Alan Moore

It's early days. A few skeletons are bound to keep jumping out of the closet.

The Rudderless World is not shaped by vague metaphysical Forces. It is not God who kills the Children. Not Fate that butchers them or Destiny that feeds them to the Dogs. ... It´s us. Only us.

Evey Hammond: Who are you? V: Who? Who is but the form following the function of what and what I am is a man in a mask. Evey Hammond: Well I can see that. V: Of course you can. I'm not questioning your powers of observation I'm merely remarking upon the paradox of asking a masked man who he is

It's funny, but certain faces seem to go in and out of style. You look at old photographs and everybody has a certain look to them, almost as if they're related. Look at pictures from ten years later and you can see that there's a new kind of face starting to predominate, and that the old faces are fading away and vanishing, never to be seen again.

In an era of stress and anxiety, when the present seems unstable and the future unlikely, the natural response is to retreat and withdraw from reality, taking recourse either in fantasies of the future or in modified visions of a half-imagined past.

Nothing's that simple, not even things that are simply awful.

I enjoy putting my mind into different situations rather than my body.

Right from the outset, the prevailing mindset in British comics fandom was a radical and progressive one. We were all proto-hippies, and we all thought that comics would be greatly improved if everything was a bit psychedelic like Jim Steranko.

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.

I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.

People shouldn't be afraid of their government. Governments should be afraid of their people.

I've never studied anything formally. I was excluded from school at the age of 17, so I am an autodidact, which is a word that I have taught myself.

If you're going to have any kind of political opposition in the 21st century, then it has to be as fundamentally liquid as the rapidly changing society we're living in.

Magic is a state of mind. It is often portrayed as very black and gothic, and that is because certain practitioners played that up for a sense of power and prestige. That is a disservice. Magic is very colorful. Of this, I am sure.

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.

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.

The one thing with writing stories about the rise of fascism is that if you wait long enough, you'll almost certainly be proved right. Fascism is like a hydra - you can cut off its head in the Germany of the '30s and '40s, but it'll still turn up on your back doorstep in a slightly altered guise.

I increasingly fear that nothing good can come of almost any adaptation, and obviously that's sweeping. There are a couple of adaptations that are perhaps as good or better than the original work. But the vast majority of them are pointless.

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.

Art makes us feel less alone. It makes us think: somebody else has thought this, somebody else has had these feelings.

I think that in an increasingly virtual world, lovingly produced artefacts are at a premium.