Introduction

A New York Times Best Seller!

Considered the greatest graphic novel in the history of the medium, the Hugo Award-winning story chronicles the fall from grace of a group of super-heroes plagued by all-too-human failings. Along the way, the concept of the super-hero is dissected as the heroes are stalked by an unknown assassin.

This edition of WATCHMEN, the groundbreaking series from Alan Moore, the award-winning writer of V FOR VENDETTA and BATMN: THE KILLING JOKE, and Dave Gibbons, the artist of GREEN LANTERN, features the high-quality, recolored pages found in WATCHMEN: THE ABSOLUTE EDITION with sketches, never-before-seen extra bonus materials and a new introduction by Dave Gibbons.

Editorial Review

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.

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