Has any comic been as lauded as Alan Moore and Dave Gibbons' Watchmen? Possibly only Frank Miller's The Dark Knight Returns but Watchmen remains the critics' favourite. Why? Because Moore is a better writer, and Watchmen a more complex and dark and literate creation than Miller's fantastic, subversive take on the Batman myth. Moore, renowned for many other of the genre's finest creations (Saga of the Swamp Thing, V for Vendetta, and recently From Hell, with Eddie Campbell) first put out Watchmen in 12 issues for DC in 1986-87. It won a comic award at the time (the 1987 Jack Kirby Comics Industry Awards for Best Writer/Artist combination) and has continued to garner praise since.

The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moore's characterisation is as sophisticated as any novel's. Importantly the costumes do not get in the way of the storytelling, rather they allow Moore to investigate issues of power and control--indeed it was Watchmen, and to a lesser extent Dark Knight, that propelled the comic genre forward, making "adult" comics a reality. The artwork of Gibbons (best known for 2000AD's Rogue Trooper and DC's Green Lantern) is very fine too, echoing Moore's paranoid mood perfectly throughout. Packed with symbolism, some of the overlying themes (arms control, nuclear threat, vigilantes) have dated but the intelligent social and political commentary, the structure of the story itself, its intertextuality (chapters appended with excerpts from other "works" and "studies" on Moore's characters, or with excerpts from another comic book being read by a child within the story), the fine pace of the writing and its humanity mean that Watchmen more than stands up--it retains its crown as the best the genre has yet produced. --Mark Thwaite

spend your money on frank miller instead, 11 Oct 2008
best graphic novel ever written, superb ivestigation of a heroes psyche, amazginly written. This is why i bought this book. What reviewers forgot to inform me though was the total lack of entertainment!! Over elaborate story, unnecassary comic within in a comic pirate story line and total disregard for what a comic book is supposed to be - entertaining!

I felt this comic was hugely self important, almost pretentious.

Trust me just get frank millers back catalogue instead!

AN AQUIRED TASTE, 23 Sep 2008
I bought this comic based partly on the positive feedback it has received and the hype surrounding it; however such hype can create unrealistic expectations. That isn't to say Watchmen isn't a fantastic work of fiction, simply it wasn't what I expected.

The story begins with an intriguing murder mystery that helps to introduce one the books greatest characters, Rorschach. After this promising start the story slows down considerably with the majority of the book dedicated more to the development of the main characters rather than the story itself. The deliberate slow pacing and exploration of the inner landscape can make reading Watchmen difficult as developments in the main story take an age to develop.

Some of the characters in Watchmen are brilliantly realised and in the case of Rorschach and Dr. Manhattan are a joy to read about. Other characters such as the second Nite Owl are less interesting and are pretty unspectacular, both as a superhero and as a normal individual. This continued focus on the main characters could be considered one of the books greatest strengths. However for me it is in some areas a weakness with pacing and plot development sacrificed for a continued focus on the lives of the main characters. In an attempt to be genre defining Watchmen feels overly clever and self-indulgent in places.

Is Watchmen worth owning, that depends on what you want from this comic.
Watchmen is a slow read full of intricate characters with intricate relationships. This internal exploration can be frustrating as developments in the main story arcs happen very slowly. If you are looking for action then Batman: The Dark Night Returns offers characters that are just as rich and well developed with none of the baggage and a more exciting and involving story.



WATCHMEN, 16 Sep 2008
I decided to buy this book after seeing the forthcoming movie trailer,it looked fantastic and I was really intrested in finding out what it was about,I wasn't disappointed,it is a crackin read,could not put it down,don't be put off just thinkin'it's just a comic this is a book that demands your total concentration,can't wait for the movie now!

Hasn't aged well..., 09 Sep 2008
Twenty years ago, Watchmen was undoubtedly the peak of the comic art form, a defining and influential work that gave credibility to the format of the graphic novel with its multiple overlapping narratives, its post-modern deconstructive outlook on the nature of comic superheroes, given psychological depth through realistic characterisation and documentary interludes, using them as a metaphor for covert US activity in the wider political world - a force with no accountability ("Who watches the Watchmen?") that can either deter or precipitate an international crisis.

Twenty years later as it is about to finally make its way onto the screen after numerous abortive attempts, Watchmen is however starting to show its age. The wordplay, juxtaposition of imagery, visual links and overlapping narratives that once seem sophisticated in the world of comics now seems very arch and even cheesy, but it's the dark tone of dread of an imminent nuclear Armageddon that dates the novel the most.

Watchmen's place in the history of comic art is assured, Moore almost single-handedly shifting the whole concept of graphic novels onto a more sophisticated adult level, but in comparison to modern indie, autobiographical, and European works, Watchmen's heavyweight treatment of the superhero theme now seems more than a little pompous.

It's a classic for a reason, 05 Sep 2008
A cleverly written interwoven story, which hasn't really dated and rings even more true in today's current environment. Well inked as well.

It will be interesting to see how it translates to the big screen.

spend your money on frank miller instead, 11 Oct 2008
best graphic novel ever written, superb ivestigation of a heroes psyche, amazginly written. This is why i bought this book. What reviewers forgot to inform me though was the total lack of entertainment!! Over elaborate story, unnecassary comic within in a comic pirate story line and total disregard for what a comic book is supposed to be - entertaining!

I felt this comic was hugely self important, almost pretentious.

Trust me just get frank millers back catalogue instead!

AN AQUIRED TASTE, 23 Sep 2008
I bought this comic based partly on the positive feedback it has received and the hype surrounding it; however such hype can create unrealistic expectations. That isn't to say Watchmen isn't a fantastic work of fiction, simply it wasn't what I expected.

The story begins with an intriguing murder mystery that helps to introduce one the books greatest characters, Rorschach. After this promising start the story slows down considerably with the majority of the book dedicated more to the development of the main characters rather than the story itself. The deliberate slow pacing and exploration of the inner landscape can make reading Watchmen difficult as developments in the main story take an age to develop.

Some of the characters in Watchmen are brilliantly realised and in the case of Rorschach and Dr. Manhattan are a joy to read about. Other characters such as the second Nite Owl are less interesting and are pretty unspectacular, both as a superhero and as a normal individual. This continued focus on the main characters could be considered one of the books greatest strengths. However for me it is in some areas a weakness with pacing and plot development sacrificed for a continued focus on the lives of the main characters. In an attempt to be genre defining Watchmen feels overly clever and self-indulgent in places.

Is Watchmen worth owning, that depends on what you want from this comic.
Watchmen is a slow read full of intricate characters with intricate relationships. This internal exploration can be frustrating as developments in the main story arcs happen very slowly. If you are looking for action then Batman: The Dark Night Returns offers characters that are just as rich and well developed with none of the baggage and a more exciting and involving story.



WATCHMEN, 16 Sep 2008
I decided to buy this book after seeing the forthcoming movie trailer,it looked fantastic and I was really intrested in finding out what it was about,I wasn't disappointed,it is a crackin read,could not put it down,don't be put off just thinkin'it's just a comic this is a book that demands your total concentration,can't wait for the movie now!

Hasn't aged well..., 09 Sep 2008
Twenty years ago, Watchmen was undoubtedly the peak of the comic art form, a defining and influential work that gave credibility to the format of the graphic novel with its multiple overlapping narratives, its post-modern deconstructive outlook on the nature of comic superheroes, given psychological depth through realistic characterisation and documentary interludes, using them as a metaphor for covert US activity in the wider political world - a force with no accountability ("Who watches the Watchmen?") that can either deter or precipitate an international crisis.

Twenty years later as it is about to finally make its way onto the screen after numerous abortive attempts, Watchmen is however starting to show its age. The wordplay, juxtaposition of imagery, visual links and overlapping narratives that once seem sophisticated in the world of comics now seems very arch and even cheesy, but it's the dark tone of dread of an imminent nuclear Armageddon that dates the novel the most.

Watchmen's place in the history of comic art is assured, Moore almost single-handedly shifting the whole concept of graphic novels onto a more sophisticated adult level, but in comparison to modern indie, autobiographical, and European works, Watchmen's heavyweight treatment of the superhero theme now seems more than a little pompous.

It's a classic for a reason, 05 Sep 2008
A cleverly written interwoven story, which hasn't really dated and rings even more true in today's current environment. Well inked as well.

It will be interesting to see how it translates to the big screen.

