Why should Alan Moore get to have all the fun?
Previously: League of Extraordinary Gentlemen: 1988
Wired: The League is interesting because of its dependence on that vast canon. Everything from pulp up through every novel that’s been written gets hologrammed.
Moore: In the first two volumes we were dealing mainly with characters from literature, because characters from literature were all that were around up until roughly the end of the 19th century. With this one, the first one set in 1910, we’re using characters from the stage as well as literature. We’re using the whole Threepenny Opera storyline. With the second one, set in 1969, we’ve got access to all of the films and television that were around then. The third part, set in the present day – 2008, 2009 – we have characters from all of the new media that have evolved over the past 30 years.
It is interesting – it is an expanding cast of characters, and I suppose we’re attempting to come up with a kind of unified field theory of culture that actually links up all of these various works, whether they’re high culture or low culture or no culture.
Interesting to me because of my theory that LOST is “every story.”
Also remember that Watchmen, written by Moore, was a huge influence on LOST.
I need to find some new stuff.
Right now I’m reading whatever Grant Morrison, Peter Milligan, and Paul Pope put out. I read League of Extraordinary Gentlemen and hope to catch-up on all that America’s Best stuff in TPBs. I read 1602. I’ve been buying Planetary but haven’t gotten around to reading the past few issues. Rushkoff’s comic is on my wishlist.
What else should I be reading? Michael recommends Lucifer and Mike Carey’s Hellblazer. Wu recommends Dogwitch. What else is out there that I’m missing out on?
I’d really prefer to have a look at stuff that isn’t so, well, gothic, as Dogwitch and so on. Superheroes are fine, as long as they’re new and exciting.
Speaking of Alan Moore, it looks like he took home a bunch of Harveys. He won for best writer of Promethea. I have mixed feelings about that because I don’t think much of the occult and a lot of those issues were thinly disguised explorations of his own mystic philosophy, something that he’s already explored in some of those performance art comics of his. Still, there were some wondrous moments. I’ve gone back to enjoying the series again now that Promethea has returned to Earth so to speak…The latest issue features a guest appearance by the Tom Strong crew, or an alt universe Tom Strong considering how they jump around realities so much.
The League of Extraordinary Gentlemen also won two awards: one for best single issue (the first issue of Volume II with that incredible Martian Warrior cover) and for best continuing series. Certainly, these are well deserved. I still can’t believe one guy can do this many quality comics. I’ve always thought Steve Gerber could hang with him–like Moore he knows a lot about the Dark Arts as well as physics–but he couldn’t produce such a quantity of ambitious stuff. I suppose Gerber gets his revenge with Howard the Duck, where he makes fun of both Moore and a thinly disguised Warren Ellis.
Seattle Times details the differences between the League of Extraordinary Gentlemen comic and the movie, and compiles some other interesting information about the comic.
British artist Kevin O’Neill has also drawn the sci-fi comic “2000 A.D.” and enjoys a singular status: The Comics Code Authority found his style so objectionable that it will not approve any title he draws.