Doomsday clocks in.

Can you think of another creator who is as adept at strip-mining the works of Alan Moore for mass-market appeal? Is there another who could take a half-formed idea buried in the detritus of 30 years of continuity and polish it into a brass (power) ring for retailers to grasp? Morrison perhaps. Waid maybe. But none with the company loyalty and love that Johns has for DC. None so wholeheartedly drenched in Americana and the superheroic as Johns. He is the best man for the job.Cheryl Lynn Eaton

doomsday clockOh, I do so love being right.

So, Doomsday Clock! Will it be critically acclaimed? That I do not know, but I do believe that it will be commercially successful. Of course, there are those who still rightfully blanch at the treatment that Alan Moore and his Watchmen characters have received, but those people are not the direct market faithful being courted with this work. Abandoning the Watchmen property and reestablishing a relationship with Alan Moore—a nearly impossible task that I would not recommend DC pursue at this point—would not have brought those disgruntled (again, rightfully) critics in as regular DC Comics customers. Those individuals drew their line in the sand during the days of Before Watchmen. They will not cross it for loveable frat boy Geoff Johns.

They will for Tom King, perhaps.

To follow along the tangent I’ve just created, the mercenary marketer in me believes that DC should do its level best in the aftermath of Doomsday Clock to pull itself out from beneath the long shadow of Alan Moore. I believe reinvesting in Kirby’s work and placing it in the hands of critically acclaimed creators will work wonders. Direct market darlings and bookstore bros have done battle from Portland to New York to London, but Kirby’s work is our great uniter. There are three unspoken guidelines determining what American audiences deem to be “high art”—it must be old, it must be white, and it must be foreign. However, stellar craftsmanship and a monumental body of work such as Kirby’s often allow one safe passage into that exclusive realm. And in that realm Kirby is now king.

We are in an age where mass market elitism is now the goal. I swear that is not an oxymoron and is an achievable aim with the correct creative team and publicists in place! Because DC deals in archetypes—in simplistic symbols nearly a century old—it is the company in the best position to achieve said goal. Its creations have a level of flexibility not found at Marvel and the universal recognition creations at Image have yet to achieve. Although the criticism lobbed at Secret Empire (some fair and necessary, some unwarranted) has many creators wary of even mentioning controversial issues or politics, it is very easy to use DC’s characters to tell a poignant and topical story. More importantly, to tell one that is commercially viable and taken seriously by critics. It doesn’t have to be one or the other. Neither medium nor genre have the power they once did to dictate a work’s reception.

Which brings us back to Doomsday Clock and Geoff Johns. I like Johns a lot. We definitely don’t agree on the direction of Hal Jordan and Cyborg, but I think he provides exceptional soap and “shock and awe.” And y’all already know how I feel about that! He is a commercially successful and talented writer, but unlike a Moore or a Morrison, Johns does not have the reputation required to tackle the characters of Watchmen without raising quite a few eyebrows of critics. But that’s them.

My Body Is Ready

And that’s me. I love the work of Alan Moore but have absolutely no reverence for Watchmen. The stance that the “high art” of Watchmen should not be sullied by the “commercial shlock” of the DC universe is odd to me. Both worlds were birthed from a common starting point—a shared genre. And I am fascinated by what a creator as steeped in Americana as Johns will have to say via Doomsday Clock about the Anglophilic nature of the comics climate over the past decades. To be honest, as a black American reader I feel like a coolly detached observer regarding the situation. For though comics clamored for the presence of a counterculture willing to explore darker themes and corruption, it has been fairly adamant in regards to its hiring practices that it did not want the individuals exploring those themes to be black. The British invasion in comics mimicked the musical one in both its best and worst ways.

And now there is no counterculture. For those rebellious men grew up and grew in—accepted and embraced. And there is only a piecemeal mainstream culture as the industry spent decades carving particular groups out of it. Groups that I am a part of though distinctly and painfully American I be.

That said, DC did Moore dirty. DC has been doing Moore dirty for so long that there are people working at DC who have only known a world where DC was doing Moore dirty. We have had generational turnover. We are now at the “I never owned slaves so why should I have to pay reparations with my taxes?” level of doing Moore dirty.

And Moore isn’t the only person. And DC isn’t the only company.

Of course, you can’t change prior mistakes of others, only learn from them and do right going forward. You can bring fair contracts to the table. You can be inclusive and respectful. But other than that? It is what it is what it is.

Doomsday Clock seems like it will be the second part of a call and response. I do not believe it will be a sequel to Watchmen, but a sequel in spirit to Multiversity. This is what the superheroic genre was, what it is now, and what it has the potential to be. We have heard that message from one side of the pond with Morrison. And perhaps soon we will hear it from the other with Johns.