It’s 1986, 1992 and 2017 all over again as DC rolls out the game-changing Doomsday Clock. Alan Moore and Dave Gibbons’ original Watchmen miniseries piled layer upon layer to create a dense, multifaceted narrative; and D-Clock already looks just as ambitious. There’s so much in this first issue we’re not even sure we caught everything, but we’ve certainly got lots to discuss.
Often, these sorts of annotations accompany a big superhero miniseries which has drawn from a number of different sources. However, since D-Clock is a Watchmen sequel, we’re going to take a slightly different approach. In order to focus on new elements, as well as old elements used in new ways, we’re going to assume that you’ve read Watchmen (or are at least familiar with the basic plot). We’ll also examine how a handful of real-world figures compare to their D-Clock counterparts.
Be warned: Because we’re going to spoil the heck out of D-Clock issue #1, turn back now if you haven’t read the issue.
Doomsday Clock issue #1 was written by Geoff Johns, drawn by Gary Frank and colored by Brad Anderson.
View Full Article On One Page, Or Leap To A Section:
- Setting Up Watchmen’s 1992 for Doomsday Clock #1
- Meet the Newcomers to the Watchmen Universe
- Introducing Superman to the World of Doomsday Clock
- Breaking Down Doomsday Clock #1’s Watchmen-esque Text Pages
Before We Begin
We tip our cap to the indispensable Brian Cronin, who has already annotated the 6-page preview DC released previously. Brian’s notes explain
- how the real-world Doomsday Clock relates to the Watchmen “ticking clock” logo;
- the “End Is Here” sign;
- the lettering in Rorschach’s journal;
- omnipresent smoke and/or fog;
- the Veidt “V” logo, Veidt Building interiors, and the wall of TV monitors at Karnak, Veidt’s Antarctic retreat;
- the New York Gazette newspaper;
- the location of Veidt’s brain tumor; and
- a callback to Rorschach’s “you’re stuck in here with me” moment.
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