🙌

Me to

Thanks for being cool and not being a big nerd, Gem Mint

@@agentmobius8458real

Yeah, I don't think he read it. It's all right though; just when he thinks he has read it all, one of the greatest treasures will be waiting to be discovered

So…almost all are superhero comics, and all are DC or Marvel. Wow.

@@TorstenAdair because superhero comics are the best comics

@@TorstenAdair and?💀💀

@@ssjssgecko5411 ... and go read Sandman. And Bone. And the entire output of Carl Barks' Uncle Scrooge stories. And the MAD comics. And EC horror, science fiction, and war comics. And Little Lulu. And Astro City. And One Month to Live. And ... I can do this all day. }]

@@TorstenAdair Marvel and DC Comics make all of them look like shit.. no offence mate lol

Troy Chavis yeeaah I guess. Not sure if I woulda put it on even tho it’s my favourite comic of all time. If it’s more like a crash course to comics then idk if it fits

I mean it’s a huge commitment

I love Sandman, but it does start to feel like homework around vol 8. Definitely worth reading though, superb.👍

Preacher but not Sandman. Travesty.

I am really surprised too but it seems that (Americans mostly) can't read anything else other than cringey superheroes stories.

I'm like 90% sure that it's only hardcover.

@@mohammedalzoubi9275 yeah same.

there are 3 omnis... beautiful omnis

Oh my god blast from the past! I used to be your biggest fan when I was like 9 😂 I’m almost 15 now, glad you’re still going!

They are called compendiums

What part 1st print ?

i just fished yesterday 12/10

I’m glad to hear this, i JUST bought the court of owls, can’t wait to read it

I was blown away by how much it sucked

@@reginaldforthright805I wouldn’t say it sucked but it definitely isn’t worth it’s praise. I preferred Hush a lot more.

Old Man Logan is the last Marvel book I bought. It’s an incredible story

@@r520jr8 the sequels aren't bad either. Not nearly as good as Millar's story but they satisfy any curiosity regarding Logan's future from where he left off.

It’s what got me into comics

It's also my favorite comicbook ever, such an amazing but simple story, lots of wordbuilding, good characters, great writing... i just love it haha

A really good story i aint a marvel fan but that comic was really really good

I literally just picked it up

Yep, the only Spiderman story worth reading in the 80s.

@@gregbrown8586 spoke facts

Really hope they do something with Kraven's Last Hunt with Black Panther and Spider-Man in the movies.

Shut up! wtf 🤣🤣🤣

And just like that dude, he probably makes a lot more money than you, lol.

@@emcdonald10 you so mad for what? weirdo.

i was surprised too

Have not read it but I hear many good things

@@louisboyle8906 the Abs ed is stunning too, looking forward to vol. 2.

I wonder why its showing so many comments as being posted 1 month ago lol

Classic

thanks for watching

TJM060765 we gotta get that Justice League Snyder cut! lol. I agree, killing joke was just okay

Agreed. Killing Joke is Moore's worst work. But Bolland? 🎩

@@unrulysimian3897 Killing Joke is still a fantastic comic tho

Agree about the Watchmen. Snyder does a fantastic job with a story that was for years considered unfilmable.

I loved Preacher but never got to finish it because mom cut up and burned all my comic books everytime she found them. Now that I'm older and have more time to myself, I'd love to see where that story went and pray it was better than that shit show they gave us on AMC. Watchmen the mini-series was better than Zack Snyder's Watchmen, IMO

Which one there is quite a few?

@@ziggyc4474 There is only one Absolute edition for Watchmen

@@omrmajeed the hard cover i need a year im looking for it

@@ziggyc4474 www.dccomics.com/graphic-novels/watchmen-1986/watchmen-the-absolute-edition

You should probably buy the original Graphitti edition…

This audience anyways!

Its actually surprising because the facebook group seems to be more Marvel oriented.

Marvel is more loved but even with the few stories I’ve read from both DC has better stories

I'd say DC generally has the better characters and stories, but Marvel has absolutely stomped DC for movies over the last decade so that's obviously earned them a lot more popularity from fans and casual audiences alike.

