Raina Telgemeier is a superstar. Just ask any of the kids that shop at ROCKETSHIP. All summer long, one of the most frequently asked questions was "Do you have the new BABY-SITTERS CLUB yet?" Forget SECRET INVASION; Raina's latest book was the most anticipated book of the season. Between adapting (and bringing a new generation of readers to) that beloved series, she also draws a terrific webcomic called SMILE, which will soon be published by Scholastic. She and her husband (cartoonist Dave Roman) are a fixture at most conventions with their "Comics Bakery" booth, and her lighthearted brushwork and smooth storytelling skills have made Raina a popular attraction for children and adults alike. While preparing for an upcoming BABY-SITTERS CLUB Volume 4 Release Party, she took the time to answer a few questions....

Alex: You've spent the last few years immersed in the world of THE BABY-SITTERS CLUB. Can you talk about the process of translating prose novels into comics? Did you find that the visual cues you needed were in the text?

Raina: The BABY-SITTERS CLUB books made it easy. They're written in a very straightforward style, describing what the characters are doing, what they are wearing, how they fix their hair, what they eat.

A: Did the pacing or structure change at all from prose to comics?

R: I tried to stick with the pacing and the structure that already existed in the books, for the most part...although by the fourth graphic novel, I was taking quite a few liberties. Re-arranging the chapters, working in scenes from other volumes in the series, re-writing dialogue. Since I was only drawing four books from a sprawling, 131-book series, I decided to condense some of the ongoing plotlines a bit. The graphic novel series ended up having its own chronology, slightly different from the original series, so you don't need to have read the original books to appreciate the comic versions

A: Have you heard from any kids that have read your BSC graphic novels, that then tracked down the original novels?

R: A few. It's actually more common to hear from kids who have read some of the prose books, and started reading the graphic novels afterward. The original books are sadly out of print now, so kids usually find them in libraries, or someone they know gives them an old box of books. Since there are so many books in the series, chances are they don't have a complete set, and have read the books in random order. Which still works okay, as each book has a self-contained story.

A: In terms of designing the characters (who are well known by the legions of people who have read the BSC novels), did you find it difficult matching the characters on the page with the characters people see in their minds?

R: The main characters are all very archetypal. One is sporty, one is nerdy, one is trendy, and so on. Designing the characters was easy. Having longtime BSC fans embrace my style of drawing, though...not quite as easy.

A: What was the feedback like?

R: Like most YA novels from the 1980s, the covers of the original books were realistic paintings of realistic-looking kids. So, I think there were people who heard "Baby-sitters Club graphic novels" and expected them to be full-length, realistically-painted (or drawn) books. And what they got was my super-cartoony style. For the readers who are also fans of comics or cartoons, this was easy to swallow, and most of them loved the adaptations. But some of them claimed to "hate" cartoons, and they hated that I was "ruining" their favorite characters by turning them into cartoons, I guess because they felt it undermined the stories somehow. I got actual hate-mail about this! I don't see how anyone could NOT love cartoons!

So, I think it really depends what you're into. Everyone has different tastes. I can confirm that it works with kids, though. Kids dig the art and they dig the stories. I'm not surprised, since I liked the stories so much myself, when I was a kid.

A: I can confirm that as well. The response from kids in the shop has been phenomenal.

Now that you've adapted four novels to comics, do you find yourself reading any books and automatically thinking of how they would look as a comic?

R: Yeah, pretty much EVERYTHING I read now! Really, though, I tend to focus on characters and their body language first. So I can read a book that seems very visual and might make a cool world-building comic; for example I just read City of Ember, which is dark and moody and has a lot of interesting set pieces. For some artists, that might be the main draw of adapting a book like that. But the thing I could see most clearly in my mind while reading it were the characters' movements, the way they run or skip or react to an event, the way their faces look when they talk. That is the part that interests me most. I really like to act through my drawing. The film adaptation of that book just came out, and I haven't seen it yet, but I'm sure the characters will be played differently than I imagine them.

A: What was the origin of SMILE? Did you initially see it taking on the life of its own that it has?

R: It had always been my intention to create a comic about my teeth, mostly because I found myself telling people about what happened to them over and over again. (For those who don't know, I knocked out my two front permanents in a trip-and-fall incident when I was a kid.)
I had no idea how long the story was going to be, though, and what kinds of extra plot elements I would explore. But I had so many anecdotes about my awkward teen years, that fit into the time period of my tooth story, and it made sense to work them into SMILE. As the strip hit the web week after week, I found my readers really responding to the relationships and character interactions. I let things unfold organically, writing the comic in 10-to-20-page increments, and taking breaks whenever my BSC schedule ramped up. I've been working on SMILE as long as I've been working on the BSC comics-for the past four years. It's cool to be able to focus on SMILE full-time now! (It's going to be published as a complete graphic novel by Scholastic in early 2010.)
The thing about SMILE that has surprised me the most, is how many people can relate to it in one way or another. Everyone has a dental horror story of some sort. Going through those experience as a kid, I felt really isolated and weird. But drawing the story has connected me with hundreds and hundreds of kindred spirits.

A: Has SMILE entailed any grisly research into the details of dentistry?

R: I have written and drawn most of it from memory, actually-but now that it's being prepared for print, I'm having a dentist consult the manuscript for accuracy. I look up reference periodically, like pictures of dental chairs and nitrous masks, and I also read up on each kind of dentistry as I go along-there are a lot of different kinds! Sometimes I'll look up something that I think is going to be simple and factual, and there will be a giant picture of a disgusting impacted tooth or whatever, and it'll make my skin crawl. I try to keep the grossest, grisliest elements of dentistry OUT of the comic-but some of it can't be avoided!

A: You've developed a very distinct style. In terms of pure craft, who were your influences?

R: I grew up reading comic strips and watching anything that was animated. My favorite newspaper strips were Calvin and Hobbes, For Better or For Worse, Foxtrot, and Nancy. And I was a real Disney kid, watching and re-watching the movies, the classic cartoons, and the cheesy shows they put on the air in the 80s and 90s. Aside from Disney, if it was a cartoon and it was on TV, I was probably watching it. I was obsessed with the Smurfs, the Get-Along Gang, and Tiny Toon Adventures, and the early seasons of the Simpsons. All of those early influences informed my drawing style.

A: It seems like your illustration style would lend itself to animation; is that something you've ever played with or looked into?

R: People tell me that a lot! I used to make flip-books in elementary school; I brought them in for show and tell, and I recall my classmates being less than impressed. Maybe it's because they were drawn in pencil and you can't see that very well from the back of a classroom? Who knows. But I started to realize that animation was a very collaborative effort, and you need certain tools, and you need to draw thousands of pictures just to make something move, and you probably need a team of people to make it happen...with comics, you just need a pen and paper. I really like working alone, and making things myself. And I really just love sequential art, so making comics suits me perfectly.

A: Who are your more general influences? Not drawing-wise, but in terms of storytelling, mood...

R: I read the Barefoot Gen series when I was very young, which broke my heart, but tipped me off to the concept of comics-as-serious-storytelling-tool. Later on, I got into Lynda Barry and Adrian Tomine... the two of them had a huge influence in leading me to the kinds of stories I wanted to tell: slice-of-life stories, some without neatly tied-up endings. Short mood pieces. Realistic fiction.
There are so many other things I've taken influence from over the years; it's an ongoing process.

A: What are your preferred tools?

R: I lay everything out with a light blue colored pencil, which lets me figure out my compositions and be really messy. Then, I go over that with an F graphite pencil. My pencils are very tight and precise. I ink with a Windsor & Newton no.2 sable brush and waterproof India ink, and I use Pitt pens for straight lines, letters, eyeballs, small details, and so on.

A: Are these something you use out of habit, or do you switch up based on the project?

R: I use the same tools no matter what I'm working on. The only thing I ever change up is paper size. BSC pages were done on 11 x 14" Bristol board, which I have found is my ideal working size-not so big it takes forever to ink a page, but not so small that I will give myself hand cramps from drawing tiny backgrounds. SMILE pages are smaller-they're drawn on 9 x 12" Bristol. I decided to scale my SMILE pages down because they were to be drawn for the web, and I needed to be able to draw and ink them rather quickly and then fit them on my little scanner. Those pages go really fast, but they're also simpler as a result. I have a bigger scanner now, but I'm sticking to finishing SMILE in the smaller format, just so the whole thing is consistent. I'll probably go back to working at the larger size for my next project.

A: Do you have a typical workday?

R: I don't really have a typical workday, no. My schedule changes based on what stage of a project I am working on. When I'm in the thick of things, I generally get up between 9 and 10, read and write email while I eat breakfast, then get down to writing or drawing or inking or whatever I'm doing on that particular day. I take frequent breaks, for lunch, running errands, or getting a little exercise in, but I usually work until 7 or 8. I'll eat dinner and watch a bit of TV most nights, and then it's back to work! Depending on how close to a deadline I am, I'll work till about 11 PM, or if I'm really crunching, till 1 or 2 in the morning. I find that the later I work, the harder it is to fall asleep afterward.
Time of year also seems to play a role in what I do during the day, because during the summer months, we travel and do so many conventions, I'm very often either on the road, or preparing to be on the road. That means making mini-comics, creating original artwork to sell, doing the accounting for our shows, figuring out how to get places because we don't have a car...that kind of stuff takes way more time and mental energy than I ever expect it will. I guess I'm lucky to work from home, because otherwise I'd have to sneak that stuff in during lunch hours!

Raina and Dave Roman at the MoCCA Art Festival.

A: Aside from the SMILE graphic novel, what other projects do you have on the horizon?

R: My husband, Dave Roman, and I are scripting two X-men shoujo manga graphic novels. They're being drawn by an Indonesian artist, Anzu, and the first book comes out in April.

I've got a couple other irons in the fire, but nothing I can really talk about yet.

A: What is your dream project?

R: I don't have a specific dream project... but I do want to keep making comics for my current audience!

A: Thanks, Raina!

R: Sure!

Be sure to keep an eye on the ROCKETSHIP store site for more info about the BABYSITTERS CLUB vol. 4 release party!

2 Comments

• At October 29, 2008, Brian Cronin wrote:

  Great interview!

  Raina is, indeed, a superstar.

  Smile has been amazing so far, and I'm quite pleased that it was picked up ...

• At October 30, 2008, Joe Rice wrote:

  Wow, great interview. The books are great, kids love them, and I liked the shop talk.

8 THINGS I'D LIKE TO SEE MORE OF IN COMICS

by Jesse Hamm

Comics should indeed be good. As a comics reader, I couldn't agree more. But as a critic, when I call for better comics, I'm often tempted to prescribe solutions that are lofty and vague.

"Write believable characters!" comes to mind.

"Draw credible backgrounds!"

"Master anatomy!"

"Be clear!"

All noble goals; all lousy advice. Lousy because it substitutes destinations for directions. Might as well direct someone to the Fortress of Solitude by telling her to go to Superman's hideout. The shortest route to better comics is, instead, concrete advice that any creator can put to use right now.

That said, here are 8 things I'd like to see more of in comics. These are suggestions that I think any creator can try out immediately; adjustments that don't require new skills to implement. They aren't all about quality; some are just intended to foster variety. But in every case I think they would add extra oomph to today's comics -- both alternative and mainstream.

1.) EXPANSIVE BACKGROUNDS

Most cartoonists are aware that well-drawn backgrounds add character and verisimilitude to a scene. But they often overlook one of the easiest ways to strengthen a background: grant it more space in the panel. Back your "camera" away from the figures, and include more of their surroundings. This doesn't require a better-drawn environment -- just a willingness to show the reader more of it, foregoing some of those juicy close-ups.

European cartoonists lack our kenophobia. They often include spaces which may be irrelevant to the action, but which enrich the world their characters occupy:

American cartoonists should be similarly willing to push their characters farther back, or off to the side, to increase readers' immersion in their imagined world.

2.) COLOR INDICATING DEPTH OF FIELD

The late, great Alex Toth's favorite complaint about his colorists was that they failed to establish planes of depth in his drawings. He was partially colorblind himself, and therefore wasn't the best person to ask whether colors matched, but one thing he did know about color is that light and dark colors can be used to indicate distances between objects. Simply put: coloring the foreground dark and the background light, or vice versa, will cause the foreground to pop forward and the background to recede.

Unfortunately, this simple, three-dimensional effect seldom appears in comics. For all the effort colorists spend on shading forms and balancing hues, there's often a flat uniformity to their light & dark values. A uniformity which could easily be remedied with stronger contrasts between planes -- such as in this panel, which Toth once praised for bailing out his murky drawing:

3.) NARROW VERTICAL GUTTERS

When the gutters between panels are all of uniform width, it's tempting for readers to skip down to the next tier of panels, ahead of the narrative. A simple way to discourage this, focusing readers on the proper tier, is to make the vertical gutters much narrower than the horizontal gutters:

This approach is standard in manga, but I rarely see it in domestic comics. I think the Japanese have the right idea.

4.) FIXED POINT OF VIEW

It's common wisdom that frequent changes of p.o.v. in a scene add variety and drama. But that approach is used so often lately that most comics read more like photo albums than fluid chains of events. By contrast, look at the fluidity of comics by cartoonists with an animation background, like Graham Annable or Jeff Smith. They know well that a static p.o.v. ties moments together, and casts the action in sharper relief. You don't need a course in animation to follow their example; it's a simple matter of leaving the background the same while the characters do their thing:

5.) CAREFULLY DRAWN EYES

It's easy for artists who draw for hours at a stretch to default to rendering every line with equal care. This approach makes sense most of the time, since an even pace aids productivity, and because shifting gears mid-drawing can result in stylistic inconsistencies. We've all chuckled at artists who lavish attention on the breasts while neglecting the feet, for example.

But the handling of pupils and eyelids is much more exacting and less forgiving than the handling of other parts. In fact, no mark in a drawing has more to do with its success than the marks which delineate the characters' eyes. We rely heavily on those few, tiny marks to show us crucial story info, such as what the character is feeling, and where her attention lies. What compounds their importance at the drawing stage is that such small marks are easy to botch. A millimeter off, and the character becomes cross-eyed, or wall-eyed, or she looks too tired, or too surprised. Worse, characters may look past each other when they're meant to address each other, making them appear vacuous, distracted, or incapable of intimacy.

I see such "eye" problems often in comics -- more often than the artists' skills should warrant. Simply taking more care with the eyes would make a world of difference. Note the significance of this tiny adjustment in Good As Lily, where I had to fix a character's pupil placement:

Perfecting every line in a comic wouldn't be worth the time, but a few extra minutes spent perfecting the eyes on each page could determine whether or not your characters resonate with readers.

6.) RURAL & SUBURBAN LIFE

Most cartoonists, both mainstream and alternative, have imprisoned their characters in cities -- a setting which represents only a tiny fraction of the world.

I can accept that Spider-Man and Batman work best in New York and Gotham. I can accept that Harvey Pekar and Seth happen to live in Cleveland and Toronto. But I can't accept that nearly EVERY comic book character HAS to occupy an urban environment. There's a great big world out there to chronicle, folks. Send your characters on some field trips! Give your skills -- and your readers -- a broader field to graze in.

7.) THOUGHT BALLOONS

Thought balloons have come under fire in recent years. Some complain that thought balloons are cheating: that they explain what should instead be demonstrated through characters' behavior. Others believe the intermittence of thought balloons is arbitrary: if we can read one thought, why not all of them?

I think both complaints prove too much. If we shouldn't depict characters' thoughts, why even use dialogue? Why not adopt the silence of sculpture and pantomime? And if displaying only relevant thoughts is arbitrary, how come displaying only relevant images is OK?

Thought balloons needn't be more didactic or arbitrary than any other creative choice. And since they're unique to our medium, we should allow them to give it distinction.

8.) CREATIVE DEPICTIONS OF VIRTUE

A common complaint is that comics have become too negative, and that virtue should be more celebrated. A common rejoinder is that villainy is more interesting to read about.

The truth is that creativity is interesting to read about, whether it's villainous or not. The virtuous exploits of Golden Age heroes like Captain Marvel, Plastic Man and Powerhouse Pepper are fun to read not because those characters are virtuous, but because they're virtuous in creative ways. Similarly, villains written by Moore, Miller, or Morrison are interesting not because they are villainous, but because they are creatively villainous. In the shadow of those writers' success, many writers work overtime inventing creative ways to be villainous, while neglecting to invent creative ways to be virtuous. No wonder virtue appears boring! In JLA: Earth 2, I loved Morrison's "good Luthor" granting bad Luthor's surprised secretary an $80,000 bonus -- out of bad Luthor's ill-gotten funds. More of that, please.

This applies to alternative comics as well. Characters' flaws and neuroses have been explored so well and so long in the undergrounds that alt'toonists have begun to mistake lowness for depth. Let's see more characters who are creatively virtuous -- more Oskar Shindlers, for example. They needn't be perfect; just creatively virtuous. They don't even have to operate on a grand scale. I know a guy who convinced the Cartoon Art Museum to hang a cartoon he drew of himself proposing to his unsuspecting girlfriend -- whom he then brought on a tour of the museum, letting his drawn self pop the question. More of that too, please.

This approach wouldn't require extra skill; only that we use our skills more optimistically.

So: eight simple ways to improve what's on the shelves. Here's hoping more creators will give these a try.

>>>>>>>>>>>>

Image info, in above order of appearance:

Thierry Martin's art from "Le Roman de Renart" c. 2007 Guy Delcourt Productions
Alex Toth's art from "White Devil...Yellow Devil" c. 1990 DC Comics
Tatsuya Egawa's art from "Tokyo University Story" c. 1997 Tatsuya Egawa
Jeff Smith's art from "Bone" c. 1994 Jeff Smith
Jesse Hamm's art from "Good As Lily" c. 2007 Derek Kirk Kim and DC Comics

50 Comments

• At September 10, 2007, Mongoose wrote:

  Excellent suggestions. As an aspiring comics artist, I'll definitely keep these in mind. They're some very sensible ideas. Especially bringing ...

• At September 10, 2007, Matbs wrote:

  An excellent article - especially 1) and 6) are things I (as someone who reads both a lot of European ...

• At September 10, 2007, Paul wrote:

  This was brilliant.

• At September 10, 2007, John Trumbull wrote:

  I don't agree with the narrow gutter suggestion. All that manga example does for me is call unneccessary attention ...

• At September 10, 2007, Paul wrote:

  I think if you were just reading the comic, you might be less prone to notice. That is kind ...

• At September 10, 2007, The Dane wrote:

  With regard to #7, it seems perfectly acceptable to write comics from whichever p.o.v. an author wishes. Third person objective? ...

• At September 10, 2007, T. wrote:

  I think the pupil placement and narrow gutter suggestions were really nitpicky and arbitrary, but the other suggestions were very ...

• At September 10, 2007, daiyongo wrote:

  All hail #8! Someone should paint those words on the side of Dan DiDio's car.

• At September 10, 2007, Greg Hatcher wrote:

  I am totally printing this out to use as a handout in cartooning class.

• At September 10, 2007, kalorama wrote:

  Not bad suggestions, per se, but like many art critiques they seem to overgeneralize, a bit. There's a time and ...

• At September 10, 2007, Ephraim Judah wrote:

  I agree with almost everything you said. I think there are many story-telling and art techniques that are left out ...

• At September 10, 2007, Keiv wrote:

  Yes! Death to the UPC Bar Codes!

• At September 10, 2007, Steven M wrote:

  How about spandex that wrinkles at least a little big

  and doesn't look spray painted on? At least a seam ...

• At September 10, 2007, Apodaca wrote:

  I don't think the pupil placement one is nitpicky or arbitrary at all. It's something that plays a big part ...

• At September 10, 2007, Anonymous wrote:

  Agree with most of these, but I'm curious as to how expansive backgrounds are a good thing if they're irrelevant ...

• At September 10, 2007, Joe Williams wrote:

  I like how people accuse Hamm of being nitpicky but then pick nits with his 8 rules. I think every ...

• At September 10, 2007, Michael wrote:

  I'd expand the rural and suburban areas one to include the option not to portray them as dull, fascist hellholes ...

• At September 10, 2007, comb & razor wrote:

  ]I don’t think the pupil placement one is nitpicky or arbitrary at all. It’s something that plays a big part ...

• At September 10, 2007, The Dane wrote:

  Joe:

  I think only one person said any of the choices were nitpicky and he (T.) didn't actually go on to ...

• At September 10, 2007, RHJunior wrote:

  a couple others, more specific and not as encompassing as the eight points given, but they've been bugging me.

  9. CLOSE ...

• At September 10, 2007, Evan Waters wrote:

  "Juvie hall biker tramp"?

  The phrase "virgin-whore dichotomy" comes to mind.

• At September 10, 2007, michael wrote:

  I agree, can someone tattoo #8 onto the insides of Dan DiDio's eyelids? Or for that matter, Joe Q's? But ...

• At September 10, 2007, stealthwise wrote:

  All worthy ideas to consider, although I'm not huge on the "vertical borders" one, but I can see where it ...

• At September 10, 2007, Parker wrote:

  Jesse, we could have put up a barn you hit so many nails on the head here!

• At September 11, 2007, Sanagi wrote:

  On the topic of manga panel design - I've been reading a lot of Tezuka lately, and my eyes are ...

• At September 11, 2007, Journalista - the news weblog of The Comics Journal » Blog Archive » Sept. 11, 2007: There’ll be spandex jackets, one for everyone wrote:

  [...] [Commentary] Jesse Hamm presents eight things he’d like to see more of in comics. [...]

• At September 11, 2007, Ken Raining wrote:

  The one that really stuck with me (and I think all of these are excellent) is thought balloons. I ...

• At September 11, 2007, Mike McGee wrote:

  First person narration seems to be as verboten as thought balloons in a lot of contemporary comics, though -- and ...

• At September 11, 2007, comixkid2099 wrote:

  "First person narration seems to be as verboten as thought balloons in a lot of contemporary comics, though — and ...

• At September 11, 2007, Brian Cronin wrote:

  what is wrong with comic books written like movie pitches? I think Ken's concern is more the possibility of ...

• At September 11, 2007, Nitz the Bloody wrote:

  I was ( accidentally ) posting as " Anonymous " from the uni computer lab, so thank you for the ...

• At September 11, 2007, Lynxara wrote:

  What's wrong with a comic written like a movie pitch is that in the course of being a good movie ...

• At September 11, 2007, comixkid2099 wrote:

  "What’s wrong with a comic written like a movie pitch is that in the course of being a good movie ...

• At September 11, 2007, Apodaca wrote:

  If it is written like a movie,

  Being written like a movie and being written like a movie PITCH are two ...

• At September 11, 2007, comixkid2099 wrote:

  oh, yeah i see what you mean there. i was a little confused at first, but that totally makes since. ...

• At September 11, 2007, Gaitano Montera wrote:

  Although, like everyone else, I really enjoyed this article. However, I completely disagree with #7. Word balloons (unless ...

• At September 11, 2007, Gaitano Montera wrote:

  Also in reply to RH, I haven't stayed up with most of the ultimate line, but "The Ultimates" is the ...

• At September 11, 2007, The Dane wrote:

  on par with other mediums

  What? Like literature, which regularly features examples of third person omniscient, limited or otherwise?* You might ...

• At September 12, 2007, Gaitano Montera wrote:

  Sorry, bro, you're (kind-of) right. I don't want this to come off snarky, either, because I do appreciate your ...

• At September 12, 2007, The Dane wrote:

  Yeah, you're right. Serving the story is key and if your p.o.v. doesn't serve the story then you ought to ...

• At September 12, 2007, T. wrote:

  Gaitano, if these modern writers are so much better than the ones from the past, why are they making names ...

• At September 12, 2007, Gaitano Montera wrote:

  HOLD ON A SEC, T...your telling me that WE3, Fell, Black Summer,Preacher, The Invisibles, Mouse Guard, or, hell, let's even ...

• At September 12, 2007, Gaitano Montera wrote:

  I'll even add to that "Civil War" by Mark Millar. Say what you want, but I dare you to ...

• At September 12, 2007, Doug Atkinson wrote:

  "a couple others, more specific and not as encompassing as the eight points given, but they’ve been bugging me."

  How did ...

• At September 12, 2007, Apodaca wrote:

  I would also like to see more of less tits. The Balent-beach ball-style of fakes are really boring and alien-looking ...

• At September 12, 2007, Mike McGee wrote:

  However, you wouldn’t compare TV shows, movies, or any other medium of the present with it’s incarnation in the sixties, ...

