Album Review: Doves’ ‘Kingdom of Rust’

By Melissa Traynor / Editor-in-Chief

For a band with bigger name in the Brit alt rock scene, and one slightly better than the rest with a few albums under their belt, their fourth studio album sounds as though it’s their awkward debut.

Doves’ Kingdom of Rust has the right direction, but somewhat mediocre execution and lackluster. There is an air of predictability and the tired feel of familiar chords.

Admittedly, you have to give the band credit, or at least whoever produced the track listing for Kingdom of Rust, for sprinkling the more attractive and listenable songs throughout. With that said, it now logically follows that this will be an album of ups and downs and a pretty good amount of twisting in the middle

Title track “Kingdom of Rust”, though placed at track number two really sets the mood for the record and slightly melancholy and dark framing of each song. Where the verses are plain and tinged with southern guitar, the choruses breathe with an uplifting orchestral backing and some sort of muddled string instrument for a melody.

Unlike Doves’ 2005 release Some Cities, namely their track “Black and White Town”, the rest of Kingdom of Rust is largely forgettable or a little too familiar to be outstanding.

More appropriately, tracks such as “Spellbound” and “Compulsion” would blend quite nicely into a movie soundtrack; the latter has an extremely catchy baseline and a sexy Pink Floyd brand of brooding for an otherwise boring track. Unfortunately, Doves decide to spice up the track far too late unto the song (3 minutes in) with a piano breakdown.

The track lengths also run a bit long, sometimes reaching past 4:30 to 5 minutes, and it doesn’t exactly help the record. At 4:27, the closing song “Lifelines” moves through an ominous stretch of guitar and into an anticlimactic solitary guitar solo, if you can call it that. The entire song is utterly depressing, despite Doves’ attempts to infuse it with bits of life and anthem-like choruses.

It’s not so hard to expect something better from Doves. They’ve proven that they can produce a great album or two, but this record seems more or less like something they pulled together to get another album released.

Hopefully the band is gearing up for future emphatic and upbeat songs – something they are genuinely good at – so fans can more easily forget Kingdom of Rust.

Dinosaur Jr. Visits Milford, Conn.

By Melissa Traynor / Editor-in-Chief

New England’s own Dinosaur Jr. recently embarked on a national tour in late March, kicking it off with a gig at Austin’s South by South West and are passing through Milford, Conn. tonight.

As they prepare to release an album in summer, the alt-rock band will be playing shows into May and are making their second tour stop at Daniel Street in Milford.

Dinosaur Jr., hailing from Amherst, Mass., will be joined by Awesome Color, a psychedelic punk rock group of out Brooklyn and are teaming up for the next two weeks of tour dates.

Dinosaur Jr.’s ninth studio album since their formation in1983, to be named Farm, contains tracks the band is testing out on the road in the upcoming months, according to their Web site. The plans to release a new album come with their recent signing with the indie label Jagjaguwar.

The two bands have shared a tour before, while Awesome Color supported Dinosaur Jr. and their 2008 release Electric Aborigines.

For the tonight’s performance, Dinosaur Jr. is giving away a limited edition, tour-only 7” or a digital download code with every ticket. The a-side will hold their new single “I Don’t Want to Go There”, while the b-side is “Tarpit” off the band’s 1987 release You’re Living All Over Me. Tickets are $20 pre-ordered and $20 the day-of.

Last House Proves To Be a Worthy Remake

By Michael Walsh / Asst. Entertainment Editor

What worked in the 1970s just won’t work these days. Therein lays the beauty of time and change. The big question for the latest remake to sneak its way into theaters, The Last House on the Left, is whether the advent of modern horror filmmaking can successfully bring the gripping story to a new audience.

Twelve years after Swedish filmmaker Ingmar Bergman took the basic story of a 13th century Swedish ballad named “Töres dotter i Wänge” and created The Virgin Spring, Wes Craven took the same story and brought it out of medieval Sweden and into 1970s America. Go forward 27 more years and you have Craven producing a remake of the film that jumpstarted his lengthy and illustrious career in horror films.

The Last House on the Left focuses on the kidnapping and assault of two young girls by a group led by a prison escapee. Soon after, the group unknowingly seeks refuge at the house owned by the parents of one of the girls, which leads to the parents having to make decisions that might shake the foundation of their morals.

