Tagged: Milestone 2.0

Michael Davis: Milestone is Dead 2: Long Live Milestone

This article processes some hard truths many won’t like.

The first part of this narrative, Milestone Is Dead, got a lot of people talking.

Nothing and I mean nothing in that article was new. I’ve written about what and why I thought the holdup at Milestone was many times. The only thing that was new was the title.

Every move Milestone has made I’ve predicted beforehand, and done so in writing.

But as always put a new spin on an old point, and people see something bright and shiny and want to play with it.

NOW people are paying attention.

Paying attention to see whether or not I’m going to throw more shade at my former partners. I didn’t throw any in the first place. I told the truth Milestone 2.0 formed almost seven years ago, and there are no books.

Milestone is dead for four reasons.

Three I wrote about.

  1. Except for Denys Cowan comics are not a priority for the partners.
  2. Corporate bullshit.
  3. Milestone has no infrastructure.

Here’s reason number four and the biggest reason Milestone is dead and will remain dead:

  1. Dwayne McDuffie is gone.

Milestone died the moment Dwayne went to pitch God a story.

Dwayne McDuffie left us much, but the magic that was Milestone Media is gone forever. Hope makes us think it can live again.

It can’t.

Years ago, when I heard my favorite toy from my youth Captain Action was to be recreated by Playing Mantis Toys, waves of nostalgia hit me. The day couldn’t come fast enough for me to own one.

When that day came, driving to Toys R Us, my reminiscence of playing with Captain Action when I was six years old transported me there in my mind. When I arrived home, I made a place to display my new Caption Action next to the original.

My original surrounded by a Lucite box the regeneration taken out of its box posed to stand on its own. Gone was my six-year-old self, taken away by the realization you can’t go home again. I was a middle-aged man. Captain Action was a toy, an action figure, and to those who don’t share my nerd ways, a doll.

Like George Webber in the Chet Baker novel, I found out the hard way; you can’t replace the memory with reality. That moment in time did what moments in time do.

They pass.

I doubt if those who were there during the heyday of Milestone Media will ever stop wanting those days to return magically. Alas like respect for Vanilla Ice those days are gone forever.

MILESTONE IS DEAD.

There’s a chance new readers could experience that magic. Everything old is new again and if not seen before it’s brand new.

LONG LIVE MILESTONE.

Enter Milestone 2.0— but well before 2015 when the was announcement was made.

Milestone Media was poised to return in 2000. Bob Johnson, the former owner and CEO Black Entertainment Television, was ready to do it. I put the deal together, but when it became apparent one partner was not wanted I didn’t do the deal I said then; “If not all of us, none of us.”

M2.0 was poised to debut at San Diego Comic-Con International in 2013. SDCC was to honor Milestone’s for our 20th Anniversary. Derek Dingle was not invited nor remembered. I told Comic Con we would pass if Derek wasn’t involved. “If not all of us, none of us.”

Those two examples should tell people who I am.

There are those who believe me a troubled man ripe with problems, using only my perceived brashness as evidence. Perception isn’t evidence— it’s opinion.

A Misguided perception can quickly become a reality. Spreading opinion as fact rarely helps and aimed at a person long enough can do some serious damage.

No doubt some people reading this are still under the impression that Dwayne McDuffie created Milestone. He didn’t nor was he Milestone’s first Editor and Chief. Denys Cowan created Milestone, and I was there at that very moment he came up with the idea and co-signed.

Make no mistake: Dwayne was the heart and soul of our company. Nobody was more Milestone than Dwayne.

Except for perhaps Dwayne, no one has done more to keep Milestone alive in the eyes of the public than I. Since his passing I’ve done more to keep Milestone viable than all the other partners combined.

That’s a well-documented fact, but why bring it up now?

Because the perception that I had little to do with Milestone by some taints others into believing that. I’ve said this many time I don’t let people define my brand or me with lies.

Milestone’s history, my history is important to this narrative.

I’ve stated Milestone of old is dead. What about Milestone NOW?

Milestone will publish.

Milestone will be embraced by the fans.

Milestone will fail.

Many retailers see those characters as ‘Black’ only. They aren’t, but DC will make no attempts to counter that. I don’t blame DC— it’s too risky a play, especially when they don’t own the Milestone characters.

If I’m correct, Milestone will try and get DC to handle the heavy lifting. That’s schedule, dealing with Diamond, editorial checks, and balances or put another way Milestone’s infrastructure.

I have no way of knowing but if faced with that DC may just balk. I would. Why on earth would DC devote the workforce to handle the shitty little details for characters they don’t own?

OK—let’s say they assign a team to handle Milestone’s infrastructure. No way in hell will that team works only on Milestone stuff.

Why?

Every move in any corporation has a cost to it. The cost of a DC team doing nothing but Milestone work is a non-starter. That team must come from Milestone; if such a group existed now there would be books. There are no books. If it’s a DC team, they will have to have Milestone added to their existing workload.

That’s a HUGE problem for two MASSIVE reasons.

  1. When faced with what’s important, DC will always get the nod. ALWAYS.
  2. Resentment.

Here’s some of that truth some won’t like: Milestone’s infrastructure went away when I did. I’ve produced three major universes since Milestone.

The other partners combined?

ZERO.

Motown Machineworks: Used as ‘illustrated concepts’ Machineworks books were mini-series canceled when sold into another medium. Law: Man, Against Time, was sold to FOX. Casual Heroes optioned by the Cartoon Network. Alas, all these deals died when Motown’s parent company at the time Polygram decided Motown should return to the core business. That’s OK those concepts reverted to me and in the case of Causal Heroes, Kevin McCarthy and me.

Publisher: Image.

The Action Files: Created and developed by Simon & Schuster (S&S) as a high-interest low-level reading program the Action Files (AF) has since moved to Pearson Learning and is the only curriculum based comic book program taught in the schools.

Publisher: Simon & Schuster & Pearson Learning

The Guardian Line: Created as a vehicle to reach young African Americans within the church and home. They did not preach or talk down to the reader.

They did contain good vs. evil value lessons as does the clear majority of all superhero comics.

Fun Fact: The books were killed in the direct market. Retailers saw them as preachy and corny. As I said they were not, but once again perception dictated the mindset, so retailors played it safe. The publisher is Urban Ministries Inc.(UMI) a Black Christian publisher and despite how the books looked (like DC and Marvel) and read (Like Image and Dark Horse) retailors stayed away.

My pitch for the Guardian Line was: imagine the film Devil’s Advocate but with superheroes.

