"Zanziber's Point-Of-View" is a non-biased place where you can read reviews of graphic novels and trade paperbacks. Currently, these are based on my reading choices, but I will accept requests for reviews.
Publisher/Year: Dark Horse, 1999
Artist: Rodolfo Damaggio
Writer: Henry Gilroy
Collects: Star Wars: Episode 1 – The Phantom Menace #1-4
This is the comic book adaptation of the hit movie that serves as the
beginning of the prequel to the Star Wars trilogy. Set decades before Star
Wars, it chronicles a galactic dispute resulting in a sinister force occupying
the planet Naboo, and a couple of Jedi Knights encountering a young boy with a
powerful connection to the Force...Anakin Skywalker.
It's a decent enough representation of the movie. Sometimes I used to be
frustrated reading novels or comics adapting movies, because of the way they would
sometimes diverge from the source material. This was either because the writer
was embellishing with his/her own creativity or, as was often the case, working
from an earlier draft script (in order for the release of a comic or novel to
coincide with the movie, the writers would have to start work before the movie
itself was completed). Yet here what's almost disappointing is how faithful the
adaptation is! At 100 pages, they can basically fit in the whole movie (maybe
trimming a scene here or there) but there are no extra scenes, no novel
interpretations that might make things fresh or exciting. At the same time,
because of its length, it doesn't fall into the trap of some other, shorter
adaptations I've read where the story can be rendered incoherent at times
because crucial scenes and lines are left out will-nilly. At least, for the
most part. There are still spots in The Phantom Menace that, I'll wager, will
be confusing for someone unfamiliar with the movie -- even someone familiar
with it -- particularly in the climax. And occasional subtleties might be lost,
like during the pod race. In the movie, the point was that no human had ever
won a pod race before, adding significance to the line reproduced in the comic
"You have brought hope to those who have none."
But for those familiar with it, it does a nice, evocative job, even imbuing
the scenes with a little more atmosphere than the movie had thanks to the colors and inking. At the same time, there is a kind of "Classics
Illustrated" approach (to use the cliched, and perhaps unfair, put-down of
adaptations). Artist Damaggio does capable work, and evokes the actors well
enough (maybe not so that you'd recognize them if you didn't know who starred
in the movie, but well enough if you do). Al Williamson, who illustrated comic
book adaptations of The Empire Strikes Back and Return of the Jedi so lushly,
is on hand as an inker, but can't bring much to the proceedings in that
capacity. Likewise, scripter Gilroy sticks to reproducing the dialogue from the
film -- no extra thought balloons, and the few text captions are treated as
just bridging text, with no attempt to use them to create mood or to embellish
Still, with all that being said, better to have a faithful, if safe
adaptation, than a bad one. I had mixed feelings about the movie itself, and
those remain here (thin characterization, and a plot that contains at least a
few holes). But this was an enjoyable enough comic that, in its own way, I
enjoyed as much as the movie itself.
Publisher/Year: DC, 1989
Artist: Dave McKean
Writer: Grant Morrison
Batman was the focus of a lot of high caliber attention in the late 1980s. Frank
Miller was looking at Batman’s past and future in Batman: Year One and
The Dark Knight Returns, while Alan Moore and Brian Boland were realizing
Batman’s arch enemy, The Joker, as a truly nasty piece of work in The
Killing Joke. The Joker also crops up in Grant Morrison and Dave McKean’s Arkham
Asylum, often considered the other great Batman graphic novel of the time.
The art is magnificent, showcasing McKean’s talent for mixed media and
painting. The length of time it takes to create work like this must be
phenomenal, which we would presume goes toward explaining why the majority of
McKean’s comic work is restricted to covers.
It’s Morrison’s story that doesn’t stand up to his rivals’. Mixing the
history of the asylum – famous dumping ground for Batman’s psychotic foes –
with a typical Batman adventure is interesting enough, but Morrison throws too
much at the hero in too small a space. This makes Batman’s journey through
Arkham’s finest psycho’s appear too easy – more of a stroll through a
fairground haunted house with a few old chums than a serious battle for his
life. Coupled with an anti-climactic ending, there’s little feeling of
impending disaster – the chronicled event should probably appear in Batman’s
casebook of over-hyped walkovers.
