Posts Tagged ‘comico the comic company’

Dixon and Rivoche: Critical of the Right

Tuesday, June 17th, 2014

Give Chuck Dixon and Paul Rivoche a lot of credit. They certainly stepped outside the box in an effort to promote their new book, a graphic adaptation of Amity Shlaes’ THE FORGOTTEN MAN, by attacking  comic industry liberals in their Wall Street Journal OP-ED piece, How Liberalism Became Kryptonite for Superman.”

They managed to generate a lot of interest  and even had the opportunity to tout their book, published by Harper Perennial, on FOX NEWS!

Thank God that most of the hardcore conservatives that pay attention to these narrow-minded resources couldn’t care a rat’s ass about comics or they would have seen through the thin veil of deception that is so brilliantly dissected  by Janelle Asseline in her Comics Alliance piece, “Superhuman Error: What Conservatives Chuck Dixon & Paul Rivoche Get Wrong About Politics In American Comics.”

In their effort to be Uber Americans by defending the Political Right, Dixon and Rivoche tread on one of the most valued American liberties that comic creators have fought decades for, the right to freedom of speech and expression which is protected by the First Amendment.

Their endorsement of the Comics Code Authority, which was a direct product of McCarthy era conservatism and possibly the most strict code of censorship of any American medium, flies in the face of anyone who truly loves and values the most basic and fundamental principles of freedom set forth by the founders of this country.

It was particularly odd that both gentlemen conveniently ignored the comics history of the 1980′s where creators rebelled against the big publishers of superhero comics  and defined the potential of the Direct Market by working with Independent publishers that defied the rules of the Comics Code Authority.

Both Dixon and Rivoche saw their first works published by Independent publishers in 1984. (not the 1970′s as stated.)  Chuck Dixon’s EVANGELINE which, originally published by Comico, told a tale about a nun with a gun that was an assassin for the Vatican.Canadian Paul Rivoche illustrated Mister X published by Toronto based Vortex. His story was about a mad scientist that induced his own perpetual sleeplessness with a fictitious drug. These were not comics that any of the Code publishers would consider touching at the time!

It is ironic that these pioneers of “moral ambiguity” in comics should be so vocally opposed to its current existence in the medium!

The success and proliferation of similar independent projects eventually led to Marvel and DC’s softening and ultimate departure from the Code. This was  an orchestrated effort to compete with and eradicate Independent comics publishers  who had gained substantial  market strength.

The market dictated the newfound liberal mores with which comics were created! If audiences did not clamor for these new “left-minded” ideas we would all be reading comics with the seal of approval on it today. Worse, comic books would most likely have faced an inevitable extinction.

The comics of the 90′s that the two chose to credit with the moral departure were created by a  wave of young talent that cut their teeth reading comics and being inspired by the likes of Dixon and Rivoche. These upstarts recognized that it was time for a jailbreak and sought to distinguish themselves as the New World Order in comics.

Dixon and Rivoche are among many creators moderately associated with the old guard, despite their groundbreaking achievements, to be trampled by the inmates intent on running the asylum, finally free of the restraints of oppressive censorship (a page torn right from Dixon’s own Batman stories.)

Jerry Ordway has similar gripes but does not blame left leaning politics in his plea for work, Life After Fifty.
For many, like Ordway, it is rather an overwhelming lack of respect and appreciation for the contributions of creators that in the past would have been revered industry-wide.

Fortunately the Independent movement (not just of the 80′s and 90′s but that of the 70′s  Underground Movement, the Web Comic  Movement of the 00′s and the current Digital Movement) has solidified the rights that creators have to express themselves freely through the medium of comics. There is a now place  and an opportunity for any kind of comic regardless of “right” or “left” leaning politics. This is good for everyone, especially those with idealistic American values.

Without this new, expanding market for comics there would be no publisher that would have been interested in THE FORGOTTEN MAN, a comic not about superheroes and not targeted specifically at children. That would be a real shame.

Dixon and Rivoche should have remembered their true roots and celebrated their masterful execution of their own creative rights rather than endorse a close-minded, faux conservatism that could potentially crush other creators’ rights to freedom of speech and expression in a new witch-hunt reminiscent of the one perpetrated by Dr. Fredrick Wertham that led to the development of the restrictive Comics Code Authority.

