I was very fond of TDKR when it was first issued and thought it an interesting concept, with the old Batman on horseback, the female Robin, and the sublimated sexuality of his relationship with the Joker, though it might have been better without all the teenage gangs. The showdown with Superman was surprising, and evidently made an impression on Zack Snyder.
Then Miller had to go and make that godawful Spirit movie and my entire view of him changed for the worse. I've just about forgiven Samuel L Jackson but Miller's ridiculous Sin City is unforgivable.
So there's a town full of prostitutes that enjoy being on the game so much that they enforce their right to being hookers by carrying big f***-off guns everywhere and the only villain in the story is a paedophile? Sure, Frank, now take your meds and go lie down. That stupid thing with the Spartans is little better.
Now I'm also fond of a lot of Alan Moore's work, V for Vendetta, the Killing Joke, the Marvelman rework (I wish he'd been allowed to finish it before Marvel butted in), Watchmen, The League of Extraordinary Gentlemen etc. But I find his reactions to his own work now somewhat confusing, and I fear, like Putin, he's beginning to believe his own publicity, so he just comes across like a crazed old hippy!
I haven't read a "modern" comic since Brian Michael Bendiss's Dark Avengers, which I quite enjoyed, though I gather there's now a Justice League Dark so I can see where that trend's going. Too many modern artists seem to rely on computers, no-one understands the value of brushwork, shade, depth of line, cross hatching, and all the things that used to make artwork so individual.
Thoughts on Killing Joke? Wouldn't have worked without Brian Bolland. That's my rant over for now
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