Did Fredric Wertham imitate superheroes? And if so, did he realize that he was doing it?

But let’s back up and give you latecomers an establishing shot or two. Way back in the early 50s, Dr. Wertham, a New York City psychiatrist, wrote a book provocatively titled Seduction of the Innocent which claimed to use science to demonstrate that comic books were corrupting the nation’s youth. Comics were already being attacked by editorial writers and at about the same time as the book’s publication, a senator named Estes Kefauver was convening hearings to investigate the same charge. The result of all this accusing was twofold: comics publishers went out of business leaving over 800 people suddenly unemployed, and the ragtag remnants of the business created The Comics Code Authority to censor their publications and thus placate the witch hunters. The comic book enterprise went into sharp decline, both financially and artistically until the late 50s, when Julius Schwartz and Stan Lee reinvented the superhero genre.

A sorry story. But ancient history. Well, not quite. Dr. Wertham was back in the news last week. According to the New York Times, Carol L. Tilley of the University of Illinois, examined Wertham’s papers and found numerous examples of research that were “manipulated, overstated, compromised and fabricated.”

Wow. And ouch. Not only did the doctor help put hundreds of decent folk out of work and, arguably, cripple an American art form, but he cooked the books to do it. There have been, for decades, doubts about Wertham’s methods, perhaps the most prevalent of which was that he ignored the validity of control groups. (Okay, goes the narrative, the doc found a hundred young lawbreakers who read comics, but he disregarded the thousands of Eagle Scouts who were also comics readers.) But until now, nobody has accused him of outright lying

Apparently he did lie.

I wonder why. Did he find these entertainments so unutterably vulgar that he was able to convince himself that they were also malign? Was he a zealot who honestly believed that these comic books were pernicious! and corrupt! and evil! and were obliterating the decency of American youth? And did he feel that he was justified in using any means available to quell this menace? That seems to be how zealots like to think.

Or was he a superhero? Consider: the bad guys in superhero stories may blather about ruling the world or getting rich or attaining revenge or, like zealots, proving that they’re right, but the real reason they exist is to give the hero a chance to show his stuff. We like heroes, and we like them to do magnificent deeds, and villains provide the circumstances for superheroic action.  So, Dr. Wertham: did he see, in the anti-comic book excitement, a chance to get famous and cement his reputation and maybe grab a royalty check? Were comics his supervillains, giving him his big opportunity? He was already respected and, on the whole, he seemed to be a pretty decent guy, but maybe he had his share of hidden demons.

I don’t know. I’ll probably never know, and neither will you. But we might find a lesson in the Wertham saga: don’t trust authority figures. I hope that isn’t news to you.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

(February 25, 2013- Bellingham, WA) – Space Goat Productions, the premier comic book talent management and production company, adds manager Darren Vincenzo and promotes Dave Olbrich to Vice President to handle another busy year of making great comics, growing careers, helping editors and reviewing portfolios. Space Goat offers a full range of services: everything from comic book creation (interior art, logos, pinups, character designs, full-book packaging, etc.) to motion and interactive comics to project consulting and property development.

Darren Vincenzo, longtime Batman Editor for DC Comics, joins Space Goat as Talent Scout and Talent Manager. With a career that spans over 25 years, and includes offering Space Goat founder Shon Bury his first writing assignment, Vincenzo has developed a keen sense for discovering and developing talent.

“Space Goat offers an environment that provides guidance to developing artists. I know what artists need to get noticed initially, how to avoid pitfalls and how to help them hone and polish their work with each assignment,” said Vincenzo.  That type of thing doesn’t really exist anywhere else.”

Dave Olbrich has been promoted to Vice-President of Space Goat Productions. A longtime industry professional, Olbrich has worked as a Talent Manager with the company since 2010. He will be assisting in Space Goat’s aggressive plans to build a deeper and more versatile talent roster and extend its reach with art buyers, publishers and producers.  His scope includes the American direct-sales comic market, as well as international opportunities.

“Space Goat is a unique company with incredible potential,” Olbrich said. “I have seen the company grow by providing a real service to publishers, essentially making it easier to produce their titles. Shon broke the mold of other comic book ‘agencies’–and now we have set our sights even higher.”

“We feel honored to be able to offer such an outstanding roster of talent, coupled with a high degree of professionalism, to our partners,“ said Shon Bury, Owner and President. “And we’re thrilled to announce these staff improvements. ”

Space Goat Productions is home to top talent, both established and up-and-coming. A look at the roster includes talent ranging from established artists like Yvel Guichet (Pacific Rim), RB Silva (Superboy),  and Iban Coello (Justice League Beyond) to the next generation, including  Edgar Salazar (Deathstroke), Allan Jefferson (Batwing) and Victor Drujiniu (Justice League Dark).  And it’s more than just domestic talent. Space Goat works with creatives around the world, with studios from Brazil, Spain, India and more.

