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Tag Archive: Alan Moore


Review by C.J. Bunce

Kim Newman’s Anno Dracula is a series of novels and short stories that began in 1992, showcasing an elaborate and detailed parallel history of Earth set between 1888 and 1990 (so far), where Bram Stoker’s Dracula is seen as a true biographical account of the real Count, and the Count controls England by winning the hand of Queen Victoria.  Anno Dracula is a steampunk mix of fictional characters and real people spanning a century in a bit of a The League of Extraordinary Gentlemen and Legenderry construct.  Gunga Din, Fu Manchu, Sherlock and Mycroft Holmes, Lestat de Lioncourt (from Interview with the Vampire), Prince Mamuwalde (from Blacula), Doctor Moreau, Allan Quatermain, and even Carl Kolchak from The Night Stalker all show up in Newman’s fantasy world, alongside real people of the past like Billy the Kid, Catherine the Great, Joseph Merrick, William Morris, Beatrix Potter, and Orson Welles.  Newman’s entirely new story is in the form of a comic book series, Anno Dracula–1895: Seven Days in Mayhem, published by Titan Comics and illustrated by Paul McCaffrey, and it is now available in a collected trade edition from Titan Comics.

As Dracula’s tenth jubilee approaches, an assassination plan is underway from radical forces in Great Britain.  Newman’s powerful lead Kate Reed–journalist, free thinker, and vampire–has joined a council of revolutionaries, but when Dracula’s secret police come crashing in she turns to a familiar old friend to try to save herself and the Count himself, but she must first get through Count Graf Von Orlok of Nosferatu fame.  As with past entries in the series, this is not a tale about Dracula, but more about every other living and fictional famous face of the day.  And my favorite piece of a Kim Newman story is his use of fantastic characters and historical figures sometimes only for a single page or, as with his new graphic series, in a single panel, but always for a reason, and often for a joke (Twilight books, you are not exempt).  So keep a lookout for a steampunk cyborg Thomas Edison and a ship captain with a striking similarity to Lon Chaney’s Phantom of the Opera.  Artist McCaffrey’s artistry is a great pairing with Newman’s classic prose.

Few authors have a such a command of their subjects as Newman has of vampire lore and film.  Check out my interview with Newman back in 2013 here at borg.com, as well as our reviews of his sequels to the novel Anno Dracula:  Dracula Cha Cha Cha here, and Johnny Alucard here.  Fans of Alan Moore’s several adaptations of classic characters will love Newman’s works, but be prepared:  Where Moore puts a few characters together to have an adventure such as in The League of Extraordinary Gentlemen, Newman has deftly woven easily more than a thousand into his world.  Anno Dracula–1895: Seven Days in Mayhem is proof that the entire Anno Dracula series should be adapted to the graphic novel format.  An exciting, rousing tale, it’s too good to pass up.

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wonder-woman-jill-thompson-cover

The best artwork in a graphic novel you will find this year is at your comic book store this week.  Seven-time Eisner Award winner Jill Thompson has created the definitive Wonder Woman origin story with Wonder Woman: The True Amazon, written and painted in the spectacularly vibrant manner only America’s most acclaimed writer-artist could create.

You may be familiar with Diana, Amazon Princess, and her ancient origin story, but this new version is a keeper–a storybook you’d read to your kids with lush colors and mythology steeped in classic folklore.  The action and storytelling are similar in execution to the best work of Alan Moore and his bold layouts, as well as the action and story development in Frank Miller’s 300–an easy comparison because of the setting and theme–yet Thompson’s story and art is far richer.  Thompson’s watercolor-painted comic pages and layout work is up there with the 1980s-1990s work of Mike Grell, and Wonder Woman: The True Amazon may very well be not only looked back on as the benchmark for all Wonder Woman: Year One attempts to come, it’s very possibly the best looking graphic novel from DC Comics since Grell’s Green Arrow: The Longbow Hunters.

jill-thompson-wonder-woman-excerpt

Best of all, Thompson’s story is surprising.  For much of the tale Diana is anything but heroic.  An early subtitle was The Very Selfish Princess–should that give you a hint.  Thompson looked deep into the mythos of Wonder Woman–celebrating her 75th year this year–and asked “what did Diana go through to become this iconic figure?”

