Tuesday, November 26, 2013

Alan Moore Hates Superheroes

Alan Moore trashes older people who still like superheroes- and the very idea of superheroes- calling them "abominations"- because he says they were originally meant for 9 to 13 year olds. So this old punk wrote Watchmen for 9 to 13 year olds? V for Vendetta? The Killing Joke? What a dishonest blowhard. I think he's arrogant and stupid enough to have made himself believe that Watchmen was going to be the end of superheroes, as if no one had anything more to say about them after he had his say. Yet he's reminded every day that the idea of heroes, of superheroes, is alive and well, unlike him. Superheroes made Alan Moore, he then tried to unmake them, and unmade himself instead. What a pos. Here's the superasshole:

"I haven't read any superhero comics since I finished with Watchmen. I hate superheroes. I think they're abominations. They don't mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine- to 13-year-old audience. That was completely what they were meant to do and they were doing it excellently. These days, superhero comics think the audience is certainly not nine to 13, it's nothing to do with them. It's an audience largely of 30-, 40-, 50-, 60-year old men, usually men. Someone came up with the term graphic novel. These readers latched on to it; they were simply interested in a way that could validate their continued love of Green Lantern or Spider-Man without appearing in some way emotionally subnormal. This is a significant rump of the superhero-addicted, mainstream-addicted audience. I don't think the superhero stands for anything good. I think it's a rather alarming sign if we've got audiences of adults going to see the Avengers movie and delighting in concepts and characters meant to entertain the 12-year-old boys of the 1950s."


Here's the Fool interview 

1 comment:

D.Eris said...

Ask people the best thing about Watchmen and you'll get cheers for Rorshach.
He tried to make a parody of integrity by conflating it with consistency and making what it aimed at arbitrary.
The character's looks are even based on Roark.
And Moor understood those looks, unlike the superficial critic out to paint Randian heroes as ideally handsome, Roark is rough.
Certainty gets conflated with unthinking faith all the time, and ridiculed as such for necessarily ignoring the axiom of the skeptic; the primacy of doubt, the endless barrage of conceptual contraband from a source they deny exists.
But he shot himself in the foot, by also giving the point of view of that person, his line of reasoning however flawed, without those doubt being present.
A vision of humanity, without chronic anxiety, was a step up.
One he may not have intended to take or notice that he took.