Comics on the beach, right? In theory, at least, you could create comics on the beach. You could also read comics on the beach! As long as you’re not a comics collector, you don’t have much to worry about since that comic book is likely going to get trashed any number of ways: sun, wind, sand, maybe even a crab. . . or a shark. But something is going to happen. It’s the great outdoors! You’re at the beach! So, it’s going to be a challenge. As for creating a comic on the beach, well, that’s possible. Probably best to keep things simple, minimal. Anyway, here is a comic by yours truly.
The comics in the spotlight this time around are by Doogie Horner, a great illustrator who I first took notice of for his book cover design (illustration by Jeremy Enecio) to the madcap fictional adventures of Barack Obama and Joe Biden, Hope Never Dies.
Pride and Prejudice and Zombies
It was shortly after spotting that book that I noticed another one with Horner credited for both illustration and design, a comedy mashup of Jane Austen and zombies! Maybe you’ve seen both of these iconic covers.
This Might Hurt a Bit
But it hardly ends there for Doogie Horner. Along with an impressive creative portfolio of graphic design, illustration and comics, he is also an author and a stand-up comedian. The great thing about whatever Doogie Horner does is that he’s very dedicated. His young adult novel has been well received, This Might Hurt a Bit. And you’ll just have to see for yourself how he tamed a hostile crowd when he was a contestant on America’s Got Talent!
Alright then, I’m very happy to bring to your attention this comic, a sweet story of a boy trying to connect with his dad. Or maybe it has more to do with the kid’s curiosity getting the better of him and his forcing his way into seeing a movie he was told would be too scary for him at his age. Yeah, that’s definitely a big part of the story. Spoiler alert, the movie was scary but not too scary. It depends upon how scary you think The Terminator is for a kid around five years-old. Okay, definitely parental supervision is in order.
The point is that this comic manages to do a lot of things right. It’s funny and engaging for any age. But, most importantly, it flows very well. This is a gentle narrative, told by a child, while maintaining a hip and upbeat sense of humor. The drawing style has a child-like, as well as elegant, simplicity.
So, this is an easygoing look and feel–and that’s actually not easy to do. It takes time to get that natural vibe going. Just ask Doogie Horner. He made it look easy to win over a hostile audience, something easier said and done, but he knows what he needs to know. Part of it is dedication to craft; part of it is learning from past mistakes; and part of it is simply not taking no for an answer. I get a sense of that spirit in this father and son story. Check it out, along with a bunch of other wonderful comics on Doogie Horner’s website.
First off, I invite you to read the review I wrote for The Comics Journal to the book in question, G-G-G Ghost Stories. That will add to the enjoyment of the following interview with the creator.
There are details in Brandon Lehmann‘s comics that will come back and reveal themselves upon another reading. Look closely and you’ll see, tucked away amid the backdrop of a mega-bookstore, copies of Brandon Lehmann’s new book, the recently released,G-G-G Ghost Stories, in the panels to his story, “The Werewolf Expert.” Another reading will reveal a copy of Henry Miller’s Tropic of Capicorn, in the hand of a child, a secondary player in this finely-crafted farce. The key idea here is the subject of creating such a thing as a “finely-crafted farce,” and why quality will win out in the end. Lehmann’s sense of humor is an absurdist and existential sensibility. Lehmann has been making comics for about fifteen years featuring observational and satirical work. In this new book, he focuses in on playful use of horror tropes. For this interview, we met at Seattle’s Smith Tower, a favorite haunt of erudite cartoonists and, of course, ghosts. We begin this conversation just as I sit down to join Brandon. I notice pot stickers have already been ordered. (We staged a bit of a humorous intro. You’ll see what I mean if you view the video.)
Hey, Brandon, well, I see you’ve started without me, as usual. Nice to run into you this way.
I just hang out up here in Smith Tower and read my own comics.
G-G-G Ghost Stories by Brandon Lehmann
So, what have we here (picking up a copy of Brandon’s book). Is the proper pronunciation just as it reads, G-G-G Ghost Stories?
When I named it, I was hoping for some awkward interactions at the sales counter. “I’ll take, G-G-G Ghost Stories, please.”
That would be a Scooby-Doo influence, right?
Interesting that we’d find ourselves in Smith Tower since, as everyone knows, this place is haunted.
