I like Guillem March‘s work; I think there’s more experimentation and playfulness in it than in almost anything by the other cheesecake specialists employed at the Big Two. Sure, he came in for a lot of deserved flak over the broke-back pose on the cover of Catwoman #0, but the Spanish artist came out of that controversy exhibiting a nice line in self-deprecating humor. His other covers for both Catwoman and the defunct Gotham City Sirens reveal an artist with an eye for trying new styles as well as interesting composition and perspective.
Recently at his blog, he’s been playing around with a series called “the muse in my studio,” in which he inserts a typical Marchian beauty into some photographs of his work/living space/street life. They’re great, and a lot of Manara-esque fun.
This is a drawing that someone drew and was like, “Yeah! That’s a good enough drawing!”
Man, I don’t even care if that drawing is official or whatever, I can’t believe someone drew it and thought it was okay to show people. People can see that drawing! PEOPLE WITH EYES. Why do I even fight so hard to make my art look good when someone else drew that. As a person with eyes, I am a little offended.
– Faith Erin Hicks, not losing her funny while expressing offense about Guillem March’s cover to Catwoman #0.
Publishing | May was a huge month for comics sales in the direct market, and John Jackson Miller quantifies just how huge: It was the biggest month for dollar sales in the “Diamond Exclusive Era” (i.e. since 2003): “Diamond’s Top 300 comics had orders totaling $25.72 million, an increase of 44% over last May and the highest total since Diamond became the sole distributor in 1997. It beats the total of $25.37 million set in December 2008.” [The Comics Chronicles]
Comics | Art Spiegelman is contributing a prescient New Yorker cover from 2001 to the Occupy Comics anthology; other creators who are contributing work include Alan Moore, Jimmy Palmiotti and Dean Haspiel. [Underwire]
History | Joe Sergi takes a look at the comics burnings of 1948, a series of disturbing events in which children, no doubt goaded on by well-meaning adults, collected comics door to door and then burned them in a public bonfire. [CBLDF]
The Grumpy Old Fan/Women of Action crossover continues. In our first installment, Tom and I agreed that there are some interesting things going on in Catwoman and tried to fit Winick’s characterization into the context of Catwoman’s history (or rather, our limited understandings of Catwoman’s history). When we left off, I was trying to decide whether or not I trust Judd Winick to be telling The Last Self-Destructive Catwoman story and take the character into a positive direction. As we pick up, Tom helps me with that.
TOM: I agree that the ’60s TV show was a big influence on the character’s perception, although I’m not sure how much it really changed in the comics. There is certainly a lot of “crazy” in Michelle Pfeiffer’s 1992 Batman Returns performance, and I think a lot of that is an extension of the TV show more than, say, taking off from Batman: Year One. Maybe that’s part of what we’re seeing in the current series’ self-destructive aspects, although that could just be a coincidence.
That’s a good point about Gail Simone’s “Last Hostage Story,” and it would be a good time for the New-52 Catwoman to break out of a downward spiral. Selina’s flashes of extreme violence are presented as outbursts of deeply-repressed rage, like she’s ultimately mad at the world for trying to take away what she perceives as having gotten fairly. She talks herself into spending easily-traceable cash because she figures she deserves it, even though she knows she’s flirting with disaster. Similarly, in #6 she tells Batman she’s earned that money, and besides it would just go to very bad people. Conversely, when Bone tells Catwoman his own philosophy, she really lets him have it, because he killed her friend for daring to steal the property he prized so highly. For all her talk about “earnings,” she really does value her relationships more, but it’s almost like she doesn’t think she deserves them and ends up trying to satisfy herself materially (and sexually with Batman, of course). That’s a lot of emotional baggage to unpack, although from an historical perspective it makes this Catwoman less mature.
