Tagged: Static Shock

Marc Alan Fishman: Another Three Bite The Dust

I’m tempted to be cheeky. I was considering writing this whole article in a faux-eulogy for our newly departed (departing …) series from the New 52. But, let’s be honest, I’ve done it before. So, how about we cut through the pretense and figure out why – beyond the obvious – these series are headed back to the scrap pile.

For those not in-the-know, Blue Beetle, Grifter, and Frankenstein: Agent of S.H.A.D.E have been given the axe. Ask Bob Wayne, Sales Guru of DCNew, and he’ll proudly produce the following PRSpeak:

“There’s always going to be some pressure on whether or not the new idea being pitched is maybe more exciting than another series we have that may have already told its story,” he said. “That might mean it’s maybe time to put that title on the shelf for a while or have the characters migrate into some other title. So there’s not really a hard and fast rule where there’s a line in the sand where if it falls below this point on the Diamond chart or doesn’t make this percentage of X, it’s gone. It’s really very story driven.”

So, there you have it kiddos. Blue Beetle, Grifter, and Frankenstein simply told their story. And they needed to sit out for a while so some new books can grace the shelf. Well, that’s sort of true. As ComicBookResources properly reported, all three of the titular characters here will all show up in new books. Consider then, if you will, the following conundrum: If a title is canceled in the forest, and no one cares, can you just move the important pieces into another book and call it a day?

I’ll be honest. Out of those three books, I’ve only read one. I purchased the first 10 issues of Blue Beetle. I gave up after one too many crossovers and false starts. This is after I reviewed the book, positively, over at MichaelDavisWorld. Simply put? The series has yet to find solid ground to stand on. Akin largely to the now defunct Static Shock series, I felt the editorially mandated ‘must-see-teevee’ issue drive has tanked the series. Over the course of just a year in publication, Blue Beetle has received his super powers, fought his best friend (who became a villain Beetle), moved to New York, got in the way of the DEO and Director Bones, fought his best friend again, fought Kyle Rayner’s rainbow brigade, and will end his series fighting the Reach, creators of his bug-suit. I’m pretty sure before the end of this volume, he may fight his best friend again. Is it any wonder the story is ending? It never started!

Over at Frankie and the Slim Shadies? Different song, same dance. On paper, it’s actually a bit baffling. The series has enjoyed a nearly consistent creative team – and a cursory look over several review sites even show that the book was consistently entertaining. But as I glazed over the 13 available covers, I saw a schizophrenic book. One week, the mean green machine is slaying the rot. Another week? An underwater monster. Then some insects. Then OMAC. Obviously, Jeff Lemire knows how to write well. And it appears he tried to breath as much life into the book as the lightening bolts would let him. But what I didn’t see there in all the reviews … consistency of story. I guess when you have to change gears like Frank swaps limbs, it’s not an easy task to stay alive. Heh.

And how about Grifter. Much has been written about the Rob Liefeld production. Suffering from the same repeated editorial mandates, and shoehorning of the Wildstorm Universe into the DCU … is it any wonder that all of the WU books are tanking on the sales sheets? Ooops. Sorry. I mean “story sheets.” Because all of this is really story driven, folks. Keep the simple facts in mind. They had a team in place at launch. Nathan Edmondson and CAFU. It didn’t take even six issues for the carousel of artists to fill in and out of the book. Then at issue nine, enter Liefeld’s typewriter. And three issues later? Another new penciler. Is it any shock to you that when a book changes artists this much, it’s circling the drain? Go look on your shelves right now, and count for me the number of creative team shifts that occurred in the best runs of your favorite books. Yeah. I thought so.

Ultimately, these three series each have had high points and low. By their very nature of being DC titles, they see sales indy guys like me and my kin would kill for. They are distributed far and wide. They are reviewed on countless sites. They are picked apart and debated for their merits. At the end of the day though … the powers that be want to see success. And put any spin on it you want … if the book isn’t banking beaucoup bucks (or I surmise … banking enough to be above water, or carrying the possibility of future licensing deals), the grave is dug in the ditch next to the road. Let’s not be unrealistic; we knew that the New52 was not going to deliver 52 critically-acclaimed sales-powerhouses. The zeitgeist would never have been able to sustain that much hype, love, and attention. What this is … is what it’s always been; the nature of the comic industry is to die and be reborn at the right place and the right time.

