Wonder Woman

Everyone Back to 1: Thoughts and Theories on DC Comics relaunching superhero comics synched with digital initiative

Justice League #1 by Geoff Johns & Jim Lee (DC Comics) - Hitting the cosmic reset button

In a bold gamble, DC Comics announced yesterday at their own blog The Source, USA Today (part 1 and part 2), and a letter to comic retailers that they would be replacing all of their long-running superhero comic books with relaunched stories starting over at issue #1. Each issue will be released digitally across DC Comics’ multiple platforms the same day as the print version’s release, a major shift in policy that was protecting comic shops from digital competition.

Digital comics provider Comixology has confirmed via Twitter that it will be continuing their partnership with DC Comics on this new digital initiative. New issues will appear simultaneously on Apple’s iOS (iPad, iPhone, iPod Touch), the Android and their web-based DC Store, although exact pricing has not been revealed. Digital comics are generally priced at $1.99 for a standard comic book that’s been converted to their guided view digital form. Past experiments with day-and-date releases have been priced at the higher cover price of print comics, usually $2.99.

As for the books themselves, exact details of what’s changing, what’s staying the same, and who will be working on what books, are slim. More will be revealed throughout June.

What is known is that starting August 31, 2011, a brand new Justice League #1 will be released. The following weeks, it will be joined by relaunched Superman, Batman, Wonder Woman and other titles. In total, DC Comics will debut 52 comic books, approximately 13 a week! The stories will feature younger versions of their recognizable heroes, redesigned by artist and DC Comics Co-Publisher Jim Lee, and are meant to be ideal for new readers.

Justice League will be helmed by Lee and DC Comics Chief Creative Officer/writer Geoff Johns. Both Lee and Johns are responsible for a lot of popular titles from DC, so it seems only natural to team them up for the comic about their premiere superhero team.

Comic Book Resources has rumors on other titles, including Superman being written by Grant Morrison, an award-winning and critically acclaimed writer that has been shepherding Batman for the last several years. He wrote All-Star Superman, a quintessential take on the iconic character, to nearly universal acclaim in 2005-2008. A previously announced new Aquaman series by Geoff Johns and artist Ivan Reis is also expected to be part of the new universe. The two had previously collaborated on successful Green Lantern stories, including the big Blackest Night event.

The question of course: Will this work? (more…)

Wonder Woman: All About Bondage

1943 letter re: use of chains in Wonder Woman comics (click for bigimification)

With a brand new Wonder Woman TV series being produced by David E. Kelley, and the ensuing panic over the show’s costume(s), it’s sometimes helpful to get a bit of historic perspective.

Take the document on the right for example. This 1943 letter was reprinted in the Chronicle Books publication from 2000, Wonder Woman: The Complete History by Les Daniels, and was recently brought online by the Hey Oscar Wilde! tumblr site.

Wonder Woman comics publisher All-American Comics thought that the character’s writer and creator, Dr. William Moulton Marston, ought to maybe tone down the use of chains in his stories of the Amazon Princess. Chains for tying Wonder Woman and other characters up. Apparently, they had received a letter from a reader or reader’s parent concerned about how often this particular plot device was popping up.

This may sound like a reader overreacting, but the truth is that early Wonder Woman comics invariably depicted the main character getting tied up, locked down, or maybe disciplined with a good spanking. Or all three.

Yes it was the 1940s. But this was also the same publisher that released Picture Stories from the Bible. So maybe time to reign things in a bit. A bit, of course, translating to specifically “50 to 75%” less chains minimum.

Another thing to note is that at most there had only been 5 or 6 issues of Wonder Woman released up to this point. The comic book series was barely over a year old, with a quarterly release schedule. And people were already thinking “enough already with the chains!”.

Never one to leave his creators without guidance, All-American Comics president Max C. Gaines provided Dr. Marston with a helpful list of alternative “methods which can be used to keep women confined or enclosed”. For story purposes! Nothing else. The list was “hastily dashed off” by a female assistance, so she would know I guess. Gaines reassures that substituting chains would not interfere “with the excitement of the story or the sales of the books”.

