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Home , Bell Features, Canadian Whites, Comics anthology, Diane Noomin, Don Donahue, Eric Powell (comics)

The Goon TM & ©2019 .All characters TM & © . Ryan North &JackTremblay Rick Trembles John RomitaSr. Steve Mannion R. CrumbInterview Ryan North &JackTremblay Rick Trembles John RomitaSr. Diane Noomin Steve Mannion R. CrumbInterview A A TwoMorrows PublicationNo.21,Fall2019 1 82658 00389 0 THE GOON! 20 YEARS OF ERIC POWELL: THE GOON! 20 YEARS OF ERIC POWELL: ™ Cover artby EricPowell $ in theUSA 9.95

Fall 2019 • 20 Years of Eric Powell’s The Goon • Number 21 TABLE OF CONTENTS

DEPRESSION ERA WOODY Ye Ed’s Rant: Goodbye, MAD magazine, and Ye Ed’s plans for autumn and winter...... 2 CBC mascot by J.D. KING CHATTER About R. Crumb on : A chat with the greatest of all about his anthology..... 3 Our Cover Incoming: Letters on the “All Joes” ish and about CBC’s reason for existence...... 16 Art and Colors by ERIC POWELL Weirdos All Around Us: It’s been the Summer of Weirdo for Mr. Ye Ed and the Missus after they embarked on their epic San Diego Comic-Con adventure...... 18 John Romita Sr. on : The great artist discusses Terry and the Pirates, the of , and his two finest issues of Amazing Spider-Man...... 22 Bearing : Diane Noomin discusses her #MeToo , Drawing Power: Women’s Stories of Sexual Violence, Harassment, and Survival...... 28 Darrick Patrick’s 10 Questions for Ryan North: Q’s for the writer of .30 Trembles on Tremblay: New wave/punk cartoonist Rick Trembles shares about his dad, Jack Tremblay, Golden Age “” artist...... 32 The Goon TM & ©2019 Eric Powell. Above: The Goon gets the job Hembeck’s Dateline: Our Man Fred imagines some super-hero mirror opposites...... 40 done in this cover drawn and colored by ERIC POWELL. Comics in the Library: Rich Arndt talks of finding comics in the strangest places...... 41

Please Note THE MAIN EVENTS Due to international trade The POW! of Eric Powell: A conversation with the creator of The Goon on his issues (hopefully resolved background and career development, just as his publishing outfit celebrates soon), to stay economically th feasible, we faced the the 20 anniversary of the character and ambitiously expands its line of titles...... 44 necessity to either raise the price of CBC or cut the page Man, Oh Mannion!: The terrifically talented and terribly overlooked artist count and keep the same Steve Mannion gives a biographical sketch of life before his creation of Fearless cover price. We chose the latter and thus had to postpone Dawn and his great work today for Eric Powell’s Albatross comic book line...... 66 items intended for this issue, including part two of the Craig BACK MATTER Yoe interview and our brunch with feature. Creators at the Con: Kendall Whitehouse lenses the 2019 winners!...... 76 Look for those next time! Coming Attractions: The Lyrical Art of P. Craig Russell...... 78 Don’t STEAL our Digital Editions! A Picture Is Worth A Thousand Words: by Ramona Fradon in color!...... 80 C’mon citizen, DO THE RIGHT Right: At right is a detail featuring The Goon and Franky along with some evil dead fellers from a promotional THING! A Mom & Pop publisher poster by Eric Powell. like us needs every sale just to survive! DON’T DOWNLOAD Vol. 1 & 2 are available OR READ ILLEGAL COPIES ONLINE! as digital downloads from twomorrows.com! Buy affordable, legal downloads only at www.twomorrows.com or through our Apple and Google Apps! Comic Book Creator ™ is published quarterly by TwoMorrows Publishing, 10407 Bedfordtown Dr., Raleigh, NC 27614 USA. Phone: (919) 449-0344. Jon B. Cooke, editor. John Morrow, publisher. Comic Book & DON’T SHARE THEM WITH FRIENDS OR POST THEM ONLINE. Help us keep Creator editorial offices: P.O. Box 204, West Kingston, RI 02892 USA. E-mail: [email protected] producing great publications like this one! subscription funds to TwoMorrows, NOT to the editorial offices. Four-issue subscriptions: $45 US, $67

COMIC BOOK CREATOR International, $18 Digital. All characters are © their respective copyright owners. All material © their is a proud joint production of creators unless otherwise noted. All editorial matter ©2019 Jon B. Cooke/TwoMorrows. Comic Book Jon B. Cooke/TwoMorrows Creator is a TM of Jon B. Cooke/TwoMorrows. ISSN 2330-2437. Printed in China. FIRST PRINTING. up front R. Crumb on Weirdo A rare chat with the great cartoonist on creating and editing the comix anthology

