Showing posts with label dc trinity. Show all posts
Showing posts with label dc trinity. Show all posts

Saturday, December 25, 2010

Trinity-Schminity: Wonder Woman not even in the top four

Among my Christmas gifts this year was a Justice League-branded "Micro-Raschel Throw & Pillow" set, here being modeled by Cuddle Pillow Batman. I'm not sure what the word "Raschel" refers to, but the "Justice League" here refers to Superman, Batman, The Flash and Green Lantern.

As with that 75th Anniversary button and Hostess' DC superhero-themed snack cakes, the supposedly co-equal with Superman and Batman Wonder Woman is missing in action, while one-time second stringers are standing shoulder to shoulder with the World's Finest.

Saturday, September 08, 2007

(Anecdotal) evidence against the existence of DC's "Trinity"



Since around the time of Kingdom Come or so, DC has been pushing the idea that Superman, Batman and Wonder Woman comprise “The Trinity” of the DC Universe’s superheroes.

According to this Trinity theory, they’re the three greatest heroes in the DCU, the ones all other heroes look up to, and are in essence the caretakers of that fictional universe. Together they form the points on the triangle of DC superherodom, three sides of the same coin.

I’ve never really bought into it.

Don’t get me wrong, I love Wonder Woman, and think she’s great and all, but making the World’s Finest duo into a trio has always struck me as a little forced and awkward. Maybe she is one of the DC’s longest lived heroes (along with Captain Marvel, Plastic Man, Green Arrow, and I don’t know if you want to count Robin, The Flash, Green Lantern and the other Golden Age legacies or not), and maybe she is by far one of the most iconic and best known, but there’s still a huge gap between Superman and Batman and Wonder Woman.

I think that among DC’s superheroes, there is basically Superman and Batman, and Everyone Else, with Wonder Woman firmly in the Everyone Else category, even if she’s at the top of that particular heap.

That’s looking at the characters here in the real world, of course. Wonder Woman’s place on a trinity makes even less within the context of the DCU, if we imagine ourselves living in that fictional setting, and the characters that share it as real.

Post-Crisis (on Infinite Earths), her continuity was rebooted to make her a newcomer to the DCU, years after Superman, Batman, Aquaman, Martian Manhunter, Black Canary, Elongated Man, Changeling, Cyborg, Black Lightning, um, Wonder Girl and others debuted. Even taking into account her natural leadership, her impressive powers and undeniable skills, it seems hard to swallow that in that short time she’d shoot up the hero hierarchy into the top three, while Aquaman and J’onn were still having to justify whether or not they belong to be counted as part of a “Big Seven” or not.

Now, the Infinite Crisis/52 rejiggering “restored” Wonder Woman to founder status, but not in any tangible way. We’ve just been told that she’s a founder again, we don’t really have any stories about Wonder Woman in the early years of the League, or debuting around the same time as the other two points of the Trinity. There’s been nothing done in the way of nailing down or delineating Wonder Woman’s new history or timeline, which makes the rejiggering of it even more confusing.

As far as I can tell from what DC’s published since, the sole reason Wonder Woman’s entire history was retconned was so that Brad Meltzer could write the first few issues of the JLoA relaunch however he wanted, whether they contradicted prior stories or not.

(Must…resist…urge…to talk about…Meltzer…!)

So, the Trinity—I’ll buy the concept, there are certainly arguments to be made that those three heroes do indeed belong together as the co-monarchs of the DCU, but I never see anything in the way of evidence to support that theory, while I do see evidence to suggest otherwise.

Evidence like this.

Now, this is completely anecdotal, and not exactly the best criteria by which to judge whether or not Wonder Woman (or Superman or Batman) is worthy of her (their) place in the Trinity, but it’s a criteria, so let’ see how they stack up.

This then, is the popularity contest…or at least, the popularity within the direct market contest. (And it should be noted that this doesn’t have any bearing as to whether or not the Trinity would be looked at as a Trinity within the fictional DCU; good universe comic writing has to be done under the belief that the characters are all “real,” and thus what happens in the real world shouldn’t really have any impact what happens on their “real” world).

First, let’s look at the number of books the various DC heroes move each month. Looking at the numbers available here for the DC books sold in the direct market in the month of July, and removing all of the books that exist outside the DCU continuitiverse (the All-Stars and the like) or feature teams or ensembles instead of individuals (JLoA, JSoA, Countdown), here are the rankings of the individual DC superheroes in order of popularity:

1.) Batman

2.) Green Lantern

3.) Flash

4.) Wonder Woman

5.) Superman

6.) Supergirl

7.) Green Arrow

8.) Black Canary

9.) Nightwing

Okay, I admit, this reallllly caught me off guard. I expected Wonder Woman not to be in the top three, but I certainly didn’t expect her to be beaten out by GL and Flash, or for all three of them to be out-selling Superman.

Of course, this is just one particular month, and there are factors that could account for the rankings here—Flash going through that weird death of one Flash, return of another thing and its accompanying solicit fake-out returnability scam thing in July, Green Lantern seeing a Sinestro Corps spike, Superman suffering from a never-ending string of fill-ins, etc.

But just going by this month’s chart, Wonder Woman is DC’s fourth most popular character, not one of it’s top three. And Superman’s it’s fifth. So if we were to pick a trinity by the number of books being sold in July, well, it looks like Batman, Green Lantern Hal Jordan and Flash Dead Bart Allen would be our Trinity.

The other, and perhaps more accurate way, to test a characters' current popularity would be to look at how many books they’re able to support in the current market place. And by that standard, Superman shoots back up to the top of the heap, and Wonder Woman still can’t break the top three.

