While the groundbreaking graphic novel Watchmen (1986) responded to Cold War paranoia with a nihilistic critique of a benevolent God, recent spinoffs have taken radically different approaches to race and Christology in the Trump Era. Alan Moore and Dave Gibbons’ original Watchmen has spawned two unlikely and unauthorised—by Moore, at least—quasi-sequels in different media: HBO’s limited TV series Watchmen (2019), created by Damon Lindelof, and Geoff Johns and Gary Frank’s graphic novel Doomsday Clock (2020). Like estranged siblings, HBO’s Watchmen and Doomsday Clock take the same source material in opposite directions. HBO’s Watchmen explores themes of racial justice by foregrounding 1921’s Tulsa Massacre and vesting Black characters with divine power. In contrast, Doomsday Clock departs from the original Watchmen’s cynicism about cultural and political change, embodying its message of hope and renewal in a white saviour.
This article contributes to the growing body of literature examining how pop culture circulates Christological concepts by exploring the racial and theological significance of two of DC Comics’ most iconic characters—Superman and Dr Manhattan. I examine how Black theologians conceptualise Christology, discuss the deistic portrayal of Dr Manhattan in the original Watchmen, analyse the character’s incarnational iteration in the television series, and contrast this with how moral influence Christology underpins the relationship between Superman and Dr Manhattan in Doomsday Clock to show that superhero comics in particular, and pop culture more broadly, are crucial sites of Christological imagination and negotiation over race.
