这是未来的伦敦，这是一个普通的夜晚：游荡街头的艾薇·哈蒙德撞上心怀不轨的秘密警察。

这是颠覆的遭遇，这是一个奇怪的男子：披着斗篷、头顶高帽，戴着伪善笑容的面具。

这是黑暗的未来，这是一个集权的社会：大领袖亚当·苏萨牢牢紧攒国之命脉，他的爪牙遍布每一个角落。人民将窃窃私语埋入肚中，高谈阔论几成奢望，直到那晚照亮整座伦敦的轰鸣声，沉默了许久的黑夜开始发起反击。

他戴着盖伊·福克斯的假面，化身为叫做V的复仇使者，他引用着被禁止的诗词，向艾薇·哈蒙德传授自己的理念思想和他为之付出的行动。他试图创造社会政治变迁，同时暗自推动激烈的私人复仇。艾里克·芬奇奉命缉拿对国家造成威胁的嫌犯，从死亡名单中逐渐揭开历史的疮疤。魅影画廊里，那张笑脸依旧挂着毫不动容的神情，指挥着自己的计划像多米诺骨牌一样达到最终目的，而艾薇·哈蒙德将发现面具之下那张真正的面容……

《守望者》不论在漫画界与主流媒体都备受赞誉，被视为漫画中的经典作品。《守望者》是美国《时代周刊》2005年评选出的“1923年至今百部最佳英文小说”之一，同时它以漫画这种作品形式获得了雨果奖（有“科幻艺术界的诺贝尔奖”之称）。它的情节错综复杂，画面华丽优美，具备史诗般宏大的主题，称得上是图画小说的里程碑。
作者阿兰•摩尔在《守望者》中反映出了对于冷战时期美国公众焦虑的深思，并对传统的超级英雄观念进行了批判。《守望者》描绘了一段美国20世纪40年代至80年代之间的虚构历史，此时的美国正处于与苏联爆发核战争的危机边缘。那是一个特殊的年代，虽然超级英雄曾帮助美国赢得了越南战争，但自发性的蒙面英雄已被法律明文禁止，蒙面英雄被宣布为不法分子，他们的一切侠义行为都成了不法行为。因此，大多数超级英雄纷纷退休，少数则继续为政府工作。漫画中的故事聚焦于几位主人公的个人挣扎与奋斗，他们因为一起前任同僚的被害案件而不得不再次出山，然而，调查显示这一切仅仅是个开始，在谋杀案的背后还隐藏着另一个阴谋……最终，他们将不得不做出一个关于正义，关于拯救，关于未来的决定。
蒙面英雄中的一员被谋杀，背后隐藏着天大的阴谋，下一个目标又是谁？末日将至，冷战即将升级为核战，谁能力挽狂澜？超级英雄对于世人究竟是福还是祸？守望者监管世人，又有谁来监管守望者？
☆获得科幻艺术界的至高荣誉——雨果奖（此前从未有漫画获得此项大奖）。
☆美国《时代周刊》2005年评选出的“1923年至今百部最佳英文小说”之一！
☆世界顶尖艺术家的巅峰之作，图画小说史上的里程碑。
☆彻底颠覆超级英雄的漫画，美国漫画新时代开端的标志！
☆“DC漫画必读25部经典”之一！
☆大开本，铜版纸，全彩印刷！
☆附赠8K海报！
☆文后附加译者解读，便于读者理解漫画中大量的典故、引用、比喻、讽刺和暗示等。
这是一部改变了整个行业，挑战了漫画所能达到的最高成就的著作。如果你从未接触过图画小说，《守望者》是一个最佳的开端。如果你已经读过本书，是时候再细细品味一遍了。

