don't think Alan Moore is trying to say anything with this series anymore, It's just a dumping grounds for various literary references, Aunque Moore sigue siendo Moore hasta cuando no está en su mejor momento, TLoGabusa del guiño hasta llegar a lo críptico.
Lo que funcionaba muy bien en la entrega original, deriva hacia un onanismo esotérico un poco cansino,es el mejor de losvolúmenes con referencias gloriosas a cierto mago y cierta maga de películas infantiles, Lo de esta última es para quitarse el sombrero,
Un aplauso para Kevin O'Neill, un tipo que dibuja fatal pero estalento, This was interesting. A lot less spotthereference than the previous volumes it becomes apparent that Moore isn't super interested in modern culture, or thinks it's too derivative to be worthy of inclusion.
His primary contemporary reference is heavily satired and derided, though certainly not without justification, There is a great deal of psychic resonance between the millennial predicament and the diet of 'chosen one' narratives we grew up reading, But at the end of the day this story was a dank and depressing trip, and I can't help but feel a little disappointed that this was what it led up to.
I'm not going to lie the simple narrative structure and relative deficit in meaningful character development makes this my least favorite of the "Century" trilogy.
Important threads from the earlier volumes are wrapped up in a manner that seems more de rigueur than passionate, Important characters receive short shrift, The rhythm lacks the sort of intense, psychedelic montage that made Century so satisfying,
It's still a spellbinding book, full of subtle humor and allusions that would make the work an enjoyable parody on its own in this volume, in particular, the parodies of the James Bond and Harry Potter franchises are excellent, with a meaningful and worthwhile narrative at its core.
And, ultimately, it's an excellent conclusion to the Century narrative, I would have had no objections had it been packaged in a single graphic novel alongside volumesand, But as a standalone work, and as a standalone work I'd had some time to spending in waiting for, it was a minor letdown.
You will notice I have not withheld astar rating, No criticism I could possibly make of any entry in the League of Extraordinary Gentlemen could detract from the basic, objective truth that it was amazing.
Alan Moore, thank you for the League, It was amazing, While I've enjoyed the postBlack Dossier LoEG work more than others I speak to, I still find myself disappointed by its conclusion, I respect Moore and O'Neil's changing of the tone from adventure to meditation on fiction and have been happy to flow with the change as it happened.
I've always enjoyed walking through the world, fictional and real, from Moore's perspective,
This latest book, however, reveals his Achilles heel: satirizing modern culture despite his shallow experience in it, I understand his points about franchises and corporate entities spoiling imagination but I don't know if current popular fiction is really worse than the era his main characters come from.
This is especially true of the Harry Potter series, which he puts in the cross hairs in, His criticisms of the boy wizard and his world ring hollow, It makes me wonder if he knows anything about the series beyond the first two books, as the themes and characterizations Rowling presented are far richer than he acknowledges.
It's likely he hasn't dug deep into Harry Potter or much else and that becomes a problem when you're looking to skewer it all.
That said, the book is still full of surprises along with some great character bits, I personally love the James Bond concepts he throws around, Also, I can forgive a deus ex machina when the person delivering it is that unexpected, As always, O'Neil's artwork is great and I'll have fun poking through the details over the next couple of days,
Alan Moore and Frank Miller were the great comic creators of my youth, While they're both no longer creating their best work, I'll take Moore in a reduced form any day over Miller's descent into unintentional selfparody.
Moram reci da mi se konceptualno jako svidja ideja ove mini trilogije: borba besmrtnika kroz razlicite epohe i istrazivanje kako dugacak zivot psihicki utica na ljude.
Kako se ljudi menjaju, njihov pogled na svet i uopste shvatanja i zelje od samog zivota,
Ono sto mi se nije bas svidelo je sama centralna prica oko antihrista itsd, Nekako mi je to sve neozbiljno prikazano od pocetka do kraja, mada imam utisak da je to mozda bila i poenta,
Ipak od ocajnog pocetka do odlicnog kraja mislim da ipak vredi procitati ovo samo da se bude spreman da ulazimo u nesto skroz drugacijeg od prve dve knjige.
I think that Alan Moore has done some great work in the past, but I have to accept that I'm not the target audience for LoEG.
