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Alan Moore against the superheroes

Alan Moore contra los superhéroes


Alan Moore against the superheroes

I think the impact of superheroes on popular culture is tremendously embarrassing and not a bit worrying.“. With those words, Alan Moore, comic book writer like Watchmen Y v for Vendetta, referred to the impact of popular heroes of comics in culture.

“While these characters were originally perfectly adapted to stimulate the imagination of their twelve or thirteen year old audience, the übermenschen franchisee today, aimed at a supposedly adult audience, seems to be fulfilling some kind of different function and meeting different needs“, , added in an interview to Folha de São Paulo published in 2017.

These words are relevant to recover because , greatest work, Watchmen, is being adapted by HBO with a sequel, so it is always relevant to recover the statements about the genre that helped redefine, along with stories like “The killer joke” Y “For The Man Who Had Everything“.

The following is the rest of , statement.

Mainly, mass market superhero movies seem to be inciting an audience that doesn't want to give up their relatively reassuring childhood or the relatively reassuring 20th century.

The continued popularity of these films for me suggests some kind of deliberate, self-imposed state of emotional detention, combined with a numbing condition of cultural stasis that can be seen in comics, movies, popular music and, in fact, across the cultural spectrum .

The superheroes themselves, largely written and drawn by creators who have never defended their own rights against the companies that employ them, much less the rights of Jack Kirby or Jerry Siegel or Joe Schuster, seem to be largely employed as cowardice compensators. Maybe a little like the gun on the nightstand.

I would also like to point out that, except for a handful of non-white characters (and non-white creators), these books and these iconic characters remain the white supremacist dreams of the master race. In fact, I think you can make a good argument that “The birth of a nation”By D.W. Griffith was the first American superhero movie, and the point of origin of all those layers and masks.

And in that sense, will Damon Lindelof have read that statement? Bad to bad, the ration shocks and the appropriation of white supremacists is at the center of the history of the Watchmen from HBO.

On the other hand, and considering Martin Scorsese's statements about Marvel Studios movies, it is also necessary to emphasize that Moore's words have long been much tougher on the whole genre.

In 2014, in conversation with the writer Pádraig Ó Méalóid, Moore argued that:superheroes are a cultural catastrophe

For me, embracing what children characters of the mid-twentieth century are unambiguously indicates a withdrawal from the overwhelming complexities of modern existence. It seems to me that a very significant part of the public, renouncing to understand the world in which they live, has reasoned that it can understand the vast, empty, but at least ‘finite’ universes present in Marvel or DC Comics. I would also like to point out that this is potentially catastrophic, since we find the nostalgia of the last century possessively dominating the cultural field and refusing to allow this unprecedented era to develop a culture of its own, relevant and sufficient for the times“, said.

And, as for superhero movies, Moore said it was “worrisome” that “The public of superhero movies is now practically composed of adults, men and women in their 30s, 40s or 50s who eagerly aim to see characters expressly created half a century ago to entertain kids from twelve to fifteen years old

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