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i miiight try to revive this blog if there’s any activity from the hbo fans; i will say i’m super disappointed in adrian in particular, but the show is overall a fantastic show while maybe not being the most competent sequel/adaptation, and they won me over with every other storyline but adrian and trieu’s. but if there’s no present fandom, i’m probably going to remain mostly inactive here.

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i keep trying to make this blog a thing but idk if it’s ever going to be a thing            but if crime and fantasy is your thing i’m more actually active on my dadpire (a vampire who is ur dad) assassin over here

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                                       𝐒𝐓𝐀𝐑𝐓 𝐘𝐎𝐔𝐑 𝐋𝐈𝐅𝐄                               𝐎𝐏𝐄𝐍 𝐔𝐏 𝐘𝐎𝐔𝐑 𝐄𝐘𝐄𝐒 𝐀𝐍𝐃                          𝐑𝐄𝐂𝐄𝐈𝐕𝐄 𝐓𝐇𝐄 𝐋𝐈𝐆𝐇𝐓𝐒 𝐎𝐅 𝟏𝟗𝟖𝟓

            an independent & private ADRIAN ‘OZYMANDIAS’ VEDIT of moore & gibbons’ WATCHMEN. low activity. graphic novel & tabletop rpg based. unaffiliated with comic fandom. chronicled by dantalion.

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“lord of a country estate” im going to kill hbo

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       VEIDT: … As I said, it all depends on whether we, individually, want Armegeddon or a world of fabulous, limitless potential. That’s not such an obvious question as it seems. I believe there are some people who really do want, if only subconsciously, an end to the world. They want to be spared the responsibilities of maintaining that world, to be spared the effort of imagination needed to realize such a future. And of course, there are other people who very much want to live. I see twentieth century society as sort of a horse race between enlightenment and extinction. In one lane you have the four horsemen of the apocalypse …        NOVA: … and in the other?        VEIDT: The seventh cavalry. ( laughter )                                                                                              —— NOVA EXPRESS, ed. July 12, 1975

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we didn’t deserve ‘66 adrian when he was here so ‘85 adrian is the one we’re stuck with

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                                       𝐒𝐓𝐀𝐑𝐓 𝐘𝐎𝐔𝐑 𝐋𝐈𝐅𝐄                               𝐎𝐏𝐄𝐍 𝐔𝐏 𝐘𝐎𝐔𝐑 𝐄𝐘𝐄𝐒 𝐀𝐍𝐃                          𝐑𝐄𝐂𝐄𝐈𝐕𝐄 𝐓𝐇𝐄 𝐋𝐈𝐆𝐇𝐓𝐒 𝐎𝐅 𝟏𝟗𝟖𝟓

            an independent & private ADRIAN ‘OZYMANDIAS’ VEDIT of moore & gibbons’ WATCHMEN. low activity. graphic novel & tabletop rpg based. unaffiliated with comic fandom. chronicled by dantalion.

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         blog revamp. all old threads will be scrapped. all inactive blogs will be unfollowed. if i softblock you, feel  free to follow back; i’m just doing some cleaning!

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            so our plan here is to, from the antarctic, release a creature so incomprehensible that the human mind cannot fathom it, causing those who are touched by it mentally to lose their sanity completely... and i get the whole debate that happened with the outer limits connection because the plot of the architects of fear is almost exactly the same, albeit with a far different ending, but i still think having the canon inspiration for the plot being that episode is a bit tasteless considering how that turned out in the real world, and i’m changing the ‘i got all of this from an episode of a cult tv show’ to ‘ yeah i caught the end of an episode of the outer limits while screen-watching but i also read at the mountains of madness once’

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          being mixed-canon would probably be more beneficial to this blog but it’s also... nearly impossible to do that? i’m only going to be discussing the several movie scripts here ( that is; sam hamm’s, david hayter’s, alex tse’s, and a bit on the final 2009 film, ) because the prequel comics are absolute shit and i won’t even entertain the fact that it fits into canon and i’ll write a complete ‘thoughts on’ post about doomsday clock when it finishes up its run. the adaptation process is something that absolutely fascinates me because it’s such a unique place to be in when it comes to media, but i’m going from a character-driven perspective specifically for this. so bear with me here: here’s a look at how adrian changes in every single drafted script for a film adaptation that i could get my hands on.

