Category Archives: Obituaries

Justin Green (1945-2022) by Paul Buhle

Panel excerpt from Binky Brown Meets the Holy Virgin Mary

The death of Justin Green, on Apr.23, leaves poorer the living memory of a revolution in comic book art and narrative. His self-revelation, in the 1972 comic Binky Brown Meets the Holy Virgin Mary, seems to have literally changed a field of perception of what comics could be or do. He drew frequently for the now nearly-forgotten genre of “underground comix” appearing during the 1970s-80s, most of the “comix’ actually anthologies with fellow artists including Robert Crumb, Gilbert Shelton, Bill Griffith, Spain Rodriguez, Trina Robbins, and Sharon Rudahl among others. Comics artist and publisher Denis Kitchen recalls that even comics giant Will Eisner was impressed to the point of being influenced by the story line of Binky Brown, and by the uniqueness of the artistic expression.

Page excerpt from Binky Brown Meets the Holy Virgin Mary

Green grew up in Chicago and its suburbs, in a prosperous family, with a Jewish businessman father and a Catholic mother. In sending the boy to Catholic school, she inadvertantly opened the impressionable Justin to a series of intense, confused glimpses of faith, including sexual repression and the accompanying guilt. The lonely teenager and aspiring artist thus acquired the strangest possible inspiration. A few years later, he attended the Rhode Island School of Design, leaving after a Zen Moment of standing on his head in class, according to a story told to his friend and fellow artist Bill Griffith. Relocating to New York, Green joined a handful of other near-future underground greats  through strips in the pages of the East Village Other. The “undergrounds,” avidly rebellious and virtually untrammeled by censorship, had been born.

In 1969, Green became part of the diaspora from New York and other points to the Bay Area, gathering spot of the emerging comic art scene. Griffith recalls, “I like to think we were all a ‘band of brothers’ in those heady San Francisco Underground days, tilting at the windmills of the established comics we both loved and rebelled against.” Which is to say, Justin Green was soon prominent among the community of young and wildly prolific artists, his work appearing in a handful of the anthologies being produced more or less collectively and sold largely via “head shops” through the 1970s. In shunning the commercial comic book industry, they gave up a lot and lived cheaply, but gained complete, uncensored autonomy and the copyright on their own work. The most successful comix sold 100,000 or more….until the mini-industry collapsed along with the Counter-Culture.

Cover for Binky Brown Meets the Holy Virgin Mary

In a 1977 interview conducted by this writer, Green tried to explain the logic of the unique genre of artists. “One must consider,” he suggested, “the peculiarly American phenomenon that financed the creative endeavors of a couple dozen individuals whose visions took (and still take) the material form of pictures with words. That phenomenon is mass readership…the artist is under obligation to make his product coherent [and] visually striking—to opt for specific literal ideas instead of obscure personal motives (though granted. I am one of the worst offenders). Comics is simply not  the format for making great art. Essentially it is entertainment. There are elements of morbidity, aberration and personal indulgence (again, myself included) in the work of many underground cartoonists which will have the longterm effect of sealing the work off from the cultural mainstream.” A fair prediction, as it turned out.

The East Village Other, 1970

He went on to comment about his satires of literary classics in ARCADE, the brilliant but doomed (seven issues before collapse) anthological effort during the second half of the 1970s, edited by Bill Griffith and Art Spiegelman. “All of my ‘classics crucified’ pieces are intended to have a dialectical relationship with history from the shifting focus of the unworthy present. Now that the making of art is within the grasp of thousands of individuals, the false veneer of critical acclaim…must be removed. Unequivocal respect for the ‘classics’ prevents the reader from assimilating material on his own terms. I am trying to do with plot structure what [Harvey] Kurtzman and [Bill] Elder did in the early MADs [Mad Comics 1952-55] for the warbabies bombarded by media—to unmask the subliminal influences of television and especially advertising. In the same way, I try to pick up on those salient details within a great work of literature which will bring matters into a comical perspetive. It is my chosen responsibility to call into question—to see if perhaps there isn’t a little something worth laughing at.”

Disaster Drawn: Visual Witness, Comics and Documentary Form by Hillary Chute

In an aside, he admitted, “Make no mistake about it, you have to be a bit of an egomaniac to showcase your fantasies to tens of thousands of people.” Hillary Chute’s acclaimed study, Disaster Drawn: Visual Witness, Comics and Documentary Form (2016), more than suggested that Green, in Binky Brown, did much to inaugurate the “serious documentary mode for comics globally.”

