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League of Extraordinary Gentlemen: Century: 1910 [Format Kindle]

Alan Moore , Kevin O'Neill
5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)

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Alan Moore's familiar cast of Victorian literary characters enters the brave new world of the 20th century, set against a backdrop of London, 1910, twelve years after the failed Martian invasion. In the bowels of the British Museum, Carnacki the ghost-finder is plagued by visions of a shadowy occult order who are attempting to create something called a Moonchild, while on London's dockside the most notorious serial murderer of the previous century has returned to carry on his grisly trade. Working for Mycroft Holmes' British Intelligence alongside a rejuvenated Allan Quartermain, the reformed thief Anthony Raffles, and the eternal warrior Orlando, Miss Murray is drawn into a brutal opera acted out upon the waterfront by players that include the furiously angry Pirate Jenny and the charismatic butcher known as Mac the Knife. This book is the first of three deluxe, 80-page, full-color, perfect-bound graphic novellas, written by Alan Moore and illustrated by Kevin O'Neill, each...

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7 internautes sur 7 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Alan Moore n'en fait qu'à sa tête 9 décembre 2009
Janny Dakkar se fâche avec son père, l'illustre Capitaine Nemo et elle se rend à Londres comme passager clandestin. Une fois arrivée, elle s'engage comme bonne à tout faire dans une taverne du port. Thomas Carnacki subit des rêves prémonitoires dans lesquels Oliver Haddo engage sa secte à préparer la venue du Moonchild. Ces visions incitent Mina Harker à remobiliser ses troupes (ou ce qu'il en reste : Orlando, Thomas Carnacki, A.J. Raffles et Allan Quatermain) pour essayer de localiser le mage, puis à se rendre à l'exécution de Jack MacHeath. Le tome se termine avec le retour du Nautilus avec à sa tête Ishamel.

J'ai beaucoup aimé ce tome de la League of Extraordinary Gentlemen (LoEG), malgré ses particularités qui le mettent encore plus à part que les tomes précédents. Il faut déjà avoir conscience qu'il s'agit du premier épisode de la trilogie baptisée Century. Le deuxième épisode se passera en 1969 et le troisième en 2009. Ensuite il faut accepter qu'Alan Moore dirige sa barque à son bon vouloir et non pas à celui de ses lecteurs.

Pour commencer, il a indiqué dans un interview que le fait d'avoir changé d'éditeur lui a permis de se libérer de la construction habituelle des comics d'aventures. Donc ne vous attendez pas à des hauts faits de la part des membres de la LoEG : ils pataugent du début à la fin sans rien comprendre à ce qui se trame.
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Amazon.com: 3.6 étoiles sur 5  35 commentaires
49 internautes sur 52 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Moore goes Edwardian. 13 mai 2009
Par Sean Curley - Publié sur Amazon.com
Well, well, here we go again. After "The Black Dossier", which I found tremendously disappointing after so long a wait (v2 itself having been a bit of a let-down from the preceding one), Moore and O'Neill's famous Victorian adventure heroes return for an adventure with an actual plot. The first of three 'graphic novellas' (it's basically just a slim graphic novel) telling the story of an overarching plot in the 20th century, the events of this one were alluded to in the "Dossier". Plot details are discussed herein, so be warned.

Moore said he wanted this to function both as part one of three and as a story in its own right, hence the decision to abandon the more traditional 22-page single-issue format of previous installments in favour of larger bundles. In that sense, he has succeeded. "1910" has both an internal narrative arc and an ending that augurs future plot developments. On the question of how compelling this story is by itself, I would say reasonably so, moreso than either "The Black Dossier" or "League v.2", though many of my problems with this property remain.

As alluded to in "The Black Dossier", this story picks up in 1910, with the League consisting of old standbys Mina Murray (not yet a blonde), Allan Quatermain ("Junior"), Thomas Carnacki (from W. H. Hodgson's "The Casebook of Carnacki the Ghost Finder", originally serialized in "The Strand"), A. J. Raffles (another magazine serial character, created by Arthur Conan Doyle's brother-in-law, E. W. Hornung), and a male Orlando (Virginia Woolf's novel of the same name; a major figure in "The Black Dossier"). The reign of Edward VII has ended, and the inauguration of George V is impending, with the Great War that will bring to a definitive end this period in world history whispering on the horizon. Our crew is following Carnacki's premonitory dreams which involve the moon-child cult of Oliver Haddo (Aleister Crowley's "Moonchild") and the return to town of Jack MacHeath. Meanwhile, in a separate plot, Janni, the daughter of Captain Nemo, arrives in London hoping to escape her father's wish for her to succeed him.

