Doomsday Clock: The Adjournment

Doomsday Clock has paid considerable attention to a story within the story, a 1954 detective movie called The Adjournment. Like the pirate story "Marooned" in Watchmen, the story within a story can and almost certainly does provide insight regarding the main story. This is particularly fertile given that the star of The Adjournment is intertwined with some of Doomsday Clock's main characters, and the screenwriter himself is a Golden Age superhero. It's certain to be with good reason that Geoff Johns has devoted seven pages so far to giving us the story of The Adjournment, but what is that reason, and what does this story tell us?

There are at least three directions to follow in understanding The Adjournment.

1) On a surface level, what is its story? It's a story we've only seen the early portions of and we don't know its ending and/or the answer to its central murder mystery. This may not be highly compelling in and of itself, but it is part of the big picture.

2) Probably most important, what does the movie plot tell us about the main Doomsday Clock story? It seems highly likely that it parallels part of the main plot, and understanding that parallel could be used either to predict what is coming or to see what Johns is emphasizing as the most important aspects of the larger story.

3) Because the superhero Tarantula is the movie's screenwriter, the story may tell us something important about him and his relationships with other Golden Age characters.

The Adjournment's Plot

First, the facts. We have seen only the first portion of the movie, and while we have two spoilers regarding the upcoming portions, we don't know how it will end, nor do we know if there are more major characters to be seen. But we do know this:

• Nathaniel Dusk is an ex-cop turned detective.

• On Christmas Eve, a former colleague of his, Murray Abrahams, comes with him asking for help with a case that involves the death of Abrahams' brother-in-law.

• Two men, Alastair Tempus and Bentley Farmer, have been shot dead and lie in blood on Tempus' floor alongside the pieces of a chess game.

• Dusk and Abrahams visit three different buildings: The crime scene; the former home of Dusk's dead lover, Joyce; and, the home of Tempus' employee Wellington.

• There is considerable friction in the lives of these men: Dusk doesn't consider Abrahams a friend; Abrahams "never liked" Farmer; Wellington stole from Tempus; Farmer is divorced; Dusk has enemies he's hiding from on both sides of the law. At both of the last two stops, Abrahams warns Dusk against "breaking and entering."

• We are told of the men's various female companions: Dusk's "greatest love" is dead. Abrahams is married with young kids. Tempus' wife is dead. Farmer is divorced. Wellington claims to want a sex-change operation, which may or may not be an excuse for the women's clothing in his luggage.

• The crime scene appears suspicious: There is only one chair visible near the chessboard. A white knight is standing on its base on the floor, an extremely unlikely position for a chess piece to settle into after a table is knocked over. Dusk is in a position to see if the knight was on the floor before blood flowed around it or if it was set down into the blood.

• Dusk seems to believe that Wellington is not the killer, despite the cash he has stolen from Tempus.

• In the last frame we have seen, two scarab beetles appear onscreen behind Dr. Manhattan. I don't see the relevance of this, but they are linked to Blue Beetle, who was the inspiration for Nite Owl, and there were two Nite Owls in the Watchmen Universe.

• We are told of a "big twist, where one of the dead guys turns out to be a killer, too."

• The cover of DC #10 shows a man stepping on Dusk's head while a woman in an eye-catching dress looks on with scorn.

• The very first comment by Abrahams in analyzing the scene concludes that Tempus was the killer's intended target and Farmer was not. Dusk does not agree that this is certain.

The Solution

In a strict sense, we cannot solve this mystery with any certainty. Johns has a free hand to augment considerably the little we have seen of the movie, even bringing in several new characters. What we know so far may end up insignificant in comparison to what is coming. However, if we can solve it given what we've seen, there is only one plausible solution (and it is bolstered by working backwards from some things that would follow if the rest is true):

The killer (of at least one of the two men) is Murray Abrahams. Farmer is a primary target of the killing.

We have the following evidence:

• The crime scene was tampered with. Abrahams saw it before Dusk did.

• Abrahams did not like Farmer.

• Abrahams is not a friend of Dusk, which makes him suspect.

• Abrahams is smarter than Dusk gives him credit for.

