Sunday, September 21, 2014

Update

True Stories: Volume 1 is being pushed hard by the fine folks at Diamond, which is the entity that supplies the comix stock to virtually every comic book shop in the US.  Its general release is coming soon, and it's the biggest pre-order book Alternative Comics has ever had. This is all very gratifying. A nice way to send The City, where these true stories first appeared, off to that great comics page in the sky.

What about The Baron of Prospect Ave. webcomic? Well, I'm afraid Otto and Co. are on hiatus for the rest of 2014. I am blasted away on Trashed seven days a week. I simply don't have time for anything else. So, naturally, I've been getting lots of intriguing offers, all of which I've had to turn down.  Trashed is due at Christmas. I'll have some edits and other bullshit to punch out, then I'm off to Angouleme at the end of January. When I return, I'll be completely free until Trashed is released in the Fall. I'll pick up The Baron again then.

Didn't anticipate this hard schedule, sorry. Writing Trashed took longer than expected and the penciling was excruciatingly slow. This is complicated drawing: lots of landscapes, lots of machinary. But I think it's a very strong book. 



Tuesday, September 16, 2014

The best SPX yet!

This year's theme was a celebration of the alt-weekly cartoons, from Jules Feiffer to the end, which I believe was reached sometime last week. It's something that is long overdue. The peak of the genre, from 1985 to 2000, produced, in my opinion, the finest, most original comix of the time. Discounting hacks like me, of course.  But we were always kind of the bastard stepchildren of both the mainstream comic strip community and the indy comix community. I always felt like an outsider to both. Now I'm a B-minus Indy Comix Star, so those days are behind me, as are comic strips, but it's nice to see the genre finally get it's due. 

It's hard to believe the weekly comix genre is over. Those that are still at it have morphed into the web model. What still blows me away is that monumental talents like Lynda Barry and Matt Groening, etc were chased out of weekly papers. That's right, they were basically told, sorry, we have no use for you. Good gawd, what were those chowderheads that ran those rags thinking? Well, they weren't thinking, and that explains those rags' (those that survive) current irrelevancy and fast-fading fortunes. Tom Tomorrow told me The Village Voice, once the headquarters of great weekly comix and currently home to none, is maybe 20 pages thick and rots, ignored and unread, in news boxes on the streets of Manhattan. This would have been unimaginable when I started my strip in 1990 with dreams of someday making it into the Voice, then the gold standard of weekly papers.   Back then, it was 200 pages every week and wasn't free. You had to buy it! Two or three bucks, as I recall. That's how good it was. Outside of a couple 6 month stints, I never did make it into the Voice. I ran instead in the NY Press for a decade, which was a weird libertarian weekly– high on nasty snark– but had a fabulous selection of comix, better than any other weekly in fact. It closed several years ago, after a long period of decline. Pretty much sums yup the whole weekly biz.

For me, who was toiling in the wrong genre anyways, the incompetent groupthink of weekly editors was a huge favor, because it chased me to graphic novels. I'm sure Alison Bechdel would agree. Arr. I get mad just thinking about it. But here at SPX, it was all good, because it was about the work and the legacy.


How good? This group shot of the featured guests says it all.  Front row L-R: some douchebag who looks awfully pleased with himself, Jules Feiffer, Lynda Barry, Ben Katchor, Jen Sorenson. Back row L-R: Shannon Wheeler, Tom Tomorrow, Charles Burns, Mimi Pond, Keith Knight.


Above: A signed, limited-edition poster of the SPX badges. Mine-- starring Otto!-- is upper left. Allegedly, I'll be receiving one of these, which gets framed and slapped up on the studio wall in short order.

And now, a selfie bonanza!



With old pal Ruben Bolling.


With Keith Knight and Lynda Barry.


With Tom Tomorrow and Jen Sorenson


With Dean Haspiel and Christa Cassano.


With Josh Bayer.



With Mimi Pond.


