Watchmen

Watchmen is a twelve-issue comic book limited series created by writer Alan Moore, artist Dave Gibbons, and colorist John Higgins. The series was published by DC Comics in single issue during 1986 and 1987, and has been subsequently published in collected form. Watchmen originated from a story proposal Moore submitted to DC featuring superhero characters that the company had acquired from Charlton Comics. As Moore's proposed story would have left the many of recently-acquired characters unusable for future stories, managing editor Dick Giordano convinced the writer to create original characters instead.

Moore used the story as a means to reflect contemporary anxieties and to deconstruct the superhero concept. Watchmen takes place in an alternative history United States where the country is edging closer to a nuclear war with the Soviet Union. After government-sponsered superhero the Comedian is found murdered, the vigilante Rorschach warns his former collegues of what he believes is a conspiracy to kill costumed heroes. As the story progresses, the protagonists discover that one of the heroes has devised a plan to stave off war between the United States and USSR by enacting a plan that will kill millions of innocent people.

Creatively, the focus of Watchmen is on its structure. Gibbons used a nine-panel grid layout throughout the series and added recurring symbols such as a blood-stained smiley face. All but the last issue are feature supplemental fictional documents that add to the series' backstory, and the narrative is intertwined with that of a another story, a fictional pirate comics titled Tales of the Black Freighter.

Watchmen has received critical acclaim both in the comics and mainstream press, and is regarded as a seminal text of the comic book medium. After a number of attempts to adapt the series into a feature film, director Zack Snyder's Watchmen is scheduled for release in March 2009.

Background and creation

In 1985, DC Comics acquired a line of characters from Charlton Comics.^[2] During that period, writer Alan Moore contemplated writing a story featuing an unused line of superheroes that he could revamp, as he had done in his Miracleman series in the early 1980s. Moore reasoned that MLJ Comics' Mighty Crusaders might be available for such a project, so he devised a murder mystery plot which would begin with the discovery of the body of The Shield in a harbor. The writer felt it didn't matter which set of characters he ultimately used, as long as readers recognized them "so it would have the shock and surprise value when you saw what the reality of these characters was".^[1] Moore used this premise and crafted a proposal featuring the Charlton characters titled Who Killed the Peacemaker,^[3] and submitted the unsolicited proposal to DC managing editor Dick Giordano.^[2] Giordano was receptive to the proposal, but the editor opposed the idea of using the Charlton characters for the story. Moore said, "DC realized their expensive characters would end up either dead or dysfunctional." Instead, Giordano convinced Moore to rework his pitch to feature original characters.^[4] Moore had initially believed that original characters would not provide emotional resonance for the readers, but later changed his mind. He said, "Eventually, I realized that if I wrote the substitute characters well enough, so that they seemed familiar in certain ways, certain aspects of them brought back a kind of generic super-hero resonance or familiarity to the reader, then it might work."^[1]

Artist Dave Gibbons, who had collaborated with Moore on previous projects, heard the writer was working on a miniseries treatment. The artist said he wanted to be involved, so Moore sent him the the story outline.^[5] Gibbons told Giordano he wanted to draw the series Moore proposed. Giordano asked Gibbons if Moore wanted him to draw it, to which he replied yes, and subsequently got the job.^[6] Gibbons brought colorist John Higgins onto the project because he liked his "unusual" style; Higgins lived near the artist, which allowed the two to "discuss [the art] and have some kind of human contact rather than just sending it across the ocean".^[3] Len Wein joined the project as its editor, while Giordano stayed on to oversee it. Both Wein and Giordano stood back and "got our of their way"; Giordano remarked later, "Who copyedits Alan Moore, for God's sake?"^[2]

After receiving the go-ahead to work on the project, Moore and Gibbons spent a day at the latter's house creating characters, crafting details for the story's milieu and discussing influences.^[4] The pair was particularly influenced by a Mad parody of Superman named "Superduperman"; Moore said, "We wanted to take Superduperman 180 degrees — dramatic, instead of comedic".^[4] Moore and Gibbons conceived of a story that would take "familiar old-fashioned superheroes into a completely new realm";^[7] the writer said his intention was to create "a superhero Moby Dick; something that had that sort of weight, that sort of density".^[8] The writer came up with the character names and descriptions, but left the specifics of how they looked to Gibbons. Gibbons did not sit down and design the characters deliberately, but rather "did it at odd times... spen[ding] maybe two or three weeks just doing sketches."^[3]

