Possibly the single most impressive thing about Katy Doughty's How to Survive the End of the World is that she spends 256 pages talking about different ways the entire world either could or almost did end, and she manages to keep things cheerful and upbeat the entire time. I mean, even when Douglas Adams -- an iconically funny writer who had written for Monty Python -- wrote about the planet blowing up, he still had the sole survivor reflect, in a typically understated British fashion, "I'm a bit upset about that." Doughty doesn't even flinch that much.

The book is divided up into section based on the types of end of world scenarios. Plagues, climate collapse, AI/killer robots, etc. In each case, Doughty walks through how those scenarios would play out, often basing things on past precedent. The bubonic plague, the dinosaurs getting wiped out, and so on. (Obviously not so much past precedent on the killer robots, though.) She walks through both how each situations would arise, and what scientists have worked/are working on as possible counter measures. And rather than just saying, "hey, I did my own research on this; trust me," she brings in interviews she conducted with experts, letting them explain in their own words how things would play out. That's actually part of how she's able to remain positive throughout the book; scientists tend to be a hopeful lot, exploring possible solutions. And in some cases, they just pull out a mathematical reality check and say, "we actually calculated the odds of this happening and it's statistically zero."

Doughty doesn't just focus on the "immediate" issues either. She talks about the Earth getting swallowed by our sun as it eventually expands despite that being some 5 billion years in the future and even the eventual collapse of the entire universe that's so far in the future as to be functionally incalcuable. And despite even these certainties, Doughty takes the route of hope essentially saying that we should do the most with whatever time we do have.

What Doughty does exceptionally well throughout the book -- beyong just being positive -- is relaying a lot of fairly robust scientific information in exceptionally easy-to-understand language. It makes the book a surprisingly light read, despite the subject matter. It probably helps, too, that she uses a relatively cartoony style so that even the most horrific scenarios that she postulates on aren't rendered in a disturbing or grotesque fashion. Both of these things make the book incredibly approachable for virtually everyone.

If I had to offer a critcism, it would be in what she leaves out. She talks about ideas that people often consider extinction level events, and she makes note of how even in some of the worst case scenarios, they would not indeed be that devastating. What she doesn't really cover, though, is how awful and difficult it might be for those people who survive. She talks in terms of humanity writ large, and not people at an individual level. The bubonic plague didn't kill everyone, for example, but that's not much comfort for the people it did kill. Now, is it even possible to write a book that covers both the global and individual view of all these scenarios? Probably not. But Doughty does tend to gloss over that the individual level impacts that I think most people would prioritize in the midst of these scenarios. I mean, if killer robots do come for us, I think everyone's individual first priority is going to be, "how do I not get killed" over "how will humanity survive?"

But in a world where virtually every news headline screams about another way things are going to shit, and how doomsday is arond every corner, Doughty does a good job of keeping a check on the grand scheme of everything. There's a lot we don't have to worry ourselves with. And these days, I think every reason we have to move something into the "crap I don't have to fret over" column is worth taking advantange of; there's a lot of stuff we do need to worry about, so any opportunity to alleviate any of it is worth it.

How to Survive the End of the World actually came out a few months ago from Penguin Random House, so it should be readily available from your favorite bookseller. It retails for $19.99 US in paperback and $33.99 US in hardcover.

Here are this week's links to what I've had published recently...

Kleefeld on Comics: Proto-Watchmen
https://ift.tt/qhV40Qc

Kleefeld on Comics: The FF in In-Continuity Media
https://ift.tt/NKTmwfB

Kleefeld on Comics: A Dearth of Stan and Jack Photos
https://ift.tt/ywU81qu

Kleefeld on Comics: The Comic Habit
https://ift.tt/fdV7DTl

Kleefeld on Comics: Minor Thoughts on the Sale of the Kubert School
https://ift.tt/TYayNmp

I haven't seen this make the rounds on comic book news sites yet, but it was announced this week that The Joe Kubert School of Cartoon and Graphic Art has been "acquired" by County College of Morris. The Kubert School was founded, of course, by Joe Kubert back in 1976 and has been pretty instrumental in a number of comic artists' careers. A very partial list of alumni includes Tim Truman, Rick Veitch, Jan Duursema, Eric Shanower, Tom Mandrake, Amanda Conner, and Scott Kolins. The school not only has taught drawing and storytelling skills, but includes courses on portfolio presentation and business skills particular to acting as a freelancer for publishers like Marvel and DC. It's been a school very much focused on getting people ready not just for a career in art, but specifically for a career in comic books.

