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<h2 class='date-header'><span>Wednesday, December 20, 2006</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="380" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/5cEVfVj_dJX368nEaE7CEwI_hVrofXLJz9Icd8Iqbpt-WGBDbYMoB-qrjSTSy7jJyaVWgqyxq-9o13_oxrxt-Z4gvH3WTaDVKBD95fmRFtkm4TCNZH2rag%3Ds0-d" width="300"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Perhaps this is a question for Gary Sullivan, someone who knows in some depth the world of the graphic novel &amp;, behind it, the several generations now of comic book artists since <i style='mso-bidi-font-style:normal'>The Yellow Kid </i>who have contributed to popular culture. While I was a reasonably serious consumer of comics as a kid &#8211; Leslie Scalapino &amp; I were both dedicated fans of the Classic Comics series, which did more for education than, say, the No Child Left Behind act &#8211; I can&#8217;t say that I&#8217;ve paid that much attention later in life. Yet with Pulitzer-Prize winning <a href="http://en.wikipedia.org/wiki/Art_Spiegelman"><span style='color:windowtext'>Art <span class=SpellE>Spiegelman</span></span></a> having been all but formally anointed the official graphic novelist of the <i style='mso-bidi-font-style:normal'>New Yorker </i>&amp; more than a few summer movies each year deriving from the genre &#8211; the last one I saw was <i style='mso-bidi-font-style:normal'><a href="http://vforvendetta.warnerbros.com/"><span style='color:windowtext'>V for Vendetta</span></a>, </i>moderately entertaining as yet another vehicle for the curious acting career of Hugo Weaving,<i style='mso-bidi-font-style:normal'> </i>but <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0305206/"><span style='color:windowtext'>American Splendor</span></a> </i>a couple of years back was in fact delightful &#8211; I bit when one of my sons made the pitch to me that I seriously needed to read <i style='mso-bidi-font-style:normal'><a href="http://en.wikipedia.org/wiki/Watchmen"><span style='color:windowtext'>Watchmen</span></a>, </i>written by <a href="http://en.wikipedia.org/wiki/Alan_Moore"><span style='color:windowtext'>Alan</span></a> <a href="http://www.slate.com/id/2092739/"><span  style='color:windowtext'>Moore</span></a>, drawn by Dave Gibbons, which won a Hugo and, as it notes on the bright yellow cover, was once listed as &#8220;one of <i style='mso-bidi-font-style:normal'>Time Magazine&#8217;s </i>100 best novels.&#8221; To which I can only reply: <i style='mso-bidi-font-style:normal'>consider the source</i>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>There is no question that <i style='mso-bidi-font-style:normal'>Watchman </i>is important historically, simply because it established the graphic novel as genre, and that it clearly wanted to be taken seriously from day one. </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'>&#8217;s critical elevation, unlike, say, the French obsession with Jerry Lewis awhile back, is not the consequence of too much red wine in the diet. The first person to take Alan Moore that seriously was Alan Moore. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'>, like <a href="http://en.wikipedia.org/wiki/Harvey_Pekar"><span  style='color:windowtext'>Harvey <span class=SpellE>Pekar</span></span></a> of <i style='mso-bidi-font-style:normal'>American Splendor, </i>writes the comic, leaving the artwork to others in this supremely visual medium. Which leaves me asking, What is writing in this context? Where does it end? Not to mention, What are its values? How can we tell if it is &#8220;any good&#8221;? <span class=GramE>Etc. Etc. Etc.</span> At least <span class=SpellE>Pekar</span> and his partner Joyce <span class=SpellE>Brabner</span> were given credit for writing the original comics on which <i style='mso-bidi-font-style:normal'>American Splendor </i>was based. The credits for <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0434409/"><span style='color:windowtext'>V for Vendetta</span></a> </i>mention only the <span class=SpellE>Wachowski</span> brothers for the screenplay, tho the original comic was done by, <span class=GramE>who</span> else, Alan Moore.