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Yeah, you see a real shift in both Moore's and Davis' styles in that Captain Britain run, and that gets at another important shared influence for both Moore and Morrison: Chris Claremont. The early chapters of Moore's run on Captain Britain read very "Claremontian" to me with less clumsy dialogue, probably due to Claremont's elevated stature as the "it guy" in comics at the time. Morrison has never made any secret of his love for Claremont's early X-Men, even writing a song called "The Day Jean Grey" died that he would later recycle for that mutant fashion designer in Riot at Xavier's. I think that speaks to Morrison's point that until you either find a voice of your own and/or are given the freedom to use your own voice, you imitate the popular styles of the time.
(That Captain Britain run is also remarkable to watch the evolution of Alan Davis' art. You can see the confidence explode with each episode, and by the time Davis is working with Delano, he's become the Alan Davis that we all know and love.)
Absolutely, they both owed a little bit to Claremont at the beginning, but I think a lot of that was 'writing for the audience', sort of a 'get the foot in the door' sort of scenario. I suppose Morrison had to endure that a bit longer than Moore did -- Moore's most famous works were undoubtedly written in 'his' voice and came earlier, where as Morrison's more "Morrison" stuff languished in relative obscurity until Animal Man 5 (I say relative, but of course Zenith was popular in its day, though having only been 2 or so at the time of it's publishing I can't rightly say I know the general reception of the strip as it came out).
The same is true of artwork -- go on Deviantart and talk to a couple of artists and you'll see a few of the more stylized guys complain that they've had to tone down their work to get work at publishers. Once you've established yourself, the company has developed confidence in you, you can let yourself go a bit. You see this consistently at Marvel and DC, I think.
It's true, it is remarkable. I've picked up some Davis work recently and I've been quite disappointed in it. Not nearly as -- I don't know, alive? articulate? -- as his earlier work.(That Captain Britain run is also remarkable to watch the evolution of Alan Davis' art. You can see the confidence explode with each episode, and by the time Davis is working with Delano, he's become the Alan Davis that we all know and love.)
For my money by the time he hit Mad Jim Jaspers vs the Fury, he had already established himself as firmly Alan Davis.
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Absolutely, madly gorgeous.
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Hmm... He created a huge gallery of popular characters. In Europe that gets validation. Apparently a lot more than in America. Plus, I've seen many more European creators refer Kirby than Moore.
And actually I just asked my roomates about it. Four guys. They all watched and loved V for Vendetta and Watchmen. They watch and love The Walking Dead. They know they were all adapted from comic books.
Alan Moore? No idea who he was.
Robert Kirkman? Again, no idea.
Stan Lee? They listed the characters he created, including Captain America. I corrected them.
Hergé? Tintin.
Akira Toriyama? Dragon Ball.
Enough for an example? I'm not actually going on the street, it's cold.
And I've mentioned Alan Moore plenty of times before, when talking about comics with friends, and I've never seen anyone recognizing his name.
(And I'm not making anything up. C'mon, let's take this down a rude path. I'm saying something that's pretty obvious to me, a person outside of America. And you americans really don't seem to understand or care to understand the rest of the world. So trust me. To a normal person, Alan Moore means absolutely nothing).
Last edited by Bruce Kent; 11-29-2012 at 09:54 AM.
I don't know if Kirby is known world wide, but his impact on Manga artists is well documented, and given the way they are deified and respected there, I'd not be surprised if the public there knew Kirby more than the one here in the states.
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