Yeah, people love Marvel movies but people love DC stories if they're looking for something that's dark and more on the real side

I love it when people take a new or re-newed interest in the medium. So, here is a list of comics I love. Only a few of them are an ongoing series, or a part of one, so there is plenty of standalone stuff that can be read in a single session. Here goes: "Alpha" (by Jens Harder) is about how the universe, our planet, and life on it came into being, up to the first humans; a sort of scientific comic - but also drawing a lot from human art, cultures and myths, for inspiration in illustrating it. "Batman: The Long Halloween" (by Jeph Loeb) is one of the more down to earth Batman comics, a true detective comic, and maybe the finest in terms of narration and the clearest in terms of pictures; an easy but involving read, full of intensity and suspense, worthwhile for comic book beginners and casual readers as well as afficinados and connoisseurs. "Berlin" (by Jason Lutes) is historical fiction but very well researched; a story of losing and finding oneself, of widening ones personal horizon and discovering a larger world, a story of a wide open society closing down on itself, a story of urban cultural richness and stifling individual poverty, a story of a cosmopolitan city, a story of economical, political and societal division, and a story of the rise of fascism. "Blankets" (by Craig Thompson) is brutal and dreamlike at the same time, blending naturalistic narration with magical realism and surrealistic imagery, autobiographically honest, emotionally intense, bleak and romantic; a coming of age story, a story of childhood abuse, of youthful confusion, of adolescent healing, and of mature creativity. "Fun Home" (by Alison Bechdel) is tragedy meets comedy, is sarcasm meets love, it has precise observation, dry wit and self-aware commentary; it's a coming of age story about a broken home, about emotional distance, about unspoken closeness, about family secrets, about finding (self-) acceptance and redemption through art. "Ghost World" (by Daniel Clowes) is alienating, askew, awkward, casual, confusing, cringey, disconcerting, distant, dorky; it is elliptical, episodic, earnest, and it is about puberty, estrangement, feeling out of place and out of time and out of synch with the world, and it is also eerily good at it. "Jimmy Corrigan" (by Chris Ware) is nothing less but The Great American Novel in nothing more but mainly postal stamp sized panels and episodic memories, be it told through stream of consciousness narration or postcard views of the Columbian world exhibition; it's a story about America, about modernity, about its dreams, and about its nightmares. (When it comes to "the great American novel", for me personally, it is a tie between this great graphic novel of episodic vignettes and Jeffrey Eugenides's "pure" novel "Middlesex", an epic family saga echoing ancient Greek mythology in modern literary form.) "Julius Corentin Acquefacques" (by Marc-Antoine Mathieu) is to comics what a silent black and white film is to movies: its concentrated essence; it is a trip, a revery and a revelation, a quest, and it is abstract, it is bold, it is minimalistic in form - but taken to maximal effects, as such it is claustrophobic, it is kafkaesque, it is scary and it is surreal, it is unique, it is dreamlike, it is existential, it is funny, it is self-aware, it challenges the reader to be overwhelmed, to be puzzled, to create, to empathize, to experience, to feel, to laugh, to marvel, to observe, to question, to revel, to think, to wonder... "Maus" (by Art Spiegelman) is as haunting as it is humane, it is as gruesome as it is hopeful, as bitter as it is sweet, it is as simple in style as it is complex in subject matter, it is as humble as it is great; it is a story of death and survival, of intergenerational trauma, of family ties, of estrangement and closeness. "Persepolis" (by Marjane Satrapi) is a story of a childhood in pre- & post-revolutionary Iran, a youth as a refugee in Austria, and an adolescence in France; it is a tale of distant and present memories, of family tales, of personal experience and of collective history, of hopes and dreams, of fears and of losses, of alienation, loneliness, depression and death, but also of finding hope in art and expression, in family heritage, in creative freedom, and in an open if not always welcoming society, but also a very sad and melancholy story of disenchantment and disillusionment, of oppression and war, of innocence lost, and of the cruelty of naivety and ignorance. "The Sandman" (by Neil Gaiman) is a