History Creator / AlanMoore

10th Sep '16 10:13:42 AM Morgenthaler
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* BlackComedy and KafkaKomedy: A lot of his work from his early days at ''ComicBook/TwoThousandAD'' is overflowing with this (especially ''DR & Quinch'' and his collection of ''Tharg's Future Shocks''). These themes remain in his later works, but they are not nearly as prevalent as they are in some of his oldest stories.

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* BlackComedy and KafkaKomedy: A lot of his work from his early days at ''ComicBook/TwoThousandAD'' is overflowing with this (especially ''DR & Quinch'' and his collection of ''Tharg's Future Shocks'').''ComicBook/ThargsFutureShocks''). These themes remain in his later works, but they are not nearly as prevalent as they are in some of his oldest stories.
21st Jun '16 6:28:00 PM TheWildWestPyro
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* DeconstructiveParody: Some of his works fall into this. ''The League of Extraordinary Gentlemen'' taking on such pop culture sacred cows as Franchise/JamesBond and Franchise/HarryPotter, painting them in a decidedly less attractive light.

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* DeconstructiveParody: Some of his works fall into this. ''The League of Extraordinary Gentlemen'' taking on such pop culture sacred cows as Franchise/JamesBond and Franchise/HarryPotter, painting them in a decidedly less attractive light.light and playing up their darkest aspects as well as making them hilariously incompetent.
18th Jun '16 11:08:13 PM Doug86
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Moore was then encouraged by Creator/DCComics editor Len Wein to start work on ''Comicbook/SwampThing'', Wein's classic horror comic. Originally about a scientist, Alec Holland, who had been transformed into a living plant monster after an explosion in his lab, Moore proposed a radical revision that revealed that Alec had in fact died in the explosion, and that the swamp creature had been created by plant elementals using Holland's memories as a basis for its character. Swamp Thing was not a man turned into a monster; he was never a man at all! Moore then took the Swamp Thing through a number of unusual adventures, including an entire issue [[{{Squick}} dedicated to psychic, psychedelic sex between Swampy and his human girlfriend, Abby.]] Moore also created the character of ComicBook/JohnConstantine for the comic. Along the way, he wrote a tiny handful of Franchise/{{Superman}} stories which are now considered some of the very greatest ever written for the character (one was even adapted into an episode of ''WesternAnimation/JusticeLeagueUnlimited'') and set the groundwork for a more extensive examination of Superman later in his career, through the [[CaptainErsatz pastiche character]] ComicBook/{{Supreme}}. Not to mention a tiny handful of Comicbook/GreenLantern stories that have become integral to ''its'' history ("Mogo Doesn't Socialize" and "Tygers").

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Moore was then encouraged by Creator/DCComics editor Len Wein to start work on ''Comicbook/SwampThing'', Wein's classic horror comic. Originally about a scientist, Alec Holland, who had been transformed into a living plant monster after an explosion in his lab, Moore proposed a radical revision that revealed that Alec had in fact died in the explosion, and that the swamp creature had been created by plant elementals using Holland's memories as a basis for its character. Swamp Thing was not a man turned into a monster; he was never a man at all! Moore then took the Swamp Thing through a number of unusual adventures, including an entire issue [[{{Squick}} dedicated to psychic, psychedelic sex between Swampy and his human girlfriend, Abby.]] Moore also created the character of ComicBook/JohnConstantine for the comic. Along the way, he wrote a tiny handful of Franchise/{{Superman}} stories which are now considered some of the very greatest ever written for the character (one was even adapted into an episode of ''WesternAnimation/JusticeLeagueUnlimited'') and set the groundwork for a more extensive examination of Superman later in his career, through the [[CaptainErsatz pastiche character]] ComicBook/{{Supreme}}. Not to mention a tiny handful of Comicbook/GreenLantern Franchise/GreenLantern stories that have become integral to ''its'' history ("Mogo Doesn't Socialize" and "Tygers").
17th Jun '16 9:20:24 PM Doug86
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However, Wildstorm was bought out by [[Main/{{DCComics}} DC Comics]] and Moore subsequently parted from America's Best Comics. As of 2008, the only title he plans to write with any regularity is ''ComicBook/TheLeagueOfExtraordinaryGentlemen'', which after ''The Black Dossier'', will be published through Top Shelf Productions. He is also currently working on his second prose novel, tentatively titled ''Jerusalem''.

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However, Wildstorm was bought out by [[Main/{{DCComics}} DC Comics]] Creator/DCComics and Moore subsequently parted from America's Best Comics. As of 2008, the only title he plans to write with any regularity is ''ComicBook/TheLeagueOfExtraordinaryGentlemen'', which after ''The Black Dossier'', will be published through Top Shelf Productions. He is also currently working on his second prose novel, tentatively titled ''Jerusalem''.
11th Jun '16 10:14:37 PM Doug86
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Ironically, the popularity of ''Watchmen'' was the first nail in Moore's relationship with DC; the contract that he and artist David Gibbons had signed promised them that full rights to the comic would be returned to them if the book fell out of print for more than two years. At this point in time, paperback collections of comic books were virtually unheard of and the idea that ''Watchmen'' would remain in print that long was absurd. However, the book's popularity has kept it in print from 1987 through the present day, and neither Moore nor Gibbons ever received the rights. Moore's relationship with MarvelComics was also strained, and for similar reasons.

