Crushing Krisis

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Watchmen

Review: Doomsday Clock #1 vs. Watchmen #1

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It is 2017, and every classic work of art or commerce is just another chance to launch a new franchise. Everything old is flogged again.

The Handmaid’s Tale is now an Emmy-winning television show that has extended its universe both before and after the story in the classic novel. The long-running Archie comics have been turned into a nonsensical thirst-trap of a TV show about sex and murder where it is every season of the year on every day to allow for a full range of fashionable costuming.

Classic franchises are groaning under the weight of being re-franchised. It’s franchising squared. Disney is determined to pump out Star Wars movies almost as frequently as they used to release Star Wars novels back in the day and Warner Brothers has rushed a Justice League into the theatres before we’ve had a chance to care about most of the individual heroes who would form it.

There’s even news that Amazon is planning to make an ongoing series out of Lord of the Rings, ignoring the extended fart sound that was made by the bloated Hobbit trilogy and the fact that they could simply serialize the original film series across two entire seasons if it was carved into TV sized chunks.

I’m trembling in anticipation for the “long awaited” adaptations of some of my favorite TV commercials and magazine ads.

(That is only halfway a joke.)

And here we are, revisiting Watchmen, one of the comic medium’s true masterpieces, because we cannot leave well enough alone.

Yes, we already had a Watchmen movie and a Before Watchmen, but they were each one-time events. This is more than an event. It’s also a mash-up with DC’s ongoing universe that we never asked for but cannot help but watch like rubberneckers delighting in a gruesome accident. (Which says nothing for the ethical concerns, .)

If anything can be forgiven of being a retread of past ground, shouldn’t Watchmen? After all, it was Alan Moore’s original idea to take a dead comics universe and put its characters through a meat grinder of a final story. He might have wound up using his own original characters in the end, but he’s just as culpable of re-franchising as any of these modern examples. Moore’s career is full of these examples – MiracleMan, The League of Extraordinary Gentlemen, and even Peter Pan. He loves digging up comics corpses to reanimate as much as films studios do!

And therein lies the truth of the matter. Moore always got a pass because his work was derivative but delightful. All of these franchise sins can be forgiven if the new extension of the franchise is good. The Handmaid’s Tale won that Emmy, after all, and everyone loves an Archie with abs.

Why not revive the Watchmen? Everybody’s doing it and they’ve been doing it forever – since long before Moore did it back in 1986.

Doomsday Clock #1  & Watchmen #1 4.5 stars

Doomsday Clock #1 written by Geoff Johns, drawn by Gary Frank, and colored by Brad Andersen. Watchmen #1 written by Alan Moore, drawn by Dave Gibbons, and colored by John Higgins.

Doomsday Clock is not meant to be a slavish, panel-by-panel homage to Watchmen, but the parallels are clear.

Both issues open with similar narration. Both are largely contained in a 3×3 nine-panel grid structure, and this first issue of Doomsday Clock employs a similar rhythm of breaking the grid to Watchmen #1. Both issues end with a sudden scene change punctuated by a historic quote that is followed by illuminating back matter.

There is an additional storytelling parallel that Doomsday Clock #1 ought to have picked up from Watchmen #1. Watchmen included several scene transitions throughout the issue, though each one turned out to be an extension of Rorschach’s journey through the narrative.

The first scene change in Watchmen is the most significant. On page nine, we cut from Rorschach looking at the Comedian’s photo of the old Watchmen to that same photo hanging above Hollis Mason as he enjoys a beer with Dan Dreiberg. Their conversation reveals they are the two Nite Owls, old and new.

The scene could have existed elsewhere, but the transition immediately lends it additional context: some of the Watchmen are still alive, and some of their mantles were handed down to others.

A page later, we realize this story is still the story of Rorschach, who shows up unexpectedly in Dreiberg’s house as he returns. The implication is that Rorschach, too, was a Watchman – which also tells us that the membership has changed over time, pre-explaining the upcoming scenes with Ozymandias, Dr. Manhattan, and Silk Spectre.