Why is ‘killed in the direct market’ a fun fact? UMI is the biggest Black media company in America. They control because they own their distribution channels. They don’t need the direct market to sell over a million copies of the line. That, according to CEO Jeffery Wright, is a “low guesstimate”— he was in transit so he couldn’t give me exact figures. No outside advertising or marketing; all sales were generated via UMI’s database.

No idea what the numbers are on the Action Files. They must be massive because there is now a non-teacher guide version available on Amazon. The Action Files books have been in the schools for over twenty years. The Guardian Line celebrated its 10th last year.

Fun Fact: I hate the way those books look and read. They were ridiculously over art directed by people on the publisher’s side with NO CLUE how to do comics. I could not stand to see my creation butchered so I parted ways with Simon & Schuster on that project only to return on another sometime later.

When Pearson (the world’s biggest educational publisher) brought the S&S education imprints, I opened talks with them to revamp the series then I got sick and had to abandon all my creative endeavors for a while. I’m better now not perfect, but the revamp is going to happen.

MILESTONE IS DEAD. That’s the Milestone of our memory.

LONG LIVE MILESTONE. The promise of what a new Milestone Media can mean to our future.

Here are my bottom line recap and summary.

The old Milestone is dead the new Milestone has a chance to build on its legacy. That will not happen by repeating the errors of the past and not acknowledging the power of the retailors and the love of our fans. Retailers do much more than order books. They engage the fans Milestone must engage them.

Years with no news isn’t the way to engage anyone and to expect perceptions to change without reaching out to both fans and retailors frequently is just plain arrogance and stupid. Those guys are far from stupid so whatever the reason for their silence I hope they fix it and fast.

In my opinion, Milestone needs the following:

  • Mainstream distribution beyond Diamond directly into areas DC can’t reach.
  • Specialized distribution into areas that will generate additional revenue.
  • Self-contained infrastructure.
  • Access to new talent.
  • A forum that champions their message and destroys perceptions.
  • Funding resources.

Just so happens I know a guy with distribution beyond Diamond directly into areas DC can’t reach such as the Black church household and school system. This guy also has the following:

Self-contained infrastructure.

Access to some of the biggest talent in the business via Bad Boy Studios.

The Black Panel the leading pop culture forum specializing in diversity columns in Bleeding Cool, Comicmix, and his popular returning website.

Unmatched Resources and access to significant funding.

There you go, haters, I just gave you a gift, written proof that it’s all about ME because the above list is all me.

Pop Quiz:

  • Q. Treated like I’ve been why on earth would I offer any insight, assistant or help?
  • A. Here’s why it’s not about me (haters go fuck yourselves) it’s about Milestone, and it’s about love.

These two-part series are written with love— there is no malice in my heart, not anymore. I love what Milestone was and what it could be. This is an offer to help because I don’t want Milestone to fail.

All the partners must do is look at my actions as well as what’s written and more importantly what I haven’t written over the last few years.

All this may be moot. Milestone’s play may just be film and television, in that case, all they need is Reggie Hudlin and his impressive resume. There’s a genuine chance none of what I wrote is anywhere near accurate.

Here’s what’s not in dispute; the point of Milestone was to bring in readers who were not being represented. I’ve not only done that but done so in markets any sane publisher would embrace.

The following is for the partners:

I take DC at their word there is no ill will between us. There exists no business reason to avoid my help from their side. I know there is no business reason at Milestone.

If there’s issue with my loudness that’s an issue you’re going to have to own. No disrespect but I’ve been vetted by giants in both the African American and Latino media space a lot bigger than Milestone, the company I helped found.

Low overhead and high revenue are the voice they listen to most days. They also hear the voices of loyalty integrity and purpose.

In other words: yes, I’m loud, but I’m brilliant according to more than a few CEO’s.

Milestone is still the greatest African American comic book company that ever was. You don’t need me to make it more awesome, but you certainly need a guy like me.

Good luck with that.

Denys, you more than anyone know why this is perhaps the hardest thing I’ve ever written. The haters will concentrate on this line: Milestone will fail.

Milestone won’t fail.

Regardless of what I write or do. Milestone won’t fail regardless or my involvement or not. Milestone won’t fail even if the upcoming launch falters.

Milestone is you, my friend, and you will not let it.

I write an opinion column, that’s all this is.

No one can do what you can and no one ever will.

Just remember: at 4 am in the morning if you miss the Q111 at Jamaica Avenue, look for the car with the brick in the window.

He’ll take you home.

Michael Davis: Milestone Is Dead

1993

More than 20 years ago my swagger caused a rift between DC Comics and myself and that caused problems between DC and Milestone.

The pressure was put on Milestone to silence me. Silence me from what you ask? Calling DC Comics on their shit is what.

I gave up a significant income to concentrate on Milestone.  DC was in breach of my deal, and as a result, I lived more than a year on my savings waiting for these people to pay me.

I did well, and my lifestyle conveyed that. My wife and I moved three times in just as many years. Our space got more luxurious until I found a loft, so dope (throwback slang it means fucking fantastic) thought I’d never want to leave there.

How dope?

If Milestone wanted to impress anyone those meetings took place in my new loft. That lifestyle was not because of comics my principal revenue source was from my work as a mainstream illustrator and speaker.

It’s important to the story to remember my standard of living when I decided to be part of Milestone. Yes, I would take a big hit financially to follow Denys’ dream, and I did so willingly as did Christopher Priest, Derek Dingle, and Dwayne McDuffie.

Priest left for an editorial gig at DC. Derek, Dwayne, Denys, and I stayed. We all signed pay or play agreements. Simply put, DC would guarantee income to the Milestone partners to sustain their standard of living in the event Milestone could not. Denys, Dwayne, and myself would be paid for our creative work on the comics and not take salaries. In other words, my “salary” would be for writing and drawing Static, Denys’ income was for illustrating Hardware and creating the Milestone covers, Dwayne from writing Icon and Hardware.

In the event, any partners had to utilize our ‘pay or play’ option DC had the choice of assigning us to work or just writing a check. Hence the meaning ‘pay or play’ either way they had to pay us for something or nothing.

While still in development a young artist in my mentor program had gotten so good I suggested he draw Static. John Paul Leon’s unique style fit much better than my photo-referenced artwork. I was to move over to Blood Syndicate, that was perfect for me. I would still write Static but join Ivan Velez Jr. on Milestone’s super gang book, so both streams of income still in place.

Then walked in Robert Washington.

Robert was so much better than I for Static. His energy and ideas were simply incredible. I may have created the Static Universe, but no doubt whatsoever it was John and Robert’s world. Dwayne asked, and I readily agreed to let Robert do the first story arc.

