Moral ambiguity in the context of "Watchmen"

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👉 Moral ambiguity in the context of Watchmen

Watchmen is a comic book limited series by the British creative team of writer Alan Moore, artist Dave Gibbons, and colorist John Higgins. It was published monthly by DC Comics in 1986 and 1987 before being collected in a single-volume edition in 1987. Watchmen originated from a story proposal Moore submitted to DC featuring superhero characters that the company had acquired from Charlton Comics. As Moore's proposed story would have left many of the characters unusable for future stories, managing editor Dick Giordano convinced Moore to create original characters instead.

Moore used the story as a means of reflecting contemporary anxieties, deconstructing and satirizing the superhero concept, and making political commentary. Watchmen depicts an alternate history in which superheroes emerged in the 1940s and 1960s and their presence changed history so that the United States won the Vietnam War and the Watergate scandal was never exposed. In 1985, the country is edging toward World War III with the Soviet Union, freelance costumed vigilantes have been outlawed and most former superheroes are in retirement or working for the government. The story focuses on the protagonists' personal development and moral struggles as an investigation into the murder of a government-sponsored superhero pulls them out of retirement.

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Moral ambiguity in the context of A Song of Ice and Fire

A Song of Ice and Fire is a series of high fantasy novels by the American author George R. R. Martin. Martin began writing the first volume, A Game of Thrones, in 1991, and published it in 1996. Martin, who originally envisioned the series as a trilogy, has released five out of seven planned volumes. The most recent entry in the series, A Dance with Dragons, was published in 2011. Martin plans to write the sixth novel, titled The Winds of Winter. A seventh novel, A Dream of Spring, is planned to follow.

A Song of Ice and Fire depicts a violent world dominated by political realism. What little supernatural power exists is confined to the margins of the known world. Moral ambiguity pervades the books, and many of the storylines frequently raise questions concerning loyalty, pride, human sexuality, piety, and the morality of violence. The story unfolds through an alternating set of subjective points of view, the success or survival of any of which is never assured. Each chapter is told from a limited third-person perspective, drawn from a group of characters that expands from nine in the first novel to 31 by the fifth.

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