Page History

Wilhelmina Murray - The de facto leader of the League. She originally appeared in Bram Stoker's Dracula as Jonathan Harker's fiancée and eventual wife, as well as a close friend of Lucy Westenra and a primary narrator of the novel. The vampire Count Dracula begins to feed on her at night and eventually forces her to drink his blood, apparently creating a link between them that allows Mina (when hypnotized) to see Dracula's position, which in turn allows Dr. Van Helsing and the others to track him down and destroy him. Mina is a curious mix of New Woman and "traditional" woman roles, as she exhibits certain qualities of New Woman-hood (using technology, holding a job as assistant schoolmistress) yet criticizes aspects of the New Woman lifestyle. The events between Dracula and the League, however, have hardened her considerably, as she has apparently divorced Jonathan, and she exhibits a marked independence and aggression throughout the novel. 

Allan Quartermain - The hero of several H. Rider Haggard novels, most famed for his appearance in King Solomon's Mines. Allan is the prototypical Victorian adventurer, as he spends much of his adult life exploring and hunting in Africa. However, in Moore's universe his adventures take a turn for the strange, as the events of "Allan and the Sundered Veil" (a prequel to the League) lead him across space and time, battling with The Time Machine's Morlocks and the grotesque aliens of H.P. Lovecraft's fiction before finally being deposited in Cairo, a drug-addicted, emaciated shell of a man until Mina recruits him to the League. Quartermain seems the most "ordinary" of the members, though there are hints throughout of his colorful past (in Issue #2, for example, he can be seen closely examining a statue of relics in the British Museum, next to which is labeled "Cult of Ayesha," a reference to his involvement with the Armahagger Queen in Rider Haggard's She and Allan. He seems somewhat attracted to Mina, though he often grows frustrated with her (perceived) impertinence.

Captain Nemo - Captain Nemo is the captain of the Nautilus and a primary figure of Jules Verne's Twenty Thousand Leagues Under the Sea. He is a mysterious, at times frightening figure within the novel who leads the narrator and several others on a journey around the world under the sea. Though he is initially described as a Polish nobleman, Verne changed his ancestry to Indian in The Mysterious Island. Nemo is articulate, proud, and often short-tempered,  and he appears disillusioned within the League with the current state of British empirical affairs. He also displays an amazing intellect, as he often deduces the course of events before they happen (which has led to some reader speculation that Nemo is, in fact, Sherlock Holmes in disguise).

Henry Jekyll - A sallow-faced, gaunt man, Henry Jekyll is one-half of the split protagonist of R.L. Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde. In the novel, he is a successful scientist and generally sociable man, though he has apparently hidden away many secrets throughout his life. He concocts a potion that bring out his darker half in the form of Hyde, who steadily grows more and more powerful until Jekyll will turn into him at any provocation or stress. Jekyll supposedly dies at the end of Stevenson's novel, but he appears to have somehow survived in the League, and he is showing the effects of Hyde's presence within him, as he constantly appears greenish and sickly.   

Edward Hyde - The dark half of Jekyll's personality, initially separated via a chemical mixture. Whereas Jekyll is small and spare, Moore depicts Hyde is a hulking, ape-like monstrosity, with fanged teeth and prehensile toes--a substantial difference from the small, twisted figure of Stevenson's novel (though at one point Stevenson's Jekyll notes Hyde's growing stature, which suggests that his evil half has grown much stronger). Hyde is cruel and deliberately immoral, relishing the violence which he is called upon to commit throughout the adventures of the League.

Hawley Griffin - Griffin is the eponymous scientist of H.G. Wells's The Invisible Man, an inquisitive and brilliant young man who discovers a formula to make a human being invisible. Unfortunately, after he performs the experiment on himself and becomes invisible, his mind begins to fragment, and he begins to commit increasingly serious crimes. A fellow scientist with whom Griffin studied at university discovers that Griffin has gone totally mad and eventually lures him down to a West Sussex mob, who beats him to death. However, in the League it is revealed that the real Griffin had made another "half-wit" man invisible, and it is apparently this man we see killed at the end of The Invisible Man. The Griffin of the League is intelligent but totally amoral, raping young women and murdering a constable without remorse; his only motivations in joining are to earn a pardon and possible cure for his invisibility.

•How does reading a graphic narrative differ from reading a prose one? What are certain things a graphic novel can do that a novel cannot? How does point of view in this graphic novel (third-person) affect our overall reading of the text?