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Ironically, the popularity of ''Watchmen'' was the first nail in Moore's relationship with DC; the contract that he and artist David Gibbons had signed promised them that full rights to the comic would be returned to them if the book fell out of print for more than two years. At this point in time, paperback collections of comic books were virtually unheard of and the idea that ''Watchmen'' would remain in print that long was absurd. However, the book's popularity has kept it in print from 1987 through the present day, and neither Moore nor Gibbons ever received the rights. Moore's relationship with MarvelComics Creator/MarvelComics was also strained, and for similar reasons.
8th Jun '16 10:44:54 AM Morgenthaler
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* SophisticatedAsHell: Sometimes literally. His works mix and match low culture and high culture with incredible aplomb. He's as deeply influenced by the likes of Creator/JamesJoyce, BertoltBrecht and ThomasPynchon as he is by JackKirby and pulp fiction. He grew up as a working class autodidact and absorbed information all throughout his life and is nearly a RenaissanceMan in his wide knowledge of physics, biology, chemistry, mathematics, history, art and all kinds of minutiae that he peppers his works with. He generally believes that writers should avoid SmallReferencePools and incorporate ideas from different mediums and fields of interest.

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* SophisticatedAsHell: Sometimes literally. His works mix and match low culture and high culture with incredible aplomb. He's as deeply influenced by the likes of Creator/JamesJoyce, BertoltBrecht Creator/BertoltBrecht and ThomasPynchon Creator/ThomasPynchon as he is by JackKirby Creator/JackKirby and pulp fiction. He grew up as a working class autodidact and absorbed information all throughout his life and is nearly a RenaissanceMan in his wide knowledge of physics, biology, chemistry, mathematics, history, art and all kinds of minutiae that he peppers his works with. He generally believes that writers should avoid SmallReferencePools and incorporate ideas from different mediums and fields of interest.
25th Mar '16 6:32:59 PM Doug86
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''Swamp Thing'' proved to be a massive success, and in the last years of Moore's run on the title, he was also handed another gaggle of existing characters to play with. DC had recently acquired the properties of CharltonComics and Moore was asked to come up with a proposal for them. He came back with a dark tale that drew heavily on the mid-80s UsefulNotes/ColdWar angst, in which the Charlton heroes discover that one of their number has been killed and that his death is connected to something that could lead to nuclear armageddon. DC was impressed by the pitch but was worried that Moore's pitch would render a number of the characters unusable by the end of the story. Instead, they advised him to create an entirely new series, and so ''Comicbook/{{Watchmen}}'' was born, with Moore using [[{{Expy}} Expies]] of the Charlton characters. Mature beyond anything that mainstream comics had published up to that point and with a level of complexity that rivaled the most highbrow books of the time (and continues to rival the best that many writers can come up with), ''Watchmen'' proved to be a massive sensation, and with Frank Miller's ''ComicBook/BatmanTheDarkKnightReturns'', effectively launched UsefulNotes/TheDarkAgeOfComicBooks. (Moore's Franchise/{{Batman}} one-shot ''ComicBook/TheKillingJoke'' in 1988 was another big success in this regard -- its approach to the Joker became the TropeNamer for MultipleChoicePast.) It also contributed heavily to the growing realisation in the mainstream media that comics are an art form, along with other comics such as Art Spiegelman's ''ComicBook/{{Maus}}'' and Gilbert and Jaime Hernandez's ''ComicBook/LoveAndRockets''.

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''Swamp Thing'' proved to be a massive success, and in the last years of Moore's run on the title, he was also handed another gaggle of existing characters to play with. DC had recently acquired the properties of CharltonComics Creator/CharltonComics and Moore was asked to come up with a proposal for them. He came back with a dark tale that drew heavily on the mid-80s UsefulNotes/ColdWar angst, in which the Charlton heroes discover that one of their number has been killed and that his death is connected to something that could lead to nuclear armageddon. DC was impressed by the pitch but was worried that Moore's pitch would render a number of the characters unusable by the end of the story. Instead, they advised him to create an entirely new series, and so ''Comicbook/{{Watchmen}}'' was born, with Moore using [[{{Expy}} Expies]] of the Charlton characters. Mature beyond anything that mainstream comics had published up to that point and with a level of complexity that rivaled the most highbrow books of the time (and continues to rival the best that many writers can come up with), ''Watchmen'' proved to be a massive sensation, and with Frank Miller's ''ComicBook/BatmanTheDarkKnightReturns'', effectively launched UsefulNotes/TheDarkAgeOfComicBooks. (Moore's Franchise/{{Batman}} one-shot ''ComicBook/TheKillingJoke'' in 1988 was another big success in this regard -- its approach to the Joker became the TropeNamer for MultipleChoicePast.) It also contributed heavily to the growing realisation in the mainstream media that comics are an art form, along with other comics such as Art Spiegelman's ''ComicBook/{{Maus}}'' and Gilbert and Jaime Hernandez's ''ComicBook/LoveAndRockets''.
1st Mar '16 6:13:07 AM hullflyer
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** RealityHasNoSubtitles: Downright ''merciless'' whenever foreign languages (from other countries or other ''planets'') comes up. The man went and invented a whole language for Rann when it popped up for a two-issue arc in ''Swamp Thing''.

