Dragon Con was a blast and I felt like the DC Comics and Cultural Studies panel went well. I’ve had a few requests so I’ve posted my paper “Discipline & Punish: Michel Foucault & the Suicide Squad” here. Hopefully I’ll get around to posting my paper from last year some time soon, but until then, enjoy this one.
After weeks of ambiguity regarding the fates of their titles after moving their offices from New York to California, DC Comics cleared things up somewhat with a statement this week. The simple answer: The New 52 is dead! Long live the New 52! The truth: DC Comics is removing the label New 52 and making continuity less of a concern if favor of greater diversity in story-telling. DC is not simply shedding the label, but also an ideological commitment to an experiment. The experiment? A new (err..rebooted) and thoroughly connected (err…though filled with holes) universe (err…multiverse)! Originally planned as 52 titles a month published in sync, following a universal timeline, the New 52 was a lofty ambition. For the experiment to work, creators had to work within a tight framework not only in narrative, but in artistic style- prompting the oft-used terms “DC house-style” or “Jim Lee house style.” These rules allowed a pretty cohesive fictional universe to thrive, but also alienated many creators and readers who wanted stories outside the framework of the larger experiment. By abandoning the New 52 and their ideological commitment to the New 52 experiment, DC Comics will be opening itself up to new, smaller experiments. The publisher’s lineup will be more chaotic this June not only because many titles will leave and many new titles will arrive, but those new titles and even the continuing titles will draw from a larger creative arsenal- new creators, new styles, new impressions on the characters, and new impressions on what super-hero comic books can do. To be fair, DC Comics continued to publish an assortment of books outside of the New 52 such as Lil Gotham and all those video game-related titles. Now new books like Bat-Mite and Bizarro promise to approach comics without the baggage of the New 52 experiment. The official word from DC suggests the end of the New 52 is motivated purely by creative ambitions, but it’s obvious to most readers that DC has found an awkward but workable solution to several concerns: 1) the move to California 2) the stress of managing the big continuity 3) the desire to attract more casual comics readers (the ones reading Image titles) 4) the New 52 is destroying itself.
That 4th one can be broken down to specific problems within the New 52. I believe the beginning of the end came when the original creative team of J.H. Williams III and W. Haden Blackman left Batwoman over creative differences on whether or not Batwoman would marry. While this was not the first dispute-driven departure of a respected creator during the New 52, this departure, unlike George Perez leaving Superman, shook up something that most people believed the New 52 was doing right. Fans and critics alike couldn’t say enough nice things about the work being done on that book. The rush to replace Williams and Blackman with not only a talented creator, but one with a little LGBT cred to ease PR concerns, left Batwoman in the hands of Marc Andreyko and the book got noticeably worse. After Geoff Johns and associates completed their run on the Green Lantern titles, DC found a new creative team, but things fell apart and they again found themselves scrambling the fill some roles. Luckily they found a sort of dream team to take over those titles. Most problematic about the Green Lantern creative team shift, Geoff Johns wrote an epilogue in his final issue of Green Lantern, an epilogue whose authenticity would come immediately into question as the new creative team found ways to destroy all the love stories in that blossomed in that epilogue. Other books saw transitions. The success and failures of titles in transition were surprising. I really expected Chew’s John Layman to write a better Detective Comics while Jeff Lemire wrote a Green Arrow story unlike anything else he’d ever written, reinforcing what his run on Animal Man had suggested- the guy who draws those creepy picture book also has a visionary take on the super-hero model. Another reason why I see the Batwoman shift as the beginning of the end can be seen in the fifth collected volume of the title- an inconsistency that runs along the spine, singling out the volume among all other New 52 titles as the unmentionable yet obvious stain on the whole endeavor.
Look at that tiny little five! How embarrassing that must be for Batwoman Vol. 5: Webs! The other book that sticks out in a complete New 52 collection is Batman Vol. 3: Death of the Family because it’s white instead of black. While it may still drive the obsessive and compulsive a bit mad to look at, the change is obviously intentional. The tiny 5 on Batwoman Vol. 5 appears to be a Freudian slip, a subconscious expression of shame in ruining one of the New 52’s best titles.
Since the official announcement of the New 52’s end, I’ve tried to figure what the New 52 really has been. Despite all the Convergence hype, it feels like the experiment is going out with more a whimper than a bang. There’s no real story to tie up as far as I can figure. So the question remains what was the New 52?
