Whitewashing, Regressive Storytelling, and Bigotry in Comics

Remember the good old days when Green Lantern and Green Arrow where white? Never fear, old chum, regressive storytelling is here to whitewash those pesky ethnic characters back out of the storyline.

Sometimes it feels like the large comics publishing companies like DC and Marvel are just sitting around and reminiscing about the “good ol’ days” of comics. Those “good ol’ days” would be when all the main superheroes were white men and the only time you saw an ethic character was when they were driving a taxi or dropping bombs on Pearl Harbor. Now I’m not saying that the writers, artists, and editors at DC and Marvel are racist or bigots. What I am saying is that comic book characters have evolved to suit the changing demographics of America, introducing powerful ethic super heroes with compelling stories, only for these characters to be bleached out in between the pages.

Comic books are a reflection of pop culture, a mirror to changing times and ideas. As of late it would seem, though, that that mirror has turned inwards to reminiscing storylines. The idea of “regressive storytelling” keeps cropping up in comics and blogs. The idea of regressive storytelling is of going back in time to familiar, older characters and telling their past stories instead of future stories. This creates huge holes in the fictional comic universe and renders many storylines extraneous. The victims of this return to the “One True Character”, as Chris Sims calls it, are many times characters of color.

    Take for example, Ryan Choi as the Atom and his subsequent death in The Brightest Day saga. Ryan Choi was the protégé of the original Atom, Ray Palmer. Ryan Choi’s reign as the Atom ran from 2006 till 2010 when he was murdered by Slade Wilson a.k.a. Deathstroke. The death of Choi caused an outcry amongst many bloggers and critics because Ryan Choi had been one of the few American-Chinese characters portrayed in comics today. As well, his powers weren’t driven from a stereotypical source, such as king fu. Though his death played into a larger storyline, many fans felt betrayed that Ryan Choi was regressively replaced with Ray Palmer. Now understandably, Ray Palmer was the original Atom and is a well liked character in his own right, but many fans are outraged by the idea of the torch of fallen characters not being passed down, but back up to formerly fallen heroes. The regressive storytelling and death of Ryan Choi is only the most recent in a long line of ethic characters.
   

In the article “The New Apartheid Of DC Comics”, Ryan Mullenix lists a series of legacy characters that have died or have been replaced by Caucasian heroes.  The article has been hailed by many bloggers as the new “Non-White People in Refrigerators”, a play on the “Women in Refrigerators” list of the 1990’s. The list details the deaths, abuses, de-powerments, and atrocities placed upon characters of color in DC comics. The list of replaced ethic characters is staggering.

Understandably, the old adage ‘live by the sword, die by the sword’ can be tossed about as means to explain this apparent genocide of racial characters in the DC universe, but one has to actually question the legitimacy of that idea playing into the DC universe. When Superman died in 1992, Superman was replaced by other Super-oriented characters, including Super Boy (Kon-El) and The Man of Steel (John Irons).  Now it seems very exciting to have an African-American “Superman” filling the tights of the Last Son of Krypton until you realize that Steel more or less fades into the background of the DC universe after the reemergence of the original Superman. In contrast, Super Boy a.k.a. Conner Kent has an illustrious career with Young Justice and the Teen Titans, as well as his own comic book series. This brings to question the idea of characters of color or ethnicity just being place holders until their former compatriots return.

This idea of “place holding” for former characters, especially when replacing characters of ethnicity, has been replayed over and over in comics. Victims of this regressive storytelling include Kyle Rayner (The Green Lantern), Conner Hawke (The Green Arrow), Jason Rusch (Firestorm) and both Wildcats Hector Ramirez and Yolanda Montez. In all these cases, the titles of these super heroes reverted back to their original owners, like Oliver Queen as the Green Arrow and Hal Jordan as the Green Lantern. In several cases, including both Wildcats and the second Firestorm, the characters were killed off all together. For those characters not killed, they are either left without identities, as is the case of Conner Hawke, or allowed to keep their identity but are looked upon as lesser characters, such as Kyle Rayner. In even less favorable moments characters are left completely powerless, like Jai West, the half-Korean son of Wally West (The Flash), or just completely disappear off the face of the DC universe like Cassandra Cain, the second Batgirl. Granted, Cassandra Cain has made a brief return to the Batman comics in 2010 as a mysterious and unnamed vigilante roaming the streets of Hong Kong but coming from a fan of Cassandra Cain, this storyline feels like a cheap and tacky band aid slapped on to the story arch to stop fan protests.
   

Not all characters of color are killed off or shoved to the background of the comic book universe. Strong and positive ethnic characters are regularly featured in comics. Take for example Marvel’s Storm from X-Men. Storm is well known as a leader of the X-Men as well as a powerful mutant and female character. She was even rated #8 in ING’s Top 25 X-Men. That being said, Storm has been often pass over for her own comic spinoffs while less popular male characters have received spin off comics. The argument could be made that there is less interest in Storm as a female super heroine since the majority of comic book readership is male, who may not have the same interest in female heroes as they do in male heroes. It is a dangerous line between the lack of interest in female characters and a lack of interest in characters of color. For example, in 1993 artists Dwayne McDuffie, Denys Cowan, Derek Dingle and Michael Davis launched Milestone Media with the goal of creating comics that featured black, Hispanic, and Asian super heroes. The company, unfortunately, went under in 1997. The collapse of Milestone Media has been blamed on the lack of interest in characters of color, that readers couldn’t relate to the characters because they were too black or not black enough, and the general poor state of sales in comic books in the late 90’s.  In the end the endeavor was short lived and failed to attract readers.

