The Kindly Ones... (Watchmen - Alan Moore)

Member Name: dreamerz

Product:	Watchmen - Alan Moore
Date:	06/09/01 (110 review reads)
Rating:

Advantages: Bleak, epic and deep, Superb charcterisation

Disadvantages: Slightly disapointing ending, Average artwork

Imagine an alternate 1980s, one where Nixon is still president (after some careful renegotiating of the laws regarding number of terms), one where America won the war in Vietnam. One where the threat of global nuclear war is partly held in check by the presence of a deity like individual who works for the American government. Where the comic book explosion of the 1930s created a rash of real masked heroes, who dressed up as costumed vigilantes, desperate to bring crime under control. Who were banned by government legislation after a Police strike made them unpopular and caused rioting. This is the world in which Alan Moore sets his epic twelve part series ‘Watchmen’, which was originally published between 1986-7 as a twelve issue comic series but is now thankfully collected together for ease of reading as a graphic novel.

Ooh look I mentioned a dirty word in the preceding paragraph, did you notice it? Yes that’s right it was comic. Despite the excellent material which has been produced over the last 15 years or so comics are still largely regarded as a childish format, and vehicle for little more then superhero tales. This has been tempered with the growing mainstream acceptability of what are known as graphic novels. For some reason if you collect a story arc together and package it as an A4 softback book, it suddenly becomes an acceptable tome to be seen reading. Neil Gaimen’s magnificent 'Sandman' saga has achieved much of its critical acclaim and commercial success thanks to being published in this format, ridiculous as it may appear. The graphic novel has helped the likes of 'Sandman', 'Preacher' and 'The Invisibles' to escape the comic shop ghetto and be found on sale in respectable book shops and even in libraries. Those who become fans often become quite irritated when you point out that they are reading a comic, “It's not a comic, it's a graphic novel” is often t
he retort you will hear. The term graphic novel may be more appropriate to some these works than comic with its perjurative implications, but this doesn’t change its basic nature. Our attitude to comics is curious really, it's the closest format the written word gets to film yet we still associate it with children. Yes there are some terrible comics written that do deserve all the associations, but there are some terrible movies too, and we don’t dismiss the whole genre of film do we? I always think the Japanese have it right, their comics and animation (Manga and Anime) are enjoyed by both adults and children, with different titles aimed at different audiences. Certainly as excellent as 'Sandman' or 'Watchmen' are, their bleak and at times desolate approach is hardly suitable to children.

Anyway rant over, back to the point (or something vaguely resembling it at any rate). ‘Watchmen’ is a product of the fevered imagination of British comic scripter Alan Moore. I was first drawn to Moore’s work by reading that Neil Gaimen (author of my beloved 'Sandman') was inspired by Moore’s work and pretty much learnt his craft from him. Moore first came to prominence by creating (the rather mediocre) superhero strip ‘Marvelman’ and the excellent ‘V for Vendetta’. He then took over writing DC’s ‘Swamp Thing’ series, completely rehabilitating a somewhat moribund character and earning himself several awards (the eagle and Jack Kirby gongs if you’re interested) in the process. Moore’s magnum opus however, is undoubtedly this complex, dark vision of an alternate America. Moore takes the comic stereotype, heroes dressing up in absurd costumes to fight crime and then twists it on its head. These masked men and women largely (with the exception of Dr Manhattan), do not posses super powers, they are just ordinary individuals who for reasons best know
n to themselves have chosen to become glorified vigilantes who wear their underwear on the outside of their clothing. He examines psychological reasons and consequences of their behaviour, the sexual connotations (the fate of ‘The Silhouette’ hints at sado-masochistic leanings although is never explicitly spelt out) and how their actions in turn effect and reflect the society that created them. The story is not altogether straight forward, it skips around in time, hints at deeper meanings and is heavily referenced in both the culture of the mid 80s and comics in general. Although the story and setting are very dark, there is humour, both of the sharp witty kind, and of the black subverted variety. There are also I’m assured a myriad of in jokes and ironic references to DC’s past, although never having been a fan of the superhero genre, I probably failed to pick up on most of them.

