Batwoman Archives - Robot 6 @ Comic Book Resources
The Over the Rainbow Project, sponsored by the ALA’s Gay, Lesbian, Bisexual and Transgender Round Table, announced its 2014 book list, containing works recommended for adults that “exhibit commendable literary quality and significant LGBT content.” Six titles were selected in the Graphic Narrative category:
- 7 Miles a Second, by David Wojnarowicz, Marguerite Van Cook and James Romberger (Fantagraphics)
- Anything That Loves: Comics Beyond “Gay” and “Straight,” edited by Charles “Zan” Christensen and Carol Queen (Northwest Press)
- Blue is the Warmest Color, by Julie Maroh; translated by Ivanka Hahnenberger (Arsenal Pulp Press)
- Calling Dr. Laura: A Graphic Memoir, by Nicole J. Georges (Houghton Mifflin)
- Julio’s Day, by Gilbert Hernandez (Fantagraphics)
- Spit and Passion, by Cristy C. Road (The Feminist Press)
The Rainbow Project, a joint committee of the GLBT Round Table and the Social Responsibilities Round Table, highlighted five graphic novels on its list of graphic novels for teens:
The nominees have been announced for the Gay and Lesbian Alliance Against Defamation’s 25th annual Media Awards, which honor outstanding portrayals of the gay, lesbian, bisexual and transgender communities.
The nominees for outstanding comic book are:
Readers of DC’s Batwoman have had their fair share of surprises, but this month’s Batwoman #27 has another — but it’s a good one.
Former Flash co-writer/artist Francis Manapul is making a surprise appearance in this month’s issue, and it’s no simple fill-in. It all began as some last-minute help during the holidays but turned into something unique for everyone involved.
“Just before the holidays I got a call from one of my editors asking me for a favor,” Manapul writes on his website. “Now usually that’s followed up by a last-minute cover request with a quick turn-around time. Instead, she opened by telling me her request was rather unconventional. With the holiday season shortening many of the deadlines, regular Batwoman artist Jeremy Haun came up with a neat solution to that problem.”
It’s little surprise that the editorial board of the conservative Washington Times didn’t embrace the announcement that the new Ms. Marvel is a 16-year-old Muslim from New Jersey, but the newspaper’s actual response is a bit … bewildering. One might even describe it as eerie.
Beginning a Sunday editorial with a declaration that “diversity and quotas are more important than dispatching evil” — because, as we all know, heroes can’t be diverse and fight villains! — the writer engages in a little concern trolling, warning that Ms. Marvel, and by extension Marvel, will have to be careful not to anger “militant Islam” if there’s any hope for newsstand sales in Muslim nations. Of course we’re told in the very next paragraph that, “Ms. Marvel probably won’t appear in comic books in Saudi Arabia, anyway,” which apparently takes care of that problem.
Once we slog through the bumbling writing and odd aside involving Secretary of State Kerry, however, we arrive at the crux of the Washington Times’ argument, such as it is: that diversity is strange and frightening.
Batwoman Vol. 3: World’s Finest (DC Comics): It’s difficult to talk about this comic without also discussing the announced departure of its creative team which, like several others that have worked on DC’s New 52, left amid quite public complaints of editorial interference.
As an auteur-driven book starring a relatively new character that’s barely been drawn by anyone other than artist and co-writer J.H. Williams III, the whole affair strikes me as strange, as Williams seems to be at least as big a factor in the book’s continued existence as the word “Bat” in its title. And it’s stranger still he and co-writer W. Haden Blackman are only now reaching the breaking point, as from a reader’s perspective, DC appeared to have pretty much left them alone to do their own thing; like Grant Morrison’s Batman Incorporated and the Geoff Johns-written portions of Green Lantern, this book seems set in its own universe and is sort of impossible to integrate into the New 52 if one thinks about it for too long (with “too long” being “about 45 seconds”).
Regularly cited as one of the best of DC’s current crop of comics, Batwoman is definitely the company’s best-looking, and most intricately, even baroquely designed and illustrated. As for the word half of the story equation, I found Batwoman — and this volume in particular — to be extremely strange, even weird, more than I found it to be good.