disparate but coherent, all-encompassing and almost megalomaniac meta-mythology; it is a tale about the human condition, about destiny, desire, dream, delight/delirium, destruction, despair and death, about heaven and hell, past and present, dreams of the future, living nightmares and landscapes of the soul, of ethereal and eternal realms, of change and of endurance, of power and helplessness, of compassion and cruelty, of youth and old age, of folly and of wisdom, of comic book heroes and villains from myths, and about a Dream that dreams up dreams and moves through dreams, almost dreamlike oblivious about itself. "Stalin's Spy in Tokyo" (by Isabel Kreitz) is an episodic biographical and historical graphic novel about Richard Sorge, a German journalist at the German embassy in Japan during the time the Nazi regime had already gained its utmost power, Germany was officially still an ally of the Soviet Republic but secretly preparing for the larger part of its genocidal war against the Slavic, Russian and Jewish peoples in all of Europe; it is a story told in a naturalistic manner and nuanced in style, personal as well as political, and it shows the complexities of diplomacy and espionage, of personal ambition and international politics, the dilemma of navigating oneself through conscience and convictions, increasing desillusionment and old ideals, loyalties and sympathies, survival instinct and other urges, fears and hopes, regret and resignation, compliance and complicity, opportunity and opposition, about the difficulty of choosing between the lesser of two evils when faced with uncertainty, about the imminent personal danger of doing anything and the ethical and societal danger of doing nothing. "Town of Evening Calm, Country of Cherry Blossoms" (by Fumiyo Kōno) is a beautifully sad story about the last days and hours of Hiroshima before its nuclear holocaust perpetrated by the USA; it is history from the bottom in the best way imaginable. "Understanding Comics" (by Scott McCloud) is a non-fiction comic about comics; it tells the history of comics, it defines comics as an art-form, it showcases the structural elements a comic consists of, their basic narrative functions, it gives examples of their usage, and it gives a brief course in how to read and interpret a comic, as such it is a comprehensive exercise in analysing and synthesizing comics, providing readers with technical terms and tools and easy examples and asking them to delve deeper into the medium and come up with more orderly and rational explanations of their intuitive reading experience as well as a better appreciation of what makes this artform unique and appealing. "V for Vendetta" (by Alan Moore) is one the best revenge tales ever told, one of the most disconcerting dystopias ever put into comicbook form, one of the most engaging tales about manipulation by shock and awe, psychological torture and double-bind, political power by division and terror, the disconcerting appeal and authoritarian rule of fascism that has ever appeared in fiction; it takes the form of a placatively simple one-man-army anti-hero against a fascist state pulp story, but turns it into something more complex, an alternate contemporary history/sci-fi time-line against the backdrop of real-life political developments current at the time of its conception/publication: Reagonomics, Thatcherism, anti-union policies, economic recession, political unrest, international terrorism, the Cold War, threat of nuclear holocaust, the rise of British nationalism and fascist parties. "Violent Cases" (by Neil Gaiman) is a tall tale about a small person, a story about stories we tell ourselves and stories we tell others, and about how the line between them can blur; it is a surreal and fragmented, detailed and vague, almost nightmarish story about innocence lost, about horrific birthday parties and gleeful executions, about awesome and awful father figures, about inhibition and prohibition, about gangsters, starry nights and evil magicians, about storytelling itself. "Watchmen" (by Alan Moore) is a deconstruction of larger-than-life, super-powered comic-book heroes, their reactionary policies, and also of the paradigm of cold war game theory, which is not only the political backdrop to Watchmen's story-line but also a crucial plot element; it is also a cynical parable on the political U. S. doctrine of acting as a world police, and at the same time it is a meta-story about plotting a narrative - and a self-aware meta-comment on the artform of (not only superhero) comics at large, with a lot of (arche-)typical parallels in structure and style.

