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Tomorrow Stories #2
Tomorrow Stories, Vol. 2
TOMORROW STORIES BOOK TWO is an entertaining amalgam of pop culture satire and parody told against the backdrop of a world of super-heroes and vigilantes. Featuring a diverse cast of characters, this book combines crime stories with farce and scientific adventure to create an assortment of enthralling individual tales. A quick-paced escapade of literature, this volume includes stories of Greyshirt, the "gentleman sleuth," First American, the patriotic super-hero, Cobweb, the vigilante heiress, Splash Brannigan, the ink-stain adventurer, and Jack B. Quick, the mischievous boy genius.
160 pages, Hardcover
First published March 1, 2004
2 people are currently reading
154 people want to read
About the author
Alan Moore
1,580 books21.8k followersAlan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance art/spoken word pieces) with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.
As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.
As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.
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Displaying 1 - 21 of 21 reviews
June 15, 2017
REREAD: I'm gonna have to lower this a star. What's excellent about the series is still mostly excellent, but the mixed-bag-ness of the anthology format gets further compromised here. Splash Brannigan is brilliant, and when Cobweb is illustrated by its co-creator Melinda Gebbie, it's also pretty strong (for the creepy sex romp that it is). But Gebbie skips out on illustrating four of the six installments, with some putrid fill-ins by Dame Darcy, and some nice, but tonally-off work from Joyce Chin and Rick Veitch.
Veitch also does his requisite work on Greyshirt, the Eisner-inspired noir series that, it seems, doesn't really work unless the story in question is also playing with one of Eisner's visual/narrative tricks. Hence, the stories in which Greyshirt is a background character to a sketchy cabbie, or a murderer on the run, really shine. But when Moore just tries to tell a straightforward noirish, superheroish story with Greyshirt center stage, it's fine but not really in the pocket. Moore also seems really invested in Greyshirt's sex life over his crimefighting, which is something that a lot of the ABC line eventually ran afoul of.
Weird science humor series Jack B Quick is another solid entry from Tomorrow Stories, Vol. 1 that sort of runs off the rails, driven entirely by its own weirdness, which -- if it's possible -- just kind of eventually gets too weird. Jack is also only around for two installments here, so it may be that Moore and artist Kevin Nowlan just sort of lost the groove.
And lastly -- bleck -- is The First American, which is just fucking terrible. For a series that ran in all 12 installments of Tomorrow Stories, I never figured out what the hell this was about. F.A. is just sort of this bitter awful machismo pastiche that goes nowhere, too angry to be funny, too stupid to be worthwhile, and the art is mehhhh.
Still, I'm sad that there's not more of this series (or that the other random scatterings of issues in which these characters have appeared haven't been collected in the states). As I said in my review of the first volume, I think Tomorrow Stories holds up a lot better than much of the ABC line, with some flashes of the best, truly collaborative work that Moore has ever done.
--
5/15: Well that is just excellent.
Veitch also does his requisite work on Greyshirt, the Eisner-inspired noir series that, it seems, doesn't really work unless the story in question is also playing with one of Eisner's visual/narrative tricks. Hence, the stories in which Greyshirt is a background character to a sketchy cabbie, or a murderer on the run, really shine. But when Moore just tries to tell a straightforward noirish, superheroish story with Greyshirt center stage, it's fine but not really in the pocket. Moore also seems really invested in Greyshirt's sex life over his crimefighting, which is something that a lot of the ABC line eventually ran afoul of.
Weird science humor series Jack B Quick is another solid entry from Tomorrow Stories, Vol. 1 that sort of runs off the rails, driven entirely by its own weirdness, which -- if it's possible -- just kind of eventually gets too weird. Jack is also only around for two installments here, so it may be that Moore and artist Kevin Nowlan just sort of lost the groove.
And lastly -- bleck -- is The First American, which is just fucking terrible. For a series that ran in all 12 installments of Tomorrow Stories, I never figured out what the hell this was about. F.A. is just sort of this bitter awful machismo pastiche that goes nowhere, too angry to be funny, too stupid to be worthwhile, and the art is mehhhh.
