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Interesting Times
Tuesday, August 18th, 2015 — 12:49 pm
Eltingville Club #2 is out, and some folks are reviewing it, some are sending me nice tweets and mail about it, some are scanning it and making it available illegally online, and a few are calling me names over the comic and the Paste interview I did. Such is life. If you read it, I hope you liked it. The Dark Horse hardcover collection of the entire run is set for February, 2016. All our work is pretty much done for it (new pin-ups, text material, selecting extras).

I will be doing a signing at my local shop, Comic Book Jones, on Staten Island, Wed August 28th, from 5 p.m. until closing. Afterward, I'll be a guest on the CBJ podcast taping, which I beleive customers can also sit in on.

Sarah and I are working on a script for the new Ben 10 cartoon series (!).

We're also developing a creator-owned comics project that seems to be coming together nicely. If all goes well, we'll have an agreement with an artist this week, and following that, an agreement with the publisher. Fingers crossed and all that.

I'm working on a separate creator-owned project with another artist. We have some interest at an established publisher and are working on a revised pitch while finishing up some WFH assignments. Really hoping this comes together.

We finished up some work for a collection of old work that will be announced soon (?).

I finished up a Mermaid Man script for the SPONGEBOB SQUAREPANTS comic, working on thumbnails for the artist.

Apparently DC Comics will be releasing a new version of WORLD'S FUNNEST in March 2016 (!).

In other WTF news, Marvel will be releasing an expensive Omnibus edition of Deadpool comics which will include my AGENT X arc and the FIGHT-MAN ONE SHOT (!!). I know freelancers working for Marvel who can't get comps of their own comics these days -- and Marvel supposedly likes those folks -- so the early odds on my getting a comp of this $125 monster are coming in at 1,459,311-to-1.

Almost done with a page of new Fun Strips for this year's LIBERTY ANNUAL comic benefiting the CBLDF.

Still working on the commission list. My hand is giving me a lot of trouble so drawing takes me longer than usual right now. Very frustrating.

We will be appearing at the Cincy Comicon September 12th-13th.

Hoping we might have some good news fairly soon about new BEASTS OF BURDEN material. Supposedly Jill Thompson is planning to get back to work on the remaining issues of the mini-series that HUNTERS AND GATHERERS kicked off back in March, 2014. Here's to hoping. We're trying to work out some other things, as well, that may help get new material out. Not holding my breath, but trying to stay positive.

More to follow soon, if things work out as hoped. Interesting times.
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This is the End of The Eltingville Club. Finally.
Monday, August 10th, 2015 — 9:02 pm
Twenty-one years in the making, and after more than a year's delay, the final Eltingville Club story will be in stores this Wednesday.

Hope those of you who pick the book up enjoy the final curtain. I don't know how well it stacks up against other Eltingville stories,or if it works successfully as a finale, but it's done, it's dense, and I'd say it's worth a few bucks to folks who like my stuff.

The hardcover collection is scheduled for February, 2016 from Dark Horse. Only until I get a copy in my hands will I believe the beast is finally dead.

Otherwise -

We had a nice time at the Boston Comic Con. It was our first time setting up in Bosotn and we were very busy signing comics, local-area ska comps we did covers for and even a few Space Ghost Coast to Coast DVDs. We did pretty well at the table and met a lot of nice folks during the show. The panel Sarah and I were on seemed to go well, I don't think I was as overbearing as I usually am, at least I tried not to be. I picked up the last DC Archive we needed for our collection for $20 (Doom Patrol vol 4). That was really cool. I also got a Cthulhu glow-in-the-dark Pop for a decent price, because I am a goofus. I think that was about it for me, other than some comics people gave me. Emily got some anime keychains and a Dalek Funco Pop. Oh, and a Hordak Pop that I was supposed to get her ages ago (I got her the wrong one). She also got two new sketches in her blank Little Golden book collection, one from Mouse Guard's David Peterson (a quail) and another from Tony Moore (skeleton and Cthulhu -- he went nuts on it). On Sunday night we went with Tony and Kara Moore to a really good diner for dinner and then I got us lost while driving home. It was pretty ridiculous.