1970s exploitation films, much to my chagrin, are best left in the 1970s. The campy style and cheesy dialogue simply wouldn’t fly over well with audiences these days. Although the word remake seems to send shivers down my spine these days, I do appreciate the ones that are able to successfully update a story by making use of what technology has provided filmmakers with. This reiteration of The Last House on the Left is able to do just that.

In style the remake comes off as being much more brutal and visceral. While yes, visually and theatrically the film is more brutal, this illusion can be credited to the modern style of horror filmmaking.

What keeps it from actually being more brutal is the attempted political correctness and safety nets. Instead of being a full-fledged junkie in search of his fix, Justin, the youngest of the group of criminals, is simply a pot-smoking loser. The captive girls aren’t forced to degrade themselves by peeing their pants, they aren’t subjected to humiliation by being forced to “make it” with each other, intestines aren’t played with and there’s no oral sex castration. If I wanted to spoil both films, I could continue with more examples, but I think I’ve proved my point.

This isn’t an exercise aimed at putting the remake down, just a look at what society has stated is and isn’t allowed in an R-rated film these days. If this film had gone any further it certainly would have ended up in the dicey NC-17 area. The one key scene that is a little beefed up is the pivotal rape scene, even though this film’s version only shows a side of an ass cheek. I’ve still seen worse. I Spit on Your Grave, I’m looking at you. My desensitized nature aside, I could see others wanting to walk out of the theater after viewing this specific scene.

One of the shining aspects of the original film is the performance by David Hess. Hess plays main villain Krug and turns out one of the most intensifying, psychotic and violent performances in the history of the genre. He was so good at playing crazy that he did it two more times in the films House on the Edge of the Park and Hitch-Hike. Replacing him was my main concern when walking into the new film.

The man attempting to live up to those standards, Garret Dillahunt, is an actor I was fairly familiar with, mostly from Deadwood but also from his smaller role in No Country for Old Men. Without subjecting him to a harsh comparison, I’ll give Dillahunt credit for doing a solid job at recreating one of filmdom’s most volatile characters.

As far as the plot goes, the remake has its differences with the original, which is absolutely okay by me. Whether one plot choice is better or worse than the original is a whole different story that is up to the viewer themselves. The ending is reworked a bit as the parents’ motivation to take revenge comes a bit differently. The screenplay, which was written by Adam Alleca and Carl Ellsworth, works as an effective exploitative revenge horror/thriller.

The Last House on the Left is certainly one of the better horror remakes of the decade. Just like Alexandre Aja’s 2006 remake of a different Wes Craven film, The Hills Have Eyes, the subject matter is successfully adapted to modern times by way of intensifying the events with a glossy overcoat.

Horror and exploitative B-movies from the 1970s distinguished themselves from those of other eras very easily. Highlighted by lots of sex, sleaze, violence, cheesy dialogue, low budgets and midnight showings, the decade became an animal unlike any other that these days is long gone.

As we near the end of the first decade of the new millennium, modern horror filmmaking, for better or worse, has distinguished itself and come into its own as an era best known for bigger budgeted, fast-paced and intense films full of gore. And while this updated version doesn’t have the smarts, wit, satire or certain charm of the groundbreaking original film, it is a great example of what the genre has become.