             so the ‘88 sam hamm script is how you would say... not good. the middle part of the story stays the same, but the end is wildly different: here, veidt’s convinced that it’s the advent of doctor manhattan that spikes nuclear tension and world imbalance, so his plan. is. to hasten nuclear war. and go back in time. and kill jon ostermann. before the accident. and then he gets vaporized by jon. so. i’m not really giving this one credibility. one: crimebusters au is real in this script, and the cast is generally closer instead of being sometimes-partners most of the time. two: veidt replaces rorschach in a few key scenes and is generally more hands-on. making him a former weapons manufacturer is less than inspired ( as thunderbolt is only 3/4 of his original basis; the remainder is almost a bruce wayne/reed richards/tony stark type, though his personality is wildly different, ) but what i do find interesting is the snap-difference between the facade of personality to the ruthlessness of his control over his public image: you can actually see the moment where it drops when he’s conducting an interview and has an iron grip on which questions can be asked. that’s probably the only thing i’d take from this. three: i can’t even make my url relevant in this version because that speech never happens. actually, none of the monologue that makes up all of chapter 11 happens. this script is a disaster honestly. the script was rewritten, but i can’t find a copy of the second draft.               so the david hayter script! the whole thing is moved forward to taking place in 2004. there’s a lot of broad story changes, but i’m going at this from a one-character perspective, so i’ll forget about that. one of the more interesting things to me is that the organizer of the crimebusters gets switched to nite owl, so dan’s half-responsible for inspiring adrian to do anything it takes. adrian’s relationship with dan is actually much more fleshed out: i actually really like the idea of dan meeting up with adrian after the fake-assassination if only because it adds adrian warning dan to get out of the city multiple times even if he essentially says his entire plan there. then, having dan be the one to figure out it’s him throws another layer on it. to me it seems a lot like there’s a general switch between rorschach and nite owl, likely because danl’s an easier audience surrogate. this is the only script where the vivarium exists, except its used as the backdrop of the Big Monologue. anyway, adrian’s plan in this one is to send a box with the message of ‘ CEASE ALL HOSTILITIES. AWAIT FURTHER INSTRUCTIONS ’ to every world leader, then use solar radiation to obliterate a million new yorkers. adrian means to rule through anonymity, but is killed by dan in the spirit of the now-deceased rorschach by outsmarting him. the most interesting thing here is that it’s explicit that adrian lead them on to help save them without saying too much, but his ultimate downfall is that he underestimates people because he sees himself as so far above them, and it leads to his death.               i cannot find a copy of the 2006 alex tse script because it never got finished, but it was essentially the first rewrite of hayter’s script. from what i’ve read, laurie’s the one who kills adrian in this one: wounded by dan’s having the owl-ship crash into him, which he probably could have survived if she didn’t set him on fire. this is also the first we see adrian using manhattan as a scapegoat for his plans: adrian impersonates jon and fired beams of concentrated energy at major world cities, killing three million total. the hayter & tse script was the one that got rewritten for snyder’s film, but it’s unclear how much of their script survived the extensive rewrites. speaking of which:             i’ve talked about the 2009 film already, save for the changes made to backstory: adrian’s backstory is never explored in any of the scripts, so we get a backstory change in the film companion. matthew goode’s adrian was born in 1950 rather than 39, and was born in germany rather than being born right after his parents’ immigration to america. they were war profiteers and n*zi sympathizers, which is what drives him so far in the opposite direction and leads to him giving up all ties save his name after their deaths. i don’t really like it. i generally don’t like the age changes in this version: it fucks the timeline because so much of the rest is comic-accurate.              i love the adaptation process and discussing it. , it’s neat how you can watch and track storyline changes: adrian’s backstory is cut in every one, manhattan’s the one who tells laurie who her father is in every one, hayter and hamm’s script switch adrian with rorschach for telling manhattan about the deaths and every script since hayter’s replaces rorschach with dan for telling adrian about it. not a single version keeps the original ending; every script save for the final film ends with the antagonist winning, but still dying because of justice and all that. the 2009 script adds topical themes but the 2004 script, despite taking place in 2004, doesn’t. none of them i’m actually using for any more than cannibalized bits and pieces, of course, but it’s fun to look at.

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Watchmen by Dave Gibbons

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shoutout to the 1988 sam hamm script for making me read this 

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sensory

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            kind of fucked up that adrian has legitimately never been completely open and honest with anyone he knows since early childhood, but fucked up in that it’s not that he likes lying, he’s just never felt safe enough to be as such with anyone