Learn more Shop now Learn more Shop now Shop now Shop now Shop now Learn More Shop now Shop now Learn more Shop Fire Shop Kindle Learn More Shop now Fitbit

There was a problem filtering reviews right now. Please try again later.

on 23 February 2015
very good
0Comment|Was this review helpful to you?YesNoReport abuse
on 11 February 2015
The Amazon text describes Century as a 216 page epic which could mislead people into thinking that Century 1910 (book one of three) has 216 pages, rather than the 80 pages it has. To buy this new and have it posted costs the best part of £20, which will not encourage people to buy it.
0Comment|Was this review helpful to you?YesNoReport abuse
VINE VOICEon 6 June 2009
On the first, I reacted pretty much the same as the other reviewers, dashing off a two-sentence synopsis to a friend and telling him not to bother.

On the second reading I began to appreciate it more though, although readable, it's actually less accessible than some of Moore's other works (the first two LOEG volumes for example). I can understand why other reviewers were disappointed because the League appears relatively ineffectual in the story which itself is very separate from the other plot strand until the very end. We expect our heroes to, if not always win, at least have a significant effect. Here they are misled and ineffective.

The other part of the story concerns what happens to Nemo's daughter in London's East End, and not very pretty it is either, told in the manner of Brecht's Threepenny Opera with her as Jenny Diver and Macheath as a returning Jack the Ripper.

Operas tend to have prologues and this LOEG volume is essentially the prologue to the new series. What happens here will resonate in later volumes later in the century so it's certainly unfair to dismiss future parts on the basis of the first. However I can understand people who didn't like The Black Dossier (I do, a lot), not liking this as it's more in keeping with TBD's tone than with the first two books.

I particularly liked the Prisoner of London, trapped in space but not in time.

There seems to be some confusion over the identity of Quartermain Jnr. As far as I am aware he is Allan Quatermain made immortal by going, with Mina Murray, through Ayesha's fire. Oliver Haddo is the equivalent of Aleister Crowley in a W. Somerset Maugham story.
22 Comments| 31 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 8 November 2010
This was not vintage Alan Moore in any way. However there is still a lot to praise in this book.
My main criticism is that not enough happens. Sure there are plenty of witty lines and some good set pieces but there just didn't seem to be that much of a plot. Of course it is relatively short and is setting up events in future volumes. On a subsequent read through I did start to appreciate it more.

I liked O'Neil's artwork though I think it can be a bit of an acquired taste. It was very evocative and the layout was very clean and clear as well. There is sometimes quite a lot happening and a careful study of what is going on in the background can be entertaining.

Many of the characters that are introduced are not as famous as the ones in previous volumes and I probably didn't get many of the allusions in the book.
It has the usual amusing adverts on the inside of the front cover and the short stories at the back are witty.
0Comment| 3 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 18 August 2015
The start of a tedious trilogy. I have found nothing of interest or to sympathize with in the characters. The plot ultimately goes nowhere for nothing, and the artwork is poor. The only fun was looking out for the references, but of course that isn't good enough reason to write the story.
0Comment| One person found this helpful. Was this review helpful to you?YesNoReport abuse
on 8 June 2009
-The most important thing to remember about this comic is that it's one of three, as in it's not a finished story. It's part one... of three.
And it's awesome. In scope and in content...

All of the negative feeling I got from the reviews on this page seemed to be some kind of backlash of Alan Moore's choice of content. Where 'The League' was originally praised for being complex, different, intelligent and actually required you to read - I know! Actual reading! - up on the subject if you wanted to get all of the jokes and references, now people seem to think that this is its downfall. That it's just too clever for its own good. Make up your minds people!

Personally I found it brilliant, elegant, brutal and it hints at a fantastic volume 3 (like I said this is just the first part). It also feels like Alan Moore is setting down a giant blueprint of the series by dabbling across time periods, that as this volume is a snapshot across three eras of the League you get the feeling he'll be filling in the missing years later (he gave us a broad outline in the black dossier). Or maybe he'll go back pre-mina and quartermain? Who knows, I'm just here for the ride. (I have only one question for Mr Moore, and that is will Sir Harry Flashman be making a cowardly appearence?)

