Tag Archives: alan moore

A League of their own

Now, get any group of comic book fans together and ask them which comic creator still living has had the greatest influence on the medium, and you’ll get a lot of different answers. My own answer would be Alan Moore. The only creator I can think of who’s had a comparable influence would be Stan Lee, but there’s a certain amount of dispute over the extent to which he “created” many of the characters credited to him.

Alan Moore, basically, has changed the face of comics. You may not know the name, but he was responsible for writing (among many other things) The League of Extraordinary Gentlemen, V for Vendetta, From Hell and – most famously of all – Watchmen. The latter, along with Frank Miller’s The Dark Knight Returns, took the superhero genre in a darker, more adult direction from which it has never returned – although none of the imitators has had quite the same success as those two.

My personal favourite of his works is The League of Extraordinary Gentlemen,  which is rather more fun than some of the works for which he’s best known. The basic concept is that every character within the fictional universe of this comic is from a pre-existing work of fiction. In the first volume, for instance, Mina Murray (from Dracula), Allan Quartermain (from King Solomon’s Mines), Dr Jekyll, Captain Nemo and the Invisible Man form a team under the supervision of James Bond’s grandfather and foil a gang war between Fu Manchu and Professor Moriarty. In the second, they participate in the events of War of the Worlds with the assistance of Dr Moreau and the father of the Wolf of Kabul. You get the idea. The number of works alluded to is immense, and much of the fun of the series comes from looking through to see how many allusions you can spot. Many of these come from artist Kevin O’Neill, whose manic and highly-detailed panels overflow with incidental characters and background references.

So you may imagine my excitement when I heard that the newest volume was due to be published and, not only that, but Moore and O’Neill were doing a signing in London at Gosh! Comics. Gosh! is, to my mind, about the best comic shop in London. It emphasises unusual and indie stuff,  and judging by the calibre of some of the creators they’ve had in to do signings (Gilbert Shelton and Dave McKean among them), it seems to be pretty well-respected. It’s based in Bloomsbury, but is about to up sticks to Berwick Street in Soho.

Yesterday, Succubusface, Izzi and I went up to indulge our inner geek at the signing. As you might imagine, if you know anything about comics culture, the event was huge. Succubusface nobly arrived an hour early and bagged us a spot – even so, we were queued right around the building. The line snaked considerably further than that, and God only knows how long the last fans in the queue were waiting. We were in line for several hours, in fact. We’re just that cool.

Eventually we got in. Now, you read interviews with Alan Moore, he comes across as a very grumpy man. He’s had public fall-outs with movie studios and comics publishers alike and is not afraid to express his feelings – combined with the often eclectic and obscure nature of his comics, the impression one gets is that he’d be this huge intimidating monster who’d have you thrown out for saying that you’d even seen the movie of V for Vendetta. And Kevin O’Neill’s scratchy, intense style leads one (well, me at least) to expect some sort of insane, wide-eyed boho who talks only in a stream of consciousness and reserves the right to bite you at any time.

This is Alan Moore.

Actually, they were both lovely. Very obliging, very willing to chat – Succubusface had a brief discussion with O’Neill about researching his artwork. The overall impression I got was that while Moore has his disputes with a lot of the men-in-suits, he has plenty of time for his genuine fans. Which is awesome. We left thoroughly pleased with our signed purchases.

The volume I was there to get was Century: 1969. Century is, officially, the third volume of The League of Extraordinary Gentlemen, although in practical terms it’s actually the fourth (Black Dossier, basically a series of supplemental material for the League universe framed by a shortish story, was published before Century but is not counted). It’s being published in three parts and is, as the title implies, a story spanning the twentieth century. In the first part, 1910, the League – now consisting of Mina, Allan, Raffles the Gentleman Thief, Carnacki the Ghost-Finder and Virginia Woolf’s Orlando – attempts to foil an occult scheme by Aleister Crowley-analogue Oliver Haddo (of W. Somerset Maugham’s The Magician) and find themselves caught up in the events of The Threepenny Opera. In 1969, Haddo’s scheme resurfaces in Swinging London, where he has enlisted the help of Turner (from Performance) and Tom Riddle. Organised crime, the hippie movement, pop music and the occult clash, with the remains of the League and Jack Carter investigating the murder of Molesworth’s Fotherington-Tomas.

It’s been a long wait for this second part, but again, I feel it was worth it. Following Century, which often felt obscure to the point of self-indulgence in Yr. Humble Chronicler’s opinion, Century is a return to the kind of storytelling that made the first two volumes so enjoyable. While it’s not essential that you know that, e.g., this character is from The Long Firm or that character is from Round the Horne in order to understand the story, it adds immensely to your enjoyment if you do. Cameos abound, with such diverse personalities as the Second Doctor, Andy Capp and Dame Edna Everage all putting in background appearances.

The characters, particularly Mina, are developed and expanded in Moore’s usual thoughtful fashion – the implications of the characters’ extended lifespans (long story if you’ve not read the previous volumes) are considered in some detail, but without the irritating navel-gazing that bedevils many comics that try to be mature. There are lots of callbacks to previous episodes and, knowing Moore, plenty of elements that will become significant in the next.

