.

Well, whether he reads stuff or not is inconsistent. He says he hasn't read anything since the 80s, but then knows all this shit that happened or happens in modern comics. So he either reads or believes everything those 4 people that are still in his good graces tell him.

Yeah sure but then he made 4 editions of 1963 and 50 years of "realistic capes". Even his more optimistic works like Adam Strange and (from what I gather since I haven't read it yet) Tom Strong are still somehow gritty.

>Since I haven't read it yet

>Have read a huge part of the man's work
>Haven't read this particular book yet but have been exposed to it through years of comic exposure
>But I can't pass absolutely any judgement on it

>If, as I said, god forbid, I was ever writing a character like Batman again, I’d probably be setting it squarely in the kind of “smiley uncle period where Dick Sprang was drawing it, and where you had Ace the Bat-Hound and Bat-Mite, and the zebra Batman—when it was sillier. Because then, it was brimming with imagination and playful ideas.
Morrison beat you to it, you pretentious wanker.

Alan Moore's ABC line is still top quality even like 20 years later.

It's a shame most have not read stuff like Promethea. ABC comics like Promethea and Top Ten are the gold standard of comics venturing into new yet unfamilar areas with the best writing and art to top it off.

ABC comics was concieved during the turn of the new millenium before that shitty 9/11lies turned society into complete shit.

Really wish Moore would continue to write something as bold trippy and optimistic as Promethea again but Moore has done more than enough for comics in general that his good deeds will influence comic book readers and creators forever.

Attached: promethea-1--1076378-1280x0.jpg (1280x909, 96K)

>Q: WE HEAR YOU’RE NOT THAT KEEN ON TECHNOLOGY...
>A: I don’t have an internet connection, or a mobile phone, or a TV signal. I can play [digital] music on the television, or on the computer I suppose, but I don’t. I am pretty much cut off from the 21st century. It’s like culturally I’m trying to establish a kind of sensory deprivation tank for myself, whereby I am receiving no modern signals whatsoever, because I’ve heard that after a while in a sensory deprivation tank you start to hallucinate and have all sorts of strange experiences, so I’m waiting for that to happen.

>Q: HOW DO YOU MANAGE WITHOUT THE INTERNET?
>A: It seems to work. I am pretty much cut off from the majority of the 21st century, but not much escapes me. You hear about everything, because you’re talking to people, you’re absorbing a lot of this information as if by osmosis, just through the pores of your skin. I have said that by embracing the internet in the way that it has done, which was kind of inevitable, society has embarked on a massive experiment without having any idea of the various ways in which those technologies will impact upon us socially, politically and psychologically. So I so think if there’s this huge experiment going on, it’s best that I remain outside the petri dish, as a kind of control, so that we’ll be able to see how badly the rest of you have mutated, by comparing you with me as a kind of baseline.
>>>interview with Alan Moore

Attached: 1553097643328.jpg (403x292, 14K)

What he says is spot on.

The parasites with all the resources and political influence will try and make the internet of people the trojan horse by which the mark of the beast is slowly forced upon people all over the world.

>Watchmen he said was bare minimum for a quality comicbook, but in later interviews he consider that nothing in capeshit ever came close to it.
It’s unirioncally inferior to both Hellboy and Born Again. And I say this as a fairly hardcore imagefag.

Alan Warlock?

He probably has his daughter help him with all the shit you need to process through the internet.

look I'm a DD fag but even I don't think Born Again is better than Watchmen

He's dead. We're stuck with his evil future self now.

Watchmen was born as a way to show people comics could have an identity of their own as opposed as being just the vehicle for a character that has been done to death.

The Killing Joke, according to Moore, was a quick story he made because Brian Bolland wanted to draw Batman.

It’s subjective but I legitimately disagree with your opinion.