Early life[ edit ] Moore was born on 18 November ,  at St Edmond's Hospital in Northampton to a working-class family who he believed had lived in the town for several generations. I loved the people. I loved the community and I didn't know that there was anything else. Subsequently, disliking school and having "no interest in academic study", he believed that there was a "covert curriculum" being taught that was designed to indoctrinate children with "punctuality, obedience and the acceptance of monotony".
Not that I'm recommending it for anybody else; but for me it kind of — it hammered home to me that reality was not a fixed thing. That the reality that we saw about us every day was one reality, and a valid one — but that there were others, different perspectives where different things have meaning that were just as valid.
That had a profound effect on me. The Arts Lab subsequently made significant contributions to the magazine. Moore felt that he was not being fulfilled by this job, and so decided to try to earn a living doing something more artistic.
He had already produced a couple of strips for several alternative fanzines and magazines, such as Anon E. Mouse for the local paper Anon, and St. Alongside this, he and Phyllis, with their newborn daughter Leah , began claiming unemployment benefit to supplement this income.
While having no need for another writer on Judge Dredd, which was already being written by John Wagner , AD's editor Alan Grant saw promise in Moore's work — later remarking that "this guy's a really fucking good writer"  — and instead asked him to write some short stories for the publication's Future Shocks series.
While the first few were rejected, Grant advised Moore on improvements, and eventually accepted the first of many. Meanwhile, Moore had also begun writing minor stories for Doctor Who Weekly , and later commented that "I really, really wanted a regular strip. I didn't want to do short stories But that wasn't what was being offered. I was being offered short four or five-page stories where everything had to be done in those five pages. And, looking back, it was the best possible education that I could have had in how to construct a story.
He later remarked that "I remember that what was generally happening was that everybody wanted to give me work, for fear that I would just be given other work by their rivals. So everybody was offering me things. Comics were no longer just for very small boys: The result, Skizz , which was illustrated by Jim Baikie , told the story of the titular alien who crashes to Earth and is cared for by a teenager named Roxy, and Moore later noted that in his opinion, this work "owes far too much to Alan Bleasdale.
The story, which Moore described as "continuing the tradition of Dennis the Menace , but giving him a thermonuclear capacity",  p99 revolved around two delinquent aliens, and was a science-fiction take on National Lampoon 's characters O. The work widely considered to be the highlight of his AD career,  pp— and that he himself described as "the one that worked best for me"  p58 was The Ballad of Halo Jones.
The series was discontinued after three books due to a dispute between Moore and Fleetway, the magazine's publishers, over the intellectual property rights of the characters Moore and Gibson had co-created. Aiming to get an older audience than AD, their main rival, they employed Moore to write for the regular strip Captain Britain , "halfway through a storyline that he's neither inaugurated nor completely understood.
Marvelman and V for Vendetta , both of which debuted in Warrior's first issue in March V for Vendetta was a dystopian thriller set in a future where a fascist government controlled Britain, opposed only by a lone anarchist dressed in a Guy Fawkes costume who turns to terrorism to topple the government.
Illustrated by David Lloyd , Moore was influenced by his pessimistic feelings about the Thatcherite Conservative government, which he projected forward as a fascist state in which all ethnic and sexual minorities had been eliminated. It has been regarded as "among Moore's best work" and has maintained a cult following throughout subsequent decades. Upon resurrecting Marvelman, Moore "took a kitsch children's character and placed him within the real world of ".
Warrior closed before these stories were completed,    but under new publishers both Miracleman and V for Vendetta were resumed by Moore, who finished both stories by Moore's biographer Lance Parkin remarked that "reading them through together throws up some interesting contrasts — in one the hero fights a fascist dictatorship based in London, in the other an Aryan superman imposes one.
Moore, with artists Stephen R. Bissette , Rick Veitch , and John Totleben ,  deconstructed and reimagined the character, writing a series of formally experimental stories that addressed environmental and social issues alongside the horror and fantasy, bolstered by research into the culture of Louisiana , where the series was set.