Moore began writing the series very early on, hoping to avoid publication delays such as those faced by the DC miniseries Camelot 3000.^[9] When writing the script for the first issue, Moore said he realized "I only had enough plot for six issues. We were contracted for 12!" His solution was to alternate issues that dealt with the overall plot of the series with origin issues for the characters.^[10] Moore wrote very detailed scripts for Gibbons to work from. Gibbons recalled that "[t]he script for the first issue of Watchmen was, I think, 101 pages of typescript - single-spaced - with no gaps between the individual panel descriptions or, indeed, even between the pages."^[11] Upon receiving the scripts, the artist had to number each page "in case I drop them on the floor, because it would take me two days to put them back in the right order", and used a highlighter pen to single out lettering and shot descriptions; he remarked, "It takes quite a bit of organizing before you can actually put pen to paper."^[11] Despite Moore's detailed scripts, his panel descriptions would often end with the note "If that doesn’t work for you, do what works best"; Gibbons nevertheless worked to Moore's instructions.^[12] Gibbons had a great deal of autonomy in developing the visual look of Watchmen, and frequently inserted background details that Moore admitted he did not notice until later.^[8] Moore occasionally contacted fellow comics writer Neil Gaiman for answers to research questions and for quotes to include in issues.^[10]

Despite his intentions, Moore admitted in November 1986 that there were likely to be delays, stating that he was then still writing issue nine at that moment.^[11] Gibbons mentioned that a major factor in the delays was the "piecemeal way" in which he received Moore's scripts. Gibbons said the team's pace slowed around the fourth issue; from that point onwards the two undertook their work "just several pages at a time. I'll get three pages of script from Alan and draw it and then toward the end, call him up and say, 'Feed me!' And he'll send another two or three pages or maybe one page or sometimes six pages."^[13] As the creators began to hit deadlines, Moore would hire a taxi driver to drive 50 miles and deliver scripts to Gibbons. On later issues the artist had his wife and son draw panel grids on pages to help save time.^[10]

Near the end of the project, Moore realized that the story bore similiarity to "The Architects of Fear," an episode of the Outer Limits television series.^[10] The writer and Wein argued over changing the ending; Moore won, but acknowledged the episode by referencing it in the series' last issue.^[12]

Story

Watchmen is set in an alternate reality which closely mirrors the contemporary world of the 1980s. The primary point of divergence is the presence of superheroes. Their existence in this iteration of America is shown to have dramatically affected and altered the outcomes of real-world events such as the Vietnam War, and the presidency of Richard Nixon.^[14] In keeping with the realism of the series, although the cast of Watchmen are commonly called "superheroes", the only character in the principal cast who possesses obvious superhuman powers is Dr. Manhattan.^[15]

In Watchmen, the United States and the Soviet Union have been edging toward a nuclear showdown since the 1959 nuclear accident that transformed scientist Jon Osterman into Dr. Manhattan. Due to Dr. Manhattan's near-godlike powers and allegiance to the American government, the U.S. has enjoyed a distinct strategic advantage, allowing it to defeat the Soviet Union in a series of proxy wars, including victory in Vietnam. Richard Nixon remains President of America in 1985, serving an unprecedented fifth term of office. This imbalance of power is shown to have accelerated the nuclear arms race and dramatically increased global tension.

Plot summary

In October 1985, New York City police are investigating the murder of Edward Blake. With the police having no leads, costumed vigilante Rorschach decides to probe further. Discovering Blake to be the face behind the Comedian, a costumed hero employed by the United States government, Rorschach believes he has discovered a plot to eliminate costumed adventurers and sets about warning four of his retired comrades, Dan Dreiberg (formerly Nite Owl), the super-powered and emotionally detached Doctor Manhattan and his lover Laurie Juspeczyk (the second Silk Spectre), and Adrian Veidt (once the hero Ozymandias and now the world's richest man).

After Blake's funeral, Doctor Manhattan is accused on national television of being a carcinogenic threat to friends and colleagues. When the US Government takes the accusations seriously, Manhattan instead exiles himself to Mars. In doing so he throws humanity into political turmoil, with the Soviet Union invading Afghanistan to capitalize on perceived American weakness. Rorschach's paranoid beliefs appear vindicated when Adrian Veidt narrowly survives an assassination attempt, and Rorschach himself is framed for murder and arrested.

Jaded with her relationship and no longer kept on retainer by the government, Juspeczyk stays with Dan Dreiberg. Dreiberg and Juspeczyk don their costumes as they grow closer together. With Dreiberg starting to believe some aspects of Rorschach's conspiracy theory, the pair take it upon themselves to free him from prison. Doctor Manhattan, after analyzing his own personal history, places the fate of his involvement with human affairs in Laurie's hands. He teleports her to Mars to make the case for emotional investment. During the course of the argument, Juspeczyk is forced to face come to terms with the fact that Blake was her true father, the discovery of which re-engages Doctor Manhattan's interest in humanity.

On Earth, Nite Owl and Rorschach continue to uncover the conspiracy surrounding the death of the Comedian. They discover evidence that their former comrade Adrian Veidt may be behind the plan. Confronting Veidt at his Antarctic retreat, the pair discover the far-reaching implications of the multiple mysteries. Veidt explains his underlying plan is to stave off impending nuclear war between the United States and Soviet Union and save humanity by faking an alien invasion in New York City. Finding his logic callous and abhorrent, Dreiberg and Rorschach attempt to stop him but discover that Veidt has already enacted his plan.

