"I have been faithful to thee, o Watchmen! in my fashion."

 Many years ago, there was a Jesus comic book.

Written and drawn by Frank Stack under the pseudonym of Foolbert Sturgeon, the concept for this early 70's underground creation was that Jesus had come back to Earth, as had been long awaited, but unfortunately no one cared. And, sadly, Jesus had the same problems with modern life that any long-haired sandal-wearing peace-loving hippy would have, albeit with the ability to turn abusive police officers into actual pigs.

In one issue of The New Adventures of Jesus, Christ goes to the movies to see a film adaptation of the New Testament. He sits enthralled as a muscular, almost Hulk-like screen Jesus fights an equally buff John the Baptist in the early stages of the movie, in the traditional Marvel Comics style hero-meets-hero combat. And, at the end of the movie, when the celluloid Christ uses his cross as a massive weapon to fight the legions, then rallies the Jews and defeats the Roman invaders, Jesus applauds wildly with the rest of the audience.

As the theatre empties, two people behind Jesus are discussing the film. One of them says, "The end's not like the book..."

And so, to the upcoming screen adaptation of The Watchmen.

For readers unfamiliar with The Watchmen in its original comic book form, it was a 12 issue limited series originally published by DC in 1986. Written by Alan Moore and illustrated by Dave Gibbons, it took place in an alternate universe, one where Batman-like vigilantes have been fighting crime for decades, until they are finally declared to be as illegal as their criminal adversaries. In addition, another hero has appeared on the scene, one whose powers are literally godlike. The plot starts with the death of one of the retired heroes (who may not have been that retired) and follows the various characters of the disbanded Watchmen group as they attempt to solve the mystery behind the death, only to uncover a massive conspiracy.

However, that quick summary does an enormous injustice to the series. The Watchmen is considered to be a seminal work, "a comic about comics". Alan Moore's script was intended to turn the myth of the masked avenger on its head, to "show a reality that was very different to the general public image of the super-hero", as Moore himself explained. Every element of the story was planned and considered, from the creation of the archetypal heroes to the development of the style of colouring through the twelve issues, and down to the 9-panel layout and the type of line used to draw the illustrations.

More interestingly, it was also planned to be a demonstration of the unique nature of the comic medium. In fact, it could be said that The Watchmen was deliberately created in opposition to movies, which might explain why a movie adaptation was considered impossible for many years, in spite of the popularity of the series.

But time marches on, and comic books have now become a gold mine for the movie industry. As such, it was inevitable that someone would take up the challenge of The Watchmen. The question, of course, was how they would undertake that challenge.

There are three major points on the curve of comic book adaptation. At one end, you have complete, slavish obedience to the source material - Sin City, 300 - wherein the movie is as close to a one-to-one reproduction of the comic as possible. The middle position involves some compromise, but does its best to be true to the spirit of the original material - the Spiderman and X-Men movies, Hellboy, Iron Man. And at the far end of the curve? Presumably with the best intentions, liberty after liberty is taken, and you end up with Elektra, V, The Hulk, The League of Extraordinary Gentlemen - and maybe Constantine.


Early evidence is that the Watchmen movie falls between slavishness and compromise, with critical scenes being extracted with complete faithfulness to the look of the comic panels. Initial reactions to trailers have been quite positive because of that, with fans of the comic applauding the accuracy with which they see the comic transferred to the screen. There are some differences - some of the costumes have been altered, some of the faces aren't perfect matches for their four-colour counterparts - but so far, people are seeing what they want to see.

However, I recently learned that director Zack Snyder had changed the ending of the film from the apocalyptic conclusion of the comic. I gather that there's still some form of deus ex machina to pull the scattered threads of the conspiracy plot together, but not the one written by Alan Moore.

Personally, I find it to be an odd decision for Snyder to have made, and, to be honest, learning that the ending has been changed casts the whole project into doubt for me. The Watchmen comics present an intensely detailed and layered story, with a wealth of supporting material. Why be careful in ensuring that all the details are accurate if you're not using those details to reach the same conclusion? It's like doing a completely historically accurate presentation of Romeo and Juliet, at the end of which the lovers elope to Mantua.

However, I have to be fair. It could be argued that the plot of the comic series was almost irrelevant, more an excuse for the interaction and development of the characters than an attempt at brilliance. As Dave Gibbons himself commented regarding the plot, "...it just really isn't the most interesting thing about Watchmen. As we actually came to tell the tale, that's where the real creativity came in."

On that basis, any ending that allows for the same degree of depth and creativity in the telling of the tale and the exploration of the characters might turn out to be just as acceptable. And who knows, it may be an improvement on the original. After all, Jesus seemed quite pleased with the Rambo version of His story.

- Sid