Otherwise, pt 2 -

We're super busy with multiple projects and pitches for the first time in a long time. I'm finishing up some work-for-hire stuff -- the Peanuts script has been drawn by artist Derek Charm for the BOOM! tribute book, I wrote a 12-pg  script for a Mermaid Man and Barnacle Boy story for the Spongebob Comic, and a little while ago I finished up some business for a comic project that should be announced next month or so. I still have to finish some thumbnails for the Mermaid Man story (I'm not drawing it, just doing basic layouts for the artist), and I have a little bit of work left to do for a page of Fun Strips for this year's Liberty Annual which is being edited by Alex Cox of the CBLDF.

Sarah and I wrapped up a beat outline for a cartoon script we've been hired to write. Fingers crossed they'll like it.

We've also found artists for two projects we're putting together. One I'm writing alone and the other is a collaboration with Sarah based on a concept she came up with. That one looks like it might fall into place really soon, possibly even this week. Here's to hoping. The one I'm doing still needs some work, but not a ton -- I was asked by a publisher to revise the pitch I sent them, and now that an illustrator is involved we can get some character and pitch art into it. Lots of fingers crossed, I really hope we can all get both projects going. It would be steady work for the first time in ages, not too mention these are two projects we're really having fun with and would like to see happen. Putting them together has been a weird experience, I've barely ever pitched things before, and never with another artist. It's weird. Like I said. Yeah.

There's another non-comics thing that might happen down the line, and, oh, yeah, the other recent WTF news is that according to Amazon, DC Comics is reprinting WORLD'S FUNNEST in some sort of trade form. I didn't think it was the same book, but the cover art for the listing has the imps on a pile of bodies. Unless it's an elaborate prank. So weird.

So, yeah, super busy, and some of it's finally starting to turn into checks, which we really need, and maybe some others will, too, because we kind of could use that as well. Things are getting interesting. The only thing worrying me at the moment is my stupid drawing hand, which is also my main typing hand (the one that pecks) and it's been killing me. Eltingville really gave it a beating. Work on outstanding commissions goes slowly, but I am putting time in to finish those up. I'm thinking about not taking any commissions until my hand completely feels better. I've only drawn one professional piece since Eltingville, not counting the Fun Page, part of which was drawn months ago. My hand's in constant pain and I have a lot of trouble sleeping because of it. I am planning on going to the doctor to see if there's anything to be done other than rest it, but at the moment we're trying hard to stay on top of work and everything. I am taking breaks and doing what I can to rest it. We'll see how it goes.

In case I don't make it back here for a few weeks, just fyi in September we're going tobe at the Cincy Comicon.  I'll try to post details before then and now.

Time to eat --


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Everything You Need To Know About Us At The Boston Comic Con This Weekend
Monday, July 27th, 2015 — 10:28 pm
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Everything You Need to Know About Us at Heroes Con this Weekend
Monday, June 15th, 2015 — 6:37 pm
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More Interesting Times
Thursday, June 4th, 2015 — 3:09 pm
I'm typing this in a wrist brace that's on more than off these days, and that's been a pain (ha ha) but what can you do, right? I have to see the doctor, the problems with my arm have gotten to that point. Sleeping's been a real problem. Essential art supplies now include the brace, a soft neck collar, Tylenol and an ice bag. Watch yourselves, young ones with drawing in your blood. Don't bend over a flat table, rest the hand occasionally, and maybe ease up on the detail work. Just saying. Watch yourself early, because you'll probably live as na old person for more years than you will as a young person, if that improper sentence makes sense to you. You can't do the 24-hr work stretches all your life, unless you maybe want to be Wally Wood (i.e., dead early).

Otherwise, yeah, interesting times. Phone conversations and pitches and revisions and maybes and waiting and wondering. Like a new career, almost, as if much of the past thirty years didn't happen or matter. And they don't matter all that much, I guess. It's a crowded field and without a recognized run on a Marvel or DC title you're not super-viable, no matter how many industry awards or past minor "hits" you may have. On the plus side, you pick up some fans over three decades, hopefully, and some of these readers end up in the business, hopefully, and they remember you when they need work done, hopefully. Or you have contemporaries who remember you back from the days when Nick Magazine lived and breathed, that sort of thing. So, I have a few freelance assignments. But it's not like it was, when I knew folks at the Big Two and that kind of work didn't turn me off, the way, say, modern DC comics do. The anthologies are all dried up, and the internet boom of "let's pay people for stuff" was a while back, wasn't it? And I missed that little brass ring. I can only really write right now, so that's another limitation. Interesting.