The story begins with a death. A man has been thrown to his death from the window of his 15th floor apartment, leaving little more then an unpleasant red stain on the pavement and a mysterious gold badge with a smiling face imprinted on it. The death is investigated by unrepentant mystery man, Rorschach who defies the 1977 Keene act, which outlaws the costumed vigilantes, and he discovers that the murdered man, Edward Blake was none other then The Comedian. One of the Minutemen (a loose grouping of the original masked crime fighters), thanks to his government links The Comedian was still in business but who could have taken him out?

Being more then a little paranoid, and despite the fact (revealed gradually over the course of the book) The Comedian has made more then enough enemies over his life to murder him twice over, Rorschach becomes convinced that there is a killer on the loose gunning for ‘the masks’. He sets out to warn his former colleges and friends in his inimitable fashion but none of them seem too interested. Ro
rschach’s unpredictable style and his increasingly maverick and unconventional approach have made even those who were once close to him sceptical. Nevertheless Rorschach continues his investigations, turning up a link to former costumed villain (well if you have costumed heroes you have to the villains too don’t you?) Moloch. However, when it becomes clear that some one has manipulated the practically omnipotent Dr Manhattan into abandoning the Earth and another former masked avenger Ozymandias narrowly escapes attempted assassination it becomes clear that something more sinister is indeed brewing. With the threat of World War Three lurking after the disappearance of the good Dr several of retired vigilantes join Rorschach in his search for the truth, but what is exactly going on? What is the link to vanished author Max Shea and what relevance to the veiled references to ‘the Island’ have? The final dénouement will change the course of man’s history, but can the Watchmen make a difference?

Narrowly summing up a plot arc that spans over 300 pages in a mere paragraph ot two of course doesn’t come close to doing any work justice. This is particularly appropriate here, there are enough unexpected twists and turns along the way to make this more then just the usual 'superhereos attempt to save the world' yarn. Illustrating them though, would ruin much of the effect. It is not just the plot however, that makes this book special. The characterisation of both the leads and indeed incidental players is first class for one.

At the centre of the story is Rorschach and he is certainly not a typical hero. Named for his ink blot mask Rorschach isn’t much of a superhero. With his hat and trench coat he looks more like one of the shady ‘Scum’ he detests then any kind of crime fighter, which possibly is the point. He shuns gadgets in general, relying on a rope and occasionally a grapple gun, m
ainly relying on his fists and presence to get results. He leans towards apocalyptic tendencies, despises communism and liberalism and thinks the ‘New Frontiersman’ is the last trust worthy agent of the press left. He seldom speaks in sentences more the two words long and is misanthropic to say the least. He is described by one character as seeing the world in “Manichaen terms”, although to be honest this isn’t strictly true. Rorschach sees the world in terms of black and blacker rather the back and white. To him the world is beyond saving, he knows he can’t save it from itself, yet he refuses to give up.

In some ways his greatest bile is reserved for those who did give up, his former allies. Ozymandias, for revealing his identity and trading on it as a business mogul, entertainer and even as a toy action figure. Laurie Jupiter whose costume he never approved of anyway (all mini-skirt and plunging necklines) and perhaps most of all his former partner and friend Nite Owl, who has “Grown old and fat”. When Drieberg (Nite Owl’s alter ego) asks Rorschach whatever happened to the great times, Rorschach merely walks away answering “You quit.” Moore’s genius is to give us an insight into what created such a man, to make us feel empathy for someone who could be seen as a monster. Abused childhood etc, all played a part but the true creation of Rorschach is narrated in a scene caused by the ink blot test itself. Most fragile of all is his sense of identity, when he is at one point he is captured and unmasked all he can scream pathetically is “Give me back my face.” This persona and his sense of purpose are all that is left of his humanity.

