Chapters one through three of Watchmen are packed with suspenseful foreshadowing, and contain enough action and subplot to make the history of the characters’ relationships interesting.These chapters use politics, metafiction, and the Watchmen’s familial controversy to build up the comic’s mystery.
The political aspect is used both realistically – in that America was once very wary of the Soviet Union’s political movement – and as a tool to reveal how heavily the United States relies on Doctor Manhattan. When the Soviet Union relizes that Doctor Manhattan has abandoned the U.S., they take advantage of the situation. To demonstrate their worldly power, the Soviet Union invades Afghanistan. It is apparent that Doctor Manhattan is a vital tool in America’s national defense system, but I’m sure there is more to the political reference that the comic has yet to reveal.
There is a subplot in Watchmen: the pirate comic, which acts as both a subplot and a metafictional reminder that Watchmen is a comic. This is driven home by the mention of superhero comics throughout the novel, specifically in the diary of Hollis Mason, and also on page twenty-five of chapter three. The news vendor says, “Y’know, super-heroes are finished. These days, it’s all pirates. Back in ’39, before the real masked men showed up, super-hero comics were enormous. Guess their appeal wore off…” This is a loaded statement. He is describing the popularity of hostile pirate adventures since the super-hero storylines have vanished from the comic scene, but he’s also referring to the rise of crime in society since the “real” superheroes ceased their vigilantism. This is foreshadowing events to come following the abandonment of Doctor Manhattan, but that is the extent of information the reader is given directly.

I was immediately struck by the significance of Rorschach’s name and mask, which obviously derive from the famous Hermann Rorschach and the inkblot test.  The meaning seems quite clear:  whatever judgments you are making about this superhero reflect more on you than it does on him.  I will confess to staring at the changing patterns of his mask for an embarrassingly long time, looking for some clue to his character or purpose, but to no avail (Chapter 1, pages 12 and 15 offer a good look at his ever-changing “face”). Scott McCloud, in Chapter Five, writes:  “Certain patterns can produce an almost physiological effect in the viewer … [who] for some reason … will ascribe those feelings, not to themselves, but to the characters they identify with” (132). He was writing this about background patterns, but I think it can also apply to Rorschachs’s distinctive inkblot mask. In other words, Rorschach alone carries no true meaning – we project our own thoughts and feelings on him.  Having said that, it seems best to read the whole novel before making any judgments about Rorschach…or yourself .

The mystery of Rorschach is just the beginning of the many curiosities this novel contains. One has to be constantly aware of seemingly innocuous details that may have some meaning later.  For instance, there is an interesting play-on-words, often with double meaning, that runs throughout the novel, from the seemingly incidental to the brazenly obvious.  On page 9 of chapter one, there is a sign from a mechanic’s shop that reads “We fix ‘em!  Obsolete models a specialty”.  This certainly refers to more than just automobiles and foreshadows the many images of aging superheros in the pages that follow.   In chapter three, we see the locksmith from the “Gordian Knot Lock Co.” (the OED Online defines a Gordian knot as “A matter of extreme difficulty. To cut a Gordian knot: to get rid of a difficulty by force.”) – more foreshadowing.   Newspaper headlines also play a distinctive role as part of a secondary story about an impending international crisis (examples:  Chapter 1, page 18, chapter 2, pages 5, 9,10).

Another interesting example of this device is found in the parallel story lines of Dr. Manhattan and the pirate comic in chapter three.  This can be clearly seen in the closely mirrored narration of the comic and the experiences of Dr. Manhattan after he goes to Mars:  “That night, I slept badly beneath cold, distant stars, pondering upon the cold, distant god in whose hands the fate of Davidstown rested” (21).  Probably the best example of duality is again found in chapter three where images and dialogue from Dr. Manhattan’s interview coincide eerily with the assault on Laurie and Dreiberg.  For instance, when Dr. Manhattan is asked “Doc, if the reds act up in Afghanistan … will you be prepared to enter hostilities?” (page 12).  The last part of the sentence is superimposed on the image of Laurie and Dreiberg as they face their assailants.

There are so many examples (such as the sugar cubes) that it would take a book to recount them all, I’m sure.  And, I’ve only read through chapter 3!

I think we can say with confidence that there is a lot going on in the Watchmen, but one of the stronger themes in the book deals with the legitimacy of authority. If Watchmen were told using traditional superhero’s the point may not be as clear (I mean traditional in character, not appearance). However, as they are, emotionally stirred (or disturbed) and sometimes morally dubious, there is a justified question that arises in “What gave these people the authority?” We certainly didn’t elect them. The practice that they use to legitimize their vigilantism predates elections. In some ways the way that these people took power is an ancient practice. A war hero comes to power and legitimacy because he proves that he can protect the people, or strike fear into them. In the case of the Nite Owl and even more so, the Silk Specter, it is hereditary. With the type of behavior that the “heroes” in Watchmen exhibit, there is little wonder why the people would pass the Keene Act.

