Tagged: Doom Patrol

Joe Corallo: Diversity — People, and Content

Marvel MysteryIn addition to being really into comics, I’m also really into history. I like to know where things came from and how they were made. This fact about myself has resulted in my reading of quite a few comics from the Golden and Silver Ages. Nearly all were reprints, but comics of those ages none the less. Although some of the comics then may not offer us the kinds of lessons in diversity and inclusion I’m normally advocating for, they actually do give us a valuable lesson in diversity that is lacking in mainstream comics today.

The norm for decades in comics was an anthology format. Marvel Mystery, Adventure, Action, Detective, Showcase, Journey Into Mystery, Police, Crime Does Not Pay, Eerie, Creepy, My Greatest Adventure, all of these and more would offer us up multiple stories featuring different characters in each. The first issue of Marvel Comics featured the Human Torch, the Angel (not that Angel), Sub-Mariner (yes, that Sub-Mariner), Masked Raider, a short story titled “Burning Rubber” and Ka-Zar. Yes, it wasn’t the standard 20-22 pages we see in most comics, it was 64 pages. The point being that you could have a single issue with many characters and stories. One title being the feature, with the highest page count, and the other stories being back ups.

Action ComicsAs the years went by, anthology style comics at the big two were either getting canned, or morphing into books about one hero or team. My Greatest Adventure turned into Doom Patrol, Action into another Superman comic, Detective another Batman comic, Journey Into Mystery a Thor comic, and so forth. DC in particular tried to carry on with that tradition longer, having books like Legion of Superheroes have a feature story with a large portion of the team followed by a shorter back up with only one or two members to help us all get to know them better. Eventually, these efforts more or less faded away. Occasionally, like in Action Comics, Detective Comics or Justice League they’d have some sort of back up, but it was just furthering the feature story and not really it’s own thing.

Police ComicsDC did try bringing back more anthologies with Adventures of Superman, Legends of the Dark Knight, Sensation Comics featuring Wonder Woman, but all of those only featured the character in the title. Though those weren’t a bad idea, I do think it misses a key point of the older anthologies; to help introduce new characters to a market that might otherwise not pick up a book featuring one of those characters.

Both Marvel and DC have hundreds of characters at their disposal. The market only allows a certain amount of comics hitting the shelves at once while still being able to sell X amount of them all. Maybe instead of testing out different solo titles, they could try more anthology style comics.

Wouldn’t it be great is characters like Batman got more people reading Batwing and Batwoman because they were in the same book? What if you alternated who had the feature story, so maybe Batwoman would be the feature for a few months, but that Batman story in there helped keep enough readers on the title who otherwise wouldn’t be and kept the title afloat? What if we used a format like that to expose readers who otherwise wouldn’t go out of their way to read a comic with racial or religious minority characters, or LGBTQ characters in it?

DC editors recently decided they needed to stop “batgirling” and get back to “meat and potatoes.” That kind of talk usually ends up meaning going back to a less diverse time in comics. I get worried when I see Marvel or DC seemingly spread themselves too thin in certain areas. For example, as I mentioned last week, DC now has Harley Quinn, Catwoman, and Poison Ivy, three white bisexual women as leads in their own solo titles. That won’t last forever. Maybe when that starts to change, a Gotham City Sirens book featuring all of them would be easier to maintain.

I think if comics are going to be serious about diversity, they have to do more than just cater to the readers of the different communities. Preaching to the choir is one thing, and it is important, but it’s not everything. We need to get more people outside of those communities to be exposed to them, and understand them better. It’s an important and necessary component in making comics a more diverse place and assuring that it won’t just end up being a fad.

Besides, this feeds into nostalgia, and what comic book reader in their right mind doesn’t love that?

Joe Corallo: Coagula, DC’s First And Only Transgender Superhero

CoagulaLast week I met with my friend Kelsey to get a tarot reading. I brought along my copy of Rachel Pollack‘s Arthur C. Clarke award winning novel, Unquenchable Fire, to lend to her. Beyond being a novelist, Rachel Pollack is a well-published authority on tarot, a transgender woman who tackles the subject in her different works, as well as having written comics.

She wrote Doom Patrol for two years following up on Grant Morrison and Richard Case’s popular run on the series over twenty years, when it moved from DC’s main line to the Vertigo imprint. Her run built on the bizarre nature of Grant’s image while creating new characters.

