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From amazon.com review:
This is the conclusion to the much talked about Sandman series. It may be best to start your Sandman acquaintance with earlier episodes, but The Wake stands as one of Neil Gaiman's strongest and most consistent Sandman volumes to date.

That story only lasts for first three issues, though. The remaining three of this volume are single-issue stories. "Sunday Morning" revisits one of the series' most interesting characters, the immortal Hob Gadling. In "Exiles" a banished Chinese wise man embarks on a strange path that leads into Dream's realm. The issue, which is told in Analect-ish verse, has little to do with the greater story, yet it is always delightful to see Gaiman mesh Sandman with indigenous story-telling traditions. "The Tempest," the series' final issue, revisits William Shakespeare, whose employment under Dream was chronicled in early issues. This tale elaborates on the dream king's need of the dramatist as he writes his final play. The Kindly Ones was Sandman's riveting climax and the first three issues of The Wake are the place to say goodbye to the main characters, but as far as giving the final word on what is perhaps the most important theme of Sandman, the importance of stories and their telling, "The Tempest" is its true conclusion.

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From amazon.com review:
Although it is actually its second-to-last story arc, The Kindly Ones is, for all intents and purposes, the climax of Sandman, Neil Gaiman's acclaimed fantasy comic book starring Morpheus, a glum, superhuman entity who rules over the realm of dreams (The subsequent The Wake is like a long epilogue). While no previous Sandman story arc seemed like a continuation of a preceding one, The Kindly Ones is a meta-sequel of sorts that features characters and plot threads from Preludes and Nocturnes, The Doll's House, Season of Mists, A Game of You and Brief Lives. Likewise, new readers should best begin with one of the aforementioned volumes but those who have already devoured two of three of the preceding Sandman story arcs, will delight in this excellent conclusion.

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From amazon.com review:
When Brant and Charlene wreck their car in a horrible snowstorm in the middle of nowhere, the only place they can find shelter is a mysterious little inn called World's End. Here they wait out the storm and listen to stories from the many travelers also stuck at this tavern. These tales exemplify Neil Gaiman's gift for storytelling--and his love for the very telling of them. This volume has almost nothing to do with the larger story of the Sandman, except for a brief foreshadowing nod. It's a nice companion to the best Sandman short story collection, Dream Country, (and it's much better than the hodgepodge Fables and Reflections).

World's End works best as a collection--it's a story about a story about stories--all wrapped up in a structure that's clever without being cute, and which features an ending nothing short of spectacular. --Jim Pascoe

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From amazon.com review:
One might think that the climax of the 10-volume Sandman series would come in the last book, or even the second to last. But indeed the heart and soul of Neil Gaiman's magnum opus lies here in Brief Lives. It could be because one of the most central mysteries--that of the Sandman's missing brother--is revealed here (in fact, the plot of this volume is the search for this member of the Endless).

It could be because everything that comes after this volume, however surprising or unexpected, is inevitable. But it's more because this is a story about mortality and loss, the difficulty of change, the purpose of remembering, the purpose of forgetting, and the importance of humanity. If you have wanted to find out what all the good buzz on this great comic book series is about and haven't read any Gaiman before, don't be turned off by this volume's pivotal position in the larger story of the Sandman series. This book might actually operate better as a stand-alone story, in that its depth and compassion are more condensed, pure, and brief. --Jim Pascoe

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From amazon.com review:
I've read 6 Sandman books now, in order, Fables and Reflections being the most recent. It could be my favorite, but they're all so perfect in different ways. I made my mom read "Ramadan", and now she's hooked. I just love that story. I can't stop thinking about it...it's just incredible. Gorgeous.

My suggestion: If you're new to Sandman, and aren't exactly sure whether you'll like it, read Fables and Reflections. (Only skip "Song of Orpheus" and "A Parliament of Rooks", which would be a bit confusing without the other issues.) However, if you're new to Sandman and trust Neil Gaiman with all your heart, start with Preludes and Nocturnes and know that it gets better. I really think they're best read in order.

"Ramadan" is just pure genius. The collection would be worth its price if only that one story were in it. "Fear of Falling" is another highlight, although no one ever mentions it. Very simple and short, but great. "The Hunt" is cool...well, all of them are! If you already know Sandman, obviously you'll want to buy this volume. If you're new, then don't hesitate.

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From amazon.com review:
You may have heard somewhere that Neil Gaiman's Sandman series consisted of cool, hip, edgy, smart comic books. And you may have thought, "What the hell does that mean?" Enter A Game of You to confound the issue even more, while at the same time standing as a fine example of such a description. This is not an easy book. The characters are dense and unique, while their observations are, as always with Gaiman, refreshingly familiar. Then there's the plot, which grinds along like a coffee mill, in the process breaking down the two worlds of this series, that of the dream and that of the dreamer.

Gaiman pushes these worlds to their very extremes--one is a fantasy world with talking animals, a missing princess, and a mysterious villain called the Cuckoo; the other is an urban microcosm inhabited by a drag queen, a punk lesbian couple, and a New York doll named Barbie. In almost every way this book sits at 180 degrees from the earlier four volumes of the Sandman series--although the less it seems to belong to the series, the more it shows its heart. --Jim Pascoe

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From amazon.com review:
In many ways, Season of Mists is the pinnacle of the Sandman experience. After a brief intermission of four short stories (collected as Dream Country) Gaiman continued the story of the Dream King that he began in the first two volumes. Here in volume 4, we find out about the rest of Dream's Endless family (Desire, Despair, Destiny, Delirium, Death, and a seventh missing sibling). We find out the story behind Nada, Dream's first love, whom we met only in passing during Dream's visit to hell in the first book. When Dream goes back to hell to resolve unfinished business with Nada, he finds her missing along with all of the other dead souls. The answer to this mystery lies in Lucifer's most uncharacteristic decision--a delicious surprise.