Still, I'm sad that there's not more of this series (or that the other random scatterings of issues in which these characters have appeared haven't been collected in the states). As I said in my review of the first volume, I think Tomorrow Stories holds up a lot better than much of the ABC line, with some flashes of the best, truly collaborative work that Moore has ever done.
--
5/15: Well that is just excellent.
February 16, 2019
Moore deja de lado las complejidades, los mambos astrales y etc para demostrar que con la sencillez también se puede destacar. Mucho humor del bueno, de las lecturas mas disfrutables del inglés,,,
October 5, 2022
Good and silly fun with the keyword there being 'silly'. Alan Moore's "Tomorrow Stories" is always a bit of a mixed bag for me, but mostly enjoyable reads in this collection, although nothing that stands out as awesome or anything.
April 1, 2011
This is just fun, fun, fun. An animated ink-blot who wanders round the world with an impossibly curvaceous comic-book artist. A drunken, layabout, genetically engineered moron super-hero with his busty side-kick hand-picked from the adult entertainment industry. A crime-fighting masked avenger who seems to have read far too much Edgar Wallace. A very female superheroine who seems more interested in her costume and her lady assistant than in fighting crime. And a boy genius so terrifying that there are support-groups for those aliens unlucky enough to have encountered him.
So, in case you hadn't guessed this is a massive satire on comic-books. And everything else it can get its hands on. If you need cheering up, this is the way to do it.
So, in case you hadn't guessed this is a massive satire on comic-books. And everything else it can get its hands on. If you need cheering up, this is the way to do it.
July 30, 2023
I love Alan Moore. I know it's not possible, but I feel like he writes just for me. His work is fanciful, supernatural, twisted, naughty, biting and groundbreaking. And until now, I didn't know that Alan Moore could be funny.
Alan Moore's Tomorrow Stories are comprised of a rotating group of 5 different subject styles of pulp and classic comic book archetypes. Johnny B. Quick is a boy genius who lives in a small rural town. The Cobweb is the femme fatale who fights a lot of crime while wearing very little. Greyshirt is the costume vigilante who has turned from a life of crime after surviving a near catastrophe. First American and his alluring sidekick U.S. Angel are the stereotypical patriotic superhero duo. Lastly, Splash is your bizarro hero; a living blob of ink that navigates a world that is not his own. Different artists tackles these 5 subjects with Moore as the author of them all.
Tomorrow Stories are in my mind Alan Moore's MAD Magazine. Each story is satirical with those hidden jokes in the background. One story might find the protagonist exploiting the world of fine art with the next one skewering the music industry.
My favorite stories involve Johnny B. Quick. Johnny is really brilliant. But what he has in book smarts, he lacks in life experiences. The Quick family read like the ignorant family that Marty McFly encounters when he crashes into the barn way back in 1955. It's just a hilarious idea that I wish would have been expanded into a lengthy monthly solo series.
The First American stories were really naughty. I'm surprised Alan Moore got away with many of his dirty jokes. But these tales were really consistent across the board. The Splash stories were very funny. Yet, not every joke or gag connected. Though the Splash story from issue #7 'a Bigger Splash' should be a required addition if there ever is an essential Alan Moore compendium.
The Cobweb and Greyshirt segments were my least favorite. For the most part, Moore goes too experimental. The crossover between the two characters was great. As solo acts, not so enjoyable. One Cobweb story is done like a series of newspaper strips and the dialect spoken by some of the characters is just too annoying to attempt to decipher. With Greyshirt, Moore crafts a musical piece. I HATE comics where you have to imagine there's singing and music. I can't read music. I just don't get the tempo. So, maybe Alan Moore really doesn't write just for me...
Tomorrow Stories was limited to a 12-issue run with 2 over-sized specials. I'm just missing 3 issues and the specials for a complete collection of the tales. So I at least have more misadventures to look forward too. Plus, one of the issues I have is a Christmas extravaganza! (I really can't wait for that one!)