• At September 12, 2007, Gaitano Montera wrote:

  Good point, Mike. I totally contradicted myself. What I guess I was trying to say, is that comparison ...

• At September 12, 2007, Gaitano Montera wrote:

  And don't get me wrong, Mike. It's certainly not like everything done today is better than everything done in ...

• At September 12, 2007, Mike McGee wrote:

  Thanks, Tano -- and actually, yeah, I more or less agree with you. I don't think the marketplace has ever ...

• At September 13, 2007, David Porta wrote:

  .

  Great list, Jesse. Very positive, very practical and applicable in concrete terms.

  1.) EXPANSIVE BACKGROUNDS

  4.) FIXED POINT OF VIEW

  6.) RURAL & ...

Big drama.

Flame outs.

People losing it in the Idol forum.

Here in western society (specifically Estados Unidos), in this little thunderdome of competition we like to call the free market economy, people have a tendency to only remember the winner... that means I should introduce myself.

So, hi, my name is Jonathan Hickman - first loser of CBI: season one.

My inner Lombardi is so proud.

I'll be honest; I was surprised to make it in the first contest. I hadn't drawn in three years and I was just getting back into comics after not reading them for almost a decade. I was having one of those I-absolutely-hate-my-job moments (this particular one had lasted about six months), and a friend of mine emailed me about the contest. I threw together some pages and submitted them. Somehow, I got in.

I really only blew one round (and almost got kicked out in week 2), and simply tried to do the best work I could at the time. I probably shouldn't have made it to the finals as there were easily 4 to 5 guys more talented than me at the time, but I relied heavily on my design background and that leveled things out a bit.

The most difficult part of the contest for me was waiting on the next assignment after making it through a previous stage. I knew I would need the entire time to complete my assignments; so getting a head start each round was imperative. On a side note: Many of the guys (in CBI 1 and 2) really struggled with critiques from both the judges and posters in the forums. While that kind of stuff has never really bothered me, you could see it really paralyzed a couple of contestants.

After losing the final, I took a bit of time to work on my craft (and, hey, figured out that I wanted to write as well). Last year, my first book, The NIGHTLY NEWS, was published by Image.

I've also done some work at Marvel and Virgin, and have three new series coming out from Image starting with PAX ROMANA in November.

Comic Book Idol was definitely one of the catalysts to getting all that started. Which is kinda the point of the show.

Before wrapping this up, let me very quickly give you some general guidelines for enjoying the contest:

1. Pick a horse. In week one, make a decision on a contestant. Don't be a passive observer - get in there and fight for your guy. Recruit voters. Argue online. Oh, for God's sake - blog already.

2. Don't tear down other contestants - build yours up. The only way for your favorite is going to win is to get people to vote for them, denying a vote to others isn't really going to help.

3. Play along. Every year there are lots of potential contestants that don't get in who play along at home. It's usually in the Never Ending Forum at CBR.

4. Don't be a know-it-all dick.

Oh, and one thing I failed to mention:

If you're wondering what perfect little prince won the first Comic Book Idol, his name was Patrick Scherberger; he struts like Jagger, dresses like Bowie and you see him, punch him in the nose for me.

///

Best,

Jonathan Hickman
www.pronea.com
jonathan@pronea.com

9 Comments

• At September 4, 2007, tom fitzpatrick wrote:

  Don't watch reality shows.

• At September 4, 2007, Jason Edwards wrote:

  "Don’t watch reality shows."

  ...And?

• At September 4, 2007, Tom Fitzpatrick wrote:

  ... and I enjoyed the Nightly News. ;-)

• At September 4, 2007, Ian Astheimer wrote:

  Looking forward to those three new series. Pax Romana sounds excellent, and I'm very curious to see how Bodenheim's art ...

• At September 4, 2007, Apodaca wrote:

  If he dresses like Bowie, he's already suffered enough.

• At September 4, 2007, Anonymous wrote:

  Ian Astheimer -- JM Renguit is drawing Transhuman. It's kind of Timm/Oeming/grungey looking. It's not out until March, so we're ...

• At September 4, 2007, Jonathan Hickman wrote:

  Sorry... anon was me.

• At September 6, 2007, Comic Book Idol 3 - The Amateur Art Contest from Comic Book Resources » Jonathan Hickman on his Comic Book Idol experience. wrote:

  [...] Check out Season 1 runner-up Jonathan Hickman here, as he discusses his experience on Comic Book Idol and offers ...

• At September 18, 2007, Andrew Kilian wrote:

  What were the assignments? Could you give me a brief rundown or gist of what they were like?

  Thanks.

I think that I, like most Captain Marvel fans, am very loyal to the original concepts. But I sure don't mean to come across as someone who thinks it can only be done by CC Beck. During my run on the title, I honestly tried to do the character as a 1960's Marvel comic, as my way of updating it, but not trashing the groundwork that Fawcett had. I know even at that time, certain comic fans wanted us to ditch the wholesomeness, and go for grim and gritty, but I think that would be a slap in the face to the original creators.

I had issues with the time that Peter David "borrowed" Mary Marvel for a Supergirl crossover, and immediately wanted to have her sexually molested in his story. Then Keith Giffen wanted her to lose her virginity in Formerly Known as the Justice League! Now it looks like the movement to gritty Mary up are finally getting their way in Countdown.

I know there are fans out there who are disdainful of any character who is wholesome and good, and dream of dragging that character through the mud just for spite. I go to comic stores, and have heard it all.

As to the dark Mary Marvel-- it's just playing into a few fans' hands. Whether it turns out well or not will play out in Countdown. I have 3 kids who like different stuff, and variety makes the world go round, but I do steer them clear of most of the mainstream comics. They can read what they want when they are older, but I have introduced them to appropriate material first. But having every comic book feature dark, moody and self-centered teens or adults is shortchanging the marketplace of positive, heroic, self sacrificing HEROES. With dark, you must have some light. The Marvel Family and Superman were heroes to look up to, because they did the right thing, even when that choice meant sacrifice from them.

I'm no prude, but if you want to "violate" the intent of a character, create a new damn character, will you? Just my opinion.

Edited to add: Jerry added the following in the comments of this piece:

Brian Cronin forwarded a little rant I had to this thread, and it's stirred up some comments, which is great. I certainly wasn't judging Countdown prematurely, as I hope to like it as much as "52." My feelings on the overall darkening of comics in general, is what the post is really about. I read a fair amount of comic books, and I guess I'm an old fart, as I would like to see a little more optimism, and true heroics in the industry. Almost every character has been recast, it seems, for today's audience, but many have lost what made them special. My original post addresses my own battles for 4 or 5 years, when I was writing Power of Shazam, with other editors "borrowing" the books characters for their own stories. I am not criticizing Peter David for wanting to write a comic about child molestation, just his inclination to use Mary Marvel as his victim. In the printed comic, his original storyline was watered down at the insistence of the Shazam editor and myself. If he's writing Supergirl, he can do whatever he wants to her, so long as the editor approves. When borrowing a character, you don't have that right. Again, I have no beef with Peter.

As for the Giffen story about wanting to have Mary Marvel lose her virginity and revert to the red costume, it was something I heard from a decent source, and sounds like the type of thing Keith would pitch, if only to shake up the room. Again, no beef with Giffen, whose work I love. Just trying to illustrate what I have observed, of the seeming need of fans/creators to drag a so-called innocent character through the mud.

Someone else pointed out that it would be boring for heroes to not get dragged through the mud, and that conflict equals good story. I agree wholeheartedly, but one can do that without turning a character into a murderer, or something. Spider-Man was a hero. He did the right thing whether it cost him personally. Sure he moaned about it later, that the police were after him, or the Daily Bugle was after him, or whatever, but he STILL was heroic.

I just read the current Countdown, and I am fine with it. I don't own the Marvel Family characters, and no longer control their stories. When I read it, I am just a comic fan. Best, JEr

96 Comments

• At June 7, 2007, Ye Olde Iowa wrote:

  While I think that Ordway has some very valid points, espeically in regards to how Mary was treated in the ...

• At June 7, 2007, Adam Jones wrote:

  We need to see everything Mary Marvel is not so we can appreciate how awesome she is for her eventual ...

• At June 7, 2007, Anthony Strand wrote:

  Adam - That's what I hope is happening here.

  That bit about "Formerly Known as the Justice League" kind of puzzles ...

• At June 7, 2007, Matt D wrote:

  I'd like to think that Dini has some idea what he's doing (despite some comments he's made recently) and that ...

• At June 7, 2007, sean sheer wrote:

  ye olde iowa!!! wow. someone posting a reasonable, thoughtful comment on a comics website. actually asking folks ...

• At June 7, 2007, ErikM. wrote:

  The point is they didn't do those things, I wouldn't even have know of those writers intents if you didn't ...

• At June 7, 2007, Mullon wrote:

  Oh I hope that she goes back to normal in the end.

• At June 7, 2007, Sean wrote:

  I think Joe Q made a good point in his Newsarama interview that can be applied to this situation. I'd ...

• At June 7, 2007, Evan Waters wrote:

  The problem is, writers seem to be inconsistent or at least taking their sweet time about pulling characters out of ...

• At June 7, 2007, whawha wrote:

  I think wholesale revamps are a sign of writer laziness. It's infinitely easier to bend a character to a new ...

• At June 7, 2007, Stephen Bergstrom wrote:

  Someone once said "Don't give the readers what they want, but what they THINK they want."

  Just adding my voice to ...

• At June 7, 2007, Stanley L. Walker wrote:

  I wholeheartedly agree with Ordway. What's more is there have been numerous proposals to do this to the Marvels ...

• At June 7, 2007, Ron O. wrote:

  Unfortunately, if you wait until a story "plays out", it is often too late to go back and fix things.

  Face ...

• At June 7, 2007, Doug Atkinson wrote:

  I should point out that Mary wasn't molested in the Supergirl crossover story, or anything like it; she overreacted to ...

• At June 7, 2007, Airdave wrote:

  While I may have to concede that the Ralph and Sue storyline was decent storytelling, I still feel a bit ...

• At June 7, 2007, Scavenger wrote:

  I seem to recall Mary's appearance in PAD's Supergirl as being used as example of everything Linda wasn't....a noble, powerful, ...

• At June 7, 2007, Don Sparrow wrote:

  Jerry Ordway has long been a hero of mine, and I too was curious what he'd think of this storyline. ...

• At June 7, 2007, Scavenger wrote:

  I'd like to point out, that so far, Mary isn't "dark"...she's just wearing a black costume. It's not like the ...

• At June 7, 2007, Jason Glaspie wrote:

  Teth Adam had his magic word changed by Billy the Wizard. He couldn't access his powers until he learned ...

• At June 7, 2007, Stanley L. Walker wrote:

  Scavenger, that was the ongoing series and in the later issues during the quest for her more angelic half (and ...

• At June 7, 2007, Mary Marvel's Pimp wrote:

  Ye Olde Iowa, it's clearly said in the original post that, "Whether it turns out well or not will play ...

• At June 7, 2007, Graeme Burk wrote:

  The problem is, writers seem to be inconsistent or at least taking their sweet time about pulling characters out of ...

• At June 7, 2007, Graeme Burk wrote:

  We see this all the time with Bendis at Marvel (”let’s take a hero and throw away X years of ...

• At June 7, 2007, Ye Olde Iowa wrote:

  Scavenger, no dice on me being anyone named Jim. Sorry!

  MMPimp, I did read Mr. Ordway's comments several times before ...

• At June 7, 2007, Somebody wrote:

  > His powers were never “dark”, they were just like Billy’s. His personality led him to use them in a ...

• At June 7, 2007, Silver Age is Lame Any Way wrote:

  I can't wait until Grant Morrison gets ahold of the Marvel family and turns Mary into a superpowered teen lesbian ...

• At June 7, 2007, Frankie B Washington wrote:

  Hey everyone, I do agree that when the comic industry has the chance to revised "old-school" characters like the "Marvels" ...

• At June 7, 2007, Somebody wrote:

  > > His powers were never “dark”, they were just like Billy’s. His personality led him to use them in ...

• At June 7, 2007, Matchstick wrote:

  I haven't been exactly thrilled with the direction the Marvels have taken recently, but I do understand somewhat that they ...

• At June 7, 2007, Graeme Burk wrote:

  While I think that Ordway has some very valid points, espeically in regards to how Mary was treated in the ...

• At June 7, 2007, Graeme Burk wrote:

  I can’t wait until Grant Morrison gets ahold of the Marvel family and turns Mary into a superpowered teen lesbian ...

• At June 7, 2007, Will wrote:

  The only problem is DC tends to take characters to the brink, and then toss them over to "satisfy fans." ...

• At June 7, 2007, Brian Cronin wrote:

  Yeah, Morrison strikes me as a lot similar to Ordway in his view of the Marvels.

• At June 7, 2007, MarkAndrew wrote:

  I can’t wait until Grant Morrison gets ahold of the Marvel family and turns Mary into a superpowered teen lesbian ...

• At June 7, 2007, Mullon wrote:

  I take back what I said, she can keep the costume.

  But I still don't want her to turn dark or ...

• At June 7, 2007, Mike wrote:

  DC is pretty much ruined anyway, thanks to Countdown, 52, Identity Crisis and Infinite Crisis. The attempts to create a ...

• At June 7, 2007, Kid Z wrote:

  I just hope when she finally decides to be good again that they revamp that white costume she used to ...

• At June 7, 2007, Don wrote:

  I think this is just another attempt by DC to try the push factor.

  Just how many times will DC screw ...

• At June 7, 2007, Keith Pille wrote:

  Does anybody know anything more about his Giffen/FKatJL claim? That really doesn't sound like would've fit anywhere in that ...

• At June 7, 2007, Scavenger wrote:

  Stan: Ah! The Plus issue...ok...all I remember about it was that I realllllllllly didn't like it.

  I don't believe that Jeff ...

• At June 7, 2007, Don wrote:

  Another "grim & gritty" Image-style butchering.

• At June 7, 2007, nuke187 wrote:

  While Dini has a track record that makes me hopeful, little DC has done in regards to heroines in the ...

• At June 7, 2007, Apodaca wrote:

  Sorry, but the "read the whole story first" argument is total baloney.

  I agree that people should react to what is ...

• At June 7, 2007, f. chong rutherford wrote:

  Maybe Watchmen would've been more interesting if the Question was at the center, but I think Rorschach held up the ...

• At June 7, 2007, Jacob T. Levy wrote:

  The thing no one's mentioning here is Trials. I think that if all our Marvel mayhem lately had been ...

• At June 7, 2007, Pól Rua wrote:

  Frankly, I trust DiDio about as far as I can spit him.

  We keep getting this 'Wait and see before you ...

• At June 7, 2007, John Seavey wrote:

  Jason Glaspie said:

  "I think this is to show that Teth Adam finally “got it” and is showing guilt, remorse, etc ...

• At June 7, 2007, ChrisW wrote:

  >>I don’t believe that Jeff Smith’s Shazam takes place on Earth 5…it’s too different from classic Captain Marvel…which shows the ...

• At June 7, 2007, ChrisW wrote:

  Hmm. Part of that last comment got eaten. I was trying to reply with "Maybe that story took ...

• At June 7, 2007, Jeff R. wrote:

  A couple of random comments: from the house ads, it looked like Mary was going to get Eclipsed at some ...

• At June 7, 2007, LonMadnight wrote:

  I find the "wait til the story's over" defense lacking as well. Let's say a guy comes up to you ...

• At June 7, 2007, Knox wrote:

  Uh-oh! A superhero appears to be turning evil!! This is most definitely the first time this has ...

• At June 7, 2007, jeffrey benitez wrote:

  I think this is a great move. fans will love the idea of having another bad person in the marvel ...

• At June 7, 2007, Sijo wrote:

  "Does anybody know anything more about his Giffen/FKatJL claim? That really doesn’t sound like would’ve fit anywhere in that story ...

• At June 8, 2007, Ninajwookie wrote:

  DC needs an equivalent of Buffy's Faith in their universe.

  How come bad girls always dress like sluts?

  Can't there be more ...

• At June 8, 2007, Ninajwookie wrote:

  I don't actually have a problem with 'darkening' of mary marvel.

  just the way she looks.

• At June 8, 2007, Bill Williams wrote:

  I think we should feel free to judge one little bit of the story because that is the way that ...

• At June 8, 2007, Fraser wrote:

  Sign me up with the "come up with a new character" school of thought (doubly so for TRIALS OF SHAZAM, ...

• At June 8, 2007, Jorge wrote:

  I've never been a fan of the Marvel family. Captain Marvel and Black Adam are enough for me. ...

• At June 8, 2007, Jerry ordway wrote:

  Hi all,

• At June 8, 2007, Jerry ordway wrote:

  Brian Cronin forwarded a little rant I had to this thread, and it's stirred up some comments, which is great. ...

• At June 8, 2007, Cole Moore Odell wrote:

  Countdown is plodding, dull and ugly on most counts so far, and I'm no fan of the gory sadism that ...

• At June 8, 2007, brett wrote:

  I agree with Jerry's comments completely.

  It would be nice to read about heroes doing heroic things and a writer can ...

• At June 8, 2007, LonMadnight wrote:

  -I find it tremendously disturbing when I read comments like "Comics aren't for kids anymore" as was said above. I ...

• At June 8, 2007, Larry Houston wrote:

  Jerry,

  I agree with you whole heartedly. Create a new character if you want to go dark and gritty. Don't violate ...

• At June 8, 2007, yusuf hassan wrote:

  i like dc comics evrey one in the dc comics like batman and superman all so catwom becuse they make ...

• At June 9, 2007, Cynthia Finnegan wrote:

  -I find it tremendously disturbing when I read comments like “Comics aren’t for kids anymore” as was said above. I ...

• At June 9, 2007, Martin Greim wrote:

  I agree 110% with what Jerry said. DC, in my opinion, has mostly ruined the Marvels. Trails of Shazam is ...

• At June 9, 2007, Captain Zorikh wrote:

  I have just finished the "Countdown" were Mary gets the "Black Marvel" treatmen. I must say I'm not a fan ...

• At June 9, 2007, Bgztl (Jack Holt) wrote:

  I posted this elsewhere, but I've loved the discussion here as well:

  I think that Jerry Ordway's original central complaint is ...

• At June 10, 2007, Oz wrote:

  Well said!

  (A bit long, but well said ;)

  I'm hoping that any "corruption" of Mary Marvel is more along the lines ...

• At June 10, 2007, Lucas Milani wrote:

  Hi There,

  I think DC Comics just like to let everyone know they don't care about Marvel Family ...

• At June 10, 2007, The Kirbydotter wrote:

  I agree 100% with Mr. Ordway.

  His interpretation of the Marvel family was the best since the original and is the ...

• At June 10, 2007, RachelEvil wrote:

  Ooookay... Didn't want to reply to this mess, but I feel like I have to at this point.

  First... Equating the ...

• At June 10, 2007, Anonymous wrote:

  Economics says that there’s more money to be made with a magical, FUN Captain Marvel instead of a grim and ...

• At June 10, 2007, Thom Khatt wrote:

  I read through the responses before responding myself. Bgztl, you had some of the most intelligent and well thought ...

• At June 10, 2007, FunkyGreenJerusalem wrote:

  I was the last anonymous!

• At June 11, 2007, Oz wrote:

  I think DC's move to put out Jeff Smith's story and to go forward with Mike Kunkel as the writer ...

• At June 12, 2007, Colier Rannd wrote:

  I trust Paul Dini. I however always remember that he doesn't get final say. He's not EIC or in charge. ...

• At June 12, 2007, Matthew wrote:

  Regarding the Mary Marvel plotline, my biggest complaint so far is that it doesn’t feel like it’s had time to ...

• At June 13, 2007, LonMadnight wrote:

  RachelEvil says...

  "Okay, moving on: LonMadnight: I’m not sure what you’re getting at here. Both Marvel and DC have entire lines ...

• At June 14, 2007, dragondeathlord wrote:

  Ok at the risk of being flamed I support a dark Mary Marvel. She has been ignored to long and ...

• At June 14, 2007, Apodaca wrote:

  What I am saying is how about some normal relationships!(there been none!)Not a good sign of mentell health!

  Mr. "dragondeathlord",

  We ...

• At June 14, 2007, dragondeathlord wrote:

  Apodaca I work for a living. And I did not get much sleep. And So my typing sucks. You have ...

• At June 14, 2007, dragondeathlord wrote:

  Ps Let me be clear. Countdown is doing a whole earth to just the marvel family so it would make ...

• At June 15, 2007, Freelance Website Design wrote:

  Thats a great skirt for super heroing.!

  also lol @ dragondeathlord but only in good fun :)

• At June 18, 2007, Past Elito wrote:

  I agree with RachelEvil. Mostly.

  Gay = dark side? Come on people, I can't believe I'm reading opinions like that in ...

• At August 27, 2007, James Miller wrote:

  All I know is, before this "darkening", I never gave mary too thoughts, NOW I can't get her out of ...

• At September 1, 2007, Ian wrote:

  I’m hear a lot of people saying “Dont judge an incomplete work.” and several others saying “This is a violation ...

• At December 11, 2007, Rob wrote:

  {Likewise, using Peanuts characters for a life insureance commercial is a little surreal but makes a vague sort of sense. ...

• At February 28, 2008, Captain Zorikh wrote:

  So now, in the pages of Countdown #10, the "good" Mary is back1 She is in the white costume, but ...

• At March 23, 2008, Julien wrote:

  Mary Marvel was boring... and pointless. The only thing they could have done to her was kill her.

  Now she has ...

• At March 29, 2008, daswook wrote:

  I have been a comic collector for over 30 years and I agree wholeheartedly with mr.Ordway!The Superman and Shazam families ...

• At May 20, 2008, DyShon M. wrote:

  I just feel that Mary needs the new look. In this new era of superheroes, the sexy thing is in. ...

• At July 13, 2008, W. Simon Son wrote:

  You are absolutley right about wholesome goodness and moral values lost in today's society. Look at what they did to ...

• At August 26, 2008, djc wrote:

  As a factual matter, Jerry Ordway was born in 1957, while dragondeathlord @ comicspace.com listed his age as 39 in ...

Invasion

Throughout human history whenever an advanced civilization comes into contact with a less advanced civilization the former inevitably conquers and/or absorbs the later. As developed as our intellects have become, primal strength remains the deciding factor in the evolution and survival of human cultures. If our own behavior on Earth is any indication then this conduct is likely true on a universal scale. Clearly altruism isn't humanities specially. Is benevolence a foreign concept to life in the stars as well?

I say yes.

I say when the aliens come they will come with little regard for our welfare. They will come to exploit our world, just as we exploit the people and resources of less advanced nations. They will come because it is in their best interests to do so. Not ours. They will, crush, kill and destroy. Prepare my human brothers and sisters for you will soon be converted into food, slave labor or collateral damage. When you see those UFO's in the sky, the end is nigh.

Heath Huston has lived through the hell of the alien invasion to come. And thank God for that, because there exists no better stage to tell a two-fisted, Sci-fi war story than during Earth's unavoidable first invasion. What could be more desperate or perilous? War against other humans is one thing, but as terrible as it is, it doesn't compare to what the unavoidable alien invasion will bring. The soldiers of the coming war will no longer fight for nation or God, but for the survival of all mankind. It will be time for our species to stand tall and show those crumby alien fascists what we're made of.

We will not stand for the alien hordes dominion of our world. Again, using humanity as a model, no indigenous people react well to foreign invaders on their land. We will not allow the coming alien aggression; we will fight as did Heath Huston and his Fear Agents. The origin of Heath Huston's transformation from trucker to alien exterminator began here in the muck on the battlefields of Earth. Take notes, your time is coming.

There seem to be fewer and fewer war comics being produced as the years progress. With exception to notable entries by Garth Ennis and Joe Kubert I'm at a loss to recall any. Perhaps this is part of the aliens plot. Whatever the cause, it's a shame. From Two-Fisted Tales to Enemy Ace to the Haunted Tank to Sgt. Rock-- war tales have a rich history in American comics and should be loved by all good-hearted men and women. No drama can compare to that told during war. Beyond the normal character conflicts and personality struggles there is a world on the brink of destruction and life and death on the line at every turn.

Fear Agent: The Last Goodbye is a bloody call to arms; a straight shot of 100 proof war comic served with a Sci-Fi chaser-- with everything in the balance. It's what you need to know to be prepared and we're the only team in comics with the steely eyes and guts full of lead to give it to you straight.