The art, too, is up to Kevin O’Neill’s usual high standards. As I mentioned, his style is very weird, so much so that the Comics Code Authority banned it simply because they found it too freaky. 1969, which contains many psychedelic and generally bizarre sequences which allow him to unleash his full freakiness. I don’t think there’s another artist who could have done this quite as much justice as he.

Overall, it’s a worthy addition to the League canon, and I look forward to 2009 eagerly.



Filed under Arts, Bloomsbury, Current events, Literature, London, Occult, Shopping, Soho, Weird shops


Two entries for you lucky people today, as I’m off to Wales for the next few days and can’t honestly see myself having the energy to write an entry on Wednesday. Hurrah!

Anyway, this is an entry I’ve been meaning to write for a while, on the subject of one of my favourite comics of all time, Alan Moore and Kevin O’Neill’s The League of Extraordinary Gentlemen.

The_League_of_Extraordinary_Gentlemen_1280x1024A brief introduction for those of you who are not familiar with the comic (note: being familiar with the film is not the same thing). The League of Extraordinary Gentlemen is a comic set in a universe populated entirely by pre-existing fictional characters. The characters on the left are Allan Quatermain (of King Solomon’s Mines), Mina Murray (from Dracula, better known as Mina Harker), Doctor Jekyll (feat. Mr Hyde in mirror), Captain Nemo (20,ooo Leagues Under the Sea) and Hawley Griffin (The Invisible Man), who make up the titular League. In their first volume they find themselves up against a Chinese supervillain never specifically identified as Fu Manchu and in their second they come up against the events of The War of the Worlds. In the third book they find themselves smuggling information out of a post-Nineteen Eighty-Four Britain while pursued by “Jimmy” (whose close resemblance to James Bond is, of course, entirely coincidental), “Emma Night” (who, again coincidentally, has the same maiden name as Emma Peel and looks like her) and “Hugo Drummond” (sod it, he’s Bulldog Drummond and that’s that). The most recent story sees them on the sidelines of The Threepenny Opera while Oliver Haddo (of W. Somerset Maugham’s The Magician) weaves an occult plot. My, what a lot of parentheses.

This doesn’t come close to conveying the sheer density of fictional references crammed into every story. Anything can be a reference – a poster on a wall, a face in a crowd, a headline in a newspaper. What this means is that LoEG has what might be the densest fictional universe in comics, because not only do you have the stories themselves, but the stories behind the stories. For the most part, you don’t need to be familiar with the sources to get the comics, although I must admit that I did find the third volume, The Black Dossier, a little bit too reliant on its source material. For instance, has anyone here actually read The Blazing World? How about The Golliwogg? Well, surely you’ve read the Billy Bunter stories?

Having said that, it does mean that, as with many of Alan Moore’s comics, they reward rereading. I must have read the first volume twenty times and I’m still finding new stuff. And a lot of fun can be had when two or more sources are combined. For example, in Volume 2 it’s revealed that Rupert Bear, Mr Toad, Tiger Tim and the various creatures of The Wind in the Willows are human-animal hybrids created by Dr Moreau, who is the uncle of real-life painter of mythological creatures Gustave Moreau.

What’s all this doing on a blog about London? Well, in the entry immediately previous to this one, I mentioned that London has an alternative history based on mythology and fiction. LoEG, of course, takes place within that alternative history. In this world, London really was founded by Brutus. John Dee really was an accomplished magician (well, he would be – he was just Prospero in disguise). Six of the city churches were designed by Satanist architect Nicholas Dyer from Peter Ackroyd’s Hawksmoor. Jack the Ripper existed, but was he Mack the Knife or Mr Hyde?  Associates of the League include Norton, from Iain Sinclair’s Slow Chocolate Autopsy, and Mr Kiss, from Michael Moorcock’s Mother London. As every story takes place to a greater or lesser extent in the city, Moore and O’Neill really enjoy themselves combining the many characters associated in one way or another with the city. One of my favourite sequences in Volume 1 is one in which an elderly Artful Dodger is seen leading a gang of pickpockets made up of the ancestors of Eastenders characters.

It’s a comic with much to offer, even if you’re not a comic book fan (although I always think that lumping all comics together as a genre is a bit like assuming all movies are action films, or all novels are romances).  Moore and O’Neill are both well known for their subversions of comic book convention, and LoEG is basically them going mental on a page. It’s highbrow, lowbrow, smart and silly all at once. Just remember one thing:

This never happened.

This never happened.

 Further reading

http://www.enjolrasworld.com/Jess%20Nevins/League%20of%20Extraordinary%20Gentlemen/LoEG%20index.htm – Jess Nevins has attempted to chronicle every single reference in the series. Worth a look when you’re reading the comic.

What really became of Captain Nemo? Find out at https://londonparticulars.wordpress.com/2009/07/17/hes-a-slippery-one-that-captain-nemo/

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Filed under Arts, Literature, London, Notable Londoners, Occult, Psychogeography, Randomness