[identity profile] arbre_rieur.insanejournal.com
Continuing the look through the sub-par stories Alan Moore produced during his mid-90s slump...
You've seen the rest*, now see the worst.

This.. I'm not sure how to describe this mini-series. I really wanted to like it. Moore's run on the WildCATs series proper, which I'd read before this, is genuinely good stuff, so I know he the ability to turn out good stories using these characters. However, I ended up really disappointed. This story isn't just bad by Moore standards. It's bad by anyone's standards, and mind-bogglingly so. Normally, even when a Moore story is bad, it's still original or distinct. Whatever else, he's never generic. A voice always shows through. This series, in contrast, is the very definition of generic.

There are plenty of Alan Moore work I've never read, but even so, I'd feel pretty safe betting that this is the worst thing he's ever written professionally. I mean, this is the sort of thing where, if it was written by a new writer, you'd do your hardest to avoid any future works by the guy because there is so little skill apparent here that you'd be positive the person's a lost cause. It's almost comforting in its way: The knowledge that Moore is really is just as capable as anyone else of scripting utterly uninspired schlock B-movie dialogue on an off day.

*Well, I skipped the Fire From Heaven crossover because I'd forgotten about it and didn't remember until I'd already begun composing this entry.

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[identity profile] arbre_rieur.insanejournal.com
I've changed the title for this one entry because most of the people who commented on Violator Part 1 said they actually thought it was good. In some cases, very good. Personall, I don't see it.

I'm surprised because the second half of the Violator Vs. Badrock mini-series had a very similar tone to this, but the comments to that were almost uniformly negative.

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[identity profile] arbre_rieur.insanejournal.com
Continuing the look through the lowest point (quality-wise) in Moore's career... This three-issue series was called Violator: The World, or at least that's what the inside front covers of the issues will tell you. Reading carefully though, it becomes pretty clear that "The World" is only meant to be the title of the first issue, not the mini-series as a whole.

It's such an assurance of quality when they can't even do the title right.

[identity profile] arbre_rieur.insanejournal.com
In the previous entries, about works like Violator Vs. Badrock and Spawn: Blood Feud, a lot of people were saying, "Well yeah, it's bad, but look at the quality of character he was saddled with!" In this mini-series though, he doesn't have that excuse. There was a previous character named Deathblow, Michael Cray; he died in Wildstorm's "Fire Fom Heaven" event (also written by Moore and also quite awful).

Here, in this three-part mini-series, Moore was tasked with creating a brand new Deathblow from scratch. The sky was the limit... so how the heck did we end up with this?

[identity profile] arbre_rieur.insanejournal.com
Before we continue our trek through the absolute low point of Moore's career, here's an excerpt from an interview where he explained how he came to be working on projects such as this for McFarlane and Liefeld in the first place. I figured some people might be interested. Here it is:

Moore: "Sometime--obviously before 1963 came out, after I'd been approached for it--Todd McFarlane, who I didn't know, phoned up and asked if I wanted to do an issue of Spawn. At the time, knowing very little about this, my thinking was that all I really knew about Image was that they're the opposite of DC and Marvel and that sounded pretty good to me, you know? That was really all I needed to know. I figured that if they're making mischief, then I'm generally in favor of them even without having necessarily seen the books. Todd McFarlane called up and asked if I'd want to write an issue of Spawn, which I really didn't know what Spawn was. But I said, "Yeah I can write one," and I said that before he'd offered me any money for it, you know? When he started to tell me how much money he'd give for doing it I kind of demurred and said, "Look, I'll do this for whatever the going rate is," just to be generally supportive of something which at the time I saw as fighting back against the big companies.
"So yeah, I did a couple of other stories for Todd McFarlane, for Rob Liefeld. . ."

And thus were born some truly awful stories. Well, speaking of which, onto the second half of Violator Vs. Badrock...

[identity profile] arbre_rieur.insanejournal.com
I originally said I was going to post Spawn/WildC.A.T.s, surely the nadir of Moore's sub-par Image work, next. But I've decided that I'd rather build up (down?) to it first. So I'll be posting some of the other projects Moore did for Image during the mid-90s that, while not as bad as Spawn/WildC.A.T.s, are still pretty durn bad. Here's Violator Vs. Badrock.

Yes, Alan Moore really wrote this.

[identity profile] arbre_rieur.insanejournal.com
The 90s has a rep as a bad time for mainstream comics, and rightfully so. It was some terrible black hole of awfulness, sucking even normally decent writers into its depths. It was almost as if anything produced in the 90s (yeah, yeah, there were a couple of exceptions) would automatically suck, simply because it was 90s, and if a comic was made in the 90s, it was going to be terrible. Because it was the 90s.

Even Alan Moore managed to be complete crap in the 90s (though he recovered towards the tail end of that decade). Some of his work during this period is really appallingly bad. As evidence, I present to you the two-lane pile-up in mini-series form that is Spawn: Blood Feud.


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