Even for characters of color that do receive attention in the comic books, a startling trend of bleaching out the characters has been appearing in comics, particularly DC comics. Most recently blogger Latoya Peterson wrote on the sudden white washing of the first black female DC heroine to have her own series, Vixen. In the JLA comic Sanctuary, an image of a Vixen like character appears except for a very startling change, Vixen is suddenly white. Some are calling this a “visual bait and switch”, meaning that readers will notice the hero’s costume first and not question the fact that a black woman has somehow magically become a white woman. This isn’t the first or even the last of DC comics ethnic and colored characters suddenly becoming bleached out.

Take for example Connor Hawke, the second Green Arrow. The son of the original Green Arrow, Oliver Queen, and one of his former girlfriends, Sandra Hawke, Connor is of a mixed European, Asian, and African descent. In his first appearance on the cover of Green Arrow #0, Connor appears as a light skinned youth with blond hair while in the comic he appears to have dark skin and blond hair. Throughout the comics Connor has flip flopped back and forth between being depicted as white, olive toned, and black. Obviously the argument could be made that comic book don’t usually have the same artists for every issue, thus causing variations and different takes on the characters themselves. That being said, Batman has never appeared as a black man. It can also be argued that it’s the interpretation of the colorist, or even a slip up on the editor’s side by not noting the error. One could argue that editors are very busy and have to approve hundreds of comics monthly with thousands of different characters and storylines that they could not possibly be called out upon missing details in character’s appearance. I would agree with this argument. Editors are very busy people and being that they are only human, mistakes will and can be made. The problem I am pointing out is the fact that it is an editor’s job to keep tabs on characters appearance and back stories, to edit and manage storylines so they fit into cannon and protect the interest of the characters there within. If a comic book’s main character is a six foot white man but then appeared as a six foot black man three issues into the comic, there’s bound to be complications and confusion. Yet it seems like comics are able to do the exact opposite of this without batting an eyelash. What does that say to readers? Especially for younger readers that look to comic book characters as heroes and role models. What does it say to those kids that find they can relate to Connor Hawke as a child of mix ethnic backgrounds only to watch him be bleached out and lose his identity? What this transformation says to young readers is potentially damaging to both their psyche and their ideas of self worth.

Comic books are a uniquely American medium of entertainment. They allow readers to escape their own lives for a little while and join into the ranks of demi-gods and titans. They can allow us to rise above our own lots and be heroes. They can remind us of the unshakable good that rest in the souls of mankind and bring us closer to hope. At the same time, comics can remind us of how far away that better tomorrow really is. Perhaps comics aren’t racist and comic book writers are just creating stories to entertain readers with no regard to race and gender. The problem lies in that fact that readers cannot disregard those factors so easily because those notions are so hardwired into our cultural psyche. The words “black” or “white” or “gypsy” cannot be said without carrying with them a connotation. The same can be said of characters of color or ethnicity. Each of them has value and a cultural identity placed upon them that cannot just be wiped away or diminished. Where the line between storytelling ends and protecting character identity begins is hard to grasp. Perhaps Judd Winick puts it best, “It’s important just to see them as characters and not a story line about race.” 

Patterns of a Chaotic Mind: The DC 52 Relaunch- Where's the Diversity?

vanillashots:

There’s a lot of rumors running around since the announcement of DC’s reboot and I’m no expert on the 52 relaunch but as a fan, I know when I see something that sucks.

First off, Stephanie Brown. I really hope she doesn’t go the way of Cassandra Cain by getting naked after a fight and just…

Batman Hush and the Exploration of “Trust”

The graphic novel Batman Hush explores the theme of trust. The graphic novel plays on the ideas of what trust is in context of yourself, those around you, what you see, and broken trust. The story grips readers in a perilous suspense/mystery to the very end and leaves us wondering if we can trust our own judgment.

Batman’s fatal flaw is his inability to trust. Batman Hush delves into the Dark Knight’s impotence to trust in several ways. One such way is shown through Batman’s relationships with allies and foes. Throughout the comic we are shown Batman’s interactions with his allies like Superman, Nightwing, and Robin. Though Batman shows respect for these people, he does not trust in them implicitly. One such example is Batman’s Kryptonite ring. Though it is true that Batman did require the Kryptonite to harness the drugged Man of Steel, the idea that Batman would even need to possess a deadly weapon against a “friend” makes the reader question the relationship between the heroes. After all, Superman trusts enough in Batman to willingly give the Dark Knight Kryptonite but that trust is not mutually reciprocated.

