The Mix : What are people talking about today?

Joe Corallo: Iron First – Lose / Lose

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Last week news broke that Marvel Entertainment has cast Finn Jones to play Iron Fist in their Netflix series slated for 2017. Jones is a blonde haired, blue eyed, straight cis white man and despite playing a character that in the comics would also match that description, this was also looked to as a chance for Marvel to cast differently as the character of Iron Fist appropriates heavily from Asian cultures. So, basically, this was a lose/lose casting situation for Marvel, and Marvel chose to lose.

To me the real question is not why they cast the way they did. My question is, why are they making an Iron Fist show at all? Sure, part of this is me being flip, but I’m also trying to make a valid point.

For those unfamiliar with Iron Fist, here’s a quick background. Iron Fist, a.k.a. Danny Rand, was created in 1974 by comic book legends Roy Thomas and Gil Kane. His primary ability is being a master of martial arts, but he also has some additional powers including an ability to concentrate his chi in his fist, which gives him his name. The character was heavily influenced by the early-mid 70s interest in martial arts in Western culture – even Jon Pertwee as The Doctor practiced a form of Aikido. Iron Fist started in the pages of Marvel Premiere, later getting his own title, then joining up with Luke Cage a.k.a. Power Man. After his “death” in Power Man and Iron Fist #125 in 1986, Iron Fist would fade in and out of the Marvel Universe, occasionally getting his own solo series again, most notably a run in the mid-2000s written by Matt Fraction. Oh, and like most other characters created at Marvel from 1974 and before, he’s a straight cis white man.

In hindsight, it’s easy to see how Iron Fist was problematic. Not only is this a character that appropriates Asian cultures, he’s been written and drawn almost exclusively by straight cis white men. Larry Hama has contributed to the character, but he’s one of the rare exceptions. Yes, I completely understand that Iron Fist is a white man, but maybe if you’re going to appropriate a culture you should have some input from people in that culture.

Iron Fist will be, if everything goes according to plan, the fourth solo Marvel Entertainment Netflix series. We’ll have had two seasons of Daredevil, a season of Jessica Jones, and a season of Luke Cage before Iron Fist has his own show. Maybe he’ll show up in Luke Cage. So why are people upset? Why does Iron Fist just seem like a bad idea now?

The primary reason for me, and maybe a lot of you out there who also aren’t thrilled by the prospect of an Iron Fist show, is the lack of diversity casting. Not because Iron Fist should have been cast different, but because he we don’t need an Iron Fist show. The TV shows have a much larger audience than the comics. And often a much different audience.

The people who have been enjoying the Marvel Netflix series, and even Agents of S.H.I.E.L.D. have been watching Marvel move towards more diversity. Daredevil featured a straight cis white man, but Jessica Jones was about a straight cis white woman and Luke Cage a straight cis black man. Having them go back to a straight cis white man lead after this comes off as a step backwards to many in the audience, and rightfully so.

Fans of the comics can yell from the rooftops until they’re blue in the face. They can point out how Iron Fist/Danny Rand has always been a straight cis white guy. They can call out people for being casual fans and criticizing them for having never read an Iron Fist comic. All of that misses the point. Marvel Entertainment on TV has been giving off the impression to its viewers that they care about diversity, and to many viewers out there this is a move against the expectations that Marvel has set up and a betrayal to an audience that expects more.

Some people may be thinking to themselves who else could Marvel have even picked. Didn’t Marvel Entertainment have to make an Iron Fist show if they wanted to do The Defenders? The answer is a resounding no. In all of Marvel’s TV and movie adaptations they don’t always follow the comics that closely. Sometimes they don’t follow them at all. If they did, the first Avengers movie wouldn’t have had Captain America, Hawkeye, or Black Widow in it, the first X-Men movie would not have had Wolverine, Storm, Rogue, Mystique, and many others. Black Widow in particular was added to Avengers because of Joss Whedon’s instance to have more representation after all.

Marvel has many, many characters to consider instead of Iron Fist. In a conversation I had with fellow ComicMix columnist Molly Jackson, she suggested why not Moon Knight? What about Dakota North? Monica Rambeau? Squirrel Girl? Or the incredibly obvious choice of Kamala Khan as Ms. Marvel? It doesn’t matter if these characters were in The Defenders or not, they could still just as easily be in the team. Guardians of the Galaxy, Ant-Man, Agent Carter, Jessica Jones, and Luke Cage all show Marvel’s willingness to use lesser known properties in a different medium to give them new life and a larger audience. Why not also use that strategy to expand other characters profiles to expand representation rather than adding yet another straight cis white guy to the mix? Marvel could still even just add Iron Fist to Luke Cage, just as Luke Cage had a big role in Jessica Jones. Iron Fist doesn’t need his own series for that.

Some will write this off as overzealous social justice warriors that just don’t understand comic properties and are searching out the next trivial cause to latch themselves onto. That is not what’s happening. What we’re seeing, as far as I can tell, is backlash to a tone deaf company that’s expanding its audience reach and not following through with the unspoken promise of better representing the audience that people like Joss Whedon worked hard to cultivate for them.