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Batman Killing Joke movie poster

The first ever DC Comics animated movie to be rated “R” is coming to a theater near you next month in advance of its home edition release.  Batman: The Killing Joke will be screened Monday, July 25 at 7:30 p.m. and 10 p.m. local time at select theaters across the country.  Fathom Events has teamed up with Warner Bros., and DC Entertainment for this rare opportunity to see the adaptation of the graphic novel by Alan Moore and Brian Bolland.

Batman: The Killing Joke reunites Batman: The Animated Series executive producer Bruce Timm and voice actors Kevin Conroy and Mark Hamill reprising their roles as Batman and the Joker.  It co-stars Tara Strong (Teen Titans, Batman: Arkham games) as Barbara Gordon/Batgirl and Ray Wise (Twin Peaks, RoboCop) as Commissioner Gordon.

killing joke clip

Experience a special introduction from Mark Hamill plus a never-before-seen documentary about how Hamill was cast in this project and what the role means to him as an actor and a fan. The event will conclude with a special behind-the-scenes look at how the Joker’s memorable, yet disturbing song and dance number was recreated for the film.  Based on the acclaimed DC graphic novel of the same name, Batman: The Killing Joke takes a journey into the dark psyche of the Clown Prince of Crime – from his humble beginnings as a struggling comedian to his fateful encounter with Batman that changes both of their lives forever.  Years later, and now escaped from Arkham Asylum, The Joker devises a plan to prove that one bad day can make anyone as insane as he is – setting his sights on Commissioner Gordon.  It’s up to the Dark Knight to put a stop to The Joker’s latest scheme and save one of Gotham City’s finest. Following a gripping prologue introducing Barbara Gordon’s heroic adventures alongside Batman as Batgirl, Batman: The Killing Joke stays true to the authentic tale that has held fans’ imaginations for nearly three decades – spotlighting the birth of a Super-Villain, the fortitude of a Super Hero and the punchline that will leave you speechless.

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Killing Joke animated film clip

If you’re talking about animated adaptations of classic DC Comics Batman comic books, three book series and movies should come to mind.  First there was the well-made adaptation of Frank Miller’s Batman: Year One, which we reviewed here at borg.com back in 2012.  Then there was the faithful, two-part adaptation of Miller’s Batman: The Dark Knight Returns, with Part 1 reviewed here in 2012 and Part 2 released in 2013 reviewed here.  The animated Batman adaptations will soon be complete with the third key classic Batman book of the modern era coming to animated video.

This year Warner Bros. is releasing an adaptation of the 1988 controversial story Batman: The Killing Joke.  Alan Moore, Brian Bolland, and John Higgins teamed up to create the definitive origin story of the sadistic villain The Joker in a shiny and colorful prestige format never before seen by comic readers.  The cover sold the book, but inside the darkest story of Gotham ever told was born in only a way Alan Moore could concoct.  As with his original story that became Watchmen, Moore took beloved characters, specifically Commissioner Gordon and daughter Barbara aka Batgirl, and made them victims.  The origin of Oracle was born here, and Moore for the following decades has defended his handling of the story and treatment of Barbara.

original Killing Joke cover

Most appropriately, the animated movie will receive an R rating–a must if the film is loyal at all to the original source material.  Then there’s the solid cast list.

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A1_Annual cover

If you are looking for an introduction to critically acclaimed comics in one volume while also getting a dose of exposure to some newer talents, Atomeka Press has teamed up with Titan Comics to release a new hardcover volume, A1 Annual: The World’s Greatest Comics.  With such a loaded title, you’d expect the entries to be pretty powerful stuff.  You’ll certainly find a broad mix of story and art styles, but ultimately beauty is in the eye of the reader.  Does the volume live up to the title?