Moore would continue writing Swamp Thing for almost four years, from issue No. Moore began producing further stories for DC Comics, including a two-part story for Vigilante , which dealt with domestic abuse. He was eventually given the chance to write a story for one of DC's best-known superheroes, Superman , entitled " For the Man Who Has Everything ", which was illustrated by Dave Gibbons and published in Imagining what the world would be like if costumed heroes had really existed since the s, Moore and artist Dave Gibbons created a Cold War mystery in which the shadow of nuclear war threatens the world.
The heroes who are caught up in this escalating crisis either work for the US government or are outlawed, and are motivated to heroism by their various psychological hang-ups. Watchmen is non-linear and told from multiple points of view, and includes highly sophisticated self-references, ironies, and formal experiments such as the symmetrical design of issue 5, "Fearful Symmetry", where the last page is a near mirror-image of the first, the second-last of the second, and so on, and in this manner is an early example of Moore's interest in the human perception of time and its implications for free will.
The series won acclaim The series was set in the future of the DC Universe, where the world is ruled by superheroic dynasties, including the House of Steel presided over by Superman and Wonder Woman and the House of Thunder led by the Captain Marvel family.
These two houses are about to unite through a dynastic marriage, their combined power potentially threatening freedom, and several characters, including John Constantine, attempt to stop it and free humanity from the power of superheroes.
The series would also have restored the DC Universe's multiple earths, which had been eliminated in the continuity-revising limited series Crisis on Infinite Earths. The series was never commissioned, but copies of Moore's detailed notes have appeared on the Internet and in print despite the efforts of DC, who consider the proposal their property. Waid and Ross have stated that they had read the Twilight proposal before starting work on their series, but that any similarities are both minor and unintended.
It revolved around The Joker , who had escaped Arkham Asylum and gone on a killing spree, and Batman's effort to stop him. Year One , Lance Parkin believed that "the theme isn't developed enough" and "it's a rare example of a Moore story where the art is better than the writing,"  pp38—39 something Moore himself acknowledges. Independent period and Mad Love: The works that they published in Mad Love turned away from the science fiction and superhero genres that Moore was used to writing, instead focusing on realism, ordinary people, and political causes.
Mad Love's first publication, AARGH , was an anthology of work by a number of writers including Moore that challenged the Thatcher government's recently introduced Clause 28 , a law designed to prevent councils and schools "promoting homosexuality".
Sales from the book went towards the Organisation of Lesbian and Gay Action, and Moore was "very pleased with" it, stating that "we hadn't prevented this bill from becoming law, but we had joined in the general uproar against it, which prevented it from ever becoming as viciously effective as its designers might have hoped.
The Secret Team, a comic illustrated by Bill Sienkiewicz for Eclipse Comics and commissioned by the Christic Institute , which was included as a part of the anthology Brought to Light , a description of the CIA 's covert drug smuggling and arms dealing. After prompting by cartoonist and self-publishing advocate Dave Sim ,  Moore then used Mad Love to publish his next project, Big Numbers , a proposed issue series set in "a hardly-disguised version of Moore's native Northampton" known as Hampton, and deals with the effects of big business on ordinary people and with ideas of chaos theory.
The first of these was From Hell , a fictionalised account of the Jack the Ripper murders of the s. Inspired by Douglas Adams ' novel Dirk Gently's Holistic Detective Agency ,  Moore reasoned that to solve a crime holistically , one would need to solve the entire society it occurred in, and depicts the murders as a consequence of the politics and economics of the time. Just about every notable figure of the period is connected with the events in some way, including "Elephant Man" Joseph Merrick , Oscar Wilde , Native American writer Black Elk , William Morris , artist Walter Sickert , and Aleister Crowley , who makes a brief appearance as a young boy.
Illustrated in a sooty pen-and-ink style by Eddie Campbell , From Hell took nearly ten years to complete, outlasting Taboo and going through two more publishers before being collected as a trade paperback by Eddie Campbell Comics.
It was widely praised, with comics author Warren Ellis calling it "my all-time favourite graphic novel". He remarked that "I had a lot of different ideas as to how it might be possible to do an up-front sexual comic strip and to do it in a way that would remove a lot of what I saw were the problems with pornography in general. That it's mostly ugly, it's mostly boring, it's not inventive — it has no standards.
