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3.8 out of 5 stars36
3.8 out of 5 stars
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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!
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This story is the third part of the latest adventure of the League of Extraordinary Gentlemen, continuing on from League of Extraordinary Gentlemen: Century 1969. Forty years later, Lando starts to have one of his funny turns, and soon she goes looking for her old friends. A trip to M.I.6. HQ and a spot of soul-corrupting with ‘Em’ and she is soon reunited with Mina, and before long they are on the Hogwarts Express to track down the Moonchild or the anti-Christ or someone answering that description. We discover the final fate of Oliver Crowley – anti-Christa are not necessarily very grateful for the job; and then it is back to London for a final showdown with a very naughty boy, before the dues-ex-machina that is [spoiler] floats down on her umbrella to sort things out; then it’s of to Africa for a funeral, and it is over. Well, wasn’t that fun. I’m sure there was more to it for those with eyes to see, etc. etc., and there’s always the ‘spot the familiar face’ game to be played with the characters in the street. Well, at least it whiled away a slow bus journey to and from the library.
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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...
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on 23 December 2012
Mr Moores preoccupation with this steadily growing series is time. He has always been preoccupied with time but here we see it explored even further. As Dr Manhatten says in The Watchmen, time is like a multi faceted diamond and not a linear progression or procession of events. We see time as a line because that keeps us sane.

The "League..." series picks events following characters in a sequence but by no means identifies with that sequence as an absolute version of events. The delight is in using the skewed vision of time and its conventional heroic epochs(Orlando is immortal- or is he/she?) to make sense of the meaningless culture we are surrounded by. There are no new heros here because there are no heros in 2009. Perhaps we have sporting olympic heros but there is no mystery about these hard working young individuals. They are hard working people who do heroic sporting things- they are not heros per se.

It is intriguing that Mary Poppins makes an appearance here- as she did in the Olympic opening ceremony- did Mr Moore have some inside knowledge on the content of that amazing spectacle?
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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.
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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.
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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.
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on 10 September 2012
As a long time LOEG fan since the first volume I have been reading these for some years now.
I think it's generally accepted that the first two volumes are the most accessible. "The Black Dossier" was an interesting read but much harder to comprehend and I needed to read it two or three times before finally (I think) working out all the references.
Here is the final (?) chapter of LOEG and the third part in the "Century" book (the first two being "1910" and "1969").
The cultural references come thick and fast and like "The Black Dossier" it needs careful reading.
The artwork by Kevin O' Neil is up to it's usual standard.
I'm sure that all three volumes of "Century" will be collected to form one 216 page graphic novel but for now it's worth picking up all three volumes of "Century" as it really is close to the pinnacle of how comics should be made.
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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.
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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!
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