Wednesday, July 15, 2015

Forty-five years ago I became a comix nut.

My first haul.

Forty-five years ago this week I became a comix nut.


I was 10 years old. I had never really been into comic books, nor had the thought ever entered my mind of becoming a comix creator. I drew for fun, obsessively, but that was it. Yeah, I read Mad magazine when I had the opportunity. What kid didn't? I read the newspaper comics page religiously, too. I liked some of the Saturday morning cartoons based on comic books, like the Superman-Batman Adventure Hour or Spider-man, but the books themselves? The squeaky spinner rack at Vann's Drugstore in my hometown never held much allure to me. I always bolted straight to the toy aisle when my mother said I could pick something out as a reward for tagging along on her errands. When I returned with a Matchbox or Hot Wheels car, she'd invariably say "Pick something out for your little brother." Well, I certainly wasn't going to get him anything as good as my prize, so I'd pluck a random comic book off the rack. This small stack of battered comic books was all we had in our house.


Until July 1970.







Every summer the Family Backderf vacationed at an old lodge in Ontario's "cottage district," a string of several dozen lakes about three hours north of Toronto. We always went to the Wig-a-mog Lodge, on the sunny shore of Lake Kashaga-wig-a-mog (above).  It was great. A week of swimming, canoeing, shuffleboard and fishing. My parents vacationed here before I was born and it was a part of my life as far back as I could remember. The water was so clean you could dip your hand in a take a drink!










Wig-a-mog, had a gift shop, above, in the lower level of one of the two main buildings. It was called the Tuck Shop. Not sure what that means. It was a cramped little store, with knotty pine walls. Sliding panel doors covered the front when the store was closed. It was divided into two small rooms. Each manned by one of the bored college kids who staffed the lodge. The room on the right, which takes up most of the photo here, consisted of a long counter, that shielded the more "valuable" wares from guests. The more expensive cheesy souvenirs, and toiletries and batteries, that kind of thing. 



To the left, just off camera in this pic, was another room, which you could enter. The counter in this second room, manned by another staffer, stretched along the back wall. In front of the counter was a candy bar rack. An ice cream freezer was in the corner, and a pop machine. There were all kinds of cheap souvenirs displayed on shelves: pennants, t-shirts, and fake Indian crafts, like miniature totem poles and birchbark canoes. Guests were free to browse and handle the goods in here.



And on a wall rack, behind the counter and safe from sticky kid hands, were comic books. An entire wall of colorful covers. It's hard to see in this bad photo, You can just make them out to the left of the girl at the counter, peaking over the shelves that divided the two rooms. Spot the green and blue buckets there? The top few rows of the comic book rack are visible beyond, on the back wall. It's full size is hidden behind the panels, but I recall it being about eight feet high and at least that wide. The staffer, always a young girl, had to stand on a stepstool to reach the top rows. 



Historically, the big attraction for me was the array of strange and wonderful Canadian candy bars, a completely different variety than the boring Hershey and Mars offerings at home. My little brother and I were each given $5 at the start of the week, big money then. My old man only gave me 50 cents to mow our large lawn, so $5 was like a whole summer's pay!  My brother always blew his wad on Day One on a stupid totem pole or something, but I liked to stretch mine out, supplemented with allowance and lawn-mowing money I'd been saving, so I could buy a couple candy bars each day, making sure to enjoy them luxuriously in front of my now-penniless sibling, who eyed me with seething jealous hatred. 


In 1970, I was 10 years old and poised to enter the 5th grade. The organized kid stuff at Wig-a-mog was beginning to lose its appeal. Capture the flag again? Screw that. So I spent the days by myself, daydreaming and wandering the grounds. Halfway through the week, I was bored stiff. I wandered into the Tuck Shop that afternoon when it opened after lunch and carefully selected my candy bar for the day. As the girl rang it up on the ancient cash register with a loud ka-CHING, my eye wandered up to the wall display. Back home at my local drugstore, the comix were stuffed haphazardly into a spinner rack, but here in the Tuck Shop, spread across an entire wall, it was a mesmerizing visual lure.  I pointed to a copy of Fantastic Four #102 and said "I'll take that, too." An impulse buy that changed my life.






