When DC Comics announced the Milestone Generations documentary, I just assumed it would be an episodic series. After all, previous documentary attempts like Robert Kirkman’s Secret History of Comicsor SYFY Wire‘s Behind the Panel only just scratched the surface about Milestone Media, the groundbreaking publisher created to foster greater representation. So I was taken by surprise to discover that Milestone Generations was just a single film. In spite of the runtime at less than an hour, it’s not only a superb and earnest examination of the company and its shared universe of characters but also the creators and innovators responsible.
Co-founded in 1993 by Denys Cowan, Dwayne McDuffie, Michael T. Davis, and Derek T. Dingle, Milestone and its shared universe known as the Dakotaverse was often seen for years as a “failed experiment” after it ceased publishing comics due to the infamous comic speculators implosion of the ’90s and various other factors. However, like most things ahead of their time, Milestone’s creations have garnered a greater appreciation and audience over time that eventually culminated in its long-awaited recent revitalization.
What distinguishes Milestone Generations from the previous documentary projects that I mentioned is that it spotlights underappreciated innovations of the company. For instance, the documentary sheds light on the 100-color process to depict a variety of skin tones through interviews with Milestone color editor and artist Jason Scott Jones and artist Noelle Giddings.
Since his tragic passing, Dwayne McDuffie is often seen as the “Stan Lee of Milestone.” Given his extraordinary creative outlet and larger than live presence (both figuratively and literally) the epithet is understandable. However, it’s one that does a disservice not only to McDuffie but the countless others involved in Milestone. Case in point, some may be unaware that Jim Owlsey aka Christopher Priest was originally supposed to be Milestone’s Editor-in-Chief but bowed out for personal reasons. The documentary properly acknowledges Priest for coming up with the Milestone logo but glosses over Priest’s importance to Milestone’s creative direction. Given the runtime, there’s only so much information the piece can include so it’s completely understandable. In an old online column, McDuffie credits some of Priest’s specific contributions:
He was integral to the backstory of our universe’s origin myth, supplementing my notion of a “Stonewall-like civil uprising” (by drawing on the urban legends about chemicals added to Tahitian Treat soda to sterilize poor blacks). He titled the book Blood Syndicate (I was calling it “Bang Babies”) and replaced all the code names I came up with for those characters with good ones. In Icon, he forced me to give Rocket powers, even though I was sure the book would be better if she didn’t. I was wrong, he was right. Mark that down in your calendars, folks, you may never hear me say that again. Most importantly, Priest gave me a copy of his self-written editorial handbook. With his unique combination of intelligence, wit and self-aware prickishness, he described the job better than anyone else ever has. Over the years, I’ve referred to it often. I still think he should publish it.
While the documentary thankfully never falls into the trap of becoming ‘The Dwayne McDuffie” it still manages to properly pay tribute to the late/great creator through interviews with his friends and colleagues like former Milestone editor Matt Wayne and most especially his widow Charlotte “Fullerton” McDuffie. Though she appears only briefly, seeing McDuffie’s mother Edna Gardner on camera for the first time to talk about her son alongside longtime friend Robin Chaplik is guaranteed to pull at the heartstrings.
Without a doubt, the documentary’s primary focus (and rightfully so) is the people responsible for the creation of Milestone. By putting the creators at the forefront, the actual Milestone characters and stories are only discussed in a fairly generalized or abstract sense. It’s fine for those who already know the characters, but I’m not completely sure a non-comic reader would have a better understanding of the uniqueness of the Milestone characters after watching the documentary. Take Augustus Freeman better known as the superhero Icon. On the surface, he may simply appear to be a “black Superman pastiche” but what sets him apart and often puts him into conflict with others are his conservative views and beliefs. At the time when Milestone first launched (and probably even more so today), to be black and a conservative was incongruous so to depict one of your main heroes with conservative leanings was a rather bold choice. It’s a testament to McDuffie and others that despite holding opposing political views that they could still portray a character like Icon as a hero. Milestone, in a far cry from my chief criticism of today’s comics and media in general, really sought to see things from different points of view and in doing so tried to bring people closer together.
