The other day at work I met a young man who is a surgical technician. Since I’m an operating room nurse, that’s an everyday occurrence. But what caught my eye was his scrub hat, which was a pattern of Batman’s insignia. So of course I immediately said, (duh) “So I’m guessing you’re into Batman.” And everything else was forgotten for a little while as he and I shared tales of our membership in Club Geek.
I bring this up because this Batman – that’s his actual nickname at work – absolutely loved Batman Vs. Superman: Dawn of Justice. He has seen it three times, he told me, and wouldn’t mind going back for a fourth viewing. Being that this was the first time I was meeting him, I was polite and didn’t scoff or tell him that he’s an idiot. I did say that I hadn’t seen it yet, that I hate what Zack Snyder had done to the Man of Steel (pun intended) and that speaking I’m not a Snyder fan, that people I know with whom I work with and respect here at ComicMix have seen it pretty much hated it (see Mike Goldand Marc Alan Fishman’s columns, as well as Arthur Tebbel’s (review), and that I had decided to wait until the movie hits the streaming and cable markets.
“And I especially don’t like the idea of Batman using a gun. He’s not the Punisher,” I said. “The whole thing with Batman is that he operates, he lives, on that line between justice and vigilantism. It’s a tightrope between good and evil.”
Well, scrub tech Batman explained to me that Robin’s death (“by the Joker,” I interceded, to which he said, “Yeah, but the movie doesn’t show that,” to which I said, “Well, we know about it because of Dark Knight, but from what I understand his killing rampage comes out of nowhere, and don’t you think it should have at least mentioned the Joker for those not in the know?”) has driven Batman over the edge and that it makes perfect sense. “And it’s cool,” he said. “It’s really cool.”
Which got me to thinking later on – I didn’t ask scrub tech Batman how old he is, but he’s definitely a Millennial, and that’s the generation that’s come to adulthood in a world in which “death by bullet” is an everyday occurrence; in a world in which “guilt” and “innocence” doesn’t mean a thing; in a world in which fucked up wing-nuts use AK-47’s to settle arguments; in a world where police kill kids and beat up drivers for not signaling a lane switch; in a world where campaign rallies become Nazi Beer Hall Putsches; and in a world where Islamic fundamentalists fly passenger jets into buildings, kidnap and behead reporters, and burn enemies alive – all brought to them in living color courtesy of the news and the Internet.
So it’s not really all that surprising, if you think about it, that scrub tech Batman accepts the new paradigm of brutality, ugliness, rage, and “gangsta-ism” in their fictional heroes.
Let’s get this point out straight away: I haven’t seen Batman v. Superman: Dawn of Just Angry Dudes Who Like Destruction-Porn. Beyond the trailers, I have done everything in my power to not read spoilers. I’ve put on blinders on whilst perusing my social media feeds, allowing me to catch only shreds of the shared rage boiling over amongst my closest 927 friends. So, my column this week explores the deeper issue fans are complaining about the most these days: gritty realism.
The clamber in the streets is about how DC is taking itself too seriously. How leaning into grit, grime, explosions, and death is ruining childhoods, and fans. But I beg the question: when your director previously worked on 300, and the lukewarm sepia-washed Watchman adaptations and delivered his own mighty opus in the video-game-cum-popcorn-film Sucker Punch, well, pardon me: what the fuck did you think he was going to do with Batman and Superman?! The output of Snyder shouldn’t come with a single measurable iota of surprise.
The deeper issue then gets tied back to Chris Nolan’s interpretation setting the table for what has come since. Batman Begins, The Dark Knight, and The Dark Knight Rises were once applauded for removing the kitch from the Bat-franchise. Nolan’s Knight was as real as you could get with the base-concept. The interpretation of the Joker was chilling – and not in the gutter-punk way Jared Leto appears to be aping Ledger’s performance mind you. And Bane? Well… he spoke in a weird accent, and had an appreciation for coats of the 70s. Those three Bat-films begat what we’re getting now. And that includes the popcorn fart that was the spectacular – Trump-level – Green Lantern movie.
So why is Marvel so beloved? As we’ve seen the table set for Civil War… for all the fun we had laughing at SHIELD agents playing Galaga, and Ant Man cracking wise, we’ve been privy to just as much world destruction. New York? Invaded. Washington D.C.? Had helicarriers dropped on it. And that fake-sounding country in Avengers 2? Well, it done went and turned into a low-grade meteor. Pair that with a few Hulk-smashed cities, and all those dead goats in Ant Man, and you have plenty of grit to chew on.