Here are 52 things I think made the New 52:
1) The Court of Owls
2) Wonder Woman’s new origin story
3) introduction (and reintroduction) of Vertigo characters into the DC universe
4) Superman-Wonder Woman love story
5) Triumphant revitalization of Aquaman (Throne of Atlantis arc)
6) Titles created just to foster the continuity experiment (Blackhawks, Team 7, OMAC, Threshhold)
7) Crime Syndicate and Forever Evil
8) Darkseid’s destruction of Earth-2 and Superman’s subsequent reign
9) Death of Damian Wayne
10) Skinny Lobo
11) Rotworld arc
12) Justice League Dark formation
13) Central role for The Phantom Stranger
14) Central role for Pandora
15) Future’s End
16) Joker cut off his face
17) Muslim Green Lantern
18) Gay Green Lantern
19) Young Green Arrow
20) Walking Barbara Gordon
21) Brother-killing Batgirl
22) Jonah Hex and Amadeus Arkham
23) Penguin takes control and loses control and regains control of Gotham criminal underworld
24) Catwoman takes control of Gotham criminal underworld
25) The Riddler brings Gotham to its knees
26) Batman Eternal and Jim Gordon’s blues
27) The most sophisticated Mr. Mxyzptlk story in DC history
28) Guy Gardner became a Red Lantern
29) The Guardians of the Universe were replaced by new Guardians of the Universe after proving themselves fascist tyrants one too many times
30) Kyle Rayner continued to become more messianic
31) Hal Jordan became the leader of the Green Lantern Corps
32) Superboy was a clone of Superman’s wicked son Jonathan Lane Kent from the future and also there were other Superboys
33) Cyborg Superman is… Supergirl’s father?
34) Lucius Fox’s son becomes Batwing
35) Harley Quinn did it with Deadshot
36) H’el on Earth (and Krypton)
37) The Culling of Teen Titans and Ravagers and a general feeling that Scott Lobdell was going to end up writing every title in the DC universe
38) Short lives of good titles (I, Vampire; Voodoo; Mr. Terrific; Captain Atom; Dial H)
39) Huntress and Power Girl, the World’s Finest of Earth-2, arrived on the primary Earth
40) Daniel West is the Reverse-Flash
41) Bad futures depicted in Justice League 3000, Future’s End, Superboy, Teen Titans, and the Legion of Super-heroes
42) Aimless movement from the Legion of the Super-heroes
43) Two heavy-handed comics nobody liked (The Green Team and The Movement)
44) Martian Manhunter with Stormwatch, Martian Manhunter without Stormwatch
45) The return of Lyssa Drak and a Sinestro-led Sinestro Corps
46) Frankenstein: Agent of SHADE and other Dark titles
47) Trinity War
48) Lights Out, Relic, and the draining of the emotional spectrum
49) Trying to figure out what to do with Darkseid
50) Trying to figure out what to do with Deathstroke
51) The Rogues with super-powers
52) Company-wide campaigns particularly in Septmember- 3D covers, MAD variants, Scribblenauts, Robot Chickens, Zero Year, etc.
A few weeks ago I reviewed the LEGO Marvel video game. While I enjoyed playing it, I’m not a Marvel Comics reader and imagine a faithful Marvel reader would have enjoyed the game more than I did. Alternately I’m a very loyal DC Comics reader and a pretty big Green Lantern fan. After playing through most of Lego Batman 3: Beyond Gotham, I’d say that this game is the best non-comic book piece of Green Lantern media available. While Batman is the major hero and the major villain is traditionally a Superman enemy, the various Lantern Corps provide the props, setting, and support cast for the game. The game is littered with little treats for the GL fan- my favorite of which is when Sinestro utters a relatively new classic from the end of the Geoff Johns run- “That’s the tragedy of all this, we’ll always be friends.”
While the Green Lantern elements are strong, the creators put a twist on the Blackest Night storyline where all sorts of classic characters end up with Lantern rings. In the comics, Lex Luthor ends up with an orange ring, Wonder Woman with a violet ring, The Flash with a blue ring while in LEGO Batman 3, Lex Luthor ends up filled with feelings of compassion while Wonder Woman is filled with rage and the Flash is driven by the insatiable greed associated with Larfleeze. As the LEGO Batman world is already a caricature of the DC Universe, the emotional spectrum of the Lanterns provides a good bit of fodder for humor.
