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  • Author's Saving Throw: Seemingly in response to the criticisms towards Century's Anglocentric setting (as described in They Wasted a Perfectly Good Plot and Creator Provincialism), press releases for The Tempest promised expansion of the story's setting to America.
  • Base-Breaking Character: Orlando is this. To some readers, he/she is a Blood Knight who is Living Forever Is Awesome personified. To others, he/she's a Creator's Pet and a one-note Camp Gay.
  • Broken Base:
    • There's a question of whether Moore's really Truer to the Text than most other adaptations, or whether he's really just pushing for the darkest possible depictions for his private enjoyment. Particular sore spots include: Mina Murray being a divorced woman when she was Happily Married to Jonathan Harker in the original novel, Allan Quatermain becoming far worse of a hero and more of a louse than anything in the actual books, Captain Nemo working for the empire he spent his first book bad mouthing and wanting dead, Mr. Hyde raping the Invisible Man, James Bond as an incompetent misogynist psychopathic traitor instead of being a loyal, competent Professional Killer, and Harry Potter as a whiny, self-pitying, school-shooting chav strung out on anti-depressants who becomes the Antichrist, which is pretty far off from his actual character etc. The divisiveness isn't helped by the fact that Moore is evidentially easily angered by how adaptations of his work alter his characters, which, given the above examples, makes this look pretty hypocritical. Not helping the debate is that, rather than evoking the spirit of the original works for a new audience or deconstructing the original works for new meanings, some of Moore's attempts at Reality Ensues, such as Mina's scars, can retroactively cause massive plotholes if assumed to be true in the source material.
    • The Century trilogy is very divisive amongst readers, with some hailing it for its more experimental qualities, well-done characterization, and the many Awesome Moments that occur. Others slam due it due to Moore's attitude towards virtually all modern culture, the indulgence in thematic antiquarianism in a series that had once critiqued that kind of thinking, Orlando, a two-note character who seemingly exists only to provide Author Appeal and his mean-spirited treatment of modern franchise characters.
    • There's also the question of Moore's stance art had higher expectations in the Victorian era is accurate for simply invented by Academia via Death of the Author. Given that there are examples of many of things Moore decries about in modern fiction (Long Runner series, sequels written for money, fiction written with no other intent than entertainment) in these older periods that were buried to prop up the works people on the curriculum prefered. There is also the times the authors had been trolling creators, in feuds with academics and questioning to their own thoughts as they got older. This may be an example of Moore choosing to optimistic about academic ideals given his history as a social anarchist. But for people on the other side this comes off as Moore championing one of the biggest obstacles to wider literary equality. There is also the contention the way Academia treats literature has been a major cause of many of the works even featured in the League to be far less read than a few generations ago.
    • How feminist is the character of Alan Moore's Mina Murray? This interview shows the thought process behind his decision to include her in his cast and doesn't exactly paint a good picture. Moore says that he wrote Mina into the series because they needed "a woman," and Irene Adler (whose name he apparently can't remember during the interview; he refers to her as "some genius woman in Sherlock Holmes") was "too obscure." He then says that Mina "dropped Jonathan" (whom he calls a "milk sop"), became a Suffragette, had romantic feelings for Dracula and felt guilty for his death, and that she and Quatermain are "obviously" getting intimately involved. Defenders say that Moore's Mina is a strong female character and an active and important member of the cast—a veritable badass—while detractors say that the implication that Moore sees Mina being his token badass female character as incompatible with her being a loving wife in a mutually supportive romantic relationship with Jonathan is very uncomfortable, and that Moore revealed his true (distinctly non-feminist) feelings towards the matter in the very fact that he had to Retcon Mina's and Jonathan's canonically mutually devoted relationship to make Mina into the character he wanted and, further, by the fact that he claims that his version of Mina had romantic feelings for Dracula, her book-canon rapist-coded assaulter who imprisoned and tortured her husband and murdered her best friend, to the point where she regretted helping her husband and their friends kill him (which, in the book, they did mostly to save Mina and she was arguably their leader in this endeavor). All of this is, to use an overused phrase, extremely problematic.
  • Canon Defilement: When you portray Harry Potter as committing the magical equivalent of a school shooting, you are not going to earn brownie points with the people who like the original work.