This Haunting Came As A Surprise

By Michael Walsh / Asst. Entertainment Editor

At first glance, The Haunting in Connecticut seems to have all the fixings to make it just another horror film wading in the swampy waters of modern mainstream horror filmmaking.
There is a house haunted by ghosts, based on a “true” story, hallucinatory freak-outs, an unknown director and a PG-13 rating. In most cases, this combination would prove deadly for the film at hand. There was something a bit different about this haunting though.
The Haunting in Connecticut is somewhat based on the true story of the home of Al and Carmen Snedeker in Southington, Conn. which was originally featured in the book In A Dark Place. The film follows a family that relocates to the supernatural house which is closer to the hospital cancer-stricken son Matt Campbell (Kyle Gallner) needs to receive treatment from.
Let’s set a few things straight here. Haunting doesn’t do too much to break ground or separate itself from the rest of its genre-related counterparts. The film is a rather conventional take on the concept of haunted houses. That said, it isn’t a bad take on the horror subgenre.
Haunting also isn’t scary. At least in the typical meaning of scary in modern horror films, it isn’t. The “jump-out” scare tactics the film employs, which have been a major reason horror films have taken the fall they have the last 10 years (filmmakers forgo atmosphere and other key qualities for the eerie soundtrack aided by the loud sound and quick pan of the camera), just don’t work.
Most of the first half of the film is comprised of these types of moments, such as having a shadowy figure appear and disappear or the long stare into the mirror that turns into a quick and expected attempt to make the viewer jump.
The good thing for Haunting is that the film is scary in the way I feel horror films need to be. I might be out of the ordinary in saying this, but the only way a horror film needs to scare is in concept of what is happening to the film’s characters.
There’s a reason why zombie films became such a huge genre, and it isn’t because they constantly provide the viewer with loud, spine-tingling sounds. The thought of the world becoming a post-apocalyptic hell of people you once knew coming back from the dead to attack you is terrifying. The same goes if you try to put yourself in the shoes of anyone in the house, especially those of Matt, a young man reeling with pain whose nearing death due to cancer is being expedited by supernatural events within the house.
Where the film truly excels is in its attempt to stay grounded as a realistic horror film rather than something far too phantasmal. Sure, a lot of this true story probably didn’t happen and some of it probably was stretched, but since a lot of it deals with the visions of Matt, it can all be questioned. Writers Adam Simon and Tim Metcalfe, along with director Peter Cornwell, used the cancer patient subplot to the utmost advantage by giving emotion to the film and the characters. Granted, this is nothing too deep, but it adds something most films of this kind just don’t have.
The best performance was from the experienced Elias Koteas, who gave a sympathy-inducing performance as Reverend Popescu, a cancer patient Matt meets and seeks help of in attempt to rid the house of its evil spirits. The rest of the cast, including Virginia Madsen and Gallner, is good enough for their roles and the type of film. None of it is close to being great, but it’s all far from terrible.
Once the film reaches its final third, there’s a lot to love. The film begins a bit slow, feeling the effects of the failure of the conventional modern horror scare tactics I mentioned earlier. Once the supernatural events spread from Matt to the entire house and family, things pick up greatly. There is some legitimately cool and atmospheric imaging towards the end of the film that has been showcased on the film’s movie poster. This includes the impressive ectoplasm from the bodies of mediums scene.
As far as the near oxymoron of PG-13 horror films go, this is a valiant and surprising effort. A lot of high-brow critics have already laid the smackdown on the film and I’m sure that trend will only continue. It might be a tad cynical to say, but I also expect a lot of the general public to write it off as a stupid, weird and unimpressive film.
It comes to a point where you have to realize what to expect from a film. While this film surely draws from the big guns of the haunted house genre such as The Amityville Horror, it’s still an enjoyable and interesting effort that came as a huge surprise to me. Don’t go in expecting a truly terrifying film and don’t go in expecting the next classic. Heck, don’t even expect something better than simply good. This is nothing more than a solid way to kill a Friday night.

The Grass is Greener at the Ballpark

By Tonya Malinowski / News Editor

It all started with Trot Nixon.

Game Seven of the 2003 American League Championship Series. Boston was on the hunt for a red October as Nixon faced down Clemens and broke the scoreless tie, hushing Yankee Stadium with that epic two-run homer.

That precise moment, that whole series, affirmed my love for the game of baseball.

Of course, Red Sox Manager Grady Little left a wrung-out Martinez in for the 8th, which led to arguably one of the most crushing losses in Sox history. But no matter, my newfound respect for the game was born.

I grew up in a National League home; my father began grooming me to be a Braves fan from an early age. If I had been born a boy, you can surely bet my name would be Dale Murphy.

I was mildly interested, but I never had that true itch for the game until I found the Sox.

Nixon’s passion and dedication to the game (and maybe the mohawk he sported in 2004) made me wish I loved anything as much as that man loved baseball.

After sitting in the infield grandstand for Nixon’s last game in Boston and watching him jog off the field, I knew that feeling of humbling respect was something everyone should experience.

I love baseball because of the excitement; the electric silence that seems to fall over the world when there’s a full count with Papelbon on the mound.

It’s that jump-to-your-feet instinct when a struggling J.D. Drew smashes a grand slam in game 6 of the 2007 ALCS, saving the Sox from elimination.

The opening monologue in Bull Durham told us there is the same number of stitches in a baseball, 108, as there are beads on a Catholic rosary, proving that baseball in America is iconic enough to be likened to its own religion.

Baseball is so entwined with American history that the two have almost mirrored each other in their development and change, struggles and triumphs.

When America was in the throes of the Depression, millions turned their radios to FDR, who, in order to explain his ideals in terms everyone could understand, used baseball metaphors.