There is something grandiose about this story, in which each chapter ends with such suspense and drive to read the next. This book is best summed up by a toast taken from the second chapter: "To absent friends, lost loves, old gods, and the season of mists; and may each and every one of us always give the devil his due." --Jim Pascoe

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From amazon.com review:
The third book of the Sandman collection is a series of four short comic book stories. What's remarkable here (considering the publisher and the time that this was originally published) is that the main character of the book--the Sandman, King of Dreams--serves only as a minor character in each of these otherwise unrelated stories. (Actually, he's not even in the last story.) This signaled a couple of important things in the development of what is considered one of the great comics of the second half of the century. First, it marked a distinct move away from the horror genre and into a more fantasy-rich, classical mythology-laden environment. And secondly, it solidly cemented Neil Gaiman as a storyteller. One of the stories here, "A Midsummer Night's Dream," took home the World Fantasy Award for best short story--the first time a comic was given that honor. But for my money, another story in Dream Country has it beat hands down. "A Dream of a Thousand Cats" has such hope, beauty, and good old-fashioned chills that rereading it becomes a welcome pleasure. --Jim Pascoe

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From amazon.com review:
The immense popularity of Neil Gaiman's Sandman series is due in large part to the development of his characters. In The Doll's House, the second book of the Sandman magnum opus, Gaiman continues to build the foundation for the larger story, introducing us to more of the Dream King's family of the Endless.

The Sandman returns to his kingdom of the Dreaming after nearly a century of imprisonment, finding several things out of place; most importantly, an anomaly called a dream vortex has manifested itself in the form of a young girl who unknowingly threatens to rip apart the Dreaming. And there's the smaller matter of a few nightmares having escaped. Among them is Gaiman's creepiest creation: the Corinthian, a serial killer with a miniature set of teeth in each eye socket. Because later volumes concentrate so much on human relationships with Gaiman's signature fair for fantasy and mythology, it is sometimes easy to forget that the Sandman series started out as a horror comic. This book grabs you and doesn't let you forget that so easily. --Jim Pascoe

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From amazon.com review:
"Wake up, sir. We're here." It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century.

In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, I greatly prefer the roguish breaking of new ground in this book to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe

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From amazon.com review:
Coraline lives with her preoccupied parents in part of a huge old house--a house so huge that other people live in it, too... round, old former actresses Miss Spink and Miss Forcible and their aging Highland terriers ("We trod the boards, luvvy") and the mustachioed old man under the roof ("'The reason you cannot see the mouse circus,' said the man upstairs, 'is that the mice are not yet ready and rehearsed.'") Coraline contents herself for weeks with exploring the vast garden and grounds. But with a little rain she becomes bored--so bored that she begins to count everything blue (153), the windows (21), and the doors (14). And it is the 14th door that--sometimes blocked with a wall of bricks--opens up for Coraline into an entirely alternate universe. Now, if you're thinking fondly of The Lion, the Witch, and the Wardrobe or Alice's Adventures in Wonderland, you're on the wrong track. Neil Gaiman's Coraline is far darker, far stranger, playing on our deepest fears. And, like Roald Dahl's work, it is delicious.

What's on the other side of the door? A distorted-mirror world, containing presumably everything Coraline has ever dreamed of... people who pronounce her name correctly (not "Caroline"), delicious meals (not like her father's overblown "recipes"), an unusually pink and green bedroom (not like her dull one), and plenty of horrible (very un-boring) marvels, like a man made out of live rats. The creepiest part, however, is her mirrored parents, her "other mother" and her "other father"--people who look just like her own parents, but with big, shiny, black button eyes, paper-white skin... and a keen desire to keep her on their side of the door. To make creepy creepier, Coraline has been illustrated masterfully in scritchy, terrifying ink drawings by British mixed-media artist and Sandman cover illustrator Dave McKean. This delightful, funny, haunting, scary as heck, fairy-tale novel is about as fine as they come. Highly recommended. (Ages 11 and older) --Karin Snelson

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From amazon.com review:
Stardust is an utterly charming fairy tale in the tradition of The Princess Bride and The Neverending Story. Neil Gaiman, creator of the darkly elegant Sandman comics and author of The Day I Swapped My Dad for Two Goldfish, tells the story of young Tristran Thorn and his adventures in the land of Faerie. One fateful night, Tristran promises his beloved that he will retrieve a fallen star for her from beyond the Wall that stands between their rural English town (called, appropriately, Wall) and the Faerie realm. No one ever ventures beyond the Wall except to attend an enchanted flea market that is held every nine years (and during which, unbeknownst to him, Tristran was conceived). But Tristran bravely sets out to fetch the fallen star and thus win the hand of his love. His adventures in the magical land will keep you turning pages as fast as you can--he and the star escape evil old witches, deadly clutching trees, goblin press-gangs, and the scheming sons of the dead Lord of Stormhold.

The story is by turns thrillingly scary and very funny. You'll love goofy, earnest Tristran and the talking animals, gnomes, magic trees, and other irresistible denizens of Faerie that he encounters in his travels. Stardust is a perfect read-aloud book, a brand-new fairy tale you'll want to share with a kid, or maybe hoard for yourself. (If you read it to kids, watch out for a couple of spicy sex bits and one epithet.) --Therese Littleton

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From amazon.com:
One day Nathan comes over with two goldfish named Sawney and Beaney. "I'll swap you them," says the little boy of the house. "What for?" asks Nathan. As it turns out, Nathan doesn't want anything that the boy and his little sister suggest for trading... not an old spaceship or even Clownie the clown. Finally, the boy has an idea, the kind of idea (like discovering "electricity or fire or outer space or something") that changes the whole world. He decides to swap his dad (the silent guy behind the newspaper) for two goldfish. After all, the boy brags, his dad is as big as 100 goldfish and he swims better than a goldfish ("Liar," says his little sister.) But Nathan agrees to take their dad anyway. When their mother gets home, she is very mad, and sends her kids over to Nathan's to get their dad back. Sadly, Nathan has already traded their dad for an electric guitar. Page upon hilarious page goes by, as the father is traded again and again. When they finally track him down, he is still reading the newspaper! (Mom makes them promise never to swap their dad for anything ever again, and they promise.)

