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

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.

Read it before the movie comes out!, 01 Sep 2008
Do not be put off by the comic book format; this is very good, imaginative, intelligent story telling with real depth and complexity.

The movie will no doubt be stunning, but read this before you see it.

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.

Read it before the movie comes out!, 01 Sep 2008
Do not be put off by the comic book format; this is very good, imaginative, intelligent story telling with real depth and complexity.

The movie will no doubt be stunning, but read this before you see it.


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.

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.

The best Joker story for the last 20 years, 09 Aug 2008
This story has to be the best insight to the Joker mainly because its the only one that has a worthy and acceptable back story for Joker. He's not as psychotic as I usually like him to be in this but he's still got the regular charm. Seeing as the story's quite short its hard to mention anything without spoiling anything. but I assure you, this is an excellent read.

The artwork is excellent too like all of Bolland's work. My only problem is the design of the Batmobile. You'll understand when you see it.

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

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.

Read it before the movie comes out!, 01 Sep 2008
Do not be put off by the comic book format; this is very good, imaginative, intelligent story telling with real depth and complexity.

The movie will no doubt be stunning, but read this before you see it.


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.

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.

The best Joker story for the last 20 years, 09 Aug 2008
This story has to be the best insight to the Joker mainly because its the only one that has a worthy and acceptable back story for Joker. He's not as psychotic as I usually like him to be in this but he's still got the regular charm. Seeing as the story's quite short its hard to mention anything without spoiling anything. but I assure you, this is an excellent read.

The artwork is excellent too like all of Bolland's work. My only problem is the design of the Batmobile. You'll understand when you see it.

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!

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.

Read it before the movie comes out!, 01 Sep 2008
Do not be put off by the comic book format; this is very good, imaginative, intelligent story telling with real depth and complexity.

The movie will no doubt be stunning, but read this before you see it.


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.

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.

The best Joker story for the last 20 years, 09 Aug 2008
This story has to be the best insight to the Joker mainly because its the only one that has a worthy and acceptable back story for Joker. He's not as psychotic as I usually like him to be in this but he's still got the regular charm. Seeing as the story's quite short its hard to mention anything without spoiling anything. but I assure you, this is an excellent read.

The artwork is excellent too like all of Bolland's work. My only problem is the design of the Batmobile. You'll understand when you see it.

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!

Are you trying to avoid it?, 25 May 2008
I had known of this book for about a year when i finally decided to buy it. I was put off by the slightly dodgy artwork and the very serious nature of the plot which to me is not what comics are about. Anyway,I wanted to read it so i could come on hear and rant about how it is an over-rated waste of time but I cant. The art isnt perfect i agree but it has its charms and as you read the story you really do get into the simplistic nature of it,it works for this,it doesnt distract from the story which over stylised art would. The story is VERY well written and everything i read totally shocked and moved me.
The jist of my review is - if you are put off by the art but you liked schindlers list or have a fascination with hearing about the holocaust from a personal perspective then you have to read this book. It would get 5 stars from me if I genuinely felt that everyone would like the artwork but I know thats not gonna happen but everyone who isnt an anti-semite must read this story!

Masterpiece, 11 Apr 2008
Only graphic novel to date to win the Pulitzer Price.

That should be compelling enough to endear anyone to this masterwork.

The drawing isn't perhaps as expressive as that of Sacco, but the novelty in Maus not only comes from the controversial bestialization of the characters (Poles are pigs, Jews are mice, Germans are cats, etc) but also from the timeline jumps that mix the chilling tale of Vladek's survival of Auschwitz and the author's process of discovery and acceptance of his father's personality as he is retold the survivor's tale.

So while we are presented with the horror's faced by Vladek, the book also deals with the strained relationship between the author and his father, his father's second wife and the author's converted wife.

One can only praise Spiegelman's honesty at the less than perfect portray of the old age Vladek and his own insecurities.


Searing honesty, 31 Mar 2008
"Maus" is an amazing accomplishment and a rightly revered classic. What I admire most about its narrative is its honesty. If Spielberg ever adapted this book as a film, it would become a simplistic, black-and-white affair: one-dimensional Nazi aggressors stamping on one-dimensional Jewish victims. Instead, Spiegelman has opted to respect our intelligence and throw the doors wide open on this repellent slice of human history. He pulls no punches and tells his father's story with abject truth - even when sometimes portraying the Jewish community in a less than flattering light.