• The only characters in the movie besides Abrahams are Dusk, the two dead men (at least one of which had a killer who wasn't one of those two), Wellington (who, Dusk assures us, is innocent), and two unnamed women (Farmer's sister and Farmer's ex).

• One more reason involving a parallel to the main plot that I will mention later.

Abrahams knows more than he is letting on, and is either the killer or, at the outside, is covering for the killer. He is looking for Dusk to solve the case incorrectly, and in so doing, clear him. Therefore, he wants to lead Dusk off the correct track.

Perhaps we will see more Adjournment characters in the story yet to come, and my solution will prove to be off-track, but there are reasons besides the internal logic of The Adjournment that make it an effective solution.

Parallel Plots

Whether this or something else is the solution to the whodunit, we still have to deduce why Johns is sharing any of this with us. I have, over the past several months, considered many combinations of characters in the main story and in this one, trying to find patterns where someone in the movie matches someone in the main DC plot.

1) Alastair Tempus = Alan Scott?

A few clues point me in a particular direction. First, the killing of someone, in this story, if it's to represent a pivotal event, would stand a good chance of representing Dr. Manhattan's killing of Alan Scott in 1940, changing the timeline. Now, zero in on the first part of "time"line and note that Alastair Tempus' last name is Latin for "time." This seems like a good place to start. Does Alastair Tempus represent Alan Scott? There are some matching characteristics, such as age and wealth. And look at the name alone:

ALA_S_Tair  → ALAn ScotT

It's quite an odd choice of given name, increasingly the likelihood that that similarity is deliberate. (Also note: Alastair is derived from Alexander and Veidt is obsessed with Alexander the Great.) But "tempus" means "time" in Latin, not "lantern" or "scott." It may be more apt to posit that Tempus represents the post-COIE or post-Infinite Crisis timeline, with the JSA living in the JLA's past, and that the death of Alastair Tempus represents the end of the Alan Scott timeline, which is to say the entire pre-Flashpoint continuity.

2) Nathaniel Dusk = Adrian Veidt?

Another pair who may match up is Dusk and Veidt. Look at these panels that occur in DC #3, Veidt in the lower-left corner of page 7 and Dusk in the lower-left panel on page 17 – ten pages apart, in the same part of the page. The composition is identical, and their hair is similar, though the lighting is nearly opposite. Now consider the following lines of dialogue:

Erika Manson to Veidt: "What's the price on your head anyway?"

Abrahams to Dusk: "Everyone knows about the price on your head."

And, consider the thematic arcs for each: Veidt is disgraced and preoccupied with tragedy in his past while trying to make sense of a new mystery. This is also true of Dusk. Most to the point: The prime mover in the Doomsday Clock plot is Veidt undertaking a plan to save the Watchmen Universe by finding Dr. Manhattan. The Adjournment centers on the investigation by Dusk of a pair of murders. The central figure of The Adjournment should likely correspond to a central character in Doomsday Clock and that's quite a short list. The aforementioned clues place the focus on Veidt.

3) Murray Abrahams = Dr. Manhattan?

If the first two matches are correct, then Abrahams has to be Dr. Manhattan. We already know that Dr. Manhattan is the killer of Alan Scott; killing Scott changed the timeline and Tempus is the timeline, so whoever killed Tempus represents Dr. Manhattan. Dusk and Abrahams have an established relationship, have worked together before, but are not friends. Reggie, the New Rorschach could also fit the bill of Abrahams, but then he certainly didn't work with Veidt before this case. And Dusk asks Abrahams for the favor of helping him revisit Joyce's home; Veidt's entire mission begins with seeking Dr. Manhattan's help, and nobody else in The Adjournment plays that role. These panels from #5 and #7 may provide another clue that this pair of characters is linked.

4) Bentley Farmer = The Reverse Flash?

Two players in this story are associated with changed timelines. Two, counting "The Button," are killed by Dr. Manhattan. Thawne recognized Dr. Manhattan when he saw him, indicating a past interaction between the two. And Alan Scott is not a killer, so the other of the two victims must be. Pandora – killed by Dr. Manhattan in Rebirth – could possibly also fit the bill, but for centrality to the larger story, a better match is the Reverse Flash. If you recall the details of "The Button," Reverse Flash actively sought out Dr. Manhattan, with confidence that the latter had never faced anyone like him. That didn't go well for Eobard Thawne. The two had some past association, just as Farmer and Abrams are related by marriage. The art, again, may hold clues, as Farmer was shot in the left side of his face and Thawne was blasted, strangely, with the left side of his face blown off. To match the main plot, we may end up learning that Farmer tried to kill Abrahams, but was himself killed in the attempt.