No doubt everyone, no matter how critical your eye, will find at least a few gems here.  When you realize you’re dealing with the likes of Joe Simon, Jack Kirby, Dave Gibbons, Bill Sienkiewicz, Jim Steranko, Alan Moore, and James Robinson, it’s pretty easy to see why the editors had the chutzpah to come up with such a cocky title.

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BF Manhattan nite owl

Before Watchmen is a series of titles that was beset with controversy from its inception.  Years before the launch of the series last year, DC Comics had looked at a prequel concept for the much-ballyhooed Watchmen mini-series turned graphic novel, but squelched it before anything came of it.  Watchmen, continually one of the biggest selling graphic novels, has a sort of sacred status to many.  And loyalists believed that if Alan Moore didn’t write it or at least endorse it, then it wasn’t for them.  Still, whether you hate or love the original Watchmen, how do you pass up a series of titles from the likes of J. Michael Straczynski, Brian Azzarello, Len Wein, Darwyn Cooke, Adam Hughes, Joe Kubert, Lee Bermejo, and Jae Lee?  See our early review of the first issues of the series here and here.

In an era where you can either read single issues or wait out the run—especially with a mini-series—and get the graphic novel in hardcover or trade version, as consumer you have decisions to make.  You could read the monthly and then you don’t necessary “need” the trade edition.  If you love the monthly you may just want the trade version on your shelf for future reading.  With ordinary monthly series waiting for the trade editions actually can hurt the ability to ensure series and creators you love continue, since publishers bank on weekly circulation numbers.  If everyone waits for the trades, the publishers may cancel a series based on low sales.  That doesn’t necessarily seem to be the case for mini-series, which publishers only plan for a few issues.

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Review by C.J. Bunce

Fairy tales seem to be everywhere this past year, beginning with a TV rivalry of sorts between Once Upon a Time and the superb series Grimm.  Lost Girl, the Canadian TV series winding up its third season in the States, has been a brilliant series, full more of folklore than fairy tales per se, yet it truly highlights the “fae” of the genre.  Movies like Snow White and the Huntsman, Mirror, Mirror, and Red Riding Hood have shown that classic tales still have resonance with mainstream audiences, because the source stories are, quite simply, timeless.

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Review by C.J. Bunce

Whether or not you’d call yourself a fan of Watchmen, the graphic novel or film adaptation, or whether you’re interested in the new DC Comics’ prequel series, if you’ve seen anything about Edward Blake, the Comedian, you can tell he is a pretty complex character.  World War II hero, vigilante-turned-paramilitary agent, and sociopath.  In the parallel universe of Watchmen, we’re led to believe Blake was the sole gunman on the grassy knoll.  His character made to look like Burt Reynolds and his name a play on Blake Edwards, director of the Pink Panther comedies, the Comedian wore the famous smiley face as a badge, a symbol that has become synonymous with the Watchmen.  It was also the Comedian whose death sets off the mystery plot behind Alan Moore’s graphic novel, the question:  Who is killing all these superheroes?  Blake never appears in real-time in Watchmen, only in flashbacks, and ultimately we never get to know much about his motivations or the causes of his apparent psychotic state.  He’s billed as a hero, yet as he saves victims from the villain, he traumatizes the victims.  He alone saves the hostages in Iran, yet the hostages do not appear as joyous with the result as in our timeline.  He sometimes seems to know what is right and search out and be a superhero, yet something always gets in the way, he alters his own course heading, and everyone ultimately would be better off without him.

So writer Brian Azzarello and artist J.G. Jones have their shot here at expanding on the Comedian via his backstory in Before Watchmen–Comedian #1.  In Issue #1 we don’t yet have a clear picture of this character–maybe it’s too soon–but at least there is something minimally sympathetic about the guy who one day goes completely off the edge of the rational.  It is not he who is the schemer.  The evil mastermind in this issue is actually quite brilliant–it’s none other than the one and only Jackie Kennedy, angry at a husband wasting time with the other woman.  I’m curious whether older readers have the same reactions to this storyline as younger readers.  At one time the Kennedys were the American royal family, and JFK’s death the single worst event in the history of the nation.  To make the First Lady the person who instigates the murder of Marilyn Monroe?  Definitely some shocking stuff fleshed out here.