Yeah, we saw a couple of ghosts on the way in. I was like, “Ahhh, it’s a g-g-g ghost.”
Page excerpt from “The Lfyt”
I think of a lot of your work, like the “The Lfyt,” as being mini-masterpieces. Do you sometimes think in those terms, “I’m going to create something that’s so spot on that everything works perfectly.” Does that make sense to say that?
Yeah, I always feel that when you’re working on a book, especially, you can get into this mode where everything you do just works. And then, when you finish a book, I have this period where I just struggle and I can’t seem to draw anything. But when I’m making a book, I can set a schedule, everything works on the first try for some reason. If that makes sense.
Page excerpt from “The Werewolf Expert” story from G-G-G Ghost Stories
It does make sense. I’m a certified cartoonist myself, as you know. Now, tell us about “The Werewolf Expert,” the longest work in the book.
There’s a trope in horror movies and TV shows where someone needs to seek an expert on the occult and it’s always someone who it doesn’t make sense would be an expert. Like, you’ll have this guy who works at the bowling alley as a mechanic and, for some reason, he’s a vampire expert. In “The Werewolf Expert,” someone consults a Barnes & Noble bookstore employee, and it’s the employee’s first day. And they shouldn’t know anything about werewolf lore but part of the B&N orientation training is that they teach all about werewolf lore. That employee knows a lot but eventually he consults his supervisor and she knows even more about werewolves to a ridiculous degree. So, it just keeps building on that premise.
Desperately seeking werewolf advice.
How would you describe your humor?
It’s absurdist and existentialist. There’s a lot of gags in the book that you can repeat with a similar premise. For the story we’re discussing, there’s a gag that I use a lot. The story is progressing from one point to another and then I’ll throw a wrench into it. And it will spin off in an insane degree. For instance, the bookstore customer seeking advice has a daughter named, Shawnda. He begins yelling at her, she’s off camera. Later, we see her and there’s more of this yelling. That sort of silly exchange is something I like to do in my work.
Panel excerpt from Brandon Lehmann’s Instagram.
There’s a beauty to your work. The humor is consistent. The art is consistent. You must go through a slew of experimentation before you hit upon what works, what’s on point.
The whole concept of the book is classic ghost stories. So, that’s the anchor. We’re dealing here with stories everyone is familiar with in one form or another. The story, “The Lfyt,” we were just talking about, is based upon a popular ghost story about picking up a hitchhiker who turns out to be a ghost. Another good example is “The Viper,” another popular children’s ghost story. The tension builds as he keeps calling and announcing when he’ll arrive. In my story, it turns out that “The Viper” is a guy with a thick German accent, who is just an innocent window wiper.
I didn’t know about that children’s ghost story. The actual one, not your satire!
Yeah, it’s real. There’s also one entitled, “Okiku,” based on a popular Japanese ghost story about a woman who was murdered because she refused to become a samurai’s mistress. She had been thrown down a well and, each night, she appears to seek her revenge. That was actually the basis for the Ringu movies. There’s the books. It was also on stage, as kabuki theater. So, yeah, I gather up all these ghost stories and given them my own spin.
Well, I’m sure this will intrigue readers. Thanks so much for sharing this with us. Where is a good place to find your work?
Trve Kvlt. IDW publishing. (W) Scott Bryan Wilson (A) Liana Kangas. Release date of first issue: August 17, 2022. $3.99
Let’s face it, it’s really tough being an individual. For Marty Tarantella, a working class hero in this comic book series we’re about to explore, life had become one big rut. Oh, sure, he was quite an individual, very quirky and unpredictable. But he’d paid a hefty price for being eccentric with no professional skills, unless flipping burgers counts for much, which it doesn’t. Marty had been working at Burger Lord at the same entry level job for the last fifteen years. Something had to give. To make matters worse, the way out of his rut was completely left in Marty’s hands. This guy can’t get a break! However, Marty was determined not to be just another loser chewed up by the gears of capitalism.
Long live losers!
