Re: Allan Moore Rocks

In article <Yogi-6C93BF.16275323092005@[EMAIL PROTECTED]
>, ruth
says...

>In article <dh0au9$9f8$1@[EMAIL PROTECTED]
>,
> wdstarr@[EMAIL PROTECTED]
 (William December Starr) wrote:


>> When?  I gave up around the time of either (a) the "cereal"
>> convention or (b) the story of the psychic madman who escaped from
>> Arkham Asylum and took over a diner for 24 hours, whichever came
>> later.  I just didn't care, and it seemed to me that Gaiman wanted
>> to be Alan Moore so badly that _I_ could taste it.

>Oh it gets so very much different after those volumes... and so very 
>much better.

I don't know that it gets very different after the *second* volume.
Looking back, that's about where the course and style of the story
start to really coalesce.  But it is im****tant, if you're doing it
in order, to pay attention to the ways the second volume is *different*
from the first.

Yes, there are psychotic serial killers in both.  But in "Preludes",
the serial killer is the adversary whom the Sandman, playing almost
a straight superheroic role, has to defeat.  Complete with explicit
ties to DC continuity, and yes, there is a distinct Moore feel to it.

In "Doll's House", serial killers exist, but are irrelevant.  Explicitly
so in the end, and even before that point they are not an adversary the
Sandman needs or cares to defeat, or would have the slightest difficulty
defeating if he did care, and not part of the real story.

And indeed serial killers play no further part in the story, nor generally
do superheroic struggles against supervillainous threats.


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