Comic masters Neil Gaiman and artist Dave McKean have created a wonderful graphic short story for all ages. The artwork is magnificent, funny, multi-textured, and scritchy--the perfect visual accompaniment to this hip, kid-friendly exploration of the perils of bartering family members. --Karin Snelson

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From amazon:
"And I -- I have shown him... that a man without hope is a man without fear." The definitive Daredevil tale! Karen Page, Matt Murdock's former lover, has traded away the Man Without Fear's secret identity for a drug fix. Now, Daredevil must find strength as the Kingpin of Crime wastes no time taking him down as low as a human can get. Collects Daredevil #226-233

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From amazon:
A fire burns deep within Matt Murdock. He was raised by a single father, an over-the-hill prizefighter with one last chance to make it good - a chance that cost him his life! Taunted and tormented by children while growing up, Matt's life was irrevocably altered after he was blinded by radioactive materials while saving the life of an old man. The payoff? An unbreakable will and a keen intelligence, helping focus the super-senses he was blessed with during the accident. His story is one of love, pain, disappointment, and strength. Witness the tour-de-force origin of the Man Without Fear by industry legends Frank Miller and John Romita Jr. Collects Daredevil: The Man Without Fear #1-5.

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From amazon:
In the Town Without Pity, good men are hard to find. Enter Wallace, a man of mystery. He's a nice guy who's very good at killing people. Out for an evening drive along the beach, he meets the woman of his dreams - and she's trying to kill herself. Why? And who are the shadowy cabal of power brokers who wrench her from his arms? When will all hell break loose?

Comics legend Frank Miller, creator of the groundbreaking Batman: The Dark Knight Returns, pounds out his longest Sin City graphic novel to date - a bare-knuckle barrage of brutal action, dark secrets, and heroic sacrifice. What the hell - it's a love story! The most recent story in Miller's gritty crime saga, Hell and Back includes color sections and pinups by a who's who of comics luminaries.

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From amazon:
The most diverse volume of Sin City material available, Booze, Broads, & Bullets, showcases Frank Miller's vignettes and color experiments from throughout the years of his groundbreaking crime series, and includes art created especially for the original collection. A good entry point for new readers wondering what Sin City is all about - or longtime readers who can't get enough - Miller has painted a gritty, decadent, and gloriously dirty portrait. Have a taste of the city ... just one little taste. Just one.

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From amazon:
Marking a departure for Miller from an entire career of serialized stories, this 128-page epic spilled out of him all at once... and you can't help but read it the same way! Family Values is a milestone among Miller's work, allowing him enough room to tell this classic story of grit and revenge exactly the way he wanted to. With deadly Miho running on roller-blades, Dwight running on adrenaline, and the Sin City mob on clean-up detail, this yarn from the Town Without Pity is not to be missed.

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From amazon:
In a Sin City short story, "The Babe Wore Red," Frank Miller deviated from his stark black-and-white artwork by adding tiny bits of color throughout the story. The girl's dress was red, her lips were red--you get the picture. In That Yellow Bastard, the fourth Sin City graphic novel, Miller's experiment with yellow ink is also a tremendous success. The setup is simple. On the last day before he retires, Hartigan, an old cop, gets a call about an 11-year-old girl who has been kidnapped by a lunatic. Hartigan has got just one more thing to do before he retires: save the girl. Saving her is the easy part, because Hartigan has uncovered something really bad that is not going to stop until it catches up with him. That Yellow Bastard is nerve-racking to the very end.

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From amazon:
With The Big Fat Kill Frank Miller is at it again with another comics packed with guns, lovers, losers, and surprises. In Sin City's Old Town, the prostitutes run the show. "The cops stay out. That leaves the girls free to keep the pimps and the mob out." Sounds like an OK place, right? It is until a pushy, loud-mouthed guy who has had one too many drinks comes into Old Town and gets himself killed by the ladies. When they find out who he is, they realize that "it'll be war. The streets will run red with blood. Women's blood."

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From amazon:
This is Frank Miller's second Sin City story. While it doesn't quite match The Hard Goodbye, it's a damn fine example of comics noir in it's own right. The lead character this time around is Dwight, but fans of Marv will be pleased to know that he shows up here in a supporting role. This story takes place prior to, and concurrently with, "The Hard Goodbye". In fact, you can see Marv enacting some scenes from "The Hard Goodbye" in the background of panels here. Anyway, the story is about how Dwight's ex-girlfriend Ava comes and asks him for help. I don't want to give away the story, but it may seem a bit familiar to fans of film noir. Despite what may seem like a predictable storyline, I loved it because it is so well told and the art is beautiful. This is not one of the stories that is being adapted for the Sin City motion picture, but the sequel to this book, The Big Fat Kill is in the movie.

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From amazon:
Legendary artist Frank Miller opened a noir opus in Sin City. This critically-acclaimed triumph-honored by both an Eisner Award and the prestigious National Cartoonists' Award-combines the pulp intensity of writers like Spillane and Cain with the gritty graphic storytelling that only Miller can deliver.

Sin City is the place-tough as leather and dry as tinder. Love is the fuel, and the now-infamous character Marv has the match ... not to mention a "condition." He's gunning after Goldie's killer, so it's time to watch this town burn! Frank Miller is one of modern comic's first talents to publish a comic book that he created, crafted, and owned. That book is Sin City, which grew from the wellspring of Miller's passionate desire to create a comic book with two distinct qualities - it wouldn't be a superhero comic, and it had to be a crime comic. Enter Marv and Goldie. And a psychotic killer. And a crime-drenched town. And a corrupted diocese.

Sin City is a town like no other, but most places resemble it in one way or another. In real life, thugs live everywhere and women sell their bodies all the time, but if everyday life is a storm, Sin City exists in the eye of a hurricane.