5) Jasper Wellington = Johnny Thunder?

There's a curious complication about the JSA's removal from the timeline, which seems to involve both Alan Scott and Johnny Thunder: We know that the JSA is not part of anyone's memory in the current timeline. The fact that Dr. Manhattan removed Alan Scott from the timeline might seem to be part of a larger pattern that removed the entire JSA. Dr. Manhattan indicates in DC #7 that when he removed Alan Scott's survival from the timeline, the meeting of the JSA in November 1940 did not go on to occur. According to Rebirth, Johnny Thunder belonged to a "covert team of mystery men." He later told his Thunderbolt to protect the JSA at the meeting wherein McCarthy told them "Take off your masks" in October 1951. It appears that the JSA was removed from the timeline in two steps: First, Dr. Manhattan moving the lantern in 1940, then Johnny Thunder sought to protect them via his Thunderbolt at the hearing in 1951. The cause-and-effect relationship of timeline alteration may be pretty tricky, but the chronology of those two "events" goes from Dr. Manhattan in 1940 to Johnny Thunder in 1951. Now, we can say that he removed the JSA from their would-be lives, but unlike Dr. Manhattan's killing of Alan Scott and the Reverse Flash, he didn't actually kill anyone. The visuals are a tip-off, too. Check out this pair of panels, both from issue #5. And how many characters wear a bowtie? Finally, one of those ambiguous speech balloons in that issue refers to Wellington with "This poor man never hurt anybody" and overlaps with a panel of Johnny Thunder, a hint that they are the same "poor man."

6) Chess pieces = Characters in the DC Universe?

If Tempus and Farmer represent Scott and the Reverse Flash, who in turn involve timeline manipulation, then the chessboards and pieces may represent those timelines and the characters within them. Flashpoint has been referenced in this for a reason. Perhaps each of the pieces we see represents particular DC characters. When we see, then, Dusk closely examining the white and black kings, this may represent Veidt considering the DCU, and contemplating two opposing sides, either the heroes and villains, or the polar icons of Superman and Batman.

Now, does all of this wash? I wouldn't bet the farm on this, but a lot of details fit together in a pretty comprehensive way. Others don't, such as the fact that Alan Scott and the Reverse Flash never played a game of chess against one another, so far as I know, and if any characters in the larger plot are akin to chess opponents, there would be better ones to choose from. Because this is all on the level of symbolism, the story isn't obliged to declare that the plots are parallel in the way I describe here; this is the sort of thing one may see or not see or argue about weeks or years after the series is over. I'm going to go out on a limb, though, and suggest that these alignments of details in the plot and the art are part of an intended framework of parallels.

In any case, the Adjournment plot is much smaller than the Doomsday Clock one and I spent some time considering if the older and younger victims might represent the personalities of Firestorm – Martin Stein and Ronnie Raymond. It could just be that they work in that fashion, too, because parallels aren't obligated to be unique. "Marooned" certainly doesn't map to the Watchmen plot in a singular way. This or other parallels may work in addition to or instead of the ones I have mentioned. We don't know, but in the meantime, I find myself thinking that the art parallels are not likely a coincidence.

Author, Author

The Golden Age Tarantula is not one of DC's most beloved and enduring characters, but Johns has mentioned Tarantula's alter ego, John Law, in some detail in DC #3. As the screenwriter of The Adjournment and a suspect in Colman's murder, Law has at least two roles to play in this story. His divorce from Libby Lawrence may be driving some animosity between any other man who has tried or succeeded in winning Lawrence over. This could explain why he's a suspect in Colman's death. If so, there's some a major soap opera style plot going on. Consider that Lawrence, the original Liberty Belle, is the mother of Jesse Quick / the second Liberty Belle, and the possible connection (via "tick tock") between Colman and Hourman: A romance between Lawrence and Colman could be a one-generation-earlier pairing up like the marriage between Rick Tyler and Jesse Chambers, a romance originally authored by Geoff Johns.