Another example of this interplay is between Batman and Nightwing during the Riddler heist. Nightwing tries to give Batman advice on how to deal with the romantic situation between Batman and Catwoman. Batman rebukes Nightwing for poking his nose into Batman’s love life. Nightwing light heartedly brushes off the rebuke but Batman later notes that Nightwing’s advice might have been sound. This is just another example of Batman cannot or will not trust in his own allies for any matter.

As well, Batman/Bruce Wayne’s entire relationship with Catwoman/Selina Kyle thought Hush is dotted with trust issues. Batman finds himself drawn to the reformed cat burglar but at the same time he doubts his own motives. Batman sways between allowing himself to trust in Catwoman, which he honestly appears to want to, and in debating her motives. He constantly questions if Catwoman is a distraction crafted by “Hush”, if his affections are a byproduct of contact with Poison Ivy’s pheromones, or if he is honestly in love with Selina Kyle. In the end, Batman reveals his identity as Bruce Wayne to her but as a reader we are left questioning Catwoman’s loyalties at the end of the graphic novel. We must ask ourselves if Catwoman was a player in Hush’s schemes or the unluckiest victim of Batman’s inability to trust.

Batman Hush also plays on the idea of trusting in the normal action of others. Batman is thrown off by his rogue’s gallery suddenly acting out of script. Batman has grown use to the normal but crazy stunts pulled by his common foes, so when they begin action out of script he is left unbalanced. This causes Batman to makes mistakes like attacking an innocent Joker (which is ironic) and not noting that only the Riddler isn’t acting peculiar. In fact, Batman is almost relieved that by the Riddler’s normalcy when in truth he should be more wary of the one person on script amongst the chaos. This idea of trusting in your enemies habits makes Batman write off the Riddler when Riddler is actually the Hush mastermind.

A key theme of trust is trusting in what you see. Batman Hush works this angle throughout the story to manipulate both Batman and the reader. The idea of trusting what you see is played out through the schemes of Hush. With every new enemy Batman faces, Batman is only shown what Hush wants Batman to see, whether it’s the Joker standing over the body of Dr Thomas Elliot or the face of Jason Todd. Every move is carefully crafted to allow both hero and reader to participate in a strange game of sleight of hand.

As well, subliminal messages are played into the story. The concept of not being able to trust your own thoughts is used through subliminals. Batman’s own mind is turned against him to trust in a former friend, Dr Thomas Elliot. The reader must question the legitimacy of Wayne and Elliot’s friendship during the funeral scene. When Timothy Drake asks Dick Grayson if he’d ever heard Bruce mention Elliot before, Grayson say not often. The reader can take this to mean Bruce doesn’t share his past with his partners or the deeper question is if Elliot’s sudden reappearance has a darker meaning. The reader later learns that subliminals have been encoded into the Batcomputer to trigger Batman to call upon Dr Elliot for medical emergencies. This idea of the mind being corrupted and turned against you is an example of not being able to trust your own eyes.

A very interesting concept explored in Hush is the true identity of the Hush character. Throughout the majority of Hush the reader follows only Batman’s point of view. This suggests that the reader is equal in Batman’s own knowledge of Hush and the reader is very rarely allowed snippets of side commentary. This lack of secondary point of view creates a dynamic between Batman and the reader that leaves us struggling with the Dark Knight to unmask Hush. We are given subtle hints to the identity of Hush through symbols common to Batman’s rogue’s gallery. The first is quotes of Aristotle, which would make a well versed Batman reader speculate that Hush is Maxie Zeus. The second clue is Hush’s procession of Two Face’s lucky coin. We are led again to believe that Harvey Dent/Two Face is Hush when Hush unveils himself to the Joker at Arkham Asylum. (I also believe that there is a very minor moment that dabbles at the idea of Lex Luthor even being Hush during the abduction of Talia Head.) Batman suspects Ras al’Ghul of masterminding the Hush conspiracy only to find Ras is yet another pawn. Further, a reborn Jason Todd, Clayface, and Dr Thomas Elliot are named or shown as being Hush. In the final battle between Hush and Batman, Hush names himself as Dr Elliot and carries Elliot’s jade pendant. The reader is lead to assume Hush has been Elliot the whole time but this is problematic. The first issue is the factor that Hush is never unmasked by Batman. Since we never see the face beneath the bandages we cannot safely say that Hush is Elliot with 100% accuracy.  We can only believe it is Elliot because the masked Hush has Elliot’s pendant and says he is Hush.

As well, other symbols of Hush must lead us to question his real identity. An example of this is the nondescript overcoat. Even Batman notes Hush’s overcoat. If the reader glances through the graphic novel they would note that a total of nine separate characters wear the same coat, including Bruce Wayne. This idea of Batman’s enemies wearing a piece of clothing that is also worn by both allies and enemies must make the reader ask two questions. One, who is Hush? Two, could Hush be everyone? The idea that Hush could be anyone and everyone plays on the concept of who do we trust and do we trust what we are told or what we see.