I love baseball because of its power of unification. There are so many possible rifts among us as a nation, as families, as friends, but the vernacular of baseball is instant commonality.

The passion of the Sox-Yankee rivalry is the only thing that can have a bar full of men up at arms one moment, and then exchanging beers and high fives the next.

There’s something about baseball that brings out the child in everyone. Life is suddenly not about deadlines or rush hour; it’s about trying not to break into a dead sprint when coming out of the tunnel and getting the season’s first glimpse of that pristine field.

I love baseball because of the suicide squeeze, an outfielder going over the wall to turn a home run into an out, 30 different names for a hot dog, and 37,000 people all singing “Sweet Caroline”.

It’s been a long winter. We’ve been bogged down with political overload, economic desperation, and all too much seriousness. It’s time for some baseball salvation.

Dorau the [Sports] Explorer: March Madness in Las Vegas

By Kyle Dorau / Sports Editor

Hi, I’m the guy who won two dollars and ten cents. For my first ever foray into true sports gambling, I barely won enough to cover the McDonald’s Crispy Snack Wrap I ate while I watched the game. Spending Spring Break in Las Vegas to me meant one thing. Make some money on my clearly superior sports expertise.

I may have some semblance of sports knowledge, but gambling, not so much. Choosing to get my feet wet by placing a mere five dollar bet earned me a less than encouraging response from the cashier at the MGM Grand. “You do realize that you’ll only win 2 bucks, right?”

With so many bets on the board, it was tough to decide which to select.  Horseracing was less than appealing, because I don’t know anything about it, and if I wanted to, I could drive over to the Off Track Betting locations all around this state.  It had to be a legitimate sporting event.

Being a rabid hockey fan, I had considered betting on my beloved Boston Bruins to defeat the New Jersey Devils. Then I remembered the Devils have this guy named Martin Brodeur in the net, and quickly reconsidered. Not only that, but to me, there’s something just inherently wrong about betting on your favorite team. I don’t know how Pete Rose did it all those years. (Can we just get him in the Hall of Fame already?)

It felt natural to bet on college basketball since it was the rare opportunity to be in Vegas during March Madness. I wanted to bet on a game I had minimal rooting interest in, but knowing I didn’t want to spend my entire afternoon watching for potentially a two-buck payoff, it had to be a specific proposition, and I’m not talking about the ones they were advertising on business cards outside the less-upscale hotels.

Opting to place a prop bet on which team would score 20 points first, the next task was to choose the game. None interested me, until I saw the second-round tilt between Louisville and Siena. CCSU hockey fans will be happy to know I bet on Louisville simply due to my hatred of the Saints, who the Blue Devils brawled with earlier this season.

When Reginald Delk made a layup to give Louisville a 20-14 lead, some people in the sports book hooted and hollered. I walked over to one of the cashiers, sheepishly handed them my ticket, and collected my money.  Mission accomplished. I have bet on sports in Las Vegas.

For those who have never been out there, it really is a heck of an experience. For someone like me who is not the drinking or partying type, even I had an incredible time and was amazed by all that the city had to offer. It is definitely something every one should do at least once in their life.

Speaking of hype, the game of poker has been crammed down our throats on television to the point of overexposure this decade. As someone who’s always been interested in playing, my experience is limited to games with friends, online poker before President Bush (in his infinite wisdom) outlawed it, and the occasional five-dollar buy-in tournament in the Vance dorm basement.

I felt compelled to at least try a shot at a real Vegas tournament. I went downstairs at the Monte Carlo, where I was staying, and put down 50 bucks to enter a sit-and-go tournament. Being the last person to arrive at the table, I felt like I immediately had a target on my back. Maybe it was paranoia, but it’s amazing how much pressure the money puts on you.

I’ve always made fun of poker being televised, primarily on ESPN. Citing the physical shape of most players, the half-baked intimidation tactics and the corny announcers, I dismissed it as a sport and considered the broadcasts a joke.

The epiphany occurred when I pushed all my chips into the middle of the table. The nerves that players have to display is mpressive. Heading into the tournament, the initial goal was just to not finish in dead last. By the time I got eliminated in fifth place, I thought to myself, “Wow, I could have won this thing.”

That’s why I went back the next day. Maybe it was a sense of wanting redemption, or maybe just a budding gambling addiction, but I had to go after it again. It did not go well. I’m a tight, conservative player by nature. The first hand, I tried to bluff like I had a whopper. It did not go well. I lost maybe about half my chip stack on that hand alone.

