This week’s question: What’s your favorite romance in comics?
Logan Polk: Thanos is one of my favorite characters. I think he’s endlessly compelling when handled right, and a big part of that is his love life. So, my favorite romance in all of comics has to be Thanos and Death. Okay, it’s more of an obsessive and unrequited love than an actual romance, but it’s a story that I’ve followed for most of my comics reading life, and one I still find completely fascinating. To want the approval and affection of someone so much that you would seek godhood and attempt to wipe entire portions of the galaxy out of existence? That’s an epic love story. What can I say, I’ve always been a fan of the bad guys just as much (or more) than the good guys.
Tim Durkee: Even though it is not as popular as his first fling with the human Lois Lane, I enjoy the chemistry between Superman and Wonder Woman. I was first introduced to their relationship with the Kingdom Come miniseries, an Elseworlds tale. That is a story that does not take place in the current time frame of stories in the DC Universe. I’m not sure if he was seeing the Amazon on the side and decided to go full-time after Lois Lane’s death, sorry for the spoiler. They both are also an item in Frank Miller’s The Dark Knight universe. More spoilers: Superman and WW have a child together and another on the way. The impression is that there was still a relationship between Clark and Lois before Lois’s death. I can understand Lois being all gaga over the Man of Steel, I just can’t see him seeing any interest in her, so having him with the most powerful woman in the DCU makes more sense to me. Now, the new 52 universe has them together, so I’m told. I have read some reviews about them together. Some love hate, more hate it. I am curious what direction the DCU films will take with the introduction of Wonder Woman.
Mike Sterling: I never really paid much attention to romance
in comics when I was younger. Generally, that was for good reason; in most of the superhero comics, it wasn’t so much “romance” as “plot
point” or “character description.” You know, “Lois is
Superman’s girlfriend” or “Iris is Flash’s wife” or
whatever. Love interests existed to be threatened by villains, or to be
nosy about secret identities, or to be pined over, or whathaveyou. It was
a technical point, not an emotional connection.
So, as will come as no surprise to most of you who are familiar with my online shenanigans, it was the romance that popped up in, of all places, Swamp Thing that caught me off guard.
Yes, Swamp Thing, the comic about a monster who fights other monsters while hangin’ out with pals who are related to monsters or are monsters themselves. That’s where a comic book romance finally hit home with me, and yeah yeah make your jokes, but it was one of the most totally out-of-nowhere-but-yeah-of-COURSE moments I’d ever read in a comic at that point. I’m talking about Saga of Swamp Thing #34 (March 1985) by Alan Moore, Steve Bissette and John Totleben, where Abby tells Swamp Thing of her feelings for him, exclaiming “how could you love me?” Swampy’s response: “Deeply…silently…and…for too many…years.”
That pair of awkward admissions between a couple of characters I’ve been reading about for so long…that was the sort of honest emotion that’s not present in the eternal running-in-place of Superman and Lois, or most other superhero books. Particularly for someone like me, who’d been invested in these characters and was suddenly blindsided by this step forward, a change in the status quo in a storytelling industry that doesn’t like changes in the status quo.
Naturally, the relationship was fuel for melodrama, as this is comics, after all. Abby getting up to some plant-lovin’ becoming fodder for tabloid journalists, losing her job as a result, etc. etc. – all part and parcel of the soap opera style of funnybook storytelling, but through everything, Swamp Thing and Abby felt like an actual, and oddly normal (or as normal as they could manage) couple.
It didn’t last, sadly. Now, a couple of Swamp Thing series and a line-wide reboot of the shared DC universe later, Swamp Thing and Abby's life together is no longer at the center of Swampy’s adventures. It's nice, though, to recall a time when I could be genuinely surprised at a turn of events in a comic book. And not the usual "THIS ISSUE - SOMEBODY DIES!“ type of nonsense that’s no longer really working anyway - but just a couple of characters that you’ve read about for several years, quietly and shyly admitting their feelings to each other.