Clothing retailer Forever 21 has introduced Bats & Cats, a limited-edition collection men’s and women’s apparel and accessories inspired by Batman and Catwoman.
Created in partnership with Warner Bros. Consumer Products, the line’s pieces range from sweaters and a faux-leather backpack to T-shirts and a phone case.
“We have been enthralled with the animal emergence and took to cats, epitomizing a soft femininity and bats, symbolizing our desire for nocturnal nonconformity for an updated approach to the trend,” Forever 21′s Betsy Zanjani said in a statement. “This limited-edition line will allow our customers to discover unique and contemporary merchandise with a nostalgic charm of bats, cats and the iconic super heroes of Gotham City.”
Bats & Cats is on sale now on the Forever 21 website and at select stores.
DC Comics hasn’t had a particularly good run of things lately. To be frank, the publisher has done blown it a number of times over the past few years. But don’t worry, DC fans — I’m sure it’ll soon be Marvel’s turn, as the two rivals seem to trade off every five years or so.
I’ve been calling out DC for the past couple of weeks, but that doesn’t mean everything it does strikes me as wrong. It’s important to declare shenanigans, but it’s also important to recognize when a publisher does something that’s good for comics.
So here are six things DC is doing right:
1. Digital comics: Legends of the Dark Knight and Adventures of Superman are digital-first anthology series that feature some excellent creators (from Jeff Parker and Chris Samnee to J.M. DeMatteis and Jeff Lemire) producing completely accessible and entertaining stories that stand on their own; no college course on the New 52 or Crisis on Infinite Earths required. Yes, these stories are out of continuity — so for a percentage of readers, they don’t count. That’s a mistake, because there’s nothing wrong with a straight-up superhero tale that exists on its own terms. These two anthologies are the gems of DC’s digital-first line-up, but Batman ’66 and Batman: Li’l Gotham also offer fantastical takes on the iconic Caped Crusader that are bright and fun. For those exhausted by the angsty versions of serious stories, you owe it to yourself to check these out.
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.
“The circumstances could be more pleasant. You never want to take over a book when people leave on not the best terms, but the character is so rich and I’m such a huge fan of everything Greg [Rucka] and Haden and J.H. — especially J.H. — have done on that book, that I’m not going in to rearrange everything and say, ‘Everything that went on before is bad. I’m going to fix it.’ I want to do right by the character, and the character that they have done … I’ve got to say, the reaction on the Internet — I expected to be vilified, and drawn and quartered, and I’ve only been called ‘gay Uncle Tom’ by about three websites, so statistically, I’m ahead of the game. Statistically, the Internet’s been great to me.”
– writer Marc Andreyko, in an interview with CBR TV, discussing taking the reins on DC’s Batwoman following the sudden departure of J.H. Williams III and W. Haden Blackman
DC Entertainment may not have planned it this way — “planning” being something with which DC may be only tangentially familiar — but I doubt its high-ups wanted to release these December solicitations the Monday after what had to be a pretty rough weekend. When you’ve just had to deal with a celebrated creative team walking off a fairly successful book — citing “editorial interference,” and reminding people that the character’s original writer also left after increasing frustration with DC — you might not want to follow that up by calling attention to all the other changes coming before the end of the year.
And don’t worry, there’ll be plenty of Batwoman and “sucky personal life” talk before we’re done. Solicits first, though …
If the first week of Villains Month is any indication, a good bit of the decimal-point issues will feature stories set in the early stages of the Crime Syndicate’s takeover. This wasn’t that apparent from the September solicits, and subsequent months also appeared light on explicit crossovers. December is about the same, with Teen Titans dropping out of the crossover lineup, and Pandora and Phantom Stranger joining the three Justice League books, the three Forever Evil [Colon] miniseries, and Suicide Squad.
I’m still kind of flummoxed by Dan DiDio’s comments last weekend at Baltimore Comic-Con explaining why Batwoman can’t marry her girlfriend Maggie Sawyer. “Heroes shouldn’t have happy personal lives,” he said at the start of the DC Nation panel, according to several sources. “They are committed to being that person and committed to defending others at the sacrifice of their own personal interests. It’s wonderful that they try to establish personal lives, but it’s equally important that they set them aside. That is our mandate, that is our edict and that is our stand with our characters.”