  • Clueless Aesop:
    • In Century: 2009 and Tempest, Alan Moore critiques twenty-first century popular culture and fiction as being decadent, hollow and inferior when compared to the culture and fiction of previous generations. Which is all very well and good, but many reviewers and critics (such as several members of the discussion here) pointed out that it's pretty clear that Alan Moore also has little to no idea or interest in what's actually going on in 21st-century popular culture and fiction. Moore himself has been vocal about his lack of engagement with a lot of central elements of modern popular culture (such as the Internet and contemporary cinema); accordingly, unlike previous volumes of the series, there are few direct references to contemporary culture and fiction, and many of those that are present are inaccurate, questionable or still somewhat outdated (as in hailing from or being more relevant to the 1990s or early 2000s than the 2010s). This means that for many readers the work is less of the searing indictment of contemporary fiction and culture it was intended to be, and more of Alan Moore coming off as a bit of a Grumpy Old Man complaining about things he doesn't really understand or care about.
    • The Tempest also features tirades bitching about modern popularity of superheroes, whom Moore accuses of being a plague on the human psyche, promoting fascism and at one point even compares them to the Ku Klax Klan. It gets worse when you realize that, not only is this irrelevant to the main plot of the comic, but we never actually see any superheroes being a detriment of any sort to human society. Furthermore, the superheroes who happen to be supporting characters use their abilities to help the heroes abandon Earth during the apocalypse and make all their new allies immortal, and no ethical qualms of any sort are made.
  • Complete Monster:
    • Hawley Griffin, aka The Invisible Man, is a cowardly and even more depraved incarnation of the literary character. Recruited by England, Griffin has been using his powers to sexually assault the students at an all-girls boarding school, having impregnated three and caught in the midst of trying to force himself on a fourth. Joining the team out of a promise for payment and pardon for his crimes, Griffin continues to prove his despicableness by beating an innocent constable to death at one point to steal his clothes and abandoning his team to die at another. When the Martians arrive to destroy the Earth, Griffin happily sells out his race so he can rule alongside the invaders, giving away the locations of human artillery positions and the hiding places of his own teammates.
    • "Jimmy" Bond is a ruthless thug and Serial Rapist who refuses to take no for an answer, introduced trying to seduce and then rape a disguised Mina Murray. Jimmy is revealed to be a traitor who murdered industrialist Knight and later kills Knight's best friend, Bulldog Drummond, before making it clear he plans to seduce Knight's daughter Emma in her grief. Later becoming "M" in his old age, Jimmy has friends of Mina's tortured and killed to obtain access to the pool of Ker and immortality, murdering his handler as a young man and murdering and torturing his way to get to his foes. Jimmy even fires nukes at micro-nations, trying to obliterate the Blazing World and the mystical races there before trying to sneak aboard the League's ship to murder Emma one final time.
  • Creator's Pet: Orlando is regarded as some as this in the Century trilogy. Worth noting though the character is a Base-Breaking Character who divides opinion.
  • Designated Hero: In The Tempest, we're clearly meant to support Emma in her plan to get revenge on "Jimmy" by murdering him. However, she doesn't even try to get her own hands dirty, and instead emotionally blackmails Jason King into being her assassin while she safely watches from a distance. Then when the apocalypse happens, all the story's "good guys" don't even make the slightest effort to save humanity, choosing instead to abandon Earth.
  • Designated Villain: In The Tempest, the rejuvenated "Jimmy" is a bloodthirsty sadist who fires a nuke at the Blazing World and plans to do the same to other magical realms seemingly just For the Evulz. However, since creatures from these realms are ultimately released by Prospero onto humanity and turn Earth into a Crapsack World, it could be argued that "Jimmy" was trying to save humanity from this apocalypse.
  • Ensemble Dark Horse: Whenever the Doctor appears, or is referenced, fans tend to make a big deal of it. This is to be expected, given how he's a classic British pop culture hero no matter how brief his appearances are.
  • Evil Is Cool: As of The Tempest, a lot of fans who disliked his earlier portrayal admit that "Jimmy", the parody James Bond makes for a pretty awesome Bond villain than he is as a deconstructive take on Bond.
    • For all the character complaints here Moore gave Fantômas a moment true to form where he only needs to utter two words as he tries to murder his enemies and possibly team mates, "I win."
  • Evil Is Sexy: Ayesha, Queen of Kor and the main antagonist of the Nemo spinoff.
