416 pages, DC Comics, ISBN-13:
978-0930289232
Comic
book superheroes are basically fascist vigilantes, with Superman and his
dedication to truth, justice and the American way being the exception that
proves the rule. Both Watchmen and The Dark Knight Returns, the two
greatest examples of graphic storytelling, deal explicitly with the underlying
fear the ordinary citizenry have of the demigods they worship. The one
inherent advantage that Watchmen has
over Frank Miller's classic tale is that it requires no knowledge of the
existing mythos of its characters, because Dr. Manhattan, Ozymandias, Rorschach,
Nite Owl, Silk Spectre, the Comedian and the rest of the former members of the
Crimebusters were created out of whole cloth (welllll...let’s not get Charlton Comics involved).
The
brainchild of writer Alan Moore (Swamp
Thing, V for Vendetta, From Hell) and artist Dave Gibbons (Rogue Trooper, Doctor Who, Green Lantern),
Watchmen was originally published by
DC Comics in twelve issues in 1986-87 (Moore and Gibbons would go on to win the Best
Writer/Artist combination award at the 1987 Jack Kirby Comics Industry Awards ceremony).
The central story in Watchmen is deceptively simple: apparently, someone is killing off or discrediting the former
Crimebusters superhero team, and so the remaining members end up coming together to
discover who and the why behind it all, with the payoff to the mystery is most
satisfactory. But what makes Watchmen
so special is the breadth and depth of both the characters and their respective
subplots: Dr. Manhattan dealing with his responsibility to humanity given his
god-like powers; Nite Owl having trouble leaving his secret identity behind;
Rorschach being examined by a psychiatrist. Each chapter offers a specific
focus on one of the characters, yet advances the overall narrative.
Beyond the intricate narrative, Moore and Gibbons offer two additional levels to
the story. First, each chapter is followed by a “non-comic” section that
develops more of the backstories, such as numerous excerpts from Hollis Mason's
autobiography Under the Hood or Professor Milton Glass’ Dr. Manhattan: Super-Powers
and the Superpowers, an interview with Adrian Veidt, or reports from the
police files of Walter Joseph Kovacs. Second, almost every issue has scenes
from Tales of the Black Freighter, a comic-book within a comic-book being
read by a kid near a newsstand, which offers an allegorical perspective on the
main plot line.
This book is so
incredibly brilliant, my words alone can't do it even a fraction of the justice
it deserves. A graphic novel that changed the way we think about comics,
written by transcendent literary genius Alan Moore, Watchmen offers a look at superheroes as they would appear in real
life. Driven only by enthusiasm and determination, without the benefit of
superpowers (except for Dr. Manhattan, the science-born hero), these heroes
live in the US of an alternate Earth, where they have fought through the 20th
Century, meeting with public support, distrust and sometimes hatred.
These heroes are more realistic versions of traditional superhero archetypes, bearing the faults and shortcomings of rational behavior and honest human nature. For instance, the crusading vigilante (Rorschach) is a mentally-disturbed murderer, the all-powerful science-born hero (the aforementioned Dr. Manhattan) is so all-powerful he lacks concern for the world around him, and the technological genius inventor (Nite Owl) is out of shape and overly dependent on his gadgets. This alternate world is equally different and unusual, history having been changed by the superheroes: Richard Nixon is still President in 1985, the US won the Vietnam War easily and World War III looms on the horizon.
These heroes are more realistic versions of traditional superhero archetypes, bearing the faults and shortcomings of rational behavior and honest human nature. For instance, the crusading vigilante (Rorschach) is a mentally-disturbed murderer, the all-powerful science-born hero (the aforementioned Dr. Manhattan) is so all-powerful he lacks concern for the world around him, and the technological genius inventor (Nite Owl) is out of shape and overly dependent on his gadgets. This alternate world is equally different and unusual, history having been changed by the superheroes: Richard Nixon is still President in 1985, the US won the Vietnam War easily and World War III looms on the horizon.
These are the
driving themes behind Watchmen, a
graphic novel so stunningly well-written and well-drawn that I do not hesitate
to recommend it to even the most ardent skeptics who look upon comics with
disdain, never thinking to read anything remotely associated with them. Watchmen represents the perfect synergy
between the use of pictures, the potency of the written word and the sublime
power of symbolism that drives artists wielding either brush or pen to record
their art permanently on canvas or paper. A worthy investment that stands tall
amongst the great literary works of the latter part of the 20th Century.
Apologies if this posted twice.
ReplyDeleteA great review! Every couple years I break out this series and sit down to give it a read, just a very well written beautifully illustrated work. It still makes me angry that DC has decided to publish a series of prequel comics in a shameless cash grab.
They're doing WHAT?!
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