Here’s a list of some of what’s happening in comics to celebrate the annual spotlight on Black America!
Let’s see now…
Over at the fantastic website Comic Book Resources (CBR) my friend and Milestone Media alumni Joe Illidge is doing a wonderful series of articles called The Color Barrier. I just finished a three part series over at Bleeding Cool titled Code Black.
Milestones: African Americans in Comics, Pop Culture & Beyond, the major exhibit currently showing at the Geppi Entertainment Museum, has Black History month programs planned although I’m not sure why.
The exhibit itself is history all year round so I fail to see why special programs are needed for an already special exhibition. I can’t see it but by NO means does that mean Black History month should not be recognized as such at the gallery. I don’t see it but don’t go by me—I didn’t see the need to disclose to a woman that I once dated her mother.
THAT was a mistake.
What else is happening in comics for Black History Month?
Last year Marvel made big news with the Black Avengers book they are doing or have done or will be doing.
Truth is I don’t know if it’s been done or not because these days I rarely read comics that get massive press. Unless I know the creator I’d rather pass on hype – especially if that hype has to with new black characters.
I’m sick to death of some making a big deal out of the black character they are bringing to comics.
Why?
Two reasons. The first is because two seconds (if that long) after the story appears in the press or the book goes on sale I’m asked to comment.
“DC is doing a book where two black people are in a street scene. What are your thoughts?”
“Well I think that anytime a major publisher puts two black people in a scene it’s another step towards Dr. King’s dream.”
That’s what I’d say. Sure I would.
If ever some asswipe asked me such an asinine question I’d be doing hard time for putting my foot up their ass. Not the 300 bullshit hours of community service I’m doing now. I don’t think anyone’s stupid enough to be that stupid but trust me some have come close.
Because of my so-called status as an African American creator I’m subject to many a question about Negro progress in the industry, so the easiest way for me to avoid going to jail is to tell the truth which is “I have not seen it so I can’t comment but I hope it’s good and if so it succeeds.”
Or, maybe my status has nothing to do with it maybe they know I’m good for a rant or two because I’m either fearless, careless or always high thus I will tell the bare truth no matter what. I’m not fearless, I’ve been careless won’t comment on being high but stupid I am not
Imagine the co-creator of Static saying, “What the fuck is Static doing fighting a fucking giant fucking fish? Fuck fuck fuckidy-fuck!!!!!
Not good.
I waited to comment on the recent new 52 Static book from the DC well after they killed the book, which, by the way, should have been killed. I’ve heard all the “DC should have given it a chance” bullshit on the net, but let’s get real. The book had issues and was not getting the support from the fans so what is DC to do? Continue to take a loss?
Wake the fuck up world. This is reality this is not some chat room where some pussy deprived little fan boy thinks he knows better than Diane Nelson, Jim Lee or Dan Dildio.
News flash: they don’t.
Truth is I don’t comment on any black book unless I love it. I refuse to say anything negative about black comic book content, not because it’s all-great because let’s face it a lot of is horrible. I won’t comment because I’m not that guy. Never in my life have I publicly stated any bad, adverse or harmful remarks against any black comic, creator or publisher…
Unless said creator or publisher invites a response by putting out straight up imaginary bullshit about Milestone. Then it’s on.
I won’t even comment publicly when a black creator says there are simply no black women characters created by black creators that have reached a mainstream audience.
Really?
Milestone’s teenage girl superhero Rocket reached and was an overwhelming success in the mainstream market – before she got pregnant. Then she was mainstream news. You can’t get more mainstream than the Washington Post and CNN, to name but two.
I did send the guy who was saying that in interviews an email saying “really?”
Dark Horse has a new book coming out called Skyman. Everything I’ve read about Skyman mentions he’s black.
The Black Age Of Comics Convention (yep, I stole the name of this article from them) promotes black creators, publishers, comics and black pop culture in general. The goal of the convention is to reach black people and black kids in particular because there are so few black heroes for young kids of color to relate too.
That’s a wonderful thing and they do great work.
99.9% of everything I’ve ever done in comics, television, radio and mainstream publishing the main characters are black because that’s what I do. I’ve always tried to reach a mainstream audience and I’m well aware that black anything is a difficult sell in the first place.
So the second reason (this is so long you forgot I said two reasons eh?) is that I am sick of media news that spotlights the African American aspect of some projects because never, and I mean never, do any of these news stories even attempt to acknowledge what has gone before and most publishers co-sign that bullshit.