Chickenhare
By Chris Grine
160 pages, Scholastic Graphix, $10.99

I have no idea what possessed Chris Grine to add a chicken’s legs to a rabbit’s body but he has blended two animals into the unique creature Chickenhare. Created back in 2005, Grine published two graphic novels through Dark Horse before going to the web with a portion of his third story. Now, Scholastic’s Graphix imprint has brought the first book out in full color for the first time this month.

Some compare the series to Jeff Smith’s wonderful Bone, but really, beyond some surface similarity with the artwork, they are very different. First, Bone has a deep mythology and sophistication to the characterizations and writing that set it apart from similar fare. Grine’s work is very entertaining and well-crafted but he’s intentionally creating stories for far younger readers than Smith was aiming for. While his work is All Ages, this work is clearly aimed at 9-12 year olds and for them, this is terrific stuff.

The story, originally published as The House of Klaus, opens with Chickenhare and his pal, the bearded box turtle friend, Abe already captured and about to be delivered to Klaus, the reclusive millionaire. Klaus loves to surround himself with exotic animals and ever since his beloved goat Mr. Buttons left him, he’s accumulated animals but performs sloppy taxidermy on them in order to retain them. Chickenhare and Abe are kept in cages, along with Banjo, an unexplained species called a krampus, and Meg, another unknown species. Once the four escape, the remainder of the story is an elaborate chase with a hefty dose of mysticism. Klaus is dressed intentionally to appear like a maniacal Santa Claus which is just one layer of oddity atop oddity.

The world of Chickenhare is all surface with plenty left to explore and explain but Grine’s artwork is swell, and it takes color wonderfully. He blogged last month, “I’m happy to say that since that time I have worked hard toward my goal of being able to do the kind of color I felt Chickenhare needed should the time ever come when I could relaunch the series in full color.” And he does a lovely job with the color, a mild palette that doesn’t overwhelm the characters or obscure the storytelling.

Grine’s artwork is well complemented with his writing, as the pacing is crisp and keeps things moving at a good speed for his reader. Additionally, his dialogue makes each character distinct although Klaus’ butler comes across like a watered-down Alfred. Still, Chickenhare’s heroic nature, coupled with Abe’s support and Meg’s snappy patter, make the story a joy to read.

According to the hubbub, today is the day Robin dies.

Sigh. If I had to choose between becoming Robin and playing drums for Spinal Tap, I’d join a convent.

The Robin in question – and there’s been a hell of a lot of them – is the little brat who was the issue of Bat(Bruce Wayne)man and Talia al Ghul, a concept I never, ever bought. Subtlety named Damien, the li’l bastard finally came onto his own in the recent, tedious, overwrought, and too-damn-long “Death of the Family” event.

His obnoxious demeanor isn’t reason I detest(ed) his character. I do not condone his birth.

Batman – Bruce Wayne no longer exists – is the poster boy for obsessive-compulsive. All the Prozac, Zoloft, Paxil, and Lexapro combined can’t help this sucker, and yet somehow we have come to perceive his behavior as noble. If we refused to sell guns to the mentally unstable, Master Bruce wouldn’t make it to his next fox hunt.

He sublimates everything into being Batman. Everything. If it doesn’t play a role in his work, he doesn’t have patience for it. This is clear, and as consistent over the past several decades as anything ever is in the DCU. More so. In fact, much more so.

Therefore, I simply do not believe Batman would ever have sex with Talia. But if he did, it wouldn’t result in Li’l Damien. It would result in the return of the Comics Code Authority.

It might even prompt the resurrection Dr. Fredric Wertham. Check out my colleague Denny O’Neil’s ComicMix column tomorrow.

I suspect there’s already a betting pool on how long Damien stays dead. If history is any guide, there will be still another Robin (I’m guessing a female, but that’s just a guess) and, sometime after that, we will endure another multipart pseudo-event that will result in the brat’s resurrection. And we don’t simply have the experience of Dick Grayson, Jason Todd, and Tim Drake (Was he ever killed? I get confused.) We have Damien’s resurrection-happy grandpappy, who has been revived more times than Kenny McCormick.

What goes around comes around. Killing a Robin – or anybody else in the DC Universe – is as original as a bag of potato chips. “Bet you can’t kill just one.” Resurrecting the dead is even less original. It’s boring.

THURSDAY: Dennis O’Neil

FRIDAY: Martha Thomases