It was OK., 01 Sep 2008
I was really looking forward to this, having heard so much praise. I guess I missed something, but I was expecting a really deep, complex story, like so many reviews and articles had described, and didn't find anything of the sort. The artwork's flawless, but the story really did nothing for me, especially the Joker's back story, which seems to be the most raved about part. I felt no attachment to any characters, and having only recently read Watchmen for the first time, and being so blown away by that, I couldn't see how this was the same writer. I also found it shockingly short, which I don't expect from a graphic novel. As I said before though, awesome artwork. I still love that cover!

A Feast for the Eyes; A Drain On the Mind, 29 Aug 2008
Okay, let's keep this brief and informal lest I start taking myself far too seriously. After all, it is only a comic book to which I am referring regardless of how good or bad this particular one may be.
As an addition to the Batman Legend, 'The Killing Joke' is something of a let down, and not least due to the 1980's "think outside of the box" storyline. In my opinion it will warp your perception of the Caped Crusader and Smiles-McGee as it did mine with it's painting of the pair as something of an old married couple who may fight but deep down are the best of friends (and thankfully like an old married couple they are not sexually attracted to each other either). It has to be said though that The Joker's crimes depicted here are less master-criminal and more sick-bastard. Whilst inventive, they lack the subtlety and genius you'd expect from the character. It would be far too easy to confuse his antics with that of 'Lord Pumpkin' in his origin one-shot as the freaky carnival setting and deformed minions are not Joker-like in my mind. I'd also suggest that the "definitive origin story" for the Joker is an ideal that should have died long ago, way before the 80's ever hit, and it's inclusion here makes the Joker seem weak and unjustified (in some senses) in his madness. Basically, as in the short version, Alan Moore's story is cleverly gimmicky at best with scripting that is just plain awful. Sorry to all the fans of the piece out there, but it reads more like a romance comic with Batman being the hysterical woman moreover Dark Knight.
What you will take away from reading this (and despite what I just said, you must buy and read this!) is that Brian Bolland is highly revered for a reason. The artwork is simply phenomenal, and the newly revamped colouring is stunning. You may never see a depiction of classic Batman or Joker looking this good anywhere else again. With the added bonus of Bolland's 'Innocent Man' (which he also wrote) sitting quietly at the back, this package must adorn your bookcase. I would recommend this to anyone.

"I know you're a mass murderer, but can't we be friends?", 24 Aug 2008
Alan Moore provides the reader with plenty motivation for us to hate the Joker in this short story; so much in fact that it make's Commisioner Gordon's response largely unbelievable, and Batman's 'let's be friends, I can help you' reaction somehow cowardly. The villain is elevated to such a level of cruelty and malice that Batman's idealistic moral outlook has no counter. The result is Batman comes off as a wimp.

The artwork by Boland is wonderful, but probably the worst story I've read of Moore's.

A short story, short on story, 17 Aug 2008
This graphic novel has been given a massive amount of praise and to be honest, I'm not sure why. Perhaps because it's Alan Moore, perhaps because it is Batman vs Joker, perhaps because it has a Joker origin. I'm not sure.

I read it in one sitting, it's a very short and at £10 is a bit expensive. As it's so short there's not really a story. None at all. Batman turns up at the begining and the end, the middle is mainly flashbacks to the Joker origin. Which is campy and somewhat uninteresting.

The end is somewhat ambiguous following on the unexplored idea of should Batman kill the joker and why.

Really, the problem is not bad writing, just that it's too short and doesn't really explore the relationship at all.

There are better graphic novels, there are better batman novels. I wouldn't recommend this.


Not as great as it's made out to be.... , 13 Aug 2008
I must admit to having had a copy of this book for quite a while now, and having read and re-read it a number of times, still cannot see why it is so lauded. Okay, the artwork IS wonderful (though Brian Bolland didn't like the colour much, apparently), and there are elements within the story which have subsequently proven pivotal within the DC Universe, but that's not really enough to explain it's status. I think that after an excellent set up, the ending is rather flat. I'd always assumed that I'd "missed the point" somewhere ... now I'm not so sure. It's quite interesting to review "The Killing Joke" in the context of the rest of Alan Moore's work at DC (and, as all but his "Swamp Thing" stuff is now collected in a single trade paperback, that's relatively easy to do). It's certainly not his most interesting or most imaginative during this period (his two comparable Superman stories are probably superior, whilst his Omega Men and Green Lantern Corps tales are better still) and I suspect much of the status comes from the general Batman "thing" that ran from Miller's "The Dark Knight Returns" to the Burton's two movies.
A good book, but not the great one everyone seems to think.

If any comic has a claim to have truly reinvigorated the genre then The Dark Knight Returns by Frank Miller--known recently for his excellent Sin City series and, previously, for his superb rendering of the blind superhero Daredevil--is probably the supreme contender. Batman represented all that was wrong in comics and Miller set himself a tough task taking on the camp crusader and turning this laughable, innocuous children's cartoon character into a hero for our times. In his introduction the great Alan Moore (V for Vendetta, Swamp Thing, the arguably peerless Watchmen) argues that only someone of Miller's stature could have done this. Batman is a character known well beyond the confines of the comic world (as are his retinue) and so reinventing him, while keeping his limiting core essentials intact, was a huge task.

Miller went far beyond the call of duty. The Dark Knight is a success on every level. Firstly it does keep the core elements of the Batman myth intact, with Robin, Alfred the butler, Commissioner Gordon and the old roster of villains, present yet brilliantly subverted. Secondly the artwork is fantastic--detailed, sometimes claustrophobic, psychotic. Lastly it's a great story: Gotham City is a hell on earth, streetgangs roam but there are no heroes. Decay is ubiquitous. Where is a hero to save Gotham? It is 10 years since the last recorded sighting of the Batman. And things have got worse than ever. Bruce Wayne is close to being a broken man but something is keeping him sane: the need to see change and the belief that he can orchestrate some of that change. Batman is back. The Dark Knight has returned. Awesome. --Mark Thwaite

spend your money on frank miller instead, 11 Oct 2008
best graphic novel ever written, superb ivestigation of a heroes psyche, amazginly written. This is why i bought this book. What reviewers forgot to inform me though was the total lack of entertainment!! Over elaborate story, unnecassary comic within in a comic pirate story line and total disregard for what a comic book is supposed to be - entertaining!

I felt this comic was hugely self important, almost pretentious.

Trust me just get frank millers back catalogue instead!

AN AQUIRED TASTE, 23 Sep 2008
I bought this comic based partly on the positive feedback it has received and the hype surrounding it; however such hype can create unrealistic expectations. That isn't to say Watchmen isn't a fantastic work of fiction, simply it wasn't what I expected.

The story begins with an intriguing murder mystery that helps to introduce one the books greatest characters, Rorschach. After this promising start the story slows down considerably with the majority of the book dedicated more to the development of the main characters rather than the story itself. The deliberate slow pacing and exploration of the inner landscape can make reading Watchmen difficult as developments in the main story take an age to develop.

Some of the characters in Watchmen are brilliantly realised and in the case of Rorschach and Dr. Manhattan are a joy to read about. Other characters such as the second Nite Owl are less interesting and are pretty unspectacular, both as a superhero and as a normal individual. This continued focus on the main characters could be considered one of the books greatest strengths. However for me it is in some areas a weakness with pacing and plot development sacrificed for a continued focus on the lives of the main characters. In an attempt to be genre defining Watchmen feels overly clever and self-indulgent in places.

Is Watchmen worth owning, that depends on what you want from this comic.
Watchmen is a slow read full of intricate characters with intricate relationships. This internal exploration can be frustrating as developments in the main story arcs happen very slowly. If you are looking for action then Batman: The Dark Night Returns offers characters that are just as rich and well developed with none of the baggage and a more exciting and involving story.



WATCHMEN, 16 Sep 2008
I decided to buy this book after seeing the forthcoming movie trailer,it looked fantastic and I was really intrested in finding out what it was about,I wasn't disappointed,it is a crackin read,could not put it down,don't be put off just thinkin'it's just a comic this is a book that demands your total concentration,can't wait for the movie now!

Hasn't aged well..., 09 Sep 2008
Twenty years ago, Watchmen was undoubtedly the peak of the comic art form, a defining and influential work that gave credibility to the format of the graphic novel with its multiple overlapping narratives, its post-modern deconstructive outlook on the nature of comic superheroes, given psychological depth through realistic characterisation and documentary interludes, using them as a metaphor for covert US activity in the wider political world - a force with no accountability ("Who watches the Watchmen?") that can either deter or precipitate an international crisis.