Alan Moore's Tomorrow Stories are comprised of a rotating group of 5 different subject styles of pulp and classic comic book archetypes. Johnny B. Quick is a boy genius who lives in a small rural town. The Cobweb is the femme fatale who fights a lot of crime while wearing very little. Greyshirt is the costume vigilante who has turned from a life of crime after surviving a near catastrophe. First American and his alluring sidekick U.S. Angel are the stereotypical patriotic superhero duo. Lastly, Splash is your bizarro hero; a living blob of ink that navigates a world that is not his own. Different artists tackles these 5 subjects with Moore as the author of them all.
Tomorrow Stories are in my mind Alan Moore's MAD Magazine. Each story is satirical with those hidden jokes in the background. One story might find the protagonist exploiting the world of fine art with the next one skewering the music industry.
My favorite stories involve Johnny B. Quick. Johnny is really brilliant. But what he has in book smarts, he lacks in life experiences. The Quick family read like the ignorant family that Marty McFly encounters when he crashes into the barn way back in 1955. It's just a hilarious idea that I wish would have been expanded into a lengthy monthly solo series.
The First American stories were really naughty. I'm surprised Alan Moore got away with many of his dirty jokes. But these tales were really consistent across the board. The Splash stories were very funny. Yet, not every joke or gag connected. Though the Splash story from issue #7 'a Bigger Splash' should be a required addition if there ever is an essential Alan Moore compendium.
The Cobweb and Greyshirt segments were my least favorite. For the most part, Moore goes too experimental. The crossover between the two characters was great. As solo acts, not so enjoyable. One Cobweb story is done like a series of newspaper strips and the dialect spoken by some of the characters is just too annoying to attempt to decipher. With Greyshirt, Moore crafts a musical piece. I HATE comics where you have to imagine there's singing and music. I can't read music. I just don't get the tempo. So, maybe Alan Moore really doesn't write just for me...
Tomorrow Stories was limited to a 12-issue run with 2 over-sized specials. I'm just missing 3 issues and the specials for a complete collection of the tales. So I at least have more misadventures to look forward too. Plus, one of the issues I have is a Christmas extravaganza! (I really can't wait for that one!)
May 29, 2019
Reading this, I could basically feel Alan Moore giving up on it. After a solid-if-not-earth-shattering first volume, Moore quickly jettisons most of the high-concept, pulpy ideas of the previous book in favor of a lot of very blunt, unfunny satire of the comics industry. Whereas volume one gave each individual lead character their own subgenre of storytelling, this one just kind of smashes them all together and makes every story feel very same-y in terms of tone and message.
I mean, Moore must have been really mad at comics around this time. That's one of the most disappointing problems with this. The previous book was positive and airy, lending it a joy that overcame some of its narrative problems. This book is angry.
Splash Brannigan, the newest hero to join the bunch, is just an outlet for Moore to shit on the things he seems to dislike most about comics, and each story, though attempting to be funny, just comes across as very bitter. He does the same thing with First American, who was formerly a great outlet of American/political satire, but now just seems to function as an idea toilet for more comic book industry hate. Greyshirt has a couple of sparks of brilliance here and there with its interesting takes on layouts and formatting, but not enough to pull this book out of the mud. And Jack B. Quick is barely present, and when Moore does write a Quick tale, it feels much more rushed and pun-heavy than the previous, smarter entires.
Also, I guess I finally understand what Moore is doing with Cobweb. He's apparently trying to deconstruct the over-sexualized female pulp heroine, while telling stories via pastiches of a myriad of media from the 1800s to the 2000s, as if to make a point about how over-sexualized women in fiction have always been. But... it doesn't work at all? Cobweb is over-sexualized. She's drawn consistently more voluptuously by different artists as the book wears on, and her stories become more and more blatantly about sex and innuendo. You can't simultaneously satirize something and be guilty of the thing you're satirizing. It negates any points you're supposedly making. This is one of the biggest problems with Tomorrow Stories in general: Moore often tries to subvert tropes, while simply retreading them on his own.