Ed Catto: Nerd Rage – Is It Clobberin’ Time?

supergirl_v-5_36-9503246There are two sides to every coin. I usually write the incredible passion fans have for Geek Culture. This week I’m thinking about Nerd Rage.

This term probably started as a way to describe frustrations in video gaming. But it is now generally used to describe the intense anger that arises when fans vehemently disagree with development plans or ongoing creative efforts for a brand, mythology or intellectual property with which they disagree.

You’ve seen many examples of Nerd Rage. During the yuletide release of the new Star Wars movie, it seemed as if the whole country waited with bated breath for the core fans’ judgment. There had been months of speculation prior to the debut. Would fans approve or shake their virtual fists with the fury of Nerd Rage?

Sports radio is, in many ways, founded on the concept of Nerd Rage, although they’d never call it that. “Real fans” offer their own opinions on the activities, plans and choices made by coaches, teams and players. And all too often, the fans are angry. That makes good radio, I guess.

the-angry-fanboy-9044576And closer to home, this past month DC Comics announced their mythology would be undergoing a “rebirth.” Fans anxiously gritted their teeth in anticipation of yet another rejiggering of the fictional background and histories of the characters.

“Nerd Rage is not a joke – fans get upset when their favorite mythologies are changed,” said Gerry Gladston, CMO/CLO of Midtown Comics. As a long-time fan and one of the architects of a best-in-class comic retailer, Gerry has a unique perspective on the ramifications of Nerd Rage.

“Midtown Comics’ long term official observation demonstrates that a large percentage of fans tend to cool off after the initial exposure to their Nerd Rage trigger, and often embrace it if they deem the new direction to be of high quality and to add substance to the mythology,” explained Gladston.

angry-girl-wallpaper-6292933Rich Johnston is the founder of BleedingCool.com, a leading geek focused news site. With his knack for uncovering rumors of industry changes, he routinely offers prophetic glimpses that often trigger Nerd Rage. “The things we love, inspire passion. People damaging the things we love, inspire hate,” said Johnston. “There’s only so much nerd rage because there’s so much love in the first place. Just sometimes that love … can be seriously misplaced.”

A little while back, Fast Company ran an article called “Why Being Hated Isn’t the Worst Thing For Your Brand.” Tom Denari explored the idea that brands being noticed, and achieving a level of salience, is more important than being liked. He also noted that it’s natural that brands that are loved by many, like The Yankees or Duke University, are also hated by many.

But when it affects sales of a brand or product, that’s a problem. “In cases where a new direction for a mythology is not found to add substance, nor otherwise make sense, Nerd Rage can cause fans to jump off,” said Gladston. And that’s what happened with DC Comics’ last few rebooting initiatives.

article-1283295-0395dfa4000005dc-224_233x333-7270268J.C. Vaughn, Vice-President of Publishing for Gemstone Publishing explains that there are no simple answers in these new directions. “It’s easy to come up with the editorial-or management-driven dictates that have chased readers away in comics, but I’d like to concentrate on one that sparked a fair bit of outrage before it came out and then turned out to be one of the greatest runs in comics history. For years, there were two deaths in the Marvel universe that were sacrosanct, Uncle Ben and Bucky. And then Ed Brubaker and Steve Epting brought back Bucky, made him a Soviet-era pawn responsible for deaths across six or seven decades, and Cap’s foe. Tell me that twelve years ago and I would have thought you were insane (even then, though, I wouldn’t have thought you should be killed). And the result was a truly great, long run on the comic and a wonderful film.” That film, of course, was Captain America: Winter Soldier.

Vaughn concludes that story-driven changes often justify creative change-ups. “We’re talking about fiction after all. On the other hand, we’ve seen the fallout of change for the sake of change.”

But there is a problem when Nerd Rage becomes irrational.

“Nerd Rage is sort of a big boat and a lot of things from irritation and justifiable anger are getting lumped in with out-of-control vitriol that truly has no place in civilized discourse,” said Vaughn.

“Make a website because you know Greedo did not shoot first? Rag on George Lucas for such decisions? Sure thing. I’ve got your back. Saying or posting that a reporter should be killed because she doesn’t ‘get’ Star Wars? Are you kidding? Do you have no sense of proportional response? The world is a pretty horrible place. Comics, movies, books, and video games are among our escapes. And you feel comfortable saying someone should be killed for thinking other than the way you think? You are the problem, not the person you’re criticizing,” said Vaughn.

What’s that old Oscar Wilde quote? “The only thing worse than being talked about is not being talked about.”

Review: Star Wars™ and the Power of Costume: The Exhibition

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Gallery of Padme’s Costumes

“Sometimes creating an entire galaxy begins with a single stitch.” So begins the narration at a spectacular new exhibit in New York City about Star Wars costumes and artifacts. Coinciding with the release of the new movie, Star Wars: The Force Awakens, the show Rebel, Jedi, Princess, Queen: Star Wars™ and the Power of Costume: The Exhibition, is on display now at Discovery Times Square through September 5, 2016.

