Alan Moore: The Watchmen

LA CLUSTER THOUGHTS:

• This is a highly acclaimed graphic novel, which, among other accolades, has been selected as one of Time's 100 best novels of all time. Was it an appropriate selection for the LAC? How can we judge the value of a graphic novel in literary terms? Where does the line for inclusion in the 'belle lettres' lie?

• The controversial plot resolution of the novel: did Moore effectively surprise us with his development of events? How much is this like a 'classic' graphic novel in its plot resolution? Was the plot the strongest aspect of the piece?

• The controversial characterization of the various 'watchmen': Was there a redeeming character amongst all the individuals in the novel? Can we call John the foil for the vigilantes? At the end, John decides to leave earth to 'create life elsewhere' – how much of his character is meant to represent God? The female characters also deserved some attention: are there any admirable women in the work? Then again, are there any admirable characters at all?

• How much is The Watchmen a reflection of Cold War fears and disdain for Regan's policies during the 1980s? Pointedly, after Ozymandias's catastrophe, Robert Redford is supposedly running for President – how much are Moore and Gibbons creating a tongue-and-cheek presentation of (to them) contemporary American politics?

• The ethical and moral quandaries of the novel: is Ozymandias to blame for the deaths of thousands at the end of the novel? Is it the watchmen's silence that is more reprehensible than his act? Or do both parties truly act 'for the betterment of humanity'? Where do Gibbons and Moore fall on these questions?

• The supplemental material and the pirate graphic novel: What thematic elements connected all of the stories? Were the supplements at the end of each chapter well-executed and essential to the plot?