In all, I'd call this pretty disappointing. Over his career, Moore has shown how great he can be at short comic stories, and it felt like this was going to be a solid example of those. Unfortunately, this series kind of falls off a cliff.
I mean, Moore must have been really mad at comics around this time. That's one of the most disappointing problems with this. The previous book was positive and airy, lending it a joy that overcame some of its narrative problems. This book is angry.
Splash Brannigan, the newest hero to join the bunch, is just an outlet for Moore to shit on the things he seems to dislike most about comics, and each story, though attempting to be funny, just comes across as very bitter. He does the same thing with First American, who was formerly a great outlet of American/political satire, but now just seems to function as an idea toilet for more comic book industry hate. Greyshirt has a couple of sparks of brilliance here and there with its interesting takes on layouts and formatting, but not enough to pull this book out of the mud. And Jack B. Quick is barely present, and when Moore does write a Quick tale, it feels much more rushed and pun-heavy than the previous, smarter entires.
Also, I guess I finally understand what Moore is doing with Cobweb. He's apparently trying to deconstruct the over-sexualized female pulp heroine, while telling stories via pastiches of a myriad of media from the 1800s to the 2000s, as if to make a point about how over-sexualized women in fiction have always been. But... it doesn't work at all? Cobweb is over-sexualized. She's drawn consistently more voluptuously by different artists as the book wears on, and her stories become more and more blatantly about sex and innuendo. You can't simultaneously satirize something and be guilty of the thing you're satirizing. It negates any points you're supposedly making. This is one of the biggest problems with Tomorrow Stories in general: Moore often tries to subvert tropes, while simply retreading them on his own.
In all, I'd call this pretty disappointing. Over his career, Moore has shown how great he can be at short comic stories, and it felt like this was going to be a solid example of those. Unfortunately, this series kind of falls off a cliff.
April 21, 2023
A bit of a mixed bag. I usually love everything by Alan Moore but, like many good writers, he fancies he is better at writing comedy than he actually is. And this book is supposed to be funny. And it really isn't.
The worst ones are First American and Cobweb. First American gives me a Mad Magazine vibe but - as I said - the jokes don't land but at least the art is great. Cobweb - I don't know what that is supposed to be but the art is horrendous and maybe it was supposed to have a Playboy cartoon feel but it just came off as creepy.
Johnny B. Quick with Kevin Nowlan's art is the one that worked best for me. The gags were a little better and the art is so good I can forgive it when the joke goes on too long. Also Splash Brannigan was cute - a Plastic Man vibe that works for the most part. Greyshirt was the odd standout. It seemed to be a Shadow or Spirit spoof but it played it pretty straight. It was good but didn't fit in with the tone of the other pieces.
Overall, one of the few pieces of earlier Alan Moore's work I didn't love. Although it had its moments. Providence is still far and away at top of the list for "did not like it".
The worst ones are First American and Cobweb. First American gives me a Mad Magazine vibe but - as I said - the jokes don't land but at least the art is great. Cobweb - I don't know what that is supposed to be but the art is horrendous and maybe it was supposed to have a Playboy cartoon feel but it just came off as creepy.
Johnny B. Quick with Kevin Nowlan's art is the one that worked best for me. The gags were a little better and the art is so good I can forgive it when the joke goes on too long. Also Splash Brannigan was cute - a Plastic Man vibe that works for the most part. Greyshirt was the odd standout. It seemed to be a Shadow or Spirit spoof but it played it pretty straight. It was good but didn't fit in with the tone of the other pieces.
Overall, one of the few pieces of earlier Alan Moore's work I didn't love. Although it had its moments. Providence is still far and away at top of the list for "did not like it".
October 4, 2021
A lot of the stories and characters seem to run out of steam, First American and Cobweb especially which is a shame. I guess Jack B Quick doesn't since he's only in two issues. Greyshirt has some cool chapters as usual but they don't feel as deep as in the earlier issues. Splash Brannigan is a fun enough character and where First American is mocking comics and society themselves Splash is more poking fun at the industry. Melinda Gebbie leaving Cobweb is a bummer because no other artists bring her sense of style and unique changes in art techniques. The last issue with a Greyshirt and Cobweb crossover was cool but really didn't take advantage of the two different characters. Also I feel like it raised more questions about Cobweb's lore than it answered.
