Doomsday Clock (2018) #2

Upon reading this issue of Doomsday Clock, which is regular length instead of extended like the first, I’ve decided I’m done. I don’t care about the identity of the new Rorschach. I don’t care how Rorschach gets on with Batman. Don’t care how Veidt gets on with Lex Luthor. Or why the Comedian’s back? Or did Dr. Manhattan create the DC Universe–Johns just integrates the big rumors about the series into the book. Why not. There’s nothing else to do.

The jumping off point isn’t the cliffhanger or the trip to Earth One. It’s Batman. It’s Bruce and Lucius Fox arguing over whether or not Batman is necessary. Maybe it’s in current DC continuity, I don’t know. Something about the Superman Theory, which I thought was the name of a bad comics convention bar band, but whatever. Don’t care.

Johns isn’t trying. He’s also got a gross sexist opening he can’t get away with because he’s Geoff Johns and craven and Gary Frank’s art lacks any subjectivity. It’s too objective for gross sexist bank managers. Frank’s art invites a lot of examination Johns’s writing really can’t support. Frank’s at least trying. Johns is not.

So. No more. Clock is stopped for me.

Unless the villain’s Lobo at the end and Johns is daring the original creator to sue. But maybe not even then.

Doomsday Clock #2 (February 2018)

So. No more. Clock is stopped for me.

Unless the villain’s Labo at the end and Johns is daring the original creator to sue. But maybe not even then.

CREDITS

Places We Have Never Known; writer, Geoff Johns; artist, Gary Frank; colorist, Brad Anderson; letterer, Rob Leigh; editors, Amedeo Turturro and Brian Cunningham; publisher, DC Comics.

Doomsday Clock (2018) #1

There’s one big problem with Doomsday Clock. It exists.

And a lot of it is worse than one might expect. Apparently, in 1992, after the plan at the end of Watchmen didn’t work out, the United States elected Robert Redford president. Only he isn’t a hippie dippy Robert Redford, he’s President Trump. There’s even a wall.

So, you know, if you want to read Doomsday Clock to make fun of Geoff Johns’s writing… it provides a lot of opportunity. Is it worth reading for that reason? Depends on whether or not you want a lot of fodder for mocking Geoff Johns.

Or maybe you just want to see Gary Frank “Gary Frank” a Watchmen sequel. Only one where the DC Universe gets involved. And that crossover–albeit to a different, somewhat darker DCU (I think, has DC changed Superman’s origin lately)–gets to have the Watchmen panel layout.

You think Frank and Johns weren’t going to ape Watchmen down to the panel layouts. Please. Doomsday Clock is craven and desperate.

It also seems to be implying, after Watchmen, Nite Owl feels so shitty about Rorschach dying he takes up the mask, as it were, and lives his life aping him. Or something. It’s dumb. It’s a Watchmen sequel written by Geoff Johns. Of course it’s dumb.

It’s kind of sad how dumb it gets. Especially when Johns brings in some costumed villain sidekicks for NuRorschach. They’re terrible enough maybe they were in Before Watchmen. But I’ve blocked that previous desperate attempt from DC to turn Watchmen into a brand name from my memory.

I finished Before Watchmen though. I’m not sure I really want to see what Johns and Frank have cooked up for them in After Watchmen.

I do want to know if the team refers to themselves as The Watchmen though. I really, really hope they do. If you’re going to show the world you’re an exceptionally pedestrian writer, you might as well do it on a corporate Watchmen sequel.

Is Doomsday Clock worth the read to intellectually dissect it and roast it? For five dollars? In this economy?

Doomsday Clock 1 (January 2018)

There’s one big problem with Doomsday Clock. It exists.

You think Frank and Johns weren’t going to ape Watchmen down to the panel layouts. Please. Doomsday Clock is craven and desperate.

I finished Before Watchmen though. I’m not sure I really want to see what Johns and Frank have cooked up for them in After Watchmen.

Is Doomsday Clock worth the read to intellectually dissect it and roast it? For five dollars? In this economy?

CREDITS

That Annihilated Place; writer, Geoff Johns; artist, Gary Frank; colorist, Brad Anderson; letterer, Rob Leigh; editors, Amedeo Turturro and Brian Cunningham; publisher, DC Comics.

Tom Strong 25 (May 2004)

The guest writers continue with Geoff Johns. He has John Paul Leon on the art for a pseudo-eclectic story of a Tom Strong fan who has the power to reshape reality when he’s upset.

Somehow Johns, who does give the guy a backstory, doesn’t realize the universe would be in shambles. Johns even mocks the guy–the reader is supposed to mock the guy. He’s unlikable in his desperation.

Still, it’s okay. Johns writes the cast well–he too is obviously a Tom Strong fan and Leon’s art is an interesting forced mismatch with the series style. There’s rain in a lot of the issue. Leon does well with rain.

The conclusion has a lot of problems, but not too many to overshadow the story’s other strengths. It shows what a strong cast and setting Moore has set up.

Though it really doesn’t support the weight of silly magic.

B-

CREDITS

Tom Strong’s Pal, Wally Willoughby; writer, Geoff Johns; artist, John Paul Leon; colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

Aquaman 3 (January 2012)

This issue opens with a flashback. The content is fine, but the art is goofy. It’s to indicate the flashback, but it doesn’t work.