For all his withering critique of society in his journal, Rorschach was once involved in protecting it. We immediately realize that, in a way, his pessimism is him bemoaning his own failures. [Read more…] about Review: Doomsday Clock #1 vs. Watchmen #1

New Comic Guide: The Definitive Guide to Watchmen

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Yesterday, DC resurrected The Watchmen’s universe in the first issue of Doomsday Clock, a year-long event that gives us our first glimpse of what happened after the end of Watchmen 20 years ago.

To commemorate the occasion, starting today my new Watchmen guide is available to the general public! This new guide was made possible through the support of the Patreon community, who pay for Crushing Krisis’s regular monthly expenses.

My goal with this guide was to create something distinctly different from other Watchmen references on the web. I didn’t just want a bibliography or an encyclopedia article, but something in the middle that tracks every reprint of the original series and still offers some interesting insights.

How many of Watchmen’s 10 collected formats do you own? How many of the three cuts of the film have you watched? Have you read any of the Before Watchmen series? Do you know the Charlton Comics character equivalents for all of the characters, including which of them made it into the DC Universe proper after Crisis?

The guide answers all of those questions, and will be the home to Doomsday Clock information as the series progresses across the next twelve months.

New For Patrons: Watchmen – The Definitive Collecting Guide

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Today I launched a somewhat unusual guide directly to Patrons of Crushing Krisis – Watchmen: The Definitive Collecting Guide.

“But, Peter,” you might say, “Watchmen is only 12 issues long. How does that warrant an entire guide?

I’m so glad you asked. This guide does more than break out the many ways the original Watchmen series is collected. It also has information about the genesis of the Watchmen characters. It explains the differences between the three different cuts of the film, including one that incorporates the Tales of the Black Freighter material. It covers DC’s 2012 return to the Watchemen with Before Watchmen.

Much like my Complete Guide to Batman by Grant Morrison, this page is something I’ve always sought on the internet but never quite found. I look forward to adding more to it as the upcoming Doomsday Clock event as it unfurls.

This guide will become available to the general public in a few weeks to coincide with the release of the first issue of Doomsday Clock. Want it before then? Patrons get early access to every guide, including extended access to special Patrons’ Choice guides like Scarlet Witch.

Watchmen – The Definitive Collecting Guide

The Watchmen comic books definitive collecting guide absolute, hardcover, and trade paperback collections. Part of Crushing Krisis’s Crushing Comics Guide to Collecting DC. Last updated November 2017 with titles scheduled for release through January 2017.

Alan Moore and Dave Gibbon’s Watchmen is widely recognized as one of the most classic single comic stories in the history of the medium.Watchmen Trade Paperback

The 12-issue series tells a story embroiled in all the worst fears of the mid-80s while drawing on a rich history of comic archetypes to create a world of characters who feel analogous to the casts of every major comics universe. It uses those archetypes, as well as the very format of the comic medium, to deconstruct the idea of superheroes – with graffiti in the background of panels rhetorically asking readers “Who watches the Watchmen?”

The same traits that make Watchmen a prohibitive classic can also make it a challenging for modern readers. That’s not just because they might lack the historical context or comics knowledge for this series. Instead, it’s because since Watchmen (and also The Dark Knight Returns, released in the same year) American superhero comics have evolved a sense of self-awareness that echoes the narrative tone of this series.

Watchmen existed for over 20 years as a completely self-contained series with some minor background material included in its collected editions. That all began to change with the 20th Anniversary of the title, which brought a modern restoration to its colors, continued through 2009 with the release of Watchmen’s film adaptation, and seemed to reach its peak in 2012 with a series of Before Watchmen comic books that expanded the universe of the original series for the first time.

