On the fifth episode of the Critically Comics podcast, Steven and Tara discuss the Marvel comics event Secret Empire by Nick Spencer! This episode covers the event series that focused on an evil Hydra controlled Steve Rogers taking over the Marvel Universe. Now that two years have passed since the series ended, did the event live up to hype? Is making Steve Rogers a nazi a step too far or is it an incident where life imitates art? Listen and let us know your thoughts on whether or not Secret Empire goes into the canon of all time greats!
Current Canon Builders is an ongoing series that Critically Comics publishes that focuses on the stories of today that will most likely end up being in the canon of tomorrow. Since we typically reserve podcast discussions for completed works, this column will solely dedicated to works that are still being published, but have displayed the qualities of a book that will be discussed, analyzed, referenced and loved in the years to follow.
The Immortal Hulk #18 cover by Alex Ross, May 29, 2019
The Immortal Hulk launched in 2018 under the helm of writer Al Ewing, artist Joe Bennett, and cover artist Alex Ross. All three creators have been producing the work of their lifetime on this book, and each month the book steadily increases in sales. As of June 2019, the first issue alone has received over five additional printings. The reason why the book has been a critical and sales success has been the lighting-in-a-bottle these three creators have managed to capture. Due to Al Ewing’s commitment to build upon the foundation laid by past Hulk stories and Bennett’s hauntingly grotesque and unrelenting artwork, The Immortal Hulk will undoubtedly make its way into the canon of the greatest comic books of all time because it it providing readers with a story that’s never been seen before.
Al Ewing is tied with DC Comics’ James Tynion IV for best writer that readers may have slept on during the past few years. Al Ewing got his start in comics by writing Judge Dread for 2000 AD. Shortly after his debut, Ewing was quickly snatched up by Marvel, and has since primarily resided at the House of Ideas. Ewing has consistently displayed his versatile writing skills by authoring books such as the grounded and street-hero focused Mighty Avengers, the mythical and anti-heroic Loki: Agent of Asgard, the bombastic U.S. Avengers, and the high-concept Jack Kirby-inspired comic Ultimates. In 2018, Ewing was one of the writers who collaborated on the weekly event series Avengers: No Surrender with Jim Zubb and Mark Waid. It was during this event that Ewing had the opportunity to revive the Hulk and set the stage for The Immortal Hulk.
One of the reasons why The Immortal Hulk has been so widely successful is due to the creative team’s restoration of a horror-infused status quo for the character. Prior to Immortal Hulk, the Hulk has gone through a variety of incarnations. For the past decade Marvel has pushed the idea of the Hulk being more of a superhero over the idea of him being a monster. Marvel has forced the superhero label onto the Hulk by making him an agent of S.H.I.E.L.D., providing him with a supporting “family” cast of other gamma powered heroes, and making him the only person capable stopping the villainous Bruce Banner (at the time, Dr. Doom has separated the two personalities into two separate bodies). An argument can be made that Greg Pak’s Planet Hulk and World War Hulk storylines were more mature in content because they focused on the Hulk being more of an antihero, however there is still a greater emphasis on the physicality of the monster over the fractured psyche of Bruce Banner. The character has not had a run primarily focusing on the Hulk’s monstrosity since 2000’s Paul Jenkins’ tenure on the book; Jenkins’ run was more of a government conspiracy thriller that had more in common with X-Files than Transformers.
Al Ewing’s Immortal Hulk pulls its inspiration from Peter David’s eleven year tenure on The Incredible Hulk. Peter David has added more to the Hulk’s character than other writer to the development of Bruce Banner’s mental illness. It was under David’s direction that Banner was diagnosed with Dissociative Identity Disorder and developed multiple versions of the Hulk (such as Joe Fixit, the Savage Hulk, and Professor Hulk). Instead of focusing on the pure brutality of the Jade Goliath, David focused in on Banner’s struggle to control a crueler, more demented and streamlined version of his repressed self.