Get ready for war.

Rick was kind enough to share some of Tony Moore's awesome art from the first issue. Enjoy (Click on the images to enlarge)!!

5 Comments

• At June 6, 2007, Hal humanton wrote:

  Ha, Ha. The wittiness. Your amusing and in no way true comments certainly give us humans amusement. Aliens, as ...

• At June 6, 2007, MarkAndrew wrote:

  Ha, Ha. The wittiness. Your amusing and in no way true comments certainly give us humans amusement. Aliens, as we ...

• At June 6, 2007, BizarroBeachHead wrote:

  That guy's the alien. String him up.

  Seriously though, I love Fear Agent and can't wait to read this finally.

• At June 6, 2007, stealthwise wrote:

  Whee another ad instead of a column.

  Blargh, count me out.

• At June 7, 2007, markus wrote:

  with stealthwise on ths. Please stop doing promo pieces.

There's been some discussion in the fan press recently about the original idea for Spidey's black costume coming from an anonymous fan. Well it's true and I am that fan. Here's my story...

Back in the early 80s, Marvel ran a competition for aspiring writers and artists. Being a life long Spidey fan with delusions of comic grandeur, I took a stab at a story idea.

I thought it would be cool if Spidey needed to upgrade his powers and his look, so I came up with this idea that Reed Richards had made a new costume for Spidey using the same unstable molecules that the FF costumes are made of. The unstable molecules would flow into Peter's pores and allow him to cling to walls better. I think my original idea was to increase his sticking power by 25% or something like that.

For some lame reason, I had the Wasp involved since she was the resident fashion plate of the Marvel universe at the time. Remember when Jan would show up in every other issue of the Avengers sporting a cool new costume? I loved when they did that! So to me it made sense to have her design the new spider suit when she was over at the Baxter Building for cocktails or something. Anyway, I saw the new suit as a stealth version of the original costume - jet black so he could blend in with the shadows. At best, all you could see of him was the blood red spider emblem, emblazoned on his chest. (Yeah, in my design the spider was red, not white. I also gave him underarm webbing like in the original Ditko design.)

Oh yeah, and I stole an idea from Iron Man and made his web shooters work using the same cybernetic technology that Tony Stark used to control his armor. Peter just had to mentally imagine the kind of web line he wanted to shoot and the suit would do it for him. (Keep in mind, this was 25 years before Civil War and "Iron Spidey"!)

A few months after submitting the story I received a letter from Jim Shooter saying he liked the idea and wanted to buy it for $220. I was thrilled! But the best part - they offered me a chance to write the story. How cool is that?

Click on the image to see a copy of the letter Randy received from Shooter almost 25 years ago, in August of 1982.

I ended up submitting a second version and even had a follow-up phone call or two with Tom DeFalco to discuss the script. Wow! Me on the phone with a real live Marvel editor. I still can't believe this happened!

In the end, the whole scripting thing just didn't work out for me - I don't remember the exact reasons. I submitted another version of the story, they didn't like it, I stopped sending in letters. The whole thing just kind of fell apart. Regardless, I had no regrets. As a true blue Spidey fan, this was a very cool moment in my life.

A year or so later, when Secret Wars came out and I saw my costume idea executed in a completely different way than I had envisioned it, I was simultaneously thrilled and saddened. And when the idea of the black costume caught on, I was even more thrilled. And then when VENOM was created I was...disturbed. I was never a fan of the costume-turned-villain idea. Give me the classic Ditko villains any day! Venom just never really seemed to work for me. But I digress...

Now, fast-forward to 2007. I see that the black costume (MY black costume, sort of) is making it's way to Spider-Man 3. Wow! I couldn't stand it anymore - I had to come out of the closet and tell my friends and coworkers about my contribution to this year's BIGGEST blockbuster. And I had all the documents to prove it even if Marvel never mentioned my name.

Since Marvel paid me for the story, I have no real gripe, but I do feel bad that they didn't give me any kind of acknowledgment in the comics. You know, something like, "costume concept by Randy Schueller" or "Thanks to Randy Schueller for inspiration," or "Randy Schueller, you Spidey fan-boy stud, you rock!" But no, I got nothin'! That's my one disappointment in this whole story.

I've written to Tom Defalco before, but I've gotten no response. Maybe Marvel is afraid I'll sue them or something, but that's not the case at all! I don't want any money, I don't want any legal rights to the Venom character. All I want is this: a mention in the letters column of Amazing Spider-Man recognizing me as the nameless fan who sparked the idea for the black suit which eventually led to the idea for Venom which eventually became the basis for this freakin' monster movie we call Spider-Man 3. That's all I want.

Thanks for letting me vent!
Randy Schueller

P.S. I thought the movie was great! (Except for the part about (spoiler alert!) the Sandman killing Uncle Ben. What was up with that???)

43 Comments

• At May 16, 2007, Dan K wrote:

  How awesome must it have been to receive that letter. I wonder if Marvel still uses that cool spidey letter ...

• At May 16, 2007, Alan wrote:

  I got one of those letters when I sent in an idea for a character. Only mine told me that ...

• At May 16, 2007, Rebis wrote:

  I'm not surprised that Marvel didn't/doesn't acknowledge this. If for no other reason than they probably wish to discourage endless ...

• At May 16, 2007, red-Ricky wrote:

  You know... somebody should update Wikipedia's Spider-Man Powers and Equipment entry, as well as the Venom, Spidey 3 and Secret ...

• At May 16, 2007, Duh wrote:

  Not saying the guy is lying but the letter doesn't reference what Marvel was buying.

• At May 16, 2007, NJP wrote:

  I wonder if anyone who is at Marvel today even remembered this until it came up on this site? They ...

• At May 16, 2007, krpykrwly wrote:

  Godd idea with the wiki thing. I went ahead and did it.

• At May 16, 2007, Michael wrote:

  "I wonder if anyone who is at Marvel today even remembered this until it came up on this site? They ...

• At May 16, 2007, Ian Gould wrote:

  In the Comic Book Urban Legends piece Tom De Falco confirms Randy's story.

• At May 16, 2007, Paperghost wrote:

  "I’m not surprised that Marvel didn’t/doesn’t acknowledge this. If for no other reason than they probably wish to discourage endless ...

• At May 16, 2007, Kid Z wrote:

  I watched one of those "Making of Spider-Man 3" mini-documentaries on cable On Demand a few weeks back. This ...

• At May 16, 2007, lauren wrote:

  this is a good follow up. Thanks to Randy for telling his side of the experience.

• At May 16, 2007, Lucion wrote:

  Great follow up! This is why I read CSBG every day even if I don't read many comics.

  I wish ...

• At May 16, 2007, Will wrote:

  The story seems plausible. I'd like to see exactly what was submitted. I don't think Marvel has done anything wrong, ...

• At May 16, 2007, Flush it all away wrote:

  The only solution is for Mr. Schueller to legally change his name to "a fan." Thus, he would've been recognized ...

• At May 16, 2007, Randy wrote:

  I had no idea my story would spark so much commentary. It warms the cockles of my little Spidey-fan heart. ...

• At May 16, 2007, Matt Hawes wrote:

  I'd like to see the original design. Randy, can you post your original drawing online?

• At May 16, 2007, ResIpsa wrote:

  Neat story. My only question is how this jibes up with John Byrne's version. I'm positive that Byrne ...

• At May 16, 2007, GarBut wrote:

  I would also like to know more about "the fan" scriptment vs the Marvel edit etc. Randy, you're already speaking ...

• At May 16, 2007, Randy wrote:

  Another clarification:

  I'm not claiming I invented the idea of Venom. My script outline was just about Spidey receiving a ...

• At May 16, 2007, Paperghost wrote:

  As long as you get Ross and not Turner!

• At May 17, 2007, Al wrote:

  My tpb of Secret Wars has an introduction by Jim Shooter, and he makes reference to Randy's story in that.

• At May 17, 2007, ThePerfessor wrote:

  Just to add one more link in this story. Back in the ‘80s and early ‘90s I was working as ...

• At May 17, 2007, AnthonyF wrote:

  I enjoyed the original Black Costume storyline in ASM and wasn't aware of "a fan's" involvement until the Comic Book ...

• At May 17, 2007, John Seavey wrote:

  I hadn't heard the "designed by a fan" part, but I did see some original sketches for the black costume, ...

• At May 17, 2007, Rich Yan wrote:

  I did a little work for Marvel and their checks also has Spidey on them. Always raised an eyebrow at ...

• At May 17, 2007, Paperghost wrote:

  "Hasbro’s had Mr. Potatohead! For some reason the bank always put a hold on them."

  Be thankful they didn't print Monopoly ...

• At May 17, 2007, Bully wrote:

  I do remember artwork of the black costume in Marvel Age that I believe used the black and red color ...

• At May 17, 2007, Bill Reed wrote:

  I totally think you're worthy enough to be recognized in the pages of comics history, Randy.

• At May 18, 2007, J To The AAP wrote:

  That might be the coolest stationary ever.

  Als, kudos to Randy, th ecostume still looks cool, even in b&w.

• At May 18, 2007, Anonymous wrote:

  maluco vai paputaquiparil cuzao viado puta

• At May 18, 2007, John wrote:

  I don't think they're still using this design, but the back of DC's stationary used to have a stack of ...

• At May 21, 2007, Rich Yan wrote:

  Ron Frenz is a friend of mine and I was telling him about this. He says in the interviews he ...

• At May 21, 2007, Randy wrote:

  Hey Rich,

  I did see that Comcast interview. I thought Frenz seemed like a great guy and I've always loved ...

• At May 21, 2007, Bill wrote:

  Randy - you might be interested in this link. Someone who no longer works for Marvel but was involved ...

• At May 21, 2007, Randy wrote:

  Bill, thanks for the tip on the Gazette article. By the way, in case you guys haven't seen it, the ...

• At May 21, 2007, Brian Cronin wrote:

  Yeah, the NY Post article was neat (with a photo, even!).

  Our mention got nipped, though. Blast you, Post editors!! :)

• At May 22, 2007, Randy wrote:

  Brian, I mentioned CBR in the Inside Edition story but it'll probably get cut too.

• At May 26, 2007, Al Bigley wrote:

  Yes, the black-and-red Spidey outfit ran in a 1983 MARVEL AGE issue. Always dug that color scheme better than the ...

• At June 20, 2007, Dupe Hughes wrote:

  I am so proud of Randy. What a cool thing to do. I have 5 brothers who are into comics, ...

• At January 26, 2008, a REAL fan wrote:

  Spider-man 3 sucked.

• At November 3, 2009, David B. Jacobs wrote:

  Dude, how did you keep it in so long? If I were you, I'd have been boasting since the day ...

• At November 15, 2009, Mar-Vell Zahmbey wrote:

  Randy, you are the man!!!

It's that time of year again.

Summer's fast approaching, late seasonal snows and cancelled TV shows have melted away. Summer means school breaks! Ice Cream with chocolate chip cookie dough! Big Budget movies! Comic conventions! Chillin' poolside while reading comics! And...Road Trips!

The Gen13 creative crew invite you to join them on one particular Road Trip, which promises to be a wild ride for our GenActive kids on the lam! Along the way, they'll have a smackdown with Midnighter, Swift and Apollo of The Authority, visit the super-hero retirement town of Tranquility and even meet...the Authori-teens!

This issue is not only an excellent point to "Jump On" (as in, "move the cooler and scoot over in the Jeep") but the creative contents of this issue of Gen13 has literally travelled thousands of miles around the continent of North America to reach it's final destination, your comic shop, on May 9!

In keeping with the "Road Trip" theme of this new story arc, we'd like to share with you how a typical Gen13 comic makes an international tour that could give Ozzfest a run for it's money this summer!

Writer Gail Simone comes up with a torrential brainstorm in Oregon amongst tremendous trees and everflowing coffee. Once she sculpts a story, it's electronically transported to...

Grunge (scratching himself inappropriately): You chicks are, like, hot!

Editor Ben Abernathy in La Jolla, where the weather is perfect all year 'round (AND he gets to hang with Jim Lee!).

To: Gail Simone

From: Ben Abernathy

Sent: Asap

Subject: Perfect! It's another home run, Gail!

I don't know why I bother to read your scripts anymore! You rule!

XO,
Ben

Ben reads the script then gives his blessings before sending it electronically to...

Penciller Carlo Barberi in festive Mexico City, Mexico. Carlo draws stunning landscapes and lovely ladies and sends the art to...

Inker Drew Geraci in "10-minutes-from-the-beach" Florida. Drew trac-uh, lovingly renders Carlo's pencils with his so-versitile-it's-deadly #104 quill. Once Drew's done fussing over it, he scans the inked pages to...

Colorist Carrie Strachan in La Jolla (and avoiding Ben whever possible!), where the weather is still perfect. She paints the line art in photoshop with practiced pinache while...

Letterer Phil Balsman from New York City thoughtfully threads Gail's words throughout the page, giving voice to guest-stars The Authority!

Bring your sunblock and watch out for flying debris!

12 Comments

• At May 9, 2007, stealthwise wrote:

  Er... I love Gail, and I'm sure a road trip story will be fun (it always is), but why is ...

• At May 10, 2007, Mullon wrote:

  This feels awefully lot like a plug.

• At May 10, 2007, Drew Geraci wrote:

  Darn right it's a plug, because I'm pleased as punch about being part of the Gen13 book, and both Brian ...

• At May 10, 2007, Ian Astheimer wrote:

  I'll check this out.

  Because "The Authori-teens" sounds too good to pass up.

  How soon 'til they appear?

• At May 10, 2007, stealthwise wrote:

  Drew,

  Best of luck to you, but this kind of promotion here seems really... out of place. I appreciate what ...

• At May 11, 2007, Drew Geraci wrote:

  Stealthwise,

  I understand your cynicism-I can definately relate! but if the promotion seems "out of place", I had contacted Brian about ...

• At May 11, 2007, Pat Brosseau wrote:

  Hey, Drew--

  I actually lettered this issue--NOT Phil Balsman. Just thought you should know...

  Pat--

• At May 11, 2007, Drew Geraci wrote:

  Sorry, Pat, I was given dated info when I wrote and submitted this. By the time I got the ...

• At May 11, 2007, Brian Cronin wrote:

  Hey, Pat, just tell me where you live, and I'll edit you in. :)

• At May 11, 2007, Pat Brosseau wrote:

  Hey, Brian--

  I live in NYC, home of DC Comics and large subway rats that sometimes carry away small babies. :)

  Pat--

• At May 11, 2007, Drew Geraci wrote:

  Thanks, Brian!!

  :)

• At November 26, 2007, Patrick M. Olsen wrote:

  I'm an artist and would absolutely love to become a comic book artist. I just wanted to know if anyone ...

Oblique Strategies

Many years ago, at a wedding where, apart from one of the intended, I didn't know a soul, I got roped into the usual small talk, and someone asked what I did for a living. I tend to get a little uncomfortable in these situations-- I'm by no mean embarrassed by my vocation, but I recognize that it's a bit esoteric, and generally not well-understood by the layperson. "I draw comics," tends to elicit a cascade of other questions, most of which require quite a lot of explaining, and by the time you're done, the person who asked is either overwhelmed or utterly bored. But this time, I was taken aback by the response; All this fellow said was, "So they do all that on computers now?"

Naturally I scoffed-- this was pre-internet, almost pre-Photoshop, after all. "No," I coolly replied, "I use a pencil and paper."

And for a good long time afterward, that statement defined my M.O. Even now, most of the community of professionals working in the assembly-line method established almost at the birth of comics still work this way. But it would be a considerable oversimplification to say that a pencil and paper have never been the only tools at the artist's disposal.

Face it, deadlines are murder, especially when they come around every thirty days or so. The sheer volume is astonishing; even with a lowball mean estimate of four panels per page, the typical monthly superhero comic boasts nearly 90 separate drawings each issue-- that's over a thousand a year! I don't think there's another job in the commercial arts field which is similarly demanding. The comic artist's motto might very well be "by any means necessary."

It's no wonder artists condescend to using various tricks in order to try keep up. Some have an arsenal of stock poses and expressions from which to choose; other use assistants to contribute to background drawings; others fill empty space with incoherent linework, or lots of silhouetted figures; still others use that dirtiest of dirty tricks-- photo reference.

Recently, drawing the human figure from life has come under heavy fire, and indeed it seems like there have always been macho artists who have dismissed the practice, claiming some superiority through their intimate and intricate knowledge of human and animal anatomy; through their natural ability to "work it out with a pencil." However, not all of us are so gifted, and when the editor starts to call for more pages, one is often forced to resort to the methods closest at hand.

Photoreferencing has suffered under the pejorative euphemisms of "copying", "swiping", "stealing" (not to be confused with "aping", implying a (possibly still unsavoury) talent for mimicry) or that most damning of epithets, "cheating", and without temperance, the otherwise competent artist can easily lapse into outright plagiarism. Whether or not the harangued artist intends to appropriate someone else's work or to merely quote it-- what Thomas Mann ennobled as "higher cribbing"-- is irrelevant; of late, the artist who uses reference material is a pariah.

Perhaps it has always been thus. David Hockney's 2001 book, "Secret Knowledge: Rediscovering the lost techniques of the Old Masters" details the methods and mechanical aids of everyone from Brueghel to Vermeer. Much in the book is conjecture (refuted later in an issue of Scientific American

), indicating the existence of a conspiracy of silence surrounding "cheating" going back as many as five hundred years. Hergé travelled extensively, sketching en plein air, copying buildings, scenery and costumes from life. Carl Barks, an armchair adventurer, pilfered from the pages of National Geographic. Even Mike Mignola, hearsay has it, began using photos on Bram Stoker's Dracula, and continued thereafter, claiming it sped up his whole process.

Well, I have a confession to make.

I'm a user. Hardcore.

It started out innocently enough. Back in the late 80s, one of my first jobs was drawing the unauthorized comic biographies of rock musicians, which demanded likenesses of real people and locations in every panel. But even before that, I'd started a "morgue" of reference folders, each categorized and subdivided as required ("figures/ children/ perspective", "technology/ industrial/ 20th century", "architecture/ urban/ interior/ office", etc). Each folder was filled with magazine clippings, photographs, photocopies and newspaper articles. The point being not to copy verbatim, but to inform decisions already made concerning any given composition.

However, rifling through hundreds of paperscraps to find suitable inspiration was almost as time consuming as doing it the "hard way"-- constructing figures and environments as a series of cylinders and cubes, as popularized by the art instruction series by Andrew Loomis (the irony being that Loomis himself was a known photoreferencer). Soon, with the aid of a basic 3D application, I helped the Superman office redesign Metropolis, and I created a set of models to help me visualize the Shockrockets with Kurt Busiek. 3D was a revelation to me-- better than photos, especially for invented props, vehicles and buildings. Figure generation software like Poser never did work for me, for whatever reason.

For certain projects-- Superman: End of the Century, for instance-- I took scores of photos, mostly to keep characters consistent and naturalistic. It was expensive and cumbersome, however, and the lag time between taking the photograph and being able to use it (if it was usable!) negated the positive aspects. Digital photography changed all that, and even Nextwave, with its cartoon sheen, benefited.

Also, huge imagebanks and community photosites started cropping up online. If I wondered whether the NYPD drove Ford Crown Victorias or Chevy Impalas (trick question-- they use both), the answer was available in a matter of clicks. Need to know the typical architecture in the Pyrenees or the Ginza? No problem. The governing philosophy is this: reference is a device, and is only as useful as the artist who wields it is talented. In other words, ideally, it will spur creativity, not stifle it, allowing the artist to work efficiently and effectively. This philosophy isn't new, but there are some camps who will not recognize its value. Still, as more artists reveal their practices in trade magazines or in work blogs, I think digital referencing is gaining momentum.

And I think it's changing the way artists approach their work.

Joe Quesada, Jason Christensen and Dave McCaig are using Google SketchUp to calculate complex perspectives, and design and render background buildings. SketchUp is a versatile and simple tool, with a plethora of open-source models, and bespoke modelmakers like Form Fonts to fill specific needs.

Brian Bolland and Kaare Andrews are two creators so immersed in digital art that they each have told me they sometimes look for an undo keystroke when working with traditional media.

Jonathan Hickman's work on The Nightly News pulls out all the stops; combining drawn, referenced imagery with vector-traced photographs and custom brushes and clipart, Hickman has transformed the way comics look and read in a single effort. Furthermore, he has paved the way for the auteur creator to control all aspects of the work and bypass the comparatively antiquated assembly line method. Hickman alone turns in written, drawn, lettered and coloured work in the same time it takes four or five others to concurrently do the same job.

Despite my bristling reaction all those years ago, I shamelessly admit that the computer has radically altered how I draw, and how I think about drawing. It's improved my speed, and I think, my creativity. I still use a pencil, but it's not the only tool in the shed.

Picasso (a macho artist if there ever was one) said, "Bad artists copy. Good artists steal." I think he was just rephrasing Ecclesiastes: "Of making many books there is no end; and much study is a weariness of the flesh."

What would he have done with Photoshop and a Creative Commons photo library, I wonder?

Stuart Immonen

40 Comments

• At April 3, 2007, Rob Schamberger wrote:

  I've never understood why referencing is such a dirty thing. Thanks for taking the time to write this up, ...

• At April 3, 2007, Omar Karindu wrote:

  Picasso is paraphrasing T.S. Eliot, actually, who famously said exactly the same thing about poets.

  But what we should recall is ...

• At April 3, 2007, Greg Burgas wrote:

  My wife and I recently went to an exhibit of Dutch masters of the 17th century (not enough Rembrandt, darn ...

• At April 3, 2007, BLDawley wrote:

  nice one, man. I'm a person, human to be exact, that is coming from a small dose of comic making ...

• At April 3, 2007, Peter Krause wrote:

  "Amateur imitate, professionals steal".

  I think Igor Stravinsky said that.....

• At April 3, 2007, Bill Reed wrote:

  Fascinating look at the ever-changing comics art processes. The casual observer will hopefully be informed and intrigued by this. I ...

• At April 3, 2007, Jamal Igle wrote:

  I never saw it as a big deal, I use reference , either stuff from books or the net .I ...

• At April 3, 2007, Caleb Goellner wrote:

  Great article Mr. Immonen.

  I'm no artist, but for my simple comic strip in my University newspaper I'm constantly using photo ...

• At April 3, 2007, "O" the Humanatee! wrote:

  As usual, Omar has covered a lot of the important issues, and more eloquently than I could muster. I'd just ...

• At April 3, 2007, Paul Smith wrote:

  I know a number of artists who are artists no longer because, "The computer stole my job." I say they ...

• At April 3, 2007, M. Calero wrote:

  This article is rad. I've been drawing for a good long time and I've always stuck with doing pencil/inks from ...

• At April 3, 2007, Peter Krause wrote:

  I will say "Amen" to brother Paul Smith for his advocation of learning to do it the old-fashioned way. ...

• At April 3, 2007, Rod Keith wrote:

  Ultimately, working from reference is only going to help the artist understand and visualize his subject more concretely when he ...

• At April 3, 2007, P'La Jarvinen wrote:

  Excellent article Stuart!

  I would like to mention that in reality most all comic artists would agree they reference their material. ...

• At April 3, 2007, Jon H wrote:

  In terms of using photo references of people, there's definitely a huge role for it to play, but I think ...

• At April 3, 2007, Joe Bucco wrote:

  Stuart,

  great article. I have always admired your work from SUPERMAN, SUPERMAN: SECRET IDENTITY, ULT. X-MEN, to NEXTWAVE. From the ...

• At April 4, 2007, J.D.F. Mooney wrote:

  I don't know if I've heard any "controversy" over the use of photo reference or drawing from life. Anyone ...

• At April 4, 2007, Goddard wrote:

  there's something wonderful about a Marvel Comics comic book illustrator quoting David Hockney

• At April 4, 2007, Ben Herman wrote:

  I wish someone would use me for reference :)

• At April 4, 2007, Philip Clark wrote:

  Great column. Thanks for posting.

  I think it's pretty obvious from his work that Stuart isn't tracing line-for-line his photo ...

• At April 4, 2007, Bill Williams wrote:

  Referencing real life helps me work out color schemes for specific locations and for specific scenes. I used to ...

• At April 4, 2007, Gustavo Pabon wrote:

  Nicely written Stuart.

  When we are doing work for clients, we are not artist, we are solution providers.

  When we are doing ...

