Dick loved the stuff, but having a paternal affection for these characters from his time at Charlton, he really didn’t want to give his babies to the butchers, and make no mistake about it, that’s what it would have been. We were going to treat the Question as a lot more extreme than he’d been treated before. We sent all this stuff to Dick Giordano and some of it was extreme. So I started mapping out a few ideas, and originally it was just a murder mystery, “Who killed the Peacemaker,” and that was it. They were just a nice, innocent little bunch of characters, which is always fair game, really, and there was a self-contained universe with four or five characters, and I thought it’d be nice to just take that and do whatever you wanted with it. I just thought that they were all lying around, up for grabs, and I hadn’t heard of anything else that was being done with them. NEIL GAIMAN: I thought I’d start off by asking Alan and Dave a couple of questions about the genesis of Watchmen - how it started out way back when Alan was asked to do something with some Charlton superheroes, and how it evolved into the rather remarkable comic it is now.ĪLAN MOORE: We weren’t asked to do anything with the Charlton superheroes. Moderating the panel discussion is British comics writer Neil Gaiman.
#Dave gibbons dc watchme series#
The following is a discussion on the influences and thought behind Watchmen between series creators Alan Moore and Dave Gibbons at the UK Comic Art Convention in London on Sept. Scheduled to finish its 12-issue run this summer, Watchmen has shown comics fans and professionals alike that a comics series employing literary techniques - such as the layers of theme and plot inherent in each issue, the intricate and precise attention to detail evident not only in the writing, but also in the artwork, and the desire to portray the genuine crises the world faces today - could be both a commercial and a creative success. Riding the crest of DC’s explorations of the adult comics market in ’86 and ’87 was Watchmen, perhaps one of the most thoughtful renditions of the superhero genre. But it's all under the bridge.From the TCJ Archives A Portal to Another Dimension: Alan Moore, Dave Gibbons, and Neil Gaiman We both entered into it thinking it was going to be a good idea for us. The deal I had with Paul Hudson was perfectly fair. “I've always been of the opinion that a deal's a deal, and it seemed a good idea at the time. Interior Watchmen pages now sell for $6,000 to $30,000 each, but Gibbons says he has no bitterness. But I will tell you a whole issue was less than 10 percent of what individual pages are going for now.” “I'm too embarrassed to tell you how much I got for them. “Covers were just thrown in with the art from the original issues,” he said. The problem for Gibbons? He never specifically discussed the covers as part of the deal. “So when Paul offered to buy each Watchmen issue off me, complete, that seemed like a really good idea to me.” “My experience with original art was that a lot of the money pages went quickly, and then you were left with potato pages after the meat was gone,” Gibbons said. The artist, Dave Gibbons, hasn’t seen the covers since he drew them in 1986. The fact that something might appreciate in value is just a bonus.” “If you buy something you enjoy, you can never go wrong. There was an immense amount of pride of ownership in that,” he told Wired. Now, he says it’s time for someone else to have them. Shamus publicly displayed all the covers at the WizardWorld Philadelphia convention in 2009.
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