Mourn not for Grifter, Blue Beetle, or Frankenstein, kiddos. They’ll all be back, and be canceled just as quickly, when we cover the New52 NOW next year.

SUNDAY: John Ostrander

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

 

Michael Davis: Once You Go Black, Part Four

I got the idea for this series when I received a call and was told a project of mine was turned down because “Black doesn’t sell.” I was told to my face more than once by a certain asshole “when it comes to entertainment, black means death.”

Really, Bruce? How you living now, motherfucker? I’m going to guess it’s nowhere as good as I’m living, bitch.

Yeah, I tend to hold grudges but in my defense I’ve been pretty good lately. I’ve been known to rant like a mad man from time to time. In fact when I first started in the industry I did and wrote some shit that got me tagged as the “bad boy of comics.”

You know what I did upon hearing that? I changed the name of my studio from, Michael Davis Studios to Bad Boy Studios and, yes, this was before Diddy.

Why embrace what many think is a negative? Anger. I was very angry back in the day. I figured if people wanted a bad boy I’d be a bad boy.

How that work out for me?

Very well, actually.

Now, young creators, just don’t think you can develop an asshole, take no prisoners, attitude and the world will beat a path to your door. That road is paved with the bodies of many mofos who think that personality equals talent. It does not. People put up with Harlan Ellison’s shit because Harlan is the real deal, or to put it plainly, Harlan is one of the greatest writers to ever pick up a pen: Harlan once told Frank Sinatra to fuck off.

This was during the time when Frank was not only the biggest star in the world but he was also hanging out with more than a few wise guys, if you know what I mean. Harlan takes no shit and he calls a spade a spade. Harlan’s opinions are bigger than life but there is not a single publisher on this planet that would not love to publish a Harlan Ellison project.

But if you think that just being a bad ass is a great way to secure a rep and thus secure a career, you are an idiotic asshole or a Right Wing radio host and that shit will not work in comics.

How did (do) I get away with the occasional rant? Because I deliver the goods. I’m real good at what I do and I generate revenue and it’s all about the revenue.

I’m nowhere, even remotely in Harlan’s league but the people I work with know what they are getting with me and either they don’t care about my rants or they don’t think about them.

Why don’t they care? Would you care if the million dollars someone was bringing you were old or new bills?

It’s all about the money folks. It’s all about the Benjamins. It’s all about the cash. It’s all about revenue.

One day I realized that even though it had worked for me, anger was not the only way to fight against what I thought were injustices some wanted me to endure.

I figured I’d just cool out and not let little things bug me. Why be angry?

So over the past few years I’ve been mostly “rant free” on the comics and entertainment front. Politics is another matter; I regularly lose my mind about that over at www.MichaelDavisWorld.com.

While working on this series of articles I started to get angry. Angry like the Michael Davis of old. The Michael Davis of old that was the “I don’t give a fuck” Michael Davis.

My plan when I started writing these series of articles was to make my case in parts one through three and bring in some of my heavyweight black entertainment friends to underscore that black does indeed sell in this, my final installment.

So much for the plan.

I was on the phone with the director Bill Duke when the anger I’ve tried my best to curtain over the last few years returned with a fury. I told Bill I’d call him back and sat down to write this last segment and, yes, the old Michael Davis is back.

Back and I’m mad as fuck.

Hollywood’s unofficial “Black doesn’t sell” attitude is simply bullshit and the more I think of it the madder I become.

It’s all about the revenue and black properties and people generate revenue in every category of entertainment. Hell, in music and sports we are the rule, not the exception. You don’t see anyone saying that the white players in the NBA who fail is because they are white. No, they fail because they are not good enough, just like the black players that fail.

Duh.

I don’t have to call my Hollywood black powerbrokers to underscore that black does indeed sell. Take a look at what has been done across all entertainment areas. Every single one of the people on my list to call has made a grip in Hollywood and not just selling to black audiences. The Cosby Show was the most successful sit-com on television. Will Smith and Denzel Washington are two of the biggest box office draws ever. In fact, Samuel L. Jackson is the highest grossing film actor…ever.

Black doesn’t sell? Give me a fucking break.

Black projects sell like crack… if done right. That’s goes for every damn project in Hollywood. If done well, the project will do well.

Every time a black project does not do well Hollywood makes black creators in effect show their papers like a freed slave at a southern checkpoint. The black President of the United States of America has been vetted by the CIA, FBI and scores of other agencies. He has showed his birth certificate time and time again and yet some on the right continue to insist he show his papers, again, like a suspected slave stopped in the middle of Alabama in 1850.

