Alan Moore Quotes

As I see it, a successful story of any kind should be almost like hypnosis: You fascinate the reader with your first sentence, draw them in further with your second sentence and have them in a mild trance by the third. Then, being careful not to wake them, you carry them away up the back alley of your narrative and when they are hopelessly lost within the story, having surrendered themselves to it, you do them terrible violence with a softball bag and then lead them whimpering to the exit on the last page. Believe me, they'll thank you for it.

They say we have we created the man to end all wars; I say we have created a man to end all worlds.

Mental space and its existence is what makes things like remote viewing possible. There shouldn’t be any limit to it. As I understand mental space, one of the differences between it and physical space, is that there is no space in it. All the distances are associative. In the real world, Land's End and John O’Groats are famously far apart. Yet you can’t say one without thinking of the other. In conceptual space they are right next to one another. Distances can only be associative, even vast interstellar distances shouldn’t be a problem. Time would also function like this.

If time is an illusion, then all movement and change are also illusions. So the only thing that gives us the illusion of movement and change and events and time is the fact that our consciousness is moving through this mass along the time axis. If you imagine it as a strip of celluloid, each of those individual cells is motionless. If they each represent a moment, they’re unchanging. They’re not going anywhere, but as the projector beam of our consciousness passes across them, it provides the illusion of movement, and narrative and cause and effect and circumstances.

I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size.

If I realised the power of magic to worry and terrify people before, then I certainly would have used it before. Everyone freezes before it for different reasons – perhaps because it means madness to them, or because it means opening the door to a whole lot of stuff that the Age of Reason should have firmly bolted the door upon. A lot of concepts that we got rid of a long time ago that would be a bit creepy to have them back.

I would like to think that some of my work has opened up people’s thinking about certain areas. On a very primitive level, it would be nice to think that people thought a little bit differently about the comics medium as a result of my work, and saw greater possibility in it. And realized what a useful tool for disseminating information it was. That would be an accomplishment. That would have added a very useful implement to the arsenal of people who are seeking social change, because comics can be an incredibly useful tool in that regard. I’d also like to think that perhaps, on a higher level, that some of my work has the potential to radically change enough people’s ideas upon a subject. To perhaps, eventually, decades after my own death, affect some kind of minor change in the way that people see and organize society. Some of my magical work that I’ve done is an attempt to get people to see reality and it’s possibilities in a different light. I’d like to think that that might have some kind of impact eventually.

Places don’t stay where you left them. You go back there, anywhere, and even if it looks exactly how it did before, it’s somewhere else.

I am not man so much as syndrome; as a voice that bellows in the human heart.
I am rain.
I cannot be contained

It's only those exceptional and rare individuals who have brilliant ideas delivered to them by the muse, complete and gift wrapped. The rest of us have to work at it.

For you are life, rarer than a quark and unpredictable beyond the dreams of Heisenberg; the clay in which the forces that shape all things leave their fingerprints most clearly.

I no longer wish to look at dead things.

The magician to some degree is trying to drive him or herself mad in a controlled setting, within controlled laws. You ask the protective spirits to look after you, or whatever. This provides a framework over an essentially amorphous experience. You are setting up your terms, your ritual, your channels – but you deliberately stepping over the edge into the madness. You are not falling over the edge, or tripping over the edge. When I was a kid, I used to go to the seaside and play in the waves. The thing you learn about waves, is that when you see a big one coming, you run towards it. You try and get out of its way and you’ll end up twenty yards up the beach covered in scratches. Dive into it, and then you can get behind it. You get on top it, you won’t be hurt. It is counter-intuitive, the impulse is to run away, but the right thing to do is to plunge into it deliberately, and be in control when you do it. Magic is a response to the madness of the twentieth century.

I am going to look at the stars. They are so far away, and their light takes so long to reach us. All we ever see of stars are their old photographs.

Noise is relative to the silence preceeding it. The more absolute the hush, the more shocking the thunderclap. Our masters have not heard the peoples voice for generations, Evey and it is much, much louder than they care to remember.