In the unflinching pages of "Maus", Jews betray Jews. Jews steal from Jews. Jews discriminate against non-Jews. I sat up with a shock when Vladek, the tale's central holocaust survivor, displays unbelievable racism towards a black man. Having lived through unspeakable persecution, he speaks of African-Americans in the same way that a Nazi would speak of a Jew. Also, in his old age, Vladek has come to resemble the Nazi stereotype of the "miserly old Jew". This adds incredible power and depth to this already complex story, throwing up countless questions on morality, racial identity and the grey area between good and evil.

It is a staggeringly brave book and its courage has sealed its success. I only wish more artists out would get some guts and show the world some work that really matters.


Rupert in Nazi germany, 10 Mar 2008
I have respect for the author in that it was brave to explore the subject of the holocaust in comic book form- quite an original thing to do. His story is an important one to tell. However, this does not take away the fact that Spiegelman can't draw. The art is in black and white with no rendering and Spiegelman's style is flat and bland.
In this comic book, the jews are mice and the Nazis are cats. The people have animal heads and human bodies-like Rupert bear! That is the last thing you want to think about when reading a book about the holocaust.
And as a person who has experienced having mice in my house (mouse droppings in the cutlery drawer is not pleasant) I find it hard to sympathise with any cartoon mouse.

More Important Than Mickey, 14 May 2007
I cannot be the only person who had become jaded by Hollywood's over use of the "Holocaust" button as a short circuit to character depth and motivation. Then I read this and was moved much more than all those movies and TV dramas could ever manage.

As has been said elsewhere, overcome your reluctance to read and comic book/graphic novel and this book rewards with lifelong meaning and resonance. Clever, funny and desperately sad all at once.

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.

Read it before the movie comes out!, 01 Sep 2008
Do not be put off by the comic book format; this is very good, imaginative, intelligent story telling with real depth and complexity.

The movie will no doubt be stunning, but read this before you see it.


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.

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.

The best Joker story for the last 20 years, 09 Aug 2008
This story has to be the best insight to the Joker mainly because its the only one that has a worthy and acceptable back story for Joker. He's not as psychotic as I usually like him to be in this but he's still got the regular charm. Seeing as the story's quite short its hard to mention anything without spoiling anything. but I assure you, this is an excellent read.

The artwork is excellent too like all of Bolland's work. My only problem is the design of the Batmobile. You'll understand when you see it.

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!

Are you trying to avoid it?, 25 May 2008
I had known of this book for about a year when i finally decided to buy it. I was put off by the slightly dodgy artwork and the very serious nature of the plot which to me is not what comics are about. Anyway,I wanted to read it so i could come on hear and rant about how it is an over-rated waste of time but I cant. The art isnt perfect i agree but it has its charms and as you read the story you really do get into the simplistic nature of it,it works for this,it doesnt distract from the story which over stylised art would. The story is VERY well written and everything i read totally shocked and moved me.
The jist of my review is - if you are put off by the art but you liked schindlers list or have a fascination with hearing about the holocaust from a personal perspective then you have to read this book. It would get 5 stars from me if I genuinely felt that everyone would like the artwork but I know thats not gonna happen but everyone who isnt an anti-semite must read this story!

Masterpiece, 11 Apr 2008
Only graphic novel to date to win the Pulitzer Price.

That should be compelling enough to endear anyone to this masterwork.

The drawing isn't perhaps as expressive as that of Sacco, but the novelty in Maus not only comes from the controversial bestialization of the characters (Poles are pigs, Jews are mice, Germans are cats, etc) but also from the timeline jumps that mix the chilling tale of Vladek's survival of Auschwitz and the author's process of discovery and acceptance of his father's personality as he is retold the survivor's tale.

So while we are presented with the horror's faced by Vladek, the book also deals with the strained relationship between the author and his father, his father's second wife and the author's converted wife.

One can only praise Spiegelman's honesty at the less than perfect portray of the old age Vladek and his own insecurities.


