Streets were littered with bodies. Grotesque nightmares of fictional invaders. Clock started over. We had a chance.
But they blew it.
All of them.
Moore favored leaving the franchise as just that, but DC begged to differ. Though Moore never bestowed his blessing, Watchmen was made into a live-action movie and received a prequel comic, both of which were met with mediocre reviews.
When DC's 'New 52' reboot with their mainstream heroes faltered, they moved on to phase two, a 'Rebirth' in story-telling of sorts. The timeline started over yet again and an explanation was needed, so they turned to a character who had never abided by the rules of linear time: Dr. Manhattan. A sequel was born, promising to insert the Watchmen characters into the mainstream DC continuity in a convincing manner, with a story so moving it would draw comparisons to the original Watchmen itself.
Many were skeptical, but writer Geoff Johns and artist Gary Frank rose to the challenge. Watchmen concluded with Adrian Veidt successfully enacting a plan to trick the world into unifying against a perceived common threat. To save billions, he murdered millions, and he convinced his former teammates to keep their mouths shut; all except for one.
The DC world is in a similarly bleak state thanks to the Supermen Theory, a revelation that governments have been genetically creating superhumans to use as weapons of mass destruction. As the world leans towards war, hope rests with Superman to restore balance.
Like Watchmen, Doomsday Clock contains numerous allegories to modern-day society. The conflict largely plays around with the futility of nations pursuing their own interests before the good of the people. The meaning of "hero" dwindles, as public faith in the metahuman collapses. It's a well-treaded theme in comics adeptly rewritten, the question of what happens when the common individual begins to wonder if they really should worship supers with unconditional trust.
Johns crafts an intricate, contained story with careful precision, juggling dozens of characters new and old alike but never requiring the reader to consult outside tie-ins or buy extra material. In the age of massive crossover events, this is a refreshing novelty. Frank's artwork is carefully sketched, taking time to draw out character expressions similar to Watchmen artist Dave Gibbons. The nine-panel page format, a carryover from Watchmen, lends itself more to dramatic interaction than large set pieces, which suits the narrative perfectly. There aren't many massive battles filled with explosions. Instead, the story hooks the reader with its intriguing buildup and startling revelations in each issue.
Frank makes the most of the template, using transitional and recurring imagery to maximum effect. Iconic symbolism from Watchmen returns as well, such as the first panel of an issue becoming the cover and the doomsday clock at the end of each issue gradually getting closer to midnight. The real standout performer is inker and colorist Brad Anderson, who makes the entire series feel grizzled and grounded in reality.
Character development is given careful attention, sometimes taking entire issues. This can lead to some issues, especially in the beginning, to feel more slowly paced, but the backstories themselves are rewarding and offer a look at elements of society that may receive less attention in general, like the mental effects of PTSD and the struggles of immigrants trying to find honest work in America. Each backstory contains a message to learn in the individual issue, as well as insight on character motivations in the later story. That said, several characters who receive particular focus in the first half of the series, sometimes scoring entire issues dedicated solely to them, disappear in the second half of the arc. Unless the final issue, yet to be released, pulls them back in and convincingly works them into the conclusion, it could lead to a lot of buildup feeling meaningless.
When the story picks up in the second half of the series, it runs. Pieces begin coming together in every panel, and revelations arise as the true perpetrators gradually come into the light, all the while Superman and Dr. Manhattan hurdle towards an inevitable showdown.
The nuances of both of the aforementioned characters are what largely drive the plot. Manhattan could be viewed as a man trying to play god, while Superman in DC stories is a god trying to be a normal man. Manhattan believes in inevitability, while Superman believes in hope and the possibility of change. The two contrast fundamentally, a split right down the middle that brings up questions of existentialism.
Manhattan was once a human who now sees all of time at once, but only to himself. The loss of unpredictability regarding the future has made his interaction hold no emotion or meaning, and he has long since become detached from his humanity. When he entered the DC universe, he was finally faced with an unknown. Time was a foldable, ever-changing construct. Curious, he meddled, ever so slightly. This parallels the basic cause-and-effect pattern of life, a lesson taught in day one of physics: every action has an equal yet opposite reaction. Manhattan's reaction is the Superman.
As humans, we gradually learn, usually subconsciously, that every decision will set off a domino effect. Had the slightest portion of an event gone differently years ago, we may find ourselves in a completely different place than we are today. This is a message Watchmen began toying around with and Doomsday Clock aims to complete, only this time the presence of metahumans interferes with our natural desire for choice. How much control do we have over ourselves, really, when there are those who could change our present, future, even past at any given whim?
Even beings placed on a godlike pedestal like Dr. Manhattan and Superman find their control stripped just as easily by others.
Most of the major DC characters play roles in the epic. Batman is trying to figure out Veidt's motives, but, and this is a contrast for how he is usually able to operate, remains constantly outwitted. Joker adds his blend of chaos. Wonder Woman appears before the United Nations to try and deescalate tensions. Black Adam harbors metahuman refugees in his home country of Khandaq; a looming threat that the public, more concerned with the Supermen Theory, appears to largely ignore. Guest stars and surprise appearances from both DC and Watchmen leave their own marks on the story.
Johns was tasked with not only replicating the greatest graphic novel of all time but also spinning it into a new, original story that reached beyond the panels of a superhero epic and crafted a parallel of modern society. It was a task met with skepticism but the product has been largely successful. Doomsday Clock is one of DC's best runs of recent. Yet, just by name association alone, it may never fully escape the massive shadow of its source material. In the age of reboots and revivals, it is important a true gem such as this is not lost at sea.
Currently through 11 of 12 issues, the conclusion is eagerly awaited so that the complete story may finally come together. It has been a long wait, with several months passing between most individual issues, but the high quality of the read has made it well worth it. If you have not already, give this one a try.
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