Conducted by JON B. COOKE and more answers. [Jon laughs] And I thought I’d just… Jesus. That’s why I put off sometimes answering you [The legendary was very helpful when I was for that reason. I thought the more I cooperate, the putting together The Book of Weirdo, a retrospective about more sucked into the project I’ll become. Because the humor comix anthology he created in 1981, and (despite you just can’t help yourself. You’re so… utterly and what he says below) I sensed his assist was because he completely like… thorough! [Jon chuckles] You could had an enduring affection for his creation, which had ended have devoted that dedication to thorough research in 1993, after 28 issues. What really clinched it for me was to some great worthy project like discovering the that the usually reticent cartoonist readily helped with the corruption in bio-medical science or something. book’s promotion, whether posing with a copy alongside the [laughter] Instead of dedicating it to Weirdo author last March, or agreeing to participate in an upcom- magazine! But, no. It’s sort of flattering on the ing panel talk, in City, to be moderated by yours one hand and then on the other hand, do I truly. Plus he agreed to the following interview, which was really wanna get sucked into this, y’know? originally made for the inaugural episode of my ongoing [laughs] podcast devoted to underground and , CBC: But you did let yourself get sucked Subterranean Dispatch (which can be found at www. into it! subterrdispatch.libsyn.com or from most podcast provid- Crumb: To some degree, but, like I said, ers). The chat took place via Skype on March 28, and it was sometimes I just would put off answering you transcribed by Steven “” Thompson. — JBC] and sometimes I wouldn’t answer you at all Comic Book Creator: I’ve been in contact with you, and you would kinda let it drop and then you’d as you know, very erratically for the past 12 years. And re-contact me a few months later or a year later you don’t seem to suffer nonsense too easily. You can be a or whatever. ’Cause, you know, it did go on for a little… well, you know… you can be impatient with fools. long time. [laughs] CBC: I sense that there’s something about R. Crumb: Or just like stuff that I’m not interested in or I Weirdo magazine that you’re proud of. Did you want don’t think is worth bothering with, you know. a book like this done? Did you want a CBC: But this seems to be different—me working on The history of the magazine? Book of Weirdo. You were extremely helpful to me and you Crumb: No. I had no idea or desire or interest to were enthusiastic about this project. Why? ever have a review of Weirdo done like that. It never Crumb: Yeah. Uh… why? I guess because you were so occurred to me. It just never even occurred to me. dedicated to it. I wasn’t enthusiastic about it and a lot of CBC: And now that it’s done, what do you think? times I felt if I… the more I cooperate with this guy, the Crumb: [Chuckles] Well, as I’ve often told you, I more he’s gonna ask me. The more he’s gonna want from sit down and I always find something new in there. I me. That’s the impression I got over the years, you know, never actually read it from cover to cover when you that every time I answered a bunch of questions in writing sent me those galley copies. I’d just pick up and flip — like, spent hours and hours writing these long letters through and find something of interest. It’s answering stuff — I would just end up with more questions so vast! There’s so many people that give testimonials in there. I just… To me, after spending a few hours looking at it one day, I said, this is an unbelievable monument to Weirdo, the crazy f*cking magazine that I did, and Aline and did for ten years. Above: Self-caricature of R. It’s an incredible, amazing document! [laughter] And, like I Crumb hawking ZAP and Weir- think I told you before, to me it’s like it’s not just a monument do. Inset left: Logo of Ye Ed’s to Weirdo, but to that decade, the 1980s. It really kinda says Subterranean Dispatch pod- a lot about that time period. It’s a strong statement of that cast. Below: Drew Friedman’s time period. As strong as anything I’ve seen! Don’t know cover of The Book of Weirdo. how much attention it will get or how much people will look at it and recognize it. I don’t know. [laughs] Probably not because it’s so obscure. It’s not a… oh, how would you say it? A high-class operation, y’know? Now the whole thing — neither the magazine nor your monumental commentary on it. [laughter] CBC: I’m misguided, is that it? [laughter] Crumb: Mmmmm… maybe. I don’t know. Maybe. I have to admire your dedication. Jeez! You know? Wow. CBC: It was pretty obsessive. There was a list. I had an in- dex. I built an index. These are real people and I can do my best to try to track down these people. Into the rabbit hole!

© Jon B. Cooke. TM & © R. Crumb. The Book of Weirdo Art © R. Crumb. Weirdo Crumb: You certainly did. You certainly did that. Incredi-

COMIC BOOK CREATOR • Fall 2019 • #21 3 CBC: Besides Kurtzman’s covers, was the interior based on anything or just an amalgam of different things? Crumb: Yeah, yeah, yeah. It was an amalgamation of the old thing, the punk thing, and Kurtzman’s attitude in his last issues of MAD mag- azine and Humbug of doing all kinds of oddball stuff. And even Help!, where he had that “Public Gallery,” where he had young amateur car- toonists — including me — in there, and , Paul Merta, and other people like that. And using old stuff, throwing in old stuff. Kind of inspired by that. CBC: Just as a side thing, Kurtzman was the creator of This page: Above is a ble. Amazing. MAD comics and then MAD magazine, and you worked for salesman brochure produced CBC: I thought as a side thing, was your life at the time. him briefly. by R. Crumb in 1965. Below is I was able to get a real true sense of you. I look at it as Crumb: Yeah, I did. I worked for him in the mid-1960s. the cover of Help! #26, the last between the years with the IRS troubles and the house in I went from the summer of ’64, when was issue of Kurtzman’s mag. R. Madison… working there as assistant editor and I worked with Terry Crumb, briefly on staff, appears Crumb: Yeah. Gilliam on some stuff, appeared in one of those fumettis, in a fumetti in the issue as a CBC: [Between] when you moved to Winters and when one of those photo funnies things, and just, you know, I party guest. Circle image is you moved away, and I hope that was conveyed. was a “go-fer.” I ran around taking materials over to Harry the cartoonist from the back Chester who was the production studio. Then, in ’65, he cover, and bottom is from an Crumb: Yeah, it’s definitely living in Winters’ Central Lane hired me to take Terry Gilliam’s place. Terry Gilliam had actual print. Next page: At top period. We moved there in 1978 and then we had Sophie in is Weirdo #13 [Summer 1985]. At 1981 and Weirdo starts right around the exact same time left for England so it would be me as assistant editor. So bottom is Erna Rae and Jenny that Sophie was born. Then it ends around the time we left it would be Gloria Steinem, Terry Gilliam, and then me! Burger, modeling for a fumetti in America and moved to France and we did that one more [laughter] So I show up and the day I get there… I moved Weirdo#3 [Fall 1981]. Photogra- issue in France [#28], that Aline more or less put together, to New York from Cleveland with my wife. We rented an phy by Gregg Gannon. that Verre D’eau. apartment and moved in and that Monday I reported for CBC: How did the idea for Weirdo start? work at Help! magazine and there’s Kurtzman with a forlorn Crumb: I was meditating… I was just beginning medita- expression on his , leaning on the wall outside of the

tion and it came to me in a flash like maybe the second time office door and guys are taking desks and furniture out Salesman brochure © Topps Chewing Gum Company. Help! magazine TM & © the respective copyright holder. Photo print courtesy of . I meditated. [laughs] The name and the whole idea and kind of the office so I said, “Harvey, I’m here! I’m here to start of basing it sort of partially on Kurtzman’s Humbug and on working on Help! Um… What’s goin’ on here?” He said, this kinda new, sorta like punk attitude that was coming up “Oh, James Warren decided to fold the magazine. It’s over.” in these little , and all that stuff. And also, I guess, a [laughter] “Really? Oh jeez, I moved to New York, I rented way to continue the whole comics thing in back to a more an apartment!” He said, “Don’t worry, I’ll find you work.” He semi-underground attitude, you know? I decided to keep it felt guilty, y’know? He felt responsible for me. So he con- all loose and crazy and it all kind of came to me in a flash. nected me with Woody Gelman at Topps, the bubblegum [laughs] I even saw, like, the logo and stuff in my mind, you company, and I worked for them for several months. It was know? That first cover. I kind of saw it in my mind. just awful workin’ for them. Totally awful! [Jon chuckles] Woody Gelman was a nice guy, but he didn’t set the rules. They were set by the guys who owned the place, who were just cheapskates. CBC: Was this Nostalgia Press or Topps? Crumb: Well, Woody Gelman had Nostalgia Press as a sideline thing of his own, but he was an executive at Topps, the guy in charge of the creative department, making card sets and other gimcracks that they sold with bubblegum — like the worst, sh*ttiest… the flat squares of gum that they used to put in with the cards. You ever see those? CBC: Of course. Crumb: Maybe you’re too young for that. CBC: No, I’m not. [laughter] Crumb: Often the gum was stale. It was like hard and would crumble when… CBC: Oh, yeah. Crumb: It was awful. Topps was a sleazy operation. CBC: You sent Harvey issues of Weirdo, right? Crumb: I guess he saw it. He was kind of in decline in the ‘80s. Started getting Parkinson’s Disease and he became increasingly out of it. I don’t remember what his reaction was to Weirdo. CBC: Yeah, you published a letter, a note. Comments from