Another symbol in Hush that strikes an interest is Dr Elliot’s jade pendant. The pendant is called bi-disk and originates from the Zhou Dynasty in China. The bi-disk means a circle without end, or eternal life. As well, bi-disks were used in war as gifts to victorious generals as a sign of the defeated army’s submission. I find this fascinating because not only does Batman rip the bi-disk from Hush’s neck, but in the end of the comic it is never clearly seen as Batman being victorious over the Hush conspiracy.

A much more interesting concept to me is the three layer literary levels of Batman Hush. The first is the comic’s plotline. The second level is the mention of The Purloined Letter by Edgar Allen Poe and how it corresponds to the story.  Batman refers to The Purloined Letter in conversation with Superman after the final battle with Hush. The word “purloined” means stolen or can refer to broken trust.  The main concept of the short story The Purloined Letter is that the truth is right in front of you but it is so obvious, you miss it. This plays into Hush when Batman misses the fact that the Riddler is not acting suspicious. In the short story the stolen letter is so inconspicuous that detectives repeatedly miss it on dozens of searches because they assume that it would not be in plain sight. Much like Batman overlooked Riddler as a suspect because he was not acting out of character.

During a speech made by Dupin, he mentions watching a group of schoolyard boys playing evens and odds. The boy that is best at the game could “read” his opponent by imitating his opponent’s expression and mimicking the expression in an attempt to understand his opponent’s next move. Hush plays with this idea from the The Purloined Letter in two ways.  The first being Wayne and Elliot’s childhood war games and how Elliot could cleverly predict Bruce’s next move. The second is Hush’s fluid identity, giving him the ability to be any of Batman’s enemies and take on their “faces” so to speak.

The Purloined Letter also plays on the idea of revenge, The detective Dupin is wronged by the thief years earlier, so when Dupin retrieves the stolen letter, he leaves a message to the thief saying “So baneful a scheme, if not worthy Atreus, is worthy of Theyestes.”

This is a reference to the Greek myth of the brother Atreus and Theyestes, and the third layer of the story. The myth of Atreus and Theyestes is that they are brother and rivals of a cursed family. The brothers constantly use trickery to steal the kingship of Mycena from one another. Their tricks usually consist of letting the other believe they are in possession of something precious only for it to be revealed that the other brother has stolen the item from the first. In the end, Atreus ends the rivalry when he kills Theyestes sons and serves them to their father at a feast.

Both the idea of revenge and the myth of Atreus and Theyestes come into Batman Hush. Revenge is Dr Elliot’s motive in Hush for a seeming wrong done unto him by Dr Thomas Wayne. Much like Atreids, whose entire family is cursed by the misdeeds of a forefather, Bruce Wayne is targeted by Elliot because of his father saving Dr Elliot’s mother. As well, the concept of Batman thinking his identity as Bruce Wayne is safely hidden away only to discover his enemies are aware of his true identity is traceable to the Atreids myth.

Batman Hush is a thrilling game of sleight of hand that leaves the reader questioning if they truly know who Hush really was. Loeb’s story telling is phenomenal and his ability to not only manipulate the characters but the reader as well is awe inspiring. I cannot gush enough about Jim Lee’s artwork and attention to the simplest detail. The entire creative team behind Batman Hush did an astounding job.

On a further note, I have misgivings on the idea of sequels to Hush. I realize that many readers must have felt cheated at the end of the story when Hush’s identity wasn’t confirmed and feel the need to have the matter definitively answered. Personally, I think Loeb didn’t reveal the true face of Hush because he was manipulating the reader to feel as unbalanced and uncertain of the truth as Batman when Catwoman whisper that fateful final “hush”.

Also I feel that readers miss the layers of deeper literary references that Loeb used in Hush. I am a fan of Poe but even I had to retrace The Purloined Letter to see how masterfully Loeb wove it into Hush. And to even bring in the aspects of a Greek myth mentioned in the last sentence of The Purloined Letter is a level of storytelling that goes beyond the common writer. By creating sequels to Hush, I feel it destroys the intricacies of Loeb’s storytelling.

Can You Dig it?

The Goddess is working on some fresh reviews. I’m hoping to get back to my old format (even though my Stephanie Brown opinion page was a huge success!) and review a few more comics I have in my collection. Here’s some things you might want to look forward to:

-A review of Batman:Under the Red Hood. A compare and contrast of comic vs. movie review. (Read my review of “Under the Hood” by Judd Winick below, please.)

-Ruse (The CrossGen years.)

-Streets of Gotham-Leviathan (Damian makes a real friend? *gasp*)

-Batman Hush - a detailed analysis of the graphic novel. (I actually wrote this for a college class. Yes, my life is that awesome.)

-A report on Whitewashing in comics (Final paper for my comic book class.)

-And whatever else I stumbled upon on my digs.

Morning Glories: For A Better Future

Morning Glories: For A Better Future  (2011)

Nick Spencer - writer

Joe Eisma – art

I picked up the Morning Glories trade paperback on a whim one day at my local comic book store and I haven’t been able to put it down since. As a writer and a mystery junkie I have trouble finding books that can keep me guessing, have fresh storylines, or plots that don’t reek of clichés. From first to last page of Morning Glories I was captivated by the intriguing storyline and darker mystery that shrouds the Morning Glory Academy.

