Spoilers ahead for Doomsday Clock #3…
If Doomsday Clock #1 is an exercise in evoking powerlessness and Doomsday Clock #2 is a primer in a spectrum of reality and fiction, the third issue of Geoff Johns and Gary Franks’ Watchmen/DC crossover series is a marriage of the two. This third chapter bounces back and forth between a number of narratives, calling back to the intermittent Tales of the Black Freighter portions of the original Watchmen. But where those interludes represented a single work of fiction within a fictional “real world” the traversal of fiction within Doomsday Clock is less a game of pong between two works and more a frenzied exploration of a densely layered onion of narratives.
Piggybacking off of my writing on Doomsday Clock #2, there’s a penetration of the fictional spectrum in this issue that brings with it at least the implication of an increased ability to harness and exert power over the world the more fictional a character gets.
The outer most layer of the onion in question is the world. Our world. Us. The readers. Holding a comic book. We are so often the masses portrayed in Doomsday Clock’s first issue. Inundated with dreadful headlines we are so often powerless to effect. We are not fiction. We are reality.
The Watchmen Universe, while a fiction, is only truly separated from our own world by one aspect: Doctor Manhattan. That’s that grit I mentioned in my first Doomsday Clock post. That grit implies realism, or invokes a sense that something fiction is at least “more real” than other less gritty works. The surrounding dystopia is obviously a fiction but the element of fantasy separating the Watchmen Universe from our own is just one big blue dude. In this sense the Watchmen are more fictional than us, but more realistic than…
The DC Universe: where fiction runs rampant, where some things are gritty but others actually smile once in awhile. Super powered aliens, space cops, metahumans, multiverses, one inter-dimensional Crisis after another. You can’t pinpoint just one fantastical element responsible for the divergence between us and the world of Batman and Superman. Even to the characters of the Watchmen Universe the DCU appears fictional, with Ozymandias stating last issue that certain heroes within the DCU are characters in he and Rorschach’s world.
Ozymandias, Rorschach, the Marionette and the Mime travel deeper into fiction, and with that traversal there appear to be side effects. Last issue we saw the Mime use a pantomimed lock pick to escape his bonds. This issue, we see him actually use the pantomimed gun we’ve only ever seen him brandish in the Watchmen Universe. It fires and a head explodes. It works. And not only that, Frank’s depiction of the gun in the DC Universe lends it a hint of shape and form, the presumably make-believe gun now becoming real when brought in to a comparatively make-believe universe. Similarly we see possible side-effects of the aforementioned traversal of fiction in our new Rorschach, who we learn in this issue is in all likelihood basically just some guy. He talks of having blood on his hands and then, as he showers, we see that blood appear as he clutches his head. Now, is he clawing his head open and making it bleed? Like, a lot? Maybe. Or perhaps the metaphors, the make-believe, in which he speaks are given more power, more potency in the DCU.
With that wild speculation in mind, I can’t help but feel the text implying an increased power, and increased ability to affect change, the more “fictional” an entity becomes.
We, the readers, have no superheroes or caped crusaders. The Watchmen Universe has a smattering heroes but only one is truly super-powered. In the DC Universe everyone and their mother is a superhero, even, perhaps, the formally less remarkable refugees of the Watchmen Universe.
But there’s a hiccup in that theory because the DC Universe is not the farthest Doomsday Clock penetrates into fiction. Within the DCU we’re given continued allusions to an actor, Carver Coleman, and the grizzled gumshoe he’s most famous for portraying, Nathaniel Dusk. Coleman is of the same fictional stock as Batman and the lot, a denizen of the DCU, but Nathaniel Dusk, a character in a movie within the DCU, is a layer deeper.
Throughout Doomsday Clock #3, we’re show scenes from the final Nathaniel Dusk film, The Adjournment. It’s as deep as the fiction goes in this issue and yet it’s the most realistic story in the book so far. It’s a detective, a cop and a murder mystery. No powers, no vigilantes, no nothing. Nothing but the characteristic grit of noir. So where has that power gone? That power that seems to grow and grow the more fictional it becomes?
If nothing else, it certainly rebounds and penetrates back out toward reality, as we see some old-timers in a retirement home hailing Carver Coleman as a hero, presumably because he was Nathaniel Dusk. Perhaps there’s a law of diminishing returns in regards to this perceived increase in power. Perhaps that power can only penetrate so far into fiction. Perhaps the power is not affected by how many layers of fiction it is bundled in, but by the amount of excessive grit it is saddled with.
Whatever the case, there is some shit going on with this Coleman fella, and there is most definitely some shit going on with Nathaniel Dusk.
(Reveals bulletin board of color-coded thumb tacks and torn up portions of comic books)
What’s more, is Rorschach’s journal, as an artifact from a “realer” universe, now imbued with a yet unseen power? It’s already been revealed that after the events of Watchman the original Rorschach’s journal became a powerful document in its own universe.
All this, and Doctor Manhattan still hasn’t even shown up yet! Or has he? I’m just saying, is Batman Doctor Manhattan? He previously spent time on the Mobius Chair, an object that got Manhattan’s attention once before, shortly after Batman relinquished it. And the button showed up in Batman’s cave. And it makes little sense that Batman would walk a man who know’s his secret identity into Arkham Asylum and lock him up. So, you know… what is going on?