by Alan Moore
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Content: There is graphic violence, swearing (no f-bombs though) and nudity (and sort-of on-screen text). It’s in the graphic novel section of the bookstore.
I wrote about this one ten years ago when I first read it, but I thought I’d write my thoughts that I turned in as well.
Intellectually, I know the Watchmen is a classic work of not only comic storytelling, but also a classic work of literature. However, while I can respect what Moore and Gibbons are doing, I didn’t like the experience. Partially it was the art; Gibbons’ art was completely subservient to the text, lacking very little originality. I did find the panel in issue 4, , the moment when the test chamber went off (9) and the particles dissolved Dr. Manhattan and the following few panels to be incredibly striking. But otherwise, I found the moment-to-moment and scene-to-scene art slowed down the narrative, especially through volume nine. I understand that, thematically, Moore is reflecting the world he saw when this was written in 1987 — a very sexist, homophobic (issue 11, p. 9, among others), and bleak world — and critiquing the way we use superheroes in our cultural life: None of the characters are honorable or admirable (like Superman or Captain America) or even serving the cause of justice, even if it’s in a vigilante manner (Batman). The backstories we learn (I’ll admit; I didn’t read the “excerpts” in the end; and felt like they were filer that added no substance to the actual plot line) don’t take away from the feeling that the characters are mostly individuals without any integrity in what they do. I wish he had allowed the women (all two of them) to be more than just sex objects — Sally, whose most significant characteristics were that she is aging and that the Comedian raped her (issue 2, p. 5-7), and her daughter, Laurie, whose sole purpose is to be a companion to her lovers, both Dr. Manhattan (issue 5, p. 11) and Dan Dreiberg (most of issue 7, but specifically p. 28). This is a reflection of both the mid-1980s society and popular culture, but doesn’t excuse the lack of development of these characters. Admittedly, Moore isn’t putting up hyper-masculinity as an ideal: Neither of the hyper-masculine characters of the Comedian and Ozymandias are admirable characters, while Rorschach, who would not be considered “masculine” at all — being called “queer” (issue 5, p. 27) and “runt” (issue 6, p. 8) among others — also happens to be the moral center of the series. He is the one who realizes that someone is creating a plot against “costumed adventurers” (issue 1, p. 12) to get them out of the way and in the end refuses to compromise his ideals forcing Dr. Manhattan to kill him (volume 12, p. 14). I did like the ending; while Ozymandias “gets off”, Dr. Manhattan’s prophecy that “Nothing ends, Adrian. Nothing EVER ends” (issue 12, p. 27) is fulfilled in the very final panel, where readers see Rorschach’s journal detailing everything delivered to the newspaper, and the final image (issue 12, p. 32) is the same as the cover of issue one and the first image the readers see (p.1). True, there is a lot to think about and discuss — is it right to kill off millions of people just to save the world? — but it was not an enjoyable reading experience. If this had been my first foray into graphic novels, it might have turned me off on the format completely. Thankfully, it wasn’t.