Dixon and Rivoche need to ask themselves which Right is more important; the creatively inhibitive conservative views of the Political Right or our Inalienable Right to free speech and expression that has given comics the opportunity to flourish?

Making Comics Because We Want to,

Gerry Giovinco



A true, capitalism-endorsing conservative would let the market decide.

Song of the Sketchbook

Tuesday, April 29th, 2014

Bill Anderson has been delighting us all with his Facebook posts of sketchbook drawings that he acquired on a convention run with the Comico gang back in 1983. You can see his wonderful collection of sketches here.

What a flashback it was not just to see work by all the great artists that are included but to see images drawn by the Comico crew that included Matt Wagner, Reggie Byers, Will Brown, Vince Argondezzi, Phil LaSorda, Bill Cucinotta, and myself, all done over thirty years ago!

I have to say that seeing those drawings and reveling in the raw energy that exists in spontaneous sketches was quite an inspiration for me to crack out my old sketchbooks, for a personal shot of nostalgia, and to crack down and start a new one.

Anyone who has ever kept a sketchbook knows that they are visual diaries that preserve not just ideas but unfettered strokes of genius that may escape from the mind of an artist through the tip of some rendering implement be it a pencil, marker, pen or brush.

Rarely is there much sense of order in a sketchbook and that is what makes them exciting. Images jump from doodles to notes to fully rendered illustrations, randomly, revealing inner secrets of the artist’s talents that can easily be lost when applied to a more finished work.

A sketchbook reveals an artists soul. The images are the lyrics to a melody that flows from a creative hand in a staccato of strokes.

I received my first sketchbook when I was just ten years-old and I still have it. In it are drawings that are far from spectacular, most lifted from old Preston Blair cartooning books. There are, however, crude drawings of my first comic strip character, Little Sailor Boy, and my first attempts at drawing superheroes that signify a starting point in the timeline of my life in comics.

I have a modest collection of sketchbooks that I have accumulated over the years. Some are from my  days at the Philadelphia College of Art, others from my years at Comico and still more from various periods in my life.

An occasional trip through them is a reminder of projects left unfinished, ideas left unrealized, and  a nostalgic look at the gestation projects that came to fuition. Exposed are moments of creative brilliance, signs of potential untapped and a beacon begging for more.  Sketchbooks can be our own biggest cheerleaders.

I wish that I had kept more sketchbooks. To my regret, however, I was a doodler and jotted ideas and drawings on everything I could find: napkins, notebooks, bond paper and post-its. I have folders stuffed with sketches and portfolios with more but sadly, many sketches ended in the abyss of the dreaded the circular file; the trash!

Somewhere there is a garbage man curating a gallery of my work because I was not as diligent about keeping a sketchbook as I should have.

So in front of me is a brand new sketchbook with a hundred blank pages of creative possibility waiting to be addressed. It’s like a garden waiting for seeds to be planted so that new projects can grow. New comics that need to be made.

I plan to share a few of them here at CO2 Comics, but not before I encourage all you creative types out there to dive into your own sketchbook, if you haven’t already, and plant a few seeds of your own. Let  your sketchbook sing your praises and encourage you to make some great art and even greater comics. When you’re done  don’t forget to share your talents with the rest of us.

Making Comics Because We Want to,

Gerry Giovinco



Comico and Elementals to be Resurrected!

Tuesday, April 1st, 2014

CO2 Comics publishers, Bill Cucinotta and Gerry Giovinco, have formally announced that they have incredibly reached an exclusive agreement with Andrew Rev and will be reviving the Comico imprint for a new line of full color comics that will include the ELEMENTALS title originally created by Bill Willingham. The new line is expected to be  available for distribution in the Direct Market this coming Fall.

Cucinotta and Giovinco were among the original founding partners of Comico the Comic Company. Comico began publishing black and white comic books in 1982 with the release of Comico Primer #1, an anthology comic that featured characters created by the original publishers.

1st five Comico Covers

Comico immediately added four new black and white features, AZ by Phil LaSorda, SKROG by Bill Cucinotta, SLAUGHTERMAN by Gerry Giovinco and GRENDEL by Matt Wagner.

