"Batman's" Gotham Was... Scott Snyder and Greg Capullo
Supergirl will be joined in May be 3.75-inch versions of Power Girl, the original Firestorm, Cyborg and the villainous Black Manta.
For a while now, it’s been hard to avoid talking about some sort of Multiverse.
Between Forever Evil, Futures End and World’s End, The Multiversity, Convergence, and recent looks back at Crisis on Infinite Earths, the grand structure of DC Comics’ cosmos has come back into the spotlight. Even Marvel is jumping into the deep end of the infinitely varied pool. (All things being equal, there will be another Crisis post next week, so the talk will continue at least in this space.) While I’m inclined to leave Battleworld and its ramifications to the experts, it’s all been reminding me of a “Power Girl Problem” — and no, it’s not costume-related. This week we’ll talk Kara Zor-L and a few other continuity tangles, with an eye towards avoiding future pitfalls.
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Paul O’Brien sums up the basic difficulties nicely:
Last week I wrote about Earth 2 in the context of its Supermen. The most recent issue, Earth 2 #26, brought some closure to the Apokolips-invasion plot and subplots, and this week’s Worlds’ Finest #26 does much the same for its displaced heroines. The September issues of both series will jump forward five years to tie into Futures End, and October brings the Earth 2: World’s End weekly miniseries.
Therefore, as these were the last couple of issues before everything will no doubt start to change, I want to talk this week about Earth-2’s unique place in the New 52’s multiverse, and what it might say about DC’s approach to legacy characters.
Comic book romances can be downright embarrassing. In the Silver Age, Lois Lane spent all her time scheming to get married to Superman while sniping at her rival Lana Lang. During the Claremont years, the soap opera-caliber drama in Uncanny X-Men generated as much angst as the mutant-prejudice angle. It works because the audiences were, respectively, small children and teenagers. The potential embarrassment of rejection and the alien nature of girls or boys really is all you know about love at that age. As an adult, however, it’s hard not to read these comics and go, “Why are these adult characters all acting like a bunch of 8-year-olds?”
You know when it’s not quite so embarrassing? When the characters themselves are 8 years old. Yale Stewart’s JL8 (formerly known as Little League) envisions the members of the Justice League as little kids. I don’t know how he gets away with it, as DC Comics already has its own “superheroes as little kids” concept with Tiny Titans (the publisher doesn’t appear to mind, though, as the webcomic seems to have led to a deal for a Superman book). The characters of JL8 look less abstract, though, resembling characters in an ’80s Saturday morning cartoon. (Justice League Babies?) Or, perhaps even more appropriately, they all seem to have leaped off the same character sheet as Art Adams’ X-Babies.
Warning: There will be a good bit of “in my day” talk in this survey of DC’s February solicitations. It’s the unavoidable contradiction of the publisher’s current superhero-comics model: Make everything “new,” but tease enough of the familiar old elements to keep longtime fans interested. While this practice goes back decades in corporately run superhero comics, the New 52 has tried so hard to distinguish itself that the old ways sometimes stand in even starker contrast.
Probably my biggest frustration with Forever Evil is its limited scope. Oh, sure, every electronic device on DC-Earth says “THIS WORLD IS OURS,” and writer Geoff Johns has teased a revamped Blue Beetle and Doom Patrol — but from the three issues published already and the three more solicited, it looks to be nothing more than Luthor’s Legion of Doom (plus Batman and Catwoman) vs. the Crime Syndicate. Ho-hum. We know the three Justice Leagues are imprisoned, the Teen Titans are bouncing through time, the Suicide Squad is depleted, and Nightwing is the Crime Syndicate’s prisoner, but where are the rest of the superheroes? What happened when they presumably rose up to challenge the Syndicators?
With the end of Geoff Johns’ tenure on Green Lantern and Grant Morrison’s upcoming farewell to Batman, a fan’s thoughts turn naturally to other extended runs. Marv Wolfman wrote almost every issue of New (Teen) Titans from the title’s 1980 preview through its final issue in 1995. Cary Bates wrote The Flash fairly steadily from May 1971’s Issue 206 through October 1985’s first farewell to Barry Allen (Issue 350). Gerry Conway was Justice League of America’s regular writer for over seven years, taking only a few breaks from February 1978’s Issue 151 through October 1986’s Issue 255.
However, in these days of shorter stays, I wanted to examine some of the runs that, despite their abbreviated nature, left lasting impressions. At first this might sound rather simple. After all, there are plenty of influential miniseries-within-series, like “Batman: Year One” or “Whatever Happened to the Man of Tomorrow?,” where a special creative team comes in to tell a particular story. Instead, sometimes a series’ regular creative team will burn brightly, but just too quickly, leaving behind a longing for what might have been.