In addition, Law's angst over losing Lawrence (shown in great detail in The Golden Age) could also surface in the plot of The Adjournment. In only seven pages, we've seen how no fewer than three men have lost the women in their lives – two to death and one to divorce. The evil-looking woman on the cover of #10 may be another facet of Law's bitter feelings towards women and romantic relationships.

Wheels Within Wheels

One unmistakable characteristic of Doomsday Clock is the attention to detail, something we have not seen in all that many works, including some of Johns' more sprawling epics like "Sinestro Corps War" and "Blackest Night" that are more broad and vast than deep. I, for one, admire the obvious degree of intricacy in the scripting, and I'm more than accepting of the slower release schedule that has been necessary. It's a pleasure to have a story with our favorite superheroes be worthy of this much attention. However posterity may remember Doomsday Clock in relation to Watchmen, I think fans will salute the effort that Johns put in and the intricacy that resulted. I'm looking forward to seeing what the next three issues bring and how well the patterns I cite here continue – or don't – as the story moves towards a finish.

Doomsday Clock: The Nathaniel Dusk Films

One structural similarity between Doomsday Clock and Watchmen is that each contains a prominent story-within-the-story. In Watchmen, that takes the form of the comic book series Tales of the Black Freighter, and in particular one story, "Marooned," from that fictional series. In Doomsday Clock, the parallel effort is a movie series starring an actor named Carver Colman as a detective named Nathaniel Dusk, and in particular the details of The Adjournment, one film from that series. This is potentially quite interesting, as a story-within-a-story can be quite revealing about the main story yet to come, and – even if not useful for forecasting – it says something about the way that Johns is crafting this story, and his overall message.

Part of what makes this interesting is the incredibly recursive nature of a story that has a story-within-a-story homaging an earlier story that also had a story-within-a-story. In fact, that understates it considerably. The layers are so numerous that it becomes almost maddeningly complex, a narrative equivalent to the visual phenomenon called the Droste effect, where an image contains a smaller version of itself that also contains a smaller version of itself, ad infinitum. To demonstrate the complexity of the situation here, let us consider the facets created by the story-within-a-story of Watchmen alone:

1) The main Watchmen plot (including multiple subplots)

2) The plot of "Marooned" and other TotBF stories

3) The fictional creators of TotBF.

4) Real people included on the fictional creative team.

5) Works of fiction in the real world that influenced TotBF.

Now, adding the equivalents from Doomsday Clock, double that from five planes of reality to ten, and instead of a handful of interlocked relationships, we have literally dozens. This is complicated yet more by the fact that the Watchmen Universe only consisted of a single work you can hold in your hand, whereas the DC Universe has been described in literally tens of thousands of works – and make no mistake – Johns is reaching into some fairly obscure old material in creating some such connections. There are effectively, therefore, six levels in the Doomsday Clockversion because creators of the Nathaniel Dusk series may be chosen from: (A) The real world; (B) Existing DCU characters; (C) Totally new characters debuting in Doomsday Clock. Moreover, we have multiple timelines at play in the DCU, and this is a fact that I am quite sure willprove relevant to Nathaniel Dusk. In duplicating Watchmen's use of a story-within-a-story (henceforth, for brevity, SWAS) Johns has something so remarkably powerful for its multiple layers that I can't readily recall a comparable device elsewhere in literature. Someone more avidly avant garde might let this SWAS take over the entire story; I do not think this is likely to be the direction that Johns will go, but I think he has devoted whole pages to it for a reason, and that it is going to get more interesting as it goes on.

Tales of the Black Freighter

Moore includes a considerable amount of text and art in conveying "Marooned" and I am not going to attempt, in this post alone, to reviewing that in detail. I will point out some high-level observations and offer just a few examples to back them up.

First, "Marooned" is a comic book, like Watchmenand other things upon which it comments are comic books. However, "Marooned" is not in the superhero genre but rather the pirate genre. It is quite full of horror, however, and in that regard TotBF certainly resembles to some extent Swamp Thingwhich has a horror element and whose writing duties, like TotBF, rotated from one writer to another, including Moore, who is the writer of Watchmen. The end materials for Watchmen#5 describe the history of TotBF and offer real world artist Joe Orlando as an artist on TotBF, and includes a drawing by the real Joe Orlando (portraying, in an interview, a slightly different fictional Joe Orlando). So TotBF has a lot of interplay with the real world.

