who's got an oddly designed mask". Moore based Rorschach on Ditko's creation Mr. A; Ditko's Charlton character The Question also served as a template for creating Rorschach. Comics historian Bradford W. Wright described the character's world view "a set of black-and-white values that take many shapes but never mix into shades of gray, similar to the ink blot tests of his namesake". Rorschach sees existence as random and, according to Wright, this viewpoint leaves the character "free to 'scrawl [his] own design' on a 'morally blank world. Moore said he did not foresee the death of Rorschach until the fourth issue when he realized that his refusal to compromise would result in him not surviving the story. Art and composition Moore and Gibbons designed Watchmen to showcase the unique qualities of the comics medium and to highlight its particular strengths. In a 1986 interview, Moore said, "What I'd like to explore is the areas that comics succeed in where no other media is capable of operating", and emphasized this by stressing the differences between comics and film. Moore said that Watchmen was designed to be read "four or five times", with some links and allusions only becoming apparent to the reader after several readings. Dave Gibbons notes that, "[a]s it progressed, Watchmen became much more about the telling than the tale itself. The main thrust of the story essentially hinges on what is called a macguffin, a gimmick ... So really the plot itself is of no great consequence ... it just really isn't the most interesting thing about Watchmen. As we actually came to tell the tale, that's where the real creativity came in." Gibbons said he deliberately constructed the visual look of Watchmen so that each page would be identifiable as part of that particular series and "not some other comic book". He made a concerted effort to draw the characters in a manner different from that commonly seen in comics. The artist tried to draw the series with "a particular weight of line, using a hard, stiff pen that didn't have much modulation in terms of thick and thin" which he hoped "would differentiate it from the usual lush, fluid kind of comic book line". In a 2009 interview, Moore recalled that he took advantage of Gibbons' training as a former surveyor for "including incredible amounts of detail in every tiny panel, so we could choreograph every