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seg's review against another edition
adventurous
dark
mysterious
medium-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? N/A
- Diverse cast of characters? N/A
- Flaws of characters a main focus? N/A
3.0
starsbyname's review against another edition
3.0
First, I think I was missing some context. I don't think this was the first book in the series/story, so it left me confused at times. But also, none of the stories were super engaging like Gaimans other works. I finished it, but only because I wanted to mark it off toward my reading challenge and it wasn't super long
verkisto's review against another edition
4.0
By the time Alan Moore finished his run on Miracleman, he had pretty much said all he could about the superhero as god. Once the character had instituted his Utopia, once he had served as humanity's savior, there wasn't much left to say about the character. He opted to end writing the series, handing it over to Neil Gaiman to continue. Gaiman had established himself as a writer already with Sandman, and his writing style often focused on humans living among god-like beings. He was the perfect choice to pick up the series after Moore had established his post-modern take on the character.
As such, where Moore focused on the superheroes, Gaiman focused on the humans who lived among them. The Golden Age is a series of short stories, each looking from a different perspective at life in this new Utopia. We see a man whose search for perfection in beauty keep him isolated, a woman whose superhuman daughter creates more barriers than connections, and the capriciousness of the superheroes' whims and how they affect real people. Each story is tied together by the end of the arc, and Gaiman includes throwbacks to events in the original series to anchor them as part of the series, but each story is different from the series that begat them.
The stories have less impact than Moore's did, but that's not to say they're not effective. Moore and Gaiman have two distinctly different writing styles, and two different approaches to mythology. Where Moore wants to examine and deconstruct, Gaiman wants to examine and reflect. Despite their differences, the two styles complement each other well, because the human stories are the logical progression from the superhero stories.
With the Miracleman stories back in print, Gaiman has plans to continue writing the arcs that he had initially pitched when he took over the series from Moore. The Silver Age and The Dark Age will finally see print, after years of limbo and litigation, and we might even see new stories beyond Gaiman's original vision. It will be interesting to see how the stories will compare to what's already been published, since the Neil Gaiman of today is different from the Neil Gaiman of twenty-plus years ago. Still, for over two decades, the story has remained incomplete, and I'm excited to see how he will conclude the series.
As such, where Moore focused on the superheroes, Gaiman focused on the humans who lived among them. The Golden Age is a series of short stories, each looking from a different perspective at life in this new Utopia. We see a man whose search for perfection in beauty keep him isolated, a woman whose superhuman daughter creates more barriers than connections, and the capriciousness of the superheroes' whims and how they affect real people. Each story is tied together by the end of the arc, and Gaiman includes throwbacks to events in the original series to anchor them as part of the series, but each story is different from the series that begat them.
The stories have less impact than Moore's did, but that's not to say they're not effective. Moore and Gaiman have two distinctly different writing styles, and two different approaches to mythology. Where Moore wants to examine and deconstruct, Gaiman wants to examine and reflect. Despite their differences, the two styles complement each other well, because the human stories are the logical progression from the superhero stories.
With the Miracleman stories back in print, Gaiman has plans to continue writing the arcs that he had initially pitched when he took over the series from Moore. The Silver Age and The Dark Age will finally see print, after years of limbo and litigation, and we might even see new stories beyond Gaiman's original vision. It will be interesting to see how the stories will compare to what's already been published, since the Neil Gaiman of today is different from the Neil Gaiman of twenty-plus years ago. Still, for over two decades, the story has remained incomplete, and I'm excited to see how he will conclude the series.
calistareads's review against another edition
4.0
This is interesting in that the book is really about people and their reactions to a person with powers. The actual superbeing is rarely interacted with. Gaiman always creates a mood. His stories are told through moods many times. This mood seems to be questioning and contemplating. A good book. The art is also incredible. I need to read more and learn more of the story. This seems like a piece.
