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Warning: Spoilers for Batman Inc. #8, The Dark Knight Rises, and Ridley Scott’s Prometheus follow.
Grant Morrison’s reflection on his Batman run is interesting, in that it offers insight into what the writer thinks makes the character tick, but the part that jumps out at me was the very end where he brings up Robin and asks, “What son could ever hope to replace a father like Batman, who never dies?”
It’s something I’ve been thinking about since seeing Ridley Scott’s Prometheus. As flawed as that film is, it has some intriguing ideas about the relationship between creator and creation, whether that’s alien and human, inventor and android, or parent and child. On that last dynamic, Charlize Theron’s character Vickers observes, “A king has his reign, and then he dies. It’s inevitable.” That’s a horrible thing to say about your father. It is, however, true.
Hey, have you somehow managed to avoid hearing about the thing that’s going to happen in that one comic book Wednesday? The thing the writer and publisher are so excited about that they’ve been hyping it up in various media?
If so, then you must be the sort of comics fan who doesn’t like to have story points spoiled for you in advance, so out of respect for you, and respect for the diligence you’ve shown in so far being able to avoid having the story — whatever it is, in whatever book it’s unfolding — spoiled for you, I’m going to bury this entire post below the break.
So, if you already know what I’m talking about, read on!
“I chose to build my story around the basic trauma, the murder of his parents, that lies at the heart of Batman’s genesis. It seemed to me there would be a part of Bruce Wayne that resented his parents for leaving him and especially resented his father for not being Batman that night, so the principal villains were an archetypal bad father figure in the form of Dr. Hurt and a dark mother in the form of Talia, our villain for the concluding chapters of the story. This master theme of damaged and ruined families was nowhere more in evidence than in the creation of Damian, the first ‘Son of Batman’ to be acknowledged in the canon. In many ways this has been Damian’s story as much as it has been the story of Bruce Wayne and it’s a story that had its end planned a long time ago – for what son could ever hope to replace a father like Batman, who never dies?
– Grant Morrison, in an essay on the DC Comics website, addressing his more than six-year stint
writing the Caped Crusader, from Batman to Batman and Robin to Batman Incorporated
Occasionally I talk about how perfunctory the monthly solicitation ritual can be … but not so for April!
On the same day the solicitations were released, Comic Book Resources launched its new “B&B” column, featuring editors Bob Harras and Bobbie Chase, and chock-full o’ factoids about various books. Moreover, the solicits were themselves packed with new story arcs, new creative teams, and an even more heightened feeling of coyness.
A big part of this coyness comes from April’s cover gimmick. Actually, we readers can only see half of the gimmick — because while every New 52 book will sport a fold-out cover, the solicits only show the left side. (Makes me wish there were a retailers-only edition of Previews, as this is just the kind of thing which surely irritates them.) To add to the anticipation, every New 52 solicitation ends with a question. Accordingly, this month more than usual, the solicits are structured precisely to set up dire consequences and leave them unresolved. Suspenseful!
Ah, but that sort of thing only encourages me. Let’s dive in, shall we?
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Last week’s solicitation roundup included the prediction that “Death of the Family” would kill young Damian Wayne. As most of you know, Damian is supposed to be about 11 years old, was raised by the League of Assassins, and has served (for the past “year or so” of comic-book time) as the latest Robin, the Boy Wonder. The solicitations were strangely silent concerning him, and thanks to the peculiarities of comic-book deaths, I figured he could take it.
That was last Thursday.
Since last Friday, I have rolled around that morbid prediction in my head, along with countless other real-world doomsday scenarios and nightmare moments. I am a fantastically lucky individual, and that is not meant as any kind of boast. I mean it simply to say that nothing remotely horrible has happened to me — no broken bones, no extended hospital stays, no natural disasters; and certainly nothing as devastating as my child’s death.
No small amount of drama accompanies the March solicitations, thanks to Gail Simone’s unexpected dismissal from Batgirl. There’s also turnover at Swamp Thing and Birds of Prey, potential clues to the end of “Death of the Family,” and the usual I-remember-this! commentary on collections.
FOLLOW THE BOUNCING BALL
The big stories are the departures of Simone from Batgirl and Scott Snyder and Yanick Paquette from Swamp Thing. It seems particularly odd in Simone’s case because it leaves the fate of Batgirl’s current antagonist in the hands of a different writer. Maybe that means Simone’s original plans for him didn’t go over particularly well with DC, or maybe it’s something totally unrelated. Either way, looks like it’ll be at least another month (in January’s Issue 16, her last issue) before we learn anything significant. At any rate, Ray Fawkes writes two issues of Batgirl starting with Issue 18.
As of March, Jim Zubkavich is your new Birds of Prey writer, Andy Kubert draws the lead story in Batman #18, and Trevor McCarthy draws Batwoman #18. Also, in a move that threatens to have me try out Phantom Stranger, the very fine J.M. DeMatteis comes aboard as co-writer with Issue # (guest-drawn by the equally fine Gene Ha and Zander Cannon).
Every week, hard as it may be to believe, I try honestly to offer something I think might interest the larger group of DC Domics superhero readers. However, this week I am invoking a personal privilege. For one thing, with Halloween on a Wednesday (when I usually end up writing these essays), the holiday will more than likely take priority.
The main reason, though, is that today is my birthday, and as you might have guessed from the headline, this year is my 43rd birthday. Therefore, this week I have pulled together an especially memorable DC story and/or issue from each of those years, 1969 through 2012. (Note: They may not always line up with the actual year, but just for simplicity’s sake, all dates are cover dates.) These aren’t necessarily the best or most noteworthy stories of their particular years, but they’ve stuck with me. Besides, while I’ve read a lot of comics from a lot of sources, for whatever reason DC has been the constant. Maybe when I’m 50 I’ll have something more comprehensive.
