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
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
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.