The most important of which was Kate Godwin, a.k.a. Coagula, DC’s first – and to date only – transgender superhero, with the power to coagulate liquids and dissolve solids at will. Prior to joining the Doom Patrol, she tried out for the Justice League, and it’s implied that she was rejected in part for being an out transgender lesbian activist, brandishing a pin on her jacket stating, “Put a Transsexual Lesbian on the Supreme Court.”

Rachel Pollack was able to use the character of Coagula to discuss trans issues and to inform readers who were unaware of these issues as to what it means to be trans. She even crafts a brilliant moment in storytelling where a transcendent being requires the strongest example of a man and a woman, and Robotman and Coagula are the man and woman the best personify those genders, driving home the fact that a trans woman is a woman. Period.

So decades before the biggest and most active push for more diversity and representation in comics on the page and behind the scenes, DC had a trans superhero written by a trans woman. You would think that’d be a bigger deal, wouldn’t you? It would seem to fit right into what people have been clamoring for, doesn’t it?

That’s not to say that DC hasn’t created trans characters before; they just haven’t been superheroes. Wanda from Neil Gaiman’s Sandman run was trans, and has been both embraced by fans keeping it in the context of the time it came out and criticized in hindsight. Shvaughn Erin, the Legion of Super-Heroes Science Police Liaison, was trans but that has since been retconned and she’s back to being cisgender. Gail Simone put in the effort and created Alysia Yeoh, Batgirl’s transgender roommate for her New 52 run on the book, and often incorrectly sited by blogs and news sites as the first true transgender character at Marvel or DC. Unfortunately, after Gail Simone left the book, Alysia Yeoh has mostly faded into obscurity and the team that took over Batgirl afterward was quick to fumble on trans issues. They have since apologized and the issue in question has been modified to remove the transphobic dialogue in subsequent reprints.

I am not counting any characters that are magically trans, or have powers that allow them to change their genders, because that’s not a trans character and you shouldn’t count those either. Marvel has even less trans representation.

If you haven’t heard of Rachel Pollack’s run on Doom Patrol, it’s probably because it’s never been reprinted. And if you haven’t heard of Coagula, it’s for the same reason. Her stories have never been reprinted. After Rachel Pollack’s run on Doom Patrol ended, no one seemed to know what to do with the character, and she would appear just a little more before being unceremoniously killed off.

In order for me to read those stories, I used a combination of eBay and multiple comic shops to find all the issues. You should be able to find all the issues reasonably priced if you feel so inclined. It’s a fantastic run, and a worthy follow up to Morrison’s Doom Patrol. Rachel Pollack, in my opinion, is the last writer that truly understood the Doom Patrol.

I’ve been seeing a lot of articles written lately about the efforts DC has been putting in to making more diverse comics. If they’re really invested in that, why not bring back their only trans superhero and reintroduce Coagula to a new generation of readers? Or at very least just reprint Rachel Pollack’s Doom Patrol run? Reprinting those issues in a couple of trades or so would be a great start for DC to show that they have an interest in trans representation.

And while they’re at it, they could hire a few trans writers and artists, too. We have more openly trans writers and artists working on comics now than at any other point in the history of the medium. They’re here, they’re queer, many of them could use the opportunity to craft stories at DC or Marvel, and we could all benefit from the opportunity to read them.

Martha Thomases: Change

green-arrow-300x182-1036412The drugstore on my corner, Avignon Pharmacy, went out of business over the weekend. We should have known the writing was on the wall when the pharmacy was sold a couple of years ago and the store just sold skin-care, shampoo, bandages and stuff like that. Still, the place had been in business, serving the neighborhood, since 1837. They were the place that could get that hard-to-find lotion, or the medicine the insurance company didn’t know existed. I’m going to miss them.

Change is hard.

Change isn’t just hard for old people like me. It’s hard for all of us. As the link says:

“The problem is that change involves ‘letting go of what we know to be the current reality, and embracing new thought,’ said Jaynelle F. Stichler, professor emeritus at San Diego State University’s School of Nursing. ‘Even something as seemingly mundane as changing the brand of toilet paper can cause a reaction.’”

Superhero comic book fans can be especially traumatized by change. A lot of us (by which I mean, of course, me) fell in love with comics as children, and any change in continuity seems like an assault on our sense of reality. Which is kind of ridiculous, given that superhero comics have hardly anything to do with reality.

