Watchmen: Chapter II - Page 1 + cover image

Cover Image:  Again, the cover image is an extreme close-up of the first panel on the first interior page.  The face is that of a statue in the cemetery where Edward Blake is being buried.  The rain drop on the statues face symbolizes a teardrop, which can be taken as remorse for the death of the Comedian or as a foreshadowing of the horror that is to come as events unfold for the Watchmen.

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Panel 1:  More juxtaposition of the words and images:  the caption “. . . still keepin’ her figure . . .” is dialogue from Sally Jupiter remarking on her daughter Laurie (as we see in the next panel), but also can refer ironically to the statue of a female angel in this panel.

“So, honey, what brings you to the city of the dead?” refers not only to the rest home (seen in the next panel) in which Sally Jupiter now lives, but also reflects on the cemetery (a literal city of the dead) in this panel.

Panel 2:  The red flowers Laurie has for her mother in this panel mirror the flowers that will later be left on Edward Blake’s grave by a man whom we learn to be Moloch, one of Blake’s former enemies.

Note the Nostalgia ad on the magazine in Sally’s lap as well as the copy of Nova Express beneath it, which becomes relevant later in the narrative.

Panel 3:  “I just got through throwing up in the ladies’ room,” is the first indication that Jon’s power to teleport people might have adverse effects.

Panel 5:  Note that Kovacs/Rorschach (holding his “End is Nigh” sign) is in the background as Jon (Dr. Manhattan) gets out of his government limousine (which is ironic as he can teleport anywhere)

Also note the police line holding back citizens apparently protesting Dr. Manhattan.  In this world, the heroes are not beloved as they tend to be in the comics.

Panel 7:  “I guess he (Blake) finally reached the punchline . . .” is a bit of black humor (Blake was known as the Comedian) overlaid on the scene where they are taking Blake’s coffin from the hearse.

Panel 8:  Note in the background the photograph of the Minutemen, which we also saw in Blake’s and Hollis Mason’s residences.

Panel 9:  “It’s history,” is an observation on the scene in this panel (Blake is now history), as those attending the funeral of Edward Blake look on while his coffin is carried into the cemetery.