watchmen character analysis essay

The Greater Good: Analyzing Morality in Watchmen

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In 1986, Alan Moore’s revolutionary graphic novel, Watchmen , redefined the superhero genre and pushed the bounds of what is considered great literature. At the center of its plot sits the classic heroic notion of the greater good, the sacrifice of the few for the many. Set in an alternate version of the 1980s, Watchmen follows several heroes as they uncover their comrade Ozymandias’s plan to unite the world by sacrificing millions of innocent lives and blaming it on a fake alien invasion. However, when they discover his plot, it has already been carried out and he is able to convince all but one of them, Rorschach, not to reveal the truth to the world. Throughout its story, Watchmen presents several takes on the morality of murder, the ultimate judgment of death, and its implications in the grand scheme of the world. However, no verdict is passed on the world’s fate. Rorschach’s journal, containing an account of events leading up to the mass slaughter, is left in the hands of a young, unkempt newspaper assistant. Most current analyses of the graphic novel disregard the collective ideals represented in Watchmen, choosing instead to focus on a single outlook that allies with their own ideologies. While it is important to recognize the different ideas and perspectives represented through the graphic novel, the ramifications of the work as a whole cannot be ignored. By understanding and piecing together the unique positions collected in Watchmen , taking into account the recurring motifs and symbols as well, a completely new perspective is born: there is no moral justification for killing, only the justifications that individuals place upon it.

Unlike other classic comic books, Watchmen does not have a clear protagonist or antagonist. The characters are eerily human for the genre, struggling through life’s various moral and personal obstacles including bullying, child abuse, and adultery. Most do not have any sort of superpowers. What sets them apart is their morality, their minds: each feels a deep need to be a hero and that is what ultimately pushes him or her to become one. S. Evan Kreider takes a look at the moralities of these characters in his article “Who Watches the Watchmen?” In it he explores the characterizations of Rorschach, Manhattan, and Ozymandias, three “superheroes,” and how they would handle the fundamental question: “Is it ever morally acceptable to sacrifice the interests of a few for the greater good of the many?” (97) After detailing the various philosophical and moral ideals each character represents, Kreider concludes that Watchmen does not offer a “correct” answer to the question of whether millions of lives should be sacrificed to save billions through its characters. However, if he were to choose a “true hero of the piece, it may be Dr. Manhattan” due to the moral middle ground that he represents and his final actions in preserving peace by preventing Rorscach from revealing the truth to the world (Kreider). Yet, this statement raises more questions: If Manhattan is the true hero, why does he allow so much senseless violence to occur and why does he ultimately desert humankind for another universe? Kreider’s technique of looking at the story in parts, solely focusing on single characters’ journeys throughout the course of the graphic novel, makes it impossible to see Watchmen ’s true themes. Instead, by taking into account all that Watchmen has to offer, its unique characters, recurring symbols, and powerful imagery, a new theme within the graphic novel is revealed.

The true sense of morality in Watchmen lies in its lack of a “true hero,” of a “right and wrong,” of a “correct” answer. The world the Watchmen inhabit is dark, gloomy, and above all, vicious. Around every corner, behind every door, violence lurks. The art throughout the comics is graphic, and the colors are dreary, with menacing black and blood red used wherever possible. In a single word, Watchmen is gothic. In his article, “‘Nothing ever ends’: facing the apocalypse in Watchmen ,” Christian W. Schneider looks at how Moore uses gothic elements and traits to enhance the story telling in Watchmen. Schneider argues that the extensive use of dark and blood red colors, vivid crimes, and violent scenes provides a gothic atmosphere, showing that Watchmen ’s world is “bleak, with its glaringly negative sides exposed… ultimately, it is not worth saving” (Schneider 89). With a world so gloomy and the air so ominous, lines become blurred. Criminals are not the only ones killing; the murders committed by the heroes, who are supposed to prevent crime, may be even crueler.

Rorschach, a main character in the comic book, embraces this surrounding cruelty in every moment of every day. He sees all the evil around him and has made it his life’s purpose to extinguish it from the world at any cost. The progeny of an abusive prostitute, his psychopathic personality is the focus of an entire chapter. Thus, when it is revealed that he witnessed his mother at work, readers may understand why he sees the world as “stand[ing] on the brink, staring down into bloody hell” (Moore 1). Schneider expands on Rorscach’s views, deciding that the world drives “Rorschach over the brink, into insanity and extreme nihilism” (89). However, Rorschach is not without morals. He has an idea of right and wrong; it is just not the same idea of right and wrong as everybody else. After fighting crime while abiding by the law for some time, he decides that he was “soft on scum. Too young to know any better. Molly-coddled them. Let them live” (Moore 192). After this revelation, Rorschach attacks without restraint those he perceives as evil, going as far as chaining a man to a water pipe, handing him a hacksaw, lighting his house on fire, and harshly telling him, “Shouldn’t bother trying to saw through handcuffs … Never make it in time” (Moore 203). He takes an uncompromising approach to fighting crime, punishing all no matter the severity of the offense. However, what makes him truly terrifying is that he is the judge, jury, and executioner of his own morality. He wholly relies on his own judgment to determine who lives and who dies.

Although this seems like a rather unique point of view, ultimately demonstrated when he is the only one who rebels against Ozymandias’s plan, the source of his ideology is not uncommon. In the numerous glimpses into Rorschach’s mind and judgment, one thing is clear: Life is inherently meaningless and there is no greater purpose beyond the principles individuals impart to it. In his own words, “Existence is random, Has no pattern save what we imagine after staring at it too long. No meaning save what we choose to impose” (Moore 201). Rorschach sees the world as a blank slate, without an inherent set of moral standards, just the set of morals each individual places upon themselves. This theme is common throughout the narrative: each character has their own view on their role in the “picture of empty meaningless blackness,” one that serves their own interests (Moore 206). In Rorschach’s case, he fills his slate with the anguish of his past, the bullying and torment of his childhood. His existence is for the sole purpose of punishing the guilty in ways he sees fit, discarding the laws that society has already put in place in favor of his own distinct moral code.

