Tagged: Keith Giffen

BOOM! Studios acquires Archaia

San Diego Comic-Con 2011 - Boom! Studios boothBOOM! Studios, the comics and graphic novel publisher, has acquired indie label Archaia Entertainment. BOOM! Studios will be the surviving company and the Archaia brand shall be maintained as a distinct imprint of BOOM!.

The addition of Archaia positions BOOM!’s catalog of intellectual property as the largest independent company-controlled comic book and graphic novel library, behind only industry titans DC Entertainment (Warner Bros.) and Marvel Entertainment (Disney).

BOOM! Studios was co-founded by Ross Richie and Andrew Cosby in 2005, and is known for Irredeemable, various licensed properties like Planet Of The Apes, The Muppet Show, Farscape, and the upcoming Sons Of Anarchy, their KaBOOM! all-ages imprint with Adventure Time, and their BOOM!Town imprint with various literary comics. Archaia, established in 2002, is known for graphic novels Mouse Guard, Jim Henson’s Tale of Sand, Rust, Spera, Cowboy, and Gunnerkrigg Court.

BOOM!’s foray into feature films launches this summer with Universal’s August 2 release 2 Guns starring Denzel Washington and Mark Wahlberg, based on industry veteran Stephen Grant’s original comic. BOOM!’s also prepping to shop two more Grant properties in the works: Damned, Grant’s 1997 miniseries with Mike Zeck which BOOM! is re-releasing in July, and new comic The Deceivers which boasts a set-up akin to 2 Guns with spies. Meanwhile BOOM! is currently prepping its next feature Jeremiah Harm, based on the comic book by Keith Giffen, Alan Grant, and John Mueller, which Timo Vuourensola (Iron Sky) will direct. Archaia also has a number of titles previously optioned or in development including Rust (Fox), Lucid (Warner Bros.), Bolivar (Warner Bros.), and Feeding Ground (Pressman Films).

Marc Alan Fishman: Tough Act To Follow

The other week on my podcastFishman Art 130216 (to which you’re all listening, right? Right?) I lamented on a bold move I’d have to make after reading the incredibly terrible “Rise of the Third Army” event in the Green Lantern comics. I decided after following the book for nearly 15 years I would drop it. And I placed the blame squarely on Geoff Johns’ mighty shoulders. As if the lords of comic bookery heard my cry of exhaustion… Johns announced his stepping down from his emerald perch. And I looked up into the sky, and swear I saw a hawk wink at me.

And while I could spend the entirety of this column discussing why Geoff Johns’ name no longer comes with the reverence and respect it once did from me, I choose to digress to a more optimistic topic. With Johns and his entire GL crew stepping away, it will soon be time for new creative teams to grab the reigns of DC’s biggest B-lister and his C and D-list cohorts. And with that comes major cosmic boots to fill. Consider this my open letter to those new teams: reportedly, Peter Tomasi on the lead Green Lantern title, Joshua Hale Fialkov on Green Lantern Corps and Red Lanterns, possibly Robert Venditti or Justin Jordan on New Guardians, and Keith Giffen on Threshold. Please note: I write on Tuesdays for my column on Saturday, but all of this unsolicited advice still applies to those who actually land the jobs.

Before you new people even open up a blank word document to scribble down thoughts and ideas, go pick up Mark Waid’s Daredevil run over at Marvel. Now read it. Now read it again. Waid, in his own right, may be one of the most prolific and amazing writers in contemporary comicsdom. I asked that you pick up his DD run not only because it’s amazing but because it followed Brian Michael Bendis’ run, which lasted about a decade if I’m not mistaken. Waid proved that even with that much narrative weight attached to a character, he could find a fresh perspective and new legs. And he did it in spades.

Now that you’ve seen that it can be done, it’s time for you to do it yourself. Realize above all else that the issues and events before your run must inspire you, not weigh you down. Bendis drug Matt Murdoch to hell several times over. Waid took that and found a way to flip it. So too, will you have to do the same with the entirety of DC’s cosmic comics. But to be fair? If nothing else, Geoff Johns built you an entire universe to play in.

Over nine years Johns took a single Green Lantern – Kyle Rayner – forgot him, and in his place built an entire emotional spectrum of warring aliens. He reignited the Green Lantern Corps. He created depth with villains (who have since had a slight change of heart) like Sinestro and Atrocitus. He created mystery with Larfleeze, and the Indigo Tribe. He created the Blue Lanterns, who up ‘til this point were essentially hero support from D&D. He granted Krona his own epic end. He retconned in an entirely new origin for the Guardians. He even made another new Earth Lantern (who I’ll mention is totally not a terrorist). It’s easy to see how anyone walking into all of this might be overwrought by this newfound continuity. Where does one even begin?

If it’s not already clear to you: consider working a year (or more, Rao willing) without an event. Is it even possible? I beg of you to look to the past. Comics, albeit serialized soaps for teens and wish-they-were-still-teens, were born in an era where complete thoughts could be told in a single floppy issue. And while I’ve explored both the good and the bad of today’s modern “write for the trade” era writing styles, suffice to say after nine years of nothing but event-driven drama for my favorite sect of mainstream comic books? My white flag has been flying since the new 52 graced my longboxes.