I walked out to a little point, above, jutting into the lake, free from people, and parked under the shade of a spruce tree. Probably that very tree on the left! The twerps in the canoe weren't there. Waves gently lapped at the shore and my nostrils filled with the aroma of water and pine needles. I read the FF as I munched the candy. As I walked back to our cabin, I read it again. Then a third time on the porch. That was it. I was hooked. 






FF #102 was Jack Kirby's swan song at Marvel. Fed up with Stan Lee's ceaseless gloryhogging, he was off to DC to start on his incredible Fourth World project.  In fact, Stan Lee addresses Kirby's loss in the Stan's Soapbox in this very issue, promising the "bushy tailed and bewildered" Bullpen will "turn ourselves on, knock ourselves out and do ourselves in to prove once again we're the boldest and the best!" Groan. Typical hokey doggerel from gasbag Stan. I didn't know any of the backstory back then, but I knew what I liked, and I liked this book. A lot. 



The cover, a John Romita rush job since Kirby quit before he had time to draw the cover, is actually pretty lame. Not sure why this book caught my attention. Maybe my curiosity was peaked by the FF Saturday morning cartoon of a couple years previous. But the story inside grabbed me and didn't let go. This was my introduction to Kirby and I'd never read anything like it. I was fascinated by the power and flow of his artwork. 




As Kirby books go, it's a pretty pedestrian one. That last year at Marvel, Jack was mailing it in– well, by his standards anyways– while furiously (and secretly) developing the New Gods for rival DC. But I didn't know that at the time and even mailing-it-in Kirby is amazing! I pored over this sequence, especially how he drew with those squiggly muscle shadows. I couldn't stop looking at this art. I wonder, if I had randomly selected a book by another artist, if I would have been so mesmerized? My life and career could have been dramatically different!

I rushed back to the Tuck Shop before it closed, and bought five more books. The next day, I purchased every Marvel book they had in stock, then all the DC ones. By week's end, I had cleared the rack, even the lame titles like Mighty Marvel Western, everything except the girlie romance books, the Archie stuff and the Harvey and Gold Key shit, which I knew was awful. The haul is a who's who of comics greats. Stan was still writing the dialogue for most of the Marvel books, with Roy Thomas handling the lesser titles. DC was entering the peak of its marvelous Infantino era, when Carmine oversaw a fascinating array of titles and concepts.  Outside of Kirby's brilliance, Gene Colan's artwork was like freeform jazz, so fluid and organic. Gil Kane's loosey-goosey figures were mesmerizing. I marveled at Nick Cardy's precision, Neal Adam's delicate linework and Wally Wood's masterful heavy inks. 


I returned to Ohio with a stack of 18 comix, shown at the top of this post, immediately hopped on my bike, rode to the drugstore, strode straight to the spinner rack and grabbed another armload of books. And that was that. I was lost to comix forever. The toys and obsessions of my youth were immediately forgotten. I spent countless hours drawing comix. Here's one of my efforts from later that summer, totally copping Kirby and inspired by that FF #102. Just like that, my life's calling was clear.






1970 was the ideal year to become a comics fan. All the modern masters were still at their peak, or damn close to it, and a new generation of brilliant creators was just entering the field. Both Marvel and DC were offering an exciting array of experimental titles. That would all turn to shit by 1975, of course, when both companies morphed into dull corporate entities, but there was plenty to read until then. And the Silver Age classics were still dirt cheap. Heck, you could find piles of them at flea markets and garage sales! There was so much to read and study I couldn't keep up with it.

Lake Kashaga-wig-a-mog was always magic to me, for that reason. The Family Backderf only went there one more summer. My mother disliked the new owner of Wig-a-mog, so we began vacationing in New Hampshire instead. As the years wore on and I tired of mainstream comics, I'd think back wistfully to the Tuck Shop and that sense of wonder I felt discovering comic books for the first time. Would I ever have that feeling again?


In turns out, yes. In 2006, 36 years later, when I returned, this time with my own family. 

