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Watchmen by Alan Moore
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Watchmen (original 1986; edition 1995)

by Alan Moore, Dave Gibbons (Illustrator)

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12,976347177 (4.33)367
Member:regularguy5mb
Title:Watchmen
Authors:Alan Moore
Other authors:Dave Gibbons (Illustrator)
Info:DC Comics (1995), Paperback, 416 pages
Collections:Your library
Rating:*****
Tags:None

Work details

Watchmen by Alan Moore (Writer) (1986)

Recently added byprivate library, zentinal, EmilyD1037, Kaniver13, Shawn01752, lorannen, davidcarsonmusic, koiyu, snmacd
  1. 200
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(see all 23 recommendations)

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» See also 367 mentions

English (340)  French (2)  Dutch (1)  Danish (1)  Catalan (1)  Swedish (1)  Spanish (1)  All languages (347)
Showing 1-5 of 340 (next | show all)
For good reason one of the most celebrated titles in the genre of superhero fiction and in the graphic novel medium. One of the best novels, graphic or otherwise, that I've read. Moore is a master of nuance and allusion, and GIbbons' great art only accentuates that. The two put forth a comment on the cultural fascination with the superhero and a critique of Cold War America that is still sorrowfully relevant today. An impeccable narrative in respects both written and visual that is a testament to the power of the comic book/graphic novel form. ( )
  poetontheone | Apr 12, 2015 |
This is the best graphic novel/comic book I have ever read. ( )
  vanessa-c | Mar 27, 2015 |
Recensione su: http://wp.me/p3X6aw-rK
Review at: http://wp.me/p3X6aw-rK ( )
  Saretta.L | Feb 12, 2015 |
I wish I'd reviewed this sooner, when the reading experience was fresh, so that I could say just why this is so superb. Back when these originally came out, I read each issue, breathless with excitement. As an early Christmas present to myself (another one, and they're all books strangely enough!), I picked up the collected edition, and the reading experience was the same except that I could overdose on it instead of having to hang out for the next issue! ( )
  Vivl | Feb 5, 2015 |
There are so many details in this that I'd have to read it several times to catch all the clues and themes. It's only my second graphic novel, so I'm still getting used to catching important plot points in the artwork. It's truly remarkable and immensely thought-provoking. Expertly interwoven...I can't do it justice here. ( )
  TrgLlyLibrarian | Feb 1, 2015 |
Showing 1-5 of 340 (next | show all)
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» Add other authors (18 possible)

Author nameRoleType of authorWork?Status
Moore, AlanWriterprimary authorall editionsconfirmed
Gibbons, DaveIllustratormain authorall editionsconfirmed
Higgins, JohnColoristmain authorall editionsconfirmed
Orlando, JoeIllustratorsecondary authorall editionsconfirmed
Bárány, FerencTranslatorsecondary authorsome editionsconfirmed
Wein, LenEditorsecondary authorsome editionsconfirmed
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People/Characters
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Awards and honors
Epigraph
Quis custodiet ipsos custodes. Who watches the watchmen? Juvenal Satires, VI, 347, quoted as the epigraph of the Tower commission report, 1987
Dedication
With special thanks to Neil Gaiman, Mike Lake, Pat Mills, and Joe Orlando.
First words
Rorschach's Journal. October 12th, 1985:
Dog carcass in alley this morning, tire tread on burst stomach. This city is afraid of me. I have seen its true face.
Quotations
[spraypainted on wall] "Who watches the Watchmen?"
"Looked at the sky through smoke heavy with human fat and God was not there. The cold suffocating dark goes on forever and we are alone. Live our lives lacking anything better to do. Devise reason later. Born from oblivion; bear children hell-bound as ourselves; go into oblivion. There is nothing else. Existence is random. Has no pattern save what we imagine after staring at it for too long. No meaning save what we choose to impose. This rudderless world is not shaped by vague metaphysical forces. It is not God who kills the children. Not fate that butchers them or destiny that feeds them to the dogs. It's us. Only us." (Ch. VI, pg26)
"All this, it could be gone: people, cars, T.V. shows, magazines...even the word 'gone' would be gone." (Ch. V, pg12)
"Why do we argue? Life's so fragile, a successful virus clinging to a speck of mud, suspended in endless nothing." (Ch. VI, pg28)
"We're all puppets, Laurie. I'm just a puppet that can see the strings." (Ch. IX, pg5)
Last words
(Click to show. Warning: May contain spoilers.)
Disambiguation notice
Some consider Absolute Watchmen to be a notably different work from Watchmen. There is currently a discussion in Combiners! discussing whether or not this separation is needed. Please join the discussion. Please do not combine the two works until this is resolved.
Before separating check ISBN because there are bad titles
Publisher's editors
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Book description
Haiku summary

Amazon.com Amazon.com Review (ISBN 0930289234, Paperback)

Has any comic been as acclaimed as Alan Moore and Dave Gibbons' Watchmen? Possibly only Frank Miller's 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 Miller's fantastic, subversive take on the Batman myth. Moore, renowned for many other of the genre's 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. 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.

(retrieved from Amazon Mon, 30 Sep 2013 13:46:39 -0400)

This stunning graphic novel chronicles the fall from grace of a group of superheroes plagued by all too human failings. The concept of the super hero is dissected and inverted as strangely realistic characters are stalked by an unknown assassin. Originally published as a 12 issue series in 1986 and 1987, WATCHMEN remains one of DC Comics' most popular graphic novels.… (more)

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