Tagged: Milestone Media

Michael Davis: You Better Recognize

Davis Art 130528 copyI’m pissed.

So pissed that this article was first written for my website. My website is usually where I rant about goings on in the world of politics and such, I almost never talk about comics there. Well, I was so pissed over a Publisher’s Weekly article I couldn’t wait for Tuesday to vent my anger so I went ahead and wrote this piece for MDW.

Those of you familiar with my writings know I tend to use language not suited for everyone.

Translation: I swear a lot.

Chantal d’Aulnis is a dear friend who I’ve known for a long time. She is also the unofficial 6th founding member of Milestone, as it was Chantal who gave us invaluable advice when setting up the company. She pointed out to me that my swearing may take away from the importance of what I was trying to say in this article when I posted it on MDW.

It’s with that in mind that I’m going to edit the original piece for ComicMix. I will be substituting less offensive words in the place where I swore in the original piece. The words changed are in bold just in case you are wondering. This version will also have additional new content or not…

This one’s for you, Chantal…

The following from a recent Publisher’s Weekly article:

This year’s programming includes a spotlight panel discussion that recognized the 20th anniversary of Milestone Media, a pioneering comic book company founded by a group of black writers and artists that included the late Dwayne McDuffie, Denys Cowan and others.

The article was about The East Coast Black Age Of Comics Convention the Milestone panel was just one of many great things that went on at the convention over the weekend and it was nice the PW gave us a shout out.

Publisher’s Weekly is a big deal a mention there even a small one is never a bad thing, well unless that mention is a review and the reviewer thinks the book you wrote sucks booty. I’ve been mentioned and/or reviewed in PW a few times. The last time was a review they did on the book David Quinn and I wrote, The Littlest Bitch.

That review got us a call from a network looking to talk to us about an animated series of the book. It’s safe to say in entertainment all the major playa’s read PW.

So, when I see that PW has regulated Derek Dingle and I to “other” status regarding Milestone that’s a cause for concern and frankly PW should have done a better job with their background checking. Milestone Media changed the game so much that we are being celebrated at the San Diego Comic Con this year. Comic Con is the biggest pop culture event in the world. You don’t use “others” to describe founders of anything that important. It’s retarded reporting at best and pecker journalism at worst.

This year’s programming includes a spotlight panel discussion that recognized the 50th anniversary of The Beatles, the pioneering rock and roll band that included John Lennon, Ringo Starr and others.

I mean, come on.

Don’t get me wrong, the article was a wonderful piece, extremely well written but, “…and others?”

Come the booger on!

I could be wrong but here’s what I think happened, the reporter got his or her background information from those she or he interviewed at the convention. The reporter’s name is Bobbi Booker, I have no idea if that’s a girl or guy and yes I do know a guy that that spells his name that way so it could be a guy, smartbotty.

Like I said, I could be mistaken but I think whoever Bobbi spoke to gave the impression that Derek and I didn’t matter as much or we were junior partners.

There’s a myth a lot of people have taken as truth that persists about Milestone. The myth is that my dear departed friend and partner Dwayne McDuffie started Milestone and everyone came after.

That myth is so strong that a few years ago some clown went on Facebook and called me a liar when I stated at my annual Black Panel at Comic Con the following;

“Denys Cowan created Milestone, I co-signed but the creation of Milestone is ALL Denys. Anything else you hear is just scrotum basket!”

By “co-sign” I mean, I was with Denys the moment he came up with the idea and said it was a good one. That (white people) is called a co-sign.

Imagine my surprise and anger when this mouth stain went on Facebook and called me a liar during a major forum. He stuck to his “sources” until I bet him $10,000.00 that his information was simply sissy.

This guy was convinced that Dwayne put everything together then called Denys, Derek and me. On another black comic forum someone swore Robert Washington both created Static and wrote the Static bible.

Wrong.

Denys Cowan, Dwayne McDuffie, Derek Dingle, Christopher Priest and I created Static. Oh, and the Static bible? I wrote that. What Robert Washington did was take our good idea and make it darn great. Those books were some of the best comics to ever see the light of day and that was all Robert and John Paul Leon.

Speaking of John Paul, I read somewhere that Matt Wayne discovered him.

Nope. That was me.

On many on line forums people who have no darn clue about Milestone except what they have “heard” are holding court as if they wrote the business plan and pitched it to DC and Marvel.

Oh, you didn’t know Milestone almost ended up at Marvel? I guess Ray Ray didn’t get that from Huggy Bear who knows all. “Word on the street is that Milestone was started by John Lennon and Ringo Starr…”

This is not sour grapes on my part. I’m not bitching because I’m not getting the proper credit for my contribution to Milestone, but rumors and misinformation have a tendency to become fact that can affect everything that you do. I’ve seen news stories that mention no one but Dwayne when discussing Milestone.

Why is that important to correct?

It’s important because brand is important. How you manage or don’t manage your brand can be the reason the business world gives you respect and takes you seriously.

Don’t think so?

My Space is a butt joke, Paris Hilton is an afterthought, Blackberry is just another smartphone and Tim Tebow is feces unemployed.

Brand management or lack there of is why those above are no longer on any A-list.

Tiger Woods, Robert Downey Junior, Vanessa Williams and Bill Clinton are at the top of their game after each faced career ending scandals. That’s brand management.

