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Crisis on Infinite Earths

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Crisis on Infinite Earths (25 aniversario de la serie limitada de 12 comic books publicada entre abril de 1985 y marzo de 1986 con motivo de la celebración del 50 aniversario de la editorial DC.) Textos: Emilio Fernández González Diseño: Amador Carvajal García-Pando (Abril 2011) Universidad Complutense de Madrid. Biblioteca de Matemáticas 1 “Worlds will live, Worlds will die, and the DC Universe will never be the same!” Con este eslogan de presentación se anunciaba la publicación de “Crisis on Infinite Earths”, traducida en España como “Crisis en Tierras infinitas”, serie limitada de 12 comic books publicada entre abril de 1985 y marzo de 1986 con motivo de la celebración del 50 aniversario de la editorial DC. Se cumplen así veinticinco años del final de este gran evento que marcaría el devenir y la historia de la editorial americana creadora de Superman, Batman y tantos otros superhéroes. Universidad Complutense de Madrid. Biblioteca de Matemáticas 2 La publicación de esta serie significaba la cancelación de un multiverso de ficción que había subsistido desde el año 1961 con la aparición de la ya mítica historia “The Flash of Two Worlds” en The Flash # 123 (septiembre 1961). Pero, ¿por qué este cambio de política en la editorial? ¿Por qué destruir y hacer tabla rasa sobre algo que había funcionado durante más de veinte años? Para entender este “rito de transición” debemos remontarnos a unos cuantos años antes... Universidad Complutense de Madrid. Biblioteca de Matemáticas 3 GOLDENGOLDEN AGEAGE Con fecha de portada de junio de 1938 se publicaba el número 1 de Action Comics. Dos jóvenes de poco más de veinte años, Jerry Siegel como guionista y Joe Shuster, como dibujante, presentaban a Superman, el personaje que, posteriormente, se convertiría en la imagen icónica más importante relacionada con el mundo de los superhéroes Universidad Complutense de Madrid. Biblioteca de Matemáticas 4 Superman, además de otras influencias, recogería la tradición del folletín decimonónico, de los relatos pulp americanos de los años 20 y 30, especialmente de la colección Doc Savage (El hombre de bronce), y de las películas y novelas de acción de la época. Un antecedente muy claro se puede observar en la novela Gladiator de Philip Gordon Wylie (1930) que presenta a un hombre con superpoderes, sentando las bases del superhéroe moderno Universidad Complutense de Madrid. Biblioteca de Matemáticas 5 En el verano de 1939, sólo un año después de su aparición, Superman tuvo su propio cómic en una nueva serie, Superman, convirtiéndose en el primer superhéroe con serie homónima de la historia. Aunque los tres primeros números de Action Comics no sobrepasaron los 200.000 ejemplares, el número 4 tendría que reeditarse hasta alcanzar el medio millón de copias. En 1941 eran ya de 900.000 ejemplares por número. Mientras que la serie Superman logró en 1939 una circulación de 1.250.000 ejemplares. No es de extrañar, por tanto, que todos los editores sin excepción, se apuntarán al mercado superhéroico. Universidad Complutense de Madrid. Biblioteca de Matemáticas 6 A raíz de la introducción en los cómics del primer superhéroe se produce una avalancha en el período prebélico y se publican sin solución de continuidad infinidad de series: All American Comics (abril 1939) Batman en Detective Comics # 27 (mayo 1939) Superman en su propia colección (verano 1939) Flash en Flash Comics # 1 (enero 1940) Hawkman en Flash Comics # 1 (enero 1940) Wonder Woman en All American Comics (verano 1940) Green Lantern en All American Comics # 16 (julio 1940) Uncle Sam en National Comics # 1 (julio 1940) The Justice Society of America en All Star Comics # 3 (invierno 1940),… Universidad Complutense de Madrid. Biblioteca de Matemáticas 7 Universidad Complutense de Madrid. Biblioteca de Matemáticas 8 En el All-Star Comics # 3 (1940), el guionista Gardner Fox junto a los dibujos de Everett E. Hibbard encuentran una fórmula imprescindible en el género superheróico: por primera vez en la historia de los cómic books, reunen a varios personajes en el que sería el primer supergrupo: Justice Society of America, conocida popularmente como la JSA. Compuesta originalmente por The Flash, Dr. Fate, Hourman, The Spectre, The Sandman, Green Lantern, The Atom, Johnny Thunder y Hawkman, el grupo iniciará una larga carrera con numerosas encarnaciones y variaciones en los miembros originales del grupo… Universidad Complutense de Madrid. Biblioteca de Matemáticas 9 … La portada del número 3, ya convertida en un clásico, nos presenta a los superhéroes anteriormente citados reunidos en una mesa redonda, preparados para iniciar su primera reunión como grupo. La creación de la JSA, algo que nos puede parecer trivial, tendría una inusitada importancia posterior, ya que implicaba que sus personajes teóricamente existían en un mismo mundo ficticio. La JSA tendría posteriormente mucho que decir en la aparición del multiverso. Universidad Complutense de Madrid. Biblioteca de Matemáticas 10 Hoy en día, la crítica no tiene dudas en establecer