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Rich Johnston returned from his maternity leave to Lying in the Gutters today and had a very interesting article about Alan Moore calling it quits with DC.
He has disassociated himself with the upcoming film version of V for Vendetta and said that any future tales of the League of Ordinary Gentlemen will be published through Top Shelf and Knockabout.
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Yeah, good for him, but i gotta tell ya, he seems to have more and more of a prima donna complex.
I know, I know, creators have been screwed over before in the business, and i have no reason to think he hasn't been, or, honestly, any reason to think he has. But every time you turn around its some thing from him about how he has been dunn wrong. At some point it becomes background noise and you start forgetting why he was so sought after in the first place.
At least it seems that way to me.
-------------------- Damn you, you kids! Get off my lawn or I'm callin' tha cops!
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The latest LoEG graphic novel, "LoEG Century: 1910" came out this week, and I still haven't found words to describe it (I just deleted what would have been a long post) beyond "mixed emotions."
Maybe my lack of familiarity with "The Threepenny Opera" has something to do with it?
Could someone who is familiar with "The Threepenny Opera" please enlighten me?
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Yeah, I was afraid of this one. I'm not that up on Early 20th Century literature, particularly "genre" literature, so I'm quite sure I'll be very lost when I pick this up later this week (delayed here at my shop).
From: Moncton, New Brunswick, Canada | Registered: Sep 2004
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posted
It's been a few years since I saw it, but I do remember there was a character named Jenny Diver, and her big song was "Pirate Jenny", her fantasy of becoming Queen of the Pirates. And of course there's MacHeath; the song he sings in his first scene is written to the tune of "Mack the Knife", and the mention of his ancestor is a reference to "The Beggars' Opera", on which "Threepenny Opera" is loosely based.
I thought the main story was decent, but I was really more intrigued by the text story. The first scene references a particularly famous piece of 20th century fantastic literature Click Here For A SpoilerOrlando visits the site of the First Monolith from "2001: A Space Odyssey", and her guide seems to be aware of the existence of the Second Monolith on the Moon. I'm looking forward to seeing where Moore goes with *that*; I'm assuming he is going *somewhere* with it because Click Here For A Spoilerif Century begins in 1910, it could end in 2010, and that was the year of the first sequel to "2001".
From: Monty Python's Flying Circus | Registered: Aug 2003
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quote:Originally posted by Bicycle Repair Man: It's been a few years since I saw it, but I do remember there was a character named Jenny Diver, and her big song was "Pirate Jenny", her fantasy of becoming Queen of the Pirates. And of course there's MacHeath; the song he sings in his first scene is written to the tune of "Mack the Knife", and the mention of his ancestor is a reference to "The Beggars' Opera", on which "Threepenny Opera" is loosely based.
I thought the main story was decent, but I was really more intrigued by the text story. The first scene references a particularly famous piece of 20th century fantastic literature Click Here For A SpoilerOrlando visits the site of the First Monolith from "2001: A Space Odyssey", and her guide seems to be aware of the existence of the Second Monolith on the Moon. I'm looking forward to seeing where Moore goes with *that*; I'm assuming he is going *somewhere* with it because Click Here For A Spoilerif Century begins in 1910, it could end in 2010, and that was the year of the first sequel to "2001".
Yeah I liked the "Moon" Text piece probably batter than the main feature. Following up on your observations, the whole reason that Prospero's sending them to the Moon is to prevent mankind from finding the other monolith until 2001, so there's definitely some play going on with them. The Golliwog is also apparently sitting on a fallen monolith during the briefing.
From: Moncton, New Brunswick, Canada | Registered: Sep 2004
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I agree with BRM and Rouge that the text piece was better, but the lead story improved on second reading, much as LoEG: Black Dossier did (but the second LoEG arc didn't, IMO.)
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Raffles was a nice addition, being a particular favourite of mine. This latest volume was an easier read than The Black Dossier, which I still haven't finished.
On first reading, a lot of it was just the two songs; there didn't seem to be that much going on, and a fairly small cast of characters. As usual with this series, I have to consult Nevins' annotations, then reread the book to get the most out of it. (Having just gone through the annotations, I can see there's a lot of detail I missed.) I wonder if the succeeding volumes set in more contemporary times will be an less obscure.
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I think with less and less in the public domain as he goes further on we'll be seeing a lot of creative dancing around characters identities like we did with "Jimmie" Bond and the future Mrs. Peel. Also, with so much Sci-Fi invading the middle part of the 20th Century, I imagine this things are going to get pretty wild.
From: Moncton, New Brunswick, Canada | Registered: Sep 2004
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What a marathon. I finally read Black Dossier, cover to cover. It made more sense to me after reading New Century and I actually enjoyed the different eras' accounts - mostly the Bertie Wooster story, although Jeeves was a bit out of character, showing annoyance.
For me, the book's story was sort of weakened by the sex. It wasn't so much a tale of a group of special agents as a series of romps and orgies through time. It's like every Howard Chaykin story has a blowjob, every LoEG story has people getting nekkid and naughty.
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The second issue of "LoEG: Century" was on the Diamond shipping list last week, but my shop didn't receive any copies. Has anyone here seen it?
From: Monty Python's Flying Circus | Registered: Aug 2003
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