With Frank Santaro, one of my éditions çà et là colleagues.


In the bar, with Ruben Bolling, Tom Tomorrow (obliterated by my giant head).... and Jules Feiffer! Jules regaled us with great tales of the early days of the Village Voice and hanging out with Hefner and the literati at the Playboy mansion! I just listened. What a fabulous evening.


Who's this creep?


The awesomeness that is SPX.



Here's Noah Van Sciver modeling my badge.



And Shannon Wheeler, modeling my Joey shirt (available here in the Derf Store.... hint hint).


Thursday, September 11, 2014

SPX this Weekend!

If you're anywhere near DC, this is a show that is NOT to be missed. Hell, it's well wortrh a road trip! It's always been great, but SPX has now become THE indy comix fest. This year they'll be twice as many tablers, and the guest list is astounding. Jules Feiffer, Lynda Barry, Charles Burns, Tom Tomorrow, Drew Friedman, Mimi Pond, Ben Katchor, and virtually every indy creator in the biz.


I was asked to draw one of the badges, for those nominated for Ignatz Awards, obviously. here's the rest of them.  Who else would I feature but Otto? I have no business sharing the assignment with the likes of Lynda, Burns and Katchor, of course, but I'm happy with my badge.


And I'll be debuting True Stories: Volume 1 at the show! Yep, it's here, although not officially released for another month.

So come on down! I'll have all my books, tons of original art, plus some other goodies. I'm in the main ballroom. Section I (as in "eye"), Table 13.




Tuesday, August 26, 2014

Two weeks until SPX!



I'll be a "special guest" at the incredible Small Press Expo in DC, Sept. 13 &14. This is my favorite comix fest in the US. Well worth a trip to DC for the weekend.


SPX is held at the Bethesda Marriot Convention Center. A bit of a soulless stripmall part of the city, but easy access off the Beltway. Here's (above) where I'm located in the Grand Ballroom. Aisle I, table 13.

I'll have all my books, including the fresh-off-the-press True Stories: Volume One. I'm also bringing a shitload of original art, and a variety of other goodies. Or just stop by and say hello.


I"ll be easy to find. Just look for the 8-foot-tall Joey Ramone.


And WHAT a line-up this year! Lynda Barry, Tom Tomorrow, Ben Katchnor, Mimi Pond, Drew Friedman, Shannon Wheeler, etc etc.  

The main theme this year is a celebration of the Alt-weekly Comic Strip. Well, more like a wake for the Alt-weekly Comic Strip. But it's a topic (obviously) near and dear to my heart, and it's about time comix historians started to appreciate the era of alt-comix from 1980-2000 as the incredible period it was. I think it was a period unmatched in terms of experimentation, stylistic revolution and just outright excellence.  We strip guys were always kind of the bastard stepchildren of indy comix.  Those in and around the industry never really embraced us as part of the club. I jumped the fence some time ago, of course, and have been lobbying hard for my alt-weekly colleagues to finally get their due.

SPX. Be there or be square!



Saturday, August 16, 2014

In defense of Howard the Duck


So the comicdork world is a-buzz with the cameo of Howard the Duck in the after-credits scene at the end of Guardians of the Galaxy. Could it be Disney-Marvel is planning to relaunch the great comix icon of the Seventies? The blood chills.



I loved Howard back when he was first a cult, then a bonafide, smash hit. Not only was he the first "superhero" who lived here in Cleveland, he was the creation of Steve Gerber, the funniest, weirdest, druggiest, most perceptive writer in mainstream comix.  Most in fandom hate the character. I guess they regard him as somehow besmirching "real" comic book characters. Many older fans are still pissed that Howard ruined comic book movies for a decade. Maybe he just doesn't fit the tiresome, uber-violent, dystopian  dreck that is popular now with what's left of mainstream comic book readership.