Morrison delves a little deeper into Batman’s messed up psyche than most,
but this leads to a story that has more ponderous psychology than action and,
as a result, not enough room to fit any decent action in. Although bringing
adult themes like insanity into superhero comics is admirable, it shouldn’t be
to the detriment of a high-octane plot and, in this case, it gets right in the
Title: The League of Extraordinary Gentlemen Volume 2
Best Comics, 2003
Artist: Kevin O'Neill
Writer: Alan Moore
Collects: The League of
Extraordinary Gentlemen Volume 2 #1-6
It’s a point worthy of argument, but in our minds The League of
Extraordinary Gentlemen is the best thing to come out of Alan Moore’s America’s
Best Comics imprint. And this second volume does nothing to disappoint. Taking
H. G. Wells’ classic Victorian sci-fi invasion story The War of the Worlds,
it documents the League’s ‘behind the scenes’ role in fighting the Martian
threat, creating a kind of alternate fiction within the original story.
The first scene-setting chapter is something of an anti-climax after the
high level of anticipation left by the first book but the pace is quick to ramp
up. Moore threads his plot carefully through Wells’ original story, paying
homage as he subverts and twists. He also plays with our perceptions of the
Victorian literary characters, making them all the more human with flaws and
complexities, showing sides that their original creators would probably never
have dreamed of portraying.
As with the previous volume Moore has plenty of fun drawing in coincidental
Victoriana, though it’s a little more opaque this time round, with more for the
enthusiast and less for the occasional reader. For the those stuck between the
two, we heartily recommend Jess Nevins’ annotations to anyone with an interest
in the detail behind the story. There’s also a weighty prose section at the
back of the book, pertaining to be an almanac of the world that Moore has
created, which binds an incredible level of detail into this fictional
Victorian backdrop. It’s almost as if Moore is demonstrating that, if he wanted
to, he could go on writing this stuff for the rest of his days. If only.
O’Neill’s art is as beautifully disturbing as ever, perfectly suited to this
dark landscape of fictional past. His Martian tripods are threateningly spooky
but thoroughly authentic to Wells’ originals, while his characterization of the
League themselves is magical.
This is Moore and O’Neill at their best, subverting and poking fun at
fictional history while clearly maintaining a high regard for it. Only someone
with a keen interest and reverence in the subject matter could create something
as reverential as this, while simultaneously letting the imagination run riot.
Both Moore and O’Neill have the balance between these two sides of their craft
so finely tuned that they are barely distinguishable, making this a unique,
intelligent and gripping work that we can’t recommend highly enough.
Title: The League of Extraordinary Gentlemen Volume 1
ISBN: 1563898586 Price: $14.95 Publisher/Year: America's Best Comics, 2000 Artist: Kevin O'Neill Writer: Alan Moore Collects: The League of Extraordinary Gentlemen #1-6
The Victorians have left us with a number of legacies; some good, some bad. One of the most amazing is an incredible wealth of literature. The ripping yarns of writers like H. G. Wells and Arthur Conan Doyle remain amongst the most enduring works of adventure fiction the world has ever seen.
The League of Extraordinary Gentlemen takes characters from some of these classic stories and brings them together in a way that their original authors could never of dreamed of. Alan Moore, clearly an enthusiast of the literature he’s reworking, teams these characters together into a bizarre band of conflicting egos and fiery personalities.
Of course, once Moore gets started, there’s no escape from his imagination and the story is littered with cameos. Characters and references from works ranging from Charles Dickens to Edgar Allan Poe are smattered throughout the pages, adding extra color to those who spot them without detracting from the flow for those who may not. Kevin O’Neill’s vision of Victorian London is equally fascinating. It takes the dark pea soup and gaslight we associate with the likes of Sherlock Holmes, but adds a wonderful panorama of architecture and invention gone mad.
One interesting aspect of the book is that its nineteenth century backdrop isn’t restricted to the art and the plot – the characters motives and attitudes are also of the time. This means that there are some dodgy concepts towards race and sex that are bandied around in a matter-of-fact way. Though this may surprise or even shock the more politically correct modern reader, it’s indicative of the attitudes of the time and adds to the book’s authentic if fantastic feel.
Perhaps most important of all, it pays homage to the swashbuckling adventurous spirit of the original stories. You can’t help but feel that Haggard, Stevenson, Stoker, Verne and Wells might have been quite pleased with Moore’s treatment of their characters, and might approve of their continued life together in Moore and O’Neill’s vivid imaginings.