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Alan Moore and Dave Gibbons Watchmen 1986-7 - Coggle Diagram
Alan Moore and Dave Gibbons
Watchmen
1986-7
Reactions to
Watchmen
how do we deal with fandom and DC history
the color palate establishes a different tone
its adaptations: Snyder (2009?) and HBO version;
the comics rely on so much details from the page to the panel to the panel-panels
how grueling is this in 86?
it's an emotional and MOVING text--it's designed to emmerse in chaos and uncontrollable emotions
It gave me a little nostalgia reading comics, but at the same time this experience was way different than the romance and comedic comics I read many years ago.
it felt crazy to get to see so much variety of color hues that connected with the theme of the scenes and see the differences through the use with color incorporated with scenes versus manga which does not typically include much color.
The opening of Watchmen: shift from regular paneling
we also get alternate timelines and speed: broken up; it's playing with normative time and pacing; not "sequential"; this shift out of chrononormativity forces more involvement
maybe not "non-sequential" but it's braided
the shift gives primacy to the visual to ground us in time because the panels.
the bigger sections felt more like a treat and a break from the harder smaller panels that shift
the red coloring draws us to the past versus the green/blue of the past; it's ironic because the content is violent;
readers as spectators: it's not "entertaining'--we're put in the attacker's POV; readers being PROVOKED into interpretation
CHapter XI, pg 6/pg354: the 9 panel intercuts and overlapping of times/braiding of immersion of comics story in present. What do we do with this braided narrative
both the adventure comic and the
Watchmen
is about what if the right thing isn't the right thing; imagined threats to domesticity are about self-made destruction of the homefront
CHP 3, pg 1: the cutting of the nuclear symbol to an explamation point background: wiiiiiicked foreshadowing; mirrors page 1 of the chpt 1;
the design both encourages and then discourages close reading--Moore's
mise-en-page
and
mise-en-scene
provide a space to critique and expose lazy readership/fantasies about passive reading
the use of repeated objects to carry us through and then bring unimportant objects back; it's about what's useful and what's important; reaffirms leit motifs
the splash panel/splash page: "Pale Horse with Krystal Nacht"
and it's several pages!
use of intertextuality to revisit the 40s, (50s, and 60s in the rest of the comic):
oops, utopian narratives and hero narratives are about cycles of violence and there is no progress with eugenic/genocidal frameworks