Howard the Duck was Marvel's first big cult hit. He debuted in 1973 in one of Gerber's bizarre storylines in the Man-Thing series, inexplicably walking out of the underbrush (above). Val Mayerick was the artist. Man-thing was a mindless swamp creature who couldn't talk or think or had any personality whatsoever. Mostly he just stood around in swamp water. Only Gerber could make such a book interesting.... and did! Howard quickly met an untimely end, plunging through a dimensional hole. But then comics fandom flooded Marvel with letters. We want more Howard!  

Fandom was still in its infancy then and comic book publishers not only didn't cowtow to it like they do now, they really didn't consider it at all when making decisions. Comic books were all about the 11-year-old audience then, those millions of sticky-fingered brats who grabbed a copy of Spider-man along with a handful of candy bars at the corner drugstore. For Howard to get his own title in this era, to placate adult fans, was unprecedented. He was re-introduced as a back-up feature in 1975, in the most hilariously titled book in the history of comics, Giant-size Man-Thing. One of Marvel's young stars, Frank Brunner,  took over the art assignment. That only increased fan fervor. Finally, in 1976, Howard was granted his own title.




Howard the Duck #1 was a smash hit. It was a glimpse of the future of the comic book business, in more ways than one. It was the first big speculative book in the collectors market. The distribution of #1 was spotty, and, of course, it wasn't printed in the numbers of, say, Spider-man, which sold 500,000 a month. My corner drug store in my hometown didn't have it, but I found my copies at one of my back-up suppliers, Gray Drug in the Summit Mall (where Dahmer's Command Performance later took place!). Dealers sniffed a profit and bought up boxes of #1, illegally, right off the loading dock at the local distributor warehouses. The price of #1 on the back-issue market immediately shot up to an unheard-of $20. For a regular 20-cent comic book that just came out? The two great forces that would alter comic book history– fandom and dealers– had emerged. 




Purely as a comic, that first issue is great, a true Bronze Age classic. The story is a societal satire mixed with a bizarre sorcery tale. It was a template for everything Gerber wrote after it. Marvel and DC weren't big on satire, and god forbid they would make anything more than the most mild political statement. When they tried to be "deep," it invariably came off as laughable soap opera. Howard the Duck owed more to underground comix, minus the sex and foul language. That may have; made it even more subversive! Edgy satire passed off as a funny animal comic book. It really is great stuff.

The art is beautiful, too. Just look at the detail in that page! Unfortunately, that was it for Brunner. He did one more issue, then left the biz, never to return, outside of a cover or poster here and there. Marvel fished around for a suitable replacement artist, before settling on old hand Gene Colan. I loved Colan on Iron Man, Daredevil and Dracula, but this wasn't a choice I was pleased with. His loosey-goosey style lacked the impressive detail of Brunner. Colon drew Howard virtually to the end.




Over the next couple years, Howard was one of Marvel's biggest hits. He got the kind of media attention mere long-underwear comic books simply weren't getting then. Imagine! An intelligent satire aimed at adults! Gerber mounted a Howard for President campaign in the 1976 election that got quite a bit of press. The button (above) drawn by Bernie Wrightson was a frequent sight pinned to lapels of twentysomethings  

Howard was the first title aimed at an older audience. Previous efforts to tap a college-age audience, like Green Lantern/ Green Arrow or The Silver Surfer, had bombed. Howard the Duck, on the other hand, was, for a time, one of Marvel's top sellers. The tide had turned. Five years later with the debut of video games the 11-year-old readers would vanish en masse and all that was left were older readers, but that's another tale.

Marvel's head gasbag, Stan Lee, was, of course, caught completely by surprise by all of this. He had stopped writing, if you could call what he did, filling in word balloons, "writing" and was by then Marvel's president, mainly stumping for tv and film deals out in Hollywood and shamelessly stealing credit from Kirby and Ditko. Stan had never even heard of Howard the Duck until fans started babbling about it to him at the many comicons he attended. He, of course, quickly took credit for Howard, as he did for everything. Funky Flashman to the end! 