At the core of every great run on comic books these days, comes a commonality of concept. I cite Grant Morrison or Scott Snyder’s runs on Batman, Jonathan Hickman’s run on Fantastic Four and FF, Bendis’ run on Ultimate Spider-Man, or Matt Fraction’s run on Invincible Iron Man or his current run on Hawkeye. With each of these books (and a few other fine examples I’m missing), the creators all present a singular vision of the hero and their world. They start from a seed, and grow their own microverses within their respective issues. And in each of these cases, they take into account the continuity that occurred before them, but choose to move past it. Our past informs who we are, but it doesn’t need to be what keeps up from moving forward. So too, are our heroes of pulp and paper.

A lesser set of writers would take the last scenes of however Johns and company ends their books and emulate where they thought they were going. But you, new creative teams… will do better. You will find the essence of your respective lanterns, and will build your own bold direction. You will celebrate nine years of new ideas with years of your own. You will refrain from creating more secrets hidden in lost continuity. You will refrain from crossing over the books because one of you had a great idea that needs everyone else in the pool. You will find ways to use heroes and villains that already exist, or create new ones that help elevate your stories. You will not feel the need to end every major arc with Hal (or John, or Guy, or Kyle, or Not Terrorist) reciting the oath and blasting something to oblivion. You will not give Kyle Rayner another new costume. You will not make John Stewart blow up another planet. You will not play emotional footsie between Hal and Carol.

You will go boldly where no one has gone before. And if you’re worth your salt, you’ll earn my subscription back.

Sunday: John Ostrander

Monday: Mindy Newell

 

Michael Davis: Dark Horse Wants Me Dead

Davis Art 130129Mike Richardson CEO, publisher and owner has ordered a hit on me. Here’s the story…

Over a decade ago I sold a project to DC Comics and that deal fell apart.

Why? Why does the phone always ring when you are in the bathroom? Why do gay people join the GOP? Why from behind certain white guys look like girls? Why after I found out he was a guy did I still buy him a drink?

Sometimes it’s just silly to ask why. Sometimes you just continue on your journey the why becoming less and less important. I’m also not one to relive old dumb shit in my life.

This is not the place to pick at old wounds…but since I know you want to know…

The editor assigned to the project wanted me off the project. Yeah, my project, my idea and he wanted me gone. Why?

Why ask why? Why does every fat girl you made fun of in high school turn out to be a skinny fox who won’t give your stupid ass the time of day? Why don’t Democrats make it a point to never let the country forget we went to war twice for no fucking reason because of the GOP? Why do some people like fruitcake?

I’m above asking why and won’t lower myself to even think about why the editor wanted me off my own project. But what kind of writer would I be to leave my fans (both of them) wondering?

The stupid motherfucker just didn’t like me.

DC would have wrote me a check and still did the project without me but I politely told the editor “No thank you, I’ll take the project elsewhere.”

I think my exact words were something like “Fuck you bitch.”

Two days after that polite conversation, I was pitching the project to Dark Horse. Mike Richardson loved it and signed on to do it.

Take that, DC Comics!

Dark Horse is one of, if not the, best place, to do a creator owned property was going to do my project! On top of that Mike Richardson was going to edit the book himself!

Mike Richardson a legend in the business! Mike Richardson, maker of great comics, great movies, great toys!

Mike Richardson was going to oversee my project! That was indeed great news!

Mike Richardson was going to oversee my project! That was indeed a great problem!

Why you ask was that both great news a great problem?

Why ask wh…oh fuck it, I’ll just tell you.

It’s great because Mike is one of the best at what he does. Just look at the numerous products Dark Horse does all over the entertainment world Dark Horse is into movies, television, toys you name the media chances are good that Dark Horse has a project in it.

Not to shabby being in business with the guy that runs all that eh?

Why is this a problem?

Because Mike Richardson may be in Portland on a Monday, Los Angeles Monday night and Prague Tuesday afternoon. When Mike is overseeing your project meetings and feedback can take a day a week or a couple of months.

I started sending Mike outlines of the four-issue superhero mini series and Mike would send me notes or we would sit down and go over it. I did many and I mean many drafts of this superhero epic over a couple of years.

That’s right, years.

One day out of the blue Mike called me and said; “This isn’t a superhero story. Let’s take the superheroes out ”

Mind you, I had written literally hundreds of pages of outline over the course of what was now three years. Also this was to be my “Black Watchman,” a term coined by Keith Giffen, BTW.

So now I have to start all over. So I did and this was when I realized that my “Black Watchmen” story was a good story but it wasn’t this story, so Mike was right.

So for the next couple of years I’m submitting outlines to Mike he’s giving me notes and we meet on occasion to talk about the project.

Then low and behold, one day Mike says to me about my latest outline, ‘This is it, go do the book!”

So now I have to do the book.

Shit…

End Part One.

WEDNESDAY: Mike Gold And Alfred Pennyworth’s Guns

 

Mike Gold: Mars Attacks – Completely!

Mars Attacks • Abrams ComicArt • hardcover $19.95,  also available in electronic format. Publication date: October 1, 2012

There’s a seminal moment in every weirdo’s life where we experience something so outrageous our worldview is altered severely and forever. For Ray Bradbury and Michael Moorcock, it was Edgar Rice Burroughs. For nascent NASA scientists, it was Ray Bradbury and Buck Rogers. EC Comics begat a generation of filmmakers, satirists, and cartoonists. I have no doubt we will be appreciating the influence of The Simpsons and South Park as its early adopters enter the creative workplaces.