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This week sees the print debut of Legends of the Dark Knight, the ongoing print version of DC’s digital-first Batman anthology. By design it’s not part of the regular Batman line, and therefore not counted as one of the New 52. However, it gives me an excuse to ask how many Bat-books DC Comics really needs.
Now, I don’t mean that to be as dismissive as it sounds. The current Batman line is built on years, if not decades, of steady readership and fan attachments, and you don’t just wave that away. Nevertheless, if there are only 52 slots in the main superhero line, must the Batman Family claim a quarter of them? The relaunch has made pruning these titles both easier and harder, and today I want to look at the opportunities it presents.
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Russian artist Lora Zombie has a portfolio full of work influenced by comic book iconography, though posed in a resolutely non-traditional form. She paints DC Comics’ female characters in work reminiscent of classic pin-up art, while her take on their male counterparts features them in a particularly non-dynamic fashion (but dig Batman’s Chuck Taylors!). Prints of all these are available at Eyes On Walls. Much more below.
Because it’s the first week of the New 52 Year Two, the time has come to review where I stand at the end of Year One. It also happens to be the week I’m away on a bidness trip, unable to react to whatever dern-fool thing DC did on Wednesday.
That would probably take a back seat anyway, because I’m a little curious myself to look back at these books. In terms of reading habits, it’s been a rather funky year. Some weeks I wouldn’t have time to read everything I bought, and sometimes that meant books just dropped off my radar. I caught up with a few of these, but a few I just didn’t miss — which, of course, is never a good thing.
You’ll remember that last year I bought all 52 first issues, and talked about each as September proceeded. Of those which remain, I am reading 27: Action Comics, All-Star Western, Animal Man, Aquaman, Batgirl, Batman, Batman & Robin, Batwing, Batwoman, Blue Beetle, Catwoman, DC Universe Presents, Demon Knights, Detective Comics, Firestorm, Flash, Frankenstein, Green Lantern, GL Corps, I, Vampire, Justice League, Justice League Dark, Stormwatch, Supergirl, Superman, Swamp Thing and Wonder Woman.
Additionally, I was reading six titles that have since been canceled: Blackhawks, JLI, Men of War, OMAC, Resurrection Man and Static Shock. For a while I also read Grifter, Red Lanterns, and Superboy. Filling in some of those holes are second-wave titles Batman Incorporated, Earth 2, Worlds’ Finest and Dial H.
To keep your eyes as glaze-free as possible, this will be a two-part survey. Today we’ll look at the Superman and Batman families, the “historical” titles, the main-line Justice League books, and a few others.
DC Comics, Disney and Sanrio have sued a California birthday party entertainment company for copyright and trademark infringement, alleging that it’s using counterfeit costumes of such well-known characters as Mickey Mouse, Winnie the Pooh, Superman, Wonder Woman and Hello Kitty.
Law 360 reports that the lawsuit, filed last week in federal court in Los Angeles, accuses Party Animals and owner Jason Lancaster of using and renting costumes resembling the companies’ characters and logos for birthday and corporate parties, in violation of copyright and trademark laws.
“[Party Animals] is actively selling, offering for sale, renting, distributing or manufacturing unlicensed and counterfeit costumes, which incorporate unauthorized likenesses of the animated or live action characters or other logos owned by plaintiffs,” the complaint said. “[The] defendants have never been authorized by the plaintiffs to distribute the plaintiffs’ copyrighted properties.”
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.
Not satisfied with the recent announcement that Stephanie Brown will debut as Nightwing in the digital-first Smallville Season 11, hopeful fans of the superheroine are mounting a campaign to convince DC Comics to reintroduce the former Robin and Batgirl into its main universe.
Taking a cue from die-hard viewers of Jericho, who mailed more than 20 tons of nuts to CBS headquarters in an effort to secure a second season, the people behind “Waffles For Stephanie” are asking fans to mail (you guessed it) waffles to DC Comics on Aug. 10, along with a letter explaining why the character deserves a place beyond Smallville.
DC Comics in September brings together two gimmicks. This being corporate-run superhero comics, naturally these two things have been tried before. September’s unified cover themes remind me of January 2009′s “Faces of Evil” (not particularly uplifting) and January 2011′s “Salute to White Space.” The new “Zero Month” recalls August 1994, when every main-line DC superhero title got an Issue #0 in the wake of July’s weekly, timeline-tweaking Zero Hour miniseries. Just over four years later, in September 1998, the weekly DC One Million miniseries launched all the superhero books into the 853rd Century with #1,000,000 issues.
Personally, I’m looking forward to September 2013′s Roman Numeral Month, September 2014′s Hexadecimal Month, and September 2015′s Binary Month (can’t wait for Justice League #100100!).
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On my superhero fashion site Project: Rooftop, I’ve been talking up to the nth degree an amazing set of superhero redesigns by Italian artist Denis Medri. This artist has taken Gotham’s resident bad-boy billionaire and recast him as a 1950s greaser to amazing results. While Medri’s work might not be in line with the New 52, it harkens back to the best of DC Comics’ celebrated Elseworlds line of titles reimagining its heroes in different timelines and settings. Medri’s gone on to reinvent much of Batman’s cast in this model, with everything from a Betty Page-esque Catwoman and a poodle skirt-wearing Harley Quinn to a Rat Fink-worthy hot rod Batmobile.
Although the actual chances that DC would somehow accept this as a back-door pitch are slim to none, it does highlight the intriguing passion artists have for classic characters and just how enamored fans can be when their favorite heroes (and villains) are repositioned to alternative lives. While some might say its insular thinking, I think it broadens the core concepts of these timeless characters and shows just how versatile they can be.