However, DC Comics saved the biggest expansion of Watchmen for its 30th Anniversary, revealing that the actions of Moore and Gibbons’s characters had somehow created the “Rebirth” of their entire comic line. After a year-and-a-half of teasing, that story began to be told in Doomsday Clock, another 12-issue series that picks up from just after the final scenes of the original Watchmen to integrate its characters into DC’s current continuity. [Read more…] about Watchmen – The Definitive Collecting Guide

Comic Book Review: Secret Empire #0 by Spencer, Acuna, Reis, & Lanham – On bad stories, responsible portrayals, and Holocaust etiquette

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Should certain stories be off-limits?

Consider if you have ever watched a movie or read a book where you felt a certain story beat was in particularly poor taste. Perhaps it should have been avoided altogether.

Does that mean no author ought to attempt it again?

I find that to be a difficult question to answer. Personally, I loathe plots where someone who is abused comes to trust or love their abuser. I think that plot relies on outdated trope about the internalization of cruelty as a form of affection.

Creators ought to be wise enough to steer clear of that plot in most instances, but I don’t think it should be outlawed. I can imagine a time when you might want to steer into that curve – not to be divisive or subversive, but to say something about your flawed characters. But it’s not a curve that should be mistaken for terrific character development.

There are other plot points that result in me getting up and walking away from the book or TV show I had been consuming a moment prior, whether they be personally triggering, advocating harmful behavior, racist, sexist, homo- or trans- phobic, or just plain dumb.

I don’t think any of them ought to be off-limits. Writing a bad story is entirely up to you. I won’t stand in your way, nor should anyone else.

I do think some portrayals of plots ought to be off-limits – not by rule, but in practice –  because they irresponsibly normalize dangerous behavior without context. People are now savvy enough to understand how to reject dangerous stories at face value, but not all consumers understand how to reject dangerous framing of concepts.

This can be insidious. I cannot watch a TV show or a movie that portrays sexual violence with a romanticized gaze. If you are going to make the choice to depict a sexual assault, it should be viscerally disturbing to the viewer. Their gut should twist. Not because you are editorializing about sexual assault, but because that’s what sexual assault is.

It is the difference between my ability to endlessly re-watch Watchmen despite it disturbing rape scene and my inability to make it through the sexual violence in the first season of Game of Thrones. One was viscerally disturbing. The other one kind of wanted to be sexy. Yet, many people causally watch both the former and the latter.

(You can substitute another topic for sexual violence, if you prefer.

This week, the depiction of death by suicide has become a hot topic due to its portrayal on 13 Reasons Why.

Romanticized portrayals of violence or self-harm erode a viewer’s ability to discern the objective truth of an event in reality. The fictionalized version takes over – whether that’s the seductive ease of ignoring informed consent or the glamorization of suicide.

It’s not that people object to suicide as thematic content. It’s the way it was framed.

Last week, news broke that a new BBC show depicting the UK Black Panther movement was centering a South Asian woman as it primary protagonist rather than a black woman. Regardless of the dubious historical accuracy of such a choice, choosing to cast non-black woman as central to a black civil rights movement erases black women from their own history. We saw a similar act of erasure of trans women of color in the movie Stonewall.

It’s not that people object to non-black characters appearing in historic civil rights narratives. Is the lack of portrayal of black woman.)

Having established my particular dichotomy of offensive story vs. irresponsible portrayal, now let me lay this one on you:

Last year, Marvel Comics and author Nick Spencer made Steve Rogers – the original Captain America – a Nazi.

(Let’s not split hairs – Hydra is a Nazi organization whose ideals have been slightly sanitized for comics. More on that in a moment.)

He isn’t pretending. He wasn’t brain-washed. Hydra used the Cosmic Cube to retroactively change Steve Rogers from American boy with a heart of gold to Nazi-sympathizing double-agent.

On one hand, I don’t think Cap being altered to be a truly vile villain should be off-limits as a story. I don’t think making him the symbol of everything he has fought against ought to be immediately rejected.

On the other hand, Nazis. [Read more…] about Comic Book Review: Secret Empire #0 by Spencer, Acuna, Reis, & Lanham – On bad stories, responsible portrayals, and Holocaust etiquette