4 #21 • Fall 2019 • COMIC BOOK CREATOR Conducted by JON B. COOKE Caniff, and . I asked them to raise their hand, and out of maybe 40 kids, maybe one raised his hand. This spread: Clockwise from [A few years back, Ye Ed was also If I were running this class, I’d have one day a above is a detail of the Terry helming the monthly magazine week I would be teaching the and the Pirates "Death of " ACE: All Comics Evaluated, and the evolution of comics from the book Sunday [Oct. 19, following — a talk with the great Marvel illustrators down through the 1941], which caused a bona fide Bullpen artist and all around superb human comic strips — the sensation in American culture being, John Romita, Sr. (Jr.’s no slouch initiation into adventure, and at the time, outraging newspa- either!) — was featured in the first all of that stuff — and Caniff. per readers of the day; Amazing issue. Today, I can’t recall exactly what I would stuff you so full of Spider-Man #121 [June 1973] prompted me to call Johnny and ask it, you’d probably me! cover art; specialty for an interview about his devotion [laughter] drawing by Milton Caniff; Caniff to Milton Caniff and Terry and the self-portrait presumably from CBC: But then we’d get Pirates, but I’ll bet it was due the 1940s; licensing drawing of to look at this beautiful stuff! Spider-Man by one-time Marvel to a reread of the awesome When did you first encounter art director John Romita, Sr.; cross-over Caniff? recent candid photo of the man. in Amazing Spider-Man John: I will say that the biggest #108–109 [May–June, 1972], tragedy of my life is that I was born too which has Caniff all over it! late. I was 10 years old in 1940 and Can- Anyway, while the artist said iff had already been doing that for six he didn’t do interviews any more, years! And I missed those six years! So, he couldn’t resist this chance to gab at 10 years old, I started to notice it in the Daily News with about a favorite comic strip creator. the full-page, glorious Sunday strips… I have a box in my (Plus he likes me, so whaddaya gonna cabinet here with tear-sheets that are crumbling. I have all do?) The talk — of which here is an the way up to ’46 when Caniff left the strip. Yellowed pages. extended version than what was featured I used to look through them almost once a month. And, just in ACE — took place via phone in Feb. 2014, and was think, I missed some of the most glorious stuff in 1938, ’39, transcribed by Steve “Flash” Thompson. — Y.E.] and ’40… and ’41 and ’42! So, it always broke my heart and Comic Book Creator: I just read your afterward in an when I got a chance to get these collected editions, I went Terry and the Pirates TM & © Tribune Media Services, Inc. Spider-Man TM & © Marvel Characters, Inc. Amazing Spider-Man and it’s just back into ’34 and I just started from scratch like I should’ve overflowing with gratitude — to , to , done when I was a kid. but especially you talked about your favorite story arc in CBC: So it was in the ? ASM, and that was the Vietnam story. John: It was the Daily News, on the back page of the John Romita Sr.: Yeah, I just got the oversize IDW section for a while, and then inside. Every book and they’re in that. I’m sittin’ there glowing and it’s Sunday, I spent two to three hours diving in and just gazing. making my head swell. They just did the full-size 11" x 17". I’ve said this many times in my interviews: I recognized I just got a batch of books. They weigh a ton, but it’s worth almost immediately why he did things… why he put smoke it. [laughs] in a certain place, why he put shadows in a certain place. CBC: As a kid, I saw those stories and did appreciate I was aware, from the time I was 13 years old. I had been your artistry. They were my favorite stories, as well, that drawing imitation comics since I was 10. I started drawing you ever drew. I know they were influenced by your love of when I was five and became a comic freak when I was 10. I Milton Caniff and his Terry and the Pirates comic strips. was the kid in my neighborhood who discovered John: I’ve got [the Terry and the Pirates collected edi- and Milton Caniff. tions] right here on my bookcase, in one of my cabinets. I’m The biggest phenomenon of all, something I only looking at them now. I’m afraid to open them again because realized until many years later, is that almost every time I go every time I open them, I lose two days. [laughter] I get into into the Caniff stuff to look at the artwork (because as an the books and never come out! artist I need to study it), that, by page three, I’m interested CBC: I really think that there’s an entire generation who in the story and forgetting the artwork! I’m accepting the are starting to forget the history of comic strips. After all, it’s art because it’s so brilliant and such great storytelling, and I been a long time since Milt Caniff did a story. don’t have to even think about it anymore and suddenly I’m John: Oh, yeah. It broke my heart when I sat in on Klaus hooked! Even if I’ve read those stories a hundred times, I Janson’s class and asked if they’d ever heard of Hal Foster, still get hooked on the dialogue. 22 #21 • Fall 2019 • COMIC BOOK CREATOR So it isn’t just that he was a great right out of the National Geographic. He artist; Caniff was a marvelous, mar- was a genius about atmosphere, getting velous writer! I don’t know if he got you to believe what you were looking any help as a writer… I don’t know at. Believability. The fact is, no matter if his buddy , who did how simply he did the work (he used Scorchy Smith, helped him write. to say he never could draw hands), I think more likely Caniff helped he didn’t have to know how to draw Sickles write Scorchy Smith! But every knuckle. All he had to do is do the thing is, I realize Caniff not a genuine, familiar expression with only made me an artist, but he also , the way a hand would made me a storyteller, which is act every day when you see people more important because the story gesturing with their hands. All you is what sells a book. You can have have to do is make it a recognizable the best artwork in the world, but gesture and you don’t need to do ev- the story is what gets the reader ery bone. That was another thing that and digs into that person’s system. was amazing to me, because he did CBC: What a superb writer! What not draw as well as, say, Alex Raymond a superb storyteller! That really pulls or Hal Foster (although Foster was stiff you in. For a comic strip, when you read and very limited by photography). Caniff these continuities lasting months, there’s was not limited. He got all the depth and all really little redundancy that’s rather typical of the convincability of every panel that he did other strips. It just flows very naturally. without laboring over the art. John: Yeah, and even if you just saw the Sunday CBC: Would you call it impressionistic at all or page, he used to do a recap of the week prior in the first minimalist? panel and get people who missed all the dailies right up to John: It’s not impressionist; it’s illusionist. You’re date. He was an amazing, amazing storyteller. giving the illusion of reality, because this is genu- TM & © Marvel Characters, Inc. Amazing Spider-Man CBC: What is it specifically about his art that appealed to ine. The characters in your strip are like an actor you? to a director. He directed his actors so beautiful- John: I used to tell young artists when I was art director ly. And, if you looked close, you will see that Pat at Marvel, “You must not make your stuff unpleasant to look Ryan had a certain body language, Terry Lee at. In other words, it needs a certain amount of glamour. had a certain body language, Burma had her Even if you’ve got a villain, you have to give him some own. Everybody, all the villains, had their own humanity and glamour. If you’re doing , you body language, so subtly that you just accepted can make him look horrendous or you could make him look it! If you look back, you’ll see that Pat Ryan like a human being with a tragedy because of his face.” The never did certain poses and Terry Lee did poses thing is, Caniff did this without even hesitating. Every one of that Pat Ryan never did. his characters was glamorous, even the ugly ones. He had My three heroes in the world are the movie characters like Redbeard, whose commentary was funny director Capra, Irving Berlin, and Milton but deadly, but he made him a jolly looking old man like Caniff. Those are people who I consider genius in Santa Claus with a red beard. To me, that stuck in my mind. every level. When Caniff was doing Dickie Dare, Almost everything Caniff did stuck in my mind and I used it he was an average artist! I mean, he was already every one of the whole 50 to 60 years I was doing comics. I making you care about the characters, but he used almost everything Caniff did every chance I had. wasn’t drawing slick and he wasn’t making people CBC: What specifically about the art itself appealed to look like movie stars. But, by 1936, he was just… you? boy! I know that it’s the influence of Noel Sickles John: Well, Sickles taught Caniff how to do the scenics, and I think they helped each other. One of them in other words, airplanes and mountains. I mean, when helped for the scenics and the other one helped you were in Caniff’s strip, you were in China. I felt like with the human beings. Because I don’t think the location was authentic and he did it all courtesy of a Scorchy Smith was great on characterization as library card. He said he just read up on China and learned much as it was for scenics. everything he could about it and he became a fanatic. I CBC: Those three heroes of yours are quintes-