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From wikipedia:
300 is a historically-inspired 1998 comic book limited series written and illustrated by Frank Miller with painted colors by Lynn Varley.

The comic is a fictional retelling of the Battle of Thermopylae and the events leading up to it from the perspective of Leonidas of Sparta. 300 was particularly inspired by the 1962 film The 300 Spartans, a movie that Miller watched as a young boy. The work was adapted in 2007 to a film of the same name.

From amazon:
The armies of Persia--a vast horde greater than any the world has ever known--are poised to crush Greece, an island of reason and freedom in a sea of madness and tyranny. Standing between Greece and this tidal wave of destruction are a tiny detachment of but three hundred warriors. Frank Miller`s epic retelling of history`s supreme moment of battlefield valor is finally collected in a glorious hardcover volume in its intended format-- each two-page spread from the original comics is presented as a single undivided page.

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From wikipedia:
Hard Boiled is a three-issue comic book mini-series written by Frank Miller and drawn by Geof Darrow. Its first issue was published by Dark Horse Comics in 1990. In it, Carl Seltz, an insurance investigator, discovers he is also a homicidal cyborg tax collector who happens to be the last hope of an enslaved robot race.

From amazon's customer review:
Haven't bought a comic in a while. Hollywood, having finally admited to running out of ideas has turned to the great and ultra-cool comics (Hellboy, Sin City, V for Vendetta, etc) in order to make some dough, has once again sparked my interest in graphic novels. I bought this one based soley on the art and was not dissapointed.

The ultra-violence can get a bit tedious (If you like tons of bloody naked people getting mauled by flaming vehicles....then prepare for your boat to float), but overall its not a bad read.

The story is ok. Not amazing but interesting never-the-less.

The cool thing about this book is the illustration. Which, is a virtual "Where's Waldo" of advertising icons, naked people, drug parephanilia, blood, and robots. Folks who say you can reread this a few times just to look at the amazing detail are telling it to you straight.

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From wikipedia:
Bad Boy a one-shot comic book by Frank Miller and Simon Bisley and published by Oni Press. It follows the story of Jason, a young boy who comes to realize that the couple he thinks are his parents aren't his parents at all, and his world isn't what it seems to be.

From amazon:
Dynamite Entertainment proudly presents a brand-new hardcover production of Bad Boy by Frank Miller and Simon Bisley! Bad Boy features Jason, a little boy who comes to realize his parents aren't his parents, and that he's part of a sterile experimental community. Originally produced as a strip for the British Edition of GQ, Bad Boy is now a powerful piece of graphic fiction as only Miller and Bisley can produce!

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Ronin is a comic book limited series published between 1983 and 1984,
by DC Comics. The series was written and drawn by Frank Miller with
artwork painted by Lynn Varley. It takes place in a dystopic near-future
New York in which a ronin is reincarnated. The six-issue work shows some
of the strongest influences of manga on Miller's style, both in the artwork
and narrative style.

From amazon's customer review:
Probably the most unappreciated of Miller's work, "Ronin" is nevertheless one of his greatest achievements. It was originally shunned by many because of its wild combination of art styles and overall departure from Miller's typical work, but it is this uniqueness that makes it so memorable. Miller creates a convincing, if unrelentingly brutal, vision of the future, and fills it with strong characters you'll never forget. The story unravels in a fascinating way, as the reader realizes that nothing in the story is what it appears to be. I won't spoil it for you--just read the thing. You don't even have to be a Miller buff to enjoy it--any fan of good science fiction will find this one hard to put down.

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From amazon's customer review:
I got several Batman graphic novels recently and get one out when I have a block of uninterrupted time for it. I thought that given the short-story format, that I'd leave this in the car and read one or two stories when I had a few minutes to kill. Sure - that's what I say when I get a box of candy too - just one or two at a time - make the box last for a month. LOL - I got going and finished the whole book in one sitting. The short stories are not all great, but even the weakest is worth at least three stars. Some of the others are wonderful. The most unexpected were the best: "A Black and White World" a Neil Gaiman story which features Batman and Joker in a way you've never seen them before, and "A Slaying Song Tonight" a Batman Christmas story.... who'd ever think of that?

The art is varied - which is the point isn't it. Some I liked a great deal and others didn't move me, but each reader will have different tastes. I learned about some artists with which I wasn't familiar. I'm new to comics and graphic novels, so this was a great way to gain some exposure to some legends.

A previous reviewer seemed to feel the black and white art limited the artists. I thought the short story format and the black and white art boiled the work down to it's most powerful essence. The stories didn't waste a word. The art didn't hide behind color. It was like each story was stripped down to the bare essentials.

And no comic character is more natural for a black and white treatment than the Bat. It was like a film noir movie marathon!

Volume One at the very least is a must-own part of any Batman collection. Highest recommendation!

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From Publishers Weekly
Miller, the man who kicked off the grim and gritty era of superhero comics with the 1986 Batman tale The Dark Knight Returns, returns to write the iconic character once again in a series that takes the tropes of superhero excess and explodes them into satire. Miller casts Batman as an obsessive lunatic who enlists traumatized children into his war on crime, calls himself the goddamn Batman and is prone to cackling maniacally. Sex and violence are constant preoccupations, but even during sex scenes, Miller can hardly keep a straight face.

After a shared rampage against corrupt cops that includes the interjection, Eat glass, lawman! Batman and heroine Black Canary celebrate with an intimate encounter on a burning pier during a lightning storm. Although the bombastic, repetitive narration and decompressed storytelling (two and a half issues pass before Batman and Robin leave the Batmobile) often borders on hilarious, Miller aims for more obvious jokes later in the series. It's an over the top in-joke for the superhero crowd, though its irreverence may not have the most zealous and serious superhero fans laughing. (June)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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From amazon:
The Dark Knight Strikes Again is Frank Miller's follow-up to his hugely successful Batman: the Dark Knight Returns, one of the few comics that is widely recognized as not only reinventing the genre but also bringing it to a wider audience. Set three years after the events of The Dark Knight Returns, The Dark Knight Strikes Again follows a similar structure: once again, Batman hauls himself out of his self-imposed retirement in order to set things right.