I don’t disagree with the idea that main characters ought to struggle. A sunny walk through the park doesn’t make for much of a gripping adventure yarn. That is pretty basic writing strategy for drama: Put your characters through hell and watch them climb out. Serialized superhero stories, and in fact most Western narratives, are structured around that up and down of going from seeming defeat to triumph. It’s particularly appropriate for Batman and his family of books: The Dark Knight is built around tragedy, and his obsession over fixing that tragedy is what drives him. Bruce Wayne continually sacrifices his personal life in his constant pursuit to make sure what happened to him won’t happen to anyone else. It’s that drive that’s turned him into something of a social misfit — he can play the part of Mr. Debonair but getting emotionally close to him is almost impossible.
So on that level, I don’t disagree with DiDio.
Welcome to “Report Card,” our week-in-review feature. If “Cheat Sheet” is your guide to the week ahead, “Report Card” is typically a look back at the top news stories of the previous week, as well as a look at the Robot 6 team’s favorite comics that we read.
So find out what we thought about Waluk, Superior Spider-Man and more.
It’s rare that you see an artist do a continuous long run on a monthly comic series these days. Mark Bagley, Charlie Adlard and John Romita Jr. are among the relative few, and even their tenures are sometimes broken up by extra-sized issues or a biweekly shipping schedule. But joining those ranks of the most prodigious artists in comics is a fairly new face: Francesco Francavilla.
The Italian artist has been steadily working up through the ranks in the comic industry since his debut in 2006, but 2012 was his breakthrough year, as he won an Eisner Award for his covers, saw his creator-owned series Black Beetle start at Dark Horse and drew two arcs of Captain America and a fill-in issue of DC’s Swamp Thing. But in October, things are getting crazy, with Francavilla working simultaneously as the artist on three series — Marvel’s Guardians of the Galaxy, Archie’s Afterlife with Archie at Archie, and his own Black Beetle: Necrologue at Dark Horse.
This has already been a blockbuster year for Francavilla, with seven complete issues already released — Black Beetle #1-4, Batwoman #21, Hawkeye #10 and #12 — plus an astonishing 46 covers for various publishers. Forty-six!
In an interview earlier this year with ROBOT 6, he commented on his amazing flurry of work by dubbing it “Creative ADD,” and even admitting he sometimes forgets what he does due to the sheer volume.
“The other day I was flipping through Previews and I saw a cover I forgot I did!” The artist told Tim O’Shea. “Then I went to check if I forgot to invoice it too!”
James Brown ain’t got nothing on Francesco Francavilla.
Welcome to the first “Report Card,” a new feature we plan to run every weekend. If “Cheat Sheet” is your guide to the week ahead, “Report Card” is a look back at the week in review. It will include an overview of top news stories you might have missed, as well as a look at the Robot 6 team’s favorite comics that we read this week.
So read on to find out what we thought of Batwoman #21, X-Files: Season 10 #1, Becky Cloonan’s Demeter and much more.
Frequent readers of ROBOT 6 know I’m a big supporter of Francesco Francavilla, and particularly his Black Beetle character. Wednesday marks the release of The Black Beetle: No Way Out #3, the penultimate issue in the first of a series of miniseries for Dark Horse. As much as I was eager to learn about the pulp-fueled noir comic, I was equally keen to chat with Francavilla about his approach toward layout and storytelling in general.
As part of the interview, Francavilla shared some preview pages for the latest issue.
Tim O’Shea: Comparing the early adventures of the Black Beetle, as shown in Night Shift versus No Way Out issues 1 and 2, how liberating did it feel to be increasingly ambitious with your layouts on the pages?
Francesco Francavilla: Very liberating. One of the tricky parts of doing Night Shift was to have three small installments (chapters) of eight pages. I wanted each single chapter to be meaty enough to be entertaining on its own, but I also wanted each chapter to end with a cliffhanger. Going from that to a full 22 pages a month with No Way Out, I have much more room now to have fun with different layouts and give extra room for some big reveal sequences.