Bibliography of Major Works
This section lists Alan Moore's major published works in descending chronological order, with brief descriptions of plot and cultural significance. Descriptions are original, except when otherwise cited.
(Images courtesy of amazon.com)
(Images courtesy of amazon.com)
The Mindscape of Alan Moore
2003
This autobiographical documentary takes viewers along Moore's career path and discusses many of his spiritual and philosophical ideas. It is great primary source material and includes interviews with many of the artists who collaborated with Moore in his major works, such as Melinda Gebbie (Lost Girls), Dave Gibbons (Watchmen), David Lloyd (V For Vendetta), Kevin O Neill (League of Extraordinary Gentlemen) and Jose Villarubia (Promethia & Mirror of Love).
Top of Page
This autobiographical documentary takes viewers along Moore's career path and discusses many of his spiritual and philosophical ideas. It is great primary source material and includes interviews with many of the artists who collaborated with Moore in his major works, such as Melinda Gebbie (Lost Girls), Dave Gibbons (Watchmen), David Lloyd (V For Vendetta), Kevin O Neill (League of Extraordinary Gentlemen) and Jose Villarubia (Promethia & Mirror of Love).
Top of Page
Alan Moore's Writing For Comics
2003
This piece began as a serialized essay "On Writing For Comics" published in Fantasy Advertiser from August 1985-February 1986. It was expanded and revised for publication as a booklet in 2003. This is a good example of primary source material and provides insight into Moore's aesthetic and technique as well as his concept of what a graphic novel is, isn't and can be.
Top of Page
This piece began as a serialized essay "On Writing For Comics" published in Fantasy Advertiser from August 1985-February 1986. It was expanded and revised for publication as a booklet in 2003. This is a good example of primary source material and provides insight into Moore's aesthetic and technique as well as his concept of what a graphic novel is, isn't and can be.
Top of Page
Promethea (Issues 1-32)
1999-2005
With J.H. Williams and Mick Gray
This collaborative piece chronicles the journeys of Promethea, a college student in New York City who comes to discover her place as the embodiment of imagination. Moore's philosophical and spiritual beliefs on gods and the nature of myths and stories are emphasized and extensively explored within this work.
Top of Page
With J.H. Williams and Mick Gray
This collaborative piece chronicles the journeys of Promethea, a college student in New York City who comes to discover her place as the embodiment of imagination. Moore's philosophical and spiritual beliefs on gods and the nature of myths and stories are emphasized and extensively explored within this work.
Top of Page
The League of Extraordinary Gentlemen (Volumes 1-6)
1999-2002
Illustrated by Kevin O'Neill
This work takes classical English literary characters (Dr. Jekyll, Mina Murray, Captain Nemo, The Invisible Man...) and places them as superheroes in a "critical vision of English imperial culture" (DiLiddo 103).
Top of Page
Illustrated by Kevin O'Neill
This work takes classical English literary characters (Dr. Jekyll, Mina Murray, Captain Nemo, The Invisible Man...) and places them as superheroes in a "critical vision of English imperial culture" (DiLiddo 103).
Top of Page
Lost Girls (Books 1-3)
1995-96
Illustrated by Melinda Gebbie
The Lost Girls books chronicle the meeting of Alice, Wendy, and Dorothy, (of Alice in Wonderland, Peter Pan, and Thin a hotel in Austria shortly before World War I, years after their girlhood adventures. Their individual memories of each fantastical experience are described, while the text explores character identity, sexuality, structure, intertextuality, and pornography as genre, combining with an Art Noveau visual aesthetic.
Di Liddo, A., (2009). Alan Moore : Comics as performance, fiction as scalpel. Jackson: University Press of Mississippi.
Top of Page
Illustrated by Melinda Gebbie
The Lost Girls books chronicle the meeting of Alice, Wendy, and Dorothy, (of Alice in Wonderland, Peter Pan, and Thin a hotel in Austria shortly before World War I, years after their girlhood adventures. Their individual memories of each fantastical experience are described, while the text explores character identity, sexuality, structure, intertextuality, and pornography as genre, combining with an Art Noveau visual aesthetic.
Di Liddo, A., (2009). Alan Moore : Comics as performance, fiction as scalpel. Jackson: University Press of Mississippi.
Top of Page
From Hell (Volumes 1-10)
1988-1996
Illustrated by Eddie Campbell
This work stems from the Whitechapel murders and Jack the Ripper mythology in English literary heritage, postulating that Jack the Ripper's violence stems from a cultish compulsion to maintain male hierarchy and authority of the crown. The city of London plays as much of a role, if not more, as any of the novel's characters. Like many of Moore's pieces, this novel also questions the tenets of English identity based on contemporary politics and historical precedence.
Top of Page
Illustrated by Eddie Campbell
This work stems from the Whitechapel murders and Jack the Ripper mythology in English literary heritage, postulating that Jack the Ripper's violence stems from a cultish compulsion to maintain male hierarchy and authority of the crown. The city of London plays as much of a role, if not more, as any of the novel's characters. Like many of Moore's pieces, this novel also questions the tenets of English identity based on contemporary politics and historical precedence.
Top of Page
The Saga of Swamp Thing (Issues 20-32)
1987
With Stephen Bissette, John Totleben, and Shawn McManus
This series brings the original Swamp Thing character into the twentieth century, exploring the origination of the Swamp Thing series as well as contemporary environmental issues.
Top of Page
With Stephen Bissette, John Totleben, and Shawn McManus
This series brings the original Swamp Thing character into the twentieth century, exploring the origination of the Swamp Thing series as well as contemporary environmental issues.
Top of Page
Watchmen
1987
Illustrated by Dave Gibbons
Often considered Moore's best and most influential work, this graphic novel tells the story of a group of marginalized super heroes in 1980s dystopian New York City. When one of their number is found murdered at the start of the novel, the group reconnects to put together cryptic and gristly pieces and in so doing begin to uncover an even larger and more horrific plot. This novel criticizes the Cold War era phobias nascent to the Reagan-Thatcher axis with extensively detailed aesthetic symbolism.
Top of Page
Illustrated by Dave Gibbons
Often considered Moore's best and most influential work, this graphic novel tells the story of a group of marginalized super heroes in 1980s dystopian New York City. When one of their number is found murdered at the start of the novel, the group reconnects to put together cryptic and gristly pieces and in so doing begin to uncover an even larger and more horrific plot. This novel criticizes the Cold War era phobias nascent to the Reagan-Thatcher axis with extensively detailed aesthetic symbolism.
Top of Page
V for Vendetta
1981
Illustrated by David Lloyd
This is Alan Moore's first graphic novel. Influenced by classics such as George Orwell's 1984 and Ray Bradbury's Fahrenheit 451, it creates a dystopian future, fascist England. Its treatment of of racism and homophobia is a thinly veiled critique of Moore's opinions of Margaret Thatcher's politics and general Cold War era panic, and it questions the notion of a mutable, national English identity in the 1980s.
Top of Page
Illustrated by David Lloyd
This is Alan Moore's first graphic novel. Influenced by classics such as George Orwell's 1984 and Ray Bradbury's Fahrenheit 451, it creates a dystopian future, fascist England. Its treatment of of racism and homophobia is a thinly veiled critique of Moore's opinions of Margaret Thatcher's politics and general Cold War era panic, and it questions the notion of a mutable, national English identity in the 1980s.
Top of Page