The difference being the actual plot and characters in service to it.
Man of Steel, much like The Avengers featured the destruction of a city (and maybe a few suburbs). Iron Man, Cap, and pals were lauded as witty-brilliant. Kal-El was deemed a dour dolt by the very same folks. One movie was held up in reverence. The other, kicked to the dollar bin with a sigh. For the record? This is as it should be. The Avengers took the time to showcase their heroes making attempts to save the people of New York. Superman was basically shown punching for the last 40 minutes of his film; subsequently followed by the murdering of the villain, a quick bit of snark, roll credits. It would seem, based solely on the 10-20 sentences I’ve half-begun to read on my feed… BvS is much in the same vein. And not a surprise either… I saw the trailers, and can put one and one together.
Spoiler-free knowledge of BvS dictates that Batman was in Metropolis during the Kryptonian scuffle. And true to his comic-counterpart (to whatever degree you agree with me), he sees an unchecked level of power on display and finds need to be fit to control it. Superman is the gun that took Bruce’s mom and dad until he can prove it otherwise. What follows – I’ll safely assume – is 90+ more minutes of fighting, yelling, and teeth gnashing. And Wonder Woman is there to make girls happy or something.
Don’t get me me wrong. I believe we need to look to our ComicMix cohorts Mike Gold, Denny O’Neil and John Ostrander when we talk on the topic of grit and realism. Pick nearly any yarn spun (and edited) by those gentlemen, and you’ll see how the heaviest of topics can be touched on without leaving a fanbase in ruin. Hell, check out the very first issue of Wasteland, and ask how the material could be covered within its pages and still leave you with a bit of a smirk.
When it comes down to it, I will see the new Batman and Superman movie. I’ll do my best to withhold judgment until the last frame is projected. I’ll do whatever I can to suppress expectations to anything higher than a whisper. I’ll give credence to the filmmakers, writers, and producers to prove to me they have a way to bring the heroes and villains of their catalog to life in direct completion to the House of Mouse.
But, at the end of the day, the devil is in the details, not the CGI decimation of untold thousands. So, I’ll just guess there won’t be a need for any follow up review, kiddos. No worries: Civil War is just around the corner.
My friend Paul Guinan put an interesting post up on his Facebook page yesterday. It sparked an equally interesting discussion, and, evidently, you can have discussions on Facebook that are not all salvos of rants.
Paul wrote: “I grew up with Superman being a character of pure good. Every once in a while something like Red Kryptonite would cause him to do some bad things – nothing too bad – and he would be forgiven and once again beloved. He wasn’t a morose, frowning, reluctant hero, he enjoyed his life and mission.
“Batman was a victim of gun violence. Bob Kane flirted with the idea of Batman carrying twin pistols for a very brief moment (a holdover from Batman’s inspiration, The Shadow), but seminal writers like Bill Finger solidified the code of Batman not carrying firearms. It made great thematic sense. Batman would sock a villain on the jaw, or throw his Batarang at a them – not beat them to a pulp and wind up with bloodied gloves. Batman is a scientist, detective, and martial arts expert. Such training develops character that’s in contradiction to being a rageaholic.
“Wonder Woman is the Princess of Peace, an ambassador for justice. Yes, she’s descended from Amazon warriors – but who had come to live a life of peace and tranquility on a secluded island. The Wonder Woman I grew up with wouldn’t carry a sword or shield, as that would be a sign of using men’s instruments of war to resolve conflicts. Her weapon? A Lasso of Truth! The villain would be socked on the jaw, tied up with the magic lasso, and be calmed.
“If the evolution over generations of an iconic character reflects society, then such indicators reveal we are becoming way too cynical and mean. Shouldn’t that be an opportunity to provide role models who inspire us to be greater, rather than reinforce our negative natures?
“I write this after seeing the second trailer for Batman v Superman, in which the DC trio is constantly angry – even Clark Kent! The trailer climaxes in a shot of the DC trio. Superman is wearing a suit more dark and sinister than the outfit worn by “evil” Christopher Reeve in SupermanIII. Wonder Woman is dressed in a dark monochrome knockoff of the outfit worn by Xena, brandishing a sword. Batman looks as he should be is carrying a rifle. WTF? Sigh.”