This is no small matter. Green may be said to have crystalized the semi-autobiographical impulses already expressed famously in Robert Crumb’s stories, Crumb’s persona “Flakey Foont,” like other hapless males seeking meaning (and definitely eros) amidst the sexual revolution, cheap marijuana and cultural upheaval. Crumb’s own work of the 1970s-80s, in turn, connected personally with Harvey Pekar telling more straightforward stories from Pekar’s blue collar, Cleveland daily life. And thus to Joe Sacco, a collaborator of Pekar’s before his own rise to fame drawing the stories of his travels to troubled sections of the world. The syndicated strips of Lynda Barry’s troubled childhood, later Alison Bechdel’s Fun Home helped bring into being a large, still expanding genre of comic lives recounting youthful hopes and follies. Indeed, these may arguably be the chief mode for women’s large role in comics today, a sustained Bildingsroman in a new popular art form. Way back in 1972, Green collaborated with Spiegelman and others in the pages of Funny Aminals [sic], a genre-bending little anthology of animal stories anything but funny, including the very first published slice of Spiegelman’s Maus.

Funny Animals, 1972

In her analysis of comic art, Hillary Chute makes another key point about Justin Green’s hugely productive decade.  All the work of the u.g. comix artists reflected an engagement with the US invasion of Vietnam, directly or indirectly. She quotes Green as explaining that he, like so many (I could have said the rest of us), knew people who knew people—or actually had relatives—fighting and suffering, too often dying amidst the  brutal US invasion of Vietnam.  “I needed to wage my own war. And so I looked within…I didn’t want to present myself as a hero but rather as a specimen. So the comic form gives you a multifaceted way of doing that.”

This weighty point may, by itself, threaten to obscure the multiplicity of Green’s output, the radicalism but also the sheer joy of moments in his humor, amidst the intense personal confusion and angst of his work. The very, very funny stuff, deeply thought and reflexive, is as full of social satire as Bill Griffith’s own caste of characters later realized in his daily strips.

Show and Tell by Justin Green, 1973

To take a Justin Green case or two in point, “Fyodor Dostoevsky’s Crime and Punishment, Featuring Sol Snake-Eyes, Jack Monterey and Gretel Hansel” (in ARCADE #5, 1975) reinvents the novel with a Jewish stand-up comic as the famed investigator of the maddened young egotist and a bimbo who snags Sol while the criminal goes off to the rock-pile. Meanwhile, “The Gates of Purgatory” (in ARCADE #7, 1976), revisits  Dante, with the “Music of the Sack Cloth Five” against a scene of comic horror, with free ginger beer and waterskiing on the Chicago River.

Arcade: The Comics Revue, 1976

The 1977 interview contains another theme crucial to the story of the underground artists’ saga: Green had a new baby in the house and had to find another way to make a living. A small handful of artists, including Griffith, Spiegelman, Crumb, Spain Rodriguez, Gilbert Shelton, Trina Robbins and others, managed to get along while doing their work, sometimes, especially in later years, by teaching comics classes. Most uniquely, Green turned to sign painting, and some of the stories that he later drew about the quirks of the job are hilarious as well as revealing. Raised in prosperity, he found himself reduced to working class standards,  confessing that “I am continually broke, exhausted, under pressure.” He continued to draw the occasional story but his moment had passed. One is tempted to add that the comic artists lacked the way forward successfully found, for instance, by the equally rebellious and radical painter Philip Guston, whose sometimes comics-like retrospective now exhibits in Boston’s Museum of Fine Arts.

Sign Game comic strip by Justin Green, 1994

It is more than a footnote to relate that Green’s widow and fellow artist, Carol Tyler, eventually found a comics niche for herself with a realistic, semi-autobiographical series about her father, the veteran of the Second World War who could not relate, let alone deal psychologically, with the effects of the trauma in his own experiences. Thus, in a way, you could say that the circle, or a circle, has been completed after all, and with as much meaning for the twenty-first century as for the one left behind. The artist sees the world, looks inside himself or herself, and through creative expression, makes the best of an obviously bad and likely worsening situation. This is what an artist in any genre can do, but what no one expected the creators of “funny pages,” “funny animals” and “funny books” to seek, let alone accomplish.

Paul Buhle published Radical America Komiks (1969) and was described in a 1970 issue of Playboy magazine as the “first serious critic of underground comix.”  He has edited more than a dozen nonfiction graphic novels.