However, where DKR was about him cleaning up his home city, Gotham, DKSA has him casting his net much wider: he's out to save the world.The thing is, most of the world doesn't realize that it needs to be saved--least of all Superman and Wonder Woman, who have become little more than superpowered enforcers of the status quo. So, the notoriously solitary Batman is forced to recruit some different superpowered allies. He also has his ever-present trusty sidekick, Robin, except that he is a she, and she is calling herself Catwoman. Together, these super-friends uncover a vast and far-reaching conspiracy that leads to the President of the United States (Lex Luthor) and beyond.

The Dark Knight Strikes Again is largely an entertaining comic, but much of what made The Dark Knight Returns so good just doesn't work here. Miller's gritty, untidy artwork was perfect for DKR's grim depiction of the dark and seedy Gotham City, but it jars a bit for DKSA, which is meant to depict an ultra-glossy, futuristic technocracy. Lynn Varley's garish coloring attempts to add a slicker sheen, but the artwork is ultimately let down by that which worked so well for DKR--this time around, it just feels sloppy and rushed. The same is true of the book's denouement, which happens so quickly that it leaves the reader reeling and looking for more of an explanation.

Moreover, DKSA is packed full of characters who will mean little to those unfamiliar with the DC Comics universe (e.g., the Atom, the Elongated Man, the Question).Perhaps the book's biggest failing is that where The Dark Knight Returns gave comic book fans a base from which to evangelize to theuninitiated, The Dark Knight Strikes Again is just preaching to the converted. Comic book superhero fans will find much to enjoy here, but others would be better off sticking with the original. --Robert Burrow

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From amazon:
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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From amazon's customer review:
It's January 4th, and Gotham City witness two arrivals: the arrival of Lieutenant James Gordan, and the return of millionaire Bruce Wayne. Wayne and Gordon both see that Gotham needs to be cleaned up, but each has his own ideas of how it should be done. While Gordon begins his cleaning under the eyes of the press, Bruce Wayne assumes the identity of a bat and begins cleaning up the city under the cover of darkness. But, with the two working from such very different angles, confrontation is inevitable, and out of the confrontation comes...friendship?

This book was published in 1988, containing BATMAN #404-407 (1987). The quality of the illustrations is a bit lower than one has come to expect from more recent graphic novels, but the fact is that the story is excellent and makes the whole book a great buy! As with the stories of the Golden Age comic books, this story pits Batman against an array of regular bad guys, rather than super-powerful super-villains (although the genesis of Catwoman is included!), which I rather enjoyed! Overall, I found this to be a great introduction to Batman, one that keeps up the excellent tradition. I highly recommend this book!

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Written by Mark Waid; Art and cover by Leinil Yu and Gerry Alanguilan;
A new softcover edition collecting the 12-issue miniseries that features the entire modern-day retelling of Superman. Superman's origins have been imagined and reimagined over the years. Here is a new take on the character's roots.

Superman: Birthright retells the early chapters of Superman's story, from escape as an infant from the doomed planet Krypton to arrival as reporter Clark Kent at the Daily Planet and his first public exploits. Writer Waid puts his own spin on the legend, rethinking nearly every aspect of the venerable character while remaining respectful of his established history. Waid wisely integrates ideas from the popular TV series smallville but doesn't slavishly follow its innovations; for instance, a young Lex Luthor befriends Clark in high school, but unlike in the series, his sinister nature is clear even then. Waid similarly tweaks the rest of the well-known cast, from Lois Lane and Clark's other Planet colleagues to Ma and Pa Kent.

Ironically, though he updates the character, Waid evokes Superman's pre-World War II incarnation, whom his Depression-reared creators kept engaged in righting society's ills. Leinil Francis Yu's stylized artwork is expressively dynamic to the point of caricature, but this larger-than-life visual approach befits the retelling of a myth.

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Superman: Secret Origin is a six-issue monthly American comic book limited series written by Geoff Johns and illustrated by Gary Frank that has long been announced but finally launched. Superman's origin story, most recently told in 2003's Superman: Birthright, has received numerous retcons and changes in the aftermath of the DC Comics event Infinite Crisis. As such, Superman's origin story in the current DC Comics continuity has yet to be told.

This story therefore features what Johns and DC Executive Editor Dan DiDio are calling a "definitive" telling of the origin story of Superman, dealing with his life in Smallville, his first adventure with the Legion of Super-Heroes, his friendship and eventual bitter rivalry with Lex Luthor and his arrival in Metropolis and at the Daily Planet. Dan DiDio decided to have Secret Origin run as its own mini-series, instead of within a Superman title as Johns had done previously with Green Lantern: Secret Origin. DiDio said, "They’ll be doing the definitive origin of Superman as we’ve seen it all take place, and incorporating the changes that we’ve seen or suggested since Infinite Crisis." The series' first issue was released on September 23, 2009 and will run through February of 2010.

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From amazon:
Superstar Gary Frank joins writer Geoff Johns for an epic story teaming Superman with an adult version of the Legion of Super-Heroes. When he was a boy, Clark Kent was isolated and alone until he met this teen team from the 31st Century. Today, it's been years since Superman saw his childhood friends. Why haven't they returned to visit him? What's become of the symbol of Superman in the future? And just why is the future so dangerous for Superman? They warned him away, but now he's determined to help his friends -- even if it means his life!