Marty Tarantella, a young-at-heart aging hipster, was in real danger of entering a slow death when he stumbled upon the most hair-brained scheme that would blow up in his face while also catapulting into a whole new level of consciousness. Marty’s no senator’s son, just an Average Joe, the kind of guy that Kevin Smith has honored in much, if not all, of his work. Heck, Mr. Smith created a whole genre all his own, populated with the most eccentric of dead end kids. This is certainly not lost on the creative team behind this comic as they pull out all the stops to have Marty fly his loser freak flag. Fail! Fail! Gloriously Fail!
Yeah, my friends call me, Tarantula.
The fast food world is a very strange world, just as bumbling and insular as the mall world, a place where staff and customers alike fully embrace being losers. This was a choice someone made to find themselves in a highly artificial disconnected environment. That’s okay. Let ‘er rip, hang on tight, and go for the chili fries! Wash it down with a Pepsi. And don’t forget that bacon cheeseburger. Marty’s big mistake was thinking he could outwit the system he’s let himself fall prey to with as little effort as he put into submitting to it.
Marty and his supervisor, Bernice, have been toiling away at Burger Lord since forever. Why rock the boat now? Ah, if only Marty knew what he didn’t know then! This is the sort of story that you love to linger over the details as the main character gets deeper into trouble. Writer Scott Bryan Wilson delivers on all the authentic details of the fast food milieu. Artist Liana Kangas has a delightfully light style that adds some relish to the most subtle and mysterious of moments. There’s the scene where Alison, a prospective new employee, comes in long after some major plot points but with a sophisticated and intriguing tale of her own. This is where the collaborative spirit shines for writer and artist. Alison turns out to be a real wild card in this story, steering things in uncanny ways. Maybe Marty does have a friend in this cruel world after all! But it’s just too soon to say what kind of friend.
If you’re looking for that something different, this is it. Yes, I can honestly say that the comic that is currently ringing my bell is this one! Go get yourself one and, yeah, you’ll want fries with that too. Let’s roll out the A+ for this comic. If I’m a ratings guy, I give it a solid score. 10/10.
Visit IDW and see what they have in store for you.
A Charles Ray sculpture on the rooftop of the Whitney.
I want to talk about the Whitney Biennial with you. Let’s talk Whitney and let’s see why you should make it over there if at all possible. Have you gone? Do you plan to go? The last day is September 5th! I recently got a chance to see it and I’m still processing! This is just a quick teaser. In a forthcoming post, I’ll cover some of the history behind this New York treasure, a must-see showcase of contemporary art, and then we’ll just take a casual and straightforward look: some art will seem to defy easy access; and some will invite immediate engagement. Take a look at the above sculpture by Charles Ray, for example, it’s all there right away while holding back some secrets. Who is the figure lounging upon a block? It seems that a piece like this is about being transparent as well as being ambiguous, inspiring all sorts of questions.
Titled Quiet as It’s Kept, the 2022 Biennial features an intergenerational and interdisciplinary group of sixty-three artists and collectives whose dynamic works reflect the challenges, complexities, and possibilities of the American experience today. The Whitney Biennial 2022 runs from April 6, 2022 to September 5, 2022.
Dark Spaces: Wildfire. IDW publishing. (W) Scott Snyder (A) Hayden Sherman. Release date of first issue: July 20, 2022. $3.99
Imagine you are a big-time comic book publisher executive, DC Comics to be exact, and you are directed to read the work of a hot new lead, an emerging talent who could easily, and very artfully, pump fresh new blood into the tired old veins of top-tier landmark characters. So, you take a seat, pour a Scotch and Soda, and read about this strange silver blimp floating above the American heartland, keeping a young man from his sweetheart. The story is so fresh and new, it knocks your socks off–and you hire this wunderkind, one freshly minted Columbia creative writing dept. grad, Scott Snyder. And he doesn’t let you down. No, he adds color to the faces of many of ’em: Batman, Swamp Thing, the whole frickin’ Justice League. The rest is history, or amazingly good comics. Fast forward to today, Scott Snyder is working some of his storytelling magic at IDW comics. This time it’s a story about fire.
Fire! Don’t yell it in a crowded movie theater, that’s what they used to say. Fire, as a comic book plot, falls somewhere within the disaster genre. Things are more stripped down to their essentials, like a black box theater production. Very specific. This reminds me of Jeff Parker and Steve Lieber’s Underground, the comic that mainly takes place inside a cave. Or, more broadly, another comic that comes to mind is the enviro-thriller, The Massive by Brian Wood. More specifically, I think of A Fire Story, by Brian Fies, the graphic memoir documenting the trauma of one of the more recent devastating California fires. All this brings us to the work of writer Scott Snyder and artist Hayden Sherman, a story of fire and destiny.