  • Fanfic Fuel: This is a universe where every piece of fiction to ever be published exists alongside each other and are connected in some way. Go nuts.
  • Franchise Original Sin:
    • Alan Moore always tried to sell the series on the strength of its central Massively Multiplayer Crossover, with an intricate universe that showed dozens of classic works of literature weaved together into a cohesive whole. In that regard, one element that got some buzz was his use of Broad Strokes to develop once-bland cyphers into interesting characters in their own right. In the first volume, these two elements perfectly complemented and spiced up a genuinely interesting adventure story. However, by the time of Black Dossier and especially Century, they had become a major weakness. For the former, many scenes ended up being devoted to showing off Moore's education instead of advancing the plot, leaving a whole lot of interesting names scattered through a slow and boring narrative. As the series advanced into modern times, Moore also ran out of Public Domain Characters, forcing him to do a whole lot of obvious Writing Around Trademarks. For the latter, Moore attempted to apply his broad-strokes reinvention technique to characters who were far more well-known and fleshed-out to readers than the likes of Allan Quatermain (most infamously James Bond and Harry Potter), leaving the impression that Moore either hadn't done any research or was trying to fulfill some kind of vendetta. Other times, he botched the reinvention; one of his most ambitious creations, Orlando, earned a reputation as a Creator's Pet, and the general opinion of the Golliwog is that he was best left forgotten.
    • Moore has used the series as a means of performing mean-spirited hatchet jobs on characters he doesn't like since the beginning. The very first volume featured Griffin literally raping Becky Randall (including a rather insulting and out-of-character depiction of her as a stereotypical "dumb American") and attempting to rape Pollyanna Whittier (whose lack of obvious trauma over the incident is Played for Laughs). This never stopped along the way with the treatments of Harry Potter and James Bond getting hatchet jobs of their worst traits Taken Up To Eleven. Oliver Haddo presented as a failure in his plan for new Aeon. Greyfriars and Cliff House schools being indoctrination centers for spies and villains. Tom Swift and the Edisonade kids as completely financial motivated monsters. Then Moore pretty much tossed the Marvel and DC Universes of characters into a nursing home being kept alive just for corporations to make money and indicating that all of their heroic adventures were simply propaganda to begin with.
  • Genius Bonus: If you got every single reference in this series without help... you need to make a lot more pages here at TV Tropes.
  • He Panned It, Now He Sucks!: A big part of the reaction towards Century: 2009 comes from the fact that a big part of the last leg of the story boiled down to a mean-spirited hatchet-job directed at Harry Potter. Whether fans' reactions were just this trope in action, or whether it was legitimately poorly-done and damaged the work from a literary standpoint is up for debate.
  • Harsher in Hindsight:
    • In Century: 2009, Judi Dench's M from the James Bond films, who in this universe is Emma Peel, is made immortal. A few months later, she was killed off in Skyfall.
    • The Invisible Man being a sociopath and being more evil then his source material became a lot harsh by the time of The Invisible Man (2020)
  • Hilarious in Hindsight
    • Moore's Grand Finale for Century: 2009 involves an epic face-off between Harry Potter and Mary Poppins. Just a few months after he wrote that scene (and almost exactly a month after the comic hit the stands) a battle between Voldemort and a swarm of Mary Poppinses turned out to be part of the Opening Ceremony of the 2012 Olympic Games.
    • Among many other tidbits, Century: 2009 manages to tie James Bond and The Avengers (1960s) together into one universe with the revelation that Judi Dench's M in the later Bond films is actually an aging Emma Peel. Though we never get to find out M's true identity in the films, Skyfall actually did turn out to include a brief moment where Kincade, Bond's old groundskeeper, addresses her as "Emma" (presumably because he misheard "M" as "Em").
    • Century: 2009 includes a brief cameo from "seasoned fixer Malcolm Tucker" on a television screen, in the same issue that includes several background cameos from The Doctor. Fast-forward to 2013: Malcolm Tucker is now the Twelfth Doctor.
    • A 2005 episode of Extras featuring Daniel Radcliffe mercilessly hitting on Dame Diana Rigg suddenly became Hilarious in Hindsight when ' featured Emma Peel leading the fight to take down a deranged Harry Potter. Maybe she wanted revenge on him for flinging that condom at her head?
    • The final scene of Century: 2009 (and the end of the comic, at least until Tempest) is of Quatermain's grave in Africa, just like the movie.
