Tagged: Midnighter

Joe Corallo: Don’t Call It A Comeback!

DC-Rebirth

I’m sure many of you are aware of the upcoming DC Rebirth. I’ve been following it along since the first bits of news surfaced, and I almost wrote about it last week. Now I feel enough is out there where I can start forming some level of opinion on it. And try as I might, it’s not a particularly positive opinion. However, that’s strictly regarding Rebirth. I do think DC may have a couple of good ideas here. Just not with diversity in mind.

Hear me out on this one.

Rebirth shouldn’t shock anybody. As far back as last August, we heard that DC was going to “Stop Batgirling” and get back to “meat and potatoes.” Many people wrote about this and how problematic it was since “meat and potatoes” came off as “more straight cis white guy stories.” Back in August, that was just an opinion on what might happen. Granted, a well informed opinion, but still an opinion. Based on the titles being offered starting in June, it’s hard to argue that this isn’t now a fact. At least it took almost a year for this all to happen, which gave us time to enjoy comics like Doctor Fate and Midnighter. They will be sorely missed by me and quite a few people I know. Not enough people, apparently, but still quite a few.

In lieu of diversity, DC is doubling down on its core characters. It may come of as a sound conservative move to retreat back, reassess, and plan accordingly to expand after. Looking at the line-up DC has presented certainly shows that they are taking far fewer risks than they did back with the New 52. Outside of arguably Gotham Academy: Next Semester, every single title is a superhero one. At a time of where publishers like Image are encroaching on the big two with its wider variety of genres, this seems like more than just one step back for DC Comics.

Why would DC think this is such a good idea?

The short answer may very well be DC’s Chief Creative Officer Geoff Johns. He’s a talented writer that has helped DC a great deal in the past. However, he’s also constantly looking backward when it comes to important aspects of the stories he’s telling. This is the guy that orchestrated the biggest reboot of Green Lantern which involved bringing back straight cis white Hal Jordan as its torchbearer. Similar strategies were used in his runs on comics like The Flash and Teen Titans. His comments that he made regarding Rebirth are troubling. A lot of looking backward and keeping the fan base small, isolated, and nearly impenetrable is what I and many others got out of it.

As a queer reader, canceling the only gay male superhero comic alone hits a bit hard, especially after a fairly short run. Cancelling Catwoman as well seems a bit excessive. In addition to Batwoman staying gone, Poison Ivy not continuing to have a series (I know it was just meant to be a mini-series, but still), that just leaves Harley Quinn and Hellblazer. The only queer characters worth having in their line are only the ones who have been in movies and TV shows I suppose. It’s rough enough that the queer representation lately has been almost exclusively cis and white (at least in headlining a book), but this step back makes it seem like it may be a long time before we can even move past that. It looks like it could be a long time before Alysia Yeoh becomes a kickass vigilante (if she ever does) and don’t even get me started on when we’ll see Rene Montoya as The Question or Kate Godwin as Coagula again.

At this point you may be curious as to what I was getting at before when I said that DC may have some good ideas here. They might. Not with Rebirth, but with Vertigo and their Hanna-Barbera titles. Not too long ago, DC’s New 52 did have quite a few risky books coming out. While doing that, they neglected the Vertigo line. Saying Vertigo as an imprint was anemic at the time would have been a nice way to put it. Part of that was DC bringing back characters like Animal Man, Swamp Thing, Constantine, and Doom Patrol into the main continuity. They also just weren’t pumping out the same number of titles, and books like Fables were coming to an end. Now, Vertigo appears to be thriving. It seems pretty clear to me that DC’s approach now is to keep it’s main line more conservative and less risky and using Vertigo to take chances and experiment again. When framed in this context, it doesn’t sound quite as bad. I haven’t really seen it framed this way yet, but maybe as the new Vertigo titles get further along and Rebirth begins, we’ll see commentators putting this all in a slightly different context.

With the Hanna-Barbera titles, DC can address the problem with the lack of comic offerings they have for kids. That’s a good thing. We need more kids reading comics if we’re going to keep expanding the readership. And the way Jim Lee is apparently looking into making Hanna-Barbera comics a shared universe, it allows the kind of story telling that’s used in most DC comics while having it for a younger audience. Hey, it works for Archie.