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Filed under Comics, Justin Green, Obituaries, Paul Buhle, Underground Comix

William F. Nolan Dead at 93; New ‘Logan’s Run’ Remains a Mystery

From Henry Chamberlain’s graphic novel, George’s Run

William F. Nolan was one of the grand old men from the golden age of science fiction and horror spanning pulp fiction, television and the movies. Starting out as an illustrator in Kansas City, Nolan ultimately made his way to Hollywood and became part of a group of writers within the orbit of Ray Bradbury, and subsequently Charles Beaumont, all trying to break into television. As part of the inner circle of writers, casually known as, “The Group,” little by little, Nolan gained some ground.

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Filed under George Clayton Johnson, Logan's Run, Obituaries, pop culture, William F. Nolan

Comics Artist John Paul Leon (1972-2021)

The Winter Men by Brett Lewis and John Paul Leon

John Paul Leon, an amazing artist in the comics industry with a highly distinctive style, has passed away. I got to know his writing partner, Brett Lewis, and that was such a treat. Brett, if you read this, please contact me. If you want to find out what John Paul Leon was all about, then just seek out THE WINTER MEN, one of the most dazzling and offbeat works of comics you will ever read: so quirky and inventive with its loving tribute to spy thriller tropes in a deliciously subversive way! This is all thanks to the creative team of Leon and Lewis. I love comics and I’m associated with comics on so many levels but it all comes down to the honest hard-working individuals who genuinely have something real and vital to bring to the table. John Paul Leon was such an individual. He is beloved within the industry and by the many fans who got to know his work.

John Paul Leon artwork for Static Shock

John Paul Leon, best known for his artwork for Static Shock and Earth X, gave us a highly energetic and gritty style all his own. Leon died on May 1, 2021, at the age of 49, after a long battle with cancer. The news came via Chris Conroy, a senior editor at DC Comics. He wrote: “It seems the news is out. Last night we lost John Paul Leon, one of the greatest draftsmen in the history of comics, the kind of artist that EVERY artist revered. Those who loved him had some warning, but not enough.” For the ultimate tribute to Leon, read this by Michael Davis, co-founder of Milestone Comics and co-creator of Static Shock.

May 5, 2021 by Tommy Lee Edwards, Organizer
Today was my first attempt at a full work-day since losing JP. Feels like I’ve lost a limb. My sounding board has gone silent. My rudder is broken & my boat’s full of holes. Glasses are fogged & it’s hard to read the map. Reading the lovely comments on this GoFundMe page is helping me stay the course, tho. Thank you.

A GoFundMe has been set up in support of a trust for John Paul Leon’s family. It is organized by Tommy Lee Edwards, John Paul’s studiomate.

Excerpt from Static Shock

Next, let me share with you a post from John Paul Leon’s dear friend and creative partner, Brett Lewis. You can find this and a lot of other goodies by visiting Brett at his Patreon. I only share this one particular post since it is so fitting at this time. This was originally posted back in August of 2020 and is a touching reminiscence of events prior to working on The Winter Men.

The Mail Man by Brett Lewis and John Paul Lewis

Years before Winter Men finally got set up at Vertigo, while we were still shopping it around, i found myself editing and writing a Karl Malone comic book adventure.

(He is a famous now-former basketball player for the Utah Jazz.)

I’ve never looked down on well-executed licensed books the way some do (especially then) and i didn’t want to hire or work with any hacks.

John Paul Leon is always at 100% commitment level and we’d been looking to do something long form for years. I’d also been encouraging him to ink his own work for years (an easier said than done leap in those days) and wanted to see him explore in comics the sort of line qualities& open to color linework he utilized beautifully in his private work & life drawing –where he explored his love of things like Alex Toth fully as well as the kind of gestural 60s-70s editorial illustration style we studied with Jack Potter at SVA. This seemed like a good time and place.

This seemed right.

Best selling comic in the history of Utah. And i did a press conference with the guy, Malone, which was fairly surreal.

The color printed too dark/oversaturated, but the original colors by my other college friend, and John’s hometown friend, Bernard Chang were lovely.

The character designs were by me and the great illustrator and designer Chris Jordon. Maybe i can find some of those.

Above are the only images from it i have at the moment. **

**

Was working on getting a PDF for you guys to enjoy the whole story and original colors, but by a confluence of events the old zip disk it was on has come to be missing in the effects of my friend who had been working on all my old computers and hard drives to rescue into accessibility some files of old projects when he died,

and due to quarantine i can’t go search where i need to go search for it. Yet.

Still hope.

I hope there remain many other small hopes where you are too.