•Overall, what do you make of the fact that Moore decided to use characters that already existed in literature? If you are familiar with Watchmen, how does the use of existing characters in The League of Extraoridnary Gentlemen differ from the creation of characters, which was the case for Watchmen? What does the reader expect when they read a story that includes characters who appear in other works? What is at risk when you remove characters from their respective environments and place them with one another to function as a whole? How do the previous roles that they had play a part on the roles that they are forced to embody when they are with one another?

•How do Moore's interpretations of the characters differ from their original counterparts? When we see these characters put in front of our eyes, how does this toy with our initial perceptions of what they would look like before we saw them drawn out as graphic novel characters? For example, how does Mina Murray differ from the original Mina Harker? Does the graphic part of the novel affect our perception more than the fact that these characters are being given new dialogue?

•Consider the role that disguise/deception has in this novel. Which characters appear to prefer functioning without social recognition, and which ones seem to appreciate the attention a bit more? Is disguise/deception necessary for the acts that these characters need to commit, or does it function more as a commentary on their personas? 

•Do you consider the members of this group to be heroes? If so, which ones do you think fit that mold/idea best? Who seems to acknowledge this label and act upon it? If not, what makes you feel this way? Bravery and nobility are often two words used prominently when discussing what makes up a hero; consider this when deciding on each character. Which characters appear to recognize their obligation(s) as a hero? Which ones seem to shy away from it?

•What particular Victorian/fin-de-siécle anxieties might be reflected in this novel? What can each character tell us about these anxieties? What can the depiction of the city of London tell us?

•What are we to make of Moore's choice to include Arabic and Chinese text in the novel? Would this have been acceptable in a non-graphic novel? More so, how would this have been integrated? Does the fact that we are given images to supplement the languages make it more acceptable and easier to comprehend?

•Consider the title of the novel. Do you feel that the men involved in this group are in fact gentlemen? Do you consider Mina Murray to be a gentlewoman? What makes/doesn't make these individuals qualify as gentlmen and a gentlewoman?

•Look at the other covers at the back of the graphic novel. Consider how the drawings differ from cover to cover. What perceptions are altered by examining all these covers? (For one, this is the only place that we see Mina Murray without a scarf)

Issue #1: Empire Dreams

"We live in troubled times, where fretful dreams settle upon the Empire's brow." ~Campion Bond to Mina Murray (Issue #1, Page 4, Panel 3)

"The Indian mutineers may have surrendered, but I did not. If I work with the British, it is because I no longer feel even Indian. The sea, now, is my only nation." ~Captain Nemo to Mina Murray (Issue #1, Page 13, Panel 2)

“Nemo: But what of you? What of your history? Why would your British secret service place a music teacher in the company of men as dangerous as Quatermain or myself? You are not qualified…"
Mina: "Dangerous men? Why captain you have no idea. As for my qualifications they must remain my own affair.” ~Nemo and Mina (Issue #1, Page 15, Panels 3-4)

“In the next number of our picture periodical there are further scenes to divert and astonish, including episodes of a bawdy nature that our Lady readers, being of a more delicate sensibility, may wish to avoid” ~Narrative Caption (Issue #1, Page 24)

Issue #2: Ghosts & Miracles

Hyde's Prehensile Toes (Issue #2, Page 7, Panel 2)

“A waspish tongue, Miss Murray, is to my mind but one of the many unattractive features of the modern suffragette.” ~Campion Bond to Mina (Issue #2, Page 9, Panel 1)

"I fear he collects monsters." ~Nemo, referring to Bond (Issue #2, Page 11, Panel 7)

Quatermain: "Nemo, what are we doing here?"
Nemo: "Ha! Yes, it is curious, isn’t it? The great colonialist and the great colonial rebel. For my part, if I’m honest, I’m here because I wanted another adventure."
Quatermain: "Yes, it’s hard to just stop, isn’t it? When we stop, we start to fall apart.” ~Nemo and Quartermain (Issue #2, Page 15, Panels 1-2)

“The next edition of our new Boys’ Picture Monthly will continue this arresting yarn, in which the Empire’s Finest are brought into conflict with the sly Chinee, accompanied by a variety of coloured illustrations from our artist that are sure to prove exciting to the manly, outwardgoing youngster of today.” ~Narrative Caption (Issue #2, Page 24)

Issue #3: Mysteries of the East

Mina smoking (Issue #3, Page 1, Panel 1)

“That’s not why I’m here. I’m here to earn a pardon and perhaps a cure. The only empire I’m interested in is my own: the Empire of Invisible Man the First.” ~Griffin to the others (Issue #3, Page 1, Panel 2)

“Well, after seeing that yellow devil at his work this afternoon, I’m prepared.” ~Quatermain to Mina (Issue #3, Page 18, Panel 1)

