Basically, his historical lack of interest in doing much of interest to the corporate-superhero readership; the streak(s) of anti-intellectualism & brand-loyalty in said readership that seem to be growing all the time...
Plus, he also finds the tendency towards apologism for the Big Two's past & present practices very abhorrent; something which has also arguably gotten worse with time (Ed Brubaker and Chris Roberson both mentioned during the Before Watchmen affair how DC and a lot of commentators were even resorting to the rather gross tactic of 'logically' bringing up Siegel/Shuster/Kirby's own ugly history with the Big Two to excuse the project).
Last edited by The Beast Of Yucca Flats; 08-31-2016 at 03:43 PM.
And Michael Moorcock feels that Morrison ripped him off, yet he has praised Moore.
The amount of Moore bashing and Morrison praise that travels across these boards tickle me, from time to time. Part of it is the same old generational thing; tear down the past to create a new present. Another part is a bit petty. Moore got tired of superheroes and, mostly, walked away from them. Morrison stayed and dove into them, pretty much leaving behind his more interesting work. A lot of people have never forgiven Moore for walking away and saying he was done with it, like it was a personal insult. Moore has had every right to be grumpy about many things, in regards to his relationships with DC and Marvel and some other areas; but, I have always felt that he has been heavily filtered through other people's reporting and that I wouldn't be surprised if he says some things out of amusement for the interviewer's reaction. I think he likes playing the curmudgeon (it's one of the great joys of getting old, speaking as someone who is getting there). Morrison strikes me the same way, especially in the late 80s and throughout the 90s. All the talk of psychedilcs and conspiracies and all of the other stuff just struck me as an attention grab. He often sounds like he wanted to be Michael Moorcock and William S. Burroughs; but, was mad that he missed the 60s (or, at least, wasn't old enough to enjoy them).
Morrison has taken his shots at Moore, mostly in the late 80s and early 90s, so he's hardly an angel in any dispute. As I said, Moorcock pretty much called him a thief, swiping Jerry Cornelius for Invisibles and other elements of his work. Morrison accused Moore of stealing from Robert Mayer's novel Superfolks. There are similarities between the book and ideas in Moore's work, especially "Whatever Happened to the Man of Tomorrow?" though they are not unique to Mayer's novel.
I've enjoyed most of Moore's work, though not all. I've enjoyed a great deal of Morrison's work, though not all. Moore's work has always struck me as more daring and more pioneering, though Morrison usually found interesting hooks when he followed the paths of others. Every writer follows what came before.
In the end, I don't really care about who is buddy with whom or who is mad at whom; I just read the stories I like or try new ones that look interesting. Both writers have produced that.
I don't know about Moore vs Morrison...the impression I got was that it's at most a "Who's this upstart makin' remarks about me?" Hippie vs punk sort of thing. The Moore vs Millar thing I think is a little more personal. Millar and Morrison used to be friends. Grant got Mark work at DC and supposedly helped Mark by co-ghosting some comics. As Mark got more popular he alledgedly took a pot shot at Grant and Grant didn't think that was too cool.
Is there actually anything that indicates that the OP's statement, that Moore hates Morrison, has even the slightest basis in truth?
Now Morrison and Millar, yeah, that's hate, he could drink Millar's blood. He's never said what it was about, except that it's personal, so probably a bit more serious than Millar nicking an idea for Superman or whatever.
Not Frank Miller. Mark Millar. Millar is the writer of comics such as Kick Ass, Wanted, Old Man Logan, Ultimate X-Men,and many others.
Grant doesn't hate Frank, although he did make a snarky remark back when Frank couldn't stop ranting about Iraq. Something close to, "So when is Frank going to volunteer and go fight the war himself?" Other than that, I don't think Grant's said much about Frank that wasn't about the actual comics.
It is all about a girl, viscous love triangle, neither guy really won. Their relationship was never the same again.
I think restorative nostalgia is the number one issue with comic book fans.
A fine distinction between two types of Nostalgia:
Reflective Nostalgia allows us to savor our memories but accepts that they are in the past
Restorative Nostalgia pushes back against the here and now, keeping us stuck trying to relive our glory days.
I reread it like every three months. Gets deeper and deeper every single times. Self-seriousness in Watchmen puts a barrier to make make the story personal. I feel extremely personal connection with the books like Enigma. There is this strange border with Moore's writing which cuts me out sometimes.
Yo should read Morrison's Supergods book for the background story for the all these rivals.
For me, Mark Millar become a conformist hippie and he shallowed back every single punk-ish element that made him famous. It is kinda tragic.
I saw this....possibly photoshopped though?
thoughts?