• At April 4, 2007, jarod wrote:

  ha i know how they feel looking for a undo button in traditional media

  i rear ended a lady on my ...

• At April 5, 2007, Douglas wrote:

  Here's a great quote from Leon Battista Alberti's "On Painting," written in 1435, discussing the "cheating" technology of observing the ...

• At April 5, 2007, R.Nav wrote:

  Great Article. I always love it when the replies are just as interesting to read as the article itself.

• At April 6, 2007, M.Smith wrote:

  Great article from one of my favorite artists (can't wait to see your next work). Growing up I had ...

• At April 6, 2007, Tina wrote:

  As someone trying to break into comicbook pencilling, I thoroughly appreciated this article. I used to reference alot and was ...

• At April 6, 2007, HATER wrote:

  a real artist can draw from there brain! if you have to TRACE then you pretty much suck. ...

• At April 7, 2007, ChimChim wrote:

  Computers only provide results. Sure there are software programs and tools to assist in some process, but the user holds ...

• At April 9, 2007, Luc wrote:

  I am glad that this article was written, long overdue.

  But I would love to know more about the apps used ...

• At April 9, 2007, Tony Akins wrote:

  Paul Smith is right, you'll never get rid of us cavemen.

  World-skills go a long way as far as survivability counts. ...

• At April 9, 2007, the wrist wrote:

  I'm a storyboard artist/illustrator for an ad agency-a deadline is a deadline! Norman Rockwell took heaps of reference pics for ...

• At April 10, 2007, Chadwick wrote:

  A computer does not an artist make. Using reference material is not copying in any way. When an artist uses ...

• At April 10, 2007, Olin Fnard wrote:

  That is a great article, and a subject that I think has become more and more fuzzy as time and ...

• At April 11, 2007, Joe Brush wrote:

  So I guess I'm not the only one who reaches for control-z when I'm drawing on paper after spending hours ...

• At July 19, 2008, Joe Singleton wrote:

  I'm coming in late on this discussion, but I couldn't agree with Stuart more. Only one thing, though, I can't ...

• At August 11, 2008, chair wrote:

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• At August 11, 2008, chair wrote:

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• At August 12, 2008, chair wrote:

  xoucvd eksavh

• At August 13, 2008, iron wrote:

  grhuilf

Seven People I Hate.

Since I started drawing comics in 1997, I've met a LOT of talented people through various collaborations, conventions and random run-ins/knife fights. Over the years, I've watched as many of these friends of mine have gone from grubby indy startups to "overnight" success stories and even mainstream fan-favorites. So, when I was asked to write a column for this fine site, I decided reflect upon all those talented friends I've made over the years and finally let something off my chest.

I hate them.

I mean, not in a "I-detest-you-with-the-fury-of-a-thousand-suns" kinda of way... More of a "I'm-a-very-petty-insecure-person-and-wish-you'd-have-an-accident-that-prevents-you-from-being-so-awesome" kind of hate. I can't help it.

Take for instance, Jason Alexander. Not the Seinfeld guy... that guy that draws The Escapists for Dark Horse Comics. I used to share an apartment with Jason back when he was aping old Todd McFarlane Spider-Man pages and sporting a gravity defying mohawk. Those days, we would work at our tables until the wee hours and talk about how cool it would be to draw comics for money some day. Since then, Jason has made evolutionary leaps in his artwork. It's sickening. He'd never heard of Gustav Klimt or Egon Schiele when we first met, but now he's become an accomplished painter. PAINTING? When'd he learn how to paint? How dare he! He's enjoyed much success collaborating with pal, Kent Williams on projects in both comics and film as well as his own fantastic comic work on Queen and Country and The Escapists. It chills me to bone see how far he's come in 10 years. Obviously, I hate him for this.

There's Tony Moore who I met years ago at a convention when he was hanging out at the booth right next to the newly formed Devil's Due Productions. He was pushing a book called Battle Pope with some guy named Robert Kirkman (whatever happened to that guy?). Years later, when I saw The Walking Dead, I couldn't believe it was the same artist! Mostly because he was wearing that ridiculous cowboy hat (See? There I go with the pettiness. In truth, I'm just jealous that I cannot pull off such a look). Seriously though, his line work became more economical, but no less exciting or expressive... and he also was showing off his fancy new computer coloring skills. Where does he get off with that? I've attended conventions and sat next to Tony's table a couple of times. I like to try and look out over artist alley through the line of people queued up in front of my table that is actually for him. Why WOULDN'T you hate this guy?

And speaking of goons, how about Eric Powell. I've known Eric as long as I've been working. He lives on a scrapheap in outskirts of Nashville, TN. It wasn't Eric's awesome artwork (that jerk can paint too... jeez!) that made me come to hate him, but his awesome sense of humor. Anybody who has picked up a copy of The Goon from Dark Horse knows this already, but I had no idea. See, Eric's kind of a quiet guy, and so am I. Most of our conversations consisted of us just staring at each other until finally one of us felt uncomfortable enough to leave. Since those days long ago when we'd attend one-day comic shows at the Ramada Inn, Eric's worked for pretty much every comic company ever. His book was mentioned on ER ( What the HELL, dude? HATE!), and he's won like 34 Eisners. Even though I hate him, I like to pretend he named Norton's Bar in The Goon after me.

Let's talk about Jeremy Haun. I don't want to, but since this about people I hate, I should bring him up. When I first met Jeremy, playing guitar for change in a subway station entrance... Okay, that never happened, but I don't remember meeting Jeremy so work with me. Since those fictional subway days Jeremy's gone from indy to indy book, each better than the last. Why couldn't he just stay the same? No, he had to get better and better. Now he's doing Civil War Tie-Ins and such. Jeremy's a genuinely nice person and it's hard to find something to actually hate about him... AND THAT'S WHAT MAKES ME HATE HIM.

There's a special spot in my hate for Josh Blaylock. When I ran into him at convention after convention so long ago, I had no idea he was going to become the comic book businessmeister he's grown into today. This guy drew a book about PENGUINS for crying out loud! I think my exact words when he told me he had purchased the rights to G.I.JOE was "Wow, you're not as dumb as you look". Now he's been running his own company with actual employees (I was one of 'em, for Pete's sake!) and stuff. There isn't a shade of green appropriate for the jealousy I feel for this man and his trendy haircut. He's actually built a little empire out of a dream and some credit cards. Somebody should write a book about this guy. He is smart, and I am not. For this, I hate Josh Blaylock.

J. Torres came up to me at a Wizard World Chicago show many years ago. I knew him as "that Canadian dude that wrote the Copybook Tales". We've collaborated a few times over the years on books like Jason and the Argobots and Teen Titans Go. Although he has been like a big brother offering wisdom and guidance many times to me over the years, I still hate him. This guy works on more projects than humanly possible. He's not just satisfied with comics either, he's gotta write for cartoons and stuff when he's not hanging out with actors from Degrassi Jr. High. Why can't I write for a cartoon? Huh, Huh? Some may point to my lack of ability. I prefer to blame J. Torres.

Speaking of brothers, I have to bring up Sean McKeever. Sean and I go wwaaaay back. He IS like a brother to me. Unfortunately I already have a brother AND I HATE HIM TOO. Sean's gone from writing depressing stories about teens standing in the snow in The Waiting Place (drawn by me!) to Marvel cult favorite on books like Spider-Man Loves Mary Jane. Now, he's working exclusively for DC. Man, why can't I know anybody that just wants to sit on the couch and watch People's Court all day? When I go to visit McKeever's stately manor, I swear he likes to leave out his copies of Scientific American and various Alegebra books just to brag. I HATE SMART PEOPLE. This is because I can't read.

And since we're discussing illiterates, let's finally mention Tim Seeley. When I first started working at Devil's Due Publishing, I saw a photocopy of some characters drawn by Tim. I demanded to know who the artist was, because even then his work was too good. When I found out he was moving down from the ice fishing tip-up he called home in northern Wisconsin to work at DDP, I immediately consulted the local voodoo priestess to find out how I could drive this guy out of Dodge. Alas, my efforts failed and Tim's not only managed to stay gainfully employed at Devil's Due, but he's flourished. Ideas come out of this guy like a leaky toilet. It's ridiculous. He's a fan-favorite artist with G.I.JOE and Forgotten Realms under his belt and now Rogue Pictures making a movie out of his personal creation, Hack/Slash. I gotta get a better Voodoo priestess.

I have to stop there. Dwelling on all this hate just simply isn't healthy. Ten years of dealing with so many talented people has only built my own insecurities in to full-on paranoia that I'm seeing a team of 12 shrinks about. I've told many on this list several times that I'd rather they experiment with drawing with their feet or writing stories using only the "L" and "Q" keys on the computer keyboard. They almost always snicker and reply with a "Aw Mike, you so crazy". This makes me want to punch them in the brain. However, such behavior is frowned upon and usually just slink off to my studio/den of jealousy. Some would say I'm lucky to have swam in such circles, but my scheming, rodent-like brain can only see how my life would be so much easier if I was the only guy that made comic books. Seriously, is that too much to ask?

24 Comments

• At February 6, 2007, Scott Cederlund wrote:

  I've heard Mike on his own podcast, Crankast, and others. I know he hates more than only seven people.

• At February 6, 2007, Chris Neseman wrote:

  I hate YOU Mike Norton!

• At February 6, 2007, Eric Oliphant wrote:

  If it makes you feel any better. I'm sure there are plenty of people who hate you too. Plenty of ...

• At February 6, 2007, keith cunningham wrote:

  I think we all sort of hate Mike, deep down in our special places.

• At February 6, 2007, Andrew Collins wrote:

  I don't know, I think a Norton/McKeever cage match could be kind of fun to watch... :)

• At February 6, 2007, Lisa from Neptune wrote:

  You know who I hate - Mike Norton. Why? Because he won't respond to our emails about setting up a ...

• At February 6, 2007, Lin Workman wrote:

  "I don’t know, I think a Norton/McKeever cage match could be kind of fun to watch…"

  Ten bucks on the wookie.

• At February 6, 2007, thekamisama wrote:

  Eric Powell is a right funny bastard outside the four panels. I can attest to this from personal recollections at ...

• At February 6, 2007, Dwight R. Vlahos wrote:

  It wasv ery unclear from this writing that it was intended as a humor piece for sarcasm. Also, the author ...

• At February 6, 2007, Lisa from Neptune wrote:

  OK. I love Mike again now. See you in May!

• At February 6, 2007, B. Clay Moore wrote:

  Hey, Dwight Vlahos...did you reall just namecheck Rich Buckler?

  Rich Buckler??

  Heh.

  Mike Norton, I will always love you.

  -BCM

• At February 7, 2007, J To The AAP wrote:

  Pretty funny to see someone criticize anyone's writing using 'words' like "DESPERITELY", "write.r" and "cuthtorat". Who's 'DESPERITELY' in need of ...

• At February 7, 2007, Paperghost wrote:

  "a humor piece for sarcasm."

  .....what a completely bizarre phrase. Also, your blog makes absolutely no sense whatsoever, so...y'know....stones in glass ...

• At February 7, 2007, Vichus Smith wrote:

  Yeah, Mike Norton! You give 'em what for!

• At February 7, 2007, crank! wrote:

  "I’ve heard Mike on his own podcast, Crankast, and others. I know he hates more than only seven people."

  Yes, but ...

• At February 7, 2007, MarkAndrew wrote:

  Woo! Dwight is back! Now maybe comics can get good again.

• At February 7, 2007, Jack Norris wrote:

  I didn't click the link for Dwight's blog when I first read his comment, but as soon as I read ...

• At February 7, 2007, chroom wrote:

  Regarding Dwight, I'm just glad to finally get some sound advice on how to "succeed very far" in comics.

  No one ...

• At February 7, 2007, SpazDog Comics wrote:

  I really enjoyed Mike's work on the Marvel Adventure. Kids deserve great art too. Mike is spot on ...

• At February 8, 2007, Paperghost wrote:

  "I didn’t click the link for Dwight’s blog when I first read his comment, but as soon as I read ...

• At February 8, 2007, J. Torres wrote:

  Funny article, but it's even funnier when you re-read it replacing the word "hate" with "teabag."

• At February 8, 2007, Dwight R. Vlahos wrote:

  choooom - you are welcome, I am more than glad and willingly help young people like you or the mike ...

• At February 9, 2007, Carl wrote:

  You're preaching to the choir here. I remember meeting you, Leanne, and Jason in the artist alley at SDCC many ...

• At February 12, 2007, Apodaca wrote:

  I know Dwight R. Vlahos.

Since I was seven years old, I wanted to be a comic book writer/artist. It was my only passion, so I devoted (perhaps too many) hours reading and studying all the nuances that made a comic book. Art was always my main interest, because for this '70's child, a lot of the stories were way over my head, whether it be a Steve Gerber text page or anything by Don McGregor. I was initially confused when seeing my favorite artists (pencillers then were credited as 'artist', the inker, just 'inker') do stunning work one month, then see the same artist's work appear ugly and sketchy the next. It didn't take long for me to deduce the reason: The only difference on the credits page was the inker's name.

Pencil and ink are two different disciplines and mediums completely. I still had favorite pencillers, but the inkers, particularly the good ones, caught my attention. Anything inked by Giordano, Adams, Giacoia, McLauchlin, Romita, Sinnott, Janson, Anderson, Austin, Wood, Palmer, Layton and the subject of this retrospective, Bob McLeod, showed me how good comics can look when I wanted to impress a non-comics fan.

I began corresponding with Bob McLeod last year when I felt compelled to contact him via email, thanking him for making Rough Stuff #1 (as Editor for the publisher, TwoMorrows) such a terrific comics-loving experience.

Bob asked if he could publish my missive in RS #2's letters page, and I agreed. Since then, I'd had some dealings with TwoMorrows, such as contributing a scan for Modern Masters: Kevin Maguire. This fueled my inner geek, and I began offering Bob some photocopies of pencils from various books I've worked on, and we began a friendly dialogue. Then it occurred to me: Bob probably has some great stories, having a decade or two on me in the funnybook biz. I asked Bob if I could interview him, and coincidentally, CBR's own Brian Cronin had just invited me to submit an article or blog. The planets aligned, and here we are!

Drew Geraci: How is your name pronounced?

Bob Mcleod: It's easy: Bahb. Oh, you mean my last name? Sorry, I couldn't resist. Not like it's spelled, and not like a cloud. It's Scottish, so if you pronounce it with a Scottish accent, it sounds obvious. Think of it like a loud noise. mac-LOUD.

DG: It reminds me of Dennis Weaver's TV character, McCloud, and how the police captain always yelled at him: "Mac-LOUD!"

DG: How did you break into this crazy business? Did you start as an assistant?

BMc: That's quite a story, which you can read about on my web site at www.bobmcleod.com/start.html , but basically, after spending the summer doing sample page after sample page and getting nowhere, I finally met Neal Adams, who called Marvel and got me the job in production. With my foot in the door, I was later able to get freelance work.

DG: What was your first professional work? The earliest I can peg you down is Defenders #24. I remember, even as a wee lad, seeing how three-dimensional your inks were on regular penciller Sal Buscema. No disrespect to Sal Trapani, Jim Mooney or others, but at the time, I felt you and Klaus Janson were the only ones who could elevate Sal's art to stand shoulder-to-shoulder with the 'hot' pencillers of the time.

BMc: I started in the production dept. at Marvel, doing lettering corrections and then art corrections. I added grey tones to several jobs in the black and white magazines. My very first comic art job was penciling and inking a satire of the movie West World for Marvel's Crazy magazine. As a kid, I wasn't into superheroes, I was into Mad magazine and especially the work of Mort Drucker. I continued to do a lot of penciling and inking for Crazy, and I started inking backgrounds for Esposito, Janson, and Milgrom. Then I inked a job with wash tones over Don Heck for one of the black & white mags but it was never published. I inked a few more jobs for the magazines, then finally inked a color comic, Kazar #7, over John Buscema's breakdowns. Then I inked Frankenstein#16 over Val Mayerick, then Son of Satan(Marvel Spotlight #22) over Sal Buscema's breakdowns, and then Defenders #24. Son of Satan was where I finally started to get the hang of inking and people at Marvel liked me over Sal. I looked at what Klaus did with Sal, and tried to compete. I was studying inking constantly, trying to unlock the mysteries of Tom Palmer and Neal Adams.

(click on all images to enlarge)

DG: Don Heck was such an underrated, underappreciated talent, and these pages you've graciously shared with us bear that out.

BMc: Yes, I always liked Don's work. I enjoyed inking that job, and wish I could have done more over him.

DG: I thought you did exceptional work on the late John Buscema's Conan during the post-Roy Thomas period. What was it like inking Buscema? From his interviews, I got the impression that he could be a malcontent about inkers, wishing he could always ink his own stuff, but Marvel needed his dramatic pencilling more. Did you have any phone conversations with him or was it just a job?

BMc: He was my favorite penciler to ink, because he gave the inker the most to do. All he supplied was the bare bones layout. I would gladly have inked him for years, but a project called The New Mutants came along. I met him up at the Marvel office once. Stan had him come in and try to teach us newbies how to draw faster. He probably didn't care for my inks, because I didn't ink him in the Fosterish school he preferred. I was too influenced by Palmer and Adams. If I had it to do over, I probably would ink it closer to his own style. I never had any phone conversations with anyone I inked, that I remember. My attitude was that I should just make the job the best it could be. If the penciler wanted to be traced, he should ink it himself. I didn't like anyone telling me how to ink. Most of the pencils I inked were loose and needed a lot of help from the inker.

DG: You pencilled AND inked not only one of Marvel's first Graphic Novels, but the first X-Men spinoff team ever, New Mutants! This lead to your work on the initial ongoing series, which came out immediately after the NMGN. Why did you only do the first few issues?

BMc: That was the first regular book I had pencilled, and I just couldn't draw fast enough to meet my own standards. After rushing through the graphic novel, I immediately had to pencil the first issue of the series. There were many fewer inkers working in comics at that time than there are today. I gave them a list of 10 inkers I'd prefer to work with, adding Mike Gustovich just to round out the list to 10. Just as it took me years to become a good inker, Mike was a very weak, inexperienced inker back then, though I think he's improved tremendously since then. After 3 issues of very rushed pencils and very weak inking, I had had enough, and asked to be switched to inker, because I figured I could better control the look of the book by inking breakdowns over another artist. And that worked initially, but then we started having to do stupid things like put Team America in the book, and while Sal Buscema is a very talented artist, he was probably pencilling 2 or 3 books a month, using mostly straight-on medium shots because he didn't have time to think of more interesting layouts, and I decided I wanted to do more with my art than just ink a boring book over rushed layouts. I very reluctantly left the New Mutants after inking issue #8. It was a stupid decision, I know. I can't think of another penciller who has quit a series just because he didn't like the inker. But I had done so much inking that the finished look of the art was very important to me. It's the same reason I later quit pencilling Superman in Action Comics. But the New Mutants were my babies, and I just didn't want to do them if I couldn't do them right.

DG: It's been alleged that both the NM graphic novel and series were scheduled too soon after being greenlit. Was it a situation similar to the first Punisher miniseries (by Grant/Zeck/Beatty), where the book was "late" before it began (leading to a fill-in team to complete the final Punisher chapter)?

BMc: Yes. It was originally just supposed to be a regular comic. Then, after I had begun pencilling a few pages, they decided to make it a graphic novel, but the novels were on a different production schedule, and they needed 50 pages right away, ASAP. Marvel stupidly scheduled the graphic novels and then scrambled to find projects to put into them, rather than at least getting projects assigned and underway first and then scheduling them. I wanted to pencil and ink the graphic novel, but there was really no time. This was one of my first pencilling jobs. I had very little experience and really needed more time to think and work on the layouts, but they needed to meet the printing schedule so I had to draw it as fast as I possibly could. Coincidentally, in addition to getting my first major pencilling assignment, I was also getting married right then, and had already planned a honeymoon when they said a certain other inker was going to ink it if I didn't have time, because they needed it right away. I knew he wouldn't give it the look I wanted, and I had seen him do inking I didn't like on some other projects. So I decided it was too important and I had to ink it myself. I worked through my honeymoon, inking as quickly as I could move the pen. The result was a 2nd rate job, unfortunately.

DG: In New Mutants, I really liked your redesign of the Sentinels (blue & gray, instead of the two-tone purple). Tell me your thinking behind that. Was it suggested, or was it an artistic impulse?

BMc: They asked me to come up with an updated design for the Sentinels. Something new but still similar to the old ones. I changed them in subtle ways and I had always thought pink and purple were ridiculous colors for them, so I suggested blue and grey.

Bob on his Sentinel style guide: "I just drew it for my own use. They didn't request [that I] get it approved."

DG: Far as I can recall, the next time the Sentinels were used, the old purple style resumed. Had your versions popped up anywhere else?

BMc: I know I saw them used somewhere else, but I don't remember where. Marvel was very disorganized in that way, and the next artist and editor were probably totally unaware that I had redesigned them.

DG: About the Sentinels, I conjecture that the reason for resuming the original design and color scheme was because that's how they were shown in the classic Claremont/Bryne/Austin Days of Future Past storyline, which takes place in an apocalyptic future (is there any other kind in comics?). Hence, the Sentinels were back to purple with the chicklets on their heads. Do you agree that could be the reason?

BMc: I don't know. I had moved on to other things, and didn't really pay attention. It wasn't a big deal, where I was trying to make my design THE new Sentinels. It was just something I did for that issue and then forgot about it. It may disappoint you to learn that I'm not a big comic book fan. I love to draw, and I got into comics originally thinking it would be temporary until I moved on to illustration or animation. I stuck with it because it was so challenging, and then the work was very steady and I was making a good living for many years while we were raising a family. I think comics have gotten way too dark and serious and the fun is no longer there. I'm still blown away by the art, but for the most part it's not the art I want to be doing. I had much more fun on my SuperHero ABC book than anything I ever did in comics other than maybe Teen Hulk.

DG: I loved Teen Hulk! Sometimes it was the only reason to buy Crazy Magazine (Marvel's answer to Mad & Cracked, one that lasted a good ten years)! Teen Hulk's been out of my radar, since it's never been reprinted, but now I'll have to scour magazine sections at cons! A digest-sized collection of Teen Hulk would be ideal.

BMc: I had so much fun on that. I would love to see it reprinted.

DG: Since you've just also mentioned Superhero ABC, how has it been received?

BMc: Very well. It's gotten almost all five star reviews from readers on amazon.com, and two starred reviews from top children's book critics. School Library Journal voted it one of the best books of 2006. I've gotten many emails from families who love it. It's also selling very well, and is in its fifth printing, I think. I've written two more children's books I hope to get published soon.

DG: How long did it take to complete Superhero ABC, from conception, to execution, to marketing?

BMc: About eight months working full-time. I would have spent much more time on it, but HarperCollins was rushing me to finish it so they could get it into their fall schedule. I did the art for the first two letters and wrote the preliminary text for the rest of the book and sent it off to several publishers. HarperCollins called about six weeks later and offered me a contract. I totally redid several pages as I got better ideas and as I made several of them into double page spreads.

DG: Who was your favorite editor to work with, and why?

BMc: Mike Carlin, when I was penciling Action Comics. He was such a good editor. He knew exactly what to tell me to make my work better. He was there when I needed him and stayed out of my way when I didn't. He knew what he was talking about and was very competent at his job. He had a very informed opinion. It was such a pleasure working with him.

DG: Comic fans may not realize this, but many inking assignments have called for 'ghosting', uncredited assistance on backgrounds from fellow pros (or any warm body in the room) to meet tight deadlines. Do you have any crazy stories involving 'jam' issues?

BMc: I wouldn't call them crazy stories, but I've been involved in far too many to mention. I was also one of the regular Crusty Bunkers, a group of artists who inked comics under the direction of Neal Adams. Neal would get a job, and be responsible for maintaining a certain level of quality, and he'd pay us his inking rate, split up among everyone who worked on the job. It was very piecemeal, with each person often just inking an arm or a leg or parts of backgrounds. We were all in Neal's studio, and we just passed the pages around, letting people ink whatever they wanted. Neal had dibs on the main figures and told us beginners to mainly do backgrounds, but we also did secondary figures. It was a great experience.

I also ghosted a few of pages of Secret Wars for John Beatty (the last four from #6). The deadline was very tight, and I bet him and Zeck I could ink a page in three hours with no loss of quality, and I won the bet (page 21 of #9--I also inked the cover).