While building on previous classic runs, Al Ewing is cementing his run on the Hulk by adding new elements to the character. The driving force of the book is the new personality known as the “Immortal Hulk” which provides the character with previously unseen powers. This new “Immortal Hulk” persona only emerges at night and has the capability of resurrecting Bruce Banner from fatal wounds. In addition to conquering death, the Immortal Hulk personality is by and large the cruelest iteration of the character with his own perverse ideas of what justice is. In The Immortal Hulk #2, the Hulk buries a man alive in his son’s grave (along with the son’s radioactive corpse) after it is discovered his experiments are what lead to his son’s death. It has only been recently revealed that the “Immortal Hulk” identity is a retooled version of the “Devil Hulk” personality. This rehabilitating of the Devil Hulk persona goes well beyond retconning — it is not a simple hand waving technique by Al Ewing to re-contextualize a previous story to benefit his own story. Al Ewing is building on what came before and forging his own path forward by adding more to the mythos of the the Hulk than almost any writer that has come before him. The level of Ewing’s writing for the Immortal Hulk is master class comparable to the work Alan Moore did on The Saga of Swamp Thing.
One of the best things that Al Ewing has done so far in his current run is emphasize body horror in a way no other Hulk writer has done. Everyone understands the basic idea that in order for Bruce Banner to become the Hulk, his body must change. However, current artist Joe Bennett emphasizes the physical strain that Banner’s body must grow through to become the Hulk. Bennett is unrelenting in showing the pain on Banner’s face as his body must contort and expand to almost three times its size. Previously in the run, the Immortal Hulk lost a fight with the Avengers and was subsequently dismembered in attempts to subdue the beast. Despite having his body parts separated and placed into different jars, Ewing has demonstrated that this new Hulk can not be stopped by conventional means. The Immortal Hulk overcame this obstacle by maintaining control over his severed body parts and telepathically forcing his body together again. Furthermore, the new design of the Abomination is pure nightmare fuel. See below for both Joe Bennett and Alex Ross’s interpretations of the Abomination’s new haunting design:
Bennett is an entirely different league than most comic book artists currently because of his John Carpenter inspired designs. In addition, the legendary Alex Ross is knocking it out of the park each month with his covers that will undoubtedly stand the test of time. No other major superhero book on stands is pushing the envelope with their character designs the way Ewing, Bennett, and Ross are.
In addition to body horror, Ewing is bringing an undeniable existential horror to the book. The book’s second’s arc sees the main cast dragged into Hell and coming face to face with The One Below All — a demonic entity who wants to use the Hulk’s gamma energy to force his way out of Hell. The One Below All is a Lovecraftian monster who represents all of the worst aspects of mankind and wants to influence individuals into giving in to their darkest desires. While battling the demon in Hell, the main cast are forced to interact with their deceased loved ones and struggle with the knowledge that they ended up in Hell. The most troubling moment is when the Immortal Hulk’s true motives are revealed. He believes that if humanity stays on its current course, it is fated to be completely wiped out by a combination of nuclear warfare and seismic shifts in climate change — and that if humanity has any hope of surviving, he has to destroy the world himself before they are given the chance to do it themselves. As real world political tensions continue to rise and people deny that climate is real, it is hard not to argue that the Immortal Hulk may have a point.
In addition to redefining Banner’s relationship with the Hulk, Ewing has emphasized how other characters have been impacted by simply knowing Banner. During his run, Ewing has resurrected both the previously dead Doc Samson, and Betty Ross. Both Samson and Ross are struggling with their new own individual status quos. As a result of knowing Banner, and thereby being exposed to some form of gamma radiation at some point, both Samon and Ross are now immortal as well. Knowing they can never die has opened up a personal hell for both characters, and will ultimately have ramifications on how they interact with Banner moving forward. It should be noted that Ewing has created a new character for this run who possibly has the most interesting voice in the book. Jackie McGee is a reported who has spent most of the series trailing the Hulk for her own purposes. Jackie reveals hat her home was destroyed the Hulk and that she secretly envies his power. She explains to the Hulk that she doesn’t envy his strength, but instead envies his ability to show his anger. Their entire relationship is astonishingly insightful into the gender and race politics of modern America. Instead of skirting around what would be an uncomfortable issue for most writers, Ewing tackles it head on.
As of June 2019, nineteen issues of the series have been published and Ewing has indicated that the creative team has not even hit the half way point in their story. If what has come before is any indiction, readers are currently experiencing a story that will be talked about for decades to come and forever alter the way we view the Hulk.
