With the newly founded Dallas Comics officially in business, the older and younger generations of the company clash on what direction to reintroduce The Domain for a new audience. All the while, Singular Comics wants to get there first with famous British writer Carter Dusk. Above all else, Syd Dallas hoped to bring his sons into the family business, but he needs to deal with their familiar issues, as Miles needs to accept being there for his family. Chip Zdarsky’s Eisner Award-winning series returns with Dallas Comics taking its first steps as an actual publisher in Public Domain #6.

Building from their dynamic, Zdarsky explores the comic book industry through the Dallas family as they try to reclaim what was taken away from them. The debates that Syd, Miles, Dave, and Tanya have about what direction to take the new The Domain all come across as natural and highly topical due to it tapping into similar discussions about major comic book characters that have existed for decades. Syd’s desire to return to the past never comes off as malicious but shows that he no longer has a finger on the current pulse compared to the three younger creatives at the publisher. If he wants to pass the torch to his sons, he must learn to let go and let them run with it. Similarly, Tanya’s viewpoints highlight a genuine desire for Big Two comics to evolve and expand while not being weighed down by the past. She wants to explore what The Domain means to her and others who were not represented in the old comic.

Miles, who has expressed his distaste for writing comics multiple times, will need to swallow his pride considering the introduction of Carter Dusk to the series. In many ways, Dusk serves as the foil and dreams that Miles wants, especially as a successful and acclaimed writer. Granted, Dusk writes comics, but he provides a potential end goal for Miles in Dallas Comics. The darker reflection goes further based on Dusk’s relationship with Singular Comics’ famed aging writer Jerry Jasper, who offers a Faustian bargain to help Jerry regain his fans. Paralleling Miles’s relationship with Syd, Zdarsky highlights how quality does not always sell comics, but branding and name power will overpower it. And how the industry will overlook creativity and originality and even people to feed its immense hunger.

Zdarsky continues to draw, color, and letter the series, which all fit its comedy-drama tone well. As a result, Public Domain truly comes across as a significant labor of love from Zdarsky. His super clean lines, paneling, and art style are pleasing to the eyes and match his writing. I also appreciated subtle humor touches, such as Dusk’s words having British spelling or background gags. All of it comes across as highly human and personable, which fits the more subtle humor tone of the series. I also feel the need to mention the incredible Rachel Stott who provides some art assistance in the issue.

Public Domain #6 is a passion project; Zdarsky stands as one of the most vital voices in indie comics as he reflects upon the nature of Big Two comics and the industry itself. With the new arc beginning, Dallas Comics must act as one, or Singular Comics will crush them. To do that, Syd must start letting go of what The Domain was, as Miles, Tanya, and Dave will demonstrate what it could be to a younger audience.

Story/Art/Color/Lettering: Chip Zdarsky Art Assist: Rachel Stott
Story: 9.4 Art: 9.4 Overall: 9.4 Recommendation: Read

Image Comics provided Graphic Policy with a FREE copy for review

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