Tumbling along and getting blinded to death, I was down to my final two chips. I managed to get pocket Jacks, and it was all uphill from there. Several double-ups allowed me to get right back into contention, and each time I went all-in, putting all my chips at risk, my heart beat more furiously. I thought it was going to rip right out of my chest. Somehow, I kept winning and winning until I reached the final two. Severely short-stacked against my Aussie adversary, I managed to double up. We then were dealt the exact same hands twice in a row, and we both took it as a sign that we were equally matched. We split the pot and I achieved a major goal on the trip of finishing in the money at a poker tournament.

Several lessons were learned over the course of the weekend. First, I will now always bet against Siena. Secondly, never use your cell phone at table games. Rookie mistake.

Apparently pit bosses frown upon that.  Finally, Poker, as cheesy as it can be at times, is a sport.  The adrenaline I felt playing the game was more than some instances in which I’ve played a traditional sport. And I was just playing a low level sit and go.  Imagine the pressure in the World Series of Poker. A sport based on luck? Maybe. A sport based on nerves, instinct, and practice? Yes.

Women Fall to BU in Season-Ending NIT Macthup

By Kyle Dorau / Sports Editor

BOSTON, Mass. – The Terriers defeated the Blue Devils, 79-60 at Case Gym in the first round of the Women’s NIT.

Sophomore Leanne Crockett and freshman Shontice Simmons each had a team-high 17 points for CCSU, who fell to 18-14 on the season.

The Blue Devils led by three at the half, but suffered a stretch of 6:55 in which they were outscored 16-0. Central was also outscored a total of 41-19 in the second half.

Central shot under 28 percent in the second half, while BU shot over 58 percent, and were four of six from beyond the arc.

“We were just rushing, taking bad shots,” said Simmons.  “Key moments we could have turned the momentum.”

Conversely, the Terriers took advantage of sharp shooting from senior guard Kristi Dini, who was 6-12 from the field, all from three-point range for a game-high eighteen points.

Blue Devils head coach Beryl Piper echoed the sentiments of her freshman point guard.

“It’s a long game,” said Piper. “Obviously momentum plays a role in what you do.”

Once Central’s offense began to sputter in the second half, BU’s took flight. The two offenses could not have performed more differently in the second half.

“They did some things, and we didn’t know how to handle it,” said Piper. The Blue Devils had just nine assists as opposed to 21 turnovers, while the Terriers’ crisp passing led to 20 assists and just 10 turnovers.

Not only did Central give away the ball far more, but those giveaways proved costly, as BU was able to rack up 23 points off CCSU miscues.

Sophomore forward Kerrianne Dugan notched a double-double for the Blue Devils, scoring 16 points and grabbing 11 rebounds. Overall, Central out-rebounded the Terriers 38-25.

Dugan, at the close of her second season at CCSU, put the season in perspective after the contest.

“I think it definitely says a lot about our team and the potential we have for the coming year,” she said. “Coming into it, nobody even thought we would be close.”

Central graduates one player, senior guard Jhanay Harris, who averaged 3.7 points per game this season, while shooting over 33 percent from three-point range.

Boston University ultimately fell to cross-town rival Boston College in the second round of the tournament, 68-53.

Going from 4-25 in 2007-08 to 18-14 this season, Central Connecticut had the best record turnaround in all of NCAA Division I Women’s Basketball.

Season Ends for Women’s Basketball


By Kyle Dorau / Sports Editor

BOSTON, MASS. –  The Central Connecticut State University women’s basketball team had their storybook season come to a close on March 19 at Boston University.

The Terriers defeated the Blue Devils, 79-60 at Case Gym in the first round of the Women’s NIT.

Sophomore Leanne Crockett and freshman Shontice Simmons each had a team-high 17 points for CCSU, who fell to 18-14 on the season.

The Blue Devils led by three at the half, but suffered a stretch of 6:55 in which the Blue Devils were outscored 16-0.  They were outscored a total of 41-19 in the second half.

Central shot under 28 percent in the second half, while BU shot over 58 percent, and were four of six from beyond the arc.

“We were just rushing, taking bad shots,” said Simmons.  “Key moments we could have turned the momentum.”

Central graduates one player, senior guard Jhanay Harris.

Boston University will face cross-town rival Boston College in the second round of the tournament.

