Amazon.com Review
Has any comic been as acclaimed as Alan Moore and Dave Gibbons Watchmen? Possibly only Frank Millers The Dark Knight Returns, but Watchmen remains the critics favorite. Why? Because Moore is a better writer, and Watchmen a more complex and dark and literate creation than Millers fantastic, subversive take on the Batman myth. Moore, renowned for many other of the genres finest creations (Saga of the Swamp Thing, V for Vendetta, and From Hell, with Eddie Campbell) first put out Watchmen in 12 issues for DC in 1986-87. It won a comic award at the time (the 1987 Jack Kirby Comics Industry Awards for Best Writer/Artist combination) and has continued to gather praise since.
The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moores characterization is as sophisticated as any novels. Importantly the costumes do not get in the way of the storytelling rather they allow Moore to investigate issues of power and control--indeed it was Watchmen, and to a lesser extent Dark Knight, that propelled the comic genre forward, making "adult" comics a reality. The artwork of Gibbons (best known for 2000ADs Rogue Trooper and DCs Green Lantern) is very fine too, echoing Moores paranoid mood perfectly throughout. Packed with symbolism, some of the overlying themes (arms control, nuclear threat, vigilantes) have dated but the intelligent social and political commentary, the structure of the story itself, its intertextuality (chapters appended with excerpts from other "works" and "studies" on Moores characters, or with excerpts from another comic book being read by a child within the story), the finepace of the writing and its humanity mean that Watchmen more than stands up--it keeps its crown as the best the genre has yet produced. --Mark Thwaite
A Q&A with Dave Gibbons on the Making of Watchmen
Question: You were tasked with drawing new illustrations of key shots from the new Watchmen film. Was it a difficult challenge to re-imagine your work in this movie format?
Dave Gibbons: I dont think that I actually did many key shots from the film. I had to actually imagine them rather than exactly recreate what was going to be in the movie. But as far as the drawings I did for the licensing purposes, accuracy was the real key so that they looked exactly like the movie. Whereas doing the graphic novel was creating stuff afresh and being very creative, this was more the case of interpreting something that already existed. So it was rather more a commercial art job than a creative thing.
Q: How many scenes from the original graphic novel did you redraw in the new "movie" format?
DG: I kind of did them piecemeal, these licensing drawings. I did do a section of storyboarding for Zack Snyder. There is a part of the movie that isnt in the graphic novel and he wanted to see how I would have drawn it, if it had been in the graphic novel. So I redid the storyboards as three pages of comic on the nine-panel grid, also getting it coloured by John Higgins so it looked authentic. But I think there were probably only 3 or 4 scenes that I drew, which were from the movie.
Q: What was your working method for producing these new illustrations from the film? And how has it changed from when you originally illustrated Watchmen?
DG: When youre producing things from existing material, you have to look at and assemble the references... you know, keep looking backwards and forwards to make sure what youre drawing is accurate to whats in the photos. I did have lots of photos from the movie and in some cases I had more or less the illustration I was going to do in photo form, which made it a lot easier. On others I had to construct it from various references: really just the usual illustrators job of drawing something to reference. And on the original illustrations of Watchmen, I was free to come up with exactly the angles and exactly the costumes and everything that I wanted to. When youve designed a costume and drawn it a few times, you actually internalize it and you find you can draw it without having to refer to reference at all. So in some ways its more creative and in some ways its easier!
Q: In Watchmen: The Art of the Film, there are concept designs by other artists of their visions of your iconic characters. What do you think of their versions and did you offer any guidance while they were working on these?
DG: Its always really interesting to see versions of your characters drawn by other artists. You tend to see things in them that you hadnt noticed before. So I really enjoyed looking at those. I certainly didnt offer them any guidance. The purpose of getting those kinds of drawings done is to get a fresh perspective on what exists. I noticed actually that they really stuck more closely to my original designs than those, but I really enjoyed seeing them.
Q: Watchmen: Portraits is Clay Enoss stunning black and white collection of photos of each character from the Watchmen movie. What was it like looking through this book at all the characters you had conceived years ago now being brought to life by actors?
DG: Its rather interesting you know if you look at the Watching the Watchmen book you can see these characters as fairly sketchy rough conceptual versions. Then when you look at Clays book you can actually see them right down to counting the number of pores on the skin on the end of their noses! Its incredible high focus! Its like zooming in through space and time to look at the surface of some moon of Saturn or something. I thoroughly enjoyed his book... it had a real artistic quality to it that was really so good. And of course to see these actors who so much are the embodiment of what I drew, that its a tremendous thrill to see them made flesh!
Q: Watchmen: The Film Companion features some stills from the animated version of The Black Freighter. What do you think of the look and design of this animated feature?
DG: It looks really interesting! Although I drew my version in the comic book in a kind of horror-comic style, these are very much in a savage manga style. I think they work really well... theyve got the kind of manic intensity, which I think that work should have and I really cant wait to see the whole feature. Ive seen the trailer for it and that looks great and again theyve used a lot of the compositions that I came up with but just translated them to this kind of very modern drawn animation.
Q: How much time did you spend on the set of Watchmen? Was it a surreal experience to see your work recreated like this?
DG: I was on the set of Watchmen for a couple of days and it really was surreal to walk through a door and then suddenly be in the presence of all these people in living breathing flesh! I was there for what you would call the Crimebusters meeting where they were all there in costume in the same room, which was incredible. They had obviously planned that so I would get to see everyone. It was surreal though quite a wonderful experience to see it come to life.
Now A Major Motion Picture!
This Hugo Award-winning graphic novel chronicles the fall from grace of a group of super-heroes plagued by all-too-human failings. Along the way, the concept of the super-hero is dissected as the heroes are stalked by an unknown assassin.
One of the most influential graphic novels of all time and a perennial bestseller, WATCHMEN has been studied on college campuses across the nation and is considered a gateway title, leading readers to other graphic novels such as V FOR VENDETTA, BATMAN: THE DARK KNIGHT RETURNS and THE SANDMAN series.
Rate Points :4.5
Binding :Paperback
Label :DC Comics
Manufacturer :DC Comics
ProductGroup :Book
Studio :DC Comics
Publisher :DC Comics
EAN :9780930289232
Price :$19.99USD
Lowest Price :$9.55USD
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