My Milestone income was cut in half then cut to zero when the decision was made for Larry Stroman to draw Blood Syndicate. I worried not because I could always petition DC to use my pay or play and I did.

I never got paid, but DC did try to play me.

Unless you’re my wife or lover girlfriend or mistress fist date or Salma Hayek, you don’t get to screw me. DC tried by ignoring me for months the clear message was to make me leave.

Back in the day, I was sure DC’s problem with me was growing pains and after some time would be resolved. With the future in mind, I committed all to my role at Milestone and got to work

It’s more than fair to say I earned all that money DC didn’t pay Milestone to pay me. I worked tirelessly and was happy to do so.

Happy until I came home one day saw my wife sitting on the couch crying.

After years of telling her not to worry she allowed herself to believe we were not living beyond our means. That day she got a call from the bank she had bounced a check.  I never told her about the Milestone money issue or how much less I would be making if. I had plenty of money in the bank and the pay or play so why upset her?

Just like that, it was a year later and that money in the bank all but gone.

My ex-wife is Cuban, first generation to be born in America. Her parents were wonderful, hardworking people who barely escaped Castro with their lives. They came here wanting nothing but a chance to give their children a better life in the greatest country in the world.  I sat beside her explained what happened to all our money and promised to do whatever she wanted.

What she wanted was to leave the loft, which I LOVED but not nearly as much as her.

There were a million ways I could have kept that space. But I knew it wouldn’t matter if Ed McMahon showed up the next day with a Publishers Clearing House check for ten million dollars. To her, that loft was an extravagance we didn’t need.

The next day I told Derek Dingle to fix whatever fucking problem DC had with my deal. I was livid, and he knew I was a step away from calling those motherfuckers directly.

Derek resolved nothing; it got much worse.

It didn’t help voicing my indignation either. Doing so was putting Milestone in a less than ideal position. I was a pain. DC wanted me gone, and my three former partners were in no position to do anything but co-sign.

DC Comics got their way…or so they thought. When the word got around I was available offers came in from Disney Universal and Motown. I decided to go with Motown. But there was a hiccup. During my background check, a letter sent to Motown was meant to destroy my deal.

Business Affairs at DC sent a letter saying I was still under contract at DC. That was an outright LIE and sending that information was perhaps criminal. DC was given copies of my Milestone release which they happily signed off on it months before.

Knowing I had every right to negotiate with Motown, yet sending a letter stating I couldn’t, certainly looked unlawful. Illegal or not, that was an atrocious thing to do. Clarence Avant, then Motown’s Chairman of the Board, got the letter and phoned me, outraged.

The person who ordered that letter once again underestimated me. I assumed character assassination so my references were impeccable and all my contractual information was forwarded to Motown’s business affairs long before DC tried that shit.

Included was my release from Milestone. DC never paid a cent on my pay or play, they were in breach. Funny— it may have worked if they had not made my wife cry.

Why would DC and Milestone and kill my new deal if they wanted me gone?

Warner Bros. got wind of my Motown deal and sent a scathing letter to DC berating them for allowing me to set up a competing comic book company. After getting that rammed up his ass the power that was had to do something.

Let’s be clear CRYSTAL CLEAR. Yes, I just wrote that DC Comics tried to illegally prevent me from taking a position at Motown because of a directive from Warner Bros.

That’s slander if I can’t prove it. Think I’m worried?

Wondering why I won’t out by name the people at DC who disliked me so? What’s the point? They will never respond to anything, there is no upside for them to do so, and frankly, I’m not a cruel person.

Here’s the rub. I wasn’t going to do a comic book line. My deal was to develop film and television, but then someone at DC had to go and fuck with me. They put themselves in the position WB was pissed about.

DC is a different company now. I bear them no ill will. They were and still are my favorite universe.


2011

Reggie Hudlin, Denys Cowan, Derek Dingle and myself decide to honor Milestone’s greatest partner Dwayne McDuffie and relaunch Milestone. On a late February evening Milestone, 2.0 (M2.0) was born. That date is crucial, and not just because of the partnership.


2015

Milestone 2.1 announced to the world.  Milestone is back!  One of if not the biggest comic book stories of 2015.

I find out on that day I was no longer a part of it.

 

Since then, little has been heard. No press, interviews and no books.

I have no knowledge of the inner workings at DC or Milestone, nor has anyone at DC or Milestone ever told me ‘why’ I was excluded.

That said, here’s my two-cent conclusion.

Milestone 2.0, in my opinion, is dead for four reasons.

  1. Except for Denys Cowan, comics are not a priority for the partners.One partner runs a filmed entertainment empire, the other oversees a mainstream financial news publishing juggernaut. You think making comics is more important than interviewing the head of the Federal Reserve or producing the most famous award show in the world? Of the four of us, only Denys and I would answer yes.Comics is where we live and dream and have all our lives. Denys and I were more than just fans of comics we chose that as our life’s work and pursued it. There’s a massive difference between the other M2.0 founders and us.That’s not a dig, that’s a fact.
  2. The second reason Milestone is dead and why I wrote the events of 20 plus years ago is corporate bullshit like what happened to me. Someone at DC or Milestone is holding fast to a way of doing things and because of such everything stops until the problem is resolved or made to go away.Who do I think is holding up the deal by insisting things get done a specific way? Looking at the playing field, it’s obvious DC does not need Milestone that’s a fact. So much of the fact that DC just announced another push into diversity with Dark Matter.And the way they are doing it is gangsta.I may be wrong, but DC seems to be going after that diversity dollar with a wee bit of help from those who have come before and know how to do it.Lion’s Forge Comics has been vocal about their diversity for years. When Joe Illidge came on that kicked it up another level. Those in the know call Lion’s Forge ‘the Forge.’

    In June 2017 DC releases, Dark Days: The Forge.

    Most likely a coincidence as in the Dark Matter tagline: “Forged From Metal, the New Age of Heroes.”

    The Black Age of Comics is the tagline for the East Coast Black Age of Comics and has been for almost two decades. It’s also the unofficial name for the movement within the Black comic space.

    “Dark Matters” has a strikingly close ring to ‘Black Lives Matter. Now all of this is most likely coincidence.

    You must admit it’s a little freaky.

    What is certainly not a coincidence: Dark Matters is a major line with diversity at its core and Milestone isn’t mentioned anywhere. That’s a ‘we don’t need you’ if ever there was one, so it does look like the holdup is DC.

    NOPE.

    I don’t think so— for my money, it’s someone at Milestone and that brings me to number three.

