Devil's Due Press Leaves Diamond

Rich Johnston is reporting that Devil's Due is pulling all distribution of their product through Diamond Distributors. (official press release from Josh Blaylock)

Some fans are quick to paint this move and the problems Devil's Due has had as being entirely their fault.

I'd beg to differ.

Johnston indicates that there are claims that Diamond has lost a considerable amount of DDP's product over the last year. That has hurt their ability to try to reverse their shrinking presence in the market and pay off their debts.

But that's not where I'm placing some of the blame at Diamond's feet.

I'm talking Hack/Slash #16 & #17.

Re-Animator-gate.

Where Nick Barrucci was part of a group that sent what appeared to possibly be a baseless cease & desist letter, claiming that they owned the copyright to a logo used for the Re-Animator character. Some attributed Diamond's immediate cow-towing to Dynamite having a much cozier relationship with them than Devil's Due Press, seeing as how Diamond's Director of Purchasing had written the Dynamite Entertainment Army of Darkness Vs. Re-Animator mini-series.

Hack/Slash was the biggest title DDP was putting out at the time. Diamond being so willing to put a huge obstacle in its way due to a frivolous cease and desist letter had to be damaging to DDP's business and, obviously, their relationship with the distributor. They were, also, hit hard by the loss of the GI Joe license to IDW, but this legal problem was not their fault in the slightest and only amplified by Diamond's actions.

You can argue how much or how little Diamond siding with Dynamite's play contributed to DDP falling on tough times, but that it played a part is not open to dispute.

Thiefs & Dynamite & Journalism

Before I start: I consider Troy Brownfield to be a personal friend. He conducted the interview of Pat Lee that appeared on Newsarama and has drawn a bunch of criticism.

Let's go over the points of criticism.

Why was Pat Lee was only asked one softball question about his past problems of using other artists' work passed off as his own and leaving so many people unpaid (covered by simply asking him about past controversy)?

Any more direct question wouldn't have been answered and may have resulted in the interview not taking place at all. While some suggest that not running an interview with Pat Lee was the better option, I question that. Why not run it? To avoid publicizing it? You mean like a few other sites (Broken Frontier, CBR, ICV2, The Beat) did by running full press releases with little-to-no editorializing?

So, instead of just copying and pasting PR straight from the publisher, an interview was conducted. A question that tried to introduce the topic was offered, giving us the chance that Pat Lee might answer it, rather than shrug it off.

Oh and a second "softball" was kinda put to him: "Nrama: At this stage of your career, does Pat Lee have something to prove?"

Seems to me like this was an attempt to bring up the fact that so much of "his" work hasn't actually been done by him. A subtle "do you need to prove that you DON'T need Alex Milne" if you will.

So Pat Lee gets 1-2 "softball" questions about his past fuck ups. That's 1-2 more questions on the subject than he's received and answered from other sites, so far. That's getting him on the record as trying to avoid his past instead of answer for it and redeem himself, which says just about as much as any bullshit he would have popped out with if he HAD been pressed and, through some miracle, actually answered the questions rather than killing the interview.

Yet, somehow, about 1/3 of the bitching post-interview from fans and the blogosphere is about Troy & Newsarama even conducting the interview, rather than Pat Lee being a responsibility-dodging douche and someone Dynamite Entertainment shouldn't have given another chance to.

Fourthman Reviews: Project Superpowers/RASL/Kick Ass

Project Superpowers #1
Published by Dynamite
Written by Jim Kruegner w/ Alex Ross
Pencils by Carlos Paul w/ Alex Ross

I really enjoyed the zero issue of this book. So much so that I became excited for the title. I did not enjoy Justice and after not enjoying The Twelve #1, I was dreading the release of this title. The #0 shipped and I read The Twelve #2, suddenly this book seemed like it could rock.

Wait a second, I had the same hopes for Justice... and then delays and a spotty story ruined that book for me. Here I find much the same as far as story is concerned. First of all, this is a #1 and I understand the whole idea of giving content not available elsewhere in the #0, but Jungle Girl and Black Summer, while enhanced by the #0 were not dependent on it. Here, you are thrust into the middle of the story and beyond it being impenetrable for new readers; the damn thing does not logically progress from the last issue. Instead, there is some new crap thrown at us, all of which makes very little sense. I assume this is still the distant future, but there is no indication in the book of its setting or time. Things just sort of happen and all of it requires that you have read the #0 to understand it, but even beyond that some of those things make no sense. Why were the Llama and Dynamic Man immune to the events of #0? How did Dynamic Man come to his position of power? These are things that hurt the narrative and need to be addressed now, not later.