I’m a founding member of the dark “grim ‘n’ gritty” hero (or anti-hero) club. GrimJack, Amanda Waller, my remaking of some established heroes – if I can find some tarnish to put on a hero’s armor, I’m known to apply it. However, I’m also not without sympathy for Paul’s point of view. The notion appears to be that if it’s darker, the story is more “realistic,” it’s more relatable to the reader/audience. That notion pervades not only comics but the movie and television adaptations of them.
And yet, what is my favorite superhero adaptation right now on TV? It’s not Gotham, it’s not Arrow – it’s The Flash. The main reason is that Barry Allen is presented as a hero, that he wants to be a hero, and that people respond to him as a hero. The show doesn‘t pretend it’s easy but that it is worthwhile. The show also really honors its roots and is often very funny. It’s well written and acted. It’s also very much in the tradition of the character as published by DC for the past few decades.
One of the issues raised is that many of the movies (Man of Steel was cited and, potentially, Suicide Squad might be another) are not meant to be for all ages. The attitude of some appears to be that superhero movies should be, at best, all ages or even kid centric, that superheroes are essentially a child’s fantasy, but this flies in the face of what movies are about commercially: studios want to put as many butts in the seats and eyes on the screens that they can. The movies that have been made so far have reaped tons of money and that tells the studios this is what the audiences want. If a little of this is good, more is better. Don’t fool yourself; plenty of kids went to see them as well and bought lots of the paraphernalia connected with it (and that’s where the real money is made).
Kids are not all that sheltered, either. Take a look at some of the video games that are popular. Kids know more than when I was a kid; take a look at the world around us. ISIL, climate change, the very real possibility the seas are dying (and with it all of life) – when I was growing up, we only had the specter of World War III to cope with. If movies are darker it’s because the world that the kids must cope with is also getting darker.
However, it’s not simply the dark and the grim that makes money. Guardians Of TheGalaxy and Ant-Man were very successful at the box office and they were for a more general audience. They were brighter and more fun and more hopeful. Meaning what? That, as usual, it’s not all one thing or the other.
I believe that all characters and concepts cannot stay stuck in one time or era. To remain viable, they must be re-interpreted for the time in which they are in. They have to be part of the world that the reader/audience inhabits. That world, our world, has grown darker in the past few decades. The comics and the movies did not cause that; they reflect it.
That said, there also has to be hope. There desperately needs to be hope today. That also should be reflected in our movies and our superheroes.
If that sounds like I’m conflicted, I am. I see both sides’ views and sympathize with all of them. I’m looking forward to the Suicide Squad movie; the trailer suggests to me that they got what I was doing and it will be part of the movie. That said, I’d also like Superman to be a bit brighter than they seem to be making him, to represent the best in us. That was my Superman.
Oh, and he should wear red trunks. Definitely they should bring back the red trunks.
That’s a line from the end of Man Of Steel, which I watched again last night. And the captain who says it is right. Henry Cavill is – im-not-so-ho – hot. Extremely so. Perhaps more importantly, the man can act. Given a script that does not serve Mr. Cavill, in its, let’s say, frugality of characterization, exploration, and screen time of Kal-El alias Clark Kent actually being Kal-El alias Clark Kent, Mr. Cavill does a helluva job in conveying the confusion, loneliness, guilt, anger, and prickly emptiness inside this alien immigrant from Krypton.
The first time I saw it, I thought it sucked. This time, I thought, well, it doesn’t so much suck as it does come up empty, running on fumes instead of a full tank. And, no, it’s not because *gasp* Superman Kills Zod! *gasp* – which is what got so many bowels, including mine, in an uproar. Given the (truncated) emotional journey that Kal-El alias Clark Kent is on in the film, it’s – im-no-so-ho – the right action at the right time, for not only is Kal-El alias Clark Kent killing the warlord, he is also killing Kal-El the Kryptonian (and by inference, finally laying to rest the planet of Krypton) inside of him, killing the “otherness” that has haunted him all of his life. In that moment of final brutality, he transforms into Clark Kent alias Superman, born and raised in Kansas, U.S.A., and citizen of the planet Earth. As Clark Kent he will love Lois Lane; as Superman he will love Earth.
