By Arturo R. García
By Arturo R. García
The image above is the last page of DC Comics’ new Suicide Squad #1, which debuted yesterday. And to the chagrin of many fans thus far, the woman in the panel on the left is writer Adam Glass and penciller Marco Rudy’s “reimagined” take on Amanda Waller.
In her original incarnation, seen at right, the woman known as “The Wall” was notable not only for being a non-superpowered human with the confidence and cunning to stand up to the likes of Batman, but to be consistently presented as DC’s resident spymaster (she was frequently involved with prior incarnations of the Dirty Dozen-like Squad), but for being depicted as powerful without looking like the “superhuman ideal.”
The character has also emigrated onto other media platforms. CCH Pounder voiced an animated version of Waller in the Justice League Unlimited animated series; Pam Grier played her on television during the final season of Smallville; and earlier this year, Amanda Bassett stepped into the character for the movie Green Lantern. That said, Waller’s involvement as a “star” in the comics has primarily been restricted to espionage-type titles like Suicide Squad or Checkmate, where she was part of an ensemble. She’s never been called upon to carry a title on her own.
Which makes the decision to revamp the character – whether it was Glass and Rudy’s choice, or something dictated to them by DC head honchos Dan DiDio, Jim Lee and Geoff Johns – even more ill-considered than their decision to draw up a Suicide Girls-like character (seen at left) and call her Harley Quinn. What made Waller unique was that she really did look like a regular person – she just had enough of an iron will to maneuver herself into a position of power. For DC to seemingly transform her into one more skinny gal seems to be a particularly arbitrary choice in a company-wide relaunch that has already divided its’ existing fanbase. Or, if this move was made in order to entice new readers to give the new Squad a shot, then who does this company exactly want to attract? This guy?
Update: Glass was quoted by Bleeding Cool as saying, “Amanda Waller is not defined by her size but by her attitude and she still has plenty of that.” Which doesn’t explain the change at all, of course. Bleeding Cool also reported that Rudy has been replaced as the penciller for the series in favor of Federico Dellocchio.
By Arturo R. García
Once again, let’s take a comic-book company’s statement and compare it to what’s being presented. Our subject this time is Bob Wayne, Senior Vice-President of Sales for DC Comics. Here’s an excerpt from a letter he sent to comics retailers Tuesday:
In the time I’ve worked at DC Comics, I’ve witnessed any number of industry defining moments. But today, I bring you what is perhaps the biggest news to date.
Many of you have heard rumors that DC Comics has been working on a big publishing initiative for later this year. This is indeed an historic time for us as, come this September, we are relaunching the entire DC Universe line of comic books with all new first issues. 52 of them to be exact.
In addition, the new #1s will introduce readers to a more modern, diverse DC Universe, with some character variations in appearance, origin and age. All stories will be grounded in each character’s legend – but will relate to real world situations, interactions, tragedy and triumph.
Here’s the punchline: the statement was released the same day as the picture posted above: an almost all-white cast for a new Justice League comic. So right off the bat, this “more diverse” DC Universe looks like those “more colorful” NBC ads. But there’s other reasons Wayne shouldn’t be crowing just yet.
By Special Correspondent Arturo R. García
As if to make up for Ian Sattler’s unfortunate comments last week, DC Comics’ Chief Creative Officer Geoff Johns unveiled screen shots from a special-effects test for a possible Blue Beetle live-action series.
The images, posted by Johns at the DC Comics blog, show Jaime Reyes’ transformation into his blue suit of armor, powered by the extraterrestrial scarab on his back. Johns was quick to point out that this was only a test, without mentioning when it took place. Obviously it couldn’t have happened in the direct wake of Ian Sattler’s unfortunate statements, but the timing’s still a little … interesting.
In any case, Johns did say that the Beetle would be featured in most episodes of the Batman: The Brave And The Bold animated series this coming season, and promised to show the screen test at San Diego Comic-Con, and that’s encouraging. Which is more than I can say for some of the responses on Newsarama:
just because a property is interesting, doesn’t mean it needs a tv show. Bottom line is it could barely support itself as a comic for three years, and though he’s in Brave & Bold … this is the kind of thing that will kill the comic interest in surrounding genres. Halle Barry as Catwoman, Nicholas Cage as Ghost Rider, anything about X3 … just because there is an idea and someone is willing to do it, doesn’t mean it should be done.
I think a live-action Ted Kord – Blue Beetle series stands a better chance of catching on. Continue reading
By Special Correspondent Arturo R. García
Remember when we asked, “Will Jim Lee Take After The Brave And The Bold?”? Apparently the answer is no. But we have to give props to Chris Sims at ComicsAlliance for also noticing this.
