Panel 1: Veidt’s remark that one “…need not delve quite so deeply into antiquity…” to discover the reason for his celebration is emphasized by the shallow pool he stands at, a pool that one would not have to reach too far into, in order to find the bottom.
This image is also a call-back to Chapter V – which was laid out as a reflection of itself, and within which Veidt played a major role.
Panel 2: 1939 is an important year, as that is when Batman debuted in Detective Comics #27 (a year after Superman’s auspicious debut in Action Comics #1), and is a point when comics – and superhero comics, in particular – begin their ascendance in America.
Visually, note that Veidt is only seen in shadow in this panel – which is also the case for subsequent panels exhibiting this past he is recounting. This symbolizes the fact that the man who became Ozymandias was only a shadow of himself before the epiphany that led to his physically and intellectually superior alter-ego.
Panel 3: Note that Veidt’s wine glass is still untouched.
Panel 5: The butterfly in the background – the same one seen on the cover of this chapter – will play a minor role later.
Panel 6: The large painting of Alexander of Macedonia looks very much like Adrian Veidt and transitions directly to
Panel 7: and the close-up of Adrian – his blond locks and chiseled features mirroring his role model.
The significance of Veidt’s remark – “...true, people died…perhaps unnecessarily…” – as stated with his servants visible in the background will become evident two pages hence.
Panel 9: Veidt’s remark that he “…wanted to have something to say to [Alexander], should [they] meet in the hall of legends…” is made over an image where we look up through the pool at Veidt. This emphasizes the fact that he aspired to these objectives in order to impress a dead man, whose point of view would be similar to Gibbons’s point of view in this panel.
And this image transitions directly to