The exhibition is the result of a partnership between Discovery Times Square, the Smithsonian Institution Traveling Exhibition Service and Lucasfilm. It features 15 galleries with over 70 pieces taken from the collection of the Lucas Museum of Narrative Art. The show includes costumes, props and other items from the three original movies, the prequels, and even several ensembles from The Force Awakens.

 As a lifelong Star Wars fan (old enough to have seen A New Hope when it was first released in theaters) I warmly welcomed the opportunity to see this exhibition. It holds particular interest for me because I am a seamstress and cosplayer who has over the years enjoyed re-creating Star Wars costumes for such occasions as Halloween and convention masquerades.

This was actually my third Star Wars exhibit. I saw Star Wars and The Magic of Myth (which originated at the Smithsonian National Air and Space Museum) when it came to the Brooklyn Museum in 2002. In 2005 I traveled to Los Angeles (from my home in New York) to see Dressing a Galaxy: The Costumes of Star Wars at the Fashion Institute of Design and Merchandising. Even if you’ve seen one or both of the former, I highly recommend visiting the current show at Times Square, if you can. You’ll see many old favorites as well as new classics, and you will discover quite a bit about what went on behind the scenes to create them.

The exhibit begins in a small anteroom, where a short film introduces you to key players, including costume designers Ralph McQuarrie and Tricia Biggar; the film also has an amusing 3D shout-out that I won’t spoil – but it made me smile. Then a space-station style door slides open, revealing a glass case contrasting two generations of Star Wars: Obi-Wan Kenobi’s costume from 1977’s A New Hope (a.k.a. the first Star Wars movie release, or Episode 4), and the well-known red light-up throne room costume worn by Queen Amidala in 1999’s The Phantom Menace (the prequel Episode 1). I soon found out that the lights around this gown’s hem were powered by a car battery.

Two Star Wars Genearations: Obi-Wan Kenobi and Queen Amidala

Two Star Wars Generations: Obi-Wan Kenobi and Queen Amidala

From there, you can wander at your leisure through the worlds of The Galaxy Far, Far Away. There are rooms with Jedi Knights and Sith; Amidala and other queens of Naboo with their handmaids; the shiny exoskeletons of droids; and a sinister hall of mirrors that duplicates Stormtrooper helmets and armor into an infinite legion. You can compare the shiny, pristine armor of bounty hunter Jango Fett to the “second generation knockoff” of his “son,” Boba. (The quote comes from the exhibit captions, not me!)

A Virtual Legion of Stormtroopers

A Virtual Legion of Stormtroopers

There are also rooms comparing Rebel and Imperial soldiers; a display with the sumptuous robes of various background Imperial Senators and Chancellor Palpatine; the luxurious clothing worn by Padme Amidala in her days as a Senator (and as Mrs. Anakin Skywalker), and of course, the black leather suit of Darth Vader. You will also see some classics: Luke Skywalker’s Jedi garments, Han Solo’s outfit, Chewbacca’s furry exterior, and the infamous slave girl “bikini” worn by Princess Leia in Return of the Jedi (Displayed with choice remarks about the outfit from Carrie Fisher).

The Infamous Slave Girl Costume

The Infamous Slave Girl Costume

The exhibit has some very cool interactive features. In the Jedi room, you can push a button and light up the light sabers (with accompanying sound effects). You’ll learn a lot from numerous touch panels installed throughout the galleries that show you sketches, photographs, and audio and video clips with greater detail about the production process. I was particularly moved by an audio clip of Anthony Daniels, who was inspired in his performance of C-3P0 by a preliminary painting he saw of the robot that was done by Ralph McQuarrie. (“Clearly, the figure wasn’t human, but it was so humanoid…Our eyes met, and it seemed to speak to me.”) From other panels you will discover that it takes over 14 distinctive steps to get an actor into the Darth Vader costume.

What I found most interesting about this show was its emphasis on the symbolism and meaning of the costume designs, and how they were used to illustrate the characters who wore them. There are extensive explanatory texts that describe the thought processes behind the costumes, and what particular inspirations from Earth culture were used in the designs. You get not only quotes from Star Wars production teams but also wider cultural analysis from curators at the Smithsonian.

Queen Amidala's Mongolian-Inspired Headdress

Queen Amidala’s Mongolian-Inspired Headdress

For example, we learn how the Jedi costumes were inspired by the Japanese Samurai (and how, since the Sith started with renegade Jedi, their costumes, particularly that of Darth Maul, are similar in design). The East Asian influence continues in many of the kimono-like outfits of the Queens of Naboo, and one of Amidala’s royal headdresses is based on a Mongolian design.