If we eliminate Justice League of America (which, if one wanted to argue the point, is kinda sorta a Wonder Woman book…but not any more so than it is a Batman or Superman or Hal Jordan or Black Canary or Red Tornado book), and the books from different continuitiverses (although it’s telling that Superman and Batman are the only characters with ongoing monthlies set in the DCU and set outside of it), here’s how the heroes stack up:


1.) Batman (Batman, Detective Comics, Batman Classified and co-stars in Superman/Batman. The argument could also be made that Robin, Nightwing and Catwoman are all Batman books too, in that they star Batman’s supporting cast. No other hero in the DCU has a supporting cast popular enough to support spin-offs featuring them, save the next two, who have one spin-off each).


2.) Superman (Superman, Action Comics, Superman Classified, and co-stars in Superman/Batman. Supergirl is a sort of spin-off, and that spin-off has it’s own spin-off in Supergirl and the Legion of Superheroes…the Legion also being, at least historically, a spin-off of another Superman spin-off, Superboy).

3.) Green Lantern (Hal Jordan) (Green Lantern, and various elements of the Green Lantern franchise currently appear in Green Lantern Corps)

4.) Flash and Wonder Woman (Flash, and Wonder Woman. It’s worth noting too perhaps that Blue Beetle, like Flash and Wonder Woman, has his own solo ongoing and appears in a super-team book now).

So based on this also not terribly scientific method, Wonder Woman is vying with the Flash for fourth place on the Trinity, which is made up of Batman, Superman and Green Lantern Hal Jordan.




A third way to measure the DC heroes’ popularity is to look at the numbers of trades featuring each of their heroes that DC has published.

In the past, DC generally only collected well-received, in-demand comics that had become too hard to find as singles into the trade paperback form. Increasingly, original graphic novels started appearing, as did collections of books that were perceived to have some sort of historical importance (within the history of the medium, or the history of the fictional universe).

Of course, these days, when the direct market is slowly lumbering toward a straight-to-trade business model (whether it admits it to itself or not), DC seems to collect just about everything they publish in trade, whether the series are widely reviled (Flash: The Fastest Man Alive), or sells extremely poorly in singles (Manhunter, Blue Beetle).

Still, if we look at dccomics.com for available trades, will find lists compiling trades that fit each of these criteria. Going back to my original statement that DC superheroes are actually separated into Batman, Superman and Everybody Else, DC’s DCU books are broken up the exact same way on their home page. Batman and Superman each have their own pages to hold the huge list of trades featuring them and their supporting casts and villains, while Wonder Woman’s books appear on a page simply marked “DC Comics”, which features the rest of the DCU books—team books, crossovers, those of individual heroes.

Doing a quick count, (and just of the page that says "DC Comics," it looks like this is how the heroes stack up, if we assume Batman and Superman are #1 and #2 on this particular list:

3.) Green Lantern (25)

4.) Wonder Woman (21)

5.) Flash (16)

6.) Green Arrow (11)

7.) Hitman (5)

8.) Hawkman and Aquaman (4 each)

9.) Lobo and Manhunter (Kate Spencer) (3)

10.) Martian Manhunter, Hawkgirl, Plastic Man and Blue Beetle (2 each)

By this not terribly scientific (and questionably accurate) criteria, Green Lantern would appear to be the third most popular…until you realize a few of those are Green Lantern Kyle Rayner books, which may be enough to push Wonder Woman back up into third place (How to separate the GL books is kind of tricky though…Is Emerald Knights a Kyle story or a Hal story? What about Emerald Twilight/New Dawn?)

So by this criteria, Wonder Woman probably does deserve the third spot on the Trinity, but man, what a huge difference there is between her and Superman and Batman, in terms of trade paperbacks published.

Friday, May 18, 2007

May 17th's Meanwhile, in Las Vegas...



This week’s Las Vegas Weekly column is comprised of reviews of Nick Bertozzi’s excellent original graphic novel The Salon (thus far, 2007’s best book), one-named cartoonist Jason’s take on the increasingly tired zombie genre The Living and the Dead, and German manga-ka Anike Hage’s wonderfully named Gothic Sports.

In other, less self-promotional news…

This post on Scans_Daily reminded me just how much I loved the relationship between Superman and Batman in Trinity, and how adding Wonder Woman to the mix really changes the dynamic between the two. They really oughta just cancel Superman/Batman (a mercy killing at this point) and let Matt Wagner do a Trinity ongoing.

The link has scans of two of my favorite scenes, Batman yelling at Dick Grayson in front of Superman, and Superman talking about how he sees all of Batman’s silly tricks before he pulls ‘em out, but lets it slide because it makes Batman happy to think he’s surprising and impressing him.



—So that Mary Jane “comiquette” thing? Forget my existential agonizing prompted by Dirk Deppey’s piece at Journalista. Turns out he was wrong and all the online complaining is accomplishing something. Not changing the direction of mainstream super-comics or anything like that, but the mainstream media is now apparently covering the kerfuffle. Outside of Spidey movie stuff (which is probably driving mainstream interest in the comiquette controversy to a large degree), this is the most mainstream media coverage Marvel’s garnered since Cap got capped, right?



—Any Eric Powell fans who slogged through this week's long-ass installment of “Weekly Haul” might have noticed that there was no review of Satan’s Sodomy Baby, or Satan’s $@#%* Baby, as the shipping lists and outer cover refer to it.

Why no review? Well, it’s a long, uninteresting story. Which I will now proceed to tell you.

I actually forgot to pick it up Wednesday. I blame my local comic shop. They used to shelve all the new books of the week on the back wall, the entire cover of each and every book clearly visible, in alphabetical order. Even with this very consumer-friendly layout, I would occasionally still forget books, particularly Ultimate Spider-Man, Runaways and New Avengers, since the covers remained pretty much unchanged form issue to issue (And I’m dumb).

The store was fairly recently redesigined with a new new book layout, and now I tend to forget books on a weekly basis. The whole left wall of the store is lined with tiered shelves, in which new books are shelved along with books from the last several weeks so, for example, the latest issue of Amazing Spider-Man is just above last month’s issue and the issue before that too. The way the shelves are set-up, you can generally only see the top parts of each book. There are little orange placards behind each book notifying you that it’s a new book, but it’s a lot of visual information to scan, and little to go on, making it less than browser-friendly.

