PHASED AND INTERFUSED PT. 2

 In Part 1 of this essay-series, I cited my definition for "phase shift:"

"phase shift" is my term for the process by which a function in literature-- which parallels my term "icon"-- shifts from one state of being (within the "horizontal" world of its purely fictional existence) to another state of being.

 Simply as a random choice I cited one of the phase shifts I had identified in a recent essay, but as I said at the essay's conclusion, I could have chosen many others.

My first *sustained* investigations into "crossover-ology" began with Part 1 of the series A CONVOCATION OF CROSSOVERS. The examples in the essay concerned how icons with stature, such as Robin Hood and Fu Manchu shifted into icons of charisma when they were "demoted" into subordinate icons, which was the opposite type of shift discussed in PHASED PART 1. In this essay, I'll deal with a different type of phase shift.

GLAD TO MEET YOU FOR THE FIRST TIME AGAIN in June 2023 introduced the overall concept of iconic bonding. For my example of this literary process, I drew distinctions between the status of Batman and Robin during the thirty years that they were a bonded ensemble, and all the years afterward, when Robin ceased to be Batman's partner. According to some critical evaluations, DC ended the partnership for purely pecuniary reasons. Following the cancellation of the BATMAN teleseries in 1968, sales for BATMAN comics fell precipitously, and DC decided that the presence of Robin in the series reinforced the feature's association with the now unpopular concept of camp. For the first time Robin had solo adventures of his own that were not implicated with the Batman-and-Robin series, as well as entering into ensembles with both Batgirl and the 1970s incarnation of the Teen Titans. (The character had also been with the 1960s incarnation of that super-group, but that iconic bond had been qualitatively secondary to the better-known Batman-and-Robin ensemble.) 

All of the 1970s alterations to Robin's status should be viewed as a minor phase shift, akin to any other time a character in an ongoing partnership gets a "spin-off." However, a different flavor of phase shift transpires in TALES OF THE TEEN TITANS #44 (1984), which I previously reviewed here as part of the JUDAS CONTRACT continuity. For four years Robin had remained in the ensemble of the successful 1980s TITANS franchise, which had become his dominant source of ongoing stature.

 During that time DC also reversed its course on having a Robin in the BATMAN franchise, and since Dick Grayson already had a successful berth in TITANS, the company chose to bring forth a new Robin, Jason Todd, introduced about a year before in BATMAN #357. For whatever reasons, it took roughly a year for DC staff to decide that Dick Grayson would divest himself of the Robin identity for good, and take on a new superhero name, Nightwing.

This is a phase shift of a different nature than the spin-off status of Solo-Robin. Over time DC raconteurs had to evolve a new literary identity for Dick Grayson As Nightwing, even though textually he was the exact same person as Dick Grayson As Robin. This type of phase shift relates not to stature or charisma, but to what I will call the "narrative texture" of a character; of the set of expectations that the audience brings to a given text, separating one persona assumed by Character A from another persona assumed by Character A. By this same logic, I deem DC's Superboy to be a distinct persona from DC's Superman-- but that's a discussion for another time.