Still, it’s possible to read even further into Rorschach’s mind, the reasons behind his intense need to serve his brand of justice to any criminal he comes across. The narration in the comic book switches between several characters. It begins with Rorschach’s consciousness, expressed through his personal journal, as he documents his investigation into the death of a fellow hero, the Comedian, who was killed after he discovered Ozymandias’s plan. Rorschach’s short, concise train of thought, hardly legible and without pronouns, provides deep insight into the true motives behind his actions. As the comic moves through the Comedian’s brutal thrashing, he writes: “The future is bearing down like an express train” (Moore 68). Yet, what’s most striking about the scene is not the text, but the scene unfolding in the background. Along with the foreboding words is a map of the United States burning up in flames, as if to say that even greatest country in the world cannot escape its eventual destruction. So as the world is saved from impending doom, Rorschach sticks to his ideals, to “never compromise” and deliver justice to Ozymandias even if doing so would return the world to chaos. He chooses to die before giving up what he believes. Rorschach has turned the meaningless blackness that he was given, his blank moral slate, into the only thing that means anything.

No character showcases this idea of meaninglessness more than Dr. Manhattan, the only hero in Watchmen with superpowers. Born of a nuclear accident, Manhattan exhibits a variety of abilities, from replication to telekinesis to disintegration. He is essentially a god, save a single debilitating flaw, his indeterminate moral compass. Despite having the capability of changing the world for the better with a single thought, he works mindlessly for the U.S. government as its plaything, doing its bidding without purpose. His reasoning? “We’re all puppets … I’m just a puppet who can see the strings” (Moore 285). Manhattan pushes the idea of fate being set in stone. Since he experiences the past, present, and future all at the same time, he cannot see the world as anything except immutable, unyielding to any outside forces. In an essay describing the characters’ relationships to the political sphere and the various political messages in Watchmen , Michael J. Prince concludes that Manhattan’s “knowledge and perspective disqualify the possibility of individual agency categorically” (Prince 821). Similarly, Schneider calls Manhattan Watchmen ’s “most ineffectual character” (90). Manhattan is given godlike power but, at the same time, sees himself as powerless against the flow of time. As a result, Manhattan, much like Rorschach, sees life as a morally blank slate.

However, where they differ is their views of this blank ethical slate. Comic book analyst Bryan D. Dietrich examines the many motifs throughout Watchmen and their roles in how readers interpret the graphic novel and its characters. In his essay, “The Human Stain: Chaos and the Rage for Order in Watchmen ,” he notes that Manhattan “cannot see a self, because he is all selves and all truths, all possibility and all reason, he too acts on what must be… a singular (if infinite) vision of right and wrong” (Dietrich 122). That is to say, Manhattan does not make moral decisions based simply on an uncompromising set of guidelines like Rorschach. There is no one rule in his mind that dictates when killing is justified and when it is not. This is shown throughout the story when he does not stop countless murders, something he is very capable of doing, yet he kills off a fellow hero, Rorschach, in order to stop exactly that, the countless murders that would ensue if the world returned to its former tumultuous state. While Rorschach is single-minded in pursuing his form of justice, Manhattan sees a more complicated world, without a fixed right and wrong, where a single decision can ripple far beyond current circumstances.

Nevertheless, even though he does not have a singular idea of morality, he is not, as Schneider puts, a nihilist who views life as meaningless; rather, he just does not conceive of a fixed right or wrong. He knows what the future holds, so there is no moral deterrent from killing. Since all possible choices are ultimately trivial, Manhattan’s “views rest on a deontological principle concerning the value of human life” (Kreider 107). More plainly, Manhattan acts upon an obligation to preserve human life. Instead of making moral decisions based on a right or wrong, he weighs his options according to whether the outcome of the event is important or trivial, ignoring simple homicides while keeping the world from nuclear apocalypse. He takes into account all the information he has, all the potential outcomes, “all selves and all truths, all possibility and all reason” (Dietrich 122), and makes a decision based on the gravity of the situation. The numerous instances where he does not prevent what society would deem a crime can be justified by these crimes having no overall effect on the survival of humanity. They will not change the course of the human race, so Manhattan does not care about them.

Again, as with Rorschach, Manhattan’s morality in informed by a distinct view of the world that only he can see. His unique perspective that bears the burden of countless deaths is based on the fundamental premise that the future is circular and unchangeable. However, this is not just Manhattan’s view. Moore also displays the concept of time as an inflexible construct. When the story begins, the art opens to a peculiar image of a blood splattered smiley face lying on the sidewalk. Although it may not hold any significance at the moment, as with all reappearing imagery in the revolutionary comic book, it is there for a reason. The blood splatter on the face bears a striking resemblance to an arrow, one that appears on the cover page of Chapter 1 pointing to 12 minutes before midnight. As representing the 12 chapters of the book before Ozymandias’s plan comes to fruition. However, as the clock strikes midnight and humanity is seemingly saved from the nuclear apocalypse, the smiley face reappears in the last panels of the comic, once again stained with an arrow pointing to 12 until midnight, counting down to the next catastrophic disaster. Moore displays the future as relentless and recursive. What is destined to happen will happen: the only variable is when.

