What the Creator of ‘Watchmen’ Gets Right About Superhero Fans



Graeme McMillan has revealed that when he wrote ‘Watchmen’ and ‘Watchmen’ he was trying to show that any attempt to realize superheroes in any kind of realistic context will always be grotesque and nightmarish. Instead, fans simply thought, “Uh, yeah, dark, depressing superheroes are cool,” he added. However, McMillan’s point goes beyond that, saying he wants people to realize how ridiculous it would look if someone actually tried.


Graeme McMillanは、「Watchmen」と「Watchmen」を書いたとき、あらゆる種類の現実的な文脈でスーパーヒーローを実現しようとする試みが常にグロテスクで悪夢であることを示しようとしていることを明らかにしました。代わりに、ファンは単に「ええ、ええ、暗く、ぼんやりとしたスーパーヒーローはクールだ」と思った。しかし、マクミランのポイントはそれを超えており、誰かが実際に試した場合、それがどれほどばかげているかを人々に気づいてほしいと言っています。


Graeme McMillan The tragedy of Alan Moore, if there is one, is that his 1980s comics work—Watchmen, V for Vendetta—has been perpetually misunderstood by an audience too eager to learn the wrong lessons. The British writer has spent his career all but begging readers to be skeptical of superheroes, to question their motives and do-goodery. Still, they seem intent on missing his point.


Moore himself seems painfully aware of this misfortune. In a handful of rare interviews he’s given over the past couple weeks to promote his new story collection, Illuminations, he’s found himself once again answering questions about the genre he left decades ago, and once again explaining his work. “When I did things like [Miracleman] and Watchmen … They were trying to show that any attempt to realize these figures in any kind of realistic context will always be grotesque and nightmarish,” he recently told GQ. Instead, he added, fans simply thought, “Uh, yeah, dark, depressing superheroes are, like, cool.” Marah Eakin In this, Moore stands correct. And in those readers’ defense, dark superheroes are cool. But Moore’s point goes beyond that; he wants people to realize that wishing for saviors is a fool’s errand and anyone who attempts heroism on that level is bound to be torn asunder. Moore just wanted to illustrate how ridiculous it would look if someone actually tried.

ムーア自身がこの不幸を痛々しいほど気づいているようです。彼は過去数週間にわたって彼の新しいストーリーコレクション「Illumination」を宣伝するために、彼が過去数週間にわたって与えられた珍しいインタビューで、彼は数十年前に去ったジャンルについての質問に再び答え、もう一度彼の作品を説明しました。 「[ミラクルマン]や監視員のようなことをしたとき、彼らはあらゆる種類の現実的な文脈でこれらの数字を実現しようとする試みが常にグロテスクで悪夢であることを示しようとしていました」と彼は最近GQに語った。代わりに、ファンは単に「ええ、ええ、暗く、ぼんやりとしたスーパーヒーローはクールだ」と考えたと付け加えました。マラ・イーキンこれでは、ムーアは正しい立場にあります。そして、それらの読者の防御では、暗いスーパーヒーローはクールです。しかし、ムーアのポイントはそれを超えています。彼は、救世主を願うことは愚か者の用事であり、そのレベルでヒロイズムを試みる人は誰でも捨てられることになっていることを人々に認識してほしい。ムーアは、誰かが実際に試した場合、それがどれほどばかげているかを説明したかっただけです。

Featured Video 11 Levels of Prosthetic Makeup: Easy to Complex Perhaps that’s where he went wrong, trying to criticize superheroes in the very medium that practically invented them. Maybe fans’ refusal to hear what Moore tried to say reflects their appetite for the status quo in storytelling, with fights and melodrama often replacing true emotional arcs or personal growth of any kind. Steve Rogers and Tony Stark would rather punch each other than go to therapy; the Joker dances on some stairs and becomes a poster child for disaffected men, rather than a disquisition on how they channel their anger.


Moore has spoken more than once about the infantilizing effect he believes comics, superhero comics, and the movies based on them have on their audience. He finds it startling, he recently told The Guardian, that thousands of adults are “lining up to see characters and situations that had been created to entertain the 12-year-old boys—and it was always boys—of 50 years ago.” It implied, he continued, that audiences were clamoring for “simpler times, simpler realities,” and that kind of thinking “can very often be a precursor to fascism.” “Infantilizing” may be a bridge too far; same with fascism. Superhero fare is often just fans’ favorite form of escapism, something they can both enjoy and watch critically. Moore’s view also seems focused on the Batman cinematic universes rather than, say, Black Panther or Deadpool or Captain Marvel. But there is something about the culture that is, at the very least, reductive. The medium, in comics and films, often puts conflict in binaries of good and evil, events that have to be “won” or “lost,” or else set to recur in an endless cycle.

ムーアは、コミック、スーパーヒーローコミック、そして彼らに基づいた映画が聴衆に持っていると信じている幼児化効果について何度も話しました。彼はそれが驚くべきことに気づいた、彼は最近、ガーディアンに、何千人もの大人が「12歳の少年を楽しませてきたキャラクターや状況を見るために並んでおり、それは50年前の男の子だった」と語った。彼は、聴衆が「より単純な時代、より単純な現実」を求めていることを模索していることを暗示しました。 「幼児化」は橋が遠すぎるかもしれません。ファシズムと同じ。スーパーヒーローの運賃は、多くの場合、ファンのお気に入りの逃避的な形であり、彼らが楽しんで批判的に見ることができるものです。ムーアの見解は、たとえばブラックパンサーやデッドプ​​ールやキャプテンマーベルではなく、バットマン映画宇宙にも焦点を当てているようです。しかし、文化には、少なくとも還元的である何かがあります。漫画や映画では、多くの場合、善と悪のバイナリ、「獲得」または「紛失」しなければならない出来事に紛争をかけるか、無限のサイクルで再発するように設定されています。

Does this mean Moore is right? Perhaps, but ultimately his argument paints comics fans in strokes too broad. Not everyone who likes Rorschach fails to notice he’s a satire; people watch The Boys for more than just the exploding heads. Not every Marvel fan looks up to Captain America with the zeal of a 12-year-old in the 1950s. Some people just like to watch a hero with a hammer fight the dude who once played Bruce Wayne and call Valkyrie “king.” But what is true is that Moore’s bad-good guys never fully got their point across. They were meant to demonstrate that idolizing heroes is often problematic—then people idolized them for it. The tragedy of Alan Moore isn’t that no one paid attention to his work. It’s that they looked at it and whispered, “No.” Boone Ashworth Matt Burgess Matt Jancer Khari Johnson