I’ve been reading superhero comics since at least 1958. The Silver Age heroes are my touchstones. I loved the original Supergirl because she tried so hard to be helpful and good, just as I did when I was seven and eight years old. I also like the sillier of the trick arrows in Green Arrow’s quiver.

This isn’t to say that I’m against all change. I immediately preferred Barbara Gordon as Batgirl over Betty Kane. I loved the vision of Batman created by Denny O’Neil and Neal Adams. I liked the Wolfman/Pérez Teen Titans more than the original. The Vertigo Doom Patrol was, I thought, much better than the earlier versions.

Maybe because I’ve liked some changes, reboots and continuity lapses don’t upset me. If a story has a plot that moves and character development along with an engagement with thematic issues that appeal to me, I’ll like it. If I don’t like it, I’ll complain, probably, but I’ll also go look for something else to like. Maybe I’ll check back in a year or so to see if I like it again.

See, here’s the thing I learned when I worked in marketing at DC: every title is someone’s favorite. Books (and characters) I loathed were loved by others, and vice versa. Since I am, generally, in favor of more pleasure, I thought all kinds of people should have the books they wanted.

Giving everyone something different to read might be good for readers, but it doesn’t necessarily work for publishers. Traditionally, corporations make a lot more money from one title that sells 100,000 copies than they do from ten titles that each sell 10,000 copies, especially when these books are only on sale for a few weeks. However, the marketplace has changed enough now, with the growth of trade paperbacks and digital distribution, so that a title that starts slowly can build to sustain a committed and profitable fan base.

The advantage to these smaller audiences is that, taken together, they grow the size of the market so that everyone profits. And by growing the market incrementally, publishers can be much more experimental than they can with big blockbusters.

The movie business has shown us, recently, that putting all one’s creative eggs in the blockbuster basket can ultimately shrink the marketplace. For decades, Hollywood went after the young adult male market as if there was no one else on the planet who wanted to go to the movies. And that worked very well for a while.

Until it didn’t.

The top three grossing movies of the year so far have female leads. A movie aimed squarely at the over-50 market, trounced all the other movies that opened against it.

Blowing things up and super-powers are no longer enough to make a movie a hit. While I enjoy this kind of movie personally, I rejoice at more choices.

The conventional wisdom, that women won’t go to see action movies, especially if they feature female leads, has been convincingly proven wrong, as the conventional wisdom so often is. It turns out that girls and women enjoy watching a woman face a challenge, especially if it involves more than simply romance. It may take a few years to convince the men who run Hollywood, but I’m pretty sure they’ll come around.

Because if there is one thing that doesn’t change, it’s the media industry’s love of money.

 

REVIEW – Scribblenauts Unmasked – a DC Comics Adventure

REVIEW – Scribblenauts Unmasked – a DC Comics Adventure

After months of anticipation the latest Scribblenauts adventure is out, taking the popular series in a new direction, namely into the DC Universe. Series hero Maxwell and his twin sister Lily have a debate over who’s the better hero, batman or Superman, and decide the best way to find out is to go there and find out.  So with the help of Maxwell’s magic notepad that can create anything he writes in it, and Lily’s magic globe that can transport them anywhere they like, they head for Gotham City, where things…so not go smoothly.

To answer the most important question first, the library of DC Characters the game can create is outrageously exhaustive. No Watchmen and no Milestone characters, but The Legion and the Substitute Legion, the Doom Patrol, the Challengers of the Unknown, the All-Star Squadron, and damn near member of the Justice League you can think of is in there – and yes, that means Ted Kord – all three Blue Beetles, in fact.  It’s not perfectly complete: Eyeful Ethel, a failed Legion of Super Heroes candidate didn’t make the cut. And while Ralph Dibny, The Elongated Man, is in there, his wife didn’t make the cut. Which is odd because Jean Loring, in Eclipso form, did. While I found a few characters who weren’t in there, I was far more impressed with the ones who were.

The Big Bad in the game is Maxwell’s long-time enemy, Doppleganger, an evil version of Maxwell who sides with the DC Villains. In a happy change from past adventures, Maxwell’s sister Lily plays an active, albeit support role, providing Maxwell with news and assistance from the Batcave.