The Keene act which forces the masked avengers into retirement or registration. Most of these masks did retire, and the Comedian and Dr. Manhattan went on to work for the state. The only one who refused to hang up his uniform, was Rorschach.  Like Batman, Rorschach refuses to retire, and we see the desire for justice pushed to the limits of understanding. Both of these characters are so unrelenting in their own particular view of good and evil, justice and wrong, that they paint targets on their heads… They ultimately become an obstacle for the peace of other people, among a great many other problems. Nevertheless, the reader is usually inclined to side with the renegade hero. This usually is because the heroes are thought to be made of stronger moral metal than the state. They are fulfilling a role that the state should, but is unable to do so because it is weak or compromising. Rorschach says this in his own fun way when he staples a note that says “Never” to the body of a serial rapist, left dead outside a police station (Never, of course, referring to when he will retire). He is saying that, the state, or the system by which we legitimize our leaders is forever broken and will always need his assistance in doing their job. He caught the rapist after all, and took from him the opportunity of due process and possible release (or improvement) by killing him. I can’t assume to know your own reaction to this, but for me, and I suspect others, there was a certain degree of satisfaction in this action. However, later, Rorschach crosses the line. Breaking fingers in a bar is pretty bad, especially doing so on a whim. Even worse, Rorschach, accosts the ex-villain Moloch in his own home. Despite being living proof that criminals can reform, Rorschach still shows his justice is uncompromising by pinning and interrogating the old man, who also happens to have cancer.

I think that, despite the obviously limited reach of a character like Rorschach, we will see that giving power to any one person do dole out their own brand of justice has serious problems. For the same reason that we do (try our best at) not legislating morality, we cannot hand over our rights and our justice system to someone just because they have shown strength. Alan Moore, seems to be tackling this idea more than anything.

My first reaction from reading the first two books of The Dark Knight Returns is how it really humanizes the Batman persona. This isn’t your fathers squash-buckling Adam West television program and it sure as hell isn’t a terrible Joel Schumacher film. This is brutality at Gotham’s finest; gritty, raw, and wait a second- blood? Frank Miller holds nothing back here, doing well to humanize the concept of the superhero, as well as the world in which that hero occupies. It’s not often we get to see a hero in the twilight of his career, old and graying, and at times, getting his ass kicked. Whether or not you’ve followed the caped crusader through his many debauchery filled outings over the years, this is a depiction mostly unknown to the general public. The old and bitter man, tortured from his turbulent past, still fighting with his inner demons and pissing at the idea of retirement- they’re all such a fascinating elements to incorporate into a comic book (sorry, graphic novel). As the reader we’re made aware of his aching bones, his grizzled and throaty voice; we’re made conscious that believe it or not, the mighty Batman has somewhat lost a step. Take the end of book 2 for example, in which he fights the mutant leader. First of all the dark coloring here is great. The lack of brights really emphasize the grime and violence of the scene has to offer and shows the brutality of what I think is the defining moment for this particular book. But what’s more important here is that we see a Batman who gets bruised and broken, who isn’t easily disposing criminals as he used to. He almost dies in this confrontation, had it not been for the 3rd coming of Robin (or 3rd or 4th?). In a city that nearly implodes without his presence though, Batman soldiers on, risking life and limb for the sake of a little thing called justice. Everything down to Bruce’s inner dialogue, to the transition between gutters, shows the collective effort to portray Batman as the battle tested veteran. This is something Frank Miller and Company do a damn good job doing. They show us a Batman who is human, who struggles with those he has lost and who questions his role in modern society.

The Dark Knight Returns is the first Batman graphic novel I’ve read. Not surprisingly, I am familiar with the plot (past and present) and the characters because of Batman’s presence in pop culture. Initially, I was overwhelmed. The narration of the plot changes constantly. The only graphic novel I was familiar with before was Persepolis which is told from one point of view. Miller constantly switches between Batman’s thoughts and his conversations with the Mutants/other villains, we read Robin (Carrie Kelly)’s thoughts, and the Police Commissioners. That’s not all! Miller’s use of the media and interviews add an outside point of view to the plot. These few frames add an additional third person narrative. We hear the debate surrounding the action of the plot.  

Many of the pages consist of frames with television broadcasters with the text looming over the picture of the news anchor. These aren’t your “typical comic frame” because there is no gutter between each frame. However, the picture of the anchor makes it seem like we (the reader) are watching the news. This relates to McCloud’s discussion of the comic book experience and abstraction. While he discussed it by saying that pictures in comics are more abstract so the reader sees themselves in the story, I see it (in terms of The Dark Knight Returns) that the television frames are being used to make the reader feel as though they’re watching the news. They’re experiencing these views of Batman in the comfort of their own home allowing the reader to form their own point of view of Batman.

