Ok, it's a bit hard to get into a spot on argument without referencing Moore's material, but I don't think you can say that Joss is the anti Moore.
First off the S4 is a homage to Promethea, Joss said so and he said he loved the book. Second Moore's books hit on similar topics as Joss shows a lot, V for Vendetta and Firefly for example about rebellion to absolutistic peacekeepers and they do come to fairly similar conclusions.
They differ of course, Moore is way darker, often downright depressing and he loves to recreate popculture instead of referencing it, but I find the notion that they are somehow diametrically opposed very far fetched and I just plain don't see it reflected in their works.
To your second point on why I assume that Joss was going for a similar effect. My general assumption about authors is that they want to draw the reader in, that they want you to understand why their characters act the way they do, that when the characters are impressed, the reader should in a way be impressed too, that also goes for situations you plan to subvert later on.
The text of S8 told us that the opening of the Twilight dimension was meant to seem like a big cataclysmic event, but instead it just seemed silly and the impression it made on the characters could only be explained with Glowhypnol for lack of being convincing on it's own in any way.
Even seen as subversion it remains pathetic.
See, I really have trouble believing all of this mess is intentional. Take the sex issue, I do believe it's meant to leave a bad taste in your mouth (similar to depression sex in S6), to come of wrong, but I honestly believe they mean it when they say they thought it was sexy. And here I see where they wanted to go (basically S6, sexy but disturbing) but they ended up in completely ridiculous land.
That Meltzer person called #35 philosophy, why should I assume he doesn't mean it? They voiced their intentions very loudly in interviews, but the actual book doesn't live up to them. So I don't think that the assumption that the whole Twilight business was meant to be impressive too is not too far fetched.
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First off the S4 is a homage to Promethea, Joss said so and he said he loved the book. Second Moore's books hit on similar topics as Joss shows a lot, V for Vendetta and Firefly for example about rebellion to absolutistic peacekeepers and they do come to fairly similar conclusions.
They differ of course, Moore is way darker, often downright depressing and he loves to recreate popculture instead of referencing it, but I find the notion that they are somehow diametrically opposed very far fetched and I just plain don't see it reflected in their works.
To your second point on why I assume that Joss was going for a similar effect. My general assumption about authors is that they want to draw the reader in, that they want you to understand why their characters act the way they do, that when the characters are impressed, the reader should in a way be impressed too, that also goes for situations you plan to subvert later on.
The text of S8 told us that the opening of the Twilight dimension was meant to seem like a big cataclysmic event, but instead it just seemed silly and the impression it made on the characters could only be explained with Glowhypnol for lack of being convincing on it's own in any way.
Even seen as subversion it remains pathetic.
See, I really have trouble believing all of this mess is intentional. Take the sex issue, I do believe it's meant to leave a bad taste in your mouth (similar to depression sex in S6), to come of wrong, but I honestly believe they mean it when they say they thought it was sexy. And here I see where they wanted to go (basically S6, sexy but disturbing) but they ended up in completely ridiculous land.
That Meltzer person called #35 philosophy, why should I assume he doesn't mean it? They voiced their intentions very loudly in interviews, but the actual book doesn't live up to them. So I don't think that the assumption that the whole Twilight business was meant to be impressive too is not too far fetched.