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51. Sweet Tooth by Jeff Lemire & others - So this is the graphic novel that they based the Netflix show on. And it's really good with the old guy being more of a Clint Eastwood type. The main revelation at the end about Sweet Tooth having been grown in a lab (and probably the cause of that pandemic that killed everyone) comes from him not having a navel, but the other characters do not get the same level of attention as they do on the show. So it's more about Sweet Tooth and the old man who betrays him. He doesn't betray Sweet Tooth in the show which is interesting. He just gets taken out of commission. Anyhow, beautiful artwork and nothing much else to say about it. If you like the show, you'll like the book. And vice versa.
52. Doomsday Clock by Geoff Johns & Gary Frank - Well this was a fucking mess. I guess I see what Geoff Johns was trying to do but why is he the major movie producer behind the DCEU if he also has a gig writing these comics. Everything I've read about him makes him sound like the Jim Shooter of DC comics. Kevin Feige is a movie guy. Geoff Johns is a comic book writer of nominal talent who fucks around with other people's characters with varying degrees of success (I kind of like his Teen Titans run) who should be way too busy with the writing to get involved in WW84 and the Whedon Cut (boo! hiss! #releasethesnyderverse)
So anyhow, this comic was here to introduce the Watchmen characters into the DC universe with a little more hubris than they did with their prequels and the conceit of Dr. Manhattan starting it all up. There's a new Rorschach who is being manipulated by Adrian Veidt. THere's the COmedian who shoots a bunch of villains hanging out with the Joker. Firestorm gets fucked over. And there's a whole lot of Meta. Superman keeps getting retconned. Dr. Manhattan erases the Golden Age heroes but then brings them back at the end. There are a couple of clown based villains who are spared the deaths of Dr. Manhattan because he likes that they have a kid that will later be raised by the SIlk Spectre and Nite Owl.
And the meta aspects are interesting, but all the while I kept thinking what they would have been like if someone who actually got the characters was writing them. Not Alan Moore who would never do it, but someone who doesn't totally change Dr. Manhattan's time cognition to give him free will. And when the whole thing ends with Dr. Manhattan establishing the MegaVerse or MetaVerse or whatever it's called, it's pretty depressing that Johns thinks that there will be major crisis events happening every couple years for the next 30 years of DC lore.
It's interesting but also messy. And doesn't quite get Dr. Manhattan.
52. Doomsday Clock by Geoff Johns & Gary Frank - Well this was a fucking mess. I guess I see what Geoff Johns was trying to do but why is he the major movie producer behind the DCEU if he also has a gig writing these comics. Everything I've read about him makes him sound like the Jim Shooter of DC comics. Kevin Feige is a movie guy. Geoff Johns is a comic book writer of nominal talent who fucks around with other people's characters with varying degrees of success (I kind of like his Teen Titans run) who should be way too busy with the writing to get involved in WW84 and the Whedon Cut (boo! hiss! #releasethesnyderverse)
So anyhow, this comic was here to introduce the Watchmen characters into the DC universe with a little more hubris than they did with their prequels and the conceit of Dr. Manhattan starting it all up. There's a new Rorschach who is being manipulated by Adrian Veidt. THere's the COmedian who shoots a bunch of villains hanging out with the Joker. Firestorm gets fucked over. And there's a whole lot of Meta. Superman keeps getting retconned. Dr. Manhattan erases the Golden Age heroes but then brings them back at the end. There are a couple of clown based villains who are spared the deaths of Dr. Manhattan because he likes that they have a kid that will later be raised by the SIlk Spectre and Nite Owl.
And the meta aspects are interesting, but all the while I kept thinking what they would have been like if someone who actually got the characters was writing them. Not Alan Moore who would never do it, but someone who doesn't totally change Dr. Manhattan's time cognition to give him free will. And when the whole thing ends with Dr. Manhattan establishing the MegaVerse or MetaVerse or whatever it's called, it's pretty depressing that Johns thinks that there will be major crisis events happening every couple years for the next 30 years of DC lore.
It's interesting but also messy. And doesn't quite get Dr. Manhattan.
