Merc With A Movie: The 16-Year Odyssey of the "Deadpool" Film
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.
Even as the debate still rages over last week’s revelation that Superman and Wonder Woman begin a romantic relationship in the new issue of Justice League, The Associated Press introduced a potential new wrinkle: that in DC Comics’ New 52, not only have the Man of Steel and Lois Lane never dated — something readers have known for more than a year — but that they “likely” never will.
However, a DC spokesman told Comic Book Resources the latter assertion “definitely” didn’t come from the publisher, which has characterized the story development as “the new status quo,” one made possible by the year-old relaunch that wiped clean much of the history of the DC Universe.
There’s so much I find fascinating about Vaneta Rogers’s Newsarama interview with Steel #1 writer Steve Lyons that I hardly know where to begin. I suppose I’ll start by saying that there’s a lot to be excited about in the comic, which kicks off DC’s “Reign of Doomsday” event. For example, I’ve long argued that Steel is one of the most undervalued characters and designs in DC’s pantheon. Iron Man’s powers, Thor’s hammer, Superman’s cape, and an African-American folk hero’s name? That’s pure gold. And seriously, what a great design: The Alex Garner cover to the issue — itself part of DC’s genuinely awesome iconic-cover line-up for the month of January — is practically payoff enough. Plus, in a genre often (and accurately) decried for its lack of strong non-white heroes, John Henry Irons is an armor-clad, hammer-wielding, ‘S’-shield-wearing super-genius whose role in Metropolis’s scientific and business community is basically “the anti-Lex.” Tough to top that.
Similarly, at nearly two decades’ remove from the controversial “Death of Superman” storyline, I’m much better able to appreciate Doomsday him/itself. He’s no longer just the out-of-the-blue newcomer who got to deliver the coup de grace to the Man of Steel over more “deserving” villains like Lex Luthor (and set sales records in the process). Rather, he is to the villainous side of the superhero genre what the Hulk is to its heroic half: The power fantasy in its purest form, i.e. giant unstoppable guy pounds the crap out of everyone in his way. On an inner-eight-year-old level, that’s a thing of beauty. And remember how in his original appearances he slowly shedded a Kirbyesque jumpsuit-and-goggles look to reveal badass bone spikes and claws jutting out of every possible place on his body? He’s basically a microcosm of the direction of the entire superhero genre from that period, a walking symbol of ’90s excess at its boldest and best. Finally, in story terms, he accomplished the pinnacle achievement for any DCU villain: He killed Superman! Okay, so he got better, but still. As I believe Geoff Johns has argued, Doomsday’s name alone should scare the crap out of every character in the DC Universe. As such he’s a terrific basis for a crossover event.