When Doctor Manhattan and Laurie arrive back to Earth, they are confronted by mass destruction and wide scale death in New York City. Doctor Manhattan notices his abilities are limited by tachyons emanating from the Antarctic, and the pair teleport there. They discover Veidt's involvement and confront him. Veidt shows everyone global news broadcast confirming the cessation of hostilities, leading almost all present agree that concealing the truth from the public is in the best interests of the world. Rorschach refuses to compromise and leaves, intent on revealing the truth. As he is making his way back, he is confronted by Manhattan. Rorschach tells Mahattan to kill him, and he is vaporized by the super-powered being. Dreiberg and Juspeczyk go into hiding under new identities, while Veidt asks Manhattan if he did the right thing. Manhattan tells Veidt "Nothing ever changes" before leaving Earth.

Characters

Main article: List of characters in Watchmen

With Watchmen, Alan Moore's intention was to create four or five "radically opposing ways" to perceive the world and to give readers of 'the story the privilege of determining which one was most morally comprehensible. Moore did not believe in the notion of "[cramming] regurgitated morals" down the readers' throats and instead sought to show heroes in an ambivalent light. Moore said, "What we wanted to do was show all of these people, warts and all. Show that even the worst of them had something going for them, and even the best of them had their flaws."^[8]

• Rorschach: A vigilante who wears a white mask that contains constantly shifting ink blots, he continues to fight crime in spite of his outlaw status. Moore said he was trying to "come up with this quintessential Steve Ditko character - someone who's got a funny name, whose surname begins with a 'K,' who's got an oddly designed mask". Moore based Rorschach on Ditko's creation Mr. A;^[11] Ditko's Charlton character the The Question also served as a template for creating Rorschach.^[1] Comics historian Bradford W. Wright described the character's worldview a "a set of black-and-white values that take many shapes but never mix into shades of gray, similar to the ink ink blot tests of his namesake". Rorschach sees existence as random and, according to Wright, this viewpoint leaves the character "free to 'scrawl [his] own design' on a 'morally blank world'".^[16] Moore said he did not foresee the death of Rorschach until the fourth issue when he realized that Rorschach's refusal to compromise would need to lead to the character's death.^[8]

• Doctor Manhattan: A superpowered being who is contracted by the United States government. Scientist Jon Osterman gained superpowers when he was caught in a nuclear explosion in 1959. Dr. Manhattan was based upon Charlton's Captain Atom, who in Moore's original proposed was surrounded by the shadow of nuclear threat. However, the writer found he could do more with Manhattan as a "kind of a quantum super-hero" than he could have with Captain Atom.^[1] In opposition to other superheroes that lacked scientific exploration of their origins, Moore sought to delve into nuclear physics and quantum physics in constructing the character of Dr. Manhattan. The writer believed that a character living in a quantum universe would not perceive time with a linear perspective, which would influence the character's perception of human affairs. Moore also wanted to avoid creating an emotionless character like Spock from Star Trek, so he sought for Dr. Manhattan to retain "human habits" and to grow away from them and humanity in general.^[8] Moore recalled that he was unsure if DC would allow the creators to depict the character as fully nude, which partially influenced how they portrayed the character.^[3]

• Dan Dreiberg / Nite Owl II: A retired vigilante superhero who utilizes owl-themed gadgets. Nite Owl was based on the Ted Kord version of the Blue Beetle, and Moore also incorporated an original version of the Nite Owl into Watchmen, similar to how Ted Kord had a predecessor.^[1] While Moore devised character notes for Gibbons to work from, the artist provided a name and comstume design he had created when he was twelve.^[17] Richard Reynolds noted in Super Heroes: A Modern Mythology that despite the character's Charlton roots, Nite Owl's modus operandi has more in common with the DC Comics character Batman.^[18] According to Klock, his civilian form "visually suggests an impotent, middle-aged Clark Kent."^[19]

• Laurie Juspeczyk / Silk Spectre II: The daughter of the first Silk Spectre, with whom she has a strained relationship. Silk Spectre was not based on a particular Charlton character; rather, Moore felt he needed a female hero in the cast and drew inspiration from heroines such as Black Canary and Phantom Lady.^[1]

• Adrian Veidt / Ozymandias: A superhero who draws inspiration from Alexander the Great, he has since retired and runs his own enterprise. Ozymandias was directly based on Peter Cannon, Thunderbolt, whom Moore had admired for using his full brain capacity as well as possessing full and mental control.^[1]

• Edward Blake / The Comedian: Already deceased when the story begins, his murder is what sets the plot in motion. The charater appears throughout the story in flashbacks and aspects of his personality are revealed by other charcters.^[20] The Comedian was based on Peacemaker, with elements of the Marvel Comics spy character Nick Fury added. Moore and Gibbons saw the Comedian as "a kind of Gordon Liddy character, only a much bigger, tougher guy".^[1] Richard Reynolds described the Comedian as "ruthless, cynical, and nihilistic, and yet capable of deeper insights than the others into the role of the costumed hero".^[20] Along with Dr. Manhattan, he is the only goverment-sacntioned superhero after the Keene Act banning superheroes is passed. Although he attempted to rape the first Silk Spectre in 1940, he is revealed to be Laurie's true father in issue eight.

