Watchmen 33816 226173927 2008-07-17T04:11:51Z Dowolf 911784 /* Title */ type (perhaps this whole last paragraph should be removed, though. {{about||the upcoming film based on the comic book limited series|Watchmen (film)|other uses|Watchman}} {{Supercbbox| <!--Wikipedia:WikiProject Comics--> title = Watchmen | comic_color = background:#8080ff | image = Watchmencovers.png | caption = Cover art for the 1987 [[United States|U.S.]] (left) and [[United Kingdom|UK]]/[[Canada]] (right) collected editions of ''Watchmen'', published by [[DC Comics]] and [[Titan Books]]. | schedule = Monthly | format = [[Limited series]] | publisher = [[DC Comics]] | date = September [[1986]] – October [[1987]] | issues = 12 | past_current_color = background:#ff9275 | main_char_team = [[Rorschach (comics)|Rorschach]], Walter Kovacs<br />[[Nite-Owl]], Dan Dreiberg<br />[[Doctor Manhattan|Dr. Manhattan]], Jon Osterman<br />[[Silk Spectre]], Laurie Juspeczyk<br />[[Ozymandias (comics)|Ozymandias]], Adrian Veidt<br />[[Comedian (comics)|Comedian]] , Edward Blake | writers = [[Alan Moore]] | artists = [[Dave Gibbons]] | pencillers = | inkers = | colorists = [[John Higgins (comics)|John Higgins]] | creative_team_month = | creative_team_year = | creators = Alan Moore, Dave Gibbons |TPB=Watchmen |ISBN=0930289234 |TPB1=[[DC Comics Absolute Edition|Absolute Watchmen]] |ISBN1=1-4012-0713-8 }} '''''Watchmen''''' is a twelve-issue [[comic book]] [[limited series]] written by [[Alan Moore]] and illustrated by [[Dave Gibbons]]. Originally published by [[DC Comics]] as a monthly [[limited series]] from [[1986]] to [[1987]], it was later republished as a [[trade paperback (comics)|trade paperback]],<ref name="ISBN">{{cite book | title=Watchmen | publisher=Titan | id=ISBN 1-85286-024-3 | last=Moore | first=Alan | year=2006}}</ref> which popularized the "[[graphic novel]]" format. To date, ''Watchmen'' remains the only graphic novel to win a [[Hugo Award]],<ref name="Hugo Award"> [http://dpsinfo.com/awardweb/hugos/80s.html "AwardWeb: Hugo Award Winners"] - ''Watchmen'' listed as a winner of the [[Hugo Award]] (retrieved [[20 April]] [[2006]]) </ref> and is also the only graphic novel to appear on ''[[Time (magazine)|Time Magazine]]''<nowiki>'s</nowiki> 2005 list of "the 100 best English-language novels from 1923 to the present."<ref name="Time Magazine">[http://www.time.com/time/2005/100books/0,24459,watchmen,00.html "Time Magazine - ALL-TIME 100 Novels"] – A synopsis describing ''Watchmen'' (retrieved [[14 April]] [[2006]])</ref> ''Watchmen'' is set in 1985, in an [[Alternate history (fiction)|alternative history]] [[United States]] where costumed adventurers are real and the country is edging closer to a [[nuclear warfare|nuclear war]] with the [[Soviet Union]] (the [[Doomsday Clock]] is at five minutes to midnight). It tells the story of a group of past and present [[superhero]]es and the events surrounding the mysterious murder of one of their own. ''Watchmen'' depicts superheroes as real people who must confront ethical and personal issues, who struggle with [[neurosis|neuroses]] and failings, and who - with one notable exception - lack anything recognizable as [[List of comic book superpowers|super powers]]. ''Watchmen''<nowiki>'</nowiki>s [[Superhero#Deconstruction|deconstruction]] of the conventional superhero archetype, combined with its innovative adaptation of [[cinematic techniques]] and heavy use of [[symbolism]], multi-layered dialogue, and [[metafiction]], has influenced both comics and film. ==Background== Alan Moore, who wanted to transcend the perceptions of the comic book medium as something juvenile, created ''Watchmen'' as an attempt to make "a superhero ''[[Moby-Dick]]''; something that had that sort of weight, that sort of density."<ref name="Strange Things Interview"> [http://www.johncoulthart.com/feuilleton/?p=53 "Alan Moore Interview 1988"] Johncoulthart.com (retrieved [[6 June]] [[2006]])</ref> Moore also named [[William S. Burroughs]] as one of his "main influences" during the conception of ''Watchmen'' and admired Burroughs' use of "repeated symbols that would become laden with meaning" in Burroughs's one and only comic strip, which appeared in the British underground magazine ''Cyclops''.<ref name="Strange Things Interview"> [http://www.johncoulthart.com/feuilleton/?p=53 "Alan Moore Interview 1988"] Johncoulthart.com (retrieved [[6 June]] [[2006]])</ref> Moore and Gibbons originally conceived of a story that would take "familiar old-fashioned superheroes into a completely new realm."<ref name="Blather Moore Interview"> [http://www.blather.net/articles/amoore/watchmen2.html "The Alan Moore Interview"] Blather.net (retrieved [[6 June]] [[2006]])</ref> Initially, Moore looked towards the defunct [[MLJ Comics]] line of superheroes for inspiration. "I'd just started thinking about using the MLJ characters — the Archie super-heroes - just because they weren't being published at that time, and for all I knew, they might've been up for grabs. The initial concept would've had the 1960s-'70s rather lame version of [[The Shield (Archie)|the Shield]] being found dead in the harbor, and then you'd probably have various other characters, including [[Jack Kirby]]'s Private Strong, being drafted back in, and a murder mystery unfolding. I suppose I was just thinking, "That'd be a good way to start a comic book: have a famous super-hero found dead." As the mystery unraveled, we would be led deeper and deeper into the real heart of this super-hero's world, and show a reality that was very different to the general public image of the super-hero. So, that was the idea."<ref name="Comic Book Artists Interview"> [http://www.twomorrows.com/comicbookartist/articles/09moore.html "Comic Book Artists Alan Moore Interview"] (retrieved [[12 October]] [[2006]])</ref> [[Dick Giordano]], who had worked for [[Charlton Comics]], suggested using a cast of old Charlton characters that had recently been acquired by DC. However, the Charlton heroes were being slowly integrated into the normal DC continuity. Because Moore and Gibbons wanted to do a serious storyline in which some of the newly acquired characters would die and the world would be drastically altered by story's end, using the Charlton heroes was not feasible. Giordano then suggested that Moore and Gibbons simply start from scratch and create their own characters. So while certain characters in ''Watchmen'' are loosely based upon the Charlton characters (such as [[Dr. Manhattan]], who was inspired by [[Captain Atom]]; [[Rorschach (comics)|Rorschach]], who was based upon [[Question (comics)|the Question]]; and [[Nite Owl]], who was loosely based on the [[Blue Beetle]] as well as [[Batman]]), Moore decided to create characters that ultimately would only casually resemble their Charlton counterparts. Originally, Moore and Gibbons had enough plot for only six issues, so they compensated "by interspersing the more plot-driven issues with issues that gave kind of a biographical portrait of one of the main characters."<ref name="Locus Moore Interview"> [http://www.locusmag.com/2003/Issue07/Moore.html "In League with Alan Moore"] Locus Online (retrieved [[6 June]] [[2006]])</ref> During the process, Gibbons had a great deal of autonomy in developing the visual look of ''Watchmen'' and inserted details that Moore admits he did not notice until later, as ''Watchmen'' was written to be read and fully understood only after several readings.