Well it’s not 1850 and Hollywood is not Alabama. It’s 2012 and there’s a brother in the White House and Samuel L. Jackson is the highest grossing film actor… ever. If the leader of the free world and the king of the box office are both black don’t insult the intelligence of the people who buy those tickets you sell Hollywood with your “Black doesn’t sell” lie.

I am under no misconception that the Far Right inbreeding bastards will stop the attack on the President, but I still harbor some hope that the entertainment industry and hell yes this includes some comic book publishers will stop condemning projects because some black projects have failed, its stupid and has to stop.

In comics it’s not just a black thing either, projects that feature women fail and that’s reason for some publishers to be wary of the next project featuring women no matter how bad ass the idea is.

That’s just stupid.

Stupid. Stupid. Stupid.

The new Static Shock series was not cancelled because Static was black. It was cancelled because Static was fighting a giant fucking fish.

Grow the fuck up, Hollywood. It’s all about revenue and any project that succeeds or fails in this day and age does so on its creative merits or many other factors, bad marketing, horrible word of mouth, opened on the same weekend as Avengers II.

Reasons for a movie failing or succeeding are many. Making the reason black people is a bullshit reason. Granted if there is ever a movie called Kill All White People and it starred an all-black cast of white people hating black militants and the story line was to kill all white people and that movie failed then Hollywood would have a point.

Then, yes, if that was a real project, black meant death… on more than a few levels, if you think about it.

I know how hard Hollywood hates change, so here’s my idea. Ready, Hollywood?  Keep that silly black doesn’t sell bullshit line when a film that features a black storyline or actor in a leading role fails. Keep that but the next time Will Smith or Sam Jackson star in a film that makes a zillion dollars say the reason it did so is because they were black.

I’d be OK with that, but somehow I don’t think you would be.

TUESDAY AFTERNOON: Emily S. Whitten

WEDNESDAY MORNING: Mike Gold

 

Michael Davis: Once You Go Black… Part Two

If you have not done so, please read last week’s article. Thanks.

The opening night of the movie Blade, I was sitting in a packed Magic Johnson Theater in the Crenshaw district of Los Angeles. Crenshaw is a predominantly black community, so needless to say the crowd for a black superhero movie in a black neighborhood in theaters owned by a black sports superstar was overwhelmingly Jewish. The Jews, they so love to hang in the hood. Black hats, long black coats – they roll big pimpin’ style.

I kid, I joke. The audience was crushingly African American. There was a lot of excitement in the crowd. When the lights went down the audience started to clap and that’s rare in a black movie house. To have a black crowd clap for a movie before they have seen it is extraordinary.

Black people rarely do that. We take our leisure time seriously. We are also very vocal about entertainment and we expect our monies worth. If a black crowd does not like a film – no that’s wrong – if black people don’t like a movie we will not be shy about voicing our opinions immediately.

Yep. I freely admit we can be a bit loud in the movies but for us it’s part of the show. To be fair we only tend to get loud during action and horror movies. You will seldom hear, “Yo! Henry Fonda! Don’t get in that motherfucking row boat!” during a screening of On Golden Pond.

Black people by in large don’t go see a film. We go to the movies. What’s the difference?

My Left Foot, film.

Die Hard, movie.

Still confused? OK, try this. A film is a motion picture that many may consider art. A film will have these elements in it: a story, a point of view, and a message.  It will make little or no money but will win lots of awards and always features white people.

A movie will have these elements; some kind of story that won’t be important, shit that blows up, sex, violence, vampires, it will only win special effects awards, it will make tons of money and always features white people.

The one thing you will find in both a movie and film is white people. From time to time you will find black people in movies but you will always find white people in every movie ever made. Most times those white people will include Nicolas Cage.

But, (man, I wonder why Peter David hasn’t pimp slapped me yet) I digress… As I was saying, black people take our movie going outings very seriously. We don’t clap just to clap (that’s why we have sex), we clap to show appreciation for the work. So the reaction by the sold out crowd at the Blade opening was quite the pleasant surprise to me. Clearly some of the applause was because this was something rarely seen in movies, a black superhero.

When the credits began Wesley Snipes got quite an ovation and the crowd continued giving props to some other recognizable names. Then up on the screen came this gem: “Blade created by Marv Wolfman and Gene Colan.”