Last month, the 2019 Eisner Award nominations were revealed. The Eisners are awarded to those who are succeeding in the comic industry and pushing the envelope in comic book storytelling. One category to watch this year is the The Best New Series category. For the first time in Eisner history, publishing company Image Comics has completely swept the category. Despite knowing about some of these books, neither of us have ever read any of the series nominated. In order to figure out what all the fuss is about, we each read the first issue of each nominated series at random and have provided our initial thoughts below!
Bitter Root #1
Creators: David F. Walker, Chuck Brown, Sanford Greene, Rico Renzi Publisher: Image Comics Release Date: November 14, 2018
Steven’s Initial Thoughts:
I was very impressed with the first issue of Bitter Root! Despite being a fan of Walker & Green’s Power-Man & Iron-Fist book that was published at Marvel in 20__, I must admit I was unaware that this book even existed. The premise of an all black family based out of 1920’s Harlem, who uses a combination of witchcraft and steampunk technology to fight demonic manifestations of racism and hate, is a book that I never knew I wanted. The family dynamics of the Sangeryeo clan are laid out clearly in a way that doesn’t feel like the characters are exposition machines merely there to catch the reader up to speed. Artist Sanford Greee and colorist Rico Renzi are a fantastic combination. The opening pages that take place in a Harlem Jazz club feel alive and full of creative energy. Bitter Root feels right at home in a world where creators like Jordan Peele, Ryan Coogler, and Boots Riley are attacking age old problems that people of color face in the modern world. By the end of the first issue, I can see this book potentially finding its place into the canon one day because of its unique ethnogothic flavor.
Tara’s Initial Thoughts:
This book seems to be the most complex and important of the nominees. It’s well researched, and it’s clearly driven by passion and rage. I don’t think it’s my favorite book at this point, but I can tell that this book is needed in the industry. It’s one of the books where I’m not the target audience, but I can still see why the book matters— I’m sure many comic book readers feel similarly about ManEaters. I do like the characters in this book, especially Blink and Berg. The way Berg uses language is entertaining for the reader, and also serves to slow the reader down to process what is being said, which is a nice touch.
Creators: Christopher Sebela, Ro Stein & Ted Brandt, Triona Farrell, Cardinal Rae Publisher: Image Comics Release Date: August 15, 2018
Steven’s Initial Thoughts:
Out of all the issues we reviewed for this post, I found Crowded to be the book I was least likely to return to after its first issue. The book is wonderfully clever with its satirical look at the modern practice of relying on crowd sourcing apps and where that practice could potentially take us. However, its central characters were not compelling enough for me to continue to follow. The twist at the end of the first issue was easy to guess and the central dynamic between the main characters felt so strained that I can not seen how this book can exist long term. I think this story is better suited as one off OGN.
Tara’s Initial Thoughts:
I liked this book reasonably well. When it first opened I was reminded of Heroes for Hire in the sense that you could hire superheroes. As the story progressed, that idea combined with what was basically Kickstarter Murder. The emphasis on technology in this work makes it grounded and relatable, but also runs the risk of making it too trendy.
My favorite character is Vita and I’m interested to see where her character development goes. Charlie stresses me out, and I kinda want to see her get her ass kicked. However, I can see the chemistry between the two, and I suspect that there will be a romantic plot line between them, although I’m not sure if there’s any textual evidence for that prediction.
Creators: Chelsea Cain, Kate Niemczyk, Rachelle Rosenberg Publisher: Image Comics Release Date: September 26, 2018
Steven’s Initial Thoughts:
I have made no secret about how much I’ve missed Kelly Sue DeConnick’s Bitch Planet series. After the first read through of Man-Eaters by Chelsea Cain, Kate Kiemczyk and Rachelle Rosenberg, it is seems a worthy successor has made its way to the spinner rack. By utilizing a ludicrous concept (that women get their periods they become unstoppable feline killing machines), the creators take aim at the stigma around mensuration and femininity in our society. The quirky narration is aided Niemczyk’s clever splash pages that firmly establish the book’s satirical tone. Out of all the first issues selected, the final page cliff hanger of this book felt like a gut punch. I am intrigued by how long the creators can sustain this book and how far they are willing to push the envelope.
