Q: The new Klarion series started this week, and aside from Seven Soldiers and Batman: the Animated Series, I know little about him. What's his deal? -- @T_Lawson
A: Huh. Well this one oughtta be pretty easy, T: He's a Witch Boy. He's a Boy who is also a Witch. That's pretty much all there is to it; Kirby wasn't really all that into subtlety. Now who wants to go get lunch?
[Editor's Note: Chris, we've talked about this.]
Okay, fine. There actually is a little more to it than that, but to be honest, Klarion is less interesting to me on his own than he is in the context of Kirby's other work. He's a Witch Boy, a strange and sinister creature rooted completely in horror, happily existing in a world built for superheroes, and that's actually pretty cool.
Q: Aside from the amazing cover for Superman #180, what's the best DC Comics story featuring Dracula? -- @brendan42
A: October is the month where I always find myself thinking about Dracula even more than I usually do, and just the other day I was thinking about how weird it is that there's never been a really good story about Batman fighting Dracula. They've tried it a couple of times, sure -- including a direct-to-video movie that takes a premise like Batman vs. Dracula and ends up committing the cardinal sin of being boring -- but it never really takes. Once I got your question, though, I started thinking about it, and I realized that there aren't many good stories about any DC Comics character fighting Dracula.
It turns out that dude just doesn't show up a whole lot in the DC Universe. And that's pretty weird.
Q: Just re-read Gotham Central and it got me wondering, what's the deal with the Spectre? -- @BatIssues
A: The Spectre was originally created in 1940 by Jerry Siegel and Bernard Baily, but it's worth noting that some sources -- including legendary editor Roy Thomas, who's about as big a fan of DC's Golden Age titles as you're likely to find -- give Siegel full credit for the whole concept, and that's the first interesting point. After all, Siegel is, as you may have heard, the co-creator of arguably the most enduring and significant character in comics history, who's known for his incredible physical strength: Slam Bradley.
Q: What's the deal with Batman's non-Catwoman, non-justice love interests? Vicki Vale, Zatanna, Wonder Woman, etc? -- @superseth64
A: Just a few days ago, I was talking to Greg Rucka and he mentioned Denny O'Neil's rule about Batman not sleeping with anyone, because if he does, then he sleeps with everyone. It's an interesting way to put that, and I'm inclined to agree with O'Neil on that point, but you can't deny that over the past 75 years, the Caped Crusader has had plenty of romantic entanglements, almost all of which, as you might expect, have ended in a spectacularly awful fashion.
But the thing is, as much as they don't work from a romantic perspective, which is the nature of dramatic tension, they don't really work from a storytelling perspective, either.
Q: We know your favorite anti-heroes, sidekicks, and villains, but who's your favorite minor villain, and why? -- @fizzbang
A: Y'know, the way you phrase that question makes it sound like I've written about everything except who my favorite superhero is, and... that doesn't sound right. I'm a little too lazy to go and look, but it feels like surely at some point in the last 210 columns, I probably would've mentioned that. Oh well, I'm sure I'll probably get to talking about Batman at some point.
Anyway, back to the question. Favorite minor villains? OH MY GOD, IT'S THE ENFORCERS I LOVE THE ENFORCERS SO MUCH LET'S TALK ABOUT FANCY DAN FOR THE NEXT THREE HOURS OH MY GOD.
Q: Given all that could have gone wrong, what about the concept and execution makes Batman Beyond work so well? -- @caseyjustice
A: Something must be going around these days, because I've seen a lot of conversations about Batman Beyond popping up recently. I even got into a little discussion with Jordans Gibson and Witt about a few places where -- at least in my opinion -- the flaws in the show, which I otherwise love, became too big to ignore. That's actually one of the things that made me want to answer this question for this week's column. The other was how you phrased it.
See, I've never considered the premise of Batman Beyond to be something that could've easily gone wrong, but you're absolutely right in classifying it as such. To me, it's always been more about how they built that show by taking the two best ideas in superhero comics and putting them together.
The thing is, that should've been a pretty difficult marriage -- and most of those flaws that I was talking about show up for that exact reason.
A: Here's the least shocking thing you're going to read this week: I love Cassandra Cain. That probably goes without saying, given that she's a relatively obscure member of the Batman family that made her debut when I was a teenager, but really, it goes deeper than that. She came out of the gate with a compelling edge, some phenomenally solid storytelling, and a hook for drama that put her in contrast to the rest of Gotham's assorted heroes and hangers-on, while still feeling like a natural compliment to the other characters. And then, less than a decade later, she'd gone from being a new character with an incredible amount of potential to an also-ran who only really shows up to fill space in crossovers -- something that almost never happens to characters in the Batman family, especially when they've got 70+ solo issues under their utility belts.
So what happened? Man, I can't even tell you, I just read the darn things. But folks, it got really weird there at the end.
Q: I was reading your column about New Teen Titans where you said Crisis on Infinite Earths was a mess, but a topic for another time. Care to explain now? -- @jeremyliveshere
A: The one thing you can't say about Crisis on Infinite Earths is that it didn't deliver on its promise. In a time when "event" comics were still in their infancy, Crisis came out of the gate promising to be the biggest thing that had ever or would ever hit comics, and looking back on it from almost thirty years later, it's hard not to admit that even with a comic rolling out every six months like clockwork that promises to change everything forever, it's still the one that actually did it. Worlds did live, worlds did die, and nothing actually was the same again.
It just also happens to be a story that's a complete friggin' mess.
Q: If you had to create an iconic but stripped-down version of the Legion of Super-Heroes, like for a TV show, which eight to ten characters would be on it? -- @benito_cereno
A: One of the weirdest things about the DC Universe right now -- which is full of exactly as much weirdness as you'd expect from a 75 year-old superhero universe that's less than three years into a baby-and-bathwater reboot -- is that the Legion of Super-Heroes isn't a part of it. I mean, no, they were never the biggest franchise DC had to offer, but they were a pretty constant presence from 1958 to just a little while ago, and there's a good reason for that. I mean, they're teenagers from the future. That's quite literally a concept that never gets old.
That said, it's only a matter of time before they get rebooted, so let's while away some time figuring out just who I'd put on the new team.
Q: Just watched the latest Here's The Thing. I'd love to hear you expound on some of the attempts at re-creating Spider-Man. -- @stophatinisbad
A: In case you missed it, this week's episode of Here's The Thing was focused on the idea of legacy and how it shaped the Green Lantern franchise -- and how it ultimately failed to really take hold in the way that it did in books like Flash and -- but one of the things I mentioned was that Kyle Rayner was one of many attempts to create a character in the mold of Spider-Man. It happens like clockwork, not just at DC and Marvel but across the board, and it's one of the most important aspects of how superhero comics developed.
So really, I'm glad you asked, because the reason behind this gives me a chance to dive into some of my favorite subjects, like the socioeconomic impact of the rise of the teenager as a social construct, and how that led directly to the creation of Darkhawk.
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