Qo'riqchilar - Watchmen

Ushbu maqola chiziq romanlarning cheklangan seriyalari haqida. 2009 yilgi filmga moslashish uchun qarang Qo'riqchilar (film). 2019 teleserialining davomi uchun qarang Qo'riqchilar (teleseriallar). Boshqa maqsadlar uchun qarang Qo'riqchi.

Qo'riqchilar
Watchmen, issue 1.jpg
Muqovasi Qo'riqchilar №1 (1986 yil sentyabr)
San'at tomonidan Deyv Gibbonlar
Sana1986–1987
NashriyotchiDC komikslari
Ijodiy guruh
YozuvchiAlan Mur
RassomDeyv Gibbonlar
KoloristJon Xiggins
Tahrirlovchilar
Asl nashr
Nashr etilganQo'riqchilar
Muammolar12
Nashr qilingan sana1986 yil sentyabr - 1987 yil oktyabr

Qo'riqchilar amerikalik hajviy kitob maxiseries Buyuk Britaniyaning yozuvchilar ijodiy jamoasi tomonidan Alan Mur, rassom Deyv Gibbonlar va rangdor Jon Xiggins. Tomonidan nashr etilgan DC komikslari 1986 va 1987 yillarda va 1987 yilda bitta jildda nashr etilgan. Qo'riqchilar Murning DC-ga taqdim etgan hikoya taklifidan kelib chiqqan superqahramon kompaniya sotib olgan belgilar Charlton komikslari. Murning taklif qilgan hikoyasi ko'plab qahramonlarni kelajakdagi hikoyalar uchun yaroqsiz holga keltirgan bo'lar edi, boshqaruvchi muharrir Dik Giordano Mur o'rniga asl belgilar yaratishga ishontirdi.

Mur bu hikoyani zamonaviy tashvishlarni aks ettirish va super qahramon kontseptsiyasini buzish va satira qilish vositasi sifatida ishlatgan. Qo'riqchilar tasvirlangan an muqobil tarix 1940 va 1960 yillarda super qahramonlar paydo bo'lgan va ularning mavjudligi tarixni o'zgartirib, AQSh g'olib bo'lgan Vetnam urushi va Votergeyt bilan bog'liq janjal hech qachon fosh qilinmagan. 1985 yilda mamlakat tomon qadam tashlamoqda Uchinchi jahon urushi bilan Sovet Ittifoqi, frilans kostyumli hushyorlar noqonuniy deb e'lon qilingan va aksariyat sobiq qahramonlar nafaqaga chiqqan yoki hukumatda ishlashgan. Hikoya shaxsiy rivojlanish va axloqiy kurashlar qahramonlarning hukumat homiyligidagi superqahramonni o'ldirish bo'yicha tergov sifatida ularni nafaqadan chiqarib yuboradi.

Ijodiy jihatdan, diqqat markazida Qo'riqchilar uning tuzilishida. Gibbonlar ketma-ket to'qqiz panelli panjara sxemasidan foydalangan va qonga bo'yalgan kabi takrorlanadigan belgilar qo'shgan. tabassum yuzi. So'nggi nashrdan tashqari, barchasida seriyalarning tarixiga qo'shiladigan qo'shimcha xayoliy hujjatlar mavjud va hikoya boshqa bir hikoya, hikoya ichidagi qaroqchi prikol bilan o'zaro bog'liq. Qora yuk tashuvchining ertaklari, qaysi belgilar o'qiydi. Ba'zida a sifatida tuzilgan chiziqli bo'lmagan hikoya, hikoya makon, vaqt va syujetdan o'tib ketadi. Xuddi shu tarzda, butun sahnalar va dialoglar sinxronizatsiya orqali boshqalar bilan o'xshashliklarga ega, tasodif va takroriy tasvir.

Tijorat muvaffaqiyati, Qo'riqchilar komikslarda ham, asosiy matbuotda ham tanqidlarga sazovor bo'ldi. Qo'riqchilar yilda tan olingan Vaqt's 100 ta eng yaxshi romanlarning ro'yxati 1923 yildan beri nashr etilgan ingliz tilidagi eng yaxshi romanlardan biri sifatida. Retrospektiv tahlilda BBC Nikolas Sartarosh buni "hajviy kitoblar o'sib-ulg'aygan on" deb ta'riflagan.[1]

Serialni badiiy filmga moslashtirish uchun bir qator urinishlardan so'ng, rejissyor Zak Snayder "s Qo'riqchilar 2009 yilda chiqarilgan. Video o'yinlar seriyasi, Qo'riqchilar: Oxiri yaqin, xuddi shu yili filmning chiqishi bilan bir qatorda chiqarildi.

DC Comics nashr etildi Qarovchilar oldida, to'qqiz qator prequel miniseriyalar, 2012 yilda va Qiyomat kuni soati, 12-sonli cheklangan seriya va davomi asl nusxasiga Qo'riqchilar ketma-ket, 2017 yildan 2019 yilgacha - ikkalasi ham Mur va Gibbonlar ishtirokisiz. Ikkinchi seriya Qo'riqchilar ichidagi belgilar DC Universe, ko'proq taniqli shahar uchun uy superqahramonlar kabi Supermen va Botmon, kompaniya flagman belgilar. A televizion davomi komiksning vaqt jadvalidan 34 yil o'tgach o'rnatilgan asl komiksga efirga uzatildi HBO 2019 yil oktyabrdan dekabrgacha Gibbonlar ishtirokida. HBO seriyasining kulgili davomi Rorschach va tomonidan yozilgan Tom King, 2020 yil oktyabr oyida nashr etila boshladi.

Mur keyingi moslashuvlardan noroziligini bildirdi va buni so'radi Qo'riqchilar kelajakdagi asarlar uchun moslashtirilmagan.[2]

Nashr tarixi

Qo'riqchilar, yozuvchi tomonidan yaratilgan Alan Mur va rassom Deyv Gibbonlar, birinchi bo'lib DC Spotlight-ning 1985 yilgi 50-yilligiga bag'ishlangan maxsus nashrida paydo bo'ldi. Oxir-oqibat u 12-son sifatida nashr etildi maxiseries dan DC komikslari, muqovalangan 1986 yil sentyabrdan 1987 yil oktyabrgacha.[3] Keyinchalik 1987 yilda DC Comics sifatida to'plangan savdo qog‘ozi 2017 yil mart oyiga qadar kamida 24 ta nashrga ega bo'lgan;[4] tomonidan yana bir savdo qog'ozi nashr etildi Warner Books, DC singlisi kompaniya, 1987 yilda.[5]

1988 yil fevral oyida DC Graphitti Design tomonidan ishlab chiqarilgan cheklangan nashrda, slipkatlangan qattiq qopqoqli hajmini nashr etdi, unda 48 sahifa bonusli materiallar, shu jumladan asl taklif va kontseptsiya san'ati mavjud.[6][7] 2005 yilda DC chiqdi Mutlaq qo'riqchilar, DC ning seriyali katta hajmli slipcasing qattiq qopqoqli nashri Mutlaq nashr format. Deyv Gibbonning nazorati ostida yig'ilgan, Mutlaq qo'riqchilar Grafitti materiallari, shuningdek Jon Xiggins tomonidan qayta tiklangan va qayta tiklangan san'at asarlari kiritilgan.[8] O'sha yilning dekabrida DC yangi nashrini nashr etdi Qo'riqchilar "Millennium Edition" liniyasining bir qismi sifatida 1986 yildagi dastlabki qopqoq narxidagi №1 nashr $ 1.50.[9]

2012 yilda DC nashr etildi Qarovchilar oldida, to'qqiz prequel mini-seriyasidan iborat bo'lib, turli xil ijodiy guruhlar dastlabki seriyalar voqealari oldiga qo'yilgan belgilarning dastlabki sarguzashtlarini ishlab chiqaradilar.[10]

2016 yilda bir martalik DC Universe: Qayta tug'ilish maxsus, ko'plab belgilar va ingl Qo'riqchilar, masalan, qon sepilgan tabassum va Doktor Manxetten va Ozymandiasning so'nggi sonidagi suhbati Qo'riqchilar, ko'rsatilgan.[11] Keyinchalik Qo'riqchilar ichida tasvirlar qo'shilgan DC Universe: Qayta tug'ilish maxsus # 1 soniya bosib chiqarish, unda Gari Frankning muqovasi yangilangan bo'lib, cho'zilgan qo'lni yaxshiroq ochib beradi Doktor Manxetten yuqori o'ng burchakda.[12][13] Keyinchalik doktor Manxetten 2017 yilda to'rt qismli doimiy shahar mini-seriyasida paydo bo'ldi Tugma ikkalasining ham to'g'ridan-to'g'ri davomi bo'lib xizmat qiladi DC koinotning qayta tug'ilishi va 2011 yil hikoyasi "O't olish nuqtasi "Manxetten 2017-19 o'n ikki qismli davomiy seriyasida yana paydo bo'ladi Qiyomat kuni soati.[14]

Fon va yaratish

"O'ylaymanki, men shunchaki" Bu chiziq romanni boshlashning yaxshi usuli bo'lar edi: taniqli super qahramonning o'lik topilishi ". Sir oshkor etilgach, biz ushbu super qahramon dunyosining asl qalbiga tobora chuqurroq kirib boramiz va super qahramonning keng jamoatchilik qiyofasi uchun juda boshqacha haqiqatni namoyish etamiz. "

- asosida Olan Mur Qo'riqchilar[15]

