Tagged: Rafael Albuquerque

Joe Corallo: Terrified

As of my typing up this column, DC Comics employee of over twenty years and Superman Group Editor Eddie Berganza has been fired from the company in relation to the sexual harassment and assault allegations raised against him for nearly a decade. This is in large part due to the Buzzfeed article that hit this past Friday, the amazing journalism of Jessica Testa, Tyler Kingkade, and Jay Edidin, former DC editorial staffers Janelle Asselin and Liz Gehrlein Marsham for speaking to Buzzfeed on the record, and all of the other victims who spoke anonymously out of fear of the very real fear of retribution. Since the release of that article, Molly McIsaac has also come forward about her encounter with Eddie Berganza’s sexual harassment.

Many people are rightfully asking why did it take so long remove Berganza when his sexually abusive behavior has been an open secret for nearly a decade? For better or worse, the answer is that in a post Weinstein world we are taking these accusations more seriously. This happened because Buzzfeed reported on it. When people tried to put pressure on DC Comics to act in April of 2016 in the aftermath of Shelly Bond’s dismissal – including myself – it wasn’t taken seriously outside of comics press and the story died in the wake of Dan Didio deleting his Twitter account and DC Entertainment honcho  Diane Nelson sending out a memo assuring us that DC Entertainment cares about the safety of their employees. The memo didn’t even mention Berganza’s name. It was a heavy slap in the face to comics journalist, pros and fans all over that helped to reassert the notion that victims are the problem and abusers will always be protected until it is absolutely impossible to continue protecting them.

Make no mistake; DC Comics did what it did because there was absolutely no way to continue protecting Eddie Berganza.

As of my writing this, DC Comics has not addressed Bob Harras’ role in seemingly and allegedly ignoring filed complaints with HR and assisting in Berganza’s rise in the company at the expense of many women within DC and countless more that were denied opportunities as a result of his continued employment or didn’t even attempt to throw their hat in the ring because of Berganza’s presence. Nothing will salvage the comics careers of all of those women, some we know and some we don’t, who fell in love with these adored characters as kids and grew up to learn that you would need to be willing to endure sexual harassment, propositions, and compromising your ethics to work in – of all places – the Superman office.

And Eddie Berganza isn’t the only person to make that statement true.

An open letter to Dan Didio has been circulating for over a week that not only brings up Berganza, but Mike Carlin, as a known harasser that inappropriately touched a female staffer. Like Eddie, Mike has been both a Superman Group Editor and an Executive Editor at DC Comics with his greatest achievement being The Death of Superman. Mike Carlin’s name is printed in literally millions upon millions of comics. He’s had lines wrapped around stores waiting for his signature. Unlike Eddie, Mike was able to allegedly harass his way to further promotions. He was promoted out of the comics division and currently works as the Creative Director of Animation for DC Entertainment. As of this writing this there has been no indication that Bob Harras covering for Eddie Berganza or Mike Carlin’s alleged harassment are being looked into.

Comics professionals including Rafael Albuquerque, Gail Simone, Cliff Chiang, Tee Franklin, Lilah Sturges, Sophie Campbell, Tony Isabella, Kurt Busiek, Tini Howard, Sina Grace, Kate Leth, Amy Chu, Tamra Bonvillain, Joshua Hale Fialkov, Christopher Sebela, Matthew Rosenberg, Kwanza Osajyefo, Tess Fowler, Mark Waid, and so many more stepped up to make their voices heard in the aftermath of the Buzzfeed article dropping on Friday. This is important not only because we should be standing up for victims of abuse, but because comics professionals are terrified of retaliation against them by DC Comics.

Terrified.

I want to make this crystal clear to people reading, as fans and casual readers may not be aware of or understand the reality of all of this. Speaking out against the brass is more than looked down upon; it’s disqualifying. Rafael Albuquerque mentions this in his statement on Berganza. Other professionals including Kwanza made it crystal clear on Twitter that speaking out could mean getting blacklisted, but it would be hard if we all ban together. Maybe in a post Weinstein world speaking out to defend victims won’t get you blacklisted like it has in the past to rising stars like Nancy Collins, but I talked to many comics professionals off the record during all of this with Berganza and many freelancers are still terrified. That should be alarming, but also sobering to everyone reading this that standing up against serial sexual assaulters can lose you work, but turning a blind eye to victims can get you a gig on a Superman book.

We might have the power now to change the dynamics at DC Comics and much of the rest of the entertainment industry if not all industries. We may be at a tipping point where we will no longer be a society that protects abusers, but rather one that stands up for victims. We need to be that society, and we may not be there just yet but we might be close. The only way we can do it is if we stand together. They can’t blacklist us if we all protect each other.

To quote Sinead O’Connor, “Fight the real enemy!”

Molly Jackson’s Creepy Confessions

zombie-bill-everett

With a loaded title like that, I guess I just need to cut to the chase. Ok, so here it is. I don’t like zombies. The genre doesn’t do it for me. Seeing the struggle of humans retaining their humanity is always a good read but fighting brainless zombies is just boring. The last (and probably only) zombie movie I really liked was Shaun of the Dead and that’s only because I liked how they spoofed on zombies while keeping the essence of the genre.