— Brett Lewis

John Paul Leon artwork for BATMAN: CREATURE OF THE NIGHT

There’s an old link buried somewhere within the innards of this site that has by old review of The Winter Men. I will go ahead and post it all here as it is such a wonderful time capsule and just goes to show the excitement that comics can elicit. The Winter Men was part of the Wildstorm imprint (originally, it began as part of Vertigo) at DC Comics and stands as an amazing example of the artful and edgy stuff you can find at DC Comics when all the stars align themselves properly! Ah, this is a double feature as it also includes a review of another oldie but goodie, RED HERRING. This would be a great time to issue a special hardcover edition of The Winter Men. Let DC Comics know how you feel if this strikes a chord with you.

REVIEWS

Well, wet your whistle on this, pardner. This review was originally posted at Newsarama, November 18, 2009:

REVIEW: THE WINTER MEN

“The Winter Men” is a patchwork quilt of observations and red herrings that takes the spy thriller to new heights of eccentric fun. It’s one of those stories that starts out about being one thing and ends up embracing everything. Meet Kris Kalenov, the main character in “The Winter Men,” he is your guide into the underworld and beyond. It’s a new world order since the collapse of the Soviet Union and Kalenov is no longer a star player in a Soviet secret weapons program. He has become a Moscow cop, usually full of vodka and, at the start of this tale, is keeled over drunk on a sidewalk covered in snow.

I did not discover “The Winter Men” when it was a comic book but, considering its production delays, including its switchover from Vertigo to Wildstorm, it’s understandable that it somehow slipped by me. Luckily, I did not have to experience any long waits between issues and got to read this new collected trade in one sitting. This is a good read anytime and anywhere but I also see it as perfect inflight reading. Aren’t spy thrillers very popular in airport bookstores? I believe this to be so. It’s because you’re out of your element and open to adventure.

One big thing about “The Winter Men” is that it gets you way out of your element. It’s like “Goodfellas,” one of the best movies about gang life, all about wiseguys and getting whacked. “The Winter Men,” is all about Russia’s new Mafiya and its biznessmen and getting under the right roof. There’s also something akin to “Watchmen” going on in the background, a uber-man that was once the pride of Mother Russia, but it’s Kalenov and his rough and shady bunch, that will have you delight over this convoluted plot as you would in, say, an Elmore Leonard novel.

“The Winter Men” has a real attitude about it too. It promises the world, heroically keeps up with its ambition and, if it falters, shrugs like a good world-weary Russian. Kalenov, our drunk Moscow cop who once was so much more, would prefer to just live quietly and make do with his less than perfect marriage. But too much has happened in the past and it can’t be ignored. “We once filled the sky with heroes…but now they’ve fallen to earth…” That is an intriguing refrain that is looped throughout the book. Within the span of the first few pages: hints of the Soviet super-hero program, a woman is shot, a child is kidnapped and Kalenov is picked up from the snow and enlisted to solve the crime of the century, although he doesn’t know that yet.

All this reminds me of any number of very good television series that, from the narrative, the characters and the production value, are clearly a cut above. And these shows usually make big promises and it’s okay if they don’t deliver on all of them since it’s the world that the characters inhabit that’s most rewarding. I think of shows like, “Life on Mars,” at least the American version, or “Life” or “Dollhouse.” In fact, it’s interesting to consider if these shows would have done better in finding an audience if they were less about process and more about results but, then again, these shows are primarily about attitude. The promises they make, real or not, can be legitimate fuel for the story’s engine.

Another connection to “Watchmen,” I think, is the group of heroes that Kalenov originally belonged to. Somewhat tongue-in-cheek, the line-up is recalled by Kalenov in a regular loop throughout the book: Drost, the soldier; Nikki, the gangster; Nina, the bodyguard; Kalenov, the poet; for a total of four, or five, if you include The Siberian. There’s even a sepia toned photograph of the gang in much happier times: Nikki has just told a joke and it has The Siberian in stitches. Along with the irony, it’s those details, the atmosphere and texture that this book thrives on.

There are a couple of scenes that come to mind. And, like everything else here, the writer and artist team of Brett Lewis and John Paul Leon tackle it with gusto. One has Kalenov and Nikki creating a disturbance in a McDonald’s so that they can unbolt from the floor a plastic table and chairs console to take home. The employee desperately tries to convince an irate Kalenov that the mayonnaise does adhere to city regulations with “well above the forty percent fat requirement.” Another good one has Nikki in the middle of a full-on turf war with other soft drink vendors. Informing the mayhem and murder are quotes from a self-help best-seller like, “Lose Control to the Maximum.”

Perhaps your reading of “The Winter Men” will find it keeping to all its promises and even holding the answer to the meaning to life. God knows, it is certainly within its reach. If you find fault, some blame, maybe a good bit of it, can go to the fact the series was cut from a promised eight issues down to six. There are parts to the story that do appear truncated. And the ending does seem to come all too quickly. However, the fact remains that this comic is really about the quirk and it’s all there for you to enjoy.