“Oh, yes!” I screamed like 40-year old woman who just had her first orgasm after being married for 20 years. “Oh hell yes!” Much, like I imagine that 40-year old woman would react, I did not notice that everyone else had stopped hollering and were looking at me. A large, as in large like the Hulk, man noticed my outburst had occurred during the “created by” credit.

“What you yelling for?” He asked. “I know Marv Wolfman, one of the guys who created Blade.” I said, hoping this guy wasn’t a Crip because I had on a red sweater.

He asked, “Is he a brother?”

What? Is he a brother? Marv Wolfman? I mean come on! Before I could answer I noticed that there were others listening and realized that I could dampen the mood of the crowd. But I’m not a lair so I told him the truth.

“He’s my brother.”

“Right on!” Someone shouted!

That was a great moment in what would turn out to be a great night.

The move was wonderful. The crowd loved every minute of it and me? I was in cloud nine.

Blade was a great movie. It featured a black superhero but it was not a “black” film. Nope. It was a superhero movie, period. Not long afterwards I ran into Marv Wolfman at Comic Con in San Diego. I recounted to him my interaction with the Bulk (black Hulk, get it?) and he was pleased as can be. Up until I told him he did not know that he had gotten an entire card in the credits. A “card” is what the credits are called in the industry it’s a big deal when your name is the only name on a card or is shared with just one other name. Big Deal. Marv created Blade at a time when black superheroes were few and I mean very few. Here’s the kicker: Blade does not have to be black.

Nope.

Blade could be just another white guy who kills v. The character works just as well as a black character as it does a white character. Marv created a good character and that’s why it works.

I’m of the opinion the color of the character really does not matter as long as the character is a good character. That said I’m a comic book fan first and I get a little pissed when a character I’m familiar with in the comics has a race change in the movies. You would think that as a black man and a black comic book creator I’d be happy that Nick Fury was turned into a black man.

Nope.

I liked Nick Fury as a badass white super spy.

That’s because of the Steranko comics. Jim Steranko’s Nick Fury, Agent of S.H.I.E.L.D. was one of the greatest comics ever! When Fury was changed in The Ultimates it pissed me off. When I saw Samuel L. Jackson as Fury in Iron Man it pissed me off even more.

I know Sam Jackson, Sam Jackson attends my annual Comic Con parties, Sam Jackson is a huge comic book fan, Sam Jackson is a great actor, alas Sam Jackson is not Nick Fury.

I want my comic book heroes to be like the comic book. I can hear some black people now “Man we need more black superheroes… and you’re stupid, Davis!”

I know we need more black superheroes, but Nick Fury will always be the cool ass super spy white guy in the Steranko comics to me.

The fact is I care that Nick Fury is not white in the movie because he’s white in the comic book. Did it stop me from seeing The Avengers?

Here comes that 40-year old first time orgasm woman again, Oh Hell No!

Did I like Sam Jackson as Fury? Damnit, yes, yes I did. Did anyone seem to care in the two sold out showings of the movies I sat through that Nick Fury was black?

Nope.

Did Blade not make a zillion dollars and spawn two sequels?

Yep.

And speaking of Spawn (damn I’m clever) did Spawn, another black superhero, not make a grip in movies, television and toys?

Yep.

Was Static Shock (still seen in reruns to this day) not one of the highest rated animated shows on television?

Yep.

I’m told often, black doesn’t sell. Clearly that’s bullshit. Just ask Will Smith, the biggest star in the world. He has played a few superheroes and all made serious bank.

With these examples and many more why does Hollywood still think that “black means death” when it comes to black superheroes?

End, part 2.

TUESDAY AFTERNOON: Emily S. Whitten On The Job

WEDNESDAY MORNING: Mike Gold Covers Covers

 

Michael Davis: The Avengers … Or The Anatomy Of The Bitch Slap.

Mickey Mouse just bitch slapped Scooby Doo. Donald Duck just put his foot up Shaggy’s butt. Goofy just cold cocked Velma.

Disney just kicked Warner Bros’ ass.

Marvel just told DC “fuck the New 52!”

This all happened the moment The Avengers movie opened.

The Avengers is the best superhero movie ever made.

E.V.E.R!