Late last week, Sims published a column calling out DC Comics after another round of white-washing its’ primary cast – in this instance the most recent Atom, Dr. Ryan Choi, was killed off, allowing his Silver Age predecessor, Ray Palmer, to don the red-and-blue mask – another nod to the penchant for nostalgia Lee and Geoff Johns are overseeing at the company:
And that’s not necessarily a bad thing — I’m certainly not an exception to fan culture, and there are stories that push my “Oh hey, I remember that” buttons as hard as anyone else’s — except that the form it takes ignores that much of what made Jack Kirby or Cary Bates or Alan Moore or Frank Miller so exciting wasn’t what they were doing, but that they were doing things that hadn’t been done before. Instead, we’re in an industry right now that wants to constantly reset itself, running on nostalgia rather than innovation, moving backwards instead of moving forwards, and while I complain about it both often and at length, it seems to be what the majority of comics readers want, no matter how wrong-headed I think it is.
The switch of Palmer for Choi comes on the heels of the company’s latest event, Blackest Night, and another change, involving Firestorm. For the past few years, the character’s primary alter ego was Jason Rusch, a young black character who went from his own short-lived solo series to being included in the Justice League of America. (Indeed, there was a brief stretch during Dwayne McDuffie’s run writing JLA where the team included not only Rusch, but Vixen; Kimiyo Hoshi as Doctor Light; and Green Lantern John Stewart. Compare that line-up to this somewhat less diverse team.) At the conclusion of Blackest Night, though, we learned that Rusch and his own white predecessor, Ronnie Raymond, would have to bond to form the flame-headed hero – but that it was Raymond providing their shared body’s “default setting.” These decisions look even more questionable when you factor in the following:
* The heavy promotion given to problematic “retro” stories like First Wave.
* The replacement of Cassandra Cain as Batgirl for Stephanie Brown.
* The “off-camera” killing-off of a half-Asian child character, Lian Harper, in the critically-reviled Cry For Justice miniseries. When questioned at a convention about the decision to kill Harper off, DC Senior Story Editor Ian Sattler said, “I’m happy it upset people because it means that the story had some weight and emotion.”
* The lack of attention given to the Milestone Universe characters aside from Static, and issues with McDuffie’s Milestone Forever mini-series.
* The cancellation of the Great Ten mini-series before its’ conclusion.
Add these developments up, and DC Entertainment’s animated offerings almost look like products of a rogue operation: the Brave And The Bold cartoon actually played out a Raymond/Rusch union first – but with Rusch supplying Firestorm’s skin color – and has consistently featured Choi as The Atom and Jaime Reyes as the Blue Beetle (the series’ only misstep has been re-imagining Katana as a Silent But Deadly Asian character type). Also, the company’s newest animated offering, the soon-to-debut Young Justice, features a new Aqualad, a black character, at the very forefront of its’ promo photo:
And as Sims notes, these revisions extend beyond the heroes themselves:
Even the regressions of ostensibly white characters often have racially charged consequences: Wally West’s interracial marriage to Linda Park has been sidelined in favor of on-the-go suburbanites Barry Allen and Iris West, and Kyle Rayner (who was created as an Irish-American but later “revealed” to be the son of a Mexican-American CIA agent) has suffered the strange fate-worse-than-death of a fictional character who gets demoted from a starring role to a supporting one. He’s still a Green Lantern, but he’s not the Green Lantern.
Most damningly, Sims illustrates his point with a team portrait of Johns’ take on the “classic” Legion of Super-Heroes, a group which ostensibly represents a more united humanity as part of a larger group of worlds in the 31st Century:
Damn, I guess we didn’t make it to space after all!
There’s a disappointing epilogue to Sims’ story over at Comic Book Resources: In previewing Titans For Hire, where the people who killed Choi get to star in their own series, Jeffrey Renaud brought up the question of Choi’s death with writer Chris Wallace:
Renaud: Do you have a message for the twitterati and fans of the character that are angered/saddened/upset by his death, because some are even saying this death was racially motivated?
Wallace: Only that I, too, will miss Ryan. He was a great hero all the way until the end, and that’s how I’ll always remember him. I hope others will, too.
In this characterization, anyone who objects to Choi getting killed off for the sake of boosting Slade Wilson – yet another white character – is some Other on Twitter, i.e. “not a Real Fan,” and wondering about the racial implications here is clearly the work of a conspiracy theorist. Meanwhile, Wallace ducks the question entirely with a homogenized “eulogy.”
In his conclusion, Sims notes possibly the best part of Choi’s character: his super-hero ID wasn’t derived from his ethnicity. In part two, we’ll look at some of Marvel’s newest characters; some fit that description, and some most assuredly do not.