Batwoman Archives - Robot 6 @ Comic Book Resources
September marches on, Wednesday by Wednesday, which means so too does DC Comics’ theme month. This year the publisher has suspended publication of its New 52 titles, replaced them with Futures End one-shots, and slapped new and improved (i.e. smaller) lenticular 3D covers on them, each bearing a “#1.”
One could certainly question the logic in tying all of the New 52 books, even the extremely popular ones like Batman, to a middling weekly series set in a possible future that will never come to pass and that seems to be a fairly reliable mid-list seller. But this week’s crop of one-shots demonstrates that, despite the fact that each book has the words “Futures End” in the title, many of them have somewhere between nothing and very little to do with the actual plot of the event series.
In the previous two installments of our weekly look at these specials, I recapped the basic plot of Futures End. But this time, I see I need not even bother. DC shipped 11 of the books this week, but I only read five — and the only thing those issues shared in common is that they’re set five years in the future (not that they had much of anything at all to do with Futures End).
Comics | Writing for The Advocate, Jase Peeples takes note of the diversity of DC Comics’ extended Batman family — from Batwoman to Batwing to Barbara Gordon’s roommate Alysia Yeoh — and talks with writers Gail Simone, Grant Morrison, Marc Andreyko, Tom Taylor and Chip Kidd. “I would like to think that people can pick up books like Batman Incorporated or The Multiversity and see their own lives reflected,” Morrison says. “But I’d always caveat that with the need for us to see more diverse writers and artists, because that’s when I think the walls will really come down. As a straight [white guy from Scotland] I can only do so much, and I find even sometimes when you do this, you do get accused of tokenism or pandering. I don’t mind it. I can put up with that, but I’d rather see a genuine spread of writers and artists creating this material.” [Advocate.com]
Unfortunately, the images aren’t accompanied by a release date or a price, but it presumably will be somewhere around $60, the same as the other statues in the DC Comics Bishoujo line.
Superhero names carry a lot of weight, both in their fictional universes and our world. As we’ve seen time and again in comics, sometimes a costumed identity proves more popular than the actual character, leading to the decision to put someone else in the costume, either in an effort to boost reader interest (and, therefore, sales) or to simply take the story in a different direction.
In this week’s Six by 6, we look at six legacy, or “replacement,” heroes who ended up overshadowing their predecessors. Some, such as Green Lantern and The Flash, you may know; however, others may surprise you.
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.