, Dragon Lady TM & © Tribune Media Services, Inc. Caniff portrait © the estate of Milton Caniff. and the Pirates , Dragon Lady TM & © Tribune Terry remember scenes that I could swear must have been taken sentially American guys who were from….

COMIC BOOK CREATOR • Fall 2019 • #21 23 John: ? Yeah, that’s right. There are great artists all over the world. I mean, there are artists that I ad- mire everywhere! I have a long list of people who I think are great. All of my contemporaries, all the top guys, who are so great. I learn from everybody! But I took most from Caniff, and Caniff was in my mind almost all the me on plots. He actually gave me top-billing and we’d time. It affected the actually plot it together. I was very influential in the plot by way we plotted stories that time. I had been that way with Stan, but it was more because, when I plotted pronounced with . And I said no, there’s no a story with Stan, I con- way we should kill because all of Peter Parker’s Above: John Romita, Sr., was stantly brought Caniff apprehensions and fears would disappear, and the charac- greatly influenced by cartoonist into the picture though ter wouldn’t even have to worry about his identity anymore. Milton Caniff, even down to I said Aunt May was crucial even though I know everybody the exotic Asian setting, in his Stan never knew it. wrote in and said that old lady drove ’em nuts (including pair of Amazing Spider-Man CBC: Can you give an example? stories, #108–109 [May–June, John: Sure. For instance, the death of Gwen Stacy. Stan , who used to say, “That ol’ lady is crazy to 1972]. Inset top right: The cover and I didn’t plot that. I was working with a young guy, draw!”). But I loved that old lady. The thing is, we needed to of the fourth volume of IDW's [writer] Gerry Conway. He was 21-years-old and we were kill somebody important and that final decision was based Terry and the Pirates collected instructed to kill a character. Stan Lee had just gone to on Caniff. When I must have been 13, Pat Ryan’s love died. editions acknowledges the im- Europe for his first vacation in about 20 years and [edi- CBC: Raven? pact of Raven Sherman's death tor-in-chief] was in charge. He said that he and John: Raven Sherman died. And now, I’m 13-years-old on readers. Below: Caniff’s Stan were talking about that they were thinking of killing and I felt it like a member of my family had passed away. unforgettable sequence in the Aunt May. When I got with Conway, I told him I don’t think I’m in the grocery store buying groceries the next day and Terry and the Pirates daily we should. He said maybe Aunt May. So I told Conway and I hear two grown-ups talking. One of them says, “Did you strips of October 16–17, 1941. Conway and I plotted as equals. He did not try to dominate hear Raven Sherman died?” I jumped out of my shoes because I thought this was kid stuff! I didn’t think adults cared about Raven Sherman! That never left my mind. So you kill somebody important or don’t kill them at all. If Aunt May had gone or Mary Jane had gone, most

readers would’ve taken it Amazing Spider-Man , Doctor Strange TM & © Marvel Characters, Inc. easier because neither one of them was as important as Gwen Stacy, Peter Parker’s love! I said, “That’s the one you kill.” Conway at the time agreed immediately. Since then his memory has gotten a little mushy and he thinks he thought of it.” [laughter] But I think I even told him that Raven Sherman was the reason for it. Let me tell you, after 40 years, people are still asking every time they meet me. They ask, “Why Terry and the Pirates TM & © Tribune Media Services, Inc. did you kill Gwen Stacy?” And I tell ’em, “Because nobody would have care if it was anybody else.” That’s right out of Caniff! And you’ll see when Snake Tumbler dies and when two or three other characters die in Terry and the Pirates, it’s all calculated to shock you and make you believe this is real life, this is not

