First, there was DC Universe: Rebirth, a one-shot comic that seemed to exist almost entirely to find an in-universe way to address all the criticism lapsed fans had at the time. Then, there was “The Button”, a four-part crossover between Batman and The Flash that saw the two titular characters explore the reasoning behind a strange smiley face button discovered in the Batcave, as well as looking into the most troubling thing Wally West had told Barry after his return from the Speed Force — that their world was being altered by someone trying to weaken them.
Now, this November it’s time for the next step in the “Rebirth” saga over at DC. Revealed at the end of “The Button” crossover, “Doomsday Clock” is a story that DC doesn’t even have to promise will rock the universe to its core forever. The stories leading up to it have already made it clear: Superman confronts the being who was responsible for the New 52, and potentially every cosmic change we’ve seen for decades — Dr. Manhattan, from Alan Moore’s Watchmen. And now, CBR counts down everything we’ve learned from Geoff Johns and DC about Doomsday Clock…and some things we hope to discover by the end of it.
15. WHAT WE KNOW: THE CREATIVE TEAM
Let’s start at the beginning: the creative team for Doomsday Clock is Geoff Johns, Gary Frank, and Brad Anderson, all creators who have proven time and again they do fantastic work together. From their run together on Superman, to their New 52 revival of Shazam!, all the way up to the two volumes of Batman: Earth One, they’re known for doing unique takes on the biggest and best heroes DC has to offer.
Their stories often distill the characters we know and love down to their core elements, presenting them in ways that feel familiar to long-time fans, approachable to new fans, and fresh to everyone who reads their stories. Given the nature of Doomsday Clock, their talents are going to prove crucial for this project going forward.
14. WHAT WE HOPE: NO FILL-INS
So with that said, we hope there won’t be a need for any fill-in work on the project. Events have a way of somehow drifting off schedule or requiring different pencillers to keep things either on schedule or close to schedule, as the massive casts that event comics generally require can prove to be some of the most arduous work for even the fastest artists.
And while both DC and Marvel are known to find artists that are just as talented as the ones they’re replacing, it still takes away from the cohesiveness of a project if issues 3, 7, and 9 are being done by someone else. To be fair to DC and the team involved though, there’s a ton of lead time built into this, as the first issue doesn’t even hit stands until late November.
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