If your head is currently exploding because I haven’t taken the time to acknowledge how much I hate the new hipster looking Scooby Doo character designs, it’s because I don’t. If you have a non exploded head on your shoulders you’ll be able to find out why. It’s because the new Scooby Doo isn’t supposed to be for me. It’s supposed to be for kids. Some of which might not even be aware of Scooby Doo. This could be their first look at these characters. Maybe the kids will hate it. I don’t know. What I do know is hating character designs for kids’ comics clearly not made for me is a waste of my own time and energy. I have plenty of other things to get angry about. This is an election year after all.

My qualms with the Hanna-Barbera line of comics lie in diversity. They are white. Very very white. And straight. And cis. That’s the downside of going back to older properties like this. It’s a point I’ve brought up before, and this is just another example of the problems of resurrecting much older properties that didn’t have diversity in mind. I’m not angry that Scooby and the gang look like they’re living in Williamsburg or Bushwick now, but if you don’t mind updating the designs, why do they all still have to be straight cis white people? If it’s not at all important that Shaggy stays clean shaven and is allowed to be drawn with crazy facial hair, then why is it so important that he has to be portrayed as white?

The Vertigo line seems to have more stories involving women than the main DC line. That’s great. We definitely need more of that. However, Vertigo does seem very white. They have some great titles, but between DC’s main line, the Hanna-Barbera offerings, and Vertigo, I can’t help but feel we’ve taken a few steps back in queer and minority representation. Maybe this is temporary, since comics focusing on diversity seemed temporary at DC, but we’ll have to wait and see.

In other news, I’ve caught up on Image Comics’ The Wicked + The Divine. Now that is a great inclusive comic.

Joe Corallo: The Invisible Iceman

iceman-gay-marvel-comics

Uncanny X-Men #600 has come and gone, leaving us with a newly out present day Iceman, joining his time travelled past version in being out. I already wrote up my feelings on this here last month. Since then, we’ve seen three issues of Extraordinary X-Men featuring the present day Iceman, and one issue of All New X-Men featuring the past Iceman. If you haven’t read them yet, you may be thinking that surely in at least one of those four issues that have come out that at least one mention of Iceman’s sexuality would have come up.

SPOILER ALERT: It hasn’t. Not even once.

I was hoping we’d see something right away. Even if it was a quick scene. As I was reading the first issue of Extraordinary X-Men, I’m picturing Iceman coming into Storm’s office to talk to her about it, which seems the most logical choice to me. Or seeing Iceman trying out a gay bar or club for the first time. Even just makes a throwaway comment about how he just started using one of those dating/hook up apps and how that’s going for him.

None of that happens.

I figure that Extraordinary X-Men is a number one issue so they wanted to set the status quo for the book which would naturally include Iceman’s newly revealed sexuality. Apparently that wasn’t important, despite the fact that according to the powers that be at Marvel the Iceman decision was about a year in the making. And with all the press Iceman coming out received, you’d think that Marvel would have more of an interest in furthering Iceman’s story in the new X titles.

Okay, so if it wasn’t in the first issue of Extraordinary X-Men, surely it would be brought up in issue two. It wasn’t. I was growing increasingly displeased. As I finished the third issue it became harder and harder to not feel that Marvel used Iceman coming out as a cynical marketing gimmick with no intentions of an immediate follow through.

One hope still remained; All New X-Men. I was trying to make excuses for Marvel in my head. Maybe Jeff Lemire, writer of Extraordinary X-Men, didn’t want to tackle this in his story and Dennis Hopeless, the new writer of All New X-Men, would.

Maybe they felt that the present Iceman having just recently come out would still be taking it slow. Perhaps it’s going to take a while for him to talk with his teammates about it. Past Iceman made it very clear in his conversation with his present self that he was going to live his life openly gay as well as openly mutant. It was written to be a touching moment. Present Iceman even cried an ice tear over it.