DG: When I started collecting comics, I was initially a Marvel Zombie. That said, I tend to associate you with a lot of Marvel projects, but which of the "Big Two" comics companies have you spent most of your career inking? Also, any Image, Dark Horse or other comic publishers you'd like a crack at?

BMc: Actually, I've probably done an equal amount at both Marvel and DC. Early on, among other things, I inked some memorable Legion of Superheroes comics over Jim Sherman, a few Society of Super Villains over Buckler and Arvell Jones, a couple Karate Kid over Juan Ortiz, several Firestorm issues over Milgrom, and two Aquaman comics over Don Newton. Then later on I was regular inker on The New Titans and Wonder Woman over Perez, Detective Comics over Nolan, Wonder Woman again over Paquette, Jemm Son of Saturn over Colan, Psyba Rats over Dutkiewicz, and I pencilled Action Comics for two years, also inking several issues, and I inked a 54 page Legends of the DC Universe: Crisis #1 over Paul Ryan. I penciled and inked a job for Dark Horse, and penciled and inked a couple for Pacific Comics, inked the Visitor for Acclaim, inked Mister Hero for Tekno Comics, and penciled and inked Freemind for Future Comics. The only thing I regret not getting to do is I would have liked to pencil a Batman job, though I did draw him in Action #654.

DG: The late Don Newton was finally given a respectable tribute in Back Issue #19 How was it inking him? I honestly consider his elegant style the genesis of the Alan Davis look.

BMc: Don was great to ink over. He was doing some more interesting lighting than most pencilers at that time, and the work looked very attractive and solid if you inked it well. I wish I had inked more over him.

DG: Gene Colan on Jemm: Fun or pain-in-the butt to ink? I've only done some commissions over Gene's pencils, and I was fortunate to have a flexible deadline as it took me weeks of staring at it, trying to resolve how to make his halftone grays into black graphics.

BMc: I've always totally enjoyed inking Colan. I also inked him with grey wash tones on Howard the Duck and Dracula. That's really the best way to go with Gene. I've sometimes used zipatone for his greys, as Palmer used to do lot, but I usually try to interpret his greys with crosshatching or scribbling. Trying to interpret those greys is the fun of inking Gene. I saw Neal Adams ink some Colan panels ghosting on a Leialoha Howard the Duck job, and Neal just used a lot of linework in the grey areas, so I was influenced by that.

DG: Speaking of the legendary Tom Palmer, how was your experience on Marvel's Star Wars, when he inked YOUR pencils?

BMc: Tom is my favorite inker, and he was already on the book when I came on as penciler. He asked for breakdowns, which I was happy to do, because I wanted to study what he did from layout to finish. I learned a lot. He did a lot of lighting I wouldn't have thought of, and has a more realistic approach to faces than I do. With my Mort Drucker influence, I often tend toward a more cartoony look. Tom is also excellent at Wookie fur. I thought we made a great team.

DG: You later inked Dale Keown on the Hulk during one of his most eventful transformations (Hulk's, not Dales), and I've contended that his work never looked better than when you or Mark Farmer inked him. What was that experience like?

BMc: Dale was a pleasure right from the start. His work had a nice warm feel to it, and it was fun to ink. As we went on, he began to trust me to finish up anything he was too rushed to develop fully, and I took over in a lot of areas. But mostly I was just trying to keep that same lush feel the pencils had. I think Mark Farmer, who took over after I left, did a great job. He used a brush, where I was using mostly pen, so it had a heavier feel.

DG: In the early 1990's you pencilled one of the many Venom miniseries, Venom: The Enemy Within. Was he a tough title character to work up enthusiasm for (being that he was so overexposed at that time)? It appeared to me that you may have shifted your style a bit. Were there pressures to go for the then-hot Image style?

BMc: Yes, there was actually a lot of pressure to adopt an Image look. I tried to blend it into my own style, though. There's plenty of my style in the lighting and drawing. In fact, I think there's some of my best work in parts of that mini-series. I particularly like the first three pages. And the two-page sequence of Hobgoblin crashing in on the acolytes I had fun on. Take another look at the second issue. There's a lot of my style in there. I hated the Venom character, but did my best with it. I pencilled and inked the first two Venoms. The 3rd Venom was a rush job because I had lavished so much time on the first two, and of course Marvel always schedules issues before they're completed (usually before they're assigned!). Loose pencils and inked horribly by a novice inker. I inked the last two pages myself. That's how the whole issue should have looked.

DG: Did you ever ink Gil Kane? If so, how was the experience?

BMc: I inked him on one cover, a couple pages of the Superman wedding issue, and I recently inked an unpublished Spider-Man page as a commission. He was great to ink. He gave the inker lots of room to play. I wish I could have done more.

DG: You've been pigeonholed as an inker primarily, but when you've pencilled, how do you like or dislike other inkers on your stuff?

BMc: I know I'm better known as an inker, but I've always done a lot of penciling as well. I penciled and inked several fill-in issues on various titles, I penciled runs on Star Wars, as we discussed, the New Mutants, and Superman in Action comics. I've been inked by some top inkers, Palmer, Rubinstein, Breeding, and some lesser-known inkers, Gustovich, Candelario and Rodier. For some reason, even if I like their inking on other artists, I just haven't been satisfied with them on my pencils. It has little to do with their inking, though a couple of them were too soft or flat, and didn't make the drawing solid enough. I like a real solid, 3D figure. But it's mostly their drawing. They've mostly all changed the drawing of the faces. Too many inkers misinterpret pencils because they don't draw well enough. I guess I just have a very definite idea of how I want my drawing to look and need to ink it myself. I've always struggled with wanting to do both penciling and inking and being continually foiled by deadlines.

An example of good storytelling 101 from Action Comics #672

DG: In 2000, you pencilled a beautiful Hawkman & Hawkgirl short story in Legends of The DCU 80-Page Giant. Even thought it was a Silver Age-era story, I think you had the misfortune of drawing characters that were 'homeless' at that time, until Geoff Johns retooled and popularized them. Would you ever revisit the characters, given the chance?

BMc: Thanks, but I'd rather not. I wasn't at all comfortable doing those characters. Of all the jobs I've done, I'm very surprised you would single out that one. But I'm glad you like it.

DG: Do you wish to discuss what went wrong with Future Comics? Was it the old saw about money running out? I noticed you switched hats on Freemind. An inker one issue, a penciller another. For the record, I thought Freemind had potential, but even with 28 pages of story (six more than the industry standard 22), asking $3.50 for a new book in 2003 shot Future Comics in the foot, IMHO.

BMc: I'm not a businessman, I'm an artist. I don't know why they failed. I just didn't like their books. I respect Giordano and Layton a lot. Bob Layton helped me get work at DC after my career had stalled early on when the Black Panther was cancelled at Marvel, and I owe him for that. But Future Comics was everything I hated about comics: complex backgrounds requiring a lot of reference, unattractive characters, etc. I switched from penciling to inking because I just couldn't stand to draw that stuff. The penciler they gave me did nothing to improve the situation. I left to do other stuff and they later collapsed.

DG: Have you changed inking tools over the years? Let's get technical for the readers at home...

BMc: The quality of inking tools has steadily declined in the last few decades. To begin with, The paper supplied by Marvel and DC was much better in the 70's than in later years. I started inking using the same nib Neal Adams used, the Gillotte 290. That was a wonderful nib that had a great flex. Rubenstein and I then began searching for a nib that would give us a brushy pen line like Palmer had. He was secretive about his nib, saying it was some point he bought hundreds of and wasn't available anymore. We settled on the Hunt 103, which was extremely flexible and terribly difficult to control, but you could get a real brushy look with it. Joe said Neal tried it and told him he couldn't ink with it. Joe and I both used that for several years. Then when Image came along, everyone wanted a more crisp look. The Hunt 102 became the standard. I use that now, but I've moved to using much more brush than I used to. I've always used the Windsor-Newton series 7 #3, but in recent years the quality has declined, and I got some of the Raphael 8404's, which is what I'm using at the moment. But it doesn't have the same wispy feel of the WN. You just can't do the same kind of line work with it. In addition, india ink has gone to hell. I use Pelikan, but I can't find any ink as good as it was in the 70's.

DG: I agree 100% about the decline in art supply quality, particularly ink! Pelikan is my choice as well, but by default.

DG: This question calls for one of my typical indulgent rambles...We've both jumped around a lot on the comicbook landscape, art collaborating with many new and old pros, while many inkers are known for years as primarily one-half of an "art team" with the same penciller. For periods of time, I've been one-half of an art team before being pulled apart by one reason or another (usually conflicting assignments from different companies, but sometime clashes in artistic temperments). When I get a new penciller/assignment, the personal connection I've developed with the previous penciller tends to drift away, except at the rare phone call or convention. When I'm part of a new ongoing partnership, I tend to deal with the penciller on a more personal level, through lengthy phone calls or daily emails. Now that I've selfishly told you all about myself, who would you consider your closest professional relationship in your career?

BMc: Does being engaged to Jim Shooter's secretary count? After the first six years, when I lived in and around New York City, I moved to Florida for ten years, and I now live in Pennsylvania. I've never socialized much with other comics people except when I was starting out, working in production at Marvel and working at Neal's studio. I hung out with Mike Zeck and John Beatty for a time, and Joe Rubinstein, and a few others, but for whatever reason I haven't really maintained any close ties with anyone in comics.

DG: I loveloveLOVE Rough Stuff Magazine! The quarterly schedule is a torturous wait for me! How did you get the editorial chores? And what goodness can we expect in the future?

BMc: I had sent a big batch of xeroxes to Back Issue, when I read they were looking for material for the Rough Stuff feature they had, and I wrote an article for them about inking "rough" pencils. That issue evidently got a lot of good response, and they coincidentally at that time were looking to spin their Rough Stuff feature into it's own magazine. They offered me the job, but I was reluctant to take it at first, because I wasn't a writer and had no editing experience, and really don't work in comics anymore and had been distancing myself from the business to pursue work in children's books, but in the end I decided to give it a try. The first three issues, especially #1 and #3, have had a lot of input from me in them because I didn't have anyone else to write articles and do interviews. Now I'm trying to delegate more stuff to other people. So there are articles and interviews coming up by other people. I'm cutting back on the number of artists per issue, to allow us to give a more in-depth look at each artist, and I'm encouraging them to write longer comments to give more insight into how they think, and also add more reading material to the magazine. I want to keep it mainly focused on the art, but I also want readers to have a lot to read. We have a number of great artists coming up in future issues, both old and new, and I'll continue doing my Rough Critique, which has been popular with our readers. Hopefully, the magazine will keep getting better and better as we go.

Bob McLeod's latest issue of Rough Stuff (#3) is still on stands, and #4 will feature Steven Bissette, Gene Colan, Andrew Robinson, Howard Chaykin, John Totleben and more! All issues are still available at www.twomorrows.com .

Drew Geraci is currently working for DC on alternating issues of 52 and WW3 with Patrick Olliffe. To see a McLeod/Geraci unpublished Venom cover, visit www.drewgeraci.com .

8 Comments

• At January 30, 2007, T. wrote:

  Wonderful, WONDERful piece guys, take a bow. Bob McLeod is one of the greatest ever, whether inking, pencilling or ...

• At January 30, 2007, Dan K wrote:

  A very interesting piece, thanks alot. I've always thought that inking and lettering were the least appreciated of the comic ...

• At January 30, 2007, Chuck Dixon wrote:

  Great interview, Drew!

  Love that Bob!

  Nice to read an experienced pro quizzing an even MORE experienced pro.

  Much to be learned here ...

• At January 30, 2007, SwanShadow wrote:

  Marvelous (no pun intended) interview, Drew.

  Bob McLeod is not only one of my favorite inkers, but one of my favorite ...

• At January 30, 2007, T. wrote:

  Gotta respectfully disagree with Dan K., I don't think you only notice inkers when done badly. Bob McLeod was ...

• At January 31, 2007, MarkAndrew wrote:

  That was really interesting.

  I never pay much attention to (or even notice) inkers, unless it's someone who's work ...

• At February 2, 2007, Anthony G. wrote:

  I worked with Bob McLeod a few years back as an assistant and later at Ecko, and one thing that ...

• At February 9, 2008, Georgie Roussell wrote:

  A super inker who doesn't get the credit that he deserves.

Whenever I meet people at, say, a wedding or a party, they ask me what I do? I do plenty of things. I brush my teeth, I eat food, I take showers, I drive my kids to school, I watch football games. But that's not what they want to know-really. What they really want to know is what do I do for a living, so they can judge me as someone worthy of talking to or someone to make a run to the bar to avoid.

But to be honest, I can't really describe what I do, so I usually say I'm an insurance salesman and, moments later, they make that run to the bar. But seriously, what is it that I do? I know that people who read comics and those that are in the business label me a letterer. And that's true, I do letter a bunch of books and have been doing so for fifteen years and that's what I'm known best for. But I also do more that that. I do things that I think I'm better at, but everyone else thinks is a hobby of mine. I want to shout at the top of my lungs that I'm more than they think I am.

Let's be honest here. Letterers are the scum of the industry. Everyone looks down on what we do-except maybe Augie De Blieck-and thinks that the art of lettering is akin to moving furniture. You can get just about anyone to do it and it'll look the same. We are a necessary evil and are usually the least-considered member of the team on any given book. We don't even get a credit on the cover like everyone else.

To prove my point, here's a story from years ago. It's no slight on Wizard-I like everyone there and they've always been kind to me and I love hanging out with them, so no Wizard bashing here. That said--I was lettering the Black Bull line of books at the time and they invited me to the Chicago show. I agreed, thinking that I was being shown a level of respect I didn't get anywhere else. I was a member of the creative team. I later learned that they were paying my way, so I could man the Black Bull booth. That's one way to deflate an ego. But, I always keep my word and shut my mouth and did what was asked of me. I spent the entire time manning the booth with my good friend Glenn Herdling, which made it fun.

Then it was time for the Gatecrasher team to do their signing. Mark Waid, Jimmy Palmiotti, Amanda Conner, Paul Mounts and...well, I was manning the booth. It was my job to make sure the talent were taken care of. So, I was the one who had to get them drinks and snacks. It was embarrassing, both for me and my co-workers, whom I also considered friends. It was made better when Gareb Shamus saw what was happening and joined me in getting the snacks. Gareb has always been a stand up guy and he made me feel better about what I was doing, so no animosity at all. It was what it was and I was used to the feeling of being considered less than the rest.

But, I am more than they think I am, I can do more than they think I can, I can do different things than they think I can. But no one seems to notice.

For example, did you know that for the past five years or so, I've also written and drawn cartoons for the "Complete Idiots Guide" books? Did you know, for two years, I wrote a golf strip for Sports Illustrated? Did you know I wrote and drew my own self-published book at Image? Did you know that I write and draw a comic book for Marvel Comics? I've done all of those things and what is my label? Letterer.

Speaking of Franklin Richards, the book I co-write and draw. That book is labeled an "all-ages" book. Another label. It's not a bad label either. Unfortunately, there's a perception that comes with that label-"kiddie stuff". People dismiss this book out of hand as beneath them, as children's books, as something stupid people read. Sound familiar? That is what drives most people within the comic book industry crazy about the outside perception of the label "comic book".

So, the world, in general views "comic books" as a label to describe material for kids or stupid people. They're all about guys flying around in tights and nothing more, so why bother reading. Believe me, I understand it because my "all-ages" book has been ghetto-ized in a ghetto-ized industry. We've been nominated for an Eisner award, a few Harvey awards, but it's just some kids book. But, as I said before, I'm used to being looked down on and I'm okay with it.

The label "comic books" is so bad now that movies will label their adaptation of a comic book as "From the graphic novel work of..." so that it isn't considered cheesy and scare off potential viewers. There is a perception out there that makes everyone within the industry want to scream at the top of their collective lungs that we're so much more than what they think we are. And no matter how many times we try to tell people that comic books aren't always what they think, you'll get a polite nod as they make their way to the bar.

So what do we do about it? How do we change perception? We've had movies made based on comic books-blockbusters even. We've taken to calling comic books graphic fiction or some other new term. We have major writers in Hollywood looking to write comic books. We've improved the quality of the books, the coloring, the stories, the diversity and yet, comic books are for stupid people and not worth the time. So, what's the answer? I don't know. I came into this industry with that perception because I hadn't read comics. How I got here is beyond me, but I've had my perceptions change. I mean, there are still a lot of super hero comics and that's not my thing, but there is so much more out there.

Maybe the answer is books like Franklin Richards-the kiddie books. Maybe now that comic strips are dying off with the newspapers that are folding, maybe we can get readers to follow strips to the comic book format. People buy strip collections in bookstores, why can't we offer the same thing as well? Or why can't we provide daily comics in newspaper format to newspapers around the world? Maybe that could build up newspaper readership and comic book perceptions. In February, a collected edition of Franklin Richards will be coming out and will, hopefully, be in bookstores. Maybe that's a test bed to see if we can get some new readers to look beyond the perception of comic books and try something new and realize that comics aren't for stupid people.

Anything's possible, but what do I know? I'm just a letterer.

14 Comments

• At December 5, 2006, Chud wrote:

  I agree with you that, hopefully, the collected volume of Franklin Richards will do well, because the comics industry is ...

• At December 5, 2006, b Cole wrote:

  Oddly enough, I neevr knew who Eliopoulos was until he did "Desperate Times" in Savage Dragon. I view him as ...

• At December 5, 2006, Rebis wrote:

  Chris, I agree with almost everything you wrote. But when you write: " But, as I said before, I’m used ...

• At December 5, 2006, veghead wrote:

  You should write a series of essays, your take on the comics industry, called "What do I Know? I'm ...

• At December 5, 2006, Lynxara wrote:

  I guess by "okay with it", he means "it won't ruin my life, I'll keep on truckin'". This is what ...

• At December 6, 2006, RAB wrote:

  I'd just like to mention that I've always noticed the lettering in comics -- my longstanding favorite is Tom Orzechowski, ...

• At December 6, 2006, West wrote:

  Hmm.

  I was expecting (and kinda hoping) for a write-up about how challenging lettering really is and why it OUGHT to ...

• At December 6, 2006, Paul Smith wrote:

  >

  Chris,

  That's just disgusting. If you'd been a team mate of mine, I'd have made Wizard's EIC your personal body ...

• At December 6, 2006, Ibrahim Ng wrote:

  Oh, you poor sad pitable man. I don't know how you get up in the morning.

  ... Honestly, Chris, I don't ...

• At December 6, 2006, Chris Eliopoulos wrote:

  Right now, I'm writing from DisneyWorld and just wanted to check in. Don't feel bad for me. Obviously, my point ...

• At December 7, 2006, J To The AAP wrote:

  The thing with lettering is that when it's done best people don't really notice, but when it's done badly, boy... ...

• At December 7, 2006, Lewis Himelhoch wrote:

  Like it or not, labels are generally how we get judged and some labels have negative connotations. When I was ...

• At December 7, 2006, Ray Cornwall wrote:

  Hey, Chris, don't worry. Real comics fans know the value of a good letterer. I've seen a minicomic in NJ ...

• At December 7, 2006, Ibrahim Ng wrote:

  Whoops. Guess I did miss Chris' point.

  "Comic book" is often used as a synonym for "retarded" or rather -- well, ...

I'm doing a signing at Heroes Aren't Hard to Find in one of my old hometowns, Charlotte, NC, on Saturday, December 2nd. I'll be there from noon on, give or take, right in the middle of Heroes' annual Big Holiday Sale. On top of that, last week, two books I wrote came out: CASANOVA #6, with Gabriel Bá and PUNISHER WAR JOURNAL with Ariel Olivetti, and this week, a book I co-write with Ed Brubaker called THE IMMORTAL IRON FIST comes out. David Aja draws that. And, the day before, I turn 31. So it's a good time to sign stuff, to show up and promote my work and, hopefully, bring some folks into the store. Which, really, is what I want to write about-- the comic book store.

Or rather-- the great comic book store. I mean Heroes Aren't Hard to Find and all stores of its caliber. Heroes is, for my money, one of the best stores in the country and a model for others to follow. It's gorgeously laid out, wonderfully lit and well-stocked; it manages to be full-service and family-friendly in the same breath and, best of all, it's run by a guy that lives for his job, Shelton Drum.

It is that most rare thing in the direct market, a comic book specialty store that doesn't demand or deserve apologies.

And about ten years back, I worked there. And I honestly think a big part of what I know about making comics I learned from selling comics, from Shelton, and from the Heroes regulars.

You learn a lot about comics on that side of the counter, and I don't mean like in what issue Hulk hit that one guy with an entire train (although you do pick up on that stuff here and there). You learn about the readers, you learn about the distribution, and most of all, you learn about how much hard work it is to actually run a good store. Like, the mystery of why so many comic shops look and smell like dungeons owned by scat fetishists reveals itself to you after your first Wednesday at, like, two in the afternoon.

Comics retailing ain't easy; it's a calling. The ones who do it well are a rarity for a reason and I respect the hell out of them. It demands a drive and dedication and talent that come in short supply. But when the stars align there's nothing that makes me happier than a great comic book store. Wherever they are and whomever they're run by, a great store is the difference between a browser and a reader, between a tourist and a lifer.

A store is a store, and its customers are transitory; a great store fosters readers for life. Last summer, I was a guest at HeroesCon, the annual convention Shelton puts on. It was my first time at that show since I left town a decade ago, and my first time there as a working professional. And I saw a dozen folks I remembered from back in the day, still reading books week in and week out, still regulars hooked on a weekly habit. There was something-- I don't want to say profound, because words like that should be saved for actual profundity-- but meaningful to me, seeing that phenomenon in person. A great store by virtue of being great protects and fosters its customers.

Comics are a business built on the seven-day sales cycle. Some stores flush product off their shelves like expired milk every seven days; others, the great ones, use that as a core to build on. It's not easy, and it's not cheap, and every time I go in a shop that's clearly in it to win it, I'm compelled to spend money. Any time I go into a place that clearly is fighting the uphill battle against the ANDROID'S DUNGEON punchlines and the places that are dark, dank, and probably have some blood-spatter on a back wall somewhere, I want to support them.

Because we need more. Especially now, as so much great work is out there, aching to be found, both in the superhero mainstream the DM was built around, and the world of comics lit that's exploded these last few years. Comics have arguably never been better. And as such, great comics retailers have never been more needed. This isn't a profound thought, nor is it a call to action. It is, in fact, stating the completely and totally obvious. So I'll wrap this up by saying something that doesn't get said all that often, and certainly not in a big public forum.

To all the great retailers out there: thanks.

(And to anyone reading this, in the comments, hype the great store YOU shop at. Let people know!)

79 Comments

• At November 29, 2006, Mr Tumnus wrote:

  If you're in London (that's London England to all you colonials), then you must shop at Gosh! Comics. It's just ...

• At November 29, 2006, J. Paul wrote:

  New England Comics in Quincy: Thanks for be a great store!

• At November 29, 2006, Joe Rice wrote:

  I don't think I have to remention Rocketship, but I will just in case.

• At November 29, 2006, John Seavey wrote:

  Mind's Eye Comics, in Eagan (on the corner of Cliff and Thomas Lake Road, if I really want to narrow ...

• At November 29, 2006, Graeme Burk wrote:

  The Comic Book Shoppe in Ottawa, Ontario is without a doubt the best comic book store I've ever been to. ...

• At November 29, 2006, Edward Liu wrote:

  In New York City, Jim Hanley's Universe and Midtown Comics are comic shops my wife doesn't mind browsing in.

  My local ...

• At November 29, 2006, Dan Coyle wrote:

  In case anyone's wondering, Thor #385, by Jim Shooter, Stan Lee, and Erik Larsen is the one where Hulk hits ...

• At November 29, 2006, Kevin Anderson wrote:

  The Great Escape in Louisville, Ky. is about the best comic book store I've been in. I've been to ...

• At November 29, 2006, Mike Thompson wrote:

  The Silver Snail in Toronto deserves mention, as does Atomic Comics in Charleston, SC. Yeah, I get around...

• At November 29, 2006, Brad Curran wrote:

  "In case anyone’s wondering, Thor #385, by Jim Shooter, Stan Lee, and Erik Larsen is the one where Hulk hits ...

• At November 30, 2006, Grant wrote:

  Heroes is indeed a pretty good store, but Bizarro Wuxtry in Athens, GA is where I'm glad to spend my ...

• At November 30, 2006, fraction. wrote:

  wow! there's a store called BIZARRO WUXTRY?

