There is no more novelty in "Watchmen" sequels. Since the seminal series finished its run in 1987, there has been a movie adaptation, a video game, a prequel miniseries, a sequel set in the DC Comics Universe and a TV sequel all trying to be the ‘true’ successor to Alan Moore and Dave Gibbons’ work. Despite Moore’s outspoken hatred for any continuation of his comic, the staunch devotion the book’s fans have for it and the equally vicious scorn they have for any kind of follow-up, "Watchmen" sequels are now a fad and have generally flopped hard. Tom King’s Rorschach #1 comic (so far) has not.
The strange thing about this "Watchmen" sequel is that it’s not really a sequel to "Watchmen." Sure, it makes passing mention of events from the original story and show, but someone with only a passing or even no familiarity with this story could just as easily read this comic. In fact, the Rorschach most are familiar with is not even in this story (for now, and for good reason). Instead, the comic focuses on an unnamed detective investigating the failed assassination attempt of a right-wing presidential candidate by a man dressed as Rorschach and his cowgirl companion. This story will probably connect at some point to both the show and the comic, but right now the main strength of this story is the distance it has from those works.
The entire issue’s writing is drenched in a ‘70s noir aesthetic and tone, to the point where it almost feels like "All the President's Men" (1976) but with vigilantes. Without getting into spoilers, the book is less a homage to "Watchmen" and more so to comics as a whole. The history behind the creation of "Watchmen" and the inspiration for certain characters’ personalities (for those who know it) is pulled out, dusted off and used in a new and intriguing way here. When the "Watchmen" canon or comic industry history is referenced, it is not to produce emotionally stagnant nostalgia — I’m looking at you, "Doomsday Clock" (2017–19) — but to help tell the story being told. King has proven before in his work on Batman and Mister Miracle that he is not constrained by the conventional, and I am happy that this is the direction being taken so far.
That goes for the art, coloring and layout as well. Instead of trying to replicate the impeccable style of Dave Gibbons, artist Jorge Fornés focuses on replicating the noir-soaked tone the writing provides. The people look like they are in a comic book but still contain elements of discernible detail: scars, sweat, blood, visible exhaustion and wounds from past conflicts. It is incredibly pretty to look at, and colorist Dave Stewart adds to that beauty with dark shadows and disgustingly red blood. Clayton Cowles also does a wonderful job as letterer, balancing an Adam West-style “Blamm!” with Rorschach’s distorted voice. It all works together in a satisfying, if somewhat indistinct, way.
My main concern now is, like with all mysteries, the answers won’t be worth the buildup. Despite King’s generally great track record on this front, I still wonder if the road he has planned for this story will be worth going down. Regardless, Rorschach #1 is a great first impression for a series that needed to prove why it mattered in the recent slew of "Watchmen" media. If you are a fan of the "Watchmen” comic, have just seen the show or have only heard of “that depressing smiley-face button comic,” I’d say give this series a shot. Well done, Mr. King and co. — now please, do not screw this up.