Blake begins his story, then, as a rube, maybe like Joaquin Phoenix in To Die For.  He maintains his respect for the Kennedy brothers, yet who really is pulling the strings?  The story begins with a not so friendly game of pickup football.  Jones’s art is not photo-real but he does enough to let you know Blake is a key element in the ultimate 1960s inner sanctum.  He is a superhero CIA assassin of sorts.  His missions?  To take out those who would make those in power look bad.  In Watchmen, this meant killing Bob Woodward and Carl Bernstein before they dug their heels in to report on the ramifications of the Watergate break-in.  With all the oddities that have been said over the years about Watergate bit player G. Gordon Liddy, Edward Blake appears to be cut from the same cloth.  As Blake is about to erase another target, he learns of the events in Dallas of November 1963.  Which poses the question–Does Azzarello plan to alter or explain Alan Moore’s background on the Comedian?  As the Comedian sits on the bed of Marilyn Monroe after apparently drugging her to look like an overdose, he takes note of his surroundings.  Can this character ever be redeemable?  Is he any worse or better than someone like Hannibal Lecter?  Can someone like Nite Owl step in and at least try to fix him?  Does anyone ever try, or is he just another typical, hopeless villain?  More than any other single issue DC Comics has published this past year, Comedian #1 certainly has intrigue, and will leave readers coming back for more.

Unfortunately the actual hero of the Watchmen story doesn’t get as exciting a debut in Before Watchmen–Nite Owl #1.  Legendary writer J. Michael Straczynski and popular artists Andy and Joe Kubert don’t do much to particularly evoke the early 1960s, where Nite Owl’s origin begins as a kid named Daniel Dreiberg.  Danny’s beginning is that of a slightly more bleak backgrounded Peter Parker.  He has an abusive father, and upon his death he is taken under the wing of the former Nite Owl, Hollis Mason, now ready to retire.  The training and mentoring is skipped over in this Issue #1, and Nite Owl becomes a member of the Crimebusters with the Comedian, Rorschach, Dr. Manhattan, Ozymandias, and Silk Spectre.  The single thing I think readers want to know about his past is just not there.  Hopefully the creators will come back to this in later issues of this mini-series.

How does a kid who would break into the original Nite Owl’s headquarters to learn his secrets become the conscientious superhero he later becomes–and remains–after the Keene Act’s ban on superheroes?  Character building and development is left aside here where readers could use an explanatory, novel, origin story.  Nite Owl doesn’t bring a lot of uniqueness as superheroes are concerned.  As influenced by Ted Kord’s Blue Beetle or Batman…  either he remains sort of bland as created by Moore, or Straczynski and team Kubert could really expand his story into new dimensions.  With a powerhouse creative team like these guys, I’m just left wishing for something more.

One place that could have been an opening for some creative freedom is the buddy relationship of Nite Owl and Rorschach.  We get to see a glimpse of that toward the end of this first issue, but perhaps an entire issue showing us why Nite Owl and Rorschach make the best team-up is worth pursuing.

The first four issues of Before Watchmen have certainly been interesting, with first issues of Azzarello’s Rorschach, Straczynski’s Dr. Manhattan, and Len Wein’s Ozymandias remaining to be published over the next few weeks.  With artists Adam Hughes, Lee Bermejo, and Jae Lee drawing those series, we’ve got a lot more to look forward to.

Review by C.J. Bunce

Writer/artist and New Frontier creator Darwyn Cooke is the visionary of Before Watchmen in the first two books released over the past 8 days, Before Watchmen: Minutemen #1, and Before Watchmen: Silk Spectre #1.  In Minutemen, he serves as writer and artist, and he shares writing credits on Silk Spectre with Amanda Conner, who also serves as artist on Silk Spectre.