1983 yilda DC Comics belgi qatorini sotib oldi Charlton komikslari.[16] O'sha davrda yozuvchi Alan Mur O'zida bo'lgani kabi yangilanishi mumkin bo'lgan foydalanilmagan superqahramonlar qatorini aks ettirgan hikoya yozishni o'ylardi. Miracleman 1980-yillarning boshlarida seriyali. Mur buni asoslab berdi MLJ komikslari ' Qudratli salibchilar Bunday loyiha uchun mavjud bo'lishi mumkin, shuning uchun u odam tanasining kashf etilishi bilan boshlanadigan qotillik sirini tuzdi. Qalqon portda. Yozuvchi, oxir-oqibat qaysi belgilar to'plamidan foydalanganligi muhim emasligini, agar o'quvchilar ularni tanib olishgan bo'lsalar, "shuning uchun bu belgilarning haqiqati nima ekanligini ko'rganingizda shok va hayratlanarli qiymatga ega bo'lar edi".[15] Mur ushbu asosdan foydalangan va Charlton qahramonlari ishtirokidagi taklifni ishlab chiqqan Kim o'ldirdi Tinchlikparvar,[17] va kiruvchi taklifni DC boshqaruvchi muharririga taqdim etdi Dik Giordano.[18] Jiordano bu taklifni qabul qildi, ammo Charlton belgilaridan hikoya uchun foydalanish g'oyasiga qarshi chiqdi. Mur shunday dedi: "DC ularning qimmatli belgilarining o'lik yoki ishlamay qolishini tushundi." Buning o'rniga, Jiordano Murni yangi belgilar bilan davom ettirishga ishontirdi.[19] Mur dastlab asl obrazlar o'quvchilarga hissiy rezonans tug'dirmaydi deb ishongan edi, ammo keyinchalik uning fikrini o'zgartirdi. U shunday dedi: "Oxir-oqibat, agar men o'rnini bosadigan belgilarni etarli darajada yaxshi yozgan bo'lsam, ular ma'lum bir shaklda tanish bo'lib tuyulsa, ularning ba'zi jihatlari o'quvchiga o'ziga xos umumiy qahramon rezonansini yoki tanishligini qaytarganini angladim, keyin bu mumkin ish. "[15]

Alan Mur, yozuvchisi Qo'riqchilar
Deyv Gibbonlar, rassomi Qo'riqchilar

Rassom Deyv Gibbonlar Mur bilan avvalgi loyihalarda hamkorlik qilib, "uzumzorda u yangi miniseriyalarda davolanayotganini eshitgan bo'lsa kerak. Men Alanni u nima qilayotgani bilan shug'ullanmoqchi edim" deya qo'ng'iroq qildim ", Mur esa unga voqea mazmunini yubordi.[20] Gibbonlar Giordanoga Mur taklif qilgan va Mur ma'qullagan seriyalarni chizmoqchi ekanligini aytdi.[21] Gibbonlar koloristni olib kelishdi Jon Xiggins unga "g'ayrioddiy" uslubi yoqgani uchun loyihaga; Xiggins rassomning yonida yashagan, bu ikkalasiga "[san'atni] muhokama qilish va shunchaki okean ortiga jo'natishdan ko'ra, odamlar bilan qandaydir aloqada bo'lish" imkonini beradi.[17] Len Vayn loyihaga uning muharriri sifatida qo'shildi, Giordano esa uni nazorat qilishni davom ettirdi. Vayn ham, Jordano ham orqada turishdi va "o'z yo'llaridan ketishdi"; Keyinchalik Jordano: "Alan Murni kim Xudo uchun nusxa ko'chirgan?"[18]

Mur va Gibbonlar loyihada ishlashga ruxsat olgandan so'ng, bir kun ikkinchisining uyida qahramonlar yaratib, hikoya muhiti uchun tafsilotlarni yaratib, ta'sirlarni muhokama qildilar. Bu juftlikka ayniqsa a ta'sir ko'rsatgan Telba "Supermenga parodiya"Superduperman "Mur dedi:" Biz Superdupermanni komediya o'rniga 180 daraja - dramatik tarzda olishni xohladik ".[19] Mur va Gibbonlar "tanish eskirgan superqahramonlarni butunlay yangi sohaga olib boradigan" voqeani o'ylab topdilar;[22] Mur, uning maqsadi "superqahramon yaratish" ekanligini aytdi Mobi Dik; bunday vaznga, zichlikka ega bo'lgan narsa ".[23] Mur belgilar nomlari va tavsiflari bilan chiqdi, ammo Gibbonlarga qanday qarashlarini o'ziga xos xususiyatlarini qoldirdi. Gibbonlar o'tirib, ataylab belgilarni loyihalashtirmagan, aksincha "buni g'alati paytlarda qilgan [...] ehtimol ikki yoki uch hafta davomida shunchaki eskizlarni bajarish uchun sarf qilar edi".[17] Gibbonlar o'zlarining belgilarini chizishni osonlashtiradigan qilib yaratgan; Rorschach rasm chizishni eng yaxshi ko'rgan edi, chunki "siz shunchaki shlyapa chizishingiz kerak. Agar siz shlyapa chizishingiz mumkin bo'lsa, demak siz Rorschachni chizgansiz, shunchaki uning yuziga biron bir shakl chizib, ustiga qora dog'lar qo'yasiz va siz" tugadi. "[24]

Mur seriyani juda erta yozishni boshladi, chunki DC cheklangan seriyasida duch keladiganlar kabi nashrni kechiktirishga yo'l qo'ymaslik kerak edi Camelot 3000.[25] Mur birinchi sonining ssenariysini yozayotganda, "Menda oltita masala uchun syujet yetarli edi. Biz bilan shartnoma 12 edi!" - deb tushunganini aytdi. Uning echimi serialning umumiy syujeti bilan shug'ullanadigan masalalarni belgilar uchun kelib chiqish masalalari bilan almashtirish edi.[26] Mur Gibbonlarga ishlash uchun juda batafsil ssenariylar yozgan. Gibbonlar "u birinchi sonining ssenariysini yozganini" esladi Qo'riqchilar O'ylashimcha, bitta varaqli 101 sahifali yozuv varag'i edi, bu alohida panel tavsiflari o'rtasida yoki hatto sahifalar orasida bo'shliqlarsiz edi. "Ssenariylarni olgandan so'ng, rassom har bir sahifani raqamlashi kerak edi, agar ularni tashlab qo'ysam". qavatda, chunki ularni to'g'ri tartibda tiklashim uchun ikki kun vaqt ketishi kerak edi "va yozuvlar va o'qlarning tavsiflarini ajratib ko'rsatish uchun yoritgichli ruchkadan foydalanganman; u shunday dedi:" Haqiqatdan ham qo'yish uchun juda ozgina tartibga solish kerak qalamdan qog'ozga. "[27] Murning batafsil ssenariylariga qaramay, uning paneldagi tavsiflari ko'pincha "Agar bu sizga mos kelmasa, eng yaxshi ishni bajaring" degan yozuv bilan tugaydi; Gibbonlar baribir Murning ko'rsatmasi bilan ishladilar.[28] Darhaqiqat, Gibbonlar ssenariyga faqat bitta o'zgartirish kiritishni taklif qilishgan: u Rorschaxning yashirincha hujumini oldini olayotganda Ozymandiasning rivoyatlaridan siqishni, chunki u suhbat juda ko'p harakatlarning hajmiga mos kelmasligini sezgan; Mur rozi bo'ldi va sahnani qayta yozdi.[29] Vizual ko'rinishini rivojlantirishda Gibbonlar katta avtonomiyalarga ega edilar Qo'riqchilarMur va keyinchalik tan olmaganini tan olgan tez-tez kiritilgan tafsilotlarni.[23] Mur vaqti-vaqti bilan komikslar yozuvchisi bilan bog'lanardi Nil Geyman tadqiqot savollariga javoblar va nashrlarga tirnoqlarni kiritish uchun.[26]

Uning niyatlariga qaramay, Mur 1986 yil noyabr oyida kechikishlar bo'lishi mumkinligini tan oldi va u o'zining beshinchi stendida hali to'qqizinchi sonini yozayotganini aytdi.[27] Gibbonlar kechikishlarning asosiy omili Murning ssenariylarini olishning "parcha-parcha usuli" ekanligini ta'kidladilar. Gibbonlarning aytishicha, jamoaning tezligi to'rtinchi son atrofida pasaygan; o'sha paytdan boshlab ikkalasi o'z ishlarini "bir vaqtning o'zida bir nechta varaqlarni bajarishdi. Men Alandan uchta sahifa stsenariyni olaman va uni chizaman, so'ngra oxirigacha uni chaqirib:" Menga ovqat bering! " Va u yana ikki yoki uch sahifani yoki ehtimol bitta sahifani yoki ba'zan olti sahifani yuboradi. "[30] Ijodkorlar belgilangan muddatlarda ishlay boshlaganlarida, Mur taksichini yollab, 50 chaqirim masofani bosib o'tib, Gibbonlarga stsenariylarni etkazib berardi. Keyingi nashrlarda rassom hatto vaqtini tejashga yordam berish uchun rafiqasi va o'g'liga panjara panjaralarini chizgan.[26]

Loyiha tugashiga yaqin, Mur bu voqea "ga o'xshashligini" angladiQo'rquv me'morlari ", epizodi Tashqi chegaralar teleseriallar.[26] Yozuvchi va Vayn oxirini o'zgartirish borasida bahslashishdi va Mur taslim bo'lishdan bosh tortgach, Vayn kitobni tark etdi. Vayn shunday tushuntirdi: "Men unga:" Aslroq bo'l, Alan, sen o'zingning qobiliyatingga ega bo'l, boshqa ish bilan shug'ullan, emas, balki allaqachon bajarilgan ish bilan shug'ullan! "Deb takrorlar edim. Va buni amalga oshirish uchun unga etarlicha ahamiyat berilmaganga o'xshaydi. "[31] Mur buni tan oldi Tashqi chegaralar epizodni serialning so'nggi sonida havola etish orqali.[28]

Sinopsis

O'rnatish

Qo'riqchilar 1980-yillarning zamonaviy dunyosini yaqindan aks ettiradigan muqobil haqiqatda o'rnatiladi. Asosiy farq - bu qahramonlarning mavjudligi. The kelishmovchilik nuqtasi 1938 yilda sodir bo'lgan. Ularning Qo'shma Shtatlarning ushbu versiyasida mavjudligi, masalan, real voqealar natijalariga keskin ta'sir ko'rsatgani va o'zgartirganligi ko'rsatilgan. Vetnam urushi va prezidentligi Richard Nikson.[32] Serialning realizmiga muvofiq, garchi jinoyatchilarning kiyingan kiyimlari Qo'riqchilar Odatda "superqahramonlar" deb nomlanadilar, faqat bitta Manxetten nomli, g'ayritabiiy qobiliyatlarga ega.[33] Vetnamdagi urush 1971 yilda Amerikaning g'alabasi bilan tugaydi va Nikson 1985 yil oktyabr oyidan beri muddat cheklanganligi va Votergeyt bilan bog'liq janjal o'tishga kelmayapti. The Sovet Ittifoqining Afg'onistonga bostirib kirishi haqiqiy hayotga qaraganda taxminan olti yil o'tgach sodir bo'ladi.