The events in the end of the issue are just enough to make me read issue #2, but it has to wow. I am sure this will sell like hot cakes, hell Justice did, but this is not a good start. Issue #0 was a great story told through characters and actions and was a neat idea. Here everything that was good about #0 is either ignored (characterization) or used for convenience (the urn was merely a set up for random fights). It sucks that two issues in (and with the book on time), I am where I was at on issue 7 of Justice.

The art is better than the story, but not by much. The character designs are great, and Paul does a great job of adapting to Ross's style. This is something that is hard to do. I don't think Epting draws the new Cap costume very well in full view, but Paul seems to do okay with the designs here. Problem is the book flip flops between Alex Ross esque painted photo realism and absurdist out of place humor. There is too much emotion happening. This takes the characters out of the realm of serious comic book characters and into the realm of caricature. It is odd and lessens otherwise solid art.

I will check out issue #2, but this is based on the strength of the #0 and has almost nothing to do with what was read here.

"Ultimate Comics, we have more comics then your shop has!"

RASL #1
Published by Cartoon Books
Written and drawn by Jeff Smith

First off, let me get this out of the way. For the younger readers out there, this book has mild language. It is not as all ages friendly as Smith’s previous work. Parents will want to make the decision as to whether or not this book is appropriate. There is nothing you won’t see or hear on network TV, but fans of Bone and Shazam!: Monster Society of Evil may want to think twice.

Next onto the book itself. Much like Bone, the start of RASL puts us firmly into the action and seeds a mystery. I am sure much will be explained over the coming issues. For those curious as to what the book is about? Rasl is an art thief. He can travel through time and/or dimensions and this makes him very hard to catch. In this first issue, he ends up in a place that is not what it appears to be and he finds out something (that is not entirely clear) that leads him to believe that he may have people following him. There are problems with “the Drift”, his means of travel as well. The issue is very fast paced and well executed. Many intriguing ideas and scenarios are introduced. This is as good as first issues get. Smith brings his unique character designs to the table and his ability to tell a compelling story from the start is on full display.

There is no doubt that this is the beginning of something special. If you have never read Bone or Monster Society this is as good a place as any to start. While you are at the shop pick up the other two as well, they are superb comics.

"Ultimate Comics, we're doing it up right with a midnight opening for Dark Tower: The Long Road Home!"

Kick-Ass #1
Published by Icon
Written by Mark Millar
Pencils by John Romita, Jr.

The Millar hype machine went into overdrive for this book. The guy putting the Fantastic into Fantastic Four, the author of the smash Civil War, and the creator of this summer’s Wanted, wants to make sure when he does an Icon book, it sells. So a viral campaign, a poster campaign for retailers, and a spreading the word of mouth campaign later, how is the actual book?

Love or hate Millar, he likes to give us big ideas. It would seem that a book about a lonely and miserable teenager becoming a vigilante would have already happened. Who knows? It may have, as there are a lot of comics I have yet to read. I am fairly sure this is the first one to happen in the “real” world. Told as an issue long flashback that gives us the origin of our hero, Dave Lizewski, this issue lets us in on something other than just the beginning of Dave’s story, it also lets us know that many, many people have taken up his idea and run with it. Between a throwaway phrase from Dave and the opening sequence, things may get out of control for more than just our young protagonist.

The rest of the book focuses on why this young man chooses to put on a mask and a wetsuit to take up crime fighting. It is an interesting character study into the mind of the isolated teenager. The lonely kid, who in this world all too often turns to gun play in cafeterias. I almost wish that some read this book and go this route. It would lead to more tragic stories, of course, but less body bags of innocent children. Millar handles it all with a keen eye on the voice of the “geeky” teenage kid. I am sure that his message board has been great research for this project. That’s right kiddies, brother eye is watching and being inspired.

This is not the only book to sport pencils by John Romita, Jr, this week, but unlike X-Men Legacy, this book sports not only good work by JRJR, but the emergence of a different style. Oh, the lines are the same, but he is going for a more realistic character design and I like it. Dean White’s colors give it all a nice tone and it works well.

If this book continues to be a meditation on the consequences of “real life” vigilantism, then we may have something special here. We already have a special #1.