So why am I taking the time to sorta bash on a beloved genre? Well, Halloween is right around the corner and I’m feeling topical. Let’s give Halloween its time to shine, especially since Christmas decorations are already in malls.

Ok, that’s not the only reason. Everyone is making a big deal about The Walking Dead premiere as well so it’s on my mind. I gave up after season two but it is one of those shows that everyone knows about it, whether you want to or not. So quick segue for the people complaining about the premiere, even I know that the comics are way bloodier than the show. Everyone’s favorite character dies in those books. Move on. And for the weird fringe group complaining it isn’t a family friendly show; seriously? Get a reality check, a parental channel blocker, and find a new cause.

Segue over. Moving on.

The real reason for my confession is that it’s time for the yearly celebration of horror in prose and comics. That’s right, this time of year is more than haunted houses and scary movies. Readers have their own events to celebrate the scariest time of the year.

All Hallow’s Read is a personal favorite of mine. Starting with Neil Gaiman, it promotes reading scary literature for all ages. But just because it is pushing prose doesn’t mean you stop there! Take this time to read something scary in comics. Just to get you started off, I can always recommend American Vampire from Scott Snyder and Rafael Albuquerque. You already know that zombies aren’t something I read much of, but if you want werewolves in the wild west, check out High Moon by David Gallaher and Steve Ellis.

But maybe you don’t have the cash to spend on new books right now. I get it, but the comics world has you covered. Halloween ComicsFest is happening this Saturday! It is a mini Free Comic Book Day but all scary comics! Mostly all-ages, in an effort to bring new readers to local shops, it also can fill that void for reading something scary this year. I won’t mention how this is the closest I come to trick or treating.

These are both important events because they get you reading. Also, they get you directed towards a particular genre. Now you might be a regular horror reader, but I’m not. This flexes my brain muscles by changing it up from my usual science fiction fair.

Exploring different types of stories is good for your imagination. So tell your friends, your boss, and the creepy guy down the hall to check out some scary comics this year. You never know what suggestions they might have for you.

Martha Thomases: Killing The Killing Joke

Another week, another kerfuffle. This one, involving a variant Batgirl cover for the “Joker Month” promotion at DC comics, is actually a little bit more interesting than most.

(Please note: I actually find most of these events interesting, which is why I write about them so frequently.)

In this case, the usual knee-jerk assumptions don’t apply. Artists were assigned to create a cover that featured the title character (in this case, Batgirl) and the Joker. The assignment was made, not by each series’ editor, but the marketing department. Rafael Albuquerque, the artist, decided to create an image that paid homage to one of his favorite Joker stories, The Killing Joke, by Alan Moore and Brian Bolland.

I really like that story. There are people who have issues with it, and I understand their concerns, but, to me, it is a phenomenal meditation on the nature of madness, and those who have to live with it. I wasn’t happy about how the rest of the DC editorial office reacted to the show, deciding that Barbara Gordon was the only superhero ever to suffer an injury (or death) that wasn’t curable.

(Side note: I did like the way Kim Yale and John Ostrander took what I considered to be an unfortunate editorial decision and made Barbara stronger than ever, as Oracle. I still resented that Batman’s back could be fixed, but not Barbara’s.)

Anyway, all this changed with The New 52. Barbara Gordon can walk again. Barbara Gordon can do the kind of amazing acrobatics that require usable spines and lots of training and talent. More recently, the editorial office and creative team decided to recast the character as younger, hipper, and more girl-friendly.

The creative team was not happy with the Joker cover. A lot of fans of the new series, perhaps too young to have read The Killing Joke, were not happy with the Joker cover. Rafael Albuquerque, when made aware of the reasons for the controversy, was not happy with the cover.

Finally, DC withdrew the cover. And that’s where this gets interesting.

There was also a lot of saber-rattling about censorship, which shows how little the public understands the word. The creative intent of the people creating the comic book was not supported by the variant cover, and they didn’t want it used. The only people who thought the cover was a good idea were those in marketing.

I do a lot of marketing work. I’m not opposed to marketing. That said, no one defending free speech has ever asserted that the needs of the marketing people should determine artistic expression. If anything, those of us who appreciate artistic freedom (even of work we don’t like) tend to prefer marketing people to butt out of editorial decision.

During the run-up to withdrawal, there were a lot of tweets and Facebook postings and other internet conversations about the issue. And, as so often happens on the Internet, some people got verbally abusive and threatening and there was name-calling and unpleasantness. DC alluded to this in their press release.

If you read the comments about this on the Comic Book Resources article (and I only read the first page or so, because I have a life, but not so much of one that I could stop thinking about the comments that I read), you’ll notice something unusual. After lots and lots of discussion about censorship and artistic integrity, the commenters are horrified that someone would threaten the artist. How could a difference of opinion about a piece of artwork justify such behavior? Isn’t the terrorism of an Internet threat more violent than the image in question?

Except no one was threatening Rafael Albuquerque. The threats were directed to those people (most often women) who didn’t like the cover. How could a difference of opinion about a piece of artwork justify such behavior?

It doesn’t.

It would be lovely if those who like the variant cover, who thought that it was horrible of the “social justice warriors” to threaten an artist, would 1) apologize to those they wrongly accused of making threats and 2) perhaps direct their outrage to those who actually do make threats, even if they agree with them otherwise.