Justin Lokay right?

Dc has had way better crossovers. Infinite crisis. Final crisis. Blackest night. Brightest Day. Etc.

The thing is I don't like DC's character design.

@@scifirealism5943 tmnt

I recently read the entire Injustice omnibus and it was awesome from beginning to end. But Batman omnibus by Snyder is a good pick as well, it’s on my reading list

"Alpha" by Jens Harder. "Blankets" by Craig Thompson. "Fun Home" by Alison Bechdel. "Ghost World" by Daniel Clowes. "Jimmy Corrigan" by Chris Ware. "Julius Corentin Acquefacques" by Marc-Antoine Mathieu. "Persepolis" by Marjane Satrapi. "The Sandman" by Neil Gaiman. "Understanding Comics" by Scott McCloud. "Violent Cases" by Neil Gaiman.

The Long Halloween is also my favourite Batman story! But there is so much more to discover in comics, besides Batman, and also besides superhero comics at large! Here is 16 more of my all-time favorites - besides Jeph Loeb's "Batman: The Long Halloween"... "Alpha" (by Jens Harder) is about how the universe, our planet, and life on it came into being, up to the first humans; a sort of scientific comic - but also drawing a lot from human art, cultures and myths, for inspiration in illustrating it. "Berlin" (by Jason Lutes) is historical fiction but very well researched; a story of losing and finding oneself, of widening ones personal horizon and discovering a larger world, a story of a wide open society closing down on itself, a story of urban cultural richness and stifling individual poverty, a story of a cosmopolitan city, a story of economical, political and societal division, and a story of the rise of fascism. "Blankets" (by Craig Thompson) is brutal and dreamlike at the same time, blending naturalistic narration with magical realism and surrealistic imagery, autobiographically honest, emotionally intense, bleak and romantic; a coming of age story, a story of childhood abuse, of youthful confusion, of adolescent healing, and of mature creativity. "Fun Home" (by Alison Bechdel) is tragedy meets comedy, is sarcasm meets love, it has precise observation, dry wit and self-aware commentary; it's a coming of age story about a broken home, about emotional distance, about unspoken closeness, about family secrets, about finding (self-) acceptance and redemption through art. "Ghost World" (by Daniel Clowes) is alienating, askew, awkward, casual, confusing, cringey, disconcerting, distant, dorky; it is elliptical, episodic, earnest, and it is about puberty, estrangement, feeling out of place and out of time and out of synch with the world, and it is also eerily good at it. "Jimmy Corrigan" (by Chris Ware) is nothing less but The Great American Novel in nothing more but mainly postal stamp sized panels and episodic memories, be it told through stream of consciousness narration or postcard views of the Columbian world exhibition; it's a story about America, about modernity, about its dreams, and about its nightmares. (When it comes to "the great American novel", for me personally, it is a tie between this great graphic novel of episodic vignettes and Jeffrey Eugenides's "pure" novel "Middlesex", an epic family saga echoing ancient Greek mythology in modern literary form.) "Julius Corentin Acquefacques" (by Marc-Antoine Mathieu) is to comics what a silent black and white film is to movies: its concentrated essence; it is a trip, a revery and a revelation, a quest, and it is abstract, it is bold, it is minimalistic in form - but taken to maximal effects, as such it is claustrophobic, it is kafkaesque, it is scary and it is surreal, it is unique, it is dreamlike, it is existential, it is funny, it is self-aware, it challenges the reader to be overwhelmed, to be puzzled, to create, to empathize, to experience, to feel, to laugh, to marvel, to observe, to question, to revel, to think, to wonder... "Maus" (by Art Spiegelman) is as haunting as it is humane, it is as gruesome as it is hopeful, as bitter as it is sweet, it is as simple in style as it is complex in subject matter, it is as humble as it is great; it is a story of death and survival, of intergenerational trauma, of family ties, of estrangement and closeness. "Persepolis" (by Marjane Satrapi) is a story of a childhood in pre- & post-revolutionary Iran, a youth as a refugee in Austria, and an adolescence in France; it is a tale of distant and present memories, of family tales, of personal experience and of collective history, of hopes and dreams, of fears and of losses, of alienation, loneliness, depression and death, but also of finding hope in art and expression, in family heritage, in creative freedom, and in an open if not always welcoming society, but also a very sad and melancholy story of disenchantment and disillusionment, of oppression