In 1977, Howard got his own newspaper strip, also by Gerber and with art by  Colan and Val Mayerick, once again returning to his most famous creation. Howard was even more revolutionary on the staid newspaper comics page, then home to little but corpse strips like Blondie and lame joke-a-day dreck like Garfield. It only lasted a year, but it was great! The Cleveland Press picked it up. I begged my parents to subscribe to the paper, but was turned down. Pay for a paper just for one comic strip? Further proof to my old man that I was an alien from space! A neighbor was a subscriber and passed on the comic pages to me. I picked up her Press copies at the end of each week and added the clips to my collection.





Howard also became one of the first skirmishes in the creator-rights battle. Gerber's relationship with Marvel soured, especially when tyrannical editor Jim Shooter assumed control in 1978. Gerber was sacked, first from the strip, then the from the book he created. "Missed deadlines" was the officially reason, but Gerber demanding a greater cut of a lucrative character was the real one.  He then sued Marvel for the rights to Howard and eventually won a settlement in 1982, which was also unprecedented. In the meantime, he published some Howard spoofs in the emerging indy comix market. Destroyer Duck featured legend Jack Kirby, also then embroiled in a rights battle with Marvel (one that continues to this day). Frank Brunner also returned briefly to comics with Quack, featuring a unnamed Howard-like character. Marvel couldn't stop these efforts, mainly because Howard, of course, was a riff of Donald Duck! In fact, Disney had moved against Marvel for copyright violation, too! So Gerber's later efforts were just spoofs of a spoof. Presented quite an interesting copyright question. 


Stan Lee signed the termination letter (above) to Gerber, "effective immediately."



Above: Marvel's Howard redesign from 1977, to placate Disney. Draw the bill this way, don't make the eyes too large.... groan.


Howard the Duck was cancelled with #33, shortly after Gerber was fired. Marvel spun him off in a magazine aimed at an older audience, one of their strategies as the Eighties dawned, but that failed, too. Bill Mantlo, a fine writer and one of the creators of Guardians of the Galaxy, wrote those, but following Gerber was an impossible chore. Howard the Duck was a creature of the Seventies. His time was past.





The Howard phenomenon came to an ugly end with the release of one of the worst blockbuster films ever made, George Lucas' Howard the Duck in 1986. Lucas was a huge Howard fan and first pitched the film in 1976, right after American Grafitti. The studios turned him down, so he made Star Wars instead! Never in film history should a director have LESS of a complaint against studio decisions! Ten years later, when he used his fortune to start Lucasfilms, Howard the Duck was inexplicably his first project. What the hell was he thinking? It cost a then staggering $80M to make, mainly thanks to the disturbing mechanical duck costume, and bombed. It's on every critics' list as one of the worst films ever made. It was the dog that drove home that Lucas had lost it as a filmmaker. 

It was also the first major adaption of a Marvel character! The $1B hits of today can trace their lineage directly back to Lucas' stinker.

No one talks about Howard in Cleveland btw. Most locals at the time regarded it as just another shot from the New York intelligensia. There's some truth in that. Marvel was rumored to have approached Harvey Pekar to write a Howard re-launch. He turned them down. I was younger than Harvey by 25 years, but I never viewed Howard as a put-down, just as another failed Marvel title doomed by corporate meddling and politics. I certainly could have written Howard, not that I was ever on the Marvel radar. 

We in Cleveland don't view him as our own, because he wasn't, really. Most Clevelanders would be surprised to learn his story was set here. Howard's heyday was the Seventies, the low point in our fair city's history. Everyone was laughing about our burning river, our mayor's burning hair, the city's default, Mayor Dennis Kucinich and what a dump this sprawling Rustbelt town was. Every night Johnny Carson was cutting on Cleveland. Howard the Duck was just more piling on. It was also painfully obvious Gerber had never set foot in the city. It was Cleveland in name only. There were no local landmarks. The buildings didn't even look right. And Gene Colan was never much known for his attention to detail! Readers in Milwaukee or Portland couldn't tell the difference, but we could.