<ref name="Strange Things Interview"> [http://www.johncoulthart.com/feuilleton/?p=53 "Alan Moore Interview 1988"] Johncoulthart.com (retrieved [[6 June]] [[2006]])</ref> ==Composition== ===Title=== The title ''Watchmen'' is derived from the phrase ''[[Quis custodiet ipsos custodes?]]'', from [[Juvenal]]'s ''[[Satire VI]],'' "Against women" (c. AD 60–127), often translated as "Who watches the watchmen?" {{col-begin}} {{col-2}} <div style="font-size: 95%"> :''noui consilia et ueteres quaecumque monetis amici,'' :''"pone seram, cohibe".'' :''sed '''quis custodiet ipsos custodes''''' :''cauta est et ab illis incipit uxor'' </div> {{col-2}} <div style="font-size: 95%"> :"I hear always the admonishment of my friends: :'Bolt her in, and constrain her!' :But '''who will watch the watchmen'''? :The wife arranges accordingly, and begins with them." </div> {{col-end}} Juvenal was credited with exposing the vice of [[Culture of ancient Rome|Roman society]] through his [[satire]]s,<ref name="Satire"> [http://encarta.msn.com/text_761553428__1/Satire.html "MSN Encarta: Satire"] - A discussion on "Satire" (retrieved [[14 April]] [[2006]])</ref> and in a similar fashion, ''Watchmen'' examines the trope of the costumed adventurer or [[superhero]] by examining the human flaws of its "superhero" characters in lieu of the traditional comic book focus on its characters' strengths.<ref name="superhero"> [http://www.ninthart.com/printdisplay.php?article=711 "Ninth Art - Alan Moore"] - retrieved [[20 April]] [[2006]] </ref> In ''Watchmen'', Moore shows a "grittier" side to the conceived notion of the superhero.<ref name="The Craft Interview"> [http://www.enginecomics.co.uk/interviews/jan05/alanmoore.htm "The Craft — an interview with Alan Moore"] (retrieved [[14 April]] [[2006]])</ref> The [[graffiti]] "WHO WATCHES THE WATCHMEN" appears scrawled upon walls throughout [[New York City]] during the story (though the complete phrase is never seen; the sentence is always partially obscured or cut out of the panel, or, in one case, is unfinished by the graffiti artist). The graffiti occurs following the proposition of legislation which would require [[Registration acts (comics)|superhero registration]], depicting the change of public opinion towards the practice of [[vigilante|vigilantism]]. This viewpoint is exemplified by the character of the second Nite Owl, who asks, during an anti-vigilantism riot, "Who are we protecting [society] from?"<ref name="Watchmen pg17"> - ''Watchmen'' page 17, panel 6 (ISBN 0-930289-23-4)</ref> The Comedian glibly replies, "From themselves."<ref name="Watchmen pg17"> - ''Watchmen'' page 17, panel 7 (ISBN 0-930289-23-4)</ref> The title, therefore, refers to the ''idea'' of superheroes, police, the government, or any group of people who assume the responsibility of protecting others from themselves. It does not refer to any group of characters within the ''Watchmen'' universe. One of the characters, Dr. Manhattan (Jon Osterman) was also apprenticed to be a watchmaker until his father (inspired by the power of the newly invented atomic bomb) forces him into nuclear physics. ===Structure=== The graphic novel ''Watchmen'' is composed of twelve chapters. These chapters were originally separate issues of the [[limited series|comic book series]], which were released sequentially starting in 1986. Each chapter begins with a [[close-up]] of the first panel, originally the cover to each issue. Each chapter has an [[epigraph (literature)|epigraph]] from classical or pop literature, which appears in abbreviated form early on, and acts as the chapter's heading or title. The quote is given in its entirety at the end of the chapter, summarizing the events that have just occurred. ''Watchmen'' also contains many [[False document|fictional primary documents]], which are appended to the end of every chapter (except the final one), and are represented as being a part of the ''Watchmen'' universe's media. Biographies of retired costumed adventurers, such as the retrospective ''Under the Hood'' by the retired first Nite Owl, are used to help the reader understand the chronology of events, and also the changes in public opinion and representation of costumed adventurers through the decades. These documents are also used to reveal personal details of the costumed adventurers' private lives, such as Rorschach's arrest record and psychiatric report. Other documents used in this way include military reports and newspaper and magazine articles. ''Watchmen'''s structure has been analyzed by many reviewers, with ''The Friday Review'' calling ''Watchmen'' "a complex, multi-layered narrative, populated with well-realized characters and set against a background that is simultaneously believable and unfamiliar".<ref name="The Friday Review">[http://www.ninthart.com/display.php?article=714 "The Friday Review"] A review of ''Watchmen'' - (retrieved [[14 April]] [[2006]])</ref> ===Perspective=== When reading ''Watchmen'', the reader is mostly presented with only an [[Narrator|objective Point of View]], able to see all the characters' actions, facial expressions, and body language; but, in a move unusual for comic books of its time, Moore did not use any [[speech balloon|thought balloons]] to clarify his characters' thoughts,<ref name="Thought Balloon"> (a preference that was also demonstrated in [[V for Vendetta]])[http://www.fanboyradio.com/columns_view.php?c=26 "Fanboy Radio"] - a discussion on the [[speech balloon|thought balloon]] in comic books (retrieved [[20 April]] [[2006]] </ref> although several sections consist of long episodes that replay the characters' memories or include entries from diaries. The documents that are appended to the end of each chapter except the last, as well as media such as Rorschach's diary, help to elucidate characters' thoughts and feelings throughout the novel, without mentioning them explicitly.<ref name="Shotgun Review"> [http://www.shotgunreviews.com/comics/watchmen_graduate.html "Shotgun Reviews"] - an essay discussing ''Watchmen'' (retrieved [[20 April]] [[2006]]) </ref> [[grammatical person|First person perspective]] is also used, albeit less frequently. [[Flashback (literary technique)|Flashbacks]] are employed to help facilitate the reader's understanding of events occurring in the present, but also as a means of chronicling the differences in history between the ''Watchmen'' universe and our own. Thus, Dr. Manhattan's flashback to the [[Vietnam War]] highlights how both his and the Comedian's existence altered their world's history in comparison to our own.<ref name="Watchmen pg 19 & 20">''Watchmen pages 19 & 20 </ref> "Watchmen Observations" notes that ''Watchmen'' uses a three-by-three panel structure and that there is little variation in this format. When necessary panels are combined or divided to create larger or smaller panels while retaining the grid structure. The effect is to "reduce the scope for authorial voice – the reader has fewer clues how he/she should react to each scene; also, they heighten the feeling of realism and distance the novel from standard action comics."<ref name="Watchmen Observations"/> ==Story== [[Image:Watchmencharacters.jpg|250px|thumb|right|The cast of ''Watchmen''; Clockwise from top: [[Doctor Manhattan]], [[Comedian (comics)|the Comedian]], [[Ozymandias (comics)|Ozymandias]], [[Nite Owl#Nite Owl II|the second Nite-Owl]], [[Rorschach (comics)|Rorschach]], [[Captain Metropolis]], and [[Silk Spectre#Silk Spectre II|the second Silk Spectre]]. Art by [[Dave Gibbons]], coloured by John Higgins.]] {{see also|List of Watchmen characters}} ''Watchmen'' is set in an alternate reality that closely mirrors the contemporary world of the 1980s. The main difference is the existence of superheroes. Their presence in this history has altered the outcomes of real-world events such as the [[Vietnam War]] and presidency of [[Richard Nixon]].<ref>Wright, Bradford W. ''Comic Book Nation: The Transformation of Youth Culture in America''. Baltimore: Johns Hopkins, 2001. ISBN 0-8018-7450-5, p. 271</ref> Although the cast of ''Watchmen'' are commonly called "superheroes," the only character in the principal cast who possesses superhuman powers is Dr. Manhattan.<ref>Wright, p. 272</ref> In the comic, they refer to themselves as "costumed adventurers" or, less frequently considering its comparatively negative connotations, "masked vigilantes". As stated above, the cast of ''Watchmen'' was initially based upon old [[MLJ Comics]] and then Charlton Comics characters. The [[Comedian (comics)|Comedian]] (Edward Blake) is based on [[Peacemaker (comics)|Peacemaker]]. [[Doctor Manhattan]] (Jon Osterman) is derived from [[Captain Atom]], while the first and second [[Nite Owl]]s (Hollis Mason and Dan Dreiberg) are based upon [[Blue Beetle]]. [[Peter Cannon, Thunderbolt|Thunderbolt]] serves as the inspiration for [[Ozymandias (comics)|Ozymandias]] (Adrian Veidt), while the [[Question (comics)|Question]] and [[Mr. A]] do the same for [[Rorschach (comics)|Rorschach]] (Walter Kovacs). Finally, the first and second [[Silk Spectre]]s (Sally Jupiter and Laurie Juspeczyk) are roughly analogous to [[Nightshade (comics)|Nightshade]], but only in that they are female. Moore has stated that the Silk Spectres are more directly inspired by elements of [[Black Canary]] and [[Phantom Lady]].