A story with such a specific theme, as fire, can feel claustrophobic. Snyder masterfully opens things up, giving the reader rich character profiles, each character providing a window into another world. This is a story about a firefighting team, one made up of convicts. Even the team leader, Ma, was a convict at one time. This special program is intended to help disadvantaged women prisoners find a way back into society, or something like that. It’s a great plot device. Can these flawed, hardened and resentful, characters, be relied upon to do the right thing? Well, no. They aren’t built that way. They could change but, there’s plenty to indicate they are all just a match strike’s away from doing the wrong thing. And, thus, we have quite an interesting story! Fire, all alone, is just too abstract. Now, you’ve got conflict, plenty of it, along with plenty of fire!
As I suggest, fire alone is boring–but add a little sideways weird perspective, some kind of spice, and suddenly things can get very interesting. Such is the case with Hayden Sherman’s handling of the art. The above image is just one example of Sherman’s inventive use of comic storytelling structure. Do something different with panels, or text boxes, etc. and you’re good to go. Not only does Sherman relish adding eye-catching details, he has nailed it in bringing to life this troubled crew of tough people who, whether they realized it or not, are all just waiting to blow everything up. Maybe they know it’s a doomed fantasy they’re engaging with but, for some, it’s just too hard not to play with fire. This is a story that makes total sense to have Scott Snyder tell. I can’t wait to read the whole thing once it’s available.
And, for those keeping score at home, I give this four stars. Rating: 10/10.
A few words on IDW Originals
Comics and graphic novel publisher IDW has created a lot of buzz with its launch of nine new original titles, each one with the potential of being developed into a movie or series. I’ve been looking over the offerings and there’s some very exciting stuff, each deserving of a closer look. Here is a list of the nine new IDW original titles. This is from IDW promo and I’ve added a few confirmed start dates. . . .
Dark Spaces: Wildfire (July 20, 2022), a thriller series written by Scott Snyder with art by Hayden Sherman, follows a group of female inmate firefighters deep into the smoldering California hills, where their desperate heist of a burning mansion will lead them to the score of a lifetime…or a deadly trap!
Trve Kvlt (August 10, 2022), a five-issue miniseries written by Scott Bryan Wilson with art by Liana Kangas, introduces Marty Tarantella, a down-on-his-luck loser whose last-ditch scheme to escape a lifetime of fast-food service sets him on a collision course with a cult of violent, Devil-worshiping lunatics!
Crashing (September 21, 2022), a five-issue miniseries written by Matthew Klein with art by Morgan Beem, throws open the doors of an emergency room filled with casualties of a superhuman war, where Rose Osler, a doctor on her own path of addiction and recovery, faces the most dangerous day of her medical career.
Earthdivers, an ongoing series written by Stephen Graham Jones with art by Davide Gianfelice, unites four Indigenous survivors in an apocalyptic near future as they embark on a bloody, one-way mission to save the world by traveling back in time to kill Christopher Columbus and prevent the creation of America.
Dead Seas, a six-issue miniseries written by Cavan Scott with art by Nick Brokenshire, transforms a cynical convict into a reluctant hero when he’s trapped on a sinking prison ship swarming with ghosts. Can he unite desperate criminals, pirates, and brutal guards as they try to escape a watery grave?
Golgotha Motor Mountain, a five-issue miniseries written by Matthew Erman and Lonnie Nadler with art by Ryan Lee, is a high-octane, redneck motor massacre about two meth-cooking brothers and their attempt to make it home in one piece as all manner of cosmic alien horrors are hot on their trail.
Arca, an original graphic novel written by Van Jensen with art by Jesse Lonergan, leaves a dying Earth behind as billionaires establish a luxurious new society out among the stars, tended to by teenage indentured servants. But one girl discovers that the good life promised for their years of servitude was a lie…
The Sin Bin, a six-issue miniseries written by Robbie Thompson with art by Molly Murakami, hits the road with washed-up hockey player Dale “Dukes” Duquesne, who moonlights as a monster hunter during away games with his daughter, Cat, in tow, hoping to find her mother’s killer.