For me, it was Mars Attacks.

I love to collect things. I suspect if comic books were unnumbered I wouldn’t have made it to the Marvel Age. So I would dutifully check out the counter-spaces at my local drug stores to see what the Bazooka Joe boys at Topps were offering in the realm of what we now call “non-sports cards.” Their Civil War News series was as informative as it was gutsy. Their Space Race and Funny Monsters cards brought great entertainment to my pre-pubescent little brain. But nothing – absolutely nothing, not Rocky and Bullwinkle, not Mad Magazine, neither Ernie Kovacs nor Steve Allen – prepared this 11 year-old proto-nerd for the glory and the horror of Mars Attacks.

Briefly for those who are not in the know, Mars Attacks was a set of 55 trading cards issued in 1962 that told the grisly story of an invasion from space by everybody’s favorite bug-eyed naked-brain Martians. On the front was a masterful painting by the great Norm Saunders based upon sketches by the great Bob Powell and the great Wally Wood. On the reverse was the next part of the invasion narrative. Cattle were torched, subway cars were eaten by giant ants, soldiers were slaughtered, dogs were vaporized in front of their youthful masters.

Spoiler Alert: We win.

The concept and story, created by Topps’ creative director (and, later, seminal comics fan publisher) Woody Gelman and staff writer Len Brown, later of T.H.U.N.D.E.R. Agents fame, was breathtaking because it was over-the-line. Way over the line. So far over the line you couldn’t see the line in your rearview mirror if you stopped right after you crossed it. Simply put: in 1962 you did not torch dogs and soldiers and cattle and wrap it up in wax paper with a slice of bubble gum.

Were adults offended? Holy crap, yes! You’d think the Martians actually invaded and turned out to be Commies. Topps was inundated with complaints and boxes were removed from store counters. At first, the Bazooka-boys thought they’d simply tone down some of the more objectionable cards, but instead they squeezed the toothpaste back into the tube and withdrew their product… leaving nothing but the legend in its wake. A highly collectible legend.

To celebrate the 50th anniversary of this historic event, Abrams ComicArts has released a hardcover book surprisingly called Mars Attacks. Forwarded by Len Brown and backwarded by Norm Saunders’ gifted daughter Zina, all the cards are reprinted (both sides) in their full glory along with the surviving sketches as well as the 1994 sequel cards and other great stuff, including artwork from Zina Saunders, Jay Lynch, Timothy Truman, Frank Brunner, Sam Kieth, Keith Giffen and a whole lotta other swell folk.

In addition to the aforementioned 1994 sequel cards, there have been several attempts to revive Mars Attacks including at least three comics series and a grandiose Tim Burton movie (forgive my redundancy). These have succeeded to varying degrees, but I think the concept is truly a product of its times. The bar of outrageousness has pole vaulted in the past 50 years, and these cards would barely raise an eyebrow if issued today.

But for its time, in its time, Mars Attacks brought the energy of rock’n’roll to the B-movies of the drive-ins and put it all on the doorsteps of the nation’s 11 year-olds. Its quick removal trusted it into legendary status. Abrams’ new book is a very worthy tribute.

THURSDAY: Dennis O’Neil

 

Marc Alan Fishman: The Top 5 Comics I’d Like To See

In an effort anger the Internet – and save me the time of writing too much – I figured this week I’d take a trip into Fantasy Land. Here is a list, simple and to-the-point, of five books I’d love to see hit the stands. This probably won’t happen unless we’re on Earth 29.

The Avengers: Written by Geoff Johns, Art by Peter Krause.

With his ability to handle a multitude of characters (see his run on Justice Society, or to a lesser degree, Justice League) and draw from countless years of continuity to craft original tales, John’s would deftly deliver a truly epic arc for Earth’s Mightiest Heroes. Peter Krause (of Irredeemable fame) has an amazing ability to show emotion, and a wide range of your more traditional superheroes. Put together? I think the fans would assemble in droves for a chance to see the premier Marvel team run through the proverbial wringer. And with John’s latent ability to hone lesser villains (see Captain Cold, or his subtle shifting and deepening of Sinestro), no doubt this impossible title would be one for the ages.

Green Lantern: Written by Brian Michael Bendis, Art by Mike Norton.

Brian Michael Bendis could do perhaps what no other writer has done for Hal Jordan in the last 10 years of his comic booking career: he could make me give a damn about Hal. Bendis, master of the talking head page, could instill the much-needed pathos to what has basically been a cardboard cutout of a hero since his “rebirth.” Given his pedigree and ability to craft subtle, nuanced characters, I’ve little doubt his emerald knight would finally be a human being, akin to the Ultimate Peter Parker, with far more years under his power-ringed belt. And with Mike Norton’s clean, concise, and emotive style? Well, I think the book would look as sharp as it read. Norton’s often forgotten runs on Blue Beetle and Green Arrow proved to me long ago, he’s the go-to guy when you need stalwart presentation.

DC Kids Cavalcade: Written by Art Baltazar, Franco, and Keith Giffen, Art by Katie Cook, Art and Franco, Jill Thompson, and a Troop of Others.

