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Tuesday, February 24, 2009 - 6:59pmSanction this postReply
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The Watchmen will be out as a movie 03/06/09.  Seeing the posters at Borders Books, I bought the graphic novel -- called one of the 100 best novels since 1923 by Time magazine -- and the book supplement to the film. 

So far, this is truly a high-quality work of sublime achievement.  The writing is tight.  The art is balanced and logical,  yet compelling and actioned.  The two are integrated.

Highly recommended.


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Monday, May 4, 2009 - 9:11amSanction this postReply
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My girlfriend bought this for me for my birthday after we had both seen and enjoyed the movie. (as a side note the movie did a very good job getting the spirit of the comic book on screen and the casting, other than Ozymandias, was very well done [Rorschach and The Comedian especially]) I don't normally go in for comic books because I find the writing to be poor most of the time. That said, Watchman was so far beyond your typical comic book that it felt like it wasn't really a comic book at all. I daresay that this is the greatest work in the comic medium of all time.

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Monday, May 4, 2009 - 1:30pmSanction this postReply
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I daresay that this is the greatest work in the comic medium of all time.


Really? Do you think deconstructing the concept of a hero is great work?

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Tuesday, May 12, 2009 - 6:43pmSanction this postReply
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I would, because it is an interesting look into how we see ourselves as people. I see less of a deconstruction of the hero and more an analysis of the flaws of society and how those who are trying to change it react to getting what they wished for (world peace) in a way they never expected it (an extreme act of apocalyptic violence). It delves into concepts and thoughts deeper than any other comic or graphic novel I have ever seen. So in those regards yes, I would stand my my statement that it was the greatest comic work I have ever read.
(Edited by Tim Black on 5/12, 6:45pm)


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Wednesday, May 13, 2009 - 3:20amSanction this postReply
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JA:  Really? Do you think deconstructing the concept of a hero is great work?
John, whatever problems The Watchmen has -- and I was not enthusiastic after reading it -- I do not see "deconstruction" in the presentation. 
Deconstruction is the name given by French philosopher Jacques Derrida to an approach (whether in philosophy, literary analysis, or in other fields) which rigorously pursues the meaning of a text to the point of undoing the oppositions on which it is apparently founded, and to the point of showing that those foundations are irreducibly complex, unstable or, indeed, impossible.
Deconstruction generally operates by conducting close textual readings with a view to demonstrating that the text is not a discrete whole, and that it on the contrary contains several irreconcilable, contradictory meanings. What is shown through this process, therefore, is that there is more than one interpretation of a text, that these interpretations are inextricably linked in and by the text itself, that the incompatibility of these interpretations is irreducible, and thus that there is a point beyond which the particular line of interpretative reading cannot go: Derrida refers to this point as an aporia in the text, and hence he refers to deconstructive reading as "aporetic." J. Hillis Miller has described deconstruction in the following terms: “Deconstruction is not a dismantling of the structure of a text, but a demonstration that it has already dismantled itself. Its apparently-solid ground is no rock, but thin air
Deconstruction -- From Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Deconstruction

I thought that by the end of both the book and the movie, everything was tied up very neatly or nearly so.  The contradictions were resolved.

I will agree that The Watchmen does ask basic questions about costumed superheroes.  Unlike Superman -- strange visitor from another planet -- costumed heroes are really only ordinary people who have taken on more than ordinary personal responsibility.  But "more than ordinary" does not mean "heroic."

Since 9/11, and again with Katrina, we have been inundated with the “heroism” of emergency services workers doing their jobs, and with the stress, post-traumatic stress disorder, and general dysfunction of those faced with disasters of various sorts. The authors of this article submit that the commonly held views of heroism and stress response are both inter-related and misplaced.

 

The United States has an acute shortage of heroes. Few in this country other than the old have combat experience (the Gulf War, Gulf II, and Afghanistan to the contrary notwithstanding). We look for heroes where we can, often labeling as heroes those who are merely doing the jobs for which they were hired (sports figures and emergency services workers) and as “victims” those who were recipients of no physical harm at all.
 