By displaying the future as immutable, along with the endlessly violent and gloomy backdrop in which the story takes place, Moore emphasizes the single variable: the distinct morals of the unique characters. In particular, for Rorschach and Manhattan, Moore displays that “for [Rorschach] law is definable, for [Manhattan], infinitely recursive and indeterminate” (Dietrich 122). Rorschach and Manhattan essentially see the world in similar ways, even though they seem diametrically opposed: for Rorschach, a “meaningless blackness”, and for Manhattan, “the darkness of mere being” (Moore 281). Despite this, Manhattan decides to base his morals on preserving human life, which always seems to find a way to reset itself after great tragedy or a period of peace. Since he also sees that time is fixed and enduring, he determines that the laws society enacts to protect life are both necessary in the short term and useless in the long term.

Similarly, Adrian Veidt, or Ozymandias, holds a consequentialist view of morality, basing his actions solely on their final results, choosing to ignore short-term harm in service of long-term benefit. Albeit he has taken it to the extreme in his decision to kill millions of New Yorkers and blame it on aliens in order to bring about world peace. Ozymandias provides the epitome of the idea that “right and wrong are determined by the consequences of our actions” (Kreider 102). Moore thus seems to provide three distinct views of morality to show the extremes of all variations. Ozymandias represents the epitome of long-term, consequentialist thought, Rorschach, the simple self-righteous mentality, while Manhattan displays deontological ethics, basing his judgment on what is better, worse, or insignificant for humanity. Of all these characters, Ozymandias displays the most desire to make a difference, acknowledging his horrific actions: “I know I’ve struggled across the back of murdered innocents to save humanity… but someone had to take the weight of that awful, necessary crime” (Moore 409).

However, despite how it may seem like his morality is based on the good of others, it is ultimately derived from a selfish need for fulfillment, a need to feel like he is making a difference. As Prince puts it, Ozymandias is  “ tainted by a lack of compassion, and an ends-justify-the-means mentality” (826). In her essay “Radical Coterie and the Idea of Sole Survival in St. Leon , Frankenstein and Watchmen ,” Claire Sheridan compares how the need to survive factors into the motivations of the main characters in the aforementioned books. Her exploration provides an interesting insight into the mind of Ozymandias. According to Sheridan, in order to feel like he is making a difference, “Veidt interprets those who might challenge his belief system in a productive way as threats to his sovereignty” (Sheridan 189). As the “smartest man in the world,” Ozymandias cannot see himself doing any wrong. This is appropriate when considering his namesakes: Ramses II, whose Greek name was Ozymandias, and Alexander the Great. Though they built great kingdoms, their impressive empires were no exception to the ravages of time. By naming his main protagonist as he does, Moore hints that Ozymandias’s utopia will be no different.

Additionally, Moore seems to use Ozymandias as a foil for Rorschach, a point of comparison to highlight the distinguishing features of both characters. While Ozymandias is wealthy, powerful, and handsome, Rorschach is filthy, despised, and unattractive. Ozymandias focuses only on the consequences of his actions, an ideal displayed in his monologue describing his ultimate goal of building a “unity that would survive him” (Moore 358). His ideology obviously contradicts Rorschach’s self-focused, shortsighted moral absolutism of extinguishing evil. Still, in the end, even Ozymandias, with the purest of intentions, is only doing “good” for himself, for his own self-importance, deciding that he will do whatever it takes to feel like he is making a difference, even at the cost of millions of lives. Ozymandias struggles to justify his actions, even to himself, and is left wondering how long his newly created peace will last, with Dr. Manhattan cryptically telling him “Nothing ends, Adrian. Nothing ever ends” (Moore 409).

Yet, somehow, that is the beauty of the story: that nothing is certain, that each individual’s morality is of his or her own making. No matter what the circumstances are, they can always change, hopefully for the better. More importantly, Watchmen exhibits the best part of being human: our ability to choose our own ideas for right and wrong and act upon them. Despite being deemed superheroes, the characters in Watchmen , including Dr. Manhattan, are all fundamentally human. As Schneider puts, in their capacity to change the world “they are in no better position than the rest of humanity, neither on a moral nor on an authoritative level” (90). Perhaps the point is not that superheroes can be human, but that humans can be superheroes. Moore suggests that because of our ability to choose our own ethics, our own limitations and the fate of the world are ultimately in our hands, which aligns perfectly with Watchmen’s enigmatic ending.

Works Cited

Dietrich, Bryan D. “The human stain: chaos and the rage for order in Watchmen.” Extrapolation 50.1 (2009): 120+. Academic OneFile . Web.

Kreider, S. Evan, and Margaret Weis. “Who Watches the Watchmen?: Kant, Mill, and Political Morality in the Shadow of Manhattan.”   Homer Simpson Ponders Politics: Popular Culture as Political Theory . Ed. Joseph J. Foy and Timothy M. Dale. Lexington: University Press of Kentucky, 2013. 97–112. Web.

Moore, Alan, and Dave Gibbons.  Watchmen . New York: Warner Books, 1987. Print.

Prince, Michael J. “Alan Moore’s America: The Liberal Individual And American Identities In Watchmen.”   Journal Of Popular Culture 44.4 (2011): 815-830.   Humanities Full Text (H.W. Wilson) . Web.

Schneider, Christian W. “‘Nothing Ever Ends’: Facing the Apocalypse in Watchmen.”   Alan Moore and the Gothic Tradition . Ed. Matthew J. A. Green. Manchester: Manchester University Press, 2013. 84–102. Web.

Sheridan, Claire. “Radical Coterie and the Idea of Sole Survival in St Leon, Frankenstein and Watchmen.”   Alan Moore and the Gothic Tradition . Ed. Matthew J. A. Green. Manchester: Manchester University Press, 2013. 179–194. Web.

"Watchmen" Characters Analysis

By Alan Moore

graphic novels | 448 pages | Published in 2014

As former members of a disbanded group of superheroes called the Crimebusters start turning up dead, the remaining members of the group try to discover the identity of the murderer before they, too, are killed.

Estimated read time: 9 min read

Table of Contents

Character analysis: "watchmen", introduction, list of characters.