Any minor quibbles or complaints I have only speak to my desire for a followup project for an even deeper dive. The sky is the limit regarding potential topics of Milestone’s history that didn’t make the final cut in this documentary such as transgender creator Maddie Blaustein, the earlier attempts to branch in media outside of comics like the ill-fated M.A.N.T.I.S. television series, or the development of the Static Shock cartoon.
It also needs to be noted that Milestone helped break in quite a number of big time comic talents into the industry like Humberto Ramos, J.H. Williams, and most especially John Paul Leon, yet another creator we lost just last year. The Milestone Initiative program, whose inaugural class is highlighted in the documentary, was created to nurture similar potential new talent so if this new generation is anything like the original, we can expect big things.
Praise all around to director Justice A. Whitaker and story producer Evan Narcisse and everyone involved in the production of this Milestone Generations documentary.
If superheroes existed in the real world, and they were Black, what would happen?
That’s the core concept of Icon, which challenges the whole of the superhero genre. Created in 1993 by Dwayne McDuffie, Derek T. Dingle, Michael Davis and Denys Cowan as one of the launch titles of their Milestone Media comic book lineup, Icon tells the story of Augustus Freeman IV, a black lawyer living well in the city of Dakota but who’s secretly an extraterrestrial being who’s lived among humanity since the Civil War. However, the real star of the book is Augustus’ teenage partner Raquel Ervin, a.k.a. Rocket. It was Raquel who convinced Augustus to take on the identity of Icon and together they clean up the streets as a superheroic duo.
Over the course of their initial series, Icon and Rocket tackle issues that weren’t often found in mainstream superhero comics at that time. In issue #1, they’re confronted by a racist police force. By the end of issue #2, Rocket discovers she’s pregnant. The book contrasted their views on superheroes with other Milestone characters like Hardware and the Blood Syndicate. It even included satire with an affectionate parody of DC’s esteemed competition by way of a tiara-wearing, slogan-shouting crimefighter named “Buck Wild.” But at the heart of the series was the goal of meaningful representation, which it accomplished by believably featuring characters that speak towards the real-world concerns of those who don’t often see themselves represented in comic books.
That mission statement has been updated for today’s volatile world in Icon & Rocket: Season One,which is now available as a graphic novel. Written by Reginald Hudlin and Leon Chills and featuring art by Doug Braithwaite, this new series retells the origin story of our heroic pair, but quickly moves to address modern-day concerns.
In the 2020s, Black heroes are less of an unknown quantity, but would their methods still differ? Right away, Icon and Rocket attack every drug dealer, pusher, smuggler and hustler in Dakota, before taking their fight over to the poppy fields of Afghanistan. This catches the attention of the local news, which is more concerned with finding out the duo’s secret identities rather than relishing in their success winning the drug war. Police quickly investigate Raquel’s home and harass her mother. In Washington, the President is advised that Icon’s assault on drugs had resulted in devasting ramifications for the global economy, which for decades had relied upon the needs of the downtrodden to fuel certain facets of governmental control. Contingencies are put into place to find out what Icon’s true motives may be and how to stop him—permanently if need be.
It’s an intense vision of government’s paranoia at a large-scale rejection of capitalism, and—to borrow from the great Public Enemy—their fear of a Black planet. Through flashbacks we’re shown that Augustus’ war against slavery created the myths of the inhuman negro, bolstering the continuation of racism through his overpowered actions. This revelation confronts a criticism of the Icon of old, for if the character lived through the Civil War, why didn’t he definitively end slavery when he could? It’s a question directly thrown at the title character, and like many scenes throughout the miniseries’ six issues, it’s one without a given answer. The team of Hudlin and Braithwaite want the reader to engage with the hypotheticals and ponder what a world with Icon and Rocket might mean for their current present and possible future.
The story is told at a fast pace over its six chapters, but the essentials are delivered with enough time for the reader to consider the next problem. Icon and Rocket are heroes within their community, and that grants the lower-class citizens of Dakota the courage to stand up for themselves against those who would do them harm, whether its local gangsters or the United States government. Despite the violent reactions from the police and even some super-powered reinforcements sent to eliminate Icon, the positive outcome that Raquel promised Augustus—that people find their inner strength when given an example to look up to—proves true. Her calling to help the people benefits her community in ways never before seen in the world. Of course, the answers she finds only lead to more questions, as issues of society continually challenge her and Icon on a mental and spiritual level. It’s more than enough for the revitalization of a series that aims to tell stories well beyond those of the average costumed hero.
