Ayer Reveals Jared Leto's Tattooed "Suicide Squad" Joker
This is particularly timely, considering today’s television casting news: Project: Rooftop showcases Perry Maple’s whimsical redesign of Batman and his allies and enemies, from Robin to Scarecrow to Two-Face.
“The aim for this redesign was to create a colorful, simple, and playful reimagining of the Gotham city universe,” the artist explains on his deviantART page. I think he achieved that goal, too, particularly with Catwoman, Poison Ivy and Harley Quinn, who look as if they stepped out of a fairy tale. However, I also really like is older take on Selina Kyle in a decidedly different style.
Check out close-ups of some of Maple’s redesigns below, and visit his deviantART page for more.
I talked about it last week, but there’s a lot to unpack in the recent Williams-and-Blackman-leave-Batwoman imbroglio. Part of it is DC Comics’ apparent need to keep characters relatively unchanged, which these days includes being young and unmarried. Co-Publisher Dan DiDio has already explained this in terms of heroic sacrifice, so I suppose that’s as close as we may get to official company policy on the matter.
However, before DiDio made his comments, I was wondering whether DC didn’t want the non-costumed half of Batwoman’s main couple to remain single and uncomplicated. After all, Maggie Sawyer goes back further than Kate Kane, and has appeared in both the animated Superman series and in Smallville. Thus, a certain part of the TV-watching public probably associates Maggie Sawyer more with Superman than with Batwoman; and DC might not want to have her tied permanently to the Bat-office.
This, in turn, brings up the issue of DC as a “content farm,” providing material for future adaptations. Obviously the publisher has almost 80 years’ worth of characters and stories ready to provide inspiration. Indeed, over the decades, that inspiration has gone both ways. However, more recently it seems like the adaptations have been influencing the comics to a greater degree than the comics have been influencing the adaptations, and in the long run that’s not good for either side.
On my superhero fashion site Project: Rooftop, I’ve been talking up to the nth degree an amazing set of superhero redesigns by Italian artist Denis Medri. This artist has taken Gotham’s resident bad-boy billionaire and recast him as a 1950s greaser to amazing results. While Medri’s work might not be in line with the New 52, it harkens back to the best of DC Comics’ celebrated Elseworlds line of titles reimagining its heroes in different timelines and settings. Medri’s gone on to reinvent much of Batman’s cast in this model, with everything from a Betty Page-esque Catwoman and a poodle skirt-wearing Harley Quinn to a Rat Fink-worthy hot rod Batmobile.
Although the actual chances that DC would somehow accept this as a back-door pitch are slim to none, it does highlight the intriguing passion artists have for classic characters and just how enamored fans can be when their favorite heroes (and villains) are repositioned to alternative lives. While some might say its insular thinking, I think it broadens the core concepts of these timeless characters and shows just how versatile they can be.