“The Winter Men” collected trade releases on November 25.

Hope you enjoyed this installment of Comics Grinder and I welcome you back for more. You can always check in too at the Comics Grinder site.

And here’s another quirky title, very much up my alley, that I enjoyed from way back. This review was first published at Newsarama on August 12, 2009:

Wildstorm-Red-Herring

Best Shots Extra: WildStorm’s RED HERRING #1
by Henry ChamberlainDate: 12 August 2009 Time: 05:55 PM ET 0 0Reddit0Submit0

Red Herring #1
Writer: David Tischman
Pencils: Philip Bond
Inks: David Hahn
Color: Guy Major
Lettering: Rob Leigh
Published by DC Wildstorm

Reviewed by: Henry Chamberlain

In Stores Today, August 12, 2009

Well, it’s true, as David Tischman says in a recent Newsarama interview, Philip Bond knows how to draw sexy women. So does David Hahn. That’s how we lead into Wildstorm’s latest cool caper comic, Red Herring. A young woman in a lacy bra has just slipped into a pump while chatting on her cell phone. Her languorous pose is surrounded by little bits of intimate narration: “It’s been crazy-busy at the office and talking to your mother calms you down.” We proceed a few pages as Maggie MacGuffin tries to find the right outfit while keeping in mind, as the story title suggests, “Blue Makes Her Look Fat.”

With such a stylish beginning, we smoothly move through what is a top-notch sly and sexy story. One goal of this opener is to connect Maggie MacGuffin with male lead, the titular Red Herring. As characters, they could not be more different. They seem to only share the fact that their names represent literary dead ends, false clues in a mystery, but they prove to be very much alive. They are not meant for each other but that could be fun too.

I haven’t had quite as much fun with a comic since another Wildstorm series, Mysterius the Unfathomable. This is a totally different scene, the world of high rollers and espionage in Washington D. C., but it’s definitely got a similar ultra-cool and clever style. Where Mysterius was very good with details about magicians, Red Herring provides the right balance of insider dealing and conspiracy theorist satisfaction.

We already know that things are never quite as they seem so it makes perfect sense to spice up the ambiguity by having fate bring together a party girl with a conscience, Maggie MacGuffin, and an earnest gumshoe secret agent, Red Herring. Couldn’t make matters any worse, could do it? Well, maybe so. Did I mention there is a possible alien subplot and people are already trying to kill Red before he kills them? Yeah, things could get very messy.

This first issue is probably chock full of MacGuffins and red herrings. As for the details that add texture, they build up quite nicely. The narrator mocks Maggie as she struts her way to Capital Hill. “Compromise is the ESSENCE of politics. That’s what your AP History teacher said.” Maggie works down in the lower levels of Congress “where the offices are small and the salary’s even smaller. Two weeks barely pays for a good pair of shoes.” At first, we see Maggie filing away papers but then we come to find out this meek office worker is actually the lover of a high powered Congressman.

The tempo slows down for some procedural scenes with the no-nonsense Red Herring. So far, Red is proving to be a little too dry for his own good. But he has this thing about his glass eye and so he may prove to have some interesting issues. . Red is supposed to be about ten years older than Maggie and the plan, according to David Tischman, is to keep these two platonic. That could be a pity. Or maybe it’s a red herring.

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Filed under Brett Lewis, Comics, DC Comics, John Paul Lewis, Obituaries, Vertigo, Wildstorm

Ruth Bader Ginsburg (1933-2020)

Justice Ruth Bader Ginsburg

May Ruth Bader Ginsburg continue to guide us through these dark times. Here is an illustration I just did to honor RBG and what she stands for. Yes, this is real. Let’s all get political. Contact your US senator. Vote for Joe Biden and Democrats to the US Senate.

“My Most Fervent Wish Is That I Will Not Be Replaced Until a New President Is Installed.”

–Ruth Bader Ginsburg

Let us do whatever we can to honor her wish.

From The Nation magazine:

“That was not her wish alone. Tens of millions shared it. Now, however, the dread prospect is upon us. If Joe Biden is elected president, and if Democrats take control of the Senate, Trump and McConnell will be delegitimized. And it might just be possible to convince a few Republicans to respect Justice Ginsburg’s fervent wish.”

 

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George Floyd Will Never Be Forgotten

George Floyd Will Never Be Forgotten

As Rep. Sheila Jackson Lee (D-TX) said at today’s funeral, “George Floyd was on a mission.” His purpose shines on as his memory moves progress forward. There’s no turning back. Rosa Parks. Emmett Till. Trayvon Martin. George Floyd. Some of us are on such a mission. Their memory sparks change. George Floyd Will Never Be Forgotten.

