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The didactic doppelgänger The double is everywhere in Alan Moore’s work. In V for Vendetta , the elusive V is intent on turning working-class girl Evey into his doppelgänger by subjecting her to a simulation of the traumatic experiences of a woman known simply as ‘Valerie’, an early victim of the Larkhill
Alan Moore and David Lloyd’s V for Vendetta is not a Gothic novel – at least, if one were to rely on the ubiquitous ‘narrative props’ or ‘stock features’ that characterise the genre’s early wave (1764–1820). 1 On the contrary, this graphic novel can best be described as a rich intertextual web that combines features of several different
‘the morbid imagination of unbalanced minds’. Significantly, the address ends on a pessimistic note reflecting on the state of ‘our civilisation’, suggesting that, rather than the crimes themselves, it is the uncontrollable responses to them that question its rational foundations. This chapter proposes a reading of Alan Moore’s retelling of the 1888 Whitechapel murders in relation
’s Mina by Alan Moore and Kevin O’Neill in Volumes I and II of The League of Extraordinary Gentlemen 2 and the reinterpretation of League ’s Mina in Stephen Norrington’s film adaptation, The League of Extraordinary Gentlemen . The field of Adaptation Studies will be an important context for this study, and issues surrounding the translation of Mina from textual
Dave Gibbons : I don’t consider Watchmen to be a pessimistic book – on the contrary, it’s very positive about the human condition. Alan Moore : I believe that with Watchmen , if we’ve achieved anything in terms of the moral aspect of it, I don’t believe that
’s novel. Perhaps Steffen Hantke had this in mind when he observed that a special relationship seems to exist between Shelley’s Frankenstein and modern writers of neo-Victorian fiction (250). While some of the most famous neo-Victorian texts (works like William Gibson and Bruce Sterling’s The Difference Engine , Neal Stephenson’s The Diamond Age , or Alan Moore’s League of Extraordinary Gentlemen ) make no reference to Shelley’s Creature, many other pieces bear out Hantke’s observation, including the two texts on which this chapter will
and Hannibal , which have, in turn, inspired Hannibal , an American television series. Or take graphic novels, such as Todd McFarlane's Spawn (1992–present), Mike Mignola's Hellboy (1993–present), and most notably British comic artist Alan Moore's V for Vendetta (1982–89), Watchmen (1986–87), From Hell (1991–96), and even his recently published second novel, titled Jerusalem , which is a crippling
. Modern Gothic and horror artists still work in the stereoscopic medium offering images of monsters, witches, axe-murderers and vampires but buyers should display caution. Some of these tableaux are really lenticular images, which jump under the viewer’s gaze and display a certain, transitory depth but are based on a different form of technology, as are contemporary holograms. Alan Moore and Kevin O
herself to a ‘coffee machine’ that has been ‘abused’. Thus, ‘lycanthropy’ is an alternative to the patriarchal control of both the home and the contemporary workplace. Unlike in Alan Moore’s graphic story ‘The Curse’, in which a beleaguered and menstruating housewife turns her lycanthropic rage against her husband, ripping him to pieces in their family home, Shakira’s ‘She Wolf
that Ginger’s close and complex relationship to her sister Brigitte (who becomes a werewolf herself in the sequel) keeps Ginger as a member of a social unit throughout the film. See also, Alan Moore’s graphic story ‘The Curse’ ( Swamp Thing 40 (September 1985)), in which Phoebe, though a predatory and lonely lycanthrope, is constructed through her role as