INTERVIEW: Duggan's "Deadpool" Deals with the Pressures of High Profile Heroics
While DC Comics sacrificed some bragging rights in 2011 when it rebooted its superhero line, even the never-before-renumbered Action Comics and Detective Comics, one consequence of relaunching TEC was that it was only a matter of time — 26 months, to be exact — before the company got around to publishing a new Detective Comics #27. And that the second Detective Comics #27 would see release during the 75th year of Batman’s career, well, all the better.
The first Detective Comics #27, published in 1939, was, of course, the first appearance of Batman. The anthology’s cover was surrendered to an arresting image of a spooky man in tights, wearing a bat-mask and sporting huge bat-like wings, scooping up a gangster in a headlock while swinging in front of the yellow field above a city skyline. “Starting this issue,” the cover trumpted, “The Amazing and Unique Adventures of The Batman.” Inside, Bob Kane and Bill Finger’s pulp- and film-inspired detective hero cracked the “The Case of the Chemical Syndicate,” and the amazing and unique adventures begun therein have yet to cease.
DC has honored that milestone in various ways over the years, with notable celebrations including Michael Uslan and Peter Snejbjerg’s 2003 Elseworlds one-shot Batman: Detective No. 27, and 1991’s Detective Comics #627, in which the Alan Grant/Norm Breyfogle and Marv Wolfman/Jim Aparo creative teams did their own takes on “The Case of the Chemical Syndicate,” and both the original story and a 30th-anniversary version by Mike Friedrich and Bob Brown were reprinted.
This week brings Detective Comics (Vol. 2) #27, and another opportunity to celebrate that original issue, and Batman’s 75th anniversary, which DC does in a 90-page, prestige-format special issue — essentially a trade paperback with some ads in it — featuring contributions from the writers of all four of the main Batman books of the moment and about as strong a list of contributing artists as a reader could hope for.
If you’ve been keeping up with the events in the DC Universe, then you know things are looking particularly grim for the good guys.
At the conclusion of “Trinity War,” the Justice Leagues faced an invasion from the Crime Syndicate of Earth-3 — “The birthplace of all evil,” as one character called it — evil counterparts of the Justice League. In the first issue of Forever Evil, these villains claimed to have killed all of the Justice Leaguers, they freed all the supervillains from all the super-prisons and organized them into an army called The Secret Society, they did some awful things to Nightwing and then even moved the moon to permanently block out the sun.
To mark the occasion of evil temporarily winning (again), DC declared September Villains Month, and is interrupting the ongoing adventures of its heroes with special “.1″ issues starring various villains. Each of these was to bear a fancy plastic 3D cover that jacked the price up a buck and ultimately created shortages, an artificial collectors/speculators market and irritated a whole bunch of retailers, many of whom were already pretty irritated by having to figure out how to order something like, say, Justice League #23.3: Dial E, which fused one of the publisher’s best selling comics with one of its worst.
We — and by that I mean you and I, for the course of this post — aren’t going to concern ourselves with that aspect of the books, however. Instead, let’s look under those covers, whether they’re the fancy plastic 3D ones or the regular, cheaper “standard edition” ones and concern ourselves with the quality of the comics concealed behind the covers.
Happy Marriage?! Vol. 1 (Viz Media): Maki Enjoji’s Josei rom-com dispenses with the suspense of the typical will-they, won’t-they business, marrying off her heroine and the handsome, mysterious, prickly bachelor in the first chapter. Here, the couple starts off married, and then must get to know one another and fall in love.
Our heroine is Chiwa Takanashi, who works in an office by day and a hostess in a club by night, in an ultimately hopeless attempt to earn enough to get her ridiculous-with-money father out of his astronomical debt. She finds an unlikely way out of that situation when company president Hokuto Mamiya suddenly proposes marriage. It turns out the chairman of the board (and Hokuto’s grandfather) owes a debt of kindness to Chiwa’s family, and would only agree to let Hokuto have full control of the company if he marries Chiwa.
And that’s the set-up. The middle-class Chiwa suddenly finds herself married to one of the most eligible bachelors in Japan, and in the difficult situation of having to keep the marriage secret from almost everyone (something about the business advantage of a bachelor image, I think), and trying to make the most of a loveless relationship — although each chapter makes it more and more clear it won’t be loveless for too long.
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.