<ref name="Characters2">[http://www.twomorrows.com/comicbookartist/articles/09moore.html "Alan Moore Interview - Comic Book Artist #9"] — An interview with Alan Moore (retrieved [[14 April]] [[2006]])</ref><ref name="Characters">[http://surbrook.devermore.net/adaptionscomic/watchmen/watchmenintro.html "Watchmen - Introduction"] — An overview of the plot and characters in ''Watchmen'' (retrieved [[12 March]] [[2006]])</ref> ===Plot summary=== The novel opens with the [[October 1985]] murder of retired [[New York City|New York]]er Edward Blake. An introductory narrative and investigation by a pair of police detectives yields nothing conclusive: Blake, formerly affiliated with the United States government, might have been murdered by [[Communist]] [[Russians]], but this could be suicidal considering America's current superiority in the arms race; also, Blake kept himself in excellent physical shape, raising the question of who could have overpowered him in the first place. The detectives conclude that, above all, they want to keep the murder quiet, for fear of attracting the attention of the last "costumed adventurer," the vigilante Rorschach. Rorschach does investigate, however, and discovers that Blake was also a costumed hero: The Comedian, one of only two costumed adventurers who accepted government patronage under the [[Registration acts (comics)#Watchmen|Keene Act]], which otherwise forbade costumed adventuring from 1977 onward (hence Rorschach's status as a vigilante). Believing that Blake's murder is part of a greater plot to eliminate "masks," as Rorschach calls them, he warns others: Jon Osterman, AKA Dr. Manhattan (the other government-sponsored hero and the lynchpin of American nuclear superiority), his lover, Laurel Jane Juspeczyk (the second Silk Spectre), Daniel Dreiberg (the second Nite Owl and Rorschach's former partner), and Adrian Veidt (Ozymandias, reputedly the smartest man in the world, who retired in '75 and built a commercial empire). Within the fictional context of the story, the [[United States]] and the [[Soviet Union]] have been edging toward a [[nuclear warfare|nuclear showdown]] since the 1959 nuclear accident that transformed Osterman into the super-powered Dr. Manhattan. Dr. Manhattan had disrupted the [[mutually assured destruction]] doctrine by possessing the power to neutralize most of the Russian nukes in mid-air. With this trump card in hand, America has enjoyed a distinct strategic advantage, allowing it to defeat the Soviet Union in a series of [[proxy war]]s, including victory in [[Vietnam]]. Richard Nixon used this success and, unmarred by [[Watergate scandal|Watergate]] (in a flashback, the Comedian alludes to having assassinated [[Bob Woodward|Woodward]] and [[Carl Bernstein|Bernstein]]), encouraged a repeal of the [[22nd Amendment]], removing Presidential [[term limits]] allowing him to serve an unprecedented fifth term of office during the events of the novel. Dr. Manhattan's existence has accelerated the nuclear arms race and dramatically increased global tension. In seeming anticipation of global war, American society has assumed a general sense of [[fatalism]] about the future. Signs of this in daily life range from "Meltdowns" candy to [[graffiti]] inspired by the [[Atomic bombings of Hiroshima and Nagasaki|Hiroshima bombing]] to the designation of many buildings in New York as [[fallout shelter]]s. As Rorschach continues his investigation, he is [[Frameup|framed]], captured by the police, jailed and subjected to psychiatric examination. Meanwhile, Adrian Veidt is attacked by a gunman in an apparent assassination attempt that he survives. Dr. Manhattan, though supremely powerful, suffers from a decreasing ability to relate to normal humans. He accidentally upsets his lover, Laurie, and she leaves him. Soon afterwards, evidence comes to light that a number of his co-workers, including his former girlfriend Janey Slater, have come down with terminal [[cancer]]. Manhattan feels that he poses a threat to others, and he relocates himself to [[Mars]], in a chapter that reveals that he experiences time in a non-linear fashion. His break with the U.S. government prompts Soviet opportunism in the form of an invasion of [[Afghanistan]] (a delayed version of the [[Soviet war in Afghanistan|real-life event]]), greatly aggravating the global crisis and prompting Nixon to consider nuclear reprisals. These events are coloured by commentary from a bevy of secondary characters, such as a teenage reader of the ''Tales of the Black Freighter'' [[story within a story|comic-within-a-comic]], the [[newsstand]] vendor from whom he purchases said comics, the psychiatrist evaluating Rorschach, the police officers from the first chapter and others. Dan Dreiberg, who harbors an initially unrequited attraction to Laurie, offers her room and board, and when a [[tenement building]] catches fire, the two resume their costumed adventuring ways to save its residents. Dan has begun to believe in Rorschach's theory that an unidentified assassin is attacking former costumed adventurers and he insists they break Rorschach out of [[Sing Sing]] Penitentiary. Unfortunately, the news that formerly-retired adventurers have gone rogue leads to the [[hate crime|hate-crime]] killing of the still-retired first Nite Owl. Dr. Manhattan briefly returns to Earth to bring Laurie to Mars, as a discussion between them which he has foreseen is scheduled to take place at this time. In this conversation, she begs him to return to Earth and save humanity, an effort in which she is successful. This discussion also turns Laurie's life inside-out: she realizes that the Comedian, whom she hated for attempting to rape her mother, was later her mother's consensual lover and, in fact, Laurie's own biological father. Meanwhile, the reunited duo of Rorschach and Nite Owl prowl the New York underworld, searching for hints on who commissioned the hit on Veidt. The trail leads to none other that Veidt himself, who has been orchestrating events all along; the company which commissioned the hit, owned by Veidt, also employed every associate of Dr. Manhattan's that had developed cancer. Rorschach and Nite Owl travel to Veidt's [[Antarctic]] fortress, "Karnak," to confront him. In a lengthy [[monologue]], Adrian explains his early worship of [[Alexander the Great]], which later turned to admiration of [[Rameses II]] (whose Greek name was Ozymandias); his realization that the current arms race and disregard for the environment would lead to cataclysm by the 1990s; his belief that someone must save the world, and that only he could do so; and finally, that the crux of his plan is to [[teleport]] a genetically-engineered [[telepathy|telepathic]] monstrosity into New York City, a process that will kill the monster and cause it to emit a massive psychic shockwave that will kill half the city and drive many of the survivors insane. Adrian believes that America and Russia, perceiving an [[extraterrestrial]] threat, will abandon their arms race and unite in defense of their planet. The Comedian, Veidt also reveals, was killed because he happened to stumble upon the island where the creature was being bred; the murderer is revealed to be Veidt himself. Finally, Ozymandias establishes that he is not prey to one major weakness of arch-villains: the tendency to ramble about their plans ''before'' they are executed. At the end of his explanation he reveals that the monster has ''already'' been teleported as intended. At 11:25 PM [[Eastern Standard Time]], the monster arrives in New York, creating a cataclysmic shockwave which kills