I'm a fan of the series, but the first two volumes are not examples of Alan Moore's best work. They're riddled with obscure references that a lot of trainspotters (like Jess Nevins) have made a game of figuring out. Personally, I only recongnize one in ten references, so I just read it for the stories, the dialogue and the fairly unique artwork. He's just playing with ideas there.
His best works in comic form are still Watchmen, V for Vendetta, From Hell, Lost Girls, Promethea, and Top Ten. Miracle Man is an interesting if weird read, his take on Swamp Thing was seminal (but I don't own any), and his Captain Britain set the tone for most of what Chris Claremont and Alan Davis did with him later. I think my favourite of these is Promethea, but that's a very strange piece, too.
You might also like pulp action hero Tom Strong, which I enjoyed, but found a little light and sparse on ideas at times. The first few issues were brilliant. Some of the guest artist spots were also very cool. I think my favourite was issue three with the techno-Aztecs. that was the issue that got me collecting the series, but I was rarely as blown away. Chris Sprouse did his best work there.
But yeah, LoEG is an odd read, and I suppose if you can't get behind Alan Moore's Grand Unified Field Theory of Fiction, the point is entirely moot. I'm sad that it doesn't work for you, because that's probably the most obvious of his works for you to read, given your penchant for Victorian tropes. I rather like it, but it's kind of a light read, if you don't get all the sub-references.
And the movie is a total travesty, which Sean Connery couldn't even save. No excuse at all. Any and all of the other movie adaptations of his work stand miles above it.
Incidentally, I also have a series by writer Warren Ellis that plays a little bit with fiction tropes, called Planetary, which I happen to like a lot better than League. If you ever want to see that, or Promethea or some of the other Alan Moore stuff I mentioned, drop me a note.
I completely agree. I like LoEG, but consider it to be quite flawed for what seem to be various standard Alan Moore quirks (including an obsession with brutalizing characters created by other people). However Planetary takes on the same territory, and while it has much grimness in it, the essential optimism of Ellis' work again reveals itself. Also, Ellis' approach to adding kitchen sink's worth of media references is both considerably more restrained and (IMHO at least) far less clumsy than Moore's.
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His best works in comic form are still Watchmen, V for Vendetta, From Hell, Lost Girls, Promethea, and Top Ten. Miracle Man is an interesting if weird read, his take on Swamp Thing was seminal (but I don't own any), and his Captain Britain set the tone for most of what Chris Claremont and Alan Davis did with him later. I think my favourite of these is Promethea, but that's a very strange piece, too.
You might also like pulp action hero Tom Strong, which I enjoyed, but found a little light and sparse on ideas at times. The first few issues were brilliant. Some of the guest artist spots were also very cool. I think my favourite was issue three with the techno-Aztecs. that was the issue that got me collecting the series, but I was rarely as blown away. Chris Sprouse did his best work there.
But yeah, LoEG is an odd read, and I suppose if you can't get behind Alan Moore's Grand Unified Field Theory of Fiction, the point is entirely moot. I'm sad that it doesn't work for you, because that's probably the most obvious of his works for you to read, given your penchant for Victorian tropes. I rather like it, but it's kind of a light read, if you don't get all the sub-references.
And the movie is a total travesty, which Sean Connery couldn't even save. No excuse at all. Any and all of the other movie adaptations of his work stand miles above it.
Lee.
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Lee.
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