Directed by Vinton Heuck and Brandon Vietti and written by the renowned comic book writer J. Michael Straczynski, Watchmen Chapter II picks up decisively where Watchmen Chapter I left off, advancing the story with intensity and purpose.

After Nite Owl II (Matthew Rhys) and Silk Spectre II (Katee Sackhoff) rescue residents from a burning apartment building, Nite Owl II finds the vitality and desire he believed he had lost. He tells Silk Spectre II that they will break Rorschach (Titus Welliver) out of prison, where the masked vigilante is currently using a prison riot to take out criminals one by one.

Nite Owl II realizes that, despite the chaos in the world, Rorschach—much like The Comedian— is the only person who can understand the reality of their situation. Sometimes, amidst all the conspiracy theories, one turns out to be true. As the world edges closer to nuclear war, all signs point to one individual: Ozymandias (Troy Baker), the best of them all.

When they confront Ozymandias, he easily defeats them using the only language superheroes know—physical combat—while quoting a speech that Kennedy never had the chance to deliver. He reveals that since 1966, he has known that nuclear war is inevitable, thanks to The Comedian. He must take decisive actions to change the course of history, much like Alexander cutting the Gordian Knot.

Using the language of comic book — and James Bond — villains, Ozymandias connects the dots of his plan. When Nite Owl II asserts they will stop him, Ozymandias replies, “Dan, I’m not a Republic serial villain. Do you seriously think I’d explain my masterstroke if there remained the slightest chance of you affecting its outcome? I did it thirty-five minutes ago.”

This adaptation concludes similarly to the original comic book rather than the film’s ending, which is one of the few points I agree with regarding the movie.

We didn’t need Doomsday Clock, the comic sequel that merged Alan Moore’s universe with the DC Universe. Seven years after the destruction of New York City, Rorschach’s journal has been published in the *New Frontiersmen*, exposing Ozymandias as a supervillain. He is now trying to track down Dr. Manhattan, who is coming to our world to seek Lex Luthor’s help. Additionally, a new Rorschach—the therapist’s son from the first story—wants Batman’s assistance, and somehow, The Comedian is still alive. Meanwhile, Dr. Manhattan has altered the post-Flashpoint universe, making it darker. I attempted to read it, but it was so convoluted. However, some enjoyed it; it felt like another DC attempt to provoke Alan Moore, following the prequels that added little to the story except for the work of Darwyn Cooke. Moore called it shameless, while Gibbons gave his usual endorsement.

As narrative fiction—especially superhero fiction—evolves, I appreciate stories that have a clear beginning and end rather than an endless pursuit of new highs and plotlines. While some stories can go on indefinitely, *Watchmen* feels perfect—a story with a definite conclusion. The characters may continue their journeys, but I do not need to know whether they find happiness or sadness.

Then again, as Dr. Manhattan says, “Nothing ever ends.”

When the original comic book was released, there was debate about whether Rorschach was teleported away or died. In this adaptation, he dies. However, it is intriguing to see the resolution and the human moments, particularly how the Silk Spectres realize that life takes you to unexpected places and understanding is essential.

This adaptation achieved its primary goal: it inspired me to revisit the original graphic novel and reread it. But speaking of ending, this is the last DC Original Animated Movie. I’m sure there will be other things to watch — like Creature Commandos  — but I’ll miss these films.