and war, of innocence lost, and of the cruelty of naivety and ignorance. "The Sandman" (by Neil Gaiman) is a disparate but coherent, all-encompassing and almost megalomaniac meta-mythology; it is a tale about the human condition, about destiny, desire, dream, delight/delirium, destruction, despair and death, about heaven and hell, past and present, dreams of the future, living nightmares and landscapes of the soul, of ethereal and eternal realms, of change and of endurance, of power and helplessness, of compassion and cruelty, of youth and old age, of folly and of wisdom, of comic book heroes and villains from myths, and about a Dream that dreams up dreams and moves through dreams, almost dreamlike oblivious about itself. "Stalin's Spy in Tokyo" (by Isabel Kreitz) is an episodic biographical and historical graphic novel about Richard Sorge, a German journalist at the German embassy in Japan during the time the Nazi regime had already gained its utmost power, Germany was officially still an ally of the Soviet Republic but secretly preparing for the larger part of its genocidal war against the Slavic, Russian and Jewish peoples in all of Europe; it is a story told in a naturalistic manner and nuanced in style, personal as well as political, and it shows the complexities of diplomacy and espionage, of personal ambition and international politics, the dilemma of navigating oneself through conscience and convictions, increasing desillusionment and old ideals, loyalties and sympathies, survival instinct and other urges, fears and hopes, regret and resignation, compliance and complicity, opportunity and opposition, about the difficulty of choosing between the lesser of two evils when faced with uncertainty, about the imminent personal danger of doing anything and the ethical and societal danger of doing nothing. "Town of Evening Calm, Country of Cherry Blossoms" (by Fumiyo Kōno) is a beautifully sad story about the last days and hours of Hiroshima before its nuclear holocaust perpetrated by the USA; it is history from the bottom in the best way imaginable. "Understanding Comics" (by Scott McCloud) is a non-fiction comic about comics; it tells the history of comics, it defines comics as an art-form, it showcases the structural elements a comic consists of, their basic narrative functions, it gives examples of their usage, and it gives a brief course in how to read and interpret a comic, as such it is a comprehensive exercise in analysing and synthesizing comics, providing readers with technical terms and tools and easy examples and asking them to delve deeper into the medium and come up with more orderly and rational explanations of their intuitive reading experience as well as a better appreciation of what makes this artform unique and appealing. "V for Vendetta" (by Alan Moore) is one the best revenge tales ever told, one of the most disconcerting dystopias ever put into comicbook form, one of the most engaging tales about manipulation by shock and awe, psychological torture and double-bind, political power by division and terror, the disconcerting appeal and authoritarian rule of fascism that has ever appeared in fiction; it takes the form of a placatively simple one-man-army anti-hero against a fascist state pulp story, but turns it into something more complex, an alternate contemporary history/sci-fi time-line against the backdrop of real-life political developments current at the time of its conception/publication: Reagonomics, Thatcherism, anti-union policies, economic recession, political unrest, international terrorism, the Cold War, threat of nuclear holocaust, the rise of British nationalism and fascist parties. "Violent Cases" (by Neil Gaiman) is a tall tale about a small person, a story about stories we tell ourselves and stories we tell others, and about how the line between them can blur; it is a surreal and fragmented, detailed and vague, almost nightmarish story about innocence lost, about horrific birthday parties and gleeful executions, about awesome and awful father figures, about inhibition and prohibition, about gangsters, starry nights and evil magicians, about storytelling itself. "Watchmen" (by Alan Moore) is a deconstruction of larger-than-life, super-powered comic-book heroes, their reactionary policies, and also of the paradigm of cold war game theory, which is not only the political backdrop to Watchmen's story-line but also a crucial plot element; it is also a cynical parable on the political U. S. doctrine of acting as a world police, and at the same time it is a meta-story about plotting a narrative - and a self-aware meta-comment on the artform of (not only superhero) comics at large, with a lot of (arche-)typical parallels in structure and style.