Similarly, there is much discussion about how the costumes portray the essential nature of the character. Colors, for example, denote whether a character is good or evil. (The good Jedi wear earth tones vs. the Sith, who dress in black.) The rebels wear uniforms inspired by American fighter pilots and war heroes; the Imperial officers’ costumes come from German uniforms in World War I and II. (Lucas said he wanted them to look “efficient, totalitarian, fascist.”) Han Solo’s costume is essentially that of an American cowboy. The masks of the Stormtroopers and Darth Vader dehumanize them and thus contribute to their aura of malevolence. Even the sumptuous robes of Chancellor (later Emperor) illustrate his decline into greater and greater evil.

Imperial Officer (Evil), Rebel Pilot (Good), TIE Fighter Pilot (Evil)

Imperial Officer (Evil), Rebel Pilot (Good), TIE Fighter Pilot (Evil)

The hard-core costuming geek can find out a lot about the nitty-gritty details regarding how the costumes were made: what materials they used (and why), and in some cases even how much they cost. For example, the original Stormtrooper costumes were made of a mixture of light polyester resin and a glass fiber that was cured in a mold under a vacuum. Of the entire 1977 costume budget of Star Wars: A New Hope, the Stormtrooper costumes alone consumed almost half the money.

My personal favorite costumes from the films are the amazing outfits worn by Natalie Portman as Queen Amidala/Senator Padme, whose elaborate design and craftsmanship have long impressed me. Of the 37 different outfits from all 3 prequels that she wore, there are at least a dozen of the in this exhibit. The costume designers demonstrated great ingenuity in creating these ensembles. In some cases they used vintage fabrics and repurposed found items (especially in the headdresses). In other cases they tracked down exotic fabrics from all over the world, and enhanced them with embroidery, hand-dyeing and other processes. In the introductory film, Biggar says, “Everything we can do to fabric, we have done it.” For a literally “hands-on experience,” many of the costumes in the exhibit feature sample fabric swatches mounted nearby that visitors can actually touch.

As a costumer who has a tendency to work until the last possible minute, I could relate to one of the anecdotes about the lace wedding dress (made partly from a vintage Italian tablecloth) that Padme wears for her marriage to Anakin at the end of Attack of the Clones. The night before the scene was to shoot, Tricia Biggar decided the dress needed further embellishment, so she stayed up all night sewing pearls onto it.

Padme's Wedding Gown, detail (Photo by K. Cadena)

Padme’s Wedding Gown, detail (Photo by K. Cadena)

The entire presentation of the costumes was, for the most part, excellent. Most of them are not under glass, allowing you to get a really good look at the details. (The level of workmanship for characters that sometimes appear for only seconds on screen is amazing.) Visitors are allowed to take non-flash photos, and the lighting is generally quite good. However, I did have one disappointment. The Chewbacca and Han Solo costumes are displayed in front of a very brightly-lit panel that imitates the hyperspace effect. Though it looks very dramatic from a distance, the backlighting of the costumes leaves them in relative darkness and makes them relatively hard to see. However, this is one minor misstep in what is otherwise a first-rate show.

As you leave the show, you’ll see a figure of Yoda, and the costumes from The Force Awakens. For final interactive fun, you can pose in front of mirrors which capture your motions and render you as one of the SW characters in 3D.

When I first arrived at the show, by way of introduction one of the museum guides said “The exhibit takes about an hour to go through – four or five hours if you’re a Star Wars fan.” I laughed, thinking it was a joke. Well, I entered the exhibit at about 3 pm. After a thoroughly enjoyable time experiencing it in great detail, I checked the time when I reached the end. It was almost 7. Four hours just FLEW by. I felt as if I had been transported through time and space.

 

Rebel, Jedi, Princess, Queen: Star WarsTM and the Power of Costume was developed by the Smithsonian Institution Traveling Exhibition Service in partnership with the Lucas Museum of Narrative Art and in consultation with Lucasfilm Ltd. Lucasfilm Ltd., the Lucasfilm logo, Star Wars™ and all related characters, names and indicia are trademarks of & copyright © & ™ 2015 Lucasfilm Ltd. All rights reserved.
©2015 &™ Discovery Communications, LLC. All Rights Reserved.

Michael Davis On Being Loud and Smart

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Some weeks ago a Hilton manager made a very big mistake. Once Hilton Corporate realized who and what they were dealing with, I was asked what I wanted. This question, always asked in situations where litigation is an option, is a ploy devised to test you. Your answer determines their resolve, your intelligence and rather or not a hotel offers you $50.00 off your next stay or $50 million for you to go away.

Back in the early 2000s two people swore I was at the DC booth during the San Diego Comic Con loudly calling DC racist. So loud and vulgar was my purposive verbal assault the result was to kill a merchandising deal I had with Warner Bros. Consumers Products.

I don’t want to give the impression DC Comics acted against me as a collective in a conspiracy to take me down. They did not. It was a different time and they were a different company and shit like this was handled a different way.

DC Comics is and was under no obligation to be in business with me. It was and still is their house. Almost a decade before the SDCC “incident” I joined Denys Cowan, Derek Dingle, Christopher Priest and Dwayne McDuffie in setting up shop at that house. The original Milestone deal with DC was considered groundbreaking and it was. It was also terrible for Milestone.