Yeah, yeah, yeah. I know. “Anthologies don’t sell.” Well, maybe they would if the stories and art in them wasn’t always a crap shoot, maybe it’d have a chance. I’d kill to see a monthly rag where the funniest minds in comics met with an endless parade of the most kid-friendly artists. Give us a chance to see Katie Cook’s Batman saga or “Tails From The Litter Box: The Midadventures of Dex-Starr.” Pair Giffen’s sharp wit with Art’s never-not-cute style. What could be more perfect for young readers, than a never-ending series where each issue packs in a brand new kid-friendly (but with plenty of Easter eggs for adults) tale? Nothing that I can think of, darn-it.

Thunderbolts: Plotted by John Ostrander, Scripted by Gail Simone, Art by Ethan Van Sciver

No, I’m not just pandering for my close and personal friend John Ostrander. OK, maybe I am a little. But hear me out. Ostrander’s original run on the Suicide Squad is just an amazing piece of sequential fiction. His ability to mine realism in the face of the absurdity of comics is unparalleled. Match this with the wit and charm of Gail Simone? You get yourself one fancy-assed book about ne’er-do-wells. It stands to note I found Simone’s Secret Six to be the sleeper hit of DC in the mid-aughts. Certainly her pitch-perfect evil side would pair well with John’s, and together they could craft a story about Marvel villains trying to change the world. Since Marvel doesn’t really have an “evil only” book per say, I’d think this’d be an interesting one to see. Pair them with Gail’s buddy Ethan Van Details? And you have a gory and beautiful mess on your hands. Van Sciver’s meticulous style would be great to see, when there’s no forced lighting, constructs, or fire being forced into every panel. When its time for poop to hit the fan though? There’s no one better for the art duties.

Metal Men: Written by Matt Fraction, Art by Chris Burnham.

Last but not least, a title so impossible to exist, 14 editors just burst out laughing over how unsellable it’d be. This iteration of the Metal Men would be a mash-up of sorts. Fraction has proved he’s got the uncanny (natch) ability to build slow, methodical tales without boring his audience to tears. And based on his most current work on the Defenders, he’s proven he can be witty to boot. Pair him with the “in-the-prime-of-his-career” Burnham, whose carefully crafted dynamic figure work is second to none, and you have a book that’d look as sharp as the titular metallic men in question. Fraction could world-build around the odd duck Doc Magnus, but not lose the fun always associated with the franchise. Toss in some climactic battles with new versions of Chemo, Animal-Vegetable-Mineral Man, or Monsieur Mallah and the Brain… and you have a perfectly unsellable train wreck – that I’d buy 10,000 copies of.

BONUS! GrimJack: Written and drawn by Unshaven Comics.

What? Boys are allowed to dream!

OK, Internet. Time to tell me how wrong I am! Or better yet? Pitch your impossible book below. We’ll take a vote, make a petition, and incite riots for the best idea. Now, go do that voodoo that you do so well.

SUNDAY: John Ostrander

Michael Davis: The Greatest Story Never Told, Conclusion

Please read the past three week’s installments before reading this. Thanks!

What has gone before, quick and dirty recap… I’d sold (in my opinion) the second greatest idea in the history of comics to one of the greatest publishers (DC Comics) in the business. It was to be written by one of the greatest writers  (Dwayne McDuffie) with art by a guy (me) who was going to make sure this time he got it right. The editor assigned to it wanted me off the project I created. Dwayne told the editor he would not do the project without me.

I told the editor to kiss my ass (at a bar during the San Diego Comic Con some years after all this went down and after Jenette Kahn had left DC). See previous installments as to why I didn’t tell him to kiss my ass while Jenette was there.

What did the editor say?

Nothing. When’s the last time you’re heard a pussy talk? Me? Last Friday but that was …well … you know…

I took the project to Dark Horse.

Mike Richardson loved it…

Mike Richardson runs what is without a doubt the coolest entertainment company in the world in my opinion. Dark Horse does movies, comics, television, animation, toys, collectables and just about any other cool pop culture stuff you can think of.

Mike is not just the founder, owner and CEO, he is also the driving creative force behind Dark Horse. Having a project at Dark Horse is not just cool, its prestigious as well.

Sin City, Hellboy, The Mask, 300 are among the Dark Horse comic projects that have gone on to be come huge movies and merchandising juggernauts. If any project has a chance of becoming something beyond comics, having Dark Horse as your publisher helps tremendously.

Mike gave me my marching orders, which were to come back with a detailed outline of the story, and I did. I came back over and over for five years.

Yep. Five years.

Or 35 years in the DC editor’s life. Why 35 years? Because he was and still is a little bitch.

But (sorry again, Peter) I digress…

Allow me to make another aside to the young creators out there. I have two mottos that I live by…

There is nothing too good to do for my friends, nothing too bad to do to my enemies.

And…

A deal takes the time that a deal takes.

Just to be clear, Mike Richardson and I did not meet every week or so for five years. We met numerous times to go over the story but there were times when we would meet in April and the next time it would be in May.

May of the next year.

