INTERVIEW: "Batgirl and the Birds of Prey" Hunt Rebirth's Oracle
I was an art student in 1979 when Germaine Greer’s The Obstacle Race was published. As it happened, most of the art majors that year were women, and we all read the book and spent late nights in our studios discussing it. Women had been completely absent from our art history courses, and Greer’s book opened our eyes to that fact and the reasons behind it — not a lack of talent, but a lack of recognition and encouragement — and often the deliberate placement of obstacles.
That wasn’t difficult to believe. The university I attended had only admitted women for five years and limited them to 25 percent of the student body at the time.
Spring 1992’s Batman #475 may not be all that important in the Dark Knight’s history, but it was a pretty pivotal issue in my own history with comics. It wasn’t just the first time I bought a Batman comic — beginning a growing interest in superhero comics that has yet to subside — but it was also the first time I encountered the work of artist Norm Breyfogle.
It was his incredible artwork that convinced me to purchase that issue over all of the other Batman comics on the stands and in the beat-up boxes of my local comic shop, and that fueled my many return visits, to buy new Breyfogle-drawn Batman comics as they arrived and dig out the dozens of earlier ones from the back-issue bins.
At the time, comics cost just $1 — a quarter of what the average issue costs today — but I was 14 years old, so my only income came from allowance, birthday and Christmas gifts, and what my grandfather paid me to mow his lawn. Comics were to me then, as they are now, a luxury purchase of sorts, something one spent one’s extra money on. As adults, that means they’re what we buy after we’ve paid the rent and utilities, bought groceries and filled up the gas tank.
(Time once again for ROBOT 6 contributors Tom Bondurant and Carla Hoffman to email each other about the year in DC and Marvel superhero comics. This year’s exchange took place between Dec. 26 and Dec. 30.)
Tom Bondurant: First let’s address the elephant in the room — or, more accurately, the infinite number of parallel rooms, each containing a slightly different elephant. In 2015, both Marvel and DC are building Big Events around their respective multiverses. Conventional wisdom predicts that DC is doing this to address fan criticisms of the New 52, perhaps resulting in some continuity tweaks.
Carla Hoffman: Oh, man, I hope that’s true! Honestly, I have a hard time judging the inner workings of our respective companies sometimes because I always hear more from the fan side than the production team. Enough customers come in, day in and day out, with a piece of their mind on how things should be run or changed, but rarely do the people in charge — not creators and editors, mind you, the people who sign the checks at the end of the day with real power — come forward to say, “We feel this is the right direction.” Tom Brevoort on Tumblr comes close with his tireless open forum, but even then there’s always going to be company policy. If DC is brave enough to go “Maybe we shouldn’t have thrown the entire baby out with the bathwater” and massage their continuity into a more pleasing shape for fans, that’s going to be a heck of thing that will have an effect on readership, for sure.
This will not be a post about how Saga is awesome. I’ve written 30 of those already. No thrilling over Lying Cat here, no desperation for the next issue, none of my hopes to see The Will return to action or for [SPOILER] to [SPOILER] and [SPOILER SPOILER SPOILER].
Nor will I lose my cool over the fact that, right now, my bookshelf contains two excellent and weird and hilarious China Mieville (China Mieville!)-penned trades of Dial H, complete with blink-and-you’ll-miss-‘em anti-MPAA digs. Or that Neil Gaiman, in the – yikes — almost two decades since I picked up my first Sandman trade, has evolved from Sensational Comic Book Writer Neil Gaiman to MechaGaiman, Devourer of Worlds, Savior of Publishing and Champion of Art. Or that Genevieve Valentine is writing Catwoman!
I won’t flip out about The Wicked + The Divine or Chew or either Marvel, Ms. or Captain.
After the January Image Expo, Image Comics received some flak because most of the creators on stage were white men. On Wednesday, Publisher Eric Stephenson’s keynote address to the Image Expo held in conjunction with Comic-Con International included the following comments: “If we want to build a more diverse industry, though, if we want to develop a more diverse talent pool, then it is of utmost importance that we produce comics that appeal to as wide an audience as possible …”
That was said within the context of the historic gender disparity in comics, especially when looking at mainstream comics and the direct market. There’s more evidence than ever that the gender disparity in readership is no longer true; women are just as likely to read comics as men. If that’s true, then one would hope that just as many would be likely to attempt to make comics. That doesn’t seem to have come to pass in this corner of the industry, but Image announced a trio of upcoming releases that will hopefully start to shift the momentum in the right direction. If nothing else, these are among the most promising books to be announced at Image Expo, and they build on the gratifying surge in creator-owned comics.
My labor-of-love graphic novel The Fifth Beatle: The Brian Epstein Story was recently nominated for an Eisner Award for Best Reality-Based Work, and after coming back down to Earth (I learned what it meant to jump for joy — I was airborne!) I realized that I was equally honored by the nomination itself as I was by being a part of the category. Comics have certainly entertained me over the years — but more than that they have educated and inspired me. Many people have asked why I chose the graphic novel medium to tell the Brian Epstein story, and the heart of my answer is my steadfast belief that comics is simply one of the most powerful mediums for telling reality-based stories. Comics can capture the factual history of a tale alongside its poetic essence in a way prose biographies couldn’t dream of.