Now, how does "Marooned," in all its detail, relate to the main Watchmenplot? The array of little clever details are quite numerous, and I will make no attempt to list them, but I will offer one example that shows that some of the plot mirrorings are fairly superficial and pointed in scattered directions: Someone taking a phone call inWatchmenmistakes the name "Rorschach" for the words "raw shark." Earlier in "Marooned," the protagonist has eaten raw shark meat. This is undeniably deliberate, but what does it mean? Perhaps we can note that Rorschach is as mean as a shark or that he is "eaten" because the phone call leads to his arrest and the main plot leads to his death, but none of that is very deep, or serves as useful foreshadowing. It's just a phrase that occurs in one story while the same idea (though not the exact phrase) occurs in the other.

What is the main story arc of "Marooned"? It makes one shudder to recall. A shipwrecked man meets repeated horror in his efforts to return home and save those whom he loves. The protagonist's associates, family, and even their dead bodies are devastated and defiled as he attempts to achieve some good outcome. Ultimately, he causes all of that devastation – everything would have been far better if he'd done nothing at all. And only in the final scene, when he realizes how damned he and his efforts are, that he surrenders himself to the infernal Black Freighter, climbing aboard as the newest member of its damned crew. Bleakness leading to greater bleakness leading to ultimate bleakness.

Is "Marooned" foreshadowing the main Watchmenplot? It certainly mirrors it in tone. Does it mirror it in plot, and if so, who is the protagonist? The doomed sailor from "Marooned" tries to do well, but fails repeatedly to make meaningful improvement in his situation, and ultimately, his act of violence that is meant to do good does the ultimate evil. He meets this fact with resignation. Who in the main plot does so? Veidt, the Comedian, Nite Owl and Silk Spectre, Doctor Manhattan – all these nominal heroes come to see that their acts of violence have done no real good. Even Rorschach, in his final moments, meets the futility of his predicament with resignation, asking Doctor Manhattan to go ahead and deliver the inevitable death zap. However, only Veidt plays the active role in making the final violent climax occur. If the protagonist closely represents anyone, it's Veidt. The looser tone of resignation, however, is certainly seen all over Watchmen. So, could a savvy reader have used "Marooned" to predict where Watchmenis going? Maybe someone can tell a story to that effect, but I doubt it. "Marooned" only reaches its conclusion a few pages before Veidt tells the details of his plan to Rorschach and Nite Owl. Perhaps if someone stopped reading Watchmen#11 mid-way, then put the issue down and spent a long time thinking they could have used their cogitations to predict what was about to follow three page-flips later. Even then, we'd have to trust that they hadn't finished the issue first. I myself read Watchmenin the single paperback volume and certainly don't remember setting it down to try to make predictions.

But I think Doomsday Clockmay be different. I will go out on a limb and make some specific predictions for things I think we're likely to see before the Nathaniel Dusk storyline is complete.

Similarities and Differences

First, one remarkable alignment that may indicate how closely Johns is following Moore's structure: TotBF was mentioned/shown in Watchmanissues #3, 5, 8, 10, and 11. Five issues into Doomsday Clock, the Nathaniel Dusk films have been mentioned in issues #2, 3, and #5, suggesting that Johns is following Moore's structure considerably, but not to the last detail.

On the surface level, we can see many similarities between the two cases: Both are fictional narratives in a visual medium. Both are serials. Both are genres – pirate and detective – besides superhero that were once very popular in comic books. Both have death and murder as prominent elements. And, in both cases, we are given not only the story-within-a-story's narration, but also its backstory, with information about the creators who are a mixture of real-life creators and those who are fictional. Both of them also have a limited autobiographical feel – TotBFis a comic book, Moore's own medium, and the backstory of Tales of the Black Freighterrotating from one main writer to another reminds me of Swamp Thingbeing passed on to Alan Moore, who was in the middle of his run when Watchmenwas written; meanwhile, Geoff Johns began (and continues) a career in film, the medium of the Nathaniel Dusk stories.