Art and composition

Moore and Gibbons designed Watchmen to showcase the unique qualities of the comics medium and to highlight its particular strengths. In a 1986 interview, Moore said, "What I'd like to explore is the areas that comics succeed in where no other media is capable of operating", and emphasized this by stressing the differences between comics and film. Moore said that Watchmen was designed to be read "four or five times," with some links and allusions only becoming apparent to the reader after several readings.^[8] Gibbons described the series as "a comic about comics".^[13] Dave Gibbons notes that, "[a]s it progressed, Watchmen became much more about the telling than the tale itself. The main thrust of the story essentially hinges on what is called a macguffin, a gimmick... So really the plot itself is of no great consequence... it just really isn't the most interesting thing about Watchmen. As we actually came to tell the tale, that's where the real creativity came in."^[21]

Gibbons said he deliberately constructed the visual look of Watchmen so that each page would be identifiable as part of that particular series and "not some other comic book".^[22] He made a concerted effort to draw the characters in a manner different than that commonly seen in comics.^[22] The artist tried to draw the series with "a particular weight of line, using a hard, stiff pen that didn't have much modulation in terms of thick and thin" which he hoped "would differentiate it from the usual lush, fluid kind of comic book line".^[23] Gibbons felt that "Alan is more concerned with the social implications of [the presence of super-heroes] and I've gotten involved in the technical implications." The story's alternate world setting allowed Gibbons to change details of the American landscape, such as adding electric cars, slightly different buildings, and spark hydrants instead of fire hydrants, which Moore said, "perhaps gives the American readership a chance in some ways to see their own culture as an outsider world". Gibbons noted that the setting was liberating for him because he did not have to rely primarily on reference books.^[3]

Colorist John Higgins used a template that was "moodier" and favored secondary colors.^[10] Moore stated that he had also "always loved John's coloring, but always associated him with being an airbrush colorist", which Moore was not fond of; Higgins subsequently decided to color Watchmen in European-style flat color. Moore noted that the artist paid particular attention to lighting and subtle color changes; in issue six, Higgins began with "warm and cheerful" colors and throughout the issue gradually made it darker to give the story a dark and bleak feeling.^[3]

Structure

Structurally, certain aspects of Watchmen deviated from the norm in comic books at the time, particularly the panel layout and the coloring. Instead of panels of various sizes, the creators divided each page into a nine-panel grid.^[10] Gibbons favored the nine-panel grid system due to its "authority".^[23] Moore accepted the use of the nine-panel grid format, which "gave him a level of control over the storytelling he hadn't had previously", according to Gibbons. "There was this element of the pacing and visual impact that he could now predict and use to dramatic effect."^[24] Bhob Stewart of The Comics Journal mentioned to Gibbons in 1987, that the page layouts recalled those of EC comics, in addition to the art itself, which Stewart felt particularly echoed that of John Severin.^[13] Gibbons agreed that the echoing of the EC-style layouts "was a very deliberate thing", although altered enough to give the series a unique look.^[13] The artist also cited Steve Ditko's work on early issues of Amazing Spider-Man as an influence.^[25]

The cover of each issue serves as the first panel to the story. Gibbons said, "The cover of the Watchmen is in the real world and looks quite real, but it's starting to turn into a comic book, a portal to another dimension."^[3] The covers were designed as close-ups that focused on a single detail with no human elements present.^[8] The creators on occasion experimented with the layout of the issue contents. Gibbons drew issue five, titled "Fearful Symmetry", so the first page mirrors the last (in terms of frame disposition), with the following pages mirroring each other before the center-spread is (broadly) symmetrical in layout.^[3]

The end of each issue (save for issue twelve) contains supplemental prose pieces written by Moore. Among the contents are fictional book chapters, letters, reports, and articles written by various Watchmen characters. DC had trouble selling ad space in issues of Watchmen, which left an extra eight to nine pages per issue. DC planned to insert house ads and a longer letters column to fill the space, but editor Len Wein felt this would unfair to anyone who wrote in during the last four issues of the series. He decided to use the extra pages to fill out the series' backstory.^[12] Moore said, "By the time we got around to issue #3, #4, and so on, we thought that the book looked nice without a letters page. It looks less like a comic book, so we stuck with it."^[3]

