In the end, the heroes lose without having to fight the villains as there were none, the context and their inner dreads being their enemy. Also the storyline is non-linear and jumps to different space, time, context and even stories. Also remarkable is the imagery and the subtle meaning of symbols that have been used multiple times, like the doomsday clock. Never before, have we seen super heroes fail, or go mad or become a hired mercenary, but this novel captures the baser instincts of lust, of power and propensity for violence and makes a case against vigilantism.
These heroes, fighting to save the city from crime, but themselves are a disoriented bunch. The mood is set in New York, with all its malice of the congested city life where no one looks out for one another and crime. In this all engrossing pessimism, the book captures the story of costumed super heroes out there to save the world, but in the end they manage to save the peace, only to lose themselves in the utter grotesque of violence and madness and insanity. It is seventies and tension is high between US and Soviet Union and both on trigger alert for nuclear weapon. The novel on the other hand has been quite a revelation not only with its storyline and the novelty of the idea but also the context. Because we do need protest movements now, probably more than we’ve ever done before.I have been reading the comic novel "The Watchmen" after watching the movie, which for all practical purposes I found to be an utter waste of time. “But I’m heartened to see that it has been adopted by protest movements so widely across the world.
“I can’t endorse everything that people who take that mask as an icon might do in the future, of course,” Moore said. For example, those fighting for social change - for good or ill - have adopted the Guy Fawkes mask worn by the dandy revolutionary of Moore’s V for Vendetta. I think it was more comics meeting the emotional age of the audience coming the other way.”Īnd with that, the man who revitalized Swamp Thing, who gave Batman one of his greatest episodes, who wrote From Hell and V for Vendetta and The League of Extraordinary Gentlemen has reminded people that he agrees with the likes of Martin Scorsese and Francis Ford Coppola. But the majority of comics titles were pretty much the same as they’d ever been. There were a few titles that were more adult than people were used to. I tend to think that, no, comics hadn’t grown up.
There were an awful lot of headlines saying ‘Comics Have Grown Up’. I think that this was a misunderstanding born of what happened in the 1980s – to which I must put my hand up to a considerable share of the blame, though it was not intentional – when things like Watchmen were first appearing. I didn’t really think that superheroes were adult fare. “Hundreds of thousands of adults lining up to see characters and situations that had been created to entertain the 12-year-old boys – and it was always boys – of 50 years ago.
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Moore points out that when Trump was elected and the many part of the world “took a bit of a strange detour in our politics,” the global movie box office was dominated by superhero movies. “Because that kind of infantilisation – that urge towards simpler times, simpler realities – that can very often be a precursor to fascism.”īut maybe that’s already happened. “I said round about 2011 that I thought that it had serious and worrying implications for the future if millions of adults were queueing up to see Batman movies,” Moore told The Guardian. He also got in another, even more furious dig at the most popular and prevalent form of comics. He also reiterated what he’s said before, that he’s “definitely done” with the medium with which he made his name. In a new interview with The Guardian, Moore talks about moving from comics to prose, releasing Illuminations, a new collection of short stories. In the past, he’s slammed caped crusaders as “tremendously embarrassing and not a little worrying.” Now he’s going even further. And he’s no fan of the superhero wing of comics, which he’s frequently deconstructed and satirized in his own work. He’s no fan of the movies made from his comics, even refusing a credit on films like Zack Snyder’s Watchmen. He’s also one of the medium’s loudest critics. Alan Moore is one of the great geniuses of comic books, having done his best to make them mature and brainy and deep.
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