Yes, this is just my opinion but consider this: I’ve had my problems with DC Comics but I’m a huge fan of the DC universe. I’ve always considered Superman The Movie the best superhero movie ever. I thought that because Superman works on so many different levels and it still holds up decades later. Superman The Movie is over 30 years old and it still works. It was made without the crazy shit that exists now in special effects and it still works.

In the movie, that mofo caught a helicopter in 1979 without CGI, without Industrial, Light and Magic, and it still works.

You get that? That mofo (Superman to those unhip out there) caught a helicopter without the 2012 computer magic that exists today and I was all in!

What does that mean really? It means a good superhero movie is not just about guys or girls in tights who fly and have lots of fights throughout the film.

Superman The Movie remade the character but kept the original story intact. The story was the story of Superman that everyone knew before they went into the theater to see it, yet it was also new. That’s hard to do.

I’ll say that again. That’s hard to do.

Don’t think so? Did you see The Punisher movie when the Punisher was not even in his costume? Did you see the Captain America movie when Cap walked from the North Pole? Those were horrible movies to be sure but Hollywood gets it right sometimes and still screws some of the comic book mythos for no reason. That’s no reason except some guy in the room with juice gives a “note” that he thinks is a good idea and the other monkeys in the room agree.

For instance, take what I consider a great superhero movie, Batman. That’s the 1989 version – but yes I still love the 1966 version! For some reason known only to whothefuckever came up with it they made the Joker the killer of Bruce Wayne’s parents.

I bet if the same guy worked on Superman he would have said, “I have an idea! Let’s make Superman from Compton instead of Krypton!”

Hollywood seems to think they know better than the people and the industry that created the property and that’s why doing a superhero film that respects the source material is so hard.

Just ask Alan Moore.

I’m lucky enough (or badass enough if you happen to be a pretty girl impressed by this type of bullshit) to work in Hollywood. If some studio wanted to make a movie out of one of my creations I would most likely let them do what they want even if they disagreed with my vision of my creation.

Why?

Because what I do is not art, it’s entertainment.

So as a writer who has three books coming out between late 2012 and mid-2013 (if the Earth is still here) I can say without hesitation: Hollywood, take my work and make it a movie. If you want my input, great! If not, then write me a big check and spell my name right in the credits.

As a writer I have to be smart about the way the business of entertainment works. I have to play the game. That said, I will not roll over like a little bitch if you want do something so stupid like making Static Shock a white kid (that was a suggestion by a studio executive) or you tell me some dumb 1950s shit like black superheroes don’t sell. Yeah, that happened as well.

So I will bend but I won’t break when confronted with real world scenarios when it comes to being a writer.

But as a fan? As a fan I won’t stand for any shit that does not fit my view of what a great superhero movie is and first and foremost is respect the source material!

The Avengers movie not only sticks to the comics, it adds to the brand.

Not easy to do.

Marvel Studios and Disney produced a superhero movie that rabid geek fan boys can take a girl and even if that girl hates all things geek she will love this movie.

Result? Possible tapping of some ass.

I’m watching The Avengers in 3-D. Live action IMAX 3-D. The Avengers!!! I’m watching the Hulk, Thor, Iron Man, Captain America, The Black Widow and Hawkeye and they are the characters I know and love. This is what I want as a fan-this is what all comic book fans wants from their superhero movies.

That’s why, for my money, this is the best superhero movie ever done.

Warner Bros. can’t even get the goddamn Justice League movie made.

That’s why Tony Stark just made Bruce Wayne his bitch.

TUESDAY AFTERNOON: Emily S. Whitten Gets The Scent!

WEDNESDAY MORNING: Mike Gold Gets Nancy, Good!

 

MICHAEL DAVIS: The Greatest Story Never Told

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

Their triumph. Their masterpiece.

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

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

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

I said, “How about I bang your wife?”

True story.

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

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

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

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

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

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

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

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

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

Clearly.

Or was I?

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

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

That’s Keith Giffen who said that.

Keith Giffen.

THE Keith Giffen.

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

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

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

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

End, Part 1!

WEDNESDAY: Mike Gold Outs Critics

 

CW To Reshoot “Arrow” Over Fashion Issues

  • News
  • April 1, 2012

Due to recent events in Florida, Warner Bros. has decided to put its foot down. With the first promotional image for the new CW drama “Arrow” debuting a few weeks back, some were questioning how politically correct it might be to have a hero donning a hood to fight crime.

