Ten Great Graphic Novels Being Sold on Amazon for Under a Dollar

Two of my previous articles, Ten Great Graphic Novels Being Sold on Amazon for a Penny & its sister article were somewhat popular, so I looked to write a third entry, but I found that there are many great graphic novels that, while costing more than a penny, were easily affordable and should be considered must reads for a comics fan (in my ever so humble opinion). And so for those of you with slightly deeper pockets, I present to you, 10 great graphic novels being sold on Amazon for under a dollar.

The Milkman Murders  By Joe Casey & Steve Parkhouse. In a reverse perfect Donna Reed existence, a housewife who is trying to keep her extremely dysfunctional family happy is raped by a wandering lunatic driving an old fashioned milk truck. Parkhouse's art blends with the script brilliantly. The perceived grime and filth is everywhere. Each character is foully drawn that you can smell the grime and BO wafting off of them.

Uther The Half Dead King   By Bo Hampton & Dan Abnett. This is the story of King Arthur’s father, Uther Pendragon, a brutal military leader whose character is often used as a foil of Arthurs own golden age. The story deftly mixes Arthurian legends with English history. He is presented as a man shaped by his times. He had the ability to survive the times, but not to tame them, and that ultimately cost him his life.

Silk Tapestry and Other Chinese Folk Tales: Songs of Our Ancestors Volume 2 

By Patrick Atangan. Three beautifully illustrated short stories from Chinese mythology. In The Silk Tapestry, an old woman's last hope to live well is in the completion of a magical tapestry, which opens to paradise. In Sausage-Boy and his Magic Brush, a boy's magical paintings that come to life attracts a greedy woman. In The Creation Myth of Pan Gu a lonely spirit sculpts the Earth from a cosmic egg in hopes it brings him some company.

Age of Bronze- A Thousand Ships  By Eric Shanower. This is part one of the Trojan war, specifically all of the events that lead up to the launching of the 1,000 ships after Helen of Troy. As you can see from the bibliography, the author put an intense amount of research into creating the right look and facial constructions for the time period. All mythical elements have been removed from the tale, except as being told as stories within stories themselves, and a logical reasoning has been applied to the mythic tale.

Aetheric Mechanics By Warren Ellis & Chris Deier. A short but filling work. Ellis follows the trend of mixing up various 19^th Century genres and characters together to create a wide world, but this one has an interesting twist and an ending that makes this story great. Highly recommended.  

AKA Goldfish  By Brian Michael Bendis. Bendis’s breakout comic. The story of a wronged grifter coming back to town to take revenge on all those who had wronged him, plus one other reason. The story is fast paced and compelling, deftly mixing humor and tragedy into a brutal crime noir tale.

The Birthday Riots By Nabiel Kanan. The story of a once progressive middle aged man who now has been worn down and corrupted by the realities of life. He is an advisor to a man running for mayor and tells him not to focus on the needs of lower class, as it will not get him as many votes- an exact opposite of who he used to be. This is a low key tragic tale of man stumbling through the wreckage of his now tattered morals and caught up in an actual riot, a partial result of his own actions.  

London's Dark  By James Robinson & Paul Johnson. An interesting tale set in London during the blitz. A man is murdered during an air raid and, after his body is found, the police naturally assume he was a victim of the Germans. Later on his mother goes to a psychic to contact her dead son, only to have him tell her that he was murdered. Things get out of control from there. The art is stark and realistic, perfectly capturing a sense of grime and grittiness of the time.

Silent Invasion: Secret Affairs & Red Shadows  By Michael Cherkas & Larry Hancock. The Silent Invasion is one of those rare books that was truly ahead of its time. Coming out in 1986, it was a black-and-white comic, well before black and white comics were fashionable. It dealt with a secret government conspiracy, involving aliens, well before the X-Files popularized the idea. The Silent Invasion was a victim of its own originality, and never got the recognition that it deserved. It is a paranoid cold war thriller that revolves around reporter Matt Sinkage who after having an encounter with aliens, cannot convince others of their existence. This collects them first two, of four, volumes.



         Hope you’ve found something of interest here. And as always you can check out my What I’ve Been Reading Page for any more suggestions. Enjoy and Caveat Emptor!


