Tonight, for the first time in twenty years, I am no longer a subscribing member of any comic title currently in print. I know that might sound a little silly to most people, but think of it like this. For twenty freaking years I have made a monthly trek to the local comic book shop and picked up the latest issues of the handful of titles that I was reading.
Twenty years. And now, tonight, I am officially done.
As with any good tale detailing the end of a love affair, I might as well start at the beginning. It began with a death in the family. Well, maybe I said that incorrectly. It actually began with "A DEATH IN THE FAMILY."
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In 1988, DC Comics did the unprecedented. They opened a telephone poll allowing readers to call a 1-900 number and vote to either save the life of Batman's sidekick, Robin, or have him whacked. At the time, Robin wasn't the original Boy Wonder. He was an edgier, problematic kid named Jason Todd. 10,000 people called the hotline, and at the end of the story, Robin got blowed up.
But nobody really dies in comics, right?
Except this time, for all intents and purposes, the kid was dead. (Yes, yes, I know they brought him back in some convoluted bullcrap in 2003, but that's an eternity in the comics world. AND it was never their intention when they first killed him off.) "A Death in the Family" was the first graphic novel (several seperate single issues collected in one book) that I ever read, and it hooked me completely.
Let's face it, they called the guy the Dark Knight Detective. They had my number from the word "Go." Looking back, it was a WONDERFUL time to be fan of comics. A whole host of incredibly forward-thinking books had taken the medium lightyears past the days of four-color superhero's saving the day in the blandest fashion possible.
The writers and artists working at that time were unlike anything that every existed before.
Alan Moore's "Watchmen" and "Swamp Thing", Frank Miller's "Batman: Dark Knight Returns" and "Batman: Year One", Mike Grell's "Green Arrow: The Longbow Hunters," and the first US printings of Koike and Kojima's seminal "Lone Wolf and Cub" series were all new to my young eyes. To this day, I challenge any critic to read any of the above bodies of work and not come to the conclusion that comics are a valid and true form of literary expression.

That was just the start. In the years to come, after those books had come and gone, there were new people to carry the torch. Neil Gaiman's spectacular, awe-inspiring "Sandman"; Jeff Smith's "Bone"; Garth Ennis's "Preacher"; Paul Chadwick's "Concrete"; Don Rosa's work on "Uncle Scrooge"; Alan Moore's entire ABC run; Frank Miller's "Sin City" and "300"; I could rattle off a dozen more titles who will shine and live forever, immoratlized in never-ending reprints and glossier, fancier editions.

But all of those books ended. In their place, nothing has come to fill the void.
Sure, there's been some. I enjoyed Brian Michael Bendis's "Powers" for a long time, until it bored me. I LOVED "Walking Dead" until I realized that Kirkman was just going to keep on killing the main characters in whatever awful fashion he could think of, in place of actually taking his storyline somewhere. I also enjoyed Kirkman's "Invincible" storyline, until I just got sick of seeing the same things happen over and over again.
I thought I had a winner with "The Boys", a series by Garth Ennis about a group of agents possessed of superpowers who work to keep the secretly-horrible superhero community in check. I particularly liked the one where they hid a bomb inside the asian hitwoman's vibrator. That showed promise. But, again, it just went on and on without really going anywhere.

In recent years, Hollywood has taken notice of the rich material mined in comics. Particularly, the work done by the masters. Alan Moore's "Watchmen" will premier next month. Frank Miller's "Sin City" and "300" were monster successes. Once technology reached the point where computer animation can flawlessly replace entire sets, allowing actors to exist in a world identical to those conceived in the artists minds who produced those comics, it was a match made in heaven.
Still, I know plenty of people who are rabid fans of "300" who would never consider actually picking up the graphic novel and reading it. That's a shame. The book, as it usually is, was better.

Back when I was younger, there was a guy named Doug Slack who was producing a book called "Slacker." I loved that book. It was funny, timely, aggressive and sweet. If anybody deserved a shot at the big time, it was Doug. He wrote, drew, produced, and published the entire series all on his own. For me, and the millions of other dreamers who thought how great it would be to actually MAKE our own comic, Doug actually did it. And it RULED.
I met him at the Philadelphia Comic Convention back in the nineties. He told me he was thinking about doing a "Predator" story to submit to Dark Horse Comics, to see if he could break into the big time. By 1998, "Slacker" was done. From what I could find, Doug never did get that break.
My whole problem with the Comic industry is that you can take a guy like Brian Michael Bendis, who is VERY TALENTED, and make him a success based on the excellent work he did as an independent creator. But then he gets swallowed up by Marvel, and they suddenly have him writing every book on their roster. Now, he is stretched so thin, everything begins to get watered down. Everything becomes simply, boring.
You can also take a person like Alan Moore, the single greatest writer in the comics medium who has ever walked the face of the planet, and he becomes so disgusted by the mechanics and corporate methodology of DC Comics, that he opts to become a recluse and abandon the medium. It is a sin that Alan Moore is simply written off as a "problem child." No, he's not. He's a rabid devotee of the craft of comics and refuses to let you bloodsuckers whore his creations.

As I write this, DC Comics is preparing to kill off Batman. Again. Wait, I'm sorry, it was Superman they killed off before. Batman, they just crippled and replaced with one of his sidekicks. Then, in a big whoop-de-doo, they brought Bruce Wayne BACK! Wahoo!
And now, they are at it again. Sometimes I wonder what exactly goes on in the minds of the corporate offices that control DC Comics and Marvel Comics. "We'll undo years of continuity where Peter Parker was married to Mary Jane, simply by saying it was a dream, or a time traveller, or an alternate reality." (That really happened this year. Or something like that, I couldn't quite follow it.) "No, no, I've got it! Bruce Wayne became a superhero when his parents were gunned down in front of him, right? Well, get this! Bruce Wayne's DAD faked his death, becomes a bad guy, and comes back to KILL him! Awesome!!!!"
That also, actually happened. Or rather, it's about to, according to the BBC. You can see the link here.
The comic book medium exists as a vehicle to do much, much more than simply tell superhero stories. It has risen to the heights of the pulitzer-prize with Art Spiegelman's "Maus" stories, telling the tales of an Auschwitz survivor. It has documented it's own evolution and validity in Scott McCloud's "Understanding Comics" books, where he makes the astute observation that if you consider comic books as "Sequential Art," then you can call bloody paintings on cave walls and hieroglyphics the earliest comics known to man.
As I write this, the end of my twenty year ongoing readership, it does not end my passion for the artform. It does nothing to lessen my appreciation for the craft, or the work that I've already read. It is my hope that some young kid is preparing to shock the world once more. When that happens, I will be the first to call up my friends at Brave New Worlds in Willow Grove and tell them to add the book to my "pull-list." No one hopes that happens more than I.
However, I am not sure that it will happen in print. As the internet continues to become the source of entertainment content for the world, we'll see less and less young talent appealing to the corporate giants like DC and Marvel, and more simply putting it on their webpage, unrestrained.
Twenty years. It just ain't what it used to be, folks.


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