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Irected by ALAN MOORE writer & DAVE GIBBONS iliustrator & letterer. Documents Similar To Watchmen comic full. Watchmen - Comic Book - Graphic Novel - Alan Moore - Dave Gibbons. Watchmen #1 – 12 (): Watchmen is Alan Moore's seminal comic series. It has been proclaimed one of the greatest literary works. Watchmen (Collection) (): Watchmen is an American comic-book limited series published by DC Comics in and , and.


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Read Watchmen () comic online free and high quality. Fast loading speed, unique reading type: All pages - just need to scroll to read next page. eBooks Download Watchmen (PDF, Docs) by Alan Moore Online Full Collection. At this point, who doesn't? It's sold over a million copies and is the first thing people mention when talking comics–for-adults. It's the only graphic novel to make.

If you can draw a hat, then you've drawn Rorschach, you just draw kind of a shape for his face and put some black blobs on it and you're done.

We were contracted for 12! Gibbons recalled that "[t]he script for the first issue of Watchmen was, I think, pages of typescript—single-spaced—with no gaps between the individual panel descriptions or, indeed, even between the pages. Gibbons said the team's pace slowed around the fourth issue; from that point onward the two undertook their work "just several pages at a time.

I'll get three pages of script from Alan and draw it and then toward the end, call him up and say, 'Feed me! On later issues the artist even had his wife and son draw panel grids on pages to help save time. Wein explained, "I kept telling him, 'Be more original, Alan, you've got the capability, do something different, not something that's already been done!

The primary difference is the presence of superheroes. The point of divergence occurs in the year Their existence in this version of the United States is shown to have dramatically affected and altered the outcomes of real-world events such as the Vietnam War and the presidency of Richard Nixon. The Soviet invasion of Afghanistan occurs approximately six years later than in real life.

When the story begins, the existence of Doctor Manhattan has given the U. Eventually, by , superheroes grow unpopular among the police and the public, leading them to be outlawed with the passage of the Keene Act. While many of the heroes retired, Doctor Manhattan and another superhero, known as The Comedian, operate as government-sanctioned agents.

Another named Rorschach continues to operate outside the law. With the police having no leads, costumed vigilante Rorschach decides to probe further. Discovering Blake to have been the true identity of The Comedian, a costumed hero employed by the U. After Blake's funeral, Manhattan is accused on national television of being the cause of cancer in friends and former colleagues. When the government takes the accusations seriously, Manhattan exiles himself to Mars.

As the U. Rorschach's concerns appear vindicated when Veidt narrowly survives an assassination attempt and Rorschach himself is framed and imprisoned for murdering a former supervillain named Moloch.

Neglected in her relationship with the once-human Manhattan, whose now-godlike powers and transformation have removed him completely from the everyday concerns of living beings, and no longer kept on retainer by the government, Juspeczyk stays with Dreiberg. They begin a romance, don their costumes, and resume vigilante work as they grow closer together. With Dreiberg starting to believe some aspects of Rorschach's conspiracy theory , the pair takes it upon themselves to break him out of prison.

After looking back on his own personal history, Manhattan places the fate of his involvement with human affairs in Juspeczyk's hands. He teleports her to Mars to make the case for emotional investment. During the course of the argument, Juspeczyk is forced to come to terms with the fact that Blake, who once attempted to rape her mother, was, in fact, her biological father following a second, consensual relationship.

This discovery, reflecting the complexity of human emotions and relationships, re-sparks Manhattan's interest in humanity. On Earth, Nite Owl and Rorschach continue to uncover the conspiracy and find evidence that Veidt may be behind the plan.

Rorschach writes his suspicions about Veidt in his journal, in which he has been recording his entire investigation, and mails it to New Frontiersman, a local right-wing newspaper.

The pair then confront Veidt at his Antarctic retreat. Veidt explains his underlying plan is to save humanity from impending nuclear war by faking an alien invasion in New York, which will annihilate half the city's population. He hopes this will unite the superpowers against a perceived common enemy.

