INTERVIEW: Duggan's "Deadpool" Deals with the Pressures of High Profile Heroics
Students of DC Comics’ publishing history can probably rattle off at least a few editors from the company’s first few decades. Whitney Ellsworth edited the Batman and Superman books in the 1940s and ‘50s before becoming a producer on the Adventures of Superman television series. In the Silver Age, Mort Weisinger presided over an exponential expansion of Superman’s mythology, including all those varieties of Kryptonite, the introductions of Supergirl, Krypto and the Legion of Super-Heroes, and ongoing series focused on Lois Lane and Jimmy Olsen. Similarly, as editor of the Batman titles, Jack Schiff supervised one of the character’s most recognizable periods, filled with colorful mysteries and giant-sized props.
Of course, the phrase “Silver Age DC” is virtually synonymous with Julius Schwartz, who worked with writers Gardner Fox and John Broome and artists Carmine Infantino, Mike Sekowsky and Gil Kane on rebuilding DC’s superhero line. One could argue fairly reasonably that without them DC Comics as we know it today might not exist (and neither would today’s Marvel).
However, while Ellsworth became DC’s editorial director in 1948, Schwartz Schiff, and Weisinger weren’t in similarly lofty positions. Today we readers hear a lot about “editorial control” and the dreaded “editorial interference,” charges aimed largely at the men at the top: Editor-in-Chief Bob Harras, Co-Publishers Dan DiDio and Jim Lee and Chief Creative Officer Geoff Johns. We hear a lot from them (illuminating and otherwise) about the general direction of the company. We also hear a good bit from various writers and artists, including Johns and Lee, regarding specific titles.
Nevertheless, on the management tier in between are the books’ editors themselves; and that’s the area about which I’ve become rather hazy. Therefore, I started looking through New 52 credits boxes, and supplementing this research through the Grand Comics Database, to see who was editing what.
Although this won’t raise the pop-culture alarms that news of the end of the marriage of Clark Kent and Lois Lane did, DC Comics has confirmed that another, much older union will bite the dust in the publisher’s line-wide relaunch: that of Barry Allen and Iris West.
The word comes this afternoon from editor Brian Cunningham, who writes at The Source that Barry, like Clark, is a single man who’s never been married. “I’ll give you all a few seconds to take that in and digest it,” Cunningham says.
That’s right, as with Clark and Lois, post-Flashpoint the nearly 45-year-old marriage of Barry Allen and Iris West never happened. It’s probably not a huge surprise, considering the push to make superheroes younger and/or more relevant tends to involve the jettisoning of spouses (see also: Peter Parker and Mary Jane Watson).
But in the New 52, Iris and Barry aren’t dating, either. No, like Lois, The Flash is seeing somebody else — in his case, his longtime lab assistant Patty Spivot, who was introduced back in 1977, when Barry and Iris had only been married for 11 years. Surely the Central City Police Department has rules about relationships in the workplace …
“If that upsets you, sorry about that,” Cunningham writes. “But I make no apologies for opening up a traditional storytelling avenue with our hero’s romantic life, something that’s been shut closed for a very long time now. This is no indictment of marriage. I’m a married man and wouldn’t trade it for anything. But in the realm of fiction, I feel strongly that this change to Barry opens up fresh, new creative directions and exciting new storylines.”
He assures Iris fans that she’ll remain a part of The Flash‘s supporting cast, writing a blog for the Central City Citizen’s website.
The Flash #1, by Francis Manapul and Brian Buccellato, arrives in stores Sept. 28.