Ever since DC Comics announced a seismic shakeup of its entire book line for this September, promising a remix of character histories and costume designs to give its universe a more contemporary flavor, the move has sparked an incendiary reaction among readers, with one particular change fanning the most flames: DC’s decision to return the paraplegic Oracle to her previous role as the able-bodied Batgirl. Because of the already slim share of characters living with disabilities in the DC Universe (or DCU), the sudden dismissal of Oracle’s paralysis has not just been a point of contention for some fans, but also a puzzling contradiction to the spirit of DC’s relaunch announcement:
“[The relaunch] will introduce readers to a more modern, diverse DC Universe… All stories will be grounded in each character’s legend—but will relate to real world situations, interactions, tragedy and triumph.” –Bob Wayne, Senior Vice President of Sales at DC Entertainment
But aside from shuffling a few more black characters into the spotlight, DC won’t be making any huge strides forward in diversity, leaving the meat of its heroes classically white, male, heterosexual, and possibly even more able-bodied once the relaunch hits. The loss of diversification offered by Oracle—a hero borne of a “real world” situation both tragic and triumphant in nature—is a disappointing step back for a company that once made pioneering leaps with the Batgirl legacy.
Batgirl was first brought to comics and television in the 1960s as the alter ego to Barbara Gordon, a sharp-witted young woman with an altruistic appetite for crime-fighting and an independence that personified the essence of women's rights advocacy during the time period. Confident, fresh, and vibrant, Barbara Gordon was a self-made superheroine that operated independently from Batman and Robin, and took no nonsense from either. Her character was so successful that when she was off-handedly paralyzed from the waist down in the 1988 comic Batman: The Killing Joke, fan reaction to the story was divided, and stayed that way through present day.
Although the canonization of The Killing Joke—in which the Joker shoots Barbara through the spine as plot fodder—has never won universal acceptance, DC editor Kim Yale and writer John Ostrander used the story as an opportunity to positively reposition Barbara in the DCU: in 1989, they transformed the former Batgirl into the now-iconic Oracle, an expert computer hacker and information broker providing invaluable intelligence and assistance to superheroes on the frontlines. From Yale and Ostrander’s retooling onward, Barbara evolved personally and professionally, overcoming the depression brought on by her paralysis and realizing her remaining self-worth as a brilliant and capable crime-fighter. Along with being tapped by the US government and the prestigious Justice League superhero group for her services, Oracle has most notably founded and led her own female fighting force in the comic book Birds of Prey.
Needless to say, Oracle’s prominence and popularity as a wheelchair user—while holding her own against acrobatic and super-powered peers alike—has been an unparalleled push forward for disability representation in the DCU. Barbara’s refusal to be victimized by her paralysis imbues Oracle with immeasurable symbolic value, as both a comic book champion for those with disabilities and a statement on how those without should treat them. The DC superhero community interacts with Barbara as an equal, and often relies on her to pave the way to victory against some of its most formidable adversaries. For about the past 20 years, DC Comics has asserted that a paralytic Barbara is not only irreplaceable in the never-ending battle against the bad guys, but fundamentally necessary in it. At a time in which 54 million Americans with disabilities are largely marginalized or, more often, completely ignored in entertainment, DC Comics has implicitly argued that this part of the population is just as important the rest, and certainly deserves to be recognized as such in its stories. At least, that’s been the case until now.
Perhaps DC would do best to remember the underlying truth behind what’s made Oracle work for more than 20 years, why fans are so upset about losing her, and where the phenomenon of disability pride comes from: Oracle has been a testament to the idea that people with disabilities don’t essentially live lives less interesting, less meaningful, less “alive,” or less complete than those without. Like Oracle, their role in society is different in some ways, the exact same in others, and crucial in either case. Oracle’s revolutionary standing as a heroine who never needed bionic legs or a restorative redo to fit in has honored a group habitually hidden from sight, and emphasizes the import of not regarding it as inherently separate from what’s usually perceived as normal. Until now, DC Comics has rejoiced in the value of people with disabilities through a character that doesn’t need to throw kicks to kick ass. But come September, the publisher will toss Barbara Gordon “back” into her role as a superhero, forgetting she’s already redefined how to be one.
To read the full article go here: http://thefastertimes.com/politicallycorrectpop/2011/07/11/batgirl-and-the-big-gay-wheelchair/
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