Hikoya boshlanganda, Doktor Manxettenning mavjudligi AQShga nisbatan strategik ustunlikni berdi Sovet Ittifoqi, bu keskin oshdi Sovuq urush keskinliklar. Oxir-oqibat, 1977 yilga kelib, super qahramonlar politsiya va jamoatchilik orasida noma'qul bo'lib, Keene qonunining qabul qilinishi bilan ularni noqonuniy deb topdilar. Ko'pgina qahramonlar nafaqaga chiqqan bo'lsa-da, Doktor Manxetten va "Komediya ustasi" nomi bilan tanilgan yana bir super qahramon hukumat tomonidan tasdiqlangan agentlar sifatida faoliyat yuritmoqda. Boshqa nomlangan Rorschach qonundan tashqarida ishlashda davom etmoqda.[34]

Uchastka

1985 yil oktyabr oyida Nyu-York shahar detektivlari Edvard Bleykning o'ldirilishini tergov qilmoqda. Politsiyada hech qanday qo'rg'oshin yo'qligi sababli, hushyor Rorschach qo'shimcha tekshiruv o'tkazishga qaror qildi. Rorschach Bleykning kostyumini va imzolarini tabassum bilan tasdiqlovchi belgisini topgandan so'ng, AQSh hukumati tomonidan ishlagan kostyum qahramoni Komedianning haqiqiy shaxsi bo'lganligini aniqladi. Rorschach kostyumli avantyurlarni tugatish uchun fitna uyushtirgan deb hisoblaydi va to'rt nafaqadagi o'rtoqlarini ogohlantirishga kirishadi: Daniel Dreiberg (ixtirochi va ilgari ikkinchi Nite Owl), juda kuchli va hissiy jihatdan ajralib qolgan Jon Osterman (Doktor Manxetten ismli ism) va uning sevgilisi Lauri Yuspeczyk (ikkinchi Ipak Spektri) va Adrian Veydt (bir paytlar qahramon bo'lgan) Ozymandias Drayberg, Veydt va Manxetten Bleykning dafn marosimida qatnashadilar, u erda Dreiberg Bleykning dafn etilishidan oldin uning tobutidagi pin nishonini tashlaydi. Keyinchalik Manxetten milliy televideniye orqali do'stlari va sobiq hamkasblarida saraton kasalligining sababi sifatida ayblanmoqda. Hukumat ayblovlarni jiddiy qabul qilganda, Manxetten o'zini Marsga surgun qiladi. AQSh Manxettenga strategik harbiy boylik sifatida bog'liq ekan, uning ketishi insoniyatni siyosiy notinchlikka olib keladi, Sovetlar Afg'onistonga Amerikaning sezilgan zaifligidan foydalanish uchun bostirib kirishadi. Rorschaxning xavotiri, Veidt suiqasd tashabbusidan ozgina omon qolganida paydo bo'ldi. Rorschachning o'zi Moloch ismli sobiq nozirni o'ldirganligi uchun qamoqqa olingan. U hukumatdan qochishga urinib ko'rgan bo'lsa-da, Rorschax oxir-oqibat qo'lga olingan va Valter Kovach kabi maskalanmagan.

Xudoga o'xshagan kuchlari va o'zgarishi uni tirik mavjudotlarning kundalik tashvishlaridan butunlay olib tashlagan va endi hukumat tomonidan saqlanib qolmagan, bir vaqtlar odam bo'lgan Manxetten bilan munosabatlariga e'tibor bermay, Dreiberg bilan qoladi. Ular romantikani boshlaydilar, kostyumlarini berishadi va yaqinlashganda hushyorlik ishlarini davom ettirishadi. Dreiberg Rorschaxning ba'zi jihatlariga ishonishni boshlaganda fitna nazariyasi, juftlik uni qamoqdan chiqarishni o'z zimmalariga oladi. O'zining shaxsiy tarixiga nazar tashlaganidan so'ng, Manxetten o'zining insonparvarlik ishlari bilan bog'liq taqdirini Yuspecykning qo'liga topshiradi. U hissiy sarmoyani hal qilish uchun uni Marsga teleportatsiya qiladi. Bahs davomida Yuspecyk bir paytlar onasini (asl Silk Spectre) zo'rlamoqchi bo'lgan Bleyk, aslida, uning biologik otasi, ikkinchi, o'zaro munosabatlarga amal qilganligi bilan tan olishga majbur. Insoniyat hissiyotlari va munosabatlarining murakkabligini aks ettiruvchi ushbu kashfiyot Manxettenning insoniyatga bo'lgan qiziqishini yana bir bor takrorlaydi.

Yerda Nite Owl va Rorschach fitnani ochishda davom etmoqdalar va Veidt rejaning orqasida bo'lishi mumkinligiga dalil topmoqdalar. Rorschach o'zining tergovini yozib olgan jurnalida Veidt haqidagi shubhalarini yozadi va uni pochta orqali yuboradi. Yangi chegarachi, mahalliy o'ng qanot gazetasi. Keyin juftlik Veidt bilan Antarktida chekinishida duch keladi. Veidt o'zining asosiy rejasini shahar aholisining yarmini yo'q qiladigan Nyu-Yorkdagi begona istilosini uydirish orqali insoniyatni yaqinlashib kelayotgan yadroviy urushdan qutqarishni tushuntiradi. U bu ulkan kuchlarni umumiy dushmanga qarshi birlashishiga umid qiladi. Shuningdek, u Komediyani o'ldirganini, Manxettenning o'tgan sheriklarini saraton kasalligiga yo'liqtirganini, o'zini gumondan ustun qo'yish uchun o'z joniga qasd qilganini va Rorschaxni tuzatish uchun Molochni o'ldirganini ham ma'lum qiladi. Bularning barchasi uning rejasi oshkor qilinmasligi uchun qilingan. Nite Owl va Rorschach Veidtning mantiqiy va jirkanchligini ko'rishadi. Ular uni to'xtatishlarini aytishadi, lekin Veidt ular kelishidan oldin o'z rejasini amalga oshirganligini aytadi.

Manxetten va Juspeczyk Yerga qaytib kelganlarida, Nyu-Yorkda ulkan kalmarga o'xshash ulkan qirg'in va o'limga duch kelishmoqda. maxluq, Veidt laboratoriyalari tomonidan yaratilgan, shahar o'rtasida o'lik. Manxetten unga e'tibor beradi taxminiy qobiliyatlari cheklangan taxyonlar Antarktidadan chiqqan va u erdagi teleport. Ular Veidtning ishtirokini aniqlaydilar va unga qarshi turishadi. Veidt barchaga yangi tahdidning paydo bo'lishi haqiqatan ham super davlatlar o'rtasida tinch hamkorlik qilishga turtki berganligini tasdiqlovchi yangiliklarni namoyish etadi; bu deyarli hozirgi barcha odamlarning haqiqatni yashirish dunyo tinchligi manfaatlariga javob berishiga rozi bo'lishiga olib keladi. Rorschach murosadan bosh tortadi va haqiqatni oshkor etish niyatida ketmoqda. U orqaga qaytayotganda, Manxettenga duch keladi, u bu vaqtda haqiqat faqat zarar etkazishi mumkin deb ta'kidlaydi. Rorschach, Manxettenning Veidtni fosh qilishiga yo'l qo'ymaslik uchun uni Manhetten o'ldirishi kerakligini aytadi, bu esa Manxetten tomonidan to'g'ri bajariladi. Keyin Manxetten bazada yurib, Veydtni topadi, u undan oxir-oqibat to'g'ri ish qilganmi, deb so'raydi. Manxetten sirli ravishda Yerdan ketishdan oldin "hech narsa tugamaydi" deb javob beradi. Drayberg va Yuspecyk yangi shaxslar ostida yashirinib, o'zlarining romantikalarini davom ettirmoqdalar.

Nyu-Yorkka qaytib, muharriri Yangi chegarachi yordamchisidan "krank faylidan" ba'zi bir to'ldiruvchi materiallarni topishni so'raydi, qog'ozga rad etilgan materiallar to'plami, ularning aksariyati hali ko'rib chiqilmagan. Ketma-ket yigitcha Rorschachning jurnali joylashgan tepaga tashlangan arizalar to'plamiga qarab borishi bilan tugaydi.