It's still better than most folks have it. I'm not complaining, I'm just explaining.

And it's not all gloom and doom/end of the world, don't get me wrong -- part of the "problem" is not wanting to do just anything for any amount of money. On the one hand, I'm not enough of a fanboy to jump for joy at the prosect of working on some revived 80's pop culture property. And for crap money, nineteen times out of twenty. I don't get that, never will. I'd rather learn to run a cash register again than do underpaying work-for-hire with no royalty but the "glory" and "fun" of being a cog in some IP machine. And they don't tend to let you run with the ball the way I got to when I worked on Bill and Ted in the 90s. That was a plus. And Marvel paid decently on a loser book like that, to boot.

Anyway, one of the WFH script gigs I turned in was a lot of fun, they did let me run wild on it, it was for an okay page rate, and I'm looking forward to sharing when the time comes. It's being drawn right now, I believe, and it should be a lot of fun. The other writing gig is something I was hoping to do last year but Eltingville bumped it out of the playing field, I should have that wrapped in a few days and a beloved industry vet will be drawing it, if all goes well, which is really nifty. This is not trudgery or drudgery, by any means.

After that I get back on the commissions (oy) and we prep for Heroes Con. I dunno if I'll be sketching at the show, my hand is so problematic and I have to get some lines down on paper on these outstanding commissions (oy). And a cover gig. It's a drawing gig I couldn't really turn down, you'll see what I mean when I can talk about it.

I'm looking forward to Heroes because we enjoy the show, but it's a financial gamble, even if we're mostly comped. We did very badly last year, partially because I don't have much new work out, partially because that can happen to anyone, especially if you're hitting a show regularly. With no new books out. So, well see. We have dug out the last of some old merchandise stock I've decided to part with, mostly to lighten the load of our old merchandise stock, so I may have a few odds and ends on the table this time around. I also have a newly-acquired stack of World's Funnest copies from back in the DC days, which I'll be bringing (along with some promo pins from the project). And I'm going through the art files. So, we'll see. If nothing else, Sarah's making Emily a new cosplaying outfit and we'll get to see friends and folks.

Speaking of new books, Eltingville #2 won't be out until August, but at least it's back in the Previews pipeline and finished. A big, messy chapter of my life over and done with. We're waiting on layouts and the like from Dark Horse on the hardcover collection of that big mess. I can't wait until that's out and over and done with and I can hold the book in my hands. My editor on Eltingville, Daniel Chabon, was just promoted at Dark Horse, by the way, which he deserves for putting up with Eltingville, if nothing else. Ha ha (oy).

I hope to speak to our Beasts of Burden editor, Sierra Hahn, in the next day or two to see where that's going. Or not going. We still have three scripts sitting and waiting to be drawn, one of which we do have about eight pages finished. It's less than an optimal situation. We're trying to poke it back into life, honest. I think about that book every day.

Otherwise, the phone conversations and pitches and all that continues. We're still waitng to hear from someone out in Los Angeles about something. We have a good shot at launching a fun project that Sarah and I would be writing together, something that came out of left field and decided to stick around a while -- if it doesn't happen now we want to pitch it around and do it somewhere else. We're almost done with a long-gestating pitch we want to move forward. And I have a publisher interested in a limited series I pitched them off the cuff. It's not a terrible place to be. It's all very interesting. As things sift out, we will hopefully be left with something solid, and steady, to build on. If that settles in, I can rest the hand and eventually see about drawing something again, pushing some gag stuff along and/or a series of strips I've been slowly working on for fun. That's the plan, and it all seems do-able. So, here's to the next few weeks and things settling. Huzzah.

In the meantime, I should be able to talk about one of the freelance projects I'm involved in in about two weeks, and by then we'll hopefully have some more solid news, or at least a solid idea of solid news. So, talk to you soon.

And I hope to see some of you folks at Heroes Con in a few weeks.

