Mariko Tamaki, it’s a name that a few people couldn’t help but feel iffy about. On the one hand she tells great creative writing graphic novels about the human experience. Meanwhile in the more commercial fields, there’s the struggle of trying to find a place to cut loose. Because let’s face it, finding the motivation and discipline to tell great stories come with risks. Between the high expectations of hardcore fans, executive meddling, and at times a lack of motivation, Tamaki deals with a lot. So why is it that by the time she’s in Detective Comics things take a significant turn?
Mariko Tamaki: One Woman Flashback
Tamaki’s education primarily focuses on writing, especially in terms of having outcasts express themselves. These early days focus on personal dramas about not fitting in with expectations. From groups like Cheap Queers and Pretty Porky & Pissed Off, Tamaki uses these experiences for her first novel. It’s also more than possible some feelings of Tamaki’s goes into it. How much is unknown but being an outcast is common for some people; anything specific however is private.
Coming Out Into Graphics
Despite her success, words can only express so much. In order to truly reach out to people; Tamaki transitions from plays to graphic novels. Coming out doesn’t always mean revealing yourself to be queer; it’s more about being honest with yourself. Skim is very much a reflection of all of this. Life is a series of difficult transitions that flows like water but maybe that’s the artwork by Mariko’s cousin, Jillian Tamaki. The pair’s works feel like a conversation between two people coming-of-age like in This One Summer. Emiko Superstar meanwhile is almost like Tamaki indirectly expressing her transition phase into theater.
Diversity Means The Hard Truths
It would be a while before Tamaki does another graphic novel in this style. Laura Dean Keeps Breaking Up With Me shows some of the hardest things to look at in life. For all of the times that I hear “representation matters” this book has probably one of the more authentic depictions of queer relationships. Not just in terms of having queer characters but how sometimes people still have to deal with expectations. Teenage years are a period of uncertainty, especially with relationships. With people so unsure of their own self-worth in this pivotal point; they need some sort of assurance. But that also means looking at how messy and semi-toxic it can be as well.
Self-esteem is a very fickle thing that can tear a person apart. As social creatures, we humans want to be loved and respected. But sometimes that comes with the assumption of find the love we get instead of deserve. Sometimes it even gets to the point where a lack of self-love turns into codependence. The insecure Freddy finds this to be the case when her relationship with Laura Deen turns sour. But it does end with a positive message about the difference of love and being in love.
Mariko Tamaki Also Does Commercials
Self-expression and breaking out of conceptions is important and all; but sometimes it’s just okay to have fun. Tamaki’s first work in major comic companies is Dark Horse’s Tomb Raider series. Based on the Crystal Dynamics video game series, Tamaki shows herself capable of going with the flow. Readers can just tell from the presentation that Tamaki and the artists are just having a good time. Lara Croft trains with a blind woman, and has some magic mushroom experiences. It has that sense of adventure that lies at the heart of the Tomb Raider franchise.
In fact this wasn’t a lightning in a bottle moment. In other license titles like Adventure Time or Overwatch there’s a real sense of connection with the franchises. Plus it helps that these tend to sell well with the general audience. Even two of Tamaki’s Double Trouble Marvel books are just having good times with Gurihiru; no big continuity followups and just messing around with lovable characters. So what about when Tamaki goes into continuity?
Mariko Tamaki: Motivation vs. Rationale
When it comes to Mariko Tamaki as a creative, there are two sides to her. One of which is the creative writer who adapts lived experiences from real people. The other is someone just getting together with friends for a good time. So trying to find the balance between those two sides with Marvel and DC serves as a point of contention for a bit.
What’s The Motive?
Finding a character’s motivation is probably what allows Tamaki’s X-23 and Supergirl: Being Super to be her best. Barring the tone and aesthetics, these titles are essentially the same. The characters are confronted by challenges to their identities.
X-23 being a clone of Wolverine finds herself trying to ensure no one goes through her or her sister Gabby’s ordeals. It shows a love for Laura Kinney’s nurturing side and tactical mind from Tom Taylor’s All-New Wolverine. Even as its put to the test by clones trying to help their own sister as well as the Marvel executives ready to bring back Logan. Tamaki very much displays her lack of investment in this act of event in Hunt for Wolverine: Claws of a Killer.
Then there’s Supergirl: Being Super an Elseworlds type of story with little executive meddling. Kara is first and foremost a teenager who struggles with her identity. She knows she’s Kryptonian, considering it to be the most defining feature of her life. But when Kara finds herself outclassed by another Kryptonian, she feels her ideals shaken. Especially because without that sense of uniqueness or connection with her dead homeworld, comes isolation. Fortunately Kara finds the love and acceptance she needs from her host family, the Danvers and her high school friends. Because while some people’s struggles are unique, that doesn’t mean people can’t share their burdens. No wonder Tamaki gets to write a CW Supergirl episode.