I was recovering from cancer treatment, and it was slow going. The cancer was in remission and the outlook for a full recovery and cure was excellent, but I didn't feel that great. I was fatigued all the time and mentally drained. My career had also stalled, as weekly papers began their sad decline. It was the toughest period of my life. Career wise, I decided I needed to try something new. I'd been tinkering with long form comix before I got sick. Got a couple Eisner nominations! But it had been, at that point, four years without a new project. I needed a vacation, someplace by water, to re-charge and rejuvenate. I thought, hey, why not Lake Kashaga-wig-a-mog? An online search revealed that Wig-a-mog Lodge was still there, but was now mostly timeshare condos. Ugh. But right across the lake was a classic old-time lodge, Halimar, one I remembered from back in the day. I booked a week there.






Every morning after breakfast, I dragged an adirondack chair to a shady spot on the water's edge, above. Directly across the lake was old Wigamog Lodge. The Tuck Shop was gone, replaced with a gym, but the wooded point where I read that copy of Fantastic Four was still there, unchanged. With a sketchbook on my lap, I burrowed my feet into the wet sand and spent the days thinking and writing, staring across the lake at that point as I did so.




It was here that Otto "The Baron" Pizcock came to me in flash, almost fully formed. Here's how he first looked, above,  in my sketchbook. I grew ever more excited as the book took shape, and worked until sunset every day. My wife grumbled that she was a "comix widow." By week's end, I had conjured up the other characters in Punk Rock & Trailer Parks, and written fully half the book that would propel me into my new career as a graphic novelist.

Once again Lake Kashaga-wig-a-mog worked its magic.


That first comic book haul:






Silver Surfer #18 was another of the final Kirby books, this one with the classic "fuck you" last page directed at Lee. It's a book with one of the  most interesting backstories in comics history. I'll get to that ,in detail, in another post.


Amazing Spider-man #88 was a typical example of Marvel's flagship title. Lee and John Romita, his favorite artist, whose work I always found a little antiseptic.


Marvel Tales #28 was one of the fat 25-center reprint books, this one with a couple Ditko Spideys (why were these so much better than the regular title?) and a Ditko Dr. Strange. Whoa. Crazy stuff.




Batman #224. This wasn't anything like the Adam West tv show! That cover was my first glimpse at Neal Adams.

Brave and the Bold #91. Beautiful Nick Cardy cover and inside art.

Astonishing Tales #1. I loved how Wally Wood drew Dr. Doom. Didn't realize it was a greatly diminished Wood. And another Kirby story? When you add in Thor and the Inhumans story in half of Amazing Adventures, Kirby drew FOUR BOOKS in his final month at Marvel! While also working hard on the Fourth World project. No wonder Stan was despondent when Kirby resigned.





Amazing Adventures #2. The Inhumans story is drawn and written by Kirby. To my knowledge, his short run on this title is the only time he received a writing credit during his Marvel Age run, a major beef, along with Lee's shameless glory hogging, that led to Kirby's defection to DC. Note, however, that Funky Flashman still puts his name first. Hard to believe Jack was fed up, huh?




Capt. Marvel #21. My intro to Gil Kane art. Lee always grumbled that his art "looked gay." 

Daredevil #67. I noticed right away there seemed to be as many Gene Colan books as Kirby ones.  Marvel had artists with widely divergent styles. I picked up on that right away.

Flash #199. Chairman Mao lobs a missile at the US! Man, this Cold War stuff was downright hysterical in tone. Hey, let's scare the shit out of 10 year olds! Nothing like propaganda.

House of Secrets #87. DC's horror mags were great fun.



Iron Man Annual #1. Great reprints from 1967. More Colan, drawing Iron Man. And then, Kirby steps in as a guest artist and HOLY SHIT! More Kirby art I couldn't stop staring at, above. I still can't stop staring at it. This is when it clicked for me.I want to draw stuff like this! Yeah, sure, kid. You want to draw like Kirby. Good luck with that! But eventually it led me to my own path.

Justice League #82. Hmmm. The DC books were noticeably less interesting than the Marvel ones.