  3. Milestone has no infrastructure. There’s no central hub no office no staff. Two of the partners have nice big spaces they work from, with employees but the work done there isn’t Milestone unless something has changed since I was involved.Also, one guy is doing movies; another guy is running a magazine, and he’s doing that from New York. DC is in Los Angeles, so any face to face must wait until they are all available.Denys Cowan’s is the only person whose business is creating comics, but with no central Milestone infrastructure behind him and his partner’s crazy schedules, there is no way in Hell he can do all that needs to get the deal done by himself.

    January 2018 will mark three years since DC and Milestone made that historic announcement. That’s a long time, right? No. Not really. Not if you’re making movies and putting out magazines. But to the fans?

    It’s a fucking eternity.

    It’s also not correct. Milestone 2.0 formed in Feb 2011. The first meeting with DC was a few weeks after that.

    January 2018 will mark SEVEN years since DC and Milestone had their first meeting. My thoughts on why Milestone is dead is conjecture. Those dates are real, and yes that’s a long time.

    But to the fans?

    It’s a fuck you.

    I don’t think any Milestone partners feel like that. But with silence from Milestone, it may seem so. I haven’t talked to Denys, but I know this is killing him.

    Hell, it’s killing me.

  4. The fourth reason I think Milestone is dead can also be the reason they don’t have to be.But that will have to wait until next time.

 

Michael Davis: Over and Done

back copy

I’m done.

I’m SO done trying to help anyone do anything.

I’m done with the Black Panel, the Bad Boy Studio mentor program, and Dream City my free management company.

Don’t know any of my work? Here.

My disdain started when a rumor damn near became fact. The rumor spreading like a Donald Trump lie was that Milestone stole their business plan from Brotherman. It damn near broke my heart.

But then, the show of support for Milestone was overwhelming!

I could hardly contain my tears of joy so much was the love I felt from the thousands of fans who stood by us. So with all the love shown us why was this the beginning of the end for me?

Because there was no love, the above paragraph was an invention just like the rumor.

Instead of love many, some thought to be friends, jumped on the fairytale co-signing the notion the Milestone partners were thieves. This not too long after Dwayne McDuffie passed away.

One moment the Black comic book community universally saddened over the death of one of the greatest comic book writers there ever was showed the kind of love that inspires books and movies.

The next moment there was universal hatred of Dwayne.

YES, Dwayne!

Didn’t those motherfuckers realize that if you call Milestone thieves you’re saying that of Denys Cowan, Derek Dingle, Christopher Priest, myself AND Dwayne McDuffie?

Yeah, they knew. They didn’t care. Shit, why the fuck should they have? Except for me no one and I mean no one fought those kind of battles. With not one exception no other Milestone partner old or new continually fought the rumors surrounding the company.

I kept Milestone alive in a culture where some are so dense they forget what day we celebrate the Fourth of July. Some may be OK leaving rumor alone to become fact not me. Branding Milestone liars and thieves are NOT the same as some bullshit gerbil stuck in an actor’s ass story.

No one is going deny a big time player a role even if that gerbil story is true, unprovable if it is. If promoting a movie at Comic-Con, no will stand up and ask; “What about the accusations made by three hamsters, a gerbil and Stacy Dash?” Unless said, actor decides to write a tell-all book entitled; It’s My Ass, She’s My Gerbil & I Love Her Up There, it’s safe to bet that won’t define a spectacular career.

But stealing the idea for the greatest African American comic book company? You don’t address that type of shit, and it sticks. Then when Dreamworks is looking for great African-American superhero content they are not looking at Milestone.

Yeah, it’s like that in Hollywood.

So, I made sure any and all bullshit surrounding Milestone was addressed LOUDLY.

Those who doubt that I don’t blame you. But click the link below and scroll down a bit. What are you looking for? Believe me; you will know it when you see it.

FUN FACT: The Brotherman crew got some bad information and some dates wrong. That shit happens to everyone and that includes me. They admitted as such and we’re MORE than cool.

So cool in fact a meeting is planned in the near future. Funny, we talked, we worked it out. Nobody ignored the other. They have treated me with a TON more respect and love than M2.0.

Like I said, funny.

Back to the rant, I’ve gotten no encouragement or support from the community I’ve spent more time creating opportunities for others than myself. Nobody writes me a check for my Bad Boy Studio mentor program or the Black Panel or Dream City, my management company. All of those are set up to provide access to young people of color. I charge nothing; it’s called giving back.

I write the checks to make sure young people of color get the encouragement and support they need. No support from that community was horrible slight and the spark which began this decent.

Being treated by Milestone 2.0 like I had not contributed most of the now superstar talent, oversaw the massive press and groundbreaking convention presence and created the universe of its most successful character, Static, lit the fire.

Being used and then rejected at the lowest point IN MY LIFE without a word as to why beforehand, without a word afterward or (GET THIS) without a fucking word in the almost two years since. Oh, while you’re getting THAT, get THIS, “We’re family. You’re family. We’re going to do great things.” That was said to me in front of my mother’s casket from a member of my “family.”

Then days ago delivered to Bleeding Cool’s Rich Johnson from an unnamed source, (THANK YOU MASKED MAN!) was what some would call the smoking gun.

It’s pretty fucked up.

I’d call it the big bang rather than a smoking gun. So to paraphrase Dr. Dre, FUCK COMICS YOU CAN HAVE IT BACK.

The above (all of it) was an excerpt from the article I was going to run called Michael Davis has left the building.

Then some people showed me a better way so I’m not going to do that.

I’m going to do this…

 

To Be Continued…

Michael Davis: A Comic Book Tale – The Director’s Cut

Fair warning: this one is long and a bit sappy. I would, however consider it a personal favor if you would give it a read and send me a hug.

I need one.

OK, another version of this article will be appearing on Bleeding Cool but this is the Mike Gold special edition, chock full of what’s not in the BC article.

A week or so ago I was writing the fuck you article to beat all fuck you articles. You would think with the year I’m having, I’d be ranting away all the time but somehow that’s not been my aspiration. Nope. Some how I’ve avoided ranting anywhere but on Facebook. I don’t have a lot of Facebook friends as I choose to police my page like Ferguson P.D. so anyone I don’t know, I shoot down their friend request like a unarmed black kid.

Even there, I’m not as rant crazy as I was once. Lately I’ve just been sad, very sad and no one wants to read that so my articles have been, well, tame. I’ve been tame where I write and sad where I live.

Then I read the comedy stylings of Kevin Maher and it was on. Man, I’m writing what I think will be my rant masterpiece. I’m so pissed at this guy’s Esquire article I could scream. Except, I don’t really feel like screaming.