Twenty years later as it is about to finally make its way onto the screen after numerous abortive attempts, Watchmen is however starting to show its age. The wordplay, juxtaposition of imagery, visual links and overlapping narratives that once seem sophisticated in the world of comics now seems very arch and even cheesy, but it's the dark tone of dread of an imminent nuclear Armageddon that dates the novel the most.

Watchmen's place in the history of comic art is assured, Moore almost single-handedly shifting the whole concept of graphic novels onto a more sophisticated adult level, but in comparison to modern indie, autobiographical, and European works, Watchmen's heavyweight treatment of the superhero theme now seems more than a little pompous.

It's a classic for a reason, 05 Sep 2008
A cleverly written interwoven story, which hasn't really dated and rings even more true in today's current environment. Well inked as well.

It will be interesting to see how it translates to the big screen.

It was OK., 01 Sep 2008
I was really looking forward to this, having heard so much praise. I guess I missed something, but I was expecting a really deep, complex story, like so many reviews and articles had described, and didn't find anything of the sort. The artwork's flawless, but the story really did nothing for me, especially the Joker's back story, which seems to be the most raved about part. I felt no attachment to any characters, and having only recently read Watchmen for the first time, and being so blown away by that, I couldn't see how this was the same writer. I also found it shockingly short, which I don't expect from a graphic novel. As I said before though, awesome artwork. I still love that cover!

A Feast for the Eyes; A Drain On the Mind, 29 Aug 2008
Okay, let's keep this brief and informal lest I start taking myself far too seriously. After all, it is only a comic book to which I am referring regardless of how good or bad this particular one may be.
As an addition to the Batman Legend, 'The Killing Joke' is something of a let down, and not least due to the 1980's "think outside of the box" storyline. In my opinion it will warp your perception of the Caped Crusader and Smiles-McGee as it did mine with it's painting of the pair as something of an old married couple who may fight but deep down are the best of friends (and thankfully like an old married couple they are not sexually attracted to each other either). It has to be said though that The Joker's crimes depicted here are less master-criminal and more sick-bastard. Whilst inventive, they lack the subtlety and genius you'd expect from the character. It would be far too easy to confuse his antics with that of 'Lord Pumpkin' in his origin one-shot as the freaky carnival setting and deformed minions are not Joker-like in my mind. I'd also suggest that the "definitive origin story" for the Joker is an ideal that should have died long ago, way before the 80's ever hit, and it's inclusion here makes the Joker seem weak and unjustified (in some senses) in his madness. Basically, as in the short version, Alan Moore's story is cleverly gimmicky at best with scripting that is just plain awful. Sorry to all the fans of the piece out there, but it reads more like a romance comic with Batman being the hysterical woman moreover Dark Knight.
What you will take away from reading this (and despite what I just said, you must buy and read this!) is that Brian Bolland is highly revered for a reason. The artwork is simply phenomenal, and the newly revamped colouring is stunning. You may never see a depiction of classic Batman or Joker looking this good anywhere else again. With the added bonus of Bolland's 'Innocent Man' (which he also wrote) sitting quietly at the back, this package must adorn your bookcase. I would recommend this to anyone.

"I know you're a mass murderer, but can't we be friends?", 24 Aug 2008
Alan Moore provides the reader with plenty motivation for us to hate the Joker in this short story; so much in fact that it make's Commisioner Gordon's response largely unbelievable, and Batman's 'let's be friends, I can help you' reaction somehow cowardly. The villain is elevated to such a level of cruelty and malice that Batman's idealistic moral outlook has no counter. The result is Batman comes off as a wimp.

The artwork by Boland is wonderful, but probably the worst story I've read of Moore's.

A short story, short on story, 17 Aug 2008
This graphic novel has been given a massive amount of praise and to be honest, I'm not sure why. Perhaps because it's Alan Moore, perhaps because it is Batman vs Joker, perhaps because it has a Joker origin. I'm not sure.

I read it in one sitting, it's a very short and at £10 is a bit expensive. As it's so short there's not really a story. None at all. Batman turns up at the begining and the end, the middle is mainly flashbacks to the Joker origin. Which is campy and somewhat uninteresting.

The end is somewhat ambiguous following on the unexplored idea of should Batman kill the joker and why.

Really, the problem is not bad writing, just that it's too short and doesn't really explore the relationship at all.

There are better graphic novels, there are better batman novels. I wouldn't recommend this.


Not as great as it's made out to be.... , 13 Aug 2008
I must admit to having had a copy of this book for quite a while now, and having read and re-read it a number of times, still cannot see why it is so lauded. Okay, the artwork IS wonderful (though Brian Bolland didn't like the colour much, apparently), and there are elements within the story which have subsequently proven pivotal within the DC Universe, but that's not really enough to explain it's status. I think that after an excellent set up, the ending is rather flat. I'd always assumed that I'd "missed the point" somewhere ... now I'm not so sure. It's quite interesting to review "The Killing Joke" in the context of the rest of Alan Moore's work at DC (and, as all but his "Swamp Thing" stuff is now collected in a single trade paperback, that's relatively easy to do). It's certainly not his most interesting or most imaginative during this period (his two comparable Superman stories are probably superior, whilst his Omega Men and Green Lantern Corps tales are better still) and I suspect much of the status comes from the general Batman "thing" that ran from Miller's "The Dark Knight Returns" to the Burton's two movies.
A good book, but not the great one everyone seems to think.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

spend your money on frank miller instead, 11 Oct 2008
best graphic novel ever written, superb ivestigation of a heroes psyche, amazginly written. This is why i bought this book. What reviewers forgot to inform me though was the total lack of entertainment!! Over elaborate story, unnecassary comic within in a comic pirate story line and total disregard for what a comic book is supposed to be - entertaining!

I felt this comic was hugely self important, almost pretentious.

Trust me just get frank millers back catalogue instead!

AN AQUIRED TASTE, 23 Sep 2008
I bought this comic based partly on the positive feedback it has received and the hype surrounding it; however such hype can create unrealistic expectations. That isn't to say Watchmen isn't a fantastic work of fiction, simply it wasn't what I expected.

The story begins with an intriguing murder mystery that helps to introduce one the books greatest characters, Rorschach. After this promising start the story slows down considerably with the majority of the book dedicated more to the development of the main characters rather than the story itself. The deliberate slow pacing and exploration of the inner landscape can make reading Watchmen difficult as developments in the main story take an age to develop.

Some of the characters in Watchmen are brilliantly realised and in the case of Rorschach and Dr. Manhattan are a joy to read about. Other characters such as the second Nite Owl are less interesting and are pretty unspectacular, both as a superhero and as a normal individual. This continued focus on the main characters could be considered one of the books greatest strengths. However for me it is in some areas a weakness with pacing and plot development sacrificed for a continued focus on the lives of the main characters. In an attempt to be genre defining Watchmen feels overly clever and self-indulgent in places.

Is Watchmen worth owning, that depends on what you want from this comic.
Watchmen is a slow read full of intricate characters with intricate relationships. This internal exploration can be frustrating as developments in the main story arcs happen very slowly. If you are looking for action then Batman: The Dark Night Returns offers characters that are just as rich and well developed with none of the baggage and a more exciting and involving story.



WATCHMEN, 16 Sep 2008
I decided to buy this book after seeing the forthcoming movie trailer,it looked fantastic and I was really intrested in finding out what it was about,I wasn't disappointed,it is a crackin read,could not put it down,don't be put off just thinkin'it's just a comic this is a book that demands your total concentration,can't wait for the movie now!

Hasn't aged well..., 09 Sep 2008
Twenty years ago, Watchmen was undoubtedly the peak of the comic art form, a defining and influential work that gave credibility to the format of the graphic novel with its multiple overlapping narratives, its post-modern deconstructive outlook on the nature of comic superheroes, given psychological depth through realistic characterisation and documentary interludes, using them as a metaphor for covert US activity in the wider political world - a force with no accountability ("Who watches the Watchmen?") that can either deter or precipitate an international crisis.

Twenty years later as it is about to finally make its way onto the screen after numerous abortive attempts, Watchmen is however starting to show its age. The wordplay, juxtaposition of imagery, visual links and overlapping narratives that once seem sophisticated in the world of comics now seems very arch and even cheesy, but it's the dark tone of dread of an imminent nuclear Armageddon that dates the novel the most.

Watchmen's place in the history of comic art is assured, Moore almost single-handedly shifting the whole concept of graphic novels onto a more sophisticated adult level, but in comparison to modern indie, autobiographical, and European works, Watchmen's heavyweight treatment of the superhero theme now seems more than a little pompous.