With Icon & Rocket: Season One, the creative team has brought Milestone’s most powerful hero into the modern day, challenging the readers’ very idea of right and wrong, good and evil on a level that resonates today. With more than enough action and commentary on the complexity of today’s problems, this is a series that can’t be missed for fans of smart superhero storytelling, whether they’re longtime Icon fans or new to his world, which feels more essential than ever.
HBO Max Acquires Streaming Rights for MILESTONE GENERATIONS, A Documentary Film About DC and The First Black-Owned Comic Book Company, Milestone Media
The Film, Directed by Justice A. Whitaker, Produced by Courageous Studios and Presented by Ally, Is Available to Stream July 29 on HBO Max
BURBANK, Calif. (July 22, 2022) – Today at San Diego Comic-Con as a part of DC’sJim Lee and Friends panel, Milestone co-founder Denys Cowan and DC Chief Creative Officer and Publisher Jim Lee announced the forthcoming documentary MILESTONE GENERATIONS, a film directed by Justice A. Whitaker. The film will be available to stream on HBO Max beginning July 29. An extended trailer for the film was debuted exclusively to Comic-Con audiences:
Narrated by award winning actor and musician Cliff ‘Method Man’ Smith, MILESTONE GENERATIONS chronicles the relaunch of Milestone Comics and Milestone Media’s mission to address not only the lack of superheroes of color in comics, but also the lack of storytellers of color creating the content.
Milestone Media – co-founded in 1993 by artist Denys Cowan, writers Dwayne McDuffie and Michael T. Davis and Black Enterprise EVP/Chief Content Officer Derek T. Dingle – collaborated with DC to create the fictional city of Dakota, and some of the most unique and innovative characters in comics, such as Static, Icon, Hardware, Blood Syndicate and more. Last year Cowan, alongside Milestone Media partner and award-winning producer Reginald Hudlin, relaunched Milestone Comics with DC to continue the Milestone mission in the future.
The film examines the founders’ trajectory throughout the last 30 years, detailing their unwavering commitment, passion and perseverance to rise to the top of the comic book industry as black creators. With tenacity and dynamic artistic expression, the creators of Milestone Media continue to influence culture and ignite revolutionary change through characters that reflect the lived, black experience.
MILESTONE GENERATIONS connects to the present industry need to identify, support and elevate emerging diverse writers and artists within the comic book world, highlighting The Milestone Initiative, a program from DC, Milestone Media, Warner Bros. Discovery and Ally that aims to empower the next generation of Black and diverse comic book creators.
Cartoonist and writer Ivan Velez Jr. (“Tales of the Closet,” Blood Syndicate,” “Ballad of Wham Kabam”); DC Publisher and Chief Creative Officer Jim Lee; writer and widow of Dwayne McDuffie, Charlotte (Fullerton) McDuffie; DC Senior Art Director Curtis King Jr.; voice actor Phil LaMarr (“Static Shock!,” “Justice League,” “Justice League Unlimited,” “Samurai Jack”); former DC President and Publisher Paul Levitz; journalist and author Angélique Roché (“My Super Hero is Black”); Milestone Media artist and color editor Jason Scott Jones; and filmmaker and author Dr. Sheena Howard (“Black Comics: Politics of Race and Representation”) are among those interviewed for the project.
The film was produced by Courageous Studios – working with DC and Ally, the presenting sponsor – and was directed by Justice A. Whitaker (“Restrictions Apply”/Vice News, Untitled Full Circle Documentary/WestBrook Studios).
The history of music in Black film is so rich, it demands a fourth tribute at the Hollywood Bowl. Following the first three wildly popular installations in 2014, 2016, and 2019, Reginald Hudlin’s Black Movie Soundtrack returns for another evening of music, movies, and more! Grammy-winning musical director Marcus Miller returns to run the show, and comedian Craig Robinson will reprise his role as host.
Featured performances will include tributes to SIDNEY POITIER and celebrating the 30th anniversary of BOOMERANG!
PERFORMERS INCLUDE:
BABYFACE!
BEBE WINANS!
ERIC BENET!
KID AND PLAY!
And more to come!
Programs, artists, dates, prices, and availability subject to change.
