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“It turns protests into performances. The mask is very operatic; it creates a sense of romance and drama. I mean, protesting, protest marches, they can be very demanding, very gruelling. They can be quite  dismal. They’re things that have to be done, but that doesn’t  necessarily mean that they’re tremendously enjoyable — whereas actually,  they should be.  … I think it’s appropriate that this generation of protesters have made their rebellion into something the public at large can engage with more readily than with half-hearted chants, with that traditional, downtrodden sort of British protest.”
      — Alan Moore on OWS and the Guy Fawkes mask View high resolution

“It turns protests into performances. The mask is very operatic; it creates a sense of romance and drama. I mean, protesting, protest marches, they can be very demanding, very gruelling. They can be quite dismal. They’re things that have to be done, but that doesn’t necessarily mean that they’re tremendously enjoyable — whereas actually, they should be.  … I think it’s appropriate that this generation of protesters have made their rebellion into something the public at large can engage with more readily than with half-hearted chants, with that traditional, downtrodden sort of British protest.”

      — Alan Moore on OWS and the Guy Fawkes mask

What I wanted to do was make it a parable to talk about my then formative ideas about Anarchy and Fascism, which I saw as being the two poles of the political landscape. Anarchy means no leaders, and that seems to imply that if you are not going to follow a leader, then that would require you becoming your own leader, which to me seems to imply taking responsibility for yourself, your thoughts, and your actions. Which, like I said, is the first step to serious empowerment. Fascism, on the other hand is a complete abdication of responsibility. It is placing all the responsibility into the state, so that at the war crime trials you’ll be able to say ‘I was only obeying the orders’.
— Alan Moore on V for Vendetta, as interviewed in Th Art of Dismantling
You fascinate the reader with your first sentence, draw them in further with your second sentence and have them in a mild trance by the third. Then, being careful not to wake them, you carry them away up the back alleys of your narrative and when they are hopelessly lost within the story, having surrendered themselves to it, you do them terrible violence with a softball bat and then lead them whimpering to the exit on the last page.
— Alan Moore, Alan Moore’s Writing for Comics

third eye opener

  • Quietus: Do you still take acid?
  • Alan Moore: I take magic mushrooms. The first time I combined them with a rudimentary magical ritual ... well, that was the eye-opener. I suddenly realised that the combination made the magic work and made the drug much, much stronger and more profound. And since then I've only taken mushrooms in ritual circumstances. There just doesn't seem to be any point in doing it otherwise.
In the past I’ve tried to say, ‘Look, we are all crappy superheroes,’ because personal computers and mobile phone devices are things that only Batman and Mr Fantastic would have owned back in the sixties. We’ve all got this immense power and we’re still sat at home watching pornography and buying scratch cards. We’re rubbish, even though we are as gods.
What I tend to think is that the internet is fine for everyone else in the world. I can see that it may have some disadvantages. In fact, I can see a few problems arising from it, but, by and large … everybody in the entire world apart from me uses the internet and seems to get on quite well with it. For my part, I don’t want to be connected to that all-pervasive kind of cyber culture any more than I want to be connected to the physical world that is around me, more than I can help it.
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