que el nacimiento del género superheroico está directamente relacionado con el ambiente prebélico de 1938 y con la política de “new deal” americana. Universidad Complutense de Madrid. Biblioteca de Matemáticas 11 No obstante, el acercamiento a la guerra en las dos editoriales más importantes de la época, Timely (la actual Marvel) y National (la actual DC) fue sensiblemente diferente. Mientras que Timely haría intervenir directamente a sus héroes (Captain America, Namor, Human Torch…) en la guerra (es paradigmática la primera portada de Captain America en la que se nos muestra al héroe, todavía con su primer escudo, dando un puñetazo al mismísimo Hitler), DC abogaría por una política sin duda a favor de la intervención, pero sensiblemente más alejada de la acción directa… Universidad Complutense de Madrid. Biblioteca de Matemáticas 12 De hecho, en uno de los habituales ejercicios de retrocontinuidad (retcon) de los comics de superhéroes, Gerry Conway retomando la numeración interrumpida de la JSA, publicaría en 1976 All-Star Comics # 58 presentando a The Super Squad o la versión patria, sin intervención directa en la guerra europea, de la JSA, patrocinada por el Presidente Franklin D. Roosvelt. Probablemente por este distanciamiento, al término de la Segunda Guerra Mundial, cuando el mundo entra de lleno en el período de postguerra, DC aguanta mejor el tirón y sus personajes claves (Superman, Batman y Wonder Woman fundamentalmente) son los únicos que subsisten de forma continuada en los años 50 y 60, mientras que Captain America y los otros personajes de Timely irían sumiéndose en el olvido hasta el resurgimiento de Marvel en 1963 con la publicación de The Fantastic Four # 1. Universidad Complutense de Madrid. Biblioteca de Matemáticas 13 El período de postguerra se traduce en Estados Unidos en un incremento de la estabilidad social y económica, que trajo asociado un importante cambio en el contenido y producción de los cómics de superhéroes. El género sufre un importante declive en popularidad y las aventuras fueron más estables narrativamente hablando y lo que es más importante, más conservadoras. Universidad Complutense de Madrid. Biblioteca de Matemáticas 14 Si las historias durante la Golden Age habían sido más episódicas y autocontenidas, (en definitiva, estaban realizadas para ser leídas más como capítulos que como una narración continua), a partir de los años 60 se demanda por parte del público algo diferente. A la continuidad y serialización de los comic books contribuirían numerosos factores, pero son dos los fundamentales: el comienzo de las cartas de los lectores, quizás con mayor proyección en la Marvel de los años 60 pero también en DC, lo que implicaba la consolidación de lo que muchos autores denominan fiction network y las historias “imaginarias” a partir de los años 60, lo que en DC se denominarían “other worlds”, que ocurrían en el pasado, presente, o futuro de una realidad alternativa a la oficial lo que, al mismo tiempo daba un carácter de mayor credibilidad a las historias inmersas dentro de la serialización. Universidad Complutense de Madrid. Biblioteca de Matemáticas 15 En este contexto DC, en especial su editor Julius Schwartz, da con la solución para revitalizar el género superheroico. La ocurrencia, por su sencillez, es magistral. Introduce nuevos personajes con un toque más moderno tanto en el diseño como en el dibujo, pero con nombres familiares de la época de la Golden Age… Universidad Complutense de Madrid. Biblioteca de Matemáticas 16 Comenzaría con el nuevo Flash (Barry Allen) presentado en Showcase # 4 (septiembre-octubre 1956) frente al Flash de la Golden Age (Jay Garrick). Universidad Complutense de Madrid. Biblioteca de Matemáticas 17 Y después seguirían otras muchas versiones de superhéroes antiguos, como sería el caso de Green Lantern (Hal Jordan), presentado en Showcase # 22 (septiembre-octubre 1959)… Universidad Complutense de Madrid. Biblioteca de Matemáticas 18 …o la Liga de la Justicia de América (Justice League of America) presentada en The Brave and the Bold # 28 (1960), que sería una versión “moderna” de la Sociedad de la Justicia de América (JSA), y que las malas lenguas indican como fuente de inspiración de Stan Lee a la hora de la creación de los Cuatro Fantásticos que darían origen al Universo Marvel. Universidad Complutense de Madrid. Biblioteca de Matemáticas 19 Con estas nuevas series, comenzaba lo que se ha venido denominando ‘Silver Age of Comics’ Universidad Complutense de Madrid. Biblioteca de Matemáticas 20 SILVERSILVER AGEAGE Para llegar al nacimiento del multiverso habría que dar un paso más. En el ya mítico The Flash # 123 (septiembre 1961) y su historia “Flash of Two Worlds”, los dos Flash creados hasta entonces se encontraban. Si Barry Allen, el Flash creado en los años 50, había creído hasta entonces que el anterior Flash sólo existía en los cómics, ahora, gracias a las vibraciones provocadas por su tremenda velocidad, se encontraba con el Flash de la Golden Age (Jay Garrick), que le comenta en una impagable splash page:… Universidad Complutense de Madrid.
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