Lee Newman works at Ultimate Comics, where they'll be participating in the Marvel midnight offering of the new Stephen King project, DARK TOWER: THE LONG ROAD HOME, at 12am on March 5th.

Fourthman Reviews: Zorro/Amazing Spider-Man/Hulk

By Lee Newman

Zorro #1
Published by Dynamite
Written by Matt Wagner
Art by Francesco Francavilla
Zorro is one of those vague memories from my childhood. I remember digging a couple of movies and a television show, but not much more. I know the mask, the hat, the cape, the sword and his trademark, but origin? Yeah, not so much. So unlike The Lone Ranger, I was excited about this book, but had very little preconception.

Wagner takes a very pulpy approach to the story. It is a discussion on the nature of a legend, not too dissimilar from Ditko’s similar discussion in Mysterious Suspense. This is interweaved into an origin story as well as soldiers account of the first activity of a vigilante. It is an exemplary work, almost immediately you have real concern for Diego and Bernado. There is also a clever twist in the origin which takes you down a somewhat unexpected path.

With the moral play (again referencing Ditko) that is presented, Wagner is a perfect fit for the book. What is most notable about this particular work is that he does not fall into the trap of just writing Hunter Rose in a different costume. This is the problem which has plagued his work on Batman.

Francavilla...I’m gonna have to punch that name into Wikipedia or Google. Before Left On Mission, I had never heard the name, but now I need more. His layouts are amazing with a variety that gives an added energy to his already lively pages. His detail work is just as impressive. When the boys are in the cave, the torchlight seems to actually flicker on the page. This achieved by painstaking attention to the shadows and the use of a heat glare effect. Wagner is credited as the art director on the book, but I don’t see how this art is different from Left On Mission. It makes me wonder what the title means.

I was excited by this book the second I heard about it and I was not let down in the least. With this and his new Grendel book, I think Wagner, a noted master comic writer, may be at the top of his game.

"Ultimate Comics, we have more comics then your shop has!"

Amazing Spider-Man #551
Published by Marvel
Written by Marc Guggenheim
Art by Salvador Larroca

Spider-Man has not been this good in a very long time. Dan Slott knocked the first three issues of “Brand New Day” out of the park and while Guggenheim’s run was not as good, it somehow manages to finish stronger. Part of this lies in the mystery re-established in the last three pages. Most of it has to do with the mistake that Jackpot makes in the issue. It is one of those perfect Spidey moments that harkens back to the death of the Stacys or the Goblin saga. I will be honest: I am not spending much time trying to figure out the mysteries. I am going to let the answers come in their own time. There is still much that doesn’t make sense from the “One More Day” fallout, but, as long as the stories remain on this level, I will hang around.

There are other inspired moments. The fact that Peter seems to be constantly out of fluid is a nice touch. The new publisher of the renamed “DB” is a winner and shows his heart in this issue. With the revelation of the identity of Mr. Negative, you have to wonder if this guy doesn’t have some ulterior motive.

The problems that I had with the coloring in issue 549 seem to be resolved her. Spidey seems to reside in his surroundings now. There are a couple of issues with some faces particularly with Jackpot and Mr. Bennet, but overall the art is very nice. You do have to wonder if Larroca felt a little rushed though as there is a distinct lack of backgrounds in much of the book.

"Ultimate Comics, we have more comics then your shop has!"

HULK #2
Published by Marvel
Written by Jeph Loeb
Pencils by Ed McGuinness

THIS WEEK IN CSI: S.H.I.E.L.D....

I’m sorry. I couldn’t resist, especially after page 6.

Alright, here’s the deal: this is not, by any strech of the imagination, a GREAT comic book. Loeb has written a couple of those. They star Batman. There is one with Superman. I hear there is a good one with Spider-Man. This comic is fun, though. A heckuva lot of fun. It really doesn’t make one lick of sense, but a team of Iron Men carrying a golden helicarrier will make up for a lot of stupid. That AND Tony contemplating the wisdom of staying dry are worth the price of admission alone. There are a few twists here. Some people are wrong about identities and the last page was STUPID with a ten story tall capital S.

McGuinness is McGuinness. Either you love him or you hate him. I fall closer to the former, but this is not his best work. The spread on pages two and three is five different kinds of fugly, but at least She-Hulk doesn’t look like a passenger on the short bus any more.

This book makes me laugh. That will keep me reading, even if it is pretty dumb.