Searing honesty, 31 Mar 2008
"Maus" is an amazing accomplishment and a rightly revered classic. What I admire most about its narrative is its honesty. If Spielberg ever adapted this book as a film, it would become a simplistic, black-and-white affair: one-dimensional Nazi aggressors stamping on one-dimensional Jewish victims. Instead, Spiegelman has opted to respect our intelligence and throw the doors wide open on this repellent slice of human history. He pulls no punches and tells his father's story with abject truth - even when sometimes portraying the Jewish community in a less than flattering light.

In the unflinching pages of "Maus", Jews betray Jews. Jews steal from Jews. Jews discriminate against non-Jews. I sat up with a shock when Vladek, the tale's central holocaust survivor, displays unbelievable racism towards a black man. Having lived through unspeakable persecution, he speaks of African-Americans in the same way that a Nazi would speak of a Jew. Also, in his old age, Vladek has come to resemble the Nazi stereotype of the "miserly old Jew". This adds incredible power and depth to this already complex story, throwing up countless questions on morality, racial identity and the grey area between good and evil.

It is a staggeringly brave book and its courage has sealed its success. I only wish more artists out would get some guts and show the world some work that really matters.


Rupert in Nazi germany, 10 Mar 2008
I have respect for the author in that it was brave to explore the subject of the holocaust in comic book form- quite an original thing to do. His story is an important one to tell. However, this does not take away the fact that Spiegelman can't draw. The art is in black and white with no rendering and Spiegelman's style is flat and bland.
In this comic book, the jews are mice and the Nazis are cats. The people have animal heads and human bodies-like Rupert bear! That is the last thing you want to think about when reading a book about the holocaust.
And as a person who has experienced having mice in my house (mouse droppings in the cutlery drawer is not pleasant) I find it hard to sympathise with any cartoon mouse.

More Important Than Mickey, 14 May 2007
I cannot be the only person who had become jaded by Hollywood's over use of the "Holocaust" button as a short circuit to character depth and motivation. Then I read this and was moved much more than all those movies and TV dramas could ever manage.

As has been said elsewhere, overcome your reluctance to read and comic book/graphic novel and this book rewards with lifelong meaning and resonance. Clever, funny and desperately sad all at once.


When does subversive genius become bad taste., 25 Sep 2008
I think that in his review the Kinniburgh Kid got it right. While there are times that this is very clever, even in a moral sense, there are moments when it goes over the line from subversive genius to bad taste. It has a very angry feel that the authors wanted this to be the end of the League and that they want to see how far they can push the story.

Towards the end there is a definite feeling that they are being pushed reluctantly into writing a sequel and that they want to make sure they don't have to do anymore!

For me the funniest things are the creatures of Dr Moreau which are quite brilliant and worth three stars on their own. I will never look at Rupert or The Wind in the Willows in quite the same way again.

There is one clear mistake in the plot. Bond tells the League that they have raised Tower Bridge and that London Bridge is the only crossing of the river left but in the picture of the aliens at London Bridge, Tower Bridge is still standing in the background!

Fun. But no classic like the first, 29 May 2008
With the first League book you could actually picture writer Alan Moore scribbling the tale out with a look of joyous glee on his face as he wrote. And because of that the first League is and always will be a classic. You don't get that sense of joyous glee with League volume two. It reads more like Moore is doing the obligitory sequel, with a relationship between Quartermaine and Mina that seemed contrived, and some of the literary characters were hard to place this time around(John Carter of mars? Etc, etc). Making League volume two no less fun, but much less classic.

Collision of comic worlds, 30 Apr 2008
I have to say that I was of the opinion that this was more of the same as the first volume (which I enjoyed) but nothing special (and rather a lot of pages devoted to rumpy-pumpy). Then I got to the section where Quatermain and Mina meet Moreau's creatures and I found turning the page a real, actual shock - one of those occasions where the brain has to turn itself through several revolutions in order to get the pieces to fit, eventually laughing out loud. I won't say more than that as it would spoil it for others, but I thought it a brilliant bit of invention.


Moore on top of his game, 25 Jul 2007
The second comic allows the characters to develop. It's just as entertaining and imaginative as the first with some wonderful situations. I felt empty when it ended (I guess it was Moore's intention). The book at the end is hard to digest though.

