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brevoorthistoryofcomics · 12 days

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GH: SAGA OF THE SWAMP THING #9

As I got older, my tastes in comics began to change, or at least to grow more expansive. And so I wound up trying titles that might have done nothing for me before, like SAGA OF THE SWAMPO THING, The series was a bit of a hybrid, existing in a world halfway between that of DC’s other mystery/supernatural series and a horror hero title like Marvel’s INCREDIBLE HULK or WEREWOLF BY NIGHT. So I could…

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#Alan Moore #Bernie Wrightson #DC #Fred Carrillo #Jan Duursema #Joey Cavalieri #Len Wein #Marty Pasko #Phantom Stranger #Saga of the Swamp Thing #Swamp Thing #Wes Craven

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cantsayidont · 5 months

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September 1980. Yet another change in direction for the Bronze Age Wonder Woman, and the addition of a new eight-page backup strip starring the Huntress, daughter of Earth-2's late Batman and Catwoman. The "new twist" for Wonder Woman was the second return of Steve Trevor. Steve had been killed off back in 1968 (in WONDER WOMAN #180); he returned briefly in 1974 as a "mentally-induced" illusion and was resurrected for real two years later (in WONDER WOMAN #223). He died again in WONDER WOMAN #248, leaving Diana bereft. In the issue before this one, Hippolyta prays for Aphrodite to cut Diana some slack, which the goddess does by using the Mists of Nepenthe to erase Diana's memories of Steve. Almost immediately after that, the Steve Trevor of a parallel Earth crash-lands near Paradise Island and is rescued by Diana as she did in her first meeting with the Earth-1 Steve. In this issue, Aphrodite says she can't send this Steve home, "for even I do not know from which of an infinity of worlds he came," so Hippolyta sends Diana to take him back to Man's World and resume her role as Wonder Woman, while Aphrodite uses the Mists of Nepenthe to "cause every man, woman, and child on Earth to forget that Steve Trevor ever died." The only one on Earth who remembers the truth is Hippolyta. (This blew up later: Diana eventually discovered that her memories had been altered and was not happy about it, although she and this Steve got married during the Crisis.) All very messy.

The new Huntress backup strip picked up from Helena Wayne's short-lived feature in THE BATMAN FAMILY, which had ended temporarily when that book was folded into DETECTIVE COMICS. Initially written by Paul Levitz and drawn by Joe Staton (inked in this first three-part story by Steve Mitchell), the eight-page strip quickly overshadowed the main feature in quality and coherency, and the conventional wisdom was that between 1980 and 1984, many readers were buying this book for Helena rather than Wonder Woman. The strip lost some steam in 1982 with the departure of Levitz, succeeded by Joey Cavalieri, and then the loss of Staton, leading to more than a year and a half of artistic musical chairs. The backup was finally dropped from WONDER WOMAN in 1984, but the final installment in issue #321 proclaimed, "Word has it that people want a full-length Huntress comic every month…so we're working on it--no fooling! Keep your eyes open for a mini-series, coming soon to a comic rack near you!" In the letters page, editor Alan Gold said there would soon be a four-issue miniseries by Cavalieri and Eduardo Barreto, but it never materialized, and the Huntress met a much crueler fate in CRISIS ON INFINITE EARTHS.

Without her, WONDER WOMAN was soon demoted from monthly to bimonthly status, managing only eight more issues before it was canceled in early 1986 in anticipation of its post-Crisis relaunch.

#comics #wonder woman #ross andru #dick giordano #gerry conway #jose delbo #dave hunt #paul levitz #joe staton #steve mitchell #queen hippolyta #steve trevor #joey cavalieri #eduardo barreto #i dimly recall seeing some article saying that #barreto had completed some (or perhaps most/all) of the pencils #when the miniseries was shelved #whether that's true and whether any art survives i don't know

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haveyoureadthiscomic-poll · 4 months

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#huntress #helena bertinelli #joey cavalieri #dc #dcu #dc comics #poll

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fiapple · 1 year

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something i love about huntress (1989) is just how succintly its opening scene builds up helena as a character & the overall themes of her narrative.

the comic opens on western society’s prototypical idea of a victim, a young white woman (that fact having its own horrid political history should be acknowledged)- fashionable for her era- walking alone at night, and being followed by a man with a knife.