For more weirdness try Across the Wounded Galaxy by Rex Hurst

The Madison- Felix Awards: The Categories of Oddity

The Madison-Felix Awards was an awards show in Buffalo New York, which ran from 1995-2005. It was put together by my friend Big Brian and I. In reality it was a parody of an awards show mixed with an open bar drinking contest. Still it was fun and irreverent and some of the best parties I've ever had. But like all good times, they eventually drifted off to the land of nostalgia. The next several blogs are dedicated to their memory.

         The categories of the Madisons-Felix’s varied over the years, but they were what set the show apart. It was the one aspect I always loved working on. Now several of them were your standard lot- Best Director, Best Cinematography, Best Actress, Best Actor, Best Supporting Actress and Actor, Best Makeup/Special Effects, Best Musical Score, Best Animation, Best Dialogue, and Best Picture .

          But we never filled them with nominees one would consider to be conventionally Oscar material or which even made much sense in the context of the category. Such as one year we gave Best Makeup/Special Effects to My Dinner with Andre. Another time we gave Best Dialogue to The Wild Bunch and showed the blood soaked finale where the only discernable dialogue was William Holden yelling, “Bitch!” at a woman before shooting her in the face. And, of course, Best Picture was always reserved for the foulest clip that we had scrounged up that year. Ones that a person would need a few drinks to laugh at.

          But, to us, these were minor categories. The ones which were expected from a fake/real awards show. Our true joy was all the others we came up with.

          Traditionally we started the show with three non-categories. Ones that didn’t mean anything to most people. Best Best Boy, Best Gaffer, and Best Key Grip- later to be replaced with Best Executive Producer. These were the slots where we decided to show great bits and pieces of films. They were the final hold-overs from the high minded notions with which Big Brian and I started the Madison-Felix’s. Great scenes from good films. 

          The categories which most interested Big Brian and I were the ones that are never seen in an awards show, not even The Razzies or Golden Turkey Awards, and perhaps with good reason.

          Awards such as:

Best Unintentional Cameo (small parts played by actors before they became famous, such as Denzel Washington in Death Wish, a fat Richard Simmons in Satyricon or John Ratzenberger in Ghandi)

Most Predictable Plot (Usually went to something obvious like Titanic or JFK or La Bamba)

The Overacting Achievement Award (Take your pick on this one)

Most Stilted Performance of a Rock Star in a Film (The whole band in Kiss Meets the Phantom of the Park, Madonna in Who’s that Girl, Paul McCartney in Eat the Rich)

 Worst Sequel (I’m sure everyone can fill in the blank here. It’s actually more valid now than when we first came up with it)

  Most Annoying Person in a Film Award (Tom Hanks in Forrest Gump, Franklin in The Texas Chainsaw Massacre- everyone clapped when he got skewered.)

The William Shatner Award for Acting Excellence (where William Shatner was nominated for every category. We did this for a few years before the joke wore thin. He first won it for Judgement at Nuremburg)

Most Annoying Use of a Child in a Film (Why were we the first to come up with this? It’s something everyone complains about!)

Most Embarrassing Skeleton in the Closet for An Established Actor (Some shit stain of a movie that an actor took to pay the bills. Ala Russ Tamblin in Cabin Boy or Henry Fonda in Tentacles. We later shortened this to the less cumbersome Most Respected Actor in a Bad Film)

 Most Smoking in a Film (The novelty of this one wore off quickly and it only lasted two years.)

Best One-liner (Bits and pieces which struck us as funny, but we canned this one after four years as the lack of context would yield little more than a chuckle.)

Pretty Boy Actor You’d Most Like to Whack (Whatever talentless collection of duckface-posing nonentities where cluttering up Tiger Beat that year)

Ditzy Actress You’d Most Like to Strangle (The sister of the previous category. Same criteria, just switch genders)

          Looking over this list fills me with such schadenfreude. The last of the regular categories were our favorite and the ones which Brain and I had the most evil joy. Most Deceiving Title might sound innocuous, but when we nominate The Greatest Story Ever Told or It’s Good to be Alive: The Roy Campenella Story you can see the cynicism bubbling over.

          Same for the next one, Best Comedic Performance in a Non-Comedic Role and we showed such wonders as Patty Duke in The Miracle Worker, Christopher Reeves in Superman, Daniel Day Lewis in My Left Foot and so on. We perhaps got too much joy from coming up with the nominations.

          The next category requires a bit of explanation. In the third year we can up with the Best Plot of a ____ award. The blank would change each year and represented a genre of film (or sub-genre, or whatever) which were pretty much exactly the same. For example the first year was Best Plot for a Zombie Film (of which at the time there was only a limited selection the Romero trilogy and Children Shouldn’t Play with Dead Things).

