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The story concerns a group called the Crimebusters and a plot to kill and discredit them. Moore's characterization is as sophisticated as any novel's. 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 2000AD's Rogue Trooper and DC's Green Lantern) is very fine too, echoing Moore's 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 Moore's 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 don’t 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 isn’t 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 you’re 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 you’re drawing is accurate to what’s 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 illustrator’s 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 you’ve 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 it’s more creative and in some ways it’s 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: It’s always really interesting to see versions of your characters drawn by other artists. You tend to see things in them that you hadn’t noticed before. So I really enjoyed looking at those. I certainly didn’t 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 Enos’s 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: It’s 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 Clay’s book you can actually see them right down to counting the number of pores on the skin on the end of their noses! It’s incredible high focus! It’s 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 it’s 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... they’ve got the kind of manic intensity, which I think that work should have and I really can’t wait to see the whole feature. I’ve seen the trailer for it and that looks great and again they’ve 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.--This text refers to an out of print or unavailable edition of this title.
Graphic novels have never been of interest to me, with all the pictures and different frames, I never wanted to waste my time reading through it. Read morePublished 2 hours ago by kimberly perrotti
The graphic novel, Watchmen, by Alan Moore and Dave Gibbons, perfectly illustrates the world we live in. Read morePublished 3 hours ago by joanp
This piece of literature was surprisingly more intelligent and more meaningful than I thought. When people hear the words “graphic novel” they think of comic books and easy reads,... Read morePublished 4 hours ago by RJ Winje
The visual aspect of the Watchmen graphic novel enhanced my personal experience with the text. The brief dialogues between characters as well as excerpts from “Tales of the Black... Read morePublished 15 hours ago by Kristin Housler
Watchmen takes the concept of graphic novels and comic books onto a whole new mature level. The author, Alan Moore, discovers a deeper meaning within the classic tale of... Read morePublished 15 hours ago by Kimberly A Amico
In English class we had to read this book and I have deeply analyzed it. This book is has intense meaning behind most of the scenarios. Read morePublished 16 hours ago by Mohammed Jawed
In the novel Watchmen by Alan Moore and Dave Gibbon there is a theme of a character by the name of Dr. Manhattan. Read more
The graphic novel Watchmen by Alan Moore is a very organized and sophisticated piece that is worth reading. Each scene is carefully laid out to make everything flow. Read morePublished 19 hours ago by Richard Bozogian
Watchmen was a mix of action, suspense, and adventure. Each chapter I read, I was at the edge of my seat trying to predict what was going to happen next. Read morePublished 23 hours ago by Kindle Customer