DC President Diane Nelson held a press conference this morning to disway the rumor mill:

“DC Comics wants to make it clear that we have been, and will always be at the forefront of fashion for our original licensed creations. But our heroes exist in a very real world… one that reacts to all of today’s issues. Given the recent tragedy in Florida, we’ve decided to make some improvements across the board to ensure the utmost sensitivity to everyone affected. Simply put, a good guy can’t wear a hoodie.”

With that being said, it was learned that DC will be reshooting “Arrow” with a new to-be-released costume, as well as make several changes to existing characters. The new Shazam will have his costume altered once again. Co-Publisher and lead costume designer Jim Lee noted “Shazam will now feature baggy cargo shorts, a red and gold short sleeve tee-shirt with white long sleeve shirt underneath, and his new trademark Kangol hat. We felt it was time to really bring the character into today’s marketplace.” In addition to that, copies of Superman: Earth 1 will be recalled, and have it’s cover replaced, as it features DC’s flagship character donning the aforementioned fashion faux-pas. Also, Static Shock will be removed from continuity completely, and any mention of him will be disavowed.

“Ultimately we have a responsibility to our readers to reflect the common values everyone shares. At this time, this means having to ensure no character is dressed in an offensive matter. In any event, it will not keep us from delivering the finest product in the marketplace we can.” Nelson concluded.

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

 

MICHAEL DAVIS: Static Cling

It’s not a black or white world. The world is made up of many shades of gray.

Yet somehow when something happens to a black character “racism” always clings to the debate.

There has been a flurry of activity since DC cancelled Static Shock. The DC official line is the book was cancelled because of sales. Some fans think DC should have kept the book alive by whatever means necessary and only canceled the book because they did not think enough of the character to change direction.

Some think that DC cancelled the book because Static was black.

What do I, co-creator of Static, think?

I don’t care why they cancelled the book. I care that they cancelled the book.

A guy once put a gun to my head and pulled the trigger. The gun jammed. I didn’t care why the gun jammed, I cared that the gun jammed.

Sometimes the reason for something is not nearly as important as the thing.

In the almost 20 years that Milestone, I company I co-founded, has been around I’ve never publicly commented on the direction of the Milestone universe. Never a word on the management rather I was with the company or not. I’ll do it here, but just to make a point.

I did not like the book.

Moving on…

I mentioned in a post on ComicMix last week that there are some who think that DC cancelled the book because Static was black but somehow fail to acknowledge that DC published the book in the first place.  I love people who don’t let little things like the facts get in the way of a good conspiracy theory.

Over on my website, Danny Donovan wrote an amazing piece about the cancellation called “Not shocked.” A reader wrote a wonderful comment making the case that DC’s actions regarding the Static cancellation had strong overtones or racism.

I do not believe DC cancelled the book because of some racist agenda.

So why do I say the writer’s comments were “wonderful?” Because he presented his case, backed up his thoughts and wrote them in a clear concise way. I don’t have to agree with someone to acknowledge they make a good case.

A few years ago during The Black Panel at Comic Con International I addressed one of the many rumors about Milestone Media by telling the audience how Denys Cowan started Milestone and I co-signed, period. Milestone was Deny’s baby and without Denys Milestone never would have happened.

Never.

Ever.

Ever!

Soon after Comic Con, a blogger went on line and wrote that “his sources” told him that my “version” of Milestone’s origin was not the way Milestone started and because Denys (who was on the panel with me) didn’t say anything after I made my comments, somehow that meant I was lying.

Like I said, I love people who don’t let little things like the facts get in the way of a good conspiracy theory.

So, me being me, I went online and told this guy that his “sources” were wrong. He came back with “these are very good sources” and he was standing behind them.

He was standing behind “very good sources” instead of giving me (who was there) the benefit of the doubt. What I did next was tell him I’d give him ten thousand dollars if he could prove what he was telling thousands of people on the net.  If he didn’t prove it then he should give me ten grand or shut the fuck up.

He shut the fuck up.

The comment on MDW made by the guy who suggests racism had a hand in the cancellation of Static gave a few examples of DC purposive prejudice towards black characters and creators.

And… he made some good points. I know of one instance when he was on the right track. He did not give particulars so I cannot say for a fact that he was talking about the following incident but it fits the general description.

When Milestone started negotiations with DC there was one meeting in which an important high-ranking DC executive said that when it came to black characters in the market place, black meant death. He went on to suggest we don’t show the characters in any ads so as not to turn off the public. He finished once again with, “black means death.”