"Watchmen" is a critically acclaimed graphic novel written by Alan Moore and illustrated by Dave Gibbons. The story takes place in an alternate version of the United States during the height of the Cold War. In this character analysis, we will explore the main characters of "Watchmen" and examine their roles, descriptions, traits, backgrounds, arcs, and relationships.

Role Identification

Rorschach, whose real name is Walter Kovacs, is one of the central characters in "Watchmen." He is an anti-hero and a vigilante, driven by a strong moral code and a sense of justice.

Character Description

Rorschach is depicted wearing a trench coat and a mask with shifting inkblots, reinforcing his enigmatic nature. His speech patterns are short and abrupt, reflecting his harshness and uncompromising attitude.

Character Traits

Rorschach is uncompromising, relentless, and morally rigid. He believes that the world is filled with corruption and evil and will stop at nothing to expose it. He possesses exceptional detective skills and is an exceptional hand-to-hand combatant.

Character Background

Walter Kovacs had a troubled and abusive childhood, leading to his fractured mental state. After donning the Rorschach identity, he becomes a vigilante, fighting crime while disregarding the law.

Character Arc

Rorschach's character arc showcases his descent into darkness and his unwavering pursuit of justice. His uncompromising nature eventually leads to his demise, as he refuses to compromise his ideals.

Relationships

Rorschach has a complex relationship with other characters. He frequently clashes with Dr. Manhattan due to their differing ideologies. He forms an odd friendship with Nite Owl, and their partnership is driven by their shared sense of purpose.

Dr. Manhattan

Dr. Manhattan, originally known as Dr. Jonathan Osterman, is a super-powered being with god-like abilities. He is the only character in "Watchmen" with actual superhuman powers.

Dr. Manhattan appears in a blue, glowing form after a scientific accident, embodying the concept of detached godhood. He is often portrayed as emotionless and disinterested in conventional human affairs.

Dr. Manhattan possesses immense power, including the ability to manipulate matter on an atomic level and perceive time non-linearly. His detachment from human concerns makes it difficult for him to relate to others empathetically.

Dr. Manhattan acquired his powers after a laboratory accident, which disintegrated his body and reassembled him as a being with almost unlimited power. He becomes a pawn in the U.S. government's strategy during the Cold War.

Dr. Manhattan's character arc revolves around his detachment from humanity and his struggle to regain a sense of empathy. He experiences a transformation when he realizes the value of life and becomes disillusioned with humanity's violent tendencies.

Dr. Manhattan's relationship with other characters is complex. His love affair and subsequent breakup with Silk Spectre drives a significant part of the plot. He also has a contentious relationship with Rorschach, whose uncompromising nature clashes with Dr. Manhattan's pragmatism.

Nite Owl, also known as Dan Dreiberg, is a former vigilante and one of the main characters in "Watchmen." He is driven by a sense of justice and a desire to make a difference.

Nite Owl's alter ego is a homage to the classic comic book heroes of the past. His costume resembles that of an owl, complete with wings and night vision goggles. He is often portrayed as slightly overweight and out of shape.

Nite Owl is compassionate, skilled in hand-to-hand combat, and an excellent detective. He represents nostalgia for the Golden Age of superheroes and has a strong desire to bring about justice and make the world a better place.

Dan Dreiberg took up the mantle of Nite Owl after the original retired. He lacks confidence in his abilities and struggles with feelings of inadequacy. He forms a partnership and a close friendship with Rorschach.

Nite Owl's character arc revolves around his journey to find purpose and regain his confidence. Through his involvement in the investigation of the murder of The Comedian, he rediscovers his passion for crimefighting and embraces his role as a hero.

Nite Owl's relationship with Rorschach is one of the most significant in the story. Their partnership brings out the best in each other, and they bond over their shared sense of vigilante justice. Nite Owl's romantic relationship with Silk Spectre forms a crucial subplot in the narrative.

Silk Spectre

Silk Spectre, also known as Laurie Juspeczyk, is a crimefighter and the daughter of the original Silk Spectre, Sally Jupiter. Her character explores the complexities of legacy and identity.

Silk Spectre's costume combines elements of a classic pin-up girl aesthetic with a functional superhero outfit. She is depicted as a strong and determined woman with a rebellious streak.

Silk Spectre is resourceful, skilled in martial arts, and possesses exceptional physical agility. She struggles with her mother's expectations and the burden of living up to her legacy.

Laurie Juspeczyk was raised by Sally Jupiter, the original Silk Spectre, and grew up in a world of masked heroes. She fights crime as a member of the Watchmen but harbors doubts about the effectiveness of vigilante justice.

Silk Spectre's character arc revolves around her journey to find her own identity and break free from the shadows of her mother's legacy. Through her romantic involvement with Dr. Manhattan and her exploration of her own desires and beliefs, she learns to embrace her own destiny.

Silk Spectre's romantic relationship with Dr. Manhattan is a central part of her character arc. She also has a strained relationship with her mother, Sally Jupiter, and their conflicts highlight the generational differences in their ideologies.

Ozymandias, whose real name is Adrian Veidt, is a genius inventor and mastermind. He is one of the richest and most intelligent individuals in the "Watchmen" universe.

Ozymandias appears as a physically fit and charismatic individual. He draws inspiration from the ancient Egyptian pharaohs, reflecting his desire for power and control.

Ozymandias is highly intelligent, strategic, and physically exceptional. He possesses an unwavering belief in his vision of utopia, willing to sacrifice millions for what he perceives as the greater good.

Adrian Veidt was a child prodigy who built a vast financial empire and became a superhero known as Ozymandias. He ultimately retired from crimefighting to focus on his corporate empire.

Ozymandias' character arc revolves around his plan to avert nuclear war by creating a catastrophic event that will unite the world against a common enemy. He believes that the cost of millions of lives is justified for the sake of global peace.

