Watchmen wouldn't have been possible without Dave Gibbons, and Moore's said as much. Most artists can't work with that level of background detail, especially on the reduced space of a 9-panel grid. In fact, it was getting paired with Gibbons on 2000AD for some time travel stories and noticing how great he was at doing background gags what got Moore thinking about the possibility of doing a comic that was constructed like a piece of clockwork, with every little detail placed there for a reason. He didn't just tailor the project for Gibbons, it was only possible because of him. Furthermore, you're racist and a piece of shit.
I have a lot of those stories reprinted in Quality's late 1980's TIME TWISTERS series.
Gibbons' art is still ugly and barely functional, and other artists could have done a better job. I just cited multiple examples of Moore collaborators who
did do a better job.
The "racist piece of shit" bit is just your usual over-the-top unfounded insults.
Dont expect Wondy to know anything about anything. Hell he didnt even know when Killing joke came out when he was insulting Watchmen.
I have no fucking idea what he is talking about anyway.
WATCHMEN 1-12: ran from Sept 1986 to Oct 1987.
KILLING JOKE: out in July 1988.
I own both, that I bought off the stands, what exactly are you PMS-ing about?
I've listed others I thought were superior writer/artist collaborations. Like I said, no one buys BRAVE AND THE BOLD 79-86 because of the Bob Haney stories. It's completely a Neal Adams show, that Haney happened to write.
Likewise, WATCHMEN is completely an Alan Moore show. John Bolton, Brian Bolland, Alan Davis, Gary Leach, Bissette/Tottleben,
these are artists whose work is savored as brilliant storytelling that vastly enhanced the script, and can be savored as individual pages or for the writer/artist collaboration.
Conversely with Gibbons' pages, there is nothing beautiful or decorative about them, merely functional to Moore's story.