  I'd have to shop there on principle alone.

• At November 30, 2006, Kat Kan wrote:

  Jelly's in Aiea, Hawaii (that's near Pearl Harbor) was the very first comic store I ever walked into. They ...

• At November 30, 2006, Dustman wrote:

  I wish Sheldon would open a branch in Denver, CO. The stores out here are kinda sad (and yes ...

• At November 30, 2006, 7red wrote:

  Triad Comics in Knoxville TN. Mike runs a great clean FRIENDLY shop. Its nice to have a comic shop ...

• At November 30, 2006, nick marino wrote:

  Phantom of the Attic comics

  Craig St, Pittsburgh, PA

  the greatest comic shop i've ever been in (and i've been in a ...

• At November 30, 2006, Scud wrote:

  Austin Books and Comics in Austin, TX: it's freakin' huge, has more comics than anyone could ever read, and a ...

• At November 30, 2006, Holtz wrote:

  Graham Crackers. All of 'em. In Illinois.

• At November 30, 2006, Rich Martin wrote:

  Isotope near the Civic Center in San Francisco is a hip shop that has a wide range of material. ...

• At November 30, 2006, Erik wrote:

  Coliseum of Comics in Orlando Florida!

• At November 30, 2006, KidFlashFan wrote:

  Speeding Bullet Books and Comics in Norman, OK is my store of choice and is, for my money, the best ...

• At November 30, 2006, STARkid wrote:

  Comic Universe in snellville, GA which I went to everyweek when I lived there. Sadly I moved to LA, ...

• At November 30, 2006, fb2006 wrote:

  Hero Connection in lufkin texas is pretty dang cool. the best in east texas....if youre ever in east texas.

• At November 30, 2006, Steve M. wrote:

  I have to second what Rich Martin said. Isotope in San Francisco (326 Fell St. @ Gough) is the ...

• At November 30, 2006, matt wrote:

  I live in iowa and the only two stores that I have ever gone to and liked were Daydreams in ...

• At November 30, 2006, Mike wrote:

  Phoenix Comics in Fairfax, Va near George Mason University. Nice, well lit and clean. Wonderful selection of comics, books, toys ...

• At November 30, 2006, mcs wrote:

  I'd second Silver Snail toronto (http://www.silversnail.com)

  In the Kitchener-Waterloo area, I've always liked Carry-On comics (no website), its a small store ...

• At November 30, 2006, roanokevox wrote:

  Astro Kitty Comics in Lawrence, KS is the place to be.

  Super nice staff and a welcoming atmosphere.

  It's not a huge ...

• At November 30, 2006, Luke wrote:

  I love The House of Secrets in Burbank- how can you help loving a store with a bench painted to ...

• At November 30, 2006, TV's Grady wrote:

  I'd like to put in a good word for Velocity Comics in Richmond, VA. They're a far cry from the ...

• At November 30, 2006, matty wrote:

  when i lived in new york, i was a devotee of midtown comics. i always go back when i'm ...

• At November 30, 2006, Kale, Jesse Kale wrote:

  Sweet Im there. You should drop by Hickory (not to far from Charlotte about an hour) some time and go ...

• At November 30, 2006, Evan wrote:

  If you are in San Fransisco, the Isotope Lounge is definitely the place to be! James and his entire staff ...

• At November 30, 2006, Anonymous wrote:

  If you're ever in Brisbane, Australia, stop by The Daily Planet, www.dailyplanetonline.com.au

• At November 30, 2006, MValentin wrote:

  I frequent none other than Brian Hibbs' store (the outspoken retailer who writes a monthly column for Newsarama), The Comix ...

• At December 1, 2006, TBird wrote:

  Destination Venus in Harrogate (UK) is my favourite shop so far, its small but well laid out and looks modern. ...

• At December 1, 2006, Shawn Demumbrum wrote:

  I just opened my store three weeks ago, SpazDog Comics, in Phoenix, Arizona. I opened it because I didn't ...

• At December 1, 2006, MarkAndrew wrote:

  Yeah, Phoenix... Arizona in general, had fuck-all for comic shops. I really hope yers is decent. :) I'm ...

• At December 1, 2006, Rick Klaw wrote:

  I've been to shops in New York, LA, San Diego, Chicago, Houston, Dallas and points in-between. For my money, ...

• At December 1, 2006, Brad Hickerson wrote:

  If you are in or near South Bend, IN you need to stop at Buy Me Toys, they are the ...

• At December 1, 2006, Alex Agostini wrote:

  When in Milford, Pa. try Left Field Hobbies (http://www.leftfieldhobbies.com). I used to go to Midtown Comics in Manhattan while ...

• At December 1, 2006, Ryan Jackson wrote:

  When I lived in NYC, I started out with Jim Hanley's Universe, but switched to Midtown Comics when it opened. ...

• At December 1, 2006, Aaron Rushton wrote:

  I met Fraction at Heroes Con this summer, and man, was he cool. For those of you who haven't, ...

• At December 1, 2006, David Cutler wrote:

  Strange Adventures in Halifax, NS, Canada is one of the best comic shops on the planet. While they deal ...

• At December 1, 2006, Shane wrote:

  CHICAGO - CHICAGO COMICS

  New York - Jim Hanley's Universe

  Fair Lawn, NJ - Joker's Child

  All three stores are great!!!

• At December 1, 2006, Ye Olde Iowa wrote:

  Comic World in Dubuque, Iowa isn't bad either. Well lit with a good decent selection of new books (and ...

• At December 1, 2006, Chuck wrote:

  I saw some Virginia shops mentioned above, and I have been to Phoenix Comics in Fairfax. I think the best ...

• At December 1, 2006, Alan J. Porter wrote:

  Over the years with my various day jobs I've been lucky enough to visit most of Europe, Canada and over ...

• At December 1, 2006, Tag wrote:

  Better stores of my experience include:

  DC area: Big Planet Comics

  NYC: Hanley's, hands down

  Cambridge, MA: Million Year Picnic

  LA: Golden Apple (tho ...

• At December 1, 2006, Hondo wrote:

  Krypton Comics is THE best shop in Omaha. Stop in and see Dean.

  Sioux City has a well-lit, nicely laid ...

• At December 1, 2006, Faron Davis wrote:

  The best store that I have ever frequented is The DeeP in Huntsville, Alabama. The service is the best ...

• At December 1, 2006, Mike M. wrote:

  Newark, Delaware. Captain Bluehen! 'Nuff said!

• At December 1, 2006, jonashpdx wrote:

  bridge city comics, portland, OR!!

• At December 1, 2006, Tony B. wrote:

  I love this post. Matt's account reminds me of my favorite comic shop here in Seattle. The owner ...

• At December 1, 2006, Matt Brady wrote:

  I'll add to the accolades for Austin Books. I used to shop there when I lived in Austin, and ...

• At December 1, 2006, Brian Guynn wrote:

  Ssalefish Comics and Toys and Silver Bullet Comics, both in Winston-Salem, NC (about an hour/hour and a half north of ...

• At December 1, 2006, Heather wrote:

  near baltimore maryland, in pasadena there is a store called Fudd's Rabbit Hole. its run by a dirty minded old ...

• At December 1, 2006, Joey wrote:

  There's Comic Book Factory in Pasadena, great place. I drive 35 miles out of my way to go there when ...

• At December 1, 2006, mostley matt wrote:

  My favortie shops are the guys at Ultimate Comics in Chapel Hill and Durham NC....they have jam packed stores and ...

• At December 1, 2006, KB wrote:

  Love to see all of these responses. Great thread. I'm another San Franciscan and while I can't deny ...

• At December 2, 2006, miraclemet wrote:

  I grew up in an area (Winter Haven, FL circa 1980s) where the only "Comic Shop" was a guy who ...

• At December 2, 2006, Robert wrote:

  Austin Books.

  Yadah, yadah... been to shops all over the country...

  Austin Books has it all.

• At December 4, 2006, Nessa wrote:

  Carolina Comics in Lawton, Oklahoma. It's small but well-formed. Also they're way better than the grody place on ...

• At December 5, 2006, Calvin wrote:

  TBS Comics in Fort Walton Beach, Florida - Definitely a great place and great people!

  I live 6 hours away, and ...

• At December 5, 2006, rebelchelle wrote:

  Montgomery, Alabama

  Comics and Cards... It's a wonderful store! The service can only be described as awewsome. They work really hard ...

• At December 10, 2006, mark wrote:

  Forbidden Planet NYC.

  Great graphic novel selection; well lit, atmospheric and friendly; a few staff members have been there forever and ...

• At December 13, 2006, Dan Merritt wrote:

  It probably looks tacky for me to post here, but I haven't seen anyone mention my store Green Brain Comics ...

• At January 22, 2007, Mike Banks wrote:

  Arizona has some great stores these days! Of course I'm biased, I own two of them-- Samurai Comics.

  I worked for ...

• At January 22, 2007, Greg Burgas wrote:

  Mike - Samurai is too far away for me to visit (like I'm driving all the way into Phoenix from ...

• At February 6, 2007, Ken Brown wrote:

  Yes, Arizona is on the upswing. I too am one of the proud local Comic Book Store Owners in ...

• At February 23, 2007, Ginsu Victim wrote:

  Gotta agree with the person who listed Carolina Comics in Lawton, OK. Great store! I'm saddened that it took me ...

• At April 12, 2007, drugmonkey wrote:

  near Baltimore, MD in Ellicott City is Cosmic Comix. Great Place!!

• At May 14, 2007, Gail wrote:

  I gotta plug my shop, Metropolis Comics Bellflower, in Bellflower, CA. We're a mid-size shop, but we can get ...

• At October 3, 2007, Matt Sargeson wrote:

  'Absract Sprocket' on St. Benedict's street, Norwich, England. It's pretty small so can't stock huge amounts of back-issues but it's ...

• At October 12, 2007, Dave wrote:

  I have to second what TBird says: Destination Venus in Harrogate, UK is one of the best comic shops I've ...

• At February 14, 2008, Suz wrote:

  As far as in Maryland, Fudd's Rabbit Hole of Comics is the store to visit. It has a huge inventory ...

• At April 15, 2008, Thor1976 wrote:

  The Comic Vault in Chicago has a "Ladies Night" and they have stand up Comedy every other month. They may ...

• At June 12, 2008, Jar-El wrote:

  By far, best shop ever is Old Town Comics in Fredericksburg, VA.

  "http://www.oldtowncomics.com/index.html"

  If you are in the area, its the ...

• At August 22, 2008, Mike wrote:

  I'll second the recommendation of Hero's Haven in Roseburg, Oregon. The owner's are great, and I stop by every time ...

If you're reading this, that alone makes you exceptional, makes you care about the medium of comics. You might even visit your comic store each week to see what's new on the rack. You perhaps display a few trade paperback collections on your shelf at home. But let's not split hairs here, while I applaud your efforts there's no denying the fact; you are not helping comics.

Now before you launch a barrage of emails with store receipts attached, let's clear the air. How much money you spend doesn't fulfill your support of the medium. Sure, buying books keeps stores open and bills paid, but if we look to that as a barometer of industry health then I'm sorry we've already failed. The pulse of our beloved medium must beat higher than simple sales figures. When compared to other industries, comics rank low to poor in consumer acceptance. I'm sure some will respond that comics are a cottage industry, in short self-supporting, but that type of support, I'm sad to say, is exactly what we don't need.

Creators, like myself, demand more from you than cover price. If you read my books, whether from Image, Marvel, or DC, then I expect you to share the love. Why keep it a secret? Why not tell others outside the "cottage"? You see I work with the "healthy industry" concept. I create books that fill a niche, or exploit existing trends. I self-published CYBERZONE when I didn't see enough black female leads. I started at Image with AMANDA & GUNN because I didn't see enough sci-fi. I switched to CODE BLUE when I didn't see anything to match TV's ER hospital drama. I changed to all-ages with EVIL & MALICE when not enough kid books were around. I sought out AVIGON back before manga was burning the sales charts. Nowadays, I'm working on BOMB QUEEN, which pokes fun at one aspect of the industry: Superheroes. It's not serious at all. It plays on those stereotypes and needs a solid marketplace to acknowledge that. Granted it is very black humor and it splits the hairs thin as spandex, but that's the deal. It's made specifically for that subset of the comic's community. But, I get worried when the entire industry latches to Bomb Queen like the new messiah. The court jester shouldn't be King, or Queen. However, a healthy industry should support a diversity of titles from all companies, from the lewd Bomb Queen to the glorious work in THE AGE OF BRONZE, and mainstream sellers like my work on Marvel's, WOLVERINE WHAT IF?. As a writer of books that span several genres and companies I hope for this ideal marketplace.

But... you are not helping.

I'm an old fart, trust me I'm "up there" in the age department, so I've seen a lot in this industry. I came in when nothing was going on except the "mainstream". Well before the days of Image, and the Black & White boom. Back when self-publishing was unique and called, "underground comix". I would draw my hand-made comics for my friends at school, but my style never matched what I saw on the spinner racks in the stores. I couldn't draw comics the Marvel way. When I grew up I took a crack at self-publishing because I saw no other way to present my ideas to the public. My choices at the time were very limited, but nowadays sweeping change has come and gone several times over. At this point (in my opinion) we're seeing the best times ever for diversity in comics, no matter what your entry level, presentation, or skills. Whether it's print, or on-line, comics are everywhere and in multiple formats. We see this clearly with the new love affair between Hollywood and comics, or on the shelves of bookstore chains racking Manga. You'd think with so many arrows in our quiver the war of insignificance would be on the run. Sadly, not much has changed in reader buying trends over the decades. Within this small industry we're fractured and split, drawing lines in the sand against our own, and we're reaping the cost.

So, enough complaining and preaching to the choir; what can we do?

I'll be honest, there's no magic bullet. Each will have to form their own path in their own way. But one thing is certain, the road to ruin is clear, and I don't see us steering away anytime soon. Thus, we need to support comics. No, not support selected titles. I'm talking comics... the art form. Share the love. Give comics as gifts, use comics in education, break the stereotypes of, "Biff, Bam, Boom!" newspaper reporting. Introduce kids to comics, buy comics in all forms, zines, self-published, web comics, strips, Independent, mainstream, all-ages, adult, trades and single issues. If you're only shelling out for Civil War then you're not helping. In short, supporting yourself - not the medium as a whole. I'm not advocating you purchase everything in the store - nobody is that rich, nor have the time to read it. But when I read that retailers speak of their customers "by the numbers" it worries me that too many are walking lock-step to select titles and not taking advantage of everything comics has to offer. Retailers listen to their customers, but most readers hardly talk to the storeowners, or clerks. Today's retailer has hundreds, if not thousands, of titles to sell, but without your help that stock will tilt one way, or another. Retailers can't read your mind, but they will try when they have no option. No help. What can you expect when so many are making a beeline to a book, to the register, and out the door? Stop, smell the roses. Show interest in books that you like, and let retailers know. Don't merely hope it will show up on the shelf, ask for it by name.

The average person doesn't live in a bubble. We all have friends, family, associates, business contacts, events and seasons - and comics can help in each of those areas. Comics are like Greeting Cards; they can match any and all occasions. Take advantage of the medium outside the cottage. Unlock the closet door, share the magic and open the bottleneck. And we can do it without forcing it down the throats of others. But most of all, we can't do it...

...without your help.

112 Comments

• At November 28, 2006, Jeff wrote:

  I read the post, clicked on the link to Mr. Jimmie Robinson's website and then threw up in my mouth ...

• At November 28, 2006, Edwards wrote:

  "But, I get worried when the entire industry latches to Bomb Queen like the new messiah."

  Did this happen?

  Did I miss ...

• At November 28, 2006, John Seavey wrote:

  Gee, I didn't realize it was my job to help comics. I kind of assumed this was an enjoyable hobby ...

• At November 28, 2006, Kevin Street wrote:

  I read the post, clicked on the link to Mr. Jimmie Robinson’s website and then threw up in my mouth ...

• At November 28, 2006, MacQuarrie wrote:

  Let me see if I have this right: actually laying down my money for the product isn't enough?

  Funny, I don't ...

• At November 28, 2006, Jesse wrote:

  On one level, Mr. Robinson is correct. If we care about comics, we should be introducing people we like to ...

• At November 28, 2006, Alan Coil wrote:

  Didn't we of the comic book portion of the internet just have this same bulltish discussion (argument) about 2 years ...

• At November 28, 2006, MacQuarrie wrote:

  I don't owe Jay Leno an explanation for not watching his show last night, and I don't owe you an ...

• At November 28, 2006, Ryan H wrote:

  My take on what he is saying is that there is not enough talk about comics except with those who ...

• At November 28, 2006, Alan Brown wrote:

  Man, that post raises my hackles just a bit.

  Let me tell you about myself:

  I got back into comics about a ...

• At November 28, 2006, Ray Tate wrote:

  Perhaps if every comic book was on time, well written and well drawn, we would buy more comic books, in ...

• At November 28, 2006, Micah wrote:

  I dunno...I feel like a few of you have missed his point.

  The way I see it, just reading my comics ...

• At November 28, 2006, JP wrote:

  I could be out of line here, and this article was perhaps just another linkbait idea # 100, but poking ...

• At November 28, 2006, Todd Lawrence wrote:

  As soon as we get a few more titles like Love & Rockets, Action Philosophers, Y: The Last Man, Preacher ...

• At November 28, 2006, plok wrote:

  I'll second that blah.

  My two cents, since I missed out on this discussion the last time we had it: ...

• At November 29, 2006, Lynxara wrote:

  Paul O'Brien wrote a great essay deconstructing the idea that fans were responsible for promoting comics as a medium back ...

• At November 29, 2006, plok wrote:

  Well said, Lynxara.

  Just wanted to pop back in so I can make myself totally clear: I'm not the Civil ...

• At November 29, 2006, Jaap wrote:

  Who says I don't spread the wealth?

• At November 29, 2006, P.C. Prigg wrote:

  I was going to write a pointed critique, but really... what a tosser!

• At November 29, 2006, BizarroBeachHead wrote:

  I'm kind of shocked at the negative responses here. I mean, I understand being defensive about being blamed for ...

• At November 29, 2006, JLG wrote:

  On one hand I do sympathize with the sentiment in the original post, but, as many have commented before, it's ...

• At November 29, 2006, frankcastle wrote:

  2 main problems with the industry:

  - comics are still seen as being 'for kids' and as such draw ridicule

  - price. ...

• At November 29, 2006, J To The AAP wrote:

  Puh-lease. Have you ever tried getting non-comic redaders to read a comic? I recommend stuff to people all the time, ...

• At November 29, 2006, Paperghost wrote:

  I do see what he's trying to say, but all I could hear in my head was DC SUX, MAKE ...

• At November 29, 2006, Red wrote:

  Hey Jimmie,

  Nobody cares anymore ya old fart. And your books suck. So you ain't helping either. Make something more respectable ...

• At November 29, 2006, Eric wrote:

  I agree with Jimmie R. to a point. Bomb Queen and his other works aren't saving comics and neither ...

• At November 29, 2006, Patricia wrote:

  I for one, am a little miffed at this report, how much research did he really do.. I for one ...

• At November 29, 2006, John Seavey wrote:

  And just to clarify: I don't feel one tiny iota of guilt about "not helping comics." I lend out my ...

• At November 29, 2006, The Mutt wrote:

  Comics are seen as being for kids but they aren't for kids anymore. There needs to be a solid newstand ...

• At November 29, 2006, J to the A.A.P. wrote:

  @John Seavey: hear, hear!

• At November 29, 2006, Erik wrote:

  I agree with one thing he said. If you don't ask for it by name you won't get it. ...

• At November 29, 2006, Tom Beland wrote:

  I think the one of the difficult parts of getting non-comic readers into the fold is this:

  • When most comic ...

• At November 29, 2006, Wayne wrote:

  A question for everyone who seems to have been offended by Robinson's comments:

  This week, have you spent *half* the energy ...

• At November 29, 2006, T wrote:

  Typical messageboard rant following a fairly straightforward plea. He was saying simply be proud of comics and get the word ...

• At November 29, 2006, Philippe Grenier wrote:

  "You Are Not Helping Comics!"

  Personnally, I feel this is quite an egocentric type of accusation. As far as I am ...

• At November 29, 2006, Logan wrote:

  i think that given his output, the author doesn't really have room to talk. imo bombqueen is the suck, and ...

• At November 29, 2006, Lewis Himelhoch wrote:

  Others have already expressed my opinions but I will state them even if they are redundant. It is NOT the ...

• At November 29, 2006, Squashua wrote:

  I gave out comics for halloween, and I recommend that everyone do so. Here's a guide: http://www.aintitcool.com/node/30496#16

• At November 29, 2006, Dan Coyle wrote:

  Hey, remember when Warren Ellis tried to bully fans into helping comics? Remember how well that worked out for him? ...

• At November 29, 2006, ptaav wrote:

  Err..Yes.

  Comics Should Be Good, but so should essays. For all of this Robinson guy's whining about how narrow the ...

• At November 29, 2006, patrick r. wrote:

  I enjoy a couple of comics that aren't monthly but are consistenly good and present themselves in a manner to ...

• At November 29, 2006, X-height wrote:

  The funny thing about proselytizing, be it a about a god or medium, is that you want to promote what ...

• At November 29, 2006, MisfitWes wrote:

  I'm having a hard time paying attention to this.

  He's going on and on about his filling the niche market with, ...

• At November 29, 2006, Tank wrote:

  Hey Jimmie--

  How DARE you use language that is facetious and playfully sardonic to try and make a point! Don’t you ...

• At November 29, 2006, Steve Bergstrom wrote:

  Tom Beland brought up some good points and ideas. We do need, as comic readers, to let go of the ...

• At November 29, 2006, dilboBaggins wrote:

  Isn't "Bomb Queen" the one with all the hot lesbian sex?

• At November 29, 2006, Erik Larsen wrote:

  Honestly--

  I think comics COULD do with a few kind words instead of all the excessive bellyaching. I don't think the ...

• At November 29, 2006, ptaav wrote:

  I'll take on what Erik Larsen said.

  There's first off a fine line between appreciating someone's attempt ...

• At November 29, 2006, Steve Bergstrom wrote:

  I agree, Mr. Larsen. The trick is finding out where the audience for your book hangs out and letting them ...

• At November 29, 2006, jasinmartin wrote:

  Talking about the state of the industry, and things that can be done to help it, is always something I ...

• At November 29, 2006, William Gatevackes wrote:

  I,for one, am blameless in this discussion. I, out of my own pocket, have bought TPBs for non-comic reading friends ...

• At November 29, 2006, Joshua Nelson wrote:

  Okay,

  I was a little miffed about the essay and agree wholeheartedly with Macquarrie, Alan Brown, and Erik. I get ...

• At November 29, 2006, BRiAN wrote:

  I agree with Macquarrie and others with the similar opinion. If Marvel thinks Civil War is selling good, well, ...

• At November 29, 2006, Mike Thompson wrote:

  Matt D sez “What I want are well written serialized comics that exist in a huge shared universe, and more ...

• At November 29, 2006, Kris wrote:

  Joshua Nelson: "If Robinson were, say Bendis or any other creator who has done great creator-owned work and become a ...

• At November 29, 2006, carpboy wrote:

  The problem is that when you're asking people to go tell non-comics readers about comics, most of the time that ...

• At November 29, 2006, X-height wrote:

  well Carpboy you work in a bookstore so recommendations are part of your job even if you don't like those ...

• At November 29, 2006, Joshua Nelson wrote:

  Sorry Kris,

  I meant no disrespect to you with that portion of my closing statement. I was simply stating and ...

• At November 29, 2006, Pol Rua wrote:

  First up, I'm a comics retailer who works in a store which encourages people of all ages, both sexes and ...

• At November 29, 2006, Joshua Nelson wrote:

  I couldn't have said it any better, Pol Rua... Tru Dat!

• At November 29, 2006, Joshua Nelson wrote:

  Actually, maybe I can say it better… Robinson writing this essay but producing the work he does is like ...

• At November 29, 2006, Lynxara wrote:

  Women who want to read comics probably don't feel threatened or excluded by Bomb Queen. They'll probably never see it. ...

• At November 29, 2006, Logan wrote:

  i give robinson credit in that he is probably well intentioned. and like larsen said, jimmie (seems) to be trying ...

• At November 29, 2006, Jim wrote:

  Lewis Himelhoch said what I think the crux of this is: "It is NOT the responsibility of customers to sell ...