Tara’s Initial Thoughts:
I like the humor of the book a lot. It’s very sarcastic and witty. It takes a normal bodily function and exaggerates it to the point of “horror”, but it’s a comedic horror. The idea of women’s mood swings and hormones coming from their “pussy” and not men’s rather intolerable behavior is definitely inventive. Taking it to the next level with women’s periods turning women into literal pussies, or giant cats, is also interesting on an animal studies level. I would have to do more research into this, but on a first take, I’ve never heard of a big cat attacking someone for no reason. It’s always because someone invaded their personal space (like we see with a lot of attacks that happen at zoos), or because they were kept domesticated in private homes, or because of illegal hunting (which also makes a solid parallel to rape, unfortunately).
However, I was expecting a bit more substance from the first issue. I might be biased on this front because, as a comic book reader, I generally trade-wait. But I got to the end of the issue and was surprised that was I there— I turned the page, the story was over, and I was disappointed because nothing much had happened. The entire comic was this weird exposition-through-action thing that writers do when they have to world-build. And I get that a lot has to happen before the story can really unfold; world-building, mood setting, and characters are all things you have to develop up-front. However, I still feel like the entire first issue could be summed up in the one page summaries that some comics have before the story starts— you will especially see it with cross-over events. Which is basically all a way of saying that the first issue felt like exposition, and that the real action will start in the next few issues. I loved the first issue, and I wanted more, but it reminds me of Y: The Last Man and I’m slightly worried that it will be too trendy of a book because of the sarcasm; since comics are written in a serial format, that trendiness can work for sales and not for long-term canonical reasons.
Gideon Falls #1
Creators: Jeff Lemire, Andrea Sorrentino Publisher: Image Comics Release Date: March 7 2018
Steven’s Initial Thoughts:
The first issue of Gideon Falls reads like the fist chapter of a long forgotten Stephen King novel. Jeff Lemire— best known for his quieter and more introspective pieces like The Nobody, Essex County & The Underwater Welder —is charging head first into new territory with his first horror series. The mysteries set up within in the inaugural issues are compelling — but also carry faint echos of LOST or the Dark Tower series where threads are laid but I’m hesitant to pull on due to fear of unsatisfying resolutions. However, without a doubt the most promising part of Gideon Falls is the art of Andrea Sorrentino. On the Secret Empire episode of the Critically Comics podcast, I previously declared my admiration of Sorrentiono’s style and innovative layouts. It is my hope that Gideon Falls will unleash the creative floodgates and let Sorrentino go absolutely bananas with his art duties.
Tara’s Initial Thoughts:
I think I read the first issue when it came out, but I had forgotten about it. So reading this felt familiar and distant all at the same time. I loved this first issue and would 100% keep reading. I’m curious to know how Norton and Father Fred will intersect. I also want to know why Norton is drawn upside down so much. I’ve always enjoyed reading about people who are maybe crazy, but probably aren’t, and this book has that. I feel like my love for this book means that I should be saying deep complex things about it, but I don’t have deep complex things to say. I liked the tone and how it reminded me of Castle Rock and Fargo. I’m drawn to the characters— I immediately trust both of the m but am wary of that fact at the same time.
Creators: Joe Henderson, Lee Garbett Publisher: Image Comics Release Date: April 18 2018
Steven’s Initial Thoughts:
Despite its simple concept, Sky-ward seems primed for an multi-media adaption. The main concept of living in without gravity seems perfect for a film or VR video game — it would allow for the world to feel so much more alive. Based on the first issue alone, I can’t shake the vibe that this book was created in hopes of auctioning off the adaption rights in the future. While the world of Skyward is fun, none of the characters or conflicts created within the first issue do not demand that I return in the future.
Tara’s Initial Thoughts:
I really like the cover, which is why I read it before Jeff Lemire’s book, and let’s be clear: that is the only reason. But it turned out to be a solid read. I felt like there was action, without giving away too much of the plot. The ending was great because it introduced a new character and a new set of stakes for the main character (who at the beginning of the book, I wasn’t expecting to be the main character). The plot of 20 years without gravity and people can’t even remember life without gravity. How. Fucking. Cool??! Also, based on they first issue, I expect that this will be a great book for disability studies.
One thing that I like about the book is that it feels outlandish without feeling crazy. I don’t expect to start floating, but if I did start floating and there was a scientist saying “I told you so” I’d be like “yeah, you did, but I didn’t read your article because there are way too many articles in academia, also I suck at math.”