Marvel Super-heroes #28. These reprint books hinted at a wondrous treasure trove of back issues waiting out there for me to discover. Really wasn't that big a trove, since the Marvel Age only began six years earlier. Of course, when you're only 10, six years is almost a lifetime.

Mighty Marvel Western #10. Ugh. What can I say? I was desperate.



Superman #229. THIS was the world's best-selling title? Yawn. 

World's Finest #195. Another lame book. I couldn't figure out why Batman in his own title was cool and totally square in this one.









Saturday, July 11, 2015

The Eisner Awards send a message!




The Eisner Awards have been passed out at Comicon, and the result... is epic. A foundational shift!

Marvel and DC and superhero corporate product in general were virtually shut out of the Eisners! Has this ever happened before? Awards instead went to an impressive array of brilliant work outside of the tiresome, long-underwear sock-em-ups. 


The only Eisners for the superhero publishers? IDW won "Best Archival Collection" for the Steranko Artist's Edition. Rightly so. Those things are gorgeous. Wouldn't mind owning that one myself. And Darwyn Cooke won "Best Cover Artist" for his month of variant covers on the DC line. That category was a given. Where else but mainstream comics do you have such a thing as a cover artist.... or variant covers? The rest of us just draw our own covers! That's not a dig at Cooke, whose art is brilliant. But c'mon.... variant covers? Jesus, still flogging that dead horse, DC? Vertigo's Sandman picked up a prize for best artist, but that's not a superhero book. Disney-Marvel didn't win squat!

Every other Eisner went to indy creators, or books outside the superhero genre. 

This, friends, is a total repudiation of the the hyper-marketed, corporate product that Marvel and DC are foisting off on their shrinking readership, and a long-overdue smackdown of the mainstream schlock that has dominated comix in this country, not in sales, at least not in recent years, but dominated the conversation and the definition of what comix "is."  This is a sweeping victory for comix! And that it comes at Comicon, the epicenter of blaring, mass-market, Hollywood tie-ins, particularly those of Warner Bros. and Disney, is extra sweet. 

Hey, I grew up with superhero comics. From age 10 to 18, I cleared the rack every week. Kirby and Ditko and Adams and Steranko were my inspiration. I loved superhero comics. I was consumed by them. I still have several thousand of my favorite books, neatly tucked on a shelf a few feet from where I'm typing. From time to time, when I'm in need of inspiration, I read some of them. But by the time I got to college, I was done. The Bronze Age was groaning to a disappointing end and the superhero genre was devouring itself with a tiresome cycle of repetition and duplication and declining quality. When I started making my own comix, right around that time, I became a creator and stopped being a reader. But I was one once, so these aren't just the ravings of a snooty indy dork. OK, OK, maybe they are, but a snooty dork who has devoted  his life to comix, and has spent much of that life trying to convince the American public that this is a legitimate artform, as worthy as the printed word or film or any other storytelling art form, and one that is SO much more than a musclebound idiot prancing around rooftops in a ridiculous leotard.

Are there good superhero comics? Sure. Not many, frankly. It's been a steep, bumpy road down from Kirby and Lee. That genre was completely spent with Watchmen in 1986. That should have been the wrap up, the great post-modern epic that turned the genre inside out. Instead, the Big Two have been stuck in three decades of pathetic Watchmen imitations, with superheroes growing darker and darker, ever more cynical and ultra-violent, and, of course, rampantly misogynist. Look, if you're a total superhero devotee– well, you're probably not reading my blog– but, in any case, more power to you. Really. The more people reading comix, ANY comix, the better, as far as I'm concerned, even if, I freely admit, and I was once one of you, I don't get it.  My beef is the delusion that superhero comics keep the industry afloat. They keep the comic book shops afloat, but those shops were built to cater to that fanbase. Judging by how many are closing, that business model ain't working anymore. People who seldom set foot in the shops are reading comix in big numbers. The kind of comix that just cleaned up at the Eisners.

Now, when I periodically bring this up in social media discussions, someone always responds defensively, "But if you don't read superhero comics, how do you know they suck?" Well, I've never seen an episode of The Khardasians or Duck Dynasty either, but I can GUARANTEE those shows are total shit! Besides, I don't read many indy comics either. I love comix, but I'm not a fan anymore. That's a sacrifice I had to make to become a creator. I know, I know, it's weird, but it works for me, and so far it's worked pretty well.  I do, however, periodically flip through books, both indy and mainstream, and I hear the buzz. I know what's out there and what's good and what's not. 