So that young black mother or father who sees that TV news report on Marvel’s Black Avengers will think this is the first time ever for a black character in comics and run out to get it for their kid.
To put it another way, it’s like saying Elvis never listened to or was influenced by black music. Eminem is a great rapper and I’m sure if FOX News had a music channel they would have you believe he started Rap and discovered Dre.
Milestone is the most successful African American line of comics in history. We were not the first to publish black superheroes. Not even close. And we said as much and still say as much in public.
You can bet when black kids attend the Black Age Of Comics Convention they are told repeatedly about the vast history of black characters in comics and all media.
My dear friend (to me more like family) Lana Walker is one of the very few people I won’t question if she wants me to meet someone. If she called and said “Michael, I want you to meet with this axe murderer who will try to kill you” I’d take that meeting. No question.
I hate Hollywood parties. Hate them. Lana asked me to come to a Hollywood party and meet some people. That’s like asking Superman to come to a party at Kryptonite mountain – it kills me. I went to the party, no questions asked.
I’m pretty damn sure Lana did not tell those people, “You should meet Michael Davis, he’s black. When I showed up it was pretty damn obvious I’m black. When a new black character shows up and the media covers it, the publisher promotes it as if it’s the first black character ever it is not only, in my opinion, fucked up lazy journalism. it feels to those who know it’s bullshit like yet another total disregard of African American history.
I’d just like publishers to at least give a nod to what has come before when promoting black content.
Or do like Dark Horse and make it about the character.
If you feel the as a journalist the black angle is a good one, do some fucking research and at least write something about what has come before even if it’s something like this:
Black Dick, the story of an African American private eye is a new comic from Poon Tang Publishing. It’s the very first black comic ever… I think.
If people like the character and the idea behind it color will matter not. Blade and Spawn are perfect examples. Yeah, Spawn is black. If you can’t tell because of his mask ask yourself what’s up with that third leg.
BTW, “Black Dick” is trademark & copyright Michael Davis 2014 All Rights Reserved and is not the first black character.
Mike Gold is going to kill me. Again, It’s pushing 9pm PST and this article is just now being put together. This time I did wait until the last minute.
No excuses. I had a horrible falling out with a loved one that and a recent rash of random negative bullshit has totally thrown me completely off my game.
And yes, I’m about to have a pity party. I’m due. I haven’t had one since…never.
I personally sent out invitations to 30 people in advance of the VIP invite list. These were those I felt I must share what I knew would be one of the greatest events in my life the opening of Milestones: African Americans In Comics, Pop Culture & Beyond.
My invites reached zero people for whatever reason, so 10 days or so before I’m sending them out again and for all 30 I write a personal note apologizing for the late notice and pleading for them to attend. The longest and most heartfelt was written to my 10th grade art teacher Ms. Renee Darvin.
Less than five minutes after I sent that note I find out she died. I’m a wreck for a few days, but I carry on.
No. No I don’t.
Tatiana El Khouri, my co-curator for the show, saveed my ass. I was useless. Every major decision made over the next few days was all Tatiana. I was just looking to put my fist in a wall or someone’s face.
So there was that.
Speaking of which, I’m currently doing 300 hours of community service for (almost) putting my fist in someone face.
Now about those 300 hours…I was twice given the wrong information from the genius that work for the court so it’s impossible to complete the hours by my due date.
So there was that.
The Milestones show was always to feature the art of Denys Cowan as the centerpiece. Yeah, he’s my best friend but he’s also Denys Fucking Cowan. Without whom Milestone Media would never have happened and as such the Milestones show would have never been.
Denys
Fucking
Cowan.
If for some reason that does not impress you consider this; a month or so ago Jay Leno had Quinton Tarantino as his guest and Jay held up the Django Unchained hardcover opened to Deny’s work. There were a number of artists in the volume but Quinton choose Denys’.
Not impressed?
Well, when your fan boy ass sits down to Martin Scorsese’s latest masterpiece; The Wolf Of Wall Street, ask yourself why you are not impressed when Denys’ face appears right smack in the middle of the film by way of an magazine ad he was featured in back in 1989.
Leno, Tarantino, Scorsese.
People at their level do nothing by chance. You don’t show 20 million television viewers a random page in a graphic novel nor do you display a random magazine ad in a 100 million dollar movie.
Leno, Tarantino, Scorsese.
Denys Fucking Cowan.