Rather than an open world Gotham like LEGO Batman 2 (or New York City as in LEGO Marvel), LEGO Batman 3 has a pretty divided open world with menu stages in the Batcave, Watchtower, and Hall of Justice as well as worlds corresponding with each of the Lantern corps, a Moon Base, and a Hall of Doom. As this walking around takes a bit of time, especially the teleporting, one can become nostalgic for the single city worlds that functioned more smoothly in earlier LEGO superhero games.
The game also looks heavily towards the old Batman ’66 television program for material. More surprising is the representation of characters from the Dark family- Zatanna, Frankenstein, Swamp Thing, Etrigan- and the absence of Constantine, a fellow who may soon very well be absent from television screens as well. There’s a ton of content shoved into this game and the downloadable content looks like it will be coming for a while. After a month of playing both LEGO Marvel and LEGO Batman 3, my interest is fading a bit, but they’re both far superior to the cheesey freemium games so popular among people too cowardly to become addicted to heroin or sports betting. I recommend this game to DC Comics fans of all ages.
So Dragon Con is finally over and I’m too tired to type too much. I had a ton of fun volunteering at the Art Show- a great gang of volunteers- much better experience than when I volunteered with Security last year. I think my panel went well- I was amazed how many people showed up despite the parade going on outside. Anyway, I promised some folks I post some pictures of costumes I saw over the weekend. My friend printed me a bunch of stickers of my drawings (mostly images that I’ve posted here) and he asked I take a picture of the people to whom I gave stickers. Unfortunately because I spent over 20 hours in the Art Show where photography is prohibited, most of the people you got stickers are not posted here and a few of these pictures are from Friday and the stickers didn’t arrive until Saturday. SO… enjoy these pictures.
Green Arrow (New 52)
Marko (from Saga, the best comic on the shelves) & Alan (Zach Galifianakis’s character from The Hangover). This was my favorite cosplay I saw all weekend.
Psylocke
Black Canary
Macho Man Randy Savage (there was a lot of wrestling cosplay this year)
The Penguin
Greendale Human Being (Go Greendale. Lower your standards. Six seasons and a movie.)
I don’t know, but I dig it. The tail is especially creepy.
Raven
Princess Daisy
Harley Quinn After Hours
Huntress
Sinestro
Static Shock
To my pictures from last year, click here but I should warn you that not all of the images are suitable for all audiences- you could say that are not safe for work, if that’s your lingo.
While WXL is officially a comic book blog, it’s been a while since I addressed an comics-related issue. I’ve been rereading the Green Lantern/Green Lantern Corps, starting with Rebirth. I’ve just finished The Sinestro Corps War and will probably stop after the other Lantern Corps are introduced, but before Blackest Night goes into full swing. It’s hard to read this material without considering the impact that Geoff Johns has had on the Green Lantern and the DC multiverse in general. When Johns and his various and very talented partners-in-crime brought Hal Jordan back as a Green Lantern, he had been possessed by both Parallax and the Spectre, spent a bit of time with the Phantom Stranger, and played a role in bringing about the destruction of both the Green Lantern Corps and his hometown Coast City. In the books leading up to Blackest Night, the GL creative team resolved the matter of Parallax’s infection of Hal somewhat, enabled Hal to shed the Spectre, returned the ring to Hal’s finger, reestablished the Corps and established additional colors, and brought Coast City back from its ashes.
Please don’t take this article too seriously.
Coast City is traditionally depicted as a California city- sometimes it feels like San Diego and sometimes like San Francisco. Its creation fills a void left by Gotham City and Metropolis’s similarities to New York City and Chicago, Star(ling) City’s similarity to Seattle, and the Gem Cities’ similarities to the Twin Cities. In the Silver Age, Coast City embodied much of the essence of California as understood by the American imagination- a little more laid back than the East Coast, but on the edge of the future, cowboys living better through chemistry. More than Metropolis, Coast City was the city of tomorrow. As the 20th century progressed, California dreaming changed its tone and the American imagination adapted, crafting a new vision of what California meant. This new vision reacted to the rise of new subcultures that became closely associated with California- the Beats, hippies, the Manson family, pornographers, Black Panthers, Scientologists, Silicon Valley, People’s Church, Church of Satan, the out gay community, United Fruit Workers, and other strong personalities that informed both California and US identity. Coast City still somewhat resembled San Diego minus the Hispanic population, but it hardly resembled San Francisco by the time it was destroyed in the 1990s. I see Coast City more like Detroit, incredibly optimistic in the Silver Age and ruined largely by outside factors. Detroit came to mind initially because it’s the hometown of Geoff Johns.