Comico's 1st Color Books

In an effort to grow the fledgeling company, Comico scrapped their entire black and white line to concentrate on full color, creator-owned, comic books spearheaded by   MAGE by Matt Wagner, and EVANGELINE by Chuck Dixon and Judith Hunt soon to be followed by hugely successful ELEMENTALS by Bill Willingham, all published in 1984.

Comico quickly became a contender in the independent market throughout the 1980s and  as a pioneer of licensed properties began setting new standards with tiltles like ROBOTECH, STARBLAZERS, JOHNNY QUEST, SPACE GHOST, and GUMBY.

Comico for a brief period ranked third in the industry for monthly sales with a broad line of comics and graphic novels before making the fatal decision to enter the mass market, a move that would drive the company into bankruptcy leading to an eventual sale to Andrew Rev in 1990.

Along with the acquisition of Comico, Rev also bought the exclusive rights of the ELEMENTALS from Bill Willingham and has remained the sole owner of the title and characters since.

The revival of the Comico imprint by CO2 Comics will also resurrect the Elementals in the form of a 300 page full color Elementals Omnibus that will collect the first twelve issues and primary story arc of the series, accompanied by digital release of each individual issue.

Cucinotta and Giovinco, who both left the partnership before the demise of their former company, are excited to have the opportunity to steward the Comico brand in the direction it was always intended just in time to celebrate the thirty year anniversary of the title and Comico’s publication of their first color comic books.

“This would be a dream come true,” admits Giovinco, who confesses that this is nothing more than a cruel prank that he perpetrated since April Fools Day coincided with his weekly blog post that is launched each Tuesday morning.

“It would have been a bore not to act on April Fools Day,” he states, “but  you are still welcome to enjoy all of great comics at CO2 Comics, many of which are created by former Comico collaborators like Bill Anderson, Reggie Byers, Chris Kalnick, Mike Leeke, and Bernie Mireault.”

You can also enjoy several creator owned features that were originally published by Comico such as:

GAUNTLET by Neil Vokes and Rich Rankin

RIBIT by Frank Thorne

SKROG by Bill Cucinotta

SLAUGHTERMAN, by Gerry Giovinco

THE WORLD OF GINGER FOX by Michael Baron and Mitch O’Connell

VICTOR by Andrew Murphy

Along with many other great features by talented creators.

Happy April Fools Day!

Gerry Giovinco

*Sincerest apologies to Andrew Rev, Bill Willingham, Dynamite Entertainment and any comic fan or speculator who may have experienced palpitations due to this post that was solely intended for good fun.



Fans Build a Comic Company

Tuesday, July 16th, 2013

When it comes to selling graphic albums,  CO2 Comics uses the oldest trick in the book. We sell direct to the customer. It makes sense to us. It is how people sold goods and services since the dawn of cash transactions. We want a relationship with our fans that is as direct as possible.

We don’t use distributors. We’ve eliminated the middle man and those added expenses.  Because of this we don’t see the need for ISBN numbers and barcodes. We think it is just as easy for readers to find our books using any popular search engine as it is to search for books on Amazon or any other online retailer. Our fans already know where to find the product. If you are reading this blog post, our online store is just a click away. Purchasing our books through our Lulu storefront is as safe and easy as any other online purchase you can make.

The reason we do this is simple. We want as much of the revenue generated from our books to go to the creators as possible. Traditional distribution systems seem to generate revenue for everybody but the creators. Typically, publishers receive not much more than 10% of the cover price and pay creators royalties only after all other expenses are met. This too often results in little or no compensation to the creator payed long after the book is published and there is always the threat of returns.

We have other ideas. Because we publish our graphic albums Print On Demand through Lulu we are able to pay our creators 70% of the revenue CO2 Comics  generates off of each book sold starting with the first book printed.

Yes, production costs are higher on individually printed books and yes, Lulu does take a 20% cut of profits from books sold on their site, but when all is said and done, creators will receive about 30% of the cover price from each book sold from our Lulu storefront. That is way better than sharing 10% after expenses are met, if they are.

Lulu reports and pays each and every month allowing for quick and steady revenue stream. Our creators get paid when we get paid and they make the lion’s share of the profit. They earned it. They did most of the work.

Revolutionary? Not at all. selling direct to the customer It is as “old-school” as it gets but people still look at us like we are renegades. We have no ISBN. We are not in Diamond’s catalog. We sell our books ourselves. This seems to translate, for some, into “not real publishers, ” “not newsworthy” and “not worthy to review.”

