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Elizabeth Sandifer

Elizabeth Sandifer created Eruditorum Press. She’s not really sure why she did that, and she apologizes for the inconvenience. She currently writes Last War in Albion, a history of the magical war between Alan Moore and Grant Morrison. She used to write TARDIS Eruditorum, a history of Britain told through the lens of a ropey sci-fi series. She also wrote Neoreaction a Basilisk, writes comics these days, and has ADHD so will probably just randomly write some other shit sooner or later. Support Elizabeth on Patreon.


  1. Alan Moore
    August 3, 2020 @ 10:21 am

    8 out of 10 as these sorts of books go. You can still do better.


  2. CJM123
    August 4, 2020 @ 11:25 pm

    Well I really enjoyed this. Wonderful ending. Thank you.


    • John G. Wood
      August 5, 2020 @ 8:49 pm

      Absolutely – thanks from me too. I’ll be interested in the next volume for different reasons, because I am much less familiar with Morrison’s work.


  3. Doctor Memory
    August 5, 2020 @ 3:32 pm

    “And yet both casually shrug this off, deciding that while Seymour picks Rorschach’s Journal and the New Frontiersman does expose the scheme, nobody believes it and everything continues as Ozymandias intended.”

    I generally agree with your take on the HBO series, but this is, I think, a little unfair to it and glosses over two of its better notes.

    Rorschach’s diaries were read and believed, but they were read and believed by exactly the sort of people who would find a slush pile piece run in the back of a fascist-adjacent tabloid newspaper to be compelling: in short, Nazis. “The Rorschach Diaries” clearly held the same place in that universe that “The Turner Diaries” ended up holding for the same cohort in ours — a joke made explicit in the FBI briefing in the second episode.

    Likewise it’s made pretty clear later on that whatever influence Adrian had over the Redford administration in the immediate aftermath of the squid has waned substantially by the time the events of the series commence: Ozymandias’ would-be utopia has spun off a few notable reforms early on but its internal contradictions are straining as other actors (Trieu and the Cyclops) work in the space created by them. Meanwhile Adrian is alone at Karnak and nobody will take his calls…


  4. 8 ball pool
    August 13, 2020 @ 10:26 am

    How did Morrison respond? Did they talk any about whatever work of Morrison’s had impressed Moore enough to pass his name along to Karen Berger? Did they talk about future works?


  5. run 3
    October 23, 2020 @ 3:42 am

    I tried to learn it, you share it great, thanks for the article.


  6. Jakob
    March 28, 2021 @ 7:48 am

    I wonder if book two will ever see print like the first one …


  7. Daru
    March 30, 2021 @ 10:48 am

    Loving the look of this on the new site.


  8. Shyan
    June 25, 2021 @ 2:30 pm

    Thanks for writing these posts. They’re really well written and present a fascinating critical look into details of Watchmen I haven’t considered before, despite having reread the comic many times over the past several years. I was particularly engrossed by some of your comments in earlier posts around Fearful Symmetry and the character of Rorschach.

    In this post however, I find myself disagreeing heavily with your characterization of DC’s Doomsday Clock sequel. The series does not come close from a plot, thematic, or technical perspective to the greatness of Watchmen, but the issues you briefly mention do not accurately speak to its failings at a literary level at all. In particular, your framing of the story about “Superman punching Doctor Manhattan in the face” is disingenuous at worst and misleading at best.

    Doomsday Clock imitates motifs and conceits that Watchmen had around people only seeing the surface level of reality, or having truth obscured through lenses and what people expect (the specific imagery it uses throughout is that of glass covering vision, but it also shows up in how media is discussed in the comic). The framing of the story as a “battle” between Manhattan and Superman is fed to readers (interestingly enough, this is driven by Manhattan’s viewpoint — he is the narrator who believes that this is how the story must go, given how he believes the universe runs, but of course his placement in the DC universe versus his original place in Watchmen means his perspective is misplaced in certain ways) as this surface level, but it is then subverted in the story itself. This setup is just a facade for the deeper tension and conflict Doomsday Clock tries speaking to, and the ending of the work makes it clear that this is done deliberately. Similar shifts throughout the work (e.g. blood falling down the covers issue over issue, only revealed at the end to be Superman’s flowing cape coming to cover the doomsday clock rather than blood at all) parallel this idea.

    This is all just to say that the particular weaknesses you touched on with Doomsday Clock are not what I’d considered the problems with the work. Certainly it has other aspects that betray the thematic and aesthetic sensibilities of Watchmen, but the framing of the conflict of the story is not one of them.


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