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
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.
Interpretation
The quote speaks to the desire for creative freedom in comics, expressing that alternatives to darkness exist.
Alan Moore reflects on his work with the ABC books, emphasizing that while many comics took a dark turn in the 1980s, it was not his intention to conform to that trend. He advocates for exploring diverse storytelling possibilities in the comic book medium, illustrating that narratives can be cheerful and innovative rather than solely grim.
In practice
In a discussion about modern comic book themes, this quote can illustrate the importance of creative diversity.
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.
Love your rage, not your cage.
It does not do to rely too much on silent majorities, Evey, for silence is a fragile thing, one loud noise, and its gone. But the people are so cowed and disorganised. A few might take the opportunity to protest, but it'll just be a voice crying in the wilderness. Noise is relative to the silence preceding it. The more absolute the hush, the more shocking the thunderclap. Our masters have not heard the people's voice for generations, Evey and it is much, much louder than they care to remember.
One writes such a story [The Lord of the Rings] not out of the leaves of trees still to be observed, nor by means of botany and soil-science; but it grows like a seed in the dark out of the leaf-mold of the mind: out of all that has been seen or thought or read, that has long ago been forgotten, descending into the deeps. No doubt there is much personal selection, as with a gardener: what one throws on one's personal compost-heap; and my mold is evidently made largely of linguistic matter.
I like any and all of my associations with music: writing, playing, and listening. We write and play from our perspective, and the audience listens from its perspective. If and when we agree, I am lucky.
Japan lives with drastic segregation between the sublime, the ugly, and the utterly without qualities. Dominance of the last 2 categories makes mere presence of the first stunning: when beauty 'happens', it is absolutely surprising.
The most original thing a writer can do is write like himself. It is also his most difficult task.
When I provided the disembodied arm as the logo for 'The Man With the Golden Arm,' it was the first time an advertising-publicity campaign was based on a single symbol. Until then film companies used a variety of symbols and photographs to cover all bets. The concept of using one logo was mine and Otto Preminger's.
The oldest, truest, most beautiful organ of music, the origin to which alone our music owes its being, is the human voice.
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