Doomsday Clock #1 established that Geoff Johns and Gary Frank are capable of the daunting task that is crafting a sequel to Alan Moore and Dave Gibbons' legendary Watchmen saga. That issue didn't, however, offer much indication as to how the DC Universe and its heroes would factor into this story. As Johns himself warned back at NYCC, Doomsday Clock is much more a direct continuation of Watchmen than readers might have been expecting going in. But even though issue #2 maintains the methodical pacing of the first, it also goes a long way to uniting these two diametrically opposed superhero universes and making the scope of the conflict more clear.
Perhaps even more than the first, this issue really highlights the notion that Johns and Frank have nailed down the specific visual language of Watchmen. The creators employ the iconic nine-panel grid to maximum effect throughout the story. That structure ensures that the pacing remains careful and coordinated, while still leaving room for Frank to go big during those pivotal moments and capture the full scope of a scene. Both creators devote careful attention to the interplay between words and images in much the same way Moore and Gibbons did in the original story. There's often an ironic juxtaposition between what's printed in a narrative caption and what Frank renders in a given panel. Watchmen stands the test of time in part because it's a story that makes full use of the medium and doesn't really translate elsewhere without losing something in translation. Doomsday Clock is a story that recognizes and celebrates that fact.
from IGN Reviews http://ift.tt/2BMXlS5
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