Travis asked some of us to fill in on the HBP read-thr0ugh, since he’s busy, you know, editing a book!
It would be easy to skip through Chapter 20 thinking that the most important thing we learn is how Voldemort/Riddle came into possession of Hufflepuff’s Cup and Slytherin’s Locket. We know that both end up becoming Horcruxes at some point later. In addition, the connection between these devices, Hogwarts, and Horcruxes is foreshadowed both here and in the earlier Pensieve lesson. Slughorn’s distorted memory points to a conversation about such things with young Riddle, but it’s clear that he’s gone to great pains to hide important elements of that conversation — the wizard’s version of “trying to forget.” [click to continue…]
I wouldn’t normally cite anything from Entertainment Weekly as an especially interesting analysis of things literary, but the most recent issue (3 April 2009) has a piece by Jeff Jensen exploring modern America’s fascination with villains and significantly flawed heroes (”Heroes and Villains”). This passage struck me:
The current state of heroism can be summed up in a word: Lost. Lke the castaways of ABC’s mystery drama, today’s would-be heroes are so flawed or messed up, they need to be saved from themselves before they save anyone else. Some succeed, like Iron Man’s ethically murky Tony Stark. But many others — Anakin Skywalker; the meth-cooking cancer dad on Breaking Bad [an AMC drama]; almost anyone on HBO, Showtime, or FX — find it more empowering to embrace the dark side. These characters reflect a culture that feels powerless and pissed: We desparately want good to triumph over evil, but we can’t staunch our doubts that good is up to the task. [click to continue…]
Figure 1. The film's take on Rorschach is nearly identical to the graphic novel's.
Rorschach (aka Walter Kovacs) is easily one of the more (in)famous characters from Alan Moore’s world. And Dave Gibbons’s visual take on him has become iconic to many comic fans. Figure 1 demonstrates the film’s desire to be as faithful to his character design as the medium allows. The look clearly seems to draw from older comics characters like The Spirit and Dick Tracy. He wears the uniform of the old fashioned detective, right down to the trenchcoat and fedora. Of course, the suit is also the uniform of the well-spoken and well-connected man. Wrapped into the visual of a pinstripe suit and trenchcoat is a feeling of respectability, even success. And Rorschach’s tactics are to be streetwise and fearless — he will confront his adversaries head-on without hesitation.
In short, much of the character’s visual symbolism is designed to harken towards the old-fashioned. And his character reflects this old-fashioned appeal. Alan Moore’s vision of 1985 is visceral and deeply troubling. New York’s streets are dirty, and as Rorschach writes in his journal in Watchmen’s opening pages: “This city is afraid of me. I have seen its true face” (I.1). He continues with a statement that immediately sets the mood for the story. Referring to New York’s inhabitants as “vermin”, he states:
The accumulated filth of all their sex and murder will foam up about their waists and all the whores and politicians will look up and shout “SAVE US!” …
…And I’ll look down and whisper “no.” (I.1) [click to continue…]
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