But I really love that it features a woman of color because the world needs more WOC-led books. Also, the prose is great. It’s been really hard for me recently to be invested in a story for the story and not for feminist, animal studies or non-fiction characteristics, but this book does exact that. But also I feel weird about it because Joe Henderson is a white guy and not a POC.
Creators: Brenden Flethcher, Karl Kerschl Publisher: Image Comics Release Date: April 4 2018
Steven’s Initial Thoughts:
Disclaimer: High fantasy is typically not my cup of tea. However, the world and characters introduced in the first of Isola have intrigued me to return for at least one more issue. As a fan of the creators previous Gotham Academy book, I have no doubt Fletcher & Kerschl can successfully manage the task of world building at an appropriate rate. Despite feeling like this is equal parts King Arthur legend, Star Wars, and Avatar, Isla still feels fresh in large part to Kerschl’s art style. If the creators play their cards rights, Image may have another Saga level smash success on their hands.
Tara’s Initial Thoughts:
As far as quality goes, this book is definitely top tier—up there with Gideon Falls. It did a ton of world building in a way that didn’t feel like world building, but instead felt like I was just reading a story. It also set up a lot of questions that I look forward to finding out the answers to. The art was beautiful, and I absolutely loved seeing how the Queen looked compared to the other animals in the story. My only complaint is that I would like a bit more character development— at this point I don’t know if the main character is a woman or still a teenager, or why she is with the Queen and no one else is. But I suspect those questions will be answered in the next few issues.
Steven’s Prediction: I think the book that impressed me that most was Bitter Root. Out of all of these books, Bitter Root has a premise and world I’ve never seen remotely like. After the first issue I’m rooting for this book to have a health life span. However, the book I am most likely to follow the most is Gideon’s Fall. Based on how other locked-box mystery stories have let me down in the past, I am not quiet sure if I’m ready to commit to another story in that genre.
Tara’s Prediction: My favorite book was Isola, mostly because of its incredible art, but also for its beautiful prose. However, the book that I think is most likely to win the Eisner for Best New Series is Bitter Root. Its subject matter is both important and timely, and the voices feel very fresh.
There’s a new trend in independent comic books—the Southern comic. And these books are delicious. Featuring Southern staples like down-home barbeque and moonshine, these stories highlight what the region is best known for. They also emphasize other great qualities of the South—strong family bonds, a desire to fight for what’s right, and an ability to overcome challenges like poverty. The issues these books tackle, such as racism, the opioid epidemic, and religion, are simultaneously distinctive to the region and relatable to the entire United States.
Unfortunately, this new genre is created almost exclusively by white men, which means you get a lot of the same tropes over and over. There’s a lot of room for growth. I mean, all you really need to do is create a story where the female character isn’t a waitress, stripper, or soldier and you’ve broken new ground. But while there’s a lack of diversity in terms of creators of the genre, the characters being written about are relatively diverse. At least two of the five feature women of color, and one has several people of color included in the story.
So without further ado, here are five great comic books about the South:
Southern Bastardsby Jason Aaron and Jason Latour (2014, ongoing series)
By far my favorite comic on this list, Southern Bastards is about how the reverence of football leads to a culture of violence and corruption. When Earl Tubbs comes back to his Alabama hometown to settle his affairs, he immediately clashes with the football coach, who is known for having ties to crime in the area. This sets off a violent chain of events that leads to the introduction of the real protagonist: Roberta (Berta) Tubbs, a biracial woman and U. S. Marine who isn’t taking shit from anyone. The first 4 volumes are out now.
What makes it Southern: Football. It’s basically a religion in the book and in the South.
Loose Ends by Jason Latour, Chris Brunner, and Rico Renzi (2017, 4 issue mini-series)
Loose Ends is the only comic on this list that features characters of at least 3 different races. A self-proclaimed “southern crime romance,” the narrative centers on a biracial romance between an African American woman and a white man. While the main story takes place in the American South, there are flashbacks to some of the characters being at war in the Middle East. The characters avoid being stereotypes, and are relatively well developed. There are a lot of characters in the story, so the narrative can be confusing at points.
What really makes this story stand out is the coloring by Rico Renzi. He is best known for his use of bold, neon colors, but in Loose Ends he combines those neons with monochromatic spreads, creating a visual that you never get tired of.