He also reveals that he had murdered The Comedian, arranged for Manhattan's past associates to contract cancer, staged the attempt on his own life in order to place himself above suspicion, and killed Moloch in order to frame Rorschach.

This was all done in an attempt to prevent his plan from being exposed. Nite Owl and Rorschach find Veidt's logic callous and abhorrent, but Veidt has already enacted his plan. When Manhattan and Juspeczyk arrive back on Earth, they are confronted by mass destruction and death in New York, with a gigantic squid-like creature , created by Veidt's laboratories, dead in the middle of the city. Manhattan notices his prescient abilities are limited by tachyons emanating from the Antarctic and the pair teleport there.

They discover Veidt's involvement and confront him. Veidt shows everyone news broadcasts confirming that the emergence of a new threat has indeed prompted peaceful co-operation between the superpowers; this leads almost all present to agree that concealing the truth is in the best interests of world peace.

Rorschach refuses to compromise and leaves, intent on revealing the truth. As he is making his way back, he is confronted by Manhattan. Rorschach declares that Manhattan will have to kill him to stop him from exposing Veidt, which Manhattan duly does. Manhattan then wanders through the base and finds Veidt, who asks him if he did the right thing in the end. Manhattan responds that "nothing ever ends" before leaving the Earth to create life elsewhere.

Dreiberg and Juspeczyk go into hiding under new identities and continue their romance. Back in New York, the editor at New Frontiersman asks his assistant to find some filler material from the "crank file", a collection of rejected submissions to the paper, many of which have not been reviewed yet.

The series ends with the young man reaching toward the pile of discarded submissions, near the top of which is Rorschach's journal.

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Main article: List of Watchmen characters The main characters of Watchmen from left to right : Ozymandias, the second Silk Spectre, Doctor Manhattan, The Comedian kneeling , the second Nite Owl, and Rorschach With Watchmen, Alan Moore's intention was to create four or five "radically opposing ways" to perceive the world and to give readers of the story the privilege of determining which one was most morally comprehensible.

Moore did not believe in the notion of "[cramming] regurgitated morals" down the readers' throats and instead sought to show heroes in an ambivalent light. The Comedian 's badge is seen as his blood is washed from the sidewalk below his apartment, and a man walks by with a sign that reads "The End is Nigh.

He says all the liberals and intellectuals and smooth-talkers will see the end and all of a sudden not have anything to say. Tonight, a comedian died in New York.

October 13th, Also in Chapter I , after Rorschach investigates the Comedian 's apartment and warns Dan Dreiberg about the 'mask killer'. He is seen writing atop a building. He gets down the stairs and enters Happy Harry's bar and grill, asking questions and breaking one man's fingers. He talks about his landlady, who cheats on her welfare, and notes how he will investigate the death of the Comedian. After leaving Happy Harry's he writes that he has business elsewhere with a 'better class of person.

Is the best I can do to wipe random flecks of foam from its lips? October 13th, , P. The text is shown while Rorschach is breaking into the Rockefeller Military Research Center and avoiding its guards. Rorschach refers to Veidt as 'pampered and decadent, betraying even his own shallow, liberal affectations,' and accuses him of being possibly homosexual.

He refers to Dan Dreiberg as being 'a flabby failure who sits whimpering in his basement. He also calls the first Silk Spectre a 'bloated, aging whore, dying in a Californian resort. He points out how seemingly pointless this last action is when he says 'I shall go and tell the indestructible man that someone plans to murder him. His last entry in Chapter I follows his confrontation with Doctor Manhattan , and after being transported outside of the research center when Laurie Juspeczyk asks him to leave.

He walks past a graffiti filled alley a poster advertising a concert at the Madison Square Garden, a peace sign, a sports raving, "Krystalnacht", and "Who watches the Watchmen? Rorschach writes about the death of the Comedian and how he's the only one who cares. He wonders if everyone is right for not caring, since 'soon there will be war.

Millions will burn. Millions will perish in sickness and misery. Even in the face of Armageddon I shall not compromise in this. He walks down 42nd street and passes a business called Burlesk, with a sign that reads 'Tonite Enola Gay and the Little Boys', as well he is seen being offered sex from a hooker, refusing, and being flicked off.

