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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

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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 U.K. 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 coloring here in the graphic novel sometimes blurs David Lloyd's fine drawing. But these are small concerns. Skillfully 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. --Mark Thwaite

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An Excerpt from Bill Watterson's Introduction:

"I?ve loved comic strips as long as I can remember. As a kid, I knew I wanted to be either a cartoonist or an astronaut. The latter was never much of a possibility, as I don?t even like riding in elevators. I kept my options open until seventh grade, but when I stopped understanding math and science, my choice was made. There is great personal satisfaction in attending to detail and quality, and I remain very proud of the standards the strip met day after day. I also liked the responsibility of knowing that, succeed or fail, it was all my own doing. This approach kept the strip very honest and personal--everything having to do with Calvin and Hobbes expressed my own ideas, my own values, my own way. I wrote every word, drew every line, and painted every color. It?s a rare gift to find such fulfilling work and I tried to show my appreciation by giving the strip everything I had to offer."

Exclusive Images from the New Collection</!-- begin3pak -->

</!-- end6pak -->More Calvin and Hobbes Books

The Calvin and Hobbes Tenth Anniversary Book

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

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

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

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

Kurzbeschreibung

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Im 11. Jahrhundert zierte The Moonstone, ein gelber Diamant, die Stirn eines vierhändigen indischen Gottes, der den Mond symbolisierte. Je nachdem, ob das Himmelsgestirn ab- oder zunahm, wurde auch der Schein des Edelsteins stärker oder schwächer. Auf abenteuerliche Weise gelangt The Moonstone in einen Dolchgriff und von da in die zarten Hände einer jungen, schönen Adligen. Dass die unrechtmäßige Entwendung des Steines für jeden, der mit ihm in Berührung kommt, fatale Folgen haben wird, hatte der Gott Vishnu bereits viele Jahre vorher prophezeit. So kann sich Lady Verinder Mitte des 19. Jahrhunderts auch nur einen Tag an seinem faszinierenden Funkeln freuen. Am nächsten Morgen ist der Mondstein unauffindbar und die darauf einsetzende fieberhafte Suche hat für mehrere Beteiligte tödliche Folgen.

Der Engländer Wilkie Collins (1824-1889) hat mit dieser kunstvoll aufgebauten Handlung einen der ersten Detektivromane gestaltet. Immer wieder wird die Lösung des Falles hinausgezögert, gibt es neue Enthüllungen und verblüffende Wendungen. Nicht zuletzt der Kunstgriff, das Geschehen nacheinander von unterschiedlichsten Beteiligten erzählen zu lassen, erzeugt Spannung.

Dieser gekürzten Audiofassung leihen u.a. Clive Swift -- bekanntes englisches Komikertalent -- und Delia Paton (herrlich altjüngferlich als Miss Clack) ihre Stimmen. Die Aufnahme ist bis auf einige Musikzitate ohne Einsatz von akustischen Mitteln gestaltet. Das kann auf die Dauer für diejenigen, die mit der englischen Sprache nicht so sehr vertraut sind, anstrengend sein. Das Booklett weist zwar die Überschriften der jeweiligen Abschnitte auf, aber ein zusätzlicher Hinweis auf den Inhalt des Romans wäre hier angebracht gewesen. Für den versierten Englischsprecher ist The Moonstone ein spannendes Beispiel viktorianischer Erzählkunst im Original. Spieldauer: ca. 236 Minuten, 3 CDs.
--Anne Hauschild