That is a good transition into the sharp differences between the two cases; they are in different media. They are aimed at different generations: TotBF is being read by one of Watchmen's youngest characters, a boy named Bernie; The Adjournment is being watched (primarily, that we see) by a man named Donald who is in Johnny Thunder's assisted-living facility, and is probably about 90 years old. We can already be assured that they have distinctly different plot structures: Adjournment is a film noir whodunit, with a complex structure – as many as four victims or would-be victims and at least two killers. Marooned, on the other hand, was an endlessly bleak horror story, a failed journey leading inevitably to tragedy, with events both within and outside of the protagonists' control always leading to greater horror. But, unlike Adjournment, there are no unknown identities in Marooned, at least none that last long.

The Motive?

So what is the point of Adjournment? I think there's a probable answer to that, but it's more likely that we can figure it out from what we can already guess about Doomsday Clock than vice versa.

In and of itself, Adjournment is a murder mystery. If it proves to mirror Johns' larger story, then we will find all kinds of parallels between them. The victims and killer in the movie will represent equivalent figures in the DCU.

Alternately – or additionally – there seems to be an important subplot in which the creators of Adjournmentwill have directly played a role in the DCU. We know that Coleman Carver had a room full of timepieces in his home, and these have been important to both Doctor Manhattan and victim of timeline manipulation, Wally West. Moreover, some Golden and Silver Age characters have been mentioned in the Nathaniel Dusk backstory; these characters' presence may be a throwaway, or may turn into something very important.

One thing that has been telegraphed to us already, as of DC Rebirth#1, is that the New 52 reboot of 2011 and concurrent actions appearently taken by Doctor Manhattan if not others, is being portrayed as an unfortunate worsening of the DCU, removing the Justice Society and a decade of relationships such as Barry and Iris. Having passed that decree as truth, Johns must assuredly be on a path towards undoing those deletions. And so we have two major retcons to un-retcon.

That brings us to The Adjournment. Our murder mystery has two victims. It also has two killers, and one of the killers will turn their sights on the detective who is trying to solve the case. To tie the just un-retcons we expect together with the Adjournmentplot, I suggest this: The older murder victim represents the Justice Society. The younger murder victim (divorced) represents the lost loves and legacies that the New 52 retcon removed. The latter was, apparently, removed by Doctor Manhattan, and the former by a wish that Johnny Thunder made to protect the JSA. Johnny tells us this in Rebirth as: "McCarthy yelled, 'Take off your masks!' You know I was only trying to protect them. I'm sorry for what I did."

This is a very specific reference to a story published in Adventure#466 1979 with key scenes set in 1951. In that story, an unnamed Joseph McCarthy demands that the JSA unmask themselves. They do not comply and retire from crimefighting, even though they continue to live their civilian lives. Apparently, Johnny Thunder, in this timeline, made a wish to his Thunderbolt that protected them from McCarthy but removed them from ever having been the JSA  – perhaps even from ever having lived.

There may be a tiny Easter Egg confirming this. Early in that story, the leader of a gang of anti-JSA criminals tells his colleagues, "…having failed to come up with a plan to stop the JSA once again, I must declare this meeting adj…" The word that is cut off is obviously "adjourned," and the title of the Coleman Carver movie is The Adjournment. However, what was more significantly adjourned was not a meeting of a bunch of criminals, but the outright existence of the Justice Society. It is that which the movie symbolizes. The detective's last name is Dusk, signifying the end of a day and the beginning of night. The act by Johnny Thunder ended the "day" of the Justice Society and brought on a long, dark night.

And it's here that I make a prediction that goes to the core of the difference between TotBF and the Nathaniel Dusk films: The damage done in "Marooned" was complete, total, utterly bleak, and irreversible. That's what Watchmen was about, but is obviously not what Doomsday Clockis about. The Justice Society will be made to have lived again. And now, note the timeline. McCarthy's hearing with the JSA took place in 1951, before the last two Nathaniel Dusk movies. The current timeline, therefore, forked off from the one we previously (pre-Flashpoint) knew. Therefore,The Adjournment is from 1954 in a timeline that didn't use to exist, and will be somehow altered again. If the events of Doomsday Clockundo Johnny Thunder's errant wish, then the world in which The Adjournment was made will not have existed, and so I predict that by story's end, we will see a new version of the Nathaniel Dusk series. Perhaps there'll be different plots, in which the deaths of the older and younger man do not occur. Perhaps different actors. Perhaps the films will not exist in this form at all. This will be a stylistic flourish for Johns to reveal late in the story, and we'll see that the new/restored timeline is a happier and more optimistic one.