A good example of this is found in Detective Comics #469-76, written by Steve Englehart, penciled by Marshall Rogers and inked by Terry Austin (after Walt Simonson penciled and Al Milgrom inked issues 469-70). Reprinted in the out-of-print Batman: Strange Apparitions paperback, and more recently (sans Simonson/Milgrom) in the hardcover Legends of the Dark Knight: Marshall Rogers, these issues introduced Silver St. Cloud, Rupert Thorne, Dr. Phosphorus and the “Laughing Fish,” featured classic interpretations of Hugo Strange, the Penguin and the Joker, and revamped Deadshot into the high-tech assassin he remains today. Tying all these threads together is Bruce Wayne’s romance with Silver, which for my money is the Bat-books’ version of Casablanca. It’s the kind of much-discussed run that seems like it should have been longer. Indeed, I suspect it’s one of the shorter runs in CSBG’s Top 100 list.
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So this is what happens when you praise Geoff Johns’ Green Lantern run …
Let’s be clear: I do not generally have violent mood swings. My sense of well-being does not depend on the fortunes of DC Comics. I don’t pretend to have any special insight into the publisher’s inner workings, and I’m sure the reverse is equally true. However, after saying many nice things about Green Lantern a couple of weeks ago, and then eviscerating the humorless “WTF Certified” last week, it was pretty surprising to see the May solicitations address both topics.
NEXT, RAFALCA JOINS THE LEGION OF SUPER-PETS
The Green Team may have been a group of entitled, self-satisfied jerks with an abnormal need for validation, but if anyone can make them lovable — or, alternatively, entertainingly clueless — it’s Art Baltazar and Franco. I don’t see this book as DC scraping the bottom of the character barrel. Rather, I take it as a good-faith attempt to update a (perhaps misguided) concept for the sensibilities of our time. Not quite “at least they’re trying,” but … at least it’s not another big-name spinoff, you know? (Although a new Steel series is always welcome.) Regardless, the over/under for this book has to be somewhere around 6 issues.
When DC Comics announced it was launching a series based on its popular Ame-Comi line of figures, I don’t think I heard a single person say, “Yes! I was hoping for that!” The Ame-Comi collectibles can be imaginative and attractive (some more than others), but no one was clamoring for a series that sexualized DC’s superheroines even more overtly than they already are. In fact, the most common responses were either head-scratching or eye-rolling, depending on how much the person thought DC has legitimately tried to reach out to female readers lately. But then the creators were announced.
Jimmy Palmiotti and Justin Gray write the series and Amanda Conner drew the first couple of installments, which were serialized digitally first, 10 pages at a time. Putting the creators of the well-regarded Power Girl series on Ame-Comi Girls was a smart move and convinced a lot of readers who otherwise would have dismissed the comic – including me – to give it at least an initial look.
Artist Peter Nguyen takes on DC Comics superheroines in a terrific print for New York Comic Con that includes everyone from Batwoman and Big Barda to Wonder Woman and Miss Martian. “There are some women who I left out I am sure but for the sake of sanity let’s just say they are the little dots in the back,” Nguyen writes on his blog. “Or off world fighting a greater threat. I had a ton of fun with this one and i hope you guys like it. I added a cosmic treadmill for fun so we can get at least one Flash rep in there amongst all the fliers, glider, and rock floating riders.”
See the full image below, and check out Nguyen’s work process on his blog.
I debated about whether to include the current Worlds’ Finest as part of this project. According to the rules I set up for myself, I was only going to cover comics that were named after their female leads. I decided that because Birds of Prey was an all-female team, that would qualify, but for a lot of fans, Worlds’ Finest conjures images of Batman and Superman, not Huntress and Power Girl. Then I looked at the book’s actual logo. Although the official name of the comic is Worlds’ Finest, you can’t tell that by looking at the cover. It looks the way I’ve written it in the title of this post: Huntress/Power Girl: Worlds’ Finest. That qualifies, as far as I’m concerned.
But is it any good?
Worlds’ Finest corrects the biggest problem I had with its predecessor Huntress, also written by Paul Levitz. That miniseries had some fun stuff in it, but my complaint was that it wasn’t really about anything other than Stop That Generic Villain. The Huntress could have been switched out for any other hero without changing the story in a meaningful way. In Worlds’ Finest, Levitz makes the comic about his two heroes. As much as being about fighting bad guys, this is the story of Huntress and Power Girl’s friendship and their attempt to adjust to the new world they’ve landed in. That’s a huge improvement.
