Following up on my previous proposition that it makes the most sense to discuss narratives as propositions about fictional constructs, I should specify that the category of "variant propositions," those that are playing off familiar icons, includes the subcategory "null-variant propositions." These are variant propositions in which the author conjures with one or more familiar icons, icons not within the cosmos of a featured icon or group of icons, but also takes some strategy to distance the familiar-seeming icon from the original on which it's been modeled.
In this essay I discussed a particular type of null-variant, the replacement character. One of my examples dealt with a pair of heroes named The Black Owl from Prize Comics. While a lot of Golden Age features simply changed a given hero's personal name or powers at the drop of a hat, some writer or editor at Prize decided he wanted to distinguish a "new Black Owl" from the old one. So the previous Owl simply hung up his wings, so that the author could dovetail the history of the new Owl with another new Prize feature, "Yank and Doodle," twin teen heroes who just happened to be the sons of the new Black Owl. The author of the new Owl wanted to keep whatever audience the old Owl had garnered, while clearing the decks, so to speak, so that he didn't have to concern himself with the old Owl's identity.
My first example is a very overt form of the null-variant, as are the countless stories in which a hero encounters a son, daughter or great-grand-nephew of Frankenstein. But there's also a covert form, in which the author teases his audience with the possibility that a familiar icon has entered the sphere of the featured icon. I touched upon one of these here, dealing with a 1952 story in which the Frankenstein Monster seems to show up in the cosmos of the 1950s Ghost Rider. However, the Monster proves to be just another example of a schmuck dressing up like some familiar icon to spread fear, or something like that. I thought this was a shame, since there was no reason that a Ghost Rider story could not have had the Phantom of the Plains encounter a version of Mary Shelley's creature.
Most if not all dreams or illusory representations of familiar icons fall into the null-variant category. In TALES OF SUSPENSE #67, the villain Count Nefaria uses a dream-controlling machine to project Iron Man into a nightmare-world where he fights simulacra of old foes, some of whom are no longer among the living. This is another overt use of a null-variant, while the covert type would be found in the sort of story that ends with the climactic revelation that "it was all a dream." The one possible exception would be those dreams where it's suggested that the dreamer 's act of dreaming has actually put him in contact with a plane of being where literary characters have their own reality, as may be the case with the 1943 tale "Santa in Wonderland," where the jolly old elf finds himself less than amused by the japes of Lewis Carroll's Wonderland weirdos.