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Cartoonist Morgan Vogel (1986-2020)

Morgan Vogel

I’ve been carving a little niche of some kind for many years and sometimes wondering where it all will lead—but I do know. I just mean that, push comes to shove, I will occasionally feel obligated to account for my actions. From time to time, all of us indie creative types must ask, “Why are we all doing this?” Indeed. We do it because it’s rewarding in its own right. As we progress through life, I think a lot of us out there begin to think we’d better be a little more respectful of our own work/worth. Why not? It makes sense. That brings me to this post, a look at Morgan Vogel, a remarkable talent now gone all too soon.

Cover to The Necrophilic Landspace by Morgan (then Tracy Auch) published by 2dcloud, 2015

From time to time, I feel compelled to define/explain what I do and this blog is a very good place for that. What I want to share with you right now is a little moment in time, because that is mostly what this blog does, filter through, and grind out some truth. Today, I bring up to the surface a remembrance of a young artist who recently passed away. Morgan Vogel, a name many of you will not know. But she fits the bill for the type of curious creature I hold in high esteem. Morgan was a determined artist. To die at 34 is truly heartbreaking. She was only beginning. I want to direct your attention to a tribute posted by Austin English over at The Comics Journal. Austin English runs Domino Books, a fine online boutique of comics and zines and he’s quite an authority on the indie zine. Austin leads a moving tribute that gives me confidence that Morgan’s legacy is safe and won’t be forgotten. Here’s Austin’s introduction:

Morgan Vogel, a cartoonist known for her distinctively intelligent work, went missing on April 8th. She was found dead Sunday, May 24th, at age 34. While her body of published work was small, its effect on those who read it was immeasurable. Her comics in anthologies (she appeared in Weird Magazine, Smoke Signals, Suspect Device, Tusen Hjärtan Stark, But is it…Comic Aht? and more) were often the stand out piece of the volume in question. The Necrophilic Landscape, a solo masterpiece published by 2dcloud in 2015, is one of the most stunning works of comic art in the last decade. Her recent self published zines, Valle and Nightcore Energy, were beautifully drawn and upsetting to read, a divide that appears in so much of her art and became more pronounced over time. 

Morgan was a favorite cartoonist of mine and many others. Her work was, at once, cruel, funny, forgiving, un-affectionate and, most of all, incredibly perceptive. She often zeroed in on personas that people (in much of her work, artists specifically) constructed for themselves. She would at first offer a satire of these poses, but within a few panels, a more moving–and therefore devastating–portrait of the subject would be revealed. The maturity of her expression, the avoidance of an extreme of anger or acceptance but instead a complicated and upsetting synthesis of the two, was achieved with a precision that I rarely see in comics. Many of my favorite artists make work that, on a superficial level, seems confrontational, but at heart is urgently humane—Morgan’s work, to me, got at this better than most. When I wanted to start a magazine about comics, including Morgan’s work in whatever way possible was one of the highest priorities, because of the nature of her views on art. She wasn’t interested in style or gestures of sophistication, but instead on the true implications embedded within peoples art. In one remembrance below, a quote by Morgan is repeated: “I  cant think of any other way to love except through artwork or some other medium that is public, loving everybody is easy, when you have an actual commitment to a thing or to somebody then it gets more complicated than I can handle.” A belief in the power of art often gets a lot of lip service, but for many artists of consequence, it is a real and specific thing. Morgan, I believe, was one of those artists. 

Morgan’s work was well known to her peers and to many readers, but because she worked under so many pseudonyms (I originally knew her as Caroline Bren, then as Tracy Auch, later as Hennessy, and finally as Morgan or Morgan Vogel), the entirety of her output remains a tangle. I think this is, in part, how she wanted it. But I also know that she was an avid reader of this website and focused much of her thinking on cartoonists and cartooning history. There are no doubt people reading this with feelings about the form that mirror Morgan’s. In spite of her resistance to clarifying her body of work, attention and discussion of it seem important to fulfilling the belief she had in the medium. I think Morgan’s high standards for cartooning were often met most precisely by her own art. It’s hard for me to imagine an artistic achievement equal to that. 

Pages from The Necrophilic Landspace

The Necrophilic Landspace is 32 pages, 7.75 x 9.25 inches, 1 color risograph, $12, available at 2dcloud.

