One of the dramatic elements
of Doomsday Clock and the various
prequels in the story arc is the way characters are brought onstage. This began
with the very appearance of the Comedian's button and Dr. Manhattan back in DC Rebirth #1, and the appearance of Superman's
logo at the end of The Button and
continues into the current series. Perhaps the biggest surprise of DC #4 is the fact that it centers so
completely around the new Rorschach, one of Johns' new characters. A series
that is about the encounter between two worlds and only has eight more issues
to do so is still setting things up, and if one of these issues is devoted to
one character, there must be a good reason for it.
Readers may be tempted to
find this issue – with no Superman, little Batman, little Veidt, and no
Mime and Marionette – advancing the main plot comparatively little, but this
only highlights a number of brief, intriguing connections to the main plot.
Devoting an entire issue to the new Rorschach indicates in flashing red letters
that he is going to become a very important figure. The remaining issues of Doomsday Clock are likely to feature a
battle for this young man's soul.
As previously hinted, new
Rorschach is Reggie Long, the son of Rorschach's psychologist, Dr. Malcolm
Long. He was orphaned by Veidt's alien plot, and also driven mad by it. This
issue has so many scenes that reflect other scenes, in itself or in previous
works, that it can make you feel like you're looking down a hall of mirrors. We
see Reggie twice spend time in mental asylums; once on each Earth. Both times, his
placement there earns our sympathy, but is not without justification. Both
times, he meets superheroes who are in there with him; both times, that
superhero helps him escape. We should perhaps note the asymmetries where they
occur: One, Watchmen's Mothman, is a
figure out of the past, whereas the other, Saturn Girl, is from the future.
Another double-up in Doomsday Clock that is highlighted by
the Mothman's story is the similarity between the Watchmen old-timers and the
Justice Society. Both teams were driven underground by pressure from their
respective governments. It is interesting to note that this plot development
– copied many times in subsequent
goverment-vs-superhero stories – began with a 1979 JSA story scripted by
Paul Levitz. Why is this relevant? Both backstories name-check the real-life
HUAC which advanced the anti-Communist witch-hunt of Senator Joseph McCarthy.
In both cases, the superheroes are confronted by a McCarthyesque government
panel and are driven into retirement or other unpalatable options. What makes
this similarity relevant is the ongoing Johnny Thunder cameos, particularly in Rebirth wherein he implies that he chose
to protect them by making them "go away" when the committee asked
them to unmask. Placing this in the larger Doomsday
Clock story suggests some complicated relationships between timelines. If
Johnny Thunder commanded the JSA to disappear, and Dr. Manhattan is also
manipulating timelines, then we have two forces altering history for the worst.
That seems overly complex. Perhaps Johnny Thunder and/or the Thunderbolt are
agents of Dr. Manhattan. In fact, the Thunderbolt seems like an appropriate
candidate to be Dr. Manhattan given
their similarity. In any case, this reflects on how events in the Watchmen universe
may have served as a pattern for alterations made to the DCU.
A scene with striking
overtones of older DC / JSA lore is the rooftop encounter in which Reggie and Mothman
met. Reggie was about to commit suicide by jumping from a height but didn't
because he coincidentally met Mothman, who also seemed to be jumping to his
death. The original Mister Terrific, Terry Sloan, was contemplating suicide
when he happened upon a woman who was also intending to commit suicide by
jumping from a bridge. Later, Michael Holt was also contemplating suicide when
the Spectre spoke to him, leading him down the path to becoming the second
Mister Terrific. Reggie has a similar encounter but his path was already turned
in a dark direction, and he became a new Rorschach.
So consider now the life of
Reggie Long thus far, and the various origin stories it resembles. He loses his
father and mother and seeks vengeance upon their killer. This is Batman's
origin. He sees the gravest horrors and emerges from a fire to begin a life of
adventuring. This is Rorschach's origin. He contemplates suicide but meets
someone else and this saves him. That's Mister Terrific's origin. Look at the
cover of this issue, also its first panel: The tall stack of pancakes and syrup
remind Reggie of the wealth of Batman. That's not his story: Even the smallest
bedroom in Wayne Manor feels too luxurious for him. This Rorshach identity
surely isn't working out. Going forward, I think we're very likely to see
Reggie turned by good influences from the DCU into something more akin to
Mister Terrific.