When you are dealing with the head of an A-list entertainment company you have to realize that they have a lot of other stuff to do.  Often Mike would be out of town, way out of town like in Prague filming Hellboy or in Japan working on a toy deal or in San Diego at Comic Con where he stabbed me through my heart…long story.

Before your mind goes to dark places, he stole a toy out from under me at a vendor during Comic Con. That’s how he stabbed me in the heart…and he never called.

So young creator: remember a deal takes the time that it takes. If you think countless phone calls and emails are going to make a difference, you are right.

Countless phone calls and emails will make a difference. The difference it will most likely make is you will phone call and email yourself out of a deal. Nobody likes a pest.

I know that first hand. Ask Halle Berry.

We went back and forth on the story until Mike called me one afternoon and said; “Let’s get rid of the superhero element.”

That’s what Mike had been struggling with during my many revisions to the story.

The story was a superhero story that dealt with a certain time in American history. Mike realized all at once that the history was more important than the superheroes.

This under any other circumstances would have been a deal killer for me. That was not the idea that Keith Giffen said was one of the greatest ideas he had ever seen. This was no longer my dream project.

But…

It was a great project and more importantly it was a story that needed to be told.

Mike was right.

Soon after we had that talk I turned in my new story overview and Mike said “Go do the book.”

That was three years ago.

I’ve been working on that graphic novel for three years. The comic book work I’ve done in the past has been me trying to do comics the way others do comics. I’m not that type of artist and I’m not making that mistake again.  Graphic novels are done in as many styles as there are artists and I’m not taking any chances that I’m not true to how I work and how I work is a bit involved and tedious.

My pen and ink style is a wee bit time consuming.

I’m including examples of the Dark Horse project with this article. Mike Richardson has not even seen this work yet. I’m not showing any story pages, as I’d like to keep the story under wraps for a bit more time.

As I hope you can see from the art, the work is a bit time intensive.  All of the originals are 20 x 30 inches, double or single page spreads.

But just as a deal takes the time that it takes a good artist takes the time that he or she needs to do the work to the best of their abilities.

That being said-my project at Dark Horse has an opened ended deadline, meaning I have the luxury of turning the project in when I want.

I have that luxury.

If any young creator is on a deadline but thinks they can turn in a project whenever they want just so they can get it right that creator at risk of becoming an asshole of the highest order and at a higher risk to be unemployed.

The Dark Horse project should be done this year, and I’m as happy as Mitt Romney’s dog was when he came down off that car roof. It’s a major graphic novel from a major publisher and Mike Richardson is one of the greats to work with not just in comics but the entertainment business.

But, you ask, what about the original earth shattering idea?

Well, I’m glad you asked. Last year at Comic Con I met with the head of another major comic book company who expressed great interest. We met again last November and he was still very interested I was told he would get back to me in two weeks to see rather or not it was a fit within his publishing plan.

Two weeks turned into four months. We met again briefly two months ago and he said he would get back to me shorty.

So far it’s been six months and I’ve heard neither yay nor nay.

That’s really not a big deal. Really it’s not. I’ve been waiting to do this project for over ten years, so six months is nothing. I’m also dealing with the head of the company so he’s got a lot on his plate. I don’t take any of this stuff personally.

Similarly, I’m a busy guy. I’ve writing three books (novels, not comics) and I have another graphic novel project as well as a TV show in development. Moreover I have a couple of other little things I’m doing, so like I said, I’m a busy guy so I was fine with waiting.

I was fine with waiting.

Last week another major player entered the game. They want to do Project X and they want to do it now.

So what do I do? Do I…

A. Pull the project from the publisher who has had it for six months and take it to the new publisher?

B. Do I give the publisher who has it as much time as they want to make a decision?

C. Do I tell the publisher who has the project to shit or get off the pot?

D. Do I not say a word to the publisher who has the project and let them know when the new publisher announces it at the San Diego Comic Con?

Pay attention here, young creators…

A is an asshole move.

B is simply a stupid move with another power player in the game.

If I were the old Michael Davis, it would be D. I’m not that guy anymore.

So that leaves C.

That’s the ticket, boys and girls. I’ve patiently waited six months, Hell, if you think about it I’ve patiently waited more than ten years.

On Monday April 23rd (tomorrow to me, yesterday to you) I’m sending a very nice email to the company that has my project and I’m saying very nicely to them please make a decision.

I know what they are going to do. I’m real good and according to many, I’m scary when it comes to predicting what others will do.

My birthday is a week from the date of this writing. That’s next Sunday, April 29th.

I’m sure I’ll be celebrating Project X and a new deal.

That’s a great gift. In fact it will be a first.

WEDNESDAY: Mike Gold Thinks Up Something Just In The Nick Of Time

 

MICHAEL DAVIS: The Greatest Story Never Told, Part 2

Please read last week’s installment before reading this. Thanks!

What has gone before – the quick and dirty recap. 1999: I pitched and sold what I consider the greatest idea I’ve ever come up with to DC Comics. Before I pitched the idea I checked with three of the best writers in the industry, Keith Giffen, Lovern Kindzieski and David Quinn. They all thought it was a great idea. Keith Giffen called it one of the greatest ideas he’s ever heard.

After hearing praise from those guys I ran the idea pass Dwayne McDuffie. Dwayne liked the idea so much he said he wanted to write it. It was with that in mind I pitched the idea to Jenette Kahn who was running DC Comics at the time.