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Comics Artist Juan Giménez Dies from COVID-19 (1943-2020)

The Metabarons

COVID-19 claims another life, artist Juan Giménez, who was beloved by many fans of the fanciful, associated with Alejandro Jodorowsky and Mœbius. Juan Giménez is best known for his work with Alejandro Jodorowsky on The Metabarons starting in 1992. A press release follows:

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‘Strega Nona’ Author Tomie dePaola Dies at 85

Tomie dePaola in his studio in New London, N.H., in 2013. Of the many books he wrote and illustrated, he said the ones that resonated most with children were inspired by his own life.Credit…Jim Cole/Associated Press

Tomie dePaola, one of my favorite children’s book illustrators, and perhaps yours, has passed away. I always admired his great sense of style and the masterful ease he had with conjuring up his distinctive storytelling. His stories of a grandma witch with an eternally full pasta pot, beginning with Strega Nona (1975), were beloved by generations of children.

Strega Nona

Much in the same spirit as another favorite artist, Tomi Ungerer, who died last year, dePaola had a signature style and a heartfelt vision that carried him through his 30-year career. Speaking of hearts, dePaola got to signing his work with a heart and never stopped. As he explained: “The heart has become a sort of symbol for me. I also use it as shorthand, or an abbreviation, for ‘love.’”

Tomie dePaola (1934 – 2020)

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Filed under Children's Books, Illustration, Obituaries

Gerry Alanguilan (1968 – 2019)

Elmer by Gerry Alanguilan

Award-winning comic book artist Gerry Alanguilan, known for his acclaimed graphic novel Elmer as well as his work on several DC and Marvel comics, and a viral video has died. He was 51.

Karen Green, curator for comics and cartoons at Columbia University, recalled on a Facebook post today her time as a judge for the Eisner Awards in 2011 when Alanguilan’s Elmer was up for Best New Graphic Album: “His book, ELMER, came out in 2010, which meant I read it as an Eisner judge in 2011. This book blew the entire jury away: Rich Johnson, Andy Helfer, Chris Powell, Ned Cato Jr, John Berry, and I all gave it our highest score. I was incredibly excited when I heard he would attend SDCC 2011, and I completely fangirled over him. Sadly for his jewel of a book, the publisher did not print a large run, and it was mostly unavailable by the time voters would have needed to see it; it lost to RETURN OF THE DAPPER MEN.”

Page from Elmer

“Saddened to learn of the passing of Gerry Alanguilan,” Marvel Editor-in-Chief C.B. Cebulski tweeted. “Another wonderful person taken from us too soon. An amazingly talented writer and inker, mentor to younger artists, and advocate for global comics, the comics world and Filipino art community lost a friend and hero today.”

Alanguilan also achieved viral video fame with his “Hey Baby” YouTube video, which has been viewed 6.49 million times, and was featured in a segment on Comedy Central’s Tosh.0.

Gerry Alanguilan was a singular talent. An architect by trade, he gained wide recognition for his work for DC and Marvel, went on to create his own beloved personal graphic novel, and continues to inspire all those who love comics and storytelling.

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Howard Cruse (1944 – 2019)

Howard Cruse

Howard Cruse, a pioneer in the LGBTQ cartooning movement and the author of Stuck Rubber Baby, an award-winning graphic novel about the intersection of race and sexuality in the South, died on Tuesday, November 26. He was 75. Howard was one of those essential artists who contributed work that touched, saved and transformed many lives. Thanks to his groundbreaking work as the founding editor of Gay Comix, which began in 1980, Howard Cruse was instrumental in getting underground comics — and later mainstream comics — to address LGBTQ issues. Take a look at the video below for a panel discussion with all the editors of Gay Comix:

A very informative obituary, compiled by Richard Goldstein and Jay Blotcher, follows, along with selected related images.

Stuck Rubber Baby, 25th anniversary edition, published by First Second Books

Pioneering Gay Cartoonist Howard Cruse Dies at 75

(WILLIAMSTOWN, MASS., Nov. 26) — Howard Cruse, a pioneer in the LGBTQ cartooning movement and the author of Stuck Rubber Baby, an award-winning graphic novel about the intersection of race and sexuality in the South, died on Tuesday, November 26. He was 75.

His husband of 40 years, Ed Sedarbaum, said that Cruse succumbed to complications from lymphoma at Berkshire Medical Center in Pittsfield, MA. Cruse, who lived in Williamstown, Ma., had been diagnosed in August.

Cruse’s masterwork, the bold graphic novel Stuck Rubber Baby, was published in 1995. It was based on Cruse’s interior struggles as a closeted gay man during the civil rights era of the 1960s. Widely translated, Stuck Rubber Baby has won numerous awards, including a critics prize at the Angoulême International Comics in France, the Harvey Award, Eisner Award and United Kingdom Comic Art Award for Best Graphic Album.