After that it was Best Plot for a Mind Transfer Film which is always the exact same movie over and over again (Freaky Friday, Vice Versa, 18 Again- refried crap shoveled in a new package). We then moved onto Best Plot for an Ernest Film (which really dates us a lot). It was given away by our good friend Frank, who delivered a heartfelt non-ironic speech on what the Ernest franchise meant to him and how it brought joy into his life. The next two years we did a few obvious ones Best Plot for a Police Academy Film and Best Plot for a Friday the 13^th Film.

This is the one Rob hated, which is why I'm showing it.

Next was a flash of genius from Rob Leftwich- Best Plot for a Talking Pig Movie (there was a plethora of them at the time), in which he delivered a heartfelt speech on the wonders of Babe: Pig in the City. We began running out of ideas for this and it wasn’t until two weeks before the show, in a fit of adrenaline fueled inspiration, I came up with Best Plot for a Pregnant Man Film. There were exactly four at the time- The Pregnant Man, Rabbit Test, Junior, and Enemy Mine. The last one won.

The last year, completely out of concepts, we came up with Best Plot for an Awards Show- We nominated Academy Awards, Golden Globes, Grammy Awards, and The Madison-Felix Awards. Guess who won?

          Finally we come to the Lifetime Achievement Award. Initially Brian and I floundered with this, not really knowing what we wanted to do with it. Hence the first three winners: Mike Horner a proliferant porn actor from the 80s and 90s, who always played his roles with a comedic bent. If there is a comedy porn niche, he should be considered its Charlie Chaplin. And Monkeyhead, Brian’s brother. For his clips scene- every winner got a montage footage bit with a song playing in the background- we showed a bunch of monkey’s doing horrible things to each other, of one sort or another, to the tune of I’m an Ape Man by The Kinks. And then Marlon Brando where we showed clips of him interspersed with those of Jabba the Hut, with the Mr. Yuck song. I must say here that these three were all chosen by Big Brian. He thought they were a laugh riot, while I, and everyone watching, got only the mildest of chuckles.

So for the next year I put my foot down. We would only give the Lifetime Achievement Award to someone who was well known, having had a long career, but who you would never think to give an award to. Boom, we had our criteria and I must say that the audience received the award with much more applause and enjoyment as it went on.

 For the fourth year we gave it to Don Knotts to the tune of He’s Got the Look by Roxette. The fifth it was George Peppard to the tune of Duke of Earl by Gene Chandler. The sixth was Bob Newhart to He’s Got Personality by Lloyd Price. 7^th was Alan Hale Jr. (The Skipper from Gilligan’s Island) to I’m Too Sexy for my Shirt by Right Said Fred. 8^th, our most evil year, Christopher Reeve to the tune of Walk Like a Man by Frankie Vallie and the Four Seasons. And last, but not least, Charles Bronson to the tune of I Think I Love You by David Cassidy and the Partridge Family.

          We spent a lot of time putting these together. And reading them over on paper, it scans as just kind of cute. A novel idea, but the execution always made the crowd roar. As in a lot of these things about the show, you had to be there.

                      

The Madison-Felix Awards: Turning Crap Into Fabulous Prizes

      

The Madison-Felix Awards was an awards show in Buffalo New York, which ran from 1995-2005. It was put together by my friend Big Brian and I. In reality it was a parody of an awards show mixed with an open bar drinking contest. Still it was fun and irreverent and some of the best parties I've ever had. But like all good times, they eventually drifted off to the land of nostalgia. The next four blogs are dedicated to their memory.

      There comes a time in every man’s life when he looks around his hovel and thinks, “I’ve got way too much shit.” A body collects these things as he saunters through life, like ticks in the wild. Until a day of reckoning, or a day of moving, where he starts poking through the back rooms of his life and all sorts of odd bits and pieces fall out. Thimbles, wires, inkpads, left handed safety scissors, shot glasses from Pittsburgh: all safely tucked away “just in case.”

      Just in case of what? I don’t know. In case someone’s strangling me with a piece of yarn and my right arm is paralyzed. The only thing I can use to save myself with is my trusty pair of left handed safety scissors.

      The world is filled with such things. Your house is jam packed with oddities. Go through it right now. I dare you. Sweep out the back shelf of your broom cupboard and the dusty corners of your attic. See what bits and pieces you’ve stored away because “it might come in handy one day.”