Denys’ work was always to be the centerpiece of the huge Milestones exhibit. The exhibit that was two years in the making, the exhibit that was to be the crowning cherry on top of the 20th year anniversary of Milestone cake.
All 28 pieces of his work were lost (bullshit, stolen…in my opinion) by UPS.
There was that.
I’ve been dealing with that for the last three weeks. Then a few days ago I had a horrible falling out with one of the loves of my life and said some horrible things and even if I was right to say them I shouldn’t have.
Now I feel like shit.
There was that.
Then a dog that wasn’t even one of my dogs (my dogs know better) pissed on my X-Box. It still works, hence the dogs still lives.
There was that.
Then the ultimate blow.
Everyone knows Christmas is my favorite time of year.
This year, no Christmas spirit and on Christmas day I was alone. I made it a point to whine like a little bitch to my dear beloved Lucy who tried her best to bring me out of my funk.
Like I said, I’ve never had a pity party but it’s my gift to myself and I was feeling pretty good about my pity party when I thought of the Christmas Eve gift I received in the form of a call from three of my former students, Felix Serrano, John Giuffo and Jean Segarra.
Man, that was great. But I figured I could still manage a pretty good pity party with that wonderful present but then I thought of the following…
Not a word. Not a fucking word.
Denys knew days before the opening his most prized work was gone, perhaps forever. He was heartbroken. I’ve seen him like that only twice in our 30 plus year friendship. Once was when the woman who raised him died, his grandmother and again when his grandfather died.
This was just like that. It was like a death in his family. Yeah, I knew. His family knew, but the hundred plus people who were the selected few invited to the opening of Milestones? Some of which were lifelong friends? Some of the most important sure to be sympathetic people in the industry?
Not a word.
Denys said not a word to anyone about the massive pain he was feeling in so doing he ruined my perfectly good pity party with his class and dignity.
All I can do now is make good on my promise I made the second after I told Denys his work was missing; “Trust me, you will get your work back. Every single page. I can’t say exactly when or under what circumstance but every single page will be back in your hands. Some UPS motherfucker is about to realize they opened the wrong box and when asked why UPS sends their packages Fed-Ex his great grandson will answer Denys Fucking Cowan.”
Milestones, the new exhibit at Geppi’s entertainment museum in Baltimore premiered last Friday night with a gala that presented the collection in grand style.
The exhibition, assembled and curated by Michael Davis and Tatiana El-Khouri, showcases both the work of not only black creators, but black characters in comics, Such as Storm and Black Panther, rightly described as one of the most iconic black characters in the medium. Don Mcgregor, classic writer of Black Panther (and co-creator with Paul Gulacy of Sabre) was a guest of honor for the evening, along with a broad selection of comics creators.
It features art from both major publishers and independents, well-known and cult characters, and a wide array of black writers and artists. Artwork includes Ken Lashley’s covers for Justice League of America, Shawn Martinbrough’s work on Thief of Thieves, and the Black Dynamite mini series Slave Island. Kyle Baker’s contributes art from his graphic novel King David, and Denys Cowan‘s careers is prominently featured, including some of Cowan’s initial designs for John Henry Irons, AKA Steel.
The work of the eponymous Milestone Media is included, including a tribute to the late Dwayne McDuffie; a portrait by Davis and an essay by Milestone President Derek Dingle.
A video presentation features interviews with Orlando Jones, Wayne Brady, Reginald Hudlin and more, all discussing the historic and modern contribution of black creators to pop culture.
“What can brown do for you?” Was the once massively successful slogan for United Parcel Service (UPS) that’s been replaced by “We Love Logistics.”
If you ask me both slogans suck.
“Who can Brown screw for you?” Now that’s truth in advertising.
Instead of writing about the fantastic opening of Milestones: African Americans In Comics Pop Culture & Beyond last Friday the 13th at The Geppi Entertainment Museum I’m writing about a devastating lost to superstar artist and my best friend Denys Cowan.
Thursday the 5th of December 2013 Denys Cowan and I sent, via UPS, our artwork for the Milestones show. The work was to be shipped for overnight delivery. That was the plan but Brown screwed that up. When called the UPS location where the work was sent from gave the wrong cut off time for east coast overnight shipments. So the art was scheduled to arrive on Saturday instead of Friday the following day.
There was an omen if ever there was. It was two packages but one shipment. My assistant James was smart enough to request two different airbills to make any tracking easier.