We know Amanda Conner from her run as artist on Green Arrow/Black Canary during the duo’s attempt at marriage.  My take was that her art style was a bit too cartoony for the serious story of Oliver Queen’s doppelgänger trying to kill Dinah on their wedding night.   Here, her artistic style is perfect for Silk Spectre, and this is high praise considering I had pegged Adam Hughes as perfect for the Silk Spectre standalone mini-series (but we can look forward to his work on the coming Dr. Manhattan series).  In this retro/throwback world of Before Watchmen, when innocence reigned in America, the young Silk Spectre and her new boyfriend would easily fit into the pages of Archie Comics.  That may not sound like a good thing but it works perfectly for the story being told.  In fact, this may be Conner’s breakout project, showing her character depth as we’ve seen with Gail Simone’s complete command of Barbara Gordon as Batgirl and Oracle, and the retro portrayal skill we’ve seen from… Darwyn Cooke.

Cooke’s artwork on Minutemen reminded me over and over again of his retro look at the golden age of DC Comics in his New Frontier series.  It had to have been the easiest decision in the world to tap Cooke for the retro world circa 1939 of the Watchmen back story.

Skipping over the contrived controversy surrounding Before Watchmen, anytime you mess with people’s icons you’re going to get people who won’t even check it out (like someone I knew who loved Star Wars the original trilogy so much they completely ignored and avoided any subsequent books and movies), they’ll give it the ol’ college try, or if it’s good, flat-out embrace the nostalgia of it.  Unlike my pal Jason McClain, I don’t hold Alan Moore and Dave Gibbons’ Watchmen with any particular reverence (see Jason and my earlier discussion here), so my hope is a story like this could stand on its own.  Presumably the entirety of this new line of mini-series will intersect according to some grand master plan, culminating with the Watchmen series itself.

  

I have read Watchmen twice across a span of time so I do not remember all the nuances, other than Gibbons’ nine panels on a page that had symbology and often contrasting images with dialogue.  I caught enough in Minutemen to know I am missing a great amount of the subtlety and symbology that I assume is present here.  For those reading Before Minutemen before trying out Watchmen (yes, I am sure those people are out there!) I won’t give up spoilers here.  But the future of Nite Owl and Silk Spectre, to me, was the best part of Watchmen, and these two were my favorite characters in the movie adaptation.

As to Minutemen issue #1, Cooke excels at giving us a Justice League-worthy back story for some Captain America era characters.  The dialogue in both Minutemen and Silk Spectre is appropriate to the time period, better than I am finding in Ed Brubaker’s noir Fatale series, for example.  Minutemen #1 introduces these Minutemen superheroes through the eye of an aged Nite Owl and his tell-all book Under the Hood.  The innocence quickly fades as we meet Edward Blake, the Comedian, a seemingly well-intentioned do-gooder with serious psychological issues that forecast his ultimate downfall.  Other characters are less familiar but entirely interesting despite getting less time devoted to them: Dollar Bill, who might as well be Captain America, a very cool Space Ghost mixed with Batman-type character called Hooded Justice, Mothman Byron Lewis who seems to foreshadow a sad and brief story, the slick-looking and tough avenging angel Ursula the Silhouette, and Captain Metropolis, wealthy ex-Marine who will put together the team.

Silk Spectre #1 flashes forward to the origin of not the original Silk Spectre of the Minutemen group, but her daughter, and the elder’s priming of the daughter to take over the Silk Spectre superheroine role.  The elder’s public and disreputable past is thrown at the daughter from every angle, and we witness her breaking apart from the Kato-like training practice and peers that have casted her out of favor.  With the bits of darkness and tragedy, Conner’s pencil work also draws out plenty of humor surrounding the angst of being a teenager in 1966 (applicable to any other time period, too).

Other interesting features include a tucked in ongoing secondary story in each issue (not enough to make any judgment on yet) and a higher quality cover shiny card stock.

So far the scope of Before Watchmen is epic, and the storytelling poignant.  It makes this reader want to go watch the Watchmen movie.  Nice work so far!