Tales of the Black Freighter

Watchmen features a story within a story in the form of Tales of the Black Freighter, a fictional comic book from which scenes appear in issues three, five, eight, nine, ten, and eleven. The fictional comic's story, "Marooned", is read by a black youth in New York City.^[26] Moore and Gibbons conceived a pirate comic because they reasoned that since the characters of Watchmen experience superheroes in real life, "they probably wouldn't be at all interested in superhero comics."^[27] Gibbons suggested a pirate theme, and Moore agreed in part because he is "a big [Berthold] Brecht fan": the Black Freighter alludes to the song "Seeräuberjenny" ("Pirate Jenny") from Brecht (and Kurt Weill)'s Threepenny Opera.^[3] Moore theorized that since super-heroes existed, and existed as "objects of fear, loathing, and scorn, the main super-heroes quickly fell out of popularity in comic books, as we suggest. Mainly, genres like horror, science fiction, and piracy, particularly piracy, became prominent--with EC riding the crest of the wave."^[11] Moore felt that "the imagery of the whole pirate genre is so rich and dark that it provided a perfect counterpoint to the contemporary world of Watchmen".^[11] The writer expanded upon the premise so that its presentation in the story would add subtext and allegory.^[28] The supplemental article detailing the fictional history of Tales of the Black Freighter at the end of issue five credits real-life artist Joe Orlando as a major contributor to the series. Moore chose Orlando because he felt that if pirate stories were popular in the Watchmen universe that DC editor Julius Schwartz might have tried to lure the artist over to the company to draw a pirate comic book. Orlando conributed a drawing designed as if it were a page from the fake title to the supplemental piece.^[11]

"Marooned" tells the story of a young mariner cast adrift at sea, making his way to his hometown to warn its inhabitants of the coming of the Black Freighter. During his journey he is "forced by the urgency of his mission to shed one inhibition after another", including using the bodies of his dead shipmates as a make-shift raft and mistakenly killing innocent people as he makes his way to town. When he finally returns home, believing it to already be under the occupation of the ship's crew, he accidentally kills his own wife in their darkened home. Afterward, he returns to the sea shore, where he finds the Black Freighter; he swims out to sea and climbs aboard the ship.^[29] Moore has said that the story of The Black Freighter ends up specifically describing "the story of Adrian Veidt".^[27] Richard Reynolds states that just like Veidt, the protagonist of "Marooned" "hopes to stave off disaster by using the dead bodies of his former comrades as a means of reach his goal".^[30] Moore has said that "Marooned" can also be used as a counterpoint to other parts of the story, such as Rorschach's capture and Dr. Manhattan's self-exile on Mars.^[27]

Symbols and imagery

Moore named William S. Burroughs as one of his main influences during the conception of Watchmen. He admired Burroughs' use of "repeated symbols that would become laden with meaning" in Burroughs' only comic strip, "The Unspeakable Mr. Hart", which appeared in the British underground magazine Cyclops. Not every intertextual link in the series was planned by Moore, who remarked that "there's stuff in there Dave had put in that even I only noticed on the sixth or seventh read", while other "things... turned up in there by accident".^[8]

A blood-stained smiley face is a recurring image in the story in many forms. Gibbons created a smiley face badge as a element of the Comedian's in order to "lighten" the overall design, later adding a splash of blood to the badge to imply his murder. Gibbons said the creators came to regard the blood-stained smiley face as "a symbol for the whole series".^[23] Moore drew inspiration from psychological tests of behaviorism, explaining that the tests had presented the face as "a symbol of complete innocence". With the addition of a blood splash over the eye, the face's meaning was altered to become simultaneously radical and simple enough for the Watchmen first issue's cover to avoid human detail. Although most evocations of the central image were created on purpose, others were coincidental. Moore mentioned in particular that "the little plugs on the spark hydrants, if you turn them upside down, you discover a little smiley face".^[8]

Other symbols, images and allusion that appeared throughout the series often emerged unexpectedly. Moore mentioned that "[t]he whole thing with Watchmen has just been loads of these little bits of synchronicity popping up all over the place". Moore mentioned in a 1986 about how Gibbons discover a photograph of some craters and boulders on Mars in a book that resembled a smiley face, which they worked into an issue. Moore said, "We found a lot of these things started to generate themselves as if by magic", in particular citing an occasion where they decided to name a lock company the "Gordian Knot Lock Company".^[11]

Themes

The initial premise for the series was to examine what superheroes would be like "in a credible, real world". As the story became more complex, Moore said Watchmen became about "power and about the idea of the superman manifest within society".^[31] The writer stated in the introduction to the Graphitti hardcover that while writing Watchmen he was able to purge himself of his nostalgia for superheroes, and instead he found an interest in real human beings.^[1]