“This doctor is an opium warlord. Out east, they have entire criminal secret societies in their employ, called triads. Your doctor is the first to export this idea” ~Quatermain to Mina (Issue #3, Page 18, Panel 2)

“Tremble, dearest reader, at the horrid spectacle of Johnny Chinaman, armed with the mighty weapons of our new Electric Age and bent on turning them against our island home! Can any force prevail against this terrible affront? Do not fail to reserve the next edition of our illustrated chap-book and thus learn the outcome of this rousing and invigorating narrative!” ~Narrative Caption, when Mina and Quatermain find Chinese “flying machine” (Issue #3, Page 24)

Issue #4: Gods of Annihilation

“Mr. Quatermain, you do not know me or my history very well. More to the point, you do not have the first idea about my dreams. Dreams that were merely bad, sir, would be a great relief to me.”~ Mina to Quatermain (Issue #4, Page 5, Panel 2)

Hyde: "Hurrrrgh! What a hole! It stinks of Chinamen and the river!"
Griffin: "Really? I can't smell anything..." ~Hyde and Griffin (Issue #4, Page 12, Panel 4)

"Why are men so obsessed with mechanisms that further nothing but destruction?" ~Mina to Quartermain (Issue #4, Page 15, Panel 5)

Issue #5: "Some Deep, Organizing Power..."

“The point is that I’m supposed to be the person organizing this…this menagerie! But that will never do, will it? Because I’m a woman?” ~Mina to Jekyll (Issue #5, Page 15, Panel 2)

“Hmm. For my part, she’s no more distressing than most western women. They all disobey their men and dress like whores.” ~Nemo to Quatermain (Issue #5, Page 16, Panel 2)

"There was some scandal, after which they underwent one of your English divorces." ~Captain Nemo, referring to Mina and Jonathan Harker (Issue #5, Page 16, Panel 3)

“Now half London’s to have horror rained upon it. All because of my ridiculous female naivete!” ~Mina to Quatermain (Issue #5, Page 21, Panel 3)

Issue #6: The Day of Be-With-Us.

“Aheh. And that’s your plan? An unarmed balloon against that thing? Now I see how you chaps did so well with your Indian mutiny…” ~Griffin to Nemo (Issue #6, Page 8, Panel 1)

“Th-that is, he’s too big to need one. At least, he is these days. Do you know, I was once taller than he was?” ~ Jekyll to the others (Issue #6, Page 8, Panel 3)

"D-dear gracious God! That inhuman mechanism! I-it's...it's so unsporting!" ~Mina, upon witnessing Nemo's automatic harpoon gun (Issue #6, Page 14, Panel 2)

"Sergeant? Throw this smelly little lesbian over the side." ~Moriarty, referring to Mina (Issue #6, Page 16, Panel 3)

Image: Wikimedia Commons

Alan Oswald Moore was born to Ernest and Sylvia Moore on November 18, 1953, in Northampton, England. He grew up in a working-class family, often under the care of his eccentric and superstitious grandmother. Largely left to his own devices, he spent much of his childhood reading comic books. Moore gained entry to Northampton Grammar School, but he was expelled at age 17 for dealing LSD and barred entry to the local universities and art schools.

Moore began taking a variety of odd jobs to make a living. At the same time, he began to get involved with the Northampton Arts Lab, experimenting with art, music and literature. It was also at this time that Moore met his future wife, and after their first marriage he began working a desk job to support his new family. Eventually, however, it became clear to Moore that he would likely be trapped in an office job for the rest of his life, and he began his attempt to become a professional comic book writer or artist. He briefly attempted a career as an artist, but he soon discovered writing to be better-suited for his sensibilities, and he began selling short strips to various magazines, emerging as a new talent within the comic book world.

He first rose to fame with his Marvelman revival series and his ten-issue V for Vendetta series, the latter of which remains one of his best-known works. In 1983, Moore began to work with DC Comics on a revival of the Swamp Thing series of comics. As he rose in international prominence, Moore's scope began to widen, as he undertook a Superman story arc and a Batman one-shot entitled The Killing Joke. But it was with the publication of Watchmen in 1986-7 that Moore truly came to be hailed as a comic-book legend, and along with other late-1980's icons such as Frank Miller and Art Spiegelman, Moore soon became a figurehead for the exploding graphic novel movement. However, Moore began to grow increasingly disillusioned with the treatment of his work, and in 1989 he ceased working with DC.