Dark Second Act, or Daft Sequel Axed? , 15 May 2007
I loved the idea, the artwork and the dialogue of the first book. I also love H.G.Wells' War of the Worlds so expectations were high. Too high as it transpired.

There probably is a great story to be told around the theme of War of the Worlds in much the same way there are endless Star Wars stories woven around the six films, but my overriding impression with this second League book is that Moore was so angry with the movie of the first one that he wanted to write an unfilmable sequel. He succeeded.

Still, there's enough here to keep me keen to read the next instalment. Maybe with lower expectations it will be more satisfying.

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.

Read it before the movie comes out!, 01 Sep 2008
Do not be put off by the comic book format; this is very good, imaginative, intelligent story telling with real depth and complexity.

The movie will no doubt be stunning, but read this before you see it.


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.

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.

The best Joker story for the last 20 years, 09 Aug 2008
This story has to be the best insight to the Joker mainly because its the only one that has a worthy and acceptable back story for Joker. He's not as psychotic as I usually like him to be in this but he's still got the regular charm. Seeing as the story's quite short its hard to mention anything without spoiling anything. but I assure you, this is an excellent read.

The artwork is excellent too like all of Bolland's work. My only problem is the design of the Batmobile. You'll understand when you see it.

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!

Are you trying to avoid it?, 25 May 2008
I had known of this book for about a year when i finally decided to buy it. I was put off by the slightly dodgy artwork and the very serious nature of the plot which to me is not what comics are about. Anyway,I wanted to read it so i could come on hear and rant about how it is an over-rated waste of time but I cant. The art isnt perfect i agree but it has its charms and as you read the story you really do get into the simplistic nature of it,it works for this,it doesnt distract from the story which over stylised art would. The story is VERY well written and everything i read totally shocked and moved me.
The jist of my review is - if you are put off by the art but you liked schindlers list or have a fascination with hearing about the holocaust from a personal perspective then you have to read this book. It would get 5 stars from me if I genuinely felt that everyone would like the artwork but I know thats not gonna happen but everyone who isnt an anti-semite must read this story!

Masterpiece, 11 Apr 2008
Only graphic novel to date to win the Pulitzer Price.

That should be compelling enough to endear anyone to this masterwork.

The drawing isn't perhaps as expressive as that of Sacco, but the novelty in Maus not only comes from the controversial bestialization of the characters (Poles are pigs, Jews are mice, Germans are cats, etc) but also from the timeline jumps that mix the chilling tale of Vladek's survival of Auschwitz and the author's process of discovery and acceptance of his father's personality as he is retold the survivor's tale.

So while we are presented with the horror's faced by Vladek, the book also deals with the strained relationship between the author and his father, his father's second wife and the author's converted wife.

One can only praise Spiegelman's honesty at the less than perfect portray of the old age Vladek and his own insecurities.


Searing honesty, 31 Mar 2008
"Maus" is an amazing accomplishment and a rightly revered classic. What I admire most about its narrative is its honesty. If Spielberg ever adapted this book as a film, it would become a simplistic, black-and-white affair: one-dimensional Nazi aggressors stamping on one-dimensional Jewish victims. Instead, Spiegelman has opted to respect our intelligence and throw the doors wide open on this repellent slice of human history. He pulls no punches and tells his father's story with abject truth - even when sometimes portraying the Jewish community in a less than flattering light.

In the unflinching pages of "Maus", Jews betray Jews. Jews steal from Jews. Jews discriminate against non-Jews. I sat up with a shock when Vladek, the tale's central holocaust survivor, displays unbelievable racism towards a black man. Having lived through unspeakable persecution, he speaks of African-Americans in the same way that a Nazi would speak of a Jew. Also, in his old age, Vladek has come to resemble the Nazi stereotype of the "miserly old Jew". This adds incredible power and depth to this already complex story, throwing up countless questions on morality, racial identity and the grey area between good and evil.

It is a staggeringly brave book and its courage has sealed its success. I only wish more artists out would get some guts and show the world some work that really matters.


Rupert in Nazi germany, 10 Mar 2008
I have respect for the author in that it was brave to explore the subject of the holocaust in comic book form- quite an original thing to do. His story is an important one to tell. However, this does not take away the fact that Spiegelman can't draw. The art is in black and white with no rendering and Spiegelman's style is flat and bland.
In this comic book, the jews are mice and the Nazis are cats. The people have animal heads and human bodies-like Rupert bear! That is the last thing you want to think about when reading a book about the holocaust.
And as a person who has experienced having mice in my house (mouse droppings in the cutlery drawer is not pleasant) I find it hard to sympathise with any cartoon mouse.