For my money the single best example of great brand management is Tylenol. Years ago tainted Tylenol tablets were killing people. Tylenol managed to not only come back but are bigger than they have ever been.

The Milestone story is too important to let just anyone who heard some Doo Doo though the grapevine tell it. If the accepted narrative becomes just Dwayne created Milestone what happened to me at a meeting some time back will become commonplace. I was in talks with a mainstream publisher about an imprint deal I would have with them. During a meeting with eight people in the room including the publisher someone mentioned Milestone. I promptly interjected that I was a founder of Milestone and someone actually said; “No it was McDuffie who started Milestone with backing from Quincy Jones.”

Oh, no! Now, I’m put in the position where I have to address that. Having to deflect, correct, restate or clarify anything in a corporate setting is almost always bad.

Anytime you take the position that information you provided or spoke to is flawed, inaccurate or wrong puts your credibility in question. The perception that Dwayne is solely responsible for Milestone is problematic because Dwayne was such a massive talent future Milestone business could be at serious risk if a company decides they don’t want to be in business with Milestone because the guy who started it is gone. He’s not gone, his name is Denys and he’s even more talented than he was when he started Milestone 20 years ago.

Derek, Denys and I are truly blessed to have been partners and friends with Dwayne. Milestone was a great idea and Dwayne made it a greater idea of that there is no doubt. I’ll leave you with a bit of advice Dwayne gave me and no doubt countless others…

Get it right.

WEDNESDAY MORNING: Mike Gold

WEDNESDAY AFTERNOON: Mindy Newell

 

Marc Alan Fishman: Vince McMahon – The Devil In Plain Sight

WrestleMania_19_-_Hulk_Hogan_Vs_Vince_McMahon_01It’s been a few weeks since my pro-pro-wrestling tirade. With another pay-per-view about to hit the airwaves in a day, I figured I’d check in on my on-and-off-now-on again male soap opera. And just as I remembered it, here I sit with a head full of opinions and 1062 words to blather out into the interwebs in hopes one Vincent Kennedy McMahon stumbles upon it and makes sweeping changes to his on-air product I know he never will. But I’m getting ahead of myself.

For those uninitiated (but still here, considering that I’ve mentioned pro-wrestling in the intro, and somehow you weren’t instantly turned away), the smart marks of wrestling have long known the biography of Vinnie Mac. The studious entrepreneurial son of a small regional promoter, Vince grew up in the biz but longed for more than just bingo halls and the occasional stadium show.

After his father’s passing, Vince soon acquired more and more territories. In time, his WWF had laid waste to the independent circuits, giving birth to what would end up becoming the largest ‘sports entertainment’ promotion in the world. Per his worked-shoot (or for the laymen, a pre-approved scripted performance that appears to be off the cuff, drenched in 4th wall breaking commentary), Paul Heyman put it best: “…your father shook the hand of every promoter in this country (and said) that he’d never compete against them, that his son would never compete against them. And when your father died, you competed! And with your ruthless, merciless, take-no-prisoners attitude, you drove everybody out of business, didn’t you, Vince? You ran all the competition into the ground and you stole all their ideas and you made yourself a billionaire out of it!”

In short, Vince McMahon built an empire the way we assume Lex Luthor might. On the backs of the broken men he stepped on. And we the people lap up his product like the faithful slaves we are. But what else are we to do? The only other promotion with national distribution is TNA. And their roster, for better or worse, is comprised mostly of people who used to work for the WWE (nee WWF; they lost a lawsuit). I know that I should appreciate their shows more, but when I watch it, it reeks of why I end up tuning into Raw or Smackdown instead: the best production values, larger than life personalities, and every now and again… an amazing in-ring performance that can’t be topped. In their heyday competitors like WCW and ECW were able to match Vince through sheer will power and creativity. But Vince like all great moguls found ways to literally steal the ideas of those who could bump his ratings a notch, and become all the stronger.

When ECW redefined hardcore, and WCW turned Hulk Hogan into a venomous heel, Vince gave birth to the Attitude Era. He poached ECW’s star pupil Steve Austin. He created the Hell in a Cell match to push his very best punching bag – Mick Foley – into the forefront of extreme entertainment. And in due time, both promotions collapsed in a heap under Vince’s checkbook. Their rosters were absorbed, bleached, processed, and what little was left remained a now redubbed WWE Superstar. So WCW and ECW can join Milestone and Wildstorm in the graveyard of the creative. Meanwhile, Vince boldly went where no promoter had in the past: he became his own greatest star. Casting himself as both the evil genius and fool, the McMahon/Austin feuds of the late 90’s are what helped eventually destroy McMahon’s competition. Don’t believe me? It’s the actual story mode of the WWE ’13 video game.

I entitled this article “The Devil In Plain Sight” because I’m truly tickled by the fact that Vince McMahon’s power only continues to rise and ooze out from his Stamford, CT offices. How so you ask? I’ll cite my two favorite examples. The first, C.M. Punk. The Chicago King of the Indies was brought into the WWE and was immediately shoved towards the mid-card. In spite of being an astounding in-ring performer and solid promo-talker, Punk epitomized everything Vince loathed. A natural and fit physique untouched by recreational steroids, a plethora of tattoos, and an attitude that was built to mock authority. Yet, over time, as the crowds continually reacted positively to Punk’s performances, he slowly rose the ranks. I’ll spare you the lengthy diatribe: Punk won the title, threatened to quit, did a Heyman-esque worked shoot, and ended up holding the World Title for over a calendar year. It was an unheard of achievement. But then, as the devil is prone to do, Vince called in his contract. Punk lost the title to the Rock (a far more commercially viable champion), and was forced to lose to the Undertaker at this past Wrestlemania. Given everything he ever wanted, and then tossed back out with the bathwater. When Punk returns, can we still believe he is ‘the voice of the voiceless’?