The problem with the film as I watched it the second time was that I had trouble staying awake to watch the very, very, very protracted battle scenes. Frankly, it got B-O-R-I-N-G. Director Zack Snyder, like George Lucas before him, is not interested in “what makes people tick.” He’s the toddler who knocks down his building blocks because it makes a big noise. He’s the kid with the Erector set building a giant John Deere crane that can knock down his Legos Empire State Building. He’s the adult ultimate SFX and CGI geek that is given a zillion dollars to play with.
And so in Man Of Steel we got an eternity of destruction played out before our eyes. We got IHOP and SEARS demolished real good. We got shockwaves of roiling dust clouds rolling across the Kansas plains. We got tidal waves sweeping across the Indian Ocean. We got F-16s and alien ships crashing to the ground. We got skyscrapers collapsing. We got pummeling and we got blood-and-guts – only there was very little blood and there was absolutely no guts. We got death without bodies.
It’s not really Zack Snyder’s fault. Nor is it the fault of so many young adults, mostly men, who have said to me, “Man Of Steel was so cool! The best part was the fight between Superman and Zod, and when Superman killed him, that was the best!” For they are all part of a generation that, as kids, saw the real towers fall down on television. Too young to really understand what was happening, too young to think about the political implications, too young to grasp the murky history of the Middle East and how it led to that moment, 9/11 and its aftermath, the televised “Shock and Awe,” was the ultimate video game, with explosions and lights, full of sound and fury, and signifying nothing.
They did not know that it was a tale told by an idiot.
And now Superman has a new power. An incredibly destructive and unstable power, to quote writer Geoff Johns. Because heat vision and telescopic vision and super-duper strength and invulnerability and x-ray vision and the ability to fly at super-sonic speeds and across space and into suns and to cross the time barrier just isn’t enough anymore.
Because, you know, all that stuff can get so B-O-R-I-N-G.
This week, Marvel released both the “ant-sized” and then “human-sized” trailers for Ant-Man. A clever marketing trick, and one that made me smile.
It also got me thinking – not particularly about the Ant-Man movie, although I am curious to see how it turns out, but about a couple of movies released in 2014 and why I liked them so much. Those movies were Guardians of the Galaxy and Mockingjay (Part I).
In Guardians, as I’m sure everyone knows by now, Marvel took one of their lesser-known properties and made a big, big splash with it. It really is a wild, fun ride – and I think one of the reasons for that is that the property was a bit more obscure. That perhaps (or at least this is what I extrapolate from the end result) allowed the studio not to take it all too seriously even in the realm of their Epic Marvel Movie Plan, and not to forget that comics are supposed to be fun; symbolic; intense; hopeful; and sometimes ridiculous.
From a talking raccoon and a pretty goofy prison break to the amazingly heartwarming moments with Groot, the movie definitely did things a little differently than what we may have come to expect from our superhero films (while, to be fair, still hitting the big-budget notes of explosions and fight scenes and daring space escapes). Even the end credits scene was a little wink and a nod to the fans. And that sense of individuality and fun made Guardians stand out in my mind.
Mockingjay (Part I) stands out for a different reason. This is the third of four movies in a fairly serious and intense storyline based on The Hunger Games book series, and sure, it has fight scenes, and planes crashing from the sky, and all of that – but mostly, what it has is a series of small moments, just like in the first half of the third book it is based on. Moments of character development that make the whole sense of the movie quiet but intense. Scenes between Plutarch and Coin, or Katniss and Snow. Scenes like Katniss at the river, or Peeta being “interviewed” on TV. Scenes that look at one small space in time and how the characters in the story are being shaped by it. And that’s something that, while we get it all the time in books, is often not translated well to or given time on the big screen.
Even in book-to-movie transitions, the translators of great stories often fail to understand the draw of quiet moments of character development, and that they can be done well to build the story on the screen. (One sad example of this is The Seeker, which was a not-so-successful translation of Susan Cooper’s excellent young adult fantasy series The Dark is Rising.)
What’s interesting about both of these movies is that although very different, they share the thread of small stories writ large – either in the sense of more obscure properties being brought bombastically into the limelight, or of little bits of people’s characters being slowly threaded together into a greater story. And that through this, they also brought me either a sense of joy and fun or a sense of emotional involvement. What’s also interesting is the lack of that sense in some of the action, superhero, or fantasy movies out there in the last few years (Man of Steel being a glaring example, despite the enjoyment of seeing Henry Cavill on the big screen).