Today, with the intertube, it's easy to fill a story with visual references of a place you've never been. Joseph Remnant, artist of Harvey Pekar's Cleveland, for example, never visited Cleveland to research what he drew. He simply worked off photos, and did a great job capturing most of what he saw. I've done the same thing. But back in 1975, it was a very different thing, especially for low-paid comic book creators.Marvel certainly wasn't going to pay for a research excursion. I don't even remember Gerber attending a comic convention here!

Howard the Duck is today the most reviled Marvel character among fans. Mainly thanks to Lucas, and the "shame" he brought on comic book characters. Unfairly hated, in my view. I guess the animosity comes from the fans' belief that the Howard film ruined any chance of a superhero film ever being made. That's no longer the case. Seems that's all that's being made now! But the books themselves are still great. Dated, yes, and very much period pieces, as are, say, episodes of Saturday Night Live from 1976. But I'd like to see Gerber and Howard get their due. The books been out of print for years, although an omnibus will be at last released this Fall. I've no doubt Marvel would love to revive the character.... and I'm just as certain that without Gerber's genius, they'd muck him up completely. Let's remember Howard as he was. Historically, there aren't many modern characters as important as the duck. The first hit mainstream title targeted at adults, the first successful satire in mainstream comics,  the first book launched to placate fandom, the first Marvel character made into a major film and the first big skirmish in the ongoing creator-rights struggle. That's quite a resume.

Give the duck his due!

Thursday, August 14, 2014

Here's your chance, patriots!



So where are all the patriot gun-toters? How come they're not flocking to Fergusen like they did to Bundy's Ranch or when they paraded around sleepy Medina, Ohio, on a Saturday morning, with ARs slung over their shoulders, terrifying shoppers and soccer moms? This is the REAL deal here, government thugs bringing the jackboot down on citizens asserting their rights! It's not some wealthy old racist trying to wheedle out of grazing fees. Here's your big chance, boys, to face down the guv'mint and cast off tyranny, just like them Founding Fathers planned!

But no. Instead, the gun toters are making a panic run on St. Looie gun shops and stocking up on ammo, and joking on local news sites about what THEY'D use to gun down the protestors.

Gosh. What's the difference between Bundy's Ranch and Fergusen? What could it be? Don't tell me, I'll figure it out in a minute....

Sunday, August 10, 2014

On Nixon




Yeah I remember Nixon. He became president when I was 8 years old, and resigned when I was 14. I really have no memories of politics before him. I very clearly remember  his resignation speech. I was sleeping over at my friend Dale's house, as another languid summer vacation drifted by. It was a Friday evening and we were vegging to the back-to-back lineup of Kung Fu, The Six Million Dollar Man and Kolchak, the Night Stalker, when the networks cut away to the White House. 

I don't recall feeling much of anything. Surprise, maybe. After all, Nixon had been president pretty much my entire cognizant life. Seemed like he'd always be president! I'd heard of Watergate, but didn't understand it. My parents never talked about politics in front of me. I didn't even know their party affiliation!

Hunter Thompson, as always, described Nixon best. His obit for Tricky Dick is essential reading on this anniversary.

"If the right people had been in charge of Nixon's funeral, his casket would have been launched into one of those open-sewage canals that empty into the ocean just south of Los Angeles. He was a swine of a man and a jabbering dupe of a president. Nixon was so crooked that he needed servants to help him screw his pants on every morning. Even his funeral was illegal. He was queer in the deepest way. His body should have been burned in a trash bin."

As usual, the news channels are spewing out pieces about what happened 40 years ago. It's mostly shit, and I can confidently write that having seen none of it. 