And sadder still, begets the souls of those never even given the offer. Colt Cabana, C.M. Punk’s friend and Chicago compatriot, grew up a WWE fanatic. He attended wrestling school, and developed his character. He rose the ranks of the independent circuit, all while showing his entrepreneurial spirit. And then, with literally dozens of WWE wrestlers vouching for him, McMahon yielded to give young Cabana a developmental deal. Much like being handed a property like Voodoo in the New52, Cabana was given an uphill battle from the start. A few “squash matches”, and pretty soon Colt was told creative has nothing for you, and with it so too went his dreams. In the wake of this, Cabana doubled down. He started up a podcast and hit the independents harder than he ever had before. And here he continues to exist, lamenting on the life he never truly got a shot at. And when the topic comes up week after week… does Cabana say one ill word of the man who could still yet make his dreams come true? Nay.

Because the Devil is always there, and there’s always a price to pay.

Shortly after writing this article, Marc was offered a staff writer position at WWE. He sent in his résumé, and was promptly smashed in the head with a steel chair.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

Michael Davis: And A Dollar Short

Davis Art 130402Denys Cowan, Dwayne McDuffie, Derek Dingle, Christopher Priest and I founded Milestone Media 20 years ago.

Really.

I know to some that feels impossible, but it’s true. 20 years ago Milestone Media was formed and still to this day is the most successful African American owned comic book company in history. It’s hard to believe and even harder to believe that I was just five years old when Milestone began.

Heh.

Over the last 20 years Milestone has continued to make history. The amazing success of Static Shock on television, continued publishing of the Dakota Universe over the years and a ever growing and loyal fan base.

This year the legend of Milestone will be cemented for all time when Comic Con International, the biggest pop culture event in the world, honors Milestone 20th anniversary.

That’s huge but what I’m about to reveal here is even bigger.

Milestone is back.

The rumors are true, Milestone Media, although never really gone, will begin publishing monthly in September of this year under the Marvel comics banner.

The press release goes out this week but as promised some time ago in this column I’m breaking the news here.

Not only will Marvel comics be the new home of Icon, Static, The Blood Syndicate and Hardware next February in celebration of Black History month Marvel will launch Blackout, the event to beat all previous event.

Blackout will be the month every single Marvel superhero will become black and we are talking about their race, not their costumes although they will be black also.

Marvel’s commitment to the project is incredible.

Keeping with Milestone’s promise to its fans to “keep it real.” all of the super villains in the Blackout event will be white. “Keeping it real” is something that Milestone is known for, and that’s why the cost of Blackout will be half of what it would be if the superheroes were still white.

In addition all the storylines of Blackout will center around an inner city family where the father is not just absent but also in jail or on the streets involved in drugs. Because we are concerned with stereotypes, the drug storyline will not feature an absent father stung out on drugs.

The storylines will depict the father as the drug dealer.

Duh.

Because he’s black in Blackout the drug dealer will be seen as a hero in the black community because we all know that’s real and we know that because that’s how Hollywood keeps it real and Hollywood only depicts what’s real and we do want a movie deal so…

I can’t really go into too much more detail as I may have given away way too much. I will tell you this, the black Tony Stark will still date only white women.

He’s black, successful and mega-rich.

Duh.

WEDNESDAY: Mike Gold

THURSDAY: Dennis O’Neil

 

Michael Davis: It Was Twenty Years Ago Today

Davis Art 130212Actually it was twenty years ago, but it wasn’t today. Look, any time I get to use a Beatles lyric in anything I write I’m using it. Nothing says witty and clever like a Beatles lyric or a Tupac and Biggie reference.

Case in point. One time too freakin’ many an ex-girlfriend asked me in an email if I thought she was getting fat. I was so sick of answering the same freakin’ question over and over again. She would ask when she and I would be on a date, in a car, on the phone, texting and one time I could have sworn she screamed it out during sex. I can’t be sure of that I couldn’t hear her clearly as I was, at the same time, screaming out my name. Yes, I scream my own name out during sex. Someone has to.

I was just sick to death of this shit so in my response I found a way to use a slightly altered Beatles lyric, which was, yes, you are the Walrus.

Twenty years ago, Denys Cowan, Dwayne McDuffie, Derek Dingle, Christopher Priest and I founded Milestone Media.

Hard to believe I was just five when I helped start the company, eh Jean?

Twenty years later, Milestone is still considered the greatest publishing achievement in African American comic book history. The Milestone deal was ground breaking and the universe is still alive and relevant. Milestone has achieved in comics the same kind of reverence the Tucker achieved in the automobile industry or Guns ‘n’ Roses achieved in Rock and Roll, all three burst on the scene, changed the game and for whatever reason lived a short life but has never been forgotten.

