The first (and maybe only) season of the Watchmen television show has come to an end on HBO. This show follows a less than stellar big-screen interpretation of the graphic novel, directed by Zack Snyder back in 2009. Both that film and this series, are based (loosely or otherwise) on the comic mini-series/graphic novel of the same name by Alan Moore and Dave Gibbons, published in 1986 and 1987. That book is held up as one of the holy grails of the comic genre. Fans of the original are historically judgmental and territorial of their treasured story. This is understandable.
While Snyder failed fans nine years ago HBO and Damon Lindelof may have succeeded, at least in a few ways, though complete success may be unattainable. Here are five reasons the HBO series is a worthy successor to the comic, and 5 reasons it’s still problematic.
Worthy: Alternate History
Like the original story HBO’s series takes on a complicated, yet believable, alternate history in which to place its characters. This history is a direct offshoot of the alternate history originally presented by Moore and Gibbons.
In the graphic novel America wins the Vietnam War (as is mentioned on the show), Nixon serves more than two terms as president, and it is Dr. Manhattan’s presence that escalates the Cold War even more than just nuclear bombs. The series keeps and uses this alternate history to great effect while also adding its own details, including the presence of another white supremacy group, Cyclops.
Problematic: Lady Trieu
Though Lady Trieu’s history is used to great effect in the season finale of Watchmen she leaves a few too many questions unanswered until the very end to be completely satisfying as a new character addition. In the Watchmen mini-series, all characters are introduced and given significant backstories in advance of the culminating action of the tale.
Trieu is far less well balanced as a character. She brings up extra questions because so many new characters are introduced on the show, but are fleshed out throughout their appearances and not just at the end.
Worthy: Natural Setting
Unlike the Zack Snyder film which worked very hard to look like a comic book on-screen Lindelof, for the most part, worked hard to embrace the feeling of the comic rather than its look. With its extensive alternate history, Moore and Gibbons’ story always felt as if these incredible characters did exist in a very real and plausible world.
Except for a few out toward Jupiter, most of the HBO series takes place in Tulsa, on streets that look very much like the ones people walk down every day. This matches the feeling of the original story in a very successful way.
Problematic: Dan Dreiberg/Nite Owl
Fans are given a look at all the surviving heroes from the original Moore and Gibbons tale except, that is, Dan Dreiberg’s Nite Owl. Viewers are told that he is in prison for violating the Keene Act (not registering to work as a superhero) but this feels like a raw deal when everyone else who survived their trip to Antarctica at the book’s end gets to make an appearance of some kind.
In sequels, fans like to see more of a connection to those they were following before. Dan is sorely missed, even as his technology (hi Archie) makes an appearance without him.
Worthy: Use of Masks
The graphic novel explores a lot of the possible psychology behind vigilantes who decide to wear masks. The television show does an excellent job of turning a different lens on the culture of mask-wearing by putting disguises on its police force rather than those who are out on their own vigilante crusades.
The masks of the everyday police force also work as a callback to the classic cover of the graphic novel. The masks, like the cover, are a very particular and bright shade of yellow.
Problematic: Useless Characters
Moore and Gibbons pile a lot of characters into their story, but everyone is important, and everyone is there for a reason. Unfortunately, one clue left unanswered in the finale of the HBO series surrounds a new masked vigilante that the internet has named “Lube Man,” for his ability to slide effortlessly into the sewers while wearing a skin-tight silver outfit.
“Lube Man,” makes only one appearance and neither he nor any other clues about him appear on screen again. A strange addition to a story that otherwise was incredibly well planned out.
Worthy: Sister Night and Looking Glass
They may both be police detectives rather than masked heroes, but Sister Night and Looking Glass are both worthy descendants of the masked characters introduced by Moore and Gibbons back in the 1980s.
They have real-life stories, families, and problems that underpin their actions as masked heroes/police. They struggle not only in their fight for justice but in their relationships with others and the world around them, just as Nite Owl, Ozymandius, Silk Spectre and the rest did on the page.
Problematic: Adrian Veidt and his Solitude
Adrian Veidt or Ozymandius as he is known as a “hero” is left a little bit too alone for comfort in the new series. While the graphic novel ends with most people agreeing not to out his destruction of New York for the sake of world peace, the destructive and conniving character is left to his own devices in Antarctica for an awfully long time before Dr. Manhattan visits him again.
One would think that Laurie, at least, with her new position in the FBI might have taken more of an interest in his doings since she has such intimate knowledge of his prior problematic behavior.
Worthy: Hooded Justice
The graphic novel and HBO series truly intertwine in the backstory of Angela Abar’s grandfather, Will Reeves. Here the show creates a worthy backstory to a character who’s origins were left mysterious on the page.
The story not only makes sense for the original character, but also works to push the plot of the television show along. The entire history and story of Watchmen is rewarded by these details and connections.
Problematic: Dr. Manhattan Caring About a Human
Toward the end of the original Watchmen story, Dr. Manhattan staties, “I am tired of earth. these people. I am tired of being caught in the tangle of their lives.” This is part of the reason he leaves for Mars. This is part of the reason he considers making his own set of life forms so that they might be different from the human race he left behind. Though Dr. Manhattan’s presence is key to the story explored in the television show, and his relationship with Angela Abart is compelling on-screen, no clear explanation is ever really provided to explain this complete about-face on his feelings towards life on earth. He may only care for Angela, but she, at least, is still a human when they meet.
