Again, it was never intended as a blanket approach for all comic books. It was just an experiment that I was trying, and it worked better in some cases than it did in others. Yeah, Marvelman and Watchmen—those are pretty good books. On the other hand, where I was doing the same things in The Killing Joke, it was entirely inappropriate.
KA: You think so?
AM: I think so. This has nothing to do with Brian Bolland’s artwork, which was of course exquisite. I’ve never really liked my story in The Killing Joke. I think it put far too much melodramatic weight upon a character that was never designed to carry it. It was too nasty, it was too physically violent. There were some good things about it, but in terms of my writing, it’s not one of me favorite pieces.
If, as I said, god forbid, I was ever writing a character like Batman again, I’d probably be setting it squarely in the kind of “smiley uncle” period where Dick Sprang was drawing it, and where you had Ace the Bat-Hound and Bat-Mite, and the zebra Batman—when it was sillier.
Because then, it was brimming with imagination and playful ideas.
I don’t think that the world needs that many brooding psychopathic avengers. I don’t know that we need any.
Me parece comprensible que el lo vea asi, como una obra menor en la que no conto nada particularmente interesante (yo tendria que estar de acuerdo en que en otras toca temas que tienen mayor interes y en su vision de que es una obra menor), lo que pasa que el lo compara con el resto de su produccion, mientras que el resto de los lectores lo comparamos con el resto de produccion, en general, y desde ese punto de vista, tambien me parece comprensible y nada sorprendente que este tan bien considerada por los lectores: Algo de Moore, por muy menor que sea en comparacion con los puntos mas algidos de su carrera, siempre va a tener mas puntos de interes que lo que haga el 99% de los guionistas de la industria en sus mejores momentos.
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