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Eltingville Uber Alles
Friday, May 8th, 2015 — 5:34 pm
Today we sent the text pieces for the Eltingville Club collection to editor Daniel Chabon at Dark Horse. I wrote an afterword, a short introduction to the Northwest Comix Collective story from Dork #6 and another for the Welcome to Eltingville pilot. Sarah helped me bang my typing into shape, of course I had problems on figuring out what to say and got worked up over it. It wasn't too bad, but it should've gone more quickly. I never can say goodbye easily. Or hello. Or pass the salt, for that matter.

Sarah also finished assembling the pin-ups of the Club members I did for the book. Some folks at Dark Horse have ruined their eyes and brains proof-reading all the comics (whoa, momma, what a piece of work that was), so it looks like other than writing captions for the art we're including from the animated pilot, all the work's done for the hardcover. Yay.

From what I understand it's going to be 11-12 months before it comes out, owing to having to completely reschedule it. But it's pretty much all over and done with, and I'm pretty much free of Eltingville.

It feels really good.

Eltingville was a difficult comic to work on, if comics can be said to be difficult work. You know what I mean. Always apologizing, that's me in a nut's shell. Sorry!

While writing the text pieces I revisited some old comics and the Comics Journal interview I did with Tom Spurgeon in 2000. Disheartening to read about my problems and issues at the time, because I still write and talk about having the same problems and issues now. The positive in that is that I'm dealing with that stuff a lot better than I was back then. The negative is that I'm still having to deal with it at all. My productivity is a mess, my confidence is on a pendulum, my hand is in worse shape than ever, my career's in worse shape than it was fifteen years ago. I might talk less than I used to, at least I hope so. That interview's an albatross around my neck and always will be.

And yet, I'm happier nowadays. Mostly. Less unhappy? Family, working towards getting my head together and gaining some small measure of self-worth can do things for a person. Slow going, though. I turned 50 a few weeks back, so I figure I'll have my act together and do some great work in about twenty-five years. Stick around!

In the meantime, I'm jumping back on the commissions I've owed a few folks for way too long. Drawing has been tough, to be honest, so has typing. I have to take breaks after a short time working. It sucks. I'm working on setting up some writing gigs, so far with decent results. I'm working on two 10-page licensed stories, then a text piece for a project, and hopefully some of the things we're pitching around will stick. I have two pitches sitting with a publisher, one of which I'm putting on the back burner, the other I'm revising. Sarah's taking her turn on a pitch for a project we're hoping to co-write. I'm discussing other pitches with two other publishers and we're still talking about a non-comics thing with a studio. I have one drawing gig coming up, a cover. Something's gotta shake out of that mess. One hopes.

Besides that, I'm hoping Jill Thompson will be able to get back to Beasts of Burden and finish off the next one shot, she completed about eight pages for it last year. Our last one-shot was nominated for an Eisner, much to my surprise, I think it's the first time I got a nomination in a "mainstream" category. We'll get creamed, but I welcome the free press and it's good to know some readers out there are still thinking about the series. I think about it every day.

I started some gag strips but haven't been able to work on them much, between the schedule, our ongoing house de-cluttering and the stupid hand thing. One of the 10-pagers I'm writing required a ton of research and planning, so that's been taking up time. I'm happy with the concept and hope the actual script does well by it. We'll see how that goes. The house de-cluttering has been good for us but also eats up a lot of time, everything's still two steps forward and one back around here. At least we make some progress. Our de-cluttering schedule is heading to books and toys soon, and that's going to be a tough couple of days. I have too many comic book books and vinyl pop culture widgets and something's gotta give. We've been donating stuff, dumping stuff, recycling stuff, trading stuff, giving stuff away and filling boxes with stuff we'll be putting up on eBay. It's slowly paring things down. It gets easier with every weekly session, and I've been shedding books in batches before we actively hit the category. But it's still going to be hard. Like a lot of people, I'm pretty wrapped up in my stuff, for good reasons and bad. We should all have such probelsm, I guess.

Well, the hand's telling me to log off. Hope everyone's doing okay out there, and had a good Free Comic Book Day and good non-funnybook times as well. Stay tuned for more exciting first world work and home dilemnas, right here, sometime soon-ish.
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This, That and Who Knows What
Tuesday, April 14th, 2015 — 2:24 am
Hey, folks out there in comic book land.