So what happened in All New X-Men #1, which has past Iceman as a key team member? Past Iceman just went about his day. Nothing in reference to his sexuality at all. He even had a page where he was making ice statues for people where they easily could have worked in a quick nod at him being openly gay now. They didn’t.

What was the point of retconning Iceman in both the past and present to being gay if we’re not even going to address it outside of a few pages in two X books? Was it for sales? Was it just to get money from guys like me that are starved for LGBTQ representation? Was it to be acknowledged for having more diversity in their comics without actually being more diverse?

Unfortunately, it looks like the answer is currently yes, and I’m very disappointed by this. Instead of delving into Iceman’s newly discovered sexuality in Extraordinary X-Men, they’re delving into the awkwardness of two former lovers, Jean Grey and Wolverine. Finding different versions of the other still alive, one of which is now much younger and the other significantly older, they need to decide if they’re going to join together and help the X-Men. I don’t know if they intended for this to be as creepy as it reads, but man is it creepy for me to read.

I may also be taking this hard because Jeff Lemire is one of my favorite writers in comics right now. Please go out and pick up Descender if you haven’t yet. It’s great. Also Plutona. Or if you didn’t get around to Sweet Tooth when that was coming out, pick up the trades.

Want a book that is absolutely killing it in terms of how to write a gay superhero right in every possible way? Read Steve Orlando on Midnighter. Issue seven came out last week, and every single one of his issues have addressed Midnighter as being gay in some way or another while not distracting from the main plot of Midnighter needing to kick ass and take names. If you aren’t already reading Midnighter, please pick it up. This book deserves the support of every single reader that wants to see an LGBTQ character in a comic done right.

Joe Corallo: Batgirl and that Wedding

Batgirl 45

As many of you may know, last week was the release of Batgirl #45, the issue in which Barbara’s former roommate/good friend Alysia Yeoh gets married to her lover, Jo. The resulting wedding was the first time in mainstream comics that a transgender woman got married. Googling this will lead you to a slew of articles and blog posts covering the groundbreaking nature of this issue. How important is this event though, and will this have any impact on mainstream comics? I picked up a copy so I could try to figure that out.

Like many a comic book wedding before it, it’s a filler issue. It’s about Batgirl at this wedding. This is an important point. It’s about Batgirl. It’s not primarily about Alysia and Jo. They’re the B plot of the issue. With the way the wedding has been hyped this past week, the cover for this issue, and thinking back not too long ago to Northstar’s wedding in Astonishing X-Men #51, it’d be easy to see how one might think that Alysia and Jo would be in the A plot. So if you haven’t read it yet and that’s what you were anticipating, I hope I helped you to avoid going into it with that mindset.

The fact that they weren’t the A plot shouldn’t be a bad thing. Yes, it would be great for diversity in comics if they were. However, the book is still about Batgirl, and not Alysia. Batgirl #45 is a twenty-page story. Six of those pages feature Alysia, and she has six word balloons throughout the comic. Her partner, Jo, is featured on three of those pages and has one line of dialogue, which is “And I love you.” Batgirl has ten times the dialogue that Alysia has, and the story is mostly about Batgirl and her relationships with Luke Fox and Grayson with the wedding as a backdrop.

None of that takes away from the fact that Alysia Yeoh is a long overdue representation in comics, and that she had an important moment in her life that Barbara got to be a part of. Current trans representation in mainstream comics is nearly nonexistent outside of Alysia. We do need trans representation outside of the heroes themselves as part of having a world more reflective of our own, and Alysia has been a step towards that. It’s not ideal, but this is where we are.

I encourage everyone who wants to see more and better representation to pick up this book if they haven’t yet at their LCS. If it’s sold out, ask them about ordering more. If we can show that trans representation can help sell comics, we will get more of it. That’s just how it works.

At the end of the day, both DC and Marvel, and nearly every other comics publisher for that matter, is a business first and foremost. They may be willing to occasionally take a risk, but when all is said and done they need books that sell. We could have a discussion about how we don’t necessarily know some of the sales potential more trans representation could have over time, and how maybe expanding that quicker could lead to great things for the publishers and the readers, but if we don’t buy and support the offerings they’re already trying to give us, than they’ll just stop where they are and potentially take years to try again.