24 #21 • Fall 2019 • COMIC BOOK CREATOR from the golden age to new wave Trembles Confesses: ‘I Was The Montreal-based cartoonist of oft-outrageous alternative comix fondly recalls his

by RICK TREMBLES lasted through much of WWII. During the war years, comics from the Great White [Rick Trembles, who became an acquaintance due to his North were dubbed “Canadian Whites” because comic work for Weirdo magazine, is probably best known for his books published up here were largely printed in black-&- comic-strip film reviews titled “Rick Trembles’ Motion Pic- white (the interiors, anyway). These vanished overnight ture Purgatory,” which has thus far been collected in two once WWII ended. According to ’s 2006 book, volumes published by FAB Press. He describes himself as Invaders From The North: How Conquered the Com- an “illustrator, post-underground cartoonist, writer, filmmak- ic Book Universe, the origins of the Canadian Whites were er, and musician,” and quotes R. Crumb a result of government austerity measures: as describing him as, “Even more twisted and weird than me.” It was likely through a Facebook connection where I [S]hortly after Canada’s declaration of war against learned Rick’s dad was also an artist who dabbled in comic Germany, the Foreign Exchange Control Board was es- books, albeit not in the 1980s/90s alt comix period, but in tablished to oversee the rationing of foreign currency, the Golden Age, specifically contributing to the “Canadian something it would do with varying severity until 1951. In Whites” books, World War II era black-&-white comics. December 1940, as Canada’s trade deficit with the United This page: Cover of the second I had been pondering asking Rick for a feature on his dad States grew, and British gold shipments were curtailed, volume of Rick Trembles’ Mo- when I learned Jack had passed away, on Nov. 11 of last government intervention in the economy broadened with tion Picture Purgatory collec- year, at age 92. This spring, I asked for that piece… — Y.E.] the introduction of the War Exchange Conservation Act. tion, which compiles his movie Aimed at countries outside the sterling bloc, it was pri- review comic strips. Below is My Canadian Golden-Age cartoonist dad, Jack Trem- marily designed to conserve American dollars by restrict- a hilarious — albeit gory — blay, was born on the first of May, 1926, in Providence, ing the importation of non-essential goods from Canada’s example (atypical as most Rhode Island. His family settled in Montreal when he was largest trading partner. Among the items banned were fic- Trembles strips include an ex- eight, and he began drawing comics by age 13. Within two tional periodicals, a category that encompassed pulps and cessive amount of text), this one years, after winning a pair of roller skates from a drawing other newsstand magazines, including comic books. As a making fun of the ultra-violent contest held by ’s Comics, Jack ended result, the government inadvertently laid the groundwork Quentin Tarantino’s 2012 movie up working for them as 15-year-old writer/cartoonist for for an indigenous comics industry. Western, Django Unchained. their line of Wow Comics and Commando Comics, a gig that The end of the war in 1945 meant American comics were allowed to flow back into Canada and since the Ca- nadian companies couldn’t compete, titles started dropping like flies. My father’s work is cited in this book as part of Canada’s “Golden Age” of comics, and I even got acknowl- edged as his son in a mention of my own work being part of Canada’s DIY explosion of the ’90s. My father’s principal WWII character was Crash Carson, a pilot who’d shoot down Nazis and Japs in his fighter plane with the Devil’s Angels Squadron. Yes, racist cardboard stereotypes were the bad guys, as they were in most comic books of the era. Years later, when I found myself following in my father’s footsteps, I often joked how drawing comics was more complicated for me, because things weren’t as black-&-white anymore. So, since I was never given as clear an enemy as his generation, I decided to make myself my own worst enemy. One year, my father drew “the enemy” replacing Crash Carson when he doctored one of his old comic book covers swapping Crash’s face for mine to turn it into a birthday card for me. For drawing these comics at the time, he was the envy of all the other kids on the block and took home three big bucks per page after mailing out each issue’s art- work to Toronto from his Verdun, Montreal, neighborhood. Motion Picture Purgatory TM & © Rick Trembles. Three dollars was a lot of dough for a 15-year-old back then. I probably make less than that in the equivalent of today’s currency with my comics. I managed to hold onto a stack of preliminary sketches from various aborted comics ideas of his which I cherish to this day, along with my yellowing collection of Wow Comics. The amateur stuff he drew as a kid before he got more polished was what gave me the courage to try my own hand at it. Young Jack made it look doable. Funny thing is, for some reason, up until very recently, the Whites weren’t

32 #21 • Fall 2019 • COMIC BOOK CREATOR the Son of a Superior Artist!’ father, onetime “Canadian Whites” Golden Age comic book artist Jack Tremblay

even worth that much to collectors, probably because when he was visiting Montreal and he found the premise so they’re from Canada. Maybe they weren’t as sought after funny he had to replicate it. Jack’s story consisted of one in- This page: Above left is photo because, like my father, so many early Canadian cartoon- credibly long, drawn out fight between two tough cowboys of Jack Tremblay and son Rick ists moved out of the field as fast as they could to pursue about a horse. After pummeling the bullies, our hero turns Trembles from the 2014 more lucrative careers in commercial illustration instead to the reader and asks, “Now does anybody else wanna documentary, Lost Heroes: of sticking to comics like their American counterparts, who know where I got that horse?” The Untold Story of Canadian established enduring cartoon characters that provided the Kupperman called his version, “Are Comics Serious Lit- Superheroes. Above are covers kinds of trajectories and chronologies fans like to track. The erature?” And he reproduced the fight scene, but changed of “Canadian Whites” Tremblay fact that the Canadian comics industry took a nosedive after the punchline; “Now who else says comics aren’t serious appeared in. Below, Tremblay WWII surely was no help. literature?” He even gave special thanks to my father in the doctored a Wow cover to The longest cartooning gig I ever had was drawing credits page. Jack got a big kick out of this. feature his cartoonist son. movie reviews done as comix splash pages called “Motion Picture Purgatory” for a free weekly, The Montreal Mirror, from 1998–2012 until the internet supposedly wiped out all print media. I’m still doing the same series, but it’s a monthly now, for the canuxploitation.com blog, and I have to make the panels scroll downwards like a roll of toilet paper, so people can read them on their phones. One of the earliest comics I have by my father, I used to like saying preceded my movie comix conceptually by seven decades. He’d create handmade renditions of favor- ite scenes from B-movie actioners he watched at his local theatre and sold them to the kids on his block for five cents. He originally “printed” them out individually on shabby newsprint by putting pencil shading all over a blank sheet to make homemade carbon paper, then he’d trace every copy onto multiple pages and bind them with string. I must have the only two duplicates left in existence, which were based on the 1941 film, “The Return of Daniel Boone.” In 2005, cartoonist published his first Tales Designed to Thrizzle comic book and alerted me that one of his stories was directly influ- enced by this five-cent comic my father did. I had previ- ously explained to Kupperman the storyline of Jack’s comic cover by Jack Tremblay © the estate of Jack Tremblay. Comics cover by Jack Tremblay Wow