Usually I’d start here to tell you every detail of the book and crack jokes right and left but I can’t do that this time around. I can’t make fun of Morning Glories Volume One because it was just too damn good! I was on the edge every moment of this book. I had bought the first collected edition of Morning Glories on a whim but it immediately became my favorite comic. I sent it around the dorm to all of my friends and we all agreed that it was the best graphic novel we were all currently reading.

The story centers on a group of new recruits coming into the Morning Glory Academy. There’s the ambitious and brilliant Casey, the privileged Ike, Zoe the professional dater, the geeky Hunter, moody Jade, and the mysterious Jun. Each of them become woven into the dark and deadly mysteries that entrenches the academy when they discover they all share the same birthday – today.

Faced with murder, suicide, beatings, and attempts on their lives the six, new students band together to stand against the threats Orwellian staff. The clear leader of the group is Casey, your typical blond haired, blue eyed American girl, but she’s smart and tough. She gets beaten, electrocuted, and nearly drowned all within her first week of school.

The comic has a steady beat of rising and falling action keeps the reader in suspense. The chapters seem to set a beat of being what I’d call a “slow” chapter followed by a “fast” chapter. A “slow” chapter is usually a chapter that sets up for drama, not to say it isn’t an exciting. A “slow” chapter is usually used for set up for drama, introduction of characters, or establishing themes. I find these “slow” parts to be deceiving to the unwary reader. Nick Spencer is an amazing writer because he drops these tiny details that seem insignificant or even cursory at first glance only to have these passing hints blow up into huge drama in later chapters.

“Fast” chapters are exactly what they sound like. Fast drama, fast action, and fast paced. Those tiny tidbits that Spencer dropped throughout those “slow” deceiving chapters really come into play. Spencer also manages to give readers a real thrill at the end of every chapter, the quintessential cliffhanger. I have to say my favorite part of every story really is the endings because they leave so many more questions and lots of story possibilities.

I don’t want to spoil the story for anyone so I’ve decided not to divulge every detail of Morning Glories because I really want everyone to go out and actually read this book. I can’t rave about this book enough both as a writer, a reader, and a mystery fan. As not to give away too much about this graphic novel I’ve decided instead to explore the themes and images that keep popping up throughout the pages of Morning Glories.

“The Time of Our Release Draws Near”

The graphic novel actually starts out with a hand written note with the quote above. As well it’s written on a cell in 1490, in blood on the wall by Meghan, and by Casey. What could be the meaning of this?

“For A Better Future”

The entire school is covered in signs that say “For A Better Future”. When a new recruit is brought in her folder even carries the moniker. What is the better future that Morning Glory Academy is planning for?

Everyone Has the Same Birthday

What is MGA looking for when they bring in students that all have the same birthday? What is so important about this day?

What’s in the Turbine Room?

For a lack of a better name I’m calling the strange spinning thing “the turbine” for lack of a better term. This strange “turbine” appears repeatedly throughout the comic, and it always leads to death, either by a spidery ghost creature, explosions, or a melting lava floor.

Who is the Ghost?

The ghost in the turbine room kills a student and a guard but who is he? Zoe meets him and calls him “David” but who or what is the ghost?

Random Notes:

• What does MGA have to do with the Spanish Inquisition?
• In chapter 5 Casey’s eyes go from being gold to being blue. A mishap or on purpose?
• What is the secret of Morning Glory Academy?
• Who is the Jun look-a-like?
• Who is Jade?
• Are the stories linear or do they bounce around in the time line?

I really want everyone to be intrigued and read Morning Glories, and most of all I want to start a conversation. I want to hear back from others that have read the comics and/or graphic novels and are as intrigued as I am.

The Goddess Rates:    4/4

If you liked this review and want to read Morning Glories Volume One click the link.

I don’t usually repost on this blog but with the whole War Games discussion, I felt this was totally appropriate.

(via vanillashots)

The Goddess is Diggin’ up her next review!

It’s good to be back! Since my last review/giant middle finger to Steph haters turned out so well, I’m going to jump right back into the saddle.

Errr….that is after I’m done moving. Yessir.  Goodbye Butler, Hello Erie!

Actually its no fun at all. I don’t know a single comic shop in Erie and our Borders shutdown. The alternative is being homeless at this point since my mom and I lost our house.

But never fear, I’m still in good spirits and I’ve still got my wits. I’ll try to have my next review posted before July 10th, if at all possible. I’m thinking of taking a short break from Batman comics to look at some really great comics I’ve been reading lately. It’s a toss up between Ruse and Morning Glories.

As always if you want me to review anything special or just want to say “Hey”, you can just send the Geek Goddess a message. Feel free to ask me anything. I’m usually a benevolant deity.

           Except when you fuck with my Robins. Then I get pissed.

Until next time, keep diggin’

The Geek Goddess~

Batman: War Games (The Goddess’ Wrath Follows)

Batman: War Games (October 2004-January 2005)

First off allow me to apologize for allowing my Tumblr reviews to lapse off but I was distracted by mounting school work, health problems, and ultimately an unexpected death in the family. I think everyone can understand why I haven’t been able to devote myself to the subject.