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** RealityHasNoSubtitles: Downright ''merciless'' whenever foreign languages (from other countries or other ''planets'') comes up. The man went and invented a whole language for Rann when it popped up for a two-issue arc in ''Swamp Thing''. Taken UpToEleven in ''Crossed +100'', which has a variant of English which, while technically not a new language, has so many new slang terms (due to language shift over time) that it can be extremely difficult to understand the characters, and no subtitles or translations are ever provided - the reader has to puzzle out what words have come to mean from the context they are used in.
20th Feb '16 3:20:23 PM Adept
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** RealityHasNoSubtitles: Downright ''merciless'' whenever foreign languages (from other countries or other ''planets'') comes up. The man went and invented a whole language for Rann when it popped up for a two-issue arc in ''SwampThing''.

to:

** RealityHasNoSubtitles: Downright ''merciless'' whenever foreign languages (from other countries or other ''planets'') comes up. The man went and invented a whole language for Rann when it popped up for a two-issue arc in ''SwampThing''.''Swamp Thing''.
9th Feb '16 2:49:45 AM moloch
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After ''Watchmen'', Moore moved into independent comics, writing ''Brought To Light'', a history of the CIA[[note]] Which led to the persistent rumour for years that he was banned from entering the USA; in fact, he'd simply not bothered renewing his passport.[[/note]]; ''Lost Girls'', a piece of [[strike: highbrow erotica]] [[InsistentTerminology porn]], and ''A Small Killing'', the story of a graphic designer who finds himself stalked by a strange little boy. In the mid-90s, he also began doing more work-for-hire writing for companies such as WildstormComics and ImageComics. Through Wildstorm, he published his own imprint, America's Best Comics (ABC), which included ''ComicBook/{{Promethea}}'', a 32-issue treatise on magic (Moore has been a practicing magus since his 40th birthday); ''TopTen'', a pastiche of PoliceProcedural TV series set in a superhero-populated city; and ''ComicBook/TomStrong'', a call back to a more innocent era of comic writing. Perhaps the best-known ABC comic, ''ComicBook/TheLeagueOfExtraordinaryGentlemen'', is a Victorian-era superhero story set in a universe in which all stories exist alongside one another. Thus, the titular team comprises Mina Murray (Mina Harker of ''{{Literature/Dracula}}'', reverting back to her maiden name), Allen Quatermain (''Literature/KingSolomonsMines''), Captain Nemo (''Literature/TwentyThousandLeaguesUnderTheSea''), Hawley Griffin (''Literature/TheInvisibleMan'') and Dr. Jekyll/Mister Hyde ([[Literature/TheStrangeCaseOfDrJekyllAndMrHyde duh]]).

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After ''Watchmen'', Moore moved into independent comics, writing ''Brought To Light'', a history of the CIA[[note]] Which led to the persistent rumour for years that he was banned from entering the USA; in fact, he'd simply not bothered renewing his passport.[[/note]]; ''Lost Girls'', a piece of [[strike: highbrow erotica]] erotica (though he insists it be called [[InsistentTerminology porn]], porn]]), and ''A Small Killing'', the story of a graphic designer who finds himself stalked by a strange little boy. In the mid-90s, he also began doing more work-for-hire writing for companies such as WildstormComics and ImageComics. Through Wildstorm, he published his own imprint, America's Best Comics (ABC), which included ''ComicBook/{{Promethea}}'', a 32-issue treatise on magic (Moore has been a practicing magus since his 40th birthday); ''TopTen'', a pastiche of PoliceProcedural TV series set in a superhero-populated city; and ''ComicBook/TomStrong'', a call back to a more innocent era of comic writing. Perhaps the best-known ABC comic, ''ComicBook/TheLeagueOfExtraordinaryGentlemen'', is a Victorian-era superhero story set in a universe in which all stories exist alongside one another. Thus, the titular team comprises Mina Murray (Mina Harker of ''{{Literature/Dracula}}'', reverting back to her maiden name), Allen Quatermain (''Literature/KingSolomonsMines''), Captain Nemo (''Literature/TwentyThousandLeaguesUnderTheSea''), Hawley Griffin (''Literature/TheInvisibleMan'') and Dr. Jekyll/Mister Hyde ([[Literature/TheStrangeCaseOfDrJekyllAndMrHyde duh]]).
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