What many people don’t realize is Milestone still exists and is still alive in media if not in a monthly series of comic books. Static Shock is still seen on television, Milestone characters are often featured on other DC comics animated shows and Milestone comic book projects still are being created.

Milestone’s 20th anniversary will be celebrated and in the coming months happenings will be reveled. I just can’t tell you now; if I did Denys Cowan would see to it that I join Tupac and Biggie. Yes, I’ve used that line before and I will continue to use it until LAPD does it job and finds their killers…or someone comments how clever and witty that line is. I’m good with whatever comes first.

What I can say is ComicMix readers who are Milestone fans have a guy on the inside. As we all know with great power comes first hand knowledge premiering here at ComicMix before anywhere else.

That is, if I remember to write it after it’s finalized but before the press release goes industry wide.

I’ll try and remember but once I was told over the phone I just had a huge project green lit and could now talk about it. The very next call I was on not three minutes later was with an entertainment magazine doing a profile on me and like a dick I forgot to mention the venture when asked about what projects I was working on.

That omission was like forgetting to mention I own a dog when being interviewed for a cover story in Dog Magazine.

Last thing, for all you fan boys who are still a bit “girl challenged” if your girlfriend…wait, what am I saying? Girlfriend? Fan boys? Ok, if the girl you are smitten with or any girl asks you if she looks like she was getting fat or the classic, do I look fat in this dress?

The answer is always no.

If the heifer weights 300 pounds and is always sucking on a saltlick, the answer is always no.

Trust me, don’t say anything remotely like what I said, I’m lucky to be alive and ten years after the break up I’m still looking over my shoulder.

WEDNESDAY: Mike Gold and The Nerddom Intelligentsia

THURDSDAY: Dennis O’Neil

 

Michael Davis: Viva La France

I’m in Paris.

I’ve been here for a week and I must say it’s quite the experience. I’m on record as having said I hate the French so this is quite interesting. Allow me a moment to explain where that ‘hate’ sentiment came from…

About, maybe, 20 years ago I was at DC comics delivering some work. I was in the lobby having a running conversation with Clark Kent and using the free phone that sat next to Clark to call just about anyone and everyone I wanted to talk to at the time.

Mostly I would just call girls trying to impress them with the fact I was calling them from DC Comics where I hanging with Clark while I waited to have my important meeting with an editor who was just crazy about my work. It never really dawned on me until much later that unless you want to be in the comic book business or you are a fan of comics, no one and I mean no one is impressed with anyone who works in the comic book industry.

In my youth, let’s see 20 years ago I was five, I just assumed that everybody thought the comic book business was the place to be and the world was impressed with my being involved in it.

That is about as true as my Jewish heritage.

For the most part the industry was looked upon as a place where grown ups waste their hard earned degrees in art or literature drawing or writing ‘funny books.’

If you wanted respect in regards to your comic career that respect could only be found at a few places such as comic conventions, comic book stores, art schools or on movie lines waiting to see films like Star Wars or Raiders Of the Lost Ark.

I’d heard back then that in France and Japan comics were truly looked upon as a respected form of art. The only real and true American art forms are Rock and Roll (thank black people for that) jazz (ditto), the musical and comics. I admit not knowing who is responsible for the musical but I suspect that came from an enlightened white person, but for comics you can thank Jewish Americans.

But, (Peter, next SDCC dinner is on me) I digress. So, as to the reason I started to hate the French…

As I was hanging with Clark and and running up DC’S phone bill I began to hear a fairly loud yet strange sounding voice, not strange as in I did not recognize the person (I didn’t) strange as in foreign.

Trust me, I know a bit about being loud but the loudness in this voice had a pleasing tone to it so I was intrigued as to the origin. The speaker was a French artist and he was talking to another French guy…in French.

They were having a grand time, talking in French and laughing really hard. When they paused a bit one of them turned to me and asked (in English) where the subway was. I told them then I asked what was so funny.

When I asked that, they looked at each other and started to crack up again.

Finally the guy who asked for directions said “Your American comics are light years behind where we are in France with our books.”

Oh, no, he didn’t.

“What,” I began in a slow and measured voice, giving him the benefit of the doubt that what he said was not what I heard, I mean he was speaking in a foreign tongue, “do you mean?”

Well, what he meant was what he said, which was in effect that American comic books sucked. Then he proceeded to tell me that America sucked also on a few fronts.

This motherfucker…

I let him finish then I reminded him ever so softly with respect in my tone that America created the comic book and America had the best writers and artists in the world…

You know, I remember exactly what I said (because I keep a journal) so I’ll just recount that…

“You are out of your pussy French mind! We created the comic book, we have the best goddamn artists and writers on the planet! You know how I know that? Nobody is making movies and TV shows out of your bullshit content motherfucker! As far as America’s standing in the world I remind you it was us that saved your butt when the Germans were peeing all over your punk ass, bitch!”

I had a bit more to say but it just so happened that Jenette Kahn walked in and invited me to her office… in other words she stopped me from bitch slapping that asshole and/or embarrassing myself further with my all too loud tirade.

So, that is the reason that I’ve hated the French all these years. That one incident tainted my judgment for decades. Over the last few years I’ve come to realize that a lot of my thought process was wrong, I’ve admitted that I’ve been an asshole on many subjects. The one thing I’ve never let go no matter how silly it was for me to hold on to was my hated of the French.