What makes it Southern: Overcoming poverty.
Moonshine by Brian Azzarello and Eduardo Risso (2017, ongoing series)
From the creative team of 100 Bullets, werewolves make moonshine and refuse to sell it to a New York gangster in 1929. Enough said.
What makes it Southern: Bootlegging, which is foundational to the region’s history.
Warlords of Appalachia by Phillip Kennedy Johnson and Jonas Scharf (2016, 4 issue mini-series)
This book is set in an alternate history where there was a second civil war, and Kentucky is the last state to hold out. I do want to emphasize that this is not a civil war based on slavery or racism, but instead on freedom of religion. The story focuses on Kade Mercer, a former Kentucky Guard who mostly keeps to himself, until his son is kidnapped by the United States government. Singled out by multiple groups for multiple reasons, Kade must navigate territories haunted by violent drug addicts, all while leading civilians to safety and avoiding being hunted himself.
What makes it Southern: The emphasis on drugs, religion, and family.
Cannibalby Brian Buccellato, Jennifer Young, and Matías Bergara (2016, ongoing series)
This series is about a society where the Yellow Fever returned, and in order to get rid of the plague, people infected were given medicine called a Y-PAK. What the CDC didn’t know when they issued the medicine was that a side-effect caused people to have to eat human flesh—otherwise they die of fever. What makes this story different from zombie stories is that these people are still fully functioning—they have jobs, families, and most importantly, remorse. Cannibal is set in set in Florida, where the outbreak is just now starting.
What makes it Southern: Florida swamps, and the mistrust of outsiders.
This list is not exhaustive of all the Southern books on the market, but it will give you a solid foundation of the genre. I fully expect that some of these books will end up being discussed on the podcast to see whether they belong in the canon. The quality of these books are a bit of a mixed bag, but as more diverse voices and new stories get published, this will definitely be a genre to watch. I for one, can’t wait to read more of it.
On the fourth episode of the Critically Comics podcast, Tara and Steven discuss Greg Rucka’s first run on Wonder Woman from 2003 to 2006! This episode covers Rucka’s Wonder Woman: Hiketia one-shot, the infamous Eyes of the Gorgan story arc and the controversial neck snap heard around the world. Is Greg Rucka’s first tenure on Wonder Woman the best Wonder Woman run of all time or is corrupted by the forced tie-ins to Infinite Crisis? Join the debate and let us know what you think!
After Tara’s explanation of what “canon” means in regards to both literature and this podcast, let’s expand upon what can be considered canon.
While a canon is typically limited to only one medium (i.e. novels or films), with fandoms demanding more content for their favorite franchises, creators are more willing to expand their canon to multi-media platforms. Multi-media adaptions of comic book based intellectual property can never share the same linear canon as their source material due to the never ending nature of comic books. However, due to the strength in the writing of certain adaptions and how widely they’ve been embraced by both the comic community and mainstream audiences, select few multi-media adaptions of comic inspired works can be folded into a particular character’s canon.
Multi-media canons are not a new phenomena. For example, Star Trek originated as a television show in 1966 and has since become a multi-media franchise that has grown to include five additional television series, thirteen full length feature films, and countless novels and graphic novels. Previously, for a fan to consume everything that existed in the canon of the Star Trek Universe they would have to consume no less than four different types of media. For a new fan, that much content can be intimidating and lead to struggles in determining what is canon — a debate that is only exacerbated with the inclusion of the dreaded “reboot” phenomena. Reboots often leave fans scratching their heads over what is still in canon and what is being quietly swept under the rug.
Occasionally, the owners of the intellectual property will descend from their high perch and plainly state for fans what is and isn’t canon. Perhaps the most controversial example of this is when Disney acquired the Star Wars franchise in 2012; after picking up the franchise, Disney firmly stated that from 2012 on only the Star Wars films and Clone Wars animated series would be considered in continuity and that all other stories (video games, comics, novels, etc.) would be considered non-canonical and be retired/rebranded as in-universe “legends”. To further drive home their point, Disney stated they would be creating an entirely new canon that would be established solely by material that they would exclusively oversee. This declaration alienated fans who spent decades enjoying these previously published works because they were being told that the stories they revered were no longer important to the other franchise. This frustration that was all too similar and all too familiar with DC Comics fans who struggled to determine what was in still in continuity after the company wide “New 52” relaunch of 2012.
