Tagged: Dick Grayson

John Ostrander: Sidekicking Around

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Holmes and Watson. Lone Ranger and Tonto. Batman and Robin. Lucy and Ethel. Hamlet and Laertes. The list of heroes and their BFFs is long and overall an honorable one… and usually necessary.

A sidekick, at base, is a supporting character and a supporting character’s main function is to bring out aspects of the protagonist. In most cases, the sidekick is there so that the protagonist isn’t constantly monologuing. Granted, Hamlet is a champion monologuist but when Laertes is there he can be engaged in a dialogue. Holmes needs Watson so the reader can see how brilliant the Great Detective is. Whatever his other character traits may be, Watson’s prime one is to be surprised and amazed by Holmes and, in that, Watson represents us, the readers.

There are many different ways of interpreting a sidekick. Watson, for example, can be Nigel Bruce’s bumbling Colonel Blimp character or Jude Law’s testy and acerbic put-upon friend or Martin Freeman’s occasionally explosive but loyal best man. In the Harry Potter films, Ron Weasley, in the first film, is at one point both brave and self-sacrificing. In later films, however, he becomes cowardly and mostly comic relief, very like Nigel’s Bruce’s Watson.

Robin falls into a strange category of the child or teen sidekick. He was originally introduced to lighten up the Dark Knight Detective and, again, to give Batman someone to talk to rather than himself. Robin humanized the Bat. His popularity gave rise to a whole slew of child/teen associates such as Wonder Girl, Kid Flash, Speedy, and Aqualad. Later, these five went from supporting characters to central ones when they formed their own super-team, the Teen Titans (later, just the Titans when they all outgrew their teenage years).

The original Robin, Dick Grayson, later grew out of his shorts and tights to become a full-fledged hero of his own, first as Nightwing and then later, briefly, actually taking Bruce Wayne’s place as Batman before reverting back to Nightwing. There have been other Robins since then, including one – Jason Todd – who was killed by the Joker. Don’t worry; he got better. The role is currently being filled by Bruce’s son, Damian. I believe he died as well at one point but is also now feeling better.

Moral and ethical questions have been raised about the whole idea of the adult hero having child/teen sidekicks. The lifestyle, after all, is inherently violent and rather dangerous. Frederic Wertham, in his suspect 1954 treatise Seduction of the Innocent, postulated Batman and Robin were gay which, given those times, was thought to be profoundly deviant. Wertham was blowing it out his ass but the damage was done at the time. Still, one can see that it was a dangerous life style to include the kids in. The questions remain.

For me, I’ve sometimes identified more with the sidekick than the protagonist. I love Holmes but I’ve always identified more with Watson (except for Nigel Bruce). Batman (and Bruce Wayne) is difficult to like but Dick Grayson (especially in his adult incarnations) is someone with whom I can more easily relate. I think sidekicks are designed that way. They put more human into super-human.

Marc Alan Fishman: A Tale of Two Flashes

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DC’s Rebirth brings with it a commitment to the tenents of the brand before things got overtly grim and gritty. No better examples crossed my desk this past week – opening up my now monthly shipped comic pack – than Titans and The Flash. Forgive me, I’m not actually sure if they are supposed to be preceded or followed by the Rebirth moniker… the shop keep explained it to me a week ago, and I honestly don’t even remember now. But no bother. Each issue was read and absorbed, and I’m here to finally say the words:

DC put out some great comics.

Titans directly follows the Rebirth one-shot reintroduction to the DCU from a few weeks back. As you’ll recall that’s where (SPOILER ALERT) we learned the Watchmen may be big baddies in this new version of the DCU, that there’s up to three Jokers running around, and the Nehru collar is slowly falling out of style. But most importantly: Wally West has returned from the void that swallowed him whole during the now-defunct New52.

For a first issue, Titans takes things aggressively slow. In antitheses to the norm of #1 issues, here we get basically just a single drawn-out scene. Wally has returned to Titans Tower – err – Apartment, to gather intel on his former team. Nightwing immediately springs forth from the dark to fight the would-be intruder. A few panels – and one big shock – later, Dick Grayson remembers his fast friend. Not long after that, a similarly paced intro-fight-shock-apology occurs with each of the remaining Titans (in this iteration we have Nightwing, Arsenal, Garth, Donna Troy, and Lilith). A couple of hugs and exposition about a potential big bad to hunt down, and the issue is donezo.

The Flash reintroduces Barry Allen to all, by way of a more rote version of his well-treaded backstory. Taking cues from the recent TV series, our definitive origin is now this: Barry witnessing the murder of his mom when he was 7, by Professor Zoom. His father is incarcerated for the murder, and Barry spends his days eventually exposing and incarcerating Zoom at Iron Heights. Barry is still CSI, under TV-guided Captain Singh. The issue pulls a bit of a wink and nod by starting us off at this familiar crime scene; a murdered mother, a father to blame, a child who watched it all. But this isn’t Barry Allen’s backstory. It’s present day, where he’s tending to a new case in Central City. And with his lab equipment churning away, Barry takes to the streets.