Bradford Wright described Watchmen as "Moore's obituary for the concept of heroes in general and superheroes in particular".^[15] Putting the story in a contemporary sociological context, Wright wrote that the characters of Watchmen were Moore's "admonition to those who trusted in 'heroes' and leaders to guard the world's fate". He added that to place faith in such icons was to give up personal responsibility to "the Reagans, Thatchers, and other 'Watchmen' of the world who supposed to 'rescue' us and perhaps lay waste to the planet in the process".^[32] Moore specifically stated in 1986 that he was writing Watchmen to be "not anti-Americanism, [but] anti-Reaganism," specifically believing that "at the moment a certain part of Reagan's America isn't scared. They think they're invulnerable."^[3] While Moore wanted to write about "power politics" and the "worrying" times he lived in, he stated the reason that the story was set in an alternate reality was because he was worried that readers would "switch off" if he attacked a leader they admired.^[4] Moore stated in 1986 that he "was consciously trying to do something that would make people feel uneasy."^[3]

Citing Watchmen as the point where the comic book medium "came of age", Iain Thomson wrote in his essay "Deconstructing the Hero" that the story accomplished this by "developing its heroes precisely in order to deconstruct the very idea of the hero and so encouraging us to reflect upon its significance from the many different angles of the shards left lying on the ground".^[33] Thomson stated that the heroes in Watchmen almost all share a nihilist outlook, and that Moore presents this outlook "as the simple, unvarinished truth" to "deconstruct the would-be hero's ultimate motivation, namely, to provide a secular salvation and so attain a mortal immortality".^[34] He wrote that the story "develops its heroes precisely in order to ask us if we would not in fac be better off without heroes".^[35] Thomson added that the story's deconstruction of the hero concept "suggests that perhaps the time for heroes has passed", which he feels distinguishes "this postmodern work" from the deconstructions of the hero in the existentialism movement.^[36]

Geoff Klock eschewed the term "deconstruction" in favor of describing Watchmen as a "revisionary superohero narrative." He considers Watchmen and Frank Miller's The Dark Knight Returns to be "the first instances... of [a] new kind of comic book... a first phase of development, the transition of the superhero from fantasy to literature."^[37] He elaborates by noting that "Alan Moore's realism... performs a kenosis towards comic book history... [which] does not ennoble and empower his characters... Rather, it sends a wave of disruption back through superhero history... devalue[ing] one of the basic superhero conventions by placing his masked crime fighters in a realistic world..."^[38] First and foremost, "Moore's exploration of the [often sexual] motives for costumed crimefighting sheds a disturbing light on past superhero stories, and forces the reader to reevaluate - to revision - every superhero in terms of Moore's kenosis - his emptying out of the tradition."^[39] The deconstructive nature of Watchmen is, Klock notes, played out on the page also as, "[l]ike Alan Moore's kenosis, [Veidt] must destroy, then reconstruct, in order to build 'a unity which would survive him.'"^[40]

Moore has expressed dismay that "[T]he gritty, deconstructivist postmodern superhero comic, as exemplified by Watchmen, [. . .] became a genre". He said in 2003, "[T]o some degree there has been, in the 15 years since Watchmen, an awful lot of the comics field devoted to these grim, pessimistic, nasty, violent stories which kind of use Watchmen to validate what are, in effect, often just some very nasty stories that don't have a lot to recommend them."^[41] Gibbon said that while readers "were left with the idea that it was a grim and gritty kind of thing", he said in his view the series was "a wonderful celebration of superheroes as much as anything else."^[42]

Publication and reception

When Moore and Gibbons turned in the first issue of Watchmen to DC, their peers were stunned. Gibbons recalled, "What really clinched it [...] was [writer/artist] Howard Chaykin, who doesn't give praise lightly, and who came up and said, 'Dave what you've done on Watchmen is fuckin' A.'"^[43] Speaking in 1986, Moore stated that "DC backed us all the way... and have been really supportive about even the most graphic excesses."^[3] To promote the series, DC Comics released a limited-edition badge ("button") display card set, featuring characters and images from the series. 10,000 sets of the four badges, including a replica of the blood-stained smiley face badge worn by The Comedian in the story, were released and sold.^[13] Mayfair Games a Watchmen module for its DC Heroes Role-playing Game series that was released before the series concluded. The module, which was endorsed by Moore, details to the series' backstory by portraying events that occurred in 1966.^[44] Moore stated in 1985 that if the maxiseries was well-received, he and Gibbons would possibly create a 12-issue prequel series called Minutemen featuring the 1940s superhero group from the story.^[9]

Watchmen was published in single-issue form over the course of 1986 and 1987. The miniseries was a commercial success, and its sales helped DC Comics briefly overtake its competitor Marvel Comics in the comic book direct market.^[32] The series' publishing schedule ran into delays because it was scheduled with three issues completed instead of the six Len Wein believed were necessary. Further delays were caused when later issues each took more than a month to complete.^[12] Bhob Stewart of the The Comics Journal noted in Spring 1987 that issue #12, which DC solicited for April 1987, "looks like it won't debut until July or August".^[11]

