Stillanerd Reviews: Doomsday Clock #7 review

The much-hinted and teased return of Dr. Manhattan changes the course for many characters and for Doomsday Clock heading forward.

Doomsday Clock #7

“Blind Spot”

Writer: Geoff Johns

Illustrator: Gary Frank

Colorist: Brad Anderson

Letterer: Rob Leigh

Back Matter Design: Amie Brockway-Metcalf

Covers: Gary Frank and Brad Anderson

"“Nothing ends, Adrian. Nothing ever ends.”–Alan Moore, Watchmen"

Since DC Universe: Rebirth #1 reprinted the above quote, readers have known Dr. Manhattan molded and shaped the current DCU. Some even went as far as to suggest he created the DCU himself. Of course, stories such as the Batman/Flash crossover, “The Button,” and the Mr. Oz subplot in the Superman comics tried to play coy about this, even though readers knew full well what was going on. The real question was never “Is Dr. Manhattan involved?” but “Why is Dr. Manhattan doing this?”

Doomsday Clock #7 may have finally hinted at some answers, incomplete as it may be. Among what we learn is that, no, Dr. Manhattan’s not the Creator of the DC Universe despite his playing God. He did, however, create the literal butterfly effect, or should I say moth effect. We also learn why he really spared the Marionette and her unborn child and why he’s so curious about Superman. There are things which various characters that they don’t take well. Neither, I suspect, will some readers, come to think of it.

Credit: Gary Frank and Brad Anderson (DC Comics); from Doomsday Clock #7

[With Doomsday Clock #7] there’s now a sense that things are finally coming together with genuine forward progress the overall narrative.

Yet, this comic also hints at an answer to a question I never even considered asking: why is Dr. Manhattan in the DC Universe at all? What writer Geoff Johns suggests is that Dr. Manhattan was lonely, and that in the DCU, he’d found others with powers similar to his. Since Dr. Manhattan was the only super-powered person in the world in the original Watchmen series, this is a very subtle, insightful and thought-provoking bit of characterization from Johns.

Another avenue Johns starts exploring with Dr. Manhattan is the question of his own mortality. Without giving too much away, we learn that Manhattan cannot see anything beyond one month into the future. Rather odd considering he can mentally be anywhere and anytime along his own timeline…unless this means, one month from when this issue takes place, he will die.

But what exactly does this mean? Is it only Dr. Manhattan’s death, or does he wipe himself and universe out of existence? If it’s the latter, then how can Saturn Girl even exist seeing as she comes from the 31st Century? Also, given that Manhattan can literally reconstitute himself at the subatomic level, how is it even possible for him to die? And, why did he also not know about this before when he told Adrian Veidt, a.k.a. Ozymandias, “nothing ever ends” before his arrival in the DC Universe?

Credit: Gary Frank and Brad Anderson (DC Comics); from Doomsday Clock #7

In any case, there’s now a sense that things are finally coming together with genuine forward progress in the overall narrative. We’re also seeing confrontations that have built since the first issue, such as the one between Batman, Marionette and the Mime. This especially includes emotional confrontations. Reggie Long, the new Rorschach, tragically learns how living by the phrase “seeing what we wish to see” has made him more susceptible to lies and manipulation. More importantly, there’s another twist involving Adrian Veidt as his messiah complex returns in-full-force.

We even see developments in regard to the “Superman Theory” subplot. It seems the various nation-sponsored super groups are now invading other countries–the very thing these countries accused the United States of planning to do with their creation of supers. Meanwhile, everyone seems okay with Superman operating within their borders without impunity, which is what fueled the basis behind the “Superman Theory” in the first place. That’s definitely a nice, subtle piece of dramatic irony, which also deftly advances the plot.

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In hindsight, Johns definitely took his time developing Doomsday Clock, even though the build-up towards this issue felt longer than usual given the series’ release schedule. I can also imagine Johns smiling to himself while typing up this particular comic’s script, finally allowing himself to part the curtain behind DC Rebirth after keeping it hidden for the last two years.

Yet, I can also imagine Johns becoming a little too impatient while writing Doomsday Clock #7, as well. The story seems more frantic with every revelation or half-revelation Johns exposes. While reading this, I almost want to say to him, “Slow down, Geoff. You still have five issues and ten months left to go.” I know this is a weird point of criticism after complaining about the series moving too slow. Regardless, I think this shows how Johns has struggled balancing Doomsday Clock’s pacing overall.