Except for editorial, every move inside and outside comics DC had to approve. I didn’t sign that deal, that deal was as crazy as some say I am. I can’t prove I’m not crazy. I could prove I was in NYC the morning I was supposed to have been that nigger at SDCC. Whoever wanted to set me up looked at the SDCC program and surmised I was still in town because I was listed as a guest on a Sunday panel.

Amateurs. Fucking amateurs.

Consequently, when it became clear the loud mouth person who loudly called DC, racists, wasn’t me (or even existed) once again I was asked “What do you want?” What did I want? I wanted black kids to play with a Static Shock action figure.

“I just want the deal reinstated.” Easy, right? No harm no foul. All is good in the world, right?

It wasn’t, because DC said no.

Why on earth kill a deal that would generate revenue? Brand Milestone and DC in the black ad space? Create an action figure based on the mega hit TV show Static Shock? Certainly spark a lawsuit? Last and most important to me, give kids of color a hero to play with? Who knows? I never got an answer, but my top guesses are:

1) Because they could. It was their house. I was loud.

2) That was then, now Milestone has another deal at DC and again they don’t want me.

3) I’ve been loud. I am loud. I’ll be loud.

Some at DC or even Milestone may have floated the rumor that I can’t be vetted for future business when asked to explain my absence. Saying my loud persona and profanity-laced opinions will drive serious business away.

That’s just plain silly. Those profanity-laced opinions have been very very good to me. In fact, they have been very very good to every single Milestone partner past and present.

Then there’s the matter of my resume, my resume doesn’t add value?

Negros, please.

Combined, the Milestone partners have not reached the markets or generated the revenue in comics I have by myself.

Here’s reality. Until revealed otherwise, Milestone’s core business is comic books. Without Diamond (via DC) they have no distribution outlet. My distribution for my educational imprint, The Action Files, reaches American schools via Pearson Learning. Pearson, the biggest educational publisher on earth, likes very much what I have done. My Guardian Line imprint has direct distribution into African American churches that additionally gives me direct access into the black household via Urban Ministries Inc.

UMI is king in the Black Christian space. Think Diamond but with its own comic book line.

My relationship with Pearson is in its 20th year and I just celebrated my 10th year with UMI.

Combined that’s 30 years of cash, resources, brand building and maintainable customers Marvel, Dark House, Image, IDW and DC would love to have.

Pearson Learning matters. Urban Ministries matters. Simon & Schuster matters. Those are no joke playa’s. The moment it was suggested DC come in as a possible partner, (and it always does) out DC went as a possible partner. Nothing bad was said, all I said very quietly was “no.”

Those deals were and are my house.

How’s that for loud?

The church is the most powerful force in Black America. Milestone’s distribution into the very market Denys created Milestone for was assured when I was in the mix. I didn’t need Diamond or DC to reach the educational or black market on a grand scale nor did I need Milestone. And as evidenced by their actions, they clearly think they don’t need me.

But they do, to get into the African American space directly on this scale, they most certainly do.

Only an idiot would dismiss those markets willingly without as much as a word as to why. It doesn’t take a genius to know those guys are not idiots.

No, there is another play here.

They do need me, they just don’t want me. Something is brewing and they see a problem with my involvement. Could some guy still hate me and have sway over at DC? Could that be the reason?

Maybe.

I could see that but just how much of a little bitch would you have to be to let that be a factor? Nah, there’s s something else, something big that negates comics and uses a different gage to reach African Americans.

The play? I’m thinking TV & film.

Or maybe it’s a Milestone partner who thinks I’m too loud and causes to much trouble. Happened 23 years ago; why couldn’t it happen again? Makes sense right?

Here’s the problem with that argument I don’t cause trouble. When that shit was pulled then I ended up running Motown Animation and Filmworks and Milestone jus… ended.

Trouble kills deals, I close deals. Trouble loses money, I generate revenue. Trouble drives away talent, I find and nurture talent.

Now what about being loud? What about my language? Ok, let’s say I’m loud. So fucking what?

Name a black creator or any creator who has worked harder and contributed more than I to bring people of color into comics. Not inspired it, or talked about it or sold a series of books marketed for it. Name any creator with an educational imprint (not book, imprint) at two major mainstream publishers and another at a Christian publisher.

I’ll wait.

…and SCENE!

That rant is just a few high and mighty “look I’m great” and some “so fucking what” thrown for my hard core fans. Think of my stuff like an old Marvel or DC comic after a while you wonder where the fight is. I’m sure some were wondering where all the ‘fucks’ were.

DC wrote me a check which covered my lawyer and little else. That’s what I wanted when it became clear DC would rather risk a massive lawsuit than give me back my deal.

I was livid and was about to bring the noise when I realized something. The two Warner Bros. people who brought me into the deal were at a real risk of losing their jobs. So, to protect them I settled for little of nothing. As a result, nothing is what happened with Mattel and others.

Yeah, I am loud. That’s so people hear me. I have a singular goal, reach as many kids of color and help them realize their worth. What I absolutely will not do is play stupid when faced with stupidity and because of such some see me as a problem after they have used my resources that is, however I’m not the problem. The problem is one Black Hollywood has had for years.

