Cartoonist globale: ALAN MOORE, SU "WATCHMEN" e "V FOR VENDETTA"

Sembra che un po' di utenti, visitatori, passanti, autori, premier(s), alti prelati incontrino qualche difficoltà a visualizzare i commenti del post di Stefano Priarone su Lost Girls.

Per questo, replico qui i due brevi video di Alan Moore che lo accompagnavano, nella speranza che con questo si abbia migliore fortuna.

Stefano segnala inoltre, che sempre sul Previews di febbraio è annunciata la prima parte (di tre) della nuova saga della Lega dei Gentiluomini Straordinari, sempre di Moore (con Kevin O'Neill): Century #1 ("1910") e saluta sua nonna, nata appunto nel 1910!

Prevista con data di aprile 2009, l'opera viene recensita, forse per la prima volta qui, dove potete leggere tutto il resto dell'analisi di Alan David Doane, di cui posto qui l'incipit (lungo).

The League of Extraordinary Gentlemen: Century 1910 -- Well, golly, it's good to have a new Alan Moore comic book in my hands at last. Better still to have that comic book be in the form of a new issue of The League of Extraordinary Gentlemen, which with artist Kevin O'Neill's wonky, angular visual contributions is among the finest works in Moore's oeuvre.

At one point in this first chapter of "Century," a planned three-part series in the LOEG saga, Mina Murray says "Do you know, for the first time in my life, I feel stupid." Moore's visceral, brilliant use of language often leaves me feeling the same way; my first try reading his extraordinary prose novel Voice of the Fire, for example, left me feeling quite dumb and inadequate. When I revisited it with a couple of years more life experience, I found it a breathtaking, wild ride through history and the power of the imagination to change the world. I've said this before, but if you find an Alan Moore story unrewarding, the chances are very, very good that it's you that is the problem, not Moore's writing. He's always been ahead of his time, and the impact of that can be quite disorienting.

I felt a bit of this effect early on in the story, because it's obvious that Moore uses many, many references to historical and fictional people and events, and in such a breakneck manner that I sometimes feel overwhelmed by just how much information is being processed in any given panel, on any given page. But no matter how many references, in-jokes and allusions you do or do not pick up on, there's no question that no more baroque and diverse intelligence has ever written for comics, and after years of mistreatment and abuse by DC and Marvel, frankly we're lucky to have him writing any comics for any company at all. Better still, he's now writing them for Top Shelf Productions, known for visionary projects and extraordinary production values.

Prosegue qui!