In case you haven't heard yet, Grant Morrison recently offered his take on the end of The Killing Joke, the seminal 1988 story from Alan Moore and Brian Bolland. Widely considered one of the greatest Batman stories -- and possibly the greatest Joker story -- of all time, the ending is, arguably, a bit ambiguous. In an interview on Kevin Smith's "Fatman on Batman," Morrison said he believes that one-shot was Moore and Bolland's take on what would be a final Batman story --similar to Moore's Superman:Whatever Happened To The Man Of Tomorrow? -- with the story ending when, in his mind, Batman chokes the Joker to death as he laughs maniacally.
The timing of this comment from Morrison is interesting, because I was talking about this scene a few days ago with a friend who I've been having this same argument with since 1998. She's on Team Morrison, believing that Batman kills the Joker as well. It's an interesting theory, and one I understand, but here's the thing: Not only do I think both my friend and Morrison are wrong, but I think Batman killing the Joker would make for a completely pointless story.
The legendary and outspoken writer behind Watchmen, V for Vendetta, From Hell, and many more of the most memorable comic book stories of the last 30+ years, Alan Moore's feelings on creators' rights are well documented. He's continued to discuss his views at length in Occupy Comics, Black Mask Studios' Kickstarter-funded anthology inspired by the Occupy Wall Street movement, opining mainly on the comics industry's complex historical relationship with counterculture and corporations. Titled "Buster Brown At The Barricades," much of the latest chapter focuses specifically on Superman creators Jerry Siegel and Joe Shuster, and their lifelong struggle for credit and control of the Man of Steel they created and sold for just $130 in the 1930s.
There's a downside to being a fictional character in heroic literature, aside from being beholden to the whims of an author or the deadly danger a character is so often subjected to. The role requires a certain remove from the rest of humanity, and warm, reciprocal relationships with others. To s
While it may not have ever reached the same level of recognition as Watchmen or V for Vendetta, Alan Moore's From Hell -- his collaboration with artist Eddie Campbell, which speculated on the possible identity and motivations of infamous 19th century serial killer Jack the Ripper -- is considered by some to be the writer's greatest work. Now, he and Campbell are
Courtesy of DC Entertainment, ComicsAlliance brings you an advance look at new periodical comic books and collected editions going on sale in May 2013 from the publisher's Vertigo line for mature readers. All of the foll
Of all the movies that you would expect to be screened by China Central Television, the state-run broadcaster known for government censorship and propaganda, one that announces that "people should not be afraid of their governments; governments should be afraid of their people" wouldn't necessarily be high on anyone's list. And yet, last week, V For Vendetta was
Alan Moore has lost a few friends, and fans, in recent years. The legendary writer has spent quite some time voicing his vehement opposition to the practices of DC, Marvel, and mainstream comics publishing in general, but what has bothered many is Moore's dismissive tone toward current creators, as he often illustrates that he has little to no regard for the work of any writers who have come up in recent years
Below you will find a live stream of Operation Vendetta, a demonstration whereby a reported 2,000 or so people gathered in London's Trafalgar Square this evening and proceeded to march on the Houses of Parliament. The event is an observance of the fifth of November, also known as Guy Fawkes Day, when the Britis
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