Behind the Scenes

A more complex situation is the behind-the-scenes one. The characters of older DCU stories are mentioned in the materials concerning the Nathaniel Dusk series. Up to nine of these are mentioned in Doomsday Clock#3. One more that I missed: Bruce Nelson, who is a detective who debuted all the way back in Detective Comics#1. (Nelson's story began in San Francisco but inexplicably moved to New York in the second issue, perhaps DC's first retcon. Doomsday Clockplaces him in San Francisco.)

We know that some of the individuals who, in the post-Crisis timeline, became some of the Golden Age's superheroes, are still alive in the current timeline, but did not become superheroes. We also know that Johnny Thunder did something to prevent the JSA from having their careers. Perhaps the explanation can be found in an older comic that went a lot like that. In JLAvol1 #37, an evil version of Johnny Thunder tells the Thunderbolt to make it so that the JLA would never exist. Going back in time, the Thunderbolt systematically makes one change after another to prevent any of the JLA members from beginning their careers – for example, stopping the lightning bolt that gave Barry Allen super speed, preventing the explosion of Krypton, and diverting Abin Sur from Earth and his meeting with Hal Jordan. If Johns is following that formula here, then all of the JSA's civilian identities should have lived normal lives with middle adulthood in the 1940s and 1950s. Carver Colman would have been 28 years old when the JSA debuted in 1940. He is suggested to have been an "American hero" in DC#3. His murder, in the current timeline, took place in June of 1953 or 1954, and he was murdered with his own award trophy, the same way that the original Nite Owl, Hollis Mason, was killed in Watchmen#8 with the trophy shown on the issue's cover.

Cumulatively, this builds suspicion that Carver Colman actually is one of the Justice Society members whose lives were rerouted by the Thunderbolt in its alteration of the timeline. How can this be? According to the end materials, Colman's purported mother was not his real mother, as claimed in a letter found after his death. If he was removed from one family and placed with another, perhaps this was the alteration made to the timeline to prevent his hero identity from emerging. Perhaps his real name is one that we know as the secret identity of a Justice Society member.

If so, who? The strongest signs point to Hourman. Above all, Colman had a room full of clocks, called a "ticktock room" in the celebrity gossip. Rex Tyler's nickname (yes, this would seem to give away his secret identity) was Tick Tock Tyler – this is surely not a coincidence on Johns' part, and is either the giveaway clue or a red herring. One more, subtler clue in DC#2: A present-day ad for a drug called Travodart is made by the "Bannermain Chemical Co." Bannermain, as other readers have pointed out, is very close to the name Bannerman, which was the name of Rex Tyler's boss and the chemical company for which Tyler worked until he eventually became the boss and named it Tyler for himself. If Bannerman remained the name of that company, then Tyler not only failed to become Hourman, but perhaps failed, also, to live any of his life as Rex Tyler. Yet another clue regarding his death: A woman in Johnny Thunder's retirement home calls him a "deviant" and part of the modern backstory of Tyler is that he battled addiction to the Miraclo drug that provided his powers. So, we may find out that a change made early in Tyler's life put him on the path to become Carver, and an untimely (no pun intended) death. If so, the restoration of the timeline to include the Justice Society will also save Tyler.

It is also worth noting that the name Carver Colman sounds a lot like the Carter Hall identity of the JSA's Hawkman, so perhaps that is who Colman was in the original timeline. If so, note that the older Carver Colman fan is named Donald. Don Hall, the Dove half of the Hawk and Dove duo, could conceivably be retconned as a relative of Carter Hall, which could explain why he is a fan of Colman, as an actual relative of his. However, the age does not seem to fit.

Then again, perhaps a Colman is just a Colman, but one who had significant ties to the Golden Age heroes; John Law and other Golden Age characters are tied to his story, and he may be more of a catalyst than a main player in the backstory of the JSA that was, now isn't, and will be again.