That’s also why last week’s “Weekly Haul” didn’t mention that Jeff Parker and Mike Wieringo’s Spider-Man and the Fantastic Four #2 was pretty awesome (I loved the “Daredevil’s all bumpin’ into things” line), and Wednesday's didn’t contain a review of Satan’s Sodomy Baby.

And speaking of which...

The book came pre-bagged, with a generic black cover featuring a big, long South Park-style “Warning” that functions as both an actual warning and a joke, and the title changed to Satan’s $@#%* Baby.

Flip that bad boy over, and there’s the actual title—Satan’s Sodomy Baby—on the actual cover, which features a really nice Powell cover with absolutely nothing objectionable on it (Well, the stuff that the titular character is covered in might be objectionable, but, without reading it, one won’t know for sure what the material actually is; it could just as easily be blood or mud as…anything grosser). The title page and the small print also use the Sodomy title. So that’s apparently the title.

Soooo, why the “$@#%*” did Dark Horse retitle the thing? “Sodomy” is not a swear word; it’s an extremely old term that is incredibly loosely defined to the point that it refers to pretty much any sexual act that isn’t penal/vaginal. “Sodomy” doesn’t mean “ass-rape” or “butt-fucking;” a blowjob administered to a man from a woman, is also defined as sodomy by some parts. I could see being cute about the name of the book if it were Satan’s Ass-Rape Baby or Satan’s Butt-Fuck Baby or just plain old Satan’s Fuck Baby (which is what I actually assumed the title was when I first saw those swear-word symbols), but “sodomy?”

It just seems like an overly squeamish response, trying to preempt a modern day Wertham from freaking out should the book somehow find it’s way into a child’s hands (Like kids go to direct market comic book shops and buy comics! The industry wishes.)

Oh, and pet peeve—There are six letters in “sodomy” and only five symbols in “$@#%*”; I suppose there’s no rule regarding this, but I like when the letters and symbols correspond, so that you can figure out what the swear word is. But maybe that’s just me. See, to compare it to a bleeped-out swear word in an audio or audiovisual media, not having them match up is like bleeping out the “-uck” ane leaving the “fuh-“ (or, starting the bleep too early), you know?

I probably wouldn’t have bought this book at all due to my irritation with Dark Hors'es embarrassment about publishing it at all (I certainly wouldn’t have made a special trip back to the shop today to pick it up) if I didn’t review comic books for a living (Well, 1/3 of my living, anyway…if you could call this living. [Sorry, that was a bad joke even by EDILW bad joke standards]).

Full review next week, but it is full of Powell’s usual nice art and lots of funny sentences. And if you buy one book just for the boobs this week, make yours Dark Horse, True Believers! At least Powell draws nipples on his topless women.



—Damn it. I just realized I didn’t get X-Men First Class Special this week either. I forgot to get it on Wednesday, just like Satan’s Sodomy Baby. I went back to the shop today to pick up SSB and I forgot to get the First Class special again. Arrgh.



—DC announced two 52 related trades Thursday at Newsarama.com (and I don’t know, maybe elsewhere too.) The new J.G. Jones cover for the trade is decent, but not as good as some of the 52 covers he’d done. And what the hell is up with that Entertainment Weekly blurb. “As addictive as any good TV series” is the best they could come up with? I know I’ve said much kinder things about it both in LVW and here (What do you mean EDILW isn’t as well-known and well-respected as EW?).

Two companion volumes were also announced, a $20 hardcover collection of Jones’ covers, which is a little more than I was expecting, but I feel obligated to buy it, having asked for just that for about 52 weeks straight. The other is a very, very weird one:


52: THE COMPANION TP
Writers: Steve Ditko, Greg Rucka, Gardner Fox, Grant Morrison, Steve Gerber, Mark Schultz, Jack Miller, Dan Jurgens, David Goyer and Geoff Johns

Artists: Steve Ditko, Kano & Stefano Gaudiano, Chaz Truog & Doug Hazlewood, Carmine Infantino, Walter Simonson, Doug Mahnke & Tom Nguyen, Murphy Anderson, Alex Toth, Dan Jurgens & Tom Dzon and Leonard Kirk & Keith Champagne

Collects: MYSTERIOUS SUSPENSE #1, GOTHAM CENTRAL #40, ANIMAL MAN #16, METAL MEN #45, SUPERMAN: THE MAN OF STEEL #97, RIP HUNTER: TIME MASTER #6, JSA #43-44, and stories from DETECTIVE COMICS #350, STRANGE ADVENTURES #226, SECRET ORIGINS #35.

$19.99 U.S., 224 pages


I’m just about curious enough about these issues to look them all up on comics.org, but as far as I can tell they appear to be a collection of key issues from the various players in 52’s fictional careers. It sure looks like the most random collection of comics stories ever assembled, and the title is a little goofy. I think I already have most of these stories, but it may be worth checking out .

I’m a little surprised there hasn’t been a Secret Origins trade announced yet, collecting the back-ups.


—Finally, speaking of Newsarama.com, Countdown editor Mike Marts tells Matt Brady that the fact that Jimmy Olsen knows the secret identities of the Robins is a plot point, not a mistake. Uh-huh. Then why doesn't Jason Todd act surprised when Olsen calls him "Mr. Todd?" The 'rama interview sound a litle like someone who trips and then says "I meant to do that," but not in a deadly serious way, and then follows it up with, "And if you get to know me better, perhaps you'll come to understand why I tripped on purpose."

Sunday, May 06, 2007

From the Pages of 52

Ready for the second round of the Official EDILW 52 Post-Game Armchair Editing? You know I am!

In this installment, we're going to take a look at how DC could best capitalize on the success of 52, both creatively and commercially. So we'll be breaking spin-offs into three categories: The comics that DC has already announced, the ones they should announce, and the ones they shouldn't announce.

