Spring Break
'Watchmen': 30 years later, a retroactive review
Paresh Jha
Issue date: 3/6/09 Section: Focus
In 1986 and 1987, DC comics published a 12-issue series called "Watchmen;" the issues were later collected into a graphic novel. Since then, the book has garnered more critical acclaim then any comic book ever in the long history of the medium. It has been the subject of more critical and literary discussion than one could even begin to imagine. A few years ago, Time magazine honored it as one of the 100 greatest novels of the past century. That should adequately put into perspective the scope, nature and overall quality of the book.
"Watchmen" is set in an alternate United States in 1985, where "superheroes" were part of the very fabric of everyday life. However, the public had grown increasingly wary of these costumed heroes and eventually forced legislation into effect that outlawed freelance "superheroism." After that time, only government-sanctioned heroes were permitted to continue doing what they did best. The story picks up after a retired superhero, "The Comedian," was killed. Rorschach, a vigilante who continues to operate outside the law, plunges himself headfirst into the case. What ensues is a gripping tale combining mystery, intrigue, sex and social commentary into something quite extraordinary. It all culminates in a beautifully constructed conclusion that has a purely cathartic effect on the reader. It, quite simply put, is an eye-opener.
One of the greatest things about the story is the way it approaches heroes. Every single hero is corruptible and touched by some form of insanity. Even the omnipotent Dr. Manhattan is drawn toward the agitated nature of humanity. It was one of the first times that these heroes himself were seen as not just flawed, but properly mad. This make sense, as any normal human being who subjects themselves to the perpetual torture of vigilantism is likely to lose a bit of sanity in the process. Alan Moore realizes this, and it is reflected in every character. This is also applicable to the world surrounding the heroes. The governments of the United States and the Soviet Union are portrayed as desperate enemies on the verge of nuclear war. It truly is a logically constructed world touching on every facet of human emotion as altered by the mere presence of these larger-than-life beings.
"Watchmen" is set in an alternate United States in 1985, where "superheroes" were part of the very fabric of everyday life. However, the public had grown increasingly wary of these costumed heroes and eventually forced legislation into effect that outlawed freelance "superheroism." After that time, only government-sanctioned heroes were permitted to continue doing what they did best. The story picks up after a retired superhero, "The Comedian," was killed. Rorschach, a vigilante who continues to operate outside the law, plunges himself headfirst into the case. What ensues is a gripping tale combining mystery, intrigue, sex and social commentary into something quite extraordinary. It all culminates in a beautifully constructed conclusion that has a purely cathartic effect on the reader. It, quite simply put, is an eye-opener.
One of the greatest things about the story is the way it approaches heroes. Every single hero is corruptible and touched by some form of insanity. Even the omnipotent Dr. Manhattan is drawn toward the agitated nature of humanity. It was one of the first times that these heroes himself were seen as not just flawed, but properly mad. This make sense, as any normal human being who subjects themselves to the perpetual torture of vigilantism is likely to lose a bit of sanity in the process. Alan Moore realizes this, and it is reflected in every character. This is also applicable to the world surrounding the heroes. The governments of the United States and the Soviet Union are portrayed as desperate enemies on the verge of nuclear war. It truly is a logically constructed world touching on every facet of human emotion as altered by the mere presence of these larger-than-life beings.
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