Watchmen received critical praise, both inside and outside of the comics industry. Time, which noted that the series was "by common assent the best of breed [sic]" of the new wave of comics published at the time, praised Watchmen as "a superlative feat of imagination, combining sci-fi, political satire, knowing evocations of comics past and bold reworkings of current graphic formats into a dysutopian mystery story."^[45] Watchmen received a Hugo Award in the Other Forms.^[46]

After the series concluded, the individual issues were collected and sold in trade paperback form. Along with Frank Miller's 1986 Batman: The Dark Knight Returns miniseries, Watchmen was marketed as a graphic novel, a term which allowed DC and other publishers to sell similar comic book collections in a way that associated them with novels, but disassociate them from comics.^[47] As a result of the publicity given to the books like the Watchmen trade in 1987, bookstore and public libraries began to devote special shelves to them. Subsequently, new comics series were commissioned on the basis of reprinting them in a collected form for these markets.^[48] In 1987, Graphitti Design produced a special limited edition, slipcased hardcover volume that contained 48 pages of bonus material, including the original proposal and concept art. In 2005, DC released Absolute Watchmen, an oversized slipcased hardcover edition of the series in DC's Absolute Edition format. Assembled under the supervision of Dave Gibbons, Absolute Watchmen included the Graphitti materials, as well as restored and recolored art by John Higgins.^[49] In 2008, DC released issues of Watchmen as "motion comics" on iTunes. Instead of a static image contained inside a panel, the issues are fully animated episodes with voiceovers.^[50]

Since its release, Watchmen has garnered praise as a seminal work of the comic book medium. In Art of the Comic Book: An Aesthetic History, Robert Harvey wrote that with Watchmen, Moore and Gibbons "had demonstrated as never before the capacity of the [comic book] medium to tell a sophisticated story in that could be engineered only in comics".^[51] In his review of the Absolute Edition of the collection, Dave Itzkoff of The New York Times wrote that the dark legacy of Watchmen, "one that Moore almost certainly never intended, whose DNA is encoded in the increasingly black inks and bleak storylines that have become the essential elements of the contemporary superhero comic book," is "a domain he has largely ceded to writers and artists who share his fascination with brutality but not his interest in its consequences, his eagerness to tear down old boundaries but not his drive to find new ones."^[52] In 1999, The Comics Journal ranked Watchmen at number 91 on its list of the Top 100 English-Language Comics of the 20th Century.^[53] Watchmen was the only graphic novel to appear on Time's 2005 list of "the 100 best English-language novels from 1923 to the present".^[54] Time critic Lev Grossman described the story was "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium."^[55] In 2008, Entertainment Weekly placed it at number 13 on its list of the best 50 novels printed in the last 25 years, describing it as "The greatest superhero story ever told and proof that comics are capable of smart, emotionally resonant narratives worthy of the label literature."^[56]

Disagreements about the ownership of the story ultimately led Alan Moore to sever ties with DC Comics.^[57] Not wanting to work under a work for hire arrangment, Moore and Gibbons had a reversion clause in their contract for Watchmen. Speaking at the 1985 San Diego Comicon, Moore said "The way it works, if I understand it, is that DC owns it for the time they're publishing it, and then it reverts to Dave and me, so we can make all the money from the Slurpee cups."^[9] For Watchmen, Alan Moore and Dave Gibbons received eight percent of the series' earnings.^[8] Moore explained in 1986 that his understanding was that when "DC have not used the characters for a year, they're ours."^[3] Both Moore and Gibbons said DC paid them "a substantial amount of money" to retain the rights. Moore added, "So basically they're not ours, but if DC is working with the characters in our interests then they might as well be. On the other hand, if the characters have outlived their natural life span and DC doesn't want to do anything with them, then after a year we've got them and we can do what we want with them, which I'm perfectly happy with."^[3] Moore says he left DC in 1989 due to the language in his contracts for Watchmen and his V for Vendetta series with artist David Lloyd. Moore felt the reversion clauses were ultimately meaningless, because DC did not intend to let the publications go out of print. He told The New York Times in 2006, "I said, 'Fair enough,' [...] 'You have managed to successfully swindle me, and so I will never work for you again.'"^[57] In 2000, Moore publically distanced himself from DC's plans for a fifteenth anniversary Watchmen hardcover release as well as a proposed line of action figures. While DC wanted to mend its relationship with the writer, Moore felt the company was not treating him fairly in regards to his America's Best Comics imprint (launched under the Wildstorm comic imprint, which was bought by DC in 1998; Moore was promised no direct interference by DC as part of the arrangement). Moore added, "As far as I'm concerned, the 15th anniversary of Watchmen is purely a 15th Anniversary of when DC managed to take the Watchmen property from me and Dave [Gibbons]."^[58]

Film adaptation

Main article: Watchmen (film)