Jenette loved idea and said “Let’s do it.”

Jenette Kahn is no longer head of DC. She makes movies now. Big movies. Jenette produced the Clint Eastwood film Gran Torino.

Like I said, big movies.

From the moment I met Jenette, I liked her. I’m glad to say she liked me also. We hit it off right away. We talked about anything and everything. One day, Jenette and I were talking about fine artists and she asked me if I knew the work of William T. Williams. I did. In fact, I knew his work so well Jenette was impressed. I knew more about his work than Jenette and at one point she remarked that I must be a huge fan. “I’d better be.” I told Jenette. He’s my cousin.”

Jenette said she would like to meet him so right then and there I made a call and in a few days Jenette was being given a studio tour by my cousin. In my entire life I’ve only asked my cousin to give two people personal studio tours. Jenette was one of them.

That’s a big deal because my cousin is a huge artist.

How huge?

He’s in the Janson History Of Art, the definitive book on art history.

That’s how huge.

My cousin is my mentor and my surrogate father. He and my mother quite literally saved my life while I was growing up. I’m fiercely protective of my cousin. Every mofo with a serious bank account asks me to hook them up once they find out William T. Williams is my cousin.

Nope.

He’s too important as an artist and as my family for me to make a call on anyone’s behalf just because they can drop a million bucks or more (yes, you read that right) on some art. So I’ve only made that call twice and Jenette was one of them.

I made that call because Jenette is simply a wonderful person and I knew my cousin would enjoy meeting her as much as she would enjoy meeting him.

Some years before that, Jenette and I had talked about me coming to DC as the first black editor. As cool as I thought that was I couldn’t do it. Frankly, I couldn’t afford the pay cut. What I did do was make a list of some people whom I thought would be great choices. Jenette thanked me for thinking of that and actually someone from that list was hired. No, I didn’t get them the job nor do I know if anything I said had anything to do with him getting the job. What mattered to be was DC comics had a black editor.

I tell you the history with Jenette and I because of the importance of what happened to the project I sold to DC. The project I considered the greatest idea I’ve ever had.

Project X was green lit by Jenette and assigned to an editor at DC.

Me not being an idiot, asked Dwayne McDuffie to write it based on my overview and I was to handle the art. Dwayne said yes and I was doubly excited. The editor chosen, loved the idea, and couldn’t wait to do it.

I’d done it.

I’d sold the greatest idea I ever had. This would be an important project, written by an important writer, published by an important publisher with art by an artist with something to prove. I’d had two big projects before this from DC. ETC, the first series ever published by DC’s imprint Piranha Press and Shado, a four issue mini-series written by Mike Grell.

Neither of those projects were my finest hour.

Although, believe it or not I still get fan mail from France on ETC. Two months ago I received an email from a comic club in France asking if I was coming to France in the future. I just so happen to be going to France this September on some business and the club asked if they could take me to dinner and talk to me about ETC.

Damn. The French must do a lot of meth… and coke… together.

Back to Project X.

I was on cloud 9! I was about to begin work on what I still consider the greatest idea in the history of comics! Yes, I’m well aware it’s not the greatest idea in the history of comics but to me it certainly felt that way.

So don’t send me comments about how there is no way I could have come up with the greatest idea in the history of comics. As I said, I know I didn’t.

It’s a close second…

So, let’s recap.

I’d sold the second greatest idea in the history of comics to one of the greatest publishers in the business. It was to be written by one of the greatest writers with art by a guy who was going to make sure this time he got it right.

All was right in the world.

Except for one teensy little problem.

The editor wanted to change one thing…

Me.

End, Part 2.

WEDNESDAY: Mike Gold On Good Fellowship

 

MICHAEL DAVIS: The Greatest Story Never Told

I’m convinced that there comes a time in every creator’s career when he or she has that one project that becomes the project. Be they a writer, artist, photographer, director or whatever, there comes a time when said creator realizes without a shadow of a doubt that they have created their baby.

Their triumph. Their masterpiece.

This is the project that they will not compromise on. There will be no quarter given creatively; there will be no major changes to the premise no matter what.

At the many Static Shock pitch meetings at major television networks we were asked if we would consider many changes to the original bible, which I wrote. Some of those changes bothered me, like Static’s mom being killed in a drive-by. How fucking stereotypical was that shit? But as bullshit as I thought that was it wasn’t a deal killer.

At one high level network meeting the question was asked “How about if we make Static…white?”

I said, “How about I bang your wife?”

True story.

OK… almost a true story. I did not actually say the part about his wife. But the network executive did suggest we make Static a white kid, which to me was just as fucked up as me asking to bang his wife. I did think about responding to him with the wife thing but he had a photo of her on his desk and lets just say…ugh.

Many changes were made to the original Static bible. Some I thought were good many I thought sucked. The show was a different story. I thought the show worked on every level regardless of my personal feelings towards the changes to the original bible. Static Shock was handled wonderfully and I have nothing but good things to say about the show.

But Static Shock was not just my baby and I had little to do with the show once it was on the air. But, I do have a baby.

Actually, I have three babies…damn I’ve got the perfect black father joke but I’m going to let it pass… like child support.