二十年前，编剧阿兰•摩尔和画师布莱恩•伯兰德，向世界呈现了将小丑塑造成型的一系列事件。如今，他们创作出的那些无与伦比的、 噩梦般的图像将以全新的典藏版形式卷土重来。
他是蝙蝠侠最不共戴天的宿敌，是丧心病狂的犯罪大师，他怪异的狂暴行径就连世界最佳侦探也琢磨不透。然而小丑并非天生如此。在他成为犯罪界的小丑王子之前，在那命定的一天将他面容尽毁、心灵永久扭曲之前，他也曾是黑暗骑士愿意献出生命去保护的对象——一个平凡人 。
是什么导致了这个平凡公民堕落成了哥谭有史以来最强反派？蝙蝠侠能阻止小丑把戈登局长和他的女儿芭芭拉拖入疯狂深渊的计划吗？这对死敌能及时为他们之间无尽的对决画下一个句号吗？
首次为您呈现伯兰德绝妙的全新上色版，这本《蝙蝠侠：致命玩笑》是阿兰•摩尔最铭刻肺腑的思索，思索那条理智与疯狂、英雄与反派、喜剧与悲剧之间几不可见的界限。
☆被好莱坞鬼才导演蒂姆•伯顿誉为最爱的漫画。（代表作《剪刀手爱德华》《理发师陶德》《爱丽丝梦游仙境》）
☆典藏版由蒂姆•赛尔作序（代表作《蝙蝠侠：黑暗胜利》《猫女：在罗马》《蝙蝠侠：漫长的万圣节》），布莱恩•伯兰德撰写后记，特别收录短篇故事“良民”。
☆画面细致入微，人物表情丰富。典藏版由画师布莱恩•伯兰德重新上色，首次向我们呈现他对这本现代经典的原始设想。
☆豆瓣Batman小站站长Aaronxiao校译。
☆ 全彩印刷，作画精美，一流画面，一流品质。随书附赠精美书签，最具收藏价值！
媒体推荐
“我爱《致命玩笑》……它是我的最爱。它是我爱上的第一本漫画。”
——蒂姆•伯顿
“《蝙蝠侠：致命玩笑》无疑是有史以来最棒的小丑故事，也是阿兰•摩尔最出色的作品之一。如果你之前读过，那么回头再读一遍吧，你应该这么做。”
——IGN.com
“……对蝙蝠侠头号宿敌的诠释让人毛骨悚然。”
——书单

Has any comic been as acclaimed as Alan Moore and Dave Gibbons' Watchmen? Possibly only Frank Miller's The Dark Knight Returns, but Watchmen remains the critics' favorite. Why? Because Moore is a better writer, and Watchmen a more complex and dark and literate creation than Miller's fantastic, subversive take on the Batman myth. Moore, renowned for many other of the genre's finest creations (Saga of the Swamp Thing, V for Vendetta, and From Hell, with Eddie Campbell) first put out Watchmen in 12 issues for DC in 1986-87. It won a comic award at the time (the 1987 Jack Kirby Comics Industry Awards for Best Writer/Artist combination) and has continued to gather praise since.
The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moore's characterization is as sophisticated as any novel's. Importantly the costumes do not get in the way of the storytelling; rather they allow Moore to investigate issues of power and control--indeed it was Watchmen, and to a lesser extent Dark Knight, that propelled the comic genre forward, making "adult" comics a reality. The artwork of Gibbons (best known for 2000AD's Rogue Trooper and DC's Green Lantern) is very fine too, echoing Moore's paranoid mood perfectly throughout. Packed with symbolism, some of the overlying themes (arms control, nuclear threat, vigilantes) have dated but the intelligent social and political commentary, the structure of the story itself, its intertextuality (chapters appended with excerpts from other "works" and "studies" on Moore's characters, or with excerpts from another comic book being read by a child within the story), the finepace of the writing and its humanity mean that Watchmen more than stands up--it keeps its crown as the best the genre has yet produced. --Mark Thwaite

New York Times Bestseller
Fierce in its imagining and stupefying in its scope, Jerusalem is the tale of everything, told from a vanished gutter.
In the epic novel Jerusalem, Alan Moore channels both the ecstatic visions of William Blake and the theoretical physics of Albert Einstein through the hardscrabble streets and alleys of his hometown of Northampton, UK. In the half a square mile of decay and demolition that was England’s Saxon capital, eternity is loitering between the firetrap housing projects. Embedded in the grubby amber of the district’s narrative among its saints, kings, prostitutes, and derelicts, a different kind of human time is happening, a soiled simultaneity that does not differentiate between the petrol-colored puddles and the fractured dreams of those who navigate them.
Employing, a kaleidoscope of literary forms and styles that ranges from brutal social realism to extravagant children’s fantasy, from the modern stage drama to the extremes of science fiction, Jerusalem’s dizzyingly rich cast of characters includes the living, the dead, the celestial, and the infernal in an intricately woven tapestry that presents a vision of an absolute and timeless human reality in all of its exquisite, comical, and heartbreaking splendor.
In these pages lurk demons from the second-century Book of Tobit and angels with golden blood who reduce fate to a snooker tournament. Vagrants, prostitutes, and ghosts rub shoulders with Oliver Cromwell, Samuel Beckett, James Joyce’s tragic daughter Lucia, and Buffalo Bill, among many others. There is a conversation in the thunderstruck dome of St. Paul’s Cathedral, childbirth on the cobblestones of Lambeth Walk, an estranged couple sitting all night on the cold steps of a Gothic church front, and an infant choking on a cough drop for eleven chapters. An art exhibition is in preparation, and above the world a naked old man and a beautiful dead baby race along the Attics of the Breath toward the heat death of the universe.
An opulent mythology for those without a pot to piss in, through the labyrinthine streets and pages of Jerusalem tread ghosts that sing of wealth, poverty, and our threadbare millennium. They discuss English as a visionary language from John Bunyan to James Joyce, hold forth on the illusion of mortality post-Einstein, and insist upon the meanest slum as Blake’s eternal holy city.
1 map; 3 illustrations

London, 1898. The Victorian Era draws to a close and the twentieth century approaches. It is a time of great change and an age of stagnation, a period of chaste order and ignoble chaos. It is an era in need of champions. In this amazingly imaginative tale, literary figures from throughout time and various bodies of work are brought together to face any and all threats to Britain. Allan Quatermain, Mina Murray, Captain Nemo, Dr. Henry Jekyll and Edward Hyde and Hawley Griffin, the Invisible Man, form a remarkable legion of intellectual aptitude and physical prowess: "The League of Extraordinary Gentlemen".