thecommonswings's review
3.0
I reread the previous volumes before reading this, and there’s a definite sense in the final volume that apart from the splashy nihilism of the Kid Miracleman plot, Moore has ideas that he can’t really articulate into interesting comics. It’s full of that annoying dense prose thing he falls into way, way too much in his more obtuse work and it’s pretty much a harbinger of what’s to come with Gaiman’s stint
Gaiman loves dense, opaque and baggy prose almost as much as Moore, so a lot of this is exhausting. Some of the non prose heavy stuff is all character based, which is interesting but ultimately pointless - it reads like those tribute comics where other artists and writers get to play with characters for a bit. The problem is we get a glimpse at Pete Milligan and Mike Allred/ Grant Morrison and Joe Quesada doing a couple of these in the third volume and they’re just more interesting than Gaiman trying to emulate Moore. It’s fine but a real damp fart to go out on until we hopefully see the Silver and Dark Age conclusions
Gaiman loves dense, opaque and baggy prose almost as much as Moore, so a lot of this is exhausting. Some of the non prose heavy stuff is all character based, which is interesting but ultimately pointless - it reads like those tribute comics where other artists and writers get to play with characters for a bit. The problem is we get a glimpse at Pete Milligan and Mike Allred/ Grant Morrison and Joe Quesada doing a couple of these in the third volume and they’re just more interesting than Gaiman trying to emulate Moore. It’s fine but a real damp fart to go out on until we hopefully see the Silver and Dark Age conclusions
oksi's review against another edition
adventurous
dark
emotional
mysterious
reflective
slow-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.5
ipacho's review
5.0
It begun with Alan Moore. Then Neil Gaiman took it. How AWESOME is that?? Gaiman explores wonderfully the world Moore created, using his personal touch, recollecting and expanding the awesome vistas of the Parousia of Miracleman. It is so sad that Gaiman never finished it (and who knows if he will), but the sense of suspense add to the mystic appeal of the series.
drtlovesbooks's review against another edition
3.0
Gaiman takes Moore's work and builds it out a bit from where it left off. This series is a collection of stories that unite at the end. My guess, based on the "extras" material at the end of this book, is that Gaiman plans to follow the characters of these stories into future pieces, showing how the world continues to develop around Miracleman and his compatriots.
I like that Gaiman is continuing to push forward the boundaries of this world a bit. Moore's original (and frequently revisited) thesis is about how superheros might actually impact the world outside of the comic book fantasies that are offered by ongoing titles; he realizes that there is probably a finite amount of grand storytelling that can be done, as super-powered people would either fix or destroy the world fairly quickly. Moore's focus is generally on those heroes and the people in their immediate circle. Gaiman pulls the lens further back, focusing on the stories of people who have only encountered the mythic figures of Moore's stories in glancing ways, and looking at how their lives are affected by living among god-like characters. It's not a type of story that is often presented in comic books, so it provides an interesting window into this world.
Seeing how Gaiman has established this world around the heroes, I'm curious to see how he will develop it from here.
I like that Gaiman is continuing to push forward the boundaries of this world a bit. Moore's original (and frequently revisited) thesis is about how superheros might actually impact the world outside of the comic book fantasies that are offered by ongoing titles; he realizes that there is probably a finite amount of grand storytelling that can be done, as super-powered people would either fix or destroy the world fairly quickly. Moore's focus is generally on those heroes and the people in their immediate circle. Gaiman pulls the lens further back, focusing on the stories of people who have only encountered the mythic figures of Moore's stories in glancing ways, and looking at how their lives are affected by living among god-like characters. It's not a type of story that is often presented in comic books, so it provides an interesting window into this world.
Seeing how Gaiman has established this world around the heroes, I'm curious to see how he will develop it from here.
dngoldman's review against another edition
4.0
This fine selection of short stares serves as a melancholy epilogue to Alan Moore’s Miracleman series. Gaiman’s graceful stories show that even in the age of gods and miracle’s that human yearning - loneliness, yearning, inability to forgive ourselves and others, hope, or feeling trapped are as alive as ever. Buckingham’s artwork is brilliant - changing styles for each story enhancing the mood, emotion, and pathos of the stories. The stories whimsy and a pop art aesthetic to ensure the stories are not a drag. For example, the 12-warhol replica story is a hoot, even if it’s main theme characters being trapped in an illusionary world (a theme that occurs often, particularly in the spy story). While the characters do intersect at the end, the stories are essential separate. Those wanting a graphic novel, similar to Moore’s original work, will be disappointed. (As will those looking for action scene - practically zero). I was bit disappointed at first as well. But the stories are so well crafted and their weight does accumulate by the book’s end.