Belgilar

Asosiy maqola: Watchmen belgilarining ro'yxati
Ning asosiy belgilar Qo'riqchilar (chapdan o'ngga): Ozymandias, ikkinchi Ipak Spektri, Doktor Manxetten, Komediya ustasi (tiz cho'kib), ikkinchisi Nite Owl va Rorschach

Bilan Qo'riqchilar, Alan Mur dunyoni idrok etish uchun to'rt yoki beshta "tubdan qarama-qarshi yo'llarni" yaratish va hikoya o'quvchilariga qaysi biri axloqiy jihatdan eng tushunarli ekanligini aniqlash imtiyozini berish edi. Mur o'quvchilarning bo'g'ziga tushadigan "qayta tiklangan axloq" tushunchasiga ishonmadi va aksincha qahramonlarni noaniq ko'rinishda ko'rsatishga intildi. Mur shunday dedi: "Biz nima qilishni xohlasak, bu odamlarning hammasini, siğillarni va boshqalarni ko'rsating. Hatto ularning eng yomoni ham ularga tegishli bo'lgan narsalarga ega ekanligini va hatto eng yaxshilarida ham kamchiliklari borligini ko'rsating" dedi.[23]

Adrian Veidt / Ozymandias
Dan ilhom olish Buyuk Aleksandr, Veidt bir paytlar Ozymandiasning superqahramoni bo'lgan, ammo o'sha paytdan e'tiboran o'z korxonalarini boshqarishga bag'ishlash uchun nafaqaga chiqqan. Veidt sayyoradagi eng aqlli odam ekanligiga ishonishadi. Ozymandias asoslangan edi Piter Kannon, momaqaldiroq; Murga "bizni miyaning 100% to'liq" va "jismoniy va ruhiy jihatdan to'liq boshqaradigan" personajning g'oyasi yoqdi.[15] Richard Reynolds ta'kidlashicha, "dunyoga yordam berish" tashabbusi bilan Veidt odatda qahramonlarning hikoyalarida yovuz odamlarga xos xususiyatni namoyon etadi va ma'lum ma'noda u serialning "yovuzi" dir.[35] Gibbonlar "Uning gunohlarining eng yomoni - bu insoniyatning qolgan qismiga past nazar bilan qarash, qolgan insoniyatni sharmanda qilishdir", deb ta'kidladi.[36]
Daniel Dreiberg / Nite Owl II
Boyqush mavzusidagi gadjetlardan foydalanadigan iste'fodagi superqahramon. Nite Owl ga asoslangan edi Ted Kord versiyasi Moviy qo'ng'iz. Mur Ted Korddan avvalgilariga o'xshash tarzda, avvalroq "Nite Owl", nafaqadagi jinoyatchilar uchun kurashuvchi Xollis Meyson ismini ishlatgan avantyuristni ham qo'shib qo'ydi. Qo'riqchilar.[15] Mur Gibbonsga ishlash uchun belgi yozuvlarini ishlab chiqqan bo'lsa, rassom Xollis Meysonning o'n ikki yoshida o'zi yaratgan ism va kostyum dizaynini taqdim etdi.[37] Richard Reynolds ta'kidladi Super Heroes: Zamonaviy mifologiya personajning Charlton ildizlariga qaramay, Nite Owl modus operandi DC Comics personaji bilan ko'proq o'xshashdir. Botmon.[38] Klokning so'zlariga ko'ra, uning fuqarolik shakli "zaif, o'rta yoshdagi odamni ingl Klark Kent."[39]
Edvard Bleyk / Komediyachi
1977 yilda Keene qonuni qabul qilinganidan keyin ham faol bo'lib qolgan va hukumat tomonidan tasdiqlangan ikkita qahramondan biri (Doktor Manxetten bilan birga) super qahramonlarni taqiqlash uchun. Birinchi bob boshlanishidan sal oldin sodir bo'lgan uning qotilligi fitnani belgilaydi Qo'riqchilar harakatda. Qahramon voqea davomida orqaga qaytish paytida paydo bo'ladi va uning shaxsiyatining boshqa tomonlari tomonidan ochib beriladi.[34] Komediya ustasi Charlton komiksi personajiga asoslangan edi Tinchlikparvar elementlari bilan Marvel komikslari josuslik xarakteri Nik Fyuri qo'shildi. Mur va Gibbonlar Komediyani "o'ziga xos Gordon Lidi xarakter, faqat kattaroq, qattiqroq yigit ".[15] Richard Reynolds Komediyani "shafqatsiz, shafqatsiz va nigilistik va shu bilan birga kiyingan qahramonning roli haqida boshqalarnikiga qaraganda chuqurroq tushunishga qodir" deb ta'riflagan.[34] U 1940-yillarda birinchi Silk Spectre-ni zo'rlaydi. To'qqizinchi sondan ma'lum bo'lishicha, bir necha yil o'tgach, u qizi Laurini o'zaro kelishilgan jinsiy aloqaning bir qismi sifatida tug'dirgan.
Doktor Jon Osterman / Doktor Manxetten
Amerika Qo'shma Shtatlari hukumati bilan shartnoma tuzgan super kuch. Olim Jon Osterman kuchga ega bo'ldi materiya u 1959 yilda "Ichki dala subtraktori" ga tushib qolganida. Doktor Manxetten Charltonga asoslangan edi Kapitan Atom Murning asl taklifida yadro tahdidi soyasi bilan o'ralgan. Biroq, yozuvchi Manxetten bilan kapitan Atomga qaraganda ko'proq "kvant super-qahramoni" sifatida ko'proq ish qila olishini topdi.[15] Mur kelib chiqishi haqida ilmiy izlanishlarga ega bo'lmagan boshqa superqahramonlardan farqli o'laroq, Mur chuqur o'rganishga intildi yadro fizikasi va kvant fizikasi Doktor Manxettenning xarakterini yaratishda. Yozuvchi kvant olamida yashovchi belgi vaqtni chiziqli nuqtai nazardan sezmaydi, bu esa odamning ishlarini idrok etishiga ta'sir qiladi deb ishongan. Mur ham hissiyotsiz xarakter yaratishdan saqlanmoqchi edi Spok dan Yulduzli trek, shuning uchun u doktor Manxettenga "odamiy odatlarni" saqlab qolish va ulardan va umuman insoniyatdan uzoqlashish uchun intildi.[23] Gibbonlar ko'k belgini yaratgan edi Rogue Trooper va u Doktor Manxetten uchun moviy teri motifini qayta ishlatganligini tushuntirdi, chunki u tonnasi oppoq teriga o'xshaydi, ammo boshqa rangga ega. Mur bu rangni hikoyaga kiritdi va Gibbons ushbu kulgili rang sxemasining qolgan qismini Manxettenni o'ziga xosligini ta'kidladi.[40] Mur DC doimiy ravishda ijodkorlarga ushbu obrazni to'liq yalang'och qilib tasvirlashiga yo'l qo'yadimi yoki yo'qligini bilmasligini esladi, bu esa ular qanday qilib bu belgini qanday tasvirlashlariga ta'sir qildi.[17] Gibbonlar Manxettenning yalang'ochligini tasvirlashni, to'liq frontal kadrlar qachon paydo bo'lishini sinchkovlik bilan tanlashni va unga "kamsitilgan" jinsiy a'zolarni berishni - klassik haykal singari - did bilan zavqlantirmoqchi edi, shuning uchun o'quvchi dastlab buni sezmasdi.[37]
Laurie Juspeczyk / Silk Spectre II
Salli Yupiterning qizi (u bilan munosabatlari keskin bo'lgan birinchi Ipak Spektri) va Komediyachi. Polsha merosidan u bir necha yillardan buyon Doktor Manxettenning sevgilisi edi. Silk Spectre dastlab Charlton super qahramoni bo'lishi kerak edi Nightshade, Mur bu belgi bilan ayniqsa qiziqmagan. Charlton belgilaridan foydalanish g'oyasidan voz kechgandan so'ng, Mur kabi qahramonlardan ko'proq narsani oldi Qora kanareya va Xayolparast xonim.[15]
Valter Jozef Kovach / Rorschach
Nosimmetrik, ammo doimo o'zgarib turadigan siyoh dog 'naqshini o'z ichiga olgan oq niqob kiygan hushyor u noqonuniy maqomiga qaramay, jinoyatchilikka qarshi kurashni davom ettiradi. Mur "bu kvintessensialni o'ylab topishga harakat qilayotganini aytdi Stiv Ditko xarakter - kulgili ismga ega, familiyasi "K" bilan boshlanadigan, g'alati dizayndagi niqobga ega bo'lgan kishi ". Mur Ditsoning ijodi asosida Rorschaxga asoslangan Janob A;[27] Ditkoning Charlton xarakteri Savol shuningdek, Rorschachni yaratish uchun shablon sifatida xizmat qilgan.[15] Komikslar tarixchisi Bredford Uayt Rayt bu qahramonning dunyoqarashini "ko'p shakllarga ega, lekin hech qachon kulrang soyalarga aralashmaydigan oq-qora qiymatlar majmuini tasvirlab berdi. siyoh dog 'sinovlari Rorschach borliqni tasodifiy deb biladi va Raytning fikriga ko'ra, bu nuqtai nazar, "axloqiy jihatdan bo'sh dunyoda" o'z dizaynini "tarashda" erkinlikni qoldiradi.'".[41] Murning so'zlariga ko'ra, u to'rtinchi nashrga qadar Rorschaxning o'limini oldindan o'ylamagan, chunki uning murosaga kelishidan bosh tortishi, bu voqeadan omon qolmasligiga olib keladi.[23]

San'at va kompozitsiya

Mur va Gibbonlar ishlab chiqilgan Qo'riqchilar komikslar vositasining o'ziga xos fazilatlarini namoyish etish va uning kuchli tomonlarini ta'kidlash. Mur 1986 yilgi intervyusida "Men kashf etmoqchi bo'lganim - bu boshqa biron bir ommaviy axborot vositasi ishlashga qodir bo'lmagan joyda komikslar muvaffaqiyatga erishadigan sohalar" deb aytdi va buni chiziq va film o'rtasidagi farqlarni ta'kidlab ta'kidladi. Mur shunday dedi Qo'riqchilar "to'rt yoki besh marta" o'qish uchun mo'ljallangan bo'lib, ba'zi bir havolalar va kinozalar faqat o'quvchiga bir necha o'qishdan keyin aniq bo'lib qoladi.[23] Deyv Gibbons ta'kidlaganidek, "u rivojlandi" Qo'riqchilar ertakning o'zi emas, balki hikoya qilish haqida ko'proq ma'lumotga ega bo'ldi. Hikoyaning asosiy yo'nalishi asosan a deb nomlangan narsaga bog'liq macguffin, a hiyla-nayrang ... Shunday qilib, haqiqatan ham syujetning o'zi katta oqibatlarga olib kelmaydi ... bu haqiqatan ham eng qiziq narsa emas Qo'riqchilar. Biz aslida ertak aytib berish uchun kelgan ekanmiz, aynan shu erda haqiqiy ijodkorlik paydo bo'ldi ".[42]