I've been meaning to drop in here to post an update about things but obviously that didn't happen, until now. Obviously. I actually wrote a long and earnest follow-up to my previous post, but it's sitting, unfinished, and I don't think I ever will go back to it and post it. Too long, and too earnest, I think, and also probably way past it's sell-by date. But it was good to get it all out in some form, clarify some thoughts, that sort of thing.

So, yeah, we've been busy. which is good, because for the most part it's been a good kind of busy. Well, for me, at least, Sarah's had to deal with the misery that is working on the Eltingville Club #2 pages so they can go to Dark Horse. This was a massive mess for her to tackle, I felt awful about handing it over to her with so many things needing corrections and cleaning. I won't even get into all the stuff she had to do, some pages were Frankenstein patchworks, scanned, assembled and stitched together. It was a lot of work and I am extremely grateful to her for her time, effort, input and patience (xoxo). And for not killing me (XOXO). Whew.

Speaking of that goddamned comic, Sarah sent the files out today, so, we're finally done with the hands-on work on the last Eltingville Club story. Jeez, what a mess this has been. We have some fairly simple things to do for the collection, but by and large we're done working on Eltingville comics. Thank goodness.

I've been busy with non-Eltingville stuff since I last typed here, most of which I can't say much about. I'm doing a couple of writing gigs while working on a batch of late commissions I still owe folks. Sarah and I are almost done with a comic project pitch, something I wouldn't be drawing if it happened. I sent some gags to MAD, but they didn't go for any of them. There's some other things going on, but they're all still in the discussion stage, some comic book stuff, some non-comic book stuff. Who knows.

Also, we're confirmed for Heroes Con, if I haven't mentioned it here. I'm also supposed to actually get off Staten Island a couple of times this month if all goes well, I'm doing a talk for an SVA class this week and then later in the month I'm getting together with some old comic book cohorts. I'm looking forward to it, I don't socialize much these days, haven't in a while, really.

I don't even know how much subway fare is now. Yeesh.
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R.I.P. The Eltingville Comic Book, Science-Fiction, Fantasy, Horror & Role-Playing Club (1994-2015)
Tuesday, March 17th, 2015 — 6:55 pm
Mood: post project depression
I'm more than a year late on this, and it's far from what I'd hoped it would be, but at long last I'm finished with the principal cartooning on the second and last issue of the Eltingville Club wrap-up. Fingers crossed, we'll find only a few, minor goofs and gaffes to fix as Sarah compiles this mess in Photoshop --  I'm hoping nothing we find will require me to actually have to draw these characters again or re-letter more than a sentence or two. There's some clunky elements and more than a few things in the book I'm unhappy with, but with the sheer number of panels and jokes and bits of business in there, there's got to be something of interest in the mix to justify the comic's price tag, if not the ridiculous amount of time I spent on this mess.

I feel badly for all the work Sarah will have to put into making the second issue come together, there are a lot of disparate elements to be digitally assembled, the comic is a Frankenstein's monster of parts, paste-downs and patches. I have a tremedous urge to burn the pages as soon as they're all scanned. Dressed as a Universal Studios villager, pitchfork and torch. I hope the actual reading experience won't be as messy as the book itself. There's a bunch of good gags and some crazy crowd scenes, and some hopefully good shots at comic book behavior. It's not exactly the ending I'd wanted, I think the first issue works ends the series well enough on its own, but I always wanted to do a "ten years later" story, so, whatever. I can't wait until it's all really over and done with, oh boy, oh boy, oh boy.

I can't blame comics for anything that went wrong on this comic -- I can't even blame the tumble I took down the stairs last February which screwed up my already-hurting drawing hand. It's all me, all the time, all the way down the rabbit hole on this one. Scott Allie and Daniel Chabon at Dark Horse certainly gave me enough rope, they were supportive and patient, bless 'em, and Scott's doubts I could turn both issues in on time were well-founded. The more I stressed it, the later it got, the later it got, the more I stressed it and added to it, the more I added to it, the later it got. A real mess, something I have to address on whatever else I end up writing and drawing down the line. I have no idea what that will be, but if I hope to get more comics out there I have to work on changing my habits, my process, my head. I have to make some kind of peace with my artwork, my writing, my limitations and overcompensating for them, my anxieties and lousy self-image and how my work reflects and affects those things. I'm turning 50 next month, I don't have as much time to fuck around with this garbage as I used to. I have notebooks and computer files full of story material and gags I'd like to see through, I know I'll never get to half of it, especially if I keep this "spend a year on a two month comic" bullshit going. And I have to make better money, there's no two ways about that, and I can't do that the way I'm operating. So, some things need to be addressed, unless I want to get a day job and do this as a hobby. Of course, I have no idea what I could even do for an actual day job. All I'm suitable for is human guinea pig or dressing up in a Statue of Liberty costume and standing on the sidewalk with a sign for an income tax joint. Whatever happens, I have to at least pretend to be an adult human being-type person much more often than I do now. Terrifying.