CCSU Will be Skanking


Charles Desrochers / Staff Writer

Though the Central Activities Network managed to keep Spring Week’s headlining band a secret until Monday, they announced Monday that the ska band Streetlight Manifesto will be the main act.

At Monday night’s Battle of the Bands, also sponsored by CAN, New Haven-based rock band The Smyrk won the privilege to open for Streetlight Manifesto after the night’s competition.

Rumors had been circulating around campus that Streetlight was the headliner, but CAN did not confirm until Monday’s announcement.

“I’m ecstatic,” Said Sal Carshia, a DJ at Central’s radio station WFCS. “Their fast pace and melodies are just awesome.”

Carshia, who plays Streetlight Manifesto during his ska show on Mondays, was informed of the announcement shortly after and said that he’s never seen them live, but that makes him all the more anxious to attend The Spring Weekend in scheduled to take place in late April.

Streetlight Manifesto, who is currently touring in Europe and is slated to play the Van’s Warped Tour this summer, may be better known for their former affiliation with bands Catch 22 and One Cool Guy.

With a heritage routed in third-wave ska, Streetlight has been touring since their debut album Everything Goes Numb was released in 2003. Originally intended to only produce one album the band has stayed together through two more studio albums and several robberies.

The Smyrk is scheduled to play March 18-21 at the South by Southwest music festival that brings national and local music acts to Austin, Texas.

Watchmen Comic Has Roots in Connecticut

By Michael Walsh / Asst. Entertainment Editor

Well before the characters of Alan Moore’s graphic novel Watchmen were chosen to be turned into a live-action film, they were a part of a minor comic book publishing house located in Derby, Conn. called Charlton Comics.

Charlton Comics’ main secret of early success was keeping the costs low. 

Part of its Connecticut connection was an integral part of this process. According to Donald Markstein, creator of the cartoon encyclopedia website, operating out of Derby was much cheaper than operating out of New York City like giant comic book companies of the time did.

In addition, Charlton Comics, which closed its doors in 1986, used an in-house second-hand press originally used for printing cereal boxes. 

The minor comic book company was the original owner of the characters DC Comics eventually acquired in 1983 while Charlton was on its last breath. DC Comics commissioned Moore, giving him free reign to disguise and transform them into what we now know as the characters of Watchmen.

Watchmen, heralded as one of Time’s 100 best English-language novels from 1923 to the present, has been skyrocketing upwards ever since the trailer for the Zack Snyder-directed film debuted before The Dark Knight last summer. has Watchmen in their top spot for bestsellers in books while book giant Barnes & Noble lists the graphic novel third overall in sales rank among books.

Most people, readers or not, know that the Watchmen film is an adaptation of the legendary DC produced graphic novel. What many might not be aware of is where the inspiration for these famous characters came from. 

In the mid-1960s Steve Ditko, listed as one of the co-creators of Spider-Man, returned to Charlton Comics to create a few of the characters that would serve as the basis for some of the most popular Watchmen characters.

Before Jackie Earle Haley put the ink blotted mask on and became the live-action Rorschach in the big budget motion picture, Ditko created The Question, the mysterious, merciless and faceless vigilante who also wore a brown trench coat and fedora.

Ditko and Charlton Comics co-worker Joe Gill were responsible for the inspiration of Watchmen’s big blue hero, Dr. Manhattan. Captain Atom first appeared in Space Adventures #33, a March 1960 comic book. Both Captain Atom and Dr. Manhattan received their powers from a similar scientific mishap. The main difference in these two characters lies with Dr. Manhattan having much greater powers than the original incarnation of Captain Atom.

In a 2000 interview in the publication Comic Book Artist, Moore confirmed the fact that the Charlton Comics characters were indeed inspiration for his Watchmen characters.

“The Question was Rorschach, yep. Dr. Manhattan and Captain Atom were obviously equivalent. Nite-Owl and the new (Ted Kord) Blue Beetle were equivalent,” said Moore. 

Nite-Owl I and II were both inspired by the two versions of the Blue Beetle with Dan Garrett inspiring the original Nite-Owl (Hollis Mason) and Ted Kord inspiring the second Nite-Owl (Dan Dreiberg). The Comedian was The Peacemaker. Ozymandias was Thunderbolt. Silk Spectre had correlation with the original character Nightshade.

More than 60 years after Charlton Comics became Charlton Comics, a film with a budget of $150 million has been made. And it all came from comics that used to cost 10 cents a pop.