Batman and Spawn are at each other’s throats again, but this time their tussle might have bigger ramifications than just a dope-looking one-shot comic book. Intercompany crossovers often feel like relics left behind in the wake of a new era for the comic book industry. And yet, ’90s nostalgia is at an all-time high, evidenced by DC’s 1990s initiative, complete with foil-embossed covers and a fresh look at the death of Superman. Marvel is no different, with the rise of the Midnight Suns ( though that probably has more to do with the video game tie-in of the same name). But with the major Marvel Comics event Dark Web featuring two classic clone characters from that era, fans don’t have to look very hard to find reverence for the ’90s. Now might be the perfect time to revisit the DC/Marvel crossover.
In a time when comics are perpetually having the best year ever and reeling in their death throes, One would think combining forces would be the mark of celebration. If comics are in trouble financially, joining forces would (as it has historically) garner significant media attention as well as record sales. And, if comics are doing great, reaching across the aisle and mutually producing art could be viewed as a gesture of collaboration. What’s at the core of what we’re talking about here? Money. And it’s the chief reason for (and against) this proposal.
So let’s talk money! As I understand it, the expense of producing a Marvel/DC crossover would not be limited to the talent needed to bring it to life. Supposedly, a Marvel/DC crossover would require an army of lawyers, the cost of which would far outweigh the gains of such an endeavor. In essence, there would be an expenditure of money gambling on the success of a commercial entertainment release. And while I sympathize with the cost-cutting nature of the comic book industry, I think it’s a little hypocritical to pick and choose what aspects of the film industry these publishers wish to emulate. Gathering an army of lawyers to hash out a contract to spend a proportionately large amount of money on a production seeking a larger return is exactly what the film industry does on every single movie production.
If I was proposing an ongoing monthly Batman/Daredevil series with top writers and artists on board, I think an argument could be made that it might not necessarily be worth the investment. But let’s look at the most recent examples we can think of, shall we? The JLA Avengers reprint, in its embarrassingly limited quantity, is proof positive that a deal can be struck and sales will be high. But more recently, this third Batman/Spawn crossover is being touted as a potential sales juggernaut. It’s promising to be one of the highest-selling comics of the year in a year with a DC Crisis and the death of the Justice League. That has to be worth consideration! Worth stifling that instinctive head-shaking and ear-plugging that goes on whenever this conversation comes up. Because we’re speaking their native language: money. Marvel should be on board for this because DC is going to have the last laugh this year, and Marvel hates playing second. If Marvel thinks that somehow integrating Miracleman into the Marvel Universe will sell better than Batman punching Spawn, they’re dreaming.
Consider the following: nearly three decades ago, you commissioned dozens of comic books to be produced under the Amalgam banner. Contracts were drawn up, lawyers were paid, artists and writers were commissioned, and retailers sold hundreds of thousands of copies of these comic books that have not been reprinted outside the decade they were initially released. The cost of lawyers on retainer reviewing old contracts that guarantee a split in sales for books that have already been made can’t possibly outweigh the revenue made in an amalgam omnibus release. Or a DC versus Marvel hardcover release. Or a 20-volume trade paperback set that collects the whole shebang. Or all of those things and more!
Again, I understand the reticence towards spending money on a project you don’t get 100% revenue on. But sometimes, it’s the cost of doing business. And when the success of your business is debatable, it’s time to start looking at some old ideas that could become new again.