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From amazon's customer review:
SUPERMAN: NEW KRYPTON Vol. 2 reprints SUPERGIRL #35-36, SUPERMAN #682-683, and ACTION COMICS #872-873, this collected story arc helping to set the stage for the 12-issue SUPERMAN: WORLD OF NEW KRYPTON maxi-series (which I'm digging very much). This volume, as well as the volume preceding this (Superman: New Krypton, Vol. 1: Birth), illustrates that where and how you were raised plays an integral role in determining your adult worldview. Where it truly counts, there's more of the Kansas farm boy in Superman than there is the godlike extraterrestrial. Even so, with one hundred thousand Kryptonians suddenly walking our planet and rubbing elbows with him, Kal-El's Earth upbringing clashes hard with his alien heritage. Going into this bunch of issues I wasn't sure which side he'll end up on. But I did know - and you knew, as well - that this storyline is going to force him to choose. And this, with Clark still very much reeling from Jonathan Kent's death.

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Product Description:

Best-selling writers Geoff Johns (INFINITE CRISIS, GREEN LANTERN) and James Robinson (STARMAN, JSA: THE GOLDEN AGE) unleash a massive storyline that changes Superman's life forever!

After a devastating battle with the alien villain Brainiac, The Man of Steel learns that a piece of his home planet Krypton survived - the shrunken, bottled city of Kandor! And when the city is grown to normal size, it looks like Superman finally has the connection to his past he's been missing all his life as thousands of Kryptonians are suddenly able to walk the Earth. But his happiness soon turns to dread as relations between the Kryptonians and humans dissolve, and the two cultures face a massive clash!

This is just the beginning of a 9-part mega-event that alters The Man of Tomorrow down to his core.

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Product Description:
Before he came to Earth, the people of Superman's homes planet Krypton had battled Brainiac, a cold and callous alien obsessed with the control of knowledge.

Now, Brainiac has set his sights on destroying Earth and finishing off the Last Son of Krypton once and for all. This epic battle will change Superman's world forever.

Editorial Reviews:
From School Library Journal, Grade 9 Up. Facing off once again with his old foe Brainiac, Superman is shocked to learn that the coldly logical supervillain was responsible for the disappearance of both an entire Kryptonian city and the death of hundreds of Kryptonians. When Brainiac turns his sights to Earth and adds the city of Metropolis to his collection of miniaturized specimens, the Man of Steel must confront a far more powerful and cruel opponent than he ever dreamed of, and Supergirl must overcome her own misgivings about her power in order to stop Brainiac's robotic minions from destroying the Earth.

This somewhat standard tale of Superman confronting an evil alien bent on destroying the world is enlightened by realistic characters and dialogue as well as some heartrending displays of emotion. With a fair amount of graphic violence, this is a somewhat darker Superman than some audiences may be comfortable with; that said, the plot is sure to keep readers on the edge of their seats. The artwork is excellent, with wonderful use of color. A fine general choice for collections in need of solid superhero titles.(Dave Inabnitt, Brooklyn Public Library, NY)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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From School Library Journal:
Grade 7 Up. When an asteroid that he recovers proves to be carrying a living Kryptonian boy, Superman is initially overjoyed, even going as far as to convince his long-suffering lover, Lois Lane, to adopt him. Although Kryptonian-hating Lex Luthor attempts to kidnap the child with the help of the grotesque Bizzro-Superman, he is easily defeated, and all seems well until it becomes apparent that the boy's parent—the fiendish General Zod, freshly escaped from the limbolike Phantom Zone along with a host of henchmen—is intent on finding the youngster and turning Metropolis into his own personal kingdom. Once Zod imprisons Superman in the Phantom Zone, the hero must break free and turn to the one person he despises most for help—Lex Luthor. Detailed enough for longtime Superman fans but also accessible to new readers, this is a fast-paced and well-written work, and fans of the classic 1981 Superman II film will enjoy the return of evil General Zod. Furthermore, the conflict between Superman's loyalties to the human race and his pride as a native Kryptonian are explored in a nuanced and interesting way. Although the book includes a pair of difficult-to-remove and easy-to-lose 3-D glasses, this still is a fine first choice for most collections. (Dave Inabnitt, Brooklyn Public Library, NY)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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From amazon's customers review:
This is probably the most beautiful graphic novel I've ever seen. Alex Ross is a national treasure. His art is matched by a strong story which contrasts the eternal qualities of legendary heroes like Superman and Wonderwoman with the moral ambiguities of a rapidly changing world. I know its herecy to quote Peter Parker in a DC comics review, but if great responsibility is supposed to come with great power, can even Superman know what he should do with that power in every situation?

Walk a few miles beside an elderly, world-weary preacher and witness Kingdom Come for yourself.

This is a unique trip through the DC universe. The device of seeing the ultimate war of the meta-humans through the eyes of a human preacher steeped in the apocalyptic visions of the Bible was masterful. As both a preacher and a comic book fan, this graphic novel really hit home for me. The artwork was phenomenal. stirring and beautiful. The presentation of the moral dilemmas faced by our legendary heroes was epic. There is nothing about this story that I didn't like. BUY IT! READ IT! THINK ABOUT IT! READ IT AGAIN!

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From amazon:
Morrison, Quitely and Grant conclude their fresh and compelling take on the most iconic superhero in comics. Recently, grittier modern-day reinterpretations of classic characters, set outside normal continuity, have become the popular way to do a limited series such as this one.

Morrison's Superman, however, is the same defender of truth, justice and the American way recognizable to generations of comics readers. Now, however, his days are numbered. Slowly dying from overexposure to solar radiation, Superman is faced with the dilemma of how to do the most good in his final days and how to prepare the people and planet he loves to carry on without him. Morrison's feverish style is both a blessing and a curse, as the overwhelming deluge of ideas thrown at the reader confuses even while creating a parallel with Superman's own constant supersensory information overload.

Yet Morrison's writing recaptures the sense of simple wonder and virtue essential to a classic Superman tale. Quitely and Grant's art is evocative of the earliest images of the character, a refined evolution of the bright costumes, skylines and chiseled jaws that adds a dignity and humanity to the characters beyond their cartoonish origins. (Feb.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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From amazon:
Two of the comics industry's top creative talents, writer Grant Morrison and artist Frank Quitely, the acclaimed team behind JLA: EARTH 2, reunite to redefine Superman based on the timeless, essential iconic elements that everyone knows about the Man of Steel.