Then he picks the lock to the cemetery and enters where the Comedian was buried. There is a flashback to Eddie Blake 's death, and being thrown out of his apartment window, and then Rorschach takes one of the red roses that were lain at his grave.

He notes women's breasts being displayed on every billboard and littering the sidewalk. He suspects Moloch for the death of the Comedian, suggesting it was part of a revenge scheme that was planned during his decade behind bars. He says he pays his last respects quietly, without fuss, referring to the priest's scripture reading. He comments on how Edward Blake was buried in the rain, how there's a life of conflict with no time for friends, and that when it's done, 'only our enemies leave roses.

That's why he was lonely.

Says he's depressed. Says life seems harsh and cruel. Says he feels all alone in a threatening world where what lies ahead is vague and uncertain. Doctor says 'Treatment is simple. Dan Dreiberg formerly the second Nite Owl , the superpowered and emotionally detached Jon Osterman codenamed Doctor Manhattan and his lover Laurie Juspeczyk the second Silk Spectre , and Adrian Veidt once the hero Ozymandias , and now a successful businessman.

After Blake's funeral, Manhattan is accused on national television of being the cause of cancer in friends and former colleagues. When the government takes the accusations seriously, Manhattan exiles himself to Mars.

As the U. Rorschach's concerns appear vindicated when Veidt narrowly survives an assassination attempt and Rorschach himself is framed and imprisoned for murdering a former supervillain named Moloch. Neglected in her relationship with the once-human Manhattan, whose now-godlike powers and transformation have removed him completely from the everyday concerns of living beings, and no longer kept on retainer by the government, Juspeczyk stays with Dreiberg.

They begin a romance, don their costumes, and resume vigilante work as they grow closer together.

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With Dreiberg starting to believe some aspects of Rorschach's conspiracy theory , the pair takes it upon themselves to break him out of prison. After looking back on his own personal history, Manhattan places the fate of his involvement with human affairs in Juspeczyk's hands.

He teleports her to Mars to make the case for emotional investment. During the course of the argument, Juspeczyk is forced to come to terms with the fact that Blake, who once attempted to rape her mother, was, in fact, her biological father following a second, consensual relationship. This discovery, reflecting the complexity of human emotions and relationships, re-sparks Manhattan's interest in humanity. On Earth, Nite Owl and Rorschach continue to uncover the conspiracy and find evidence that Veidt may be behind the plan.

Rorschach writes his suspicions about Veidt in his journal, in which he has been recording his entire investigation, and mails it to New Frontiersman , a local right-wing newspaper.

The pair then confront Veidt at his Antarctic retreat. Veidt explains his underlying plan is to save humanity from impending nuclear war by faking an alien invasion in New York, which will annihilate half the city's population.

He hopes this will unite the superpowers against a perceived common enemy.

He also reveals that he had murdered The Comedian, arranged for Manhattan's past associates to contract cancer, staged the attempt on his own life in order to place himself above suspicion, and killed Moloch in order to frame Rorschach.

This was all done in an attempt to prevent his plan from being exposed. Nite Owl and Rorschach find Veidt's logic callous and abhorrent, but Veidt has already enacted his plan.

When Manhattan and Juspeczyk arrive back on Earth, they are confronted by mass destruction and death in New York, with a gigantic squid-like creature , created by Veidt's laboratories, dead in the middle of the city. Manhattan notices his prescient abilities are limited by tachyons emanating from the Antarctic and the pair teleport there. They discover Veidt's involvement and confront him. Veidt shows everyone news broadcasts confirming that the emergence of a new threat has indeed prompted peaceful co-operation between the superpowers; this leads almost all present to agree that concealing the truth is in the best interests of world peace.

Rorschach refuses to compromise and leaves, intent on revealing the truth. As he is making his way back, he is confronted by Manhattan. Rorschach declares that Manhattan will have to kill him to stop him from exposing Veidt, which Manhattan duly does. Manhattan then wanders through the base and finds Veidt, who asks him if he did the right thing in the end. Manhattan responds that "nothing ever ends" before leaving the Earth to create life elsewhere.

