![]() ![]() ![]() The newly-invented son of Rorshach’s psychiatrist was driven mad by the attack on New York City, and is now the new Rorschach (he’s not just black and white, he’s Black!). It turns out that Rorschach’s diaries were revealed to the public exposing Veidt’s deception. Setting aside the connection to the DC Universe, what we get in the world of the original story is an answer to a question that never needed a solution. Johns simply writes a sequel to Watchmen. In imitating Watchmen, they did not copy the object they copied the instructions. Instead, they entered into an artistic dialogue with their predecessor that was enabled by stepping outside of Watchmen’s world. Morrison and Gillen realized that we do not need more Watchmen when we already have Moore’s Watchmen. At best he proves he can write a Watchmen pastiche. ![]() ), all he does is invite unflattering comparisons. I’m in New Jersey, at the Pallisades Amusement Park. Manhattan’s signaling of the shifts in time in the first Mars chapter (“It’s October1985. When Johns’ borrows one of the most famous verbal structures of Watchmen, Dr. In Doomsday Clock, Johns’ meets the challenge of Watchmen in an entirely retrograde fashion, aping the wording and pacing of Watchmen in a manner that does him no favors, while treating the book’s content as the site of revision and possible innovation. By extending and rewriting the story of some of Watchmen’s main characters, Johns’s project is inherently revisionist, but, unlike Morrison and Gillen, his struggle with Moore’s influence does not lead him to experiment with artistic innovation. Not in terms of aesthetic success, but of approach. This will be the topic for the bulk of the post.Īesthetically, Doomsday Clock falls somewhere between Before Watchmen and the Morrison and Gillen reinterpretations. This can be addressed rather quickly.ĭC editorial politics as a cosmology. We’ve already dealt with that one.Īesthetics. My objections to Doomsday Clock can be broken down into three categories:Įthics. At its worst, Before Watchmen was simply bad or superfluous, but Doomsday Clock tries to drag Watchmen down with it. Rather than combat the common criticism of corporate comics by such independent-minded creators as Moore, the strategy behind Doomsday Clock seems to be to take Watchmen down a peg by thoroughly embedding it into the cosmology of the DC Universe. ![]()
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