What, in the world of fuck, is wrong with me?

All, it seems, of my fire and brimstone, righteous, (or not even) indignation and could give a flying fuck attitude are gone. The Facebook rants? Those are like an exhibition game; as such, they don’t count.

As I did with my Spider-Woman – Milo Manara drew her ass is up in the air, so Marvel thinks girls are sluts – article I was going to wait to put both feet in the ass of Mr. Maher after everyone else had their moment. I wait because the comics industry still does not get it. This guy blasts the industry and what does the industry do?

They agree and tweets about it.

In case you’ve not aware, he thinks comics are just the lowest form of shit and Hollywood should treat them as such. He didn’t say that exactly but it was real close.

That was the start of the article. I went to town. Then Mike Gold sent me an email, just asking how I was. Out of the blue he did the one thing I needed at the exact time I needed it.

That’s when I needed to stop what I was writing and write this…

A True Story

My mother threw out a very good-condition copy of Superman #1.

She did not throw out the copy of John Byrne’s Superman #1; I did that after I met John. He turned out to be a dick. I kid! I joke! John has always been nice to me, although each time I see him I have to explain to him I’m not Denys Cowan.

It wasn’t John’s Superman or any of the who-knows-how-many #1’s and reboots the Man Of Steel has had. This was the granddaddy of the Superman #1’s. My mother threw out Superman #1 from 1939.

This, as it says above, I assure you, is an absolutely true story.

My mother Jean Davis, the inspiration for Static’s mom Jean Hawkins, was an incredible woman.

Raising my sister Sharon and me in what is considered one of the worst housing projects in New York City would have been a superhuman task for a full-time stay-at-home mom, even with support from a father.

A father? In the projects? You’d have more luck finding a black, gay ex-marine pastor at the Westboro Baptist Church. There was no father in my house. I knew one family with a dad, they were the Harrison’s – they were strange.

By herself, my mother was working seven days and two jobs to get us out of there.

She and the other single mothers in the hood were bona fide Superwomen. They knew well the one rule that may keep your kids alive in a crime-infested community: keep them off the streets.

One thing above all kept me off the streets: comic books.

“I don’t think so.”

That, in my most grown-up serious way, was what I said to my then-best friend Julian Butler. That was the very day I became a playa in the comic book world.

Julian wanted me to trade him my favorite comic book ever, Fantastic Four #73, guest-starring Thor, Spider-Man, and Daredevil, for a Batman comic that featured Batgirl.

This was a big deal because Batgirl was on the Batman TV show and this book was something everyone coveted. No way anybody would have traded that book except for something so cool you couldn’t resist.

That was Fantastic Four #73. The same FF #73 I almost broke a bully named Ronnie Williams’ back for. That’s another absolutely true story I wrote about some time ago. That should tell you how important that comic was to me.

Nowadays, characters show up in each other’s books so often you forget which book you’re reading. Not so back in my day – one guest star was a big deal, so imagine three, and the book was drawn by Jack Kirby. I was 10 years old and a huge comic book fan, and it’s all I thought I’d ever want in life.

Julian asked for FF#73 because he knew how badly I wanted that Batman comic. I did, but that wasn’t my real objective. My real objective was Fighting American, a another comic he had. This book was not put out by Marvel, but it was drawn by Jack Kirby in what looked like a new style. How could that be? All my comic book trading buddies could not believe weak-ass Harvey Comics was able to get Jack Kirby away from Marvel.

They didn’t. The book was a reprint of Fighting American stories drawn in the 50s by the King. But for all we knew, it was a new comic and new Kirby style. I wanted that book bad, and was willing to do what it took to get it.

And I got it, and I have my mother to thank for it.

“I’ll trade you FF#73 for Batman and Fighting American,” I said to Julian.

Fighting American was Julian’s favorite, Fantastic Four #73 was mine, and we both knew it. This deal was our AOL buys Time Warner, Disney buys Marvel – this was a deal no one ever thought would get done among my comic book pals. These two books were Babe Ruth and Mickey Mantle, and they weren’t going anywhere.

But, in a trade heard around the world (that world being P.S.105), we did it.

Julian traded me Fighting American and the Batman for FF#73.

That was the moment, even at 10 years old, I knew I would always get what I wanted in a comic book trade, all thanks to Jean. Yes, I called my mother Jean, it’s a black thing. That trade made me the Donald Trump of comics, at last claiming the best-trader title from my hated archenemy, Karl McKenzie.

From now on Karl would never stand a chance against me. He would fall just as Julian did because my mother told me the meaning of “ace in the hole.”

Earlier that day, my mother brought me home another copy of Fantastic Four #73 along with some other comics someone left at her nursing home job. I was going to give my copy to Julian, but she told me to trade it and not tell anyone about having two copies.

That brilliant, brilliant, brilliant, woman.

She knew how important my comic book collecting and trading were to me, and she helped with building my comic book empire. She became very interested in my hobby a few before, when she watched a news report about the comic she threw away, Superman #1.

The day I returned from spending the summer in Alabama, I made a beeline to my room looking for my prized possessions: Golden Age comics I had paid a cousin one dollar for. They included Captain Marvel, All-Flash, Superman, Daredevil, and a Justice Society.

I loved those books.

I looked everywhere for those comics only to discover my mother had thrown them out “because they were old.”

“Because they were old.”

I was devastated. Those books were irreplaceable, and at 10 I knew that. No 10-year-old should know what irreplaceable means. Knowing something you love is irreplaceable at 10 years old is a terrible cross to bear. My mother never really understood what those books meant to me. To her, they were just… old.

For months I was miserable and mad at my mother. One day we were watching the news when, during the broadcast, a report on how much Superman #1 sold for prompted my mother to ask me “How come you don’t have a comic like that?”

I said, “I did a comic like that, I had that comic.” My mother turned from the TV as quick as I’d ever seen anyone move. “What? You did? What happened to it??”

“You threw it away.”

She didn’t.

Superman #1 was not one of the Golden Age comics thrown away by my mother. I lied and didn’t feel one tiny weeny bit guilty. Over the years that became my get-out-of-jail free card for anything and everything. Anytime I needed some emotional ammo, I’d pull out the ol’ Superman #1 guilt.

I had every intention of telling her that it wasn’t Superman #1, but time ran out for me to do so when she died June 21st of last year. For three weeks my mom hung in there after having both her legs amputated due to a leg aneurysm, and I told her everything I could to keep her spirits up, saving the Superman story for when I really thought I would need it.

My mother Jean Davis was the real life inspiration for Jean Hawkins. Static’s mom had a great sense of humor and would have gotten a kick out of an almost 40-year old joke.