Sometimes fans themselves are divided about a canon being divided between different mediums. A more recent example of a multi-medial canon is the creation of the Wizarding World of Harry Potter. If a fan wishes to complete the full Harry Potter canon that was established with the original novels, they must switch mediums at least three times. J.K. Rowling launched Pottermore, an exclusively online library of short stories and various writings that Rowling has stated are all canonical. In 2016 J.K. Rowling co-wrote Harry Potter and the Cursed Child, a stage play that acts as an epilogue to the Harry Potter sage. Furthermore, 2016 saw the launch of the Fantastic Beast series — a five part film saga that canonically takes place sixty years before the first Harry Potter novel and features several characters referenced in the original book series. The Fantastic Beasts series has been met with a mixed reception with some voicing frustration with J.K. Rowling by comparing her to George Lucas due to her inability to stop tinkering with her previous stories.
While the previously examples of Star Trek, Star Wars and The Wizarding World of Harry Potter are multimedia canons, they are still linear progressions of the same story. If a timeline were to be created for any of those franchises, each entry (regardless of medium) could be plotted in a mostly linear path. Comic books and comic books films cannot share the same linear canonical timeline due to the ongoing nature of comic books. At best comic books films can be adaptations of poplar comic book storylines. It would be impossible for comic books films to be anything other than loose adaptations of already pre- existing comic books storylines — film studios would not expect film goers to read the complete 70+ years of superhero comic books before watching a single two hour film. Conversely, it would be just as alienating for a comic book reader to be forced to into a cinema to see how a particular storyline would be resolved. However, an argument can be be that select pieces of media should have a place in certain character’s individual canon.
Due to the mass popularity of superhero media, a cross pollination effect has occurred where media outside of comics has started to effect comic books own continuity. The best example of this is with Batman and how the various forms of multi-medal Batmen have affected the character’s in universe continuity. Without the creative output of Bruce Timm & Paul Dini on B:TAS, there would be no definitive takes on characters such as Ra’s Al Ghul, Mr. Freeze, or the Joker
Unquestionably, the legacy of B:TAS is the creation of Harely Quinn. Harley Quinn first appeared in “Joker’s Favor”, the twenty-second episode of B:TAS’s inaugural season. What could have been an inconsequential throw away character was welcomed by fans with open arms. Quinn made her first published appearance in 1993 in a printed spinoff of B:TAS. Five years after that, Harley officially entered the Batman canon when she was introduced during the No Man’s Land crossover. Within a decade of her appearance on the B:TAS she was given her own solo series in 2001. Since being introduced into the DC Universe, Harely has become a staple in Batman’s canon but has become popular anti-hero and well celebrated LGTBQ icon. Due to fans connecting with the character, she ended up being a lead in 2016’s Suicide Squad feature film where she was portrayed by Margot Robbie.
Another example of outside media having seismic ramifications on the comic book industry is the rise of the Marvel Cinematic Universe. In attempts to capitalize on the success of their films, Marvel has made several attempts to streamline the comic book versions of their characters to match what is seen on screen. The biggest example the MCU has had on Marvel Comics is the way that Iron Man/ Tony Stark has been written for the past decade — what is seen on the page is a complete distillation of Robert Downey Jr.’s personality. (We will dive more into the MCU’s effect on Marvel comic books in an ongoing blog series after Avengers: Endgame is released.)
While our podcast will continue to focus on what published comic books can be considered canon worthy, we will be launching a regular blog post series to determine what pieces of comic book inspired media can included in individual characters’ own personal canon. These characters have transcended off the page and established their own non-linear multimedia canons – canons that are not defined by events that add to their overarching story but instead a canon made up of pieces of work that cut to the core aspects of the character.
Join us for our first episode of the Critically Comics podcast! This past weekend we had the opportunity to comic creator Rico Renzi. Renzi is best known for his work on Image Comics’s Loose Ends, Vertigo Comic’s Goddess Mode, and Marvel’s Spider-Gwen and The Unbeatable Squirrel Girl. We talk to Renzi about his process, what it means to include people of color in his work, how he felt seeing Spider-Gwen on screen, and what books he would include in the comic book / graphic novel canon.