But I’m back now and sharper than ever.

War Games is a Batman comic series playing off of the idea of what would happen to Gotham City if a full scale gang war broke the uneasy truce between the gangs. This gang war is accidently started by Stephanie Brown a.k.a. Spoiler and formerly the Girl Wonder Robin. Stephanie, in a misguided attempt to elicit the praise of Batman, enacts a plan bring all the gangs of Gotham under one crime boss. Unfortunately the plan fails to work because Batman’s crime liaison named “Matches Malone” fails to show up to the meeting. Without the guy in the charge, the gang leaders panic and turn on one another and start shooting. It’s a bloodbath and it sends the gangs of Gotham spiraling out of control.

Batman calls in his troops to help him bring the city back under his dark wing but he’s out maneuvered by Black Mask at every turn. At every corner Batman pushes at the limits of his boundaries and trust with his protégés, Nightwing, Robin, and Oracle, the GCPD, and even the hearts and minds of Gotham. In the end, Batman is badly beaten and nearly destroyed by the gang war and the death of yet another Robin. 

Several major things happen in War Games that are very important to the long term Batman mythos. At the beginning of War Games Batman is Robin-less after Tim Drake is blackmailed by his father to stop being a vigilante and Batman fires Stephanie Brown from the Robin position after it fails to lure Tim back into the fold. To make things even more unfortunate, the ploy puts a rift between Tim and Steph that has yet to be bridged. Even now, as Red Robin and Batgirl, Drake is only beginning to give the slightest bit of respect to Brown but he still considers her an inferior hero. (I tend to want to stick my boot into Drake’s inferior ass sometimes.)

The War Games comics established the Black Mask the kingpin of Gotham’s underworld. After kidnapping and torturing Stephanie Brown, Black Mask learns Batman’s contingency plan to make an agent of Batman the leader of Gotham’s entire underworld and uses this against Batman and his allies to make Black Mask into the ultimate dynamo. The long term effects of this takeover can be seen in Batman: Battle for the Cowl and the Batman Reborn series.

During a hostage situation at Tim Drake’s high school, in which his friend and crush Darla is murdered in a botched kidnapping attempt, Batman carries Darla’s dead body out into the open daylight in front of hundreds of police, emergency personal, terrified parents, and reporters. This moment solidifies Batman as a real person and not a Gotham urban legend. I know this sounds peculiar but up until this point Batman was never seen on a camera, TV, or surveillance equipment. Many people thought he was a hoax cooked up by Commissioner Gordon to keep the criminals of Gotham scared. You have to also think of the legal repercussions of this moment too. Before than you could have a criminal screaming in the court room that he was set up by a giant flying rodent, a loony dressed up like a bat and everyone would think he was crazy or high. Now, with definitive proof that the Batman is a real, physical being it means that those same criminals could walk because Batman can’t be subpoenaed to show up in court, thus negating the whole legal system. The most definitive thing about the Batman reveal is the fact that he’s carrying out the dead body of a young woman. Batman’s entire persona is meant to terrify people and he’s made inflicting that terror into an art. Imaging it’s you standing outside your kid’s high school and you can hear kids screaming and gunshots from inside. You don’t know if your son or daughter is dead or alive. Suddenly, out walks this horrifying man that you thought was an urban legend carrying a dead body of a little girl. What are you suppose to think? You don’t know who was inside shooting but all you see is this nightmare and a dead kid. Trust me; it fucks with your head. It also turns Gotham against the Batman. He’s no longer its silent protector, it’s ‘Dark Knight’, but now he’s a child murderer and untouchable by the law.

Speaking of untouchable by law, let’s point out the fact that Batman goes off the reservation and kidnaps the entire GCPD and uses them like his personal army. Sure, we could say he knew what he was doing commandeering the Gotham police since he wrote the book on this whole gang war mess but he crossed the line. Batman is a vigilante working outside the law which has always left a heavy amount of tension between himself and Commissioner Gordon, but it’s not Gordon running the show down at the precinct anymore, it’s Atkins. Atkins is on thin ice over the whole Batman deal but when Batman seizes control of the GCPD in an attempt to stem the tide of war, he turns the entire GCPD against him, the gangs, and anyone in a mask. Nightwing takes the brunt of this downfall when he’s shot in the leg by a cop and nearly bleeds to death.

This tyrannical seizure of Gotham’s police also leaves a bad taste in the mouth of Oracle, Barbara Gordon. Batman time and time again disrespects Barbara and undermines her. Now Oracle isn’t some fly by night character, we’re talking about the original Batgirl who made her bones fighting alongside Batman and Robin. A woman that took a bullet to the spine from the Joker and still manages to kick ass from her wheelchair. And when the Black Mask brings the fight to her door, Barbara gives Batman an ultimatum. The Clocktower, a building that has withstood the cataclysm that brought Gotham to its knees and turned it into a No Man’s Land, a symbol of hope to those that stayed and fought, is about to blow. Batman can stay and fight Black Mask to the death or he can save Barbara because she can’t escape on her own. Batman very nearly doesn’t save them both. As a result Barbara cuts her ties with Bruce and moves to Metropolis. Sure she comes back and takes up the cause again but the relationship between Oracle and the Bats never fully mends. And in truth, Bruce Wayne and Batman never actually work to make amends to Oracle.