This does not mean you can’t also demand more and demand better. Social media alone isn’t going to necessarily bring about the kind of characters and story lines you want, but it does have power. Earlier in this Batgirl run, as I mentioned last week, the same team that worked on the first trans wedding in comics wrote an issue with a story and dialogue that was considered transphobic. It was public outcry through social media that got us an apology and changes in the reprints of that issue.

People and companies can learn and adapt to changing demands from their customers. By both buying comics with queer characters like Batgirl and Midnighter, and speaking up through social media and other outlets available about these issues and what can be improved upon, we can assure a bright future for mainstream queer comics.

Joe Corallo: Diversity Inaction – or Diversity In Action?

VirgilLike many of the contributors on ComicMix, I spent the other week at New York Comic Con. In a continuing trend, attendance keeps going up with a greater representation of the general population, and with that, more programming centered around diversity.

Diversity in comics has been an important topic to me for years. Important to the point where those panels I prioritize over all other kinds. The Internet can tell me all the Batman announcements later. This year, I made it to at least one diversity focused panel (usually two) every day of the con. And because I’m so passionate about these things, I wanted to share with you all why these panels are important to me.

First off, and probably most importantly, they are safe spaces at the con. Knowing you’ll be in an environment with people who are either like you or at least empathetic can be and often is important to an attendee. Being othered sucks. It really sucks. Just being in a place where you can listen to people talk about their struggles being an outsider, and how they’ve made it work for them anyway can really be inspiring.

Second, they’re also great places to hear from creators of different backgrounds and become knowledgeable of their work. Truthfully, the goal of nearly all panels is to get you to buy the publisher or creator’s books and merchandise. As cynical as this may sound, the reality is the only way we’re going to get more diversity in comics is to actually buy comics with diverse characters in them. Crazy, right?

I had already been picking up DC’s Midnighter, the company’s only solo superhero comic with a gay male lead, written by Steve Orlando. I wasn’t aware of his Image Comics graphic novel, Virgil. After hearing him on a panel talk about Virgil as being a blood soaked revenge story and as “queersploitation” (a reference to blaxploitation films of the 70’s) I knew I’d love it. I went down to his booth in Artists’ Alley after the panel, picked it up, and already read it. I did in fact love it, but I might not have known to get it if I didn’t go to these panels.

FInally, they are helping to change the discussion in comics. Yes, social media is doing the day to day work, but diversity panels at these cons provide an opportunity for the publishers and creators to roll out their new books that will better reflect the changing demographics of comic readers, and gauge reactions. Sunday’s Culturally Queer panel moderated by Geeks OUT‘s Joey Stern opened up a conversation about queer representation in comics between the panelists where they differed greatly on what makes for good representation. This is an important conversation to be having. There is not necessarily a uniform right way to have representation. There are certainly some uniform wrong ways, however.

The biggest example of a change in the discussion that I saw was Thursday’s BOOM! Studios panel moderated by their President of Publishing and Marketing, Filip Sablik. The panel discusses the Push Comics Forward movement, which is actively setting out to make the comic industry more diverse over the next 10 years. However, the panel was made up of all white (or white presenting) panelists, with eight men and two women. Though there was some queer representation, Filip Sablik actually addressed this at the beginning of the panel, stating that they do have more diversity in their talent pool, and it just so happened that the people able to make it to the con and who were able to attend this panel for the books they wanted to highlight were mostly white male creators. I thought this was incredible. I give BOOM! Studios credit for addressing this. I don’t think we would have seen something like this happen even last year, and that’s a testament to the publishers and creators putting themselves out there on the issues of diversity in part because of these panels and that some of them are listening to us.

If you were at New York Comic Con last week and didn’t get to any of the diversity focused panels, definitely try to at the next con you go to. Even if you’re a straight cis white guy, there are so many new and exciting stories coming from women, nonwhite, and queer creators that you might end up loving just as much as I do.

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