More watchmen awesomeness

www.aintitcool.com/node/36885

I want that for my room.

Anybody left bitching about this movie and how "they" are going to fuck it up is full of shit...I mean, come on, who the hell ever, in their lifetime, expected to see a nearly perfect real photograph of the Minutemen? Snyder and co. are being really smart about what they're releasing- it's almost all stuff that speaks directly to Watchmen fans and pretty much gives us a lot of evidence that they're doing this _right_...that they really give a damn about the details and particulars that make Watchmen great.

Sure, we haven't seen the script yet or anything substantial and it may all be smoke and mirrors to hide a crummy film...but the evidence we have so far looks damn, damn good.

I am reserving my right to curl up into a protective ball until I am proven wrong to avoid inevitable, I mean potential, disappointment.

Michael Barnes wrote:

Snyder and co. are being really smart about what they're releasing- it's almost all stuff that speaks directly to Watchmen fans and pretty much gives us a lot of evidence that they're doing this _right_...that they really give a damn about the details and particulars that make Watchmen great.

Exactly, this is a textbook example of viral advertising. Get all the cool kids frothing at the mouth so that they tell their friends and family to go spend their cash.

I'll admit everything does look good so far but I am not yet feeling excited. The people whose responsibility it is to make things look right are not the same people whose responsibility it is to make the story right.

rss.warnerbros.com/watchmen/ wrote:

On the movie backlot, like a sailor on shore leave, I gawp in wonder at a New York City that never really was. Once a Canadian lumber yard, it's become a complex of American city streets.

At the corner, a Treasure Island store promises a bounty of pulp thrills; down the block, the Gunga Diner beckons, fully fitted out in chrome and purple leather and, over there, the Rumrunner sign looms luridly. Even the austere facade of the Institute For Extraspatial Studies can't spoil the gaudy fun.

On an upper floor, I spot the windows of the Judomaster Martial Arts Studio. I’m stopped in my tracks. Judomaster? Detail piles on dizzying detail.

Rain's falling hard now and I'm led inside, through a grubby little hovel crammed with dressmaking dummies, past the huge halls of Karnak, into Dan Dreiberg's homely brownstone and down to where the Owl Ship sits. I clamber aboard in giddy delight.

The rest of the visit kaleidoscopes crazily by: I watch footage of Rorschach pulling Nite Owl off a bloodied Knot Top; I flip through an issue of the Black Freighter; on a laptop, I see raw CGI blocking for the Vietnam sequence; I hold a smiley face pin splattered with what looks like real human bean juice; sitting in my own personal director's chair, I sign dozens of books and posters for cast and crew...

Finally, tired but happy, arms around my new buddies, costumed and otherwise, it's my turn to smile for the camera.

A month later, I'm smiling still.

-Dave Gibbons
December 2007

OK, now I'm excited. Eventhough, I know I shouldn't be.

Getting the look right should be the easy part of making a movie based on a comic book. All those comics give them plenty of visual references to choose from. From Hell looked right for the era. V for Vendetta looked right. League of Extraordinary Gentleman actually looked much better than the comic book.

League of Extraordinary Gentleman actually looked much better than the comic book.

My mom says we can't be friends any more.

I think that it's cool that Alan Moore chose Kevin O'Neill to draw League because of past complaints about O'Neill's "disturbing" artwork. It plays into Moore's subtext about the hypocrisy of Victorian society. However, I just personally find O'Neill's artwork to be too garish and busy. Effective artwork often has a focal point where the viewer's eye is directed by the artist. O'Neill's work generally lacks a focal point, as too many aspects of every picture are clamoring for attention all at once.

I have liked Kevin O'Neill's style since Marshal Law , which is ameritrash as it gets for comics.