Biographie

Extremely long beard

Stories dealing with social issues

Often features realistic, sympathetic female protagonists

Infuses more depth to his characters than many writers

Stories as deconstructions of standard comic book figures (masked heroes, villains,etc)

First comics author to win the prestigious Hugo Award (1988) for "Watchmen" (though he was not the only one; comic writer Neil Gaiman won the Hugo in 2002, albeit for a novel, and not a graphic work). The day after he was awarded it, they changed the rules so that comics can no longer be considered.

Admits he was going through a period of depression when he wrote ''Watchmen''.

Is known for writing definitive stories for Superman, Batman, and other popular comic superheroes. Also widely considered to be the best current comic writer with "Watchmen" being his magnum opus.

Notoriously despises movie adaptations of his work, especially after the adaptations of his works, From Hell (2001) and La Ligue des gentlemen extraordinaires (2003). Since then, Moore has refused both official credits or any licensing fees for any film adaptations of his works on principle. The sole exception is the animated adaptation of his Superman story, For the Man Who Has Everything (2004), because the producers asked his permission before production and he was pleased at the reasonable changes done to the story.

Asked that his name be taken off the credit for V pour Vendetta (2005).

[on "worshipping" the Roman snake god Glycon] "The only references there are to him in the literature, which are very disparaging, are in the works of the philosopher Lucien. Lucien explains that the whole Glycon cult was an enormous fraud, and that Glycon was a glove puppet. And I've got no reason to disbelieve that whatsoever. To me, I think that's perfect. If I'm gonna have a god, I prefer it to be a complete hoax and a glove puppet because I'm not likely to start believing that glove puppet created the universe or anything dangerous like that."

The world of ideas is in certain senses deeper, truer than reality; this solid television less significant than the Idea of television. Ideas, unlike solid structures, do not perish. They remain immortal, immaterial and everywhere, like all Divine things. Ideas are a golden, savage landscape that we wander unaware, without a map. Be careful: in the last analysis, reality may be exactly what we think it is.

"It's 1988 now. Margaret Thatcher is entering her third term of office and talking confidently of an unbroken Conservative leadership well into the next century. My youngest daughter is seven and the tabloid press are circulating the idea of concentration camps for persons with AIDS. The new riot police wear wear black visors, as do their horses, and their vans have rotating video cameras mounted on top. The government has expressed a desire to eradicate homosexuality, even as an abstract concept, and one can only speculate as to which minority will be the next legislated against. I'm thinking of taking my family and getting out of this country soon, sometime over the next couple of years. It's cold and it's mean spirited and I don't like it here anymore. Goodnight England. Goodnight Home Serve and V for Victory. Hello the Voice of Fate and V for Vendetta." - from his 1988 introduction to V For Vendetta.

Media and fame, they're like an element as much as water and fire are. They're 20th century elements, they're the ones that we didn't have before in this way, and the people who are thrown into that grinder are still being thrown in without and preparation, without any understanding of what it is they're being asked to face.

"The answer I always fall back on is to quote Raymond Chandler. People said: 'Raymond, don't you feel devastated by how Hollywood has destroyed your books?' And he would take them into his study, point to the bookshelf and say, 'There they are. Look, they're fine.' The film has got nothing to do with my work. It has a coincidental title to a book I've done and they've given me a huge wedge of money. No problem with that" - on the subject of how he feels of Hollywood's treatment of his works.