Each series, be it imminent or hypothetical, will be followed by two scores, with the first number designating the project's creative potential on a scale of one to ten (with one being World War III and ten being All-Star Superman), and the second number designating the project's commercial potential (with a one being Manhunter and a 10 being Justice).



Comics That DC Has Already Announced:







BLACK ADAM

There's no question that 52 (and Geoff Johns' JSA run before it) made a star out of Captain Marvel's evil double, so finally giving him a book of his own to star in was a no-brainer. It's somewhat odd to see it coming so soon after the end of 52 though, since he was given a rather elegant send-off into limbo (not the bit with the boots, but the end of #50, where he's left wandering the world guessing his new magic word).

Re-powering him in the near future should probve problematic (dude is up there with Hitler in terms of bodycount now, right?), although his series could very well focus on his past, or, even more interestingly, as his presnet stuck in Teth-Adam form. Can DC resist temptation and keep him a powerless human being throughout an entire series? It will be interesting to see. Writer Peter Tomasi's Light Brigade was a very good series, penciller Dough Mahnke is an incredible talent, able to handle quiet emotion even better than big supehero brawls (which he does quite well, as his run on JLA proved), and inker Christian Alamy rules the school, on both pencils and inks. 7/10









BOOSTER GOLD

Now this is something of a surprise, even though I didn't really believe that Booster had died way back in Week 15, and he was long my prime suspect for Supernova. But on the list entitled DC Characters That Are Capable of Carrying Their Own Monthly In Today's Market, I'd suspect Booster Gold to be somewhere between Martian Manhunter and Space Cabby (Fercrisakes, I can barely take his name as the name of a superhero seriously, let alone as a title of a good comic book, and I love the lug). Nevertheless, the very last issue of 52 seems to have given his book a neat premise, even neater than the time-travel focus that was mentioned when it was first announced (which would have made it like the ill-fated but excellent series Chronos), since it now seems he'll be exploring the new, economy sized multiverse (which would make it more like Exiles, I guess).

Plus, he's got a cast including Supernova, Rip Hunter and Skeets, so that's something (now just add a Ted Kord to the mix—shouldn't be too hard to save him from death using time travel a la Marvel's Captain Marvel and a few dozen other super-characters I can think of—and we're really cooking). Based on the cover, the first storyline will involve Booster journeying to an earth where pre-invasion Iraq was run by a Baathist regime consisting of characters throughout the old DC multiverse, and he's hunting them down for the U.S. marines.

The announced creators are, at the outset, Johns and Jeff Katz. As an architect of the new multiverse, Johns is obviously a perfect choice. I'm less sure about this Katz character, mainly because DC hasn't had much luck (creatively or commercially) with recruiting professional writers from other media to handle their characters of late (Think those knuckleheads who wrote Flash: The Fastest Man Alive, Jodi Picoult, Tad Williams, John Rogers and Richard Donner*).

Art comes courtesy of penciller Dan Jurgens. I really like seeing an artist of his caliber drawing characters primarily known by other talents (on that cover above, for example, we get to see a Jurgens version of Frank MIller character and a C.C. Beck character). The cheif (okay, only) pleasure of that ill-considered ten-part "History of The DCU" that ran in the back of the first ten issues of 52 was seeing Jurgens "covering" other artists throughout this series. 8/10







52 AFTERMATH: THE FOUR HORSEMEN

Now this is weird, on just about every level. The Four Horsemen? They only appeared in a few issues of 52, and were all killed in thier last appearances (one is even currently a pair of boots, which should be showing up in Black Adam at some point). Weirder still is that DC is calling this book 52 Aftermath—it weakens what is currently a pretty strong brand (in the same way that putting "from the pages of 52" atop the World War III books did), and how is it that those five words are somehow deemed more likely to move books off the shelves than the names of DC's top three icons?

I've got next to nothing to go on here, but I suppose it's nice to see DC's "Trinity" actually doing something together. I've said before that I think the concept is more than a little forced (Sure, Wonder Woman is the third most well-known DC character, but there's as big a gap between her overall Q-rating and that of Superman and Batman's, and a much, much smaller gap between hers and, say, Robin, Aquaman, Supergirl or even the Flash). Superman and Batman seem to team up a couple times a week—they even share an ongoing title devoted to their team-ups—but how often does Wonder Woman get included in their adventures unless there's a whole Justice League involved? Rarely, to the point of hardly ever.

On the positive side, it's written by Keith Giffen, who should reeaallly be doing some more writing at DC these days, and drawn by 52 pencil army veteran Patrick Olliffe, whose art I look forward to seeing in a less deadline pressurized book. 5/5




INFINITY INC.

No cover image of this book yet, nor has an artist been announced (or, if there has, I totally forgot who it was), but this was actually one of the earliest 52 spin-offs announced. It's also one that perplexes me. I really dig Steel; I have since "Reign of the Superman." Morrison and Waid used him quite brilliantly in JLA (though I was more than a little irritated that Waid dumped him from the line-up when he inherited the title), his own monthly had some ups and downs (with the Preist/Cowan run that ended it consisting of the most consistent up**), and I've often found myself unreasonably concerned about his well-being (Our Worlds At War) and character design (I don't know who designed that bug helmet, but it sucks).

Now, what Steel has to do with Infinity Inc., other than the fact that Natasha/Steel II (Or Steel III, if we count Commander Steel's grandson as Steel I?) joined the a team which co-opted that name, and that he himself kicked a few of their asses, I don't know. The pitch for this book is that John Henry and Natasha would be leading a new team of Infinitors, forging the loser leftovers from the Everyman Project into real heroes.

