Sep 21 2009
Watchmen – (neo)apocalyptic
In the introduction to Apocalyptic Transformation, Elizabeth Rosen says, “it is the intent of this study to examine only texts which are working with the traditional apocalyptic form…and to think about what each artist gains from choosing to work with the classic rather than the new paradigm” (Rosen xxv-xxvi). The “new paradigm” she’s referring to is neo-apocalyptic, “a unique sub-branch of eschatological literature…focused on cataclysm” (Rosen xv). The defining characteristic of the neo-apocalyptic genre is pessimism, based off of the assumption that “no one deserves saving and that everyone should be punished” (Rosen xv).
In examining Watchmen in Chapter 1 of her book, Rosen presents this graphic novel as a traditional apocalyptic story. Such traditional stories contain elements of “New Jerusalem and the hope it symbolizes” and are “meant to lend hope and bolster faith” (Rosen xv).
After reading Watchmen, I have to disagree with Rosen’s classification. Although at the end of the book Veidt’s plan to usher in an era of international cooperation seems to be working, as the reader, I was hardly left with a feeling of hope. Even Rosen recognizes that “It is strongly suggested that the times have only been temporarily changed by Veidt’s devious plan” (Rosen 42).
Most striking is the return of the smiley-face with the streak of sauce, resembling blood, in the last panel. As an obvious link to the beginning of the book and the murder of Edward Blake, I think it more than “strongly suggests” Veidt’s failure to permanently change the world. In the absence of anything remotely resembling eternal salvation, a New Jerusalem, or even a permanent shift in ideas or worldview, I fail to see how Watchmen fulfils the definition of a traditional apocalyptic story, and I would categorize Watchmen as an entirely neo-apocalyptic story.
Who’s with me?
I agree with Ariana on this reading about Veidt’s failure. It seems clear that Moore is showing the folly of human beings taking on the mantle of God, no matter how smart they are. Like Rosen, I see his plan as more of an inversion of the New Jerusalem motif than an absence of it, but the various ancient myths that Moore brings in complicate these motifs by mixing them together, which is also one of the traits of the postmodern version of apocalypse, as Rosen argues.
Why does it matter whether Rorschach’s journal is published or not?
I finished reading with the feeling that sooner or later, Veidt’s artificially created unity would disintegrate, or a greater threat (moral corruption? greed? some other human failing?) would materialize and make Veidt’s solution to this particular threat obsolete.
Obviously the publishing of Rorschach’s journal would expedite the failure of Veidt’s plot…but I think it’s implied the plan is doomed to fail anyway. Especially since Veidit orchestrates this apocalypse as a human, as opposed to one that comes from a deity (check out Rosen 21)
Perhaps not “entirely” but certainly “probably.”
We don’t know which “filler” Seymor chooses.
John doesn’t know either – strange – for why would he kill Rorschach if his journal would never reach the public…
Watchmen is dark and does not give any easy answers – agreed with you Angelay.