Johns’ reconstruction of the superhero genre which Watchmen deconstructed directly undermines Moore’s message
“Fiction and Fact: only madmen and magistrates cannot discriminate between them.”
Second Coming is didactic to the point that the message gets in the way of solid storytelling.
Klaus is mythological enacting the same celestial beneficence our agrarian ancestors relied upon back when Yuletide meant something to someone for the very first time
Man is egomaniacally narcissistic, sacrilegiously so. King captures the admixture of mundanity and mythology that we imagine our own to be.
“We are torn between nostalgia for the familiar and an urge for the foreign and strange. As often as not, we are homesick most for the places we have never known.”
Snyder sees the thin divide between awe and awful, between textual and metatextual. Then he burns dow that divide to ashes.
Klaus is Christmas’ Superman, replete with red cape, an indefatigable product of the greatest imagination of our generation, a perfectly designed emblem of highest selves.
After years of an admixture of apprehension and anticipation for the inevitable continuation of Watchman, Doomsday Clock #1 does not disappoint.
Snyder’s thesis is this: Batman would not be made better by having powers; such would prove a crutch, over-reliance on which would cripple Bruce’s brilliance.