Another good example of abstraction occurs on page 67. I was really into the story by the time I got to these series of completely black frames. I was on edge and I was so nervous and excited to find out what happens next. The dialogue boxes were my only clues until Miller revealed to me the location of Batman and one of the mutants. What I was imagining was completely different. Each frame their location changed but the suspense kept me reading. I’m amazed with my imagination after doing this reading.

Scott McCloud’s idea that comics are a medium in which the audience is a willing and conscious collaborator is a compelling one. I love the idea of a participatory audience and taking the fact that we are not static readers into account. In Batman: The Dark Knight Returns, the audience is quite literally that, as we are dropped right into our couches watching a Gotham news telecast. I was pretty annoyed every time I had to read (or watch?) the newscasters or the debates on Point vs. Point, mainly because the questioning of the validity of Batman continues to live on through the media, but I thought that it was a great example of the closure McCloud talks about in our reading. A great example of this that comes to mind is the black frames on page 67, where Batman and one of the Mutant gang members are talking. The simplicity of the gray and purple speech bubbles leaves a lot to the imagination–where are they? What does the Mutant look like? And then as Batman takes his hands off the Mutant’s eyes, we are immediately placed in his (the Mutant’s) shoes, about to fall off of Gotham Towers. The ease in which the reader is able to become any character in the comic is a spectacular feat. Reading other literary texts doesn’t allow for much of that–I can see myself in the shoes of Holden Caulfield or Mrs. Dalloway, but here I am Batman looking into the eyes of my new Robin.

In the year Batman: the Dark Knight Returns other great works were written like the Watchman, but what took the Watchman 12 chapters to accomplish too the dark knight only four. Throughout the beginning of book one (especially pages like 12 and 13) we see both Gordon and Bruce as old men on the verge of retiring. I see Frank Miller trying to use these dull shades to symbolize the characters feeling toward the end of their time. However, when batman returns and he says he is “reborn” on p. 35 we see Miller’s pages explode with color, and to me this is meant to represent the life that has returned to Bruce. As the comic moves into book and book 3 and the new Robin comes into play the colors grow even brighter as Batman’s family comes together to create the life he lived for. The new Robin is a reminder to Bruce of Dick and of the relationships that help to create him and keep him strong. A younger batman would have demanded to work alone and would have told her to go home but this Veteran, the lonely old man, knew he needed the help and the youth to help him stay young. This book makes me wonder if Bruce will ever die or if no death will ever be good enough for him. We see him almost die in a car accident and later on page 51 we see him with the chance for a “fine death” but discussing all the things he has left to do.
The addition of a female Robin made me happy because it brought a new level to the side kick. For those of you who haven’t read about the last Robins death or about the paralyzation of Batgirl I recommend reading the Killing Joke, also featuring my favorite villain of the Joker. The Joker leads me to the point the the Dark Knight helps bring to light the most for me which is Batman and his Villains can not exists without each other. The arguments that are constantly occurring by the psychiatrists can be seen clearly, Batman creates his enemies and then using them to prove he is alive and capable. We can clearly see in the Dark Knight Returns that the Joker, not having seen the bat in 10 years, would have remained comatose and harmless without his arch enemy their to stir things up. The Joker needs the bat and the Bat cannot feel alive without his villains like the Joker. It is arguable that without the batman the worst of the worst would not exsist. It is also clearly seen that without the Batman no one in the city would see that they can help change things, that they are the ones with the power. We can see how he is a symbol to the people and he encourages them to do what needs to be done. On page 90 we see the positive side of the Batman where he empowers the everyday people to act and to not live in fear. Without this action Bruce has set forth through Gotham many of the cities person may act more like the man on page 110 who lives in so much he would kill an innocent man.
When it comes to the style Frank Miller uses for the comic he makes sure that Batman, the Commissioner, and other prime characters are drawn in great detail and that the everyday people are drawn with less detail so that we can all relate to them. Miller often demonstrates the passage of time through the internal monologue of Bruce. Page 86-88 we get the feeling of time passing as he talks about hearing the bat as he convinces himself not to die. As he lays unconscious we can watch the world around him continue and even see as Robin roams the bat cave. Batman, in this comic, is constantly reminding us that he is not a super hero like superman but that he is a man with a goal and a purpose. We see him bleed and bruise and love and loose. He is not invincible and through scenes where his bones creak and he pushes his old body to the breaking point we relate to the man on the inside and what it is he is trying to bring to the city.

The Joker being my favorite villian of all time led me to find this link http://stars.ign.com/articles/841/841564p1.html if anyone is interested in seeing the evolution.  Its amazing how he used to be portrayed vs. how we have come to know him through media