“Because they’re a bunch of bloodsucking bastards, quite frankly,” is the kinda thing he tends to say. He’ll clarify that the comic book medium is “perfect,” it is “sublime,” whereas the comics industry is “a dysfunctional hellhole” that “hasn’t had any new ideas in 20 or 30 years,” that it’s run by “sub-human” thieves who employ the same “gangster ethics” by which DC “bought” the rights for Superman off its teen creators, Jerry Siegel and Joe Schuster, for $130.
“I pretty much detest the comics industry” is the gist, most recently for what they’ve done to popular culture and democracy with the Marvel Cinematic Universe and . . . whatever it is that DC’s up to. Moore’s been saying for years that he sees a harbinger of fascism in how young adults flock to see these “franchised übermenschen” zipping across the screen, and yes, he’s also mindful of the fact that he’s basically the cause of all this.
There were a lot of quotes I could’ve pulled from Alexander Sorondo’s new profile of Alan Moore at The Metropolitan Review — getting expelled for selling acid, falling in love with David Foster Wallace, accidentally conjuring the Persian math demon Asmodeus, etc. — but this is the one I chose. Check it out.
Portrait of Alan Moore, 2011, by Frank Quitely (b. 1968)
“Rollerettes Against Change!” by Melinda Gebbie. The piece is the back cover of Wimmin’s Comix #8, March 1983, Last Gasp. Reprinted in The Complete Wimmin’s Comix, 2016, Fantagraphics.
Art from “Tomb of the Space Gods” by Alexis Ziritt; from Space Riders #3, June 2015 by Alexis Ziritt (artist), Fabian Rangel, Jr. (writer), and Ryan Ferrier (letterer)Rory Hayes. Published by Black Mask Studios.