    • Similarly, though the movie had "the Fantom" (a villain loosely based on Erik from The Phantom of the Opera and Fantomas) the comics did finally incorporate Phantom of the Opera into the plot of The Black Dossier. According to one of the supplementary stories, the League had their final face-off with France's "Les Hommes Mystérieux" at the Paris Opera, where they tried to stop their plot to plant explosives in the Phantom's old lair. The other half, Fantomas, being one of the French team members. Fantomas even detonates an explosion in the Phantom's lair, which was something Erik himself threatened to do in the book.
    • About thirteen years after Alan Moore made Sherlock Holmes' older brother "M" in the first volume of League, the original M's grandson became Sherlock Holmes in Elementary.
    • Alan Moore has long been well-known for practicing ceremonial magic and being an avid student of occultism and the mystic arts, and he (in)famously claimed in 2003 that he worships Glycon, a Roman snake god that was once the center of an ancient pagan cult. In 2011, he attracted a bit of controversy for portraying Harry Potter as a thoroughly unsympathetic Antichrist figure who's also supposedly the epitome of everything wrong with the 21st century. In other words: Moore is an occultist who talks to snakes and has an intense personal hatred of Harry Potter. Voldemort? Is that you...?
    • After all those years of decrying fantasy stories as inherently Satanist, the most well known target, old Potter himself, is literally the Antichrist.
  • Jumped the Shark: The first two volumes are widely loved, but everything after Black Dossier tends to be a bit more divisive at best.
  • Just Here for Godzilla: At this point it's evidently clear there's a chunk of people following these comics only for the curiosity of seeing what works Moore chooses to reference. Many of these people are openly critical to Moore's choices but considering how large in scope these comics are they still want to see who's going to show up.
  • Les Yay: Mina has no use for Orlando when he's a male.
  • Narm:
    • Allan's death. To elaborate: he gets electrocuted by lightning coming from Harry Potter's dick. And then Potter gets destroyed by Mary Poppins.
    • YOU ARE THE SHIT OF THE WORLD! I SHALL KILL YOU NOW!
  • Never Live It Down:
    • One can see the League as this trope taken to its zenith. Basically, if a character's original books had elements of sexism, racism, and class-biases that the author dislikes, they will be brought in an subject to Character Exaggeration to the extreme. For some younger readers to which Moore's version can serve as a Gateway Series it could ensure these aspects get focused on to the exclusion of everything else about the works. Moore would contend many of these were Lost in Imitation while others would contend Moore has deconstructed many of them far beyond their breaking point where they no longer feel like the characters.
    • It's true that Allan Quatermain is a Great White Hunter and an opium addict and he wasn't always a straight and confident hero, but the barely functional on-and-off-the-wagon League take on Quatermain is just as much Moore's invention as everything he accuses Hollywood of doing to soften him and others of his kind up.
    • Bulldog Drummond is another on this list who showed off values that at the time of his creation were acceptable. From a modern perspective one could find him not as likable. However by Moore's take alone one might not see him as having ever been likable in the first place.
    • Likewise the boys from Greyfriars we see in the League pages are far removed from their heroic sources. Big Brother's government and Harry Lime's M are shown to have way more prejudices than their kid versions. There is some Values Dissonance here but Book Famous Five stood up for not judging people for the color of their skin and one of the Famous Five was a minority character himself. This character doesn't appear in the League books at all.
    • The comic's take on Harry Potter has become rather infamous due to the franchise's popularity, with many considering Moore's interpretation of Harry to be rather shallow, overly mean-spirited, and a little too indicative of Moore's Nostalgia Filter for literature from the public domain.
    • To a humorous example it appears Frankenstein's Monster has never been able to live down the constant arguments of whether Frankenstein was the man or the monster. Which the League version considers a constant struggle to his own existential crisis.
  • Nightmare Fuel:
    • The depiction of beloved children's characters like Rupert the Bear and the cast of The Wind in the Willows as creations of Doctor Moreau.
    • The dead bodies fused to the remains of the train in Century 2009, to say nothing of the flashback panels to the events of the massacre that caused that. It's a testament to the skills of Alan Moore and Kevin O'Neill as artists that it's so effective in what it portrays.