Bad stormy weather on the east coast was headline news much of the week so the art was wrapped in plastic, sealed with tape, then placed in size related cardboard boxes and that was sealed with at least 3 layers of packing tape. Professional artists KNOW how to ship their art.
Denys sent 28 original pieces of not just art but history. Included were irreplaceable work from original Milestone concept drawings to Batman #400 pages other works from both before and after those career highlights.
My work (some of it) arrived at the Geppi on Saturday. Denys’ did not. On Monday UPS says it tried to deliver Denys’s package but the Geppi was closed because of a snowstorm.
On Tuesday Denys’ box arrived. In that box was some damn fine art. Problem was 27 pieces of Denys’ 28 pieces of art were NOT in the box.
Gone. Perhaps, forever.
For some reason that has yet to be explained to me Denys’ package sat for two days in the UPS Kentucky hub. BOTH boxes left and arrived at the UPS location in Kentucky at the same time. My box was scanned and arrived in Baltimore on Saturday.
I’ve placed numerous calls to UPS and have made it crystal clear what was missing was the art of the man whose idea it was and from which the Milestones show sprung. I made it extremely clear that if this was a show on cubism they had ‘lost’ Picasso’s art.
The woman I said that to didn’t get it. “The Jackson Five exhibit without Michael.”
THAT she got.
Didn’t matter.
I spoke to 11 different people during the week. All were extremely nice; all were as useless as a condom worn on an ear.
What was made clear to me was the repeated UPS reason why 27 of 28 works of art were not in the box. The package was somehow sealed wrong and the art, ‘fell out.’
Really?
So, the packing tape (used by professional MOVERS among others to keep boxes SEALED-hence the name PACKING TAPE) somehow came loose, every layer simply came apart the plastic sealed art then fell out, the plastic opened 27 pieces of art with it but one somehow crawled back in the box and was able to make the trip from Kentucky to Baltimore.
BULLSHIT.
When arriving at the Geppi the box was sealed (badly) when opened both the art and the plastic around it was gone, say ONE.
HOW can that be? How can 28 pieces of art wrapped in plastic become ONE piece of art?
The art was either stolen or ‘fell out.’ I’m sure it was stolen, someone opened the box, opened the plastic took the art except for one, resealed the box, badly and sent it along it’s merry way.
I can’t say that for a fact because I was not there when it went missing. I also can’t say for fact slavery is bad as I’ve never been a slave but I’m pretty sure it is.
As of today, Monday Dec. 16th nothing has been done to find the artwork of Denys Cowan.
The last thing I was told was NOTHING could be done to expedite the ‘process’ because UPS treats every single ‘lost’ package the same they are all of equal importance.
UPS is Johnny on the spot when someone shoves a TV camera in their faces.
Every package is the same my ass. You mean to tell me UPS would not move any faster if the Academy Awards were to be broadcasted on a Friday and the Oscars statures ‘fell out’ of a box Tuesday?
BULLSHIT.
The artwork of Denys Cowan deserves a lot more respect than a ‘tablet’ and to that end UPS is about to get a lot more than a TV camera shoved in their faces.
From the very second we announced Milestone in 1992 to today, there have been those who simply hate us.
Chief among our haters are a small but vocal group of black comic book creators. Back in the good old days we were just called house niggers and we were hated because DC Comics owned us.
The fact that Milestone was never, not 20 years ago and not today, owned by DC Comics is irrelevant. It’s simply ignored by those who want to say we have somehow sold out the black race by any association with any white company.
I never got that.
Most successful black entertainment companies have some association with or are flat out owned by white companies. If the product is a good one and is focused on the African-American consumer I don’t see the problem.
Now, white backed black companies that market to poor urban black consumers products such as spinning rims, $200.00 sneakers and 40oz beers, promoting these and other items as lifestyle must haves to young black kids… now that I can see black people having a issue with.
I can see calling a white owned black company a bunch of house niggers if they were producing products that underscore a thug lifestyle as desirable.
But if a white owned black company was producing worthwhile products for the black community why would anyone call them house niggers? Why would any black person call them house niggers?
Milestone isn’t owned by a white company.
We produce positive comics and television animation featuring African-Americans role models not seen enough in pop culture. They are good stories well told and considered among some of the best comics ever produced by some.
Yet some just consider us house niggers because they think (wrongly) a white company owns us.
Forget the stories we are telling. Forget the excellence in the work. We are house niggers because a white company owns us.
