“To some degree, I did approach Lost Girls, in its initial stages, as I approached Watchmen: Let’s look at this despised genre,” says Moore. “Let’s see what the things are about it that people will like, what are its main tropes and gimmicks and ideas, and is it possible to do something that stays within all of the formal boundaries that define pornography, or define a superhero story—and still do something which is completely different and takes the whole genre into a new place.”
And, to at least some degree, Moore feels that he and [Melinda] Gebbie succeeded.
“With Lost Girls we reclaimed the word ‘pornography,’ so that it wasn’t a word that conjured up these grisly gynecological visions, these kinds of meat puppetry that most pornography is involved in,” he says. “There hasn’t been anything like this before, and you can see why… because it’s very tricky. There are so many ways to get it wrong, and as far as we could see, there was only one way to get it right.”
5 October 2006
Alan Moore’s Lost Girls