I haven't heard/seen of any specific financial issues the Kubert School may have been having that they'd be interested in selling the school to a larger institution, but I have to presume that's a large part of the rationale behind this. Joe Kubert himself passed away in 2012, and Jaclyn & Anthony Marques bought it in 2019 and have been running it respectively as Director and President since then. As I'll get into shortly, they've almost certainly been dealing with some difficult headwinds, vastly different than anything Joe himself had to deal with.

Back in 1976, there was essentially nothing like it. Of course, art instruction generally goes back centuries and the Federal School of Applied Cartooning's corresponedence courses (the folks behind those "Draw Tippy" ads) date to 1914. But the Kubert School was a "real" school -- having an actual campus and a formal degree program recognized by the state. Not to mention that it was run by working professionals like Kubert himself.

Over the past two or three decades, though, comic instruction has become more mainstream. Beginning in the late 1990s/early 2000s, at some colleges, you could design your own degree program that focused on comic art. And in the decades since then, more and more colleges turned that into a standardized program. While this offered a great deal more opportunity for aspiring cartoonists, it also made for some stiff competition for the Kubert School.

Beyond just being options for people outside of New Jersey, these other programs offered other benefits. There were often more scholarship opportunities, and the on-campus experience was broader just by virtue of having more facilities for extra-curriculars like sports. Furthermore, going to a less-focused school meant that you had a fall-back position if you decided you ultimately didn't want to pursue comics after all; you could stay in the same school and simply transfer into a program for journalism or electrical engineering or business management.

All of which is to say that I'm not surprised the Kubert School has been bought by another school. It's frankly kind of impressive that it independently continued to do as well as it has for as long as it has. I hope that County College opts to keep the Kubert name attached to the school indefinitely, letting it keep its own identity, and it doesn't just become County's art program. (I haven't heard anything on that point one way or another.) The Kubert School has moved a couple times over the years, most recently in May 2025. While some previous moves were a matter of trying to get into better facilities, I have the suspicion that the most recent one had as much to do with finances (Rent? Taxes?) as anything else. But a big move followed by a outright sale a year later suggests that they weren't doing optimally, And if that has been the case, I am glad that County has helped to potentially extend the lifespan and legacy of what Joe started building fifty years ago.

If you've read my blog for any length of time, you're probably aware that I'm an old school Fantastic Four fan. Even when I'm not talking about the book explicitly, it's been something of a background topic that I've used to launch into something else. I started reading the series when I was 11 years old and continued month-in, month-out until the Civil War storyline. I thought they collectively did a phenomenally bad job at interpretting the characters, and I wasn't liking the direction they were taking the broader Marvel stories anyway, so I dropped everything. A few years later, Marvel cancelled the book entirely. And when they announced they would bring it back in 2018, I spent half a year or so picking up seven years' worth of back issues from dollar bins and got myself caught up in time for the new series. (For about a third of the price of if I'd have bought all those issues new!) I mostly enjoyed what Dan Slott did (except for the periodic interruptions mandated for whatever the big crossover du'jour was) and was generally enjoying the book again. Then Ryan North started writing the book in 2023 and...

I haven't disliked the book as much as I did during Civil War, but I've found it devoid of anything engaging. It's not bad exactly, and there have been some interesting germs of ideas, but I do not connect with it at all. Every single issue since then has fallen totally flat for me. And that's fine. I don't have any right to expect any comic to hold my interest in the same way over four decades, and Marvel doesn't need to cater to my interests in particular. The book seems to be selling reasonably well, and the broad response seems to be positive, so who am I to argue with which way the winds are blowing?

But I've kept buying it, hoping for things to shift into a groove that I like. And it keeps not happening. Every time I've sat down to read an issue for the past few years, I've put it down feeling disappointed. Again, not that it's necessarily bad, but that I'm not connecting with it at all. I've been at the point for a while now where a new issue comes in, and I set it aside without even trying to read it for months because I'm so unehtused at the prospect. The last issue I read was #6 (pictured above) which seems to have come out on December 3 of last year.

