One of the advantages of travelling the world is that you get to know the world broadly. And one of the advantages of staying in one place is that you get to know the world deeply.
Alan MooreRead
That pompous phrase (graphic novel) was thought up by some idiot in the marketing department of DC. I prefer to call them Big Expensive Comics.
Interpretation
Alan Moore critiques the marketing terminology used in comics, emphasizing the disconnect between commercialism and artistic integrity.
In this quote, Alan Moore expresses his disdain for the commercialized language used in the comic book industry, specifically referring to the term 'graphic novel' as a pretentious label created by marketers. He redefines the genre in a more straightforward way by calling it 'Big Expensive Comics,' pointing out that such marketing phrases can often overshadow the true artistic nature of the work and underscore the commercialization of art.
In practice
During a panel discussion on comic book marketing strategies.
One of the advantages of travelling the world is that you get to know the world broadly. And one of the advantages of staying in one place is that you get to know the world deeply.
The only reality we can ever truly know is that of our perceptions, our own consciousness, while that consciousness, and thus our entire reality, is made of nothing but signs and symbols. Nothing but language. Even God requires language before conceiving the Universe. See Genesis: βIn the beginning was the Word.
My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book-film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point.
The magician to some degree is trying to drive him or herself mad in a controlled setting, within controlled laws.
When I was working upon the ABC books, I wanted to show different ways that mainstream comics could viably have gone, that they didn't have to follow 'Watchmen' and the other 1980s books down this relentlessly dark route. It was never my intention to start a trend for darkness. I'm not a particularly dark individual.
Love your rage, not your cage.
What was venerated as style was nothing more than an imperfection or flaw that revealed the guilty hand.
It is enough for a poet to be the guilty conscience of his age.
I am against the line and all its consequences: contours, forms, composition. All paintings of whatever sort, figurative or abstract, seem to me like prison windows in which the lines, precisely are the bars.
What I wanted to do in rock 'n roll was merge poetry with sonic scapes, and the two people who had contributed so much to that were Jimi Hendrix and Jim Morrison.
What I always wanted to get seen as was as a good actor, when it was the acting I was doing. When I'm writing, I want to try to be seen as a good writer.
I've been alienating my public since I was 20 years old. When 'American Buffalo' came out on Broadway, people would storm out and say, 'How dare he use that kind of language!' Of course I'm alienating the public! That's what they pay me for.
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