My first baby is a project called The Adjuster. I created the Adjuster over ten years ago and twice it came very close to becoming a reality. I refuse to let the Adjuster go just to get it made. Nope. The deal has to be right. The company has to be right.

My second baby is called The Underground. It’s a Dark Horse project and has been for a few years. If by chance Mike Richardson is reading this I will have the book finished this year. It’s a major undertaking and I’m as anal as I am black so it’s been a labor of love and frustration for the last couple of years. But, Mike, to be fair, you took a while approving the story…and I’m still traumatized by the Comic Con incident. You know the one…

Those are my babies and I’m blessed to have the Dark Horse deal and excited about the future of The Adjuster but there is one project which I consider my masterpiece.  I won’t mention the title as it’s currently being considered at a major publisher but I will share with you its journey that is a festinating one. I’ll call it Project X.

In 1998 I had a vision of what I thought was the greatest idea I’ve ever had. The idea was so good it scared me. It scared me because those types of “great ideas” usually suck. It’s never a good idea to think that your idea is a great one.

People lie and the one person people lie to the most are themselves. You may not think it’s lying when you convince yourself that something is a good idea but if you have to convince yourself then to me that’s a lie. But this idea was such a good idea and I was convinced it was great. So, clearly I was lying to myself.

Clearly.

Or was I?

I decided to ask three of the best writers in the industry if they thought it was a good idea. I asked Keith Giffen, Lovern Kindzieski and David Quinn.

They all said it was a great idea. Not a good idea, a great idea. Keith Giffen called it one of the greatest ideas he’s ever heard.

That’s Keith Giffen who said that.

Keith Giffen.

THE Keith Giffen.

After telling those three guys, I ran it past Dwayne McDuffie. He said it was such a good idea he wanted to write it. Not bad eh?

So, with all that love from four of the best in the biz I decided to pitch the idea to DC Comics and I did.  And…I sold the idea.

In 1999 I pitched and sold the idea to DC Comics.

Then things got a bit crazy. Nope, a lot crazy.

End, Part 1!

WEDNESDAY: Mike Gold Outs Critics

 

MINDY NEWELL: Blocked!

I’m having a good case of writer’s block today.

You know how a few weeks ago I talked about what it’s like to be a writer? One thing I didn’t mention was the awfulness of staring at a blank screen – or a blank piece of paper for those who still use a typewriter, and yes, they are out there – without a clue in the universe of what you’re going to write about.

That’s when procrastination sets in.

After a half-hour, or maybe even an hour, of sitting at the computer and absolutely nothing is coming, I suddenly realize that the bathroom really needs to be cleaned. I gather up the Comet Bathroom Cleaner and the SOS and go to it, attacking the bathtub and the toilet, the sink and the floor. I Windex the mirror. Then I decide to rearrange the shelves. Then I realize that I need to put some clean towels out.

Okay, done. Bathroom looks and smells great.

Now I’m ready.

And still nothing comes.

I pick up the pile of comics that’s lying on my rocking chair. DC’s Legion: Secret Origin #2. Superman #3. Star Trek #3 from IDW. A bunch of others. Nothing sparks my interest really. I throw them back down and go into the living room. I slept on the couch last night, falling asleep while trying to stay awake and watch The Best Of The Dr. Who Christmas Specials on BBCAmerica. The blanket and pillow are still lying on the sofa.

I fold up the blanket and put it away, throw the pillow back on my bed. I sit down at the computer again.

Fifteen minutes later I’m back in the living room. I’ve been watching Battlestar Galactica repeats on BBCAmerica and all the commercials have been driving me mad – plus it annoys me that they cut out the “Previously on Battlestar Galactica” and I’m sure they’re cutting other scenes out too. I resolve to pull out my DVDs of BSG, watch an episode or two, and then sit down and do the column. It’s only 2 P.M.; lots of time left. I put Disc One of Season Four into the DVD and sit down to watch.

Three hours later it’s 5:30.

Okay, this is bullshit. Mike is going to kill me, and I’m being really, really unprofessional here.

Back at the computer. Maybe I should write about Christmas Eve.

Drove down to my brother and sister-in-law’s with the parents, Alixandra and Jeff. The plan was to be at my brother’s in time for the start of the Giants-Jets game, which started at 1. Alix and Jeff were supposed to pick me up at 10; they got to my house closer to 11. The radio was turned to NPR and Wait, Wait, Don’t Tell Me (which is one of my favorite shows on NPR) was on, and surprise! surprise! – Neil Gaiman was the guest. Haven’t seen Neil in too many years to count, so it was fun to listen to him play “Not My Job” and answer questions about Will and Kate – he nailed them, and so won Karl Cassel’s voice for some guy from Chicago’s voicemail; no, it wasn’t you, Mike.

Settle down at my brother’s to watch the game. First half – well, let’s not talk about that – except for Victor Cruz!!! What a runback! What a catch! Then the second half – Gaints come alive. And then it’s deep in the fourth quarter, it’s a long game, it’s 4:18 – New York is leading by 6 – the score is 20-14 – and FOX switches to the Eagles-Dallas game because of “NFL rules.” Chaos reigns! I throw a hissy fit, I yell at my brother, “I told you should have gotten the NFL Network!” while he cursed and ran for a radio. Jeff, always a calm in the center of my storms, suggests streaming it on the computer. I think, “what a great idea!,” so I run to my sister-in-law’s computer and hook into ESPN.com. No visual, just real-time audio, so I might as well go back and listen to the radio with the rest of the family. But I stay long enough to hear the Gaints make a safety. And between the time I left the computer and got back to the rest of the family, there was an interception, a touchdown – and I still don’t know who made it – and Tynes hit a field goal. 29 – 14. And Corey Webster intercepted to end the game.

