A lot of what Alan Moore has created is now considered classic. V for Vendetta, League of Extraordinary Gentlemen, From Hell, The Killing Joke, his run on Swamp Thing…to say this stuff is at the vanguard of comic-book storytelling is to undermine the fact that this stuff is the vanguard of comic-book storytelling. But it’s important to remember — crucial, actually — that Moore’s never purposefully written a “classic,” meaning his tales are almost exclusively nontraditional narratives that toy with genre and literary consciousness. The writer has a few reasons to despise Hollywood, but the primary point of contention must be that each film adaptation of his comics seems to shove the original tale back into a traditional, classic structure. It happened with From Hell, when Moore’s exploration of evil was spun as a simple murder mystery. It happened with LXG, which discarded crisscrossing episodic adventures in favor of a flat three-act team-up. It happened with V for Vendetta, wherein morally conflicted characters were replaced by obvious Good Guys and Bad Guys. And it happened, to a certain degree, with Zack Snyder’s adaptation of Watchmen.
Our Writer Series on Alan Moore typically dives into this abyss between page and screen, sometimes providing side-by-side comparisons of comics panels and film stills in an effort to highlight the divergent artistic choices of Moore and his cinematic adaptors. But Watchmen looks almost exactly the same across both mediums, with Snyder and DP Larry Fong essentially using the graphic novel as their storyboard — reminiscent, a woebegone cynic may claim, of a slacker passing in someone else’s homework:
Continue reading Watchmen (2009)
Today, the Fifth of November, is the perfect day for V for Vendetta. To be sure, Guy Fawkes Day finds a reference or two in a story about an anarchist in a Guy Fawkes mask. Go figure. He even intones as much: Remember, remember, the Fifth of November. But it’s this particular 11/5, the one here in 2017, that’s a perfect day for V. Because we’re now coming up on a year (!) since the presidential election of 2016, an entire year of what this masked anarchist, vested with a vast and verbose vocabulary, would call vitriol, venom, vilification, violence.
Maybe you’re on the other side of this screen saying sheesh — I came here for a movie, not a political rant, or some variation on that oft-repeated question Do you have to politicize everything? To be fair, our primary focus throughout this Alan Moore Writer Series has been the differences from the page to the screen in adaptations like From Hell and The League of Extraordinary Gentlemen; V for Vendetta, adapted by the Wachowski siblings from Moore’s 1988/89 comic, is no exception in that it contains fairly sharp divergences from the source material. The last act of V and entire characters like Leader Adam Susan are either condensed, excised entirely, or changed to better suit the unique needs of a big-budget Hollywood production.
Continue reading V for Vendetta (2005)
“The planet of the imagination is as old as we are.”
A writer may find that having a particular way with words is somewhat valuable to the craft, potentially essential, undeniably rare, exhilaratingly natural. Some may be taken aback by the words of others and seek to do the same with their own, maybe even coming to take it for granted if that way with words becomes a familiar way. Writing is sharpening, and just as a pitcher pitches to improve his pitching so too does a writer write to improve his writing. Some, like Ezra Pound, recognize that words are tools and there is a correct tool for a particular job. There is in fact a correct way to tell a particular story. Some, like Alan Moore, recognize that all of that is a crock of bullshit.
Which is not to insinuate that something like The League of Extraordinary Gentlemen is not well-written, at least in the comic format of Moore’s original publication. It is. As with the impressive majority of Moore’s works League seems leagues beyond the typical comic, nurtured with a higher degree of care or just drawn from a more inspired place. It operates on a higher plane. This cannot be said truthfully of the film version, though by now that’s sort of a preconditioned assumption.
Continue reading The League of Extraordinary Gentlemen (2003)
Executing a Writer Series on Alan Moore would seem especially self-defeating. The idea is possibly even offensive to the man himself, he having gone to great lengths to distance himself from the film adaptations of his comics. He’s had his name stricken from credits and movie posters, declined any input or involvement throughout production and beyond, and even claims to have never seen any of the film versions of his stories. Furthermore, the dude literally writes comics in such a way that they are inherently resistant to any other medium. He doesn’t do this just to be a jerk, but rather to show what comics can do that other mediums cannot.
And From Hell is the perfect example of that, both in its original comic form and in comparison to the 2001 Hughes Brothers film. Most know Moore for his most popular works Watchmen and V for Vendetta, for his brilliant Batman/Joker book The Killing Joke, for creating original characters like John Constantine and breathing new life into previously-thought-useless ones like Swamp Thing. If you’ve read From Hell, though, you know what Moore is truly capable of as a writer.
Continue reading From Hell (2001)