|Kindle Edition (Annotated edition)||2018-10-30||192|
|Hardcover (Annotated edition)||2018-05-29||£22.55||192|
|Hardcover (First Edition ~1st Printing)||2004-11-03||£17.99||160|
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By Dave Gibbons
Published by Berger Books on 2018-05-29
FICTION / Graphic Novels
Deluxe oversized edition of the Eisner-award winning mod sci-fi coming of age graphic novel from Dave Gibbons, co-creator of Watchmen. Includes 32 pages of never-before-seen development art, process pieces, and behind the scenes extras–all annotated by Gibbons.
In a retro-futuristic city of industrial gray where hover scooters, music and drugs rule the street, THE ORIGINALS are the toughest, most stylish gang around. For two childhood friends, nothing is more important than being one of them. But being part of the crowd will bring its own deadly consequences.
“The Originals is Dave Gibbons doing what he was born to do: telling a story that’s all his own, and telling it with grace, verve and drama. The result is, well…original! Topnotch comics.”–Frank Miller
“Sharp as the lapels on his mohair, revved up on Lambrettas and doobs, THE ORIGINALS is Dave Gibbons at the very top of his considerable game, dripping style and soul like dance floor sweat, delivering a narrative that’s young, good-looking and up for a ruck. Buy this immediately, and smell the oil, the blood, the seaside… I don’t care where you’ve been; you ain’t been nowhere ’til you’ve been in.” – Alan Moore
“What a fantastic looking book…Dave’s vast storytelling experience and effortless ease with the medium shine from every page of THE ORIGINALS.”–Garth Ennis
3D preview available at the top of this page...
THE ESSENTIAL EDITION AN IMPRINT OF DARK HORSE COMICS
Just so we start on the same page, here's what 'Mod? DOES NOT mean: Herman's Hermits, Psychedelia 'Lite? or Austin Powers, baby. And here's what Mod DOES mean: Italian clothes, black dance music, fi ghts, French haircuts, Lambretta scooters and amphetamine sulphate. I drove a Lambretta TV 175, with chrome side panels, crash bars, sports silencer, fl yscreen, mirrors and lights. I wore tab-collared shirts, two-tone tonic suits, Levi 501s, and desert boots plus I had my hair cut short and neat in the West End of London, every four weeks. My mates and I went to the best clubs and listened to the latest imported music. Speed was the drug of choice and we'd stay up until we dropped. There were legendary all-weekend parties, mass convoys to coastal towns on public holidays and heroic battles with our arch-enemies. They wore leather jackets, rode motorcycles and had long greasy hair, so were known to us as 'The Grease.' We hated everything about them. And they reciprocated. Even now, if I see someone in a leather jacket riding a motorcycle, I involuntarily sub-vocalize: 'Fucking Grease? and have a desire to harm him in some way. This, I know, is prejudiced, irrational and shameful. As you all know, I am, otherwise, open-minded, tolerant and, I hope, compassionate. That I still have such feelings after so many years seemed worth investigating. After drawing many comic book stories written by others and writing many to be drawn by other artists, I was ready to attempt something all my own. Vertigo supremo Karen Berger had been nagging me for years to write and draw a long form piece and it occurred to me that my experience as a Mod might become the germ of just such a project. I clearly had enough passion left to fuel myself through the work it would entail. As I thought about it, I realised that my experience was, in many ways, archetypal. Outside of the particulars of appearance and behavior, this irrationality was a common experience: 'They look and act differently from us, therefore? we HATE them.' On the more positive side, there was the feeling of belonging to an exclusive group, with its own secret codes, uniforms and rituals. It seemed the kind of mindset that previous generations of young men had experienced in military service. And, like military service, this whole persona-bending experience When I was in my mid-teens, the most important thing in my life was being a Mod.
only lasted something like a couple of years at most. Given its shark-like, speed-fuelled impetus to consume and move on, it's amazing that 'Mod? lasted even that long. There had been nothing like 'Mod? before, since no previous generation had the cash that the lifestyle cost; and there has arguably been nothing as passionate and pure since, given the blizzard of cultural diversity that later generations have weathered. However, all youth cults since have had similar ideologies of exclusivity and antagonism at their hearts, so my feelings, though prototypical, are by no means localized. We were just the fi rst. And, of course, the best. As Dobie Gray's dancefl oor anthem, 'The In-Crowd? had it: 'Other guys imitate us, but the originals are still the greatest.' Those were exciting, fast-moving times and anything I expressed in a story about them would have to have that feeling. And, of course, we're talking about a comic book story, here. A comic book with a lot of action and visual fl ash. It would also have to look 'Mod', as I defi ned it above. Not a documentary version of my world then ? a sort of Quadrophenia look-alike ? but something MORE real. It would have to be how it FELT, as exciting to the reader now as it was to me back then. To make it archetypal, it would be set somewhere undefi ned, that felt like England then, but wasn't. No big deal about alternative universes or science fi ction trappings, but a world that would fi t my narrative purpose precisely. There would be equivalents of all I found so exciting; the music, the clothes, the scooters and everything else. In other words, I'd invent a youth cult from the ground up, as striking as Mod and completely fresh. The storytelling, too, would have to be innovative. A mixture of comic strip narrative, text passages and graphics. Not in the way of, well, Watchmen, but a more organic, free fl owing amalgam, that would enable me to embed song lyrics, fashion pages, news stories, etc. in the heart of the narrative. The package itself would be distinctive: a single volume ? dense and concentrated, monochrome, certainly very design-conscious ? that could stand its ground outside the comic book store. It would, itself, have to be typically Mod. At the center of all these visions, of course, is the story itself. More than just a vehicle for the thoughts above, I wanted it to be satisfying in terms of pure drama. So I put down some things that had really happened, twisted and exaggerated them to taste, mixed in other elements and came up with The Originals. This is their story. Dave Gibbons