Meanwhile, in the
goodness-deprived Watchmen Universe, Mothman's life ends as a bit of a bad
joke, as a moth kills itself by being drawn to flames. This is one of three
times in the issue that we see an insect incinerated: The Mothman is one. The
other two are mosquitoes, zapped by electricity. This pattern is also not
coincidence, and readers who felt that this issue was too slow-paced were
missing portentous hints as that pattern went forward. We (and Reggie) see a
mosquito flying down the Arkham hallway, and into a bug zapper hanging in front
of Killer Croc's cell. Later, we see the Mothman killed by fire. But the third
time, looking very much like the first, the mosquito is not killed by the bug
zapper. Just short of entering the device, the second mosquito is killed from behind by a white bolt that leaves
a trail of smoke with Dr. Manhattan's hydrogen atom insignia: The second
mosquito is killed by Dr. Manhattan. We also see the photo that reminds him of
his past life as Jon Osterman floating in the breeze. Why – what does this
tiny, insignificant event mean? First, it tells us that Dr. Manhattan is
present at that point in Arkham Asylum. Is that a clue to his "secret
identity"? Maybe. So far, if we find out that some Arkham resident is
"really" Dr. Manhattan in disguise, it would be a hollow reveal:
We've hardly seen any of them doing anything interesting. Perhaps more
significant, it shows us that Dr. Manhattan is at work in the DCU, tampering
with events. And more specifically, it shows us that he is in Arkham as Saturn
Girl meets Reggie Long. This is something he wanted to have happen, or at
least, condones.
That visitor from the future,
Saturn Girl is smiling and cheery throughout her brief appearances in this
issue. This leaps out as an anomaly. We first saw Saturn Girl's current visit
to the 2010s in DC Rebirth #1. She is
serene, saying that everything will be all right. Later, during the opening
moments of The Button crossover, she
is terrified and panicked, telling us that Superman will not arrive to help and
everyone will die. Now, she's serene again. What is responsible for the
whiplash turn in her demeanor? Is this mere emotional instability? Probably
not, because she refers to knowledge of events that drive her responses. But why the alternating responses? It's
probably too soon for us to know, but Dr. Manhattan's manipulation of timelines
seems a likely answer. Remember, Saturn Girl is not
precognitive – she's telepathic, and happens to be from the future.
What we're likely seeing at this point is an experiment that Dr. Manhattan is
carrying out, and Reggie Long, a "mosquito" in comparison to the
vast, indifference of Dr. Manhattan, is probably on a path towards the light
(to use this issue's metaphor), from the darkness of Rorschach and Veidt's grand
tragedy to the light of Mister Terrific, a character who, in both previous
versions, turned from suicide to hope.
Nevertheless, we should
remember what happened to that mosquito. Dr. Manhattan killing for no reason is
chilling. Because he can just as easily turn that power to killing anyone else.
But the photo of Jon and Laurie might give us hope. He's still clinging to
memories of humanity. He is letting Saturn Girl take Reggie down a path towards
the light, and we need that experiment to succeed so that Dr. Manhattan can
believe in the light. Later, he's going to turn things dark again, as Saturn
Girl's panic revealed. But later still in this series, he's going to meet the
greatest representative of the light. He's going to meet Superman.
I look forward to your posts so much. Every single one vastly enriches my experience of the storylines you write about. You should really have a column on a popular comics site or something. DC should know about your posts. The writers of the stories you break down so thoroughly should know about your posts because they'd appreciate them on a whole other level. Your Final Crisis posts in particular taught me how to appreciate the depth of the story but all your posts do that. They should be seen by so many more comic book readers.
ReplyDeleteI totally agree, these are my sentiments as well. I think Rikdad's blogs should be more widely read, and I very much hope writers like Geoff Johns and Grant Morrison get to read the analysis. This blog is second to none.
DeleteHey, Rikdad. Great analysis. I thought the plate and pancakes looked a bit like Rorshach's hat. I'm still trying to figure out how Saturn Girl was first seen in Rebirth having stolen a sandwich and then ending up in Arkham in THE BUTTON.
ReplyDeleteI've thought of the Thunderbolt and the mushroom cloud, as well. Johns is very good at setting up a good story, and I didn't think I'd ever enjoy DC this much. With this issue in particular, which I've heard others to say made the story stall, was much clearer to read the second time around.
Loved this issue as well. And thanks always for your continued write-ups! The photo in the hallway is a picture of Jon and Janey Slater (as opposed to Laurie), correct?
ReplyDeleteAlso, in a totally unrelated note, any chance we'll ever get to see more of your thoughts on the Twin Peaks finale?
Collin, yes! Absolutely correct. Thanks for the correction!
ReplyDeleteI have to say, I thought a lot more about the TP finale, and planned a post. The iron is no longer hot, but I definitely have a few things to say. Thanks for asking, and I'll see if it seems like my vague impressions translate into something concrete.
