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HBO guards use Easter eggs to signal that it's not comical

Easter eggs are a way for people behind inherited movies or TV shows to show their love and loyalty to their source material. When showrunners, writers, and directors gaze at Luke Cage's yellow shirt from his 1970s comic book series on Netflix's somber 2016 series, it's a way of nodding at fans, saying, "We're fans too, and we can trusts with your favorite properties. "

This seems to be the intent behind the ubiquitous Easter eggs in the new series Guards Guards assisted by Lost and The Remains The visual, narrative and thematic references to the original Alan Moore / Dave Gibbons comic book are catchy and ubiquitous. But they do not indicate that the series maintains faith. The Easter eggs inadvertently emphasize how different the HBO guards are from the comic. Guardians packed with Easter eggs do not indicate how true Lindelof and crew are to the original. It shows the ways in which they seek themselves.

As a sequel to the same world as the original comic book, the Guards series makes extensive reference to the original in plot and world-building. The white supremacist group, the Seventh Cavalry, adopted the Rorschach ink masks, inspired by the Watchmen Vigilan's Wig Hero . They quote from his diary, modifying the text to make the fascist and racist implications clearer. Robert Redford, whose presidential campaign just started at the end of the comic Guards has been president for about 30 years. There is a television event on TV for the superhero group of the 1

940s, and it plays in the background of many scenes, repeating, refining, or parodying comic book events.

Photo: Mark Hill / HBO

But there are also many free visual nods to the original series. They do not contribute to the consistent construction of the world; they just wave at the fans. Some of the most screaming in the pilot episode include:

  • A masked glass-eyed detective (Tim Blake Nelson) rolls his mask over his mouth as he eats, into an image reminiscent of Rorschach rolling his mask to eat beans [19659008] Police Chief Jude Crawford (Don Johnson) tells Look Glass: "Pull your face down," again recalling the original Rorschach, who referred to his mask as a face.
  • Seven members of the cavalry are shown dismantling clocks as part of a mysterious plot for terrorism. The exposed gears recall the broken gears that, through a series of incidents, led John Osterman to become Dr. Manhattan
  • One of the members of the Seventh Cavalry swallowed a poison pill. Angela / Sister Night (Regina King) yells "Spit it out!" Spit it out! "This is a direct reference to a similar scene in the comic Guards where Adrian Wade fights a killer with a poison pill.
  • Angela walks past a man carrying a sign that reads, "The Future is bright. "He recalls a sign Rorschach carries in his secret identity, which said, 'The end is the nose. "
  • The last image of the first episode is of Judd's badge, marked with an inclined drop of blood, mentioning the signature Guards of an image of a smiling comedian's face, similarly marked with blood.
  • In a scene , in which Angela teaches primary-grade cooking, has a shot through the bottom of a glass bowl. Her fallen egg yolks form a smiling face, recalling the comedy button again. This is (no doubt deliberate) an Easter egg, literally made of eggs.

Photo: HBO

And these are just part of mentions in the first episode As the series goes on (the first six episodes were made available to critics), there are many, many more, especially parallel to the comic book's intrusive images around the faces of the clock hands close to midnight.

These Easter eggs are not themed or even really visually integrated into the series The smile with egg yolk means nothing in the context of the show except "Hey, fans of the original Guards ! Here's your smiling face! "It's a fun wink, but it's a completely different approach to repeating the image than Moore's careful, obsessive parallels in the comic.

The most famous example of the use of Moore and Gibbons' visual motifs is the button of a smiling comedian's face, blood-stained. The first image of the first issue is of a button located in the gutter. The last image of the last issue is of a man wearing a smiling face, colored with ipad ketchup, to match the opening image. The Guardian graphic novel begins and ends at the same place. It's a perfect closed system – a smiley, bloody outline without escape.

Image: DC Comics

Guards The comic is ruthlessly self-contained. Dave Gibbons's nine-panel grid sometimes shifts as two, three, or four panels merge into one, but it never opens. Eerie repetitive or parallel images – a nuclear sign of danger, ink cartridges on a Rorschach mask, butterflies in a frozen wasteland – reappear and reappear, not as random jokes but as signposts in Moore's narrative maze. They are a reminder that readers cannot go out. The Guard is intended to place readers in the blue skin of Dr. Manhattan, who sees all the time at once and thus is hopelessly frozen in his own destiny. He sees himself as locked in the grid of what he has done and will do. Superhero stories are usually about how remarkable personalities can transform the world. The watchman is about how even heroes (and in Dr. Manhattan's case, even god-like creatures) can be stuck in the boxes the world creates for them.

And although the comic's conclusion points to a more peaceful future, it's hard to see how things are really improving in his world, or even continuing. Guardians is a complete and circular story set in a gloomy world where the inevitable cataclysm is forever approaching. This unique soulless feeling of sadness and melancholy is one of its major twists.

The continuation of the guards will by definition never reproduce that sense of a world that could not sustain a continuation. The TV show is more relaxed, a messier, more pants-ridden than a comic, jumping from the re-enactment of the Tulsa massacre in 1921 to a police drama to a home sitcom in digging genre tropes. This is part of what gives the series a sense of hope and open possibilities that is not seen much in the comic book, with its slow, measured stride toward ruin.

Through the Watchmen serials, Lindelof and Company constantly inform viewers that they are riffing on a past product. This fits perfectly into the world of the show, which is also dedicated to rifting and improvisation. President Robert Redford and the Tulsa leadership are trying to get out of the web of racism by introducing new policies and new ideas – notably reparations and recognition of racist history. The original Guards was a story of a world without opportunities. The new series is about how people can possibly go from nothing to somewhere if they have little imagination and are aware of where they come from. And this topic is outlined more clearly in the upcoming episodes.

Lindelof does not release a yellowish smile in the pilot of his show to signal that he is serving the same meal that Alan Moore is offering. He shows us that there is a whole new cover to this story. The TV show continues to urge fans to remember the original comic book so it can show itself trying to go somewhere else. A constant reminder that the show is not as thoughtful and self-contained as the source material. But we already have the Watchmen comic strip for that. The television series breaks several eggs to see what kind of omelette is coming out.

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