Gibbonning so'zlariga ko'ra, u ataylab ingl Qo'riqchilar shuning uchun har bir sahifani "boshqa chiziq roman emas" aynan shu seriyaning bir qismi sifatida aniqlash mumkin.[43] U xarakterlarni chiziq romanlarda keng tarqalganidan farqli ravishda chizish uchun birgalikda harakat qildi.[43] Rassom seriyani "qalinligi va ingichka jihatidan juda ko'p modulyatsiyaga ega bo'lmagan qattiq, qattiq qalam yordamida" ma'lum bir chiziq chizig'i bilan chizishga urindi, chunki u "uni odatdagi serhasham va suyuqlik turidan farq qiladi" deb umid qildi. kulgili kitoblar qatori "deb nomlangan.[44] 2009 yilgi intervyusida Mur Gibbonsning mashg'ulotidan foydalanganligini esladi o'lchovchi "har bir mayda panelga juda ko'p miqdordagi tafsilotlarni kiritish, shuning uchun biz har bir kichik narsaga xoreografiya qilishimiz mumkin".[45] Gibbons serialni "komikslar haqidagi komiks" deb ta'riflagan.[30] Gibbonlar "Alan ko'proq [super-qahramonlar borligi] ning ijtimoiy oqibatlari bilan shug'ullanadi va men texnik oqibatlarga aralashdim" deb o'ylardi. Hikoyaning o'zgaruvchan dunyosi Gibbonlarga Amerika landshaftining tafsilotlarini, masalan, qo'shimchalarni o'zgartirishga imkon berdi elektr mashinalar, biroz boshqacha binolar va o'rniga uchqun gidrantlari yong'in gidrantlari Mur aytgan "ehtimol amerikalik o'quvchilarga o'z madaniyatini begonadek ko'rishga qaysidir ma'noda imkoniyat berar". Gibbonsning ta'kidlashicha, sharoit u uchun erkinlashmoqda, chunki u asosan ma'lumotnomalarga tayanishi shart emas.[17]

Kolorist Jon Xiggins "kayfiyatliroq" va ikkinchi darajali ranglarga ustunlik beruvchi shablondan foydalangan.[26] Mur, shuningdek, "har doim Jonning rangini yaxshi ko'rar edi, lekin uni har doim uni bo'lish bilan bog'laydi havo cho'tkasi Mur rangni yoqtirmagan colorist "; keyinchalik Xiggins rang berishga qaror qildi Qo'riqchilar Evropa uslubidagi tekis rangda. Murning ta'kidlashicha, rassom yoritish va ranglarning nozik o'zgarishiga alohida e'tibor bergan; oltinchi sonida Xiggins "iliq va quvnoq" ranglar bilan boshlandi va nashr davomida asta-sekin hikoyaga qorong'u va xiralashgan tuyg'u berish uchun qoraytirdi.[17]

Tuzilishi

Ning o'rtadagi ikkita sahifasi Qo'riqchilar # 5, "Qo'rqinchli simmetriya" deb nomlangan. Nashrning butun tartibi nosimmetrik bo'lishi kerak edi, natijada ushbu markaz tarqaldi, bu erda sahifalar bir-birini aks ettiradi. Deyv Gibbonning san'ati

Strukturaviy ravishda, ba'zi jihatlari Qo'riqchilar o'sha paytdagi hajviy kitoblardagi me'yordan, xususan panelning joylashuvi va rang berishdan chetga chiqdi. Turli o'lchamdagi panellar o'rniga, ijodkorlar har bir sahifani to'qqiz panelli tarmoqqa bo'lishdi.[26] Gibbonlar o'zining "avtoriteti" tufayli to'qqiz panelli panjara tizimini afzal ko'rdilar.[44] Mur to'qqiz panelli panjara formatidan foydalanishni qabul qildi, bu "unga ilgari bo'lmagan hikoyalarni boshqarish darajasini boshqarish imkoniyatini berdi", dedi Gibbons. "U pacing va ingl. Ta'sirning ushbu elementi mavjud edi, u endi bashorat qilishi va dramatik ta'sir ko'rsatishi mumkin edi."[42] Bhob Styuart ning Komikslar jurnali 1987 yilda Gibbonsga eslatib o'tilgan edi, sahifa maketlari ularni eslab qoldi EC Comics, badiiy asarning o'zi bilan bir qatorda, Styuartning fikriga ko'ra, uni aks ettirgan Jon Severin.[30] Gibbonlar EC uslubidagi maketlarning aks-sadosi "juda qasddan qilingan narsa" ekaniga rozi bo'lishdi, ammo uning ilhomlantiruvchisi aksincha Xarvi Kurtman,[29] ammo u serialga noyob ko'rinish berish uchun etarlicha o'zgartirilgan.[30] Rassom, shuningdek, Stiv Ditkoning dastlabki sonlar bo'yicha ishlarini keltirdi Ajoyib o'rgimchak odam ta'sir sifatida,[46] shu qatorda; shu bilan birga Doktor g'alati "qaerda bo'lsa ham, u eng yaxshi psixedikasida [u] hali ham to'g'ri sahifa tartibini saqlab qoladi".[24]

Har bir nashrning muqovasi hikoyaning birinchi paneli bo'lib xizmat qiladi. Gibbonlar: "Qopqoqning Qo'riqchilar real dunyoda va juda real ko'rinadi, lekin u chiziq romanga, boshqa o'lchov portaliga aylana boshlaydi. "[17] Muqovalar biron bir detalga e'tibor qaratadigan, hech qanday inson elementlari bo'lmagan, yaqin rasm sifatida yaratilgan.[23] Ijodkorlar vaqti-vaqti bilan nashrning mazmuni bilan tajriba o'tkazdilar. Gibbonlar "Qo'rqinchli simmetriya" deb nomlangan beshta sonni suratga olishdi, shuning uchun birinchi sahifa oxirgi (ramka joylashuvi nuqtai nazaridan) aks ettiradi, keyingi sahifalar markaz bo'ylab yoyilishidan oldin (keng ko'lamda) nosimmetrikdir.[17]

Har bir nashrning oxiri, o'n ikki nashrdan tashqari, Mur tomonidan yozilgan qo'shimcha nasr asarlari mavjud. Tarkiblar orasida badiiy kitoblar boblari, xatlar, ma'ruzalar va turli xil maqolalar yozilgan Qo'riqchilar belgilar. DC nashrlarda reklama maydonini sotishda muammolarga duch keldi Qo'riqchilar, bu har sonda qo'shimcha sakkiz-to'qqiz sahifa qoldirgan. DC bo'sh joyni to'ldirish uchun uy e'lonlari va uzunroq harflar ustunini kiritishni rejalashtirgan edi, ammo muharrir Len Vayn bu ketma-ketlikning so'nggi to'rtinchi sonida yozgan har bir kishiga nisbatan adolatsiz bo'lishini his qildi. He decided to use the extra pages to fill in the series' backstory.[28] Moore said, "By the time we got around to issue #3, #4, and so on, we thought that the book looked nice without a letters page. It looks less like a comic book, so we stuck with it."[17]

Tales of the Black Freighter

For the direct-to-video supplement to the comic book's film adaptation, see Watchmen (film) § Home media.

Watchmen features a story within a story in the form of Tales of the Black Freighter, a fictional comic book from which scenes appear in issues three, five, eight, ten, and eleven. The fictional comic's story, "Marooned", is read by a youth in New York City.[35] Moore and Gibbons conceived a pirate comic because they reasoned that since the characters of Watchmen experience superheroes in real life, "they probably wouldn't be at all interested in superhero comics."[47] Gibbons suggested a pirate theme, and Moore agreed in part because he is "a big Bertolt Brext fan": the Black Freighter alludes to the song "Seeräuberjenny " ("Pirate Jenny ") from Brecht's Threepenny Opera.[17] Moore theorized that since superheroes existed, and existed as "objects of fear, loathing, and scorn, the main superheroes quickly fell out of popularity in comic books, as we suggest. Mainly, genres like horror, science fiction, and piracy, particularly piracy, became prominent—with EC riding the crest of the wave." Moore felt "the imagery of the whole pirate genre is so rich and dark that it provided a perfect counterpoint to the contemporary world of Watchmen".[27] The writer expanded upon the premise so that its presence in the story would add subtext and allegory.[48] The supplemental article detailing the fictional history of Tales of the Black Freighter at the end of issue five credits real-life artist Joe Orlando as a major contributor to the series. Moore chose Orlando because he felt that if pirate stories were popular in the Watchmen universe that DC editor Julius Schwartz might have tried to lure the artist over to the company to draw a pirate comic book. Orlando contributed a drawing designed as if it were a page from the fake title to the supplemental piece.[27]

In "Marooned", a young mariner (called "The Sea Captain") journeys to warn his hometown of the coming of The Black Freighter, after he survives the destruction of his own ship. He uses the bodies of his dead shipmates as a makeshift raft. When he finally returns home, believing it to be already under the occupation of The Black Freighter's crew, he kills an innocent couple and then attacks his own wife in their darkened home, mistaking her for a pirate. After realizing what he has done, he returns to the seashore, where he finds that The Black Freighter has not come to claim the town; it has come to claim him. He swims out to sea and climbs aboard the ship. According to Richard Reynolds, the mariner is "forced by the urgency of his mission to shed one inhibition after another." Just like Adrian Veidt, he "hopes to stave off disaster by using the dead bodies of his former comrades as a means of reaching his goal".[49] Moore stated that the story of The Black Freighter ends up specifically describing "the story of Adrian Veidt" and that it can also be used as a counterpoint to other parts of the story, such as Rorschach's capture and Dr. Manhattan's self-exile on Mars.[47]