All of which strikes me as a pretty shrug-inducing idea for a monthly, particularly from writer Peter Milligan, who already wrote the hell out of the concept of shallow, fame-hungry heroes-as-celebrities once with X-Force/X-Statix. I'd much prefer a more flexible Steel solo title (even if it begins by dealing with Everyman Project/52 fall-out) and/or Steel back in the League (even if mainly/only in a building-stuff for the knuckleheads on the team capacity—outside the Trinity, it's not exactly a group that has any rocket scientists, and steel is both a literal and metaphorical rocket scientist).

Finally, this book uses the tried-and-false tactic of taking a DC brand name of next-to-no-value (Blue Beetle, Atom, Firestorm, Aquaman, Manhunter) and giving it to different characters, thus successfully alienating the only people who actually are attracted to that brand name. 4/2




Comics DC Should Announce:



DOC MAGNUS AND THE METAL MEN

I've mentioned this one before, but I'll mention it again because, goddamit, this would be awesome. Seriously, close your eyes and think about what the best part of 52 was—why yes, that's right, the Oolong Island bits. And who was the star of those? Doc Magnus. Paired with Waid's mission statement for the team, setting Magnus and his inventions up against the very mad-scientists he co-starred with in 52 seems like an easy continuation of the series (as well as a natural and organic one).

When one considers that Metal Men film is apparently currently in development, this really, really has to happen.

Unfortunatley, DC has screwed this pooch almost immediately, with the Metal Men's post-52 appearances consisting of cameos in "The Tornado's Path" and a horribly drawn, completely nonsensical story in Superman/Batman. While Waid and Morrison would be perfect (as would Darwyn Cooke or Michael Allred or Evan Dorkin or Kyle Baker, none of whom seem terribly likely), so too would Tom Peyer, Scott Beatty, Ty Templeton, Keith Giffen and J.M. DeMatteis and...that's all I got off the top of my head, actually. After reading the first issue of Mark Verheiden and "Pat Lee"'s story in Superman/Batman, I'm tempted to say anyone but them, but I'm sure there are actually all sorts of people who could fuck a series like this up. 10/10




GHOST DETECTIVES

And speaking of things that just have to happen, there's the incredibly happy ending that the Four Horseman of 52 managed to give the Dibneys in #52. On one hand, this seems like a nice set-up for future Dibny stories, but on the other, it seems like a perfect place to end their story, doesn't it? It is, after all, Ralph's version of heaven, and why muck it up by having us watch them? I say put this book off until Mark Waid has the time and inclination to write it. (In the meantime, we can always see the Dibnys and Sat. Era or JLI Era stories in JLA: Classified, or a Croaton Society mini set in the past). 7/7



CAPTAIN MARVEL

This is another one I'm repeating myself on, but if there's one thing we pride ourselves on here at EDILW, it's consistency (Which is a nicer way to say redundancy). Now that the villain behind Skeets (or, in this case, inside him) has been revealed, it's clear that on one level, 52 boils down to a story of Captain Marvel villains Black Adam, Dr. Sivana and Mr. Mind fighting one another and much of the DC Universe.

It was unqeustionably DC's biggest hit of the year, and the largest swathes of it's stars came from Captain Marvel's cast...and not even any of the heroes, just some of his villains. Surely if Black Adam and company can carry a friggin' weekly, they could (help) carry a monthly, no?

Of course, one could argue that the success of the Marvel character in 52 owed more to the people writing them than the characters themselves, and one could point to the cancelled Power of Shazam! series as evidence of this. It's true that Cap isn't an easy character to "get," as Judd Winick's body of work so readily shows. Those that seem to get him the best—Morrison, Waid, Johns, Alex Ross, Jim Krueger, Kurt Busiek, Jeff Smith—are all pretty busy dudes, with a lot on their plates (and the stature to work on pretty much whatever they want). And I'd personally prefer no Captain Marvel DCU comic to a wretched Captain Marvel DCU comic (a la Trials of Shazam). So maybe the time isn't right for a new Shazam! monthly, but don't sleep on it too long DC—if that Shazam movie ever gets made, you're gonna want to have a comic book on the stands by then. 10/8



MISCELLANEOUS MISSING YEAR MADNESS

Again, these are all series I've mentioned before, but here goes anyway: Batman, Robin and Nightwing sailing around the world traning, something that I'm actually surprised we haven't seen more flashbacks to yet; it's certainly a thousand times more interesting than Royal McGraw's weird continuations of '70s storylines, John Ostrander's inventorty-tastic tale of Grotesk and Johnny Karaoeke and whatever the hell's been going on in Robin and Nightwing OYL); what went down in Gotham City (they could even reuse the name Gotham Nights, from those early '90s miniseries about Gotham citizens who weren't sueprheroes or supervillains); the Teen Titans' nutty year (we saw some of it alluded to in "Titans Around the World," 52 and we got to see Terra II's heart get punched out for no reason in World War III, but I'd kinda like to see those 50 teens coming and going through the tower, as well as see how Wendy and Marvin hooked up with the gang and...hey, where the hell did they disappear to in the last story arc, anyway?); and the further adventures of Firestorm II's shortlived JLA (C'mon DC, the world needs more Ambush Bug and Super Cheif team-ups, and you're not really using JLA: Classified for anything right now anyway!) 10/10




Comics DC Shouldn't Announce:



ANIMAL MAN

I like Animal Man, and always have. He was pretty cool before Grant Morrison got his hands on him, and, obviously, he was much cooler afterwards (I have a soft-spot for vegan activists superheroes). I even dug a lot of the post-Morrison Vertigo stories, particularly those written by Jamie Delano, many of which would have fit into the DCU just as easily as the VU (with a few minor alterations).

In his just-ended weekly debriefs with Matt Brady at Newsarama.com, Michael Siglain asked Newsaramites whether or not they'd want an Animal Man mini or ongoing. Some apparently did.

Well, they're wrong.

