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Edit: I want a poster of those bullets going through that guy.
I'd frame that bitch and put it on my living room wall for all to masturbate over
Yeah. That's pretty much it. I love the whole thing to death.
Clearly, Alan Moore must be cloned. For the good of the land.
Ultimately, they're two very different books doing two very different things.
That would make the average Comic Demographic of the time (lets say 18-25) now be around 39-46 years old.
That's true, but the fear that's running through the book isn't totally inaccessible. It's about the cold war, but the build up is WW3 and nuclear war. I was looking through it the other day, and it still gives me the heebie jeebies. There's still easy comparisons to draw, even if it's not exactly the same.
fun fact: i read it first at 13 around '87 but didn't get it till i read it in college a few years later. interesting? no.
PokeCode: 3952 3495 1748
The power of those three words on the front of a newspaper, and their implications, is immeasurable.
Maybe 1602, but that's for entirely different and nerdy reasons.
[Edit] - I should add that this book also wins my "best visceral gut-punch moment" award. The first time I read the last chapter was amazing.
Ah, yeah. Probably one of the best parts of the book. I remember wondering why all of these familiar supporting characters were being brought together in the same place and then - oh, shit. Those full page shots of the city after were amazing. The only other time I can remember being hit like that by a comic book was in Kingdom Come.
It started as just a little piece of "flair" for the comedian, to contrast against his black leather costume and flamethrower and such, but then Moore turned it into a major theme of the book.
The happy face is the most basic "comic" in existence, it's perhaps the first drawing that a baby can recognize as a symbol of a person. Splattering it with blood was a way of showing the reader what Moore and Gibbons were doing with Watchmen.
Rorshach's mask takes the theme in the opposite direction, moving from the symbolic representation of humanity to the abstract concepts of anger and fear.
You just don't get that kind of depth out of other comics. If I'm wrong about that, I'd sure like to know.
Really? I'd have considered it fairly straightforward compared to something like, say, The Filth.
Yeah, but obviously it's a mindfuck.
fucking with your mind
In every sense of the word.
If you read it when it came out in 81, you're right in the middle of the cold war. The soviest invading Afghanistan, and then starting world war 3 was a very real possibility. Everything in that book was very real in 81.
I missed it and didn't read it until recently. The Cold War ended, Russia in fact DID invade Afghanistan, and World War 3 didn't happen. Sure it still could, but the possibility seems far less real now, than it did in the 80s.
And this is just one example. Watchmen is a great read, but I can't think of any other book that has become more overhyped and eventually overrated in the entire medium. That doesn't mean it's bad, it's not, it's great! but I don't think it's nearly as good as most people seem to.
It turns out it was 87! for some reason I always thought it originally came out in 81. wierd
Dark Knight Returns gets my vote.
Seconded.
From what I've seen, Watchmen deserves every bit of praise heaped on it; it passes the literary test in that the deeper you dig, the more complex and rich and relevant it all seems. On the other hand, if you dig too far into The Dark Knight Returns, all you get is a hole.
Miller's recent work is bad in the way that it calls attention to the flaws in his earlier work. Seeing what he's doing now encourages people to go back and realize, hey, he was doing the same thing all along.
Although it's hard to argue against the effect DKR had on the industry. Same with Watchmen.
I am curious to see how they will be able to adapt this for the big screen.