Symbols and imagery

Moore named Uilyam S. Burrouz as one of his main influences during the conception of Watchmen. He admired Burroughs' use of "repeated symbols that would become laden with meaning" in Burroughs' only comic strip, "The Unspeakable Mr. Hart ", which appeared in the British underground magazine Tsikloplar. Not every intertextual link in the series was planned by Moore, who remarked that "there's stuff in there Dave had put in that even I only noticed on the sixth or seventh read", while other "things [...] turned up in there by accident."[23]

The Galle crater from the planet Mars appears in Watchmen as an example of the series' recurring smiley motif

A stained smiley face is a recurring image in the story, appearing in many forms. Yilda The System of Comics, Thierry Groensteen described the symbol as a recurring motif that produces "rhyme and remarkable configurations" by appearing in key segments of Watchmen, notably the first and last pages of the series—spattered with blood on the first, and sauce from a hamburger on the last. Groensteen cites it as one form of the circle shape that appears throughout the story, as a "recurrent geometric motif" and due to its symbolic connotations.[50] Gibbons created a smiley face badge as an element of The Comedian's costume in order to "lighten" the overall design, later adding a splash of blood to the badge to imply his murder. Gibbons said the creators came to regard the blood-stained smiley face as "a symbol for the whole series",[44] noting its resemblance to the Doomsday Clock ticking up to midnight.[24] Moore drew inspiration from psychological tests of behaviorism, explaining that the tests had presented the face as "a symbol of complete innocence". With the addition of a blood splash over the eye, the face's meaning was altered to become simultaneously radical and simple enough for the first issue's cover to avoid human detail. Although most evocations of the central image were created on purpose, others were coincidental. Moore mentioned in particular that on "the little plugs on the spark hydrants if you turn them upside down, you discover a little smiley face".[23]

Other symbols, images, and allusions that appeared throughout the series often emerged unexpectedly. Moore mentioned that "[t]he whole thing with Watchmen has just been loads of these little bits of synchronicity popping up all over the place".[27] Gibbons noted an unintended theme was contrasting the mundane and the romantic,[29] citing the separate sex scenes between Nite Owl and Silk Spectre on his couch and then high in the sky on Nite Owl's airship.[30] In a book of the kraterlar and boulders of Mars, Gibbons discovered a photograph of the Galle crater, which resembles a happy face, which they worked into an issue. Moore said, "We found a lot of these things started to generate themselves as if by magic", in particular citing an occasion where they decided to name a lock company the "Gordian Knot Lock Company".[27]

Mavzular

The initial premise of the series was to examine what superheroes would be like "in a credible, real world". As the story became more complex, Moore said Watchmen became about "power and about the idea of the superman manifest within society."[51] The title of the series refers to the question "Who will watch the watchmen themselves?", famously posed by the Rim satirist Juvenal (as "Quis custodiet ipsos custodes? "), although Moore was not aware of the phrase's classical origins until Xarlan Ellison informed him.[52] Moore commented in 1987, "In the context of Watchmen, that fits. 'They're watching out for us, who's watching out for them?'"[17] The writer stated in the introduction to the Graffiti hardcover of Watchmen that while writing the series he was able to purge himself of his nostalgia for superheroes, and instead he found an interest in real human beings.[15]

Graffiti similar to that which appears in Watchmen. Hemel Hempstead, May 2008

Bradford Wright described Watchmen as "Moore's obituary for the concept of heroes in general and superheroes in particular."[33] Putting the story in a contemporary sociological context, Wright wrote that the characters of Watchmen were Moore's "admonition to those who trusted in 'heroes' and leaders to guard the world's fate". He added that to place faith in such icons was to give up personal responsibility to "the Reagans, Thatchers, and other 'Watchmen' of the world who supposed to 'rescue' us and perhaps lay waste to the planet in the process".[53] Moore specifically stated in 1986 that he was writing Watchmen to be "not anti-Americanism, [but] anti-Reaganism ", specifically believing that "at the moment a certain part of Reagan's America isn't scared. They think they're invulnerable."[17] Before the series premiered, Gibbons stated: "There's no overt political message at all. It's a fantasy extrapolation of what might happen and if people can see things in it that apply to the real America, then they're reading it into the comic [...]."[54] While Moore wanted to write about "power politics" and the "worrying" times he lived in, he stated the reason that the story was set in an alternate reality was because he was worried that readers would "switch off" if he attacked a leader they admired.[19] Moore stated in 1986 that he "was consciously trying to do something that would make people feel uneasy."[17]

Citing Watchmen as the point where the comic book medium "came of age", Iain Thomson wrote in his essay "Deconstructing the Hero" that the story accomplished this by "developing its heroes precisely in order to deconstruct the very idea of the hero and so encouraging us to reflect upon its significance from the many different angles of the shards left lying on the ground".[55] Thomson stated that the heroes in Watchmen almost all share a nigilistik outlook, and that Moore presents this outlook "as the simple, unvarnished truth" to "deconstruct the would-be hero's ultimate motivation, namely, to provide a secular salvation and so attain a mortal immortality".[56] He wrote that the story "develops its heroes precisely in order to ask us if we would not in fact be better off without heroes".[57] Thomson added that the story's deconstruction of the hero concept "suggests that perhaps the time for heroes has passed", which he feels distinguishes "this postmodern work" from the deconstructions of the hero in the ekzistensializm harakat.[58] Richard Reynolds states that without any supervillains in the story, the superheroes of Watchmen are forced to confront "more intangible social and moral concerns", adding that this removes the superhero concept from the normal narrative expectations of the genre.[59] Reynolds concludes that the series' ironic self-awareness of the genre "all mark out Watchmen either as the last key superhero text, or the first in a new maturity of the genre".[60]

Geoff Klock eschewed the term "deconstruction" in favor of describing Watchmen as a "revisionary superhero narrative". He considers Watchmen va Frank Miller "s Batman: The Dark Knight Returns to be "the first instances [...] of [a] new kind of comic book [...] a first phase of development, the transition of the superhero from fantasy to literature."[61] He elaborates by noting that "Alan Moore's realism [...] performs a kenosis towards comic book history [...] [which] does not ennoble and empower his characters [...] Rather, it sends a wave of disruption back through superhero history [...] devalue[ing] one of the basic superhero conventions by placing his masked crime fighters in a realistic world".[62] First and foremost, "Moore's exploration of the [often compromised] motives for costumed crimefighting sheds a disturbing light on past superhero stories, and forces the reader to reevaluate—to revision—every superhero in terms of Moore's kenosis—his emptying out of the tradition".[63] Klock relates the title to the quote by Juvenal to highlight the problem of controlling those who hold power and quoted repeatedly within the work itself.[64] The deconstructive nature of Watchmen is, Klock notes, played out on the page also as, "[l]ike Alan Moore's kenosis, [Veidt] must destroy, then reconstruct, in order to build 'a unity which would survive him.'"[65]

Moore has expressed dismay that "[t]he gritty, deconstructivist postmodern superhero comic, as exemplified by Watchmen [...] became a genre". He said in 2003 that "to some degree there has been, in the 15 years since Watchmen, an awful lot of the comics field devoted to these grim, pessimistic, nasty, violent stories which kind of use Watchmen to validate what are, in effect, often just some very nasty stories that don't have a lot to recommend them".[66] Gibbons said that while readers "were left with the idea that it was a grim and gritty kind of thing", he said in his view the series was "a wonderful celebration of superheroes as much as anything else".[67]

Publication and reception

Alan Mur, co-creator of Watchmen, severed his ties with DC Comics over contractual issues related to the work.

Watchmen was first mentioned publicly in the 1985 Ajoyib qahramonlar Oldindan ko'rish.[68] When Moore and Gibbons turned in the first issue of their series to DC, Gibbons recalled, "What really clinched it [...] was [writer/artist] Howard Chaykin, who doesn't give praise lightly, and who came up and said, 'Dave what you've done on Watchmen is freaking A.'"[69] Speaking in 1986, Moore said, "DC backed us all the way [...] and have been really supportive about even the most graphic excesses".[17] To promote the series, DC Comics released a limited-edition badge ("button") display card set, featuring characters and images from the series. Ten thousand sets of the four badges, including a replica of the blood-stained smiley face badge worn by the Comedian in the story, were released and sold.[30] Mayfair Games introduced a Watchmen module for its DC Heroes Role-playing Game series that was released before the series concluded. The module, which was endorsed by Moore, adds details to the series' backstory by portraying events that occurred in 1966.[70]

Watchmen was published in single-issue form over the course of 1986 and 1987. The cheklangan seriyalar was a commercial success, and its sales helped DC Comics briefly overtake its competitor Marvel komikslari in the comic book direct market.[53] The series' publishing schedule ran into delays because it was scheduled with three issues completed instead of the six editor Len Wein believed were necessary. Further delays were caused when later issues each took more than a month to complete.[28] One contemporaneous report noted that although DC solicited issue #12 for publication in April 1987, it became apparent "it [wouldn't] debut until July or August".[27]

After the series concluded, the individual issues were collected and sold in savdo qog‘ozi shakl. Bilan birga Frank Miller 's 1986 Batman: The Dark Knight Returns miniseries, Watchmen was marketed as a "graphic novel ", a term that allowed DC and other publishers to sell similar comic book collections in a way that associated them with novels and dissociated them from comics.[71] As a result of the publicity given to the books like the Watchmen trade in 1987, bookstores and public libraries began to devote special shelves to them. Subsequently, new comics series were commissioned on the basis of reprinting them in a collected form for these markets.[72]