Overall I think Moore was still having fun with this series and putting lots of thought into it. Many stories feel like total memes while others are straight up heartfelt and genius on a technical level.
Overall I think Moore was still having fun with this series and putting lots of thought into it. Many stories feel like total memes while others are straight up heartfelt and genius on a technical level.
September 29, 2014
Reseña de Miguel Negrillo para Cabronos Extraños:
http://cabronos.blogspot.com.ar/2010/...
Segundo tomo (de tres) de esta colección de America's Best Comics en la que Alan Moore se dedica a escribir cuatro relatos breves por capítulo que van contando las aventuras de cinco personajes distintos unos de otros pero que, según hemos podido comprobar en este volumen, conviven todos ellos en el mismo universo (junto a Promethea o Tom Strong, por ejemplo).
Lo cierto es que el primer tomo me sorprendió en cuanto a que era algo que no me esperaba en absoluto. "Tomorrow Stories" forma parte de ese tipo de obras que lanza Alan Moore con diversos dibujantes y que llevan su inconfundible sello. Cada uno de los cinco personajes que protagonizan las cortas historietas que nos ofrece el escritor inglés cumple con los clichés habituales de los personajes de Moore. Por tanto, se hace requisito imprescindible que seas fan del autor para que puedas apreciar esta colección de tres tomos al cien por cien. De todas formas, yo lo soy y la sensación que me ha quedado una vez terminado este "Tomorrow Stories vol.2" ha sido la de una profunda decepción. En vez de ir un paso más allá en su idea, lo único que hace es repetir lo que ya nos ha mostrado, pero haciéndolo más intimista si cabe.
Norma Editorial le da una edición de auténtico lujo, disfrazando "Tomorrow Stories" como una obra, incluso una continuación, de la genial "Promethea" o del no menos bueno "Tom Strong", pero en realidad estamos ante un batiburrillo de historias que se va sacando Alan Moore de la manga, sin conexión alguna entre ellas, con muchos guiños al panorama contemporáneo de la industria del cómic (no obstante, todos los personajes del británico en este cómic son parodias de otros personajes mucho más conocidos). Quedémonos con eso, que es una parodia, pero envuelta en ese humor inglés retorcido y sin chispa, lejos de las bien construidas obras de referencia de Alan Moore. Entretenido es lo mejor que se puede decir, y eso no es bueno cuando nos hemos gastado un dineral en un tomo de una edición tan cuidada como la que tenemos entre manos y el contenido no ha acompañado en absoluto a las espectativas del lector.
De las cinco miniseries que se alternan y avanzan en paralelo en el tomo, las hay mejores y peores. Por un lado tenemos "Greyshirt", el cual parodia al "The Spirit" de Will Eisner, dibujado por Rick Veitch, el cual siempre es una lectura de lo más amena. Evidentemente, no alcanza las cotas que pudimos ver en el tomo anterior, aunque su primera historia, sobre un taxista que casi lo remata de un atropello sí que me ha gustado. Tampoco hay que olvidarse de las historias de Jack B. Quick, el niño superdotado que vive en un pueblo en Estados Unidos. dibujado por Kevin Nowlan, y que se dedica a jugar con la realidad mediante sus inventos. El "niño inventor" tarda en hacer acto de presencia en el tomo, pues ya en el último capítulo del anterior volumen se nos adelantaba que tendría un tiempo de descanso, pero sigue en la misma línea a la que nos tenía acostumbrados. De hecho, creo que es el único que no baja el listón, por lo que siempre se agradece cuando vemos aparecer al niño rubio por las páginas del cómic (mención especial merece su historia acerca de su amigo viajando por los pueblos de alrededor, empezando por La Pubertad).