It continues to puzzle me why some movies forget that they are supposed to be fun, or interesting and unique, or at the very least true to their written origins when they have them. While I don’t necessarily think studios are losing that insight altogether, I do think it’s nice to remind them sometimes of why I, at least, like to see movies – not for the mindless big-budget fight scenes and explosions, or the clichéd and predictable good-versus-bad standoff, but for the fun, the excitement of something new and different, the sense of hope or meaning, or the insights that can leak out of fiction to inform our views of reality.
So movie studios, this is just me saying, at the start of 2015: in the midst of all the business of moviemaking, please don’t forget to make your movies fun, or meaningful, or (hopefully) both. Thanks.
There is no shortage of comic properties on network TV this year, but one that may have escaped your attention is NBC’s CONSTANTINE. Executive Producers David S. Goyer and Daniel Cerrone talk about their plans for the future, where it all fits into DC’s New 52 Continuity and how they want to continue to make it the truest comic adaptation ever to hit the small screen.
The New York Comic-Con is this week, which is hardly about comics at all anymore. It attracts more than a hundred thousand people to the unbearable Javits Center, all of them drawn to a celebration of pop culture, fantasy, and science fiction.
With all these people clearly interested in the genre, why do so few of them buy comics?
There isn’t one single answer, of course, but today I’m going to discuss the way the comic book publishers market their wares. Specifically, I’m going to talk about how they sell their books to retailers.
Comic books used to be distributed to the marketplace like other periodicals. The publishers would print and ship many more copies than they thought they could sell, ship them to newsstands and other outlets, and accept returns on the unsold copies. Because most comics and graphic novels are now distributed through the direct market, retailers order (and pay for) only the quantity they think they can sell.
Therefore, the primary customer for the publishers is the retailer and not the reader. The publisher does not care, in the short terms, if the retailer sells all the copies ordered. The publisher still gets paid. Of course, a thoughtful publisher will realize that selling the retailer too many copies will eventually cause the retailer to go bankrupt.
Too many publishers are not thoughtful. And too many retailers get into the business only because they love comics, not because they understand marketing. Or business.
If you read the (brilliant, I think) post in the link, you’ll see what information retailers are given to make their ordering decisions. He cites the example of Superman Unchained as a tragic lost opportunity. The book began at the same time the Man of Steel movie was released. It had Scott Snyder on script and Jim Lee on art. It should have been a huge hit.
Instead, it’s dribbling to a close.
The writer of the original post gives a lot of good reasons why he thinks this happened (bad title, unreliable scheduling). I think, if we step back, there are even more reasons.
The biggest problem is that the publisher thinks every possible customer is just like the retailer.
I love Scott Snyder as a writer, and I think Jim Lee’s art is dynamic and appealing. That said, I don’t think very many of the people who went to the movie know who either man is. Therefore, any new series designed to take advantage of the buzz about the movie needs to stress the character and the story more than the creative team.
The same is true for this summer’s bit Superman event, the Geoff Johns/John Romita, Jr. team. To comics fans this is great, but to the average person, a complete enigma. This is especially sad because I think Johns does a great job when he focuses on the most human and engaging aspects of the characters. His Superman is open and appealing to everyone, not just people who have been reading comics for decades.
And those people won’t ever know it, if the only way the title is promoted is to hype the creative team.
One of the biggest changes to happen to comics in my lifetime is that we now celebrate the talent. Fans know their favorite writers and artists, and will sample many different kinds of books because their favorites are involved. This is a terrific development. It shows the marketplace has matured, and allows creators to leverage their popularity into actual money.
The downside is when publishers think hiring great talent is all they need to do. Writers and artists can do fantastic work, but if the publishers don’t market these creations so that customers know what they are buying, it won’t matter.
Retailers have a responsibility as well. A well-promoted and designed store will invite in new customers and display merchandise in a way that is both fun and informative.
Consider other entertainment options that you purchase. When you decide to go to a movie, for example, you might consider the cast and, if you’re more involved, the director and the screenwriter. But first you want to know if it will make you laugh or cry, shiver with terror or clap your hands with delight. You want to know what kind of experience is being offered.
Comic book stores and comic book publishers who rely only on customers who are already customers will fail. We, as an industry, need to create new customers every day.