COMIC BOOK CREATOR • Fall 2019 • #21 33 nuances long gone since ages before I was even born. And the deceptively crude art of some of them gave me the guts to try making my own. Examples of some of the books he’d held onto from his youth, which I still own and cherish, are Thomas Craven’s Cartoon Cavalcade [1943], Gene Byrnes’ A Complete Guide to Drawing, Illustrating, Cartooning and Painting [1948], and A Complete Guide to Professional Cartooning [1950]. Stuff like Little Nemo in Slumberland and Smokey Stover had a profound influence on me. By the late ’60s and early ’70s, when comics were being rediscovered, he’d bring home the likes of compilations such as Grosset and Dunlap’s Krazy Kat with the intro by E. E. Cummings, and the massive Collected Works of in the 25th Century published by Bonanza Books, anthologies such as ’s The Great Comic Book Heroes, George Perry and Alan Aldridge’s The Book of Comics (which gave a taste of the future by reproducing a page from Robert Crumb’s at the very end), and ’ Comix: A History of Comic Books in America, which gave an even larger taste of the undergrounds. Soon followed A History of Underground Comics by Mark James Estren and I was a goner. For better or worse, my parents were liberal enough to let me blow my preteen mind over these pioneering taboo-breakers. I noticed many of the undergrounders took Above: In a rare comic book their cues from, and even occasionally mimicked artwork shop appearance, Stan Lee from the kinds of archaic newspaper comics I’d already visited Joe Field’s Flying Colors been devouring. Exposed to such stuff, the old and the new, Comics and Other Stuff in the I could care less about contemporary mainstream comics. I summer of 2013, to help cele- was privileged to have been exposed to this material. I was brate their 25 th anniversary. obsessed with it, but it didn’t provide for much in terms of By the way, little known fact: talking points with my fellow school chums who didn’t have Joe actually worked for Stan the same access or interests. I was pretty isolated in my and Joan Lee as publicist obsession. Back in the ’70s, the medium wasn’t as revered for Joan’s steamy novel, The as it is today. It wasn’t considered a sane career move or Pleasure Palace, published by even worthy of serious study yet. Dell Paperbacks, in 1987! My father tolerated underground comix, even though I was underage. Especially Robert Crumb because he was such a “good draughtsman,” as he put it, but he’d browbeat me when other undergrounders were drawing genitalia badly. I especially remember his concerned disapproval over the inside cover of All Canadian Beaver Comix #1 where a gaping, talking vagina welcomed readers to the Above: Prior to becoming a After drawing comics, Jack became a successful writer professional comic book artist, and commercial artist, publishing children’s books on Cana- issue. He brought me to a publishing trade show once The Panther, panel TM & © the estate of Jack Tremblay. Tales Designed to Thrizzle TM & © Michael Kupperman. teenage Jack Tremblay created diana, working at ad agencies, illustrating for the Montreal where a distributer had a copy of Justin Green’s Binky his own hand-colored comics, Star Weekend Magazine supplement among many others, Brown Meets the Holy Virgin Mary on display and I begged including a knockoff by and exhibiting his fine art acrylic paint canvases at nu- the man to sell it to me, but it was a firm no because of my the name of The Panther. merous galleries. Being a commercial artist, he was never age. The way the back cover of my copy of and Susan Goodrick’s edited Apex Treasury of Underground Below: After a visit to Rick opposed to -rot that is pop culture and actually encouraged me as a child to delve into the history of com- Comics had laid out multiple samples of underground comix Trembles, where he saw Jack covers as if they were trading cards made me wanna Tremblay’s juvenile work, ics with books he’d buy me that I always suspected were as collect them all, and Binky was among them. It wasn’t long cartoonist Michael Kupperman much for his own pleasure as mine. “Hey, whatever got the was so inspired by a homemade kid reading,” he probably figured. before I started sneaking into the downtown head-shops Western sequence by Tremblay, Anthologies my father brought home contained mostly to stock up on all the actual underground comix I could that he swiped it for a scene samples from the early comic strips he grew up with, start- find. Some of my collection still smells a little like incense in the first issue of his Tales ing at the beginning of the 20th century when they were still from those shops to this day. The nerdy running Designed to Thrizzle [2005]. experimental. They opened up a strange world of archaic those places tried to turn me on to super-hero comics but I wouldn’t have any of it. My earliest efforts to emulate the undergrounds em- barrassingly hybridized the likes of Robert Crumb and Peter Max even though I was still a virgin to sex and drugs. The anachronism of my doodles got further reinforced by the fact that ’60s counter-culture was petering out by that time. But, lucky for me, punk rock was just around the corner. Just as the minimalism of punk convinced me to start playing music in the late ’70s, it also inspired me to create like-minded comix which I submitted to every zine I could find. Even though many of the ’60s undergrounders were punk precursors, punk didn’t seem to have any identifiable besides a tiny handful like New York’s , who did Punk magazine and some Ramones LP covers, and then later, Peter Bagge, who’d eventually

34 #21 • Fall 2019 • COMIC BOOK CREATOR This year has been a pretty big one for artist/ writer/publisher Eric Powell. It’s mostly due to the fact that 2019 marks the 20th anniversary since the of his signature creation, The Goon. Not only does the cartoonist have an exhausting schedule of 24 stops on the tour celebrating his milestone, but he’s also relaunched The Goon as a continuing series with his Albatross Funny Books. That ambitious The Goon, all art TM & © Eric Powell. imprint also publishes other creator-owned properties, such as Grumble, MegaGhost, Galaktikon, ’Namwolf, and Spook House, as well as another Powell creation, Hillbilly, which he describes as essentially a sword-&-sorcery epic set in Appalachia. Plus there’s progress being made on the long-planned animated movie adapting The Goon, with no less than David (The Social Network) Fincher attached as producer and Tim () Miller as director. So, by any measure,for this country boy made good, 2019 sure is a year to remember. This interviewed occurred in August.