It's a classic for a reason, 05 Sep 2008
A cleverly written interwoven story, which hasn't really dated and rings even more true in today's current environment. Well inked as well.

It will be interesting to see how it translates to the big screen.

It was OK., 01 Sep 2008
I was really looking forward to this, having heard so much praise. I guess I missed something, but I was expecting a really deep, complex story, like so many reviews and articles had described, and didn't find anything of the sort. The artwork's flawless, but the story really did nothing for me, especially the Joker's back story, which seems to be the most raved about part. I felt no attachment to any characters, and having only recently read Watchmen for the first time, and being so blown away by that, I couldn't see how this was the same writer. I also found it shockingly short, which I don't expect from a graphic novel. As I said before though, awesome artwork. I still love that cover!

A Feast for the Eyes; A Drain On the Mind, 29 Aug 2008
Okay, let's keep this brief and informal lest I start taking myself far too seriously. After all, it is only a comic book to which I am referring regardless of how good or bad this particular one may be.
As an addition to the Batman Legend, 'The Killing Joke' is something of a let down, and not least due to the 1980's "think outside of the box" storyline. In my opinion it will warp your perception of the Caped Crusader and Smiles-McGee as it did mine with it's painting of the pair as something of an old married couple who may fight but deep down are the best of friends (and thankfully like an old married couple they are not sexually attracted to each other either). It has to be said though that The Joker's crimes depicted here are less master-criminal and more sick-bastard. Whilst inventive, they lack the subtlety and genius you'd expect from the character. It would be far too easy to confuse his antics with that of 'Lord Pumpkin' in his origin one-shot as the freaky carnival setting and deformed minions are not Joker-like in my mind. I'd also suggest that the "definitive origin story" for the Joker is an ideal that should have died long ago, way before the 80's ever hit, and it's inclusion here makes the Joker seem weak and unjustified (in some senses) in his madness. Basically, as in the short version, Alan Moore's story is cleverly gimmicky at best with scripting that is just plain awful. Sorry to all the fans of the piece out there, but it reads more like a romance comic with Batman being the hysterical woman moreover Dark Knight.
What you will take away from reading this (and despite what I just said, you must buy and read this!) is that Brian Bolland is highly revered for a reason. The artwork is simply phenomenal, and the newly revamped colouring is stunning. You may never see a depiction of classic Batman or Joker looking this good anywhere else again. With the added bonus of Bolland's 'Innocent Man' (which he also wrote) sitting quietly at the back, this package must adorn your bookcase. I would recommend this to anyone.

"I know you're a mass murderer, but can't we be friends?", 24 Aug 2008
Alan Moore provides the reader with plenty motivation for us to hate the Joker in this short story; so much in fact that it make's Commisioner Gordon's response largely unbelievable, and Batman's 'let's be friends, I can help you' reaction somehow cowardly. The villain is elevated to such a level of cruelty and malice that Batman's idealistic moral outlook has no counter. The result is Batman comes off as a wimp.

The artwork by Boland is wonderful, but probably the worst story I've read of Moore's.

A short story, short on story, 17 Aug 2008
This graphic novel has been given a massive amount of praise and to be honest, I'm not sure why. Perhaps because it's Alan Moore, perhaps because it is Batman vs Joker, perhaps because it has a Joker origin. I'm not sure.

I read it in one sitting, it's a very short and at £10 is a bit expensive. As it's so short there's not really a story. None at all. Batman turns up at the begining and the end, the middle is mainly flashbacks to the Joker origin. Which is campy and somewhat uninteresting.

The end is somewhat ambiguous following on the unexplored idea of should Batman kill the joker and why.

Really, the problem is not bad writing, just that it's too short and doesn't really explore the relationship at all.

There are better graphic novels, there are better batman novels. I wouldn't recommend this.


Not as great as it's made out to be.... , 13 Aug 2008
I must admit to having had a copy of this book for quite a while now, and having read and re-read it a number of times, still cannot see why it is so lauded. Okay, the artwork IS wonderful (though Brian Bolland didn't like the colour much, apparently), and there are elements within the story which have subsequently proven pivotal within the DC Universe, but that's not really enough to explain it's status. I think that after an excellent set up, the ending is rather flat. I'd always assumed that I'd "missed the point" somewhere ... now I'm not so sure. It's quite interesting to review "The Killing Joke" in the context of the rest of Alan Moore's work at DC (and, as all but his "Swamp Thing" stuff is now collected in a single trade paperback, that's relatively easy to do). It's certainly not his most interesting or most imaginative during this period (his two comparable Superman stories are probably superior, whilst his Omega Men and Green Lantern Corps tales are better still) and I suspect much of the status comes from the general Batman "thing" that ran from Miller's "The Dark Knight Returns" to the Burton's two movies.
A good book, but not the great one everyone seems to think.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

A long road ahead, 10 Oct 2008

"The Gunslinger Born" explored the origins and early struggles of young Roland Deschain, as well as the loss of his first true love, Susan Delgado.

And Stephen King's "Dark Tower: The Long Road Home" picks up right after that, showing us more devastating events that shaped Roland Deschain into the gunslinger anti-hero we know and love. While the first part is rather slow, it has plenty of horrific moments and the haunting quality of a "world that has moved on."

A devastated Roland takes down Susan's charred body, as Alain and Bert argue about whether they should be stopping. But suddenly Roland fires at Maerlyn's Grapefruit -- which suddenly turns into a tentacled eyeball that jumps on Roland's face, and enthralls his very soul before they can peel it off. His ka-tet is chased by a bunch of local thugs, the last Big Coffin Hunter, and a ghastly pack of mutated wolves.

Nearby, a mentally challenged boy named Sheemie was seen climbing into old war machines, only to encounter a strange robot that is somehow still "alive."And inside Maerlyn's Grapefruit, Roland is slowly being driven mad in his own memories -- right before being dragged to the hellish citadel of the Crimson King, who reveals a ghastly secret to the young boy from long ago, which will change him forever...

"The Dark Tower: Long Road Home" isn't quite as gripping as its predecessor, "The Gunslinger Born" -- partly because it's a briefer story, and partly because it's simpler. It's a tribute to Stephen King's original story -- and to the hauntingly vivid artwork -- that it's still such an intense rollercoaster ride.

After the heartbreaking first few pages, the plot speeds into a suitably confusing, desperate chase through a lonely wilderness, with plenty of gunshots and dying creatures. Things actually get rather gory as Roland's pals struggle over rickety bridges and across a red-tinged wilderness, since one of them almost gets his arm bitten off (and announces that he'd rather die than shoot left-handed forever. Hardcore, kid).

And since this is a world made by Stephen King, we have plenty of the eerie and the horrible -- Sheemie's confrontation with a baby-faced robot is just one example. King's rich, old-time narrative translates well into comic form, almost as if he were conversing with the readers ("But don't be laughing at Sheemie, I beg ya, because he's been through considerable trials").

And Jae Lee and Richard Isanove really bring this story to life -- they create a world split between bright bloody red mist and autumnal twilight, filled with shadowy faces, barren lands, and ghastly pursuers. And inside the Grapefruit, we get a full cornucopia of horrors, with Roland defiantly trying to keep his sanity and soul intact in a dusty, hazy landscape full of withered trees, tragic future selves, evil crows, lumpy castles, and the vaguely spidery King with his hellish magic and his suitably evil offers to Roland.

"The Gunslinger Born" introduced Roland as a boy, but "The Long Road Home" has undeniably made him a man. He has the guts and integrity to snarl not just at Marte but at the King himself. And after being in Roland's shadow for so long, Alain and Cuthbert also get to take center stage here -- we get to see just how strong and capable they are.

"Dark Tower: The Long Road Home" is not as tightly-written as its predecessor, but it's filled with a sense of overhanging horror and some solid action for the sidekicks. Definitely worth checking out.