Except we aren’t owned by a white company, but even if were why call the work we do the labor of house niggers?
I just don’t get that.
We’re an independent black owned company that has produced work that 20 years after our debut and 16 years after we ceased monthly publishing is still held in the highest of regard.
Our television show Static Shock has been on the air somewhere non-stop since 2000. Milestone has a worldwide audience and a dedicated fan base like no other.
The biggest pop culture event in the world just honored us with a celebration and bestowed on us one of the most significant awards in comics.
But to some black comic book creators we will always be house niggers.
OK. I get that. Haters got to hate. Hate us, hate whitey, and hate anything and everything they are not or can be.
In the 20 years since Milestone came to be we have never, and I’ll say it again, never attacked any black creator or company. But for all of our two decades we were and still are the target of countless attacks and outright lies.
I just don’t get it.
We never attacked anyone we rarely responded and when we did our response was; ‘there’s room for everybody.’ That was not just Milestone’s company line we believed it then we believe it now.
Recently a black creator of some renown wrote that he believed Milestone may have been given his companies’ business plan and used that to create the plan for Milestone.
That did not happen. It couldn’t have happened. It was impossible.
Milestone was already in the stores months before the date he assumed we stole his plan.
He has since acknowledged he was wrong in that regard. His creation and talent and are both still considered brilliant not just by me but every surviving member of Milestone. Our partner who did not survive loved his work as much if not more than the rest of us.
I’m not mentioning the work or creator because that sad chapter between his camp and Milestone is closed and I don’t want to give the impression they are the reason I’m writing this.
They are not.
Some other black creators are now saying Milestone not only stole the business plan but Milestone itself was “inspired” by and only came to be because of the idea and hard work of another black publisher.
So Denys Cowan’s idea wasn’t his idea and our business plan wasn’t our plan.
So now we are house niggers, lairs and thieves.
OK. I’ll be your house nigger if that’s how you define house niggers in your world. In your world I’ll be that. Since I don’t live in said world, what the do I care?
However, in no one’s world will Milestone be anyone’s lairs or thieves.
So, haters, think what you will. Say what you will. Believe what you will.
That’s on you.
I’ve no idea why you hate us the way you do but have at it. Continue to voice your hate in your forums, your on-line chats, your next hate Milestone meeting, any and all public and private social media.
But listen to this very carefully. Whatever you say, just be prepared to prove it. I’ll say that again, whatever you say, be prepared to prove it.
Be prepared to prove we are lairs. Be prepared to prove we are thieves.
Because sure as shit you continue to slander us you will be asked to prove it. Stick with calling us house niggers that you won’t have to prove. It’s laughable to us anyhow so feel free.
Slandering me and my Milestone partners as lairs and thieves, that’s no laughing matter to me. We are neither and continuing to say we are you will be asked to prove it. That question will come in a targeted legitimate onslaught. So unforgiving will the correspondence asking for your proof be, I shudder to think about it.
You and I have had our differences over the years but I still remember when I used to hang out in your office and just talk to you and all the swag you bestowed upon me.
Clearly our styles have clashed and the differences we’ve had have been huge.
Like it or not Paul, you and I have a shared history that history includes your absolute undeniable contribution to Milestone Media. Without Paul Levitz Milestone would not have ever existed. I recently said just that at the Milestone 20th anniversary panel at the San Diego Comic Con. You have taught me a lot Paul and like I said rather you like it or not you’ve been instrumental in a lot of my career.
When I first became President and CEO of Motown Animation & Filmworks you and I were talking at a San Diego Comic Con event when a drunk colorist I trained and arranged his first professional job, rolled up to me in front of you and started talking shit about how horrible a human being I was because I fired a friend of his off a project. I was right about to do something very un-CEO like and put my fist in his throat when you lightly touched my arm and said softly “Michael you’re a CEO now, you will always have a target on your back, let it go.”
I did.
I know I’m a bit of a pill Paul, but no more than Todd McFarland, Frank Miller, Harlan Ellison or scores of other artists who have over-the-top take-no-shit-personalities.
Love me or hate me, I’ve earned respect. How many people do you know have a magnet school auditorium named them, were named Mentor Of The Year by Mentor magazine, has 12 count them, 12 Michael Davis day proclamations from 12 different cities because of my work with kids and education, a PhD… and on top of all that I’m cute as a button.
Paul, I am who I am.