Comic Book Creator: Where are you from, Eric? Eric Powell: Nashville. I was born and raised in middle Tennessee and never left. I grew up about a half- hour from here, in a town called Lebanon. CBC: What was your childhood like? Eric: Pretty normal for an ’80s kid: playing in the woods, Nintendo, Saturday morning cartoons… back when we still had those. CBC: Were comics important? Eric: Not as much as you would think. I read them, but they were not something that occu- pied a lot of my time. I was more into movies. It wasn’t until I was a teenager that I got really hooked on comics. I can’t remember not drawing. I was also writing stories to go with my illustrations. When I was a teenager, a buddy lent me some comics of his and I suddenly understood, “Oh, this is what I should be doing.” Drawing and telling a story. Which is what I had already been doing in my notebooks. That’s where the love of comics came from. CBC: What comics were you getting? Eric: I grew up reading the typical stuff. There was a lot of and Spider- man, The , and stuff like that… the comics that drew me into the modern stuff. I remember reading some , some , and I really got into Bernie Conducted by Jon B. Cooke • Transcribed by Rummel-Eury

44 #21 • Fall 2019 • COMIC BOOK CREATOR COMIC BOOK CREATOR • Fall 2019 • #21 45 Previous spread: At lower left is Wrightson and , and all of my artistic taste CBC: How old were you when you had a VCR in the cover detail from the forthcom- came from getting into and backtracking house? ing book, The Art (and Many his influences. Eric: I’m trying to remember. I was around maybe nine? Other Mistakes) of Eric Powell, CBC: That’s an interesting time for Bernie. Can you put it CBC: You were young. Did you go to the video store and

a self-portrait of the man. On down to a year when you were introduced to Wrightson? haunt the horror section? Best Cellars TM & © the respective copyright holder. Monster Boy TM & © Eric Powell. Swamp Thing DC Comics. right is Goon promotional art. Eric: Not really. I was familiar with his art before I knew Eric: Yeah. The funny thing was, the first video rental place This page: Above is the original who he was. I could look at a Swamp Thing cover and say, in town was out of the back of a Dairy Queen, an extra room art and printed cover featuring “There’s that artist I like.” or something they had. They lined the walls with shelves of a very early Powell effort, Mon- CBC: When you got attracted to it. VHS tapes for rent. Every weekend, we’d go there and rent ster Boy [Best Cellars #1, 1995]. Eric: I had seen his stuff when I was a kid. I had seen something. My sister and I always had a set rule: We’d have Below is Eric’s cover for some Swamp Thing that an uncle of mine had copies of. to rent a scary one and a funny one. I always attribute that Swamp Thing #21 [Jan. 2006]. I can’t remember when that was. When I got back into to where The Goon has come from — funny and scary — comics, I remembered him from those books. I had that and that’s what has always appealed to me. connection to his work. CBC: Was The Goonies of appeal to you? Poltergeist? CBC: It’s interesting that, by the mid-’80s, post-Franken- Movies that had humor and elements of horror? stein, Bernie agreed that he was a little past his prime or Eric: Oh, yeah, and The Evil Dead. Yeah, any dark comedy- was in a slump by then. slash-horror movie is right up my alley. Eric: He did this book, Batman: The Cult, and that was one CBC: Did you have other siblings? book that brought me back into comics. It wasn’t his best Eric: It was just me and my sister. We did have a foster work, but it was definitely enough to influence me and get brother for about a minute. me to look at his older stuff. CBC: What’s the age difference with your sister? CBC: When you were younger, before as a teenager, Eric: She’s a couple years older. you were watching a lot of movies? Which ones were you CBC: Were you friendly? attracted to? Eric: Yeah, with all the typical brother/sister stuff going on. Eric: Anything that was horror. Every Sunday when I was She had her thing going and I had mine. We weren’t bosom a kid, they would play the old Johnny Weissmuller buddies, but we get along well. movies. Then there were the monster movies, like Godzilla CBC: It’s good to have sisters; gives you a different per- or Creature from the Black Lagoon. I got into those pretty spective. So, black-&-white movies didn’t turn you off. What early, the Universal stuff. Anything that had a monster in it were your favorite movies growing up? or some kind of horror, , or , I was all Eric: It depends. I was one of those kids who definitely had about it. stages. I got into things for a year and got into another thing

46 #21 • Fall 2019 • COMIC BOOK CREATOR the next year. In my teens, as I started junior high, I was into CBC: How far away were movie special effects and stuff and thought about doing that your neighbors? for a living. I was all into any kind of horror with big special Eric: Maybe to the nearest effects. I was into Nightmare on Elm Street and Friday the neighbor… about a quarter 13th. I liked all of it. mile. CBC: So you read Fangoria? CBC: Did you have pets? Eric: Oh yeah. I loved Fangoria. It was a little hard to get Eric: Dogs; we always had where I lived, but anytime I saw it on the stands, I would dogs. grab it. CBC: Did your parents have a CBC: Is there any reason you need to rectify the hyper-vi- garden? olent stuff that was coming out in the ’80s and ’90s, and the Eric: Yeah. We had a corn- classic mood-centric stuff like James Whale and any num- field. We lived in a trailer at ber of horror movies from that period, which relied more on first and there was a cornfield atmosphere and the implicit, in contrast to the in-your-face beside it that was fun to play in explicit material? Or did you like it all? when I was young. Eric: I liked it all. As an adult, I can analyze this and, like CBC: Throughout your childhood, did you have the same This page: Top left is Eric’s you’re saying, “This is more atmospheric and the directing bunch of friends? rendition of the Toho monsters and cinematography are more artistic,” but I found validity Eric: You would have that best friend for a year and then — a gatefold wraparound cover in all of it. There was always something I could take from it, change classes and meet new friends. It seems like I had a for Godzilla: Monster World #1 even the cheesy stuff. “That was a dumb movie, but it was new best friend each year, but there was at least one friend [Mar. 2011]— which had an fun and this effect in it was cool. This camera angle was I palled around with year after year. impact on the artist as a boy, cool.” There was always something I could take something CBC: Were they of like mind? Did they like monster as did , seen above positive from it. Maybe to justify my taste! [chuckles] movies? (Kong of Skull Island #1 variant CBC: I was never into the slasher movies and hyper-vi- Eric: For the most part, but I don’t know if anybody liked cover, June 2017], and the olent movies, but I remember seeing Nightmare on Elm them as much as I did. Universal monsters, seen below Street and remembering how simple and effective the CBC: Were you a weird little kid? (Universal Monsters: Cavalcade effects were. Some of these movies were clever. When you Eric: I was weird, though of Horror TPB cover, 2006). were in junior high, what were your aspirations? You said I can’t say I was picked on you wanted to be a special effects guy? anymore than the average kid. Eric: I wanted to do something like that, but growing up I wasn’t singled out or had a where I did, that seemed like an unattainable goal, a lofty rough childhood. I was pretty ambition that would never happen. I knew I wanted to do average. I was one of those kids some kind of art, but wasn’t sure exactly what I could do. scooting along and getting by. For some reason, when I got the comic bug, it stuck. It CBC: Blending in? never went away. I maintained a laser-focus, that this was Eric: Right. what I wanted to do. CBC: How were you known in CBC: When you were doing proto-comics when you were school? Were you shy? young, was it all monsters? Eric: Yes, I was a shy kid, but Eric: Yeah it was all monsters! There was a lot of influence I was definitely known as the from the monster movies I was watching at the time. In one artist of the class every year. I of the early ones, I had was a character named “Roadkill.” was always the one everyone It was like a Freddy or Jason character who drove around knew could draw. The content the desert in a hot rod. [chuckles] Not a lot of deep plot of my drawing was sometimes going on there. [laughter] not approved of. It was always CBC: Your parents didn’t mind you watching all this violent monsters or something weird material? or gross. I wasn’t necessarily Eric: They never stopped me, but they didn’t approve of it. asked to draw school mascots They thought it was a little weird, but didn’t hinder me. because teachers were too CBC: What did your mom and dad do? afraid of what I would draw. Eric: My mom worked at Northern Telecom, a phone [laughter] plant, and my dad was in construction and owned a drywall CBC: Did your art teachers like company. you or were they wary of your CBC: Were you a latchkey kid? interests? Eric: [Chuckles] Yeah, but where we lived, I wouldn’t call Eric: For the most part they it “latchkey,” because we never even locked the doors! liked me, but I had one teacher It was pretty rural. We never worried about anyone break- that didn’t like me at all. In fact, ing in. I think she went out of her way Godzilla and related characters TM & © Toho Co., Ltd. King Kong, Universal Monsters TM & © City Studios, Inc. Godzilla and related characters TM & © Toho