“Captain America: The Winter Soldier” shot straight to the top of North America’s box office this weekend — socking rivals with the biggest US April opening of all time, figures showed. And buoyed by the news, Marvel filmmakers announced they will…
Don’t you love when a spoiler leaks to we, the misbegotten nerds, and suddenly the Internet is on fire? I sure do. And nothing has gotten our ragespew a flowin’ in recent memory like the potential spoiler (ahem…alert.) that Wonder Woman would be a descendant of the Kryptonian colonists of yesteryear in the Man of Steel movieverse. Funny enough, it didn’t phase me in the least. Whereas some of my close personal friends let loose a brilliantly recorded tirade railing against the very notion of it, I simply concluded that it made sense to me. Rao be damned!
So, Internet, why all the anger? Well, the knee-jerk reaction is to simply say the pitch is not in line with the true origins of the character in the source material. It’d be rude of me to then say completely straight-faced “Oh my gawd, you’re absolutely right! In fact, I concur that the only way to enjoy a character’s portrayal in a different medium is to ensure that his or her origin matches perfectly detail-for-detail their previously published debut!” Then you’d roll your eyes, and call me an ass.
Well, go on, call me an ass. Because you know what? I give a flying invisible jet’s patootie if Wonder Woman descends from ancient Kryptonians. Or that Superman killed Zod. Or that Batman will not be Bruce Wayne, but Dick Grayson.
Ha! Got you there for a sec, didn’t I? The simple fact is as a fan of Superman, Batman, and Wonder Woman, what I care most about isn’t their backstory but how they are portrayed in the present of the film.
I understand the fear and outrage. We proud geeks – covetous keepers of our continuity – despise the idea that movies or TV shows depicting our wares must be muted, diluted, or otherwise repackaged to appease the lowest common denominator. But when it’s done with conviction, quality, and common sense, we tend not to get our underwear so wedged up our own asses.
Remember how much we all loved Tim Burton’s Batman? OK, remember how many of us loved it? Well, I don’t recall the masses going insane-in-the-bat-brain over the revelation that the Joker was one Jack Napier. And while I recall plenty of nit-picky problems over Sam Raimi’s Spider-Man, nary a word of anger seemed to spewed over the organic webshooter after the film came out. Same could be said of the blackcasting of Michael Clark Duncan as the Kingpin, Samuel L. Jackson as Nick Fury, or Idris Elba as Heimdall. Funny how that is, isn’t it?
And where is the utter outrage at the animated DCU? Or Marvel’s Hulk Agents of S.M.A.S.H? And what are we going to do with all the yutzes who like Arrow?! I mean, last time I checked, Oliver Queen had a god-damned goatee. Interesting enough, all I hear is good things about the show. Even the notion that a Flash spin-off might occur has seemingly traveled the Interwebs without igniting civil war. And this week when someone dropped that Donal Logue might play Harvey Bullock in a pilot revolving around a police procedural Gotham show? Somehow, we all woke up the next morning perhaps uttering that scariest of phrases… “I’ll see it when it comes out, and make up my mind then.”
And therein lies my point. It’s not a factor of fear that Warner Brothers chooses to reimagine Batman in Christopher Nolan’s trilogy, or change gears with Superman twice within a 10 year period. It’s all a matter of business. The same could be said with Disney/Marvel. Consider cold and calculated business that allows characters like Gravitron and Blizzard to be reimagined on Agents of S.H.I.E.L.D. in order to better suit the long-terms plans of their movies and television series. As I’ve come to find here in my waning youth, the all-mighty dollar drives all that we love in the world of content creation. While true passion for characters and story may drive we the few and proud creators… without the financial backing of crazy-mad corporations, what we build may exist only on our hard drives, our sketchbooks, and our minds.
If Wonder Woman in the polarizing Man of Steel DC movieverse ends up with a strain of Krypton flowing in her meaty non-clay veins… so be it. I’ll care far more that she is portrayed as regal, strong, and self-assured. If Themyscira’s statues tribute Rao over Zeus, big whoop-dee-doo. So long as it’s filled with overly tall, buxom, man-hating women (you know, who are all like… empowered and crap) then my prayers shall be answered. Or better yet? If the character, her background, and her portrayal all lend to the forward momentum of actually realizing a cross-picture universe for DC… then we’ll soon be living in a golden age. With powerful franchises from both the big two comic book publishers in place, those evil unwashed masses who dilute our precious universes may end up loving the same characters we love.
And when they do? They might just take that bold leap to a comic shop to see what they’ve been missing all along.