on 12 November 2013
I don't know if I'm alone in this, but I'm increasingly finding Alan Moore is going off the boil.
His early stuff had me honestly categorise him as one of the great writers of the twentieth century, but in comparison to some of those classics (Watchmen, Killing Joke, V for Vendetta, Marvelman, etc), much of what he does now seems just.....mundane.
I know, I know Alan Moore mundane, who would have thought
The first two Victorian League of Extra-ordinary Gentlemens were works of genius in my opinion: 1911 was a complete waste of space. 1969 was highly enjoyable, and this one......has it's moments. There are all the usual Moore touches like his razor sharp insights into society (these stories happen in a parallel reality and the comparisons to our own are intriguing and convincing).
2009 also continues 1969's amusing convention of inserting relevant cultural icons into the narrative (a Michael Caine lookalike in 1969 and two James Bonds - Moore and Craig - in 2009).
But there are problems here, too - in terms of characterisations (often one of Moore's strengths) there is a feeling that he simply isn't interested in his central trio of Mina, Alan, and Orlando anymore, certainly not to the extent that he was interested in the early Leaguers like the amoral Mr Hyde, the arrogant Captain Nemo, or the treacherous Invisible Man.
Worth the money but not much more than that. I hope for a return to form from Mr Moore before too long!
on 8 December 2012
First of all, I am a flag-bearer for Alan Moore and have been since Marvelman (don't sue me, please, Marvel, I meant Miracleman) and V For Vendetta were running in Warrior in the 80s. The Future Shocks (The Time Machine!), 2000AD, Swamp Thing, Watchmen ("Nothing ends, Adrian, nothing ever ends", "a successful virus on a speck of mud in infinite nothingness"), A Small Killing, From Hell (Good Lord, that was brilliant, "Hell, Netley, we're in Hell", which I quote to myself very regularly), Top Ten, Voice of the Fire, Lost Girls, etc, etc. I really dislike comics, only because anything apart from Alan Moore's stuff is, in my opinion, excruciatingly bad. Yes, Grant Morrison, Frank Miller, and all the rest. If you like it, fair enough, but, for me, Alan Moore's stuff is the only thing that I think contributes to the human condition on the same level as a great book.
Having said all that, LOXG has, I think, reached rock bottom. The first few books were superb. Brilliant artwork from Kevin O'Neill, backwards hand-writing, literary walk-ons, "I am no-one", etc. This last 2009 effort is just dull. Harry Potter, granted, is clever, but the theme is rammed down the throat. The art-work just looks rushed compared with the beauty of the earlier volumes. I've always loved Kevin O'Neill's style, back to Nemesis and Torquemada, but this stuff is lazy, accentuated by the colour. The Kevin/Alan stories for the Green Lantern stuff are just amazing.
Alan, if you're reading this (which I assume you're not), I do feel guilty about not writing glowing reviews of (all) your other work. I'm just disappointed with this one. Although compared with any other comic, it's in a different class...
on 9 February 2014
The conclusion of the century-spanning pastiche of 20th century fiction meets its end. Mina and Orlando set out to conclude their search and destruction of the prophecised Antichrist in the most miserable, hopeless age they've yet experienced - the 21st century.
If you love boy wizard Harry Potter, you probably want to stay away from this because here he's portrayed as the Antichrist. It's a dark, epic and ingeniously-created book which further expands the realms of imagination.
on 18 August 2015
At last, the, sort of, conclusion! I'm glad it's over. I was considering buying the other League of Gentlemen books, but will not bother on this showing.
Poor plot with a 'so what' conclusion (especially after 3 volumes); poor artwork, unconvincing and dull characters, with a few references to spot being the only bit of interest.
on 24 May 2013
This book is definitely worth a try, the storyline is great, very enjoyable, the characters are likable and funny when needed, the art is fantastic, it’s good to look at. I recommend this book to anyone who loves comics or just interested in getting to know the genre.
on 9 August 2012
After the first 2 volumes, that had really revolutionised and re-invigorated the dated concepts of Wold-Newton universe or 'Steampunk' Victoriana, this series began its descent into chaos. The well-structured world slowly became a post-modern whirlpool where literary references and in-jokes grew at the expense of the narrative tautness. Now, it seems, that the saga is finally over. We have death of an iconic character, and frustration & devastation (along-with some stuff that would really enrage Harry Potter fans) pervade every page. This is a bleak volume, and I am sorely missing Jess Nevin's indispensable annotations. Nevertheless, compared to the experimental 'Black Dossier' and some of the other pointless stuff thrown about in the previous volumes, this time the narrative was continuous and quite readable. This is NOT Alan Moore at his best, but still, that's better than many others.
on 12 July 2012
The latest chapter in the LOEG is a rather bitter one. It seems Moore and O'Neil have used the contemporary time-frame as a vehicle to vent their anger and frustration at the near-barren landscape of fiction and popular culture of modern times. The narrative is a lot stronger than the previous two Century books, there is less time wasted on exposition and referencing off-page characters. The story is incredibly bleak, even more-so than the previous two books. I don't want to go into the details of the plot for fear of ruining the experience for people, but let's just say Harry Potter fans will find a lot to be disturbed and frightened about.
The characterization is good in this one. I finally feel like I know Orlando and understand what makes him/her tick, he/she's a lot less irritating this time round and strangely likeable despite the fact she does something atrocious in the opening pages. One problem I have with this book, it seems at times to be a scathing attack on the young people of today. Perhaps I am totally misunderstanding the intention but, it seems the main antagonist is symbolic of modern youth, and isn't portrayed in a flattering way at all. This book also gives the impression that Moore despises Harry Potter, which is a bit baffling to me, they're not exactly Shakespeare but I don't see anything inherently evil or amoral about the Harry Potter series, especially since it has undoubtedly encouraged a lot of children to read.
Kevin O'Neil's artwork is incredible as always!