Meanwhile, Moore set about writing a prose novel, eventually producing Voice of the Fire , which would be published in Unconventional in tone, the novel was a set of short stories about linked events in his hometown of Northampton through the centuries, from the Bronze Age to the present day, which combined to tell a larger story. The same year marked a move by Moore back to the mainstream comics industry and back to writing superhero comics. He did so through Image Comics , widely known at the time for its flashy artistic style, graphic violence, and scantily clad large-breasted women, something that horrified many of his fans.
That all of a sudden it seemed that the bulk of the audience really wanted things that had almost no story, just lots of big, full-page pin-up sort of pieces of artwork. And I was genuinely interested to see if I could write a decent story for that market. The series followed two groups of superheroes, one of which is on a spaceship headed back to its home planet, and one of which remains on Earth. Moore's biographer Lance Parkin was critical of the run, feeling that it was one of Moore's worst, and that "you feel Moore should be better than this.
Instead of emphasising increased realism as he had done with earlier superhero comics he had taken over, Moore did the opposite, and began basing the series on the Silver Age Superman comics of the s, introducing a female superhero Suprema, a super-dog Radar, and a Kryptonite -like material known as Supremium, in doing so harking back to the original "mythic" figure of the American superhero.
Under Moore, Supreme would prove to be a critical and commercial success, announcing that he was back in the mainstream after several years of self-imposed exile. Moore's "solution was breathtaking and cocky — he created a long and distinguished history for these new characters, retro-fitting a fake silver and gold age for them.
I didn't think that he was respecting the work and I found it hard to respect him. And also by then I was probably feeling that with the exception of Jim Lee, Jim Valentino — people like that — that a couple of the Image partners were seeming, to my eyes, to be less than gentlemen.
They were seeming to be not necessarily the people I wanted to deal with. Moore named this imprint America's Best Comics , lining up a series of artists and writers to assist him in this venture.
Lee and editor Scott Dunbier flew to England personally to reassure Moore that he would not be affected by the sale, and would not have to deal with DC directly. Rider Haggard 's Allan Quatermain , H. The series was well received, and Moore was pleased that an American audience was enjoying something he considered "perversely English", and that it was inspiring some readers to get interested in Victorian literature. The character's drug-induced longevity allowed Moore to include flashbacks to Strong's adventures throughout the 20th century, written and drawn in period styles, as a comment on the history of comics and pulp fiction.
The primary artist was Chris Sprouse. Tom Strong bore many similarities to Moore's earlier work on Supreme, but according to Lance Parkin, was "more subtle", and was "ABC's most accessible comic". Season Two, written by Cannon and drawn by Ha. Moore's series Promethea , which told the story of a teenage girl, Sophie Bangs, who is possessed by an ancient pagan goddess, the titular Promethea, explored many occult themes, particularly the Qabalah and the concept of magic , with Moore stating that "I wanted to be able to do an occult comic that didn't portray the occult as a dark, scary place, because that's not my experience of it Williams III , it has been described as "a personal statement" from Moore, being one of his most personal works, and that it encompasses "a belief system, a personal cosmology".
Quick , and Splash Brannigan. Tomorrow Stories was notable for being an anthology series, a medium that had largely died out in American comics at the time. Specifically, in League of Extraordinary Gentlemen No. In , he remarked that "I love the comics medium. I pretty much detest the comics industry. Give it another 15 months, I'll probably be pulling out of mainstream, commercial comics. Century , in a co-publishing partnership of Top Shelf Productions and Knockabout Comics , the first part released in , the second in and the third released in In , the complete edition of Lost Girls was published, as a slipcased set of three hardcover volumes.
The same year Moore published an eight-page article tracing out the history of pornography in which he argued that a society's vibrancy and success are related to its permissiveness in sexual matters. Decrying that the consumption of contemporary ubiquitous pornography was still widely considered shameful, he called for a new and more artistic pornography that could be openly discussed and would have a beneficial impact on society. Titled Dodgem Logic , the bi-monthly publication consists of work by a number of Northampton-based authors and artists, as well as original contributions from Moore.