That moment in time with that pussy at DC really made me madder than most things had before or since. If you really know me or read my rants on Michael Davis World (plug!) you know that, that’s some kind of mad!

I was wrong.

I was dead wrong.

The French are decent people and as far as comics go they respect the medium like the art form it is. To this day in America the mainstream does not give the kind of respect to the comic industry that we deserve. Yes, it has gotten much better but still “I work in comics” will most likely get you little respect, if any, and may get you ridiculed or worse.

Not here in Paris.

Every bookstore not only has a huge comic book section, but every bookstore also displays comics in their windows. I’ve never seen the latter in the states. I’m talking real bookstores, not comic book stores.

Now. About their comic book stores…W O W!!The comic book stores here in France are off the freakin’ chain!

That means “incredible” to those of you that don’t know any black people.

I was asked for an autograph in a Paris comic book store. I thought the person asking thought I was someone else but no…

“ I think you are mistaking me for someone else.”

“‘Michael Davis? Milestone, oui? Etc., oui?”

Hell yeah, you French hottie you!!!!

No, I didn’t answer her like that but she was hot.

So, I was wrong and I was stupid not to see it before I came here. I’ll be here another week working on a project and before I leave I’m going to make it a point to talk to as many French people I can about comics. I also have another reason to now love the French they all seem to adore Obama.

I’m not kidding. They love that guy and hate Mitt.

Lastly, if by chance the French artist I met at DC all those years ago is reading this I’d like to say that you were right about one thing. The French are light years ahead of America when it comes to respecting the medium.

That said, you can still kiss my ass.

You don’t come in our backyard and talk shit about us no matter how cool your people may be.

U.S.A, motherfucker, U.S.A.!!

BTW, I was not kidding about sitting next to Clark Kent at DC. There was a life sized stature of old Clark sitting in the reception area and I’d sit there and make free phone calls. Those were the good old days…

WEDNESDAY: Gold… Mike Gold. A.K.A. Doctor Know

 

Michael Davis: Milestones – African Americans In Comics, Pop Culture And Beyond, Part 3

Please read parts one and two before this installment.

The Comics Code Authority (CCA) tried its best to stop EC from publishing a particularly offensive (to them) comic book. The book they were trying to stop was Weird Fantasy #18 (April 1953); the story was called “Judgment Day.”

What was objected to was not a gory scene of a space monster under orders from a criminal ripping to pieces an earth girl who, clad in scant bra and panties, was an obvious sexual tease for 50s era yikoung boys.

What was objected to was the main character, an astronaut, was revealed on the last page in the last panel to be a black man. Wow, who knew that the Tea Party was alive and well in 1953 under the name Comics Code Authority?

Why am I surprised at this? The GOP thinks that a woman can’t get pregnant and everyone knows that’s science fiction but (sorry Peter) I digress…

The CCA demanded the story removed or the last panel changed to a white boy. ECs editor William Gaines, the publisher of Weird Fantasy, responded to that demand with “Fuck you.”

Three years later, Gaines reprinted the story in the final issue (#33) of Incredible Science Fiction.

William Gaines was gangsta.

Like Branch Rickey, the man who brought Jackie Robinson to professional baseball, William Gaines was a civil rights pioneer. Both were white men and although Gaines rarely gets any kudos for his civil rights stance, certainly not the way Rickey is remembered.

That shot fired in 1956 started a war in the comic book industry over black story lines, black characters and black creators and that war continues today. A war not nearly as difficult as it was in 1956 but a war nevertheless.

1956 meet 1993 meet 2012…

In 1993 Denys Cowan, Dwayne McDuffie, Derek T. Dingle, Christopher Priest and myself founded Milestone Media.

Milestone was a worldwide phenomenon making history with its ground breaking deal with DC Comics. At the time the deal with DC was the biggest joint venture deal ever done in comics.

The deal was not the reason Milestone was heralded. Milestone was rocketed in front of the public because the founders were four African American men. We were four because Christopher Priest left the company before Milestone published.

In the almost 20 years since Milestone came on the scene the company is still thought of as the penultimate African American comic book company.

That’s good.

That’s bad.

It’s good because Milestone accomplished something that was a long time coming. Milestone put black content on the map. Black creators, black characters and black story lines were propelled to the forefront of the American comic industry. Never before in comics long history has African American content captured the imagination of fans, retailers and the press.

It’s bad because Milestone is almost 20 years old and still the penultimate African American moment in comics. As a founder of Milestone that gladdens me as an African American creator it also saddens me.

Where is the next wave?

Within the African American comics’ community there exists splits’ that mainstream comic book readers for the most part are not aware of. Among most black creators Milestone is respected, but there are some young black creators who see Milestone as sellouts, Uncle Toms or worse. Some in the black comic book community have gone so far as to brand Milestone, House Niggers when discussing our groundbreaking deal with DC Comics.

This is the state of the very real divide within the black comics community.

There is a thriving independent group of young black creators who are doing bold and wonderful work. They publish with small indie houses or they self-publish. The stories they are creating are mostly Afro-centric, mostly positive but there are some which are anti-establishment, a.k.a. anti-white.

On the flip side of that there is a contingent of black creators who reject all other forms of publishing unless a major publisher publishes them and by major publisher I mean the two big boys, Marvel and DC. Lastly there are those black creators who would not publish with Marvel or DC if their lives depended on it, seeing both companies as comic’s answer to plantations.