I was going through the ordering process last night for the latest issues of everything, and I decdided that I'm going to set the title aside once again. I've been buying it out of habit, and that's 100% the wrong reason to continue buying anything. And I don't say that as some kind of major pronouncment against Marvel or anything, but to call out the nature of the habit. One of the reasons, I think, readers tend to drop a series only when the publisher starts a new renumbering or a title change or something is because the publisher themselves are "forced" a break in the habit. But like any habit, the best time to break it is when you're ready. When you're able to recognize that what a comic is delivering now is no longer what it delivered previously.

I've looked at the small stack of Fantastic Four issues I've continued buying since December on many occasions. I've added a new issue to that pile every month, and there have been plenty of times I've thought I should sit down to catch up with them. Only to be so unenthused at the propsect that I go on to something else. It can be difficult to recognize that. Particularly with a history of positive experience that goes back literally decades.

I believe I first posted the suggestion of not buying comics out of habit back in 2009. But that can be easier said than done, often because it's difficult to recognize precisely when you stopped buying out of enjoyment (or at least the anticipation of enjoyment). And you don't want to stop reading a book entirely just because they came out with a single bad issue. But you do need to take a few moments to periodically reflect on what you're buying and why. There are thousands of great comics out there; don't waste your time and money on ones just because you used to enjoy them.

I started writing a piece about Jack Kirby and Stan Lee, and I went to get a picture of the two of them. I realized that I've only ever seen three photographs of the two of them together: one from 1966, one from 1975, and a fairly recently uncovered one from a convention in the 1980s...

Considering how much they worked together, and how significant their partnership was to comics, it strikes me as curious that there are so few pictures of the two of them togther. (I'm sure there's got to be more than just these three, right?)

It's not like either Lee or Kirby were camera-shy. We have a number of pictures of Jack with his other noteable business partner, Joe Simon, and many more with his wife, Roz. And, geez, how many tons of pictures can you find of Stan with a quick Google search? Hell, part of his schtick any more is making cameo appearances in Marvel movies!

So it makes me wonder why they were so rarely photographed together?

I mean, three photos? That's it? I have literally seen more pictures of Jack with Paul and Linda McCartney, who he only met once in 1976, than I have of Jack with Stan.

In part because folks are still recovering from Comic-Con and not paying attention to me but in part because it's still just generally busy here at Kleefeld Headquarters, I'm going to pull out an article I wrote a decade or two back concerning how the Fantastic Four have been portrayed in media outlets within the Marvel Universe. It's old enough now that I'm 100% sure I'm missing some more recent significant incidents, but I think it's still interesting for the earlier historical stuff...

One of the things that made the Fantastic Four stand out from other superhero comics was that the characters were, if not media-savvy, at least very aware of the media from early on. This document will highlight some of the Fantastic Four's appearances in the Marvel world of media exploitation.

Shortly after the Fantastic Four gained their powers, Reed Richards began to feel guilty for having "destroyed their lives." So he made a very conscious decision to make them all into celebrities, hoping that their fame might make up for their hopes of having normal lives.

Being the first of a new generation of heroes for the Marvel Universe, the FF naturally attracted a great deal of media attention early on, including front page headlines on the Daily Bugle and Daily Globe. (Fantastic Four #2, Human Torch Vol. 2 #1) Their first encounters with the Miracle Man and Dr. Doom saw the front pages of the Bugle as well. (Tales of the Marvels: Inner Demons, Fantastic Four #238, 294) The Human Torch received more coverage in both news and gossip columns from the Daily Chronicle and IBC television for some of his solo exploits. (Strange Tales #102, 103, 119) The FF were even awarded a trophy of gratitude at a televised ceremony from the Capitol. (Fantastic Four #7)

With the fame they already generated, it came as little surprise that when S-M Studios released a film featuring the Fantastic Four battling a cyclops, a tribe of fire-proof Africans, and the Sub-Mariner himself, their stardom skyrocketed. (Fantastic Four #9) Further ensuring their celebrity status, Marvel Comics managed to acquire the rights to publish the FF's adventures in comic book form which continue to this day. Although Reed personally oversaw the authenticity of the comic magazine early on (Fantastic Four #10) the group eventually gained enough confidence in the Marvel Bullpen to allow a greater degree of flexibility. (Thing #7, Fantastic Four #176, 262)