V for Vendetta is, like its author's later Watchmen, a landmark in comic-book writing. Alan Moore has led the field in intelligent, politically astute (if slightly paranoid), complex adult comic-book writing since the early 1980s. He began V back in 1981 and it constituted one of his first attempts (along with the criminally neglected but equally superb Miracleman) at writing an ongoing series. It is 1998 (which was the future back then!) and a Fascist government has taken over the UK. The only blot on its particular landscape is a lone terrorist who is systematically killing all the government personnel associated with a now destroyed secret concentration camp. Codename V is out for vengeance ... and an awful lot more. V feels slightly dated like all past premonitions do. The original series was black and white and that added to the grittiness of the feel while the colouring here in the graphic novel sometimes blurs David Lloyd's fine drawing. But these are small concerns. Skilfully plotted, V is an essential read for all those who love comics and the freedom, as a medium, they allow a writer as skilled as Moore. The graphic novel contains all the V series plus two additional stories concerning V that were originally considered "interludes". This edition also contains an essay from Moore dating from 1983 explaining the creation process. For any comic fan it's a must-have. --Mark Thwaite

spend your money on frank miller instead, 11 Oct 2008
best graphic novel ever written, superb ivestigation of a heroes psyche, amazginly written. This is why i bought this book. What reviewers forgot to inform me though was the total lack of entertainment!! Over elaborate story, unnecassary comic within in a comic pirate story line and total disregard for what a comic book is supposed to be - entertaining!

I felt this comic was hugely self important, almost pretentious.

Trust me just get frank millers back catalogue instead!

AN AQUIRED TASTE, 23 Sep 2008
I bought this comic based partly on the positive feedback it has received and the hype surrounding it; however such hype can create unrealistic expectations. That isn't to say Watchmen isn't a fantastic work of fiction, simply it wasn't what I expected.

The story begins with an intriguing murder mystery that helps to introduce one the books greatest characters, Rorschach. After this promising start the story slows down considerably with the majority of the book dedicated more to the development of the main characters rather than the story itself. The deliberate slow pacing and exploration of the inner landscape can make reading Watchmen difficult as developments in the main story take an age to develop.

Some of the characters in Watchmen are brilliantly realised and in the case of Rorschach and Dr. Manhattan are a joy to read about. Other characters such as the second Nite Owl are less interesting and are pretty unspectacular, both as a superhero and as a normal individual. This continued focus on the main characters could be considered one of the books greatest strengths. However for me it is in some areas a weakness with pacing and plot development sacrificed for a continued focus on the lives of the main characters. In an attempt to be genre defining Watchmen feels overly clever and self-indulgent in places.

Is Watchmen worth owning, that depends on what you want from this comic.
Watchmen is a slow read full of intricate characters with intricate relationships. This internal exploration can be frustrating as developments in the main story arcs happen very slowly. If you are looking for action then Batman: The Dark Night Returns offers characters that are just as rich and well developed with none of the baggage and a more exciting and involving story.



WATCHMEN, 16 Sep 2008
I decided to buy this book after seeing the forthcoming movie trailer,it looked fantastic and I was really intrested in finding out what it was about,I wasn't disappointed,it is a crackin read,could not put it down,don't be put off just thinkin'it's just a comic this is a book that demands your total concentration,can't wait for the movie now!

Hasn't aged well..., 09 Sep 2008
Twenty years ago, Watchmen was undoubtedly the peak of the comic art form, a defining and influential work that gave credibility to the format of the graphic novel with its multiple overlapping narratives, its post-modern deconstructive outlook on the nature of comic superheroes, given psychological depth through realistic characterisation and documentary interludes, using them as a metaphor for covert US activity in the wider political world - a force with no accountability ("Who watches the Watchmen?") that can either deter or precipitate an international crisis.

Twenty years later as it is about to finally make its way onto the screen after numerous abortive attempts, Watchmen is however starting to show its age. The wordplay, juxtaposition of imagery, visual links and overlapping narratives that once seem sophisticated in the world of comics now seems very arch and even cheesy, but it's the dark tone of dread of an imminent nuclear Armageddon that dates the novel the most.

Watchmen's place in the history of comic art is assured, Moore almost single-handedly shifting the whole concept of graphic novels onto a more sophisticated adult level, but in comparison to modern indie, autobiographical, and European works, Watchmen's heavyweight treatment of the superhero theme now seems more than a little pompous.

It's a classic for a reason, 05 Sep 2008
A cleverly written interwoven story, which hasn't really dated and rings even more true in today's current environment. Well inked as well.

It will be interesting to see how it translates to the big screen.

It was OK., 01 Sep 2008
I was really looking forward to this, having heard so much praise. I guess I missed something, but I was expecting a really deep, complex story, like so many reviews and articles had described, and didn't find anything of the sort. The artwork's flawless, but the story really did nothing for me, especially the Joker's back story, which seems to be the most raved about part. I felt no attachment to any characters, and having only recently read Watchmen for the first time, and being so blown away by that, I couldn't see how this was the same writer. I also found it shockingly short, which I don't expect from a graphic novel. As I said before though, awesome artwork. I still love that cover!

A Feast for the Eyes; A Drain On the Mind, 29 Aug 2008
Okay, let's keep this brief and informal lest I start taking myself far too seriously. After all, it is only a comic book to which I am referring regardless of how good or bad this particular one may be.
As an addition to the Batman Legend, 'The Killing Joke' is something of a let down, and not least due to the 1980's "think outside of the box" storyline. In my opinion it will warp your perception of the Caped Crusader and Smiles-McGee as it did mine with it's painting of the pair as something of an old married couple who may fight but deep down are the best of friends (and thankfully like an old married couple they are not sexually attracted to each other either). It has to be said though that The Joker's crimes depicted here are less master-criminal and more sick-bastard. Whilst inventive, they lack the subtlety and genius you'd expect from the character. It would be far too easy to confuse his antics with that of 'Lord Pumpkin' in his origin one-shot as the freaky carnival setting and deformed minions are not Joker-like in my mind. I'd also suggest that the "definitive origin story" for the Joker is an ideal that should have died long ago, way before the 80's ever hit, and it's inclusion here makes the Joker seem weak and unjustified (in some senses) in his madness. Basically, as in the short version, Alan Moore's story is cleverly gimmicky at best with scripting that is just plain awful. Sorry to all the fans of the piece out there, but it reads more like a romance comic with Batman being the hysterical woman moreover Dark Knight.
What you will take away from reading this (and despite what I just said, you must buy and read this!) is that Brian Bolland is highly revered for a reason. The artwork is simply phenomenal, and the newly revamped colouring is stunning. You may never see a depiction of classic Batman or Joker looking this good anywhere else again. With the added bonus of Bolland's 'Innocent Man' (which he also wrote) sitting quietly at the back, this package must adorn your bookcase. I would recommend this to anyone.

"I know you're a mass murderer, but can't we be friends?", 24 Aug 2008
Alan Moore provides the reader with plenty motivation for us to hate the Joker in this short story; so much in fact that it make's Commisioner Gordon's response largely unbelievable, and Batman's 'let's be friends, I can help you' reaction somehow cowardly. The villain is elevated to such a level of cruelty and malice that Batman's idealistic moral outlook has no counter. The result is Batman comes off as a wimp.

The artwork by Boland is wonderful, but probably the worst story I've read of Moore's.

A short story, short on story, 17 Aug 2008
This graphic novel has been given a massive amount of praise and to be honest, I'm not sure why. Perhaps because it's Alan Moore, perhaps because it is Batman vs Joker, perhaps because it has a Joker origin. I'm not sure.

I read it in one sitting, it's a very short and at £10 is a bit expensive. As it's so short there's not really a story. None at all. Batman turns up at the begining and the end, the middle is mainly flashbacks to the Joker origin. Which is campy and somewhat uninteresting.

The end is somewhat ambiguous following on the unexplored idea of should Batman kill the joker and why.

Really, the problem is not bad writing, just that it's too short and doesn't really explore the relationship at all.

There are better graphic novels, there are better batman novels. I wouldn't recommend this.


Not as great as it's made out to be.... , 13 Aug 2008
I must admit to having had a copy of this book for quite a while now, and having read and re-read it a number of times, still cannot see why it is so lauded. Okay, the artwork IS wonderful (though Brian Bolland didn't like the colour much, apparently), and there are elements within the story which have subsequently proven pivotal within the DC Universe, but that's not really enough to explain it's status. I think that after an excellent set up, the ending is rather flat. I'd always assumed that I'd "missed the point" somewhere ... now I'm not so sure. It's quite interesting to review "The Killing Joke" in the context of the rest of Alan Moore's work at DC (and, as all but his "Swamp Thing" stuff is now collected in a single trade paperback, that's relatively easy to do). It's certainly not his most interesting or most imaginative during this period (his two comparable Superman stories are probably superior, whilst his Omega Men and Green Lantern Corps tales are better still) and I suspect much of the status comes from the general Batman "thing" that ran from Miller's "The Dark Knight Returns" to the Burton's two movies.
A good book, but not the great one everyone seems to think.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

A long road ahead, 10 Oct 2008

"The Gunslinger Born" explored the origins and early struggles of young Roland Deschain, as well as the loss of his first true love, Susan Delgado.