These books seem to be increasingly the literary equivalent of films like "Date Movie" and "Epic Movie", i, e. they rely on the reader/viewer saying "Hey, I recognise that reference and therefore I like it!" I want more than that, e, g. a proper story. Looking back at this book after I read it, and asking myself "What actually happened", there's only aboutsentences worth of plot in there.
I think I picked up more references in this installment than in previous volumes, e, g. I recognised the James Bond actors without needing to refer to a list of annotations, Better than the second part, though it would be nearimpossible not to have been, At this point no one including the authors have any genuine interest in the story, so its mostly humorous resolution is both a bit funny and a bit "oh, why not, who cares" The resolution of the mysterious ending of partis wholly disappointing, and the resolution of the forced "revived heroism" character blip is likewise disappointing, but it's in total keeping with Mr.
Moore's treatment of male characters in his many series, It does have some funny moments, finally, for the first time since maybe even volume, and there's not quite as much extraneous lascivious stuff asthough it does have its share, but it's too little too late.
The more you think about it, this whole problem, according to Mr, Moore, is the League's fault, They are culpable for the villain achieving what he achieved, and they play no meaningful role in resolving the problem, And, no, I don't believe all those ladies loved John Steed, It's not that great of a work, really, Reseña de Jero Piñeiro para su blog "El abismo te devuelve la mirada":
sitelink blo
Un siglo de metaficción
Ya lo decía el otro día a cuento de mis tebeos favoritos de: la última entrega de las aventuras de “La Liga de los Extraordinarios Caballeros” de Alan Moore y Kevin O'Neill estaba al caer.
Y así ha sido. Desde esta semana puede encontrarse en las librerías españolas, de la mano de Planeta de Agostini, la conclusión de la saga “Century” bajo el subtítulo “”.
La lectura de este último volumen requiere, de entrada, la revisión de sus inmediatos predecesores: “” y “”, Si no, corre uno el riesgo de perderse en el denso mapa de referencias a la ficción británica literaria, televisiva y cinematográfica de los últimos cien años, y también de un poco más atrás y un poco más lejos un expresidente de EE.
UU. apellidado Bartlet. Al igual que en los episodios precedentes, el guionista de tebeos más importante de todos los tiempos la obra de Moore puede gustar más o menos, pero su relevancia es absoluta e innegable se las arregla para introducir cientos literalmente de guiños, homenajes, situaciones y personajes de la cultura popular que van desde la última tragedia de Shakespeare enD! hasta James Bond todos los James Bonds, pasando por el gran icono literario/cinematográfico de la actual Gran Bretaña, auténtico leit motiv de toda la saga aunque su identidad se hubiese mantenido semioculta hasta ahora.
Todas las profecías planteadas en volúmenes anteriores se resuelven aquí de la más satisfactoria de las maneras, Por fin uno entiende, por ejemplo, quién era aquel hippie ocultista que endecía “Me llamo Tom, Mi segundo nombre es una maravilla, y mi apellido, un acertijo” ya digo: hay que releer, Por fin se descubre qué era ese Anticristo del que tanto hemos oído hablar, y por fin, también, se lleva a nuestro trío protagonista Allan Quatermain, Mina Murray y el/la delicioso/a Orlando al destino dramático que las páginas anteriores venían apuntando.
Con un estilo cada vez más visceral y caricaturesco, Kevin O'Neill entrega unas páginas llenas de fuerza expresiva que no precisan más que una clásica cuadrícula dexviñetas para desarrollar el aluvión de conceptos propuestos por el guionista de “Watchmen” y “V de Vendetta”.
Éste no da puntada sin hilo, y se las arregla como quien no quiere la cosa para salpicar su distópica y fantasiosa reconstrucción de la historia londinense con referencias a la crisis económica, la represión policial en los estados supuestamente democráticos, las tensiones en Oriente Medio y las masacres estudiantiles en los institutos.
Lo hace, además, divirtiendo, sorprendiendo y dándole un giro inesperado a muchos conceptos que todos tenemos anclados desde muy niños guiño guiño en el subconsciente colectivo.
Por todo ello, los tres volúmenes que componen esta “The League of Extraordinary Gentlemen: Century” posiblemente constituyan el comic de superhéroes por victorianos que sean con más chicha que un servidor haya leído desde que Warren Ellis y John Cassaday despidieron su monumental y también metaficcional “Planetary”.