Let’s look at what destroyed Coast City and what destroyed Detroit. Once the Oa of automobiles, Detroit’s contribution to US culture and its international reputation has largely been overshadowed by its economic decline. Can you imagine the American experience without Motown or MC5, much less without the automobile? The economy of Coast City when it is first introduced centers around Ferris Aircraft, which isn’t the automobile industry, but both employ machinists, mechanics, and engineers, if you know what I mean. These two industrial cities are destroyed from within and without.
The destruction of Coast City is generally attributed to three individuals:
Mongul
Is it just me or are there some underlying racial issues with this character? He is a yellow-skinned villain bent on world(s) domination through dynastic rule. His name is one letter away from Mongol, shorthand for Mongoloid (if you subscribe to the antiquated theory of three distinct races (Negroid, Caucasoid, Mongoloid)) which refers to people with ancestry from Asia. He’s built much more like a Mongolian than a Japanese person and his name is likely inspired by the notoriety of the Mongol Empire. In the late 20th century, the failing communist nation of Mongolia posed little threat to Detroit. Japan and its robust automotive industry, however, posed a significant one and that idea continues to find a captive audience. Manufacturing in Asia has only grown as a go-to scapegoat for a decline in US manufacturing. The nations of Japan and Korea developed economically, achieved legitimacy, and consolidated regional influence largely on the backs of their automotive industries. Their rise came at the cost of Detroit.
Cyborg Superman
As his name implies, Hank Henshaw is a half-human half-robot version of the Man of Steel. In a dangerous partnership with Mongul, Cyborg Superman transforms Coast City literally into an Engine City. Coast City is replaced by an exponentially more industrialized version of itself to serve the ambitions of the foreign power Mongul. Much like Detroit’s woes, there is an undeniable John Henry overtone to the terraforming of Coast City. It’s man vs machine and machine wins.
Hal Jordan
The legacy of Coast City’s destruction is best characterized by its effect on Hal Jordan. Left so distraught by his hometown’s demise, Hal Jordan allows himself to fall victim to Parallax or what FDR might call “fear itself.” The decline of Detroit has certainly taken a toll on the will power of the people of the city and perhaps in some of their darker moments, people have embraced fear over optimism.
When Geoff Johns brings Hal Jordan back to the Green Lantern mantel, he also brings Coast City back into existence. By doing so, I believe Geoff Johns is communicating a hope for his hometown to persevere through difficult times and eventually revitalize itself. In one of this last moves as Green Lantern kingpin, Johns introduced the character of Simon Baz in his native Detroit, providing a much less nuanced role for his hometown than any parallels that could be brought between Coast City and Detroit.
I like when creators represent, whether it’s Johns placing Simon Baz in Detroit or Robert Kirkman setting the Walking Dead in Georgia. Comics can capture physical and spiritual geography in ways unique to the medium such as Strange Attractors, Deogratias, and Palestine. Of course, the Marvel Universe approaches real-life geography in a way distinctly its own.
In conclusion, I would welcome Aquaman to Atlanta. He’s gonna love the fountains at Centennial Park.
The inspiration for this picture came from my wife. We were watching Pucca, the story of a love-crazed girl named Pucca and the ninja who tries to avoid her affections named Garu, and she compared Pucca to the Star Sapphire.
Here’s a guide for who’s who:
Pucca: Star Sapphire (Carol Ferris)
Garu: Green Lantern (Hal Jordan)
Abyo: Tom ‘Pieface’ Kalmaku
Master Soo: Guardian (with the hair? Let’s say Sayd from the Animated Series)
Yani the Cat: Dex Starr
You should check out the Will Power Timeline, which charts the development of the Green Lantern narrative alongside the social and political climates of the United States throughout their shared history. I’ve added a lot of stuff this month.