&#185; <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0311429/"><span style='color:windowtext'>League of Extraordinary Gentlemen</span></a>, </i>another </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> venture to reach the screen, does credit him, as did the Johnny Depp venture, <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0120681/"><span style='color:windowtext'>From Hell</span></a>. Watchmen </i>is scheduled to be done as film in 2008, Zack Snyder (the 2005 remake of <i style='mso-bidi-font-style:normal'>Dawn of the Dead </i>is his big credit to date, tho he is completing yet another film based on a graphic novel, <i style='mso-bidi-font-style:normal'>300, </i>which will appear next summer). <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>At one level, </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> writes the general directions of the plot, plus the dialog. For 11 of the 12 comics in which <i style='mso-bidi-font-style:normal'><span style='mso-spacerun:yes'> </span>Watchmen </i>first appeared, there was also a short section, mostly four pages, of relatively &#8220;pure text,&#8221; presented for example as excerpts from memoirs, newspaper accounts or a gushing interview, but the rest looks pretty much as what you would expect from a comic &#8211; pictures with word balloons. But we also get running interior monologs, especially from Rorschach, the somewhat faceless character in front in the group portrait above. There is also, especially in the early chapters, a comic within the comic, foreshadowing the outcome of the larger series with especially grim humor. Finally, </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> has a reputation from doing more than giving general instructions to an artist. In a sidebar to its 2003 profile, &#8220;How Alan Moore Transformed American Comics,&#8221; <i style='mso-bidi-font-style:normal'>Slate </i>(ignoring the obvious detail that Moore is not American, but British) printed Moore&#8217;s &#8220;instructions&#8221; for a single frame (on a page containing six such frames) of <i style='mso-bidi-font-style:normal'>League of Extraordinary Gentlemen:<o:p></o:p></i></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana'>Now we close in a little more. All we can see of <span class=SpellE>Quatermain</span> now is a sliver of his profile over to the left of the panel, looking away from us with widening eyes and an expression of dawning mute shock towards the background, across the other side of the counter. To the right of the <span class=SpellE>middleground</span>, we can see the <span class=SpellE>Si</span> Fan guy looking angry and agitated as he waves the half-melted brush under <span class=SpellE>Shen</span> <span class=SpellE>Yan's</span> nose. We can't see much of <span class=SpellE>Shen</span> <span class=SpellE>Yan</span>, since he is nearly off the right of the panel here, but what we can see of him looks abashed and apologetic. More to the left centre of the <span class=SpellE>middleground</span>, the door behind the counter has now swung open even wider. Looking through it we see a terrible, bizarre, and at first confusing scene. Sitting on an ornate stool with his back to us, wearing a long and magnificent looking robe and a mandarin's pillbox hat, his pig tail hanging down the back, we see  a rear view of our devil doctor. In his right hand he holds up a paintbrush. The tip of it, thick with paint, is <span class=SpellE>smouldering</span>. Standing on the floor to our right of the seated doctor we see a kind of raised pot or brazier. <span class=SpellE>Smouldering</span> in it is some sort of thick and caustic liquid. The doctor pauses with his brush in hand as if he were an artist considering his next stroke. In the background beyond the seated doctor, hanging with his wrists bound together and attached to a beam above his head, we see a terrified and agonized looking Chinese man who is stripped to the waist and facing us over the top of the doctor's head, which is turned away from us. There is a gag in the man's mouth, so that he cannot scream. His black hair is plastered to his forehead with sweat, and sweat stands out in beads on his brow. This is Ho Ling, a minor opium trader of <span class=SpellE>Limehouse</span> mentioned in Thomas Burke's &quot;London Nights&quot; if you're even remotely interested. He is quite a big man, maybe running slightly to flab. Painted in a vertical row down the middle of his naked chest are a number of Chinese characters (again, I'll have to wait until I've consulted Steve Moore before I can tell you what they actually are). All of these characters are smoking and <span class=SpellE>smouldering</span>. They are painted onto the man's chest in some sort of terrible acidic, caustic <span class=SpellE>goo</span> that the devil doctor is using instead of paint. Over to the right, the <span class=SpellE>Si</span> Fan guy and <span class=SpellE>Shen</span> <span class=SpellE>Yan</span> continue their Chinese conversation.