Sexual perversion and violence against women has been a recurring theme in Moore's work (in his early classic, "Watchmen"), and repeatedly throughout the "League" books Moore seems to be depicting the nature of Victorian society (he did something similar in "From Hell", which also featured Jack the Ripper, though in a very different light to how he's shown here). Moore has taken some criticism for his use of rape as a plot device in the past, so those critics will find more to criticize here, as the poor Janni, violated by some wharfside scum, summons her father's men to wreak deadly vengeance on the waterfront before assuming her father's identity as Nemo. It's certainly not an act portrayed lightly, of course (and never was in his work), but as a plot element it can perhaps get a bit tiresome. Moore has already done many stories about how, as he ends here, human civilization runs on "monstrous deeds".

From a narrative perspective, this story repeats some of the problems I had with earlier iterations of this group: the main characters don't do or accomplish much in the course of the story, there's little character development (only, really, in Janni's case, and that's a fairly standard story that Moore doesn't add anything new to here), or any of the things that make Moore's best work special. The most notable feature is probably Moore's extensive use of written music, as both MacHeath and a seaside madame named Suki spend more or less all their screentime 'singing' (which comes across to the reader as rhymed narration or monologues). This is a unique use of the comic book format that I'm not sure would really work in a visual medium, given the time that passes between panels of the song. As with Moore's "From Hell", there's a great deal of criticism of Britain's class structure here, and the hypocrisy of the upper class of this era. Kevin O'Neill's art is customarily good.

This is probably the best whole installment of the "League" franchise since the original volume in 1999. All the same, I cannot escape the feeling that there are more interesting things Moore could be doing with his time.
14 internautes sur 15 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 The League Returns! 22 mai 2009
Par Daniel V. Reilly - Publié sur Amazon.com
THE LEAGUE OF EXTRAORDINARY GENTLEMEN, Alan Moore & Kevin O'Neill's motley crew of Victorian-era literary figures, returns for a fourth outing, and the results are extraordinary, indeed.

The first in a trilogy, CENTURY: 1910 sees an modified League, consisting of Mina Murray, Allan Quatermain (Masquerading as his own son, thanks to his newly immortal condition, as seen in THE LEAGUE OF EXTRAORDINARY GENTLEMEN: THE BLACK DOSSIER), Carnacki, Raffles, and Orlando, dispatched by Mycroft Holmes to prevent the apocalyptic vision received by Carnacki from becoming a reality. To say more about the story would do potential readers a disservice. (I will say that the story involves Captain Nemo and his equally hardcase Daughter Janni, the Ripper murders, Aleister Crowley, and Bertolt Brecht and Kurt Weill's musical THE THREEPENNY OPERA. An odd, but pleasing, mixture.)