Perhaps the final, and maybe not as crucial point, is the death of Stephanie Brown. Now I’m not saying Steph isn’t important. I don’t mean that at all. I mean that retcon and undermining has made her death a silly mistake and not the crucial idea it should have been. More on that in a second.

Batman: War Games boils down to two major flaws in Batman’s psyche, 1-Batman has to control everything and 2-Batman doesn’t trust anyone. The war games contingency plan was written by Batman as a way to strong arm Gotham’s underbelly into Batman’s control through various cloak and dagger maneuvers. Batman is a brilliant strategist in this respect and his plan is nearly flawless. I say nearly because of his second problem, his inability to trust. Batman brings Stephanie Brown in to be his Robin not because he thinks she’s a suitable Girl Wonder, in fact he belittles her at every turn. Batman’s ultimate goal in allowing Steph to be Robin was to try to seduce Timothy Drake back into his former role as Robin. He plays the one against the other creating a rift between the couple that hasn’t been mended yet. When his plan to bring Tim back fails, Batman discards Steph. Understandably she broke one of his rules (no not the “thou shalt not kill” rule. The “do as I say not as I do” rule) but he fails to see the outreaching effects of this dismissal, much like he failed to see the long term effects of his firing of Dick Grayson as Robin on their personal relationship. Batman’s good with the concepts and strategy but very bad with the human element of the whole deal.

In the end, Stephanie Brown got boned by DC. I’m not saying I hated the War Games comics. I hated how Stephanie Brown was turned into DC’s whipping boy. I know a lot of fans hate Stephanie Brown with a firing and unyielding passion. To be blunt, I was not a Brown fan up until the release of BatgirlRising. I’ve read a majority of the old Robin comics from the 90’s while she was Spoiler and I wasn’t too fond of her. She was a loud, bossy, impulsive kid that was spot on with her name “Spoiler”. It was like everything Steph touched went belly up, the kid just couldn’t get anything right. She gets knocked up, puts her kid up for adoption, gets held hostage, has a vigilante boyfriend with so many issues that he won’t even make out with her unless he’s in his Robin uniform and dares not tell her his real identity. I mean DC really just set this girl up for a pitfall. Let’s discuss the life of Stephanie Brown.

Number one is obviously the daddy issues. The girl becomes a vigilante because her dad is a terrible bank robber named The Cluemaster (He’s something like Riddler-Lite, all the stupid, cryptic messages with only half of the pizzazz). Steph becomes the Spoiler to screw up her dad’s devious plans and ends up befriending Robin. Steph’s dad even uses her as bait at one point, allowing his daughter to be kidnapped and held ransom so he can try to manipulate Batman and Robin into dealing with his cohorts so he won’t have to split his take with them. Not there’s some shitty dad’s in this world but a dad that lets his fourteen year old be held hostage in a warehouse by a bunch of convicts is a fucking messed up dude.

Obviously, since Steph’s dad is a worthless pile of shit, she turns elsewhere for love and a father figure. I don’t think I need to point out that this is very clearly a reason why she ends up pregnant. I mean it’s the old hat at this point to have a girl without a daddy popping out tykes in her teens. Still it reflected a time where teen pregnancy was on the rise. Kudos DC for trying to keep your finger on the pulse of youth. After the whole baby fiasco, Steph looks to Batman as her father figure. I mean, who wouldn’t. Tim Drake pretty much worships the ground Batman walks on and I’m sure when they weren’t making out, all Timmy would talk about it “Batman this and Batman that” coz he sure as hell wasn’t talking about his feelings with her. (Which I find amusing because now we can’t get Timmy to shut up about how sad he is. Go back to your corner Emo Tim!)

So Stephanie Brown turns her attentions to Batman hoping to find a father figure. I can tell you right now, this is going to end ugly. Steph goes to Batman hoping to prove herself as a worthy vigilante and win the praise of Batman, which intern will win her the praise of Drake coz he’s a little Bat Clone. Someone should have warned the girl that Batman doesn’t hand out praise and self esteem. He hands out broken kneecaps and beat downs. As well, Batman is using Steph very clearly from the beginning to get Tim back. So Steph is abandoned by her shitty dad and used by her angsty mentor. Then, when his ploy only manages to make a bigger rift between Drake and himself, Batman drops Steph like a bad habit. The pain, humiliation, and defeat that Steph must have been feeling had to be staggering. I am in no way surprised she implemented the war game to try and win Batman’s respect. At that point the girl must have been frantic enough to kill if it meant Batman would even look in her direction. The open lines, presented as a journal chronicling Stephanie’s inner monologue, really sets tension and level of desperation Steph is feeling to even consider thinking she could single handedly manage a gang war.

