If all you know of LOEG is that dreadful film, you’re missing one of the richest and most-entertaining series in comics, which also serves as a powerful commentary on decadence, the necessity of a diverse culture and its relevance to life. This final chapter in the third volume of stories continues Moore’s heady blend of occult, politics and adventure, culminating with the coming of the antichrist and the subsequent arrival of … well, that would be telling.
As usual, there’s an all-star assemblage of borrowed characters, though few are specifically named. The identity of the antichrist drew a bit of contrived controversy when this book first appeared in the UK, but the presence of this corrupted persona is well within the traditions of literary satire. Century 2009 is a mostly satisfying conclusion to this volume, nicely setting up Moore’s next tale — a visit with Captain Nemo set in an earlier time, due in 2013.
Chef, author and TV personality Bourdain’s manic parable posits an epicurean dystopia with bloodthirsty chefs and food to die for. The violent fable deftly skewers feckless foodie pretensions, especially in California, and Foss’ well-done art imparts a delicious and tasty sizzle.
Though no one yearned for yet another retelling of the beginnings of Batman, Johns and Frank deliver a startlingly fresh take that incorporates many elements of the first origin of the Dark Knight while adding some smart and engaging emotional beats. Frank is one of DC Chief Creative Officer Johns’ go-to guys, and he once again rises to the occasion with powerful and effective pencils, ably delineated by Jon Sibal.
Another eloquent and sensitive cartoonist attempts to explicate the conundrum that is Jerusalem, the Holy City of three religions. If you’re unfamiliar with the complicated and conflicted landscape, DeLisle brings the divergence down to ground level. The Canadian’s art is simple and effective, and he doesn’t preach or proselytize as much as gamely attempt to explore and find meaning in the mundane and ordinary aspects of life in this far-from-ordinary setting.
The From Hell artist and Alec auteur’s painfully honest and often hilarious look at money, relationships, life and art delves deep into his family history and world explorations. Campbell is quite a character, and his experiences and insights on how we deal with high and low finance make for a funny, rewarding and frankly educational experience.
Master storyteller McCulloch’s wise and poignant tale of Irish immigrants coming to America, weaving three different time periods in parallel, is soulfully illustrated by veteran artist Doran. It’s a heartfelt and genuine story of human emotions and drama; nothing post-modern, snarky or ironic here, just believable behavior depicted with lyrical dialog and rich imagery. You’ll want to re-read it as soon as you finish to savor and reflect upon the transcendent intelligence and artistic vision responsible for this masterpiece. Highly recommended.
Wilde’s beloved allegory is beautifully and smartly adapted by master craftsman Russell. The story, timeless and relevant, centers on a statue of a chastened prince who aches for his poor subjects and aids some of them with the help of a friendly, anthropomorphic swallow. The tale of the lifeless boy and the faithful avian is conveyed sweetly and with great heart. Special mention to Lovern and Jesse Kindzierski for their intelligent and sympathetic coloring.
In this, one of the American Splendor creator’s final projects, the reader experiences an intimate portrait of the late Pekar’s life and work. Considering the autobiographical focus of almost all of his stories, it’s pretty amazing, but the casual revelations about himself and his beloved city are bracing and revelatory. More than a coda, it’s a wonderful conclusion to one of the medium’s great bodies of work. Remnant’s art is fresh and familiar, and one of the best of a long series of collaborations between Pekar and other expert and simpatico illustrators. Harvey lives!
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