DC’s Doomsday Clock shows how DC have ran out of ideas

DC Comics bring out a comic next month where Watchmen becomes part of the mainstream DC Universe. Written by Geoff Johns and drawn by Gary Frank, Doomsday Clock is a 12-issue series telling the story in all its gory detail.

1980’s nostalgia is all the rage, and seeing as DC have mined Frank Miller’s Dark Knight Returns to an inch of its life, the other other jewel it has left from that era it hasn’t mined is Watchmen. That for years was protected but after the disastrous Before Watchmen anything was on the table, or to be precise, dragging Moore and Gibbons creation kicking and screaming into the DC Universe was the last roll of the dice for DC. I say that because I imagine jobs are riding on this being a hit and having sat in marketing meetings I’m also aware of what it looks like when a company rolls that die for the last chance. Doomsday Clock is that last chance.

This weekend is New York Comic Con, and a preview of the first issue was released. I present it here as sort of evidence for the prosecution. First thing that strikes me is that Gary Frank really is a fine artist. Second thing is that Geoff Johns isn’t the writer he clearly thinks he is. Take this panel for example…

On the surface it seems fine. Except the book is set in the 1992 of Watchmen’s ‘universe’ so terms like ‘undeplorables’ and ‘echo chamber’ are a 21st century term, and one that came into common usage this century respectively. Basically from the off Johns makes the script too on the nose, too unsubtle about what he’s trying to do and we don’t get an idea of the moral and political grey porridge that was Watchmen, but we’re being informed to think in binary. I have no idea how we’re supposed to think about the return of one of the very dead characters from Watchmen.

Actually I do. Rorschach was the big fan-favourite so it makes sense for Johns to bring him back, because you just know he’s going to fight, then team up with Batman.He’s a character who Johns said is the most fun character he’s written. Moore makes it clear just what Rorschach is here…

Everything in these six pages points to a paucity of imagination, a lack of understanding of politics or ideologies beyond that of a typical American liberal, and the fact that as the last roll of the dice for DC, it has to bathe in the nostalgia of the 80’s in such a way it doesn’t give people another Watchmen, but what some people think Watchmen should be which is a superhero story.

Johns isn’t without talent. He can write but rather than forge his own original idea (And as a very, very senior figure in DC he can do whatever he likes) but instead we get this which looks to ignore the main thing that Watchmen was which was a satire/criticism on not just comics as a medium, but the industry. All the subtly dense discussion of humanity, morality and politics replaced by fan-fiction wankery and superheroes punching each other. DC are packaging nostalgia, but they’re not providing anything new, original or giving themselves new titles as good as Watchmen.

And who would create that for DC when they see what they’re doing to Watchmen anyhow?

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