Ricky Church reviews Doomsday Clock #3…
One of the best aspects of the original Watchmen series is that it is a slow burn, taking its time to advance the story or get to an action sequence and instead focusing on the characters’ complexities as well as the deepening mystery. Geoff Johns is taking a cue from Alan Moore and Dave Gibbons, putting Doomsday Clock #3 and the series as a whole on the same slow burn. Doomsday Clock #3, however, is still exciting as it introduces two of comic’s biggest characters to each other and gives readers a couple very interesting reveals.
Seeing Batman and Rorschach (even if its not the real Rorschach) together for the first time was great. Seeing Batman actually holding Rorschach’s journal – the original one left behind at the end of the series and has been mysteriously missing until now – was one of the best visuals of the series so far just for the pure nerd joy. It was an amusing scene where Batman read the journal but Rorschach was impatiently waiting for him to finish it. Of course, this team-up didn’t last long or get off to a good start as Batman decided it’d be best to lock Rorschach up in Arkham Asylum rather than have him on the loose.
We also got a reveal of the new Rorschach’s identity. Based on what we see as he takes off the mask and his brief flashback, he was one of the civilians caught in New York when Ozymandias transported his squid. It was certainly surprising to see his identity revealed so soon and even more so to see that he is just a random guy on the street (though knowing Johns, there is probably more to the story than we’ve been led to believe). Even though we don’t learn his name or more of his history, we still get to know him through the silent images as he struggles without the mask and the memories that haunt him.
Of course, one of the big moments from the issues is the fight between Ozymandias and The Comedian. Its an exciting sequence, one where we see Comedian’s full capabilities against one of the strongest fighters in the world. Its an exciting scene that ups the ante, but since its right at the start of the issue its a bit misleading since the rest of the story operates under the slow burn. Its still a great sequence and doesn’t detract from the rest of the issue’s tone. It is also interesting that Manhattan has saved Blake and brought him to the DCU for some unknown reason.
Gary Frank’s artwork is the selling point of the series. On one hand, its a shame that Doomsday Clock is switching to a bi-monthly schedule so Johns and Frank can accommodate a 32-page book, when we’re getting art this good I would rather them take their time with the series instead of rushing or delaying the book, or ultimately move it down to a standard 20-page issue. The sequence with Ozymandias fighting Comedian is greatly choreographed and Rorschach’s pained face is nicely detailed. One of the best points, however, is Frank’s artwork of the old Nathanial Dusk film noir, which seems to be Doomsday Clock‘s version of Tales of the Black Freighter. Brad Anderson’s colours compliment Frank’s artwork, bringing a lot more detail to Frank’s illustrations, especially during the black and white segments.
Doomsday Clock #3 is a great issue from Johns, Frank and Anderson. The slow burn nature of the story allows readers to really dive into the story and pour over the details of the story and artwork. Johns has a good handle on the characters and knows when to focus on the story and Frank and Anderson’s artwork is great throughout the issue. Given the events that happens here, its going to be a very long wait full of anticipation for the fourth issue in March.
Rating: 8/10
Ricky Church