A cornacopia of fabulous prizes!

     Jars of batteries, spare cables for the VCR, old demo tapes of some local band that never went anywhere (“Druken Puppet Sings”), album covers with no vinyl inside, mismatched socks, “Dukakis in 88” pins, Volume 16 of the Junior Encyclopedia for 1948, old photographs of a guy who might be a great uncle, or crappy Christmas decorations that you made in 5^th grade that your parents “just love.”

     If my words don’t ring true in your ears, then there is something the matter with you and you need to reexamine your life. Go back to Iraq Mr. Al-Queda. If this does strike a note of recognition, then let me tell you how I turned crap into fabulous prizes.

     The Madison-Felix Awards, that great tribute to cheapness, vulgar audiences, and alcoholic shenanigans, was entering the terrible twos. It’s infancy was marred by various problems that Brian and I corrected. One task was left, and I decided to fix it solo. At the end of the first year door prizes were handed out to the lucky audience, all twenty of them. This last part had been left in the clumsy hands of Ensign Raiff and Nurse Pam. While their enthusiasm certainly wasn’t lacking, their sense of humor was. They bought cute things that were supposed to be funny, but actually weren’t. People chuckled and said it was funny, but it was more out of a sense that they though it should be funny, without actually being funny.

      They gave away a lot of pink plastic jewelry, gotten from a convenient CVS, spice girl dolls, rewritable plastic pads with Urkel’s picture on the cover (though we got some use out of that), and so on.  These items just didn’t fit into the style in which we were fashioning the show. That of cheapness and with a base of crass. We were the Oscar’s evil twin, with all it’s glitz, glamour, and pomposity stripped away. So the following year I took over the door prizes, and like the Russians who built the disastrous Volga-Don Canal in 1931, I declared that there would be “not one kopeck spent.” It would all be gathered from the generous accumulation of crap which had been stuffed into the nether regions of my closet, and beyond.

      Being of a lethargic nature, I didn’t get to work straight away, but let the idea ferment in my mind for awhile. What spurred off the initial gathering was a pile of junk left at my work. I was employed at Noco Gas Station on the corner of Sweet Home and Sheridan. I worked the midnight shift, as it appealed to my nocturnal instincts and paid an additional 50 cents an hour. Not much happened usually, and I had plenty of time to read and sleep, but we were closely situated to the University of Buffalo Amherst Campus, so there were plenty of head-up-their-ass college punks around (more on this in a later post). The hippie revival movement of the early 90s was starting to catch on in the area and brought around all the usual dregs that such movements dig up. I’m sure you know what I mean: Indecent scruffy types who slouch about with their hands in their pockets, just looking at people.

Rockin!

      One evening a VW van, a vintage classic, pulled up to the store. Two tied-died “people,” stinking of petuli and BO entered and started pooling change to buy a bottle of water. A third remained at the van emptying copious amount of garbage into the trash cans. After purchasing their water and finagling two cups out of me, presumably so they wouldn’t swap their various types of hepatitis with each other, they departed. Leaving the store I found that they had filled 3 of the 4 cans and left a pile of old vinyl albums on top of one. Closer inspection showed that these were just the album covers with no sign of anything else in them. The thought then hit me. These would be great gifts to use at the Madisons. I mean who wouldn’t want the album cover of Peter, Paul and Mary’s “A Song Will Rise”, or The Romanian National All Male Chorus Sings, or Neil Hefti’s “Batman” Scores? The covers, while most people would see them as garbage, covered all three of the criteria I had for the Madison door prizes: They were cheap, they were crap, and they were funny in an odd sense. 

      I was inspired. I rushed home, grabbed a cardboard box, and started to dig, dig, dig. And the wonders I found. Our house, it seems, had become a receptacle for unwanted material from both sides of the family. Older members died and there was always something left behind when the loot was divvied up. They would turn to us and say, “Rex, you like reading and stuff, so here’s a crate of books from your Great Aunt Betty.” This was all on top of my Mother’s and my natural pack rat mentality. We find an item, file it away, thinking “Well it might come in handy,” and then promptly forget about its existence.

You had to be there.

     Handfuls upon handfuls of buttons were dumped in the box, a phone book from 1985, game tokens from a destroyed copy of The Blizzard of 77 board game, a few ratted up copies of The Watchtower, old comic books ("Green Lantern vs The Mind Melter!" A non-classic showdown), and so on.