1st five Comico Covers

Comico's 1st Color Books

We have greatly appreciated the fan press that has recognized the pedigree of the creators we have published and shown a modicum of faith in our own publishing legacy as former publishers of Comico comics. We wish more news outlets were as committed to acknowledging works by respected, journeyed creators, historic collections and our efforts to redefine how comics can be sold in this ever changing market.

More importantly, we appreciate the fans that support us. We believe that the comic is not complete until it is read. We know that the reader’s imagination is what connects the panels and fills in the blanks making comics a unique interactive visual experience of storytelling. Our fans are responsible for the growing popularity of the CO2 Comics site. Thank you for your visits, your support on social media, and your purchases of our product.

We are building a relationship that we believe is important. One that is direct and honest. We produce great comics that you enjoy and you allow us to continue through your patronage.  We are building something special here at CO2 Comics. It is a cooperative effort between us as publishers, the talented creators, and the fans who are our loyal customers. We will build this comic company together and that will be newsworthy enough for us.

Making Comics Because We Want to,

Gerry Giovinco



Goodbye CBG

Tuesday, January 15th, 2013

The only newspapers that ever really mattered to comic book fans were The Daily Planet, The Daily Bugle and The Comics Buyer’s Guide. Of course, of the three only the CBG was real and now, after forty-two years and 1,699 issues, it is gone.

John Jackson Miller provides a broad perspective of the fanzine, turned, newspaper, turned magazine in this wonderfully documented blog piece, End of an era: Comics Buyer’s Guide, 1971-2013.

I was first introduced to the newspaper by my Comico and CO2 Comics publishing partner, Bill Cucinotta, in 1980. Bill worked at Fat Jack’s Comic Crypt in those days while he went to school at Philadelphia College of Art and teamed with me and the rest of the gang that published our own underground-ish, student newspaper DUCKWORK.

Then titled The Buyers Guide for Comic Fandom and generally referred to as TBG the weekly publication was a tabloid size newspaper like any weekly local paper you would find in your mailbox. The format and frequency established TBG for what it was, the voice of a community, and the periodical singlehandedly galvanized fandom into a comics community with a strong sense of identity.

Maggie & Don Thompson

Under the nurturing guidance of Don and Maggie Thompson, the newspaper was a welcoming vehicle for all to participate whether you were a fan, professional, retailer or distributor there was always a sense that all had an equal voice. To be included was to be accepted into the community.

When we began publishing as Comico, shortly before TBG changed its name to The Comics Buyers Guide or CBG it was always an exciting moment for us to see our full page ads appear in the large tabloid sized pages and to read reviews of our product even though our earliest comics received harsh criticism. We were where we wanted to be; included in the comics community!

This inclusion spread to our appearances at comic conventions across the country where we always felt welcomed due to this sense of community that was fostered by the congeniality of the Thompsons who could be found at most conventions and were happy to encourage and enlighten young, wide-eyed publishers like ourselves.

It was a sad day when Don Thompson passed away in 1994 because the comics community lost a pioneer, a friend and a mentor. A similar feeling of loss is being experienced now as CBG fades into history, a victim of modern technology and an ever changing market. The comic community communicates differently now, through social networks, blogs, podcasts and video but we cannot change our heritage that defined itself in the pages of a once glorious yet simple newspaper.

Bill and I want to express a heartfelt thank you and extend our most sincere well wishes to the staff and contributors of CBG especially Maggie Thompson as she continues to blog on her website and takes on a new role blogging for Comic Con International’s new Toucan blog.

R.I.P. CBG and thanks for the memories.

Gerry Giovinco

Making Comics is Risky Business: Part 3

Tuesday, December 18th, 2012

Comico Primer #1-6

The financial risk of making comics is a cold hard issue that affects every business.   It is a gamble that is made, based on educated guesses, that an investment will return a profit worthy of the effort and expenses involved. Like with gambling, there is an excitement to the nature of this process that drives entrepreneurs to engage in these risks. It is not for the weak of heart.