Otherwise, Johns is really impressing with Aquaman. He even manages to bring the joke aspect back, but matures it a little. Someone accuses Aquaman of being a glory hound looking for a good reputation. Johns handles it quietly, with Reis showing the full effect of the statement. Reis mixes the emotive quality of the story with the action. It’s impressive to see.

Again, Johns writes a great relationship between Mera and Arthur. It’s a great married couple adventure, with Mera never taking a secondary role. Even though it’s her first time to the surface or whatever.

Johns really just seems to get how to do this comic book and one aspect of that understanding is having Reis.

It even manages to be disturbing (carnivorous sea monsters).

CREDITS

The Trench, Part Three; writer, Geoff Johns; penciller, Ivan Reis; inker, Joe Prado; colorist, Rod Reis; letterer, Nick J. Napolitano; editors, Sean Mackiewicz and Pat McCallum; publisher, DC Comics.

Justice League 3 (January 2012)

You know who should be writing DC’s new Wonder Woman? Geoff Johns.

You know who can’t write Aquaman, apparently, in Justice League? Yeah, Johns too.

This issue opens with Wonder Woman, gives a really quick look at her arrival in the new DC Universe, immediately establishing a strong female character. It’s utterly fantastic.

Shame the rest of the comic is crap.

Why is Jim Lee doing Jack Kirby creations? Lee’s denizens of Apokolips look awful. Darkseid shows up for a second. My “Super Powers” action figure looked better.

Just to elucidate, Lee’s art on the Wonder Woman scenes is pretty weak too.

Justice League was previously absent any quality. Johns brings some and doesn’t even seem to notice the difference.

If Johns and Lee–DC’s chief creative officer and co-publisher–can’t even figure out their own strengths and weaknesses, how do any DC comics have a chance?

I’m bummed.

CREDITS

Justice League, Part Three; writer, Geoff Johns; penciller, Jim Lee; inker, Scott Williams; colorists, Gabe Eltaeb and Alex Sinclair; letterer, Pat Brosseau; editors, Darren Shan and Brian Cunningham; publisher, DC Comics.

Green Lantern 3 (January 2012)

Once again, Sinestro is the best thing about Green Lantern. Johns really ought to consider redoing the book with Sinestro as the lead and Hal Jordan as his flunky. Maybe because of the movie (and Ryan Reynolds playing the role), it’s hard to take Hal seriously. Maybe it’s just because Johns makes Hal out to be a complete moron.

Not sure if that development’s new DC Universe or whatever.

Johns has been so successful at making Sinestro a force through the narrative, the focus on him works. Hal’s just a tool. He’s the comic relief. Regardless of Johns’s intention, he’s made Lantern better for making the expected lead a toadstool.

There’s very nice art from Mahnke and company. Occasionally, the differences in inkers–they’re close, but not exact–become clear. But it’s never disjointing.

The issue’s third act is just a great time. Johns manages a predictable, but deft cliffhanger.

CREDITS

Sinestro, Part Three; writer, Geoff Johns; penciller, Doug Mahnke; inkers, Christian Alamy, Keith Champagne, Mark Irwin and Tom Nguyen; colorist, David Baron; letterer, Sal Cipriano; editors, Darren Shan and Brian Cunningham; publisher, DC Comics.

Aquaman 2 (December 2011)

Johns is nowhere near as funny this issue of Aquaman. I don’t mean more of the jokes fall flat, I mean he’s given up the gag. Instead, he presents Aquaman as an action hero. Well, he does add Mera to the equation and reveal the couple to be adorable in private.

Though I enjoyed the issue less—and it’s clear Johns was more traditional and less inventive—it almost bodes well for the series and the approach itself. It’s not The Thin Man, but it’s about on par with “Hart to Hart.” Arthur and Mera make a fine team.

Of course, having a great superhero artist like Reis on the book is essential. If it weren’t so much fun to look at, Johns’s stalled pacing might get more annoying.

And it’s creepy. It’s a horror comic, with the nasty unseen creatures of the mist being visible and horrific.

It’s fine.

CREDITS

The Trench, Part Two; writer, Geoff Johns; penciller, Ivan Reis; inker, Joe Prado; colorist, Rod Reis; letterer, Nick J. Napolitano; editors, Sean Mackiewicz and Pat McCallum; publisher, DC Comics.

Justice League 2 (December 2011)

Superman’s a dick.

And so is Cyborg’s dad.

Other than those two developments, I’m not entirely sure what new developments Justice League has to offer. Jim Lee and his funny new superhero outfits?

Towards the end, when Darkseid’s minions break through to attack, it almost works. Johns and Lee almost get the issue to the point where it achieves some kind of visceral moment. But it’s only a two page spread… the rest of the comic is totally ineffective visually.

Marvel Studios guy Kevin Feige describes the Marvel team-up style as heroes who “fight each other, then they fight together.” So, yet again, the new DC Universe is just the old Warner Bros. underwear washed with Disney-brand detergent….

It’s better than the first issue if only because Barry and Hal are slightly amusing together. They remind of better comics, whereas Batman and Superman remind of crappy Frank Miller.

p style=”font-size:11px;”>CREDITS

Justice League, Part Two; writer, Geoff Johns; penciller, Jim Lee; inker, Scott Williams; colorist, Alex Sinclair; letterer, Pat Brosseau; editors, Rex Ogle and Eddie Berganza; publisher, DC Comics.