You are who you are, one of the most influential people in comic book history if I hated your guts (which I don’t) I would still respect that. I don’t hate you, Paul. I miss you. I miss those Levitz talks, especially the ones that ended with me carrying out a huge Batman or Superman or Lobo statue. All of which you’ve given me (when you liked me).
I’m super glad to see you are writing again. The Darkness Saga is on my top five ever-favorite story lines, the others being Watchmen, Dark Knight, Camelot 3000 and The Killing Joke. Paul, I’d like to invite you to my annual Comic Con party. We can sit down and swap Bob Wayne stories. I’ll tell you all about the time Bob took me dinner in Texas and how he continuously reminded me there were no black people within a-hundred miles. I wasn’t scared (much) it was all in good fun.
Again, I hope you and yours are well, call me, let’s do lunch, and bring some money so you can eat too. :-)
I’ve often maintained that the best fantasies are ones that have one foot firmly set in reality. We need something to which we can relate. We are asked to enter into a “willing suspension of disbelief,” as coined by the poet Samuel Taylor Coleridge. However impossible or implausible in reality an event in literature is, we accept it. Quite simply, we’re being told a story and we concede reality to get on with the story – up to a point.
When Superman first appeared in 1938 he was a fantastic character but, in those early stories, he fought real-life villains and situations – slums, gangsters, crooked politicians, corrupt cops and so on. The United States, like most of the world, was still deep in the Great Depression. World War II was looming. For so many people, the reality was that the banks had failed them, the courts had failed them, the police failed them, the system had failed them. With Superman, the Little Guy had a hero who worked outside that corrupt and broken system, working for them, working to achieve justice. Superman was originally very anti-establishment and that may have been his greatest power.
Then came the War and Superman was co-opted, along with the other heroes, to fight the Axis, to bring down the Nazis. Reasons had to be given why he didn’t just fly to Berlin and take down Hitler. That was the reality of the situation and the fantasy was having a harder time fitting in.
After the War, Superman became fully co-opted by the Establishment. His biggest concern was his girl friend, Lois Lane, learning his secret identity.
Marvel came along in the 60s and introduced a psychological realism – the heroes had neuroses, psychological problems, issues that they needed to work out. Spider-Man was the poster boy for the neurotic new hero and it resonated. After all, to put on a mask and go out to fight crime, you had to be a bit crazy. Peter Parker had money troubles, work troubles, girl troubles; he was bullied in high school and it was all compounded by his choice to be Spider-Man. However, he couldn’t stop. He was driven by the death of his Uncle Ben for which he held himself partially responsible. Great fantasy, solid reality.
The reality became more of a soap opera as time went on. What was once fresh became cliché. Like Mickey Mouse (oddly enough, since The Mouse now owns Marvel), Spider-Man went from being a character to being a franchise to being a product and a corporate symbol.
Marvel’s New Universe wandered in at some point and one of its claims was a new realism. One of the boasts was that, when their heroes or villains lifted up a building, you could see broken plumbing underneath. I ask for a little more reality than that and the line eventually folded.
Milestone Comics came in and it had a solid dose of reality, setting their heroes in the African-American community and reflecting that truth. One of my favorite books was the Blood Syndicate; one of the tags for it was “They’re not a team. . . they’re a gang.” That was different and reflected a new reality. Sadly, Milestone didn’t last long enough to get old.
DC has re-launched itself with the New 52 and Marvel has Marvel Now but both, to my taste, veer still more towards fantasy and soap opera. The storylines have gotten more convoluted and event driven.
And then there’s Art Spiegelman’s Maus – the classic hat adroitly combines both fantasy and reality. By using mice as Jews in Germany during World War II, Spiegelman heightened the reality and made what might have been unbearable to look at very readable and very compelling.
After 9/11, the comics industry spoke to the tragedy. More than one person wished that Superman had been real that day. Then maybe he could have prevented the planes from crashing into the World Trade Center. None of the books that came out of that horror, to their credit, tried to do that but, at the same time, they were one shots. There was no lasting effect in the books unlike New York City and our national psyche. Failing to do that made them all a little impotent. The Punisher continued to hunt and kill gangsters; wouldn’t it have been more realistic to have him go after terrorists at home and abroad?
