∎ Read Free The League of Extraordinary Gentlemen Nemo Trilogy Slipcase Edition Alan Moore Kevin O'Neill 9781603093811 Books

The League of Extraordinary Gentlemen Nemo Trilogy Slipcase Edition Alan Moore Kevin O'Neill 9781603093811 Books

Download As PDF : The League of Extraordinary Gentlemen Nemo Trilogy Slipcase Edition Alan Moore Kevin O'Neill 9781603093811 Books

The League of Extraordinary Gentlemen Nemo Trilogy Slipcase Edition Alan Moore Kevin O'Neill 9781603093811 Books

Most of Alan Moore's most famous works are a critique of the superhero genre: "V for Vendetta" critiques the British system and an anarchistic response to it, "The Watchmen" critique the American culture of superheroes as liberal visionaries or right-wing vigilantes in the context of the cold war. This continues this critique but by referencing the 19th century literature, both classic and pulp. Indeed, Moore seems to be pointing out that the line there was always thin. In the context of the British Empire, Moore shows that heroes are basically imperialists. Furthermore, in a similar vein to "the Watchmen," most of the characters are much more morally problematic than their literary counterparts. Having a background in 19th century British literature helps: Bram Stoker's "Dracula," Jules Verne's "20,000 Leagues Beneath the Sea," H. Rider Haggard's "King Solomon's Mines," Robert Louis Stevenson's "Dr. Jekyll and Mr. Hyde" and H. G. Wells' "The Invisible Man" build the context of the main characters, and the personalities do seem rooted in the books. Knowing Ian Flemming's James Bond and Arthur Conan Doyle's Sherlock Holmes' characters help as well. The art is very driven by pulp art as well as Victoriana in general. That said, the empire may not be all it seems and so too the problems of the precursors to comic books. This volume is a fairly straight ahead story as far as Moore is concerned, although the literary references build very quickly. At a surface level, this is not a subtle comic, but it works much more deeply in dialogue with its source material and with culture of superheroes: a genre that Moore seems to work in only to undermine.


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The League of Extraordinary Gentlemen Nemo Trilogy Slipcase Edition Alan Moore Kevin O'Neill 9781603093811 Books Reviews

This graphic novel did not translate very well to e-book, in large part because so many pages contained page-wide cells that could not easily be separated for enlarged viewing. My bifocals were barely up to the task of reading the dialogue ballons.

Yes, I am that old.

Despite that, I enjoyed the book. The story and artwork were good, just painful to view.
While Moore is clearly at the top of his game with this one, I couldn't give it a complete five stars because some of his references in literature, film and pop culture, became too obscure, even for me. I realized this when I had to go to Wikipedia to unpack everything Moore was writing. In addition, I fully expected the end of the series with Century and yet he leaves the door open for more adventures.
Let me explain why this is a problem.
Alan Moore was very upset with DC comics for continuing his Watchmen series after he was gone. He went on and on about how the failings of comics were that the characters never, truly, have an end to their story arc. Moore wrote all of his comics so there would be an end to their arcs. Yet, here he is, in LXG Century, leaving the door open for future stories with a small blurb at the end. Sad, Mr. More, Sad.
Now, other than that, this was an excellent story with unexpected poignancy and surprises. I very much liked it. If you love LXG, than you'll love it, too.
Alan Moore begins his Century series in 1910, and the League, while not what it once was, is still a powerful organization of the British Government. They investigate murders and a shadowy cult they believe is planning a global catastrophe.

The highlight of 1910 is the coming-of-age tale of Janni Dakkar. Seeing her evolution as a character was a thrill. In addition to her, Moore has written a ton of music into this novel through his side-characters that do a good job of illustrating the themes of the novel, though they can be a bit heavy-handed. And while the literary references have started to get more obscure, they're still fairly recognizable.

The main problem with 1910 is that it's too short. And I don't just mean that as 'I wanted it to go on forever'. I mean it as 'Moore rushes through several plot points too fast for them to be satisfying'.

Like Watchmen and the other League novels, Moore ended this story with a companion piece called 'Minions of the Moon'. This piece provides plenty of interesting back story on the characters, along with it's own worthwhile League Adventure in it's own right. Unfortunately, Moore decided to write it at a Nathaniel Hawthorne level of overly-complicated-and-pretentious writing. Still I wouldn't recommend that you skip it.

All in all, I thought this book was enjoyable and worth the money, but they were downhill afterwards, so if you don't like this one, don't bother with 1969 and 2009.
Alan Moore finishes the LOEG for now. They find the bad guy, but rather than win, a more powerful character comes along. As you read, it's evident that Moore didn't like Harry Potter.

The first volume in this series was good. It sets up the story, leaving room for sequels in the hunt for Haddo, the Anti Christ. 1969, rather than being much of a sequel was more of a parody of 1960s sexual revolution. 2009 picks the story up again, we get a story largely settled on Orlando, and a conclusion that doesn't make much sense.

Don't get me wrong, this is much better than 1969 in the trilogy of this story. But it still is missing whatever that intangible is that made the first two LOEG story lines so good. For me, I think Allan Moores heroes are just best in the 1900s. But it's Moore so if he releases further stories, I know I'll buy it
Most of Alan Moore's most famous works are a critique of the superhero genre "V for Vendetta" critiques the British system and an anarchistic response to it, "The Watchmen" critique the American culture of superheroes as liberal visionaries or right-wing vigilantes in the context of the cold war. This continues this critique but by referencing the 19th century literature, both classic and pulp. Indeed, Moore seems to be pointing out that the line there was always thin. In the context of the British Empire, Moore shows that heroes are basically imperialists. Furthermore, in a similar vein to "the Watchmen," most of the characters are much more morally problematic than their literary counterparts. Having a background in 19th century British literature helps Bram Stoker's "Dracula," Jules Verne's "20,000 Leagues Beneath the Sea," H. Rider Haggard's "King Solomon's Mines," Robert Louis Stevenson's "Dr. Jekyll and Mr. Hyde" and H. G. Wells' "The Invisible Man" build the context of the main characters, and the personalities do seem rooted in the books. Knowing Ian Flemming's James Bond and Arthur Conan Doyle's Sherlock Holmes' characters help as well. The art is very driven by pulp art as well as Victoriana in general. That said, the empire may not be all it seems and so too the problems of the precursors to comic books. This volume is a fairly straight ahead story as far as Moore is concerned, although the literary references build very quickly. At a surface level, this is not a subtle comic, but it works much more deeply in dialogue with its source material and with culture of superheroes a genre that Moore seems to work in only to undermine.