• At November 29, 2006, T wrote:

  Wow, I'm amazed that the thread has gone even farther from what the essay was originally trying to do. The ...

• At November 29, 2006, plok wrote:

  I don't know why I shouldn't say this again:

  The medium is not the same as the industry. Stop talking ...

• At November 29, 2006, plok wrote:

  To Jim, #62: wow, I really reject that definition.

  To T.: you're so right! Comics a ...

• At November 29, 2006, Scott MacIver wrote:

  Some very interesting points have been raised here.

  Not in the essay, mind you. I found that to be a ...

• At November 29, 2006, T wrote:

  plok, I'm not going to argue with you. If you scrolled through the posts, you have posted in this thread ...

• At November 29, 2006, spook wrote:

  make comics cost at most 50 cents and go back (but not necessarily abandon the direct market) to distributing it ...

• At November 29, 2006, plok wrote:

  I hope you'll pardon me for arguing a little with you, T.: because again, it isn't the medium being ...

• At November 29, 2006, dougy wrote:

  shut up bomb queen guy. and stay off the internet, that's how pointless, long-ass rants like these happen. Quit trying ...

• At November 29, 2006, kalorama wrote:

  I will continue to say how pathetic the people in the thread are, because they treat the comic medium like ...

• At November 29, 2006, ambushbug wrote:

  Way to pull a Kramer, little Jimmie.

  Whatta tool.

• At November 30, 2006, kalorama wrote:

  There's been some discussion about the distinction between comics as a medium and comics as an industry, but the main ...

• At November 30, 2006, Mike wrote:

  Ok,

  here's my two cents........it is without a doubt that this is all comics fault. I did my part, i ...

• At November 30, 2006, Clayton Emery wrote:

  The supreme irony is that Bomb Queen is soft-core porn with a nearly-naked heroine.

  Oh, yeah, it would be a REALLY ...

• At November 30, 2006, ChrisCCL wrote:

  I think I know what Jimmie meant by this article, but I think he should not have talked down to ...

• At November 30, 2006, John Seavey wrote:

  T said: "I will continue to say how pathetic the people in the thread are, because they treat the comic ...

• At November 30, 2006, Scott MacIver wrote:

  John Seavey said: "Um…that’s because (the comic medium) is. It’s like any other artistic medium–the audience is there because it ...

• At November 30, 2006, Travis Seitler wrote:

  I like the "Ford letter" example, and I have to agree: if "the industry" is floundering, blame can only be ...

• At November 30, 2006, Joshua Nelson wrote:

  Right on, Scott! You've compelled me to extrapolate on exactly what this essay is like. Remember when Bush ...

• At November 30, 2006, DJ Sloofus wrote:

  Maybe everyone's upset because, deep down, they know he's making some valid points? Whether you like "Bomb Queen" or not ...

• At November 30, 2006, Kalorama wrote:

  Him.

• At November 30, 2006, kalorama wrote:

  The growth of comics as an artform (even more so than the growth of comics as an industry) is the ...

• At November 30, 2006, Hutch wrote:

  Glancing through most of these posts, it just seems so many people miss the whole point of what they are ...

• At November 30, 2006, plok wrote:

  Hate to break it to you, Hutch, but Marvel and DC were quite busy cancelling titles I liked back when ...

• At November 30, 2006, MacQuarrie wrote:

  The question was asked:

  This week, have you spent *half* the energy in talking to non-comic people about our beloved industry ...

• At December 1, 2006, ambushbug wrote:

  >>How many of them will be held up as superior forms of the medium ten years

  >>from now? Here’s the ...

• At December 1, 2006, dm wrote:

  Wow, what a phenomenally obnoxious post.

  Between the relentless self-promotion and continual dismissal of informed comic book fans, this sounds like ...

• At December 1, 2006, DJ Sloofus wrote:

  Ambushbug, I couldn't agree with you more. Thanks for backing me up.

  -Sloofus

• At December 1, 2006, Rick wrote:

  For the record, I agree with DJ Sloofus and Ambushbug.

• At December 1, 2006, KeithBa wrote:

  At first, I thought this was going to be an article on how to help my comics from fading, getting ...

• At December 1, 2006, Joey wrote:

  I think that it's the industry's responsibility to put a product out there that people like, with compelling stories that ...

• At December 1, 2006, FunkyGreenJerusalem wrote:

  "But, I get worried when the entire industry latches to Bomb Queen like the new messiah. The court jester shouldn’t ...

• At December 1, 2006, FunkyGreenJerusalem wrote:

  Tom Beland:"When most comic buyers (and I was like this up until a few years ago) pick up their books, ...

• At December 3, 2006, B. Clay Moore wrote:

  All I know is I've had no problem getting people who read "real books" to try comics.

  Luckily, the industry has ...

• At December 3, 2006, david brothers wrote:

  All I know is I’ve had no problem getting people who read “real books” to try comics.

  I want to second ...

• At December 4, 2006, MacQuarrie wrote:

  I also don’t see how being asked to evangelize a little is too much to ask.

  Being asked to do ...

• At December 4, 2006, Lynxara wrote:

  The ad hominem attacks against Mr. Robinson need to stop. Who the man is and what he writes isn't relevant ...

• At December 5, 2006, Scott MacIver wrote:

  Lynxara said: "The ad hominem attacks against Mr. Robinson need to stop. Who the man is and what he writes ...

• At December 5, 2006, MacQuarrie wrote:

  Lynxara said: “The ad hominem attacks against Mr. Robinson need to stop. Who the man is and what he writes ...

• At December 24, 2006, Chris Richards wrote:

  I have a few feelings about this thread, despite coming it 19 days after the effective end of the discussion. ...

• At December 29, 2006, sleeper hit wrote:

  Macquarrie wrote:

  "You want to help comics? Kill Diamond. Break their stranglehold on the industry, and get the damn comics back ...

• At February 18, 2007, Rolf - Audio Books Fan wrote:

  Here in Switzerland we have the Comics Festival in Sion every year. That's getting a lot of attention by the ...

• At July 23, 2007, Djoser wrote:

  I am completely, totally passionate about comics.

  However, I am not passionate at all about what I see on the shelves ...

• At July 29, 2007, J-Man wrote:

  @post 76: Did you really say that manga is an "evolution"? Only in the strictest sense of the word, ...

• At August 28, 2007, Ryan D. wrote:

  You're absolutely right. I haven't been doing enough to support comics. I mean, yeah, Image has it's own marketing department, ...

• At August 28, 2007, Scott MacIver wrote:

  I adore the fact that this thread refuses to die.

• At November 29, 2007, Dan Coyle wrote:

  Well, it's been a year since this was first posted, and Jimmie Robinson is still slavin' in the mines with ...

• At February 5, 2008, Glen D. wrote:

  Geez...is this guy for real? He must have had one too many puffs off of his crack pipe. It's completely ...

• At August 22, 2009, ren1999 wrote:

  Jimmie Robinson, I just read the first four issues of Bomb Queen and must say that the art, the presentation ...

Man, with deadlines trying to crush me and scripts due, why did I ever agree to this--? Gah, the answer is always the same, COMICS! Yeah, I've got a new book out today, The Pirates of Coney Island #2 (you should check it out!!) and this is what passes for PR for us indie kids, any time someone gives you a platform to talk to the masses, ya gotta take it. See, I make comics with my bare hands-- I've got no money, no staff and well not a lot of things-- but what I do have if a computer, a DSL and some awesome friends in the same boat. But back to the topic, if there is a topic yet, I'm not sure-- Oh yeah, this thing here-- Brian Cronin asked me to write a bit for "Comics Should be Good" and so that's got me fighting the writer's bitter enemy, The Blank Page. I guess actually for my generation, it's more likely a computer monitor --that endless white bastard and the ever-blinking black cursor! But look there, I've been rambling now for 185 words and the page is blank no longer, huzzah!!

The above is a good trick for breaking writer's block, you know, just write something, anything, and eventually you will work yourself out of the rut-- As I just have now in finding my topic. So it looks like we're gonna talk about writer's block, a subject near and dear to my heart.

I've had my fair share of blocks and in the end they always seem to stem from the same thing. I've missed some detail or somehow don't know something about what I'm writing-- it might be something about a character, or the setting, or the location but it's something key to the further progression of the story. Does that make sense? Are you guys with me? The block is a story detail that I need to understand in order to move forward. The good news is that once I hit upon that understanding as to why I was locked up it gave me a way to work it out.

The answer, without fail, is always back in what you have already written. It will be there every time, I promise its sitting there just waiting for you to find it. So, I go back and reread everything I've written and read it over and over searching for connections or gaps in logic. Where did I get lazy, where did I skim over something that needed more depth-- were did a character do something odd that was left hanging and should be explored? Every time I do this I always find amazing things. I find I've subconsciously laid in all kinds of material that I can mine to keep writing. I also find surprises I never expected and unintentional connections that set up bits I can capitalize on later.

One of the most recent examples of this is in The Pirates of Coney Island where I needed one of the Pirates to have something in common with Bubbles a member of the girl gang, the Cherries.

Bubbles' shtick is that she is always chewing gum and blowing bubbles, hence her nickname. Now I was dying at one point-- totally blocked. I had no idea what these kids could have in common that would work the way I needed it to. So I did my thing. I went back and I started rereading the old scripts over and over until like a magic trick, the answers just appeared right there in front of me. I had named one of the Pirates "Black Jack" a cool pirate name, sure but it's also an old school brand of chewing gum. I couldn't believe it-- MONTHS ago I had named 2 characters after gum but I never saw it.

It was totally subconscious and I was blocked because now I needed to realize what I had done to move forward. I was floored, but better yet I was writing again and I busted out the rest of the script for that issue in record time.

I hear some writes say they don't believe in writer's block and I guess I don't either, at least not as some sort of mythical beast stalking your page, waiting to strike. A block is simply your gut helping you stay honest. The trick is just not to panic, not to freak out. Just kick back, make a drink, relax and read what you've been writing. I bet you'll find the answer sitting there just waiting for you-- right where you left it.

www.giganticgraphicnovels.com

5 Comments

• At November 23, 2006, Andrew wrote:

  Nice advice! That first tip, the "write anything" policy, is always gold. The realisation that not everything that spews from ...

• At November 23, 2006, Jacob wrote:

  Only one comment so far?

  Very good advice Rick. I loved Teenagers from Mars and Dead West.

• At November 23, 2006, RAB wrote:

  That's beautiful.

  Until comics have creator commentaries like DVDs -- and I know a few attempts have already been made in ...

• At November 24, 2006, Kim wrote:

  Great Advice Rick, just what I needed to read.

  thanks for sharing,

• At November 25, 2006, DoktotMostro wrote:

  i dont usually buy serial comics (just GN or TPB) but POCI is so amazing, that i cant resist myself ...

There's a somewhat indescribable feeling I get when anything touches my imagination, a rush of anticipation mixed with hope, wonder, excitement and something else that is, well, indescribable. Since I was old enough to really be self-aware, I've recognized that this feeling has brought me more happiness than any new toy, game or other material possession ever could. It's that same sensation I get when I watch a great movie or, you guessed it, read a good comic book.

As I've grown older, it seems it has become harder and harder for external stimuli to engage that shift lever which pushes my imagination into overdrive. I'm sure there are plenty of studies conducted by men and women in various collegiate arenas that show just how and why this happens to all of us as we age, but for me, it's simply the real world responsibilities of adult life trampling my 'make believe' time until my brain has come to expect nothing else.

So, with that in mind, when people ask me why I write comics, my first response is non-verbal, sincere and irrevocable: I smile.

Within milliseconds of the muscles in my face pulling at the corners of my mouth, cheeks and eyes, my lungs send a blast of air across my vocal chords then past my lips to form the words, "It's a lot of fun."

This, as the title of this column states, is as it should be. Let me explain.

Not only do I have a blast telling tales of Joey and the Night Pride in Lions, Tigers and Bears, I get a big kick out of imagining the exploits of the oldest costumed super hero in the pages of The Phantom. In addition, I have a great time concocting adventures involving Firestorm, Moon Knight, ROM, Luke Skywalker, The Lone Ranger and dozens of others, but for now, I can't share those with the rest of you.

So, what is it about comics that make them fun for me? Well, I don't want to spend too much time dissecting my passion, but I can say with utmost certainty imagination is the key ingredient.

Moreover, while all comics have a degree of this, they don't all engage my mind in that certain way, just as not all movies grip my imagination either. Take for instance X3: The Last Stand. I haven't bothered to spend enough time figuring out how many ways that story failed, but for me, it failed one hundred percent.

Maybe it was due to the fact that I read Brad Meltzer's Justice League of America #1 right before watching X3 for the first time. Meltzer brought in a world of possibilities, millions of potential directions the story could go in and laid them all on the table next to the body of one of my favorite old school characters, The Red Tornado. I was pumped up to read #2 before I even made it half way through #1.

That's how well Meltzer's story worked with me. Conversely, twenty minutes into X3 I was wondering when it would end and how fast I could send it back to Netflix so I could get a movie I might enjoy. Sure it had Phoenix, one of my favorite old school characters, but the story was anything but exciting and at no point did it even so much as turn on the light in the antechamber of my imagination.

Meanwhile, out there is someone who just read Phantom #12, my first issue with the Ghost Who Walks and they had the same reaction I had to X3.

However, when #13 hits stands on Wednesday, November 15th there will be someone else who has the JLA response. At least I hope there will be. If I make you imagine the possibilities, then I did a good job. If not, rest assured I'll try harder with each successive attempt. With #12 I'm not sure I enjoyed creating it as much as #13, and (for me at least) it shows.

When writing Lions, Tigers and Bears I try to capture that sense of wonder and melt it into each and every page of the story.

I reach back to the twelve-year-old boy still inside me who would spend hours after reading the latest ROM: Spaceknight staring out the window watching an imagined adventure where I was transformed into one of ROM's peers and battled the Dire Wraiths at his side. That same kid who would wish he could join the adventures in the Microverse with Acroyear and Time Traveler or fight intergalactic villains with the Fury of Firestorm. Yes, that same one who is writing this column with two light sabers on the walls of his office.

Meltzer captured that vibe and put it on the pages of JLA #1. Robert Kirkman impregnates every panel of Invincible with it. Bendis does it all over Ultimate Spider-Man. So, too, do the creators of Rocketo, Bone, Elfquest, Infiniteens and several others whose titles escape me at the moment.

It isn't just "good writing + good artwork = good comic". It has to have the essence that people who are simply skilled technicians can't offer. It has to have a craftsmanship that comes from someone who is fully in touch with his or her inner twelve year old. You know, that same kid who sat in class and imagined the pencil was a rocket ship preparing to launch from Planet Boredom and fly straight through the window out into a galaxy filled with dynamic possibilities.

In order for comics to be fun to read, they should be fun to write, draw, ink, color, letter and edit. If they aren't then what hope do they have of being good? Is anyone out there really good at creating something they don't enjoy? Sure there are a few exceptions, but I bet those same exceptions would be great if they loved doing whatever it is they're doing. That sense of fun and excitement has to make a nest in the narrative, hibernate in the line work, bathe in the colors and all of it should be prepared to leap from the page every time the cover opens and a new set of eyes takes it all in.

If every comic you read did that, wouldn't they all be good? No, they'd all be great.

As much as I enjoy writing columns, I'll have to wrap it up here so I can get back to something I really enjoy: writing comics. That is, unless JLA #2 is around here somewhere or I have a reason to take one of my light sabers down and battle alongside Acroyear, ROM and a Jedi or two...

Mike Bullock
LIONS, TIGERS & BEARS
The PHANTOM
www.runemasterstudios.com

Mike also has a Question and Answer thread on the Comic Book Resources Image forum here.

56 Comments

• At November 15, 2006, bat2supe wrote:

  Hey, Mike.

  In fact you're pointing out something that I call "the sense of leading" meaning that when you read issue ...

• At November 15, 2006, Jason Berek-Lewis wrote:

  Hi Mike, Another wonderful column. Thanks for all the inspiration!

  Jason

• At November 15, 2006, Mike Bullock wrote:

  bat2supe,

  That's great insight. I'd never thought of it that way, but it's dead on. :)

  Jason,

  Thanks! Coming from a guy who's ...

• At November 20, 2006, Dave G wrote:

  Mike:

  Great article. I am sure glad there are those who like to write comic books so I have something to ...

• At November 21, 2006, James Welborn wrote:

  Great column. My dream would be to write comics. (Or draw them, if I had any drawing ability.)

  OK -- actualy ...

• At December 2, 2006, The Wraith wrote:

  Well said, Mike. Most comics today have lost that sense of fun, mired as they are in gimmick storylines or ...

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• At September 12, 2007, 646 wrote:

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• At September 14, 2007, 674 wrote:

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• At November 29, 2008, 553 wrote:

  347

• At April 16, 2009, 500 wrote:

  825

Mike's guest entry discusses the Fort Collins Comic Collective, which Mike describes as including "writers Pete Brandvold and Mike Baron, and artists Nick Runge, Gabe Eltaeb, Sam Sala, Randy Yeates, and Scott Bieser, who lives in nearby Cheyenne and doesn't know he's a member."

Enjoy!

FORT COLLINS COMICS COLLECTIVE

When I moved out here I started looking for artists, as I always do. Nick Runge had two paintings in a downtown gallery of undersea creatures: squids and sharks. They just popped. The color, the line reminded me of Frazetta. I sought Nick out. He was working in the kitchen of an institutional facility washing dishes. He'd never thought about drawing comics. He went home from our initial meeting and threw together a comic page based on The Last Samurai. I could tell right away he had the stuff.

Nick and I are about to dive into Obsidian, a heroic fantasy I created with Nick in mind. We have a publisher, a big new publisher, but since they haven't made their announcement I can't tell you the name. I don't even know the name. Look for an announcement in November.

Pete Brandvold sat across from me during my first Poudre Valley Authors' Day. We hit it off and became friends. (Poudre Valley Authors' Day was a humbling experience. I was thrilled to be invited. Then I learned how many authors had been invited. Six hundred.) Pete began work on a Rogue Lawman comic with artist Jeremy Delagarza, but Jeremy took a job-in Milwaukee!-and shipped out. Enter Gabe Eltaeb. Gabe and I have just finished a five issue run of The Hook on www.bigheadpress.com. The Hook will appear as a paper book.

Pete began pitching DC. He is now writing a five-issue retelling of Bat Lash, with the approval and input of Sergio Aragones, who created the character. Jordi Bernet is the artist.

The large unnamed comic company is also publishing Lord of the High Country, a sweeping historical novel that takes place in the nineteenth century. Val Mayerik is the artist. Those of you who don't know about Val are about to be stunned. He's one of those rare comic book artists who keep on improving.

Three years ago Sam Sala, Randy Yeates and I began work on a comic strip called "Noizy Planet." "The Zebulons of Zub have established a listening post to monitor the noisiest planet in the galaxy." Shopped that sucker coast to coast. Not a nibble. Couple weeks ago Randy calls me up. He has sold the comic to The Chronicle, a new weekly.

Nexus will appear before next year's San Diego Convention. The script I originally wrote, which I posted on my website, is not as good as the script Dude forced me to write. O do not tell him. For he will crow 'til time immemorial. It wasn't that the first script wasn't good. It was just a stand-alone story with no further implications. Dude browbeat me into writing something much bigger. For further information, go over to www.steverude.com and sign up for the newsletter.

Bloody Red Baron

If you check out Gene's Virtual Studio, there's tons of artwork and news from Gene, and Gene is also currently accepting artwork commissions (and if you check out some of the sample commissions, they look well worth the money).

Gene and Dave's guest entries are both discussing the upcoming Captain America project (Ed Brubaker is writing it).

Enjoy!

First, here's Gene....

I find it a huge challenge each and every time I approach a new comic story, no matter how large or small. I'm at my desk, ruling up the first page of Captain America. I write cap. america in the upperhand corner and then write 'page one'. I don't do any preliminary sketches. I work panel to panel. I steel myself to get into the story and familiarizing myself with the first several pages. I don't read the entire plot because I would get too preoccupied with how I'm going to tackle some of the more difficult panels.

It takes about four to five pages for me to get warmed up enough to get comfortable with what I'm doing.

I've been thinking about the first page for about a week now. I basically know what I'm going to draw in the first panel. Capt. Fury is facing a wall of monitor screens. the monitors reveal Cap. and other well known superheroes fighting. My pencil will begin with Nick Fury. That way I can work in all the monitors around him.

more to come...

Best!
Gene

Now, here's Dave...

Captain America 2007 by Gene Colan.

WOW!

Gentleman Gene comes home again to the red, white & blue & I have to ink and color it...........

Talk about a challenge. Gene just blows me away when I think he's 80 years old this year and still has the enthusiasm & drive most 30-somethings lack today. He has nothing to prove but still attacks each and every job with total commitment and fearless energy, willing, almost obliged, to bend reality to his will. Armed with only a pencil and a blank piece of paper.

It's simply incredible to me so I will be anxiously awaiting the first few pages to arrive. My usual routine is to just take the page(s) in and get an idea of what's going on, where's the lighting coming from and what's happening in general. The faces & expressions are the most important so I do those last after i've warmed up and have the brush cooperating.

Inking Gene in general is always a challenge, mostly because I want him to be happy with the outcome and maybe more importantly I want his stuff to look the best it can. I think he's doing the best work of his entire life and I really want everyone to know it. I'm not sure many inkers would say it but it's a hell of a lot of fun too. I get excited every time a package arrives to open it up and see what I'm up against so these Cap pages will be no exception. It's an honor and a pleasure to have the the opprotunity to be working with Gene and also to have his blessing and endorsement. I can honestly say the he and his wife Adrienne are my biggest fans and I'm very proud to call them friends. This is going to be a fun ride, what else can one expect when The Dean is at the wheel? Buckle Up!

Here are some samples of what you can expect to find at Gene Colan's Virtual Studio. These were all commissions...

This one is colored by Dave Gutierrez...

Pretty cool, huh?

So check out Gene's Virtual Studio and also check out Dave's site!

7 Comments

• At October 31, 2006, T. wrote:

  Geez, Gene Colan and Brubaker. That is WONDERFUL!!!!!

  Glad to hear this news. Even better would be if they ...

• At October 31, 2006, Biggs wrote:

  I have been a comic reader for over 30 years now and I'm am sorry to say that I never ...

• At November 1, 2006, Ken Raining wrote:

  When I was a kid and he was doing Detective Comics, I never liked his work much. But he's ...

• At November 1, 2006, Frank wrote:

  He was so great on Batman when I was a kid when there was this whole vampire storyline when Robin ...

• At November 2, 2006, Nicholas Post wrote:

  He was the best artist for Deardevil during Marvel "Pop Art" period. Nobody could draw him swinging from building to ...

• At November 3, 2006, bill wrote:

  The Doctor Doom is INCREDIBLE...............

• At November 3, 2006, MarkAndrew wrote:

  Gene Colan. Ohhh yeah, I'm buying this.

Anyhow, Ron's guest entry for today is his tale of how he got into comics. It is titled "Confessions of a Comics Fan."

Enjoy!

"Confessions of a Comics Fan."

By Ron Kasman, age 52

Phase One:

I was in Grade Five, that's 1963, and home with the measles. My aunt Annie, a widow, who brought up three kids working as a newsdealer, took the time from her busy life to bring me a stack of comics that had been remaindered at her newsstand.

My favourite character at the time was Superman. To maximize my enjoyment I read a Superman title followed by what I considered to be a lesser title, then another Superman, then another secondary title, and so on through the stack.

Marvels were easily identifiable by the symbol in the corner of the cover. The ones I had read were strictly second rate. I assumed "The Avengers" to be no different. The cover was strange-- white background, goofy title lettering and Captain America's poorly drawn face.

Inside, Stan's hype was the first thing that hit me, about how we'd remember the story for years to come and how he wrote it and Jack drew it just like in the golden age. I had certainly never heard of the "golden age" but it sounded important.

And, the story was way beyond the Superman formulae. It involved many exciting plot elements: an alien with a rocket ship and a ray gun, a man who had come back to life from suspended animation, gangsters, teenagers on bicycles with cameras helping to solve the crime, and a wicked sea dweller. The dialogue was snappy and the characters were more grounded in reality than the stories at DC. If my memory serves me well, it was a 24-page story. The Superman comics had three eight-pages at the time. The Avengers story was not just longer; it was deeper and broader too.

