Take “Wonder Woman” #6 by George Pérez (co-written by Len Wein), the finale of his 1987 relaunch. Diana confronts Ares, the God of War, who plots to spark a nuclear armageddon. So, Diana shows him the lonely world he’ll rule if he triumphs; a tearful Ares relents. This realization about a destructive dream is similar to Moore’s Magneto.
More directly mirroring Corben’s “corpse crowd” is the manga “Vinland Saga” by Makoto Yukimura. That series follows an 11th-century Viking warrior named Thorfinn, who kills many in a failed effort to avenge his father. After the first 60 or so chapters, his mission changes from vengeance to atonement. So that the reader understands Thorfinn’s cross to bear, certain panels show him surrounded by a mountain of corpses, as he imagines himself to be. If he kills again, that means adding another body to that toll.
Yukimura’s influence probably isn’t American comics, though, but Kentaro Miura’s “Berserk.” In that manga, a crippled mercenary leader named Griffith is given the chance at power if he sacrifices his followers. To sway him, he’s shown a vision of all the people he’s killed, their bodies forming a (still-incomplete) walkway he stands at the edge of. Griffith’s conclusion is the opposite of Thorfinn’s; if he doesn’t take more lives, the previous deaths will be meaningless. Under different writers’ pens, Magneto has wielded both these arguments.
Looking at Moore’s work itself, though, the overlaps I see are “Watchmen” and “Miracleman.” In the former, Adrian Veidt/Ozymandias kills thousands in the name of greater peace. In the latter, the story concludes with the hero using his Superman-like powers to change the world, building a benevolent dictatorship. Moore, an anarchist, is skeptical of men with a will to power who are out to exercise it over the world. If their vision is fulfilled, the bodies will pile up.