In the first volume, the World's Greatest Super-Hero rescues a doomed group of astronauts on the surface of the sun when he's exposed to massive amounts of solar radiation no one could possibly anticipate how he'll be affected - except Lex Luthor!

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From amazon:
Strange visitor from another world who can change the course of mighty rivers, bend steel in his bare hands… and who, as the champion of the common worker, fights a never-ending battle for Stalin, Socialism and the international expansion of the Warsaw Pact.

In this startling twist of a familiar tale, a certain Kryptonian rocketship crash-lands on Earth carrying an infant who will one day become the most powerful being on the planet. But his ship doesn’t land in America. He is not raised in Smallville, Kansas. Instead, he makes his new home on a collective in the Soviet Union!

From the mind of Mark Millar, the best-selling writer of THE AUTHORITY and Wanted, comes this strangely different take on the Superman mythos. Featuring art by Dave Johnson, Kilian Plunkett, Andrew Robinson, and Walden Wong, with an introduction by film producer Tom DeSanto (X-Men, X2: X-Men United, Transformers), this Deluxe Edition also features an extensive sketch gallery by Johnson, Plunkett and Alex Ross.

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From amazon's Customer Reviews:
Sowing the Seeds. Here is the final installment of Alan Moore's tremendous and groundbreaking run on the Swamp Thing series, collecting original issues #57-64. Moore brings to a precise ending his take on the character and his breathtaking development as an elemental spirit, but with plenty of room for future writers to continue the series. We also see the apotheosis of Moore's strong horror (and increasingly, sci-fi) writing, which both resurrected and revolutionized this comic genre. At the beginning of this particular collection, Swampy's spirit is still drifting in outer space, and Moore takes him on a series of adventures that illustrate his very "fertile" imagination. Swampy restores fertility to Adam Strange's nuclear-damaged planet, accidentally mates with a lonely bio-mechanical space station (in a great example of speculative sci-fi), and accidentally enslaves a sentient plant civilization but amends his misdeed with help from the local Green Lantern associate. Moore brings his run to a close by finally reuniting Swampy with his true love Abby, as he ponders his place as an elemental god on his home world.

The artwork continues to astound as well, with Rick Veitch and Alfredo Alcala handling most of the duties during this period, while colorist Tatjana Wood continues her moody and praiseworthy work. This is the stupendous ending to one of the great series in comics history, and also one of the best graphic novel collections. [~doomsdayer520~]

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From amazon's Customer Reviews:
If you've read the prior collections in this series and you thought things couldn't get any better, well you ain't seen nothing yet. This installment of the Swamp Thing graphic novel series contains just six issues from Alan Moore's run (#51-56), but that does include the double-sized blockbuster issue #53. In any case, quantity is meaningless here because Moore and his artistic team have reached the dizzying heights of their powers, unleashing the most mindboggling and gutwrenching stories in comic history. The basic subplot running through the series at this point is Abby's arrest for immoral conduct while Swamp Thing was off saving the universe, and her escape to Gotham City. As Swampy is searching for his true love, she is being held by the authorities in Gotham. In the overwhelming "Garden of Earthly Delights" (issue #53) Swamp Thing unleashes his full elemental powers on the uncaring city that imprisons his lover, and even temporarily defeats Batman in the process. Sadly, Swampy is supposedly assassinated by government agents, and finds his spirit floating in outer space.

This is where Moore's imagination really goes into overdrive, giving us the highly unique and moving story "My Blue Heaven" (issue #56), a tremendous tale of loneliness and soul-searching, where Swamp Thing is blue in more ways than one. This episode is also another pinnacle for the artistic team, and much credit must go to colorist Tatjana Wood for her moody and unconventional work. By this point regular artists Stephen Bissette and John Totleben had mostly moved on - Bissette was only doing the covers and Totleben's only major contribution is "Garden of Earthly Delights." The artistic torch had been passed to the outstanding team of Rick Veitch and Alfredo Alcala, who barely miss a beat in keeping the series' haunting and lovely artwork rolling. The only sad thing about this edition of the Swamp Thing series is that fact that Moore's run would soon come to a close.

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From amazon:
How did the DC character most noted for simplicity handle thehyper-complexity of the Crisis on Infinite Earths? In the ever-able hands of Alan Moore, Swamp Thing: A Murder of Crows rises above the mid-1980s corporate reorganization to grant our hero his apotheosis into his current plant elemental form. Fans of John Constantine will eat up the smart-aleck astral con man's performance throughout, and the central struggle--uniting good and evil against something much bigger and older than either--is classic Moore. The art is bold and beautiful, organic by necessity, and contributes as much to the reader's suspense as the script. It seems that Moore et al. have spent so much time transcending their medium that they may have created a new one of their own. --Rob Lightner

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From amazon (Customer Reviews):
The Best of Swamp Thing
This collection reprints the best issues of Swamp Thing. For those not at all familier with the character, it is an excellently written and drawn comic about a good swamp monster battling evil (and is much better than that description makes it sound).

Notable in this third volume of the series, which reprints the beginning of the "American Gothic" story arc, is Moore's greater use of social critique, elevating these stories above mere entertaining, well-written horror stories. By combining fantastic horrors to such real-life horrors as racism and sexism, these stories are far more effective than any in the earlier collections at terrifying the reader.

In "American Gothic", Swamp Thing is sent scurrying to different parts of the U.S. by a manipulative figure (Jon Constantine) to battle all of the classic horror figures (vampires, werewolves, zombies, etc.), but each are handled in an absolutely brilliantly unique and new manner. For example, there is a whole town of vampires living underwater, completely shielded from the sun, in the process of, for the first time, living communally and cooperating to breed a second generation of vampires that are more powerful and horrific (the dedication of the vampires to family is contrasted by the dysfunctional families of the normal humans). The title story, "The Curse", is a unique Werewolf story, tying in the monthly transformation according to the phases of the moon to the menstrual cycle. The Curse was controversial due to its misinterpretation by illiterate readers as being a sexist comment on PMS when in reality it is an extremely feminist story condemning society for its male-driven fear and shunning of the feminine, and the subjugation of women into sexual objects or housewives.