While the game is adorable to see, the characters chosen are not all cutesy-tootsie.  One of your first missions in Gotham is to transport serial killer Mr. Zsasz to a prison helicopter. Oh, the fun as I had to explain to The Kid who he was and how he came to be…

The mechanics of the game are largely the same as usual for the series – presented with a number of puzzles to solve, you must surmount obstacles by creating items with your magic notepad.  So, if standing before a cliff to have to scale, you could write “ladder” and a ladder would appear. Similarly, you could write “Grappling Hook,” “Jet pack” (at which point it would ask if you wanted Adam Strange‘s jetpack, Space Ranger’s, or a choice of several others), all of which would get you up the cliff equally successfully.  Special bonus missions with special limitations offer extra bonuses.  More than anything else, the game rewards creativity, both in the point values, and the sheer joy of success when you need to call for a doctor, and Dr. Mid-Nite appears.

In this game, a lot of the challenges are more combat based. Random villains will be causing mischief, and you are required to either arm yourself, or crate a hero to combat the spandex-clad menaces. The game has hundred of mini-missions to beat, and the missions change every time you enter a new location.

And WHAT locations – Starting in Gotham City, you slowly earn the chance to travel to Metropolis, Central city, Atlantis, and even Oa.  More and more characters and props become available as you pregress, allowing you to wear gear and costumes of dozens of heroes.

The story is the same in both the Wii U and 3DS versions of the game, with small gameplay differences on each platform. The Wii U version allows other players to interact with the game by using a Wii Remote while the main player uses the Gamepad. The 3Ds version uses streetpass, allowing players to unlock special uniforms and gear by exchanging data with other players automatically, just while walking around.

An already fun game series will get an introduction to a whole new audience who will not be disappointed with the story, or the selection of characters. Easy to pick up, and just as easy to stop and save when the real world beckons.Well worth your time.

 

Marc Alan Fishman: Licensed to Bore

As a rule of thumb (the very same thumb I referenced not seven days ago), I stay away from licensed books. How did I come to that rule? It’s one engrained in my loathing of fan-fiction. Gasp! I’ve never, ever, (ever-ever) appreciated the world of fan-fiction. The whole notion that one’s love of a property goes so far they must appropriate the universe another writer created for their own nefarious purposes seems weak to me. Why limit oneself to the rules of another’s whims when the post-modern world allows for infinite homage, pastiche, and appropriation? Given the pre-sales of My Little Pony: Friendship is Magic (go Katie Cook!), I’m obviously in the wrong.

But Marc, you fickle bastard, you’ve just argued yourself into a corner! You, who have lamented on countless occasions how you’d love to write for Marvel and DC… don’t you realize if you were given a run on Green Lantern, Batman, or the Slingers, you would in essence be “limiting oneself to the rules of someone else’s whims?” Too true.

And when DC and Marvel hire me, you’re welcome to call me a hypocrite.

There’s nuance to this argument, and my greater point stands true. Writing for mainstream comics is its own beast, one I’m sure to tackle soon. For the time being, stay with me.

The fact is that amongst the small presses (still large enough to get rack space) are almost entirely engrained with this unyielding genre, save perhaps for Image or Valiant. Certainly we know why: licensed properties bring with them a given fan-base. For much of Dark Horse, IDW, Boom, and Dynamite’s catalogs are siphoning life-force from the lost and misspent youth of their target demographic. And since I’m no Bob Wayne, I simply don’t know how well it’s boding for any of them. The ideology that the comic buying audience at large is desperate to read more tales set inside the Hellraiser, Battlestar: Galatica, and the Ghostbusters seems legitimate, if only on paper (heh). But when I see the book on the shelf, it is truly taxing to find reason to open the gates again on properties built elsewhere.

Perhaps it’s my fear that licensed comics seem far from canon (that is to say that their contributions will hold true forever). Perhaps it’s my fear that adding to existing canon makes it harder to enjoy. I can’t tell you how many times my unshaven cohort Matt has given me the verbal Wikipedia entry on all that has gone down in Transformers extended properties (novels, comics, soft-core porn). And every time? My eyes glaze over, and I’m immediately reminded that I’m happy to have the G1 box set and Beast Wars and call it a day. It’s this fear of the overwrought rules and backstory one needs to know that stifles any anticipated joy in reading a licensed book.