     Then under my generous loft bed I found the grand prize. An item of singular beauty and attention. By itself it seemed useless, yet I found myself incapable of getting rid of it. No matter how many times I found myself handing it over at the Madisons, I found it back in the box at the end of the night. We had a true love/hate relationship. I didn’t want it, yet could not let the joke go.

      The item was an old scuffed up black Oxford shoe for the right foot, left over from High School. For those who attended private school (3 of the 4 major posters) you remember we were required to wear proper shoes whilst attending the institute, along with a shirt, dress pants, tie, clean shaven face, and short hair. For sneakers, along with long hair, leads to degeneracy and general lapses into moral turpitude. Though, as a side note, one of my class mates, Ralph Maggio, managed to go for 4 years never wearing a pair of shoes. He always snuck the sneakers through.

     Back on topic: Yes, a shoe. A glorious right shoe. Its partner had been torn to pieces by my dog Thor many years prior. For nine years I attempted to give it away and, without fail, it was left behind or tossed back into the box by an ungrateful winner. But each year it gathered bigger and bigger laughs; became one of our standard running jokes, from the people who remembered it from the year before.
      To make a short story even longer, I previewed my low budget door prizes at the end of the 2^nd Madison-Felix Awards and was met with uproarious laughter and applause. Filtering out the high alcoholic consumption at such events, I still feel that people appreciated the humor value of such junk over the “cute” prizes handed out the first year. The door prizes remained in this form for the remainder of its decade long run.

       Now as I sit in my apartment looking at the increasing accumulation of “stuff” during my years in the South, I feel like starting the Madison’s again, if only to clear the clutter from my closet. I’m sure my right shoe would agree.

The Madison-Felix Awards: Free Beer!

The Madison-Felix Awards was an awards show in Buffalo New York, which ran from 1995-2005. It was put together by my friend Big Brian and I. In reality it was a parody of an awards show mixed with an open bar drinking contest. Still it was fun and irreverent and some of the best parties I've ever had. But like all good times, they eventually drifted off to the land of nostalgia. The next five blogs are dedicated to their memory. 

        One of the reasons for the resounding success of each Madison-Felix awards was, apart from Brian’s rapier wit, was the presence of an open bar. Nothing brings a person around for some evil humor like a few pints of free alcohol. The mantra of the Madisons, screamed out over and over again with increasing vigor and violence as the night went on, was “Free Beer!”

            Unfortunately the phrase was not entirely accurate. We had often joked that Madison’s operated on a budget of $5, but in reality the renting of a hall, a buffet, and an open bar, didn’t come cheap. Thus each “invitation” to the Madisons cost around $20. And it was up to the individual to make sure they got their money’s worth. Most people did their damnedest.

            The selection was not a connoisseur’s dream, but a person was given a choice: Wine or beer. What kind of wine? Red, of course. Sometimes there was a blush as well. What kind of beer? The alcoholic kind. The kind you didn’t mind the taste of after the fourth glass. But then to sample a crafted beer wasn’t the point of the exercise, to be pleasantly shit-faced was.

            The essence of “Free Beer” allowed a person to wallow in the guilty pleasure of an extremely nasty film clip or laugh out loud at the nastiest joke Brain could spit out. Perhaps they would have laughed anyway, but the beer gave them the extra excuse. A reason to tell themselves or to a date who was appalled by the show (more than a few of them over the years).

            “Hey baby. I was really drunk. I didn’t really understand what was happening. I was only laughing because everyone else was. Those people have some issues.”

            It would certainly help to explain some of the uproarious cheers, applause, and laughter that some of our winners received. One that struck me was the infamous finish to the 7^th Madison-Felix awards. For “Best” Picture that year we presented a putrid gem from the depths of Tokyo called Entrails of a Virgin. I had randomly purchased a copy of the film at a convention and just looking at the cover of it (not the one pictured here) made me queasy. It was a Japanese horror porno flick with no subtitles, but you didn’t need to understand the “plot”.

            The scene we selected occurred at the end of the film and involved a woman, in a dank cement warehouse, masturbating with a severed arm. The limb then grows into a demonic-zombie creature for some reason and inserts the same arm inside of her vagina. The monster then proceeds to pull out her intestines and other sundry organs through the aperture. A horrific sight. The crowd’s reaction? Cheers, clapping, whoops of enjoyment. How much of that was the beer talking?