We don't need or want an Animal Man mini or ongoing, at least not at this point. Now, I always enjoy seeing Buddy Baker whenever he shows up, even if the stories aren't all that great, and am certainly in favor of him showing up in DC books a lot (even on a regular basis, in, say, JLoA or, possibly, a Forgotten Heroes book; though the former already has an animal-powered hero and the latter doesn't seem like a good publishing move at this point), but I don't think we need him in his own book.

It basically boils down to the fact that Morrison handled his last solo, ongoing DCU adventures so consumately in Animal Man that there doesn't seem to be a whole lot in the way of new story to tell...at least not new story capable of living up to what Morrison and several of his followers managed. A new Animal Man series seems predestined to suffer in comparison (A similarly effected character is Swamp Thing; I know there have been good Swampy stories since Alan Moore's run ended but, at the same time, most of seemed perfectly superfluous).

Sure, he worked fairly well here in 52, but then, he was part of an ensemble through most of it, and was partially written by Morrison throughout. as well A new Animal Man series would have to be able to be at least as good as (or at least not too much worse than) Morrison's Animal Man, and there are precious few writers capable of following Morrison in any successful fashion. Waid and Millar (sometimes), Tom Peyer and Jamie Delano have all done it successfully, but I have trouble thinking of any others.

So I vote no on Animal Man in his own new comic, but yes on more Animal Man in any (and everybody) else's comic. 3/7



THE QUESTION

I like Renee Montoya. I like The Question. But I don't like Montoya as The Question II. (Just like I like Aquaman and like Batman, but wouldn't like Aquaman as Batman...at least not permanently***). Granted, Montoya-as-Question would probably be a lot less grating in a title of her own than as part of a huge story involving an ensemble cast (As I've complained about somewhere in then neighborhood of 50 times previously, Montoya's scenes were the only first-person narrated ones in 52), but her storyline was one of the least popular in 52 (along with Steel's) and thus she doesn't seem to be a great character to be given her own title. Also, the forced-legacy rule is in full effect here. Fans of the the Question are the only people who are going to be attracted to the name "The Question" on a comic book, but they're going to be more interested in one starring the Question, not a different character with the Question's name (This one strikes me as particularly tragic since Vic Sage is such an incredibly unique character, and that JLU recently raised his profile in mainstream consciousness more than it's ever been, and because Sage more closely resembles the Watchmen character he inspired than Montoya). I suppose one of the other 51 Sages could enter into the DCU at any moment now and resume Question-ing, so it's not as tragic as it was a few week's ago. 3/1


BATWOMAN

This is an ongoing title that has been rumored for a long time—even the swell-looking logo design has been leaked onto the Internet—although it hasn't been announced. I couldn't possibly be less interested. Kate Kane is a terribly uninteresting character, whose defining characteristics seems to be that she's a lesbian (albeit a man's fantasy of a lesbian, a "buxom lipstick lesbian" as the New York Times put it), is Jewish, and used to sleep with the new Question. Strike two is that her costume draws attention to her long flowing, easy-to-pull-in-a-fight hair and her lips.

The female version of Batman she'd be replacing in DC's publishing line if she does get her own ongoing is Cassandra "Batgirl" Cain, who was a much more complex and unique character (just grabbing randomly at elements of her character, she was illiterate, shy, quiet and thus far pretty much completely uninterested in the opposite sex), and had a much less male-fantasy gratifying costume (No matter what Johanna Draper Carlson says).

On the plus side, it would be cool to have a female super-person with the word "woman" instead of "girl" have her own comic book (Is Wonder Woman the only DC superhero with the word Woman in her name that hasn't been killed or erased from the timeline somehow at the moment?), but that could have been accomplished just as easily by changing Cassandra Cain's name, now that it's "One Year Later" and I think she's 18 now.

Personally, I'd likely pass on this book, unless they assemble a dynamite creative team. The one storyline that would interest me would be the one dealing with her origin, or the missing year in Gotham, during which a lot of pretty exciting things happened that we haven't seen (Harvey Dent, Kite-Man, Nightwing flirting, Commissioner Gordon returning, Apokalyptian firepit-making). Oh, and I suppose a meeting with Cassandra Cain and/or Oracle would get me to pick an issue up. 5/7


*I don't mean they're all creative failures; I really dug Williams' Helmet of Fate and first issue of Aquaman (his run already seems to be falling apart as of his second issue, however), I haven't read much of Rogers, and I haven't read enough from Donner to sum up his run. But none of them have been able to tell good stories and sell as well, say, Johns, David Goyer, Greg Rucka, Kevin Smith and Brad Meltzer.


**Hey, 52 fans! Check out Steel #38 , which features a Steel/Question team-up!


***EDILW readers who have been taking their ginseng will remember I made a similar comment before; however, since I forgot when and where, I assume you all have too, so there, I've used it again.

Wednesday, April 18, 2007

Wonder Woman Wednesdays: First Appearances vs. Last Appearances



I don’t know if I’m the first person in the entire history of the Internet to point this out or not, but Wonder Woman’s original Golden Age adventures were really, really, really, really weird.

I recently checked out Wonder Woman Archives Vol. 1 from my local library because, well, I can’t afford to buy $50 comic books (Let’s make with the Wonder Woman Chronicles, DC!), and while I went in expecting lots of Nazi-fighting, Steve Trevor-saving, kanga-riding, Etta Candy “Woo Woo!”-ing and images of girls getting spanked and tied up on almost every page, I still wasn’t ready for how deeply weird and oddly powerful the dozen or so stories in the volume were.

Tell me if this sounds anything like the superheroine we’ve come to know in the last 60 years.

On a mysterious island full of magical realism-like inventions dwell a race of women who dress in Buck Rogers ballerina outfits and engage in martial sports. There lives a beautiful young princess who has never left its shores. When a handsome stranger crashes there, she uses her scientific prowess to invent a means to cure him and nurses him back to health. At the command of her goddesses, she dons the colors of the United States to follow him back to his own home and battle against the evil represented by the Axis powers.