<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>If the tale itself in <i style='mso-bidi-font-style:normal'>Watchmen </i>reads like a storyboard for a film, the instructions to the artist from this other project come closer to a 19<sup>th</sup> century novel. But as the casual, off-hand tone (&#8220;if you&#8217;re interested&#8221;) of these instructions suggests, Moore&#8217;s focus here isn&#8217;t on literary style, nor even in laying out all of the details, tho one senses, both from glimpses into his process as well as the values expressed through his characters, that Moore personally is quite the control freak. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>No, </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> is interested in ideas, big ideas, large enough to be clunky in the way, <span class=GramE>say,</span> that a philosopher writing a novel might be clunky. The ultimate question of <i style='mso-bidi-font-style:normal'>Watchman </i>is just how much is permitted &#8220;for the greater good.&#8221; It&#8217;s an interesting question, given the tens of thousands our nation has caused to die of late in </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial'>Iraq</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial'> in the name of &#8220;democratization.&#8221; If you could end world conflict through a single terrifying act &#8211; taking out half the population in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial'>Manhattan</span></st1:place></st1:City><span  style='font-size:10.0pt;font-family:Arial'> in the process &#8211; would the deaths of millions be a &#8220;fair price to pay?&#8221; <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Particularly spooky, given that <i style='mso-bidi-font-style:normal'>Watchmen </i>was first published in 1986-87, is not just that it envisions all this occurring with an act of terror in Manhattan (and with a pretty direct connection to Afghanistan, no less), but that &#8211; just like George, Rummy, Cheney &amp; <span class=SpellE>Wolfie</span> &#8211; the volume ends with no vision at all as to <i style='mso-bidi-font-style:normal'>what happens next</i>? As in, what <span class=GramE>happens</span> when it turns out that old habits come back and the unifying moment of pacification devolves back into the same <span class=SpellE>ol</span>&#8217; same <span class=SpellE>ol</span>&#8217;? <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>The arguments one wants to make here &#8211; for example, that there is no voice anywhere in the novel for a democratic (small d) perspective &#8211; are of the order one sometimes one wants to make after seeing, say, a Philip K. Dick novella turned into a movie &#8211; think of <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0100802/"><span style='color:windowtext'>Total Recall</span></a>, </i>whose political ideas director Paul <span class=SpellE>Verhoeven</span> once<i style='mso-bidi-font-style:normal'> </i>suggested were there just to make the film intellectually crunchier. Stylistically, </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial'> makes a modest effort at differentiating the voices of his characters &#8211; Rorschach speaks in fragments, Ozymandias is formal and condescending, the second <span class=SpellE>Nite</span> Owl stammers a lot<span class=GramE>,<span style='mso-spacerun:yes'> 
</span>Laurie</span>, the second Silk <span class=SpellE>Spectre</span>, shows some of the same rough edges her <span class=SpellE>carny</span>-dialect mother, Sally Jupiter (the first Silk <span class=SpellE>Spectre</span>) demonstrates. But much of the rest of the style, regardless of how thoroughly specified to graphic artist David Gibbons Moore may have been, largely reflects Gibbons own drawing &amp; the coloring of John Higgins. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>So <i style='mso-bidi-font-style:normal'>Watchman </i>&amp; quite a few other graphic novels want to be taken seriously, but end up as fodder for B-movies while nobody suggests making films out of the far more serious novels of David <span class=SpellE>Markson</span>, Paul Auster, Carole <span class=SpellE>Maso</span> or Gilbert Sorrentino, or even a best-seller like Don <span class=SpellE>DeLillo&#8217;s</span> <i style='mso-bidi-font-style:normal'>Underworld. </i>To what degree <i style='mso-bidi-font-style:normal'>are </i>graphic novels storyboards for film projects, and to what degree not? And where, precisely, is the writing?<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial'>&#185; This may have been </span><st1:City><st1:place><span   style='font-size:8.0pt;font-family:Arial'>Moore</span></st1:place></st1:City><span style='font-size:8.0pt;font-family:Arial'>&#8217;s own doing. The film&#8217;s website credits the script as being &#8220;Based on the Graphic Novel Illustrated by David Lloyd.&#8221;<o:p></o:p></span></p>
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