If you want full page splashes of spandex clad super heros or eighty pages of fight scenes with dialogue amounting to four or maybe five words this simply isn't a comic for you. This is a comic for the more curious comic reader.
I say bring on the sixties League!
44 Comments| 16 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 12 December 2010
Totally different to previous League books but then again, none of them are all that similar. I guess it's the pacing with this one, it's quite a slow burner and practically everything that happens in the plot is leading up to the climactic ending of death and destruction along with the birth of a new character. A lot of people seem to be complaining about this one being too confusing but I'm not sure why, anyone who's read The New Traveller's Almanac (from League 2) and The Black Dossier should be up to speed and aware of exactly who everyone is and what their purpose is. Another complaint people have is that the literary references are too obscure, well that doesn't matter, League isn't just a glorified game of where's Waldo, there's a lot more to it than spotting the literary references and figuring out where the characters are from, if one is really desperate there's always google. The point of any good comic is the story and the characters, not the satisfaction of a nerdy ego.
0Comment| 3 people found this helpful. Was this review helpful to you?YesNoReport abuse
on 23 June 2009
Alan Moore is generally good (I think thats pretty much taken as read these days) this was not. Like all experimental artists the odd dud is produced and this is one. There is too much self aware literary and historical referencing and not enough character, plot and those other fripperies which are traditionally associated with the medium. Its all very post-modern but not very engaging.
0Comment| 7 people found this helpful. Was this review helpful to you?YesNoReport abuse
VINE VOICEon 31 May 2009
It's a brave decision to write a story where the good guys fight the bad guys and have the bad guys maybe not be bad, not be dangerous or have not even done anything at all. I suspect Moore is trying to say something about our current climate of suspicion - he references the July 7th London bombings - where government agents rush around fighting a threat that may not really be there, all the while missing two very really threats. Unfortunately this dilutes the experience of the story. The characters don't really know what they are doing, so what chance the reader?

His choice of characters does need some fleshing out. Virginia Woolf's Orlando is an interesting choice he doesn't really explore and Mina Harker is fine. But even the best read reader will do well to recognise or place Thomas Carnacki, or Arthur J. Raffles. Placing Andrew Norton is just about impossible. And using a Quartermaine Jr. character is very Hollywood.

OK, the point of reading a Moore novel is not to be a literary detective and work out all the intertextuality, but any story needs characters the reader can buy into and without any background or context this is lost. (Its the sort of thing that he has done in other works with side stories or additional content for example).

Other than that, this is (as always) a beautifully illustrated book. Kevin O'Neill's style is very pleasing and suites these types of story well.

This book lacks some fleshing out and context. I agree with the other reviewer that some more editorial scrutiny might have helped. Not a bad book, not the best in the series it just slightly misses the mark.
33 Comments| 9 people found this helpful. Was this review helpful to you?YesNoReport abuse
VINE VOICEon 12 July 2009
1910 is the first in a trilogy of stories, new releases over the next two years all being well, taking the concept of blending all fictional worlds into a reflective metanarrative through the twentieth century to the present day.

In this one, Carnacki the Ghosthunter's premonition of an evil cult's efforts to bring about the apocalypse lead a new version of the the League made up of Mina Harker, the rejuvenated Quartermain masquerading as his own son, Virginia Woolf's Orlando, Carnacki and Raffles the amateur cracksman into an adventure that brings them into contact with Nemo's successor and a version or two of Alistair Crowley.

There are two main stories, the death of Nemo and how that and Edwardian England shape his successor, and the League's efforts to prevent the future from happening. To say that the League is ineffectual is wrong, they prove very effectual but not in the way intended. Plus, those who have read much Moore will recognise that his nominal heroes (Miracleman, Halo Jones and Captain Britain spring immediately to mind) are usually pushed and pulled by the tides of fate, and the machinations of other characters, so this is hardly a departure from his normal style.

And what is fun, as ever, is the way that Moore plays the characters off each other, like Mina's dislike of the male Orlando or Raffles' attraction to Mina or Campion Bond's reduction to the role of butler to Mycroft, and the moments like Orlando wielding Excalibur or the encounter with a man unstuck in time whose poetic metaphors hold clues to the future.

And there is the frenetic energy of Kevin O'Neill's art which is perfect as ever at capturing the world in a very British idiom.

I can understand some of the criticisms that the story does not feel complete, thematically it's certainly not and no doubt that's what the upcoming two elements of the story will deal with, but you have to bear in mind that Moore is also reflecting the society of the time, the fin de siecle, bohemian nature of the times. But I wouldn't want to miss out on where this story is going.
0Comment| 5 people found this helpful. Was this review helpful to you?YesNoReport abuse

Need customer service? Click here