And Stephen King's "Dark Tower: The Long Road Home" picks up right after that, showing us more devastating events that shaped Roland Deschain into the gunslinger anti-hero we know and love. While the first part is rather slow, it has plenty of horrific moments and the haunting quality of a "world that has moved on."

A devastated Roland takes down Susan's charred body, as Alain and Bert argue about whether they should be stopping. But suddenly Roland fires at Maerlyn's Grapefruit -- which suddenly turns into a tentacled eyeball that jumps on Roland's face, and enthralls his very soul before they can peel it off. His ka-tet is chased by a bunch of local thugs, the last Big Coffin Hunter, and a ghastly pack of mutated wolves.

Nearby, a mentally challenged boy named Sheemie was seen climbing into old war machines, only to encounter a strange robot that is somehow still "alive."And inside Maerlyn's Grapefruit, Roland is slowly being driven mad in his own memories -- right before being dragged to the hellish citadel of the Crimson King, who reveals a ghastly secret to the young boy from long ago, which will change him forever...

"The Dark Tower: Long Road Home" isn't quite as gripping as its predecessor, "The Gunslinger Born" -- partly because it's a briefer story, and partly because it's simpler. It's a tribute to Stephen King's original story -- and to the hauntingly vivid artwork -- that it's still such an intense rollercoaster ride.

After the heartbreaking first few pages, the plot speeds into a suitably confusing, desperate chase through a lonely wilderness, with plenty of gunshots and dying creatures. Things actually get rather gory as Roland's pals struggle over rickety bridges and across a red-tinged wilderness, since one of them almost gets his arm bitten off (and announces that he'd rather die than shoot left-handed forever. Hardcore, kid).

And since this is a world made by Stephen King, we have plenty of the eerie and the horrible -- Sheemie's confrontation with a baby-faced robot is just one example. King's rich, old-time narrative translates well into comic form, almost as if he were conversing with the readers ("But don't be laughing at Sheemie, I beg ya, because he's been through considerable trials").

And Jae Lee and Richard Isanove really bring this story to life -- they create a world split between bright bloody red mist and autumnal twilight, filled with shadowy faces, barren lands, and ghastly pursuers. And inside the Grapefruit, we get a full cornucopia of horrors, with Roland defiantly trying to keep his sanity and soul intact in a dusty, hazy landscape full of withered trees, tragic future selves, evil crows, lumpy castles, and the vaguely spidery King with his hellish magic and his suitably evil offers to Roland.

"The Gunslinger Born" introduced Roland as a boy, but "The Long Road Home" has undeniably made him a man. He has the guts and integrity to snarl not just at Marte but at the King himself. And after being in Roland's shadow for so long, Alain and Cuthbert also get to take center stage here -- we get to see just how strong and capable they are.

"Dark Tower: The Long Road Home" is not as tightly-written as its predecessor, but it's filled with a sense of overhanging horror and some solid action for the sidekicks. Definitely worth checking out.

Infinitely preferable to the film, 19 Aug 2008
Great. This deserves the hype but not the butchering it received on film at the hands of the Wachowksi brothers. This is really about Thatcher's Britain and nuclear winters and the social control of 'deviant' minorities and the power of dissent. So it has something to say about today. But don't read it as a proxy for political critique. It is a joy for many a reason, of which its anarchist politics is one, but our present predicaments require something less wedded to Cold War models. V for Vendetta is of its time, by which I mean also that it is a classic.

Good work, but totally spoiled..., 14 Aug 2008
A potentially excellent work of graphic fiction, but totally spoiled by the worst attempt at phonetically transcribing a Scottish accent I've ever read--when you read it out loud it sounds it a bit like Russ Abbott's "See You Jimmy" character. Embarrassing and unnecessary when there are so many great Scottish comic book writers who could have assisted.

The V-effekt of V for Vendetta , 27 Jul 2008
Alan Moore and David Lloyd's aesthetic seems almost Brechtian. With a sci-fi motif it distances the reader from the universal political issues being addressed; amusingly, V for Vendetta could be said to use Brecht's V-effekt. There is a strong dialectic that runs throughout, a sense of determinism layered symbolism. All V's Larkhill targets personify aspects of the state. Science is embodied by Delia Surridge, military and media by Lewis Prothero and religion by Anthony Lilliman. Each takes an attitude of opposition; so Lilliman is the unrepentant leader of an institution of salvation, whilst Surridge seeks repentance from the opposed standpoint of a scientist. Prothero, by representing the military become media, is in himself a synthesis between the power of rhetoric and that of violence, which ultimately spawns a new antithesis resulting in V - anarchy personified.

The secret police are represented by Peter Creedy and the figurehead by Adam Susan; Creedy seeks power as an end in itself, whilst Susan is a deranged idealist who believes in his superiority to the extent that he becomes solipsistic, disconnected from humanity and infatuated with the super computer `fate'. With all of this madness Moore knows how to offer grounding and realism; investigator Eric Finch and orphan Evey Hammond take on the roles of the everyman and everywoman respectively. They offer the audience characters to follow, to empathize with. They are a thread of sanity weaved through this excellent narrative.

Moore's story is also full of intertextual allusion; from Shakespeare to Goethe and from Crowley to Fawkes, this is intelligent writing. The dialogue (replete with convincing phonetic spellings, character ticks and vernacular language) flows beautifully and the absence of thought bubbles or sound bubbles lends this book both a maturity and minimalism. Lloyd is given room by this minimalism to show of his artistic capabilities, which are not at all lacking; this is a gritty, dystopic kind of realism that takes you to the action. Each panel demands your attention.

Overall V for Vendetta is faultless; I love the film as well, but the original is on a different level. This is a comic book that shows you how far the medium can be pushed when it is backed by enough raw creative talent.

Wicked, 22 Jun 2008
I love this graphic novel, I read it a long time before I saw the film, and I still think the novel is better! If you have never read a comic/ graphic novel before, I highly recommend this one.

ESSENTIAL READING just as good as all these 5 star reviews make out, 10 Apr 2008
Just thought I'd add my own opinion to the pile of customer reviews praising this graphic novel through the roof. I've come to comics fairly late and I find comic book mile stones to be funny things. I find that some of them leave me scratching my head and wondering what all the fuss was about in the first place. Others age like wine and reward careful re-reading. V for Vendetta is definitley the latter. The story does miss a beat, the art work is top notch and even the recent medicore movie adaptation doesn't detract from it's power to shock, move and inspire the reader.
This is a book that doesn't require any previous appreciation of comics to get totally lost in. Best of all it's as quintessentially English as tea, Dad's Army and the Queen's speech. Absoluely essential reading!

spend your money on frank miller instead, 11 Oct 2008
best graphic novel ever written, superb ivestigation of a heroes psyche, amazginly written. This is why i bought this book. What reviewers forgot to inform me though was the total lack of entertainment!! Over elaborate story, unnecassary comic within in a comic pirate story line and total disregard for what a comic book is supposed to be - entertaining!

I felt this comic was hugely self important, almost pretentious.

Trust me just get frank millers back catalogue instead!

AN AQUIRED TASTE, 23 Sep 2008
I bought this comic based partly on the positive feedback it has received and the hype surrounding it; however such hype can create unrealistic expectations. That isn't to say Watchmen isn't a fantastic work of fiction, simply it wasn't what I expected.

The story begins with an intriguing murder mystery that helps to introduce one the books greatest characters, Rorschach. After this promising start the story slows down considerably with the majority of the book dedicated more to the development of the main characters rather than the story itself. The deliberate slow pacing and exploration of the inner landscape can make reading Watchmen difficult as developments in the main story take an age to develop.

Some of the characters in Watchmen are brilliantly realised and in the case of Rorschach and Dr. Manhattan are a joy to read about. Other characters such as the second Nite Owl are less interesting and are pretty unspectacular, both as a superhero and as a normal individual. This continued focus on the main characters could be considered one of the books greatest strengths. However for me it is in some areas a weakness with pacing and plot development sacrificed for a continued focus on the lives of the main characters. In an attempt to be genre defining Watchmen feels overly clever and self-indulgent in places.

Is Watchmen worth owning, that depends on what you want from this comic.
Watchmen is a slow read full of intricate characters with intricate relationships. This internal exploration can be frustrating as developments in the main story arcs happen very slowly. If you are looking for action then Batman: The Dark Night Returns offers characters that are just as rich and well developed with none of the baggage and a more exciting and involving story.