Many folks of Indian origin like myself can claim to have started reading comics when we were children. Indeed, many of us first learned our great Indian epics such as the Ramayana and the Mahabharata through easy-to-digest (and fun), cheap comic book adaptations. These ashcan-like books may have seemed like merely disposable entertainment, but the epics they’re based on are touchstones of the Indian identity. Those comics surreptitiously taught us about who we are, where we come from, and the power of both story and history. It’s perhaps no surprise that my Indian parents loved comics, and some of my earliest memories include browsing the comics racks at Forbidden Planet with them (then going home to listen to their Beatles’ records). And even when my childhood longboxes were full of the funnies, I somehow sensed that comics were more than just “comic” books.
It started with a simple question on Brian Michael Bendis’ Tumblr:
what advice do you have for someone that has had writers block for the past 6 or 7 years?
His response was terse:
this will sound harsh but you’re probably not a writer.
writers write every day. it’s ok, not everyone is.
but if you consider yourself one, get off your ass and get back to work!! write about why you haven’t been writing . anything. just write.
… and then it made its way around Tumblr, getting blogged and reblogged and commented on. Here’s a pretty good string of responses and responses-to-responses at Warren Ellis’ Tumblr, and Paul Constant compiled more Tumblr responses in a post at The Stranger, which then accumulated a pretty long comment string of its own.
This particular discussion resonated with me because I was in a similar situation: I wanted to be a writer for years before I actually wrote anything worth reading. It’s true, a writer writes, but when you are just sitting there all alone in front of the keyboard, it can be hard to know what to write or if what you are writing is worthwhile. I wrote great articles in my head but they seldom made it onto the computer, and when they did, I never seemed to be able to finish them. I picked at different things, but with no deadlines, I had no urgency to wrap anything up, and with no one to read my unfinished bits, I got no feedback. It’s one thing to write when you have assignments and deadlines and editors yelling at you; it’s another entirely when you’re sitting there in a vacuum.
So here’s the advice I would have given Bendis’ inquisitor:
MariNaomi’s first-person testimony of being sexually harassed onstage during a convention panel made the rounds of the comics blogsphere Thursday like lightning. Heidi MacDonald wrote about it at The Beat, and shortly afterward veteran writer Scott Lobdell outed himself as the person MariNaomi was talking about and publicly apologized. Usually when Heidi speaks on an issue like this, I don’t have much to add, but what struck me about the incident is that it’s a textbook case of something that happens to women all the time, and that many men, even those of good will, don’t always understand.
Sexual harassment is a difficult topic, and sometimes we tie ourselves up in knots trying to define and discuss it. But in MariNaomi’s account of the panel, it was very clear: Her harasser wasn’t just making some crude sexual jokes, he was ignoring what MariNaomi was saying and drawing attention away from it by focusing on her sexuality as a woman. He was denying everything about her except one aspect, her sexual attractiveness. That’s what sexual harassment is about.
It’s not necessarily about trying to pick up someone; that happens between consenting adults all the time. It’s not about dirty jokes, either. In context, with the right people, those can be fine.
It’s about not regarding women as full, complete people on an equal footing with men. It’s about not listening to what a woman has to say and focusing instead on her physical attributes. Pickup lines and dirty jokes are just the tools a sexual harasser uses to do the real job: belittling the other person.
When DC Comics published the final issue of Geoff Johns’ eight-year, 150-ish issue run on the Green Lantern character in May, it came in a massive package: An 80-page, $7.99 comic book with a spine, its 66-page story by Johns and his many artistic collaborators complemented by eight pages or so of “Congratulations, Geoff Johns!” from his bosses, his colleagues, his collaborators, his admirers, his family members, a few celebrities and a few “celebrities.”
When DC published the final issue of Grant Morrison’s seven-year run on the Batman character this July, it was simply a regular, $2.99, 24-page issue of Batman Incorporated, the second ongoing monthly created specifically for Morrison to tell his Batman story.
The actual celebration and send-off of Morrison’s tenure on the character— or at least the last few years of it – came out this week, and, in a move that seems appropriately off-beat, Morrison himself had next to nothing to do with Batman Incorporated Special #1, a series of short stories featuring Morrison creations and resurrections of long-retired characters by various creators, only one of whom actually worked with the writer during any of those seven years’ worth of comics.
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NPR television critic Linda Holmes has spent the past couple of weeks tweeting from the Television Critics Association press tour, which ended with a panel on the PBS documentary Superheroes: The Never-Ending Battle. Debuting Oct. 8, the three-part miniseries was directed by Michael Kantor, who was on the panel with comic book writers Todd McFarlane, Len Wein and Gerry Conway.