millions, among them most of the secondary characters. Laurie and Dr. Manhattan arrive in the devastated city and then teleport to Karnak, where Veidt watches the news and exults as his plan comes to fruition. Only these five former costumed adventurers know the truth of the matter, as Veidt has killed everyone else who knew anything incriminating about the project. Dan, Laurie and Jon agree to keep silent, sickened by the deaths of millions of New Yorkers but willing to countenance it for the sake of averting nuclear holocaust. Only Rorschach &mdash; who does not believe that [[the ends justify the means]], despite having hurt and killed any number of criminals in pursuit of justice &mdash; refuses to comply, and he prepares to return to America. Jon attempts to dissuade him, but Rorschach makes it clear that he will not compromise and demands that, if Jon wishes to stop him, Jon must kill him too. Jon does so, then returns to Veidt's fortress. After destroying Rorschach, Dr. Manhattan talks briefly to Veidt. He plans to leave Earth for the time being to go to another galaxy for unknown reasons (when asked about his newfound respect for life, he hints that ''"perhaps I'll create some"'') Professing his guilt and doubt, Adrian asks Jon for closure: "I did the right thing, didn't I? It all worked out in the end." Dr. Manhattan, standing within Veidt's [[orrery|mechanical model of the solar system]], smiles and replies cryptically: "In the end? Nothing ends, Adrian. Nothing ever ends." He then disappears, leaving the entire [[orrery]] framed by a residue appearing distinctly similar to an atomic [[mushroom cloud]]. The ending of ''Watchmen'' is deliberately ambiguous about the long-term success of Veidt's plan to lead the world to [[utopia]]. Prior to confronting Veidt, Rorschach had mailed his journal detailing his suspicions to ''The New Frontiersman'', a [[far right|far right-wing]] magazine he frequently read. The final page of the series shows a ''New Frontiersman'' editor contemplating which item from the "[[crank (person)|crank file]]" (to which Kovacs's journal had been consigned) to use as filler for the upcoming issue. The final line of the story is that of the editor's superior, indifferent as to which piece from the crank file is selected. He tells his subordinate - who has been established as not particularly bright - "I leave it entirely in your hands." ===''Tales of the Black Freighter''=== ''Tales of the Black Freighter'' is a [[comic book]] within the ''Watchmen'' universe, an example of [[post-modernism|post-modern]] [[metafiction]] and [[story within a story]] that also serves as a [[Foil (literature)|foil]] for the main plot. The specific issues shown in ''Watchmen'' chronicle a [[castaway]]'s increasingly desperate attempts to return home to warn his family of the impending arrival of the Black Freighter, a phantom [[Piracy|pirate ship]] which houses the souls of the damned. To escape the deserted island he uses the gas-bloated bodies of his former crewmates to float a raft, fending off sharks ''en route''; to infiltrate the (supposedly) pirate-controlled Davidstown he murders a trysting couple and returns dressed in the man's clothing; to save his family he attacks a night watchman who is patrolling the house. However, this watchman is actually his wife, and he soon realizes that there has been no attack and his efforts have only brought about his own destruction. The man returns to the beach to see the Black Freighter approaching, ready to claim the only life it was truly interested in. A pirate comic book was conceived by Moore because he and Gibbons thought that since the inhabitants of the ''Watchmen'' universe experience superheroes in real life, "they probably wouldn't be at all interested in superhero comics."<ref name="Moore Interview">[http://www.blather.net/articles/amoore/watchmen3.html "The Alan Moore Interview: Watchmen, microcosms and details"] - An interview with Alan Moore (retrieved [[14 April]] [[2006]])</ref> Gibbons suggested a pirate theme, and Moore agreed because he is "a big [[Bertolt Brecht|Brecht]] fan": the Black Freighter alludes to the song "Seeräuberjenny" from Brecht's ''[[The Threepenny Opera|Threepenny Opera]]''. The real-life artist [[Joe Orlando]] is credited in ''Watchmen'' as a major contributor to ''Tales of the Black Freighter''. The comic is read by a teenage boy while he sits beside a [[Newsagent|newsstand]], whose proprietor contemplates the latest headlines and discusses them with his customers. This juxtaposition of text and images from the [[story within a story]] and its [[Frame story|framing sequence]] uses the former to act as a parallel commentary to the latter&mdash;which is the plot of ''Watchmen'' itself.<ref name="Vendor"> [http://www.challengingdestiny.com/reviews/graphicnovels.htm "Review of Graphic Novels"] - A review which describes ''Tales of the Black Freighter'' (retrieved [[14 April]] [[2006]])</ref> Specifically, Moore has said that the story of ''The Black Freighter'' ends up describing "the story of [[Ozymandias (comics)|Adrian Veidt]]" (who admits, in his final scene, to having a recurring nightmare resembling a prominent image from ''The Black Freighter''). In addition, the comic can also be seen to relate "to Rorschach and his capture; it relates to the self-marooning of Dr. Manhattan on Mars; it can be used as a counterpoint to all these different parts of the story."<ref name="Moore Interview" /> Moore also intended the opening panel in Chapter III to reinforce the reader's identification with the [[Radioactive contamination|radioactive warning]] [[trefoil]]; Moore thought that the close-up of the trefoil in the first panel looked like a "stylised picture of a black ship". The trefoil then came to represent "a black ship against a yellow sky." ==Themes== Realism is a primary mode in ''Watchmen'', which features themes that relate superheroes to the [[human condition]]. Moore explores the fantastic world of costumed adventurers by raising various social issues that begin with the perception of [[authority]]. The novel's examination of trust in authority can be summed up in the phrase, "Who watches the Watchmen?" In a [[Max Weber|Weberian]] sense, authority is seldom endorsed morally by those who do not have it, with institutionalized authority being unchallenged simply due to intrinsic aspects of [[Power (sociology)|social power]]. The vigilantes in ''Watchmen'', before the Keene Act, represent superheroes as an institution, generally unquestioned until the issues of responsibility and [[culpability]] are raised. This questioning of authority mirrors the [[Opposition to the Vietnam War]] and the [[American Civil Rights Movement (1955-1968)|Civil Rights Movement]], both of which are discussed in ''Watchmen''. These ideas are also apparent in what post-modernist Gregory J. Golda calls the "anti-veneration" throughout the novel, illustrated by depicting superheroes as "cranky and inept old timers." Golda's anti-veneration "treats destructive societal norms as the direct responsibility of the viewer by attacking the principles society holds most dear. This lack of respect for the past is the crux of the ''Watchmen''."<ref name="Golda">{{cite web | last = Golda | first = Gregory J. | year = 1997 | month = March | url = http://www.psu.edu/dept/inart10_110/inart10/cmbk9pmgn.html | title = "Post-modern graphic novels" | accessdate = 2006-05-29 }}</ref></div> The subject of anti-veneration explores superheroes who are treated as veritable gods to be worshipped at one point (with Dr. Manhattan taking on the literal manifestation of a [[deity]]) and then are deconstructed in order to reveal flaws, which makes them less worthy of [[hero]] worship in the eyes of the public. In one of the [[epistolary]] essays at the end of each chapter, Osterman's former mentor, Milton Glass, repeats his first reaction to a newspaper reporter on learning of Dr. Manhattan's transformation: "God exists, and he's American"&mdash;a thought Glass confesses to be terrifying. (Interestingly, he reports being often misquoted as, "The Superman exists, and he's American.") Nonetheless, heroes can still be worthy within the ''valetism'' form of hero worship as theorised by [[essayist]] and [[historian]] [[Thomas Carlyle]] and expressed in ''Watchmen''.