Joke’s on me. I waited too long.

The night before my mother died, she called me and left me a message telling me that I should let her go. She clearly knew I wanted her here. If I had not been asleep when she called, I’m sure I would have pulled out the Superman #1 guilt as a reason she couldn’t leave me. My mom would have gotten the irony and maybe stayed a while longer. When I got the phone call telling me she passed, I flashed back to packing up her apartment during the three weeks she tried, I’m absolutely sure for my sake, to stay on earth. The plan was to take her back to L.A. to live with me.

That was the plan, and as we all know, the best laid plans…

While going through a closet my childhood, which I thought I’d lost, hit me in the face. There, where I’d left and forgotten it 30 years ago, was my trunk. My trunk was a real WW II army footlocker given to me by my Uncle Red. I kept all my important possessions in there. I thought I’d lost it forever when a New York storage company sold the contents of my storage unit, in error.

I must have been a real asshole in my last life because karma is kicking my ass: I’ve lost the possessions I valued most three times. The things I own that I value most have no value to me monetarily, even if it’s a copy of Superman #2, which is the actual comic my mom threw away and must be worth, although I never checked, a great deal of money.

The value I assign to material things is always memories. Three times those things which preserved my strongest memories were lost to me.

The first time I’d felt that heartbreaking loss and despair was when my Golden Age books were thrown away. The second was when my complete Silver Age collection of Marvel and almost complete DC were, among other things, sold from that storage company. Sold because my credit card info was credited to another account. I found this out when I got a check from the storage for $123.00, which was what was leftover from the sale.

My collection was appraised in the high six figures. Because of a mistake, a near complete Marvel Silver age collection was gone, just like that. Most of the important books from DC’s silver age, including complete runs of the original Teen Titans, Doom Patrol and AGGHHHHHHHHHHHH!!!

Let’s just say some great shit was in there. That was in 2001, and that was the last time I set foot in the dealers’ room at the San Diego Comic Con. I can’t bring myself to see my remembrances hanging from a dealers wall.

I could care less about the monetary value – gone was most of my childhood and a great deal of my teenage and young adult years. My comics, school records, most of my artwork from when I was a kid, thru the High School Of Art & Design and Pratt Institute as well as tons of books, toys, and a great deal of my personal written history.

But with the discovery of my trunk, maybe some of my childhood could be salvaged.

It was.

Inside were about one hundred silver age books, including both Fighting American and Fantastic Four #73. How incredibly cool and just wonderful was this?

I forgot about the trunk again while planning my mother’s funeral. After the service I went back to L.A. I was in NYC for a month and there was nothing left for me to do until probate was done. I couldn’t go back to the apartment until I could prove I was legally able to remove my mother’s belongings.

Months passed and with each month I dreaded going back to Rochdale Village where my mother lived for 40 years. When the courts finally declared me her sole heir, NYC was hit by a blizzard and there was no way to get there, so I was unable to clear her apartment then. My second attempt was met with similar weather.

When I was ready for my third attempt, I’d managed to talk myself into a fairly decent place. After all, my mother was gone, but she left me a massive amount of love and would want me to try and be happy. Then, as if confirmation that she wanted me to try and be happy, I remembered waiting for me was a big slice of my childhood, secure in my trunk.

But it wasn’t waiting.

Once again the joke’s on me, and yet again everything thing I valued was gone.

Somehow Rochdale managed to evict my mother, treating her belongings as trash.

Seven months earlier, and every month since, management was made aware she was dead, I was her son and I gave them all manner of how to contact me.

They never contacted me, although I’d been in touch with them the entire time regarding the apartment. They were informed in writing, and I spoke to the management confirming my arrival each time in addition to the email.

Why?

Because I’m just fucking anal, nothing beats a paper trail, and just in case the other guy is an idiot. They evicted a dead woman, the other guy was.

Last year, my entire home flooded. State Farm, who I’ve paid for 20 years, filing only two small claims, one which was rejected, at first balked at my claim. Treating me as if it was my fault or my idea to flood my fucking home. After a month I got all up in their asses, then they paid.

Then they canceled my policy.

That was pretty bad but just the beginning of a series of unfortunate events that got worse from there. 2014 was the worst year of my life on a personal level – on the business side, could not have been better and that stopped exactly zero tears.

I start 2015 off with high hopes for a great year! This is the year a number of my long term projects will finally see the light of day.

So far in 2015, the agony that was Milestone 2.0, the end to a friendship I thought would never end, a betrayal of unimaginable scope, impending surgery and now my mother’s belongings thrown away like she meant nothing, have killed that high.

What doesn’t kill me makes me stronger? Who comes up with this shit??

This is now the longest article I’ve ever written and damn if I don’t feel a little better after having written it. Writing this comics tale has kept me off the street and kept alive, albeit bittersweet, memories of a good friend, good times, and a mother who outsmarted her smart ass kid every single time, save one, but I needed Superman’s help that one time.

Speaking of Superman, I know I said this was a true story and except, Superman #1 was actually #2 it was true.

Please forgive me if put off by my fib, I’ve had a rough year. ;)

Thanks Mike.

 

 

 

Michael Davis: Milestone 2.0 – I Was There, I Didn’t Get It.

There’s much more to this story at Bleeding Cool.

On January 21st of this year, the Washington Post broke the story of the return of Milestone. Missing from the Post and every article since about the new Milestone 2.0 was any mention of me. I’m a founder and co-creator of the original Milestone’s best-known property, Static Shock.

There was to be a statement from Milestone explaining my absence, but in the three weeks since the story broke, Milestone 2.0 has not issued any statement.

Because there was no statement, comic book fans, Milestone fans, and my fan (I had two, one died) took to social media speculating as to why I was missing. Missing from news stories and missing from interviews, which was curious. I was no longer a part of the new venture, but in all the interviews, I was missing from the history of Milestone 2.0.

When I did begin showing up in the news about Milestone 2.0, the articles were about me…missing.

I assumed I was left out because when interviews took place I was no longer involved with Milestone 2.0, even if I didn’t know that. Deciding not to mention me at all was a mistake. If consulted, I would have pointed that out. I did point out what a mistake it would be not to issue a statement once the story broke. I was told they would, but they didn’t. As it turns out, I was right.

I should clarify “right” in this instance. I think not mentioning an original founder, more active than all of the partners combined in keeping the Milestone brand in the public eye in the four years since we decided to re-launch, was a bad idea. It became a distraction, which could have and should have been avoided.

