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Books : Comics & Graphic Novels : Cult Graphic Novels : Watchmen & Other Classics
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"I shall tell you where we are. We're in the most extreme and utter region of the human mind. A dim, subconscious underworld. A radiant abyss where men meet themselves. Hell, Netley. We're in Hell." Having proved himself peerless in the arena of reinterpreting superheroes, Alan Moore turned his ever-incisive eye to the squalid, enigmatic world of Jack the Ripper and the Whitechapel murders of 1888. Weighing in at 576 pages, From Hell is certainly the most epic of Moore's works and remarkably and is possibly his finest effort yet in a career punctuated by such glorious highlights as Watchmen and V for Vendetta . Going beyond the myriad existing theories, which range from the sublime to the ridiculous, Moore presents an ingenious take on the slaughter. His Ripper's brutal activities are the epicentre of a conspiracy involving the very heart of the British Establishment, including the Freemasons and The Royal Family. A popular claim, which is transformed through Moore's exquisite and thoroughly gripping vision, of the Ripper crimes being the womb from which the 20th century, so enmeshed in the celebrity culture of violence, received its shocking, visceral birth. Bolstered by meticulous research that encompasses a wide spectrum of Ripper studies and myths and coupled with his ability to evoke sympathies in such monstrous characters, Moore has created perhaps the finest e
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V for Vendetta is, like its author's later Watchmen, a landmark in comic-book writing. Alan Moore has led the field in intelligent, politically astute (if slightly paranoid), complex adult comic-book writing since the early 1980s. He began V back in 1981 and it constituted one of his first attempts (along with the criminally neglected but equally superb Miracleman) at writing an ongoing series. It is 1998 (which was the future back then!) and a Fascist government has taken over the UK. The only blot on its particular landscape is a lone terrorist who is systematically killing all the government personnel associated with a now destroyed secret concentration camp. Codename V is out for vengeance ... and an awful lot more. V feels slightly dated like all past premonitions do. The original series was black and white and that added to the grittiness of the feel while the colouring here in the graphic novel sometimes blurs David Lloyd's fine drawing. But these are small concerns. Skilfully plotted, V is an essential read for all those who love comics and the freedom, as a medium, they allow a writer as skilled as Moore. The graphic novel contains all the V series plus two additional stories concerning V that were originally considered "interludes". This edition also contains an essay from Moore dating from 1983 explaining the creation process. For any comic fan it's a must-have.
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The versatile Neil Gaiman is best known for scripting upmarket graphic novels, most famously the lengthy Sandman cycle. Stardust was a joint project with artist Charles Vess, a short novel of fairyland enriched by at least one sumptuous painting on every page. This edition contains only the (slightly rewritten) text, alas. Gaiman's story looks back to days before commercial genre fantasy, to Lord Dunsany's and Hope Mirrlees's visions of Faerie as a misty country which is at the same time temptingly close and "over the hills and far away". The simple tale is new but has a twice-told familiarity, crafted like a mosaic from many traditional elements. Hopelessly crossed in love, a boy of half-fairy parentage leaves his mundane Victorian-English village on a quest for a fallen star in the magical realm. The star proves to be an attractive woman with a hot temper, who plunges with our hero into adventures featuring witches, the lion and the unicorn, plotting elf-lords, ships that sail the sky, magical transformations, curses whose effects rebound, binding conditions with hidden loopholes and all the rest. Stardust is by turns knowing, poetic, comic and grisly and exudes considerable charm. If only we had those full-colour Vess paintings too. --David Langford
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Jon J Muth is one of the few people drawing comic books who wholly deserves the name of "artist". In his still uncollected series Blood he, and his partner for Moonshadow John DeMatteis, produced one of the most affecting, intelligent, genre-redefining comics of the last 20 years. Blood seemed unsurpassable. But the literate, haunting, truly beautiful Moonshadow came along and comics themselves grew up a little. Michael Moorcock said of Moonshadow: "This is an outstanding graphic tale, told at a level of literary and visual sophistication which introduced new standards and aspirations to the genre". Muth's artwork is absolutely superb and unique--only Bill Sinkiewicz comes near--but DeMatteis' writing lives up to the job and he has penned here a sometimes heart-breaking tale of love and loss and growing up in, and leaving, an alien zoo! This is how all comics should be. --Mark Thwaite
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As comic books gained in respectability, the superhero comic has remained a much-maligned medium. Oh sure, Batman was given new levels of sophistication by the likes of Frank Miller and Alan Moore, and Watchmen added a dose of reality to the concept of superheroes, but the likes of Superman and Wonder Woman have for years watched their lesser-powered colleagues gain critical acceptance while they were left behind to keep the kids happy. Until, that is, Kingdom Come accorded DC's premier superheroes the respect they have long deserved.In the near future, Superman has retired, plagued by an inability to accept a world where his generation's super-powered descendants run roughshod over the values he fought for. When tragic events force his return, he gathers his former team-mates and colleagues to once again lead the fight for justice and order. However, their return sparks a chain of events that could lead the world to Armageddon.
With its intelligent storyline and superb painted artwork, writer Mark Waid and artist Alex Ross have created a thoroughly believable world where superheroes could exist, paying particular attention to the social and political implications of such a world. Why bother with the Olympics when there are beings who can bench-press buildings and run faster than light? What's the point of normal humans making laws when they are powerless to enforce th
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Jon J Muth is one of the few people drawing comic books who wholly deserves the name of "artist". In his still uncollected series Blood he, and his partner for Moonshadow John DeMatteis, produced one of the most affecting, intelligent, genre-redefining comics of the last 20 years. Blood seemed unsurpassable. But the literate, haunting, truly beautiful Moonshadow came along and comics themselves grew up a little. Michael Moorcock said of Moonshadow: "This is an outstanding graphic tale, told at a level of literary and visual sophistication which introduced new standards and aspirations to the genre". Muth's artwork is absolutely superb and unique--only Bill Sinkiewicz comes near--but DeMatteis' writing lives up to the job and he has penned here a sometimes heart-breaking tale of love and loss and growing up in, and leaving, an alien zoo! This is how all comics should be. --Mark Thwaite
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