The problem is fear.

Fear of drawing attention to subjects best left alone or risk looking less professional or less white, take your pick. Black Hollywood has arrived in comics and with it the pursuit of the dollar above all else.

Milestone has closed ranks to avoid or minimize a lawsuit, but they can’t. Nobody can. Can they win? Can I? Winning a lawsuit at this level really comes down less on who’s right and more on who’s willing to go to the wall screaming; “I don’t give a fuck” and has deeper pockets.

I’ve been told Milestone is under the impression my resources are limited which is why I won’t sue. They arrived at that notion I assume because I haven’t sued. I’ve also made no secret I don’t care about money so I must be broke.

I don’t care about money. That’s true, however, the banks that hold my mortgages won’t take food stamps nor will any other lender or service. Membership does have its privileges until you miss a payment. All that said, I can’t compete with the kind of bank the Milestone partners would bring to the table, not even close.

Could I sustain a lawsuit with my current resources? I’d wager better than they could. How so? Because my hourly billing from one of the most feared law firms in the world is a hug as my representation is free. I’ve always said I know good people it just so happens I’m related to some also and the firm believes in her and she believes in me.

So I could go to the wall screaming “I don’t give a fuck” but as evident by my actions that I do give a fuck. I didn’t sue DC, I didn’t sue the Hilton when I had them dead to rights some weeks ago and I’m not suing Milestone. I don’t operate on that level. The only benefit would be to me. Black kids wouldn’t be reached but I’d be able to buy some more shit I don’t need. I don’t need any more shit in my life, I needed a call from three guys but that ain’t happening.

I’ve reached out to Milestone 2.0 from day one of this bullshit; still not a word. So, I’m done. Except for an interview I’ve asked be held up on the off-chance I’d hear something, this will be my last public statement about Milestone.

I’ll go my way and they will go their way. Pity, another riff between two black playas. No wonder we can’t win at this game, seldom are we on the same side.

There will be those who believe me a fool for taking this stance, well that may be true. It’s also true that without Paul Levitz there would be no Milestone. Paul and I butted heads, but the fact remains: no Paul no Milestone. It would be easy to change that narrative for personal gain.

Reggie Hudlin has wanted to be part of Milestone since Day One and I’ve defended him against claims he just jumped on the bandwagon after Dwayne died. No Paul, no Milestone. Reggie down since Day One – that’s the truth and that’s what I say.

My Milestone history is written down and public. Once completely co-signed by Milestone now (no doubt fear of litigation) it’s being rewritten. That is a bad move. A very bad move, because I will go to the wall screaming about that. Both the talent program and the Static Shock Universe were created by me and like everything I write I can prove.

The thought of having to do so is sickening and was 23 years ago when I gave Milestone a gift. It was sheer stupidity that turned that gift into a lost.

I’m not motivated by much these days in fact my Bad Boy Studios and Static Shock family legacy may be all I give a fuck about. Keep the fucking money; leave my mother and sister my mother and sister.

23 years ago I foretold what would transpire and I was right. I see this future also and wish it was not to be but it already is. Like I said, pity.

I still want Milestone to succeed. I would still help them do so but I’m not pretending to be anything I’m not.

What I am help create it, who I am won’t help destroy it.

Milestone Forever.

 

John Ostrander Is In London Today…

… and you’re not. Nyah nyah nyah.

Circumstances involving the myth that airplanes always fly in a snow storm mitigated against his producing his column today. He’ll be back next week, assuming that snow storm isn’t hiding somewhere around Greenland waiting for his return flight.

It’s possible.

Marc Alan Fishman: Rebooted, Rewritten, Revolting

573-9175888I gave up buying comics monthly basically two years ago. The New52 let me down. Marvel’s events didn’t grab my gaze either. With Marvel’s TV and movies being excellent alternatives, and DC’s archives of animated adventures at my beck and call, I was as comically sated as I needed to be. And seemingly, I’ve not missed much in the down time since.

And then, seemingly out of nowhere, a whole mess of news hit the wires. The two biggest ones to note: Eric Stephenson of Image Comics had the same rant Robert Kirkman had five years ago, and Grant Morrison, Warren Ellis, Garth Ennis, Alan Moore, and plenty of other big names have had prior to them. My ComicMix compatriot Molly Jackson covered it well. For those who are afraid of clicking? Stephenson came out to proclaim it was time to stop cutting corners for short term success, and to celebrate our collective creativity to build new characters and such. You can’t see it, obviously, but I’ve only got one eyebrow and one corner of my mouth in the “up” position.

Stephenson’s call to arms aside, DC went ahead and announced their next short term success gamble “DC REBIRTH”. What is it exactly? It’s not a reboot. It’s not a retcon. It’s not a reshaping of their universe. No, they don’t want you to think any of that. What it is, according to their own newspost, is a line-wide title relaunch. Which is so not a reboot, guys. The non-event begins in June with REBIRTH Specials for Aquaman, Batman, The Flash, Green Lanterns, Superman, Titans, and Wonder Woman. In the same month, there will be $2.99 releases – two times a month – for Aquaman, Batman, The Flash, Green Arrow, Green Lanterns, Superman, and Wonder Woman. Oh, and Action Comics and Detective Comics.