Dreiberg and Juspeczyk go into hiding under new identities and continue their romance.

The Internet Movie Script Database (IMSDb)

Back in New York, the editor at New Frontiersman asks his assistant to find some filler material from the "crank file", a collection of rejected submissions to the paper, many of which have not been reviewed yet. The series ends with the young man reaching toward the pile of discarded submissions, near the top of which is Rorschach's journal.

With Watchmen , Alan Moore's intention was to create four or five "radically opposing ways" to perceive the world and to give readers of the story the privilege of determining which one was most morally comprehensible. Moore did not believe in the notion of "[cramming] regurgitated morals" down the readers' throats and instead sought to show heroes in an ambivalent light.

Moore said, "What we wanted to do was show all of these people, warts and all. Show that even the worst of them had something going for them, and even the best of them had their flaws. Moore and Gibbons designed Watchmen to showcase the unique qualities of the comics medium and to highlight its particular strengths. In a interview, Moore said, "What I'd like to explore is the areas that comics succeed in where no other media is capable of operating", and emphasized this by stressing the differences between comics and film.

Moore said that Watchmen was designed to be read "four or five times", with some links and allusions only becoming apparent to the reader after several readings. The main thrust of the story essentially hinges on what is called a macguffin , a gimmick So really the plot itself is of no great consequence As we actually came to tell the tale, that's where the real creativity came in.

Gibbons said he deliberately constructed the visual look of Watchmen so that each page would be identifiable as part of that particular series and "not some other comic book". Gibbons noted that the setting was liberating for him because he did not have to rely primarily on reference books.

Colorist John Higgins used a template that was "moodier" and favored secondary colors.

Moore noted that the artist paid particular attention to lighting and subtle color changes; in issue six, Higgins began with "warm and cheerful" colors and throughout the issue gradually made it darker to give the story a dark and bleak feeling. Structurally, certain aspects of Watchmen deviated from the norm in comic books at the time, particularly the panel layout and the coloring.

Instead of panels of various sizes, the creators divided each page into a nine-panel grid. The cover of each issue serves as the first panel to the story.

Gibbons said, "The cover of the Watchmen is in the real world and looks quite real, but it's starting to turn into a comic book, a portal to another dimension. Gibbons drew issue five, titled "Fearful Symmetry", so the first page mirrors the last in terms of frame disposition , with the following pages mirroring each other before the center-spread is broadly symmetrical in layout. The end of each issue, with the exception of issue twelve, contains supplemental prose pieces written by Moore.

Among the contents are fictional book chapters, letters, reports, and articles written by various Watchmen characters. DC had trouble selling ad space in issues of Watchmen , which left an extra eight to nine pages per issue. DC planned to insert house ads and a longer letters column to fill the space, but editor Len Wein felt this would be unfair to anyone who wrote in during the last four issues of the series.

He decided to use the extra pages to fill out the series' backstory. It looks less like a comic book, so we stuck with it. 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.

Mainly, genres like horror, science fiction, and piracy, particularly piracy, became prominent—with EC riding the crest of the wave. 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.

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 Reynold, the mariner is "forced by the urgency of his mission to shed one inhibition after another.

Manhattan's self-exile on Mars. Moore named William S. Burroughs 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 Cyclops.

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 [ A stained smiley face is a recurring image in the story, appearing in many forms. In 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. Gibbons said the creators came to regard the blood-stained smiley face as "a symbol for the whole series", [43] noting its resemblance to the Doomsday Clock ticking up to midnight.

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". 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".

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".

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. Bradford Wright described Watchmen as "Moore's obituary for the concept of heroes in general and superheroes in particular.

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". They think they're invulnerable. 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 [ 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".

Geoff Klock eschewed the term "deconstruction" in favor of describing Watchmen as a "revisionary superhero narrative". He considers Watchmen and Frank Miller 's Batman: The Dark Knight Returns to be "the first instances [ Moore has expressed dismay that "[t]he gritty, deconstructivist postmodern superhero comic, as exemplified by Watchmen [ He said in 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".