The American Gothic story arc does not conclude in this issue (although the individual stories can be enjoyed on their own) so hopefully a volume 4 will follow.

By this point, Moore was also using word games in his text more frequently (read carefully) adding an extra level of enjoyment. This collection also contains the first appearance of Jon Constantine, and it is a period I miss. Here Constantine is a totally mysterious, manipulative character whose only real power is his mysteriously obtained knowledge and who always adds an element of dark humour (he is still a great character, but far less mysterious, and he now has magical skills, the extent of which appear to change from appearance to appearance).

This collection represents, if not Moore's best, then the best of Swamp Thing.

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From amazon:
Editorial Reviews
What Alan Moore, Stephen Bissette, and John Totleben accomplished during their time on the comic book series Swamp Thing shouldn't be underestimated in the history of comics and, specifically, the history of horror comics. The modern comics landscape has been changed by the Vertigo line of books--an imprint that traces its roots back to this version of Swamp Thing. By taking a horror character fully entrenched in a superhero world (as silly as that might seem), this creative team put a new face on horror comics and on horror in general. Swamp Thing: Love and Death is the second collection of the team's work on the series, presented here in full color. Don't let the mediocre Swamp Thing movies fool you, this book is filled with sophisticated suspense and terror.

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From amazon (Reviewed by Tim Janson):
In 1984 DC comics hired a relatively unknown British comic writer and gave him the assignment to write Swamp Thing. Moore was given basically free reign on the character since the title was slated to be cancelled anyway due to poor sales. But then a funny thing happened...Moore revamped the character and his origins and changed everything fans ever knew about him. Thus Swamp Thing was saved from the axe and would continue on for 12 more years. Moore's run on the title has gone onto become one of the most critically acclaimed in comic's history.

This book reprints the first 7 issues of Moore's run from #21 - 27. Actually Moore took over one issue earlier but it was #21 that changed everything. In this issue, Swamp Thing, who was thought dead, has an autopsy performed on him by the Floronic Man who discovers that the creature has no human skeleton or organs...thus he is not, and never was Alec Holland as we had always thought. Instead, when Holland died, the swamp absorbed his memories and conferred them onto the creature that would become the Swamp Thing. We of course would later learn that Swamp Thing was actually a plant elemental and just the latest in a long line of such creatures. The Floronic Man would eat one of the tubers off Swamp Things body and go onto a psychedelic trip that would put him in touch...and control of all plant life on Earth. Swamp Thing would battle him over the course of issues 22 - 24.

Issue #25 was a landmark in that it introduced, although didn't name, one John Constantine, the Hellblazer. This would begin a three issue story arc where Swamp Thing battled a fear demon called the Monkey King with help from Etrigan. This book begins a marvelous run that for me culminates in issue #50. Great art throughout by Steve Bissette and John Totleben who came aboard on issue #21. A fantastic book!

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Publisher: DC Comics
Release: January 11, 2005

DC Comics took every DCU tale written by Alan Moore and put them in one trade paperback collection, "Across the Universe: The DC Universe Stories of Alan Moore (Paperback)" which features 16stories by the writer. This is a collection of stories Alan Moore wrote for DC in the 1980's before becoming one of the most famous writers in comics history.

Written by Alan Moore Art by Jim Aparo, Jim Baikie, Brian Bolland, Paris Cullins, George Freeman, Dave Gibbons, Klaus Janson, Kevin O'Neill, Joe Orlando, George Pérez, Kurt Schaffenberger, Curt Swan, Rick Veitch, Al Williamson and Bill Willingham Cover by Brian Bolland Don't miss this exhaustive collection featuring the World's Greatest Super-Heroes as interpreted by one of the most acclaimed authors in comics!

From amazon:
The Worlds Greatest Super-Heroes as interpreted by one of the most acclaimed authors in comics today.The work of Alan Moore (WATCHMEN, V FOR VENDETTA, LEAGUE OF EXTRAORDINARY GENTLEMEN) in the DC Universe during the 1980s is now considered a benchmark for great stories with fresh approaches to iconic characters.This volume collects such well-known classics as The Killing Joke and Superman: Whatever Happened to the Man of Tomorrow?

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From wikipedia:
"Whatever Happened to the Man of Tomorrow?" is a 1986 comic book story featuring the DC Comics character of Superman. The story was published in two parts, in the final issues of the series Superman (Vol. 1) (#423) and Action Comics (#583), both published in September 1986. Written by Alan Moore, pencilled by long-time Superman artist Curt Swan, and inked by George Pérez (Superman) and Kurt Schaffenberger (Action), the tale incorporates the Mort Weisinger-era style but has a distinctly modern twist. The story was intended to close the book on the original character's history subsequent to the events of Crisis on Infinite Earths and in preparation for the following The Man of Steel reboot by John Byrne, and was Swan's final major contribution to the series, though he would later occasionally return for special occasions.

From amazon:
An unforgettable hardcover collection of WATCHMEN writer Alan Moore's definitive Superman tales that is sure to appeal of readers of his BATMAN: THE KILLING JOKE graphic novel. Moore teams with Curt Swan, the definitive Superman artist from the 1950's through the 1970's, to tell the final adventure of the Man of Steel featuring his last stand against Lex Luthor, Brainiac and his other foes in "WHATEVER HAPPENED TO THE MAN OF TOMORROW?". This volume also includes Moore's classic early collaboration with WATCHMEN illustrator Dave Gibbons, "FOR THE MAN WHO HAS EVERYTHING", in which Batman, Robin and Wonder Woman find Superman held captive by the villain Mongul in the Fortress of Solitude and dreaming of an idyllic life on Krypton courtesy of a wish-fulfilling parasitic plant known as the Black Mercy. Both tales are considered two of the top five all-time best Superman stories among fans.

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