I remember having a conversation with my younger brother, Tom, on this subject. He and I were both prone to start up businesses. I had participated in the launching of Comico the Comic Company and he was involved in some real estate ventures. My brother compared our activities to that of our grandfathers, both of which had been active gamblers that bet heavily on ponies, cards, craps, and sports. According to Tom, we had a genetic gambling disorder that was manifested by our affinity for business risk.

Launching Comico, however was not as risky a proposition as publishing comics had been in the past as I discussed in Making Comics is Risky Business: Part 2.

For the first four decades of the industry, publishers bore the burden of most of the risk involved, making all the investments in production and marketing in anticipation of sales made on consignment. Comico had the benefit of distribution in the Direct Market where most of the risk fell on the retailers.

During the late sixties and early seventies, thanks in part to the success of underground comics that were being sold in head shops, a market of comic book specialty shops began to spring up operating out of flea markets, garages and small stores. Phil Seuling, the organizer of the original New York Comic Art Convention ventured into distribution with his East Coast Seagate Distribution company. He had developed a plan to buy direct from comic book publishers with the promise of no returns. For the publishers this meant guaranteed sales.

Though Seuling originally held a monopoly on this market, it eventually sprang into a network of distributers spread across the country. Retailers would anticipate how many copies of each title they would need. Generally they derived these figures from knowing the interest and buying habits of their customers. They would place their order with their distributer of choice, sometimes paying in advance. The distributor would then place their order with the publishers, generally with a deal to pay thirty days after the books were delivered.

1st five Comico Covers

When we began publishing Comico back in 1982 we took full advantage of this system. We solicited our original comics, Primer, Az, Grendel, Skrog, and Slaughterman, with Xerox copies of art three months before the books would ship. A month before printing we would know exactly how many books we would need to print and could anticipate if we would profit from the product or not. We knew in advance what risk, if any, we were taking.

Retailers and distributors, however, were taking the chances on an unknown product based on photocopies and promised enthusiasm from young publishers. They knew that comic collectors were excited about acquiring first issues of comics that may one day be a successful feature making that first issue valuable. Collectors were speculators, gambling that their investment would one day pay big dividends.

Retailers ran the risk of not having a comic and seeing their customers run to another retailer. Distributors could not afford to not have the comics available for fear that their retailers would run to another distributor. So when our first comics, which were rudimentary at best, had been rejected by every distributor we were given a golden opportunity when Bud Plant placed the first order of a mere 100 books. We knew that if Bud Plant had books then every other distributer would have to have them. We got on the phones and before we knew it we had enough orders to justify a print run!

Comico enjoyed great success in the Direct Market. Our orders which began at modest numbers of less than 3,000 an issue escalated to over 300,000 a month in the matter of a few years.

Ironically, Comico’s downfall came when we took on the risk of the traditional Mass Market where we took a chance against the returns of the old consignment market. We bet that the recognition value of the licensed properties we produced like ROBOTECH, Starblazers, Jonny Quest, Space Ghost and Gumby would insulate us from returns.

We gambled and lost.

Next week in Making Comics is Risky Business: Part 4 we will take a closer look at the risky business of speculation and why crowd funding is the future for comics publishing.
Making Comics Because We Want to,

Gerry Giovinco

Thanks, Sandy!

Tuesday, October 30th, 2012

If this had been an actual emergency, you would have been instructed to tune to one of the broadcast stations in your area.”

Boy we have all heard this quote by the Emergency Broadcast System but thanks to Hurricane Sandy folks all around the North East have been tuning in for critical information for days now. Since I live just west of Atlantic City where the historically huge hurricane is making landfall I am next in line as it passes through Jersey on the way to Philadelphia. Needless to say I have ben hunkering down with my family taking extreme precautionary measures anticipating the unpredictable threats of flooding, down trees, and power outages for days now.

All of this diligence has redirected me away from completing my blog this week that is manifesting itself into a larger undertaking than I originally expected. I’m praying now that I don’t lose power since the last storm knocked me off the power grid for a week but expect that my next blog will be a juicy one that I expect to be proud of.

For those of you that have become ardent followers of my blog here at CO2 Comics, Bill Cucinotta and I have posted some links to a few that we consider classics for their recounting of the founding days of our original publishing venture, Comico the Comic Company. If you missed them, now is your chance to play catch up.

