No.
His multiple Mythos-inspired works (
Neonomicon and
Providence) amounted to little more than a longform calling Lovecraft a repressed fag while at the same time selling comics aping Lovecraft's prose and adding heaps of bestiality, underage rape and other subjects popular with Moore. Very cerebral, literary, insightful and liberal stuff to be sure.
Legion of Extraordinary Gentlemen: Tempest was perhaps even more embarrassing, a once acclaimed and popular series ending with a barely coherent loveletter to his cherished pop culture of the UK from the 1880s to 1960 who all evade the oppressive forces of modernism and climb up in a rocketship and head off to Narnia, no longer subject to the vagaries of the coarse and irreparably befouled modern world and culture. Which is quite a statement from a guy who's legacy will undoubtedly be the undermining and deconstruction of said figures.
Much of this incoherence and inability to say anything meaningful on Moore's part stems from the contradictions within Moore himself. For someone who has dedicated a lifetime to excoriating and deconstructing traditional cultural icons and the values that produced them for their racism, sexism, classism and, most of all, their prurient attitudes towards sex and sexuality as a lifelong "liberated" egalitarian marxist, Moore cannot hide his disgust, fear and rejection of the modern populist, materialist world and culture that the tireless efforts of people like him and attitudes like his have helped bring about. When asked about a more modern version of LoEG, Moore shrugged and said it wouldn't really be possible for him to do - for the most part he has no interest in reading fiction created in the past 60 years. Things like superheroes and Edwardian-era pulp fiction might have been quaint, childish and the target of his derision in the 1980s, but he
despises what England produced afterwards like the treacly Harry Potter and the
cynical worldview of James Bond. Allen Quartermain may have been a shining exemplar of British muscular imperialism and colonialism, but unlike Bond he was at least a
gentleman for God's sake.
After a while Alan Moore just comes across as someone who wants more than anything to be a rebel against the Victorian sensibilities and bygone glory days of
Pax Brittanica of over a century ago, lashing out in denial at a dead culture he's ashamed to admit he cherishes and relates to far more than the culture of the present day that's in line with his espoused values, which he hides from and refuses to engage in. He helped make the bed, but refuses to lie in it.