WATCHMEN, 16 Sep 2008
I decided to buy this book after seeing the forthcoming movie trailer,it looked fantastic and I was really intrested in finding out what it was about,I wasn't disappointed,it is a crackin read,could not put it down,don't be put off just thinkin'it's just a comic this is a book that demands your total concentration,can't wait for the movie now!

Hasn't aged well..., 09 Sep 2008
Twenty years ago, Watchmen was undoubtedly the peak of the comic art form, a defining and influential work that gave credibility to the format of the graphic novel with its multiple overlapping narratives, its post-modern deconstructive outlook on the nature of comic superheroes, given psychological depth through realistic characterisation and documentary interludes, using them as a metaphor for covert US activity in the wider political world - a force with no accountability ("Who watches the Watchmen?") that can either deter or precipitate an international crisis.

Twenty years later as it is about to finally make its way onto the screen after numerous abortive attempts, Watchmen is however starting to show its age. The wordplay, juxtaposition of imagery, visual links and overlapping narratives that once seem sophisticated in the world of comics now seems very arch and even cheesy, but it's the dark tone of dread of an imminent nuclear Armageddon that dates the novel the most.

Watchmen's place in the history of comic art is assured, Moore almost single-handedly shifting the whole concept of graphic novels onto a more sophisticated adult level, but in comparison to modern indie, autobiographical, and European works, Watchmen's heavyweight treatment of the superhero theme now seems more than a little pompous.

It's a classic for a reason, 05 Sep 2008
A cleverly written interwoven story, which hasn't really dated and rings even more true in today's current environment. Well inked as well.

It will be interesting to see how it translates to the big screen.

It was OK., 01 Sep 2008
I was really looking forward to this, having heard so much praise. I guess I missed something, but I was expecting a really deep, complex story, like so many reviews and articles had described, and didn't find anything of the sort. The artwork's flawless, but the story really did nothing for me, especially the Joker's back story, which seems to be the most raved about part. I felt no attachment to any characters, and having only recently read Watchmen for the first time, and being so blown away by that, I couldn't see how this was the same writer. I also found it shockingly short, which I don't expect from a graphic novel. As I said before though, awesome artwork. I still love that cover!

A Feast for the Eyes; A Drain On the Mind, 29 Aug 2008
Okay, let's keep this brief and informal lest I start taking myself far too seriously. After all, it is only a comic book to which I am referring regardless of how good or bad this particular one may be.
As an addition to the Batman Legend, 'The Killing Joke' is something of a let down, and not least due to the 1980's "think outside of the box" storyline. In my opinion it will warp your perception of the Caped Crusader and Smiles-McGee as it did mine with it's painting of the pair as something of an old married couple who may fight but deep down are the best of friends (and thankfully like an old married couple they are not sexually attracted to each other either). It has to be said though that The Joker's crimes depicted here are less master-criminal and more sick-bastard. Whilst inventive, they lack the subtlety and genius you'd expect from the character. It would be far too easy to confuse his antics with that of 'Lord Pumpkin' in his origin one-shot as the freaky carnival setting and deformed minions are not Joker-like in my mind. I'd also suggest that the "definitive origin story" for the Joker is an ideal that should have died long ago, way before the 80's ever hit, and it's inclusion here makes the Joker seem weak and unjustified (in some senses) in his madness. Basically, as in the short version, Alan Moore's story is cleverly gimmicky at best with scripting that is just plain awful. Sorry to all the fans of the piece out there, but it reads more like a romance comic with Batman being the hysterical woman moreover Dark Knight.
What you will take away from reading this (and despite what I just said, you must buy and read this!) is that Brian Bolland is highly revered for a reason. The artwork is simply phenomenal, and the newly revamped colouring is stunning. You may never see a depiction of classic Batman or Joker looking this good anywhere else again. With the added bonus of Bolland's 'Innocent Man' (which he also wrote) sitting quietly at the back, this package must adorn your bookcase. I would recommend this to anyone.

"I know you're a mass murderer, but can't we be friends?", 24 Aug 2008
Alan Moore provides the reader with plenty motivation for us to hate the Joker in this short story; so much in fact that it make's Commisioner Gordon's response largely unbelievable, and Batman's 'let's be friends, I can help you' reaction somehow cowardly. The villain is elevated to such a level of cruelty and malice that Batman's idealistic moral outlook has no counter. The result is Batman comes off as a wimp.

The artwork by Boland is wonderful, but probably the worst story I've read of Moore's.

A short story, short on story, 17 Aug 2008
This graphic novel has been given a massive amount of praise and to be honest, I'm not sure why. Perhaps because it's Alan Moore, perhaps because it is Batman vs Joker, perhaps because it has a Joker origin. I'm not sure.

I read it in one sitting, it's a very short and at £10 is a bit expensive. As it's so short there's not really a story. None at all. Batman turns up at the begining and the end, the middle is mainly flashbacks to the Joker origin. Which is campy and somewhat uninteresting.

The end is somewhat ambiguous following on the unexplored idea of should Batman kill the joker and why.

Really, the problem is not bad writing, just that it's too short and doesn't really explore the relationship at all.

There are better graphic novels, there are better batman novels. I wouldn't recommend this.


Not as great as it's made out to be.... , 13 Aug 2008
I must admit to having had a copy of this book for quite a while now, and having read and re-read it a number of times, still cannot see why it is so lauded. Okay, the artwork IS wonderful (though Brian Bolland didn't like the colour much, apparently), and there are elements within the story which have subsequently proven pivotal within the DC Universe, but that's not really enough to explain it's status. I think that after an excellent set up, the ending is rather flat. I'd always assumed that I'd "missed the point" somewhere ... now I'm not so sure. It's quite interesting to review "The Killing Joke" in the context of the rest of Alan Moore's work at DC (and, as all but his "Swamp Thing" stuff is now collected in a single trade paperback, that's relatively easy to do). It's certainly not his most interesting or most imaginative during this period (his two comparable Superman stories are probably superior, whilst his Omega Men and Green Lantern Corps tales are better still) and I suspect much of the status comes from the general Batman "thing" that ran from Miller's "The Dark Knight Returns" to the Burton's two movies.
A good book, but not the great one everyone seems to think.

SUPERB!, 28 Sep 2008
Only Watchmen can be considered to be on the same level as Batman: The Dark Night Returns. However where Watchmen had an absolute myriad of characters bursting out of the seams, Batman: The Dark Night Returns is better able to create characters the reader can emphasise with.

The reader is introduced to an ageing Bruce Wayne who has come out of retirement to continue is vengeful fight against crime. This dark, disturbed and sad character is pitted against those he considered allies, new enemies that are stronger than him and an all too familiar nemesis. The story is wonderfully written, well paced with a few twists and turns that keep the story interesting and a surprise shock ending with a man in tights. The artwork is brilliant, quick loose drawings capturing the action and suspense of a dark brooding story in a way some comics are unable to achieve.

Batman: The Dark Night Returns is a must own and a must read. The story is brilliantly told and features a damaged, weary character that draws you in to his own one man war.


The Greatest...., 24 Jul 2008
In all types of history there are defining moments. A moment that is so extraordinary that you have to see it again to believe what you have just seen. It sometimes takes time for the dust to settle to appreciate such a moment.
This comic is one of those moments.
The Dark Knight Returns took a tired out superhero genre and re-injected it with the modern paced style we see today. A comic that in fact saved the superhero himself. The multi-layering of story lines in this epic tale is almost cinematic in its construction.
Maybe a little dated now, but at the time it re-defined everything in comics and the way superheroes where percieved. If you are a fan of Batman, this should be the cornerstone to your collection.

DARK KNIGHT RETURNS, 23 Jul 2008
If you are used to the slick, photo-realistic art of some modern Graphic Novels/Comics, then the look of this book may take some getting used to... but get passed that, and it's one of the best comics you'll ever read.

A very good read., 05 Jun 2008
If I had to choose one word to describe this, I would choose the word epic. Why? Because its an interesting look on how Bruce Wayne would handle himself in his later years with excellent action sequences and crisp dialogue. There's really only one thing bad about this, and that is the lack of Joker. Sure he's in it, but he's not really as important to the plot as he should have been. And he's camper than ever. But aside from that, buy it. It should tickle your fetish.

Dissapointing..., 13 May 2008
Honestly, I didn't see what the fuss was all about with this graphic novel. I thought the plot was all over the place, the pacing was shot to pieces, the art was average and there were more than a few absurdities which I found hard to swallow.