With all the seemingly inexhaustible black talent out there I ask again…

Where’s the next wave?

Why is a new black anything (comic, creator, character) at Marvel or DC still seen as a breakthrough 20 years after Milestone and 58 years after Judgment Day?

Case in point, Marvel’s new half black, half Latino Spider-Man. That was a huge story, which captivated numerous news cycles. The recent cancellation of DC Comics’ New 52 Static Shock after only six issues sent shock waves (pun intended) throughout the industry.

The outcry from fans on the net went from, oh no Static was cancelled to Static was cancelled because he was black.

Here’s what Denys Cowan and I, co-creators of Static Shock and both black creators think, Static was cancelled because this hit, cool, teenage hero was fighting a giant fish.

Up until now there has been no serious attempt to showcase African Americans and the creative excellence, which has been a mainstay of the industry for as long as comics have been an American art form. Unfortunately at the beginning of the American comic book business, African Americans were depicted most often as horrible stereotypes.

I’ve seen that movie; Milestones: African Americans In Comics, Pop Culture And Beyond will not be that kind of show. 

Yes, there will me a nod or two to the depiction of those sad and hurtful images. However, this show will be about the vast talent and wonderful innovation that came from or were influenced by African Americans.

From the faceless contributions of those like William Gaines almost 60 years ago to the constant search for African American talent by Mike Richardson to the acknowledgement of contributions by people like Jenette Kahn, Marv Wolfman, Stan Lee and Jack Kirby this show will embrace the totality which is black comics.

Make no mistake; the overwhelming focus will be on black creators and their art. But let’s face it there would have been no Static Shock without the Black Panther.

It’s my hope that the show will feature not just the work of mainstream black creators but also work from those who consider themselves outside the mainstream as well as those who want nothing to do with the mainstream. I’d like the major comic book companies like Marvel, DC and Dark Horse to have sections devoted to them and their efforts to level the racial playing field but also let’s learn from the mistakes they made.

Independent and new companies will be invited to participate as long as the work from that company is quality. Let’s face it; some independent publishers simply suck.

I don’t care if you are the son of Malcolm X. If your work sucks you will not be represented in the show and I’ll keep you out by any means necessary.

Damn, I’m witty!

Writers from within and outside the comics industry will be called upon to write essays and reflections on the fight for acceptance and the triumph of arriving and exceeding expectations.

In America it’s no secret that African American culture is pop culture so it’s my objective to showcase that. I may fail, I may not be the guy that should have been chosen for this wonderful event but from the bottom of my heart I swear I will do the best I can.

If I fail, it’s my fault…and the Tea Parties…what?

WEDNESDAY: Mike Gold, Passion and Wonder

 

Robert L. Washington III, drawn by Chris Ivy

Robert L. Washington III: 1964-2012

Robert L. Washington III, drawn by Chris IvyRobert Lee Washington III, a comic book writer best known for writing the first 18 issues of Static for Milestone Media, passed away today after suffering from multiple heart attacks.

Robert had a heart attack yesterday afternoon. He collapsed, unconscious, and was rushed to Mount Sinai hospital in Queens. In the following twenty four hours, he had two additional heart attacks. His heart stopped at 7:18pm tonight and he passed away.

Robert first came to prominence in 1993 writing the debut of Static for the new Milestone Comics line, and later writing Shadow Cabinet. He also wrote Extreme Justice for DC Comics, The Good Guys for Defiant, and Ninjak for Acclaim.

In later years, he’d gone through some rough patches. He’d been homeless a few times, and had received assistance from the Hero Initiative to get back on his feet, but by all accounts was getting back on his feet. He’d even started writing comics again, and his last job was a one page autobiographical story for Hero Comics 2012, a benefit for the Hero Initiative that came out just last month.

His quirky sense of humor made his run on Static a classic. He will be missed.

 

MICHAEL DAVIS: Game Change

I’ve seen the light.

I’ve seen the future of comics.

I had a meeting yesterday with a company that is going to change the game on the net and can change for comics and creators. I’ve haven’t been this excited since I was 17 and my very first real girlfriend Yvonne Stallworth said, “My parents won’t be home until the morning.”

At 17you know what that means, right fellas?

Poon tang…yeah.

Or in my case spending the night saying; “Please…please…please.”  Before you think I was begging for poon tang; “Please, Please, Please” is the title of a James Brown song I was singing… as I was begging for poon tang.

I can’t talk about the company or what they are doing…no that’s not true, I can talk about it but I’m hedging my bets just in case I’m wrong…which, by the way, I’m not.

That way if they crash and burn I’m protected and if they succeed I’m golden!

All the above said, I’m at a lost as to what was the last game changing moment in comics.

I guess it was the New 52 from DC.

I guess.

I’m not sure because to say something is a game changer is a big deal. Because it’s such a big deal I started thinking, what does it take to be a real game changer?

This is what I came up with. Areal game changer is a person or event that creates a new way of looking at things and years later that way has become the way.

So, with my personal criteria noted what follows are what I consider the most important game change decisions or people who have done so since I’ve been reading comics. You may disagree and if so feel free to amend, add or challenge some or all of my choices.

This list is in NO particular order.