At that moment one more racist word out of his mouth may have meant death if the looks on the faces of Dwayne McDuffie, Denys Cowan, Derek Dingle and myself meant anything.

Here’s my two cents. That guy was an asshole and people in the industry generally accept that he was out of touch and yes I felt at the time he was racist.  I was in his office once admiring a photo of a sports car he had on the wall. “Maybe one day with a lot of hard work you can have a car like that,” he said with a smile.

I reached into my pocket and showed him my car keys. “I already have one.”

The look on his face was well worth the distain he showed me from that moment on. He never spoke to me again unless he had to.

I believe he was racist and because he was a high-ranking member of the DC staff I believe he could be a problem. Was he a problem? I can’t say for sure.

Jenette Kahn and Paul Levitz were his bosses and they believed in Milestone from day one, so fuck him. I saw him once after he left DC, he was very pleasant and so was I. Why be decent?

As Denys says, “too small, throw it back.”

That was then, this is now…

Hey Bruce! How you living? Guess how many sports cars I have now!

Here’d something that’s never addressed in these “DC is racist claims” concerning Milestone.

The founders.

No founder of Milestone would stand for any Jim Crow shit. Not now, not then.

It will never happen and if some people would just look at the backgrounds and resumes of the founders they would know that Milestone is made up of people that Ice Cube famously said are ‘the wrong niggas to fuck with.’

Has race been an issue at DC?  Yes!  Race is an issue everywhere. The question is when race becomes racism. DC did not cancel Static because they were racist; they cancelled Static because the fans did not want to see one of the greatest characters ever created fighting a giant fish.

A giant fish??

Really?

Lastly, DC took a risk with Milestone but almost twenty years later Milestone is still here, still a topic of conversation still a great universe with great characters and I’m sure that Static is a risk they will take again.

As Captain Kirk said, “Risk? Risk, is our business!”

Good job Danny… for a white boy. ;-)

WEDNESDAY: Mike Gold

MICHAEL DAVIS: Shock To My System

I’ve spent the last few months praising the DC New 52 in one form or another. Months before the books came out, I was debating those who thought the reboot was anything from a simply bad idea to the end of the world, as we know it.

I defended the idea then and in fact over the last three weeks right here on ComicMix. I’ve supported the idea and got into a heated battle with Marc Alan Fishman over the new 52.

Yesterday was Marc’s lovely wife Kathy’s birthday. Happy birthday Kathy and here’s your present…

Marc was right.

The DC New 52 sucks.

Everything about the New 52 is horrible.

I’m going to take a random decision made by DC, a totally arbitrary completely chance judgment they have made to make my point that the entire New 52 is the worst thing to happen to comics since Fredric Wertham and the Spirit movie.

Now. What completely indiscriminate, unplanned, hit or miss just off the top of my head move has DC made with the New 52 that has made me see the light of their atrocious affront to the entire comics, nay, the entire entertainment industry!

Let’s see, lets see, what needle can I grab in a haystack of bad moves?

What?

What?

What??

Got It!!!

DC comics cancelled Static Shock!!

Full disclosure: I co-created Static Shock and wrote the original Milestone bible and named all the characters after my family but that has nothing whatsoever to do with my deciding to use Static Shock as an example as to why I changed my mind about the DC 52. My history with the character is beside the point.

No, I did not like the new Static Shock book after John Rozum left and no, I did not say I didn’t like it before DC cancelled the book for fear that the opinion of one of the creators would affect the sales but that’s besides the point.

The point is DC cancelled Static Shock and that’s just one of the reasons I was wrong about the New 52.

My other reasons?

That’s beside the point.

The little support from the millions of Static Shock fans out there is no reason to cancel something I created! The reason it’s no reason is beside the point. Losing half the sales from issue one is no reason to cancel a book where my Mom was the inspiration for Static’s mom. The sheer audacity of DC comics to cancel a book where I have a vested interest in is why the DC New 52 is horrible. Why that matters is beside the point.

Why not cancel the Justice League? So what if the book is selling in the hundreds of thousands? I don’t like it anymore! The fact that I liked it (loved it) before they canceled Static Shock is beside the point.

There that is my unbiased and completely unprejudiced reasoning behind my change of heart regarding the DC New 52.

You were right, Marc. What was I thinking? Happy Birthday again Kathy, you are married to a very wise man.

WEDNESDAY: Now Mike Gold Takes On John Ostrander

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