Joe Gualtieri: Growing up, I was the weirdo in your group of comic-loving
friends, the one with really weird taste. You see, I vastly preferred Cyclops
(Scott Summers) to Wolverine.
As the kid in your class who literally would remind the teacher to give the class homework, I suspect this is part of why Scott Summers appealed to me, along with the hyper-competence. I suspect it’s also worth noting that my first X-title was X-Factor #65, and I started regularly reading with X-Men #1, so more than five years after the ugliness with Madelyne Pryor occurred, and a couple years after Pryor was firmly established as a clone of Jean Grey created by Sinister, so that controversy was essentially a settled matter when I began reading. So I was Cyclops fan, and I was really into his relationship with Jean Grey. When John Byrne and Fabian Nicieza teased an affair with Psylocke, I didn’t take it seriously as storyline (nor, rereading those issues, should I have. There’s nothing there, really). Years later though, when Stephen T. Seagle hinted at real cracks in their relationship, I was apoplectic, and wanted him off the comic, which happened not long after, and after a few terrible issue by Alan Davis, I dropped the X-Men comics for the first time in about eight years. I soon started buying them again, as Davis finally did “The Twelve”, a story the X-books had teased since the late 80s. That arc ended with Cyclops apparently dying after being possessed by the soul of Apocalypse (this is all actually relevant). That was basically it for Davis, as Chris Claremont returned to the X-title for a disastrous run both creatively and n terms of sales. Marvel’s Editor in Chief Bob Harras was basically fired over it, he was replaced by Joe Quesada, who brought in Grant Morrison to revitalize the X-franchise. Oh, and Scott Summers returned from the dead prior to Morrison’s run starting in New X-Men #114.
Morrison’s run infamously begins with the line, “Wolverine. You can probably stop doing that now” foreshadowing how the series would focus on the idea of change and nowhere would Morrison affect more change than in the character of Cyclops. Following his resurrection, Summers’s marriage to Jean Grey is in tatters, the two not having touched each other for five months. Cue Emma Frost joining the team. She almost immediately hits on Summers, and Morrison leaves the result of her come-on ambiguous at first. Gradually, it’s revealed that the pair involved, but only psychically, as a sort of sexual therapy for Cyclops. Jean Grey-Summers learns about it at the end of “Riot at Xaviers”, and the fallout carries into the first part of “Murder at the Mansion”. To Jean, the affair is just as real even if it’s happening on the psychic plane, and it soon turns out that despite her detached demeanor, Frost has real feelings for Summers. The reveal comes on one of my all-time favorite pages (drawn by Phil Jimenez) as she break down in Wolverine’s arms, the panel layout narrows until she has to ask, “Why did I have to fall in love with Scott Bloody Summers?”
The relationship hits the back-burner for the series from there until the final arc, “Here Comes Tomorrow” (the title an allusion to James Joyce’s Finnegans Wake), a new take on “Days of Future Past” where the key moment is Summers walking away from Frost at Grey’s grave (she died at the end of the previous arc). Jean Grey, in a superhero afterlife, heals reality, urging “Live. Scott.” Which prompts him to embrace Frost, after answering her question, “Don’t you want to inherit the Earth” with “I… yes.” The “yes” and scenario reads as a gender-flipped allusion to Molly Blooms long soliloquy that closes Joyce’s Ulysses:
[…]how he kissed me under the Moorish wall and I thought well as well him as another and then I asked him with my eyes to ask again yes and then he asked me would I yes to say yes my mountain flower and first I put my arms around him yes and drew him down to me so he could feel my breasts all perfume yes and his heart was going like mad and yes I said yes I will yes.
As the Blooms do not have a perfect relationship, but love each other, the allusion suggests that rather than the story-book, “perfect” romance of Scott Summers and Jean Grey, Summers and Emma Frost will have a more realistic and messier relationship. Subsequent comics certainly bore this out and while the relationship seems to have run its course (plus Cyclops is dead again), the beginnings of their relationship make it my favorite in comics.