Jack Kirby had yet to introduce the wild machinery, starscapes, and deep perspective that became the hallmarks of his style three years later. What he had was intense movement and characters drawn in the peak of emotion. Jack Kirby remains my favourite artist today, not just in comics but also through all history.

This comic changed me from a kid with a cursory interest in comics, just like every other kid back in 1963 when it was a mass media, to a Marvel Madman, a Quite 'Nuff Sayer and a Front Facer, buying three Marvel titles a month. I no longer was content to wait for Aunt Annie's irregular shipments.

Phase Two:

I began collecting the Avengers with issue #8, the Kang the Conqueror issue and managed to pick up almost all the earlier ones by purchasing them for pennies from neighbourhood kids. Issue #3 was the only one I didn't get for under cover price. I purchased it for $1.75, which seemed like highway robbery, from a kid outside of Captain George's Memory Lane comic shop. He walked in carrying a gym bag filled with comics and left the store with a dozen other kids following him to a nearby street corner where he negotiated business. This was when I was in Grade Ten, some five years after reading Avengers #4.

I became an Avengers expert. I had opinions on the quality of single issues. I knew which characters were well developed and which were poorly developed. I understood how the line-up changes affected the kind of stories that were being told.

I had never seen my name in print. I wondered what type of people wrote into the comic book letters page. So, I composed a letter, which I was sure would get the attention of the people at Marvel, commenting on the variety of characters in the Avengers title. Though I was discouraged not seeing my letter in print over the next few issues, eventually I had a postcard sent to me signed "Stan" telling me that it would soon be published. It came out in Avengers #72. Keith Pollard, future Fantastic Four artist had a letter published in that issue as well.

Well here is what came of it. First, I got junk mail from various people selling fanzines and back issues. Second, I got a phone call one day from a local fan that was calling everybody in Toronto that had had a letter published at about that time. We would meet in his parent's home on a Sunday afternoon.

I bussed to his home carrying a gym bag full of comics that I no longer wanted. I thought that the only thing people could do at such a meeting was exchange comics. I would become a latter day version of the kid at Captain George's comic shop. I remember going to the back door, being greeted and going down the stairs to the basement.

His room was a monument to the industry. He owned a Flash story by Carmine Infantino. The original art was up on his wall. His own amateur renderings, which were excellent for a teenager, were on the wall too. He had a drawing board. He published fanzines and corresponded with other people who published fanzines. Twenty young men and one young woman (who never returned nor did her boyfriend) assembled in that basement. Not one of them wanted to purchase my comics. They weren't collectors but considered themselves to be artists and writers. They wanted to produce comics and fanzines. Some of them already had.

The kid who organized the club called for quarterly meetings. I continued to attend. We became friends.

Phase Three:

I was in Grade 12. It was 1970. I had gotten a job as a locker room attendant at a swimming pool only a short walk from the home of my comic fan friend. He would often come by around lunchtime to talk or show me the latest fanzine he had gotten in the mail. One of the fanzines advertised "The Detroit Triple Fan Fare". I am not sure what the Triple stood for but 1/3 of it was comics. Let's assume the other 2/3 were movies and science-fiction novels.

I suggested that we attend. It seemed like a crazy idea coming from a kid like me who had never been more than 20 miles from his home, but all the parts were there. My brother had a car that he would let me borrow. I had a bit of money from the summer job. We had other friends who would fill the car. Why not?

As an adult, going from Toronto to Detroit is nothing-a four-hour drive. Many times I have gone there and back in a day. Back then it was an adventure that included road maps, instructions from family on safety when travelling and phone calls back to Toronto to confirm our safe arrival. The border guard warned us because of our age and obvious naivety that Detroit was not what we were used to and that we should be careful.

Detroit was different. The streets downtown were void of pedestrians, which was the way large American cities were going back then. The convention, though, was jumping with adolescent males who would later become part and parcel of the industry. Terry Austin, Rich Buckler, Al Milgrom, Tony Isabella, Jim Starlin, Greg Theakston, Tom Orzekowski, Arvell Jones, Desmond Jones and Keith Pollard were some of the fans in attendance that would soon work in comics. Joe Wesson and Mike Kurcharski were talented and interesting young men I met, who were also deeply involved in fandom. Dan Adkins, Jim Steranko and Berni Wrightson were attending professionals. I watched them draw and had no idea that a professional could draw so quickly and fluidly. Steranko auctioned off an hour of his time for a charitable organization. I think the hour went for $110. We bid on an hour of Wrightson's time, which was foolish on our part. When there was no money left in the money pool, the kid behind us offered $10, wanting a sketch from Wrightson if we won. Others threw in too. Eventually Wrightson's hour was cut into more pieces than a wedding cake. Thank goodness we lost.

You could get any comic in Detroit that had been published by Marvel or DC in the previous ten years. There were no "dealers" then, only people selling out their collections. The big bargains were on Sunday afternoon. I remember the price of one comic I didn't buy but should of; Journey into Mystery #83 featuring the first appearance of Thor was on sale for $3.50. Who would pay that much for a comic, I thought.

I went home to Toronto changed forever. Everything turned out OK. Today I collect, draw, write and teach art in a high school. None of these things would likely have happened if not for my love of comics.

This is Brian now - Pick up Negative Burn #5 on Wednesday!!

14 Comments

• At October 24, 2006, Ron Kasman wrote:

  Boy, that Ron Kasman guy sounds like some kind of genius. He sure got ugly though.

• At October 25, 2006, FunkyGreenJerusalem wrote:

  Awesome read.

• At November 30, 2006, Kay S. wrote:

  Wow I found my art teacher on the internet. Lookin' good, old buddy!

• At December 1, 2006, Nadine wrote:

  omg my art teacher from last year! haha mr. kasman i swear one of these days your going to end ...

• At December 7, 2006, Roy and Linda wrote:

  WoW..........nice read Ron.....we will try to keep

  the old comics going your way

• At December 20, 2007, Monkeybala wrote:

  Hey that's my teacher!! sorry you have to retire mr.K!! WE WILL ALL MISS YOU NEXT YEAR!!!!!!

• At January 31, 2008, Bill wrote:

  Very cool design! Useful information. Go on!

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The Vietnam War in Comics: The Good, the Bad and THE OTHER SIDE

Hi, I’m Jason Aaron, writer of THE OTHER SIDE, a new mini-series from Vertigo about the Vietnam War, and I’m here to enlighten you on some of the highlights and lowlights of that war’s portrayal in comic book form. Here they are in chronological order.

1. Iron Man in TALES OF SUSPENSE

Throughout the 1960s, several prominent superheroes would sign up for tours of duty in Indochina, but there’s only one who’s very origin goes back to Vietnam. In TALES OF SUSPENSE #39 from March 1963, millionaire industrialist Tony Stark got himself injured by a booby-trap in the jungles of Vietnam while demonstrating his high tech “transistor-powered” weapons to the U.S. military. He was then captured by Wong-Chu, the yellow-skinned “red guerrilla tyrant” of Vietnam, who ordered Stark to build weapons for the Commie cause. Instead, Stark built a suit of armor he used to blast the Commie bastard back to the stone age. And thus, Iron Man was born.

2. JOURNEY INTO MYSTERY #117

In 1965's JOURNEY INTO MYSTERY #117, Thor blundered into the middle of the war and helped a crazed, Commie commander see the error of his ways. "It was Communism that made me what I am-that shaped me into a brutal, unthinking instrument of destruction!" raved Hu Sak, as he aimed his pistol at a huge stockpile of bombs. "To Communism, may it vanish from the face of the earth and the memory of mankind!"

3. Captain Hunter in OUR FIGHTING FORCES

THE OTHER SIDE is the first Vietnam War comic that DC has published in decades. Believe it or not, their last full-fledged Vietnam War title was actually one of the first published by anyone. In 1966, Captain Hunter "smashed through the blazing Viet Cong battleground” in the pages of OUR FIGHTING FORCES #99. A former Green Beret searching for his POW twin brother, Hunter was armed with a wicked right jab and an endless repertoire of witty battle cries, like “Good night, Charlie!” “It’s sleepy time, Charlie!” “Peek-a-boo, Charlie!” “Surprised, Charlie?” “Nothing like Karate to straighten things out, Charlie!” and “Going somewhere in a hurry, Charlie? The fun’s just beginning!”

No disrespect to writer Robert Kanigher, who was after all the godfather of DC war comics, but there's no denying that Captain Hunter's exploits were riddled with the type of racist stereotypes and ridiculous plots that became synonimous with so many of the early Vietnam War portrayals. The Viet Cong are portrayed as either slant-eyed sadists or yellow-skinned buffoons, much like their buck-toothed Japanese counterparts from World War II.

In addition to blatant exploitation, these issues also stink of just plain old stale writing. Issue #101 is the prime example, as evidenced by these descriptions of Captain Hunter’s mysterious female guide, Lu Lin: “Your face tells me as much as a jade carving!” “That Oriental kewpie doll isn’t risking a thing!” “What could I say to someone as cool as green jade?” “Despite the killing she had seen, Lu Lin’s eyes were cool as green jade.” “Then I heard a voice as cool as green jade” “Can’t make out that Oriental kewpie doll” “Only an Oriental kewpie doll, in whose veins blood ran cool as green jade wouldn’t blink an eyelash” “Lu Lin appeared cool as green jade”

When Captain Hunter failed to catch on with readers, his daring mission ended after only seven issues. As far as we know, he never found his brother, but at last sighting the lovely Lu Lin was still “cool as green jade.”

4. BLAZING COMBAT

The first truly memorable portrayal of the Vietnam War in comics came courtesy Warren's short-lived BLAZING COMBAT magazine. Most all of its stories were written by the late, great Archie Goodwin and drawn by such luminaries as Gene Colan, Russ Heath, Alex Toth and John Severin. And it also boasts some amazing covers by the great Frank Frazetta. Unfortunately, some of the book’s imagery (most notably a scene where Vietnamese peasants are burned to death) proved too inflammatory for audiences in 1966, and the series lasted just four issues. These days, the original issues of BLAZING COMBAT command high prices, but back in 1993, Apple Comics reprinted the stories in two volumes, and those are a lot easier to come by.

5. SGT. FURY AND HIS HOWLING COMMANDOS KING SIZE SPECIAL #3

"This is the BIG ONE! It's the soul-searing saga you thought you'd never see... the Howling Commandos in action today!"

So proclaimed the cover of 1967's SGT. FURY AND HIS HOWLING COMMANDOS ANNUAL #3. In its bid to become “the most talked-about work of war-mag wonderment ever published,” this 50-page travesty featured a cameo by President Lyndon Johnson (who talks like a bad version of a Mark Twain character), Viet Cong fighters who looked like Mexican banditos (and like most other comic-book VC of the era, spoke fluent English, their favorite phrases usually consisting of “Die, American swine!” and “Death to all Yankee imperialists!”) and a ridiculous plot to sabotage North Vietnam’s creation of a Hydrogen Bomb. Fury’s well-formulated plan consisted of the Howlers disguising themselves as Vietnamese refugees (a ploy that’s perpetrated merely by donning different hats), infiltrating the city of Haiphong and detonating the bomb. “There she blows!” the Howlers joked, as their plane soared above the mushroom cloud. Stan Lee presents... Nick Fury executing thousands of civilians! Excelsior!

6. SUPER GREEN BERET

Tod Holton was an all-American teenager who was given a magic, glowing beret by his uncle. Whenever he donned the beret... SHAZAM! Young Tod was transformed into an adult super soldier, much like Captain Marvel in fatigues. As Super Green Beret, Tod was able to use his magic powers to aid the American troops in Vietnam by making "magic monkeys" appear to throw coconuts at the Viet Cong or turning hand grenades into pineapples. Published by Lightning Comics, SUPER GREEN BERET only lasted for two issues in the spring of 1967. So unfortunately for all the GIs in Vietnam, Super Greenie Beanie was nowhere to be found come Tet 1968. Probably could've used some of those magic monkeys of his in Saigon or Hue City.

7. THE 'NAM

Obviously, the most successful Vietnam War comic book was Marvel’s long-running series THE 'NAM, which debuted in 1986, right in the midst of the whole late 80s Vietnam War revival. A spin-off from Murray and Golden’s “5th to the 1st” stories from Savage Tales magazine, the series ran for 84 issues, but never matched what it had in the first six issues, when writer Doug Murray was paired with artist Michael Golden. The various Punisher appearances are a particular low point.

8. VIETNAM JOURNAL

VIETNAM JOURNAL #1 was unleashed upon an unsuspecting populace in November 1987, courtesy of little-known Apple Comics. Borrowing a phrase from Full Metal Jacket screenwriter Gustav Hasford, Don Lomax’s vision of Vietnam had come to “mangle frail civilian sensibilities.” Comic-wise, I’ve still never seen anything so horrific as the horribly burned chopper pilot from Vietnam Journal #7, whose leg comes off in a medic’s hands; the meticulously-pockmarked landscape and the bullet-riddled bodies of Viet Cong in issue #4; the tangled mass of soldiers clinging desperately to a chopper’s rope ladder in #5; the poor grunt who’s been shot in the face on the opening page of #6; the bayoneted baby in #13; or the last three issues, #14-16, which are, without a doubt, the most brutal and disturbing comics I’ve ever read. Even today, VIETNAM JOURNAL is one of the most gritty and brutally honest war stories ever published.

9. HEARTS AND MINDS

An Epic graphic novel written by Doug Murray and illustrated by the great Russ Heath. Superior, in my opinion, to Murray’s work on THE NAM.

10. THE OTHER SIDE

And then there’s this new Vertigo mini-series, featuring gorgeous art by Cameron Stewart and amazing colors by Dave McCaig and witty banter by yours truly. Be the first kid on your block to get a copy.

jasonaaron.blogspot.com

26 Comments

• At October 4, 2006, The Mutt wrote:

  A very nice over-view, but you should also mention The Watchmen.

• At October 4, 2006, Ninjawookie wrote:

  how good is that blazing combat cover!?

• At October 5, 2006, Graeme Burk wrote:

  It's a great list, though I might have added some of Captain America's forays into Vietnam, beginning with Tales of ...

• At October 5, 2006, Eric Grant wrote:

  I remember a Blackhawk series from DC set in Vietnam in the '50s (I think) where the blackhawks were doing ...

• At October 5, 2006, Matt Brady wrote:

  I was going to mention Watchmen, but Mutt beat me to it. Another one to note is Last Day ...

• At October 6, 2006, Bryan wrote:

  Did "The 'Nam" really last that long? I remember they said it was technically a 96-issue limited series early on, ...

• At October 6, 2006, Annoyed Grunt wrote:

  Vietnam Journal sounds like something worth picking up. Is there a trade by any chance?

• At October 12, 2006, matt levin wrote:

  there are at least two volumes of Vietman Journal in trade collections, and, I believe, another collection, a kind of ...

• At November 21, 2007, dr pete wrote:

  I have the entire set of the NAM. I was intrigued by the war as a kid (watching 8 men ...

• At October 25, 2008, Nick wrote:

  It should be noted is that there are 4 different series of Vietnam Journal, they are:

  Vietnam Journal (1-16)

  Vietnam Journal: Bloodbath ...

• At December 6, 2008, Don Lomax wrote:

  I have for some time been contemplating releasing the entire VIETNAM JOURNAL series plus the full color series which appeared ...

• At December 6, 2008, Nick wrote:

  That would be fantastic Don! It would be great to have a digital copy of your work as well! Would ...

• At December 6, 2008, Don Lomax wrote:

  VALLEY OF DEATH #1 was the last issue created for APPLE COMICS before the company went out of business. ...

• At December 7, 2008, Peter A Colwill wrote:

  Wow!!! As an avid fan of your work here on the small island I am over the moon that eventually ...

• At December 7, 2008, Don Lomax wrote:

  Peter,

  As memory serves VALLEY OF DEATH #2 was written and penciled but the script has since been lost. I ...

• At December 7, 2008, Dan Felty wrote:

  Don, I'll be checking in on that website; Vietnam Journal sounds like some powerful stuff!

  Blazing Combat is set to be ...

• At December 10, 2008, Peter A Colwill wrote:

  Don

  Can't wait for the rest of the story. Perhaps if you put the whole story together as a comic book ...

• At December 10, 2008, Don Lomax wrote:

  I have been exploring various websites of other comic providers such as the members only sites and other platforms for ...

• At December 10, 2008, Nick wrote:

  Sounds like a fantastic idea Don. I can't wait! Best of luck in your endeavours.

• At December 11, 2008, Peter A Colwill wrote:

  Great idea Don. I look forward to the publication of new material. What you say is so true about ...

• At December 11, 2008, Don Lomax wrote:

  Peter

  I appologize in not sending my best wishes to your son and his eminent deployment. One of my sons ...

• At January 10, 2009, David Turbeville wrote:

  Hi Don,I would like to say that the vietnam journal series was a great comic book,also the High Shinning Brass(1-4)was ...

• At January 23, 2009, Don Lomax wrote:

  Thanks David your kind words are hardly deserved. An update on my web site. It is up and ...

• At January 23, 2009, Don Lomax wrote:

  Thank you so much for your kind words, David, they are hardly deserved. An update on my website, it ...

• At September 14, 2009, jethro wrote:

  are there any more war comics based around the vietnamese war?

  plz reply asap

• At November 19, 2009, Trackback - Free Internation Call >> How to make free international call wrote:

  ,[...] goodcomics.comicbookresources.com is one another interesting source of tips on this topic,[...]

Fredric Wertham wrote a book (and helped maim an industry) with the hypothesis that comic books can screw you up royally. I'm not here to say that the good doctor was right, but I have to admit that they've done their job on me. Without comics, I might be doctor, a lawyer, or some other upstanding member of society. But thanks to them damned funnybooks, I'm...well, I'm a comic book writer. Fitting, eh?

So, in the spirit of warning the rest of you (though if you're reading this site, I'm guessing the comic book monkey has its claws pretty deep into your back), here are ten comics that warped my mind. Check 'em out - it's not like they could do the same to you, right? Right? Of course not!

1. THE AMAZING SPIDER-MAN 122

Mom bought me this to read on a trip to grandma's house. It hit the stands around May of 1973, making me just under six. I had probably learned to read a few months earlier. Perfect time to dive into a comic with Gwen Stacy's corpse, the Green Goblin's death and Harry Osborne whacked out on acid. Thanks, mom. (No, seriously. Thanks!)

2. DC COMICS PRESENTS 11

Bought this one myself, on a trip with dad to the local convenience store. I still can't remember why - I didn't even read comics then (late spring of 1979) and this one had nothing special to recommend it. In fact, it's lame. But I bought it, read it, and for some reason, I was hooked. And I have been for the past 27 years.

3. THE HAUNT OF FEAR 19

OK, I've never really read a copy of THE HAUNT OF FEAR 19. It hit the stands in the heyday of EC comics, way back in 1953. That was 14 years before I was even born. But sometime in 1979, a mere two panels from that comic reached across the decades and really got me. The story was Jack Davis' "Foul Play!," a revenge drama where the good guys (!) punish the bad guy by chopping him up and playing baseball with his body. His arms and legs are the bats, his intestines are the baselines, and his head...well, you can guess. Wertham reprinted two panels in SEDUCTION OF THE INNOCENT, and the OVERSTREET PRICE GUIDE reprinted the same ones, which is where my innocent pre-teen eyes saw 'em.

I was upset for weeks. No kidding. Now that's a comic!

4. MAD SPECIAL 24

Had to look the date on this one up. I never owned it, and wasn't sure what issue it was. All I remember was some kid brought it to fourth grade and, sneaking peeks during homework time, I devoured the reprinted comic book spoofs FLESH GARDEN! and MOLE! (with art by the incomparable Wally Wood and Will Elder, respectively). Suddenly, every other comic book seemed bland and tame. These comics were clearly not for kids - not really. I didn't get all the jokes, but I got Elder's dark, spooky art and Wood's insanely voluptuous babes. A copy of THE MAD READER paperback a year or so later gave me a bigger taste, and there was no going back. I still say those original comic book MADs are the finest comics ever published.

5. THE SPIRIT 12

Aside from a few panels in an old COMICS JOURNAL, this issue of Warren reprints (a few years old when I bought it at a comic book store) was my first glimpse of Will Eisner. Like MAD, it was one of those moments when a door opens and there's no looking back. The genius was apparent in every brushstroke, and the stories (like MAD) were clearly written for grown ups. You kids today, with your SPIRIT ARCHIVES collecting ever story - In order! In color! -don't know how lucky you are.

6. X-MEN 134

I actually bought this sort of by mistake, thinking it was an issue of Marvel's AMAZING ADVENTURES, which was then reprinting the old Jack Kirby X-MEN (and I loved me the Kirby). But this was something different. And, despite being dropped into a stew of convoluted continuity (Wolverine? The Hellfire Club? Nightcrawler? Who the hell were these people?) I was hooked, and hooked for years. See, I'd been a fan for years, but it wasn't until I started buying X-MEN that I become a fanboy.

7. AMERICAN FLAGG! 1

Finally, a comic book for adults that arrived when I was, well, if not actually an adult ( I was about 16) then ready to start reading and appreciating adult material. This one had everything - a brilliant view of the future, killer art, nasty humor, complex characters, sex, violence and all those garter belts. What more could you possibly want in a comic? I read it at least once a day until then second issue finally arrived a month later, then read them both until the third hit, then...well, you get the idea. Still might be my all-time favorite comic book series. Anyone know if that much-delayed hardcover collection is still coming out? I'd really like to know.

8. LOVE AND ROCKETS BOOK 1

Sure, we take it for granted now, but remember how thrilling LOVE AND ROCKETS was the first time you saw it? My exposure came when, at the recommendation of a very wise friend, I picked up the first book collection at a Cleveland comic book show. I read it over and over, blown away by Beto's complex plotting and Jaime's eye-popping art. Like FLAGG, I read it over and over until I got my hands on another issue, then another, then another. I'm still buying it today. Thank god Fantagraphics is still publishing it.

9. EIGHTBALL 1

And speaking of Fantagraphics, that's who brought this bit of black-and-white nightmare comedy into my life. I'd followed Dan Clowes' LLOYD LLEWELLYN, but that book's sly humor didn't prepare me for the sheer brilliance of EIGHTBALL. Besides a funny Lloyd story and a dark Jack Chick tract parody, this issue introduced me to Young Dan Pussey and kicked off Clowes' Lynchian serial, "Like a Velvet Glove Cast in Iron." And here's the best part: As good as this issue was, it would only get better. Much better.

10. JLA: EARTH 2

I could've picked a lot of Grant Morrison comics for this list. I consider him one of comics best, most imaginative writers, and I count his works - ANIMAL MAN, DOOM PATROL and especially FLEX MENTALLO - among my all-time favorites. But this one-shot graphic novel is the one that got under my skin in a creepy way. Morrison took a corny old premise - there's an Earth where instead of being good, the Justice League is evil - and ran with it, straight into some dark and disturbing corners. These villains aren't comic book evil, they're genuinely evil, and so is the rest of their screwed up world. When the Justice League - our league, the good one - admits there's no way to save a world where good is doomed to fail, it's a chilling moment. Hell, it still creeps me out just thinking about it. Thanks, Grant. (No, seriously. Thanks!)

So that's the list. Got any of your own? Warp your mind enough, and you too might have a future as a comic book writer.

Oh, and speaking of that...the new issue of CATWOMAN (written by yours truly) hits the stands Wednesday. It guest stars Zatanna, gives a pretty solid clue to who the father of Catwoman's baby is and even contains a geeky homage to the shower scene in PSYCHO. Check it out, won't you?)

X-Ray Spex

6 Comments

• At August 16, 2006, Ed Brubaker wrote:

  The best part is that Harry takes acid because he's suicidally depressed. Smart move, Harry.

• At August 16, 2006, del gorky wrote:

  Dammit Will! That Haunt of Fear issue looks good. Now I'll have to track down a reprint. ...

• At August 17, 2006, Bill Reed wrote:

  Polaris-powered punches are *awesome.*

  A comic that *really* screwed me up as a kid was an issue of Perez's Wonder Woman, ...

• At August 17, 2006, Will Pfeifer wrote:

  That Harry always was a wise user of recreational drugs!

  As for a reprint of "Foul Play!," it's included in the ...

• At July 29, 2007, J-Man wrote:

  Comics that screwed me up?

  Death of Superman: read it when I was about five and I didn't read a lot ...

• At October 11, 2007, Baby Shower Game Idea wrote:

  It seems to me that would have more to do with Baby shower game idea than just about anything ...