Gerry Giovinco and Bill Cucinotta

The Comic Company | Creation

The Comic Company: How to Start a Comic Book Empire

The Comic Company: Presenting…

The Comic Company: Duckwork

The Comic Company: The Studio

The Comic Company: First Impressions

The Comic Company: Prime Time

The Comic Company: Marketing Comics on Mobile Devices Since 1984

The Comic Company: In The Black

The Comic Company: Direct Marketing with Style

The Comic Company: Origins of a Graphic Novel

The Comic Company: Licensed to Thrill

Good luck to everyone out there that is also dealing with this disastrous Frankenstorm that ruined Halloween this year. Our thoughts are with you.

Gerry Giovinco

Free Comic Book in My Mailbox!

Tuesday, September 25th, 2012

I am always amazed at the quantity and quality of the junk mail that arrives in the form of catalogs via the United States Postal Service nearly each and every day. Printed in full color on glossy stock, perfectly bound and usually fairly thick containing, sometimes, hundreds of pages of content. I have one that just came from Dover Saddlery (yes, we have horses) that contains 352 pages!

Why couldn’t some of these be comic books or contain comics in them? You can bet that I would spend more time hunting through them if I knew I would find a comic feature that I could grow attached to.

The Superhero Catalogue with SNYDERMAN , art by Joe Kubert

Back in the late seventies there was The Superhero Catalogue published by Superhero Enterprises featuring the character Snyderman drawn by the legendary Joe Kubert.  The whole catalog was laid out like a comic book and sold every available superhero merchandise imagineable.  I went nuts every time I got one in the mail!

Read the Jordan Marsh catalog by Gerry Giovinco and Mitch O'Connell

Back in the eighties Comico produced a fashion catalog for Jordan Marsh that was packaged in the form of a comic book. The catalog, illustrated by Mitch O’Connell and scripted by me, actually won awards from Advertising Age Magazine as a direct mail promotion.

The Disney Catalog for a brief time inserted previews of the W.I.T.C.H. comic that was packaged similar to popular manga. You know I looked for that when it came for my kids. I always wondered why more catalogs didn’t do the same, especially now with the popularity of comic heroes in all forms of media.

To my surprise a catalog doing its best to mimic the idioms that define comic books recently showed up in my mailbox, sent by the most unlikely source, UMBC, an Honor University in Maryland.

Click here to view the UMBC Catalog

My son, who is a senior in high school with great academic standings has attracted the attention of the admission boards of many colleges who now flood our mailbox daily with richly produced catalogues, most of which feature beautiful pictures of sprawling campuses, active student lifestyles and, of course, esteemed learning environments which is to say that they all look the same.

UMBC, regarded by CBS 60 Minutes as one of the most innovative schools in the country, proved their ability to step outside the box by sending my son an admissions catalog cleverly disguised as a comic book. It was trimmed to comic book size with thirty two pages, chock full of panels and text boxes, and, though there was not a single word bubble with a pointy little tail, a very stylish Anime font was used throughout. The covers featured students striking heroic poses, one even wearing a mask, posturing to the prevalent  theme of Change the World.”

My immediate reaction as a comic art enthusiast was of pure amazement that an institution of higher education would embrace comic books to attract students. I remember a time when even kindergarden teachers scorned comics as fodder for the ignorant and uneducated. Hell, Mitt Romney probably believes that comic books are all that 47% of Americans are capable or willing to read. Why not? Obama reads them!

Neil Gaiman Addresses the University of the Arts Class of 2012 from The University of the Arts (Phl) on Vimeo.

But times are changing. Comics do get much more respect these days, especially since the advent of the graphic novel. Even University of the Arts, a school that scorned comics when Bill Cucinotta and I attended back when it was the Philadelphia College of Art, has a new attitude towards comics They must!  They had Neil Gaimen, celebrated comic author of Sandman and Coraline, deliver the Keynote Address at their 2012 graduation ceremony! He  was also awarded an Honorary Doctorate of Fine Arts along with another comic creator, Philadelphia Inquirer editorial cartoonist Tony Auth.

UMBC Marketing Director, Erika Ferrin, explained that this edition of the admissions catalog which they refer to as a viewbook, was part of an ongoing Heroes campaign that has been very successful for the university.