Lo cual a estas alturas tampoco debería sorprender a nadie: el caballero barbudo de Northampton juega desde hace décadas en otra liga.
Una realmente extraordinaria. La suya propia.
P. D: no terminan aquí las buenas noticias, Tal vez "Century" haya concluido, pero parece que a Moore y O'Neill aún les queda cuerda para rato, Por lo de pronto, ya se ha anunciado para dentro de un mes en EE, UU. un spinoff protagonizado por Nemo bajo el título "Heart of ice", Mientras tanto, problemas con los derechos de autor impiden que se publique fuera de las fronteras estadounidenses la auténtica tercera entrega "Century"
sería la cuarta en la cronología extraordinaria: "The Black Dossier".
Qué lástima. Podéis leer un interesante artículo al respecto clickando AQUÍ, Semblarà una tonteria, però de moment aquest és el número que més m'ha agradat de la Lliga, fins i tot més que els dos primers, els més populars.
No només perquè hi surti el Doctor fenthi un cameo, sinó perquè hi he connectat des del primer moment, M'ho he passat molt bé llegintlo i buscant les referències la majoria de les quals se m'han escapat, però vaja, I la història no té res, però mola prou com per gaudir del còmic, Alan Moore's fantastic and ingenious intercontinuity crossover moves on to the present day, While still carried by the usual great writing as well as superb artwork, the story is now marred by a few severe and largely incurable issues.
I'll discuss precisely these things in my review: if you don't think they would bother you, that they would have nothing to do with the story as a whole, feel free to add a star or two to my evaluation but to say they did not bother me would be rather dishonest.
In the early days of the League, Alan Moore could operate almost entirely under public domain and was as such given largely free hands but this doesn't fly in the modern day, where copyrights have evolved into a tangled, throttling vine that no longer allows such creative freedom, no longer lets him to mess with characters and worlds created by someone else.
You can say a lot of things for copyrights as well as against them, but it's easy to see the negative impact they've had in this story, forcing Moore to write around them alter them, mutate them, never name them like they were some unknowable eldritch deity up until the point where they bear little resemblance to their original works, rendering the entire crossover premise largely moot.
The main characters, Allan Quartermain and Mina Murray, are similarly altered purely by the virtue of their advanced ages: all the qualities carried by them in their original stories are gone by now, leaving nothing but Moore's own machinations.
But all the copyright issues and longterm character development are but smidgeons of dust in the junkyard that is Alan Moore's own personal views: put it plainly, he thinks modern storytelling sucks.
He's made this position clear elsewhere, and sad to say it seeps into Century and largely ruins it, like paint stripper on what could otherwise be a perfectly fine portrait.
Most characters taken from such works are nearly always portrayed in a, . . unflattering way, to say the least, either largely useless or downright villainous, The heroic characters, and those who ultimately solve the conflict, are either from Moore's youth or earlier, or stem entirely from his imagination, The comic is almost turned into a headpiece for the writer's own views and feelings of nostalgia: regardless of whether I personally agree or not, such allegories and tracts are nearly always to the detriment of a story, and Century is no exception.
Maybe I'm a little biased: as a modernday writer myself, could I ever agree with Moore on this without denouncing my own very being Could I ever admit to myself that he is right, and cease my fruitless attempts for higher storytelling and lasting legacy Or maybe I could sidestep the whole dilemma by saying that it's been a while since this story was written about a decade at the time of this review and that things have gotten better since then That I am not one of those hack writers Moore himself was talking about
I don't know if I have an answer to any of that, one way or the other.
But I do think that if you're an author yourself, or envision of being one, you should give it some thought, Think about what Moore is thinking what he was trying to say with this story, and what he's made clear many times elsewhere, If you don't agree with him, why If you DO agree with him, what're you going to do about it
Or maybe you're just looking for a good comic and don't care about any of this.
Like I said, if none of these things particularly enter your mind, if you're just here for the still pretty good storytelling and plot and art, you'll like it fine.
It's still a perfectly passable finale to a great comic book series, .
Download The League Of Extraordinary Gentlemen: Century 2009 Picturized By Alan Moore Shown In Hardcover
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