Drawing upon an overlooked and energetic pool of local talent as well as numerous friends and co-conspirators from comic books, the arts or entertainment, Dodgem Logic sets out to provide a splash of subterranean exotica in a bleached-out cultural and social landscape. Published every other month by counter-culture veterans KNOCKABOUT, Dodgem Logic is a forty page full-colour spectacle that, in addition, has an eight-page local section in each issue, thus inviting other areas to publish regional editions by providing their own inserts.

Presented in stark black and white, BATMAN NOIR: THE KILLING JOKE collects BATMAN: THE KILLING JOKE, “An Innocent Man” story, and a collection of Bolland’s Batman covers. ALAN MOORE (WATCHMEN, V FOR VENDETTA) and BRIAN BOLLAND (CAMELOT 3000) take on the origin of comics’ greatest super-villain, The Joker—and changes Batman’s world forever.
One bad day.
According to the grinning engine of madness and mayhem known as The Joker, that’s all that separates the sane from the psychotic. Freed once again from the confines of Arkham Asylum, he’s out to prove his deranged point. And he’s going to use Gotham City’s top cop, Commissioner Jim Gordon, and his brilliant and beautiful daughter Barbara to do it.
Now Batman must race to stop his archnemesis before his reign of terror claims two of the Dark Knight’s closest friends. Can he finally put an end to the cycle of bloodlust and lunacy that links these two iconic foes before it leads to its fatal conclusion? And as the horrifying origin of the Clown Prince of Crime is finally revealed, will the thin line that separates Batman’s nobility and The Joker’s insanity snap once and for all?

In a world of used ideas spun out into unending single-premise sagas and told in full cyber-enhanced Technicolor, unapologetically we offer up CINEMA PURGATORIO, a black and white horror anthology which reaches for something both new and startling beyond the endlessly recycled characters and concepts of the 60s and the 70s. An anthology, to let its authors exercise the discipline and the invention that only short stories can provide – and out of which the vast majority of today’s memorable franchises were created – and black and white in order to impose that selfsame discipline upon its artists by removing the alluring camouflage of colour and requiring the same values that the classic comic illustrators made their byword. Why shouldn’t the 21st century enjoy the craft and quality that the E.C. and Warren luminaries managed, but with an originality and freshness born entirely of our anxious present and uncertain future? Why shouldn’t the world once more have horror stories which compel their audience to tremulously tell themselves “It’s just a movie; just a film”?
CINEMA PURGATORIO is an unholy resurrection of the backstreet bug-hutches and fleapits practicing their eerie silver mesmerism on our post-war predecessors, drenched in atmosphere and other less identifiable decoctions. The threadbare arenas to a generation’s adolescent fumblings and upholstery-slashing rage alike, these peeling Deco temples were the haunted, flickering spaces where were bred the dreads and the desires of those Macmillan days; Eisenhower nights. Varnished with blood and Brylcreem, in our razor-collared cutting edge collection we restore the broken-bulb emporiums where, in the creaking backseats, modern terror and monstrosity were shamelessly conceived. In our worn aisles and glossy pages the most individual and inventive talents in contemporary comics are delivering a landmark midnight matinee in monochrome, intent on pushing both the genre and the medium beyond their stagnant formulas and into shapes that suit the unique shadows and disquiets of our present moment.
Take your curling ticket from the withered and embittered woman in the booth, regard uneasily the lobby cards for movies recalled vaguely from a clammy dream, then, if you dare, follow the failing flashlight-puddle of the usherette on down into a different kind of dark.
- Alan Moore

From the subterrean depths of comics' most innovative mind comes a supremely deranged duo. Alan Moore (Watchmen, Batman:Killing Joke) and Alan Davis (Excalibur, X-Men) are proud (and should be ashamed) to present D.R. & Quinch.
Outrageous, unrestrained,heavily armed: college students D.R. & Quinch gleefully provide irredeemably poor role-modelling for today's youth. Comes complete with tips on death, extremely painful death and the art of total destruction.
Wildly offensive tales of alien slime wars, psychotic girlfriends and warped war veterans make for a volatile mix of malicious mayhem and deeply dark humour, available now in this gorgeous collectors edition that's way too good for them!