As a reflection of that, there’s a lot of banter between the two women. Unfortunately, it’s not up to the standard for that kind of thing set by Gail Simone on Birds of Prey. I’m tempted to let Levitz off the hook for not being able to perfectly replicate what worked about Black Canary and Oracle, but I don’t know if I should. As much as I realize it’s not completely fair, it’s also impossible to read Huntress and Power Girl’s quipping without comparing it to the easy relationship in Simone’s series. Black Canary and Oracle felt like real friends and their conversations felt like a natural part of their relationship. Huntress and Power Girl call each other “BFF” and say things like, “You go, girl.” I appreciate the effort, but even without the Birds of Prey comparison, their dialogue doesn’t feel real.
I can’t say I know much about the French comic artist Bengal — I wasn’t even sure of his gender until I looked up his Lambiek entry. As far as memory serves, none of the series he’s worked on in France have been translated into English. My only exposure to his work is an anglophone edition was the sizable gallery of his art in the second issue of Ashley Wood’s defunct art-mag Swallow from 2006. Lately he’s been blogging commissions of characters from U.S. comics and media. In lesser hands, the drawings would be more typical cheesecake. Bengal’s poses tend to be more interesting than that, expertly using body language to suggest characterization and narrative. Even his version of that stereotypical nerd fantasy, the slave-girl Leia, avoids a straightforward charge of exploitation by concentrating the viewer’s gaze on her indignant, accusatory stare.
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]
For fans of DC’s various Multiverses, this has turned into a big week. Action Comics vol. 2 #9 offers Earth-23, while the new Earth 2 and Worlds’ Finest series center around the latest take on Earth-2.
First, though, a nitpicky note. As usual with DC’s cosmologies, things can get confusing quickly, so here are some helpful definitions. The Infinite Multiverse refers to DC’s classic Multiverse, which saw its last big hurrah in Crisis On Infinite Earths. Worlds of the Infinite Multiverse have their number-tags spelled out, as with Earth-One and Earth-Two. (The Infinite Multiverse also had some letter-tagged worlds.) The 52 Earths refers to the Multiverse revealed in 2006’s 52 #52. Its worlds are tagged only with numerals, as with Earth-2 and Earth-51. There is the Earth One series of graphic novels, with which we are not concerned. Finally, there is the Current Multiverse, which may in fact still be the 52 Earths, and which apparently follows the same naming conventions. I will try hard to avoid getting into a discussion which dwells on these distinctions.
Now then …
These three issues each take different perspectives on the parallel-world concept. Earth 2 #1 lays out the rough recent history of the parallel world and introduces us to its major players. Similarly, all of Action #9 takes place on Earth-23, although it’s part of the background of Grant Morrison’s larger Superman work. Earth-2 in Worlds’ Finest #1 is background as well, since it’s part of the main characters’ shared backstory, but not a place with which they currently interact. Accordingly, I liked each of these introductory issues on their own merits, because I thought each did what it needed to within those particular contexts.
SPOILERS FOLLOW for Earth 2 #1, Worlds’ Finest #1, and Action Comics vol. 2 #9.
Jimmy Palmiotti recently posted a bunch of pictures of Amanda Conner at conventions. They’re a lot of fun, but sitting there amongst the photos of Conner with Wookiees and Black Canaries is a picture of a weird and hilarious piece of original Conner art: a Power Girl toilet seat cover on which the character discusses why she’s there and the impracticability of her costume.
There’s no real nudity, but its subject matter makes it possibly NSFW, so we’ll put the picture below the jump.
[Update: A commenter points out below that this is part of the Comic Rockstars Toilet Seat Museum at Isotope, which includes other lids from artists like Brandon Graham, Darwyn Cooke, and Ben Templesmith. Thanks, Brian.]
Although they won’t be solicited for a few more weeks, DC has already been talking up the six new(ish) titles coming in May. G.I. Combat, Dial H, Ravagers, and Worlds’ Finest join the returning Batman Incorporated and the long-rumored Justice So– I mean, Earth 2 — as the replacements for most of the New-52’s lowest-selling books.
As with the original New-52 group, every new title except one is familiar to longtime DC fans; and as with the original New-52, that book spins out of an existing feature. (Then it was Batman Incorporated begetting Batwing; here it’s the Teen Titans/Superboy nexus spawning Ravagers.) However, where the New-52 tried noticeably to make many of its books accessible — or at least uprooted them from established DC lore — most of the new titles seem to require some prerequisite reading.