“We have no desire to ‘adapt’ the twelve issues Mr. Moore and Mr. Gibbons created thirty years ago. Those issues are sacred ground and will not be retread nor recreated nor reproduced nor rebooted.They will however be remixed, Because the bass lines in those familiar tracks are just too good and we’d be fools not to sample them. Those original twelve issues are our Old Testament. When the New Testament came along it did not erase what came before it. Creation. The Garden of Eden. Abraham and Isaac. The Flood. It all happened. And so it will be with ‘Watchmen.’ The Comedian died. Dan and Laurie fell in love. Ozymandias saved the world and Dr. Manhattan left it just after blowing Rorschach to pieces in the bitter cold of Antarctica. This story will be set in the world its creators painstakingly built…but in the tradition of the work that inspired it, this new story must be original. It has to vibrate with the seismic unpredictability of its own tectonic plates. It must ask new questions and explore the world through a fresh lens. Most importantly, it must be contemporary. The Old Testament was specific to the Eighties of Reagan and Thatcher and Gorbachev. Ours needs to resonate with the frequency of Trump and May and Putin and the horse that he rides around on, shirtless. And speaking of Horsemen, The End of the World is off the table…which means the heroes and villains–as if the two are distinguishable–are playing for different stakes entirely. Some of the characters will be unknown. New faces. New masks to cover them. We also intend to revisit the past century of Costumed Adventuring through a surprising yet familiar set of eyes…and it is here we will be taking our greatest risks.”
Post by The Captain on Jun 3, 2018 17:28:00 GMT -5
I liked Watchmen well enough when I read it the first time, and I will revisit it from time to time because it definitely bears repeated exposure, although it isn't one of my favorites.
However, reading this pablum about Old and New Testaments and resonating in the current world, all I could think of how much of a trainwreck this promises to be. Do we really NEED new stories set in an iconic world 40 years after the original tale, involving a cast of mostly-unfamiliar names and faces doing callbacks to more successful and memorable characters and situations?
Does the title "AfterMASH" mean nothing to these people?
"As a youngin' I used to share the colt 45 on the street corners with my friends. I'm not proud." - icctrombone
"If you are strong, be a protector. If you are smart, be a humble influencer. Strength and intelligence can be weapons, so do not wield them against the weak. That makes you a bully. Be bigger than that." - Chris Pratt
The fact that there is a Highway to Hell but only a Stairway to Heaven should tell us all we need to know about expected future traffic.
Post by codystarbuck on Jun 4, 2018 10:32:02 GMT -5
I would. I like several Netflix shows and they have been very good; but, this press release indicates they don't get it. The track record of anyone other than Moore and Gibbons with Watchmen is abysmal. The best you get is mediocre. It was uniquely Alan Moore's voice and Dave Gibbons visuals. The entire thing was built around the unique mechanisms of comics, which is why it doesn't translate directly. It would be an act of real genius to be able to translate this to tv and still capture the levels of storytelling within the comic. I suspect this will be Game of Thrones soap opera, with tights and capes.............. and a naked blue guy. They will probably try to shoehorn it into the same kind of narrative template, which, like the film, will strip away all subtext. It will have an advantage over the movie, by being able to spend more time on things; but, that is the only real plus, I see. You can capture the visual stylings (though, since they are in motion, it isn't the same experience as absorbing the information in a single static panel), by spending enough money; but, the story is another matter and they sound pretty darn gunshy of really delving into Moore's themes and words, so they are already absolving themselves of failure.
My prediction is that it will be better than the film (which, in my book, only requires better acting and actually reading the source material, not skimming the pictures); but, will be about as good as those Watchmen spin-off comics.
WB seems determined to continually poke Alan Moore.
"Fortunately, ah keep mah feathers numbered for just such an emergency!"
Post by pinkfloydsound17 on Jun 4, 2018 21:14:42 GMT -5
I respect that certain companies like Netflix and Amazon have done a strong job adapting Marvel and other superhero works but with the Watchmen I have to also ask why?
I am a very big fan of the work. I liked the movie enough but I just see zero appeal in adding to the tale. It was its own story and should remain that way. I dont need more backstory on the old characters, I dont need to see the Watchmen fighting in their heydey. I also don't think such a story needs a sequel. It is very hard to see this doing well for a couple of reason. First, Watchmen has that elitist status in the comic world. How you adapt or build off it is hard because it was so perfect. Nothing to date has worked. Second, it is not something you try to push towards mainstream viewers. They wont get it. You need a comic fan and again, will they turn out to watch something that is trying to build off the original? I am doubtful. I think this will be a huge flop and should it see success, it will be a true testament to Lindelof's ability as a creator.
None of you seem to understand...I'm not locked up in here with you. You're locked up in here with ME!
Post by codystarbuck on Jun 4, 2018 21:35:29 GMT -5
There is no story to tell and I seriously doubt this is motivated by artistic desires. This is WB looking to exploit a property that has a brand name in mass culture. When Watchmen was conceived, DC was pretty much an independent entity within the Time-Warner empire. Jenette Kahn had instituted reforms, based on other publishing models, to attract creators to the company and entice them to really apply their talent. I believe the Watchmen contracts were created in good faith, with the idea that the rights would revert to Moore and Gibbons after a reasonable time (10 years or so) based on publishing models of the period. Then, it gained a name beyond the comic book market, as it proved a popular seller in bookstores and those sales stayed consistent. By the end of the 80s, particularly after the success of the Burton Batman film, you saw WB get more and more involved in DC's affairs, bringing them more into the corporate structure. You see decisions like keeping Watchmen in print, because it is a steady revenue generator and the terms of the contract allow WB to retain control. That was limited to the trade and related collections, as it proved a tough nut to crack, for film. As soon as technology is there for the visuals, they pare down the story to the central mystery and send it into production, producing a film with very uneven acting and writing and very little of the underlying subtext of the work (my opinion, obviously). They also decide to go back and exploit the comics again, to help try to make money on a dwindling market, hoping to attract those outsiders who will read Watchmen and V for Vendetta, but don't read monthly comics. The end result is just a money grab, with little added to the artistic value. They continue it further with the whole reboot-of-a-reboot mess, for the same reason. Now, they want to do a tv series adaptation/sequel/rewrite/whatever you want to call it, to try to make money, based on outside name recognition. It's that same corporate mentality of milking a brand as far as it can go, no matter how much it is diminishing said brand.
Really, anyone who wanted to do this kind of story, for a new generation, doesn't really need the Watchmen name and characters. The characters are basically archetypes. All you need to do is apply the same "real world" lens to the idea, mix in actual history or alternate history (spinning off key events) and you have the same thing. Really, if they wanted to be daring, they would try an Authority tv series; but, good luck seeing a major conglomerate put out a product that attacks their very mindset.
I'll stick with the Astro City series, if it ever actually goes into production and is broadcast. At least there, you only have to please Kurt Busiek (depending on his level of control) and if he's happy, the fans are more likely to embrace it.
"Fortunately, ah keep mah feathers numbered for just such an emergency!"
Watchmen itself began as an attempt to tell new stories with exhausted characters, so I wouldn't rule out the possibility of something similar happening with this now-30-years-old intellectual property. It will come down to the vision of the creative team, and their ability to execute their vision within the strictures of the corporate pressure and the limitations of their chosen medium.