Holmes noted that the panelists asked about the lack of diversity in superhero comics, but unfortunately, the response to that question wasn’t very satisfying. She paraphrases four reasons cited by the panel:
Zak Sally’s announcement that his latest Sammy the Mouse book is ready for purchase also includes some commentary about his experience with publishing the first book himself:
printing it was a nightmare. at the end of that process, i had to face the fact that the 5 months of frustration and banging my head against the wall of the “steep learning curve of being an offset printer” was all time taken away from the primary goal, which is MAKING the COMICS. and it was too much; both the time and the frustration.
This volume will be published by Uncivilized Books, which spares Sally the hassle of getting it printed while allowing him to sell it directly to consumers, which is the part he likes about self-publishing.
It’s a point that anyone considering funding their next book through Kickstarter would do well to consider. It has always seemed illogical to me to have every creator handling their own print run of 5,000 books individually — for one thing, not everyone is good at it, as Sally can attest. Beyond that, though, one of the most valuable functions a publisher can serve is streamlining the less creative parts of the process. Book production is a tricky business, and publishers have experienced people who know how to navigate the fairly technical process; a creator taking a book to the printer for the first time is likely to make mistakes and waste a lot of time. What’s more, an individual creator is never going to be able to negotiate a better price than a publisher who sends a continuous stream of business to the printer.
“This old version of To Kill a Mockingbird where Atticus kills a rabid dog isn’t *my* Atticus”
– Max Robinson, commenting on fan complaints about Man of Steel
I’ll try to keep this as non-spoilery for Man of Steel as possible, but if you haven’t seen it yet and don’t want to know anything about it, you may want to skip this.
There’s been a lot of discussion the past week about certain choices Superman makes in Man of Steel and whether those are things that character would/should do. Mark Waid describes being so upset by Superman’s actions that he stood up and yelled in the theater. In that review, the writer talks about “the essential part of Superman that got lost in Man of Steel.” And while I agree with what Waid describes as essential, not everyone does. In fact, some folks – like Robinson – question whether readers have the right to make those kinds of statements about someone else’s characters.
It’s kind of impossible to overstate the influence Kim Thompson had on American comics. As co-publishers of Fantagraphics, he and Gary Groth transformed the way people thought about the medium, both in the pages of The Comics Journal and in the kinds of comics they published. If any one publisher can be regarded as the singular entity (and let me be clear, I’m really wary about staking that sort of claim) that made not just fans but the general public take notice and say, “Oh, hey, comics really are an art form and capable of greatness,” it was these guys.
As you might have heard, Kim Thompson died Wednesday morning after being diagnosed with lung cancer. I thought I’d try to cobble together a few words about Kim’s legacy. (And I hope you don’t mind me calling him by his first name; although we were only casual acquaintances at best, it just feels weird to refer to him in anything but familiar terms.)
So have you heard there’s a new Superman movie out? It’s mostly playing in small art-house theaters with a minimal marketing budget, so you might’ve totally missed it. You should check it out.
If you haven’t seen it, fair warning: Here there be spoilers.
This isn’t a review because, honestly, you’ve probably already made up your mind. However, it is a look at how the changes to the Superman mythos made in Man of Steel have altered the origin, and indeed the character, intrinsically.
A lot of these observations were inspired by a podcast discussion of the movie at Part-Time Fanboy, in which host Kristian Horn caught on to something that hadn’t really stood out to me on my first viewing (the episode was recorded earlier in the week and should be available today). Since the recording, I’ve been thinking about what he said, and the more I think about it, the more I see how it seriously alters Clark Kent, and may in fact be the root of my problems with the Man of Steel.
Most people just looking for an exciting movie or a badass Superman enjoyed Man of Steel, and there is plenty to like: There’s some excellent design, particularly of Krypton, the bar has been raised on super-person battles, and most of the acting is fine to actually quite good; Kevin Costner’s delivery of the line “You are my son,” despite being over-used in trailers, choked me up.
How quickly we’re evolving: From Yvyes Bigerel’s rough demo in February 2009 to the near-simultaneous launch of Mark Waid’s Thrillbent and Marvel’s Infinite Comics in March 2012 to the Marvel ReEvolution suite of digital initiatives announced earlier this year (and still coming). And now we have DC Comics’ entry, DC2 (“DC Squared”), which looks to be the company’s take on Bigerel’s concepts. Also announced is DC2 Multiverse, a choose-your-own-adventure style digital comic that will inform DC on readers’ story choices.
While the latter seems a little creepy, it’s becoming clear that after years of digital and webcomics primarily mimicking print comic books and comic strips, a new kind of comic is emerging, one that is changing how they’re made and read.
These current platforms were far from the first to experiment with digital. Artists like Cayetano Garza Jr. began experimenting with limited effects and layout as early as 1998. Scott McCloud’s infinite canvas theory, in which digital could break free of the confines of the limited dimensions of a page, was proposed in 2000, ironically in the pages of his print book Reinventing Comics. Experiments with using an infinite canvas followed, but it never grabbed hold as a standard format. Mostly, webcomics have echoed the structure and dimensions of daily newspaper strips with the occasional experimentation.