<ref name="Carlyle">{{cite web | last = Carlyle | first = Thomas | year = 1997 | month = November | url = http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=1091 | title = "Thomas Carlyle: On Heroes, Hero-Worship, and the Heroic in History" | accessdate = 2006-06-04 }}</ref> Carlyle, who was influential on early [[fascism|fascist]] philosophy, developed a concept of hero worship that was meant to overlook human flaws, as he contended that there was no need for "moral perfection."<ref name="Fascism"> [http://columbia.thefreedictionary.com/fascism "Fascism, Characteristics of Fascist Philosophy,"] - Columbia Encyclopedia: Fascism (retrieved [[4 June]] [[2006]])</ref> Along these lines, Rorschach dismisses what he terms as "moral lapses" when discussing the Comedian's past acts of sexual assault.<ref name="Watchmen Chapter 1"> - ''Watchmen'' chapter 1, page 21, panel 8 (ISBN 0-930289-23-4)</ref> These Carlyle-inspired ideas are depicted throughout ''Watchmen'', as Ozymandias, during a discussion with Rorschach, refers to the Comedian as "a Nazi."<ref>Ibid., Chapter 1, page 17, panel 5</ref> To further exemplify this issue of superheroes as fascists, the [[far right|extreme right-wing]] publication ''New Frontiersman'' appears to be the most ardent supporter of masked vigilantism with one headline reading, "Honor is like the Hawk: Sometimes it must go Hooded."<ref>Ibid., Chapter 8, page 29</ref> [[Apocalypticism]] and [[conspiracy theory]] are elements of both plot and mood in the series. The threat of nuclear annihilation is ever-present throughout the novel. According to an interpretation by director [[Darren Aronofsky]], "the whole motivation for Ozymandias is the impending doom of the world."<ref name="Hughes">{{cite web | last = Hughes | first = David | year = 2001 | month = March | url = http://www.crab.rutgers.edu/~barbares/20th%20C%20Fiction/Webposts/Who%20Watches%20the%20Watchmen,%20Hughes.pdf | title = "Who Watches the Watchmen?" | accessdate = 2006-06-01 }}</ref> The plot is driven by a central conspiracy. Rorschach is obsessed with conspiracy theories, and appears to derive much of his thinking from the ''New Frontiersman''. Aronofsky argues that ''Watchmen'''s treatment of the subject was pioneering, but has since "become so 'pop' because of ''[[JFK (film)|JFK]]'' and ''[[The X-Files]]'', it's entered pop culture consciousness, and Rorschach's vision is not that wacky anymore."<ref name="Hughes">{{cite web | last = Hughes | first = David | year = 2001 | month = March | url = http://www.crab.rutgers.edu/~barbares/20th%20C%20Fiction/Webposts/Who%20Watches%20the%20Watchmen,%20Hughes.pdf | title = "Who Watches the Watchmen?" | accessdate = 2006-06-01 }}</ref> Conspiracy theories invoke a lack of control on the part of characters like Rorschach and lead to the examination of other themes in ''Watchmen'', such as [[determinism]]. Gregory J. Golda describes the relationship between the philosophy of determinism and Dr. Manhattan, who "lives his now immortal life with a perception of time and events as unchangeable. He becomes the symbol of Determinism" and "lives his own life under this illusion of determinism[,] failing to see that there was a superior intellect that could outsmart even an 'all knowing' being."<ref name="Golda">{{cite web | last = Golda | first = Gregory J. | year = 1997 | month = March | url = http://www.psu.edu/dept/inart10_110/inart10/cmbk9pmgn.html | title = "Post-modern graphic novels" | accessdate = 2006-05-29 }}</ref></div> As a reference to the [[Watchmaker analogy|Watchmaker Analogy]] [[Determinism|Determinists]] use to describe God, Dr. Manhattan — who will become a kind of God — initially grows up as a watchmaker.<ref name="Watchmaker">{{cite web | last = Hildebrandt w | first = Ralf | year = 2003 | month = June | url = http://www.stahl.bau.tu-bs.de/~hildeb/watchmen/annotations/watchmen.04.shtml | title = "Watchmaker Analogy" | accessdate = 2006-10-31 }}</ref></div>. It is often Dr. Manhattan who discusses issues of determinism and free will, as when he explains to the second Silk Spectre, "We're all puppets, Laurie. I'm just a puppet who can see the strings."<ref name="Watchmen Chapter 9"> - ''Watchmen'' chapter 9, page 5, panel 4 (ISBN 0-930289-23-4)</ref> [[Megalomania]] is also addressed in ''Watchmen'', but not with conventional "villains." Instead, Ozymandias is presented as an idealist who looks to the past for inspiration so that he may better use his prodigious intellect to help mankind. At first idolizing [[Alexander the Great]], he later relates himself to [[Ramesses II|Ramses II]] (and adopts his Greek name ''[[Ozymandias]]'') and the golden age of the [[Pharaoh]]s.<ref name="Ozymandias">[http://www.celinus.com/index.php?cat=3 "Watchmen by Alan Moore"] - Celinus (retrieved [[5 June]] [[2006]])</ref> This has parallels with the Golden Age superhero [[Hawkman]], who believed himself to be the reincarnation of an Egyptian prince as well. A final theme that is addressed throughout the novel is human [[morality]], particularly in the contrast between [[moral absolutism|absolutism]], [[consequentialism]] and [[moral relativism]], and each of the masked adventurers seems to have a different take on how to behave in this regard. At the extreme end of absolutism is Rorschach. Rorschach is the pinnacle of this philosophy; he believes that all criminals should be punished for their crimes and often treats radically different types of criminal in very similar ways (for example, he executes both a serial rapist and a common mugger). He denies the impact of culture and context on his actions (a repeated mantra of his which appears several times during the book is "Not even in the face of [[Armageddon]]. Never compromise."). As [[Ozymandias (comics)|Ozymandias]] puts it: "I believe he's a man of great integrity, but he seems to view the world in very black and white, [[Manichean]] terms." At the other extreme in moral relativism is [[Comedian (comics)|The Comedian]]. While The Comedian's own moral code is cast into severe doubt throughout the novel ([[Doctor Manhattan]] describes him as "deliberately amoral," whereas Rorschach merely questions his "moral lapses"), he seems to be almost nihilistic at times. However, his tendencies are clearly demonstrated at the first meeting of the Crimebusters in 1966, when he explains why attempting to destroy [[organized crime]] rings is of no consequence: "inside thirty years the nukes are gonna be flyin' like maybugs..." However, at the finale of the novel, [[Ozymandias (comics)|Ozymandias]]'s views on morality are firmly established, and seem to be [[utilitarianism|justified by their outcomes]]: despite requiring the murder of three million New Yorkers and a hundred or so talented artists and scientists from around the globe, the deception of the entire world, and many other highly questionable acts, he has convinced most of the other main characters to accept the outcome of his actions. Only the parallel between his actions and the conclusion of the Black Freighter story serves to weaken this interpretation. ==Artwork== [[Penciller]], [[inker]], and [[letterer]] Dave Gibbons and [[colorist]] [[John Higgins (comics)|John Higgins]] are credited with giving life to the various characters in ''Watchmen''. They employed a variety of innovative techniques, a style that contained elements of the [[Golden Age of Comics]] and a deliberate attempt to inject realism. Gibbons, who had worked with Moore on previous occasions, including a notable 1985 ''[[Superman (comic book)|Superman]]'' story (Annual 11, "[[For the Man Who Has Everything]]"), avoided convention in his work and developed a storyboard-like style to present the dialogue written by Moore. Nearly every panel includes significant details of the story-line or visual motifs (such as triangles and pyramids) with themes important to the plot.