He uses pop-culture references to punctuate the comic book's alternate history while using a grim and imposing New York City to stress a world gone wrong. That foundation gives Snyder the unparalleled ability to visually explore Watchmen's universe, actively playing to his filmmaking strengths. The few big changes - notably replacing faux aliens with Doctor Manhattan in the climactic false flag operation - cause no damage to the narrative and often streamline a story that may leave newcomers baffled. Dialogue is often word for word, and the shots are designed to emulate Gibbons' comic layout more often than not. Watchmen shores up those tendencies by staying fastidiously accurate to the source as often as possible. His films have often been criticized for their superficiality: beautiful surfaces with no depth or nuance underneath. Storytelling has never been Snyder's strong point. Snyder has the right combination of proclivities to make the project work under those circumstances. eager to capitalize on the recent success of Christopher Nolan's Batman movies - a movie adaptation was likely inevitable. But considering what a phenomenon Watchmen became - and with Warner Bros. That runs into trouble right away with a big adaptation from a giant corporation like Warner Bros., which embodies the very distortion and appropriation the comics were trying to decry. Among the story's other draws, it served as a savage indictment of comics as usual: calling out its childish clichés and reliance on uncomfortably authoritarian undertones. Only one being had real powers - Doctor Manhattan - and his presence actively destabilized global politics to the point of nuclear war. Its costumed crimefighters were often misguided or psychologically damaged, and their efforts often made their world darker, not brighter. The Watchmen comic earned accolades by thoroughly upending all previous notions about superhero stories.
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