"We Thought, 'Why Does Every Indy Book Have To Be Rated R?'"

Yes.





All indie books are rated R, just like there is no long form, thoughtful criticism of deserving comic books or graphic novels out there.

None of these exist.








They are like the Easter Bunny.








Or like Santa Claus.






(I know a male-friendly lesbian, so it doesn't fit here)







They are figments of your fucking imagination.

Pay no attention to the links to purchase below.

Perhaps Bendis is just shocked that no one has been brave or pioneering enough to do an all ages indie book with such a small company like Marvel supporting them?

All ball busting aside, it is great that two big name professionals are directing some attention to all ages work. If I were a bigger fan of POWERS, I might be pissed that the team is putting another project in the way of what was supposed to be an ongoing series they relaunched together. But it's still nice that they're doing this.

A friend of mine pointed out that the quote referenced in the title of this entry rubbed him the wrong way. It seemed to him that Bendis was trying to claim that they were working in uncharted territory here. Perhaps that colored the way I read the quote, as well.

If Bendis was thinking more along the lines of "why does every indy book from best selling creators" or "...from my circle of friends", he might be more accurate (even though MICE TEMPLAR is probably as all ages as MOUSE GUARD). But then his answer might be that all ages books are more often a labor of love than a financially successful endeavor, at least or especially in the direct market. 

I'm sure he's hopeful that it sells really well on the strength of the names involved, but will still be content if the project doesn't succeed financially, as long as he feels it succeeded creatively. If that's the case, I really do applaud him for it, despite what you may think from the tone of most of this entry.

Not Like This

So, Dwayne McDuffie got fired from the writing gig on the JLA. Seeing as how I questioned why he was still on the book, you'd think I'm happy with this move.

I'm not.

You see, I don't like seeing anyone get fired. McDuffie's expressing sorrow that he won't be able to wrap up certain plots make me wonder whether he had one of those "maybe it wasn't quite THAT BAD" moments of clarity you sometimes get once you're rid of something.

The job I referred to being miserable at in the previous blog? Got fired from there. Spent the initial few weeks grumbling about it being a wrongful termination. Then, with distance, I realized it was the best thing that could have happened for me.

Here's hoping that moment comes to Dwayne very soon.

But in the meantime, I can see where DC Comics would feel justified in terminating McDuffie...just as I can see where McDuffie could argue that he didn't say anything worthy of termination. Personally, I'd side Dwayne on this. Living in a "right to hire/right to fire" state, though, I know there are certain things you shouldn't do because your employment is completely at the will of the client. NY is not such a state, but freelancing gigs are pretty much the same territory.

One of the most infuriating things about this news would be the comments from fans ignorant of the whole story. There are some fans railing against him for elements of his run that were handed down from editorial and saying it justifies his termination. From using characters that weren't "JLA" enough (which is always a ridiculous argument) to the inclusion of Milestone characters (which, again, is a stupid argument), the decisions weren't up to McDuffie. He didn't write the Big Three out because he'd prefer not to have them. While I'm sure he enjoyed getting a crack at the Milestone characters being rolled into the DC Universe, their placement in JLA wasn't entirely his call.

So, we have McDuffie fired off the book for questionable reasons, rather than leaving on his own or finally being given more room to tell his stories, with a bunch ill-informed, entitled fanboys dogpiling on him (not that everyone giving him a light kick on the way out the door is such a person). Of all the ways this could have shaken out, it wound up the way I'd be the least pleased with. Ugh.

MILESTONE: One Reason I'm So Happy

Let me make something clear: my primary reason for being happy that Milestone has returned is the pure selfish desire to enjoy those characters again.

But I have another reason.

You see, recently, a friend of mine was spending time with her god-daughter and, naturally, the child's mother (they're friends and all). The child is black and attends a predominately white school. One afternoon, she told her mom that she wanted to be white.

This caused a stir immediately with the parents. Now, when I was asked what I would do if I had a child say that to me, I said I wouldn't be so quick to jump to a negative conclusion. I've had kids tell me they wanted to be a dinosaur before, so I wouldn't panic right away and fear that the child felt inferior for not being white. But that is a legitimate concern in American society, I believe.

One of the reasons this can happen is due to the images kids see in the media. Popular entertainment is dominated by white faces in this country. I'm not saying there is some insidious motivation behind that occurrence, but it can have damaging effects.

Little girls want a doll? Dominated by Barbie.
Little girls want to be beautiful? Gotta look like Barbie or all the white ladies on all those magazine covers.
Want to be a star? Almost all the big celebrities are white.
Want to be a hero? Well, Superman, Batman, Spider-Man, Wolverine and almost every popular hero that kids are introduced to at an early age? White.

I know there has to be more diversity these days than there was when I was a young 'un. But every time you see a white star playing what was supposed to be a black character (love that Angelina Jolie, she took a fictional black character (The Fox) AND a non-fictional black role (as the widow of Daniel Pearl)), you know that it isn't THAT much better.

And it doesn't necessarily change as someone grows up and realizes logically that no race is superior to the others. A good friend of mine never fully realized that he could be considered handsome until experiencing how his white step-mother felt about his black father. Seeing how his step-mother felt about his father was a real life-changing moment for him. Of course, now he has an ego the size of Texas, but you have to take the good with the bad when people have a break-through.

So, you know, if the return of the Milestone characters helps a few kids to dream a little bigger because they realize that you don't have to be white to do big things in life...I'm pretty fucking happy about that.

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.