There have been numerous attempts to make a film version Watchmen since 1986, when producers Lawrence Gordon and Joel Silver acquired film rights to the series for 20th Century Fox.^[59] Fox asked author Alan Moore to write a screenplay based on his story,^[60] but he declined, so the studio enlisted screenwriter Sam Hamm. Hamm took the liberty of re-writing Watchmen's complicated ending into a "more manageable" conclusion involving an assassination and a time paradox.^[60] Fox put the project into turnaround in 1991,^[61] and the project was moved to Warner Bros., where Terry Gilliam was attached to direct and Charles McKeown to rewrite it. They used the character Rorschach's diary as a voice-over and restored scenes from the comic book that Hamm had removed.^[60] Gilliam and Silver were only able to raise $25 million for the film (a quarter of the necessary budget) because their previous films had gone overbudget.^[60] Gilliam abandoned the project because he decided that Watchmen would have been unfilmable. "Reducing [the story] to a two or two-and-a-half hour film [...] seemed to me to take away the essence of what Watchmen is about," he said.^[62] After Warner Bros. dropped the project, Gordon invited Gilliam back to helm the film independently. The director again declined, believing that the comic book would be better directed as a five-hour miniseries.^[63]

In October 2001, Gordon partnered with Lloyd Levin and Universal Studios, hiring David Hayter to write and direct.^[64] Hayter and the producers left Universal due to creative differences,^[65] and Gordon and Levin expressed interest in setting up Watchmen at Revolution Studios. The project did not hold together at Revolution Studios and subsequently fell apart.^[66] In July 2004, it was announced Paramount Pictures would produce Watchmen, and they attached Darren Aronofsky to direct Hayter's script. Producers Gordon and Levin remained attached, collaborating with Aronofsky's producing partner, Eric Watson.^[67] Paul Greengrass replaced Aronofsky when he left to focus on The Fountain.^[68] Ultimately, Paramount placed Watchmen in turnaround.^[69]

In October 2005, Gordon and Levin met with Warner Bros. to develop the film there again.^[70] Impressed with Zack Snyder's work on 300, Warner Bros. approached him to direct an adaptation of Watchmen.^[71] Screenwriter Alex Tse drew from his favorite elements of Hayter's script,^[72] but also returned it to the original Cold War setting of the Watchmen comic. Similar to his approach to 300, Snyder used the comic book as a storyboard.^[73] He has extended the fight scenes,^[74] and added a subplot about energy resources to make the film more topical.^[75] Although he intended to stay faithful to the look of the characters in the comic, Snyder intended Nite Owl to look scarier, and wanted Ozymandias to possess authentic Egyptian attire and artifacts.^[73] After the trailer to the film premired in July 2008, DC Comics president Paul Levitz said due to the subsequent demand for copies of Watchmen, the company has printed more 900,000 copies of the trade collection, with the total annual print run expected to be over one million copies.^[76] The film is schedued for release in March 2009. The Tales of the Black Freighter segments will be adapted as a direct-to-video animated feature to be released on March 11, 2009.^[77] Gerard Butler, who starred in 300, voices the Captain in the film.^[78] The film itself is scheduled to be released on DVD four months after Tales of the Black Freighter, and Warner Bros. is speculated to be considering releasing an extended version, with the animated film edited back into the main picture.^[77]

Dave Gibbons became an advisor on Snyder's film, but Moore has refused to have his name attached to any film adaptations of his work.^[79] Moore has stated he has no interest in seeing Snyder's adaptation; he told Entertainment Weekly in 2008, "There are things that we did with Watchmen that could only work in a comic, and were indeed designed to show off things that other media can't".^[80] While Moore believes that David Hayter's screenplay was "as close as I could imagine anyone getting to Watchmen," he asserted he did not intend to see the film if it were made.^[81]

References

• Eury, Michael; Giordano, Dick. Dick Giordano: Changing Comics, One Day at a Time. TwoMorrows Publishing, 2003. ISBN 1893905276
• Harvey, Robert C. The Art of the Comic Book: An Aesthetic History. University Press of Mississippi, 1996. ISBN 0878057587
• Klock, Geoff. How to Read Superhero Comics and Why. Continuum, 2002. ISBN 0-8264-1419-2
• Salisbury, Mark (editor). Artists on Comics Art. Titan Books, 2000. ISBN 1-84023-186-6
• Reynolds, Richard. Super Heroes: A Modern Mythology. B. T. Batsford Ltd, 1992. ISBN 0-7134-6560-3
• Sabin, Roger. Comics, Comix and Graphic Novels. Phaidon Press, 1996; 2001. ISBN 0-7148-3993-0
• Thomson, Iain. "Deconstructing the Hero". Comics As Philosophy. Jeff McLaughlin (editor). University Press of Mississippi, 2005. ISBN 1-57806-794-4
• Wright, Bradford W. Comic Book Nation: The Transformation of Youth Culture in America. Johns Hopkins, 2001. ISBN 0-8018-7450-5

Notes

External links

• Watchmen at the Comic Book DB
• Watchmen Wiki
• Annotations by Doug Atkinson