In the short-term, I hope to find some writing work to allow my hand to rest up. I simply can't draw much right now. My hand's a wreck and my arm feels like dead meat hanging from the socket. My shoulder and neck are in constant pain. I'm clenching my jaw again and find myself holding my breath more than usual. I can't sleep from the pain and discomfort. I still have some late commissions to deal with, and I need work, but I'm going to try to avoid doing a lot of finished art for a while. I'll hit MAD up for work, hopefully I'll dig something up there, they've always been good to us and specific, short-term drawings are about all I can handle for the time being. I'm hoping I can push some gag strips and stuff along slowly on the side, but unless I'm given an offer I can't refuse (House of Fun #2 for how much a page? Ha ha ha ha! Thank you, I'll get right on it!) drawing comics is basically on hold for a while.

It's super-weird, I feel sort of like I'm starting all over in this business. I have some pitches out there, but I'm having no luck getting an artist on one project, and so far there isn't much interest in the other. I'm working on another pitch for something Sarah and I have been kicking around a while -- a self-contained story/mini-series, I think it's got a shot -- and I'll likely send a few things out to other publishers soon. But I'm super-worried. My options are limited. I have no contacts at DC or Marvel, even if I was interested in doing anything there. I don't like to work on things I don't feel I'm right for. That's three-fourths of what's out there. I like to do my own stuff, but that's not super-viable for someone with a mid-carder following. The only jobs I've been offered as of late have been for terrible rates. I'm not fast enough or fan enough to take jobs that pay less than I was paid to work in 1991 -- and this new stuff involves work-for-hire with no royalties, to boot. I don't hack material out, my OCD won't let me even if I tried, so, volume isn't a viable option right now. I know I have to approach my work differently, work smarter, with something resembling confidence -- lessen the amount of material I stuff into a project, for one thing. But even then I can't see doing solid work I'm happy with for money I'm not happy with. This industry is a ball of confusion for someone like me, too old and in need of paychecks to do webcomics, someone whose strengths are short stories and humor -- two things nobody is clamoring for these days. I'm not a book guy, I'm an anthology guy. I want to write horror stories, humor stuff. I'm not a crowd-funding type. On top of that I'm someone who has trouble contacting potential collaborators or turning towards editors for help. And I'm even afraid of having a pitch accepted, because that means making decisions and making good. Crazy person! These are all things I'm working on, things I needed to work on decades ago, but back then, I was too busy making comics for it to really affect me. The phone rang, I never had to pitch, there were paying anthologies and opportunities came without my pursuing them. Smaller industry, different times.

In case anyone's wondering, yeah, I'd love to be working on Beasts of Burden scripts, but that project's in suspended animation. I can't write anything until the three sitting scripts are produced, and we've seen no new art since early last year. On top of that, the Reel Fx film appears to be a no-go, which is no great surprise given how those things go, but for a while there it looked possible for some more money to shake out of the deal. The book continues to sell decently, we're at a sixth printing, but it's been five years since it was published, and we're still far away from a second volume. It's a frustrating situation, to say the least. And I can't put together a Dork collection even though Dark Horse is interested, the time it would take would be a schedule and income killer. We already went through that with the Milk and Cheese book. It's definitely worth doing, and something I want to see happen, but we need to free up time to do it. Oy.

Anyway, we'll see how it all goes. I'm feeling down but not out. I'm going to celebrate putting Eltingville down by cleaning my office. Or not cleaning it. I'm pretty tired.


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Bizarro Sketch Cover Commission
Tuesday, February 24th, 2015 — 6:14 am
Mood: me am okay
Bizarro Blank Cover
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