It was during this time that he was to publish From Hell and Lost Girls, two highly complex and provocative Victorian-era works dealing with Jack the Ripper and pornography in children's stories, respectively. Moore eventually made his way back to mainstream publishing, however, and after several smaller projects, he returned to the forefront of the comic book world in 1999 with The League of Extraordinary Gentlemen.

Moore continues to work on the League series today. He is also involved in a number of other projects, including founding a new "underground" magazine entitled Dodgem Logic.

Sources:

Smoky Man and Gary Spencer Millidge, ed. Alan Moore: Portrait of an Extraordinary Gentleman. Leigh-on-Sea, England: abiogenesis press, 2003.

Alan Moore Interview, 1988

Kevin O'Neill was born in London in 1953. While he had only a casual interest in superhero comics as a child, it was the reprints of MAD magazine in comic book form that truly inspired him to be a comic artist. He worked as a colorist for some time at the British publisher IPC until being transferred in 1976 to work on the newly-launched sci-fi title 2000AD.

His first major success, in 1980, was Nemesis the Warlock, a series within 2000AD written by comics author Pat Mills. Outrageously violent and highly satirical, the strip proved popular with readers, but O'Neill eventually had to the leave the series due to financial difficulties.

In the mid-80's, O'Neill moved to the mainstream American comic publishers, DC and Marvel, a venture that initially proved unsuccessful, as the Comics Code Authority often took umbrage with his violent, dark works. Even his series Marshall Law (a satire focused on a government-hired "superhero killer"), while popular with readers, was met with complaints from Marvel.

When Moore approached O'Neill about illustrating The League of Extraordinary Gentlemen, O'Neill happily agreed, and in preparation for the first volume he extensively researched original engravings and drawings of the characters. He continues to work with Moore on the third volume of the League, as well as contributing to Moore's new Dodgem Logic project.

Sources:

July 1999 Interview

February 2009 Interview

February 2009 Interview

Neo-Victorianism; or Rewriting the Long Nineteenth Century

Neo-Victorian Studies - online journal of Neo-Victorian studies; includes analysis of literature, film, art, and other media.

Baker, David. "Colonial Beginnings and the Indian Response: The Revolt of 1857-58 in Madhya Pradesh." Modern Asian Studies 25.3 (1991): 511-543.

Cozine. Joshua. "Mina: the magical female: Inferential sexism in "The League of Extraordinary Gentlemen." Film International 5.2 (2007): 43-7.

How to Read Comics - a quick guide on how to approach reading comics and graphic novels.

McCloud, Scott. Understanding Comics: The Invisible Art. New York: HarperCollins, 1993. This is an astonishingly in-depth examination of the comic strip (and graphic novel) as a medium of communication, expression, and art.

The League of Extraordinary Gentlemen Annotations - A heavily annotated guide to the series. Includes translations of the non-English text and instances of allusions to other Victorian works.

Original Full Texts - The original texts upon which Moore draws his League, available for free on Project Gutenberg.

Dracula

King Solomon's Mines

Twenty Thousand Leagues

Dr. Jekyll and Mr. Hyde

The Invisible Man

Alan Moore Interviews - A compendium of interviews with Moore. As his works have often proved controversial and ambiguous, it can be helpful to understand where he's coming from and what he's attempting to accomplish in his works.

Steampunk - The "steampunk" genre (to which the League belongs) is a sub-genre of science fiction and fantasy that prominently features steam-powered technology, usually set in the 19th century or in Victorian England. There tends to be an overlap between the steampunk and "alternate history" genres, as many authors have used steampunk to re-examine historical periods (particularly the Victorian) in a different light. In recent years, steampunk has moved beyond the bounds of literature, as steampunk art and music are becoming increasingly popular.

Steampunk Magazine - Free online magazine featuring steampunk literature, poetry, and art.

Steampunk on boingboing - Compendium of steampunk fiction, art, architecture, fashion, music, etc.

Alan Moore and Kevin O'Neill discuss their work on the League.

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Originally aired on BBC 4's Comics Britannia series.

This is the trailer for Stephen Norringon's 2003 film adaptation of the League. Both Moore and O'Neill expressed extreme disappointment with the adaptation, and Moore refused to receive credit or any royalties for the work. It should also be noted that the film version differs from the graphic novel significantly.

This book cover is ©2000 by Alan Moore and Kevin O'Neill, but it is believed that the educational use of this cover qualifies as fair use under United States copyright law, for these reasons: (1) it is a low resolution copy; (2) it does not limit the copyright owner's rights to sell the book; (3) this copy cannot be used to produce illegal copies; (4) the image is pertinent to the wiki; (5) the image is being used for educational purposes only and not for commercial distribution.