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I don't really think that very much is interesting about the superhero as an archetype.

Alan Moore

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Alan Moore
Age: 70
Born: 1953
Born: November 18
Comics Artist
Comics Writer
Novelist
Opinion Journalist
Science Fiction Writer
Writer
Curt Vile
Jill de Ray
Translucia Baboon
The Original Writer
Superhero
Interesting
Much
Really
Think
Thinking
Archetype

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Perhaps this is the purpose of all art, all writing, on the murders, fiction and non-fiction: Simply to participate.
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Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is.
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Authority allows two roles: the torturer and the tortured. Twists people into joyless mannequins that fear and hate, while culture plunges into the abyss.
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I love the smell of paper in the morning it smells like victory.
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In many ways, my entire graphic novel career was a long diversion. Originally, all I wanted to do was to be an underground cartoonist and maybe bring out a groovy underground mag.
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Behind this mask there is more than just flesh. Beneath this mask there is an idea... and ideas are bulletproof.
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It has occurred to me that the superhero really only originates in America. That seems to be the only country that has produced this phenomenon.
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For me, there is very little difference between magic and art. To me, the ultimate act of magic is to create something from nothing: It's like when the stage magician pulls the rabbit from the hat.
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How can two people hate so much without knowing each other?
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Most of the people who get sent to die in wars are young men who've got a lot of energy and would probably rather, in a better world, be putting that energy into copulation rather than going over there and blowing some other young man's guts out.
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As I come to understand Vietnam and what it implies about the human condition, I also realize that few humans will permit themselves such an understanding.
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There is an inverse relationship between imagination and money.
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Despite the constant clamor for attention from the modern world, I do believe we need to procure a psychological space for ourselves. I apparently know some people who try to achieve this by logging off or going without their Twitter or Facebook for a limited period.
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So when you find yourself locked onto an unpleasant train of thought, heading for the places in your past where the screaming is unbearable, remember there's always madness. Madness is the emergency exit.
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There's always been this feedback between comics and films. But I think that if you take that analogy too far, if you only see comic books in terms of films, then eventually the best we can end up with is films that don't move. It would make us a poor relation to the movie industry.
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If you give me a typewriter and I'm having a good day, I can write a scene that will astonish its readers. That will perhaps make them laugh, perhaps make them cry - that will have some emotional clout to it. It doesn't cost much to do that.
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Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.
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If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.
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There is no future. There is no past. Do you see? Time is simultaneous, an intricately structured jewel that humans insist on viewing one edge at a time, when the whole design is visible in every facet.
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There is no substitute for practical experience, and if you want to write about people you ought to put down that comic book and go out and meet some of them rather than studying the way that Stan Lee or Chris Claremont depict people.
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