I don't read many comics or graphic novels, but I went through a brief obsession last year and bought about 25 or 30 over a few months. Given the hype and acclaim which has been heaped on this, I was expecting great things, and sadly I was disappointed on almost every level.

As others have said, Frank Miller's characterisation is probably closer to Bob Kane's original vision of the Dark Knight than anyone's (except perhaps Tim Burton). However, his motivations here are never wholly clear and the excessive scripting and repetitive 'news report' cells do little to help. The plot meanders through a handful of scenarios over its four chapters but they never feel wholly cohesive - and things take a turn for the frankly ridiculous when Batman is deemed such a menace that Superman is called in [personally by the president] to deal with him (not to mention the resolution of this encounter, which I won't detail). Further, the new Robin is just utterly irritating and a somewhat needless character (given that she brings very little to the proceedings).

It is rare that I get bored of a graphic novel part way through, but I found that on both read-thoughs I was losing interest in the character, the story and the situation as a whole (hence why I had to read it a second time reasonably quickly - to see if there was something I missed). I feel defensive in explaining why I didn't think much of this book, as I am well aware I am in the minority, and although I can appreciate how influential and important this may have been on release, that does not automatically make it a great read by today's standards.

So, to anyone who has yet to read this I'd probably suggest you to go for it, if only to make up your own mind, but for me this just wasn't what it had been hyped up to be.

A long road ahead, 10 Oct 2008

"The Gunslinger Born" explored the origins and early struggles of young Roland Deschain, as well as the loss of his first true love, Susan Delgado.

And Stephen King's "Dark Tower: The Long Road Home" picks up right after that, showing us more devastating events that shaped Roland Deschain into the gunslinger anti-hero we know and love. While the first part is rather slow, it has plenty of horrific moments and the haunting quality of a "world that has moved on."

A devastated Roland takes down Susan's charred body, as Alain and Bert argue about whether they should be stopping. But suddenly Roland fires at Maerlyn's Grapefruit -- which suddenly turns into a tentacled eyeball that jumps on Roland's face, and enthralls his very soul before they can peel it off. His ka-tet is chased by a bunch of local thugs, the last Big Coffin Hunter, and a ghastly pack of mutated wolves.

Nearby, a mentally challenged boy named Sheemie was seen climbing into old war machines, only to encounter a strange robot that is somehow still "alive."And inside Maerlyn's Grapefruit, Roland is slowly being driven mad in his own memories -- right before being dragged to the hellish citadel of the Crimson King, who reveals a ghastly secret to the young boy from long ago, which will change him forever...

"The Dark Tower: Long Road Home" isn't quite as gripping as its predecessor, "The Gunslinger Born" -- partly because it's a briefer story, and partly because it's simpler. It's a tribute to Stephen King's original story -- and to the hauntingly vivid artwork -- that it's still such an intense rollercoaster ride.

After the heartbreaking first few pages, the plot speeds into a suitably confusing, desperate chase through a lonely wilderness, with plenty of gunshots and dying creatures. Things actually get rather gory as Roland's pals struggle over rickety bridges and across a red-tinged wilderness, since one of them almost gets his arm bitten off (and announces that he'd rather die than shoot left-handed forever. Hardcore, kid).

And since this is a world made by Stephen King, we have plenty of the eerie and the horrible -- Sheemie's confrontation with a baby-faced robot is just one example. King's rich, old-time narrative translates well into comic form, almost as if he were conversing with the readers ("But don't be laughing at Sheemie, I beg ya, because he's been through considerable trials").

And Jae Lee and Richard Isanove really bring this story to life -- they create a world split between bright bloody red mist and autumnal twilight, filled with shadowy faces, barren lands, and ghastly pursuers. And inside the Grapefruit, we get a full cornucopia of horrors, with Roland defiantly trying to keep his sanity and soul intact in a dusty, hazy landscape full of withered trees, tragic future selves, evil crows, lumpy castles, and the vaguely spidery King with his hellish magic and his suitably evil offers to Roland.

"The Gunslinger Born" introduced Roland as a boy, but "The Long Road Home" has undeniably made him a man. He has the guts and integrity to snarl not just at Marte but at the King himself. And after being in Roland's shadow for so long, Alain and Cuthbert also get to take center stage here -- we get to see just how strong and capable they are.

"Dark Tower: The Long Road Home" is not as tightly-written as its predecessor, but it's filled with a sense of overhanging horror and some solid action for the sidekicks. Definitely worth checking out.

Infinitely preferable to the film, 19 Aug 2008
Great. This deserves the hype but not the butchering it received on film at the hands of the Wachowksi brothers. This is really about Thatcher's Britain and nuclear winters and the social control of 'deviant' minorities and the power of dissent. So it has something to say about today. But don't read it as a proxy for political critique. It is a joy for many a reason, of which its anarchist politics is one, but our present predicaments require something less wedded to Cold War models. V for Vendetta is of its time, by which I mean also that it is a classic.

Good work, but totally spoiled..., 14 Aug 2008
A potentially excellent work of graphic fiction, but totally spoiled by the worst attempt at phonetically transcribing a Scottish accent I've ever read--when you read it out loud it sounds it a bit like Russ Abbott's "See You Jimmy" character. Embarrassing and unnecessary when there are so many great Scottish comic book writers who could have assisted.

The V-effekt of V for Vendetta , 27 Jul 2008
Alan Moore and David Lloyd's aesthetic seems almost Brechtian. With a sci-fi motif it distances the reader from the universal political issues being addressed; amusingly, V for Vendetta could be said to use Brecht's V-effekt. There is a strong dialectic that runs throughout, a sense of determinism layered symbolism. All V's Larkhill targets personify aspects of the state. Science is embodied by Delia Surridge, military and media by Lewis Prothero and religion by Anthony Lilliman. Each takes an attitude of opposition; so Lilliman is the unrepentant leader of an institution of salvation, whilst Surridge seeks repentance from the opposed standpoint of a scientist. Prothero, by representing the military become media, is in himself a synthesis between the power of rhetoric and that of violence, which ultimately spawns a new antithesis resulting in V - anarchy personified.

The secret police are represented by Peter Creedy and the figurehead by Adam Susan; Creedy seeks power as an end in itself, whilst Susan is a deranged idealist who believes in his superiority to the extent that he becomes solipsistic, disconnected from humanity and infatuated with the super computer `fate'. With all of this madness Moore knows how to offer grounding and realism; investigator Eric Finch and orphan Evey Hammond take on the roles of the everyman and everywoman respectively. They offer the audience characters to follow, to empathize with. They are a thread of sanity weaved through this excellent narrative.

Moore's story is also full of intertextual allusion; from Shakespeare to Goethe and from Crowley to Fawkes, this is intelligent writing. The dialogue (replete with convincing phonetic spellings, character ticks and vernacular language) flows beautifully and the absence of thought bubbles or sound bubbles lends this book both a maturity and minimalism. Lloyd is given room by this minimalism to show of his artistic capabilities, which are not at all lacking; this is a gritty, dystopic kind of realism that takes you to the action. Each panel demands your attention.

Overall V for Vendetta is faultless; I love the film as well, but the original is on a different level. This is a comic book that shows you how far the medium can be pushed when it is backed by enough raw creative talent.

Wicked, 22 Jun 2008
I love this graphic novel, I read it a long time before I saw the film, and I still think the novel is better! If you have never read a comic/ graphic novel before, I highly recommend this one.

ESSENTIAL READING just as good as all these 5 star reviews make out, 10 Apr 2008
Just thought I'd add my own opinion to the pile of customer reviews praising this graphic novel through the roof. I've come to comics fairly late and I find comic book mile stones to be funny things. I find that some of them leave me scratching my head and wondering what all the fuss was about in the first place. Others age like wine and reward careful re-reading. V for Vendetta is definitley the latter. The story does miss a beat, the art work is top notch and even the recent medicore movie adaptation doesn't detract from it's power to shock, move and inspire the reader.
This is a book that doesn't require any previous appreciation of comics to get totally lost in. Best of all it's as quintessentially English as tea, Dad's Army and the Queen's speech. Absoluely essential reading!

Novel of a game? Oh dear..., 09 Oct 2008
This is novel based on a game and it shows. The story moves along quite nicely however the book feels like a series of action scenes strung together. The brief interludes between the sadly rushed action scenes add new dimensions to the characters and reveal more of their motives etc. These are well writte