Go Giants!!!!

Still don’t know what the hell to write about.

Oh, I know.

Gave my eleven year-old niece Isabel the original Amethyst, Princess of Gemworld maxi-series by Dan Mishkin, Gary Cohn and Ernie Colon along with the Amethyst mini-series by Keith Giffen and the late Esteban Maroto… oh, yeah, and me! She was delighted and wanted to sit down and start reading right away – but her mom (rightly so) said no, not now. This could get me writing about the continual ignorance of the comic book business when it comes to attracting young female readers; I mean, Amethyst was back in the 80’s, and the honchos are still trying to figure it out? Some things, as the saying goes, never change.

I could tell you about how we all stuffed ourselves on an introductory course of smoked salmon, white fish, and smoked trout on various breads and crackers served with bloody mary’s, followed by a dinner of tender romaine hearts with baby cherry tomatoes in a vinaigrette dressing, braised beef tenderloin in a garlic and horseradish sauce, roasted cauliflower with parmesan, latkes (potato pancakes, as I mentioned last week) and fresh grilled squash with red onions sprinkled with honey; followed by an upside down orange polenta cake served alongside a Carvel “Frosty the Snowman” ice cream cake.

What else could I write about? Don’t feel like saying anything about politics this week. Well, I could talk about the House Republicans trying to block the extension of the payroll tax cut and how they had to cave and how the “orange man” sounded like a fool when he tried to make it a Republican victory, but, nah, just not in the mood.

I give up.

Sometimes the block wins.

TUESDAY: Michael Davis

 

MARTHA THOMASES: More For The Gift-Giving Challenged

I don’t know about you guys, but I could use a laugh. One would think comics would be a great place to look for laughs, since, you know, they’re called “comics.”

And yet…

But I don’t want to bitch and moan about stuff that’s not funny. I’d rather celebrate what is. Different people find different things amusing, but I suspect that at least one thing on this list will do it for you.

Here, for your entertainment pleasure and in no particular order, are some really funny books, done in the graphic novel format.

Kyle Baker is one of my favorite humans. There isn’t a book he’s done that doesn’t thrill me. The Cowboy Wally Show made me laugh so hard I couldn’t breathe. And if you want to know how he does it, you could do worse than track down How to Draw Stupid and Other Essentials of Cartooning, which is more hilarious than any educational book needs to be.

Another funny guy who works in the comic book business is Evan Dorkin. And luckily, Dark Horse has published a collection of his flagship series, Milk and Cheese.

Howard Chaykin is a known more for his elegant drawing style, his brilliant use of page design, and his sharp insight into the dark side of human society. I, however, love his sense of humor, which I first discovered in American Flagg. I mean, the man made up a character named Pete Zarustica. I’m in love.

Another comics genius known primarily for brilliant use of the medium and his expansive and cosmic intelligence is Alan Moore. He’s funny, too! One of his first series, D. R. and Quinch, is available in a collected edition. It’s like, totally amazing.

Am I stuck on English language humor? Maybe. It is the language I speak and the language in which I form thoughts. That said, I am no cultural imperialist. For example, the Japanese series, What’s Michael, is my idea of brilliant. There are more than a dozen collections, but this Dark Horse edition is a good place to start. Warning: It probably helps to live with a cat.

Believe it or not, there was a time when there was no Internet and people got their news from newspapers, and, when they wanted other points of view, from alternative weekly newspapers. These papers were great places to find brilliant comics, starting with Jules Feiffer in the Village Voice (also syndicated to “normal” newspapers). After a few decades, there were syndicates for these cartoonists, and, today, it’s possible to buy collections of two of my favorites. You don’t have to be queer to laugh at Dykes to Watch Out For, but you do have to be able to recognize that “political correctness” started out as a left-wing joke. If you followed my advice and bought The Complete Wendel you’re familiar with this meme. Ripped from the same pages, and long before The Simpsons, Matt Groening was giving us a guided tour of hell. The nuclear family and all its intermeshed relationships were never so radioactive.

The comics page in daily newspapers is still alive, if not always well. If you miss your laugh a day, you can catch up with excellent compilations. I’m always happy to read Get Fuzzy and would enjoy a whole bunch of them together. And one of the great, and most hilarious, strips of all time is now in one big book. It’s enough to make a person love alligators.

Some jokes are universal, and then there are inside jokes. They not only make us laugh but they also make us feel understood. For us comic fans, I recommend Fred Hembeck who was a regular feature in The Comics Buyers Guide. His work is really dense, and really funny. I also adore Keith Giffen, for his Justice League, his Legion of Substitute Heroes, especially when he’s working on Ambush Bug with Robert Loren Fleming.

I’m sure I’ve left out some brilliant work, but you could do worse than start here when the holiday cheer gets you down.

SATURDAY: Marc Alan Fishman