Before gaining her super powers, Susan had tried her hand at acting, but was only able to land small and infrequent parts in television commercials. (Official Handbook of the Marvel Universe Vol. 2 #6, Before the FF: The Storms #3, Fantastic Four Vol. 3 #50) It seems most likely that this was only the fault of a poor agent, as she began receiving sizable movie and television offers once her name became known. (Fantastic Four #14) She soon decided on the leading role in Lost on an Unknown Planet, which evidently had enough set problems to convince her not to pursue acting again for some time. (Fantastic Four #15) If not that, certainly the subsequent talk-show tour didn't leave her very impressed. (Fantastic Four #16)

The Fantastic Four's lives continued to be reported in various media outlets as the news events they generally were. (Fantastic Four: Fireworks #2, Fantastic Four #23, 38, 78) They also began having lead magazine features being done on them in well-respected magazines like Life. (Fantastic Four #24, Marvels #2) But once Reed and Sue publicly announced their engagement, "the world's press goes wild!!" (Fantastic Four #36) with coverage in all the major media outlets, including every magazine from Redbook to Seventeen. (Marvels #2) The wedding itself was even more of a media event with full page headlines running in the Daily Bugle, Daily Globe and Daily Press. (Marvel: Heroes and Legends, Fantastic Four Annual #3)

With the exception of regular media coverage, the FF spent their time saving the world, instead of being celebrities. (Marvels #3, Fantastic Four #78, 112, X-Men: The Hidden Years #20) That changed during a New Year's Eve celebration when Thundra publicly challenged the Thing to a battle in Shea Stadium. The event was billed as the "Fight of the Century" and warranted headlines in the Daily Ledger, Morning Ledger, Daily Sun, and Daily News. The Off-Track Betting Corporation issued odds and Shea Stadium itself sold out. Television crews undoubtably tried filming the event, only to have the two combatants leave the stadium and complete the fight elsewhere. (Fantastic Four #133) The crowd felt cheated and it was this event that perhaps kept the FF from attempting any significant media events for some time afterwards, letting their names only come out in occassional news event. (Fantastic Four #168, 191, 238)

Shortly after the Fantastic Four broke up, Susan received a telegram from Imperial Studios offering her a new lease on her acting career. (Fantastic Four #191) She starred in Henry's Angels, a generally fictionalized account of King Henry VIII where he was married to all six of his wives simultaneously. Filming was interrupted, however, by the Retrievers of Atlantis. (Fantastic Four #195) It is unclear whether or not the film was completed or if footage of the Retrievers was weaved into the final cut.

Once the team re-formed, Dino Lorenzo took a stab at making a Fantastic Four film, which Reed authorized only to earn some money they owed to the IRS. Lorenzo took a great deal of liberty portraying the FF and the group considered themselves fortunate that special effects supervisor Luigi Cantalopé accidentally caused his 15-foot Thing robot to run amok. As an interesting side-note, the Thing's battle with his robotic counterpart stumbled into the set of The Gong Show and was believed to be one of the acts. While the "act" was not gonged, the winner was "Annabelle and her Singing Appendix Scar." (Fantastic Four Annual #12)

Not long afterwards, director Joseph L. Jusko began his Incredible Hulk television series starring Bill Bixby, Sonny Bono, Charo, Howdy Doody, Roger Stern, and Karen Page. Although the series was cancelled after the Hulk and the Thing wrestled through several active soundstages, Ben was still offered a key part in his own television sit-com series: "Thing in the Family." (Marvel Two-in-One #46)

Although Johnny was "out of town the day the contracts needed to be signed" NBC went ahead with the production a Fantastic Four cartoon using the newly-designed HERBIE the Robot as the fourth member. Reed had designs for the robot already and offered them as an alternative, given that robots -- which are legally treated as property -- would have no need to sign a contract in the first place. (Fantastic Four #209) The show, however, was unsuccessful as the representations of characters were decidedly flat and only superficially represented the FF.