I’d like to stop right here to denote that during an interview about this so totally not a reboot, seriously dudes, DC Co-Publisher Dan DiDio said (and he speaks FAST, so I’m paraphrasing):

“I thought that was a big issue (the price drop). We’ve seen a lot of resistance to the prices creeping up. And it was a great thing for us to get people to reinvest in DC Comics, with these double ships.”

So, if you like Batman (and who doesn’t!)… and you’re ready to reinvest in DC Comics? Well then! Get ready for a REBIRTH special, and 4 issues of Batman between his self-titled release and Detective Comics. Five books in a month. And DiDio was quick to note that REBIRTH brings with it a “return to continuity” and “universe building”. That’s code for you’ll want to buy all the books to see the bigger picture. If that doesn’t set Eric Stephenson on fire from frustration, I don’t know what would.

Therein lay the rub. Every so often, our best and brightest scream to the heavens with desire to change the world. But they seemingly forget their success doesn’t work the same for everyone else. DC Comics won’t invest in new characters, stories, and ideas when they can mine their history in an unending loop. When they hit the reset button twice a decade – or more – it equals short term sales spikes they then attempt to clutch to in order to reach that brass ring of sales they haven’t seen since their last short term spike effort.

And don’t think I’m not looking with a crooked eye at Marvel. Because it’s a whole ‘nother article for me to write about choking your coffers with continuity. All-New All-Different Superior Spider-Verse I’m looking at you.

The fact is no speech will change the way our medium works. The movies and TV shows will rake in the real profits, while the comics continue to build, destroy, and re-release in perpetuity. For better or worse… this is the way of world.

If you don’t like it? Wait 6 months. It’ll reboot soon enough.

(Image hat-tip to Super-Team Family: The Lost Issues!)

The Law Is A Ass

Bob Ingersoll The Law Is A Ass #381

THE BLACK CANARY LADY SINGS THE BRUISE

Now there’s a lawsuit waiting to happen.

Or three.

Dinah Drake, who when she’s wearing her super heroine costume and not her street clothes goes by the name Black Canary, found a new job in Black Canary vol.4 #1. black_canary_vol_4_1-9818139black_canary_0013-3295210

Now she wears a rock star costume – which looks like a shoddy version of the pre-Flashpoint Black Canary costume, goes by the handle D.D., and, oh yeah, is the lead singer for a rock band called Black Canary.

But behind the music, Black Canary is a trouble magnet. Did I mean the heroine or the band? Take your pick. Be it an armed rival rock band crashing a Black Canary concert or a group of overly aggressive “suitors” hitting on women, both figuratively and literally, five of the band’s last seven concerts ended in violence. Ended with D.D. getting into fights with someone at the concert. According to the background information for the current Black Canary series, D.D. is “more comfortable in combat than on stage” and that venues and promoters are “making noise about striking the band from upcoming bills.”

Well I should hope so. Otherwise, there’s a lawsuit waiting to happen.

I mean, let’s assume you’re a club owner thinking of booking Black Canary – the band not the super heroine; you don’t know the lead singer is the super heroine. (Although I don’t know why not. If Black Canary appearing as the lead singer of a rock band called Black Canary and getting into constant fights in which she displayed the same martial arts skills as the super heroine with the same name isn’t an open invitation to piercing her secret identity, it’s only because it lacked an R.S.V.P. card.) Why would you, the club owner, risk hiring Black Canary? Especially when the odds are 5 out of 7 – or 71.43% for the Vegas inclined – that the band will get into a fight which will cause damage to your club or injury to your patrons. Or, more likely, both.

Should that happen, you, the club owner, would have to pay for the damage to the club and would probably have to pay for the injuries to the patrons. Either pay now or be sued by the patrons and then pay later for both their injuries and their attorneys’ fees.

Once the word on Black Canary the band spread – and in these days of social media, the word would spread faster than schmear on a bagel – why would you, or any club owner, risk having Black Canary perform in your club? If your answer is I don’t know, you have what it takes to make a go of it as a club owner. Or in the legal profession. If your answer is I don’t know, that also puts you one up on all the club owners in the DC Universe, who gave Black Canary enough bookings to last through seven issues of her current series.

That, however, is only the first of the lawsuits waiting to happen found in Black Canary # 1. Let’s move on to more serious matters. The band Black Canary is made up of D.D., Lord Byron, Paloma Terrific, and Ditto; plus their manager Heathcliff Ray. I’m not sure how old Lord Byron is but I’m guessing late teens to early 20s. Heathcliff, was a student at Gotham Academy who left the school to manage Black Canary. So he’s a teenager. Probably 18 though, otherwise he couldn’t sign or negotiate legally-binding contracts. Paloma looks to be about 15. And Ditto is a little girl; 10ish. Oh and none of them have any combat or fighting training.