Stuck Rubber Baby will be reissued in a 25th anniversary edition by First Second Books in May 2020.

Howard Russell Cruse was born May 2, 1944 in Birmingham, Alabama, as the younger of two sons born to Clyde and Irma Cruse. The family moved to Springville when his father, a photojournalist, was ordained as a Methodist minister and assigned to Springville Methodist Church. Cruse’s creative talents were encouraged by both his parents. His first published work was a 1959 comic strip called “Calvin” in the St. Clair County Reporter. Young Cruse also had cartoon art published in the humor magazines Fooey and Sick. He was mentored through an ongoing correspondence with famed cartoonist Milton Caniff, the creator of “Terry and the Pirates” and “Steve Canyon” newspaper comic strips. At age 16, Cruse was invited to visit Caniff in New York City.

Howard meets Milton Caniff in 1961 at Sardi’s in New York City

At Birmingham Southern College, Cruse became involved in the theatre program, designing sets and appearing In several productions. He wrote and directed his own play during his senior year. For the college literary magazine, Quad, Cruse satirized the conservative organization the John Birch Society. The controversial work appeared in print, but the faculty advisor insisted on running a full-page disclaimer.

After graduating from BSC in 1968, Cruse joined Birmingham’s WBMG-TV as art director and a puppeteer on “The Sergeant Jack Show.” He became romantically involved with a man, Don Higdon, for the first time. During this time, Cruse created “Tops & Button,” a cartoon panel about two squirrels, which ran daily in The Birmingham Post-Herald from 1970 to 1972. He also created the subtly subversive “Barefootz,” which debuted in the University of Alabama’s newspaper Crimson White. “Barefootz” would appear in several Birmingham-area publications during the decade, and later in underground comic books. In 1977 Cruse relocated to New York City to make cartooning his full-time profession. In 1979, he met Eddie Sedarbaum and they moved in together. The couple was married in 2004. Cruse’s career reached a personal and professional breakthrough in 1980 when he was founding editor of Gay Comix, an underground anthology for lesbian and gay cartoonists. Cruse’s own work, exploring his conflicted childhood and repressive Southern upbringing, appeared in these comic books.

Wendel comic strip

In an era before the formal passage of LGBT rights, these frank cartoon explorations of gay culture, politics, sex, and camp had a huge influence on young people in the closet. During the four years of his editorship, Cruse received letters of gratitude from readers all over the country, many who had considered suicide. During this period, Cruse did many pro bono illustrations to support fledgling LGBT organizations, as well as mentoring of young queer cartoonists. Cruse created a high-profile poster about gay male safe sex practices in 1985 for New York City’s Gay Men’s Health Crisis.

Cruse’s profile as a cartoonist grew with the debut of “Wendel,” a comic strip about a gay everyman, his lover, friends and family. It appeared in the national newsmagazine The Advocate from 1983 to 1989. He also contributed frequently to The Village Voice. Cruse and Sedarbaum became active in LGBT and AIDS grass-roots politics, joining the direct-action organizations ACT UP and Queer Nation. Cruse and Sedarbaum left New York City in 2003 and moved to Western Massachusetts, settling first in North Adams and then Williamstown.

Stonewall illustration for The Village Voice, circa early 1980s.

Cruse frequently appeared at comic book conventions over the decades, and was the guest of honor at academic and fan conferences, especially those addressing the subject of queer comic art. His final published comic work appeared this year in Northwest Press’s horror anthology “Theater of Terror: Revenge of the Queers.” Cruse was among LGBT cartoonists and illustrators appearing in the documentary “No Straight Lines,” scheduled for a 2020 release.

Stuck Rubber Baby

Cruse’s work has been collected in several books, among them, Barefootz Funnies (Kitchen Sink, 1975-79), Wendel (Gay Presses of New York, 1986), Dancin’ Nekkid with the Angels (St, Martin’s, Kitchen Sink, 1987) and Wendel on the Rebound (St. Martin’s Press, 1989).

In addition to his husband Ed Sedarbaum, Cruse is survived by his daughter, Kimberly Kolze Venter, and his brother, Allan Cruse.

Donations in his memory can be made to New York City’s LGBT Community Center, the Queers & Comics Conference, and Rainbow Seniors of Berkshire County.

Memorial services, open to the public, will be held in Berkshire County, Massachusetts, and New York City in the near future. Exact information will be posted on howardcruse.com/

  • Obituary compiled by Richard Goldstein and Jay Blotcher

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