More Important Than Mickey, 14 May 2007
I cannot be the only person who had become jaded by Hollywood's over use of the "Holocaust" button as a short circuit to character depth and motivation. Then I read this and was moved much more than all those movies and TV dramas could ever manage.

As has been said elsewhere, overcome your reluctance to read and comic book/graphic novel and this book rewards with lifelong meaning and resonance. Clever, funny and desperately sad all at once.


When does subversive genius become bad taste., 25 Sep 2008
I think that in his review the Kinniburgh Kid got it right. While there are times that this is very clever, even in a moral sense, there are moments when it goes over the line from subversive genius to bad taste. It has a very angry feel that the authors wanted this to be the end of the League and that they want to see how far they can push the story.

Towards the end there is a definite feeling that they are being pushed reluctantly into writing a sequel and that they want to make sure they don't have to do anymore!

For me the funniest things are the creatures of Dr Moreau which are quite brilliant and worth three stars on their own. I will never look at Rupert or The Wind in the Willows in quite the same way again.

There is one clear mistake in the plot. Bond tells the League that they have raised Tower Bridge and that London Bridge is the only crossing of the river left but in the picture of the aliens at London Bridge, Tower Bridge is still standing in the background!

Fun. But no classic like the first, 29 May 2008
With the first League book you could actually picture writer Alan Moore scribbling the tale out with a look of joyous glee on his face as he wrote. And because of that the first League is and always will be a classic. You don't get that sense of joyous glee with League volume two. It reads more like Moore is doing the obligitory sequel, with a relationship between Quartermaine and Mina that seemed contrived, and some of the literary characters were hard to place this time around(John Carter of mars? Etc, etc). Making League volume two no less fun, but much less classic.

Collision of comic worlds, 30 Apr 2008
I have to say that I was of the opinion that this was more of the same as the first volume (which I enjoyed) but nothing special (and rather a lot of pages devoted to rumpy-pumpy). Then I got to the section where Quatermain and Mina meet Moreau's creatures and I found turning the page a real, actual shock - one of those occasions where the brain has to turn itself through several revolutions in order to get the pieces to fit, eventually laughing out loud. I won't say more than that as it would spoil it for others, but I thought it a brilliant bit of invention.


Moore on top of his game, 25 Jul 2007
The second comic allows the characters to develop. It's just as entertaining and imaginative as the first with some wonderful situations. I felt empty when it ended (I guess it was Moore's intention). The book at the end is hard to digest though.

Dark Second Act, or Daft Sequel Axed? , 15 May 2007
I loved the idea, the artwork and the dialogue of the first book. I also love H.G.Wells' War of the Worlds so expectations were high. Too high as it transpired.

There probably is a great story to be told around the theme of War of the Worlds in much the same way there are endless Star Wars stories woven around the six films, but my overriding impression with this second League book is that Moore was so angry with the movie of the first one that he wanted to write an unfilmable sequel. He succeeded.

Still, there's enough here to keep me keen to read the next instalment. Maybe with lower expectations it will be more satisfying.


Epic Ennis, 18 Jul 2008
As a fan of Ennis you really can guarantee the quality of not only the story arcs but the graphical nature to which these compendiums pay homage to. Its fun, it's a dark twist on the world to which the characters inhabit and lets face it, if you're fed up with goody two shoes Superhero characters its great to see the fallibility of these paragons of mankind. Ennis does it with spades with his usual dark humour and mind twists his way through the stories. Great fun and to be honest something that I really have to recommend to the older fan of the graphic novel due to the adult nature blended within the story arc. Epic action with an adult twist as Superheroes discover that there's a price for vice and screwing over the little guy.

Boys don't cry!, 19 Mar 2008
The fine art captures the superb action, and as much gritty realism as you can fit in a superhero graphic. A world seen when the rose tinted glasses have been lost. A fantastic idea which has been well crafted, and will leave you drooling for more.

Awesome Stuff, 14 Dec 2007
Gar