There's the joy of getting a reference and seeing how it fits into the larger work that more has created in this series, but not the joy seems to have curdled a bit as he sets his eye on modern England and the biggest franchise and it pulp hero.

I did enjoy getting the smaller references (Heroes, Doctor Who, The Thick of It, 30 Rock, 24, all the MI5 and Bonds, etc.), but it turns it a major downer when we get to Rowling's wizarding world. Mind you, Moore cannily doesn't mention Harry Potter by names and mixes in a lot of other British children's, wizarding, and mystical references to deflect a direct comparison, but it's pretty clear who we're talking about here. He even has quite a few jabs at Rowling's literary style.

I'm still agog at the literal Deus Ex Machina at the end who puts down this book's Anti-Christ. She literally comes out of the sky and defeats the Anti-Christ in a pretty anti-climatic way.

There are some clever bits about a school massacre at Hogwarts -- I'm sorry -- the wizard school and how it is shown in flashbacks as a first-person shooter (FPS) as a commentary on violent video games. I like how now, the League and its allies are all women, but Moore still loves the sex and O'Neill has want feels like gratituous tits in this book.

Speaking of O'Neill, boy, can he not do likenesses of film and TV characters. It's one thing to be able to spot Matt Smith's Doctor Who or Hiro from Heroes, but for a lot of characters, I had to guess who they were from contextual clues. Hmm, bookshop, kicking out customer with a cig and a wineglass in hand? Is it Bernard Black? Yep! Same deal with the Bonds.

Overall it works because it is the conclusion of the series, but as a standalone work, it's kind of weak.

P.S. Once again, if you haven't, Google "Jess Nevins League of Extraordinary Gentleman annotations" for more references.