<ref name="Symbols"> [http://www.stahl.bau.tu-bs.de/~hildeb/watchmen/annotations/watchmen.01.shtml "The Annotated Watchmen, Chapter 1: "At Midnight, All the Agents...""] - A panel by panel analysis of Watchmen by Ralf Hildebrandt (retrieved [[2 June]] [[2006]])</ref> Gregory J. Golda describes the artwork as "both a tribute to the Gold and Silver Age style[s] of super hero comics." He also writes that there "are symbols embedded in this work that require a book to fully discover."<ref name="Golda">{{cite web | last = Golda | first = Gregory J. | year = 1997 | month = March | url = http://www.psu.edu/dept/inart10_110/inart10/cmbk9pmgn.html | title = "Post-modern graphic novels" | accessdate = 2006-05-29 }}</ref> Gibbons used other cinematic techniques such as having two main characters somewhat obscured by their surroundings and background characters in order to avoid the usual extreme focus upon the primary characters prevalent in most comic book art.<ref name="IGN Review"> [http://comics.ign.com/articles/666/666025p1.html "Absolute Watchmen Review, The greatest comic-book ever written has been made even better."] - Review by Hilary Goldstein (retrieved [[2 June]] [[2006]])</ref> Moreover, ''Watchmen'' rarely uses [[motion lines]] to indicate motion, another technique often utilised in the comic book industry. In ''Watchmen'', motion lines are only used to indicate small actions, and are not utilised in fight scenes. Instead, Gibbons uses "posture and blood" to highlight the motion and movement of the characters, which "[adds] to the feel of realism and [limits the] authorial voice"<ref name="Watchmen Observations"> [http://www.ocf.berkeley.edu/~sjblatt/watchmen/o.html "Watchmen Observations"] - retrieved ([[22 April]] [[2006]])</ref> Also missing are the written, [[onomatopoeia|onomatopoeic]] sound effects that are a traditional comic book storytelling technique. Gibbons described his design of the characters as his own, derived from Moore's character notes. Moore credits Gibbons with coming up with many of the signature symbols in ''Watchmen'', including the iconic [[Smiley|smiley face]], which was "derived from behavioural psychology tests. They tried to find the simplest abstraction that would make a baby smile."<ref name="Strange Things Interview"> [http://www.johncoulthart.com/feuilleton/?p=53 "Alan Moore Interview 1988"] Johncoulthart.com (retrieved [[6 June]] [[2006]])</ref> Contrary to popular opinion, Gibbons contends that Rorschach's subtle body language and not his [[Rorschach inkblot test|Rorschach test]]-inspired mask are the real indications of his mood.<ref name="Gibbons seq. interview"> [http://www.sequentialtart.com/archive/july99/gibbons.shtml "Sequential Tart, Volume II, Issue 7, July 1999, 'Under the Hood, Dave Gibbons'"] - Interview with Dave Gibbons by Christy Kallies (retrieved [[2 June]] [[2006]])</ref> In addition, John Higgins' colouring technique was to rely upon primary colors, again indicative of the Golden Age style, rather than a wider colour selection.<ref name="BBC Book Review"> [http://www.bbc.co.uk/dna/collective/A2594838 "BBC Book Review, May 2004, 'Midnight In The Garden Of Good And Evil'"] - Watchmen reviewed by DJ Bu & The Astrons (retrieved [[2 June]] [[2006]])</ref> Gibbons, who had no formal art training, notes among his inspirations [[Norman Rockwell]], who was sometimes described as an illustrator with an idealized portraiture style, and [[Jack Kirby]].<ref name="Gibbons seq. interview" /> The art, while deriving inspiration from various predecessors including [[Will Eisner]] and [[Wally Wood]] (also named by Gibbons as major influences), is at once original in its execution and can be seen as a precursor to later 'realistic' comic book artists such as [[Alex Ross]]. ==Allusions to iconography, art, and history== The blood-stained [[smiley face]] is a recurrent image in the story, either shown in its original form (badge worn by the Comedian, the Comedian's face when he is cut by a Vietnamese woman, a t-shirt stained with ketchup) or suggested&mdash;in Jon Osterman and Janey Slater's old picture at the carnival, it can be seen in the background, made by a balloon and its cord, a tower and a roller coaster section; by craters on the surface of Mars (the [[Galle (Martian crater)|Galle crater]]), where Dr. Manhattan's vehicle crumbles; when Rorschach burns a bully's eye with a cigarette; at the beginning of chapter 7, the reflection of Dan's ship, dust is wiped off the eye; in Chapter 5, by a bloodstained poster of Buddha on the back of the door in the room where police officers are investigating the grisly murder of two children by their own father; by an electrical plug spilled with blood, in a vehicle charger near the newsstand; in a radar screen in a military base by the time of president Nixon's visit; in NY streets just before the teleport, by the moon and buildings; the Jack O' Lantern made by Hollis; the shark in the ''Tales of the Black Freighter'', which is wounded in the eye. A power plug on a power outlet is stained with blood on the NY streets after the Squid arrival, at the beginning of Chapter 11, a splotch of melted snow on the window of Veidt's Antarctic vivarium is shaped like the blood stain. The image is also seen when the two Bernards embrace each other as half of New York City is destroyed. The covers on the original issues have a clock which advances one minute per issue towards twelve o'clock (midnight). This is a reference to the [[Doomsday Clock]] maintained by the Board of Directors of the ''[[Bulletin of the Atomic Scientists]]'' at the [[University of Chicago]]. A newspaper can be seen on top of Adrian Veidt's desk referring to this clock being set at "Five Minutes to Midnight". Chapter 5, entitled ''Fearful Symmetry'' is drawn so the first page mirrors the last (in terms of frame disposition), the second mirrors the one before the last and so on. The first frame on the first page and the last frame on the last page are identical. There are some "symmetry" allusions in the chapter, as when we see a poster of [[Aoxomoxoa]] (an [[palindrome]]/[[ambigram]]), an album by the [[Grateful Dead]]. But more so, given Moore's interests in [[narrative]] structure, [[Magic (paranormal)|magic]] and [[United Kingdom|British]] history, it is likely that "Fearful Symmetry" is a reference to the 1947 book of the same name by [[Northrop Frye]], one of the most brilliant [[literary critic]]s and theorists of the twentieth century. In the book, Frye revealed the hidden system upon which [[William Blake]]'s works were based -- those derived from [[John Milton]]'s ''[[Paradise Lost]]'' and the [[Bible]]. Once dismissed on the grounds that their author was considered mad for his idiosyncratic views, [[William Blake|Blake]]'s works were reassessed in light of Frye's criticism. The title is a reference to Blake's poem "[[The Tyger]]" (c. 1794) which includes the lines: "Tyger! Tyger! burning bright / In the forests of the night, / What immortal hand or eye / Could frame thy fearful symmetry?"<ref>Text of "The Tyger" available at [[s:The Tyger|Wikisource]].