  • Older Than They Think: Another point of contention about Moore's Lost in Imitation and Truer to the Text (and the Never Live It Down and Character Exaggeration that follows) is that some elements are often forgotten about. The following are things specifically Moore included in League that did not appear here first nor were they first suggested there:
    • Captain Nemo's Indian origin was made by Jules Verne himself in The Mysterious Island and partly foreshadowed in 20,000 Leagues Under the Sea. However thanks to many adaptations turning him British, some are surprised Moore's restoring something instead of changing it.
    • In Dracula Mina and Jonathan Harker's marriage is presented fairly happy by the standards of the time. It is, however, the boy's club attitude he and the other male characters share that helps Mina get turned into the Damsel in Distress. The book ends with a happy epilogue for them, which "League" doesn't use. Moore isn't the first to suggest that Mina Murray's marriage with Jonathan Harker would hit the rocks after the supposed Happy Ending; many critics and Francis Ford Coppola suggested that subtext before him.
    • There's one line in Robert Louis Stevenson's story that mentions Hyde "grew in stature" as time goes on. Some interpret this to mean physically, and this is the interpretation Moore ran with to essentially make Hyde a Hulk-like beast. The opposite view says that in the beginning of the book Jekyll is described as hearty while Hyde was smaller and sickly, and suggests this line meant Hyde grew to be the more healthy, stronger-looking one instead of actually growing to Hulk size. Either way this discussion happened long before Moore.
      • Hyde's possible homosexual attraction has been suggested as a subtext idea within the narrative before Moore's comic had Hyde rape Griffin.
    • On a meta level, Moore's use of Oliver Haddo as an Aleister Crowley expy was hardly new. It was known to everybody including Crowley himself he was an Expy from the punlication. Crowley even used the name as an alias for a scathing review.
    • The idea of flanderizing Pollyanna into her most basic trait is something that even long since inspired her to Trope Namer for The Pollyanna, so despite its usage here was long older than Moore's Invisible Man tries to rape her joke.
    • Likewise for making Don Quixote live up to his daydreams. People such as Vladimir Nabokov have long observed that Don Quixote is not really all that bad as a Knight Errant, famously pointing out that he wins more fights than he loses.
  • One-Scene Wonder: Sherlock Holmes' single appearance in Volume I, during Moriarty's flashback to Reichenbach Falls.
  • Shallow Parody: Alan Moore and O'Neill claim that their Deconstructive Parody of older works is based on being Truer to the Text, and while that claim is valid to an extent that the Unbuilt Trope of many of their sources and targets are either forgotten or mentioned in Older Than They Think, many of their targets and satires seem to be based on shallow impressions, strawman arguments, inconsistent standards, and poor premises:
    • As a minor example Pollyanna gets used for a comedy joke based on the very trope named after her The Pollyanna. Here even being nearly raped by an invisible man is not enough to rock Pollyanna's glad game. Even though as per the original book Pollyanna has some Stepford Smiler elements that while making her still an optimist it can break in really traumatic situations, making it rather out of character that she'd keep it up after Griffin's attack.
    • Also as mentioned above when it comes the Greyfriars Famous Five turning them from heoric school boys into adult villians (or at least two of them) comes off as shallow especially with Moore playing up their racism yet leaves out their minority member. There is also some contention that it was weird to do "one of the Famous Five is Harry Lime" plot and then have that member be Bob Cherry instead of Harry Wharton who instead became Big Brother.
    • Did James Bond deserve a long overdue piss-take? Absolutely. Could there be humor in Moore's take? Yes. But does that mean there's nothing compelling about his films or the original book or espionage fiction which Moore sees as possessing disagreeable political subtext. That last part is dubious, especially since Moore's focus on his Bond satire is Fleming!Bond, and Roger Moore and Daniel Craig. Missing is On Her Majesty's Secret Service which many consider an excellent film, and a very successful and convincing attempt at humanizing Bond. Let alone remembering how Fleming Bond himself grew as the book series continued. There is also the other aesthetic qualities such as the action, gadgets, and set design which Moore mocks as impractical, but which others would see as Narm Charm of the kind Moore celebrates elsewhere and is surely no less practical than the Science Hero set-up of Captain Nemo and others, which Moore plays straight and seems to romanticize by comparison.