COMIC BOOK CREATOR • Fall 2019 • #21 47 Above: Piece done for the perennial out of The Goon. very important artist to our company Mondo Gallery exhibition Eric: Yeah. It’s been in print since I started publishing with CBC: I think Steve is a big secret. Not enough people celebrating The Goon’s 20th Albatross. It’s not been out of print. know of his art, which is absolutely delightful. I’ve been a anniversary, which took place CBC: That’s outstanding. Spook House: is that just for friend of Frank Forte for many years now, who introduced last spring at their Austin, Halloween? me to Steve’s work. Any plans to do a regular Mannion Texas, location. Eric: It’s a labor of love. I had an idea to do a horror anthol- series? ogy for kids, because it’s something I would’ve enjoyed as a Eric: We have some stuff in the pipeline we want to get kid. Something fun for me and other creators to do around Steve on. I think we’re open to anything he wants to do. the Halloween season to give a little something to the kids CBC: What is Grumble? Below: A relatively recent and try to get them into some comics. Eric: Grumble is a book by who’s known for Albatross Funny Books release CBC: Is that tied into the ’s Halloween comics about a thousand books. He’s worked for Marvel and DC is Eric’s Hillbilly, a sword-&-sor- giveaway—not —but the event they doing just about everything. He’s known for Battlepug. He’s cery storyline based in the wilds sponsor at Halloween…? done a book at Image that’s very popular. It’s a book about of the Appalachian mountains. Eric: Yes, Halloween ComicFest. We’ve been involved with a con artist who turns himself into a pug to avoid that the last couple of years. bounty hunters and can’t get himself unstuck. It’s kind of like We do a Spook House an on-the-run road book. It’s been described — and I think mini-comic for that. it’s a good description — as “Hellblazer meets Howard the CBC: I’ve seen that. It’s Duck.” It’s a really fun book. clever. You’re going to do CBC: How did you publishing him come about? Did you another one? approach him? Did he approach you? Eric: Yeah. We’ll do it this Eric: I did. I think it was a couple years back. I year. told him, “Hey, if youIF ever YOU want ENJOYED to do anything, THIS PREVIEW,I’ll publish CBC: Are you beginning to it, whatever it is.” HeCLICK said, “BeTHE careful LINK whatTO ORDER you ask forTHIS get a stable… not a studio because I have thisISSUE idea IN of PRINTa guy who OR turns DIGITAL into a FORMAT!pug.” He necessarily, but a group described it as “Hellblazer meets .” I love of artists you’re helping to Mike’s stuff and love any kind of crazy stuff, so it was right develop? up my alley. Eric: I wouldn’t say “help- CBC: We met up at San Diego Comic-Con this year. How ing to develop,” but we have was San Diego for you? guys that are definitely “Al- Eric: San Diego was great and seems to be the same thing batross guys.” every year. It was a good show. We have Steve CBC: What makes for a good show? Mannion. Eric: For us, personally? Some people do not have a good He’s worked time at San Diego because of the crowds and so many on Spook shiny objects for people to be distracted, but we seem to House, Hillbilly, always have a good show there and I think one of the best Galaktikon. things about it — because it draws such a weird and di- Illustration, Hillbilly TM & © Eric Powell. He’s done a verse crowd, we’re able to expose people who aren’t aware lot of work for of our stuff to it. us. Always CBC: And, obviously, COMICComic-Con BOOK is a hugeCREATOR media thing.#21 ERIC POWELL celebrates 20 years of THE GOON! with a ca- dependable, Hollywood is there.reer-spanning Do you interview get in-person and a gallery inquiriesof rare artwork. from Plus CBC always takes people in the business?editor and author JON B. COOKE on his new retrospective THE BOOK OF WEIRDO, a new interview with R. CRUMB about his care of the Eric: Yeah, all thework time. on that They legendary have humor no comics idea anthology, was The a look Goon at DAVE project and is. They walk by andCOCKRUM ask, ’s“Has design workthis for been Aurora optioned?” Models, JOHN ROMITA It’s SR. does good constant. “Has thison hisbeen admiration optioned?” for the work There’sof MILTON aCANIFF lot of, and fishing more! going on. There are people(100-page out there FULL-COLOR who wantmagazine) to $9.95swipe up work. He’s a (Digital Edition) $5.95 60 #21 • Fall 2019http://twomorrows.com/index.php?main_page=product_info&cPath=133&products_id=1514 • COMIC BOOK CREATOR