[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.


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