Ozymandias' relationships with other characters are complex, and his actions lead to a fracture within the Watchmen group. He is seen as manipulative and morally ambiguous by his former allies, and his plan tests the moral boundaries of the other characters.

The Comedian

The Comedian, also known as Edward Morgan Blake, is a brutal vigilante and a significant figure in "Watchmen." His murder acts as the catalyst for the events of the story.

The Comedian is portrayed as a muscular and imposing figure. He typically wears a costume adorned with an American flag motif, symbolizing his brutal patriotism.

The Comedian is ruthless, nihilistic, and prone to violence. He embodies the darker and more cynical aspects of the superhero archetype, lacking the moral qualms exhibited by other characters.

Edward Morgan Blake was a member of the original Minutemen, a group of crimefighters active during World War II. He becomes involved in covert government operations during the Vietnam War, leaving a trail of violence in his wake.

The Comedian's character arc is revealed primarily through flashback sequences, showcasing his descent into darkness and his eventual demise. His murder sets in motion a series of events that bring the other characters together.

The Comedian's relationships are primarily with other members of the Minutemen and Watchmen. He shares a complicated relationship with Silk Spectre's mother, Sally Jupiter, and their interactions provide insights into his darker nature. His relationship with Dr. Manhattan is also explored, highlighting contrasting approaches to heroism and morality.

"Watchmen" offers a rich cast of complex and multifaceted characters, each with their distinctive roles, backgrounds, and arcs. From the uncompromising Rorschach to the god-like Dr. Manhattan, the characters in "Watchmen" provide depth and explore the complex themes and moral dilemmas of the narrative. Their interactions and relationships shape the story, making "Watchmen" a compelling and thought-provoking graphic novel.

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Watchmen Characters

By alan moore , dave gibbons, watchmen character list.

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Rorschach (Walter Kovacs)

Rorschach, whose real name is Walter Kovacs, is one of the main protagonists of Watchmen . He is a vigilante who wears a mask resembling a shifting Rorschach ink-blot test and works independently after the retirement of the second Nite Owl. Rorschach investigates the murder of The Comedian and believes that it is evidence of a conspiracy to kill off superheroes. He is later assisted by Silk Spectre and Nite Owl and uncovers a larger and more formidable plot by Ozymandias.

The Comedian (Edward Blake)

The Comedian, whose real name is Edward Blake, was a morally-corrupt and sadistic masked vigilante who was a member of two major superhero groups: the Minutemen and the Crimebusters. He efficiently suppressed organized crime while committing criminal acts himself, including the sexual assault of his fellow superhero: Sally Jupiter, the first Silk Spectre. The events of Watchmen begin directly after Edward Blake’s murder.

Doctor Manhattan (Dr. Jon Osterman)

Doctor Manhattan, originally Dr. Jon Osterman, is a nuclear physicist who, after an incident which involved his bodily disintegration and reanimation as a radioactive anthropomorphic being with blue skin and a variety of superpowers, including the ability to manipulate matter. After his transformation, he is employed by the U.S. government and used as a weapon in the Vietnam War. While he possesses an apparent indifference towards the human race, he develops a romantic relationship with the second Silk Spectre, Laurie Juspeczyk.

Silk Spectre II (Laurie Juspeczyk)

Silk Spectre II (Laurie Juspeczyk) is the daughter and the successor of the first Silk Spectre, Sally Jupiter. She has a deep dislike for The Comedian after hearing of his sexual assault of her mother. Laurie later becomes romantically involved with Dr. Manhattan, but when their relationship takes a turn for the worse, she becomes romantically involved with Nite Owl. The two work together with Rorschach in his investigations and stand with him against Adrian Veidt when Veidt’s plot is exposed.

Nite Owl II (Daniel Dreiberg)

Nite Owl II (Daniel Dreiberg) is the successor of the first Nite Owl, Hollis Mason. He worked with Rorschach to fight crime, but retired after a little over a decade. In Watchmen , he returns to life as a superhero, working alongside both Rorschach and Silk Spectre to investigate The Comedian’s murder and Adrian Veidt’s plots and activities.

Ozymandias (Adrian Veidt)

Ozymandias, whose real identity is Adrian Veidt, is the primary antagonist of Watchmen . He is a former superhero and successful businessman who models himself after historical figures like Alexander the Great and Ramses II. Veidt devises a plan to use Doctor Manhattan as weapon of mass destruction against the people of New York. Nite Owl, Rorschach and Silk Spectre work together in an effort to stop him.

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Watchmen Questions and Answers

The Question and Answer section for Watchmen is a great resource to ask questions, find answers, and discuss the novel.

What are different types of toxic relationships in the novel?

Doctor Manhattan and Silk Spectre II have a toxic relationship (romantic). Their relationship is made impossible by Manhattan's inability to feel true emotions... including love.

What occurs in ch 9?

Chapter Nine revolves around the documents, which are believed to be sections of Sally Jupiter's personal scrapbook. These documents include newspaper articles, hand-written notes, and letters about Sally. One letter is actually from an interview...

What ended up Dollar Bill

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Study Guide for Watchmen

Watchmen is a graphic novel. The study guide contains a biography of writer Alan Moore and illustrator Dave Gibbons, quiz questions, major themes, characters, and a full summary and analysis.

• About Watchmen
• Watchmen Summary
• Character List

Essays for Watchmen

Watchmen literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of the graphic novel Watchmen by Alan Moore and illustrated by Dave Gibbons.