But what if the teams involved are at the top of their game? Creative teams be damned. Truly, if you told me Alex Ross would paint over a Mark Waid script of G.I. Joe… and that it was the best work ever put out by either one of them… I’d still sooner spend my paycheck on a Grant Morrison Doom Patrol graphic novel or maybe some new socks.

Lest you think I’ve never even given a book like this a chance, allow me a simple anecdote. An amazing columnist for the Chicago Daily Red Eye (think hipster news for the daily commuter) Elliot Serrano had been given the opportunity to write a new Army of Darkness comic. Given that it was a slow week, I decided I should support my fellow indie creator (and he was nice enough to interview me for his blog twice) and give it a chance. I’d never purchased an Army of Darkness comic in the past. My knowledge of the source material was limited to the handful of viewings I’d had of Raimi’s film. And to his credit, Serrano’s pen wasn’t weighed down too heavily by the yoke of backstory that came with the property.

That being said, the book suffered terribly from Serrano having to forcefully hit the beats the license (and, no doubt, the legion of deadite fans) demanded. What we were left with? I quote myself from my MichaelDavisWorld review:

 “The book has moments of clarity, but they are dragged down by the wishy-washy plot and cardboard cutout of a protagonist. I think I’ll go put on my copy of the movie, and bury this necronomicon deep in a long box… in hopes that the evil spirits lurking within don’t wreck havoc on my soul.”

Given that I thought Elliot’s writing was better than what he’d showed on page only proved to me that the book was not intended for me. While fans of the AoD universe were heralding it as a success, I was left back in the starting blocks wondering why the book shifted tone more than Mitt Romney (ooooh, semi-late reference burn!).

Suffice to say, licensed books have their place. There’s been great examples of those who made great leaps of fiction balancing the properties’ beats while adding to the canon. John Ostrander’s run on Star Wars is still sold out at my local shop. And Joss Whedon’s continuation of the Buffy: The Vampire Slayer into a “9th season” via comics helped fans continue their love affair with the series. There is a place for these books, indeed. The fact is unless you yourself are a die-hard lover of the property in question, the book is wasted space on the rack. And for someone who is now actively seeking originality at the shop… no amount of lightsaber fun will turn me toward the dark side. Simply put? A licensed book is a license to limit your sales to those who are familiar. Everyone else? Find some place else to read.

I would like to note that if the powers that be would like to license Exo-Squad to Unshaven Comics, I will voluntarily lop off my left leg, and then proceed to write and draw the best damned Exo-Squad comic is history. And I can guarantee that it’ll be a top seller… to the 40 or so people who still love the property.

SUNDAY: John Ostrander

 

Mike Gold: Where’s Our Next Buck Coming From?

There was a time when if you were reading comics as an adult, it was generally assumed you were too stupid to understand real literature. Many of us wouldn’t read comics in public venues for this very reason.

Not me; I couldn’t care less. When it first came out, I even read Hustler Magazine on Chicago’s vaunted “L” trains. But many of my friends felt that way, and that’s why Phil Seuling’s early New York Comicons were so liberating. In the late 1960s there would be less than one thousand of us talking to one another in an elegant Manhattan hotel ballroom, and each and every one of us were awestruck by the fact that there were so many of us.

As we became the first generation since Fredric Wertham torched the medium to get into the business, we used this feeling of isolation from society to promote the level of storytelling. Comics became more character-driven and less Pow! Biff! Bam!. Before long adult fans would be able to point to a more mature level of story and art. We believed our medium was becoming sophisticated.

In retrospect, I take issue with that. We’re telling stories about people with ludicrous abilities who dress up in fantastic, gaudy costumes to either commit or fight crime and/or evil (to borrow from Dick Orkin’s Chickenman). There’s a limit to that “sophisticated” brand that we were too proud to notice.

Popular culture works like a snowball atop a mountain: by the time you hit ground level, that snowball has grown to a boulder the size of Colorado. Grim and gritty – a term I came up with to help sell GrimJack ­­– became dark and disgusting. Heroes became as ugly on the inside as the villains were on the outside. We evolved to excess.