@@elevenseven-yq4vu I’ve read most of these and mostly read manga at this point. Thank you for the recommendations though.

Is haunted knight another story or a collection of LH and DV

@@skaterdude7277 it's an anthology of stories unrelated to TLH or DV. However Loeb and sale did a one shot last year called The Long Halloween Special that is related.

I always recommend Spawn.

My top 17 in alphabetical order: "Alpha" by Jens Harder: A science comic on the evolution of the universe up to the first humans; also drawing a lot of inspiration from human art, cultures and myths when it comes to the illustrations. "Batman: The Long Halloween" by Jeph Loeb: One of the more down to earth Batman comics, a true detective comic; with finest narration and clearest illustrations it is suitable for beginners and casual readers as well as afficinados and connoisseurs. "Berlin" by Jason Lutes: Historical fiction but very well researched; a story of life in the German capital city between the world wars, the social disparity, the political conflicts, the cosmopolitan culture of art and clubbing on the one hand, the sheer poverty and struggle for survival on the other hand, and the creepy, crawlingly closing down on itself of a society torn between political extremes. "Blankets" by Craig Thompson: Autobiographically honest, emotionally intense, bleak and romantic at the same time, stylistically between stark naturalism and surrealist metaphors of the protagonist's emotional state: A coming of age story about religious emotional abuse, a sexual and romantic awakening, and emancipation by art. "Fun Home" by Alison Bechdel: Tragedy meets comedy, precise observation meets dry wit and self-aware commentary, sarcasm is outweighed by love: A bittersweet coming of age story about family secrets and finding (self-) acceptance and redemption through art. "Ghost World" by Daniel Clowes: All the awkwardness, cringe, dorkiness, estrangement and weltschmerz of puberty - packed into small episodes, moods, vignettes; slices of life about feeling out of place, out of time, out of synch with the world. "Jimmy Corrigan" by Chris Ware: The Great American Novel in comic book form, nothing more and nothing less; told through stream of consciousness narration or by postcard views, mostly in tiny stamp-sized panels, but including great visions of the world; a story about Americana, the Columbian world exhibition, today's urban sprawl, personal memories across generations, historic visions of a future long gone ... about modernity, its dreams and nightmares. "Julius Corentin Acquefacques" by Marc-Antoine Mathieu: Experimental, surrealist, kafkaesque, trippy and unique; a daring exploration of the artform, visual storytelling that defies words and strict linear logic, and which is to comics what an abstract silent black & white film is to movies: its concentrated essence, bound to make you wonder. "Maus" by Art Spiegelman: A haunting and humane re-telling of the holocaust as a family history - but more than just that; a complex story of death and survival, of intergenerational trauma, of family ties, of estrangement and closeness, the lasting emotional and psychological impact on survivors' family relations and worldviews. "Persepolis" by Marjane Satrapi: A story of a childhood in pre- & post-revolutionary Iran, a youth as a refugee in Austria, and an adolescence in France; told in bold and stark, high contrast, black and white imagery - through distant and present memories, of family tales, of personal experience and of collective history, of hopes and dreams, of fears and of losses, of alienation, loneliness, depression and death, but also of finding hope in art and expression, in family heritage, in creative freedom, and in an open if not always welcoming society. "The Sandman" by Neil Gaiman: An all-encompassing meta-mythology, drawing from literature, ancient myths, medieval history, modern pop culture; it is a tale about the human condition, about destiny, desire, dream, delight/delirium, destruction, despair and death - also about heaven and hell, past and present, dreams of the future, living nightmares and landscapes of the soul, of ethereal and eternal realms, of change and of endurance, of power and helplessness, compassion and cruelty, youth and old age, folly and wisdom, comic book heroes and villains, real life people, and about a Dream that dreams up dreams and moves through dreams but is almost dreamlike oblivious about itself. "Stalin's Spy in Tokyo" by Isabel Kreitz: A historical graphic novel and part-time biography of Richard Sorge, a German journalist at the German embassy in Japan during the time the Nazi regime had already gained its utmost power, when Germany was officially still an ally of the Soviet Republic but already secretly preparing for the larger part of its genocidal war against the Slavic, Russian and Jewish peoples in all of Europe; it is naturalistic and nuanced in style, personal as well as political, and it shows the complexities of diplomacy and espionage, of personal ambition and international politics, the dilemma of having to choose the least of various evils whilst faced with political uncertainty and personal danger. "Town of Evening Calm, Country of Cherry Blossoms" by Fumiyo Kōno: A beautifully sad story about a simple life in Hiroshima at the eve of its nuclear holocaust perpetrated by the USA; a tale of history from the bottom in the best way imaginable. "Understanding Comics" by Scott McCloud: A non-fiction comic about comics, their history, their specific features as an art-form, their structural elements with their respective narrative functions, examples of their usage, and a brief course in how to read and interpret a comic; a great tool for analyzing comics, providing readers with technical terms and inviting them to delve deeper into the medium and by understanding its specifics and narrative techniques come to a new appreciation of what makes this artform unique and appealing. "V for Vendetta" by Alan Moore: One of the best revenge tales ever told, one of the most disconcerting dystopias ever put into comicbook form, one of the most engaging tales about manipulation by shock and awe, psychological torture and double-bind, political power by division and terror, the disconcerting appeal and authoritarian rule of fascism that has ever appeared in fiction; it takes the form of a placatively simple one-man-army anti-hero against a fascist state pulp story, but turns it into something more complex, an alternate contemporary history/sci-fi time-line against the backdrop of real-life political developments from the early 1980s. "Violent Cases" by Neil Gaiman: A tall tale about a small person, a story about stories we tell ourselves and stories we tell others, and about how the line between them can blur; it is a surreal and fragmented, detailed and vague, almost nightmarish story about innocence lost, about horrific birthday parties and gleeful executions, about awesome and awful father figures, about inhibition and prohibition, about gangsters, starry nights and evil magicians, about storytelling itself. "Watchmen" by Alan Moore: A deconstruction of super-powered comic-book hero mythology, of the paradigm of cold war game theory, of the narrative structures of comic books as an artform; also a cynical parable/satire on the U. S. political doctrine of acting as a world police - and also packed with loads of clockwork symbolism.