We’re caught up to the Rebirthening of Wally West, but this time from Barry’s perspective. After a similar explanation of the potential big bad, Barry splits from his protege to continue in his own way. He runs to the other top CSI in the DCU; Batman. From there, a quick reset of known facts (Comedian’s bloodied pin, visions of speedsters, mentions of time bandits…), a cliffhanger to chew on, and the issue ties itself up in a neat bow.

Beyond the snarky synopsis though, both of these books peel back the words of Geoff Johns not more than a few weeks back. As I’d snarked about previously, the DCU creative powerhaus incarnate took umbrage towards the cynical and cyclical nature of the brand he himself represented. He appealed to the baser instincts of the DCU: to celebrate heroism and optimism over real-world issues and the doldrum of continually modernized comic canon. At the time, I scoffed. In fact, if you go back and read my words, I vowed to continue to ban my enjoyment of their (and Marvel’s) books! But somehow, like a jilted ex, I couldn’t quit on comics. And while neither Titans or Flash were perfect… they were what was promised.

While we’re still very high above the week-to-week gestalt of what all DC is trying to prove with their Rebirth movement. But if the aforementioned issues are the spark to ignite the new wave of pulp, then I’m very much game for the future. Even with the imminent threat of further dragging down Alan Moore’s creation into the mire of pop-cannon or the threat of unknown Speed Force demons, it’s hard to finish either opening salvo and not walk away with a smile. Titans overtly celebrated friendship and the makeshift families we build for ourselves – through the lens of a formerly hokey after-school superhero club. Flash begins right where the New52 left us off – angry, depressed, embittered – before pivoting towards hope, rationality, and the teaming up of dissimilar heroes working towards a common goal.

Suffice to say I’m timidly optimistic myself. While he didn’t pen either issue, I feel as if I owe Mr. Johns a drink the next time we cross paths. Granted it won’t ever happen… but I’ll be damned if I don’t owe it to him anyways. The future is bright once again.

And that is a Flash Fact.

Ed Catto: Batman’s Empty Nest

 

batman-1-5202970It’s back to school time and even though it comes around every year, it always surprises me at how quickly it sneaks up after a fun summer. This year, we’re sending our last child off to college, and that’s made me think of a classic Batman story. Face with an empty nest, I’m seeing a familiar story in a totally new light.

batman-cover-2278438Today we’d call the October 1969 issue of Batman, #217, a reboot. It’s hard to conceive of it now, but in this story, they stripped the character down to his very basic elements. No more Wayne Manor, no more Robin, no more Batcave and no more outlandish villains. Of course, they all came back eventually.

The time was right for a change. The Batmania of the sixties, fueled by the TV show’s camp craze, was over and done with. By 1969, the TV show was like an embarrassing memory from a party where you had too much to drink. Oh sure, it was fun at the time, but then you need to sober up and leave that tomfoolery behind you. And back then, no one ever dreamed that one day in the future Batman would be bigger than ever and there’d be a whole new wave of Batman ’66 merchandise. And to even say that you could actually own every episode, and watch them whenever you wanted, seemed crazy.

bm30to70-5981649Back in 1969, comics in general, and Batman in particular, were taking big steps to position themselves as more than juvenile kiddie fare. Denny O’Neil and Neal Adams led the brigade of creatives who took a more serious, more grown-up approach to Batman. He’d no longer be a silly buffoon in tongue-and-cheek adventures.

“One Bullet too Many” by Frank Robbins, Irv Novick and Dick Giordano, was first published in ’69, and later reprinted in the classic collection: Batman from the 30s to the 70s. This tale was a part of a long re-energizing of the Batman mythology.

In this story, Dick Grayson (a.k.a. Robin the Boy Wonder) is preparing to leave for his freshman year at Hudson University. Dick gently teases the saddened Bruce (Batman) Wayne and their butler, Alfred about his imminent departure for college. He then brings his two (!) suitcases to the front door. I guess Alfred didn’t need Bed, Bath and Beyond’s College Registry/Pack and Hold in those days.

Astoundingly, Bruce and Alfred don’t arrange to drop young Dick Grayson off at school. Instead, Dick casually hops in a taxi as the adults glumly watch from the front doorway. Can you imagine a parent hailing a cab to take their child to the first day of college today?

batman-4-8368328Long before I started my freshman year of college, I read this Batman story and thought of how I’d be like Dick Grayson one day: bra
vely leaving for college with equal parts of excitement/hope and homesickness/apprehension.

(Of course, Animal House and my father’s fraternity stories painted an entirely different picture of college, but that’s another story.)

So while I identified with college freshman Dick Grayson so long ago, now I find myself looking at this story in an entirely different way. As we venture to drop our daughter off at a college majestically overlooking the Hudson River, it sure seems like the fictional “Hudson U” to me. So I now find myself identifying with the crestfallen sadness of Batman and Alfred. And I now see this tale as the quintessential empty nest story.

