Watchmen – Masculinity and Sexual Identity in Crisis
Felix Haenel
Uncertainty and Speculation in Contemporary American Comics (BA Research Seminar)
Abstract
Analysis
Alan Moore's Watchmen is well known for its
revisionism of the superhero myth. At the time of its
creation in the 1980s, the comic book landscape was
dominated by male heroes. In revising genre-typical
narratives, Moore not only makes us rethink superheroes
but, in doing so, also allows for a more nuanced look at
masculinity.
Set in a slightly alternate Cold War scenario, Watchmen
closely mirrors the contemporary world of the 1980s with
the primary point of divergence being the presence of
masked vigilantes. Their existence in this iteration of
America is shown to have dramatically altered the
outcomes of real-world events such as the Vietnam War.
The most prominent figure is Doctor Manhattan, an
accidentally created post-human. His particle-changing
abilities are so powerful, not unlike the atom bomb, that
his existence alone is seen as a threat to the Soviet
Union, resulting in even bigger tensions between the two
nations.
How this imminent danger of nuclear extinction and the
presence of a post-human affect masculinity can be seen
by analyzing the character arc of Dan Dreiberg / Nite Owl
who goes through three different stages.
The arrival of Dr.
Manhattan causes terror
and envy. Like the
Vitruvian Man he appears
shamelessly naked. Even
without his powers he
represents an ideal
version of a man, a
physicist with a perfect
physique. With his powers
he puts traditional
masculinity into question:
no man could be more
dominant or a better
protector than him. (Moore
IV-10)
Method
Stage 1: Impotence
Dan„s impotence when trying
to have sex with Dr.
Manhattan„s girlfriend is
juxtaposed to the athletic
performance of a
presumably gay or bisexual
character. The TV screen fills
the room with a blue hue
reminiscent of the blue light
Dr. Manhattan emanates.
Dan struggles with his
heterosexuality while a gay
character is perfectly able to
perform publicly hinting at a
new openness towards
sexuality. (Moore VII-14)
A nightmare links Dan‟s
sexual failure to the fear
of nuclear extinction. The
act of procreating seems
pointless when the world
is about to end. The
dream also reveals his
sexual fetish to dress up.
The appearance he puts
on as a citizen is just a
façade and the Nite Owl
costume, which is
otherwise his mask,
seems actually more true
to his sexual desires.
(Moore VII-16)
For my analysis I compare one character to the
concept of hegemonic masculinity. It argues that there
is always one dominant ideal of masculinity, which in
Watchmen is already fulfilled by Dr. Manhattan. The
paradox this creates for Dan was described by K.A.
Boon in the mythic figuration of the hero:
- either embrace the testosterone-based behaviors
that define the hero figure and pursue the
impossible acquisition of superhuman qualities or
- reject traditional definitions of masculine behavior
and risk being labeled by culture as less than a
man.
I also took a closer look at Dan‟s sexual motivation
and cues regarding his sexual identity and analyzed
how he reacts to the person he is attracted to.
Conclusion
Performance
Fantasy
Stage 2: Dominance
Dan dresses up as Nite
Owl and saves people
from a burning building,
reclaiming his role as a
protector.
(Moore VII-24)
In costume, Dan has
won the primordial fight
against the fire and
doesn„t feel powerless
anymore. As a
remasculated protector
he is briefly able to
overcome his
impotence.
(Moore VII-27)
Stage 3: Equality
In the end, the world has been saved from total
annihilation by a ploy of Ozymandias. In this
scenario of global peace, dominance is obsolete
and Dan can embrace Laurie without the need to
prove himself as a man. He is wearing a
perfume developed by Ozymandias, who has a
more open relationship toward sexuality.
Meanwhile, Veidt is already promoting a new
fragrance to be used equally by man and
woman. (Moore XII-22, 31)
Workshop - Blood in the Gutter: Uncertainty and Speculation in Contemporary American Comics - July 15, 2016
In the case of Dan Dreiberg / Nite Owl, masculinity is
directly linked to the uncertainties of the Cold War
because, as Dan confesses, he literally feels
“impotent” in the wake of global events (Moore VII19). The thrill of saving lives from a fire then lets him
feel like he could still make a difference in this world
and briefly helps him overcome his impotence.
Dressing up in costume is an additional help because
it also functions as a uniform and is thereby another
symbol of dominance. It lets him feel like “all the wars
in the world, they‟re just cases -- just problems to
solve.” But dressing up also has strong sexual
undertones and indeed Dan compares admitting that
the costumes made the intercourse better to “coming
out of the closet” (Moore VII-28).
It is this openness toward one‟s sexual identity that
Ozymandias aims to promote when he‟s performing
athletic stunts in a purple outfit or selling non-binary
action figures and perfumes (Moore I-18, XII-31).
At the end of the comic when the Cold War has been
resolved, Dan rejects the testosterone-based behavior
that Rorschach wants him to follow and instead
peacefully embraces Laurie while wearing
Ozymandias‟ perfume. This relationship, which is not
based on dominance but equality, finally breaks out of
the cycle of hegemonic masculinity.
Refrences:
Boon, Kevin Alexander "Heroes, Metanarratives, and the Paradox of Masculinity in Contemporary
Western Culture." Journal of Men's Studies 13 (2005): 301-312. Print.
Gibbons, Dave and Moore, Alan. Watchmen. DC Comics. 1986. Print.
Kukkonen, Karin. Studying Comics and Graphic Novels. Malden, MA: Wiley Blackwell, 2013.
Print.
Miettinen, Mervi. "Men of Steel? Rorschach, Theweleit, and Watchmen's Deconstructed
Masculinity" PS: Political Science & Politics 47 (2014): 104-107. Print.
Prince, Michael J. "Alan Moore's America: The Liberal Individual and American Identities in
Watchmen." The Journal of Popular Culture 44 (2011): 815-830. Print.