I enjoyed every page. I could not stop reading it. It was just, perfect.

@@AjIzIm it one of my all time favorites. Wish more tales in DC and Marvel were like The New Frontier its truly a classic.

@@mr.dccomics9018 all time classic!

I am fan of marvel if we talk about movies. But DC comics have always been the best yo

@@navtejvirsingh6307 Nope Marvel comics are way better tham dc comics Like x men,fantastic four,spiderman stories they are all better

Agree, companion omnibus has outstanding stories, Miller and co. at their best. But, those same "companion" stories are incredibly heightned but the backstory provided for by the 100+ or so issues that came before it. Both omnis complement each other. And let's not forget about the Elektra short stories that were spawned during that time. Damn, those were good times to be reading comics.

Born Again is one of the best arcs in comics of all time easily

I don't know about Yellow yet, but Loeb/Sale are a great Team. At DC, besides Long Halloween, For All Season is another masterpiece by them.

Bobby Gucci Yea it is, Spider-man Blue is another great one by them and Batman Dark Victory but Long Halloween is one of my favorite Batman books.

Lotsa

Always wanted to read that one.

It’s excellent

I own the book. It's good but isn't top ten material for me.

@@anthonysantos3366 Don't wait any longer, my friend. Go on eBay, and hunt yourself down a copy of this CLASSIC tale. There are some who actually call this the greatest Doctor Doom story of all-time.

Death of the Family is nowhere near a top 100 comic book let alone top 20. And that is coming from someone who thinks Scott Snyder is the best Batman writer and has two batman stories that I would put in top 15, The Court of Owls and The Black Mirror.

@@HarryK-ld2ed you have your rating tier criteria and I have mine. Snyder is also my favorite Batman writer. By creating the 2 most significant Batman enemies since Bane, The Court of Owls and The Batman Who Laughs, he has cemented himself as one of the most significant Batman writer in the history of the character.