Watchmen was first mentioned publicly in the Amazing Heroes Preview. 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.

The module, which was endorsed by Moore, adds details to the series' backstory by portraying events that occurred in Watchmen was published in single-issue form over the course of and The limited series was a commercial success, and its sales helped DC Comics briefly overtake its competitor Marvel Comics in the comic book direct market.

Further delays were caused when later issues each took more than a month to complete. After the series concluded, the individual issues were collected and sold in trade paperback form.

Along with Frank Miller 's 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. Subsequently, new comics series were commissioned on the basis of reprinting them in a collected form for these markets.

Watchmen received critical praise, both inside and outside of the comics industry. Time 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".

Disagreements about the ownership of the story ultimately led Moore to sever ties with DC Comics. 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.

Moore felt the reversion clauses were ultimately meaningless because DC did not intend to let the publications go out of print. While DC wanted to mend its relationship with the writer, Moore felt the company was not treating him fairly in regards to his America's Best Comics imprint launched under the WildStorm comic imprint , which was bought by DC in ; 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]. Moore stated in that if the limited series was well-received, he and Gibbons would possibly create a issue prequel series called Minutemen featuring the s superhero group from the story.

Neither man felt the stories would have gone anywhere, with Moore particularly adamant that DC not go forward with stories by other individuals. It would be, perhaps, interesting to see how we got to the conclusion. In , Moore told Wired that DC offered him the rights to Watchmen back if he would agree to prequel and sequel projects.

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Moore said that "if they said that 10 years ago, when I asked them for that, then yeah it might have worked [ Certainly, I don't want it back under those kinds of terms. Among the creators involved are writers J.

Though Moore has no involvement, Gibbons gave the project his blessing. The sequel to Watchmen , entitled Doomsday Clock , is part of the DC Rebirth line of comics, additionally continuing a narrative established with 's one-shot DC Universe: Rebirth Special and '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 , follows a cancer-ridden 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. The story will include many DC characters but has a particular focus on Superman and Doctor Manhattan , despite Superman stated as being a fictional character in the original series—the series uses the plot element of the multiverse.

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. There have been numerous attempts to make a film version of Watchmen since , when producers Lawrence Gordon and Joel Silver acquired film rights to the series for 20th Century Fox. Hamm took the liberty of re-writing Watchmen' s complicated ending into a "more manageable" conclusion involving an assassination and a time paradox.

They used the character Rorschach's diary as a voice-over and restored scenes from the comic book that Hamm had removed.

The director again declined, believing that the comic book would be better directed as a five-hour miniseries. The project did not hold together at Revolution Studios and subsequently fell apart. Producers Gordon and Levin remained attached, collaborating with Aronofsky's producing partner, Eric Watson. Similar to his approach to , 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. The Tales of the Black Freighter segments were adapted as a direct-to-video animated feature to be released that same month.

The End Is Nigh. 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. Warner Bros. In , Warner Bros. Entertainment released Watchmen Motion Comics , a series of narrated animations of the original comic book.

The first chapter was released for download in the summer of on digital video stores, such as iTunes Store. Zack Snyder is no longer attached to the show.Gibbons said, "The cover of the Watchmen is in the real world and looks quite real, but it's starting to turn into a comic book, a portal to another dimension.

Be Friendly This is a friendly community where we all come to discuss and share everything Watchmen Any comments or actions seen as bullying will be acted upon by the mods. While DC wanted to mend its relationship with the writer, Moore felt the company was not treating him fairly in regards to his America's Best Comics imprint launched under the WildStorm comic imprint , which was bought by DC in ; Moore was promised no direct interference by DC as part of the arrangement.

However, the writer found he could do more with Manhattan as a "kind of a quantum super-hero" than he could have with Captain Atom. As we actually came to tell the tale, that's where the real creativity came in.

Retrieved October 29, Hart ", which appeared in the British underground magazine Cyclops. While many of the heroes retired, Doctor Manhattan and another superhero, known as The Comedian, operate as government-sanctioned agents.