Watchmen received critical praise, both inside and outside of the comics industry. Vaqt magazine, which noted that the series was "by common assent the best of breed" of the new wave of comics published at the time, praised Watchmen as "a superlative feat of imagination, combining sci-fi, political satire, knowing evocations of comics past and bold reworkings of current graphic formats into a dysutopian [sic ] mystery story".[73] In 1988, Watchmen received a Ugo mukofoti in the Other Forms category.[74]

Dave Langford reviewed Watchmen uchun White Dwarf #96, and stated that "The modern myth of the Superhero is curiously powerful despite its usual silliness; Watchmen lovingly disassembles the mythology into bloodstained cogs and ratchets, concluding with the famous quotation Quis custodiet Ipsos custodes?"[75]

Ownership disputes

Disagreements about the ownership of the story ultimately led Moore to sever ties with DC Comics.[76] Not wanting to work under a work for hire arrangement, Moore and Gibbons had a reversion clause in their contract for Watchmen. Speaking at the 1985 San Diego Comic-Con, Moore said: "The way it works, if I understand it, is that DC owns it for the time they're publishing it, and then it reverts to Dave and me, so we can make all the money from the Slurpee cups."[25] Uchun Watchmen, Moore and Gibbons received eight percent of the series' earnings.[23] Moore explained in 1986 that his understanding was that when "DC have not used the characters for a year, they're ours."[17] Both Moore and Gibbons said DC paid them "a substantial amount of money" to retain the rights. Moore added, "So basically they're not ours, but if DC is working with the characters in our interests then they might as well be. On the other hand, if the characters have outlived their natural life span and DC doesn't want to do anything with them, then after a year we've got them and we can do what we want with them, which I'm perfectly happy with."[17]

Moore said he left DC in 1989 due to the language in his contracts for Watchmen va uning Vendetta uchun V series with artist David Lloyd. Moore felt the reversion clauses were ultimately meaningless because DC did not intend to let the publications go out of print. U aytdi The New York Times in 2006, "I said, 'Fair enough,' [...] 'You have managed to successfully swindle me, and so I will never work for you again.'"[76] In 2000, Moore publicly distanced himself from DC's plans for a 15th anniversary Watchmen hardcover release as well as a proposed line of action figures from DC Direct. While DC wanted to mend its relationship with the writer, Moore felt the company was not treating him fairly in regard to his America's Best Comics imprint (launched under the WildStorm comic imprint, which was bought by DC in 1998; Moore was promised no direct interference by DC as part of the arrangement). Moore added, "As far as I'm concerned, the 15th anniversary of Watchmen is purely a 15th Anniversary of when DC managed to take the Watchmen property from me and Dave [Gibbons]."[77] Soon afterward, DC Direct canceled the Watchmen action-figure line, despite the company having displayed prototypes at the 2000 San Diego Comic-Con International.[78]

Prequel projects

Asosiy maqola: Before Watchmen

Moore stated in 1985 that if the limited series was well-received, he and Gibbons would possibly create a 12-issue prequel series called Minutemen featuring the 1940s superhero group from the story.[25] DC offered Moore and Gibbons chances to publish prequels to the series, such as Rorschach's Journal yoki The Comedian's Vietnam War Diary, as well as hinting at the possibility of other authors using the same universe. Tales of the Comedian's Vietnam War experiences were floated because The 'Nam was popular at the time, while another suggestion was, according to Gibbons, for a "Nite Owl/Rorschach team" (in the manner of Randall and Hopkirk (Deceased) ). Neither man felt the stories would have gone anywhere, with Moore particularly adamant that DC not go forward with stories by other individuals.[79] Gibbons was more attracted to the idea of a Minutemen series because it would have "[paid] homage to the simplicity and unsophisticated nature of Golden Age comic books—with the added dramatic interest that it would be a story whose conclusion is already known. It would be, perhaps, interesting to see how we got to the conclusion."[29]

In 2010, Moore told Simli that DC offered him the rights to Watchmen back if he would agree to prequel and sequel projects. Moore said that "if they said that 10 years ago, when I asked them for that, then yeah it might have worked [...] But these days I don't want Watchmen back. Certainly, I don't want it back under those kinds of terms." DC Comics co-publishers Dan DiDio va Jim Lee responded: "DC Comics would only revisit these iconic characters if the creative vision of any proposed new stories matched the quality set by Alan Moore and Dave Gibbons nearly 25 years ago, and our first discussion on any of this would naturally be with the creators themselves."[80] Following months of rumors about a potential Watchmen follow-up project, in February 2012 DC announced it was publishing seven prequel series under the "Before Watchmen" banner. Among the creators involved are writers J. Maykl Straczinskiy, Brian Azzarello, Darwyn Cooke, and Len Wein, and artists Lee Bermejo, J. G. Jones, Adam Hughes, Andy Kubert, Joe Kubert va Amanda Conner. Though Moore had no involvement with Before Watchmen, Gibbons supplied the project with a statement in the initial press announcement:

The original series of Watchmen is the complete story that Alan Moore and I wanted to tell. However, I appreciate DC's reasons for this initiative and the wish of the artists and writers involved to pay tribute to our work. May these new additions have the success they desire.[81]

Sequels

Comic book sequels

Doomsday Clock

Asosiy maqola: Doomsday Clock (comics)

The sequel to Watchmen, huquqiga ega Doomsday Clock, ning bir qismidir DC Rebirth line of comics, additionally continuing a narrative established with 2016's one-shot DC Universe: Rebirth Special and 2017's crossover The Button, both of which featured Doctor Manhattan in a minor capacity. The miniseries, taking place seven years after the events of Watchmen in November 1992, follows Ozymandias as he attempts to locate Doctor Manhattan alongside Reginald Long, the successor of Walter Kovacs as Rorschach, following the exposure and subsequent failure of his plan for peace and the subsequent impending nuclear war between the United States and Russia.[82] The series was revealed on May 14, 2017, with a teaser image displaying the Superman logo in the 12 o'clock slot of the clock depicted in Watchmen and the series title in the bold typeface used for Watchmen.[83] The first of a planned twelve issues was released on November 22, 2017.[84]

The story includes many DC characters but has a particular focus on Supermen va Doctor Manhattan, despite Superman stated as being a fictional character in the original series—the series uses the plot element of the ko'p qirrali. Yozuvchi Geoff Johns felt like there was an interesting story to be told in Rebirth with Doctor Manhattan. He thought there was an interesting dichotomy between Superman—an alien who embodies and is compassionate for humanity—and Doctor Manhattan—a human who has detached himself from humanity. This led to over six months of debates amongst the creative team about whether to intersect the Watchmen universe with the DC Universe, through the plot element of alternate realities. He explained that Doomsday Clock was the "most personal and most epic, utterly mind-bending project" that he had worked on in his career.[83]

Rorschach

Television series sequel

Asosiy maqola: Watchmen (TV series)

HBO brought on Damon Lindelof to develop a Watchmen television show, which premiered on October 20, 2019.[85] Lindelof, a fan of the limited series, made the show a "remix" of the comic, narratively a sequel while introducing a new set of characters and story that he felt made the work unique enough without being a full reboot of the comic series.[86] Among its main cast are Regina King, Don Jonson, Tim Blake Nelson, Yahyo Abdul-Mateen II va Jeremy Irons. The television show takes place in 2019, 34 years after the end of the limited series, and is primarily set in Tulsa, Oklahoma. Due to liberal policies set by President Robert Redford to provide reparations to those affected by racial violence, white supremacist groups (following the writings of Rorschach) attack the police who enforce these policies, leading to laws requiring police to hide their identity and wear masks. This has allowed new masked crime fighters to assist the police against the supremacists. Doctor Manhattan, Adrian Veidt / Ozymandias, and Laurie Blake / Silk Spectre are central characters to the show's plot.

Moslashuvlar

Filmni moslashtirish

Asosiy maqola: Watchmen (film)
Shuningdek qarang: Production of Watchmen (film)

There have been numerous attempts to make a film version of Watchmen since 1986, when producers Lawrence Gordon va Joel Silver acquired film rights to the series for 20th Century Fox.[87] Fox asked Alan Moore to write a screenplay based on his story,[88] but he declined, so the studio enlisted screenwriter Sam Hamm. Hamm took the liberty of re-writing Watchmen's complicated ending into a "more manageable" conclusion involving an assassination and a time paradox.[88] Fox put the project into turnaround 1991 yilda,[89] and the project was moved to Warner Bros. Rasmlari, qayerda Terri Gilliam was attached to direct and Charles McKeown to rewrite it. They used the character Rorschach's diary as a voice-over and restored scenes from the comic book that Hamm had removed.[88] Gilliam and Silver were only able to raise $25 million for the film (a quarter of the necessary budget) because their previous films had gone over budget.[88] Gilliam abandoned the project because he decided that Watchmen would have been unfilmable. "Reducing [the story] to a two or two-and-a-half hour film [...] seemed to me to take away the essence of what Watchmen is about," he said.[90] After Warner Bros. dropped the project, Gordon invited Gilliam back to helm the film independently. The director again declined, believing that the comic book would be better directed as a five-hour kichkintoylar.[91]

Interior set of Nite Owl's vehicle "Archie" from the film version of Watchmen, displayed at Comic-Con 2008

In October 2001, Gordon partnered with Lloyd Levin va Universal studiyalar, hiring David Hayter to write and direct.[92] Hayter and the producers left Universal due to creative differences,[93] and Gordon and Levin expressed interest in setting up Watchmen da Revolution Studios. The project did not hold together at Revolution Studios and subsequently fell apart.[94] In July 2004, it was announced Paramount rasmlari would produce Watchmen, and they attached Darren Aronofsky to direct Hayter's script. Producers Gordon and Levin remained attached, collaborating with Aronofsky's producing partner, Eric Watson.[95] Aronofsky left to focus on Favvora bilan almashtirildi Pol Greengrass.[96] Ultimately, Paramount placed Watchmen in turnaround.[97]

