How publisher Z2 brought rock musicians to comicdom

Spin magazine wrote about the New York comic publisher Z2, which had a hand in bringing rock stars into comics, and trying out various projects, although there's troubling details turning up here:

The cultural connection between comics and music runs deep, from Kiss and their infamous 1977 stunt in which the band teamed up with Marvel to release a zine infused with each member’s actual blood, to My Chemical Romance’s Gerard Way, who worked at a comic book store and interned at DC Comics before he became a rock star (and later wrote the award-winning The Umbrella Academy).

More recently, Tom Morello, Puscifer, and even the world’s greatest rock ’n roll band, the Rolling Stones, have recognized the reciprocal relationship that fans have with both mediums. Earlier this month, the Stones released a limited edition of their latest album, Foreign Tongues, as a nostalgic Marvel collab package with inserts featuring Spider-Man, Wolverine, Captain America, Thor and Hulk.

Comics have inspired the biggest musicians in the world to create, to embody colorful characters, and to conquer worlds both real and imagined. So it was only a matter of time until someone with a passion for both sought to harness their undeniable superpowers into a fan-focused business model. New York based Z2—which will have a huge presence at Comic-Con International in San Diego this week—has built an empire by creating partnerships with the biggest names in music, releasing graphic novels and collectibles with top-tier artists and pop-culture icons. Distributed globally via Ingram, their impressive roster reps every genre and era including Gorillaz, Blondie, Elvis Presley, “Weird Al” Yankovic, Primus, the Blues Brothers, Tori Amos, Type O Negative, Joan Jett & the Blackhearts, the Grateful Dead, Machine Gun Kelly, Sublime, RZA, Mötley Crüe, the Doors, Kool Keith, Cypress Hill, Babymetal, Major Lazer, Sturgill Simpson, Poppy, and Yungblud.

I do know there have also occasionally been allusions to rock songs in comics of the past, and the U-Foes in the Hulk were inspired by a song titled "Waiting for the UFOs". And no doubt, there is plenty to consider from a historical viewpoint as to what potential the connections with any kind of music could have with comicdom. But Z2 annoys me when their representative brings up what must be one of their most prominent products:

The graphic novel, called Murder Ballads, was a noir-style tale about a record label owner who crosses paths with two blues musicians. The soundtrack featured a vinyl release as a companion, led by an undiscovered elder soul man Auerbach discovered named Robert Finley. Bernstein says it was “a lightbulb moment” and a new direction for the company.

“It was like, wait, this is what we’ve always wanted to do,” recalls Bernstein, who interned at Marvel Comics when he was 16 before going on to work in the music world, doing art direction for magazines including Guitar World, Revolver, Alternative Press, and Loudwire. “I had a lot of relationships with music artists already. That’s sort of the secret sauce here. I knew a lot of the musicians, so we were able to bring them over here. We already worked together and had built a trust.”

Whenever an emphasis is put on titles involving murder and violence, it becomes appalling, because it suggests the music world, rock-based or otherwise, has also succumbed to the kind of PC mindset movies and comics themselves have. Also note the talk of infusing actual blood into a magazine when KISS worked with Marvel, and that too has something unpleasant about it.

Music may be a great wellspring for comicdom, but as the above details involving dark themes suggest, the rock genre's advocates take a cliched route that isn't healthy in the long run. If the focus were pop music, would that genre's advocates offer a more inspiring perspective for comcidom? We could only hope. For now, this is another example of how those who could've impressed more than they did fell terribly short, and would do well to reevaluate their approaches if they really want to impress a wider, more open minded audience in the long run, and try themes that are more optimistic. Otherwise, what variety is there in entertainment at all?