The misgivings I had at the end of Volume II of LOEG still hold true, to an extent: Without the depraved personalities of Hyde, Griffin, and Nemo, the remaining members of The League are less than interesting. Mina and Allan are as boring as ever, and Raffles and Carnacki are not much better. Only Orlando delivers even a fraction of the personality that's been missing since Hyde and Griffin exited Moore's grand stage. However, the "new" characters (New to More's playground, at least- Jenny Diver, Jack MacHeath, Suki Tawdry, Oliver Haddo, and Norton, the "Prisoner of London") make for some interesting moments, and O'Neill's art is as grotesquely lovely and detailed as ever. The League itself, as always, is more of a group of passive observers than active participants- They seem very ineffective for such a highly-regarded team. However, I enjoyed the book immensely, and I wish there wasn't going to be the inevitable years-long wait before the next chapter. (Just as an aside, Moore, as usual, doesn't completely play fair with the reader, having a very important section of the book, Nemo's dialogue with his daughter, written in a completely untranslated foreign language. Jess Nevin's annotations for CENTURY: 1910 provide a complete translation, as well as invaluable background information that make the reading experience much more pleasurable for people who are not steeped in Victorian literature. The annotations for CENTURY:1910 are easily found online through a Google search, and are well worth hunting down.)
14 internautes sur 17 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Pompous and overly self-satisfied 1 octobre 2009
Par Axton Blessendon, Jr. - Publié sur Amazon.com
Don't get me wrong -- I enjoyed the first "Extraordinary Gentlemen" series (and hated the movie) but I found this volume to be a bit dull, and couldn't help detecting a strong whiff of self-satisfaction wafting out of the script. "What a clever boy am I!" is the constant undercurrent to it all, even though Moore seems to have little new to offer his readers that we haven't seen before, time and again. Plus, the story is so slow-moving and inert -- I found it a chore to get through, particularly the extended "musical" sequences that are intended as an homage to Brecht and Weill: sheer torture. This was okay, I guess, but personally I found myself frequently bored with most of the book. (Axton)
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 A Comic Opera 11 juillet 2011
Par Jacob King - Publié sur Amazon.com
This is another good installment in a series that never quite lives up to its promise. At least there is less of Moore attempting to write prose "in the style of..." What I like about the league is the sheer intensity of the references - surely a mocking joke on post-modernism and the pastiche as well as a celebration of them. The series on this level does not write down to its audience and Moore cleverly blends high and low cultural elements. These books are for well read readers and don't pander to popular taste however the story Moore builds out of his splendid box of tricks could have sprung from any pulp writer of the last two hundred years and I know this is part one and some development into a more interesting plot is evident but the fact is part 2 set in 1969 will involve pages of new characters and new references leaving Mina and Alan's development almost non-existent. That said it is good fun and I love the addition of Carnacki and Raffles (a particular favourite of mine).
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 You know when something's done so well you HAVE to be impressed by it? 27 août 2012
Par Benjy - Publié sur Amazon.com
This is one of those cases. While the first two League volumes were taut stories that blended elements together so brilliantly as to resemble nuclear fusion, and Black Dossier was a love-it-or-hate-it 'sourcebook' whose references you needed to understand to even follow... I'm actually not sure what "Century: 1910" is supposed to be.

It's competently done, of course. The art and presentation and every character's actions feel so natural and put together with such effortless mastery that you know from the first few pages that you're reading Moore. There's coloring that adds to the atmosphere of the scenes, lots of visual allusions to other works, all that stuff. The only problem is that as it goes on, this work becomes more about the references to fiction you might not have engaged with, and less about the central characters and story. I understand the charm of having every person, place and thing be part of this overworld of combined un-reality. The trouble is that the central plot for this (and all the "Century" books) is a little thin, and if you're not into Alistair Crowley and Moore's ideas about the collective unconscious, it'll make you roll your eyes. I don't follow the central conflict of these stories. From the first, the aim of the antagonists is vague and they don't have the substance of those from earlier in the series.

It also indulges in something that's interesting to see attempted but hardly ever fulfilling, namely music in comics - I like reading lyrics, but can you really get into a musical you don't hear? As cleverly as it's implemented (especially in one dark, alley-treading scene of murder that's at once reminiscent of and an inversion of Alan Moore's other graphic novel "From Hell"), I don't feel like the comic is better for having had it than more pages of direct story.

I mean, all right, if anyone was going to make a 1910-set story about stories colliding set to the score of "The Threepenny Opera" and centered around the prophesied magical baby from "The Moonchild," then this is the best they could possibly do it. O'Neill's a goddamn master at putting details in every panel, Moore's operating on a different level from even other giant talents like Ellis and Morrison, them working together is always going to produce something stunning. It IS stunning. But unlike volumes one and two, and even Black Dossier, this doesn't feel vital. It's just a spot of fun, no matter how well put-together it is, and if there is a deeper charm to it, then it eludes me.

If you want to get into the work of these creators, this is not the place to begin. Chances are that if you're a committed Leaguer, you'll already know it by this point and want to continue on with the series, but if you've felt doubt before now, try switching over to one of Alan Moore's other extraordinary works. Hell, even his run on WildC.A.T.S. feels like it has more thematic weight to it at times.
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