Books about Superheroes from Amazon.com

Has any comic been as acclaimed as Alan Moore and Dave Gibbons' Watchmen? Possibly only Frank Miller's The Dark Knight Returns, but Watchmen remains the critics' favorite 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 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 gather praise since.

The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moore's characterization 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 finepace of the writing and its humanity mean that Watchmen more than stands up--it keeps its crown as the best the genre has yet produced. --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.
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The Killing Joke, one of my favorite Batman stories ever, stirred a bit of controversy because the story involves the Joker brutally, pointlessly shooting Commissioner Gordon's daughter in the spine. This is a no-holds-barred take on a truly insane criminal mind, masterfully written by British comics writer Alan Moore. The art by Brian Bolland is so appealing that his depiction of the Joker became a standard and was imitated by many artists to follow..
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Whether you grew up reading Batman comics, watched the campy television show, or eagerly await each new movie, this is the book for you. A retelling of the events that led to Bruce Wayne's becoming Batman, this book combines Frank Miller's tight film-noir writing with David Mazucchelli's solid artwork. .
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In this groundbreaking, painted graphic novel, the inmates of Arkham Asylum have taken over Gothams detention center for the criminally insane on April Fools Day, demanding Batman in exchange for their hostages.Accepting their demented challenge, Batman is forced to live and endure the personal hells of the Joker, Scarecrow, Poison Ivy, Two-Face and many other sworn enemies in order to save the innocents and retake the prison.During his run through this absurd gauntlet, the Dark Knights own sanity is placed in jeopardy.This special anniversary edition trade paperback also reproduces the original script with annotations by Morrison and editor Karen Berger..
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It's refreshing when you find a Batman story that both is epic and successfully explores the core of a resolutely explored character Taking as its catalyst a sub-plot from the seminal Batman: Year One, the story revolves around murders occurring on national holidays, the victims connected to Mob boss "The Roman." Dubbed "Holiday," the killer uses an untraceable handgun and leaves small trinkets at the scene. Plenty of suspects are available, but the truth is something the Dark Knight never suspected. This series scores two major coups: it brilliantly portrays the transfer of Gotham rule to the supervillains and charts the horrific transformation of Harvey Dent from hardened D.A. to the psychotic Two-Face. Both orbit around the sharply portrayed relationship between Dent, Commissioner Gordon, and Batman: a triumvirate of radically different perceptions of Justice. It is always great to see the formative incarnation of Batman, drenched in noir here.

Jeph Loeb's writing is keenly aware that Batman is a detective, and Tim Sale portrays a Gotham that is a fertile breeding ground for corruption and madness. Here, Batman is coming to terms with the potent image he projects and the madness it attracts. There are many fine Batman stories, but the ones that capture the spirit with extreme clarity are few. On this alone, The Long Halloween comes highly recommended. Masterfully executed, this is an excellent chance to revisit the world of Batman as fresh as in the summer of 1939. --Danny Graydon.
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The shining metropolis of Seventh City is the birthplace of super powers. The First Wave heroes are jerks, but they have the best gifts: flight, super strength, telepathy, genius, fire. The Third Wavers are stuck with the leftovers: the ability to instantly make someone sober, the power to smell the past, the grace to carry a tray and never drop its contents, the power to produce high-powered excrement blasts, absolute control. over elevators. Bar owner Keepsie Branson is a Third Waver with a power that prevents anything in her possession from being stolen. Keepsie and her friends just aren't powerful enough to make a difference. at least that's what they've always been told. But when the villain Doodad slips Keepsie a mysterious metal sphere, the Third Wavers become caught in the middle of a battle between the egotistical heroes and the manipulative villains. As Seventh City begins to melt down, it's hard to tell the good guys from the bad, and even harder to tell who may become the true heroes..
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Proving that mainstream comics could be infused with past literary/cultural ideals and still be bestsellers, the America's Best Comics imprint took the dilapidated superhero genre and created three vastly entertaining hybrids with Tom Strong, Promethea and Top Ten. Now, a stunning coup de grace is delivered with this masterful pairing of Victorian adventure fiction's greatest characters and the old war-horse of the super-group. With the stunning The League of Extraordinary Gentlemen, it would be no exaggeration to say that Alan Moore has produced a near-perfect piece of adventure fiction that is clever, literate, rich with excitement and hard to put down.

It's 1898 and at the behest of M, the mysterious head of the secret Service, Campion Bond is dispatched to procure the services of Miss Mina Murray (nee Harker), adventurer Allan Quartermain, "Science-Pirate" Captain Nemo, Henry Jekyll (and his monstrous alter ego) and Hawley Griffin (a.k.a. the Invisible Man). Together, they must combat an insidious threat that will decide supremacy of the London skies, but their success may unleash a far greater threat. With no shortage of action, Moore and O' Neill sustain a high level of suspense, intrigue, mystery and terrific wit that all contribute to an indispensable read. O'Neill's art, so memorable in Marshal Law, produces a London filled with vivid, magnificent architecture and a malevolent atmosphere ripe with thrills and danger. An unmitigated triumph--pure and simple. --Danny Graydon.
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