The Hunger and the Dusk, a twelve-issue storyline written by G. Willow Wilson with art by Chris Wildgoose, upends an age-old conflict between humans and orcs by introducing a new, deadlier species. Fragile alliances form—and unexpected romances blossom—as former enemies wade into battle together to save their two races.
I was running on a buzz from a Tequila Sunrise at Seattle Tacoma International Airport. Of course, I was barefoot, my preference. I had flip flops at the ready under one arm and a copy of Proust in one hand. The other hand was navigating a filled-to-the-brim rolling carry-on. Just as I was about to brave my way into the security line, a woman in a large floppy hat, also barefoot, approached me. “Here you go, brother, you’ll want to read this and spread the word!” There wasn’t much chance that she recognized me as a cartoonist or a comics journalist. “You’ve got that star tattoo on your foot. Let it guide you, my man!” That comment was peaceful and it helped to reassure me–but more on that later. Indeed, the timing was very good. She placed in my hand a collection of comics, Gnartoons, by James the Stanton.
Right now, things have been quite hectic and distracting. I’ve been on the road, on the run, in more places and situations than I’ve been in for quite a while. The world is opening up, right? We’re somehow finding our way into something that is starting to look more and more like a post-Covid world. Of course, we’re not quite there yet, and yet, we are, aren’t we? And nothing seems to be working as it should. We remain in this topsy-turvy transitional phase. So, it is a perfect time to take a close look at a cartoonist engaged in the crazed world of comix, a new generation’s take on underground comix. That’s exactly what this guy is about, a cartoonist whose work I’ve been observing for well over a decade and who I am so glad to see showcased in this first collected works by Silver Sprocket.
Let me ask you something, do you like Johnny Depp? Or, more to the point, do you like his character, Captain Jack Sparrow? That character, as you can imagine, did not simply emerge overnight. It’s the result of a layer-upon-layer process. Going even further afield, do you know Errol Flynn? Now, he was sort of in a similar situation as Depp. Errol Flynn created a sensation in 1935 with his character, Captain Blood. Again, a case of a process that took time. In fact, Flynn’s acting improved so much over the course of filming that director Michael Curtiz had no choice but to reshoot some of the earlier scenes. Okay, all this comes to mind as I look over this book of comics. It’s a perfect case of juxtaposing earlier less developed work with more recent polished work. I certainly don’t mind that at all. I think it’s essential to be able to observe this creative evolution. It’s kind of fun, for a cartoonist such as myself, and it’s human nature to want to make these sort of comparisons. I don’t know if that was exactly the goal of this collection but I suspect it was a consideration. Art of any kind has its ups and downs. In this case, the lesser art acts as background for the gems.
The first gem in the book is quite a fine little masterpiece of style, pacing, and wicked humor. It’s truly a high point to this book and to the cartoonist’s career. Thanks to an extensive contents list at the back of the book that also acts as endnotes, I see that this story, “Limo King,” first appeared in the local Seattle comics newspaper, The Intruder, serialized in issues 16-18, May 2015-January 2016. So, not exactly a modest undertaking. It is steeped in the tradition of underground comics packed with lowlife lowbrow all-out zaniness. The sort of stuff that you can’t unsee once seen. We begin with two classic ne’er-do-wells enjoying some drinks out of an enchanted bottle of perpetually pouring bourbon. They’re inside a limousine that serves as the home for one of the guys, the aforementioned Limo King, as well as an on-call free ride service. Why the Limo King doesn’t charge a fare is unclear and best to just roll with. That night’s excitement is provided by a female grizzly bear out on the prowl. The story gets crazier from there, mayhem ensues, and ends with a street smart grace note as the Limo King observes that gnomes would never have called the cops: “Those lil folks are chill AF!”
It’s James the Stanton’s consistent style and bold street cred that keeps the reader charmed and intrigued throughout. The actual style borrows as much from the gritty underground ethos of yesteryear as it does from current trends in graffiti. As much is owed to trailblazers Jay Lynch and Jim Mitchell as to the drippy trippy work of Seattle’s Ten Hundred. A fair amount of this collection is made up of single page art, or a series of pages of neo-psychedelic art, which all takes on a logic of its own. Some stuff just needs to be what it is without a coherent narrative. That said, I tend to gravitate to the more constructed work, of which there is much to enjoy. Then again, as a painter, I’m strongly attracted to works in this book that would fit right in at any contemporary art gallery.