  • Todd McFarlane’s Spider-Man
  • Image Comics
  • Jack Kirby
  • Stan Lee
  • Dwayne McDuffie
  • First Comics
  • Mike Gold
  • Milestone Media
  • Death of Captain Marvel
  • Death of Superman
  • The New 52
  • The iPad
  • The Killing Joke
  • Crisis on Infinite Earths
  • Secret Wars
  • Death of Barry Allen
  • Neil Gaiman’s Sandman
  • Neil Gaiman
  • Kirby’s fourth world
  • Death of Gwen Stacy
  • Dave McKean
  • Bill Sienkiewicz
  • San Diego Comic Con International
  • Teenage Ninja Mutant Turtles
  • Alan Speiegal
  • Arkham Asylum
  • Paul Levitz
  • Jenette Kahn
  • Axel Alonzo
  • Howard Chaykin
  • Dark Horse
  • Mike Richardson
  • Len Wein
  • Marv Wolfman
  • The A.P.E convention
  • John Jennings

Like I said the above list is in no particular order. Don’t send me comments about McFarlane being before Stan Lee, the list is in no particular order.

Duh.

Now. Have at it!

WEDNESDAY: Mike Gold

 

MICHAEL DAVIS: It Will Never Happen

I am the proud owner of two, that’s right two original pieces of Moebius art.

It’s a big deal and it’s not a big deal. It’s a big deal because Moebius is one of the greatest artists ever. Period.

It’s not a big deal because hundreds, maybe even thousands, have an original piece of Moebius art.

That’s because he gave them away.

At comic conventions he would sit and do free sketches for people. So there is a multitude of people who all have original Moebius art.

Think about that for a second. Moebius one of the greatest artist ever, gave away sketches for free. And he did the drawings just for you.

That boggled my mind then and it boggles my mind now.

I was fan from the second I saw his work in Heavy Metal magazine way back when. Huge fan.

I had – and still have – a Moebius pen and ink style. I also give away free art at conventions, because no one would pay me, and I do those drawings in a Moebius pen and ink style.

When asked (rare as it may be) to do a drawing I still do them for free and, yes, if you catch me somewhere and I have a moment and you would like a Michael Davis drawing I will be happy to do one for you. But…

I only draw one thing… a drunken fat Batman. Long story and I will share… but not now. Now, I must digress for a moment before retuning to Moebius.

Many (I’d say most) of you just know me from my weekly rants here at ComicMix or for my f-word laced rants on my site. I’ve had a weird career in comics. That’s also a story for another time but take my word for it most of the stuff I’ve done has been behind the scenes.

I make deals. That’s what I do. That’s yet another story for another time but that’s pretty much my career in comics I’m a deal maker and I’m talking big deals also.

I’m real good at deal making, Hell I’m the freakin’ best at it if you ask me. I’m not bragging. It’s not bragging if you can do it.

I can do it.

I’m co-founder of Milestone Media and once during one of our San Diego convention trips in the mid 90s my three partners, the late Dwayne McDuffie, Denys Cowan and Derek Dingle and I, were manning the Milestone booth in shifts.

On this day, during my brake from the Milestone booth I stood on a very long line to get my second Moebius drawing. The day before I stood on line during my break for the first. When I got back to the booth I proudly showed off my new Moebius drawing.

Denys looked at it like he was going to punch me and take it. Dwayne was just as impressed, I think Derek was scaring some kid away. How? Derek took his role as President of Milestone Media very seriously. He wore tailored suits everywhere, even comic conventions. He looked like a Fed and that scares people. Really, it does.

While we were looking at the drawing Denys and I started taking about Moebius and just how cool it would be to get him to do some Milestone covers…

“That will never happen.” Dwayne said in that Dwayne is always right tone of voice, because, well, he was always right.

“Why not?” I asked. “He’s one of the biggest artists in the industry, one of the biggest artist in the world. He’s swamped and impossible to get to.” Dwayne retorted.

“I got to him twice, today and yesterday.” I dead paned.

We all laughed at that and after that moment passed I told Dwayne I was going to ask Moebius. He said, and I’ll never forget it, “If you can get him then I’ll believe the hype.”

I got him.

Moebius did four covers for us and we then turned those covers into posters.

It was quite a coup for Milestone and me.

Moebius passed away Saturday and it really messed me up for most of the day. I not only admired his work I was a fan of the way he lived his life. Never a bad word about anyone or anything, always took the time to talk (and draw!) to his fans. He was just a wonderful man.

All these years I thought the reason Moebius did those covers was because I was such a hot shot dealmaker.

Nope.

He did those covers because he was the real deal just a wonderful, wonderful, person.

He didn’t see Michael Davis, fast talking dealmaker. No, Moebius saw a fan that stood in two very long lines twice to get those drawing. He did those covers for the fan boy who really loved his work not the executive from Milestone.

That realization came to me like a brick to my forehead this morning when I heard the news. I’m now certain the answer would have been “no” if he didn’t know I was such a fan. Don’t ask me how I know, I just do.

Nevertheless, I did get a coup. Four coups, actually.

I have two Moebius drawings, I spent some time with him and he drew characters I co-created.

Not bad for a fanboy eh?

Rest in peace, dear Moebius, you were one of the greats, as an artist and as a man.

