FUTURES END 17 | Did Project Cadmus change your eye-colour Kendra?
FUTURES END 17 | Earth-2 superhumans escaping from Cadmus Island.
FUTURES END 17 | Attack of the brainwashed Earth-2 prisoners.
FUTURES END 17 | Where is Helena Wayne hanging out on Cadmus Island?
FUTURES END 17 | Henry! You’re supposed to be walking through fire!
THE NEW 52 – FUTURES END #19
Written by BRIAN AZZARELLO, JEFF LEMIRE, DAN JURGENS and KEITH GIFFEN
Art by SCOT EATON and DREW GERACI
Cover by RYAN SOOK
On sale SEPTEMBER 10 • 32 pg, FC, $2.99 US • RATED T
It’s now or never for Batman Beyond and the heist team to make their move on TerrifiTech.
Oh hey. That is definitely NOT a dead Kara Zor-L on that Futures End cover!
(My Kara lives. I’m so happy!)
Why does DC insist on treating Helena Wayne and Helena Bertinelli, two very different characters, like they're interchangeble?
It’s part of a larger problem that they have with women characters in general. Part of that problem being that they don’t see it as a problem to swap or change female characters whenever they find it convenient, and often at the complete disregard for the existing fanbase.
With the daughters of Batman in particular, there is a consistent track record of DC executives making the decision to erase these characters out of continuity for a period of time before they decide to bring them back years later, often with a different origin entirely. That is exactly what happened with the Huntress post-Crisis.
DC’s rationale at the time was that the character couldn’t still function as the daughter of Batman and Catwoman in that (then) newer universe, so they re-imagined her as Helena Bertinelli while keeping everything else that was identifiable with Helena Wayne intact. This was explicitly acknowledged in two Huntress trade paperbacks: Year One and Darknight Daughter.
This same rationale equally applied in the New 52 when DC reinstated the character back to her original Helena Wayne incarnation, but still modified her origin to incorporate the fact that she still functioned as Helena Bertinelli as the Huntress. This too was explicitly acknowledged in the DC All Access page of Huntress #1 by Eddie Berganza in 2011.
That being said, I do think that DC is—in more recent times—starting to get away from the idea of Wayne and Bertinelli being the same character with the newly introduced Helena Bertinelli. Admittedly, I do think they should have done this from the beginning instead of reintroducing Helena Wayne as being both herself and Bertinelli like they originally did. Hopefully this recent change will stick and that DC won’t decide retrogress on this development later.
As far as other media is concerned, DCE/WB could definitely make more improvements there. There is a new Helena Bertinelli in the mainstream comics that has her own distinct look now. They should—in my opinion—stop using Helena Wayne’s image/appearance for the character in newer media.
LIFE IMITATES ART | Far more than art imitates life.
Question: Does Thomas Wayne know that Helena is on Earth 1 or does he think that she is dead? Sorry if this question is mundane, I just got into "World's Finest" and "Earth-2" is not high on my reading list.
He doesn’t know that Helena Wayne is still alive, let alone that she was living on a parallel world in the last five years. He—like the rest of the Earth-2 heroes—believes that she died the same day that her father and the rest of the Earth-2 Trinity did.
Under those circumstances, he rationalised in the Earth-2 Annual #2 that the best way he could honour his son’s memory was by becoming Batman himself, even though he does a shitty job at upholding the ideals Bruce actually stood for.
Even on Earth-2, Bruce was very much against killing people, and Thomas does—as Batman—exactly what his son didn’t approve of. So I’m not sure how he is ‘honouring’ his son’s symbol—let alone legacy—by doing the very thing that caused Bruce to disown him in the first place.
(Admittedly, I do hope he doesn’t last past World’s End when that ends next year. I really don’t like Bruce’s own father occupying a narrative that is more rightfully Helena’s than his).