X-POSITION: Nicieza Body-Slides From "Age of Apocalypse" to "Deadpool & Cable"
When I talked about DC Comics’ April solicitations a few weeks back they hadn’t yet been “WTF-Certified.” (Caleb has an excellent roundup of the WTF specifics, and I am unlikely to improve on his observations.) That phrase suggests strongly either that DC is no longer interested in anyone young enough to use “Why The Face” in casual conversation; or, conversely, that polite society now freely tolerates even an abbreviated F-bomb.
Whatever the reasoning, DC wants its April fold-out covers to be SO! SHOCKING! that even the casual browser cannot refuse them. This is not a bad goal in and of itself. Indeed, we might quibble about which quick exclamation best captures such a “must-read” impulse — OMG! would be too Bieber-feverish, and “wait, what?” is taken — but as far as real WTF covers go, these are a bit tame.
See, back in the olden days, when print publications actually sold well, a comic’s cover absolutely had to command the consumer’s attention, and thereby encourage him or her to spend a few hard-earned coins (ask your parents, kids) on the new DC titles. The late Julius Schwartz is supposed to have said that a book would sell well if its cover boasted a gorilla, a motorcycle, the color purple and/or a question posed to the reader. (During Mark Waid’s editorship of the 1980s Secret Origins, its 40th issue got all four.) As there was no Internet providing potential readers with constant updates — and therefore requiring a steady stream of update-friendly factoids — the cover had to do all the heavy-lifting.
A brief indulgence before we get started: July 14 marked eight years since I started blogging about comics on my own little website, the now-dormant Comics Ate My Brain. Since one of my first posts was called “Robin Problems,” it’s a happy coincidence that this week we return to the original superhero-sidekick identity.
Although I’m not always happy with DC Comics as a company, I have a lot of empathy for the people who work on superhero comics, especially those who populate convention panels. Regardless of how we think they’re doing their jobs, those are still their jobs, and I wouldn’t want to go to work every morning facing a steady torrent of criticism from my customers. (We lawyers get more than enough workplace second-guessing as it is.) It also can’t be easy traveling around having to face one’s critics in person.
That said, if the alternative-fuels industry could harness avoidable fan outrage, DC Comics would be the new OPEC. Once again demonstrating a knack for how not to behave, its panelists practically laughed off legitimate questions about switching out fan-favorite Bat-protege Stephanie Brown for the “more iconic” Barbara Gordon.
After those original accounts appeared online (on Friday the 13th, no less), more details emerged to help explain just who did what. It’s still a situation where DC higher-ups asked to remove Stephanie (which, it can’t be said enough, is really asking for trouble); but apparently the series’ writer got to choose her replacement. Don’t worry, we’ll get into all the nuances.
All the recent talk of creator credits has reminded me of Bill Finger and Bob Kane. Throughout the character’s history, Kane has been listed officially as Batman’s sole creator, even though many comics fans, historians, and professionals recognize Finger’s indelible contributions. Kane’s singular credit comes from his own negotiations for the sale of Batman to what is now DC Comics, and it continues to this day. In fact, the most recent trailer for The Dark Knight Rises — which as usual flashes “Batman created by Bob Kane,” or something like it, in the brief glimpse of credits — reminded me that Kane had help.
Indeed, the circumstances of Batman’s creation, sale, and subsequent treatment may even comprise one of superhero comics’ great ironies. Batman is a tremendously elastic character, able to accommodate an incredible range of interpretations. Perhaps none of that would have been possible if Kane hadn’t sold the character … but he wouldn’t be the Batman we know today if Kane hadn’t listened to Bill Finger.
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There are three things rattling around in my head today: Chris Roberson’s public departure from DC/Vertigo, John Seavey’s empirical evaluation of the Silver Age, and the notion of a Justice League movie.
Not surprisingly, the last is a product of the inescapable, wearying Avengers hype. My 3-year-old daughter, who knows superheroes mostly from her dad’s toy collection (or if they’re on “WordGirl”), happened to see a commercial the other day and exclaimed “Hey, it’s Captain America!” (She has since started playing with Mary Marvel and Katma Tui.)
As it happens, I’m perfectly happy to hold off seeing Avengers — and doing my part to deny it a big opening, in protest of Marvel’s treatment of Jack Kirby — until after its first weekend. (For this Bluegrass State native, the Kentucky Derby will always be a bigger deal.) Although I am obviously more of a DC guy, I should be at least moderately excited for this movie. I grew up on the Avengers of the 1970s and early ‘80s, when it was written by the likes of Steve Englehart, Jim Shooter, and Steven Grant, and pencilled by George Pérez and John Byrne. A couple of decades later, I eagerly followed the Busiek/Pérez run. For the most part I have enjoyed the Marvel movies, especially Captain America; and I didn’t mind The Ultimates, which surely informs much of the new movie. I trust Joss Whedon to present Earth’s Mightiest in the best light possible.
So along with the bad taste of creator exploitation, perhaps it’s a bit of pre-movie burnout which has got me down, or perhaps it’s just the constant drumbeat of publicity. Either way, it got me thinking about a Justice League movie….