Another fine piece of narrative is a sort of science fiction story about the Florida wars set in the not-too-distant future. This neatly brings us back to my friend in the airport noticing the star tattoo on my foot. I can’t help but mention this story as part of the narrative involves how all the Florida natives were branded with dolphin tattoos on their left foot. It was the only way to try to establish some order during those very disturbing times! This is weird comics at its best, an intoxicating combination of inventiveness and sly humor.
One final example is the story, “Squatters of Trash Island, Part 2,” one of the most recent works, from Silver Sprocket, March 2017. It is clearly one of the more polished and developed of the sequential pieces here. This is pure Dada art fun as the story kicks off with two representatives from a a soft drink company tasked with removing any labels from discarded soda bottles with the company brand that have somehow reached a very disreputable landfill island. The two soda pop guys are shocked to find an entire community of people quite happy to live amid their own filth and, from time to time, copulate with dolphins. It’s a story that fits in well, with its strange beauty, within our own strange times.
Dirty Pictures: How an Underground Network of Nerds, Feminists, Misfits, Geniuses, Bikers, Potheads, Printers, Intellectuals, and Art School Rebels Revolutionized Art and Invented Comix. by Brian Doherty. Abrams Press. 2022. 448 pp. $30.
Comix! No, not just comics. Comix is the term we use to describe all the work created by independent comics creators (often auteur cartoonists doing both the writing and the drawing) dating back to the Sixties underground up to today. Brian Doherty has had a great time digging into the roots of, and connecting the dots to, this quirky offshoot of the comics medium. First off, I gotta say that Doherty is quite in tune with his subject and cuts to the chase. Perhaps the biggest question that comes up on this topic is What in the hell was R. Crumb thinking? Well, you won’t get far without an open mind on this. Doherty gets to the heart of the matter with a quote from 1972. A reporter for The New York Times asked what Crumb’s intention was in creating some of his most macabre and provocative work. Crumb answered, “I don’t know. I think I was just being a punk.” Then Doherty adds to that the fact that Crumb and his fellow cartoonists were all bucking a highly restrictive system of censorship. Nothing was allowed at the risk of offending anyone! If that sounds familiar, well, it won’t be lost on anyone reading this book. The point is, Crumb was indeed reacting to something, rebelling against something. Did he go too far? Or was it more one guy’s approach, along with a whole slew of other cartoonists, both men and women, with their own fiery takes on society? I think this whole book rests upon the assumption that a reader can walk and chew gum at the same time. In other words, yes, there is a possibility of seriously looking at the most controversial facets of comix without retreating from it. One key aspect to understanding is to look at the motivation to rebel. As Doherty reminds us, the “x” in comix is there for a reason: to distinguish comix from mainstream comics, the all too often watered-down and lame opposition, particularly during the days of the Comics Code.
Once we get something of a handle on Crumb, the rest of comix is a piece of cake! Well, maybe not. But that’s basically the arc we’re following: the great warriors, led by Crumb, out to raise hell; then, the reaction to all this ruckus, which included anyone offended by the first wave of mayhem; ultimately, a long process of the original “filth” working its way through the rest of the culture; and finally, all the accounts settled and those left standing declared the champions: Crumb, Spiegelman, and so on. Doherty does an impressive job of maintaining the flow of events, logically moving from one place, one publisher, one movement, after another. For those old enough to remember some of this history, it rings very true. Doherty has written the kind of book that many of us knew was possible. It involves keeping an eye on the key players and examining their aspirations and actual activities. Again, it’s impossible to avoid both Crumb and Spiegelman, both very aware of the fact they had reputations to either maintain or enhance. And then, of course, you had all sorts of other activity brewing, not the least of which was the feminist contingent led by Trina Robbins and her crew at Wimmen’s Comix. Robbins and her women cartoonists were determined to fight fire with fire.