In essence, we have become accustomed to dramatizing the routine.
 "Stress and Psychological Effects" by Bernard H. Levin and Joseph A. Schafer in

Policing and Mass Casualty Events: Volume 3 of the Proceedings of the Futures Working Group Edited by Joseph A. Schafer & Bernard H. Levin

 


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Wednesday, May 13, 2009 - 3:28amSanction this postReply
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Tim Black:   So in those regards yes, I would stand my my statement that it was the greatest comic work I have ever read.
I worked my way through the book and was not edified.  I found the negatives too strong over the positives.  On a recommendation, I saw the movie and came away with a different appreciation for the book.  So, there is that.

"Greatest" requires some context.  Last year, I read some Flash compendia and found them shallow.  What I was expecting was Frank Miller's Dark Knight (1986).  For what little I know about the genre, I would have to place that over The Watchmen, easily, and dub The Dark Knight as the greatest comic ever writtern.


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Wednesday, May 13, 2009 - 11:04amSanction this postReply
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Michael I stand by my comment. Watchmen was an exercise in deconstructing the concept of a hero. Even the best character from Watchmen, Rorschach, still undermined the presentation of moral clarity the character espoused by using the name "Rorschach", which was self-defeating symbolism. I.e., heroism is in the eye of the beholder.

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Wednesday, May 13, 2009 - 11:30amSanction this postReply
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MEM: "John, whatever problems The Watchmen has -- and I was not enthusiastic after reading it -- I do not see "deconstruction" in the presentation."

Deconstructing the Hero

"To begin to imagine the impact of Watchmen on die-hard superhero comics fans like me, visualize a train-wreck taking place in twelve monthly installments. I may not then have recognized Watchmen as a deconstruction of the hero, but certainly I realized (with that combination of horror andfascination known to rubberneckers everywhere) that here my precious heroes were being shattered before my very eyes, taken apart from the inside-out, in the pages of the medium that had always loved and cared for them,and in a style that demonstrated an obvious mastery of this medium that it now set out to implode. As I sift once again through the rubble, it is, more-over, clear to me—for to reread Watchmen is to be stunned once again by the brutal clarity of this masterful deconstruction of the hero—that Moore and Gibbons knew exactly what they were doing."

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Post 8

Wednesday, May 13, 2009 - 11:33amSanction this postReply
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Alan Moore:

The Onion: When you first started reading comics as a child and thinking about becoming a comics writer, did you ever consider the kind of deconstruction you've made into a career? Or were you just interested in imitating existing works back then?

Alan Moore: I was 8. The deconstruction of comics was when the staples came out, for that age. I started out like any other child of that age, just purely obsessed with the characters. I wanted to know what Batman was doing this month, whether he was hanging out with Superman, or whether he was with the Justice League. Given a couple of years, I discovered things like Harvey Kurtzman's original Mad comic, which was reprinted in paperbacks that were available over here. I discovered Will Eisner's Spirit. These were an incredible jolt, because, for the first time, I was suddenly aware of the fantastic intelligence that could be invested in comics, given a talented enough creator. People like Kurtzman or Eisner were telling stories that could only be told in the comics form, but they were telling them with such style and power that I began to grasp what comics might be capable of. I started to realize how comics didn't need to be the way that the more normal comics that made up my reading diet always seemed to be, that you could do fantastic things. I certainly thought they could probably be made more realistic. I thought they could probably be given greater atmosphere, and that the writing could perhaps be improved. I didn't see why literary values shouldn't be transplanted to comics. But during those days, this was only on a very amateur level. I'd do sort of incoherent experimental comic strips for local arts magazines or local quasi-underground papers. Which were, I suppose, an attempt at learning my craft, but they weren't deconstructed; they were just messy. But, yeah, probably from an early age, there was a desire to do a different kind of comic book. I can't really claim to have any intelligent master plan. I probably didn't even realize that I was deconstructing superheroes until I was about halfway through Watchmen. Afterwards, it seemed a lot more obvious, but at the time we were just trying to do a cleverer-than-usual, more-stylish-than-usual superhero comic. But two or three issues in, it had become a sort of semiotic nightmare that I still get hounded by literature professors over to this day. It obviously, halfway through the telling, became a very different sort of animal.

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