Take a look at the real world around you. How much of it is reflected in your comics? What drove Superman in his earliest incarnations – a hero outside the system, working for justice that the Little Man can’t get – is as or more prevalent today as it was 75 years ago. Look at the news – is any of that reflected in the comics you read? How would a hero deal with terrorists? What if a superhero was a member of al-Quaeda? How can we pit our angels against our demons in such a way as would, as Shakespeare put it, “hold a mirror up to nature”.
I enjoy comics; I enjoy reading them and I enjoy writing them. I do. They can be good entertainment. They could also be more. They could stand, I think, a little more reality.
This year, the San Diego Comic Con celebrated 20 years of my company. Milestone Media. There was standing room only for the 20th Anniversary panel, the Milestone party was off the chain and to top off one of the best times of my life, Derek Dingle, Denys Cowan and I received Inkpot awards!
The biggest and the best pop culture event in the world thought enough of our work to honor us during the convention. That work focuses largely on Milestone’s mission to include more people of color in the media arts.
We’ve been very successful doing so in comics and television and there is more to come.
So, I’m feeling pretty damn good when I get back to my humble abode.
So good in fact I had a brainstorm, and I’m going to share that brainstorm here at ComicMix.
The Rise Of The Super Nigga
Based on a true story until the end.
Michael at 10 years old wanted to be an artist.
A cartoonist, to be exact. That was the good news; the bad news was Michael lived in what is now as was then one of the worst housing projects in New York City.
The years were tough but Michael somehow survived. Two members of his immediate family were murdered, as were two cousins. Michael survived being stabbed twice and having a gun placed to his forehead. The assailant pulled the trigger, the gun jammed.
Michael attended prestigious universities and became a professional artist. Then he co-founded a company that changed the way comic books are published. Then he became President & CEO of three entertainment companies, TV creator, mentor, writer, power broker, deal maker, all around very successful.
How successful? The Gordon Parks Academy named its auditorium after him.
That successful.
One day Michael was thinking: “I’m a very formidable person with far reaching influence. What should I do now that I have all this power?”
All day Michael pondered that thought. Finally he drifted off to sleep…
Crash!!!!!!
Michael awoke with a start. What was that that? Silently he headed to the source of the disturbance. There on his floor was not just the cause of the commotion but the answer this intelligent, successful, influential black man had sort.
Crack.
Somehow a bag of crack was tossed trough his window. Michael picked up the bag held it up and pronounced as loud as he could. “I will become a drug dealer!!”
“I am no longer Michael Davis PhD!” I am now Super Nigga!!!
Yeah, I know, that’s just stupid. Surviving the hood becoming a success then deciding out of the blue to become a drug dealer.
Besides a character named Super Nigga would never see print…unless you changed the name to Tyrone Cash and a hotshot writer named Mark Millar creates it.
Then… it’s all-good.
Tyrone Cash was a brilliant black scientist who gets the power of the Hulk yet retains his intellect. I’ll say that again – retains – his intellect. So what does this brilliant black man do with his new power?
He becomes a drug dealer.
A brilliant black scientist gets the power of the Hulk yet retains his intellect and then decides to become a goddamn drug dealer???
In my opinion that would be the textbook definition of a Super Nigga.
“Oh, no Michael! You don’t want to call out Mark Millar! He’s got to much clout!” That was the response from a concerned fan when I mentioned I was thinking of writing this article.
What the fuck can Mark Millar do to me? The streets are littered with the crushed dreams of motherfuckers who tried to fuck with me. You know why that is? Because I don’t give a fuck what bridge I burn, what’s right is right.
Here’s the kicker, I love this guys work. He’s written some of my favorite comics and Kick Ass is just brilliant, so that makes this even worst. When a talented guy with a HUGE fan base creates some shit like Tyrone Cash it has to be addressed or it becomes OK to do so.
All in all this makes me sad. Sad because Millar’s star is so bright, and rightfully so, sad because if just one black kid thinks Tyrone Cash is cool that that helps no one and if just one white kid thinks Tyrone Cash is accurate that hurts many.
WEDNESDAY MORNING: Mike Gold Gets Real Small
THURSDAY MORNING: Dennis O’Neil and The Seven Basic Plots
Milestone was the idea of Denys Cowan. Denys, Dwayne McDuffie, Derek Dingle, Christopher Priest and I sat in a room (a few rooms actually, sometimes at someone’s home, sometimes at a dive restaurant a lot of times in a dive diner) and we sat and planed for weeks creating the original universe of Milestone main characters Icon, Rocket, Static, Hardware and Blood Syndicate.