Like any great art movement, comix is the story of the artists who led the way as well as of those to have taken up the mantle. What sustains the character and spirit of comix today harkens back to the highly charged independent streak of the original underground. You can’t have comix, or anything that resembles it, without a healthy embrace of the subversive, the experimental, and the guts to see through the most outrageous expression. It may offend. In fact, it definitely will offend and there will be consequences to pay. But, all in all, we’re far better off when an artist isn’t restricted or afraid to just be a punk, as Crumb summed it up. But art cannot remain in a vacuum or it will die. As Doherty points out, a new wave of artists brought in refinements. Most notably was a finer sense of the literary as demonstrated by Los Bros Hernandez and their ambitious Love and Rockets comics willing to take on richer and subtler literary aspirations. I’ve been a champion of the term, “alternative comics,” as I see it as a very valuable distinction. It’s nice to see Doherty using it here. He points out that pivotal break with the past as the underground ruckus rebellion gave way to a more cerebral alternative vibe. Indeed, it was to be a new and significant development to the still unfolding world of indie comics, a world that has given shape to the highly personal and strange creature we know today as the “graphic novel.” Sure, there are still diehard purists who claim to not understand what is meant by that term outside of being a brazen marketing tool. But people do know what a graphic novel is, or can be, just as they know what is meant by the term, “comix.” And that’s because, believe it not, people can really walk and chew gum at the same time. If they couldn’t, well, we’d really be in a lot more trouble. Doherty’s book is a very welcome addition to our understanding of comix, from its origins up to its current offshoots, offering common sense insight.
DIRTY PICTURES is available beginning June 14, 2022 and ready for pre-order. Visit Abrams Press.
I’m eager to get a better grounding on Mexican comics. That said, I’m always up for a bit of a detour. That led me to some Mexican Spider-Man. Now, this one particular issue has grabbed a lot of attention in the last few years. Welcome to El Sorprendente Hombre Arana #128. Of course, the image is quite striking and has all it takes to stir up comics fans: Gwen and Peter getting married! Here are pages from inside the issue. But there’s more than meets the eye. . . .
Page 1 from El Sorprendente Hombre Arana #128
Page 21 from El Sorprendente Hombre Arana #128
As any comics fan knows, beware of teasers. Once you read the comic, it’s clear that a wedding is not exactly the main theme here. Not at all. Spoiler alert: truth is, this is only a dream sequence cooked up by the Green Goblin, the little trickster! For more details, I must direct you to the comics sleuthing by Marvel Comics editor Tom Brevoort. If you want a more detailed account, then go see Tom.
Jose Luis Duran
Back in the early ’70s, Marvel Comics decided to kill off Peter Parker’s girlfriend, Gwen Stacy. It sent shockwaves throughout the comics community. One Mexican comics publisher chose to do something about it. By what authority La Prensa was acting on is a mystery. Initially, La Prensa began with a licensing deal with Marvel Comics, which allowed for some additional stories from local Mexican talent. That arrangement took on a life of its own. So, the deed was done: 44 issues of an alternate Spider-Man reality, one with a very much alive Gwen Stacy! Hey, Gwen was just too popular in Mexico and Latin America for her to actually die! Marvel was unleashing the darker Bronze Age but La Prensa would hold it off, at least for a while. All 44 issues of these Mexican Spidey adventures were drawn by Jose Luis Duran.
What happens in Mexico, stays in Mexico.
I have to hand it to La Prensa for going off in their own direction. They had an agreement with Marvel and they got pretty creative with it, maybe too creative, given how totally out of canon it was. Marvel officially kills off a beloved main character and La Prensa chose to simply do what they thought best. Perhaps what saved them was that they used relatively good judgement. It was tasteful storytelling and in keeping with readership demands. And Marvel didn’t seem to care. Anyway, only a few years later, La Prensa would go out of business. Now, we’re left with some somewhat strange Spider-Man stories.
El Sorprendente Hombre Arana #154
El Sorprendente Hombre Arana #163
So, now this very special run is a hot ticket with lots of speculation about what it’s worth these days, especially the issue with Peter and Gwen at the altar. According to comics collectors in the know: the low range: $2k; the mid-range: $6k; the high range: $25k. This gets my spidey-sense tingling all over!
Marriage of Peter Parker and Gwen Stacy in an original story published in Mexico
Issues in this series divert from the U.S. storyline with Gwen Stacy surviving the events from The Amazing Spider-Man #121
There exists a German reprint that sells for significantly less