Milestone just may not see things the way I do, and “may” is a bit of a stretch. I think it’s safe to say “does” in place of “may” – all things considered. For their purposes, perhaps it was a good idea. Although what purpose that could be is beyond me. I freely admit I’m a different type of bird. Three weeks ago for a bit I wished I wasn’t – I wished I could just go with the flow. I did this wishing while crying like a little bitch. I actually started to wonder whether or not I’d made a mistake.

Before I continue, I think it’s wise to address my new readers I know are out there. I know this because of the massive amount of emails being forwarded to me since this started.

I write with few inhibitions – I am who I am. I cry when in pain. My favorite movie is My Best Friend’s Wedding. I collect Barbie dolls. When I met Barbara Streisand, my first words were “Now I can die.” She gave me this huge hug and I wept.

Yes, I’m gay. I’m a lesbian. I like women.

I also grew up in what’s now considered, one of, if not the worst housing project in New York City. Two of four of my immediate family were murdered. My sister Sharon Davis, the real life inspiration for Static’s sister Sharon Hawkins among the two. The last two people who stepped to me regretted it instantly and I ended up in jail, see theme song below.

My life can be summed by my motto: Each One, Teach One, and my theme song is Ice Cube’s, “Wrong Nigga to Fuck With.”

But I digress. Peter David owns that line. I stole it; I had to – look where I’m from. Many people think my bravado is from the hood I came from. It’s not. I get that from my mother. It was because of my mother that I thought for a few days that perhaps I should adapt my outlook.

And it was because of my mother I was crying so fucking hard. The Milestone decision piggybacked onto her death, still as fresh as the day it happened. Don’t misunderstand me, I was crying over the Milestone decision, but the severity of my outburst had much more to do with pain I was already in.

Otherwise, it never would have hit so hard because I saw it coming.

I knew years ago it might turn out like this. In fact, I documented my thoughts in writing and in person. I shared my apprehension with some of the biggest names in the industry.

In emails, phone calls and face-to-face meetings, I’ve had the, “It seems the way this is moving may prevent my involvement” talk with 10 people. If ever something I claim is questioned I’m not going out like some bitch, I’m providing proof. Brian Williams, I am not. If I say a bomb hit me, out comes the videotape.

And a bomb did hit me. Believe that. I keep telling people I see the future, but no one listens. Pity.

I’ve wanted this (Milestone 2.0) and worked towards it for 16 years. On Bleeding Cool I wrote 15 years, but that was wrong – I double-checked and it was 16. Yeah, I keep everything, and I keep it forever.

16 years ago I met with Bob Johnson, then CEO and owner of Black Entertainment Television (BET), and one of outcomes of that meeting was BET’s interest in funding Milestone. Also present in that meeting was Debra Lee, who is now CEO of BET, and my producing partner E. Van Lowe. The meeting took place at Mr. Johnson’s suite at the Four Seasons Hotel in Beverly Hills.

That night I was on the phone with all three Milestone founders, but not together.

I talked to two on one call and spoke to another separately. We were all to sleep on it and decide whether or not to pursue it. Founders were knee deep in their own careers, so it wasn’t an easy decision.

The next day I was again on the phone, first with two founders, then with the other. On one of those calls, the idea was floated to do the BET deal without one of the original founders. This was a business decision, for whatever reason.

I said no.

It was my deal; once I said I wouldn’t do it unless we all did, the deal was dead. For a long time I was conflicted on whether I’d made the right choice.

Nah. I wasn’t. I was fine with it.

16 years later, here we are again, kinda. Dwayne’s gone. The big guy was more Milestone than all of us put together. There’s some talk that Dwayne and I were on the outs when he died and that’s just bullshit. I’ll be addressing that in an article fairly soon. Like I said, I keep everything, and there’s a lot of history Dwayne and I shared few people know of.

Dwayne’s gone and Reggie Hudlin has joined Milestone. There’s talk that Reggie is replacing Dwayne. More bullshit. Reggie has been interested in being a part of Milestone for as long as I can remember. In fact, Reggie was on our short list when Denys and I went over names to invite in. That was the very weekend when Denys came up with the idea for Milestone at the San Diego Comic-Con 22 years ago.

I don’t remember if we asked him and he said no, or we didn’t think he’d be interested because even then Reggie was making big movies. Whatever it was, it does not change and no one can deny that Reggie has always been a major supporter and fan of Milestone. Thinking anyone could replace Dwayne is as stupid as thinking Reggie would even try. Before Dwayne died there was talk of Reggie becoming a part of Milestone.

That would have been something – really, really, something.

Denys Cowan and Reggie Hudlin have been a team on a few projects, all great. Partnering to do Milestone is a motherfucking throw down to the rest of the industry to look the fuck out. Yes, the rest of the industry. Not just those who do Black Comics.

Milestone never did “black” comics. Milestone is and has always been a black-owned company, yes, but producing comics that feature but is not limited to people of color.

Three weeks ago, I was sad at first. Then I was livid. Livid because of things that were said to me and how they were said. Now? Now, I’ve moved past all of that. I can do that because I see the future and I can prove it. Remember how I was left out of the Milestone 2.0 announcement?

Kinda like this:

All the Milestone partners, save one, will receive credit. 

Let the name of Davis be stricken from every book and tablet

Stricken from all press and news

Stricken from every mention of Static.

Let the name of Davis be unheard and unspoken,

Erased from the memory of Milestone, for all time.

So let it be written, so let it be done.

I wrote that for a ComicMix article last November. Scary eh?

Like I said, I’ve moved past anger and sadness, like Jay Z: I’m off that. 

I’m off that, but I’m on a path, both creative in practice and righteous in my mind. It was right for me to make a stand for all four founders in 1999. To me that wasn’t business, that was the right thing to do. That was my mother’s influence and I’m my mother’s son.

I’ve gotten quite a few emails from people telling me they won’t support Milestone without me.

No. Wrong. Don’t do that. The world needs Milestone 2.0.

The world needs Darryl to keep on making comics, DMC, Mad Square Enterprises, Boondocks, Aaron McGruder, The East Coast Black Age Of Comics, Brandon M. Easton, N. Steven Harris, Watson and Holmes, Paige Tibbs, The World Of Black Superheroes, Ryan Fraser, Erika Alexander, Tony Puryear, Concrete Park, Joe Illidge, Walter McDaniel, David Walker, Shaft, Maia Crown Williams, MECCAcon, Reggie Hudlin, Denys Cowan and Derek Dingle. Hell, the world needs Ania and Big City Comics. The former did horrible books and hated me then; the latter does fantastic books and hates me now.