Anyway, the violence: as with issue #1′s sex scene, I didn’t really need to see Selina bite off Reach’s ear in issue #6. I suppose that shows us just how far gone Selina was at that moment, and it was arguably in keeping with #1′s eye-gouging, #3′s baseball-bat-beating, and #5′s fight, but maybe a little more discretion was in order. Actually, I say “maybe” without much sarcasm, because to me — as bad as it sounds — the violence almost needs to be as explicit as the sex, both to show their “importance” in Selina’s life and so that one doesn’t overwhelm the other. These six issues show an arc full of extremes (in the classical sense, not the ’90s sense), because that’s where Winick and March have put Selina. Contrast page 2 of issue #6 with the last panel of the last page. In both, Selina is wearing only her catsuit, sitting barefoot with her knees pulled up to her chest. On page 2, it’s because she’s in police custody, her gear’s been taken from her, and her hands are cuffed behind her back. There she’s trying to maintain a defensive pose, staring at the world with bug-eyed defiance. She’s vulnerable physically and trying to stay composed mentally. On the last page, though, it’s the opposite: having taken off her gear herself, her outward vulnerability shows Gwen she’s ready to open up inwardly, and her pose is more relaxed as a result.
[In a happy accident, Michael May and I were both planning to examine the current Catwoman series, so we decided to join forces for a special two-parter.]
TOM: For a little while last September, the first New-52 issue of Catwoman was one of DC’s more infamous books. It started literally with a shot of Selina Kyle’s bra, and it ended with her and Batman doing it, as they used to say, like they do on the Discovery Channel. Back then, Catwoman #1 was yet another example of DC Doing It Wrong, trading on cheesecake to sell comics, and ignoring what the likes of Ed Brubaker, Darwyn Cooke, and Will Pfeifer had done with the character in the process.
When I read Catwoman #1 along with every other New-52 first issue, honestly, the sex scene bothered me. It seemed unnecessary in the context of a pretty decent first issue, and it did seem like writer Judd Winick and artist Guillem March were taking a characterization shortcut by establishing Selina firmly in relation to Batman. Granted, it was presented as Selina practically willing Batman into the act — she notes that he “protests,” then “gives in” — but all things being equal, I’m still not sure you want your first issue to end with “and then I seduced the heck out of Batman.”
Although I risk reigniting the controversy over Catwoman #1, I couldn’t resist posting this reimagining of Guillem March’s cover by DrawAARGHHH — I couldn’t find a real name — that substitutes Bruce Wayne for Selina Kyle. I think it’s the caption that hooked me: “Batman. He’s not the hero Gotham needs, but he is the one that Gotham desires.” Or maybe it was that the bag of diamonds looks vaguely phallic.
See the full image below, along with March’s original. Catwoman #2, by March and writer Judd Winick, arrives Oct. 19.
In a week in which the debuts of Batman and Wonder Woman fired on all cylinders, you have to think DC Comics didn’t expect the spotlight to be stolen by the first issues of Catwoman and Red Hood and the Outlaws. Alas, online discussion over the past 48 hours hasn’t been focused on the accessibility of the former or the potential of the latter (if indeed either demonstrates accessibility or potential). Instead, it’s centered on a bra-flashing Selina Kyle engaging in aggressive costumed sex with Batman, and a semi-amnesiac Starfire who’s become little more than an emotionless sex mannequin.
I feel as if I should be worked up by the depictions but, to be honest, I’m just deflated by the whole thing. The best I can muster is, “Sigh … again?” and maybe, “This is the kind of storytelling and characterization you relaunched your entire line for?” But here are some of the highlights of what others are saying on the subject:
• Winick’s statement to Newsarama about the response to Catwoman #1: “This is a Catwoman for 2011, and my approach to her character and actions reflect someone who lives in our times. And wears a cat suit. And steals. It’s a tale that is part crime story, part mystery and part romance. In that, you will find action, suspense and passion. Each of those qualities, at times, play to their extremes. Catwoman is a character with a rich comic book history, and my hope is that readers will continue to join us as the adventure continues.”
Taking over the DC Comics Twitter account today, editor Rachel Gluckstern revealed Guillem March’s cover for Catwoman #4, teasing, “What business could Catwoman possibly have at Stately Wayne Manor?”
The relaunched Catwoman, by March and writer Judd Winick, debuts next week. The fourth issue arrives in December.
DC spent the day rolling out announcements about the Batman books in anticipation of its line-wide September relaunch…with one conspicuous absence until the very end.
So, Bruce Wayne is reclaiming sole possession of the mantle of the Bat, while Batman and Detective Comics are swapping creators: Batman writer/artist Tony Daniel will be taking over Detective Comics, while ‘Tec writer Scott Snyder is taking over Batman with artist Greg Capullo of Spawn fame. Both books will star Bruce Wayne rather than his protege and stand-in Dick Grayson beneath the cape and cowl.