</ref> There are many references to ''watches'' and clocks throughout the story, as Jon Osterman being trained initially as a [[watchmaker]], Janey Slater's watch (which causes the test vault accident), the street watch seller (who dies holding a watch showing 11:25), the many watches showing "11:25" shortly before the "Alien" teleport, the destroyed watch on the cover of ''Time'' magazine, Veidt's [[orrery]]. Adrian Veidt's teleportation technique uses [[tachyons]], hypothetical particles with space-like four-momentum and imaginary proper ''time''. There are also almost as many clocks set to 11:55, a reference to the setting of the Doomsday Clock. In addition, the recurring smiley button also resembles a clock face, with the blood stain appearing as a hand on the 55-minute position. Amid the debris on the floor in Hollis Mason's home is a copy of the novel ''[[Gladiator (novel)|Gladiator]]'' by Philip Wylie, which is thought to have inspired the creation of [[Superman]]. There are many ads for and even one discussion about the movie ''[[The Day the Earth Stood Still (1951 film)|The Day the Earth Stood Still]]''. Adrian Veidt mentions the fact that [[Richard Nixon]] was in [[Dallas]] on the day President [[John F. Kennedy]] was murdered. This actually happened. In the same occasion, someone comments on ''[[Washington Post]]'' journalists [[Bob Woodward]] and [[Carl Bernstein]] being found dead, resulting in the [[Watergate scandal]] being violently avoided in the universe of ''Watchmen'', where Nixon was re-elected many times over. [[Kitty Genovese]], whose story is told by Rorschach, was a real life person. Interestingly, in another [[Alan Moore]] work, ''[[V for Vendetta]]'', [[Stanley Milgram]]'s infamous conformity experiments are explicitly referenced, which are considered by many psychologists to be a major influence on Darley and Latane's later experiments concerning the [[bystander effect]] (which were inspired by the behaviour of Kitty Genovese's neighbours witnessing her rape and murder). ''[[Nova Express]]'', Adrian Veidt's magazine which accuses Dr. Manhattan of causing cancer, is the title of a novel by [[William Burroughs]]. Burroughs' "cut-up" technique is mentioned by Veidt when watching multiple TV screens. The Black Freighter and the last lines of Rorschach's opening monologue reference the song ''Pirate Jenny'' (Seeräuberjenny) from [[Bertolt Brecht]]'s [[The Threepenny Opera]]. A pivotal scene where Rorschach handcuffs a man to a post, gives him a hacksaw, and then burns the man to death seems to be taken directly from the 1980 Australian film [[Mad Max]], where the hero, [[Max Rockatansky]] does exactly the same thing in the last minutes of the film. ==Reception== ''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.<ref>Wright, p. 273</ref> ''Watchmen'' has also received several awards spanning different categories and genres including: [[Kirby Award]]s for ''Best Finite Series'', ''Best New Series'', ''Best Writer'', and ''Best Writer/Artist'', [[Eisner Award]]s for ''Best Finite Series'', ''Best Graphic Album'', ''Best Writer'', and ''Best Writer/Artist'', and a [[Hugo Award]] for ''Other Forms''.<ref name="HugoAward">[http://www.hugo.org/hc.html#of "Hugo Awards Official Web Site"] - Hugo Awards web site - (retrieved [[10 January]] [[2007]])</ref> ''Watchmen'' received praise from those working within the comic book industry, as well as external reviewers, for its [[avant-garde]] portrayal of the traditional superhero. ''Watchmen'' became known as a novel which allowed the comic book to be recognised as "great art," rather than a [[lowbrow]] or unsophisticated [[genre]].<ref name="PopImage">[http://www.popimage.com/industrial/090600eddies.html "PopImage"] - retrieved ([[22 April]] [[2006]])</ref> ''Time'' magazine, 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 dystopian mystery story."<ref>Cocks, Jay. "[http://www.time.com/time/magazine/article/0,9171,966542-2,00.html The Passing of Pow! and Blam!]" (2 0f 2). ''Time''. [[January 25]], [[1988]].</ref> Don Markstein of ''Toonopedia'' wrote that, "What ''[[The Maltese Falcon]]'' did for [[detective fiction|detective stories]] and ''[[Shane (film)|Shane]]'' did for [[Western (genre)|Westerns]], ''Watchmen'' did for superheroes. It transcended its origins in what was previously considered a lowbrow form of [[fiction]]."<ref name="toonopedia">[http://www.toonopedia.com/watchmen.htm "Don Markstein's Toonopedia: Watchmen"] - Markstein's Comments on Toonopedia.com - (retrieved [[12 March]] [[2006]])</ref> ''Watchmen'''s status as a seminal book in the comic book field was recently boosted when acclaimed comic book author [[Stan Lee]], responsible for creating the majority of Marvel Comics most successful characters, called it his "all-time favorite comic book outside of Marvel."<ref name="Revolution SF"> [http://www.revolutionsf.com/article.html?id=178 "RevolutionSF: Watchmen] - A review of ''Watchmen'' (retrieved [[14 April]] [[2006]])</ref> A review by ''"Revolution SF"'' goes on to say that ''Watchmen'' is "one of the most important stories in comic book history..."<ref name="Revolution SF" /> In 2005, ''Time'' placed ''Watchmen'' on its list of the 100 Greatest English Language Novels from 1923 to the Present, stating that it was "told with ruthless psychological realism, in fugal, overlapping plotlines and gorgeous, cinematic panels rich with repeating motifs...a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium." ''Watchmen'' was the only graphic novel to be listed.<ref name="Time Magazine" /> It was also listed in Entertainment Weekly's 1000th issue as one of the best 50 novels printed in the last 25 years (#13). There has also been criticism of ''Watchmen''. Tom Shone questioned the complexity of ''Watchmen'', as well as Gibbons' involvement in it, and criticized both the long-term influence of the work and Alan Moore generally, asking "did the comic book have to 'grow up'?".<ref name="Slate">{{cite web | last = Shone | first = Tom | authorlink = | coauthors = | date = [[2005-11-30]] | url = http://www.slate.com/id/2131269/ | title = Fighting Evil, Quoting Nietzsche: Did the comic book really need to grow up? | publisher = Slate | language = | accessdate = 2006-04-14 }}</ref> Moore himself acknowledged that the plot closely resembles an ''[[Outer Limits]]'' episode called "[[The Architects of Fear]]". According to him, while he was around issue 10, he came across a guide to cult television that featured this episode and was surprised by its similarity to his already planned ending. A belated nod to "The Architects of Fear" is made near the end of ''Watchmen'' <ref>[http://www.ew.com/ew/article/0,,1120854_3,00.html Watchmen: An Oral History | Watchmen | Book News | News | Entertainment Weekly | 3<!-- Bot generated title -->]</ref>. He also accepted responsibility for the proliferation of "dark" comic stories, featuring classic characters, that followed ''Watchmen''. 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."<ref>Itzkoff, Dave. "[http://www.nytimes.com/2005/11/20/books/review/20itzkoff.html?_r=1&oref=slogin Behind the Mask]." ''The New York Times''. [[November 20]], [[2005]].</ref> ==Editions== Originally published as twelve individual issues, ''Watchmen'' was later reprinted as a graphic novel (ISBN 0-930289-23-4). As it was released, it is often referred to as a Maxi-series, as it contains a set of directly related issues that take place over a long publication period.<ref name="DCG">{{cite book | title=The DC Comics Guide to Writing Comics| publisher=Watson-Guptill | id=ISBN 0823010279 | last=O'Neil | first=Dennis | year=2001}}</ref> A special hardcover edition was produced by Graphitti Designs in 1987, containing 48 pages of bonus material, including the original proposal and concept art. On [[5 October]] [[2005]], DC released ''Absolute Watchmen'' (ISBN 1-4012-0713-8), a hardcover edition of ''Watchmen'' in the [[DC Comics Absolute Editions|Absolute Edition]] series, to celebrate its upcoming 20th anniversary. The book features a slipcase as well as restored and recoloured art by John Higgins at [[Wildstorm FX]], under the direction of Dave Gibbons. The new book also includes the bonus material from the Graphitti edition, marking the first time this material has been widely available. Another hardcover edition (ISBN 1-401219-26-8) is to be released November 4, 2008.<ref>{{cite web|url=http://www.amazon.com/Watchmen-Dave-Gibbons/dp/1401219268/|title=Watchmen (Hardcover)|publisher=Amazon.com|accessdate=2008-04-22}}</ref> ==Merchandising and adaptations== ===Roleplaying Game=== In 1987, [[Mayfair Games]] produced two adventure modules and one supplemental based on ''Watchmen'' for its ''[[DC Heroes]]'' [[role-playing game]]. These modules, entitled "Who Watches the Watchmen?" and "Taking out the Trash", included background information about the fictional ''Watchmen'' universe, approved by [[Alan Moore]]. The supplemental, "[[Watchmen Sourcebook]]"(1990) provided additional background information on the Watchmen universe and its characters. In 1987, [[Grenadier Miniatures]] produced a metal figure set of Watchmen miniatures to be used exclusively with the ''[[DC Heroes]]'' [[role-playing game]]. The Watchmen metal figure set included lead miniatures of the Comedian, Nite Owl, Silk Spectre, Ozymandias, Rorschach, Captain Metropolis, Dr. Manhattan, Hooded Justice, Moloch, and the Archimedes ship. Moore's approval made these publications valuable to fans as the only outside source of supplemental information about the characters in the story (especially minor characters, such as the Minutemen and [[Moloch (comics)|Moloch]]).