I really wish Doomsday Clock was better than it is. I love Alan Moore and Dave Gibbons’ Watchmen and I really enjoy the DC Universe; I even thought much of the lead up to this series was very good – or, at least, intriguing. But then the actual series came out and it was plagued by so many delays in its publication that it genuinely became difficult to follow the story as it went on. Unfortunately, rereading the whole series upon its completion didn’t really make it much easier to follow. But, I suppose, that’s in line with the original Watchmen graphic novel. (This review covers all twelve issues of Doomsday Clock and may contain mild spoilers.)
Doomsday Clock (written by Geoff Johns, illustrated by Gary Frank)
Seven years after the events of Watchmen, Adrian Veidt has been exposed as the murderer of millions. Now a fugitive, he has come up with a new plan to redeem himself in the eyes of the world. The first step? Finding Dr. Manhattan. Alongside a new Rorschach and the never-before-seen Mime and Marionette, he follows Manhattan’s trail to the DC Universe, which is on the brink of collapse as international tensions push the “doomsday clock” ever closer to midnight. Is this all Dr. Manhattan’s doing?
Spinning out of Watchmen, DC Universe: Rebirth, and Batman/The Flash: The Button, Doomsday Clock rewrites the past, present, and future of the DC Universe.
Watchmen is one of those properties that has proven notoriously difficult to adapt to other mediums, so it only seems fitting that it would similarly be difficult to review. Normally, I either review a TV show episode-by-episode, or I review it in chunks, or I review it after the finale ends. For Watchmen, the trick was deciding whether I’d review it three episodes at a time or whether I’d wait until the end of the season and just review the whole thing. As the third episode aired, it became clear that it was going to be impossible to judge this show until the ending was known. Like the graphic novel (written by Alan Moore and illustrated by Dave Gibbons), every episode/chapter of the story was clearly building to a climax that would either answer (most of) the questions posed by the story or would completely drop the ball, and the quality of the story would largely be determined by how well it executed its ending (even if individual “chapters” were excellent – episode 6 of the show and the chapter of the comic detailing Manhattan’s past). And, let’s be clear, every episode of the series was extremely good. There was a point to every episode, and they followed a very similar pattern to that of the comic (one episode would be devoted to furthering the plot along, the next would be devoted to exploring one of the key characters’ backgrounds (thus moving the emotional arcs forward) and they’d alternate back and forth like this until the climax. But with this style, it is very important that the landing pay off all of this development in a meaningful and satisfying way. Luckily, that’s exactly what the show managed to do. (Spoilers for all nine episodes of Watchmen follow. You have been warned.)
Set in an alternate history where masked vigilantes are treated as outlaws, WATCHMEN, from executive producer Damon Lindelof (Emmy(R) winner for “Lost”; HBO’s “The Leftovers”) embraces the nostalgia of the original groundbreaking graphic novel of the same name, while attempting to break new ground of its own. Nicole Kassell directs the pilot from a script written by Lindelof. WATCHMEN is produced for HBO by White Rabbit in association with Warner Bros. Television; executive producer/writer, Damon Lindelof; executive producer/director, Nicole Kassell; executive producer, Tom Spezialy; executive producer/director, Stephen Williams; executive producer, Joseph Iberti. Based on the iconic graphic novel co-created and illustrated by Dave Gibbons and published by DC.
Over the past month, DC Comics has been publishing a crossover between Tom King’s Batman run and Joshua Williamson’s The Flash entitled The Button. This crossover picks up from where the DC Rebirth One-Shot left off, with Batman and the Flash discovering the Comedian’s (from Alan Moore’s Watchmen) smiley-face button stuck in the wall of the Batcave. The crossover follows Batman and the Flash as they try to track down the source of the radiation being emitted by the button while facing off against a series of personal and emotional obstacles thrown their way, seemingly on purpose.
First off, I think it’s important to note that I have not been regularly following either of these comics. I read the first issue or two of Tom King’s Batman run, and it was enjoyable enough; I just got too busy and caught up with life to regularly read them and I have never really read any of the Flash’s solo titles. That being said, this crossover seems to stand apart from whatever ongoing storylines have been going on in the individual titles. As long as you’ve read the DC Rebirth One-Shot, you should be good to go with reading this crossover. Continue reading →