My wife and I celebrated the 40th anniversary of Nixon and Watergate by watching ALL THE PRESIDENTS MEN. It's a great film, if you haven't seen it in awhile, and the type of major movie Hollywood simply doesn't make anymore. There's little action, no enhanced drama, no Oliver Stone-esque fabrications. But it's brilliantly written and directed, with outstanding performances throughout. For teenagers like us in 1976 who were thinking about careers in newspapers, it was (and is) inspiring.

You can make the argument that ALL THE PRESIDENTS MEN was the last big film of the post-studio Hollywood Era. Maybe ANNIE HALL, although that was really the first big indy hit. ATPM was a major studio release.   All those grungy, realistic, anti-heroic films from the late Sixties to late Seventies. A year later came the phenomenon of STAR WARS and movies changed forever. There's no way ATPM would be made today. It'd be an HBO series.

But I digress.

All these years later, it amazes me that such an immoral, petty sociopath like Nixon could be elected President. And it fills me with dread, that if Watergate happened today, it would not be reported at all by the downsized, dumbed-down, modern press. Two reporters spending years on an investigation, with no end in sight and an uncertain resolution? Where's the slideshow and click bait in that? Not to mention that today's corporate media crumbles under pressure from political powers. There's no profit in being a watchdog.

Even if by some miracle it was reported in the same way, it would all be suppressed or chewed up in partisan politics and grandstanding. The Rightwing Noise Machine would swing into action and the truth would be obliterated under an avalanche of bellows and bile. Nixon would survive were he in the White House in 2014! The great lesson of Watergate wasn't: don't do illegal things. It was: don't get caught... and if you do, muddy the investigation to the point know one can be sure and deny, deny, deny. Dick Cheney is the hideous mutant offspring of Richard Nixon.

Here's a few recommendation for you history buffs. 

Woodward & Bernstein are still at it, and this piece, a look back at the paranoia and vindictiveness that drove Nixon, is excellent. In it they discuss the Five Wars of Richard Nixon. Not Vietnam, but the wars Nixon waged solely on his own behalf: against his Democrat opponents, against the press, against the antiwar movement, against justice and, finally, against history itself, as he spent the rest of his life subversively trying to repair his image and his place in history. 



My other recommendation is a rather bizarre episode of PBS' Secrets of the Dead. Dick Cavett's Watergate recounts how an amiable talkshow host became one of the major players in Nixon's plummeting fortunes, perhaps the first time a television figure inserted himself into politics in a big way. Cavett had such an effect on popular discourse and opinion, that he and his staff became targets of the White House's infamous dirty tricks. All were audited by the IRS!

Not surprisingly, what I remember best about Watergate are the cartoons. My first memory were the ones in Mad magazine, not exactly known for it's hard-hitting political humor back then. Hey, we all gotta start somewhere!


Then I began to notice the cartoons in the local newspaper, the Akron Beacon Journal, particularly those of Herbert Block and Paul Conrad. Watergate was the high-water mark of political cartooning in this country. It's been a long, sad slide down to total irrelevancy since.



Conrad, drawing for the otherwise conservative LA Times, was particularly devastating. Nixon pressured the Chandler family, owners of the paper and faithfully arch-conservative and longtime Nixon supporters, to sack the cartoonist, but publisher Otis Chandler, a blacksheep who ran the news operation, held firm. Paul Conrad was the only cartoonist on Nixon's Enemies List.



And finally, it was Nixon's crimes that inspired me to try my hand at political cartoons. I'm pretty sure this is my first stab at the genre, from the text I'm guessing it was during the 1972 campaign, so I would have been 12 years old! 


That's not a bad Nixon. No doubt I copped it from someone. The Ghoul in the background there was a popular Cleveland monster movie host. Combining psychotronic pop culture with politics would later become my trademark. Guess I was wired for that!

So here's to you, Dick. Forty years and politics... and journalism... and cartoons... haven't been the same without you.