    • Moore's attack on Harry Potter seems to be based on seeing him as representing the summit of modern franchise blockbusters and a stagnant culture that creates nothing new but merely keeps regurgitating and extending stories indefinitely. Many point out that Harry Potter is an original creation developed by an individual rather than a huge publishing corporation in the late-90s, had a set number of installments from the first novel, and was made into a series of films that hadn't been remade or had artificial sequel/prequels attached at the time Moore was writing. Thus, it seems to be stretching things to make him some the embodiment of everything wrong with modern franchise culture.
    • The argument in Century that the 21st Century is culturally stagnant or a decline since the '70s, ruffled many feathers because it basically comes across as the view of someone writing off the entire millennial generation in comparison to the '60s and the Victorian Era. The criticism of twenty-first century popular culture is undercut by the fact that in setting up Harry Potter as a strawman villain, the heroes Moore chooses to oppose him are Mina, Orlando, Alan Quatermain, and Mary Poppins, all from an older era rather than say another figure from the contemporary era that Moore might favor and it mostly comes across as punching down rather than punching up.
    • There are some implications in this interview that Moore saw Mina Harker as a token stock badass female to add to the cast and doesn't understand the themes of Dracula at all. Dracula is, for all its Fair for Its Day issues, about a monster that "can't love" trying to destroy a group of True Companions who are unquestionably loyal and devoted to each other—in particular the uncompromisingly devoted Harker couple, who are utterly in love with and admiring of each other and work hard to be mutually supportive in each's various individual endeavors as well as be strong for each other in all their traumas throughout the novel, both as lovers and as life partners. That Moore's take on a supposed Deconstructive Parody of Dracula's characters results in Moore's Mina having such a derogatory attitude towards (and negative history with) Moore's Jonathan shows either that Moore doesn't value the optimistic themes of Dracula about love and companionship or that he didn't understand them well enough to deconstruct what was actually in the text and, far from making his usage of them Truer to the Text, instead just painted his own Author Tract over the characters. The only other options are that he didn't actually read the novel or was biased by other adaptations that also drop much of these original themes in favor of adding themes about sexual liberation vs. conformity; Moore seems to understand Mina and Jonathan only as "assertive female with Victorian husband" and made his own assumptions about their characters from that stereotype.
  • Take That, Scrappy!:
    • People who disliked Harry Potter or who liked it but felt it was overrated in esteem and especially found the title character less interesting than the supporting cast enjoyed Moore's takedown of it in Century Vol 3. These fans also point out that Moore's basic satirical message, i.e. a Character Exaggeration of his Idiot Hero tendencies and an attack on the stories overall "trust-fund orphan" narrative of entitled heroism and luck-driven victories is in fact completely accurate and moreover echoed criticisms of the book made by its own fans and by Severus Snape within the stories. They note that Snape is the only HP character who is treated positively by Moore.
    • The same applies for people who enjoyed the trolling of James Bond, even by Bond fans who felt the character was so overexposed they found this revisionist version entertaining. The fact that Jimmy is so hilariously bad at his job and a bungling wimp who can barely get laid makes him less of a Take That! and more of a dark Deconstructive Parody for Bond fans.
  • They Wasted a Perfectly Good Plot:
    • In the original volumes the League was in itself a Massively Multiplayer Crossover with elements of Deconstructive Parody to be found inside of an adventure story. As the series continued however some found that Moore's deconstruction wasn't exactly as good of a sell as when played straighter.
    • The announcement of the Century trilogy initially had fans buzzing because they thought they'd finally get to see the original graphic novel's premise applied to 20th century fiction. And they did... except, instead of creating a new team of champions for a new era of fiction, Moore just made the two remaining members of the original Five-Man Band immortal, and added one consistent new member (Orlando) who quickly devolved into a Creator's Pet. By 2009, Mina and Allan have mentally aged so much that they barely even resemble their literary counterparts (which kind of kills what made the series fascinating in the first place) leaving behind little more than ultra-obscure background references.
    • The sheer lack of many popular literary characters invented from the 1960s onward not even getting a Writing Around Trademarks Shout-Out is one major source of criticism. Even when accounting for the references to various works that were present, the fact that many of the sources were doggedly Anglocentric didn't help matters either.
    • Once Century: 2009 finally revealed the Moonchild's identity, many fans of Harry Potter objected to the entire storyline - not necessarily because of Moore's treatment of the character, but because it wasn't nearly as interesting as it could have been. If Moore had managed to rein in his hatred of today's pop culture, and had actually familiarized himself with the character enough to make his portrayal feel authentic, it could have been a genuinely fascinating look at youthful rebellion, the paranoia of the post-9/11 world, and the conflict between destiny and free will. Instead, Harry is just portrayed as a one-note foul-mouthed teen with an attitude problem. Regardless of how you might feel about the source material, that's hardly the basis for an interesting villain.