This slate of Eisner winners is how it should be moving forward. Disney and Warner Bros. can have their billion-dollar movie franchises, their tv shows and video game spinoffs, but they shouldn't get awards for their comic book tie-ins (and who are we kidding here, that's all the comic book line is to these corporate giants), any more than the superhero films themselves should win Oscars or awards at Cannes or Sundance. Those are reserved for daring, innovative work of high quality (the occasional Oscar fuck up aside). So it should be with the Eisners.

I hope this year's result doesn't conjure up one of those moronic organized backlash campaigns, like the Sad Puppies debacle that has all but ruined the Hugo Awards. If the Eisner folks aren't making plans to head that off, they damn well should be. 

I'd also love to see the award ceremony moved from Comicon,  which has little to do with comix anymore. But that probably isn't happening. Here's a wrap-up from CNET, which barely mentions comix at all, except in relation to the movie franchises, and offers nary a word about the Eisners.

But for now, let's celebrate. It's a victory for the art form! Congrats to all the winners!



Tuesday, July 7, 2015

Store updated

Been meaning to do this for awhile, but I've updated the store. Some of purchase links were no longer active. God knows when this happened. This whole capitalism thing still perplexes me.

Anyways, there are now working purchase links for the both the Joey and Johnny shirts. Look for a couple new shirts soon. Also, the Lester Bangs shirt is apparently no longer available. I'll try to fix that, but for now, it's gone.





Also, again unbeknownst to me the SLG online store no longer has copies of Punk Rock & Trailer Parks, as they methodically back out of the comix biz.  Dan Vado is now running a music club in his former warehouse. Sounds like a great place. The only place to get copies from here on is from me at shows, or from.... insert sinister music.... Amazon. Yeah, Amazon will continue to be re-stocked. I usually encourage folks to shop anywhere but Amazon, but in this case there's no other option, so have at it.

If you're fine with eBooks, Comixology offers an excellent version of  PR&TP. It's done very well there and I actually get a quarterly royalty payment from these guys, so I encourage people to opt for that.

Sometime this summer I'll be putting up a selection of original art, so look for that.



Monday, July 6, 2015

Done at last!




I'm happy to report that Trashed is delivered and in the can. All 240 pages of it. Took a bit longer to put the finishing touches on it, as it always does, and MAN am I sick of looking at these pages, but it's completed at last. Here's the wraparound cover (above). I especially like how designer Pam Notorantonio tucked the barcode right into the truck's hopper. 

I'm recently returned from Book Expo New York and the American Library Association convention in Frisco, where I passed out crappy proof copies like candy. 

And the first review is in! Damn book isn't even printed yet, and Kirkus Reviews gave it a "starred review"! That's not one star, like a movie critic would give to a lousy film, that's starred as in "we like this book!" 

"Indie comics stalwart Backderf returns to the scabrous humor and pointed commentary of his earlier work. A one-time garbageman himself, Backderf has a clear affinity for these hardworking stiffs and their travails. An entertaining ode to the odiferous realities of getting by."

Heidi MacDonald at Comicsbeat also declares Trashed to be "hilarious and disgusting." 

And these are based on the positively dreadful, mistake-and-typo-ridden proof copy. Abrams was in such a rush to get it out by these two events, they just used my first draft. I hadn't even spellchecked anything, which is painfully obvious, as I have apparently lost the ability to correctly spell any word longer than two syllables. I'll be building a bonfire out of any copies remaining once the real book comes out. That'll be the end of September (I hope).




Here's the cover of the French edition, also due in September. 





So now I can kick back and enjoy the rest of the summer with some well-deserved time off, before the Fall book tours both here and in Europe. No plans, other than firing up The Baron of Prospect Ave. webcomic again. Look for new pages shortly. I'll also be pondering my next book. I have a few ideas, but nothing I'm willing to share at this point.

