Doomsday Clock: The New Rorschach Comes Into His Own

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Who wears the face now?

By Jesse Schedeen

Shipping delays are a pain, but the only thing that truly matters in the end is the actual quality of a comic. The original Watchmen proves this as well as anything. And now the same is holding true for its sequel. Doomsday Clock #4 may disappoint readers hoping for a massive leap forward in terms of the series' narrative, but as an in-depth examination of one of the series' key players, this issue fires on all cylinders.

Everything in Doomsday Clock is done with purpose and intent, and the fact that issue #4 parallels Watchmen #4 so closely is sure no accident. Watchmen #4 gave us "Watchmaker," an introspective, flashback-heavy story that explored the troubled history and unusual state of mind of Doctor Manhattan. Doomsday Clock #4 takes a similar approach to the new Rorschach. When last we saw this nameless vigilante, his plans of forming an alliance with Batman were foiled when he found himself locked away in Arkham Asylum. And now we learn what horrible series of events birthed this new Rorschach, along with a few hints as to the future scope of the series.

Again, this issue is fairly light on narrative momentum. Many of the main characters sit this one out entirely or appear only via flashback. There's a certain amount of frustration in the fact that we've seen so little of Superman or Doctor Manhattan by this point, despite the duo ostensibly being the crux of this conflict. But at the same time, this is a book where characterization trumps just about everything else. If we're going to keep pushing forward with the new Rorschach as our guide, we need to be able to understand him and connect with him. Thanks to this issue, that process is much easier.

Johns wastes little time before revealing this character's identity, resulting in a nice little "Aha!" moment as the pieces click into place. It's a reveal that makes sense in the context of the original story and what we know about the events that have transpired since. From there, the question of who shifts instead to why and how. Johns paints a compelling portrait of a person driven mad by tragedy and finding meaning in his mask in the same way Walter Kovacs once did. Even the way both characters share so many mannerisms in common is justified.

There's a crucial difference between those two characters, however, and one that speaks to the fundamental divide between Watchmen and Doomsday Clock. Kovacs was a deranged man, one who ultimately decided that death was better than compromise. This Rorschach maintains hope in a better tomorrow. There's a critical moment in this issue where the new Rorschach could have followed down the dark path of his predecessor, but instead chooses the light. Doomsday Clock may be mired in the same cynicism and heartache of Watchmen, but beneath it all is the same sense of optimism that defines Johns' writing.

Four issues in, it's hard to picture anyone other than Gary Frank bringing Johns' scripts to life. Frank's art has a precision and a sense of purposefulness that's absolutely essential. His figures are intricately rendered and his pages are tightly plotted to ensure that the story unfolds at a strict, methodical pace. While Johns' script is most reminiscent of Watchmen #4, Frank's art clearly draws from Watchmen #6. Many of the same motifs recur here, particularly the inkblot tests and the close-up facial shots. This issue pays loving homage to Watchmen while still managing to create a distinct visual identity of its own.

Colorist Brad Anderson also deserves special mention here. Coloring is the one area where Doomsday Clock doesn't seem all that concerned with replicating the feel of the original story. That's especially true now that there's so much emphasis on the DCU setting rather than the watchmen universe. Anderson is able to enhance the optimistic undertones of Johns' script at several key points, often using light and flame to create a sense of heroes fighting against the encroaching darkness.

The Verdict

Doomsday Clock #4 doesn't do a great deal to push the series' overarching conflict forward. But it does accomplish something more vital - fleshing out the background of the new Rorschach and allowing readers to connect with the character on a deeper level. If Johns and Frank couldn't make readers feel for these characters, what would be the point of publishing a new Watchmen sequel in the first place?

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