    • A bit meta but almost all of Alan Moore's choices for Century: 2009 were recycled cliches about millennials. Millennials are overly reliant on pharmaceuticals, have no culture, aren't involved in politics or society, the list goes on. For all of Moore's supposed counter-culture tendencies, it's very easy to picture him complaining about today's big civil rights movements in the same way Louise Mensch might. How bad is it? The closest Moore comes to approaching what today's generation has to deal with is observing that row after row of houses are empty but quickly backpedals from this and tries to frame it as being the fault of Millennials! That the entire Harry Potter plot line boils down to a Dark!Harry Manipulative!Dumbledore fanfiction is really just the least of Moore's poor choices.
  • Uncertain Audience: The League throughout its entire run ran with this trope rather than an actual target audience. Many people who were general Alan Moore fans followed it but openly admitted much of it required annotations by Jess Nevins to be able to follow and be appreciated. The comic also got the attention of people with wide tastes and love crossovers, but as this page shows many of these readers are openly in complete disagreement with Alan Moore's opinions that went into building the world of the comic. Up until the very last issue the comic never really aimed itself in favor of one or the other and left many readers interested but never without heavy complaints.
  • Values Dissonance: The comic deliberately fakes this trope to create aesops such as "The Chinese are brilliant, but evil." We would like to stress this is a verbatim quote.
  • What an Idiot!: In The Tempest, Emma makes it her mission to assassinate "Jimmy" to avenge her murdered friends. She and Orlando travel to London, where they meet the Moneypennys (daughters or granddaughters of the original Miss Moneypenny, or possibly unrelated with the same code name).
    You'd Expect: Since the Moneypennys are MI-5 secretaries who regularly have sex with Jimmy in his abode, Emma and Orlando would ask for their help in sneaking into either Jimmy's apartment or the MI-5 building and formulating the best assassination plan.
    Instead: They convince Jason King to kill Jimmy, without direct help from them or the Moneypennys.
  • What Do You Mean, It Wasn't Made on Drugs?: The Beatnik novella from the Black Dossier reads like this, which, given the source material, isn't surprising. If one takes the time to actually decipher the text, the plot seems to involve Fu Manchu and Professor Moriarty's descendants (Dean Moriarty and Doctor Sax, respectively), with the latter kidnapping the former in order to continue the family feud by infesting him with an ancient Aztec linguistic virus made from centipedes, which turns the victim into the gate for Lovecraftian Eldritch Abominations and spreads memetically. It doesn't end well.
  • You Don'tLookLikeYou: Copyright worries passed aside some depictions of characters are pretty far off from how they were described or appeared in their sources. With some minor appearances still being debated on who people think it was supposed to be. For one example take the teacher who calls out the Antichrist/Harry Potter. By the dialogue most assumed this is Severus Snape, but he looks nothing at all like Snape of the books or films. Making some think instead it could be Albus Dumbledore, Horace Slughorn or Argue Filch.

    The film 
  • Accidental Innuendo: Reed has this gem in his conversation with Quartermain: "Stories of your exploits have thrilled English boys for decades."
  • Broken Base: In a connection to the example for the comic the film gets this a lot too. The film made a lot of changes to the point of being In Name Only, this clearly irritated fans who like the comic. But given there is an entry of this trope there too, there were a lot of people who found the comic disappointing (or became disappointing). For this side some of the movie's decisions are called improvements to the comic. Debates about this still spring up to this day on most sites talking about the movie or comics.
  • Complete Monster: The elusive Fantom, actually Professor James Moriarty, wishes to engulf the world in war, just so he can line his pockets. Killing British and German citizens to increase tensions, the Fantom tries to attack a peace conference by sinking all of Venice, where it was taking place. Founding the titular League while acting as "M", claiming it to be a counterterrorist organization, he gathers a group of individuals with superpowers and advanced technology, planning to replicate them to sell to the highest bidder in the war he plans. At his secret base, he houses hundreds of scientists, forcing them to work around the clock to recreate the League's abilities, while keeping their families hostage in overcrowded cells.
  • Creepy Awesome: Hyde is this when he finally fights for the League.