Nothing kinky going on here

At this point, it might seem like Dr. Marston had some issues. Well, yeah maybe. But to be fair, he had a lot going on in his life. He had invented a crucial element of the modern polygraph (lie detector). He was a Harvard educated psychologist whose work led to a behavioral model still used today. He created one of the most instantly recognizable and globally known comic book icons in history, and was among the earliest proponents of the educational power of comics. He lived with his wife (psychologist Elizabeth Holloway Marston) and another woman (Olive Byrne) for years in a polygamous relationship. Both women inspired and should probably be considered co-creators of his work. His studies led him to early feminist theories printed in popular magazines of the time. We’ve all got stuff going on. Right?

Some quotes from the good doctor (some represented last year by SarcasticBite.com, some from Wikipedia):

“Wonder Woman-and the trend toward male acceptance of female love power which she represents indicates that the first psychological step has actually been taken. Boys, young and old, satisfy their wish thoughts by reading comics. If they go crazy over Wonder Woman, it means they’re longing for a beautiful, exciting girl who’s stronger than they are. By their comics tastes ye shall know them! Tell me anybody’s preference in story strips and I’ll tell you his subconscious desires. These simple, highly imaginative picture stories satisfy longings that ordinary daily life thwarts and denies. Superman and the army of male comics characters who resemble him satisfy the simple desire to be stronger and more powerful than anybody else. Wonder Woman satisfies the subconscious, elaborately disguised desire of males to be mastered by a woman who loves them.” – Dr. William Moulton Marston, Family Circle, 1942

“Not even girls want to be girls so long as our feminine archetype lacks force, strength, and power. Not wanting to be girls, they don’t want to be tender, submissive, peace-loving as good women are. Women’s strong qualities have become despised because of their weakness. The obvious remedy is to create a feminine character with all the strength of Superman plus all the allure of a good and beautiful woman.” – Dr. William Moulton Marston, The American Scholar, 1943

“The only hope for peace is to teach people who are full of pep and unbound force to enjoy being bound … Only when the control of self by others is more pleasant than the unbound assertion of self in human relationships can we hope for a stable, peaceful human society. … Giving to others, being controlled by them, submitting to other people cannot possibly be enjoyable without a strong erotic element” – Dr. William Moulton Marston, source unknown

“Give them an alluring woman stronger than themselves to submit to, and they’ll be proud to become her willing slaves!” – Dr. William Moulton Marston, source unknown

Hammer Museum celebrates 75 years of DC Comics

Hammer Museum: 75 Years of DC Comics (click for enbiggification)

The Hammer Museum here in LA reached out to let us know about a free event celebrating 75 Years of DC Comics on Tuesday December 14th at 7 PM.

Yes believe it or not, back in 1935 (!), 12 US Presidents ago, way before either Iraq Wars, before the Cold War, the Vietnam War, a few years before World War II and with the country still trying to shake off the Great Depression, a company then called National Allied Publications took a risk by publishing the first comic book of all-original material, New Fun: The Big Comic Magazine. Before then, comics were mostly or entirely made up of recycled newspaper comic strips. It was an uphill venture that initially didn’t pay off until 1938 with the release of Action Comics #1 and the debut of Superman. This was not only a huge hit, but it ended up inventing an entire sub-genre: superheroes. As National Allied changed hands, it’s name evolved to National Periodical Publications and eventually DC Comics and just recently DC Entertainment, named after the home of their second mega-hit Batman from Detective Comics. DC has remained an industry leader since the late 1930s, publishing more world icons like Wonder Woman, Green Lantern, and the Flash to accompany Superman and Batman.

Last month saw the release of a massive retrospective, 75 Years of DC Comics: The Art of Modern Mythmaking, written by former DC Comics president Paul Levitz. (Levitz was among our interviewees for Dig Comics at this year’s Comic-Con in San Diego.) To help in the yearlong celebration, Levitz will be joined at UCLA’s Hammer Museum by current DC executives and creators Jim Lee and Geoff Johns to discuss the history and future of DC. The event will be moderated by comedian Patton Oswalt, who’s no stranger to the world of comic books.