Not much later, producer Ted Silverberg convinced Simon Williams to star as the title character in his new ABC series: Monster Man! The show was VERY loosely -- and unofficially -- based on the Thing but included sidekick Kid Monstro and his pet Monstie. As lawyer Matt Murdock pointed out, "whoever thought this show up is a master at treading the line between plagiarism and public domain." The show's concept and real backing, however, came from Xemnu the Titan, who intended to subliminally plant messages in the show to be able to conquer the world. The alien was stopped by Wonder Man and the Thing but Silverberg was still able to take the footage and promote it as The Xemnu the Titan Show. (Marvel Two-in-One #78)

Given the general lack of success the Fantastic Four had in dealing with fictionalizations of their adventures, they began dealing with more documentary aspects of the media. Susan appeared on an hour-long special Woman to Woman with host Barbara Walker. The show was part of a series dedicated to the five most influencetial women in America. (Fantastic Four #245) Ben was recruited for an exhibition boxing match against the Champion that fueled headlines in the Daily Bugle, London Times, Sports Illustrated and Time. (Marvel Two-in-One Annual #7) Johnny had his profile featured in Celebrity magazine and the entire group was spotlit on an episode of Lifestyles of the Rich and Famous. (Fantastic Four #285) The team was invited to speak at a meeting of the Adventurers Club. (Contest of Champions #1) And, although not exactly intentional or approved, She-Hulk was the centerfold for the best selling issue of T.J. Vance's The Naked Truth. (Fantastic Four #275)

Meanwhile, Ben, while not still an actual member of the FF became one of the original members of the Unlimited Class Wrestling Foundation. Ed Garner, the U.C.W.F. promoter, still played up the Thing's association with the Fantastic Four to help promote the sport on national television. (Thing #28) Although Ben continued to downplay his former role in the Fantastic Four, his unbeatable winning streak kept him very much in the public eye and Garner continued to use the FF angle until Ben's last fight. (Thing #33)

During a brief respite, while the U.C.W.F. made some technological modifications to the arena, the Thing went to visit then stunt-woman Sharon Ventura on the set of Devil Dinosaur. The film experienced any number of technical problems (not the least of which being Godzilla) and ended up not being completed; however, the footage was sold to Ripley's Believe It or Not who most certainly also played up the FF and U.C.W.F. angles. (Thing #31)

The Fantastic Four themselves once again took a respite from the media and limited their media exposure mainly to news events and the inevitable gossip column. (Fantastic Four Annual #22, Marvel Two-in-One #96, Amazing Spider-Man #338, Web of Spider-Man Annual #5, B-Sides #3, Fantastic Force #1, Fantastic Four #299, 300, 362, 377) She-Hulk, on the other hand, became the subject of a Major Motion Pictures' bio-pic detailing her life as a super heroine. Although the script was poor, the effects were cheap, and there were several blatant attempts to disrupt filming altogether the movie was quite successful and ran for at least ten record-breaking weeks. (Sensational She-Hulk #12) It was the success of this movie, combined with the need for extra cash following the destruction of Empire State University, that prompted the Fantastic Four to give the go-ahead for a second attempt at animating their early adventures. The show was done very poorly and, despite a marketing attempt that included action figures, plush dolls and lunch boxes, the show went off the air quickly. (Fantastic Four #396)

It was not long afterwards that Onslaught reared his head. With so many powerful figures rising up to challenge him, it's no wonder that media coverage was so very nearly complete. CNN's Trish Tilby was even on hand to witness first-hand the "demise" of the Avengers and the Fantastic Four. (Onslaught: Marvel Universe) The FF continued appearing in the news afterwards, with television stations often using file footage from previous events insterspersed with coverage of tribute ceremonies. (Thunderbolts #1, 2) Of course the media were quick to jump on the story of the heroes' return as well. (Captain America Vol. 3 #1, Thunderbolts #10, X-Men #71)

It wasn't long after the Fantastic Four settled in their new home that they began working the media again. Reed started by arranging a documentary on the FF's life to be filmed by Manoli Wetherell and Neal Conan for NPR-TV. (Fantastic Four Vol. 3 #9) He also tried to set up bigger press conferences (Uncanny X-Men/Fantastic Four 1998, Fantastic Four Vol. 3 #52), get their names and likenesses in more periodicals (Peter Parker: Spider-Man #53), and even made an appearance on Politically Incorrect. (Inhumans Vol. 2 #4) Meanwhile, Johnny made a very public display of his romance with the Atlantean, Namortia. (New Warriors Vol. 2 #3, 6, 9)

The biggest media commotion, however, came when Susan announced that she was marrying Dr. Doom. NPR-TV and CNN were on-hand filming the event, and papers from New York's Daily Bugle to Spain's El Pais documented everything they could. (Fantastic Four Vol. 3 #27)