    Hyde: "Trouble? I call it sport."
  • Ensemble Dark Horse: Even though a main criticism of the movie is practically being an In Name Only, many fans of the graphic novel prefer the film's version of the Invisible Man, Rodney Skinner than his predecessor in the comics who was... a rather vile character.
  • Hilarious in Hindsight:
    • The movie's Evil Plan involves a mysterious bad guy (who's eventually revealed to be Professor Moriarty) trying to start World War I a few decades early. Sherlock Holmes: A Game of Shadows, which came out almost a decade later, was about the same thing. In this film, Moriarty even references the Reichenbach falls as where "that man died." Perhaps he got some plastic surgery, and tried to start his Evil Plan all over again, but went more ambitious by using the League?
    • Richard Roxburgh would also go on to play Dracula in Van Helsing a year later, which also featured a Mr. Hyde who was depicted as a Hulk Expy. He also played Sherlock Holmes in a 2002 television adaptation of The Hound of the Baskervilles.
    • When reviewing the 1994 live-action film The Jungle Book, Roger Ebert talked about the In Name Only premise and wondered "What's next? Tom Sawyer with a car chase and a shoot-out?"
    • The team of this comic-book film consists of:
      • Nemo: A man with an unusual beard, untold riches, and access to advanced technology that no one else can duplicate.
      • Quatermain: A legendary old hero in an era that is not his own, who lost someone close to him while working for his government.
      • Mina: A beautiful red-haired woman with a traumatic past who dresses largely in black and is much more dangerous than she appears.
      • Jekyll: A mild-mannered doctor who, at times, transforms into his large, super-strong and ferocious alter ego.
      • An attack on the heroes' cool transport by the pretty boy bad guy and his inside knowledge, and he's working for an even more dangerous foe.
      • And they're all working at the behest of a mysterious government figure. The only ones that don't match are Thor and Hawkeye note , but other than that, one almost expects Quatermain to yell "League, assemble!"
  • Narm: Let's just say that the effects used for Mr. Hyde weren't that great at the time of the movie's release and have not aged well since.
    • Hyde and Mina have really put-on monster voices that sound more like children playing pretend than professional actors in a blockbuster film. Thankfully Mina only uses hers once.
  • Nightmare Fuel: The in-between states of Mr. Hyde's transformations are as disgusting as the effects are bad.
    • Dante's Hyde transformation may not be a good effect, but he's basically stuck in in one of Hyde's mid states, except even larger, so his skin is stretched out and bright red.
  • Nightmare Retardant: The Big Bad loses all intimidation when he starts taunting Quatermain in the cemetery. Why? Because the whole time he's running around desperately trying to get out like a frightened child.
    • In general, Moriarty spends most of his screen time running away from fights he started. He claims to have been reborn; evidently into someone far less impressive.
  • Retroactive Recognition: Shane West (Sawyer) later played Michael in Nikita. It's a little bit funny, because Peta Wilson (Mina) got her start as the lead on La Femme Nikita, of which Nikita is a remake.
  • Special Effects Failure: Due in part to the film's overall Troubled Production, the VFX are not all that great.
    • Skinner is convincing enough as a CGI effect, but it becomes extremely obvious whenever he's just Tony Curran in face paint. The scene where he's actually applying said face paint being perhaps the most jarring sequence of them all.
    • Credit where credit is due: the producers do deserve some commendation for portraying Mr. Hyde primarily through Practical Effects, but unfortunately, the rubber muscle suit they use is not convincing. At all.
    • Dorian Gray's death is also extremely fake-looking CGI. But considering that it's essentially magic at work which also involves him basically turning into his own portrait, maybe that was the point...?
  • Strawman Has a Point: Dorian mocking Jekyll when he refuses to become Hyde again is probably meant to be kicking the dog, but the League explicitly wanted Hyde for his brute strength, leaving one to wonder what exactly Jekyll thought he was going to be contributing.
  • They Wasted a Perfectly Good Character: While the Fantom is revealed to be Professor James Moriarty, the revelation doesn't add any new elements for the character, not making any use of the genius intellect, unprecedented crime empire, or historic rivalry with Sherlock Holmes.
  • Took the Bad Film Seriously: Half of the cast definitely put up a valiant effort into their performances, though the standout seems to be Jason Flemyng as both Jekyll and Hyde.
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