Credit: Gary Frank and Brad Anderson (DC Comics); from Doomsday Clock #7

…as much as Doomsday Clock‘s developments have been painfully slow in coming, one cannot deny the care Johns and Frank have put into this series. With this comic in particular, I’m now more interested in what the final endgame is.

Meanwhile, Gary Frank’s art continues to impress. I’m continually amazed by the way he can emulate the emotional states and reactions of the various characters. In some instances, Frank moves beyond emulating Dave Gibbon’s style from the original Watchmen series. The depiction of Dr. Manhattan’s arrival, for example, takes up almost a full page. Likewise, there’s a neat effect, where Frank vertically divides the panel with increasingly thicker and bolder lines when Manhattan teleports himself and others. If there’s anything to take away from this comic, it’s how the power of visuals can enhance a story as much as words can.

All of this is to say that as much as Doomsday Clock‘s developments have been painfully slow in coming, one cannot deny the care Johns and Frank have put into this series. With this comic in particular, I’m now more interested in what the final endgame is.

Stillanerd’s Score: 4 out of 5

Stillanerd’s Nerdy Nitpicks (contains possible spoilers)

Credit: Gary Frank and Brad Anderson (DC Comics); from Doomsday Clock #7

• So now, we know that because Dr. Manhattan caused Alan Scott’s death by proxy before Scott became the original Green Lantern, the Justice Society never came to be. That means Dr. Manhattan can travel through time and change the past. Doesn’t this, however, contradict his deterministic beliefs from the original Watchman series?
• Whoa! Samurai, Animal-Vegetable-Mineral Man, and Dybbuk? Someone’s really dusting the cobwebs off the DC Comics’ “secret files.”
• For someone who’s the self-proclaimed “world’s smartest man,” I would think Adrian wouldn’t be so quick to dismiss Saturn Girl’s claims. Then again, can you really blame him when the comic itself makes her seem delusional?
• Okay, Bubastis II being a clone of the original Bubastis makes sense. That she can track Dr. Manhattan “temporal fingerprints” because she has some of his DNA in her genetic make-up is also a clever plot-twist. It’s also a gaping plot hole. After all, if Dr. Manhattan can completely reconstitute himself after he and the original Bubastis were disintegrated, how can there be any of his DNA in the original Bubastis’ remains?
• “When it comes to Dr. Manhattan, there are no coincidences.” If you’re suggesting, Adrian, that Dr. Manhattan somehow arranged all this to happen, I think you’re forgetting that he already knows you’ll find him, as indicated by his opening narration at the beginning of this issue. Therefore, he didn’t have to arrange anything.
• Hold on? Just how sharp is Marionette’s wire if it can cleanly slice through Batman’s body armor?
• Yeah, I think I could’ve done without the Joker’s visual gag involving the flamethrower, thank you very much. At least Watchmen was less obvious about it.
• “Don’t sneak up on a man like that, Bogart!” Okay, now that was funny.
• So, the mere hint of Bruce Wayne’s genitals in Batman: Damned cause a massive amount of controversy, but there’s barely a peep about Dr. Manhattan’s full frontal glory? If people are going to complain about explicit nudity in mainstream comics, how about some consistency?
• Oh, so that’s why Dan Dreiberg and Laurie Juspeczyk aren’t involved. Though, it’s rather telling of Adrian that his second go-to representatives of humanity are a pair of psychotics in clown make-up.
• Okay, now I’m really curious about Marionette and Mime’s first child (and whether he’s one of the three Jokers) based on what Dr. Manhattan saw about him.
• So remember that doctor from issue five who said that, despite some minor injuries, there was nothing wrong with Adrian despite his having brain cancer? Well…I guess we can chalk that up to some clever foreshadowing. Bravo, Johns!
• “Carver Coleman was once full of hope, too.” Oh, now I get it! The Adjustment Buerau story-within-a-story echoes “The Superman Theory” and that Carver Coleman, the actor playing Nathaniel Dusk, symbolizes Superman…I think.
• Nice visual gag with the Joker drawing a smile in blood on the Rorschach mask, while we see the blood on the smiley face button was the Joker’s all along.
• So, according to the letter sent to Lois Lane, Metropolis is officially in New York State…again? Sorry Delaware.

What are some of your thoughts about Doomsday Clock #7? Do you feel that things are finally starting to take shape, and if so, has it been worth the wait? Also, what do you think about Dr. Manhattan’s last vision and what it could mean?