            Another example is a snippet we dredged up from one of the nastier crags of the internet. It wasn’t from any film or TV show, but was shot on a video camera (this was before every cell had a camera attached). I believe that it was part of some injury insurance scam which went horribly wrong. It begins with a man walking out of a store. The camera follows him down the sidewalk and he steps into the road without looking. Bam! A red Toyota smacks him so hard that he flips over backwards, his leg bent in an odd angle, and his head splatters across the asphalt. Over the audio of the street sounds some joker (not us) had placed a happy little jingle reminiscent of the munchkins from the Wizard of Oz. People’s reaction to this? Outraged mumbling? Finger wangling? A lynch mob? Of course not! There was a colossal roar of laughter when the man’s head hit the pavement. Even my mother let out a grudging bark of humor. Did alcohol have anything to do with the reaction? Naturally. There was a reason why we always kept the worst for last.

            Such as in the case of the banned cartoon Scrub Me Mama with a Boogie Beat a classic piece of early forties racism which contains every old-school stereotype of black people. The paper thin plot revolves around a fashionable young urban black lady who returns to her home of Lazytown to wake them up from their idleness with the hep new beats of modern jazz. This was procured for us by the late Jeff Death and was the last cartoon on a battered VHS tape of old public domain animation he had fished out of the dollar dump bin at his local Blockbuster Video. Howls of laughter from the audience.

            But probably the best example of a booze fueled applause generating piece was the celebrated winner of the 2^nd Annual Madison-Felix Awards, Brutes and Savages. This was a little number put out by Gorgon Video, the same people who brought us The Faces of Death series. And like those fine films Brutes and Savages is a hodgepodge of scenes of brutality (some fake, some not) compiled together under the schizophrenic auspices of being a documentary. We showed two different clips over the years, both of which received standing ovations but for different reasons.

       The first was a scene supposedly showing a manly rite of passage of some Indian tribe in the Amazon rain forest. The first thing that strikes the viewer is how the film stock keeps switching. First we see the boys looking around nervously, venturing into a muddy river. Then it jumps to some sepia toned stock footage of alligators running into a river (no doubt lifted directly from Mutual of Omaha’s Wild Kingdom). 

     We see the boys pointing and yelling. Then we see an obvious alligator puppet moving down the river unaware apparently, of the camera directly behind him. There’s a close up of a boy screaming. Then the film stock jumps to a person, who is noticeably not the same boy, being mauled by a rubber alligator head in a crystal clear pool. You can see the alligator’s teeth bend on the man’s arm as he struggles. There’s a shot of a rubber hand floating in the river, then back to the pool where the rubber alligator chomps on a fake human head. And it ends with the smug narrator informing us that 70% of the tribe’s youth did not survive the rite of passage. Which in my book means that they would’ve been long extinct. Everyone loved it for its obvious falseness.

            But the one which caused the most cheers was the (not-faked) scene of llama fucking. Apparently a group of villagers in the Andes Mountains have a yearly fertility ritual where they take turns simulating sodomizing a llama. It is shown… well not in pornographic detail, but enough so that there is no mistake what is happening. This is how the film ends with a view of some villager’s buttocks rhythmically thrusting back and forth into the camera lens. All the while the narrator describes the act as a perfect symbiotic relationship of man and nature, and how the men were showing respect to the earth goddess.

            And as the ass cheeks fade away, the narrator says, “This may seem odd to us, but what if these men came to our culture with our wars, and our crime, and our pollution? Who would then be considered the brute? And who the savage?”

            This rebuke of our culture is rather ironic, as not twenty minutes before, when showing some Incan pottery depicting homosexual acts, the narrator condemns the Incan civilization as a barbarous, brutal culture, which died out because they had degenerated to such foul practices.

            So according to Brutes and Savages bestiality is a noble tradition, but homosexuality… that’s just pure evil. Needless to say the llama immediately became the show’s mascot.
          Stay tuned for more Madison-Felix material. Free Beer!

When Will Eisner Accidently Insulted Me

            This incident happened at a minor independent comics convention up in Toronto. My pal Don, who owned a comics store, drove a bunch of us over the border to Canada. Don, who had comic iconography tattooed up and down both arms some of it leaking onto his chest, was a fanatic on the subject. He was rabid about getting signatures and original art.