Inspired by the popularity of Harry Potter, Twilight and superhero films with the teen market, Ferrin chose to focus on the heroic attributes of those characters when marketing to graduating high school students. She realized that students that came to UMBC had unique intellectual and creative abilities that, when honed at the university, allowed them to realize their potential of heroically impacting the world.

Erica worked with in-house designers Erin Ouslander and Jim Lord to develop the visuals for the campaign of which the viewbook evolved from. The end result is a beautifully packaged presentation printed on very heavy stock, intelligently designed and very respectful of the comics medium which they took great pains to research while developing the graphics which were all rendered from the ground up without using a comic or manga template program. The catalog has enjoyed a distribution of upwards to 50,000 copies most of which were delivered by mail.

This type of innovation is what makes UMBC a leader in education. It’s the type of innovation that the comics industry needs to employ to expand the marketplace. I know I’d like to see more comic books in my mailbox. How about you?

Making Comics Because We Want to,

Gerry Giovinco

Suicide and the Comic Artist or Life in the Gutter

Tuesday, September 18th, 2012

Did you ever have that moment when it seems like the world just took a sledgehammer to your head? You know, when all that seems right in the world is suddenly just turned upside down.

I think I did when I read Dave Sim’s blog post, The End?, where he provides us with what is essentially a  suicide note for his career as one of the preeminent  and influential comic artists of my generation. The irony for me being that the day  I had a chance to read the post was September 10, World Suicide Prevention Day.

I have the somber experience of having known too many people that have either chosen to take their own life or who are perpetually mourning someone dear that made this fatal choice. Death is permanent and irreversible. Fortunately, walking away from a career is not.

As much as Dave seems to be struggling with the current economy,  the state of the market and whatever creative demons he is encountering, it is impossible for Dave Sim to just disappear. He and his work, Cerebus, Judenhass, glamourpuss, zootanapuss and eventually The Strange Death Of Alex Raymond are now and will be permanent elements of our culture having played significant roles in the advancement of independent comic art and comic creator’s rights.

Regrettably, Dave is experiencing the plight of the artist, especially one that has experienced success and seen it wane. The artist and their work achieve immortality through their influence on culture and though the triumph of their success may perpetually be heralded, this fame is rarely translated into permanent riches. It is foolish for the artist to hold on to glory so tightly that it prevents them from living a normal and creative life.

Dave can hide all he wants. He can trash everything he owns, but his legacy will live forever in print and in the cultural impact he and his work have had on society.

Today there are more people creating comics and struggling to support themselves than ever before in history. This is in large part due to Dave Sim’s creation of an aardvark that proved that comics could be different, intelligent, and provocative. Dave along with a very few others jammed his foot in the door of the Direct Market opening a gateway for a flood of independent creators.

Partly due to Dave Sim, creating comics, though not necessarily succeeding financially with them, has become a passion and a way of life for countless creators. These artists have chosen to express themselves with comics because of creative liberations they experienced by pioneers like Dave.

I guess that is why The End? stopped me in my tracks. Because a man who had given so many comic creators hope and inspiration to make comics, just because they wanted to, is willing to bury his head and walk away because of money.

Dave, look at the people you have inspired. Those that hold two jobs and still come home at to make comics at night. Those who have lost relationships with loved ones over their preoccupation with words and pictures. Those that have made comics till they died, in poverty, just because they had to. They all wish they could have a splinter of the success that you have had and even if they never do they are still happy making comics because that is just what they want to do.

I don’t mean to burden Dave with any more pressure than he obviously is already. I am just offering him the opportunity to remember what it was like when he made comics just because he wanted to and how much joy it brought him to see his ideas come to life on paper. I want him to remember when comics made him happy rather than when they made him successful and to realize what he is really intending to walk away from.

More than anything,  I want to thank him for his inspiration. If there were no Dave Sim, I can safely say Bill Cucinotta and I would have never co-founded Comico and surely wouldn’t be making comics today. Thank you, Dave, and I hope all works out well for you.

Making Comics Because We Want to,

Gerry Giovinco

BUGHOUSE Graphic Album NOW AVAILABLE

I Don’t Know Jack

Tuesday, September 4th, 2012

What an honor it has been to have had the opportunity to work with members of the Kirby family over the past couple of years, helping them to maintain the legacy and awareness of Jack Kirby, the undisputed king of comic creators. The wonderful campaign, Kirby4Heroes that was initiated by his youngest granddaughter, Jillian and the personal blog that she allowed us to present on our site last week is a prime example of how the family wishes that Jack is remembered and their own interest in maintaining a continued Kirby presence in the comic community.

