Rod-Reis

Two things attracted me to C.O.W.L.: the subject matter and the author. I knew Kyle Higgins from Nightwing Vol 3 (AKA New 52 Nightwing) where I enjoyed his writing. C.O.W.L. takes place in Chicago in 1962 when unions are still strong and the Chicago Organized Workers League (C.O.W.L.) happens to be the superhero union. Similar to Watchmen, and very in vogue right now, the heroes are not pure of heart; some of them are just shy of being sadists. The main plot of Watchmen is two-fold, someone is investigating hero murder and someone is trying to create a tragedy to unite humanity and end the Cold War. But knowing that doesn’t take away from the story, which is a deconstruction of Super Heroes and is focused on their stories and personalities. Similarly, the main plot of C.O.W.L. is a negotiation with the city about whether to continue the contract with C.O.W.L., but the story is about the characters Higgins has created. If I may continue the comparison for one more subject, I’d say that both Watchmen and C.O.W.L. benefit from being self-contained stories of about the same length. It allows Higgins to focus on the story without worrying about the long-term implications for his characters.

While I was on vacation last week Image Comics announced a boatload of new series coming out soon. Here they are: The Fade Out I’m not a huge fan of Ed Brubaker, but I do respect his work on Fatale. It’s going to be ending after its 24th issue and Brubaker will be working with Sean Phillips (who he also worked on Fatale with) on The Fade Out. Here’s how Brubaker describes it: The Fade Out is my ultimate noir story. It’s a brutal crime story set in late ’40s Hollywood, and all spinning around the mysterious death of an up-and-coming starlet. For people who’ve been waiting for us to return to Criminal, this will be exactly what they’re looking for, but on a much more epic scale—going from studio backlots to the debauchery of the rich and famous, and even stretching back to the horrors of World War Two. I am a fan of noir, but what’s really exciting about this announcement is how it’s shaking up the industry. Phillips and Brubaker will have full creative control and ownership of their projects at Image for the next five years. Image Comics was founded because of the Big Two having ownership of characters created while working for them. But this is an even further move. I think this new move is motivated by Thrillbent and Panel Syndicate proving that the Internet is finally coming through on its promise of no longer needing a publisher. So if publishers want to stay in business, they need to provide something above and beyond what creators can get doing it on their own. It’s an exciting shakeup that could lead to even more creative works in a space that really needs it.