The movie took cyberfiction staples like those found in William Gibson’s Sprawl trilogy and mashed them together with anime, wire-fu, postmodernism, metaphysics, Alice’s Adventures in Wonderland, Jean Baudrillard’s Simulacra and Simulations, and a torrent of other texts and contexts.
“The anger that I had when I first started meditating in 1974 lifted in two weeks. It kinda just went away.”
From mind-warping revisions of comic book heroes in All-Star Superman, Batman R.I.P. and Final Crisis, to pop-cultural and philosophical exegeses like The Invisibles, The Filth and We3, brainiac graphic novelist Grant Morrison is a master of the Gordian-knot narrative.
But the dystopian comic blockbuster isn’t dead yet. Far from it.
But there is one wild card working in the Watchmen film’s favor, and it is a glaring one: The comic.
From Mars’ Galle crater to comics, literature, music, politics and even quantum physics, Alan Moore and Dave Gibbons borrowed from a stunning wealth of sources.
The slightly good news is that some of the music that made it into the film, but not the comic, didn’t make it to the soundtrack. The bad news? Some lousy songs made both the film and the soundtrack, but never made the comic at all.
If only it were that simple.
Wonder Woman is an ancient goddess with a sexualized back story.
So for the band’s latest effort, named after Adam Curtis’ The Century of Self, I went on the blitz for Wired, Metromix and Filter.