She gets a job entertaining people in a theater with feats of super-speed and super-strength until she’s amassed a small fortune. She uses it to buy the name of Diana Prince, a woman who looks just like her. The young maiden then becomes a nurse and secretary, serving under the love of her life, and routinely saving him from Nazi and Japanese saboteurs and spies, with the help of a small army of sorority girls, whom she contacts through a “mental radio” given to their leader, Etta Candy (daughter of Hard Candy, sister of Mint Candy). When not fighting female slave-owning Nazi operative The Baroness and Nazi cross-dressing scientist Dr. Poison, Diana functions as a freelance detective, investigating international milk companies and the working conditions at department stores.

Reading these stories, one gets the completely unfiltered picture of what the character of Wonder Woman was like at inception. Just as Captain Marvel, Plastic Man, Superman and Batman seemed like completely different characters in their first few adventures than their current incarnations, the Wonder Woman of these first issues is in a lot of ways completely unrecognizable from the one who’s been running around the DC Universe for the last, oh, 40 years or so. (In some of the above cases, the characters would be refined and improved over the decades, but at the cost of something—no Batman story, for example, has been able to match the primitive, occasionally hysterical creepiness of his first few adventures).

Over the past ten years or so, DC has really pushed the concept of Batman, Superman and Wonder Woman as a “Trinity” of heroes, the pillars of their fictional universe, each equally important. While they’ve gotten some good stories out of the idea of the “Trinity,” the concept's always been a bit forced.

Clearly Wonder Woman lacks the popularity of the other two heroes, never being able to support more than one monthly title, while the two men in capes have had as many as five monthly series running simultaneously, and the graphic novel lists at dccomics.com do a pretty good job of illustrating how few original graphic novels and trade collections Wonder Woman has in relation to the World’s Finest (Without actually doing the math, it seems that The Flash and Green Lantern greatly eclipse Wonder Woman in the popularity department, at least based on the number of trade pages devoted to their adventures).

And within the context of the fictional shared-setting of their books, the DC Universe, Wonder Woman’s status quo is constantly being shifted as she experiences relaunches and new directions, changing cities, jobs, love interests and supporting casts on a fairly regular basis. When Crisis on Infinite Earths recreated the DCU as a brand new universe through a complicated cosmic event, Batman and Superman were given new origin stories (Batman: Year One and Man of Steel), but they were set in the past, as it was assumed that there couldn’t really be a DC Universe without them in it. Wonder Woman similarly had a rebooted origin, but rather than being set in the past, her story simply restarted in the early ‘80s. In other words, in DC’s fictional timeline, as of the late ‘90s, Superman and Batman were said to have been active for about ten years, whereas Wonder Woman was a newcomer, only active for about half that time.

Infinite Crisis changed that, so that she appeared for the very first time back when Superman and Batman did, but this only served to make things more confusing, as it solved the problem of giving her equal standing with the World’s Finest within the ficitonal history, but it did so by unsolving the problems of her origin.

Regardless, post-(First)Crisis Wonder Woman was not only a superhero struggling against mythological villains like Circe and Ares, but a political and social ambassador of the Amazon nation of Themyscira. The ambassador aspect was given greater and greater emphasis right up until Infinite Crisis, with writers Phil Jimenez and Greg Rucka focusing on her work with the United Nations, social causes and charities and political machinations.

Golden Age Wonder Woman, at least in these first Wonder Woman stories? She was more of a fairy tale heroine living out her life in a work of concentrated war propaganda (and I know the P-word has taken on negative connotations over the years, but I mean that in a good way).

How this Wonder Woman became our Wonder Woman is hard to figure, particularly if we ignore everything in between and just look at, say, her first few adventures and her last few.

The Golden Age Wonder Woman certainly came across as a younger woman, if not a girl. She was continually referred to as a “maiden,” she had a schoolgirl crush on the first man she ever met, she lived with her mother right up until she moved out for the first time (only to go fight Nazis, not go to college) and her best friends were a bunch of co-eds whose hobbies included man-hunting, dancing and hazing rushes with paddles.

The modern Wonder Woman seems older and more mature, I think in large part simply because of her roles as an ambassador, long-time superhero and mother figure to Wonder Girls Donna Troy and Cassie Sandsmark, just as the married Superman and boy-raising Batman seem fatherly (DC reps will often say their “Trinity” is all in their late 20’s, which always causes me a bit of cognitive dissonance…that would mean Batman started his career at 19, and that Dick Grayson is now as old as him).

The early Wonder Woman also had a very distinct mission—to defend freedom and democracy (The Allies) from the armies of evil (The Axis). It made sense of her star-spangled costume, her reason for being in the U.S., her continued association with Steve Trevor and it automatically generated enemies for her. Rereading these original Wonder Woman stories, it’s pretty remarkable how big a role World War II played. It's actually hard to imagine Wonder Woman without World War II, which might be why DC has traditionally had more difficulty finding a direction for her than theu have the other points of the Trinity (It’s worth noting that Batman and Superman have kept the same home bases, supporting casts and antagonists for pretty much their entire fictional careers).

With World War II over it wasn’t too difficult to make Communists the new Nazis, and Wondy’s adventures with Steve Trevor against the enemies of freedom continued relatively unabated. But despite the fact that America’s leaders have never had a problem finding new enemies to fill in for the vanquished Axis, this obviously wouldn’t work for Wonder Woman, particularly as her readership matured and grayed over the years, and post-Vietnam, post-Watergate Americans were less likely to embrace the U.S. government’s enemies as unequivocally evil in the same way that kids in the early ‘40s could eagerly cheer for a superhero sticking it to Hitler.

Wonder Woman could easily have continued fighting Communists through Vietnam and right up until the fall of the Soviet Union. And today, she could conceivably be fighting the global war on terror, but it’s actually hard to imagine DC publishing stories like that. Ironically, in a lot of ways DC’s readers have become more politically savvy and aware over the last 60 years, but the stories have become less overtly political (Today, Wonder Woman is more likely to take up arms against fictional Qurac than Iraq, for example).