Priest left right before we signed our publishing & distribution deal with DC. For a very long time Priest was the Pete Best of Milestone. Pete Best’s claim to fame is that he was the original Beatles drummer before Ringo. Pete left to get a real job. That’s pretty much it. His music career amounts to little but a trivia question.
Christopher Priest, on the other hand…
That mofo did just fine without Milestone. He’s writing movies, novels and just about anything he else he wants to write. However, for a very long time Priest was our trivia question. Few people knew he had anything to do with the Dakota Universe.
Now, few people think the original Milestone partners were just four, most fans and all the industry know that Priest was there at the start.
Most people are aware that Derek Dingle was there from the start of Milestone, few people know and even fewer believe Derek Dingle was a major co-creator on the original universe of Milestone main characters.
Translation, Derek came up with many ideas that made it into the Milestone Bible his contribution was just as valued as anyone sitting at the creative table.
I remember how much Derek Dingle had to do with creating Static’s powers and costume. I remember that very clearly because I wrote the Static Bible (meaning I created his family, backstory, supporting characters, etc.) I ran many an idea passed Mr. Dingle for as long as I could.
It’s easy to understand how Derek was casted in non-creator role by the fans. As Milestone went from idea to business plan to universe bible to joint venture with DC Comics, Derek’s visibility as a creator became less and less.
We were all equal partners but we all had separate roles in the company. Derek’s role was President of Milestone. You wouldn’t call the President of Milestone at 4 in the morning to run possible names of Static’s dog sidekick pass him.
Well you wouldn’t… but you know me…
Oh, you didn’t know that Static had a dog sidekick? Well he did for about 35 seconds until the genius that thought it was a good idea was laughed out of the room.
Who’s bad Idea was it?
I’ll never tell, unless at SDCC I’m asked during the Q&A session of the Milestone panel, Friday July 19th Room 5AB (Shameless Plug!) 11:30-12:30!
Ask me then and I’ll spill like a drunken gossip columnist on TMZ.
Look, all of the Milestone partners had horrible ideas at one time or the other. Sometime a bad idea becomes a terrible idea when the person who’s idea it was starts to defend the idea. Trust me, that’s never pretty.
There were plenty of heated exchanges at Milestone but I’d have to say the one person who always kept his cool was Derek. In fact, the only time I ever saw Derek lose his cool was not over anything creative or corporate.
It was over a Kitty.
Kitty was her name and she was (is) one beautiful woman or as we say in the hood, she’s Super Fine. How fine is she? Stevie Wonder could see how fine Kitty is.
One day I was having lunch with Kitty so I had her meet me at Milestone. That was the only time I saw Derek a bit rattled. When I introduced Kitty I swear it took him a full hour before he could say ‘hi’ Kitty is that fine.
OK, it wasn’t an hour his hesitation was maybe 2-4 seconds and wasn’t really noticed by anyone but me, but a 2-4 second delay from Mr. Cool-As-Ice Dingle is rare and you know me, give me an inch…
So, to recap, Derek Dingle was just as involved, I’ll say it again, Derek Dingle was just as involved as anyone in the creation of the core Milestone Universe. Since the day Milestone began there has been reams of wrong information, misinformation and outright bullshit about our company. Believe it or not that continues to this day.
It’s Milestone’s 20th Anniversary and our fans, which I sincerely believe are the greatest and most loyal fans in the history of comics; deserve to celebrate with the truth.
I hope to see many of you in San Diego. As a guest this year I’ll have a space in Artists Alley thanks to the kind people at SDCC!
If you come by and I’m not there someone should be there to tell you when I’d be back. As much as I’d like to hang out there all day, I’ll be a weeeee bit busy expanding my media empire… and scoping out Asian girl cos players.
Come on by! I’ll be more than happy talk to you about my ComicMix columns and upcoming novels. Yeah, I’ll be talking about writing in Artists Alley.
That Michael Davis, what a rebel!
If you miss me at the booth you can catch me here:
The Black Panel Room 5AB 10-11:30 am Friday July 19th
The Milestone 20th Anniversary Panel 11:30-12:30 am Friday July 19th
*The Milestone 20th Anniversary Party Friday 9pm July 19th
*You need an invite for the party I’ll have a few on me during the Milestone Panel and if you mention ComicMix and hit me up before they are gone I’ll hook you up.
Lastly, Derek I’m keeping you to your promise. This is your moment my friend, enjoy it! No work! Have fun!