            Myself, I enjoyed the art and the stories and that’s all. I could never get into collecting autographs of writers or pencilers. It's foolish to pay an extra ten (or more!) dollars for a few more words.  Additionally the difference between a first and second printing can alter the price of a book, in the eyes of “real collectors”, by ten to twenty dolars. In most cases the first and second printings have the same story and art. So what makes one more valuable than the other? Human stupidity, that’s what. And I learned long ago that if a comic is labeled a  “collector’s item”, then it’s a guarantee that in a year it won't be worth a dime. Once the publishers slap that label on the front cover, a frothing horde of fan boys run about bagging-and-boarding the comic and squirreling it away in a basement for all time.

            To listen to these collectors talk, you’d think they were investing in the stock market. “This’ll be worth like…a lot of money someday.” Unfortunately no one’s buying for top dollar. Think, all you collectors, have you ever heard of anyone out there actually cashing in on their stash?  No. On the rare occasion when it does happen, it’s their family who does it, after the person’s dead.

            My favorite part of a convention has always been the independent dealers. Little guys who’ve published their own work as a labor of love and are just trying to make a buck or two. They might not be the greatest written or drawn books in the world, but they have heart. I almost always find something worthwhile, which I might not otherwise ever see again.

            What had attracted Don to the event was the appearance of Will Eisner, creator of The Spirit, (a big deal), and Dave Sims, creator of Cerebus (a lesser deal). I could’ve cared less. I wanted the product, not the creator, so I paid little attention to what was happening outside of my narrow view of the independants.

            I was looking through some Korean drawn comics, when Don came running up to me.

            “I need your help with something, dude.”

            “What is it?”

            Apparently there was a sign up in front of Eisner’s empty table stating that he would only sign three items per person. It was a smart move or else people would be backing up U-hauls of stuff for him to scribble on- Don being one of them. He had arraigned (for a fee I assume) to bring some stuff up to the convention for several of his customers. Now he wanted me to stand in line to get it signed.

            “Nah, I don’t want to.”

            “Oh come on man.”

            “I hate that stuff.”

            “Hey fuck you dude! I drove you up here!”

           How could I argue with that?

            So into line I went. He gave me  two slim books and a hardcover collection of The Spirit Sunday comics from the 1940’s volume 19, published by Dark Horse, costing about $50. Way overpriced for my limited income. I was third in line, but Eisner was late coming out and I could feel valuable minutes of scrounging slipping away. Don was a few feet behind me, in the other line, nudging with this toe a box of phone books for Dave Sims to scribble on. He caught my gaze and gave me two enthusiastic thumbs up. The cheeriness was not infectious.

            Eventually Eisner emerged from behind a curtain and sat down. He was an old Jewish man, neatly dressed. After I saw him, I must admit, my enthusiasm increased. How could it not? Here was a living legend before me, a man who had helped to pioneer the entire industry. Hell the highest award in comics is named after him. What was he like? An angel or a monster? I just hoped he wasn’t a prick. If he was, I would never be able to enjoy his work again.

            I stepped up to the old man, who grinned benevolent at me and reached for the books.

            “What’s your name?”

            “Rex.”

            “Okay.”

            And he wrote To Rex, thanks for the support, Will Eisner, in the first book. This apparently is a big no-no in collector’s circles. Apart from the fact that the people who owned the books probably weren’t named Rex, having someone else’s name in the inscription, rather than the naked autograph, lowered the value of the books.  It was now worth only a little more, rather than kinda more, of the standard resale value. Don bitched at me about this later, but what was I supposed to do? Tell Eisner not to personalize it because that would screw up my plans to make quick buck off of him later?What’s your name? Ebay!

             Then he reached Volume 19 of the collected Spirit and his eyebrows raised in interest. He picked up the hardback and examined it carefully.

            “I haven’t seen one of these yet,” He looked at me and winked, “I bet you’ve got them all don’t you.”

            “Absolutely.” I lied.  

            He looked at the price. “Fifty dollars? You know when they were putting these together and they told me how much they were charging, I couldn’t believe it. I said to them, ‘What kind of idiot would pay that much for this?’”

            Then he stopped and looked a little sheepish, remembering that I had just claimed to own all of them, which if I had would’ve totaled close to $1000. I reflected that if I had actually bought this stuff I would probably be pretty insulted right then. Should I fake outrage? No, it was just one of those things. It really was a pleasure to meet him. It was an even greater pleasure to see that he wasn't a complete egotisitcal prick, like several other of my writing "heroes" had turned out to be.
              I shook his hand and left.