I've also re-jiggered the webstore here, to better highlight the Comixology e-edition of Punk Rock & Trailer Parks and the punk star t-shirts from Birdcage Books. You'll note there's now a Johnny shirt to go along with the popular Joey shirt. Coming soon, Dee Dee.... and Klaus Nomi!

FYI Punk Rock & Trailer Parks is no longer available from the SLG Comics online store. The book will continue to be re-stocked at Amazon however. I usually discourage people from buying Amazon, but there's no other option here, so have at it. From a purely selfish standpoint, the Comixology download is even better, because I get a quarterly royalty from them! 




Monday, June 22, 2015

Earl Norem, the King of Adventure Sleaze!





The great Earl Norem passed away last weekend, at 92. Norem was the top illustrator of the adventure sleaze mags of the Fifties and Sixties. The newsstands were full of these rags, which paired junk fiction of the lowest brow with provocative large illustrations of busty, scantily clad babes engaged in various acts of over-the-top violence.

The publisher of most this marvelous trash was none other than Martin Goodman, who was also the founder and publisher of Marvel Comics. Comic books were low-profit enterprises back then. The big money was in porn, and this was the foundation of Goodman's vast publishing empire His son, Chip, held on to the porn mags long after the family foolishly sold Marvel, finally selling the last ones in 1993, just before the internet wiped out the titty mags.

Norem began painting for Goodman's magazine line when he returned from WWII. He was prolific and fast. Working in acrylic paint, he provided hundreds of covers and double-page illustrations for softcore sleaze mags like Stag, Men's Life and Men.


Before internet porn, teenagers had to go to great lengths to score masturbatory material. If a boy couldn't steal girlie mags from his old man, he had to make do with whatever newsdealers would sell him. Goodman recognized this lucrative untapped market, and thus was the adventure sleaze magazine created.


 


The big selling point of these rags were the illustrations of bodacious babes, as uncovered as Goodman could get away with. Imagine how many thousands of teenage horndogs drooled over the "Man Hungry Nymph Who Stole Red China's Secret Super-MIG"! Goodman no doubt paid Norem more for the paintings than he did for the stories themselves!



My introduction to Norem came much later, in the Seventies, when he became the go-to cover artist for Marvel's magazine line, which featured titles like Monsters Unleashed, Dracula Lives and The Savage Sword of Conan. Goodman was long gone, as were the adventure sleaze mags. Marvel put out a dozen magazines a month to try to grab some of competitor Warren's audience. Marvel's publisher was now Stan Lee, and he recognized that Warren's covers often sold the magazine, which frankly, were full of less than stellar material. Warren shelled out top dollar for the covers of Creepy, Eerie and Vampirella by A-list talent like Frazetta, Jeff Jones and Richard Corben. Marvel couldn't (or more likely, wouldn't) pay for that kind of muscle, but here was old friend Earl Norem, waiting in the wings.

I didn't much care for his Marvel mag covers, to be honest. But they led me back to the work of his sleaze mag heyday and that stuff simply blew me away. I found piles of them at Kay's Books in downtown Cleveland, priced for a few cents each.



Norem's death reminded me that he also painted the cover for The Silver Surfer graphic novel in 1978. Or, rather, he re-drew (or, I guess, re-painted) the original Jack Kirby cover. Above left is the Kirby original, later inked and colored by parties unknown. To the right, is Norem's reinterpretation. It's a pity he is associated with this book, the backstory of which is one of the saddest tales in Marvel history.

This was one of the first original GNs. It came out the same year as Eisner's Contract With God, commonly considered the first original graphic novel. It's not, but it was Eisner who coined the term "graphic novel," for better or worse, and jumpstarted the current GN Golden Age we all now enjoy.

The Silver Surfer
GN is a tepid re-hash of Kirby's original Surfer-Galactus story that was such a cult hit a decade earlier, and which Stan desperately clung to as proof that he could actually write (he couldn't), even though, of course, he DIDN'T write the original FF Trilogy. Kirby did. Lee just filled in the word balloons with hokey dialogue, based on Kirby's detailed margin notes.