By Jason McClain (@JTorreyMcClain)

I’ve gotten in and out of reading comic books several times in my life.  I couldn’t tell you where the comic book store was when I lived in Columbia, MO.  I found one when I lived in Delaware.  There wasn’t one for miles when I lived in the mountains (but I found a baseball card shop).  I knew of and visited at least six comic book stores when I lived in Kansas City and I visit about the same number in Los Angeles.  I’ve visited them when I’ve made brief stops in London, England and Austin, Texas.  I had subscriptions to several Marvel titles when I was in junior high and didn’t have to worry about getting my parents to take me to the comic store.  One day a comic would arrive in my mailbox covered in the plain brown paper wrapping that I would later associate closely with either comics or porn.

A map of comic book stores across the U.S.

Still, every walk into a store is like a step into a colorful, inedible candy shop and I start to wonder, what I’m going to take home in my brown paper bag.  I like recommendations quite a bit when I look for new things (and that’s why on Free Comic Book Day as I went to a few of my favorite stores, I picked up All-Star Western and Justice League Dark) but since my time in Kansas City, my main focus for when I look on the shelves of whichever store I find myself in, is new material by past favorite authors.  That’s why on Free Comic Book Day I also picked up Saga by Brian K. Vaughan, who has entertained me in several stories like Pride of Baghdad, Runaways and Y: The Last Man.  Saga looks to be a great start to another captivating yarn as I ripped through both issues I bought as I curled up to relax on Sunday night.

However, I must ask myself, is using the past a logical way to pursue entertainment?  Are past performances indicative of future returns, unlike financial instruments?  How can you tell when to jump off the creative train of a favorite author?

This reminds me of a game a friend and I play every now again based on the Fellini movie, 8 1/2.  The film deals with the creative process and my friend and I used it as a jumping off point to analyze the careers of creative people by asking, “Does X have eight unarguable classics to their name?”

It’s tougher than you think.  To be able to create eight works of art is an accomplishment in and of itself, and to make eight super-duper terrific things, well, that’s a rarefied air.  Of course, everyone has a different opinion of what a “classic” is, but we generally know that Jaws and Raiders of the Lost Ark are both Steven Spielberg classics, where War of the Worlds and Indiana Jones and the Kingdom of the Crystal Skull don’t come close to reaching the same height.  Even though I’m not a huge Spielberg fan, he gets to eight relatively easily as you could add E.T., Close Encounters of the Third Kind, Schindler’s List, Saving Private Ryan and Catch Me if You Can to Jaws and Raiders and you get seven, though there are a few flaws, but I quibble.  Finding an eighth movie among The Color Purple, Indiana Jones and the Last Crusade, Munich and Jurassic Park should be easy.  George Lucas on the other hand, I think he’s lucky to get two.  I suppose I’m saying that at this point, going to see a Spielberg film may be a bit more of a question mark than it was in the 90s, but if you gave me a choice between Spielberg and Lucas right now, there’s no question I would choose to see a Spielberg film.

Looking at my favorite movies over the past few years, Midnight in Paris has reinvigorated my belief in Woody Allen and I’m more likely to see his next film.  The quality of Marvel’s movies Thor, Captain America and The Avengers makes me more likely to go see non-sequels put out by Marvel Studios.  (Iron Man 2 still leaves a poor taste in my mouth. That’s what I get for licking the screen).  True Grit cemented my love of the Coen brothers, which I had before the movie as I’ve seen every one of their films.

My point?  If you like the creative work of a person, you’ll probably like their other work.  Looking at my bookshelf filled with several novels from Kurt Vonnegut, quite a few selections from Alan Moore and most every film by Wes Anderson, I probably didn’t need to do much thinking about it.  Still, it’s nice to come to that conclusion and know that when I roll into a comic store, I can find some Brian Michael Bendis, some Matt Fraction, some J. Michael Straczynski, some Neil Gaiman, some Jason, some Craig Thompson, some Daniel Clowes, some Kurt Busiek or many others and be happy when I get home, turn on the lamp and snuggle beneath my covers.  Plus, there’s always a chance I can stumble onto many more authors in the future through sheer luck, the recommendations of friends or the recommendations of the people I meet while wandering the aisles at my local comic book stores.

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