Pages 6 and 23

Here we see another pair of seven-panel pages, this time with two large panels breaking up the reglar grid. The light/dark pattern is still here, even when in 6.1-3 it is only apparent on the back of Rorschach's suit. Reading from top to bottom on page 6: Rorschach exits Jacobi's house; he goes from inside to out, stepping in the puddle. Page 23 begins with the puddle, taking Rorschach indoors from there. The entire Rorschach/Jacobi cycle begins and ends with the image of the puddle and the neon sign -- itself a case of reflection or mirroring.

These pages are the first to contain transition panels, in which the visual image from the final panel of one sub-story continues into the next. 6.7 bridges Rorschach's encounter with the police via the splash from the puddle translated to the splatter on the poster. This interconnection of stories, whether visual, textual, and/or thematic, is repeated over and over in Watchmen. It seems safe to say that this is an intentional repetition, and cuts to the heart of Moore and Gibbons' vision.