Snappleshacks wrote:
This seems to be the key quote from the interview cited above:

"At the end of the day, if they haven’t got any properties that are valuable enough, but they have got these ‘top-flight industry creators’ that are ready to produce these prequels and sequels to WATCHMEN, well this is probably a radical idea, but could they not get one of the ‘top-flight industry creators’ to come up with an idea of their own?  Why are DC Comics trying to exploit a comic book that I wrote 25 years ago if they have got anything?  Sure they ought to have had an equivalent idea since?  I could ask about why Marvel Comics are churning out or planning to bring out my ancient MARVELMAN stories, which are even older, if they had a viable idea of their own in the quarter-century since I wrote those works.  I mean, surely that would be a much easier solution than all of this clandestine stuff?  Just simply get some of your top-flight talent to put out a book that the wider public outside of the comics field find as interesting or as appealing as the stuff that I wrote 25 years ago.  It shouldn’t be too big an ask, should it?  I wouldn’t have thought so.  And it would solve an awful lot of problems.  They must have one creator, surely, in the entire American industry that could do equivalent work to something I did 25 years ago.  It would be insulting to think that there weren’t."
Thanks. As I began to suspect, Moore's opinion was misrepresented. I really have no quarrel with what he is saying here.

For example, he doesn't seem to preclude that other writers could tell stories involving his characters - just that so many of the stories he sees today seem to lack any real creative spark. For example, I don't think he's saying he's against new Marvelman stories that might take the character in new directions. He's against Marvel simply reprinting his old stories to make a couple more shekels.

Whether one agrees or disagrees with him regarding the current level of creativity in the comic book field, I don't think he's saying that his characters ought to be off limits.

I personally read very little of the contemporary comics scene, but the wide diversity of material is astonishing - compared to the nearly 100% genre work that defined the industry when Moore broke in. It is easier to stand out when you are the only game in town - sort of the way the initial Superman strip stood out in the comic book field until his myriad of imitators diluted that singularity.

Today, there are so many graphic novels in so many different genres that there many be many worthy of attention, but the field is now so much more crowded than it was in the 1980's.