And the world even needs Tyrone Cash, if, for no other reason, than to show how not to do a black character. We need as many African American comics, creators, and publishers as we can get. We cannot let anger, righteous or not, keep our eyes off that prize. Although there are some who don’t think so, they need Michael Davis. They will find that out soon enough. I do big things and what I’m about to do is the biggest.

Like I keep saying, I see the future. To be fair, I was wrong, once. Nah. That’s bullshit. I’m never wrong.

Those who are interested, watch this space. Those who doubt me, watch me work.

 

Michael Davis: No Respect. No Wonder. Part 2

Part 1 of this series can be read at BleedingCool.com

static comicmixHollywood, I’m sorry. I’ve been wrong.

You’re not responsible for the overwhelming opinion the general public has of my industry being just for kids. Yes, SDCC is our house, but our house is all fucked up. We deserve to be viewed as nothing but geeks, nerds, and children. We are not ready to play at your level, not even close.

We’re selfish, shortsighted, and stupid. Not all the time, but so often we’ve become a joke to the French and Japanese comics industries. Comics, one of the few original American art forms, are recognized as such by a country whose ass we had to save and a country whose ass we nuked. Yet we’re the joke.

And we deserve to be.

As an example, in about two weeks it will be a year since I sent an email to Variant Comics. It was my tongue-in-cheek attempt to be funny while addressing an important issue. The fantastic video they produced featured wrong “created by” credits.

The response I received wasn’t exactly what I expected. They said they would correct the issue: “We have already added a correction in our next episode to explain that we missed you and Denys as additional creators.”

But they did not think I was funny:

“I have not responded (quicker) because I do my best to steer clear of rude or aggressive correspondence.”

They thought I was being a heavy-handed bastard. Not my intention, and I immediately apologized with the following:

I bear you no ill will. I was being sarcastic, and if you read my Bleeding Cool piece, you will see I underscored time and time again how much I admire what you are doing. My goal was to show how a great piece with wrong information could do some injustice, but in no way did I ever think you guys would take to heart my FB email. I “liked” your page, I took every chance I got to say just how good your stuff and site is.

Clearly you don’t remember we met some time ago, and as such I thought you would get the joke.

My bad.

Really. My bad.

On the real, I meant to do nothing but poke fun and draw attention to the credits; it was never my intention to insult (except in jest) you or your people. Please accept my apology. It pains me (really) to think my attempt at satire fell short.

If need be, I will say what I just said to you privately in public.

I have no problem with that.

Again – I’m sorry. Try as I might, sometimes I just don’t see what others do. Truth be told most times I care not. This time I do.

The Bleeding Cool article I was referring to foreshadowed possible future events and the real damage that short film could do. That article was not the only article I wrote about this over the year – there were several. Some here on ComicMix, some on Bleeding Cool, and some on my Facebook page, and yes, they were tagged.

Occasionally, I wrote another lighthearted appeal that ended when the “possible” became reality, and the damage sure as hell followed. Since then, I’ve been that Nigga.

Variant has changed nothing on the Static Shock film, and they have had a year to do it. The credits are still wrong. If they added Denys and I to the “next episode” explaining the oversight, how the fuck would anybody know? Those watching an episode of what may be a totally unrelated “History Of” may not even give a fuck.

Anyone going to the History of Static Shock video will see what I’ve asked to be rectified for over a year: the wrong credits. Nothing has changed there.

Nothing.

In that same year, plenty has changed with Static Shock.

Static’s getting a live action television show; Milestone 2.0 was announced; my mother, Jean Davis, the real life inspiration for Static’s mom Jean Hawkins, died. In death Jean (that’s what I called my mom) joins my sister, Sharon Davis, the real life inspiration for Static’s sister, Sharon Hawkins.

As I predicted, the credits cited for Static Shock when the two major media announcements were made are exactly the credits cited in Variant’s film.

I predicted this. The film was so damn good people assumed it was the official version put out by Milestone. The Static live action show and the Milestone announcements went all over the world.

The death of Static’s real life mom?

Nope. No one knew. Not even some young Static fans, cousins of mine from North Carolina who I met for the first time at my mom’s funeral. I’m not naïve enough to think my mom would have gotten a “Static” mention when she died. She wouldn’t have. But it sure would have been nice if my newfound cousins knew who she was before I met them.

Not caring about getting a creator’s credit right is just one example of the unprofessional, childish antics that are commonplace in comics. Missing deadlines, missing shipping, quitting books, taking advances and not delivering work.

Some publishers paying established talent page rates far below what they are worth while using any excuse they can to justify it. Some creators having no choice but to take pennies on the dollar. Artists and writers blackballed on someone’s personal whim regardless of what work they have produced or what they bring to the industry. Been there, had that done.

Hollywood fires and/or sues people who pull what’s routine in comics. Try pulling that missed deadline dead grandmother bullshit at DreamWorks. You’re gone. Take an advance from Disney and decide not to do the work. Rumor has it Tupac and Biggie did that. Yeah, that’s a joke, but once Disney gets done with you, you may well wish you were dead.

Hollywood does not play our games. Disney wouldn’t wait a week after the initial letter sent to you to fix some something that was wrong. Ignoring them, just like I’ve been ignored, (not a word since my apology almost 12 months ago) would just make them increase the level of legal pain they will inflict on you.

And if they think you fucked with their brand, costing them revenue? Wow. Just wow.

Despite our flaws, I love the comic book industry. I love this business even though some in the industry have not loved me back. On a few occasions some serious power players have tried killing me in the industry.

I roll like a boss; people are always trying to kill a boss. They try. I survive and grow stronger. I don’t go public when these things happen – what good would that do? Give Hollywood another thing to look at, point and say, “Look what these children do to their own kind.”

But sometimes … sometimes, there is no other choice.

I don’t want to hurt or hinder Variant in any way. I don’t want to sue or threaten to sue. They do great work, are good for the industry, and I really do like their site.

However, they have done serious damage to my brand. Repeatedly over the course of a year they have been reminded that they were doing so. I’m not alone in being ignored. Those who posted comments echoing me were treated the same.

I’d very much like them to correct the credits on their Static Shock film. I’d like the same credits that appear in every episode of Static Shock and Milestone comics, with one exception: add Christopher Priest. He was a creator and he deserves credit.

Variant, I’m asking you once again, make this right and at least in this instance prove Hollywood wrong. Static was created by Dwayne McDuffie, Derek Dingle, Denys Cowan, Christopher Priest, and Michael Davis.

Let’s show the world we know how to act in matters like this. I’m sorry to say that if no action is taken, you leave me just one option.

End, Part 2. Part 3 can be read on Bleeding Cool and ComicMix next week.