I think this is why a lot of fans dislike Steph Brown. She’s a screw up. She a peppy, smart mouthed screw up, but a screw up none the less. Batman fans are use to Batman’s polish and refined detective skills, his ability to outsmart, out maneuver, and out class his opponents. Sure he and his compatriots fall into traps and end up in sticky situations but they are always one step ahead of the fiend. Steph’s more of an on the fly kinda girl. If Plan A works, hey great! If not, Plan B, C, D, E, F, etc will be enacted until she’s either dead, incapacitated, or the Bat shows up. I personally appreciate that aspect of Steph’s personality. So much of the Batman mythos is a polished veneer of tactic and genius that I sometimes miss the human and imperfect aspect. I prefer a comic book character with a sense of spontaneity and a touch of crass. I’m a screw up, and I’ll gladly admit it. That’s why I gravitate to characters like Stephanie Brown and Nightwing. Their upbeat and energetic personalities at a wonderful counterpoint to Batman’s doom and gloom approach. Sadly for Steph, and the multitudes of readers that hate every incarnation of Robin, screw ups don’t tend to last long in the Batman universe. (Oh sure they’ll get punched back into existence by some juiced up Superboy incarnation but they have to sleep with Ra’s al Ghul’s proxy vagina afterwards.)

Steph is held hostage by Black Mask while he taunts and tortures her for days. That’s right-DAYS! Now Batman had Batgirl keeping an eye on Timmy during his entire sabbatical but Steph gets physically and mentally abused for DAYS! and no one bothers to notice?

Oh wait! That’s right, someone did notice! Catwoman, Batgirl, and Oracle! Wait, those are all women. Hmmm. So Timothy Drake, who is supposedly Steph’s boyfriend, doesn’t wonder where his vigilante girlfriend is during a goddamn gang war where people are dying in the streets but fucking Catwoman takes the time not only to take Steph to shelter but also is the only one that gets pissed that Batman pretty much used and tossed Steph aside. CATWOMAN PEOPLE!!! As well, Oracle keeps trying to track down Spoiler when she’s not fighting tooth and nail to help Batman, Robin, and Nightwing. It’s finally Batgirl that puts a voice to the whereabouts of Stephanie but only after Batman has shushed her and waited until Drake is out of earshot. I mean there’s no reason for him to worry about the safety of HIS OWN GODDAMN GIRLFRIEND!!!!  By this time Batman’s totally figured out everything was a chain of events Steph accidently set off because he never told her his alias as Matches Malone.

I think the most disgusting part of the whole death of Stephanie Brown was the controversy after her death. It was a tragedy Stephanie died, but with the mass violence that broke out over Gotham because of Batman’s crazed need to control everything, Steph ended up as the slaughtered scapegoat for Batman’s own failings. What really burns me is Dan DiDio, DC executive editor, in March 2007, responded to questions about the absence of a Stephanie tribute from the Batcave, saying that the official position of DC Comics is that, “She was never really a Robin,”. What the fuck?

No, seriously, WHAT THE ACTUAL FUCK?! I call to evidence against Mr DiDio’s claim is the actual quote from War Games itself. Stephanie’s last, dying question is, “Was I ever really Robin?” Batman answers, “Yes.”

 For DiDio to say that DC doesn’t consider Stephanie a real Robin is like Batman holding the broken, bloodied body of Jason Todd in his arms and screaming “HE WAS WITH THE TEMP AGENCY!” I’m calling bullshit on DC’s balls. That’s right, ON YOUR FUCKING BALLS MAN! I’ve had enough with disrespect to Miss Brown and all those chumps that wanna claim she wasn’t a Robin.

She wore the suit, she died for the war, and she was a good soldier. Stephanie Brown was a Robin.

Now respect the girl power or I’m going to kick your ass Cassandra Cain style.

Seriously.

I’ll do it.

The Goddess Rates: 3/4 overall story

0/4 for the treatment female characters.

This site is no longer an active petition but it puts into better words what I really feeling while writing this reaction statement. Please take a look.

                http://girl-wonder.org/robin/

Robin/Damian Wayne and the Red Hood/Jason Todd should have a team up in the comics.

runalovegood asked: I thoroughly enjoyed your Red Hood review. I don't agree with all of it, but that's because I'm me, and the angst is all that matters in my world, haha :P

"Jason was still a bad guy at the end of the book "
I disagree. I think it's too simplistic to just call him the "bad" guy. I think he's misguided, sure, but ultimately, I kind of agree with him saying that he does what Bruce is unwilling to do. I mean, I'm not saying go around killing every bad guy ever, but he's got a good/fascinating point about the Joker/Batman dynamic.

Agreed SO much on the Nightwing & Batman moments. Luffs.

And your commentary on Talia had me cracking up SO hard.

Could I trouble you for a book-->movie opinion comparison?

First off, thank you so much for disagreeing with me!

Secondly, pft, I stick to my opinion. I didn’t see any emotional growth in the characters by the end of the story.

The Talia moments were probably my favorite in the entire comic for the simple fact that they were really fun to spoof.

As for your final comment, I’d love to. Right after I tear War Games a new one.