• Good Things Come In Twos
• “Look on my works ye mighty and despair!” [Shelley]: A Comparison of Three Dystopian Novels.
• A Further Look at Watchmen
• Never Compromise: Self-Reliance in Watchmen
• Rorschach: The True Victim

Wikipedia Entries for Watchmen

• Introduction
• Publication history
• Background and creation

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• English Essay

Analysis of Watchmen

By essaysmasters

INTRODUCTION

Watchmen is a popular American comic-book written and designed by Alan Moore, Dave Gibbons, and John Higgins. Creation of the original characters lies in the core of this comic-book which became an outstanding masterpiece of literature. It is worth reading Watchmen for several times to feel the initial ideas, which the authors thoughtfully put in the center of the story. A precise analysis of the main characters showed various psychological patterns in their behavior which had connection to their life experiences. A detailed evaluation of Silk Spectre II, Rorschach, Dr. Manhattan, and the Comedian prove that there are significant changes in their behavior during events depicted in the story, which emphasize the psychological background of their existence and possible personality disorders they could have.

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ANALYSIS OF SILK SPECTRE II

One of the main characters in the book is Silk Spectre II or Laurie Juspeczyk. Her mother, the first Silk Spectre, became the reason she forcefully started battle against injustice. In fact, Laurie’s mother became her agent and introduced her to the crime fighting mission during the Crimebusters’ meeting (Davis 117). At the beginning of the story the readers see a strong woman with feministic values and support of liberalism. Regardless of the forced selection of life occupation, Laurie realizes the importance of her career path. Nevertheless, she does not feel thankful to her mother who forcefully defined the destiny of her child. One of the first scenes with mother shows that Laurie loves her but feels unfairness of her life because of mother’s passionate desire to pass her the Silk Spectre duties (Moore and Gibbons). Regardless of the inner insecurities, Laurie is always willing to get into action and fight against injustice and crime and she, in fact, enjoys her profession. During the development of the book’s story, Laurie shows her readiness to follow the selected path though she feels emptiness, which she could have filled if she had a choice (Davis 116). As a result, she eagerly decides to distract her mind with relations with Dr. Manhattan. However, even these relations are not enough for her, since she later involves herself in the romantic connection with Nite Owl. At the end of the story, Laurie would have to choose whether to stay with Dr. Manhattan, who does not understand her anymore because of losing his human nature, or stay with Nite Owl, who has always been admiring her.

One of the biggest changes happens to Laurie’s behavior at the end of the story, when she discovers that the Comedian is her father. Regardless of external strength, which she has always considered a shield protecting her from the surrounding world, Laurie reveals her inner weakness and starts crying in front of insensible Dr. Manhattan. The irony of the scene is that Laurie denies it thinking it is a joke, as the Comedian has always been telling many (Moore and Gibbons). In addition, Laurie leaves Dr. Manhattan, who rejects to save the world from cataclysm, and joins Rorschach and Nite Owl in fighting against Ozymandias who has planned to kill people in masks from the beginning of the story (Davis 115). Finally, Laurie changes her attitude to Dr. Manhattan and has a fresh start with Nite Owl, which shows her readiness to change her life and continue fighting against crime with the feeling of thankfulness to her mother.

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ANALYSIS OF DR. MANHATTAN

Dr. Manhattan or Jon Osterman is a physicist who was lured in the Intrinsic Field Subtractor by his girlfriend in 1959, which led him to total transformation, after which he became the most powerful creature on Earth (Moore and Gibbons). The first mission of Dr. Manhattan started when he joined the Comedian in the Vietnam War (Moore and Gibbons). At the beginning of the story, the readers see a creature with person-like behavioral patterns; however, Dr. Manhattan experiences a lack of feelings, which could support human nature in him. The only things left from Jon Osterman are sheer interest for physics and continuous improvement of technologies. Dr. Manhattan became the only reason of technological progress in the story, which focuses on the outstanding power and abilities of the former physicist. In addition, Dr. Manhattan is the only hero with superpowers. He perceives time differently from humans and can see past, present, and future at the same time (Polley 602). Besides perception of time, Dr. Manhattan has supernatural strength, telekinesis, teleportation, and control over matter. The readers can see the way Dr. Manhattan celebrates and values his own superiority over humans and his ability to manipulate them. It alienates him from other characters, since it is difficult to understand his way of thinking. Laurie is the only character trying to become closer to Dr. Manhattan and understand him. Nevertheless, the story shows irreversible changes in the behavior of Jon Osterman, which make him less humane.

At the end of the story, the readers observe the breakpoint in the behavior of Dr. Manhattan, when he cannot answer the questions of journalists in the live TV session. As a result, Dr. Manhattan disappears and reaches Mars to find his inner balance and peace. Consequently, the readers understand the reasons for Dr. Manhattans disappearance: he did it with peaceful intentions to prevent the war between the Soviet Union and the United States of America (Moore and Gibbons). Dr. Manhattan intentionally created conflict on Earth and involved people in it to unite them, which emphasizes certain kind of humanity in his actions. The story makes it clear that there was no other choice but sacrificing, which helped to rally the enemies and prevent people from the war. Thanks to Dr. Manhattan’s cooperation with Ozymandias, it became possible for him to restore peace at the expense of personal reputation.

ANALYSIS OF RORSCHACH

Rorschach or Walter Kovacs continuously strives for justice, which comprises his human nature. He is deeply worried with the murder of the Comedian and wants to find the man behind other murders. Additionally, he has quite a depressing past: when Walter was a child, his mother did not take care of him, which shaped his negative perception of women. Rorschach does not appreciate criminals and willingly fights against murderers, which the reader can find in the scene where Rorschach brutally kills the murderer of a young girl (Polley 599). Excessive brutality is the main characteristic feature of Rorschach, which makes the reader perceive him as an anti-hero at some point. Childhood experience and realization of the injustice in the contemporary society leads Walter to use Rorschach as the only identity (Moore and Gibbons). Walter consciously denies his nature and decides to dive in the destiny of Rorschach, which saves him from endless thoughts about his past. As a result, Rorschach’s tough nature does not allow Walter to compromise or find peaceful solutions.