As a massive Twin Peaks fan, I would love to read any more analysis you have about the show! For me, the iron is always hot for Twin Peaks! I loved "The Return" so much.
DeleteJason, Thanks so much. There are certainly fewer people looking at any one forum now than there were back in the DC Forum days. I would certainly enjoy getting the full interested fanbase showing up. I can say that Google Analytics indicate that the Final Crisis posts reached thousands of visitors, which isn't too bad for a story 9 years old. Your post will certainly prompt further thoughts. Thanks!
ReplyDeleteWayne,
ReplyDeleteThat's a good point about the hat. Gary Frank has posted a drawing of Rorschach wearing the hat, so that is even more apt and timely.
I think it surprised all of us that one issue would focus so much on this character, but given that it did, we surely know that the investment was made with future use of him in mind. And, as mentioned, we have clues to some very big things; they just lurked in the background and didn't take the form of that comic book standard: Action.
Excellent analysis! Great issue.
ReplyDeleteCount me among those who feel this storyline is progressing slowly. I am not complaining too much because it's only issue 4 and I am really enjoying the story so far. However, it's been almost two years since the Rebirth special and I was hoping to be a bit further along by now with some of these plot developments, especially regarding the 3 Jokers. There has been virtually no update on that plot in the 2 years since it's been introduced, even though we have seen appearances by the Joker since then. I hope it's explained, in story, why Batman hasn't addressed this point in so long. The bi-monthly schedule for Doomsday Clock has also contributed to feelings of a slow burn, when every other comic is now bi-weekly. Don't get me wrong, I am greatly enjoying the story, and usually don't mind a slow build, but after almost two years I am ready for some advancement in the mysteries that were laid down in the Rebirth Special.
Jonny, thanks, and no doubt this is a slow-developing story. I think that's partly by necessity rather than design – Johns has a lot on his plate, particularly making this story so detailed. But I also suspect design: When an entire reboot of DC needed to be re-rebooted just a few years later, I think Johns might be thinking that it makes sense strategically to draw out the big changes. Even the mystery of Mr. Oz's identity was drawn out painfully slowly (and it's not even definitively over yet, at least not the hows and whys!).
DeleteI hope its okay this is off topic. In your past blog "Who Took the Super Out of Superman", I commented to ask if there was an in-story reason for Pre-Crisis Superman to be stronger than ever in mid-80s "DC Comics Presents" issues, even though The Quarmer had reduced Superman to 1/3 strength in the early Bronze Age "Kryptonite Nevermore". At the time, you replied that it was likely just the author taking liberties.
ReplyDeleteThe point is, a recent update to the Wikipedia page about Superman's powers, states that Superman's original powers were restored in the story "The Sword of Superman" In Superman Annual#10 from 1984. I had heard of that story, that holding the sword gave Superman infinite power, but I assumed that when he let it go he gave up all that power. But the Wikipedia page leads me to believe that it still left him with a power boost to match what he had been missing since "Kryptonite Nevermore". This SORT OF makes sense, because the DC Comics Presents issues 86 and 87 where he battles Blackstarr, and meets Superboy of Earth Prime, were from 1985 (those are significant because he battled Blackstarr in the gravity between 2 black holes and she had the power to blast quasars, and because Superman didn't seem to be 1/3 strength when he met his younger counterpart from Earth Prime).
The only problem is some moments printed BEFORE "Sword of Superman" seem to be oddly overpowered. Such as when Spectre had to stop Superman from collapsing all creation by flying too fast in space (first appearance of Mongul), and some other moments. Did Superman TECHNICALLY move any planets in the Bronze Age BEFORE 1984?
Jacob,
DeleteVery funny you mention this, because I just re-read the Sword of Superman story. He does indeed gain quasi-infinite power, then gives it up willingly.
I'm not researching all the relevant stories again now, but my strong recollection is that there was simply no willingness shown by the various writers to make their philosophical and plot points consistent with one another. A Superman who became half as strong as he was would still have to face serious issues about his capacity for interfering too much with society's natural flow. And yet, a Superman sharing a Multiverse with other beings in his power class (it suffices to mention the Phantom Zone, Ultraman, or Bizarro) should be aghast at the upset balance of power if he lost half his strength. Nobody ever reconciled any of this as far as I know. And we can consider any stories in the Bronze Age where he battles PZers or Bizarro or Solomon Grundy, and all this and more happened many times between 1972 and 1985. I simply see nothing besides stories that let the facts sit where their own logic takes them.
I don't recall/know offhand if Superman moved any planets in the Bronze Age, but he constructed, from asteroids, an exact duplicate of Earth in a World's Finest story, and that is tantamount to moving a planet.