As soon as young Dick’s taxi drives off, Bruce tells Alfred to pack it up, and that they’re getting outta town. “Take a long, possibly last look, Alfred,” says the Caped Crusader. “We’re moving out of this suburban sanctuary.” I guess there wasn’t a need to stay in the Gotham school system with Dick in college. He’s decided they’re moving to the city and he’s going to start a new business. The venture was called V.I.P. (Victims Incorporated Program), but it was essentially a “second act” start-up, by today’s standards.

Kudos to Bruce Wayne for his courage. Good for him, and Alfred, for closing down dusty old Wayne Manor and the Batcave to bravely start the next chapter of their lives. I’m overly sentimental, and, I’ll admit I am having trouble making the transition that decisively. Packing up our Wayne Manor and starting a new business isn’t quite as easy for me, but I get the idea. It’s good advice. Leave it to Batman to show me the way. Again.

“I can’t bear to look back, Master Bruce! “ whined Alfred.

Bruce Wayne resolutely respondsed, “Don’t, Alfred, the future is ahead!batman-7-7412446

 

Martha Thomases: Sidekicks

robin-4654005Okay, I admit it. I like sidekicks. Sometimes, I like them than I like the hero.

According to the folks I know who are better at this than I am, sidekicks like Robin and Jimmy Olsen came into existence primarily as exposition aids. By talking to them, the hero tells us, the reader, what he is thinking. It also gives the reader someone with whom to identify.

Sidekicks are not limited to kids, nor are they appealing only to kids. Dr. Watson is a sidekick to Sherlock Holmes. These guys, among others, were sidekicks to David Letterman.

I’m thinking about this lately because I’ve recently read some interesting things about so-called alpha and beta males. The conventional wisdom has it that women prefer alpha males, who are dominant, strong and aggressive. Hal Jordan is a stereotypical alpha male, according to this definition. So is Conan the Barbarian.

A beta male is less imposing. He doesn’t give orders. He listens. Instead of throwing his weight around, he cooperates. To hear right-wing propagandists, beta males are the result of feminism. And, if you read further (but you might not want to, because the descriptions have no relationship to life as we know it), you’ll see that the assumption is that beta males never have sex.

The science doesn’t support this, but what else is new? Neither, it turns out, are the stereotypes. Alpha males in the animal kingdom are, in fact, nurturing. Beta males are, in fact (or at least in the opinions of many women) really sexy.

Maybe that’s why I like the sidekicks. They seem more approachable and easier to engage in conversations.

Let’s look at an example from the comics, because that’s what this website is about. I’ve always preferred the Elongated Man to Mr. Fantastic. Same super-powers, but one is kind of aloof (or was when I was reading the series) and one is an excitable goofball sleuth.

It shows an actor’s range if he can convincingly play both alpha and beta. My favorite current example is Corey Stoll. He’s a totally douchebag alpha in Ant-Man and an uncertain beta in The Stain, where, even with that horrible wig they force him to wear, he’s still much more attractive.

So, is Dick Grayson an alpha or a beta? I would argue he’s a beta, and I would argue he’s one of the most attractive fictional characters in the medium, right alongside Peter Parker (another non-alpha) and Matt Murdock.

With more women and girls in the marketplace, it’s my hope that we’ll see more good stories about the sidekicks. Especially the cute ones.

 

Review: ‘All Star Batman and Robin Vol. 1’

assbar-9206861A couple years ago, back when Frank Miller and Jim Lee’s All Star Batman and Robin started inconsistently shipping, I read the first few issues and then waved the series off. I hated it so much I added an extra “S” and started referring to it by the acronym ASSBAR.

At the time, it seemed like a good portion of comics critics felt similarly about the book. Then a curious thing happened. More and more reviewers started to come around to the new, harsh [[[Batman]]] that called Robin “retarded” and tried to kill cops.

Now with the first volume conveniently collected, I decided to revisit the series. Had it improved? Had I just given up to early? Or was it still ASSBAR?

As much as I love that nickname, I may have to retire it, because this series is not as bad as I first thought. Miller displays a near-mastery of pulp dialogue and narration, and Lee proves what everyone already knows, that he’s a master draftsman of superhero comics.

In case you’re one of the select few who haven’t read the book, it’s a wholly new take on Batman’s first years, and he’s portrayed as essentially a psycho. Which, in a lot of ways, makes sense. You have to be pretty nuts to put on tights and kick the crap out of muggers.

But Miller pushes it to ugly extremes, with Batman kidnapping Dick Grayson and forcing him into the war on crime, nearly killing fellow superheroes and possibly killing corrupt police officers. This Batman is completely unhinged, which becomes fully apparent in a later issue when the Joker appears and seems sedate by comparison.

Now, this is what Miller does well, crackling along at the harsh edge of humanity as he has in Sin City, 300 and elsewhere. But there are two inherent problems: First, this goes against every incarnation of Batman we’ve seen and degrades the character. Second, and most importantly, that degradation doesn’t work because it’s paired with Lee’s artwork.

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