The Silver Surfer was the first book Stan "wrote" since 1971 when he was promoted to Marvel publisher. It came on the heels of his infamous Origin of Marvel Comics, where Lee first made the outrageous claim that he was the sole creator of all the great Marvel characters, a brazen lie that infuriated Kirby.

The Silver Surfer GN is a soapy weeper, minus the FF, and with an added romantic interest (!) and a cosmic sex scene (!!) with Stan, as usual, striving mightily to be deep, and failing spectacularly. It's Lee at his absolute worst and his dialogue is even worse than usual. It's better than the Surfer comic book series, thanks to Jack. Not a high bar, since those Surfer book are the dreariest of the Silver Age, a turgid mess of a series, with Stan fucking up a cult hit with tiresome allegories as obvious as a hammer blow to the head. The actual politics behind those allegories are totally mainstream and craven. It's Stan, the middle-aged cool dad trying to "rap with kids." When the book was mercifully canceled by Martin Goodman, Stan bawled endlessly about how brilliant it was, and that it failed commercially because, although college kids loved it, the stupid 11-year-old readers just didn't "get it." He repeats this fantasy to this day. No Stan. Your Silver Surfer wasn't too deep. It just sucked.

This GN is the final "collaboration" between Lee and Kirby. It's not a great book, although the art is Jack's best of his late period. Lee & Kirby bickered throughout, with Lee audaciously demanding changes to the art. Kirby's second Marvel contract ended with this, and, fed up with Lee's lies and shameless gloryhogging, and tired of being denied the compensation he so deserved, he would never work again for the company he essentially created. The Marvel Age ended right here, with the publication of the Surfer GN. So, too, did my interest in mainstream comics.

Norem's cover here is a dud. The combo of a Norem painting over a Kirby layout doesn't work at all! Guess Lee, typically, felt the cover needed more of a "book" feel than Kirby could provide, so his hokey doggeral could be "properly" showcased. Wrong call again, Stan!

I remember buying this at the chain bookstore in the mall. You never saw comix in regular bookstores then, so it really stood out. I also remember thinking, man, this cover sucks.

I prefer to remember Norem at his best.


Thursday, June 4, 2015

CAKE this weekend!


Chicago's big alt-comix showcase is this weekend, Sat & Sun, at the the Center on Halstead. I'll be tabling and paneling. I'll have a full array of books and original art. Stop on by!


Just returned from New York City and the first promo for the new TRASHED graphic novel. Here's the cheap promo review copy of the book. And this one is really an uncorrected proof. No color, rotten paper, no editing or corrections at all. Little leery of letting something this rough circulate, but Abrams wanted something for Book Expo, the book industry's big trade show. 

The Abrams booth. Very cozy.


Hovering overhead, Abrams' gold seam. That's right, bitches, I've got  Wimpy Kid money behind me!

At the Abrams' garden dinner party. 


I was on a graphic novel panel with three other creators. Completely different works aimed at completely different age groups. Nice crowd. One woman, a librarian, helpfully pointed out that there already was a book about being a garbageman, released in 2013. I responded with an evil grin that my first garbage stories were published eleven BEFORE that, in 2002, and then again as a webcomic in 2009 and 2010. Wotta asshole. What was that about? Trying to embarrass somebody in a public forum?

Did a signing at the Abrams pod afterwards. Maybe 20 people lined up to get signed copies of the shitty review copy. Reflexively, I add a drawing to the title page, along with my signature, just like I do in Europe, where it's expected. The Abrams folks stared at me in disbelief. "You're doing a DRAWING???" my handler asked, in shock. "It's no problem," I answered, and it wasn't. I'm still putting the finishing touches on this book and after 6 months of marathon drawing, I'm in peak form. Besides, it was only 20 people and I've signed for 100 at single stops in France! But word spread fast, and the line grew to 30 and stayed there as more joined it. Still no problem, but the Abrams folks were freaking out. "We don't want you to hurt your hand!" Hilarious.

After an hour, they shooed everyone away. Cracked me up. But hit me up at CAKE and you'll get a drawing. No TRASHED yet– it's out in the Fall– you'll have to wait for SPX and NY Comicon for that.