Throughout the story, it is possible to trace the changes in the violent and aggressive behavior of Rorschach through the sudden reveal of inner motivations. Nevertheless, the background of his cruelty lies in the increase of murders associated with emergence of heroes of that time, namely people wearing masks. The society started denying the beneficial roles of heroes, which became the main reason of their secretive lifestyle (Polley 596). Significantly, Rorschach’s behavior throughout the story is full of dedication and loyalty to his friends. His friendship with Nite Owl and opinion about the Comedian in his diary prove that Rorschach did not lose his human nature (Moore and Gibbons). Nevertheless, unprecedented willingness to stand for truth and justice lead Rorschach to death, since he does not want to save the world from the war by hiding the truth. It proves that Rorschach did not want to deny his life values, even though he knew it would lead to death. At the beginning of the story, he was an anti-hero but at the end of the story, readers saw a real hero who has been hiding inside of Rorschach’s identity.

ANALYSIS OF THE COMEDIAN

The irony of the book lies in the fact that the Comedian, or Edward Blake, is the saddest character with the depressive state of mind which he had to hide behind antisocial intentions. The major beliefs, which support actions of the Comedian, lie in the idea that civilization does not make people civilized. The Comedian does not see human qualities in violent people and criminal, which makes him kill and treat them without respect, considering justice as the main driving force of the Comedian’s actions (Moore and Gibbons). The Comedian is insensitive to people and his partners fighting for justice. At the beginning of the story the Comedian is tough, cruel, and inhuman, which makes the reader alienated from him because of antisocial intentions. Nevertheless, the Comedian performs every action with absolute confidence and realization of the consequences. He was the only one to choose the lifestyle he was living, which made him a sort of maniacal person.

Transformation of the Comedian starts at the middle of the story, when he approaches Laurie to talk to her and when Laurie’s mother commands her to sit into the car. The scene reveals the first inner weakness of the Comedian – his daughter. Regardless of the endless fight against injustice, the Comedian secretly admires his daughter who does not know about her father (Polley 599). The book started from the murder of the Comedian, and showed events involving him in retro spectrum. The authors intentionally emphasized the book with dramatic side of the Comedian’s destiny, which no one could change under the influence of further events involving other characters. In addition, the readers understand that the Comedian was the first one to know about the evil plan of Ozymandias, which made him cry in front of his biggest enemy (Moore and Gibbons). This scene emphasizes the Comedian’s inner sensitivity and sorrow for personal actions, which made him outrageous, savage, and ruthless. A deep regret for personal cruelty became the result of realizing the massive consequence of the evil plot created by Ozymandias. Still, the Comedian fought for a better world, which could help people to live in a better place without criminals and injustice.

PERSONALITY DISORDERS

Psychological analysis of the main characters revealed not only differences in the behavioral patterns but also traces of personality disorders. Silk Spectre II could have Histrionic Personality Disorder, since she endlessly tried to find attention from other people. Regardless of the fact that Laurie was emotionally stable compared to other Watchmen, she could not resist her dramatic, flirtatious, and enthusiastic nature (Egan, Haley and Rees 176). In addition, others could easily influence Laurie by encouraging her to use her sexually provocative behavioral patterns to attract attention of others.

Rorschach, in his turn, could have a Paranoid Personality Disorder due to the traumatic experience in childhood. Rorschach was full of prejudicial ideas, which inspired him to continuously look for the ways to meet personal goals in the surrounding environment in order to feel inner comfort and satisfaction (Egan, Haley, and Rees 177). Fighting against injustice became the main prejudicial idea, which led him to isolation from the rest of the world, hideous lifestyle, and denial of his main identity.

Since Dr. Manhattan, a godly creature, does not have any interest in feelings and emotions, it certainly suggests some abnormality from the human perspective (Egan, Haley, and Rees 179). Consideration of the world at the quantum level is the sense of existence for Dr. Manhattan, since time is the only way to see possibilities. Emotional coldness, secretive lifestyle, and lack of interest in the society are the main characteristics of Dr. Manhattan’s behavior emphasizing the presence of the Schizoid Personality Disorder.

Finally, the Comedian is a nihilistic person feeling the right to violate rights of others in the name of justice supported by personal cynicism and cruelty. He could suffer from Antisocial Personality Disorder, which characterizes his actions. The Comedian fought for justice in the abusive way, which did not respect the feelings of others. At some points in the story, the Comedian behaves as a psychopath, when he intentionally killed a pregnant woman and tried to rape Silk Spectre.

After analysis of the main characters of the book, it became possible to conclude that every personage has specific individual lifestyle background supported by corresponding actions. The book is informative and vivid enough to show inner weaknesses of Laurie and the background behind her endless desire to find attention from others. Rorschach experienced significant stress and trauma in his childhood, which resulted in his dedication to justice without compromise. Dr. Manhattan had to change his nature because of unfortunate obstacles transforming his form of being, which resulted in the loss of interest in human feelings and emotions. Finally, the Comedian became the main irony of the book, since he is the saddest character despite his name. Regardless of personal cynicism and tough character, the Comedian is a sensitive personage who masterfully hides his sorrow and depressive state of mind. All these characteristic features resulted in the establishment of possible personality disorders, which the analyzed characters could have.

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Guest Essay

The New Movie ‘Civil War’ Matters for Reasons Different Than You Think

By Stephen Marche

Mr. Marche is the author of “The Next Civil War.”

“Not one man in America wanted the Civil War, or expected or intended it,” Henry Adams, grandson of John Quincy Adams, declared at the beginning of the 20th century. What may seem inevitable to us in hindsight — the horrifying consequences of a country in political turmoil, given to violence and rived by slavery — came as a shock to many of the people living through it. Even those who anticipated it hardly seemed prepared for its violent magnitude. In this respect at least, the current division that afflicts the United States seems different from the Civil War. If there ever is a second civil war, it won’t be for lack of imagining it.