After the marriage was sorted out, Johnny turned his eye towards Hollywood as reported in Vanity Fare. (Fantastic Four Vol. 3 #35) Surprisingly, of all the members of the FF, he had previously had the least amount of experience with the movie industry. Johnny evidently felt the need to earn some money of his own to contribute to tha Fantastic Four and signed on to star in Hawk Productions' western: Blaze of Glory. (Fantastic Four Vol. 3 #37) After training with stunt man Bob Diamond (Fantastic Four Vol. 3 #40) Johnny attended the official launch party where Hawk revealed the first images of him as the lead character -- Rawide Kid -- and the film's new name: Blazing Star. The event was covered fairly heavily by the press, not only for the usual reasons, but the party (in all likelihood, intentionally) coincided with the Fantastic Four's anniversary. Retrospectives, biopics, and interviews were published by Time, Newsweek, the Sun, the Globe, as well as several unnamed television stations. (Fantastic Four Vol. 3 #50, 60) Shortly afterwards, the Make-A-Wish Foundation's annual Bachelor Auction, with Rosie O'Donnell as host, was televised. Johnny and Ben collectively raised $30,000. (Fantastic Four Vol. 3 #50, Second Story) Their success also led them to participate in a similar, Jay Leno-hosted World Trade Center relief auction some time later. (Spider-Man: Sweet Charity #1)

The Fantastic Four, by design, continue to be a market-driven force. T-shirts, bobble-head figures, coffee mugs, snow globes, and comic books featuring their likeness still persist, thanks to the help of a large support staff. (Fantastic Four Vol. 3 #60) Their popularity has led to references by other pop culture icons like Cypress Hill and Linkin Park. While the popularity waxes and wanes with the whims of a fickle public, Reed has gone to extra lengths to make sure that his family maintains a high public profile in some capacity.

Watchmen has become one the seminal comic book stories of the past several decades. It's probably been read and discussed and poured over more than just about any other single work that's come out, certainly since 1970. So it's also fairly common knowledge that Alan Moore's original idea pitch was largely based around the Charlton characters that DC had then-recently acquired, but wasn't doing anything with. DC editor Dick Giordano liked the general story, but didn't want to use the Charlton heroes. Allegedly because it killed them many of them off, preventing their future use. But since everybody knew, even back in the 1980s, that death wasn't permanent in comic books, I suspect Giordano's decision also had something to do with the fact that he helped create many of those very same characters when he was an editor at Charlton.

"Helped create" is probably a bit strong. I gather that he said something more like, "We need some superheroes like Marvel, but only with less powers to make them more mortal." And Steve Ditko came back with a de-powered Captain Atom, a new Blue Beetle and the Question. But since Giordano was heralding this new "Action Heroes" line, it's hard to imagine that he didn't hold some emotional ties to the characters.

You ever actually read those old Charlton stories? You know what? It's all there.

Everything that Moore did in Watchmen? All the elements for it were there in those Charlton books. I mean, obviously, there's no rape scene with Peacemaker and Nightshade, and the Question isn't shown watching his mother whore herself out on a nightly basis, but drawing those types of elements out of what Charlton did publish is not that much of a stretch. There's a seemingly congenial relationship between Captain Atom and Nightshade, but he's still a very cold character. Like Doctor Manhattan and Silk Spectre, they're also the only government-sanctioned heroes of the bunch. Blue Beetle, like Nite Owl, shows a fair amount of insecurity and isn't actually all that effective as a hero. There's even an insult hurled towards the Question about how he doesn't "smell so pure" prefacing Rorschach's stated hygiene problem.

I say that intending absolutely no disservice to Moore; what he wrote with Watchmen is exceptionally well-done on all counts. He doesn't steal or swipe from Charlton; it's just a larger springboard than I assumed. I had always figured that Moore was largely working with character archetypes and could have just as easily been referring to Superman, Batman, etc. No, he was clearly and definitively starting from the Charlton pool.

I'd always heard of the Charlton basis for Watchmen but, until I actually read those Chartlon stories, never really understood just how deep that connection was, and just how much of Ditko's work consequently shows up in Moore's. I originally wanted to see the Action Heroes Archives just to see what Ditko did, but it makes for a surprisingly much deeper understanding of what Moore did as well.