In October 2005, Gordon and Levin met with Warner Bros. to develop the film there again.[98] Impressed with Zack Snyder 's work on 300, Warner Bros. approached him to direct an adaptation of Watchmen.[99] Ssenariy muallifi Alex Tse drew from his favorite elements of Hayter's script,[100] but also returned it to the original Sovuq urush setting of the Watchmen comic. Similar to his approach to 300, Snyder used the comic book panel-grid as a storyboard and opted to shoot the entire film using live-action sets instead of green screens.[101] He extended the fight scenes,[102] and added a subplot about energy resources to make the film more topical.[103] Although he intended to stay faithful to the look of the characters in the comic, Snyder intended Nite Owl to look scarier,[101] and made Ozymandias' armor into a parody of the rubber muscle suits from the 1997 superhero film Batman & Robin.[29] After the trailer to the film premiered in July 2008, DC Comics president Paul Levitz said that the company had to print more than 900,000 copies of Watchmen trade collection to meet the additional demand for the book that the advertising campaign had generated, with the total annual print run expected to be over one million copies.[104] While 20th Century Fox filed a lawsuit to block the film's release, the studios eventually settled, with Warner agreeing to give Fox 8.5 percent of the film's worldwide gross, including from sequels and spin-offs in return.[96] The film was released to theaters in March 2009.

The Tales of the Black Freighter segments were adapted as a to'g'ridan-to'g'ri video animated feature to be released that same month.[105] Jerar Butler, who starred in 300, voices the Captain in the film.[106] The film itself was released on DVD four months after Tales of the Black Freighter,[105] and in November 2009, a four-disc set was released as the "Ultimate Cut" with the animated film edited back into the main picture.[107] Len Wein, the comic's editor, wrote a video game prequel entitled Watchmen: The End Is Nigh.[108]

Dave Gibbons became an adviser on Snyder's film, but Moore has refused to have his name attached to any film adaptations of his work.[109] Moore has stated he has no interest in seeing Snyder's adaptation; he told Ko'ngilochar haftalik in 2008 that "[t]here are things that we did with Watchmen that could only work in a comic, and were indeed designed to show off things that other media can't".[110] While Moore believes that David Hayter's screenplay was "as close as I could imagine anyone getting to Watchmen", he asserted he did not intend to see the film if it were made.[111]

Harakatli komiks

Asosiy maqola: Watchmen: Motion Comic

In 2008, Warner Bros. Entertainment released Watchmen Motion Comics, a series of narrated animations of the original comic book. The first chapter was released for purchase in the summer of 2008 on digital video stores, such as iTunes do'koni.[112] A DVD compiling the full motion comic series was released in March 2009.[113]

Animated film

Warner Bros. announced in April 2017 that it is developing an R baholangan animated film based on the comic book, but no further progress has been made since this announcement.[114]

Arrowverse

The HBO versiyasi Watchmen was referenced in the Arrowverse "s Cheksiz Yerlardagi inqiroz crossover. A sign could be seen on a building on Earth-666 advertising the show. Earth-666 was an Earth inhabited by the Pre-Crisis version of Lusifer dan Lusifer teleseriallar Tom Ellis reprised his role from that series.

Meros

A critical and commercial success, Watchmen is highly regarded in the comics industry and is frequently considered by several critics and reviewers as comics' greatest series and graphic novel.[115][116][117][118] In addition to being one of the first major works to help popularize the graphic novel publishing format alongside The Dark Knight Returns,[119] Watchmen has also become one of the best-selling graphic novels ever published.[118][120] Watchmen was the only graphic novel to appear on Vaqt's 2005 "All-Vaqt 100 Greatest Novels" list,[121] qayerda Vaqt tanqidchi Lev Grossman described the story as "a heart-pounding, heartbreaking read and a watershed in the evolution of a young medium."[122] It later appeared on Vaqt's 2009 "Top 10 Graphic Novels" list, where Grossman further praised Watchmen, proclaiming "It’s way beyond cliché at this point to call Watchmen the greatest superhero comic ever written-slash-drawn. But it’s true."[123] 2008 yilda, Ko'ngilochar haftalik joylashtirilgan Watchmen at number 13 on its list of the best 50 novels printed in the last 25 years, describing it as "The greatest superhero story ever told and proof that comics are capable of smart, emotionally resonant narratives worthy of the label 'literature'."[124] Komikslar jurnali, however, ranked Watchmen at number 91 on its list of the Top 100 English-language comics of the 20th century.[125]

Yilda Art of the Comic Book: An Aesthetic History, Robert Harvey wrote that, with Watchmen, Moore and Gibbons "had demonstrated as never before the capacity of the [comic book] medium to tell a sophisticated story that could be engineered only in comics".[126] In his review of the Absolute Edition of the collection, Dave Itzkoff of The New York Times wrote that the dark legacy of Watchmen, "one that Moore almost certainly never intended, whose DNA is encoded in the increasingly black inks and bleak storylines that have become the essential elements of the contemporary superhero comic book," is "a domain he has largely ceded to writers and artists who share his fascination with brutality but not his interest in its consequences, his eagerness to tear down old boundaries but not his drive to find new ones."[127] Alan Moore himself said his intentions with works like Marvelman va Watchmen were to liberate comics and open them up to new and fresh ideas, thus creating more diversity in the comics world by showing the industry what could be done with already existing concepts. Instead it had the opposite effect, causing the superhero comic to end up stuck in a "depressive ghetto of grimness and psychosis".[128] In 2009, Lydia Millet of The Wall Street Journal contested that Watchmen was worthy of such acclaim, and wrote that while the series' "vividly drawn panels, moody colors and lush imagery make its popularity well-deserved, if disproportionate", that "it's simply bizarre to assert that, as an illustrated literary narrative, it rivals in artistic merit, say, masterpieces like Chris Ware 's 'Acme Novelty Library ' or almost any part of the witty and brilliant work of Edward Gorey ".[129]

Watchmen was one of the two comic books, alongside Batman: The Dark Knight Returns, that inspired designer Vincent Connare when he created the Comic Sans font.[130]

In 2009, Brain Scan Studios released the parody Watchmensch, a comic in which writer Rich Johnston chronicled "the debate surrounding Watchmen, the original contracts, the current legal suits over the Fox contract".[131]

In September 2016, Hasslein Books published Watching Time: The Unauthorized Watchmen Chronology, by author Rich Handley. The book provides a detailed history of the Watchmen franchayzing.[132][133]

In December 2017, DC Entertainment published Watchmen: Annotated, a fully annotated black-and-white edition of the graphic novel, edited, with an introduction and notes by Leslie S. Klinger (who previously annotated Neil Gaiman's The Sandman for DC). The edition contains extensive materials from Alan Moore's original scripts and was written with the full collaboration of Dave Gibbons.

Shuningdek qarang

Izohlar

  1. ^ Barber, Nicholas (August 9, 2016). "Watchmen: The moment comic books grew up". BBC. Arxivlandi from the original on August 10, 2016. Olingan 9 avgust, 2016.
  2. ^ Epstein, Adam. "HBO's "Watchmen" is great. Its comic creator Alan Moore wants nothing to do with it". Kvarts. Arxivlandi asl nusxasidan 2020 yil 4 aprelda. Olingan 30 mart, 2020.
  3. ^ Watchmen (DC, 1986 series) Arxivlandi September 28, 2012, at the Orqaga qaytish mashinasi da Katta komikslar uchun ma'lumotlar bazasi.
  4. ^ Watchmen (DC, 1987) Arxivlandi May 28, 2014, at the Orqaga qaytish mashinasi at the Grand Comics Database.
  5. ^ Watchmen (Warner Books, 1987) Arxivlandi May 28, 2014, at the Orqaga qaytish mashinasi at the Grand Comics Database.
  6. ^ Watchmen (DC, 1988) Arxivlandi October 19, 2013, at the Orqaga qaytish mashinasi at the Grand Comics Database.
  7. ^ Vanderplog, Scott. "Graphitti Watchmen HC Arxivlandi May 4, 2013, at the Orqaga qaytish mashinasi " (review). ComicBookDaily.com (January 25, 2012). With illustrations.
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Adabiyotlar

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  • Tomson, Xayn. "Qahramonni buzish". Komikslar falsafa sifatida. Jeff McLaughlin (muharriri). Missisipi universiteti matbuoti, 2005 yil. ISBN  978-1-57806-794-7
  • Rayt, Bredford V. Comic Book Nation: Amerikada yoshlar madaniyatining o'zgarishi. Jons Xopkins, 2001 yil. ISBN  978-0-8018-7450-5

Qo'shimcha o'qish

  • Bensam, Richard (oktyabr 2010). Yarim tundan bir daqiqa: qo'riqchilar to'g'risida o'n ikkita esse. ISBN  978-0-578-06076-7.
  • Xyuz, Jeymi A. (2006 yil avgust). "'Kim tomosha qiladi Qo'riqchilar? ': Mafkura va "haqiqiy dunyo" superqahramonlari ". Ommaviy madaniyat jurnali. 39 (4): 546–557. doi:10.1111 / j.1540-5931.2006.00278.x.
  • Rozen, Yelizaveta (2006 yil kuzi). "'Nimadan hidlaysan? Yigirma yil Qo'riqchilar Nostalji ". Jamg'arma: Ilmiy fantastika xalqaro sharhi. 35 (98): 95–98.
  • Bo'ri-Meyer, Metyu (2003 yil qish). "Dunyo Ozymandias qildi: superqahramon komiksida utopiya, submulturiya va farqni saqlash". Ommaviy madaniyat jurnali. 36 (3): 497–506. doi:10.1111/1540-5931.00019.

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