In some ways pitted as a close comparison to Rorschach is The Comedian, Edward Blake. Although he is dead before the opening frame of the story, he remains a significant character, who’s actions are revealed throu
gh flashbacks juxtaposed within the narrative. His is a thug, a rapist, a murderer but a patriot. Tellingly after the Keene act, Blake is the only masked hero to survive the purge besides Dr Manhattan, as he continues to work as a government operative. He is not the same as Rorschach however. The latter operates by his own twisted version of morality like a knight’s code, Blake in contrast is completely amoral. Blake understands the futility of the vigilantes actions, he understands better then all of them the truth of human nature, he just doesn’t care.

The other central intriguing character undoubtedly is the only real superhero, Dr Manhattan. Sure his creation is the usual tragic accident turned miracle (he was vaporised in a nuclear test chamber but his consciousness somehow managed to survive and recraft a new body) but his role is quite different. His passivity at first makes him easily used, he becomes a government figurehead, a war winner (he pretty much single handedly conquers Vietnam) and a linchpin in America’s defence strategy. Yet despite his near omnipotent powers he is a tragic figure, unable to differentiate time. To him the past, present and future are all the same, he has full knowledge of what has been and what will be. Despite this he is unable to change his own role in events and is forced to live his life as a puppet, his actions having been preordained by his knowledge of them. In some ways he is as amoral as Blake, despite his attempts at having human relationships he is no longer capable of them. He is is effect no longer human; he knows that he will love and he will lose. The sudden cruelty shown to him early in the book, seals his opinion of humanity and even an epic debate with his former girl friend over the power of life can not convince him otherwise. Ozymandias describes his view of politics as whether we should prefer “Red ants or black ants” but the same could be said for his view
of people. His real tragedy is his memories of being human and his attempt to recapture it, knowing he is always doomed to failure.

The supporting cast are also drawn well. Dan Dreiberg or Nite Owl, plays a fairly convincing 40 something Batman type character, searching for his role after he has removed his mask. Laurie Jupiter is a good female lead, looking for her own identity when she finally steps away from that which has been scripted for her, although perhaps she is a little underwritten. Her ageing mother, once the Silk Spectre, who is caught in the rapture of her glorious past is perhaps a more interesting creation. Even incidental characters such as the news vendor or Rorschach’s prison psychiatrist are depicted with more depth then you would have expected.

Moore’s writing juxtaposes the past and present in an occasionally confusing but always fascinating narrative. Perhaps the theme of the book is the use of masks and the role in which we use them to hide from our own actions. The realisation of responsibility lurks heavily above the heads of many of the characters. The style Moore employs often shows great originality. Chapters are bookended with articles and interviews which relate the text and both fill in the back story and throw interesting new interpretations on the character’s actions. There are many subtleties that are only revealed on subsequent reads, I particularly enjoyed the realisation of Rorschach’s day job. There is even a comic within the story which both complements and contradicts they key themes. If I have a criticism, it is that the ending feels a little rushed and ill fitting, although it is undoubtedly shocking. This doesn’t detract however, from the standard of story telling or the content of what was passed before. When you read this complex and yet ever elusive yarn you begin to understand where Neil Gaimen stole some of his epic sweep and culture referencing from. <
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Dave Gibbon’s artwork places me in an interesting quandary. He adopts a pulp 1930s style, which whilst fitting to the book fails to impress and adequately convey the depth of the characters suggested by the text. True depicting emotions in largely masked players could be difficult, and the unmasked Rorschach is a revelation but one never shakes the feeling Moore could have been better served by a more imaginative artist.

Despite these small criticisms, 'Watchmen' is a fantastic read. Deep, dark and at times disturbing yet incredibly compelling. Forget your hang ups about comics, anyone with an interest in ‘noir thrillers’ or science fiction/fantasy should read this book.

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