The most prominent example arrives this week in the form of an action blockbuster titled “Civil War.” The film, written and directed by Alex Garland, presents a scenario in which the government is at war with breakaway states and the president has been, in the eyes of part of the country, delegitimized. Some critics have denounced the project, arguing that releasing the film in this particular election year is downright dangerous. They assume that even just talking about a future national conflict could make it a reality, and that the film risks becoming a self-fulfilling prophecy. This is wrong.

Not only does this criticism vastly overrate the power of the written word or the moving image, but it looks past the real forces sending the United States toward ever-deeper division: inequality; a hyperpartisan duopoly; and an antiquated and increasingly dysfunctional Constitution. Mere stories are not powerful enough to change those realities. But these stories can wake us up to the threats we are facing. The greatest political danger in America isn’t fascism, and it isn’t wokeness. It’s inertia. America needs a warning.

The reason for a surge in anxiety over a civil war is obvious. The Republican National Committee, now under the control of the presumptive nominee, has asked job candidates if they believe the 2020 election was stolen — an obvious litmus test. Extremism has migrated into mainstream politics, and certain fanciful fictions have migrated with it. In 1997, a group of Texas separatists were largely considered terrorist thugs and their movement, if it deserved that title, fizzled out after a weeklong standoff with the police. Just a few months ago, Texas took the federal government to court over control of the border. Armed militias have camped out along the border. That’s not a movie trailer. That’s happening.

But politicians, pundits and many voters seem not to be taking the risk of violence seriously enough. There is an ingrained assumption, resulting from the country’s recent history of global dominance coupled with a kind of organic national optimism, that in the United States everything ultimately works out. While right-wing journalists and fiction writers have been predicting a violent end to the Republic for generations — one of the foundational documents of neo-Nazism and white supremacy is “The Turner Diaries” from 1978, a novel that imagines an American revolution that leads to a race war — their writings seem more like wish fulfillment than like warnings.

When I attended prepper conventions as research for my book, I found their visions of a collapsed American Republic suspiciously attractive: It’s a world where everybody grows his own food, gathers with family by candlelight, defends his property against various unpredictable threats and relies on his wits. Their preferred scenario resembled, more than anything, a sort of postapocalyptic “Little House on the Prairie.”

We’ve seen more recent attempts to grapple with the possibility of domestic conflict in the form of sober-minded political analysis. Now the vision of a civil war has come to movie screens. We’re no longer just contemplating a political collapse, we’re seeing its consequences unfold in IMAX.

“Civil War” doesn’t dwell on the causes of the schism. Its central characters are journalists and the plot dramatizes the reality of the conflict they’re covering: the fear, violence and instability that a civil war would inflict on the lives of everyday Americans.

That’s a good thing. Early on when I was promoting my book, I remember an interviewer asking me whether a civil war wouldn’t be that terrible an option; whether it would help clear the air. The naïveté was shocking and, to me, sickening. America lost roughly 2 percent of its population in the Civil War. Contemplating the horrors of a civil war — whether as a thought experiment or in a theatrical blockbuster — helps counteract a reflexive sense of American exceptionalism. It can happen here. In fact, it already has.

One of the first people to predict the collapse of the Republic was none other than George Washington. “I have already intimated to you the danger of parties in the state, with particular reference to the founding of them on geographical discriminations,” he warned in his Farewell Address. “This spirit, unfortunately, is inseparable from our nature.” This founder of the country devoted much of one of his most important addresses, at the apex of his popularity, to warning about the exact situation the United States today finds itself in: a hyper-partisanship that puts party over country and risks political collapse. Washington knew what civil war looked like.

For those Americans of the 1850s who couldn’t imagine a protracted, bloody civil war, the reason is simple enough: They couldn’t bear to. They refused to see the future they were part of building. The future came anyway.

The Americans of 2024 can easily imagine a civil war. The populace faces a different question and a different crisis: Can we forestall the future we have foreseen? No matter the likelihood of that future, the first step in its prevention is imagining how it might come to pass, and agreeing that it would be a catastrophe.

Stephen Marche is the author of “The Next Civil War.”

Source photographs by Yasuhide Fumoto, Richard Nowitz and stilllifephotographer, via Getty Images.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

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Ask LitCharts AI: The answer to your questions

Daniel dreiberg (the second nite owl) quotes in watchmen.

Dreiberg: […] The country’s disintegrating. What’s happened to the American dream?

Blake: It came true. You’re lookin’ at it.

Looking back, it all seems so… well, childish, I guess. Just a schoolkid’s fantasy that got out of hand. That’s, y’know, with hindsight… on reflection.

It’s this war, the feeling that it’s unavoidable. It makes me feel so powerless. So impotent.

Dreiberg: …And anyway, this is Adrian for God’s sake. We know him. He never killed anybody, ever. Why would he want to destroy the world?

Kovacs: Insanity, perhaps?

Dreiberg: Ha. Well that’s a tricky one… I mean, who’s qualified to judge someone like that? This is the world’s smartest man we’re talking about here, so how can you tell? How can anyone tell if he’s gone crazy?

Teleported to New York, my creature’s death would trigger mechanisms within its massive brain, cloned from a human sensitive… the resultant psychic shockwave killing half the city.

Juspeczyk: Dan, all those people, they’re dead. They can’t disagree or eat Indian food, or love each other… Oh, it’s sweet. Being alive is so damn sweet.

Dreiberg: Laurie? Wh-what do you want me to do?

Juspeczyk: I want you to love me. I want you to love me because we’re not dead […] I want to see you and taste you and smell you, just because I can.