Luego, tenemos "The Cobweb", dibujada por Melinda Gebbie, la que ya es esposa de Alan Moore y coautora de "Lost Girls". "The Cobweb" continúa protagonizando historias extrañísimas explotando el tema de la sexualidad en cada ocasión. Parece un adelanto de lo que nos encontraríamos años más tarde en "Lost Girls", pero en el género de los superhéroes (o tecnihéroes, como es el caso de estos personajes de "Tomorrow Stories"), y sin la explicitud con la que se muestran las escenas sexuales en la segunda obra de Melinda Gebbie junto a Alan Moore. Lo cierto es que en todo el tomo se me ha hecho cuesta arriba el leer las aventuras de Cobweb, pues no tienen ni pies, ni cabeza ni, en mi opinión, interés alguno. Al final, tenemos un crossover entre Cobweb y Greyshirt, lo más salvable del personaje femenino en este segundo tomo. Por otro lado tenemos "The First American and U.S.Angel", dibujado por Jim Baikie que, si bien se deja leer un poco mejor que "The Cobweb", y deja bien clara la intención del autor de parodiar los clichés de los superhéroes actuales (como el Capitán América o Batman), sigue siendo el mismo desvarío que en el tomo anterior, pero acrecentado con el hecho de que ya no es un personaje nuevo, sino una burda cómica sin gracia. Moore es un especialista exagerando algunos aspectos de los personajes convencionales, pero esta parte del tomo va perdiendo fuelle a medida que lo vas conociendo.
Al margen de todos tenemos a la última incorporación del primer tomo, "Splash Brannigan", dibujado por Hilary Barta, que viene a ser una especie de tira cómica en formato comic-book protagonizada por una especie de "genio de tinta negra" y que hace una crítica más o menos velada al mundillo comiquero. Tiene su gracia, sobre todo porque es un tema poco tratado, y más últimamente, que ya nos hemos alejado de aquella crisis de los noventa, en todos los sentidos. "Splash Brannigan" evoluciona tal y como lo hace "Tomorrow Stories", pero de un modo más acuciante, de más a menos. El ser de tinta lo hace en un sólo tomo, la colección, en dos.
Miedo me da cuando tenga que embarcarme en el tercero, si la cosa sigue decayendo (salvo por las excepcines de "Greyshirt" y "Jack B. Quick"), tiene pinta de que vaya a ser una lectura bastante decepcionante. De momento, no puedo recomendar esta colección de Moore.
5.5/10
(A medio camino entre Aceptable y 'Tá bien)
http://cabronos.blogspot.com.ar/2010/...
Segundo tomo (de tres) de esta colección de America's Best Comics en la que Alan Moore se dedica a escribir cuatro relatos breves por capítulo que van contando las aventuras de cinco personajes distintos unos de otros pero que, según hemos podido comprobar en este volumen, conviven todos ellos en el mismo universo (junto a Promethea o Tom Strong, por ejemplo).
Lo cierto es que el primer tomo me sorprendió en cuanto a que era algo que no me esperaba en absoluto. "Tomorrow Stories" forma parte de ese tipo de obras que lanza Alan Moore con diversos dibujantes y que llevan su inconfundible sello. Cada uno de los cinco personajes que protagonizan las cortas historietas que nos ofrece el escritor inglés cumple con los clichés habituales de los personajes de Moore. Por tanto, se hace requisito imprescindible que seas fan del autor para que puedas apreciar esta colección de tres tomos al cien por cien. De todas formas, yo lo soy y la sensación que me ha quedado una vez terminado este "Tomorrow Stories vol.2" ha sido la de una profunda decepción. En vez de ir un paso más allá en su idea, lo único que hace es repetir lo que ya nos ha mostrado, pero haciéndolo más intimista si cabe.