Rationale’s Attempts
Then there’s Tamaki’s take on Jennifer Walters (She-Hulk) in a very vulnerable state. It’s around this time that some of Tamaki’s creative… shortcomings(?) come up. In the initial chapters, Tamaki has Jen dealing with a lot of traumatic baggage. Her near-death experience combined with her cousin’s own death has her trying to compartmentalize everything. Getting help after a lot of trials is a good development here. But… it becomes apparent in later stories that Tamaki really doesn’t have much investment in She-Hulk besides a paycheck. Besides Jen trying to manage her stress, she doesn’t show much character feeling more like a plot element. Even the ending as Jen comes to terms with her trauma, it’s left to interpretation… by the Marvel executives.
Then there’s Harley Quinn: Breaking Glass an elseworlds type of story, meaning very little executive meddling. One of the main highlights is social commentary about gentrification, and where Joker and Harley fit into that. Not only that, throughout the pages there’s a genuine love for the character. She’s still the bombastically over-the-top person that fans can’t get enough of. But here, Harley’s portrayal is that of looking for love and finding it in the wrong and right places. Traditional relationships don’t work out for her, especially with Harley’s mom or the Joker. But the drag queen super of her apartment and Poison Ivy are all she needs. Unlike Joker who uses Harley as a means to the end to make money.
Any More Hard Truths Mariko Tamaki?
On the other hand, Tamaki does try her hand at more commercial titles to expand her horizons. At the same time, it can get hard to tell where Tamaki puts her effort into. The Buffy the Vampire Slayer spin-off Willow for example, there’s not a lot of love put into it. Neither is that the case in Crush & Lobo, in fact there’s a pattern. Queer female characters dealing with relationship troubles and trying to find themselves. Does this seem like typecasting?
Her Wonder Woman run starts out good with Diana’s down-to-earth interactions and some bozo interrupting it. But DC needed to cash-in on the Wonder Woman ’89 movie, interrupting Tamaki’s vision. It’s apparent that Tamaki didn’t put her best effort into Maxwell Lord with how uneven his depiction is; sometimes Lord’s a hustler, other times a reluctant ally. The same kind of applies to the Archie & Katy Keene series, pretty much a failed cash-in on a canceled TV show.
Sigh… Let’s Get This Over With
Alright we need to address this despite the controversies. I Am Not Starfire is an Elseworlds’ story about the daughter of a Teen Titans alumni living in her mother’s shadow. Rather than repeat the trolls and toxically positive critics, I’m going to share my opinion. I didn’t really enjoy this story for several reasons; it’s okay if you did, you like what you like. But when it comes to the target demographic or what goes into it, it’s hard not to deny the objective shortcomings.
This book was aimed at young teens who watched the Teen Titans and Teen Titans Go! TV shows. It’s plot is a very basic outline of coming-of-age YA novels about going forward in life. Not only that but the ending is very controversial despite the showy art style.
Problem one: fitting the Titans into this story just makes them plot elements. It’s like the DC universe barely even exists in this book. Next, I have a feeling Tamaki’s original pitch changed to include the Titans. The only problem is, Tamaki doesn’t seem to have much connection with the Titans. For that matter, most of the non-superhero characters just feel like Gen Z tropes. The ending where the main character Mandy gets superpowers… it may have been better to go with a basic self-acceptance ending without powers. It’s hard for me not to think that the quality of I Am Not Starfire is because of typecasting, executive meddling, and just working for a paycheck.
Holy… Tamaki It’s Batman!
But then there’s Tamaki’s hand with Batman‘s Future State: Dark Detective and Detective Comics. She displays a keen understanding of the spirit of Batman and his setting of Gotham City. Dark Detective shows Batman at his most raw, an investigator who builds his own gadgets and works from the shadows. But when that’s not enough, he finds hope in the city who fight back against a darkness he can’t overcome. Plus this leads to get more attention and payment.
Meanwhile Detective Comics as a whole is a bit of a mixed bag, but that’s mainly because of an event tie-in. With the story Tamaki told already in Dark Detective, her debut lays the foundations. In it there’s a strong theme of accepting Gotham for the way it is rather than what people want. A drunkard Bruce Wayne meets says that while people can know he’s Batman, they don’t want to believe it. Then there’s Helena Bertinelli and Tamaki’s creation Deb Donovan. Deb for the most part feels like Tamaki’s mouthpiece in regards to Gotham, accepting the city despite the dangers.
As for Helena Bertinelli, in Detective Comics she truly experiences the horrors of Gotham. Ironically, that makes her closer to Batman than ever before. For people familiar at all with Huntress, she was driven by vengeance and crime prevention. But her methods are simple for the complex and systemic problems of Gotham. Through an abused woman and a parasite that gave her powers, she finally sees how much bigger the city is. As such, she feels starts her pursuit of justice with a little more empathy.
What’s In The Wind Mariko Tamaki?
I know and cannot for the life of me ever truly understand creators like Tamaki. It’s why I best guess and write these posts. All that I can say about Mariko Tamaki is that she has no fear and puts effort where she believes is best. For the creative writing side, there’s some genuine therapeutic experiences. In the commercial work meanwhile, best to hope she can work with IPs she likes. She’s just someone who wants to express how she feels, especially with the right team. There are no agendas or identity politics; all that it is about is telling people who you are.
Thanks for coming and as always remember to look between the panels.