So, naturally, none of them were prepared when weird alien shadow monsters attacked one of their concerts. Black Canary, the heroine not the band, defeated the monsters and learned that they were, for reasons which will, I hope, be revealed later in the series, hunting Ditto.

What did Black Canary do in light of these events? Why she contacted Superman, Batman, the Justice League or some super hero capable of handling alien shadow monsters and let them know what was happening. Then she made sure that Superman, Batman, the Justice League or some hero capable of handling alien shadow monsters was going to protect Ditto from these alien shadow monsters. Right?

Wrong!

No, Black Canary the heroine agreed to continue touring with Black Canary the band knowing that she’d be putting the other members of the band in danger. Not to mention the fans attending their concerts. The only concession to common sense that Black Canary made was to insist that she train the other members of the band in combat; first hand-to-hand and then weapons training.

Because that makes so much sense. Let’s continually put a group of untrained amateurs – at least two of whom are minors – into dangerous situations without anyone to protect them except one super heroine – a lesser-powered super heroine armed with fighting skills and a sonic super scream called the Canary Cry. That’s it for the defense team, Black Canary and four kids who have a total of – what? ten? twenty? – hours training in combat. But no help from Superman, Batman, the Justice League or anyone who would actually be good in a fight against alien shadow monsters. (Hell, at this point, I’d have settled for Ambush Bug.) Not only did Black Canary’s actions court several negligence lawsuits, they were several counts of criminal child endangerment just waiting to happen.

This is not logical. Unless, as Mr. Spock said when he was trying to destroy an android’s logic circuits, logic really is “a wreath of pretty flowers which smell bad.”

Oh and while we’re at it, let’s have this group of untrained kids keep on performing in public concerts in public venues while knowing that they’ll be attacked by alien shadow monsters. That way you can pretty much insure that whenever the alien shadow monsters attack, it will be sometime when large numbers of innocent, and easily injured, civilians will be present. Because, short of shooting a gun into the audience, nothing screams negligence lawsuit like intentionally creating collateral damage. This was the Canary Cry of screaming negligence.

I’ve just gone over this column and found that I’ve given you some incorrect information. What Black Canary did wasn’t, as I said earlier, a lawsuit or three waiting to happen. I was off by a few dozen exponents.

Martha Thomases: Leap of Faith

sadie-hawkins-day-3803977

Monday is Leap Year Day, an otherwise insignificant marker of the passage of time except that our calendar is weird. Because time, its measurements and our perception of it have always fascinated me, I am enthralled by the way we react to this “extra” day.

As we established a few weeks ago, I’m old. I’m so old that, when I was a kid, there was no feminist movement – at least not one that extended to Youngstown, Ohio. So I learned that girls didn’t ask boys out on dates, or propose, or do anything but wait to be noticed. The ideal woman, I was told, was beautiful, thin, blonde, busty, demure, sexy and, perhaps most of all, quiet and undemanding.

The only exception was on Leap Year Day. On the day, girls could propose marriage.

(By the way, for a look at these ideas that show how completely screwed up they are, you can’t beat the movie musical Li’l Abner, based on the Broadway show that was based on the Al Capp newspaper strip. Really, the family relationships and social contracts portrayed in it are completely fucked up, but as a film, I have fun every time I see it.)

In any case, this thinking, which assumes that our only function as women is to love a man and have “his” children, is, thankfully, a dying remnant of a doomed mindset. Still, I hate to lose a perfectly good holiday, especially one that gives me “special rights” (i.e. I get to do the same things that straight white men expect to be able to do every single day).

Especially for women in comics.

Here are a few things I suggest we all do on Monday.

  • Go to our local comic book store, the one with the semi-nude brokeback posed statues in the window, and question to sincerity of the guys looking through the books. Ask them how long they’ve been reading comics, or if they just come to the store to meet girls.
  • Grab the ass of male con-goers dressed as their favorite superhero. When they complain, ask them what they expected if they walk around like that.
  • Organize a “Men in Comics” panel for the local comic convention. Put only one man on it, the husband of an established female creator. Explain that you couldn’t have any more than that because you asked Scott Snyder to come, but he was busy.
  • After the convention shuts down for the day, go to the bar at the host hotel and explain that the male creator of that hot new book only got the job because he slept with the editor. And the new artist on the best-selling series was only hired because the publisher has to be “politically correct.”
  • Relax and read a comic book where the main character looks like you, shares your assumptions about reality and generally makes you feel like you are an active player in the universe. Since that could actually happen, please make your suggestions in the comments.

Now, if you’ll excuse me, I have to propose to Tom Hiddleston.

Tweeks Long Beach Comic Expo 2016

We spent last weekend at the 6th annual Long Beach Comic Expo. Basically we shopped and counted Deadpool costumes, but we also interviewed some comic creators and went to some panels too. Here are some of our highlights, so you can feel like you were there too. We’ll be back next week with some interviews.

Oh, and our final Deadpool count was 68. Maddy won.

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