WEDNESDAY: Mike Gold Weighs In

 

MARC ALAN FISHMAN: How To Succeed In Comics Without Really Trying*

* OK, here’s the deal. You can’t. You can’t succeed in comics without blood, sweat, and tears. Or, better to say, if you can, I don’t know how. I know that once you break into comics and have enough dirt on editors and top brass… you can rest on those laurels for years. Ask Jeph Loeb. I also know if you can meet deadlines, even if no one would ever say your work did more than move things from point A to point B, you can still get a steady paycheck. Ask Scott McDaniel.

I was torn here on where to go. From that lead paragraph, I had two genuine directions. One would be an uplifting tale of how Unshaven Comics is succeeding in our goals through the triumph of hard work, and slow but substantial growth via winning over one fan at a time. The other article I could write is a shallow, mean, absurdly hateful piece directed at Scott McDaniel over something he posted on his website. Given that I’ve had a pretty brutal day, I’m inclined to get petty and stupid.

Since my M.O. in these columns is to provide a little Wikipedia’ing, allow me do as such. Scott McDaniel has been a working comic book artist for many years now. Titles include Daredevil, Nightwing, Batman, The Outsiders, and most recently Static Shock. A cursory glance over those titles should tell you that no matter how much I rant and rave here, Scott has the high ground; He’s worked at DC and Marvel. I’m still years away from getting my denial letters from either of them. That being said, I have a bone to pick with the good God-fearing fellow.

For those not following along, Milestone creator John Rozum was given the reigns of Static when it debuted in DC’s big reboot. After much ballyhoo, he was shown the door (or showed himself to it, in a sense), and McDaniel took the writing gig over. John let people know (here) (and here) (and here) his thoughts on it. Scott then issued a response of his own on his site, to clarify his take on the whole issue. His response was a 41-page letter issued to the interwebs detailing literally every conversation and his opinion on the matter. 4-pages. Single spaced. 12 point font. 20,000 words. To respond to John, and the industry in general on why he still worked on the now-canceled book. And as God as my witness? It makes me want to rub my feet on the carpet for a solid day, and then give Scott a static shock to the man-globes.

The basic argument came down to editorial. Rozum’s script was obviously not the direction DC wanted Static to go in. I would think many comic creators have been in this situation too. Hell, in Unshaven Comics we’ve had knock-out fights over single panels. What it comes down to though is what line a creator is willing to cross to make ends meet. The best comics being published today (many by DC, I would attest) work well only when all parties involved are on the same page (pun intended). Even four pages into McDaniel’s magnum dope-us I could figure out where all the hullabaloo was. Rozum wanted a grim and gritty take on Static that balanced the hero stuff with real-kid problem stuff. DC wanted a family-friendly-ish romp that went “all out” to draw attention to itself. Faced with an editor asking for something he really didn’t want… he all but “phoned-it-in” to make a few paychecks, before deciding to leave the title.

Some of the best comics work on a slow-burn concept. Where it takes five or six issues to really hit home. And truth be told, I tend to love those comics. Scott Snyder employs this process immeasurably well. But is Static right for such a treatment? In a perfect world, maybe. But let’s be honest. Static is most well known to be a “fun” character. His animated show was amazingly well done (until Shaq made a guest appearance, and they made Ritchie have super-powers). I have no doubt in my mind DC wanted to tap into that energy (pun doubly intended) for the relaunch. But I digress, no need to rehash all the details. I’ll let you read through them if you want. Suffice to say, Rozum zigged when he was asked to zag. His editor (a.k.a. The Boss), pulled McDaniel into the conversation early to swing things away from Rozum’s treatment. At the end of the day, no one saw eye-to-eye, and the book was sloppy because of it.

I forced myself to read through all 41-pages of Scott’s manifesto. I simply find it to be so amazingly crass that I couldn’t help but be bothered by it. At the end of the day, McDaniel didn’t do anything wrong. He followed orders, made his editor happy, and when it was obvious DC was gonna flush the series down the toilet with the rest of the poop, they saved a few dollars by letting Scott write it. Granted, I didn’t read Static, but if McDaniel writes as well as he draws… I’ll safely assume Static got into a ton of fights, stuff blew up, and then the moved on to the next plot point. I’ve read (and own) a few books by Scott. I’ve never loved any of them. I find his work to “feel” rushed. Whether it takes him any more or less time to complete than any other working artist today… simply put, I’m not a fan. And seeing him with more credits to his name on a book exponentially makes me steer clear. Remember when I wrote about the double-edged sword of artist-writers?

But, I digress once more. The point is simple. Scott McDaniel’s retort was unneeded, uncalled for, and ultimately a waste of pixels and bandwidth. Rozum had a reason to let the world know why he left the book, and what issues he faced at DC. Scott was (and perhaps still is?) drawing a paycheck from DC. To write 20,000 words on how Rozum made it hard to make the book successful (and reading Rozum’s own words, he all but admits his heart wasn’t in it in the first place)… is needlessly rubbing salt on a self-inflicted wound. I started this piece out discussing how one can succeed in comics. I can assure you one way not to do that, is spend 41-pages lambasting a fellow creator. If you read Michael Davis’ article this week, no doubt you know why it’s things like this, that make people think we’re all backstabbers and petty grudge-holders. Scott should have taken his paycheck to the bank, cashed it, and let people think whatever they wanted to think.

As Jesus would say: Do not resist an evil person. If someone strikes you on the right cheek, turn to him the other also.

SUNDAY: John Ostrander

 

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