Immediately, the scene visually cuts between the young woman & helena, tying them together in the eyes of the audience. it then plays out as so:

Huntress (1989) #1 by Joey Cavalier & Joe Staton

Both through the very explicit paralleling of the two women, and the lamp-shading thereof on the writer's part within the scene itself, helena is framed within the eyes of the audience as someone who herself has once been a victim. the creative team presents you with the one most archetypal examples of a victim they possibly could, though, again, the problems within the history of that fact can't be ignored either- one that for all its commonplace is still powerless and meek as ever, and said "our hero has once been her."

"I knew somebody with a name like that... a long time ago..."

By allowing the audience access information so early on, the creative team is quickly able to position helena as existent within a dichotomy of the struggle between the ongoing disempowerment of trauma, and the fight to regain one's sense of power thereafter, as seen through the lens of non-linear trauma recovery. It is planting the seeds of what will grow to be a major theme in helena's arc.

Additionally, it very quickly posits helena as a character who is, in part, motivated by the phantom of her own vicitimization. She is very quickly suggested to the audience to be a character that is doing this- doing all she can to fight, stave off, prevent acts of violence- as a form of penance both to herself and to the world for the moments in her own life in which she was unable to do so. It is put into the mind of the reader that she is followed by the wraith of her own suffering, and of knowing that the weight of trauma is one that others can also be forced to bear.

This is further reinforced by the immediate narrative focus the collaborators chose to place on helena as a figure of compassion. from her first scene in main canon, her focal point is the victim, so much so that when choosing to return to the scene to comfort the young woman, she is able to notice something as innocuous as a wallet and return it. Moreover, due to its atypical nature in the context of comics, the 'alley-way victim' being named with such a sense of gravity in this scene takes on an added layer of importance besides the aforementioned. The victim is humanized, emphasizing their centering in helena's concious motives. To further compound this, the first time we ever see helena speak on-panel is when she chooses to comfort this young woman. her words, her actions, her passion are all motivated by her own needs & wounds, yes- but the victim, the person being hurt, that is what is at the centre of them. if further evidence were required, one may even point to the fact that the first face we see at all is that of the victim's.

And, emphasizing the overall themes present within the introduction to an even more extreme extent, is the nature of the visual story-telling taking place on pages 4 & 5.

Page 4 begins with helena fighting the perp, her back turned away from the audience, but ends with her walking toward us, body language confident. This draws our attention both to helena's capacity to be imposing, to inhabit the position of the unknown in order to illicate fear, and to helena's individual power as a character.

Conversely, the first time we see helena on page 5, when her face is finally revealed to the audience, she is talking to the victim. It ends with her back to the audience, standing as if fixed in her position, taking up fairly equal panel space with her fellow as she watches helena k. walk off, and falls into a memory. this places the audience's focus on the fact that helena b. is just as, if not more so, consumed by her victimhood as her counterpart.

(this also sets up the following scene, in which we are given helena's backstory, exceedingly well btw)

Moreover, the visual choice to hide her face temporarily gives helena a sense of being quite guarded as a person, which will be expanded upon later, and shows that the dedication to character building started very early-on for Stanton & Cavalieri, which i really appreciate.

From the first breath of life given to her story, helena is deliciously presented as a byronic heroine- an unusual type of female character to see at all, let alone in comics- and it is done through focus on her agency as a character & her dominating sense of compassion for others.

Truly, I adore beyond my heart’s capacity just how much Staton & Cavalieri chose to dedicate their opening to showing just how much Helena is a character who finds the power to find personal redemption, empowerment, & rebirth- as violent and bloody as that rebirth may grow to be- in the ability she has to do good unto others, to try to allow them to retain the innocence that was taken from her by force & the closure she was denied. They put such energy into making it clear that she is a character so very deeply driven by a sense of compassion, one so consuming it may as well be keeping her heart in chains, and they portray it as equally served by her violence as tender-heartedness. it’s enrapturing, it’s enchanting. like, really, heart’s honour, i live for it.

#it really just is an excellent feat of teamwork & storytelling on part of staton & cavalieri #helena bertinelli #helena & trauma #joey cavalieri #joe staton #huntress v.1 #huntress (1989)#dc #this used to be a tag #gothamverse #dc meta #helena bertinelli meta #batfam meta #batcomics meta

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comfortfoodcontent · 7 months

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