As I learn more about Jack Kirby and who he was as a man I wish that I had had more of an opportunity to know him when he was alive.

I was not fortunate enough to have been reading comics when Jack Kirby was in his prime at Marvel. Though I have since had plenty of exposure to his work and have developed a keen appreciation of its value, I was influenced more by comic creators that came after him. They were all, however, students his work giving me the opportunity to realize the importance of studying a true master and developing a unique style.

By the time I became a publisher, Jack Kirby and his battles with Marvel over creator’s rights had become a symbol to me of what should be ethical treatment of creators. He, along with Steve Gerber, stood out as revolutionaries, setting the tone for what would become a movement of independent publishers in the 1980′s of which our former company, Comico, was fortunate to be part of. It was appropriate that the two of them joined forces on DESTROYER DUCK to create one of the first creator owned properties.

Destroyer Duck 1

I believe I was at ComicCon in 1984 when I met Jack and Roz Kirby for the first and only time. I still struggle to believe that it wasn’t a dream but I had the opportunity to have dinner with them as part of a group at a restaurant and was able to have a wonderful personal conversation with them both.  Jack was in his late sixties at the time and I have always been extremely respectful and drawn to seniors and their stories. Even though Jack was and remains a god in the comics industry, he was, more importantly a real, personable, and humble gentleman that was as inviting and encouraging as the World’s Best Grandpa.

It was an incredible evening that I will never forget. We joked and shared a few anecdotes about shop but what I remember most was him telling me a story about how Roz would not let him drive anymore. Jack explained that he would get so distracted thinking about his story ideas while he was driving that he would often find himself lost and having to call home for directions. He said, one day he ended up on some lady’s front lawn with the car staring into her bathroom window. That’s when Roz took the keys. At his side, Roz nodded in confirmation. It was easy to see that she was his protectorate and word around the industry was that she was a dynamic force to be reckoned with. What was obvious was that they were a wonderful, loving couple that respected each other throughout the long years of their marriage.

I think of this story every time I find myself doubling back looking for a turn that I missed due to my own preoccupation with my next “brilliant” idea. I was also fortunate enough to marry a dynamic, strong-minded, woman that always has my back. So, though I may not possess an ounce of the talent Jack Kirby had, I always felt that I related to him as a person through some sort of kindred spirit.

This is why I get so passionate about creator’s rights. To me it is less about ownership, and who did what. It is about the real people involved. Their personal investment. Their hopes, dreams, and fears. Their families. Their legacy.

As a comic creator and publisher I like to think that the value of our work is substantiated by the history behind it. Each moment in time establishes a benchmark by which each new work is measured. Jack Kirby’s work established a standard for excellence in comics that stands alone for the sheer volume and brilliance of creativity.

Unfortunately, histories often incur atrocities. The worst thing we can do is ignore them or pretend that they never happened. Gross injustices need to be singled out, addressed, and corrected. They need to be never forgotten so that they may not be repeated. Unfortunately the comic book industry was built on an unethical treatment of creators since inception, a system which continues to be recognized as common industry practices even today. The damages will probably never be repaired but the injustices need to be acted upon appropriately and with finality. Jack Kirby’s legacy stands as a monument to those travesties every time his heirs or estate sees no compensation from the billions of dollars that are generated by his creations. Jack Kirby’s legacy is a testimonial as to why those unethical treatments of creators and their creative properties should be permanently changed and not be repeated.

It is so important that we remember the humanity of Jack Kirby and do not get lost in just the brilliance of his creations which is so easy to do. Jack was a man that grew up in the ghetto, he fought for his country, married the love of his life, was a father and a grandfather. He was a kind man. He made something of his life doing what he loved, and fought for what he deserved till he died. Jack lived the American dream and experienced the nightmare of corporate greed.

It is our job to make sure that Jack Kirby and every comic creator that he symbolically represents, is remembered for their accomplishments, their talents, their struggles and their role as a member of the extended comic community. It is our job to carry their torch forward and guarantee ethical treatment of creators and their rightful properties.  It is our job to never forget Jack Kirby.

Gerry Giovinco

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