So when Allen Heinberg tried to capture some of this Golden Age magic with his soft reboot of Wonder Woman, he had her working for the fictional Department of Metahuman Affairs instead of, say, the CIA or U.S. Army. But this tied her so thoroughly to the made-up world of the DCU that it sort of defeats the purpose of referencing her Golden Age association with the United States at all (Particularly without doing away with the baggage of 20 years worth of being a member of the royal family of a sovereign nation—in these Golden Age stories, Paradise Island wasn’t played as it’s own country so much as an otherworldly fantasy land, but Post-Crisis it's more like an all-female Cuba with Greek architecture and sense of fashion).

Interaction with the rest of the DCU has caused an awful lot of problems for Wonder Woman in general, as each reboot required other reboots across the universe. When Wonder Woman was reintroduced as a latecomer to the DCU, for example, there was already a Wonder Girl active before Wonder Woman, which began a whole slew of retcons and reboots for Donna Troy/Wonder Girl/Troia, and John Byrne would later send Wonder Woman’s mother back in time to World War II, making her a Wonder Woman before Wonder Woman, and thus retroactively making Wonder Woman a legacy character (Again, Superman and Batman never had these sorts of problems).

In addition to working for DOMA tracking superhumans, Wonder Woman’s current status quo has her partnered with old DC character Nemesis (from John Ostrander’s Suicide Squad run), working under Sarge Steel (Suicide Squad, Titans), using credentials created for her by Batman and a disguise suggested by Superman. Rather than standing on her own, the current Wonder Woman is, at best, a spider scurrying along the webs of DCU continuity. Batman and Superman are, of course, members of the Justice League and prone to guest-stars from other books at any time, but for the most part their adventures can be enjoyed all alone, without any real familiarity with the workings of the DCU.

So it was certainly refreshing to read Wonder Woman stories where all the information you needed was right there in the story itself. Rather than wondering how these stories fit in with the last Wonder Woman story I read, I could simply enjoy the flat, two-dimensional art of H.G. Peter and his quirky vintage sci-fi-meets-mythology designs and William Moulton Marston’s almost stream-of-consciousness storytelling, including the amazing feats of blocking bullets with bracelets, the pre-feminist feminism, the humor of Wondy’s sidekick Etta and her cartoonish sorority sisters and family members.

The other remarkable differences between yesterday’s Wonder Woman and today’s were in the powers and the cheesecake factor. The original Wonder Woman was super-strong and super-fast, but didn’t seem to be completely invulnerable (she did block bullets with her bracelets) and she couldn’t fly, which meant she had to resort to riding horses, running and swimming super-fast and flying her robot plane. I don’t know why exactly, but I found this a lot more intersting. I guess because I've grown so used to her just being a sort of female Superman, so it was neat to not see her flying around Superman-style, but distinguishing herself from him (even if, in this case, that distinguishing factor turns out to be relative weakness).

And it goes without saying it was refreshing to see her not exploding out of her costume. In her first few stories, Wonder Woman is wearing a billowing skirt, but it quickly turns into a pair of shorts. Not a pair of panties, and not a g-string, but a pair of shorts.

Her top didn’t lift and separate, it wasn’t a corset or boob armor or just something to cover her nipples because a completely topless superheroine would be silly. It looked like something a ballerina might wear.

Likewise, her bracelets were actual bracelets, not forearm-long pieces of armor.

Taken together and read on this side of the manga revolution, it was downright surprising to see that Wonder Woman was actually something of a magical girl-style heroine decades before “magical girl” would even become a comics genre.

Reading Wonder Woman at any point form the last 30 years or so, it’s quite clear that she’s designed to sexually titillate male readers more than, you know, just look kinda cool. It’s not just the likes of notoriously-bad-at-female-anatomy Michael Turner, the unfortunate choice for JLoA cover artist, or the notoriously smexed-up JLoA interior artist Ed Benes. It’s everyone who draws Wonder Woman these day, because that barely-there costume has become inherent to the character design. Check it out:











John Byrne, J.G. Jones, Adam Hughes, Brian Bolland…these are great artists who all understand how to render human anatomy and how clothing falls across a human body in the real world. And these are all nice images, but what strikes you first about them, that it must be cool to have Wonder Woman powers? That Wonder Woman looks like a fun character to read about? Or that you can almost see her breasts?

Certainly a certain amount of sexiness is expected in any superhero comic book, chronicling the lives of perfect specimens of the human physique as they do, and even when Wonder Woman’s interiors were at their strongest visually (under the pencils of Perez and Jimenez), she was half-naked (Hell, in the Archives, Peters’ Wonder Woman is often shown in cheesecake-y costume-changing scenes, and on her first appearance in Man’s World passersby remark on how little clothing she’s wearing). Over the years though, it seems like we’ve seen fewer and fewer images like these,





accentuating the joy or menace of Wonder Woman’s superpowers, and more and more images simply reveling in the skimpiness of the costume.

Which is why I think Tintin Pantoja’s Wonder Woman pitch caused such a stir when it made the rounds in the blogsophere a few months back—it looked like the Wonder Woman a lot of people wanted to read, rather than the Wonder Woman they had to read about. While it’s hard to judge a couple of pages of art posted on the Internet, it did seem like Pantoja had managed to capture some elements of the original Wonder Woman story, including the princess/magical girl themes and the fact that the character seemed more or less like a real person, not a scantily clad statue come to life.

So yeah, Golden Age Wonder Woman’s adventures are totally insane, what with their never-acknowledged yet hard-to-miss perverse sexual undertones and symbolism (Suffering Sappho indeed), bizarre fantasy technology and bastardized mythology mash-ups, pulled-out-thin-air plot points and all-around aura of silliness, but those aren’t the only reasons they seem so weird to readers today.