Two years later and some changes since it began, Doomsday Clock – a 12-issue sequel to Watchman by writer Geoff Johns, artist Gary Frank, and colorist Brad Anderson, is today surrounded by some huge twists facing DCM Is and will stop talking. Fans for a while.
The latest in a line of “crisis” stories aimed at cleaning up DC’s continuity and establishing the next big thing, began as an ambitious and lavishly executed love letter to the work of Alan Moore and Dave Gibbons. The finale – and the series – were realized as a result.
On the one hand, John, Frank, and the company had said something about Watchman’s characters, the world, and the legacy (both good and bad) that had been in comics for the past 30+ years.
On the other hand, what he had to say is somewhat serious from the previous issue, which landed on the backside of the issue of rebuilding the Flashpoint-style universe.
On a reasonably positive note: Art. Frank and Anderson kill it, and there is not even a page of the Doomsday Clock that didn’t look very pretty.
The project was completely worth the wait, and the collected versions of the maxi-series would likely remain in print for at least a generation.
This is not the state where the greatness of the original resulted in rapid and loose followings. Visually, it stands up to its predecessor and can be placed side by side without shame.
Naturally, much remains to be said. Like Watchman, it cleverly develops several storylines and brings them all to a very satisfying conclusion at the end of # 12. Exposure to a ton in this issue is not surprising.
The first, which is the trademark of Johns in the final part of a larger story. Secondly, like Watchman, Doomsday Clock tried its best to surprise the reader with opening and stopping paces, making it difficult for some to bow down (as foreshadowing came before on two or three or eight issues).
Watchman felt like the definitive end of a story, it isn’t – although certain beats feel very final, and any potential follow-up will likely center more on the characters created by Johns, who first appeared in Doomsday Clock Had appeared. Moore and Gibbons compositions on lamps and works.
In the end, it might be a sensible strategy for this, but like HBO’s Watchman, the greed to use Adrian Wade and Doctor Manhattan proved irresistible to those people.
Johns historically has trouble preventing stories of major events from landing, and this is not the case. With each big swing he takes issue, he at least puts some wood on the ball.
Doomsday clock is used to alleviate issues as many “is it well-executed?” And more “Was it a good idea?
All of that said, Johns still wants to cram a lot of information into this last issue – and some square pegs into some round holes along the way.
The results are a mixed bag and even at best, it’s hard not to be a bit disappointed with a series that was billed as a follow-up to the high-minded Watchman and instead of Infinite Perils Became the sequel to a series.