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The League of Extraordinary Gentlemen, Vol. 2, by Alan Moore Kevin O'Neill
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About the Author
Alan Moore is perhaps the most acclaimed writer in the graphic story medium, having garnered countless awards for works such as Watchmen, V for Vendetta, Swamp Thing and Miracleman. He is also the mastermind behind the America's Best Comics line, through which he has created (along with many talented illustrators) The League of Extraordinary Gentlemen, Promethea, Tom Strong, Tomorrow Stories and Top Ten.
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Product details
Series: League of Extraordinary Gentlemen
Paperback: 228 pages
Publisher: DC Comics; unknown edition (September 1, 2004)
Language: English
ISBN-10: 1401201180
ISBN-13: 978-1401201180
Product Dimensions:
6.6 x 0.4 x 10.2 inches
Shipping Weight: 12.8 ounces (View shipping rates and policies)
Average Customer Review:
4.0 out of 5 stars
435 customer reviews
Amazon Best Sellers Rank:
#197,188 in Books (See Top 100 in 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.
Like so many of the other reviewers here, I really was looking forward to this volume and wanted so badly to like it after the 1st volume was so much fun and excitement. I loved the Victorian, Steampunk setting of the LXG vol 1 and thought it was a well-constructed, character-building adventure. Volume 2.......not so much. THERE BE SPOILERS AHEAD! For starters, this one begins on Mars with some other Victorian era characters that are basically there as cameos and the Mars prologue adds almost nothing to the rest of the story beyond the amusing references. As for the main story, well, I suppose if you are a huge War of the Worlds fan then you will like this one fairly well because it follows a lot of that story rather closely adapting the characters/situations to fit a little better along the way. There are some other interesting references such as a certain French doctor, and Mr Hyde really shines in character development, but unfortunately that's about all of the good in the volume.The biggest problem in the volume is that the members of the league spend about 3/4 of their 'on screen' time doing virtually nothing. The characters (aside from Hyde) act out of character with treachery from one, a sudden bizarre romance that really doesn't fit from 2 others, and a Nemo that inexplicably goes from one extreme to the other at times. Also you'd think a Mars invasion would provide quite a bit of excitement, but instead of the LXG heroically battling the enemy, the vast bulk of their time is spent seeing them walk around in forests and fields or just standing around arguing with each other. The only real action after the prologue is in the final chapter and even then the LXG has very little impact on the final battle against the martians.With a weak plot that is largely ripped from War of the Worlds, minimal impact from the main characters, and out of place character actions (as well as the ponderous, dull prose Almanac at the volumes end), I cannot recommend this volume to anyone except those who are hardcore steampunk, Victorian, Allan Moore, or LXG fans that just have to see all that is LXG. The reason that I consider this about a 2-2.5 instead of 1 is that the artwork is top-notch. I loved the look of the first volume and you will see the same essential style here. The panels look great, but the story and dialogue that fill them are rather lackluster.
Framing the story around Jonathan Swift's Gulliver's Travels, Edgar Rice Burroughs' John Carter of Mars, and H.G Well's War of the Worlds, the tropes of alien exploration are invoked and explored in the context of the League. Moore continues his critique of both British imperialism and pulp heroism against that backdrop as the darker elements of the League's main characters continue to manifest with often extremely bloody outcomes. The introduction of another of Well's creations, Dr. Moreau and his creatures, end up having profound implications for the most brutal utilitarian calculus of the Empire and military intelligence.This volume starts the beginning of the dividing line for those who linked the first volume, and the victory does come at a high cost. The dividing line seems to come because the full implication of the nastier bits of key characters personalities do bare fruit. Moore capitalizes on our seeming familiarity--both the pulp, literary, and in-world comic versions--more completely than in the first volume, and this has dramatic impact on the story.In many ways, the surface reading of this comic will seem fairly simple if depraved in parts. However, the implications about who the Heroes are actually are and what they actually serve is very interesting. O'Neil's art is strong, and he plays with the genre tropes very skillfully. There is a woodcut and pulp illustration quality to work which O'Neil sheds in latter volumes that move the story more contemptuously in time. In many ways, the League's disillusionment mirrors the disillusionment approaching at the end of the Victorian era. In many ways, this is Moore and O'Neil in peak form.
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