Within its short 75-year lifespan, DC Comics has created and destroyed entire cities, worlds, and universes with a cast of characters that includes the titans of the Superhero world. Comedian, actor, and writer Patton Oswalt will moderate a discussion among DC Comics’ Paul Levitz, Jim Lee, and Geoff Johns, the creative and editorial superheroes behind the pages of Batman, Superman, Wonder Woman, The Flash and Green Lantern, who will discuss the pulp origins of DC Comics’ story lines and characters, as well as the future of digital publishing.

ALL HAMMER PUBLIC PROGRAMS ARE FREE. Tickets are required, and are available at the Billy Wilder Theater Box Office one hour prior to start time. Limit one ticket per person on a first come, first served basis. Hammer members receive priority seating, subject to availability. Reservations not accepted, RSVPs not required.

Parking is available under the museum for $3 after 6:00pm.

While this looks like fun, the really interesting part to me is the inclusion of discussing the future of digital publishing. DC has made some good moves in this area just in the last few months, but it has also sadly shut down its imprint for original webcomics Zuda Comics. Word is that some more bold moves are in the works. I’m not expecting any solid announcements, but I’m hoping there will be some positive discussion to show that they’re ready to push strongly in that direction.

And I’m also unrealistically hoping they’ll pass out free copies of Levitz’ 75 Years of DC Comics to everyone in the audience, Oprah-style.

Print Comics: Still Awesome

My post on Monday about innovative experiments with digital comics doesn’t mean I don’t love me some dead tree comics. Print still has a lot to offer but digital means that the physical version has to step it up and offer more. Fortunately there are some good examples out there.

As a counter-point to the Johnny Cash digital graphic novel with soundtrack, there is BB Wolf and the Three L.P.’s by JD Arnold and Richard Koslowski from Top Shelf Productions. It can be purchased with a 7-song CD, BB Wolf and the Howlers: The Lost Recordings. The graphic novel spins 1920s race tension with the Three Little Pigs fairy tale. The CD brings the music of the titular blues singing main character to life, which is a very cool way to eliminate the guess work of what the music of a fictional character from a silent medium sounds like. You can also get the limited edition BB Wolf Box Set, which includes the graphic novel, the CD and a wooden box with laser engraved art on the cover and 2 shot glasses for that authentic hard-drinking blues effect.

Creating such an experience that goes beyond the pages is a compelling way to make it still matter to have print and physical product. But it doesn’t have to be about creating ancillary material. Savvy creators and publishers can find ways to have their published material be an aesthetic extension of the world they have created.

Fantagraphics Books has always excelled at this. C. Tyler‘s You’ll Never Know, both Book I: A Good and Decent Man and the new release Book II: Collateral Damage, are designed to look like scrap books or photo albums, inside and out. A visually powerful choice that is incredibly appropriate since the story centers on a woman trying to piece together her reticent father’s wartime past.

Last year, DC Comics published Wednesday Comics, an anthology of superhero and adventure stories printed on large broadsheet newsprint that folded out to 14″ x 20″ pages, approximately double the size of modern comic book pages. Reminiscent of the old Sunday comics pages from the first half of the 1900’s, it was a kick to see Green Lantern, Batman, Wonder Woman and other characters in this retro format that pre-dated nearly all of them.

There are a lot of other good examples. Some publishers, like Archaia Entertainment and Drawn & Quarterly, just have consistently great design sense in their print publications. Tumor, by Joshua Hale Fialkov and Noel Tuazon, started its life as a digital graphic novel on the Amazon Kindle, but has ended up being a great looking physical product. Chris Ware’s Acme Novelty Library books (and really any of his books) are always intricately stunning.

So sure, digital comics are the future. But that doesn’t automatically mean print comics have to be relegated to the past. There are still new and creative ways to make an appealing print comic book or graphic novel. As the ratio of print to digital finds its level ground, it will be up to creators and publishers to make products in both realms that are compelling and worth a reader’s investment.