Before long the American comic book medium, still overwhelmed by heroic fantasy, had driven out all the stories that work for the younger audience while limiting the older audience to a steady diet of redundancy. It is possible to create a story that works for 12 year-olds (and their precocious younger siblings) as well as for 24 year-olds, 36 year-olds, and even 61 year-olds. Off the top of bald pate, I can think of a few writers who did just that, and did so brilliantly: Steve Englehart, Marv Wolfman, Len Wein, Steve Gerber, Louise Simonson, Archie Goodwin, and our own Denny O’Neil… to, indeed, name but a very few.

All too-many comic book store owners became the villains of their own childhood: “Hey, kid, this ain’t a library!” Driven by admonitions from certain of the larger comics distributors in the 1980s, kids were perceived as not having enough money to be worthwhile customers. They took too much time making their purchases. They didn’t know what they wanted. They couldn’t engage in a conversation about who stole what from whom when it came to The X-Men and The Doom Patrol.

Kids were shooed out of comic book shops, and publishers – again, at the insistence of certain comics distributors – pulled away from producing comics that were marketed towards the younger audience. Instead we started cranking out a steady diet of R-rated superhero comics, many of which were quite good and worthy of publication. But they became the snowball that ate the comic book shops.

I always thought this was a mistake, and I thought so for one simple reason: if you chase away today’s 12 year-olds, who’s going to be your customer or reader in five or ten years?

Today, we have a small fraction of the number of brick-and-mortar comic book shops we had just one generation ago. Go figure.

But, today, it appears we’re beginning to see some drift towards retro-expansion. More on this next week.

THURSDAY: Dennis O’Neil

 

ComicMix Cinema: “Grant Morrison: Talking With Gods”

ComicMix Cinema: “Grant Morrison: Talking With Gods”

  • News
  • August 14, 2011

What better way to spend a rainy Sunday afternoon than watching one of those guys from the land where it rains all the time?

This 80-minute feature produced by Respect Films and Sequart contains interviews with Morrison, along with various folks he’s worked with and inspired throughout a thirty year career writing everything from All-Star Superman to Zenith, and just might give insight for what he’s going to do when he reboots Action Comics next month. (Not included is the story of how I saved Grant’s first Doom Patrol story from being completely incomprehensible.)

Enjoy.

Twenty years as a utility infielder

Twenty years as a utility infielder

  • News
  • August 26, 2008

I just had a sobering realization that this month is my twentieth anniversary of working in comic books professionally. Gah.

I was in college, between my freshman and sophmore year and my summer job in the city had just gone bye-bye. I started looking for internships, and decided to give DC Comics a shot– even though Marvel had a better known internship program, I was more of a DC guy. I applied to every editor, to Paul Levitz, and to Bob. Most of them had no use for me, but Bob called me in for an interview: he had just lost a guy in the production darkroom, and did I know how to use a stat camera? I said I’d used one for about a week at the local village newspaper. He seemed interested. Since the interview was late in the day, he invited me along to that evening’s softball game. Bob was the manager of the company team, the DC Bullets, and they had a game that night against the crew of Late Night with David Letterman. Sure, I said.

(more…)

Happy Birthday: Paul Kupperberg

Happy Birthday: Paul Kupperberg

  • News
  • June 14, 2008

Born in Brooklyn, New York in 1955, Paul Kupperberg got his start in comic fandom. He and Paul Levitz produced the comics fanzine The Comic Reader from 1971 to 1973, and Etcetera from 1972 to 1973. In 1975 Kupperberg sold several short horror stories to Charlton Comics, and then a few months later sold a World of Krypton story to DC for their Superman Family comic. He has written for many other DC comics since then, including Superman, Doom Patrol, Green Lantern, Justice League of America. He created the series Arion: Lord of Atlantis, Checkmate, and Takion.

Kupperberg has also written a variety of books, ranging from The Atlas to the DC Universe to the Spider-Man novel Crime Campaign to an array of young adult nonfiction books like Spy Satellites and The Tragedy of the Titanic. He served as assistant editor at Video Action Magazine from 1981-82, and from 1991-2006 he was a staff editor for DC Comics. In early 2006 he left DC to become Senior Editor at Weekly World News—he had been writing for them since the year before. Unfortunately, WWN ceased publication in August 2007. At the start of the following year Kupperberg was tapped as Senior Editor for World Wrestling Entertainment’s new WWE Kids magazine, but the magazine was restructured a few months later. He is currently enjoying the life of a freelance prose and comic book writer and editor.

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