Norma Editorial le da una edición de auténtico lujo, disfrazando "Tomorrow Stories" como una obra, incluso una continuación, de la genial "Promethea" o del no menos bueno "Tom Strong", pero en realidad estamos ante un batiburrillo de historias que se va sacando Alan Moore de la manga, sin conexión alguna entre ellas, con muchos guiños al panorama contemporáneo de la industria del cómic (no obstante, todos los personajes del británico en este cómic son parodias de otros personajes mucho más conocidos). Quedémonos con eso, que es una parodia, pero envuelta en ese humor inglés retorcido y sin chispa, lejos de las bien construidas obras de referencia de Alan Moore. Entretenido es lo mejor que se puede decir, y eso no es bueno cuando nos hemos gastado un dineral en un tomo de una edición tan cuidada como la que tenemos entre manos y el contenido no ha acompañado en absoluto a las espectativas del lector.
De las cinco miniseries que se alternan y avanzan en paralelo en el tomo, las hay mejores y peores. Por un lado tenemos "Greyshirt", el cual parodia al "The Spirit" de Will Eisner, dibujado por Rick Veitch, el cual siempre es una lectura de lo más amena. Evidentemente, no alcanza las cotas que pudimos ver en el tomo anterior, aunque su primera historia, sobre un taxista que casi lo remata de un atropello sí que me ha gustado. Tampoco hay que olvidarse de las historias de Jack B. Quick, el niño superdotado que vive en un pueblo en Estados Unidos. dibujado por Kevin Nowlan, y que se dedica a jugar con la realidad mediante sus inventos. El "niño inventor" tarda en hacer acto de presencia en el tomo, pues ya en el último capítulo del anterior volumen se nos adelantaba que tendría un tiempo de descanso, pero sigue en la misma línea a la que nos tenía acostumbrados. De hecho, creo que es el único que no baja el listón, por lo que siempre se agradece cuando vemos aparecer al niño rubio por las páginas del cómic (mención especial merece su historia acerca de su amigo viajando por los pueblos de alrededor, empezando por La Pubertad).
Luego, tenemos "The Cobweb", dibujada por Melinda Gebbie, la que ya es esposa de Alan Moore y coautora de "Lost Girls". "The Cobweb" continúa protagonizando historias extrañísimas explotando el tema de la sexualidad en cada ocasión. Parece un adelanto de lo que nos encontraríamos años más tarde en "Lost Girls", pero en el género de los superhéroes (o tecnihéroes, como es el caso de estos personajes de "Tomorrow Stories"), y sin la explicitud con la que se muestran las escenas sexuales en la segunda obra de Melinda Gebbie junto a Alan Moore. Lo cierto es que en todo el tomo se me ha hecho cuesta arriba el leer las aventuras de Cobweb, pues no tienen ni pies, ni cabeza ni, en mi opinión, interés alguno. Al final, tenemos un crossover entre Cobweb y Greyshirt, lo más salvable del personaje femenino en este segundo tomo. Por otro lado tenemos "The First American and U.S.Angel", dibujado por Jim Baikie que, si bien se deja leer un poco mejor que "The Cobweb", y deja bien clara la intención del autor de parodiar los clichés de los superhéroes actuales (como el Capitán América o Batman), sigue siendo el mismo desvarío que en el tomo anterior, pero acrecentado con el hecho de que ya no es un personaje nuevo, sino una burda cómica sin gracia. Moore es un especialista exagerando algunos aspectos de los personajes convencionales, pero esta parte del tomo va perdiendo fuelle a medida que lo vas conociendo.
Al margen de todos tenemos a la última incorporación del primer tomo, "Splash Brannigan", dibujado por Hilary Barta, que viene a ser una especie de tira cómica en formato comic-book protagonizada por una especie de "genio de tinta negra" y que hace una crítica más o menos velada al mundillo comiquero. Tiene su gracia, sobre todo porque es un tema poco tratado, y más últimamente, que ya nos hemos alejado de aquella crisis de los noventa, en todos los sentidos. "Splash Brannigan" evoluciona tal y como lo hace "Tomorrow Stories", pero de un modo más acuciante, de más a menos. El ser de tinta lo hace en un sólo tomo, la colección, en dos.