<ref name="Mayfair">[http://www.capnwacky.com/rj/watchmen/noncomic.html "The Annotated Watchmen"] - information regarding [[Mayfair Games]]' release of ''Watchmen'' related material.</ref> ===Limited Edition Tie-Ins=== DC Comics also released a limited edition badge set featuring characters and images from the series, including a replica of the blood-stained smiley face badge worn by The Comedian that was featured so prominently in the story. It is claimed that this badge set caused friction between Moore and DC Comics — DC claimed that they were a "promotional item" and not merchandising, and therefore the company did not have to pay Moore or Gibbons royalties on the sets.<ref name=Merchandise">[http://peterdavid.malibulist.com/archives/003869.html "PeterDavid.net"] — a personal [[blog]] entry where fans discuss [[Alan Moore]]</ref> In addition to the badge set, DC also produced a Watchmen "Smiley" logo watch. In 1988 DC Comics released the Watchmen Portfolio, a slip cased set of 12 high quality prints comprising 6 French covers and 6 promotional posters. Each print is 25 cm by 38 cm. Portfolios fetch as much as $100 on ebay.com. ===DC Direct Figures=== [[DC Direct]] was going to produce a line of Watchmen action figures, which made it to the prototype stage before being cancelled. (The line was to include Dr. Manhattan, Silk Spectre II and The Comedian.) Neither party has stated the exact reason for the withdrawal of the figures, DC Comics did say in a press release that they would not go forward without the author's approval.<ref name="DC Statement">[http://www.comicscontinuum.com/stories/0008/25/ "Comics Continuum"] DC Comics statement regarding [[Alan Moore]]'s refusal to be involved with their proposed line of [[action figure]]s - (retrieved [[15 April]] [[2006]]). </ref></div> ===Film=== The first adaptation of ''[[Watchmen]]'' ever filmed for the screen is one of the scenes in the documentary feature film ''[[The Mindscape of Alan Moore]]'' and was shot in early 2002. The dramatization contains a Rorschach voice over, read by Alan Moore. Zack Snyder mentioned in an interview on aintitcool that he would use this scene as reference material to set the mood in the Hollywood adaptation. {{main|Watchmen (film)}} [[Warner Bros.]] confirmed in June 2006 that [[Zack Snyder]] would direct a film adaptation of ''Watchmen'',<ref name="Reuters report">[http://today.reuters.com/news/NewsArticle.aspx?type=filmNews&storyID=2006-06-23T072459Z_01_N23183191_RTRIDST_0_FILM-WATCHMEN-DC.XML "Zack Snyder attached to direct Watchmen"]</ref> which is set for release on [[March 6]] [[2009]].<ref>{{cite news | author = Edward Douglas | title = Zack Snyder Talks Watchmen! | publisher = Comingsoon.net | date = [[2007-07-27]] | url = http://www.superherohype.com/news/watchmennews.php?id=6086 | accessdate=2007-07-27}}</ref> The cast includes [[Patrick Wilson (actor)|Patrick Wilson]], [[Malin Akerman]], [[Jackie Earle Haley]], [[Billy Crudup]], [[Matthew Goode]] and [[Jeffrey Dean Morgan]].<ref>{{cite news | author=Borys Kit | url=http://www.hollywoodreporter.com/hr/content_display/news/e3ie88dcf13294612e0d5010ddce2a351f1 | title='Watchmen' powering up with castings | publisher=[[The Hollywood Reporter]] | date=[[2007-07-26]] | accessdate=2007-07-26 }}</ref> Previously, directors including [[Paul Greengrass]], [[Terry Gilliam]],<ref name="Gilliam">[http://www.mtv.com/shared/movies/interviews/m/moore_alan_060315/ "Alan Moore: The Last Angry Man"] - Interview with Moore for MTV.com that covers his views of adapting Watchmen into a [[Watchmen (film)|film]] (retrieved [[August 23]] [[2006]])</ref> [[Darren Aronofsky]],<ref>{{cite news | author=Borys Kit | url=http://www.hollywoodreporter.com/thr/film/brief_display.jsp?vnu_content_id=1000584187 | title='Watchmen' unmasked for Par, Aronofsky | publisher=[[The Hollywood Reporter]] | date=[[2004-07-23]] | accessdate=2006-09-23 }}</ref> and screenwriter [[David Hayter]] have been attached to the project over the years.<ref>{{cite news | author=Stax | url=http://filmforce.ign.com/articles/315/315547p1.html | title=David Hayter Watches ''The Watchmen'' | publisher=[[IGN]] | date=[[2001-10-27]] | accessdate=2006-09-23 }}</ref> 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.<ref name="EW article">[http://www.ew.com/ew/report/0,6115,1120854_1_0_,00.html "Watchmen: An Oral History"] - Provides commentary from Moore, Gibbons and others regarding the comic and [[Watchmen (film)|film]] (retrieved [[May 28]], [[2006]])</ref> Moore "refuses to have his name attached to any...films."<ref name="Alan Moore - Films"> [http://www.publishersweekly.com/article/CA604654.html?pubdate=5%2F30%2F2005&display=archive "Moore Leaves DC for Top Shelf"] - An article speaking of [[Alan Moore]]'s decision to leave [[DC Comics]] (retrieved [[15 April]] [[2006]])</ref> However, Gibbons has stated he feels Snyder can make a good film and is supporting him.<ref>{{cite news | author = Ally Melling | title = DAVE GIBBONS PAINTS THE TOWN YELLOW | publisher = [[Wizard (magazine)|Wizard]] | date = [[2007-07-11]] | url = http://www.wizarduniverse.com/magazine/wizard/005126294.cfm | accessdate=2007-07-29}}</ref> ==Interviews== The DVD of the documentary feature film ''[[The Mindscape of Alan Moore]]'' contains an exclusive bonus interview with the artist [[Dave Gibbons]], elaborately detailing the collaboration with [[Alan Moore]]. ==Footnotes and references== {{reflist|2}} ==External links== {{wikiquote}} {{Spoken Wikipedia-3|2006-08-17|Watchmen_1.ogg|Watchmen_2.ogg|Watchmen_3.ogg}} *[http://www.capnwacky.com/rj/watchmen/chapter1.html Doug Atkinson's Annotations] *{{comicbookdb|type=title|id=28|title=Watchmen}} *[http://www.toonopedia.com/watchmen.htm Toonopedia on Watchmen] *[http://www.alanmooresenhordocaos.hpg.ig.com.br/artigos10.htm Samuel Effron's Analysis] *[http://spacelandpark.com/?spaceland=home.tags&t=watchmen ''Watchmen'' Cover Gallery] *[http://www.yeray-muaddib.com/watchmen/ Spanish article about the comic, its authors and its repercussions] *[http://www.twomorrows.com/comicbookartist/articles/09moore.html Alan Moore Interview] *[http://iat.ubalt.edu/moulthrop/hypertexts/wm/ Watching the Detectives]: An Internet Companion for Readers of ''Watchmen'' *[http://www.crinklink.com/blackfreighter/index.html ''Tales Of The Black Freighter'': "Marooned" (The Reconstruction)], an attempt to recreate the comic as it may have looked. *[http://www.comicbookresources.com/columns/index.cgi?column=litg&article=2153 Original Alan Moore Interview] regarding his decision to leave DC Comics for Top Shelf. * An article (in French) by Renaud Pasquier & Clotilde Thouret "''Watchmen'' : à deux voix" in the journal [http://www.revuelabyrinthe.org/sommaire1409.html ''Labyrinthe'' #25 "La bande dessinée : ce qu'elle dit, ce qu'elle montre", 2006.] *[http://www.unm.edu/~ithomson/Hero.pdf ''Comics as Philosophy'' book chapter on Watchmen and existentialism] *[http://www.watchmencomicmovie.com/watchmen-comic-plot-summary.php ''Watchmen'' Chapter Plot Summaries] {{featured article}} {{Alan Moore}} {{Watchmen}} [[Category:1986 comic debuts]] [[Category:Alternate history comics]] [[Category:Comic book limited series]] [[Category:Comics by Alan Moore]] [[Category:DC Comics superhero teams]] [[Category:DC Comics titles]] [[Category:Graphic novels]] [[Category:Hugo Award winning works]] [[Category:New York City in fiction]] {{Link FA|it}} [[ca:Watchmen]] [[da:Vogterne]] [[de:Watchmen]] [[es:Watchmen]] [[fr:Watchmen]] [[gl:Watchmen]] [[it:Watchmen]] [[la:Custodes (comicus)]] [[nl:Watchmen]] [[ja:ウォッチメン]] [[no:Watchmen]] [[pl:Strażnicy (komiks)]] [[pt:Watchmen]] [[fi:Vartijat]] [[sv:Watchmen]]