Miedo me da cuando tenga que embarcarme en el tercero, si la cosa sigue decayendo (salvo por las excepcines de "Greyshirt" y "Jack B. Quick"), tiene pinta de que vaya a ser una lectura bastante decepcionante. De momento, no puedo recomendar esta colección de Moore.
5.5/10
(A medio camino entre Aceptable y 'Tá bien)
February 13, 2020
Really liked a lot of these stories, even if they were mostly Cheesy.
Artwork is great too
Artwork is great too
October 6, 2022
Más historias del Mañana con dejos del Ayer.
September 16, 2025
once again, the Jack B. Quick and Greyshirt stories are amazing and the rest is just tiring and dull
August 21, 2023
Full of good ideas, and Moore just playing with format and tropes, but like most anthologies, all over the place.
Jack B. Quick: the stand out series. A glorious, twisted take on classic kid books.
Greyshirt: one of the better Will Eisner "homages", but a little too interested in playing with formats, over telling a good story.
Cobweb: lots of sapphic cheesecake and a story occasionally shows up. Not a bad thing, but pretty forgettable.
Splash Brannigan: cute take on golden age Plastic man, offers nothing past decent cartoony art, a few sex jokes and making fun of the comic industry.
First American: mean spirited and unfunny.
Jack B. Quick: the stand out series. A glorious, twisted take on classic kid books.
Greyshirt: one of the better Will Eisner "homages", but a little too interested in playing with formats, over telling a good story.
Cobweb: lots of sapphic cheesecake and a story occasionally shows up. Not a bad thing, but pretty forgettable.
Splash Brannigan: cute take on golden age Plastic man, offers nothing past decent cartoony art, a few sex jokes and making fun of the comic industry.
First American: mean spirited and unfunny.
December 20, 2012
So I did quite enjoy the first collection of Tomorrow Stories but I just can't get into this one. I've been reading a story here and there for months and I need to realise I just can't bring myself to care enough to finish it. It's due back at the library and I can't renew it any more times. I did quite enjoy some of the stories but after awhile it just got too repeitive and reading it felt like a chore. As much as I love Alan Moore I just couldn't get into this.
November 30, 2014
Hit, but mainly miss...
I really like liked the "Jack B Quick Stories" and "First American", but the rest were not great. Splash Brannigan I ended up skipping most of and "The Cob Web went down hill quickly after Melinda Gebbie stopped drawing/ co-creating. "The Grey Shirt" is neither here nor there.
Rather than buy more of this I will hold out for Jack B Quick and First American omnibuses.
I really like liked the "Jack B Quick Stories" and "First American", but the rest were not great. Splash Brannigan I ended up skipping most of and "The Cob Web went down hill quickly after Melinda Gebbie stopped drawing/ co-creating. "The Grey Shirt" is neither here nor there.
Rather than buy more of this I will hold out for Jack B Quick and First American omnibuses.
January 2, 2014
Hasta ahora, el tomo de ABC que menos me gustó de todas las series que leí. Quizás porque las historias contenidas en este tomo son en promedio entretenidas y pasatistas pero lejos de las genialidades que le vemos hacer a Moore todo el tiempo en otras series. Esperemos que para el tomo 3, que tiene los especiales, repunte un poco.
August 10, 2016
This whole book is super-gross. It really, really, really likes to objectify and sexualize women. And then it turns to the reader and says, "Ah, comicbooks and power fantasies. They're pretty gross sometimes, right?"
But it doesn't work. This is isn't satirizing the commodification of women (and their bodies). It's revelling in it and then laughing at us for caring about the problem.
But it doesn't work. This is isn't satirizing the commodification of women (and their bodies). It's revelling in it and then laughing at us for caring about the problem.
December 20, 2015
Revisiting this book, I'm surprised by how little of it works for me. Greyshirt is about the only strip that I think is interesting; the others tend to be one idea strips repeated again and again, and much too on the nose.
April 2, 2007
Didn't like the art, and the characters are too much like pastiches of classic comic characters.
July 27, 2016
komik bngst! X))))
May 24, 2018
Segundo volumen de historias cortas del Universo ABC.
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